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Mauna Kea (English pronunciation: /ˌmɔːnə ˈkeɪ.ə/ or /ˌmaʊnə ˈkeɪ.ə/, Hawaiian: [ˈmɔunə ˈkɛjə]) is a Volcano on the island of Hawaii. Standing 4,205 m (13,796 ft) above sea level, its peak is the highest point in the state of Hawaii. However, much of the mountain is under water; when measured from its oceanic base, Mauna Kea is over 10,000 m (33,000 ft) tall—significantly taller than Mount Everest. Mauna Kea is about a million years old, and has thus passed the most active shield stage of life hundreds of thousands of years ago. In its current post-shield state, its lava is more viscous, resulting in a steeper profile. Late volcanism has also given it a much rougher appearance than its neighboring volcanoes; contributing factors include the construction of cinder cones, the decentralization of its rift zones, the glaciation on its peak, and the weathering effects of the prevailing trade winds. Mauna Kea last erupted 6,000 to 4,000 years ago. According to the USGS, as of June 2011 the current Volcanic-Alert Level was "Normal".
According to the USGS Lava Flow Hazard Zones, on a scale of 1 to 9, Mauna Kea is in zones 7 and 8.
In Hawaiian mythology, the peaks of the island of Hawaii are sacred, and Mauna Kea is the most sacred of all. An ancient law allowed only high-ranking tribal chiefs to visit its peak. Ancient Hawaiians living on the slopes of Mauna Kea relied on its extensive forests for food, and quarried the dense volcano-glacial basalts on its flanks for tool production. When Europeans arrived in the late 18th century, settlers introduced cattle, sheep and game animals, many of which became feral and began to damage the mountain's ecology. Mauna Kea can be ecologically divided into three sections: an alpine climate at its summit, a Sophora chrysophylla–Myoporum sandwicense (or māmane–naio) forest on its flanks, and an Acacia koa–Metrosideros polymorpha (or koa–ʻōhiʻa) forest, now mostly cleared by the former sugar industry, at its base. In recent years, concern over the vulnerability of the native species has led to court cases that have forced the Hawaii Department of Land and Natural Resources to eradicate all feral species on the mountain.
With its high altitude, dry environment, and stable airflow, Mauna Kea's summit is one of the best sites in the world for astronomical observation. Since the creation of an access road in 1964, thirteen telescopes funded by eleven countries have been constructed at the summit. The Mauna Kea Observatories are used for scientific research across the electromagnetic spectrum from visible light to radio, and comprise the largest such facility in the world. Their construction on a "sacred landscape"[4] continues to be a topic of debate. Studies are underway to determine their effect on the summit ecology, particularly on the rare Wēkiu bug.
Contents
1 Geology
1.1 Future activity
2 Human history
2.1 Native history
2.2 Modern era
2.3 Ascents
3 Ecology
3.1 Background
3.2 Alpine environment
3.3 Māmane–naio forest
3.4 Lower environment
4 Summit observatories
5 Climate
6 Recreation
7 See also
8 References
9 External links
Geology
Location of Mauna Kea in Hawaii island. Mauna Kea makes up 22.8 percent of the island's area.[2]
Mauna Kea is one of five hotspot volcanoes that form the island of Hawaii, the largest and youngest island of the Hawaiian-Emperor seamount chain.[5] Of these five volcanoes, Mauna Kea is the fourth oldest and fourth most active.[2] It began as a preshield volcano driven by the Hawaii hotspot around one million years ago, and became exceptionally active during its shield stage until 500,000 years ago.[6] Mauna Kea entered its quieter post-shield stage 250,000 to 200,000 years ago,[7] and is currently dormant.[2]
Mauna Kea is over 3,200 km3 (770 cu mi) in volume, so massive that it and its neighbor, Mauna Loa, depress the ocean crust beneath it by 6 km (4 mi).[8] The volcano continues to slip and flatten under its own weight at a rate of less than 0.2 mm (0.01 in) per year. Much of its mass lies east of its present summit. Mauna Kea stands 4,205 m (13,800 ft) above sea level, just 35 m (110 ft) higher than its neighbor Mauna Loa.[2] Measured from its base on the ocean floor, it rises over 10,000 m (33,000 ft), making it significantly taller than Mount Everest on the Tibetan Plateau,[9][10] and the highest point in the state of Hawaii.[11]
Like all Hawaiian volcanoes, Mauna Kea has been created by the Hawaiian hotspot, as the Pacific tectonic plate has moved over a hotspot in the Earth's underlying mantle.[12] The Hawaii island volcanoes are merely the most recent evidence of this process that, over 70 million years, has created the 6,000 km (3,700 mi)-long Hawaiian Ridge – Emperor Seamount chain.[5] The prevailing, though not completely settled, view is that the hotspot has been largely stationary within the planet's mantle for much, if not all of the Cenozoic Era.[5][13] However, while Hawaiian volcanism is well-understood and extensively studied, there remains no definite explanation of the mechanism that causes the hotspot effect.[14]
Lava flows from Mauna Kea overlapped in complex layers with those of its neighbors during its growth. Most prominently, Mauna Kea is built upon older flows from Kohala to the northwest, and intersects the base of Mauna Loa to the south.[8] The original eruptive fissures (rift zones) in the flanks of Mauna Kea were buried by its post-shield volcanism.[7] Hilo Ridge, a prominent underwater rift zone structure east of Mauna Kea, was once believed to be a part of the volcano; however, it is now understood to be a rift zone of Kohala that has been affected by younger Mauna Kea flows.[12][15]
The shield-stage lavas that built the enormous main mass of the mountain are tholeiitic basalts, like those of Mauna Loa, created through the mixing of primary magma and subducted oceanic crust.[16] They are covered by the oldest exposed rock strata on Mauna Kea, the post-shield alkali basalts of the Hāmākua Volcanics, which erupted between 250,000 and 70–65,000 years ago. The most recent volcanic flows are hawaiites and mugearites: they are the post-shield Laupāhoehoe Volcanics, erupted between 65,000 and 4,000 years ago.[12][17] These changes in lava composition accompanied the slow reduction of the supply of magma to the summit, which led to weaker eruptions that then gave way to isolated episodes associated with volcanic dormancy. The Laupāhoehoe lavas are more viscous and contain more volatiles than the earlier tholeiitic basalts; their thicker flows significantly steepened Mauna Kea's flanks. In addition, explosive eruptions have built cinder cones near the summit.[2] These cones are the most recent eruptive centers of Mauna Kea. Its present summit is dominated by lava domes and cinder cones up to 1.5 km (0.9 mi) in diameter and hundreds of meters tall.[7]
Scoria and cinder cones on Mauna Kea's summit in winter
Glacial evidence on Mauna Kea, outlining terminal moraines ("m") and till ("w")
Mauna Kea is the only Hawaiian volcano with distinct evidence of glaciation.[7] Similar deposits probably existed on Mauna Loa, but have been covered by later lava flows.[2] Despite Hawaii's tropical location, during several past ice ages a drop of only a degree in temperature allowed snow to remain at the mountain's summit through summer, triggering the formation of an ice cap.[18] There are three episodes of glaciation that have been recorded from the last 180,000 years: the Pōhakuloa (180–130 ka), Wāihu (80–60 ka) and Mākanaka (40–13 ka) series. These have extensively sculpted the summit, depositing moraines and a circular ring of till and gravel along the mountain's upper flanks.[12] Subglacial eruptions built cinder cones during the Mākanaka glaciation,[19] most of which were heavily gouged by glacial action. The most recent cones were built between 9000 and 4500 years ago, atop the glacial deposits,[18][20] although one study indicates that the last eruption may have been around 3600 years ago.[21]
At their maximum extent, the glaciers extended from the summit down to between 3,200 and 3,800 m (10,500 and 12,500 ft) of elevation.[22] A small body of permafrost, less than 25 m (80 ft) across, was found at the summit of Mauna Kea prior to 1974, and may still be present.[12] Small gullies etch the summit, formed by rain- and snow-fed streams that flow only during winter melt and rain showers.[4] On the windward side of the mountain, stream erosion driven by trade winds has accelerated erosion in a manner similar to that on older Kohala.[23]
Mauna Kea is home to Lake Waiau, the highest lake in the Pacific Basin.[24] At an altitude of 3,969 m (13,022 ft), it lies within the Puʻu Waiau cinder cone and is the only alpine lake in Hawaii. The lake is very small and shallow, with a surface area of 0.73 ha (1.80 acres) and a depth of 3 m (10 ft). Radiocarbon dating of samples at the base of the lake indicates that it was clear of ice 12,600 years ago. Hawaiian lavas are typically permeable, preventing the formation of lakes due to infiltration. Here, either sulfur-bearing steam altered the volcanic ash to low-permeability clays, or explosive interactions between rising magma and groundwater or surface water (phreatic eruptions) formed exceptionally fine ash that also would reduce the permeability of the lake bed.[25]
Future activity
The last eruption of Mauna Kea was about 4,600 years ago;[12] because of this inactivity, Mauna Kea is assigned a United States Geological Survey hazard listing of 7 for its summit and 8 for its lower flanks, out of the lowest possible hazard rating of 9 (which is given to the extinct volcano Kohala). Twenty percent of the volcano's summit has seen lava flows in the past 10,000 years, and its flanks have seen virtually no lava flows during that time.[26]
Despite its dormancy, Mauna Kea is expected to erupt again, although there would be sufficient warning to evacuate. The telescopes on Mauna Kea's summit would be the first to detect the minute amounts of deformation resulting from the volcano's swelling, acting like expensive tiltmeters. Based on previous eruptions, such an event could occur anywhere on the volcano's upper flanks and would likely produce extended lava flows, mostly of a'a, of 15–25 km (9–16 mi) in length. Long periods of activity could build a cinder cone at the source. Although not likely in the next few centuries, such an eruption would probably result in little loss of life but significant damage to infrastructure.[27]
Geologically recent Mauna Kea cinder cones and lava flows
Hazard mapping of Mauna Kea and nearby Kohala
Human history
Native history
A prehistoric stone structure on the saddle between Mauna Kea and Mauna Loa
The first Ancient Hawaiians to arrive on Hawaii island lived along the shores, where food and water were plentiful. Settlement expanded inland to the Mauna Loa – Mauna Kea region in the 12th and early 13th centuries. Archaeological evidence suggests that these regions were used for hunting, collecting stone material, and possibly for spiritual reasons or for astronomical or navigational observations.[28] The mountain's plentiful forest provided plants and animals for food and raw materials for shelter. Flightless birds that had previously known no predators became a staple food source.[29]
Early settlement of the Hawaiian islands led to major changes to local ecosystems and many extinctions, particularly amongst bird species. Ancient Hawaiians brought foreign plants and animals, and their arrival was associated with increased rates of erosion.[30] The prevailing lowland forest ecosystem was transformed from forest to grassland; some of this change was caused by the use of fire, but the prevailing cause of forest ecosystem collapse and avian extinction on Hawaii appears to have been the introduction of the Polynesian (or Pacific) Rat.[31]
The summits of the five volcanoes of Hawaii are revered as sacred mountains; and Mauna Kea's summit, being the tallest, as the most sacred of all. For this reason, a kapu (ancient Hawaiian law) restricted visitor rights to high-ranking tribal chiefs. Hawaiians associated elements of their natural environment with particular deities. In Hawaiian mythology, the sky father Wākea marries the earth mother Pāpā, giving birth to the Hawaiian Islands. In many of these genealogical myths, Mauna Kea is portrayed as the pair's first-born son. The summit of Mauna Kea was seen as the "region of the gods", a place where benevolent spirits reside. Poliʻahu, deity of snow, also resides there.[29] In Hawaiian, Mauna Kea means "white mountain",[32] a reference to its summit, which is usually snow-capped in winter.[33] The mountain is also known as Mauna o Wākea ("Mountain of [the deity] Wākea").[34]
Around AD 1100, natives established adze quarries high up on Mauna Kea to extract the uniquely dense basalt—generated by the quick cooling of lava flows meeting glacial ice during subglacial eruptions—for use in the manufacture of tools. Volcanic glass and gabbro were collected for blades and fishing gear, and māmane wood was preferred for the handles. At peak quarry activity after AD 1400, there were separate facilities for rough and fine cutting; shelters with food, water, and wood to sustain the workers; and workshops creating the finished product.[29]
Lake Waiau provided drinking water for the workers. Native chiefs would dip the umbilical cords of newborn babies in its water, to give them the strength of the mountain. Use of the quarry declined between this period and contact with Americans and Europeans. As part of the ritual associated with quarrying, the workers erected shrines to their gods; these and other quarry artifacts remain at the sites, most of which lie within what is now the Mauna Kea Ice Age Reserve.[29]
This early era was followed by peace and cultural expansion between the 12th and late 18th century. Land was divided into regions designed for both the immediate needs of the populace and the long-term welfare of the environment. These ahupuaʻa generally took the form of long strips of land oriented from the mountain summits to the coast. Mauna Kea's summit was encompassed in the ahupuaʻa of Kaʻole, with part of its eastern slope reaching into the nearby Humuʻula. Principal sources of nutrition for Hawaiians living on the slopes of the volcano came from the māmane–naio forest of its upper slopes, which provided them with vegetation and bird life. Bird species hunted included the ʻUaʻu (Pterodroma sandwichensis), Nēnē (Branta sandvicensis), and Palila (Loxioides bailleui). The lower koa–ʻōhiʻa forest gave the natives wood for canoes and ornate bird feathers for decoration.[29]
Modern era
View of the mountain from Mauna Loa Observatory
The first foreigner to arrive at Hawaii was James Cook, in 1778.[4] The earliest Western depictions of the isle, including Mauna Kea, were created by explorers in the late 18th and early 19th centuries. Contact with Europe and America had major consequences for island residents. Native Hawaiians were devastated by introduced diseases; port cities including Hilo, Kealakekua, and Kailua grew with the establishment of trade; and the adze quarries on Mauna Kea were abandoned after the introduction of metal tools.[29]
In 1793, cattle were brought by George Vancouver as a tribute to King Kamehameha I. By the early 19th century, they had escaped confinement and roamed the island freely, greatly damaging its ecosystem. In 1809 John Palmer Parker arrived and befriended Kamehameha I, who put him in charge of cattle management on the island. With an additional land grant in 1845, Parker established Parker Ranch on the northern slope of Mauna Kea, a large cattle ranch that is still in operation today.[29] Settlers to the island burned and cut down much of the native forest for the construction of sugar plantations and houses.[35]
The Saddle Road, named for its crossing of the saddle-shaped plateau between Mauna Kea and Mauna Loa, was completed in 1943, and eased travel to Mauna Kea considerably.[4]
The Pohakuloa Training Area on the plateau is the largest military training ground in Hawaii. The 108,863-acre (44,055 ha) base extends from the volcano's lower flanks to 2,070 m (6,790 ft) elevation, on state land leased to the US Army since 1956. There are 15 threatened and endangered plants, 3 endangered birds, and 1 endangered bat species in the area.[4]
Mauna Kea has been the site of extensive archaeological research since the 1980s. Approximately 27 percent of the Science Reserve had been surveyed by 2000, identifying 76 shrines, 4 adze manufacturing workshops, 3 other markers, 1 positively identified burial site, and 4 possible burial sites.[29] By 2009, the total number of identified sites had risen to 223, and archaeological research on the volcano's upper flanks is ongoing.[4] It has been suggested that the shrines, which are arranged around the volcano's summit along what may be an ancient snow line, are markers for the transition to the sacred part of Mauna Kea. Despite many references to burial around Mauna Kea in Hawaiian oral history, few sites have been confirmed. The lack of shrines or other artifacts on the many cinder cones dotting the volcano may be because they were reserved for burial.[29]
Ascents
David Douglas, a Scottish botanist who died on Mauna Kea in 1834
In pre-contact times, natives traveling up Mauna Kea were probably guided more by landscape than by existing trails, as no evidence of the latter have been found. It is possible that natural ridges and water sources were followed instead. Individuals likely took trips up Mauna Kea's slopes to visit family-maintained shrines near its summit, and traditions related to ascending the mountain exist to this day. However, very few natives actually reached the summit, because of the strict kapu placed on it.[29]
In the early 19th century, the earliest notable recorded ascents of Mauna Kea included the following:
On August 26, 1823, Joseph F. Goodrich, an American missionary, made the first recorded ascent in a single day; however, a small arrangement of stones he observed suggested he was not the first human on the summit.[29] He recorded four ecosystems as he travelled from base to summit, and also visited Lake Waiau.[3]
On June 17, 1825, an expedition from HMS Blonde, led by botanist James Macrae, reached the summit of Mauna Kea. Macrae was the first person to record the Mauna Kea Silversword (Argyroxiphium sandwicense), saying: "The last mile was destitute of vegetation except one plant of the Sygenisia tribe, in growth much like a Yucca, with sharp pointed silver coloured leaves and green upright spike of three or four feet producing pendulous branches with brown flowers, truly superb, and almost worth the journey of coming here to see it on purpose."[3]
In January 1834, David Douglas climbed the mountain and described extensively the division of plant species by altitude. On a second climb in July, he was found dead in a pit intended to catch wild cattle. Although murder was suspected, it was probably an accidental fall. The site, Ka lua kauka 19°53′17″N 155°20′17″W, is marked by the Douglas Fir trees named for him.[36]
In 1881, Queen Emma traveled to the peak to bathe in the waters of Lake Waiau during competition for the role of ruling chief of the Kingdom of Hawaii.[29]
On August 6, 1889, E.D. Baldwin left Hilo and followed cattle trails to the summit.[3]
In the late 19th and early 20th centuries trails were formed, often by the movement of game herds, that could be traveled on horseback.[29] However, vehicular access to the summit was practically impossible until the construction of a road in 1964, and it continues to be restricted.[37] Today, multiple trails to the summit exist, in various states of use.[4]
Ecology
Background
Hawaii's geographical isolation strongly influences its ecology. Remote islands like Hawaii have a large number of species that are found nowhere else (see Endemism in the Hawaiian Islands).[38] The remoteness resulted in evolutionary lines distinct from those elsewhere and isolated these endemic species from external biotic influence, and also makes them especially vulnerable to extinction and the effects of invasive species. In addition the ecosystems of Hawaii are under threat from human development including the clearing of land for agriculture; an estimated third of the island's endemic species have already been wiped out. Because of its elevation, Mauna Kea has the greatest diversity of biotic ecosystems anywhere in the Hawaiian archipelago. Ecosystems on the mountain form concentric rings along its slopes due to changes in temperature and precipitation with elevation.[35] These ecosystems can be roughly divided into three sections by elevation: alpine–subalpine, montane, and basal forest.[3]
Contact with Americans and Europeans in the early 19th century brought more settlers to the island, and had a lasting negative ecological effect. On lower slopes, vast tracts of koa–ʻōhiʻa forest were converted to farmland. Higher up, feral animals that escaped from ranches found refuge in, and damaged extensively, Mauna Kea's native māmane–naio forest.[39] Non-native plants are the other serious threat; there are over 4,600 introduced species on the island, whereas the number of native species is estimated at just 1,000.[40]
Alpine environment
Mauna Kea silversword (Argyroxiphium sandwicense sandwicense) growing near the volcano's summit.
The summit of Mauna Kea lies above the tree line, and consists of mostly lava rock and alpine tundra. An area of heavy snowfall, it is inhospitable to vegetation, and is known as the Hawaiian tropical high shrublands. Growth is restricted here by extremely cold temperatures, a short growing season, low rainfall, and snow during winter months. A lack of soil also retards root growth, makes it difficult to absorb nutrients from the ground, and gives the area a very low water retention capacity.[3]
Plant species found at this elevation include Styphelia tameiameiae, Taraxacum officinale, Tetramolopium humile, Agrostis sandwicensis, Anthoxanthum odoratum, Trisetum glomeratum, Poa annua, Sonchus oleraceus, and Coprosma ernodiodes. One notable species is Mauna Kea Silversword (Argyroxiphium sandwicense var. sandwicense), a highly endangered endemic plant species that thrives in Mauna Kea's high elevation cinder deserts. At one stage reduced to a population of just 50 plants,[41] Mauna Kea Silversword was thought to be restricted to the alpine zone, but in fact has been driven there by pressure from livestock, and can grow at lower elevations as well.[3]
The Mauna Kea Ice Age Reserve on the southern summit flank of Mauna Kea was established in 1981. The reserve is a region of sparsely vegetated cinder deposits and lava rock, including areas of aeolian desert and Lake Waiau.[42] This ecosystem is a likely haven for the threatened ʻUaʻu (Pterodroma sandwichensis) and also the center of a study on Wēkiu bugs (Nysius wekiuicola).[23]
Wēkiu bugs feed on dead insect carcasses that drift up Mauna Kea on the wind and settle on snow banks. This is a highly unusual food source for a species in the genus Nysius, which consists of predominantly seed-eating insects. They can survive at extreme elevations of up to 4,200 m (13,780 ft)[43] because of natural antifreeze in their blood. They also stay under heated surfaces most of the time. Their conservation status is unclear, as the effect summit observatories on Mauna Kea have on the species is not well understood; studies on the welfare of the species began in 1980. The closely related Nysius aa lives on Mauna Loa. Wolf spiders (Lycosidae) and Forest Tent Caterpillar Moths have also been observed in the same Mauna Kea ecosystem; the former survive by hiding under heat-absorbing rocks, and the latter through cold-resistant chemicals in their bodies.[44]
Māmane–naio forest
A pair of Māmane (Sophora chrysophylla) trees
The highest forested zone on the volcano, at an elevation of 2,000–3,000 m (6,600–9,800 ft), is dominated by Māmane (Sophora chrysophylla) and Naio (Myoporum sandwicense), both endemic tree species, and is thus known as māmane–naio forest. Māmane seeds and Naio fruit are the chief foods of the birds in this zone, especially the Palila (Loxioides bailleui). The Palila was formerly found on the slopes of Mauna Kea, Mauna Loa, and Hualālai, but is now confined to the slopes of Mauna Kea—only 10% of its former range—and has been declared critically endangered.[35]
The largest threat to the ecosystem is grazing by feral sheep (Ovis aries), cattle (Bos primigenius),[45] and goats (Capra hircus) introduced to the island in the late 18th century. Feral animal competition with commercial grazing was severe enough that a program to eradicate them existed as far back as the late 1920s,[35] and continued through to 1949. One of the results of this grazing was the increased prevalence of herbaceous and woody plants, both endemic and introduced, that were resistant to browsing.[45] The feral animals were almost eradicated, and numbered a few hundred in the 1950s. However, an influx of local hunters led to the feral species being valued as game animals, and in 1959 the Hawaii Department of Land and Natural Resources, the governing body in charge of conservation and land use management, changed its policy to a sustained-control program designed to facilitate the sport.[35]
Mouflon (Ovis aries orientalis) was introduced from 1962–1964,[46] and a plan to release Axis Deer (Axis axis) in 1964 was prevented only by protests from the ranching industry, who said that they would damage crops and spread disease. The hunting industry fought back, and the back-and-forth between the ranchers and hunters eventually gave way to a rise in public environmental concern. With the development of astronomical facilities on Mauna Kea commencing, conservationists demanded protection of Mauna Kea's ecosystem. A plan was proposed to fence 25% of the forests for protection, and manage the remaining 75% for game hunting. Despite opposition from conservationists the plan was put into action. While the land was partitioned no money was allocated for the building of the fence. In the midst of this wrangling the Endangered Species Act was passed; the National Audubon Society and Sierra Club Legal Defense Fund filed a lawsuit against the Hawaii Department of Land and Natural Resources, claiming that they were violating federal law, in the landmark case Palila v. Hawaii Department of Land and Natural Resources (1978).[35][47]
The court ruled in favor of conservationists and upheld the precedence of federal laws before state control of wildlife. Having violated the Endangered Species Act, Hawaii state was required to remove all feral animals from the mountainside.[35] This decision was followed by a second court order in 1981. A public hunting program removed many of the feral animals,[39] at least temporarily. An active control program is in place,[4] though it is not conducted with sufficient rigor to allow significant recovery of the māmane-naio ecosystem.[48] There are many other species and ecosystems on the island, and on Mauna Kea, that remain threatened by human development and invasive species.[35]
The Mauna Kea Forest Reserve protects 52,500 acres (212 km2) of māmane-naio forest under the jurisdiction of the Hawaii Department of Land and Natural Resources. Ungulate hunting is allowed year-round.[4] A small part of the māmane–naio forest is encompassed by the Mauna Kea State Recreation Area.[49]
Lower environment
The ʻAlalā or Hawaiian Crow (Corvus hawaiiensis) is a bird in the crow family. It is extinct in the wild, with plans to reintroduce the species into the Hakalau Forest National Wildlife Refuge.
A band of ranch land on Mauna Kea's lower slopes was formerly Acacia koa – Metrosideros polymorpha (koa-ʻōhiʻa) forest.[3] Its destruction was driven by an influx of European and American settlers in the early 19th century, as extensive logging during the 1830s provided lumber for new homes. Vast swathes of the forest were burned and cleared for sugar plantations. Most of the houses on the island were built of koa, and those parts of the forest that survived became a source for firewood to power boilers on the sugar plantations and to heat homes. The once vast forest had almost disappeared by 1880, and by 1900 logging interests had shifted to Kona and the island of Maui.[39] With the collapse of the sugar industry in the 1990s, much of this land lies fallow but portions are used for cattle grazing, small-scale farming and the cultivation of eucalyptus for wood pulp.[4][50]
The Hakalau Forest National Wildlife Refuge is a major koa forest reserve on Mauna Kea's windward slope. It was established in 1985, covering 32,733 acres (13,247 ha) of ecosystem remnant. Eight endangered bird species, twelve endangered plants, and the endangered Hawaiian Hoary Bat (Lasiurus cinereus semotus) have been observed in the area, in addition to many other rare biota. The reserve has been the site of an extensive replanting campaign since 1989.[51] Parts of the reserve show the effect of agriculture on the native ecosystem,[39] as much of the land in the upper part of the reserve is abandoned farmland.[51]
Bird species native to the acacia koa–ʻōhiʻa forest include the Hawaiian Crow (Corvus hawaiiensis), the ʻAkepa (Loxops coccineus), Hawaii Creeper (Oreomystis mana), ʻAkiapōlāʻau (Hemignathus munroi), and Hawaiian Hawk (Buteo solitarius), all of which are endangered, threatened, or near threatened; the Hawaiian Crow in particular is extinct in the wild, but there are plans to reintroduce the species into the Hakalau reserve.[51]
Summit observatories
Main article: Mauna Kea Observatories
Sunset over four telescopes of the Mauna Kea Observatories. From left to right: the Subaru Telescope, the twin Keck I and II telescopes, and the NASA Infrared Telescope Facility
Mauna Kea's summit is one of the best sites in the world for astronomical observation because a number of factors create favorable observing conditions.[4][52][53] The atmosphere above the volcano is extremely dry, which is important for submillimeter and infrared astronomy because water vapor absorbs radiation in most of this region of the electromagnetic spectrum. The summit is above the inversion layer that separates lower maritime air from upper atmospheric air, keeping most cloud cover below the summit and ensuring the air on the summit is dry, and free of atmospheric pollution. The summit atmosphere is exceptionally stable; this lack of turbulence creates some of the world's best astronomical seeing. The very dark skies resulting from Mauna Kea's distance from city lights are preserved by legislation that minimizes light pollution from the surrounding area; the darkness level allows the observation of faint astronomical objects.[52] These factors historically made Mauna Kea an excellent spot for stargazing.[37]
In the 1950s, solar observatories were built on Haleakalā on Maui, as Mauna Kea was inaccessible by road above 12,000 ft (3,700 m). In the early 1960s, the Hawaii Island Chamber of Commerce began encouraging astronomical development of Mauna Kea, as an economic stimulus; this coincided with University of Arizona astronomer Gerard Kuiper's search for sites at which to use the newly improved detectors of infrared light, spurred by the rapid development of infrared astronomy. Site testing by Kuiper's assistant Alika Herring in 1964 confirmed the summit's outstanding suitability. An intense three-way competition for NASA funds to construct a large telescope began between Kuiper, Harvard University, and the University of Hawaii (UH), which only had experience in solar astronomy. This culminated in funds being awarded to the "upstart" UH proposal.[54] UH rebuilt its small astronomy department into a new Institute for Astronomy, and in 1968 the Hawaii Department of Land and Natural Resources gave it a 65-year lease for all land within a 4 km (2.5 mi) radius of its telescope, essentially that above 11,500 ft (3,505 m).[4][52] On its completion in 1970, the UH 88 in (2.2 m) was the seventh largest optical/infrared telescope in the world.[54]
Other groups began requesting subleases on the newly accessible mountaintop. By 1970, two 24 in (0.6 m) telescopes had been constructed by the US Air Force and Lowell Observatory. In 1973, Canada and France agreed to build the 3.6 m CFHT on Mauna Kea.[54] However, local organisations started to raise concerns about the environmental impact of the observatory. This led the Department of Land and Natural Resources to prepare an initial management plan, drafted in 1977 and supplemented in 1980. In January 1982, the UH Board of Regents approved a plan to support the continued development of scientific facilities at the site.[4] In 1998, 2,033 acres (823 ha) were transferred from the observatory lease to supplement the Mauna Kea Ice Age Reserve. The 1982 plan was replaced in 2000 by an extension designed to serve until 2020: it instituted an Office of Mauna Kea Management,[53] designated 525 acres (212 ha) for astronomy, and shifted the remaining 10,763 acres (4,356 ha) to "natural and cultural preservation". This plan was further revised to address concern expressed in the Hawaiian community that a lack of respect was being shown toward the cultural values of the mountain.[4]
Today the Mauna Kea Science Reserve has 13 observation facilities, each funded by as many as 11 countries. It is the largest such complex in the world. There are nine telescopes working in the visible and infrared spectrum, three in the submillimeter spectrum, and one in the radio spectrum, with mirrors or dishes ranging from 0.9 m (3.0 ft) to 25 m (82 ft).[55] In comparison, the Hubble Space Telescope has a 2.4 m (7.9 ft) mirror, similar in size to the UH88, now the second smallest telescope on the mountain.[55] Planned new telescopes, including Pan-STARRS and the enormous Thirty Meter Telescope, have attracted controversy due to their potential cultural and ecological impact. They are expected to replace older facilities on the summit rather than breaking new ground;[56][57] the multi-telescope "outrigger" extension to the Keck telescopes, which required new sites, was denied its construction permit in 2006.[58]
Climate
Climate data for Mauna Kea Observatory, Elevation: 13,800ft (4,205m)
Month Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec Year
Record high °F (°C) 55
(12.8) 56
(13.3) 54
(12.2) 55
(12.8) 59
(15) 58
(14.4) 75
(23.9) 57
(13.9) 60
(15.6) 59
(15) 54
(12.2) 55
(12.8) 75
(23.9)
Average high °F (°C) 42.0
(5.56) 42.5
(5.83) 40.3
(4.61) 41.4
(5.22) 47.5
(8.61) 49.3
(9.61) 50.9
(10.5) 49.9
(9.94) 50.5
(10.28) 43.8
(6.56) 45.1
(7.28) 42.7
(5.94) 46.0
(7.78)
Average low °F (°C) 26.3
(-3.17) 26.1
(-3.28) 24.9
(-3.94) 26.2
(-3.22) 29.0
(-1.67) 29.4
(-1.44) 30.3
(-0.94) 30.9
(-0.61) 31.3
(-0.39) 29.5
(-1.39) 27.8
(-2.33) 27.6
(-2.44) 28.4
(-2)
Record low °F (°C) 19
(-7.2) 12
(-11.1) 18
(-7.8) 18
(-7.8) 12
(-11.1) 23
(-5) 22
(-5.6) 17
(-8.3) 23
(-5) 20
(-6.7) 20
(-6.7) 17
(-8.3) 12
(-11.1)
Precipitation inches (mm) 0.80
(20.3) 0.24
(6.1) 1.05
(26.7) 0.50
(12.7) 0.92
(23.4) 0.14
(3.6) 0.29
(7.4) 0.77
(19.6) 0.51
(13) 0.58
(14.7) 1.04
(26.4) 0.52
(13.2) 7.36
(186.9)
Source: www.wrcc.dri.edu/ [59]
Recreation
Mauna Kea as seen from the Saddle Road
Mauna Kea on the left, Mauna Loa behind Hualālai on right
Mauna Kea's coastline is dominated by the Hamakua Coast, an area of rugged terrain created by frequent slumps and landslides on the volcano's flank.[60] The area includes several recreation parks including Kalopa State Recreation Area, Wailuku River State Park and Akaka Falls State Park.[61]
There are over 3,000 registered hunters on Hawaii island, and hunting, for both recreation and sustenance, is a common activity on Mauna Kea. A public hunting program is used to control the numbers of introduced animals including pigs, sheep, goats, turkey, pheasants, and quail.[4][35] The Mauna Kea State Recreation Area functions as a base camp for the sport.[37] Birdwatching is also common at lower levels on the mountain.[52] A popular site is Kīpuka Pu'u Huluhulu, a kīpuka on Mauna Kea's flank that formed when lava flows isolated the forest on a hill.[62]
Mauna Kea's great elevation and the steepness of its flanks provide a better view and a shorter hike than the adjacent Mauna Loa. The high elevation with its risk of altitude sickness, weather concerns, steep road grade, and overall inaccessibility make the volcano dangerous and summit trips difficult. Until the construction of roads in the mid-20th century, only the hardy visited Mauna Kea's upper slopes; hunters tracked game animals, and hikers traveled up the mountain. These travelers used stone cabins constructed by the Civilian Conservation Corps in the 1930s as base camps, and it is from these facilities that the modern mid-level Onizuka Center for International Astronomy telescope support complex is derived. The first Mauna Kea summit road was built in 1964, making the peak itself accessible to larger numbers of people.[37]
Today, multiple hiking trails exist, including the Mauna Kea Trail, and by 2007 over 100,000 tourists and 32,000 vehicles were going each year to the Visitor Information Station adjacent to the Onizuka Center for International Astronomy. The Mauna Kea Access Road is paved up to the Center at 2,804 m (9,199 ft).[4] One study reported that around a third of visitors and two thirds of professional astronomers working on the mountain have experienced symptoms of acute altitude sickness;[63] visitors traveling up the volcano's flanks are advised to stop for at least half an hour and preferably longer at the visitor center to acclimate to the higher elevation. Driving all the way to the top requires a four-wheel drive vehicle, and brakes often overheat on the way down.[64] Between 5,000 and 6,000 people visit the summit of Mauna Kea each year, and to help ensure safety, and protect the integrity of the mountain, a ranger program was implemented in 2001.[4]
Because of snow cover in January and February, Mauna Kea can occasionally be skied. There are no facilities,[4] and winds can reach speeds of 80–110 km/h (50–68 mph),[33] but skiing remains a common pastime for some island residents. The most popular location is the Poi Bowl, just east of the Caltech Submillimeter Observatory,[4] where competitions are held once or twice a year, depending on weather conditions.[37]
Doors and windows.
The Royal Ontario Museum (ROM).
Restriction: Should not be in any reflection. To confirm, I have checked 4 times and I am not in any of those reflections!
WIT: Pretty much as is, I just made the blue sky even bluer to give it a bit more of a surreal feel. Apart from that, it is just as it was in-camera.
The Flickr Lounge: Blue theme
Pampers active baby are now made with Comfort. With it’s soft leg cuffs and a pillowy soft backsheet, it comforts your baby like never before and provides a wonderful cosy feeling on his delicate skin.Pampers New Baby absorbs both newborns’ wee and even poo to help newborns feel as comfortable as possible.
HMS ACTIVE F171
Class……………………………Type 21 Frigate
Builder………………………..Vosper Thornycroft Ltd., Southampton , Woolston yard
Yard number……………….4233
Laid down..………………….21 July 1971
Launched….…………………23 November 1972
Completed.………………….19 June 1977
Propulsion.…………………..2 shafts : COGOG system: 2 Rolls-Royce Olympus TM3B gas turbines (30 knots max) + 2 Rolls-Royce Tyne RM1A gas turbines (17 knots max)
Speed..…………………………30 knots
Range…………………………..4000 nm at 17 knots / 1200 nm at 30 knots
Fate
•23 September 1994: Decommissioned by RN
•23 September 1994: Transferred to Pakistan and renamed SHAH JAHAN
•12 January 2021: Torpedoed and sunk as a target during a live-firing drill in the Arabian Sea.
HMS ACTIVE on 31 July 1990 at Devonport, Plymouth
Maker: W.I. Lincoln Adams (1865-1946)
Born: USA
Active: USA
Medium: periodical
Size: 9" x 11 3/4"
Location:
Object No. 2016.837
Shelf: PER-1890
Publication: The Photographic Times, Vol XX, 1890
Other Collections:
Provenance:
Notes: THE PHOTOGRAPHIC TIMES was first published in 1871 as a supplement of THE PHILADELPHIA PHOTOGRAPHER. It absorbed THE AMERICAN PHOTOGRAPHER in 1879 to become THE PHOTOGRAPHIC TIMES AND AMERICAN PHOTOGRAPHER. In 1902, it merged with ANTHONY'S BULLETIN to form THE PHOTOGRAPHIC TIMES BULLETIN. Initially, this journal was geared to the professional photographer as would be expected, since it was published by the Scovil Manufacturing Co.; the articles mirrored their concerns. Reviews and reports from photographic societies were a regular feature. First edited by Edward Wilson, the editorship transferred to John Thraill Taylor, who enlarged the scope in 1880, when it became THE PHOTOGRAPHIC TIMES AND AMERICAN PHOTOGRAPHER.(Source: Andrew Cahan Bookseller)
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
The Parish Church of All Saints' in Ilkley in West Yorkshire, England is an active Anglican parish church in the archdeaconry of Bradford and the Diocese of Leeds.
The church is built on the site of a Roman fort, two Roman altars have been discovered in 1925 built into the tower. Three 8th-century Anglo-Saxon stone crosses, now incomplete, used to be in the churchyard but are now inside, below the tower. The earliest part of the church is the 13th century south doorway. The nave of the church dates back to the 14th century while the tower is of 15th century construction. The church was extended and restored between 1860 and 1861 by Bradford architects Mallinson & Healey. The vestry was extended in 1927 which was subsequently converted into a war memorial chapel following the Second World War. The church was grade II* listed on 18 July 1949.
The church is largely of a Tudor-Gothic style, with 15th and 16th-century work in essentially the same style. The church has a three-stage perpendicular tower with diagonal buttresses and a clock on the south face. The nave has four bays and five light clerestory windows on the south side and four-light windows dating from 1880 on the north.
The church's four-bay arcades have octagonal piers. The church is stone-tiled, the chancel has mosaic tiles and the walls are exposed stone. The church has an undecorated medieval tub font on a 19th-century pedestal. The pulpit dates from 1889 and of a square wooden form with centre panels with depictions of Jesus and the disciples.
en.wikipedia.org/wiki/All_Saints%27_Parish_Church,_Ilkley...
Caption: The sloth bear cub sleeping in a specially designed play area.
Photo: Smithsonian's National Zoo
The decision for keepers at the Smithsonian’s National Zoo to hand-raise a female sloth bear cub instead of leaving her with her mother Khali likely saved her life. She is now very active and growing as the result of the round-the-clock care she has received for the past two-and-a-half months.
The cub was one of three cubs born to Khali Dec. 29, 2013, and she is the only cub that survived longer than seven days. Khali ingested the first cub about 20 minutes after she gave birth Dec. 29. It is not uncommon for carnivores, including sloth bears, to ingest stillborn cubs, or even live cubs if they or the mother are compromised in some way. Khali, an experienced mom, appeared attentive to her two remaining cubs, and keepers monitored her closely via closed-circuit cams before, during and after the births. However, she ingested a second cub seven days later and spent several hours away from her remaining cub in the early morning hours of Jan. 6, which is not normal for a sloth bear with a newborn cub.
“Our team is always prepared to intervene and hand-rear a cub if it appears that a cub is not thriving,” said Tony Barthel, curator of Asia Trail. “We already had developed a plan for hand-rearing before Khali gave birth, and our ability to act quickly was critical.”
At that point, keepers decided the only way the remaining cub would likely survive was to retrieve her from Khali’s den. Keepers rushed the cub to the veterinary hospital around 7:30 a.m. Veterinarians examined her and determined that she was hypothermic and weak. Khali had not been cradling her, which would have regulated the cub’s temperature and kept her warm. Veterinarians treated her with antibiotics, vitamins and fluid therapy. They also placed her in an incubator to help stabilize her body temperature. By 9 a.m. she was nursing from a bottle. For the next several days she was bottle-fed eight times each day. The cub was healthy enough to leave the veterinary hospital Jan. 9 and was returned to the sloth bear habitat, but keepers could not return her to her mother.
Keepers searched for other sloth bear cubs, or different bear species cubs, currently being hand-raised at other Association of Zoos and Aquariums accredited institutions, but were unable to find any. Instead, a team of National Zoo keepers, veterinarians and nutritionists immediately stepped up as surrogates for the cub.
“Carrying the cub around for hours at a time gave us a unique opportunity to bond with her,” said Stacey Tabellario, animal keeper. “We quickly became in-tune with her vocalizations, movements and sleep patterns. With past cubs at this stage, we mostly only viewed them via closed-circuit television, so this has been a great chance to learn more about cub development.”
Keepers stay with the cub 24 hours a day and bottle feed her at regular intervals. After the cub first returned to the sloth bear habitat, keepers bottle-fed her seven times each day, but that was gradually reduced to six and now five times each day.
When the cub’s eyes opened Jan. 26, keepers started to increase their level of interaction with her to provide her with the social stimulation she needed. Sloth bear cubs stay with their mothers for about three years. As newborns they are cradled by their mothers, and as they grow they ride on their mothers’ backs. To simulate those types of interactions, the keepers initially carried the cub in a baby sling with them during their daily routines. Now that she is a little bigger, keepers play with the cub in her den or in a specially designated play area to encourage natural behaviors like climbing.
“It is always preferable for cubs to be raised by their mothers, but that was not possible this time,” said keeper and sloth bear expert Mindy Babitz. “We had to become this cub’s ‘mothers.’ We are caring for her needs around the clock—not just physical, but social, cognitive and emotional needs; it’s very encouraging to watch her develop and grow.”
The sloth bear team would like her to interact with other sloth bears. In the coming weeks keepers will allow the cub to explore the indoor dens of the Zoo’s adult sloth bears while they are outside. They plan to visually introduce her to the adults over the next few months. If the gradual introductions go well, the cub may eventually be reintroduced to Khali, or introduced to her father François for companionship. The cub will likely not be on exhibit until summer.
Khali has successfully raised two cubs, born in 2004, before. She gave birth to another cub in 2002, but the cub only survived for about one month. François, the Zoo’s adult male sloth bear, sired the cubs born Dec. 29, 2013. Khali is only the second sloth bear to give birth to a litter of three cubs in North America.
Biennalist
Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.
About artist Thierry Geoffroy/Colonel:
en.wikipedia.org/wiki/Thierry_Geoffroy
en.wikipedia.org/wiki/Emergency_Room_(art)
www.emergencyrooms.org/formats.html
Biennalist :
Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.
-------------------------------------------
links about Biennalist :
Thierry Geoffroy/Colonel:
en.wikipedia.org/wiki/Thierry_Geoffroy
en.wikipedia.org/wiki/Emergency_Room_(art)
www.emergencyrooms.org/formats.html
—--Biennale from wikipedia —--
The Venice International Film Festival is part of the Venice Biennale. The famous Golden Lion is awarded to the best film screening at the competition.
Biennale (Italian: [bi.enˈnaːle]), Italian for "biennial" or "every other year", is any event that happens every two years. It is most commonly used within the art world to describe large-scale international contemporary art exhibitions. As such the term was popularised by Venice Biennale, which was first held in 1895. Since the 1990s, the terms "biennale" and "biennial" have been interchangeably used in a more generic way - to signify a large-scale international survey show of contemporary art that recurs at regular intervals but not necessarily biannual (such as triennials, Documenta, Skulptur Projekte Münster).[1] The phrase has also been used for other artistic events, such as the "Biennale de Paris", "Kochi-Muziris Biennale", Berlinale (for the Berlin International Film Festival) and Viennale (for Vienna's international film festival).
Characteristics[edit]
According to author Federica Martini, what is at stake in contemporary biennales is the diplomatic/international relations potential as well as urban regeneration plans. Besides being mainly focused on the present (the “here and now” where the cultural event takes place and their effect of "spectacularisation of the everyday"), because of their site-specificity cultural events may refer back to,[who?] produce or frame the history of the site and communities' collective memory.[2]
The Great Exhibition in The Crystal Palace in Hyde Park, London, in 1851, the first attempt to condense the representation of the world within a unitary exhibition space.
A strong and influent symbol of biennales and of large-scale international exhibitions in general is the Crystal Palace, the gigantic and futuristic London architecture that hosted the Great Exhibition in 1851. According to philosopher Peter Sloterdijk,[3][page needed] the Crystal Palace is the first attempt to condense the representation of the world in a unitary exhibition space, where the main exhibit is society itself in an a-historical, spectacular condition. The Crystal Palace main motives were the affirmation of British economic and national leadership and the creation of moments of spectacle. In this respect, 19th century World fairs provided a visual crystallization of colonial culture and were, at the same time, forerunners of contemporary theme parks.
The Venice Biennale as an archetype[edit]
The structure of the Venice Biennale in 2005 with an international exhibition and the national pavilions.
The Venice Biennale, a periodical large-scale cultural event founded in 1895, served as an archetype of the biennales. Meant to become a World Fair focused on contemporary art, the Venice Biennale used as a pretext the wedding anniversary of the Italian king and followed up to several national exhibitions organised after Italy unification in 1861. The Biennale immediately put forth issues of city marketing, cultural tourism and urban regeneration, as it was meant to reposition Venice on the international cultural map after the crisis due to the end of the Grand Tour model and the weakening of the Venetian school of painting. Furthermore, the Gardens where the Biennale takes place were an abandoned city area that needed to be re-functionalised. In cultural terms, the Biennale was meant to provide on a biennial basis a platform for discussing contemporary art practices that were not represented in fine arts museums at the time. The early Biennale model already included some key points that are still constitutive of large-scale international art exhibitions today: a mix of city marketing, internationalism, gentrification issues and destination culture, and the spectacular, large scale of the event.
Biennials after the 1990s[edit]
The situation of biennials has changed in the contemporary context: while at its origin in 1895 Venice was a unique cultural event, but since the 1990s hundreds of biennials have been organized across the globe. Given the ephemeral and irregular nature of some biennials, there is little consensus on the exact number of biennials in existence at any given time.[citation needed] Furthermore, while Venice was a unique agent in the presentation of contemporary art, since the 1960s several museums devoted to contemporary art are exhibiting the contemporary scene on a regular basis. Another point of difference concerns 19th century internationalism in the arts, that was brought into question by post-colonial debates and criticism of the contemporary art “ethnic marketing”, and also challenged the Venetian and World Fair’s national representation system. As a consequence of this, Eurocentric tendency to implode the whole word in an exhibition space, which characterises both the Crystal Palace and the Venice Biennale, is affected by the expansion of the artistic geographical map to scenes traditionally considered as marginal. The birth of the Havana Biennial in 1984 is widely considered an important counterpoint to the Venetian model for its prioritization of artists working in the Global South and curatorial rejection of the national pavilion model.
International biennales[edit]
In the term's most commonly used context of major recurrent art exhibitions:
Adelaide Biennial of Australian Art, South Australia
Asian Art Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Athens Biennale, in Athens, Greece
Bienal de Arte Paiz, in Guatemala City, Guatemala[4]
Arts in Marrakech (AiM) International Biennale (Arts in Marrakech Festival)
Bamako Encounters, a biennale of photography in Mali
Bat-Yam International Biennale of Landscape Urbanism
Beijing Biennale
Berlin Biennale (contemporary art biennale, to be distinguished from Berlinale, which is a film festival)
Bergen Assembly (triennial for contemporary art in Bergen, Norway)www.bergenassembly.no
Bi-City Biennale of Urbanism\Architecture, in Shenzhen and Hong Kong, China
Bienal de Arte de Ponce in Ponce, Puerto Rico
Biënnale van België, Biennial of Belgium, Belgium
BiennaleOnline Online biennial exhibition of contemporary art from the most promising emerging artists.
Biennial of Hawaii Artists
Biennale de la Biche, the smallest biennale in the world held at deserted island near Guadeloupe, French overseas region[5][6]
Biwako Biennale [ja], in Shiga, Japan
La Biennale de Montreal
Biennale of Luanda : Pan-African Forum for the Culture of Peace,[7] Angola
Boom Festival, international music and culture festival in Idanha-a-Nova, Portugal
Bucharest Biennale in Bucharest, Romania
Bushwick Biennial, in Bushwick, Brooklyn, New York
Canakkale Biennial, in Canakkale, Turkey
Cerveira International Art Biennial, Vila Nova de Cerveira, Portugal [8]
Changwon Sculpture Biennale in Changwon, South Korea
Dakar Biennale, also called Dak'Art, biennale in Dakar, Senegal
Documenta, contemporary art exhibition held every five years in Kassel, Germany
Estuaire (biennale), biennale in Nantes and Saint-Nazaire, France
EVA International, biennial in Limerick, Republic of Ireland
Göteborg International Biennial for Contemporary Art, in Gothenburg, Sweden[9]
Greater Taipei Contemporary Art Biennial, in Taipei, Taiwan
Gwangju Biennale, Asia's first and most prestigious contemporary art biennale
Havana biennial, in Havana, Cuba
Helsinki Biennial, in Helsinki, Finland
Herzliya Biennial For Contemporary Art, in Herzliya, Israel
Incheon Women Artists' Biennale, in Incheon, South Korea
Iowa Biennial, in Iowa, USA
Istanbul Biennial, in Istanbul, Turkey
International Roaming Biennial of Tehran, in Tehran and Istanbul
Jakarta Biennale, in Jakarta, Indonesia
Jerusalem Biennale, in Jerusalem, Israel
Jogja Biennale, in Yogyakarta, Indonesia
Karachi Biennale, in Karachi, Pakistan
Keelung Harbor Biennale, in Keelung, Taiwan
Kochi-Muziris Biennale, largest art exhibition in India, in Kochi, Kerala, India
Kortrijk Design Biennale Interieur, in Kortrijk, Belgium
Kobe Biennale, in Japan
Kuandu Biennale, in Taipei, Taiwan
Lagos Biennial, in Lagos, Nigeria[10]
Light Art Biennale Austria, in Austria
Liverpool Biennial, in Liverpool, UK
Lofoten International Art Festival [no] (LIAF), on the Lofoten archipelago, Norway[11]
Manifesta, European Biennale of contemporary art in different European cities
Mediations Biennale, in Poznań, Poland
Melbourne International Biennial 1999
Mediterranean Biennale in Sakhnin 2013
MOMENTA Biennale de l'image [fr] (formerly known as Le Mois de la Photo à Montréal), in Montreal, Canada
MOMENTUM [no], in Moss, Norway[12]
Moscow Biennale, in Moscow, Russia
Munich Biennale, new opera and music-theatre in even-numbered years
Mykonos Biennale
Nakanojo Biennale[13]
NGV Triennial, contemporary art exhibition held every three years at the National Gallery of Victoria, Melbourne, Australia
October Salon – Belgrade Biennale [sr], organised by the Cultural Center of Belgrade [sr], in Belgrade, Serbia[14]
OSTEN Biennial of Drawing Skopje, North Macedonia[15]
Biennale de Paris
Riga International Biennial of Contemporary Art (RIBOCA), in Riga, Latvia[16]
São Paulo Art Biennial, in São Paulo, Brazil
SCAPE Public Art Christchurch Biennial in Christchurch, New Zealand[17]
Prospect New Orleans
Seoul Biennale of Architecture and Urbanism
Sequences, in Reykjavík, Iceland[18]
Shanghai Biennale
Sharjah Biennale, in Sharjah, UAE
Singapore Biennale, held in various locations across the city-state island of Singapore
Screen City Biennial, in Stavanger, Norway
Biennale of Sydney
Taipei Biennale, in Taipei, Taiwan
Taiwan Arts Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Taiwan Film Biennale, in Hammer Museum, Los Angeles, U.S.A.
Thessaloniki Biennale of Contemporary Art [el], in Thessaloniki, Greece[19]
Dream city, produced by ART Rue Association in Tunisia
Vancouver Biennale
Visayas Islands Visual Arts Exhibition and Conference (VIVA ExCon) in the Philippines [20]
Venice Biennale, in Venice, Italy, which includes:
Venice Biennale of Contemporary Art
Venice Biennale of Architecture
Venice Film Festival
Vladivostok biennale of Visual Arts, in Vladivostok, Russia
Whitney Biennial, hosted by the Whitney Museum of American Art, in New York City, NY, USA
Web Biennial, produced with teams from Athens, Berlin and Istanbul.
West Africa Architecture Biennale,[21] Virtual in Lagos, Nigeria.
WRO Biennale, in Wrocław, Poland[22]
Music Biennale Zagreb
[SHIFT:ibpcpa] The International Biennale of Performance, Collaborative and Participatory Arts, Nomadic, International, Scotland, UK.
—---Venice Biennale from wikipedia —
The Venice Biennale (/ˌbiːɛˈnɑːleɪ, -li/; Italian: La Biennale di Venezia) is an international cultural exhibition hosted annually in Venice, Italy by the Biennale Foundation.[2][3][4] The biennale has been organised every year since 1895, which makes it the oldest of its kind. The main exhibition held in Castello, in the halls of the Arsenale and Biennale Gardens, alternates between art and architecture (hence the name biennale; biennial).[5][6][7] The other events hosted by the Foundation—spanning theatre, music, and dance—are held annually in various parts of Venice, whereas the Venice Film Festival takes place at the Lido.[8]
Organization[edit]
Art Biennale
Art Biennale
International Art Exhibition
1895
Even-numbered years (since 2022)
Venice Biennale of Architecture
International Architecture Exhibition
1980
Odd-numbered years (since 2021)
Biennale Musica
International Festival of Contemporary Music
1930
Annually (Sep/Oct)
Biennale Teatro
International Theatre Festival
1934
Annually (Jul/Aug)
Venice Film Festival
Venice International Film Festival
1932
Annually (Aug/Sep)
Venice Dance Biennale
International Festival of Contemporary Dance
1999
Annually (June; biennially 2010–16)
International Kids' Carnival
2009
Annually (during Carnevale)
History
1895–1947
On April 19, 1893, the Venetian City Council passed a resolution to set up an biennial exhibition of Italian Art ("Esposizione biennale artistica nazionale") to celebrate the silver anniversary of King Umberto I and Margherita of Savoy.[11]
A year later, the council decreed "to adopt a 'by invitation' system; to reserve a section of the Exhibition for foreign artists too; to admit works by uninvited Italian artists, as selected by a jury."[12]
The first Biennale, "I Esposizione Internazionale d'Arte della Città di Venezia (1st International Art Exhibition of the City of Venice)" (although originally scheduled for April 22, 1894) was opened on April 30, 1895, by the Italian King and Queen, Umberto I and Margherita di Savoia. The first exhibition was seen by 224,000 visitors.
The event became increasingly international in the first decades of the 20th century: from 1907 on, several countries installed national pavilions at the exhibition, with the first being from Belgium. In 1910 the first internationally well-known artists were displayed: a room dedicated to Gustav Klimt, a one-man show for Renoir, a retrospective of Courbet. A work by Picasso "Family of Saltimbanques" was removed from the Spanish salon in the central Palazzo because it was feared that its novelty might shock the public. By 1914 seven pavilions had been established: Belgium (1907), Hungary (1909), Germany (1909), Great Britain (1909), France (1912), and Russia (1914).
During World War I, the 1916 and 1918 events were cancelled.[13] In 1920 the post of mayor of Venice and president of the Biennale was split. The new secretary general, Vittorio Pica brought about the first presence of avant-garde art, notably Impressionists and Post-Impressionists.
1922 saw an exhibition of sculpture by African artists. Between the two World Wars, many important modern artists had their work exhibited there. In 1928 the Istituto Storico d'Arte Contemporanea (Historical Institute of Contemporary Art) opened, which was the first nucleus of archival collections of the Biennale. In 1930 its name was changed into Historical Archive of Contemporary Art.
In 1930, the Biennale was transformed into an Ente Autonomo (Autonomous Board) by Royal Decree with law no. 33 of 13-1-1930. Subsequently, the control of the Biennale passed from the Venice city council to the national Fascist government under Benito Mussolini. This brought on a restructuring, an associated financial boost, as well as a new president, Count Giuseppe Volpi di Misurata. Three entirely new events were established, including the Biennale Musica in 1930, also referred to as International Festival of Contemporary Music; the Venice Film Festival in 1932, which they claim as the first film festival in history,[14] also referred to as Venice International Film Festival; and the Biennale Theatro in 1934, also referred to as International Theatre Festival.
In 1933 the Biennale organized an exhibition of Italian art abroad. From 1938, Grand Prizes were awarded in the art exhibition section.
During World War II, the activities of the Biennale were interrupted: 1942 saw the last edition of the events. The Film Festival restarted in 1946, the Music and Theatre festivals were resumed in 1947, and the Art Exhibition in 1948.[15]
1948–1973[edit]
The Art Biennale was resumed in 1948 with a major exhibition of a recapitulatory nature. The Secretary General, art historian Rodolfo Pallucchini, started with the Impressionists and many protagonists of contemporary art including Chagall, Klee, Braque, Delvaux, Ensor, and Magritte, as well as a retrospective of Picasso's work. Peggy Guggenheim was invited to exhibit her collection, later to be permanently housed at Ca' Venier dei Leoni.
1949 saw the beginning of renewed attention to avant-garde movements in European—and later worldwide—movements in contemporary art. Abstract expressionism was introduced in the 1950s, and the Biennale is credited with importing Pop Art into the canon of art history by awarding the top prize to Robert Rauschenberg in 1964.[16] From 1948 to 1972, Italian architect Carlo Scarpa did a series of remarkable interventions in the Biennale's exhibition spaces.
In 1954 the island San Giorgio Maggiore provided the venue for the first Japanese Noh theatre shows in Europe. 1956 saw the selection of films following an artistic selection and no longer based upon the designation of the participating country. The 1957 Golden Lion went to Satyajit Ray's Aparajito which introduced Indian cinema to the West.
1962 included Arte Informale at the Art Exhibition with Jean Fautrier, Hans Hartung, Emilio Vedova, and Pietro Consagra. The 1964 Art Exhibition introduced continental Europe to Pop Art (The Independent Group had been founded in Britain in 1952). The American Robert Rauschenberg was the first American artist to win the Gran Premio, and the youngest to date.
The student protests of 1968 also marked a crisis for the Biennale. Student protests hindered the opening of the Biennale. A resulting period of institutional changes opened and ending with a new Statute in 1973. In 1969, following the protests, the Grand Prizes were abandoned. These resumed in 1980 for the Mostra del Cinema and in 1986 for the Art Exhibition.[17]
In 1972, for the first time, a theme was adopted by the Biennale, called "Opera o comportamento" ("Work or Behaviour").
Starting from 1973 the Music Festival was no longer held annually. During the year in which the Mostra del Cinema was not held, there was a series of "Giornate del cinema italiano" (Days of Italian Cinema) promoted by sectorial bodies in campo Santa Margherita, in Venice.[18]
1974–1998[edit]
1974 saw the start of the four-year presidency of Carlo Ripa di Meana. The International Art Exhibition was not held (until it was resumed in 1976). Theatre and cinema events were held in October 1974 and 1975 under the title Libertà per il Cile (Freedom for Chile)—a major cultural protest against the dictatorship of Augusto Pinochet.
On 15 November 1977, the so-called Dissident Biennale (in reference to the dissident movement in the USSR) opened. Because of the ensuing controversies within the Italian left wing parties, president Ripa di Meana resigned at the end of the year.[19]
In 1979 the new presidency of Giuseppe Galasso (1979-1982) began. The principle was laid down whereby each of the artistic sectors was to have a permanent director to organise its activity.
In 1980, the Architecture section of the Biennale was set up. The director, Paolo Portoghesi, opened the Corderie dell'Arsenale to the public for the first time. At the Mostra del Cinema, the awards were brought back into being (between 1969 and 1979, the editions were non-competitive). In 1980, Achille Bonito Oliva and Harald Szeemann introduced "Aperto", a section of the exhibition designed to explore emerging art. Italian art historian Giovanni Carandente directed the 1988 and 1990 editions. A three-year gap was left afterwards to make sure that the 1995 edition would coincide with the 100th anniversary of the Biennale.[13]
The 1993 edition was directed by Achille Bonito Oliva. In 1995, Jean Clair was appointed to be the Biennale's first non-Italian director of visual arts[20] while Germano Celant served as director in 1997.
For the Centenary in 1995, the Biennale promoted events in every sector of its activity: the 34th Festival del Teatro, the 46th art exhibition, the 46th Festival di Musica, the 52nd Mostra del Cinema.[21]
1999–present[edit]
In 1999 and 2001, Harald Szeemann directed two editions in a row (48th & 49th) bringing in a larger representation of artists from Asia and Eastern Europe and more young artists than usual and expanded the show into several newly restored spaces of the Arsenale.
In 1999 a new sector was created for live shows: DMT (Dance Music Theatre).
The 50th edition, 2003, directed by Francesco Bonami, had a record number of seven co-curators involved, including Hans Ulrich Obrist, Catherine David, Igor Zabel, Hou Hanru and Massimiliano Gioni.
The 51st edition of the Biennale opened in June 2005, curated, for the first time by two women, Maria de Corral and Rosa Martinez. De Corral organized "The Experience of Art" which included 41 artists, from past masters to younger figures. Rosa Martinez took over the Arsenale with "Always a Little Further." Drawing on "the myth of the romantic traveler" her exhibition involved 49 artists, ranging from the elegant to the profane.
In 2007, Robert Storr became the first director from the United States to curate the Biennale (the 52nd), with a show entitled Think with the Senses – Feel with the Mind. Art in the Present Tense.
Swedish curator Daniel Birnbaum was artistic director of the 2009 edition entitled "Fare Mondi // Making Worlds".
The 2011 edition was curated by Swiss curator Bice Curiger entitled "ILLUMInazioni – ILLUMInations".
The Biennale in 2013 was curated by the Italian Massimiliano Gioni. His title and theme, Il Palazzo Enciclopedico / The Encyclopedic Palace, was adopted from an architectural model by the self-taught Italian-American artist Marino Auriti. Auriti's work, The Encyclopedic Palace of the World was lent by the American Folk Art Museum and exhibited in the first room of the Arsenale for the duration of the biennale. For Gioni, Auriti's work, "meant to house all worldly knowledge, bringing together the greatest discoveries of the human race, from the wheel to the satellite," provided an analogous figure for the "biennale model itself...based on the impossible desire to concentrate the infinite worlds of contemporary art in a single place: a task that now seems as dizzyingly absurd as Auriti's dream."[22]
Curator Okwui Enwezor was responsible for the 2015 edition.[23] He was the first African-born curator of the biennial. As a catalyst for imagining different ways of imagining multiple desires and futures Enwezor commissioned special projects and programs throughout the Biennale in the Giardini. This included a Creative Time Summit, e-flux journal's SUPERCOMMUNITY, Gulf Labor Coalition, The Invisible Borders Trans-African Project and Abounaddara.[24][25]
The 2017 Biennale, titled Viva Arte Viva, was directed by French curator Christine Macel who called it an "exhibition inspired by humanism".[26] German artist Franz Erhard Walter won the Golden Lion for best artist, while Carolee Schneemann was awarded a posthumous Golden Lion for Lifetime Achievement.[27]
The 2019 Biennale, titled May You Live In Interesting Times, was directed by American-born curator Ralph Rugoff.[28]
The 2022 edition was curated by Italian curator Cecilia Alemani entitled "The Milk of Dreams" after a book by British-born Mexican surrealist painter Leonora Carrington.[29]
The Biennale has an attendance today of over 500,000 visitors.[30][31][32]
Role in the art market[edit]
When the Venice Biennale was founded in 1895, one of its main goals was to establish a new market for contemporary art. Between 1942 and 1968 a sales office assisted artists in finding clients and selling their work,[33] a service for which it charged 10% commission. Sales remained an intrinsic part of the biennale until 1968, when a sales ban was enacted. An important practical reason why the focus on non-commodities has failed to decouple Venice from the market is that the biennale itself lacks the funds to produce, ship and install these large-scale works. Therefore, the financial involvement of dealers is widely regarded as indispensable;[16] as they regularly front the funding for production of ambitious projects.[34] Furthermore, every other year the Venice Biennale coincides with nearby Art Basel, the world's prime commercial fair for modern and contemporary art. Numerous galleries with artists on show in Venice usually bring work by the same artists to Basel.[35]
Central Pavilion and Arsenale[edit]
The formal Biennale is based at a park, the Giardini. The Giardini includes a large exhibition hall that houses a themed exhibition curated by the Biennale's director.
Initiated in 1980, the Aperto began as a fringe event for younger artists and artists of a national origin not represented by the permanent national pavilions. This is usually staged in the Arsenale and has become part of the formal biennale programme. In 1995 there was no Aperto so a number of participating countries hired venues to show exhibitions of emerging artists. From 1999, both the international exhibition and the Aperto were held as one exhibition, held both at the Central Pavilion and the Arsenale. Also in 1999, a $1 million renovation transformed the Arsenale area into a cluster of renovated shipyards, sheds and warehouses, more than doubling the Arsenale's exhibition space of previous years.[36]
A special edition of the 54th Biennale was held at Padiglione Italia of Torino Esposizioni – Sala Nervi (December 2011 – February 2012) for the 150th Anniversary of Italian Unification. The event was directed by Vittorio Sgarbi
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Unidentified
EVIDENCE
Provenance evidence: Inscription
Location in book: Inside Back Cover
Transcription: Ptolemaeus, Claudius/Incun. 1478 .P855 Rosenwald Coll
COPY
Repository: Library of Congress
Call number: Incun. 1478 .P855 Rosenwald Coll
Collection: Rosenwald Collection
Copy title: Geographia. Latin/Cosmographia/Claudii Ptholemei Alexandrini philosophi Cosmographia.
Author(s): Ptolemy, active 2nd century.
Published: Rome, 10 Oct. (VI Idus Octobris) 1478.
Printer/Publisher: Arnoldus Buckinck
FIND IN POP
Incun. 1478 .P855 Rosenwald Coll
The active pool in the Ft. Worth Water Gardens. The park reopened to the public on March 4, 2007 after being shut down for nearly three years when four people drowned in 2004. While closed, the Water Gardens went through both safety and aesthetic renovation. It's beautiful and the sound is soothing -- I recommend stopping by if you're ever downtown.
(Other than cropping and white balance, this hasn't been Photoshopped.)
Ft. Worth, TX.
The Real Hong Kong Car Culture
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Pride and Prejudice: on Raphael Perez's Artwork
Raphael Perez, born in 1965, studied art at the College of Visual Arts in Beer Sheva, and from 1995 has been living and working in his studio in Tel Aviv. Today Perez plays an important role in actively promoting the LGBT (lesbian, gay, bisexual and transsexual) art and culture in Tel Aviv, and the internet portal he set up helps artists from the community reach large audiences in Israel and abroad. Hundreds of his artworks are part of private collections in Israel and abroad, and his artworks were shown in several group exhibitions: in Tel Aviv Museum of Art, "Zman Le'Omanut" art gallery, Camera Obscura, The Open House in Jerusalem, Ophir Gallery, The Haifa Forum and other private businesses and galleries.
In 2003-4 his paintings and studio appeared in a full-length movie, three student films and two graduation films.
Raphael Perez is the first Israeli artist to express his lifestyle as a Gay. His life and the life of the LGBT community are connected and unfold over hundreds of artwork pieces. His art creation is rare and extraordinary by every Israeli and international artistic standard. His sources of inspiration are first and foremost life events intertwined in Jewish and Israeli locality as well as influences and quotes from art history (David Hockney, Matisse). This uniqueness has crossed international borders and has succeeded in moving the LGBT and art communities around the world.
This is the first time we meet an Israeli artist who expresses all of his emotions in a previously unknown strength. The subjects of the paintings are the everyday life of couples in everyday places and situations, along with the aspiration to a homosexual relationship and family, equality and public recognition. Perez's works bring forward to the cultural space and to the public discourse the truth about living as LGBT and about relationships, with all of their aspects – casual relationships and sex, the yearning for love, the everyday life and the mundane activities that exist in every romantic relationship – whether by describing two men in an intimate scene in the bathroom, the bedroom or the toilet, a male couple raising a baby or the homosexual version of the Garden of Eden, family dinners, relationship ups and downs, the complexity in sharing a life as well as mundane, everyday life competing with the aspiration to self realization – through Perez's life.
Perez's first artworks are personal diaries, which he creates at 14 years of age. He makes sure to hide these diaries, as in them he keeps a personal journal describing his life events in the most genuine way. In these journals he draws thousands of drawings and sketches, next to which he alternately writes and erases his so-called "problematic texts", texts describing his struggle with his sexual orientation. His diaries are filled with obsessive cataloging of details, daily actions, friends and work, as well as repeating themes, such as thoughts, exhibits he has seen, movies, television, books and review of his work.
When he is done writing, Perez draws on his diaries. Each layer is done from beginning to end all along the journal. In fact, the work on the diaries never ends.
This struggle never ends, and when the emotion is passed on to paper, and it ends its role and becomes meaningless in a way, the visual-graphic side becomes dominant, due to the need to hide the written text, according to Perez. In books and diaries this stands out even more – when he chooses to draw in a style influenced by children's drawings, the characters are cheerful, happy, naïve and do not portray any sexuality, and when he tries drawing as an adult the sketches became more depressed and somber. During these years Perez works with preschool children, teaching them drawing and movement games. Perez says that during this period he completely abandoned the search for a relationship, either with a woman or a man, and working with children has given him existential meaning. This creation continues over 10 years, and Perez creates about 60 books-personal journals in various sizes (notepads, old notebooks, atlases and even old art books).
In his early paintings (1998-1999) the transition from relationships with women to relationships with men can be seen, from restraint to emotional outburst in color, lines and composition. Some characters display strong emotional expression. The women are usually drawn in restraint and passiveness, while a happy and loving emotional outburst is expressed in the colors and style of the male paintings.
"I fantasized that in a relationship with a woman I could fly in the sky, love, fly. However, I felt I was hiding something; I was choked up, hidden behind a mask, as if there was an internal scream wanting to come out. I was frustrated, I felt threatened…"
His first romance with a man in 1999 has drawn out a series of naïve paintings dealing with love and the excitement of performing everyday actions together in the intimate domestic environment.
"The excitement from each everyday experience of doing things together and the togetherness was great, so I painted every possible thing I liked doing with him."
From the moment the self-oppression and repression stopped, Perez started the process of healing, which was expressed in a burst of artworks, enormous in their size, amount, content and vivid colors – red, pink and white.
In 2000 Perez starts painting the huge artworks describing the hangouts of the LGBT community (The Lake, The Pool) and the Tel Avivian balcony paintings describing the masculine world, which, according to him, becomes existent thanks to the painting. Perez has dedicated this year to many series of drawings and paintings of the experience of love, in which he describes his first love for his new partner, and during these months he paints from morning to night. These paintings are the fruit of a long dialogue with David Hockney, and the similarity can be seen both in subjects and in different gestures.
In 2001 Perez creates a series of artworks, "Portraits from The Community". Perez describes in large, photorealistic paintings over 20 portraits of active and well-known members of the LGBT community. The emphasis is on the achievements that reflect the community's strong standing in Tel Aviv.
As a Tel-Avivian painter, in the past two years Perez has been painting urban landscapes of central locations in his city. Perez wanders around the city and chooses familiar architectural and geographical landmarks, commerce and recreation, and historical sites, and paints them from a homosexual point of view, decorated with the rainbow flag, which provide a sense of belonging to the place. His artworks are characterized by a cheerful joie de vivre and colors, and they also describe encounters and meetings. The touristic nature of his paintings makes them a declaration of Tel Aviv's image as a place where cultural freedom prevails.
Perez's Tel Aviv is a city where young families and couples live and fill the streets, the parks, the beach, the houses and the balconies – all the city's spaces. The characters in his paintings are similar, which helps reinforcing the belonging to the LGBT community in Tel Aviv. The collective theme in Perez's artwork interacts with the work of the Israeli artist Yohanan Simon, who dealt with the social aspects of the Kibbutz. Simon, who lived and worked in a Kibbutz, expressed the human model of the Kibbutznik (member of a Kibbutz) and the uniqueness of the Kibbutz members as part of a group where all are equal. Simon's works, and now Perez's, have contributed to the Israeli society what is has been looking for endlessly, which is a sense of identity and belonging.
Perez maps his territory and marks his boundaries, and does not forget the historical sites. Unlike other Tel Avivian artists, Perez wishes to present the lives of the residents of the city and the great love in their hearts. By choosing the historical sites in Tel Aviv, he also pays tribute to the artist Nachum Gutman, who loved the city and lived in it his whole life. In his childhood Gutman experienced historical moments (lighting the first oil lamp, first concert, first pavement), and as an adult he recreated the uniqueness of those events while keeping the city's magic.
Like Gutman, Perez has also turned the city into an object of love, and it has started adorning itself in rich colors and supplying the energy of a city that wishes to be "the city that never sleeps", combining old and new. Perez meticulously describes the uniqueness and style of the Bauhaus houses and balconies along the modern glass and steel buildings, all from unusual angles in a rectangular format that wishes to imitate the panorama of a diverse city in its centennial celebrations.
Daniel Cahana-Levensohn, curator.
Interview with the painter Raphael Perez about his family artist book
An interview with the painter Raphael Perez about an artist's book he created about his family, the Peretz family from 6 Nissan St. Kiryat Yuval Jerusalem
Question: Raphael Perez, tell me about the family artist book you created
Answer: I created close to 40 artist books, notebooks, diaries, sketch books and huge books. I dedicated one of the books to my dear family, a book in which I took a childhood photograph of my family, my parents and brothers and sisters.. I pasted the photographs inside a book (the photograph is 10 percent of the total painting) and I drew with acrylic paints, markers and ink on the book and the photograph, so that the image of the photograph was an inspiration to me Build the story that includes page by page..
Question: Tell me when you were born, where, and a little about your family
Answer: I was born on March 4, 1965 in the Kiryat Yuval neighborhood in Jerusalem
I have a twin brother named Miki Peretz and we are seven brothers and sisters, five boys and two girls
Question: Tell us a little about your parents
Answer: My parents were new immigrants from Morocco, both immigrated young.
My mother's name before the wedding was Alice - Aliza ben Yair and my father's name was Shimon Peretz,
My mother was born in the Atlas Mountains and was orphaned at a young age and was later adopted by my father's family at the age of 10, so that my mother and father spent childhood and adolescence together....
They had a beautiful and happy relationship but sometimes when they argued my mother would say "even when she was a child she was like that..." This means that their acquaintance and relationship dates back to childhood..
Question: What did your parents Shimon and Aliza Peretz work for?
Answer: My father, Shimon Perez, born in 1928 - worked in a building in his youth and then for thirty years worked as a receptionist at Hadassah Ein Kerem Hospital in Jerusalem... My father's great love was actually art, he loved to draw as a hobby, write, read, solve crossword puzzles and research Regarding the issue of medicinal plants, as a breadwinner he could not fulfill his dream of becoming an artist, in order to support and feed seven children. But we are the next generation, his children are engaged in the world of creativity and education, a field in which both of my parents were engaged during their lives. My father died at the age of 69
My mother, Alice Aliza Perez, born in 1934, worked as an assistant to a kindergarten teacher, and later took care of a baby at home. She is a woman of wholehearted giving and caring for children and people, a warm, generous and humble woman.. and took care of us in our childhood for every emotional and physical deficiency.. My mother is right For the year 2023, the 89-year-old is partly happy and happy despite the difficulties of age.. May you have a long life..
My mother really loved gardening and nature and both of them together created a magnificent garden, my parents have a relatively large garden so they could grow many types of special and rare medicinal plants and my father even wrote a catalog (unpublished) of medicinal plants and we even had botany students come to us who were interested in the field... today they They also grow ornamental plants, and fruit trees...
Question: A book about the brothers and sisters
Answer: My elder brother David Perez repented in his mid-twenties.. He was a very sharp, opinionated, curious and very charismatic guy who brought many people back to repentance, and also helped people with problems through the yeshiva and the synagogue to return to the normal path of life, he died young at the age of 56
Hana Peretz: My lovely sister, raised eight children, worked in the field of education, a kindergarten teacher, and child care.
She has a very large extended family of grandchildren, great-grandchildren and great-great-grandchildren...
My brother Avi (Abraham) Peretz studied in Israel at the University of Philosophy and Judaism, he married a wonderful woman named Mira Drumi, a nurse by profession, and together they had three wonderful children, when they moved to the United States in their mid-twenties, where my brother Avi Peretz completed his master's degree in education, worked in the field Education and for the last twenty years is A conservative rabbi
The fourth brother is Asher Peretz - a great man of the world, very fond of traveling and has been to magical places all over the world, engaged in the creation of jewelry with two children.
I am Rafi Peretz english raphael perez the fifth and after fifteen minutes my twin brother was born
My mother still gets confused and can't remember who was born first :-)
My twin brother Miki micky - Michael Peretz, a beloved brother (everyone is beloved), a talented industrial designer, he has three children, his wife Revital Peretz Ben, who is a well-known art curator, active and responsible for the art field in Tel Aviv, they are a dynamic and talented couple, full of talents and action
The lovely little sister Shlomit Peretz - has been involved in the Bezeq telephone company for almost three decades, and is there in management positions, raising her lovely and beloved child.
The art book I dedicated to my family is colorful, rich in details, shows a very intense childhood, happy, cheerful, colorful, ... We were taught to be diligent and to be happy in our part and to see the glass half full in life, to have emotional intelligence and to put the relationship and love at the center with self-fulfillment in work that will interest you us and you will give us satisfaction.
Each of us is different in our life decisions and my family is actually a mosaic of the State of Israel that includes both religious and secular people from the entire political spectrum who understand that the secret to unity is mutual respect for each other... when my mother these days is also the family glue in everyone's gatherings on Shabbat and holidays..
The personification of the flower couple paintings by the Israeli painter Raphael Perez
Raphael Perez, also known as Rafi Peretz, is an Israeli painter who
explores his personal and sexual identity through his flower paintings. He created a series of flower paintings from 1995 to 1998, when he was in his early thirties and still in relationships with women, despite feeling gay. His flower paintings reflect his emotional turmoil and his struggle with his sexual orientation. He painted two flowers, one blooming and one wilting, to represent the contrast and conflict between his heterosexual relationships and his true self. He also painted single flowers or two flowers in their prime, to express his longing for a harmonious relationship that matches his nature. He chose sunflowers, white lilies, and red lilies as symbols of expression, purity, and joy, respectively. He painted from real flowers, using different styles and light to create drama and mood. Perez’s paintings of the flower couples are minimalist and focused on the theme of the complex relationship. He omitted any background or context, leaving only the canvas and the drawing of the flower couples. In some of the paintings, he added a very airy abstract surface with thin oil paints that give an atmosphere of watercolors. He also made drawings of flowers in ink, markers and gouache on paper. Later on, he created large acrylic paintings of flowers and still life. Perez’s flower paintings are not mere illustrations or decorations. They are autobiographical and psychological expressions of his inner state and his struggle with his sexuality. He wanted to reveal his loneliness, distress and concealment through these paintings, and to connect with people who are in a similar situation. He deliberately chose only two flowers and no more to intensify the engagement in the charged and complex relationship. Perez also painted and drew couples of men and women with charged psychological states, as well as states of desire for connection and realization of a heterosexual relationship that did not succeed. He used hyperrealism and expressive styles to convey his frozen and calculated state, as well as his mental stress. He used harsh lighting to create contrast and drama, with one side very bright and the other side darker. Perez was influenced by some of the famous artists who painted flowers, such as Van Gogh, who also used sunflowers as a symbol of expression. He also used white lilies and red lilies to convey freshness, cleanliness, purity, color, joy, movement, eruption, and splendor. Perez also painted some single flowers or two flowers in their prime, to show his aspiration for a future where he will have a harmonious relationship. Today, he is 58 years old and in a happy relationship for 10 years with his partner Assaf Henigsberg. He is surrounded by female friends and soulmates and not conflicted with heterosexual relationships as he used to be. He occasionally paints flowers in pots to symbolize home, stability, and peace. Sometimes I paint flowers in pots, which represent home, stability, and solid ground for me. I don’t paint just a couple of flowers, but pots full of flowers that overflow with life. This means that we also have a supportive network of family, friends, and peers around us. We live in a rich, supportive, and protective world. These paintings are a personification of my psychological state, when I had no words to express my feelings to myself. The painting began In 35 years of my creation (starting in 1998), you can read more about how my art and style evolved over time. Perez’s flower paintings are a unique and extraordinary artistic creation that reveals his personal journey and his sexual identity. His work is honest, expressive, and emotional, as well as beautiful and vibrant.
The characteristics of the naive painting of the painter Raphael Perez
A full interview with the Israeli painter Raphael Perez (Hebrew name: Rafi Peretz) about the ideas behind the naive painting, resume, personal biography and curriculum vitae Question: Raphael Perez Tell us about your work process as a naive painter? Answer: I choose the most iconic and famous buildings in every city and town that are architecturally interesting and have a special shape and place the iconic buildings on boulevards full of trees, bushes, vegetation, flowers. Question: How do you give depth in your naive paintings? Answer: To give depth to the painting, I build the painting with layers of vegetation, after those low famous buildings, followed by a tall avenue of trees, and behind them towers and skyscrapers, in the sky I sometimes put innocent signs of balloons, kites. A recurring motif in some of my paintings is the figure of the painter who is in the center of the boulevard and paints the entire scene unfolding in front of him, also there are two kindergarten teachers who are walking with the kindergarten children with the state flags that I paint, and loving couples hugging and kissing and family paintings of mother, father and child walking in harmony on the boulevard. Question: Raphael Perez, what characterizes your naive painting? Answer: Most naive paintings have the same characteristics (Definition as it appears in Wikipedia) • Tells a simple story to absorb from everyday life, usually with humans. • The representation of the painter's idealization to reality - the mapping of reality. • Failure to maintain perspective - especially details even in distant details. • Extensive use of repeating patterns - many details. • Warm and bright colors. • Sometimes the emphasis is on outlines. • Most of the characters are flat, lack volume • No interest in texture, expression, correct proportions • No interest in anatomy. • There is not much use of light and shade, the colors create a three-dimensional effect. I find these definitions to be valid for all my naive paintings Question: Raphael Perez, why do you choose the city of Tel Aviv? Answer: I was born in Jerusalem, the capital city which I love very much and also paint, I love the special Bauhaus buildings in Tel Aviv, the ornamental buildings that were built a century ago in the 1920s and 1930s, the beautiful boulevards, towers and modern skyscrapers give you the feeling of the hustle and bustle of a large metropolis and there are quite a few low and tall buildings that are architecturally fascinating in their form the special one Also, the move to Tel Aviv, which is the capital of culture, freedom, and secularism, allowed me to live my life as I chose, to live in a relationship with a man, Jerusalem, which is a traditional city, it is more complicated to live a homosexual life, also, the art world takes place mainly in the city of Tel Aviv, and it is possible that from a professional point of view, this allows I can support myself better in Tel Aviv than in any other city in Israel. Question: Raphael Perez, are the paintings of the city of Tel Aviv different from the paintings of the city of Jerusalem? Answer: Most of the paintings of Jerusalem have an emphasis on the color yellow, gold, the color of the old city walls, the subjects I painted in Jerusalem are mainly a type of idealization of a peaceful life between Jews and Arabs and paintings that deal with the Jewish religious world, a number of paintings depict all shades of the currents of Judaism today In contrast, the Tel Aviv paintings are more colorful, with skyscrapers, the sea, balloons and more secular motifs Question: Raphael Perez, tell me about which buildings and their architects you usually choose in your drawings of cities Answer: My favorite buildings are those that have a special shape that anyone can recognize and are the symbols of the city and you will give several examples: In the city of Tel Aviv, my favorite buildings are: the opera building with its unusual geometric shape, the Yisrotel tower with its special head, the Hail Bo Shalom tower that for years was the symbol of the tallest building in Tel Aviv, the Levin house that looks like a Japanese pagoda, the burgundy-colored Nordeau hotel with the special dome at the end of the building, A pair of Alon towers with the special structure of the sea, Bauhaus buildings typical of Tel Aviv with the special balconies and the special staircase, the Yaakov Agam fountain in Dizengoff square appears in a large part of the paintings, many towers that are in the stock exchange complex, the Aviv towers and other tall buildings on Ayalon, in some of the paintings I took plans An outline of future buildings that need to be built in the city and I drew them even before they were built in reality, In the paintings of Jerusalem, I mainly chose the area of the Old City and East Jerusalem, a painting of the walls of the Old City, the Western Wall, the Church of the Holy Sepulcher, the El Akchea Mosque, the Tower of David, most of the famous churches in the city, the right hand of Moses, in most of the paintings the Jew is wearing a blue shirt with a red male cord I was in the youth movement and the Arab with a galabia, and in the paintings of the religious public then, Jews with black suits and white shirts, tallitas, kippahs, special hats, synagogues and more I also created three paintings of the city of Haifa and one painting of Safed In the Haifa paintings I drew the university, the Technion, the famous Egged Tower, the Sail Tower, well-known hotels, of course the Baha'i Gardens and the Baha'i Temple, Haifa Port and the boats and other famous buildings in the city Question: Raphael Perez, have you created series of other cities from around the world? Answer: I created series of New York City with all the iconic and famous buildings such as: the Guggenheim Museum, the famous skyscrapers - the Chrysler Building, the Empire State Building, Lincoln Center, the famous synagogue in the city, the Statue of Liberty, the flags of the United States and other famous buildings Two paintings of London and all its famous sites, Big Ben, famous monuments, the Ferris wheel, Queen Elizabeth and her family, the double bus, the famous public telephone, palaces, famous churches, well-known monuments I created 4 naive paintings of cities in China, a painting of Shanghai, two paintings of the city of Suzhou and a painting of the World Park in the city of Beijing... I chose the famous skyline of Shanghai with all the famous towers, the famous promenade, temples and old buildings, two Paintings of the city of Suzhou with the famous canals, bridges, special gardens, towers and skyscrapers of the city Question: Raphael Perez What is the general idea that accompanies your paintings Answer: To create a good, beautiful, naive, innocent world in which we will see the innovation of the modern city through the skyscrapers in front of small and low buildings that bring the history and past of each country, all with an abundance of vegetation, boulevards, trees Resume, biography, CV of the painter Rafi Peretz and his family Question: When was Raphael Perez born in hebrew his name rafi peretz? Answer: Raphael Perez in Hebrew his name Rafi Peretz was born on March 4, 1965 Question: Where was Raphael Perez born? Answer: Raphael Perez was born in Jerusalem, Israel Question: What is the full name of Raphael Perez? Answer: His full name is Raphael Perez Question: Which art institution did Raphael Perez graduate from? Answer: Raphael Perez graduated from the Visual Arts Center in Be'er Sheva Question: When did Raphael Perez start painting? Answer: Raphael Perez started painting in 1989 Question: When did you start making a living selling art? Answer: Raphael Perez started making a living selling art in 1999 Question: Where does Raphael Perez live and work? Answer: Since 1995, Raphael Perez has been living and working from his studio in Tel Aviv Question: In which military framework did Raphael Perez serve in the IDF? Answer: Raphael Perez served in the artillery corps Question: Raphael Perez, what jobs did he work after his military service? Answer: Raphael Perez worked for 15 years in education in therapeutic settings for children and taught arts and movement Question: How many brothers and sisters does Raphael Perez, the Israeli painter, have? Answer: There are seven children in total, with the painter 5 sons and two daughters, that means the painter Raphael Perez has 4 more brothers and two sisters Question: What do the brothers and sisters of the painter Raphael Perez do? Answer: The elder brother David Peretz Perez was involved in the field of religious studies, the sister Hana Peretz Perez is involved in the field of education, a kindergarten teacher and child care, the brother Avi Peretz Perez who is in the United States today is a conservative rabbi but in the past was involved in education and therapy, the brother Asher Peretz Perez is involved in the fields of creativity and jewelry The twin brother Mickey Peretz Perez is a well-known industrial designer and seller. The younger sister Shlomit Peretz Perez works in a managerial position at Bezeq. Question: Tell me about the parents of the painter Raphael PerezAnswer: The painter Raphael Perez's parents are Shimon Perez Peretz and Eliza Alice Ben Yair, they were married in 1950 in Jerusalem, both were born in Morocco and immigrated to Israel in 1949, Shimon Peretz worked in a building in his youth and later as a receptionist at the Hadassah Ein Kerem Hospital, Eliza Alice Peretz dealt in child care Kindergarten, working in kindergartens and of course taking care of and raising her seven children
=================
ישראליים עכשוויים מודרניים האמנים הישראלים העכשוויים המודרניים האומנים הישראליים העכשוויים המודרניים יוצר הומו הומוסקסואל קווירי הומוסקסואליות באמנות הישראלית מגדר אומנות ומגדר אמנות ישראלית עכשווית מודרנית האמנות הישראלית העכשווית המודרנית
erotic gay art painting artist raphael perez pintura homossexual da arte de gomoseksual badiiy rasm гомосексуальний художній живопис pittura di arte omosessuale lukisan seni homoseksual listmálun samkynhneigðra péintéireacht ealaíne homaighnéasach pikturë arti homoseksual homoseksuaalne kunstimaal хомосексуална художествена живопис homoseksualno likovno slikarstvo жывапіс гомасэксуальнага мастацтва সমকামী আর্ট পেইন্টিং homoseksuel kunstmaleri homoszexuális művészeti festmény рассоми санъати гомосексуалӣ gomoseksual sungat suratkeşligi homoseksuālas mākslas glezniecība homoseksualaus meno tapyba homoseksuell kunstmaleri homoseksualno likovno slikarstvo
queer artworks paintings homoerotic painter lgbt artwork glbt artworks homo erotica man nude male naked men image images picture pictures homosexual homosexualiy artists painters artist body realism realistic famous
مثلي الجنس الفن الغريبة الأعمال الفنية معرض معرض رجل عارية لوحة رجال عراة صورة الجسم الإسرائيلي فنان رسام مثلى الفنانين الرسامين لوحات واقعية مثلي الجنس الشهير صورة كبيرة
arte homosexual queer obras de arte galería exposición hombre desnudo pintura hombres desnudos retrato cuerpo artista israelí pintor artistas gay pintores pinturas realistas homoerótico famoso imagen grande
гомосексуальное искусство квир произведения искусства галерея выставка мужчина ню живопись голые мужчины портрет тело израильский художник художник геи художники художники реалистичные картины гомоэротика знаменитый большое изображение
ομοφυλοφιλική τέχνη queer artworks γκαλερί έκθεση άντρας γυμνή ζωγραφική γυμνοί άντρες πορτραίτο ισραήλ καλλιτέχνης ζωγράφος γκέι καλλιτέχνες ζωγράφοι ρεαλιστικοί πίνακες ομοιορωτική διάσημη μεγάλη εικόνα
homosexuelle kunst queer kunstwerke galerie ausstellung mann nackt malerei nackte männer porträtkörper israelischer künstler maler schwule künstler maler realistische gemälde homoerotisch berühmtes großes bild
homoseksuele kunst queer kunstwerken galerie tentoonstelling man naakt schilderij naakte mannen portret lichaam Israëlische kunstenaar schilder homo kunstenaars schilders realistische schilderijen homo-erotisch beroemd groot beeld
art homosexuel queer oeuvres d'art galerie exposition homme peinture nue hommes nus portrait corps artiste israélien peintre artistes gais peintres peintures réalistes homoérotique célèbre grande image
homoseksualna sztuka queer dzieła galeria wystawa mężczyzna nago malarstwo nagi mężczyzna portret ciało izraelski artysta malarz homoseksualiści malarze realistyczni obrazy homoerotyk sławny duży obraz
Eşcinsel sanat queer sanat eseri galeri sergi adam çıplak boyama çıplak erkekler portre vücut İsrail sanatçı ressam eşcinsel sanatçılar ressamlar gerçekçi resim sergisi homoerotik ünlü büyük resim
समलैंगिक कला क्वीर कलाकृतियों गैलरी प्रदर्शनी आदमी नग्न पेंटिंग नग्न पुरुषों चित्र शरीर इजरायल कलाकार चित्रकार समलैंगिक कलाकारों चित्रकारों यथार्थवादी चित्रों समलैंगिक प्रसिद्ध बड़ी छवि
homoseksuell konst queer konstverk galleri utställning man nakenmålning nakna män porträtt kropp israelisk konstnär målare gay konstnärer målare realistiska målningar homoerotisk berömd stor bild
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Shot for Active Assignment Weekly, theme "Since When?"
This bread topping is mostly sugar (92%), the rest is crushed anise seeds. It is a sort of powder that you need to apply very gently, in order not to cover the whole kitchen in dust. I am not fond of this, but my other family members love it.
Active Assignment Weekly: Capture Your Country
I know Joe already went with this theme for America, but it's one of the first photos I took for this assignment but wasn't sure about it. Then I noticed some details I liked and decided to go for it. SOOC, except for a little clarity enhancement.
Maker: Timothy O'Sullivan (1840-1882)
Born: Ireland
Active: USA
Medium: albumen print
Size: 3.5 in x 7 in
Location: USA
Object No. 2011.049
Shelf: A-34
Publication: James D. Horan, Timothy O'Sullivan, America's Forgotten Photographer, Bonanza Books, New York, 1966, pg 286
Era of Exploration, The Rise Of Landscape Photography in the American West 1860-1885. by Weston J. Naef. Albright-Knox Art Gallery/Metropolitan Museum of Art, 1975, pg 131
Parallel Processes - Striking Images, The Drapkin Collection, Clearwater, 2007, pg 37
Other Collections:
Provenance: Stereographica, auction No. 23, March 6, 2011, lot 177
Rank: 273
Notes: Wheeler Expedition of 1871, No 5. Caption: This tribe inhabits the region of the lower Colorado, or western Arizona. Physically they are the finest specimens in all the west, many of the males attaining to the height of 6 feet.
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AR2673 is still full of activity (9th Sept 2017) as it approaches the western limb, with AR2674 not far behind. Captured with a Lunt LS152, PGR Flea3, and a TeleVue 2.5x Powermate.
Sub-Lieutenant Danielle Turner a Maritime Surface and Sub-Surface Officer checks a vessels bearing from Her Majesty's Canadian Ship Charlottetown's bridge during Operation ACTIVE ENDEAVOUR with, Standing NATO maritime Group 1 in the Mediterranean Sea on February 5, 2012.
L’Enseigne de vaisseau de 1re classe Danielle Turner, officier des opérations maritimes de surface et sous-marines, vérifie l’azimut sur la passerelle du Navire canadien de Sa Majesté CHARLOTTETOWN lors de l’opération Active Endeavour dans la mer Méditerranée, avec le 1er Groupe de la Force navale permanente de réaction de l’OTAN, le 5 février 2012.
Photo : Cpl Ronnie Kinnie
HS2012-0071-095
Active Pass, Gulf Islands, BC., Canada
The MV Queen of Nanaimo is a Burnaby class passenger vessel operated by BC Ferries.
The ship was built in 1964 by Victoria Machinery Depot. In 1974 the ship was rebuilt and extended 25 meters in length. It currently operates on the Tsawwassen-Gulf Islands route web. In 2006 there was a major overhaul of passenger areas. Its propulsion is by two Mirrlees National KVSSM twin turbocharged (intercooled) single acting 4 stroke, V16 diesel engines which produce 3,000 bhp (2,200 kW) at 320 rpm. 15 inch bore by 18-inch (460 mm) stroke. Propellers are variable pitch (controllable-pitch propeller) made by KaMeWa (a Rolls Royce company).
Maker: Robert Jefferson Bingham (1824-1870)
Born: UK
Active: France
Medium: albumen print
Size: 3 1/2 in x 4 7/16 in
Location:
Object No. 2022.284r
Shelf: N-15
Publication: L-Ouevre de Jean-Leon Gerome, Goupil & Co.,Paris,1878
Other Collections:
Notes: Jean-Léon Gérôme (11 May 1824 – 10 January 1904) was a French painter and sculptor in the style now known as academicism. The range of his oeuvre included historical painting, Greek mythology, Orientalism, portraits, and other subjects, bringing the academic painting tradition to an artistic climax. He is considered one of the most important painters from this academic period. He was also a teacher with a long list of students.
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Maker: Samuel Bourne (1834-1912)
Born: UK
Active: India
Medium: albumen print
Size: 12.5 in x 7.5 in
Location: India
Object No. 2011.014
Shelf: A-21
Publication:
Other Collections:
Notes: Samuel Bourne (1834-1912) secured a job at age 21 with a Nottingham bank, but in his spare time became an accomplished landscape photographer, soon lecturing on photography and exhibiting his work. He quit the bank, and set sail for India to work as a professional photographer; arriving in Calcutta early in 1863. Working with several different partners and traveling extensively, Bourne spent six productive years in India, and by the time he returned to England in January 1871, he had made over 2,200 images of the landscape and architecture of India and the Himalayas.
To view our archive organized by Collections, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
This is a photograph from the East of Ireland Marathon Series Marathon and Half Marathon which was held at Sutton and Howth, Co. Dublin, Ireland on Saturday 23rd November 2013 at 09:00. This was a special charity marathon organised to raise some funds for the vicitms of the Typhoon Haiyan, also known as Typhoon Yolanda, which was the deadliest Philippine typhoon on record and caused catastrophic destruction in the central Philippines, particularly on Samar Island and Leyte (Tacloban city). According to the United Nations about 11 million people have been affected and many have been left homeless. Over a million houses were damaged. Over 5,000 people (November 20th figures) were killed by the storm or it's aftermath. The marathon was organised by the Filipino Irish (Fil-Irish Runners) who are living and working in Ireland and who are very active participants in the Irish road racing and marathon running scene. The race today showed great solidarity and friendship between all of the runners in the races today with their Filipino friends. The atmosphere at the start was sombre and respectful but it was important that everyone enjoyed the day as this was a wonderful gesture from the East of Ireland marathon running community. Many marathon running friends who couldn't make it today also provided donations to this most worthy of causes. Well done to everyone involved. A day to be very proud of this community of marathon runners in Ireland. The total amount raised was over 2500 euros with proceeds coming directly from today's race and other sources who contributed. The Filipino Irish will ensure that this money will go directly to charities working on the ground with people in the devasted areas of the Philippines. The Filipino Irish also provided a lovely spread of refreshments representing beautiful Filipino confectionary!
This race event was part of the East of Ireland Marathon Series. The East Of Ireland Marathon Series aims to make marathons affordable and convienient for the runners of Ireland. The serires organisers aim to promote marathon running and to make the process as stress free and enjoyable as possible. All courses are measured to full AAI standards and have a minimum of 10 Entrants. The marathons are self sufficent to a degree although there are limited supplies of water available on the day of the race. There will be no extra frills like chip timing and finish gantrys. However all finishing times are accurately and officially recorded. This is to keep the price down and keep the races as affordable as possible. The East of Ireland Marathon series is all inclusive and welcomes runners who are new to marathon running as well as experienced veterans.
This photograph is part of a Flickr set of photographs we took at this event. The Flickr set is available here [http://www.flickr.com/photos/peterm7/sets/72157637946907833/]. This set includes photographs from the start, in-race, and finish of the race.
Viewing this on a smartphone device?
If you are viewing this Flickr set on a smartphone and you want to see the larger version(s) of this photograph then: scroll down to the bottom of this description under the photograph and click the "View info about this photo..." link. You will be brought to a new page and you should click the link "View All Sizes".
Overall Race Summary
Participants: The East of Ireland marathon series stricly limits the number of participants. There were about 50 participants in the race today. There was the option to run 2 loops and finish a half marathon.
Weather: The overnight frost meant that it was a calm but very chilly start to the race. There was some beautiful periods of November sunshine with hardly any breeze. This was particularly welcome as the very tough hills on the course were somewhat more managable without a head wind.
Course: The race is a 4 looped course of Howth head. The loop which is approximately 6.63 miles starts at Sutton cross roads on the Howth Road. The route then proceeds south eastwards along the Greenfield Road following on to the Carrickbrack Road and onwards to the top of Howth Head. The route follows the R105 the whole way around in an anti-clockwise formation. When the route reaches the peak of Howth Head it follows the R105 north along Thormanby Road into Howth Village. When in Howth Village the route follows Harbour Road and then proceeds westwards back to the starting point of the loop. Just before the return to the starting point there is some very severe downhill which is tough on the legs after several miles of climbing.
Location Map: This is the start finish area at on the Harbour Road in Howth Village: goo.gl/maps/rZ6eD (Google Streetview). The Summit of Howth is where the climbing is over (see Google StreetView here goo.gl/maps/iSc8e)
Some Useful Links
A Garmin Connect GPS Trace of the Marathon Loop: connect.garmin.com/activity/323961863
The Wikipedia Entry on Typhoon Haiyan: en.wikipedia.org/wiki/Typhoon_Haiyan
A meterological visualisation of the track of the Typhoon: www.youtube.com/watch?v=XiWRUfz_zjw
Before and after photographs of the typhoon struck regions from the Wall Street Journal: online.wsj.com/news/articles/SB10001424052702303914304579...
Our Set of Photographs from the Marathon Club of Ireland Marathon Race at Killeigh, November 2013: www.flickr.com/photos/peterm7/sets/72157637454911025/
East of Ireland Marathons Facebook Group Page: www.facebook.com/groups/130592073780072/ (you will need a Facebook account to view this)
East of Ireland Marathons Web Homepage: www.eastofirelandmarathons.com/index.php
Professional Photographer Hannah Levy has galleries for several previous East of Ireland Marathons in 2013: (Race 1 to Race 5 in 2013) www.hannahlevy.com/index/EOI_Marathons/EOI_Marathons.html
Read about the Filipino People: en.wikipedia.org/wiki/Filipino_people
b>Can I use these photographs directly from Flickr on my social media account?
Yes - of course you can. Flickr provides several ways to share this and other photographs in this Flickr set. You can share to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile device will also offer you several different options for sharing this photo page on your social media outlets.
How can I get full resolution copies of these photographs?
All of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution. We take these photographs as a hobby and as a contribution to the running community in Ireland. Our only "cost" is our request that if you are using these images without the watermark: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us.
This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting does take a significant effort. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc.
If you would like to contribute something for your photograph(s) or the charity above?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers we would suggest that you can provide a donation to any of the International Aid Agencies which are providing assistance to the people of the Phillipines. Examples include: Trocaire: www.trocaire.org/philippines or Oxfam Ireland: www.oxfamireland.org/provingit/emergencies/philippines
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably www.flickr.com/peterm7/sets
Maker: Imprimerie Royale
Born: France
Active: France
Medium: letterpress
Size: 4 3/4 in x 7 11/16
Location: France
Object No. 2021.413c
Shelf: B-32
Publication:
Other Collections:
Provenance:
Notes: The Bulletin des lois (Bulletin of the laws) was a publication created during the French Revolution, as an "official anthology of the laws, orders and regulations that govern" the people. It was created by the decree of 14 frimaire of year II of the French Republican calendar (December 4, 1793). In the horrible and bloody disorder of Reign of Terror, the National Convention and the Committee of Public Safety, concerned with channeling and coordinating their actions, felt it necessary to create an organ by which to get news of votes in Paris to various scattered parts of the administration, notably those in the provinces. A commission was specially created to supervise the sending-out of this publication to all the towns. The first issue of the Bulletin des lois appeared on June 10, 1794. Publication continued until 1931.
Louis-Jacques-Mandé Daguerre began investigating the possibilities of copying an image from nature using sunlight and chemicals in the early 1820s and entered into a partnership in 1829 with Nicéphore Niépce, who was also experimenting with similar concepts. Daguerre made the first successful daguerreotype in 1837, four years after Niépce's death. In the summer of 1839 the French government agreed to pay Daguerre along with Niépce's son a pension for their lifetimes in exchange for patent rights to the daguerreotype process and then immediately transferred the rights into the public domain. Once the secret procedures and chemical formulas were made known, the need for users to pay royalties or license fees to Daguerre was eliminated.
To view our archive organized by Collections, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
The Tornado ADV had its origins in an RAF Air Staff Requirement 395 (or ASR.395), which called for a long-range interceptor to replace the Lightning F6 and Phantom FGR2. The requirement for a modern interceptor was driven by the threat posed by the large Soviet long-range bomber fleet, in particular the supersonic Tupolev Tu-22M. From the beginning of the Tornado IDS's development in 1968, the possibility of a variant dedicated to air defence had been quietly considered; several American aircraft had been evaluated, but found to be unsuitable. However, the concept proved unattractive to the other European partners on the Tornado project, thus the UK elected to proceed in its development alone. On 4 March 1976, the development of the Tornado ADV was formally approved.
In 1976, British Aerospace was contracted to provide three prototype aircraft. The first prototype was rolled out at Warton on 9 August 1979, before making its maiden flight on 27 October 1979. During the flight testing, the ADV demonstrated noticeably superior supersonic acceleration to the IDS, even while carrying a full weapons loadout.
The Tornado ADV's differences compared to the IDS include a greater sweep angle on the wing gloves, and the deletion of their kruger flaps, deletion of the port cannon, a longer radome for the Foxhunter radar, slightly longer airbrakes and a fuselage stretch of 1.36 m to allow the carriage of four Skyflash semi-active radar homing missiles. The stretch was applied to the Tornado front fuselage being built by the UK, with a plug being added immediately behind the cockpit, which had the unexpected benefit of reducing drag and making space for an additional fuel tank (Tank '0') carrying 200 imperial gallons (909 l; 240 U.S. gal) of fuel. The artificial feel of the flight controls was lighter on the ADV than on the IDS. Various internal avionics, pilot displays, guidance systems and software also differed; including an automatic wing sweep selector not fitted to the strike aircraft.
Production of the Tornado ADV was performed between 1980 and 1993, the last such aircraft being delivered that same year. A total of 165 Tornado ADVs were ordered by Britain, the majority being the Tornado F3. However, the Tornado ADV’s replacement, the aircraft that is known today as the Eurofighter Typhoon, met several delays – primarily of political nature. Even though the first production contract was already signed on 30 January 1998 between Eurofighter GmbH, Eurojet and NETMA for the procurement of a total of 232 for the UK, the development and eventually the delivery of the new aircraft was a protracted affair. It actually took until 9 August 2007, when the UK's Ministry of Defence reported that No. 11 Squadron RAF, which stood up as a Typhoon squadron on 29 March 2007, had received its first two multi-role Typhoons. Until then, the Tornado F.3 had become more and more obsolete, since the type was only suited to a limited kind of missions, and it became obvious that the Tornado ADV would have to be kept in service for several years in order to keep Great Britain’s aerial defence up.
In order to bridge the Typhoon service gap, two update programs had already been launched by the MoD in 2004, which led to the Tornado F.5 and F.6 versions. These were both modified F.3 airframes, catering to different, more specialized roles. The F.5 had a further extended fuselage and modified wings, so that it could operate more effectively in the long range fighter patrol role over the North Sea and the Northern Atlantic. On the other side, the F.6 was tailored to the mainland interceptor role at low and medium altitudes and featured new engines for a better performance in QRA duties. Both fighter variants shared improved avionics and weapons that had already been developed for the Eurofighter Typhoon, or were still under development.
The Tornado F.6’s new engines were a pair of Eurojet EJ200 afterburning turbofans, which offered 30% more dry and 20% more afterburner thrust than the F.3’s original Turbo-Union RB199-34R turbofans. These more modern and fuel-efficient engines allowed prolonged supercruise, and range as well as top speed were improved, too. Furthermore, there was the (theoretical) option to combine the new engine with vectored thrust nozzles, even though this would most probably not take place since the Tornado ADV had never been designed as a true dogfighter, even though it was, for an aircraft of its size, quite an agile aircraft.
However, the integration of the EJ200 into the existing airframe called for major modifications that affected the aircraft’s structure. The tail section had to be modified in order to carry the EJ200’s different afterburner section. Its bigger diameter and longer nozzle precluded the use of the original thrust reverser. This unique feature was retained, though, so that the mechanism had to be modified: the standard deflectors, which used to extend backwards behind the nozzles, now opened inwards into the airflow before the exhaust.
Since the new engines had a considerably higher airflow rate, the air intakes with the respective ducts had to be enlarged and adapted, too. Several layouts were tested, including two dorsal auxiliary air intakes to the original, wedge-shaped orifices, but eventually the whole intake arrangement with horizontal ramps was changed into tall side intakes with vertical splitter plates, reminiscent of the F-4 Phantom. Even though this meant a thorough redesign of the fuselage section under the wing sweep mechanism and a reduction of tank “0”’s volume, the new arrangement improved the aircraft’s aerodynamics further and slightly enlarged the wing area, which resulted in a minor net increase of range.
The F.3’s GEC-Marconi/Ferranti AI.24 Foxhunter radar was retained, but an infrared search and track (IRST) sensor, the Passive Infra-Red Airborne Track Equipment (PIRATE), was mounted in a semispherical housing on the port side of the fuselage in front of the windscreen and linked to the pilot’s helmet-mounted display. By supercooling the sensor, the system was able to detect even small variations in temperature at a long range, and it allowed the detection of both hot exhaust plumes of jet engines and surface heating caused by friction.
PIRATE operated in two IR bands and could be used together with the radar in an air-to-air role, adding visual input to the radar’s readings. Beyond that, PIRATE could also function as an independent infrared search and track system, providing passive target detection and tracking, and the system was also able to provide navigation and landing aid.
In an optional air-to-surface role, PIRATE can also perform target identification and acquisition, up to 200 targets could be simultaneously tracked. Although no definitive ranges had been released, an upper limit of 80 nm has been hinted at; a more typical figure would be 30 to 50 nm.
The Tornado F.3’s Mauser BK-27 revolver cannon was retained and the F.6 was from the start outfitted with the AIM-120 AMRAAM air-to-air missile, with the outlook to switch as soon as possible to the new, ram jet-driven Meteor AAM with higher speed and range. Meteor had been under development since 1994 and was to be carried by the Eurofighter Typhoon as its primary mid-range weapon. With a range of 100+ km (63 mi, 60 km no-escape zone) and a top speed of more than Mach 4, Meteor, with its throttleable ducted rocket engine, offered a considerably improvement above AMRAAM. However, it took until 2016 that Meteor became fully operational and was rolled out to operational RAF fighter units.
A total of 36 Tornado F.3 airframes with relatively low flying hours were brought to F.6 standard in the course of 2006-8 and gradually replaced older F.3s in RAF fighter units until 2009. The Tornado F.3 itself was retired in March 2011 when No. 111 Squadron RAF, located at RAF Leuchars, was disbanded. Both the F.5 and F.6 will at least keep on serving until the Eurofighter Typhoon is in full service, probably until 2020.
General characteristics:
Crew: 2
Length: 18.68 m (61 ft 3½ in)
Wingspan: 13.91 m (45 ft 7½ in) at 25° wing position
8.60 m (28 ft 2½ in) at 67° wing position
Height: 5.95 m (19 ft 6½ in)
Wing area: 27.55 m² (295.5 sq ft)
Empty weight: 14,750 kg (32,490 lb)
Max. takeoff weight: 28,450 kg (62,655 lb)
Powerplant:
2× Eurojet EJ200 afterburning turbofans with 60 kN (13,500 lbf) dry thrust and
90 kN (20,230 lbf) thrust with afterburner each
Performance:
Maximum speed: Mach 2.3 (2,500 km/h, 1,550 mph) at 9,000 m (30,000 ft)
921 mph (800 knots, 1,482 km/h) indicated airspeed limit near sea level
Combat radius: more than 1,990 km (1.100 nmi, 1,236 mi) subsonic,
more than 556 km (300 nmi, 345 mi) supersonic
Ferry range: 4,265 km (2,300 nmi, 2,650 mi) with four external tanks
Endurance: 2 hr combat air patrol at 560-740 km (300-400 nmi, 345-460 mi) from base
Service ceiling: 15,240 m (50,000 ft)
Armament:
1× 27 mm (1.063 in) Mauser BK-27 revolver cannon with 180 RPG under starboard fuselage side
A total of 10 hardpoints (4× semi-recessed under-fuselage, 2× under-fuselage, 4× swivelling
under-wing) holding up to 9000 kg (19,800 lb) of payload; the two inner wing pylons have shoulder
launch rails for 2× Short-Range AAM (SRAAM) each (AIM-9 Sidewinder or AIM-132 ASRAAM)
4× MBDO Meteor or AIM-120 AMRAAM, mounted under the fuselage
The kit and its assembly:
The eight entry for the RAF Centenary Group Build at whatifmodelers.com, and after 100 years of RAF what-if models we have now arrived at the present. This modified Tornado ADV was spawned through the discussions surrounding another modeler’s build of a modified F.3 (and examples of other Tornado conversions, e. g. with fixed wings or twin fins), and I spontaneously wondered what a change of the air intakes would do to the aircraft’s overall impression? Most conversions I have seen so far retain this original detail. An idea was born, and a pair of leftover Academy MiG-23 air intakes, complete with splitter plates, were the suitable conversion basis.
The basic kit is the Italeri Tornado ADV, even though in a later Revell re-boxing. It’s IMHO the kit with the best price-performance ration, and it goes together well. The kit was mostly built OOB, with some cosmetic additions. The biggest changes came through the integration of the completely different air intakes. These were finished at first and, using them as templates, openings were cut into the lower fuselage flanks in front of the landing gear well. Since the MiG-23 intakes have a relatively short upper side, styrene sheet fillers had to be added and blended with the rest of the fuselage via PSR. The gap between the wing root gloves and the intakes had to be bridged, too, with 2C putty. Messier affair than it sounds, but it went well.
In order to make the engine change plausible I modified the Tornado exhaust and added a pair of orifices from an F-18 – they look very similar to those on the Eurofighter Typhoon, and their diameter is perfect for this change. This and the different air intakes stretch the Tonka visually, it looks IMHO even more slender than the F.3.
Another issue was the canopy: the 2nd hand kit came without clear parts, but I was lucky to still have a Tornado F.3 canopy in the spares box – but only the windscreen from a Tornado IDS, which does not fit well onto the ADV variant. A 2mm gap at the front end had to be bridged, and the angles on the side as well as the internal space to the HUD does not match too well. But, somehow, I got it into place, even though it looks a bit shaggy.
The IRST in front of the windscreen is a piece of clear styrene sprue (instead of an opaque piece, painted glossy black), placed on a black background. The depth effect is very good!
More changes pertained to the ordnance: the complete weaponry was exchanged. The OOB Sidewinders were replaced with specimen from a Hasegawa F-4 Phantom (these look just better than the AIM-9 that come with the kit), and I originally planned to mount four AIM-120 from the same source under the fuselage – until I found a Revell Eurofighter kit in my stash that came with four Meteor AAMs, a suitable and more modern as well as British alternative!
All in all, just subtle modifications.
Painting and markings:
Well, the RAF was the creative direction, so I stuck to a classic/conservative livery. However, I did not want a 100% copy of the typical “real world” RAF Tornado F.3, so I sought inspiration in earlier low-visibility schemes. Esp. the Phantom and the Lightning carried in their late days a wide variety of grey-in-grey schemes, and one of the most interesting of them (IMHO) was carried by XS 933: like some other Lightnings, the upper surfaces were painted in Dark Sea Grey (instead of the standard Medium Sea Grey), a considerably murkier tone, but XS933 had a mid-height waterline. I found that scheme to be quite plausible for an aircraft that would mostly operate above open water and in heavier weather, so I adapted it to the Tonka. The fact that XS 933 was operated by RAF 5 Squadron, the same unit as my build depicts with its markings, is just a weird coincidence!
An alternative would have been the same colors, but with a low waterline (e.g. like Lightning XR728) – but I rejected this, because the result would have looked IMHO much too similar to the late Tornado GR.4 fighter bombers, or like a Royal Navy aircraft.
Since the upper color would be wrapped around the wings’ leading edges, I used the lower wing leading edge level as reference for the high waterline on the forward fuselage, Behind the wings’ trailing edge I lowered the waterline down to the stabilizers’ level.
All upper surfaces, including the tall fin, were painted with Tamiya XF-54, a relatively light interpretation of RAF Dark Sea Grey (because I did not want a harsh contrast with the lower colors), while the fuselage undersides and flanks were painted in Medium Sea Grey (Humbrol 165). The same tone was also used for the underwing pylons and the “Hindenburger” drop tanks. The undersides of the wings and the stabilizers were painted in Camouflage Grey (formerly known as Barley Grey, Humbrol 167).
Disaster struck when I applied the Tamiya paint, though. I am not certain why (age of the paint, I guess), but the finish developed a kind of “pigment pelt” which turned out to be VERY sensitive to touch. Even the slightest handling would leave dark, shiny spots!
My initial attempt was to hide most of this problem under post-shading (with Humbrol 126, FS 36270), but that turned the Tonka visually into a Tiger Meet participant – the whole thing looked as if it wore low-viz stripes! Aaargh!
In a desperate move (since more and more paint piled up on the upper surfaces, and I did not want to strip the kit off of all paint right now) I applied another thin coat of highly diluted XF-54 on top of the tiger stripe mess, and that toned everything done enough to call it a day. While the finish is not perfect and still quite shaggy (even streaky here and there…), it looks O.K., just like a worn and bleached Dark Sea Grey.
A little more rescue came with the decals. The markings are naturally low-viz variants and the RAF 5 Sq. markings come from an Xtradecal BAC Lightning sheet (so they differ from the markings applied to the real world Tornado F.3s of this unit). The zillion of stencils come from the OOB sheet, but the walking area warnings came from a Model Decal Tornado F.3 sheet (OOB, Revell only provides you a bunch of generic, thin white lines, printed on a single carrier film, and tells you “Good luck”! WTF?). Took a whole afternoon to apply them, but I used as many of them as possible in order to hide the paint finish problems… Some things, like the tactical letter code or the red bar under the fuselage roundel, had to be improvised.
With many troubles involved (the paint job, but furthermore the wing pylons as well as one stabilizer broke off during the building and painting process…), I must say that the modified Tonka turned out better than expected while I was still working on it. In the end, I am happy with it – it’s very subtle, I wonder how many people actually notice the change of air intakes and jet exhausts, and the Meteor AAMs are, while not overtly visible, a nice update, too.
The paint scheme looks basically also good (if you overlook the not-so-good finish due to the problems with the Tamiya paint), and the darker tones suit the Tonka well, as well as the fake RAF 5 Squadron markings.