This is part of my Affirmations Board in my FOCUS section. A selection of fave quotes and phrases written on post-its attached to a transparent flyleaf.

Spotted in Portland, where even the trash cans are nice.

Sometimes you need a lil reminder.

 

Full Blog: dasminejam.blogspot.com/2020/09/unicorn-affirmations.html

NEW! CHAI. Valentine. Available at CHAI Mainstore now. $75L packs this Weeknd only for ShoppeBlk Weekend Sale.

 

~~Le long des quais, l’identité maritime s’affirme : criée, chantiers de constructions navales, pontons accueillant des bateaux de toute nature y compris des voiliers de course le temps d’un départ de transat.

~~Ce port, peu profond, abrita toutefois jusqu'à 600 chaloupes pendant la saison de la sardine et, par la suite, les thoniers vinrent s'y ajouter. Des maisons bourgeoises sont édifiées le long des quais hors de la « Ville close ». Cette dernière devient, en cette période, un quartier populaire abritant matelots et sardinières. La Station de biologie marine de Concarneau est fondée par Victor Coste en 1859. Il s'agit de la plus ancienne station marine du monde.

~~À partir de 1851, les premières conserveries, remplaçant progressivement les fritures et les presses à sardines, apparaissent. Elles sont spécialisées dans la sardine et le thon. Elles feront la fortune de quelques négociants et permettront une élévation du niveau de vie de la population.

~~ En 1877, la ville compte 20 usines dont l'usine Béziers et en 1900 30 usines employant 2 000 ouvrières (qui portent la coiffe penn sardin) sur une population de 7 000 habitants. ~~À partir de 1902, la disparition des grands bancs de sardines plonge Concarneau dans la misère.

A wonderful affirmation . . . I think?

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

 

www.colonel.dk/

 

—--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.[37]

National pavilions[edit]

Main article: National pavilions at the Venice Biennale

The Giardini houses 30 permanent national pavilions.[13] Alongside the Central Pavilion, built in 1894 and later restructured and extended several times, the Giardini are occupied by a further 29 pavilions built at different periods by the various countries participating in the Biennale. The first nation to build a pavilion was Belgium in 1907, followed by Germany, Britain and Hungary in 1909.[13] The pavilions are the property of the individual countries and are managed by their ministries of culture.[38]

Countries not owning a pavilion in the Giardini are exhibited in other venues across Venice. The number of countries represented is still growing. In 2005, China was showing for the first time, followed by the African Pavilion and Mexico (2007), the United Arab Emirates (2009), and India (2011).[39]

The assignment of the permanent pavilions was largely dictated by the international politics of the 1930s and the Cold War. There is no single format to how each country manages their pavilion, established and emerging countries represented at the biennial maintain and fund their pavilions in different ways.[38] While pavilions are usually government-funded, private money plays an increasingly large role; in 2015, the pavilions of Iraq, Ukraine and Syria were completely privately funded.[40] The pavilion for Great Britain is always managed by the British Council[41] while the United States assigns the responsibility to a public gallery chosen by the Department of State which, since 1985, has been the Peggy Guggenheim Collection.[42] The countries at the Arsenale that request a temporary exhibition space pay a hire fee per square meter.[38]

In 2011, the countries were Albania, Andorra, Argentina, Australia, Austria, Bangladesh, Belarus, Belgium, Brazil, Bulgaria, Canada, Chile, China, Congo, Costa Rica, Croatia, Cuba, Cyprus, Czechia and Slovakia, Denmark, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia, Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore, Slovenia, South Africa, Spain, Sweden, Switzerland, Syrian Arab Republic, Taiwan, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Wales and Zimbabwe. In addition to this there are two collective pavilions: Central Asia Pavilion and Istituto Italo-Latino Americano. In 2013, eleven new participant countries developed national pavilions for the Biennale: Angola, Bosnia and Herzegowina, the Bahamas, Bahrain, the Ivory Coast, Kosovo, Kuwait, the Maldives, Paraguay, Tuvalu, and the Holy See. In 2015, five new participant countries developed pavilions for the Biennale: Grenada,[43] Republic of Mozambique, Republic of Seychelles, Mauritius and Mongolia. In 2017, three countries participated in the Art Biennale for the first time: Antigua & Barbuda, Kiribati, and Nigeria.[44] In 2019, four countries participated in the Art Biennale for the first time: Ghana, Madagascar, Malaysia, and Pakistan.[45]

As well as the national pavilions there are countless "unofficial pavilions"[46] that spring up every year. In 2009 there were pavilions such as the Gabon Pavilion and a Peckham pavilion. In 2017 The Diaspora Pavilion bought together 19 artists from complex, multinational backgrounds to challenge the prevalence of the nation state at the Biennale.[47]

The Internet Pavilion (Italian: Padiglione Internet) was founded in 2009 as a platform for activists and artists working in new media.[48][49][50] Subsequent editions were held since,[51] 2013,[51] in conjunction with the biennale.[52]

-----

وینسVenetsiya

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Affirmer son statut social

Affirmed would go on to win the 1978 Triple Crown, and his place in history. Jockey Steve Cauthen is aboard in this Pimlico classic!

Original shot on Kodachrome 64 slide film, with a Minolta SRT 35mm camera. (My former career as a racing photographer!)

Flying Buttress over Redoubt Glacier Camp.

‘’Be still with yourself until the object of your attention affirms your presence.’’Minor White White

Italien / Toskana - Volterra

 

Volterra (Italian pronunciation: [volˈtɛrra]; Latin: Volaterrae) is a walled mountaintop town in the Tuscany region of Italy. Its history dates from before the 8th century BC and it has substantial structures from the Etruscan, Roman, and Medieval periods.

 

History

 

Volterra, known to the ancient Etruscans as Velathri or Vlathri and to the Romans as Volaterrae, is a town and comune in the Tuscany region of Italy. The town was a Bronze Age settlement of the Proto-Villanovan culture, and an important Etruscan center (Velàthre, Velathri or Felathri in Etruscan, Volaterrae in Latin language), one of the "twelve cities" of the Etruscan League.

 

The site is believed to have been continuously inhabited as a city since at least the end of the 8th century BC. It became a municipium allied to Rome at the end of the 3rd century BC. The city was a bishop's residence in the 5th century, and its episcopal power was affirmed during the 12th century. With the decline of the episcopate and the discovery of local alum deposits, Volterra became a place of interest of the Republic of Florence, whose forces conquered Volterra. Florentine rule was not always popular, and opposition occasionally broke into rebellion. These rebellions were put down by Florence.

 

When the Republic of Florence fell in 1530, Volterra came under the control of the Medici family and later followed the history of the Grand Duchy of Tuscany.

 

Culture

 

The main events that take place during the year in Volterra are

 

Volterra gusto

Volterra arte

Volterra teatro

 

Main sights

 

Roman Theatre of Volterra, 1st century BC, excavated in the 1950s

 

the Roman amphitheatre was discovered in 2015 and has been excavated over the succeeding years

 

Piazza dei Priori, the main square, a fine example of medieval Tuscan town squares

 

Palazzo dei Priori, the town hall located on Piazza dei Priori, construction begun in 1208 and finished in 1257

 

Pinacoteca e museo civico di Volterra (Art Gallery) in Palazzo Minucci-Solaini. Founded in 1905, the gallery consists mostly of works by Tuscan artists from 14th to 17th centuries. Includes a Deposition by Rosso Fiorentino.

 

Etruscan Acropolis and Roman Cistern. The acropolis on the citadel dates to the 8th century B.C., while the impressive cistern is from the 1st century B.C.

 

Volterra Cathedral. It was enlarged in the 13th century after an earthquake. It houses a ciborium and some angels by Mino da Fiesole, a notable wood Deposition (1228), a masterwork of Romanesque sculpture and the Sacrament Chapel, with paintings by Santi di Tito, Giovanni Balducci and Agostino Veracini. In the center of the vault are fragments of an Eternal Father by Niccolò Circignani. Also noteworthy is the Addolorata Chapel, with a terracotta group attributed to Andrea della Robbia and a fresco of Riding Magi by Benozzo Gozzoli. In the nearby chapel, dedicated to the Most Holy Name of Jesus, is a table with Christ's monogram, allegedly painted by Bernardino of Siena. The rectangular bell tower is from 1493.

 

Volterra Baptistery of San Giovanni, built in the second half of the 13th century.

 

Fortezza Medicea (Medicean Fortress), built in the 1470s, now a prison housing the noted restaurant, Fortezza Medicea restaurant.

 

Guarnacci Etruscan Museum, with thousands of funeral urns dating back to the Hellenistic and Archaic periods. Main attractions are the bronze statuette "Ombra della sera" (lit. '"Shadow of the Night"'), and the sculpted effigy, "Urna degli Sposi" (lit. '"Urn of the Spouses"') of an Etruscan couple in terra cotta.

 

The Etruscan Walls of Volterra, including the well-preserved Walls of Volterra (3rd-2nd centuries BC), and Porta Diana gates.

 

The Medici Villa di Spedaletto, outside the city, in direction of Lajatico

 

There are excavations of Etruscan tombs in the Valle Bona area.

 

Volterra Psychiatric Hospital, Founded in 1888 until 1978, it was reopened for public and will be once more used for psychiatric purposes.

 

In popular culture

 

Volterra features in Horatius, a poem by Lord Macaulay.

 

Linda Proud's A Tabernacle for the Sun (2005), the first volume of The Botticelli Trilogy, begins with the sack of Volterra in 1472. Volterra is the ancestral home of the Maffei family and the events of 1472 lead directly to the Pazzi Conspiracy of 1478. The protagonist of the novel is Tommaso de' Maffei, half brother of one of the conspirators.

 

Volterra is an important location in Stephenie Meyer's Twilight series. In the books, Volterra is home to the Volturi, a clan of rich, regal, powerful ancient vampires, who essentially act as the rulers of the world's vampire population. (However, the relevant scenes from the movie were shot in Montepulciano.)

 

Volterra is the site of Stendhal's famously disastrous encounter in 1819 with his beloved Countess Mathilde Dembowska: she recognised him there, despite his disguise of new clothes and green glasses, and was furious. This is the central incident in his book On Love

 

Volterra is mentioned repeatedly in British author Dudley Pope's Captain Nicholas Ramage historical nautical series. Gianna, the Marchesa of Volterra and the fictional ruler of the area, features in the first twelve books of the eighteen-book series. The books chart the progress and career of Ramage during the Napoleonic wars of the late eighteenth and early nineteenth century, providing readers with well-scripted articulate details of life aboard sailing vessels and conditions at sea of that time.

 

Volterra is the site where the novel Chimaira by the Italian author Valerio Massimo Manfredi takes place.

 

Valerio Massimo Manfredi's The Ancient Curse is also set in Volterra, where a statue called 'The Shade of Twilight' is stolen from the Volterra museum.

 

Volterra is featured in Jhumpa Lahiri's 2008 collection of short stories Unaccustomed Earth. It is where Hema and Kaushik, the protagonists of the final short story "Going Ashore," travel before they part.

 

Volterra is featured in Luchino Visconti's 1965 film Vaghe stelle dell'Orsa, released as Sandra (Of a Thousand Delights) in the United States and as Of These Thousand Pleasures in the UK.

 

Volterra's scenery is used for Central City in the 2017 film Fullmetal Alchemist (film) directed by Fumihiko Sori.

 

The 2016 video game The Town of Light is set in a fictionalized version of the notorious Volterra Psychiatric Hospital.

 

"Volaterrae" is the name given by Dan and Una to their secret place in Far Wood in Rudyard Kipling's Puck of Pook's Hill. They named it from the verse in Lord Macaulay's Lays of Ancient Rome:

 

From lordly Volaterrae,

Where scowls the far-famed hold

Piled by the hands of giants

For Godlike Kings of old.

 

Volterra and its relationship with Medici Florence features in the 2018 second season of Medici: Masters of Florence.

 

(Wikipedia)

 

Volterra, lateinisch Volaterrae, ist eine italienische Stadt mit 9980 Einwohnern (Stand 31. Dezember 2019) in der Provinz Pisa in der Region Toskana.

 

Geographie

 

Volterra liegt etwa 50 Kilometer südlich von Pisa und 30 Kilometer vom Mittelmeer entfernt. Die Stadt gilt mit ihrem spektakulären landschaftlichen Umfeld als eine der schönsten in der Toskana.

 

Der Kern der heutigen Stadt liegt abgeschieden auf einem 550 m hohen Bergrücken über dem Tal der Cecina (Val di Cecina) inmitten einer kargen, zerfurchten Hügellandschaft. Die Felsabbrüche und Geröllhalden sind das Produkt jahrhundertelanger Erosion. Das Gebiet Le Balze im Nordwesten Volterras vermittelt einen beispielhaften Eindruck dieses Phänomens.

 

Die Stadt wird beherrscht von einer heute als Staatsgefängnis benutzten Festung der Medici, der Fortezza Medicea. Volterra ist ein Zentrum der Alabasterverarbeitung.

 

Zu den Ortsteilen (Frazioni) zählen Mazzolla, Montemiccioli, Saline di Volterra und Villamagna.

 

Die Nachbargemeinden sind Casole d’Elsa (SI), Colle di Val d’Elsa (SI), Gambassi Terme (FI), Lajatico, Montaione (FI), Montecatini Val di Cecina, Peccioli, Pomarance und San Gimignano (SI).

 

Geschichte

 

Volterra kann auf eine lange Geschichte zurückblicken. Bereits im 4. Jahrhundert v. Chr. entstand der Ort aus der Verbindung mehrerer kleiner etruskischer Ansiedlungen, deren Bestand bis ins 7. Jahrhundert v. Chr. zurückverfolgt werden kann. Zu dieser Zeit bauten die Etrusker eine sieben Kilometer lange Ringmauer und nannten die nunmehr vereinigte Stadt Velathri.

 

Volterra war eine der ältesten und größten der zwölf Bundesstädte Etruriens. Später war es eine römische Stadt mit den Rechten eines Municipiums. Ihre hohe Lage machte sie zu einer starken Festung, die Sulla im ersten Bürgerkrieg erst nach zweijähriger Belagerung 79 v. Chr. einnehmen konnte.

 

Im 12. und 13. Jahrhundert war Volterra eine Republik; im 14. Jahrhundert fiel es an Florenz.

 

Sehenswürdigkeiten

 

Architektonische und künstlerische Zeugnisse der verschiedenen Epochen zeugen von der wechselvollen Existenz und Bedeutung der Stadt. Einige der etruskischen Nekropolen und mittelalterlichen Kirchenmauern sind jedoch in der Vergangenheit der Erosion zum Opfer gefallen.

 

Am Hauptplatz der Stadt, der Piazza dei Priori, steht der älteste erhaltene Kommunalpalast der Toskana, der Palazzo dei Priori.

 

Von der etruskischen Stadtmauer ist als einziges Tor die Porta all’Arco gut erhalten. Es stammt aus dem 4. Jahrhundert v. Chr. Im äußeren Bogen sind drei verwitterte Köpfe zu erkennen, deren Bedeutung aber umstritten ist.

 

Außerhalb der mittelalterlichen Porta Fiorentina liegt das Teatro Romano, erbaut zur Zeit des Kaisers Augustus. Von der Zuschauertribüne für etwa 2000 Personen blickt man auf die teilweise rekonstruierte Bühnenwand. Die unterhalb des Theaters liegenden Thermenanlagen stammen aus späterer Zeit.

 

Andere historische öffentliche Gebäude sind der Dom Santa Maria Assunta aus dem frühen 12. Jahrhundert mit einer Kassettendecke und mit Granit vortäuschender Stuckverkleidung der Säulen sowie etlichen künstlerisch hochrangigen Ausstattungsstücken, das oktogonale Baptisterium mit einem Taufbecken von Andrea Sansovino, der auf Privatpaläste und Wohntürme aus dem 12. und 13. Jahrhundert zurückgehende Palazzo Pretorio sowie der als Gefängnis dienende Torre del Porcellino. Schließlich gehört der Palazzo Incontri-Viti zu den prachtvollsten Gebäuden Volterras.

 

Unter den Kirchen sind zu nennen: die spätromanische S. Michele sowie die Kirchen von S. Francesco, S. Lino und S. Girolamo mit Bildern und Skulpturen aus der Schule von Florenz.

 

Museen

 

Von besonderer Bedeutung ist das archäologische Museo Etrusco Guarnacci im Palazzo Desideri Tangassi. Mario Guarnacci (1701–1785), ein vielseitig interessierter Gelehrter, widmete seine Studien der antiken Geschichte. Dabei konnte er durch Ankäufe und Ausgrabungen eine ansehnliche Menge Belegmaterial über die etruskische Zivilisation sammeln.

 

Ein bedeutender Teil der Sammlung umfasst Ascheurnen sowie Stücke aus Bronze und Keramik. Die Urnen bestehen aus Tuffstein, Alabaster und Tonerde. Eine der bekanntesten ganz Etruriens ist die Urna degli Sposi (dt. Urne der Brautleute), auf deren Deckel ein Paar beim Festmahl liegend dargestellt ist.

 

Das bedeutendste Stück der Sammlung ist jedoch die Bronzefigur Ombra della sera (dt. Abendschatten). Es ist mit der Zeit zu einer „Ikone“ für das Museum und die Stadt Volterra geworden. Seine Berühmtheit verdankt es hauptsächlich seiner einzigartigen Form, die den italienischen Dichter Gabriele D’Annunzio an den Schatten einer menschlichen Figur in der Abendsonne erinnert haben soll. Es ist ein Meisterwerk etruskischer Bronzegießer aus der hellenistischen Periode. Ein weiteres bedeutendes Exponat ist die Stele des Avile Tite aus dem 6. Jahrhundert v. Chr.

 

Weitere Ausstellungsstücke sind verschiedene Mosaikböden aus der römischen Kaiserzeit, die aus Volterra und Segalari stammen. Hinzu kommt eine Münzsammlung mit seltenen etruskischen Münzen aus Gold, Silber und Bronze. Schließlich sind noch mit Edelsteinen verzierte etruskische und römische Schmuckstücke zu sehen.

 

Wichtig ist die Sammlung der seit 1982 im Minucci-Solaini-Palast untergebrachten „Pinacoteca“ mit der berühmten Kreuzesabnahme (1521), dem Meisterwerk des Malers Rosso Fiorentino, und den bedeutendsten Arbeiten von Taddeo di Bartolo, Domenico Ghirlandaio und Luca Signorelli, welche die künstlerischen Einflüsse aus Pisa, Florenz und Siena anschaulich machen.

 

Im April 2003 wurde im Turmhaus des Palazzo Minucci-Solaini das Ecomuseo dell’Alabastro eröffnet, in dem die Geschichte der Gewinnung und der Verarbeitung von Alabaster seit der Antike bis zur Gegenwart dargestellt ist.

 

Volterra in der Literatur

 

Volterra ist eine wichtige Stadt in Stephenie Meyers „Biss“-Serie. Dort ist Volterra die Heimatstadt der Volturi, einer königlichen Vampirfamilie.

 

Volterra spielt auch in der von Dudley Pope geschriebenen Romanreihe um den britischen Marineoffizier Nicolas Ramage eine Rolle. Im ersten Band rettet er während der Napoleonischen Kriege die Marchesa von Volterra vor den französischen Besatzungstruppen. Er verliebt sich in sie, und ihre Herrschaft über Volterra spielt in den weiteren Bänden eine wichtige Rolle. Auch ihr Neffe, Paolo Orsini, nächster in der Erbreihenfolge der Regentschaft, kommt in den meisten Romanen vor, da er als Fähnrich unter Ramages Kommando segelt.

 

(Wikipedia)

Gnosticism (from Ancient Greek: γνωστικός gnostikos, "having knowledge", from γνῶσις gnōsis, knowledge) is a modern name for a variety of ancient religious ideas and systems, originating in Jewish Christian milieux in the first and second century AD. These systems believed that the material world is created by an emanation or 'works' of a lower god (demiurge), trapping the divine spark within the human body. This divine spark could be liberated by gnosis, spiritual knowledge acquired through direct experience. Some of the core teachings include the following:

All matter is evil, and the non-material, spirit-realm is good.

There is an unknowable God, who gave rise to many lesser spirit beings called Aeons.

The creator of the (material) universe is not the supreme god, but an inferior spirit (the Demiurge).

Gnosticism does not deal with "sin," only ignorance.

To achieve salvation, one needs gnosis (knowledge).

The Gnostic ideas and systems flourished in the Mediterranean world in the second century AD, in conjunction with and influenced by the early Christian movements and Middle Platonism. After the second century, a decline set in. In the Persian Empire, Gnosticism in the form of Manicheism spread as far as China, while Mandaeism is still alive in Iraq.

A major question in scholarly research is the qualification of Gnosticism, based on the study of its texts, as either an interreligious phenomenon or as an independent religion.

 

Gnosis refers to knowledge based on personal experience or perception. In a religious context, gnosis is mystical or esoteric knowledge based on direct participation with the divine. In most Gnostic systems, the sufficient cause of salvation is this "knowledge of" ("acquaintance with") the divine. It is an inward "knowing", comparable to that encouraged by Plotinus (neoplatonism), and differs from proto-orthodox Christian views.[1] Gnostics are "those who are oriented toward knowledge and understanding – or perception and learning – as a particular modality for living".

 

The usual meaning of gnostikos in Classical Greek texts is "learned" or "intellectual", such as used by Plato in the comparison of "practical" (praktikos) and "intellectual" (gnostikos). Plato's use of "learned" is fairly typical of Classical texts.

 

By the Hellenistic period, it began to also be associated with Greco-Roman mysteries, becoming synonymous with the Greek term musterion. The adjective is not used in the New Testament, but Clement of Alexandria[note 3] speaks of the "learned" (gnostikos) Christian in complimentary terms. The use of gnostikos in relation to heresy originates with interpreters of Irenaeus. Some scholars[note consider that Irenaeus sometimes uses gnostikos to simply mean "intellectual",[note 5] whereas his mention of "the intellectual sect" is a specific designation.

 

The term "Gnosticism" does not appear in ancient sources,[note 10] and was first coined in the 17th century by Henry More in a commentary on the seven letters of the Book of Revelation, where More used the term "Gnosticisme" to describe the heresy in Thyatira. The term Gnosticism was derived from the use of the Greek adjective gnostikos (Greek γνωστικός, "learned", "intellectual") by St. Irenaeus (c. 185 AD) to describe the school of Valentinus as he legomene gnostike haeresis "the heresy called Learned (gnostic)."

 

Origins

The earliest origins of Gnosticism are obscure and still disputed. The proto-orthodox Christian groups called Gnostics a heresy of Christianity,] but according to the modern scholars the theology's origin is closely related to Jewish sectarian milieus and early Christian sects. Scholars debate Gnosticism's origins as having roots in Neoplatonism and Buddhism, due to similarities in beliefs, but ultimately, its origins are currently unknown. As Christianity developed and became more popular, so did Gnosticism, with both proto-orthodox Christian and Gnostic Christian groups often existing in the same places. The Gnostic belief was widespread within Christianity until the proto-orthodox Christian communities expelled the group in the second and third centuries (C.E.). Gnosticism became the first group to be declared heretical.

 

Some scholars prefer to speak of "gnosis" when referring to first-century ideas that later developed into gnosticism, and to reserve the term "gnosticism" for the synthesis of these ideas into a coherent movement in the second century.No gnostic texts have been discovered that pre-date Christianity,and "pre-Christian Gnosticism as such is hardly attested in a way to settle the debate once and for all."

 

Jewish Christian origins

 

Contemporary scholarship largely agrees that Gnosticism has Jewish Christian origins, originating in the late first century AD in non rabbinical Jewish sects and early Christian sects.

 

Many heads of gnostic schools were identified as Jewish Christians by Church Fathers, and Hebrew words and names of God were applied in some gnostic systems. The cosmogonic speculations among Christian Gnostics had partial origins in Maaseh Bereshit and Maaseh Merkabah. This thesis is most notably put forward by Gershom Scholem (1897–1982) and Gilles Quispel (1916–2006). Scholem detected Jewish gnosis in the imagery of the merkavah, which can also be found in "Christian" Gnostic documents, for example the being "caught away" to the third heaven mentioned by Paul the Apostle. Quispel sees Gnosticism as an independent Jewish development, tracing its origins to Alexandrian Jews, to which group Valentinus was also connected.

 

Many of the Nag Hammadi texts make reference to Judaism, in some cases with a violent rejection of the Jewish God. Gershom Scholem once described Gnosticism as "the Greatest case of metaphysical anti-Semitism". Professor Steven Bayme said gnosticism would be better characterized as anti-Judaism. Recent research into the origins of Gnosticism shows a strong Jewish influence, particularly from Hekhalot literature.

 

Within early Christianity, the teachings of Paul and John may have been a starting point for Gnostic ideas, with a growing emphasis on the opposition between flesh and spirit, the value of charisma, and the disqualification of the Jewish law. The mortal body belonged to the world of inferior, worldly powers (the archons), and only the spirit or soul could be saved. The term gnostikos may have acquired a deeper significance here.

 

Alexandria was of central importance for the birth of Gnosticism. The Christian ecclesia (i. e. congregation, church) was of Jewish–Christian origin, but also attracted Greek members, and various strand of thought were available, such as "Judaic apocalypticism, speculation on divine wisdom, Greek philosophy, and Hellenistic mystery religions."

 

Regarding the angel Christology of some early Christians, Darrell Hannah notes:

 

[Some] early Christians understood the pre-incarnate Christ, ontologically, as an angel. This "true" angel Christology took many forms and may have appeared as early as the late First Century, if indeed this is the view opposed in the early chapters of the Epistle to the Hebrews. The Elchasaites, or at least Christians influenced by them, paired the male Christ with the female Holy Spirit, envisioning both as two gigantic angels. Some Valentinian Gnostics supposed that Christ took on an angelic nature and that he might be the Saviour of angels. The author of the Testament of Solomon held Christ to be a particularly effective "thwarting" angel in the exorcism of demons. The author of De Centesima and Epiphanius’ "Ebionites" held Christ to have been the highest and most important of the first created archangels, a view similar in many respects to Hermas’ equation of Christ with Michael. Finally, a possible exegetical tradition behind the Ascension of Isaiah and attested by Origen's Hebrew master, may witness to yet another angel Christology, as well as an angel Pneumatology.

 

The pseudepigraphical Christian text Ascension of Isaiah identifies Jesus with angel Christology:

 

[The Lord Christ is commissioned by the Father] And I heard the voice of the Most High, the father of my LORD as he said to my LORD Christ who will be called Jesus, ‘Go out and descend through all the heavens...

 

The Shepherd of Hermas is a Christian literary work considered as canonical scripture by some of the early Church fathers such as Irenaeus. Jesus is identified with angel Christology in parable 5, when the author mentions a Son of God, as a virtuous man filled with a Holy "pre-existent spirit".

 

Neoplatonic influences

See also: Platonic Academy, Neoplatonism and Gnosticism, and Neoplatonism and Christianity

In the 1880s Gnostic connections with neo-Platonism were proposed.Ugo Bianchi, who organised the Congress of Messina of 1966 on the origins of Gnosticism, also argued for Orphic and Platonic origins.Gnostics borrowed significant ideas and terms from Platonism, using Greek philosophical concepts throughout their text, including such concepts as hypostasis (reality, existence), ousia (essence, substance, being), and demiurge (creator God). Both Sethian Gnostics and Valentinian Gnostics seem to have been influenced by Plato, Middle Platonism, and Neo-Pythagoreanism academies or schools of thought. Both schools attempted "an effort towards conciliation, even affiliation" with late antique philosophy, and were rebuffed by some Neoplatonists, including Plotinus.

 

Persian origins or influences

Early research into the origins of Gnosticism proposed Persian origins or influences, spreading to Europe and incorporating Jewish elements. According to Wilhelm Bousset (1865–1920), Gnosticism was a form of Iranian and Mesopotamian syncretism,[29] and Richard August Reitzenstein (1861–1931) most famously situated the origins of Gnosticism in Persia.

 

Carsten Colpe (b. 1929) has analyzed and criticised the Iranian hypothesis of Reitzenstein, showing that many of his hypotheses are untenable. Nevertheless, Geo Widengren (1907–1996) argued for the origin of (Mandaean) Gnosticism in Mazdean (Zoroastrianism) Zurvanism, in conjunction with ideas from the Aramaic Mesopotamian world.

 

Buddhist parallels

 

In 1966, at the Congress of Median, Buddhologist Edward Conze noted phenomenological commonalities between Mahayana Buddhism and Gnosticism, in his paper Buddhism and Gnosis, following an early suggestion put forward by Isaac Jacob Schmidt. The influence of Buddhism in any sense on either the gnostikos Valentinus (c. 170) or the Nag Hammadi texts (3rd century) is not supported by modern scholarship, although Elaine Pagels (1979) called it a "possibility".

 

Characteristics

Cosmology

 

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The Syrian–Egyptian traditions postulate a remote, supreme Godhead, the Monad. From this highest divinity emanate lower divine beings, known as Aeons. The Demiurge, one of those Aeons, creates the physical world. Divine elements "fall" into the material realm, and are locked within human beings. This divine element returns to the divine realm when Gnosis, esoteric or intuitive knowledge of the divine element within, is obtained.

 

Dualism and monism

Gnostic systems postulate a dualism between God and the world, varying from the "radical dualist" systems of Manichaeism to the "mitigated dualism" of classic gnostic movements. Radical dualism, or absolute dualism, posits two co-equal divine forces, while in mitigated dualism one of the two principles is in some way inferior to the other. In qualified monism the second entity may be divine or semi-divine. Valentinian Gnosticism is a form of monism, expressed in terms previously used in a dualistic manner.

 

Moral and ritual practice

Gnostics tended toward asceticism, especially in their sexual and dietary practice. In other areas of morality, Gnostics were less rigorously ascetic, and took a more moderate approach to correct behaviour. In normative early Christianity the Church administered and prescribed the correct behaviour for Christians, while in Gnosticism it was the internalised motivation that was important. Ritualistic behaviour was not important unless it was based on a personal, internal motivation. Ptolemy's Epistle to Flora describes a general asceticism, based on the moral inclination of the individual.

 

Concepts

Monad

 

In many Gnostic systems, God is known as the Monad, the One. God is the high source of the pleroma, the region of light. The various emanations of God are called æons. According to Hippolytus, this view was inspired by the Pythagoreans, who called the first thing that came into existence the Monad, which begat the dyad, which begat the numbers, which begat the point, begetting lines, etc.

 

The Sethian cosmogony as most famously contained in the Apocryphon ("Secret book") of John describes an unknown God, very similar to the orthodox apophatic theology, but different from the orthodox teachings that this God is the creator of heaven and earth. Orthodox theologians often attempt to define God through a series of explicit positive statements: he is omniscient, omnipotent, and truly benevolent. The Sethian hidden transcendent God is, by contrast, defined through negative theology: he is immovable, invisible, intangible, ineffable; commonly, "he" is seen as being hermaphroditic, a potent symbol for being, as it were, "all-containing". In the Apocryphon of John, this god is good in that it bestows goodness. After the apophatic statements, the process of the Divine in action is used to describe the effect of such a god.

 

Pleroma

Pleroma (Greek πλήρωμα, "fullness") refers to the totality of God's powers. The heavenly pleroma is the center of divine life, a region of light "above" (the term is not to be understood spatially) our world, occupied by spiritual beings such as aeons (eternal beings) and sometimes archons. Jesus is interpreted as an intermediary aeon who was sent from the pleroma, with whose aid humanity can recover the lost knowledge of the divine origins of humanity. The term is thus a central element of Gnostic cosmology.

 

Pleroma is also used in the general Greek language, and is used by the Greek Orthodox church in this general form, since the word appears in the Epistle to the Colossians. Proponents of the view that Paul was actually a gnostic, such as Elaine Pagels, view the reference in Colossians as a term that has to be interpreted in a gnostic sense.

 

Emanation

 

The Supreme Light or Consciousness descends through a series of stages, gradations, worlds, or hypostases, becoming progressively more material and embodied. In time it will turn around to return to the One (epistrophe), retracing its steps through spiritual knowledge and contemplation.

 

Aeon

 

In many Gnostic systems, the aeons are the various emanations of the superior God or Monad. From this first being, also an æon, a series of different emanations occur, beginning in certain Gnostic texts with the hermaphroditic Barbelo, from which successive pairs of aeons emanate, often in male–female pairings called syzygies. The numbers of these pairings varied from text to text, though some identify their number as being thirty. The aeons as a totality constitute the pleroma, the "region of light". The lowest regions of the pleroma are closest to the darkness; that is, the physical world.

 

Two of the most commonly paired æons were Christ and Sophia (Greek: "Wisdom"); the latter refers to Christ as her "consort" in A Valentinian Exposition.

 

Sophia

 

In Gnostic tradition, the term Sophia (Σoφíα, Greek for "wisdom") refers to the final and lowest emanation of God. In most if not all versions of the gnostic myth, Sophia births the demiurge, who in turn brings about the creation of materiality. The positive or negative depiction of materiality thus resides a great deal on mythic depictions of Sophia's actions. She is occasionally referred to by the Hebrew equivalent of Achamoth (this is a feature of Ptolemy's version of the Valentinian gnostic myth). Jewish Gnosticism with a focus on Sophia was active by 90 AD.[citation needed]

 

Sophia, emanating without her partner, resulted in the production of the Demiurge (Greek: lit. "public builder"),[50] who is also referred to as Yaldabaoth and variations thereof in some Gnostic texts.[43] This creature is concealed outside the pleroma;[43] in isolation, and thinking itself alone, it creates materiality and a host of co-actors, referred to as archons. The demiurge is responsible for the creation of mankind; trapping elements of the pleroma stolen from Sophia inside human bodies.[43][51] In response, the Godhead emanates two savior aeons, Christ and the Holy Spirit; Christ then embodies itself in the form of Jesus, in order to be able to teach man how to achieve gnosis, by which they may return to the pleroma.[52]

 

Demiurge[edit]

 

A lion-faced deity found on a Gnostic gem in Bernard de Montfaucon's L'antiquité expliquée et représentée en figures may be a depiction of Yaldabaoth, the Demiurge; however, cf. Mithraic Zervan Akarana[53]

Main article: Demiurge

The term demiurge derives from the Latinized form of the Greek term dēmiourgos, δημιουργός, literally "public or skilled worker".[note 20] This figure is also called "Yaldabaoth",[43] Samael (Aramaic: sæmʻa-ʼel, "blind god"), or "Saklas" (Syriac: sækla, "the foolish one"), who is sometimes ignorant of the superior god, and sometimes opposed to it; thus in the latter case he is correspondingly malevolent. Other names or identifications are Ahriman, El, Satan, and Yahweh.

 

The demiurge creates the physical universe and the physical aspect of humanity.[55] The demiurge typically creates a group of co-actors named archons who preside over the material realm and, in some cases, present obstacles to the soul seeking ascent from it.[43] The inferiority of the demiurge's creation may be compared to the technical inferiority of a work of art, painting, sculpture, etc. to the thing the art represents. In other cases it takes on a more ascetic tendency to view material existence negatively, which then becomes more extreme when materiality, including the human body, is perceived as evil and constrictive, a deliberate prison for its inhabitants.

 

Moral judgements of the demiurge vary from group to group within the broad category of Gnosticism, viewing materiality as being inherently evil, or as merely flawed and as good as its passive constituent matter allows.[56]

 

Archon[edit]

Main article: Archon (Gnosticism)

In late antiquity some variants of Gnosticism used the term archon to refer to several servants of the demiurge.[51] In this context they may be seen as having the roles of the angels and demons of the Old Testament.[citation needed]

 

According to Origen's Contra Celsum, a sect called the Ophites posited the existence of seven archons, beginning with Iadabaoth or Ialdabaoth, who created the six that follow: Iao, Sabaoth, Adonaios, Elaios, Astaphanos, and Horaios.[57] Similarly to the Mithraic Kronos and Vedic Narasimha, a form of Vishnu, Ialdabaoth had a head of a lion.[43][58][59]

 

Other concepts[edit]

Other Gnostic concepts are:[60]

 

sarkic – earthly, hidebound, ignorant, uninitiated. The lowest level of human thought; the fleshly, instinctive level of thinking.

hylic – lowest order of the three types of human. Unable to be saved since their thinking is entirely material, incapable of understanding the gnosis.

psychic – "soulful", partially initiated. Matter-dwelling spirits

pneumatic – "spiritual", fully initiated, immaterial souls escaping the doom of the material world via gnosis.

kenoma – the visible or manifest cosmos, "lower" than the pleroma

charisma – gift, or energy, bestowed by pneumatics through oral teaching and personal encounters

logos – the divine ordering principle of the cosmos; personified as Christ. See also Odic force.

hypostasis – literally "that which stands beneath" the inner reality, emanation (appearance) of God, known to psychics

ousia – essence of God, known to pneumatics. Specific individual things or being.

Jesus as Gnostic saviour[edit]

Jesus is identified by some Gnostics as an embodiment of the supreme being who became incarnate to bring gnōsis to the earth,[61][52] while others adamantly denied that the supreme being came in the flesh, claiming Jesus to be merely a human who attained divinity through gnosis and taught his disciples to do the same.[citation needed] Among the Mandaeans, Jesus was considered a mšiha kdaba or "false messiah" who perverted the teachings entrusted to him by John the Baptist.[62] Still other traditions identify Mani and Seth – third son of Adam and Eve – as salvific figures.

 

Development[edit]

Three periods can be discerned in the development of Gnosticism:[63]

 

Late first century and early second century: development of Gnostic ideas, contemporaneous with the writing of the New Testament;

mid-second century to early third century: high point of the classical Gnostic teachers and their systems, "who claimed that their systems represented the inner truth revealed by Jesus";[63]

end of second century to fourth century: reaction by the proto-orthodox church and condemnation as heresy, and subsequent decline.

During the first period, three types of tradition developed:[63]

 

Genesis was reinterpreted in Jewish milieus, viewing Jahweh as a jealous God who enslaved people; freedom was to be obtained from this jealous God;

A wisdom tradition developed, in which Jesus' sayings were interpreted as pointers to an esoteric wisdom, in which the soul could be divinized through identification with wisdom.[63][note 21] Some of Jesus' sayings may have been incorporated into the gospels to put a limit on this development. The conflicts described in 1 Corinthians may have been inspired by a clash between this wisdom tradition and Paul's gospel of crucifixion and arising;[63]

A mythical story developed about the descent of a heavenly creature to reveal the Divine world as the true home of human beings.[63] Jewish Christianity saw the Messiah, or Christ, as "an eternal aspect of God's hidden nature, his "spirit" and "truth", who revealed himself throughout sacred history".[25]

The movement spread in areas controlled by the Roman Empire and Arian Goths,[65] and the Persian Empire. It continued to develop in the Mediterranean and Middle East before and during the 2nd and 3rd centuries, but decline also set in during the third century, due to a growing aversion from the Catholic Church, and the economic and cultural deterioration of the Roman Empire.[66] Conversion to Islam, and the Albigensian Crusade (1209–1229), greatly reduced the remaining number of Gnostics throughout the Middle Ages, though a few Mandaean communities still exist. Gnostic and pseudo-gnostic ideas became influential in some of the philosophies of various esoteric mystical movements of the 19th and 20th centuries in Europe and North America, including some that explicitly identify themselves as revivals or even continuations of earlier gnostic groups.

 

Relation with early Christianity[edit]

Dillon notes that Gnosticism raises questions about the development of early Christianity.[67]

 

Orthodoxy and heresy[edit]

See also: Diversity in early Christian theology

The Christian heresiologists, most notably Irenaeus, regarded Gnosticism as a Christian heresy. Modern scholarship notes that early Christianity was very diverse, and Christian orthodoxy only settled in the 4th century, when the Roman Empire declined and Gnosticism lost its influence.[68][66][69][67] Gnostics and proto-orthodox Christians shared some terminology. Initially, they were hard to distinguish from each other.[70]

 

According to Walter Bauer, "heresies" may well have been the original form of Christianity in many regions.[71] This theme was further developed by Elaine Pagels,[72] who argues that "the proto-orthodox church found itself in debates with gnostic Christians that helped them to stabilize their own beliefs."[67] According to Gilles Quispel, Catholicism arose in response to Gnosticism, establishing safeguards in the form of the monarchic episcopate, the creed, and the canon of holy books.[73]

 

Historical Jesus[edit]

See also: Jesus in comparative mythology and Christ myth theory

The Gnostic movements may contain information about the historical Jesus, since some texts preserve sayings which show similarities with canonical sayings.[74] Especially the Gospel of Thomas has a significant amount of parallel sayings.[74] Yet, a striking difference is that the canonical sayings center on the coming endtime, while the Thomas-sayings center on a kingdom of heaven that is already here, and not a future event.[75] According to Helmut Koester, this is because the Thomas-sayings are older, implying that in the earliest forms of Christianity Jesus was regarded as a wisdom-teacher.[75] An alternative hypothesis states that the Thomas authors wrote in the second century, changing existing sayings and eliminating the apocalyptic concerns.[75] According to April DeConick, such a change occurred when the endtime did not come, and the Thomasine tradition turned toward a "new theology of mysticism" and a "theological commitment to a fully-present kingdom of heaven here and now, where their church had attained Adam and Eve's divine status before the Fall."[75]

 

Johannine literature[edit]

The prologue of the Gospel of John describes the incarnated Logos, the light that came to earth, in the person of Jesus.[76] The Apocryphon of John contains a scheme of three descendants from the heavenly realm, the third one being Jesus, just as in the Gospel of John. The similarities probably point to a relationship between gnostic ideas and the Johannine community.[76] According to Raymond Brown, the Gospel of John shows "the development of certain gnostic ideas, especially Christ as heavenly revealer, the emphasis on light versus darkness, and anti-Jewish animus."[76] The Johannine material reveals debates about the redeemer myth.[63] The Johannine letters show that there were different interpretations of the gospel story, and the Johannine images may have contributed to second-century Gnostic ideas about Jesus as a redeemer who descended from heaven.[63] According to DeConick, the Gospel of John shows a "transitional system from early Christianity to gnostic beliefs in a God who transcends our world."[76] According to DeConick, John may show a bifurcation of the idea of the Jewish God into Jesus' Father in Heaven and the Jews' father, "the Father of the Devil" (most translations say "of [your] father the Devil"), which may have developed into the gnostic idea of the Monad and the Demiurge.[76]

 

Paul and Gnosticism[edit]

Tertullian calls Paul "the apostle of the heretics",[77] because Paul's writings were attractive to gnostics, and interpreted in a gnostic way, while Jewish Christians found him to stray from the Jewish roots of Christianity.[78] In I Corinthians Paul refers to some church members as "having knowledge" (Greek: τὸν ἔχοντα γνῶσιν, ton echonta gnosin).[79] James Dunn claims that in some cases, Paul affirmed views that were closer to gnosticism than to proto-orthodox Christianity.[80]

 

According to Clement of Alexandria, the disciples of Valentinus said that Valentinus was a student of a certain Theudas, who was a student of Paul,[80] and Elaine Pagels notes that Paul's epistles were interpreted by Valentinus in a gnostic way, and Paul could be considered a proto-gnostic as well as a proto-Catholic.[60] Many Nag Hammadi texts, including, for example, the Prayer of Paul and the Coptic Apocalypse of Paul, consider Paul to be "the great apostle".[80] The fact that he claimed to have received his gospel directly by revelation from God appealed to the gnostics, who claimed gnosis from the risen Christ.[81] The Naassenes, Cainites, and Valentinians referred to Paul's epistles.[82] Timothy Freke and Peter Gandy have expanded upon this idea of Paul as a gnostic teacher;[83] although their premise that Jesus was invented by early Christians based on an alleged Greco-Roman mystery cult has been dismissed by scholars.[84][note 22] However, his revelation was different from the gnostic revelations.[85]

 

Major movements[edit]

Syrian-Egyptian Gnosticism[edit]

Syrian-Egyptian Gnosticism includes Sethianism, Valentinianism, Basilideans, Thomasine traditions, and Serpent Gnostics, as well as a number of other minor groups and writers.[86] Hermeticism is also a western Gnostic tradition,[66] though it differs in some respects from these other groups.[87] The Syrian–Egyptian school derives much of its outlook from Platonist influences. It depicts creation in a series of emanations from a primal monadic source, finally resulting in the creation of the material universe. These schools tend to view evil in terms of matter that is markedly inferior to goodness and lacking spiritual insight and goodness rather than as an equal force.

 

Many of these movements used texts related to Christianity, with some identifying themselves as specifically Christian, though quite different from the Orthodox or Roman Catholic forms. Jesus and several of his apostles, such as Thomas the Apostle, claimed as the founder of the Thomasine form of Gnosticism, figure in many Gnostic texts. Mary Magdalene is respected as a Gnostic leader, and is considered superior to the twelve apostles by some gnostic texts, such as the Gospel of Mary. John the Evangelist is claimed as a Gnostic by some Gnostic interpreters,[88] as is even St. Paul.[60] Most of the literature from this category is known to us through the Nag Hammadi Library.

 

Sethite-Barbeloite[edit]

Main article: Sethianism

Sethianism was one of the main currents of Gnosticism during the 2nd to 3rd centuries, and the prototype of Gnosticism as condemned by Irenaeus.[89] Sethianism attributed its gnosis to Seth, third son of Adam and Eve and Norea, wife of Noah, who also plays a role in Mandeanism and Manicheanism. Their main text is the Apocryphon of John, which does not contain Christian elements,[89] and is an amalgam of two earlier myths.[90] Earlier texts such as Apocalypse of Adam show signs of being pre-Christian and focus on the Seth, third son of Adam and Eve.[91] Later Sethian texts continue to interact with Platonism. Sethian texts such as Zostrianos and Allogenes draw on the imagery of older Sethian texts, but utilize "a large fund of philosophical conceptuality derived from contemporary Platonism, (that is, late middle Platonism) with no traces of Christian content."[31][note 23]

 

According to John D. Turner, German and American scholarship views Sethianism as "a distinctly inner-Jewish, albeit syncretistic and heterodox, phenomenon", while British and French scholarship tends to see Sethianism as "a form of heterodox Christian speculation".[92] Roelof van den Broek notes that "Sethianism" may never have been a separate religious movement, and that the term refers rather to a set of mythological themes which occur in various texts.[93]

 

According to Smith, Sethianism may have begun as a pre-Christian tradition, possibly a syncretic cult that incorporated elements of Christianity and Platonism as it grew.[94] According to Temporini, Vogt, and Haase, early Sethians may be identical to or related to the Nazarenes (sect), the Ophites, or the sectarian group called heretics by Philo.[91]

 

According to Turner, Sethianism was influenced by Christianity and Middle Platonism, and originated in the second century as a fusion of a Jewish baptizing group of possibly priestly lineage, the so-called Barbeloites,[95] named after Barbelo, the first emanation of the Highest God, and a group of Biblical exegetes, the Sethites, the "seed of Seth".[96] At the end of the second century, Sethianism grew apart from the developing Christian orthodoxy, which rejected the docetian view of the Sethians on Christ.[97] In the early third century, Sethianism was fully rejected by Christian heresiologists, as Sethianism shifted toward the contemplative practices of Platonism while losing interest in their own origins.[98] In the late third century, Sethianism was attacked by neo-Platonists like Plotinus, and Sethianism became alienated from Platonism. In the early- to mid-fourth century, Sethianism fragmented into various sectarian Gnostic groups such as the Archontics, Audians, Borborites, and Phibionites, and perhaps Stratiotici, and Secundians.[99][31] Some of these groups existed into the Middle Ages.[99]

 

Samaritan Baptist sects[edit]

According to Magris, Samaritan Baptist sects were an offshoot of John the Baptist.[100] One offshoot was in turn headed by Dositheus, Simon Magus, and Menander. It was in this milieu that the idea emerged that the world was created by ignorant angels. Their baptismal ritual removed the consequences of sin, and led to a regeneration by which natural death, which was caused by these angels, was overcome.[100] The Samaritan leaders were viewed as "the embodiment of God's power, spirit, or wisdom, and as the redeemer and revealer of 'true knowledge'".[100]

 

The Simonians were centered on Simon Magus, the magician baptised by Philip and rebuked by Peter in Acts 8, who became in early Christianity the archetypal false teacher. The ascription by Justin Martyr, Irenaeus, and others of a connection between schools in their time and the individual in Acts 8 may be as legendary as the stories attached to him in various apocryphal books. Justin Martyr identifies Menander of Antioch as Simon Magus' pupil. According to Hippolytus, Simonianism is an earlier form of the Valentinian doctrine.[101]

 

The Basilidians or Basilideans were founded by Basilides of Alexandria in the second century. Basilides claimed to have been taught his doctrines by Glaucus, a disciple of St. Peter, but could also have been a pupil of Menander.[102] Basilidianism survived until the end of the 4th century as Epiphanius knew of Basilidians living in the Nile Delta. It was, however, almost exclusively limited to Egypt, though according to Sulpicius Severus it seems to have found an entrance into Spain through a certain Mark from Memphis. St. Jerome states that the Priscillianists were infected with it.

 

Valentinianism[edit]

Main article: Valentinianism

Valentinianism was named after its founder Valentinus (c. 100 – 180), who was a candidate for bishop of Rome but started his own group when another was chosen.[103] Valentinianism flourished after the middle of the 2nd century. The school was popular, spreading to Northwest Africa and Egypt, and through to Asia Minor and Syria in the east,[104] and Valentinus is specifically named as gnostikos by Irenaeus. It was an intellectually vibrant tradition,[105] with an elaborate and philosophically "dense" form of Gnosticism. Valentinus' students elaborated on his teachings and materials, and several varieties of their central myth are known.

 

Valentinian Gnosticism may have been monistic rather than dualistic.[note 24] In the Valentinian myths, the creation of a flawed materiality is not due to any moral failing on the part of the Demiurge, but due to the fact that he is less perfect than the superior entities from which he emanated.[108] Valentinians treat physical reality with less contempt than other Gnostic groups, and conceive of materiality not as a separate substance from the divine, but as attributable to an error of perception which becomes symbolized mythopoetically as the act of material creation.[108]

 

The followers of Valentinius attempted to systematically decode the Epistles, claiming that most Christians made the mistake of reading the Epistles literally rather than allegorically. Valentinians understood the conflict between Jews and Gentiles in Romans to be a coded reference to the differences between Psychics (people who are partly spiritual but have not yet achieved separation from carnality) and Pneumatics (totally spiritual people). The Valentinians argued that such codes were intrinsic in gnosticism, secrecy being important to ensuring proper progression to true inner understanding.[note 25]

 

According to Bentley Layton "Classical Gnosticism" and "The School of Thomas" antedated and influenced the development of Valentinus, whom Layton called "the great [Gnostic] reformer" and "the focal point" of Gnostic development. While in Alexandria, where he was born, Valentinus probably would have had contact with the Gnostic teacher Basilides, and may have been influenced by him.[109] Simone Petrement, while arguing for a Christian origin of Gnosticism, places Valentinus after Basilides, but before the Sethians. According to Petrement, Valentinus represented a moderation of the anti-Judaism of the earlier Hellenized teachers; the demiurge, widely regarded as a mythological depiction of the Old Testament God of the Hebrews, is depicted as more ignorant than evil.[110]

 

Thomasine traditions[edit]

The Thomasine Traditions refers to a group of texts which are attributed to the apostle Thomas.[111][note 26] Karen L. King notes that "Thomasine Gnosticism" as a separate category is being criticised, and may "not stand the test of scholarly scrutiny".[112]

 

Marcion[edit]

Marcion was a Church leader from Sinope (present-day Turkey), who preached in Rome around 150 CE,[113] but was expelled and started his own congregation, which spread throughout the Mediterranean. He rejected the Old Testament, and followed a limited Christian canon, which included only a redacted version of Luke, and ten edited letters of Paul.[114] Some scholars do not consider him to be a gnostic,[115][note 27] but his teachings clearly resemble some Gnostic teachings.[113] He preached a radical difference between the God of the Old Testament, the Demiurge, the "evil creator of the material universe", and the highest God, the "loving, spiritual God who is the father of Jesus", who had sent Jesus to the earth to free mankind from the tyranny of the Jewish Law.[113][2] Like the Gnostics, Marcion argued that Jesus was essentially a divine spirit appearing to men in the shape of a human form, and not someone in a true physical body.[116] Marcion held that the heavenly Father (the father of Jesus Christ) was an utterly alien god; he had no part in making the world, nor any connection with it.[116]

 

Hermeticism[edit]

Hermeticism is closely related to Gnosticism, but its orientation is more positive.[66][87]

 

Other Gnostic groups[edit]

Serpent Gnostics. The Naassenes, Ophites and the Serpentarians gave prominence to snake symbolism, and snake handling played a role in their ceremonies.[113]

Cerinthus (c. 100), the founder of a heretical school with gnostic elements. Like a Gnostic, Cerinthus depicted Christ as a heavenly spirit separate from the man Jesus, and he cited the demiurge as creating the material world. Unlike the Gnostics, Cerinthus taught Christians to observe the Jewish law; his demiurge was holy, not lowly; and he taught the Second Coming. His gnosis was a secret teaching attributed to an apostle. Some scholars believe that the First Epistle of John was written as a response to Cerinthus.[117]

The Cainites are so-named since Hippolytus of Rome claims that they worshiped Cain, as well as Esau, Korah, and the Sodomites. There is little evidence concerning the nature of this group. Hippolytus claims that they believed that indulgence in sin was the key to salvation because since the body is evil, one must defile it through immoral activity (see libertinism). The name Cainite is used as the name of a religious movement, and not in the usual Biblical sense of people descended from Cain.

The Carpocratians, a libertine sect following only the Gospel according to the Hebrews

The school of Justin, which combined gnostic elements with the ancient Greek religion.

The Borborites, a libertine Gnostic sect, said to be descended from the Nicolaitans[118]

Persian Gnosticism[edit]

The Persian Schools, which appeared in the western Persian province of Babylonia (in particular, within the Sassanid province of Asuristan), and whose writings were originally produced in the Aramaic dialects spoken in Babylonia at the time, are representative of what is believed to be among the oldest of the Gnostic thought forms. These movements are considered by most to be religions in their own right, and are not emanations from Christianity or Judaism.

 

Manichaeism[edit]

 

Manicheanism priests writing at their desks, with panel inscription in Sogdian. Manuscript from Khocho, Tarim Basin.

Main article: Manichaeism

Manichaeism was founded by the Prophet Mani (216–276). Mani's father was a member of the Jewish-Christian sect of the Elcesaites, a subgroup of the Gnostic Ebionites. At ages 12 and 24, Mani had visionary experiences of a "heavenly twin" of his, calling him to leave his father's sect and preach the true message of Christ. In 240–41, Mani travelled to the Indo-Greek Kingdom of the Sakhas in modern-day Afghanistan, where he studied Hinduism and its various extant philosophies. Returning in 242, he joined the court of Shapur I, to whom he dedicated his only work written in Persian, known as the Shabuhragan. The original writings were written in Syriac Aramaic, in a unique Manichaean script.

 

Manichaeism conceives of two coexistent realms of light and darkness that become embroiled in conflict. Certain elements of the light became entrapped within darkness, and the purpose of material creation is to engage in the slow process of extraction of these individual elements. In the end the kingdom of light will prevail over darkness. Manicheanism inherits this dualistic mythology from Zurvanist Zoroastrianism,[119] in which the eternal spirit Ahura Mazda is opposed by his antithesis, Angra Mainyu. This dualistic teaching embodied an elaborate cosmological myth that included the defeat of a primal man by the powers of darkness that devoured and imprisoned the particles of light.[120]

 

According to Kurt Rudolph, the decline of Manichaeism that occurred in Persia in the 5th century was too late to prevent the spread of the movement into the east and the west.[121] In the west, the teachings of the school moved into Syria, Northern Arabia, Egypt and North Africa.[note 28] There is evidence for Manicheans in Rome and Dalmatia in the 4th century, and also in Gaul and Spain. From Syria it progressed still farther, into Palestine, Asia Minor and Armenia. The influence of Manicheanism was attacked by imperial elects and polemical writings, but the religion remained prevalent until the 6th century, and still exerted influence in the emergence of the Paulicians, Bogomils and Cathari in the Middle Ages, until it was ultimately stamped out by the Catholic Church.[121]

 

In the east, Rudolph relates, Manicheanism was able to bloom, because the religious monopoly position previously held by Christianity and Zoroastrianism had been broken by nascent Islam. In the early years of the Arab conquest, Manicheanism again found followers in Persia (mostly amongst educated circles), but flourished most in Central Asia, to which it had spread through Iran. Here, in 762, Manicheanism became the state religion of the Uyghur Empire.[121]

 

Mandaeanism[edit]

Main article: Mandaeanism

 

Mandaean house of worship in Nasiriya, Iraq

The Mandaeans are Semites and speak a dialect of Eastern Aramaic known as Mandaic. Their religion has been practised primarily around the lower Karun, Euphrates and Tigris and the rivers that surround the Shatt-al-Arab waterway, part of southern Iraq and Khuzestan Province in Iran. Mandaeanism is still practiced in small numbers, in parts of southern Iraq and the Iranian province of Khuzestan, and there are thought to be between 60,000 and 70,000 Mandaeans worldwide.[124]

 

The name of the group derives from the term Mandā d-Heyyi, which roughly means "Knowledge of Life". Although the exact chronological origins of this movement are not known, John the Baptist eventually came to be a key figure in the religion, as an emphasis on baptism is part of their core beliefs. As with Manichaeism, despite certain ties with Christianity,[125] Mandaeans do not believe in Moses, Jesus, or Mohammed. Their beliefs and practices likewise have little overlap with the religions that manifested from those religious figures and the two should not be confused. Significant amounts of original Mandaean Scripture, written in Mandaean Aramaic, survive in the modern era. The primary source text is known as the Genzā Rabbā and has portions identified by some scholars as being copied as early as the 3rd century. There is also the Qolastā, or Canonical Book of Prayer and The Book of John the Baptist (sidra ḏ-iahia).

 

Middle Ages[edit]

After its demise in the Mediterranean world, Gnosticism lived on in the periphery of the Byzantine Empire, and resurfaced in the western world. The Paulicians, an Adoptionist group which flourished between 650 and 872 in Armenia and the Eastern Themes of the Byzantine Empire, were accused by orthodox medieval sources of being Gnostic and quasi Manichaean Christian. The Bogomils, emerged in Bulgaria between 927 and 970 and spread throughout Europe. It was as synthesis of Armenian Paulicianism and the Bulgarian Orthodox Church reform movement.

 

The Cathars (Cathari, Albigenses or Albigensians) were also accused by their enemies of the traits of Gnosticism; though whether or not the Cathari possessed direct historical influence from ancient Gnosticism is disputed. If their critics are reliable the basic conceptions of Gnostic cosmology are to be found in Cathar beliefs (most distinctly in their notion of a lesser, Satanic, creator god), though they did not apparently place any special relevance upon knowledge (gnosis) as an effective salvific force.[verification needed]

 

Islam[edit]

The message of the Islamic prophet Muhammad shows close similarities to many Gnostic ideas. The Quran, like Gnostic cosmology, makes a sharp distinction between this world and the afterlife. The notion of four rivers in heaven, as mentioned in the Quran, separating this world from the other , also appears frequently in Mandaean literature. God is commonly thought of as being beyond human comprehension. In some Islamic schools of thought, somehow identifiable with the Gnostic Monad.[126][127] However, according to Islam and unlike most Gnostic sects, not rejection of this world, but performing good deeds leads to the heaven. And according to the Islamic belief in strict Oneness of God, there was no room for a lower deity; such as the demiurge.[128] According to Islam, both good and evil come from one God, a position especially opposed by the Manichaeans. Ibn al-Muqaffa depicted the Islamic deity as a demonic entity who "fights with humans and boasts about His victories" and "sitting on a throne, from which He can descend". It would be impossible that both light and darkness were created from one source, since they were regarded as two different eternal principles.[129] Muslim theologists countered this accusation by the example of a repeating sinner, who says: "I laid, and I repent";[130] this would prove that good can also result out of evil.

 

Islam also integrated traces of an entity given authority over the lower world in some early writings: Iblis is regarded by some Sufis as the owner of this world, and humans must avoid the treasures of this world, since they would belong to him.[131] In the Isma'ili Shia work Umm al Kitab, Azazil's role resembles whose of the Gnostic demiurge.[132] Like the demiurge, he is endowed with the ability to create his own world and seeks to imprison humans in the material world, but here, his power is limited and depends on the higher God.[133] Such Gnostic anthropogenic can be found frequently among Isma'ili traditions.[134] However, Ismailism were often criticised as non-Islamic. Ghazali characterized them as a group who are outwardly Shias but were actually adherence of a dualistic and philosophical religion. Further traces of Gnostic ideas can be found in Sufi anthropogenic.[135] Like the gnostic conception of human beings imprisoned in matter, Sufi-traditions acknowledges the human soul is an accomplice of the material world and subject to bodily desires similar to the way archontic spheres envelop the pneuma.[136] The Ruh must therefore gain victory over the lower and material-bound psyche, to overcome his animal nature. A human being captured by his animal desires, mistakenly claims autonomy and independence from the "higher God", thus resembling the lower deity in classical gnostic traditions. However, since the goal is not to abandon the created world, but just to free oneself from ones own lower desires, it can be disputed whether this can still be Gnostic, but rather a completion of the message of Muhammad.[129] It seems that Gnostic ideas were an influential part of early Islamic development but later lost its influence. However the Gnostic light metaphorics and the idea of unity of existence still prevailed in later Islamic thought.[127]

 

Kabbalah[edit]

Gnostic ideas found a Jewish variation in the mystical study of Kabbalah. Many core Gnostic ideas reappear in Kabbalah, where they are used for dramatically reinterpreting earlier Jewish sources according to this new system.[137] The Kabbalists originated in 13th-century Provence,[note 29] which was at that time also the center of the Gnostic Cathars. While some scholars in the middle of the 20th century tried to assume an influence between the Cathar "gnostics" and the origins of the Kabbalah, this assumption has proved to be an incorrect generalization not substantiated by any original texts.[139] On the other hand, other scholars, such as Scholem, have postulated that there was originally a "Jewish gnosticism", which influenced the early origins of gnosticism.[140]

 

Kabbalah does not employ the terminology or labels of non-Jewish Gnosticism, but grounds the same or similar concepts in the language of the Torah (the first five books of the Hebrew Bible).[141] The 13th-century Zohar ("Splendor"), a foundational text in Kabbalah, is written in the style of a Jewish Aramaic Midrash, clarifying the five books of the Torah with a new Kabbalistic system that uses completely Jewish terms.[142]

 

Modern times[edit]

Main article: Gnosticism in modern times

The Mandaeans are an ancient Gnostic sect that have survived to this day and are found today in Iraq.[143] Their namesake owes to their following John the Baptist and in that country, they have about five thousand followers.[143] A number of ecclesiastical bodies that think of themselves as Gnostic have set up or re-founded since World War II, including the Ecclesia Gnostica, Apostolic Johannite Church, Ecclesia Gnostica Catholica, the Gnostic Church of France, the Thomasine Church, the Alexandrian Gnostic Church, the North American College of Gnostic Bishops,[144] and the Universal Gnosticism of Samael Aun Weor.[145]

 

A number of 19th-century thinkers such as Arthur Schopenhauer,[146] Albert Pike and Madame Blavatsky studied Gnostic thought extensively and were influenced by it, and even figures like Herman Melville and W. B. Yeats were more tangentially influenced.[147] Jules Doinel "re-established" a Gnostic church in France in 1890, which altered its form as it passed through various direct successors (Fabre des Essarts as Tau Synésius and Joanny Bricaud as Tau Jean II most notably), and, though small, is still active today.[148]

 

Early 20th-century thinkers who heavily studied and were influenced by Gnosticism include Carl Jung (who supported Gnosticism), Eric Voegelin (who opposed it), Jorge Luis Borges (who included it in many of his short stories), and Aleister Crowley, with figures such as Hermann Hesse being more moderately influenced. René Guénon founded the gnostic review, La Gnose in 1909, before moving to a more Perennialist position, and founding his Traditionalist School. Gnostic Thelemite organizations, such as Ecclesia Gnostica Catholica and Ordo Templi Orientis, trace themselves to Crowley's thought.

 

The discovery and translation of the Nag Hammadi library after 1945 has had a huge effect on Gnosticism since World War II. Intellectuals who were heavily influenced by Gnosticism in this period include Lawrence Durrell, Hans Jonas, Philip K. Dick and Harold Bloom, with Albert Camus and Allen Ginsberg being more moderately influenced.[147] Celia Green has written on Gnostic Christianity in relation to her own philosophy.[149]

 

Alfred North Whitehead was aware of the existence of the newly discovered Gnostic scrolls. Accordingly, Michel Weber has proposed a Gnostic interpretation of his late metaphysics.[150]

 

Sources[edit]

Heresiologists[edit]

Prior to the discovery of the Nag Hammadi library in 1945 Gnosticism was known primarily through the works of heresiologists, Church Fathers who opposed those movements. These writings had an antagonistic bias towards gnostic teachings, and were incomplete. Several heresiological writers, such as Hippolytus, made little effort to exactly record the nature of the sects they reported on, or transcribe their sacred texts. Reconstructions of incomplete Gnostic texts were attempted in modern times, but research on Gnosticism was coloured by the orthodox views of those heresiologists.

 

Justin Martyr (c. 100/114 – c. 162/168) wrote the First Apology, addressed to Roman Emperor Antoninus Pius, which criticising Simon Magus, Menander and Marcion. Since this time, both Simon and Menander have been considered as 'proto-Gnostic'.[151] Irenaeus (died c. 202) wrote Against Heresies (c. 180–185), which identifies Simon Magus from Flavia Neapolis in Samaria as the inceptor of Gnosticism. From Samaria he charted an apparent spread of the teachings of Simon through the ancient "knowers" into the teachings of Valentinus and other, contemporary Gnostic sects.[note 30] Hippolytus (170–235) wrote the ten-volume Refutation Against all Heresies, of which eight have been unearthed. It also focuses on the connection between pre-Socratic (and therefore Pre-Incantation of Christ) ideas and the false beliefs of early gnostic heretical leaders. Thirty-three of the groups he reported on are considered Gnostic by modern scholars, including 'the foreigners' and 'the Seth people'. Hippolytus further presents individual teachers such as Simon, Valentinus, Secundus, Ptolemy, Heracleon, Marcus and Colorbasus. Tertullian (c. 155–230) from Carthage wrote Adversus Valentinianos ('Against the Valentinians'), c. 206, as well as five books around 207–208 chronicling and refuting the teachings of Marcion.

 

Gnostic texts[edit]

See also: Gnostic texts and Nag Hammadi library

Prior to the discovery at Nag Hammadi, a limited number of texts were available to students of Gnosticism. Reconstructions were attempted from the records of the heresiologists, but these were necessarily coloured by the motivation behind the source accounts.

 

The Nag Hammadi library [note 31] is a collection of Gnostic texts discovered in 1945 near Nag Hammadi, Upper Egypt. Twelve leather-bound papyrus codices buried in a sealed jar were found by a local farmer named Muhammed al-Samman.[152] The writings in these codices comprised fifty-two mostly Gnostic treatises, but they also include three works belonging to the Corpus Hermeticum and a partial translation/alteration of Plato's Republic. These codices may have belonged to a nearby Pachomian monastery, and buried after Bishop Athanasius condemned the use of non-canonical books in his Festal Letter of 367.[153] Though the original language of composition was probably Greek, the various codices contained in the collection were written in Coptic. A 1st- or 2nd-century date of composition for the lost Greek originals has been proposed, though this is disputed; the manuscripts themselves date from the 3rd and 4th centuries. The Nag Hammadi texts demonstrated the fluidity of early Christian scripture and early Christianity itself.[note 32]

 

Academic studies[edit]

Development[edit]

Prior to the discovery of Nag Hammadi, the Gnostic movements were largely perceived through the lens of the early church heresiologists. Johann Lorenz von Mosheim (1694–1755) proposed that Gnosticism developed on its own in Greece and Mesopotamia, spreading to the west and incorporating Jewish elements. According to Mosheim, Jewish thought took Gnostic elements and used them against Greek philosophy.[33] J. Horn and Ernest Anton Lewald proposed Persian and Zoroastrian origins, while Jacques Matter described Gnosticism as an intrusion of eastern cosmological and theosophical speculation into Christianity.[33]

 

In the 1880s Gnosticism was placed within Greek philosophy, especially neo-Platonism.[29] Adolf von Harnack (1851–1930), who belonged to the School of the History of Dogma and proposed a Kirchengeschichtliches Ursprungsmodell, saw gnosticism as an internal development within the church under the influence of Greek philosophy.[29][155] According to Harnack, Gnosticism was the "acute Hellenization of Christianity."[29]

 

The Religionsgeschichtliche Schule ("history of religions school", 19th century) had a profound influence on the study of Gnosticism.[29] The Religionsgeschichtliche Schule saw Gnosticism as a pre-Christian phenomenon, and Christian gnosis as only one, and even marginal instance of this phenomenon.[29] According to Wilhelm Bousset (1865–1920), Gnosticism was a form of Iranian and Mesopotamian syncretism,[29] and Eduard Norden (1868–1941) also proposed pre-Christian origins,[29] while Richard August Reitzenstein (1861–1931), and Rudolf Bultmann (1884–1976) also situated the origins of Gnosticism in Persia.[29] Hans Heinrich Schaeder (1896–1957) and Hans Leisegang saw Gnosticism as an amalgam of eastern thought in a Greek form.[29]

 

Hans Jonas (1903–1993) took an intermediate approach, using both the comparative approach of the Religionsgeschichtliche Schule and the existentialist hermeneutics of Bultmann. Jonas emphasized the duality between God and the world, and concluded that Gnosticism cannot be derived from Platonism.[19]

 

Contemporary scholarship largely agrees that Gnosticism has Jewish or Judeo-Christian origins;[19] this theses is most notably put forward by Gershom G. Scholem (1897–1982) and Gilles Quispel (1916–2006).[156]

 

The study of Gnosticism and of early Alexandrian Christianity received a strong impetus from the discovery of the Coptic Nag Hammadi Library in 1945.[157][158] A great number of translations have been published, and the works of Elaine Pagels, Professor of Religion at Princeton University, especially The Gnostic Gospels, which detailed the suppression of some of the writings found at Nag Hammadi by early bishops of the Christian church, has popularized Gnosticism in mainstream culture,[web 3][web 4] but also incited strong responses and condemnations from clergical writers.[159]

 

Definitions of Gnosticism[edit]

According to Matthew J. Dillon, six trends can be discerned in the definitions of Gnosticism:[160]

 

Typologies, "a catalogue of shared characteristics that are used to classify a group of objects together."[160]

Traditional approaches, viewing Gnosticism as a Christian heresy[161]

Phenomenological approaches, most notably Hans Jonas[162]

Restricting Gnosticism, "identifying which groups were explicitly called gnostics",[163] or which groups were clearly sectarian[163]

Deconstructing Gnosticism, abandoning the category of "Gnosticism"[164]

Psychology and cognitive science of religion, approaching Gnosticism as a psychological phenomena[165]

Typologies[edit]

The 1966 Messina conference on the origins of gnosis and Gnosticism proposed to designate

 

... a particular group of systems of the second century after Christ" as gnosticism, and to use gnosis to define a conception of knowledge that transcends the times, which was described as "knowledge of divine mysteries for an élite.[166]

 

This definition has now been abandoned.[160] It created a religion, "Gnosticism", from the "gnosis" which was a widespread element of ancient religions,[note 33] suggesting a homogeneous conception of gnosis by these Gnostic religions, which did not exist at the time.[167]

 

According to Dillon, the texts from Nag Hammadi made clear that this definition was limited, and that they are "better classified by movements (such as Valentinian), mythological similarity (Sethian), or similar tropes (presence of a Demiurge)."[160] Dillon further notes that the Messian-definition "also excluded pre-Christian Gnosticism and later developments, such as the Mandaeans and the Manichaeans."[160]

 

Hans Jonas discerned two main currents of Gnosticism, namely Syrian-Egyptian, and Persian, which includes Manicheanism and Mandaeanism.[19] Among the Syrian-Egyptian schools and the movements they spawned are a typically more Monist view. Persian Gnosticism possesses more dualist tendencies, reflecting a strong influence from the beliefs of the Persian Zurvanist Zoroastrians. Those of the medieval Cathars, Bogomils, and Carpocratians seem to include elements of both categories.

 

Gilles Quispel divided Syrian-Egyptian Gnosticism further into Jewish Gnosticism (the Apocryphon of John)[89] and Christian Gnosis (Marcion, Basilides, Valentinus). This "Christian Gnosticism" was Christocentric, and influenced by Christian writings such as the Gospel of John and the Pauline epistles.[168] Other authors speak rather of "Gnostic Christians", noting that Gnostics were a prominent substream in the early church.[169]

 

Traditional approaches – Gnosticism as Christian heresy[edit]

The best known example of this approach is Adolf von Harnack (1851–1930), who stated that "Gnosticism is the acute Hellenization of Christianity."[161] According to Dillon, "many scholars today continue in the vein of Harnack in reading gnosticism as a late and contaminated version of Christianity", notably Darrell Block, who criticises Elaine Pagels for her view that early Christianity was wildly diverse.[162]

 

Phenomenological approaches[edit]

Hans Jonas (1903–1993) t

This turned out to be one of the most joyous, life affirming places that we've visited on our travels. The sparkling, late summer sunshine, the arresting modern architecture set amid so much history, the superb collection of early 20th century paintings on the 5th floor, and the throng of tourists and Parisians enjoying themselves on a Saturday combined to make this a most memorable afternoon.

 

www.centrepompidou.fr/en

 

"Centre Georges Pompidou commonly shortened to Centre Pompidou; also known as the Pompidou Centre in English) is a complex building in the Beaubourg area of the 4th arrondissement of Paris, near Les Halles, rue Montorgueil and the Marais. The Place Georges Pompidou in front of the museum is noted for the presence of street performers, such as mimes and jugglers. In the spring, miniature carnivals are installed temporarily into the place in front with a wide variety of attractions: bands, caricature and sketch artists, tables set up for evening dining, and even skateboarding competitions.

 

The nearby Stravinsky Fountain (also called the Fontaine des automates), on Place Stravinsky, features sixteen whimsical moving and water-spraying sculptures by Jean Tinguely and Niki de Saint-Phalle, which represent themes and works by composer Igor Stravinsky. The black-painted mechanical sculptures are by Tinguely, the colored works by de Saint-Phalle. The fountain opened in 1983.

 

It houses the Bibliothèque publique d'information (Public Information Library), a vast public library, the Musée National d'Art Moderne, which is the largest museum for modern art in Europe, and IRCAM, a centre for music and acoustic research. Because of its location, the Centre is known locally as Beaubourg. It is named after Georges Pompidou, the President of France from 1969 to 1974 who commissioned the building, and was officially opened on 31 January 1977 by President Valéry Giscard d'Estaing.

 

The sculpture, Horizontal by Alexander Calder, a free-standing mobile that is twenty-five feet high, was placed in 2012 in front of the Centre Pompidou.

 

The Centre was designed by Italian architect Renzo Piano; British architect Richard Rogers; and Italian architect Gianfranco Franchini, assisted by Ove Arup & Partners.The project was awarded to this team in an architectural design competition, whose results were announced in 1971. It was the first time in France that international architects were allowed to participate. World-renowned architects Oscar Niemeyer, Jean Prouvé and Philip Johnson made up the jury which would select one design out of the 681 entries.

 

National Geographic described the reaction to the design as "love at second sight." An article in Le Figaro declared "Paris has its own monster, just like the one in Loch Ness." But two decades later, while reporting on Rogers' winning the Pritzker Prize in 2007, The New York Times noted that the design of the Centre "turned the architecture world upside down" and that "Mr. Rogers earned a reputation as a high-tech iconoclast with the completion of the 1977 Pompidou Centre, with its exposed skeleton of brightly coloured tubes for mechanical systems. The Pritzker jury said the Pompidou "revolutionized museums, transforming what had once been elite monuments into popular places of social and cultural exchange, woven into the heart of the city.".

 

Initially, all of the functional structural elements of the building were colour-coded: green pipes are plumbing, blue ducts are for climate control, electrical wires are encased in yellow, and circulation elements and devices for safety (e.g., fire extinguishers) are red."

 

en.wikipedia.org/wiki/Centre_Georges_Pompidou

 

...

"Church of Our Saviour, Friend of Children, also known as Holy Angels Roman Catholic Church, is a church located on North Shore Road on Sugar Island, near Sault Ste. Marie, Michigan. It was designated a Michigan State Historic Site in 1978 and listed on the National Register of Historic Places in 1982.

 

Michael G. Payment was born in Montreal in 1814. In 1827 he moved to Detroit and became involved in business. He soon was put in charge of cargo shipments, in which capacity he traded goods with Native Americans. In 1845, Payment moved to Sugar Island and established a small settlement, known at the time as "Payment's Landing" or "Payment Settlement." Payment undertook trade with the local Ojibwe people, establishing a successful trading post. Beginning in 1853, Bishop Frederic Baraga was a frequent visitor to the settlement, and in 1856 Baraga purchased lumber and requested that Michael Payment construct a church at the site. Payment complied, and the building was completed in 1857.

 

Michael Payment returned to Detroit in 1874, but regular services were held at the church until it closed in 1953. The church reopened in 1982 for services in the summer. It is the last remaining structure from Payment's Landing.

 

Church of Our Saviour, Friend of Children is a single story frame structure sitting on a fieldstone foundation. The exterior was originally clad in clapboard, but at some time weatherboarding was installed over the original siding. The church has a gable roof with a square, pyrimidal-roofed belfry at the top. Each side has three windows, and one end has an entry portico below a plain wooden cross.

 

Sugar Island is an island in the U.S. state of Michigan in the St. Marys River between the United States and the Canadian province of Ontario. The entire island constitutes Sugar Island Township in Chippewa County at the eastern tip of the Upper Peninsula. According to the 2000 census there were 683 people living on a land area of 128 square kilometers (49 square miles); about 14 people per square mile.

 

The island lies between Lake George and Lake Nicolet, and to the north of Neebish Island and St. Joseph Island. Pine Island is just east of its southern tip. Vehicle access to the island is via a ferry service at its northwestern tip, connecting east of Sault Ste. Marie, Michigan.

 

The island was part of the Canada–United States border dispute settled by the Webster–Ashburton Treaty, and affirmed to be part of the United States when the treaty was signed August 9, 1842.

 

In 1945 Sugar Island was nominated as a possible location for the headquarters of the United Nations.

 

The island has large undeveloped areas, and both the Bay Mills Indian Community and the Sault Tribe of Chippewa Indians have interests on the island. The Sault Tribe consider it to be part of their ancestral homelands.

 

The University of Michigan Biological Station operates the Chase Osborn Preserve, a 3,200-acre (13-square-kilometer) tract near the southern tip of the island. The Preserve is named for Chase Osborn, an island resident who had been the Governor of Michigan." - info from Wikipedia.

 

Now on Instagram.

 

via Instagram ift.tt/1qopCIL

This snowy egret reminds me of US Senator, Al Franken who used to play his alter ego in SNL named Stuart Smalley. He would look into the mirror and say something positive to himself in order to raise his self-esteem. I remember in one of the episodes, Hall of Fame basketball player Michael Jordon had joined him in the show. That was really a classic. Check this out: www.bing.com/videos/watch/video/daily-affirmation/17wr4z7ik

 

Les animaux sont des êtres énigmatiques parce qu'ils sont entièrement présents, là où ils sont. Fondamentalement affirmatifs, ils avancent leurs formes et leurs couleurs comme des évidences irréfutables. Comme s'ils cherchaient à dire quelque chose qui n'a pas même besoin d'être traduit.

Quantum effects, the smoke and mirrors trick ….

 

Atheists would dearly love to debunk the Law of Cause and Effect, and all the other natural laws that are fatal to their ideology of naturalism.

(The atheist 'religion' of naturalism requires a NATURAL, first cause of the universe, which the Law of Cause and Effect and other natural laws definitively rule out as impossible).

 

Of course, they know they can never succeed, because by undermining the Law of Cause and Effect, they effectively undermine science itself. The Law of Cause and Effect is a fundamental principle of scientific research. The scientific method relies on seeking and discovering causes for EVERY natural event. The concept of an uncaused, natural event or entity is an anathema to genuine science.

Ralph Waldo Emerson said the Law of Cause and Effect is the "law of laws".

 

Although intelligent atheists are well aware that they can never debunk laws, which definitively rule out a natural origin of the universe as impossible - nevertheless, they attempt to give the impression, to the public, that a natural, first cause of everything is scientifically feasible, and that laws of nature are not a serious obstacle.

 

One way atheists try to convince the public to accept their naturalist ideology, is by proposing that the quantum world is very different from the world we see around us. And in that mysterious, quantum world virtually anything can occur, regardless of natural laws which generally describe what is possible in the universe.

This apparent air of mystery gives atheists carte blanche to propose various, bizarre, origin scenarios, which would normally be ruled out as impossible or as just crackpot fantasies.

If challenged, to scientifically justify such imaginative scenarios, they usually reply; ‘with quantum effects, no one knows what is possible’. In this way, opposition to any extraordinary hypothesis can be effectlively silenced. And to dispute, whatever origin scenario they choose to invent, may seem pointless.

 

However, it would be entirely wrong to accept this.

Science does not progress in a straightjacket, especially one imposed for ideological reasons. We are perfectly justified in rigorously challenging the idea that quantum mechanics or effects are a possible, natural answer to the origin of the universe. And that quantum effects can give credence to the belief that everything naturally arose from nothing, without an adequate cause, or purpose.

 

So, what is the truth?

We can state quite categorically that quantum effects cannot have anything to do with an origin of the universe from nothing.

Why?

It is common sense that something CANNOT come from nothing, and that EVERY natural occurrence needs an adequate cause. Micro or sub-atomic particles are not an exception. There are NO exceptions.

 

Atheist, Richard Dawkins tries to define 'nothing' as 'something'.

youtu.be/b6H9XirkhZY

 

The atheist mentality seems to be that, if something is deemed impossible, just propose it could happen; little-by-little, and it becomes plausible, especially to a credulous public.

Presumably, if you make it as small, make it sound as simple, and as less complex as you can, people will believe anything is possible.

This is a similar, little-by-little approach that atheists have applied to the origin of life, and it is precisely how they have managed to get most people to accept microbes-to-human evolution, through beneficial mutations.

However, we need to ask ...

What makes atheists think that it is easier for something to come from nothing if it is smaller or simpler?

Would it be easier, or more credible, for a grain of sand to come from nothing than for a boulder?

Of course, it wouldn’t - it makes no difference whatsoever.

Something cannot come from nothing - that is an irrefutable fact.

Size, or lack of complexity, doesn’t alter that.

 

It seems that atheist thinking is something like the following:

Although people may realise that you couldn’t get a grain of sand from nothing, any more than you could a boulder, what if we propose the something which came from nothing is the smallest thing imaginable?

What about the quantum world – how about a sub-atomic particle?

That could seem much more plausible.

What if we could even find such a particle - a sort of ‘god’ particle?

We could claim a supernatural, first cause (God) has been made redundant.

The first cause problem would be solved - apparently!

At least, people would believe that; even if the problem of everything coming from nothing, without a cause, hasn’t been solved completely, 'science' is well on the way to solving it.

If anyone suggests this is nonsense; that the first cause must an infinite Creator. We can accuse them of trying to fill gaps in 'scientific' knowledge with a god. The good old, the god-of-the-gaps argument.

Finally, if anyone is stubborn enough to insist that even a simple, sub-atomic particle can’t come from absolutely nothing, we can retort that the ‘nothing, we are referring to, is not the same ‘nothing’ that the scientifically illiterate think of as nothing, but ‘something’ which only appears to be nothing, i.e. space/time.

 

Physicist Michio Kaku wrote:

"In quantum physics, it was a Higgs-like particle that sparked the cosmic explosion [the Big Bang]. In other words, everything we see around us, including galaxies, stars, planets and us, owes its existence to the Higgs boson."

Kaku, M. The Spark That Caused the Big Bang. The Wall Street Journal. Posted on online.wsj.com July 5, 2012.

 

However, a so-called ‘God’ particle was always an OBVIOUS misnomer to anyone with any common sense, but militant atheists loved the idea, and predictably, the popular, secularist, media hacks also loved it.

What they either failed to realise (or deliberately failed to admit) is that, not only is it just as impossible for a particle (however small) to arise of its own volition from nothing as anything else, but also the smaller, simpler and less complex a proposed, first cause becomes, the more IMPOSSIBLE it is for it to be a first cause of the universe.

Why?

A simple, sub-atomic particle simply CANNOT be the first cause, it CANNOT replace God because, not only is it impossible for it to be uncaused, it is also clearly not adequate for the effect/result.

So, atheists, while trying to fool people into thinking that it is easier for something to come from nothing if it is simple and microscopic, have shot themselves in the foot....

The little-by-little approach, which they apply to the origin of life and progressive evolution, also doesn’t work for the origin of the universe.

 

FACT!

An effect CANNOT be greater than its cause (the Law of Cause and Effect).

The very first cause of the universe, as well as not being a contingent entity, cannot be something simpler or less complex than everything that follows it, which is the sum total of the universe.

The first cause of the universe MUST be adequate to produce the universe in its entirely and complexity - and that means EVERY property and quality it contains, including: information, life, intelligence, consciousness, design, love, justice, etc. etc.

 

Always remember this very important, and common sense, fact:

Something cannot give what it doesn't possess.

Sub-atomic particles or quantum effects are OBVIOUSLY not up to the job, they are definitely NOT an adequate cause of the universe. And, neither are any of the other natural, origin scenarios proposed by atheists. They all fail in this regard.

 

What about the atheist claim that, because quantum effects appear to behave randomly, they could also be uncaused?

Quantum effects, may appear random and uncaused, but they are definitely not uncaused. Even if their direct cause is difficult to determine, they are part of a CAUSED physical universe.

The idea that anything within a CAUSED universe can be causeless is ridiculous.

As for a direct cause of quantum effects, it can be compared to the randomness of a number coming up from throwing a dice. It may appear random and without a direct cause, but it isn’t. Because if we knew all the complicated and variable factors involved – such as the exact orientation of the dice as it leaves the hand, the velocity of the throw and the amount of spin etc., we could predict the number in advance. So just because, in some instances, causes are too incredibly complex to accurately predict the result, doesn’t mean there are ever no causes.

So, atheists are flogging a dead horse by thinking they can replace God with quantum mechanics, which may be interesting phenomenon, but the one thing it is certain they are not, is a first cause of the universe.

To give the impression to the public that they could be, is just a smoke and mirrors trick deliberately intended to deceive.

 

The 'God particle', Wikipedia …

“And since the Higgs Boson deals with how matter was formed at the time of the big bang, and since newspapers loved the term, the term “God particle" was used.

While media use of this term may have contributed to wider awareness and interest many scientists feel the name is inappropriate since it is sensational hyperbole and misleads readers, the particle also has nothing to do with God, leaves open numerous questions in fundamental physics, and does not explain the ultimate origin of the universe."

 

Why are laws of nature so important in this debate?

Laws of nature are both descriptive and prescriptive.

Laws of nature describe the behaviour, operation, potential and LIMITATIONS of natural things based on their inherent properties. They enable us to make predictions based on those properties. The only way that laws of nature could ever be invalid is, if the inherent properties of natural things they apply to, are changed.

The insurmountable problem for atheists is that, although they might try to invent fantasy scenarios where the properties of nature are different, and therefore not subject to most established laws. There is no possible, fantasy scenario which can negate the law of cause and effect. The law which is most fatal to atheist naturalism is the very law that cannot possibly be negated, under any circumstances.

Why?

Because the law of cause and effect is in a unique category, different from all other laws of nature. It is not just a fundamental principle of science, it can also be regarded as the premier law of the universe and creation, because it applies to ALL temporal things, not just nature or natural entities. It doesn’t matter what different properties natural things may have, they can never evade the law of cause and effect. It isn't based on the properties of things, it doesn't depend on any particular properties, only on a temporal character, nothing more.

And that is a FACT, which cannot be denied.

The ONLY exception to the first part of this law – every effect must have a cause – is that which is not temporal (that which has no beginning), i.e. INFINITE, not subject to time (time is a chronology of temporal/temporary events).

The second part of this law – an effect cannot be greater than its cause/s – applies to everything that exists, even to an infinite entity. An infinite entity cannot cause an effect greater than itself.

Thus, the law of cause and effect definitively rules out ALL natural or temporal entities as a possible, first cause.

The first cause of everything natural/temporal, MUST BE a single, infinite (uncaused, eternally self-existent and omnipresent), entirely autonomous, supernatural cause which is greater, in every respect, than everything else that exists (which it has caused).

That is the first cause we call the Creator or God.

 

What about a singularity?

Is a 'Singularity' the first cause of everything, as some atheists maintain?

A singularity (meaning single event) is described by atheists as a one-off event where the laws of nature didn't apply.

A natural event, not subject to laws of nature, used to be called – magic! Until, atheists started calling it ‘science’.

 

Quote:

"This is that the classical theory, does not enable one to calculate what would come out of a singularity, because all the Laws of Physics would break down there." Stephen Hawking, The Beginning of Time.

 

However, even if you want to believe in the fantasy of a 'singularity', it makes no difference to the fact that a natural cause of the universe is impossible.

A singularity doesn't negate the law of cause and effect, because, as I have already explained, that law pertains to ALL temporal entities. And it always applies, even if the laws of physics don't apply.

 

Conclusion:

It doesn't matter what natural, origin scenarios are proposed, none of them can ever qualify as the first cause of the universe. An origin of the universe by purely, natural processes is ruled out as IMPOSSIBLE.

 

The Bible rightly tells us to worship and honour the Creator, and not to worship the created.

Pagans honour and worship the created by crediting nature/material entities with godlike powers.

Atheists honour the created, rather than the Creator, because they elevate the effects (nature, matter/energy) to a godlike status and deny their cause.

The new, atheist naturalism nonsense is simply the old, pagan naturalism nonsense re-invented.

____________________________________________

 

Dr James Tour - 'The Origin of Life' - Abiogenesis decisively refuted.

youtu.be/B1E4QMn2mxk

 

FOUNDATIONS OF SCIENCE

The Law of Cause and Effect. Dominant Principle of Classical Physics. David L. Bergman and Glen C. Collins

www.thewarfareismental.net/b/wp-content/uploads/2011/02/b...

 

"The Big Bang's Failed Predictions and Failures to Predict: (Updated Aug 3, 2017.) As documented below, trust in the big bang's predictive ability has been misplaced when compared to the actual astronomical observations that were made, in large part, in hopes of affirming the theory."

kgov.com/big-bang-predictions

Useless flier #3. I considered omitting the tabs on this entirely, but I like the idea of people being able to express their affirmation of the experience somehow.

#PositiveThinking New Complimentary #Positivity Sets ☀️ jmcveyc.ht/PositivitySets

📚 #Affirmations #Journals #Diary

The cusp of the cliff known as the 'Cow rock' that marks the edge and start of the Ilkley moorland - a subset of the greater Rombalds moor. The Brontë sisters would look over their valley to the far hills of Rombald's moor from their own Haworth moorland in a greater landscape of lush valleys and vast cloud hidden flat-top undulation. Today the Leeds-Liverpool canal sits as a low boundary between the two famous moorland rises. This is a landscape at the centre of the British Romantic tradition where long disorientating walks mix with car-wash rain, and a vista where you inevitably spend some of your day with your head in the clouds and the rest watching for where you place your feet.

 

Rombalds Moor has a continuous prehistory from the post ice age Mesolithic, so today's greater area witnessed people who hunted giant wild cows (Aurocks), later neolithic peoples who domesticated these giants into cattle (perhaps similar to the Chillingham herd further north) and bronze age peoples who continued the domestication narrative with clustered field systems and hut circles.

 

A phase change for the moor occurred around 4,000 ybp when the post ice age forest cover declined, with today's peat present by 3,000 ybp. The feeding of stripped tree bark to domesticated cows may have accelerated the decline of forests. On the moor, the peat was not homogeneous - saturated sags and wind swept rises often looking the same when viewed as a panorama. A peppering of small crofts positioned aside land apt for the hunting of wild animals with the 'hunter gatherer' simply merged with new ideas of farmer.

 

By 4,500 ybp, bronze age activity on the moor was creating today's plethora of rock art stations: cups, cup and ring's, cups and tails, expressive canals; with 'cup and rings with laddered double gutters' being a local specificity.

 

Late dates for this symbolic 'art' are proposed as far as 2,500 ybp. To put this range into context : I have argued for a date as early as 7,300 ybp for the 'Inscultures dels Vessant' site with 6,000 ybp oft quoted as an early date for European 'cup and ring' rock art - coinciding with issues of domestication and sedentarism. Good dates from Northumberland to the north place some rock art sites towards the beginning of the Neolithic with the Ilkley dates oft quoted as from the end of the neolithic and beginning of the Bronze age. Even when allowing for local innovation, such as laddered gutters, the marks were perhaps closer to traditional actions than bright new statements.

 

The neighboring 'Brontë sisters' moorland attracts photographers and romantics but few prehistorians, with qualities in Rombald's moor seemingly alluring and the Brontë's moor of little interest for our rock artist fathers. The subset of Rombald's moor - Ilkley moor, holds the mainstay of this regions major international rock art stations: the Panorama stone, Pepperpot, Bramshaw stone, 'swas-ticker (sic) stone, Sepulture stone, The Haystack, Hanging stone, Idol Stone, Big stone, Badger stone and so on are all on, or around Ilkley Moor - all waiting between an endless peppering of more modest cups and 'cup and ring' sites and some intriguing larger basins. The above cups and canals are from this most modest category of 'general scattering' and seem to be part natural. They are currently on the edge of oblivion, and, with several millstone grit mines on the moor, there can only have been many examples long lost from view after the actions of the crass 'giants' of deep historical past.

 

Whilst there are important sites that are aside this Ilkley Moor cluster (the 'Tree of life' stone over the Warfedale valley being an example), it would seem to be credible to try and find a reason as to why the Ilkley section of Rombalds moor attracted such attention. Why are there so many ordinary cups and cups and rings, and why so many stations with lyrical and poetical dances of line and curve? I cannot cover potential geological explanations - for example 'weaker stones on one side fade with time', and will offer potential explanations that build from my past writings.

 

I have argued that cups and 'cups and rings' may have been assembly points for hunters, with those present during the strategy meeting prior to the start of the hunt leaving amulets in their cups to prove their right to participate in a share of the final take. An oldster waits by the starting stone and everyone walks off in the direction of their role. Simple cups also respecting the fecundity of a landscape. Further to this, passing visitors to the area may resolve to expand their cups to schematically show their local landscapes and relations so that their functional simple cups become symbolic cups and rings and canals. The action is both practical and a rite so that even a lone hunter might join in with a protocol and have his cup to thank the fecund landscape.

 

To back-up the 'hunters stone' idea for most of the sites: the moor's sandstone layer tilts with a scarp slope and a lee slope. A majority of the rock art is near the cliff like scarp. Behind a scarp is a slightly better place to end a days hunt - cajoaling prey into a natural trap or inducing a hesitance.

 

If local hunters tend towards having a simple 'cup' in the surface of a gathering point stone, and visitors more likely to expand their rock art to 'offer' their part of the hunt to themselves and 'the spirit' of their far off loved ones, then there should be a further reason as to why there is is so much 'elaborate' rock art near the Ilkley side of the moor - a reason for so much potential input from travelling outsiders. There are also a small handful of stations that seem to have a global lyricism far beyond potential hunters stones : the hanging stone and 'swas ticker (sic) stone, being examples. For these examples, explaining a phase change away from pure hunters stones also seems apt.

 

The hunters stone offers an individual's amulet to the landscape and can accommodates rites of ground crystal, water and offering, so aside a functionality the stone has a respect of global fecundity. Perhaps the lyrical and complex Hanging stone jettisoned the action of the hunt to concentrate on visualisations of fertility. Perhaps the 'swas ticker stone (sic) was of a whole passing (Italien?) clan with its individuals grouped in a logographic form - their group sign being a cross of two lines of five cups with an outlyer cup and an envelope canal that weaves the cups together (not a 'Swastika' - the current name and description that lacks oxygen, good sense and taste).

 

Still, a mechanism for attracting voyagers to the moor seems to be required for Ilkley moor...

 

Hearing about vivid sites can push members of local populations on wanderlust adventure, joining traders and other loose populations to want to witness and experience - a skip back to the freedom of Mesolithic loops. At Ilkley there is no Venus Hill, just the dramatic Cow, calf and Bull rocks (the Bull sadly removed and converted into the Crescent Hotel).

 

The Bull rock was larger than the calf rock and of a similar aspect - let's imagine a 1,300 tonnes cube-like monolith. Therefore, Ilkley was a site with an inland cliff and two hyperbolic monoliths. Over in Northern Spain: (whilst today it is obscured by trees), the Savassona site can also be described with the same word image - 'two massive monoliths at the foot of an inland cliff'.

 

The glorious days of the Savassona site were Neolithic in the years probably just prior to Ilkley's '12 Apostles stone circle'. In other detailed posts, I project Savassona as a key Neolithic megaliste situated on the far side of the Pyrenees mountains.

 

For traders and wandering stories, the prehistoric landscape would be a set of relationships between hills, dips, rivers and coasts and affirmed witnessed sites. The Biscay, Savassona, Carnac, Stonehenge all being vivid in the ways they impacted the lives and stories of even the smallest and quietest of clans. Rare and sort after materials (amber, polished axe, shell, mineral...) may have passed through vividly described landscape loci, the distant journey simply adding to the objects weight and allure.

 

Knowledge of a far off site can travel via meme induction, boosted by occasional 'trusted' verification - in a landscape of ideas that had little room for nihilist artifice. Big attractive destinations needed to exist for real and society needed people who could 'describe' and be 'trusted' to verify. People present at a Biscay solstice would be able to talk at length about Savassona to people who had come down from the northern coast. Movements into the UK and the great Wessex meetings could induct trusted descriptions with a passion for artful vivid description matched only by a passion for story telling in a world 'happy' without having to write the word down.

 

Finding, witnessing and assigning a second version of a 'real' sacred landscape could attract pilgrim visitors - people and conceptions from afar visiting natures proto cathedrals. Here Savassona is the original sacred morphology with Ilkley's Cow and Calf its homologous 'spirit'. Ilkley retains its functionality as a site for gathering and hunting, but has now also phased into a symbolic site in a greater world where issues of fecundity were at the heart of man, landscape and nature. Taking cattle from aurocks : the post neolithic lifestyle of watching and selecting the 'offspring' of the living world, all framed within a 'religious whole' dedicated to elemental landscape and fecundity.

 

With no 'shops', visiting believers almost certainly needed to join in and help with food supply, Here we now have a source for some of the variety and concentration of line on the Ilkley moor, and simply have to understand that some people wanted to hunt for the 'conceptual fertility' of the rocks, rather than the 'living animals' on the rocks.

 

Whilst the Cow and Calf site has it's own post medieval Norman myths of inept giants and giantesses with stones in their upturned skirt - the two glibly knackering a (sacred?) landscape, the assignment of 'cow' calf' and 'bull', as names for the rocks may be much older and even a continuation of prehistoric belief. The fecundity of these parent and child anamistic stones matching the fecundity of newly domesticated and revered cow - (also revered for their milk in a new world of cheese). And when looking for ritual meaning in Savassona, might the homologous giant monoliths have also been 'child stones' to the fecund ritual inland cliff - a natural loci of fertile 'neolithic' energy, drawing in peoples from far and wide?

 

AJM 08.09.18

Second bonus lesson by Andrea Gomoll. Affirmation cards based on Biblical truths.

I don’t watch the clock; I do what it does. I keep going. —Audrey’s Affirmations

I promised myself, that this year, regardless of my health, I was at least going to plant a few tomato plants! WooHoo thank You, Jesus.

 

This was life affirming for me as I stood on my driveway and ate one of my harvest right off the vine!

One of my favorite quotes from 30 Rock comes from the very first episode, where Liz Lemon wants to "stick it to" the linecutters and buys all the hot dogs from the street vendor so that only the "good people" can have them. Later on, Pete reminds her restrain herself and says "don't buy all the hot dogs" which is appropriate for everyone as a daily affirmation.

 

SOLD! Will be re-listing soon.

Ilford SXF 200 w/ Nikon FE

Around 2008, I suppose, I bought a tiny potted Wollemi pine — Wollemia nobilis. Recall that the genus — a single species genus in the family Araucariaceae — was unknown to science until specimens were encountered in 1994 by David Noble and his companions.

 

Every little while that tiny tree grew bigger and was repotted on and on. Its nurse tree was the holly, then the even bigger loquat. Their role as protectors was not against cold, but exposure to full sun and hot, dry winds. Well adapted, surviving even the almost -10⁰C it occasionally sat through on the worst nights by encapsuling its growing tips in resin, it would awaken and grow again each Spring. As happens, life with constraints became unbearable.

 

One day, a hardy yeoman and his assistant decanted that tree into a simple hole in the ground. Around its base they installed boulders of granite to anchor it, and as rock mulch does, help with a cool, moist root zone.

 

This is the consequence, the affirmation of their labours: a healthy female cone. Below and to the right is the russet remnants of its male counterpart.

 

They call it a "living fossil", in the same way that term is applied to the ginkgo. The ginkgo is said to grow slowly. We'll see. My ginkgo is a mere stripling by comparison, yet is as tall as the wollemi. To be fair, the wollemi has greater girth. We'll see, though I probably won't, who wins this race. Whatever the outcome, I am content that this little one has got so far, and has the chance of a long future.

  

via Instagram ift.tt/1RC0Nnc

blogged

 

new prints available in the shop.

Mark Healey Is the Greatest Athlete You've Never Heard Of - by Thayer Walker

He surfs sixty-foot waves, performs Hollywood stunts, and can hold his breath underwater for six—six!—minutes. Now he's freediving to tag hammerhead sharks for science.

The island of Mikomoto is a barren, windswept, wave-battered chunk of basalt infested with sharks and scoured by current, and looks as if it erupted from the fever dream of a malarial sea captain. Six miles offshore of Japan’s quiet port town of Minami-Izu, its waters are so treacherous that the 25-acre uninhabited island was chosen in 1870 as the site of one of the country’s first stone lighthouses, a 75-foot tower wrapped with black stripes. For Mark Healey, these are all the ingredients of a good time.

 

“This should be fun,” he says as the Otomaru, our 40-foot chartered fishing boat, pulls into a rocky cove.

Clad head to toe in a three-millimeter camouflage wetsuit with fins to match, he looks like he just swam out of a Special Forces unit. He has a black GoPro camera (one of his many sponsors) strapped to his head; it’s an accessory so common in his daily life that it may as well be a permanent appendage. A knife is cinched at the hip to his weight belt, along with a trio of two-pound lead weights, custom-made to reduce drag in the water. A black glove protects his left hand. In his naked right he holds a four-foot teakwood Riffe speargun.

Healey takes a giant stride off the Otomaru into the 80-degree water. After a few minutes of deliberate breathing, he bends at the waist and dives. His fins—three and a half feet long for freediving—break the water with a gentle splash, then slide beneath the surface. One, two, seven long, smooth kicks take him down to 30 feet, at which point the lead weights take over, pulling him deeper. One minute in—a point when even strong divers would head up—Healey scans the depths and glides down to 80 feet.

A 34-year-old professional big-wave surfer, Healey has built a career chasing down the dangerous and nearly impossible. He’s a perennial finalist in the World Surf League’s Big Wave Awards—the discipline’s equivalent of the Oscars—having won the top prize in the Biggest Tube category in 2009 for a barrel in Oregon and the Biggest Paddle-In Wave in 2014 for a 60-foot monster at Jaws, on Maui’s north shore. He once won the Surfer magazine poll for Worst Wipeout, crashing on a punishing wave at Teahupoo, in Tahiti, that would have vaporized most surfers. But Healey isn’t in Japan to ride waves—he’s here to swim with sharks.

As a member of a six-person scientific expedition, he has come to Japan for two weeks to tag an endangered population of scalloped hammerheads that congregate around Mikomoto. The sharks have plummeted in numbers by as much as 90 percent, largely due to overfishing and an insatiable appetite in Asia for fin soup. The scientists hope that the data they record, such as population sizes and migratory patterns, will improve conservation policies regionally and globally.

Between Austin Gallagher, the 30-year-old marine ecologist and founder of the conservation nonprofit Beneath the Waves who assembled the group, and the other scientists, there are enough degrees on board to rival a thermometer. Yet Healey, a man whose traditional schooling ended after the seventh grade, is the linchpin of the project. He’s a champion spearfisherman and freediver who can hold his breath for an astounding six minutes underwater, and the scientists can’t tag these notoriously hypersensitive sharks without him.

“Hammerheads are nearly impossible to catch on a line without killing them,” Gallagher says. “They need to be tagged on their turf, underwater. Because they’re so skittish, they stay away from the noise and bubbles created by scuba divers.”

 

Battling a heavy swell and strong currents, Healey will dive as deep as 135 feet, sneak into a school of up to 100 sharks, shoot a few with satellite or acoustic radio tags in the noninvasive area behind the dorsal fin, and then swim back to the surface—all on a single breath of air.

 

The hammerheads the team is after, which can grow to eight feet and 200 pounds, are small fry compared with the beasts Healey has previously pursued. In 2011, he traveled to Mexico’s Guadalupe Island to dive with great white sharks for a National Geographic television shoot. On the first day, after 30 minutes watching a trio of the one-ton animals arc through the water, Healey swam away from the safety of the boat and joined them. The biggest shark in the group interrupted its meander and made toward Healey like a guided missile. Is this a bad idea? he wondered, all the while holding his ground. As the shark swam beneath him, Healey extended his arm in a terrifying handshake and grabbed its dorsal fin.

The shark didn’t flinch any more than if Healey had been a remora. He wasn’t prey—he’d become an object for the sharks to use in competition for dominance. When he was paired off with one shark, the others stayed away. When a shark began to dive, Healey would let go. “The last place you want to be is kicking 70 feet back up through the water column. That’s when they eat you,” he told me.

During one ride, Healey was piggybacking on a shark as it approached a floating tuna head. He could feel the beast begin to open its giant mouth. Alarmed at what a feeding great white might do if it felt his full weight when it broke the surface, he slid off.

But after hours in the water in Japan, Healey hasn’t yet seen a shark. “It’s a numbers game,” he says during a post-dive recovery float. “The more time I’m underwater, the more likely we are to find hammerheads.” He takes a few more long breaths and disappears beneath the surface.

 

Scalloped hammerheads are famous for congregating in huge schools around seamounts. Thought to be attracted to the magnetism of volcanic islands like Cocos and the Galápagos, in the eastern Pacific, and Mikomoto, they may use underwater rock formations as resting and social centers during the day and as points of reference for nocturnal hunting. Their distinctive heads could help them detect the electromagnetic signals of the earth and other animals.

The scientists aboard the Otomaru want to understand the very basics of these hammerheads. Why do they come to Mikomoto, what are they doing here, how long do they stay, and where do they go next? By identifying their habits and highways, the scientists can maximize conservation efforts.

Gallagher has put together an international group for the expedition. David Jacoby, a postdoctorate at the Zoological Society of London, studies shark social networks and once bred 1,000 cat sharks in captivity. Yannis Papastamatiou, also from the UK, is a jujitsu black belt who specializes in using underwater acoustics to study shark movement as an assistant professor at Florida International University. Yuuki Watanabe, an associate professor at Japan’s National Institute of Polar Research, is our local lead. Tre’ Packard, executive director of a Hawaii-based art and conservation nonprofit called the PangeaSeed Foundation, suggested the expedition to Gallagher in the first place, having dived at Mikomoto before with one of only a handful of commercial operators that run trips here.

 

Our plan makes the long, hot August days on a small fishing boat almost civilized. At night we stay at a traditional Japanese guesthouse in Minami-Izu, eating delicious local fare as we sit on tatami-mat floors. Each morning we board the Otomaru by 8 a.m. and hit the water 30 minutes later. As an experienced freediver myself, I often follow Healey down but have no illusions of keeping pace.

 

Healey’s been on a previous research expedition, in 2014 in the Philippines, where he tagged nine thresher sharks. On this trip, he’ll use two kinds of tags. Satellite tags will record the sharks’ seasonal migration, then pop off after six to twelve months, sending GPS data of the animal’s path from the surface. Smaller acoustic tags will stay on for up to a year and transmit local data when the shark comes within a few hundred feet of an underwater receiver, which the scientists will moor to the seafloor. The team plans to return annually to swap out the receivers, collect a year’s worth of acoustic data, and tag more sharks.

Studying these animals is not simply an academic exercise. Healthy hammerhead populations help maintain healthy oceans and economies. A 2007 study in the journal Science correlated a more than 90 percent decline in hammerheads and other sharks along the eastern seaboard of the U.S. with an explosion in the population of their prey, cow-nosed rays. The rays then consumed enough bay scallops to collapse North Carolina’s century-old fishery. “People get so riled up about sharks for the same reasons they get riled up about politics and religion,” Healey says. “It’s all about power and control.”

Which we don’t seem to have a lot of thus far. Though we’ve been casting Healey over the side each day like a fishing lure, we still haven’t seen any hammerheads. To make matters more difficult, two Category 4 typhoons are spinning our way, threatening to cut our trip a week short, and the conditions at Mikomoto are deteriorating, bringing wind, rain, and seasickness. On the bow, one of the scientists heaves into the pitching waves, a fluorescent yellow blend of miso soup and stomach bile. Healey, astern and at ease, pulls out a tin of chewing tobacco, packs a dip, and awaits marching orders.

The four-person Japanese crew of the Otomaru—a captain, two sailors, and a divemaster—are eager to return to harbor as the boat gets nailed from all sides by the growing swell. But the team needs a win and decides on setting a receiver.

Gallagher, Jacoby, and Papastamatiou clamber into scuba gear. They plan to set the receiver a few hundred yards from shore. Once it’s secured, they’ll fire a float to the surface, where the boat can take a GPS reading to mark it. The captain, however, doesn’t want to risk bringing the boat that close to the island. “I’ll do it,” says Healey, volunteering to swim to the float with his handheld GPS. “Back into wardrobe.”

The float pops up 20 minutes later, and Healey swims a quick 400 yards out and back. Wind and rain lash the deck and our faces; the black ocean is colored with whitecaps. Gallagher, Jacoby, and Papastamatiou surface and are swept toward a jagged house-size rock shaped, appropriately, like a shark fin. Inching toward them, the Otomaru gets pounded by waves.

 

“This is bad,” Papastamatiou says in the water.

Gallagher looks concerned. “Are we going to be OK?” he asks.

A deckhand throws a rope to the divers as the captain slams the boat in reverse to avoid hitting the rock. The Otomaru pitches like a rocking chair. One moment the gunwale is ten feet in the air, the next it’s slamming into the water. Healey helps haul the divers in one by one, a tumble of fins, tanks, and regulators.

“That was an education,” Papastamatiou says. The scientists are shell-shocked, and the crew is angry. The captain cranks the throttle to head back to shore. Healey throws his arms toward the heavens triumphantly, a grin stretching from here to the mainland.

Standing just five foot nine and 153 pounds, with ginger freckles, narrow-set eyes, and a chiseled jaw, Healey looks like a blend of Richie Cunningham and Aquaman. Though new to field biology, he’s been turning heads in the surf world for two decades. At the age of 14, he made a splash riding 30-foot waves at Waimea Bay. He cashed his first paycheck as a professional three years later and has been a fixture in the world’s scariest lineups ever since.

“As a waterman, Mark is unrivaled,” says big-wave icon Laird Hamilton. “When it comes to riding giant waves, diving deep, and hunting fish, he’s the total package—unique even among us.”

A knack for doing the right thing in the wrong place has landed Healey stuntman gigs on Chasing Mavericks and the reboots of Hawaii 5-0 and Point Break. About a year after walking away from his longtime sponsor Quiksilver, he helped launch the surf-apparel company Depactus in February 2015 as a minority partner and the face of the brand. But despite his success on a surfboard, it’s not his first love. “People always think of Mark as a professional surfer,” says spearfishing record holder Cameron Kirkconnell, “but the truth is, he surfs to support his diving habit.”

 

Healey learned to swim before he could walk and estimates that he’s spent “a third of the year with a dive mask on since the age of 12.” He was born and raised and still resides in Haleiwa, on Oahu’s North Shore. His father, Andy, is an avid waterman who would wrap his tiny toddler in a life vest, give him a mask and snorkel, and pull him through the water clinging to a fishing buoy. “He took to it immediately,” Andy recalls.

Fishing was a way of life in the Healey household, a passion born from a love of the ocean and the need to eat. On calm evenings, they would paddle a half-mile out to a lonely rock in the Pacific and cast lines until sunrise. “There always had to be some element of misery to it,” Healey remembers fondly.

Money was tight. Andy was a carpenter who pounded nails for a living and a boxing bag for fun. Healey’s mother, Bitsy, cleaned houses so she could keep an eye on him while she worked. “It was hard to find a babysitter who could keep up with him,” she says. They shared a three-bedroom house with termites and holes in the floor. Bitsy would cover the latter with throw rugs, which Mark turned into traps, baiting friends into a chase and laughing as they fell into the mud below. Mark and his brother, Mikey, bounced between public and private school until Bitsy began homeschooling them in 1994.

 

Pale, blond, freckled, and undersize, Healey suffered a phenotype cursed in his poor, rural neighborhood. He didn’t crack 100 pounds until long after he’d gotten his driver’s license. Bloody noses and black eyes weren’t uncommon. He would never be able to fight all the bullies, despite boxing training from his father and martial-arts classes. “If you didn’t confront a situation, it would fester for years,” Healey recalls. “The only way to get any respect was to do things in the ocean that other people couldn’t.”

North Shore lifeguard Dave Wassel heard stories of this bobble-headed young gun who was riding giants. One day, while surfing at Pipeline, he noticed Healey “just owning it” in surf two stories tall, breaking in water two feet deep. In the parking lot afterward, Healey did something else Wassel had never seen. He pulled out a stack of phone books and put them on the driver’s seat. “He couldn’t see over the steering wheel!” Wassel says. “The kid was 17 years old, charging the heaviest waves in the world, and he needed a booster seat to drive home!”

By day five, we are in desperate need of some of that Healey magic. Photographer Kanoa Zimmerman and I float on the surface, watching Healey dive. Four stories down, he swings into a hover, scanning the murk for shadows. A stiff current nudges him off-axis, but he levels himself with a twitch of the left fin. His movements are balletic, part of a subtle dance in which the slightest shifts are made with the greatest intention. “Most people have the ability to be calm sometimes,” Laird Hamilton told me, “but Mark’s calm all the time. That’s very useful in high-risk situations, whether riding giant waves or diving with sharks.”

From below, a shadow appears. Two more arrive, then five, then dozens. Healey stirred up a school of Galapagos sharks loitering in a cloud of fish spawn.

 

Six feet long and too curious for my taste, they approach from all directions, darting within inches of me, probing for weakness like a pack of street punks in a dark alley. One of the biggest sharks has a distinctive wrinkle on its tail fin and approaches with its gills puffing and dorsal fins down, a display of aggression. All I see is toothy biomass, but Healey’s reading the fine print. “The dominant ones are usually highest in the water column,” he explains later. “They’re the ones that will test you. If you can trick them into thinking you’re the boss, the rest generally fall in line.”

The key word is trick; Healey’s well aware of what even sharks like these can do to a femoral artery. Still, he doesn’t pass up the opportunity for play. Seeing that one of the sharks has a fishhook and line in its mouth, he takes the opportunity for a little benevolent dentistry, swimming down and yanking it out.

On the boat, preparing for another round of diving, I ask Gallagher if it makes sense to start tagging the Galapagos sharks. Water temperatures are hovering around the low eighties, which makes for easier diving but a challenging hammerhead hunt. When the ocean is this warm, the sharks stay deep to stay cool. The boat has a fish finder, but it doesn’t do much good tracking the fast-moving schools. Gallagher’s assurance at the beginning of the trip that we were heading to Mikomoto during a “miracle season,” when schools of 100 hammerheads are common, was starting to feel more like a taunt than encouragement. But the recent Galapagos sighting fuels optimism. “Save the tags for the hammers,” he says.

 

The crew of the Otomaru don’t share Gallagher’s enthusiasm. “Storm coming,” says the captain, swinging the boat back toward the mainland.

We’ve been in Japan nearly a week and haven’t tagged a single hammerhead, and the conditions will likely continue to worsen because of the impending typhoons. “There’s a very good chance that if we don’t get a tag on a shark in the next 48 hours,” Healey says, “this whole thing is a bust.”

At the guesthouse after dinner, Jacoby and Papastamatiou sit on the floor preparing mooring lines for more receivers. The materials should last years, Jacoby explains, “but that depends on the waves.”

“Forty feet deep should be fine,” Healey says. “The biggest wave I’ve ever seen broke in 60 feet of water.”

“Where was that?” I ask.

Healey, who’s constantly tracking storms and taking last-minute flights in search of the world’s biggest swells, pauses, weighing how much of this hard-won information to share. “Africa,” he replies.

I press. “Is that your cagey way of saying, ‘I’m not going to tell you, because that’s where I might find a 100-foot wave’?” He considers a reply, then thinks better of it, shaking his head as he walks away.

Healey knows each giant ride is a life or death proposition, and he’s seen the high cost of this obsession. In December 2005, pro surfer Malik Joyeux took an awkward wipeout at Pipeline and didn’t surface. Healey ran into the water, swimming laps through the lineup until he finally helped pull Joyeux’s body off the reef. “His brother watched the whole thing,” Healey recalls. “I’d run back up the beach, and when I passed him, I could see his expression changing from confusion to shock. I was probably the last person to shake Malik’s hand.” Five years later, after Hawaiian surfer Sion Milosky drowned at Maverick’s, Healey accompanied his widow to California to retrieve his friend’s body.

 

“There are a lot of things working against people in this sport” Healey says. “It’s becoming apparent that those odds are coming up around me. I take my preparation very seriously, but there are so many factors to longevity besides the odds of surviving something bad. There’s the mental aspect. Once you’ve seen one of your friends die, can you keep going? Once you’ve helped their families and have seen the grief it causes, do you still want to do it? You have to be born with a certain personality type to keep coming back. But it will never be safe. And the day that it is, I won’t want to do it anymore.”

Healey trains by surfing and diving most days, doing a variety of workouts on the beach and in the pool, and hiking and bow hunting in the mountains. He recently started doing a program a few times a week called Ginástica Natural, a hybrid of yoga and jujitsu focusing on movement and breath. Still, he’s no stranger to carnage, having split his kneecap in half, broken his heel, and ruptured his right eardrum four times, which left him disoriented underwater, nearly causing him to drown. Despite the dangers, he calls life as a professional surfer “the greatest scam on earth.” But he knows the ride won’t last. Now in his thirties, he has entered the decade that most pros call retirement. “The surf industry will bro you into bankruptcy,” he says. “I would rather light myself on fire than go begging for pennies as a grown man.” Instead of doubling down on contests and sponsorships, Healey is venturing into waters most surfers don’t: building businesses.

 

In addition to Depactus, in 2014 he launched Healey Water Ops (HWO), an operation that gives high-paying and high-profile clients the chance to explore the ocean like, well, Mark Healey. Two-week guided experiences start at $100,000 and have Healey teaching clients how to swim with sharks, surf waves far beyond their comfort zone, spear giant tuna, or partake of any other saltwater adventure conceivable. From tech moguls to Arab royalty, his client roster is a Fortune 500 list of ocean enthusiasts. (Thanks to HWO’s nondisclosure agreement, Healey is as tight-lipped with names as he is about surf breaks.)

Volunteering for expeditions is also part of his expanded career plan. Remote seas are expensive to explore, and trips like this are a way to scout locations for other adventures and deploy his skills for a commendable purpose. “I love having the opportunity to incorporate old knowledge like spearfishing into modern conservation and scientific discovery,” he says.

The sky brightened the next morning. “Mark, it would be great if we could get some data on their behavior and get close to these animals,” says Jacoby, the expert on shark social networks. Healey taps the GoPro on his forehead in affirmation.

We plunge into the ocean, which is still and blue, with 50-foot visibility and little current. The bathymetry is spectacular, a jigsaw of basalt domes, craggy ridgelines, and wide channels. The water explodes with life—there’s so much to see that it’s hard to focus. Thick schools of seven-inch-long fusiliers, blue with sunburst yellow racing stripes down their backs, swim in tight formation appropriate to their military namesake. Two pilot fish, the size of thumbnails and dressed in the black and white stripes of a convict, choose me as their escort.

Suddenly, a cry comes from the Otomaru. “Mark!” Gallagher yells. The unmistakable falcate dorsal fin of a hammerhead cuts the surface, but it’s a football field upcurrent from Healey. He’s got no chance.

Healey climbs back aboard. Gallagher and Papastamatiou, staring down a shutout, finally tell him to start targeting Galapagos sharks, too. “It’s valid data,” Papastamatiou says with a hint of desperation. “No one’s ever done that out here.”

We motor toward the fin sighting, but the shark is long gone. We drop Healey into the water at the mouth of the cove where we moored the receiver a few days ago. Fifteen minutes later, he’s swimming back to the boat. “Got a hammer,” he says quietly. The boat erupts in cheer.

While the scientists slap backs and high-five, Healey sits alone on a far edge of the gunwale. He’s all business now, hunched over, elbows on his knees, hands cradling his chin. He doesn’t even bother to take off his mask between dives. Usually verbose, he replies curtly when asked what he’s seen down there: “Sharks and darkness.”

 

We head to the east side of the island. Zimmerman, Healey, and I jump in near an exposed rock and begin our drift. Zimmerman probes down to 40 feet where, beneath the layer of murk, he sees the spectral outlines of hammerheads. He follows the sharks and signals us to follow him. Healey’s only halfway through his rest cycle, but the current will blow us off the school if we don’t move now. He dives, pauses to scan the water column four stories down, and continues toward the bottom. I trail, a minute behind and 30 feet above him, straight into a school hundreds thick.

They’re beautiful animals of inspired design—slate gray with a white underbelly, sleek and powerful, and wonderfully freakish. Their long, undulating brow is broken by right angles—they have a “divergent body plan,” as Gallagher describes it in one of his papers. The term hammerhead, if evocative branding, seems a misnomer. Flat and wide, the shark’s cephalofoil is more reminiscent of a chisel. Its mouth, usually the focus of hysterical phobia, is comparatively small and set downward, just north of its stomach, in the perfect place to feast on squid.

They move in concert, swaying through the water with silent grace. They are creatures that want to swim together and be left alone. Toward the center of the school, one of the larger females rolls on her side, flashing her pale underbelly in a mating display. Healey glides into the back of the school, takes aim at a seven-footer, and fires.

It’s a direct hit, right behind the dorsal fin, but it bounces off. With a few quick flicks of the tail, the shark disappears into the crowd. Healey grabs the tag as it sinks toward the bottom, then heads to the surface. He’d fixed the tag to the tip of the gun with a rubber band, which didn’t break. The setup needs tweaking, but Healey gets a second hammerhead before the afternoon wraps.

The last two days are an exercise in target practice. Healey tags Galapagos and hammerheads with both acoustic and satellite transmitters. The scientists set three more receivers, and by the time the typhoons wash Mikomoto in surge, we’ve tagged ten sharks and set five receivers—a successful tally for a year-one expedition being cut short by nearly a week.

The scientists’ plan for their remaining time in Japan: temples in Kyoto, ramen and skyscrapers in Tokyo. Healey’s got other ideas. Just about every big-wave surfer in the western Pacific has been watching the buoys, and tomorrow is calling for 30-foot surf near Chiba, about 40 miles southeast of Tokyo. Healey has a friend flying in from Hawaii with an extra nine-six. There’s a train leaving in an hour. His hair isn’t even dry from diving, but if he hurries he’ll be in Chiba by midnight. It’s the biggest swell Japan has seen in five years.

...wishing us all a weekend filled with Joy, Love & positive affirmations ~

{a nice intro to it with this treasury being featured as we speak - 19:19 p.m German time - on the FP :)}

 

~ blog ~ shop ~ facebook ~ twitter ~ pinterest ~

Visitors to Niemeyer's architectural masterpiece Itamaraty Palace, Brazil's Ministry of Foreign Affairs, are unlikely to know this gem.

Graffiti (plural; singular graffiti or graffito, the latter rarely used except in archeology) is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (see also mural).

 

Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions

 

"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".

 

The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.

 

The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.

 

Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.

 

Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:

 

Wet with cool dew drops

fragrant with perfume from the flowers

came the gentle breeze

jasmine and water lily

dance in the spring sunshine

side-long glances

of the golden-hued ladies

stab into my thoughts

heaven itself cannot take my mind

as it has been captivated by one lass

among the five hundred I have seen here.

 

Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.

 

Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.

 

There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.

 

Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.

 

The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.

 

In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:

 

During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".

 

Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.

 

While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’

 

Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.

 

An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.

 

Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983

 

Commercialization and entrance into mainstream pop culture

Main article: Commercial graffiti

With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.

 

In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".

 

Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.

 

Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.

 

Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.

 

Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.

 

There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.

 

The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.

 

Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.

 

Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis

 

Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.

 

Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.

 

Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"

 

Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal

 

In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.

 

Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.

 

Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.

 

Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.

 

With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.

 

Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.

 

Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.

 

Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.

 

Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.

 

Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.

 

Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.

 

Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.

 

The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.

 

I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.

 

The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.

 

Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.

 

Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.

 

In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".

 

There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.

 

Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.

 

A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.

By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.

 

Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.

 

In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.

 

A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.

 

From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.

 

In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.

 

Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.

 

Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.

 

Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.

  

In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.

 

Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.

 

In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.

 

In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."

 

In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.

 

In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.

 

In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.

 

In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.

 

In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.

 

The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.

 

To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."

 

In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.

 

In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.

 

Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".

 

Graffiti Tunnel, University of Sydney at Camperdown (2009)

In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.

 

Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.

 

Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.

 

In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.

 

Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.

 

Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.

 

To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.

 

When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.

This is my neice, Sumehra, who you might remember from here .

 

The reason this photograph is really, really special to me is because this was the first time she's been around me and not bawled her eyes out. Turns out she's just not much of a people person, and whenever I have met her this year we've been in company of the loud and generally suffocating type, which would have the poor darling crying like crazy, and it's not because she thinks I'm some kind of horrible child-eating troll or something of the sort.

 

So yesterday, we got acquainted, and she calls me "Cheese Mama" (mama being maternal uncle thingummy in Bengali) because I happened to be carrying my camera, and there was a beautiful window with frosted glass through which the gentle morning sunshine came pouring in softer than you could imagine.

 

There are very few feelings in the world that can compare to being trusted by a child you love.

 

Like I said before, she's a complete angel.

This was made for a Challenge on the Three Muses site. My beloved grandfather taught me lots of old songs and he often sang 'Into each life a little rain must fall'. I just added the rainbow quote as well. He was a great influence on my life and I think of him every day! xxx