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From the Dark's Den of Deformity Family
Sadly, Elissandre's modesty prevents her from sharing her remarkable tattoos with the world.
This build is based on the art from Atlas Games Gloom: The Game of Inauspicious Incidents & Grave Consequences by Keith Baker.
Ex London Wrights Gemini Volvo B7 LF52USY Fleet number ( 134 / 2787 is seen here operating for Transdev Harrogate on school work. The bus was recently transferred from London to Rosso in Lancashire.
"The camera makes everyone a tourist in other people's reality, and eventually in one's own."
(Susan Sontag - American Writer, Activist and Critic, 1933-2004)
I took this picture while we were shooting a moving scene with Hussain Kuwajerwala and Mansi Sadana.
It was in Hussain's green room during "Zangoora - The Gypsy Prince", I kept on hiding my reflection in the mirrors and I was also trying anything in order to cover my camera's click sounds...
I was happy to work with actors such as this amazing team with simpleness, kindness and high professionalism everywhere.
Join the photographer at www.facebook.com/laurent.goldstein.photography
© All photographs are copyrighted and all rights reserved.
Please do not use any photographs without permission (even for private use).
The use of any work without consent of the artist is PROHIBITED and will lead automatically to consequences.
Website: www.estefaniaalmarte.com
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La consecuencia de dejarse llevar por no saber cómo actuar mejor, por dejar que el tiempo decida, creyendo que hay un porqué para todo y que es necesario.
Tuesday 22 November 2016, saw local Greater Manchester Police officers join HMP Manchester Community Team in a visit to St. Edward’s RC Priamry School in Lees, Oldham as part of the ‘Actions Have Consequences’ campaign.
‘Actions Have Consequences’ workshops inform pupils on how their actions can affect them and their local community and the negative outcomes that could occur if they were to stray off the beaten track.
Subjects include nuisance 999 calls, bullying, anti-social behaviour, stranger danger, internet safety as well as others. Although the workshops carry a serious message, they are structured to be fun, informative and engaging.
The HMP Community Team gave the young people an idea of the harsh reality of prison life and the dangers of knife and gang-related crime.
To find out more about Greater Manchester Police please visit our website.
You should call 101, the new national non-emergency number, to report crime and other concerns that do not require an emergency response.
Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.
You can also call anonymously with information about crime to Crimestoppers on 0800 555 111.
Yep, another shoot at Elliot's beach and this time around it was a portfolio shoot for an elderly gentleman. When the shoot was over my friends who were helping me out, noticed these crabs on the sea shore fighting the waves. I shot a couple of images of these wonderful creatures with the long lens. The man was trying to catch some crabs for a good afternoon meal, i guess but then they're not so easy to catch are they? This one got away and managed to not become lunch.
I mean, its one thing to live on the beach but think about wretched humans who want you for lunch. Nice way to start a weekend, ftw!
Canon EOS 400D with the Canon EF 75-300 F/4 - 5.6 USM III. Aperture Priority, F/8 at 1/640th of a Second, ISO400, Tripod.
All Rights Reserved. Owner and Usage Rights belongs to Dilip Muralidaran. Any use of this work in hard or soft copy or transfer must be done with the expressed consent of Dilip Muralidaran in written. Failing to do so will result in violation as per Section 63 of the Indian Copyrights Act, 1957 & Forgery, Fraud, Misrepresentation and Misinformation as per the Indian Penal Code Section 420 leading to severe legal consequences.
Une fois n'est pas coutume, même si les pare-chocs tiennent mieux sur la nouvelle Drift Machine d'AP Tune's, Dam's ne faillit pas à sa réputation : adieu le pare-choc ^_^
N'hésitez pas à visiter ma Page Facebook et mon compte 500px !
Pour en savoir plus sur Sonick Photographie, mon site web est là !
Women-Centered Perspectives (Contemporary Issues in Biomedicine, Ethics, and Society)
Women most fully experience the consequences of human reproductive technologies. Men who convene to evaluate such technologies discuss "them": the women who must accept, avoid, or even resist these technologies; the women who consume technologies they did not devise; the women who are the objects of policies made by men. So often the input of women is neither sought nor listened to. The privileged insights and perspectives that women bring to the consideration of technologies in human reproduction are the subject of these volumes, which constitute the revised and edited record of a Workshop on "Ethical Issues in Human Reproduction Technology: Analysis by Women" (EIRTAW), held in June, 1979, at Hampshire College in Amherst, Massachusetts. Some 80 members of the workshop, 90 percent of them women (from 24 states), represented diverse occupations and personal histories, different races and classes, varied political commitments. They included doctors, nurses, and scientists, lay midwives, consumer advocates, historians, and sociologists, lawyers, policy analysts, and ethicists. Each session, however, made plain that ethics is an everyday concern for women in general, as well as an academic profession for some.
More DES DiEthylStilbestrol Resources
* All our posts tagged DES, the DES-exposed and DES victims.
* DES studies on cancer, breast cancer, CCA, vaginal cancer, screening.
* DES studies on fertility, gender identity, pregnancy.
* DES studies on in-utero exposure to DES and DES side-effects.
* DES articles on lawsuits and various studies.
* Watch DES videos, read more about DES Daughters and DES Sons.
Highway 25 in New Mexico carried us from Albuquerque to Las Cruces on our road trip to Tucson Arizona. The highway provided beautiful views of sky, clouds, and Rocky Mountains as it passed through a town with an unusual history to go along with its unusual name: Truth or Consequences. The town is named after a television game show that was popular in the U.S. in 1950. (en.wikipedia.org/wiki/Truth_or_Consequences,_New_Mexico) I couldn't resist spending a half hour driving through town to admire its historic section which looks much like what one sees in cowboy films of the west.
Truth or Consequences is not a large town and near the highway one finds the usual modern gas stations and fast food outlets, but my interest was the historical downtown district. We pulled over for me to take a couple of photos and then realized we were in front of the Visitor's Information Center. I stepped inside to get a bit of information about the town's history and was greeted by a friendly woman at the desk who said she was originally from Minnesota. She was eager to supply me with a bit of information and I noted that she was struggling to walk to the display rack for a brochure. When I expressed concern, she said the space heater didn't reach her desk and the cold was aggravating what I assume was the arthritis that may have prompted her move to the desert climate.
As we were talking this man came through the door carrying a large box which turned out to be an additional space heater which I could tell was a welcome delivery. He was dressed in traditional western wear and my stranger antenna was sparking the moment he entered with his black, western hat and friendly face. I introduced myself and my project immediately and explained that while his western hat may be everyday attire in Truth or Consequences, it was not in Toronto where I come from. We shook hands. Meet Jimmy.
Needless to say, Jimmy was surprised by my request to photograph him for my project, but more than willing. The Information Center was an older building and had a bay window with blinds which I quickly noted would serve as a good location for the portrait. The information lady began opening the blinds but I suggested having them closed would be better for the photo but if she needed the warmth of the sunlight, I would open them for her as soon as the photo was taken.
Jimmy explained that he works for the city, hence his delivering the heater to the Information Center. "So, are you from Truth or Consequences?" I asked. He smiled. "Pretty much." He told me he is 53. He had a warm manner but I could tell he was a man of few words - especially with a complete stranger. I commented that 53 seemed young to me, especially since I just turned 70 a week ago. He smiled and was kind enough to say "Boy, you sure don't look it." After that comment, I consider Jimmy a friend indeed.
I'm sure Jimmy had places to be and we still had miles to go before reaching Tucson so we parted with a friendly handshake and I signed the guest register for the Information Center before leaving.
Thanks for the information about the area and thank you Jimmy for allowing me to photograph you for The Human Family Group.
This is my 135th submission to The Human Family Group on Flickr.
This is my 135th submission to The Human Family Group.
You can view more street portraits and stories by visiting The Human Family.
Introduction to the Carnation Revolution
The Carnation Revolution, which took place on April 25, 1974, was a historic milestone for Portugal and had far-reaching consequences that shaped the country in the following decades.
Also known as April 25, this revolution was a military movement that put an end to a long period of dictatorship in Portugal.
Historical context until April 25, 1974
To fully understand the importance and impact of the Carnation Revolution, it is essential to examine the historical context in which it occurred.
Portugal was under the dictatorial regime of António de Oliveira Salazar since 1933.
Salazar established an authoritarian Estado Novo, characterized by censorship, political repression and lack of civil liberties.
During its government, Portugal was also involved in colonial conflicts in African colonies.
This political oppression and war in the African colonies led to growing discontent among the Portuguese people.
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The events of April 25, 1974
On April 25, 1974, a group of Portuguese soldiers led by the Armed Forces Movement (MFA) carried out a military coup to overthrow Salazar's dictatorial regime.
The coup was planned in secret and executed quickly and efficiently.
The military occupied strategic points in Lisbon and other important cities, deposing the existing government.
The Portuguese population, tired of the dictatorship, took to the streets in support of the military, offering them red carnations as a symbol of peace and freedom.
This image of civilians and military united with red carnations in their weapons became an icon of the Carnation Revolution.
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The main figures and their roles in the revolution
The Carnation Revolution saw the participation of several important figures who played crucial roles in the unfolding of events.
Standing out are General António de Spínola, who became the first president of Portugal after the revolution, and Captain Salgueiro Maia, one of the military leaders of the MFA.
Spínola played a fundamental role in the transition to democracy, while Maia was an emblematic figure during the events of April 25, leading the troops that occupied strategic points in Lisbon.
In addition to these figures, many other courageous soldiers and civilians also contributed to the success of the revolution.
The immediate consequences and the transition to democracy
After the Carnation Revolution, Portugal went through a period of political transition that led to the establishment of a democratic regime.
The provisional government was formed to administer the country until democratic elections could be held.
This transition period was marked by intense political debates, a new constitution and the release of political prisoners.
Democracy was eventually established in Portugal, with free elections and fundamental rights guaranteed.
The transition to democracy was an important milestone in the history of Portugal and one of the main legacies of the Carnation Revolution.
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The lasting consequences of the Carnation Revolution
The Carnation Revolution had lasting consequences in Portugal, which lasted for decades.
Politically, the revolution paved the way for democracy and the end of the dictatorial regime.
Socially, it brought greater freedom of expression, equal rights and a renewed sense of national identity.
Culturally, the revolution stimulated an artistic and cultural flourishing, with creative expressions that reflected the new era of freedom and openness.
Furthermore, African colonies were granted independence, resulting in decolonization and the end of the war.
The Carnation Revolution also had an international impact, inspiring democratic movements in other countries and receiving diverse reactions from the international community.
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Annual celebrations and celebrations on April 25
Annually, on April 25, Portugal celebrates the Carnation Revolution as a national holiday.
On this day, several ceremonies and events are held to honor the heroes of the revolution and remember the historical significance of that moment.
Celebrations include parades, political speeches, concerts and exhibitions that highlight the importance of freedom and democracy.
The Portuguese people come together to celebrate the achievement of freedom and to reaffirm their commitment to the democratic values that the Carnation Revolution represented.
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Conclusion: The Lasting Legacy of the Carnation Revolution
The Carnation Revolution, which took place on April 25, 1974, was a historic milestone for Portugal.
It put an end to decades of dictatorship and paved the way for democracy, freedom and equal rights.
The consequences of this revolution extended throughout this half century, shaping Portugal's politics, society and culture.
The Carnation Revolution also had an international impact, inspiring democratic movements in other countries.
The annual April 25th celebrations reaffirm Portugal's commitment to democratic values and remember the historical significance of this achievement.
The Carnation Revolution is a lasting legacy that should be cherished and preserved for future generations.
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Text & Painting: ©MárioSilva
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It has been 1,067 days since Russia invaded Ukraine – the war continues – normality does not settle in – yet life goes on amidst the war, its consequences, and its losses.
Preparing young Queenslanders for life in the 1990s, we saw personal computers make their way into schools during the 80s with a strong focus on health, regional education and the arts by Queensland Education.
The photographic unit at the Premier’s Department, Office of State Affairs, captured a snapshot of various events, programmes and initiatives for school children throughout Queensland. This collection contains several arts, music and drama as well as students participating in computer usage.
In the early 1980s, several different computer manufacturers were vying for a foothold in the education market, Apple, Tandy, Atari, Sinclair, Amstrad, Microbee and many others. By 1985 Apple Macintosh was considered a standard system (alongside several others) for all states except Western Australia which adopted the BBC Model B and Microbee computer systems as a standard.
These photos are part are the photographic records held at Queensland State Archives, www.archivessearch.qld.gov.au/series/S189
1985
The discussion paper, Education 2000: Issues and options for the future of Education in Queensland was released.
The use of technology to enhance distance education, work in schools and educational administration was supported.
Approval was given for schools to alter the placement of the three pupil free days.
The Department of Education developed a policy on the education of gifted children.
The Special Education Resource Centres were formed as state-wide services, as part of the Division of Special Education.
Early special education officially commenced.
1986
The age of first attendance at primary school increased. Children had to turn five years by 31 January to be eligible for enrolment in Year 1.
There was an expansion of the curriculum in secondary schools and TAFE colleges evident in the further development of co-operative secondary-TAFE programs.
The Advisory Committee which reviewed submissions made in response to Education 2000 reported to the Minister.
The distance education trial began through the Mt Isa School of the Air.
A Preschool to Year 10 (P–10) Syllabus Framework was developed.
Endeavour Foundation schools transferred to Department of Education.
Policy Statement 15 Integration: Mainstreaming of Students with Special Needs introduced.
1987
Children had to turn 5 years by 31 December to be eligible for enrolment in Year 1 in the following year.
The Department of Education launched a series of documents entitled Meeting the Challenge which highlighted a corporate style of management.
The Department reshaped its central administration by strengthening the role of the Policy Committee, appointing a Chief Inspector and adopting comprehensive strategic planning processes.
In regions, initiatives were built on the commitment to decentralisation, while further devolution of responsibility occurred in the operational management of educational programs.
Two new education regions were formed (South Coast and Sunshine Coast regional offices).
The P–10 Curriculum Framework was developed and curriculum documents revised.
The Roma Middle School opened and catered for students in Years 4–10.
A post-compulsory college, the Alexandra Hills Senior College opened.
Two new centres of distance education opened at Longreach and Charters Towers.
1988
The Inspectorate was regionalised.
There was continued development of an integrated P–10 curriculum.
The senior secondary curriculum was broadened to cater for all learners.
Cooperative programs between secondary schools and TAFE colleges were conducted.
The use of computers and information technology in schools was given a high priority.
The Special Education Resource and Development Centres were formed as a consequence of the reorganisation of the Division of Special Education.
Individual education plans for students with disabilities were introduced as part of the new policy Policy Statement 16: Policy and Practice for Special Education Services.
The report National Overview of Educational Services for Isolated Severely Handicapped Children resulted from a Project of National Significance undertaken as a joint project of the Commonwealth Department of Employment Education and Training and the Department of Education Division of Special Services.
The Queensland School for the Deaf closes, as a consequence of decentralisation of services to students with hearing impairments during the 1980's. Programs for students with vision impairment were also decentralised during this period.
1989
A new Education Act 1989 was enacted.
The Department of Education's first strategic plan was adopted.
Decisions about school budgets were devolved to the school level.
There was an amalgamation of correspondence schools which became the School of Distance Education — Brisbane Centre P–12.
The first high school built to a new design opened at Bribie Island.
New prototype buildings for preschool, primary and special education units were assessed.
1989–1990
A comprehensive internal review of the Department of Education commenced through the consultation process, Education Have Your Say.
Professor Nancy Viviani reviewed Tertiary Entrance and produced the report, A Review of Tertiary Entrance in Queensland.
The Offices of Higher Education and Non-State Schooling were established.
The Department developed The Corporate Vision for Senior Schooling in Queensland to accommodate the diverse needs of students in Years 11 and 12.
The first entire primary school based on the new building model opened to students.
1990–1991
The report, Focus on Schools was released. A major restructure of the Department of Education followed.
The Public Sector Management Commission (PSMC) reviewed the Department of Education including its role, operations, responsibilities and management.
Greater responsibilities were devolved to 11 regions for resource, financial administration and human resource management.
A new English Language Arts Syllabus was introduced.
Priority was given to expanding languages other than English (LOTE).
The Viviani Report recommended the establishment of the Tertiary Entrance Procedures Authority (TEPA).
Consultants were engaged to assist in the development of an Equal Employment Opportunity (EEO) management plan.
The Equity Directorate (Workforce and Studies) was established. A social justice strategy was developed.
The PSMC developed guidelines for recruitment and selection based on merit and equity principles.
The inspectorate ended.
The report Focus on Schools recommended that a strategy for managing the integration policy in Queensland schools be developed as a matter of urgency, and that a state-wide support centre for students with low incidence disabilities be established. A restructure of the Department of Education followed.
Occupational therapists and physiotherapists were employed by the Department of Education to work in schools with students with disabilities. (These services were transferred from the Department of Families).
Policy Statement — Management of Support Teaching: Learning Difficulties (P–7) was introduced.
education.qld.gov.au/about-us/history/chronology-of-educa...
Berlin boasts two zoological gardens, a consequence of decades of political and administrative division of the city. The older one, called Zoo Berlin, founded in 1844, is situated in what is now called the "City West". It is the most species-rich zoo worldwide. The other one, called Tierpark Berlin ("Animal Park"), was established on the long abandoned premises of Friedrichsfelde Manor Park in the eastern borough of Lichtenberg, in 1954. Covering 160 ha, it is the largest landcape zoo in Europe.
Ein schmaler Weg schlängelt sich durchs grüne Dickicht, in dem farbenprächtige Vögel ihre paradiesischen Gesänge zum Besten geben. Von einer kleinen Lichtung aus lassen sich Krokodile am Flussufer beobachten. Einige Meter weiter streifen Leoparden durch das hohe Gras und Sie stehen Auge in Auge dem majestätischen Tiger gegenüber. Die tropische Vielfalt der Inselwelt Südostasiens heißt Sie Willkommen im wildesten Dschungel Berlins. Das 2020 nach tiefgreifenden Umbauten und Modernisierungen neu eröffnete Alfred-Brehm-Haus galt bei seiner Eröffnung 1963 mit einer Fläche von 5.000 m² als größtes Tierhaus der Welt. Entworfen hat es der berühmte Architekt Heinz Graffunder. Bei aller Faszination ist die Kernbotschaft dieses Hauses ernst: Diese tropischen Paradiese – die als artenreichsten Lebensräume der Erde gelten – sind bedroht.
www.tierpark-berlin.de/de/tiere/regenwaldhaus
A narrow path winds through the green thicket where colourful birds sing their paradisiacal songs. From a small clearing, crocodiles can be seen on the riverbank. A few metres further, leopards roam through the tall grass and you come face to face with the majestic tiger. The tropical diversity of the island world of Southeast Asia welcomes you to Berlin's wildest jungle. The Alfred Brehm House, newly opened in 2020 after a profund remodeling, was considered the largest animal house in the world when it opened in 1963 with an area of 5,000 m². It was designed by the famous architect Heinz Graffunder. For all its fascination, the core message of this house is serious: these tropical paradises - considered the most species-rich habitats on earth - are under threat.
One of the consequences of the 2020 lockdown was that the Himalayan Garden and Sculpture Park was opened in the autumn.
Breast cancer is relevant with all the illness wherever malignant cells build within the breasts. These malignant cells produce most generally inside the internal lining of milk ducts.Please visit our website for more details www.protonbeamtherapy.org/how-proton-treatment-works/
Two Sierra County NM sheriff's office units
2016 - Ford Police Interceptor Utility ,with late 2016
to present graphics
2006-2009 Chevrolet Impala ,with 2011 to late 2016 graphics.
Parked behind the Sierra County NM courthouse ( Seventh Judicial District Court)
in Truth or Consequences ( T or C ) the county seat .
When I was young I did not need a watch because there were many public clocks in operation throughout the city. Now because of my iPhone I do not wear a watch but now there are very few public clocks remaining and those that do are not being maintained.
Apparently Countess Markievicz complained about the loss of Dublin Mean Time because England’s “800 years of oppression” in Ireland can be officially extended – by 25 minutes.
In 1916, months after the Easter Rising, the House of Commons in London introduced Greenwich Mean Time in Ireland and abolished Dublin Mean Time, which was 25 minutes behind. As a consequence, when British clocks went back an hour for winter 1916 at 2am on Sunday, October 1st, Irish clocks only went back by 35 minutes to synchronise time in both countries.
Before 1880, the legal time at any place in the United Kingdom of Great Britain and Ireland was defined as local mean time. The Statutes (Definition of Time) Act, 1880 defined Dublin Mean Time as the legal time for Ireland. This was the local mean time at Dunsink Observatory outside Dublin, and was about 25 minutes 21 seconds behind Greenwich Mean Time (GMT), which was defined by the same act to be the legal time for Great Britain. After the Easter Rising, the time difference between Ireland and Britain was found inconvenient for telegraphic communication and the Time (Ireland) Act, 1916 provided that Irish time would be the same as British time, from 2:00 am Dublin Mean Time on Sunday 1 October 1916.
After the Irish Free State became independent in 1922, subsequent developments tended to mirror those in the United Kingdom. This avoided having different times on either side of the border with Northern Ireland. Summer time (daylight saving time) was provided on a one-off basis by acts in 1923 and 1924, and then on an ongoing basis by the Summer Time Act, 1925. The 1925 act provided a default summer time period, which could be varied by ministerial order. Double summer time was considered but not introduced during the Emergency of World War II.
From 1968 standard time (GMT+1) was observed all year round, with no winter time change. This was an experiment in the run-up to Ireland's 1973 accession to the EEC, and was undone in 1971. In those years, time in Ireland was the same as in the six EEC countries, except in the summer in Italy, which switched to Central European Summer Time (CEST). One artefact of the 1968 legislation is that "standard time" legally refers to summer time; the 1971 act defined a period of time in the winter as "winter time" during which the time observed would be GMT, leaving "standard time" unchanged.
From the 1980s, the dates of switch between winter and summer time have been synchronised across the European Union.
(c) 2009 butch leitz photography
All Rights Reserved
from a senior portrait session last week
made flickr explore #363
Smoking is one of many worst habits to have, particularly if you are an expecting mother. It's not simply currently going to damage you, but also the baby. Read about these consequences to know the situation's severity.Carrying out a wellbalanced, nutritious diet will help while quitting
An Unexpected Consequence
Something woke me up around 3:30 am that Saturday morning, not sure what. But something since my head was throbbing, I assumed that was the culprit.
I slowly, silently arose, not wishing to disturb the others who had gathered in our suite's living room for a “sleepover after an evening of heavy partying. But by the looks, everyone was still passed out.
I wasn’t surprised, judging from the amount of drinks we all had consumed.
What happy drunks we had all been.
I carefully tiptoed amongst them through the room, deciding to get aspirin from my bathroom.
The girls and I had all fallen asleep in the living room instead of retiring to our respective bedrooms that connected to the master suite
I was surprised to see my bedroom door was closed.
Was someone else inside?
I looked around the room, not noticing anyone missing.
Shrugging it off, I went inside, closing the door behind me.
I saw my reflection in the wall-sized mirror at the end of the room, next to the surprisingly open outside balcony door.
“Looking good.” I complimented myself.
I was wearing my slinking long pure silk nightgown, coloured a deep chocolate brown. Along with my shiny matching robe. The robe was open and I could see my peaking out chest, my smallish mounds bulging, sexily outlined by my nightgown.
I ran my fingers down the front, touching them, feeling a rather pleasant sensation that I was still not awake enough to fully enjoy.
There is nothing like the feel of a bit of nice silk lying against one’s naked figure.
I took a step back, admiring my figure, clad tightly in shiny silk, with jewels sparkling that were reflected in the hotel suite's mammoth mirror.
For, from my evening out, I was still wearing my long diamond earrings(£18,000) and three diamond rings(£12,000,£5,000, £3,000) because I love to sleep with my diamonds on, and they had looked so pretty with my black satin evening gown, along with the rest of my diamonds, that I had worn out for the evening before.
They had looked even more delicious worn with my spaghetti strap chocolate silk slinky nightgown as I played with them,and myself, a wee bit more.
I guess I kept wearing them because I wanted the feeling to continue on, as it was.
We had all been dressed up to the nines, attire, and jewellery, Friday evening, including the three of us girls who were staying in the two connected rooms.
Though last night those rooms, like mine, had been empty since all of us were asleep in the living room, sort of an adult storytelling sleepover.
Though I will admit deep down a smouldering yearning was felt to have it being a role-playing sleepover.
Now as I looked myself over in the mirror I started to have a prickly sensation that I was after all, not alone in the room.
I literally jumped because that feeling was immediately confirmed as an unfamiliar male voice commanded:
“Freeze sister, not a peep out of you now!”
I froze… not knowing what the hell was going on.
Except I was correct in using the word ‘Hell’
^^^^
A thin, muscular male comes out of one of the room’s shadowy corners, facing me.
I could tell his intentions by the black tight-fitting spandex suit, gloves, and ski mask he was wearing.
He nodded his head to me….
“I don’t wish to hurt you, lady, I’m only after the “ice” I was told you were wearing out tonight. Now don’t scream. I will use force and some of your friends may be hurt. You don’t want that to happen, do you? Nod if you’re going to be a good lass.”
I nodded yes, feeling my earrings swing against my face.
“That’s the girl. Undo your pretty robe, drop it to the floor. Good. Now move it over unto the bed.”
I did so and he picked up my robe laying it out onto the end of the bed. Then he picked up my robe's satin sash.
“Now ladybird , hold out your hands.”
I obeyed. He looked down at my fingers. I could see my rings glistening and saw he was watching also.
He pleasurably sighed, then got to business.
“Spread out your fingers!”
I did and he slowly located, then worked off my three pretty rings. Reaching over, he plopped each onto my chocolate-coloured silk robe.
“Now sister, clasp your hands in front of you…”
I obeyed and he firmly tied my wrists together with the robe’s silk sash.
“Now lay back on the bed”
I did so and he lifted my bound wrists and using one of my long black satin gloves tied them to a bedpost. Then he took the other glove gagging my mouth with it.
I could see my reflection in the vanity mirror. Almost surreal, like I was watching someone else.
He turned on his torch, catching my long diamond earrings in the beam.
“Blinding those, lovely to look at, but I’m running out of time aren’t I? Leave them for later, eh luv!”
Moving easily like a muscular black panther, he rose and strolled over to the vanity dresser. He opened the pair of jewelry cases belonging to me and my sister-in-law Cadie.
The beam caught up with the reflection of the jewellery both contained. I could see them sparkling.
He turns, shined the light in my face…
I was told you birds were wearing “ice” but there’s much more here. Let’s say I save time by taking it all for sorting later..”
It wasn’t a question.
With a sigh, I watched as he emptied onto my silk robe, the glimmering contents of first one, then the other of our jewel cases.
The pile dazzled with explosive, expensive sparkling.
Discarding both emptied cases, he turned his light back on the dresser. There were more of our expensive personal items laid out there. Cadie’s, my husband’s, and mine.
Several times he reached in sweeping some of them into his palm. Dumping them onto the chocolate-coloured silk robe
My husband’s possessions. Rolex money clip, billfold, silver gunmetal cigarette case, and matching lighter.
Cade’s silver comb and mirror, silver makeup compact, and her satin evening clutch.
Along with my gold makeup compact kit, gold Lamé clutch purse, gold cigarette case, and gold lighter.
He next shined the light carefully around the room.
Stopping on the open closet.
He went over and rummaged through it.
He whistled, and from my close he pulled out my rust-coloured mink jacket, throwing it onto the bed.
Then he turned back, fingering through my good skirts, blouses, party dresses, gowns, satins, and silks all of them.
He pulled my back satin opera outfit, a long satin skirt with the rhinestone belt and matching rhinestone embellished jacket, that I usually wore with one of my silky long-sleeved high-neck tops.
Lovely this he said shingling his light so it sparkled.
Then he tossed it on my bed, covering the fur.
He happily “dived” back in, and I heard him exclaiming…
“This is more like it, good thing I didn’t take a pass on the closet.”
He was pulling out the black satin gown with rhinestone trimmings I had worn out this past evening. His light caught my beautiful broach (£38,000), which I had left attached.
it came into sparkling life under the torch beam.
He whistled as he walked over, eyeing it up.
The thief then shined his torch beam in my face
You weren’t going to try and hold this out now were you love? I’ll pretend you were going to point it out.”
He laid it out on the bed, then approached me…
“With that said, lady. Are you holding anything else out!”
I shook my head, no, my eyes pleading since my mouth was gagged into silence.
Grinning, his torch beam was shined into one ear then the other
“Not quite telling the truth, Lovely sparkler’s them.”
He reached up, I was limp, with no fight in me.
The thief then laid the torch on the bed…
With his teeth the wanker pulled off his thin black gloves, he looked positively evil wearing that ski mask. His eyes are large and I swear, beguilingly, studying me.
His mouth opened wide as he reached over with long touching fingers, to begin working off each of my earrings, tossing them onto the valuably shimmering piled out on my beautiful satiny silky robe.
Again he stared into my eyes, his own masked lined menacing one’s mere millimeters away.
“Not saying I don’t trust you telling your not hiding anything valuable, but, well luv, I’ll be having myself a look anyway. You’ll understand…”
I cringed, arching my back as his fingers grasped my arms.
He then reached down and squeezed around my bulging chest ,noticing they were hard and perking, pointing up through the sheer fabric of my silky nightgown like a pair of plump fleshy mounds with hard tips.
Then I felt his fingers smoothly running over along my silk-clad figure, until he reached my wet pussy and discovers why my “mounds” were so firm under his touch.
For yes, I will have to confess having been sinfully aroused throughout the whole wickedly hot experience.
You see it started when he was pulling off my rings.
No, actually I told a lie…
It was when he first grasped me:
The abruptness, the shock, and the surprise, quickly turned to aroused waves of tingling sexually tinged excitement at being held captive, by a thief after my jewels.
As he worked at stealing our valuables, a tingling, cringing feeling of helplessness and horror watching a masked man doing that, with the look of pleasure he had in his eyes.
Then as he pulled off my rings, well I realized I was growing even more acutely aroused in a quite “horney” role play’esque situation.
Arousal that began its stimulating flame, arising from the explosive emerging “kindling” that is one’s own erotica being played out for real when least expected.
He could see my struggle against my bonds, and he knew, the Git just instinctively knew why….
Then the prat just touched the hairs around my privates
Stroking gently, reaching deep enough inside my pussy hairs, just enough to keep me aroused, but not allowing me to come into orgasm.
My eyes were opened wide staring at his masked form hovering over me.
Then he plunged his fingers deeply inside.
My whole figure arched up, fingers tingling.
Then the stinking prat, he pulled back. The wanker knew and stopped, just as my figure was trying to come in a full-body arching, explosive orgasm.
It was bad enough The bloody thief was stealing my jewels, but adding in robbing me clean of a chance at feeling that titular flame of orgasmic stimulation as I had closed my eyes starting to wince with excitement, that was just bloody rude.
^^^^^^
Then he was done, all back to business, as he nimbly rose, then picking up his gloves said the chilling words as he put them back on….
“Do the other rich dame’s bedrooms have things this nice, as I was told. No answer eh? Well, we will see for me self now won’t I!”
He picked back up his torch, letting the beam play down the long chocolate-silken night gown I was wearing over my naked figure.
He nodded his head in disbelieving approval.
Turning it off, he pocketed the torch, then reaching down he rolled up my satin robe with our valuables in it.
Picking up a black backpack he purred…
“The lads that were following you birds around last night, they put me onto this job saying to just to snatch the shiny jewels you and your girlfriends wearing out this evening. But lady you have enough here I could make a bit extra for me self!”
He stuffed the chocolate satin robe inside his jogger's pack. Followed by cramming in my black gown with the broach.
Then lifting my mink he said
But I better see how much of the good stuff your lady friends have in their rooms first. But I’ll take this item in case I have the storage space.”
Extinguishing his torch, He started to walk out, then looked back at me and came to my bedside.
“And don’t worry about this”
he said touching my now still prickly, damp crotch.
"Your not the first broad I’ve tied up to rob whose felt this way, now we’re you!?”
Snickering, he confidently opened the door, slipping without a look back
He was now in the living room where the others were all sleeping!
^^^^
That night thief thoroughly cleaned us out of all our jewels and various other items of high value we had in our bedrooms.
Though it was a very nasty thing to have happened to all of us. I did feel a wee bit guilty.
For to tell the truth, since I had been erotically aroused by the entire incident that occurred in my bedroom under the thief’s hands whole robbing me, I didn’t quite feel as sad about it as my equally jewel-relieved girlfriends.
Fini
1.52
Hey everyone! I've been practically off the Flickr grid for a year. I got lost in building up my business and I lost my love for creative portraiture. This year I'm dedicating to my photography and I can't wait to better myself and my techniques. Thanks for all the support, I can't wait to get to know you all better throughout this year (:
film
Same bridge from two different vantage points....with some metal sculpture thingies punctuating the midground. I've just noticed I have an affection for bridges.
City of Truth or Consequences ( T or C ) Police dept .
Unit 601 2010 Dodge Charger slicktop, in early 2016 to present graphics
T or C is county seat of Sierra County NM .
These are Original Cobblestones preserved in deference to Fire victims
Reposted...today....the 100th anniversary...of this Tragic, Tragic...N Y Fire
The Triangle Shirtwaist Factory fire in New York City on March 25, 1911, was the largest industrial disaster in the history of the city of New York, causing the death of 146 garment workers who either died from the fire or jumped to their deaths. It was the worst workplace disaster in New York City until September 11, 2001. The fire led to legislation requiring improved factory safety standards and helped spur the growth of the International Ladies' Garment Workers' Union, which fought for better and safer working conditions for sweatshop workers in that industry. The Triangle Shirtwaist Factory was located inside the Asch Building, now known as the Brown Building of Science. It has been designated as a National Historic Landmark and a New York City landmark.[1]
Contents [hide]
1 The company
2 The fire
3 Consequences
4 See also
5 Further reading
6 Film
7 References
8 External links
[edit]The company
The Triangle Shirtwaist Company, owned by Max Blanck and Isaac Harris, occupied the top three floors of the ten-story Asch Building in New York City at the intersection of Greene Street and Washington Place, just east of Washington Square. The company manufactured women's blouses, which at this period of time were called "shirtwaists" or simply "waists".
The company employed approximately 600 workers, mostly young immigrant women from Germany, Italy and Eastern Europe. Some of the women were as young as twelve or thirteen and worked fourteen-hour shifts during a 60-hour to 72-hour workweek. According to Pauline Newman, a worker at the factory, the average wage was six to seven dollars a week,[2] at a time when the average yearly income was $791.[3] At most, Triangle Factory employees earned $338 a year.
By 1911 the Triangle Shirtwaist Company had already become well known outside the garment industry: the massive strike by women's shirtwaist makers in 1909, known as the Uprising of 20,000, began with a spontaneous walkout at the Triangle Company. During the strike, owners Blanck and Harris, two anti-union leaders, paid hoodlums to attack the protesting workers and hired prostitutes as replacement workers to show contempt for the strikers.[4]
While the International Ladies' Garment Workers' Union negotiated a collective bargaining agreement covering most of those workers after a four-month strike, the Triangle Shirtwaist Company refused to sign the agreement.
The conditions of the factory were typical of the time. Flammable textiles were stored throughout the factory, scraps of fabric littered the floors, patterns and designs on sheets of tissue paper hung above the tables, the men who worked as cutters sometimes smoked, illumination was provided by open gas lighting, and there were only a few buckets of water to extinguish fires.
[edit]The fire
A horse-drawn fire engine on their way to the factory.
The building's south side, with windows from which fifty women jumped marked X.
Tombstone of fire victim at the Hebrew Free Burial Association's Mount Richmond Cemetery.
On the afternoon of March 25, 1911, a fire began on the eighth floor, possibly sparked by a lit match or a cigarette or because of faulty electrical wiring. A New York Times article also theorized that the fire may have been started by the engines running the sewing machines in the building. To this day, no one knows whether it was accidental or intentional. Most of the workers who were alerted on the tenth and eighth floors were able to evacuate. However, the warning about the fire did not reach the ninth floor in time.
The ninth floor had only two doors leading out. One stairwell was already filling with smoke and flames by the time the seamstresses realized the building was on fire. The other door had been locked.
The single exterior fire escape, a flimsy and poorly anchored iron structure, soon twisted and collapsed under the weight of people trying to escape (the exterior fire escape may have already been broken). The elevator also stopped working, cutting off that means of escape, partly because the panicked workers tried to save themselves by jumping down the shaft onto the roof of the elevator.
Much to the horror of the large crowd of bystanders gathered on the street, sixty-two of the women who died did so after realizing there was no other way to avoid the flames except to break the windows and jump to the pavement nine floors below. [5]
Socialist Louis Waldman, later a New York state assemblyman, described the grim scene in his memoirs published in 1944:
"One Saturday afternoon in March of that year — March 25, to be precise — I was sitting at one of the reading tables in the old Astor Library... It was a raw, unpleasant day and the comfortable reading room seemed a delightful place to spend the remaining few hours until the library closed. I was deeply engrossed in my book when I became aware of fire engines racing past the building. By this time I was sufficiently Americanized to be fascinated by the sound of fire engines. Along with several others in the library, I ran out to see what was happening, and followed crowds of people to the scene of the fire.
"A few blocks away, the Asch Building at the corner of Washington Place and Greene Street was ablaze. When we arrived at the scene, the police had thrown up a cordon around the area and the firemen were helplessly fighting the blaze. The eighth, ninth, and tenth stories of the building were now an enormous roaring cornice of flames.
"Word had spread through the East Side, by some magic of terror, that the plant of the Triangle Waist Company was on fire and that several hundred workers were trapped. Horrified and helpless, the crowds — I among them — looked up at the burning building, saw girl after girl appear at the reddened windows, pause for a terrified moment, and then leap to the pavement below, to land as mangled, bloody pulp. This went on for what seemed a ghastly eternity. Occasionally a girl who had hesitated too long was licked by pursuing flames and, screaming with clothing and hair ablaze, plunged like a living torch to the street. Life nets held by the firemen were torn by the impact of the falling bodies.
"The emotions of the crowd were indescribable. Women were hysterical, scores fainted; men wept as, in paroxysms of frenzy, they hurled themselves against the police lines."[6]
Others pried open the elevator doors and tumbled down the shaft. Of the jumpers, a single survivor was found close to drowning in water collecting in the elevator shaft.[citation needed] The fallen bodies and falling victims made it difficult for the fire department to reach the building.
The remainder waited until smoke and fire overcame them. The fire department arrived quickly but was unable to stop the flames, as there were no ladders available that could reach beyond the sixth floor. The ultimate death toll was 148, including 141 who died at the scene and seven survivors who later died at hospitals.[7]
Twenty-three victims of the fire were buried by the Hebrew Free Burial Association in a special section at Mount Richmond Cemetery. In some instances, their tombstones make reference to the fire.[8] Another eight unidentified victims were buried in the Cemetery of the Evergreens in Brooklyn. Originally interred elsewhere in the grounds, the remains are now lie underneath a monument to the tragedy, a large marble slab featuring a kneeling woman [9].
[edit]Consequences
The building's east side, with 40 bodies on the sidewalk. Two of the victims were found alive an hour after the picture was taken.
Bodies of the victims being placed in coffins on the sidewalk.
People and horses draped in black walk in procession in memory of the victims
The company's owners, Max Blanck and Isaac Harris, had fled to the building's roof when the fire began and survived. They were later put on trial, at which Max Steuer, counsel for the defendants, managed to destroy the credibility of one of the survivors, Kate Alterman, by asking her to repeat her testimony a number of times — which she did without altering key phrases that Steuer believed were perfected before trial. Steuer argued to the jury that Alterman and probably other witnesses had memorized their statements and might even have been told what to say by the prosecutors. The defense also stressed that the prosecution had failed to prove that the owners knew the exit doors were locked at the time in question. The jury acquitted the owners. However, they lost a subsequent civil suit in 1913, and plaintiffs won compensation in the amount of $75 per deceased victim. The insurance company paid Blanck and Harris about $60,000 more than the reported losses, or about $400 per casualty. In 1913, Blanck was once again arrested for locking the door in his factory during working hours. He was fined $20.[4]
Rose Schneiderman, a prominent socialist and union activist, said in a speech at the memorial meeting held in the Metropolitan Opera House on April 2, 1911, to an audience largely made up of the members of the Women's Trade Union League, a group that had provided moral and financial support for the Uprising of 20,000:
“
I would be a traitor to these poor burned bodies if I came here to talk good fellowship. We have tried you good people of the public and we have found you wanting. The old Inquisition had its rack and its thumbscrews and its instruments of torture with iron teeth. We know what these things are today; the iron teeth are our necessities, the thumbscrews are the high-powered and swift machinery close to which we must work, and the rack is here in the firetrap structures that will destroy us the minute they catch on fire.
This is not the first time girls have been burned alive in the city. Every week I must learn of the untimely death of one of my sister workers. Every year thousands of us are maimed. The life of men and women is so cheap and property is so sacred. There are so many of us for one job it matters little if 146 of us are burned to death.
We have tried you citizens; we are trying you now, and you have a couple of dollars for the sorrowing mothers, brothers and sisters by way of a charity gift. But every time the workers come out in the only way they know to protest against conditions which are unbearable the strong hand of the law is allowed to press down heavily upon us.
Public officials have only words of warning to us – warning that we must be intensely peaceable, and they have the workhouse just back of all their warnings. The strong hand of the law beats us back, when we rise, into the conditions that make life unbearable.
I can't talk fellowship to you who are gathered here. Too much blood has been spilled. I know from my experience it is up to the working people to save themselves. The only way they can save themselves is by a strong working-class movement.
”
Others in the community, and in particular in the ILGWU,[10] drew a different lesson from events: working with local Tammany Hall officials, such as Al Smith and Robert F. Wagner, and progressive reformers, such as Frances Perkins, the future Secretary of Labor in the Roosevelt administration, who had witnessed the fire from the street below, they pushed for comprehensive safety and workers’ compensation laws. The ILGWU leadership formed bonds with those reformers and politicians that would continue for another forty years, through the New Deal and beyond.
As a result of the fire, the American Society of Safety Engineers was founded soon after in New York City, October 14, 1911.
NYC Triangle Fire of 1911
(happened here)
A Haiku
Death came far too soon,
Reflected upon these stones
Many were Undun
Biennalist
Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.
About artist Thierry Geoffroy/Colonel:
en.wikipedia.org/wiki/Thierry_Geoffroy
en.wikipedia.org/wiki/Emergency_Room_(art)
www.emergencyrooms.org/formats.html
Biennalist :
Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.
-------------------------------------------
links about Biennalist :
Thierry Geoffroy/Colonel:
en.wikipedia.org/wiki/Thierry_Geoffroy
en.wikipedia.org/wiki/Emergency_Room_(art)
www.emergencyrooms.org/formats.html
—--Biennale from wikipedia —--
The Venice International Film Festival is part of the Venice Biennale. The famous Golden Lion is awarded to the best film screening at the competition.
Biennale (Italian: [bi.enˈnaːle]), Italian for "biennial" or "every other year", is any event that happens every two years. It is most commonly used within the art world to describe large-scale international contemporary art exhibitions. As such the term was popularised by Venice Biennale, which was first held in 1895. Since the 1990s, the terms "biennale" and "biennial" have been interchangeably used in a more generic way - to signify a large-scale international survey show of contemporary art that recurs at regular intervals but not necessarily biannual (such as triennials, Documenta, Skulptur Projekte Münster).[1] The phrase has also been used for other artistic events, such as the "Biennale de Paris", "Kochi-Muziris Biennale", Berlinale (for the Berlin International Film Festival) and Viennale (for Vienna's international film festival).
Characteristics[edit]
According to author Federica Martini, what is at stake in contemporary biennales is the diplomatic/international relations potential as well as urban regeneration plans. Besides being mainly focused on the present (the “here and now” where the cultural event takes place and their effect of "spectacularisation of the everyday"), because of their site-specificity cultural events may refer back to,[who?] produce or frame the history of the site and communities' collective memory.[2]
The Great Exhibition in The Crystal Palace in Hyde Park, London, in 1851, the first attempt to condense the representation of the world within a unitary exhibition space.
A strong and influent symbol of biennales and of large-scale international exhibitions in general is the Crystal Palace, the gigantic and futuristic London architecture that hosted the Great Exhibition in 1851. According to philosopher Peter Sloterdijk,[3][page needed] the Crystal Palace is the first attempt to condense the representation of the world in a unitary exhibition space, where the main exhibit is society itself in an a-historical, spectacular condition. The Crystal Palace main motives were the affirmation of British economic and national leadership and the creation of moments of spectacle. In this respect, 19th century World fairs provided a visual crystallization of colonial culture and were, at the same time, forerunners of contemporary theme parks.
The Venice Biennale as an archetype[edit]
The structure of the Venice Biennale in 2005 with an international exhibition and the national pavilions.
The Venice Biennale, a periodical large-scale cultural event founded in 1895, served as an archetype of the biennales. Meant to become a World Fair focused on contemporary art, the Venice Biennale used as a pretext the wedding anniversary of the Italian king and followed up to several national exhibitions organised after Italy unification in 1861. The Biennale immediately put forth issues of city marketing, cultural tourism and urban regeneration, as it was meant to reposition Venice on the international cultural map after the crisis due to the end of the Grand Tour model and the weakening of the Venetian school of painting. Furthermore, the Gardens where the Biennale takes place were an abandoned city area that needed to be re-functionalised. In cultural terms, the Biennale was meant to provide on a biennial basis a platform for discussing contemporary art practices that were not represented in fine arts museums at the time. The early Biennale model already included some key points that are still constitutive of large-scale international art exhibitions today: a mix of city marketing, internationalism, gentrification issues and destination culture, and the spectacular, large scale of the event.
Biennials after the 1990s[edit]
The situation of biennials has changed in the contemporary context: while at its origin in 1895 Venice was a unique cultural event, but since the 1990s hundreds of biennials have been organized across the globe. Given the ephemeral and irregular nature of some biennials, there is little consensus on the exact number of biennials in existence at any given time.[citation needed] Furthermore, while Venice was a unique agent in the presentation of contemporary art, since the 1960s several museums devoted to contemporary art are exhibiting the contemporary scene on a regular basis. Another point of difference concerns 19th century internationalism in the arts, that was brought into question by post-colonial debates and criticism of the contemporary art “ethnic marketing”, and also challenged the Venetian and World Fair’s national representation system. As a consequence of this, Eurocentric tendency to implode the whole word in an exhibition space, which characterises both the Crystal Palace and the Venice Biennale, is affected by the expansion of the artistic geographical map to scenes traditionally considered as marginal. The birth of the Havana Biennial in 1984 is widely considered an important counterpoint to the Venetian model for its prioritization of artists working in the Global South and curatorial rejection of the national pavilion model.
International biennales[edit]
In the term's most commonly used context of major recurrent art exhibitions:
Adelaide Biennial of Australian Art, South Australia
Asian Art Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Athens Biennale, in Athens, Greece
Bienal de Arte Paiz, in Guatemala City, Guatemala[4]
Arts in Marrakech (AiM) International Biennale (Arts in Marrakech Festival)
Bamako Encounters, a biennale of photography in Mali
Bat-Yam International Biennale of Landscape Urbanism
Beijing Biennale
Berlin Biennale (contemporary art biennale, to be distinguished from Berlinale, which is a film festival)
Bergen Assembly (triennial for contemporary art in Bergen, Norway)www.bergenassembly.no
Bi-City Biennale of Urbanism\Architecture, in Shenzhen and Hong Kong, China
Bienal de Arte de Ponce in Ponce, Puerto Rico
Biënnale van België, Biennial of Belgium, Belgium
BiennaleOnline Online biennial exhibition of contemporary art from the most promising emerging artists.
Biennial of Hawaii Artists
Biennale de la Biche, the smallest biennale in the world held at deserted island near Guadeloupe, French overseas region[5][6]
Biwako Biennale [ja], in Shiga, Japan
La Biennale de Montreal
Biennale of Luanda : Pan-African Forum for the Culture of Peace,[7] Angola
Boom Festival, international music and culture festival in Idanha-a-Nova, Portugal
Bucharest Biennale in Bucharest, Romania
Bushwick Biennial, in Bushwick, Brooklyn, New York
Canakkale Biennial, in Canakkale, Turkey
Cerveira International Art Biennial, Vila Nova de Cerveira, Portugal [8]
Changwon Sculpture Biennale in Changwon, South Korea
Dakar Biennale, also called Dak'Art, biennale in Dakar, Senegal
Documenta, contemporary art exhibition held every five years in Kassel, Germany
Estuaire (biennale), biennale in Nantes and Saint-Nazaire, France
EVA International, biennial in Limerick, Republic of Ireland
Göteborg International Biennial for Contemporary Art, in Gothenburg, Sweden[9]
Greater Taipei Contemporary Art Biennial, in Taipei, Taiwan
Gwangju Biennale, Asia's first and most prestigious contemporary art biennale
Havana biennial, in Havana, Cuba
Helsinki Biennial, in Helsinki, Finland
Herzliya Biennial For Contemporary Art, in Herzliya, Israel
Incheon Women Artists' Biennale, in Incheon, South Korea
Iowa Biennial, in Iowa, USA
Istanbul Biennial, in Istanbul, Turkey
International Roaming Biennial of Tehran, in Tehran and Istanbul
Jakarta Biennale, in Jakarta, Indonesia
Jerusalem Biennale, in Jerusalem, Israel
Jogja Biennale, in Yogyakarta, Indonesia
Karachi Biennale, in Karachi, Pakistan
Keelung Harbor Biennale, in Keelung, Taiwan
Kochi-Muziris Biennale, largest art exhibition in India, in Kochi, Kerala, India
Kortrijk Design Biennale Interieur, in Kortrijk, Belgium
Kobe Biennale, in Japan
Kuandu Biennale, in Taipei, Taiwan
Lagos Biennial, in Lagos, Nigeria[10]
Light Art Biennale Austria, in Austria
Liverpool Biennial, in Liverpool, UK
Lofoten International Art Festival [no] (LIAF), on the Lofoten archipelago, Norway[11]
Manifesta, European Biennale of contemporary art in different European cities
Mediations Biennale, in Poznań, Poland
Melbourne International Biennial 1999
Mediterranean Biennale in Sakhnin 2013
MOMENTA Biennale de l'image [fr] (formerly known as Le Mois de la Photo à Montréal), in Montreal, Canada
MOMENTUM [no], in Moss, Norway[12]
Moscow Biennale, in Moscow, Russia
Munich Biennale, new opera and music-theatre in even-numbered years
Mykonos Biennale
Nakanojo Biennale[13]
NGV Triennial, contemporary art exhibition held every three years at the National Gallery of Victoria, Melbourne, Australia
October Salon – Belgrade Biennale [sr], organised by the Cultural Center of Belgrade [sr], in Belgrade, Serbia[14]
OSTEN Biennial of Drawing Skopje, North Macedonia[15]
Biennale de Paris
Riga International Biennial of Contemporary Art (RIBOCA), in Riga, Latvia[16]
São Paulo Art Biennial, in São Paulo, Brazil
SCAPE Public Art Christchurch Biennial in Christchurch, New Zealand[17]
Prospect New Orleans
Seoul Biennale of Architecture and Urbanism
Sequences, in Reykjavík, Iceland[18]
Shanghai Biennale
Sharjah Biennale, in Sharjah, UAE
Singapore Biennale, held in various locations across the city-state island of Singapore
Screen City Biennial, in Stavanger, Norway
Biennale of Sydney
Taipei Biennale, in Taipei, Taiwan
Taiwan Arts Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Taiwan Film Biennale, in Hammer Museum, Los Angeles, U.S.A.
Thessaloniki Biennale of Contemporary Art [el], in Thessaloniki, Greece[19]
Dream city, produced by ART Rue Association in Tunisia
Vancouver Biennale
Visayas Islands Visual Arts Exhibition and Conference (VIVA ExCon) in the Philippines [20]
Venice Biennale, in Venice, Italy, which includes:
Venice Biennale of Contemporary Art
Venice Biennale of Architecture
Venice Film Festival
Vladivostok biennale of Visual Arts, in Vladivostok, Russia
Whitney Biennial, hosted by the Whitney Museum of American Art, in New York City, NY, USA
Web Biennial, produced with teams from Athens, Berlin and Istanbul.
West Africa Architecture Biennale,[21] Virtual in Lagos, Nigeria.
WRO Biennale, in Wrocław, Poland[22]
Music Biennale Zagreb
[SHIFT:ibpcpa] The International Biennale of Performance, Collaborative and Participatory Arts, Nomadic, International, Scotland, UK.
—---Venice Biennale from wikipedia —
The Venice Biennale (/ˌbiːɛˈnɑːleɪ, -li/; Italian: La Biennale di Venezia) is an international cultural exhibition hosted annually in Venice, Italy by the Biennale Foundation.[2][3][4] The biennale has been organised every year since 1895, which makes it the oldest of its kind. The main exhibition held in Castello, in the halls of the Arsenale and Biennale Gardens, alternates between art and architecture (hence the name biennale; biennial).[5][6][7] The other events hosted by the Foundation—spanning theatre, music, and dance—are held annually in various parts of Venice, whereas the Venice Film Festival takes place at the Lido.[8]
Organization[edit]
Art Biennale
Art Biennale
International Art Exhibition
1895
Even-numbered years (since 2022)
Venice Biennale of Architecture
International Architecture Exhibition
1980
Odd-numbered years (since 2021)
Biennale Musica
International Festival of Contemporary Music
1930
Annually (Sep/Oct)
Biennale Teatro
International Theatre Festival
1934
Annually (Jul/Aug)
Venice Film Festival
Venice International Film Festival
1932
Annually (Aug/Sep)
Venice Dance Biennale
International Festival of Contemporary Dance
1999
Annually (June; biennially 2010–16)
International Kids' Carnival
2009
Annually (during Carnevale)
History
1895–1947
On April 19, 1893, the Venetian City Council passed a resolution to set up an biennial exhibition of Italian Art ("Esposizione biennale artistica nazionale") to celebrate the silver anniversary of King Umberto I and Margherita of Savoy.[11]
A year later, the council decreed "to adopt a 'by invitation' system; to reserve a section of the Exhibition for foreign artists too; to admit works by uninvited Italian artists, as selected by a jury."[12]
The first Biennale, "I Esposizione Internazionale d'Arte della Città di Venezia (1st International Art Exhibition of the City of Venice)" (although originally scheduled for April 22, 1894) was opened on April 30, 1895, by the Italian King and Queen, Umberto I and Margherita di Savoia. The first exhibition was seen by 224,000 visitors.
The event became increasingly international in the first decades of the 20th century: from 1907 on, several countries installed national pavilions at the exhibition, with the first being from Belgium. In 1910 the first internationally well-known artists were displayed: a room dedicated to Gustav Klimt, a one-man show for Renoir, a retrospective of Courbet. A work by Picasso "Family of Saltimbanques" was removed from the Spanish salon in the central Palazzo because it was feared that its novelty might shock the public. By 1914 seven pavilions had been established: Belgium (1907), Hungary (1909), Germany (1909), Great Britain (1909), France (1912), and Russia (1914).
During World War I, the 1916 and 1918 events were cancelled.[13] In 1920 the post of mayor of Venice and president of the Biennale was split. The new secretary general, Vittorio Pica brought about the first presence of avant-garde art, notably Impressionists and Post-Impressionists.
1922 saw an exhibition of sculpture by African artists. Between the two World Wars, many important modern artists had their work exhibited there. In 1928 the Istituto Storico d'Arte Contemporanea (Historical Institute of Contemporary Art) opened, which was the first nucleus of archival collections of the Biennale. In 1930 its name was changed into Historical Archive of Contemporary Art.
In 1930, the Biennale was transformed into an Ente Autonomo (Autonomous Board) by Royal Decree with law no. 33 of 13-1-1930. Subsequently, the control of the Biennale passed from the Venice city council to the national Fascist government under Benito Mussolini. This brought on a restructuring, an associated financial boost, as well as a new president, Count Giuseppe Volpi di Misurata. Three entirely new events were established, including the Biennale Musica in 1930, also referred to as International Festival of Contemporary Music; the Venice Film Festival in 1932, which they claim as the first film festival in history,[14] also referred to as Venice International Film Festival; and the Biennale Theatro in 1934, also referred to as International Theatre Festival.
In 1933 the Biennale organized an exhibition of Italian art abroad. From 1938, Grand Prizes were awarded in the art exhibition section.
During World War II, the activities of the Biennale were interrupted: 1942 saw the last edition of the events. The Film Festival restarted in 1946, the Music and Theatre festivals were resumed in 1947, and the Art Exhibition in 1948.[15]
1948–1973[edit]
The Art Biennale was resumed in 1948 with a major exhibition of a recapitulatory nature. The Secretary General, art historian Rodolfo Pallucchini, started with the Impressionists and many protagonists of contemporary art including Chagall, Klee, Braque, Delvaux, Ensor, and Magritte, as well as a retrospective of Picasso's work. Peggy Guggenheim was invited to exhibit her collection, later to be permanently housed at Ca' Venier dei Leoni.
1949 saw the beginning of renewed attention to avant-garde movements in European—and later worldwide—movements in contemporary art. Abstract expressionism was introduced in the 1950s, and the Biennale is credited with importing Pop Art into the canon of art history by awarding the top prize to Robert Rauschenberg in 1964.[16] From 1948 to 1972, Italian architect Carlo Scarpa did a series of remarkable interventions in the Biennale's exhibition spaces.
In 1954 the island San Giorgio Maggiore provided the venue for the first Japanese Noh theatre shows in Europe. 1956 saw the selection of films following an artistic selection and no longer based upon the designation of the participating country. The 1957 Golden Lion went to Satyajit Ray's Aparajito which introduced Indian cinema to the West.
1962 included Arte Informale at the Art Exhibition with Jean Fautrier, Hans Hartung, Emilio Vedova, and Pietro Consagra. The 1964 Art Exhibition introduced continental Europe to Pop Art (The Independent Group had been founded in Britain in 1952). The American Robert Rauschenberg was the first American artist to win the Gran Premio, and the youngest to date.
The student protests of 1968 also marked a crisis for the Biennale. Student protests hindered the opening of the Biennale. A resulting period of institutional changes opened and ending with a new Statute in 1973. In 1969, following the protests, the Grand Prizes were abandoned. These resumed in 1980 for the Mostra del Cinema and in 1986 for the Art Exhibition.[17]
In 1972, for the first time, a theme was adopted by the Biennale, called "Opera o comportamento" ("Work or Behaviour").
Starting from 1973 the Music Festival was no longer held annually. During the year in which the Mostra del Cinema was not held, there was a series of "Giornate del cinema italiano" (Days of Italian Cinema) promoted by sectorial bodies in campo Santa Margherita, in Venice.[18]
1974–1998[edit]
1974 saw the start of the four-year presidency of Carlo Ripa di Meana. The International Art Exhibition was not held (until it was resumed in 1976). Theatre and cinema events were held in October 1974 and 1975 under the title Libertà per il Cile (Freedom for Chile)—a major cultural protest against the dictatorship of Augusto Pinochet.
On 15 November 1977, the so-called Dissident Biennale (in reference to the dissident movement in the USSR) opened. Because of the ensuing controversies within the Italian left wing parties, president Ripa di Meana resigned at the end of the year.[19]
In 1979 the new presidency of Giuseppe Galasso (1979-1982) began. The principle was laid down whereby each of the artistic sectors was to have a permanent director to organise its activity.
In 1980, the Architecture section of the Biennale was set up. The director, Paolo Portoghesi, opened the Corderie dell'Arsenale to the public for the first time. At the Mostra del Cinema, the awards were brought back into being (between 1969 and 1979, the editions were non-competitive). In 1980, Achille Bonito Oliva and Harald Szeemann introduced "Aperto", a section of the exhibition designed to explore emerging art. Italian art historian Giovanni Carandente directed the 1988 and 1990 editions. A three-year gap was left afterwards to make sure that the 1995 edition would coincide with the 100th anniversary of the Biennale.[13]
The 1993 edition was directed by Achille Bonito Oliva. In 1995, Jean Clair was appointed to be the Biennale's first non-Italian director of visual arts[20] while Germano Celant served as director in 1997.
For the Centenary in 1995, the Biennale promoted events in every sector of its activity: the 34th Festival del Teatro, the 46th art exhibition, the 46th Festival di Musica, the 52nd Mostra del Cinema.[21]
1999–present[edit]
In 1999 and 2001, Harald Szeemann directed two editions in a row (48th & 49th) bringing in a larger representation of artists from Asia and Eastern Europe and more young artists than usual and expanded the show into several newly restored spaces of the Arsenale.
In 1999 a new sector was created for live shows: DMT (Dance Music Theatre).
The 50th edition, 2003, directed by Francesco Bonami, had a record number of seven co-curators involved, including Hans Ulrich Obrist, Catherine David, Igor Zabel, Hou Hanru and Massimiliano Gioni.
The 51st edition of the Biennale opened in June 2005, curated, for the first time by two women, Maria de Corral and Rosa Martinez. De Corral organized "The Experience of Art" which included 41 artists, from past masters to younger figures. Rosa Martinez took over the Arsenale with "Always a Little Further." Drawing on "the myth of the romantic traveler" her exhibition involved 49 artists, ranging from the elegant to the profane.
In 2007, Robert Storr became the first director from the United States to curate the Biennale (the 52nd), with a show entitled Think with the Senses – Feel with the Mind. Art in the Present Tense.
Swedish curator Daniel Birnbaum was artistic director of the 2009 edition entitled "Fare Mondi // Making Worlds".
The 2011 edition was curated by Swiss curator Bice Curiger entitled "ILLUMInazioni – ILLUMInations".
The Biennale in 2013 was curated by the Italian Massimiliano Gioni. His title and theme, Il Palazzo Enciclopedico / The Encyclopedic Palace, was adopted from an architectural model by the self-taught Italian-American artist Marino Auriti. Auriti's work, The Encyclopedic Palace of the World was lent by the American Folk Art Museum and exhibited in the first room of the Arsenale for the duration of the biennale. For Gioni, Auriti's work, "meant to house all worldly knowledge, bringing together the greatest discoveries of the human race, from the wheel to the satellite," provided an analogous figure for the "biennale model itself...based on the impossible desire to concentrate the infinite worlds of contemporary art in a single place: a task that now seems as dizzyingly absurd as Auriti's dream."[22]
Curator Okwui Enwezor was responsible for the 2015 edition.[23] He was the first African-born curator of the biennial. As a catalyst for imagining different ways of imagining multiple desires and futures Enwezor commissioned special projects and programs throughout the Biennale in the Giardini. This included a Creative Time Summit, e-flux journal's SUPERCOMMUNITY, Gulf Labor Coalition, The Invisible Borders Trans-African Project and Abounaddara.[24][25]
The 2017 Biennale, titled Viva Arte Viva, was directed by French curator Christine Macel who called it an "exhibition inspired by humanism".[26] German artist Franz Erhard Walter won the Golden Lion for best artist, while Carolee Schneemann was awarded a posthumous Golden Lion for Lifetime Achievement.[27]
The 2019 Biennale, titled May You Live In Interesting Times, was directed by American-born curator Ralph Rugoff.[28]
The 2022 edition was curated by Italian curator Cecilia Alemani entitled "The Milk of Dreams" after a book by British-born Mexican surrealist painter Leonora Carrington.[29]
The Biennale has an attendance today of over 500,000 visitors.[30][31][32]
Role in the art market[edit]
When the Venice Biennale was founded in 1895, one of its main goals was to establish a new market for contemporary art. Between 1942 and 1968 a sales office assisted artists in finding clients and selling their work,[33] a service for which it charged 10% commission. Sales remained an intrinsic part of the biennale until 1968, when a sales ban was enacted. An important practical reason why the focus on non-commodities has failed to decouple Venice from the market is that the biennale itself lacks the funds to produce, ship and install these large-scale works. Therefore, the financial involvement of dealers is widely regarded as indispensable;[16] as they regularly front the funding for production of ambitious projects.[34] Furthermore, every other year the Venice Biennale coincides with nearby Art Basel, the world's prime commercial fair for modern and contemporary art. Numerous galleries with artists on show in Venice usually bring work by the same artists to Basel.[35]
Central Pavilion and Arsenale[edit]
The formal Biennale is based at a park, the Giardini. The Giardini includes a large exhibition hall that houses a themed exhibition curated by the Biennale's director.
Initiated in 1980, the Aperto began as a fringe event for younger artists and artists of a national origin not represented by the permanent national pavilions. This is usually staged in the Arsenale and has become part of the formal biennale programme. In 1995 there was no Aperto so a number of participating countries hired venues to show exhibitions of emerging artists. From 1999, both the international exhibition and the Aperto were held as one exhibition, held both at the Central Pavilion and the Arsenale. Also in 1999, a $1 million renovation transformed the Arsenale area into a cluster of renovated shipyards, sheds and warehouses, more than doubling the Arsenale's exhibition space of previous years.[36]
A special edition of the 54th Biennale was held at Padiglione Italia of Torino Esposizioni – Sala Nervi (December 2011 – February 2012) for the 150th Anniversary of Italian Unification. The event was directed by Vittorio Sgarbi
A personal consequence of BREXIT?
Haus Lange in Krefeld is an address of pilgrimage for architectural studies and those people interested in Ludwig Mies von der Rohe’s style setting early work. Splendid and ageless architecture and garden environment.
Most recently this building became a new home for BREXIT refugee family that felt no longer welcome in England. Has it really become ‘a home’? If you watch the series of photos I took you might feel shocked as I was when I first lingered thru the stylish rooms. The car was still packed. The door was open… I entered as invited, saw valuable furniture, most goods still in boxes, piles of books. The pantechnicon obviously just left. Also very obvious: The landlady, mother and wife also left and will stay absent: ‘You will never see me again’ written on the mirror. That wasn’t a good sign. I felt sorry.
Then to my utmost horror I found the host floating dead in the pool… A husband, a father: dead! And nobody seems to care!
Even more desperate the boy hiding in the dining room – his distressed body language seems to ask: Can this my home? Where is my mother? Who is my mother? Where are my roots?
You may form your own opinion on this photo story – but being uprooted is the worst prerequisite for a new and positive start. Reasons are manifold. But if it comes to politics as a cause: Think before you vote, choose well whom you elect. It might affect your families’ life, too.
The artists Michael Elgreen and Ingar Dragset make us think with their fictive story and installation of an unhappy start in Haus Lange, Krefeld.
I as a photographer tried to transfer this mood and the atmosphre into 17 picture series ‘Die Zugezogenen’.
Krefeld, February 2017
Thomas Kopf
"Sexual assault in childhood or adulthood impacts not only the victim, but also the victim’s family and friends as well as society as a whole. In this regard, sexual assault is a public health problem that concerns everyone.
Sexual assault has numerous potential consequences that can last a lifetime and span generations, with serious adverse effects on health, education, employment, crime, and the economic well-being of individuals, families, communities and societies."
Berlin boasts two zoological gardens, a consequence of decades of political and administrative division of the city. The older one, called Zoo Berlin, founded in 1844, is situated in what is now called the "City West". It is the most species-rich zoo worldwide. The other one, called Tierpark Berlin ("Animal Park"), was established on the long abandoned premises of Friedrichsfelde Manor Park in the eastern borough of Lichtenberg, in 1954. Covering 160 ha, it is the largest landcape zoo in Europe.
Rund 15 Prozent der Erdoberfläche werden von Savannen bedeckt. Damit gehören sie zu den größten und wichtigsten Lebensräumen des Planeten. Seit dem 26. Mai 2023 wird Besucher*innen im Tierpark Berlin ein Einblick in diese faszinierende Landschaft gewährt und sie können mehr über die unterschiedlichen Bewohner der ostafrikanischen Savanne und ihren natürlichen Lebensraum erfahren.
Ein wahrer Höhepunkt der neuen Tierpark-Savanne ist der 120 Meter lange Giraffenpfad: Hier werden die Gäste den bis zu fünf Meter hohen Grazien der Savanne zukünftig auf Augenhöhe begegnen können – wer sich traut, bahnt sich den Weg durch den Wald bis zu den Aussichtsplattformen über eine abenteuerliche Hängebrücke. Der Tierpark Berlin erreicht mit der Eröffnung der Afrikanischen Savannenlandschaft ein neues Etappenziel auf seinem Weg zu einem Zoo der Zukunft. Seit knapp neun Jahren wird der 1955 gegründete und 160 Hektar große Tierpark Berlin zu einem naturnahen Geozoo umgebaut. Um einen Einblick in den Lebensraum der einzelnen Tierarten und deren Interaktionen, Besonderheiten und Problematiken zu ermöglichen, werden die Tiere im Tierpark größtenteils nach geografischen Gesichtspunkten zu sehen sein.
de/de/aktuelles/alle-news/artikel/wil...
Around 15 per cent of the earth's surface is covered by savannahs. This makes them one of the largest and most important habitats on the planet. Since 26 May 2023, visitors to Tierpark Berlin have been given an insight into this fascinating landscape and can learn more about the different inhabitants of the East African savannah and their natural habitat.
A true highlight of the new zoo savannah is the 120-metre-long giraffe trail: here, guests will be able to meet the up to five-metre-high graces of the savannah at eye level in future - those who dare will make their way through the forest to the viewing platforms via an adventurous suspension bridge. With the opening of the African Savannah Landscape, Tierpark Berlin has reached a new milestone on its way to becoming a zoo of the future. For almost nine years, the 160-hectare Tierpark Berlin, which was founded in 1955, has been transformed into a near-natural geozoo. In order to provide an insight into the habitat of the individual animal species and their interactions, peculiarities and problems, the animals in the zoo will largely be seen according to geographical aspects.
When it is a question of expressing this attitude in religious matters, there are certain characteristic positions typical of this mentality. Congar gives eight examples in his essay.
First, intégrisme is usually pessimistic. It insists upon fallen nature, original sin, and the evil of the world. It has a strong inclination to condemn things that are in themselves inoffensive (like the Scout movement in Congar’s time or new movements of lay solidarity in our time). It is inclined to emphasise whatever is most contrary to spontaneous human desires, to make life difficult. No pain, no gain.
Second, it believes in ruling with a firm hand, imposing its point of view through the exercise of authority and an appeal to hierarchical powers. As a consequence, it feels no need to justify the positions that it takes or to explain itself. It considers it perfectly legitimate to conduct its investigations of suspect doctrines or persons in secret, since, from its point of view, those in error have no rights. (Congar himself was never allowed to see the dossier of complaints and condemnations that the Holy Office created about him in the 1950s, when he became officially persona non grata in Rome.)
Third, this mentality is horrified by the very idea of evolution and mistrustful of the notion of development. Things are what they are. Every time someone speaks about ‘life’ or ‘experience’, intégristes frown. Such talk suggests relativism, exceptions to the rule, and the possibility of change.
Fourth, intégrisme has a distaste for any attempt to facilitate the access of others to the Catholic community—a horror of making things too easy for them. Its inclination is to insist on every jot and tittle of the law, even to maximise the demands of what it means to be Catholic.4
Fifth, this mentality is deeply attached to the idea of faith being an intellectual assent, insisting strongly on the objective component of the faith (fides quae creditur—the subject matter believed). It emphasises the dogmatic formula proposed to the believer in a defined fashion, and it has no interest in considering the subjective reality of faith (fides qua creditur—the inner working of belief in the person) and the ways in which it develops.
Sixth, intégrisme places great value on the role of reason and on demonstrating conclusions through a rational process. It has a passion for deduction and little interest in inductive thinking or in any appeal to experience, to personal witness, or to the internal workings of conscience. It is deeply attached to the kind of neo-scholasticism that developed at the end of the nineteenth century, to such a degree that it is practically incapable of imagining problems that cannot be addressed through rational demonstration by weighing up premises and conclusions. Their world is completely defined.
Seventh, with respect to the church, it accentuates the strict, authoritarian side of things. It maximises the authority to be given to any words coming from Rome, slipping easily into considering any directive from the hierarchy as definitive. In general, they cannot imagine the truth as a fullness that arises out of a communion of believers who are all filled with spiritual gifts. Rather, the truth has to be arrived at in a linear fashion by the logical exploitation of received doctrines. As Congar puts it, ‘These people sniff out heresy anywhere they find someone searching seriously for the expression of the truth or in dialogue with contemporary problems’.5 For them, there are only conclusions, not problems.
Eighth, and finally, a certain kind of ecclesiology corresponds to these attitudes. They understand the church as a mystery of grace, of course; and they clearly affirm the mystical dimension of the church. Intégristes are very positive about the spiritual life and about the fact that God works within souls. But that sort of thing remains confined to the order of one’s personal life in the Church. When it comes to ecclesiology, the church itself is considered only according to the structure of authority, something exterior to the religious subject, and in such a fashion that everything is imagined as coming from on high. From one end of the spectrum to the other, intégrisme emphasises what was, what is given, what is commanded.
-Yves Congar, Mon journal du Concile, I et II, tome I: 1960-1963 tome II: 1964-1966 © Les Éditions du Cerf, 2002.
Berlin boasts two zoological gardens, a consequence of decades of political and administrative division of the city. The older one, called Zoo Berlin, founded in 1844, is situated in what is now called "City West". It is the most species-rich zoo worldwide. The other one, called Tierpark Berlin ("Animal Park"), was established on the long abandoned premises of Friedrichsfelde Palace Park in the eastern borough of Lichtenberg, in 1954. Covering 160 ha, it is the largest landcape zoo in Europe.
I try not to bring politics into Flickr but this image is perhaps timely in many ways - we seem to be moving into a world of extremes where differences have no middle ground. Just as these kids were partying hard and loud, like they were the only ones on an otherwise crowded beach and there was no tomorrow, I think it's dangerous not to think of the consequences. Hopefully, cooler heads will prevail.