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"I can tell you that understanding begins with love and respect. It begins with respect for the Great Spirit.All things- and I mean ALL things-have their own will and their own way and their own purpose; this is what is to be respected." --Rolling Thunder, CHEROKEE
Everything on earth has a purpose and is designed special. No two things are created identical. Sometimes in our minds we have a picture of how things should be, and often what we see is different from what they really are. When this happens we often want to control how things are, making them act or behave according to our picture. We need to leave things alone. God is running all things. How do we do this? In out minds we tell ourselves to love all things and respect all things just as they are. Accept what we cannot change.
Great Spirit, teach me the value of respect and help me to accept
people, places and things just as they are.
*Unwritten* ~ song lyrics by Natasha Bedingfield
www.youtube.com/watch?v=4lFXy5bIiSA&feature=channel
I am unwritten, can't read my mind, I'm undefined
Im just beginning, the pen's in my hand, ending unplanned
Staring at the blank page before you
Open up the dirty window
Let the sun illuminate the words that you can not find
Reaching for something in the distance
So close you can almost taste it
Release your inhibitions
Feel the rain on your skin
No one else can feel it for you
Only you can let it in
No one else, no one else
Can speak the words on your lips
Drench yourself in words unspoken
Live your life with arms wide open
Today is where your book begins
The rest is still unwritten
I break tradition, sometimes my tries, are outside the lines
We've been conditioned to not make mistakes, but I can't live that way
Staring at the blank page before you
Open up the dirty window
Let the sun illuminate the words that you can not find
Reaching for something in the distance
So close you can almost taste it
Release your inhibitions
Feel the rain on your skin
No one else can feel it for you
Only you can let it in
No one else, no one else
Can speak the words on your lips
Drench yourself in words unspoken
Live your life with arms wide open
Today is where your book begins
But the rest is still unwritten
Feel the rain on your skin
No one else can feel it for you
Only you can let it in
No one else, no one else
Can speak the words on your lips
Drench yourself in words unspoken
Live your life with arms wide open
Today is where your book begins
The rest is still unwritten
The rest is still unwritten
The rest is still unwritten
You might think that relationship commitment and personal freedom are at odds with one another.
My own experience was that when I made the commitment to my marriage I felt liberated.
When I shared this observation with my single friend Howard, he looked at me as though I had taken leave of my...
howdoidate.com/relationships/commitment/this-is-what-rela...
A cathedral without a bishop: St. Stephan in Vienna
In order to fully fulfill the function of a capital in its medieval understanding, Vienna lacked a decisive factor: Vienna was indeed a major city, but not the seat of a bishopric, but was subordinate to the Prince-Bishop of Passau in ecclesiastical matters. St. Stephen, the most important church in the city, had only the rank of a parish church.
Therefore, the first attempts to found a diocese in Vienna date back to the time of the Babenbergs. Also the under Ottokar II Přemysl after the fire of 1258 begun generous new building of the Saint Stephen's church in the late Romanesque style pursued this goal.
The Habsburgs' representational aspirations also focused on St. Stephen after they had taken control of Austria. Albrecht I began in 1304 with the construction of a new choir. The highlight, however, was reached under Duke Rudolf IV. This ambitious Habsburg wanted to turn Vienna into an important royal residence and St. Stephen as the "Capella regia Austriaca" into the court church of the Austrian sovereign princes, the sacral center of the country.
The background for this lay in the competition with the dynasty of Luxembourg: Emperor Charles IV was just about to expand his residence Prague to a metropolis of European importance. One of his measures was the elevation of Prague to the Archbishopric of 1344, which prompted the great expansion of St. Vitus' Cathedral on Prague's Hradcany.
Rudolf's plan to make St. Stephen the seat of a bishop failed because of the resistance of Passau, because the bishop rightly feared a reduction of his diocese. Nevertheless, Rudolf found a way to give St. Stephan a special rank. In 1359 he obtained the papal confirmation for the founding of a collegiate, an association of 24 dressed in cardinal red robes priests, which was headed by a provost in a bishop-like costume. By subordinating the collegiate directly to the Pope, it was beyond the Passau influence. Thanks to complicated ecclesiastical chess moves he finally succeeded in 1365 to transfer his foundation to St. Stephen, which increased the importance of the church.
This was also reflected in the structural design of the church. In 1359 Rudolf IV began with a large-scale expansion, which was to bear all the symbols of a ruling church: a princely gallery above the west portal was framed by two-storey Duke's chapels, in which the relic treasure was kept. A princely tomb was erected as the tomb of the rulers of the country and finally four towers were planned, which was actually a building prerogative of a bishop's church. By integrating parts of the late Romanesque predecessor building (the main portal and the westwork called "Giant Gate") into his concept, Rudolf gave his building program historical depth.
With the death of Rudolf, the interest of the Habsburgs in St. Stephen palpably came to an end, and the citizens of Vienna took the initiative for the further expansion of the church. Only with Frederick III., who saw his example in Rudolf IV, did a Habsburg take part in the expansion of the church. Friedrich ordered the beginning of the work on the north tower. However, his high tomb in the Apostle Choir of the Dome, which is another notable example of the dynastic program of the Habsburgs in the late Middle Ages, is particularly reminiscent of this Habsburg.
Frederick III. finally managed to bring the prestige matter of his ancestor Rudolf to a successful end: 1469 Frederick III succeeded in to bring about the Pope to elevate Vienna to a diocese. Although the Viennese diocese initially had only a minimal extension - it was smaller than the current urban area - but the Habsburgs had imposed their own will: The Cathedral of St. Stephen had finally a bishop.
Eine Kathedrale ohne Bischof: St. Stephan in Wien
Um im mittelalterlichen Verständnis die Funktion einer Hauptstadt vollends zu erfüllen, fehlte Wien eine entscheidende Sache: Wien war zwar eine bedeutende Großstadt, aber nicht Sitz eines Bistums, sondern unterstand in kirchlichen Belangen dem Fürstbischof von Passau. St. Stephan, die wichtigste Kirche der Stadt, hatte nur den Rang einer Pfarrkirche.
Daher datieren die ersten Versuche einer Bistumsgründung in Wien bereits in die Zeit der Babenberger. Auch der unter Ottokar II. Přemysl nach dem Brand von 1258 begonnene großzügige Neubau der Stephanskirche im spätromanischen Stil verfolgte dieses Ziel.
Auf St. Stephan konzentrierten sich auch die Repräsentationsbestrebungen der Habsburger, nachdem sie die Herrschaft in Österreich übernommen hatten. Albrecht I. begann bereits 1304 mit dem Bau eines neuen Chores. Der Höhepunkt wurde jedoch unter Herzog Rudolf IV. erreicht. Dieser ehrgeizige Habsburger wollte Wien zu einer bedeutenden Residenzstadt und St. Stephan als “Capella regia Austriaca”, als Hofkirche der österreichischen Landesfürsten, zum sakralen Zentrum des Landes machen.
Der Hintergrund dafür lag in der Konkurrenz mit der Dynastie der Luxemburger: Kaiser Karl IV. war gerade dabei, seine Residenz Prag zu einer Metropole europäischer Geltung auszubauen. Eine seiner Maßnahmen war die Erhebung Prags zum Erzbistum 1344, was den Anstoß gab für den großartigen Ausbau des Veitsdomes am Prager Hradschin.
Rudolfs Plan, St. Stephan zum Sitz eines Bischofs zu machen, scheiterte zwar am Widerstand Passaus, denn der Bischof fürchtete zu Recht eine Verkleinerung seiner Diözese. Dennoch fand Rudolf einen Weg, St. Stephan einen besonderen Rang zu verleihen. 1359 erwirkte er die päpstliche Bestätigung für die Gründung eines Kollegiatstiftes, einer Vereinigung von 24 in kardinalsrote Gewänder gekleideten Priestern, denen ein Probst in bischofsähnlicher Tracht vorstand. Indem er das Kollegiat direkt dem Papst unterstellte, war es dem Passauer Einfluss entzogen. Dank komplizierter kirchenrechtlicher Schachzüge gelang es ihm schließlich 1365 seine Stiftung auf St. Stephan zu übertragen, was die Bedeutung des Gotteshauses erhöhte.
Dies schlug sich auch in der baulichen Gestalt der Kirche nieder. 1359 begann Rudolf IV. mit einem groß angelegten Ausbau, der alle Symbole einer Herrscherkirche tragen sollte: Eine Fürstenempore über dem Westportal wurde von doppelstöckigen Herzogskapellen eingerahmt, in denen der Reliquienschatz verwahrt wurde. Eine Fürstengruft als Grablege der Herrscher des Landes wurde angelegt und schließlich waren vier Türme geplant, was eigentlich ein bauliches Vorrecht einer Bischofskirche war. Indem Rudolf Teile des spätromanischen Vorgängerbaues (das als “Riesentor” bezeichnete Hauptportal und das Westwerk) in sein Konzept integrieren ließ, gab er seinem Bauprogramm historische Tiefe.
Mit dem Tod Rudolfs erlosch das Interesse der Habsburger an St. Stephan spürbar, die Wiener Bürgerschaft übernahm die Initiative für den weiteren Ausbau der Kirche. Erst mit Friedrich III., der in Rudolf IV. sein Vorbild sah, beteiligte sich wieder ein Habsburger am Ausbau der Kirche. Friedrich veranlasste den Beginn der Arbeiten am Nordturm. An diesen Habsburger erinnert vor allem jedoch sein Hochgrab im Apostelchor des Domes, ein weiteres bemerkenswertes Beispiel für das dynastische Programm der Habsburger im Spätmittelalter.
Friedrich III. gelang es schließlich auch, die Prestigeangelegenheit seines Ahnen Rudolf zu einem erfolgreichen Ende zu bringen: 1469 erreichte Friedrich III. beim Papst die Erhebung Wiens zum Bistum. Die Wiener Diözese hatte zwar zunächst nur eine minimale Ausdehung – sie war kleiner als das heutige Stadtgebiet – aber die Habsburger hatten ihren Willen durchgesetzt: Der Dom zu St. Stephan hatte endlich einen Bischof.
Martin Mutschlechner
www.habsburger.net/de/kapitel/eine-kathedrale-ohne-bischo...
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n) I gotta love kissing a woman for me to perform sexually.
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Statue of WC Wentworth, Department of Lands building, Bridge St, Sydney.
Each facade has 12 niches whose sculpted occupants include explorers and legislators who made a major contribution to the opening up and settlement of the nation. Although 48 men were nominated by the architect, Barnet, as being suitable subjects, most were rejected as being 'hunters or excursionists'. Only 23 statues were commissioned, the last being added in 1901 leaving 25 niches unfilled (Devine, 2011). In Nov 2010 - a new statue of colonial surveyor James Meehan (1774-1826) was created and placed in an empty niche on cnr. Loftus/Bent Streets.
Wentworth, William Charles (1790–1872)
by Michael Persse
This article was published in Australian Dictionary of Biography, Volume 2, (MUP), 1967
William Charles Wentworth (1790-1872), explorer, author, barrister, landowner, and statesman, was the son of Catherine Crowley, who was convicted at the Staffordshire Assizes in July 1788 of feloniously stealing 'wearing apparell', was sentenced to transportation for seven years, reached Sydney in the transport Neptune in June 1790, and in the Surprize arrived at Norfolk Island with the infant William on 7 August. Dr D'Arcy Wentworth, who also sailed in the Neptune and Surprize, acknowledged William as his son. He accompanied his parents to Sydney in 1796 and then to Parramatta, where his mother died in 1800. In 1803 he was sent with his brother D'Arcy to England. Writing home from their first school at Bletchley in 1804, he told of a visit to his father's patron and kinsman: 'We waited, one day, on Lord Fitzwilliam, at his request, he seemed glad to see us, and presented each of us with a guinea … We are going on in our Latin studies &c., to the satisfaction of our Master, and hope that we shall continue to do so, well knowing how essentially necessary a good education is to our future welfare in life'. In the holidays they stayed with their father's agent, Charles Cookney. In 1805 Mrs Cookney wrote of William to Dr Wentworth that 'a Surgeon is a very improper profession for Him as from the Cast in the Eye it leads Him differently to the object he intends'. They went on to the Greenwich school of Dr Alexander Crombie, a liberal scholar whose published works ranged over philology, politics, economics, agriculture, science, and theology.
Failing to win a place in the military academy at Woolwich or in the East India Co., Wentworth returned to Sydney in 1810 somewhat at a loose end. He was soon riding Gig, his father's grey gelding, to victory in the Hyde Park races. In October 1811 Lachlan Macquarie appointed him acting provost-marshal. He was granted 1750 acres (708 ha) on the Nepean, where his estate, Vermont, is still a Wentworth property.
He rapidly became a familiar figure around Sydney, with his tall frame, thick shoulders, Roman head, and auburn hair, his rugged and untidy person. He tended to speak in magniloquent abstractions, his harsh voice resounding with rhetoric and sarcasms and classical allusions; yet he showed a keen eye for detail. He seemed already something of a Gulliver in Lilliput. He knew that his father was slighted by the exclusives, that 'aristocratic body' who, he later wrote, 'would monopolize all situations of power, dignity, and emolument … and raise an eternal barrier of separation between their offspring and the offspring of the unfortunate convict': and the knowledge bred in him a determination to destroy their power.
Yet he was no leveller, no democrat. Men must be free, but free to rise—and his own family especially. Like his father he was a monopolist at heart. His adventurous spirit, drought, and the desire to discover new pastures led him in May 1813, in company with William Lawson, Gregory Blaxland, four servants, four horses, and five dogs, to take part in the first great feat of inland exploration, the crossing of the Blue Mountains. At the end of their twenty-one-day passage, as he later wrote,
The boundless champaign burst upon our sight
Till nearer seen the beauteous landscape grew,
Op'ning like Canaan on rapt Israel's view.
Uncertain that they had really crossed the mountains, he wrote in his journal: 'we have at all events proved that they are traversable, and that, too, by cattle'. The discovery gave impetus to great pastoral expansion in which Wentworth amply shared. He was rewarded with another 1000 acres (405 ha) . On the mountain journey, according to his father, he had developed a severe cough; to recover his health and to help his father secure valuable sandalwood from a Pacific island he joined a schooner as supercargo in 1814. He was nearly killed by natives at Rarotonga while courageously attempting to save a sailor whom they clubbed to death. The captain died, and Wentworth, with knowledge gained on his earlier voyage from England and no mean mathematical skill, brought the ship safely to Sydney.
The Sydney Gazette was then subject to official censorship. The nearest approach to a free press in Governor Macquarie's régime were the anonymous 'pipes', of which the most celebrated was the one directed, in 1816, against Colonel George Molle, the lieutenant-governor, for his hypocrisy towards Macquarie. The furore resulting from it lasted for more than a year, till Dr Wentworth revealed that William, on his way to England, had written from Cape Town admitting authorship. Other 'pipes' are in his hand. Their political importance was greater than their literary merit, though it is not fanciful to see Wentworth as a key figure in early Australian literature. The alliance between literature and politics was close, each needing freedom in which to breathe. He helped to keep satire alive in the time of Macquarie and was later to lead it from darkness into light.
In 1816 Wentworth arrived in London and enlisted Fitzwilliam's aid in persuading his father that the army was no longer a feasible career for him now that the Napoleonic wars were over. In February 1817 he entered the Middle Temple to prepare himself to be 'the instrument of procuring a free constitution for my country'. He wrote to Fitzwilliam of 'the more remote objects' of his ambition: 'It is … by no means my intention in becoming a member of the Law to abandon the Country that gave me birth … In withdrawing myself … for a time from that country I am actuated by a desire of better qualifying myself for the performance of those duties, that my Birth has imposed—and, in selecting the profession of the Law, I calculate upon acquainting myself with all the excellence of the British Constitution, and hope at some future period, to advocate successfully the right of my country to a participation in its advantages'.
This remained the master-plan, but for a time he was characteristically restless. He unsuccessfully petitioned the Colonial Office to allow him to explore Australia from east to west. He spent more than a year in Europe, chiefly in Paris, to the benefit of his French but the annoyance of Fitzwilliam. His health improved but he was very short of funds. He saw much of the Macarthurs. In 1819 he published A Statistical, Historical, and Political Description of the Colony of New South Wales and Its Dependent Settlements in Van Diemen's Land, With a Particular Enumeration of the Advantages Which These Colonies Offer for Emigration and Their Superiority in Many Respects Over Those Possessed by the United States of America. Young John Macarthur had suggested that he write it, and it owed much to conversations with old John, who with little sympathy with Wentworth's constitutional ideas later denounced the book, but whose faith in Australian wool was infectious. Wentworth hoped ardently to marry Elizabeth Macarthur. He envisaged a great Wentworth-Macarthur connexion at the head of the pastoral aristocracy dominating the New South Wales of his dreams, and he seemed about to achieve 'a union' which he described to his father as 'so essential to the happiness of your son and to the accomplishment of those projects for the future respectability and grandeur of our family, with the realisation of which I have no doubt you consider me in a great measure identified'. But his hopes were dashed by a quarrel with her father over a loan of money.
A new blow fell. In 1819 H. G. Bennet declared in his Letter to Lord Sidmouth that D'Arcy Wentworth had been sent to Sydney as a convict. Mortified by this slander, William rushed to his father's defence, ready to spill the last drop of his heart's blood in reparation. His own investigations proved disquieting. They revealed that his father was never a convict but had indeed been tried four times in England for highway robbery, though finally acquitted. Wentworth rebuked Bennet and later Commissioner John Thomas Bigge, who repeated the slander in his report, but his pride had suffered a rude shock, though not a shattering one. The greatness of his family and the glory of his country were the two almost synonymous preoccupations of his mind: and the two now became one as Wentworth, wounded in heart and pride, resolutely identified himself with the interests of the Australian-born.
His book did much to stimulate emigration and was reissued in revised and enlarged editions in 1820 and 1824. The various strands in his education are clearly seen in it: the classical, in its rhetorical style and arguments from ancient history; the mathematical, in its calculations about wool as 'the most profitable channel of investment offered in the world'; the scientific, in descriptions of the natural scene; and the legal, in the reforms proposed for New South Wales. After the 'description', he attacks the existing autocracy and presses for a nominated legislative council and an assembly elected on a small property franchise: ex-convicts are not to be denied either membership or the vote. No taxation should be imposed without parliamentary sanction. There should be trial by jury, a proper process of appeal, and free migration. Such reforms will realize the emancipists' dream: to raise Australasia 'from the abject state of poverty, slavery, and degradation, to which she is so fast sinking, and to present her with a constitution, which may gradually conduct her to freedom, prosperity, and happiness'; its future will then be theirs, and Wentworth's. Yet the book is no tract for democracy. Landed property is 'the only standard' he conceives 'by which the right either of electing, or being elected, can in any country be properly regulated'. The council 'bears many resemblances to the House of Lords': 'It forms that just equipoise between the democratic and supreme powers of the state, which has been found necessary not less to repress the licentiousness of the one, than to curb the tyranny of the other'.
He was called to the Bar in February 1822, and decided then to 'keep a few terms' at Cambridge. Soon after entering Peterhouse, he competed for the chancellor's gold medal for a poem on Australasia. His poem, placed second to W. M. Praed's, was speedily published, with a dedication to Macquarie. Rhetorical and realistic, it ends with a bold prophecy of the day when Britain is vanquished and her spirit rises again in the antipodes:
May all thy glories in another sphere
Relume, and shine more brightly still than here;
May this, thy last born infant, then arise,
To glad thy heart and greet thy parent eyes;
And Australasia float, with flag unfurl'd,
A new Britannia in another world.
He returned to Sydney in 1824, determined 'to hold no situation under government': 'As a mere private person I might lead the colony, but as a servant of the Governor I could only conform to his whims, which would neither suit my tastes nor principles'. In the third edition of the Description he had attacked the report of Commissioner Bigge as 'nauseous trash': it was hostile to Macquarie and it played into the hands of the exclusives. He had some influence on the New South Wales Act of 1823, which instituted a nominated Legislative Council and permitted trial by jury in civil actions only when demanded by both parties. With him came Dr Robert Wardell, a lawyer who had edited the Statesman. Their plan was that each in his sphere, Wardell in journalism and Wentworth at the Bar, should champion the emancipists and smaller free settlers and campaign for a free press, trial by jury, and self-government.
On 14 October 1824 the first issue of the Australian, the plant for which they had brought from London, boldly declared: 'Independent, yet consistent—free, yet not licentious—equally unmoved by favours and by fear—we shall pursue our labours without either a sycophantic approval of, or a systematic opposition to, acts of authority, merely because they emanate from government'. Audacity triumphed. They had not sought permission to publish the paper, but Governor Sir Thomas Brisbane thought it 'most expedient to try the experiment of full latitude of freedom of the Press'; despite Colonial Office objections approval continued well into the reign of his successor. The exclusives bitterly prophesied 'a nation of freebooters and pirates', but they could do nothing while the Australian retained Government House favour.
Meanwhile Wentworth seized every opportunity to attack the exclusives, and awaited a pretext for attacking autocratic government. In October 1825 he arranged a meeting for free inhabitants to consider a farewell address to Brisbane, acknowledging his emancipist sympathies. He called the first draft a 'milk and water production', and in the revised document the 'two fundamental principles of the British constitution' were demanded: trial by jury and representative government. He spoke passionately against the exclusives, the 'yellow snakes of the Colony'.
The wind turned in November 1826 with the death of Private Sudds in circumstances partly arising from the commutation by Governor (Sir) Ralph Darling of the sentence on him and Private Thompson. Wentworth seized on the alleged illegality of Darling's act and with violent invective demanded his recall. The affair rapidly developed into a bitter feud.
At a crowded meeting on Anniversary Day in 1827, which resulted in a petition calling for an elective assembly of at least a hundred members, Wentworth also called for trial by jury and taxation by consent. The newspapers inflamed public opinion against Darling, whose alleged treatment of Sudds Wentworth described as 'murder, or at least a high misdemeanour'. Convinced that Wentworth, a 'vulgar, ill-bred fellow' and a 'demagogue', was 'anxious to become the man of the people' by insulting the government, and that 'nothing short of positive coercion' would curb the licentiousness of the press, Darling submitted to the Legislative Council two bills, to regulate newspapers and to impose a stamp duty. Chief Justice (Sir) Francis Forbes refused to certify the licence clauses of one as 'not repugnant to the laws of England'. Wentworth attacked the other because blanks had been left for rates of duty to be inserted later; when they were filled in Forbes would not certify it and the Act though passed by council was suspended and later disallowed. Darling saw no alternative but to prosecute for seditious libel.
The resulting cases occupied the Supreme Court through 1828 and 1829. Wentworth surrendered his shares in the Australian and acted as defending counsel. He overwhelmed the lamentably weak Crown prosecutors with torrents of invective and brilliant marshalling of his facts. Darling wrote that he and Wardell kept 'the Court and the Bar by their effrontery and talent equally in subjection'. When Wardell was tried, he challenged the jury as nominees of the governor, who could deprive them of their commissions if they failed to convict. Finally in 1829, as a result of Wentworth's insistent demands, civilian juries were allowed in civil cases on the application of both parties and the approval of the Supreme Court.
A draft of 'impeachment' prepared by Wentworth against Darling did little damage to the governor's reputation at the Colonial Office, but it certainly undermined Wentworth's, so intemperate was its language. Darling served his six-year term, and departed in 1831 to the accompaniment of a riotous celebration at Wentworth's estate overlooking the harbour. The Australian reported: 'upward of 4,000 persons assembled at Vaucluse to partake of Mr Wentworth's hospitality and to evince joy at the approaching departure. The scene of the fête was on the lawn in front of Mr Wentworth's villa, which was thrown open for the reception of all respectable visitants, while a marquee filled with piles of loaves and casks of Cooper's gin and Wright's strong beer, was pitched a short way off. On an immense spit a bullock was roasted entire. Twelve sheep were also roasted in succession; and 4,000 loaves completed the enormous banquet. By 7 p.m. two immense bonfires were lighted on the highest hill … Rustic sports, speeches, etc., etc., whiled away the night; and morning dawned before the hospitable mansion was quitted by all its guests'.
By taking up the fight against autocracy and by his imperious courage and oratory in the defence of emancipists at the Bar Wentworth had awakened a political instinct among the smaller people of Sydney and become their hero. He had touched both journalism and the Bar with the fire of his brilliance and given them definition, direction, and the vision of greatness: he may justly be called their prophet in the Australian nation, if not the prophet of that nation itself. The larger fight remained: for the great goal of self-government. But, even as the people of Sydney were flocking out to Vaucluse to join with the popular hero in celebration of the tyrant's departure, changes in Wentworth's own life and activities were beginning to cause disillusion among many who only partially understood his aims. With the swelling tide of immigration into New South Wales, the exclusive-emancipist issue was receding into the background of politics. So fast were events moving that in 1835, when Darling was cleared of Wentworth's charges and knighted, there were few in Sydney who showed concern.
By his father's death in 1827 Wentworth added greatly to his landholdings. In that year he bought Vaucluse, about six miles (9.6 km) from Sydney on the south side of the harbour, and later enlarged it to 500 acres (202 ha) . The cottage there was rebuilt into a stately mansion which, in the years after Wentworth's marriage in 1829, provided the setting for both his family life and his activities as statesman. It was adorned with riches from the old world and became a sign of the new time, spacious and leisured, that was coming to the rich in New South Wales. With his large legal earnings, Vaucluse, his father's estate at Homebush, and one sheep station after another (he acknowledged fifteen at one time) Wentworth more and more felt himself the prototype of a new nobility, a governing class which would adapt to Australian conditions the way of life of the Whig aristocracy of eighteenth-century England. His own way of life became spacious even to the point of lapses from his marriage vows.
With Darling's successor, Governor (Sir) Richard Bourke, a kinsman of Edmund Burke, whose patron Fitzwilliam had been, Wentworth had much in common, though not even Bourke could persuade him to accept nomination to the Legislative Council, in which the governor's own liberal measures were frequently frustrated by the exclusives. In London there was growing support for Wentworth's policies: the Reform Act and events in Canada were fostering a climate of opinion favourable to constitutional change. After the murder of Wardell in 1834, William Bland stepped into his place as Wentworth's chief supporter. At the foundation-day meeting in 1833 another petition for self-government was drafted, which was presented to the Commons by Lytton Bulwer.
In 1835 the Australian Patriotic Association was formed to agitate for an amended constitution. Sir John Jamison was president, Wentworth vice-president, and Charles Buller its agent in London. With Bland's assistance Wentworth drafted two alternative bills for the consideration of the British government: one providing for a nominated council and an elected assembly on the model of Canada; the other for a single house of fifty members, one-fifth nominated and the rest elected on a property franchise similar to that of the 1832 Reform Act in Britain. With support in Sydney from Bourke and his successor, Sir George Gipps, and in London from Buller, Wentworth's second bill was adopted, with modifications, in an Act granting a degree of representative government in 1842. In an enlarged Legislative Council the proportion of nominees became one-third, and the property qualification for electors of the remaining twenty-four members was high enough to exclude two-thirds of the adult male population. Though the governor retained control of colonial revenue, he ceased to preside over the Legislative Council and was replaced by an elected Speaker.
In his book Wentworth had commended simultaneously a wide franchise and a property qualification for electors. The 1827 petition had demanded suffrage for 'the entire of the free population'. Now the eighteenth-century Whig in him was running stronger and he was more apt to equate political capacity with property and poverty with ignorance. He had given up his legal practice and was concentrating on his landed interests. Though he was still far less wealthy than James Macarthur, who had gone to England on behalf of the exclusives to oppose the demands of the Australian Patriotic Association, Wentworth's riches were increasing rapidly, and the onset of middle age, his experience of the crowd, and the shift in the balance of population caused by assisted migration all tended to strengthen his conservatism. The intention of the British government to abolish convict transportation and to raise the price of crown land drew the exclusives and Wentworth into a common opposition to any change in the condition allowing them cheap land and labour.
The leading emancipists now found themselves together with the exclusives on the side of the rich. Wentworth now belonged to the pastoral aristocracy he had envisaged in 1819 and it was faced with stern threats. When he expressed approval of the idea of importing coolie labour from Asia, he alienated many former supporters together with the radicals among the recent immigrants. In January 1842 the Australian summed up the popular feeling: 'Mr Wentworth … was an influential man. His day is gone by. His opinion is worth nothing … Certainly he first taught the natives of this colony what liberty was, but he has betrayed them since and they have withdrawn their confidence from him'.
In 1839 Wentworth was recommended for appointment to the Legislative Council by Gipps, but was soon at enmity with the new governor. In 1840, in direct opposition to declared British policy, humanely conceived, Wentworth and some associates bought from seven Maori chieftains, for a song, nearly a third of New Zealand, urging them, moreover, not to acknowledge Queen Victoria without proper safeguard. Gipps, aghast at such a 'job', blocked the scheme in the Legislative Council. But he misunderstood Wentworth. This bid was no jobbery, but Elizabethan in spirit and characteristically splendid and defiant. It would have made him the greatest landowner on earth; frustrated, he swore 'eternal vengeance'. The enmity between Wentworth and Gipps bedevilled almost every issue until the governor's departure in 1846. It was comparatively easy for Wentworth to lead others against Gipps. As with Darling, he set out to wreck his opponent's policies, but although he was frequently depicted as an unscrupulous politician his powers were bent passionately on ends that seemed to him greater than person or reputation, his own or anybody else's.
Wentworth entered the Legislative Council in 1843 at the head of the poll for Sydney. He wished to be Speaker but was passed over in favour of his enemy, Alexander McLeay. However, with his unrivalled knowledge of parliamentary procedure and colonial affairs, he immediately assumed practical leadership of the council. His achievement was already remarkable. He was an orator of immense power, whether bludgeoning an opponent, or fumbling and growling and calling for his 'extracts', or rising, with harsh and rasping voice, to a broken sublimity of language which moved and enlightened even his enemies. All were affected by the impact of his personality. Robert Lowe, mellifluously, dartingly, could mock what he had said, but the twain never really met, for they were of two different orders of being. Though he could marshal arguments brilliantly Wentworth relied little on subtlety or logic. He created a mood and stormed rather than seduced the mind. Careless and even slovenly in manners and dress (he now wore corduroys with his badly-fitting morning-coat), he had, while knowing his power, an unconscious arrogance and was in all things the observed of all observers.
He led the squatters in their demand for new land regulations and, since imperial control over crown land was an obstacle to their interest, for a surrender of that control to the Legislative Council. The squatters wanted security of tenure so that they could improve their runs without fear of displacement. Through a Pastoralists' Association, a select committee of the Legislative Council, a paid agent in the House of Commons, and in other ways they waged unceasing war against Gipps's policies. They won most of their demands in the Imperial Act of 1846, which gave them security, for varying periods in the 'settled', 'intermediate', and 'unsettled' districts, unless someone would pay £1 an acre for the land they leased, and this they could thwart by purchasing key-points on their runs, such as around the waterholes. In a sense the squatting age was now over. Henceforward the graziers could build spacious homesteads and develop the way of life of a landed, governing class, whatever political power Wentworth and his followers might win for them.
Because pastoral interests were strong in the part-elective Legislative Council Wentworth was able after 1843 to establish again a leadership of the colony as a whole. He was never again popular as he had been in 1831. At times he was distinctly unpopular but the power of his personality continued to sway even the crowd. In the 1848 election, after a public outcry over the renewal of transportation, he again headed the Sydney poll, though Bland was defeated altogether. In 1851, when his unpopularity stood at its height through his insistence on a preponderance of squatter-controlled rural representation over that of Sydney and his opposition to a wide franchise and to the 'spirit of democracy abroad', he came in third, but was still returned.
Though frequently accused of inconsistency, Wentworth followed unswervingly the same ideals throughout his career. He believed profoundly in intellect, and his fury at unintelligent officialdom, military autocracy, and the social pretensions of the unimaginative exclusives (the imaginative, such as John Macarthur, he admired) sprang from the same source as his distrust of mob rule: a hatred of anything which would prevent the human mind and spirit from developing their latent powers. He at no time denied the right of the intelligent poor to aspire to the seats of government, but they must first become 'men of substance', participating in one of the great interests on which the welfare of the community depended. Pre-eminent among these was the landed interest which, because of his realistic appraisal of the Australian economy no less than his inherited or acquired Whiggism, he believed was the one to which, as he told them in 1851, the inhabitants of Sydney 'were indebted for all their greatness, all the comforts, all the luxuries, that they possessed'. He told them, too, with no little courage, that he 'agreed with that ancient and venerable constitution that treated those who had no property as infants, or idiots, unfit to have any voice in the management of the State'. The way out of infancy, or idiocy, was through intellect and property: but essential to these, and to the management of the state, was education — and Wentworth's pioneering of both primary and university education in Australia is among the noblest of his achievements.
He played a leading part with Lowe, his erstwhile opponent, in establishing in 1848-49 the first real system of state primary education in New South Wales. Hitherto primary teaching—and most of the children of the colony had none—had been conducted predominantly by the various religious denominations, with much sectarian bitterness. New South Wales was on the brink of gaining responsible government; but this, he argued, would be workable only through national education. Should they fail to give the youth of the colony 'the education which would furnish them with the knowledge of the responsibilities they undertook, the achievement of responsible government will be not to achieve a blessing, but to achieve the greatest curse it is possible to conceive'. He went on in 1849-50 to lead the movement that resulted in the founding of the first full colonial university in the British empire, the University of Sydney. He saw this as serving two ends: 'to enlighten the mind, to refine the understanding, to elevate the soul of our fellow men'; and to train men to fill 'the high offices of state'. He deplored the religious bigotry which had obstructed education: the university should be 'open to all, though influenced by none'. But he denied vigorously that his university would promote infidelity: he believed that 'the best mode of proving the divinity of the great Christian Code was to advance the intellect of those who trusted and relied upon it … It was not by stinting the intellect that Christianity was to be promoted'. The university would leave religious education to constituent colleges which he envisaged 'in every part of the colony'. Wentworth also helped to endow the university and was a member of its first senate.
In 1844, after a collision between Gipps and the Legislative Council, Wentworth had advocated 'that control of the Ministers and the Administrators of the Colony … which can only exist where the decision of the majority can occasion the choice—as well as the removal—of the functionaries who are entrusted with the chief executive departments'. He lost enthusiasm for this kind of responsible government after Governor Sir Charles FitzRoy eased the friction between executive and legislature, and turned instead to demands for self-government with full control of crown lands and colonial revenue. These demands, expressed in the Remonstrances of 1850 and 1851, remained urgent when gold was discovered, but the pastoral ascendancy seemed likely to be seriously threatened by 'pure democracy'. Although in 1852 the Colonial Office finally agreed that New South Wales should have responsible government, only a limited form of individual responsibility of some members of the executive was provided by the select committee which drafted the constitution in 1853. With Wentworth as chairman it recommended a lower house of fifty members elected on a £10 property franchise, and a nominated upper house consisting of members of a hereditary colonial peerage. The rural bias of the proposed lower house and the idea of a peerage were vociferously opposed in Sydney, by the press and by orators representing nearly every shade of political and social opinion. Wentworth vigorously defended his peerage scheme—which was a logical outgrowth of his basic ideas and assumptions and by no means the ridiculous proposal it has been represented as, then and since—but public opinion was so strongly against it that the bill, as eventually passed, contained in its stead provisions for a legislative council shorn of the hereditary principle altogether. Wentworth, with Edward Deas Thomson, colonial secretary for New South Wales, with whom he had been much associated through the lack of interest shown by Governor FitzRoy in colonial politics, sailed for England in 1854. In July 1855 he had the satisfaction of seeing the new Constitution made law, despite the deletion of his favoured safeguard against rash amendments to it, and the early death of the General Association of the Australian Colonies which he conceived as the forerunner of a 'Federal Assembly with power to legislate on all internal subjects'.
His life's work triumphantly achieved, he spent his remaining days in England except for a brief return to Sydney in 1861-62, when he was prevailed on to accept the presidency of the Legislative Council during a crisis, and stood out for the nominative as against the elective principle. He had consolidated his fame more by staying away, and being remembered for his great achievements, than if he had returned and been drawn—as he must have been—into the political fray and tried—as he would have done—to stem the democratic tide. In England he became a member of the Conservative Club, and lived at Merly House, near Wimborne, Dorset. There he died on 20 March 1872, survived by his wife Sarah, second daughter of Francis Cox, an emancipist blacksmith, whom he had married in 1829, and by five of their seven daughters and two of their three sons. His probate was sworn at £96,000 in Sydney and £70,000 in London. As he had wished, his body was brought to Sydney, and after a state funeral on 6 May 1873 was laid to rest in a vault excavated in a rock on his estate at Vaucluse. A chapel erected over his tomb, portraits by Richard Buckner in the chamber of the Legislative Assembly in Sydney and by James Anderson in the Mitchell Library, and a statue in Carrara marble by Tenerani in the Great Hall of the University of Sydney are his tangible memorials.
His intangible, and truer, memorial is much more than can easily be estimated in present-day Australia. With all his apparent contradictions, more than any other man he secured our fundamental liberties and nationhood. He looked backward in many things to the seventeenth and eighteenth centuries; yet he built, with the strength that his sense of history gave him, for the future. He was a child both of the English past and of his own time. He was an heir to the Whig tradition, with its faith in aristocratic and classical values and in British political institutions as established, more or less, by the Glorious Revolution and the politicians of the eighteenth century, and at the same time a child of the romantic movement. The chief intellectual influence upon him was Burke's oratory, with all its rhetoric and splendour and its evocation of the greatness of Augustan Rome and England. Emotionally, however, he was more Byronic, a force of nature of the kind which blazed in the sky of his boyhood in the person of Napoleon. He had breathed the air of Liberal Toryism abroad in England in the early 1820s. The subjection of his proud and romantic nature to the classical restraints of law and politics, though sometimes imperfectly achieved, increased rather than diminished his achievement. In his determination to secure in his own country those free institutions which in eighteenth-century England bore an aristocratic form, he may have regretted that their very freedom would allow them to become democratic; but their freedom was more important to him than their form. His love of Australia was, he confessed, the 'master passion' of his life. He felt a natural kinship with the founding fathers of the United States. It is his chief claim to greatness that, more than any other, he secured in Australia, in one lifetime, the fruit of centuries—what he, in common with other men of the eighteenth and nineteenth centuries, revered as the fundamental liberties of the British Constitution
From:
© Ben Heine || Facebook || Twitter || www.benheine.com
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For more information about my art: info@benheine.com
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Envious Rivalry
A poem by Samuel Nze
I told them they would destroy my world
They would make it a hell;
They cannot say I did not tell them,
As I looked upon them from celestial heights
The country is full of mediocre ill
Of a lack of understanding;
The land is full of hate,
No one cares at all.
This old man is barking at his daughter
Saying this and that;
He is refusing to reason,
No gentlemanliness about him.
They struggle with one another
Increase the need to strive;
They complain about everything,
There is no respite.
Bickering the livelong day
These ones do not care for the truth;
They love delusion,
They give it heated chase.
It is envious rivalry they prefer
Envious rivalry they choose;
It is envious rivalry that will,
As it were satisfy them.
----------------
The poem appeared on poetryagainstpoverty.vox.com
Understanding the buildings of London through drawing…
my instinctive way to understand a building is to draw it as I am observing it. I think it is part of my architectural background of design sketching that I draw to think…. rather than observing first and drawing second. Anyway here are a few scribbles of some iconic buildings of London.
If I haven't said before I am having a few days in London after BCN and so one might think that this is a bit of trip prep.
BTW I am loving seeing Alissa Duke's trip prep on her blog (she is also going to London as well as BCN) www.alissaduke.com/
However…this sketching is actually work - how cool is that… I have an exciting illustration project that I am working on at the moment and this is preparation for that. Ok…back to work.
Happy Monday everyone… oh! it is cold today in Sydney!
Understanding The Moon Phases
Have you ever wondered what causes the moon phases?
Diagram Explanation
The illustration may look a little complex at first, but it's easy to explain.
Sunlight is shown coming in from the right. The earth, of course, is at the center of the diagram. The moon is shown at 8 key stages during its rotation around the earth. The dotted line from the earth to the moon represents your line of sight when looking at the moon. To help you visualize how the moon would appear at that point in the cycle, you can look at the larger moon image. The moon phase name is shown alongside the image.
One important thing to notice is that exactly one half of the moon is always illuminated by the sun. However, at certain times we see both the sunlit portion and the shadowed portion -- and that creates the various moon phase shapes we are all familiar with. Also note that the shadowed part of the moon is invisible to the naked eye; in the diagram above, it is only shown for clarification purposes.
So the basic explanation is that the lunar phases are created by changing angles (relative positions) of the earth, the moon and the sun, as the moon orbits the earth.
Moon Phases Simplified
It's probably easiest to understand the moon cycle in this order: new moon and full moon, first quarter and third quarter, and the phases in between.
As shown in the above diagram, the new moon occurs when the moon is positioned between the earth and sun. The three objects are in approximate alignment (why "approximate" is explained below). The entire illuminated portion of the moon is on the back side of the moon, the half that we cannot see.
At a full moon, the earth, moon, and sun are in approximate alignment, just as the new moon, but the moon is on the opposite side of the earth, so the entire sunlit part of the moon is facing us. The shadowed portion is entirely hidden from view.
The first quarter and third quarter moons (both often called a "half moon"), happen when the moon is at a 90 degree angle with respect to the earth and sun. So we are seeing exactly half of the moon illuminated and half in shadow.
Once you understand those four key moon phases, the phases between should be fairly easy to visualize, as the illuminated portion gradually transitions between them.
An easy way to remember and understand those "between" lunar phase names is by breaking out and defining 4 words: crescent, gibbous, waxing, and waning. The word crescent refers to the phases where the moon is less that half illuminated. The word gibbous refers to phases where the moon is more than half illuminated. Waxing essentially means "growing" or expanding in illumination, and waning means "shrinking" or decreasing in illumination.
Thus you can simply combine the two words to create the phase name, as follows:
After the new moon, the sunlit portion is increasing, but less than half, so it is waxing crescent. After the first quarter, the sunlit portion is still increasing, but now it is more than half, so it is waxing gibbous. After the full moon (maximum illumination), the light continually decreases. So the waning gibbous phase occurs next. Following the third quarter is the waning crescent, which wanes until the light is completely gone -- a new moon.
The Moon's Orbit
You may have personally observed that the moon goes through a complete moon phases cycle in about one month. That's true, but it's not exactly one month. The synodic period or lunation is exactly 29.5305882 days. It's the time required for the moon to move to the same position as seen by an observer on earth. If you were to view the moon cycling the earth from outside our solar system (the viewpoint of the stars), the time required is 27.3217 days, roughly two days less. This figure is called the sidereal period or orbital period. Why is the synodic period different from the sidereal period? The short answer is because we see the sunlit moon from a slowly moving position: the earth! During the moon cycle, the earth has moved approximately one month along its year-long orbit around the sun, altering our angle of viewpoint, and thus, the phase. The earth's orbital direction is such that it lengthens the period for earthbound observers.
Although the synodic and sidereal periods are exact numbers, the moon phase can't be precisely calculated by simple division of days because the moon's motion (orbital speed and position) is affected and perturbed by various forces of different strengths. Hence, complex equations are used to determine the exact position and phase of the moon at any given point in time.
Also, looking at the diagram, you may have wondered why, at a new moon, the moon doesn't block the sun, and at a full moon, why the earth doesn't block sunlight from reaching the moon. The reason is because the moon's orbit about the earth is about 5 degrees off from the earth-sun orbital plane.
However, at special times during the year, the earth, moon, and sun do in fact "line up". When the moon blocks the sun or a part of it, it's called a solar eclipse, and it can only happen during the new moon phase. When the earth casts a shadow on the moon, it's called a lunar eclipse, and can only happen during the full moon phase. Roughly 4 to 7 eclipses happen in any given year, but most of them minor or "partial" eclipses. Major lunar or solar eclipses are relatively uncommon.
Context gives new understanding to modern lingo…
Newell Harry
Untitled (THIS/DAM/MAD/SHIT), 2013
Tongan Ngatu (bark cloth), ink
279 x 118 cm
Newell Harry
Untitled (MILF/FILM/LAME/MALE), 2013
Tongan Ngatu (bark cloth), ink
279 x 118 cm
# Newell Harry
+ 1972: Born Sydney, Australian: South African/Mauritian ancestry
+ 1993-1995: Diploma of Fine Arts, The National Art School, East Sydney Technical College
+ 1997-2000: Bachelor of Fine Arts (Hons.1), College of Fine Arts, University of New South Wales, Sydney
+ 2001-2004: Master of Fine Arts, College of Fine Arts, University of New South Wales, Sydney
+ 2010-2013: Sessional Lecturer, COFA UNSW, Sydney
# Rosly Oxley9 Gallery
# SML Data
+ Date: 2013-05-23T16:45:18+0800
+ Dimensions: 4930 x 3286
+ Exposure: 1/30 sec at f/4.0
+ Focal Length: 32 mm
+ ISO: 100
+ Camera: Canon EOS 6D
+ Lens: Canon EF 17-40 f/4L USM
+ GPS: 22°16'59" N 114°10'22" E
+ Location: 香港會議展覽中心 Hong Kong Convention and Exhibition Centre (HKCEC)
+ Workflow: Lightroom 4
+ Serial: SML.20130523.6D.14009
+ Series: 新聞攝影 Photojournalism, SML Fine Art, Art Basel Hong Kong 2013
# Media Licensing
Creative Commons (CCBY) See-ming Lee 李思明 / SML Photography / SML Universe Limited
“Newell Harry (b.1972 Australia): Untitled (THIS/DAM/MAD/SHIT), 2013 + Untitled (MILF/FILM/LAME/MALE), 2013 (Tongan Ngatu (bark cloth), ink)” / Rosly Oxley9 Gallery / Art Basel Hong Kong 2013 / SML.20130523.6D.14009
/ #Photojournalism #CreativeCommons #CCBY #SMLPhotography #SMLUniverse #SMLFineArt #SMLProjects #SMLTypography #Crazyisgood
/ #中國 #中国 #China #香港 #HongKong #攝影 #摄影 #photography #Art #FineArt #ArtBasel #ABHK #NewellHarry #RoslyOxley9 #people #WTF #LOL #typography
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
My understanding is that is now known as Broadstone Plaza or the Broadstone Gate and the original plan is described below:
"The Broadstone Gate will provide a key access to the Grangegorman site once complete and is being developed as part of the Luas Cross City works. It will be finished as a public plaza and the access will provide a major linkage between Grangegorman and Dublin city."
"The plaza is situated off Constitution Hill on the site of the old royal canal at the former Great Weatern Railway Station commonly known as Broadstone, and will mark a prominent entrance to the Grangegorman urban quarter."
"Under the Grangegorman Masterplan, the primary urban path through Grangegorman – St Brendan’s Way will link with the Broadstone Gate which when completed will reach as far as Prussia Street. The link with Broadstone can also be seen as an extension to the 18th century historic spine of Dublin City which covered Dublin Castle across Grattan Bridge, along Capel Street/Bolton Street, Henrietta Street and King’s Inn."
The new pedestrian/cyclist link between Grangegorman and Constitution Hill was officially opened in November. This link in its current format is temporary until site development in that area is completed. The initial opening hours for the link are Monday – Friday, from 7am – 4pm and on Saturdays, from 7.30am – 2pm. I have been advised by the Grangegorman Development Agency that it intends to expand these opening hours soon.
As you can see from my photographs the Plaza Area is currently a building site but I am hoping that it will be complete within a few months.
Today marks the commencement of NATIONAL MOTH WEEK 2015, a grassroots citizen science initiative originating in the US in 2011 to stimulate greater awareness and understanding of the "humble" moth, which has now been embraced globally.
Brace yourselves for a week-long MOTHS-travanganza!
Pu'er, Yunnan, China
My Tumblr blog, SINOBUG, features photo series and images from my portfolio of Chinese insects and spiders......
photographer: xergs
location: malasag cdo,Philippines
Living gives you a better understanding of life. I would hope that my characters have become deeper and more rounded personalities. Wider travels have given me considerably greater insight into how cultural differences affect not only people, but politics and art.
--Alan Dean Foster--
We had critical run with the american athlete participating in the american pavilion instalation debating about their understanding of the installation
and their opinion about the emergencies in the world
Critical Run @ Venice Biennale / art format Run and Debate about EMERGENCIES
Critical Run is an Art Format created by Thierry Geoffroy /Colonel
debate while running . Debate and Run together, Now , before it is too late.
The Art Format Critical Run has been activated in 40 differents countries with 112 different burning debates
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.
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
artist Thierry Geoffroy creates art formats
aim to develop awareness muscle
during Venice Biennale 2019
The Exhibition will develop from the Central Pavilion (Giardini) to the Arsenale, and will include 79 artists from all over the world.
Ralph Rugoff has declared: «May You Live in Interesting Times will no doubt include artworks that reflect upon precarious aspects of existence today, including different threats to key traditions, institutions and relationships of the “post-war order.” But let us acknowledge at the outset that art does not exercise its forces in the domain of politics. Art cannot stem the rise of nationalist movements and authoritarian governments in different parts of the world, for instance, nor can it alleviate the tragic fate of displaced peoples across the globe (whose numbers now represent almost one percent of the world’s entire population).»
ALBANIA
Maybe the cosmos is not so extraordinary
Commissioner: Ministry of Culture Republic of Albania. Curator: Alicia Knock.
Exhibitor: Driant Zeneli.
ALGERIA***
Time to shine bright
Commissioner/Curator: Hellal Mahmoud Zoubir, National Council of Arts and Letters Ministry of Culture. Exhibitors: Rachida Azdaou, Hamza Bounoua, Amina Zoubir, Mourad Krinah, Oussama Tabti.
Venue: Fondamenta S. Giuseppe, 925
ANDORRA
The Future is Now / El futur és ara
Commissioner: Eva Martínez, “Zoe”. Curators: Ivan Sansa, Paolo De Grandis.
Exhibitor: Philippe Shangti.
Venue: Istituto Santa Maria della Pietà, Castello 3701
ANTIGUA & BARBUDA
Find Yourself: Carnival and Resistance
Commissioner: Daryll Matthew, Minister of Sports, Culture, National Festivals and the Arts. Curator: Barbara Paca with Nina Khrushcheva. Exhibitors: Timothy Payne, Sir Gerald Price, Joseph Seton, and Frank Walter; Intangible Cultural, Heritage Artisans and Mas Troup.
Venue: Centro Culturale Don Orione Artigianelli, Dorsoduro 919
ARGENTINA
El nombre de un país / The name of a country
Commissioner: Sergio Alberto Baur Ambasciatore. Curator: Florencia Battiti. Exhibitor: Mariana Telleria.
Venue: Arsenale
ARMENIA (Republic of)
Revolutionary Sensorium
Commissioner: Nazenie Garibian, Deputy Minister. Curator: Susanna Gyulamiryan.
Exhibitors: "ArtlabYerevan" Artistic Group (Gagik Charchyan, Hovhannes Margaryan, Arthur Petrosyan, Vardan Jaloyan) and Narine Arakelian.
Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596
AUSTRALIA
ASSEMBLY
Commissioner: Australia Council for the Arts. Curator: Juliana Engberg. Exhibitor: Angelica Mesiti.
Venue: Giardini
AUSTRIA
Discordo Ergo Sum
Commissioner: Arts and Culture Division of the Federal Chancellery of Austria.
Curator: Felicitas Thun-Hohenstein. Exhibitor: Renate Bertlmann.
Venue: Giardini
AZERBAIJAN (Republic of )
Virtual Reality
Commissioner: Mammad Ahmadzada, Ambassador of the Republic of Azerbaijan.
Curators: Gianni Mercurio, Emin Mammadov. Exhibitors: Zeigam Azizov, Orkhan Mammadov, Zarnishan Yusifova, Kanan Aliyev, Ulviyya Aliyeva.
Venue: Palazzo Lezze, Campo S. Stefano, San Marco 2949
BANGLADESH (People’s Republic of)
Thirst
Commissioner: Liaquat Ali Lucky. Curators: Mokhlesur Rahman, Viviana Vannucci.
Exhibitors: Bishwajit Goswami, Dilara Begum Jolly, Heidi Fosli, Nafis Ahmed Gazi, Franco Marrocco, Domenico Pellegrino, Preema Nazia Andaleeb, Ra Kajol, Uttam Kumar karmaker.
Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596
BELARUS (Republic of)
Exit / Uscita
Commissioner: Siarhey Kryshtapovich. Curator: Olga Rybchinskaya. Exhibitor: Konstantin Selikhanov.
Venue: Spazio Liquido, Sestiere Castello 103, Salizada Streta
BELGIUM
Mondo Cane
Commissioner: Fédération Wallonie-Bruxelles. Curator: Anne-Claire Schmitz.
Exhibitor: Jos de Gruyter & Harald Thys.
Venue: Giardini
BOSNIA and HERZEGOVINA
ZENICA-TRILOGY
Commissioner: Senka Ibrišimbegović, Ars Aevi Museum for Contemporary Art Sarajevo.
Curators: Anja Bogojević, Amila Puzić, Claudia Zini. Exhibitor: Danica Dakić.
Venue: Palazzo Francesco Molon Ca’ Bernardo, San Polo 2184/A
BRAZIL
Swinguerra
Commissioner: José Olympio da Veiga Pereira, Fundação Bienal de São Paulo.
Curator: Gabriel Pérez-Barreiro. Exhibitor: Bárbara Wagner & Benjamin de Burca.
Venue: Giardini
BULGARIA
How We Live
Commissioner: Iaroslava Boubnova, National Gallery in Sofia. Curator: Vera Mlechevska.
Exhibitors: Rada Boukova , Lazar Lyutakov.
Venue: Palazzo Giustinian Lolin, San Marco 2893
CANADA
ISUMA
Commissioner: National Gallery of Canada. Curators: Asinnajaq, Catherine Crowston, Josée Drouin-Brisebois, Barbara Fischer, Candice Hopkins. Exhibitors: Isuma (Zacharias Kunuk, Norman Cohn, Paul Apak, Pauloosie Qulitalik).
Venue: Giardini
CHILE
Altered Views
Commissioner: Varinia Brodsky, Ministry of Cultures, Arts and Heritage.
Curator: Agustín Pérez. Rubio. Exhibitor: Voluspa Jarpa.
Venue: Arsenale
CHINA (People’s Republic of)
Re-睿
Commissioner: China Arts and Entertainment Group Ltd. (CAEG).
Curator: Wu Hongliang. Exhibitors: Chen Qi, Fei Jun, He Xiangyu, Geng Xue.
Venue: Arsenale
CROATIA
Traces of Disappearing (In Three Acts)
Commissioner: Ministry of Culture of the Republic of Croatia. Curator: Katerina Gregos.
Exhibitor: Igor Grubić.
Venue: Calle Corner, Santa Croce 2258
CUBA
Entorno aleccionador (A Cautionary Environment)
Commissioner: Norma Rodríguez Derivet, Consejo Nacional de Artes Plásticas.
Curator: Margarita Sanchez Prieto. Exhibitors: Alejandro Campins, Alex Hérnandez, Ariamna Contino and Eugenio Tibaldi. Venue: Isola di San Servolo
CYPRUS (Republic of)
Christoforos Savva: Untimely, Again
Commissioner: Louli Michaelidou. Curator: Jacopo Crivelli Visconti. Exhibitor: Christoforos Savva.
Venue: Associazione Culturale Spiazzi, Castello 3865
CZECH (Republic) and SLOVAK (Republic)
Stanislav Kolíbal. Former Uncertain Indicated
Commissioner: Adam Budak, National Gallery Prague. Curator: Dieter Bogner.
Exhibitor: Stanislav Kolibal.
Venue: Giardini
DOMINICAN (Republic) *
Naturaleza y biodiversidad en la República Dominicana
Commissioner: Eduardo Selman, Minister of Culture. Curators: Marianne de Tolentino, Simone Pieralice, Giovanni Verza. Exhibitors: Dario Oleaga, Ezequiel Taveras, Hulda Guzmán, Julio Valdez, Miguel Ramirez, Rita Bertrecchi, Nicola Pica, Marraffa & Casciotti.
Venue: Palazzo Albrizzi Capello, Cannaregio 4118 – Sala della Pace
EGYPT
khnum across times witness
Commissioner: Ministry of Culture. Curator: Ahmed Chiha.
Exhibitors: Islam Abdullah, Ahmed Chiha, Ahmed Abdel Karim.
Venue: Giardini
ESTONIA
Birth V
Commissioner: Maria Arusoo, Centre of Contemporary Arts of Estonia. Curators: Andrew Berardini, Irene Campolmi, Sarah Lucas, Tamara Luuk. Exhibitor: Kris Lemsalu.
Venue: c/o Legno & Legno, Giudecca 211
FINLAND (Alvar Aalto Pavilion)
A Greater Miracle of Perception
Commissioner: Raija Koli, Director Frame Contemporary Art Finland.
Curators: Giovanna Esposito Yussif, Bonaventure Soh Bejeng Ndikung, Christopher Wessels. Exhibitors: Miracle Workers Collective (Maryan Abdulkarim, Khadar Ahmed, Hassan Blasim, Giovanna Esposito Yussif, Sonya Lindfors, Bonaventure Soh Bejeng Ndikung, Outi Pieski, Leena Pukki, Lorenzo Sandoval, Martta Tuomaala, Christopher L. Thomas, Christopher Wessels, Suvi West).
Venue: Giardini
FRANCE
Deep see blue surrounding you / Vois ce bleu profond te fondre
Commissioner: Institut français with the Ministry for Europe and Foreign Affairs and the Ministry of Culture. Curator: Martha Kirszenbaum. Exhibitor: Laure Prouvost.
Venue: Giardini
GEORGIA
REARMIRRORVIEW, Simulation is Simulation, is Simulation, is Simulation
Commissioner: Ana Riaboshenko. Curator: Margot Norton. Exhibitor: Anna K.E.
Venue: Arsenale
GERMANY
Commissioner: ifa (Institut für Auslandsbeziehungen) on behalf of the Federal Foreign Office, Germany. Curator: Franciska Zólyom. Exhibitor: Natascha Süder Happelmann.
Venue: Giardini
GHANA ***
Ghana Freedom
Commissioner: Ministry of Tourism, Arts and Culture. Curator: Nana Oforiatta Ayim.
Exhibitors: Felicia Abban, John Akomfrah, El Anatsui, Lynette Yiadom Boakye, Ibrahim Mahama, Selasi Awusi Sosu.
Venue: Arsenale
GREAT BRITAIN
Cathy Wilkes
Commissioner: Emma Dexter. Curator: Zoe Whitley. Exhibitor: Cathy Wilkes.
Venue: Giardini
GREECE
Mr Stigl
Commissioner: Syrago Tsiara (Deputy Director of the Contemporary Art Museum - Metropolitan Organization of Museums of Visual Arts of Thessaloniki - MOMus).
Curator: Katerina Tselou. Exhibitors: Panos Charalambous, Eva Stefani, Zafos Xagoraris.
Venue: Giardini
GRENADA
Epic Memory
Commissioner: Susan Mains. Curator: Daniele Radini Tedeschi.
Exhibitors: Amy Cannestra, Billy Gerard Frank, Dave Lewis, Shervone Neckles, Franco Rota Candiani, Roberto Miniati, CRS avant-garde.
Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118
GUATEMALA
Interesting State
Commissioner: Elder de Jesús Súchite Vargas, Minister of Culture and Sports of Guatemala. Curator: Stefania Pieralice. Exhibitors: Elsie Wunderlich, Marco Manzo.
Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118
HAITI
THE SPECTACLE OF TRAGEDY
Commissioner: Ministry of Culture and Communication.
Curator: Giscard Bouchotte. Exhibitor: Jean Ulrick Désert.
Venue: Circolo Ufficiali Marina, Calle Seconda de la Fava, Castello 2168
HUNGARY
Imaginary Cameras
Commissioner: Julia Fabényi, Museo Ludwig – Museo d’arte contemporanea, Budapest.
Curator: Zsuzsanna Szegedy-Maszák. Exhibitor: Tamás Waliczky.
Venue: Giardini
ICELAND
Chromo Sapiens – Hrafnhildur Arnardóttir / Shoplifter
Commissioner: Eiríkur Þorláksson, Icelandic Ministry of Education, Science and Culture.
Curator: Birta Gudjónsdóttir. Exhibitor: Hrafnhildur Arnardóttir / Shoplifter.
Venue: Spazio Punch, Giudecca 800
INDIA
Our time for a future caring
Commissioner: Adwaita Gadanayak National Gallery of Modern Art.
Curator: Roobina Karode, Director & Chief Curator, Kiran Nadar Museum of Art. Exhibitors: Atul Dodiya, Ashim Purkayastha, GR Iranna, Jitish Kallat, Nandalal Bose, Rummana Hussain, Shakuntala Kulkarni.
Venue: Arsenale
INDONESIA
Lost Verses
Commissioner: Ricky Pesik & Diana Nazir, Indonesian Agency for Creative Economy.
Curator: Asmudjo Jono Irianto. Exhibitors: Handiwirman Saputra and Syagini Ratna Wulan.
Venue: Arsenale
IRAN (Islamic Republic of)
of being and singing
Commissioner: Hadi Mozafari, General Manager of Visual Arts Administration of Islamic Republic of Iran. Curator: Ali Bakhtiari.
Exhibitors: Reza Lavassani, Samira Alikhanzadeh, Ali Meer Azimi.
Venue: Fondaco Marcello, San Marco 3415
IRAQ
Fatherland
Commissioner: Fondazione Ruya. Curators: Tamara Chalabi, Paolo Colombo.
Exhibitor: Serwan Baran.
Venue: Ca’ del Duca, Corte del Duca Sforza, San Marco 3052
IRELAND
The Shrinking Universe
Commissioner: Culture Ireland. Curator: Mary Cremin. Exhibitor: Eva Rothschild.
Venue: Arsenale
ISRAEL
Field Hospital X
Commissioner: Michael Gov, Arad Turgeman. Curator: Avi Lubin. Exhibitor: Aya Ben Ron.
Venue: Giardini
ITALY
Commissioner: Federica Galloni, Direttore Generale Arte e Architettura Contemporanee e Periferie Urbane, Ministero dei Beni e delle Attività Culturali. Curator: Milovan Farronato.
Exhibitors: Enrico David, Liliana Moro, Chiara Fumai.
Venue: Padiglione Italia, Tese delle Vergini, Arsenale
IVORY COAST
The Open Shadows of Memory
Commissioner: Henri Nkoumo. Curator: Massimo Scaringella. Exhibitors: Ernest Dükü, Ananias Leki Dago, Valérie Oka, Tong Yanrunan.
Venue: Castello Gallery, Castello 1636/A
JAPAN
Cosmo-Eggs
Commissioner: The Japan Foundation. Curator: Hiroyuki Hattori. Exhibitors: Motoyuki Shitamichi, Taro Yasuno, Toshiaki Ishikura, Fuminori Nousaku.
Venue: Giardini
KIRIBATI
Pacific Time - Time Flies
Commissioner: Pelea Tehumu, Ministry of Internal Affairs. Curators: Kautu Tabaka, Nina Tepes. Exhibitors: Kaeka Michael Betero, Daniela Danica Tepes, Kairaken Betio Group; Teroloang Borouea, Neneia Takoikoi, Tineta Timirau, Teeti Aaloa, Kenneth Ioane, Kaumai Kaoma, Runita Rabwaa, Obeta Taia, Tiribo Kobaua, Tamuera Tebebe, Rairauea Rue, Teuea Kabunare, Tokintekai Ekentetake, Katanuti Francis, Mikaere Tebwebwe, Terita Itinikarawa, Kaeua Kobaua, Raatu Tiuteke, Kaeriti Baanga, Ioanna Francis, Temarewe Banaan, Aanamaria Toom, Einako Temewi, Nimei Itinikarawa, Teniteiti Mikaere, Aanibo Bwatanita, Arin Tikiraua.
Venue: European Cultural Centre, Palazzo Mora, Strada Nuova 3659
KOREA (Republic of)
History Has Failed Us, but No Matter
Commissioner: Arts Council Korea. Curator: Hyunjin Kim. Exhibitors: Hwayeon Nam, siren eun young jung, Jane Jin Kaisen.
Venue: Giardini
KOSOVO (Republic of)
Family Album
Commissioner: Arta Agani. Curator: Vincent Honore. Exhibitor: Alban Muja.
Venue: Arsenale
LATVIA
Saules Suns
Commissioner: Dace Vilsone. Curators: Valentinas Klimašauskas, Inga Lāce.
Exhibitor: Daiga Grantiņa.
Venue: Arsenale
LITHUANIA
Sun & Sea (Marina)
Commissioner: Rasa Antanavičıūte. Curator: Lucia Pietroiusti.
Exhibitors: Lina Lapelyte, Vaiva Grainyte and Rugile Barzdziukaite.
Venue: Magazzino No. 42, Marina Militare, Arsenale di Venezia, Fondamenta Case Nuove 2738c
LUXEMBOURG (Grand Duchy of)
Written by Water
Commissioner: Ministry of Culture of Luxembourg.
Curator: Kevin Muhlen. Exhibitor: Marco Godinho.
Venue: Arsenale
NORTH MACEDONIA (Republic of )
Subversion to Red
Commissioner: Mira Gakina. Curator: Jovanka Popova. Exhibitor: Nada Prlja.
Venue: Palazzo Rota Ivancich, Castello 4421
MADAGASCAR ***
I have forgotten the night
Commissioner: Ministry of Communication and Culture of the Republic of Madagascar. Curators: Rina Ralay Ranaivo, Emmanuel Daydé.
Exhibitor: Joël Andrianomearisoa.
Venue: Arsenale
MALAYSIA ***
Holding Up a Mirror
Commissioner: Professor Dato’ Dr. Mohamed Najib Dawa, Director General of Balai Seni Negara (National Art Gallery of Malaysia), Ministry of Tourism, Arts and Culture of Malaysia. Curator: Lim Wei-Ling. Exhibitors: Anurendra Jegadeva, H.H.Lim, Ivan Lam, Zulkifli Yusoff.
Venue: Palazzo Malipiero, San Marco 3198
MALTA
Maleth / Haven / Port - Heterotopias of Evocation
Commissioner: Arts Council Malta. Curator: Hesperia Iliadou Suppiej. Exhibitors: Vince Briffa, Klitsa Antoniou, Trevor Borg.
Venue: Arsenale
MEXICO
Actos de Dios / Acts of God
Commissioner: Gabriela Gil Verenzuela. Curator: Magalí Arriola. Exhibitor: Pablo Vargas Lugo.
Venue: Arsenale
MONGOLIA
A Temporality
Commissioner: The Ministry of Education, Culture, Science and Sports of Mongolia.
Curator: Gantuya Badamgarav. Exhibitor: Jantsankhorol Erdenebayar with the participation of traditional Mongolian throat singers and Carsten Nicolai (Alva Noto).
Venue: Bruchium Fermentum, Calle del Forno, Castello 2093-2090
MONTENEGRO
Odiseja / An Odyssey
Commissioner: Nenad Šoškić. Curator: Petrica Duletić. Exhibitor: Vesko Gagović.
Venue: Palazzo Malipiero (piano terra), San Marco 3078-3079/A, Ramo Malipiero
MOZAMBIQUE (Republic of)
The Past, the Present and The in Between
Commissioner: Domingos do Rosário Artur. Curator: Lidija K. Khachatourian.
Exhibitors: Gonçalo Mabunda, Mauro Pinto, Filipe Branquinho.
Venue: Palazzo Mora, Strada Nova, 3659
NETHERLANDS (The)
The Measurement of Presence
Commissioner: Mondriaan Fund. Curator: Benno Tempel. Exhibitors: Iris Kensmil, Remy Jungerman. Venue: Giardini
NEW ZEALAND
Post hoc
Commissioner: Dame Jenny Gibbs. Curators: Zara Stanhope and Chris Sharp.
Exhibitor: Dane Mitchell.
Venue: Palazzina Canonica, Riva Sette Martiri
NORDIC COUNTRIES (FINLAND - NORWAY - SWEDEN)
Weather Report: Forecasting Future
Commissioner: Leevi Haapala / Museum of Contemporary Art Kiasma / Finnish National Gallery, Katya García-Antón / Office for Contemporary Art Norway (OCA), Ann-Sofi Noring / Moderna Museet. Curators: Leevi Haapala, Piia Oksanen. Exhibitors: Ane Graff, Ingela Ihrman, nabbteeri.
Venue: Giardini
PAKISTAN ***
Manora Field Notes
Commissioner: Syed Jamal Shah, Pakistan National Council of the Arts, PNCA.
Curator: Zahra Khan. Exhibitor: Naiza Khan.
Venue: Tanarte, Castello 2109/A and Spazio Tana, Castello 2110-2111
PERU
“Indios Antropófagos”. A butterfly Garden in the (Urban) Jungle
Commissioner: Armando Andrade de Lucio. Curator: Gustavo Buntinx. Exhibitors: Christian Bendayán, Otto Michael (1859-1934), Manuel Rodríguez Lira (1874-1933), Segundo Candiño Rodríguez, Anonymous popular artificer.
Venue: Arsenale
PHILIPPINES
Island Weather
Commissioner: National Commission for Culture and the Arts (NCCA) / Virgilio S. Almario.
Curator: Tessa Maria T. Guazon. Exhibitor: Mark O. Justiniani.
Venue: Arsenale
POLAND
Flight
Commissioner: Hanna Wroblewska. Curators: Łukasz Mojsak, Łukasz Ronduda.
Exhibitor: Roman Stańczak.
Venue: Giardini
PORTUGAL
a seam, a surface, a hinge or a knot
Commissioner: Directorate-General for the Arts. Curator: João Ribas. Exhibitor: Leonor Antunes.
Venue: Fondazione Ugo e Olga Levi Onlus, Palazzo Giustinian Lolin, San Marco 2893
ROMANIA
Unfinished Conversations on the Weight of Absence
Commissioner: Attila Kim. Curator: Cristian Nae. Exhibitor: Belu-Simion Făinaru, Dan Mihălțianu, Miklós Onucsán.
Venues: Giardini and New Gallery of the Romanian Institute for Culture and Humanistic Research (Campo Santa Fosca, Palazzo Correr, Cannaregio 2214)
RUSSIA
Lc 15:11-32
Commissioner: Semyon Mikhailovsky. Curator: Mikhail Piotrovsky. Exhibitors: Alexander Sokurov, Alexander Shishkin-Hokusai.
Venue: Giardini
SAN MARINO (Republic of)
Friendship Project International
Commissioner: Vito Giuseppe Testaj. Curator: Vincenzo Sanfo. Exhibitors: Gisella Battistini, Martina Conti, Gabriele Gambuti, Giovanna Fra, Thea Tini, Chen Chengwei, Li Geng, Dario Ortiz, Tang Shuangning, Jens W. Beyrich, Xing Junqin, Xu de Qi, Sebastián.
Venue: Palazzo Bollani, Castello 3647; Complesso dell’Ospedaletto, Castello 6691
SAUDI ARABIA
After Illusion بعد توهم
Commissioner: Misk Art Insitute. Curator: Eiman Elgibreen. Exhibitor: Zahrah Al Ghamdi.
Venue: Arsenale
SERBIA
Regaining Memory Loss
Commissioner: Vladislav Scepanovic. Curator: Nicoletta Lambertucci. Exhibitor: Djordje Ozbolt.
Venue: Giardini
SEYCHELLES (Republic of)
Drift
Commissioner: Galen Bresson. Curator: Martin Kennedy.
Exhibitors: George Camille and Daniel Dodin.
Venue: Palazzo Mora, Strada Nova, 3659
SINGAPORE
Music For Everyone: Variations on a Theme
Commissioner: Rosa Daniel, Chief Executive Officer, National Arts Council (NAC).
Curator: Michelle Ho. Exhibitor: Song-Ming Ang.
Venue: Arsenale
SLOVENIA (Republic of)
Here we go again... SYSTEM 317
A situation of the resolution series
Commissioner: Zdenka Badovinac, Director Moderna galerija / Museum of Modern Art, Ljubljana. Curator: Igor Španjol. Exhibitor: Marko Peljhan.
Venue: Arsenale
SOUTH AFRICA (Republic of)
The stronger we become
Commissioner: Titi Nxumalo, Console Generale. Curators: Nkule Mabaso, Nomusa Makhubu. Exhibitors: Dineo Seshee Bopape, Tracey Rose, Mawande Ka Zenzile.
Venue: Arsenale
SPAIN
Perforated by Itziar Okariz and Sergio Prego
Commissioner: AECID Agencia Espanola de Cooperacion Internacional Para El Desarrollo. Ministerio de Asuntos Exteriores, Union Europea y Cooperacion. Curator: Peio Aguirre.
Exhibitors: Itziar Okariz, Sergio Prego.
Venue: Giardini
SWITZERLAND
Moving Backwards
Commissioner: Swiss Arts Council Pro-Helvetia: Marianne Burki, Sandi Paucic, Rachele Giudici Legittimo. Curator: Charlotte Laubard. Exhibitors: Pauline Boudry/Renate Lorenz.
Venue: Giardini
SYRIAN ARAB (Republic)
Syrian Civilization is still alive
Commissioner/Curator: Emad Kashout. Exhibitors: Abdalah Abouassali, Giacomo Braglia, Ibrahim Al Hamid, Chen Huasha, Saed Salloum, Xie Tian, Saad Yagan, Primo Vanadia, Giuseppe Biasio.
Venue: Isola di San Servolo; Chiesetta della Misericordia, Campo dell'Abbazia, Cannaregio
THAILAND
The Revolving World
Commissioner: Vimolluck Chuchat, Office of Contemporary Art and Culture, Ministry of Culture, Thailand. Curator: Tawatchai Somkong. Exhibitors: Somsak Chowtadapong, Panya Vijinthanasarn, Krit Ngamsom.
Venue: In Paradiso 1260, Castello
TURKEY
We, Elsewhere
Commissioner: IKSV. Curator: Zeynep Öz. Exhibitor: İnci Eviner.
Venue: Arsenale
UKRAINE
The Shadow of Dream cast upon Giardini della Biennale
Commissioner: Svitlana Fomenko, First Deputy Minister of Culture. Curators: Open group (Yurii Biley, Pavlo Kovach, Stanislav Turina, Anton Varga). Exhibitors: all artists of Ukraine.
Venue: Arsenale
UNITED ARAB EMIRATES
Nujoom Alghanem: Passage
Commissioner: Salama bint Hamdan Al Nahyan Foundation.
Curators: Sam Bardaouil and Till Fellrath. Exhibitor: Nujoom Alghanem.
Venue: Arsenale
UNITED STATES OF AMERICA
Martin Puryear: Liberty
Commissioner/Curator: Brooke Kamin Rapaport. Exhibitor: Martin Puryear.
Venue: Giardini
URUGUAY
“La casa empática”
Commissioner: Alejandro Denes. Curators: David Armengol, Patricia Bentancur.
Exhibitor: Yamandú Canosa.
Venue: Giardini
VENEZUELA (Bolivarian Republic of)
Metaphore of three windows
Venezuela: identity in time and space
Commissioner/Curator: Oscar Sottillo Meneses. Exhibitors: Natalie Rocha Capiello, Ricardo García, Gabriel López, Nelson Rangelosky.
Venue: Giardini
ZIMBABWE (Republic of)
Soko Risina Musoro (The Tale without a Head)
Commissioner: Doreen Sibanda, National Gallery of Zimbabwe. Curator: Raphael Chikukwa. Exhibitors: Georgina Maxim, Neville Starling , Cosmas Shiridzinomwa, Kudzanai Violet Hwami.
Venue: Istituto Provinciale per L’infanzia “Santa Maria Della Pietà”. Calle della Pietà Castello n. 3701 (ground floor)
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invited artist :
Lawrence Abu Hamdan (Jordan / Beirut)
Njideka Akunyili Crosby (Nigeria / USA),Halil Altındere (Turkey),Michael Armitage (Kenya / UK),Korakrit Arunanondchai (Thailand / USA),Alex Gvojic (USA),Ed Atkins (UK / Germany / Denmark),Tarek Atoui (Lebanon / France),
Darren Bader (USA),Nairy Baghramian (Iran / Germany,
Neïl Beloufa (France),Alexandra Bircken (Germany),Carol Bove (Switzerland / USA,
Christoph Büchel (Switzerland / Iceland,
Ludovica Carbotta (Italy / Barcelona),Antoine Catala (France / USA),Ian Cheng (USA),George Condo (USA
Alex Da Corte (USA),Jesse Darling (UK / Germany),Stan Douglas (Canada),Jimmie Durham (USA / Germany),Nicole Eisenman (France / USA,
Haris Epaminonda (Cyprus / Germany),Lara Favaretto (Italy),Cyprien Gaillard (France / Germany), Gill (India),Dominique Gonzalez-Foerster (France),Shilpa Gupta (India),Soham Gupta (India),Martine Gutierrez (USA),Rula Halawani (Palestine),Anthea Hamilton (UK),Jeppe Hein (Denmark / Germany),Anthony Hernandez (USA),Ryoji Ikeda (Japan / France),Arthur Jafa (USA),Cameron Jamie (USA / France / Germany),Kahlil Joseph (USA),Zhanna Kadyrova (Ukraine),Suki Seokyeong Kang (South Korea),Mari Katayama (Japan),Lee Bul (South Korea),Liu Wei (China),Maria Loboda (Poland / Germany),Andreas Lolis (Albania / Greece),Christian Marclay (USA / London),Teresa Margolles (Mexico / Spain),Julie Mehretu (Ethiopia / USA),Ad Minoliti (Argentina),Jean-Luc Moulène (France),Zanele Muholi (South Africa),Jill Mulleady (Uruguay / USA),Ulrike Müller (Austria / USA),Nabuqi (China),Otobong Nkanga (Nigeria / Belgium),Khyentse Norbu (Bhutan / India),Frida Orupabo (Norway),Jon Rafman (Canada).Gabriel Rico (Mexico),Handiwirman Saputra (Indonesia),Tomás Saraceno (Argentina / Germany),Augustas Serapinas (Lithuania),Avery Singer (USA),Slavs and Tatars (Germany),Michael E. Smith (USA),Hito Steyerl (Germany),Tavares Strachan (Bahamas / USA),Sun Yuan and Peng Yu (China),Henry Taylor (USA),Rosemarie Trockel (Germany),Kaari Upson (USA),Andra Ursuţa (Romania),Danh Vō (Vietnam / Mexico),Kemang Wa Lehulere (South Africa),Apichatpong Weerasethakul (Thailand) and Tsuyoshi Hisakado (Japan),Margaret Wertheim and Christine Wertheim (Australia / USA) ,Anicka Yi (South Korea/ USA),Yin Xiuzhen (China),Yu Ji (China / Austria)
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other Biennale :(Biennials ) :Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
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Pasting from the Wikipedia page on the Rosetta Stone:
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The Rosetta Stone is an Ancient Egyptian artifact which was instrumental in advancing modern understanding of Egyptian hieroglyphic writing. The stone is a Ptolemaic era stele with carved text made up of three translations of a single passage: two in Egyptian language scripts (hieroglyphic and Demotic) and one in classical Greek. It was created in 196 BC, discovered by the French in 1799 at Rosetta, and transported to England in 1802. Once in Europe, it contributed greatly to the deciphering of the principles of hieroglyph writing, through the work of the British scientist Thomas Young and the French scholar Jean-François Champollion. Comparative translation of the stone assisted in understanding many previously undecipherable examples of hieroglyphic writing. The text on the stone is a decree from Ptolemy V, describing the repeal of various taxes and instructions to erect statues in temples. Two Egyptian-Greek multilingual steles predated Ptolemy V's Rosetta Stone: Ptolemy III's Decree of Canopus, 239 BC, and Ptolemy IV's Decree of Memphis, ca 218 BC.
The Rosetta Stone is 114.4 centimetres (45.0 in) high at its highest point, 72.3 centimetres (28.5 in) wide, and 27.9 centimetres (11.0 in) thick.[1] It is unfinished on its sides and reverse. Weighing approximately 760 kilograms (1,700 lb), it was originally thought to be granite or basalt but is currently described as granodiorite of a dark grey-pinkish colour.[2] The stone has been on public display at The British Museum since 1802.
Contents
• 1 History of the Rosetta Stone
• 5 Notes
History of the Rosetta Stone
Modern-era discovery
In preparation for Napoleon's 1798 campaign in Egypt, the French brought with them 167 scientists, scholars and archaeologists known as the 'savants'. French Army engineer Lieutenant Pierre-François Bouchard discovered the stone sometime in mid-July 1799, first official mention of the find being made after the 25th in the meeting of the savants' Institut d'Égypte in Cairo. It was spotted in the foundations of an old wall, during renovations to Fort Julien near the Egyptian port city of Rashid (Rosetta) and sent down to the Institute headquarters in Cairo. After Napoleon returned to France shortly after the discovery, the savants remained behind with French troops which held off British and Ottoman attacks for a further 18 months. In March 1801, the British landed at Aboukir Bay and scholars carried the Stone from Cairo to Alexandria alongside the troops of Jacques-Francois Menou who marched north to meet the enemy; defeated in battle, Menou and the remnant of his army fled to fortified Alexandria where they were surrounded and immediately placed under siege, the stone now inside the city. Overwhelmed by invading Ottoman troops later reinforced by the British, the remaining French in Cairo capitulated on June 22, and Menou admitted defeat in Alexandria on August 30.[3]
After the surrender, a dispute arose over the fate of French archaeological and scientific discoveries in Egypt. Menou refused to hand them over, claiming they belonged to the Institute. British General John Hely-Hutchinson, 2nd Earl of Donoughmore, refused to relieve the city until de Menou gave in. Newly arrived scholars Edward Daniel Clarke and William Richard Hamilton agreed to check the collections in Alexandria and found many artifacts that the French had not revealed.[citation needed]
When Hutchinson claimed all materials were property of the British Crown, a French scholar, Étienne Geoffroy Saint-Hilaire, said to Clarke and Hamilton that they would rather burn all their discoveries — referring ominously to the destruction of the Library of Alexandria — than turn them over. Clarke and Hamilton pleaded their case and Hutchinson finally agreed that items such as biology specimens would be the scholars' private property. But Menou regarded the stone as his private property and hid it.[4]
How exactly the Stone came to British hands is disputed. Colonel Tomkyns Hilgrove Turner, who escorted the stone to Britain, claimed later that he had personally seized it from Menou and carried it away on a gun carriage. In his much more detailed account however, Clarke stated that a French 'officer and member of the Institute' had taken him, his student John Cripps, and Hamilton secretly into the back-streets of Alexandria, revealing the stone among Menou's baggage, hidden under protective carpets. According to Clarke this savant feared for the stone's safety should any French soldiers see it. Hutchinson was informed at once, and the stone taken away, possibly by Turner and his gun-carriage. French scholars departed later with only imprints and plaster casts of the stone.[5]
Turner brought the stone to Britain aboard the captured French frigate HMS Egyptienne landing in February 1802. On March 11, it was presented to the Society of Antiquaries of London and Stephen Weston played a major role in the early translation. Later it was taken to the British Museum, where it remains to this day. Inscriptions painted in white on the artifact state "Captured in Egypt by the British Army in 1801" on the left side and "Presented by King George III" on the right.
Translation
Experts inspecting the Rosetta Stone during the International Congress of Orientalists of 1874
In 1814, Briton Thomas Young finished translating the enchorial (demotic) text, and began work on the hieroglyphic script but he did not succeed in translating them. From 1822 to 1824 the French scholar, philologist, and orientalist Jean-François Champollion greatly expanded on this work and is credited as the principal translator of the Rosetta Stone. Champollion could read both Greek and Coptic, and figured out what the seven Demotic signs in Coptic were. By looking at how these signs were used in Coptic, he worked out what they meant. Then he traced the Demotic signs back to hieroglyphic signs. By working out what some hieroglyphs stood for, he transliterated the text from the Demotic (or older Coptic) and Greek to the hieroglyphs by first translating Greek names which were originally in Greek, then working towards ancient names that had never been written in any other language. Champollion then created an alphabet to decipher the remaining text.[6]
In 1858, the Philomathean Society of the University of Pennsylvania published the first complete English translation of the Rosetta Stone as accomplished by three of its undergraduate members: Charles R Hale, S Huntington Jones, and Henry Morton.[7]
Recent history
The Rosetta Stone has been exhibited almost continuously in the British Museum since 1802. Toward the end of World War I, in 1917, the Museum was concerned about heavy bombing in London and moved the Rosetta Stone to safety along with other portable objects of value. The Stone spent the next two years in a station on the Postal Tube Railway 50 feet below the ground at Holborn.
The Stone left the British Museum again in October 1972 to be displayed for one month at the Louvre Museum on the 150th anniversary of the decipherment of hieroglyphic writing with the famous Lettre à M. Dacier of Jean-François Champollion.
In July 2003, Egypt requested the return of the Rosetta Stone. Dr. Zahi Hawass, secretary general of the Supreme Council of Antiquities in Cairo, told the press: "If the British want to be remembered, if they want to restore their reputation, they should volunteer to return the Rosetta Stone because it is the icon of our Egyptian identity". In 2005, Hawass was negotiating for a three-month loan, with the eventual goal of a permanent return.[8][9] In November 2005, the British Museum sent him a replica of the stone.[10] In December 2009 Hawass said that he would drop his claim for the return of the Rosetta Stone if the British Museum loaned the stone to Egypt for three months.[11]
Inscription
In essence, the Rosetta Stone is a tax amnesty given to the temple priests of the day, restoring the tax privileges they had traditionally enjoyed from more ancient times. Some scholars speculate that several copies of the Rosetta Stone must exist, as yet undiscovered, since this proclamation must have been made at many temples. The complete Greek portion, translated into English,[12] is about 1600–1700 words in length, and is about 20 paragraphs long (average of 80 words per paragraph):
n the reign of the new king who was Lord of the diadems, great in glory, the stabilizer of Egypt, but also pious in matters relating to the gods, superior to his adversaries, rectifier of the life of men, Lord of the thirty-year periods like Hephaestus the Great, King like the Sun, the Great King of the Upper and Lower Lands, offspring of the Parent-loving gods, whom Hephaestus has approved, to whom the Sun has given victory, living image of Zeus, Son of the Sun, Ptolemy the ever-living, beloved by Ptah;
In the ninth year, when Aëtus, son of Aëtus, was priest of Alexander and of the Savior gods and the Brother gods and the Benefactor gods and the Parent-loving gods and the god Manifest and Gracious; Pyrrha, the daughter of Philinius, being athlophorus for Bernice Euergetis; Areia, the daughter of Diogenes, being canephorus for Arsinoë Philadelphus; Irene, the daughter of Ptolemy, being priestess of Arsinoë Philopator: on the fourth of the month Xanicus, or according to the Egyptians the eighteenth of Mecheir.
THE DECREE: The high priests and prophets, and those who enter the inner shrine in order to robe the gods, and those who wear the hawk's wing, and the sacred scribes, and all the other priests who have assembled at Memphis before the king, from the various temples throughout the country, for the feast of his receiving the kingdom, even that of Ptolemy the ever-living, beloved by Ptah, the god Manifest and Gracious, which he received from his Father, being assembled in the temple in Memphis this day, declared: Since King Ptolemy, the ever-living, beloved by Ptah, the god Manifest and Gracious, the son of King Ptolemy and Queen Arsinoë, the Parent-loving gods, has done many benefactions to the temples and to those who dwell in them, and also to all those subject to his rule, being from the beginning a god born of a god and a goddess—like Horus, the son of Isis and Osiris, who came to the help of his Father Osiris; being benevolently disposed toward the gods, has concentrated to the temples revenues both of silver and of grain, and has generously undergone many expenses in order to lead Egypt to prosperity and to establish the temples... the gods have rewarded him with health, victory, power, and all other good things, his sovereignty to continue to him and his children forever.[13]
Idiomatic use
The term Rosetta Stone came to be used by philologists to describe any bilingual text with whose help a hitherto unknown language and/or script could be deciphered. For example, the bilingual coins of the Indo-Greeks (Obverse in Greek, reverse in Pali, using the Kharo??hi script), which enabled James Prinsep (1799–1840) to decipher the latter.
Later on, the term gained a wider frequency, also outside the field of linguistics, and has become idiomatic as something that is a critical key to the process of decryption or translation of a difficult encoding of information:
"The Rosetta Stone of immunology"[14] and "Arabidopsis, the Rosetta Stone of flowering time (fossils)".[15] An algorithm for predicting protein structure from sequence is named Rosetta@home. In molecular biology, a series of "Rosetta" bacterial cell lines have been developed that contain a number of tRNA genes that are rare in E. coli but common in other organisms, enabling the efficient translation of DNA from those organisms in E. coli.
"Rosetta" is an online language translation tool to help localisation of software, developed and maintained by Canonical as part of the Launchpad project.
"Rosetta" is the name of a "lightweight dynamic translator" distributed for Mac OS X by Apple. Rosetta enables applications compiled for PowerPC processor to run on Apple systems using x86 processor.
Rosetta Stone is a brand of language learning software published by Rosetta Stone Ltd., headquartered in Arlington, VA, USA.
The Rosetta Project is a global collaboration of language specialists and native speakers to develop a contemporary version of the historic Rosetta Stone to last from 2000 to 12,000 AD. Its goal is a meaningful survey and near permanent archive of 1,500 languages.
Rosetta Stone was also a pseudonym used by Theodor Seuss Geisel (Dr. Seuss) for the book "Because a Little Bug Went Ka-Choo"
See also
• Decree of Canopus, stele no. 1 of the 3-stele series
Notes
• Allen, Don Cameron. "The Predecessors of Champollion", Proceedings of the American Philosophical Society, Vol. 144, No. 5. (1960), pp. 527–547
• Adkins, Lesley; Adkins, Roy. The Keys of Egypt: The Obsession to Decipher Egyptian Hieroglyphs. HarperCollins, 2000 ISBN 0-06-019439-1
• Budge, E. A. Wallis (1989). The Rosetta Stone. Dover Publications. ISBN 0486261638. http://books.google.com/books?id=RO_m47hLsbAC&printsec=frontcover&dq=rosetta+stone&as_brr=3&sig=ACfU3U1_VaJ_NxkLmbZuYyDLji99DXwY6w.
• Downs, Jonathan. Discovery at Rosetta. Skyhorse Publishing, 2008 ISBN 978-1-60239-271-7
• Downs, Jonathan. "Romancing the Stone", History Today, Vol. 56, Issue 5. (May, 2006), pp. 48–54.
• Parkinson, Richard. Cracking Codes: the Rosetta Stone, and Decipherment. University of California Press, 1999 ISBN 0-520-22306-3
• Parkinson, Richard. The Rosetta Stone. Objects in Focus; British Museum Press 2005 ISBN 978-0-7141-5021-5
• Ray, John. The Rosetta Stone and the Rebirth of Ancient Egypt. Harvard University Press, 2007 ISBN 978-0-674-02493-9
• Reviewed by Jonathon Keats in the Washington Post, July 22, 2007.
• Solé, Robert; Valbelle, Dominique. The Rosetta Stone: The Story of the Decoding of Hieroglyphics. Basic Books, 2002 ISBN 1-56858-226-9
• The Gentleman's Magazine: and Historical Chronicle, 1802: Volume 72: part 1: March: p. 270: Wednesday, March 31.
References
• ^ "The Rosetta Stone". http://www.britishmuseum.org/explore/highlights/highlight_objects/aes/t/the_rosetta_stone.aspx. Retrieved 2008-05-21.
• ^ "History uncovered in conserving the Rosetta Stone". http://www.britishmuseum.org/explore/highlights/article_index/h/history_uncovered_in_conservin.aspx. Retrieved 2008-11-11.
• ^ Downs, Jonathan, Discovery at Rosetta, 2008
• ^ Downs, Jonathan, Discovery at Rosetta, 2008
• ^ Downs, Jonathan, Discovery at Rosetta, 2008
• ^ See University of Pennsylvania, Philomathean Society, Report of the committee [C.R. Hale, S.H. Jones, and Henry Morton], appointed by the society to translate the inscript on the Rosetta stone, Circa 1858 and most likely published in Philadelphia. See later editions of circa 1859 and 1881 by same author, as well as Randolph Greenfield Adams, A Translation of the Rosetta Stone (Cambridge, MA: Harvard University Press, 1925.) The Philomathean Society holds relevant archival material as well as an original casting.
• ^ Charlotte Edwardes and Catherine Milner (2003-07-20). "Egypt demands return of the Rosetta Stone". Daily Telegraph. http://www.telegraph.co.uk/news/worldnews/africaandindianocean/egypt/1436606/Egypt-demands-return-of-the-Rosetta-Stone.html. Retrieved 2006-10-05.
• ^ Henry Huttinger (2005-07-28). "Stolen Treasures: Zahi Hawass wants the Rosetta Stone back—among other things". Cairo Magazine. http://www.cairomagazine.com/?module=displaystory&story_id=1238&format=html. Retrieved 2006-10-06. [dead link]
• ^ "The rose of the Nile". Al-Ahram Weekly. 2005-11-30. http://weekly.ahram.org.eg/2005/770/he1.htm. Retrieved 2006-10-06.
• ^ [1] "Rosetta Stone row 'would be solved by loan to Egypt'" BBC News 8 December 2009
• ^ "Translation of the Greek section of the Rosetta Stone". Reshafim.org.il. http://www.reshafim.org.il/ad/egypt/texts/rosettastone.htm. Retrieved 2009-01-22.
• ^ "Text of the Rosetta Stone". http://pw1.netcom.com/~qkstart/rosetta.html. Retrieved 2006-11-26.
• ^ The National Institute of Allergy and Infectious Diseases (2000-09-06). "International Team Accelerates Investigation of Immune-Related Genes". http://www3.niaid.nih.gov/news/newsreleases/2000/ihwg.htm. Retrieved 2006-11-23.
• ^ Gordon G. Simpson, Caroline Dean (2002-04-12). "Arabidopsis, the Rosetta Stone of Flowering Time?". http://www.sciencemag.org/cgi/content/abstract/296/5566/285?ijkey=zlwRiv/qSEivQ&keytype=ref&siteid=sci. Retrieved 2006-11-23.
External links
• Wikimedia Commons has media related to: Rosetta Stone
• Wikisource has original text related to this article: Text on the Rosetta Stone in English
• Greek Wikisource has original text related to this article: Greek Text from the Rosetta Stone
• The Rosetta Stone in The British Museum
• More detailed British Museum page on the stone with Curator's comments and bibliography
• The translated text in English – The British Museum
• The Finding of the Rosetta Stone
• The 1998 conservation and restoration of The Rosetta Stone at The British Museum
• Champollion's alphabet – The British Museum
• people.howstuffworks.com/rosetta-stone.htm
Retrieved from "http://en.wikipedia.org/wiki/Rosetta_Stone"
Categories: 196 BC | 2nd century BC | 2nd-century BC steles | 2nd-century BC works | 1st-millennium BC steles | Ancient Egyptian objects in the British Museum | Ancient Egyptian texts | Ancient Egyptian stelas | Antiquities acquired by Napoleon | Egyptology | Metaphors referring to objects | Multilingual texts | Ptolemaic dynasty | Stones | Nile River Delta | Ptolemaic Greek inscriptions | Archaeological corpora documents
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FIRE INFORMATION
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Managing Windland Fire
Wildland fire has the potential to change park landscapes ore tan volcanoes, earthquakes, or even floods. Such forces of change, except human-caused fires, are completely natural. Many plans and animals cannot survive without cycles of fire or flooding to which they adapted. If all fire is suppressed, fuels build up making bigger fires inevitable. Under certain conditions, large, hot fire can threaten pubic safety, devastate property, damage natural and cultural resources, and be expensive – and dangerous – to fight.
Preparing Parks for Fire
National Park Service policy stresses managing fire, not just suppressing it. This means understanding fire regimes, planning for fires, and using fire as a land management tool. The goal is to protect lives, property, and resources while restoring fire’s role as a dynamic and necessary natural process in maintaining healthy ecosystems.
Fire management starts with a plan. Managers study the land, plants, animals, weather, and the history of fire in the area. They identify critical or fragile habitats and watersheds, historic areas, human development, air quality and public safety concerns, and visitor use in and near the park. They meet with appropriate agencies, neighbors, and the public.
The plan sets objectives such as restoring or maintaining a historic scene or habitat or reducing the amount of hazardous fuels. It outlines ways to accomplish these tasks. These include managing naturally occurring wildland fires under favorable conditions, imitating natural fires according to a burn plan or “prescription:’ or using hand or power tools and equipment to reduce fuels.
Finally the plan includes trigger points for increased staffing in times of high fire danger and outlines when and how to aggressively fight naturally or human-caused wildland fires.
Photo: The history of fire management in national parks dates back to Yellowstone, the world’s first national park. In 1886 the U.S. Army was brought in to protect the park from hunting, trapping, grazing, logging, and fire. The soldiers were this nation’s first paid wildland fire- fighters.
Photo: More than 100 Civilian Conservation Corps camps in national parks housed thousands of “boys.” Much of their work was in fire detection and suppression, common themes of that era. They cleared brush, planted trees, and built trails, roads, lookout towers, and patrol cabins. Many CCC-built facilities are still being used today.
Photo: In the 1950s Everglades National Park in Florida began using prescribed fire to maintain natural vegetation complexes (photo at left).
Photo: Prescribed fire is one of the most important tools used to manage fire today. A scientific prescription for each fire prepared in advance describes its objectives, fuels, size, the precise environmental conditions under which it will burn, and conditions under which it may be suppressed. The fire may be designed to create a mosaic of diverse habitats for plants and animals, to help endangered species recover, or to reduce fuels and thereby prevent a destructive fire.
Photo: Prescribed fire also can be the most cost-effective way to maintain certain historic scenes. These include the open grasslands of the Revolutionary War era at Saratoga National Historical Park in New York, the oak-prairie savanna of the Civil War era at Wilson’s Creek National Battlefield in Missouri (photo below), and the vista of the Nez Perce War of 1877 at Big Hole National Battlefield in Montana
Tools of the Trade
The National Park Service fire program has evolved from one of suppressing fire to one of managing fire. While suppression remains important, new approaches and technologies are used to provide for better public safety and resource protection.
Fire managers use infrared sensing, satellite imaging, and computer modeling technology to predict fire behavior and to plan actions. Research-based computer models and geo- graphic information systems (GIS) show how fuels, weather, and topography affect fires.
Models also help estimate how fast and far a fire may travel and how bi!] it might become under different conditions. Smoke impacts on visibility and visitor health are carefully monitored with specialized equipment.
Wildland Fire Use – Naturally-ignited wildland fires are managed to fulfill planned ecological objectives. Fire personnel monitor, map, and assist with fire behavior predictions to help the fire meet specific objectives.
Fuels Management – Fuels are removed mechanically or by burning to reduce the number or intensity of fires in an area. This can improve firefighter and public safety and reduce potential damage to property.
Fire Suppression – This remains an important part of fire management. It requires trained wildland firefighters qualified in a number of tasks. They are directed by command staff and supported by others who provide technical, logistical, and administrative assistance.
Firefighters’ most important tools are their brains. For their safety and that of the public. they must maintain awareness of the constantly changing environment of any fire. Other tools include f lame-retardant clothing, hand tools. water pumps, and heavy equipment. Helicopters and airplanes are sometimes used to drop chemical fire retardant or water. Whether using a shovel, rake, or a water-drop, the purpose is to collapse the fire triangle by removing fuel, oxygen, or heat from the fire.
Less than four percent of fires escape initial suppression actions and require additional control efforts. Specially trained interagency teams direct suppression efforts on large fires. Personnel and equipment from federal, state, local, and Tribal agencies can be mobilized quickly and efficiently like a military operation. Fire camps resembling small cities may be set up with showers, meals, and medical facilities for 1,000 to 2,000 firefighters. National Park Service employees work along- side firefighters from other agencies in f ire management activities across the country.
Learning from and about Fire
Planned or not, fires affect human, plant, and animal communities in and near them. Park scientists work in partnership with other professionals and agencies to study these effects and continuously improve fire management.
Smoke Impacts
The National Park Service works closely with state and local air-quality agencies to reduce the impact of smoke on visitors, neighbors, and employees.
While large, unplanned fires can produce tremendous amounts of smoke, prescribed fires are carefully executed to minimize the impact of smoke on the public. We have learned that prescribed fires can minimize the spread of larger fires that would produce significantly more smoke.
Rehabilitation of Burned Areas
Wildland fires and fighting them some- times cause damage requiring rehabilitation. Steep areas may need to be mulched for erosion control. Monitoring, removal of exotic species, and selective planting could be necessary to encourage the return of native species. Archeological sites and features may require mapping, stabilization, or additional preservation work.
Monitoring and Research
Scientists and technicians have studied the effects of fire in national parks since the early 1950s. They carefully compare plants growing before and after prescribed fires in study plots, where subtle ecological changes can be measured.
Their discoveries help park managers better accomplish their mission of protecting park resources. Researchers at Everglades National Park in Florida found that 33 native plant species in the Everglades depend on fire for long-term survival. Restoration research at Dinosaur National Monument in Utah and Colorado has increased native grasslands with the pre- scribed burning of unnatural concentrations of sagebrush at critical growth stages.
At Yosemite National Park in California, research showed that white fir trees act as ladders that fire can use to climb into the crowns of giant sequoia tr es. Prescribed fire is now used to replicate the once naturally occurring ground fires to kill white fir trees and help protect the giant sequoia groves.
Photos: Monitors (above) measure and record fire behavior and fire effects information to assess subtle ecological change. The areas burned by wildland fire at Mesa Verde National Park in Colorado were rehabilitated by using matting (below left) to hold soils and seeding (below right) to return native species.
Fire Smart, Fire Safe
When you are visiting a national park, take a moment to learn about and follow the latest fire regulations. They are often posted at entrance stations, visitor centers, ranger stations, camp- grounds, and trailheads or announced at the start of ranger-led walks, hikes, or programs.
The next time you’re in the great outdoors, re- member that only you can prevent unwanted fires!
• Be careful with all smoking materials. If fireworks are permitted, use cautiously.
• Observe all fire restrictions and regulations.
• Obtain fire permits where required.
• Build fires only in designated fire rings or grates in developed campgrounds and picnic areas.
• Keep a shovel and bucket of water handy.
• When you leave a fire make sure it’s out – dead out.
• Report all unattended fires to the nearest visitor center or ranger station.
For more information, including a special section just for kids, go to www.smokeybear.com.
But don’t stop thinking about fire safety when you get back home. Be fire wise and take steps to protect your home from wildland fire. You don’t have to live in the middle of a big western forest to be at risk! Here are just a few important tips:
• Store firewood at least 30 feet from the house. Remove dead and dense vegetation from within 30 feet of the house.
• Make sure there are no tree limbs around your chimney or dead branches that hang over your roof. And keep an eye on any limbs that may come in contact with power lines.
• Keep your gutters, eaves, and roof clear of leaves or other debris.
• Inspect your home for deterioration, such as breaks and spaces between roof tiles, warping wood, or cracks and crevices in the structure, where sparks might enter.
For more suggestions and information visit www.firewise.org.
Many parks have special publications or offer the park newspaper or bulletin board for information- or just ask a ranger!
Working with our many interagency and community partners, the National Park Service uses the latest and most appropriate techniques to manage fire to protect human lives and personal property.
There are more than 380 parks in the National Park System. The National Park Service cares for these special places saved by the American people so that all may experience our heritage. To learn more about parks and National Park Service programs in America’s communities visit www.nps.gov.
To learn more about fire management in the National Park Service, visit www.nps.gov/fire.
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Yosemite National Park
The Role of Natural Fire
Fire has been, and will continue to be, one natural process that shapes Yosemite’s distinctive landscape. Just as glaciers and floods have contributed to the majestic splendor of the park, fire brings beautiful change.
Fire in Yosemite
Prior to fire suppression by pioneers at the turn of the century, fire burned an average of 16,000 acres annually in Yosemite. The Sierra Nevada was typically hazy while fires burned throughout the summer. Historic accounts and old photographs show that the pristine mixed-conifer forests were more open and free of under-story vegetation and groundlitter. Yosemite’s meadows were far more extensive than they are today. This condition was maintained by frequent lightning fires and those set by American Indians.
Around 1970, Yosemite National Park began to recognize the importance of fire and implemented a prescribed fire program.
The Importance of Fire
Yosemite’s plant and animal species have adapted to fire and, in some cases, depend on it.
Fire:
• Keeps dead vegetation from accumulating into enough fuel for a potentially destructive fire
• Exposes mineral soil and creates holes in the forest canopy so seeds have the space and sunlight necessary for germination and growth
• Thins out young vegetation, preventing forests from becoming overgrown and unhealthy
• Transforms dead vegetation into nutrient-rich ash that quickly returns to the soil to nourish new vegetation
• Controls diseases and insects
An example of fire’s benefits can be found with the park’s giant sequoias. They are not only fire-resistant, but depend on fire to reproduce. The oatmeal flake-sized seeds of giant sequoias need fire to clear away forest debris from mineral soil, to open up the forest canopy, to let sunlight in, and to reduce the number of competing tree species.
Since the majority of natural fires in the Sierra Nevada are patchy, uneven, and move slowly, wildlife usually flees long before fire threatens them. In fact, natural fire benefits wildlife by maintaining a variety of habitats.
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Wildland Fire in National Parks
National Interagency Fire Center Idaho
National Park Service U.S. Department of the Interior
“By forces seemingly antagonistic and destructive Nature accomplishes her beneficent designs now a flood of fire... again in the fullness of time an outburst of organic life …” – John Muir
Fire is a force of nature. Started naturally by lightning and lava flows, it shapes the planet on a daily basis. It is also a tool. For better and for worse, humans have used fire to survive, destroy, and flourish.
Fire is part of the national park story. In the late 1800s the first national parks were created. The science of ecology did not exist, and few understood the best ways to care for parks. Wildland fires were seen as a threat to grand scenery and were put out. At about the same time, fires destroyed communities and killed hundreds of people in the West and Midwest. The public agreed that fire was an enemy to be fought.
For much of the 20th century great emphasis was placed on fire suppression, not just by the National Park Service but by many agencies. During the Depression of the 193os, facilities for fighting fires were expanded as the Civilian Conservation Corps was put to work on public lands nationwide.
By the 1950s some people were thinking differently about fire’s role on the land. By the 1960s several parks had begun using fire to manage lands. Since then the National Park Service has been a leader in fire science and research.
In 1968 National Park Service policy changed. Protecting human lives and property remained the first priority, but naturally caused fires and prescribed fire were used to keep some park landscapes healthy or to reduce threats to property or resources. However, the 1988 Yellowstone fires, the loss of more than 200 homes in Los Alamos, New Mexico, in 2000, and numerous large fires in recent years demonstrate that fire is not easily mastered.
As an agency and as a nation we must keep learning about fire to address the challenges we helped create. Decades of fire sup-pression, long-term drought, and other factors have increased burnable trees, shrubs, and grasses. Continuing development has placed some homes and communities at risk. As our under-standing of fire increases we will be better able to live with fire, which is an integral part of our world.
What is Fire?
Driven three ingredients – fuel, oxygen, and heat – fire moves as conditions dictate. It may creep along the ground as a surface fire, consuming only brush and litter with low-intensity flames. Or, high winds may sweep it into a hot crown fire, igniting entire trees and burning fallen trees to ashes. Embers, carried aloft by rising flames, may start spot fires miles ahead of the main blaze. This spotting allows a fire to jump major natural or human-made barriers.
Photo: Grassland ecosystems depend on fire to maintain plant and animal diversity and to keep out encroaching trees. Like sheets of paper, grasses burn quickly, and fire can be driven many miles per hour in extreme conditions.
Photo: Long-term drought greatly increases the potential for wild land fires. Trees are more likely to be killed by dis-ease or insects, making more fuel in the forest. Drought-stricken trees contain much less moisture, causing fires to burn hotter and larger.
Fire as a Natural Process
Fire is one way nature maintains a landscape. Without the culling, recycling, and regenerative contributions of fire, a dynamic ecosystem be-comes a stagnant garden, with less plant and Animal diversity. Some ecosystems, like the tall grass prairie, need fire to exist. For centuries, humans have used fire to drive game, enhance food supplies, and clear land for crops. Where these practices have continued for generations they have shaped the landscape we see today. Around the world, 90 percent of all fires are started by people. Whether started by lightning, lava, or people, each fire is unique. It varies by the materials and conditions under which it burns. Fires often create a puzzle-like mosaic of habitats by burning intensely in some areas and less so in others.
Fire turns dead plant material into soil nutrients. Nitrogen from ash fertilizes the soil, encouraging new seeds to sprout. Fewer trees, brush, and mature plants mean that more sunlight reaches seedlings, allowing them to grow.
Some plants need fire to reproduce. Fire melts the pitch of the cones of table mountain, jack, and lodgepole pines, releasing the seeds inside. It opens the outside coating of mountain lilac seeds and stimulates germination in southern California chaparral. Aspen, birch, and willow sprout from their roots after a fire. The wide variety of plant and animal life people enjoy in national parks is partially the result of fire. What may at first look like devastation soon becomes a panorama of new life.
Fire is a jolt to living systems, the beginning of a new stage of life on the land. National parks protect and encourage nature at work. Fire must continue to resume its natural role; its influence must be either allowed or imitated.
What Happens to Wildlife in a Fire?
Wild animals evolved with fire and generally survive all but the fastest moving fires. Birds and many larger animals leave the immediate area. Some animals escape to streams or ponds, and rodents return to their burrows. Usually few animals are killed by fire itself. Some predators, including humans, take advantage of fire by hunting animals fleeing the fire. For centuries people the world over have used this practice.
Spotting
Fires typically burn a mosaic pattern as wind-driven flames, varying fuel moistures, and spotting create a patchwork of green, brown, and black. This mosaic, with its edges and variety of habitats, is key to plant and animal diversity.
Different Places, Different Plants, Different Fires
The National Park Service protects ecosystems from the Arctic to the Tropics. One thing all the places have in common is that plant material becomes fuel and will burn when conditions are right.
The pattern of fire that occurs on the land is called the fire regime. Elements include frequency, time of year, and intensity of fires. The fire regime depends upon the plants, climate, and weather in a particular area. Some vegetation types found in national park areas and their typical fire patterns are listed with photos below. More than 260 vegetation types have been identified across the country and each burns differently.
Decades of attempting to put out all fires have altered natural fire cycles. We have changed plant communities and allowed fuels to increase. We have also built houses and communities without full regard for the local fire regimes and weather patterns. During periods of long-term drought, which much of the West has experienced in recent years, the accumulated fuels can lead to large fires that burn intensely, potentially threatening homes and towns.
Boreal Forest: Denali National Park & Preserve, Voyageurs National Park – Spruce, pine, and fir dominate northern areas to the tree line. Large, intense fires occur every 25 to 150 years.
Chaparral: Santa Monica Mountains & Whiskeytown national recreation areas – Mixed shrubs and low trees grow in dense masses. Explosive fires scour the hillsides bare every 12 to 50 years.
Ponderosa pine: Grand Canyon National Park – Spacious forests of trees hundreds of years old have frequent fires (5 to 25 years) that clear the ground but seldom kill large trees.
Lodgepole pine: Yellowstone & Glacier national parks – As the dominant tree in these parks, this pine grows in dense stands. Sections may burn wholly every 200 to 400 years.
Pinyon-Juniper: Mesa Verde National Park, Bandelier National Monument – Transitional woodland dominated by pinyon pine and juniper with associated grasses and shrubs has frequent ground fires and infrequent stand replacement fires every 35 to 100 years.
Tall and shortgrass prairie: Badlands & Theodore Roosevelt national parks, Tallgrass Prairie National Preserve – Perennial and annual grasses can survive flames better than invasive brush. Grass is renewed by moderately intense, fast-moving fires every 7 to 12 years.
Wetlands: Big Cypress National Preserve, Everglades National Park – Sawgrass needs fore to kill competing vegetation. Small patches may burn to the waterline every few years.
Southern pine: Cumberland Island National Seashore – Southern pines grow in park-like stands with an understory of grasses or short shrubs. Mild surface fires clear dead vegetation every 3 to 5 years.
Eastern mixed forest: Great Smoky Mountains & Shenandoah national parks – Mixed coniferous and deciduous forests with associated shrubs are found in shifting ratios determined by climate, soils, topography, and a mosaic of fires. Low intensity fires occur more frequently than severe fires that kill most trees.
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Yosemite National Park
The Role of Natural Fire
Fire has been, and will continue to be, one natural process that shapes Yosemite’s distinctive landscape. Just as glaciers and floods have contributed to the majestic splendor of the park, fire brings beautiful change.
Fire in Yosemite
Prior to fire suppression by pioneers at the turn of the century, fire burned an average of 16,000 acres annually in Yosemite. The Sierra Nevada was typically hazy while fires burned throughout the summer. Historic accounts and old photographs show that the pristine mixed-conifer forests were more open and free of under-story vegetation and groundlitter. Yosemite’s meadows were far more extensive than they are today. This condition was maintained by frequent lightning fires and those set by American Indians.
Around 1970, Yosemite National Park began to recognize the importance of fire and implemented a prescribed fire program.
The Importance of Fire
Yosemite’s plant and animal species have adapted to fire and, in some cases, depend on it.
Fire:
• Keeps dead vegetation from accumulating into enough fuel for a potentially destructive fire
• Exposes mineral soil and creates holes in the forest canopy so seeds have the space and sunlight necessary for germination and growth
• Thins out young vegetation, preventing forests from becoming overgrown and unhealthy
• Transforms dead vegetation into nutrient-rich ash that quickly returns to the soil to nourish new vegetation
• Controls diseases and insects
An example of fire’s benefits can be found with the park’s giant sequoias. They are not only fire-resistant, but depend on fire to reproduce. The oatmeal flake-sized seeds of giant sequoias need fire to clear away forest debris from mineral soil, to open up the forest canopy, to let sunlight in, and to reduce the number of competing tree species.
Since the majority of natural fires in the Sierra Nevada are patchy, uneven, and move slowly, wildlife usually flees long before fire threatens them. In fact, natural fire benefits wildlife by maintaining a variety of habitats.
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Valley Floor Tour
Tunnel View
Wawona Road
Yosemite National Park
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.
The 411 on Yoga J-K
Looking at the Styles of Yoga & Understanding that ALL paths lead to h(OM)e!
Last month we began exploring several popular yoga styles. We discovered that nearly all styles of yoga have their roots in hatha yoga –a physical discipline that focuses on developing control of the body through asanas or poses. In Sanskrit, ha represents sun and tha represents moon. Hatha represents the duality in life — yin and yang, masculine and feminine, darkness and light. It leads the way to balancing these opposing forces. It is the yoga of physical, mental & spiritual well-being. Those who practice the ancient knowledge have the ability to connect with all aspects of the “human” form to create balance & inner peace.
Jivamukti Yoga
The Jivamukti Yoga method is a Style of Yoga created by David Life and Sharon Gannon in 1984. It is a vigorously physical and intellectually stimulating practice leading to spiritual awareness. They promote the educational aspect of the practice and give students access to where these ideas came from. Each class focuses on a theme, which is supported by Sanskrit Chanting, readings, references to scriptural texts, music (from the Beatles to Moby), spoken word, Asana sequencing and Yogic Breathing practices. The average Jivamukti student is more educated about the philosophy of Yoga than most Yoga teachers.
Kripalu
The name Kripalu is associated both with a style of hatha yoga and a yoga and wellness center in Stockbridge, Massachusetts. Both were founded by yoga guru Amrit Desai, who came to the United States from India in 1960. Kripalu was named for Desai's teacher, Sri Kripalvananda, a Kundalini yoga master.
Krishnamacharya
Krishnamacharya (1888-1989) was an Indian yogi and scholar. He received his training in hatha yoga during seven years spent with his guru, Ramamohana Brahmacharya, who lived in a cave in a remote region of the Himalayas. Krishnamacharya also spent many years studying, and then teaching, Sanskrit, Vedic rituals and philosophy. His style of yoga is the first known to have incorporated movement through a series of poses that are coordinated with breathing, a style that is known as vinyasa yoga.
Kundalini
Kundalini Yoga was brought to the West by Yogi Bhajan in 1969. It focuses on the controlled release of the Kundalini (serpent power) energy which is found at the base of your spine. The practice of Kundalini Yoga involves classic poses, chanting, coordination of breath and movement and Meditation. The emphasis however, is not on the Yoga Poses but on the Chanting and Breathing. Kundalini Yoga rewards Yogis with spiritual transformation and unity consciousness.
Tantra Kundalini
According to the philosophy of Tantra, the entire universe is a manifestation of pure consciousness. In manifesting the universe, this pure consciousness seems to become divided into two poles or aspects, neither of which can exist without the other.
One aspect, Shiva, is masculine, retains a static quality and remains identified with unmanifested consciousness. Shiva has the power to be but not the power to become or change. The other aspect, Shakti, is feminine, dynamic, energetic and creative. Shakti is the Great Mother of the universe, for it is from her that all form is born.
According to Tantra, the human being is a miniature universe. All that is found in the cosmos can be found within each individual, and the same principles that apply to the universe apply in the case of the individual being.
In human beings, Shakti, the feminine aspect is called Kundalini. This potential energy is said to rest at the base of the spinal cord. The object of the Tantric practice of Kundalini-yoga is to awaken this cosmic energy and make it ascend through the psychic centres, the chakras, that lie along the axis of the spine as consciousness potentials. She will then unite above the crown of the head with Shiva the pure consciousness. This union is the aim of Kundalini-yoga: a resolution of duality into unity again, a fusion with the Absolute. By this union the adept attains liberation while living which is considered in Indian life to be the highest experience: an union of the individual with the universe.
In Tantrism the state of ultimate bliss is a transcendence of dualities male-female, energy-consciousness, Shiva-Shakti
Nude Yoga
In its simplest form, Nude Yoga is the practice of Yoga without wearing any form of clothing. In general, a nudist setting is the main difference of Nude Yoga from other styles. Its objective is to enable you to feel free in your body and to do the poses and exerciseswithout restrictions brought about by Yoga clothes.
The important thing about Nude Yoga is its principle. It is doing Yoga poses and exercises with freedom from restrictions of clothing. Understanding and accepting this concept can greatly help people in joining a Nude Yoga class without the feeling of discomfort or self-consciousness.
Restorative
In restorative yoga, props are used for support the body so that you can hold poses for longer, allowing you to open your body through passive stretching. Restorative postures are usually adapted from supine or seated yoga poses with the addition of blocks, bolsters, and blankets to eliminate unnecessary straining. For instance, a seated forward bend (paschimottanasana) can be done as a restorative pose with a bolster or several folded blankets on top of the legs so that your forward bend is fully supported with the entire torso resting on your props. Legs up the wall (viparita karani) is a classic restorative, with the wall used as a prop to support the legs.
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Sivananda
Sivananda Yoga was developed by Vishnu-devananda who wrote one of the contemporary Yoga classics, "The Complete Illustrated Book of Yoga". His book was first published in 1960, and still one of the best introductions to Yoga available. He named Sivananda Yoga after his teacher, Swami Sivananda who is also one of the greatest Yoga gurus in the world.
This Style of Yoga focuses on the Pranayama, classic Asanas, and Relaxation. It also centers on Diet and positive thinking and Meditation. Sivananda Yoga practice consist twelve basic Yoga Poses that seeks to increase strength, flexibility, Proper Breathing, and Meditation. Sivananda now has over eighty centers worldwide and is considered as one of the largest Yoga schools in the world.
Svaroopa Yoga
This Yoga Style was developed by Rama Berch. Svaroopa Yoga teaches significantly different ways of doing familiar Poses, emphasizing the opening of the Spineby beginning at the tailbone and progressing through each spinal area in turn. Every pose incorporates principles of Asana, anatomy and Yoga philosophy. It also emphasizes the development of transcendent inner experience, which is called Svaroopa by Patanjali in the Yoga Sutra. This is a consciousness-oriented Yoga that also promotes healing and transformation. Svaroopa Yoga is not an athletic endeavor, but a development of consciousness using the body as a tool.
Viniyoga
Viniyoga or what is also known as the Yoga for Wellness rooted from the principle practiced by Sri. T. Krishnamacharya - that is to develop practices for individual conditions and purposes. Sri. T. Krishnamacharya is the teacher of well-known contemporary masters B.K.S. Iyengar, K. Pattabhi Jois and Indra Devi. His son, T.K.V. Desikachar, continued this principle and developed the practice of Viniyoga.
Viniyoga make use of modified Yoga Poses that are designed to meet the specific needs of an individual and to enhance healing, flexibility and strength of joints. Viniyoga poses also intend to promote the feeling of well-being and strength. Practices may also include Pranayama, Meditation, reflection, study and other classic elements, but the emphasis of Viniyoga practice is on coordinating breath and movement. Personal practices are taught privately
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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
YAO
yao / www.paradiseone.com.au
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VISIONARY ART MUSEUM @ BOOM 2014
Be prepared! This temporary museum is in full bloom within the Boom, excitingly evolving into full maturity, along with the Art that it presents.
Boom has since its inception supported psychedelic visual arts. Being in the live visuals or psytrance deco artists, psychedelic expressions of painting are part of Boom's DNA. In 2002, the so called Visionary art (a mash up of Fantastic Realism, Surrealism, and many other styles) started to blossom at Boom, when Alex Grey came to Boom Festival. Year after year, Robert Venosa, Martina Hoffmann and all the extraordinary painters of the cosmic unknown have shared their art at Boom with exhibitions, live painting, sculpture or workshops.
In 2014 the time has come for a new project for psychedelic fine arts. The area for the fine arts is conceived as a broad-spectrum educational space, where Visionary Art is presented in all its multidimensional aspects, allowing the possibility for a deeper understanding of its history, inspirations, techniques and wonders beyond the logic of a gallery.
A literally “paradigm-shifting” collection with a psy-museologic approach will display works from the different visionary sub-genres: Digital Fusionism, Sacred Geometry, Visionary Psy-Trance Deco Art, Flemish Technique, Visionary Graffiti Art, Amazonian/indigenous Medicine Art, Tibetan Buddhist Tradition and Visionary Activist Art.
A unique and pioneering project, a portal into the reality, which lies beyond... behind... and within!
ARTISTS:
Adam Scott Miller
Alex Grey
Aloria Weaver
Amanda Sage
Andrew Jones
Andy Thomas
Antoine Merger
Autumn Skye
Ben Ridgeway
Carey Thompson
Carmelo
Chris Dyer
Collin Elder
Daniel Mirante
De Es
Emma Watkinson
Eos Otherre
Erik Vajra
Fabián Jiménez
George Atherton
Hakan Hisim
Ihti Anderson
Jake Kobrin
Jessica Perlstein
Jonathan Solter
Julian Graham
Justin Totemical
Keerych Luminokaya
Li Lian Kolster
Luis Tamani
Luke Brown
Manu Menendez
Mars 1
Martina Hoffman
Maura Holden
Michael Divine
Mugwort
Olga Klimova
Olivia Curry
Randal Roberts
Reinier Gamboa
Robert Venosa
Simon Haiduk
Stuart Griggs
Subliquida
Symbolika
Vibrata Chromodoris
Xavi
LIVE PAINTERS:
Amanda Sage
Emma Watkinson
Erik Vajra
Ihti Anderson
Jake Kobrin
Jessica Perlstein
Lilian Kolster
Luis Tamani
Luke Brown
Luminokaya
Olga Klimova
Shrine
Stuart Griggs
www.boomfestival.org/boom2014/program/visionary-art-museum
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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
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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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© DM Parody 2021 (www.flickr.com/photos/davidparody/) These images are protected by copyright. You CANNOT copy or republish any of these photos without written consent of the photographer even if you retain the watermark (if present) and/or credit the photographer. You cannot use on any media including social media either. You CAN post a link to the page where the image appears without reference to the photographer only if not promoting a commercial product or service. Copyright infringements will be followed up, legally if necessary. Thank you for your understanding.
"Look deep into nature, and then you will understand everything better."
Albert Einstein
Heading out on vacation, see you soon; have a great week!
Entered on the Queensland Heritage Register 21 October 1992, Lyall's Jewellery Store contributes to an understanding of the development of north Queensland because its demonstrates, as a fashionable jeweller's shop of high quality, the wealth and importance of Charters Towers in the late nineteenth century.
Lyall's is a small masonry shop built in 1897 for David Lyall to replace his previous jewellery shop on the same site. Constructed at the height of Charters Towers' prosperity, it is notable for its elaborate frontage featuring large display windows of curved plate glass.
The Charters Towers gold field was discovered in late 1871 and by 1872 there was a major rush on the field. In 1874, according to goldfield regulations, the business area of the town was set out on an area thought to be non-auriferous. This area occupied one square mile centred on the intersection of Gill and Mosman Streets and became the commercial and social heart of the city.
When it became clear that the Towers was more than a transient gold field, permanent buildings began to be erected and the area was surveyed. As was common with gold fields, the survey clarified and confirmed what already existed with regard to property and this can be seen in the variety of lot sizes within the grid superimposed on the settlement. It is well demonstrated by the block on which Lyall's is built which has a frontage of only 4.22 metres and was purchased freehold by Richard Binder in 1876. Binder was an assayer and jeweller and probably already had an office on the site as the fee paid was nominal and probably simply covered the survey costs.
In July 1889, Binder sold the property to David Lyall, who had been working in Charters Towers as a jeweller and watchmaker since at least 1886. His advertisements in the Northern Miner from the Mosman Street address stated that any article of jewellery could be made on the premises to a standard of workmanship equal to be best in London or Edinburgh.
Lyall was developing his business at the height of Charters Towers importance as a gold field. In the 1880s mining shares in the field were subject to a major boom in speculation as foreign capital was poured into mining the deep reefs that characterised the field. For a time, Charters Towers was the second town in Queensland, known to its inhabitants as 'The World' and was internationally famous. Its peak production was reached in 1899 followed by a decline. By 1912 many people were leaving the town and in 1916, production officially ceased.
In 1897, however, this peak had not yet been reached and Mosman Street was now lined with substantial buildings. On December 4, Lyall opened a new shop on his small site which was intended to completely eclipse his competitors. It was brilliantly lit with electric light, had expensive and fashionable fittings and two striking semicircular display windows made of curved plate glass. Extravagant claims for the new shop as a 'palace of wonders', made by Lyall in his opening day advertisement in the Northern Miner, are supported by photographs of the exterior and interior of the shop featured in the 1897 Christmas Edition of the North Queensland Register. A few days after the opening, when the magazine of the Mills United mine blew up, Lyall's was one of the very few buildings in town whose windows were not blown out. This was noted locally and was possibly due to the curved glass.
Lyall's was a well-known and prestigious shop where one purchased special gifts. Lyall was financially successful and eventually owned a second premises in Gill Street in 1903 and a house called 'Towervilla' on Richmond Hill. He died in 1910 and the shop passed to Rebecca Lyall. It was then run by a succession of managers and was advertised as Lyall's until 1915. Under the management of first Wilson, then Boner and then Miller the shop functioned as both an optometrists and a jewellery shop. In 1939 the shop was sold to Michael Hegarty and passed to Mary Hegarty in 1954. It changed hands only once more, in 1957, when it was sold to Stanley Shong, before being purchased by the Charters Towers and Dalrymple Historical Society in 1970.
The Historical Society was formed in 1968 in response to strong public interest in the history of the city. Between 1968 and 1970 the society held several public exhibitions of items donated to its collection in order to gain funds to purchase a building that could be used as a community museum. Much of the work needed to repair Lyall's was carried out by local volunteers and the materials donated, so that the museum was able to open in the building on 1 November 1970.
In 1975, Lyall's was gifted to the National Trust of Queensland. The collection had grown too large to be displayed at Lyall's and was removed to the Zara Clark Museum in the former Bartlam's Store.
Source: apps.des.qld.gov.au/heritage-register/detail/?id=600408
QSA Item ID 2107632
View this and other original records at the Queensland State Archives:
September 13, 2009 | Lined up the grass in the background for an unbroken expanse of creamy green bokeh. I threw on a bit of my couch texture and borealnz's ttv layer
HBW!
Entry in category 2. Women and men of science; Copyright CC-BY-NC-ND: Sofia Forss
This image captures the start of my Ambizione project, in which I am trying to understand what factors shape cognitive abilities in a rather small brained, yet highly social species – the meerkats. The project is taking place at the study site of the Kalahari Research Center in Kuruma River Reserve in South Africa, where we study multiple wild groups of meerkats. Within the biological sciences it has long been debated how sociality relates to cognitive evolution. Partly, my research considers the interplay between one’s social life and motivational factors, like curiosity, and how that in turn can be decisive for cognitive skills. This picture inspires me because I don’t think one can necessarily tell who is more curious about whom in the captured situation, providing a mystery into what animal minds are.
It is nearly ten years since I started the Kent church project, and in that time have visited 292 churches, give or take, and seen and photographed inside most of them. And in that time, I have gone from knowing nothing about churches to having a basic understanding, meaning I need to revisit those I visited early on to record the features I missed.
Lenham is a large market village, and seems to be in rude health, as finding a parking space on a weekday morning was difficult, but it was nearing lunchtime, and the village is blessed with two fine pubs on the village square, and also has a new fish restaurant which was already producing fine aromas.
St Mary stands a little of the square, its tower dominating the view.
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A village centre setting where the church is approached from the north. This side shows ragstone and flint construction. Although the building contains work of earlier periods it is on the whole a fourteenth-century structure. The memorable feature is the size of the internal door which fills the tower arch - although it is not as old as it at first appears. On the south wall of the nave is a faded mural of St Michael. The pulpit is Elizabethan with a slightly later tester that carries the date 1622. Next to the pulpit is a good window in the style of Kempe, signed in the inscription with the `greyhound` symbol of H.W. Bryans who set up his own studio in competition. The other glass is mid-nineteenth century and of poor quality. The lectern, of wood, with nicely carved feet, may be as early as the fourteenth century, and has a crude and rural feel about it. The medieval stalls, which are returned along the west side of the chancel arch, are much restored. On the north wall of the chancel is an extremely strange monument which shows a fourteenth-century priest lying obliquely in two halves! The Royal Arms over the north door date from the reign of Queen Anne.
www.kentchurches.info/church.asp?p=Lenham
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LENHAM.
NORTHWARD from Boughton Malherb, close at the foot of the chalk-hills, lies Lenham, written in the book of Domesday, Lerham and Lertham, no doubt corruptly for Leanham, by which name it is called in most of the antient charters and deeds, as well before as since that time. It takes its name from the stream which rises in it, and ham, which signifies a town or village.
The western part of this parish is in the lath of Aylesford, hundred of Eyhorne, and the western division of this county, that is all of it which lies westward of a line drawn from the centre of Chilston-house, northward to the east end of the church, and thence to Warren-street, on the summit of the chalk hills.
The residue of it, including that part of it called East Lenham, is in the lath of Shipway, and hundred of Calehill, and the eastern division of the county.
THE PARISH of Lenham is of large extent, being upwards of five miles in length from east to west, and four in breadth from north to south, where it encompasses the whole width of the valley from the chalk to the quarry hills. However healthy it may be it is far from being a pleasant situation, owing to its untoward soil, which towards the south and west is mostly a deep sand; near the foot of the chalk hills a cludgy chalk mixed with flints, the whole a poor unfertile country, the fields of which are in general large, having but few trees round them, and those of a stunted unthriving aspect; above these hills northward is Downe-court and Warren-street, beyond which the parish extends more than a mile, as far as Ashden and Syndal, in the valley between Hollingborne and Doddington, a poor country and a flinty barren soil.
The town of Lenham stands in the valley between the quarry and chalk hills, which is here about two miles wide, rather nearer the latter, in a damp and moist situation, owing to the springs which rise near it, of which further mention will be made hereafter. It is rather a dull and unfrequented place, and of but little traffic, in short I cannot give a better description of it than in the words of the inhabitants themselves, who, on travellers passing through it, and enquiring if it is Lenham, in general make answer, "Ah, Sir, poor Lenham."
The church stands at the south end of it, and being westward of the line which separates the two divisions of the county, the town itself, as well as the parish, is esteemed to belong to West Kent, and all the parish business is transacted at the Maidstone sessions accordingly; the market, which was granted to the abbot of St. Augustine's, as has been mentioned before, to be held within his manor here, has been discontinued many years, but in 1757 there was an attempt made to revive it for the buying and selling of corn, and other such commodities, and it was ordered by the lord of the manor to be held on a Friday weekly, but I am informed it has been but little resorted to. The fair, which has been mentioned as having been granted likewise to the abbot, is now held yearly by the alteration of the stile on June 6, for horses and cattle, and there is another fair held on October 23, for the like purpose. A market is likewise held at Sandway, in this parish, for bullocks, upon every Tuesday after Allhallows-day, Nov. I, until Christmas.
Near the foot of the chalk hills lie the three estates of Shelve, on the opposite or southern part of the parish, where the soil is mostly a barren sand, there are several small heaths or fostalls; through this part of the parish the high road from Ashford runs over Lenham, formerly called Royton heath, and by Chilston park pales and Sandway, over Bigon-heath, towards Leeds castle and Maidstone; southward of this heath the parish extends westward, taking within its bounds the estate of Ham, the house of which has been rebuilt in a handsome manner within these few years, and thence southward to Runham-place, Platt-heath, and Leverton-street, at the boundary of it, near the quarry hills, where it joins to Bought on Malherb.
The western and south-east parts of this parish are watered by two several streams, for at the eastern extremity of the town of Lenham, at Streetwell, there rises a spring, which is accounted the head of the river Stour, which flowing from thence southward by Royton-chapel, at about a mile distance from its rise, receives into its stream two other small ones from the north-west, which rise in the grounds at Chilston, at a small distance from each other, and then flowing in one stream through the hamlet of Water-street south-eastward, it turns a mill in its way to Little Chart, and so goes on in its way to Ashford and Canterbury.
A head of one of the branches of the river Medway likewise rises at Ewell, adjoining to Bigon-heath, in the western part of this parish, whence it is frequently called the river Len; from hence this stream directs its course first westward, then northward by Runham, and so on to Holme mill in Harrietsham, in its way towards Leeds-castle and the main river at Maidstone.
LENHAM has been supposed by several of our learned antiquaries, among whom are Camden, Lambarde, and Gale, to have been the Roman station, mentioned in the 2d iler of Antonine, by the name of Durolevum, corruptly, as they say, for Durolenum, and the latter, in the British language, signifying the water Lenum, induced them, together with the situation, to conjecture this place to have been that station.
And Camden is further confirmed in this opinion, from this place being situated on a circular way of the Romans, which formerly, as Higden of Chester affirms, went from Dover through the middle of Kent. (fn. 1)
The aqua Lena, or the spring at Streetwell here, so, called perhaps from the strata of the Romans, which led hither, is thought to have been meant by the water Lenum, and that this, might give name to this station; and indeed Roman remains have been from time to time discovered from Keston, by Comb Bank, Stone-street, Oldberry camp, Ofham, Barming, Maidstone, Boxley, &c. in a continued and almost strait line, to within a few miles of this place and Charing.
¶But there having never been any Roman antiquities found at Lenham, induced Mr. Somner and others to look elsewhere for this station. That learned antiquarian, as well as Mr. Burton and Dr. Thorpe, have fixed it at or near Newington, in the great road from Rochester to Canterbury, near which great quantities of urns, and other relics of Roman antiquity, have been dug up.
04 February 2016, 4.30pm
Crews from St Neots, Sawtry and St Ives were called to a building fire in Station Road, Tilbrook.
A fire had broken out in a baler at a straw recycling facility.
Further resources were requested at 5.40pm and fire engines from Kimbolton and Papworth attended. Relief crews were also provided by Papworth, Ramsey, Huntingdon and a water carrier from Ramsey that assisted with the firefighting operation.
Firefighters wearing breathing apparatus used hose reels and jets to extinguish the fire and assisted with removing some of the straw product from the baler.
Station Commander Dave Lynch said: "This job had the potential to develop into something more significant if it wasn't for the efforts and local knowledge of all the attending crews.
"Large amounts of straw needed to be moved manually and this work was completed by crews in breathing apparatus working in arduous conditions. Excellent collaboration between Wholetime, On-call and Tacticdal Delivery Group crews brought the job to a speedy conclusion.
"One significant factor was the knowledge the attending crews had of the factory, through previous incidents and visits. This allowed for a greater understanding of potential fire spread and hazards and in no doubt was a major contributory factor to the conclusion of this job."
The fire was extinguished by 7.45pm.
The cause of the fire was accidental, by equipment.
Port of Makassar, also known as Port of Soekarno-Hatta, is a seaport in Makassar, Indonesia. It has the highest passenger traffic among Indonesian ports and the largest cargo traffic in Sulawesi. It is considered a primary port (Pelabuhan Kelas Utama) by the Indonesian Government, along with the Port of Tanjung Priok (Jakarta), Port of Tanjung Perak (Surabaya), and Port of Belawan (Medan).
An expansion to the port, dubbed New Port Makassar, is under construction with an expected additional capacity of 1.5 million TEUs in its first phase. The Indonesian Ministry of Transportation has expressed a desire to designate the port as hub for the rest of Eastern Indonesia, in accordance to the current government's maritime axis program.
Makassar (Buginese-Makassarese: ᨀᨚᨈ ᨆᨀᨔᨑ; historically spelled Macassar) is the capital of the Indonesian province of South Sulawesi. It is the largest city in the region of Eastern Indonesia and the country's fifth largest urban centre after Jakarta, Surabaya, Bandung, and Medan. From 1971 to 1999, the city was named after one of its subdistricts, Ujung Pandang. The city is located on the southwest coast of the island of Sulawesi, facing the Makassar Strait.
Throughout its history, Makassar has been an important trading port, hosting the center of the Gowa Sultanate and a Portuguese naval base before its conquest by the Dutch East India Company in the 17th century. It remained an important port in the Dutch East Indies, serving Eastern Indonesian regions with Makassarese fishermen going as far south as the Australian coast. For a brief period after Indonesian independence, Makassar became the capital of the State of East Indonesia, during which an uprising occurred.
The city's area is 199.3 square kilometres and it had a population of around 1.6 million in 2013. Its built-up (or metro) area has 1,976,168 inhabitants covering Makassar City and 15 districts. Its official metropolitan area, known as Mamminasata, with 17 additional districts, covers an area of 2,548 square kilometres and had a population of around 2.4 million according to 2010 Census. According to the National Development Planning Agency, Makassar is one of the four main central cities of Indonesia, alongside Medan, Jakarta, and Surabaya. According to Bank Indonesia, Makassar has the second-highest commercial property values in Indonesia, after Greater Jakarta.
HISTORY
The trade in spices figured prominently in the history of Sulawesi, which involved frequent struggles between rival native and foreign powers for control of the lucrative trade during the pre-colonial and colonial period, when spices from the region were in high demand in the West. Much of South Sulawesi's early history was written in old texts that can be traced back to the 13th and 14th centuries.
Makassar is mentioned in the Nagarakretagama, a Javanese eulogy composed in 14th century during the reign of Majapahit king Hayam Wuruk. In the text, Makassar is mentioned as an island under Majapahit dominance, alongside Butun, Salaya and Banggawi.
MAKASSARESE KINGDOM
The 9th King of Gowa Tumaparisi Kallonna (1512-1546) is described in the royal chronicle as the first Gowa ruler to ally with the nearby trade-oriented polity of Tallo, a partnership which endured throughout Makassar's apogee as an independent kingdom. The centre of the dual kingdom was at Sombaopu, near the then mouth of the Jeneberang River about 10 km south of the present city centre, where, where an international port and a fortress were gradually developed. First Malay traders (expelled from their Melaka metropolis by the Portuguese in 1511), then Portuguese from at least the 1540s, began to make this port their base for trading to the Spice Islands' (Maluku), further east.
The growth of Dutch maritime power over the spice trade after 1600 made Makassar more vital as an alternative port open to all traders, as well as a source of rice to trade with rice-deficient Maluku. The Dutch East India Company (VOC) sought a monopoly of Malukan nutmeg and cloves, and came close to succeeding at the expense of English, Portuguese and Muslims from the 1620s. The Makassar kings maintained a policy of free trade, insisting on the right of any visitor to do business in the city, and rejecting the attempts of the Dutch to establish a monopoly.
Makassar depended particularly on the Muslim Malay and Catholic Portuguese sailors communities as its two crucial economic assets. However the English East India Company also established a post there in 1613, the Danish Company arrived in 1618, and Chinese, Spanish and Indian traders were all important. When the Dutch conquered Portuguese Melaka in 1641, Makassar became the largest Portuguese base in Southeast Asia. The Portuguese population had been in the hundreds, but rose to several thousand, served by churches of the Franciscans, Dominicans and Jesuits as well as the regular clergy. By the 16th century, Makassar had become Sulawesi's major port and centre of the powerful Gowa and Tallo sultanates which between them had a series of 11 fortresses and strongholds and a fortified sea wall that extended along the coast. Portuguese rulers called the city Macáçar.
Makassar was very ably led in the first half of the 17th century, when it effectively resisted Dutch pressure to close down its trade to Maluku, and made allies rather than enemies of the neighbouring Bugis states. Karaeng Matoaya (c.1573-1636) was ruler of Tallo from 1593, as well as Chancellor or Chief Minister (Tuma'bicara-butta) of the partner kingdom of Gowa. He managed the succession to the Gowa throne in 1593 of the 7-year-old boy later known as Sultan Alaud-din, and guided him through the acceptance of Islam in 1603, numerous modernizations in military and civil governance, and cordial relations with the foreign traders. The conversion of the citizens to Islam was followed by the first official Friday Prayer in the city, traditionally dated to 9 November 1607, which is celebrated today as the city's official anniversary. John Jourdain called Makassar in his day "the kindest people in all the Indias to strangers". Matoaya's eldest son succeeded him on the throne of Tallo, but as Chancellor he had evidently groomed his brilliant second son, Karaeng Pattingalloang (1600-54), who exercised that position from 1639 until his death. Pattingalloang must have been partly educated by Portuguese, since as an adult he spoke Portuguese "as fluently as people from Lisbon itself", and avidly read all the books that came his way in Portuguese, Spanish or Latin. French Jesuit Alexandre de Rhodes described his passion for mathematics and astronomy, on which he pestered the priest endlessly, while even one of his Dutch adversaries conceded he was "a man of great knowledge, science and understanding."
DUTCH COLONIAL PERIOD
After Pattingalloang's death in 1654, a new king of Gowa, Sultan Hasanuddin, rejected the alliance with Tallo by declaring he would be his own Chancellor. Conflicts within the kingdom quickly escalated, the Bugis rebelled under the leadership of Bone, and the Dutch VOC seized its long-awaited chance to conquer Makassar with the help of the Bugis (1667-9). Their first conquest in 1667 was the northern Makassar fort of Ujung Pandang, while in 1669 they conquered and destroyed Sombaopu in one of the greatest battles of 17th century Indonesia. The VOC moved the city centre northward, around the Ujung Pandang fort they rebuilt and renamed Fort Rotterdam. From this base they managed to destroy the strongholds of the Sultan of Gowa who was then forced to live on the outskirts of Makassar. Following the Java War (1825–30), Prince Diponegoro was exiled to Fort Rotterdam until his death in 1855.
After the arrival of the Dutch, there was an important Portuguese community, also call a bandel, that received the name of Borrobos. Around 1660 the leader of this community, which today would be equivalent to a neighborhood, was the Portuguese Francisco Vieira de Figueiredo.
The character of this old trading center changed as a walled city known as Vlaardingen grew. Gradually, in defiance of the Dutch, the Arabs, Malays and Buddhist returned to trade outside the fortress walls, and were joined later by the Chinese.
The town again became a collecting point for the produce of eastern Indonesia – the copra, rattan, Pearls, trepang and sandalwood and the famous oil made from bado nuts used in Europe as men's hair dressing – hence the anti-macassars (embroidered cloths protecting the head-rests of upholstered chairs).
Although the Dutch controlled the coast, it was not until the early 20th century that they gained power over the southern interior through a series of treaties with local rulers. Meanwhile, Dutch missionaries converted many of the Toraja people to Christianity. By 1938, the population of Makassar had reached around 84,000 – a town described by writer Joseph Conrad as "the prettiest and perhaps, cleanest looking of all the towns in the islands".
In World War II the Makassar area was defended by approximately 1000 men of the Royal Netherlands East Indies Army commanded by Colonel M. Vooren. He decided that he could not defend the coast, and was planning to fight a guerrilla war inland. The Japanese landed near Makassar on 9 February 1942. The defenders retreated but were soon overtaken and captured.
AFTER INDEPENDENCE
In 1945 came the Indonesian declaration of Independence, and in 1946, Makassar became the capital of the State of East Indonesia, part of the United States of Indonesia. In 1950, it was the site of fighting between pro-Federalist forces under Captain Abdul Assiz and Republican forces under Colonel Sunkono during the Makassar uprising. By the 1950s, the population had increased to such a degree that many of the historic sites gave way to modern development, and today one needs to look very carefully to find the few remains of the city's once grand history.
CONNECTION WITH AUSTRALIA
Makassar is also a major fishing center in Sulawesi. One of its major industries is the trepang (sea-cucumber) industry. Trepang fishing brought the Makassan people into contact with Indigenous Australian peoples of northern Australia, long before European settlement (from 1788).
C. C. MacKnight in his 1976 work entitled Voyage to Marege: Macassan Trepangers in Northern Australia has shown that they began frequenting the north of Australia around 1700 in search of trepang (sea-slug, sea cucumber, Beche-de-mer), an edible Holothurian. They left their waters during the Northwest Monsoon in December or January for what is now Arnhem Land, Marriage or Marega and the Kimberley region or Kayu Djawa. They returned home with the south-east trade winds in April.
A fleet of between 24 and 26 Macassan perahus was seen in 1803 by French explorers under Nicolas Baudin on the Holothuria Banks in the Timor Sea. In February 1803, Matthew Flinders in the Investigator met six perahus with 20–25 men each on board and was told by the fleet's chief Pobasso, that there were 60 perahus then on the north Australian coast. They were fishing for trepang and appeared to have only a small compass as a navigation aid. In June 1818 Macassan trepang fishing was noted by Phillip Parker King in the vicinity of Port Essington in the Arafura Sea. In 1865 R.J. Sholl, then Government Resident for the British settlement at Camden Sound (near Augustus Island in the Kimberley region) observed seven 'Macassan' perahus with a total of around 300 men on board. He believed that they made kidnapping raids and ranged as far south as Roebuck Bay (later Broome) where 'quite a fleet' was seen around 1866. Sholl believed that they did not venture south into other areas such as Nickol Bay (where the European pearling industry commenced around 1865) due to the absence of trepang in those waters. The Macassan voyages appear to have ceased sometime in the late nineteenth century, and their place was taken by other sailors operating from elsewhere in the Indonesian Archipelago.
ECONOMY
The city is southern Sulawesi's primary port, with regular domestic and international shipping connections. It is nationally famous as an important port of call for the pinisi boats, sailing ships which are among the last in use for regular long-distance trade.
During the colonial era, the city was widely known as the namesake of Makassar oil, which it exported in great quantity. Makassar ebony is a warm black hue, streaked with tan or brown tones, and highly prized for use in making fine cabinetry and veneers.
Nowadays, as the largest city in Sulawesi Island and Eastern Indonesia, the city's economy depends highly on the service sector, which makes up approximately 70% of activity. Restaurant and hotel services are the largest contributor (29.14%), followed by transportation and communication (14.86%), trading (14.86), and finance (10.58%). Industrial activity is next most important after the service sector, with 21.34% of overall activity.
TRANSPORTATION
Makassar has a public transportation system called pete-pete. A pete-pete (known elsewhere in Indonesia as an angkot) is a minibus that has been modified to carry passengers. The route of Makassar's pete-petes is denoted by the letter on the windshield. Makassar is also known for its becak (pedicabs), which are smaller than the "becak" in the island of Java. In Makassar, people who drive pedicabs are called Daeng. In addition to becak and pete-pete, the city has a government-run bus system, and taxis.
A bus rapid transit (BRT), which is known as "Trans Mamminasata" was started in 2014. It has some routes through Makassar to cities around Makassar region such as Maros, Takallar, and Gowa. Run by Indonesian Transportation Department, each bus has 20 seats and space for 20 standing passengers.
A 35-kilometer monorail in the areas of Makassar, Maros Regency, Sungguminasa (Gowa Regency), and Takalar Regency (the Mamminasata region) was proposed in 2011, with operations commencing in 2014, at a predicted cost of Rp.4 trillion ($468 million). The memorandum of understanding was signed on 25 July 2011 by Makassar city, Maros Regency and Gowa Regency. In 2014, the project was officially abandoned, citing insufficient ridership and a lack of financial feasibility.
The city of Makassar, its outlying districts, and the South Sulawesi Province are served by Hasanuddin International Airport. The airport is located outside the Makassar city administration area, being situated in the nearby Maros Regency.
The city is served by Soekarno-Hatta Sea Port. In January 2012 it was announced that due to limited capacity of the current dock at Soekarno-Hatta sea port, it will be expanded to 150x30 square meters to avoid the need for at least two ships to queue every day.
ADMINISTRATION AND GOVERNANCE
The executive head of the city is the mayor, who is elected by direct vote for a period of five years. The mayor is assisted by a deputy-mayor, who is also an elected person. There is a legislative assembly for the city, members of which are also elected for a period of five years. Makassar City is divided into 15 administrative districts and 153 urban villages. Districts in Makassar city are Biringkanaya, Bontoala, Sangkarang Islands, Makassar, Mamajang, Manggala, Mariso, Panakkukang, Rappocini, Tallo, Tamalanrea, Tamalate, Ujung Pandang, Ujung Tanah and Wajo.
GEOGRAPHY
This official metropolitan area covers 2.689,89 km2 and had a population of 2.696.242 (2017). The metropolitan area of Makassar (Mamminasata) extends over 47 administrative districts (kecamatan), consisting of all 15 districts within the city, all 9 districts of Takalar Regency, 11 (out of 18) districts of Gowa Regency and 12 (out of 14) districts of Maros Regency.
Districts of Takalar Regency which included in the metro area are, Mangara Bombang, Mappakasunggu, Sanrobone, Polombangkeng Selatan, Pattallassang, Polombangkeng Utara, Galesong Selatan, Galesong and Galesong Utara. Districts of Gowa Regency which included in the metro area are, Somba Opu, Bontomarannu, Pallangga, Bajeng, Bajeng Barat, Barombong, Manuju, Pattallassang, Parangloe, Bontonompo and Bontonompo Selatan. Districts of Maros Regency which included in the metro area are, Maros Baru, Turikale, Marusu, Mandai, Moncongloe, Bontoa, Lau, Tanralili, Tompo Bulu, Bantimurung, Simbang and Cenrana.
CLIMATE
Makassar has a tropical monsoon climate. The average temperature for the year in Makassar is 27.5 °C, with little variation due to its near-equatorial latitude: the average high is around 32.5 °C and the average low around 22.5 °C all year long. In contrast to the virtually consistent temperature, rainfall shows wide variation between months in Makassar due to movement of the Intertropical Convergence Zone. Makassar averages around 3,137 millimetres of rain on 187 days during the year, but during the month with least rainfall – August – only 15 millimetres on two days of rain can be expected. In contrast, during its very wet wet season, Makassar can expect over 530 millimetres per month between December and February. During the wettest month of January, 734 millimetres can be expected to fall on twenty-seven rainy days.
MAIN SIGHTS
Makassar is home to several prominent landmarks including:
- the 17th century Dutch fort Fort Rotterdam
- the Trans Studio Makassar—the third largest indoor theme park in the world
- the Karebosi Link—the first underground shopping center in Indonesia
- the floating mosque located at Losari Beach.
- the Nusantara
- the Bantimurung - Bulusaraung National Park well-known karst area, famous for the remarkable collection of butterflies in the local area, is nearby to Makassar (around 40 km to the north).
DEMOGRAPHICS
Makassar is a multi-ethnic city, populated mostly by Makassarese and Buginese. The remainder are Torajans, Mandarese, Butonese, Chinese and Javanese. The current population is approximately 1.5 million, with a Metropolitan total of 2.2 million.
EDUCATION
State University of Makassar
Hasanuddin University
Alauddin Islamic State University
Universitas Muhammadiyah Makassar
Universitas Muslim Indonesia
By 2007 the city government began requiring all skirts of schoolgirls be below the knee.
TRADITIONAL FOOD
Makassar has several famous traditional foods. The most famous is Coto Makassar. It is a stew made from the mixture of nuts, spices, and selected offal which may include beef brain, tongue and intestine. Konro rib dish is also a popular traditional food in Makassar. Both Coto Makassar and Konro are usually eaten with Burasa or Ketupat, a glutinous rice cake. Another famous cuisine from Makassar is Ayam Goreng Sulawesi (Celebes fried chicken); the chicken is marinated with a traditional soy sauce recipe for up to 24 hours before being fried to a golden colour. The dish is usually served with chicken broth, rice and special sambal (chilli sauce).
In addition, Makassar is the home of Pisang Epe (pressed banana), as well as Pisang Ijo (green banana). Pisang Epe is a banana which is pressed, grilled, and covered with palm sugar sauce and sometimes eaten with Durian. Many street vendors sell Pisang Epe, especially around the area of Losari beach. Pisang Ijo is a banana covered with green colored flours, coconut milk, and syrup. Pisang Ijo is sometimes served iced, and often eaten during Ramadan.
WIKIPEDIA
Nestlé Research Center studies behaviour to understand drivers of pleasure and healthy food choices.
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]
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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
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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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