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Leica M3, 35mm f2 Summicron, and Rollei Retro 400S stand developed in Rodinal 1 + 100 for 1 hour.
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I had to develop a roll of film I'd been shooting to function test a little tweak I did to my AE-1 before I start out a little mini project with Mark. Check the blog out for more details about that.
Anyway, when I arrived to get my roll processed, I realized that I still had one frame left. What the hell, I need a shot for today anyway right?
Canon AE-1 | Canon FD 28mm f/2.8
Kodak 400 Color | SOOC
20130507
Minox Daylight Developing Tank:Bakelite
Jobo 1510 Tank with 1501 DoulSet reel DIY to Minox 8x11 size:Plastic
Nikkor Developing tank with Minox format reel:Stainless steel
Kindermann Minox format Developing tank and reel:Stainless steel
DIY Jobo 1501 reel to Minox 8x11 format size method link here（Dropbox）:
two-section articulated streetcar model 71-421R "Dovlatov" was developed specially for St. Petersburg at Uraltransmash of Rostec State Corporation. Uraltransmash is a subsidiary of Uralvagonzavod, one of the leading companies in the field of locomotive and railcar construction in Russia. The enterprise is known primarily for its military products - artillery systems, the production of streetcars is part of the conversion program. Two versions of streetcars are produced, which are named after famous Russian and Soviet writers: three-section model 71-431R "Dostoevsky" and two-section model 71-421R - "Dovlatov". They operate on route No. 6, which runs through the center of St. Petersburg. A total of 76 units of retro streetcars were ordered - 42 model 71-431R "Dostoevsky" and 34 cars of model 71-421R "Dovlatov". The design of the new streetcars echoes the famous Leningrad streetcar LM-57 informally named "Stilyaga" (the mod) but uses the most advanced technologies. In particular, it integrates an active safety system that can independently perform braking, as well as a system for monitoring the driver's condition.
For a long time the progress in city tram design was retarded by the absency of low-level bogie. Old Soviet bogie model can not allowed to develop really modern low-floor tram models. Old type can be seen see here www.flickr.com/photos/cetus13/50020591482/in/album-721577...
At early 2000s the one of the leaders in streetcar production in the USSR and Russia, The Ust-Katav Wagon-Building Plant named after S. M. Kirov (Ust-Katavskiy Carriage Works, UKCW; Усть-Катавский вагоностроительный завод имени С. М. Кирова) located in Ust-Katav, Chelyabinsk Oblast, Russia started to develop modern model of city tram with all low-level floor that needed design of new special bogies. But the innovation tram of the model 71-625 has never been produced. After the design of the new tramway bogie was completed, the UKCW unexpectedly broke off relations with its Trading house that had sponsored the development. In 2013 the chief engineer of UKCP moved to a new company founded by Felix Vinokur which bought the rights for the bogie after his leaving the founders of the Trading house Ust-Katav Wagon-Building Plant LLC. Thus, a new tram manufacturer appeared in Russia, The PC Transport Systems LLC. Example of their bogie see here www.flickr.com/photos/cetus13/52962023548/in/album-721577...
It seems that another type of modern bogie was redeveloped by Ust-Katavskiy Carriage Works or even Uraltransmash (?) that utilise simplified Chevron rubber primary suspension instead of helical spring and swing arm.
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Leica M3 and Voigtlander Nokton 40mm f/1.4
Arista Premium 400 developed @ 1600 in Xtol (1:1)
Something developed a strange squeak and requires immediate attention. A generous dab of lubricating oil solves most problems. These guys are members of the volunteer's club that renovates and operates all the museum's vintage locos. They have an innate feel for whatever ailment might befall the iron guts of their monster machines.
I got a ride up in the engineer's cabin, with the stoker and the engineer. It is hard to conceive of anything more exhilarating than a 2000 horsepower vintage steam engine puff-puffing down the track, lurching to the left and right rhythmically with the torque imparted by the pistons.
Mũi Né is a coastal fishing town in the Bình Thuận Province of Vietnam. The town, with approximately 25,000 residents is a ward of the city of Phan Thiết. Mui Ne and the other wards of Phan Thiet that stretch along the coast for approximately 50 kilometers have been transformed into a resort destination since the mid 1990s, when many visited the area to view the solar eclipse of October 24, 1995. Most notably, tourism has developed in the area from the city center to Mũi Né, which has more than a hundred beach resorts, as well as restaurants, bars, shops and cafes.
Mũi Né ward has two beaches; Ganh Beach and Suoi Nuoc Beach, both with a number of resorts and a few shops and restaurants. But the most highly developed area is Rang Beach in Ham Tien ward, which extends west of Mui Ne. Strong sea breezes make all three beaches very popular for kitesurfing and windsurfing. The tourist season is from December to April The average temperature is 27 °C, and the climate is hot and dry much of the year.
____________________________________________
Mui Ne is a traditional fishing town in Binh Thuan Province that became a ward of the City of Phan Thiet in 1999. The name Mui Ne is often erroneously used as the general name for the main resort area in Phan Thiet along Mui Ne Bay, 220 km northeast of Ho Chi Minh City (South Vietnam).
Mui Ne is a coastal fishing community in Bình Thuận Province which is part of the South Central Coast of Vietnam. The town, with approximately 25,000 residents is a ward of the city of Phan Thiết. Mui Ne and the other wards of Phan Thiet that stretch along the coast for approximately 50 km have been transformed into a resort destination since the mid 1990s, when many discovered the area during the solar eclipse of October 24, 1995. Most notably, tourism has developed in the area from the city center of Phan Thiet to Mui Ne, including Phu Hai and Ham Tien wards along Phan Thiet Bay. The dense resort area along Phan Thiet Bay and beyond now boasts over two hundred beach resorts and hotels, as well as guest houses, backpacker hostels, restaurants, bars, shops and cafes.
In 2018 the Prime Minister approved the master plan to develop Mui Ne (Binh Thuan) as a National Tourist Site with a size of around 14,760 ha by 2025, with an orientation towards 2030.
An area of 1,000 ha has been defined as a core area for the establishment and development of functional areas for the tourism sector. Mui Ne National Tourism Site will be developed in an environmentally responsible way with a focus on protecting existing natural resources and environments, landscapes, and in particular the ecosystem in the Bau Trang tourist area (White Sand Dunes) as well as the sand dunes along the sea shore.
UNDERSTAND
Northeast of Phan Thiet the coastal road climbs over the slope of a Cham tower-topped hill and descends into the long, sandy crescent of Mui Ne Bay. The formerly little-inhabited beach southwest of the historic fishing village of Mui Ne proper has seen some serious development in the last 15 years. Now it is a 15 km long strip of resorts that line up like pearls on Nguyen Dinh Chieu Street, shaded by coconut palms. The main resort strip lies between the addresses of 2 and 98 Nguyen Dinh Chieu and is called Ham Tien. Like Mui Ne it is now a ward of the city of Phan Thiet which stretches over 50 km of coastline to the south and to the west of the original city center of Phan Thiet.
At the shoreline, nature moves the sand around, much to the dismay of some developers. Beach sand tends to migrate up and down the coast seasonally, leaving some (but not all) spots with just a concrete breakwater rather than sandy beach. There is always a good sandy beach somewhere along this 15 km beach. Accommodations at higher addresses tend to be smaller and less expensive, somewhat removed from the main tourist section and more mixed in with local life. If a sandy beach is important to you, some research is called for before booking in the area, especially after the tropical storm season. This research is important as without the beach there is little for non-kite-surfers to do in Mui Ne.
Quite a few bargain and "backpacker" hotels have popped up on the inland side of the road, across from the shoreline resorts. If you stay on the inland side, you will need to pass though one of the resorts to reach the beach, which might or might not result in some hassle from the guards. The resorts jealously guard their lounge chairs and palapas, though the beach itself is open to everyone.
Mui Ne Bay has become very popular with Russian tourists. Major Russian tour operators who bring busloads of tourists to Ham Tien and Mui Ne from the airports in Cam Ranh and Ho Chi Minh City have bought up several hotels along the main road and fill them year-round with Russian charter tour groups. English and Russian menus are common in most restaurants, and many stores and hotels are advertising and catering specifically to the Russian-speaking tourists, especially along the lowered numbered area of the strip on Nguyen Dinh Chieu Street which some guidebooks have rebaptised "Little Moscow."
GET IN
BY BUS
Most overseas visitors reach Ham Tien and Mui Ne via "open tour" buses that run between Ho Chi Minh City and Nha Trang. Most depart from Ho Chi Minh City between 07:30 and 09:00 (07:30 for Sinh Cafe's air conditioned bus) and arrive at Ham Tien and Mui Ne at about 13:00. In the opposite direction, buses typically depart from Mui Ne and Ham Tien around either 14:00 or 02:00 and arrive in Ho Chi Minh City approximately five hours later. Joe's Cafe is a good place to catch an outgoing night bus as it offers full service all night and you never know how late the bus will be. Outside Ho Chi Minh City, the coach will stop at a petrol station with a large shop and stalls selling snacks, drinks, and fruit.
The buses stop in the heart of the tourist strip in Ham Tien, so there is no need to take a taxi. The cost is about 105,000 dong each way, and tickets are sold all over the tourist districts of both Ho Chi Minh City and Nha Trang. If you are traveling to Ho Chi Minh City from Mui Ne and Ham Tien, you will most likely be put on an already full bus traveling from Nha Trang. As you are not assigned a seat, you may not be able to sit with any traveling companions, and at some of the less scrupulous travel agents you may not even get a real seat. You might get a mat at the back of the bus with four other people.
Public buses from both destinations also travel to the Mui Ne area, though finding the departure stations and figuring out the schedule is difficult for visitors. It's not worth the trouble unless you have a strong need to depart at a different time of day other than when the open tour bus leaves. Travel agencies play dumb because they don't earn anything from helping you find a public bus. The main bus station in Phan Thiet is at Từ Văn Tư, Phú Trinh and a taxi from there to the tourist strip can cost more than your bus ticket from HCMC!
BY TRAIN
A train runs daily from Ho Chi Minh City to Phan Thiet, departing around 06:30 and arriving five hours later. The return trip leaves Phan Thiet around 13:30. The cost is quite modest at around 60,000 dong per person each way (similar to the bus). The train station in Ho Chi Minh City (Saigon Railway Station) is in District 3, about 3 km from the centre. The railway station in Phan Thiet is about 5 km (80,000 dong taxi ride) from the beginning of the Ham Tien resort strip, and taxis are abundant to take you there. The railway also sometimes runs a mid-sized bus from the station to Mui Ne for 25,000 dong per person. Tickets are sold on the train, though the announcement might be made in Vietnamese only, and you need to watch carefully for the ticket sellers to pass by.
The train has regular carriages operated by the state railways, and sometimes other carriages booked and operated by private companies. The latter have somewhat larger seats for a higher price, but fall short of luxury. The regular carriages are a bit cramped for the Western-sized body. When the train is not full, railway staff usually packs everyone into one carriage, leaving another one empty, and then run a side business selling "upgrades" to the quiet, empty carriage. The entire train will be jammed on holidays.
Overall, the train is probably less comfortable and convenient than the open-tour bus, though it has some advantages. You get a better view of the countryside and avoid the endless honking of horns and lunatic driving of the bus drivers.
BY TAXI
You might consider coming to Mui Ne from Saigon by taxi, instead of open bus. The departure times of the open buses might not suit your schedule. They are also slow sometimes, because the driver makes stops at rather bad restaurants where he receives commission. The ride by taxi takes 4-5 hours, depending on road conditions, and will cost US$70-100, depending on your ability to bargain. Talk to taxi drivers in the airport to get best prices.
Fare from Tan Son Nhut Airport to Mui Ne by SATSCO is US$100/trip.
GET AROUND
You can't get lost in Mui Ne and Ham Tien, since the whole place consists of one long strip along a main street, Nguyen Dinh Chieu. Motorbike taxis are present everywhere and their drivers will bug you each time you leave the hotel or walk along the road. Along the tourist strip it is much cheaper to stop a xe om as long as you know how to bargain. It can be hard for Western tourists to get appropriate prices (10,000-15,000 dong is more than enough to pay for a ride from one place to another along the main strip). Taxis are also abundant, with fares slightly higher than Ho Chi Minh City, but still reasonable (starting at around 20,000 dong).
You can rent motorbikes and bicycles at many resorts and tour agencies. Since traffic is light, motorbikes or bicycles are a pleasant way to explore the surroundings. Motorbikes cost anywhere from 60,000-150,000 dong per day depending on how late in the day you start, how many hours you need, and age/type of motorbike (automatics can cost 230,000 dong). The locals say it's getting harder to rent because of bike thefts and police driving license enforcement. Your hotel might rent to you, which may be a bit more convenient since they already have your passport. Western tourists should avoid taking a rented motorbike to the White Sand Dunes if you are not in the possession of a Vietnamese driver's license. The Mui Ne police is known for stopping all motorbikes on the road leading to Bau Trang (White Lake) and collect at least 1 million dong from any foreigner not able to provide at least an international driver's license.
Be careful when riding a bike in Ham Tien and Mui Ne. Traffic is light, especially during the summer months, but nobody pays any attention to traffic rules. For example, it's common to see Vietnamese riders turning left from the right lane. Also, Vietnamese riders don't stop or even look when entering the main road from secondary one. The increase in big motor coaches shuttling Russain tourists in and out of Ham Tien and the uncontrolled jeeps used to bring hundreds of tourists to the White Sand Dunes every day contribute to increased risks for motorbikes and pedestrians along Nguyen Dinh Chieu Street in particular. Traffic fatalities are not uncommon. Rumors are that up to 30 people die every month in accidents. If you plan to ride a bike here, investment in medical insurance, if you can get it, is a wise move.
Even-numbered addresses are on the sea side of the street, and odd numbers on the inland side. Even and odd addresses are not aligned, thus 39 on the odd side can be several hundred metres from 40 on the even side.
SEE
CHAM TOWER
The Poshanu Cham Tower in Phu Hai ward (Thap Po Sah Inu) is a derelict remainder of the ancient Cham culture that was built in the 8th century. It is still in use for religious and social gatherings by the local Cham population, especially during the annual Kate festival.
Fish Sauce Plants, where the famous nuoc mam (fish sauce) is produced. Big jars harbour the concoction that, after months in the blazing sun, is sold all over Vietnam to add some spice to the food.
The famous Red Sand Dunes (Doi Cat), on the main coastal road a short distance north of the fishing town at the north end of Mui Ne Bay, about 10 km from the main resort strip. The whole region is fairly sandy, with orange sand threatening to blow onto the coastal road in some spots. The dunes that visitors visit are about 50 ha (1/2 km²) of open sand on a hillside with ten-meter undulations, staffed by dusty children with plastic slides, who will offer instruction and assistance if you want to slide on the sand. Caution is recommended since a number of tourists have lost money, cameras or cell phones in the sand or through theft and pick-pocketing on the dunes. The sand dunes offer nice views of the sea coast to the north. On the opposite side of the road are a series of small cafes (illegally built but tolerated by the local police), where you can park your vehicle for a small fee if you ride there on your own. Most day tours sold by local tour operators include a stop at the dunes. The trip by taxi from the main resort strip in Ham Tien is about 170,000 dong each way, and less by xe om. It is reachable by bicycle in 30-45 minutes, passing the Fairy Stream on the way. From the resorts on Malibu Beach (Ganh Beach) it is just a short 5 to 10 minute walk to the bottom of the dunes.
Mui Ne Market (Chợ Mũi Né) and fishing harbor (Lang chai Mui Ne). If you are staying on the resort strip in Ham Tien or Phu Hai wards, don't miss out to visit this once quiet "fishing village" but nowadays bustling town, at the northeast end of Mui Ne Bay. The coastal road leads straight into the town (with a left turn required at the first red light to continue up the coast). If you arrive during the dry "winter" season, don't miss the harbor overlook at the entrance to Mui Ne with a splendid view of hundreds of colorful fishing boats moored in the bay. The boats move to the other side of the "Shelter Cape" (English translation of "Mui Ne") during the monsoon season from May through October, when the wind direction changes from mainly northeast to mainly southwest. Further along into town, just off the main road, there is a colorful local market. If you take your transport just down to the water, you will reach the fishing harbor, where you can purchase fresh seafood (if you have any means to cook it) or purchase steamed crabs, shellfish, etc. to eat on the spot from local vendors. Walking along the beach, you'll pass by fishermen sorting out their catch, ship-wharves and, at the southern end of town, a section where clams have been rid of their shells for many years, so the sand on the beach is by now substituted with littered shells. Be prepared to encounter piles and stretches of rubbish on the beach.
The Fairy Stream (Suoi Tien) is a little creek that winds its way through bamboo forests, boulders and the dunes behind the village, in parts resembling a miniature version of the Grand Canyon. Local children will want to accompany you to show you the way (and of course earn a dollar or so), but since you're just following the stream, there's little need. For the most part, the stream is about ankle-deep and no more than knee-deep even at its deepest. It is sandy with few stones and can be walked comfortably barefooted. You can climb up the red sand hills overlooking the river valley and even walk there parallel to the river, however, the sand may be hot on a sunny day, so bring some footwear. Walking upstream for about 20 minutes, you will reach a small waterfall into at most waist-deep water, great to take a refreshing bath before heading back. To reach the stream, head along the main road towards the east until you cross a small bridge. The stream is underneath, you will see a sign pointing towards a path to the left, go that way to reach an easy place to enter the stream. By bicycle it's about 15 minutes from the main resort strip and shouldn't be more than 20,000 dong by xe om. You can enter somewhere along the beach or at the bridge where you will be charged 10,000 dong for entry (although entrance is officially free) and 5,000 dong for motorcycle parking.
The White Sand Dunes are approximately 45 km away from the Ham Tien tourist strip to the northeast, and some 24 km from the Red Sand Dunes and nearby resorts on the east side of the Mui Ne peninsula (GPS 11.068254 108.428513). Trips are offered by any tourist agency along the resort stretch for 4x4 or quad drives, as well as by some resorts with their own vehicles. While too far away for a bicycle trip especially in summer, a motorbike trip can bring you there. Make sure to bring an international driver's licence if you do not own a Vietnamese one (driving without Vietnamese driver's license is illegal in Vietnam), the local police is well-known for stopping foreigners on motorbikes on their way to and from the White Sand Dunes and extort a fine (up to 1 million dong) or sometimes even confiscate the motorbike. Entrance is a 10,000 dong fee.
DO
KITE SURFING
Kitesurfing is offered by many outfitters and hotels. Kite surfing instruction is available, starting at US$60/hour, beginners package of 7 lessons start at US$350. From November till March you generally will have strong winds every day. The Winds in Mui Ne emerge by thermal movements, after the shores got warmed by the sun. You will have perfect wind everyday from 11:00 until the late evening. Gusty winds are seldom. With strong winds, the sometimes choppy waves can be as high as 4 m and more. The water is free of rocks, which makes it relatively safe to kite. However in the peak season there up to 300 kiters in the water at the same time. Beginners and Students, who mainly practice close to the beach front makes things a bit more dangerous. So watch out for other kitersurfers and swimmers and control the speed, in particularly because swimmers are difficult to see when waves are high. Accidents between kitesurfers or between kitesurfers and Swimmers happen from time to time and medical facilities are limited in terms of their equipment and abilities.
There are several kitesurfing schools along the beach, which all employ beach boys who will help you to start and launch the kite. It is widely common to tip the beach boys with US$1/day. If you bring your own equipment and don't want to carry it from and to your hotel every day, you can store it at one of the kitesurfing schools for US$20/week or US$60/month, including usage of their compressors and shower facilities.
If you are a beginner but already can practice independent without an instructor, you might avoid the area around Sunshine Beach Hotel/Sankara/Wax, because there are too many kite surfers and swimmers which may lead to accidents, particularly if you can not fully control the kite. Try the western part of beach front around the Kitesurfing School Windchimes. There are less kiters in this area and you can practice without bringing you and others into danger.
There is a place called "wave spot" or "Malibu beach" (10.92676, 108.29500). It is suitable only for intermediate/advanced kiters, but its much less crowded there.
OTHERS
All-terrain vehicle. You can ride one on white sand dunes.
Cooking classes, 400,000 dong/hr. If you want to learn to cook Vietnamese food, check cooking classes near C2SKY kitesurfing school (opposite Kim Shop). You will learn to cook pancakes, Pho Bo soup, shrimp salad and fresh spring rolls. All ingredients are ready, you'll just mix them under supervision of Vietnamese cook.
Day tours, US$10-13. Travel agents and restaurants abound with day tour offerings. The standard half day tour takes in the fishing village, fairy stream, and the red and while sand dunes. Tours normally start at either 17:00 or 14:30 so you can watch the sunrise/sunset over the sand dunes.
Balloon riding, ☏ +841208536828, ✉ booking@vietnamballoons.com. 05:00-08:00. Mui Ne is the only place in Vietnam where you can fly hot air balloons. A balloon company has European management, balloons, and pilots. Most flights take place over white sand dunes. When the winds in dunes are too strong, flights take place from Phan Thiet city centre. (updated Jan 2018 | edit)
Sailing, 108 Huynh Thuc Khang. Manta Sail Training Centre was newly founded in 2010 and water sport has been gaining popularity since then. Classes are available at US$50/hour for individuals with certified international and local instructors. The sailing area is safe, quiet, with no swimmers and only a few advanced kitesurfers. edit
Surfing. Sometimes you get good waves in mornings of windy season. Lessons, day trips and rentals are available, don't hesitate to ask around. While Mui Ne is not the best destination for surfing, it can be good place to give it a try.
Swimming. The sea is wonderfully warm, but it can be quite rough, with large waves and a strong rip tide. When the tide is in, there is not much of a beach to speak of. When wind is blowing it can be quite chilly to even think of swimming. The area between kilometre markers 11 and 13 has the largest stretch of enduring sandy beach. Since large waves normally emerge after 11:00 you might prefer to swim in the early morning hours, when the water is flat and free of Kitesurfers. Most mid-range and top-end resorts have swimming pools for their guests. Some are open for day users starting at 80,000 dong per day. But you can always behave as guest from this hotel and buy a few drinks for these 80,000 dong.
Water sports. Most outfitters offer a host of water sports including kayaking, paddle surfing, and jet ski rental.
Windsurfing. If you like to do some windsurfing, go to eastern part of Mui Ne. Starting from Hai Au resort, there are some hotels that are offering good place to water start, rent or store your gear.
BUY
Along the Mui Ne strip are several small nameless shops; all selling the same sundries and souvenirs. You can find packaged snacks (Oreos, cakes, biscuits, ice cream, etc.), liquor, clothing, and souvenirs.
Anything beyond very basic necessities should be brought with you. There is a small pharmacy, but it would be wise to bring your own first aid kit.
Standard souvenirs offered include wooden and lacquered bowls, wooden statues, snake whiskey, and pearl necklaces. Compared with Ho Chi Minh City, souvenirs are almost five times more expensive in Mui Ne. The same small wooden bowl selling for US$3 in HCMC is US$14 in Mui Ne.
Several travel agencies along the strip also double as used book stores. Most have a few shelves of English books, along with a small selection in German and French. Books cost 80,000-100,000 dong and most shops will give a 50% discount if you trade in a book.
Coop Mart, Phan Thiet (corner of Nguyen Tat Thanh and Tran Hung Dao), ☏ +84 62 3835440, +84 62 3835455. 08:00-21:30. A large, Western-style grocery store that also sells books, jewellery and necessities.
EAT
Every resort area in Ham Tien and Mui Ne is surrounded by restaurants specializing in seafood. The food is invariably fresh, well-prepared, and served in friendly and interesting surroundings. By all means get out of your hotel and try one of the local restaurants. The best restaurants are a motorbike ride away, found outside of the tourist/resort district on the ocean.
1 Bo Ke Street (Go to the fishing village past the Tien Dat Hotel until you see many small cafes near seashore). This is a street full of local cafes that serve BBQ seafood. Prices are very cheap and choice is wide. Scallops with onion and garlic sauce are must-to-have here. If you're a fussy about hygiene, don't bother coming here. edit
Joe's (The Art Cafe), 86 Nguyen Dinh Chieu St, Ham Tien (Across from Shades Resort), ☏ +84 62 374 3447. 24 hr daily. Joe's is the only place open 24/7 in Mui Ne. It's a cosy old farmhouse cafe offering Western fare. A Canadian developed the menu, and the pancakes with maple syrup (50,000 dong including coffee) are great. The sandwiches with home cut fries and salad (60,000 dong) are also recommended. Two movies are shown each evening in the pillow-filled loft. Free Wi-fi, exhibits and live performances. A great place to have your bus pick you up at 02:00 when you head out and great for a chill spot for after party breakfast or a romantic glass of wine. A 24-hr supermarket is part of the complex. Joe is on the strip, offering now even accommodation. Drinks 10,000 - 60,000 dong, meals 50,000 - 120,000 dong. edit
Lâm Tòng, 92 Nguyễn Đinh Chiêu (Right on the beach next to Jibes under some shady palms), ☏ +84 62 384 7598. You can even sit at tables in the sand. There's a little hut with hammocks strung. Try one of the pancakes (bánh xèo) with condensed milk (sữa đặc), the fried fish with lemon, and the chicken fried in fish sauce. edit
2 Pho Bo and sandwiches, Bo Ke St (Go past Bo Ke St in the direction of Pogo Bar, small pavilion on the right). The only place to have food at night (since Joe's doesn't serve food at night anymore). They serve nice sandwiches with chicken and scrambled eggs (30,000 dong). Also you can have pho bo here. edit
3 Santimatti Pizzeria, 83 Nguyen Dinh Chieu St. Classic Italian cuisine. Place is nice looking, with a good atmosphere. Locals and long stayers enjoy a 10% discount with membership card. Owner is on-site, so expect good service. edit
4 Sindbad Kebap, Nguyen Dinh Chieu (opposite Pogo Bar). Good beef/chicken/veggie kebabs, shawarma and tsatsiki. edit
Smoky House, 125 Nguyen Dinh Chieu St. Offers large, high-quality meals, and offers all customers free ice cream. edit
Snow Restaurant, Club and Sushi Bar, 109 Nguyen Dinh Chieu St. 10:00-02:00. Famous for its cool air-conditioned hall that is unique in Mui Ne. European, Japanese, Russian and Vietnamese cuisines, including exotic dishes such as filet of crocodile. Lounge still open after 22:00, cinema-sessions in the evening. Free Wi-Fi, free pool, and free transfer by Taxi Mai Linh to the restaurant and back to hotel. edit
The Terrace Restaurant, 21 Nguyen Dinh Chieu St (in front of Anantara Resort), ☏ +84 62 3741293, ✉ admin@herbalhotelmuinevietnam.com. 08:00-23:00. The restaurant's first floor is fully air conditioned and the terrace on the upper floor is an open concept with a a nice view. It serves breakfast, lunch and dinner. The restaurant specializes in sushi, fresh seafood and Vietnamese food and the bar serves beer, wine and cocktails. US$3-15. (updated Jul 2016
DRINK
Deja Vu Restaurant and Shisha Bar, 21 Nguyen Dinh Chieu (Opposite Anantara Resort), ☏ +84 62 374 1160, +84 913327232, ✉ dejavuvn@gmail.com. 11:00 - 24:00. Family restaurant focused on good food and entertainment for all the ages. Daily live music, cozy garden with kids area. Seafood, European food, Vietnamese food, kids menu, exotic food, cocktails, shisha- culture show "Folklore night" (show + dinner) every W 20:00. Exotic food show every F 19:00. edit
DJ Station (El Vagabundo), 120C Nguyen Dinh Chieu (300 m to the right when facing Sinh Cafe). 09:00-03:00. Ocean view terrace area, dining area and large dance floor. Happy hour 18:00-21:00 means selected cocktails are 30,000 dong, and regular priced cocktails are all buy-one-get-one-free. It's a popular backpacker place and usually very crowded weekends. edit
Pogo Bar, 138 Nguyen Dinh Chieu. Popular place once, but you can still expect surfers and expats. Cocktails and buckets are cheap, but not tasty. edit
Mooney's Irish Bar, 121 Nguyễn Đình Chiểu, Phường Hàm Tiến, Thành phố Phan Thiết, Bình Thuận, Vietnam (almost opposite Joe's Cafe), ☏ +84 91 402 65 96. 18:00-02:00. A small establishment run by a genuine Irishman (which marks it out from many 'Irish' pubs in Asia), an affable chap form just outside Dublin. There's a pool table, but the best thing to do is order a beer and have a chat with Liam. (updated Jul 2018 | edit)
The Crown and Anchor, 117c Nguyen Dinh Chieu, Ham Tien Phan Thiet (about 2 minutes from Mooney's Irish Bar.). 16:00-23:45. A new establishment that promises a lot. Great design, long bar, games room with pool, darts and table football. Brian from the English Midlands and Adele from Kyrgyzstan are the friendly hosts. Live sports and Sunday Roasts are popular features. (updated Jul 2018 | edit)
Old Fashioned Bar, 151 Nguyễn Đình Chiểu, Phường Hàm Tiến, Thành phố Phan Thiết, Bình Thuận, ☏ +84 368 307 432. 08:00-03:00. Classic bar. Large territory: bar, hookah, restaurant area, cinema, air-conditioned room of a coffee shop, rooftop. European cuisine. Live music. The largest bar in Muine with the largest selection of coffee, tea, alcohol, cocktails and services. Located near the BOKE site.
SLEEP
Mui Ne and Ham Tien have over 200 accommodations to choose from, in every price category (US$5-200), along the main ocean strip of Nguyen Dinh Chieu, Huynh Thuc Khang ("HTK"). Small guest houses, family-run beach hotels and some big luxury resorts can also be found east of the town center of Mui Ne proper, along the road leading to the Red Sand Dunes, where Ganh Beach offers long sandy beaches and excellent kite-surfing on the east side of the Mui Ne peninsula.
Accommodations at higher addresses of Nguyen Dinh Chieu towards HTK and Mui Ne ward tend to be smaller and less expensive, somewhat removed from the main tourist section in Ham Tien and more mixed in more with local life. If a sandy beach is important to you, some research is called for before booking in that area. Many "beach side" resorts are actually against a sloping cement wall that leads into the sea. The sand itself migrates up and down the long coast seasonally leaving some areas with expansive beaches and others with little at any given time.
A few budget hotels have popped up on the inland side of the road, across from the beach side resorts. If you stay on the inland side, you will need to pass though one of the resorts to reach the beach, which might or might not result in some hassle from the guards. The resorts jealously guard their lounge chairs and palapas, though the beach itself is open to everyone. If all else fails, you can always access a nice sandy stretch of beach via the Wax Bar at 68 Nguyen Dinh Chieu.
Remember that during Tet (Vietnamese New Year), hotels and resorts are booked way in advance.
BUDGET
Go past the Pogo Bar in the direction of the fishing village to find the best budget hotels (as low as US$5 a day for adouble room with air-con).
Bao Trang, Nguyen Dinh Chieu (Turn right when exiting from Sinh Cafe). Small bungalows with a beach frontage. From US$10. edit
Guest House 20, 20 Nguyen Dinh Chieu, ☏ +84 62 374 1440, ✉ guesthouse20@yahoo.com.vn. Very nice guest house on main strip without beach access. Also organise tours and transport for you. Very friendly staff, family-owned and operated. From US$15. (updated Mar 2015 | edit)
Hon Di Bungalows, 70 Nguyen Dinh Chieu, ☏ +84 62 847 014, ✉ hdhongdi@yahoo.com. Has simple but nice bungalows with fan and attached bath. There is a shady courtyard strung with hammocks, and four of the bungalows are directly facing the beachfront. A small restaurant and Internet access cater to your needs. US$10-12. edit
Keng Guesthouse, 185 Nguyen Dinh Chieu (About 100 m east of Phuoc Thien Pagoda), ☏ +84 62 374 3312, ✉ yongkeng999@yahoo.com. Simple, clean guest house with all the usual facilities on the quiet end of the main strip. About 15 min walk to the bar and restaurant area. Friendly English speaking owner. Dorm 100,000 dong, rooms from 160,000 dong. edit
Lan Anh, Huynh Tân Phát (Coming from Phan Thiet, turn left when entering the village, in the corner where there's a business called Nhà Tho). Local guesthouse in the village, a couple of kilometres from the resorts and beaches, but close to shops, market and street food stalls. Perfect for experiencing local life. Owner family can barely understand English but are nice. Room with 2 double beds, fan, fridge, toilet, and TV. Free Wi-Fi. 150,000 dong. edit
Mai Am Guesthouse, 148 Nguyen Dinh Chieu. Beachfront bungalows with air-con, working shower, mosquito net, and nothing more. Clean pool. Beach seating with chairs and mats, although some of furniture is falling apart. Can hear next door bar till 03:00 nightly which may bother some. Also, they have monkey cages in the courtyard for some reason. US$10-15. edit
Thien Son, 102 Nguyen Dinh Chieu, ☏ +84 62 384 7187, +84 91 861 0727. Guest house just down the road from Joe's cafe with clean, large rooms. Can get breakfast for about US$1. Very friendly people, though English is limited. Also organises tours to sand dunes (depends on size of group, but from US$4-9) as well as buses to Saigon and Nha Trang. From US$12. edit
1 Nam Chau Boutique Resort - Mui Ne Passion ((Formerly Nam Chau Resort)), Khu phố 5, Mũi Né (Coming from the Red Sand Dunes go down the hill towards the town of Mui Ne, the resort lies right after the Pandanus Resort on the left hand side of the road (ca. 600 m from the dunes). Coming from the town center of Mui Ne (Mui ne market or Fishing Village) turn left at the red light (in front of Blue Shell Resort), continue for about 200 m (entrance after Malibu Resort on the right hand side).), ☏ +84 252 3849 323, ✉ sales@namchauresort.com. Rustic beach resort with 48 rooms offering free WiFi, refrigerators, and TVs with cable channels in a 3-ha tropical garden on the beach in Mui Ne. Inexpensive restaurant, beach bar organising disco parties on weekends. Swimming pool, ongoing activities including kite-boarding and SUP. From US$11 for shared accommodations. Dormitories in cottages, private bungalows available.
MID-RANGE
Ngoc Suong Marina Hotel, Nguyen Dinh Chieu (Across the road from TM Brothers Cafe, beside Tien Dat Resort). On the beach, with an excellent swimming pool. Rooms have mosquito nets, air-con, satellite TV, and en suite bath. US$40 including breakfast. edit
Novela Muine Resort & Spa, 96A Nguyễn Đình Chiểu, Hàm Tiến, Phan Thiết (In the center of Muine Resort), ☏ +84623743456, ✉ sales@novelaresort.com. US$50 including breakfast.
SPLURGE
2 Anantara Mui Ne Resort, Mui Ne Beach, KM10 Ham Tien Ward, Phan Thiet City, ☏ +84 62 374 1888, ✉ muine@anantara.com. The resort includes 89 rooms, suites and pool villas designed according to Vietnamese tradition. US$105. (updated Jan 2017)
3 Blue Ocean Resort, 54 Nguyen Dinh Chieu, ☏ +84 62 3847 322. Has various rooms and bungalows. Only metres from many of the kite surfing schools, particularly Windchimes, which is directly outside the property. 2,770,000 - 8,100,000 dong. (updated Mar 2016 | edit)
Cham Villas Boutique Luxury Resort, 32 Nguyen Dinh Chieu. Has 6 villas with beach front view and 12 villas with garden view. Each villa has a king size bed, bathtub overlooking a small private garden, and a large private patio with comfortable club chairs and a day bed. edit
Grace Boutique Resort, 144A Nguyen Dinh Chieu. Has the look of a Mediterranean villa. There are only 14 rooms, all with sea views. Well-trained staff, a beautiful garden, and a charming pool. Rates include daily breakfasts. Discounts are offered during the low season and for long-term stays. It is advisable to book well ahead during the holidays. edit
4 Pandanus Resort, Block 5, Mui Ne (The average driving time from the center or airport in Ho Chi Minh City to the resort is approximately four hours. Can be reached in 20 mins by car via main road Vo Nguyen Giap from Phan Thiet city center (25 km). At the roundabout below the Red Sand Dunes turn right. The resort is the second on the left (ca. 150 m). Coming from Ham Tien and the Mui Ne fishing village take Huynh Tan Phat at the red light to another red light in from of Blue Shell Resort. Turn left, the resort will be on the right hand side after approx. 400 m.), ☏ +84 252 3849 849, ✉ pandanus@pandanusresort.com. Check-in: 14:00, check-out: 12:00 noon. 134 renovated rooms including 24 bungalows with outdoor bathtub in a relaxing beachside environment: 10 ha of lush tropical gardens within walking distance of the Red Sand Dunes. Phan Thiet's largest free-form swimming pool, 2 restaurants, 3 bars incl. lounge with live entertainment, two live bands, spa (indoor and outdoor). Weekly seafood BBQ buffets by the pool, All Inclusive package, weddings, special events, team building, tours and excursions, transfer service. Complimentary bicycle rental. Daily complimentary walking tour of Mui Ne fishing town, free shuttle service to Mui Ne, Fairy Stream and Ham Tien tourist strip. Jet Ski, surfboards, kiteboarding nearby. US$60-310 including Mui Ne's biggest breakfast buffet (based on room type and number of guests). Group discounts, All Inclusive package, honeymoon packages and special event rates available.. (updated Dec 2017 | edit)
5 The Sailing Bay Beach Resort, 107 Ho Xuan Huong St, ☏ +84 8 6282 4567, ✉ resorts@thesailingbay.com. 192 rooms with sea views, all-day restaurant, open-air beach club, a grand ballroom that accommodates 400 guests and a fully equipped board meeting room for 40 guests. On-site water sports facility with a professional international team managing board sailing, kite surfing and other activities. US$100-644 including breakfast (low-season). edit
Shades Resort, 98A Nguyen Dinh Chieu (Across from Joe's Cafe). Has 8 studios/apartments with kitchens, Jacuzzi or rainshower, preloaded computers, 42 inch flatscreen TVs and a lovely view. The site includes a swimming pool and a bar with Bon Cafe coffees made with fresh milk from Dalat. Rate includes daily breakfast, bottled water, and laundry service. US$45-200. edit
The Cliff Resort, 5, Phu Hai Ward, Phan Thiet, Binh Thuan (Along the Nguyễn Thông road to Mũi Né), ☏ +84 252 3719 111 (HCMC), +84 24 3936 5065 (Hanoi), ✉ reservation@thecliffresort.com.vn. Check-out: 12:00. A resort complex that has many different room designs in different prices, the more big and beautiful they are, the more expensive they are. All guests can enjoy the big pool in the middle and can have access to the Mui Ne beach. The location is near Phan Thiet. US$100-500.
WIKI VOYAGE
Watchtower Bay, Barry
Hasselblad 503CX, Distagon CF 40mm, Lee .6 ND grad, Velvia 50
Developed in Tetenal E6 kit
From an eight inch square of linen laid cotton (well, some) paper.
Developable is fifty-cent word for "can only bend in one direction at a time." That's not so much a property of paper as it is a dare.
Camera: Yashica Mat 124 G
Lens:Yashinon 80/3.5
Film: Ilford FP4+,
Film Developing: Kodak X-tol 1+1
Time: 20C° -10 min
scanned with Epson Photo V 500
Taken with a Kodak Brownie Cresta II camera in week 447 of my 52 film cameras in 52 weeks project:
www.flickr.com/photos/tony_kemplen/collections/72157623113584240
Fuji Acros ISO 100 black and white negative film, developed in Rodinal.
We are developing a ‘Magic Theater’ to experiment with new storytelling ideas, from shadow puppets to poetic robots. To support this program, I have built a mobile art cart where we can perform our shows, with the help of Geo Monley.
Mark ‘Spoonman’ Petrakis and I are starting with a shadow puppet play that we plan to perform during our Dada exhibit this fall at the Canessa Gallery in North Beach. Called ‘Ubu’s Dreams’, this shadow puppet show features Père Ubu, the hero of Alfred Jarry’s surreal plays at the turn of the last century. The premise is that Ubu is constantly dreaming, interacting with archetypal characters from our collective unconscious. Each of his dreams is a separate sketch in our play.
View more pictures of our Magic Theater project on Flickr:
www.flickr.com/photos/fabola/albums/72157664637863884
Learn more about Ubu’s Dreams:
Learn more about the Magic Theater project (a.k.a. Théâtre Mécanique):
fabriceflorin.com/2015/01/10/theatre-mecanique/
View photos of our related Wonderbots experiment:
Developed in ACR with custom made "Fujifilm FinePix S5 pro" DCP profile.
Color graded in Dehancer Photoshop plugin with "Kodak Ektar 100" film profile, "Kodak Endura Glossy" paper profile and film simulation effects.
Mark ‘Spoonman’ Petrakis and I are developing a shadow puppet show we call ‘Ubu’s Dreams’.
This short series of sketches stars Père Ubu, the hero of Alfred Jarry’s surreal plays at the turn of the last century. In this show, Ubu is constantly dreaming, interacting with archetypal characters from our collective unconscious.
This week, we rehearsed a new sketch, Dream #15, featuring a big face, an operatic melody, as well as dancing animals, flowers and musical notes, using wooden shapes made with a laser cutter. We also experimented with bubbles, with great results -- and played with a winged Ubu figure I created last week.
We both sat at a high desk behind the screen, holding our puppets on thin vertical sticks, and waving them across the screen, with a wide range of motion. We placed a high-quality projector over our heads, to illuminate the top of the screen, so the show can be seen even in a crowded room where everyone is standing.
We plan to continue this experiment through the summer and perform a first puppet show during our Dada exhibit at the Canessa Gallery in North Beach, from Nov. 3 to 12, 2016.
I also plan to use some of these techniques with our lower and middle school students, for the Maker Art courses I will be teaching this fall.
From shadow puppets to poetic robots, these interactive storytelling experiments have the potential to engage us at a deeper level and help us learn about ourselves.
View more pictures of this Magic Theater project on Flickr:
www.flickr.com/photos/fabola/albums/72157664637863884
Learn more about Ubu’s Dreams:
Learn more about the Magic Theater project (originally called Théâtre Mécanique):
both in our reading patterns and in current book cover design.
c is mostly reading the top row. me, the bottom.
By the late 1970s, [SC]RTD developed a Preferred Alternative Route which started at Union Station went through downtown Los Angeles, out Wilshire Boulevard and then took a dog leg up Fairfax and back towards Hollywood before heading out to the San Fernando Valley. This was basically a combination of every previous Valley and Wilshire proposal.
In 1980 voters passed Proposition A, a half-cent sales tax to fund the construction of the system and expand bus service.
The stations were simple except for the mezzanine ends and the entrance portals would be shaped like one-half of the RTD logo introduced in 1980 and designed by Saul Bass. A pylon also in the shape of the new logo would be placed at each portal.
This "dog leg" plan went far into the planning stages until a Ross Dress for Less exploded due to seeping underground methane in 1985 and the line was routed up Vermont and west on Hollywood.
To this day, I still don't understand why the 1979 preferred plan didn't at least extend one stop east to Mariachi Plaza and didn't head west on Ventura Boulevard to Studio City instead of heading to North Hollywood.
Rosalie Chichester, the unmarried heiress who inherited Arlington, was a very keen photographer and developed her own photographs to illustrate slide shows. This is her projector. In 1947 she donated the house to the National Trust along with 3,500 acres, and died two years later.
patrickjoust | flickr | tumblr | IG | prints for sale
...
Konica Hexar RF and Voigtlander Color-Skopar 21mm f/4
Kentmere 400 developed in Xtol (1:2)
Kent State May 4 Shooting Site, Kent State University, Kent, Portage County, Ohio
THE MAY 4 SHOOTINGS AT KENT STATE UNIVERSITY: THE SEARCH FOR HISTORICAL ACCURACY
BY JERRY M. LEWIS and THOMAS R. HENSLEY
On May 4, 1970, members of the Ohio National Guard fired into a crowd of Kent State University demonstrators, killing four and wounding nine Kent State students. The impact of the shootings was dramatic. The event triggered a nationwide student strike that forced hundreds of colleges and universities to close. H. R. Haldeman, a top aide to President Richard Nixon, suggests the shootings had a direct impact on national politics. In The Ends of Power, Haldeman (1978) states that the shootings at Kent State began the slide into Watergate, eventually destroying the Nixon administration. Beyond the direct effects of the May 4, the shootings have certainly come to symbolize the deep political and social divisions that so sharply divided the country during the Vietnam War era.
In the nearly three decades since May 4, l970, a voluminous literature has developed analyzing the events of May 4 and their aftermath. Some books were published quickly, providing a fresh but frequently superficial or inaccurate analysis of the shootings (e.g., Eszterhas and Roberts, 1970; Warren, 1970; Casale and Paskoff, 1971; Michener, 1971; Stone, 1971; Taylor et al., 1971; and Tompkins and Anderson, 1971). Numerous additional books have been published in subsequent years (e.g., Davies, 1973; Hare, 1973; Hensley and Lewis, 1978; Kelner and Munves, 1980; Hensley, 1981; Payne, 1981; Bills, 1988; and Gordon, 1997). These books have the advantage of a broader historical perspective than the earlier books, but no single book can be considered the definitive account of the events and aftermath of May 4, l970, at Kent State University.(1)
Despite the substantial literature which exists on the Kent State shootings, misinformation and misunderstanding continue to surround the events of May 4. For example, a prominent college-level United States history book by Mary Beth Norton et al. (1994), which is also used in high school advanced placement courses.(2) contains a picture of the shootings of May 4 accompanied by the following summary of events: "In May 1970, at Kent State University in Ohio, National Guardsmen confronted student antiwar protestors with a tear gas barrage. Soon afterward, with no provocation, soldiers opened fire into a group of fleeing students. Four young people were killed, shot in the back, including two women who had been walking to class." (Norton et al., 1994, p. 732) Unfortunately, this short description contains four factual errors: (1) some degree of provocation did exist; (2) the students were not fleeing when the Guard initially opened fire; (3) only one of the four students who died, William Schroeder, was shot in the back; and (4) one female student, Sandy Schreuer, had been walking to class, but the other female, Allison Krause, had been part of the demonstration.
This article is an attempt to deal with the historical inaccuracies that surround the May 4 shootings at Kent State University by providing high school social studies teachers with a resource to which they can turn if they wish to teach about the subject or to involve students in research on the issue. Our approach is to raise and provide answers to twelve of the most frequently asked questions about May 4 at Kent State. We will also offer a list of the most important questions involving the shootings which have not yet been answered satisfactorily. Finally, we will conclude with a brief annotated bibliography for those wishing to explore the subject further.
WHY WAS THE OHIO NATIONAL GUARD CALLED TO KENT?
The decision to bring the Ohio National Guard onto the Kent State University campus was directly related to decisions regarding American involvement in the Vietnam War. Richard Nixon was elected president of the United States in 1968 based in part on his promise to bring an end to the war in Vietnam. During the first year of Nixon's presidency, America's involvement in the war appeared to be winding down. In late April of 1970, however, the United States invaded Cambodia and widened the Vietnam War. This decision was announced on national television and radio on April 30, l970, by President Nixon, who stated that the invasion of Cambodia was designed to attack the headquarters of the Viet Cong, which had been using Cambodian territory as a sanctuary.
Protests occurred the next day, Friday, May 1, across United States college campuses where anti-war sentiment ran high. At Kent State University, an anti-war rally was held at noon on the Commons, a large, grassy area in the middle of campus which had traditionally been the site for various types of rallies and demonstrations. Fiery speeches against the war and the Nixon administration were given, a copy of the Constitution was buried to symbolize the murder of the Constitution because Congress had never declared war, and another rally was called for noon on Monday, May 4.
Friday evening in downtown Kent began peacefully with the usual socializing in the bars, but events quickly escalated into a violent confrontation between protestors and local police. The exact causes of the disturbance are still the subject of debate, but bonfires were built in the streets of downtown Kent, cars were stopped, police cars were hit with bottles, and some store windows were broken. The entire Kent police force was called to duty as well as officers from the county and surrounding communities. Kent Mayor Leroy Satrom declared a state of emergency, called Governor James Rhodes' office to seek assistance, and ordered all of the bars closed. The decision to close the bars early increased the size of the angry crowd. Police eventually succeeded in using tear gas to disperse the crowd from downtown, forcing them to move several blocks back to the campus.
The next day, Saturday, May 2, Mayor Satrom met with other city officials and a representative of the Ohio National Guard who had been dispatched to Kent. Mayor Satrom then made the decision to ask Governor Rhodes to send the Ohio National Guard to Kent. The mayor feared further disturbances in Kent based upon the events of the previous evening, but more disturbing to the mayor were threats that had been made to downtown businesses and city officials as well as rumors that radical revolutionaries were in Kent to destroy the city and the university. Satrom was fearful that local forces would be inadequate to meet the potential disturbances, and thus about 5 p.m. he called the Governor's office to make an official request for assistance from the Ohio National Guard.
WHAT HAPPENED ON THE KENT STATE UNIVERSITY CAMPUS ON SATURDAY MAY 2 AND SUNDAY MAY 3 AFTER THE GUARDS ARRIVED ON CAMPUS?
Members of the Ohio National Guard were already on duty in Northeast Ohio, and thus they were able to be mobilized quickly to move to Kent. As the Guard arrived in Kent at about 10 p.m., they encountered a tumultuous scene. The wooden ROTC building adjacent to the Commons was ablaze and would eventually burn to the ground that evening, with well over 1,000 demonstrators surrounding the building. Controversy continues to exist regarding who was responsible for setting fire to the ROTC building, but radical protestors were assumed to be responsible because of their actions in interfering with the efforts of firemen to extinguish the fire as well as cheering the burning of the building. Confrontations between Guardsmen and demonstrators continued into the night, with tear gas filling the campus and numerous arrests being made.
Sunday, May 3 was a day filled with contrasts. Nearly 1,000 Ohio National Guardsmen occupied the campus, making it appear like a military war zone. The day was warm and sunny, however, and students frequently talked amicably with Guardsmen. Ohio Governor James Rhodes flew to Kent on Sunday morning, and his mood was anything but calm. At a press conference, he issued a provocative statement calling campus protestors the worst type of people in America and stating that every force of law would be used to deal with them. Rhodes also indicated that he would seek a court order declaring a state of emergency. This was never done, but the widespread assumption among both Guard and University officials was that a state of martial law was being declared in which control of the campus resided with the Guard rather than University leaders and all rallies were banned. Further confrontations between protesters and guardsmen occurred Sunday evening, and once again rocks, tear gas, and arrests characterized a tense campus.
WHAT TYPE OF RALLY WAS HELD AT NOON ON MAY 4?
At the conclusion of the anti-war rally on Friday, May 1, student protest leaders had called for another rally to be held on the Commons at noon on Monday, May 4. Although University officials had attempted on the morning of May 4 to inform the campus that the rally was prohibited, a crowd began to gather beginning as early as 11 a.m. By noon, the entire Commons area contained approximately 3,000 people. Although estimates are inexact, probably about 500 core demonstrators were gathered around the Victory Bell at one end of the Commons, another 1,000 people were "cheerleaders" supporting the active demonstrators, and an additional 1,500 people were spectators standing around the perimeter of the Commons. Across the Commons at the burned-out ROTC building stood about 100 Ohio National Guardsmen carrying lethal M-1 military rifles.
Substantial consensus exists that the active participants in the rally were primarily protesting the presence of the Guard on campus, although a strong anti-war sentiment was also present. Little evidence exists as to who were the leaders of the rally and what activities were planned, but initially the rally was peaceful.
WHO MADE THE DECISION TO BAN THE RALLY OF MAY 4?
Conflicting evidence exists regarding who was responsible for the decision to ban the noon rally of May 4. At the 1975 federal civil trial, General Robert Canterbury, the highest official of the Guard, testified that widespread consensus existed that the rally should be prohibited because of the tensions that existed and the possibility that violence would again occur. Canterbury further testified that Kent State President Robert White had explicitly told Canterbury that any demonstration would be highly dangerous. In contrast, White testified that he could recall no conversation with Canterbury regarding banning the rally.
The decision to ban the rally can most accurately be traced to Governor Rhodes' statements on Sunday, May 3 when he stated that he would be seeking a state of emergency declaration from the courts. Although he never did this, all officials -- Guard, University, Kent -- assumed that the Guard was now in charge of the campus and that all rallies were illegal. Thus, University leaders printed and distributed on Monday morning 12,000 leaflets indicating that all rallies, including the May 4 rally scheduled for noon, were prohibited as long as the Guard was in control of the campus.
WHAT EVENTS LED DIRECTLY TO THE SHOOTINGS?
Shortly before noon, General Canterbury made the decision to order the demonstrators to disperse. A Kent State police officer standing by the Guard made an announcement using a bullhorn. When this had no effect, the officer was placed in a jeep along with several Guardsmen and driven across the Commons to tell the protestors that the rally was banned and that they must disperse. This was met with angry shouting and rocks, and the jeep retreated. Canterbury then ordered his men to load and lock their weapons, tear gas canisters were fired into the crowd around the Victory Bell, and the Guard began to march across the Commons to disperse the rally. The protestors moved up a steep hill, known as Blanket Hill, and then down the other side of the hill onto the Prentice Hall parking lot as well as an adjoining practice football field. Most of the Guardsmen followed the students directly and soon found themselves somewhat trapped on the practice football field because it was surrounded by a fence. Yelling and rock throwing reached a peak as the Guard remained on the field for about 10 minutes. Several Guardsmen could be seen huddling together, and some Guardsmen knelt and pointed their guns, but no weapons were shot at this time. The Guard then began retracing their steps from the practice football field back up Blanket Hill. As they arrived at the top of the hill, 28 of the more than 70 Guardsmen turned suddenly and fired their rifles and pistols. Many guardsmen fired into the air or the ground. However, a small portion fired directly into the crowd. Altogether between 61 and 67 shots were fired in a 13-second period.
HOW MANY DEATHS AND INJURIES OCCURRED?
Four Kent State students died as a result of the firing by the Guard. The closest student was Jeffrey Miller, who was shot in the mouth while standing in an access road leading into the Prentice Hall parking lot, a distance of approximately 270 feet from the Guard. Allison Krause was in the Prentice Hall parking lot; she was 330 feet from the Guardsmen and was shot in the left side of her body. William Schroeder was 390 feet from the Guard in the Prentice Hall parking lot when he was shot in the left side of his back. Sandra Scheuer was also about 390 feet from the Guard in the Prentice Hall parking lot when a bullet pierced the left front side of her neck.
Nine Kent State students were wounded in the 13-second fusillade. Most of the students were in the Prentice Hall parking lot, but a few were on the Blanket Hill area. Joseph Lewis was the student closest to the Guard at a distance of about 60 feet; he was standing still with Four men sit staring at a candle-lit stage, on which there are portraits of the four Kent State students who died as a result of the firing by the Guard.his middle finger extended when bullets struck him in the right abdomen and left lower leg. Thomas Grace was also approximately 60 feet from the Guardsmen and was wounded in the left ankle. John Cleary was over 100 feet from the Guardsmen when he was hit in the upper left chest. Alan Canfora was 225 feet from the Guard and was struck in the right wrist. Dean Kahler was the most seriously wounded of the nine students. He was struck in the small of his back from approximately 300 feet and was permanently paralyzed from the waist down. Douglas Wrentmore was wounded in the right knee from a distance of 330 feet. James Russell was struck in the right thigh and right forehead at a distance of 375 feet. Robert Stamps was almost 500 feet from the line of fire when he was wounded in the right buttock. Donald Mackenzie was the student the farthest from the Guardsmen at a distance of almost 750 feet when he was hit in the neck.
WHY DID THE GUARDSMEN FIRE?
The most important question associated with the events of May 4 is why did members of the Guard fire into a crowd of unarmed students? Two quite different answers have been advanced to this question: (1) the Guardsmen fired in self-defense, and the shootings were therefore justified and (2) the Guardsmen were not in immediate danger, and therefore the shootings were unjustified.
The answer offered by the Guardsmen is that they fired because they were in fear of their lives. Guardsmen testified before numerous investigating commissions as well as in federal court that they felt the demonstrators were advancing on them in such a way as to pose a serious and immediate threat to the safety of the Guardsmen, and they therefore had to fire in self-defense. Some authors (e.g., Michener, 1971 and Grant and Hill, 1974) agree with this assessment. Much more importantly, federal criminal and civil trials have accepted the position of the Guardsmen. In a 1974 federal criminal trial, District Judge Frank Battisti dismissed the case against eight Guardsmen indicted by a federal grand jury, ruling at mid-trial that the government's case against the Guardsmen was so weak that the defense did not have to present its case. In the much longer and more complex federal civil trial of 1975, a jury voted 9-3 that none of the Guardsmen were legally responsible for the shootings. This decision was appealed, however, and the Sixth Circuit Court of Appeals ruled that a new trial had to be held because of the improper handling of a threat to a jury member.
The legal aftermath of the May 4 shootings ended in January of 1979 with an out-of-court settlement involving a statement signed by 28 defendants(3) as well as a monetary settlement, and the Guardsmen and their supporters view this as a final vindication of their position. The financial settlement provided $675,000 to the wounded students and the parents of the students who had been killed. This money was paid by the State of Ohio rather than by any Guardsmen, and the amount equaled what the State estimated it would cost to go to trial again. Perhaps most importantly, the statement signed by members of the Ohio National Guard was viewed by them to be a declaration of regret, not an apology or an admission of wrongdoing:
In retrospect, the tragedy of May 4, 1970 should not have occurred. The students may have believed that they were right in continuing their mass protest in response to the Cambodian invasion, even though this protest followed the posting and reading by the university of an order to ban rallies and an order to disperse. These orders have since been determined by the Sixth Circuit Court of Appeals to have been lawful.
Some of the Guardsmen on Blanket Hill, fearful and anxious from prior events, may have believed in their own minds that their lives were in danger. Hindsight suggests that another method would have resolved the confrontation. Better ways must be found to deal with such a confrontation.
We devoutly wish that a means had been found to avoid the May 4th events culminating in the Guard shootings and the irreversible deaths and injuries. We deeply regret those events and are profoundly saddened by the deaths of four students and the wounding of nine others which resulted. We hope that the agreement to end the litigation will help to assuage the tragic memories regarding that sad day.
A starkly different interpretation to that of the Guards' has been offered in numerous other studies of the shootings, with all of these analyses sharing the common viewpoint that primary responsibility for the shootings lies with the Guardsmen. Some authors (e.g., Stone, 1971; Davies, 1973; and Kelner and Munves, 1980) argue that the Guardsmen's lives were not in danger. Instead, these authors argue that the evidence shows that certain members of the Guard conspired on the practice football field to fire when they reached the top of Blanket Hill. Other authors (e.g., Best, 1981 and Payne, 1981) do not find sufficient evidence to accept the conspiracy theory, but they also do not find the Guard self-defense theory to be plausible. Experts who find the Guard primarily responsible find themselves in agreement with the conclusion of the Scranton Commission (Report , 1970, p. 87): "The indiscriminate firing of rifles into a crowd of students and the deaths that followed were unnecessary, unwarranted, and inexcusable."
WHAT HAPPENED IMMEDIATELY AFTER THE SHOOTINGS?
While debate still remains about the extent to which the Guardsmen's lives were in danger at the moment they opened fire, little doubt can exist that their lives were indeed at stake in the immediate aftermath of the shootings. The 13-second shooting that resulted in four deaths and nine wounded could have been followed by an even more tragic and bloody confrontation. The nervous and fearful Guardsmen retreated back to the Commons, facing a large and hostile crowd which realized that the Guard had live ammunition and had used it to kill and wound a large number of people. In their intense anger, many demonstrators were willing to risk their own lives to attack the Guardsmen, and there can be little doubt that the Guard would have opened fire again, this time killing a much larger number of students.
A man and young boy stare up at a May 4th Memorial.Further tragedy was prevented by the actions of a number of Kent State University faculty marshals, who had organized hastily when trouble began several days earlier. Led by Professor Glenn Frank, the faculty members pleaded with National Guard leaders to allow them to talk with the demonstrators, and then they begged the students not to risk their lives by confronting the Guardsmen. After about 20 minutes of emotional pleading, the marshals convinced the students to leave the Commons.
Back at the site of the shootings, ambulances had arrived and emergency medical attention had been given to the students who had not died immediately. The ambulances formed a screaming procession as they rushed the victims of the shootings to the local hospital.
The University was ordered closed immediately, first by President Robert White and then indefinitely by Portage County Prosecutor Ronald Kane under an injunction from Common Pleas Judge Albert Caris. Classes did not resume until the Summer of 1970, and faculty members engaged in a wide variety of activities through the mail and off-campus meetings that enabled Kent State students to finish the semester.
WHAT IS THE STORY BEHIND THE PULITZER PRIZE-WINNING PHOTO OF THE YOUNG WOMAN CRYING OUT IN HORROR OVER THE DYING BODY OF ONE OF THE STUDENTS?
A photograph of Mary Vecchio, a 14-year-old runaway, screaming over the body of Jeffery Miller appeared on the front pages of newspapers and magazines throughout the country, and the photographer, John Filo, was to win a Pulitzer Prize for the picture. The photo has taken on a life and importance of its own. This analysis looks at the photo, the photographer, and the impact of the photo.
The Mary Vecchio picture shows her on one knee screaming over Jeffrey Miller's body. Mary told one of us that she was calling for help because she felt she could do nothing (Personal Interview, 4/4/94). Miller is lying on the tarmac of the Prentice Hall parking lot. One student is standing near the Miller body closer than Vecchio. Four students are seen in the immediate background.
John Filo, a Kent State photography major in 1970, continues to works as a professional newspaper photographer and editor. He was near the Prentice Hall parking lot when the Guard fired. He saw bullets hitting the ground, but he did not take cover because he thought the bullets were blanks. Of course, blanks cannot hit the ground.
WHAT WAS THE LONG-TERM FACULTY RESPONSE TO THE SHOOTINGS?
Three hours after the shootings Kent State closed and was not to open for six weeks as a viable university. When it resumed classes in the Summer of 1970, its faculty was charged with three new responsibilities, their residues remaining today.
A student holds a candle at night to remember the victims of the May 4th shootings.First, we as a University faculty had to bring aid and comfort to our own. This began earlier on with faculty trying to finish the academic quarter with a reasonable amount of academic integrity. It had ended about at mid-term examinations. However, the faculty voted before the week was out to help students complete the quarter in any way possible. Students were advised to study independently until they were contacted by individual professors. Most of the professors organized their completion of courses around papers, but many gave lectures in churches and in homes in the community of Kent and surrounding communities. For example, Norman Duffy, an award-winning teacher, gave off-campus chemistry lectures and tutorial sessions in Kent and Cleveland. His graduate students made films of laboratory sessions and mailed them to students.
Beyond helping thousands of students finish their courses, there were 1,900 students as well who needed help with gradation. Talking to students about courses allowed the faculty to do some counseling about the shootings, which helped the faculty as much in healing as it did students.
Second, the University faculty was called upon to conduct research about May 4 communicating the results of this research through teaching and traditional writing about the tragedy. Many responded and created a solid body of scholarship as well as an extremely useful archive contributing to a wide range of activities in Summer of 1970 including press interviews and the Scranton Commission.
Third, many saw as one of the faculty's challenges to develop alternative forms of protest and conflict resolution to help prevent tragedies such as the May 4 shootings and the killings at Jackson State 10 days after Kent State.
WHAT ARE THE MOST IMPORTANT UNANSWERED QUESTIONS ABOUT THE MAY 4 SHOOTINGS?
Although we have attempted in this article to answer many of the most important and frequently asked questions about the May 4 shootings, our responses have sometimes been tentative because many important questions remain unanswered. It thus seems important to ask what are the most significant questions which yet remain unanswered about the May 4 events. These questions could serve as the basis for research projects by students who are interested in studying the shootings in greater detail.
(1) Who was responsible for the violence in downtown Kent and on the Kent State campus in the three days prior to May 4? As an important part of this question, were "outside agitators" primarily responsible? Who was responsible for setting fire to the ROTC building?
(2) Should the Guard have been called to Kent and Kent State University? Could local law enforcement personnel have handled any situations? Were the Guard properly trained for this type of assignment?
(3) Did the Kent State University administration respond appropriately in their reactions to the demonstrations and with Ohio political officials and Guard officials?
(4) Would the shootings have been avoided if the rally had not been banned? Did the banning of the rally violate First Amendment rights?
(5) Did the Guardsmen conspire to shoot students when they huddled on the practice football field? If not, why did they fire? Were they justified in firing?
(6) Who was ultimately responsible for the events of May 4, l970?
WHY SHOULD WE STILL BE CONCERNED ABOUT MAY 4, 1970 AT KENT STATE?
In Robert McNamara's (1995) book, "In Retrospect:The Tragedy and Lessons of Vietnam" is a way to begin is an illustration of the this process. In it he says that United States policy towards Vietnam was "... terribly wrong and we owe it to future generations to explain why."
The May 4 shootings at Kent State need to be remembered for several reasons. First, the shootings have come to symbolize a great American tragedy which occurred at the height of the Vietnam War era, a period in which the nation found itself deeply divided both politically and culturally. The poignant picture of Mary Vecchio kneeling in agony over Jeffrey Miller's body, for example, will remain forever Students gather in a circle, holding hands around a May 4th memorial to remember the victims of the Guard shootings.as a reminder of the day when the Vietnam War came home to America. If the Kent State shootings will continue to be such a powerful symbol, then it is certainly important that Americans have a realistic view of the facts associated with this event. Second, May 4 at Kent State and the Vietnam War era remain controversial even today, and the need for healing continues to exist. Healing will not occur if events are either forgotten or distorted, and hence it is important to continue to search for the truth behind the events of May 4 at Kent State. Third, and most importantly, May 4 at Kent State should be remembered in order that we can learn from the mistakes of the past. The Guardsmen in their signed statement at the end of the civil trials recognized that better ways have to be found to deal with these types of confrontations. This has probably already occurred in numerous situations where law enforcement officials have issued a caution to their troops to be careful because "we don't want another Kent State." Insofar as this has happened, lessons have been learned, and the deaths of four young Kent State students have not been in vain.
I developed the lumen photograms in dilute developer, or fixed direc, or first bleached before processing, then developing in dilute paper developer and then fixing. They now should be real to light. When first bleaching it goes more to gray black, when first developing it keeps the brown color from the exposure.
After exposure, first bleached in C41 bleach then redeveloped in dilute paper developer in light by inspection pulled washed and fixed. This gives a more grey final image.
Deb shows some of the botanical illustration skills she learned at the Denver Botanic Gardens a few years ago.
When she took ink drawing, one time the instructor asked to see her preliminary pencil sketch. She asked "My what?" She had been doing ink direct to paper with no preliminary pencil drawing, as she still mostly does. The watercolor follows after the ink is totally dry.
This sunset went on to develop into a real beauty and six minutes after this shot was taken the sky was crimson. Shots to follow.
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Finally developed some of the film I shot at Photostock 2014. Here is my first Photostock 2014 post. This is Friendship Township Hall in Emmet County.
Taken on 6/19/2014 in Emmet County Michigan
Bronica ETRSi
Efke IR820 infrared film (non-Aura)
Zenzanon E II 75mm f/2.8 lens
f/8
1/4 second
89B filter
Negative scanned with Epson V500
Watched the sunrise from above Saint Catherines in Sinai, and noticed weird spiky rock formations in the desert
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
Armored wheeled vehicles were developed early in Germany, since they were not subject to the restrictions of the Versailles Treaty. The Sd.Kfz. 234 (Sonderkraftfahrzeug 234, or Special Purpose Vehicle 234) belonged to the ARK series (the type designation of the chassis) and was the successor to the earlier, eight-wheeled Sd.Kfz. 231/232/233 family. The Sd.Kfz. 234 incorporated several innovative features, including a monocoque chassis with eight wheels, and an air-cooled Tatra 103 diesel engine for use in North Africa. The latter gave the vehicle an extraordinary range of more than 600 miles (1.000 km). The vehicle had eight-wheel steering and drive and was able to quickly change direction thanks to a second, rear-facing, driver's seat. Chassis were built by Büssing-NAG in Leipzig-Wahren, while armoured bodies were provided by Deutsche Edelstahlwerke of Krefeld and turrets by Daimler Benz in Berlin-Marienfelde and Schichau of Elbing, with engines from Ringhoffer-Tatra-Werke AG of Nesseldorf.
The first and possibly best known version to reach frontline service was the Sd.Kfz. 234/2 ‘Puma’. It had a horseshoe-shaped turret armed with a 5cm L/60 gun, which was originally intended for the VK 1602 Leopard light tank. Even though it was a reconnaissance vehicle, the armament made it possible to take on lighter armored vehicles, and it was produced from late 1943 to mid-1944. This variant was replaced in production by the second version, the Sd.Kfz. 234/1, which had a simpler open turret (Hängelafette 38) armed only with a light 2 cm KwK 38 gun; it was manufactured from mid-1944 to early 1945.
The SdKfz 234/3, produced simultaneously with the 234/1, served as a support for the reconnaissance vehicles with more firepower. It had an open-topped superstructure, in which a short-barreled 7.5cm K51 L/24 gun was installed. This gun was intended primarily for use against soft targets, but when using a hollow charge shell, the penetration power exceeded that of the 5cm L/60 gun. This variant was produced from mid-1944 to the end of 1944, before switching production to the 234/4 and other variants. The Sd.Kfz. 234/4 replaced the L/24 gun with the 7.5cm L/46 PaK 40. This was yet another attempt to increase the mobility of this anti-tank gun; however, with this weapon the 234 chassis had been stretched to its limits, and it only carried limited ammunition (twelve rounds) due to lack of storage space. This variant was manufactured from the end of 1944 on in limited numbers.
Another interesting use of the chassis was the Sd.Kfz 234/6. When, towards late 1945, the Einheitschassis for the German combat tanks (the ‘E’; series) reached the front lines, several heavily armed anti-aircraft turrets had been developed, including the 30mm Kugelblitz, based on the outdated Panzer IV, the ‘Coelian’ turret with a twin 37mm cannon (mounted on the Panzer V Panther hull), but also twin 55 and even 88mm cannons on the new E-50, E-75 and E-100 chassis'. With alle these new vehicles and weapons, firepower was considerably increased, but the tank crews still had to rely on traditional visual tracking and aiming of targets. One potential solution for this flaw, in which the German Heeresleitung was highly interested from the start, was the use of the Luftwaffe’s radar technology for early target identification and as an aiming aid in poor weather conditions or at night. The German Luftwaffe first introduced an airborne interception radar in 1942, but these systems were still bulky and relied upon large bipolar antenna arrays. Esp. the latter were not suitable for any use in a ground vehicle, lest to say in a tank that could also carry weapons and ammunition as an independent mobile weapon system.
A potential solution at least for the mobility issue appeared in late 1944 with the development of the FuG 240 ‘Berlin’, a new airborne interception radar. It was the first German radar to be based on the cavity magnetron, which eliminated the need for the large multiple dipole-based antenna arrays seen on earlier radars, thereby greatly increasing the performance of the night fighters which carried the system. The FuG 240 was introduced by Telefunken in April 1945, primarily in Junkers Ju 88G-6 night-fighters, behind a streamlined plywood radome in the aircrafts’ nose. This so greatly reduced drag compared to the late-model Lichtensteins and Neptun radars that the fighters regained their pre-radar speeds, making them much more effective esp. against heavy and high-flying Allied bombers. The FuG 240 was effective against bomber-sized targets at distances of up to 9 kilometers, or down to 0.5 kilometer, which, as a side benefit, eliminated the need for a second, short-range radar system.
Right before the FuG 240's roll-out with the Luftwaffe the Heer insisted on a ground-based derivative for its anti-aircraft units. The Luftwaffe reacted very reluctantly, but heavy political pressure from Berlin convinced the RLM to share the new technology. Consequently, Telefunken was ushered to adapt the radar system to armored ground vehicles in February 1945.
It soon became clear that the FuG 240 had several drawbacks and was not perfectly suited for this task. Ground clutter and the natural horizon greatly limited the system's range, even though its 9 km range made high-altitude surveillance possible. Furthermore, the whole system, together with its power supply and the dirigible dish antenna, took up a lot of space. Its integration into an autonomous, tank-based anti-aircraft vehicle was still out of reach. The solution eventually came as a technical and tactical compromise: armed anti-aircraft tanks were to be grouped together in so-called Panzer-Fla-Züge, with an additional radar surveillance and guidance unit, so that the radar could guide the tank crews towards incoming targets, which would still rely on individual visual targeting.
The first of these dedicated guidance vehicles became the ‘Funkmess-/Flak-Kommandowagen Sd.KfZ 234/6’, which retained its secondary reconnaissance role. Together with Telefunken, Daimler Benz developed a new turret with a maximum armor of 30mm and a commander's cupola that would hold most of the radar equipment. This was christened ’Medusa’, after the monster from Greek mythology with snake hair and a petrifying sight, and during the system’s development phase, the radar's name was adopted for the whole vehicle, even though it never was official.
The turret held a crew of two, while the Sd. Kfz 234 chassis remained basically unchanged. Despite the cramped turret and the extra equipment, the Sd.Kfz. 234/6 was not heavier than its earlier brethren, because it remained unarmed, just a manually-operated FlaMG on the turret roof was available for self-defense. A heavier armament was not deemed necessary since the vehicle would either stay close to the heavily armed tanks it typically accompanied, or it would undertake lone reconnaissance missions where it would rely on its high speed and mobility. The vehicle's crew consisted of four: a driver in the front seat, a commander and a radar operator in the turret and a radio operator/second driver in the hull behind the turret, facing rearwards.
The Medusa antenna array was installed at the turret's front. The dish antenna, hidden under a hard vinyl cover, had a diameter of 70cm (27 1/2 inches), and it was directly adapted from the airborne FuG 240. Power output was 15kW, with a search angle of +80/− 5° and a frequency range: 3,250–3,330MHz (~10 cm). Range was, like the airborne variant, 0.5–9.0 kilometer. Power came from a separate generator directly attached to the vehicle’s Tatra diesel engine, hidden under an armored fairing on the bonnet that partly obscured the rear driver's field of view.
Beyond the radar system, the vehicle was furthermore equipped with a visual coincidence range finder, installed right through the turret. The system worked as follows: Light from the target entered the range finder through two windows located at either end of the instrument. At either side, the incident beam was reflected to the center of the optical bar by a pentaprism, and this optical bar was ideally made from a material with a low coefficient of thermal expansion so that optical path lengths would not change significantly with temperature. The reflected beam first passed through an objective lens and was then merged with the beam of the opposing side with an ocular prism sub-assembly to form two images of the target which were viewed by the observer through the eyepiece. Since either beam entered the instrument at a slightly different angle the resulting image, if unaltered, would appear blurry. Therefore, in one arm of the instrument, a compensator was integrated which could be adjusted by the operator to tilt the beam until the two images matched. At this point, the images were said to be in coincidence. The degree of rotation of the compensator determined the range to the target by simple triangulation, allowing the calculation of the distance to the observed object.
The optical bar had a span of 230 cm (90.75 in) and went right through the turret, just above the radar device installation. For the most effective range it even protruded from the turret on both sides like pylons, an arrangement that quickly earned the vehicle several nicknames like ‘Hirsch’, ‘Zwoender’ (a young stag with just two antlers) or ‘Ameise’ (ant). Fixed target reading with the rangefinder was effective on targets from 2,700 to 14,500 yards. Aerial courses could be recorded at all levels of flight and at a slant range between 4,000 and 12,000 yards - enough for visual identification beyond the group's effective gun ranges and perfectly suitable for long range observation.
The first Sd.Kfz. 234/6s reached, together with the first new FlaK tanks, the front units in summer 1945. Operating independently, they were primarily allocated to the defense of important production sites and of the city of Berlin, and they supported tank divisions through visual reconnaissance and general early warning duties. In due course they were supported and partly replaced by the bigger and more capable ‘Basilisk’ system, which had, due to the sheer bulk of the equipment, to be mounted on a tank chassis (initially on the Panzer V ‘Panther’ as the Sd.Kfz. 282/1 and from early 1946 onwards on the basis of the new Einheitspanzer E-50 hull as the Sd.Kfz. 282)
Operationally, the Sd. Kfz 234/6 was surprisingly successful, even though the radar remained capricious, its performance very limited and the unarmored equipment at the turret’s front was easily damaged in combat, even by light firearms. But the Sd.Kfz 234/6 offered, when the vehicle was placed in a location with a relatively free field of view (e. g. on a wide forest clearance or in an open field), a sufficient early warning performance against incoming bombers at medium to high altitudes, esp. when the general direction of incoming aircraft was already known.
The radar system even allowed a quick alert against low-flying aircraft, esp. when operating from higher ground. The radar information reduced the anti-aircraft tank/gun crews' reaction time considerably and allowed them to be prepared for incoming targets at the right altitude, direction and time. Hit probability was appreciably improved since quick passes of aircraft could be pre-determined.
Until the end of hostilities, probably fifty Sd.Kfz 234/6 were built new or converted from existing 8x8 chassis. Beyond this, the relatively light ‘Medusa’ device was furthermore mounted on outdated tracked armored vehicles like the Panzer III and IV, of which another forty vehicles were produced as Funkmess-/Flak-Kommandowagen III and IV.
Specifications:
Crew: Four (commander, radar operator, driver, radio operator/2nd driver)
Weight: 11,500 kg (25,330 lb)
Length: 6.02 m (19 ft 9 in)
Width: 2.36 m (7 ft 9 in)
Height: 2.84 meters (9 ft 4 in) w/o AA machine gun
Suspension: Wheeled (Tires: 270–20, bulletproof), with leaf springs
Track width: 1.95 m (6 ft 4 1/2 in)
Wading depth: 1.2 m (3 ft 11 in)
Trench crossing capability: 2m (6 ft 6 1/2 in)
Ground clearance: 350 mm (13 3/4 in)
Climbing capability: 30°
Fuel capacity: 360 l
Fuel consumption: 40 l/100 km on roads, 60 l/100 km off-road
Armor:
9-30 mm (.35-1.18 in)
Performance:
Maximum road speed: 80 km/h (49 mph)
Operational range: 950 km (590 mi)
Power/weight: 19 PS/t
Engine:
Air-cooled 14,825 cc (905³ in) Tatra 103 V12 diesel engine,
with 157 kW (220 hp) output at 2.200 RPM
Transmission:
Büssing-NAG "GS" with 3 forward and reverse gears, eight-wheel drive
Armament:
1× anti aircraft 7.92 mm Maschinengewehr 42 with 2.800 rounds
The kit and its assembly:
This whiffy and almost Ma.K-looking vehicle was inspired by the late WWII anti-aircraft tanks that never made it into hardware. I wondered how the gap between the simple visual aiming and the next logical step to surveillance and tracking radars could have been achieved, and the German airborne radars were a suitable place to start.
The idea of a dedicated vehicle was a logical step, since it would take many more years to develop a system that would be compact enough to be carried together with effective armament in just a single vehicle. It would take until the Sixties that such stand-alone systems like the Soviet ZSU-23-4 (1965) or the AMX-13 DCA (1969) would be produced.
I chose the light Sd.Kfz. 234 as basis because I do not think that a full armored tank would be devoted to a limited radar operation role, and instead of relying on heavy armor I deemed a light but fast vehicle (just like many other later AA tanks) to be the more plausible solution.
Basically, this is an OOB Hasegawa Sd.Kfz. 234/3, the “Stummel” with the short 7.5cm gun and an open hull. The latter was closed with 1mm styrene sheet and a mount for a turret added.
The turret itself is based on an Italeri Matilda Mk. II turret, but with a highly modified front that holds a resin ‘Cyrano’ radar (actually for an 1:72 Mirage F.1C) on a movable axis, an added rear extension and the antler fairings for the visual coincidence range finder. As a side note, similar systems were to be integrated into German late WWII combat tanks (e. g. in the Schmalturm), too, so this is another plausible piece of technology.
A German tank commander figure (from a vintage ESCI kit) populates the open hatch of the commander's cupola, the AA machine gun with its mount is an addition from the scrap box.
On the hull, the only modification is the additional generator fairing above the engine, for a slightly modified silhouette.
Painting and markings:
The turret looks weird enough, so I wanted a simple, yet typically late-WWII-German camouflage. I settled upon a geometric variation of the Hinterhalt three-tone scheme, primarily with dark yellow and olive green fields and stripe and a few red brown additions - inspired by a real late war Panther tank.
The basic color is RAL 7028 (modern variant, though), applied from the rattle can on the semi-finished hull and turret as a primer. On top of that, the shapes were added with acrylic dark grey-green (RAL 7009, Revell 67) and red brown (Humbrol 180) with a brush. The less bright colors were chosen on purpose for a low contrast finish, and the edgy shapes add a slightly SF-ish look.
A black ink wash and some dry-brushing along the many edges were used to weather the model and emphasize details. After decals had been applied, the kit was sealed with matt acrylic varnish and some artist pigments were added around the wheels and lower hull in order to simulate dust and dirt. On the lower chassis, some pigments were also cluttered onto small patches of the acrylic varnish, so that the stuff soaks it up, builds volume and becomes solid - the perfect simulation of dry mud crusts.
A whiffy tank kit with a long background story - but the concept offers a lot of material to create a detailed story and description. And while the vehicle is a fantasy creation, it bears a weird plausibility. Should be a nice scenic addition to a (whiffy, too) German E-75 Flak tank (to be built some day)?
Critical Run @ Venice Biennale / art format Run and Debate about EMERGENCIES
Critical Run is an Art Format created by Thierry Geoffroy /Colonel
debate while running . Debate and Run together, Now , before it is too late.
The Art Format Critical Run has been activated in 40 differents countries with 112 different burning debates
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam. ZKM Karlsruhe, Liverpool Biennale ; Sprengel Museum etc..or have just happened on the spot because a debate was necessary here and now.
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
artist Thierry Geoffroy creates art formats
aim to develop awareness muscle
during Venice Biennale 2019
The Exhibition will develop from the Central Pavilion (Giardini) to the Arsenale, and will include 79 artists from all over the world.
Ralph Rugoff has declared: «May You Live in Interesting Times will no doubt include artworks that reflect upon precarious aspects of existence today, including different threats to key traditions, institutions and relationships of the “post-war order.” But let us acknowledge at the outset that art does not exercise its forces in the domain of politics. Art cannot stem the rise of nationalist movements and authoritarian governments in different parts of the world, for instance, nor can it alleviate the tragic fate of displaced peoples across the globe (whose numbers now represent almost one percent of the world’s entire population).»
ALBANIA
Maybe the cosmos is not so extraordinary
Commissioner: Ministry of Culture Republic of Albania. Curator: Alicia Knock.
Exhibitor: Driant Zeneli.
ALGERIA***
Time to shine bright
Commissioner/Curator: Hellal Mahmoud Zoubir, National Council of Arts and Letters Ministry of Culture. Exhibitors: Rachida Azdaou, Hamza Bounoua, Amina Zoubir, Mourad Krinah, Oussama Tabti.
Venue: Fondamenta S. Giuseppe, 925
ANDORRA
The Future is Now / El futur és ara
Commissioner: Eva Martínez, “Zoe”. Curators: Ivan Sansa, Paolo De Grandis.
Exhibitor: Philippe Shangti.
Venue: Istituto Santa Maria della Pietà, Castello 3701
ANTIGUA & BARBUDA
Find Yourself: Carnival and Resistance
Commissioner: Daryll Matthew, Minister of Sports, Culture, National Festivals and the Arts. Curator: Barbara Paca with Nina Khrushcheva. Exhibitors: Timothy Payne, Sir Gerald Price, Joseph Seton, and Frank Walter; Intangible Cultural, Heritage Artisans and Mas Troup.
Venue: Centro Culturale Don Orione Artigianelli, Dorsoduro 919
ARGENTINA
El nombre de un país / The name of a country
Commissioner: Sergio Alberto Baur Ambasciatore. Curator: Florencia Battiti. Exhibitor: Mariana Telleria.
Venue: Arsenale
ARMENIA (Republic of)
Revolutionary Sensorium
Commissioner: Nazenie Garibian, Deputy Minister. Curator: Susanna Gyulamiryan.
Exhibitors: "ArtlabYerevan" Artistic Group (Gagik Charchyan, Hovhannes Margaryan, Arthur Petrosyan, Vardan Jaloyan) and Narine Arakelian.
Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596
AUSTRALIA
ASSEMBLY
Commissioner: Australia Council for the Arts. Curator: Juliana Engberg. Exhibitor: Angelica Mesiti.
Venue: Giardini
AUSTRIA
Discordo Ergo Sum
Commissioner: Arts and Culture Division of the Federal Chancellery of Austria.
Curator: Felicitas Thun-Hohenstein. Exhibitor: Renate Bertlmann.
Venue: Giardini
AZERBAIJAN (Republic of )
Virtual Reality
Commissioner: Mammad Ahmadzada, Ambassador of the Republic of Azerbaijan.
Curators: Gianni Mercurio, Emin Mammadov. Exhibitors: Zeigam Azizov, Orkhan Mammadov, Zarnishan Yusifova, Kanan Aliyev, Ulviyya Aliyeva.
Venue: Palazzo Lezze, Campo S. Stefano, San Marco 2949
BANGLADESH (People’s Republic of)
Thirst
Commissioner: Liaquat Ali Lucky. Curators: Mokhlesur Rahman, Viviana Vannucci.
Exhibitors: Bishwajit Goswami, Dilara Begum Jolly, Heidi Fosli, Nafis Ahmed Gazi, Franco Marrocco, Domenico Pellegrino, Preema Nazia Andaleeb, Ra Kajol, Uttam Kumar karmaker.
Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596
BELARUS (Republic of)
Exit / Uscita
Commissioner: Siarhey Kryshtapovich. Curator: Olga Rybchinskaya. Exhibitor: Konstantin Selikhanov.
Venue: Spazio Liquido, Sestiere Castello 103, Salizada Streta
BELGIUM
Mondo Cane
Commissioner: Fédération Wallonie-Bruxelles. Curator: Anne-Claire Schmitz.
Exhibitor: Jos de Gruyter & Harald Thys.
Venue: Giardini
BOSNIA and HERZEGOVINA
ZENICA-TRILOGY
Commissioner: Senka Ibrišimbegović, Ars Aevi Museum for Contemporary Art Sarajevo.
Curators: Anja Bogojević, Amila Puzić, Claudia Zini. Exhibitor: Danica Dakić.
Venue: Palazzo Francesco Molon Ca’ Bernardo, San Polo 2184/A
BRAZIL
Swinguerra
Commissioner: José Olympio da Veiga Pereira, Fundação Bienal de São Paulo.
Curator: Gabriel Pérez-Barreiro. Exhibitor: Bárbara Wagner & Benjamin de Burca.
Venue: Giardini
BULGARIA
How We Live
Commissioner: Iaroslava Boubnova, National Gallery in Sofia. Curator: Vera Mlechevska.
Exhibitors: Rada Boukova , Lazar Lyutakov.
Venue: Palazzo Giustinian Lolin, San Marco 2893
CANADA
ISUMA
Commissioner: National Gallery of Canada. Curators: Asinnajaq, Catherine Crowston, Josée Drouin-Brisebois, Barbara Fischer, Candice Hopkins. Exhibitors: Isuma (Zacharias Kunuk, Norman Cohn, Paul Apak, Pauloosie Qulitalik).
Venue: Giardini
CHILE
Altered Views
Commissioner: Varinia Brodsky, Ministry of Cultures, Arts and Heritage.
Curator: Agustín Pérez. Rubio. Exhibitor: Voluspa Jarpa.
Venue: Arsenale
CHINA (People’s Republic of)
Re-睿
Commissioner: China Arts and Entertainment Group Ltd. (CAEG).
Curator: Wu Hongliang. Exhibitors: Chen Qi, Fei Jun, He Xiangyu, Geng Xue.
Venue: Arsenale
CROATIA
Traces of Disappearing (In Three Acts)
Commissioner: Ministry of Culture of the Republic of Croatia. Curator: Katerina Gregos.
Exhibitor: Igor Grubić.
Venue: Calle Corner, Santa Croce 2258
CUBA
Entorno aleccionador (A Cautionary Environment)
Commissioner: Norma Rodríguez Derivet, Consejo Nacional de Artes Plásticas.
Curator: Margarita Sanchez Prieto. Exhibitors: Alejandro Campins, Alex Hérnandez, Ariamna Contino and Eugenio Tibaldi. Venue: Isola di San Servolo
CYPRUS (Republic of)
Christoforos Savva: Untimely, Again
Commissioner: Louli Michaelidou. Curator: Jacopo Crivelli Visconti. Exhibitor: Christoforos Savva.
Venue: Associazione Culturale Spiazzi, Castello 3865
CZECH (Republic) and SLOVAK (Republic)
Stanislav Kolíbal. Former Uncertain Indicated
Commissioner: Adam Budak, National Gallery Prague. Curator: Dieter Bogner.
Exhibitor: Stanislav Kolibal.
Venue: Giardini
DOMINICAN (Republic) *
Naturaleza y biodiversidad en la República Dominicana
Commissioner: Eduardo Selman, Minister of Culture. Curators: Marianne de Tolentino, Simone Pieralice, Giovanni Verza. Exhibitors: Dario Oleaga, Ezequiel Taveras, Hulda Guzmán, Julio Valdez, Miguel Ramirez, Rita Bertrecchi, Nicola Pica, Marraffa & Casciotti.
Venue: Palazzo Albrizzi Capello, Cannaregio 4118 – Sala della Pace
EGYPT
khnum across times witness
Commissioner: Ministry of Culture. Curator: Ahmed Chiha.
Exhibitors: Islam Abdullah, Ahmed Chiha, Ahmed Abdel Karim.
Venue: Giardini
ESTONIA
Birth V
Commissioner: Maria Arusoo, Centre of Contemporary Arts of Estonia. Curators: Andrew Berardini, Irene Campolmi, Sarah Lucas, Tamara Luuk. Exhibitor: Kris Lemsalu.
Venue: c/o Legno & Legno, Giudecca 211
FINLAND (Alvar Aalto Pavilion)
A Greater Miracle of Perception
Commissioner: Raija Koli, Director Frame Contemporary Art Finland.
Curators: Giovanna Esposito Yussif, Bonaventure Soh Bejeng Ndikung, Christopher Wessels. Exhibitors: Miracle Workers Collective (Maryan Abdulkarim, Khadar Ahmed, Hassan Blasim, Giovanna Esposito Yussif, Sonya Lindfors, Bonaventure Soh Bejeng Ndikung, Outi Pieski, Leena Pukki, Lorenzo Sandoval, Martta Tuomaala, Christopher L. Thomas, Christopher Wessels, Suvi West).
Venue: Giardini
FRANCE
Deep see blue surrounding you / Vois ce bleu profond te fondre
Commissioner: Institut français with the Ministry for Europe and Foreign Affairs and the Ministry of Culture. Curator: Martha Kirszenbaum. Exhibitor: Laure Prouvost.
Venue: Giardini
GEORGIA
REARMIRRORVIEW, Simulation is Simulation, is Simulation, is Simulation
Commissioner: Ana Riaboshenko. Curator: Margot Norton. Exhibitor: Anna K.E.
Venue: Arsenale
GERMANY
Commissioner: ifa (Institut für Auslandsbeziehungen) on behalf of the Federal Foreign Office, Germany. Curator: Franciska Zólyom. Exhibitor: Natascha Süder Happelmann.
Venue: Giardini
GHANA ***
Ghana Freedom
Commissioner: Ministry of Tourism, Arts and Culture. Curator: Nana Oforiatta Ayim.
Exhibitors: Felicia Abban, John Akomfrah, El Anatsui, Lynette Yiadom Boakye, Ibrahim Mahama, Selasi Awusi Sosu.
Venue: Arsenale
GREAT BRITAIN
Cathy Wilkes
Commissioner: Emma Dexter. Curator: Zoe Whitley. Exhibitor: Cathy Wilkes.
Venue: Giardini
GREECE
Mr Stigl
Commissioner: Syrago Tsiara (Deputy Director of the Contemporary Art Museum - Metropolitan Organization of Museums of Visual Arts of Thessaloniki - MOMus).
Curator: Katerina Tselou. Exhibitors: Panos Charalambous, Eva Stefani, Zafos Xagoraris.
Venue: Giardini
GRENADA
Epic Memory
Commissioner: Susan Mains. Curator: Daniele Radini Tedeschi.
Exhibitors: Amy Cannestra, Billy Gerard Frank, Dave Lewis, Shervone Neckles, Franco Rota Candiani, Roberto Miniati, CRS avant-garde.
Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118
GUATEMALA
Interesting State
Commissioner: Elder de Jesús Súchite Vargas, Minister of Culture and Sports of Guatemala. Curator: Stefania Pieralice. Exhibitors: Elsie Wunderlich, Marco Manzo.
Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118
HAITI
THE SPECTACLE OF TRAGEDY
Commissioner: Ministry of Culture and Communication.
Curator: Giscard Bouchotte. Exhibitor: Jean Ulrick Désert.
Venue: Circolo Ufficiali Marina, Calle Seconda de la Fava, Castello 2168
HUNGARY
Imaginary Cameras
Commissioner: Julia Fabényi, Museo Ludwig – Museo d’arte contemporanea, Budapest.
Curator: Zsuzsanna Szegedy-Maszák. Exhibitor: Tamás Waliczky.
Venue: Giardini
ICELAND
Chromo Sapiens – Hrafnhildur Arnardóttir / Shoplifter
Commissioner: Eiríkur Þorláksson, Icelandic Ministry of Education, Science and Culture.
Curator: Birta Gudjónsdóttir. Exhibitor: Hrafnhildur Arnardóttir / Shoplifter.
Venue: Spazio Punch, Giudecca 800
INDIA
Our time for a future caring
Commissioner: Adwaita Gadanayak National Gallery of Modern Art.
Curator: Roobina Karode, Director & Chief Curator, Kiran Nadar Museum of Art. Exhibitors: Atul Dodiya, Ashim Purkayastha, GR Iranna, Jitish Kallat, Nandalal Bose, Rummana Hussain, Shakuntala Kulkarni.
Venue: Arsenale
INDONESIA
Lost Verses
Commissioner: Ricky Pesik & Diana Nazir, Indonesian Agency for Creative Economy.
Curator: Asmudjo Jono Irianto. Exhibitors: Handiwirman Saputra and Syagini Ratna Wulan.
Venue: Arsenale
IRAN (Islamic Republic of)
of being and singing
Commissioner: Hadi Mozafari, General Manager of Visual Arts Administration of Islamic Republic of Iran. Curator: Ali Bakhtiari.
Exhibitors: Reza Lavassani, Samira Alikhanzadeh, Ali Meer Azimi.
Venue: Fondaco Marcello, San Marco 3415
IRAQ
Fatherland
Commissioner: Fondazione Ruya. Curators: Tamara Chalabi, Paolo Colombo.
Exhibitor: Serwan Baran.
Venue: Ca’ del Duca, Corte del Duca Sforza, San Marco 3052
IRELAND
The Shrinking Universe
Commissioner: Culture Ireland. Curator: Mary Cremin. Exhibitor: Eva Rothschild.
Venue: Arsenale
ISRAEL
Field Hospital X
Commissioner: Michael Gov, Arad Turgeman. Curator: Avi Lubin. Exhibitor: Aya Ben Ron.
Venue: Giardini
ITALY
Commissioner: Federica Galloni, Direttore Generale Arte e Architettura Contemporanee e Periferie Urbane, Ministero dei Beni e delle Attività Culturali. Curator: Milovan Farronato.
Exhibitors: Enrico David, Liliana Moro, Chiara Fumai.
Venue: Padiglione Italia, Tese delle Vergini, Arsenale
IVORY COAST
The Open Shadows of Memory
Commissioner: Henri Nkoumo. Curator: Massimo Scaringella. Exhibitors: Ernest Dükü, Ananias Leki Dago, Valérie Oka, Tong Yanrunan.
Venue: Castello Gallery, Castello 1636/A
JAPAN
Cosmo-Eggs
Commissioner: The Japan Foundation. Curator: Hiroyuki Hattori. Exhibitors: Motoyuki Shitamichi, Taro Yasuno, Toshiaki Ishikura, Fuminori Nousaku.
Venue: Giardini
KIRIBATI
Pacific Time - Time Flies
Commissioner: Pelea Tehumu, Ministry of Internal Affairs. Curators: Kautu Tabaka, Nina Tepes. Exhibitors: Kaeka Michael Betero, Daniela Danica Tepes, Kairaken Betio Group; Teroloang Borouea, Neneia Takoikoi, Tineta Timirau, Teeti Aaloa, Kenneth Ioane, Kaumai Kaoma, Runita Rabwaa, Obeta Taia, Tiribo Kobaua, Tamuera Tebebe, Rairauea Rue, Teuea Kabunare, Tokintekai Ekentetake, Katanuti Francis, Mikaere Tebwebwe, Terita Itinikarawa, Kaeua Kobaua, Raatu Tiuteke, Kaeriti Baanga, Ioanna Francis, Temarewe Banaan, Aanamaria Toom, Einako Temewi, Nimei Itinikarawa, Teniteiti Mikaere, Aanibo Bwatanita, Arin Tikiraua.
Venue: European Cultural Centre, Palazzo Mora, Strada Nuova 3659
KOREA (Republic of)
History Has Failed Us, but No Matter
Commissioner: Arts Council Korea. Curator: Hyunjin Kim. Exhibitors: Hwayeon Nam, siren eun young jung, Jane Jin Kaisen.
Venue: Giardini
KOSOVO (Republic of)
Family Album
Commissioner: Arta Agani. Curator: Vincent Honore. Exhibitor: Alban Muja.
Venue: Arsenale
LATVIA
Saules Suns
Commissioner: Dace Vilsone. Curators: Valentinas Klimašauskas, Inga Lāce.
Exhibitor: Daiga Grantiņa.
Venue: Arsenale
LITHUANIA
Sun & Sea (Marina)
Commissioner: Rasa Antanavičıūte. Curator: Lucia Pietroiusti.
Exhibitors: Lina Lapelyte, Vaiva Grainyte and Rugile Barzdziukaite.
Venue: Magazzino No. 42, Marina Militare, Arsenale di Venezia, Fondamenta Case Nuove 2738c
LUXEMBOURG (Grand Duchy of)
Written by Water
Commissioner: Ministry of Culture of Luxembourg.
Curator: Kevin Muhlen. Exhibitor: Marco Godinho.
Venue: Arsenale
NORTH MACEDONIA (Republic of )
Subversion to Red
Commissioner: Mira Gakina. Curator: Jovanka Popova. Exhibitor: Nada Prlja.
Venue: Palazzo Rota Ivancich, Castello 4421
MADAGASCAR ***
I have forgotten the night
Commissioner: Ministry of Communication and Culture of the Republic of Madagascar. Curators: Rina Ralay Ranaivo, Emmanuel Daydé.
Exhibitor: Joël Andrianomearisoa.
Venue: Arsenale
MALAYSIA ***
Holding Up a Mirror
Commissioner: Professor Dato’ Dr. Mohamed Najib Dawa, Director General of Balai Seni Negara (National Art Gallery of Malaysia), Ministry of Tourism, Arts and Culture of Malaysia. Curator: Lim Wei-Ling. Exhibitors: Anurendra Jegadeva, H.H.Lim, Ivan Lam, Zulkifli Yusoff.
Venue: Palazzo Malipiero, San Marco 3198
MALTA
Maleth / Haven / Port - Heterotopias of Evocation
Commissioner: Arts Council Malta. Curator: Hesperia Iliadou Suppiej. Exhibitors: Vince Briffa, Klitsa Antoniou, Trevor Borg.
Venue: Arsenale
MEXICO
Actos de Dios / Acts of God
Commissioner: Gabriela Gil Verenzuela. Curator: Magalí Arriola. Exhibitor: Pablo Vargas Lugo.
Venue: Arsenale
MONGOLIA
A Temporality
Commissioner: The Ministry of Education, Culture, Science and Sports of Mongolia.
Curator: Gantuya Badamgarav. Exhibitor: Jantsankhorol Erdenebayar with the participation of traditional Mongolian throat singers and Carsten Nicolai (Alva Noto).
Venue: Bruchium Fermentum, Calle del Forno, Castello 2093-2090
MONTENEGRO
Odiseja / An Odyssey
Commissioner: Nenad Šoškić. Curator: Petrica Duletić. Exhibitor: Vesko Gagović.
Venue: Palazzo Malipiero (piano terra), San Marco 3078-3079/A, Ramo Malipiero
MOZAMBIQUE (Republic of)
The Past, the Present and The in Between
Commissioner: Domingos do Rosário Artur. Curator: Lidija K. Khachatourian.
Exhibitors: Gonçalo Mabunda, Mauro Pinto, Filipe Branquinho.
Venue: Palazzo Mora, Strada Nova, 3659
NETHERLANDS (The)
The Measurement of Presence
Commissioner: Mondriaan Fund. Curator: Benno Tempel. Exhibitors: Iris Kensmil, Remy Jungerman. Venue: Giardini
NEW ZEALAND
Post hoc
Commissioner: Dame Jenny Gibbs. Curators: Zara Stanhope and Chris Sharp.
Exhibitor: Dane Mitchell.
Venue: Palazzina Canonica, Riva Sette Martiri
NORDIC COUNTRIES (FINLAND - NORWAY - SWEDEN)
Weather Report: Forecasting Future
Commissioner: Leevi Haapala / Museum of Contemporary Art Kiasma / Finnish National Gallery, Katya García-Antón / Office for Contemporary Art Norway (OCA), Ann-Sofi Noring / Moderna Museet. Curators: Leevi Haapala, Piia Oksanen. Exhibitors: Ane Graff, Ingela Ihrman, nabbteeri.
Venue: Giardini
PAKISTAN ***
Manora Field Notes
Commissioner: Syed Jamal Shah, Pakistan National Council of the Arts, PNCA.
Curator: Zahra Khan. Exhibitor: Naiza Khan.
Venue: Tanarte, Castello 2109/A and Spazio Tana, Castello 2110-2111
PERU
“Indios Antropófagos”. A butterfly Garden in the (Urban) Jungle
Commissioner: Armando Andrade de Lucio. Curator: Gustavo Buntinx. Exhibitors: Christian Bendayán, Otto Michael (1859-1934), Manuel Rodríguez Lira (1874-1933), Segundo Candiño Rodríguez, Anonymous popular artificer.
Venue: Arsenale
PHILIPPINES
Island Weather
Commissioner: National Commission for Culture and the Arts (NCCA) / Virgilio S. Almario.
Curator: Tessa Maria T. Guazon. Exhibitor: Mark O. Justiniani.
Venue: Arsenale
POLAND
Flight
Commissioner: Hanna Wroblewska. Curators: Łukasz Mojsak, Łukasz Ronduda.
Exhibitor: Roman Stańczak.
Venue: Giardini
PORTUGAL
a seam, a surface, a hinge or a knot
Commissioner: Directorate-General for the Arts. Curator: João Ribas. Exhibitor: Leonor Antunes.
Venue: Fondazione Ugo e Olga Levi Onlus, Palazzo Giustinian Lolin, San Marco 2893
ROMANIA
Unfinished Conversations on the Weight of Absence
Commissioner: Attila Kim. Curator: Cristian Nae. Exhibitor: Belu-Simion Făinaru, Dan Mihălțianu, Miklós Onucsán.
Venues: Giardini and New Gallery of the Romanian Institute for Culture and Humanistic Research (Campo Santa Fosca, Palazzo Correr, Cannaregio 2214)
RUSSIA
Lc 15:11-32
Commissioner: Semyon Mikhailovsky. Curator: Mikhail Piotrovsky. Exhibitors: Alexander Sokurov, Alexander Shishkin-Hokusai.
Venue: Giardini
SAN MARINO (Republic of)
Friendship Project International
Commissioner: Vito Giuseppe Testaj. Curator: Vincenzo Sanfo. Exhibitors: Gisella Battistini, Martina Conti, Gabriele Gambuti, Giovanna Fra, Thea Tini, Chen Chengwei, Li Geng, Dario Ortiz, Tang Shuangning, Jens W. Beyrich, Xing Junqin, Xu de Qi, Sebastián.
Venue: Palazzo Bollani, Castello 3647; Complesso dell’Ospedaletto, Castello 6691
SAUDI ARABIA
After Illusion بعد توهم
Commissioner: Misk Art Insitute. Curator: Eiman Elgibreen. Exhibitor: Zahrah Al Ghamdi.
Venue: Arsenale
SERBIA
Regaining Memory Loss
Commissioner: Vladislav Scepanovic. Curator: Nicoletta Lambertucci. Exhibitor: Djordje Ozbolt.
Venue: Giardini
SEYCHELLES (Republic of)
Drift
Commissioner: Galen Bresson. Curator: Martin Kennedy.
Exhibitors: George Camille and Daniel Dodin.
Venue: Palazzo Mora, Strada Nova, 3659
SINGAPORE
Music For Everyone: Variations on a Theme
Commissioner: Rosa Daniel, Chief Executive Officer, National Arts Council (NAC).
Curator: Michelle Ho. Exhibitor: Song-Ming Ang.
Venue: Arsenale
SLOVENIA (Republic of)
Here we go again... SYSTEM 317
A situation of the resolution series
Commissioner: Zdenka Badovinac, Director Moderna galerija / Museum of Modern Art, Ljubljana. Curator: Igor Španjol. Exhibitor: Marko Peljhan.
Venue: Arsenale
SOUTH AFRICA (Republic of)
The stronger we become
Commissioner: Titi Nxumalo, Console Generale. Curators: Nkule Mabaso, Nomusa Makhubu. Exhibitors: Dineo Seshee Bopape, Tracey Rose, Mawande Ka Zenzile.
Venue: Arsenale
SPAIN
Perforated by Itziar Okariz and Sergio Prego
Commissioner: AECID Agencia Espanola de Cooperacion Internacional Para El Desarrollo. Ministerio de Asuntos Exteriores, Union Europea y Cooperacion. Curator: Peio Aguirre.
Exhibitors: Itziar Okariz, Sergio Prego.
Venue: Giardini
SWITZERLAND
Moving Backwards
Commissioner: Swiss Arts Council Pro-Helvetia: Marianne Burki, Sandi Paucic, Rachele Giudici Legittimo. Curator: Charlotte Laubard. Exhibitors: Pauline Boudry/Renate Lorenz.
Venue: Giardini
SYRIAN ARAB (Republic)
Syrian Civilization is still alive
Commissioner/Curator: Emad Kashout. Exhibitors: Abdalah Abouassali, Giacomo Braglia, Ibrahim Al Hamid, Chen Huasha, Saed Salloum, Xie Tian, Saad Yagan, Primo Vanadia, Giuseppe Biasio.
Venue: Isola di San Servolo; Chiesetta della Misericordia, Campo dell'Abbazia, Cannaregio
THAILAND
The Revolving World
Commissioner: Vimolluck Chuchat, Office of Contemporary Art and Culture, Ministry of Culture, Thailand. Curator: Tawatchai Somkong. Exhibitors: Somsak Chowtadapong, Panya Vijinthanasarn, Krit Ngamsom.
Venue: In Paradiso 1260, Castello
TURKEY
We, Elsewhere
Commissioner: IKSV. Curator: Zeynep Öz. Exhibitor: İnci Eviner.
Venue: Arsenale
UKRAINE
The Shadow of Dream cast upon Giardini della Biennale
Commissioner: Svitlana Fomenko, First Deputy Minister of Culture. Curators: Open group (Yurii Biley, Pavlo Kovach, Stanislav Turina, Anton Varga). Exhibitors: all artists of Ukraine.
Venue: Arsenale
UNITED ARAB EMIRATES
Nujoom Alghanem: Passage
Commissioner: Salama bint Hamdan Al Nahyan Foundation.
Curators: Sam Bardaouil and Till Fellrath. Exhibitor: Nujoom Alghanem.
Venue: Arsenale
UNITED STATES OF AMERICA
Martin Puryear: Liberty
Commissioner/Curator: Brooke Kamin Rapaport. Exhibitor: Martin Puryear.
Venue: Giardini
URUGUAY
“La casa empática”
Commissioner: Alejandro Denes. Curators: David Armengol, Patricia Bentancur.
Exhibitor: Yamandú Canosa.
Venue: Giardini
VENEZUELA (Bolivarian Republic of)
Metaphore of three windows
Venezuela: identity in time and space
Commissioner/Curator: Oscar Sottillo Meneses. Exhibitors: Natalie Rocha Capiello, Ricardo García, Gabriel López, Nelson Rangelosky.
Venue: Giardini
ZIMBABWE (Republic of)
Soko Risina Musoro (The Tale without a Head)
Commissioner: Doreen Sibanda, National Gallery of Zimbabwe. Curator: Raphael Chikukwa. Exhibitors: Georgina Maxim, Neville Starling , Cosmas Shiridzinomwa, Kudzanai Violet Hwami.
Venue: Istituto Provinciale per L’infanzia “Santa Maria Della Pietà”. Calle della Pietà Castello n. 3701 (ground floor)
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invited artist :
Lawrence Abu Hamdan (Jordan / Beirut)
Njideka Akunyili Crosby (Nigeria / USA),Halil Altındere (Turkey),Michael Armitage (Kenya / UK),Korakrit Arunanondchai (Thailand / USA),Alex Gvojic (USA),Ed Atkins (UK / Germany / Denmark),Tarek Atoui (Lebanon / France),
Darren Bader (USA),Nairy Baghramian (Iran / Germany,
Neïl Beloufa (France),Alexandra Bircken (Germany),Carol Bove (Switzerland / USA,
Christoph Büchel (Switzerland / Iceland,
Ludovica Carbotta (Italy / Barcelona),Antoine Catala (France / USA),Ian Cheng (USA),George Condo (USA
Alex Da Corte (USA),Jesse Darling (UK / Germany),Stan Douglas (Canada),Jimmie Durham (USA / Germany),Nicole Eisenman (France / USA,
Haris Epaminonda (Cyprus / Germany),Lara Favaretto (Italy),Cyprien Gaillard (France / Germany), Gill (India),Dominique Gonzalez-Foerster (France),Shilpa Gupta (India),Soham Gupta (India),Martine Gutierrez (USA),Rula Halawani (Palestine),Anthea Hamilton (UK),Jeppe Hein (Denmark / Germany),Anthony Hernandez (USA),Ryoji Ikeda (Japan / France),Arthur Jafa (USA),Cameron Jamie (USA / France / Germany),Kahlil Joseph (USA),Zhanna Kadyrova (Ukraine),Suki Seokyeong Kang (South Korea),Mari Katayama (Japan),Lee Bul (South Korea),Liu Wei (China),Maria Loboda (Poland / Germany),Andreas Lolis (Albania / Greece),Christian Marclay (USA / London),Teresa Margolles (Mexico / Spain),Julie Mehretu (Ethiopia / USA),Ad Minoliti (Argentina),Jean-Luc Moulène (France),Zanele Muholi (South Africa),Jill Mulleady (Uruguay / USA),Ulrike Müller (Austria / USA),Nabuqi (China),Otobong Nkanga (Nigeria / Belgium),Khyentse Norbu (Bhutan / India),Frida Orupabo (Norway),Jon Rafman (Canada).Gabriel Rico (Mexico),Handiwirman Saputra (Indonesia),Tomás Saraceno (Argentina / Germany),Augustas Serapinas (Lithuania),Avery Singer (USA),Slavs and Tatars (Germany),Michael E. Smith (USA),Hito Steyerl (Germany),Tavares Strachan (Bahamas / USA),Sun Yuan and Peng Yu (China),Henry Taylor (USA),Rosemarie Trockel (Germany),Kaari Upson (USA),Andra Ursuţa (Romania),Danh Vō (Vietnam / Mexico),Kemang Wa Lehulere (South Africa),Apichatpong Weerasethakul (Thailand) and Tsuyoshi Hisakado (Japan),Margaret Wertheim and Christine Wertheim (Australia / USA) ,Anicka Yi (South Korea/ USA),Yin Xiuzhen (China),Yu Ji (China / Austria)
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other Biennale :(Biennials ) :Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
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Thierry Geoffroy / Colonel
A full container vessel operated by the Evergreen Line sails under the Golden Gate Bridge, near Fort Point, in San Francisco Bay, California. Evergreen operates the fourth largest container fleet in the world with over 150 ships.
This particular vessel is the "Ever Develop". There are two 'Develop's' in the Evergreen fleet, 'Develop 1' and 'Develop 2'. I could not determine which of the two is pictured in this photo. This is a Panamanian-flagged vessel launched in 1998 with a maximum TEU capacity of 4211 tons. The ship was built by Mitsubishi Heavy Industries Ltd. in Shimonoseki, Japan and can carry up to 476 reefer containers.
Fort Point, at the bottom-right of this photograph, is located on the southern side of the Golden Gate at the entrance to San Francisco Bay. It was built just prior to the Civil War by the US Army Corps of Engineers in order to protect and defend the Bay against hostile warships. Today, it is a National Historic Site administered by the National Park Service.
If you look closely, you can just make out the diminutive 'Fort Point Lighthouse' on the roof of Fort Point. This is actually the third lighthouse to stand at this location. The first was built in 1853 and torn down a year later to make room for the fort. The second was built on a narrow ledge between the fort and the water in 1855 but strong tidal currents eventually undermined the shore and the lighthouse had to be removed. The tower was replaced with the third and final light placed in its present position atop the fort.