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Developed in the mid-1930s for the Regia Aeronautica (Italian Royal Air Force), the Saetta was one of its principal fighters during World War II.
The Regia Aeronautica first employed the Saetta against the British on the Mediterranean island of Malta. Italian pilots also flew the MC.200 in Greece, North Africa, Yugoslavia and the Soviet Union. The U.S. Army Air Forces fought against MC.200s in North Africa and over Italy itself.
The MC.200 on display was transferred from the Regia Aeronautica's 372nd Squadron in Italy to the 165th Squadron in North Africa during November 1942, just in time to be abandoned at Banghazi airfield following the battle of El Alamein.(Air Force Museum, Dayton Ohio, 2007)
Develop the habit of self awareness among your kids via yoga . Enroll them in our exciting yoga classes at : planetnamaste . com/.
We developed a series of graphic tests for a new food channel for FOX International Channels. We really enjoyed the project and made two options, very different from each other. Going from illustrative to surrealist.
More: bit.ly/Sfk7dL
Creative, art direction and design by Eloy Krioka. 3D Modeling help: Julio Cesar Velazquez. Work commisioned by our good mate Andres Rossi (Thanks!). VP Branding and Creative Fox International Channels: Florencia Picco. Branding Director Fox International Channels: Mariano Barreiro
#food #channel #design #fox
Developed originally by British Leyland in order to claw back a hold on the American market, the Rover Sterling/800 range was to become the company's top of the range model, replacing the 10 year old Rover SD1.
The 800 is similar in many ways to the Honda Legend, but was not the first BL car to use a Japanese model as a spiritual template, being preceded by the Triumph Acclaim and the Rover 200.
The original styling of the Sterling was based largely on that of the SD1 with the sweeping light clusters that were curved around the front of the body. This was later revised with the inclusion of a grille.
In total, 371,000 Sterling/800's were built, an estimated 33,000 being sold in the United States as simply the 'Sterling'.
The cars sadly were not a major success in the United States, and were pulled out of the market in 1991, but the Sterling/800 in Europe remained highly popular and continued in production until the introduction of the Rover 75 in 1998.
Today there are still plenty of Sterlings and 800's to be found on the roads of Britain, and even in the United States the Sterling derivatives have garnered a cult following due to their obscure nature, and that they were the last truly British cars to be sold in the USA outside of companies under foreign ownership such as Jaguar, Rolls Royce and Bentley.
This image was apart of the Daniel's Ton of Film to Develop Campaign.
Camera: Holga HolgaGLO 120N (Neon Green)
Film Brand: Arista EDU
Film Type: Ultra 100
ISO: 100
Size: 120
Exposures: 12
The science of cartography – making maps – developed extensively during the early modern period. Trade, colonial expansion, and piracy alike all benefitted from the increasing accuracy of maps and of the navigational tools used to read them and to plot routes. This interest is reflected in the maps of the Holy Land that we find in early modern Bibles. Readers wanted to locate important locations like Jerusalem and the Red Sea or to plot, for example, the route of Moses and the Jews into exile as described in Exodus.
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This map from John Speed's book of biblical chronologies is similar to maps found in some copies of the Bishop's Bible. It includes a large amount of detail, including place names, positions of camps, armies, battles, and holy sites. In the bottom left hand corner we can see the Israelites crossing the Red Sea and the top left inset is a more detailed map of Jerusalem including Mount Calvary and the three crosses.
University of Glasgow Library
Special Collections
Speed, John: The Genealogies Recorded in the Sacred Scriptures (1628)
Sp Coll TCL 190
The RX-77D Production Type was developed for medium to short range fire support on the battlefield.
Heavily armored with dual anti-mobile suit cannons mounted to the back, the RX-77D is being deployed to all current combat theaters.
The cat (Felis catus), commonly referred to as the domestic cat or house cat, is the only domesticated species in the family Felidae. Recent advances in archaeology and genetics have shown that the domestication of the cat occurred in the Near East around 7500 BC. It is commonly kept as a house pet and farm cat, but also ranges freely as a feral cat avoiding human contact. It is valued by humans for companionship and its ability to kill vermin. Because of its retractable claws it is adapted to killing small prey like mice and rats. It has a strong flexible body, quick reflexes, sharp teeth, and its night vision and sense of smell are well developed. It is a social species, but a solitary hunter and a crepuscular predator. Cat communication includes vocalizations like meowing, purring, trilling, hissing, growling, and grunting as well as cat body language. It can hear sounds too faint or too high in frequency for human ears, such as those made by small mammals. It also secretes and perceives pheromones.
Female domestic cats can have kittens from spring to late autumn in temperate zones and throughout the year in equatorial regions, with litter sizes often ranging from two to five kittens. Domestic cats are bred and shown at events as registered pedigreed cats, a hobby known as cat fancy. Animal population control of cats may be achieved by spaying and neutering, but their proliferation and the abandonment of pets has resulted in large numbers of feral cats worldwide, contributing to the extinction of bird, mammal and reptile species.
As of 2017, the domestic cat was the second most popular pet in the United States, with 95.6 million cats owned and around 42 million households owning at least one cat. In the United Kingdom, 26% of adults have a cat, with an estimated population of 10.9 million pet cats as of 2020. As of 2021, there were an estimated 220 million owned and 480 million stray cats in the world.
Etymology and naming
The origin of the English word cat, Old English catt, is thought to be the Late Latin word cattus, which was first used at the beginning of the 6th century. The Late Latin word may be derived from an unidentified African language. The Nubian word kaddîska 'wildcat' and Nobiin kadīs are possible sources or cognates. The Nubian word may be a loan from Arabic قَطّ qaṭṭ ~ قِطّ qiṭṭ.
The forms might also have derived from an ancient Germanic word that was imported into Latin and then into Greek, Syriac, and Arabic. The word may be derived from Germanic and Northern European languages, and ultimately be borrowed from Uralic, cf. Northern Sámi gáđfi, 'female stoat', and Hungarian hölgy, 'lady, female stoat'; from Proto-Uralic *käďwä, 'female (of a furred animal)'.
The English puss, extended as pussy and pussycat, is attested from the 16th century and may have been introduced from Dutch poes or from Low German puuskatte, related to Swedish kattepus, or Norwegian pus, pusekatt. Similar forms exist in Lithuanian puižė and Irish puisín or puiscín. The etymology of this word is unknown, but it may have arisen from a sound used to attract a cat.
A male cat is called a tom or tomcat (or a gib, if neutered). A female is called a queen or a molly, if spayed, especially in a cat-breeding context. A juvenile cat is referred to as a kitten. In Early Modern English, the word kitten was interchangeable with the now-obsolete word catling.
A group of cats can be referred to as a clowder or a glaring.
Taxonomy
The scientific name Felis catus was proposed by Carl Linnaeus in 1758 for a domestic cat. Felis catus domesticus was proposed by Johann Christian Polycarp Erxleben in 1777. Felis daemon proposed by Konstantin Satunin in 1904 was a black cat from the Transcaucasus, later identified as a domestic cat.
In 2003, the International Commission on Zoological Nomenclature ruled that the domestic cat is a distinct species, namely Felis catus. In 2007, it was considered a subspecies, F. silvestris catus, of the European wildcat (F. silvestris) following results of phylogenetic research. In 2017, the IUCN Cat Classification Taskforce followed the recommendation of the ICZN in regarding the domestic cat as a distinct species, Felis catus.
Evolution
Main article: Cat evolution
The domestic cat is a member of the Felidae, a family that had a common ancestor about 10 to 15 million years ago. The evolutionary radiation of the Felidae began in Asia during the Miocene around 8.38 to 14.45 million years ago. Analysis of mitochondrial DNA of all Felidae species indicates a radiation at 6.46 to 16.76 million years ago. The genus Felis genetically diverged from other Felidae around 6 to 7 million years ago. Results of phylogenetic research shows that the wild members of this genus evolved through sympatric or parapatric speciation, whereas the domestic cat evolved through artificial selection. The domestic cat and its closest wild ancestor are diploid and both possess 38 chromosomes and roughly 20,000 genes.
Domestication
See also: Domestication of the cat and Cats in ancient Egypt
It was long thought that the domestication of the cat began in ancient Egypt, where cats were venerated from around 3100 BC, However, the earliest known indication for the taming of an African wildcat was excavated close by a human Neolithic grave in Shillourokambos, southern Cyprus, dating to about 7500–7200 BC. Since there is no evidence of native mammalian fauna on Cyprus, the inhabitants of this Neolithic village most likely brought the cat and other wild mammals to the island from the Middle Eastern mainland. Scientists therefore assume that African wildcats were attracted to early human settlements in the Fertile Crescent by rodents, in particular the house mouse (Mus musculus), and were tamed by Neolithic farmers. This mutual relationship between early farmers and tamed cats lasted thousands of years. As agricultural practices spread, so did tame and domesticated cats. Wildcats of Egypt contributed to the maternal gene pool of the domestic cat at a later time.
The earliest known evidence for the occurrence of the domestic cat in Greece dates to around 1200 BC. Greek, Phoenician, Carthaginian and Etruscan traders introduced domestic cats to southern Europe. During the Roman Empire they were introduced to Corsica and Sardinia before the beginning of the 1st millennium. By the 5th century BC, they were familiar animals around settlements in Magna Graecia and Etruria. By the end of the Western Roman Empire in the 5th century, the Egyptian domestic cat lineage had arrived in a Baltic Sea port in northern Germany.
The leopard cat (Prionailurus bengalensis) was tamed independently in China around 5500 BC. This line of partially domesticated cats leaves no trace in the domestic cat populations of today.
During domestication, cats have undergone only minor changes in anatomy and behavior, and they are still capable of surviving in the wild. Several natural behaviors and characteristics of wildcats may have pre-adapted them for domestication as pets. These traits include their small size, social nature, obvious body language, love of play, and high intelligence. Captive Leopardus cats may also display affectionate behavior toward humans but were not domesticated. House cats often mate with feral cats. Hybridisation between domestic and other Felinae species is also possible, producing hybrids such as the Kellas cat in Scotland.
Development of cat breeds started in the mid 19th century. An analysis of the domestic cat genome revealed that the ancestral wildcat genome was significantly altered in the process of domestication, as specific mutations were selected to develop cat breeds. Most breeds are founded on random-bred domestic cats. Genetic diversity of these breeds varies between regions, and is lowest in purebred populations, which show more than 20 deleterious genetic disorders.
Characteristics
Main article: Cat anatomy
Size
The domestic cat has a smaller skull and shorter bones than the European wildcat. It averages about 46 cm (18 in) in head-to-body length and 23–25 cm (9.1–9.8 in) in height, with about 30 cm (12 in) long tails. Males are larger than females. Adult domestic cats typically weigh 4–5 kg (8.8–11.0 lb).
Skeleton
Cats have seven cervical vertebrae (as do most mammals); 13 thoracic vertebrae (humans have 12); seven lumbar vertebrae (humans have five); three sacral vertebrae (as do most mammals, but humans have five); and a variable number of caudal vertebrae in the tail (humans have only three to five vestigial caudal vertebrae, fused into an internal coccyx). The extra lumbar and thoracic vertebrae account for the cat's spinal mobility and flexibility. Attached to the spine are 13 ribs, the shoulder, and the pelvis. Unlike human arms, cat forelimbs are attached to the shoulder by free-floating clavicle bones which allow them to pass their body through any space into which they can fit their head.
Skull
The cat skull is unusual among mammals in having very large eye sockets and a powerful specialized jaw. Within the jaw, cats have teeth adapted for killing prey and tearing meat. When it overpowers its prey, a cat delivers a lethal neck bite with its two long canine teeth, inserting them between two of the prey's vertebrae and severing its spinal cord, causing irreversible paralysis and death. Compared to other felines, domestic cats have narrowly spaced canine teeth relative to the size of their jaw, which is an adaptation to their preferred prey of small rodents, which have small vertebrae.
The premolar and first molar together compose the carnassial pair on each side of the mouth, which efficiently shears meat into small pieces, like a pair of scissors. These are vital in feeding, since cats' small molars cannot chew food effectively, and cats are largely incapable of mastication.: Cats tend to have better teeth than most humans, with decay generally less likely because of a thicker protective layer of enamel, a less damaging saliva, less retention of food particles between teeth, and a diet mostly devoid of sugar. Nonetheless, they are subject to occasional tooth loss and infection.
Claws
Cats have protractible and retractable claws. In their normal, relaxed position, the claws are sheathed with the skin and fur around the paw's toe pads. This keeps the claws sharp by preventing wear from contact with the ground and allows for the silent stalking of prey. The claws on the forefeet are typically sharper than those on the hindfeet. Cats can voluntarily extend their claws on one or more paws. They may extend their claws in hunting or self-defense, climbing, kneading, or for extra traction on soft surfaces. Cats shed the outside layer of their claw sheaths when scratching rough surfaces.
Most cats have five claws on their front paws and four on their rear paws. The dewclaw is proximal to the other claws. More proximally is a protrusion which appears to be a sixth "finger". This special feature of the front paws on the inside of the wrists has no function in normal walking but is thought to be an antiskidding device used while jumping. Some cat breeds are prone to having extra digits ("polydactyly"). Polydactylous cats occur along North America's northeast coast and in Great Britain.
Ambulation
The cat is digitigrade. It walks on the toes, with the bones of the feet making up the lower part of the visible leg. Unlike most mammals, it uses a "pacing" gait and moves both legs on one side of the body before the legs on the other side. It registers directly by placing each hind paw close to the track of the corresponding fore paw, minimizing noise and visible tracks. This also provides sure footing for hind paws when navigating rough terrain. As it speeds up from walking to trotting, its gait changes to a "diagonal" gait: The diagonally opposite hind and fore legs move simultaneously.
Balance
Cats are generally fond of sitting in high places or perching. A higher place may serve as a concealed site from which to hunt; domestic cats strike prey by pouncing from a perch such as a tree branch. Another possible explanation is that height gives the cat a better observation point, allowing it to survey its territory. A cat falling from heights of up to 3 m (9.8 ft) can right itself and land on its paws.
During a fall from a high place, a cat reflexively twists its body and rights itself to land on its feet using its acute sense of balance and flexibility. This reflex is known as the cat righting reflex. A cat always rights itself in the same way during a fall, if it has enough time to do so, which is the case in falls of 90 cm (3.0 ft) or more. How cats are able to right themselves when falling has been investigated as the "falling cat problem".
Coats
Main article: Cat coat genetics
The cat family (Felidae) can pass down many colors and patterns to their offspring. The domestic cat genes MC1R and ASIP allow for the variety of color in coats. The feline ASIP gene consists of three coding exons. Three novel microsatellite markers linked to ASIP were isolated from a domestic cat BAC clone containing this gene and were used to perform linkage analysis in a pedigree of 89 domestic cats that segregated for melanism.[citation needed]
Senses
Main article: Cat senses
Vision
A cat's nictitating membrane shown as it blinks
Cats have excellent night vision and can see at only one-sixth the light level required for human vision. This is partly the result of cat eyes having a tapetum lucidum, which reflects any light that passes through the retina back into the eye, thereby increasing the eye's sensitivity to dim light. Large pupils are an adaptation to dim light. The domestic cat has slit pupils, which allow it to focus bright light without chromatic aberration. At low light, a cat's pupils expand to cover most of the exposed surface of its eyes. The domestic cat has rather poor color vision and only two types of cone cells, optimized for sensitivity to blue and yellowish green; its ability to distinguish between red and green is limited. A response to middle wavelengths from a system other than the rod cells might be due to a third type of cone. This appears to be an adaptation to low light levels rather than representing true trichromatic vision. Cats also have a nictitating membrane, allowing them to blink without hindering their vision.
Hearing
The domestic cat's hearing is most acute in the range of 500 Hz to 32 kHz. It can detect an extremely broad range of frequencies ranging from 55 Hz to 79 kHz, whereas humans can only detect frequencies between 20 Hz and 20 kHz. It can hear a range of 10.5 octaves, while humans and dogs can hear ranges of about 9 octaves. Its hearing sensitivity is enhanced by its large movable outer ears, the pinnae, which amplify sounds and help detect the location of a noise. It can detect ultrasound, which enables it to detect ultrasonic calls made by rodent prey. Recent research has shown that cats have socio-spatial cognitive abilities to create mental maps of owners' locations based on hearing owners' voices.
Smell
Cats have an acute sense of smell, due in part to their well-developed olfactory bulb and a large surface of olfactory mucosa, about 5.8 cm2 (0.90 in2) in area, which is about twice that of humans. Cats and many other animals have a Jacobson's organ in their mouths that is used in the behavioral process of flehmening. It allows them to sense certain aromas in a way that humans cannot. Cats are sensitive to pheromones such as 3-mercapto-3-methylbutan-1-ol, which they use to communicate through urine spraying and marking with scent glands. Many cats also respond strongly to plants that contain nepetalactone, especially catnip, as they can detect that substance at less than one part per billion. About 70–80% of cats are affected by nepetalactone. This response is also produced by other plants, such as silver vine (Actinidia polygama) and the herb valerian; it may be caused by the smell of these plants mimicking a pheromone and stimulating cats' social or sexual behaviors.
Taste
Cats have relatively few taste buds compared to humans (470 or so versus more than 9,000 on the human tongue). Domestic and wild cats share a taste receptor gene mutation that keeps their sweet taste buds from binding to sugary molecules, leaving them with no ability to taste sweetness. They, however, possess taste bud receptors specialized for acids, amino acids like protein, and bitter tastes. Their taste buds possess the receptors needed to detect umami. However, these receptors contain molecular changes that make the cat taste of umami different from that of humans. In humans, they detect the amino acids of glutamic acid and aspartic acid, but in cats they instead detect nucleotides, in this case inosine monophosphate and l-Histidine. These nucleotides are particularly enriched in tuna. This has been argued is why cats find tuna so palatable: as put by researchers into cat taste, "the specific combination of the high IMP and free l-Histidine contents of tuna" .. "produces a strong umami taste synergy that is highly preferred by cats". One of the researchers involved in this research has further claimed, "I think umami is as important for cats as sweet is for humans".[87]
Cats also have a distinct temperature preference for their food, preferring food with a temperature around 38 °C (100 °F) which is similar to that of a fresh kill; some cats reject cold food (which would signal to the cat that the "prey" item is long dead and therefore possibly toxic or decomposing).
Whiskers
To aid with navigation and sensation, cats have dozens of movable whiskers (vibrissae) over their body, especially their faces. These provide information on the width of gaps and on the location of objects in the dark, both by touching objects directly and by sensing air currents; they also trigger protective blink reflexes to protect the eyes from damage.: 47
Behavior
See also: Cat behavior
Outdoor cats are active both day and night, although they tend to be slightly more active at night.[88] Domestic cats spend the majority of their time in the vicinity of their homes but can range many hundreds of meters from this central point. They establish territories that vary considerably in size, in one study ranging 7–28 ha (17–69 acres). The timing of cats' activity is quite flexible and varied but being low-light predators, they are generally crepuscular, which means they tend to be more active near dawn and dusk. However, house cats' behavior is also influenced by human activity and they may adapt to their owners' sleeping patterns to some extent.
Cats conserve energy by sleeping more than most animals, especially as they grow older. The daily duration of sleep varies, usually between 12 and 16 hours, with 13 and 14 being the average. Some cats can sleep as much as 20 hours. The term "cat nap" for a short rest refers to the cat's tendency to fall asleep (lightly) for a brief period. While asleep, cats experience short periods of rapid eye movement sleep often accompanied by muscle twitches, which suggests they are dreaming.
Sociability
The social behavior of the domestic cat ranges from widely dispersed individuals to feral cat colonies that gather around a food source, based on groups of co-operating females. Within such groups, one cat is usually dominant over the others. Each cat in a colony holds a distinct territory, with sexually active males having the largest territories, which are about 10 times larger than those of female cats and may overlap with several females' territories. These territories are marked by urine spraying, by rubbing objects at head height with secretions from facial glands, and by defecation. Between these territories are neutral areas where cats watch and greet one another without territorial conflicts. Outside these neutral areas, territory holders usually chase away stranger cats, at first by staring, hissing, and growling and, if that does not work, by short but noisy and violent attacks. Despite this colonial organization, cats do not have a social survival strategy or a herd behavior, and always hunt alone.
Life in proximity to humans and other domestic animals has led to a symbiotic social adaptation in cats, and cats may express great affection toward humans or other animals. Ethologically, a cat's human keeper functions as if a mother surrogate. Adult cats live their lives in a kind of extended kittenhood, a form of behavioral neoteny. Their high-pitched sounds may mimic the cries of a hungry human infant, making them particularly difficult for humans to ignore. Some pet cats are poorly socialized. In particular, older cats show aggressiveness toward newly arrived kittens, which include biting and scratching; this type of behavior is known as feline asocial aggression.
Redirected aggression is a common form of aggression which can occur in multiple cat households. In redirected aggression there is usually something that agitates the cat: this could be a sight, sound, or another source of stimuli which causes a heightened level of anxiety or arousal. If the cat cannot attack the stimuli, it may direct anger elsewhere by attacking or directing aggression to the nearest cat, dog, human or other being.
Domestic cats' scent rubbing behavior toward humans or other cats is thought to be a feline means for social bonding.
Communication
Main article: Cat communication
Domestic cats use many vocalizations for communication, including purring, trilling, hissing, growling/snarling, grunting, and several different forms of meowing. Their body language, including position of ears and tail, relaxation of the whole body, and kneading of the paws, are all indicators of mood. The tail and ears are particularly important social signal mechanisms in cats. A raised tail indicates a friendly greeting, and flattened ears indicate hostility. Tail-raising also indicates the cat's position in the group's social hierarchy, with dominant individuals raising their tails less often than subordinate ones. Feral cats are generally silent.: 208 Nose-to-nose touching is also a common greeting and may be followed by social grooming, which is solicited by one of the cats raising and tilting its head.
Purring may have developed as an evolutionary advantage as a signaling mechanism of reassurance between mother cats and nursing kittens, who are thought to use it as a care-soliciting signal. Post-nursing cats also often purr as a sign of contentment: when being petted, becoming relaxed, or eating. Even though purring is popularly interpreted as indicative of pleasure, it has been recorded in a wide variety of circumstances, most of which involve physical contact between the cat and another, presumably trusted individual. Some cats have been observed to purr continuously when chronically ill or in apparent pain.
The exact mechanism by which cats purr has long been elusive, but it has been proposed that purring is generated via a series of sudden build-ups and releases of pressure as the glottis is opened and closed, which causes the vocal folds to separate forcefully. The laryngeal muscles in control of the glottis are thought to be driven by a neural oscillator which generates a cycle of contraction and release every 30–40 milliseconds (giving a frequency of 33 to 25 Hz).
Domestic cats observed in a rescue facility have total of 276 distinct facial expressions based on 26 different facial movements; each facial expression corresponds to different social functions that are likely influenced by domestication.
Grooming
Cats are known for spending considerable amounts of time licking their coats to keep them clean. The cat's tongue has backward-facing spines about 500 μm long, which are called papillae. These contain keratin which makes them rigid so the papillae act like a hairbrush. Some cats, particularly longhaired cats, occasionally regurgitate hairballs of fur that have collected in their stomachs from grooming. These clumps of fur are usually sausage-shaped and about 2–3 cm (0.79–1.18 in) long. Hairballs can be prevented with remedies that ease elimination of the hair through the gut, as well as regular grooming of the coat with a comb or stiff brush.
Fighting
Among domestic cats, males are more likely to fight than females. Among feral cats, the most common reason for cat fighting is competition between two males to mate with a female. In such cases, most fights are won by the heavier male. Another common reason for fighting in domestic cats is the difficulty of establishing territories within a small home. Female cats also fight over territory or to defend their kittens. Neutering will decrease or eliminate this behavior in many cases, suggesting that the behavior is linked to sex hormones.
When cats become aggressive, they try to make themselves appear larger and more threatening by raising their fur, arching their backs, turning sideways and hissing or spitting. Often, the ears are pointed down and back to avoid damage to the inner ear and potentially listen for any changes behind them while focused forward. Cats may also vocalize loudly and bare their teeth in an effort to further intimidate their opponents. Fights usually consist of grappling and delivering powerful slaps to the face and body with the forepaws as well as bites. Cats also throw themselves to the ground in a defensive posture to rake their opponent's belly with their powerful hind legs.
Serious damage is rare, as the fights are usually short in duration, with the loser running away with little more than a few scratches to the face and ears. Fights for mating rights are typically more severe and injuries may include deep puncture wounds and lacerations. Normally, serious injuries from fighting are limited to infections of scratches and bites, though these can occasionally kill cats if untreated. In addition, bites are probably the main route of transmission of feline immunodeficiency virus. Sexually active males are usually involved in many fights during their lives, and often have decidedly battered faces with obvious scars and cuts to their ears and nose. Cats are willing to threaten animals larger than them to defend their territory, such as dogs and foxes.
Hunting and feeding
See also: Cat food
The shape and structure of cats' cheeks is insufficient to allow them to take in liquids using suction. Therefore, when drinking they lap with the tongue to draw liquid upward into their mouths. Lapping at a rate of four times a second, the cat touches the smooth tip of its tongue to the surface of the water, and quickly retracts it like a corkscrew, drawing water upward.
Feral cats and free-fed house cats consume several small meals in a day. The frequency and size of meals varies between individuals. They select food based on its temperature, smell and texture; they dislike chilled foods and respond most strongly to moist foods rich in amino acids, which are similar to meat. Cats reject novel flavors (a response termed neophobia) and learn quickly to avoid foods that have tasted unpleasant in the past. It is also a common misconception that cats like milk/cream, as they tend to avoid sweet food and milk. Most adult cats are lactose intolerant; the sugar in milk is not easily digested and may cause soft stools or diarrhea. Some also develop odd eating habits and like to eat or chew on things like wool, plastic, cables, paper, string, aluminum foil, or even coal. This condition, pica, can threaten their health, depending on the amount and toxicity of the items eaten.
Cats hunt small prey, primarily birds and rodents, and are often used as a form of pest control. Other common small creatures such as lizards and snakes may also become prey. Cats use two hunting strategies, either stalking prey actively, or waiting in ambush until an animal comes close enough to be captured. The strategy used depends on the prey species in the area, with cats waiting in ambush outside burrows, but tending to actively stalk birds.: 153 Domestic cats are a major predator of wildlife in the United States, killing an estimated 1.3 to 4.0 billion birds and 6.3 to 22.3 billion mammals annually.
Certain species appear more susceptible than others; in one English village, for example, 30% of house sparrow mortality was linked to the domestic cat. In the recovery of ringed robins (Erithacus rubecula) and dunnocks (Prunella modularis) in Britain, 31% of deaths were a result of cat predation. In parts of North America, the presence of larger carnivores such as coyotes which prey on cats and other small predators reduces the effect of predation by cats and other small predators such as opossums and raccoons on bird numbers and variety.
Perhaps the best-known element of cats' hunting behavior, which is commonly misunderstood and often appalls cat owners because it looks like torture, is that cats often appear to "play" with prey by releasing and recapturing it. This cat and mouse behavior is due to an instinctive imperative to ensure that the prey is weak enough to be killed without endangering the cat.
Another poorly understood element of cat hunting behavior is the presentation of prey to human guardians. One explanation is that cats adopt humans into their social group and share excess kill with others in the group according to the dominance hierarchy, in which humans are reacted to as if they are at or near the top. Another explanation is that they attempt to teach their guardians to hunt or to help their human as if feeding "an elderly cat, or an inept kitten". This hypothesis is inconsistent with the fact that male cats also bring home prey, despite males having negligible involvement in raising kittens.:
Play
Main article: Cat play and toys
Domestic cats, especially young kittens, are known for their love of play. This behavior mimics hunting and is important in helping kittens learn to stalk, capture, and kill prey. Cats also engage in play fighting, with each other and with humans. This behavior may be a way for cats to practice the skills needed for real combat, and might also reduce any fear they associate with launching attacks on other animals.
Cats also tend to play with toys more when they are hungry. Owing to the close similarity between play and hunting, cats prefer to play with objects that resemble prey, such as small furry toys that move rapidly, but rapidly lose interest. They become habituated to a toy they have played with before. String is often used as a toy, but if it is eaten, it can become caught at the base of the cat's tongue and then move into the intestines, a medical emergency which can cause serious illness, even death. Owing to the risks posed by cats eating string, it is sometimes replaced with a laser pointer's dot, which cats may chase.
Reproduction
See also: Kitten
The cat secretes and perceives pheromones. Female cats, called queens, are polyestrous with several estrus cycles during a year, lasting usually 21 days. They are usually ready to mate between early February and August in northern temperate zones and throughout the year in equatorial regions.
Several males, called tomcats, are attracted to a female in heat. They fight over her, and the victor wins the right to mate. At first, the female rejects the male, but eventually, the female allows the male to mate. The female utters a loud yowl as the male pulls out of her because a male cat's penis has a band of about 120–150 backward-pointing penile spines, which are about 1 mm (0.039 in) long; upon withdrawal of the penis, the spines may provide the female with increased sexual stimulation, which acts to induce ovulation.
After mating, the female cleans her vulva thoroughly. If a male attempts to mate with her at this point, the female attacks him. After about 20 to 30 minutes, once the female is finished grooming, the cycle will repeat. Because ovulation is not always triggered by a single mating, females may not be impregnated by the first male with which they mate. Furthermore, cats are superfecund; that is, a female may mate with more than one male when she is in heat, with the result that different kittens in a litter may have different fathers.
The morula forms 124 hours after conception. At 148 hours, early blastocysts form. At 10–12 days, implantation occurs. The gestation of queens lasts between 64 and 67 days, with an average of 65 days.
Data on the reproductive capacity of more than 2,300 free-ranging queens were collected during a study between May 1998 and October 2000. They had one to six kittens per litter, with an average of three kittens. They produced a mean of 1.4 litters per year, but a maximum of three litters in a year. Of 169 kittens, 127 died before they were six months old due to a trauma caused in most cases by dog attacks and road accidents. The first litter is usually smaller than subsequent litters. Kittens are weaned between six and seven weeks of age. Queens normally reach sexual maturity at 5–10 months, and males at 5–7 months. This varies depending on breed. Kittens reach puberty at the age of 9–10 months.
Cats are ready to go to new homes at about 12 weeks of age, when they are ready to leave their mother. They can be surgically sterilized (spayed or castrated) as early as seven weeks to limit unwanted reproduction. This surgery also prevents undesirable sex-related behavior, such as aggression, territory marking (spraying urine) in males and yowling (calling) in females. Traditionally, this surgery was performed at around six to nine months of age, but it is increasingly being performed before puberty, at about three to six months. In the United States, about 80% of household cats are neutered.
Lifespan and health
Main articles: Cat health and Aging in cats
The average lifespan of pet cats has risen in recent decades. In the early 1980s, it was about seven years,: 33 rising to 9.4 years in 1995: 33 and an average of about 13 years as of 2014 and 2023. Some cats have been reported as surviving into their 30s, with the oldest known cat dying at a verified age of 38.
Neutering increases life expectancy: one study found castrated male cats live twice as long as intact males, while spayed female cats live 62% longer than intact females.: 35 Having a cat neutered confers health benefits, because castrated males cannot develop testicular cancer, spayed females cannot develop uterine or ovarian cancer, and both have a reduced risk of mammary cancer.
Disease
Main article: List of feline diseases
About 250 heritable genetic disorders have been identified in cats, many similar to human inborn errors of metabolism. The high level of similarity among the metabolism of mammals allows many of these feline diseases to be diagnosed using genetic tests that were originally developed for use in humans, as well as the use of cats as animal models in the study of the human diseases. Diseases affecting domestic cats include acute infections, parasitic infestations, injuries, and chronic diseases such as kidney disease, thyroid disease, and arthritis. Vaccinations are available for many infectious diseases, as are treatments to eliminate parasites such as worms, ticks, and fleas.
Ecology
Habitats
The domestic cat is a cosmopolitan species and occurs across much of the world. It is adaptable and now present on all continents except Antarctica, and on 118 of the 131 main groups of islands, even on the isolated Kerguelen Islands. Due to its ability to thrive in almost any terrestrial habitat, it is among the world's most invasive species. It lives on small islands with no human inhabitants. Feral cats can live in forests, grasslands, tundra, coastal areas, agricultural land, scrublands, urban areas, and wetlands.
The unwantedness that leads to the domestic cat being treated as an invasive species is twofold. On one hand, as it is little altered from the wildcat, it can readily interbreed with the wildcat. This hybridization poses a danger to the genetic distinctiveness of some wildcat populations, particularly in Scotland and Hungary, possibly also the Iberian Peninsula, and where protected natural areas are close to human-dominated landscapes, such as Kruger National Park in South Africa. However, its introduction to places where no native felines are present also contributes to the decline of native species.
Ferality
Main article: Feral cat
Feral cats are domestic cats that were born in or have reverted to a wild state. They are unfamiliar with and wary of humans and roam freely in urban and rural areas. The numbers of feral cats is not known, but estimates of the United States feral population range from 25 to 60 million. Feral cats may live alone, but most are found in large colonies, which occupy a specific territory and are usually associated with a source of food. Famous feral cat colonies are found in Rome around the Colosseum and Forum Romanum, with cats at some of these sites being fed and given medical attention by volunteers.
Public attitudes toward feral cats vary widely, from seeing them as free-ranging pets to regarding them as vermin.
Some feral cats can be successfully socialized and 're-tamed' for adoption; young cats, especially kittens and cats that have had prior experience and contact with humans are the most receptive to these efforts.
Impact on wildlife
Main article: Cat predation on wildlife
On islands, birds can contribute as much as 60% of a cat's diet. In nearly all cases, the cat cannot be identified as the sole cause for reducing the numbers of island birds, and in some instances, eradication of cats has caused a "mesopredator release" effect; where the suppression of top carnivores creates an abundance of smaller predators that cause a severe decline in their shared prey. Domestic cats are a contributing factor to the decline of many species, a factor that has ultimately led, in some cases, to extinction. The South Island piopio, Chatham rail, and the New Zealand merganser are a few from a long list, with the most extreme case being the flightless Lyall's wren, which was driven to extinction only a few years after its discovery. One feral cat in New Zealand killed 102 New Zealand lesser short-tailed bats in seven days. In the US, feral and free-ranging domestic cats kill an estimated 6.3 – 22.3 billion mammals annually.
In Australia, the impact of cats on mammal populations is even greater than the impact of habitat loss. More than one million reptiles are killed by feral cats each day, representing 258 species. Cats have contributed to the extinction of the Navassa curly-tailed lizard and Chioninia coctei.
Interaction with humans
Main article: Human interaction with cats
Cats are common pets throughout the world, and their worldwide population as of 2007 exceeded 500 million. As of 2017, the domestic cat was the second most popular pet in the United States, with 95.6 million cats owned and around 42 million households owning at least one cat. In the United Kingdom, 26% of adults have a cat, with an estimated population of 10.9 million pet cats as of 2020. As of 2021, there were an estimated 220 million owned and 480 million stray cats in the world.
Cats have been used for millennia to control rodents, notably around grain stores and aboard ships, and both uses extend to the present day.
As well as being kept as pets, cats are also used in the international fur trade and leather industries for making coats, hats, blankets, stuffed toys, shoes, gloves, and musical instruments. About 24 cats are needed to make a cat-fur coat. This use has been outlawed in the United States since 2000 and in the European Union (as well as the United Kingdom) since 2007.
Cat pelts have been used for superstitious purposes as part of the practice of witchcraft, and are still made into blankets in Switzerland as traditional medicine thought to cure rheumatism.
A few attempts to build a cat census have been made over the years, both through associations or national and international organizations (such as that of the Canadian Federation of Humane Societies) and over the Internet, but such a task does not seem simple to achieve. General estimates for the global population of domestic cats range widely from anywhere between 200 million to 600 million. Walter Chandoha made his career photographing cats after his 1949 images of Loco, an especially charming stray taken in, were published around the world. He is reported to have photographed 90,000 cats during his career and maintained an archive of 225,000 images that he drew from for publications during his lifetime.
Shows
Main article: Cat show
A cat show is a judged event in which the owners of cats compete to win titles in various cat-registering organizations by entering their cats to be judged after a breed standard. It is often required that a cat must be healthy and vaccinated in order to participate in a cat show. Both pedigreed and non-purebred companion ("moggy") cats are admissible, although the rules differ depending on the organization. Competing cats are compared to the applicable breed standard, and assessed for temperament.
Infection
Main article: Feline zoonosis
Cats can be infected or infested with viruses, bacteria, fungus, protozoans, arthropods or worms that can transmit diseases to humans. In some cases, the cat exhibits no symptoms of the disease. The same disease can then become evident in a human. The likelihood that a person will become diseased depends on the age and immune status of the person. Humans who have cats living in their home or in close association are more likely to become infected. Others might also acquire infections from cat feces and parasites exiting the cat's body. Some of the infections of most concern include salmonella, cat-scratch disease and toxoplasmosis.
History and mythology
Main articles: Cultural depictions of cats and Cats in ancient Egypt
In ancient Egypt, cats were worshipped, and the goddess Bastet often depicted in cat form, sometimes taking on the war-like aspect of a lioness. The Greek historian Herodotus reported that killing a cat was forbidden, and when a household cat died, the entire family mourned and shaved their eyebrows. Families took their dead cats to the sacred city of Bubastis, where they were embalmed and buried in sacred repositories. Herodotus expressed astonishment at the domestic cats in Egypt, because he had only ever seen wildcats.
Ancient Greeks and Romans kept weasels as pets, which were seen as the ideal rodent-killers. The earliest unmistakable evidence of the Greeks having domestic cats comes from two coins from Magna Graecia dating to the mid-fifth century BC showing Iokastos and Phalanthos, the legendary founders of Rhegion and Taras respectively, playing with their pet cats. The usual ancient Greek word for 'cat' was ailouros, meaning 'thing with the waving tail'. Cats are rarely mentioned in ancient Greek literature. Aristotle remarked in his History of Animals that "female cats are naturally lecherous." The Greeks later syncretized their own goddess Artemis with the Egyptian goddess Bastet, adopting Bastet's associations with cats and ascribing them to Artemis. In Ovid's Metamorphoses, when the deities flee to Egypt and take animal forms, the goddess Diana turns into a cat.
Cats eventually displaced weasels as the pest control of choice because they were more pleasant to have around the house and were more enthusiastic hunters of mice. During the Middle Ages, many of Artemis's associations with cats were grafted onto the Virgin Mary. Cats are often shown in icons of Annunciation and of the Holy Family and, according to Italian folklore, on the same night that Mary gave birth to Jesus, a cat in Bethlehem gave birth to a kitten. Domestic cats were spread throughout much of the rest of the world during the Age of Discovery, as ships' cats were carried on sailing ships to control shipboard rodents and as good-luck charms.
Several ancient religions believed cats are exalted souls, companions or guides for humans, that are all-knowing but mute so they cannot influence decisions made by humans. In Japan, the maneki neko cat is a symbol of good fortune. In Norse mythology, Freyja, the goddess of love, beauty, and fertility, is depicted as riding a chariot drawn by cats. In Jewish legend, the first cat was living in the house of the first man Adam as a pet that got rid of mice. The cat was once partnering with the first dog before the latter broke an oath they had made which resulted in enmity between the descendants of these two animals. It is also written that neither cats nor foxes are represented in the water, while every other animal has an incarnation species in the water. Although no species are sacred in Islam, cats are revered by Muslims. Some Western writers have stated Muhammad had a favorite cat, Muezza. He is reported to have loved cats so much, "he would do without his cloak rather than disturb one that was sleeping on it". The story has no origin in early Muslim writers, and seems to confuse a story of a later Sufi saint, Ahmed ar-Rifa'i, centuries after Muhammad. One of the companions of Muhammad was known as Abu Hurayrah ("father of the kitten"), in reference to his documented affection to cats.
Superstitions and rituals
Many cultures have negative superstitions about cats. An example would be the belief that encountering a black cat ("crossing one's path") leads to bad luck, or that cats are witches' familiars used to augment a witch's powers and skills. The killing of cats in Medieval Ypres, Belgium, is commemorated in the innocuous present-day Kattenstoet (cat parade). In mid-16th century France, cats would be burnt alive as a form of entertainment, particularly during midsummer festivals. According to Norman Davies, the assembled people "shrieked with laughter as the animals, howling with pain, were singed, roasted, and finally carbonized". The remaining ashes were sometimes taken back home by the people for good luck.
According to a myth in many cultures, cats have multiple lives. In many countries, they are believed to have nine lives, but in Italy, Germany, Greece, Brazil and some Spanish-speaking regions, they are said to have seven lives, while in Arabic traditions, the number of lives is six. An early mention of the myth can be found in John Heywood's The Proverbs of John Heywood (1546)
Husband, (quoth she), ye studie, be merrie now,
And even as ye thinke now, so come to yow.
Nay not so, (quoth he), for my thought to tell right,
I thinke how you lay groning, wife, all last night.
Husband, a groning horse and a groning wife
Never faile their master, (quoth she), for my life.
No wife, a woman hath nine lives like a cat.
The myth is attributed to the natural suppleness and swiftness cats exhibit to escape life-threatening situations. Also lending credence to this myth is the fact that falling cats often land on their feet, using an instinctive righting reflex to twist their bodies around. Nonetheless, cats can still be injured or killed by a high fall.
The 133rd Airlift Wing’s human resource advisor and Wing Culture Council, held a special brown bag lunch and guest speaker in St. Paul, Minn., Feb. 23, 2014. Airmen from the Wing gathered after to converse and laugh with the speaker, Andre Koen, about his informative and interactive discussion on developing cultural competencies. (U.S. Air National Guard photo by Senior Airman Kari Giles/Released)
Last year at Soundcamp, I was doing a cyanotype workshop as well as making odd pinhole shots of some of the visitors and developing them outside in dev tubes, talk about working blind. These are some of the shots I made between doing those activities, it was a gorgeous day on the peninsula at Rotherhithe near Stave Hill. The ecology park is very beautiful and you wouldn't think you were a stones throw from the city of London.
Video Mapping Philipp Geist_Ano da Alemanha no Brasil - Cristo Redentor 2014
„VideoInstallation by Philipp Geist“, "Philipp Geist", „Copyright 2014 Philipp Geist / VG Bildkunst 2014", www.videogeist.de, mail@videogeist.de, „Rio de Janeiro“, "Santa Marta“, „Cristo Redentor“, „Dona Marta“, „Deutschland + Brasilien 2013-2014“, “Alemanha + Brasil 2013-2014”
Photo by Fred Pacífico
©2014 Philipp Geist / VG BIldkunst Bonn
Rio de Janeiro / Brazil 2014
Christ statue (Cristo Redentor) – May 12
Dona Marta favela – May 15 and 16,2014
Light Art-Video-Mapping-Installations Philipp Geist in Rio de Janeiro / Brazil 2014
on the Christ statue (Cristo Redentor) - May 12 and in the Dona Marta favela - May 15 and 16,
2014
Installation Philipp Geist Year of Germany in Brazil 2013/2014
Concept Time Drifts May 2014
At the end of the Year of Germany in Brazil 2013/2014, the artist Philipp Geist (Berlin, 1976)
develops two light installations in Rio this year; the first one on the world-famous Christ statue
(Cristo Redentor) and the other installation in the Santa Marta favela. For the installation the
artist presents artistic-liberal and poetic German and Brazilian themes and develops a building
and floor light installation of colored words and phrases in Portuguese, German, and in other
international languages. The installation deals with cultural characteristics and achievements of
both countries and visualizes the issues of time and space, volatility and presence in a free
artistic style. The two projects are in fact a double project which is combined. The installation
on the symbol of Rio and Brazil, the Christ statue, is recorded and projected onto the small
buildings and huts of the favela. The Christ statue, which has been built to protect the city and
the sailors, is symbolically projected on the shantytown, the favela, in a protective way. The
installation in the favela will be seen not only on a facade as a large cinema projection or as a
static image, but on several winding buildings, the roofs, the floor and on the steps. Thus, the
visitor becomes a part of the installation and can immerse into the projection and the light and
introduce himself. Chalk crayons are put out on the streets in the favela and the young and old
residents and visitors can write and paint words on the street, the ground, the stairs or even on
the house walls. The residents and several institutions should be addressed to submit words and
associations dealing with Rio, Brazil and Germany.
For the installation, which was shown at the Luminale in 2012, the artist Philipp Geist won the
German Lighting Design Award 2013 (Deutscher Lichtdesign-Preis 2013) in the category Light Art.
The series 'Time Drifts' is characterized by the complex and subtle way of visualizing various
currents and voices in cultural contexts and to provide institutions and visitors with the
opportunity of substantive participation: different personalities, visitors and institutions may be
addressed in advance and then contribute words and associations. Current and historico-cultural
topics are researched in advance by the artist and then integrated in a sensitive and subtle way.
The projection dismisses the use of screens, because concepts and associations are projected on
a large area onto the floor surface on several facades and in theater fog. Over the course of two
days, the installation can be seen on-site in the favela on May 15 and 16 and on the Cristo
Redentor on May 12 for a day.
Short, tall, young and old visitors can interactively participate in the installation by tracing and
adding words with colored chalk crayons available on the streets. Thus, over the period of the
installation, a carpet of words is evolved with terms that are contributed locally by the visitors
by means of the temporary and volatile 'medium' of chalk crayons. Philipp Geist develops in this
way a dialogue between the place, the visitors and his artistic work.
The concrete, tangible projection of the architecture and the static terms on the floor area
represents the facts and visible relics that are responsible for our understanding of history. The
transparent and volatile projection in the fog reminds us that part of the history can not be
preserved and that it is created in our individual imagination in a single moment. Words are
briefly visible as a metaphor for transience and then disappear again. This interplay of the
various text and image layers in the space refers to the location and the history/-ies of Brazil
and Germany and the cultural exchange between the two countries. The visitors themselves are
part of the installation: they dive into the large floor projection. In this way, different
perspectives and experiences of space are unified. Abstract passages which are created, then
overlapped and displaced by each other symbolize the constant changes in history, the passage
of time and the transience of existence. Even the understanding of the past is in the flux. The
modern writings and formations created on the computer establish a connection to the present
and the possibilities of today's technology and show that the perception of history and culture
depends always on the possibilities and constraints of the present.
'Time Drifts - Words of Berlin' is part of a series of installations, which has been shown in recent
years by Philipp Geist, and which are always re-developed site-specifically and adapted to the
local conditions: In October 2012, Philipp Geist showed the installation on the entire Potsdamer
Platz (public square) and the Kolhoff Tower and Renzo Piano Tower skyscrapers. In April 2012
the installation was shown at the Luminale in Frankfurt where it was seen by more than 40,000
visitors and thus the main project of the Luminale 2012. In 2011, Philipp Geist presented the
'Time Drifts' installation in Vancouver at the Jack Poole Plaza, as well as in Montreal on the
Place des Arts in 2010. The 'Timing' installation was shown at the 2009 Glow Festival in
Eindhoven. In the end of 2009, on the occasion of the birthday of the King of Thailand, 2-3
million visitors saw his facade installation at the royal throne in Bangkok. Other projects
include: 'Timelines' at the prestigious Pallazzio delle Esposizioni (Rome, 2007), 'Time Fades'
at the Cultural Forum of Berlin and 'Broken Time Lines' at the old spa Kurhaus Ahrenshoop
(Germany, 2008).
Geist's projects are primarily characterized by their complexity concerning the integration of
space, sound and motion images. His video mapping installations waive screens and transform a
wide range of architectures in moving, picturesque light sculptures which challenge the viewer's
perception of two- and three-dimensionality.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
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Arte de luz - Instalações de Mapeamento de Vídeo por Philipp Geist no Rio de Janeiro / Brasil
2014 no Cristo Redentor no dia 12 de maio e na favela Santa Marta nos dias 15 e 16 de maio de
2014
Instalação Philipp Geist Ano Alemanha + Brasil 2013/2014
Conceito Time Drifts Maio 2014
No final do ano Alemnaha + Brasil 2013/2014, o artista Philipp Geist (1976, Berlim) desenvolverá
duas instalações de luz no Rio; uma delas será exibida na mundialmente famosa estátua do
Cristo Redentor, e a outra na favela Santa Marta. Para a instalação, o artista traz temas teutobrasileiros
de maneira liberal-artística e poética desenvolvendo instalações de luz em edifícios e
no solo a partir de palavras e conceitos coloridos em Português, Alemão e em outros idiomas
internacionais. A instalação lida com as peculiaridades e realizações culturais de ambos os países
e visualiza as questões de tempo e espaço e de volatilidade e presença no estilo liberal-artístico.
Os dois projetos em questão representam um projeto duplo que é combinado. A instalação na
estátua do Cristo Redentor, como um símbolo do Rio e do Brasil, será gravada e projetada nos
pequenos prédios e barracos da favela. A estátua do Cristo Redentor, que foi erguida para
proteger a cidade e os marinheiros, será então projetada como um símbolo de proteção em uma
favela. A instalação na favela é visto não apenas em uma fachada como uma projeção grande de
cinema ou como uma imagem estática, mas em vários prédios sinuosos, em telhados, no solo e
nas escadas. Desta maneira, o visitante conseguirá ser parte da instalação e imergir e mergulhar
na projeção e na luz. Na favela, será distribuído giz para pintura de rua, e os moradores e
visitantes, tanto jovens quanto velhos, podem escrever e pintar conceitos na rua, no solo, nas
escadas ou até mesmo nas paredes das casas. Os moradores e diversas instituições serão
convidados a contribuir com conceitos e associações que representam o Rio, o Brasil e a
Alemanha.
Para as instalações apresentadas na Luminal em 2012, o artista Philipp Geist ganhou o
'Deutscher Lichtdesign-Preis 2013” (Prêmio Alemão de Desenho de Luz de 2013) na categoria
Arte de Luz. A série Time Drifts caracteriza-se pela forma complexa e sutil de visualizar várias
correntes e vozes em contextos culturais e de oferecer a instituições e aos visitantes a
oportunidade de participar: diferentes personalidades, visitantes e instituições podem ser
contatados antecipadamente para contribuir com termos e associações. Temas atuais, históricos
e culturais serão previamente pesquisados pelo artista e, depois, integrados de uma forma
sensível e sutil. A projeção é realizada sem o uso de telas porque conceitos e associações são
projetados, em grande estilo, sobre a superfície do solo, em diversas frentes e envolvidos em
fumaça. Ao longo de dois dias, a instalação estará em exibição em 15 e 16 de maio na favela, e
em 12 de maio, por um dia, no Cristo Redentor.
Visitantes jovens e velhos podem envolver-se na instalação e traçar ou adicionar palavras com
giz colorido, que será distribuído, e assim participar interativamente na instalação. Desta
maneira, durante a duração da instalação, será desenvolvido um tapete de palavras. As palavras
serão fornecidas, no próprio local, pelos visitantes usando o giz, um meio temporário e volátil.
Philipp Geist desenvolve assim um diálogo entre o local, os visitantes e seu trabalho artístico.
A área de projeção concreta e tangível da arquitetura e os termos estáticos sobre a superfície do
solo representam os fatos e as relíquias visíveis que compõem a nossa compreensão da história. A
área de projeção transparente e sumindo por dentro da fumaça lembra que parte da história não
pode ser preservada e que ela é criada na nossa imaginação individual momentaneamente.
Conceitos são brevemente visíveis, como uma metáfora para a transitoriedade e, logo mais,
desaparecem. Esta interação entre as várias camadas de texto e de imagens no espaço refere-se
à localização e a(s) história(s) do Brasil e da Alemanha e o intercâmbio cultural entre os dois
países. Os próprios visitantes tornam-se parte da instalação: eles imergem na grande projeção
do solo. Desta forma, diferentes perspectivas e experiências de espaço são unidas. Passagens
abstratas que são formadas, sobrepostas e suprimidas pela próxima simbolizam as mudanças
contínuas na história, a passagem do tempo e a transitoriedade da existência. A compreensão do
passado também está no fluxo. As fontes e formações modernas criadas no computador
estabelecem uma conexão com o presente e com as possibilidades da tecnologia de hoje: a
percepção da história e da cultura sempre dependende das capacidades e limitações do
presente.
'Time Drifts - Words of Berlin' faz parte de uma série de instalações, que foram apresentadas
durante os últimos anos por Philipp Geist e que são sempre redesenvolvidas para as condições
locais específicas: em outubro de 2012, Philipp Geist exibiu a instalação em toda a praça
Potsdamer Platz (Berlim) e nos dois arranha-céus Kolhoff Tower (Berlim) e Renzo Piano Tower
(Londres). Em abril de 2012, a instalação foi apresentada no evento da Luminal em Frankfurt
onde foi vista por mais de 40.000 visitantes sendo o principal projeto da Luminal de 2012. Em
2011, Philipp Geist mostrou a instalação Time Drifts na praça Jack Poole Plaza em Vancouver
bem como em Montreal, Canadá, no centro de arte Place des Arts, em 2010. A instalação Timing
foi exibida no Glow Festival de 2009 in Eindhoven, Holanda. No final de 2009 e por ocasião do
aniversário do rei tailandês, aprox. 2 a 3 milhões de visitantes viram a instalação de fachada do
artista no trono real em Banguecoque. Seus outros projetos incluem: Time Lines, no prestigiado
museu Palazzio delle Esposizioni (Roma, 2007); Time Fades, no Fórum Cultural de Berlim;
Broken Time Lines, no antigo spa Kurhaus Ahrenshoop (Alemanha, 2008).
Os projetos de Geist são principalmente caracterizados por sua complexidade na integração de
espaço, som e imagens de movimento. Suas instalações de mapeamento de vídeo renunciam
telas e transformam uma ampla gama de arquiteturas em esculturas móveis e pitorescas que
desafiam a percepção do espectador de duas e três dimensões.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
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Lichtkunst-VideoMappingInstallationen Philipp Geist in Rio de Janeiro / Brasilien 2014
an der Christstatue (Cristo Redender) 12.5 und in der Favela Santa Marta 15./16.5.2014
Installation Philipp Geist Deutsch-Brasilianisches Jahr 2013/2014
Konzept Time Drifts Mai 2014
Zum Abschluss des Deutsch-Brasilianischen-Jahres 2013/2014 entwickelt der Berliner Künstler
Philipp Geist (1976) zwei Lichtinstallation in Rio d.J.; eine an der weltbekannten Christstatue
(Cristo Redender) und in die andere Installation in der Favela Santa Marta. Bei der Installation
greift der Künstler künstlerisch frei und poetisch deutsch brasilianische Themen auf und
entwickelt eine Gebäude- und Boden-Lichtinstallation aus farbigen Wörtern und Begriffen in
portugiesischer, deutscher, und in weiteren internationalen Sprachen. Die Installation thematisiert
kulturelle Besonderheiten und Errungenschaften beider Länder und visualisiert die Themen Zeit
und Raum, Flüchtigkeit und Präsenz in freien künstlerischen Art. Bei den beiden Projekten handelt
es sich um ein Doppelprojekt welches kombiniert wird. Die Installation auf das Wahrzeichen von
Rio und Brasilien die Christstatue, wird aufgenommen und auf die kleinen Gebäude und Hütten
der Favela projiziert. Die Christstatue die errichtet worden ist um die Stadt und Seeleute zu
schützen, wird so symbolisch schützend über ein Armenviertel die Favela projiziert. Dabei ist die
Installation in der Favela nicht nur auf einer Fassade als große Kinoprojektion oder als statisches
Bild zu sehen, sondern auf mehreren verwinkelten Gebäuden, den Dächern, den Boden und auf
den Stufen. Der Besucher wird vielmehr auf diese Weise selbst Teil der Installation und kann in die
Projektion und das Licht eintauchen und sich einbringen. In der Favela werden Strassenmalkreide
ausgelegt und die Bewohner und Besucher ob jung oder alt können Begriffe auf die Strasse, den
Boden, die Treppenstufen oder sogar auf die Hauswände schreiben und malen. Die Bewohner und
verschiedene Institutionen sollen angesprochen werden Assoziationen und Begriffe die für Rio,
Brasilien und Deutschland stehen einzureichen.
Für die 2012 bei der Luminale gezeigten Installation hat der Künstler Philipp Geist den Deutschen
Lichtdesign-Preis 2013 in der der Kategorie Lichtkunst gewonnen. Die Serie 'Time Drifts' zeichnet
sich aus durch die komplexe und die subtile Möglichkeit, verschiedenste Strömungen und
Stimmen in kulturellen Kontexten sichtbar zu machen und Institutionen und Besuchern die
Möglichkeit zur inhaltlichen Partizipation zu geben: Es können verschiedene Persönlichkeiten,
Besucher und Institute im Vorfeld angesprochen werden, die Begriffe und Assoziationen
beisteuern. Aktuelle und kulturhistorische Themen werden im Vorfeld vom Künstler recherchiert
und auf sensible und subtile Weise integriert. Die Projektion verzichtet auf den Einsatz von
Leinwänden, denn Begriffe und Assoziationen werden grossflächig auf die Bodenfläche, auf
mehrere Fassaden und in Theaternebel projiziert. Über den Zeitraum von 2 Tagen wird die
Installation vor Ort in der Favela am 15/16.Mai und die Installation am Cristo Redentor am 12.Mai
für einen Tag zu sehen sein.!
Kleine, große, junge und alte Besucher können sich einbringen in die Installation und mit farbiger
Straßenmalkreide, die ausgelegt wird, Wörter nachzeichnen und hinzufügen und so interaktiv an
der Installation teilnehmen. Über die Installationsdauer entsteht somit ein Wörterteppich aus
Begriffen, die vor Ort von den Besuchern selbst mittels dem temporären und flüchtigen 'Medium'
der Strassenmalkreide beigesteuert werden. Geist entwickelt auf diese Weise einen Dialog
zwischen dem Ort, den Besuchern und seiner künstlerischen Arbeit. ! !
Die konkrete, greifbare Projektionsfläche der Architektur und die statischen Begriffe auf der
Bodenfläche stehen für die Fakten und sichtbaren Relikte, welche unser Geschichtsverständnis
ausmachen. Die transparente, sich verflüchtigende Projektionsfläche im Nebel erinnert daran,
dass ein Teil der Geschichte nicht konserviert werden kann und im Moment in unserer individuellen
Vorstellung entsteht. Begriffe werden als Metapher für die Vergänglichkeit kurzzeitig sichtbar und
verschwinden sofort wieder. Dieses Zusammenspiel der verschiedenen Text- und Bildschichten im
Raum verweist auf den Ort und die Geschichte(n) Brasiliens und Deutschlands und den kulturellen
Austausch beider Länder. Die Besucher selbst werden Teil der Installation: sie tauchen in die
großflächige Bodenprojektion ein. Auf diese Weise vereinen sich unterschiedliche Perspektiven
und Raumerfahrungen. Abstrakte Passagen, die sich aufbauen, überlagern und gegenseitig
verdrängen, symbolisieren die ständigen Veränderungen in der Geschichte, den Lauf der Zeit und
die Flüchtigkeit des Seins. Auch das Verständnis von der Vergangenheit ist im Fluss. Die
modernen Schriften und Formationen, die am Computer entstanden sind, stellen eine Verbindung
zur Gegenwart und den Möglichkeiten der heutigen Technik her und zeigen, dass die Erfahrbarkeit
von Geschichte und Kultur immer von den Möglichkeiten und Rahmenbedingungen der Gegenwart
abhängig ist.
'Time Drifts - Words of Berlin' ist Teil einer Serie von Installationen, die Philipp Geist in den letzten
Jahren gezeigt hat, und die dabei immer wieder neu an die örtlichen Gegebenheiten ortsspezifisch
weiterentwickelt wird: Im Oktober 2012 zeigte Geist die Installation auf dem gesamten Potsdamer
Platz und den beiden Hochhäusern Kolhoff Tower und Renzo Piano Tower. Im April 2012 wurde die
Installation in Frankfurt auf der Luminale gezeigt, wurde von mehr als 40.000 Besuchern gesehen
und war das Hauptprojekt der Luminale 2012. Im Jahr 2011 zeigte Geist die Installation Time Drifts
in Vancouver am Jack-Poole Plaza, ebenso wie in Montreal am Place des Arts in 2010. Die
Installation 'Timing' war 2009 auf dem Glow Festival in Eindhoven zu sehen. Ende 2009 sahen
anlässlich des Geburtstages des thailändischen Königs ca. 2-3 Millionen Besucher seine
Fassadeninstallation am königlichen Thron in Bangkok. Andere Projekte waren u.a.: 'Time Lines'
am renommierten Museum delle Esposizioni (2007), 'Time Fades' am Berliner Kulturforum,
'Broken Time Lines' am alten Kurhaus Ahrenshoop (2008).
Geists Projekte sind in erster Linie gekennzeichnet durch ihre Komplexität in der Integration von
Raum, Ton und Bewegbild. Seine Video-Mapping-Installationen verzichten auf Leinwände und
verwandeln verschiedenste Architekturen in bewegte, malerische Lichtskulpturen, die die
Wahrnehmung der Betrachter von Zwei- und Dreidimensionalität herausfordern.
Country road near Buus. Kiev 60 with Zeiss Flektogon 50mm f/4, Ilford PanF 120. While developing the film, I mixed up the fixer with a photo developer. Scanning the negatives with a light box showed an interesting result. Parts of the negatives showed a positive image.
Film developed at home with Ilfotec DD-X at 20c
Film: Fuji Acros 100
Scanner: Epson V550
Camera: Olympus OM10
The Musical Ride was developed from a desire by early members of the North-West Mounted Police to display their riding ability and entertain both themselves and the local community. Considering that the original Mounted Police members had a British military background, it was inevitable that the series of figures they performed were traditional cavalry drill movements. These movements formed the basis of the Musical Ride. Although legend has it that the first Musical Ride was performed as early as 1876, the first officially recorded Musical Ride was performed in Regina under Inspector William George Matthews in 1887. The Musical Ride, consisting of twenty men, was put on public display for the first time in 1901. Over the years the popularity of the Ride has grown and it has become a familiar sight throughout most of the world.
Today's Musical Ride Members of the Musical Ride are first and foremost police officers who, after at least two years of active police work, volunteer for duty with the Musical Ride. Most members are non-riders prior to their equestrian training with the RCMP; however, once they complete the courses of instruction, they not only become riders but ambassadors of goodwill. Working through a unique medium, they promote the RCMP's image throughout Canada and the world. RCMP members only remain with the Musical Ride for three years which ensures an annual rotation of approximately one third (33%) of the riders.
Today, in keeping with tradition, the Musical Ride is performed by a full troop of thirty-two riders and horses, plus the member in charge. The Musical Ride consists of the execution of a variety of intricate figures and cavalry drill choreographed to music. Demanding utmost control, timing and coordination, these movements are formed by individual horses and riders, in two's, four's and eight's at the trot and at the canter. Months of training, practice and many kilometres/miles around the riding school make horse and rider one. The horses must not only appear in the Musical Ride, but on Parliament Hill, in parades, special events and have the ability to travel and adapt to different environments, not to mention, hours of petting and photo-taking that the horses must patiently endure.
One of the more familiar Musical Ride formations is the "Dome," once featured on the back of the Canadian fifty-dollar bill. The highlight of the Musical Ride is, without a doubt, the CHARGE when lances, with their red and white pennons, are lowered and the riders and their mounts launch into the gallop. The conclusion of the performance is the March Past performed to the strains of the RCMP's Regimental March where the Musical Ride traditionally salutes the guest of honour.
The RCMP Musical Ride tours throughout Canada, as well as international venues, performing at approximately forty to fifty locations a year between the months of May and October. Thirty-six riders, thirty-six horses, a farrier, a technical production manager and three NCOs travel with the Musical Ride.
Weymouth originated as a settlement on a constricted site to the south and west of Weymouth Harbour, an outlying part of Wyke Regis. The town developed from the mid 12th century onwards, but was not noted until the 13th century. By 1252 it was established as a seaport and became a chartered borough. Melcombe Regis developed separately on the peninsula to the north of the harbour; it was mentioned as a licensed wool port in 1310. French raiders found the port so accessible that in 1433 the staple was transferred to Poole. Melcombe Regis is thought to be the first port at which the Black Death came into England in June 1348, possibly either aboard a spice ship or an army ship. In their early history Weymouth and Melcombe Regis were rivals for trade and industry, but the towns were united in an Act of Parliament in 1571 to form a double borough. Both towns have become known as Weymouth, despite Melcombe Regis being the main centre. The villages of Upwey, Broadwey, Preston, Wyke Regis, Chickerell, Southill, Radipole and Littlemoor have become part of the built-up area.
King Henry VIII had two Device Forts built to protect the south Dorset coast from invasion in the 1530's: Sandsfoot Castle in Wyke Regis and Portland Castle in Castletown. Parts of Sandsfoot have fallen into the sea due to coastal erosion. During the English Civil War, around 250 people were killed in the local Crabchurch Conspiracy in February 1645. In 1635, on board the ship Charity, around 100 emigrants from the town crossed the Atlantic Ocean and settled in Weymouth, Massachusetts. More townspeople emigrated to the Americas to bolster the population of Weymouth, Nova Scotia and Salem, Massachusetts; then called Naumking. There are memorials to this on the side of Weymouth Harbour and near Weymouth Pavilion and Weymouth Sea Life Tower. The architect Sir Christopher Wren was the Member of Parliament for Weymouth in 1702, and controlled nearby Portland's quarries from 1675 to 1717. When he designed St Paul's Cathedral, Wren had it built out of Portland Stone, the famous stone of Portland's quarries. Sir James Thornhill was born in the White Hart public house in Melcombe Regis and became the town's MP in 1722. Thornhill became an artist, and coincidentally decorated the interior of St Paul's Cathedral.
The resort is between the first modern tourist destinations, after King George III's, brother the Duke of Gloucester built a grand residence there, Gloucester Lodge, and passed the mild winter there in 1780; the King made Weymouth his summer holiday residence on fourteen occasions between 1789 and 1805, even venturing into the sea in a bathing machine. A painted statue of the King stands on the seafront, called the King's Statue, which was renovated in 2007/8 by stripping 20 layers of paintwork, replacing it with new paints and gold leaf, and replacing the iron framework with a stainless steel one. A mounted white horse representing the King is carved into the chalk hills of Osmington. Weymouth's esplanade is comprised of Georgian terraces, which have been converted into apartments, shops, hotels and guest houses. The buildings were constructed in the Georgian and Regency periods between 1770 and 1855, designed by architects such as James Hamilton, and were commissioned by wealthy businesspeople, including those that were involved in the growth of Bath. These terraces form a long, continuous arc of buildings which face Weymouth Bay along the esplanade, which also features the multi-coloured Jubilee Clock, erected in 1887 to mark the 50th year of Queen Victoria's reign. Statues of Victoria, George III and Sir Henry Edwards, Member of Parliament for the borough from 1867 to 1885, and two war memorials stand along the Esplanade.
In the centre of the town lies Weymouth Harbour; although it was the reason for the town's foundation, the harbour separates the two areas of Melcombe Regis ( the main town centre ) and Weymouth ( the southern harbour side ) from each other. Since the 18th century they have been linked by successive bridges over the narrowest part of the harbour. The present Town Bridge, built in 1930, is a lifting bascule bridge allowing boats to reach the inner harbour. The Royal National Lifeboat Institution stationed a lifeboat at Weymouth for the first time on 26 January 1869. A boathouse was built with a slipway by the harbour and is still in use, although the lifeboat is now moored at a pontoon.
I visited this Fort on the 4th August 2017 and was surprised by the layout and the interesting exhibits found here at this unusual and well maintained Fort. Nothe Fort is a fort in Weymouth, Dorset, England. The fort is situated at the end of the Nothe Peninsula, which juts eastwards from the town of Weymouth, and Weymouth Harbour, into the sea to the north of ex-military Portland Harbour. The fort is located next to Nothe Gardens. The coastal defence was built between 1860 and 1872 by 26 Company of the Royal Engineers to protect Portland's harbour, which was then becoming an important Royal Navy base. Shaped like the letter D, the fort's guns covered the approaches to both Portland and Weymouth harbours. The design included bomb-proof casemates for cannons arranged around the circular sides, and deep magazines beneath the straight, landward side. The fort played an important role in World War II, when the harbour was used as base by the British and American navies.
In 1956 the fort was abandoned, and in 1961 the local council purchased it. It is now a museum. The fort remains one of the best-preserved forts of its kind in the country, and the fort and its outer gateway has been a Grade II listed building since June 1974. Its fusee steps have been Grade II listed since November 2000. These are located within Nothe Gardens, linking the car park area down to the Nothe Parade – the quay of Weymouth's Harbour. The inclined tramway and steps were built circa 1860. The three flights of steps include a low flanking wall of rendered brick, on which are placed wrought-iron plate rails, forming an inclined tramway for trolleys with double-flange wheels. It was constructed for hauling trolleys transporting ammunition, spares and stores from the quay to Nothe Fort. In October 1978, the Nothe Fort, tramway and searchlight battery at The Nothe, also became scheduled under the Ancient Monuments and Archaeological Areas Act 1979 as they appeared to the Secretary of State to be of national importance.
Camera: Minolta XD-11; Lens: Helios 44-2 58mm f/2; Film: Ilford FP4+ 125;
Developed in Rodinal (1+50) @ 21C for 13:49.
negatives developed Pyro cat HD 2:2:100
60 seconds initial agitation
10 gentle inversions @30 mins.
1 hour total development time.
(NOTE: My A and B solutions have been in clear glass mason jars in a refrigerator for nearly 2 years and still work great!)
Canon EOS3000V
Agfaphoto Vista 200
Developed with a Digibase C41 home kit in an Agfa Rondinax 35U daylight tank.
This is a test of the FPP C41 developing kit comparing age and temperature. All 4 photos were taken with Minolta X Series SLR cameras with the same 50mm 1.4 lens. Film is fresh Fujifilm Superia 200. 3.5 minute develop, 6.5 minute blix.
Top left - Old chemicals @105F that have developed 25+ rolls (kit recommends 12-15)
Top Right - Fresh batch of chemicals @105F
Bottom Left - Fresh chemicals @85F
Bottom Right - Fresh chemicals @120F
BAGRAM AIRFIELD, Afghanistan -An ISAF soldiers hands an Afghan girl a teddy bear, notebook and crayons during a visit to a hospital. (Photo by Capt. Thomas Cieslak)
"If anyone has children, they better teach their children to follow the traditions that we're leaving behind because it is later than we think with all that's going on." ~ Juanita Centeno, CHUMASH
The habits, attitudes, and beliefs that carry the human through the trials of life are developed at a very young age. If we are taught respect at a very young age, the odds are we'll be respectful throughout our whole lives. If we are taught to dance at a young age, we'll dance our whole lives. If we are taught to sing the traditional songs while we are young, we'll sing those songs throughout our whole lives. And who do we drum and sing songs to? Our children. This is how we keep it going. Great Spirit, today, teach me to teach the children.
Denver March Pow Wow 2010~another dancing little angel ^i^
www.youtube.com/watch?v=xVswDjC6GLY&playnext_from=TL&...
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
At times life is wicked and I just can't see the light
A silver lining sometimes isn't enough
To make some wrongs seem right
Whatever life brings
I've been through everything
And now I'm on my knees again
But I know I must go on
Although I hurt I must be strong
Because inside I know that many feel this way
[Chorus:]
Children don't stop dancing
Believe you can fly
Away...away
At times life's unfair and you know it's plain to see
Hey God I know I'm just a dot in this world
Have you forgot about me?
Whatever life brings
I've been through everything
And now I'm on my knees again
But I know I must go on
Although I hurt I must be strong
Because inside I know that many feel this way
[Chorus]
Am I hiding in the shadows?
Forget the pain and forget the sorrows
Am I hiding in the shadows?
Forget the pain and forget the sorrows
But I know I must go on
Although I hurt I must be strong
Because inside I know that many feel this way
[Chorus]
Am I hiding in the shadows?
Are we hiding in the shadows?
*Don't Stop Dancing* ~ by Creed
Borghetto, a place name of Lombard origin that means “fortified settlement,” is the name of the first settlement that developed near the ford across the Mincio river.
Valeggio supposedly means “flat area,” although tradition somewhat more evocatively gives the name of “Vale dium,” or “Valley of the Gods”.
Borghetto’s history is that of an important crossing point and a border area fought over by opposing armies.
The ford across the Mincio was the safest and best-located south of Lake Garda, and over the centuries the river was a natural barrier between the lands of Mantua and those of Verona, in a border area much desired by the seigniories and armies lusting for power: the Gonzaga, the Scaligeri, the Visconti, the Venetian Republic, Austria, and France.
These lands were also shaped by the Napoleonic battles and especially the battles of the Risorgimento: nevertheless, the green Mincio that meanders here across the countryside reveals an unsuspected Arcadia, inspiring endless reveries.
The landscape is still, perennial, timeless, and brings us back to our need for springs, to our sources, like in every river legend in which water and dreams combine into one. Strolling through Borghetto in the evening to see a sunset over the Mincio, or when fog blurs the silhouettes of the buildings so that only the Ghibelline battlements emerge, is like sinking into an imaginary medieval world.
Borghetto is just a handful of houses, an ancient village of mills in complete symbiosis with its river. A river idyll, with the three ancient mills that seem to rise out of the water.
The Ponte Visconteo, an extraordinary fortified dam built in 1393 by the order of Gian Galeazzo Visconti, has been defined the “checkpoint of an ancient regime.” 650 meters long and 25 meters wide, it was completed in 1395 and was connected to the Scaligero Castle rising above it by two high battlemented curtains, making it part of a fortified complex extending for about 16 km.
The castle with its towers continues to dominate over the Mincio valley from the top of the hill. Only the Tonda tower, an unusual structure built in the 12th century, remains of the oldest part of the castle. The rest of the complex dates from the 14th century. It had three drawbridges, only one of which still exists.
Inside the village, the Church of San Marco Evangelista is a neoclassical reconstruction (1759) of the old Romanesque church dedicated to Santa Maria (11th cent.), of which two valuable frescoes from the 1400s remain.
The Albertina
The architectural history of the Palais
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
The maquis, bars, dance halls and restaurants occupy a significant place in the social life of the Burkinabés. Suppose the offer is very abundant in Ouagadougou. In that case, it also tends to develop quickly in the city's outskirts to attract city dwellers looking for tranquillity and freshness.
The Maquis Chez Bédié, installed under a mango orchard, was undoubtedly the most comfortable corner in all of Tangnin-Dassouri to enjoy beers and grilled meats in the fresh and friendly atmosphere. Unfortunately, this is no longer the case, as most of the land has been resold as lots to build homes. Only a few trees remain today, just as the development of the offer in the locality has absorbed most clientele.
There are no less than three Mercedes-Benz 190D (W201), which was a real social phenomenon in Burkina Faso in the 2000s. Indeed, this vehicle had the advantage of its reliability, robustness, low diesel consumption and, above all, reduced maintenance costs. It was also stable and particularly suitable for rural tracks. Nowadays, we mainly encounter it in the form of taxis repainted green in the city of Ouagadougou, although some nostalgic people continue to make personal use of them. Subsequently, Mercedes-Benz vehicles no longer had the same success, with the trend of younger generations turning towards Japanese or Korean SUVs. However, the Toyota Yaris has been very successful for almost ten years, presenting certain advantages of the Mercedes-Benz 190.
Les maquis, bars, dancings et restaurant occupent une place très importante dans la vis sociale des burkinabés. Si l'offre est très abondante à Ouagadougou, elle a également tendance à très rapidement se développer dans les périphéries de la ville dans l'objectif d'attirer les citadins en quête de tranquillité et de fraîcheur.
Le Maquis Chez Bédié installé sous un verger de manguiers était incontestablement le coin le plus confortable de tout Tangnin-Dassouri pour déguster des bièères et grillades dans la fraîcheur et une atmosphère conviviale. Malheureusement, ce n'est actuellement plus le cas du fait que la majeure partie du terrain a été revandue sous forme de lots pour construire des habitations. Seuls quelques arbres subsistent de nos jours tout comme le développement de l'offre dans la localité à absorbé la majeure partie de la clientèle.
On distingue pas moins de trois Mercedes-Benz 190D (W201) qui fût dans les années 2000 un véritable phénomène de société au Burkina Faso. En effet, ce véhicule présentait l'avantage de sa fiabilité, de sa robustesse, de sa faible consommation en diesel et surtout de frais d'entretien réduits. Il était par ailleurs stable et particulièrement adapté aux pistes rurales. De nos jours, on le rencontre essentiellement sous forme de taxi repeints en vert dans la ville de Ouagadougou bien que certains nostalgiques continuent d'en faire un usage personnel. Par la suite, les véhicules Mercedes-Benz n'ont plus eu le même succès la tendance des plus jeunes générations étant tourné vers les SUV japonais ou coréens. La Toyota Yaris connaît toutefois un franc succès depuis près d'une dizaine année présentant certains avantages de la Mercedes-Benz 190.
Red milkweed beetle playing dead. I walked past this same spot about two minutes later and this individual was walking on the leaf.
Lens was a Tokina 100mm macro on a 2x teleconverter.
A garden tool shed and fence, circa mid-1800s, found in the village at the Landis Valley Museum in Lancaster County, Pennsylvania.
4x5 for 365 Project details: greggobst.photography/4x5-for-365
Technical details:
Sakai Toyo 4 1/2 x 6 1/2" (half-plate) large format metal field camera with 4x5" film back.
Fujinon-W 210mm F5.6 lens in Copal B shutter.
Yellow-Green filter on the lens to help with contrast.
Arista EDU Ultra 200 (re-branded Fomapan) B&W Negative Film, shot at ISO 160.
1/4 second at F32.
Developed in Rodinal/Adox Adonal 1:50 dilution for 9 1/2 minutes @ 20 degrees Celsius in Mod54 daylight developing tank.
4x5" negative scanned with Epson V600.
Slight palladium toning applied to scan in post.
After the success of the SE.313 Alouette II general purpose helicopter, Aerospatiale began to develop a more advanced version with an uprated Turbomeca engine. This eventually became an entirely new helicopter, the SE.3160 Alouette III, which first flew in February 1959.
The Alouette III was larger than its predecessor, with an entirely enclosed structure and much larger fuselage. It did not use landing skids but rather wheels, and was more streamlined than the Alouette II. It retained the Alouette II's simple handling characteristics. Redesignated SA.316, the SA.316B became the main production variant, with a more powerful Turbomeca Artouste engine; this entered production in 1968. The Alouette III was easily modified to a variety of roles, from medical evacuation to general cargo transport to gunship, and its robust construction generated much interest.
The Alouette III became even more popular than its predecessor, and sales were nearly as good as its two main rivals, the Bell UH-1 series and the Mil Mi-8/17. At least 60 air forces used Alouette IIIs, and about a third of those still fly SA.316Bs or later variants today. Though Alouette III numbers are dwindling, quite a few will remain in service for some time to come.
C-FCAZ was ordered by the Canadian Coast Guard in 1966 as a search and rescue helicopter. Based at Victoria, British Columbia, it flew with the CCG for 20 years before it was retired in 1986 and donated to the Southern Alberta Institute of Technology as a ground instruction trainer. Sometime after 1998, it was donated to the AeroSpace Museum (now Hangar Flight Museum) of Calgary, where it was placed on display. Though it retains its Coast Guard scheme and registration, it has been stripped of other markings.