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Amsterdam's festival of light
2015/2016 marks the fourth edition of the Amsterdam Light Festival, celebrating a theme of 'Friendship'. A whole host of international artists are contributing to this edition, such as Swedish light artist Aleksandra Stratimirovic, whose 'Northern Lights' sculpture will cross the River Amstel.
Tours & events during the Amsterdam Light Festival
Look out for dedicated canal cruises and a walking route taking in the selection of spectacular illuminated artworks. The renowned Water Colors canal cruises can be enjoyed for the entirety of the Amsterdam Light Festival, ensuring you can see the city at its best – from the water – and get up close to all of the major artworks. To explore the festival on foot, don't miss the Illuminade walking route, which is open from 10 December 2015 until 3 January 2016. Also keep an eye out for guided tours and an extensive side-programme that will see a host of activities and events take place at museums, theatres, restaurants, shops and other locations in Amsterdam.
Illuminade
The walking route Illuminade takes you past 20 light artworks through the culturally rich neighborhoods Weesper and Plantage. The outdoor exhibition showcases artworks that have been created specifically for Amsterdam Light Festival by (inter)national talent. From bright projections on historical buildings to dynamic lighting systems in city parks to works that you can actually walk through, the artworks add an extra dimension to the public space. Illuminade offers visitors the opportunity to enjoy contemporary culture and the beauty of light, for free.
See Amsterdam in a whole other light and be sure to share this special experience with family and friends. Illuminade will take place from 10 December 2015 to 3 January 2016.
If you like to walk the Illuminade by yourself, you can buy our program book for €3,50. This book includes information about the artworks and two maps with the routes. The program book is for sale at our Festival Kiosk. The kiosk will be located next to the Stopera at Waterlooplein, this is the starting point of the walking route.
Prefer an Amsterdam canal cruise? Book a ticket for the boat route Water Colors!
Water Colors
Get to know Amsterdam in the most unique way possible with the boat route, Water Colors. The latest light innovations add a whole new dimension to the historical city. From the Herengracht to the Oosterdok to Amstel, experience Amsterdam like never before!
For both visitors and Amsterdam residents, the boat route is a unique way to experience the city. Boats will depart daily (except New Year's Eve) from 17.00 to 22.00. The 75-minute boat tour takes you along, under and through spectacular light artworks. Water Colors will take place from 28 November 2015 to 17 January 2016.
Ready for an enlightening canal cruise? Book your ticket with one of the participating shipping companies.
Knowsley Safari Park is a zoological park and tourist attraction in the Knowsley area of Merseyside, England. Knowsley Safari Park is a member of the British and Irish Association of Zoos and Aquariums (BIAZA) and the European Association of Zoos and Aquaria (EAZA). The safari park contributes to conservation and research through links with conservation projects and its links with universities in Liverpool, Chester and Manchester.
History
The park was opened in July 1971 by Edward Stanley, 18th Earl of Derby and Jimmy Chipperfield[9] using the expertise of general manager Laurence Tennant MBE, formerly the Chief Game Warden of Parks in Uganda and Botswana. Initially the road through the park was 3.5 miles (5.6 km), with visitors driving past lions, cheetahs, monkeys, giraffes, zebra, elephants and various antelope. Due to the popularity of this route, an additional 1.5 miles (2.4 km) of road was added in 1973, and camels, buffalo, white rhino, and tigers were added to the park. Over the years, a few modifications have been made. For instance, tigers are now displayed in enclosures within the reserve, and a bypass around the baboons was built for visitors who are worried about damage to their cars.
The park was also home to a former RAF airfield which closed at the end of World War II. The RAF airbase situated at the safari park was also known as No 49 SLG or RAF Knowsley Park and was in use between 13 May 1942 – November 1944.
The park has hosted several sporting events including the Olympic torch relay, watched by 6,000 children and families in June 2012. The park hosted the finish of Stage Two of the 2012 Tour of Britain cycling event and is scheduled to host Stage Three of the 2013 Tour on Tuesday 17 September.
Most recently it hosted the final leg of Big Learner Relay 2017 which has raised over £300,000 for the BBC Children in Need appeal since 2014. Louise Walsh the inspiration behind the BLR has been awarded the prime minister's points of light award which recognises outstanding individual volunteers.
In 1995 Mr William Middleton, a warden at the park, was crushed and paralysed due to a faulty elephant enclosure. Mr Middleton died 12 years later due to complications caused by his injuries.
Zoological collection
Situated around Knowsley Hall on the ancestral estate of the Earl of Derby, the reserve is home to many different animals including elephants, giraffes, lions, bongos, tigers and baboons. The Derby Estate have a tradition of keeping animals, ever since the famous artist and nonsense-poet Edward Lear was employed there in the 19th century to paint pictures of the Earl's collection.
The park is open to the public and customers drive around the park in their own vehicles. There is a bypass route past the baboons for those who wish to avoid the risk of the baboons damaging their cars. In 2009 the baboons made the news all over the world when a video was released showing how they were intelligent and curious enough to open car roofboxes.
Tiger Trail
Amur Tiger Trail opened 25 May 2018, home to the Amur Tiger otherwise known as the Siberian Tiger. The area is 10,000m2 and includes forested areas, natural streams and ponds.
The Equatorial Trail
This exhibit focuses on animals who thrive in habitats around the Earth's Equator. The exhibit also houses the 'Equatorial Express', a small train which visitors can ride to gain a unique viewpoint of the animals. 4 completely different species of animals are housed in this exhibit, the South American tapir, Sitatunga, Rhea and the Capybara.
African Elephant
Until 2017 the park housed a herd of 4 adult cows named Tana, Ashanti, Nala and Juba. They were transported to Zoo Parc d'Beauval, France to enter the European Breeding Programme and allow for transformations on Knowsley Safari's Foot Safari. Knowsley previously housed a bull named Nissim, who collapsed in June 2014. Knowsley also recently lost their cow named Shaba due to a long battle with elephant arthritis.
Southern White Rhinoceros
Knowsley's crash of 11 adult rhinos is one of the most successful and genetically diverse breeding groups in Europe. The latest calf (as at 4 June 2016), Nomvula (Mother of Rain – a reference to the recent wet weather), born to mum Meru and is the 19th to be born at the facility in the last 40 years. Nomvula is Meru's 6th calf and was born on 2 January 2016.
Safari Drive
The Safari Drive is the park's main attraction and contains over 29 species of animals in 7 zones.
Zone 1+11
This zone contains: Père David's deer, Yak, Kiang and Bactrian camel.
Zone 2+8
This zone contains: Blackbuck, Nilgai, Eld's deer, Chital (Axis Deer) and Barasingha.
Zone 3+4+6
Zone 6 is over 100 acres and contains over a mile of road. It is one of Knowsley's two white rhino paddocks and is one of the largest in the UK. This zone contains: Southern White Rhino, Roan antelope, Eland, Lechwe, Wildebeest, Plains Zebra, African Forest Buffalo, Ostritch and Waterbuck.
Zone 5
This zone contains: Blesbok and Bongo
Zone 7
This zone contains exclusively the Olive baboon, which are famous for removing windscreen wipers and other appendages off vehicles. There is a car-friendly route which totally removes this zone however is still visible from outside the perimeter. This leads directly to zone 6.
Zone 9
This zone contains: European Bison, Fallow Deer and European Moose
Zone 10
This zone contains: Lion, and the Somali wild ass. This zone previously housed African wild dog, Iberian Wolf and Siberian Tiger.
All information correct and sourced from the Knowsley Safari Guide Book 2018 and edited by an editor who loves animals.
Railway and other attractions
The park features a 15 in (381 mm) gauge railway, 'The Lakeside Railway', on which visitors may tour parts of the site. There is also a collection of amusements and fairground rides on site plus paintballing, off-road driving challenges, and aerial extreme ropewalks.
A baboon house was added in 2006, along with African wild dogs that same year, a lion and tiger house in 2007. Red river hogs and marmosets were also added to the walkaround section, as well as an outdoor pool.
Animal care
In January 2011, local animal rights activists held a peaceful demonstration after an inspection by government vets found one instance of a breach of regulations on the disposal of animal ‘by-products’. Pictures in the Daily Mail showed animals lying dead on the ground and in binbags, although the park's directors claim the pictures were staged by the photographer, whose husband the paper claimed had recently lost his job at the park. The park has since installed an enclosure for the storage of animal carcasses before disposal. The British and Irish Association of Zoos and Aquariums (BIAZA) later said it had ‘full confidence’ in Knowsley and praised its ‘excellent standards of animal husbandry and welfare’.
Surge Over Networks Shop Responses Contribute to faves Concerning United States Get in touch with Item Summary Container Dimension: 120 mL Blend: 60 VG Problem: Brand-new Consists of NO Pure nicotine & 100% USDA Food Quality Contents Kid Resistant & Tamper Evident Cap, Consists of Spin Cap Top quality Love Juice E.
No I'm just kidding, this isn't ours and there's probably not a living room inside.
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In downtown St Joseph, Missouri, on March 31st, 2022, the backside of 213 S 4th St (built sometime between circa 1863 and 1881, a "contributing property" in the South Fourth Street Commercial Historic District, 91000124 on the National Register of Historic Places; listed as 209-211 S 4th St in the historic district documentation form) in an alley between South 4th Street and South 5th Street, south of Edmond Street.
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Getty Thesaurus of Geographic Names terms:
• Buchanan (county) (2001175)
• Saint Joseph (7014443)
Art & Architecture Thesaurus terms:
• alleys (streets) (300008248)
• bollards (300001993)
• brick (clay material) (300010463)
• commercial buildings (300005147)
• cream (color) (300266242)
• downspouts (300052560)
• electric cables (300050615)
• electric conduits (300050645)
• electric meters (300196115)
• rear (300010287)
• historic buildings (300008063)
• historic districts (300000737)
• paint (coating) (300015029)
• panel doors (300002880)
• peeling (300054127)
• remodeling (300135427)
• segmental arches (300001059)
• vines (300132406)
• water damage (300379358)
• windows (300002944)
• wood (plant material) (300011914)
Wikidata items:
• 31 March 2022 (Q69306385)
• 19th-century architecture (Q69595903)
• contributing property (Q76321820)
• Kansas City-Overland Park-Kansas City, MO-KS Combined Statistical Area (Q111496508)
• National Register of Historic Places (Q3719)
• March 31 (Q2461)
• March 2022 (Q61312974)
• Platte Purchase (Q1112748)
• South Fourth Street Commercial Historic District (Q28006243)
• Treaty with the Iowa, etc., 1836 (Q111633398)
• Treaty with the Sauk and Foxes, etc., 1830 (Q27989232)
Library of Congress Subject Headings:
• Commercial buildings—Missouri (sh2003007753)
Source: Contributed by Anastasia from this 4koma: historyofhyrule.com/publications/4koma_action2/index.html
Not Quite Official
Jezuici Polscy Ofiary Terroru Hitlerowskiego (Polish Jesuits victims of Nazi terror)
Church of the Sacred Heart of Jesus in Krakow (Copernicus Street)
Jesus - Conventual Church of the Jesuits
Distinctive emblem for cultural property.svg A- 299, 5 July 1966 [1 ]
Minor Basilica • suitable title since July 1, 1960
Pope John XXIII
Call of the Sacred Heart of Jesus
Liturgical memorial Friday after the octave of Corpus Christi
Earth 50 ° 03'43 " N 19 ° 56'55 " E
The interior of the church
Church of the Sacred Heart of Jesus - Roman Catholic Jesuit convent church, which is located in Krakow, in Quarter II, the Merry Street Copernicus 26
Modernist architecture of the building represents the Young Poland and is one of the greatest works of Polish religious art from the first quarter of the twentieth century.
History
At this point, the Jesuits settled in 1868, and two years later erected the first chapel, which quickly proved to be insufficient. In 1903 it was decided to build a new, magnificent temple. The implementation of the adopted project by architect Francis Mączyński.
Originally it housed a large reality belonging to Peter Joseph Szyryna, that included the so called fruit and vegetable garden. English palace complex of smaller buildings and bungalows. The Jesuits acquired the property for $ 16 thousand guilders. Makeshift chapel in the 30s it was decided to put the building on the today Copernicus street. In June 1869, proceeded to demolish the house, leaving only the foundation and load-bearing walls. The left wall sacristy was added to the upper chapel (St. Aloysius) and the women's gallery and a new roof. In 1870, the floor was laid with plates made of Belgian marble and were built arched arcades separating the two side aisles of the nave. Then carefully shaped barrel vault and semicircular founded colorful windows in iron fittings. The completed building was 21 meters long, 11 meters wide and 9 meters high. Inside the chapel there is an altar with the image of Belarus brought from the Heart of Jesus and the two side altars dedicated to Our Lady and St. Joseph (Image by Antoni Reichenberg). In 1889 was founded a new, larg, richly carved altar and side altars images replaced with sculptures by Mayer of Munich. Later the chapel was built more extensive room where pomieszczono (mixed up) additional chapel and sacristy for clergy. Consecration of the Chapel of the Sacred Heart of Jesus took place August 28, 1870, the temple served the faithful for 42 years. Last service in the chapel was held on 20 May 1912 and transferred the Blessed Sacrament in the walls of a new building next to the church. The chapel began to undress on May 21.
November 1, 1909 , Bishop Suffragan Bishop of Cracow Anatol Nowak blessed the cornerstone of the new church. Construction lasted until 1912, but the equipment and decoration of the church because of the war were firmly extended Finally, the official consecration took place on 29 May 1921, the Bishop of Anatol Nowak made her in the company of 24 other bishops, who lived then in Krakow, the Polish Episcopal Conference.
In 1960, Pope John XXIII granted the title of minor basilica church, and since 1966 it is registered as monument. In 1960 it was decorated a chapel in the church of adoration of the Blessed Sacrament, which is October 29 of that year, consecrated by Bishop Karol Wojtyla.
Art
Architecture
The architect of the church appealed not only to modernism, but to practice the tradition of Romanesque, Gothic and Baroque. The church tower is 68 meters high and is one of the highest in Krakow. The church walls are made of red bricks, window frames and detail of gray stone. In the middle in the final of each window there is a mosaic-arms of the cities that contributed to the construction of the church.
Above the portal, the tower is a mosaic "Puncture the side of Christ", made and designed by John Bukowski, a little higher sculpture designed by Xawery Dunikowskiego. The figure of Christ in Odkuł-stone by Charles Hukan, the side of the lead characters were cast in 1913. They symbolize the suffering humanity and seeking comfort in the heart of God.
Outside the sacristy, on the east wall of the church, there is a memorial temple of artist Francis Mączyński in 1912 , by Xawery Dunikowskiego. Statue cast in bronze offered Jesuits architect 's widow in 1953.
Interior
The interior of the basilica is divided into three naves. Vaults, first in Krakow, made of reinforced concrete. The floor mimics the patterns of early Christian churches. In the years 1914-1918 polychrome vaults made and designed by John Bukowski. Mosaic of the nave in 1922, designed by Leonard Strojnowski, benches designed by Francis Mączyński a backdrop confessionals John Bukowski. Stations of the Cross purchased in France in 1937 by the Jesuits, for the purpose of churches in Kołomyja, but in 1946 it was brought to Krakow and installed in 1959.
The high altar, built between 1915-1920, is the work of Francis Mączyński. Frieze of mosaic in the chancel was designed in 1913 by Peter Stachiewicz, and executed by the company Gianese Angelo in Venice. The church was placed in 1921. Mosaic is 30 meters long, is a tribute to Christ by the holy and blessed Polish led by St . Stanislaus and the Polish nation, famed for Jesus by Queen Jadwiga Andegawenkę and her husband, King Wladyslaw Jagiello.
The six side altars made in stucco placed between 1920-1930 sculptures by Charles Hukana. Attention is drawn in particular altar of Our Lady of the Angels, who, according to art historians, is one of the most valuable works of sacred art in Poland in the interwar period . Virgin Mary is presented as Queen of the crown, adored by a group of eight angels.
Authorities
Authorities were purchased in 1928 in the well-known firm of brothers Riegerów Jägerndorf (opus 2317). Then repaired several times (most recently in 2007), now have 47 votes and tracker power. Decorated in a romantic style sonic characteristic of organ building late nineteenth and early twentieth century.
The church is located on the route of the Malopolska Way of St James from Sandomierz to Tyniec.
pl.wikipedia.org/wiki/Ko%C5%9Bci%C3%B3%C5%82_Naj%C5%9Bwi%...(ul._Kopernika)
Contributing Building - Springfield Historic District - National Register of Historic Places
Built 1923
IAEA Director General Yukiya Amano met with Joseph Njoroge, Principal Secretary, Ministry of Energy and Petroleum of Kenya, during a bilateral meeting at the International Conference on the IAEA Technical Cooperation Programme: Sixty Years and Beyond – Contributing to Development. IAEA, Vienna, Austria. 30 May 2017.
Photo Credit: Dean Calma / IAEA
Source: Contributed by Anastasia from this 4koma: historyofhyrule.com/publications/4koma_action2/index.html
Not Quite Official
Land prices contributed much more to the price increases than did structures. This can be seen in the building cost index in Fig. 1. An estimate of land value for a house can be derived by subtracting the replacement value of the structure, adjusted for depreciation, from the home price. Using this methodology, Davis and Palumbo calculated land values for 46 U.S. metro areas, which can be found at the website for the Lincoln Institute for Land Policy.
Housing bubbles may occur in local or global real estate markets. In their late stages, they are typically characterized by rapid increases in the valuations of real property until unsustainable levels are reached relative to incomes, price-to-rent ratios, and other economic indicators of affordability. This may be followed by decreases in home prices that result in many owners finding themselves in a position of negative equity—a mortgage debt higher than the value of the property. The underlying causes of the housing bubble are complex. Factors include tax policy (exemption of housing from capital gains), historically low interest rates, tax lending standards, failure of regulators to intervene, and speculative fever. This bubble may be related to the stock market or dot-com bubble of the 1990s. This bubble roughly coincides with the real estate bubbles of the United Kingdom, Hong Kong, Spain, Poland, Hungary and South Korea.
While bubbles may be identifiable in progress, bubbles can be definitively measured only in hindsight after a market correction, which began in 2005–2006 for the U.S. housing market. Former U.S. Federal Reserve Board Chairman Alan Greenspan said "We had a bubble in housing", and also said in the wake of the subprime mortgage and credit crisis in 2007, "I really didn't get it until very late in 2005 and 2006." In 2001, Alan Greenspan dropped interest rates to a low 1% in order to jump the economy after the ".com" bubble. It was then bankers and other Wall Street firms started borrowing money due to its inexpensiveness.
The mortgage and credit crisis was caused by the inability of a large number of home owners to pay their mortgages as their low introductory-rate mortgages reverted to regular interest rates. Freddie Mac CEO Richard Syron concluded, "We had a bubble", and concurred with Yale economist Robert Shiller's warning that home prices appear overvalued and that the correction could last years, with trillions of dollars of home value being lost. Greenspan warned of "large double digit declines" in home values "larger than most people expect."
Problems for home owners with good credit surfaced in mid-2007, causing the United States' largest mortgage lender, Countrywide Financial, to warn that a recovery in the housing sector was not expected to occur at least until 2009 because home prices were falling "almost like never before, with the exception of the Great Depression". The impact of booming home valuations on the U.S. economy since the 2001–2002 recession was an important factor in the recovery, because a large component of consumer spending was fueled by the related refinancing boom, which allowed people to both reduce their monthly mortgage payments with lower interest rates and withdraw equity from their homes as their value increased.
Now, however, such situations can be avoided by showing the customers real value of the property they would buy. For instance, 3-D presentations and Real Estate Virtual Tours can be of good help.
Knowsley Safari Park is a zoological park and tourist attraction in the Knowsley area of Merseyside, England. Knowsley Safari Park is a member of the British and Irish Association of Zoos and Aquariums (BIAZA) and the European Association of Zoos and Aquaria (EAZA). The safari park contributes to conservation and research through links with conservation projects and its links with universities in Liverpool, Chester and Manchester.
History
The park was opened in July 1971 by Edward Stanley, 18th Earl of Derby and Jimmy Chipperfield[9] using the expertise of general manager Laurence Tennant MBE, formerly the Chief Game Warden of Parks in Uganda and Botswana. Initially the road through the park was 3.5 miles (5.6 km), with visitors driving past lions, cheetahs, monkeys, giraffes, zebra, elephants and various antelope. Due to the popularity of this route, an additional 1.5 miles (2.4 km) of road was added in 1973, and camels, buffalo, white rhino, and tigers were added to the park. Over the years, a few modifications have been made. For instance, tigers are now displayed in enclosures within the reserve, and a bypass around the baboons was built for visitors who are worried about damage to their cars.
The park was also home to a former RAF airfield which closed at the end of World War II. The RAF airbase situated at the safari park was also known as No 49 SLG or RAF Knowsley Park and was in use between 13 May 1942 – November 1944.
The park has hosted several sporting events including the Olympic torch relay, watched by 6,000 children and families in June 2012. The park hosted the finish of Stage Two of the 2012 Tour of Britain cycling event and is scheduled to host Stage Three of the 2013 Tour on Tuesday 17 September.
Most recently it hosted the final leg of Big Learner Relay 2017 which has raised over £300,000 for the BBC Children in Need appeal since 2014. Louise Walsh the inspiration behind the BLR has been awarded the prime minister's points of light award which recognises outstanding individual volunteers.
In 1995 Mr William Middleton, a warden at the park, was crushed and paralysed due to a faulty elephant enclosure. Mr Middleton died 12 years later due to complications caused by his injuries.
Zoological collection
Situated around Knowsley Hall on the ancestral estate of the Earl of Derby, the reserve is home to many different animals including elephants, giraffes, lions, bongos, tigers and baboons. The Derby Estate have a tradition of keeping animals, ever since the famous artist and nonsense-poet Edward Lear was employed there in the 19th century to paint pictures of the Earl's collection.
The park is open to the public and customers drive around the park in their own vehicles. There is a bypass route past the baboons for those who wish to avoid the risk of the baboons damaging their cars. In 2009 the baboons made the news all over the world when a video was released showing how they were intelligent and curious enough to open car roofboxes.
Tiger Trail
Amur Tiger Trail opened 25 May 2018, home to the Amur Tiger otherwise known as the Siberian Tiger. The area is 10,000m2 and includes forested areas, natural streams and ponds.
The Equatorial Trail
This exhibit focuses on animals who thrive in habitats around the Earth's Equator. The exhibit also houses the 'Equatorial Express', a small train which visitors can ride to gain a unique viewpoint of the animals. 4 completely different species of animals are housed in this exhibit, the South American tapir, Sitatunga, Rhea and the Capybara.
African Elephant
Until 2017 the park housed a herd of 4 adult cows named Tana, Ashanti, Nala and Juba. They were transported to Zoo Parc d'Beauval, France to enter the European Breeding Programme and allow for transformations on Knowsley Safari's Foot Safari. Knowsley previously housed a bull named Nissim, who collapsed in June 2014. Knowsley also recently lost their cow named Shaba due to a long battle with elephant arthritis.
Southern White Rhinoceros
Knowsley's crash of 11 adult rhinos is one of the most successful and genetically diverse breeding groups in Europe. The latest calf (as at 4 June 2016), Nomvula (Mother of Rain – a reference to the recent wet weather), born to mum Meru and is the 19th to be born at the facility in the last 40 years. Nomvula is Meru's 6th calf and was born on 2 January 2016.
Safari Drive
The Safari Drive is the park's main attraction and contains over 29 species of animals in 7 zones.
Zone 1+11
This zone contains: Père David's deer, Yak, Kiang and Bactrian camel.
Zone 2+8
This zone contains: Blackbuck, Nilgai, Eld's deer, Chital (Axis Deer) and Barasingha.
Zone 3+4+6
Zone 6 is over 100 acres and contains over a mile of road. It is one of Knowsley's two white rhino paddocks and is one of the largest in the UK. This zone contains: Southern White Rhino, Roan antelope, Eland, Lechwe, Wildebeest, Plains Zebra, African Forest Buffalo, Ostritch and Waterbuck.
Zone 5
This zone contains: Blesbok and Bongo
Zone 7
This zone contains exclusively the Olive baboon, which are famous for removing windscreen wipers and other appendages off vehicles. There is a car-friendly route which totally removes this zone however is still visible from outside the perimeter. This leads directly to zone 6.
Zone 9
This zone contains: European Bison, Fallow Deer and European Moose
Zone 10
This zone contains: Lion, and the Somali wild ass. This zone previously housed African wild dog, Iberian Wolf and Siberian Tiger.
All information correct and sourced from the Knowsley Safari Guide Book 2018 and edited by an editor who loves animals.
Railway and other attractions
The park features a 15 in (381 mm) gauge railway, 'The Lakeside Railway', on which visitors may tour parts of the site. There is also a collection of amusements and fairground rides on site plus paintballing, off-road driving challenges, and aerial extreme ropewalks.
A baboon house was added in 2006, along with African wild dogs that same year, a lion and tiger house in 2007. Red river hogs and marmosets were also added to the walkaround section, as well as an outdoor pool.
Animal care
In January 2011, local animal rights activists held a peaceful demonstration after an inspection by government vets found one instance of a breach of regulations on the disposal of animal ‘by-products’. Pictures in the Daily Mail showed animals lying dead on the ground and in binbags, although the park's directors claim the pictures were staged by the photographer, whose husband the paper claimed had recently lost his job at the park. The park has since installed an enclosure for the storage of animal carcasses before disposal. The British and Irish Association of Zoos and Aquariums (BIAZA) later said it had ‘full confidence’ in Knowsley and praised its ‘excellent standards of animal husbandry and welfare’.
Erected in 1922, this pavilion contributes to the Le Roy Commercial Historic District, which was listed on the National Register of Historic Places in 1996.
Le Roy, Illinois is a small town located in southeastern McLean County along Interstate 74 between Urbana-Champaign and Bloomington-Normal.
Contributed by Dr. Angel Fernandez-Flores, MD, PhD, Clinica Ponferrada, Spain
See topic: www.pathologyoutlines.com/topic/skintumormelanocyticacral...
"Queloides" is an art exhibit that seeks to contribute to current debates about the persistence of racism in contemporary Cuba and elsewhere in the world. The exhibit was hosted at the Centro Wifredo Lam in Havana (April 16 - May 31, 2010), and is being transferred to the Mattress Factory (October 15, 2010 - February 27, 2011). The twelve artists invited to participate are renowned for their critical work on issues of race, discrimination, and identity. Several of them collaborated in three important exhibits in Havana between 1997 and 1999 (titled “Queloides I”, “Queloides II”, and “Neither Musicians nor Athletes”). The last two were curated by the late Cuban art critic Ariel Ribeaux. All these exhibits dealt with issues of race and racism in contemporary Cuba, issues that had been taboo in public debates in the island for decades. “Keloids” are wound-induced scars. Although any wound may result in keloids, many people in Cuba believe that black skin is particularly susceptible to them. Thus the title evokes the persistence of racial stereotypes, on the one hand, and the traumatic process of dealing with racism, discrimination, and centuries of cultural conflict, on the other. "Queloides" includes several art forms--paintings, photographs, installations, sculptures, videos--and offers novel ways to ridicule and to dismantle the so-called racial differences.
The artists, who were all born in Cuba, include Pedro Álvarez, Manuel Arenas, Belkis Ayón, María Magdalena Campos-Pons, Roberto Diago, Alexis Equivel, Armando Mariño, René Peña, Marta María Pérez Bravo, Douglas Pérez, Elio Rodíguez, and José Toirac/Meira Marrero.
"This is the first time in post-revolutionary Cuba the word ‘racism’ has appeared in the title of an exhibition. Because of this, I have now been banned from Cuba. It is a high price to pay, but we must do what we can to help break the official silence on racism.”
– Alejandro de la Fuente, Co-Curator of "Queloides"
Source: Contributed by Mases of Zelda Dungeon www.zeldadungeon.net/ from the Suzana-Art-Works Guide.
Source: Contributed by Anastasia from this 4koma: historyofhyrule.com/publications/4koma_action2/index.html
Not Quite Official
IAEA Director General Yukiya Amano met with Elba Rosa Pérez Montoya, Minister of Science, Technology and Environment of Cuba, during a bilateral meeting at the International Conference on the IAEA Technical Cooperation Programme: Sixty Years and Beyond – Contributing to Development. IAEA, Vienna, Austria. 30 May 2017.
Photo Credit: Dean Calma / IAEA
(for further information or pictures please go to the end of page and by clicking on the link some of my promises will be fulfilled!)
History
© Tobisch
Wiener Neustadt, capital of the district under the Vienna Woods (Wiener Wald), owes its origin to the Babenbergerherzögen (Babenberg dukes) Leopold V. and Leopold VI . 1194 Leopold V decided in Steinfeld - then part of the Duchy of Styria - to build a fortified town to protect the local trade route against incursions from the east. He died only a little later, so his son realized this plan and is regarded as the true founder. The Nova civitatis or Neustatt - the name "Wiener Neustadt" or "Viennese New Town" arose only in the 17th Century - is the largest founding city of Lower Austria and was financed from the ransom for the English King Richard the Lionheart.
The generous privileges by the princes created the basis for the economic development of the city . Middle of the 13th Century was built at the southeast corner the castle, in 1279 the late Romanesque church was consecrated. The city was the site of numerous orders, including the Dominicans, the Franciscans and the German Order, as well as a large Jewish community (center on the present Allerheiligenplatz ) with a far beyond the borders famous Talmudic school. A masterpiece of Gothic architecture is the "(female) spinner at the Cross", one in the 80s of the 14th Century built stone Wegsäule (way column) before the northern gate.
A climax experienced Wiener Neustadt under the Emperor Frederick III. (1440-1493) as an imperial residence. The presence of the court and the political prominence led to a lively construction activity. Friedrich III. donated two Canon monasteries and prompted the establishment of other religious orders such as the Cistercians (New Monastery - Neukloster), the Pauline Hermits and the St. George Order of Knights, whose seat was moved in 1479 from Millstatt (Carinthia) to Wiener Neustadt. 1469 allowed the Pope the establishment of an - albeit small - diocese. The city, called by Frederick the 'forever faithful", received from the emperor the right to keep the double eagle (1452), as well as to promote trade a Niederlagsprivileg (staple right -1448), which forced the merchants to offer their goods in the city. The revenues should contribute to redress for damages caused by the fire of 1433.
In the conflicts between the Emperor and the estates of the Duchy of Austria because of the guardianship over King Ladislaus it came in late August 1452 to the siege of Wiener Neustadt, Friedrich III. forcing to release Ladislaus from the guardianship. Towards the end of his reign the well-fortified city finally had to capitulate after a nearly 17-month siege by the Hungarians in 1487 and open the gates to the Hungarian king Matthias Corvinus. The so-called "Corvinusbecher - cup of Corvinus", a richly decorated ceremonial cup, still reminds us of that time. Three years later, Frederick's son Maximilian I conquered the city back.
A few years after the death of Frederick III. (1493), who was pursuing a pro-Jewish policy, the large and for its scholars widely famous Jewish community was disbanded. 1496 Maximilian I ordered the expulsion of all Jews in Styria, in Wiener Neustadt and Neunkirchen. The last Jews left in 1500 their hometown, the synagogue became a Allerheiligenkapelle (chapel of All Saints). 1519 Maximilian was buried in his native town under the high altar of St. George's Chapel. His magnificent tomb, the "Black Mannder", remained, however, contrary to his wishes in Innsbruck. Under his grandson and successor Ferdinand I. Wiener Neustadt 1522 became venue of the trial against the leading members of the Estates opposition, which ended with nine death sentences and as "Wiener Neustadt blood Court (Wiener Neustädter Blutgericht)" went down in history.
In the 16th Century the city lost, only rarely princely residence, in importance. Due to its border location, it had till the beginning of the 18th century to suffer under the incursions of the Ottomans and later the Kuruzzes, but the heavily fortified city never could be captured. The Reformation reached its peak around 1570/1580 in Wiener Neustadt, but was re-Catholicised after the establishment of the counter-reformer Melchior Klesl as administrator of the diocese (1588) in no time. The Baroque period was characterized by a number of monastic foundations, such as the Capuchins, the Carmelites (Karmeliter (m) and Karmeliterinnen (f)), the foundation of the Jesuit College with High School (1666) and the Jesuit residence in the suburbs (1743). During this time, Wiener Neustadt was again the scene of an execution creating a sensation at home and abroad: 1671 were two prominent participants of the "magnate conspiracy", Peter Graf Zrinský and Franz Frangepan, beheaded in the courtyard of the armory.
Of greatest significance for the city became the by Maria Theresa in 1752 as cadet school founded "Theresan Military Academy" in the imperial castle. Under her son Joseph II some for the development of Wiener Neustadt significant changes took place: in 1785 the diocese was moved to St. Pölten, already several years earlier, all the monasteries with the exception of the monastery Neukloster had been canceled. In the premises which had become vacant in the aftermath manufactories have been created. Wiener Neustadt became the industrial center of south-eastern Lower Austria, where the heavy industry dominated. Given its economic importance, the city with the law of 8 August 1866 a municipality statute and thus the law of the country immediacy was awarded.
The in 1842 by Günther Wenzel founded locomotive factory, the in 1899 established Daimler-Werke, headed from 1906 to 1923 by the famous designer Ferdinand Porsche and the term "Austro-Daimler" giving international recognition as well as the in 1909 created first Austrian airfield made Wiener Neustadt to one the most important industrial cities of the monarchy and to the center of aviation. The closing of those factories in the Great Depression of the interwar period left thousands of people unemployed. Under the Nazi rule, the city became the center of armaments production. The aircraft plants delivered in 1940 a quarter of the total production of the Me-109 fighters (Messerschmitt fighter plants), in the former locomotive factory established the "Rax-Werke", building the locomotive tender and from 1943 A-4 rockets. Due to the concentration of industry important to the war economy was Wiener Neustadt in the years 1943 to 1945 the target of a total of 29 air attacks and more than 50,000 bombs. The city was almost completely destroyed, about 1000 people died, not even 20 of the 4000 houses remained intact.
During the occupation time, the longtime mayor Rudolf Wehrl (1945-1965) attempted the reconstruction, which was completed in 1955 for the most part. In the second half of the 20th Century, Wiener Neustadt again became the economic and cultural center of the south-eastern Lower Austria.
geschichte.landesmuseum.net/index.asp?contenturl=http://g...
Source: Contributed by Anastasia from this 4koma: historyofhyrule.com/publications/4koma_action2/index.html
Not Quite Official
1963 Porsche 356B Super-90 Coupe
Chassis No. 122550
Engine: 1600 (Super-90)
Transmission: 741 4-Speed
History
The Porsche 356 was the company's first production automobile. It was a lightweight and nimble handling rear-engine rear-wheel-drive 2 door sports car, available in hardtop and convertible configurations. Design innovations continued during the years of manufacture, contributing to its motorsports success and popularity. Production started in 1948 at Gmünd, Austria where approximately 50 cars were built. In 1950 the factory relocated to Zuffenhausen, Germany and general production of the 356 continued until April 1965.
In 1960 Porsche first offered the offered the S90, or 'Super 90' motor as an available option in the 356B.
Porsche Super 90 Engine
Sports Car Graphic reported that the Porsche Super 90 was “tamer in traffic and [in the] lower speed ranges than the 1600 Super. Getting off the mark fast from a standing start takes some practice, as the big carburetors can’t be dumped open too fast. Once the biggest chunk of inertia is overcome, you can [floor the accelerator] and start moving out very fast indeed. In fact, one of the most impressive things about this engine is the feeling of torque -- the sheer push in the shoulders -- that one gets on booting the throttle...”
Objectively, the Super 90 was quick: with less than 10 seconds 0-60 mph in SCG’s test.
Testers generally praised the B’s handling, especially in 1961 when Koni shock absorbers became standard for both Supers, matched by suitably lower spring rates. More significant was a reduction in rear roll stiffness via 23-mm torsion bars and the addition of a transverse leaf spring -- sometimes called a “camber compensator” -- as standard for S90s (optional elsewhere).
Unique features of the Super 90 Engine appealed to performance-minded drivers. Super 90s could be revved about 800 rpm higher than other 356B 1600s thanks to a special cooling layout that gathered in more air, plus nitrided crank and cam-bearing surfaces, a lighter flywheel, stiffer valve springs, light-alloy rockers, larger-diameter (by 5 mm) main bearings, and cylinders lined with Ferral, a coating of steel over molybdenum. S90s also had a unique oil pickup system that allowed the engine to draw lubricant from the sump’s full side in hard cornering, thus ensuring proper lubrication at all times. It was an important advance that Porsche racers had wanted for several years and was especially welcome in the high-performance 90.
1963 was the last year for the 356B, it was succeeded by the 356C.
Presented here is an incredible three-owner example of the rare and highly desirable Super 90 Coupe; special ordered from the Porsche factory in 1962. This rare S-90 Reutter Coupe’s history is complete and well known, with the second owner possessing the car for 40 years! Finished in the gorgeous, yet seldom seen original Bali Blue/Light Brown factory color combination, this beauty has a beautiful older restored with no expense spared and no detail overlooked. An original California Black Plate car with extensive service records and history, this S90 has been well maintained and cared for its entire life.
It is accompanied by all the great accessories and documentation that are so important for a serious collector; spare tire, complete tool kit, reproduction 356B drivers manual, a full set of keys, service documentation, Porsche Certificate of Authenticity, and Larry Aguilar’s 40-year owner biography.
An original Bali Blue S90 with matching #’s as per Porsche Certificate of Authenticity!
Incredibly restored and immaculate interior with working radio!
One of the most delightful 356’s we’ve ever driven, tight and smooth shifting, great power and tight steering! A great set up!
Rare and Desirable Super 90 Engine!
Fully Restored!
Contact Jose Romero: jose@driversource.com
Visit our website for more info:
We buy all classic European and American sport cars! Finder’s fees paid!!
Casa Batlló
Barcelona, Catalunya
(Catalan pronunciation: [ˈkazə βəʎ'ʎ:o]) is a renowned building located in the center of Barcelona and is one of Antoni Gaudí’s masterpieces. A remodel of a previously built house, it was redesigned in 1904 by Gaudí and has been refurbished several times after that. Gaudí's assistants Domènec Sugrañes i Gras, Josep Canaleta and Joan Rubió also contributed to the renovation project. The local name for the building is Casa dels ossos (House of Bones), as it has a visceral, skeletal organic quality.
Like everything Gaudí designed, it is only identifiable as Modernisme or Art Nouveau in the broadest sense. The ground floor, in particular, has unusual tracery, irregular oval windows and flowing sculpted stone work. There are few straight lines, and much of the façade is decorated with a colorful mosaic made of broken ceramic tiles (trencadís). The roof is arched and was likened to the back of a dragon or dinosaur. A common theory about the building is that the rounded feature to the left of centre, terminating at the top in a turret and cross, represents the lance of Saint George (patron saint of Catalonia, Gaudí's home), which has been plunged into the back of the dragon.
History
Initial construction (1877)
The building that is now Casa Batlló was built in 1877 by Antoni Gaudi, commissioned by Lluís Sala Sánchez. It was a classical building without remarkable characteristics within the eclecticism traditional by the end of the 19th century. The building had a basement, a ground floor, four other floors and a garden in the back.
Batlló family
The house was bought by Josep Batlló in 1900. The design of the house made the home undesirable to buyers but the Batlló family decided to buy the place due to its centralized location. It is located in the middle of Passeig de Gracia, which in the early 20th century was known as a very prestigious and fashionable area. It was an area where the prestigious family could draw attention to themselves.
In 1904 Josep Batlló still owned the home. The Batlló family was very well known in Barcelona for its contribution to the textile industry in the city. Mr. Josep Batlló I Casanovas was a textile industrialist who owned a few factories in the city. Mr. Batlló married Amalia Godo Belaunzaran, from the family that founded the newspaper La Vanguardia. Josep wanted an architect that would design a house that was like no other and stood out as being audacious and creative. Both Josep and his wife were open to anything and they decided not to limit Gaudí. Josep did not want his house to resemble any of the houses of the rest of the Batlló family, such as Casa Pía, built by the Josep Vilaseca. He chose the architect who had designed Park Güell because he wanted him to come up with a risky plan. The family lived on the Noble Floor of Casa Batlló until the middle of the 1950s
Renovation (1904-1906)
In 1904 Josep Batlló hired Gaudí to design his home; at first his plans were to tear down the building and construct a completely new house. Gaudí convinced Josep that a renovation was sufficient and was also able to submit the planning application the same year. The building was completed and refurbished in 1906. He completely changed the main apartment which became the residence for the Batlló family. He expanded the central well in order to supply light to the whole building and also added new floors. In the same year the Barcelona City Council selected the house as a candidate for that year’s best building award. The award was given to another architect that year despite Gaudí’s design.
Refurbishments
Josep Batlló died in 1934 and the house was kept in order by the wife until her death in 1940 . After the death of the two parents the house was kept and managed by the children until 1954. In 1954 an insurance company named Seguros Iberia acquired Casa Batlló and set up offices there. In 1970, the first refurbishment occurred mainly in several of the interior rooms of the house. In 1983, the exterior balconies were restored to their original colour and a year later the exterior façade was illuminated in the ceremony of La Mercè.
Multiple uses
In 1993, the current owners of Casa Batlló bought the home and continued refurbishments throughout the whole building. Two years later, in 1995, Casa Batlló began to hire out its facilities for different events. More than 2,500 square meters of rooms within the building were rented out for many different functions. Due to the buildings location and the beauty of the facilities being rented, the rooms of Casa Batlló were in very high demand and hosted many important events for the city.
Design
Overview
The local name for the building is Casa dels ossos (House of Bones), as it has a visceral, skeletal organic quality. The building looks very remarkable — like everything Gaudí designed, only identifiable as Modernisme or Art Nouveau in the broadest sense. The ground floor, in particular, is rather astonishing with tracery, irregular oval windows and flowing sculpted stone work.
It seems that the goal of the designer was to avoid straight lines completely. Much of the façade is decorated with a mosaic made of broken ceramic tiles (trencadís) that starts in shades of golden orange moving into greenish blues. The roof is arched and was likened to the back of a dragon or dinosaur. A common theory about the building is that the rounded feature to the left of centre, terminating at the top in a turret and cross, represents the lance of Saint George (patron saint of Catalonia, Gaudí's home), which has been plunged into the back of the dragon.
Loft
The loft is considered to be one of the most unusual spaces. It was formerly a service area for the tenants of the different apartments in the building which contained laundry rooms and storage areas. It is known for its simplicity of shapes and its Mediterranean influence through the use of white on the walls. It contains a series of sixty Catenary arches that creates a space which represents the ribcage of an animal. Some people believe that the “ribcage” design of the arches is a ribcage for the dragon’s spine that is represented in the roof.
Noble floor and museum
The noble floor is larger than seven-hundred square meters, it is the main floor of the building. The noble floor is accessed through a private entrance hall that utilizes skylights resembling tortoise shells and vaulted walls in curving shapes. On the noble floor, there is a spacious landing with direct views to the blue tiling of the building well. On the Passeig de Gracia side is Mr. Batlló’s study, a festejador and a secluded spot for courting couples, decorated with a mushroom-shaped fireplace . The elaborate and animal-like décor continues throughout the whole noble floor.
In 2002, the house opened its doors to the public and people were allowed to visit the noble floor. The building was opened to the public as part of the celebration of the International Year of Gaudí. Casa Batlló with very much unanticipated success and visitors became eager to see the rest of the house. Two years later, in celebration of the one hundredth anniversary of the beginning of work on Casa Batlló the fifth floor was restored and the house extended its visit to the loft and the well. In 2005, Casa Batlló became a Unesco World Heritage Site
Roof
Four chimney stacks on the roof, with the dragon's spine roof arch behind
The roof terrace is one of the most popular features of the entire house due to its famous dragon back design. Gaudí represents an animal’s spine by using tiles of different colors on one side. The roof is decorated with four chimney stacks, that are designed to prevent backdraughts.
Exterior facade
The facade has three distinct sections which are harmoniously integrated. The lower ground floor with the main floor and two first-floor galleries are contained in a structure of Montjuïc sandstone with undulating lines. The central part, which reaches the last floor, is a multicolored section with protruding balconies. The top of the building is a crown, like a huge gable, which is at the same level as the roof and helps to conceal the room where there used to be water tanks. This room is currently empty. The top displays a trim with ceramic pieces that has attracted multiple interpretations.
Roof tiles
Roof architecture and ceramic tiles, with tower and bulb in the background
The roof's arched profile recalls the spine of a dragon with ceramic tiles for scales, and a small triangular window towards the right of the structure simulates the eye. Legend has it that it was once possible to see the Sagrada Familia through this window, which was being built simultaneously. The view of the Sagrada Familia is now blocked from this vantage point by newer buildings. The tiles were given a metallic sheen to simulate the varying scales of the monster, with the color grading from green on the right side, where the head begins, to deep blue and violet in the center, to red and pink on the left side of the building.
Tower and bulb
One of the highlights of the facade is a tower topped with a cross of four arms oriented to the cardinal directions. It is a bulbous, root-like structure that evokes plant life. There is a second bulb-shaped structure similarly reminiscent of a thalamus flower, which is represented by a cross with arms that are actually buds announcing the next flowering. The tower is decorated with monograms of Jesus (JHS), Maria (M with the ducal crown) and Joseph (JHP), made of ceramic pieces that stand out golden on the green background that covers the facade. These symbols show the deep religiosity of Gaudi, who was inspired by the contemporaneous construction of his basilica to choose the theme of the holy family.
The bulb was broken when it was delivered, perhaps during transportation. Although the manufacturer committed to re-do the broken parts, Gaudí liked the aesthetic of the broken masonry and asked that the pieces be stuck to the main structure with lime mortar and held in with a brass ring.
Central section
The central part of the facade evokes the surface of a lake with water lilies.
The central part of the facade evokes the surface of a lake with water lilies, reminiscent of Monet's Nymphéas, with gentle ripples and reflections caused by the glass and ceramic mosaic.It is a great undulating surface covered with plaster fragments of colored glass discs combined with 330 rounds of polychrome pottery. The discs were designed by Gaudí and Jujol between tests during their stay in Majorca, while working on the restoration of the Cathedral of Palma.
Balcony
Finally, above the central part of the facade is a smaller balcony, also iron, with a different exterior aesthetic, closer to a local type of lily. Two iron arms were installed here to support a pulley to raise and lower furniture.
Main floor
The facade of the main floor, made entirely in sandstone, and is supported by two columns. The design is complemented by joinery windows set with multicolored stained glass.In front of the large windows, as if they were pillars that support the complex stone structure, there are six fine columns that seem to simulate the bones of a limb, with an apparent central articulation; in fact, this is a floral decoration. The rounded shapes of the gaps and the lip-like edges carved into the stone surrounding them create a semblance of a fully open mouth, for which the Casa Batlló has been nicknamed the "house of yawns." The structure repeats on the first floor and in the design of two windows at the ends forming galleries, but on the large central window there are two balconies as described above.
Video Mapping Philipp Geist_Germany+Brazil 2013-2014_- Santa Marta 2014_©Fred Pacífico/Porã
„VideoInstallation by Philipp Geist“, "Philipp Geist", „Copyright 2014 Philipp Geist / VG Bildkunst 2014", www.videogeist.de, mail@videogeist.de, „Rio de Janeiro“, "Santa Marta“, „Cristo Redentor“, „Dona Marta“, „Deutschland + Brasilien 2013-2014“, “Alemanha + Brasil 2013-2014”
Photo by Fred Pacífico
©2014 Philipp Geist / VG BIldkunst Bonn
Rio de Janeiro / Brazil 2014
Christ statue (Cristo Redentor) – May 12
Dona Marta favela – May 15 and 16,2014
Light Art-Video-Mapping-Installations Philipp Geist in Rio de Janeiro / Brazil 2014
on the Christ statue (Cristo Redentor) - May 12 and in the Dona Marta favela - May 15 and 16,
2014
Installation Philipp Geist Year of Germany in Brazil 2013/2014
Concept Time Drifts May 2014
At the end of the Year of Germany in Brazil 2013/2014, the artist Philipp Geist (Berlin, 1976)
develops two light installations in Rio this year; the first one on the world-famous Christ statue
(Cristo Redentor) and the other installation in the Santa Marta favela. For the installation the
artist presents artistic-liberal and poetic German and Brazilian themes and develops a building
and floor light installation of colored words and phrases in Portuguese, German, and in other
international languages. The installation deals with cultural characteristics and achievements of
both countries and visualizes the issues of time and space, volatility and presence in a free
artistic style. The two projects are in fact a double project which is combined. The installation
on the symbol of Rio and Brazil, the Christ statue, is recorded and projected onto the small
buildings and huts of the favela. The Christ statue, which has been built to protect the city and
the sailors, is symbolically projected on the shantytown, the favela, in a protective way. The
installation in the favela will be seen not only on a facade as a large cinema projection or as a
static image, but on several winding buildings, the roofs, the floor and on the steps. Thus, the
visitor becomes a part of the installation and can immerse into the projection and the light and
introduce himself. Chalk crayons are put out on the streets in the favela and the young and old
residents and visitors can write and paint words on the street, the ground, the stairs or even on
the house walls. The residents and several institutions should be addressed to submit words and
associations dealing with Rio, Brazil and Germany.
For the installation, which was shown at the Luminale in 2012, the artist Philipp Geist won the
German Lighting Design Award 2013 (Deutscher Lichtdesign-Preis 2013) in the category Light Art.
The series 'Time Drifts' is characterized by the complex and subtle way of visualizing various
currents and voices in cultural contexts and to provide institutions and visitors with the
opportunity of substantive participation: different personalities, visitors and institutions may be
addressed in advance and then contribute words and associations. Current and historico-cultural
topics are researched in advance by the artist and then integrated in a sensitive and subtle way.
The projection dismisses the use of screens, because concepts and associations are projected on
a large area onto the floor surface on several facades and in theater fog. Over the course of two
days, the installation can be seen on-site in the favela on May 15 and 16 and on the Cristo
Redentor on May 12 for a day.
Short, tall, young and old visitors can interactively participate in the installation by tracing and
adding words with colored chalk crayons available on the streets. Thus, over the period of the
installation, a carpet of words is evolved with terms that are contributed locally by the visitors
by means of the temporary and volatile 'medium' of chalk crayons. Philipp Geist develops in this
way a dialogue between the place, the visitors and his artistic work.
The concrete, tangible projection of the architecture and the static terms on the floor area
represents the facts and visible relics that are responsible for our understanding of history. The
transparent and volatile projection in the fog reminds us that part of the history can not be
preserved and that it is created in our individual imagination in a single moment. Words are
briefly visible as a metaphor for transience and then disappear again. This interplay of the
various text and image layers in the space refers to the location and the history/-ies of Brazil
and Germany and the cultural exchange between the two countries. The visitors themselves are
part of the installation: they dive into the large floor projection. In this way, different
perspectives and experiences of space are unified. Abstract passages which are created, then
overlapped and displaced by each other symbolize the constant changes in history, the passage
of time and the transience of existence. Even the understanding of the past is in the flux. The
modern writings and formations created on the computer establish a connection to the present
and the possibilities of today's technology and show that the perception of history and culture
depends always on the possibilities and constraints of the present.
'Time Drifts - Words of Berlin' is part of a series of installations, which has been shown in recent
years by Philipp Geist, and which are always re-developed site-specifically and adapted to the
local conditions: In October 2012, Philipp Geist showed the installation on the entire Potsdamer
Platz (public square) and the Kolhoff Tower and Renzo Piano Tower skyscrapers. In April 2012
the installation was shown at the Luminale in Frankfurt where it was seen by more than 40,000
visitors and thus the main project of the Luminale 2012. In 2011, Philipp Geist presented the
'Time Drifts' installation in Vancouver at the Jack Poole Plaza, as well as in Montreal on the
Place des Arts in 2010. The 'Timing' installation was shown at the 2009 Glow Festival in
Eindhoven. In the end of 2009, on the occasion of the birthday of the King of Thailand, 2-3
million visitors saw his facade installation at the royal throne in Bangkok. Other projects
include: 'Timelines' at the prestigious Pallazzio delle Esposizioni (Rome, 2007), 'Time Fades'
at the Cultural Forum of Berlin and 'Broken Time Lines' at the old spa Kurhaus Ahrenshoop
(Germany, 2008).
Geist's projects are primarily characterized by their complexity concerning the integration of
space, sound and motion images. His video mapping installations waive screens and transform a
wide range of architectures in moving, picturesque light sculptures which challenge the viewer's
perception of two- and three-dimensionality.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Arte de luz - Instalações de Mapeamento de Vídeo por Philipp Geist no Rio de Janeiro / Brasil
2014 no Cristo Redentor no dia 12 de maio e na favela Santa Marta nos dias 15 e 16 de maio de
2014
Instalação Philipp Geist Ano Alemanha + Brasil 2013/2014
Conceito Time Drifts Maio 2014
No final do ano Alemnaha + Brasil 2013/2014, o artista Philipp Geist (1976, Berlim) desenvolverá
duas instalações de luz no Rio; uma delas será exibida na mundialmente famosa estátua do
Cristo Redentor, e a outra na favela Santa Marta. Para a instalação, o artista traz temas teutobrasileiros
de maneira liberal-artística e poética desenvolvendo instalações de luz em edifícios e
no solo a partir de palavras e conceitos coloridos em Português, Alemão e em outros idiomas
internacionais. A instalação lida com as peculiaridades e realizações culturais de ambos os países
e visualiza as questões de tempo e espaço e de volatilidade e presença no estilo liberal-artístico.
Os dois projetos em questão representam um projeto duplo que é combinado. A instalação na
estátua do Cristo Redentor, como um símbolo do Rio e do Brasil, será gravada e projetada nos
pequenos prédios e barracos da favela. A estátua do Cristo Redentor, que foi erguida para
proteger a cidade e os marinheiros, será então projetada como um símbolo de proteção em uma
favela. A instalação na favela é visto não apenas em uma fachada como uma projeção grande de
cinema ou como uma imagem estática, mas em vários prédios sinuosos, em telhados, no solo e
nas escadas. Desta maneira, o visitante conseguirá ser parte da instalação e imergir e mergulhar
na projeção e na luz. Na favela, será distribuído giz para pintura de rua, e os moradores e
visitantes, tanto jovens quanto velhos, podem escrever e pintar conceitos na rua, no solo, nas
escadas ou até mesmo nas paredes das casas. Os moradores e diversas instituições serão
convidados a contribuir com conceitos e associações que representam o Rio, o Brasil e a
Alemanha.
Para as instalações apresentadas na Luminal em 2012, o artista Philipp Geist ganhou o
'Deutscher Lichtdesign-Preis 2013” (Prêmio Alemão de Desenho de Luz de 2013) na categoria
Arte de Luz. A série Time Drifts caracteriza-se pela forma complexa e sutil de visualizar várias
correntes e vozes em contextos culturais e de oferecer a instituições e aos visitantes a
oportunidade de participar: diferentes personalidades, visitantes e instituições podem ser
contatados antecipadamente para contribuir com termos e associações. Temas atuais, históricos
e culturais serão previamente pesquisados pelo artista e, depois, integrados de uma forma
sensível e sutil. A projeção é realizada sem o uso de telas porque conceitos e associações são
projetados, em grande estilo, sobre a superfície do solo, em diversas frentes e envolvidos em
fumaça. Ao longo de dois dias, a instalação estará em exibição em 15 e 16 de maio na favela, e
em 12 de maio, por um dia, no Cristo Redentor.
Visitantes jovens e velhos podem envolver-se na instalação e traçar ou adicionar palavras com
giz colorido, que será distribuído, e assim participar interativamente na instalação. Desta
maneira, durante a duração da instalação, será desenvolvido um tapete de palavras. As palavras
serão fornecidas, no próprio local, pelos visitantes usando o giz, um meio temporário e volátil.
Philipp Geist desenvolve assim um diálogo entre o local, os visitantes e seu trabalho artístico.
A área de projeção concreta e tangível da arquitetura e os termos estáticos sobre a superfície do
solo representam os fatos e as relíquias visíveis que compõem a nossa compreensão da história. A
área de projeção transparente e sumindo por dentro da fumaça lembra que parte da história não
pode ser preservada e que ela é criada na nossa imaginação individual momentaneamente.
Conceitos são brevemente visíveis, como uma metáfora para a transitoriedade e, logo mais,
desaparecem. Esta interação entre as várias camadas de texto e de imagens no espaço refere-se
à localização e a(s) história(s) do Brasil e da Alemanha e o intercâmbio cultural entre os dois
países. Os próprios visitantes tornam-se parte da instalação: eles imergem na grande projeção
do solo. Desta forma, diferentes perspectivas e experiências de espaço são unidas. Passagens
abstratas que são formadas, sobrepostas e suprimidas pela próxima simbolizam as mudanças
contínuas na história, a passagem do tempo e a transitoriedade da existência. A compreensão do
passado também está no fluxo. As fontes e formações modernas criadas no computador
estabelecem uma conexão com o presente e com as possibilidades da tecnologia de hoje: a
percepção da história e da cultura sempre dependende das capacidades e limitações do
presente.
'Time Drifts - Words of Berlin' faz parte de uma série de instalações, que foram apresentadas
durante os últimos anos por Philipp Geist e que são sempre redesenvolvidas para as condições
locais específicas: em outubro de 2012, Philipp Geist exibiu a instalação em toda a praça
Potsdamer Platz (Berlim) e nos dois arranha-céus Kolhoff Tower (Berlim) e Renzo Piano Tower
(Londres). Em abril de 2012, a instalação foi apresentada no evento da Luminal em Frankfurt
onde foi vista por mais de 40.000 visitantes sendo o principal projeto da Luminal de 2012. Em
2011, Philipp Geist mostrou a instalação Time Drifts na praça Jack Poole Plaza em Vancouver
bem como em Montreal, Canadá, no centro de arte Place des Arts, em 2010. A instalação Timing
foi exibida no Glow Festival de 2009 in Eindhoven, Holanda. No final de 2009 e por ocasião do
aniversário do rei tailandês, aprox. 2 a 3 milhões de visitantes viram a instalação de fachada do
artista no trono real em Banguecoque. Seus outros projetos incluem: Time Lines, no prestigiado
museu Palazzio delle Esposizioni (Roma, 2007); Time Fades, no Fórum Cultural de Berlim;
Broken Time Lines, no antigo spa Kurhaus Ahrenshoop (Alemanha, 2008).
Os projetos de Geist são principalmente caracterizados por sua complexidade na integração de
espaço, som e imagens de movimento. Suas instalações de mapeamento de vídeo renunciam
telas e transformam uma ampla gama de arquiteturas em esculturas móveis e pitorescas que
desafiam a percepção do espectador de duas e três dimensões.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Lichtkunst-VideoMappingInstallationen Philipp Geist in Rio de Janeiro / Brasilien 2014
an der Christstatue (Cristo Redender) 12.5 und in der Favela Santa Marta 15./16.5.2014
Installation Philipp Geist Deutsch-Brasilianisches Jahr 2013/2014
Konzept Time Drifts Mai 2014
Zum Abschluss des Deutsch-Brasilianischen-Jahres 2013/2014 entwickelt der Berliner Künstler
Philipp Geist (1976) zwei Lichtinstallation in Rio d.J.; eine an der weltbekannten Christstatue
(Cristo Redender) und in die andere Installation in der Favela Santa Marta. Bei der Installation
greift der Künstler künstlerisch frei und poetisch deutsch brasilianische Themen auf und
entwickelt eine Gebäude- und Boden-Lichtinstallation aus farbigen Wörtern und Begriffen in
portugiesischer, deutscher, und in weiteren internationalen Sprachen. Die Installation thematisiert
kulturelle Besonderheiten und Errungenschaften beider Länder und visualisiert die Themen Zeit
und Raum, Flüchtigkeit und Präsenz in freien künstlerischen Art. Bei den beiden Projekten handelt
es sich um ein Doppelprojekt welches kombiniert wird. Die Installation auf das Wahrzeichen von
Rio und Brasilien die Christstatue, wird aufgenommen und auf die kleinen Gebäude und Hütten
der Favela projiziert. Die Christstatue die errichtet worden ist um die Stadt und Seeleute zu
schützen, wird so symbolisch schützend über ein Armenviertel die Favela projiziert. Dabei ist die
Installation in der Favela nicht nur auf einer Fassade als große Kinoprojektion oder als statisches
Bild zu sehen, sondern auf mehreren verwinkelten Gebäuden, den Dächern, den Boden und auf
den Stufen. Der Besucher wird vielmehr auf diese Weise selbst Teil der Installation und kann in die
Projektion und das Licht eintauchen und sich einbringen. In der Favela werden Strassenmalkreide
ausgelegt und die Bewohner und Besucher ob jung oder alt können Begriffe auf die Strasse, den
Boden, die Treppenstufen oder sogar auf die Hauswände schreiben und malen. Die Bewohner und
verschiedene Institutionen sollen angesprochen werden Assoziationen und Begriffe die für Rio,
Brasilien und Deutschland stehen einzureichen.
Für die 2012 bei der Luminale gezeigten Installation hat der Künstler Philipp Geist den Deutschen
Lichtdesign-Preis 2013 in der der Kategorie Lichtkunst gewonnen. Die Serie 'Time Drifts' zeichnet
sich aus durch die komplexe und die subtile Möglichkeit, verschiedenste Strömungen und
Stimmen in kulturellen Kontexten sichtbar zu machen und Institutionen und Besuchern die
Möglichkeit zur inhaltlichen Partizipation zu geben: Es können verschiedene Persönlichkeiten,
Besucher und Institute im Vorfeld angesprochen werden, die Begriffe und Assoziationen
beisteuern. Aktuelle und kulturhistorische Themen werden im Vorfeld vom Künstler recherchiert
und auf sensible und subtile Weise integriert. Die Projektion verzichtet auf den Einsatz von
Leinwänden, denn Begriffe und Assoziationen werden grossflächig auf die Bodenfläche, auf
mehrere Fassaden und in Theaternebel projiziert. Über den Zeitraum von 2 Tagen wird die
Installation vor Ort in der Favela am 15/16.Mai und die Installation am Cristo Redentor am 12.Mai
für einen Tag zu sehen sein.!
Kleine, große, junge und alte Besucher können sich einbringen in die Installation und mit farbiger
Straßenmalkreide, die ausgelegt wird, Wörter nachzeichnen und hinzufügen und so interaktiv an
der Installation teilnehmen. Über die Installationsdauer entsteht somit ein Wörterteppich aus
Begriffen, die vor Ort von den Besuchern selbst mittels dem temporären und flüchtigen 'Medium'
der Strassenmalkreide beigesteuert werden. Geist entwickelt auf diese Weise einen Dialog
zwischen dem Ort, den Besuchern und seiner künstlerischen Arbeit. ! !
Die konkrete, greifbare Projektionsfläche der Architektur und die statischen Begriffe auf der
Bodenfläche stehen für die Fakten und sichtbaren Relikte, welche unser Geschichtsverständnis
ausmachen. Die transparente, sich verflüchtigende Projektionsfläche im Nebel erinnert daran,
dass ein Teil der Geschichte nicht konserviert werden kann und im Moment in unserer individuellen
Vorstellung entsteht. Begriffe werden als Metapher für die Vergänglichkeit kurzzeitig sichtbar und
verschwinden sofort wieder. Dieses Zusammenspiel der verschiedenen Text- und Bildschichten im
Raum verweist auf den Ort und die Geschichte(n) Brasiliens und Deutschlands und den kulturellen
Austausch beider Länder. Die Besucher selbst werden Teil der Installation: sie tauchen in die
großflächige Bodenprojektion ein. Auf diese Weise vereinen sich unterschiedliche Perspektiven
und Raumerfahrungen. Abstrakte Passagen, die sich aufbauen, überlagern und gegenseitig
verdrängen, symbolisieren die ständigen Veränderungen in der Geschichte, den Lauf der Zeit und
die Flüchtigkeit des Seins. Auch das Verständnis von der Vergangenheit ist im Fluss. Die
modernen Schriften und Formationen, die am Computer entstanden sind, stellen eine Verbindung
zur Gegenwart und den Möglichkeiten der heutigen Technik her und zeigen, dass die Erfahrbarkeit
von Geschichte und Kultur immer von den Möglichkeiten und Rahmenbedingungen der Gegenwart
abhängig ist.
'Time Drifts - Words of Berlin' ist Teil einer Serie von Installationen, die Philipp Geist in den letzten
Jahren gezeigt hat, und die dabei immer wieder neu an die örtlichen Gegebenheiten ortsspezifisch
weiterentwickelt wird: Im Oktober 2012 zeigte Geist die Installation auf dem gesamten Potsdamer
Platz und den beiden Hochhäusern Kolhoff Tower und Renzo Piano Tower. Im April 2012 wurde die
Installation in Frankfurt auf der Luminale gezeigt, wurde von mehr als 40.000 Besuchern gesehen
und war das Hauptprojekt der Luminale 2012. Im Jahr 2011 zeigte Geist die Installation Time Drifts
in Vancouver am Jack-Poole Plaza, ebenso wie in Montreal am Place des Arts in 2010. Die
Installation 'Timing' war 2009 auf dem Glow Festival in Eindhoven zu sehen. Ende 2009 sahen
anlässlich des Geburtstages des thailändischen Königs ca. 2-3 Millionen Besucher seine
Fassadeninstallation am königlichen Thron in Bangkok. Andere Projekte waren u.a.: 'Time Lines'
am renommierten Museum delle Esposizioni (2007), 'Time Fades' am Berliner Kulturforum,
'Broken Time Lines' am alten Kurhaus Ahrenshoop (2008).
Geists Projekte sind in erster Linie gekennzeichnet durch ihre Komplexität in der Integration von
Raum, Ton und Bewegbild. Seine Video-Mapping-Installationen verzichten auf Leinwände und
verwandeln verschiedenste Architekturen in bewegte, malerische Lichtskulpturen, die die
Wahrnehmung der Betrachter von Zwei- und Dreidimensionalität herausfordern.
Video Mapping Philipp Geist_Ano da Alemanha no Brasil - Cristo Redentor 2014
Photo by Fred Pacífico
©2014 Philipp Geist / VG BIldkunst Bonn
Rio de Janeiro / Brazil 2014
Christ statue (Cristo Redentor) – May 12
Dona Marta favela – May 15 and 16,2014
Light Art-Video-Mapping-Installations Philipp Geist in Rio de Janeiro / Brazil 2014
on the Christ statue (Cristo Redentor) - May 12 and in the Dona Marta favela - May 15 and 16,
2014
Installation Philipp Geist Year of Germany in Brazil 2013/2014
Concept Time Drifts May 2014
At the end of the Year of Germany in Brazil 2013/2014, the artist Philipp Geist (Berlin, 1976)
develops two light installations in Rio this year; the first one on the world-famous Christ statue
(Cristo Redentor) and the other installation in the Santa Marta favela. For the installation the
artist presents artistic-liberal and poetic German and Brazilian themes and develops a building
and floor light installation of colored words and phrases in Portuguese, German, and in other
international languages. The installation deals with cultural characteristics and achievements of
both countries and visualizes the issues of time and space, volatility and presence in a free
artistic style. The two projects are in fact a double project which is combined. The installation
on the symbol of Rio and Brazil, the Christ statue, is recorded and projected onto the small
buildings and huts of the favela. The Christ statue, which has been built to protect the city and
the sailors, is symbolically projected on the shantytown, the favela, in a protective way. The
installation in the favela will be seen not only on a facade as a large cinema projection or as a
static image, but on several winding buildings, the roofs, the floor and on the steps. Thus, the
visitor becomes a part of the installation and can immerse into the projection and the light and
introduce himself. Chalk crayons are put out on the streets in the favela and the young and old
residents and visitors can write and paint words on the street, the ground, the stairs or even on
the house walls. The residents and several institutions should be addressed to submit words and
associations dealing with Rio, Brazil and Germany.
For the installation, which was shown at the Luminale in 2012, the artist Philipp Geist won the
German Lighting Design Award 2013 (Deutscher Lichtdesign-Preis 2013) in the category Light Art.
The series 'Time Drifts' is characterized by the complex and subtle way of visualizing various
currents and voices in cultural contexts and to provide institutions and visitors with the
opportunity of substantive participation: different personalities, visitors and institutions may be
addressed in advance and then contribute words and associations. Current and historico-cultural
topics are researched in advance by the artist and then integrated in a sensitive and subtle way.
The projection dismisses the use of screens, because concepts and associations are projected on
a large area onto the floor surface on several facades and in theater fog. Over the course of two
days, the installation can be seen on-site in the favela on May 15 and 16 and on the Cristo
Redentor on May 12 for a day.
Short, tall, young and old visitors can interactively participate in the installation by tracing and
adding words with colored chalk crayons available on the streets. Thus, over the period of the
installation, a carpet of words is evolved with terms that are contributed locally by the visitors
by means of the temporary and volatile 'medium' of chalk crayons. Philipp Geist develops in this
way a dialogue between the place, the visitors and his artistic work.
The concrete, tangible projection of the architecture and the static terms on the floor area
represents the facts and visible relics that are responsible for our understanding of history. The
transparent and volatile projection in the fog reminds us that part of the history can not be
preserved and that it is created in our individual imagination in a single moment. Words are
briefly visible as a metaphor for transience and then disappear again. This interplay of the
various text and image layers in the space refers to the location and the history/-ies of Brazil
and Germany and the cultural exchange between the two countries. The visitors themselves are
part of the installation: they dive into the large floor projection. In this way, different
perspectives and experiences of space are unified. Abstract passages which are created, then
overlapped and displaced by each other symbolize the constant changes in history, the passage
of time and the transience of existence. Even the understanding of the past is in the flux. The
modern writings and formations created on the computer establish a connection to the present
and the possibilities of today's technology and show that the perception of history and culture
depends always on the possibilities and constraints of the present.
'Time Drifts - Words of Berlin' is part of a series of installations, which has been shown in recent
years by Philipp Geist, and which are always re-developed site-specifically and adapted to the
local conditions: In October 2012, Philipp Geist showed the installation on the entire Potsdamer
Platz (public square) and the Kolhoff Tower and Renzo Piano Tower skyscrapers. In April 2012
the installation was shown at the Luminale in Frankfurt where it was seen by more than 40,000
visitors and thus the main project of the Luminale 2012. In 2011, Philipp Geist presented the
'Time Drifts' installation in Vancouver at the Jack Poole Plaza, as well as in Montreal on the
Place des Arts in 2010. The 'Timing' installation was shown at the 2009 Glow Festival in
Eindhoven. In the end of 2009, on the occasion of the birthday of the King of Thailand, 2-3
million visitors saw his facade installation at the royal throne in Bangkok. Other projects
include: 'Timelines' at the prestigious Pallazzio delle Esposizioni (Rome, 2007), 'Time Fades'
at the Cultural Forum of Berlin and 'Broken Time Lines' at the old spa Kurhaus Ahrenshoop
(Germany, 2008).
Geist's projects are primarily characterized by their complexity concerning the integration of
space, sound and motion images. His video mapping installations waive screens and transform a
wide range of architectures in moving, picturesque light sculptures which challenge the viewer's
perception of two- and three-dimensionality.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Arte de luz - Instalações de Mapeamento de Vídeo por Philipp Geist no Rio de Janeiro / Brasil
2014 no Cristo Redentor no dia 12 de maio e na favela Santa Marta nos dias 15 e 16 de maio de
2014
Instalação Philipp Geist Ano Alemanha + Brasil 2013/2014
Conceito Time Drifts Maio 2014
No final do ano Alemnaha + Brasil 2013/2014, o artista Philipp Geist (1976, Berlim) desenvolverá
duas instalações de luz no Rio; uma delas será exibida na mundialmente famosa estátua do
Cristo Redentor, e a outra na favela Santa Marta. Para a instalação, o artista traz temas teutobrasileiros
de maneira liberal-artística e poética desenvolvendo instalações de luz em edifícios e
no solo a partir de palavras e conceitos coloridos em Português, Alemão e em outros idiomas
internacionais. A instalação lida com as peculiaridades e realizações culturais de ambos os países
e visualiza as questões de tempo e espaço e de volatilidade e presença no estilo liberal-artístico.
Os dois projetos em questão representam um projeto duplo que é combinado. A instalação na
estátua do Cristo Redentor, como um símbolo do Rio e do Brasil, será gravada e projetada nos
pequenos prédios e barracos da favela. A estátua do Cristo Redentor, que foi erguida para
proteger a cidade e os marinheiros, será então projetada como um símbolo de proteção em uma
favela. A instalação na favela é visto não apenas em uma fachada como uma projeção grande de
cinema ou como uma imagem estática, mas em vários prédios sinuosos, em telhados, no solo e
nas escadas. Desta maneira, o visitante conseguirá ser parte da instalação e imergir e mergulhar
na projeção e na luz. Na favela, será distribuído giz para pintura de rua, e os moradores e
visitantes, tanto jovens quanto velhos, podem escrever e pintar conceitos na rua, no solo, nas
escadas ou até mesmo nas paredes das casas. Os moradores e diversas instituições serão
convidados a contribuir com conceitos e associações que representam o Rio, o Brasil e a
Alemanha.
Para as instalações apresentadas na Luminal em 2012, o artista Philipp Geist ganhou o
'Deutscher Lichtdesign-Preis 2013” (Prêmio Alemão de Desenho de Luz de 2013) na categoria
Arte de Luz. A série Time Drifts caracteriza-se pela forma complexa e sutil de visualizar várias
correntes e vozes em contextos culturais e de oferecer a instituições e aos visitantes a
oportunidade de participar: diferentes personalidades, visitantes e instituições podem ser
contatados antecipadamente para contribuir com termos e associações. Temas atuais, históricos
e culturais serão previamente pesquisados pelo artista e, depois, integrados de uma forma
sensível e sutil. A projeção é realizada sem o uso de telas porque conceitos e associações são
projetados, em grande estilo, sobre a superfície do solo, em diversas frentes e envolvidos em
fumaça. Ao longo de dois dias, a instalação estará em exibição em 15 e 16 de maio na favela, e
em 12 de maio, por um dia, no Cristo Redentor.
Visitantes jovens e velhos podem envolver-se na instalação e traçar ou adicionar palavras com
giz colorido, que será distribuído, e assim participar interativamente na instalação. Desta
maneira, durante a duração da instalação, será desenvolvido um tapete de palavras. As palavras
serão fornecidas, no próprio local, pelos visitantes usando o giz, um meio temporário e volátil.
Philipp Geist desenvolve assim um diálogo entre o local, os visitantes e seu trabalho artístico.
A área de projeção concreta e tangível da arquitetura e os termos estáticos sobre a superfície do
solo representam os fatos e as relíquias visíveis que compõem a nossa compreensão da história. A
área de projeção transparente e sumindo por dentro da fumaça lembra que parte da história não
pode ser preservada e que ela é criada na nossa imaginação individual momentaneamente.
Conceitos são brevemente visíveis, como uma metáfora para a transitoriedade e, logo mais,
desaparecem. Esta interação entre as várias camadas de texto e de imagens no espaço refere-se
à localização e a(s) história(s) do Brasil e da Alemanha e o intercâmbio cultural entre os dois
países. Os próprios visitantes tornam-se parte da instalação: eles imergem na grande projeção
do solo. Desta forma, diferentes perspectivas e experiências de espaço são unidas. Passagens
abstratas que são formadas, sobrepostas e suprimidas pela próxima simbolizam as mudanças
contínuas na história, a passagem do tempo e a transitoriedade da existência. A compreensão do
passado também está no fluxo. As fontes e formações modernas criadas no computador
estabelecem uma conexão com o presente e com as possibilidades da tecnologia de hoje: a
percepção da história e da cultura sempre dependende das capacidades e limitações do
presente.
'Time Drifts - Words of Berlin' faz parte de uma série de instalações, que foram apresentadas
durante os últimos anos por Philipp Geist e que são sempre redesenvolvidas para as condições
locais específicas: em outubro de 2012, Philipp Geist exibiu a instalação em toda a praça
Potsdamer Platz (Berlim) e nos dois arranha-céus Kolhoff Tower (Berlim) e Renzo Piano Tower
(Londres). Em abril de 2012, a instalação foi apresentada no evento da Luminal em Frankfurt
onde foi vista por mais de 40.000 visitantes sendo o principal projeto da Luminal de 2012. Em
2011, Philipp Geist mostrou a instalação Time Drifts na praça Jack Poole Plaza em Vancouver
bem como em Montreal, Canadá, no centro de arte Place des Arts, em 2010. A instalação Timing
foi exibida no Glow Festival de 2009 in Eindhoven, Holanda. No final de 2009 e por ocasião do
aniversário do rei tailandês, aprox. 2 a 3 milhões de visitantes viram a instalação de fachada do
artista no trono real em Banguecoque. Seus outros projetos incluem: Time Lines, no prestigiado
museu Palazzio delle Esposizioni (Roma, 2007); Time Fades, no Fórum Cultural de Berlim;
Broken Time Lines, no antigo spa Kurhaus Ahrenshoop (Alemanha, 2008).
Os projetos de Geist são principalmente caracterizados por sua complexidade na integração de
espaço, som e imagens de movimento. Suas instalações de mapeamento de vídeo renunciam
telas e transformam uma ampla gama de arquiteturas em esculturas móveis e pitorescas que
desafiam a percepção do espectador de duas e três dimensões.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Lichtkunst-VideoMappingInstallationen Philipp Geist in Rio de Janeiro / Brasilien 2014
an der Christstatue (Cristo Redender) 12.5 und in der Favela Santa Marta 15./16.5.2014
Installation Philipp Geist Deutsch-Brasilianisches Jahr 2013/2014
Konzept Time Drifts Mai 2014
Zum Abschluss des Deutsch-Brasilianischen-Jahres 2013/2014 entwickelt der Berliner Künstler
Philipp Geist (1976) zwei Lichtinstallation in Rio d.J.; eine an der weltbekannten Christstatue
(Cristo Redender) und in die andere Installation in der Favela Santa Marta. Bei der Installation
greift der Künstler künstlerisch frei und poetisch deutsch brasilianische Themen auf und
entwickelt eine Gebäude- und Boden-Lichtinstallation aus farbigen Wörtern und Begriffen in
portugiesischer, deutscher, und in weiteren internationalen Sprachen. Die Installation thematisiert
kulturelle Besonderheiten und Errungenschaften beider Länder und visualisiert die Themen Zeit
und Raum, Flüchtigkeit und Präsenz in freien künstlerischen Art. Bei den beiden Projekten handelt
es sich um ein Doppelprojekt welches kombiniert wird. Die Installation auf das Wahrzeichen von
Rio und Brasilien die Christstatue, wird aufgenommen und auf die kleinen Gebäude und Hütten
der Favela projiziert. Die Christstatue die errichtet worden ist um die Stadt und Seeleute zu
schützen, wird so symbolisch schützend über ein Armenviertel die Favela projiziert. Dabei ist die
Installation in der Favela nicht nur auf einer Fassade als große Kinoprojektion oder als statisches
Bild zu sehen, sondern auf mehreren verwinkelten Gebäuden, den Dächern, den Boden und auf
den Stufen. Der Besucher wird vielmehr auf diese Weise selbst Teil der Installation und kann in die
Projektion und das Licht eintauchen und sich einbringen. In der Favela werden Strassenmalkreide
ausgelegt und die Bewohner und Besucher ob jung oder alt können Begriffe auf die Strasse, den
Boden, die Treppenstufen oder sogar auf die Hauswände schreiben und malen. Die Bewohner und
verschiedene Institutionen sollen angesprochen werden Assoziationen und Begriffe die für Rio,
Brasilien und Deutschland stehen einzureichen.
Für die 2012 bei der Luminale gezeigten Installation hat der Künstler Philipp Geist den Deutschen
Lichtdesign-Preis 2013 in der der Kategorie Lichtkunst gewonnen. Die Serie 'Time Drifts' zeichnet
sich aus durch die komplexe und die subtile Möglichkeit, verschiedenste Strömungen und
Stimmen in kulturellen Kontexten sichtbar zu machen und Institutionen und Besuchern die
Möglichkeit zur inhaltlichen Partizipation zu geben: Es können verschiedene Persönlichkeiten,
Besucher und Institute im Vorfeld angesprochen werden, die Begriffe und Assoziationen
beisteuern. Aktuelle und kulturhistorische Themen werden im Vorfeld vom Künstler recherchiert
und auf sensible und subtile Weise integriert. Die Projektion verzichtet auf den Einsatz von
Leinwänden, denn Begriffe und Assoziationen werden grossflächig auf die Bodenfläche, auf
mehrere Fassaden und in Theaternebel projiziert. Über den Zeitraum von 2 Tagen wird die
Installation vor Ort in der Favela am 15/16.Mai und die Installation am Cristo Redentor am 12.Mai
für einen Tag zu sehen sein.!
Kleine, große, junge und alte Besucher können sich einbringen in die Installation und mit farbiger
Straßenmalkreide, die ausgelegt wird, Wörter nachzeichnen und hinzufügen und so interaktiv an
der Installation teilnehmen. Über die Installationsdauer entsteht somit ein Wörterteppich aus
Begriffen, die vor Ort von den Besuchern selbst mittels dem temporären und flüchtigen 'Medium'
der Strassenmalkreide beigesteuert werden. Geist entwickelt auf diese Weise einen Dialog
zwischen dem Ort, den Besuchern und seiner künstlerischen Arbeit. ! !
Die konkrete, greifbare Projektionsfläche der Architektur und die statischen Begriffe auf der
Bodenfläche stehen für die Fakten und sichtbaren Relikte, welche unser Geschichtsverständnis
ausmachen. Die transparente, sich verflüchtigende Projektionsfläche im Nebel erinnert daran,
dass ein Teil der Geschichte nicht konserviert werden kann und im Moment in unserer individuellen
Vorstellung entsteht. Begriffe werden als Metapher für die Vergänglichkeit kurzzeitig sichtbar und
verschwinden sofort wieder. Dieses Zusammenspiel der verschiedenen Text- und Bildschichten im
Raum verweist auf den Ort und die Geschichte(n) Brasiliens und Deutschlands und den kulturellen
Austausch beider Länder. Die Besucher selbst werden Teil der Installation: sie tauchen in die
großflächige Bodenprojektion ein. Auf diese Weise vereinen sich unterschiedliche Perspektiven
und Raumerfahrungen. Abstrakte Passagen, die sich aufbauen, überlagern und gegenseitig
verdrängen, symbolisieren die ständigen Veränderungen in der Geschichte, den Lauf der Zeit und
die Flüchtigkeit des Seins. Auch das Verständnis von der Vergangenheit ist im Fluss. Die
modernen Schriften und Formationen, die am Computer entstanden sind, stellen eine Verbindung
zur Gegenwart und den Möglichkeiten der heutigen Technik her und zeigen, dass die Erfahrbarkeit
von Geschichte und Kultur immer von den Möglichkeiten und Rahmenbedingungen der Gegenwart
abhängig ist.
'Time Drifts - Words of Berlin' ist Teil einer Serie von Installationen, die Philipp Geist in den letzten
Jahren gezeigt hat, und die dabei immer wieder neu an die örtlichen Gegebenheiten ortsspezifisch
weiterentwickelt wird: Im Oktober 2012 zeigte Geist die Installation auf dem gesamten Potsdamer
Platz und den beiden Hochhäusern Kolhoff Tower und Renzo Piano Tower. Im April 2012 wurde die
Installation in Frankfurt auf der Luminale gezeigt, wurde von mehr als 40.000 Besuchern gesehen
und war das Hauptprojekt der Luminale 2012. Im Jahr 2011 zeigte Geist die Installation Time Drifts
in Vancouver am Jack-Poole Plaza, ebenso wie in Montreal am Place des Arts in 2010. Die
Installation 'Timing' war 2009 auf dem Glow Festival in Eindhoven zu sehen. Ende 2009 sahen
anlässlich des Geburtstages des thailändischen Königs ca. 2-3 Millionen Besucher seine
Fassadeninstallation am königlichen Thron in Bangkok. Andere Projekte waren u.a.: 'Time Lines'
am renommierten Museum delle Esposizioni (2007), 'Time Fades' am Berliner Kulturforum,
'Broken Time Lines' am alten Kurhaus Ahrenshoop (2008).
Geists Projekte sind in erster Linie gekennzeichnet durch ihre Komplexität in der Integration von
Raum, Ton und Bewegbild. Seine Video-Mapping-Installationen verzichten auf Leinwände und
verwandeln verschiedenste Architekturen in bewegte, malerische Lichtskulpturen, die die
Wahrnehmung der Betrachter von Zwei- und Dreidimensionalität herausfordern.
This photograph of the former Milwaukee Road Freight House office in Minneapolis was taken in 2016. The freight house was originally called the In Bound Freight House. The Out Bound Freight House, no longer present, was to the right of the In Bound Freight House. The two-story rectangular yellow brick office, influenced by the Italianate style with flat roof and double-hung sash windows with heavy white hoods, was built in 1879.
The Chicago, Milwaukee, St. Paul & Pacific Railroad Station, Train Shed and Freight House is listed on the National Register of Historic Places, The office for the In Bound Freight House is a contributing property.
To view my 1986 photograph of the freight head house go to:
To view my 2004 photograph of the freight head house go to: flic.kr/p/5T8VQV
edited by M.Kettner & David Lloyd Whited. Seattle, Laocoön Books 199o. [1ooo copies?] issued as volume 2 of Catalyst #18; not released separately.
7 x 8-1/2, 4 sheets white bond folded to 16 pp & stapled twice into white claycoat card wrappers, all printed chocolate offset.
cover by Brian Quinn.
62 contributors:
Fernando Aguiar, Rod Anderson, Antler, Ivan Arguelles, Daniel F.Bradley, Randall Brock, J.D.Buhl, Edmund Conti, Louie Crew, jwcurry, Michael Danahay, Andrew Darlington, Paul Dilsaver, Keith A.Dodson, John Elsberg, Gerald England, Mary Thomas Eulberg, Greg Evason, Jesse Glass Jr, Ray Goforth, LeRoy Gorman, Bob Grumman, Russell Holder, Alan Howard, Albert Huffstickler, Maureen Hurley, Beth Jankola, Laura Kennelly, Kathleen Kettner, M.Kettner, K.B.Killion, Joan Payne Kincaid, Richard Kostelanetz, Jonathan Levant, Quentin Lickliter, Jonathan London, Robert Lovitt, Ezra Mark, J.Mathieu, Charlie Mehrhoff, Messer, George Montgomery, Sheila E.Murphy, Mary Ernestine O'Dell, Paul S.Piper, Brian Quinn, Monica Raymond, Gregory Vincent Saint Thomasino, Dennis Saleh, Wayne Allen Sallee, Andrew Savage, M.Schafer, Darrell G.H.Schramm, Bill Shively, Stacey Sollfrey, Gerry Stewart, Carolyn Stoloff, John Tagliabu, Don Thornton, Nico Vassilakis, Irving Weiss, Chris Winkler.
curry contributes:
i) "empty as sin", with Greg Evason (poem, p.4)
ii) CON'TENT: (poem, p.1o)
Kamera: Nikon FM
Linse: Nikkor-S Auto 55mm f1.2 (1970)
Film: Rollei P&R 640 @ box speed
Kjemi: Rodinal (1:25 / 13:30 min. @ 20°C)
-Friday 23 February 2024: Even more countries speaking on the legality of Israel’s occupation of Palestine in the International Court of Justice in Den Haag today. Namibia, Norway, Oman, Pakistan, Indonesia, Qatar, United Kingdom, Slovenia, Sudan, Switzerland, Syria and Tunisia.
I have to say, the UK’s presentation was just abhorrent.
Instead of focusing on that, today I would like to highlight and remark on the supreme eloquence of Pakistan and also the strong and morally impressive presentation by Namibia.
I also want to share a personal note. If you did not see yesterday’s presentations in Den Haag, then you should see - and feel - the most emotional address to the court by Ali Ahmad Ebraheem S. Al-Dafiri of Kuwait.
Yesterday, I too held a lecture but for international students; touching on the german occupation of Norway. As I was lecturing, even I could feel it when I was mentioning that during the 5 years of nazi occupion that we had to endure, Norway suffered ’only’ 12.000 war-related deaths - 600 of whom were jews. Compare that to the 57 years Palestine has endured Israeli occupation and the 30.000 Palestinians that Israel has killed in Gaza in the last 4 months alone.
I was really struggling to keep my composure at this point.
International Court of Justice: Day 5 hearing on the legal consequences of Israel's occupation of Palestinian territories (publ. 23 February 2024) [Video]
International Court of Justice: Legal Consequences arising from the Policies and Practices of Israel in the Occupied Palestinian Territory, including East Jerusalem [Transcripts and Documents]
Mr AL-DAFIRI: [KUWAIT] (22 February 2024)
I. INTRODUCTORY REMARKS
1. Mr President, honourable Members of the Court, it is a great honour to appear before you as the Agent of the State of Kuwait in these proceedings. Kuwait deeply appreciates the extraordinary efforts taken by the Court to allow this hearing to proceed smoothly, in light of the great number of participants. The current advisory proceedings are of extreme importance to the Palestinian people, Kuwait, the international legal order and the international community as a whole.
2. Kuwait has always advocated that peace fosters the observance of law and vice versa. Adherence to the UnitedNations Charter is an indispensable prerequisite for the definitive establishment of international peace. Indeed, peaceful relations are founded on accepted rules and as such, peaceful relations among States are based on the provisions of the United Nations Charter. These include, notably, the principle of non-use of force and the peaceful settlement of disputes. These rules apply to all States. Respect for these fundamental rules contributes to the consolidation of international peace.
3. Regrettably, the above-mentioned foundational rules have not been upheld in the case of Palestine. The conflict between Palestine and Israel, hereafter referred to as the “occupying Power”, is an illegal occupation conflict, involving on one side an occupying Power equipped with all military means, and on the other side an occupied nation without defensive capabilities, facing daily expulsion, human rights violations and all sufferings associated with any occupation situation.
4. Over the past decades, the situation between the Palestinians and the occupying Power has been extremely tense, resulting in serious human rights law and humanitarian law violations committed by the latter. Various intergovernmental and non-governmental organizations have documented these violations by publishing comprehensive reports. This climate of violence compromises any possibility of reasonably discussing the issues at stake. This is further exacerbated by the recent developments in Gaza. The occupying Power has waged an illegitimate war on the Palestinians in Gaza characterized by numerous international law violations. The ongoing flagrant violations have been highlighted in a series of statements issued, amongst others, by the United Nations Secretary-General, the United Nations High Commissioner for Human Rights and the Special Procedures of the United Nations Human Rights Council.
5. The unprecedented violence in Gaza is a result of 57 years of illegal occupation of the Palestinian territories and it must stop.
The late Emir of the State of Kuwait, His Highness Sheikh Sabah Al-Ahmad Al-Jaber Al-Sabah (1929-2020) summarized this situation in 2018 by stating:
“We ask the whole world, why the Palestinian people plight continues? Why do we ignore and do not implement Security Council resolutions? Why is the international community incapable of resolving this cause? Why does the victim continue to be portrayed as the killer according to Israel’s norms? Why does Israel always escape punishment? Why have all these souls been lost amid absence of the world conscience?”
6. Mr President, distinguished Members of the Court, it is in this context that Kuwait appears for the first time before the Court, following the adoption by the United Nations General Assembly of resolution 77/247, requesting the Court to deliver an advisory opinion on two legal questions. The first question asks the Court to evaluate the legality of the occupying Power’s specific policies and actions within its occupation of the Palestinian territories, while seeking the Court’s determination of the corresponding legal ramifications. The second question addresses a core issue: has the occupation become illegal? Kuwait will demonstrate the illegality of this occupation, underscoring the necessity of its cessation.
7. Mr President, honourable Members of the Court, my distinguished colleagues will now address these issues in greater depth.
[…]
The PRESIDENT: I shall now give the floor to the representative of Namibia, Honourable Ms Yvonne Dausab. You have the floor, Madam.
Ms DAUSAB: [NAMIBIA] (23 February 2024)
1. Mr President, Madam Vice-President, Members of the Court, it is a special honour to appear before you today on behalf of the Republic of Namibia.
2. With your kind indulgence, I wish to first pay tribute to our late president Dr Hage Geingob (1941-2024), who passed away on 4 February 2024 and will be laid to rest this weekend. President Geingob was a key figure in our struggle for independence. He was a committed anti-apartheid and anti-colonial freedom fighter, who stood up against injustice and oppression wherever it occurred. It is therefore fitting that, in one of his last public statements, he said that “[n]o peace-loving human being can ignore the carnage . . . waged against Palestinians in Gaza”.
3. President Geingob was the representative of the South West Africa People’s Organisation (SWAPO) and its petitioner to the United Nations from 1964 to 1971. It was during this period that the General Assembly condemned and declared “the policies of apartheid and racial discrimination” as a “crime against humanity”. Consequently, the General Assembly also appropriately terminated the Mandate in South West Africa.
4. Mr President, Members of the Court, I stand before you as a representative of a country where Germany brutally carried out the first genocide of the twentieth century against the Herero and the Nama peoples. A country that has known only too well the pain and suffering of occupation, colonialism, systematic discrimination, apartheid, and their entrenched consequences. It is because of this history that Namibia considers it a moral duty and sacred responsibility to appear before this Court on the question of the indefensible occupation of Palestine by Israel.
5. The parallels between Namibia and Palestine are striking and painful. Both were integral parts of the mandate system established after World War I. And in both cases, the so-called “sacred trust of civilisation”, which aimed to guide these nations towards self-determination and independence, was utterly betrayed. Instead of achieving self-government, both Namibians and Palestinians suffered the loss of human dignity, life, liberty and the outright theft of their land and natural resources. Hundreds of thousands of their people were violently expelled from their homes or forced into exile, joining the ranks of the world’s refugees.
6. Upon the dissolution of the League of Nations in 1946, the white minority South African régime refused to place Namibia (then South West Africa) under the United Nations Trusteeship and sought to illegally annex our territory as a fifth province, implementing racist homeland policies and apartheid laws targeting Black Africans.
7. Today, Palestinians have had to endure the seizure of their land and property, illegal settlements, unlawful killings, forced displacement, drastic movement restrictions, the denial of refugees’ right to return and of equal nationality and citizenship. The lived reality of the people of Palestine evokes painful memories for many Namibians of my generation. Namibians still experience the entrenched and structural impact of inequality, as a direct consequence of colonialism and the prolonged unlawful occupation.
8. Mr President, Members of the Court, this Court’s four Advisory Opinions on South West Africa played a vital role in our liberation struggle. In its 1971 Opinion, the Court confirmed the right of self-determination as a legal imperative with decisive consequences for States, paving the way for our independence 19 years later in 1990.
9. It is because of Namibia’s experience with apartheid and its long fight for self-determination that we cannot look the other way in the face of the brutal atrocities committed against the Palestinian people.
10. Mr President, Members of the Court, we ask you not to look away, either. Rather, we appeal to you: once again, end a historic and ongoing injustice by upholding the fundamental rights of a dispossessed people who have endured 57 years of a suffocating occupation. Today, Palestinians are enduring collective punishment in the besieged Gaza Strip, with civilians being killed in continuous and indiscriminate bombardments at a scale that is unprecedented in recent history. This state of affairs — this “hell on earth” — represents a stain on the collective conscience of the world.
11. Civilized nations cannot, and must not, accept images of children covered in blood with gaping wounds; of men and women crying in despair because of the helplessness they feel.
12. However, in the midst of the ongoing tragedy, I wish to say the following to the people of Palestine: this advisory opinion is an important moment in your long fight for independence. And I leave you with the words of our Founding President and Father of the Namibian Nation, Dr Sam Nujoma (b. 1929): “a people united, striving to achieve a common good for all members of society will always emerge victorious.”
13. Mr President, Members of the Court, I thank you, and I now respectfully ask that Professor Phoebe Okowa be called to address the legal questions before the Court.
The PRESIDENT: I thank Ms Dausab. I now give the floor to Professor Phoebe Okowa. You have the floor, Professor.
Ms OKOWA: [NAMIBIA] (23 February 2024)
I. INTRODUCTION
1. Mr President, Madam Vice-President, Members of the Court, it is a great honour for me to appear before you in these proceedings, and a special privilege to do so on behalf of the Republic of Namibia. Our presentation is in three parts.
2. First, I will make two general observations on why the Court should answer the request in its entirety, and why Israel’s occupation is illegal.
3. Then, I will focus on Israel’s policies and practices in the Occupied Palestinian Territory that grossly violate its obligations under international law, specifically the prohibition of apartheid and racial discrimination, and the principle of self-determination.
4. Finally, I will address the legal consequences that arise for Israel, for third States and for the United Nations on account of these violations.
A. The Court can and should answer the request in its entirety
5. As a threshold matter, Namibia reiterates, as do the overwhelming majority of States in these proceedings, that the Court has jurisdiction to render the requested advisory opinion, and that there are no compelling reasons for the Court to decline the request.
B. Israel’s occupation is illegal under international law
6. Namibia notes that there is also wide consensus among the participants on “the legal status of the occupation”. Namibia makes only four brief observations.
7. First, in so far as the law of occupation envisages any belligerent occupation as a temporary measure, immediately following military operations, Israel’s prolonged— or permanent— occupation breaches the law of occupation. It is a de facto annexation in all but name.
8. Second, Israel’s occupation, in and of itself, is unlawful under general international law. This is because it violates the Charter of the United Nations and peremptory norms; specifically, the prohibition on territorial acquisitions through illegal use of force, the principle of self-determination, and the prohibition of apartheid.
10. Finally, the continuation of the illegal occupation does not absolve Israel of its obligations and responsibilities under international law. This is consistent with your own conclusions in the Namibia Advisory Opinion that “[p]hysical control of a territory, and not sovereignty or legitimacy of title, is the basis of State liability for acts affecting other States”.
II. ISRAEL’S POLICIES AND PRACTICES IN THE OCCUPIED PALESTINIAN TERRITORY VIOLATE THE PROHIBITION OF APARTHEID AND THE PRINCIPLE OF SELF-DETERMINATION
A. Israel is bound by the prohibition of apartheid under international law
11. In both its written and oral submissions, Namibia focuses on the prohibition of apartheid and of racial discrimination. This is, in part, on account of Namibia’s history, as one of the few countries that were subjected to this egregious form of systematic and institutionalized racial discrimination.
12. We also do so on account of the fundamental importance of the Court’s 1971 Namibia Opinion, where this Court declared that the policies of apartheid “constitute a denial of fundamental human rights” and are “a flagrant violation of the purposes and principles of the [United Nations] Charter”.
13. But above all, we do this because, notwithstanding the egregious nature of apartheid — as a State delict, as a violation of a peremptory norm and as a crime — it has received virtually no clarification beyond the specific circumstances of southern Africa. An advisory opinion on threshold questions of apartheid will therefore assist the General Assembly in respect of its own action, in identifying the key elements of the illegality and in formulating appropriate responses to Israel’s discriminatory practices in the Occupied Palestinian Territory.
14. Specifically, we invite the Court to clarify three aspects of the obligation.
15. First, we respectfully ask the Court to make it clear that the prohibition of apartheid is not limited to southern Africa in the last century. It extends to Israel’s policies in the Occupied Palestinian Territory today. Article 3 of CERD places all States parties, including Israel, under an obligation to prevent, prohibit and eradicate apartheid “in territories under their jurisdiction”. This is also the conclusion of the CERD Committee. The 1998 Rome Statute of the International Criminal Court, negotiated after the end of apartheid in South Africa, also recognized apartheid as a crime against humanity without temporal or geographical restriction16.
16. Second, the Court should also confirm that the prohibition of apartheid binds all States as a peremptory norm. In your decision in the case under CERD brought by Qatar against United Arab Emirates, you acknowledged the “universal character [of CERD] is confirmed by the fact that 182 States are parties to it”. The International Law Commission and its Special Rapporteur on jus cogens (as Judge Tladi then was) have also expressly recognized the peremptory character of the prohibition of apartheid.
17. Finally, Namibia invites the Court to clarify the definition of apartheid. Namibia aligns itself with other participants that the definition in Article 2 of the Apartheid Convention incorporates the three key elements of the delict under international law.
18. First, the State must engage in one or more “inhuman acts”. Crucially, these take the form of violations of fundamental human rights within an institutionalized framework of systematic oppression and domination.
19. Second, these inhuman acts must be directed against a “racial group” or its members.
20. Finally, the State must commit these inhuman acts “for the purpose of establishing and maintaining domination” by one racial group over the other and “systematically oppressing them”.
B. Israel’s policies and practices constitute apartheid
21. Other participants have already made extensive statements on the discriminatory and inhuman acts carried out against the Palestinians as a racial group. These policies and practices are too many to enumerate in the time available. They include laws that discriminate in matters of citizenship, ownership and transfer of property, and freedom of movement. The systematic and excessive use of force against Palestinian civilians, the arbitrary killings and mass incarceration of Palestinians, including children; the illegal settlements; the discriminatory residency regulations; and, crucially, the denial of a Palestinian identity by refusing to recognize them as a people with a right to determine their own political destiny and to pursue social, economic and cultural development.
22. Namibia’s submission will focus on the final requirement: the purpose of establishing, maintaining domination and systematic oppression.
First, the term “domination” signifies a pervasive, all-encompassing, serious form of control over a group.
Second, “oppression” implies prolonged cruelty, reflecting a sustained violation of human rights.
Third, “systematic” implies the organized nature of violent acts and the improbability of their random occurrence.
23. Namibia shares the view of other participants that Israel’s policies and practices meet the evidentiary standard for establishing the State delict of apartheid. The Israeli Government’s openly articulated aim is to ensure Jewish Israeli control of all facets of Palestinian life, as evidenced by legislation affirming Israel as the nation State of the Jewish people, with unique self-determination rights reserved for Jewish individuals only.
24. It is clear from all the available evidence that these discriminatory practices are not accidental or fortuitous but are designed for the specific purpose of privileging Jewish Israelis over Palestinians. The fact that the practices in question may have other collateral objectives, such as maintaining security, is irrelevant. It will suffice if the primary motive is discriminatory, even if it also serves ancillary purposes.
C. Israel’s apartheid practices violate the Palestinian people’s right to self-determination
25. It follows in Namibia’s submission that Israel’s policies and practices are inconsistent with the prohibition of apartheid as a State delict under international law. Furthermore, these discriminatory practices, in the context of prolonged occupation of the Palestinian territories, violate the right of the Palestinian people to self-determination.
26. As other Participants have highlighted, these discriminatory policies and practices are directed at fragmenting the Palestinian people. These elaborate systems of administrative controls undermine group cohesiveness by dividing the Palestinian people into a number of administrative “domains” or groups, with varying degrees of rights. This strategic fragmentation of the Occupied Palestinian Territory into Bantustans makes Palestinian life burdensome and in many cases unbearable, forcing them to leave their homes.
27. Perhaps the epitome of discriminatory laws negating the Palestinian right of self-determination is the 2018 Basic Law, passed with constitutional status, which boldly declares that Israel is the nation of the Jewish people and that Jewish settlement is a national value.
III. LEGAL CONSEQUENCES OF ISRAEL’S VIOLATIONS OF ITS OBLIGATIONS UNDER INTERNATIONAL LAW
28. I will now turn to the final part of my submission. I will first examine the legal consequences of Israel’s violations, irrespective of the status of the occupation. Second, I will examine the legal consequences arising out of the illegal status of the occupation.
A. Legal consequences of Israel’s violations of its obligations under international law
29. First, Israel must bear consequences for its violations. This is the most elementary requirement of the law on State responsibility. As others in these proceedings have highlighted, this includes the obligations of cessation and the duty to make reparation for more than five decades of harms inflicted on the Palestinian people.
30. The Government of Israel has a legal duty to dismantle all the vestiges of systematic racial discrimination and oppression that permeates all aspects of Palestinian life in the occupied territories.
31. As the State of Palestine itself said on Monday, Israel must bring to an end the annexation of Palestinian land, dismantle existing settlements and recognize the right of the Palestinian people to self-determination in a viable State of their own.
32. Second, States are under an obligation not to recognize Israel’s breaches of peremptory norms of general international law vis-à-vis the Palestinian people. At the same time, the obligation of non-recognition is matched by a parallel and positive duty of recognition — of the Palestinian people’s right to self-determination realized through a viable and independent State of Palestine.
33. Here we ask the Court to pay particular attention to the historical context of these proceedings. Admission to the United Nations, unlike the League of Nations, was not automatic. It was conditioned on the State accepting to uphold the values and principles contained in the Charter, including self-determination. The admission of Israel was no exception.
34. In the Wall Opinion, you observed that when Israel proclaimed its independence, it did so “on the strength of” the partition plan resolution of the General Assembly. As is well known, that plan envisaged two States, one Arab and one Jewish. The Israeli Declaration of Independence makes this plain, by recognizing “the natural right of the Jewish people to be masters of their own fate, like all other nations, in their own sovereign State”. If that logic applied to the self-determination and statehood of the Jewish people, it must by the same token also apply to the self-determination and statehood of the Palestinian people.
35. We further ask the Court to consider whether there may be circumstances where political discretion in matters of recognition gives way to a positive duty of recognition, especially when it is necessary to safeguard a peremptory norm. And here, Namibia aligns itself with Jordan’s Written Submission that all States are also under an obligation to recognize the right of the Palestinian people to self-determination, including by exercising that right within a viable and independent State of Palestine.
B. Legal consequences of Israel’s illegal occupation
36. Since Israel’s policies and practices violate peremptory norms of international law, the occupation itself is unlawful. This entails consequences for Israel, for third States and, for the United Nations.
37. In the Namibia Opinion, you already set out the legal consequences of unlawful occupation. There, you said that, once the Court is faced with an illegal situation, “it would be failing in the discharge of its judicial functions if it did not declare that there is an obligation, especially upon Members of the United Nations, to bring that situation to an end.”
38. In that Opinion, you recognized the clear obligation on South Africa to put an end to the illegal occupation and withdraw its administration from the territory. The same consequences must of necessity attach to the illegal occupation by Israel of the Palestinian territories.
39. Cessation cannot be contingent on external factors such as the successful outcome of negotiations, as pointed out by some participants in these proceedings. A withdrawal contingent on the outcome of political negotiations effectively gives Israel a veto over the future of the Palestinian people.
40. Namibia invites the Court to set a strict time-limit within which Israel must be asked by the General Assembly to bring the occupation to an end, without conditions. Failure to set a strict time-limit has the perverse effect of being treated as acquiescence in the present occupation, and permission for it to continue indefinitely.
41. Of course, Israel has defied this Court and ultimatums issued by the United Nations organs many times. But it is precisely for this kind of egregious violations of peremptory norms that a régime of countermeasures was contemplated in the now widely accepted International Law Commission’s draft Articles on State Responsibility. Equality before the law is a cardinal principle of the Charter of the United Nations. No State — not Israel — should be exempt from the comprehensive régime of sanctions.
42. Moreover, Namibia reaffirms the position held by the majority of participants that all States are under an obligation not to recognize, assist, support, or contribute to the continuation of the unlawful occupation. This is also in line with your own settled jurisprudence.
43. In the Wall Opinion, you confirmed that the obligations of third States include the “obligation not to render aid or assistance in maintaining the [illegal] situation”. That all States must refrain from all forms of assistance, including transfer of arms, and political support that de facto perpetuates the occupation.
44. In Namibia’s view, this means, in particular, that all States are under an obligation to ensure that companies under their jurisdiction or control do not trade in Israeli goods or with Israeli companies originating from or linked to Israel’s illegal occupation.
45. Mr President, Members of the Court, I thank you for your kind attention. This concludes Namibia’s oral submissions. Thank you.
[…]
The Court adjourned from 11.20 a.m. to 11.40 a.m.
The PRESIDENT: Please be seated. The sitting is resumed. I now call upon the delegation of Pakistan to address the Court and invite His Excellency Mr Ahmed Irfan Aslam to take the floor.
Mr ASLAM: [PAKISTAN] (23 February 2024)
PART I
1. INTRODUCTION
1. Mr President, Members of the Court, it is an honour to appear before you on behalf of the Islamic Republic of Pakistan in these most important of proceedings. These proceedings take place as a whole people struggle to survive through relentless bombardment, the very people who have endured daily persecution for over half a century. And yet, these proceedings inspire hope. They inspire hope because they present an opportunity. They afford this Court an opportunity to develop jurisprudence to advance essential principles of international law that preserves and advances the very basic human right of liberty and dignity.
2. Pakistan has always been a defender of the Palestinian people and their right to self-determination. It was Pakistan that proposed the General Assembly’s first resolution, on the first day of the Six-Day War, relating to Israel’s invasion of Jerusalem and the measures taken by Israel to change the status of the city. Since then, Pakistan has continued to engage on these important questions of international justice and it remains committed to contribute and play its part.
3. Against this background, I will deal initially with five points and then make some technical legal arguments that Pakistan considers to be of particular importance in these proceedings. First, the question of self-determination. Second, the question of occupation and annexation. Third, systematic racial discrimination and apartheid. Fourth, the question of the City of Jerusalem and its holy places, and finally, the two-State solution.
2. SELF-DETERMINATION
4. Mr President, Members of the Court, I come to my first point. The Palestinian people have, as the Court itself has recognized, the right to self-determination. This right, which is codified in the two United Nations Human Rights Conventions, is “one of the essential principles of contemporary international law”. All States have a legal interest in protecting that right, which has the status of jus cogens. Israeli measures that severely impede the exercise by the Palestinian people of the right to self-determination are in breach of Israel’s obligations to respect that right. Pakistan strongly believes in the inherent right of people to live freely and in the justice of struggle for freedom from alien subjugation under the right of self-determination.
3. OCCUPATION AND ANNEXATION
5. I turn to my second point: the question of Israel’s occupation and annexation. It has always been the position of the United Nations that it “cannot condone a change in the status juris resulting from military action contrary to the provisions of the Charter. The Organization must, therefore, maintain that the status juris existing prior to such military action be re-established by a withdrawal of troops, and by the relinquishment or nullification of rights asserted in territories covered by the military action”.
6. Thus, after the Six-Day War, the Security Council determined in resolution 242 (1967) that Israel must withdraw its armed forces from territories occupied in the recent conflict. In resolution 476 (1980), the Security Council reaffirmed “the overriding necessity for ending the prolonged occupation of Arab territories occupied by Israel since 1967”.
7. Israel’s occupation is no longer, if it ever was, a military occupation; it is annexation. In East Jerusalem, the annexation is de jure; in the rest of the territory, it is de facto. But the formal characterization matters little. To use the words of the Court in the Wall case, the occupation is today, “notwithstanding the formal characterization . . . tantamount to de facto annexation”. This now applies to the entire territory. This may have been the intention all along. Prime Minister Ben-Gurion affirmed in 1950 that “the Israeli Empire must comprise all the territories between the Nile and the Euphrates”, and this was to be achieved as much by invasion as by diplomacy. More recently, Prime Minister Netanyahu has declared that his Government will be “applying Israeli sovereignty over all the communities formed through the transfer of Israeli settlers and not one residential community will be uprooted”.
8. Through its settlement policy, Israel has sought to create “irreversible facts on the ground”. It has aimed to create physical facts which in practical terms make it as difficult as possible to bring an end to its prolonged occupation of the West Bank and East Jerusalem. Notwithstanding, the Security Council has reaffirmed that the settlements constitute “a flagrant violation under international law”.
9. As this Court said in the Namibia case: “A binding determination made by a competent organ of the United Nations to the effect that a situation is illegal cannot remain without consequence.” As in that case, in answering the legal questions now referred to it, the Court is not concerned with the question of what practical steps would be required to cease the occupation.
10. It is worth recalling, however, that even greater practical issues have been overcome in other contexts, such as when the French Government withdrew a million settlers from Algeria in 1962. The French settlers were more numerous than the Israeli settlers in the West Bank and East Jerusalem taken together. France’s settlements in Algeria were not only more numerous: they were also “far older and better established than Israel’s West Bank colonies”.
4. SYSTEMATIC RACIAL DISCRIMINATION AND APARTHEID
11. I come to my third point, regarding systematic racial discrimination. Israel’s policies and practices amount to systematic racial discrimination and apartheid. Israel has imposed a system of racial discrimination against the Palestinian people since 1967. It is a system that distinguishes - deliberately and systematically — along ethnic and religious lines between the Palestinian population and Jewish Israeli settlers illegally transferred into the territory. The purpose of domination and oppression may be inferred from Israel’s pattern of conduct against the Palestinians.
5. THE HOLY CITY OF JERUSALEM AND ITS HOLY PLACES
12. I turn to my fourth point: Jerusalem and its holy places. The Holy City of Jerusalem is unique in that it is sacred to all three Abrahamic religions. Under the historic status quo, it is the right of Christian, Jewish and Muslim communities freely to access and worship at their holy places in the city. Ottoman decrees set out these rights in the nineteenth century. The régime was later confirmed in multilateral and bilateral instruments. The historic status quo has today developed into a so-called “objective régime”, which captures the point that it is characterized by a permanence which the instruments that established it do not themselves necessarily enjoy. Every State interested therefore has the right to insist upon compliance with this régime.
13. Under Israel’s prolonged occupation, Christians have not been free to access or worship in the Church of the Holy Sepulchre and Muslims have not been free to access or worship at Haram al-Sharif and in the Al Aqsa Mosque, to name only some prominent sites. The rights under the historic status quo must immediately be restored. This issue is of great importance to Pakistan, which is home to the second largest Muslim population in the world.
6. THE TWO-STATE SOLUTION
14. And now I come to my final point of the first part of my statement. Pakistan believes that the two-State solution must be the basis for peace. In the Wall case, this Court observed that the two-State solution was to be encouraged
“with a view to achieving as soon as possible, on the basis of international law, a negotiated solution to the outstanding problems and the establishment of a Palestinian State, existing side by side with Israel and its other neighbours, with peace and security for all in the region”.
Pakistan supports this call.
15. On 26 October 2023, Pakistan was pleased to vote in favour of the General Assembly resolution which reaffirmed that: “a just and lasting solution to the Israeli-Palestinian conflict can only be achieved . . . in accordance with international law, and on the basis of the two-State solution”. Two months later, on 22 December 2023, the Security Council reiterated its unwavering commitment to the vision of the two States, consistent with international law and relevant United Nations resolutions.
16. And these— and numerous other— resolutions by the political organs of the United Nations make clear, a two-State solution, and negotiations leading to it, must be consistent with international law. “Negotiations”, Judge Al-Khasawneh of this Court observed in the Wall case, “are a means to an end and cannot in themselves replace that end”. He continued to say that the discharge of fundamental international obligations cannot be made conditional upon negotiations.
17. In this regard, the Court’s advisory opinion in these proceedings will be most important. Far from impeding negotiations and the achievement of a just and lasting two States, the Court’s advisory opinion will further assist such efforts, by making it possible for the parties to make progress on the sound basis of international law and international legitimacy.
PART II
ISRAEL CANNOT BE ALLOWED TO BENEFIT FROM ITS OWN WRONGS
18. Mr President, Members of the Court, I now turn to more technical legal arguments of my submissions.
19. The Court has heard various competing submissions this week with respect to question (b) of the request, but there can be little doubt as to the central importance of three matters:
(a) First, the role of the rules on the use of force in governing the unlawfulness of a given occupation itself.
(b) Second, the series of General Assembly and Security Council resolutions that have consistently and expressly called for Israel’s withdrawal and referred to “the inadmissibility of the acquisition of territory by war”, which is a corollary of those rules.
(c) Third, the Court’s Advisory Opinion on Namibia is a helpful reference point for the Court.
20. Pakistan hopes to assist the Court by suggesting a slightly different way of looking at things, which leads to the conclusion that Israel’s occupation is unlawful and unlawfulness must have consequences.
A. The principle that no State can profit from its own wrong
21. In this respect, Pakistan considers that a useful touchstone for the Court is the general principle that no State can benefit from its own wrong.
22. As Sir Gerald Fitzmaurice (1901-1982) explained:
“The general principle is that States cannot profit from their own wrong . . . and similarly that rights and benefits cannot be derived from wrong-doing. This admits of no doubt. It is a wide general principle having many diverse applications under international law . . . of course these principles apply not merely as regards treaty obligations but to general international law obligations also.”
23. Notably, in the Wall case, Israel accepted that this principle is “as relevant in advisory opinions as it is in contentious cases”. The principle is particularly important where, as here, the wrongs at issue are of the most serious kind.
B. The principle in the context of the applicable law
24. Second, the principle in the context of applicable law. This principle is one of the underpinnings of the prohibition on the acquisition of territory either by force or through the denial of self-determination. The wrongs are obvious and no benefit in terms of lawful possession or a legal entitlement to administer the territory could be derived.
25. As to this case, if the Court agrees with Pakistan and with many other States that Israel is in continued breach of these fundamental primary obligations, it cannot allow Israel to benefit from its own ongoing wrongs by somehow avoiding the natural consequences that must follow under this law of State responsibility. These include the obligations of cessation and non-repetition which require immediate and unconditional withdrawal, as well as the obligations of non-recognition and non-assistance for all other States.
26. As to the applicable primary rules, it is customary international law and the Charter that govern the illegality of a given occupation at any point in time. As a separate matter, international humanitarian law governs the conduct of an occupying Power with respect to the occupied population.
27. But if the occupation itself is unlawful, that carries legal consequences for Israel and for all States under the secondary rules of State responsibility. Those legal consequences are in no way displaced by separate consideration of the lawfulness under international humanitarian law of particular conduct in the course of the occupation, much less by hope for a negotiated solution. Any other approach would effectively permit Israel to benefit from its own wrongdoing.
28. For the same reason, there is no scope for an argument that other States, in their dealings with respect to Israel or the Occupied Palestinian Territory, could somehow put to one side the question of the unlawfulness of the occupation itself. They could not, for example, elect instead to focus exclusively on the different questions of whether specific Israeli measures were absolutely necessary to meet legitimate security requirements such that those measures are not unlawful under international humanitarian law.
C. The principle in the context of the Namibia Advisory Opinion
29. Mr President, Members of the Court, any conclusion could not be reconciled with the Court’s Opinion on Namibia. There are certain clear parallels with the present case. The General Assembly had condemned South Africa’s occupation of Namibia, characterizing this as an “occupation” that engaged the Geneva Conventions, and the Security Council had expressly called for South Africa’s withdrawal.
30. In a later resolution, after condemning South Africa’s non-compliance with the earlier resolutions, the Security Council had also declared that “the continued presence of the South African authorities in Namibia is illegal”. This is to be understood as a reference to illegality under the rules on the use of force. Notably, the United States voted in favour of this resolution. With respect to Palestine, however, it now appears to wish to limit those rules to governing the lawfulness of “the initial resort to force” “leading to an occupation” only. Of course, that could not be correct, including because it would allow an aggressor to benefit from an ongoing attempt to acquire territory through annexation.
31. Indeed, in its 1971 Advisory Opinion, the Court itself concluded that, “the continued presence of South Africa in Namibia [is] illegal”. The Court held that South Africa was under an obligation to withdraw immediately and that all States were under an obligation to recognize the illegality of the occupation.
32. In reaching this conclusion, the Court found that South Africa’s application of the apartheid régime to occupied territories amounted to disowning the Mandate. In this connection, the Court relied on a context specific expression of the general principle that no State can benefit from its own wrong, stating “[o]ne of the fundamental principles governing the international relationship thus established is that a party which disowns or does not fulfil its own obligations cannot be recognized as retaining the rights which it claims to derive from the relationship”.
33. South Africa had claimed it had an independent right to administer the territory by reason of its “long occupation”. Evidently, the Court disagreed. Three points follow from this.
34. First, the Court in Namibia case implicitly recognized that neither the fact of an occupation nor the law of occupation confer upon the occupying Power any legal entitlement to administer the territory. Any contrary view would allow an occupying Power to benefit from its unlawful use of force.
35. Second, the Court made a positive finding that South Africa’s occupation was unlawful. In Namibia, there was a binding Security Council decision to that effect. The Security Council has made no such Security Council decision with respect to Palestine. But this in no way displaces or impedes the Court’s judicial function in determining this legal question for itself.
36. Third, the Court plainly did not consider that South Africa’s continued status as an occupying Power made any difference.
37. As Judge Greenwood has explained, the basic position under the law of occupation is that an occupying Power has the “liberty to govern within certain limits without being guilty of a violation of the ius in bello”. The occupying Power is required to administer the territory as a temporary conservator or trustee for the benefit of the occupied population. Acting in that capacity, the occupying Power has certain liberties to take measures in good faith in the best interests of the occupied population or, where absolutely necessary, to meet its own legitimate security interests. This, of course, is a separate question to the unlawfulness of the occupation itself.
38. As to the position under the law of occupation, again, it is helpful to recall the Namibia case. The Court’s context specific expression of the principle was that “a party which disowns or does not fulfil its own obligations cannot be recognized as retaining the rights which it claims to derive from the relationship”. Pakistan considers that this has relevance when considering whether an occupying Power should be recognized as retaining liberties to administer the occupied territory. In this case, if one were to zoom in exclusively on Israel’s conduct as an occupying Power, the only conclusion could be that Israel has disowned its basic duties. Its policies and practices of occupation deny the right of the Palestinian people to self-determination and amount to systematic racial discrimination and serious violations of international humanitarian law and human rights. Plainly, they cannot be said to be absolutely necessary to meet Israel’s own security interests. They serve Israel’s other interests, including its goal of acquiring the territory.
D. Conclusion
40. Mr President, Members of the Court. I conclude. With the general principle that no State can be benefit from its own wrong firmly in mind, it cannot be right that, as some States have suggested, the Court should refrain from finding that the occupation itself is unlawful or that there is no obligation to withdraw. This would be to allow Israel to profit from its own continued grave wrongs. And, to adopt the Court’s words in Namibia, the Court “would be failing in the discharge of its judicial functions”. Such abdication of responsibility would not encourage or facilitate the achievement of a negotiated solution on the basis of international law. More generally, the Court would be sending out a clear signal to other States that they too might be allowed to benefit through the prolonged unlawful occupation of the territory of another State.
41. Mr President, Members of the Court, these proceedings are a great moment in law, they are a great moment in history. We all have a collective opportunity to develop jurisprudence in a way that advances the cause of humanity. I wish you good luck in your deliberations. Thank you.
The PRESIDENT: I thank the delegation of Pakistan for its presentation.
The round mask in the early Kodaks contribute to the casual and offhand framing of many of the images. In this photograph a baby waves from an elaborate wicker carriage while the mother or nurse is cut off by the edge of the round frame. She holds a letter in her hand which suggests she was on her way to the mail box with the baby.
Contributing Building - Greenville Street-LaGrange Street Historic District - National Register of Historic Places
NRIS #83000190
The University Of Oxford Botanic Garden is an historic botanic garden in Oxford, Oxfordshire. It is the oldest botanic garden in Great Britain and one of the oldest scientific gardens in the world. The garden was founded in 1621 as a physic garden growing plants for medicinal research. Today it contains over 8,000 different plant species on 1.8 hectares (4½ acres). It is one of the most diverse yet compact collections of plants in the world and includes representatives from over 90% of the higher plant families.
In 1621, Henry Danvers, 1st Earl of Danby, contributed £5,000 (equivalent to £744,000 in 2005) to set up a physic garden for "the glorification of the works of God and for the furtherance of learning". He chose a site on the banks of the River Cherwell at the northeast corner of Christ Church Meadow, belonging to Magdalen College. Part of the land had been a Jewish cemetery until the Jews were expelled from Oxford (and the rest of England) in 1290. Four thousand cartloads of "mucke and dunge" were needed to raise the land above the flood-plain of the River Cherwell.
Humphry Sibthorp began the catalogue of the plants of the garden, Catalogus Plantarum Horti Botanici Oxoniensis. His youngest son was the well-known botanist John Sibthorp (1758–1796), who continued the Catalogus Plantarum.
The Garden comprises three sections:
1. The Walled Garden, surrounded by the original seventeenth century stonework and home to the Garden's oldest tree, an English yew, Taxus baccata.
2. The Glasshouses, which allow the cultivation of plants needing protection from the extremes of British weather.
3. The area outside the walled area between the Walled Garden and the River Cherwell.
A satellite site, the Harcourt Arboretum, is located six miles (10 km) south of Oxford.
The Garden was the site of frequent visits in the 1860s by Oxford mathematics professor Lewis Carroll and the Liddell children, Alice and her sisters. Like many of the places and people of Oxford, it was a source of inspiration for Carroll's stories in Alice's Adventures in Wonderland. The Garden's waterlily house can be seen in the background of Sir John Tenniel's illustration of "The Queen's
Croquet-Ground".
Another Oxford professor and author, J. R. R. Tolkien, often spent his time at the garden reposing under his favourite tree, Pinus nigra. The enormous Austrian pine is much like the Ents of his The Lord of the Rings story, the walking, talking tree-people of Middle-earth.
In the Evelyn Waugh novel Brideshead Revisited, Lord Sebastian Flyte takes Charles Ryder "to see the ivy" soon after they first meet. As he says, "Oh, Charles, what a lot you have to learn! There's a beautiful arch there and more different kinds of ivy than I knew existed. I don't know where I should be without the Botanical gardens" (Chapter One).
In Philip Pullman's trilogy of novels His Dark Materials, a bench in the back of the garden is one of the locations/objects that stand parallel in the two different worlds that the protagonists, Lyra Belacqua and Will Parry, live in. In the last chapter of the trilogy, both promised to sit on the bench for an hour at noon on Midsummer's day every year so that perhaps they may feel each other's presence next to one another in their own worlds.
If you have any questions or would like to contribute to this archive, please visit tigerjams.art/ and contact me on Twitter DM or Telegram ♥
A [ very ] potted history of The Knole in Knole Rd.
The Knole stands in Knole Rd in Boscombe and is the home of Bournemouth Freemasonry.
Built in 1872 / 3 it was the first building erected in the vicinity and was built for the wealthy Edmund Christy who also contributed towards the construction of St Clements Church, built around the same time.
After the death of Mr Christy there were various tenants and owners before Anne Page Croft, who later donated the clock in the tower at the Lansdowne College, purchased it in 1911. Her son Henry Page Croft became MP for Bournemouth in 1918 and often frequented The Knole. He inherited it from his mother in 1921
After his death in 1947 the house again fell into the hands of various owners before becoming a hotel in the late 1940s, but this venture was unsuccessful and by 1955 the house was emptied of it's contents and boarded up.
In 1958 it became the new home of the various lodges of the Bournemouth Freemasons, a role it continues to fulfill.
Once surrounded by magnificent gardens with an impressive carriage drive entrance from Knyveton Rd, the front garden was redeveloped with the residential cul de sac Knole Gardens in the 1950s, although an impressive avenue of Wellingtonia Pines still survive. The house has had a truly horrific extension added and is now surrounded by a sea of tarmac, all of which serve to severely lessen the impact of one of Bournemouth's hidden architectural gems..
This series of images and the accompanying 'potted history' is to compliment the excellent 'The Knole - The Story of the Home of Freemasonry In Bournemouth 1958 - 2008' by Michael Drayton. There is no ISBN but further details on how to obtain a copy for £10 and a bit of p&p can be found here www.bournemouthmasons.org.uk/Golden.htm
I would also recommend viewing Alwyn Ladell's Flickr set www.flickr.com/photos/alwyn_ladell/sets/72157631213639594/
Contributed by: Marg O'Neill
Hospital: Dudley Private Hospital Orange NSW
Ward: Surgical/Medical Wards known as A and B wing.
Images and discussion contributed by Pallavi Khattar, M.D. (New York Medical College at Westchester Medical Center), Puneet Bedi, M.D. (Brookdale University Hospital and Medical Center, New York) and John T Fallon, MD, PhD (New York Medical College at Westchester Medical Center).
A 64 year old man presented with a past medical history of hypertension, congestive heart failure (CHF), atrial fibrillation and NSTEMI. He was admitted for CHF exacerbation and acute kidney failure. He continued to have worsening cardiac status and experienced sudden cardiac arrest. Findings at autopsy revealed evidence of myocardial ischemic damage and bulky rubbery lesion on the aortic valve, completely occluding right coronary ostium.
Discussion:
Cardiac papillary fibroelastomas (CPFEs) are rare benign tumors of the endocardium and represent the most common primary valvular tumors of the heart (Am Heart J 2003;146:404). These tumors are also referred to as giant Lambl’s excrescences, fibroelastic hamartomas or papilliferous tumors.
CPFE is sporadically reported with an incidence between 0.002% and 0.33% at autopsy. CPFE can occur in any age group, with the majority occurring in adults, and the highest prevalence in the eighth decade. They occur most frequently on the valvular surfaces (73%), particularly on the aortic (44%) and mitral (35%) valves (Can J Cardiol 2007;23:301).
Grossly, the tumor is characterized by broad-based filiform processes, with or without a central stalk. These lesions are more common near the lines of valvular closure.
Microscopically, CPFEs consists of papillary, pedunculated and avascular tumors, covered by a single layer of endothelium, containing variable amounts of elastic fibrils arranged in whorls in a hyaline stroma. The connective tissue contains a mucopolysaccharide acid matrix, smooth muscle cells, collagen and elastin fibers.
Differential diagnoses to be considered are other cardiac tumors (e.g. myxomas, thrombi and bacterial vegetation’s).
Although many papillary fibroelastomas do not cause symptoms, early diagnosis of CPFE is of prior importance to prevent patients from fatal complications. Nevertheless, this tumor can present with a variety of clinical manifestations, making diagnosis challenging. Transesophageal echocardiography is known to have high sensitivity to detect excrescences and should always be included in the diagnostic assessment. Asymptomatic patients who are found to have evidence of CPFE should be monitored closely (Circulation 1999;99:1919).
CPFEs are benign and can be removed by surgical resection.
Click here to see topic.
Photograph contributed by The Isle of Arran Heritage Museum
For more information on the Yesterd@ys project, please visit Our Website, or email us at NAHeritage@North-Ayrshire.gov.uk
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Knowsley Safari Park is a zoological park and tourist attraction in the Knowsley area of Merseyside, England. Knowsley Safari Park is a member of the British and Irish Association of Zoos and Aquariums (BIAZA) and the European Association of Zoos and Aquaria (EAZA). The safari park contributes to conservation and research through links with conservation projects and its links with universities in Liverpool, Chester and Manchester.
History
The park was opened in July 1971 by Edward Stanley, 18th Earl of Derby and Jimmy Chipperfield[9] using the expertise of general manager Laurence Tennant MBE, formerly the Chief Game Warden of Parks in Uganda and Botswana. Initially the road through the park was 3.5 miles (5.6 km), with visitors driving past lions, cheetahs, monkeys, giraffes, zebra, elephants and various antelope. Due to the popularity of this route, an additional 1.5 miles (2.4 km) of road was added in 1973, and camels, buffalo, white rhino, and tigers were added to the park. Over the years, a few modifications have been made. For instance, tigers are now displayed in enclosures within the reserve, and a bypass around the baboons was built for visitors who are worried about damage to their cars.
The park was also home to a former RAF airfield which closed at the end of World War II. The RAF airbase situated at the safari park was also known as No 49 SLG or RAF Knowsley Park and was in use between 13 May 1942 – November 1944.
The park has hosted several sporting events including the Olympic torch relay, watched by 6,000 children and families in June 2012. The park hosted the finish of Stage Two of the 2012 Tour of Britain cycling event and is scheduled to host Stage Three of the 2013 Tour on Tuesday 17 September.
Most recently it hosted the final leg of Big Learner Relay 2017 which has raised over £300,000 for the BBC Children in Need appeal since 2014. Louise Walsh the inspiration behind the BLR has been awarded the prime minister's points of light award which recognises outstanding individual volunteers.
In 1995 Mr William Middleton, a warden at the park, was crushed and paralysed due to a faulty elephant enclosure. Mr Middleton died 12 years later due to complications caused by his injuries.
Zoological collection
Situated around Knowsley Hall on the ancestral estate of the Earl of Derby, the reserve is home to many different animals including elephants, giraffes, lions, bongos, tigers and baboons. The Derby Estate have a tradition of keeping animals, ever since the famous artist and nonsense-poet Edward Lear was employed there in the 19th century to paint pictures of the Earl's collection.
The park is open to the public and customers drive around the park in their own vehicles. There is a bypass route past the baboons for those who wish to avoid the risk of the baboons damaging their cars. In 2009 the baboons made the news all over the world when a video was released showing how they were intelligent and curious enough to open car roofboxes.
Tiger Trail
Amur Tiger Trail opened 25 May 2018, home to the Amur Tiger otherwise known as the Siberian Tiger. The area is 10,000m2 and includes forested areas, natural streams and ponds.
The Equatorial Trail
This exhibit focuses on animals who thrive in habitats around the Earth's Equator. The exhibit also houses the 'Equatorial Express', a small train which visitors can ride to gain a unique viewpoint of the animals. 4 completely different species of animals are housed in this exhibit, the South American tapir, Sitatunga, Rhea and the Capybara.
African Elephant
Until 2017 the park housed a herd of 4 adult cows named Tana, Ashanti, Nala and Juba. They were transported to Zoo Parc d'Beauval, France to enter the European Breeding Programme and allow for transformations on Knowsley Safari's Foot Safari. Knowsley previously housed a bull named Nissim, who collapsed in June 2014. Knowsley also recently lost their cow named Shaba due to a long battle with elephant arthritis.
Southern White Rhinoceros
Knowsley's crash of 11 adult rhinos is one of the most successful and genetically diverse breeding groups in Europe. The latest calf (as at 4 June 2016), Nomvula (Mother of Rain – a reference to the recent wet weather), born to mum Meru and is the 19th to be born at the facility in the last 40 years. Nomvula is Meru's 6th calf and was born on 2 January 2016.
Safari Drive
The Safari Drive is the park's main attraction and contains over 29 species of animals in 7 zones.
Zone 1+11
This zone contains: Père David's deer, Yak, Kiang and Bactrian camel.
Zone 2+8
This zone contains: Blackbuck, Nilgai, Eld's deer, Chital (Axis Deer) and Barasingha.
Zone 3+4+6
Zone 6 is over 100 acres and contains over a mile of road. It is one of Knowsley's two white rhino paddocks and is one of the largest in the UK. This zone contains: Southern White Rhino, Roan antelope, Eland, Lechwe, Wildebeest, Plains Zebra, African Forest Buffalo, Ostritch and Waterbuck.
Zone 5
This zone contains: Blesbok and Bongo
Zone 7
This zone contains exclusively the Olive baboon, which are famous for removing windscreen wipers and other appendages off vehicles. There is a car-friendly route which totally removes this zone however is still visible from outside the perimeter. This leads directly to zone 6.
Zone 9
This zone contains: European Bison, Fallow Deer and European Moose
Zone 10
This zone contains: Lion, and the Somali wild ass. This zone previously housed African wild dog, Iberian Wolf and Siberian Tiger.
All information correct and sourced from the Knowsley Safari Guide Book 2018 and edited by an editor who loves animals.
Railway and other attractions
The park features a 15 in (381 mm) gauge railway, 'The Lakeside Railway', on which visitors may tour parts of the site. There is also a collection of amusements and fairground rides on site plus paintballing, off-road driving challenges, and aerial extreme ropewalks.
A baboon house was added in 2006, along with African wild dogs that same year, a lion and tiger house in 2007. Red river hogs and marmosets were also added to the walkaround section, as well as an outdoor pool.
Animal care
In January 2011, local animal rights activists held a peaceful demonstration after an inspection by government vets found one instance of a breach of regulations on the disposal of animal ‘by-products’. Pictures in the Daily Mail showed animals lying dead on the ground and in binbags, although the park's directors claim the pictures were staged by the photographer, whose husband the paper claimed had recently lost his job at the park. The park has since installed an enclosure for the storage of animal carcasses before disposal. The British and Irish Association of Zoos and Aquariums (BIAZA) later said it had ‘full confidence’ in Knowsley and praised its ‘excellent standards of animal husbandry and welfare’.
Diagram illustrating the mechanisms by which aquaculture can contribute to eutrophication and hypoxia.
Credit: Michael L. Webe | SeaWeb Aquaculture Clearing House
Earth Infrastructures Limited is committed to contribute to the society in the best possible manner.
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This time, the BIENNALIST is looking into the notion of uncertainty which is the main theme for Bienal de São Paulo this year titled INCERTEZA VIVA (Live Uncertainty).
The program of Bienal de São Paulo is focusing "on notions of “uncertainty” to reflect on the current conditions of life and the strategies offered by contemporary art to harbor or inhabit uncertainties"
BIENNALIST is an art format that responds and questions the themes of biennials with artworks. Thierry Geoffroy/COLONEL have since 1988 been on location testing the pertinence of the biennales. Instead of questioning the canvas, the pigment or the museum, the artist questions the staged art events and their motivations. The theme of each biennial is taken seriously and studied in order to contribute to the debate the biennales want to generate.
www.emergencyrooms.org/biennalist.html
us11.campaign-archive1.com/?u=22fa5c727ad97382f987f60c8&a...[UNIQID]
-----------------the 32nd Bienal de São Paulo concept and artists ---
Titled Incerteza viva (Live uncertainty), the 32nd Bienal de São Paulo means to reflect on the current conditions of life and the strategies offered by contemporary art to harbor or inhabit uncertainty. The exhibition, curated by Jochen Volz and the co-curators Gabi Ngcobo (South Africa), Júlia Rebouças (Brazil), Lars Bang Larsen (Denmark) and Sofía Olascoaga (Mexico), will be held from September 10 to December 11, 2016 at the Ciccillo Matarazzo Pavilion, featuring approximately 90 artists and collectives, 54 of which are announced below:
Alia Farid; Anawana Haloba; Bárbara Wagner; Bené Fonteles; Carla Filipe; Carolina Caycedo; Cecilia Bengolea; Charlotte Johannesson; Cristiano Lenhardt; Dineo Seshee Bopape; Ebony G. Patterson; Eduardo Navarro; Em’kal Eyongakpa; Erika Verzutti; Felipe Mujica; Francis Alÿs; Gabriel Abrantes; Gilvan Samico; Güneş Terkol; Heather Phillipson; Helen Sebidi; Henrik Olesen; Hito Steyerl; Iza Tarasewicz; Jorge Menna Barreto; José Antonio Suárez Londoño; José Bento; Kathy Barry; Koo Jeong A; Lais Myrrha; Lourdes Castro; Luke Willis Thompson; Mariana Castillo Deball; Michal Helfman; Misheck Masamvu; Nomeda & Gediminas Urbonas; OPAVIVARÁ!; Öyvind Fahlström; Park McArthur; Pia Lindman; Pierre Huyghe; Pilar Quinteros; Priscila Fernandes; Rachel Rose; Rikke Luther; Rita Ponce de León; Ruth Ewan; Sandra Kranich; Ursula Biemann; Víctor Grippo; Vídeo nas Aldeias; Vivian Caccuri; Wilma Martins; William Pope.L
The exhibition sets out to trace cosmological thinking, ambient and collective intelligence, and systemic and natural ecologies. “Art feeds off uncertainty, chance, improvisation, speculation and, at the same time, it attempts to count the uncountable and measure the immeasurable. It makes room for error, for doubt and risk—even for ghosts and the most profound misgivings, without evading or manipulating them,” says curator Jochen Volz. “In order for us to objectively confront the big questions of our time, such as global warming and its impact on our habitat, the extinction of species and the loss of biological and cultural diversity, economic and political instability, injustice in the distribution of the earth’s natural resources and global migration, perhaps it’s necessary to detach uncertainty from fear.”
As part of the research for the 32nd Bienal de São Paulo and inaugurating its public activities, four Study Days will be held between March and May of 2016, combining visits to cultural institutions and initiatives, local communities, ecological reserves, artists’ studios, and research centers with four conferences, open to the public and conducted by invited lecturers and professionals at the different locales where they are to take place:
Cuiabá, Mato Grosso, Brazi, one of the richest and most fragile biomes in the world, a land of depleted soil, of monoculture, of species vanished and knowledge forgotten, selected for a conference discussing extinction and preservation, abundance and drought; Santiago, Chile, for a conference focusing on cosmologies and the enmeshed relationships between art and science, myth and history from a present-day perspective; Accra, Ghana, a point of return for many slaves from Brazil, a locale of bonds and renewals, projections and collective dreams; and the Peruvian Amazon, where the objective is to work with education, connections between the human race and nature, and to address questions about what is natural and original.
To mark the cycle, a seminar will be held at the Bienal building in São Paulo in June, interlacing the themes and proposals developed during these collaborative investigations. Registers of the Study Days and the seminar in São Paulo will be published on the Bienal website and in a specific publication.
Seeking to actively participate in the continuous and collective construction of the Ibirapuera Park as a public space, the exhibition sees itself as an extension of the garden inside the pavilion. Conversely, numerous artistic projects will be commissioned for the park. The firm Álvaro Razuk Arquitetura has been invited to develop the exhibit’s architectural project and exhibition displays.
Curator: Jochen Volz
Co-curators: Gabi Ngcobo, Júlia Rebouças, Lars Bang Larsen and Sofía Olascoaga
--------other biennale --
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
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#biennial #biennale #emergencyart #ultracontemporary
Employees of the NRC contribute to the Marine Corps Reserves “Toys For Tots” campaign during this holiday season. Pictured is Vanessa Cox, who coordinated the agency’s effort.
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