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Researchers at the Northwestern University Center of Cancer Nanotechnology Excellence are studying the ways in which cancer cells migrate from existing tumors to create new, metastatic tumors in different regions of the body. By creating micrometer scaled adhesive islands on gold surfaces, they have allowed individual metastatic cells to take on shapes, such as the star depicted above. These shapes provide cues to cancer cells, which respond in the above image by concentrating their motility machinery at the star’s tips. This assay lends itself to large scale screening of cell populations—a problem that has stymied past efforts to find a drug that targets metastatic motility.
This image is part of the Nanotechnology Image Library collection.
Credit: Bartosz Grzybowski, Ph.D., National Cancer Institute, National Institutes of Health
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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
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It's hard to reconcile the sparkling prose from the manor's Web site (below) with the near ruinous state of parts of the building.
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What is Krimulda manor?
Quality recreation and peace of soul awaits you at the Krimulda manor.
The manor’s fantastic location of in the Gauja National Park offers the opportunity to enjoy nature and indulge in adventures in any season. The area of the manor itself is great for sightseeing – the noble, restored manor, the historic household buildings and the beautiful park create a feeling of a peaceful little town. Nearby, the cable car connects Krimulda and Sigulda across the Gauja river. Many points of interest are located within a radius of a few kilometres – the castles of Turaida and Sigulda, the ski track, the Gutman's Cave, nature trails, sacred springs, excellent cafes and restaurants. Cyclists and motorists can also reach the neighbouring cities, like Ligatne and Cesis, easily. Several days can be spent enjoying interesting activities without leaving the territory of the manor.
The merging of the antique and the modern ensures complete relaxation. Staying at the Krimulda manor, you can enjoy the advantages of the bygone centuries – an invigorating park, the luxurious premises of the manor, antique details and the tranquil passage of time. At the same time, full modern comfort is available – WiFi, quality SPA procedures, excellent wellness centre equipment, as well as extensive entertainment options.
The highly qualified personnel of the health centre perform the SPA and rehabilitation procedures on a truly excellent level. Rehabilitation, treatments and recreation have taken place in the Krimulda manor for about a century now. This succession ensures the attraction of outstanding medical personnel, an in-depth understanding of the environment necessary for recreation and treatment, and a special approach to the client. In Krimulda you will be taken care of by educated and experienced specialists.
krimuldasmuiza.lv/en/krimulda-manor
======================
The historical centre of Krimulda is located on the right bank of the River Gauja. The house of the owners of the manor, Counts von Lieven, was built in 1848 in neo-classical style. The building sits on the very brink of the ancient Gauja valley and overlooks a beautiful view across the vale and its opposite bank.
Not far from the manor house, there stand the ruins of the 13th century Krimulda Castle which belonged to the Riga Dome Charter until the year 1566. In later centuries the castle owners were both Poles and Swedes who destroyed the castle in 1601, to prevent the Poles from settling down there.
Krimulda remained in Swedish ownership until in 1817 Count von Lieven bought the manor from the then owner Captain Helmersen for 60 875 rubles in silver.
The Lievens lived in the manor until 1921. In 1853, Paul Lieven was the first from among the nobility of "the Vidzeme Switzerland" to lay out a park on the right bank of the Gauja; the park featured several promenades and two wooden staircases – one with 380 steps from Vilkmeste ravine, and the other one, with 325 steps led from the park to the ferry across the Gauja.
Tsar Alexander II, having heard about von Lieven's beautiful park, visited Krimulda with his spouse during his visit to Vidzeme in 1862.
One of the manufacturers of the tunnel wall.
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]
Educational Classroom Poster for teaching elementary math. This one help students understand the concepts and units of Metric Lengths.
Available in letter size and now 11"x17".
7 star strategies for your child's future
How can you put a price on the expression of pure bliss on your four-year-old's face
as she enjoys an ice-cream? When your 17-year-old whoops on hearing the news that
he has secured admission to his dream college, would your brain tick away at the
amount of money this is going to cost you?
These are non-questions to any parent. Parental love is unconditional and largely
unaccountable. It's heartless and clinical to count your child as a cost centre, and we
are not suggesting you do that.
Understanding expenses does not imply condemning them. On the contrary, it is only a
first step towards gaining an advantage over them. In fact, if you do manage to chip
away at the warm, fuzzy feeling of pride and accomplishment and examine the costs
of raising a child, you would be able to do a far better job of being the provider.
The dichotomy of spending on your children is a conflict between the present and the
future. Should you cave in and buy the Rs 25,000 Playstation 3 that your son has
been nagging you for? Will it come from the money you have been saving for his
graduation? Will that Barbie-themed Rs 50,000 party you threw on your daughter's
birthday be the reason she will have to do her hotel management in Goa instead of
Geneva? The only way to solve these dilemmas is to plan ahead and start investing.
Now.
Two big-ticket costs that all parents have to provide for fall under the heads
education and marriage. Post-graduate education is expensive, and in this globalised
world, if you want to give your child the advantage of an international education,
multiply the cost by 10 times, often even more. A grand celebration to mark your
child's wedding is a great Indian dream and something that all parents would like to
put some money away for.
1. Second baby
Most couples can afford one child and want to do the best for him or her. As financial
decisions go, the second child is usually one that swings the balances. The thought of
having to keep away double the amount of what you need for a child can be daunting.
Often, when the kids are young, one plus one does not add up to two - you could
re-use and recycle and keep your expenses slightly lower. But, as they grow older,
two children can be a real strain on finances. Guitar lessons for one, football coaching
for the other, science tuitions for one and mathematics for the other can add up to a
tidy sum every month.
A second child had always featured in Jayant Bhadauria and Kamalika Nandi's life
plans. It's just that they did not really have the time to have one. Jayant works in a
multinational software company in Mumbai and Kamalika looks after marketing for an
outsourcing company.
Between work, their travelling schedules and looking after Kamini, their four-year-old
daughter, the second child remained something to be done sometime in the future.
Which was why, in September, when Kamalika discovered she was pregnant, for a
minute she didn't know whether to be happy or sad.
"Of course, money was not the first thing I thought about," says Kamalika. "Once the
news sank in, I did realise that we would have to start looking at our expenses. So
far, if I have seen something and liked it, I have ended up buying it if I felt the price
was fair. Now, I feel, there would be a little bit of a compromise there. I do want the
best for my kids, but that does not necessarily mean the most expensive."
7 star strategies for your child's future
The baby is due in May and, for now, they are figuring out the expenses related to
having him - delivery and hospitalisation are just two of the heads. A normal delivery
in a reasonably good hospital costs about Rs 35,000. If there are complications, the
fee could be substantially higher. Kamalika reckons their monthly expenditure would
increase by at least Rs 7,000 for the first year of the new baby.
A substantial portion of the large expenses they incurred for Kamini would not have to
be repeated. Expensive baby paraphernalia like the cot, stroller, rocker and high chair
can be reused for the second baby.
Jayant has a couple of insurance policies. The rest of his investments are all in equity.
He has an employee stock option in his company. Besides this, he has also opted to
buy the equity of his employer, listed in the US, with a certain percentage of his
salary every month.
The rest of his portfolio is in various Indian companies. While equity investment is the
ideal route to create wealth for his young family, Jayant should also look at
diversifying his portfolio. A major chunk of his money is invested in one stock - that of
his employer.
Jayant is also evaluating a couple of child policies from insurance companies. He
wants to use these as vehicles to save for his kids' higher education and marriages.
He is confident that as the expenses of the kids increase, so will his wife's and his
own salaries and that there will not be a situation of having to face a financial crunch.
Kamalika plans to return to work once her maternity benefits expire. When she was
expecting Kamini, she had given up her job and stayed home till her daughter turned
two. "I will try and enjoy the baby more since this is the last one I will have, but it
might be difficult because I plan to go back to work," she says.
"My career has suffered because of the break I took the last time and I don't want to
do it again. But, my company is employee-friendly and I feel that I would be able to
get leave in case I need to spend more time at home."
For now, they are not thinking about late night feeds and diaper changes. They have
chosen to focus instead on Tahitian weddings and exotic holidays for their kids.
2. Nascent dreams
When Simran Kumar thinks about her kids' future, she is not worried about which
school they will secure admission in or how big a wedding they will have. But, as a
modern, aware mother, she does get anxious about the world they will occupy, what
with environmental pollution, global warming and the rest. "I am concerned about
security issues, about violence against women, childhood respiratory diseases from
living in a polluted and crowded city," she says.
Simran and her husband, Zafar Baig, have two children under the age of two -
daughter Ananya is 22 months, and son Vivan is four months old.
Simran is an anchor for a television channel and Zafar works for an export house. With
two well paying jobs, they have not been worried about spending on the luxuries, so
far. But as their young family grows, they want to make sure they get started on
laying the foundation for a sound financial future.
"Now, we do not spend carelessly and have cut out a little bit of our frivolous
expenses. I want the best for my kids," she says.
One of the dreams Simran and Zafar have for their children is to offer them an
opportunity to follow in their footsteps and study abroad. "We are not very
money-savvy, but now want to invest in our kids' future. We do not really know
where to start," says Simran.
7 star strategies for your child's future
They have, however, opened bank accounts in both kids' names and all the money
they have received as gifts has gone into them. Zafar has bought a couple of
insurance policies and invested a bit directly in equity, as well as in some mutual
funds.
He recently invested Rs 50,000 in HDFC Standard Life's Young Star Plan. Even as they
try and cope with the 'now and here' expenses of a family of four, as well as investing
in their dreams for their kids, Simran and Zafar would also like to buy a house.
They are not alone in wanting to do several things at once. Most couples are in the
early stages of their careers when they start their families. Often, the need to put
away for a rainy day is lost in the euphoria of youth and its maxim of living for the
day.
When the kids come, several priorities tumble out of the financial closet -- a house,
some means of protecting income and insurance against unforeseeable events, buying
things for the baby, hiring someone to help look after them. Often, with this, also
comes a drastic drop in income levels if the mother chooses to stay back home and
look after the kids for a few years.
The key here is in being able to prioritise and not trying to do everything at once. The
important goals of higher education and marriage of children are quite far away and
even putting away a little sum of money starting right away would be enough.
What is key is getting into the discipline of saving, the amounts can be large or small.
As the goals are far away, most investments can be directed into equities. Systematic
investment plans (SIPs) of good funds, with a long-term view, are ideal here.
Short-term expenditure can be rationalised and reduced if there are opportunities.
Simran reckons she spends about Rs 10,000-15,000 a month now on the kids. This
includes diapers (about Rs 500 for a pack of 50), food and household help.
Simran works three days a week, and that leaves her with enough time to spend with
her children. Once they start school, she can go back to working full time. Simran is
optimistic about her future. "It's all there somewhere, I am a positive person in that
sense," she says. "For now, I want to focus on enjoying my babies," she adds.
3. Wonder years
The five years when the child has started school but is not yet in a higher class that
warrants private tuitions is the ramp up stage for the finances of parents. The goals
of higher education and marriage are some distance away, yet well within view.
Even though the primary schooler's ambitions vary widely from day to day, you could
still get a sense of the direction in which he is likely to head. This is the stage where
you could build your savings. If you have SIPs, you could increase the amount you
invest every month.
On the expense side, this is perhaps the easiest stage. You do not have the
heavy-duty everyday requirements of diapers and baby food, nor have you reached
the stage where you have to spend Rs 300 for one hour of mathematics tuition.
School fees, books, birthday parties and expenses on outings and excursions would be
areas of high spends. A birthday party can cost anywhere between Rs 3,000 and Rs
20,000.
In Kolkata, nine-year-old Arkatapa wants to be an archaeologist one day and a
teacher the next. She attends classes on ancient mathematics, Bharatnatyam, singing
and drawing. But her mother, Arpita Roy, feels when it comes to choosing a career,
Arkatapa will pick an academically-oriented one.
7 star strategies for your child's future
Arkatapa's father, Barun Kumar Roy, is an officer in the West Bengal government. His
money mantra is that investments should be made for the short term and loans should
be taken for the long term. He spends 60 per cent of his salary and saves the
remaining 40 per cent.
Barun invests with a three-to-four-year view. His first priority is insurance policies, so
that in case anything happens to him, his family does not suffer financially. He has life
insurance policies and Ulips with accident covers. He also has some investments in
Prudential ICICI Mutual Fund. These are in both equity and debt funds. Child plans do
not attract him, he has not taken any for Arkatapa.
An ideal asset allocation at this stage of your child's life is to have 75 per cent of your
investments in equity. This implies that in the intervening years between 0-4 and
5-10, you move some part of your money from pure equity to balanced or debt funds.
Arpita never wanted a career, she was always keen on staying home and looking after
her family. But her advice to her daughter would be to be self-reliant and have the
financial ability to look after herself.
Arpita finds her joy in her daughter's accomplishments. "When she scores 15 out of 15
in a test, I feel very happy. Even though it is a little silly, I do feel happy," she says.
"My daughter is not a very brilliant student, but she is still young. I am not worried
about her career now, water will flow where it will."
Her husband agrees that it is too early to predict what their daughter will grow up to
be, but he is certain that he must invest in her future. "Whenever she makes her
choice of education or career, it should not get stuck because there is no money for
it," he says emphatically.
"Every moment as a father has been a proud one." His dream for his daughter is that
she grows up to be honest, respectful and a good human being. "Everything else is
extra," he says.
4. Early teenage mayhem
As Rishab Nanda grows tall and lanky, his parents, Manisha and Manish, are beginning
to anticipate the mood swings and door slamming that will start as their
soon-to-be-12-year-old grapples with adolescence. Already, there are arguments and
high drama about pretty much everything -- from walking the dog to going on trips
with friends.
Although Rishab is yet unsure of exactly what he wants to grow up to be, the options
are getting clearer by the day. His parents do not want to get caught on the wrong
foot at the last moment and are now quickly squirrelling away as much money as
possible to fund his dreams.
Rishab's school offers the International Baccalaureate (IB) programme and his parents
expect that once he finishes his class 10, he would opt for this. Not only is the IB
course more expensive than a regular school, the chance that a child going for it
would ultimately pursue his graduate programmes abroad is also high. A two-year IB
course costs about Rs 4 lakh, compared to Rs 1 lakh that you would pay for a regular
CBSE or ISC school.
Manisha and Manish know that this would be an expensive proposition. They would like
to save enough to fund the full cost of his foreign degree, but are not entirely sure
they would be able to. The actual amounts they would need would depend on the
course, college and country.
When the child is between the ages of 10 and 14, regular day-to-day expenses are
also high. School fees in secondary classes are higher than those in primary, and
children also need a lot of academic and non-academic stimulation outside school.
This would mean a mixture of tuitions and lessons. Rishab takes lessons in playing the
drums, speech and drama. These add up to Rs 18,000 a year.
7 star strategies for your child's future
February 26, 2008
This is also the age of having to make large-ticket purchases. Gameboys,
Playstations, the latest skating boards and other 'toys' cost quite a packet, some
starting upwards of Rs 25,000. You can manage to spin some yarn and convince your
eight-year-old that the Barbie she has is better than the Barbie she wants, but there
is no talking reason, logic or threat to a 13-year-old.
The Nandas have made several investments in equity mutual funds. They also have
two child-specific plans -- one from LIC and the other from UTI. Ideally, the Nandas
should move their portfolio more towards debt and balanced funds. One, they would
need a large sum of money to pay the IB fees after Rishab completes his 10th
standard.
Also, since he is likely to go abroad for his undergraduate studies, their requirements
of funds would be sooner than usual. In case the stockmarket enters a lull phase after
four years, the largely equity portfolio of the couple could prove a problem.
Right now, Rishab is keen on pursuing his athletics and art. The Nandas know that
these are unconventional choices, but if Rishab does stick to either of these and
decides to pursue a career in it, they would encourage his choice.
Manisha was an advertising executive who switched careers to become a teacher.
She wants Rishab to have the guidance that enables him to discover his aptitudes so
that he doesn't waste years working in a profession he does not really want to be in.
"But," she says proudly, "at the end of the day, I think he is a survivor. Like me."
5. Terrible teens
In Delhi, Priyanka Verma is one busy 16-year-old. She is in her 12th standard and
preparing for her board exams pretty much takes up all her time now. She has opted
for the science stream and is studying physics, chemistry, mathematics and computer
science at Shriram School in Gurgaon.
Her mother, Sarika Verma, is an arts teacher and had noticed, very early, Priyanka's
creative bent of mind. "But," she says, "my husband had the foresight to advise her
that even if she wanted to subsequently pursue a career in arts, it would benefit her
to opt for the science stream at this level." Priyanka's father, Ashutosh Verma, works
in the Indian Trade Promotion Organisation.
Priyanka has now found a career that will allow an artistic expression of her science
education - she wants to be an architect. Not only that, Priyanka also decided on a
foreign language early on, and now she is learning French at an advanced level. This
means that she could opt to study architecture at a good college in France, where
the cost of education would be lower than in the US or the UK.
The Vermas are self-confessedly not very money-savvy. They decided early on that
Priyanka's education would have the first claim on their finances; everything else
would be secondary. Right now, these education expenses are high. Priyanka takes
tuitions in a couple of subjects and these cost Rs 300-400 an hour. This, added to
school fees, the bus charges of going to school and coming back home and other
expenses aggregate to a neat Rs 20,000 a month.
"There was no room to splurge or go on binges. We knew we had limited resources
and, for us, spending was not a way of living. We set our priorities and refused to
worry about anything else," Sarika says.
The Vermas have left what they managed to save in their saving bank account. They
will have to drum up the funds once Priyanka secures admission in a college of her
choice. They are looking at the option of taking an educational loan to augment their
reserves.
7 star strategies for your child's future
When the child is between 14 and 18, the first big goal draws close. The money
needed for higher education should be ready and ideally, a large chunk of it should be
moved into debt and balanced funds. A 50 per cent exposure to equity is sufficient at
this stage.
Those sending their children abroad - for undergraduate or post-graduate studies -
should be in a position to provide for at least the first couple of years. If you do not
have enough saved up, you can seek an educational loan from a bank. Usually, kids
find part-time work that helps fund a part of their education or, in the least, provides
for their living expenses once they settle down in their new country and campus.
Ideally, earmark your investments for your needs. If the monthly SIP of Rs 7,000 is
going into junior's college fund, the Rs 4,000 one could be the marriage resource. As
the event draws close, you could switch the investment from an equity to a debt
fund. This would allow it to continue earning higher returns than a bank account while
being absolutely liquid.
Sarika is certain that her daughter is a bright spark. "My only dream is that in her life
she should be able to get opportunities to use her many talents," she says.
As for her marriage, it is still far away. "Even if I am rich, I wouldn't splurge on her
wedding; I am totally against that kind of fanfare," she says.
6. Action!
It all comes to pass now, the years of swinging between anticipation and hope. Now
is when your constant refrain of "go to your room and study" goes through its test.
And the money you have put away finally finds its purpose.
Bina Sharma's older son Prabhat is doing his electronics and communications
engineering in Bangalore. As he prepares to finish this and zone in on an area of
specialisation for his post-graduate course, Bina feels a mixture of relief and anxiety.
For one, Prabhat is bright enough to have got through a better college. But, she did
not want him to stay home for a whole year and prepare for the engineering entrance
exam. So, he joined the college where he got admission. This means that if he does
not get through to an IIT for his post-graduate degree, it is best that he go abroad
for it. By the time that would be happening, the younger son would be starting his
first year of college, seeking a medical degree in all likelihood. Bina is remarkably calm
for someone who is juggling so much.
"Prabhat is in two minds and has not decided whether he wants to do a Master's in
Engineering or an MBA," she says. "My sense is that he'll stick to the technical line. If
he does, he might choose to pursue his Master's in aeronautical engineering or
continue in electronics and communications. Either way, if he does not make it to a
top rung college in India, he would go abroad."
A postgraduate degree abroad is much easier to manage compared to an
undergraduate one. All said, it would cost about Rs 40 lakh (Rs 4 million) a year to
study in the US. This means an outlay of Rs 80 lakh (Rs 8 million) for a postgraduate
course, compared to Rs 1.6 crore (Rs 16 million) for an undergraduate degree. Bina
has started planning and has put away a part of this. By the time Prabhat finishes his
degree, she should have the rest of the money on board. If her resources fall short,
the Sharmas may have to take an educational loan.
The Sharmas have been forecasting their finances towards these goals. While they
meet their monthly expenses from the money generated by the business of Bina's
husband, Vipin, her salary is saved in its entirety. They have invested in equities,
mutual funds, fixed deposits and provident funds. They also have bought some real
estate with the express purpose of liquidating it to meet the kids' college expenses.
7 star strategies for your child's future
February 26, 2008
A 25 per cent equity allocation is ideal at this stage. While the remaining money is
invested in lower-risk debt instruments, this 25 per cent would give the kicker of
higher returns.
College expenses cannot be calculated to the last rupee in advance as various factors
come into play on securing admission. Prabhat is planning to pursue a technical
degree, so the possibility of getting sponsorships and fee waivers is higher. However,
the couple needs to peg a basic minimum and work towards it.
The current expenses of the family are also high. Bina paid Rs 150,000 for the first
year of Prabhat's engineering. Over this, he incurs a monthly expense of Rs 8,000.
Bina is focused on her kids having a sound base in education. Once they graduate,
they are free to choose any career they want. She feels that Prabhat's rational
expectations would hold him in good stead through his education and career.
After the stress of steering two boys through their teens, Bina is looking forward to
the final satisfaction of seeing them settle down. "I will then put up my feet and
finally relax," she crystal gazes.
7. The last mile
Sumona Gupta did not want to make the career decisions of her daughters for them.
Snigdha, 23, works in advertising in Google for Hyderabad, and Shaila, 16, is an
aspiring fashion designer. Now that Snigdha is 'settled' professionally, Sumona is
certain that like her choice of an occupation, she would also let her daughter choose
who she wants to marry.
Sumona exudes the confidence of a successful parent -- one who has done the right
thing for her daughters and who can now take it easy and enjoy their success.
Sumona freelances in real estate, helping in renting, buying and selling of property.
Her husband, Sumit, has a shore-based job in a marine operations company in Dubai.
Together, they have set aside some money for their daughters. Most of this is in the
form of equities.
"When my daughter does get married, I would like it to be a big wedding; not overtly
so, but within our budget," Sumona says. A wedding dress for a bride would cost
between Rs 5,000 and Rs 60,000. Of course, if you have the resources you can even
spend a couple of lakh for an outfit. Food for guests sets you back by Rs 50-2,000 a
plate. Ideally, the funds for the kids should be moved out of equity at this stage.
If you have set aside enough, you could leave a small portion, about 5 per cent of the
portfolio, in equity to improve your returns. Investments in gold, ideally in bars and
coins or units of a gold exchange - traded fund, would also come into use now. There
are hardly any expenses you have to incur on behalf of the child now, they have their
own salaries to pay for most of their needs.
Sumona would rather worry about her daughters' financial stability than who they
would marry and when. "There is nothing very secure in a married life," she says. In
fact, she would like Snigdha to go for a postgraduate course, such as an MBA, than
find a man and settle down immediately.
Parenting is full of paradoxes. Even as we wait for the child to cross her next
milestone, we begin to miss the precociousness of the earlier stage. As they wean
themselves away, all we can do is gather all the special moments we have had and air
out their warmth every now and then.
When they grow into adults - people with careers, aspirations and points of view - we
can only wonder how they were ever so small that they fitted into the crook of our
arm. If we have planned ahead and made our children's journey to adulthood that
much easier, that is a job well done, a life well lived
Class loved this one, they really got to grips with the idea and gained some understanding of perspective.
The monastery of Saint Barnabas (or Ayios Barnabas) was a church on the island of Cyprus, located 2 kilometres (1.2 mi) west of Constantia. The site is today within Northern Cyprus and functions as a museum.
The original shrine church was founded in the late fifth century, perhaps in 477, when the Emperor Zeno financed the construction of a basilica near the spot where the body of Barnabas was discovered by Archbishop Anthemius. Funding was also provided by local notables. The church had a timber roof and included stoas, gardens, aqueducts, and hostels intended for receiving pilgrims. It may have been expected that pilgrims on their way to Jerusalem might stop in Constantia and visit the shrine. The sixth-century Laudatio Barnabae describes the new tomb of Barnabas as decorated with silver and marble. It also attested the existence of a monastic community living beside the shrine. The relics were eventually moved to the basilica of Saint Epiphanius in Constantia.
Two buildings were added to the complex during the reign of Justinian I (527–565) by the next archbishop, Philoxenos, who left a short inscription recording his work. In the late seventh century, the basilica was destroyed during Arab raids.
Today, what remains of the original basilica is incorporated in the east end of a newer vaulted basilica of the cross-in-square type, built around 900. The church has three aisles and two flat domes on tall drums. It may have been the residence of the archbishops for a couple centuries after the abandonment of Constantia in the late eighth century.
Although the second construction remained standing throughout the centuries and continued function as a pilgrimage church, the continuity of the monastic community, although possible, cannot be demonstrated. Wilbrand of Oldenburg visited the church in the 13th century, noting that the city around it was "destroyed". In 1735, Vasil Grigorovich-Barsky visited the site and drew a sketch of the cloisters, courtyards and outbuildings. The current form of the buildings is a result of work done in 1756 by Archbishop Philotheos. Between 1971 and 1974, the monastery had three monks who made their living by selling honey and painting icons. The monastery was abandoned following the Turkish invasion of Cyprus.
No longer hosting a monastic community, the church today function as a museum of icons. The former cloisters host an archaeological museum with artefacts going back to the neolithic.
Northern Cyprus, officially the Turkish Republic of Northern Cyprus (TRNC), is a de facto state that comprises the northeastern portion of the island of Cyprus. It is recognised only by Turkey, and its territory is considered by all other states to be part of the Republic of Cyprus.
Northern Cyprus extends from the tip of the Karpass Peninsula in the northeast to Morphou Bay, Cape Kormakitis and its westernmost point, the Kokkina exclave in the west. Its southernmost point is the village of Louroujina. A buffer zone under the control of the United Nations stretches between Northern Cyprus and the rest of the island and divides Nicosia, the island's largest city and capital of both sides.
A coup d'état in 1974, performed as part of an attempt to annex the island to Greece, prompted the Turkish invasion of Cyprus. This resulted in the eviction of much of the north's Greek Cypriot population, the flight of Turkish Cypriots from the south, and the partitioning of the island, leading to a unilateral declaration of independence by the north in 1983. Due to its lack of recognition, Northern Cyprus is heavily dependent on Turkey for economic, political and military support.
Attempts to reach a solution to the Cyprus dispute have been unsuccessful. The Turkish Army maintains a large force in Northern Cyprus with the support and approval of the TRNC government, while the Republic of Cyprus, the European Union as a whole, and the international community regard it as an occupation force. This military presence has been denounced in several United Nations Security Council resolutions.
Northern Cyprus is a semi-presidential, democratic republic with a cultural heritage incorporating various influences and an economy that is dominated by the services sector. The economy has seen growth through the 2000s and 2010s, with the GNP per capita more than tripling in the 2000s, but is held back by an international embargo due to the official closure of the ports in Northern Cyprus by the Republic of Cyprus. The official language is Turkish, with a distinct local dialect being spoken. The vast majority of the population consists of Sunni Muslims, while religious attitudes are mostly moderate and secular. Northern Cyprus is an observer state of ECO and OIC under the name "Turkish Cypriot State", PACE under the name "Turkish Cypriot Community", and Organization of Turkic States with its own name.
Several distinct periods of Cypriot intercommunal violence involving the two main ethnic communities, Greek Cypriots and Turkish Cypriots, marked mid-20th century Cyprus. These included the Cyprus Emergency of 1955–59 during British rule, the post-independence Cyprus crisis of 1963–64, and the Cyprus crisis of 1967. Hostilities culminated in the 1974 de facto division of the island along the Green Line following the Turkish invasion of Cyprus. The region has been relatively peaceful since then, but the Cyprus dispute has continued, with various attempts to solve it diplomatically having been generally unsuccessful.
Cyprus, an island lying in the eastern Mediterranean, hosted a population of Greeks and Turks (four-fifths and one-fifth, respectively), who lived under British rule in the late nineteenth-century and the first half of the twentieth-century. Christian Orthodox Church of Cyprus played a prominent political role among the Greek Cypriot community, a privilege that it acquired during the Ottoman Empire with the employment of the millet system, which gave the archbishop an unofficial ethnarch status.
The repeated rejections by the British of Greek Cypriot demands for enosis, union with Greece, led to armed resistance, organised by the National Organization of Cypriot Struggle, or EOKA. EOKA, led by the Greek-Cypriot commander George Grivas, systematically targeted British colonial authorities. One of the effects of EOKA's campaign was to alter the Turkish position from demanding full reincorporation into Turkey to a demand for taksim (partition). EOKA's mission and activities caused a "Cretan syndrome" (see Turkish Resistance Organisation) within the Turkish Cypriot community, as its members feared that they would be forced to leave the island in such a case as had been the case with Cretan Turks. As such, they preferred the continuation of British colonial rule and then taksim, the division of the island. Due to the Turkish Cypriots' support for the British, EOKA's leader, Georgios Grivas, declared them to be enemies. The fact that the Turks were a minority was, according to Nihat Erim, to be addressed by the transfer of thousands of Turks from mainland Turkey so that Greek Cypriots would cease to be the majority. When Erim visited Cyprus as the Turkish representative, he was advised by Field Marshal Sir John Harding, the then Governor of Cyprus, that Turkey should send educated Turks to settle in Cyprus.
Turkey actively promoted the idea that on the island of Cyprus two distinctive communities existed, and sidestepped its former claim that "the people of Cyprus were all Turkish subjects". In doing so, Turkey's aim to have self-determination of two to-be equal communities in effect led to de jure partition of the island.[citation needed] This could be justified to the international community against the will of the majority Greek population of the island. Dr. Fazil Küçük in 1954 had already proposed Cyprus be divided in two at the 35° parallel.
Lindley Dan, from Notre Dame University, spotted the roots of intercommunal violence to different visions among the two communities of Cyprus (enosis for Greek Cypriots, taksim for Turkish Cypriots). Also, Lindlay wrote that "the merging of church, schools/education, and politics in divisive and nationalistic ways" had played a crucial role in creation of havoc in Cyprus' history. Attalides Michael also pointed to the opposing nationalisms as the cause of the Cyprus problem.
By the mid-1950's, the "Cyprus is Turkish" party, movement, and slogan gained force in both Cyprus and Turkey. In a 1954 editorial, Turkish Cypriot leader Dr. Fazil Kuchuk expressed the sentiment that the Turkish youth had grown up with the idea that "as soon as Great Britain leaves the island, it will be taken over by the Turks", and that "Turkey cannot tolerate otherwise". This perspective contributed to the willingness of Turkish Cypriots to align themselves with the British, who started recruiting Turkish Cypriots into the police force that patrolled Cyprus to fight EOKA, a Greek Cypriot nationalist organisation that sought to rid the island of British rule.
EOKA targeted colonial authorities, including police, but Georgios Grivas, the leader of EOKA, did not initially wish to open up a new front by fighting Turkish Cypriots and reassured them that EOKA would not harm their people. In 1956, some Turkish Cypriot policemen were killed by EOKA members and this provoked some intercommunal violence in the spring and summer, but these attacks on policemen were not motivated by the fact that they were Turkish Cypriots.
However, in January 1957, Grivas changed his policy as his forces in the mountains became increasingly pressured by the British Crown forces. In order to divert the attention of the Crown forces, EOKA members started to target Turkish Cypriot policemen intentionally in the towns, so that Turkish Cypriots would riot against the Greek Cypriots and the security forces would have to be diverted to the towns to restore order. The killing of a Turkish Cypriot policeman on 19 January, when a power station was bombed, and the injury of three others, provoked three days of intercommunal violence in Nicosia. The two communities targeted each other in reprisals, at least one Greek Cypriot was killed and the British Army was deployed in the streets. Greek Cypriot stores were burned and their neighbourhoods attacked. Following the events, the Greek Cypriot leadership spread the propaganda that the riots had merely been an act of Turkish Cypriot aggression. Such events created chaos and drove the communities apart both in Cyprus and in Turkey.
On 22 October 1957 Sir Hugh Mackintosh Foot replaced Sir John Harding as the British Governor of Cyprus. Foot suggested five to seven years of self-government before any final decision. His plan rejected both enosis and taksim. The Turkish Cypriot response to this plan was a series of anti-British demonstrations in Nicosia on 27 and 28 January 1958 rejecting the proposed plan because the plan did not include partition. The British then withdrew the plan.
In 1957, Black Gang, a Turkish Cypriot pro-taksim paramilitary organisation, was formed to patrol a Turkish Cypriot enclave, the Tahtakale district of Nicosia, against activities of EOKA. The organisation later attempted to grow into a national scale, but failed to gain public support.
By 1958, signs of dissatisfaction with the British increased on both sides, with a group of Turkish Cypriots forming Volkan (later renamed to the Turkish Resistance Organisation) paramilitary group to promote partition and the annexation of Cyprus to Turkey as dictated by the Menderes plan. Volkan initially consisted of roughly 100 members, with the stated aim of raising awareness in Turkey of the Cyprus issue and courting military training and support for Turkish Cypriot fighters from the Turkish government.
In June 1958, the British Prime Minister, Harold Macmillan, was expected to propose a plan to resolve the Cyprus issue. In light of the new development, the Turks rioted in Nicosia to promote the idea that Greek and Turkish Cypriots could not live together and therefore any plan that did not include partition would not be viable. This violence was soon followed by bombing, Greek Cypriot deaths and looting of Greek Cypriot-owned shops and houses. Greek and Turkish Cypriots started to flee mixed population villages where they were a minority in search of safety. This was effectively the beginning of the segregation of the two communities. On 7 June 1958, a bomb exploded at the entrance of the Turkish Embassy in Cyprus. Following the bombing, Turkish Cypriots looted Greek Cypriot properties. On 26 June 1984, the Turkish Cypriot leader, Rauf Denktaş, admitted on British channel ITV that the bomb was placed by the Turks themselves in order to create tension. On 9 January 1995, Rauf Denktaş repeated his claim to the famous Turkish newspaper Milliyet in Turkey.
The crisis reached a climax on 12 June 1958, when eight Greeks, out of an armed group of thirty five arrested by soldiers of the Royal Horse Guards on suspicion of preparing an attack on the Turkish quarter of Skylloura, were killed in a suspected attack by Turkish Cypriot locals, near the village of Geunyeli, having been ordered to walk back to their village of Kondemenos.
After the EOKA campaign had begun, the British government successfully began to turn the Cyprus issue from a British colonial problem into a Greek-Turkish issue. British diplomacy exerted backstage influence on the Adnan Menderes government, with the aim of making Turkey active in Cyprus. For the British, the attempt had a twofold objective. The EOKA campaign would be silenced as quickly as possible, and Turkish Cypriots would not side with Greek Cypriots against the British colonial claims over the island, which would thus remain under the British. The Turkish Cypriot leadership visited Menderes to discuss the Cyprus issue. When asked how the Turkish Cypriots should respond to the Greek Cypriot claim of enosis, Menderes replied: "You should go to the British foreign minister and request the status quo be prolonged, Cyprus to remain as a British colony". When the Turkish Cypriots visited the British Foreign Secretary and requested for Cyprus to remain a colony, he replied: "You should not be asking for colonialism at this day and age, you should be asking for Cyprus be returned to Turkey, its former owner".
As Turkish Cypriots began to look to Turkey for protection, Greek Cypriots soon understood that enosis was extremely unlikely. The Greek Cypriot leader, Archbishop Makarios III, now set independence for the island as his objective.
Britain resolved to solve the dispute by creating an independent Cyprus. In 1959, all involved parties signed the Zurich Agreements: Britain, Turkey, Greece, and the Greek and Turkish Cypriot leaders, Makarios and Dr. Fazil Kucuk, respectively. The new constitution drew heavily on the ethnic composition of the island. The President would be a Greek Cypriot, and the Vice-President a Turkish Cypriot with an equal veto. The contribution to the public service would be set at a ratio of 70:30, and the Supreme Court would consist of an equal number of judges from both communities as well as an independent judge who was not Greek, Turkish or British. The Zurich Agreements were supplemented by a number of treaties. The Treaty of Guarantee stated that secession or union with any state was forbidden, and that Greece, Turkey and Britain would be given guarantor status to intervene if that was violated. The Treaty of Alliance allowed for two small Greek and Turkish military contingents to be stationed on the island, and the Treaty of Establishment gave Britain sovereignty over two bases in Akrotiri and Dhekelia.
On 15 August 1960, the Colony of Cyprus became fully independent as the Republic of Cyprus. The new republic remained within the Commonwealth of Nations.
The new constitution brought dissatisfaction to Greek Cypriots, who felt it to be highly unjust for them for historical, demographic and contributional reasons. Although 80% of the island's population were Greek Cypriots and these indigenous people had lived on the island for thousands of years and paid 94% of taxes, the new constitution was giving the 17% of the population that was Turkish Cypriots, who paid 6% of taxes, around 30% of government jobs and 40% of national security jobs.
Within three years tensions between the two communities in administrative affairs began to show. In particular disputes over separate municipalities and taxation created a deadlock in government. A constitutional court ruled in 1963 Makarios had failed to uphold article 173 of the constitution which called for the establishment of separate municipalities for Turkish Cypriots. Makarios subsequently declared his intention to ignore the judgement, resulting in the West German judge resigning from his position. Makarios proposed thirteen amendments to the constitution, which would have had the effect of resolving most of the issues in the Greek Cypriot favour. Under the proposals, the President and Vice-President would lose their veto, the separate municipalities as sought after by the Turkish Cypriots would be abandoned, the need for separate majorities by both communities in passing legislation would be discarded and the civil service contribution would be set at actual population ratios (82:18) instead of the slightly higher figure for Turkish Cypriots.
The intention behind the amendments has long been called into question. The Akritas plan, written in the height of the constitutional dispute by the Greek Cypriot interior minister Polycarpos Georkadjis, called for the removal of undesirable elements of the constitution so as to allow power-sharing to work. The plan envisaged a swift retaliatory attack on Turkish Cypriot strongholds should Turkish Cypriots resort to violence to resist the measures, stating "In the event of a planned or staged Turkish attack, it is imperative to overcome it by force in the shortest possible time, because if we succeed in gaining command of the situation (in one or two days), no outside, intervention would be either justified or possible." Whether Makarios's proposals were part of the Akritas plan is unclear, however it remains that sentiment towards enosis had not completely disappeared with independence. Makarios described independence as "a step on the road to enosis".[31] Preparations for conflict were not entirely absent from Turkish Cypriots either, with right wing elements still believing taksim (partition) the best safeguard against enosis.
Greek Cypriots however believe the amendments were a necessity stemming from a perceived attempt by Turkish Cypriots to frustrate the working of government. Turkish Cypriots saw it as a means to reduce their status within the state from one of co-founder to that of minority, seeing it as a first step towards enosis. The security situation deteriorated rapidly.
Main articles: Bloody Christmas (1963) and Battle of Tillyria
An armed conflict was triggered after December 21, 1963, a period remembered by Turkish Cypriots as Bloody Christmas, when a Greek Cypriot policemen that had been called to help deal with a taxi driver refusing officers already on the scene access to check the identification documents of his customers, took out his gun upon arrival and shot and killed the taxi driver and his partner. Eric Solsten summarised the events as follows: "a Greek Cypriot police patrol, ostensibly checking identification documents, stopped a Turkish Cypriot couple on the edge of the Turkish quarter. A hostile crowd gathered, shots were fired, and two Turkish Cypriots were killed."
In the morning after the shooting, crowds gathered in protest in Northern Nicosia, likely encouraged by the TMT, without incident. On the evening of the 22nd, gunfire broke out, communication lines to the Turkish neighbourhoods were cut, and the Greek Cypriot police occupied the nearby airport. On the 23rd, a ceasefire was negotiated, but did not hold. Fighting, including automatic weapons fire, between Greek and Turkish Cypriots and militias increased in Nicosia and Larnaca. A force of Greek Cypriot irregulars led by Nikos Sampson entered the Nicosia suburb of Omorphita and engaged in heavy firing on armed, as well as by some accounts unarmed, Turkish Cypriots. The Omorphita clash has been described by Turkish Cypriots as a massacre, while this view has generally not been acknowledged by Greek Cypriots.
Further ceasefires were arranged between the two sides, but also failed. By Christmas Eve, the 24th, Britain, Greece, and Turkey had joined talks, with all sides calling for a truce. On Christmas day, Turkish fighter jets overflew Nicosia in a show of support. Finally it was agreed to allow a force of 2,700 British soldiers to help enforce a ceasefire. In the next days, a "buffer zone" was created in Nicosia, and a British officer marked a line on a map with green ink, separating the two sides of the city, which was the beginning of the "Green Line". Fighting continued across the island for the next several weeks.
In total 364 Turkish Cypriots and 174 Greek Cypriots were killed during the violence. 25,000 Turkish Cypriots from 103-109 villages fled and were displaced into enclaves and thousands of Turkish Cypriot houses were ransacked or completely destroyed.
Contemporary newspapers also reported on the forceful exodus of the Turkish Cypriots from their homes. According to The Times in 1964, threats, shootings and attempts of arson were committed against the Turkish Cypriots to force them out of their homes. The Daily Express wrote that "25,000 Turks have already been forced to leave their homes". The Guardian reported a massacre of Turks at Limassol on 16 February 1964.
Turkey had by now readied its fleet and its fighter jets appeared over Nicosia. Turkey was dissuaded from direct involvement by the creation of a United Nations Peacekeeping Force in Cyprus (UNFICYP) in 1964. Despite the negotiated ceasefire in Nicosia, attacks on the Turkish Cypriot persisted, particularly in Limassol. Concerned about the possibility of a Turkish invasion, Makarios undertook the creation of a Greek Cypriot conscript-based army called the "National Guard". A general from Greece took charge of the army, whilst a further 20,000 well-equipped officers and men were smuggled from Greece into Cyprus. Turkey threatened to intervene once more, but was prevented by a strongly worded letter from the American President Lyndon B. Johnson, anxious to avoid a conflict between NATO allies Greece and Turkey at the height of the Cold War.
Turkish Cypriots had by now established an important bridgehead at Kokkina, provided with arms, volunteers and materials from Turkey and abroad. Seeing this incursion of foreign weapons and troops as a major threat, the Cypriot government invited George Grivas to return from Greece as commander of the Greek troops on the island and launch a major attack on the bridgehead. Turkey retaliated by dispatching its fighter jets to bomb Greek positions, causing Makarios to threaten an attack on every Turkish Cypriot village on the island if the bombings did not cease. The conflict had now drawn in Greece and Turkey, with both countries amassing troops on their Thracian borders. Efforts at mediation by Dean Acheson, a former U.S. Secretary of State, and UN-appointed mediator Galo Plaza had failed, all the while the division of the two communities becoming more apparent. Greek Cypriot forces were estimated at some 30,000, including the National Guard and the large contingent from Greece. Defending the Turkish Cypriot enclaves was a force of approximately 5,000 irregulars, led by a Turkish colonel, but lacking the equipment and organisation of the Greek forces.
The Secretary-General of the United Nations in 1964, U Thant, reported the damage during the conflicts:
UNFICYP carried out a detailed survey of all damage to properties throughout the island during the disturbances; it shows that in 109 villages, most of them Turkish-Cypriot or mixed villages, 527 houses have been destroyed while 2,000 others have suffered damage from looting.
The situation worsened in 1967, when a military junta overthrew the democratically elected government of Greece, and began applying pressure on Makarios to achieve enosis. Makarios, not wishing to become part of a military dictatorship or trigger a Turkish invasion, began to distance himself from the goal of enosis. This caused tensions with the junta in Greece as well as George Grivas in Cyprus. Grivas's control over the National Guard and Greek contingent was seen as a threat to Makarios's position, who now feared a possible coup.[citation needed] The National Guard and Cyprus Police began patrolling the Turkish Cypriot enclaves of Ayios Theodoros and Kophinou, and on November 15 engaged in heavy fighting with the Turkish Cypriots.
By the time of his withdrawal 26 Turkish Cypriots had been killed. Turkey replied with an ultimatum demanding that Grivas be removed from the island, that the troops smuggled from Greece in excess of the limits of the Treaty of Alliance be removed, and that the economic blockades on the Turkish Cypriot enclaves be lifted. Grivas was recalled by the Athens Junta and the 12,000 Greek troops were withdrawn. Makarios now attempted to consolidate his position by reducing the number of National Guard troops, and by creating a paramilitary force loyal to Cypriot independence. In 1968, acknowledging that enosis was now all but impossible, Makarios stated, "A solution by necessity must be sought within the limits of what is feasible which does not always coincide with the limits of what is desirable."
After 1967 tensions between the Greek and Turkish Cypriots subsided. Instead, the main source of tension on the island came from factions within the Greek Cypriot community. Although Makarios had effectively abandoned enosis in favour of an 'attainable solution', many others continued to believe that the only legitimate political aspiration for Greek Cypriots was union with Greece.
On his arrival, Grivas began by establishing a nationalist paramilitary group known as the National Organization of Cypriot Fighters (Ethniki Organosis Kyprion Agoniston B or EOKA-B), drawing comparisons with the EOKA struggle for enosis under the British colonial administration of the 1950s.
The military junta in Athens saw Makarios as an obstacle. Makarios's failure to disband the National Guard, whose officer class was dominated by mainland Greeks, had meant the junta had practical control over the Cypriot military establishment, leaving Makarios isolated and a vulnerable target.
During the first Turkish invasion, Turkish troops invaded Cyprus territory on 20 July 1974, invoking its rights under the Treaty of Guarantee. This expansion of Turkish-occupied zone violated International Law as well as the Charter of the United Nations. Turkish troops managed to capture 3% of the island which was accompanied by the burning of the Turkish Cypriot quarter, as well as the raping and killing of women and children. A temporary cease-fire followed which was mitigated by the UN Security Council. Subsequently, the Greek military Junta collapsed on July 23, 1974, and peace talks commenced in which a democratic government was installed. The Resolution 353 was broken after Turkey attacked a second time and managed to get a hold of 37% of Cyprus territory. The Island of Cyprus was appointed a Buffer Zone by the United Nations, which divided the island into two zones through the 'Green Line' and put an end to the Turkish invasion. Although Turkey announced that the occupied areas of Cyprus to be called the Federated Turkish State in 1975, it is not legitimised on a worldwide political scale. The United Nations called for the international recognition of independence for the Republic of Cyprus in the Security Council Resolution 367.
In the years after the Turkish invasion of northern Cyprus one can observe a history of failed talks between the two parties. The 1983 declaration of the independent Turkish Republic of Cyprus resulted in a rise of inter-communal tensions and made it increasingly hard to find mutual understanding. With Cyprus' interest of a possible EU membership and a new UN Secretary-General Kofi Annan in 1997 new hopes arose for a fresh start. International involvement from sides of the US and UK, wanting a solution to the Cyprus dispute prior to the EU accession led to political pressures for new talks. The believe that an accession without a solution would threaten Greek-Turkish relations and acknowledge the partition of the island would direct the coming negotiations.
Over the course of two years a concrete plan, the Annan plan was formulated. In 2004 the fifth version agreed upon from both sides and with the endorsement of Turkey, US, UK and EU then was presented to the public and was given a referendum in both Cypriot communities to assure the legitimisation of the resolution. The Turkish Cypriots voted with 65% for the plan, however the Greek Cypriots voted with a 76% majority against. The Annan plan contained multiple important topics. Firstly it established a confederation of two separate states called the United Cyprus Republic. Both communities would have autonomous states combined under one unified government. The members of parliament would be chosen according to the percentage in population numbers to ensure a just involvement from both communities. The paper proposed a demilitarisation of the island over the next years. Furthermore it agreed upon a number of 45000 Turkish settlers that could remain on the island. These settlers became a very important issue concerning peace talks. Originally the Turkish government encouraged Turks to settle in Cyprus providing transfer and property, to establish a counterpart to the Greek Cypriot population due to their 1 to 5 minority. With the economic situation many Turkish-Cypriot decided to leave the island, however their departure is made up by incoming Turkish settlers leaving the population ratio between Turkish Cypriots and Greek Cypriots stable. However all these points where criticised and as seen in the vote rejected mainly by the Greek Cypriots. These name the dissolution of the „Republic of Cyprus", economic consequences of a reunion and the remaining Turkish settlers as reason. Many claim that the plan was indeed drawing more from Turkish-Cypriot demands then Greek-Cypriot interests. Taking in consideration that the US wanted to keep Turkey as a strategic partner in future Middle Eastern conflicts.
A week after the failed referendum the Republic of Cyprus joined the EU. In multiple instances the EU tried to promote trade with Northern Cyprus but without internationally recognised ports this spiked a grand debate. Both side endure their intention of negotiations, however without the prospect of any new compromises or agreements the UN is unwilling to start the process again. Since 2004 negotiations took place in numbers but without any results, both sides are strongly holding on to their position without an agreeable solution in sight that would suit both parties.
The conference is organized by the Ministry of Economic Affairs and Employment in collaboration with the European Commission. The aim of the conference is to raise awareness and build a shared understanding of opportunities and challenges in developing an innovation-friendly legislative culture in Europe. A further aim is to identify key policy questions on how to facilitate the use of the Innovation Principle in building the best possible ecosystem for innovation to flourish.
© Jarno Kuusinen/työ- ja elinkeinoministeriö
"since feeling is first
who pays any attention
to the syntax of things..."
E.E. (Edward Estlin) Cummings (1894-1962), U.S. poet.
"Central to Jungian psychology is the concept of "individuation," the process whereby a person discovers and evolves his Self, as opposed to his ego. The ego is a persona, a mask created and demanded by everyday social interaction, and, as such, it constitutes the center of our conscious life, our understanding of ourselves through the eyes of others. The Self, on the other hand, is our true center, our awareness of ourselves without outside interference, and it is developed by bringing the conscious and unconscious parts of our minds into harmony."
Morris Berman (b. 1914), Canadian educator, author.
The Ajanta Caves (Ajiṇṭhā leni; Marathi: अजिंठा लेणी) in Aurangabad district of Maharashtra, India are about 30 rock-cut Buddhist cave monuments which date from the 2nd century BCE to about 480 or 650 CE. The caves include paintings and sculptures described by the government Archaeological Survey of India as "the finest surviving examples of Indian art, particularly painting", which are masterpieces of Buddhist religious art, with figures of the Buddha and depictions of the Jataka tales. The caves were built in two phases starting around the 2nd century BCE, with the second group of caves built around 400–650 CE according to older accounts, or all in a brief period of 460 to 480 according to the recent proposals of Walter M. Spink. The site is a protected monument in the care of the Archaeological Survey of India, and since 1983, the Ajanta Caves have been a UNESCO World Heritage Site.
The caves are located in the Indian state of Maharashtra, near Jalgaon and just outside the village of Ajinṭhā 20°31′56″N 75°44′44″E), about 59 kilometres from Jalgaon railway station on the Delhi – Mumbai line and Howrah-Nagpur-Mumbai line of the Central Railway zone, and 104 kilometres from the city of Aurangabad. They are 100 kilometres from the Ellora Caves, which contain Hindu and Jain temples as well as Buddhist caves, the last dating from a period similar to Ajanta. The Ajanta caves are cut into the side of a cliff that is on the south side of a U-shaped gorge on the small river Waghur, and although they are now along and above a modern pathway running across the cliff they were originally reached by individual stairs or ladders from the side of the river 35 to 110 feet below.
The area was previously heavily forested, and after the site ceased to be used the caves were covered by jungle until accidentally rediscovered in 1819 by a British officer on a hunting party. They are Buddhist monastic buildings, apparently representing a number of distinct "monasteries" or colleges. The caves are numbered 1 to 28 according to their place along the path, beginning at the entrance. Several are unfinished and some barely begun and others are small shrines, included in the traditional numbering as e.g. "9A"; "Cave 15A" was still hidden under rubble when the numbering was done. Further round the gorge are a number of waterfalls, which when the river is high are audible from outside the caves.
The caves form the largest corpus of early Indian wall-painting; other survivals from the area of modern India are very few, though they are related to 5th-century paintings at Sigiriya in Sri Lanka. The elaborate architectural carving in many caves is also very rare, and the style of the many figure sculptures is highly local, found only at a few nearby contemporary sites, although the Ajanta tradition can be related to the later Hindu Ellora Caves and other sites.
HISTORY
Like the other ancient Buddhist monasteries, Ajanta had a large emphasis on teaching, and was divided into several different caves for living, education and worship, under a central direction. Monks were probably assigned to specific caves for living. The layout reflects this organizational structure, with most of the caves only connected through the exterior. The 7th-century travelling Chinese scholar Xuanzang informs us that Dignaga, a celebrated Buddhist philosopher and controversialist, author of well-known books on logic, lived at Ajanta in the 5th century. In its prime the settlement would have accommodated several hundred teachers and pupils. Many monks who had finished their first training may have returned to Ajanta during the monsoon season from an itinerant lifestyle.
The caves are generally agreed to have been made in two distinct periods, separated by several centuries.
CAVES OF THE FIRST (SATAVAHANA) PERIOD
The earliest group of caves consists of caves 9, 10, 12, 13 and 15A. According to Walter Spink, they were made during the period 100 BCE to 100 CE, probably under the patronage of the Satavahana dynasty (230 BCE – c. 220 CE) who ruled the region. Other datings prefer the period 300 BCE to 100 BCE, though the grouping of the earlier caves is generally agreed. More early caves may have vanished through later excavations. Of these, caves 9 and 10 are stupa halls of chaitya-griha form, and caves 12, 13, and 15A are vihāras (see the architecture section below for descriptions of these types). The first phase is still often called the Hinayāna phase, as it originated when, using traditional terminology, the Hinayāna or Lesser Vehicle tradition of Buddhism was dominant, when the Buddha was revered symbolically. However the use of the term Hinayana for this period of Buddhism is now deprecated by historians; equally the caves of the second period are now mostly dated too early to be properly called Mahayana, and do not yet show the full expanded cast of supernatural beings characteristic of that phase of Buddhist art. The first Satavahana period caves lacked figurative sculpture, emphasizing the stupa instead, and in the caves of the second period the overwhelming majority of images represent the Buddha alone, or narrative scenes of his lives.
Spink believes that some time after the Satavahana period caves were made the site was abandoned for a considerable period until the mid-5th century, probably because the region had turned mainly Hindu
CAVES OF THE LATER OR VAKATAKA PERIOD
The second phase began in the 5th century. For a long time it was thought that the later caves were made over a long period from the 4th to the 7th centuries CE, but in recent decades a series of studies by the leading expert on the caves, Walter M. Spink, have argued that most of the work took place over the very brief period from 460 to 480 CE, during the reign of Emperor Harishena of the Vakataka dynasty. This view has been criticized by some scholars, but is now broadly accepted by most authors of general books on Indian art, for example Huntington and Harle.
The second phase is still often called the Mahāyāna or Greater Vehicle phase, but scholars now tend to avoid this nomenclature because of the problems that have surfaced regarding our understanding of Mahāyāna.
Some 20 cave temples were simultaneously created, for the most part viharas with a sanctuary at the back. The most elaborate caves were produced in this period, which included some "modernization" of earlier caves. Spink claims that it is possible to establish dating for this period with a very high level of precision; a fuller account of his chronology is given below. Although debate continues, Spink's ideas are increasingly widely accepted, at least in their broad conclusions. The Archaeological Survey of India website still presents the traditional dating: "The second phase of paintings started around 5th – 6th centuries A.D. and continued for the next two centuries". Caves of the second period are 1–8, 11, 14–29, some possibly extensions of earlier caves. Caves 19, 26, and 29 are chaitya-grihas, the rest viharas.
According to Spink, the Ajanta Caves appear to have been abandoned by wealthy patrons shortly after the fall of Harishena, in about 480 CE. They were then gradually abandoned and forgotten. During the intervening centuries, the jungle grew back and the caves were hidden, unvisited and undisturbed, although the local population were aware of at least some of them.
REDISCOVERY
On 28 April 1819, a British officer for the Madras Presidency, John Smith, of the 28th Cavalry, while hunting tiger, accidentally discovered the entrance to Cave No. 10 deep within the tangled undergrowth. There were local people already using the caves for prayers with a small fire, when he arrived. Exploring that first cave, long since a home to nothing more than birds and bats and a lair for other larger animals, Captain Smith vandalized the wall by scratching his name and the date, April 1819. Since he stood on a five-foot high pile of rubble collected over the years, the inscription is well above the eye-level gaze of an adult today. A paper on the caves by William Erskine was read to the Bombay Literary Society in 1822. Within a few decades, the caves became famous for their exotic setting, impressive architecture, and above all their exceptional, all but unique paintings. A number of large projects to copy the paintings were made in the century after rediscovery, covered below. In 1848 the Royal Asiatic Society established the "Bombay Cave Temple Commission" to clear, tidy and record the most important rock-cut sites in the Bombay Presidency, with John Wilson, as president. In 1861 this became the nucleus of the new Archaeological Survey of India. Until the Nizam of Hyderabad built the modern path between the caves, among other efforts to make the site easy to visit, a trip to Ajanta was a considerable adventure, and contemporary accounts dwell with relish on the dangers from falls off narrow ledges, animals and the Bhil people, who were armed with bows and arrows and had a fearsome reputation.
Today, fairly easily combined with Ellora in a single trip, the caves are the most popular tourist destination in Mahrashtra, and are often crowded at holiday times, increasing the threat to the caves, especially the paintings. In 2012, the Maharashtra Tourism Development Corporation announced plans to add to the ASI visitor centre at the entrance complete replicas of caves 1, 2, 16 & 17 to reduce crowding in the originals, and enable visitors to receive a better visual idea of the paintings, which are dimly-lit and hard to read in the caves. Figures for the year to March 2010 showed a total of 390,000 visitors to the site, divided into 362,000 domestic and 27,000 foreign. The trends over the previous few years show a considerable growth in domestic visitors, but a decline in foreign ones; the year to 2010 was the first in which foreign visitors to Ellora exceeded those to Ajanta.
PAINTINGS
Mural paintings survive from both the earlier and later groups of caves. Several fragments of murals preserved from the earlier caves (Caves 9 and 11) are effectively unique survivals of court-led painting in India from this period, and "show that by Sātavāhana times, if not earlier, the Indian painter had mastered an easy and fluent naturalistic style, dealing with large groups of people in a manner comparable to the reliefs of the Sāñcī toraņa crossbars".
Four of the later caves have large and relatively well-preserved mural paintings which "have come to represent Indian mural painting to the non-specialist", and fall into two stylistic groups, with the most famous in Caves 16 and 17, and apparently later paintings in Caves 1 and 2. The latter group were thought to be a century or more later than the others, but the revised chronology proposed by Spink would place them much closer to the earlier group, perhaps contemporary with it in a more progressive style, or one reflecting a team from a different region. The paintings are in "dry fresco", painted on top of a dry plaster surface rather than into wet plaster.
All the paintings appear to be the work of painters at least as used to decorating palaces as temples, and show a familiarity with and interest in details of the life of a wealthy court. We know from literary sources that painting was widely practised and appreciated in the courts of the Gupta period. Unlike much Indian painting, compositions are not laid out in horizontal compartments like a frieze, but show large scenes spreading in all directions from a single figure or group at the centre. The ceilings are also painted with sophisticated and elaborate decorative motifs, many derived from sculpture. The paintings in cave 1, which according to Spink was commissioned by Harisena himself, concentrate on those Jataka tales which show previous lives of the Buddha as a king, rather than as an animal or human commoner, and so show settings from contemporary palace life.
In general the later caves seem to have been painted on finished areas as excavating work continued elsewhere in the cave, as shown in caves 2 and 16 in particular. According to Spink's account of the chronology of the caves, the abandonment of work in 478 after a brief busy period accounts for the absence of painting in caves such as 4 and 17, the later being plastered in preparation for paintings that were never done.
COPIES
The paintings have deteriorated significantly since they were rediscovered, and a number of 19th-century copies and drawings are important for a complete understanding of the works. However, the earliest projects to copy the paintings were plagued by bad fortune. In 1846, Major Robert Gill, an Army officer from Madras presidency and a painter, was appointed by the Royal Asiatic Society to replicate the frescoes on the cave walls to exhibit these paintings in England. Gill worked on his painting at the site from 1844 to 1863 (though he continued to be based there until his death in 1875, writing books and photographing) and made 27 copies of large sections of murals, but all but four were destroyed in a fire at the Crystal Palace in London in 1866, where they were on display.
Another attempt was made in 1872 when the Bombay Presidency commissioned John Griffiths, then principal of the Bombay School of Art, to work with his students to make new copies, again for shipping to England. They worked on this for thirteen years and some 300 canvases were produced, many of which were displayed at the Imperial Institute on Exhibition Road in London, one of the forerunners of the Victoria and Albert Museum. But in 1885 another fire destroyed over a hundred paintings that were in storage. The V&A still has 166 paintings surviving from both sets, though none have been on permanent display since 1955. The largest are some 3 × 6 metres. A conservation project was undertaken on about half of them in 2006, also involving the University of Northumbria. Griffith and his students had unfortunately painted many of the paintings with "cheap varnish" in order to make them easier to see, which has added to the deterioration of the originals, as has, according to Spink and others, recent cleaning by the ASI.
A further set of copies were made between 1909 and 1911 by Christiana Herringham (Lady Herringham) and a group of students from the Calcutta School of Art that included the future Indian Modernist painter Nandalal Bose. The copies were published in full colour as the first publication of London's fledgling India Society. More than the earlier copies, these aimed to fill in holes and damage to recreate the original condition rather than record the state of the paintings as she was seeing them. According to one writer, unlike the paintings created by her predecessors Griffiths and Gill, whose copies were influenced by British Victorian styles of painting, those of the Herringham expedition preferred an 'Indian Renascence' aesthetic of the type pioneered by Abanindranath Tagore.
Early photographic surveys were made by Robert Gill, who learnt to use a camera from about 1856, and whose photos, including some using stereoscopy, were used in books by him and Fergusson (many are available online from the British Library), then Victor Goloubew in 1911 and E.L. Vassey, who took the photos in the four volume study of the caves by Ghulam Yazdani (published 1930–1955).
ARCHITECTURE
The monasteries mostly consist of vihara halls for prayer and living, which are typically rectangular with small square dormitory cells cut into the walls, and by the second period a shrine or sanctuary at the rear centred on a large statue of the Buddha, also carved from the living rock. This change reflects the movement from Hinayana to Mahāyāna Buddhism. The other type of main hall is the narrower and higher chaitya hall with a stupa as the focus at the far end, and a narrow aisle around the walls, behind a range of pillars placed close together. Other plainer rooms were for sleeping and other activities. Some of the caves have elaborate carved entrances, some with large windows over the door to admit light. There is often a colonnaded porch or verandah, with another space inside the doors running the width of the cave.
The central square space of the interior of the viharas is defined by square columns forming a more or less square open area. Outside this are long rectangular aisles on each side, forming a kind of cloister. Along the side and rear walls are a number of small cells entered by a narrow doorway; these are roughly square, and have small niches on their back walls. Originally they had wooden doors. The centre of the rear wall has a larger shrine-room behind, containing a large Buddha statue. The viharas of the earlier period are much simpler, and lack shrines. Spink in fact places the change to a design with a shrine to the middle of the second period, with many caves being adapted to add a shrine in mid-excavation, or after the original phase.
The plan of Cave 1 shows one of the largest viharas, but is fairly typical of the later group. Many others, such as Cave 16, lack the vestibule to the shrine, which leads straight off the main hall. Cave 6 is two viharas, one above the other, connected by internal stairs, with sanctuaries on both levels.
The four completed chaitya halls are caves 9 and 10 from the early period, and caves 19 and 26 from the later period of construction. All follow the typical form found elsewhere, with high ceilings and a central "nave" leading to the stupa, which is near the back, but allows walking behind it, as walking around stupas was (and remains) a common element of Buddhist worship (pradakshina). The later two have high ribbed roofs, which reflect timber forms, and the earlier two are thought to have used actual timber ribs, which have now perished. The two later halls have a rather unusual arrangement (also found in Cave 10 at Ellora) where the stupa is fronted by a large relief sculpture of the Buddha, standing in Cave 19 and seated in Cave 26. Cave 29 is a late and very incomplete chaitya hall.
The form of columns in the work of the first period is very plain and un-embellished, with both chaitya halls using simple octagonal columns, which were painted with figures. In the second period columns were far more varied and inventive, often changing profile over their height, and with elaborate carved capitals, often spreading wide. Many columns are carved over all their surface, some fluted and others carved with decoration all over, as in cave 1.
The flood basalt rock of the cliff, part of the Deccan Traps formed by successive volcanic eruptions at the end of the Cretaceous, is layered horizontally, and somewhat variable in quality, so the excavators had to amend their plans in places, and in places there have been collapses in the intervening centuries, as with the lost portico to cave 1. Excavation began by cutting a narrow tunnel at roof level, which was expanded downwards and outwards; the half-built vihara cave 24 shows the method. Spink believes that for the first caves of the second period the excavators had to relearn skills and techniques that had been lost in the centuries since the first period, which were then transmitted to be used at later rock-cut sites in the region, such as Ellora, and the Elephanta, Bagh, Badami and Aurangabad Caves.
The caves from the first period seem to have been paid for by a number of different patrons, with several inscriptions recording the donation of particular portions of a single cave, but according to Spink the later caves were each commissioned as a complete unit by a single patron from the local rulers or their court elites. After the death of Harisena smaller donors got their chance to add small "shrinelets" between the caves or add statues to existing caves, and some two hundred of these "intrusive" additions were made in sculpture, with a further number of intrusive paintings, up to three hundred in cave 10 alone.
A grand gateway to the site, at the apex of the gorge's horsehoe between caves 15 and 16, was approached from the river, and is decorated with elephants on either side and a nāga, or protective snake deity.
ICONOGRAPHY OF THE CAVES
In the pre-Christian era, the Buddha was represented symbolically, in the form of the stupa. Thus, halls were made with stupas to venerate the Buddha. In later periods the images of the Buddha started to be made in coins, relic caskets, relief or loose sculptural forms, etc. However, it took a while for the human representation of the Buddha to appear in Buddhist art. One of the earliest evidences of the Buddha's human representations are found at Buddhist archaeological sites, such as Goli, Nagarjunakonda, and Amaravati. The monasteries of those sites were built in less durable media, such as wood, brick, and stone. As far as the genre of rock-cut architecture is concerned it took many centuries for the Buddha image to be depicted. Nobody knows for sure at which rock-cut cave site the first image of the Buddha was depicted. Current research indicates that Buddha images in a portable form, made of wood or stone, were introduced, for the first time, at Kanheri, to be followed soon at Ajanta Cave 8 (Dhavalikar, Jadhav, Spink, Singh). While the Kanheri example dates to 4th or 5th century CE, the Ajanta example has been dated to c. 462–478 CE (Spink). None of the rock-cut monasteries prior to these dates, and other than these examples, show any Buddha image although hundreds of rock-cut caves were made throughout India during the first few centuries CE. And, in those caves, it is the stupa that is the object of veneration, not the image. Images of the Buddha are not found in Buddhist sailagrhas (rock-cut complexes) until the times of the Kanheri (4th–5th century CE) and Ajanta examples (c. 462–478 CE).
The caves of the second period, now all dated to the 5th century, were typically described as "Mahayana", but do not show the features associated with later Mahayana Buddhism. Although the beginnings of Mahāyāna teachings go back to the 1st century there is little art and archaeological evidence to suggest that it became a mainstream cult for several centuries. In Mahayana it is not Gautama Buddha but the Bodhisattva who is important, including "deity" Bodhisattva like Manjushri and Tara, as well as aspects of the Buddha such as Aksobhya, and Amitabha. Except for a few Bodhisattva, these are not depicted at Ajanta, where the Buddha remains the dominant figure. Even the Bodhisattva images of Ajanta are never central objects of worship, but are always shown as attendants of the Buddha in the shrine. If a Bodhisattva is shown in isolation, as in the Astabhaya scenes, these were done in the very last years of activities at Ajanta, and are mostly 'intrusive' in nature, meaning that they were not planned by the original patrons, and were added by new donors after the original patrons had suddenly abandoned the region in the wake of Emperor Harisena's death.
The contrast between iconic and aniconic representations, that is, the stupa on one hand and the image of the Buddha on the other, is now being seen as a construct of the modern scholar rather than a reality of the past. The second phase of Ajanta shows that the stupa and image coincided together. If the entire corpus of the art of Ajanta including sculpture, iconography, architecture, epigraphy, and painting are analysed afresh it will become clear that there was no duality between the symbolic and human forms of the Buddha, as far as the 5th-century phase of Ajanta is concerned. That is why most current scholars tend to avoid the terms 'Hinayana' and 'Mahayana' in the context of Ajanta. They now prefer to call the second phase by the ruling dynasty, as the Vākāţaka phase.
CAVES
CAVE 1
Cave 1 was built on the eastern end of the horse-shoe shaped scarp, and is now the first cave the visitor encounters. This would when first made have been a less prominent position, right at the end of the row. According to Spink, it is one of the latest caves to have been excavated, when the best sites had been taken, and was never fully inaugurated for worship by the dedication of the Buddha image in the central shrine. This is shown by the absence of sooty deposits from butter lamps on the base of the shrine image, and the lack of damage to the paintings that would have been happened if the garland-hooks around the shrine had been in use for any period of time. Although there is no epigraphic evidence, Spink believes that the Vākāţaka Emperor Harishena was the benefactor of the work, and this is reflected in the emphasis on imagery of royalty in the cave, with those Jakata tales being selected that tell of those previous lives of the Buddha in which he was royal.
The cliff has a more steep slope here than at other caves, so to achieve a tall grand facade it was necessary to cut far back into the slope, giving a large courtyard in front of the facade. There was originally a columned portico in front of the present facade, which can be seen "half-intact in the 1880s" in pictures of the site, but this fell down completely and the remains, despite containing fine carving, were carelessly thrown down the slope into the river, from where they have been lost, presumably carried away in monsoon torrents.
This cave has one of the most elaborate carved façades, with relief sculptures on entablature and ridges, and most surfaces embellished with decorative carving. There are scenes carved from the life of the Buddha as well as a number of decorative motifs. A two pillared portico, visible in the 19th-century photographs, has since perished. The cave has a front-court with cells fronted by pillared vestibules on either side. These have a high plinth level. The cave has a porch with simple cells on both ends. The absence of pillared vestibules on the ends suggest that the porch was not excavated in the latest phase of Ajanta when pillared vestibules had become a necessity and norm. Most areas of the porch were once covered with murals, of which many fragments remain, especially on the ceiling. There are three doorways: a central doorway and two side doorways. Two square windows were carved between the doorways to brighten the interiors.
Each wall of the hall inside is nearly 12 m long and 6.1 m high. Twelve pillars make a square colonnade inside supporting the ceiling, and creating spacious aisles along the walls. There is a shrine carved on the rear wall to house an impressive seated image of the Buddha, his hands being in the dharmachakrapravartana mudra. There are four cells on each of the left, rear, and the right walls, though due to rock fault there are none at the ends of the rear aisle. The walls are covered with paintings in a fair state of preservation, though the full scheme was never completed. The scenes depicted are mostly didactic, devotional, and ornamental, with scenes from the Jataka stories of the Buddha's former existences as a bodhisattva), the life of the Gautama Buddha, and those of his veneration. The two most famous individual painted images at Ajanta are the two over-life size figures of the protective bodhisattvas Padmapani and Vajrapani on either side of the entrance to the Buddha shrine on the wall of the rear aisle (see illustrations above). According to Spink, the original dating of the paintings to about 625 arose largely or entirely because James Fegusson, a 19th-century architectural historian, had decided that a scene showing an ambassador being received, with figures in Persian dress, represented a recorded embassy to Persia (from a Hindu monarch at that) around that date.
CAVE 2
Cave 2, adjacent to Cave 1, is known for the paintings that have been preserved on its walls, ceilings, and pillars. It looks similar to Cave 1 and is in a better state of preservation.
Cave 2 has a porch quite different from Cave one. Even the façade carvings seem to be different. The cave is supported by robust pillars, ornamented with designs. The front porch consists of cells supported by pillared vestibules on both ends. The cells on the previously "wasted areas" were needed to meet the greater housing requirements in later years. Porch-end cells became a trend in all later Vakataka excavations. The simple single cells on porch-ends were converted into CPVs or were planned to provide more room, symmetry, and beauty.
The paintings on the ceilings and walls of this porch have been widely published. They depict the Jataka tales that are stories of the Buddha's life in former existences as Bodhisattva. Just as the stories illustrated in cave 1 emphasize kingship, those in cave 2 show many "noble and powerful" women in prominent roles, leading to suggestions that the patron was an unknown woman. The porch's rear wall has a doorway in the center, which allows entrance to the hall. On either side of the door is a square-shaped window to brighten the interior.
The hall has four colonnades which are supporting the ceiling and surrounding a square in the center of the hall. Each arm or colonnade of the square is parallel to the respective walls of the hall, making an aisle in between. The colonnades have rock-beams above and below them. The capitals are carved and painted with various decorative themes that include ornamental, human, animal, vegetative, and semi-divine forms.
Paintings appear on almost every surface of the cave except for the floor. At various places the art work has become eroded due to decay and human interference. Therefore, many areas of the painted walls, ceilings, and pillars are fragmentary. The painted narratives of the Jataka tales are depicted only on the walls, which demanded the special attention of the devotee. They are didactic in nature, meant to inform the community about the Buddha's teachings and life through successive rebirths. Their placement on the walls required the devotee to walk through the aisles and 'read' the narratives depicted in various episodes. The narrative episodes are depicted one after another although not in a linear order. Their identification has been a core area of research since the site's rediscovery in 1819. Dieter Schlingloff's identifications have updated our knowledge on the subject.
CAVE 4
The Archeological Survey of India board outside the caves gives the following detail about cave 4: "This is the largest monastery planned on a grandiose scale but was never finished. An inscription on the pedestal of the buddha's image mentions that it was a gift from a person named Mathura and paleographically belongs to 6th century A.D. It consists of a verandah, a hypostylar hall, sanctum with an antechamber and a series of unfinished cells. The rear wall of the verandah contains the panel of Litany of Avalokiteśvara".
The sanctuary houses a colossal image of the Buddha in preaching pose flanked by bodhisattvas and celestial nymphs hovering above.
CAVES 9-10
Caves 9 and 10 are the two chaitya halls from the first period of construction, though both were also undergoing an uncompleted reworking at the end of the second period. Cave 10 was perhaps originally of the 1st century BCE, and cave 9 about a hundred years later. The small "shrinelets" called caves 9A to 9D and 10A also date from the second period, and were commissioned by individuals.
The paintings in cave 10 include some surviving from the early period, many from an incomplete programme of modernization in the second period, and a very large number of smaller late intrusive images, nearly all Buddhas and many with donor inscriptions from individuals. These mostly avoided over-painting the "official" programme and after the best positions were used up are tucked away in less prominent positions not yet painted; the total of these (including those now lost) was probably over 300, and the hands of many different artists are visible.
OTHER CAVES
Cave 3 is merely a start of an excavation; according to Spink it was begun right at the end of the final period of work and soon abandoned. Caves 5 and 6 are viharas, the latter on two floors, that were late works of which only the lower floor of cave 6 was ever finished. The upper floor of cave 6 has many private votive sculptures, and a shrine Buddha, but is otherwise unfinished. Cave 7 has a grand facade with two porticos but, perhaps because of faults in the rock, which posed problems in many caves, was never taken very deep into the cliff, and consists only of the two porticos and a shrine room with antechamber, with no central hall. Some cells were fitted in.
Cave 8 was long thought to date to the first period of construction, but Spink sees it as perhaps the earliest cave from the second period, its shrine an "afterthought". The statue may have been loose rather than carved from the living rock, as it has now vanished. The cave was painted, but only traces remain.
SPINK´S DETAILED CHRONOLOGY
Walter M. Spink has over recent decades developed a very precise and circumstantial chronology for the second period of work on the site, which unlike earlier scholars, he places entirely in the 5th century. This is based on evidence such as the inscriptions and artistic style, combined with the many uncompleted elements of the caves. He believes the earlier group of caves, which like other scholars he dates only approximately, to the period "between 100 BCE – 100 CE", were at some later point completely abandoned and remained so "for over three centuries", as the local population had turned mainly Hindu. This changed with the accession of the Emperor Harishena of the Vakataka Dynasty, who reigned from 460 to his death in 477. Harisena extended the Central Indian Vakataka Empire to include a stretch of the east coast of India; the Gupta Empire ruled northern India at the same period, and the Pallava dynasty much of the south.
According to Spink, Harisena encouraged a group of associates, including his prime minister Varahadeva and Upendragupta, the sub-king in whose territory Ajanta was, to dig out new caves, which were individually commissioned, some containing inscriptions recording the donation. This activity began in 462 but was mostly suspended in 468 because of threats from the neighbouring Asmaka kings. Work continued on only caves 1, Harisena's own commission, and 17–20, commissioned by Upendragupta. In 472 the situation was such that work was suspended completely, in a period that Spink calls "the Hiatus", which lasted until about 475, by which time the Asmakas had replaced Upendragupta as the local rulers.
Work was then resumed, but again disrupted by Harisena's death in 477, soon after which major excavation ceased, except at cave 26, which the Asmakas were sponsoring themselves. The Asmakas launched a revolt against Harisena's son, which brought about the end of the Vakataka Dynasty. In the years 478–480 major excavation by important patrons was replaced by a rash of "intrusions" – statues added to existing caves, and small shrines dotted about where there was space between them. These were commissioned by less powerful individuals, some monks, who had not previously been able to make additions to the large excavations of the rulers and courtiers. They were added to the facades, the return sides of the entrances, and to walls inside the caves. According to Spink, "After 480, not a single image was ever made again at the site", and as Hinduism again dominated the region, the site was again abandoned, this time for over a millennium.
Spink does not use "circa" in his dates, but says that "one should allow a margin of error of one year or perhaps even two in all cases".
IMPACT ON MODERN INDIAN PAINTINGS
The Ajanta paintings, or more likely the general style they come from, influenced painting in Tibet and Sri Lanka.
The rediscovery of ancient Indian paintings at Ajanta provided Indian artists examples from ancient India to follow. Nandlal Bose experimented with techniques to follow the ancient style which allowed him to develop his unique style. Abanindranath Tagore also used the Ajanta paintings for inspiration.
WIKIPEDIA
2019-03-23 (Saturday)
2019_028
2019#366 AllesundNichts (Lea) 1052817 as [own design] from [own series]
I would appreciate any help with the identification of the character.
Thank you for any group invites which I'd be glad to accept. However, if I can't check the content of such groups ("This group is not available to you") I'd rather not add any of my photos. Thank you for your understanding.
U.N.E.D. ESCUELAS PÍAS; Leica-M6 TTL 0,85 Elmarit-M 1:2.8/90 mm.
Nikon super Coolscan 5000ed.
Ilford Delta 100asa. Kodak developer HC 110 1+31 (B)
🔴Leica my point of view.
Wetzlar, Deutschland.
Leica-CL 1974 Rangefinder
Leica-M 6 TTL 0.72 1998 Rangefinder
Leica-M6 TTL 0.85 2001 Rangefinder
© 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
"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
The things we do for our Flickr Freinds..., I Don't normally shoot vehicles from "Foreign Countries" but I'm sure a certain "Posh Boy!" called Wiliam Spencer will like it...! LOL!, as this "Beached Whale!" was the Team Coach for Torquay United FC Football Club from Devon!, who were playing Dover Athletic FC at Dover's Crable Stadium in River, and this shot was the best I could be bothered to do, due to parked cars, and the many Devon "Yokels"!, that had invaded this part of Dover!, and although the Cider drinking drunk Yokels, were not singing "I Got A Brand New Combine Harvester!" by the "Wurzles"! this year, we did have to put up with several groups of them yelling "Green Army!" and throwing rubish at the side of the Stagecoach Route 90 Bus I rode down here from Whitfield!, no wonder Kent Police had 2 van loads of Riot Coppers parked up out here!
I should also say that I was not the only one to be unimpressed by the behavior of the Devon Fans, in particular the driver of the Stagecoach Bus, though eventually he accepted that they are from Devon and Don't know any better!, and to be honest I have to agree...! LOL!
And be sure to check by my other acount: www.flickr.com/photos_user.gne?path=&nsid=77145939%40..., to see what else I saw Yesterday!!
Yes I'm back again.
However due to my main computer on which I edit my work being struck down with a big bad virus, this picture and all the others I am uploading, were Unedited but have now been replaced with Edited versions. So enjoy and Thanks for your patience and understanding.
I do still hate everything about this shit that is new Flickr and always will, but an inability to find another outlet for my work that is as easy for me to use as the Old BETTER Flickr was, has forced me back to Flickr, even though it goes against everything I believe in.
I don't generally have an opinion on my own work, I prefer to leave that to other people and so based on the positive responses to my work from the various friends I had made on Flickr prior to the changes I have decided to upload some more of my work as an experiment and to see what happens.
So make the most of me before they delete my acount: www.flickr.com/photos/69558134@N05/?details=1, to stop me complaining!!
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...
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:
A series of AI-generated pictures of a female astronaut in Outer Space.
To be continued.
Pictures made with Midjourney.
I'm always happy to accept invites to groups as long as I can see their content. If I see "this group is not available to you", my photos won't be made available to that group. Thanks for your understanding.
pro115: Stephen Shore
WIT: I was reluctant to upload this photo. It feels a little far from what I’m comfortable with. I found it hard to capture the essence of Stephen Shore’s work in one photo. As with Eggleston, to me it's the entirety of his effort that gives his work significance. Shore’s work reflects a strong sense of place, space, and time. He showed us what America looked like in the 1970s. His photos in the American Surfaces series typically feature a wider view that incorporates a lot of elements. His urban photographs often lack a single main subject. He photographed things that few would have thought to photograph. And he photographed them in a way that seems casual and unbiased, incorporating poles, signs, large shadowed areas, and partial cars because they’re there. Though this type of photography may seem offputting, it tells a great story and provides a unique view and understanding of 1970s America.
As you probably guessed, my photo is based on Steven Shore’s American Surfaces. We passed through Brighton, a small town north of Denver. Much of downtown Brighton looks dated, but there are are also modern elements that place the town into present times, like cars, signs, and architecture. I got out and walked around. I tried to view the town through the eyes of Shore and took photos here and there. Shore didn’t seem concerned about time of day, so the bright sunlight and strong shadows weren’t as much of a problem as I thought they would be. I deliberately incorporated the sign in the photo to create a greater sense of depth and place. I probably could have gone with a narrower aperture but the signs in the background seem sharp enough. I processed the photo more for fun than for purpose, to resemble the look of the photos in the American Surfaces series.
24mm, f/8, 1/125, ISO 160
JURY DISTINCTION FOR CATEGORY 1. OBJECT OF STUDY
Copyright CC-BY-NC-ND: Salome Püntener
We are looking at a preparative thin-layer chromatography plate – a technique to spatially separate the components of a mixture. It was produced while purifying a complex fluorophore, a fluorescent compound. We design and synthesise novel fluorescent dyes in our laboratory that can be controlled by light, enzymes or other small biomolecules in order to improve fluorescence microscopy, an invaluable tool for observing live biological samples. This helps to elucidate biochemical processes and leads to a deeper understanding of cells and biology in general, potentially contributing to developments in medical or material sciences.
The image was taken spontaneously with a phone camera because it reminded me of an abstract work of art. The colourful lines might look pretty, but they indicate numerous – and unwanted – side reactions during the synthesis of the fluorophore, which were revealed in the chromatography analysis.
Comment of the jury │ A showcase for serendipity in research: an experimental hiccup leads to an abstract painting-like image with strong aesthetic appeal – instead of a useful result. Taken with little pretention and a rare admission of one’s fallibility, the photo unveils day-to-day life in a lab, reminding us that failure is an essential element of the scientific process.
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Nous voyons une plaque de chromatographie en couche mince, une technique pour séparer spatialement les composants d’un mélange. Elle a été réalisée lors d’une étape de purification d’un fluorophore, un composé fluorescent. Dans notre laboratoire, nous concevons et synthétisons de nouveaux colorants fluorescents pouvant être contrôlés par la lumière, par des enzymes ou par d’autres petites biomolécules. L’objectif est d’améliorer la microscopie à fluorescence, un outil précieux pour observer des échantillons biologiques vivants, élucider des processus biochimiques, améliorer la compréhension de mécanismes cellulaires et biologiques et contribuer ainsi à des développements dans les sciences biomédicales.
J’ai pris cette image spontanément avec mon téléphone car elle me faisait penser à une œuvre d’art abstraite. Les lignes colorées peuvent avoir l’air jolies, mais elles sont le signe de nombreuses réactions secondaires et indésirables ayant eu lieu durant la synthèse du fluorophore et qui ont été révélées par l’analyse chromatographique.
Commentaire du jury │ Une belle incarnation de la sérendipité en science: au lieu du résultat scientifique espéré, un pépin expérimental conduit à une image très esthétique digne d’une peinture abstraite. Prise sans prétention et avec un rare aveu de faillibilité, la photo dévoile le quotidien au laboratoire et nous rappelle que l’échec constitue un élément essentiel du processus scientifique.
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Wir sehen eine Platte für die präparative Dünnschichtchromatografie, eine Methode zur räumlichen Trennung der Bestandteile einer Mischung. Sie wurde zur Reinigung eines Fluorophors, einer fluoreszierenden Verbindung, durchgeführt. In unserem Labor entwickeln und synthetisieren wir neue Fluoreszenzfarbstoffe, die durch Licht, Enzyme oder andere kleine Biomoleküle gesteuert werden können. Ziel ist es, die Fluoreszenzmikroskopie zu verbessern. Sie ist ein wertvolles Instrument zur Beobachtung lebender biologischer Proben, zur Analyse biochemischer Prozesse und zum besseren Verständnis biologischer Mechanismen auf Zellebene. Damit leisten wir einen Beitrag zu neuen Erkenntnissen in der Biomedizin.
Ich habe dieses Bild spontan mit meinem Handy aufgenommen, weil es mich an ein abstraktes Kunstwerk erinnerte. Die farbigen Linien sehen hübsch aus, sind aber ein Zeichen für verschiedene unerwünschte sekundäre Reaktionen während der Synthese des Fluorophors. Diese Reaktionen haben wir mit der chromatographischen Analyse sichtbar gemacht.
Kommentar der Jury │ Eine schöne Verkörperung zufälliger Entdeckungen in der Wissenschaft: Statt das erhoffte Ergebnis tragen unerwünschte Nebenprodukte zu einem sehr ästhetischen Bild bei, das an ein abstraktes Gemälde erinnert. Bescheiden und mit einem selten zu findenden Eingeständnis des Scheiterns veranschaulicht das Foto den Laboralltag und erinnert uns daran, dass Misserfolge ein wesentlicher Bestandteil des wissenschaftlichen Prozesses sind.
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.
© Ben Heine || Facebook || Twitter || www.benheine.com
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For more information about my art: info@benheine.com
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If any sink, assure that this, now standing
A poem by Emily Dickinson
If any sink, assure that this, now standing—
Failed like Themselves—and conscious that it rose—
Grew by the Fact, and not the Understanding
How Weakness passed—or Force—arose—
Tell that the Worst, is easy in a Moment—
Dread, but the Whizzing, before the Ball—
When the Ball enters, enters Silence—
Dying—annuls the power to kill.
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The poem appeared on www.poeticpeople.com/
Today I was invited to an interesting event at the RDS and I got to meet Richard Branson and I also discovered that from next Monday UPC in Ireland will be known as Virgin Media.
I am a UPC subscriber and have been for a very long time so I was pleased to learn that they are rebranding themselves as Virgin and that I will get three months of its unlimited mobile package for free and for a fee of €25 from thereafter. Currently I am with Three but hopefully it should be easy to switch as Virgin Media has built its mobile service using the Three Ireland network.
My understanding is that an unlimited plan will be made available to existing UPC/Virgin Media customers, which will offer infinite data, calls and texts.
The offering will be free for three months to existing phone, broadband and TV customers, and will cost €25 a month after that.
Non-Virgin Media customers will be able to avail of a range of price plans starting at €20 a month, but full details will not be available until Monday's launch. There will be no prepay offering, but post-pay contracts will be short.
© DM Parody 2017 (www.dotcom.gi/photos) 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.
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!
This tiny ball provides evidence that the universe will expand forever. Measuring slightly over one tenth of a millimeter, the ball moves toward a smooth plate in response to energy fluctuations in the vacuum of empty space. The attraction is known as the Casimir Effect, named for its discoverer, who, 55 years ago, was trying to understand why fluids like mayonnaise move so slowly. Today, evidence indicates that most of the energy density in the universe is in an unknown form dubbed dark energy. The form and genesis of dark energy is almost completely unknown, but postulated as related to vacuum fluctuations similar to the Casimir Effect but generated somehow by space itself. This vast and mysterious dark energy appears to gravitationally repel all matter and hence will likely cause the universe to expand forever. Understanding vacuum energy is on the forefront of research not only to better understand our universe but also for stopping micro-mechanical machine parts from sticking together. via NASA
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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
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
www.ciatnews.cgiar.org/?p=7981
Credit: ©2014CIAT/StephanieMalyon
Please credit accordingly and leave a comment when you use a CIAT photo.
For more info: ciat-comunicaciones@cgiar.org
I have been trying to get inside Temple Church for some years now. Lat time was in January when the warden assured me it would be open on Saturday, only to find after travelling up from Dover that the door was locked, despite the sign on the door saying it was due to be open.
Anyway, all good things come to those that wait.
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The Temple Church was consecrated in honour of the Blessed Virgin Mary on 10 February 1185 by Heraclius, Patriarch of Jerusalem.
The whole Temple community had moved from an earlier site in High Holborn, considered by the 1160s to be too confined. The church was the chapel serving the London headquarters of the Knights Templar, and from them it took its name. The Templars – as the knights were popularly known – were soldier monks.
After the success of the First Crusade, the order was founded in Jerusalem in a building on the site of King Solomon’s temple. Their mission was to protect pilgrims travelling to and from the Holy Land, but in order to do this they needed men and money. For more details of the Templars and this early history of the Church, see The Round Church, 1185.
The London Temple was the Templars’ headquarters in Great Britain. The Templars’ churches were always built to a circular design to remind them of the Church of the Holy Sepulchre at Jerusalem, a round, domed building raised over the site of the sepulchre where Jesus was buried. At first, the Templars were liked and respected. St Bernard of Clairvaux became their patron and they gained many privileges from popes and much support from kings.
In England, King Henry II was probably present at the consecration of the church; King Henry III favoured them so much that he wished to be buried in their church. As a consequence of this wish, the choir of the church was pulled down and a far larger one built in its place, the choir which we now see. This was consecrated on Ascension Day 1240 in the presence of the king. However, after Henry died it was discovered that he had altered his will, and he was buried in Westminster Abbey.
On 10 February 1185 Heraclius, Patriarch of Jerusalem, processed into the Round for the church’s consecration. The King was almost certainly present. A grand church for a grand occasion; for the Round had no such quiet austerity as we see in it today. The walls and grotesque heads were painted: the walls most probably with bands and lozenges of colour. The Round was proudly modern: Heraclius entered through the Norman door to find the first free-standing Purbeck columns ever cut; above them curved in two dimensions Gothic arches rising to the drum. A chancel, some two thirds of the present chancel’s length, stretched to the east. There the Patriach’s procession will have come to rest for Mass. And there the altar stayed. What, then, – on that great day or later – was the function of the Round?
Its most important role was played by its shape. Jerusalem lies at the centre of all medieval maps, and was the centre of the crusaders’ world. The most sacred place in this most sacred city was the supposed site of Jesus’ own burial: the Church of the Holy Sepulchre. Here the crusaders inherited a round church. It was the goal of every pilgrim, whose protection was the Templars’ care. This was the building, of all buildings on earth, that must be defended from its enemies.
In every round church that the Templars built throughout Europe they recreated the sanctity of this most holy place. Among the knights who would be buried in the Round was the most powerful man of his generation: William the Marshal, Earl of Pembroke (died 1219), adviser to King John and regent to Henry III. His sons’ effigies lie around his own. The Marshal himself (who lies recumbent and still) took the Cross as an old man; his sons (drawing their swords) did not. Their figures lie frozen in stone, forever alert in defence of their father’s long-forgotten cause. Such burial was devoutly to be desired; for to be buried in the Round was to be buried ‘in’ Jerusalem.
The Patriarch Heraclius may well have been the most ignorant, licentious and corrupt priest ever to hold his see. Our reports of his character, however, reach us from his enemies. The great Western chronicler of the Crusades, William of Tyre, was for decades Heraclius’ opponent and rival. In 1180 William had (and had been) expected to be appointed Patriarch of Jerusalem. But the king of Jerusalem was swayed by his mother, said to be a mistress of Heraclius – who was duly appointed Patriarch. William himself was honorably reticent in the face of this reverse. His followers were less restrained. ‘Ernoul’ tells (with more indignation, it seems, than accuracy) how his hero William was excommunicated by the new patriarch, went into exile and died at the hands of Heraclius’ own doctor in Rome. William’s narrative was expanded and continued in Old French as L’Estoire d’ Eracles: its story starts with the Emperor Heraclius who recovered the True Cross in 628 – and includes a prophecy that the Cross, secured by one Heraclius, would be lost (as it was) by another.
Can anything redeem our Heraclius’ reputation? Far more was at stake on his visit than at first appears. He was in London as part of a larger mission:- King Baldwin IV of Jerusalem was dying. His kingdom was riven by factions and under threat from Saladin. He had drawn up in his will the rules for the succession: if his nephew, due to become the child-king Baldwin V, were to die before the age of ten, a new ruler should be chosen through the arbitration of four potentates: the Pope, the Emperor Frederick Barbarossa, the King of France and Henry II of England. Late in 1184 a deputation headed west from the Kingdom of Jerusalem: Heraclius, the Grand Master of the Templars and the Hospitallers’ Grand Prior. They visited the Pope, Frederick, Philip II Augustus – and finally Henry. The emissaries reached Reading. As credentials they brought the keys of the Tower of David and the Kingdom’s royal standard. According to some English chroniclers, they offered the Kingdom itself to Henry. The incident is hard to analyse. To plead for protection was to offer the power that would make such protection effective. Did that call for the Kingdom itself? The apparent offer of keys and standard may have been misread; for the ambassadors were reworking a performance already presented to Philip of France. (One French chronicler later derides Heraclius: he was offering the keys to any prince he met.) But the Kingdom of Jerusalem was in desperate straits; and behind the pageant may have lain hopes for the subtlest solution of all: to side-step Jerusalem’s factions; and instead to secure one – any one – of Europe’s leaders as king. How strange, to entrust any such delicate mission to the buffoonish Patriarch of myth.
The story offered welcome ammunition to Henry II’s enemies. Gerald of Wales, bitterly opposed to the Angevins, sees here the turning-point in Henry’s reign: the king failed to rise to this one supreme test; from then on his own and his sons’ adventures faced ruin. Gerald inherited the topos from an old story with a quite different cast. His new version gave Heraclius a starring role. The Patriarch confronted Henry, Gerald tells us, at Heraclius’ departure from Dover. Here is the king’s last chance. ‘Though all the men of my land,’ said the king, ‘were one body and spoke with one mouth, they would not dare speak to me as you have done.’ ‘Do by me,’ replied Heraclius, ‘as you did by that blessed man Thomas of Canterbury. I had rather be slain by you than by the Saracen, for you are worse than any Saracen.’ ‘I may not leave my land, for my own sons will surely rise against me in my absence.’ ‘No wonder, for from the devil they come and to the devil they shall go.’
Gerald’s Heraclius was no coward, and no fool. ‘That blessed man Thomas of Canterbury’ had been killed in 1170. The penance of the four knights who killed him was to serve with the Templars for fourteen years. Henry himself promised to pay for two hundred Templar knights for a year; and in 1172 he undertook to take the Cross himself. Thirteen years had passed. Henry was growing old. Such a vow, undischarged, threatened his immortal soul – as both Heraclius and he knew well. Henry must tread carefully. He summoned a Great Council at Clerkenwell. Surrounded by his advisers, he gave Heraclius his answer: ‘for the good of his realm and the salvation of his own soul’ he declared that he must stay in England. He would provide money instead. Heraclius was unimpressed: ‘We seek a man even without money – but not money without a man.’ Virum appetimus qui pecunia indigeat, non pecuniam quae viro.
***
Our church’s consecration was deep within the diplomatic labyrinth at whose centre lay the future of Jerusalem. The Templars had come a long way. The Order was founded in 1118-9 by a knight of Champagne, Hugh of Payns, who led a group of his fellow-knights in vows of poverty, chastity and obedience. At their foundation they were deeply suspect: it was unnatural for one man to be soldier and monk together. A handful of such ambivalent knights had little chance, it might seem, of attracting support. In the twelfth century the significance of their seal was well known: Matthew Paris, monk of St Albans, explained that the two knights on one horse recalled their lack of horses and poor beginnings.
In Champagne and Burgundy lay the Order’s origin and the seed of its success. Over the course of fifty years a star-burst of spiritual energy illumined all of Europe; and its centre lay in a small area of eastern France. Hugh’s town of Payns was near Troyes, the local city of one Robert, who became a Cluniac monk. In 1075 this Robert, already an abbot, left his monastery with a group of hermits to found a new house: at Molesme. The list of those influenced by Robert and his houses reads as a roll-call of Europe’s spiritual leaders. There was Bruno, who lived briefly as a hermit near Molesme before establishing the most ascetic of all houses, La Grande Chartreuse; Bruno had already been master to Odo, who later became Pope Urban II and preached the First Crusade. When Robert moved again, in search of a yet more rigorous life, he took with him Stephen Harding, later Archbishop of Canterbury. They set up their house at Citeaux.
Harding would in time become abbot. The rigour of the house made it few friends among the local nobility. Its future was uncertain. And then arrived as remarkable a monk as any of that remarkable age: Bernard. He spent three years at Citeaux before a local lord, Hugh Count of Champagne, gave him in 1116 an area of inhospitable woodland well to the north, back in the neighbourhood of Payns. It was known as the Valley of Gall. Bernard gave it a new name: Clairvaux, the Valley of Light.
Bernard secured single-handed the Templars’ future. Hugh of Champagne became a Templar; so did Bernard’s own uncle Andrew. The Templars’ constitution, the Rule, shows all the marks of Bernard’s influence; at the Council of Troyes in 1129 he spoke up for the Order; and, most influential support of all, at the repeated request of Hugh of Payns Bernard wrote In Praise of the New Knighthood.
The New Knighthood’s first half is well-known: in a text advising and praising and warning the knights, Bernard speaks as well to their critics. He is under no illusions: Europe was as glad to be rid of these warring knights as the Holy Land (in Bernard’s eyes) was glad to see them; their army could be a force for good – or for lawless violence. In the tract’s second half Bernard turns to the Holy Land and to Jerusalem itself. Here was his sharpest spur to the pilgrims’ understanding and to the Templars’ own.
Bernard reads Jerusalem itself like a book. In the tradition of Cassian’s fourfold reading of scripture, dominant throughout the Middle Ages, Bernard saw beneath the appearance of the city’s famous sites a far more important spiritual meaning. The land itself invited such a reading:- Bethlehem, ‘house of bread’, was the town where the living bread was first manifest. The ox and ass ate their food at the manger; we must discern there, by contrast, our spiritual food, and not chomp vainly at the Word’s ‘literal’ nourishment. Next, Nazareth, meaning ‘flower’: Bernard reminds us of those who were misled by the odour of flowers into missing the fruit.
And so to Jerusalem itself:- To descend from the Order’s headquarters on the Temple Mount across the Valley of Josaphat and up the Mount of Olives opposite, – this was itself an allegory for the dread of God’s judgement and our joy at receiving his mercy. The House of Martha, Mary and Lazarus offers a moral: the virtue of obedience and the fruits of penance. And above all: in the Holy Sepulchre itself the knight should be raised up to thoughts of Christ’s death and of the freedom from death that it had won for his people: ‘The death of Christ is the death of my death.’ Bernard draws on Paul’s famous account of baptism, and finds in the pilgrims’ weariness the process of their necessary ‘dying’: ‘For we are buried with him by baptism into death: that like as Christ was raised up from the dead by the glory of the Father, even so we should walk in newness of life. For if we have been planted together in the likeness of his death, so we shall be also in the likeness of the resurrection. How sweet it is for pilgrims after the great weariness of a long journey, after so many dangers of land and sea, there to rest at last where they know their Lord has rested!’
***
The Temple Church is now famous as a backwater, a welcome place of calm. The tides of history have shifted; their currents have dug deep channels far from our own Round Church. It was not always so. The effigies of the Marshal and his sons bear telling witness to the Temple’s role in the court’s and nation’s life. In the 16th century the chronicler Stow described the Templars’ seal. The story of their poverty was by then forgotten or incredible. Stow saw rather an emblem of Charity: a knight on horseback takes a fellow Christian out of danger. Perhaps there had always been romance in that picture of knights sharing a horse. The Order’s Rule, after all, allowed each knight three horses and a squire.
The effigies testify as well to a rich ‘reading’ of Jerusalem. The New Knighthood is double-edged: all that Bernard writes in praise of Jerusalem frees the faithful from the need to travel there: it is the spiritual sense of the city that matters – a sense as readily grasped at home. To find ‘Jerusalem’, as Bernard would have it, the faithful should rather come to Clairvaux, and not just on pilgrimage. So resolute a reading was hard to sustain. Bernard might detach Jerusalem from the benefits its contemplation could bring; but those around him sooner attached Jerusalem’s blessings to such places as fostered its contemplation.
Our effigies seem to us frozen in stone, their figures forever poised to fight battles that ended 700 years ago. But these knights’ eyes are open. They are all portrayed in their early thirties, the age at which Christ died and at which the dead will rise on his return. The effigies are not memorials of what has long since been and gone; they speak of what is yet to come, of these once and future knights who are poised to hear Christ’s summons and to spring again to war.
By 1145 the Templars themselves wore white robes with red crosses. White was linked with more than purity. In the Book of Revelation the martyrs of Christ, clad in white robes washed in the blood of the Lamb (Rev 7.14), are those who will be called to life at the ‘first resurrection’. For a millennium they will reign with Christ; at its end Satan will lead all the nations of the earth against ‘the beloved city’ (Rev 20.9). The final battle will be in Jerusalem. Our knights have good reason to draw their swords. For buried in ‘Jerusalem’, in Jerusalem they shall rise to join the Templars in the martyrs’ white and red. Here in the Temple, in our replica of the Sepulchre itself, the knights are waiting for their call to life, to arms and to the last, climactic defence of their most sacred place on earth.
Little more than fifty years after the consecration of the chancel, the Templars fell on evil times. The Holy Land was recaptured by the Saracens and so their work came to an end. The wealth they had accumulated made them the target of envious enemies, and in 1307, at the instigation of Philip IV King of France, the Order was abolished by the Pope. The papal decree was obeyed in England and King Edward II took control of the London Temple.
Eventually he gave it to the Order of St John – the Knights Hospitaller – who had always worked with the Templars. At the time, the lawyers were looking for a home in London in order to attend the royal courts in Westminster. So the Temple was rented to two colleges of lawyers, who came to be identified as the Inner and Middle Temples. The two colleges shared the use of the church. In this way, the Temple Church became the “college chapel” of those two societies and continues to be maintained by them to the present day.
It was King Henry VIII who brought about the next change in the church. In 1540 he abolished the Hospitallers and confiscated their property. The Temple again belonged to the Crown. It was then for Henry to provide a priest for the church, to whom he gave the title ‘Master of the Temple’.
‘Be of good comfort,’ said Hooker: ‘we have to do with a merciful God, rather to make the best of that little which we hold well; and not with a captious sophister who gathers the worst out of every thing in which we err.’
Richard Hooker was appointed Master of the Temple in 1585. England was in alarm. The threat from Catholic Europe had revived: there had been rebellion against the Queen and Settlement in 1569; in 1570 the Pope had excommunicated Elizabeth and declared her subjects free from their allegiance; Mary Queen of Scots was linked with ever further conspiracy against her cousin; and the danger of Spanish invasion was growing.
England’s radical reformers were convinced: England’s only hope of spiritual and political safety lay in the example of Calvin’s godly state, Geneva. The ‘head and neck’ of English Calvinism were Thomas Cartwright and Walter Travers. Since 1581 Travers had been the Reader (lecturer) of the Temple. In 1584 the Privy Council ordered the Inner Temple to continue his stipend ‘for his public labours and pains taken against the common adversaries, impugners of the state and the authorities under her Majesty’s gracious government.’ Hooker and Travers were to be colleagues. Their differences soon became clear. To recover the purity of the primitive church, Travers would be rid of all that intervened and would forge the English church anew. Hooker was steeped in classical and medieval thought; saw the roots of his own (and Travers’) understanding in Aristotle, Augustine, Thomas and Calvin himself; and acknowledged –even valued – the differences to which such a rich tradition could give rise: ‘Be it that Peter has one interpretation, and Apollos has another; that Paul is of this mind, and Barnabas of that. If this offend you, the fault is yours.’ As then, so now: ‘Carry peaceable minds, and you may have comfort by this variety.’ When Hooker carefully and bravely explored the possibility that individual Catholics could be saved, the scene was set for the most famous public debated of the day. ‘Surely I must confess unto you,’ said Hooker: ‘if it be an error to think that God may be merciful to save men, even when they err, my greatest comfort is my error. Were it not for the love I bear unto this “error”, I would neither wish to speak nor to live.’
We hear of Hooker’s preaching at the Temple: ‘his voice was low, stature little, gesture none at all, standing stone still in the pulpit, as if the posture of his body were the emblem of his mind, immovable in his opinions. Where his eye was left fixed at the beginning, it was found fixed at the end of the sermon. …The doctrine he delivered had nothing but itself to garnish it.’ Travers, by contrast, was a natural orator, and he was himself a distinguished thinker; he later became the first Provost of Trinity College, Dublin. Hooker held his ground and deepened his reasoning. It was to disclose and offer the comfort of faith that he spoke: ‘Have the sons of God a father careless whether they sink or swim?’ The Temple sermons that survive stress the simple conditions of salvation: ‘Infidelity, extreme despair, hatred of God and all godliness, obduration in sin – cannot stand where there is the least spark of faith, hope, love or sanctity; even as cold in the lowest degree cannot be where heat in the first degree is found.’
The debate was brought to an end by Archbishop Whitgift: In March 1586 Travers was forbidden to preach. In 1591 Hooker resigned, and was appointed vicar of Bishopsbourne in Kent. Here he developed his thought in his masterpiece, Ecclesiastical Polity, the foundational – and still, perhaps, the most important – exploration of doctrine in the history of the Anglican church. Hooker elaborated a theory of law based on the ‘absolute’ fundamental of natural law: this is the expression of God’s supreme reason and governs all civil and ecclesiastical polity. ‘Of Law there can be no less acknowledged, than that her seat is the bosom of God, her voice the harmony of the world: all things in heaven and earth do her homage, the very least as feeling her care, and the greatest as not exempted from her power: both angels and men and creatures of what condition soever, though each in different sort and manner, yet all with uniform consent, admiring her as the mother of their peace and joy.’ Hooker’s influence has pervaded English thought ever since. He was admired by Laud and by the puritan Baxter, extolled by the Restoration bishops, and brought once more to prominence by Keble and the Oxford Movement; he has now been rediscovered (in a recent monograph by Richard Atkinson) within the modern evangelical church. His reach has extended far beyond theologians. Ecclesiastical Polity was the starting-point for Clarendon’s History and seminal for Locke’s philosophy; its self-critical balance touched Andrew Marvell; and Samuel Pepys read it at the recommendation of a friend who declared it ‘the best book, and the only one that made him a Christian.’
THE BATTLE OF THE PULPIT
In 1585 the Master of the Temple, Richard Alvey, died. His deputy – the Reader, Walter Travers – expected to be promoted, but Queen Elizabeth I and her advisers regarded his views as too Calvinist, and Travers was passed over.
Instead a new Master, Richard Hooker, was appointed from Exeter College, Oxford. On Hooker’s arrival, a unique situation arose. Each Sunday morning he would preach his sermon; each Sunday afternoon Travers would contradict him. People came to call it the Battle of the Pulpit, saying mischievously that Canterbury was preached in the morning and Geneva in the afternoon. There was a lasting result of all this: Hooker published his teaching as Ecclesiastical Polity and came to be recognised as the founding father of Anglican theology.
By the end of the 16th century, the two Inns of Court had erected many fine buildings at the Temple, yet their position as tenants was not a secure one. In order to protect what they had built up from any future whims of the Crown, they petitioned King James I for a more satisfactory arrangement. On 13 August 1608 the King granted the two Inns a Royal Charter giving them use of the Temple in perpetuity.
One condition of this was that the Inns must maintain the church. The Temple and the church are still governed by that charter. In gratitude, the Inns gave King James a fine gold cup. Some years later, in the Civil war, his son Charles I needed funds to keep his army in the field. The cup was sold in Holland and has never been traced.
In February 1683, the treasurers of the two Societies of the Temple commissioned an organ from each of the two leading organ builders of the time, Bernhard Smith (1630-1708) and Renatus Harris (1652-1708). The organs were to be installed in the halls of the Middle and Inner Temple, to enable them to be played and judged. Smith was annoyed to discover that Harris was also invited to compete for the contract; he was under the impression that the job had already been offered to him. Smith petitioned the treasurers and won permission to erect his instrument in the church instead of in one of the halls. It was set on a screen which divided the round from the quire. This advantage was short-lived as Harris sought and obtained approval to place his organ at the opposite end of the church, to the south side of the communion table. It is thought that both organs were completed by May 1684.
Harris and Smith engaged the finest organists to show off their respective instruments and were put to great expense as the competition intensified and each instrument became more.
In 1841 the church was again restored, by Smirke and Burton, the walls and ceiling being decorated in the high Victorian Gothic style. The object of this was to bring the church back to its original appearance, for it would have been brightly decorated like this when first built. Nothing of the work remains, however, for it was destroyed by fire bombs exactly a century after its completion. After the Victorian restoration, a choir of men and boys was introduced for the first time. The first organist and choirmaster was Dr Edward John Hopkins who remained in this post for over 50 years, 1843-96, establishing the Temple Church choir as one of the finest in London, a city of fine choirs. This tradition of high-quality music was maintained by Hopkins’ well-known successor, Henry Walford Davies, who stayed until 1923.
In 1923 Dr GT Thalben-Ball was appointed organist and choirmaster. This musician, later world- renowned, was to serve the church even longer than his predecessor, John Hopkins, retiring in 1982 after 59 years in office. One reason for his fame was the record made in 1927 of Mendelssohn’s Hear My Prayer by Thalben-Ball and the boy soloist Ernest Lough. The recording became world-famous and brought visitors to the church from all parts of the globe.
In 1941 on the night of 10 May, when Nazi air raids on London were at their height, the church was badly damaged by incendiary bombs. The roof of the round church burned first and the wind soon spread the blaze to the nave and choir. The organ was completely destroyed, together with all the wood in the church. Restoration took a long time to complete. The choir, containing a new organ given by Lord Glentannar, was the first area of the church to be rededicated in March 1954. By a stroke of good fortune the architects, Walter and Emil Godfrey, were able to use the reredos designed by Wren for his 17th-century restoration. Removed by Smirke and Burton in 1841, it had spent over a century in the Bowes Museum, County Durham, and was now re-installed in its original position. The round church was rededicated in November 1958.
Probably the most notable feature of today’s church is the east window. This was a gift from the Glaziers’ Company in 1954 to replace that destroyed in the war. It was designed by Carl Edwards and illustrates Jesus’ connection with the Temple at Jerusalem. In one panel we see him talking with the learned teachers there, in another driving out the money-changers. The window also depicts some of the personalities associated with Temple Church over the centuries, including Henry II, Henry III and several of the medieval Masters of the Temple.
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--
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x
CINEMA DIGITAL
A Study of 4D Julia sets
Baraka / Baraka from DVD to 4K / Baraka with the monkey
Beatbox360
Enquanto a noite não chega (While we wait for the night â?" first Brazilian film in 4K)/(primeiro filme brasileiro em 4k)
Era la Notte
Flight to the Center of the Milky Way
Growth by aggregation 2
Jet Instabilities in a stratified fluid flow
Keio University Concert
Manny Farber (Tribute to)
Scalable City
The Nonlinear Evolution of the Universe
The Prague train
FILE INOVAÇÃO / FILE INNOVATION
Interface Cérebro-Computador – Eduardo Miranda
Sistema comercial de Reconhecimento Automático - Genius Instituto de Tecnologia
Robô de visão omnidirecional – Jun Okamoto
Loo Table: mesa interativa - André V. Perrotta, Erico Cheung e Luis Stateri dos Santos, da empresa Loodik
Simulador de Ondas e Simulador de Turbilhão - Steger produção de efeitos especiais ltda.
GAMES INSTALAÇÕES / INSTALLATIONS GAMES
Giles Askham – Aquaplayne
Jonah Warren & Steven Sanborn – Transpose
Jonah Warren & Steven Sanborn – Full Body Games
Fabiano Onça e Coméia – Tantalus Quest
Julian Oliver - levelHead
GAMES
Andreas Zecher – Understanding Games
Andrei R. Thomaz – Cubos de Cor
Arvi Teikari – Once In Space
Fabrício Fava – Futebolando
Golf Question Mark – Golf
Introversion.co.uk – Darwinia
Jens Andersson and Ida Rödén – Rorschach
Jonatan Söderström – CleanAsia!
Jonatan Söderström – AdNauseum2
Jorn Ebner – sans femme et sans avieteur
Josh Nimoy – BallDroppings
Josiah Pisciotta – Gish
Marek Walczak and Martin Wattenberg – Thinking Machine 7
Mariana Rillo – Desmanche
Mark Essen - Punishment: The punishing
Mark Essen - RANDY BALMA: MUNICIPAL ABORTIONIST
Playtime – SFZero
QUBO GAS: Jef Ablézot, Morgan Dimnet & Laura Henno - WATERCOULEUR PARK
QueasyGames - Jonathan Mak – Everyday Shooter
R-S-G: Radical Software Group - Kriegspiel - Guy Debord's Game of War
Shalin Shodhan (www.experimentalgameplay.com) – On a Rainy Day
Shalin Shodhan (www.experimentalgameplay.com) – Cytoplasm
Shalin Shodhan (www.experimentalgameplay.com) – Particle Rain
Tales of Tales: Auriea Harvey & Michaël Samyn - The Graveyard
Tanja Vujinovic – Osciloo
ThatGameCompany – Jenova Chen – Clouds
ThatGameCompany – Jenova Chen - flOw
JOGOS BR
JOGOS BR 1
Ayri - Uma Lenda Amazônica - Sylker Teles da Silva / Outline Interactive
Capoeira Experience - Andre Ivankio Hauer Ploszaj / Okio Serviços de Comunicação Multimídia Ltda.
Cim-itério - Wagner Gomes Carvalho / Green Land Studios
Incorporated (Emprego Maluco) - Tiago Pinheiro Teixeira / Interama Jogos Eletrônicos
Iracema Aventura – Odair Gaspar / Perceptum Software Ltda.
Nevrose: Sangue e Loucura Sob o Sol do Sertão - Rodrigo Queiroz de Oliveira
/ Gamion Realidade Virtual & Games
Raízes do Mal – Marcos Cruz Alves / Ignis Entretenimento e Informática Ltda.
JOGOS BR 2 – Jogos Completos
Cave Days - Winston George A. Petty / Insolita Studios
Peixis!
(JOGO EM DESENVOLVIMENTO) - Wallace Santos Lages / Ilusis Interactive Graphics
JOGOS BR 2 – Demos Jogáveis
Brasilia Tropicalis - Thiago Salgado Aiache de Moraes / Olympya Games
Conspiração Dumont - Guilherme Mattos Coutinho
Flora - Francisco Oliveira de Queiroz
Fórmula Galaxy – Artur Corrêa / Vencer Consultoria e Projetos Ltda.
Inferno - Alexandre Vrubel / Continuum Entertainment Ltda
Lex Venture - Tiago Pinheiro Teixeira / Interama Jogos Eletrônicos
Trem de Doido (DEMO EM DESENVOLVIMENTO) - Marcos André Penna Coutinho
Zumbi, o rei dos Palmeiras - Nicholas Lima de Souza
HIPERSÔNICA / HIPERSONICA
Hipersônica Performance
Andrei Thomaz, Francisco Serpa, Lílian Campesato e Vitor Kisil – Sonocromática
Bernhard Gal – Gal Live
+Zero: Fabrizio Augusto Poltronieri, Jonattas Marcel Poltronieri, Raphael Dall'Anese - +Zero do Brasil
Luiz duVa - Concerto para duo de laptops
Henrique Roscoe (a.k.a. 1mpar) – HOL
Jose Ignacio Hinestrosa e Testsu Kondo – Fricciones
Alexandre Fenerich e Giuliano Obici – Nmenos1
Orqstra de Laptops de São Paulo - EvEnTo 3 Movimentos para Orquestra
Hipersônica Participantes
Agricola de Cologne - soundSTORY - sound as a tool for storytelling
Jen-Kuan Chang – Drishti II
Jen-Kuan Chang – Discordance
Jen-Kuan Chang – Nekkhamma
Jen-Kuan Chang - She, Flush, Vegetable, Lo Mein, and Intolerable Happiness
Jerome Soudan – Mimetic
Matt Lewis e Jeremy Keenan – Animate Objects
Robert Dow - Precipitation within sight
Tetsu Kondo – Dendraw
Tomas Phillips – Drink_Deep
INSTALAÇÕES / INSTALLATIONS
Anaisa Franco – Connected Memories
Andrei Thomaz & Sílvia Laurentiz – 1º Subsolo
Graffiti Research Lab – Various
Hisako K. Yamakawa – Kodama
r3nder.net+i2off.org – is.3s
Jarbas Jacome – Crepúsculo dos Ídolos
Julio Obelleiro & Alberto García – Magnéticos
Julio Obelleiro & Alberto García – The Magic Torch
Mariana Manhães – Liquescer (Jarrinho)
Mariana Manhães – Liquescer (Jarrinho Azul)
Rejane Cantoni e Leonardo Crescenti – PISO
Sheldon Brown – Scalable City
Soraya Braz e Fábio FON – Roaming
Takahiro Matsuo – Phantasm
Ursula Hentschlaeger – Outer Space IP
Ursula Hentschlaeger – Phantasma
Ursula Hentschlaeger – Binary Art Site
SYMPOSIUM
Agnus Valente
Anaisa Franco
Andre Thomaz e Silvia Laurentiz
Christin Bolewski
Giles Askham
Graffiti Research Lab: James Powderly
Hidenori Watanave
Ivan Ivanoff e Jose Jimenez
Jarbas Jácome
João Fernando Igansi Nunes
Marcos Moraes
Mediengruppe Bitnik; Carmen Weisskopf, Domagoj Smoljo, Silvan Leuthold, Sven König [SWI]
Mesa Redonda (LABO) - Cicero Silva, Lev Manovich (teleconferencia) e Noah Wardrip-Fruin
Mesa Redonda [BRA] – (Hipersônica) Renata La Rocca, Gabriela Pereira Carneiro, Ana Paula Nogueira de Carvalho, Clarissa Ribeiro Pereira de Almeida. Mediação: Vivian Caccuri
Mesa Redonda [BRA] - [Ministro da Cultura: Gilberto Gil | Secretário do Audiovisual do Ministério da Cultura: Sílvio Da-Rin | Secretário de Políticas Culturais do Ministério da Cultura: Alfredo Manevy ]
Mesa Redonda [BRA] - Inovação - Lala Deheinzelin, Gian Zelada, Alessandro Dalla, Ivandro Sanches, Eduardo Giacomazzi. Mediação: Joana Ferraz
Mesa Redonda 4k - Jane de Almeida, Sheldon Brownn, Mike Toillion, Todd Margolis, Peter Otto
Nardo Germano
Nori Suzuki
Sandra Albuquerque Reis Fachinello
Satoru Tokuhisa
Sheldon Brown
Soraya Braz e Fabio FON
Suzete Venturelli, Mario Maciel e bolsistas do CNPq/UnB (Johnny Souza, Breno Rocha, João Rosa e Samuel Castro [BRA]
Ursula Hentschlaeger
Valzeli Sampaio
Cinema Documenta FILE São Paulo 2008
Antonello Matarazzo – Interferenze – Itália / Italy
Bruno Natal - Dub Echoes – Brasil / Brazil
Carlo Sansolo - Panoramika Eletronika - Brasil / Brazil
Kevin Logan – Recitation – Londres / London
Kodiak Bachine e Apollo 9 – Nuncupate – Brasil / Brazil
Linda Hilfing Nielsen - Participation 0.0 – Dinamarca
Maren Sextro e Holger Wick - Slices, Pioneers of Electronic Music – Vol.1 – Richie Hawtin Documentary – Alemanha / Germany
Matthew Bate - What The Future Sounded Like – Austrália
Thomas Ziegler, Jason Gross e Russell Charmo - OHM+ the early gurus of electronic music – Eua / USA
Mídia Arte FILE São Paulo 2008
[ fladry + jones ] Robb Fladry and Barry Jones - The War is Over 2007 – EUA / USA
Agricola de Cologne - One Day on Mars – Alemanha / Germany
alan bigelow - "When I Was President" – EUA / USA
Alessandra Ribeiro Parente Paes
Daniel Fernandes Gamez
Glauber Kotaki Rodrigues
Igor Albuquerque Bertolino
Karina Yuko Haneda
Marcio Pedrosa Tirico da Silva Junior – Reativo – Brasil / Brazil
Alessandro Capozzo – Talea – Itália / Italy
Alex Hetherington - Untitled (sexyback, folly artist) – Reino Unido / United Kingdon
Alexandre Campos, Bruno Massara e Lucilene Soares Alves - Novos Olhares sobre a Mobilidade – Brasil / Brazil
Alexandre Cardoso Rodrigues Nunes
Bruno Coimbra Franco
Diego Filipe Braga R. Nascimento
Fábio Rinaldi Batistine
Yumi Dayane Shimada – Abra Sua Gaveta – Brasil / Brazil
ALL: ALCIONE DE GODOY, ADILSON NG, CAMILLO LOUVISE COQUEIRO, MARINA QUEIROZ MAIA, RODOLFO ROSSI JULIANI, VINÍCIUS NAKAMURA DE BRITO – Vita Ex Maxina – Brasil / Brazil
Andreas Zingerle - Extension of Human sight – Áustria
Andrei R. Thomaz - O Tabuleiro dos Jogos que se bifurcam - First Person Movements - Brasil / Brazil
Andrei R. Thomaz e Marina Camargo – Eclipses – Brasil / Brazil
Brit Bunkley – Spin – Spite – Nova Zelândia – New Zeland
calin man – appendXship / Romênia
Carlindo da Conceição Barbosa
Kauê de Oliveira Souza
Guilherme Tetsuo Takei
Renato Michalischen
Ricardo Rodrigues Martins
Tassia Deusdara Manso
Thalyta de Almeida Barbosa / Da Música ao Caos – Brasil / Brazil
Christoph Korn – waldstueck – Alemanha / Germany
Corpos Informáticos: Bia Medeiros, Carla Rocha, Diego Azambuja, Fernando Aquino, Kacau Rodrigues, Márcio Mota, Marta Mencarini, Wanderson França – UAI 69 – Brasil / Brazil
Duda. – do pixel ao pixel – Brasil / Brazil
Daniel Kobayashi
Felipe Crivelli Ayub
Fernando Boschetti
Luiz Felipe M. Coelho
Marcelo Knelsen
Mauro Falavigna
Rafael de A. Campos
Wellington K. Guimarães Bastos - A Casa Dentro da Porta – Brasil / Brazil
David Clark - 88 Constellations for Wittgenstein – Canadá
Thais Paola Galvez
Josias Silva
Diego Abrahão Modesto
Nilson Benis
Vinicius Augusto Naka de Vasconcelos
Wilson Ruano Junior
Marcela Moreira da Silva – Rogério caos – Brasil / Brazil
Diogo Fuhrmann Misiti, Guilherme Pilz, João Henrique - Caleidoscópio Felliniano: 8 ½ - Brasil / Brazil
Agence TOPO: Elene Tremblay, Marcio Lana-Lopez, Maryse Larivière, Marie-Josée Hardy, James Prior - Mes / My contacts – Canadá / Canada
Eliane Weizmann, Fernando Marinho e Leocádio Neto – Storry teller – Brasil / Brazil
Fabian Antunes - Pousada Recanto Abaetuba – Brasil / Brazil
Edgar Franco e Fabio FON - Freakpedia - A verdadeira enciclopédia livre – Brasil / Brazil
Fernando Aquino – UAI Justiça – Brasil / Brazil
Henry Gwiazda - claudia and Paul - a doll's house is...... - there's whispering...... – EUA / USA
Architecture in Metaverse: Hidenori Watanave - "Archidemo" - Architecture in Metaverse – Hapão / Japan
Yto Aranda – Cyber Birds Dance – Chile
Dana Sperry - Sketch for an Intermezzo for the Masses, no. 7 – EUA / USA
Jorn Ebner - (sans femme et sans aviateur) – Reino Unido / United Kingdon
Josephine Anstey, Dave Pape - Office Diva – EUA / USA
Josh Fishburn – Layers – Waiting – EUA / USA
Karla Brunet – Peculiaris – Brasil / Brazil
Kevin Evensen - Veils of Light – EUA / USA
lemeh42 (santini michele and paoloni lorenza) - Study on human form and humanity #01 – Itália / Italy
linda hilfling e erik borra - misspelling generator – Dinamarca / Denmark
Lisa Link - If I Worked for 493 years – EUA / USA
Marcelo Padre – Estro – Brasil / Brazil
Martha Carrer Cruz Gabriel - Locative Painting - Brasil / Brazil
Martin John Callanan - I Wanted to See All of the News From Today – Reino Unido / United Kingdon
Mateus Knelsen, Ana Clara, Felipe Vasconcelos, Rafael Jacobsen, Ronaldo Silva - A pós-modernidade em recortes: Tide Hellmeister e as relações Design e cultura – Brasil / Brazil
Mateus Knelsen, Felipe Szulc, Mileine Assai Ishii, Pamela Cardoso, Tânia Taura - Homo ex machina – Brasil / Brazil
Michael Takeo Magruder - Sequence-n (labyrinth) - Sequence-n (horizon) – Reino Unido / United Kingdon
Michael Takeo Magruder + Drew Baker + David Steele - The Vitruvian World - Reino Unido / United Kingdon
Nina Simões - Rehearsing Reality ( An interactive non-linear docufragmentary) - Reino Unido / United Kingdon
Nurit Bar-Shai - Nothing Happens – EUA / USA
projectsinge: Blanquet Jerome - Monkey_Party – França / France
QUBO GAS - WATERCOULEUR PARK – França / France
rachelmauricio castro – 360 - R.G.B. – tybushwacka – Brasil / Brazil
Rafael Rozendaal - future physics – Netherlands
Regina Célia Pinto - Ninhos & Magia – Brasil / Brazil
Roni Ribeiro – Bípedes – Brasil / Brazil
Rubens Pássaro - ISTO NÃO É PARANÓIA – Brasil / Brazil
Rui Filipe Antunes – xTNZ – Brasil / Brazil
Selcuk ARTUT & Cem OCALAN – NewsPaperBox – Brazil
Tanja Vujinovic - "Without Title" – Switzerland
Hipersônica Screening – FILE São Paulo 2008
1mpar – hol – Brasil / Brazil
Art Zoyd - EYECATCHER 1 - EYECATCHER 2, Man with a movie camera - Movie-Concert for The Fall of the Usher House – França / France
Audiobeamers (FroZenSP and Klinid) - Paesaggi Liquidi II – Alemanha / Germany
Bernhard Loibner – Meltdown – Áustria
Bjørn Erik Haugen – Regress - Norway
Celia Eid e Sébastien Béranger – Gymel – França / France
Studio Brutus/Citrullo International - H2O – Itália / Italy
Daniel Carvalho - OUT_FLOW PART I – Brasil / Brazil
David Muth - You Are The Sony Of My Life – Reino Unido / United Kingdon
Dennis Summers - Phase Shift Vídeos – EUA / USA
Duprass - Liora Belford & Ido Govrin – Free Field – Pink / Noise – Israel
Fernando Velázquez – Nómada – Brasil / Brazil
Frames aka Flames - Performance audiovisual sincronizada: Sociedade pós-moderna, novas tecnologias e espaço urbano - Brasil / Brazil
Frederico Pessoa - butterbox – diving - Brasil / Brazil
Jay Needham - Narrative Half-life – EUA / USA
Soundsthatmatter – trotting – briji – Brasil / Brazil
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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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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
The Universe in front of me
I'm understanding the concept named..."small"
L'Universo davanti a me
sto capendo il concetto chiamato ...."piccolo"
+++ DISCLAIMER +++
Nothing you see here is real, even though the model, the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
Alexander Martin Lippisch (November 2, 1894 – February 11, 1976) was a German aeronautical engineer, a pioneer of aerodynamics who made important contributions to the understanding of flying wings, delta wings and the ground effect.
After working intially for the Zeppelin company, Reichsluftfahrtsministerium (RLM, Reich Aviation Ministry) transferred Lippisch and his team in 1939 to work at the Messerschmitt factory, in order to design a high-speed fighter aircraft around the rocket engines then under development by Hellmuth Walter. The team quickly adapted their most recent design, the DFS 194, to rocket power, the first example successfully flying in early 1940. This successfully demonstrated the technology for what would become the Messerschmitt Me 163 Komet, his most famous design.
In 1943, Lippisch transferred to Vienna’s Aeronautical Research Institute (Luftfahrtforschungsanstalt Wien, LFW), to concentrate on the problems of high-speed flight.That same year, he was awarded a doctoral degree in engineering by the University of Heidelberg. However, his research work did not stop Lippisch from designing further, mostly jet-powered and tailless fighter aircraft, e. g. for Henschel.
In early 1944, the RLM became aware of Allied jet developments and the high altitude B-29 in the Pacific TO, which was expected to appear soon over Europe, too. In response, the RLM instituted the Emergency Fighter Program, which took effect on July 3, 1944, ending production of most bomber and multi-role aircraft in favour of fighters, especially jet fighters. Additionally, they accelerated the development of experimental designs that would guarantee a performance edge over the Allied opponents, and designs that would replace the first generation of the German jet fighters, namely the Messerschmitt Me 262 and Heinkel He 162.
One of these advanced designs was the Ta 183 fighter, built by Focke Wulf and developed by Kurt Tank. The Ta 183 had a short fuselage with the air intake passing under the cockpit and proceeding to the rear where the single engine was located. The wings were swept back at 40° and were mounted in the mid-fuselage position. The pilot sat in a pressurized cockpit with a bubble canopy, which provided excellent vision. The primary armament of the aircraft consisted of four 30 mm (1.18 in) MK 108 cannons arranged around the air intake. The Ta 183 had a planned speed of about 1,000 km/h (620 mph) at 7,000 m (22,970 ft) and was powered by a 2nd generation jet engine, the Heinkel HeS 011 turbojet with 13 kN (2,700 lbf) of thrust. Several, steadily improved variants of the Ta 183 entered service from mid 1945 onwards, and the type was also the basis for more thorough derivatives - including a high altitude jet fighter proposed by Alexander Lippisch.
The resulting aircraft mated the structural basis of the proven Ta 183 with advanced aerodynamics, namely a tailless design with a much increased wing and fin area, and the machine was also powered by the new BMW 018 jet engine which delivered at this early stage 25kN (5.200 lb) of thrust and was expected to achieve more than 36 kN (7.500 lb) soon, without bigger dimensions than the widely used HeS 011 at the time.
The resulting machine, designated Li 383 in order to honor the developer, sacrificed some of the Ta 183' agility and speed for sheer altitude and climb performance, and the new wings were mostly built from non-strategic material, what increased weight considerably - the Li 383 was 1.5 times as heavy as the nimble Ta 183 fighter, but the new wing was more than twice as large.
Nevertheless, the modifications were effective and the RLM quickly accepted the radical re-design, since no better options were available on short notice. While the Ta 183 fighter was able to reach 14.000m (45,935 ft) in a zoom climb, the Li 383 could easily operate at 16.000m (52.500 ft) and even above that. However, Alexander Lippisch's original design, the Li 383A, had, despite positive wind tunnel tests, turned out to be unstable and prone to spinning. The reason was quickly found to be a lack of latitudal surfaces, and this was quickly fixed with a bigger tail fin and a characteristic gull wing that gave it the inofficial nickname for the serial Li 383B, "Sturmvogel".
When the Allied Forces eventually added the high-flying B-29 bombers to their air raids over Germany in late 1945, the Li 383 B-1 serial production variant was just ready for service. The new machines were quickly delivered to front line units, primarily fighter squadrons that defended vital centers like Berlin, Munich or the Ruhrgebiet. However, even though the Li 383 B-1's performance was sufficient, the type suffered from an inherent weakness against the well-armed Allied bombers: the range of the MK 108 cannon. While this weapon was relatively light and compact, and the four guns delivered an impressive weight of fire, a close attack against massive bomber formations was highly hazardous for the pilots. As a consequence, since bigger guns could not be mounted in the compact Ta 183 airframe, several weapon sets for filed modifications (so-called Rüstsätze) were offered that added a variety of weapons with a longer range and a bigger punch to the Li 383 B-1's arsenal, including unguided and guided air-to-air missiles.
Anyway, the Li 383's overall impact was not significant. Production numbers remained low, and all in all, only a total of 80-100 machines were completed and made operational when the hostilities ended.
General characteristics:
Crew: one
Length: 7.78 m (25 ft 5 1/2 in)
Wingspan: 12.67 m (41 ft 6 in)
Height: 3.86 m (12 ft 8 in)
Wing area: 46.8 m² (502.1 ft²)
Empty weight: 4,600 kg (10,141 lb)
Loaded weight: 6,912 kg (15,238 lb)
Max. takeoff weight: 8,100 kg (17,857 lb)
Powerplant:
1× BMW 018A turbojet, 25kN (5.200 lb)
Performance:
Maximum speed: 977 km/h (estimated) (607 mph) at 12,000 meters (39,000 ft)
Service ceiling: 16,000 m (estimated) (52,000 ft)
Rate of climb: 22 m/s (estimated) (4,330 ft/min)
Wing loading: 147.7 kg/m² (20.2 lb/ft²)
Thrust/weight: 0.34
Armament:
4× 30 mm (1.18 in) MK 108 cannons around the air intake with 75 RPG
2x underwing hardpoints for two 300l drop tanks or 2x 250 kg (550 lb) bombs;
alternatively, various weapon sets (Rüstsätze) were available, including racks for 8× (R1) or 12× (R3)
R 65 “Föhn” or for 24x R4M unguided missiles (R2), or for 2× Ruhrstahl X-4 Wire Guided AAMs (R4)
The kit and its assembly:
This fictional Luft ’46 aircraft was inspired by the question what a further developed Ta 183 could have looked like, and it was also influenced by the many tailless Lippisch designs that never left the drawing board.
From the hardware perspective, the design is more or less the salvage of the most useable parts of the PM Model Horten IX/Go 229 kit – namely the outer wing sections. The PM Model Ta 183 is only marginally “better”, and I had one of these in the stash (Revell re-boxing), too. So, why not combine two dreadful kits into something …new?
Well, that was the plan, and building was rather straightforward. In the cockpit, I added simple side consoles, a dashboard, some oxygen flasks, a different seat and a pilot figure (seatbelts simulated with tape strips) – the kit would be finished with closed canopy.
An exhaust pipe was integrated and the air intake filled with a better compressor fan (from an Airfix D.H. Venom, IIRC, fits perfectly). The inner walls of the landing gear wells (well, they are not existent) were cut away and replaced with leftover jet engine parts, so that there was some structure and depth. The landing gear was taken OOB, though, I just used slightly bigger wheels, since the “new” aircraft would have considerably more mass than the Ta 183.
The highly swept, long Ta 183 tail was cut off and replaced by a surplus Me 262 fin and tail section (Matchbox). Despite the different shape and size, and the resulting side view profile reminds strangely of the Saab 29?
The original Ta 183 wings were not mounted and their attachment points on the fuselage cut/sanded away. Instead, I used the outer wing sections from the Go 229, with clipped wing tips for a different shape.
When I held the wings to the fuselage, the whole thing looked …boring. Something was missing, hard to pinpoint. After consulting some Luft ’46 literature I adapted a trick for better stability: a gull wing shape. This was achieved through simple cuts to the wings’ upper halves. Then the wings were bent down, the gap filled with a styrene strip, and finally PSRed away. Looks very dynamic, and also much better!
Another late addition was the underwing armament. I was about to start painting when I again found that something was missing… The new wings made the aircraft pretty large, so I considered some underwing ordnance. Anyway, I did not want to disrupt the relatively clean lines with ugly bombs or drop tanks, so I installed a pair of racks with six launch tubes for R 65 “Föhn” unguided AAMs into the lower wing surfaces, in a semi-recessed position and with a deflector plate for the rocket exhausts.
Painting and markings:
As a high altitude interceptor and late war design, this one was to receive a simple and relatively light livery, even though I stuck with classic RLM tones. The Li 383 was basically painted all-over RLM 76 (Humbrol 247), onto which RLM 75 (from Modelmaster) was added, in the form of highly thinned enamel paint for a cloudy and improvised effect, applied with a big and soft brush. On top of the wings, a typical two-tone scheme was created, while on the fuselage’s upper sides only some thin mottles were added.
In order to lighten the scheme up and add a unique twist, I added further mottles to the flanks and the fin, but this time with RLM 77. This is a very light grey – originally reserved for tactical markings, but also “abused” in the field for camouflage mods, e. g. on high-flying He 177 bombers. I used Humbrol 195 (RAL 7035), again applied with a brush and highly thinned for a rather cloudy finish.
The air intake section and the intake duct were painted in aluminum, while the engine exhaust section as well as the missile racks and the areas around the gun ports were painted with Revell 99 (Iron Metallic) and Steel Metallizer.
The cockpit interior became dark grey (RLM 66) while the landing gear, the wells and the visible engine parts inside became RLM 02.
The kit was lightly weathered with a thin black ink wash and some dry-brushing.
The markings were puzzled together; due to the light basic tones of the model, the upper crosses became black, with only a very small cross on the flanks due to the lack of space, and for the wings’ undersides I used “old school” full color markings in black and white. The red color for the tactical code was basically chosen because it would be a nice contrast to the bluish-grey overall livery.
Finally the kit was sealed with matt acrylic varnish and some gun soot stains added with grinded graphite, as well as some traces of flaked paint on the wings’ leading edges and around the cockpit.
Well, the attempt to bash two mediocre (at best) kits into something else and hopefully better worked out well – the Li 383 does not look totally out of place, even though it turned out to become a bigger aircraft than expected. However, the aircraft has this certain, futuristic Luft ’46 look – probably thanks to the gull wings, which really change the overall impression from a simple kitbash to a coherent design which-could-have-been. The livery also fits well and looks better than expected. Overall, a positive surprise.