About the book

 

In Zambia, due to the rise of tuberculosis and the closely connected HIV epidemic, a large number of children have experienced the illness or death of at least one parent. Children as Caregivers examines how well intentioned practitioners fail to realize that children take on active caregiving roles when their guardians become seriously ill and demonstrates why understanding children’s care is crucial for global health policy.

 

Using ethnographic methods, and listening to the voices of the young as well as adults, Jean Hunleth makes the caregiving work of children visible. She shows how children actively seek to “get closer” to ill guardians by providing good care. Both children and ill adults define good care as attentiveness of the young to adults’ physical needs, the ability to carry out treatment and medication programs in the home, and above all, the need to maintain physical closeness and proximity. Children understand that losing their guardians will not only be emotionally devastating, but that such loss is likely to set them adrift in Zambian society, where education and advancement depend on maintaining familial, reciprocal relationships.

 

Awards

 

Winner of the 2018 Elliott P. Skinner Award from the Association for Africanist Anthropology.

 

Reviews

 

"Hunleth presents a moving, yet clear-eyed, account of children's hitherto unacknowledged caregiving in the tuberculosis and HIV epidemic. Children as Caregivers is a spectacular demonstration of the vital importance of detailed ethnography for policy development."

 

--Anthony Simpson, author of Boys to Men in the Shadow of AIDS: Masculinities and HIV Risk in Zambia

 

"Children as Caregivers: The Global Fight against Tuberculosis and HIV in Zambia by Jean Hunleth is a major contribution to our understanding of how children conceptualize illness as well as negotiate and manage the roles, responsibilities and risks they take on as caregivers in difficult and adverse situations. These are issues that children and families confront in both national and international settings but researchers have only recently begun to address them. Hunleth’s research is a model for how this field should move forward."

 

--Helen Schwartzman, Professor Emerita of Anthropology, Northwestern University

 

About the author

 

Jean Hunleth has worked on issues related to health and infectious disease in Zambia since 1999, when she first lived in rural Eastern Province, Zambia, as a Peace Corps volunteer. Hunleth’s published works focus on children’s caregiving roles, children’s participation in health care programming, research methods for working with children in adversity, and the lived experience of healthcare inequalities in the United States and Zambia. She is a former Fulbright fellow and has received funding for her research and training from the National Science Foundation, the Wenner-Gren Foundation for Anthropological Research, the American Association of University Women (AAUW), and the National Institutes of Health. Hunleth holds a doctorate degree in cultural anthropology and a master’s degree in public health from Northwestern University and received postdoctoral training in community-based cancer research at Washington University in St. Louis. She is currently Instructor of Surgery in the Division of Public Health Sciences at Washington University in St. Louis. Read more about Jean Hunleth's work.

 

To purchase Children as Caregivers, please visit Rutgers University Press, Amazon. com, www.amazon. uk, BarnesandNoble.com, or other online booksellers. For discount codes, press here.

Martin Creed

Work No. 2630 UNDERSTANDING, 2016

Red Neon, Steel

Approx dims: 21 3/5 x 50 x 2 1/8 ft / 658.6 x 1524 x 66 cm. Base 25 x 25 feet at top / 33 x 33 feet at bottom

Presented by Public Art Fund, May 4 – October 23, 2016 at Pier 6, Brooklyn Bridge Park

Courtesy the artist, Gavin Brown’s enterprise New York/Rome, and Hauser & Wirth

Photo: Jason Wyche, Courtesy Public Art Fund, NY

© Martin Creed 2016

 

understanding tree language.

Praying for the dead bird

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Francisco Aragão © 2013. All Rights Reserved.

Use without permission is illegal.

 

Attention please !

If you are interested in my photos, they are available for sale. Please contact me by email: aragaofrancisco@gmail.com. Do not use without permission.

Many images are available for license on Getty Images

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Portuguese

A lenda do Galo de Barcelos narra a intervenção milagrosa de um galo morto na prova da inocência de um homem erradamente acusado. Está associada ao cruzeiro seiscentista que faz parte do espólio do Museu Arqueológico, situado no Paço dos Condes de Barcelos.

Segundo a lenda, os habitantes de Barcelos andavam alarmados com um crime, do qual ainda não se tinha descoberto o criminoso que o cometera. Certo dia, apareceu um galego que se tornou suspeito. As autoridades resolveram prendê-lo, apesar dos seus juramentos de inocência, que estava apenas de passagem em peregrinação a Santiago de Compostela, em cumprimento duma promessa.

Condenado à forca, o homem pediu que o levassem à presença do juiz que o condenara. Concedida a autorização, levaram-no à residência do magistrado, que nesse momento se banqueteava com alguns amigos. O galego voltou a afirmar a sua inocência e, perante a incredulidade dos presentes, apontou para um galo assado que estava sobre a mesa e exclamou: "É tão certo eu estar inocente, como certo é esse galo cantar quando me enforcarem."

O juiz empurrou o prato para o lado e ignorou o apelo, mas quando o peregrino estava a ser enforcado, o galo assado ergueu-se na mesa e cantou. Compreendendo o seu erro, o juiz correu para a forca e descobriu que o galego se salvara graças a um nó mal feito. O homem foi imediatamente solto e mandado em paz.

Alguns anos mais tarde, o galego teria voltado a Barcelos para esculpir o Cruzeiro do Senhor do Galo em louvor à Virgem Maria e a São Tiago, monumento que se encontra no Museu Arqueológico de Barcelos. Este também é representado pelo artesanato minhoto, geralmente de barro, conhecida por galo de Barcelos e é um símbolo de Portugal e foi adotado pelo Gil Vicente como sua mascote.

 

English

The Rooster of Barcelos (Portuguese, "Galo de Barcelos") is one of the most common emblems of Portugal.

The legend of the Rooster of Barcelos tells the story of a dead rooster's miraculous intervention in proving the innocence of a man who had been falsely accused and sentenced to death. The story is associated with the 17th-century calvary that is part of the collection of the Archeological Museum located in Paço dos Condes, a gothic-style palace in Barcelos, a city in the Braga District of northwest Portugal.

According to the legend, silver had been stolen from a landowner in Barcelos, and the inhabitants of that city were looking for the criminal who had committed the crime. One day, a man from neighboring Galicia turned up and became suspect, despite his pleas of innocence. The Galician swore that he was merely passing through Barcelos on a Pilgrimage to Santiago de Compostela to complete a promise.

Nevertheless, the authorities arrested the Galician and condemned him to hang. The man asked them to take him in front of the judge who had condemned him. The authorities honored his request and took him to the house of the magistrate, who was holding a banquet with some friends. Affirming his innocence, the Galician pointed to a roasted cock on top of the banquet table and exclaimed, "It is as certain that I am innocent as it is certain that this rooster will crow when they hang me." The judge pushed aside his plate because he decided to not eat the rooster. But still, the judge ignored the Galician's appeal.

However, while the pilgrim was being hanged, the roasted rooster stood up on the table and crowed as the Galician predicted. Understanding his error, the judge ran to the gallows, only to discover that the Galician had been saved from hanging thanks to a poorly made knot in the rope. The man was immediately freed and sent off in peace.

Some years later, the Galician returned to Barcelos to sculpt the Calvary (or Crucifix) to the Lord of the Rooster (Portuguese, "Cruzeiro do Senhor do Galo") in praise to the Virgin Mary and to Saint James. The monument is located in the Archeological Museum of Barcelos.

 

Wikipedia

Understanding Guilt

Scriptures: John 8:1-11

 

Guilt over doing something that violates the conscience is a normal emotion. However, living under a cloud of remorse for no discernible reason is not. The Lord designed feelings of culpability and regret to serve as a reminder that a person has done wrong and needs to repent. But Satan twists those emotions to imprison men and women: those living in shame are uncertain of God's love and often lack self-confidence. Good guilt--the Lord's effective tool for prompting repentance--is a gift that helps us find the right path. However, the Devil encourages false guilt, which involves taking responsibility for things outside our control and then suffering self-condemnation for not changing the outcome. This unhealthy type of guilt is also a widespread problem for those in legalistic churches or lifestyles--certain behaviors or thoughts are labeled as wrong, and then people feel ashamed for doing or thinking those things. Self-condemnation stunts a relationship with Jesus. Instead of enjoying the peace of God, people who are trapped by shame fear His rejection and feel driven to prove their worth. Trust is nearly impossible because they are waiting for God's judgment to rain down. Their guilt even colors how they see themselves: rather than saying, "My action is wrong," they say, "I am bad." Jesus did not come to accuse or condemn us. Christ restored our souls and made us righteous before God so that our guilt is removed. If our Savior forgave the woman caught in an adulterous relationship, just imagine how ready He is to take your shame away too (John 8:11).

_____

Dr. Charles Stanley

Montezuma Castle National Monument protects a set of well-preserved dwellings located in Camp Verde, Arizona, which were built and used by the Sinagua people, a pre-Columbian culture closely related to the Hohokam and other indigenous peoples of the southwestern United States, between approximately AD 1100 and 1425. The main structure comprises five stories and about 20 rooms and was built over the course of three centuries.

 

Several Hopi clans and Yavapai communities trace their ancestries to early immigrants from the Montezuma Castle/Beaver Creek area. Archaeological evidence proves that the Hohokam and Hakataya settled around or in the Verde Valley. Clan members periodically return to these ancestral homes for religious ceremonies.

 

Neither part of the monument's name is correct. When European-Americans first observed the ruins in the 1860s, by then long-abandoned, they named them for the famous Aztec emperor Montezuma in the mistaken belief that he had been connected to their construction (see also Montezuma mythology). Having no connections to the Aztecs, the Montezuma Castle was given that name due to the fact that the public had this image of the Aztecs creating any archaeological site. In fact, the dwelling was abandoned more than 40 years before Montezuma was born, and was not a "castle" in the traditional sense, but instead functioned more like a "prehistoric high rise apartment complex".

 

Montezuma Castle is situated about 90 feet (27 m) up a sheer limestone cliff, facing the adjacent Beaver Creek, which drains into the perennial Verde River just north of Camp Verde. It is one of the best-preserved cliff dwellings in North America, in part because of its ideal placement in a natural alcove that protects it from exposure to the elements. The precariousness of the dwelling's location and its immense scale of floor space across five stories suggest that the Sinagua were daring builders and skilled engineers. Access into the structure was most likely permitted by a series of portable ladders, which made it difficult for enemy tribes to penetrate the natural defense of the vertical barrier.

 

Perhaps the main reason the Sinagua chose to build the Castle so far above the ground, however, was to escape the threat of natural disaster in the form of the annual flooding of Beaver Creek. During the summer monsoon season, the creek frequently breached its banks, inundating the floodplain with water. The Sinagua recognized the importance of these floods to their agriculture, but likely also the potential destruction they presented to any structures built in the floodplain. Their solution was to build a permanent structure in the high recess afforded by the limestone cliff.

 

The walls of Montezuma Castle are examples of early stone-and-mortar masonry, constructed almost entirely from chunks of limestone found at the base of the cliff, as well as mud and/or clay from the creek bottom. The ceilings of the rooms also incorporated sectioned timbers as a kind of roof thatching, obtained primarily from the Arizona sycamore, a large hardwood tree native to the Verde Valley.

 

Evidence of permanent dwellings like those at Montezuma Castle begins to appear in the archaeological record of Arizona's Verde Valley about 1050 AD. The first distinctly Sinagua culture may have occupied the region as early as 700 AD.

 

The area was briefly abandoned due to the eruption of Sunset Crater Volcano, about 60 miles (97 km) to the north, in the mid-11th century. Although the short-term impact may have been destructive, nutrient-rich sediment deposited by the volcano may have aided more expansive agriculture in later decades. During the interim, the Sinagua lived in the surrounding highlands and sustained themselves on small-scale agriculture dependent on rain. After 1125, the Sinagua resettled the Verde Valley, using the reliable watershed of the Verde River alongside irrigation systems left by previous inhabitants, perhaps including Hohokam peoples, to support more widespread farming.

 

The region's population likely peaked around 1300 AD, with the Castle housing between 30 and 50 people in at least 20 rooms. Radiocarbon dates from multiple construction beams show that the cliff dwelling was probably constructed in the middle 1100s AD with remodeling and additions in the last decades of the 1200s. A neighboring segment of the same cliff wall suggests there was an even larger dwelling ("Castle A") around the same time, of which only the stone foundations have survived. Its discovery in 1933 revealed many Sinagua artifacts and greatly increased understanding of their way of life.

 

The latest estimated date of occupation for any Sinagua site comes from Montezuma Castle, around 1425 AD. After this, the Sinagua people apparently abandoned their permanent settlements and migrated elsewhere, as did other cultural groups in the southwestern United States around that time. The reasons for abandonment are unclear, but possibilities include drought, resource depletion, and clashes with the newly arrived Yavapai people. Due to the very little human contact since abandonment, Montezuma Castle was well preserved. It was heavily looted in the late 19th and early 20th centuries, though other Sinagua sites have remained more or less intact. Because of the rise in settlers, tourists and industries in or surrounding Montezuma Castle, the monument and even Verde Valley have been threats to the preservation of Montezuma Castle.

 

Due to the lack of basic knowledge on the natural resources of the national parks, the National Park Service created a program in order to record and identify any changes in the environment and its inhabitants. An inventory of plants and animals at Montezuma Castle was taken between 1991 and 1994 by researchers from Northern Arizona University and the United States Geological Survey. According to the United States Geological Survey, about 784 species were recorded at Montezuma Castle National Monument, including plants, fish, amphibians, reptiles, birds, and mammals. Only 11% of the species were non-native. Common species include bats, snakes, turtles, lizards, frogs, foxes, owls and mice.

 

The monument itself encloses 860 acres near the geographic center of Arizona and the intersection of the Colorado Plateau and Basin and Range physiographic provinces.

 

The dwellings and the surrounding area were declared a U.S. National Monument on December 8, 1906 as a result of the American Antiquities Act, signed earlier that year. It is one of the four original sites designated National Monuments by President Theodore Roosevelt. Montezuma Castle was added to the National Register of Historic Places on October 15, 1966.

 

It is an easy monument to visit, just a short distance off Interstate 17, at exit 289. There is a 1⁄3 mile (0.54 km) paved trail starting at the visitor center that follows the base of the cliff containing the ruins. Access to the interior of the ruins has not been allowed since 1951 due to concerns about visitor safety and damage to the dwelling. About 400,000 tourists visit the site each year. The park is open from 8am to 5pm every day of the year, except for Christmas Day.

 

The visitor center includes a museum about the Sinagua culture and the tools they used to build the dwellings. The museum houses many artifacts, such as stone tools, metates used for grinding corn, bone needles, and ornaments of shell and gemstone, which prove that the Sinagua were fine artisans as well as prolific traders. There is also a Park Store operated by Western National Parks Association.

 

Montezuma Well, a natural limestone sinkhole, measuring approximately 100 by 120 yards, also containing Sinagua dwellings, was purchased by the federal government in 1947 and is considered a detached unit of Montezuma Castle National Monument. It is located about 5 miles north of the Castle near the town of Rimrock, Arizona, accessible from exits 293 and 298 off Interstate 17.

 

Montezuma Castle National Monument has a cold semi-arid climate (Köppen: BSk) with cool winters and very hot summers.

 

In popular culture

Montezuma Castle plays a key role in the climax of the Western Flaming Feather (1952), which was shot on location at the site.

 

The Rocky Slope Residence[15] was designed by well-known Phoenix Valley architect Eddie M. Jones and the residence had strong architectural similarities to the Montezuma Castle Monument. The design and the residence were featured by many magazines including the "Architect Magazine" in 2013. The design was completed and approved by the City of Phoenix in 2007 and construction was completed by 2009. As seen in the photos, the house design has a strong resemblance to the curved walls of Montezuma Castle as well as the layered structure.

 

Arizona is a state in the Southwestern region of the United States. Arizona is part of the Four Corners region with Utah to the north, Colorado to the northeast, and New Mexico to the east; its other neighboring states are Nevada to the northwest, California to the west and the Mexican states of Sonora and Baja California to the south and southwest. It is the 6th-largest and the 14th-most-populous of the 50 states. Its capital and largest city is Phoenix.

 

Arizona is the 48th state and last of the contiguous states to be admitted to the Union, achieving statehood on February 14, 1912. Historically part of the territory of Alta California and Nuevo México in New Spain, it became part of independent Mexico in 1821. After being defeated in the Mexican–American War, Mexico ceded much of this territory to the United States in 1848, where the area became part of the territory of New Mexico. The southernmost portion of the state was acquired in 1853 through the Gadsden Purchase.

 

Southern Arizona is known for its desert climate, with very hot summers and mild winters. Northern Arizona features forests of pine, Douglas fir, and spruce trees; the Colorado Plateau; mountain ranges (such as the San Francisco Mountains); as well as large, deep canyons, with much more moderate summer temperatures and significant winter snowfalls. There are ski resorts in the areas of Flagstaff, Sunrise, and Tucson. In addition to the internationally known Grand Canyon National Park, which is one of the world's seven natural wonders, there are several national forests, national parks, and national monuments.

 

Arizona's population and economy have grown dramatically since the 1950s because of inward migration, and the state is now a major hub of the Sun Belt. Cities such as Phoenix and Tucson have developed large, sprawling suburban areas. Many large companies, such as PetSmart and Circle K, have headquarters in the state, and Arizona is home to major universities, including the University of Arizona and Arizona State University. The state is known for a history of conservative politicians such as Barry Goldwater and John McCain, though it has become a swing state since the 1990s.

 

Arizona is home to a diverse population. About one-quarter of the state is made up of Indian reservations that serve as the home of 27 federally recognized Native American tribes, including the Navajo Nation, the largest in the state and the United States, with more than 300,000 citizens. Since the 1980s, the proportion of Hispanics in the state's population has grown significantly owing to migration from Mexico. A substantial portion of the population are followers of the Roman Catholic Church and the Church of Jesus Christ of Latter-day Saints.

 

The history of Arizona encompasses the Paleo-Indian, Archaic, Post-Archaic, Spanish, Mexican, and American periods. About 10,000 to 12,000 years ago, Paleo-Indians settled in what is now Arizona. A few thousand years ago, the Ancestral Puebloan, the Hohokam, the Mogollon and the Sinagua cultures inhabited the state. However, all of these civilizations mysteriously disappeared from the region in the 15th and 16th centuries. Today, countless ancient ruins can be found in Arizona. Arizona was part of the state of Sonora, Mexico from 1822, but the settled population was small. In 1848, under the terms of the Mexican Cession the United States took possession of Arizona above the Gila River after the Mexican War, and became part of the Territory of New Mexico. By means of the Gadsden Purchase, the United States secured the northern part of the state of Sonora, which is now Arizona south of the Gila River in 1854.

 

In 1863, Arizona was split off from the Territory of New Mexico to form the Arizona Territory. The remoteness of the region was eased by the arrival of railroads in 1880. Arizona became a state in 1912 but was primarily rural with an economy based on cattle, cotton, citrus, and copper. Dramatic growth came after 1945, as retirees and young families who appreciated the warm weather and low costs emigrated from the Northeast and Midwest.

 

In the Mexican–American War, the garrison commander avoided conflict with Lieutenant Colonel Cooke and the Mormon Battalion, withdrawing while the Americans marched through the town on their way to California. In the Treaty of Guadalupe Hidalgo (1848), Mexico ceded to the U.S. the northern 70% of modern-day Arizona above the Sonora border along the Gila River. During the California Gold Rush, an upwards of 50,000 people traveled through on the Southern Emigrant Trail pioneered by Cooke, to reach the gold fields in 1849. The Pima Villages often sold fresh food and provided relief to distressed travelers among this throng and to others in subsequent years.

 

Paleo-Indians settled what is now Arizona around 10,000 to 12,000 years ago. According to most archaeologists, the Paleo-Indians initially followed herds of big game—megafauna such as mammoths, mastodons, and bison—into North America. The traveling groups also collected and utilized a wide variety of smaller game animals, fish, and a wide variety of plants. These people were likely characterized by highly mobile bands of approximately 20 or 50 members of an extended family, moving from place to place as resources were depleted and additional supplies needed. Paleoindian groups were efficient hunters and created and carried a variety of tools, some highly specialized, for hunting, butchering and hide processing. These paleolithic people utilized the environment that they lived in near water sources, including rivers, swamps and marshes, which had an abundance of fish, and drew birds and game animals. Big game, including bison, mammoths and ground sloths, also were attracted to these water sources. At the latest by 9500 BCE, bands of hunters wandered as far south as Arizona, where they found a desert grassland and hunted mule deer, antelope and other small mammals.

 

As populations of larger game began to diminish, possibly as a result of intense hunting and rapid environmental changes, Late Paleoindian groups would come to rely more on other facets of their subsistence pattern, including increased hunting of bison, mule deer and antelope. Nets and the atlatl to hunt water fowl, ducks, small animals and antelope. Hunting was especially important in winter and spring months when plant foods were scarce.

 

The Archaic time frame is defined culturally as a transition from a hunting/gathering lifestyle to one involving agriculture and permanent, if only seasonally occupied, settlements. In the Southwest, the Archaic is generally dated from 8000 years ago to approximately 1800 to 2000 years ago. During this time the people of the southwest developed a variety of subsistence strategies, all using their own specific techniques. The nutritive value of weed and grass seeds was discovered and flat rocks were used to grind flour to produce gruels and breads. This use of grinding slabs in about 7500 BCE marks the beginning of the Archaic tradition. Small bands of people traveled throughout the area, gathering plants such as cactus fruits, mesquite beans, acorns, and pine nuts and annually establishing camps at collection points.

 

Late in the Archaic Period, corn, probably introduced into the region from central Mexico, was planted near camps with permanent water access. Distinct types of corn have been identified in the more well-watered highlands and the desert areas, which may imply local mutation or successive introduction of differing species. Emerging domesticated crops also included beans and squash.

 

About 3,500 years ago, climate change led to changing patterns in water sources, leading to a dramatically decreased population. However, family-based groups took shelter in south facing caves and rock overhangs within canyon walls. Occasionally, these people lived in small semisedentary hamlets in open areas. Evidence of significant occupation has been found in the northern part of Arizona.

 

In the Post-Archaic period, the Ancestral Puebloan, the Hohokam, the Mogollon and Sinagua cultures inhabited what is now Arizona. These cultures built structures made out of stone. Some of the structures that these cultures built are called pueblos. Pueblos are monumental structures that housed dozens to thousands of people. In some Ancestral Puebloan towns and villages, Hohokam towns and villages, Mogollon towns and villages, and Sinagua towns and villages, the pueblo housed the entire town. Surrounding the pueblos were often farms where farmers would plant and harvest crops to feed the community. Sometimes, pueblos and other buildings were built in caves in cliffs.

 

The Ancestral Puebloans were an ancient Pre-Columbian Native American civilization that spanned the present-day Four Corners region of the United States, comprising southeastern Utah, northeastern Arizona, northwestern New Mexico, and southwestern Colorado. The Ancestral Puebloans are believed to have developed, at least in part, from the Oshara tradition, who developed from the Picosa culture.

 

They lived in a range of structures that included small family pit houses, larger structures to house clans, grand pueblos, and cliff-sited dwellings for defense. The Ancestral Puebloans possessed a complex network that stretched across the Colorado Plateau linking hundreds of communities and population centers. They held a distinct knowledge of celestial sciences that found form in their architecture. The kiva, a congregational space that was used chiefly for ceremonial purposes, was an integral part of this ancient people's community structure. Some of their most impressive structures were built in what is now Arizona.

 

Hohokam was a Pre-Columbian culture in the North American Southwest in what is now part of Arizona, United States, and Sonora, Mexico. Hohokam practiced a specific culture, sometimes referred to as Hohokam culture, which has been distinguished by archeologists. People who practiced the culture can be called Hohokam as well, but more often, they are distinguished as Hohokam people to avoid confusion.

 

Most archaeologists agree that the Hohokam culture existed between c. 300 and c. 1450 CE, but cultural precursors may have been in the area as early as 300 BC. Whether Hohokam culture was unified politically remains under controversy. Hohokam culture may have just given unrelated neighboring communities common ground to help them to work together to survive their harsh desert environment.

 

The Mogollon culture was an ancient Pre-Columbian culture of Native American peoples from Southern New Mexico and Arizona, Northern Sonora and Chihuahua, and Western Texas. The northern part of this region is Oasisamerica, while the southern span of the Mogollon culture is known as Aridoamerica.

 

The Mogollon culture was one of the major prehistoric Southwestern cultural divisions of the Southwestern United States and Northern Mexico. The culture flourished from c. 200 CE, to c. 1450 CE or 1540 CE, when the Spanish arrived.

 

The Sinagua culture was a Pre-Columbian culture that occupied a large area in central Arizona from the Little Colorado River, near Flagstaff, to the Verde River, near Sedona, including the Verde Valley, area around San Francisco Mountain, and significant portions of the Mogollon Rim country, between approximately 500 CE and 1425 CE. Besides ceremonial kivas, their pueblos had large "community rooms" and some featured ballcourts and walled courtyards, similar to those of the Hohokam culture. Since fully developed Sinagua sites emerged in central Arizona around 500 CE, it is believed they migrated from east-central Arizona, possibly emerging from the Mogollon culture.

 

The history of Arizona as recorded by Europeans began in 1539 with the first documented exploration of the area by Marcos de Niza, early work expanded the following year when Francisco Vásquez de Coronado entered the area as well.

 

The Spanish established a few missions in southern Arizona in the 1680s by Father Eusebio Francisco Kino along the Santa Cruz River, in what was then the Pimería Alta region of Sonora. The Spanish also established presidios in Tubac and Tucson in 1752 and 1775. The area north of the Gila River was governed by the Province of Las California under the Spanish until 1804, when the Californian portion of Arizona became part of Alta California under the Spanish and Mexican governments.

 

In 1849, the California Gold Rush led as many as 50,000 miners to travel across the region, leading to a boom in Arizona's population. In 1850, Arizona and New Mexico formed the New Mexico Territory.

 

In 1853, President Franklin Pierce sent James Gadsden to Mexico City to negotiate with Santa Anna, and the United States bought the remaining southern strip area of Arizona and New Mexico in the Gadsden Purchase. A treaty was signed in Mexico in December 1853, and then, with modifications, approved by the US Senate in June 1854, setting the southern boundary of Arizona and of New Mexico.

 

Before 1846 the Apache raiders expelled most Mexican ranchers. One result was that large herds of wild cattle roamed southeastern Arizona. By 1850, the herds were gone, killed by Apaches, American sportsmen, contract hunting for the towns of Fronteras and Santa Cruz, and roundups to sell to hungry Mexican War soldiers, and forty-niners en route to California.

 

During the Civil War, on March 16, 1861, citizens in southern New Mexico Territory around Mesilla (now in New Mexico) and Tucson invited take-over by the Confederacy. They especially wanted restoration of mail service. These secessionists hoped that a Confederate Territory of Arizona (CSA) would take control, but in March 1862, Union troops from California captured the Confederate Territory of Arizona and returned it to the New Mexico Territory.

 

The Battle of Picacho Pass, April 15, 1862, was a battle of the Civil War fought in the CSA and one of many battles to occur in Arizona during the war among three sides—Apaches, Confederates and Union forces. In 1863, the U.S. split up New Mexico along a north–south line to create the Arizona Territory. The first government officials to arrive established the territory capital in Prescott in 1864. The capital was later moved to Tucson, back to Prescott, and then to its final location in Phoenix in a series of controversial moves as different regions of the territory gained and lost political influence with the growth and development of the territory.

 

In the late 19th century the Army built a series of forts to encourage the Natives to stay in their territory and to act as a buffer from the settlers. The first was Fort Defiance. It was established on September 18, 1851, by Col. Edwin V. Sumner to create a military presence in Diné bikéyah (Navajo territory). Sumner broke up the fort at Santa Fe for this purpose, creating the first military post in what is now Arizona. He left Major Electus Backus in charge. Small skirmishes were common between raiding Navajo and counter raiding citizens. In April 1860 one thousand Navajo warriors under Manuelito attacked the fort and were beaten off.

 

The fort was abandoned at the start of the Civil War but was reoccupied in 1863 by Colonel Kit Carson and the 1st New Mexico Infantry. Carson was tasked by Brigadier-General James H. Carleton, Commander of the Federal District of New Mexico, to kill Navajo men, destroy crops, wells, houses and livestock. These tactics forced 9000 Navajos to take the Long Walk to a reservation at Bosque Redondo, New Mexico. The Bosque was a complete failure. In 1868 the Navajo signed another treaty and were allowed to go back to part of their former territory. The returning Navajo were restocked with sheep and other livestock. Fort Defiance was the agency for the new Navajo reservation until 1936; today it provides medical services to the region.

 

Fort Apache was built on the Fort Apache Indian Reservation by soldiers from the 1st Cavalry and 21st Infantry in 1870. Only one small battle took place, in September 1881, with three soldiers wounded. When the reservation Indians were granted U.S. citizenship in 1924, the fort was permanently closed down. Fort Huachuca, east of Tucson, was founded in 1877 as the base for operations against Apaches and raiders from Mexico. From 1913 to 1933 the fort was the base for the "Buffalo Soldiers" of the 10th Cavalry Regiment. During World War II, the fort expanded to 25,000 soldiers, mostly in segregated all-black units. Today the fort remains in operation and houses the U.S. Army Intelligence Center and the U.S. Army Network.

 

The Pueblos in Arizona were relatively peaceful through the Navajo and Apache Wars. However, in June 1891, the army had to bring in troops to stop Oraibi from preventing a school from being built on their mesa.

 

After the Civil War, Texans brought large-scale ranching to southern Arizona. They introduced their proven range methods to the new grass country. Texas rustlers also came, and brought lawlessness. Inexperienced ranchers brought poor management, resulting in overstocking, and introduced destructive diseases. Local cattleman organizations were formed to handle these problems. The Territory experienced a cattle boom in 1873–91, as the herds were expanded from 40,000 to 1.5 million head. However, the drought of 1891–93 killed off over half the cattle and produced severe overgrazing. Efforts to restore the rangeland between 1905 and 1934 had limited success, but ranching continued on a smaller scale.

 

Arizona's last major drought occurred during Dust Bowl years of 1933–34. This time Washington stepped in as the Agricultural Adjustment Administration spent $100 million to buy up the starving cattle. The Taylor Grazing Act placed federal and state agencies in control of livestock numbers on public lands. Most of the land in Arizona is owned by the federal government which leased grazing land to ranchers at low cost. Ranchers invested heavily in blooded stock and equipment. James Wilson states that after 1950, higher fees and restrictions in the name of land conservation caused a sizable reduction in available grazing land. The ranchers had installed three-fifths of the fences, dikes, diversion dams, cattleguards, and other improvements, but the new rules reduced the value of that investment. In the end, Wilson believes, sportsmen and environmentalists maintained a political advantage by denouncing the ranchers as political corrupted land-grabbers who exploited the publicly owned natural resources.

 

On February 23, 1883, United Verde Copper Company was incorporated under New York law. The small mining camp next to the mine was given a proper name, 'Jerome.' The town was named after the family which had invested a large amount of capital. In 1885 Lewis Williams opened a copper smelter in Bisbee and the copper boom began, as the nation turned to copper wires for electricity. The arrival of railroads in the 1880s made mining even more profitable, and national corporations bought control of the mines and invested in new equipment. Mining operations flourished in numerous boom towns, such as Bisbee, Jerome, Douglas, Ajo and Miami.

 

Arizona's "wild west" reputation was well deserved. Tombstone was a notorious mining town that flourished longer than most, from 1877 to 1929. Silver was discovered in 1877, and by 1881 the town had a population of over 10,000. Western story tellers and Hollywood film makers made as much money in Tombstone as anyone, thanks to the arrival of Wyatt Earp and his brothers in 1879. They bought shares in the Vizina mine, water rights, and gambling concessions, but Virgil, Morgan and Wyatt were soon appointed as federal and local marshals. They killed three outlaws in the Gunfight at the O.K. Corral, the most famous gunfight of the Old West.

 

In the aftermath, Virgil Earp was maimed in an ambush and Morgan Earp was assassinated while playing billiards. Walter Noble Burns's novel Tombstone (1927) made Earp famous. Hollywood celebrated Earp's Tombstone days with John Ford's My Darling Clementine (1946), John Sturges's Gunfight at the O.K. Corral (1957) and Hour of the Gun (1967), Frank Perry's Doc (1971), George Cosmatos's Tombstone (1993), and Lawrence Kasdan's Wyatt Earp (1994). They solidified Earp's modern reputation as the Old West's deadliest gunman.

 

Jennie Bauters (1862–1905) operated brothels in the Territory from 1896 to 1905. She was an astute businesswoman with an eye for real estate appreciation, and a way with the town fathers of Jerome regarding taxes and restrictive ordinances. She was not always sitting pretty; her brothels were burned in a series of major fires that swept the business district; her girls were often drug addicts. As respectability closed in on her, in 1903 she relocated to the mining camp of Acme. In 1905, she was murdered by a man who had posed as her husband.

 

By 1869 Americans were reading John Wesley Powell's reports of his explorations of the Colorado River. In 1901, the Santa Fe Railroad reached Grand Canyon's South Rim. With railroad, restaurant and hotel entrepreneur Fred Harvey leading the way, large-scale tourism began that has never abated. The Grand Canyon has become an iconic symbol of the West and the nation as a whole.

 

The Chinese came to Arizona with the construction of the Southern Pacific Railroad in 1880. Tucson was the main railroad center and soon had a Chinatown with laundries for the general population and a rich mix of restaurants, groceries, and services for the residents. Chinese and Mexican merchants and farmers transcended racial differences to form 'guanxi,' which were relations of friendship and trust. Chinese leased land from Mexicans, operated grocery stores, and aided compatriots attempting to enter the United States from Mexico after the Mexican Revolution in 1910. Chinese merchants helped supply General John Pershing's army in its expedition against Pancho Villa. Successful Chinese in Tucson led a viable community based on social integration, friendship, and kinship.

 

In February 1903, U.S. Senator Hamilton Kean spoke against Arizona's statehood. He said Mormons who fled from Idaho to Mexico would return to the U.S. and mix in the politics of Arizona.

 

In 1912, Arizona almost entered the Union as part of New Mexico in a Republican plan to keep control of the U.S. Senate. The plan, while accepted by most in New Mexico, was rejected by most Arizonans. Progressives in Arizona favored inclusion in the state constitution of the initiative, referendum, recall, direct election of senators, woman suffrage, and other reforms. Most of these proposals were included in the constitution that was rejected by Congress.

 

A new constitution was offered with the problematic provisions removed. Congress then voted to approve statehood, and President Taft signed the statehood bill on February 14, 1912. State residents promptly put the provisions back in. Hispanics had little voice or power. Only one of the 53 delegates at the constitutional convention was Hispanic, and he refused to sign. In 1912 women gained suffrage in the state, eight years before the country as a whole.

 

Arizona's first Congressman was Carl Hayden (1877–1972). He was the son of a Yankee merchant who had moved to Tempe because he needed dry heat for his bad lungs. Carl attended Stanford University and moved up the political ladder as town councilman, county treasurer, and Maricopa County sheriff, where he nabbed Arizona's last train robbers. He also started building a coalition to develop the state's water resources, a lifelong interest. A liberal Democrat his entire career, Hayden was elected to Congress in 1912 and moved to the Senate in 1926.

 

Reelection followed every six years as he advanced toward the chairmanship of the powerful Appropriations Committee, which he reached in 1955. His only difficult campaign came in 1962, at age 85, when he defeated a young conservative. He retired in 1968 after a record 56 years in Congress. His great achievement was his 41-year battle to enact the Central Arizona Project that would provide water for future growth.

 

The Great Depression of 1929–39 hit Arizona hard. At first local, state and private relief efforts focused on charity, especially by the Community Chest and Organized Charities programs. Federal money started arriving with the Federal Emergency Relief Committee in 1930. Different agencies promoted aid to the unemployed, tuberculosis patients, transients, and illegal immigrants. The money ran out by 1931 or 1932, and conditions were bad until New Deal relief operations began on a large scale in 1933.

 

Construction programs were important, especially the Hoover Dam (originally called Boulder Dam), begun by President Herbert Hoover. It is a concrete arch-gravity dam in the Black Canyon of the Colorado River, on the border with Nevada. It was constructed by the Federal Bureau of Reclamation between 1931 and 1936. It operationalized a schedule of water use set by the Colorado River Compact of 1922 that gave Arizona 19% of the river's water, with 25% to Nevada and the rest to California.

 

Construction of military bases in Arizona was a national priority because of the state's excellent flying weather and clear skies, large amounts of unoccupied land, good railroads, cheap labor, low taxes, and its proximity to California's aviation industry. Arizona was attractive to both the military and private firms and they stayed after the war.

 

Fort Huachuca became one of the largest nearly-all-black Army forts, with quarters for 1,300 officers and 24,000 enlisted soldiers. The 92nd and 93rd Infantry Divisions, composed of African-American troops, trained there.

 

During the war, Mexican-American community organizations were very active in patriotic efforts to support American troops abroad, and made efforts to support the war effort materially and to provide moral support for the American servicemen fighting the war, especially the Mexican-American servicemen from local communities. Some of the community projects were cooperative ventures in which members of both the Mexican-American and Anglo communities participated. Most efforts made in the Mexican-American community represented localized American home front activities that were separate from the activities of the Anglo community.

 

Mexican-American women organized to assist their servicemen and the war effort. An underlying goal of the Spanish-American Mothers and Wives Association was the reinforcement of the woman's role in Spanish-Mexican culture. The organization raised thousands of dollars, wrote letters, and joined in numerous celebrations of their culture and their support for Mexican-American servicemen. Membership reached over 300 during the war and eventually ended its existence in 1976.

 

Heavy government spending during World War II revitalized the Arizona economy, which was still based on copper mining, citrus and cotton crops and cattle ranching, with a growing tourist business.

 

Military installations peppered the state, such as Davis-Monthan Field in Tucson, the main training center for air force bomber pilots. Two relocation camps opened for Japanese and Japanese Americans brought in from the West Coast.

 

After World War II the population grew rapidly, increasing sevenfold between 1950 and 2000, from 700,000 to over 5 million. Most of the growth was in the Phoenix area, with Tucson a distant second. Urban growth doomed the state's citrus industry, as the groves were turned into housing developments.

 

The cost of water made growing cotton less profitable, and Arizona's production steadily declined. Manufacturing employment jumped from 49,000 in 1960 to 183,000 by 1985, with half the workers in well-paid positions. High-tech firms such as Motorola, Hughes Aircraft, Goodyear Aircraft, Honeywell, and IBM had offices in the Phoenix area. By 1959, Hughes Aircraft had built advanced missiles with 5,000 workers in Tucson.

 

Despite being a small state, Arizona produced several national leaders for both the Republican and Democratic parties. Two Republican Senators were presidential nominees: Barry Goldwater in 1964 and John McCain in 2008; both carried Arizona but lost the national election. Senator Ernest McFarland, a Democrat, was the Majority Leader of the U.S. Senate from 1951 to 1952, and Congressman John Rhodes was the Republican Minority Leader in the House from 1973 to 1981. Democrats Bruce Babbitt (Governor 1978–87) and Morris Udall (Congressman 1961–90) were contenders for their party's presidential nominations. In 1981 Sandra Day O'Connor became the first woman on the U.S. Supreme Court; she served until 2006.

 

Retirement communities

Warm winters and low cost of living attracted retirees from the so-called snowbelt, who moved permanently to Arizona after 1945, bringing their pensions, Social Security, and savings with them. Real estate entrepreneurs catered to them with new communities with amenities pitched to older people, and with few facilities for children. Typically they were gated communities with controlled access and had pools, recreation centers, and golf courses.

 

In 1954, two developers bought 320 acres (1.3 km2) of farmland near Phoenix and opened the nation's first planned community dedicated exclusively to retirees at Youngtown. In 1960, developer Del Webb, inspired by the amenities in Florida's trailer parks, added facilities for "active adults" in his new Sun City planned community near Phoenix. In 1962 Ross Cortese opened the first of his gated Leisure Worlds. Other developers copied the popular model, and by 2000 18% of the retirees in the state lived in such "lifestyle" communities.

 

The issues of the fragile natural environment, compounded by questions of water shortage and distribution, led to numerous debates. The debate crossed traditional lines, so that the leading conservative, Senator Barry Goldwater, was also keenly concerned. For example, Goldwater supported the controversial Colorado River Storage Project (CRSP). He wrote:

 

I feel very definitely that the [Nixon] administration is absolutely correct in cracking down on companies and corporations and municipalities that continue to pollute the nation's air and water. While I am a great believer in the free competitive enterprise system and all that it entails, I am an even stronger believer in the right of our people to live in a clean and pollution-free environment. To this end, it is my belief that when pollution is found, it should be halted at the source, even if this requires stringent government action against important segments of our national economy.

 

Water issues were central. Agriculture consumed 89% of the state's strictly limited water supply while generating only 3% of the state's income. The Groundwater Management Act of 1980, sponsored by Governor Bruce Babbitt, raised the price of water to farmers, while cities had to reach a "safe yield" so that the groundwater usage did not exceed natural replenishment. New housing developments had to prove they had enough water for the next hundred years. Desert foliage suitable for a dry region soon replaced grass.

 

Cotton acreage declined dramatically, freeing up land for suburban sprawl as well as releasing large amounts of water and ending the need for expensive specialized machinery. Cotton acreage plunged from 120,000 acres in 1997 to only 40,000 acres in 2005, even as the federal treasury gave the state's farmers over $678 million in cotton subsidies. Many farmers collect the subsidies but no longer grow cotton. About 80% of the state's cotton is exported to textile factories in China and (since the passage of NAFTA) to Mexico.

 

Super Bowl XXX was played in Tempe in 1996 and Super Bowl XLII was held in Glendale in 2008. Super Bowl XLIX was also held in Glendale in 2015.

 

Illegal immigration continued to be a prime concern within the state, and in April 2010, Arizona SB1070 was passed and signed into law by Governor Jan Brewer. The measure attracted national attention as the most thorough anti-illegal immigration measure in decades within the United States.

 

Congresswoman Gabrielle Giffords was shot in the head during a political event in Tucson on January 8, 2011. The shooting resulted in six deaths and several injuries. Giffords survived the attack and became an advocate for gun control.

 

On June 30, 2013, nineteen members of the Prescott Fire Department were killed fighting the Yarnell Hill Fire. The fatalities were members of the Granite Mountain Hotshots, a hotshot crew, of whom only one survived as he was working in another location.

 

Border crisis: by 2019 Arizona was one of the states most affected by the border crisis, with a high number of migrant crossings and detentions.

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

 

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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.

 

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Originalempfindungen. Leipzig: W. Engelmann, 1909.

Shawn, Ted. Every Little Movement: A Book About François Delsarte. Pittsfield, MA: The Eagle

 

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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.

 

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----

  

------------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

 

www.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

 

The Bombings of 1940 forced a reappraisal of deep-shelter policy and at the end of October the Government decided to construct a system of deep shelters linked to existing tube stations. London Transport was consulted about the sites and required to build the tunnels at the public expense with the understanding that they were to have the option of taking them over for railway use after the war. With the latter point in mind, positions were chosen on routes of possible north-south and east-west express tube railways. It was decided that each shelter would comprise two parallel tubes 16 foot 6 inches internal diameter and 1,600 feet long and would be placed below existing station tunnels at Clapham South, Clapham Common, Clapham North, Stockwell, Oval, Goodge Street, Camden Town, Belsize Park, Chancery Lane and St. Pauls...Each tube would have two decks, fully equipped with bunks, medical posts, kitchens and sanitation and each installation would accommodate 9,600 people...All the deep level shelters were sub-divided into sleeping areas. Each tunnel was divided into 4 sections with connecting doors between them. Each section was given a name. At Clapham South they were all naval commanders. The northern entrance sections (i.e. those accessed directly from the northern lift without crossing to the other side) were named: Freemantle, Beatty, Evans, Anson, Nelson, Jellicoe, Madden and Inglefield while those accessed from the southern entrance were: Grenville, Hardy, Drake, Oldham, Keppel, Parry and Ley. Each section had bunks fitted longitudinally along the outer wall, a single at the top, a double in the middle and a single at the bottom. Along the inner wall bunks were fitted across the passage forming bays. There were 7.952 bunks in total and each bunk was allocated to a named person. If they didn't turn up one night the bunk remained unused...Although work on them began in November 1940 there were difficulties in obtaining sufficient labour and materials so the first one was only ready in March 1942 and the other seven were finished later that year. Access to them was by ticket in order to help control numbers and prevent disruption to the underground network. There was considerable pressure to open the shelters to relieve the strain on London’s tube stations from people sheltering from the bombing, but the authorities were concerned about the cost of maintaining the shelters once opened and preferred to keep them in reserve in case the bombing intensified. Clapham South was used as weekend troop accommodation from 1943. The start of the attacks on London by V1 flying bombs (commonly known as ‘doodlebugs’) in June 1944, followed by the V2 rocket campaign in September that year, caused many of the deep shelters to be made fully available to the public; Clapham South opened on 19 July 1944. The south entrance, next door to what was the Odeon cinema, was in a small compound that housed administrative offices and ticket printing presses for all eight deep shelters. The shelters were used for their original purpose for less than a year. The north section closed on 21 October 1944 and the shelter was transferred from the Ministry of Home Security to the Ministry of Works on 1 October 1945. Clapham South closed completely on 7 May 1945 and from June 1945 it found a new use as a military leave hostel and for one month in June 1946 it acted as an armed-forces troop billet. At the end of the war, London had a severe labour shortage and the Colonial Office sought to recruit a labour force from Britain’s colonies. At that time there were no immigration restrictions for citizens from one part of the British Empire moving to another part. An advertisement appeared in Jamaica's Daily Gleaner on 13 April 1948 offering transport to the UK for a fare of £28.10s (£28.50) for anyone who wanted to work in the UK. As a result the ship MV Empire Windrush arrived in Tilbury later in 1948 carrying 492 worker migrants from Jamaica. However, as there was no accommodation for the new arrivals the Colonial Office decided to house them in the deep-level shelter at Clapham South.

The nearest labour exchange to Clapham South was on Coldharbour Lane in Brixton so the men sought jobs there. As a result Brixton became a focus for West Indian settlers from that point onwards with successive arrivals making their way to the developing

community. The actual time the deep-level shelter was occupied by new arrivals was relatively short as the men all quickly found jobs and accommodation, and successfully integrated into many parts of south London.

[Subterranea Britannica]

 

ok, my last one for this moment from windy city ,Chicago.

maybe more will follow in the future...

 

for those who are wondering why I've been so little on Flickr, it has to do with personal circumstances, my wife is recovering from a surgery . everything went well, very well, but rest is needed...

for this reason I only post pictures without given any comments at your pics.....apologies

 

thank you for your understanding ;-)

  

Camera Sony Cybershot

Exposure 0.005 sec (1/200)

Aperture f/4.0

Focal Length 7 mm

ISO Speed 100

Exposure Bias 0 EV

 

Navid Nuur – Untitled (Never Mind the Map Never Map the Mind) at the exposition Navid Nuur "Lube Love", Bonnefantemuseum, Maastricht

 

pienw.blogspot.nl/2014/01/navid-nuur-lube-love-in-het.html

Saint-Petersburg, Generalny shtab.

Metropolitan Museum of Art, NYC

www.leannestaples.com

Story :

 

Value in box :

 

Other :

 

I don't sell my dolls. Thank you for your understanding !!!

Don't repost without my permission ☠

All rights reserved ©

A Visual Guide to Understanding Foundation Problems t.co/yKDcX6A6KQ t.co/1KKz5Vr6zX (via Twitter twitter.com/StratumFR/status/702314355828850688)

"By wisdom a house is built, and by understanding it is established." --Proverbs 24:3 ESV

 

A friend has a collection of her father's handmade birdhouses throughout her yard. He hated seeing wood go to waste and found a way to save it and build these beautiful creations. I used Isabelle LaFrance Photography's free Primrose action.

Understanding the Sky by Dave Eggers

Photo by Mariam Dembele

I was just walking past the pier when I saw these holiday makers and stopped to ask if I could take their photo. I struggled with understanding their accents and they struggled with mine. I couldn't even understand their names and in the end they spelt them out for me. They were Phyllis and Glenys, but I did understand when they said they came from Cheadle in Stoke on Trent. With their happy faces, ice cream cones and the background I could envisage a pretty perfect holiday frame. ,,,,, Thank you Ladies.

Urbanists need to regain control. The traffic engineer and landscape architect have had their way with the civic realm of our cities and towns for too long. The public spaces of any master plan are in fact the most valuable aspect of the design. Care should be given toward their creation and they should not be turned over entirely to any one specialized discipline.

The conception of a great civic realm, anchored by wonderfully, local public spaces, should be the principle goal of any urban design. Beauty will last the ages. If we are to truly build resilient settlements their public spaces must endure for generations. We do not have the luxury to waste on failed endeavors. The founding, or renewal, of a public space is critical to the success of any urban place. The square gives a neighborhood its identity. With success in mind, Urbanists must utilize all the characteristics of a successful public space —particularly the required management and diverse funding that allow for them to endure. As the New Urbanists increasingly look to retrofit suburbia, a similar eye must be put upon the many lost, miss-used or forgotten spaces that exist within our built environment. All land must not be underutilized. Perhaps our society does not yet understand the benefits that non-traditional American public spaces provide? In other parts of the world, a “shared space” is a cultural foundation. They are the streets and plazas that allow city life to exist. Traffic engineers had no hand in the creation of Rome’s piazze. We must learn from these cultures, and as American’s understanding of public space evolves we should not be timid about introducing these ancient forms into our plans. Today no one is looking after the whole of the civic realm. Our professional culture has specialized out of existence the generalist. And it is the generalist that understands what is required to grow a beautiful public space. As Urbanists, we understand the whole system. As Urbanists, we can conduct the symphony required to produce authentic beauty throughout our civic realm.

“Today nobody is concerned with city planning as an art — only as a technical problem. When, as a result, the artistic effect in no way lives up to our expectations, we are left bewildered and helpless; nevertheless, in dealing with the next project it is again treated wholly from the technical point of view, as if it were the layout of a railroad in which artistic questions are not involved.” (Sitte, p.223) In 1889, Camillo Sitte published “City Planning According to Artistic Principles.” One hundred and twenty years later little has changed in the practice of city building. The value of artistically created space has still not found a voice in the modern world. Why?

Shaping the public spaces of our settlements to support an enduring way of life is essential to both the economic development of a place and its overall resiliency. For decades, the artistic expression of our public spaces has not been the driving force behind the projects that shape our built environments’ identities. Beauty, comfort and the higher ideals of a place must be resurrected as the organizing force for city builders. We are still trapped by the statistics of the engineer and dull line of the drafting ruler when it comes to how we create our built environment. A Living Urbanism requires a sophisticated civic realm.

Anatomy of our Civic Realm

The civic realm can actively be identified as our publicly celebrated structures. However, our libraries, churches and governmental building are only a small, but visible, piece of our civic realm. A mature civic realm can be conceived of as the entire system of public spaces both contained by these civic buildings and connecting them. Contrary to other classification systems, I would like to propose that the civic realm is made up of only two categories of public space. In the most complex of conditions Shared Space and Landscaped Space, supported by quality public and private buildings, can provide the full range of conditions required for a meaningful civic realm to exist.

 

A Shared Space can be characterized as a piazza, piazzetta, plaza and, most importantly, streets and thoroughfares. I find these spaces fall under the guideline that urbanism enjoys complexity. These are “mixed-use” spaces in true form. Surprising is that within the best urbanism these spaces make no special consideration for the car. Properly programmed, multi-modal and effectively scaled the street is the most abundant of all shared public spaces. Yet we dilute the street down to a traffic tool in all American conditions. Why? When there are so many precedents for how a street can support all modes of transport equally. Few, if any, engineers will stamp drawings for the construction of a true piazza, piazzetta or plaza effectively removing these timeless forms from the urbanist’s palette. Our struggles for reducing the width of streets has taken too long. The ability to develop a true piazza needs to be possible. We must resurrect Shared Space as a possible modern urban form.

Landscape Spaces exist to connect urban dwellers to nature and to support the emotional experience of the pedestrian. Landscape Spaces create the contemplative places within a village, town or city. They are formed by having a strong connection with nature. The quay running along the river Siene in Paris, the great lawn in New York’s Central Park and the tree lined promenades of Villa Borghese in Rome are all stunning examples of how a Landscape Space gives emotion and soul to a city. Care must be given toward balancing the scale, orientation and natural features of our greens, squares, gardens and parks to ensure they offer the urban dweller relief in any form they wish to find.

Physical Characteristics of Public Space

Is a boulevard really a successful public space if it does not provide a pleasing escape for the pedestrian? Is a small plaza really a successful public space if it does not allow for the cafe to swell in the evening filling ever available square foot with patrons? As we contort the forms of our civic realm to support the modern demands placed upon them by public process and the science of traffic “engineering” (Jacobs, p. 72) we lose the characteristic that allow these spaces to be the foundation for a vibrant and living urbanism.

“The design standards imposed by the highway engineering profession, for instance, are particularly damaging to community as they ensure the dominance of the motor vehicle over the pedestrian, even within the neighborhood. If I may say so, your profession [architects] could be of great help with this challenge of converting the planning and engineering professions, as surely you have noticed that the well-proportioned neighborhoods of the Georgian and Victorian era hold their value far better than the monocultural housing estates of the past 50 years.” (HRH Prince of Wales, 2009)

As Urbanists, we must take up the Prince’s challenge. By giving modern meaning to the characteristics of a quality public space we can allow a boulevard to be a boulevard and plaza to be a plaza. We should no longer support the hybrid, or false, forms being forced upon our citizens.

Balancing the form of a public space is essential. It is most successful when all three dimensions of the space, as well as the surface treatments and sculpture, are considered in concert. It is understood that the containment of a public space is critical. Establishing the constraints of the outdoor room is also linked to the width and length of a public space. As mentioned earlier, we struggle to create narrow streets. I would also like to propose that our squares, and if we could build them, plazas and piazze are much too large.

“In former times all the arrangements and building forms we have enumerated were joined naturally in a unified arrangement that enclosed that plaza. In contrast to this, one tries in modern times to lay the plaza open. What this implies should be clear form what has been said above. It is equivalent to destroying the old plazas. Wherever such a disastrous undertaking has been carried out, the spatial effect is lost forever.” (Sitte, p. 176)

Christopher Alexander has also developed several patterns which I find often over-looked in contemporary practice.

“Pattern 61 – Make a public square much smaller then you would at first imagine; usually no more than 45 to 60 feet across, never more than 70 feet across. This applies only to its width in the short direction. In the long direction it can certainly be longer.” (Alexander, p. 313)

“Pattern 123 – For public squares, courts, pedestrian streets, any place where crowds are drawn together, estimate the mean number of people in the place at any given moment (P), and make the area of the place between 150P and 300P square feet.” (Alexander, p. 598)

Do modern planners or landscape architects consider the population of a public space when considering its most effective size? It is time to reexamine the size and proportions of the public spaces we design and ensure that they are appropriate to the activities, surrounding architecture and number of users. Size does matter.

Layers exist within all great public spaces. Picture the Piazza del Campo. The image of Siene’s Palazzo Pubblico, with its great tower, might come to mind, or the comfortable slope of its fan shaped form. But, with further scrutiny one can begin to see the layers of this space more clearly. The cafés, with their deep sienna brown awnings, situated on the ground floors of the surrounding buildings establish the outside layer and give the piazza its essential active edge. Just as important as engaging uses at the ground level is the composition, slightly varying fenestration and harmonious cornice line of the surrounding buildings. The tower pierces the perceived ceiling of the piazza completing the required characteristic that a public space be engaging in all dimensions. The tower can quickly be established as this spaces center, but with more investigation one will find that the square in fact has many centers. The portico of the Palazzo, opposite the portico is the Fonte Gaia, typically the square as several vendors dotted along its inner edge, the ring road between the cafés for strolling the circumference of the space and the sloping red brick floor with its many groups of seated onlookers all provide a difference experience. The addition of each of these layers enriches the composition giving the public space more significance.

Significance for public space can mean many things. Great spaces possess significant gravity. Several blocks away one should be able to sense, as if it is pulling you in, the nearing public space. This energy emitted from a significant public space attracts more than just pedestrians. At times this can create a gradient of taller builds, more intense ground floor users and increase in the number of intersections and streets. This gravity can also give a neighborhood its identity. “I live just off Washington Square Park” not only uses the significance of the square to orient location, but demonstrates how the gravity of the public space imposes identity on the surrounding blocks as well. The gravity created between the constellations of public spaces present throughout a civic realm give additional vibrancy to the traffic that flows throughout the city. This pulse of mobility gives life to not only the centers of activity but the various arms connecting them.

There are additional spaces that surround and lead into the primary place. They are the foyers for publics space during large events, the quieter plaza filled with cafés just outside the busy market square or the commercial nodes just outside the gates of the public garden providing refreshments to the scene. A healthy civic realm has a constellation of iconic public spaces. Each of these individual spaces possesses a constellation of supporting space. They might provide relief during extreme conditions or give space for services to support the active edge of the square. A single public space is better when it is part of a series of spaces. This fractal relationship gives vibrancy and depth to a living urbanism.

 

Public spaces are living. They breathe, sleep, require maintenance and enjoy company. As urbanism ages it continues to grow, change and adapt to the conditions of the time. This is true of the public spaces within that urbanism as well. Over designed and ridged alignment to uses significantly hinder the successful aging of a public space. These spaces must possess a certain amount of flexibility. This is even true within the span of one year. The best public space can support its citizens throughout the year. There is no “session.” The life of the city should not halt in winter. Prague does not close its squares due to cold weather. The many groups, clubs and organizations that a loved public space establishes will further extend the life of these places. These groups will give guidance to the space and provide resources as it ages. Quality public spaces are living infrastructure.

 

Beauty is Essential

A timeless public space is beautiful. This perhaps is the essential characteristic. Beauty is of course in the eye of the beholder. However, on average the dull, rigid and sterile places that mid-century planners conceived of as beautiful public space have failed. Beauty to the masses, not to a small group of intellectual designers, is essential for a public space to be successful. This beauty ensures the long term enjoyment of a space is certain. Fashion changes too frequently. To let it guide the creation of public space is a mistake. Beautiful squares, plazas, parks and gardens are multigenerational investments. Their form must be timeless for the required investment to be worth its value to a society. Beauty is more likely to be loved, and loved public spaces are more likely to spawn the groups required to maintain and care for it as the life of urbanism surrounding it unfolds. A loved public space endures.

Cycle of Involvement

What does the civic realm really mean to the city? Inevitably cultures and societies evolve. The civic realm provides the platform for this evolution. The civic realm is both the glue that holds a society together and a mirror that allows it to see its failures. This question is not correct; the civic realm means different things to different people. The meanings are not important, but the fact that the civic realm is present in one’s life is. We are just now becoming aware of what the lack of a civic realm can do to a culture and a society.

The civic realm engages the memory. It provides a physical history of a place either through the preservation of its best historic structures or through the generational interaction and story telling that gives rise to the myths of a place. The public spaces of living urbanism should persist within one’s memory. The mind should hold on to their image long since created. The most literal representation of the civic realms memory is those monuments and memorials erected to celebrate our past and the people who made life possible. Either in the squares of Savannah or under Napoleon’s Arc de Triomphe the physical memory is real. It is these memories, provide in large part through the civic realm, that serve to give a place its soul.

One comes to respect both one’s place and oneself more in the presence of the past’s greatest accomplishments. This respect, carried by the citizens’ sense of a place, resists filth, counteracts vandalism and elevates the spirit of said place. Given respect, by way of the connections to previous accomplishments, a successful civic realm’s public spaces will be cherished.

The cycle of a person’s involvement with the public spaces of their civic realm will come to teach them how to care. It will give them pride for their locale and its continued success. Pride will lead to ownership. The city will become one’s own and in time this ownership brings one further comfort in its spaces – a comfort that makes the city a home. Through a populations life cycle of experience within a civic realm, many stories will be crafted which, over time, will enrich the memories of a living urbanism.

Stewardship

A market square is more then just the physical space of the market square. Public space is a platform for the life of a city to unfold. However, a play needs its actors, script and time of performance to bring an audience. Successful public spaces require users. The best of these places provide activities for their users. The smallest parking court can be elevated to a public space when planted with a fruit tree. The cycle of caring for the tree, picking its fruit, smelling its flowers and enjoying its shade can create public space out of the simplest of utility areas. The activities in larger public spaces are produced. There are stewards of the space that initiate the production of the activities required to seed the cycle of involvement that leads to the long term enjoyment of a vibrant civic realm.

 

Just as important as the physical characteristics of a space are the activities carried out within, surrounding or through it. We have discussed the importance of the edge activities. But, often these need to be support and enticed by the activities available in the space proper. Just as the civic realm is divided into shared and landscaped space, activities can be passive and active. There is a strong correlation between landscaped spaces and passive activities. However, a quiet piazzette, with several café tables can be the loveliest of places to rest. Fred Kent, president of Project for Public Spaces, states that the best of public spaces are programmed by “zealous nuts.” It is these groups of nuts that knit together a square or park to improve its gravity, give opportunity for the creation of memories, and fundamentally provide for the enjoyment of future generations in the space.

At the center of a large publics space’s groups must be a “Friends of Great Kennedy Plaza” or a “Central Park Conservancy.” These organizations manage, fund and govern the ongoing operations of the space. They ensure its characteristics remain in place or improve. It is unfortunate, but modern urbanism requires successful large public spaces to be run like businesses.

Did Rome require Friends of the Forum? What kept the “geomorphic” spaces of unplanned cities running? (Kostof, p.43) We currently have no living tradition for the stewardship of our public space. During the last century, Americans learned that the stewardship of our native landscapes was worth the effort. During this century, we will learn that the stewardship of our village, town and city public spaces will be worth the effort as well. We must learn from Olmsted’s dual understanding for both the natural importance of Yellowstone’s preservation for the country and the complex details that would lead to Central Park’s success for New York. Both are of equal importance. Both required stewardship.

Local Economy

It is yet to be seen what type of global economy will be left, but being the optimist it is likely that global markets will still exist. The interesting thing about being competitive in a global market has a lot to do with the strength of your local market. For cities to be competitive globally they will need to differentiate themselves locally. Leveraging the advantages of the local arts, culture, landscape and vernacular building tradition is the foundation for cultivating a unique place in a global market. And we learned that a beautiful civic realm supports all of these items.

A resilient civic realm sets up so many factors that encourage innovation. In time of recession, people take to the streets with market stalls and push carts. These local economies would not be possible without established public space. Random encounters can lead to innovative interaction. The streets, square, plazas and parks are the places for locals to interact and improve their craft or practice.

 

What significant arts movement has been cultivated and supported by a suburban location? Movements, the type that inspire generations, begin in the cafés and piazze of our cities. The physical space of a city should be painted. Its beauty should be sketched, photographed and act as a well spring of creativity for future movements. A resilient civic realm captures the creativity of the group. The arts are perhaps the most radical of economies, but their practice is essential to pollinating the garden of innovation required for local economies to be successful. Fundamentally, a movement, either business or cultural, needs to be inspired. A living urbanism’s civic realm must provide this inspiration.

Civic and cultural institutions further enhance a local economy. Good public space gives visibility to these institutions and provides the essential link between the “Res publica” and “res privata”. These institutions are not only captured in the physical form of a museum or cathedral. Conservation can begin with a discussion in the square. Romance can ignite with a stroll through the garden. Just as a public space can give identity to a neighborhood, a resilient civic realm can help establish an attractive local culture. The institution of a romantic city can be a powerful enabler of the local economy.

Local economies are even more fine grain. The arrangement of public space gives identity to a district. The power of a good space provides the name to a neighborhood. These names can endure long past the time of their original conception. The economic power of a great civic realm can be demonstrated in the suburban shopping center habit of adorning placeless destinations with names traditionally assigned to the best public spaces.

A healthy social interaction, one that supports local economies, takes place in the public spaces of a living urbanism — commerce, or trade, originated in public space. That tradition is still present. I witnessed a chance encounter between two businessmen aboard a San Francisco trolley. One man hopped on, struck up a conversation with the man seated next to him and the next thing I knew they were getting off at the next stop heading toward the coffee shop to discuss a possible new venture. This is just one example of how a comfortable civic realm, not to mention public transit surrounding such areas, can support economic innovation. And if you believe Jane Jacobs, it is this type of innovation that keeps places alive.

 

Foundation for a Resilient Place

As Urbanists, we are responsible for helping to craft the foundations for a resilient place. A living urbanism is the best example of such a place. As we’ve discussed the creation, stewardship and enjoyment of a beautiful civic realm can have a profound effect on the successful passing of time. Celebrations and ceremonies are conducted within their enclosure, demonstrations are held in times of unease and direction given in times of crisis. The public spaces of our settlements are critical to their long term sustainability. These spaces are the constant throughout the lives of the citizens. Great care must be given to their creation and renewal. A beautiful public space can offer both a joyful reminder of the past and inspiring insight to the future.

As urbanists, we must realize that complexity is resilient. Natural ecosystems enjoy complexity as an essential piece of their endurance. Can a complex collections of public space help a local economy support itself during recession? Will these same public spaces improve themselves during booms? Many options are always more enjoyable than fewer and it seems as if contemporary planners, and even new Urbanists, are limiting the complexity possible in our built environment. A city or town should have a diverse selection of public spaces, each giving different types of citizens enjoyment. The stimulation of an elegantly complex civic realm keeps a culture renewed.

A living urbanism begins with community and space. It is the act of shaping this space that gives life to a place. Pleasing public space is the insurance that greater things are possible in a place. The quality of the civic realm is completely related to the comfortable level of density that the private spaces of a village, town or city can support.

A sophisticated civic realm allows for a compact population to exist. This population in turn improves the entire civic realm. It is essential for our projects to push this correlation. Achieving greater density is a significant piece of the puzzle that allows for transit, cultural institutions, local economies and an active street life to exist. It is this interdependence that makes the understanding and implementation of great public spaces so essential to our mission. As urbanists, we possess the skills necessary to lead the coming age of urban stewardship. It is time Urbanists regained control of our civic realm.

Works Cited

 

“Camillo Sitte: The Birth of Modern City Planning: With a translation of the 1889 Austrian edition of his City Planning According to Artistic Principles”

“The City Shaped: Urban Patterns and Meanings Through History”

“Dark Age Ahead”

“A Pattern Language: Towns, Buildings, Construction“

 

livingurbanism.wordpress.com/tag/camillo-sitte/

Cavendish Mews is a smart set of flats in Mayfair where flapper and modern woman, the Honourable Lettice Chetwynd has set up home after coming of age and gaining her allowance. To supplement her already generous allowance, and to break away from dependence upon her family, Lettice has established herself as a society interior designer, so her flat is decorated with a mixture of elegant antique Georgian pieces and modern Art Deco furnishings, using it as a showroom for what she can offer to her well heeled clients.

 

Tonight, Lettice is entertaining her old childhood chum Gerald, also a member of the aristocracy who has tried to gain some independence from his family by designing gowns from a shop in Grosvenor Street, in the dining room of her Cavendish Mews flat: a room equally elegantly appointed with striking black japanned Art Deco furnishings intermixed with a select few Eighteenth Century antiques. The room is heady with the thick perfume of roses brought back from Glynes, the Chetwynd’s palatial Georgian family estate in Wiltshire, from where Lettice has recently returned after visiting a neighbour of sorts of her parents, Mr. Alisdair Gifford who wishes Lettice to decorate a room for his Australian wife Adelina, to house her collection of blue and white china. A bowl full of delicate white blooms graces the black japanned dining table as a centrepiece, whilst a smaller vase of red roses sits on the sideboard at the feet of Lettice’s ‘Modern Woman’ statue, acquired from the nearby Portland Gallery in Bond Street. Silver and crystal glassware sparkle in the light cast by both candlelight and electric light. The pair of old friends have just finished a course of Suprême de Volaille Jeanette: a fillet of chicken served with a rich white roux creamy sauce, ordered from Harrod’s Meat and Fish Hall* and warmed up and finished off by Edith, Lettice’s maid, in the Cavendish Mews kitchen. Gerald returns to the table with two small glasses of port after filling them from a bottle of liqueur in Lettice’s cocktail cabinet in the corner of the room just as Edith steps across the threshold of the dining room carrying a silver tray laden with three types of cheese and an assortment of biscuits, wafers and crackers.

 

“About time, Edith.” Lettice mutters irritably as Edith approaches and slides the tray gently onto the dining table. “Careful! Don’t scratch the table’s surface.”

 

“I’m sorry, Miss.” Edith says as she blushes, a lack of understanding filling her face. “I… I didn’t realise I was scratching it.”

 

“Well, you haven’t, Edith,” she snaps back. “But you need to be more careful!”

 

“Yes Miss.” Edith bobs a curtsey, a wounded look on her usually bright face.

 

Glancing between Lettice toying distractedly with the rope of pearls about her neck looking anywhere but at either her maid or himself, and the poor embarrassed domestic, Gerald pipes up, “There’s nothing to apologise for, Edith. There’s no harm done. Miss Chetwynd is just a bit tired and overwrought. Aren’t you Lettice darling?”

 

When Lettice doesn’t answer, whether because she hasn’t heard Gerald as she gets lost in her own thoughts, or because she knows that she is in the wrong, admonishing her maid like that for no reason, Gerald adds, “The Suprême de Volaille Jeanette was delicious. Thank you.” He then gently indicates with a movement of his kind eyes and a swift sweeping gesture of his hand that she should go.

 

“Yes Sir. Thank you, Sir.” Edith replies as she bobs a second curtsey and quickly scuttles back through the green baize door leading from the diming room back into the service area of the flat.

 

“You don’t seem yourself at all, Lettice darling!” Gerald says in concern once he estimates that Edith is out of earshot. “Upbraiding Edith like that, and for no good reason. She didn’t mark the table. You’ve been in a funk ever since you came back from Wiltshire.” He pauses momentarily and reconsiders. “Actually no, you’ve been like this for a little while before that.” He looks at her knowingly. “What’s the matter with you, darling?”

 

“Oh I’m sorry.” Lettice sighs.

 

“It’s not me you should be sorry to.”

 

“I’ll apologise to Edith a little bit later. I’ll let her settle down first.”

 

“Well, I should hope you will.” Gerald takes a sip and cocks his eyebrow over his eye as he stares at Lettice. “Alright, out with it! What’s the matter, then?”

 

“Looking at me the way you are, can’t you guess, Gerald darling?”

 

“It’s that rather awful Fabian** charlatan, Gladys, isn’t it?” Gerald replies. As he does, he shudders as he remembers the awful snub Lady Gladys gave him.

 

Through her social connections, Lettice’s Aunt Egg contrived an invitation for Lettice to an amusing Friday to Monday long weekend party held by Sir John and Lady Caxton, who are very well known amongst the smarter bohemian set of London society for their weekend parties at their Scottish country estate, Gossington, and enjoyable literary evenings in their Belgravia townhouse. Lady Gladys is a successful authoress in her own right and writes under the nom de plume of Madeline St John. Over the course of the weekend, Lettice was coerced into accepting Lady Glady’s request that she redecorate the Bloomsbury flat of her ward, Phoebe Chambers. When Lettice agreed to take on the commission, Lady Gladys said she would arrange a time for Lettice to inspect the flat the next time Lady Gladys was in London. The day it happened, Lettice was invited to hear Lady Gladys give a reading from her latest romance novel ‘Miranda’ at its launch in the Selfridge’s book department. Wanting company, and thinking he might enjoy the outing, Lettice invited Gerald to join her. When Lady Gladys met Gerald, she took an instant dislike to him and snubbed him, calling him ‘Mister Buttons’ much to his chagrin.

 

“Well done, Gerald darling.” Lettice replies sulkily, toying idly with her own glass.

 

“So, what’s the trouble with Gladys now?” Gerald asks. “Come on, tell me all the ghastly details.”

 

“What’s the point, Gerald darling? It won’t make one iota of difference.” Her shoulders slump forward as she speaks.

 

“You don’t know that.” Gerald counters. “If nothing else, it will probably make you feel better just talking about it, and hopefully by unblocking the frustrations you so obviously feel, you’ll be a bit kinder to poor Edith.” He gives her a hopefully glance.

 

“I know. Edith didn’t deserve my ire.”

 

“Especially when she didn’t do anything wrong. It would be a shame to lose such a good maid. Good servants like Edith are hard to come by.”

 

“I know, Gerald! I know!”

 

“If I could afford to employ her full time as a seamstress, I would. However I can only afford Molly to do some piecework for me a few days a week at the moment. But once my atelier expands, you’d better watch out. I’ll poach her.”

 

“Edith?”

 

“Yes of course, darling. Who else?”

 

“As a seamstress? Why?”

 

“Good heavens! Haven’t you noticed how smartly turned out she is when she’s not in uniform and is going out?” Gerald asks with incredulity. When Lettice shakes her head coyly he continues, “For a woman who has an eye for detail, you can be very unobservant sometimes. Edith, like most working girls, makes her own clothes, I’d imagine from patterns in one of those cheap women’s magazines directed towards middle-class housewives I see flapping in the breeze at newspaper kiosks. However, unlike a great many of them, she obviously has a natural aptitude for sewing. That’s why I’d take her on as a seamstress.”

 

“I must confess, I’ve never really noticed what Edith wears. She’s just…” Lettice isn’t quite sure how to phrase it. “She’s just there.”

 

“Well, one day she may not be,” Gerald warns before taking another sip of liqueur. “And then you’ll be in trouble trying to find her like as a replacement. Anyway,” he coughs. “I’m not going to pinch her from you just yet. Now, what’s the problem with Gladys?”

 

Lettice lets out a very heavy sigh. “Oh, she’s awful, Gerald darling: positively frightful. She rings me nearly every day, or sometimes several times a day, hounding me! I’m starting to make Edith answer the telephone more often now, because I’m terrified that it will be Gladys.”

 

“Well, we all know how much dear Edith hates the telephone.”

 

“Well, usually that would be true, but she knows that Gladys is Madeline St John, and I’ve told her that Gladys promises to give her a few signed copies of her books one of these days, so she doesn’t seem to mind when it’s her. Gladys seems to have that common touch with her.”

 

“Common is right.” quips Gerald. “Low-class gutter novelist works her way into the upper echelons by way of an advantageous marriage.”

 

“Gerald!” Lettice gasps

 

“It’s true Lettice, and you must know it by now, even if you didn’t know it before.”

 

“Well, whatever she may or may not be, Gerald, I just can’t talk to her directly. I need a moment to gird my loins*** before I take on the unpleasant task of talking to her, or perhaps a more appropriate description would be, being spoken to by her, at considerable length.”

 

“You haven’t corrupted poor Edith and coerced her into telling little white lies for you when Gladys does ring and say that you’re out.”

 

“No!” Lettice gives Gerald a guilty side glance. “Well not yet anyway.” she corrects. “I’ve thought about doing it, and it’s a very tempting idea. However, I know how much Edith already hates answering the telephone, and being such a despicably honest girl, I think asking her to fib for me, especially to her favourite romance writer, might be just a bridge too far for her.”

 

“Damn the goodness of your maid, Lettice darling.” Gerald replies jokingly with a cheeky smile causing his mouth to turn up impishly, as he cuts a slice of cheese and puts it on a water cracker wafer, before lifting it to his lips.

 

“Oh you’re no help!” Lettuce swats at her best friend irritably. “You make me feel guilty for even countenancing such a thought.”

 

“Well, someone has to try and keep you honest in this sinful city, darling.” he jokes again. “Mummy would never forgive me if I didn’t try and keep you as virtuous as possible.”

 

“I’d believe that of Aunt Gwen.” Lettice agrees. “On the other hand, Mater is convinced that you’re the root of the destruction of her precious, obsequious youngest daughter.”

 

“Sadie is wiser and more observant than I’ve ever given her credit for.” Gerald murmurs in surprise. “I should be more charitable to her in future as regards her intellect.”

 

“That I should like to see.” Lettice giggles, a smile breaking across her lips and brightening her face, dispelling some of the gloom.

 

“That you will never see.” Gerald replies firmly. “That’s better. At least I made you laugh.”

 

“You always make me laugh, darling Gerald.” Lettice reaches across the table and grasps his hand lovingly, winding her fingers around his bigger fisted hand. “You are the best and most supportive friend I could ever hope to have.”

 

“Jolly good, my dear. Now, besides telephoning far too often, what else is the trouble with Gladys?” Gerald presses.

 

“Well, she seems to want to be in control of everything in relation to Pheobe’s Bloomsbury pied-à-terre redecoration.”

 

“Isn’t Gladys footing the bill, Lettice darling?”

 

“Well yes, she is.”

 

“Then it seems to me that she has every right to be involved in the decision making that goes on, particularly as you’ve told me that Phoebe shows a lack of interest in the whole project.”

 

“Yes, but what Gladys is doing is taking over. I don’t think she’d even engage my services if I didn’t have the contacts in the painting, papering and furnishing business she needs. I have no chance to exercise any of my own judgement. Anything I do has to be checked by her: the paint tint for the walls, the staining of the floorboards, the fabric for the furnishings. And she has demonstrated that she has no real interest in my ideas.”

 

“Hhhmmm…” Gerald begins, chewing his mouthful of cheese and biscuit thoughtfully before continuing. “That does sound a trifle tiresome.”

 

“A trifle tiresome? Gerald, you always were the master of understatement.”

 

“I see no reason to panic. She is the client exercising her rights. And since she is the one paying for your services, indulge her in her necessity to be consulted on all facets of the redecoration.”

 

“Oh I’m doing that. Against my better judgement, I’m having floral chintz draperies hung in the drawing room and bedroom because that’s what she wants.”

 

“Good heavens!” Gerald exclaims, nearly choking on a fresh mouthful of cheese and wafer biscuit. “You, selecting chintz as part of your décor decisions?”

 

“My point exactly. It isn’t me that’s decided that, it’s Gladys who has. You know how much I loathe chintz at the best of times.” Lettice shudders at the thought. “I tried hinting at some plain green hangings instead as a very nice alternative, but like anything else where I try my best to negotiate for Phoebe, I am barked at and told in no uncertain terms that I will do no such thing.”

 

“Negotiate for Phoebe?”

 

“Yes, now that I’m well and truly wound up in what you rightly called Gladys’ sticky spiderweb, I’m beginning to see things for what they truly are.”

 

“Such as?”

 

“For a start, I don’t think Phoebe is disinterested in the renovations to her pied-à-terre at all. I’ve seen with my own eyes now, how whenever Pheobe expresses an opinion contrary to that of Gladys, Gladys quickly snuffs out any dissention. As far as Gladys is concerned, her choice is not only the best and right choice, but the only choice to make. Pheobe wants to keep some of her parents’ belongings in the flat, but Gladys won’t hear of it! She wants a clean sweep! I suggest a compromise, but Gladys dismisses it. So, the colours to go on the walls, the furnishings, the fabrics, even the hideous chintz curtains have all been decided upon and approved by Gladys, and Phoebe doesn’t even get a chance to express an opinion. Phoebe isn’t disinterested, she’s simply overruled and completely smothered by Gladys’ overbearing nature.”

 

“Delicious.” Gerald murmurs as he leans his elbows on the black japanned surface of the dining table and leans forward conspiratorially.

 

“It’s not delicious at all!” Lettice splutters. “It’s a frightful state of affairs!”

 

“Well, in truth, that really does sound bloody*****, Lettice darling!”

 

“Like I said, it’s a dreadful state of affairs! I feel as if I am betraying not only poor Pheobe, but the memory of her dead parents in favour of a domineering woman whom no-one it seems can stand up to.”

 

“Have you tried her husband, Sir John?”

 

“He kowtows to her wishes as much as anyone else. I now understand why he has such a dogged look upon his face. I thought it was just age.”

 

“When in fact it was just Gladys?”

 

“Indeed! And what’s even worse is that Gladys is wearing me down now too. It’s just easier to agree to everything she says, and not even attempt a compromise in Phoebe’s favour.”

 

“Well, whilst I know you don’t like the situation, from my own personal experience of dealing with difficult clients, I can say that the path of least resistance is sometimes the best. Do you remember that frock I made for Sophie Munro, the American shipping magnate’s daughter?”

 

Lettice considers Gerald’s question for a moment. “Yes, I think I do. Wasn’t it pale pink with blue trimming?”

 

“Indeed it was, Lettice darling: pink linen with blue trim, with a bias cut drape over one sleeve and a flounced skirt. Poor Sophie has an… ahem…” Gerald clears his throat rather awkwardly as he thinks of the correct phrase. “A rather Rubenesque figure, and the flounced skirt was perhaps less flattering than something with long pleats, which was I had suggested to Mrs. Munro.”

 

“But Mrs. Munro was like Gladys?”

 

“She was, darling, and she wouldn’t hear a word of it. A flounced skirt was what Mrs. Munro wanted, and a flounced skirt was what Sophie received, and she flounced her way back to America, where I’m sure her rather voluptuous derrière will be commented upon by every young eligible man on Long Island, for all the wrong reasons. However, I did it, and I cut ties with Mrs. Munro because now that my atelier is finally turning a modest profit, I can. I don’t need recommendations from her, but I do need her to be happy so that she will at least speak favourably of me, rather than say disparaging things. The same goes for you. Do what Gladys wants and then be done with her. Do it as quickly as possible, then the pain will be over, and she will praise you to boot.”

 

“I can’t help but feel badly for Phoebe though, Gerald.”

 

“I know you do, and I feel sorry for poor Sophie Munro being laughed at behind her back by young cads as she tries to be beguiling with a large derrière, but there you have it. You cannot be responsible to solve the relationship between mother and daughter.”

 

“Aunt and ward.” Lettice corrects.

 

“It equates to the same.” Gerald counters. “You are a businesswoman, Lettice, not an agony aunt******.”

 

“Well, you’re a businessman, and you seem to be a good agony aunt to me.”

 

Gerald and Lettice chuckle before Gerald replies, “Indeed I am, but I’m also a friend. You aren’t friends with Pheobe, and even if you were, you still wouldn’t be able to solve Gladys’ overbearing personality. She is who she is, and Pheobe has to learn how to make her way through life with it. Perhaps you will afford her a little freedom from Gladys by redecorating her pied-à-terre, so she can escape from under Glady’s overbearing shadow, even if the redecoration is not quite as Phoebe would have it. Even then, Phoebe will probably add her own personal touches to her new home over time. It’s only natural that she should.”

 

“Oh,” Lettice sighs heavily. “I suppose you’re right, Gerald.”

 

“Of course I’m right, Lettice darling. I’m always right.” he adds jokingly.

 

“Now don’t you start!” Lettice replies wearily before smiling as she recognises Gerald’s remark as a jest, teasing about Lady Gladys’ overbearing personality.

 

“Well, it sounds like you need a bit of cheering up, Lettice darling,” Gerald goes on as he places another slice of cheese on a biscuit.

 

“I could indeed, Gerald darling!”

 

“Well then, if you are a good girl, and apologise to Edith like I told you, like Cinderella you shall go to the ball!”

 

“Oh you do talk in riddles sometimes, Gerald darling! What on earth do you mean?”

 

“My birthday!” Gerald beams. “Come join me at Hattie’s down in Putney for my birthday!”

 

“You’re having your birthday at Hattie’s?” Lettice queries, her voice rising in surprise. “I thought we were going to the Café Royal****** to celebrate: my treat!”

 

“Now, now, be calm, Lettice darling! We are, but Hattie wants to throw a party for me on my birthday at Putney with Cyril, Charlie Dunnage and a few of the other chaps she has living with her in the house, so we’ll do that first, and then go to dinner at the Café Royal: your treat.”

 

“Well…” Lettice says warily. Her stomach flips every time Gerald mentions his lover, Cyril, an oboist who plays at various theatres in the West End and lives in the Putney home of Gerald’s friend Harriet Milford, who has turned her residence into a boarding house for theatrical homosexual men, not because she is in any way jealous of their relationship, but because she knows that Gerald being a homosexual carries great consequences should he be caught in flagrante with Cyril. Homosexuality is illegal******** and carries heavy penalties including prison sentences with hard labour, not to mention the shame and social ostracization that would follow any untoward revelations. It would mean the end of his fashion house and all his dreams.

 

Gerald misinterprets the look on his best friend’s face as being misgivings about the party. “Oh come on Lettice! Every time I’ve been spending the night with Cyril down in Putney, which has been quite a lot lately,” he confesses with a shy, yet happy smile. “I’ve been sneaking one or two bottles of champagne into his room, which he’s been stashing under the bed, so there will be plenty to drink, and Hattie is making me a birthday cake, so it will be a rather jolly party. You aren’t still imagining Hattie to be a usurper to you in my affections, are you Lettuce Leaf?”

 

“Don’t call me that Gerald! You know how I hate it!” scowls Lettice. “I’ll call you Mr. Buttons!” She threatens.

 

“You can call me what you like, Lettice darling, only please say you’ll come! You’re my best and oldest chum! It would make me so happy!”

 

“Oh very well, Gerald. Of course I’ll come.”

 

“Jolly good show, Lettice darling!” Gerald enthuses. “We’ll have a whizz of a time!”

 

*Harrod’s Meat and Fish Hall (the predecessor to today’s food hall) was opened in 1903. There was nothing like it in London at the time. It’s interior, conceived by Yorkshire Arts and Crafts ceramicist and artist William Neatby, was elaborately decorated from floor to ceiling with beautiful Art Nouveau tiles made by Royal Doulton, and a glass roof that flooded the space with light. Completed in nine weeks it featured ornate frieze tiles displaying pastoral scenes of sheep and fish, as well as colourful glazed tiles. By the 1920s, when this scene is set, the Meat and Fish Hall was at its zenith with so much produce on display and available to wealthy patrons that you could barely see the interior.

 

**The Fabian Society is a British socialist organisation whose purpose is to advance the principles of social democracy and democratic socialism via gradualist and reformist effort in democracies, rather than by revolutionary overthrow. The Fabian Society was also historically related to radicalism, a left-wing liberal tradition.

 

***To gird one’s loins: to prepare oneself to deal with a difficult or stressful situation, is likely a Hebraism, often used in the King James Bible (e.g., 2 Kings 4:29). Literally referred to the need to strap a belt around one's waist, i.e. when getting up, in order to avoid the cloak falling off; or otherwise before battle, to unimpede the legs for running.

 

****A pied-à-terre is a small flat, house, or room kept for occasional use.

 

*****The old fashioned British term “looking bloody” or “sounding bloody” was a way of indicating how dour or serious a person or occasion looks.

 

******An agony aunt is a person, usually a woman, who gives advice to people with personal problems, especially in a regular magazine or newspaper article.

 

*******The Café Royal in Regent Street, Piccadilly was originally conceived and set up in 1865 by Daniel Nicholas Thévenon, who was a French wine merchant. He had to flee France due to bankruptcy, arriving in Britain in 1863 with his wife, Célestine, and just five pounds in cash. He changed his name to Daniel Nicols and under his management - and later that of his wife - the Café Royal flourished and was considered at one point to have the greatest wine cellar in the world. By the 1890s the Café Royal had become the place to see and be seen at. It remained as such into the Twenty-First Century when it finally closed its doors in 2008. Renovated over the subsequent four years, the Café Royal reopened as a luxury five star hotel.

 

********Prior to 1967 with the introduction of the Sexual Offences Act which decriminalised private homosexual acts between men aged over 21, homosexuality in England was illegal, and in the 1920s when this story is set, carried heavy penalties including prison sentences with hard labour. The law was not changed for Scotland until 1980, or for Northern Ireland until 1982.

 

Lettice’s fashionable Mayfair flat dining room is perhaps a little different to what you might think, for it is made up entirely of 1:12 size dollhouse miniatures I have collected over time.

 

Fun things to look for in this tableau include:

 

The silver tray of biscuits have been made in England by hand from clay by former chef turned miniature artisan, Frances Knight. Her work is incredibly detailed and realistic, and she says that she draws her inspiration from her years as a chef and her imagination. The empty wine glasses and the glass bowl in the centre of the table are also 1:12 artisan miniatures all made of hand spun and blown glass. They are made by Beautifully Handmade Miniatures in Kettering. The vase is especially fine. If you look closely you will see that it is decorated with flower patterns made up of fine threads of glass. The cream roses in the vase were also hand made by Beautifully Handmade Miniatures. The Art Deco dinner plates are part of a much larger set I acquired from a dollhouse suppliers in Shanghai. The cutlery set came from Beautifully Handmade Miniatures. The candlesticks were made by Warwick Miniatures in Ireland, who are well known for the quality and detail applied to their pieces.

 

In the background on the console table stand some of Lettice’s precious artisan purchases from the Portland Gallery in Soho. The silver drinks set is made by artisan Clare Bell at the Clare Bell Brass Works in Maine, in the United States. Each goblet is only one centimetre in height and the decanter at the far end is two- and three-quarter centimetres with the stopper inserted. Lettice’s Art Deco ‘Modern Woman’ figure is actually called ‘Christianne’ and was made and hand painted by Warwick Miniatures in Ireland. ‘Christianne’ is based on several Art Deco statues and is typical of bronze and marble statues created at that time for the luxury market in the buoyant 1920s.

 

Lettice’s dining room is furnished with Town Hall Miniatures furniture, which is renown for their quality. The only exceptions to the room is the Chippendale chinoiserie carver chair (the edge of which just visible on the far left-hand side of the photo) which was made by J.B.M. Miniatures.

 

The carpet beneath the furniture is a copy of a popular 1920s style Chinese silk rug hand made by Mackay and Gerrish in Sydney, Australia. The paintings on the walls are 1:12 artisan pieces made by Amber’s Miniatures in the United States. The geometric Art Deco wallpaper is beautiful hand impressed paper given to me by a friend, which inspired the whole “Cavendish Mews – Lettice Chetwynd” series.

The Main Square Festival 2016 is an annual international music festival organized by Live Nation which takes place in the first week-end of July in Arras, France. Created in 2004 by France Leduc Productions, the festival rose to one of the major music events of the country, attracting worldwide famous bands and stars like Coldplay, Depeche Mode, Placebo, Muse, Indochine or Metallica.

Held at the beautiful Citadelle d'Arras, Main Square Festival 2016 brings a superstar-bloated lineup to the historical setting.

More than 120,000 descend on the town every year, drawn by the festival's diverse lineup, that in 2015 put Pharrell Williams alongside Muse, and the idyllic, quiet corner of France it resides in.

With a population of just 45,000, charming streets and town squares, Main Square's Arras takeover is totally unique in that it brings such big names to the most inconspicuous of locations, and there's no mud in site.

The camping site, easy to reach by foot from the festival ground, has been specially laid and equiped near the fortificated citadel (You will need about 15minutes from the Citadel). It is situated on the same level as the avenue Jean Zay and the Savary high school. Shuttles will ensure the transport between the station and the camping site. And a little train between the Citadel and the camp-site.

A haven of peace where you’ll be able to rest after intense days of concerts. Moreover, it’s the best way to take advantage of the festival and of its mood:

You’re the first to be on the site

You’ll be the last to leave the artists

You won’t have any difficulty to go back home ; no car and no trafic jam.

All of that in an atmosphere full of exchanges and warm understanding.

 

Location-

Citadelle d'Arras

6200 Arras

France

Arras is in the North East of France, not far from the Belgium border, and was established during the Iron Age by the Gauls.

Main Square Festival takes place at the spectacular Citadelle d'Arras, which is a UNESCO World Heritage site, and is therefore internationally recognised as a place of special cultural significance.

 

Line Up-

Jake Bugg, Ellie Goulding, Louise Attaque, Iggy Pop, Disclosure, Cayman Kings, The London Souls, Yelawolf, Jeanne Added, Flume, Boys Noize, Lonely the Brave, Mass Hysteria, Walk Off The Earth, The Offspring, Macklemore & Ryan Lewis, Birdy Nam Nam, Cardri, Bear's Den, Nathaniel Rateliff & The Night Sweats, Marina Kaye, X Ambassadors, Nekfeu, Salut C'est Cool, The Struts, Last Train, Band Of Horses, Ghinzu, Editors, Les Insus, Evrest, Tiggs Da Author, A-Vox, L.E.J, Years & Years, ODESZA dancegeo.com/event/main-square-festival-2016/

Kamera: Nikon F3 (1989)

Linse: Nikkor-S Auto 50mm f1.4 (1970)

Film: Cinestill BWXX (Kodak 5222) @ ISO 200

Kjemi: Xtol (stock / 8 min. @ 21°C)

 

I WILL NOT BE SILENT. NEVER AGAIN.

 

For those of you who want a better understanding of the ongoing genocidal Israel-Hamas war, it is imperative that you educate yourself on the current political situation inside Israel itself, and especially on how American extremist zionist jews to a large degree have been instrumental in exporting their extremism into Israel and radically transforming Israeli society ever since the start of the Israeli occupation of the Palestinian territories and the Golan Heights after the Six-Day War in 1967.

 

For this very reason, you need to know about one very important key figure: American-born jewish fundamentalist fascist terrorist and extremist Meir Kahane (1934-1990), his legacy and his followers; past and present.

 

Mad 'rabbi' Kahane´s racist, fascist, ultranationalist, supremacist and religious theocratic ideology - Kahanism - lives on like never before and has grown immensely among his many supporters in Israel - not only among extremist illegal settlers any longer, not only among the odd ordinary Israeli citizen - No, today, this ideology permeates Israeli society itself.

 

Today, Kahane´s followers are even represented in the jewish fascist Benjamin Netanyahu government; many holding quite influential and powerful minister positions - like (and these are just a few of them):

 

1.) The infamous terrorist and so-called "Minister of Security" Itamar Ben-Gvir (b. 1976 and hailing from the extremist jewish fundamentalist and religious zionist settlement of Kiryat Arba in Hebron, Occupied Palestine)

 

2.) The terrorist and so-called "Finance Minister" Bezalel Smotrich (b. 1980 and hailing from the extremist jewish fundamentalist and religious zionist settlement of Kedumim, Occupied Palestine)

 

3.) The old-skool Moshe Levinger (1935-2015) follower and Gush Emunim settler extremist and so-called "Minister of Settlements" (!) Orit Strook (b. 1960 and hailing from the extremist jewish fundamentalist and religious zionist settlement of Kiryat Arba in Hebron, Occupied Palestine)

 

4.) Yitzhak Wasserlauf (b. 1992), so-called "Minister for the 'Development' of the Periphery, the Negev and the Galilee".

 

Therefore, here for your consideration I will present to you three important lectures held on the subject by what must be one of the bravest men in the world: David Sheen [his website is no longer available], an exceptional Israeli Canadian former journalist of the Israeli newspaper Haaretz; now an independent investigative journalist.

 

This is all very well researched and explained.

 

In his lecture ‘Kahanistan’ you will get a broader understanding of political thought and development in Israel and how in the past few decades it has become more and more deeply connected to the Kahane movement:

 

- David Sheen: Kahanistan (2022)

 

In the lecture ‘Messiah Mode’ you will become much more familiar with the history of Meir Kahane himself, the Jewish Defense League in the USA and the Kach party in Israel; in addition to several other influential kahanist religious figures and politicians:

 

- David Sheen: Messiah Mode (2019)

 

In his latest lecture, ‘False Messiah’s Donkey’, David Sheen delves deeper into the Kahane movement´s influence on U.S. society and politics in general and the Democratic party in particular:

 

- David Sheen: False Messiah’s Donkey (2022)

  

A TRULY SHAMEFUL LIST OF JUST A FEW PEOPLE MENTIONED:

  

- Baruch Goldstein (1956-1994), american-born jewish extremist physician and religious mass-murderer from Brooklyn, New York. Goldstein immigrated to Israel in 1982 and moved to the jewish extremist settler hub in Kiryat Arba / Hebron. In 1994 during Ramadan on the Jewish holiday of Purim he perpetrated the Cave of the Patriarchs massacre in Hebron. Wearing an IDF uniform and armed with an IMI Galil assault rifle, he opened fire on 800 Muslim worshippers inside the Ibrahimi Mosque, managing to kill 29 and wounding 129 before he was beaten to death by the survivors. Baruch Goldstein was a follower of Meir Kahane and a member of terrorist organization Jewish Defense League. Goldstein was number three in the Kach party after Meir Kahane (1932-1990) and Yisrael Ariel (b. 1939). Goldstein´s grave has become a site of pilgrimage and veneration for Jewish extremists, especially during Purim. The tomb of Baruch Goldstein is located in the Meir Kahane Memorial Park in the illegal extremist jewish fundamentalist and religious zionist settlement of Kiryat Arba in Hebron, West Bank, Occupied Palestine.

 

- Itamar Ben-Gvir (b. 1976), the current Minister of Security and party leader of Otzma Yehudit since 2022. Son of a mother active in the Irgun terrorist organization. Previously convicted of supporting the Kach terrorist organization. Exempted from service in the IDF due to extremist political background. Lawyer known for representing far-right Jewish activists suspected of terrorism and hate crimes; most notably representing the american-born extremist settler Baruch Marzel (b. 1956 in Boston, USA) in Hebron, the «right-hand man» of american-born rabbi Meir Kahane (1932-1990) and a fellow Otzma Yehudit party member. Known for displaying the portrait of american-born extremist settler and terrorist mass-murderer Dr. Baruch Goldstein (1956-1994) in his living-room. Itamar Ben-Gvir has 6 children and is a permanent resident of the illegal extremist jewish fundamentalist and religious zionist settlement of Kiryat Arba in Hebron, West Bank, Occupied Palestine.

 

- Baruch Marzel (b. 1959), american-born kahanist originally from Boston. His family immigrated to Israel when he was 6 weeks old, when he was 13 he joined the Jewish Defense League. At the age of 14 he was arrested for the first of many times, and when he was 17 he was imprisoned for the first time. An early member of the Kach party, he was Meir Kahane´s parliamentary aide in Knesset and the spokesperson for Kach for 10 years. Marzel is a physically violent man who has been harassing, threatening and assaulting countless Palestinians in Hebron for decades in addition to police officers, left-wing activists, peace activists and journalists. Marzel is known to have shot and killed a 15-year-old Palestinian boy and he has been arrested for conspiring to bomb a Palestinian school. He has also advocated violence against homosexuals in Israel and calling for religious war against them. Together with Bezalel Smotrich (b. 1980) - Israel´s Finance Minister - he arranged the «Beast Parade» in 2006, leading goats and donkeys through the streets in opposition to the Jerusalem gay pride parade.

 

Marzel is an important and instrumental figurehead for the extreme right in Israel. After the Kach party was banned in 1994, he founded the party Jewish National Front in 2004 and ran for Knesset. After not winning enough votes to enter Knesset, he joined the National Union party and served as fellow extremist and kahanist Michael Ben-Ari´s (b. 1963) parliamentary aide. Together with Bentzi Gopstein (b. 1969) he started Lehava in 2005, a jewish supremacist organization that stricly opposes jewish assimilation, objecting to any relationships between Jews and non-Jews - in 2010 he was urging Israeli model Bar Refaeli (b. 1985) not to marry her non-jewish boyfriend at the time, Leonardo DiCaprio (b. 1974). In 2013 he ran for Knesset again, this time for the Otzma Yehudit party, which had splintered from the National Union party; again not winning enough votes to enter Knesset. In 2015 he ran for Knesset again, but the Election Committee disqualified him from running in the election because of racism. Otzma Yehudit was not extreme enough for Marzel, so in 2022 together with Michael Ben-Ari he started the process of launching a new party to the right of Otzma Yehudit. Baruch Marzel has 9 children and is a permanent resident of the illegal extremist jewish fundamentalist and religious zionist settlement of Tel Rumeida in Hebron, West Bank, Occupied Palestine.

 

- Michael Ben-Ari (b. 1963); Ph.D. in Land of Israel and Archaeology studies. If you have ever heard about Gustaf Kossinna (1858-1931) and Nazi archaeology - that´s the kind of scholar Michael Ben-Ari is. Previous member of the Kach terrorist organization; Ben-Ari was banned from running in the 2019 elections due to his extremist political views. He was also a member of the Jewish National Front, a political party founded by american-born extremist settler Baruch Marzel (b. 1956 in Boston, USA) in Hebron, the «right-hand man» of american-born rabbi Meir Kahane (1932-1990). When Jewish National Front merged with the far-right religious Eretz Yisrael Shelanu, Ben-Ari gained a seat in the Knesset 2009-2012, electing Marzel and Ben-Gvir as his aides. Eretz Yishrael Shelanu was not extreme enough for Ben-Ari, so together with Marzel and Ben-Gvir he founded the Otzma Yehudit in 2012. Ben-Ari has been denied US visa several times for his extremism. After he was banned from Knesset in 2019, he has since found that Otzma Yehudit was not extreme enough for him, so he has recently started planning a new party together with Baruch Marzel. Ben-Ari has 9 children and is a permanent resident of the illegal extremist jewish fundamentalist and religious zionist settlement of Karnei Shomron, West Bank, Occupied Palestine.

 

- Baruch Ben-Yosef and Israel Fuchs, both of them american-born jewish Israeli kahanist settlers whose names are originally Andy Green and Keith Fuchs. Together with convicted murderer Robert Manning they are the suspected assassins of Alex Odeh (1944-1985), a Palestinian activist in the American-Arab Anti-Discrimination Committee. In Israel in 1980, Ben-Yosef was subjected to administrative detention for 6 months together with Meir Kahane for plotting to blow up the Dome of the Rock. In 1983, on the Jewish holiday of Purim, Fuchs sprayed a passing Palestinian car with bullets. Ben-Yosef later studied law and together with Fuchs he established the lawfare American Center for Civil Justice. Fuchs later mentored Simcha Rothman (b. 1980), a settler and religious zionist member who now serves as chairman of the Constitution, Law and Justice committee in the Knesset. Ben-Yosef mentored kahanist lawyer Itamar Ben-Gvir (b. 1976), current leader of the Otzma Yehudit party and Israel´s Minister of Security. In 2004, Ben-Yosef was one of 20 extremists who carried out the black magic kabbalistic curse of Pulsa diNura at the gravesite of Irgun terrorist Shlomo Ben-Yosef (1913-1938) in order to kill prime minister Ariel Sharon because of the 2005 Israeli disengagement from Gaza. Both Ben-Yosef Green and Keith «Israel» Fuchs are permanent residents of the illegal extremist jewish fundamentalist and religious zionist settlement of Kiryat Arba in Hebron, West Bank, Occupied Palestine.

 

- Mike Guzofsky, american-born jewish extremist from New York and a former member of Terror Against Terror, a militant organization that was active in Israel that openly espoused the ideology of perpetrating terrorism and committed several violent attacks directed at Palestinians, ranging from vandalism to mass shooting, bombing and murder. The group consisted of many Jewish-American settlers living in Hebron who considered themselves acolytes of ‘rabbi’ Meir Kahane. About mass-murderer Baruch Goldstein he said: «He was the sweetest jew who have ever lived.» Also known for, among other things, being a breeder of fierce patrol dogs with the purpose of instilling fear in the Palestinian population. Guzofsky is a permanent resident of the illegal extremist jewish fundamentalist and religious zionist settlement of Kfar Tapuach, West Bank, Occupied Palestine.

 

- Bentzi Gopstein (b. 1969), american-born jewish extremist who got away with murder in 1990, an ardent anti-christian and founder of the Lehava movement, a jewish supremacist organization that stricly opposes jewish assimilation, objecting to any relationships between Jews and non-Jews. Gopstein advocates the expulsion of Christians and the banning of celebrating Christmas. He is a member of the Otzma Yehudit party, has 8 children and is a permanent resident of the illegal extremist jewish fundamentalist and religious zionist settlement of Kiryat Arba in Hebron, West Bank, Occupied Palestine.

 

- David Ha'ivri (b. 1967), american-born extremist orthodox jew whose real name is Jason David Axelrod. About the assassination of Yitzhak Rabin he said: «It was not a jew who was murdered; it was a traitor who was liquidated. The liquidation of an enemy is a positive thing.» Today, David Ha'ivri acts as an Israeli diplomat and is a spokesperson for Israeli illegal settlements. He has 8 children and is a permanent resident of the illegal extremist jewish fundamentalist and religious zionist settlement of Kfar Tapuach, West Bank, Occupied Palestine.

 

- Ovadia Yosef (1920-2013) was the chief rabbi of Israel and spiritual leader of the religious orthodox Shas party. Ovadia Yosef had many controversial remarks; among them the following: «Gentiles were born only to serve us. Without that they have no place in the world, only to serve the jewish people. Why are gentiles needed? They´ll work, they´ll plow, they´ll reap. We will sit like an effendi and eat.» His son Yitzhak Yosef (b. 1952) is now the chief rabbi of Israel; a man who has likened people of black African descent to monkeys and has compared secular women to animals because they dressed immodestly.

 

- Ya'akov Yosef (1946-2013) was another son of Ovadia Yosef, also a rabbi and a Knesset representative for the Shas party 1984-1988. In the Knesset Ya'akov Yosef worked ardently on changing and doctoring the laws of Israel so that racism would be allowed so long as it was justified by religious arguments. Ya'akov Yosef openly endorsed rabbi Yitzhak Shapira´s book ’The King's Torah’ (2009) where it is argued that it is permissible for Jews to kill non-Jews, including children, under certain circumstances, and that there may be a reason to kill babies on the enemy side, even if they have not violated any laws, due to the potential future danger they might pose based on the assumption that they will grow up to be evil like their parents. ’The King's Torah’ also proposes that indirect killing of children could be justified as a means of exerting pressure on enemy leaders or if the children are obstructing a rescue operation and their presence contributes to murder.

 

- Yonatan Yosef, son of Ya'akov Yosef and also a rabbi, an illegal settler in East Jerusalem and former spokesman for the settlers in Sheikh Jarrah. He has been a Jerusalem City Council member since 2018, representing the ultra-orthodox religious zionist party Yachad. When he was 18 years old, he smuggled and collected caches of weapons from the army, plotting to murder Palestinians. He was arrested, but was tipped off by a government minister that the Shin Bet was coming for him; so he managed to get rid of much of the evidence and got off easy. In 2023, he was marching in Sheikh Jarrah with a group of supporters, chanting «We want Nakba, Nakba now!»

 

- Aryeh King (b. 1973) is the current Deputy Mayor of Jerusalem, representing the ultra-orthodox religious zionist party Yachad. In 2014, he was inciting a group of hundreds of ultra-orthodox men by telling them "This Sabbath we will read about Zimri and Kosbi. Phineas committed the act; he was zealous for God. He got up and committed the act - It´s like that today. Every single person here is like a small Phineas. I call out to all the small Phineas's here! I call on all of us to make a great commotion, wake up! The Lubavitcher rebbe is here with us - I have no doubt he expects us all to commit acts of Phineas." Zimri and Kosbi is a story in the bible, and according to this legend there was a jewish man and a Midianite woman, in other words, it was an interracial relationship. And this priest, Phineas, was so incensed, so disgusted at this miscegenation, at this interracial love that he actually took a spear, according to legend, and he murdered them in the middle of the act of lovemaking. In fact, according to the Talmud it says exactly what that act was: "Miracles were done for Phineas... His aim was through the penis of the man and the vagina of the woman" - that is; he pierced them in their intertwined genitals. Hours later after Aryeh King's speech; religious jews went out and mutilated and murdered 16-year old Palestinian Mohammed Abu Khdeir. They kidnapped him outside his home, stuffed him into a car and drove him out to the forest, where they forced petrol down his throat and they burned him to death from the inside out. Aryeh King is the father of 6 and is a permanent resident of the illegal settlement of Ma'ale HaZeitim in East Jerusalem, West Bank, Occupied Palestine.

 

- Moshe Feiglin (b. 1962), a kahanist, Likud politician and former Deputy Speaker of the Knesset. As Deputy Speaker of the Knesset, during the 2014 Gaza war he said that «The IDF shall designate certain open areas […] in which the civilian population will be concentrated subsequent to the elimination […] Gaza […] will become part of […] Israel and will be populated by Jews.» Also in 2014, he was inciting for Jews to go and take over the Al-Aqsa mosque. Feiglin has made so many controversial statements that he was banned from entering the United Kingdom in 2008. Moshe Feiglin has 5 children and is a permanent resident of the illegal extremist jewish fundamentalist and religious zionist settlement of Karnei Shomron settlement, West Bank, Occupied Palestine.

 

- Yoel Lerner (1941-2014), american-born extremist from Brooklyn, New York who grew up in South Africa. In 1960 he immigrated to Israel where he became a linguist and translator. He became a student of Meir Kahane and a member of the Jewish Defense League; and later became an aide to Kahane. In 1973, Lerner was arrested in a case of arson involving a fire in a shop selling Christian missionary books. In 1975, he was arrested on suspicion of conspiring to harm Henry Kissinger (1923-2023). Newspaper reports said that Lerner «had expressed threats to assassinate Kissinger». In 1978 he was imprisoned for 3 years for conspiracy and illegal possession of weapons. He had founded an underground ring of militants called ‘Gal’ with the aim to overthrow the government and establish a state based on religious law, and kill Arabs. In 1982, Lerner had formed a small youth organization whose aim was to destroy the Dome of the Rock in order to rebuild the Temple Mount, and for this he was sentenced to 5 years in jail, but 2 ½ years of his sentence was suspended. Lerner was married and had eight children.

 

- Alan Goodman (b. 1945) american-born extremist who moved from Baltimore to Israel in 1977. On Easter morning 1982, wearing an IDF military uniform and armed with an M-16 automatic rifle, he shot his way into the Dome of the Rock, killing two and wounding 11 Palestinians. Sentenced to life imprisonment plus 40 years. Goodman was released after 15 years.

 

- Yisrael Ariel (b. 1939), number two in the Kach party after Meir Kahane; these days he is propagating the re-introduction of ancient Sanhedrin rabbinical courts in Israel. Arrested several times; in the early 80s for sedition because he was planning to dig a tunnel under the Al-Aqsa mosque in order to take it over and turn it into a jewish settlement. Today, he is the chief rabbi in the state-sponsored Temple Institute, which has a focus on educating children on jewish temples and the establishing of the Third Temple on the Temple Mount in Jerusalem.

 

- Craig Leitner, american-born lawyer and former terrorist member of the JDL and Kach who served 30 months in jail for firebombing the Palestinian newspaper Al-Fajar and being involved in the shooting at an arab bus in Ramallah in 1984, injuring 6-7 Palestinians. Together with his lawyer wife Nitsana Darshan-Leitner (b. 1973) in the Shurat Hadin lawfare organization he is mostly involved with legal matters defending terrorists like for instance Yigal Amir (b. 1970); the assassin of Yitzhak Rabin (1922-1995), and Jonathan Pollard (b. 1954); an American-Israeli civilian-employed US Military intelligence analyst who in 1986 was sentenced to life in imprisonment for spying on the United States of America for the State of Israel. It is sickening to see that this man, who betrayed ALL of the NATO countries at the HEIGHT of the Cold War, not just the USA, but ALL WESTERN EUROPEAN COUNTRIES has been living as a free, war-mongering, obvious and public kahanist in Israel since 2021.

 

- Rafi Peretz (b. 1956), chief military rabbi of the IDF, Minister of Education 2019-2020 and Jerusalem Affairs and Heritage Minister of Israel 2020-2021.

  

See also:

 

- Unpacking Israeli History: Baruch Goldstein - Legacy of a Massacre (Nov. 2020)

- David Sheen: «Three Decades After his Death, Kahane’s Message of Hate is More Popular Than Ever», Middle East Report Online, February 02, 2021.

- Jeff Halper: «How Israel Undermines International Law Through ‘Lawfare’», The Israeli Committee Against House Demolitions, August 18 2014.

- Wikipedia: 2021 ban of Palestinian human rights organizations

Psalm 112:1 assures us: “Blessed is the man who fears the Lord, who greatly delights in his commandments!” “Greatly delights” translates Hebrew words that can be literally rendered, “takes the highest degree of pleasure.”

 

Hebrew parallelism uses the first line to explain the second. Thus, the person who fears and reverences God is the person who “greatly delights” in his will and word. Such a person is “blessed” by our Lord.

 

Obedience to God is the necessary precondition to understanding the ways of God. Oswald Chambers: “All God’s revelations are sealed until they are opened to us by obedience. You will never get them open by philosophy or thinking. Immediately you obey, a flash of light comes.”

 

Obedience does not earn God’s revelation–it positions us to receive it. That’s because faith in God, like any relationship, requires a commitment that transcends the evidence and becomes self-validating.

 

It is illogical to insist on proof for that which can only be experienced. You cannot prove you should attend a particular college or take a particular job until you do. You cannot prove you should get married until you get married. Some categories of truth are relational by definition. They cannot be understood until they are experienced.

 

If we view Scripture as advice we can accept or reject rather than divine commands we must follow, we will never comprehend its depths. But if we decide to obey God’s word, we will then understand his word.

 

Do you expect to meet God today?

Consider another factor: Perhaps the religious leaders failed to hear new revelation from God because they did not expect new revelation from God. It had been so long since they’d heard a true prophet that they limited God’s truth to what they already knew.

 

We can make the same mistake.

 

If we read the Bible but our lives are no different, we have not truly heard from God. If we pray and remain the same, we have not truly prayed. We cannot encounter the living Lord of the universe and be unchanged.

 

A young pastor once complained to Charles Spurgeon that few people were responding to his sermons.

 

The “Prince of Preachers” asked him, “You don’t expect people to respond every time you preach, do you?”

 

The young man assured him that he did not.

 

“That’s why they don’t,” Spurgeon replied.

 

Do you expect to meet God today in his word and worship? Do you expect him to answer your prayers and to move in power? Do you expect him to do in our world what he did in the biblical world?

 

“The three most terrible truths of our existence”

Hurricane Michael shows us that we need more of God than most of us have experienced. To experience all of God there is, we must understand his ways and know his provision.

 

Here’s the good news: To the degree that we obey his word, we can fully understand his ways. To the degree that we expect him to provide, we can truly know his provision.

 

Last week, we had no idea the hurricane would be so devastating. What don’t we know about next week?

 

Anne Lamott: “If I were going to begin practicing the presence of God for the first time today, it would help to begin by admitting the three most terrible truths of our existence: that we are so ruined, and so loved, and in charge of so little.”

 

When we face circumstances beyond our control, we have three options: We can continue to fight as though we are in control, give up and accept what comes, or work alongside the One who is in control. Only one brings true peace.

 

Choose wisely.

-Jim Denison

The nation of love and tolerance. A world of peace and understanding.

Leipziger Buchmesse 2015

2015-03-13 (Friday)

2015_008

2015#135

 

Sturmtochter (Melli) 319719 as Supergirl from Supergirl (DC Comics)

 

Thank you for any group invites which I will be glad to accept. However, if I can't check the content of such groups ("This group is not available to you") I'd rather not add any of my photos. Thanks for your understanding.

It's such an honor to have my photo chosen as the group cover!

 

You can view the group here: Beautiful Creations of Second Life

 

You can view my original photo here: The Pursuit of Understanding

As a child I loved looking at the covers and the illustrations within my dad's old science magazines. I didn't actually read any, just looked at the pictures. It's still absolutely inspirational stuff.

 

Saturday night cruising in Paprihaven, at the King of Cars dealership.* Fast Falconetti is assisting a customer in understanding what they want.

 

"You asked for a T-Bird and I, you mere servant at King of Cars, deliver... a Thunderbird. Milady, the 1967 Post Cereal premium with fabulous white tires. Am I right?"

 

"Oh! So, wow, that's really neat and kind of old-"

 

"Vintage. T-Birds are vintage. The good ones."

 

"Oh, sure! Right, but I saw Slim Savory's Thunderbird** and it was a Hot Wheels with that really nice diecast body. It looked great under the lights. So shiny."

 

"And so can you imagine Slim's envy when you pull up beside him in this old-school F&F beauty?"

 

"Um... envy?"

 

"You want curb appeal, my dear. Am I right? You want to be sitting pretty behind the wheel of a classy automobile that make the men stop in their tracks. When they get an eyeful of you cruising under the lights of a Market Street Saturday night, your beautiful hair blowing in the breeze, in this fabulous T-Bird, they're gonna worship you."

 

"Well, but... really?? Worship me??"

 

"It's that once-in-a-lifetime that grabs people, am I right? How many pretty girls are out there? Lots. Not as pretty as you, but pretty. How many Hot Wheels T-Birds are out there. Not lots, but not rare either. So, take you, you're gorgeous. If we're measuring beauty by 'breathtaking' then the breath is already gone."

 

"That's good?"

 

"That's the best. The top. Then combine that with this F&F T-Bird, only one of its kind out there, and what do you have? One in a lifetime, baby."

 

"This is the only F&F T-Bird in Paprihaven?"

 

"As far as we know."

 

"It really is a cool looking car."

 

"The coolest."

 

"Hm."

 

"I mean, your wish remains my command. You want, and I'll go check on the computer if we have a diecast Hot Wheels T-Bird so you can be like everyone else who has one."

 

"Well... no, I want this one. I never thought about it like that."

 

"Hey, that's what we do. We help you dream bigger. Come on in and we'll get the paperwork out of the way so you can commence creating once-in-a-lifetime moments."

 

And that was it. This is the second F&F Post Cereal car that Falconetti has sold,*** and he's the only one at King of Cars to have sold any. He's feeling good.

 

🚌🚦🚗⛽🚐🚍🚎🚔🚑🚨🚒🚓🚔🚕🚧🚖🚜🚘🚲

═════════════════════════════════════

A year of the shows and performers of the Bijou Planks Theater.

 

F&F Mold & Dieworks, Inc

Post Cereal Premium

Ford Thunderbird

1967, USA

 

* First seen in BP 2022 Day 169!

www.flickr.com/photos/paprihaven/52155324187/

 

** Slim's T-Bird seen in BP 2020 Day 193!

www.flickr.com/photos/paprihaven/50023881953/

 

*** Fast Falconetti also sold the Mercury Cougar in BP 2022 Day 211!

www.flickr.com/photos/paprihaven/52251977796/

Leipziger Buchmesse 2014

2014-03-15 (Saturday)

2014_054

2014#119

 

lenia (Anja) 262725 as Jessica Rabbit from Roger Rabbit

 

Thank you for any group invites which I will be glad to accept. However, if I can't check the content of such groups ("This group is not available to you") I'd rather not add any of my photos. Thanks for your understanding.

Leica-M6 TTL 0,85 Elmarit-M 1;2.8/90mm

Nikon super Coolscan 5000ed.

Ilford Delta 100asa developer Kodak HC 110 1+31 (B)

Melaan Mechelen België.

  

🔴Leica my point of view.

Wetzlar, Deutschland.

 

Leica-CL 1974 Rangefinder

 

Leica-M 6 TTL 0.72 1998 Rangefinder

 

Leica-M6 TTL 0.85 2001 Rangefinder

More Details Here:

ilovelowcostbirdly.blogspot.com.es/2014/11/understanding....

Leipziger Buchmesse 2019 / Leipzig Book Fair 2019

 

2019-03-23 (Saturday)

2019_038-043 2019_040

2019#372

arun.axa [Insta] (_____) ______ as Waldelfe from ______

 

I would appreciate any help with the identification of the character and the cosplayer, thank you.

 

Thank you for any group invites which I'd be glad to accept. However, if I can't check the content of such groups ("This group is not available to you") I'd rather not add any of my photos. Thank you for your understanding.

My Buddy Jeff sent to me. Credits.

3D models are invaluable to geologists. By seeing the shape of the surface, we can recognize volcanic craters, vents, and domes. Understanding the topography also makes it easier to plan traverses and safe walking paths in the field.

 

The main focus of the third session of Pangaea is volcanism. Lessons on the first day emphasized types of lavas and volcanoes found across Earth, Mars and the Moon.

 

ESA’s Pangaea training course prepares astronauts and space engineers to identify planetary geological features for future missions to the Moon, Mars and asteroids.

 

Leading European planetary geologists share their insights into the geology of the Solar System.

 

Through Pangaea, Europe is developing operational concepts for surface missions where astronauts and robots work together, among themselves and with scientists and engineers on Earth, using the best field geology and planetary observation techniques.

 

More about Pangaea

 

Stay tuned on the blog

 

Credits: ESA–A. Romeo

Understanding is possible between species....

   

www.Japan-Kyoto.de

Facebook: fb.me/Japan.Kyoto.de

 

Copyright: ©2016, Christian Kaden

Licence: Creative Commons BY-NC-ND 4.0

ID: IMG_7087

 

- About sharing ------------------

 

IT'S ALL ABOUT TRUST

It's really ok to use this photo as your wallpaper etc., but if you reuse it on the web or other public spaces, please read following lines carefully and don't give the impression that you took the photo yourself. A lot of work was done creating it, so please be respectful and help build some 'internet trust', thanks!

Credits as stated below are mandatory, not optional!

# If you want to use this photo under the given Creative-Commons-Licence, please credit it with:

©Christian Kaden / www.Japan-Kyoto.de

# If sharing or reuploading to Facebook, in addition to the above mentioned credits please add a link to the Facebook-Page of Japan-Kyoto as well. Either directly linked via @Japan-Kyoto (preferred) or fb.me/Japan.Kyoto.de (if @Japan-Kyoto is not possible).

# Want to use it in a commercial or monetized project? Leave me a message.

 

Examples

In general: ©Christian Kaden - www.Japan-Kyoto.de

On Facebook: ©Christian Kaden - www.Japan-Kyoto.de - @Japan-Kyoto (linked)

 

Thank you for your understanding.

 

GPS data available, check out the link:

www.google.de/maps/place/34.814169+135.910621

Look deep into nature, and then you will understand everything better.

Albert Einstein

 

x

CINEMA DIGITAL

 

A Study of 4D Julia sets

 

Baraka / Baraka from DVD to 4K / Baraka with the monkey

 

Beatbox360

 

Enquanto a noite não chega (While we wait for the night â?" first Brazilian film in 4K)/(primeiro filme brasileiro em 4k)

 

Era la Notte

 

Flight to the Center of the Milky Way

 

Growth by aggregation 2

 

Jet Instabilities in a stratified fluid flow

 

Keio University Concert

 

Manny Farber (Tribute to)

 

Scalable City

 

The Nonlinear Evolution of the Universe

 

The Prague train

   

FILE INOVAÇÃO / FILE INNOVATION

 

Interface Cérebro-Computador – Eduardo Miranda

 

Sistema comercial de Reconhecimento Automático - Genius Instituto de Tecnologia

 

Robô de visão omnidirecional – Jun Okamoto

 

Loo Table: mesa interativa - André V. Perrotta, Erico Cheung e Luis Stateri dos Santos, da empresa Loodik

 

Simulador de Ondas e Simulador de Turbilhão - Steger produção de efeitos especiais ltda.

   

GAMES INSTALAÇÕES / INSTALLATIONS GAMES

 

Giles Askham – Aquaplayne

 

Jonah Warren & Steven Sanborn – Transpose

 

Jonah Warren & Steven Sanborn – Full Body Games

 

Fabiano Onça e Coméia – Tantalus Quest

 

Julian Oliver - levelHead

   

GAMES

 

Andreas Zecher – Understanding Games

 

Andrei R. Thomaz – Cubos de Cor

 

Arvi Teikari – Once In Space

 

Fabrício Fava – Futebolando

 

Golf Question Mark – Golf

 

Introversion.co.uk – Darwinia

 

Jens Andersson and Ida Rödén – Rorschach

 

Jonatan Söderström – CleanAsia!

 

Jonatan Söderström – AdNauseum2

 

Jorn Ebner – sans femme et sans avieteur

 

Josh Nimoy – BallDroppings

 

Josiah Pisciotta – Gish

 

Marek Walczak and Martin Wattenberg – Thinking Machine 7

 

Mariana Rillo – Desmanche

 

Mark Essen - Punishment: The punishing

 

Mark Essen - RANDY BALMA: MUNICIPAL ABORTIONIST

 

Playtime – SFZero

 

QUBO GAS: Jef Ablézot, Morgan Dimnet & Laura Henno - WATERCOULEUR PARK

 

QueasyGames - Jonathan Mak – Everyday Shooter

 

R-S-G: Radical Software Group - Kriegspiel - Guy Debord's Game of War

  

Shalin Shodhan (www.experimentalgameplay.com) – On a Rainy Day

 

Shalin Shodhan (www.experimentalgameplay.com) – Cytoplasm

 

Shalin Shodhan (www.experimentalgameplay.com) – Particle Rain

 

Tales of Tales: Auriea Harvey & Michaël Samyn - The Graveyard

 

Tanja Vujinovic – Osciloo

 

ThatGameCompany – Jenova Chen – Clouds

 

ThatGameCompany – Jenova Chen - flOw

   

JOGOS BR

 

JOGOS BR 1

 

Ayri - Uma Lenda Amazônica - Sylker Teles da Silva / Outline Interactive

 

Capoeira Experience - Andre Ivankio Hauer Ploszaj / Okio Serviços de Comunicação Multimídia Ltda.

 

Cim-itério - Wagner Gomes Carvalho / Green Land Studios

 

Incorporated (Emprego Maluco) - Tiago Pinheiro Teixeira / Interama Jogos Eletrônicos

 

Iracema Aventura – Odair Gaspar / Perceptum Software Ltda.

 

Nevrose: Sangue e Loucura Sob o Sol do Sertão - Rodrigo Queiroz de Oliveira

/ Gamion Realidade Virtual & Games

 

Raízes do Mal – Marcos Cruz Alves / Ignis Entretenimento e Informática Ltda.

 

JOGOS BR 2 – Jogos Completos

 

Cave Days - Winston George A. Petty / Insolita Studios

 

Peixis!

(JOGO EM DESENVOLVIMENTO) - Wallace Santos Lages / Ilusis Interactive Graphics

 

JOGOS BR 2 – Demos Jogáveis

 

Brasilia Tropicalis - Thiago Salgado Aiache de Moraes / Olympya Games

 

Conspiração Dumont - Guilherme Mattos Coutinho

 

Flora - Francisco Oliveira de Queiroz

 

Fórmula Galaxy – Artur Corrêa / Vencer Consultoria e Projetos Ltda.

 

Inferno - Alexandre Vrubel / Continuum Entertainment Ltda

 

Lex Venture - Tiago Pinheiro Teixeira / Interama Jogos Eletrônicos

 

Trem de Doido (DEMO EM DESENVOLVIMENTO) - Marcos André Penna Coutinho

 

Zumbi, o rei dos Palmeiras - Nicholas Lima de Souza

    

HIPERSÔNICA / HIPERSONICA

  

Hipersônica Performance

 

Andrei Thomaz, Francisco Serpa, Lílian Campesato e Vitor Kisil – Sonocromática

 

Bernhard Gal – Gal Live

 

+Zero: Fabrizio Augusto Poltronieri, Jonattas Marcel Poltronieri, Raphael Dall'Anese - +Zero do Brasil

 

Luiz duVa - Concerto para duo de laptops

 

Henrique Roscoe (a.k.a. 1mpar) – HOL

 

Jose Ignacio Hinestrosa e Testsu Kondo – Fricciones

 

Alexandre Fenerich e Giuliano Obici – Nmenos1

 

Orqstra de Laptops de São Paulo - EvEnTo 3 Movimentos para Orquestra

    

Hipersônica Participantes

 

Agricola de Cologne - soundSTORY - sound as a tool for storytelling

 

Jen-Kuan Chang – Drishti II

 

Jen-Kuan Chang – Discordance

 

Jen-Kuan Chang – Nekkhamma

 

Jen-Kuan Chang - She, Flush, Vegetable, Lo Mein, and Intolerable Happiness

 

Jerome Soudan – Mimetic

 

Matt Lewis e Jeremy Keenan – Animate Objects

 

Robert Dow - Precipitation within sight

 

Tetsu Kondo – Dendraw

 

Tomas Phillips – Drink_Deep

   

INSTALAÇÕES / INSTALLATIONS

 

Anaisa Franco – Connected Memories

 

Andrei Thomaz & Sílvia Laurentiz – 1º Subsolo

 

Graffiti Research Lab – Various

 

Hisako K. Yamakawa – Kodama

 

r3nder.net+i2off.org – is.3s

 

Jarbas Jacome – Crepúsculo dos Ídolos

 

Julio Obelleiro & Alberto García – Magnéticos

 

Julio Obelleiro & Alberto García – The Magic Torch

 

Mariana Manhães – Liquescer (Jarrinho)

 

Mariana Manhães – Liquescer (Jarrinho Azul)

 

Rejane Cantoni e Leonardo Crescenti – PISO

 

Sheldon Brown – Scalable City

 

Soraya Braz e Fábio FON – Roaming

 

Takahiro Matsuo – Phantasm

 

Ursula Hentschlaeger – Outer Space IP

 

Ursula Hentschlaeger – Phantasma

 

Ursula Hentschlaeger – Binary Art Site

   

SYMPOSIUM

 

Agnus Valente

 

Anaisa Franco

 

Andre Thomaz e Silvia Laurentiz

 

Christin Bolewski

 

Giles Askham

 

Graffiti Research Lab: James Powderly

 

Hidenori Watanave

 

Ivan Ivanoff e Jose Jimenez

 

Jarbas Jácome

 

João Fernando Igansi Nunes

 

Marcos Moraes

 

Mediengruppe Bitnik; Carmen Weisskopf, Domagoj Smoljo, Silvan Leuthold, Sven König [SWI]

 

Mesa Redonda (LABO) - Cicero Silva, Lev Manovich (teleconferencia) e Noah Wardrip-Fruin

 

Mesa Redonda [BRA] – (Hipersônica) Renata La Rocca, Gabriela Pereira Carneiro, Ana Paula Nogueira de Carvalho, Clarissa Ribeiro Pereira de Almeida. Mediação: Vivian Caccuri

 

Mesa Redonda [BRA] - [Ministro da Cultura: Gilberto Gil | Secretário do Audiovisual do Ministério da Cultura: Sílvio Da-Rin | Secretário de Políticas Culturais do Ministério da Cultura: Alfredo Manevy ]

 

Mesa Redonda [BRA] - Inovação - Lala Deheinzelin, Gian Zelada, Alessandro Dalla, Ivandro Sanches, Eduardo Giacomazzi. Mediação: Joana Ferraz

 

Mesa Redonda 4k - Jane de Almeida, Sheldon Brownn, Mike Toillion, Todd Margolis, Peter Otto

 

Nardo Germano

 

Nori Suzuki

 

Sandra Albuquerque Reis Fachinello

 

Satoru Tokuhisa

 

Sheldon Brown

 

Soraya Braz e Fabio FON

 

Suzete Venturelli, Mario Maciel e bolsistas do CNPq/UnB (Johnny Souza, Breno Rocha, João Rosa e Samuel Castro [BRA]

 

Ursula Hentschlaeger

 

Valzeli Sampaio

   

Cinema Documenta FILE São Paulo 2008

 

Antonello Matarazzo – Interferenze – Itália / Italy

Bruno Natal - Dub Echoes – Brasil / Brazil

Carlo Sansolo - Panoramika Eletronika - Brasil / Brazil

Kevin Logan – Recitation – Londres / London

Kodiak Bachine e Apollo 9 – Nuncupate – Brasil / Brazil

Linda Hilfing Nielsen - Participation 0.0 – Dinamarca

Maren Sextro e Holger Wick - Slices, Pioneers of Electronic Music – Vol.1 – Richie Hawtin Documentary – Alemanha / Germany

Matthew Bate - What The Future Sounded Like – Austrália

Thomas Ziegler, Jason Gross e Russell Charmo - OHM+ the early gurus of electronic music – Eua / USA

 

Mídia Arte FILE São Paulo 2008

 

[ fladry + jones ] Robb Fladry and Barry Jones - The War is Over 2007 – EUA / USA

Agricola de Cologne - One Day on Mars – Alemanha / Germany

alan bigelow - "When I Was President" – EUA / USA

Alessandra Ribeiro Parente Paes

Daniel Fernandes Gamez

Glauber Kotaki Rodrigues

Igor Albuquerque Bertolino

Karina Yuko Haneda

Marcio Pedrosa Tirico da Silva Junior – Reativo – Brasil / Brazil

Alessandro Capozzo – Talea – Itália / Italy

Alex Hetherington - Untitled (sexyback, folly artist) – Reino Unido / United Kingdon

Alexandre Campos, Bruno Massara e Lucilene Soares Alves - Novos Olhares sobre a Mobilidade – Brasil / Brazil

Alexandre Cardoso Rodrigues Nunes

Bruno Coimbra Franco

Diego Filipe Braga R. Nascimento

Fábio Rinaldi Batistine

Yumi Dayane Shimada – Abra Sua Gaveta – Brasil / Brazil

ALL: ALCIONE DE GODOY, ADILSON NG, CAMILLO LOUVISE COQUEIRO, MARINA QUEIROZ MAIA, RODOLFO ROSSI JULIANI, VINÍCIUS NAKAMURA DE BRITO – Vita Ex Maxina – Brasil / Brazil

Andreas Zingerle - Extension of Human sight – Áustria

Andrei R. Thomaz - O Tabuleiro dos Jogos que se bifurcam - First Person Movements - Brasil / Brazil

Andrei R. Thomaz e Marina Camargo – Eclipses – Brasil / Brazil

Brit Bunkley – Spin – Spite – Nova Zelândia – New Zeland

calin man – appendXship / Romênia

Carlindo da Conceição Barbosa

Kauê de Oliveira Souza

Guilherme Tetsuo Takei

Renato Michalischen

Ricardo Rodrigues Martins

Tassia Deusdara Manso

Thalyta de Almeida Barbosa / Da Música ao Caos – Brasil / Brazil

Christoph Korn – waldstueck – Alemanha / Germany

Corpos Informáticos: Bia Medeiros, Carla Rocha, Diego Azambuja, Fernando Aquino, Kacau Rodrigues, Márcio Mota, Marta Mencarini, Wanderson França – UAI 69 – Brasil / Brazil

Duda. – do pixel ao pixel – Brasil / Brazil

Daniel Kobayashi

Felipe Crivelli Ayub

Fernando Boschetti

Luiz Felipe M. Coelho

Marcelo Knelsen

Mauro Falavigna

Rafael de A. Campos

Wellington K. Guimarães Bastos - A Casa Dentro da Porta – Brasil / Brazil

David Clark - 88 Constellations for Wittgenstein – Canadá

Thais Paola Galvez

Josias Silva

Diego Abrahão Modesto

Nilson Benis

Vinicius Augusto Naka de Vasconcelos

Wilson Ruano Junior

Marcela Moreira da Silva – Rogério caos – Brasil / Brazil

Diogo Fuhrmann Misiti, Guilherme Pilz, João Henrique - Caleidoscópio Felliniano: 8 ½ - Brasil / Brazil

Agence TOPO: Elene Tremblay, Marcio Lana-Lopez, Maryse Larivière, Marie-Josée Hardy, James Prior - Mes / My contacts – Canadá / Canada

Eliane Weizmann, Fernando Marinho e Leocádio Neto – Storry teller – Brasil / Brazil

Fabian Antunes - Pousada Recanto Abaetuba – Brasil / Brazil

Edgar Franco e Fabio FON - Freakpedia - A verdadeira enciclopédia livre – Brasil / Brazil

Fernando Aquino – UAI Justiça – Brasil / Brazil

Henry Gwiazda - claudia and Paul - a doll's house is...... - there's whispering...... – EUA / USA

Architecture in Metaverse: Hidenori Watanave - "Archidemo" - Architecture in Metaverse – Hapão / Japan

Yto Aranda – Cyber Birds Dance – Chile

Dana Sperry - Sketch for an Intermezzo for the Masses, no. 7 – EUA / USA

Jorn Ebner - (sans femme et sans aviateur) – Reino Unido / United Kingdon

Josephine Anstey, Dave Pape - Office Diva – EUA / USA

Josh Fishburn – Layers – Waiting – EUA / USA

Karla Brunet – Peculiaris – Brasil / Brazil

Kevin Evensen - Veils of Light – EUA / USA

lemeh42 (santini michele and paoloni lorenza) - Study on human form and humanity #01 – Itália / Italy

linda hilfling e erik borra - misspelling generator – Dinamarca / Denmark

Lisa Link - If I Worked for 493 years – EUA / USA

Marcelo Padre – Estro – Brasil / Brazil

Martha Carrer Cruz Gabriel - Locative Painting - Brasil / Brazil

Martin John Callanan - I Wanted to See All of the News From Today – Reino Unido / United Kingdon

Mateus Knelsen, Ana Clara, Felipe Vasconcelos, Rafael Jacobsen, Ronaldo Silva - A pós-modernidade em recortes: Tide Hellmeister e as relações Design e cultura – Brasil / Brazil

Mateus Knelsen, Felipe Szulc, Mileine Assai Ishii, Pamela Cardoso, Tânia Taura - Homo ex machina – Brasil / Brazil

Michael Takeo Magruder - Sequence-n (labyrinth) - Sequence-n (horizon) – Reino Unido / United Kingdon

Michael Takeo Magruder + Drew Baker + David Steele - The Vitruvian World - Reino Unido / United Kingdon

Nina Simões - Rehearsing Reality ( An interactive non-linear docufragmentary) - Reino Unido / United Kingdon

Nurit Bar-Shai - Nothing Happens – EUA / USA

projectsinge: Blanquet Jerome - Monkey_Party – França / France

QUBO GAS - WATERCOULEUR PARK – França / France

rachelmauricio castro – 360 - R.G.B. – tybushwacka – Brasil / Brazil

Rafael Rozendaal - future physics – Netherlands

Regina Célia Pinto - Ninhos & Magia – Brasil / Brazil

Roni Ribeiro – Bípedes – Brasil / Brazil

Rubens Pássaro - ISTO NÃO É PARANÓIA – Brasil / Brazil

Rui Filipe Antunes – xTNZ – Brasil / Brazil

Selcuk ARTUT & Cem OCALAN – NewsPaperBox – Brazil

Tanja Vujinovic - "Without Title" – Switzerland

 

Hipersônica Screening – FILE São Paulo 2008

 

1mpar – hol – Brasil / Brazil

Art Zoyd - EYECATCHER 1 - EYECATCHER 2, Man with a movie camera - Movie-Concert for The Fall of the Usher House – França / France

Audiobeamers (FroZenSP and Klinid) - Paesaggi Liquidi II – Alemanha / Germany

Bernhard Loibner – Meltdown – Áustria

Bjørn Erik Haugen – Regress - Norway

Celia Eid e Sébastien Béranger – Gymel – França / France

Studio Brutus/Citrullo International - H2O – Itália / Italy

Daniel Carvalho - OUT_FLOW PART I – Brasil / Brazil

David Muth - You Are The Sony Of My Life – Reino Unido / United Kingdon

Dennis Summers - Phase Shift Vídeos – EUA / USA

Duprass - Liora Belford & Ido Govrin – Free Field – Pink / Noise – Israel

Fernando Velázquez – Nómada – Brasil / Brazil

Frames aka Flames - Performance audiovisual sincronizada: Sociedade pós-moderna, novas tecnologias e espaço urbano - Brasil / Brazil

Frederico Pessoa - butterbox – diving - Brasil / Brazil

Jay Needham - Narrative Half-life – EUA / USA

Soundsthatmatter – trotting – briji – Brasil / Brazil

x

View On Black

 

The Dome in the Main Reading Room of the Library of Congress. It took a little maneuvering to get this shot, as the figures in blue (at the very top of the dome) can only be seen from certain angles.

 

From the LOC website:

On the ceiling of the lantern, which rises above the highest part of the dome, is a painting of a beautiful female figure representing Human Understanding, in the act of lifting the veil of ignorance and looking forward to intellectual progress. She is attended by two cherubs: one is holding the book of wisdom and knowledge and the other seems, by his gesture, to be encouraging viewers beneath to persist in their struggle toward perfection.

 

The decoration on the base or collar of the lantern consists of a ring of twelve seated figures, male and female, ranged against a wall of mosaic patterning. They represent the twelve countries, or epochs, which in 1897, when the building was constructed, were thought to have contributed the most to modern civilization.

 

• Egypt represents Written Records.

• Judea represents Religion.

• Greece represents Philosophy.

• Rome represents Administration.

• Islam represents Physics.

• The Middle Ages represent Modern Languages.

• Italy represents the Fine Arts.

• Germany represents the Art of Printing.

• Spain represents Discovery.

• England represents Literature.

• France represents Emancipation.

• America represents Science.

  

Thanks for looking!

 

-----------------------------------------------------------------------------------

Comments and constructive criticism always appreciated.

Stream on Black

Intesa.

Only in the first world, where people are completely divorced from the reality of food and especially meat, will this photo elicit a visceral negative reaction.

 

Think about source, think about how we are all interconected. If you do not, you do not respect the ingredient, the animal, or yourself.

 

If you are a vegetarian, this is not for you. I am an omnivore, I eat from all walks of life and I am completely honest and interested in understanding where that food comes from.

Centre for Cultural Understanding, Dubai, United Arab Emirates

141209-dubai-eos50d-299-ss-a

WATER AND THE ENVIRONMENT

 

Water security has become a critical issue in human development and environmental and economic sustainability, particularly in the light of global population growth.

 

The IAEA promotes the application of nuclear techniques to help locate, manage and conserve fresh water, as well as to protect the oceans. It provides Member States with training in isotope hydrology, as well as expert services and analyses to broaden the understanding of natural freshwater systems. Nuclear techniques are used to study environmental processes and the impact of climate change on the marine environment.

 

In the Gulf of Fonseca off the coast of El Salvador, an IAEA-trained researcher uses radiotracers in 2010 to analyse the origin, content and route of marine pollution.

Photo: IAEA

THE ALTAR OF INTERFERENCE

 

Rack: Ruin, Sorry to have been unresponsive. I fell off the digital planet upstate and found it delightful. Back in the city. All is well except for that gnawing post-holiday anxiety. Hope you're good and the writing goes along.

  

Ruin: I have been enjoying some crisis time here. Stuff to do with the sexual abuse, the neglect, and the, to be expected, self-loathing generated there. It happens every now and then, and it can be overpowering. The stuff we have been looking at, or at least that stuff I have been writing about, would more or less cause that to happen, I guess. Anyway, I have been taking a step back to look at it, the PTSD generated through abuse of all stripes. It’s sort of overarching. I want to look at it, and the idea of patterns, that ‘Wild Goose’ thing, of flight rather than fight, that permanent adrenaline rush of looking for a constant ‘elsewhere’, of heading out, or creating situations where one has to head out (like the silly 'London situation' that catapulted me to Amsterdam), that forcing oneself into constant panic-mode, left over from childhood survival tactics.

 

Then there is the generation of a cuckoo gene relative to all that too, that looking for parents, stealing them, even, nesting strategies that could be considered ‘shameful’, or at least might generate shame to add to the self-loathing, bolstering it up. Then there’s the slow suicide of looking for HIV, that cowardly way of doing oneself in. Anyway, these are a few of the things I am going to look at unflinchingly, going forward. I am in a sort of bracing mode, girding one’s overused, and sagging, loins for a full-frontal assault.

 

Once more unto that breach, and all that palaver, a cuckooed 'Wild Goose' negotiating a swansong, even.

 

It's difficult to write these things about oneself, and see them reflected back by you, your acknowledgment of them, suggesting that you have more than an 'understanding'. We are both aware of what we reflect back to each other, something we have done for 35 years now, that there is mutuality there. I know why you struggle with it, I do too. I suspect this might be what makes it worthwhile.

  

Rack: Ruin, I had a similar moment recently. It has taken this long for me to be able to recognize what is happening when I want to flee, when I feel that the sky falling on my head is imminent, when I just can't function. It is hard to acknowledge how many areas of life its tendrils have drilled their way into. I have read that Ketamine infusions can help, and I've been toying with the idea for a long time, though it is horribly expensive. Not drinking has been a huge help lately and I realize that booze just makes me more anxious, ultimately. It's alarming to think how one's life has been sculpted by such childhood events. I can't even identify what it is that happened. I can remember very little of childhood. I wonder was there additional abuse to the stuff I can remember. I suppose it's not that important to remember the details. That whole notion of healing and moving on seems like a daft impossibility to me. If anything, the symptoms of PTSD have become worse for me as I age, as if they will out, regardless. Sometimes I just feel like I'm not functioning. Anyway, I know where you are and it is a difficult and painful place to sit through. Maybe that's how you get past it. By looking it in the eye and not freezing. Maybe the writing of it will be a huge relief for you, not in the way of some perfect redemption, but a squaring of things. I am sending you much love.

  

Ruin: I don’t know if I scared myself to a stop or not, I don’t think I did, I think I am still writing. I am writing around it, around the theme. There were, of course, triggers. It’s difficult to get to that point of full exposure, but that’s where I think I have to go, and I have enough evidence of questionable behaviour generated in response, perhaps, both in my art and in what I have been writing all these years. Strangely, I realised that there were others in my family generating patterns, according to how they reacted to our negligent parents. The sister, Phil, who gloated over the tearing up, and burning, of that book (‘A Stone for Danny Fisher’) is the same sister who consigned my Doctoral work to the Dublin City dump. It was the same action, a refined echo, but 50 years later. I have been looking at, and thinking about, how we continue to unknowingly repeat these patterns. I assumed my victim role, and ran away, yet again. I would rather fly than fight, that classic ‘wild goose’ pattern. There is nothing there I want to fight for anyway, the place is even more sordid than I am, but I want to be aware of these patterns, and all of my siblings adapted a different variation, one that would make their lives livable. But my parents in their turn generated their patterns in reaction to their abandonment, so there’s no blame there at all. I guess the idea isn’t to blame, even not to blame my abusive uncle, I love the word ‘avuncular’, his was learnt behaviour. Of this I am sure, given that I know that at least two of his older brothers are child abusers (and priests).

 

So, the drive is not to ‘forgive’ and lovingly embrace family. It’s simply, through writing, to understand these patterns, and hopefully in doing so, to short-circuit the whole shebang. But I don’t want to write an abuse ‘memoir’. Anyway, there’s the challenge, and it’s still called ‘Rack and Ruin’.

  

Rack: Yes. I heartily agree. It’s “just” trying to understand and thereby to release oneself of ever re-enacting the same circular route. Maybe not possible. Maybe is.

  

Ruin: Well, I wouldn’t want to prefigure, or disallow for, any deathbed exegesis, that flash of realisation, that might, or might not, be on the cards. If it was all figured out before then it might make that climax anti-climactic. As for the rest, the writing, the art, the life, you get as far as you get, and then it all unravels anyway, and before you know it, you’re dust. There’s a cheerful morning thought. I suspect we both have them. Then there is that intervening time, and the filling of the same. Mine is very much about restoring self-worth, and I am actually glad that I am still at that. It would have been much easier just to give up and dissipate towards that void (Oh, the drama!). I wrote sissipate, accidentally. I like that, that rolling the ball endlessly up that hill, and finding it at the bottom of the hill in the morning. Just like this morning, and away we go again. Bless that dung beetle. I like that we, instinctively, continue to do this, each rolling (along the self-same route) being completely different from the one before. That release happens in its own time, or rather it’s happening constantly, until it’s spent. I like this, and have no interest in it other than the doing itself. I like putting words and images up on Flickr. I love that this represents a type of slightly cracked-open window, that one's experience, and understanding, is not completely shut off, even if there is no evidence of any response. It is enough in itself. It reminds me of that medieval Anchorite sitting by her window, carbuncled onto a remote church, entombed even. The goal is no longer to show, or publish, the goal is to make, with a small window left open, just in case. I love that 'Just in case'.

 

“Maybe not possible. Maybe is.” I love the ‘maybe’, like I love ‘perhaps’, ‘even’, ‘possibly’, and other words conveying lack of surety. That’s where I would love to be found sitting for whatever posterity there might be, or not. Either way, it doesn’t matter. I also love that idea of it not mattering. I saw it in a ketamine exegesis (that word again), and I know it to be true. I know, ‘dumb ass’, but I don’t care.

  

Rack: Yes to "restoring self-worth". Oh, that there were a short cut, but it seems there is not, probably not even Ketamine. Up and down that bloody hill, sissipating like the dung beetles that we are. We are, once again, at the juncture of ‘Labor Day’, that convenient long weekend that bookends the summer with its predecessor, ‘Memorial Day’. My panic continues as my partner sits reading with a small flashlight hanging out of his mouth, because he can no longer see without the additional light. Who does the panicking in your house? I feel like it is somebody's job in a household. A small engine of worry. Anyway, I am going to try and park it somewhere and enjoy the relatively empty city and the weather with the worst of the heat gone out of it. Could really do with a good long screaming walk with you.

 

Ruin: I am the worrier. I find myself wonderfully entombed with the buggering Buddha, as far as that is concerned. It’s a glorious place to be. Our Pyramid is wondrous. Time is at its undoing, and I love it all shoddying the edges. That doesn’t seem to staunch that flow of worrying, regardless. The insecurities, or the source, perhaps, of that deluge, is somewhat easily traced back.

 

The Mater had a type of mantra, it was in a way the pride of her arsenal, and I remember it being put to use on many an occasion. It went something like this: “You do know that you can never pay us back, don’t you? If you worked all your life and gave us every penny you ever earned, it wouldn’t even come near to what you owe us”. I have it in parentheses, but it is not really a quote. It wouldn’t have been proffered so lucidly, it would have been spat and mangled, screeched out, perhaps between thuds and flailing fists. It was harridan-like. The thuds and flailings would, more or less, always miss their marks and land on a battered table, or on the back of a broken chair. They weren’t the problem. All the chairs in the house were broken. I remember going back to help celebrate one Christmas, travelling from London, 40 years later, and sitting on a chair which immediately collapsed from under me. I roared at the power of the Mater’s mantra asserting itself, as I sat on the floor hysterically laughing whilst remembering.

 

So, it was set in stone. I would have to go working at the age of thirteen, in the aforementioned ‘The Laurels’ to “earn my keep” and pay into the coffers for the upkeep of the brood, all of whom had “no idea how much they owed”. At some point, during one of these incidents, I made the connection between sex and pleasure, probably around the concurrent abuse cycle with my uncle, and perhaps managed to scream out that they chose to have sex, that they shouldn’t have had children at all. My mother informed me that “sex is for men”, which only further confused me relative to her putting her brother in my bed.

 

Other than what my bull-uncle was teaching me, this was the only sex education that I had.

 

When we came to ‘Human reproduction’ in biology class, the ‘chaste’ Christian Brother announced, “We will skip this section for now, it won’t come up in exams anyway”. I was already, perhaps, a year into my anthropological avuncular education.

 

Avuncular

 

/əˈvʌŋkjʊlə/

Learn to pronounce

adjective

adjective: avuncular

1.

kind and friendly towards a younger or less experienced person.

"he was avuncular, reassuring, and trustworthy"

2.

ANTHROPOLOGY

relating to the relationship between men and the children of their siblings.

 

It was strangely confusing, this attention from my uncle. Nobody had paid any attention to me before.

 

[9:58 am, 02/09/2022] Ruin: A screaming walk would be wonderful. It would have to be a slow one though, and not too far, with rest stops along the way. The screaming wouldn't have to be slow, we could let that go from the get go. A relapse into hysteria with you would be wondrous indeed.

 

[9:58 am, 02/09/2022] Ruin: But we can also always do that here.

 

Let's sissipate side by side.

 

Rack: I don't think I've ever heard these stories, at least so graphically. You are approaching the very kernel here. Her fury is so furious and so energetic. I can almost relate. I can't help but think about her putting her brother in your bed, or you in his. It strikes me as some weird sacrifice she was making. Offering her brightest up to the altar of interference. Knowing and not knowing. And I suppose sex was for men. My paternal grandmother said the same thing. A thing to be endured. Your mother was going to make you endure it too. Somehow share in that forced ritual. Why did she choose you? Was it an age thing? It's horrifying and fascinating. Sending you love, as always.

  

Ruin: Yes, Rack, this is the crux, the kernel, that molten core. It might be other than what we expect, but this is it. It is also why I don’t want to write an abuse ‘memoir’. It’s not that. It’s not about struggle, triumph over adversity, forgiveness, and a sort of accompanying redemption. It is about ‘drivers’. It’s about innocence too, universal innocence, even. The mater’s innocence, the sibling’s innocence, the abuser’s innocence, and ultimately the self’s innocence. It encompasses the murderer’s, and mass-murderer’s, innocence. It would even include the innocence of those God botherers, those mass-manipulators who pushed their divisive theories of the divine on our susceptible forebears, those so-called priests and nuns. At a push, it might even include bank-managers and CEOs of Fortune-500 companies. Okay, I’ll go the whole hog, artists need to be forgiven too.

 

I would normally sit down, of a morning, and vomit out a spiel, and press the send button. I can’t do that this morning. I have to write this and be as clear as I can be, so there is no misunderstanding as to what I am trying to say.

 

I will just say, firstly, that my mother chose nothing. She was 100% reactive, desperately and fearfully reactive, even. She was, sadly, trapped in a pattern, rather like we all are, to a lesser or greater extent.

 

So, that’s where I am starting from. The rest is about getting as far as time permits.

 

I will answer those questions you brought up, as we go along.

 

Ruin: [10:44 am, 03/09/2022] It was never going to be easy, Crusty Lusty.

 

Rack (from sometime back in the mid-nineties, last century):

 

Funny you should mention staving off the SSRI pillies.†

Lately I have felt them to be an evil† necessity myself and frankly I am tired of them.†

I do need them ‘til I'm de-interfered with, but I think they† make one's character and brain sort of mushy until one reaches a state where you are oddly detached from your "self" and quite happy to be mired knee deep in your own raw sewage.†

 

It's not good.†

I feel impure in a way I can't quite explain, and I'm not prone to

feeling impure.†

 

Ultimately there is something terribly wrong about being incapable of living

without them.†

Why not just look for an honest distraction like alcoholism,

severe junkiedom, or whoredom?†

 

All this modern messing with chemistry.

Anyway, feeling like a reactionary regarding them and god bless you for going

cold turkey and long may it last.†

I'm sure one makes better work without them.

 

I'm† off to the scratcher with my oozing beaver:† ah the last gasps of estrogen as the old uterus pops an egg and screams for something to fill it up.†

Odd this biological baggage we women folk have; all this oozing and cycling and yet

no thought of acting on it.†

 

Modern, eh???

 

Much love,

 

Pox Bunny Beaver Rackety Crust

 

[10:49 am, 03/09/2022] Ruin: You were, and are, a wondrous poet.

 

I love your use of the crucifix. Strangely, the matrix put them there. Somewhere in the transferal from a Word document, or from an email, or whatever. They, the crucifixes just appeared. I like that their placing seems so random, though they do impose a sort of rhythm. This musky Matrix knows best, all praise our new Meta Gods on this soul-saving superhighway. I would not want to remove those religious signifiers put there by whoever is the powers that be.

 

The original ‘Castration Piece’ had a fourth panel. It read "I am Not an Open Beaver". I am putting the titles of art pieces in single parentheses, they refer to pieces made, and either shown at some point or other in Galleries and Museums, or on the WWW, on my only social media platform ‘Flickr’.

 

Rack: I always loved that piece.

 

Ruin: I liked placing it back at ‘The Mammy's Hearth’, that sacrosanct place of no safety.

 

Rack: And blurry you. How the hell do we ever individuate? I feel as if I’m still sissipating up that particular hill.

 

Ruin: We do it whilst sissipating, we are even doing it now. I love our new word.

 

Rack: Me too. Rhymes with dissipating, includes it, of course, but also suggests some progress, even if Sisyphean.

 

Ruin: I am still sitting with those last few questions you asked me, it's going to take time to answer them, but I will. I am worn out, off to the doctor to find out what is happening with my prostate, kidney pains, urinating every 15 minutes, exhaustion, sore groin lymph node (one sided).

 

Rack: Eugh, sounds nasty. No rush on answering those questions. I hope they weren’t “previous” of me to ask. But I am genuinely curious. It goes back to the innocence factor. Anyway, sorry your nether regions are bothering you. I hope it can be resolved in a simple way. All we can hope for our ailments now.

 

Ruin: No questions are "previous", ever. More like "about time", this doo-doo needs sorting out.

Rack: ♥️

Ruin: ♥️💩

  

As for the mater’s fury, he had some ideas relative to the source of that pain and anger. She was never overtly forthcoming with her sharing, regarding her ‘story’ that is, though she would on occasions over-share inappropriately. He recognized this tendency in himself, and in others he had known from the abused fraternity and sorority. This had a sort of uncontrollable Tourette’s-like quality, a certain convulsive vomiting, almost exorcism-like in its urgency to be expelled. He understood it now, but as a child this was confusing. She had been abused, she spoke a little of this later, another errant uncle working his avuncular magic, that undoing of innocence, that unwanted incursion. But she had been abandoned when she was six or seven years old, more or less left as the carer for her three younger siblings, after her mother had died, of TB, at a tender age, somewhere in her early thirties. Her father had left the four children, almost immediately, in the care of some older relatives, disappearing from their lives and remarrying a 17-year-old girl, with whom he had 13 more children. The mater did not see her father again until her own wedding day, when she was 23 years old. So, he surmised, we are talking about abandonment here, that form of neglect and abuse, before that other assault, referenced but never really spoken of. He remembered her cursing that uncle later on, but no details of what happened were ever shared. There was a gap there, another unfillable void.

 

Why the ‘his’? Why the ‘he’? It’s simple really, it gives a once remove, making it all a little easier. It might go back and forth, but who knows? There was also that once remove of the inadequacy of memory. Of course, he wasn’t even sure how much of this was true, even, what parts he remembered and what parts he had dreamed, or what part he had generated to find the wherewithal to forgive himself, and her. He was at a point where he couldn’t easily remember what day yesterday was, never mind familial gathering, sixty years ago, around that infinite family hole. His father’s crater was also there, inadequately filled with alcohol and anger, regrets, sadness, and neglect.

 

They sucked each other in, my parents, warring black holes in love, proffering impossible promises of security to each other, indifferent to everything else including their own children. Or so it seemed. But children can’t surmise all this, they can only pick up on the anger and disappointment, and the complete lack of any vestiges of stability. They each, both parents, made their oaths to be the other’s salvation, as they began quietly, at first, to fail. They stayed together for 60 years, so at least in some way they fulfilled their commitment to each other.

 

Meanwhile their children fell apart.

 

But this is not a story about aborted family dynasties, of triumph over adversity, or the opposite. It’s about another family of sorts, with nothing really to do with DNA extensions, and that striving to fit into some idea of continuity. It is about setting out, breaking away, the ‘Diaspora’, that homelessness, the ‘Wild Geese’, a certain ruthlessness, even. It is partially about recognizing the other as the same, or at least connecting with another where that sameness is sensed. It’s about the ‘Rack and Ruin’ of this fable, a chance encounter in the ‘New World’, and attempts at the rebuilding of ‘Trust’.

 

But the fury is somewhat easy to explain.

 

Downstairs was, a rented, one living room and a small kitchen behind a failing shop, the ‘Bon-Bon’ by name, another unfillable hole, as it would happen. Upstairs were two bedrooms and a box-room, shared by five children and two adults, with the addition of the new bull-interloper, a 20 or 21-year-old, testosterone-overflowing, encroacher.

 

Rack: Amazing stuff. Thank you for sending. I need to read again and assimilate before I respond more fully. So much here! Congratulations on facing it head on.

 

Ruin: I am feeling my way into it. This piece is the continuation of a conversation between you and I. Nothing is edited yet, I am not worrying about that for a while, or perhaps never, who knows? It's stuff I had written before, not in answer to your questions, but I do think it starts to address them. I will get there, though it does start to answer them, your questions I mean. I guess I am limbering up to answer, because yes, it is the kernel. But as I said, I don't want to write an abuse memoir. I want to write about 'drivers'.

 

Off to the doctor to have my prostate prodded. It's been about four years since there were any incursions in that region. I am not feeling great, but ho-hum, perhaps well enough to write some more. I wanted to sit still anyway.

 

Anyway, I am putting that text under the image of the cloud-filled sky from the window of an airplane, more or less adding to it daily. Nobody sees it, it's like a private space. It is further back in my photostream, on Flickr. Pundits tend to look at the newer images, so I can work there almost privately. I like to leave that window open a crack, as you know, just in case I am in the mood to hang my arse out of it. He said, nodding at mister Chaucer, was there no end to this man’s pretensions?

 

Rack: The only way to do it. Not that I would know. Hope the prostate thing is OK. It’s funny how the bits that allow us to reproduce cause the most illness: breasts, prostates, and maybe we can list the heart there too. Feeling quite peculiar, but not in an entirely bad way.

 

Ruin: Maybe indeed, the heart I mean, perhaps it should be even listed first. I suspect that when we get our hearts broken as children, there’s, more or less, no fixing them. I don’t like being around children at all, they feel so ferociously delicate. I never have, my whole life, I mean. This was fortuitous, in that I recognise my own capacity to brutalise, even unintentionally. I am pleased to have never found these small creatures attractive, I know that abuse can sometimes generate that reaction. Thankfully, I was one of the lucky ones, it drove me forward, instead, desperately searching for a father.

 

But back to the mater, back to that bed companion, back to a small room with two beds, shared by four people, 3 brothers and one uncle.

 

He didn’t remember much about the room other than it was small and usually cold. There was no central heating in the house, and no insulation to speak of.

 

Ruin: I am chasing that cuckoo theme or, at least, working my way towards it.

 

Rack: Worth chasing. I have lost my enthusiasm for a lot of things. But have also lost my taste for destroying myself. As if the shortening years are drumming sense into me at last.

 

Ruin: Queen Elizabeth is dead.

 

Rack: I actually have a tear in my eye.

 

Ruin: I understand that. It's a little unreal. She's always been there, I mean from the beginning of our lives.

 

Rack: My mother was enamored of her. They shared an age, both members of the forces during WWII.

 

Ruin: I think my mother was the same age too, at least she claimed to be. She liked her too, but it sort of went against her republicanism

 

Rack: I knew she was a goner when I saw her greeting Liz Truss. Looked feeble for the first time.

 

Ruin: Yes, her hands were all bruised. She had obviously been having transfusions.

 

Rack: Poor love. She really was remarkable.

 

Ruin: Yes, to your "As if the shortening years are drumming sense into me at last ". I am there too

 

Rack: It feels good (the at last). I feel as if I’m negotiating the supermarket aisles with little concern for my fellow shoppers.

 

Ruin: I have been writing to you, still working it out, will write it soon (as an email). I will send it soon rather, when I get a little further

 

Rack: I look forward. And backward.

 

Ruin: I appear to be writing about everything, and making images too

 

Rack: Happy that you are.

 

Ruin: anyway, I will write it out, you will see. Hey, guess what, you are writing it out here too, and I will use it all.

 

Rack: Hah! Work away. Might be the only way I can do it. Obliquely.

 

Ruin: I'll hand it over to you eventually, if you outlive me, as I said before.

 

Rack: One of us has to go first. YIKES.

 

Ruin: Yep, that's how it goes. Yikes, indeed! Unless, of course, we all go together, courtesy of Mr. Putin, or whatever. I am on a new drug for my prostate, apparently it was squeezing my urethra, making my piss flow very difficult, no pressure, slowed down, and it meant I had to pee every 15 mins. One of the side effects is possible priapism, a permanent erection, even. I can feel a series of photos coming on, that 'how to negotiate being a spent old tosser' series.

 

But back to that crowded bedroom, with ice on the inside of the windows and the horsehair overspilling from the mattress, that altar.

 

To the bloody Dickins with the whole shebang.

 

Rack: What a fate your mother had! No wonder she was angry. What a fate you suffered! It’s as if she had to make you endure something similar, that by effecting its repetition she was freeing herself, sacrificing you. Kill the thing you love. It is compelling to read Billy; onward! It never occurred to me that the abuse you endured happened in a crowded room. That your brothers were there. It must have added to everything.

I hope the prostate submits to the new drug and things get more comfortable.

  

There seems to be so much to this falling apart, and the attempts to stave it off with an array of pharmaceuticals. The latest one seems particularly unpleasant, and a balance might have to be found, some sort of compromise with the condition, where it is determined which is more livable with, the affliction or the ‘cure’. The pill-box is now full, or the complement of slots is full, those 4 notches for each day, spacing out the pills, that morning, midday, evening, and night array. This reminded Ruin of Rack’s “ramming 28 horse-pills down my throat every day”, of one of her first emails, some 25 years previously. This also reminded him that four pills a day was not that much of an infringement on his time and effort if he was going to get this ‘epic’ written. He guffawed inwardly at this notion of an epic, whilst recognizing the unwieldiness of it all, that sprawl. It could easily get out of hand, he knew this. Actually, it was already ‘out of hand’ more or less, but he felt that he just had to let this be what it was, for now.

  

Eventually decisions would have to be made. Again, this sounds suspiciously like ‘choices’ would be presenting themselves, but, in reality, there is no choice at all. It is simply about being able to continue, a survival strategy, an instinct. Ruin had been reduced before to a soporific state by ‘life-savers’. For five years he had been on a drug which more or less curtailed all creativity, writing, making art, or even reading. He was determined not to let this happen again. Unfortunately, the medical powers that be, the doctors he encountered, did not appear to be very good at listening, which led to five years of what felt like an anaethesised life, a time felt as though it was spent wading through a particularly dense fog, a treacle even. Eventually, after that unnecessarily extended sluggish exile, Ruin managed to convince the doctor to change the medications, and hey presto, as if by magic, the curtains rose. There’s a lesson to be learnt there, relative to doctors, drugs, and private interests in the Pharma industry, but allowing for the possible duration of a lifespan, one has to choose one’s battles. For this very reason, Ruin was thrilled to see the sterling work by Laura Poitras and Nan Goldin being acknowledged by the Venice Film Festival this week.

  

This is all normal stuff, we all face it at some point, it is part and parcel of growing older, and of particularly having the privilege to do that whilst enjoying last centuries, eclipsed, ‘maladie du jour’. It appears that this new century can, and will, generate its own, and it is somewhat wondrous to see, already, the machinations of science in its attempts to protect us.

  

Ruin believed in science; he did not believe in God. He had watched science work its preserving ‘magic’ both on Rack for 35 years, and on himself for 20 of those shared years. What was not to believe? If some billionaire or other had wanted to tag him with an electronic bugging device, he would have been well tagged already; he had given science total access years ago. He had read, digested, and discarded Duesberg's HIV conspiracy theories way back in the mid-eighties, propagated somewhat by ‘The Village Voice’, as he attempted to support Rack, and as they tried to help each other, through the early tsunamis generated by the same virus. Ruin had all he could stomach of anti-science conspiracy theories three decades before Covid eclipsed everything else in the collective imagination of the general public. Then in the eighties and nineties, Dr. Fauci was the enemy too, and we demonstrated against him and the tardiness of the CDC. We formed ‘Act Up’ and marched, demonstrated, and had ‘die-ins’ in Grand Central Station. Dr. Fauci listened, and eventually acted, proving to be a stalwart comrade in arms.

  

Recently Rack wrote to me (Enter those 1st person pronouns, both singular and plural):

  

Rack: I think we all have a lot of fear about how our behaviour is being policed. Are we racist? Are we transphobic? Are we elitist? Are we mansplaining? As you say, it’s not helpful and it doesn’t actually assist any of the issues it purports to protect. I fear we are in a very dark corner. Some days I find this very liberating. Not all days. Reading about the US government’s attitude to climate change is frightening. Also, Republican’s attitudes towards Anthony Fauci. Horrifying. He has just resigned. Bless.

  

Ruin: Yes, bless indeed, both Science and Doctor Fauci.

 

I am most pleased that we can still write to each other after 35 years of dealing with this disease. No, I don’t believe in God, but I do believe in miracles, and as far as I can see, most of those are, now, generated by Science.

 

A progenitorial alternative might be:

 

"Three drinks of water (holy) taken on three consecutive occasions from The Bishops Skull. This skull is believed to belong to one of three bishops who were murdered for their faith in Penal times. This particular skull is in a very extraordinary state of preservation and is kept at a house named Rielly (sic), near to the village of Mahera in Co. Cavan.

The skull is requisitioned from all parts of Ireland and the cure is well recognised."

 

The Schools Collection volume 0721 page 212.

www.duchas.ie/en/cbes/5009031/4979138

 

Rack: Not too much. I am always fascinated to read, but will admit that there is a part of me that wonders why I am so stuck while your gates are wide open and functioning with such wild and wonderful abandon. It is a form of jealousy, but not just that because I am truly happy you are doing it. So, keep sending and forgive me if my replies are a little constipated. Thinking about your latest missive, the medicated falling apart. Much love.

 

Ruin: I rewrote and added there a bit. I am just shit-scared of not having time left to finish what I have started, so pushing. You are very much there too.

  

As luck would have it, I don’t seem to be able to tolerate these prostate pills. They cause intense palpitations at the slightest exertion. So, I will just have to get on with it, the swollen prostate and all that. It’s not cancer, just swollen, but that causes enough problems anyway, which will just have to be embraced. Yes, to what you were saying about those parts of the body to do with pleasure causing the worst, or most common, problems. It does slightly put me in mind of that red ‘Castration Piece’ I made in the eighties, that fantasy I had, for years, about being neutered. That ‘I fantasized about castrating myself feeling this could free me from the guilt and shame (and pleasure)’. I could now, with those added 35 years on top, add ‘and doctor’s appointments’ to that title. But the response has to be, and is, Yes, a resounding ‘Yes’. Yes to growing older I mean. It remains the best, and the thing I am most grateful for. (Waving at Molly Bloom here, of course).

 

I have never had what are called ‘Panic attacks’ before, the first one I had was in my early sixties when I was on those terrible stultifying TAF including drugs for our shared lurgy. I then started to have them occasionally, plus a host of other exhausting complaints, and that aforementioned pea soup brain-fog. These, more or less, cleared up when I changed drugs. Now, with this new prostate pill they are back with a vengeance, two in three days. These are not panic attacks; they are drug induced palpitations. They are listed as possible side effects. We are, of course, guinea pigs for these wonderful HIV drugs, and I know we are both eternally grateful for that opportunity.

 

Let’s live somewhat longer, let’s describe it, let’s write.

 

But Ruin did have to get back to his mother, and that misunderstanding, that space where some ‘intent’ might be suggested. He needed to somehow exonerate her, to say that it wasn’t her fault, or rather to prove to himself that it wasn’t. He recognized this as being virtually impossible, given his history, their ‘story’, and the reverberations through six decades, but he was going to try anyway. Her history, back story even, can’t really be delved into. There is not enough evidence there, just those initial tales of abandonment, her father, early grieving, her mother, and abuse, her uncle. Ruin could hardly remember his own story, never mind attempting to reconstruct that of the mater, but the pattern was obvious, and the repeat motifs presented themselves unashamedly. Ruin was used to looking for patterns, probably generated by a lifetime making visual art. There were also patterns in the mater’s behaviors, mirrored in his own. These he could see and understand. These were the drivers he wanted to expose. He wanted to explain these to Rack. Rack had been, for over three decades, a type of ‘sounding board’ for him, utterly non-judgmental, hyper vigilant even, with an uncanny ability to proffer solace. He had the idea that this was also mirrored back. They were, somehow, equally scabrous, wanton, lewd, call it what you will, and could laugh uproariously at each other’s coping mechanisms. This was probably central to their ‘screaming walks’ through the canyons of Manhattan in those early days of their beloved plague. Rack was very much the ‘screamer’ then, and Ruin was in awe of her ability to let one rip on a crowded avenue or cross-street, whilst quietly hoping he might be mistaken for her companion-carer. He so loved that embarrassment. He also suspected that she loved watching him attempt to deal with it.

 

Those walks should become legend.

 

Yes, it all happened in a crowded room, a dark one to boot. There were two not quite double beds. Ruin didn’t know what size they were, they weren’t standard anything. He guessed they were more single size; two double beds would not have fit in that room. But this was years before he was aware of those designated sizes, queen, king, whatever. They were old metal frames, with exposed springs, on which the horsehair mattresses scrappily floated. His two younger brothers shared one, he had the other. It was their room, the boy’s room. His parents slept in the small box-room, so his sisters could share the other bedroom, furnished with two single beds. The youngest of the brothers, Johnny, was about 4 years old at the time. He was a troubled child, if his self-rocking was anything to go by. This self-soothing swaying back and forth relentlessly would infuriate his ten-year-old brother, Tony, until Johnny managed to soothe himself to sleep each night. Tony would then become comatose, at last, having endured that rocking until exhaustion intervened. Johnny also slept with his invisible friend ‘Ibi’, so their bed was somewhat overcrowded.

 

Ruin, the oldest, had a bed to himself, a sign of seniority, an acknowledgement of his waxing ‘teenhood’, until that interloper arrived.

 

Here, let me (that personal pronoun again) interject, by way of adding a warning. It’s simple really, and I am directing it towards all parents, of all persuasions and ilks, gender preferences, and identities. It’s blindingly elementary, an iteration I know. Please, never put a mature male in bed with an immature child, no matter how much you trust this male, no matter how close the family relationship might be. But I guess if I was being both fair and honest, I would have to extend this to include all maturated individuals regardless of gender or self-identification. My, perhaps unfair, focus on the male abuser here is because this was the case, both as far as my mother and myself were concerned, those wayward uncles. But then this isn’t about me, so I apologise for any presumptions made.

 

Ruin did not want to share his bed.

 

Yes, Ruin was doing okay. He knew it wasn’t Rack’s job to take the sadness away. How could it be? Anyway, he was doing exactly that himself, and it was about time, in every possible meaning of that phrase. It was about time itself, indeed, nothing more, nothing less. So not counting on any, a godly and honest state if ever there was one, he would get on with it until he no longer could. There’s a definition of fulfilment there, that recognition of oneself as that veritable elephant surfing on the fabled edge of that infinite black hole, and writing this out made him happy, elated even. For what it’s worth, it records itself anyway, endlessly, and anything the universal you or I might choose to add is simply non-essential extra, that ‘Froth on a Daydream’ which Boris Vian liked to write about. It is written for the self, a gift. He was looking at Vian again for a reason, or at least was planning to, it having once been important to him. A new copy sat on his emptying shelves, quietly reverberating. Hum diddley hum. This hum was once beautifully described as ‘the music of the spheres’.

 

There is there, there.

 

Anyway, back to those words of advice, my abridged handbook for would-be parents.

 

Do not circumvent the grooming, do not make it unnecessary by placing a potential predator and a victim in a dark, and silent, bed together. Whilst I am not going to dissect what happened on that mattress, I am going to look at why a child might have erroneously projected that grooming onto his mother for almost 60 years. There’s the crux, Rack, that mistake, that almost lifelong, retarding, projection that might have turned a 68-year-old child into a storyteller.

 

It was almost impossible for that son to describe that mother, to find the words, I mean. But he was going to try. There was no malice there, and she wasn’t stupid. Being stupid and ignorant are not the same thing. But then the whole story is also tinged with her innocence, something which can often be confused with ignorance, but here they were intertwined, and she had no way to pick them apart. These traits were very much part of her Gordian Knot, that imponderable she had inadvertently played forward.

 

To go further he knew he was going to have to do it alone. He was going to have to, temporarily hopefully, let Rack go as well. He knew that it was going too far, and could even be triggering, to use a woke expression, for her. It was almost going too far for himself, even. It felt like an essential step, so he would take it. This would constitute a huge, and frightening, departure, a rupturing, after 25 years of corresponding. He was going to go back alone. She knew where he was, he knew where she was, that would have to be enough for now.

 

There is always that cracked open window here, letting some air in, and stench out.

 

That will be enough in this interim, he guffawed quietly to himself, recklessly Rackless, perhaps, but enough for now.

  

Rack: Have been thinking. And just tell me to fuck off if you disagree or don’t care, but I feel you should be writing in the first person.

 

Ruin: I will work that out, now, or soon. I write in the third person when it becomes too difficult to write about, to get some distance. I now sort of know I can write it, so I better get on with it. The first person might be more immediate, I guess, but I was trying, to a degree, to avoid writing a straight-forward memoir. Anyway, this does need sorting out before I really sit down to it. I think I have the bare bones together now, and need to work on the form it's going to take. I am feeling like withdrawing more to do it, but that frightens me too.

 

Rack: I absolutely get that. And the fear of withdrawing to do it too. Onward. I get so stuck on the small stuff that I cannot proceed at all, so it would be safe to ignore me. Sending love.

 

Ruin: I am not at all sure yet which direction it is going in, in so much as I don't really want to write a 'novel' or a 'memoir'. I am thinking of it as more of connected 'essays', than anything else. Essays on a theme, personal essays, even, perhaps lyrical essays, I am not sure. For now it's just writing. It will include these, Immediate messages, emails, stories, confused memories, and ramblings about ideas, 'drivers', and whatever. There will even be images. The person they are written in can change. I realised that in the writing to you, it should always be in the first person, directly written to you, that personal. But in my enthusiasm found myself sending you some of the 'Ruin (he) had a good wank and fell asleep' stuff. I put all that on Flickr anyway, so you know where it is. I still revolve around images, so I will continue to work there. It is my way, as unorthodox as that might be, and it's more or less private there anyway. I like that promiscuousness, that slightly ajar window, so something can creep out or in, and catch me unawares. It is my only 'Meta' space.

 

I say you know where it is there, but it is now quite hidden. I am working under certain images, add text most days, but these are older images. Only newly added images get attention so these more or less go unseen, as the text develops. I leave little clues but one would have to be quite intrepid to find them.

 

The title, 'A Less Comforting Narrative', refers to the image, and not to the exchange under it.

 

Rack: It’s always an act of faith and you are writing, that’s what counts. The idea of writing essays might be very freeing.

  

But Rack, there is another crux there too, another layer I need to look at, and that is the idea of the self as a ‘groomer’. I am not at all sure why I attack these ideas head on, but it seems I do, or have to (am driven to), at least. OK, perhaps I make cack-handed efforts at this, perhaps there is delusion there, but this is something I have to do, if I am going to be as honest as I can be. This is grooming, this writing I mean, it is enticing, and almost demanding, responses. It appears I might feed off responses, and this is somewhat alarming. As usual, confrontation seems the only way forward, not just to recognize something but to actively attempt to disempower it. This might demand another step, a sort of extension of that quarantine which I have already noted as possibly a way forward. It feels like I should write to you, and not send what I write. In short, I don’t know my own motivations, let alone trust them. I don’t even know if they are mine. I recognize a group of possibly powerful drivers, besides the common or garden ones of background, abuse and general upbringing. All these are more or less universal, perhaps the abuse aspect was more extreme. Then there are the added influences of a sexually generated plague, this we share, and the drugs needed to control that scourge/gift. There is also residual anger, perhaps, at being a ‘failed’ artist, at the aborted attempts I made to try to communicate. This is also more often the case as not, considering the overabundance of ‘Artists’ floatingly enjoying poverty and rejection globally. To attempt to turn that into a ‘La Vie Bohème’, at the age of 68, would border on the farcical, though that in itself might be funny enough to create a page-turner.

 

In July, Thalia wrote to me:

“Yes, It's always interesting when communication happens, but it is also alright with me when it doesn't, for any reason. Nobody can be a perfect Victorian-style correspondent now, even I can't.”

 

Thalia, by another name, is one of those 4 women you commented on, relative to this idea of re-building myself, those ‘good mothers’, those substitutes I have been busily generating all my life. I see that now as a type of grooming, not conscious in the doing of it, but decipherable in retrospect, that looking back I seem to be up to.

 

Of course, you sit there, the ‘Mother Superior’. Next question, are you getting anything out of this? If not, tell me. I will stop writing to you, in fact I won’t. I will write to you in private, but not send it, I mean. I would continue to post the writing where I habitually post it, my afore-mentioned public/private Meta space, that chink of an open-window. This would mean that if you were ever curious you could find it there.

 

I know how relentless I can be, and I also know how exhausting this can be. I am acknowledging this, at last. Let me know what you think so we can begin this next phase in a way that would ensure that there was no grooming in the doing of it.

  

Rack: I need to concentrate on my own work. As is my habit, I get too involved in other people’s stuff in order to avoid my own. It would be awful to never hear from you, maybe there is somewhere in between.

 

Ruin: Yes, I couldn't stand not being in contact. I just need to rein in, to control my need to share, to get approval, awful 'boy stuff'.

 

Rack: god we might be growing up!!!!

 

Ruin: you know I hang on your every word, and can generate 1,000 words from ten from you. But yes, I can do it alone. But it's better with you. But I want you to do your work, not hinder you.

It's time to grow fucking up, for me anyway, you decide when it's your time. 68, little boy lost hasn't got the same appeal. I can't help but think I can do this quicker; I have all the raw material.

 

‘Don't Confront Me With My Failures’.

 

I am so pleased to have gotten here, this plateau of seemingly controllable desire. This burgeoning hormonal hiatus, brought on by years, disease, and the medications for the same ‘affliction’. Even surviving thus far seems somewhat miraculous, from that point of childhood abuse to this unexpected seniority, an adulthood of sorts. It was almost arrived at through no obvious intervention of my own, but there may be some evidence there that could suggest differently. It would seem that all energies were set in self-destruct mode. There was so much luck involved in generating that continuance, but there were also interventions, practical ones, like the leaps and bounds made by science in this age we live in, but also the intervention of loved ones, not family, but those rather who recognized an aspect of 'self' in the 'other' along the way, and stopped long enough to develop mutual caring.

  

These writings are dedicated to two of these paragons. Rack, the titular, and ‘Hem Binnen’, the Dutch ‘Him Indoors’ who saved my life.

  

As to my failings, I know them intimately and will expose them in all their tawdriness as I continue.

  

"There was an old man named Michael Finnegan

He had whiskers on his chinnegan

The wind came along and blew them in again

Poor old Michael Finnegan"

  

Begin Again.

  

Fail again, Fail Better, as our fellow countryman, that other writer in Paris, would have it.

  

But then beginning again is just moving forward.

  

Ruin, Ruin, Ruin, what in god’s name were you up to? Neither of us believe in that geezer with the grey hair, on a cloud, but my exasperation needs letting out, so there he sits omnipotent. Just so you know, I was watching all those 68 years, and I can clearly see the stories you have been telling yourself. It’s almost as if I had nothing better to do than watch over you. But, I guess, someone had to, and that judgmental geezer with his tablet of ten regulations wasn’t really up to that job, now or then, was he? So, I hung around watching, and more or less saw it all, except for those times I might have been comatose in a Ketamine or alcohol haze, beside you. You may have gotten up to some shenanigans at those junctures when I wasn’t exactly compos mentis. My apologies if I missed out on any of your multitudinous ‘calls for help’. None of us are perfect, as you well know. Before we start, get going that is, I should also say that I intend hanging around, watching over you, until your sticky, or otherwise, end. I wouldn’t miss that unravelling for all the gilt bronzes in Tibet. I am in it for the long run, as they say, whoever 'they' might be. I know you are having those memory holes, those vast and growing ever-expanding black holes, but don’t worry there, Ruin. I think I can help out with this, even. You see, I kept a written record, I know, sneaky, but it’s the nature of the graphomaniacal beast, one of my own little foibles that might actually aid and abet your storytelling. I believe we might have shared that letter writing mania, that drive to communicate through correspondence, but we have never really written to each other, have we? I suspect that is about to change. I hope so anyway.

 

Rack, Sorcha and Thalia inspired you to write, I can see that, mostly by being able to tolerate you, it would appear. Perhaps you brought out a mothering aspect in their natures when they saw you in some considerable distress relative to that early abuse. Perhaps it was something else too, some mutual need. There were others too, mostly female others, those correspondents, with the exception of Jonathan, who would be deserving of a separate story, perhaps. Rack spoke of them as the ‘Good Mothers’, those interventional women, those lifesavers.

 

Which more or less takes us to the ‘invisible man’, that centre of those black, expanding, holes, those memory lapses, the ‘Good Father’, or any father at all for that matter. He was purportedly there, constantly in the background, and often used as a threat, but he was there. I seem to remember you even put some photographs of him up on your antiquated Meta site, Flickr. I do see that there might be an absence there, a vacuum, and I have seen all the extremes you have gone to fill that infinite hole. So here I am, a Nelson Eddy to your Jeanette MacDonald (I know, camp and hopelessly dated, I am sorry about that), a top to your bottom, as Jonathan would have it.

 

Write to me, I will write back. Just don’t call me ‘Daddy’, that’s just one step too far, and I know, and understand, your tendency to always overstep those boundaries. I am willing to play at being the ‘Good Father’, until you learn to do that for yourself. I really wouldn't do this for anyone else in this whole wide world, so hopefully this will help you begin to feel better about yourself.

 

Onwards and upwards as the aforementioned 'they' like to say, tomorrow being the first day of the rest of your life and all that cliched palaver. I will do my very best to rein all that corn in as we proceed, a struggle I know. I do believe we might have a job to do, and It's way beyond time to get on with it.

 

I've got your back, for what it's worth.

 

Best Regards,

Top

 

25 September 2022

 

Dearest Top,

 

Embracing the fear of possibly going full Ham, Shem and Japheth, I am going to have to name you. I can’t call you 'Top' for the duration of our correspondence, disregarding the reality that the Top/Bottom synergy thing doesn’t even hold anymore, now that one is post-gay, post-sex, and approaching post-everything, what with oblivion waving tantalisingly, as it is, from the border of that widening gyre (tips hat towards W.B.) of our beloved ‘event horizon’. I think I have even found a name for you. Its partially catholic, even, from that miasma of childhood memories, that “Thou art Peter, and upon this rock I shall build my church, and I will give to thee the keys of the kingdom”.

 

Okay Rock, I am giving you the keys. You, for a while anyway, can be the designated driver, Petrus, that's you, that dependable rock, rock of the walk, even, rock of ages, my Tio Pepe port in a storm, my fellow geriatric mariner. Lash me to your, larger than average, mast, we're off.

 

Welcome to Rack & Ruin, and Rock! It does have a certain alliterative ring, n'est-ce pas? (TYFTC). Fasten your seatbelts, we might be in for somewhat of a bumpy ride.

 

Deliriously yours,

Queerqueg von Lederhosen

 

PS: Are you sure this device works for blocked sinuses?

 

PPS: Relative to the acronym used in this photoplay, please see photo below, entitled: L.G.B.T.Q.I.A.H.I.V+O.A.P

It ain’t heavy, it’s my acronym.

  

Dearest Wuufus Wainscotting,

 

Sorry to her about your troat. Don’t they be at the doing of the blessing of that same gorge anymore, at all, at all? Probably not, I would guess. Perhaps the only church what did it is now boarded up, or turned into a leisure centre where they give Irish dancing lessons to all those young, eager, coiled-springy girls, with the revolving legs and primary-colour gúnas (Gaelic for frocks), in plastic ringlets. You know the ones; they make those Dallas Cowboy’s cheerleaders girls look like vestal virgins, pushed on by their mammies, hello Bernadette Peters, to excel in all that leaping and jiggery-pokery, moving downstage like one of those roman phalanxses, putting the fear of God in every daecent catolick. Anyway, I diverge.

 

Talking of Catholics, no, you ain’t Rock. Rock’s his name, not Peter, or Petrus, or any of those Roman shenanigans, just clear old plain, and sturdy, ‘Rock’, as in that island lodged between the East River, and the Hudson (where I met my beloved Rack), if you get my drift, and the rock of me birth, that emerald-green one you are presently lodged up the backside of. I will admit he is partial to the odd glass of Theo Pepys, and has been known to take an occasional dash along the boreens of the Adirondacks brandishing that emblematic, blue-striped axe. That Daniel Dye Sluice could play him in a moving picture extravaganza, ‘The Last of the Tops’, or somesuch, Oscar fodder no doubt, probably to be found, eventually, in the ‘Science Fiction’ section of our favourite ‘Blokebuster’, down that windy old boreen of a bog road.

 

And what does every poor Irish boy need, dare I say, what does every boy need? I answer here and now, without much hesitation, other than the time it takes to take a gulp of coffee, with a slice of me iced-duck, so that I can take me slew of morning pilules; every boy needs a Rock. You can see that I am substituting, intermittently, the ‘me’ for ‘my’. I do believe I might be enjoying heading for a little regression, and sure why not, on this fine rainy Amsterdam morning? There’s neery a rock here, on this damp sponge of a low-lying place, so a lad would have to be going about inventing his own boulder to support him. And that is simply what I do be doing, as Frank S. used to like to sing.

 

Do be, do be, do, what were the chances?

 

But I regress. Where was I?

 

I remember. I was in Amsterdam about to take me ‘Daddy’s little helpers’, those much-loved lifesavers (said pilules). All praise science and all that palaver. I sit here pin-cushioned, enjoying the wonderful side-effects of the Monkeypox vaccine, and looking forward to when I can enjoy the same from the latest Covid update. Unfortunately, I have to wait a month for that second one, a recommended period of time between that first and second vaccine to ensure they don’t conjoin in some diabolical conspiracy to turn me into a 4G antenna, or something similar.

 

Pillar of salt, Lot’s wife’s lot, and how’s your mother?

 

I don’t think for a minute that that naughty Mr. Gates is out to chip me. As I said, pincushion here, and if he felt a yearning to chip yours truly, he could have had me eons ago. Have at it, Bill. Take me, I was, formerly, anybody’s anyway, writing bad cheques willy-nilly.

 

And breathe.

 

‘Comhbhrú na cruinne ina carraig, agus rolladh i dtreo ceist ró-mhór í’, (trans: Compress the universe into a rock and roll it towards a bloody huge question) as the plagarised ancient Irish bard might have warbled, and more than likely did.

 

No, it isn’t that Rack is non-responsive, it’s more that I am giving her a break from all my 'raiméis' (Gaelic for general doo-doo, shite for want of a better word). It's all been 'ri ra agus ruaile buaile', (gaelic for a gas craic) as far as I am concerned. We have chewed the cud now for 35 long, wonderful, and somewhat excruciating years. That’s not altogether true. We lived on that same rock of Manhattan for 11 years, then wrote to each other for 24 years after that. There are probably a million words lurking there. I think that you recognize that I love letter writing, or it’s modern equivalent anyway, the email. The problem is that the unwieldy words are there, and they are just a part of what lurks on my hard-drive, and I suspect it’s going to take my ‘Rock’ to sort them out. Rock has a pithy character, he takes no prisoners, that tough-love stuff, that ability to tell you when you are being an eejit. Ruin needs Rock more than I do, possibly (oops, reality check there). Anyway, Rack and Ruin could chew the cud relentlessly forever, they could easily become that universal methane generator, much feared of by the powers that do be sitting there Canute-like, holding the tide back, in Brussels.

 

Carraig is the Irish word for Rock, just so you know. Would that not be a great ‘secret’ name, one to make any mammy proud? “Come on over here, darling Carraig, and let me wipe your nose wit me sleeve, you’re snottin all over de kip”. It doesn’t get much better than that in my book. Did you know that kip is the Dutch for chicken?- just saying.

 

I used to love, back on that old Manhattan Rock, when Rack used to croon "It's not your frock my dear", then look at me as if wisdom had been imparted. Rack knew how to make Ruin laugh, it was sort of a mutual thing. It was some 'Hibernafold', sweep me into your fold my dear, understanding stranded between laughing and screaming, that wondrous type of hysteria, infectious, scary, and lovely (Oxford comma usage there, blimey). Pronouns be damned, we know who we are. A pox on all your pronouns, here's to universal interchangeability!

  

Mise Lemas,

 

Ruin O’ Carraig (Gaelic for Ruin, son of Rock)

  

It’s time to get back to that ‘crux’ as Rack called it. It will be slightly different this time, as I won’t be telling it to her, I will be telling it to myself, and to Rock, perhaps. Perhaps this part needs looking at, not only from Ruin’s viewpoint, but from that slightly cynical over-arching perspective that he might be able to bring to this dissection, this evisceration, this vomiting up. I guess it isn’t really about what happened anyway, I mean the details of what happened, these I won’t be telling, but rather the reactions to these stimuli on that rather delicate entity that the child, Ruin, was. He was a stammering wreck of a neglected child, and this was the first time anyone had ever paid any attention to him There was nothing in his arsenal to deal with the repercussions, and no one available who might proffer some help or even a suggestion of an explanation. It happened in cold darkness, and in silence. It happened in his gut.

 

It was most definitely where it happened, there, in the pit of his stomach. He still remembers that feeling, vividly. Yes, that’s present tense, remembers, not remembered. That stays forever, at least for the forever that describes the length of a life, but it can also be projected into a future, through these words, beyond that ‘life’s sentence’. Technically apparently, the hippocampus shrinks, and entombs the memory, creates an imprint that asserts itself for a life’s duration. That’s the sentence, that’s the imprisonment. And why would you want to project that into the future, that delicately butterflied stomach, the answer would be simply to give it a description, to, perhaps, proffer that absent help, or a suggestion of an explanation.

 

He/I/we/they needed Rock there to help explain it to him. He loved that grab-bag of pronouns, a new freedom generated by contemporary politics, which would allow him to seamlessly segue from one to another. Rock could provide the ‘You’, that objective overview, perhaps. He always loved that wonderfully funny narcissistic joke: I am getting sick and tired of relentlessly talking about myself, can you take over and talk about me for a while?

 

Okay Rock, do you want to take over, to give a kid a break?

 

Come on “Rock of Ages, cleft for me,

Let me hide myself in Thee”

 

1 Oct 2022, 3.08PM CEST

 

Thalia,

 

Strange this idea of letter-writing. I do see it has been excessive, something I have always done too much of, finding some validation there, I would guess. In a way, I want to turn that around. Perhaps I have been inflicting my ‘graphomania’ on others for two long now and it’s time to take responsibility for that myself. I know it’s too easy a diagnosis, one of those that was bandied about some years ago, another over-arching description that, perhaps, doesn’t mean much. That’s something I learnt from you, the need to circumvent easy characterisations.

 

Your: “Yes, It's always interesting when communication happens, but it is also alright with me when it doesn't, for any reason. Nobody can be a perfect Victorian-style correspondent now, even I can't.”

 

That was somewhat of a turning point for me in this, that note, it worked for me. It set me of on some realisation of what I might have been getting up to, over the last few years, and how this might have been somewhat unfair. You probably saw that acknowledged already under ‘A Less Comforting Narrative, (Turku, Finland)’, as I know what a sleuth you can be, acknowledging your “I saw!”. I must admit that I like that you saw.

 

Yes, I guess at some point there might be editing, heavy editing, I imagine, but I am not feeling at all, at the moment, that this is my job. I feel like I am still working through it and into it, getting the substance of it all together. I am currently at that ‘abuse phase’, I have been trying to explain to Rack that my mother is not to blame, and neither was my father, they were just carrying on what they knew, their abuse and abandonment. The more I move on the more I realise I have to talk about universal ‘innocence’, and when I say universal, I mean exactly that, a forgiveness that pardons Jeffrey Dahmer and Adolf Hitler, even, those unspeakable outrages against decency and humanity. This ‘innocence’ doesn’t negate the need for absolute quarantine in cases such as these. For what it’s worth I hold no truck with death sentences, no matter how extreme the actions of the perpetrator of the outrage. It’s a strange journey, that getting around to forgiving everyone so you can forgive yourself, but that does seem to be what I am up to, so I will take it as far as I can. It feels like a good, a necessary, journey.

 

I have been spending the last week releasing Rack, letting go, trusting. Then lo and behold, along came Roc

Image licensed under Creative Commons by S!nky: http://www.flickr.com/photos/s1nky/3428388793

 

Quote source: Learning and Understanding (2002) Principle 6

   

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Boom 2014

Photo-Reports by Wolfgang Sterneck

 

A Reality called Boom - Rhythms @ Boom 2014 *

www.flickr.com/photos/sterneck/sets/72157646523564525

 

A Reality called Boom - Visions @ Boom 2014 *

www.flickr.com/photos/sterneck/sets/72157646103367017

 

A Reality called Boom - Spiral Dance @ Boom 2014 *

www.flickr.com/photos/sterneck/sets/72157646505988761

 

Wolfgang Sterneck:

In the Cracks of the World

Photo-Reports : www.flickr.com/sterneck/sets

Articles (german / english) : www.sterneck.net

 

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Boom-Festival

04.08.-11.08.2014

 

Boom-Festival

Idanha-a-Nova Lake - Portugal

www.boomfestival.org

 

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BOOM VISION

 

Boom is not only a festival, it is a state of mind. Inspired by the principles of Oneness, Peace, Creativity, Sustainability, Transcendence, Alternative Culture, Active Participation, Evolution and Love, it is a space where people from all over the world can converge to experience an alternative reality.

 

Boom is a festival dedicated to the Free Spirits from all over the world. It is the gathering of the global psychedelic tribe and of whoever feels the call to join in the celebrations!! Boom is a weeklong unpredictable and unforgettable adventure. It takes place, every two years, during August Full Moon, on the shores of a magnificent lake in the sunny Portuguese inland and every one is invited!

  

BOOM IS A MODEL OF ENVIRONMENTAL AWARENESS

 

An environmentally conscious event is a way to offer a concrete example that it is possible to live on this Planet in respect of Mother Earth and of one another. This is possible through a deep understanding of the cycles of life and humanity’s place within these cycles. Permaculture is a brilliant example of how such understanding can be turned into practice.

 

Boom’s pioneering Environmental Program applies the principles of Permaculture to every single aspect of the Festival production. Moreover Boom widely promotes knowledge and practices of sustainability through lectures, workshops and… practical example!

 

100% compost toilets (still to this day the only large event in the world to reach this result!); 100% on-site water treatment facilities, off-the-grid energy solutions, bio-construction, permaculture gardens, vegetable oil for the generators… these are just a few of the ground breaking projects that have granted Boom the most prestigious international prizes in environmental efficiency.

For further details please visit the environmental program page.

  

BOOM BELIEVES IN A BORDERLESS WORLD

 

Since its beginning in 1997, Boom is the home of the global nomadic tribe. Since then, it has grown organically by word of mouth into an incredibly culturally diverse festival, attracting people from 116 nationalities (2012). Boom is the celebration of the Earth’s multicolored Oneness. EVERY ONE is invited and EVERY ONE is called to consciously co-create a positive reality of Love and Peace, for us and for the next generations. We Are One!

  

BOOM BELIEVES IN TRANSCENDENCE THROUGH MUSIC

 

At Boom music is sacred. The dancefloors are temples where to transcend ordinary states of perception and the limitations of our egos. Through dance and music, we can reconnect to our own individual divine essence, while in synch with the beating heart of the whole tribe. All in One!

 

Scattered across four stages, music at Boom is as diverse as it gets: electronic, acoustic, classic, any style is welcome and represented in a different area, live concerts, djs sets, solo artists, bands… Boom started as a psytrance festival and has developed into an inclusive gathering, unveiling the surprising diversity of quality underground soundscapes.

 

Psytrance culture remains one of the inspiring sources of Boom's vision and intention. And Boom remains as a testimony of the evolutionary potentials of such a culture.

Check the pages of the single areas for details on the different visions.

  

BOOM ACTIVATES TRANSFORMATION

 

Boom’s ultimate aim is to facilitate individual and collective transformation. The Boom experience has been conceived to activate the vital force directing every being towards the fulfillment of its highest potential. To reach this ambitious goal, Boom relies on the continuous exchange of radically innovative knowledge and practices by countless Boomers, musicians, artists, teachers, visionaries, healers, farmers, ecologists, wisdom keepers, researchers, scientists, activists

 

Besides the music stages and the countless art installations scattered all over the site, the other areas where Boom channels transformation are the Liminal Village, the Healing Area and the Visionary Art Museum. Here our hearts, bodies and minds can receive a full download of information through workshops, presentations, rituals and meditations Check the single areas’ pages for more details.

  

NO TO CORPORATE SPONSORS, CORPORATE LOGOS AND VIPs, YES TO INDEPENDENCE, SOLIDARITY AND CREATIVITY!!!

 

Boom is an autonomous zone of cognitive liberty and therefore is and will always be free from corporate sponsorship and logos. Boom is funded by the financial support of the thousands of people that buy the tickets and come to the festival.

 

Boom does not believe in VIP areas and special treatments, since every Boomer is a VIP! Boom adheres to the principle of ’thinking outside the box’, for the co-creation of novel ways of viewing reality and acting for its evolutionary unfolding.

 

www.boomfestival.org/boom2014/news/boom-vision

  

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BOOM-VISION

 

Die Boom ist nicht nur ein Festival – Sie ist ein Lebensstil

 

Es sind kleine Momente, in denen das Lernen stattfindet. Jene Momente in denen du versteht wie wichtig es ist, Fünfe einfach mal gerade sein zu lassen. Und jene Momente in denen dir klar wird, dass du es an anderen Stellen genauer nehmen musst. Diese kleinen Momente prägen dich, deine Einstellung und dein Handeln – und mit dir die Grundlage für große Veränderungen. Genau hier setzt die Idee der Boom an: Als schillernder Kristallisationspunkt einer Neo-Stammeskultur möchte sie inspirieren. Und zwar durch jene magische Erfahrung, die zwischen zeitgenössischer Musik, visionärer Kunst und intellektuell-spirituellem Input entsteht.

 

Veränderung fängt bei dir an, bei deiner Weltanschauung. Du bist der Flügelschlag des Schmetterlings, der am anderen Ende der Welt einen Wetterumschwung bewirkt. Lerne, deine Flügel zu gebrauchen!

Zu diesem Zweck kippen wir das Schubladensystem, das unseren Alltag bestimmt, einfach mal komplett aus. Und zwar mitten hinein in die sonnige, unverdorbene, nuklearfreie Natur Portugals. Dann nehmen wir uns 7 Tage lang Zeit, um spielerisch neue Denkwege und Handlungsweisen, um eine neue Ordnung zu erkunden. Das ist unsere Vision von psychedelischer Kultur und sie wollen wir aktiv vortreiben.

 

Auf unserer Webseite findet ihr ausführliche Informationen zu den freien Künsten, den multidimensionalen Installationen und den kreativen Liebensbomben, die auf unsere temporäre autonome Zone regnen werden.

 

Boom ist eine Lebenseinstellung – und sie lebt in euch, liebe Boomer!

  

INTERKULTURELL

 

Andere Länder, andere Lebensstile. Auf der Boom kannst du erleben wie inspirativ diese einfache Tatsache ist. Und zwar in konzentrierter Form: Im Jahr 2012 reisten Stammesangehörige aus 116 verschiedenen Ländern an, um in ihrer multikulturellen Mischung eine durchweg positive Vision für die Zukunft zu manifestieren: We Are One – Wir sind eins!

  

NATUR

 

Die Kulisse für unser Stammestreffen gestaltet die wohl besten Dekorateurin überhaupt: Mutter Natur. Jene jahrhundertealte iberische Baumlandschaft der umliegenden Hügel, versonnene Gärten und der weitläufige See, in dem sich die Magie des August-Vollmonds spiegelt, schaffen ein einzigartiges Panorama.

  

STRAND

 

Nachdem du dich in schwitzende Trance getanzt hast oder wenn dir die Wärme des portugiesischen Sommers zuviel werden sollte: Die nötige Erfrischung ist maximal ein paar hundert Meter entfernt - egal wo du gerade bist. Der große See bestimmt nicht nur das Bild der Boom, sondern auch ihre Stimmung. Wie beim Strandurlaub kannst du jene fließende Ruhe des Wassers aufsaugen, die dich sanft umspült.

  

DESIGN FÜR DEN GEIST

 

Das Liminal Village bietet Gelegenheit, dir dein Oberstübchen neu einzurichten: Mit Lebensphilosophie und praktischem Wissen. Im intellektuellen Brennpunkt der Boom finden Vorträge und Diskussionen zu Themen wie Aktivismus, Psychedelik, Freie Kultur, Rituale der Ahnen, Mythologie, Ökologie, Traumlandschaften, Permakultur, Trance, Heilige Pflanzen oder Alternative Medizin und Wissenschaft statt. Dazu waren in den letzten Jahren Referenten wie Vandana Shiva, Alex Grey, Daniel Pinchbeck, Graham Hancock, Robert Venosa, Erik Davis und Shipibo Don Guillermo Arevalo zu Gast. Ein Filmprogramm zur neuen, planetarischen Kultur bietet noch mehr Stimulation auf intellektueller Ebene.

  

PSYCHEDELISCHES KUNSTMUSEUM

 

Was ist psychedelische Kunst, was visionäre? Will sie die Eindrücke einer psychedelischen Erfahrung wiedergeben? Will sie ähnliche Emotions- und Assoziationsstrukturen auslösen wie eine Vision? Mach dir selbst ein Bild! In atemberaubender Vielfalt präsentieren einige der talentiertesten Maler von allen Kontinenten des Planeten ihre bewusstseinserweiternden Werke.

  

INSTALLATIONEN

 

Bildende Kunst stößt die Pforten unserer Wahrnehmung weit auf und eröffnet uns so die Sicht auf Aspekte unserer Realität, welche normalerweise hinter dem Grauschleier des Alltags verborgen liegen. Um dich mitten hinein in dieses ästhetisch-surreale Paralleluniversum zu katapultieren, kommen überall auf dem Gelände Medien wie Malerei, Bildhauerei, Land Art oder Video zum Einsatz. Sie lassen deine Reise über die Boom zu einer Reise in eine außerirdische Welt von fremdartiger Schönheit werden.

  

MUSIK

 

Über verschiedene Tanzplätze verteilt verwirklicht die Boom ihre psychedelische Vision im Spektrum der hörbaren Frequenzen. Dabei entstehen viele verschiedene Rhythmus- und Harmonie-Texturen die alle darauf abzielen, deine Synapsen zu kitzeln, deine Fantasie zu stimulieren und dich zu beflügeln. Die Klanglandschaften der Boom erstrecken sich auf Genres wie Psytrance, Progressive, Dub, Bass Music, Dubstep, World Music, Glitch, Nu Funk, IDM, Cosmic oder Psy Brakes. In ihrer Gesamtheit schwingen sie sich zum kosmischen Groove der universellen Liebe auf!

  

TANZTEMPEL

 

Mit jedem Herzschlag der Boom bebt das portugiesische Hinterland. Im monumentalen Tanztempel verschmelzen utopische Zukunftsvisionen und das archaische Ritual des Stammenstanz zu einer einzigartigen Trance-Erfahrung. Um euer Bewusstsein dorthin zu schicken, wo Worte zu Hülsen und Bedeutungen zu Variablen werden, haben wir einige der besten DJs, Liveacts und Tribal Bands eingeladen, uns mit extralangen Sets zu verzaubern. Denn Qualität ist wichtiger ist als Masse. Mit viel Liebe zum Detail planen wir eine Reise durch jene multidimensionale Welt namens Psy, wobei wir in Regionen wie Dark, Twilight, Forest, Tribal, Prog, Full-On, Groovy Full-On, Goa und Nu-Goa vorstoßen.

 

Die Grundidee der Boom unterscheidet sich ganz erheblich von der einer kommerziellen Massenproduktion. Wir möchten raus aus dem Schattenreich des Egoismus, hinein in eine kollektive Erfahrung. Mithilfe von DJs, VJs, Dekorateuren, Designern und -am allerwichtigsten- mithilfe von euch, den Boomern. Auf dass wir unsere multikulturelle kreative Energie zu einer wahrhaft großen Erfahrung vereinen: Wir sind eins!

  

UMWELT

 

Auf der Boom werden die Erkenntnisse und Prinzipien der Permakultur in ein Festival umgesetzt. So wird ganz konkret erfahrbar: Auch große, internationale Menschenansammlungen lassen sich mit maximalem Respekt vor unserer heiligen Mutter Natur vereinbaren. Dieser Ansatz wurde in den Jahren 2008 und 2010 mit dem Greener Festival Award ausgezeichnet, 2010 und 2012 außerdem mit dem European Festival Award.

 

Auf der Boom kommen ausschließlich Komposttoiletten zum Einsatz. Das Nutzwasser wird mithilfe von Pflanzen zu 100% wiederaufbereitet. Es gibt kostenlose Taschenaschenbecher. Für die Generatoren wird gebrauchtes Pflanzenöl verwendet. Außerdem nutzen wir Technologien wie Solarenergie, Windräder, Biobau und ökologische Abwasserentsorgung, die jedes Jahr weiterentwickelt werden. Auch hier gilt: Die Boom seid ihr, die Boomer. Tragt bitte dazu bei, dass sie ein nachhaltiges Festival ist. Respektiert Mutter Natur und hinterlasst keinen Müll!

  

SPIRITUALITÄT

 

Anreize für spirituell-sozialen Aktivismus, die sich in Form von Yoga, Ayurveda, Tai Chi, Kung Fu, Watsu, Therapien, alternativen Heilmethoden und ganzheitlichen Lehren manifestieren. Auch das ist ein zentraler Aspekt unserer Vision. Denn die Harmonie zwischen Geist und Körper ist ein erster Schritt in Richtung globale Harmonie.

  

INFRASTRUKTUR

 

Freies Wasser. Freies Camping. Freier Wohnmobil-Park. Babyboom für die jüngsten Boomer (bring deine Familie mit zur Boom!) Freie medizinische Versorgung. Freies WIFI. Schließfächer. Boom-Busshuttle von den Flughäfen Lissabon und Madrid. 100% Komposttoiletten. 100% Aufbereitung des Duschabwassers mithilfe von Pflanzen. Ayurvedische Apotheke. Spezielle Einrichtungen für Behinderte. Lebensmittelgeschäft. Gemeinschaftsküchen. Und vieles, vieles mehr!

  

LOGO-FREIE ZONE

 

Die Boom finanziert sich einzig und allein über den Ticketverkauf, sie ist frei von jeglichem Firmen-Sponsoring und wird es immer sein. Auch in dieser Hinsicht möchten wir einen Freiraum schaffen, in dem sich der menschliche Geist unbefangen ausbreiten und entfalten kann.

 

Obwohl das Boom Team den Rahmen schafft – das eigentliche Erlebnis, die eigentliche Inspiration und der eigentliche Geist lebt in euch. Denn ihr seid die Energie, ausgehend von euch kann sich diese Welt ändern.

  

BESONDERE BEDÜRFNISSE

 

Wir möchten die Einrichtungen und Angebote für Behinderte weiterentwickeln. Wenn du oder jemand deiner Freunde behindert ist, sendet uns bitte bis Juni 2014 eine Email um optimale Bedingungen zu garantieren: specialneeds@boomfestival.org

  

FLEXIBLE EINTRITTSPREISE

 

Unser globaler Stamm ist in vielen verschiedenen Ländern zuhause, in denen ganz unterschiedliche Einkommensverhältnisse herrschen. Außerdem leben wir in Zeiten des finanziellen Abschwungs. Wir waren sehr betroffen als wir nach der Boom 2012 hörten, dass einige Menschen schlichtweg nicht genug Geld aufbringen konnten um Teil der kollektiven Erfahrung zu sein. Deshalb haben wir uns entschieden, auf diese Tatsache mit einem flexiblen Eintrittsmodell zu reagieren. Es gibt spezielle Ticketpreise für Länder außerhalb der Europäischen Union, der USA, Kanada, Australien, Neuseeland und Japan. Außerdem für jene Länder, die aktuell die ökonomischen Spekulationen der Rating-Agenturen und der IMF durchlaufen: Portugal, Irland, Griechenland und Spanien. Diese Tickets sind nur bei den Boom Botschaftern des jeweiligen Landes erhältlich, nicht über die Webseite der Boom.

  

www.boomfestival.org/boom2014/multilingual/deutsch

  

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