For Macro Mondays' "Book" theme. About 1" (25mm) of the book is shown on each side of the lower spine.

Due to its diet the golden monkey prefers a habitat with abundant fruit and bamboo. The golden monkey moves in between areas depending on the season. During the season where ripe fruit is available they remain in those areas. With the beginning of the rainy season, bamboo is shooting and the golden monkeys move to such habitats. Results of studies indicate that if there is an area consisting of mixed fruit and bamboo, the golden monkeys tend to frequent that area more than areas consisting of only bamboo. Authors of one study reported that golden monkeys are most frequently seen in bamboo forests, suggesting that the species prefers this habitat.

 

The golden monkey can travel in various group sizes, and have been seen in small groups of three up to large groups of 62 monkeys. The groups that are found at higher elevations tend to be smaller. The golden monkey will often return to one of several different sleeping areas after a day of feeding. The monkeys often sleep in small subgroups of four, at the top of bamboo plants. They will often use a dense bamboo plant, or a combination of several bamboo plants that weave together to make a sufficient foundation for sleep. The golden monkey will often feed near the sleeping area and return to this same sleeping location day after day.

 

From Wikipedia, the free encyclopedia

 

From Wikipedia, the free encyclopedia

Marken

 

Location of the municipality of Waterland in North Holland and the Netherlands.

Coordinates: 52°27′30″N 5°6′24″ECoordinates: 52°27′30″N 5°6′24″E

 

Marken (Dutch pronunciation: [ˈmɑrkə(n)]; Marken's dialect: Mereke) is a village with a population of 1,810 in the municipality of Waterland in the province of North Holland in the Netherlands. Marken forms a peninsula in the Markermeer and was formerly an island in the Zuiderzee. The characteristic wooden houses of Marken are a tourist attraction.

 

Marken was an island in the Zuiderzee

 

For some time during the later 19th and early 20th centuries, Marken and its inhabitants were the focus of considerable attention by folklorists, ethnographers and physical anthropologists, who regarded the small fishing town as a relic of the traditional native culture that was destined to disappear as the modernization of the Netherlands gained pace.[5] Among them was Johann Friedrich Blumenbach who examined a skull from the island of humans which he called Batavus genuinus; and was the Belgian painter Xavier Mellery who stayed in Marken at the request of Decoster. Mellery was asked to perform illustrative work and delivered several intimist works.

 

The projects of Cornelis Lely was to incorporated the island into the markerwaard. The dike, built in 1941 in the north, is the first phase of that project which was stopped by the war.

 

In 1983, the Marker Museum about the history of the island was opened.

  

20160624 4737Sunset at Marken

 

From Wikipedia, the free encyclopedia

Marken

 

Location of the municipality of Waterland in North Holland and the Netherlands.

Coordinates: 52°27′30″N 5°6′24″ECoordinates: 52°27′30″N 5°6′24″E

 

Marken (Dutch pronunciation: [ˈmɑrkə(n)]; Marken's dialect: Mereke) is a village with a population of 1,810 in the municipality of Waterland in the province of North Holland in the Netherlands. Marken forms a peninsula in the Markermeer and was formerly an island in the Zuiderzee. The characteristic wooden houses of Marken are a tourist attraction.

 

Marken was an island in the Zuiderzee

 

For some time during the later 19th and early 20th centuries, Marken and its inhabitants were the focus of considerable attention by folklorists, ethnographers and physical anthropologists, who regarded the small fishing town as a relic of the traditional native culture that was destined to disappear as the modernization of the Netherlands gained pace.[5] Among them was Johann Friedrich Blumenbach who examined a skull from the island of humans which he called Batavus genuinus; and was the Belgian painter Xavier Mellery who stayed in Marken at the request of Decoster. Mellery was asked to perform illustrative work and delivered several intimist works.

 

The projects of Cornelis Lely was to incorporated the island into the markerwaard. The dike, built in 1941 in the north, is the first phase of that project which was stopped by the war.

 

In 1983, the Marker Museum about the history of the island was opened.

  

201702030697_1-6

Heath Spotted Orchid seen on Skye around Cnoc Mor a Ghrobain near Coral Beach.

 

From Wikipedia, the free encyclopedia

 

Dactylorhiza maculata, known as the heath spotted-orchid or moorland spotted orchid, is an herbaceous perennial plant of the family Orchidaceae. It is widespread in mountainous regions across much of Europe from Portugal and Iceland east to Russia. It is also found in Algeria, Morocco, and western Siberia.Dactylorhiza fuchsii, the common spotted orchid, is a species of flowering plant in the orchid family Orchidaceae.

  

 

From Wikipedia, the free encyclopedia

 

Glenlee is a steel-hulled three-masted barque, built in 1896 for Glasgow owners, trading as a cargo ship.[1] From 1922 she was a sail training ship in the Spanish Navy. She is now a museum ship at the Riverside Museum on Pointhouse Quay, Glasgow, known as The Tall Ship at Glasgow Harbour.

  

Description

Glenlee was built by Anderson Rodger & Company at their Bay Shipyard in Port Glasgow for the Glen-line of the Glasgow shipping company Archibald Sterling & Co. Ltd., and was launched on 3 December 1896.[2] She has a hull length of 245.5 ft (74.8 m), beam of 37.5 ft (11.4 m) and depth of 22.5 ft (6.9 m), the over-all length with the spike bowsprit is 282 ft (86 m).

 

She has 1,613 GRT and 1,490 NRT.[clarification needed] Rigged only with double topgallant sails over double top sails, she was not equipped with royal sails (baldheader rigging) to save costs concerning gear and seamen. As with many baldheaded sailing ships the square sails were a little wider than the sails of a standard rigging to gain sail area for a better propulsion.

Encyclopedia of bygone times.

rom Wikipedia, the free encyclopedia

 

Ship replica of the Amsterdam

The 1990 ship replica of the Amsterdam in front of the National Maritime Museum in Amsterdam

History

Flag of the Dutch East India Company.svgDutch Republic

Name:Amsterdam

Namesake:The city of Amsterdam

Owner:

Dutch East India Company

Chamber of Amsterdam

Completed:1748

Maiden voyage:Texel–Batavia

Fate:Wrecked in a storm in the English Channel on 26 January 1749

General characteristics

Type:East Indiaman

Displacement:1100 tons

Length:48.0 m (157.5 ft)

Beam:11.5 m (38 ft)

Height:56.0 m (183.7 ft)

Draught:5.5 m (18 ft)

Armament:42 guns

The Amsterdam was an 18th-century cargo ship of the Dutch East India Company. The ship started its maiden voyage from Texel to Batavia on 8 January 1749, but was wrecked in a storm on the English Channel on 26 January 1749. The shipwreck was discovered in 1969 in the bay of Bulverhythe, United Kingdom, and is sometimes visible during low tides. The wreck site is protected under the Protection of Wrecks Act since 1974. Some of the findings from the site are in The Shipwreck Museum in Hastings. A replica of the ship is on display in Amsterdam.

  

20180127 5806-Pano

Columbia Encyclopedia - PeopleChihuly, Dale Patrick (chĭhū'lē) 1941–, American glass artist, b. Tacoma, Wash.; grad. Univ. of Washington, Seattle (B.A., 1965), Rhode Island School of Design (RISD; M.F.A., 1967), Univ. of Wisconsin, Madison (M.S., 1967). Probably the foremost figure in the contemporary art-glass movement, Chihuly experimented with the medium while an undergraduate and studied the glassblower's art at a Venetian glass studio (1968). He founded (1969) the glass department at RISD, taught there for 11 years, and in 1971 established the influential Pilchuck Glass School near Seattle. Extremely prolific, Chihuly (working with a crew of technicians) creates glass sculptures in a rainbow of colors, sometimes opaque, translucent, or iridescent; and in an astonishing variety of semiabstract shapes, including baskets, sea and flower forms, globes, stumps, cylinders, and hanging garlands. His works range from miniatures to large architectural installations, such as the celebrated pieces in Chihuly over Venice (1996) and the works on the Bridge of Glass (2002) at the Museum of Glass: International Center for Contemporary Art in Tacoma, Wash.

Bibliography

 

Encyclopedias scattered throughout an abandoned house.

Old encyclopedia ( 1917) with an old ribbon bookmark.

A little under 4cm.

 

I really struggled with this theme, I took a LOT of photo's !

 

Happy Macro Monday.

 

Thank you for your views, faves and or comments, they are greatly appreciated !!!

 

Don't use this image on websites, blogs or other media without my explicit permission !!!

 

© all rights reserved Lily aenee

From Wikipedia, the free encyclopedia

Bristol MMB 43 SS Great Britain.jpg

SS Great Britain in dry dock at Bristol in 2005.

History

 

Name:SS Great Britain

Owner:Great Western Steamship Company

Builder:William Patterson

Cost:

Projected: £70,000

Actual: £117,000

Laid down:July 1839

Launched:19 July 1843

Completed:1845

Maiden voyage:26 July 1845

In service:1845–1886

Homeport:Bristol, England

General characteristics

Type:Passenger steamship

Displacement:3,674 tons load draught

Length:322 ft (98 m)

Beam:50 ft 6 in (15.39 m)

Draught:16 ft (4.9 m)[1]

Installed power:2 × twin 88-inch (220 cm) cylinder, 6 ft (1.8 m) stroke, 500 hp (370 kW), 18 rpm inclined direct-acting steam engines

Propulsion:Single screw propeller

Sail plan:

Original: Five schooner-rigged and one square-rigged mast

After 1853: Three square-rigged masts

Speed:10 to 11 knots (19 to 20 km/h; 12 to 13 mph)

Capacity:

360 passengers, later increased to 730

1,200 tons of cargo

Complement:130 officers and crew (as completed)

SS Great Britain is a museum ship and former passenger steamship, which was advanced for her time. She was the longest passenger ship in the world from 1845 to 1854. She was designed by Isambard Kingdom Brunel for the Great Western Steamship Company's transatlantic service between Bristol and New York. While other ships had been built of iron or equipped with a screw propeller, Great Britain was the first to combine these features in a large ocean-going ship. She was the first iron steamer to cross the Atlantic, which she did in 1845, in the time of 14 days.

 

The ship is 322 ft (98 m) in length and has a 3,400-ton displacement. She was powered by two inclined 2 cylinder engines of the direct-acting type, with twin 88 in (220 cm) bore, 6-foot (1.8 m) stroke cylinders. She was also provided with secondary sail power. The four decks provided accommodation for a crew of 120, plus 360 passengers who were provided with cabins and dining and promenade saloons.

 

When launched in 1843, Great Britain was by far the largest vessel afloat. However, her protracted construction and high cost had left her owners in a difficult financial position, and they were forced out of business in 1846 having spent all their funds re-floating the ship after she was run aground at Dundrum Bay after a navigational error. In 1852 she was sold for salvage and repaired. Great Britain carried thousands of immigrants to Australia from 1852 until converted to sail in 1881. Three years later, she was retired to the Falkland Islands where she was used as a warehouse, quarantine ship and coal hulk until scuttled in 1937.[2]

 

In 1970, following a cash donation by Sir Jack Hayward that paid for the vessel to be towed back to the UK, Great Britain was returned to the Bristol dry dock where she was built. Now listed as part of the National Historic Fleet, she is an award-winning visitor attraction and museum ship in Bristol Harbour, with between 150,000 and 200,000 visitors annually.

 

From Wikipedia, the free encyclopedia

 

Warkworth Castle is a ruined medieval castle in Warkworth in the English county of Northumberland. The village and castle occupy a loop of the River Coquet, less than a mile from England's north-east coast. When the castle was founded is uncertain: traditionally its construction has been ascribed to Prince Henry of Scotland, Earl of Northumbria, in the mid-12th century, but it may have been built by King Henry II of England when he took control of England's northern counties. Warkworth Castle was first documented in a charter of 1157–1164 when Henry II granted it to Roger fitz Richard. The timber castle was considered "feeble", and was left undefended when the Scots invaded in 1173.

Roger's son Robert inherited and improved the castle. Robert was a favourite of King John, and hosted him at Warkworth Castle in 1213. The castle remained in the family line, with periods of guardianship when heirs were too young to control their estates. King Edward I stayed overnight in 1292 and John de Clavering, descendant of Roger fitz Richard, made the Crown his inheritor. With the outbreak of the Anglo-Scottish Wars, Edward II invested in castles, including Warkworth, where he funded the strengthening of the garrison in 1319. Twice in 1327 the Scots besieged the castle without success.

John de Clavering died in 1332 and his widow in 1345, at which point The 2nd Baron Percy of Alnwick took control of Warkworth Castle, having been promised Clavering's property by Edward III. Henry Percy, 1st Earl of Northumberland, added the imposing keep overlooking the village of Warkworth in the late 14th century. The fourth earl remodelled the buildings in the bailey and began the construction of a collegiate church within the castle, but work on the latter was abandoned after his death. Although The 10th Earl of Northumberland supported Parliament during the English Civil War, the castle was damaged during the conflict. The last Percy earl died in 1670. In the mid-18th century the castle found its way into the hands of Hugh Smithson, who married the indirect Percy heiress. He adopted the surname "Percy" and founded the dynasty of the Dukes of Northumberland, through whom possession of the castle descended.

In the late 19th century, the dukes refurbished Warkworth Castle and Anthony Salvin was commissioned to restore the keep. The 8th Duke of Northumberland gave custody of the castle to the Office of Works in 1922. Since 1984 English Heritage has cared for the site, which is a Grade I listed building and a Scheduled Ancient Monument.

Het kunstwerk op de afbeelding is een sculptuur genaamd The Encyclopedia of Human Rights, gemaakt door de Belgische kunstenaar Koen Vanmechelen. Het is een permanent onderdeel van zijn levenswerk LABIOMISTA in Genk, België.

Het sculptuur bestaat uit een marmeren beeld van een zittend kind bovenop een stapel boeken, die elk een "Encyclopedia of Human Rights" vertegenwoordigen, met verschillende historische verdragen en verklaringen.

De boeken vermelden onder andere de "Rechten van het Kind 1989", "Afrikaans Handvest 1981", "Amerikaanse Conventie 1969", "Europese Conventie 1950" en "Universele Verklaring en Verbonden 1948 - 1966".

LABIOMISTA, wat letterlijk 'mix van het leven' betekent, is een 24 hectare groot park dat dient als een evoluerend kunstwerk en ontmoetingsplaats voor kunst, wetenschap en natuur.

Het project, een samenwerking tussen Vanmechelen en de stad Genk, opende in 2019 voor het publiek op de voormalige locatie van de Limburgse Zoo van Zwartberg.

... just because I'm Kurdish ...

 

Iraqi Kurdistan

From Wikipedia, the free encyclopedia

  

Capital

(and largest city) Erbil

36°11′N 44°00′E / 36.183, 44

Official languages Kurdish[1]

Government Parliamentary democracy

- President Massoud Barzani

- Prime Minister Nechervan Idris Barzani

- Deputy Prime Minister Omer Fattah Hussain

Formation of Autonomous Region

- Autonomy accord agreement signed March 11, 1970

- Autonomy accord collapsed March, 1974

- Gained de facto independence October, 1991

- The TAL recognized the autonomy of the KRG as full sovereignty. January 30, 2005

Area

- Total 80,000 km2 (117th)

30,888 sq mi

Population

- 2008 estimate 7,000,000 (108th)

- Density 40/km2 (166th)

15/sq mi

GDP (PPP) 2007 estimate

- Total 27 billion (not ranked)

- Per capita $5,500 (not ranked)

HDI (As of 2006) n/a (n/a) (not ranked)

Currency Iraqi Dinar is the offical currency, American Dollar widely accepted in all business transactions (IQD)

Time zone (UTC+3)

- Summer (DST) (UTC+4)

Internet TLD Various

Calling code 964

Iraqi Kurdistan Region (Kurdish: هه رێمى كوردستان عێراق, Herêmi Kurdistan Iraq, Arabic:إقليم كردستان العراق , Iqlĩm Kurdistãn al-‘Irāq , also Southern Kurdistan and in Kurdish: باشووری کوردستان ) is an autonomous,[2] federally recognized political, ethnic and economic region of Iraq. It borders Iran to the east, Turkey to the north, and Syria to the west and the rest of Iraq to the South. Its capital is the city of Erbil, known in Kurdish as Hewlêr.

 

Etymology

The name Kurdistan literally means Land of the Kurds. The term Kurd in turn is derived from the Latin word Cordueni, i.e. the of the ancient Kingdom of Corduene, which became a Roman province in 66 BC.

 

In the Iraqi Constitution, it is referred to as Kurdistan Region.[3]. The regional government refers to it as Kurdistan-Iraq (or simply Kurdistan region) but avoids using Iraqi Kurdistan.[4] The full name of the local government is "Kurdistan Regional Government" (abbrev: KRG.)

 

Kurds also refer to the region as Kurdistana Başûr (South Kurdistan) or Başûrî Kurdistan (Southern Kurdistan or South of Kurdistan) referring to its geographical location within the whole of the greater Kurdistan region.

 

During the Baath Party administration in the '70s and '80s, the region was called "Kurdish Autonomous Region".

  

[edit] History

 

[edit] Ottoman Period

Main articles: Ottoman Empire, Mamluk rule in Iraq, Mesopotamian campaign, and Partitioning of the Ottoman Empire

The area today known as Iraqi Kurdistan was formerly ruled by three principalities of Baban, Badinan and Soran. In 1831, the direct Ottoman rule was imposed and lasted until World War I, during which the Ottomans sided with Germany and the Central Powers.

  

[edit] British Mandate

During World War I the British and French divided Western Asia in the Sykes-Picot Agreement. The Treaty of Sèvres, which was ratified in the Treaty of Lausanne, led to the advent of modern Western Asia and Republic of Turkey. The League of Nations granted France mandates over Syria and Lebanon and granted the United Kingdom mandates over Iraq and Palestine (which then consisted of two autonomous regions: Palestine and Transjordan). Parts of the Ottoman Empire on the Arabian Peninsula became parts of what are today Saudi Arabia and Yemen.

  

[edit] Kurdish revolts

On December 1, 1918, during a meeting in Sulaymaniyah with Colonel Arnold Wilson, the Acting Civil Commissioner for Mesopotamia, Kurdish leaders called for British support for a united and independent Kurdistan under British protection. Between 1919 and 1922, Shaikh Mahmud Barzanji, an influential Kurdish leader based in Sulaymaniyah, formed a Kurdish government and led two revolts against the British rule. It took the British authorities two years to put down his uprisings. The first revolt began on May 22, 1919 with the arrest of British officials in Sulaymaniyah and it quickly spread to Mosul and Erbil. The British employed aerial bombardments, artillery, ground combat, and on one occasion, chemical gas, in an attempt to quell the uprising.[5] Then the British exiled Mahmoud to India. In July 1920, 62 tribal leaders of the region, called for the independence of Kurdistan under a British mandate. The objection of the British to Kurdish self-rule sprang from the fear that success of an independent Kurdish area would tempt the two Arab areas of Baghdad and Basra to follow suit, hence endangering the direct British control over all Mesopotamia. In 1922, Britain restored Shaikh Mahmoud to power, hoping that he would organize the Kurds to act as a buffer against the Turks, who had territorial claims over Mosul and Kirkuk. Shaikh Mahmoud declared a Kurdish Kingdom with himself as King, though later he agreed to limited autonomy within the new state of Iraq. In 1930, following the announcement of the admission of Iraq to the League of Nations, Shaikh Mahmoud started a third uprising which was suppressed with British air and ground forces.[6][7]

 

By 1927, the Barzani clan had become vocal supporters of Kurdish rights in Iraq. In 1929, the Barzani demanded the formation of a Kurdish province in northern Iraq. Emboldened by these demands, in 1931 Kurdish notables petitioned the League of Nations to set up an independent Kurdish government. Under pressure from the Iraqi government and the British, the most influential leader of the clan, Mustafa Barzani was forced into exile in Iran in 1945. Later he moved to the Soviet Union after the collapse of the Republic of Mahabad in 1946.[8]

  

[edit] Barzani Revolts 1960-1975 and their Aftermath

After the military coup by Abdul Karim Qasim in 1958, Barzani was able to return from exile and set up his own political party, Kurdistan Democratic Party, which was granted legal status in 1960. Soon afterwards, Qasim incited the Baradost and Zebari tribes against Barzani. In June 1961, Barzani led his first revolt against the Iraqi government with the aim of securing Kurdish autonomy. Due to the disarray in the Iraqi Army after the 1958 coup, Qasim's government was not able to subdue the insurrection. This stalemate irritated powerful factions within the military and is said to be one of the main reasons behind the Baathist coup against Qasim in February 1963. Abdul Salam Arif declared a ceasefire in February 1964 which provoked a split among Kurdish urban radicals on one hand and traditional forces led by Barzani on the other. Barzani agreed to the ceasefire and fired the radicals from the party. Despite this, the government in Baghdad tried once more to defeat Barzani's movement by force. This campaign failed in 1966, when Barzani forces defeated the Iraqi Army near Rawanduz. After this, Arif announced a 12-point peace program in June 1966, which was not implemented due to the overthrow of Arif in a 1968 coup by the Baath Party. The Baath government started a campaign to end the Kurdish insurrection, which stalled in 1969. This can be partly attributed to the internal power struggle in Baghdad and also tensions with Iran. Moreover, the Soviets pressured the Iraqis to come to terms with Barzani. A peace plan was announced in March 1970 and provided for broader Kurdish autonomy. The plan also gave Kurds representation in government bodies, to be implemented in four years.[9] Despite this, the Iraqi government embarked on an Arabization program in the oil rich regions of Kirkuk and Khanaqin in the same period.[10] In the following years, Baghdad government overcame its internal divisions and concluded a treaty of friendship with the Soviet Union in April 1972 and ended its isolation within the Arab world. On the other hand, Kurds remained dependent on the Iranian military support and could do little to strengthen their forces.

  

[edit] The Algiers Agreement

In 1974, Iraqi government began a new offensive against the Kurds and pushed them close to the border with Iran. Iraq informed Tehran that it was willing to satisfy other Iranian demands in return for an end to its aid to the Kurds. With mediation by Algerian President Houari Boumédiènne, Iran and Iraq reached a comprehensive settlement in March 1975 known as the Algiers Pact. The agreement left the Kurds helpless and Tehran cut supplies to the Kurdish movement. Barzani fled to Iran with many of his supporters. Others surrendered en masse and the rebellion ended after a few days. As a result Iraqi government extended its control over the northern region after 15 years and in order to secure its influence, started an Arabization program by moving Arabs to the oil fields in Kurdistan, particularly the ones around Kirkuk.[11] The repressive measures carried out by the government against the Kurds after the Algiers agreement led to renewed clashes between the Iraqi Army and Kurdish guerrillas in 1977. In 1978 and 1979, 600 Kurdish villages were burned down and around 200,000 Kurds were deported to the other parts of the country.[12]

  

[edit] Iran–Iraq War and Anfal Campaign

During the Iran–Iraq War, the Iraqi government again implemented anti-Kurdish policies and a de facto civil war broke out. Iraq was widely-condemned by the international community, but was never seriously punished for oppressive measures, including the use of chemical weapons against the Kurds, which resulted in thousands of deaths. (See Halabja poison gas attack.)

 

The Al-Anfal Campaign constituted a systematic genocide of the Kurdish people in Iraq. From March 29, 1987 until April 23, 1989, Iraqi army under the command of Ali Hassan al-Majid carried out a genocidal campaign against the Kurds, characterized by the following human rights violations: The widespread use of chemical weapons, the wholesale destruction of some 2,000 villages, and slaughter of around 50,000 rural Kurds, by the most conservative estimates. The large Kurdish town of Qala Dizeh (population 70,000) was completely destroyed by the Iraqi army. The campaign also included Arabization of Kirkuk, a program to drive Kurds out of the oil-rich city and replace them with Arab settlers from central and southern Iraq.[13] Kurdish sources report the number of dead to be greater than 182,000.[14]

  

[edit] After the Persian Gulf War

The Kurdistan Region was originally established in 1970 as the Kurdish Autonomous Region following the agreement of an Autonomy Accord between the government of Iraq and leaders of the Iraqi Kurdish community. A Legislative Assembly was established in the city of Erbil with theoretical authority over the Kurdish-populated governorates of Erbil, Dahuk and As Sulaymaniyah. In practice, however, the assembly created in 1970 was under the control of Iraqi President Saddam Hussein until the 1991 uprising against his rule following the end of the Persian Gulf War. Concern for safety of Kurdish refugees was reflected in the United Nations Security Council Resolution 688 which gave birth to a safe haven, in which U.S. and British air power protected a Kurdish zone inside Iraq.[15] (see Operation Provide Comfort). While the no-fly zone covered Dahuk and Erbil, it left out Sulaymaniyah and Kirkuk. Then following several bloody clashes between Iraqi forces and Kurdish troops, an uneasy and shaky balance of power was reached, and the Iraqi government withdrew its military and other personnel from the region in October 1991. At the same time, Iraq imposed an economic blockade over the region, reducing its oil and food supplies.[16] The region thus gained de facto independence, being ruled by the two principal Kurdish parties – the Kurdish Democratic Party and the Patriotic Union of Kurdistan – outside the control of Baghdad. The region has its own flag and national anthem.

 

Elections held in June 1992 produced an inconclusive outcome, with the assembly divided almost equally between the two main parties and their allies. During this period, the Kurds were subjected to a double embargo: one imposed by the United Nations on Iraq and one imposed by Saddam Hussein on their region. The severe economic hardships caused by the embargoes, fueled tensions between the two dominant political parties: Kurdistan Democratic Party of Iraq (KDP) and Patriotic Union of Kurdistan (PUK) over control of trade routes and resources.[17] This led to internecine and intra-Kurdish conflict and warfare between 1994 and 1996. After 1996, 13% of the Iraqi oil sales were allocated for Iraqi Kurdistan and this led to a relative prosperity in the region.[18] Direct United States mediation led the two parties to a formal ceasefire in Washington Agreement in September 1998. It is also argued that the Oil for Food Program from 1997 onward had an important effect on cessation of hostilities.[19] Kurdish parties joined forces against the Iraqi government in the Operation Iraqi Freedom in Spring 2003. The Kurdish military forces known as peshmerga played a key role in the overthrow of the former Iraqi government.[20]

 

KDP and PUK have united to form an alliance with several smaller parties, and the Kurdish alliance has 53 deputies in the new Baghdad parliament, while the Kurdish Islamic Union has 5. PUK-leader Jalal Talabani has been elected President of the new Iraqi administration, while KDP leader Massoud Barzani is President of the Kurdistan Regional Government.

  

[edit] Politics

Main article: Kurdistan Regional Government

 

President George W. Bush talks to reporters as he welcomes Massoud Barzani, the President of the Kurdistan Regional Government of Iraq, to the Oval Office at the White House, Tuesday, Oct 25, 2005.Since 1992, the Kurdistan Regional Government (KRG) has been based in Erbil. The KRG has a parliament, elected by popular vote, called the Iraqi Kurdistan National Assembly, and a cabinet composed of the KDP, the PUK and their allies (Iraqi Communist Party, the Socialist Party of Kurdistan etc.). Nechervan Idris Barzani has been prime minister of the KRG since 1999.

 

After the 2003 Invasion of Iraq Kurdish politicians were represented in the Iraqi governing council. On January 30, 2005 three elections were held in the region: 1) for Transitional National Assembly of Iraq 2) for Iraqi Kurdistan National Assembly and 3) for provincial councils.[21] The Law of Administration for the State of Iraq for the Transitional Period recognized the autonomy of the Kurdistan Regional Government during the interim between "full sovereignty" and the adoption of a permanent constitution.

 

The Kurdistan Regional Government currently has constitutionally recognised authority over the provinces of Erbil, Dahuk, and As Sulaymaniyah, as well as de facto authority over half of Kirkuk (at-Ta'mim) province and parts of Diyala, Salah ad-Din and Ninawa provinces.

  

[edit] Economy

The Kurdistan region's economy is dominated by the oil industry, agriculture and tourism[22]. Due to relative peace in the region it has a more developed economy in comparison to other parts of Iraq.

 

Prior to the removal of Saddam Hussein, the Kurdistan Regional Government received approximately 13% of the revenues from Iraq's Oil-for-Food Program. By the time of the US invasion of Iraq in 2003, the program had disbursed $8.35 billion to the KRG. Iraqi Kurdistan's food security allowed for substantially more of the funds to be spent on development projects than in the rest of Iraq. By the program's end in 2003 $4 billion of the KRG's oil-for-food funds remained unspent.

 

Following the removal of Saddam Hussein's administration and the subsequent violence, the three provinces fully under the Kurdistan Regional Government's control were the only three in Iraq to be ranked "secure" by the US military. The relative security and stability of the region has allowed the KRG to sign a number of investment contracts with foreign companies. In 2006 the first new oil well since the invasion of Iraq was drilled in the Kurdistan region by the Norwegian energy company DNO. Initial indications are that the oil field contains at least 100 million barrels (16,000,000 m3) of oil and will be pumping 5,000 bpd by early 2007. The KRG has signed exploration agreements with two other oil companies, Canada's Western Oil Sands and the UK's Sterling Energy.

 

The stability of the Kurdistan region has allowed it to achieve a higher level of development than other regions in Iraq. In 2004 the per capita income was 25% higher than in the rest of Iraq. Two international airports at Erbil (see Erbil International Airport and Sulaymaniyah (see Sulaimaniyah International Airport) both operate flights to Middle Eastern and European destinations. The government continues to receive a portion of the revenue from Iraq's oil exports, and the government will soon implement a unified foreign investment law. The KRG also has plans to build a media city in Erbil and free trade zones near the borders of Turkey and Iran.

 

The region still gets a cut from Iraqi-Turkish trade, plus subsidies from the United States[citation needed] and Israel[citation needed].

 

Since 2003, the stronger economy of Kurdistan has attracted around 20,000 workers from other parts of Iraq.[23] According to Iraqi president Jalal Talabani, since 2003 the number of millionaires in the Kurdish city of Silêmani has increased from 12 to 2000, reflecting the financial and economic growth of the region.[24]

  

[edit] Geography

 

A popular waterfall near Erbil.The Iraqi Kurdistan is largely mountainous, with the highest point being a 3,611 m (11,847 ft) point known locally as Cheekah Dar (black tent). There are many rivers flowing and running through mountains of the region making it distinguished by its fertile lands, plentiful water, picturesque nature.

 

The mountainous nature of Kurdistan, the difference of temperatures in its various parts, and its wealth of waters, make Kurdistan a land of agriculture and tourism. In addition to various minerals, oil in particular, which for a long time was being extracted via pipeline only in Kurdistan through Iraq.

 

The largest lake in the region is Lake Dukan.

 

The term "Northern Iraq" is a bit of a geographical ambiguity in usage. "North" typically refers to the Kurdistan Region. "Center" and "South" or "Center-South" when individually referring to the other areas of Iraq or the rest of the country that is not the Kurdistan Region. Most media sources continually refer to "North" and "Northern Iraq" as anywhere north of Baghdad.

  

[edit] Governorates

Iraqi Kurdistan is divided among seven governorates of which currently three are under the control of the Kurdistan Regional Government. These governorates are called in Kurdish parêzge. Particularly in Iraqi government documents, the term governorate is preferred:

  

Autonomous Region KurdistanThe governorates wholly under the Kurdistan Regional Government are:

1. As Sulaymaniyah (Slêmanî)

2. Erbil (Hewlêr)

3. Dahuk (Duhok)

Main article: Kirkuk status referendum, 2008

The governorates claimed totally or in part by the Kurdistan Regional Government are:

4. Kirkuk (Kerkûk) - (all)

5. Diyala - Kifri Khanaqin and Baladrooz districts

6. Ninawa - Akra, Shekhan, Al-Shikhan, Al-Hamdaniya, Tel Kaif, Tall Afar and Sinjar districts

7. Salah ad Din - Tooz district

8. Wasit - Badrah district

A referendum was scheduled to be held on 15 November 2007 to determine whether these governorates, or parts of them, will be included in the Kurdish Regional Government. The referendum is intended to cover all districts of Kirkuk Governorate, the Khanaquin and Kifri districts of Diyala Governorate, the Touz-Khur-Mati district of Salah ad Din Governorate, and the Akra and Shekan districts of Ninewa Governorate. This referendum has been postponed, first to 31 December 2007, and subsequently for up to a further six months. Kurds insist that the referendum be held as soon as possible.

  

[edit] Demographics

 

Ethnic and religious distribution of Iraq.The population is about 5-6 million. 95% of these are Kurdish Muslims who are Sunnis. There are also significant numbers of Yazidis, Kakeyís, Jews and Christians. Kurds comprise the ethnic majority in the region (about 95%) while the Turkmen, Assyrians, Armenians and Arabs who reside particularly in the western part of the area make up the rest.

  

[edit] Culture

Main article: Kurdish culture

 

A Kurdish woman makes breadKurdish culture is a group of distinctive cultural traits practiced by Kurdish people. The Kurdish culture is a legacy from the various ancient peoples who shaped modern Kurds and their society, but primarily of two layers of indigenous (Hurrian), and of the ancient Iranic (Medes).

 

Among their neighbours, the Kurdish culture is closest to Iranian culture . For example they celebrate Newroz as the new year day, which is celebrated on March 21. It is the first day of the month of Xakelêwe in Kurdish calendar and the first day of spring.[25]

  

[edit] Music

Main article: Kurdish music

Traditionally, there are three types of Kurdish classical performers - storytellers (çîrokbêj), minstrels (stranbêj) and bards (dengbêj). There was no specific music related to the Kurdish princely courts, and instead, music performed in night gatherings (şevbihêrk) is considered classical. Several musical forms are found in this genre. Many songs are epic in nature, such as the popular lawiks which are heroic ballads recounting the tales of Kurdish heroes of the past like Saladin. Heyrans are love ballads usually expressing the melancholy of separation and unfulfilled love. Lawje is a form of religious music and Payizoks are songs performed specifically in autumn. Love songs, dance music, wedding and other celebratory songs (dîlok/narînk), erotic poetry and work songs are also popular.

  

[edit] Military

Main article: Peshmerga

Peshmerga is the term used by Kurds to refer to armed Kurdish fighters, they have been labelled by some as freedom fighters. Literally meaning "those who face death" (pêş front + merg death e is) the peshmerga forces of Kurdistan have been around since the advent of the Kurdish independence movement in the early 1920s, following the collapse of the Ottoman and Qajar empires which had jointly ruled over the area known today as Kurdistan.

 

Peshmerga forces also played a significant role with coalition troops in the war against the Ba'ath government in Northern Iraq.

 

I immaturely re-arranged a series of books so that the spines read something other than the intended phrase, 'World Book'. This is why I'm not allowed in libraries anymore.

I don't want want you to know,

about my black pits of despair.

I finally found these pink pepper berries, so lovely to decorate with !

 

Don't use this image on websites, blogs or other media without my explicit permission !!!

© all rights reserved Lily aenee

The Encyclopedias are from 1946 and 1949...

Taken for the AAW Challenge: Forgotten

Placed the old books which are very delicate on a black surface, natural light and edited the exposure..Used my small sony camera..

The Wonder Book of Knowledge

Encyclopedia prepares the idea of revolution

Books - The Flickr Lounge

 

14/365 pictures in 2018

 

© All Rights Reserved. Please do not use or reproduce this image on Websites/Blog or any other media without my explicit permission.

FlickrFriday "Wisdom" theme

Photo inspired by Emily Wilde's Encyclopaedia of Faeries.

Two photos were combined. I created the fairy using a vintage doll and adding paper wings and susending with invisible wire.

The Encyclopedia Britannica is a relic from the past as everything is online now, and the online searches are more up-to-date and much faster.

Encyclopedia of Tropical Plants - The first copy arrived today.

From Wikipedia, the free encyclopedia

Bristol MMB 43 SS Great Britain.jpg

SS Great Britain in dry dock at Bristol in 2005.

History

 

Name:SS Great Britain

Owner:Great Western Steamship Company

Builder:William Patterson

Cost:

Projected: £70,000

Actual: £117,000

Laid down:July 1839

Launched:19 July 1843

Completed:1845

Maiden voyage:26 July 1845

In service:1845–1886

Homeport:Bristol, England

General characteristics

Type:Passenger steamship

Displacement:3,674 tons load draught

Length:322 ft (98 m)

Beam:50 ft 6 in (15.39 m)

Draught:16 ft (4.9 m)[1]

Installed power:2 × twin 88-inch (220 cm) cylinder, 6 ft (1.8 m) stroke, 500 hp (370 kW), 18 rpm inclined direct-acting steam engines

Propulsion:Single screw propeller

Sail plan:

Original: Five schooner-rigged and one square-rigged mast

After 1853: Three square-rigged masts

Speed:10 to 11 knots (19 to 20 km/h; 12 to 13 mph)

Capacity:

360 passengers, later increased to 730

1,200 tons of cargo

Complement:130 officers and crew (as completed)

SS Great Britain is a museum ship and former passenger steamship, which was advanced for her time. She was the longest passenger ship in the world from 1845 to 1854. She was designed by Isambard Kingdom Brunel for the Great Western Steamship Company's transatlantic service between Bristol and New York. While other ships had been built of iron or equipped with a screw propeller, Great Britain was the first to combine these features in a large ocean-going ship. She was the first iron steamer to cross the Atlantic, which she did in 1845, in the time of 14 days.

 

The ship is 322 ft (98 m) in length and has a 3,400-ton displacement. She was powered by two inclined 2 cylinder engines of the direct-acting type, with twin 88 in (220 cm) bore, 6-foot (1.8 m) stroke cylinders. She was also provided with secondary sail power. The four decks provided accommodation for a crew of 120, plus 360 passengers who were provided with cabins and dining and promenade saloons.

 

When launched in 1843, Great Britain was by far the largest vessel afloat. However, her protracted construction and high cost had left her owners in a difficult financial position, and they were forced out of business in 1846 having spent all their funds re-floating the ship after she was run aground at Dundrum Bay after a navigational error. In 1852 she was sold for salvage and repaired. Great Britain carried thousands of immigrants to Australia from 1852 until converted to sail in 1881. Three years later, she was retired to the Falkland Islands where she was used as a warehouse, quarantine ship and coal hulk until scuttled in 1937.[2]

 

In 1970, following a cash donation by Sir Jack Hayward that paid for the vessel to be towed back to the UK, Great Britain was returned to the Bristol dry dock where she was built. Now listed as part of the National Historic Fleet, she is an award-winning visitor attraction and museum ship in Bristol Harbour, with between 150,000 and 200,000 visitors annually.

Scan of a cover of the 1956 Grollier Encyclopedia. I used gradient layers to bring out the textural detail.

 

For your texturing and layering pleasure! Feel free to use in your own work, just don't resell or redistribute this original work as your own!

The Encyclopedia Britannica is a relic from the past as everything is online now, and the online searches are more up-to-date and much faster.

From Wikipedia, the free encyclopedia

 

Bristol MMB 43 SS Great Britain.jpg

 

SS Great Britain in dry dock at Bristol in 2005.

 

History

   

Name:SS Great Britain

 

Owner:Great Western Steamship Company

 

Builder:William Patterson

 

Cost:

 

Projected: £70,000

 

Actual: £117,000

 

Laid down:July 1839

 

Launched:19 July 1843

 

Completed:1845

 

Maiden voyage:26 July 1845

 

In service:1845–1886

 

Homeport:Bristol, England

 

General characteristics

 

Type:Passenger steamship

 

Displacement:3,674 tons load draught

 

Length:322 ft (98 m)

 

Beam:50 ft 6 in (15.39 m)

 

Draught:16 ft (4.9 m)[1]

 

Installed power:2 × twin 88-inch (220 cm) cylinder, 6 ft (1.8 m) stroke, 500 hp (370 kW), 18 rpm inclined direct-acting steam engines

 

Propulsion:Single screw propeller

 

Sail plan:

 

Original: Five schooner-rigged and one square-rigged mast

 

After 1853: Three square-rigged masts

 

Speed:10 to 11 knots (19 to 20 km/h; 12 to 13 mph)

 

Capacity:

 

360 passengers, later increased to 730

 

1,200 tons of cargo

 

Complement:130 officers and crew (as completed)

 

SS Great Britain is a museum ship and former passenger steamship, which was advanced for her time. She was the longest passenger ship in the world from 1845 to 1854. She was designed by Isambard Kingdom Brunel for the Great Western Steamship Company's transatlantic service between Bristol and New York. While other ships had been built of iron or equipped with a screw propeller, Great Britain was the first to combine these features in a large ocean-going ship. She was the first iron steamer to cross the Atlantic, which she did in 1845, in the time of 14 days.

   

The ship is 322 ft (98 m) in length and has a 3,400-ton displacement. She was powered by two inclined 2 cylinder engines of the direct-acting type, with twin 88 in (220 cm) bore, 6-foot (1.8 m) stroke cylinders. She was also provided with secondary sail power. The four decks provided accommodation for a crew of 120, plus 360 passengers who were provided with cabins and dining and promenade saloons.

   

When launched in 1843, Great Britain was by far the largest vessel afloat. However, her protracted construction and high cost had left her owners in a difficult financial position, and they were forced out of business in 1846 having spent all their funds re-floating the ship after she was run aground at Dundrum Bay after a navigational error. In 1852 she was sold for salvage and repaired. Great Britain carried thousands of immigrants to Australia from 1852 until converted to sail in 1881. Three years later, she was retired to the Falkland Islands where she was used as a warehouse, quarantine ship and coal hulk until scuttled in 1937.[2]

   

In 1970, following a cash donation by Sir Jack Hayward that paid for the vessel to be towed back to the UK, Great Britain was returned to the Bristol dry dock where she was built. Now listed as part of the National Historic Fleet, she is an award-winning visitor attraction and museum ship in Bristol Harbour, with between 150,000 and 200,000 visitors annually.

 

Artist Don Li-Leger and three volunteers built this house out of thousands of used, discarded and otherwise unwanted reference books – most of them donated to, and collected by, the Rotary club in South Surrey.

 

The art installation will stand for the month of October in the forested public space outside Newton rec centre.

 

His formal description of “Encyclopedia House” calls for “an unusual art project” to make use of a plethora of no-longer-used encyclopedia sets, textbooks and other reference books that exist in the age of digital information.

 

the art project will address topics such as housing and fundamental needs, neighbourhood development, changing sources of knowledge, and recycling.

 

The books are affixed to each other with screws, making the structure sturdy enough to satisfy city officials.

 

The house will be a focal point for several events this month, including Sources’ homelessness march on Oct. 16, the International Day for the Eradication of Poverty on Oct. 17 and some reading groups with local children.

 

I love this little book. I love that so many hands have held it before mine.

A text, in english, from Wikipedia, the free encyclopedia.

Mandarinfish or Mandarin Dragonet (Synchiropus splendidus).

This article is about the saltwater aquarium fish also known as the mandarin goby. For the carnivorous freshwater fish also known as the Chinese perch, see mandarin fish.

The mandarinfish or mandarin dragonet, Synchiropus splendidus (syn. Pterosynchiropus splendidus), is a small, brightly-colored member of the dragonet family, popular in the saltwater aquarium trade. The mandarinfish is native to the Western Pacific, ranging approximately from the Ryukyu Islands south to Australia. It is also somewhat misleadingly known as the mandarin goby, due to its resemblance to blennies and gobies. Other trade names include "green mandarinfish", "striped mandarinfish", or "psychedelic fish". The name psychedelic mandarin is also used for a closely related species, the picturesque dragonet, Synchiropus picturatus.

 

Mandarinfish are reef dwellers, preferring sheltered lagoons and inshore reefs. While they are slow-moving and fairly common within their range, they are not easily seen due to their bottom-feeding habit and their small size (reaching only about 6 cm). They feed primarily on small crustaceans and other invertebrates. The name of the mandarinfish comes from its extremely vivid coloration, evoking the robes of an Imperial Chinese mandarin.

 

Despite their popularity in the aquarium trade, mandarinfish are considered difficult to keep, as their feeding habits are very specific. Some fish never adapt to aquarium life, refusing to eat anything but live amphipods and copepods (as in the wild), though individuals that do acclimatize to aquarium food are considered to be quite hardy and highly resistant to diseases such as ich. They can not contract the disease Ichthyophthirius because they do not have the skin type that this common aquarium disease affects.

The similarly named mandarin fish, Siniperca chuatsi, properly known as the Chinese perch, is only distantly related.

 

Um texto, em português, da Wikipédia, a enciclopédia livre.

Peixe-mandarim (Synchiropus splendidus).

O peixe-mandarim (Synchiropus splendidus) é um peixe perciforme de água salgada adaptado ao clima tropical que mede de 6 a 10 centímetros de comprimento. Vive escondido em fendas nos recifes de coral e alimenta-se de pequenos animais marinhos que passam próximos ao seu esconderijo. Também é encontrado, com menos freqüência, em águas rasas protegidas, como lagoas costeiras e pequenas baías. Por precisar de muitos nutrientes diferentes, às vezes o peixe-mandarim também come pequenas quantidades de algas e outros flocos que possam lhe servir de alimento.

O peixe-mandarim é um peixe exuberante e tímido e por isso é muito usado em aquários como animal de estimação. Possui cores fortes, brilhantes e desenhos organizados agressivamente em sua pele. Essa característica é, de fato, um mecanismo de defesa contra predadores, indicando que a carne do peixe-mandarim tem gosto ruim, já que seu corpo produz um muco viscoso de gosto e cheiro horríveis.

A pele do peixe-mandarim não possui escamas, por esse motivo ela é necessariamente muito grossa, afim de proteger o peixe das pontas agudas presentes nos recifes de coral. Os olhos por sua vez são projetados para fora como grandes saliências, permitindo que o peixe-mandarim enxergue a sua volta. Os olhos também não possuem pálpebras, nem canais lacrimais, sendo a água do mar responsável pela limpeza dos mesmos.

A visão do peixe-mandarim é bem desenvolvida, acima da média dos outros peixes, sendo que seus olhos são capazes de identificar até as cores do ambiente. Ao menor sinal de perigo, o peixe-mandarim eriça os longos espinhos das costas fazendo-o parecer maior do que realmente é.

O nome do peixe-mandarim vem das cores e desenhos do seu corpo que parecem muito com as roupas de seda usadas pelos mandarins na antiga China. Esta espécie de peixe é mais comumente encontrada no Oceano Pacífico, mas também pode ser encontrado no Oceano Índico e no Caribe.

Quando criado em aquário ou em cativeiro, o peixe-mandarim deve conviver somente com indivíduos da mesma espécie pois pode ser agressivo com indivíduos de espécies diferentes. Além disso a reprodução em cativeiro é muito difícil de ser alcançada e a alimentação a partir de produtos industrializados não é aceita pelo peixe se o ambiente do aquário não estiver nas condições ideais.

O que difere os machos das fêmeas de peixe-mandarim é que os machos são tipicamente maiores e apresentam extensões nas nadadeiras dorsal e anal. Também é mais comum os machos possuírem cores mais bem distribuídas e brilhantes que as fêmeas, embora isso nem sempre aconteça.

A temperatura ideal da água de um aquário para um peixe-mandarim é de 25 ºC com pH em torno de 8,2.

Reprodução:

Quando o macho de peixe-mandarim quer se acasalar, algo que geralmente acontece ao entardecer, ele levanta sua nadadeira dorsal e nada em volta de sua companheira, aproxima-se dela e agarra sua nadadeira peitoral com a boca. Os dois ficam nadando ligados até alcançarem a superfície, onde soltam-se e expelem o esperma e os óvulos que se unem para formar os ovos.

Os pais cuidam dos ovos, que ficam boiando na superfície, protegendo-os de possíveis predadores e de outros perigos do meio. Depois que nascem, os filhotes de peixe-mandarim se alimentam de zooplâncton e fitoplâncton até alcançarem tamanho suficiente para comer animais maiores.

 

Peixe fotografado na loja "Brasília Aquários", especializada em aquários de alta tecnologia, localizada no Fashion Mall, na 502 sul Térreo www.brasiliaaquario.com.br

Following, a text, in english, from Wikipedia the free encyclopedia:

Great Egret

For the similar Australasian species, see Eastern Great Egret.

The Great Egret (Ardea alba), also known as the Great White Egret or Common Egret or (now not in use) Great White Heron,[1][2] is a large, widely-distributed egret. Distributed across most of the tropical and warmer temperate regions of the world, in southern Europe it is rather localized. In North America it is more widely distributed, and it is ubiquitous across the Sun Belt of the United States and in the rainforests of South America. It is sometimes confused with the Great White Heron in Florida, which is a white morph of the closely related Great Blue Heron (A. herodias). Note, however, that the name Great White Heron has occasionally been used to refer to the Great Egret.

Description:

The Great Egret is a large bird with all-white plumage that can reach one meter in height, weigh up to 950 grams (2.1 lb) and a wingspan of 165 to 215 cm. It is thus only slightly smaller than the Great Blue or Grey Heron (A. cinerea). Apart from size, the Great Egret can be distinguished from other white egrets by its yellow bill and black legs and feet, though the bill may become darker and the lower legs lighter in the breeding season. In breeding plumage, delicate ornamental feathers are borne on the back. Males and females are identical in appearance; juveniles look like non-breeding adults. It is a common species, usually easily seen. It has a slow flight, with its neck retracted. This is characteristic of herons and bitterns, and distinguishes them from storks, cranes, ibises, and spoonbills, which extend their necks in flight.

The Great Egret is not normally a vocal bird; at breeding colonies, however, it often gives a loud croaking cuk cuk cuk.

Systematics and taxonomy:

Like all egrets, it is a member of the heron family, Ardeidae. Traditionally classified with the storks in the Ciconiiformes, the Ardeidae are closer relatives of pelicans and belong in the Pelecaniformes instead. The Great Egret—unlike the typical egrets—does not belong to the genus Egretta but together with the great herons is today placed in Ardea. In the past, however, it was sometimes placed in Egretta or separated in a monotypic genus Casmerodius.

Subspecies

There were four subspecies in various parts of the world, which differ but little. Differences are bare part coloration in the breeding season and size; the largest A. a. modesta from Asia and Australasia is now considered a full species, the Eastern Great Egret (Ardea modesta). The remaining three subspecies are:

Ardea alba alba (Europe)

Ardea alba egretta (Americas)

Ardea alba melanorhynchos (Africa)

Ecology and status:

The Great Egret is partially migratory, with northern hemisphere birds moving south from areas with colder winters. It breeds in colonies in trees close to large lakes with reed beds or other extensive wetlands. It builds a bulky stick nest.

The Great Egret is generally a very successful species with a large and expanding range. In North America, large numbers of Great Egrets were killed around the end of the 19th century so that their plumes could be used to decorate hats. Numbers have since recovered as a result of conservation measures. Its range has expanded as far north as southern Canada. However, in some parts of the southern United States, its numbers have declined due to habitat loss. Nevertheless, it adapts well to human habitation and can be readily seen near wetlands and bodies of water in urban and suburban areas. In 1953 the Great Egret in flight was chosen as the symbol of the National Audubon Society, which was formed in part to prevent the killing of birds for their feathers.[3][4]

The Great Egret is one of the species to which the Agreement on the Conservation of African-Eurasian Migratory Waterbirds (AEWA) applies.

Diet:

The Great Egret feeds in shallow water or drier habitats, feeding mainly on fish, frogs, small mammals, and occasionally small birds and reptiles, spearing them with its long, sharp bill most of the time by standing still and allowing the prey to come within its striking distance of its bill which it uses as a spear. It will often wait motionless for prey, or slowly stalk its victim.

Though it might appear that they feed on the parasites of African buffaloes, they actually feed on leafhoppers, grasshoppers and other insects which are stirred open as buffaloes move about in water.

In culture:

The Great Egret is depicted on the reverse side of a 5-Brazilian reais banknote.

"White Egrets" is the title of Saint Lucian Poet Derek Walcott's fourteenth collection of poems.

 

A seguir, texto em português da Wikipédia, a enciclopédia livre:

 

Garça-branca-grande

A garça-branca-grande (Casmerodius albus, sin. Ardea alba), também conhecida apenas como garça-branca, é uma ave da ordem Ciconiiformes. É uma garça de vasta distribuição e pode ser encontrada em todo o Brasil.

Dieta:

Se alimenta de presas aquáticas, depois de aproximar-se sorrateiramente com o corpo abaixado e o pescoço recolhido e bicar seu alimento, esticando seu longo pescoço.

Taxonomia:

Subespécies

C. a. modesta - Ásia e Australasia

C. a. alba - Europa

C. a. egretta - América do Norte

C. a. melanorhynchos - África

 

Ipê Amarelo, Tabebuia [chrysotricha or ochracea].

Ipê-amarelo em Brasília, Brasil.

This tree is in Brasília, Capital of Brazil.

 

Text, in english, from Wikipedia, the free encyclopedia

"Trumpet tree" redirects here. This term is occasionally used for the Shield-leaved Pumpwood (Cecropia peltata).

Tabebuia

Flowering Araguaney or ipê-amarelo (Tabebuia chrysantha) in central Brazil

Scientific classification

Kingdom: Plantae

(unranked): Angiosperms

(unranked): Eudicots

(unranked): Asterids

Order: Lamiales

Family: Bignoniaceae

Tribe: Tecomeae

Genus: Tabebuia

Gomez

Species

Nearly 100.

Tabebuia is a neotropical genus of about 100 species in the tribe Tecomeae of the family Bignoniaceae. The species range from northern Mexico and the Antilles south to northern Argentina and central Venezuela, including the Caribbean islands of Hispaniola (Dominican Republic and Haiti) and Cuba. Well-known common names include Ipê, Poui, trumpet trees and pau d'arco.

They are large shrubs and trees growing to 5 to 50 m (16 to 160 ft.) tall depending on the species; many species are dry-season deciduous but some are evergreen. The leaves are opposite pairs, complex or palmately compound with 3–7 leaflets.

Tabebuia is a notable flowering tree. The flowers are 3 to 11 cm (1 to 4 in.) wide and are produced in dense clusters. They present a cupular calyx campanulate to tubular, truncate, bilabiate or 5-lobed. Corolla colors vary between species ranging from white, light pink, yellow, lavender, magenta, or red. The outside texture of the flower tube is either glabrous or pubescentThe fruit is a dehiscent pod, 10 to 50 cm (4 to 20 in.) long, containing numerous—in some species winged—seeds. These pods often remain on the tree through dry season until the beginning of the rainy.

Species in this genus are important as timber trees. The wood is used for furniture, decking, and other outdoor uses. It is increasingly popular as a decking material due to its insect resistance and durability. By 2007, FSC-certified ipê wood had become readily available on the market, although certificates are occasionally forged.

Tabebuia is widely used as ornamental tree in the tropics in landscaping gardens, public squares, and boulevards due to its impressive and colorful flowering. Many flowers appear on still leafless stems at the end of the dry season, making the floral display more conspicuous. They are useful as honey plants for bees, and are popular with certain hummingbirds. Naturalist Madhaviah Krishnan on the other hand once famously took offense at ipé grown in India, where it is not native.

Lapacho teaThe bark of several species has medical properties. The bark is dried, shredded, and then boiled making a bitter or sour-tasting brownish-colored tea. Tea from the inner bark of Pink Ipê (T. impetiginosa) is known as Lapacho or Taheebo. Its main active principles are lapachol, quercetin, and other flavonoids. It is also available in pill form. The herbal remedy is typically used during flu and cold season and for easing smoker's cough. It apparently works as expectorant, by promoting the lungs to cough up and free deeply embedded mucus and contaminants. However, lapachol is rather toxic and therefore a more topical use e.g. as antibiotic or pesticide may be advisable. Other species with significant folk medical use are T. alba and Yellow Lapacho (T. serratifolia)

Tabebuia heteropoda, T. incana, and other species are occasionally used as an additive to the entheogenic drink Ayahuasca.

Mycosphaerella tabebuiae, a plant pathogenic sac fungus, was first discovered on an ipê tree.

Tabebuia alba

Tabebuia anafensis

Tabebuia arimaoensis

Tabebuia aurea – Caribbean Trumpet Tree

Tabebuia bilbergii

Tabebuia bibracteolata

Tabebuia cassinoides

Tabebuia chrysantha – Araguaney, Yellow Ipê, tajibo (Bolivia), ipê-amarelo (Brazil), cañaguate (N Colombia)

Tabebuia chrysotricha – Golden Trumpet Tree

Tabebuia donnell-smithii Rose – Gold Tree, "Prima Vera", Cortez blanco (El Salvador), San Juan (Honduras), palo blanco (Guatemala),duranga (Mexico)

A native of Mexico and Central Americas, considered one of the most colorful of all Central American trees. The leaves are deciduous. Masses of golden-yellow flowers cover the crown after the leaves are shed.

Tabebuia dubia

Tabebuia ecuadorensis

Tabebuia elongata

Tabebuia furfuracea

Tabebuia geminiflora Rizz. & Mattos

Tabebuia guayacan (Seem.) Hemsl.

Tabebuia haemantha

Tabebuia heptaphylla (Vell.) Toledo – tajy

Tabebuia heterophylla – roble prieto

Tabebuia heteropoda

Tabebuia hypoleuca

Tabebuia impetiginosa – Pink Ipê, Pink Lapacho, ipê-cavatã, ipê-comum, ipê-reto, ipê-rosa, ipê-roxo-damata, pau d'arco-roxo, peúva, piúva (Brazil), lapacho negro (Spanish); not "brazilwood"

Tabebuia incana

Tabebuia jackiana

Tabebuia lapacho – lapacho amarillo

Tabebuia orinocensis A.H. Gentry[verification needed]

Tabebuia ochracea

Tabebuia oligolepis

Tabebuia pallida – Cuban Pink Trumpet Tree

Tabebuia platyantha

Tabebuia polymorpha

Tabebuia rosea (Bertol.) DC.[verification needed] (= T. pentaphylla (L.) Hemsley) – Pink Poui, Pink Tecoma, apama, apamate, matilisguate

A popular street tree in tropical cities because of its multi-annular masses of light pink to purple flowers and modest size. The roots are not especially destructive for roads and sidewalks. It is the national tree of El Salvador and the state tree of Cojedes, Venezuela

Tabebuia roseo-alba – White Ipê, ipê-branco (Brazil), lapacho blanco

Tabebuia serratifolia – Yellow Lapacho, Yellow Poui, ipê-roxo (Brazil)

Tabebuia shaferi

Tabebuia striata

Tabebuia subtilis Sprague & Sandwith

Tabebuia umbellata

Tabebuia vellosoi Toledo

 

Ipê-do-cerrado

Texto, em português, da Wikipédia, a enciclopédia livre.

Ipê-do-cerrado

Classificação científica

Reino: Plantae

Divisão: Magnoliophyta

Classe: Magnoliopsida

Subclasse: Asteridae

Ordem: Lamiales

Família: Bignoniaceae

Género: Tabebuia

Espécie: T. ochracea

Nome binomial

Tabebuia ochracea

(Cham.) Standl. 1832

Sinónimos

Bignonia tomentosa Pav. ex DC.

Handroanthus ochraceus (Cham.) Mattos

Tabebuia chrysantha (Jacq.) G. Nicholson

Tabebuia hypodictyon A. DC.) Standl.

Tabebuia neochrysantha A.H. Gentry

Tabebuia ochracea subsp. heteropoda (A. DC.) A.H. Gentry

Tabebuia ochracea subsp. neochrysantha (A.H. Gentry) A.H. Gentry

Tecoma campinae Kraenzl.

ecoma grandiceps Kraenzl.

Tecoma hassleri Sprague

Tecoma hemmendorffiana Kraenzl.

Tecoma heteropoda A. DC.

Tecoma hypodictyon A. DC.

Tecoma ochracea Cham.

Ipê-do-cerrado é um dos nomes populares da Tabebuia ochracea (Cham.) Standl. 1832, nativa do cerrado brasileiro, no estados de Amazonas, Pará, Maranhão, Piauí, Ceará, Pernambuco, Bahia, Espírito Santo, Goiás, Mato Grosso, Mato Grosso do Sul, Minas Gerais, Rio de Janeiro, São Paulo e Paraná.

Está na lista de espécies ameaçadas do estado de São Paulo, onde é encontrda também no domínio da Mata Atlântica[1].

Ocorre também na Argentina, Paraguai, Bolívia, Equador, Peru, Venezuela, Guiana, El Salvador, Guatemala e Panamá[2].

Há uma espécie homônima descrita por A.H. Gentry em 1992.

Outros nomes populares: ipê-amarelo, ipê-cascudo, ipê-do-campo, ipê-pardo, pau-d'arco-do-campo, piúva, tarumã.

Características

Altura de 6 a 14 m. Tronco tortuso com até 50 cm de diâmetro. Folhas pilosas em ambas as faces, mais na inferior, que é mais clara.

Planta decídua, heliófita, xerófita, nativa do cerrado em solos bem drenados.

Floresce de julho a setembro. Os frutos amadurecem de setembro a outubro.

FloresProduz grande quantidade de sementes leves, aladas com pequenas reservas, e que perdem a viabilidade em menos de 90 dias após coleta. A sua conservação vem sendo estudada em termos de determinação da condição ideal de armazenamento, e tem demonstrado a importância de se conhecer o comportamento da espécie quando armazenada com diferentes teores de umidade inicial, e a umidade de equilíbrio crítica para a espécie (KANO; MÁRQUEZ & KAGEYAMA, 1978). As levíssimas sementes aladas da espécie não necessitam de quebra de dormência. Podem apenas ser expostas ao sol por cerca de 6 horas e semeadas diretamente nos saquinhos. A germinação ocorre após 30 dias e de 80%. As sementes são ortodoxas e há aproximadamente 72 000 sementes em cada quilo.

O desenvolvimento da planta é rápido.

Como outros ipês, a madeira é usada em tacos, assoalhos, e em dormentes e postes. Presta-se também para peças torneadas e instrumento musicais.

 

Tabebuia alba (Ipê-Amarelo)

Texto, em português, produzido pela Acadêmica Giovana Beatriz Theodoro Marto

Supervisão e orientação do Prof. Luiz Ernesto George Barrichelo e do Eng. Paulo Henrique Müller

Atualizado em 10/07/2006

 

O ipê amarelo é a árvore brasileira mais conhecida, a mais cultivada e, sem dúvida nenhuma, a mais bela. É na verdade um complexo de nove ou dez espécies com características mais ou menos semelhantes, com flores brancas, amarelas ou roxas. Não há região do país onde não exista pelo menos uma espécie dele, porém a existência do ipê em habitat natural nos dias atuais é rara entre a maioria das espécies (LORENZI,2000).

A espécie Tabebuia alba, nativa do Brasil, é uma das espécies do gênero Tabebuia que possui “Ipê Amarelo” como nome popular. O nome alba provém de albus (branco em latim) e é devido ao tomento branco dos ramos e folhas novas.

As árvores desta espécie proporcionam um belo espetáculo com sua bela floração na arborização de ruas em algumas cidades brasileiras. São lindas árvores que embelezam e promovem um colorido no final do inverno. Existe uma crença popular de que quando o ipê-amarelo floresce não vão ocorrer mais geadas. Infelizmente, a espécie é considerada vulnerável quanto à ameaça de extinção.

A Tabebuia alba, natural do semi-árido alagoano está adaptada a todas as regiões fisiográficas, levando o governo, por meio do Decreto nº 6239, a transformar a espécie como a árvore símbolo do estado, estando, pois sob a sua tutela, não mais podendo ser suprimida de seus habitats naturais.

Taxonomia

Família: Bignoniaceae

Espécie: Tabebuia Alba (Chamiso) Sandwith

Sinonímia botânica: Handroanthus albus (Chamiso) Mattos; Tecoma alba Chamisso

Outros nomes vulgares: ipê-amarelo, ipê, aipê, ipê-branco, ipê-mamono, ipê-mandioca, ipê-ouro, ipê-pardo, ipê-vacariano, ipê-tabaco, ipê-do-cerrado, ipê-dourado, ipê-da-serra, ipezeiro, pau-d’arco-amarelo, taipoca.

Aspectos Ecológicos

O ipê-amarelo é uma espécie heliófita (Planta adaptada ao crescimento em ambiente aberto ou exposto à luz direta) e decídua (que perde as folhas em determinada época do ano). Pertence ao grupo das espécies secundárias iniciais (DURIGAN & NOGUEIRA, 1990).

Abrange a Floresta Pluvial da Mata Atlântica e da Floresta Latifoliada Semidecídua, ocorrendo principalmente no interior da Floresta Primária Densa. É característica de sub-bosques dos pinhais, onde há regeneração regular.

Informações Botânicas

Morfologia

As árvores de Tabebuia alba possuem cerca de 30 metros de altura. O tronco é reto ou levemente tortuoso, com fuste de 5 a 8 m de altura. A casca externa é grisáceo-grossa, possuindo fissuras longitudinais esparas e profundas. A coloração desta é cinza-rosa intenso, com camadas fibrosas, muito resistentes e finas, porém bem distintas.

Com ramos grossos, tortuosos e compridos, o ipê-amarelo possui copa alongada e alargada na base. As raízes de sustentação e absorção são vigorosas e profundas.

As folhas, deciduais, são opostas, digitadas e compostas. A face superior destas folhas é verde-escura, e, a face inferior, acinzentada, sendo ambas as faces tomentosas. Os pecíolos das folhas medem de 2,5 a 10 cm de comprimento. Os folíolos, geralmente, apresentam-se em número de 5 a 7, possuindo de 7 a 18 cm de comprimento por 2 a 6 cm de largura. Quando jovem estes folíolos são densamente pilosos em ambas as faces. O ápice destes é pontiagudo, com base arredondada e margem serreada.

As flores, grandes e lanceoladas, são de coloração amarelo-ouro. Possuem em média 8X15 cm.

Quanto aos frutos, estes possuem forma de cápsula bivalvar e são secos e deiscentes. Do tipo síliqua, lembram uma vagem. Medem de 15 a 30 cm de comprimento por 1,5 a 2,5 cm de largura. As valvas são finamente tomentosas com pêlos ramificados. Possuem grande quantidade de sementes.

As sementes são membranáceas brilhantes e esbranquiçadas, de coloração marrom. Possuem de 2 a 3 cm de comprimento por 7 a 9 mm de largura e são aladas.

Reprodução

A espécie é caducifólia e a queda das folhas coincide com o período de floração. A floração inicia-se no final de agosto, podendo ocorrer alguma variação devido a fenômenos climáticos. Como a espécie floresce no final do inverno é influenciada pela intensidade do mesmo. Quanto mais frio e seco for o inverno, maior será a intensidade da florada do ipê amarelo.

As flores por sua exuberância, atraem abelhas e pássaros, principalmente beija-flores que são importantes agentes polinizadores. Segundo CARVALHO (2003), a espécie possui como vetor de polinização a abelha mamangava (Bombus morio).

As sementes são dispersas pelo vento.

A planta é hermafrodita, e frutifica nos meses de setembro, outubro, novembro, dezembro, janeiro e fevereiro, dependendo da sua localização. Em cultivo, a espécie inicia o processo reprodutivo após o terceiro ano.

Ocorrência Natural

Ocorre naturalmente na Floresta Estaciobal Semidecicual, Floresta de Araucária e no Cerrado.

Segundo o IBGE, a Tabebuia alba (Cham.) Sandw. é uma árvore do Cerrado, Cerradão e Mata Seca. Apresentando-se nos campos secos (savana gramíneo-lenhosa), próximo às escarpas.

Clima

Segundo a classificação de Köppen, o ipê-amarelo abrange locais de clima tropical (Aw), subtropical úmido (Cfa), sutropical de altitude (Cwa e Cwb) e temperado.

A T.alba pode tolerar até 81 geadas em um ano. Ocorre em locais onde a temperatura média anual varia de 14,4ºC como mínimo e 22,4ºC como máximo.

Solo

A espécie prefere solos úmidos, com drenagem lenta e geralmente não muito ondulados (LONGHI, 1995).

Aparece em terras de boa à média fertilidade, em solos profundos ou rasos, nas matas e raramente cerradões (NOGUEIRA, 1977).

Pragas e Doenças

De acordo com CARVALHO (2003), possui como praga a espécie de coleópteros Cydianerus bohemani da família Curculionoideae e um outro coleóptero da família Chrysomellidae. Apesar da constatação de elevados índices populacionais do primeiro, os danos ocasionados até o momento são leves. Nas praças e ruas de Curitiba - PR, 31% das árvores foram atacadas pela Cochonilha Ceroplastes grandis.

ZIDKO (2002), ao estudar no município de Piracicaba a associação de coleópteros em espécies arbóreas, verificou a presença de insetos adultos da espécie Sitophilus linearis da família de coleópteros, Curculionidae, em estruturas reprodutivas. Os insetos adultos da espécie emergiram das vagens do ipê, danificando as sementes desta espécie nativa.

ANDRADE (1928) assinalou diversas espécies de Cerambycidae atacando essências florestais vivas, como ingazeiro, cinamomo, cangerana, cedro, caixeta, jacarandá, araribá, jatobá, entre outras como o ipê amarelo.

A Madeira

A Tabebuia alba produz madeira de grande durabilidade e resistência ao apodrecimento (LONGHI,1995).

MANIERI (1970) caracteriza o cerne desta espécie como de cor pardo-havana-claro, pardo-havan-escuro, ou pardo-acastanhado, com reflexos esverdeados. A superfície da madeira é irregularmente lustrosa, lisa ao tato, possuindo textura media e grã-direita.

Com densidade entre 0,90 e 1,15 grama por centímetro cúbico, a madeira é muito dura (LORENZI, 1992), apresentando grande dificuldade ao serrar.

A madeira possui cheiro e gosto distintos. Segundo LORENZI (1992), o cheiro característico é devido à presença da substância lapachol, ou ipeína.

Usos da Madeira

Sendo pesada, com cerne escuro, adquire grande valor comercial na marcenaria e carpintaria. Também é utilizada para fabricação de dormentes, moirões, pontes, postes, eixos de roda, varais de carroça, moendas de cana, etc.

Produtos Não-Madeireiros

A entrecasca do ipê-amarelo possui propriedades terapêuticas como adstringente, usada no tratamento de garganta e estomatites. É também usada como diurético.

O ipê-amarelo possui flores melíferas e que maduras podem ser utilizadas na alimentação humana.

Outros Usos

É comumente utilizada em paisagismo de parques e jardins pela beleza e porte. Além disso, é muito utilizada na arborização urbana.

Segundo MOREIRA & SOUZA (1987), o ipê-amarelo costuma povoar as beiras dos rios sendo, portanto, indicado para recomposição de matas ciliares. MARTINS (1986), também cita a espécie para recomposição de matas ciliares da Floresta Estacional Semidecidual, abrangendo alguns municípios das regiões Norte, Noroeste e parte do Oeste do Estado do Paraná.

Aspectos Silviculturais

Possui a tendência a crescer reto e sem bifurcações quando plantado em reflorestamento misto, pois é espécie monopodial. A desrrama se faz muito bem e a cicatrização é boa. Sendo assim, dificilmente encopa quando nova, a não ser que seja plantado em parques e jardins.

Ao ser utilizada em arborização urbana, o ipê amarelo requer podas de condução com freqüência mediana.

Espécie heliófila apresenta a pleno sol ramificação cimosa, registrando-se assim dicotomia para gema apical. Deve ser preconizada, para seu melhor aproveitamento madeireiro, podas de formação usuais (INQUE et al., 1983).

Produção de Mudas

A propagação deve realizada através de enxertia.

Os frutos devem ser coletados antes da dispersão, para evitar a perda de sementes. Após a coleta as sementes são postas em ambiente ventilado e a extração é feita manualmente. As sementes do ipê amarelo são ortodoxas, mantendo a viabilidade natural por até 3 meses em sala e por até 9 meses em vidro fechado, em câmara fria.

A condução das mudas deve ser feita a pleno sol. A muda atinge cerca de 30 cm em 9 meses, apresentando tolerância ao sol 3 semanas após a germinação.

Sementes

Os ipês, espécies do gênero Tabebuia, produzem uma grande quantidade de sementes leves, aladas com pequenas reservas, e que perdem a viabilidade em poucos dias após a sua coleta. A sua conservação vem sendo estudada em termos de determinação da condição ideal de armazenamento, e tem demonstrado a importância de se conhecer o comportamento da espécie quando armazenada com diferentes teores de umidade inicial, e a umidade de equilíbrio crítica para a espécie (KANO; MÁRQUEZ & KAGEYAMA, 1978).

As levíssimas sementes aladas da espécie não necessitam de quebra de dormência. Podem apenas ser expostas ao sol por cerca de 6 horas e semeadas diretamente nos saquinhos. A quebra natural leva cerca de 3 meses e a quebra na câmara leva 9 meses. A germinação ocorre após 30 dias e de 80%.

As sementes são ortodoxas e há aproximadamente 87000 sementes em cada quilo.

Preço da Madeira no Mercado

O preço médio do metro cúbico de pranchas de ipê no Estado do Pará cotado em Julho e Agosto de 2005 foi de R$1.200,00 o preço mínimo, R$ 1509,35 o médio e R$ 2.000,00 o preço máximo (CEPEA,2005).

Marine life illustration inspired by vintage encyclopedias depicting various species of sea creatures. This dark background version depicts the creatures such as the octopus, the anemone, horseshoe crab, sea weeds, tortoise limpet, etc. The animals and lettering were created by hand with watercolors, colored pencils and later digitally processed.

  

See the whole series here: www.behance.net/gallery/28847095/Aequoreus-vita

  

Thank you for watching!

Song by Green Day

From Wikipedia, the free encyclopedia

 

"Mount Robson

Mount Robson 2008.jpg

Highest point

Elevation3,954 m (12,972 ft) [1][2][3]

Prominence2,829 m (9,281 ft) [1]

Isolation460 kilometres (290 mi)

Listing

World most prominent peaks 119th

North America prominent peaks 21st

North America isolated peaks 39th

Canada highest major peaks 21st

Canada most prominent peaks 7th

Canada most isolated peaks 14th

Coordinates53°06′37″N 119°09′24″WCoordinates: 53°06′37″N 119°09′24″W [1]

Geography

Mount Robson is located in British Columbia Mount RobsonMount Robson

British Columbia, Canada

Parent rangeRainbow Range (Canadian Rockies)

Topo mapNTS 83E/03

Climbing

First ascentJuly 31, 1913 by William W. Foster, Albert H. McCarthy and Conrad Kain[1][2]

Easiest routeSouth face (UIAA IV)

Mount Robson is the most prominent mountain in North America's Rocky Mountain range; it is also the highest point in the Canadian Rockies. The mountain is located entirely within Mount Robson Provincial Park of British Columbia, and is part of the Rainbow Range. Mount Robson is the second highest peak entirely in British Columbia, behind Mount Waddington in the Coast Range. The south face of Mount Robson is clearly visible from the Yellowhead Highway (Highway 16), and is commonly photographed along this route.

 

Mount Robson was likely named after Colin Robertson, who worked for both the North West Company and the Hudson’s Bay Company at various times in the early 19th century, though there was confusion over the name as many assumed it to have been named for John Robson, an early premier of British Columbia. The Texqakallt, a Secwepemc people and the earliest inhabitants of the area, call it Yuh-hai-has-kun, The Mountain of the Spiral Road.[4] Other unofficial names include Cloud Cap Mountain."

From Wikipedia, the free encyclopedia

+++++++++++++++++++++++++++++++++

Rencontres d'Arles

The Rencontres d’Arles (formerly called Rencontres internationales de la photographie d’Arles) is an annual summer photography festival founded in 1970 by the Arles photographer Lucien Clergue, the writer Michel Tournier and the historian Jean-Maurice Rouquette.

 

The Rencontres d’Arles has an international impact by showing material that has never been seen by the public before. In 2015, the festival welcomed 93,000 visitors.

 

The specially designed exhibitions, often organised in collaboration with French and foreign museums and institutions, take place in various historic sites. Some venues, such as 12th-century chapels or 19th-century industrial buildings, are open to the public throughout the festival.

 

The Rencontres d’Arles has revealed many photographers, confirming its significance as a springboard for photography and contemporary creativity.

 

In recent years the Rencontres d’Arles has invited many guest curators and entrusted some of its programming to such figures as Martin Parr in 2004, Raymond Depardon in 2006 and the Arles-born fashion designer Christian Lacroix.

Contents

 

Art directors

A photographer, Jean-Pierre Sudre, discussing his work, Rencontres d'Arles, 1975

 

1970 - 1972: Lucien Clergue, Michel Tournier, Jean-Maurice Rouquette

1973 - 1976: Lucien Clergue

1977: Bernard Perrine

1978: Jacques Manachem

1979 - 1982: Alain Desvergnes (fr)

1983 - 1985: Lucien Clergue

1986 - 1987: François Hébel

1988 - 1989: Claude Hudelot (fr)

1990: Agnès de Gouvion Saint-Cyr

1991 - 1993: Louis Mesplé (fr)

1994: Lucien Clergue

1995 - 1998, délégué général: Bernard Millet (fr)

1995, artistic director: Michel Nuridsany (fr)

1996, artistic director: Joan Fontcuberta

1997, artistic director: Christian Caujolle (fr)

1998, artistic director: Giovanna Calvenzi

1999 - 2001: Gilles Mora (fr)

2002 - 2014: François Hébel

Since 2015: Sam Stourdzé (fr)

 

The festival

A photography exhibition, Rencontres d'Arles, 2010

Events

 

Opening week at the Rencontres d’Arles features photography-focused events (projections at night, exhibition tours, panel discussions, symposia, parties, book signings, etc.) in the town’s historic venues, some of which are only open to the public during the festival. Memorable events in recent years include Europe Night (2008), an overview of European photography; Christian Lacroix’s fashion show for the festival’s closing (2008); and Patti Smith’s concert for the Vu agency’s 20th anniversary (2006).

Nights at the Roman Theatre

 

At night, work by a photographer or a photography expert is projected in the town’s open-air Roman theatre accompanied by concerts and performances. Each event is a one-off creation. In 2009, 8,500 people attended evenings at the Roman theatre, an average of 2,000 a night, and 2,500 were there on closing night, when the Tiger Lilies played during a projection of Nan Goldin’s “The Ballad of Sexual Dependency”. In 2013 over 6,000 people attended the nighttime photography projections, an average of approximately 1,000 each night.

The Night of the Year

 

The Night of the Year, which was created in 2006, allows visitors to walk around and see the festival’s favourite works by artists and photographers as well as carte blanche exhibitions by institutions.

Cosmos-Arles Books

 

Cosmos-Arles Books is a Rencontres d’Arles satellite event dedicated to new publishing practices.

 

Over the past 15 years large-scale photographic publications, self-published books, and ebooks have become essential media for experimentation by photographers and artists. They allow photography to be rediscovered as a means of expression and distribution, providing a rich terrain of expression for the art’s fundamentally hybrid forms.

Symposia and panel discussions

 

Photographers and professionals participating in symposia and panel discussions during opening week discuss their work or issues raised by the images on display. In recent years the themes included whether a black-and-white aesthetic is still conceivable in photography (2013); the impact of social networks on creativity and information (2011); breaking with past, a key idea for photography today (2009); photography commissions: freedom or constraint (2008); challenges and changes in the photography market (2007).

The Rencontres d’Arles awards

 

Since 2002 the Rencontres d’Arles awards have been an opportunity to discover new talents. In 2007 the number of annual awards was reduced to three, presented at the closing ceremony of the festival’s professional week: the Discovery Award (€25,000), Author’s Book Award (€8,000) and History Book Award (€8,000).

Luma Rencontres Dummy Book Award

 

In 2015 the Rencontres d’Arles offered an award to assist with the publication of a dummy book. Endowed with a €25,000 budget production budget, this new prize is open to all photographers and artists using photography who submit a dummy book that has never been published.

 

The winner’s book will be produced in autumn 2015 and be presented at the 2016 Rencontres d’Arles.

Photo Folio Review & Gallery

 

Since 2006 aspiring photographers have been able to submit their portfolios to international photography experts in various fields, including publishers, exhibition curators, heads of institutions, agency directors, gallery owners, collectors, critics and photo editors, for appraisal during the festival’s opening week. Photo Folio Review & Gallery offers them an opportunity to show their work throughout the festival.

Photography classes

 

The Rencontres d’Arles has always been a place where professional photographers and practitioners on every level have been able to meet each other and exchange ideas. Each year, photography class participants undertake a personal journey of creation through photography’s aesthetic, ethical and technological issues. Leading photographers such as Guy le Querrec, Antoine d’Agata, Martin Parr, René Burri and Joan Fontcuberta regularly teach at the Rencontres d’Arles.

Rentrée en Images

 

“Rentrée en Images” has been a key part of the festival’s educational activities since 2004. During the first two weeks in September, special mediators take students from the primary to graduate school level on guided tours of the exhibitions. Based on the festival’s programming, the event aims to introduce young people to the visual arts and fits in with a wider policy of cultural democratisation. “Rentrée en Images” reaches thousands of students, and for many of them it is their first exposure to contemporary art.

Budget

 

Public funding accounted for 40% of the 2015 festival’s €6.3-million budget, sales (mainly of tickets and derivative products), 40% and private partnerships, 20%[clarification needed][citation needed].

Executive Committee

 

Hubert Védrine, president

Hervé Schiavetti, vice-president

Jean-François Dubos, vice-president

Marin Karmitz, treasurer

Françoise Nyssen, secretary

Lucien Clergue, Jean-Maurice Rouquette, Michel Tournier, founding members

 

The Rencontres d'Arles award winners

2002

 

Jury: Denis Curti, Alberto Anault, Alice Rose George, Manfred Heiting, Erik Kessels, Claudine Maugendre, Val Williams

Discovery Award: Peter Granser

No Limit award: Jacqueline Hassink

Dialogue of the humanity award: Tom Wood

Photographer of the year award: Roger Ballen

Help to the project: Pascal Aimar, Chris Shaw

Author’s Book Award: Sibusiso Mbhele and His Fish Helicopter by Koto Bolofo (powerHouse Books, 2002)

Help to publishing: Une histoire sans nom by Anne-Lise Broyer

 

2003

 

Jury: Giovanna Calvenzi, Hou Hanru, Christine Macel, Anna Lisa Milella, Urs Stahel

Discovery Award: Zijah Gafic

No Limit award: Thomas Demand

Dialogue of the humanity award: Fazal Sheikh

Photographer of the year award: Anders Petersen

Help to the project: Jitka Hanzlova

Author’s Book Award: Hide That Can by Deirdre O’Callaghan (Trolley Books, 2002)

Help to publishing: A Personal Diary of Chinese Avant-Garde in the 1990s, China (1993-1998) by Xing Danwen

 

2004

 

Jury: Eikoh Hosoe, Joan Fontcuberta, Tod Papageorge, Elaine Constantine, Antoine d’Agata

Discovery Award: Yasu Suzuka

No Limit award: Jonathan de Villiers

Dialogue of the humanity award: Edward Burtynsky

Help to the project: John Stathatos

Author’s Book Award: Particulars by David Goldblatt (Goodman Gallery, 2003)

 

2005

 

Jury: Ute Eskildsen, Jean-Louis Froment, Michel Mallard, Kathy Ryan, Marta Gili

Discovery Award: Miroslav Tichy

No Limit award: Mathieu Bernard-Reymond

Dialogue of the humanity award: Simon Norfolk

Help to the project: Anna Malagrida

Author’s Book Award: Temporary Discomfort (Chapter I-V) by Jules Spinatsch (Lars Müller Publishers, 2005)

 

2006

 

Jury: Vincent Lavoie, Abdoulaye Konaté, Yto Barrada, Marc-Olivier Wahler, Alain d’Hooghe

Discovery Award: Alessandra Sanguinetti

No Limit award: Randa Mirza

Dialogue of the humanity award: Wang Qingsong

Help to the project: Walid Raad

Author’s Book Award: Form aus Licht und Schatten by Heinz Hajek-Halke (Steidl, 2005)

 

2007

 

[1]

 

Jury: Bice Curiger, Alain Fleischer, Johan Sjöström, Thomas Weski, Anne Wilkes Tucker

Discovery Award: Laura Henno

Author’s Book Award: Empty Bottles by WassinkLundgren (Thijs groot Wassink and Ruben Lundgren) (Veenman Publishers, 2007)

Historical Book Award: László Moholy-Nagy: Color in Transparency: Photographic Experiments in Color, 1934–1946 by Jeannine Fiedler (Steidl & Bauhaus-Archiv, 2006)

 

2008

 

[2]

 

Jury: Elisabeth Biondi, Luis Venegas, Nathalie Ours, Caroline Issa and Massoud Golsorkhi, Carla Sozzani

Discovery Award: Pieter Hugo

Author’s Book Award: Strange and Singular by Michael Abrams (Loosestrife, 2007)

Historical Book Award: Nein, Onkel: Snapshots from Another Front 1938–1945 by Ed Jones and Timothy Prus (Archive of Modern Conflict, 2007)

 

2009

 

[3]

 

Jury: Lucien Clergue, Bernard Perrine, Alain Desvergnes, Claude Hudelot, Agnès de Gouvion Saint-Cyr, Louis Mesplé, Bernard Millet, Michel Nuridsany, Joan Fontcuberta, Christian Caujolle, Giovanna Calvenzi, Martin Parr, Christian Lacroix, Arnaud Claass, Christian Milovanoff

Discovery Award: Rimaldas Viksraitis

Author’s Book Award: From Back Home by Anders Petersen and JH Engström (Bokförlaget Max Ström, 2009)

Historical Book Award: In History by Susan Meiselas (Steidl and International Center of Photography, 2008)

 

2010

 

[4] [5]

 

Discovery Award: Taryn Simon

LUMA award: Trisha Donnelly

Author’s Book Award: Photography 1965–74 by Yutaka Takanashi (Only Photograph, 2010)

Historical Book Award: Les livres de photographies japonais des années 1960 et 1970 by Ryuichi Kaneko and Ivan Vartanian (Seuil, 2009)

 

2011

 

[6] [7]

 

Discovery Award: Mikhael Subotzky and Patrick Waterhouse[8]

Author’s Book Award: A Living Man Declared Dead and Other Chapters by Taryn Simon (Mack, 2011)[8]

Historical Book Award: Works by Lewis Baltz (Steidl, 2010)[8]

 

2012

 

[9] [10] [11]

 

Discovery Award: Jonathan Torgovnik

Author’s Book Award: Redheaded Peckerwood by Christian Patterson (Mack, 2011)

Historical Book Award: Les livres de photographie d’Amérique latine by Horacio Fernández (Images en Manœuvres Éditions, 2011)

 

2013

 

Discovery Award: Yasmine Eid-Sabbagh and Rozenn Quéré

Author’s Book Award: Anticorps by Antoine d’Agata (Xavier Barral & Le Bal[disambiguation needed], 2013)[12]

Historical Book Award: AOI [COD.19.1.1.43] – A27 [S | COD.23 by Rosângela Rennó (Self-published, 2013)

 

2014

 

Discovery Award: Zhang Kechun

Author’s Book Award: Hidden Islam by Nicolo Degiorgis (Rorhof, 2014)

Historical Book Award: Paris mortel retouché by Johan van der Keuken (Van Zoetendaal Publishers, 2013)

 

2015

 

Discovery Award: Pauline Fargue

Author’s Book Award: H. said he loved us by Tommaso Tanini (Discipula Editions, 2014)

Historical Book Award: Monograph Vitas Luckus. Works & Biography by Margarita Matulytė and Tatjana Luckiene-Aldag (Kaunas Photography Gallery and Lithuanian Art Museum, 2014)

Dummy Book Award: The Jungle Book by Yann Gross

Photo Folio Review: Piero Martinelo (winner); Charlotte Abramow, Martin Essi, Elin Høyland, Laurent Kronenthal (special mentions)

 

2016

 

Discovery Award: Sarah Waiswa

Author’s Book Award: Taking Off. Henry My Neighbor by Mariken Wessels (Art Paper Editions, 2015)

Historical Book Award: (in matters of) Karl by Annette Behrens (Fw: Books, 2015)

Photo-Text Award: Negative Publicity: Artefacts of Extraordinary Rendition by Edmund Clark and Crofton Black (Aperture, 2015)

Dummy Book Award: You and Me: A project between Bosnia, Germany and the US by Katja Stuke and Oliver Sieber

Photo Folio Review: David Fathi (winner); Sonja Hamad, Eric Leleu, Karolina Paatos, Maija Tammi (special mentions)

 

2017

 

[13]

 

Discovery Award: Carlos Ayesta and Guillaume Bression

Author's Book Award: Ville de Calais by Henk Wildschut (self-published, 2017)

Special Mention for Author's Book Award: Gaza Works by Kent Klich (Koenig, 2017)

Historical Book Award: Latif Al Ani by Latif Al Ani (Hannibal Publishing, 2017)

Photo-Text Award: The Movement of Clouds around Mount Fuji by Masanao Abe and Helmut Völter (Spector Books, 2016)

Dummy Book Award: Grozny: Nine Cities by Olga Kravets, Maria Morina, and Oksana Yushko

Photo Folio Review: Aurore Valade (winner); Haley Morris Cafiero, Alexandra Lethbridge, Charlotte Abramow, Catherine Leutenegger (special mentions)

 

Exhibitions

1970

 

Gjon Mili, Edward Weston, ...

1971

 

Pedro Luis Raota, Charles Vaucher, Olivier Gagliani, Steve Soltar, Judy Dater, Jack Welpott, Gordon Bennett, John Weir, Linda Connor, Neal White, Jean-Claude Gautrand, Jean Rouet, Pierre Riehl, Roger Doloy, Georges Guilpin, Alain Perceval, Jean-Louis Viel, Jean-Luc Tartarin, Frédéric Barzilay, Jean-Claude Bernath, André Recoules, Etienne-Bertrand Weill, Rodolphe Proverbio, Jean Dieuzaide, Paul Caponigro, Jerry Uelsmann, Heinz Hajek-Halke, Rinaldo Prieri, Jean-Pierre Sudre, Denis Brihat, …

1972

 

Hiro, Lucien Clergue, Eugène Atget, Bruce Davidson, …

1973

 

Imogen Cunningham, Linda Connor, Judy Dater, Allan Porter, Paul Strand, Edward S. Curtis, …

1974

 

Brassaï, Ansel Adams, Georges A. Tice, …

1975

 

Agence Viva, André Kertész, Yousuf Karsh, Robert Doisneau, Lucien Clergue, Jean Dieuzaide, Ralph Gibson, Charles Harbutt, Tania Kaleya, Eva Rubinstein, Michel Saint Jean, Kishin Shinoyama, Hélène Théret, Georges Tourdjman, …

1976

 

Ernst Haas, Bill Brandt, Man Ray, Marc Riboud, Agence Magnum, Eikō Hosoe, Judy Dater, Jack Welpott, Doug Stewart, Duane Michals, Leslie Krims, Bob Mazzer, Horner, S. Sykes, David Hurn, Mary Ellen Mark, René Groebli, Guy Le Querrec, …

1977

 

Will Mac Bride, Paul Caponigro, Neal Slavin, Max Waldman, Dennis Stock, Josef Sudek, Harry Callahan, R. Benvenisti, P. Carroll, William Christenberry, S. Ciccone, W. Eggleston, R. Embrey, B. Evans, R. Gibson, D. Grégory, F. Horvat, W. Krupsan, W. Larson, U. Mark, J. Meyerowitz, S. Shore, N. Slavin, L. Sloan-Théodore, J. Sternfeld, R. Wol, …

1978

 

Lisette Model, Izis, William Klein, Hervé Gloaguen, Yan Le Goff, Serge Gal, Marc Tulane, Lionel Jullian, Alain Gualina, …

1979

 

David Burnett, Mary Ellen Mark, Jean-Pierre Laffont, Abbas, Pedro Meyer, Yves Jeanmougin, Manuel Alvarez Bravo, …

1980

 

Willy Ronis, Arnold Newman, Jay Maisel, Christian Vogt, Ben Fernandez, Julia Pirotte, …

1981

 

Guy Bourdin, Steve Hiett, Sarah Moon and Dan Weeks, Art Kane, Cheyco Leidman, André Martin, François Kollar, …

1982

 

Willy Zielke, Henri Cartier-Bresson, Alexey Brodovitch, Robert Frank, William Klein, Max Pam, Bernard Plossu, …

1983

 

Robert Rauschenberg, Bruce Davidson, …

1984

 

Jean Dieuzaide, Marilyn Bridges, Mario Giacomelli, Augusto De Luca, Joyce Tenneson, Luigi Ghirri, Albato Guatti, Mario Samarughi, Arman, Raoul Ubac, …

1985

 

David Hockney, Fritz Gruber, Franco Fontana, Milton Rogovin, Gilles Peress, Jane Evelyn Atwood, Eugene Richards, Sebastião Salgado, Robert Capa, Lucien Hervé, …

1986

 

Collection Graham Nash, Annie Leibovitz, Sebastião Salgado, Martin Parr, Robert Doisneau, Paulo Nozolino, Ugo Mulas, Bruce Gilden, Georges Rousse, Peter Knapp, Max Pam, Miguel Rio Branco, Michelle Debat, Andy Summers, Baron Wolman. …

1987

 

Brian Griffin, Dominique Issermann, Nan Goldin, Max Vadukul, Gabriele Basilico, Paul Graham, Thomas Florschuetz, Gianni Berengo Gardin, … Autres invités des Rencontres 88: Hans Namuth, Jean-Marc Tingaud, Mary Ellen Mark, Charles Camberoque, Martine Voyeux, Marie-Paule Nègre, Xavier Lambours, Patrick Zachmann, Jean-Marie Del Moral, Nittin Vadukul, Jean Larivière, Bruce Weber, Germaine Krull, Jean-Paul Goude, Jean-Louis Boissier, Sandra Petrillo, Daniel Schwartz, Laurent Septier, Jean-Marc Zaorski, Bernard Descamps, Marc Garanger, Yan Layma, Michel Delaborde, Michel Semeniako, Françoise Huguier, Paolo Calia, Deborah Turbeville, Gundunla Schulze. Ainsi que Henri Alekan, Arielle Dombasle, Jacques Séguéla, Roland Topor, Serge July, Lucinda Childs, invited to comment on their private screening at parties in Roman Theatre, where Christian Lacroix organised a show.

1988

 

La danse, la Chine, la pub. Chinese photography is presented for the first time abroad as a major exhibition with 40 Chinese photographers, including Wu Yinxian, Zhang Hai-er, Chen Baosheng, Ling Fei, Xia Yonglie, curated by Karl Kugel, co-director of the film China: Inner views / Chine: vues intérieures, released at the opening of the festival. Most major photographers who have covered this country are also present either in the exhibition of Magnum Photos, curated by François Hébel, either in solo exhibitions, such as Marc Riboud ou de Jeanloup Sieff.

1989

 

Arles fête ses vingt ans (1969-1989); with Lucien Clergue, Lee Friedlander, Cristina García Rodero, John Demos, Philippe Bazin, George Hashigushi, Eduardo Masférré, Hervé Gloaguen, Elizabeth Sunday, Pierre de Vallombreuse, Robert Frank's The lines of My Hand (commissioned by Charles-Henri Favrod); in honour of Pierre de Fenoÿl; Julio Mitchel, Roland Schneider, Rafael Vargas, John Phillips, Annette Messager, Christian Boltanski, la collection Bonnemaison, Javier Vallhonrat, Thierry Girard, Dennis Hopper. Exhibition Ils annoncent la couleur with Stéphane Sednaoui, Jean-Baptiste Mondino, Max Vadukul, Nick Night, Nigel Shafran, Tony Viramontes, Cindy Palmano; commissioned by Marc Vascoli. Exposition et soirée Deep South with Robert Frank, Bruce Davidson, Duane Michals, Gordon Parks, Alain Desvergnes, Gilles Mora, Paul Kwilecki, William Christenberry, William Eggleston, Marylin Futtermann, Debbie Fleming Caffery, Fern Koch, Jay Leviton, Eudora Welty; commissioned by Gilles Mora.

1990

 

Volker Hinz, Erasmus Schröter, Stéphane Duroy, Raymond Depardon, Frédéric Brenner, Drtikol, Saudek, …

1991

 

Tina Modotti, Edward Weston, Graciela Iturbide, Martín Chambi, Sergio Larrain, Sebastião Salgado, Juan Rulfo, Miguel Rio Branco, Eric Poitevin, Alberto Schommer, …

1992

 

Don McCullin, Dieter Appelt, Béatrix Von Conta, Denise Colomb, José Ortiz-Echagüe, Wout Berger, Thibaut Cuisset, Knut W. Maron, John Statathos, …

1993

 

Richard Avedon, Larry Fink, Ernest Pignon-Ernest, Cecil Beaton, Raymonde April, Koji Inove, Louis Jammes, Eiichiro Sakata, …

1994

 

Andres Serrano, Roger Pic, Marc Riboud, Bogdan Konopka, Sarah Moon, Pierre et Gilles, Marie-Paule Nègre, Edward Steichen and Josef Sudek, Robert Doisneau, André Kertész, …

 

1995

 

Alain Fleischer, Roger Ballen, Noda, Toyoura, Slocombe, Nam June Paik, France Bourély. …

1996

 

Ralph Eugene Meatyard, William Wegman, Grete Stern, Paolo Gioli, Nancy Burson, John Stathatos, Sophie Calle, Luigi Ghirri, Pierre Cordier, …

1997

 

Collection Marion Lambert, Eugene Richards, Mathieu Pernot, Aziz + Cucher, Jochen Gerz, Antoni Muntadas, Ricard Terré, …

1998

 

David LaChapelle, Herbert Spring, Mike Disfarmer, Francesca Woodman, Federico Patellani, Massimo Vitali, Dieter Appelt, Samuel Fosso, Urs Lu.thi, Pierre Molinier, Yasumasa Morimura, Roman Opalka, Cindy Sherman, Sophie Weibel, …

1999

 

Lee Friedlander, Walker Evans, …

2000

 

Tina Modotti, Jakob Tuggener, Peter Sakaer, Masahisa Fukase, Herbert Matter, Robert Heinecken, Jean-Michel Alberola, Tom Drahaos, Willy Ronis, Frederick Sommer, Lucien Clergue, Sophie Calle, …

2001

 

Luc Delahaye, Patrick Tosani, Stéphane Couturier, David Rosenfeld, James Casebere, Peter Lindbergh, …

2002

 

Guillaume Herbaut, Baader Meinhof, Astrid Proll, Josef Koudelka, Gabriele Basilico, Rineke Dijkstra, Lise Sarfati, Jochen Gerz, Collection Ordoñez Falcon, Larry Sultan, Alex Mac Lean, Alastair Thain, Raeda Saadeh, Zineb Sedira, Serguei Tchilikov, Jem Southam, Alexey Titarenko, Andreas Magdanz, Sophie Ristelhueber, …

2003

 

Collection Claude Berri, Lin Tianmiao & Wang Gongxin, Xin Danwen, Gao Bo, Shao Yinong & Mu Chen, Hong Li, Hai Bo, Chen Lingyang, Ma Liuming, Hong Hao, Naoya Hatakeyama, Roman Opalka, Jean-Pierre Sudre, Suzanne Lafont, Corinne Mercadier, Adam Bartos, Marie Le Mounier, Yves Chaudouët, Galerie VU, Harry Gruyaert, Vincenzo Castella, Alain Willaume, François Halard, Donovan Wylie, Jérôme Brézillon & Nicolas Guiraud, Jean-Daniel Berclaz, Monique Deregibus, Youssef Nabil, Tina Barney, …

2004

 

Dayanita Singh, Les archives du ghetto de Lodz, Stephen Gill, Oleg Kulik, Arsen Savadov, Keith Arnatt, Raphaël Dallaporta, Taiji Matsue, Tony Ray-Jones, Osamu Kanemura, Kawauchi Rinko, Chris Killip, Chris Shaw, Kimura Ihei, Neeta Madahar, Frank Breuer, Hans van der Meer, James Mollison, Chris Killip, Mathieu Pernot, Paul Shambroom, Katy Grannan, Lucien Clergue, AES + F, György Lörinczy, …

2005

 

Collection William M. Hunt, Miguel Rio Branco, Thomas Dworzak, Alex Majoli, Paolo Pellegrin, Ilkka Uimonen, Barry Frydlender, David Tartakover, Michal Heiman, Denis Rouvre, Denis Darzacq, David Balicki, Joan Fontcuberta, Christer Strömholm, Keld Helmer-Petersen, …

2006

 

La photographie américaine à travers les collections françaises, Robert Adams, Cornell Capa, Gilles Caron, Don McCullin, Guy Le Querrec, Susan Meiselas, Julien Chapsal, Michael Ackerman, David Burnett, Lise Sarfati, Sophie Ristelhueber, Dominique Issermann, Jean Gaumy, Daniel Angeli, Paul Graham, Claudine Doury, Jean-Christophe Bechet, David Goldblatt, Anders Petersen, Philippe Chancel, Meyer, Olivier Culmann, Gilles Coulon, …

2007

 

The 60th year of Magnum Photos, Pannonica de Koenigswarter, Le Studio Zuber, Collections d’Albums Indiens de la Collection Alkazi, Alberto Garcia-Alix, Raghu Rai, Dayanita Singh, Nony Singh, Sunil Gupta, Anay Mann, Pablo Bartholomew Bharat Sikka, Jeetin Sharma, Siya Singh, Huang Rui, Gao Brothers, RongRong & inri, Liu Bolin, JR, …

2008

 

Richard Avedon, Grégoire Alexandre, Joël Bartoloméo, Achinto Bhadra, Jean-Christian Bourcart, Samuel Fosso, Charles Fréger, Pierre Gonnord, Françoise Huguier, Grégoire Korganow, Peter Lindbergh, Guido Mocafico, Henri Roger, Paolo Roversi, Joachim Schmid, Nigel Shafran,[14] Georges Tony Stoll, Patrick Swirc, Tim Walker, Vanessa Winship, …

2009

 

Robert Delpire, Willy Ronis, Jean-Claude Lemagny, Lucien Clergue, Elger Esser, Roni Horn, Duane Michals, Nan Goldin (invitée d'honneur), Brian Griffin, Naoya Hatakeyama, JH Engström, David Armstrong, Eugene Richards[15] (The Blue Room), Martin Parr, Paolo Nozolino, …[16]

2010

 

Robert Mapplethorpe[17] Lea Golda Holterman[18]

2011

 

Chris Marker, photos du New York Times, Robert Capa, Wang Qingsong, Dulce Pinzon, JR, ...

2012

 

Les 30 ans de l'ENSP, Josef Koudelka, Amos Gitai, Klavdij Sluban & Laurent Tixador, Arnaud Claass,[19] Grégoire Alexandre, Édouard Beau, Jean-Christophe Béchet, Olivier Cablat, Sébastien Calvet, Monique Deregibus & Arno Gisinger, Vincent Fournier, Marina Gadonneix, Valérie Jouve, Sunghee Lee, Isabelle Le Minh, Mireille Loup, Alexandre Maubert, Mehdi Meddaci, Collection Jan Mulder, Alain Desvergnes,[20] Olivier Metzger, Joséphine Michel, Erwan Morère, Tadashi Ono, Bruno Serralongue, Dorothée Smith, Bertrand Stofleth & Geoffroy Mathieu, Pétur Thomsen, Jean-Louis Tornato, Aurore Valade, Christian Milovanoff,[21]

2013

 

Hiroshi Sugimoto, Sergio Larrain, Guy Bourdin, Alfredo Jaar,[22] John Stezaker,[23] Wolfgang Tillmans,[24] Viviane Sassen,[25] Jean-Michel Fauquet, Arno Rafael Minkkinen, Miguel Angel Rojas, Pieter Hugo,[26] Michel Vanden Eeckhoudt, Xavier Barral,[27] John Davis, Antoine Gonin,[28] Thabiso Sekgala, Philippe Chancel, Raphaël Dallaporta, Alain Willaume, Cedric Nunn, Santu Mofokeng, Harry Gruyaert, Jo Ractliffe, Zanele Muholi, Patrick Tourneboeuf, Thibaut Cuisset, Antoine Cairns, Jean-Louis Courtinat, Christina de Middel, Stéphane Couturier, Frédéric Nauczyciel, Jacques Henri Lartigue, Pierre Jamet, Raynal Pellicer, Studio Fouad, Erik Kessels.

2014

 

Lucien Clergue, Christian Lacroix, Raymond Depardon, Léon Gimpel, David Bailey, Vik Muniz, Patrick Swirc, Denis Rouvre, Vincent Pérez, Chema Madoz, Élise Mazac, Robert Drowilal, Anouck Durand, Refik Vesei, Pleurat Sulo, Katjusha Kumi,Ilit Azoulay, Katharina Gaenssler, Miguel Mitlag, Victor Robledo, Youngsoo Han, Kechun Zhang, Pieter Ten Hoopen, Will Steacy, Kudzanai Chiurai, Patrick Willocq, Ciril Jazbec, Milou Abel, Sema Bekirovic, Melanie Bonajo, Hans de Vries, Hans Eijkelboom, Erik Fens, Jos Houweling, Hans van der Meer, Maurice van Es, Benoît Aquin, Luc Delahaye, Mitch Epstein, Nadav Kander.

2015

 

Walker Evans, Stephen Shore, Robert Venturi, Denise Scott Brown, Toon Michiels, Olivier Cablat, Markus Brunetti, Paul Ronald, Sandro Miller, Eikoh Hosoe, Masahisa Fukase, Daido Moriyama, Masatoshi Naito, Issei Suda, Kou Inose, Sakiko Nomura, Daisuke Yokota, Martin Gusinde, Paolo Woods, Gabriele Galimberti, Natasha Caruana, Alex Majoli, Paolo Pellegrin, Ambroise Tézenas, Thierry Bouët, Anna Orlowska, Vlad Krasnoshchok, Sergiy Lebedynskyy, Vadym Trykoz, Lisa Barnard, Robert Zhao Renhui, Pauline Fargue, Julián Barón, Delphine Chanet, Omar Victor Diop, Paola Pasquaretta, Niccolò Benetton, Simone Santilli, Dorothée Smith, Rebecca Topakian, Denis Darzacq, Swen Renault, Paolo Woods, Elsa Leydier, Alice Wielinga, Cloé Vignaud, Louis Matton, Swen Renault et Pablo Mendez.

References

 

O'Hagan, Sean (11 July 2011). "Tower blocks and tomes dominate the Rencontres d'Arles". The Guardian. Retrieved 17 November 2014.

www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_709_V...

www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_709_V...

O'Hagan, Sean (9 July 2012). "Torgovnik's powerful portraits from Rwanda take top prize at Arles". London: The Guardian. Retrieved 2 February 2015.

O'Hagan, Sean (8 July 2013). "Lost and found: Discovery award winners at Recontres d'Arles 2013". The Guardian. Retrieved 25 October 2015.

"2017 Book Awards". Rencontres d'Arles. 4 July 2017. Retrieved 7 July 2017.

"Exhibitions". Rencontres d'Arles. Retrieved 26 August 2016.

"Exhibitions: Eugene Richards: The Blue Room". Rencontres d'Arles. Retrieved 26 June 2015.

"Rencontres d’Arles 2009 Photography", Rencontres d'Arles. Accessed 3 December 2014.

Présentation de Robert Mapplethorpe sur le site rencontres-arles.com

"Lea Golda Holterman, Orthodox Eros". Retrieved 24 August 2016.

Arles 2012: Arnaud Claass sur La Lettre de la Photographie.com

Arles 2012: Alain Desvergnes sur La Lettre de la Photographie.com

Signe des temps: Arles 2012, un festival courageux (Photographie.com)

Fiche d'Alfredo Jaar sur rencontres-arles.com

Fiche de John Stezaker sur rencontres-arles.com

Fiche de Wolfgang Tillmans sur rencontres-arles.com

Fiche de Viviane Sassen sur rencontres-arles.com

Fiche de Pieter Hugo sur rencontres-arles.com

Fiche de Xavier Barral sur rencontres-arles.com

Fiche de Antoine Gonin sur rencontres-arles.com

from "the golden book encyclopedia" 1959

From Wikipedia, the free encyclopedia

Bristol MMB 43 SS Great Britain.jpg

SS Great Britain in dry dock at Bristol in 2005.

History

 

Name:SS Great Britain

Owner:Great Western Steamship Company

Builder:William Patterson

Cost:

Projected: £70,000

Actual: £117,000

Laid down:July 1839

Launched:19 July 1843

Completed:1845

Maiden voyage:26 July 1845

In service:1845–1886

Homeport:Bristol, England

General characteristics

Type:Passenger steamship

Displacement:3,674 tons load draught

Length:322 ft (98 m)

Beam:50 ft 6 in (15.39 m)

Draught:16 ft (4.9 m)[1]

Installed power:2 × twin 88-inch (220 cm) cylinder, 6 ft (1.8 m) stroke, 500 hp (370 kW), 18 rpm inclined direct-acting steam engines

Propulsion:Single screw propeller

Sail plan:

Original: Five schooner-rigged and one square-rigged mast

After 1853: Three square-rigged masts

Speed:10 to 11 knots (19 to 20 km/h; 12 to 13 mph)

Capacity:

360 passengers, later increased to 730

1,200 tons of cargo

Complement:130 officers and crew (as completed)

SS Great Britain is a museum ship and former passenger steamship, which was advanced for her time. She was the longest passenger ship in the world from 1845 to 1854. She was designed by Isambard Kingdom Brunel for the Great Western Steamship Company's transatlantic service between Bristol and New York. While other ships had been built of iron or equipped with a screw propeller, Great Britain was the first to combine these features in a large ocean-going ship. She was the first iron steamer to cross the Atlantic, which she did in 1845, in the time of 14 days.

 

The ship is 322 ft (98 m) in length and has a 3,400-ton displacement. She was powered by two inclined 2 cylinder engines of the direct-acting type, with twin 88 in (220 cm) bore, 6-foot (1.8 m) stroke cylinders. She was also provided with secondary sail power. The four decks provided accommodation for a crew of 120, plus 360 passengers who were provided with cabins and dining and promenade saloons.

 

When launched in 1843, Great Britain was by far the largest vessel afloat. However, her protracted construction and high cost had left her owners in a difficult financial position, and they were forced out of business in 1846 having spent all their funds re-floating the ship after she was run aground at Dundrum Bay after a navigational error. In 1852 she was sold for salvage and repaired. Great Britain carried thousands of immigrants to Australia from 1852 until converted to sail in 1881. Three years later, she was retired to the Falkland Islands where she was used as a warehouse, quarantine ship and coal hulk until scuttled in 1937.[2]

 

In 1970, following a cash donation by Sir Jack Hayward that paid for the vessel to be towed back to the UK, Great Britain was returned to the Bristol dry dock where she was built. Now listed as part of the National Historic Fleet, she is an award-winning visitor attraction and museum ship in Bristol Harbour, with between 150,000 and 200,000 visitors annually.

From Wikipedia, the free encyclopedia

 

South Portland Street Suspension Bridge

 

View looking south on the bridge, showing cables

The South Portland Street Suspension Bridge is a suspension-type footbridge across the River Clyde in Glasgow, Scotland linking the City Centre on the north side to the Laurieston and Gorbals districts on the south side.

 

The bridge, made from wrought iron with arched sandstone pillars at either end, has a suspension span of 414 ft; the bridge deck is 13 ft wide. It was built between 1851 and 1853, replacing a temporary wooden bridge on the same site designed by Robert Stevenson (used from 1832 to 1846). Its structure was modified in 1871 and it has been refurbished on several further occasions, including repair work by Sir William Arrol & Co. in 1926.

 

The bridge is so named due to being the continuation of South Portland Street in Laurieston; however it is perpendicular to the better-known Carlton Place (a well-preserved cobbled street of Georgian terraces dating from the early 1800s) and so is sometimes known as Carlton Place Bridge or simply Glasgow Suspension Bridge although there is another bridge of this type upstream nearby. Both the bridge and the buildings of Carlton Place are category A listed.

Following, a text, in english, from Wikipedia the free encyclopedia:

Great Egret

For the similar Australasian species, see Eastern Great Egret.

The Great Egret (Ardea alba), also known as the Great White Egret or Common Egret or (now not in use) Great White Heron,[1][2] is a large, widely-distributed egret. Distributed across most of the tropical and warmer temperate regions of the world, in southern Europe it is rather localized. In North America it is more widely distributed, and it is ubiquitous across the Sun Belt of the United States and in the rainforests of South America. It is sometimes confused with the Great White Heron in Florida, which is a white morph of the closely related Great Blue Heron (A. herodias). Note, however, that the name Great White Heron has occasionally been used to refer to the Great Egret.

Description:

The Great Egret is a large bird with all-white plumage that can reach one meter in height, weigh up to 950 grams (2.1 lb) and a wingspan of 165 to 215 cm. It is thus only slightly smaller than the Great Blue or Grey Heron (A. cinerea). Apart from size, the Great Egret can be distinguished from other white egrets by its yellow bill and black legs and feet, though the bill may become darker and the lower legs lighter in the breeding season. In breeding plumage, delicate ornamental feathers are borne on the back. Males and females are identical in appearance; juveniles look like non-breeding adults. It is a common species, usually easily seen. It has a slow flight, with its neck retracted. This is characteristic of herons and bitterns, and distinguishes them from storks, cranes, ibises, and spoonbills, which extend their necks in flight.

The Great Egret is not normally a vocal bird; at breeding colonies, however, it often gives a loud croaking cuk cuk cuk.

Systematics and taxonomy:

Like all egrets, it is a member of the heron family, Ardeidae. Traditionally classified with the storks in the Ciconiiformes, the Ardeidae are closer relatives of pelicans and belong in the Pelecaniformes instead. The Great Egret—unlike the typical egrets—does not belong to the genus Egretta but together with the great herons is today placed in Ardea. In the past, however, it was sometimes placed in Egretta or separated in a monotypic genus Casmerodius.

Subspecies

There were four subspecies in various parts of the world, which differ but little. Differences are bare part coloration in the breeding season and size; the largest A. a. modesta from Asia and Australasia is now considered a full species, the Eastern Great Egret (Ardea modesta). The remaining three subspecies are:

Ardea alba alba (Europe)

Ardea alba egretta (Americas)

Ardea alba melanorhynchos (Africa)

Ecology and status:

The Great Egret is partially migratory, with northern hemisphere birds moving south from areas with colder winters. It breeds in colonies in trees close to large lakes with reed beds or other extensive wetlands. It builds a bulky stick nest.

The Great Egret is generally a very successful species with a large and expanding range. In North America, large numbers of Great Egrets were killed around the end of the 19th century so that their plumes could be used to decorate hats. Numbers have since recovered as a result of conservation measures. Its range has expanded as far north as southern Canada. However, in some parts of the southern United States, its numbers have declined due to habitat loss. Nevertheless, it adapts well to human habitation and can be readily seen near wetlands and bodies of water in urban and suburban areas. In 1953 the Great Egret in flight was chosen as the symbol of the National Audubon Society, which was formed in part to prevent the killing of birds for their feathers.[3][4]

The Great Egret is one of the species to which the Agreement on the Conservation of African-Eurasian Migratory Waterbirds (AEWA) applies.

Diet:

The Great Egret feeds in shallow water or drier habitats, feeding mainly on fish, frogs, small mammals, and occasionally small birds and reptiles, spearing them with its long, sharp bill most of the time by standing still and allowing the prey to come within its striking distance of its bill which it uses as a spear. It will often wait motionless for prey, or slowly stalk its victim.

Though it might appear that they feed on the parasites of African buffaloes, they actually feed on leafhoppers, grasshoppers and other insects which are stirred open as buffaloes move about in water.

In culture:

The Great Egret is depicted on the reverse side of a 5-Brazilian reais banknote.

"White Egrets" is the title of Saint Lucian Poet Derek Walcott's fourteenth collection of poems.

 

A seguir, texto em português da Wikipédia, a enciclopédia livre:

 

Garça-branca-grande

A garça-branca-grande (Casmerodius albus, sin. Ardea alba), também conhecida apenas como garça-branca, é uma ave da ordem Ciconiiformes. É uma garça de vasta distribuição e pode ser encontrada em todo o Brasil.

Dieta:

Se alimenta de presas aquáticas, depois de aproximar-se sorrateiramente com o corpo abaixado e o pescoço recolhido e bicar seu alimento, esticando seu longo pescoço.

Taxonomia:

Subespécies

C. a. modesta - Ásia e Australasia

C. a. alba - Europa

C. a. egretta - América do Norte

C. a. melanorhynchos - África

 

Ipê Amarelo, Tabebuia [chrysotricha or ochracea].

Ipê-amarelo em Brasília, Brasil.

This tree is in Brasília, Capital of Brazil.

 

Text, in english, from Wikipedia, the free encyclopedia

"Trumpet tree" redirects here. This term is occasionally used for the Shield-leaved Pumpwood (Cecropia peltata).

Tabebuia

Flowering Araguaney or ipê-amarelo (Tabebuia chrysantha) in central Brazil

Scientific classification

Kingdom: Plantae

(unranked): Angiosperms

(unranked): Eudicots

(unranked): Asterids

Order: Lamiales

Family: Bignoniaceae

Tribe: Tecomeae

Genus: Tabebuia

Gomez

Species

Nearly 100.

Tabebuia is a neotropical genus of about 100 species in the tribe Tecomeae of the family Bignoniaceae. The species range from northern Mexico and the Antilles south to northern Argentina and central Venezuela, including the Caribbean islands of Hispaniola (Dominican Republic and Haiti) and Cuba. Well-known common names include Ipê, Poui, trumpet trees and pau d'arco.

They are large shrubs and trees growing to 5 to 50 m (16 to 160 ft.) tall depending on the species; many species are dry-season deciduous but some are evergreen. The leaves are opposite pairs, complex or palmately compound with 3–7 leaflets.

Tabebuia is a notable flowering tree. The flowers are 3 to 11 cm (1 to 4 in.) wide and are produced in dense clusters. They present a cupular calyx campanulate to tubular, truncate, bilabiate or 5-lobed. Corolla colors vary between species ranging from white, light pink, yellow, lavender, magenta, or red. The outside texture of the flower tube is either glabrous or pubescentThe fruit is a dehiscent pod, 10 to 50 cm (4 to 20 in.) long, containing numerous—in some species winged—seeds. These pods often remain on the tree through dry season until the beginning of the rainy.

Species in this genus are important as timber trees. The wood is used for furniture, decking, and other outdoor uses. It is increasingly popular as a decking material due to its insect resistance and durability. By 2007, FSC-certified ipê wood had become readily available on the market, although certificates are occasionally forged.

Tabebuia is widely used as ornamental tree in the tropics in landscaping gardens, public squares, and boulevards due to its impressive and colorful flowering. Many flowers appear on still leafless stems at the end of the dry season, making the floral display more conspicuous. They are useful as honey plants for bees, and are popular with certain hummingbirds. Naturalist Madhaviah Krishnan on the other hand once famously took offense at ipé grown in India, where it is not native.

Lapacho teaThe bark of several species has medical properties. The bark is dried, shredded, and then boiled making a bitter or sour-tasting brownish-colored tea. Tea from the inner bark of Pink Ipê (T. impetiginosa) is known as Lapacho or Taheebo. Its main active principles are lapachol, quercetin, and other flavonoids. It is also available in pill form. The herbal remedy is typically used during flu and cold season and for easing smoker's cough. It apparently works as expectorant, by promoting the lungs to cough up and free deeply embedded mucus and contaminants. However, lapachol is rather toxic and therefore a more topical use e.g. as antibiotic or pesticide may be advisable. Other species with significant folk medical use are T. alba and Yellow Lapacho (T. serratifolia)

Tabebuia heteropoda, T. incana, and other species are occasionally used as an additive to the entheogenic drink Ayahuasca.

Mycosphaerella tabebuiae, a plant pathogenic sac fungus, was first discovered on an ipê tree.

Tabebuia alba

Tabebuia anafensis

Tabebuia arimaoensis

Tabebuia aurea – Caribbean Trumpet Tree

Tabebuia bilbergii

Tabebuia bibracteolata

Tabebuia cassinoides

Tabebuia chrysantha – Araguaney, Yellow Ipê, tajibo (Bolivia), ipê-amarelo (Brazil), cañaguate (N Colombia)

Tabebuia chrysotricha – Golden Trumpet Tree

Tabebuia donnell-smithii Rose – Gold Tree, "Prima Vera", Cortez blanco (El Salvador), San Juan (Honduras), palo blanco (Guatemala),duranga (Mexico)

A native of Mexico and Central Americas, considered one of the most colorful of all Central American trees. The leaves are deciduous. Masses of golden-yellow flowers cover the crown after the leaves are shed.

Tabebuia dubia

Tabebuia ecuadorensis

Tabebuia elongata

Tabebuia furfuracea

Tabebuia geminiflora Rizz. & Mattos

Tabebuia guayacan (Seem.) Hemsl.

Tabebuia haemantha

Tabebuia heptaphylla (Vell.) Toledo – tajy

Tabebuia heterophylla – roble prieto

Tabebuia heteropoda

Tabebuia hypoleuca

Tabebuia impetiginosa – Pink Ipê, Pink Lapacho, ipê-cavatã, ipê-comum, ipê-reto, ipê-rosa, ipê-roxo-damata, pau d'arco-roxo, peúva, piúva (Brazil), lapacho negro (Spanish); not "brazilwood"

Tabebuia incana

Tabebuia jackiana

Tabebuia lapacho – lapacho amarillo

Tabebuia orinocensis A.H. Gentry[verification needed]

Tabebuia ochracea

Tabebuia oligolepis

Tabebuia pallida – Cuban Pink Trumpet Tree

Tabebuia platyantha

Tabebuia polymorpha

Tabebuia rosea (Bertol.) DC.[verification needed] (= T. pentaphylla (L.) Hemsley) – Pink Poui, Pink Tecoma, apama, apamate, matilisguate

A popular street tree in tropical cities because of its multi-annular masses of light pink to purple flowers and modest size. The roots are not especially destructive for roads and sidewalks. It is the national tree of El Salvador and the state tree of Cojedes, Venezuela

Tabebuia roseo-alba – White Ipê, ipê-branco (Brazil), lapacho blanco

Tabebuia serratifolia – Yellow Lapacho, Yellow Poui, ipê-roxo (Brazil)

Tabebuia shaferi

Tabebuia striata

Tabebuia subtilis Sprague & Sandwith

Tabebuia umbellata

Tabebuia vellosoi Toledo

 

Ipê-do-cerrado

Texto, em português, da Wikipédia, a enciclopédia livre.

Ipê-do-cerrado

Classificação científica

Reino: Plantae

Divisão: Magnoliophyta

Classe: Magnoliopsida

Subclasse: Asteridae

Ordem: Lamiales

Família: Bignoniaceae

Género: Tabebuia

Espécie: T. ochracea

Nome binomial

Tabebuia ochracea

(Cham.) Standl. 1832

Sinónimos

Bignonia tomentosa Pav. ex DC.

Handroanthus ochraceus (Cham.) Mattos

Tabebuia chrysantha (Jacq.) G. Nicholson

Tabebuia hypodictyon A. DC.) Standl.

Tabebuia neochrysantha A.H. Gentry

Tabebuia ochracea subsp. heteropoda (A. DC.) A.H. Gentry

Tabebuia ochracea subsp. neochrysantha (A.H. Gentry) A.H. Gentry

Tecoma campinae Kraenzl.

ecoma grandiceps Kraenzl.

Tecoma hassleri Sprague

Tecoma hemmendorffiana Kraenzl.

Tecoma heteropoda A. DC.

Tecoma hypodictyon A. DC.

Tecoma ochracea Cham.

Ipê-do-cerrado é um dos nomes populares da Tabebuia ochracea (Cham.) Standl. 1832, nativa do cerrado brasileiro, no estados de Amazonas, Pará, Maranhão, Piauí, Ceará, Pernambuco, Bahia, Espírito Santo, Goiás, Mato Grosso, Mato Grosso do Sul, Minas Gerais, Rio de Janeiro, São Paulo e Paraná.

Está na lista de espécies ameaçadas do estado de São Paulo, onde é encontrda também no domínio da Mata Atlântica[1].

Ocorre também na Argentina, Paraguai, Bolívia, Equador, Peru, Venezuela, Guiana, El Salvador, Guatemala e Panamá[2].

Há uma espécie homônima descrita por A.H. Gentry em 1992.

Outros nomes populares: ipê-amarelo, ipê-cascudo, ipê-do-campo, ipê-pardo, pau-d'arco-do-campo, piúva, tarumã.

Características

Altura de 6 a 14 m. Tronco tortuso com até 50 cm de diâmetro. Folhas pilosas em ambas as faces, mais na inferior, que é mais clara.

Planta decídua, heliófita, xerófita, nativa do cerrado em solos bem drenados.

Floresce de julho a setembro. Os frutos amadurecem de setembro a outubro.

FloresProduz grande quantidade de sementes leves, aladas com pequenas reservas, e que perdem a viabilidade em menos de 90 dias após coleta. A sua conservação vem sendo estudada em termos de determinação da condição ideal de armazenamento, e tem demonstrado a importância de se conhecer o comportamento da espécie quando armazenada com diferentes teores de umidade inicial, e a umidade de equilíbrio crítica para a espécie (KANO; MÁRQUEZ & KAGEYAMA, 1978). As levíssimas sementes aladas da espécie não necessitam de quebra de dormência. Podem apenas ser expostas ao sol por cerca de 6 horas e semeadas diretamente nos saquinhos. A germinação ocorre após 30 dias e de 80%. As sementes são ortodoxas e há aproximadamente 72 000 sementes em cada quilo.

O desenvolvimento da planta é rápido.

Como outros ipês, a madeira é usada em tacos, assoalhos, e em dormentes e postes. Presta-se também para peças torneadas e instrumento musicais.

 

Tabebuia alba (Ipê-Amarelo)

Texto, em português, produzido pela Acadêmica Giovana Beatriz Theodoro Marto

Supervisão e orientação do Prof. Luiz Ernesto George Barrichelo e do Eng. Paulo Henrique Müller

Atualizado em 10/07/2006

 

O ipê amarelo é a árvore brasileira mais conhecida, a mais cultivada e, sem dúvida nenhuma, a mais bela. É na verdade um complexo de nove ou dez espécies com características mais ou menos semelhantes, com flores brancas, amarelas ou roxas. Não há região do país onde não exista pelo menos uma espécie dele, porém a existência do ipê em habitat natural nos dias atuais é rara entre a maioria das espécies (LORENZI,2000).

A espécie Tabebuia alba, nativa do Brasil, é uma das espécies do gênero Tabebuia que possui “Ipê Amarelo” como nome popular. O nome alba provém de albus (branco em latim) e é devido ao tomento branco dos ramos e folhas novas.

As árvores desta espécie proporcionam um belo espetáculo com sua bela floração na arborização de ruas em algumas cidades brasileiras. São lindas árvores que embelezam e promovem um colorido no final do inverno. Existe uma crença popular de que quando o ipê-amarelo floresce não vão ocorrer mais geadas. Infelizmente, a espécie é considerada vulnerável quanto à ameaça de extinção.

A Tabebuia alba, natural do semi-árido alagoano está adaptada a todas as regiões fisiográficas, levando o governo, por meio do Decreto nº 6239, a transformar a espécie como a árvore símbolo do estado, estando, pois sob a sua tutela, não mais podendo ser suprimida de seus habitats naturais.

Taxonomia

Família: Bignoniaceae

Espécie: Tabebuia Alba (Chamiso) Sandwith

Sinonímia botânica: Handroanthus albus (Chamiso) Mattos; Tecoma alba Chamisso

Outros nomes vulgares: ipê-amarelo, ipê, aipê, ipê-branco, ipê-mamono, ipê-mandioca, ipê-ouro, ipê-pardo, ipê-vacariano, ipê-tabaco, ipê-do-cerrado, ipê-dourado, ipê-da-serra, ipezeiro, pau-d’arco-amarelo, taipoca.

Aspectos Ecológicos

O ipê-amarelo é uma espécie heliófita (Planta adaptada ao crescimento em ambiente aberto ou exposto à luz direta) e decídua (que perde as folhas em determinada época do ano). Pertence ao grupo das espécies secundárias iniciais (DURIGAN & NOGUEIRA, 1990).

Abrange a Floresta Pluvial da Mata Atlântica e da Floresta Latifoliada Semidecídua, ocorrendo principalmente no interior da Floresta Primária Densa. É característica de sub-bosques dos pinhais, onde há regeneração regular.

Informações Botânicas

Morfologia

As árvores de Tabebuia alba possuem cerca de 30 metros de altura. O tronco é reto ou levemente tortuoso, com fuste de 5 a 8 m de altura. A casca externa é grisáceo-grossa, possuindo fissuras longitudinais esparas e profundas. A coloração desta é cinza-rosa intenso, com camadas fibrosas, muito resistentes e finas, porém bem distintas.

Com ramos grossos, tortuosos e compridos, o ipê-amarelo possui copa alongada e alargada na base. As raízes de sustentação e absorção são vigorosas e profundas.

As folhas, deciduais, são opostas, digitadas e compostas. A face superior destas folhas é verde-escura, e, a face inferior, acinzentada, sendo ambas as faces tomentosas. Os pecíolos das folhas medem de 2,5 a 10 cm de comprimento. Os folíolos, geralmente, apresentam-se em número de 5 a 7, possuindo de 7 a 18 cm de comprimento por 2 a 6 cm de largura. Quando jovem estes folíolos são densamente pilosos em ambas as faces. O ápice destes é pontiagudo, com base arredondada e margem serreada.

As flores, grandes e lanceoladas, são de coloração amarelo-ouro. Possuem em média 8X15 cm.

Quanto aos frutos, estes possuem forma de cápsula bivalvar e são secos e deiscentes. Do tipo síliqua, lembram uma vagem. Medem de 15 a 30 cm de comprimento por 1,5 a 2,5 cm de largura. As valvas são finamente tomentosas com pêlos ramificados. Possuem grande quantidade de sementes.

As sementes são membranáceas brilhantes e esbranquiçadas, de coloração marrom. Possuem de 2 a 3 cm de comprimento por 7 a 9 mm de largura e são aladas.

Reprodução

A espécie é caducifólia e a queda das folhas coincide com o período de floração. A floração inicia-se no final de agosto, podendo ocorrer alguma variação devido a fenômenos climáticos. Como a espécie floresce no final do inverno é influenciada pela intensidade do mesmo. Quanto mais frio e seco for o inverno, maior será a intensidade da florada do ipê amarelo.

As flores por sua exuberância, atraem abelhas e pássaros, principalmente beija-flores que são importantes agentes polinizadores. Segundo CARVALHO (2003), a espécie possui como vetor de polinização a abelha mamangava (Bombus morio).

As sementes são dispersas pelo vento.

A planta é hermafrodita, e frutifica nos meses de setembro, outubro, novembro, dezembro, janeiro e fevereiro, dependendo da sua localização. Em cultivo, a espécie inicia o processo reprodutivo após o terceiro ano.

Ocorrência Natural

Ocorre naturalmente na Floresta Estaciobal Semidecicual, Floresta de Araucária e no Cerrado.

Segundo o IBGE, a Tabebuia alba (Cham.) Sandw. é uma árvore do Cerrado, Cerradão e Mata Seca. Apresentando-se nos campos secos (savana gramíneo-lenhosa), próximo às escarpas.

Clima

Segundo a classificação de Köppen, o ipê-amarelo abrange locais de clima tropical (Aw), subtropical úmido (Cfa), sutropical de altitude (Cwa e Cwb) e temperado.

A T.alba pode tolerar até 81 geadas em um ano. Ocorre em locais onde a temperatura média anual varia de 14,4ºC como mínimo e 22,4ºC como máximo.

Solo

A espécie prefere solos úmidos, com drenagem lenta e geralmente não muito ondulados (LONGHI, 1995).

Aparece em terras de boa à média fertilidade, em solos profundos ou rasos, nas matas e raramente cerradões (NOGUEIRA, 1977).

Pragas e Doenças

De acordo com CARVALHO (2003), possui como praga a espécie de coleópteros Cydianerus bohemani da família Curculionoideae e um outro coleóptero da família Chrysomellidae. Apesar da constatação de elevados índices populacionais do primeiro, os danos ocasionados até o momento são leves. Nas praças e ruas de Curitiba - PR, 31% das árvores foram atacadas pela Cochonilha Ceroplastes grandis.

ZIDKO (2002), ao estudar no município de Piracicaba a associação de coleópteros em espécies arbóreas, verificou a presença de insetos adultos da espécie Sitophilus linearis da família de coleópteros, Curculionidae, em estruturas reprodutivas. Os insetos adultos da espécie emergiram das vagens do ipê, danificando as sementes desta espécie nativa.

ANDRADE (1928) assinalou diversas espécies de Cerambycidae atacando essências florestais vivas, como ingazeiro, cinamomo, cangerana, cedro, caixeta, jacarandá, araribá, jatobá, entre outras como o ipê amarelo.

A Madeira

A Tabebuia alba produz madeira de grande durabilidade e resistência ao apodrecimento (LONGHI,1995).

MANIERI (1970) caracteriza o cerne desta espécie como de cor pardo-havana-claro, pardo-havan-escuro, ou pardo-acastanhado, com reflexos esverdeados. A superfície da madeira é irregularmente lustrosa, lisa ao tato, possuindo textura media e grã-direita.

Com densidade entre 0,90 e 1,15 grama por centímetro cúbico, a madeira é muito dura (LORENZI, 1992), apresentando grande dificuldade ao serrar.

A madeira possui cheiro e gosto distintos. Segundo LORENZI (1992), o cheiro característico é devido à presença da substância lapachol, ou ipeína.

Usos da Madeira

Sendo pesada, com cerne escuro, adquire grande valor comercial na marcenaria e carpintaria. Também é utilizada para fabricação de dormentes, moirões, pontes, postes, eixos de roda, varais de carroça, moendas de cana, etc.

Produtos Não-Madeireiros

A entrecasca do ipê-amarelo possui propriedades terapêuticas como adstringente, usada no tratamento de garganta e estomatites. É também usada como diurético.

O ipê-amarelo possui flores melíferas e que maduras podem ser utilizadas na alimentação humana.

Outros Usos

É comumente utilizada em paisagismo de parques e jardins pela beleza e porte. Além disso, é muito utilizada na arborização urbana.

Segundo MOREIRA & SOUZA (1987), o ipê-amarelo costuma povoar as beiras dos rios sendo, portanto, indicado para recomposição de matas ciliares. MARTINS (1986), também cita a espécie para recomposição de matas ciliares da Floresta Estacional Semidecidual, abrangendo alguns municípios das regiões Norte, Noroeste e parte do Oeste do Estado do Paraná.

Aspectos Silviculturais

Possui a tendência a crescer reto e sem bifurcações quando plantado em reflorestamento misto, pois é espécie monopodial. A desrrama se faz muito bem e a cicatrização é boa. Sendo assim, dificilmente encopa quando nova, a não ser que seja plantado em parques e jardins.

Ao ser utilizada em arborização urbana, o ipê amarelo requer podas de condução com freqüência mediana.

Espécie heliófila apresenta a pleno sol ramificação cimosa, registrando-se assim dicotomia para gema apical. Deve ser preconizada, para seu melhor aproveitamento madeireiro, podas de formação usuais (INQUE et al., 1983).

Produção de Mudas

A propagação deve realizada através de enxertia.

Os frutos devem ser coletados antes da dispersão, para evitar a perda de sementes. Após a coleta as sementes são postas em ambiente ventilado e a extração é feita manualmente. As sementes do ipê amarelo são ortodoxas, mantendo a viabilidade natural por até 3 meses em sala e por até 9 meses em vidro fechado, em câmara fria.

A condução das mudas deve ser feita a pleno sol. A muda atinge cerca de 30 cm em 9 meses, apresentando tolerância ao sol 3 semanas após a germinação.

Sementes

Os ipês, espécies do gênero Tabebuia, produzem uma grande quantidade de sementes leves, aladas com pequenas reservas, e que perdem a viabilidade em poucos dias após a sua coleta. A sua conservação vem sendo estudada em termos de determinação da condição ideal de armazenamento, e tem demonstrado a importância de se conhecer o comportamento da espécie quando armazenada com diferentes teores de umidade inicial, e a umidade de equilíbrio crítica para a espécie (KANO; MÁRQUEZ & KAGEYAMA, 1978).

As levíssimas sementes aladas da espécie não necessitam de quebra de dormência. Podem apenas ser expostas ao sol por cerca de 6 horas e semeadas diretamente nos saquinhos. A quebra natural leva cerca de 3 meses e a quebra na câmara leva 9 meses. A germinação ocorre após 30 dias e de 80%.

As sementes são ortodoxas e há aproximadamente 87000 sementes em cada quilo.

Preço da Madeira no Mercado

O preço médio do metro cúbico de pranchas de ipê no Estado do Pará cotado em Julho e Agosto de 2005 foi de R$1.200,00 o preço mínimo, R$ 1509,35 o médio e R$ 2.000,00 o preço máximo (CEPEA,2005).

Weather lore

From Wikipedia, the free encyclopedia

  

Red sky at night

 

"Red sky at night, shepherd's delight. Red sky in the morning, shepherd's warning" first appeared in the bible in the Gospel of Matthew. It is an old weather saying often used at sunrise and sunset to signify the changing sky and originally known to help the shepherds prepare for the next day's weather. Despite there being global variations in this saying such as "Red sky at night, sailors delight. Red sky in morning, sailors warning", the scientific understanding behind such occurrences remain the same.

  

Weather lore is the body of informal folklore related to the prediction of the weather.

It has been a human desire for millennia to make accurate weather predictions. Oral and written history is full of rhymes, anecdotes, and adages meant to guide the uncertain in determining whether the next day will bring fair or foul weather. For the farmer wanting to plant crops, for the merchant about to send ships on trade, foreknowledge of tomorrow's circumstances might mean the difference between success and failure. Prior to the invention of the mercury barometer, it was very difficult to gather numerical data of any predictive value. Even though there were devices such as the weather stick which gave some indication of moisture changes, the only instrument of any reliability was human experience.

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