View allAll Photos Tagged html
Contents of my sketch bag. Please see my blog for the full description: www.tina-koyama.blogspot.com/2012/08/the-sketch-bag-updat...
The complete project -> lucanapoli.altervista.org/volontari.html
Turkyan è un ragazzo del 1975, Macedone. Lui aveva possedimenti ed una bella casa in Macedonia. Ha perso tutto a causa della guerra. Una persona solare che si intristisce un pò quando parla della sua famiglia (moglie e due figli) rimasti in Macedonia a cui periodicamente spedisce soldi.
Dorme in un rifugio di fortuna e passa una volta alla settimana in Caritas per fare la doccia.
--------------------------
Turkyan is from Macedonia. He used to be rich. He lost everything because of the war.
He is alone in Italy. The wife and the kids are still in Macedonia. Thanks to Caritas he takes a shower once a week.
Una piccola Caritas di un paese di provincia. Uno sparuto gruppo di volontari talvolta ben oltre i 70 anni.
Un gruppo di donne e uomini che si occupa della distribuzione di cibo e di indumenti.
Cinquanta metri quadri ricavati da un piccolo locale con sottoscala al lato di una parrocchia; è qui che ogni settimana si presentano donne e uomini di diverse etnie ed estrazione sociale chiedendo cibo e vestiti.
Scorre in questo angusto spazio tutta l'ingiustizia della moderna società.
------
A small Caritas charity group in a small provincial village. A scanty group of volunteers, at times aged well over seventy.
A group of men and women taking care of distributing free food and clothes.
Fifty square meters in a tiny structure next to a parish. It is here that every week men and women belonging to different ethnic groups and social ranks turn up, begging for food and clothes.
All the injustice of modern society flows in this tight space.
Words and image are now featured on WildTiger.Org: www.wildtiger.org/ni753.html
Today in the United States, there are more 'pet' tigers in private hands than there are in the wild. Estimates place captive populations between 10,000 and 20,000 captive individuals, a stunning 5,000 of which are believed to be living in Texas alone.
Laws regarding exotic animal ownership vary by state. According a 2005 report released by MSNBC, "Just 14 ban private ownership altogether; eight have a partial ban on some species, 13 states regulate exotic animals and 15 states, including Nevada, have no regulations on many exotic animals whatsoever..."
It is important to realize that there is a huge difference between accredited zoos and roadside menageries or private collections. First off, accredited zoos exist for the sole purpose of education and conservation. They work closely with breeding programs such as the Species Survival Plan to increase genetic diversity in a captive population and work to actively educate the public about the issues many of these endangered species face.
Accredited zoos are NOT allowed to sell their animals into private hands.
They are NOT allowed to breed 'mutant' or non-natural hybrid species such as ligers or tigons.
They are fully-expected to provide proper care and sufficient space for all animals in their charge, or risk losing accreditation.
And they are NOT allowed to let visitors interact with potentially-dangerous species.
Roadside zoos and private owners operate on a totally separate set of rules.
They exist for the sole purpose of entertaining human curiosity, even by cruel means such as forcing their animals to perform in shows or behave in unnatural ways in order to please a crowd.
They are allowed to sell and trade their charges into private hands, often condemning older, weaker animals to CANNED HUNTS.
And the quality of the care they receive and the size of their enclosure is often regulated by state laws which are nearly impossible to enforce. In some states, 'proper' cage size is defined by the animals' ability to turn in a complete circle.
They are also allowed to propagate un-ethical breeding methods, such as hybridizing (to create ligers and tigons) and inbreeding (to create white or golden tabby tigers).
In addition, non-accredited owners of exotic animals are often found to display their potentially-dangerous 'pets' in completely un-regulated settings, letting tourists and guests pose with their big cats for photos, or allowing them to hand-feed them through the bars of cages.
Such practices have led to a massive increase in exotic pet-related deaths in the last decade. According to some sources, there are currently more tiger attacks in the United States than in the infamous Sunderbans of India.
According to studies conducted by conservationists working with the aforementioned Species Survival Plan, most tigers kept as pets in captivity are a cross-bred mix of various subspecies. This may sound fine to anyone with a minimal understanding of conservation and preservation, but consider this: Any tiger whose ancestry is mixed, untraced, or shows possible signs of inbreeding is no longer a candidate for captive breeding programs. This is because such programs operate with the intent of increasing genetic diversity to achieve a more stable population in the highly-probable event of a wild tiger extinction. Thus, anyone who breeds tigers for the pet trade is NOT helping conserve the species; they are instead creating more genetically-unsound tigers whose sole purpose is to satisfy someone else's greed for an exotic pet.
Also, since there are no possible ways to regulate exact populations of captive tigers in the United States, there is suspicion that an underground illegal trade in tiger parts is taking place right under our noses. This suspicion is often supported by such grizzly finds as THIS, a total of 90 dead tigers and leopards (58 of which were cubs) recovered from a so-called 'rescue' center in California. Their bodies were being stored in freezers and their pelts kept hidden in a nearby barn.
Many people will argue that there are a handful of responsible big cat owners in the United States who have 'unique' relationships with their 'pets', and who take good care of them. Siegfried and Roy had 'unique' relationships with their tigers; they were among the best in the business of animal training. But if disaster can strike even the best, it can certainly happen to anyone. And so long as it's legal for one person to own a tiger as a pet, it's just as legal for the next guy--and there is no way to ensure that he will be as responsible as you.
Sadly, many of the big cats I've personally worked with and photographed in captivity are there because they were rescued from the exotic pet trade. Snowshoe is a hybrid lynx who was found starving to death in the woods of California. His fangs and claws had been removed, and the cartilage in his ears had been permenently damaged, telling rescuers that this was no wild cat. Snowshoe had been someone's pet before he was released, probably kept in a cage too small for his size, hence the damage to his ears. When discovered, he was only given three days left to live, but pulled through and now lives at the High Desert Museum in Sun River, Oregon.
The hybrid Amur/Bengal tiger above was likewise rescued from the exotic pet trade, and now lives at the Winston Wildlife Safari, one of the only places in the United States to successfully breed cheetahs for the Species Survival Plan.
In short, the only reason for wanting a tiger or other exotic animal for a pet is to feed the want for something which no one else has; a greed to stand out because you have something unique. But you are not doing any good for any of the players in the resulting equation, least of all the tiger.
If you truly love tigers, you will let the accredited zoos do their part to help preserve the 5 remaining subspecies, and WILL NOT support non-accredited roadside zoos or private owners.
Please take immediate action against current United State laws regarding exotic animal ownership. Just follow the link below to sign the World Wildlife Fund's petition to Secretary of Interior Ken Salazar and Secretary of Agriculture Tom Vilsack, asking them to use their authority to close existing loopholes in the permitting and monitoring of captive tigers in the U.S.:
secure2.convio.net/wwf/site/Advocacy?cmd=display&page...
© All rights reserved.
Any unauthorized use of this image is illegal and strictly prohibited.
With Acknowledgment to the Roll of Honour website (RoH)
www.roll-of-honour.com/Norfolk/Holt.html
There is another set of memorials in the church of St Andrew the Apostle.
www.roll-of-honour.com/Norfolk/HoltStAndrew.html
Names shown on the Church memorial are marked as (CM)
Alfred Anthony……………………………….................(RoH) (CM)
Corporal 47535. The Queen's (Royal West Surrey Regt.) Labour Company Chinese Labour Corps transf. to (74127) 54th Chinese Company. Died on 27th November 1919. Aged 32. Son of Mr. T. and Mrs. H. Anthony, of 8, Eastrea Rd. Whittlesea. Cambs; husband of D. Anthony, of 5 Bluestone Terrace, Holt, Norfolk. Buried: Terlincthun British Cemetery, Wimille, Pas de Calais, France. Ref. XIV. C. 13.
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=4024320
No match on Norlink
The 13 year old Alfred, already a Brickyard Labourer, is recorded on the 1901 Census as living at Eastrea Road, Whittlesey. This is the household of his parents, Thomas, (aged 54 and a Brickyard Labourer from Whittlesey), and Hannah, (aged 55 and from Whittlesey.) Also resident are Arthur’s brothers Charles, (aged 18), Harry, (aged 17), and Walter, (aged 10). Charles and Harry work as Brickyard Labourers, and all were born Whittlesey.
Oliver Bennett………………………………..................(RoH) (CM)
Corporal 32124. 12th Battery Royal Field Artillery. Killed in action in France & Flanders on 21st October 1914. Aged 25. Born at North Walsham. Enlisted Norwich. Son of William and Rebecca Bennett, of Holt, Norfolk, Norwich, Norfolk. Buried: Harlebeke New British Cemetery, West-Vlaanderen, Belgium. Ref. XVI. A. 8.
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=485790
No match on Norlink
The 12 year old Oliver was recorded on the 1901 census at Bull Street, Holt, having been born North Walsham. This was the household of his parents, William, aged 59 and a Licensed Victualler from Letheringsett, and Rebecca, (aged 40 and from Hoveton St John, Norfolk). Their other children are:-
Frank…………….aged 8.………….born North Walsham.
Ida Grace………aged 14.…………..born Stalham
Margaret……….aged 6.……………born Edgefield
One of the Stained Glass Windows in St Andrews, Holt is dedicated to the memory of Oliver and Charles Henry Steer, (qv), former members of the church choir.
www.wartimememoriesproject.com/greatwar/allied/royalartil...
The battery was newly arrived in France and was involved in supporting the 7th Division on the opening day of the Battle of Langemarck.
webstats.ordersofbattle.darkscape.net/site/warpath/divs/7...
www.historyofwar.org/articles/battles_langemarck_1914.html
Robert William Beresford……………................(RoH) (CM)
Sergeant 293. 1st/5th Battalion Norfolk Regiment. Died in Gallipoli on 21st August 1915. Aged 29. Born and enlisted Holt. Son of Henry Beresford, of Shire Hall Plain, Holt; husband of Emily E. Beresford, of Weston Square, Holt, Norfolk. No known grave. Commemorated on Helles Memorial, Turkey. Panel 42 to 44.
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=698865
No match on Norlink
The 14 year old Robert is recorded on the 1901 Census as employed as a Domestic Page Boy, and living at Shire Hall Plain, Holt, the town of his birth. This was the household of his parents, Henry, (aged 42 and a Mineral Water cater from Holt), and Sophia, (aged 39 and from Bodham). Their other children are:-
Agnes……………aged 10
Alice…………..aged 13
Bertie………….aged 12
Bessie…………aged 20
Fred……………aged 2
Gertrude………..aged under 1
Mable………….aged 9
Percy…………..aged 3
Sidney…………aged 4.
Also living with them is a Grandson, George Beresford, aged under 1.
All born Holt.
Following the disastrous attack on the 12th, subsequently immortalised in tales of Alien abduction, lost battalions and more poignantly in “All the Kings Men”, the survivors were merged with the 1st/4ths until re-enforcements could arrive. A diary of an officer of that Battalion records that there was a Turkish attack in the mid-afternoon which broke into the trenches on their right, but was quiet in their sector.
user.online.be/~snelders/sand.htm
William Betts………………………………....................(RoH) (CM)
Private 16399. 3rd Battalion Norfolk Regiment. Died on 20th February 1916. Aged 27. Son of William and Triana Betts, of Fir Cottage, Briston, Melton Constable. Buried: Holt Burial Ground, Norfolk. Ref. C. 542.
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=2802696
No match on Norlink
The most likely match on the 1901 Census is a 12 year old William, born Gissing, and now living at 30 Hill Street, Norwich. This is the household of his parents, Edward William, (a 38 year old Cab Man from Norwich), and Alice Caroline (aged 39 from probably Burston, Norfolk). Their other children are:-
Edith May…………aged 8.…born Gissing
Harry………………aged 6.…born Gisleham, Suffolk
Katherine Alice……aged 5.…born Norwich
Mildred Constance..aged 11...born Gissing
Sidney……………..aged 9.…born Gissing
The 3rd Battalion were a UK based Training Battalion providing drafts to the other Battalions of the Regiment.
Thomas Boast………………………….......................(RoH) (CM)
RoH - No further information available at present.
Probably
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=275227
Name: BOAST, THOMAS TOWNSHEND
Rank: Second Lieutenant Regiment: Norfolk Regiment Unit Text: 3rd Bn.
Age: 28 Date of Death: 29/09/1918 Awards: Mentioned in Despatches
Additional information: Son of George John and M. A. Boast, of Taxal Edge, Whaley Bridge, Cheshire. Native of Holt, Norfolk.
Grave/Memorial Reference: C. 29. Cemetery: NEUVILLE-BOURJONVAL BRITISH CEMETERY
No match on Norlink
The 1901 Census has a Thomas T Boast, aged 10, living at Cromer Road, Holt. This is the household of his parents, George J, (aged 37 and a Domestic Gardener from Thorpe St. Andrews near Norwich), and Mary A, (aged 35 and from Fakenham). Their other children are:-
Alice A………..aged 3.…..born Holt
George J………aged 5.…..born Holt
Mabel M………aged 8.….born Holt
Also staying with them is a niece, Olive M Boast, born Langham and aged 13.
While the 3rd Battalion was a UK based training establishment, it was likely that Lt Boast was on attachment to another Battalion of the Regiment. Neuville-Bourjonval was only re-taken from the Germans at the start of September 1918, and was still very much in the front-line. A study of other casualties buried in this cemetery from this time reveals a number of officer casualties from the units that made up the 15th Brigade, which included the 1st Norfolks.
Albert Victor Bray……………………....................(RoH) (CM)
Private 22958. 9th Battalion Norfolk Regiment. Died of wounds at home on 10th February 1917. Aged 20. Born and enlisted King’s Lynn. Son of the late William and Margaret Bray, of Holt. Buried: Holt Burial Ground. Ref. C. 549.
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=2802697
No match on Norlink
There is no obvious match for Albert on the 1901 Census, but as can be seen from the census entry for his brother Charles below that the family has already suffered some sort of break-up at this time.
Brother of Charles below
Charles William Bray…………………..................(RoH) (CM)
Lance Corporal 41028. 8th Battalion Royal Inniskilling Fusiliers. Formerly 25409 Norfolk Regiment. Killed in action in France & Flanders on 16th August 1917. Aged 28. Born St Margaret’s, Norfolk (King’s Lynn?). Enlisted Norwich. Son of the late William and Margaret Bray. No known grave. Commemorated on Tyne Cot Memorial, Zonnebeke, West-Vlaanderen, Belgium. Panel 70 to 72.
www.cwgc.org/search/casualty_details.aspx?casualty=842798
No match on Norlink
Brother of Albert above
The 12 year old Charles Bray is recorded on the 1901 census at South Street, Kings Lynn, his birth town. The head of the household is his married brother Ernest, (aged 25 and a Brickmaker from the town). Also living with them is Ernest and Charles 16 year old brother, Herbert, who is employed as a Carpenters Apprentice. The wife of Ernest is Harriet, (aged 30 and from West Winch), and the couple have a daughter Evelyn who is less than a year old.
Thursday 16th August 1917 - Day 17
Rainfall Nil
The phase of the battle known as The Battle of Langemarck commenced today and lasted until the 18th. Zero Hour was 4.45 am.
16th (Irish) Division
49 Bde
7th Bn, Royal Inniskilling Fusiliers attacked on the left and the regiments 8th Bn on the right. 7/8th Bn, Royal Irish Fusiliers was in support. Attached from 47 Bde was 6th Bn Royal Irish Regt which was held in reserve. It was during this action that L/Cpl Frederick Room earned his Victoria Cross. Room was in charge of the battalion stretcher bearers and worked continuously under intense fire, dressing the wounded and helping to evacuate them. It was he fourth and last VC earned by a man of the Royal Irish Regt.
7th Inniskillings took Beck House and then moved on to Delva Farm, taking it before coming under heavy fire from the rear where they had failed to mop up some German pillboxes. 8th Inniskillings was held up by MG fire while attacking Borry Farm.
forum.irishmilitaryonline.com/showthread.php?t=11535&...
Horace Bullock………………………………................(RoH) (CM)
Private 49505. 9th Battalion Essex Regiment. Formerly 53042 Suffolk Regiment. Killed in action in France & Flanders on 6th September 1918. Born and lived Holt. Enlisted Norwich. No known grave. Commemorated on Vis-En-Artois Memorial, Pas de Calais, France. Panel 7.
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=1740608
No match on Norlink
The most likely match on the 1901 Census is a 1 year Horace living at Shirehall Plain, Holt. This is the household of his parents, Samuel, (aged 31 and described as a Bricklayer and then something illegible, which the Genes Reunited transcibers have put down as Inn-Keeper?), and Margaret E. (aged 29 and from Hockham, (possibly Holkham?). Their other children are:-
Eleanor…….aged 7.….born Holt
Hilda May…aged 4.….born Holt
Albert Caston………………………………...................(RoH) (CM)
Corporal 13018. 9th Battalion Norfolk Regiment. Killed in action in France & Flanders on 15th September 1916. Born Holt. Enlisted Norwich. No known grave. Commemorated on Thiepval Memorial, Somme, France. Pier and Face 1 C and 1 D.
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=1542715
No match on Norlink
No obvious match on the 1901 Census,
15th September 1916 Battle of the Somme
The last great Allied effort to achieve a breakthrough came on 15 September in the Battle of Flers-Courcelette with the initial advance made by 11 British divisions (nine from Fourth Army, two Canadian divisions on the Reserve Army sector) and a later attack by four French corps.
The battle is chiefly remembered today as the debut of the tank. The British had high hopes that this secret weapon would break the deadlock of the trenches. Early tanks were not weapons of mobile warfare—with a top speed of 2 mph (3.2 km/h), they were easily outpaced by the infantry—but were designed for trench warfare. They were untroubled by barbed wire obstacles and impervious to rifle and machine gun fire, though highly vulnerable to artillery. Additionally, the tanks were notoriously unreliable; of the 49 tanks available on 15 September, only 32 made it to the start line, and of these, only 21 made it into action
en.wikipedia.org/wiki/Battle_of_Flers-Courcelette
An intense preliminary bombardment began on 12 September and at 6.20am on Friday 15 September the advance began in mist and smoke. XIV Corps attack, on the extreme right, where hopes of breakthrough were pinned, fared badly; 56th Division and 6th Division lost heavily as tanks and artillery support failed to neutralise vital defensive positions
www.cwgc.org/somme/content.asp?menuid=27&id=27&me...
151 Soldiers of the 9th Battalion appear to have died on this day.
Alfred Woodhouse Caston…………….............(RoH) (CM)
Private 36460. 8th Battalion East Surrey Regiment. Died in France & Flanders on 29th July 1918. Aged 30. Born Holt. Enlisted Norwich. Son of Alfred W. Caston, of 5, Albert St., Holt, Norfolk. Buried: Crouy British Cemetery, Crouy-Sur-Somme, France. Ref. IV. B. 20.
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=71021
No match on Norlink
No obvious match on the 1901 Census
The battalion was in the reserve lines on this date, with working parties in the front line at night improving defences. No casualties are recorded since the 22nd.
qrrarchive.websds.net/PDF/ES00819180608.pdf
Frederick W Chestney………………………..........(RoH) (CM)
The roll of honour entry for this person is incorrect. The correct individual is shown below.
Name: CHESTNEY, FREDERICK WILLIAM
Rank: Private Regiment/Service: Training Reserve Unit Text: 22nd Bn
Age: 18 Date of Death: 30/01/1918 Service No: 10/7202
Additional information: Son of Mr.E Chestney. N.B.: PLEASE NOTE This casualty was accepted for commemoration by the Commission. Please contact the Commission before planning a visit, for more information.
Grave/Memorial Reference: Plot D Grave 728 Cemetery: HOLT BURIAL GROUND
www.cwgc.org/search/casualty_details.aspx?casualty=75197297
No match on Norlink
The 2 year old Frederick is recorded on the 1901 Census living at Lion Street, Holt, the yown of his birth. He is living with his parents Elijah, (aged 40 and a Carpenter from Holt), and Amelia J. (aged 39 and from Suffolk, (possibly Southwold?)). As well as Frederick, they have an 8 month old daughter, Kathleen E.M.
Charles William Clarke………………….............(RoH) (CM)
Private 12493. 7th Battalion Norfolk Regiment. Killed in action in France & Flanders on 13th October 1915. Aged 22. Born Holt. Enlisted Norwich. Son of Mrs. Mary Ann White, of Cross St., Holt, Norfolk. No known grave. Commemorated on Loos Memorial, Pas de Calais, France. Panel 30 and 31.
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=729875
No match on Norlink
On the 1901 Census, the 7 year old Charles W is living at Chapel Street, Holt. His widowed mother, the 34 year old Mary Ann earns a living as a washerwoman. She is also bringing up Augustus, (aged 3) and Susannah, (aged 1), although she has a 35 year old boarder, William White living with her. William is employed as a Hedger. All of them come from Holt.
On 12th October 1915 the Battalion moved from billets to a line in front of the St Elie Quarries, taking over from the Coldstream Guards. The attack was planned to go ahead the following day under a smoke cloud with the Norfolks closing on the German trenches from both ends of their position thus straightening their line, their own trenches being in a semi-circle. The left side of the Battalion was also tasked with bombing a German communications trench. A bright sunny day with an ideal wind for moving the smoke towards the enemy positions, the artillery bombardment began at 12:00 and was intensive by 13:45. 54 heavy and 86 field howitzers and 286 field guns fired on enemy trenches in the area of the Hohenzollern Redoubt, Fosse 8, the Quarries, Gun Trench and the positions south to Chalk Pit Wood. It failed to cause sufficient damage to the enemy positions. The smoke barrage went wrong and ceased by 13:40, twenty minutes before the attack was launched at 14:00 and was thus very thin. German machine gun fire from in front and from the direction of Slag Alley, opposite the Norfolks right flank, enfiladed their attack. Whilst they gained a foothold in the Quarries and consolidated the position they were unable to advance further. In the battalions first serious engagement they lost 5 Officers killed or died of wounds and 6 wounded, and 66 other ranks killed, 196 wounded and 160 missing.
Source: 1914-1918.invisionzone.com/forums/index.php?showtopic=42270
.
Albert Edward Cockaday………………..........(RoH) (CM)
Private 201347. 1st/4th Battalion Norfolk Regiment. Killed in action in Palestine on 19th April 1917. Aged 21. Born North Heigham, Norwich. Enlisted Norwich. Son of Archibald and Laura Cockaday, of 4, Weston Square, Holt, Norfolk. Buried: Gaza War Cemetery, Israel. Ref. XIII. E. 6.
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=649749
No match on Norlink
The 4 year old Albert is recorded on the 1901 Census at Carpenters Arms Yard, Norwich Road, Holt. This is the household of his parents, Archibald, (aged 25 and a Gas Fitter and Plumber from Norwich), and Laura, (aged 24 and also from Norwich). Their oher children are:-
Ethel………………aged under /1.…..born Holt
Harry……………aged 2.……………born Holt
19th April 1917 During the 2nd Battle of Gaza,
Facing the Tank Redoubt was the 161st Brigade of the 54th Division. To their right were the two Australian battalions (1st and 3rd) of the Imperial Camel Corps Brigade who had dismounted about 4,000 yards from their objective. As the infantry went in to attack at 7.30am they were joined by a single tank called "The Nutty" which attracted a lot of shell fire. The tank followed a wayward path towards the redoubt on the summit of a knoll where it was fired on point blank by four field guns until it was stopped and set alight in the middle of the position.
The infantry and the 1st Camel Battalion, having suffered heavy casualties on their approach, now made a bayonet charge against the trenches. About 30 "Camels" and 20 of the British infantry (soldiers of the 5th (territorial Battalion of the Norfolk Regiment) reached the redoubt, then occupied by around 600 Turks who immediately broke and fled towards their second line of defences to the rear.
The British and Australians held on unsupported for about two hours by which time most had been wounded. With no reinforcements at hand and a Turkish counter-attack imminent, the survivors endeavoured to escape back to their own lines.
To the right (west) of Tank Redoubt, the 3rd Camel Battalion, advancing in the gap between two redoubts, actually made the furthest advance of the battle, crossing the Gaza-Beersheba Road and occupying a pair of low hills (dubbed "Jack" and "Jill"). As the advances on their flanks faltered, the "Camels" were forced to retreat to avoid being isolated.
en.wikipedia.org/wiki/Second_Battle_of_Gaza
More than a thousand one hundred of the men of the 54th posted killed wounded or missing were from the two Norfolk regiment battalions, equating to 75% of their strength. Eastern Daily Press "Sunday" section May 5, 2007
en.wikipedia.org/wiki/Second_Battle_of_Gaza
Private Cockadays British War Medal and Victory Medal were auctioned in January 2010
www.lockdales.com/AuctionMedals&Militaria.htm
Ernest William Cooper…………………...............(RoH) (CM)
(Most Likely)
Private 37010. 2nd/5th Battalion King's Own (Royal Lancaster Regt.) Killed in action in France & Flanders on 29th August, 1918. Aged 22. Born Holt. Enlisted Bolton. Son of Alfred and Mary Jane Cooper, of 2, Excelsior Cottage, Co-operative St., Sheringham, Norfolk. No known grave. Commemorated on Vis-En-Artois Memorial, Pas de Calais, France. Panel 3.
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=1741309
No match on Norlink
The 6 year Ernest W. can be found on the 1901 census at Blakeney Road, Letheringsett, his birth village. This is the household of his parents, Alfred, (a 35 year old Agricultural Labourer from Wiveton), and Mary J. (aged 37 and from Thornage). Their other children are:-
Alfred R……….aged 3.………….born Glandford
Alice M………..aged 11.…………born Letheringsett
Clement………..aged 14.………..born Thornage.Employed as a Yardmans help
Dorothy M…….aged 1.………….born Letheringsett
While I can’t find anything specific to the 2/5th, the 57th Division, of which the Battalion was part, has this note on its battle honours.
Battle of the Scarpe. 26-30 Aug 1918, including the capture of Monchy le Preux.
www.warpath.orbat.com/divs/57_div.htm
Fred Cotts……………………………….........................(RoH) (CM)
Corporal 14450. Depot, Northamptonshire Regiment. Transf. to (432073) 131st Company Chinese Labour Corps. Died on 14th May 1919. Aged 32. Son of A. and T. Cotts, of Holt, Norfolk; husband of I. M. Brown (formerly Cotts), of Mill Cottages, Cropredy, Banbury. Buried: Duisans British Cemetery, Etrun, Pas de Calais, France. Ref. VII. C. 33.
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=169138
No match on Norlink
The 14 year old Frederick is recorded on the 1901 Census at Hempstead Road, Holt and is already employed as an errand boy and porter. This is the household of his parents, Thomas William, (age 41 and an Ironmongers warehouseman from Wood Norton), and Elizabeth, (age 38 and from Bodham). Their other children are:-
Annie……aged 10.…born Holt
Ernest J….aged 15.…born Holt. Employed as a Bricklayers Labourer.
Herbert….aged 12.…born Holt
Thomas H,,aged 17...born Holt.Employed as a Domestic Gardener. (see next entry)
Thomas Henry Cotts……………………...............(RoH) (CM)
Private 13005. 2nd Battalion Bedfordshire Regiment. Killed in action in France & Flanders on 17th May 1915. Aged 33. Born and lived Holt. Enlisted Hertford. Son of William Thomas and Elizabeth Cotts, of Station Rd., Holt, Norfolk. No known grave. Commemorated on Le Touret Memorial, Pas de Calais, France. Panel 10 and 11.
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=1559482
No match on Norlink
See Census details against brother Fred above.
This day was the 2nd day of the battle of Festurbert. The battalion had taken been in action the day before and had taken casualties. For what happened on the day I refer you to the Battalion’s war diary.
17 May 1915 2.30 a.m. Orders received to withdraw Bn. to reserve trenches. Movement completed by 3.45 a.m. About 1.30 p.m. Bn. received orders to be ready to move at shortest notice. Ref.Map 1/10000. ILLIES-VIOLAINE-FESTUBERT. About 3 p.m. orders received to move Bn. into position in rear of old German Fire trench between L1-L2 in order to make an attack in conjunction with 4 Cameron Highs: on left, on points L10, L11, L8 to K5. Battn. frontage from L8-K5. 'B' Coy. on right, under Capt. H.E.Huntriss [Harold Edward HUNTRISS], 2 Bedf.R. 'C' Coy. on right, under Bt.Lt.Col.E.I.de S.Thorpe [Edward Ivan de Sausmarez THORPE, CMG, DSO], 2 Bedf.R. were detailed as the two leading coys: & formed up between L1 & L2. 'A' Coy. under Capt.W.Hutton-Williams [William HUTTON-WILLIAMS] 3rd E.Sur.R. attached 2 Bedf.R. & 'D' Cou. under Maj.J.Mackenzie, V.C. [John MacKENZIE, VC, DCM] 2 Bedf.R. formed up in rear of old British trench, in support, moving up into new line as places were vacated by 'B' & 'C' Coys. About 7.30 p.m. 'B' and 'C' Coys. advanced to the Attack, on right of 4th Camerons, with 2 sections of Bombthrowers under 2nd Lt.W.J. Stonier [William John STONIER], 2nd Bedf.R. working on the right down the communication trench towards K.4. & K.5. 'B' & 'C' Coys. on vacating the trenches to the assault were met by heavy shrapnel, machine gun & rifle fire & Coy.Q.M.S. (Actg.Coy.S.M.) was killed as he climbed over the parapet. (On 22nd May, official information was received, that this N.C.O. had been granted a commission as 2nd Lt. in the 2nd Cheshire Regt). By about 9 p.m. when the whole Battn. less 2 platoons of 'A' Coy. which were kept in reserve by the C.O. (Major C.C.Onslow [Cranley Charlton ONSLOW, CB, CMG, CBE, DSO]) had been launched to the attack, information was received by the C.O. that Lt.Col.Thorpe [Edward Ivan de Sausmarez THORPE, CMG, DSO] had called a halt, as he was unable to collect a party sufficiently strong to assault the German position, owing to the darkness, and many serious obstacles, in the nature of ditches varying from 2 to 5 ft. in depth, and from 2 to 5 ft. in width filled with water, running diagonally as well as parallel to our advance, which had broken all cohesion in the attacking force; and also that he could not gain touch with the Cameron Highrs: Just at this time too, 2nd Lt.W.J.Stonier [William John STONIER] reported having arrived at K.4, & meeting with opposition in that neighbourhood, his party had expended all their bombs and had themselves, with a small party under 2nd Lt.C.H.Brewer [Charles Herbert BREWER], been bombed and trench mortared from the direction of K.5. & had had to retire into the communication trench, which they continued to hold. A portion of the Battn. misunderstanding Lt.Col.Thorpe's [Edward Ivan de Sausmarez THORPE, CMG, DSO] order, had in the meantime retired on to our original position. Under these circumstances the C.O. reformed the whole of the Battn. in the original position, from which the attack was launched (L1 and L2), with the exception of the party in the Communication trench; and informed the Brigadier General H.WATTS how matters stood. During these operations Maj.J.Mackenzie V.C. [John MacKENZIE, VC] was killed & the following officers were wounded: - Capt.H.E.Huntriss [Harold Edward HUNTRISS], Lt.A.E.Kuhn [Alfred Edgar KUHN], 2nd Lts. A.Grover [Albert GROVER], R.S.Lardner [Reginald Seymour LARDNER], Lieut. F.V.Parker [Frederick Vivian PARKER] & R.H.Boys [Richard Harvey BOYS]. During the night information was received that a portion of the 4th Camerons had succeeded in entering the enemy trench. Several men were drowned in the ditches, referred to above
www.bedfordregiment.org.uk/2ndbn/2ndbtn1915diary.html
Charles Edward Dack…………………….............(RoH) (CM)
Lance Corporal 246. 8th Battalion East Surrey Regiment. Killed in action in France & Flanders on 30th September 1915. Born Holt. Enlisted Norwich. Buried: Norfolk Cemetery, Becordel-Becourt, Somme, France. Ref. I. C. 8.
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=39420
No match on Norlink
The 9 year old Charles E Dack is recorded on the 1901 Census at Hempstead Road, Holt. This is the household of his widowed mother, Sarah, (aged 44, from Holt and now supporting her family by working as a laundress and washerwoman. Her other children are:-
Daisy………aged 5.….born Holt
Ernest W…..aged 2.….born Holt (see next entry)
Ethel M……aged 15...born Holt
Matilda…….aged 11...born Holt
Sydney G….aged 12...born Holt (see second entry below)
On the 1891 Census, Sarah’s husband Matthew is still alive. His profession appears to be Shiphand. There appear to be four older children, Edith, Emma, William and Thomas. The family are living at Gravel Pit Lane, Holt.
The battalion’s war diary for this date includes the following:-
“During the day the Germans threw a number of rifle grenades, whiz-bangs and two six inch howitzer shells into the TAMBOUR DUCLOUS, our guns retaliating in the morning and afternoon. L\Cpl DACK and Private Meyer were both seriously wounded by one shell, L\Cpl DACK dying before removal from the Regimental Dressing Station Post”
qrrarchive.websds.net/PDF/ESD0081915006.pdf
Ernest Dack………………………………......................(RoH) (CM)
Private G/14677. 2nd Battalion Royal Sussex Regiment. Killed in action with the British Expeditionary Force on 28th September 1916. Born Holt. Enlisted Chelmsford. No known grave. Commemorated on Thiepval Memorial, Somme, France. Pier and Face 7 C.
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=758227
No match on Norlink
See Census family details against brother Charles above.
The Battalions battle honours includes:-
Battle of Morval. (25-28 Sep 1916, including the capture of Combles, Lesboeufs and Gueudecourt).
outofbattle.blogspot.com/2008/06/2nd-battalion-royal-suss...
Sidney George Dack…………….................(RoH) (CM)
Private 17998. 1st Battalion Northamptonshire Regiment. Formerly 18990 Norfolk Regiment. Died of wounds in France & Flanders on 26th August 1916. Born Holt. Enlisted Felixstowe. Buried: Heilly Station Cemetery, Mericourt-L'Abbe, Somme, France. Ref. III. G. 8.
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=270710
No match on Norlink
See family details against brother Charles above.
The 1st Battalion had been heavily engaged on the 19th and the 20th having seized part of a German trench and holding it for 24 hours against numerous counter-attacks before finally being forced out.
forum.irishmilitaryonline.com/showthread.php?t=9058&p...
William R Dix………………………………....................(RoH) (CM)
Private 18011. 1st Battalion Northamptonshire Regiment. Formerly 14169 Norfolk Regiment. Killed in action in France & Flanders on 9th May 1915. Aged 19. Born Holt. Enlisted Norwich. Son of William and Susan Dix, of Grove Rd., Holt, Norfolk. No known grave. Commemorated on Le Touret Memorial, Pas de Calais, France. Panel 28
to 30.
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=858578
(As William Dix)
No match on Norlink
The 6 year old William is recorded at Norwich Road, Holt having been born Pedham\Pulham(? - poor handwriting). This is the household of his parents, William, (age 35 and a Domestic Gardener from Wiveton), and Susan, (age 34 and from Holt). Their other children are:-
Ada…….aged 4.…born Cley
Agnes….aged 14...born Holt
Hilda…..aged 2.…born Cley
Mable….aged 12...born Holt
Maud…..aged 8.…born Pedham\Pulham
The Battle of Aubers
9 May 1915
Operational approach - two pincers north and south of Neuve Chappelle.
The Southern attack was to be made in easterly direction by the 1st and Meerut Divisions, on a 2400-yard front between Chocolat Menier Corner and Port Arthur (1st Division would have an attack frontage of 1600 yards; Meerut 800 yards), with the objective Rue du Marais - Lorgies - Ligny le Grand, incorporating La Cliqueterie (a heavily defended German strongpoint). The 2nd Division was moved up into reserve, from the La Bassée canal sector, leaving behind 4th (Guards) Brigade and receiving in exchange the 5th (London) Brigade of the London Division who moved to the canal in their place.
9 May: the Southern pincer
4.06am: sunrise and all very quiet on this front.
5.00am: British bombardment opens with field guns firing shrapnel at the German wire and howitzers firing High Explosive shells onto front line. German troops are seen peering above their parapet even while this shelling was going on.
5.30am: British bombardment intensifies, field guns switch to HE and also fire at breastworks. The lead battalions of the two assaulting Brigades of 1st Division go over the top to take up a position only 80 yards from German front. (2nd Brigade has 1/Northants and 2/Royal Sussex in front and 2/KRRC and 1/5th Royal Sussex in immediate support; 3rd Brigade has 2/Royal Munster Fusiliers and 2/Welsh in front, with 1/4th Royal Welsh Fusiliers in support). Heavy machine-gun fire cuts the attackers down even on their own ladders and parapet steps, but men continue to press forward as ordered.
In the area of the Indian Corps, the lead battalions of the Dehra Dun Brigade of the Meerut Division (2/2nd Ghurkas, 1/4th and 1st Seaforth Highlanders) were so badly hit by enemy fire that no men got beyond their own parapet and the front-line and communications trenches were soon filled with dead and wounded men.
5.40am: British bombardment lifts off front lines and advances 600 yards; infantry assault begins. Despite the early losses and enemy fire the three Brigades attempted to advance across No Man's Land. They were met by intense crossfire from the German machine-guns, which could not be seen in their ground-level and strongly protected emplacements. Whole lines of men were seen to be hit. Few lanes had been cut in the wire and even where men reached it they were forced to bunch, forming good targets for the enemy gunners. The leading battalions suffered very significant losses, particularly among officers and junior leaders. Around 100 men on the Northants and Munsters got into the German front, but all were killed or captured. The advance of the supporting battalions suffered similarly, and by 6.00am the advance had halted, with hundreds of men pinned down in No Man's Land, unable to advance or fall back.
6.15am: A repeat of the initial bombardment is ordered, with the added difficulty of uncertain locations of the most advanced troops.
7.20am: Major-General Haking (CO, 1st Division) reports failure and asks if he should bring in his last Brigade (1st (Guards)). He offered his opinion that it would not be successful.
Worst infantry casualties in the Southern attack, by battalion 1/ Northamptonshire 560, of which 17 offofficers First wave of 2nd Brigade
Joseph Dixon………………………………..................(RoH) (CM)
No further information available at present (215 potential matches on CWGC - check Genes Re-united to see if we can track down any likely individuals)
No match on Norlink
The 1901 Census for England and Wales has 5 Joseph Dixon’s with a Norfolk, or which only 2 are born after 1870. The two youngest ones are both born and still living in Sprowston on the edge of Norwich. Neither family has any apparent connection with the North Norfolk area by birth. There are also three Dixon’s recorded in Holt, a boy boarder, a teenage servant, and a widowed woman in her mid-thirties.
George Flood………………………………...................(RoH) (CM)
Private 3/647. 2nd Battalion Essex Regiment. Killed in action in France & Flanders on 6th April 1915. Born Gorleston-on-Sea. Lived Holt. Enlisted Colchester. Buried: Calvaire (Essex) Military Cemetery, Comines-Warneton, Hainaut, Belgium. Ref. I. L. 3.
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=92427
No match on Norlink
There is a 19 year old George Flood who had been born in Gorleston, and was now employed as a Billiard Marker, living at 8 School Road, Runham, Great Yarmouth. This was the household of his married sister, Emma Read, (aged 22 and from East Dereham) and her husband, James, (aged 23 and a general labourer for the council). Emma and James have a son, Harry, who is under 1.
The same individual on the 1891 census is to be found at No 3, Waterloo, St Faiths. His parents are Charles, (who appears to be out of work), and Emily, who is listed as a master shoemaker. As well as George, they have four other children.
James William Graveling…………………............(RoH) (CM)
Private 48734. 6th Battalion Northamptonshire Regiment. Killed in action in France & Flanders on 31st August 1918. Aged 19. Born Holt. Enlisted Cromer. Son of Mr. W. J. Graveling, of Holt, Norfolk. Buried: Combles Communal Cemetery Extension, Somme, France. Ref. IV. A. 29.
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=591766
No match on Norlink
The 2 year old James is recorded on the 1901 census at Gas Hill, Letheringsett Hill, Holt. This is the household of his parents, William, (aged 25 and a bricklayers labourer from Norwich), and Phoebe, (aged 21 and also from Norwich). As well as James, they have a daughter Edith, aged 3.
The 6th Battalion was part of the 18th (Eastern) Division, which lists amongst its Battle Honours:-
Second Battle of Bapaume. 31 Aug-3 Sep 1918.
www.warpath.orbat.com/divs/18_div.htm
www.historyofwar.org/articles/battles_bapaumeII.html
Edward Greengrass……. (RoH) (Church memorial has Wallace Greengrass)
RoH had no further information available at present.
Most likely match
www.cwgc.org/search/casualty_details.aspx?casualty=196818
Name: GREENGRASS Initials: E W
Rank: Lance Corporal Regiment/Service: Norfolk Regiment Unit Text: 1st Bn.
Date of Death: 21/08/1918 Service No: 43215
Grave/Memorial Reference: II. B. 13. Cemetery: FONCQUEVILLERS MILITARY CEMETERY
(The only other match is a Canadian soldier who appears to have been born in Canada, and with no obvious links to the area)
No obvious match on the 1901 Census under the name of either Edward or Wallace. However, if he was a career soldier, he could have been overseas at the time of the 1901 Census.
No match on Norlink
The 1st Battalion was part of the 5th Division, which lists amongst its Battle Honours:-
Battle of Albert. 21-23 Aug 1918, including the capture of Chuignes.
webstats.ordersofbattle.darkscape.net/site/warpath/divs/5...
In the same brigade were the 1st Bedfords. The extract from their war diary on this day reads:-
21 Aug 1918 Battalion moved forward to the attack at 4.45 a.m. meeting with very slight opposition. The objective was about 1500 yards from original German Front Line which had already been taken by the 37th Division. Battalion gained objective which they consolidated, remaining there in support to the 1/Norfolk Regt. who passed through to take the next objective.
Casualties Capts G. de C.[Geoffrey de Carteret] MILLAIS & H.J.WEST M.C. wounded (since died of wounds) & 46 O.R.s Killed & wounded etc.
www.bedfordregiment.org.uk/1stbn/1stbtn1918diary.html
Frederick W Grout…………………………..............(RoH) (CM)
Private 13812. 8th Battalion Norfolk Regiment. Killed in action in France & Flanders on 8th February 1916. Born Holt. Enlisted Norwich. Buried: Albert Communal Cemetery Extension, Somme, France. Ref. B. 11.
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=551902
No match on Norlink
The 18 year old Frederick W. can be found on the 1901 Census at Holt Hall Cottages, Holt. He was still single and working as a Gardeners Assistant.This is the household of his parents, Robert, (aged 49 and a Domestic Gardener from Coltishall), and Lucy, (aged 52 and from Wickmere). They also have a daughter, Edith S, age 21, living with them.
Ernest Guymer……………………………….................(RoH) (CM)
(It is highly likely that this is the Ernest Guymer on the memorial). Private 275014. 3rd Battalion London Regt (Royal Fusiliers). Formerly 21277 3rd East Kent Regiment. Killed in action in France & Flanders on 10th September 1918. Aged 38. Born Foulsham. Lived and enlisted Great Yarmouth. Son of Robert and Hannah Guymer. In the 1901 census, Ernest is working as a baker’s assistant and living with his widowed mother in Holt. Buried: St. Sever Cemetery Extension, Rouen, France. Ref. R. II. U. 9. (Thanks to Bernie Guymer for the family information)
CWGC has no personal details or age
www.cwgc.org/search/casualty_details.aspx?casualty=518002
The 21 year old Ernest can indeed be found on the 1901 Census, living at Fish Hill, Holt, with his widowed mother. He had been born at Foulsham, single, and was now employed as a Bakers Assistant. His mother, Hannah, aged 66 and from Stibbard, was the head of the household. Her other children still resident with her are :-
Elvira….aged 23.…born Foulsham. Employed as a Grocers Assistant.
George…aged 26.…born Whitwell. Employed as a General Domestic.
Maffe…..aged 25,,,,born Whitwell. Grocer Shop Keeper.
The family lived two doors down from Fred Chestney, (q.v), on the census return.
No match on Norlink
Fred Herron………………………………......................(RoH) (CM)
Roll of Honour web-site has no further details
Possibles
Name: HERRON, FREDRICK Initials: F Nationality: United Kingdom Rank: Lance Corporal Regiment/Service: Yorkshire Regiment Unit Text: 4th Bn. Age: 23 Date of Death: 29/10/1918 Service No: 200184 Awards: M M Additional information: Brother of Herbert Herron, of Cliffe Bank, Piercebridge, Darlington. Casualty Type: Commonwealth War Dead Grave/Memorial Reference: LXVII. M. 21. Cemetery: ETAPLES MILITARY CEMETERY
www.cwgc.org/search/casualty_details.aspx?casualty=502132
Name: HERRON Initials: F G Nationality: United Kingdom Rank: Private Regiment/Service: The Queen's (Royal West Surrey Regiment) Unit Text: 8th Bn. Date of Death: 03/05/1918 Service No: 5670 Casualty Type: Commonwealth War Dead Grave/Memorial Reference: XI. C. 4. Cemetery: COLOGNE SOUTHERN CEMETERY
www.cwgc.org/search/casualty_details.aspx?casualty=901745
Name: HERRON Initials: F H Nationality: United Kingdom Rank: Private Regiment/Service: Machine Gun Corps (Infantry) Unit Text: 154th Coy. Age: 21 Date of Death: 20/09/1917 Service No: 102948 Additional information: Son of William and Harriett Herron, of 62, Leroy St., Tower Bridge Rd., Bermondsey, London. Casualty Type: Commonwealth War Dead Grave/Memorial Reference: XLV. D. 19. Cemetery: POELCAPELLE BRITISH CEMETERY
www.cwgc.org/search/casualty_details.aspx?casualty=491625
Name: HERRON, FREDERICK NICOLL Initials: F N Nationality: Australian Rank: Private Regiment/Service: Australian Pioneers Unit Text: 2nd Date of Death: 29/09/1917 Service No: 1714 Casualty Type: Commonwealth War Dead Grave/Memorial Reference: XXV. B. 11. Cemetery: LIJSSENTHOEK MILITARY CEMETERY
www.cwgc.org/search/casualty_details.aspx?casualty=431256
(Australian Army record checked - born Arbroath, Scotland, but no other obvious link with any other part of the UK. He‘s also on the Arbroath War Memorial)
Name: HERRON Initials: F H Nationality: United Kingdom Rank: Sapper Regiment/Service: Royal Engineers Date of Death: 28/04/1918 Service No: WR/200483 Casualty Type: Commonwealth War Dead Grave/Memorial Reference: In South-East part. Cemetery: BEARPARK (ST. EDMUND) CHURCHYARD
www.cwgc.org/search/casualty_details.aspx?casualty=354511
No match on Norlink
No likely matches on the 1901 or 1911 Census
Reginald Horne……………………………….................(RoH) (CM)
Roll of Honour web-site has no further details
8 possible matches on CWGC, none with an obvious link to Norfolk and all with unknown age.
The 6 year old Reginald is recorded on the 1901 Census as living at Fairstead Hill Cottage, Holt, the town of his birth. This is the household of his parents, Walter, (aged 39 and a Stone Mason from Holt), and Charlotte, (aged 36 and also from Holt).Their other children are:-
Audrey…aged 1.….born Holt
Herbert…aged 11.…..born Holt
Mary……aged 15.…born Holt
Walter…..aged 14.…born Holt.
No match on Norlink
William Houchen……………………………….............(RoH) (CM)
Private 202529. 8th Battalion Norfolk Regiment. Killed in action in France & Flanders on 20th October 1917. Born Great Ellingham. Enlisted Cromer. Son of William and Emily Houchen of Reymerston; husband of Elizabeth Houchen of New St., Holt, Norfolk. Buried: New Irish Farm Cemetery, Ieper, West-Vlaanderen, Belgium. Ref. X. D. 6.
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=452506
No match on Norlink
The 18 year William can be found on the 1901 census at North Green Farm, Reymerston. Having been born at Great Ellingham, he now works as a Outfitting Assistant. The address is the household of his parents, William, (a 44 year old farmer from Great Ellingham) and Emily, (aged 47 and also from Great Ellingham). Living with them is Emily’s sister Rebecca Rivett who is single as well as their children:-
Arthur……aged 9.……born Great Ellingham
Charles…..aged 15.…..born Great Ellingham, Occupation - Farmers Son
Frank…….aged 11.…..born Great Ellingham
Matilda….aged 7.…….born Reymerston
Sarah…….aged 12.…..born Great Ellingham
October 1917
The first three weeks of October were spent on the west bank of the Yser canal, and partly in training for the attack of October 22nd in the Poelcappelle neighbourhood. On the 8th Leiutenant -Colonel Ferguson and commanding the battalion almost contiously for three years proceeded on six months special leave to England and was suceeded by Mjor E. N.Snepp. The only other notable event was on the 15th when the German bombardment was specially severe causing several causualties. One shell made a direct hit on a 'pill-box' in which was the regimental aid post. The medical officer was wounded two men were killed and one wounded. On the 20th the battalion was in Cane trench ready for the forthcoming attack "
It then goes on to decribe the attack which went in on around 5.50am of the 22nd. The Norfolks went first, leapt frogged by the 10th Essex. Despite the mud all the objectives were achieved.
"The triumphant Essex and Norfolks...........tramped back to hear the whole division ...and General Maxse.... singing their paise. "
Losses were heavy and this was destined to be the Battalions last great action before it's dissolution. Being split up in the new year to go to the 7th and 9th Norfolks
1914-1918.invisionzone.com/forums/lofiversion/index.php/t...
Herbert Henry Jenkinson…………………...........(RoH) (CM)
Private 65059. 109th Company Labour Corps. Formerly 48973 29th Battalion Middlesex Regiment. Died of wounds in France & Flanders on 29th August 1917. Born and lived Holt. Enlisted Cromer. Son of Robert and Martha A. Jenkinson, of Pearson's Buildings, Holt, Norfolk. Buried: White House Cemetery, Ieper, West-Vlaanderen, Belgium. Ref. I. C. 2.
On CWGC as H Jenkinson
www.cwgc.org/search/casualty_details.aspx?casualty=454688
No match on Norlink
The 7 year old Herbert is recorded on the 1901 Census at Old Work House Yard, Holt. This is the household of his parents, Robert, (aged 35 and a Carter for a Domestic Merchant from Holt), and Martha, (aged 35 and from Brinton). Their other children are:-
Celia…….aged 4.….born Holt
Eliza…….aged 5.….born Holt
Hilda…….aged 1.…born Holt
Mildred….aged 2.…born Holt
Richard Knights………………………………................(RoH) (CM)
Corporal 3288. 6th Battalion Rifle Brigade. Died on 22nd August 1920. Buried: Holt Burial Ground. Ref. C. 598.
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=2802699
No match on Norlink
The 10 year old Richard is recorded on the 1901 census at Chapel Street, Holt. This was the household of his parents, William, (aged 55 and an Ordinary Field Labourer from Edgefield), and Deborah, (aged 51 and from Rudham). Their other children are:-
Charles……..aged 21.….born Holt. Occupation - Bricklayer
Ellen………..aged 14.….born Holt
Frederick……aged 12.…born Holt
Stephen……..aged 8.…..born Holt
John Knowles………………………………..................(RoH) (CM)
Private 12762. 7th Battalion Norfolk Regiment. Died of wounds in France & Flanders on 1st November 1915. Born Holt. Enlisted Norwich. Buried: Lillers Communal Cemetery, Pas de Calais, France. Ref. IV. D. 33.
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=2947636
No match on Norlink
There are 2 possible matches on the 1901 Census. One aged 6, born Holt, now living at Holt Road, Edgefield. Parents are Thomas and Amy. The other is aged 9, born Holt and living at Norwich Road, Holt at the time of the census. Parents are Albert and Harriet.
Benjamin Lake………………………………..................(RoH) (CM)
Roll of Honour web-site has no further details
Only Benjamin listed and most likely match based on parents initial
Name: LAKE, BENJAMIN
Rank: Private Regiment/Service: 7th (Queen's Own) Hussars
Age: 39 Date of Death: 21/01/1919 Service No: 45645
Additional information: Son of Mr. and Mrs. F. Lake.
Buried in Muttra Cemetery. Grave/Memorial Reference: Face 1. Memorial: MADRAS 1914-1918 WAR MEMORIAL, CHENNAI
www.cwgc.org/search/casualty_details.aspx?casualty=1465833
The 20 year old Benjamin is recorded at Fairstead Road, Holt, on the 1901 Census. He was born at Holt, is still single and works as an Ostler Groom. This is the household of his parents, Frederick, (aged 50 and a house painter from Wisbech), and Maria, (aged 48 and from Marham). Their other children are:-
Edith……aged 10.…born Holt
Flora V…aged 15.…born Holt.General Domestic Servant.
Maud……aged 7.….born Holt
Robert M..aged 17...born Holt.Bricklayers Labourer.
Victor Lewis……………………………….....................(RoH) (CM)
Private 15997. 8th (Service) Battalion, Devonshire Regiment. Killed in action in France & Flanders on 14th July 1916. Born and lived Holt. Enlisted Southwark, Surrey. Buried: Quarry Cemetery, Montauban, Somme, France. Ref. IV. D. 4.
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=245422
No match on Norlink
The 3 year old Victor J. is recorded on the 1901 Census at Bull Street, Holt. This was the household of his parents, Robert C S, (aged 39 and a Joiner from Holt), and Ellen L. (aged 40 and from Marylebone, London). Their other children are:-
Alfred J……….aged u/1.…..born Holt
Horace C………aged 11.……born Marylebone
Louie E………..aged 13.…..born London West Bourne Park
Nellie E………..aged 6.……born Walthamstow, Essex
Vio;et B………..aged 8.……born Walthamstow, Essex
On this day the 8th Battalion carried out a successful night attack on the Snout (the German second position) in Bazentin Wood after a 4 mile approach march. After consolidation withdrawn to reserve in White Trench.
www.keepmilitarymuseum.org/somme/reg_8th_devons.php?
Charles Percy Loades………………………...........(RoH) (CM)
Lance Sergeant 328011. 1st/ 6th Battalion Kings’ (Liverpool Regiment). Formerly 206083 Norfolk Yeomanry. Died of wounds in France & Flanders on 7th September 1918. Aged 37. Born and lived Holt. Enlisted Norwich. Son of William and Susanna Loades, of 55, St. Philip's Rd., Norwich, Norfolk. Buried: Terlincthun British Cemetery, Wimille, Pas de Calais, France. Ref. III. C. 30.
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=4026158
No match on Norlink
The 19 year old Charlie P is recorded on the 1901 Census at Mundesley Road, North Walsham. He was born at Holt, and was employed as a House Painter and Decorator. This was the household of his parents, William, (aged 50 and a House Painter and decorator from Holt) and Susannah, (aged 55 and also from Holt).They also have their two grown up daughters living with them - Eva Grace, (aged 16 and born Holt), and Lilian K, (aged 23, born Holt and working as a dressmaker).
Robert Edmund Loynes…………………..............(RoH) (CM)
Fitter Staff Sergeant 137760. 258th Siege Battery, Royal Garrison Artillery. Killed in action in France & Flanders on 6th June 1918. Aged 36. Born Holt. Lived King’s Lynn. Enlisted Norwich. Son of Robert John and Ann Loynes. Buried: Cabaret-Rouge British Cemetery, Souchez, Pas de Calais, France. Ref. VIII. M. 32.
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=586466
There is a picture of Fitter Staff Sergeant Loynes on Norlink
norlink.norfolk.gov.uk/02_Catalogue/02_013_PictureTitleIn...
The accompanying notes are:-
Staff Sergeant Loynes was born in Holt on 6th October 1881. Educated at Holt and Brancaster, he enlisted on 3rd September 1914. He was killed in action in France on 6th June 1918
The 19 year old Robert Edmond is recorded on the 1901 Census at Main Road, Brancaster. He had been born in Holt, was single and working as an engine fitter. This is the household of his parents, Robert John, (aged 52 and an Engine Fitter from Cley), and Annie, (aged 54 from Boston, Lincs). They also have a grown up daughter, Grace Elizabeth, aged 19, living with them. On the 1891 Census the family are recorded at Gravel Pit Lane, Holt.
Robert also is listed on the Melton Constable - Midland and Great Northern Railway War Memorial
1914-1918.invisionzone.com/forums/lofiversion/index.php/t...
And the Brancaster one
www.roll-of-honour.com/Norfolk/Brancaster.html
Walter Mann………………………………......................(RoH) (CM)
Gunner 146416. 16th Trench Mortar Battery, Royal Field Artillery. Killed in action in France & Flanders on 15th March 1917. Lived Holt. Enlisted Woolwich, S.E. Buried: Kemmel Chateau Military Cemetery, Heuvelland, West-Vlaanderen, Belgium. Ref. G. 28.
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=155361
No match on Norlink
Two possible matches on the 1901 Census with a Holt connection. One is aged 4 and living at Cromer Road, Holt. His parents are Robert and Annie. The other (Walter J) is aged 12 and living at the Market Place, Holt. His parents are John and Rebecca.
Victor George Mayes……………………................(RoH) (CM)
Private 23157. 7th Battalion Border Regiment. Formerly 18987 Norfolk Regiment. Killed in action in France & Flanders on 13th April 1916. Aged 24. Born Ashwell Thorpe, Norfolk. Lived Marsham, Norfolk. Enlisted Norwich. Son of Mrs. Hannah J. Mayes, of The Lodge, Wramplingham, Wymondham, Norfolk. Buried: Cite Bonjean Military Cemetery, Armentieres, Nord, France. Ref. IX. G. 64.
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=276911
No match on Norlink
There are also various Georges with a Norfolk connection on the 1901 Census. However the only Victor is recorded at The Street, Ashwellthorpe. He is aged 10 and the village is given as his birth place. This is the household of his parents, George, (aged 42 and a “Gardener at Hall” from Talcolneston.), and Hannah, (aged 35 and from Fundenhall.). Their other children are:-
Ada…….aged 8.…..born Ashwellthorpe
Arthur….aged 17.…born Ashwellthorpe. Shepherd on Farm.
Florence..aged 12.…born Ashwellthorpe
Herbert…aged 6.…..born Ashwellthorpe
Joseph Bernard McMahon……………………………….............(RoH) (CM)
Serjeant 41329. 1st Battalion Royal Dublin Fusiliers. Died of wounds in France & Flanders on 4th October 1917. Aged 44. Lived Holt. Enlisted Scunthorpe. Father of James Bernard McMahon, of Fish Hill, Holt, Norfolk. Buried: Dozinghem Military Cemetery, Poperinge, West-Vlaanderen, Belgium. Ref. VII. G. 5.
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=153272
No match on Norlink
No obvious match on the 1901 Census.
Frank Mears……………………………….......................(RoH) (CM)
Sapper 84665. 208th Field Company, Corps of Royal Engineers. Killed in action in France & Flanders on 10th April 1918. Born Kelling, Norfolk. Lived Holt. Enlisted Norwich. Buried: Outtersteene Communal Cemetery Extension, Bailleul, Nord, France. Ref. II. D. 32. See also 34th Norfolk Division, Royal Engineers.
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=42401
No match on Norlink
The 19 year old Frank is recorded on the 1901 Census at Queens Yard, New Street Holt, having been born at Kelling. Frank is a Railway Navvy. This is the household of his parents, James, (age 62 and a Teamster on Farm from Edgefield), and Mary Ann, (aged 58 and from Gunthorpe).
The 208th was a “Norfolk” Unit, assigned to the 34th Division.
The division includes amonst itsd battle honours:-
Battle of Estaires. 9-11 Apr 1918, including the first defence of Givenchy.
www.ordersofbattle.darkscape.net/site/warpath/divs/34_div...
Battle of Estaires
9 - 11 April
This was the first phase of the battle and involved the German forces attacking the defending Portuguese and British Divisions.[1]
In one of the greatest defeats in the military history of Portugal, the 2nd Portuguese Division, approximately 20,000 men commanded by General Gomes da Costa (later President of Portugal), lost about 300 officers and 7,000 men killed, wounded and prisoners, resisting the attack of four German divisions with 50,000 men of 6th German Army, commanded by General Ferdinand von Quast in the first day of the German offensive. Emergency British troops deployed to help the Portuguese defenses were also captured or forced to retreat.
On the flanks of the Portuguese, the British 55th Division (south of the Portuguese) were able to refuse their northern brigade and despite numerous further attacks formed a firm defensive line which limited the effectiveness of the German attack. On the Portuguese northern flank, the British 40th Division were outflanked and attacked from the rear and as a result allowed the attacking German units to extend the breakthrough of the front line further north.
en.wikipedia.org/wiki/Battle_of_the_Lys
oxfordshireandbuckinghamshirelightinfantry.wordpress.com/...
William James Middleton……………………........(RoH) (CM)
Private F/3305. 12th Battalion Duke of Cambridge’s Own Middlesex Regiment. Killed in action in France & Flanders on 3rd May 1917. Born Saxlingham, Norfolk. Lived Holt. Enlisted Norwich. No known grave. Commemorated on Arras Memorial, Pas de Calais, France. Bay 7.
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=781115
No match on Norlink
The 10 year old William J. is recorded on the 1901 Census at the Holt Road Shop, Saxlingham, (in the district of Walsingham), This is the househo
OUT NOW!!!! The Birds of Ireland: A Field Guide with Jim Wilson
Shorebirds of Ireland with Jim Wilson.
Freshwater Birds of Ireland with Jim Wilson
www.markcarmodyphotography.com
The Harbor (or Harbour) Seal (Phoca vitulina), also known as the common seal, is a true seal found along temperate and Arctic marine coastlines of the Northern Hemisphere. The most widely distributed species of pinniped (walruses, eared seals, and true seals), they are found in coastal waters of the northern Atlantic and Pacific oceans, the Baltic and North Seas.
Harbor seals are brown, tan, or gray, with distinctive V-shaped nostrils. An adult can attain a length of 1.85 meters (6.1 ft) and a mass of 132 kilograms (290 lb). Blubber under the seal's skin helps to maintain body temperature. Females outlive males (30–35 years versus 20–25 years). Harbor seals stick to familiar resting spots or haulout sites, generally rocky areas (although ice, sand and mud may also be used) where they are protected from adverse weather conditions and predation, near a foraging area. Males may fight over mates underwater and on land. Females bear a single pup after a nine month gestation, which they care for alone. Pups can weigh up to 16 kg (35 lb) and are able to swim and dive within hours of birth. They develop quickly on their mothers' fat-rich milk and are weaned after four to six weeks.
There are an estimated 5 million to 6 million harbor seals worldwide. While the population is not threatened as a whole, the Greenland, Hokkaidō and Baltic Sea populations are exceptions. Local populations have been reduced or eliminated through disease (especially the phocine distemper virus) and conflict with humans, both unintentionally and intentionally. It is legal to kill seals perceived to threaten fisheries in the United Kingdom, Norway and Canada, but commercial hunting is illegal.
There are 5 subspecies of Harbour Seal. This is the Eastern Pacific race richardsi found in California. The California population of subspecies richardsi amounted to approximately 25,000 individuals as of 1984. Pacific harbor seals or Californian harbor seals are found along the entire Pacific coast shoreline of the state. They prefer to remain relatively close to shore in subtidal and intertidal zones, and have not been seen beyond the Channel Islands as a pelagic form; moreover, they will often venture into bays and estuaries and even swim up coastal rivers. They feed in shallow littoral waters on herring, flounder, hake, anchovy, codfish and sculpin.
Breeding occurs in California from March to May, pupping between April and May, depending on local populations. As top level feeders in the kelp forest, harbor seals enhance species diversity and productivity. They are preyed upon by killer whales (orcas) and white sharks. (wikipedia)
These richardsi Pacific Harbour Seals were hauled out at Seal Cove in La Jolla, California when a group of squealing university girls spooked the resting seals and they all rushed into the water. I nearly dropped my camera, such was the fight I got when the squealing kicked off!
sw.kingdomsalvation.org/testimonies/the-never-quenching-l...?
Nguvu ya Maisha Ambayo Haiwezi Kuzimwa Kamwe
Dong Mei, Mkoa wa Henan
Mimi ni mtu wa kawaida. Niliishi maisha ya kawaida. Kama wengi wanaotamani sana mwanga, nilijaribu njia nyingi kutafuta maana ya kweli ya uwepo wa wanadamu, nikijaribu kuyapa maisha yangu umuhimu zaidi. Mwishowe, juhudi zangu zote zilikuwa bure. Lakini baada ya kuwa na bahati ya kutosha kukubali kazi ya Mwenyezi Mungu ya siku za mwisho, mabadiliko ya muujiza yalitokea katika maisha yangu. Yalileta rangi zaidi katika maisha yangu, na nilikuja kuelewa kwamba ni Mungu pekee ni Mtoa wa kweli wa roho na maisha ya wanadamu. Nilikuwa na furaha kwamba hatimaye nilikuwa nimepata njia sahihi ya maisha. Hata hivyo, huku nikitekeleza wajibu wangu wakati mmoja nilikamatwa kiharamu na kuteswa kikatili na serikali ya CCP. Kutoka kwa hili, safari ya maisha yangu ilipata uzoefu ambao kamwe sitasahau …
Siku moja mnamo Desemba 2011 takribani saa moja asubuhi, mimi na kiongozi mwingine wa kanisa ulikuwa tukitekeleza hesabu ya mali ya kanisa wakati zaidi ya maafisa kumi wa polisi ghafla waliingia. Mmoja wa hawa polisi waovu alitukurupia na kusema kwa kelele: “Msisonge!” Baada ya kuona kilichokuwa kikitokea, kichwa changu kilishtuka. Kisha, polisi waovu walituchunguza kama magaidi waliokuwa wakitekeleza wizi. Pia walipekua kila chumba, walivigeuza shelabela kwa haraka sana. Mwishowe, walipata mali fulani ya kanisa, kadi tatu za benki, risiti za kuweka pesa, kompyuta, simu za rununu, na kadhalika. Waliyachukua yote ngawira, na kisha walituchukua sisi wanne kwa kituo cha polisi.
Alasiri, polisi waovu waliwaleta ndani dada wengine watatu ambao walikuwa wamewakamata. Walitufungia sisi saba katika chumba na hawakuacha tuzungumze, wala hawakuturuhusu tulale usiku ulipofika. Baada ya kuona dada wakifungiwa ndani na mimi, na kufikiri kuhusu ni kiasi gani cha pesa ambacho kanisa lilipoteza, nilikuwa nimezuzuliwa na wasiwasi. Yote ambayo ningefanya ni kuomba kwa dharura kwa Mungu: Ee Mungu! Huku nikikabiliwa na hali ya aina hii, sijui la kufanya. Tafadhali linda moyo wangu na kuufanya mtulivu. Baada ya kuomba, nilifikiri maneno ya Mungu: “Usiogope, mambo kama haya yanapotendeka kanisani, yote yanaruhusiwa na Mimi. Simama na kuzungumza kwa niaba Yangu. Kuwa na imani kwamba mambo na masuala yote yanaruhusiwa na kiti Changu cha enzi na yote yana nia Zangu ndani yayo” (“Sura ya 41” ya Matamko ya Kristo Mwanzoni katika Neno Laonekana katika Mwili). “Unapaswa kujua kwamba vitu vyote vilivyo katika mazingira yanayo wazunguka vipo hapo kwa ruhusa Yangu, Mimi napanga yote. Oneni wazi na muridhishe moyo Wangu katika mazingira Niliyokupa” (“Sura ya 26” ya Matamko ya Kristo Mwanzoni katika Neno Laonekana katika Mwili). Maneno ya Mungu yalizima hofu kubwa moyoni mwangu. Nilitambua kwamba, leo, hii hali imenipata kwa ruhusa ya Mungu, na kwamba wakati ulikuwa umewadia ambapo Mungu alitaka nimshuhudie. Baada ya kuelewa mapenzi ya Mungu, nilimwomba Mungu na kusema: “Ee Mungu! Nataka kutii utaratibu na mipango Yako na kusimama imara katika ushuhuda Kwako—lakini mimi ni wa kimo kidogo, na naomba kwamba Unipe imani na nguvu, na kunilinda katika kusimama imara.”
Asubuhi iliyofuata, walitutenga na kutuhoji. “Najua wewe ni kiongozi wa kanisa. Tumekuwa tukiwafuatia ninyi watu kwa miezi mitano,” alisema mmoja wa polisi waovu kwa maringo. Nilipomsikia akieleza kwa utondoti kila kitu ambacho walikuwa wamefanya kunifuatia, nilitetemeka kwaa woga. Katika akili yangu, nilifikiri, serikali ya CCP kweli inaweka matayarisho mengi katika kutukamata. Kwa kuwa tayari wanajua mimi ni kiongozi wa kanisa, hakuna jinsi wataniacha niende. Mara moja niliweka azimio langu mbele ya Mungu: Afadhali nife badala ya kumsaliti Mungu na kuwa Yuda. Baada ya kuona kuwa kuhoji kwao hakukuwa kunazaa matunda yoyote, walimpa mtu kazi ya kunitazama na kutoniacha nilale.
Katika siku ya tatu ya mahojiano, mkuu wa polisi waovu aliwasha kompyuta na kunifanya nisome taarifa zilizomsingizia Mungu. Kwa kuona kwamba sikuguswa, baada ya hapo alinihoji kwa makini kuhusu fedha za kanisa. Niligeuza kichwa changu kwa upande mmoja na kumpuuza. Hili lilimfanya kukasirika sana na alianza kutukana. “Haijalishi usiposema lolote—tunaweza kukuzuia bila mwisho, na kukutesa wakati wowote ule tunaotaka,” alinitisha kwa ukali. Katikati ya usiku huo, polisi walianza mateso yao. Walivuta mkono wangu mmoja nyuma ya bega langu na mwingine juu kutoka kwa mgongo wangu. Walifinya mgongo wangu na miguu yao, kwa nguvu walitia pingu vifundo pamoja. Ilikuwa uchungu sana kiasi kwamba nilipiga yowe kwa maumivu—mifupa na nyama katika mabega yangu zilihizi kana kwamba zingepasuka. Ningeweza tu kupiga magoti bila kusonga na kichwa changu kikiwa sakafuni. Nilifikiri mayowe yangu yangewafanya watulize makali kwangu, lakini badala yake waliweka kikombe cha chai kati ya pingu na mgongo wangu, jambo ambalo lilizidisha tena maumivu. Mifupa katika mwili wangu wa juu ilihisi kana kwamba ilikuwa imevunjwa nusu. Nilihisi uchungu sana hivi kwamba sikuthubutu kupumua nje na jasho baridi ilitiririka usoni pangu. Punde tu nilipohisi kwamba singevumilia uchungu tena, mmoja wa polisi waovu alichukua fursa hii kuniambia: “Tupe tu jina na tutakuachilia uende mara moja.” Wakati huo, nilimwita Mungu aulinde moyo wangu. Mara moja nilifikiria wimbo: “Mungu katika mwili, Anateseka, napaswa kuteseka kiasi gani zaidi? Ikiwa ningekubali giza, ningemwonaje Mungu? Ningewezaje kukuacha kutafuta unaodaiwa kuwa uhuru? Afadhali niteseke ili kufidia moyo Wako unaohuzunika” (“Kusubiri Habari Njema za Mungu” katika Mfuateni Mwanakondoo na Kuimba Nyimbo Mpya). “Ndiyo,” Nilifikiria. “Kristo ndiye Mungu mtakatifu na mwenye haki. Alipata mwili na kuja duniani kuleta wokovu kwa wanadamu waliopotoka kwa kina. Kwa muda fulani sasa, Amekiwa akiteswa na kuwindwa na serikali ya CCP na amepingwa na kushutumiwa na wanadamu. Haikumpasa Mungu kuteseka kwa njia hii, lakini Anavumilia haya yote ili kutuokoa.” Kwa hivyo, baada ya kutafakari, niliona kwamba nilikuwa nikiteseka sasa ili kupata wokovu—napaswa kupitia mateso haya. Iwapo ningekubali kushindwa na Shetani kwa sababu singeweza kuvumilia uchungu, ningewezaje kukabiliana na Mungu wakati wowote tena? Kufikiri hili kulinipa nguvu, na nikakua mgumu mara nyingine tena. Polisi waovu walinitesa kwa takriban saa moja. Walipoondoa pingu, mwili wangu mzima ulianguka bila nguvu sakafuni. “Usipoongea tutafanya hilo tena!” walinipigia kelele. Niliwatazama na kutosema chochote. Moyo wangu ulijawa na chuki kwa polisi hawa waovu. Mmoja wa polisi waovu alisonga mbele kutia pingu tena. Huku nikifikiri uchungu mkali sana ambao nilikuwa nimeupita karibuni, niliendelea kumwomba Mungu moyoni mwangu. Kwa mshangao wangu, alipojaribu kuvuta mikono yangu nyuma ya mgongo wangu hangeweza kuisogeza. Haikuwa uchungu sana, pia. Alikuwa akijaribu kwa nguvu sana hivi kwamba kichwa chake chote kilikuwa kimejaa jasho—lakini bado hangeweza kutia pingu. “Una nguvu mwingi!” alitweta kwa hasira. Nilijua kwamba huyu alikuwa Mungu akinijali, kwamba Mungu alikuwa akinipa nguvu. Shukrani iwe kwa Mungu!
Kufika alfajiri kulikuwa vigumu. Bado nilikuwa na kiwewe nilipofikiri nyuma jinsi polisi waovu walikuwa wamenitesa. Pia walinitisha, wakiniambia kwamba iwapo singesema chochote, wangelazimika kunipeleka ndani sana ya milimani na kuniua. Baadaye, walipokamata waumini wengine, wangesema nililisaliti kanisa—wangechafua jina langu, na kuwafanya ndugu wengine wa kanisa wanichukie na kunikana. Kufikiri hilo, moyo wangu ulizidiwa na mawimbi ya majonzi na kutojiweza. Nilijipata nikihisi mwoga na mnyonge. Akilini mwangu nilifikiri: Afadhali nife. Kwa njia hiyo sitakuwa Yuda na kumsaliti Mungu, wala sitakanwa na ndugu zangu. Pia nitaepuka uchungu wa mateso ya mwili. Kwa hivyo nilingoja hadi wakati ambapo polisi waovu waliokuwa wakinilinda hawakuwa wakitia makini na kuupiga kichwa changu kwa nguvu sana dhidi ya ukuta—lakini yote yaliyotokea ilikuwa kwamba kichwa changu kiliona kizunguzungu, sikufa. Wakati huo, maneno ya Mungu yalinipa nuru kutoka ndani: “Wengine wanapokuelewa vibaya, unaweza kumwomba Mungu na kusema: ‘Ee Mungu! Siombi kwamba wengine wanivumilie au kunitendea vyema, wala kwamba wanielewe au kunikubali. Naomba tu kwamba niweze kukupenda moyoni mwangu, kwamba niwe na uhakika moyoni mwangu, na kwamba dhamiri yangu ni safi. Siombi kwamba wengine wanisifu, au kuniheshimu, ninatafuta tu kukuridhisha kutoka moyoni mwangu’” (“Ni kwa Kupitia Usafishaji tu Ndiyo Mwanadamu Anaweza Kumpenda Mungu kwa Kweli” katika Neno Laonekana katika Mwili). Maneno ya Mungu yaliondoa huzuni kutoka kwa moyo wangu. Ndiyo. Mungu huona mioyo ya ndani kabisa ya watu. Iwapo polisi wakinisingizia, hata kama ndugu wengine kwa kweli wanielewe visivyo na kunikataa kwa sababu hawajui kile kilichotendeka kwa kweli, naamini kwamba nia za Mungu ni nzuri; Mungu anajaribu imani na upendo wangu Kwake, na napaswa kufuatilia kumfanya Mungu kuridhika. Baada ya kubaini njama janja za Shetani, ghafla nilihisi mwenye fedheha na aibu. Niliona kwamba imani yangu kwa Mungu ilikuwa ndogo sana. Sikuwa nimeweza kusimama imara baada ya kupitia uchungu kidogo, na nilikuwa nimefikiri kutoroka na kuepuke mipango ya Mungu kupitia kifo. Lengo la polisi waovu katika kuzungumza maneno haya ya tishio lilikuwa kunifanya nimkane Mungu. Na isingekuwa ulinzi wa Mungu, ningedanganywa na njama zao janja. Nilipokuwa nikitafakari maneno ya Mungu, moyo wangu ulijawa na mwanga. Sikutaka tena kufa, ila kuishi maisha mazuri, na kutumia kile ambacho kweli niliishi kwa kudhihirisha kumshuhudia Mungu na kumletea Shetani aibu.
Polisi hao wawili waovu waliopewa kazi ya kunilinda waliuliza mbona nilikuwa nimegongesha kichwa changu dhidi ya ukuta. Nilisema kwa sababu polisi hao wengine walikuwa wamenipiga. “Kimsingi tunafanya kazi kupitia elimu. Usijali—sitawaacha wakupige tena,” mmoja wao alisema kwa tabasamu. Baada ya kusikia maneno yake ya faraja, nilifikiri: Hawa watu wawili si wabaya; tangu nikamatwe wamekuwa wazuri kabisa kwangu. Kwa hilo, nililegeza tahadhari yangu. Lakini wakati huo, maneno ya Mungu yalikuja ghafla moyoni mwangu: “Nyakati zote, watu Wangu wanapaswa kujihadhari dhidi ya hila danganyifu za Shetani, walinde lango la nyumba Yangu kwa ajili Yangu, … kitu ambacho kitawazuia kuingia katika mtego wa Shetani, wakati mtakapokuwa na majuto ya kuchelewa sana” (“Sura ya 3” ya Maneno ya Mungu kwa Ulimwengu Mzima katika Neno Laonekana katika Mwili). Maneno ya Mungu yalinipa kumbusho la wakati wa kufaa, yakinionyesha kwamba njama janja za ibilisi ni nyingi, na napaswa kuwa hadhari dhidi ya ibilisi hawa wakati wote. Sikutarajia hata kidogo kwamba punde wangefichua tabia zao halisi. Mmoja wa polisi waovu alianza kumkashifu Mungu, huku mwingine aliketi chini kando yangu alinipapasa mguu wangu, akinitazama kwa jicho la husuda na kuuliza kuhusu fedha za kanisa. Jioni, alipoona kwamba nilikuwa nikisinzia, alianza kupapasa kifua changu. Baada ya kuona kwamba walikuwa wamefichua tabia yao halisi, nilijawa na hasira. Ni sasa tu nilipoona waliodhaniwa polisi wa watu walikuwa tu wahuni na wadhalimu. Haya yalikuwa mambo mabaya yenye kustahili dharau, ambayo wangeweza kufanya. Kama matokeo, niliweza tu kumwomba Mungu kwa dharura ili anilinde kutokana na madhara yao.
Katika siku kadhaa zilizofuata, polisi waovu hawakunihoji tu kwa makini kuhusu kanisa, lakini pia walichukua zamu kunitazama ili kwamba nisilale. Baadaye, walipoona jinsi sikuwa nimewapa chochote, polisi hao wawili waovu waliokuwa wakinihoji walizidi kwa ghadhabu. Mmoja wao alinishambulia vikali, akinizaba kofi usoni, akinipiga kwa vishindo mara kadhaa. Uso wangu uliwasha, ulianza kuvimba, na mwishowe ukawa wenye ganzi sana kiasi kwamba singehisi chochote. Kwa sababu maswali yao hayakuwa yamezaa matunda yoyote kutoka kwangu, jioni moja mkuu wa polisi waovu alinipigia unyende na kusema, “Unahitaji kuanza kufungua mdomo wako. Unajaribu subira yangu—siamini kwamba hakuna chochote tunaweza kufanya na wewe. Nimekutana na watu wengi wagumu zaidi kukuliko. Tusipokuwa wakali kwako, hutatii katu!!” Alitoa amri na polisi waovu kadhaa walianza kunitesa. Jioni, chumba cha mahojiano kilikuwa cha huzuni na cha kuogofya—nilihisi kana kwamba nilikuwa jahanamu. Walinifanya nichutame sakafuni na kufunga mikono yangu katikati ya magoti na miguu yangu. Kisha, waliingiza kifimbo cha mbao katikati ya mapindi ya mikono yangu na nyuma ya magoti yangu, wakilazimisha mwili wangu wote kupinda juu. Kisha walikiinua kifimbo na kukiweka katikati ya meza mbili, wakiuacha mwili wangu wote ukining’inia hewani na kichwa changu kikiwa juu chini. Punde waliponiinua juu, kichwa changu kilipata kizunguzungu na niliona vigumu kupumua. Ilihisi kana kwamba nilikuwa nikisongwa. Kwa sababu nilikuwa nilining’inishwa hewani juu chini uzito wangu wote ulikuwa ukiangukia vifundo vyangu. Mwanzoni, ili kukomesha pingu kuukata mwili wangu, nilifumbata mikono yangu pamoja kwa kukaza, nikaupinda mwili wangu, na kujaribu kwa nguvu kadiri nilivyoweza kubaki katika hali hiyo. Lakini nguvu yangu ilipungua polepole. Mikono yangu iliteleza kutoka kwa vifundo vya miguu hadi kwa magoti yangu, na pingu ilikata kwa kina katika mwili wangu, ikiniacha na uchungu mkubwa sana. Baada ya kuning’inia hivi kwa takribani nusu saa, ilihisi kana kwamba damu yote katika mwili wangu ilikuwa imejikusanya kichwani mwangu. Uvimbe mchungu katika kichwa changu na macho ulifanya yahisi kana kwamba yalikuwa karibu kulipuka. Makato ya kina yalikuwa yamechimbwa katika vifundo vyangu, na mikono yangu ilikuwa imevimba sana kiasi kwamba ilionekana kama mikate miwili. Nilihisi nilikuwa ukingoni mwa kifo. “Siwezi kuvumilia tena, niweke chini!” nilipaza sauti kwa kukata tamaa. “Hakuna anayeweza kukuokoa ila wewe mwenyewe. Tuambie tu jina na tutakuacha uteremke chini,” alisema mmoja wa polisi waovu kwa ukali. Mwishowe, waliona kwa kweli nilikuwa katika taabu na waliniweka chini. Walinilisha glukosi kiasi na kuanza kunihoji tena. Nililala bila nguvu kama matope ardhini, macho yangu yakifumbwa kwa kukaza, nikiwa siwatilii makini. Bila kutarajia, polisi waovu waliniinua hewani tena. Bila nguvu ya kushikilia kwa mikono yangu, sikuwa na lingine ila kuacha pingu ijitie ndani katika vifundo vyangu, makali yaliyochongoka yakikata mwili wangu. Wakati huo, ilikuwa uchungu sana nilitoa yowe la kuhuzunisha sana. Sikuwa na nguvu ya kuendelea kupigana na kupumua kwangu kulikuwa kumekua kwa kina kifupi sana. Ilionekana kana kwamba wakati ulikuwa umesimama. Nilihisi kwamba nilikuwa nikiyumbayumba ukingoni mwa kifo. Nilipofikiri kwamba wakati huu kweli ningekufa, nilitaka kumwambia Mungu maneno yaliyokuwa moyoni mwangu kabla ya maisha yangu kuisha: “Ee Mungu! Wakati huu, ambapo kweli niko ukingoni mwa kifo, nahisi woga— lakini hata kama kweli nikifa leo, bado nitasifu haki Yako. Ee Mungu! Katika safari yangu fupi ya maisha, nakushukuru kwa kunichagua nirudi nyumbani kutoka kwa dunia hii ya dhambi, kunizuia kuzurura, nikiwa nimepotea, na kuniruhusu kuishi milele katika kumbatio Lako kunjufu. Ee Mungu, nimefurahia upendo Wako sana—na ilhali sasa tu, wakati maisha yangu yako karibu kuisha, ndipo nagundua kwamba sijatunza upendo Wako. Nyakati nyingi nimekufanya kuwa na huzuni na masikitiko; mimi ni kama mtoto mjinga anayejua tu kufurahia upendo wa mama yake, ilhali hajawahi kufikiria kuulipiza. Sasa tu ambapo niko karibu kupoteza maisha yangu ndipo naelewa kwamba ni lazima nitunze upendo Wako, na ni sasa tu ndipo najuta kukosa nyakati nyingi nzuri. Sasa, ninachojuta zaidi ni kwamba sijaweza kukufanyia lolote na unanidai mengi sana, na kama bado naweza kuishi, kwa hakika nitafanya kila niwezalo kutekeleza wajibu wangu, kufidia kile Unachonidai. Wakati huu, naomba tu kwamba Unipe nguvu, kuniruhusu kutowahi tena kuogopa kifo, na kuwa mwenye nguvu katika kile ninachokabili….” Tone baada ya tone la machozi lilianguka kutoka kwa paji la uso wangu. Usiku ulikuwa kimya kiasi cha kuogofya. Sauti ya pekee ilikuwa saa kubwa ikipiga ta-ta, kana kwamba kuhesabu sekunde ambazo zilisalia za maisha yangu. Hapo ndipo kitu cha muujiza kilifanyika: Nilihisi kana kwamba mwanga wa jua wa vuguvugu ulikuwa ukiniangazia, na polepole niliacha kuhisi uchungu mwilini mwangu. Maneno ya Mungu nguruma akilini mwangu: “Tangu unapoingia katika dunia hii ukilia, unaanza kutekeleza wajibu wako. Kwa kuchukua jukumu lako katika mpango wa Mungu na katika utaratibu Wake, unaanza safari yako katika maisha. Licha ya asili yako na licha ya safari iliyoko mbele yako, hakuna kitakachoepuka mpango na utaratibu ambao mbingu imeunda, na hakuna aliye na udhibiti wa hatima yake mwenyewe, kwa maana yule Anayetawala kila kitu ndiye tu Aliye na uwezo wa kazi hiyo” (“Mungu Ndiye Chanzo cha Uhai wa Mwanadamu” katika Neno Laonekana katika Mwili). Ndiyo—Mungu ndiye chanzo cha maisha yangu, Mungu hutawala kudura yangu, na lazima nijiachilie mikononi mwa Mungu na kujiweka katika matumizi Yake. Kutafakari maneno ya Mungu kulinipa hisia ya kufurahisha, tulivu moyoni mwangu, kana kwamba nilikuwa nikijinyoosha katika kumbatio kunjufu la Mungu. Nilijipata nikilala. Wakiwa na woga kwamba ningekufa, polisi waovu waliniweka chini na kwa haraka walinipa glukosi kiasi na maji. Katika kukaribia kwangu kifo, nilikuwa nimetazama matendo ya muujiza ya Mungu.
Siku iliyofuata, polisi waovu walishinda jioni nzima wakiniinua juu tena na tena. Walinihoji kuhusu mahali ambapo pesa za risiti ambazo walikuwa wamechukua ngariwa zilikuwa. Wakati huo wote, sikusema chochote—ilhali bado hawakukata tamaa. Ili kupata pesa za kanisa, walitumia kila njia yenye kustahili dharau kunitesa. Wakati huo, maneno ya Mungu yalirudia rudia moyoni mwangu: “Maelfu ya miaka ya chuki ikiwa imejaa kifuani, milenia ya dhambi imeandikwa katika moyo—inawezekanaje hii isichochee chuki? Kumlipiza Mungu, kuuondoa kabisa uadui wake, usimwache kutangatanga tena, na usimruhusu kufanya fujo zaidi kama anavyotaka! Sasa ndio wakati: Mwanadamu ana muda mrefu tangu akusanye nguvu zake zote, amejitolea nguvu zake zote, amelipa kila gharama, kwa hili, kuchana uso uliojificha wa pepo hili na kuwafanya watu, ambao wamepofushwa na kuvumilia kila aina ya mateso na taabu, kuinuka kutoka katika maumivu na kurudi kwa ibilisi huyu wa zamani” (“Kazi na Kuingia (8)” katika Neno Laonekana katika Mwili). Maneno ya Mungu yalinipa nguvu na imani kubwa. Ningepigana hadi kufa na Shetani, na hata kama ningekufa, ningesimama imara katika ushuhuda wangu kwa Mungu. Nikitiwa msukumo na maneno ya Mungu, bila kujua nilisahau uchungu. Kwa njia hii, kila wakati waliniinua juu, maneno ya Mungu yalinitia msukumo na kunipa motisha, na hivyo kadiri walivyonibeba juu mara nyingi, ndivyo nilivyoweza kubaini asili yao zaidi—ambayo ilikuwa ya ibilisi waovu—na ndivyo azimio langu kusimama imara katika ushuhuda wangu na kumridhisha Mungu lilivyokuwa kubwa zaidi. Mwishowe, wote walichoshwa na mimi. “Watu wengi sana hawawezi kuvumilia kutundikwa hivi kwa nusu saa, lakini amevumilia wakati huu wote—kwa kweli yeye ni sugu!” Niliwasikia wakitoa mawazo. Kwa kusikia maneno haya, nilijawa na msisimko. Akilini mwangu, nilifikiri: Mungu msaada wangu, huwezi kunivunja moyo. Mbali na mateso ya mwili, wakati wa siku na usiku zangu tisa katika kituo cha polisi polisi waovu pia walininyima usingizi. Kila wakati nilipofunga macho yangu na kuanza kusinzia, wangepiga vifimbo vyao dhidi ya meza, au sivyo wangenifanya nisimame na kukimbia huku na kule, au sivyo kunipigia kelele tu, wakijaribu kunihuzunisha na kuvunja akili yangu. Baada ya siku tisa, wakiona kwamba hawakuwa wamefikia lengo lao, polisi bado hawakukata tamaa. Walinipeleka katika hoteli, ambapo walitia pingu mikono yangu mbele ya miguu yangu, kisha wakaingiza kifimbo cha mbao katikati ya mapindi ya mikono na miguu yangu, nikilazimika kuketi mwili wangu ukiwa umepinda juu sakafuni. Walinifanya nibaki katika hali hii nikiketi sakafuni kwa siku kadhaa zilizofuata, ambayo ilisababisha pingu kuukata mwili wangu. Mikono na vifundo vyangu vilivimba na kubadilika rangi kuwa zambarau, na kikalio changu kilihisi uchungu sana sikuthubutu kukisugua ama kukishika; ilihisi kama nilikuwa nikikalia sindano. Siku moja, mmoja wa viongozi wa polisi waovu, akiona kwamba mahojiano yangu hayakuwa yamezaa matunda, alitembea kunifikia akiwa amekasirika sana na kunizaba kofi kwa nguvu usoni—kwa nguvu kiasi cha kutosha kulegeza meno yangu mbili.
Mwishowe, wakuu wawili kutoka kwa Idara ya Usalama wa Umma ya Mkoa walikuja. Punde walipowasili, waliondoa pingu, wakanisaidia kwenda kwa kochi, na kunipa kikombe cha maji. “Umekuwa na wakati mgumu kwa siku chache zilizopita—lakini usilitilie moyoni, walikuwa wakifuata tu amri,” walisema kwa unafiki. Unafiki wao ulinifanya niwachukie sana kiasi kwamba nilisaga meno yangu. Pia kuwasha kompyuta na kunionyesha ushahidi usio kweli. Walisema maneno mengi ambayo yalishutumu na kufukuru dhidi ya Mungu. Moyoni mwangu, nilihisi kukasirishwa. Nilitaka kubishana nao, lakini nilijua kwamba kufanya hivyo kungewafanya tu kukufuru dhidi ya Mungu kwa wayowayo hata zaidi. Wakati huu, nilihisi kweli jinsi taabu aliyopitia Mungu mwenye mwili ilivyokuwa kubwa, na jinsi Mungu alivyovumilia fedheha nyingi kwa ajili ya kumwokoa mwanadamu. Kilicho zaidi, niliona uhafifu na kustahili dharau kwa ibilisi hawa waovu. Moyoni mwangu, kwa siri niliapa kwamba ningejiondoa kabisa kwa Shetani na milele kuwa mwaminifu kwa Mungu. Baadaye, bila kujali jinsi walivyojaribu kunidanganya, niliendelea kufunga mdomo wangu na sikusema chochote. Baada ya kuona kuwa maneno yao hayakuwa na athari yoyote, wakuu hao wawili waliondoka tu kwa hasira.
Katika kipindi cha siku na usiku kumi katika hoteli, waliendelea kunitia pingu, wakinifanya kuchuchumaa sakafuni nikishika miguu yangu. Nikikumbuka tangu nilipokamatwa, nilikuwa nimeishi siku na usiku kumi na tisa katika kituo cha polisi na hoteli. Ulinzi wa upendo wa Mungu ulikuwa umeniruhusu nilale kidogo, lakini polisi waovu hawakuwa wameniruhusu kulala wakati huo wote; ningefunga macho tu kwa muda na wangefanya chochote kilichohitajika kuniweka macho—kupiga meza, kunipiga teke kwa nguvu, kunipigia kelele, kuniamuru nikimbie huku na kule, na kadhalika. Kila wakati ningeshtuliwa, moyo wangu ungetwanga kifuani mwangu, na ningehisi woga sana. Hilo, likiongezwa kwa mateso ya mara kwa mara ya polisi waovu, na nguvu yangu iliishia kupunguka kabisa, mwili wangu wote ulikuwa umevimba na usiotulia, na niliona kila kitu vikiwa mbili mbili. Ningejua kulikuwa na watu mbele yangu wakiongea, lakini sauti ya milio yao ingeonekana kana kwamba ilikuwa ikitoka mbali sana. Zaidi ya hayo, mijibizo yangu ilianza kuwa ya polepole sana. Kwa mimi kustahimili hili kwa kiasi fulani kulikuwa yote kwa sababu ya nguvu kuu ya Mungu! Kama alivyosema Mungu: “Husababisha binadamu kuzaliwa upya, na kumwezesha kwa ushupavu kuishi kwa kila jukumu lake. Kwa sababu ya uwezo Wake, na nguvu ya maisha Yake yasiyopungua, binadamu ameishi kwa kizazi baada ya kizazi, ambapo nguvu ya uhai wa Mungu umekuwa uti wa mgongo wa kuwepo kwa binadamu, na ambayo Mungu amelipia gharama ambayo hakuna mtu wa kawaida amewahi kulipa. Nguvu za Mungu za maisha zinaweza kutawala juu ya nguvu zozote; zaidi ya hayo, inazidi mamlaka yoyote. Maisha Yake ni ya milele, nguvu zake za ajabu, na nguvu Zake za maisha si rahisi kuzidiwa na kiumbe yeyote au nguvu za adui” (“Ni Kristo Wa Siku za Mwisho Pekee Ndiye Anayeweza Kumpa Mwanadamu Njia ya Uzima wa Milele” katika Neno Laonekana katika Mwili). Moyoni mwangu, nilitoa shukrani na sifa ya uaminifu kwa Mungu: Ee Mungu! Unatawala vitu vyote, matendo Yako ni yasiyokadirika, Wewe pekee ni mwenyezi, Wewe ni nguvu ya maisha isiyozimika, Wewe ni chemichemi ya maji hai kwa maisha yangu. Katika hali hii maalum, nimetazama nguvu Yako maalum na mamlaka. Mwishowe, polisi waovu hawakupata majibu kwa maswali yao kutoka kwangu, na walinituma hadi katika kituo cha kuzuia.
Njiani kuelekea katika kituo cha kuzuia, polisi wawili waliniambia: “Umefanya vizuri sana. Ninyi watu huenda mkawa katika kituo cha kuzuia, lakini ninyi ni watu wazuri. Kuna aina nyingi hapo: wauza madawa, wauaji, malaya—utaona utakapowasili.” “Kwa kuwa unajua sisi ni watu wazuri, mbona mnatukamata? Je, serikali haiongei kuhusu uhuru wa dini?” niliuliza. “Hiyo ni Chama cha Kikomunisti inawadanganya. Chama hicho hutupa riziki yetu, kwa hivyo lazima tufanye kinachosema. Hatuna chuki kwako ama kuwa na kitu chochote dhidi yako. Tulikukamata tu kwa sababu unamwamini Mungu,” mmoja wa polisi alisema. Baada ya kusikia hili, nilikumbuka kila kitu nilichokuwa nimepitia. Singeweza kuzuia kukumbuka maneno ya Mungu: “Uhuru wa dini? Haki halali na matakwa ya wananchi? Zote hizo ni njama za kufunika dhambi!” (“Kazi na Kuingia (8)” katika Neno Laonekana katika Mwili). Maneno ya Mungu yaliulenga kiini cha suala, yakiniruhusu kuona kwa kweli sura ya kweli ya serikali ya CCP na jinsi inavyojaribu kupata heshima ambayo haistahili; kwa juu juu, inapeperusha bendera ya uhuru wa dini, lakini kwa siri inakamata, kukandamiza, na kushambulia wale wanaomwamini Mungu pande zote za nchi, katika tumaini bure la kupiga marufuku kazi ya Mungu, na pia inapora pesa za kanisa bila aibu,yote ambayo huweka wazi asili yake ya kishetani inayomchukia Mungu na kuchukia ukweli.
Nikiwa katika kituo cha kuzuia, kulikuwa na nyakati ambapo nilikuwa dhaifu na katika maumivu. Lakini maneno ya Mungu yaliendelea kunipa moyo, kunipa nguvu na imani, kuniruhusu kuelewa kwamba ingawa Shetani alikuwa ameniondolea uhuru wa mwili, mateso yalikuwa yameniongeza, yakinifundisha kumtegemea Mungu wakati wa mateso ya hao ibilisi waovu, kuniruhusu kuelewa maana ya kweli ya ukweli mwingi, kuona thamani ya ukweli, na kuongeza azimio langu na motisha ya kufuatilia ukweli. Nilikuwa tayari kuendelea kumtii Mungu, na kupitia yote ambayo Mungu alikuwa amenipangia. Kama matokeo, nilipokuwa nikifanya kazi katika kituo cha kuzuia, niliimba nyimbo na kwa kimya nilifikiri kuhusu upendo wa Mungu. Nilihisi kwamba moyo wangu ulikuwa umekuja karibu na Mungu, na sikuona tena siku zikiwa chungu ama za kudhikisha sana.
Wakati wa kipindi hiki, polisi waovu walinihoji mara mingi zaidi. Nilimshukuru Mungu kwa kuniongoza katika kushinda mateso yao mara kwa mara tena. Baadaye polisi waovu waliondoa pesa zote kutoka kwa kadi zangu tatu za benki. Kutazama bila kujiweza peza za kanisa zikichukuliwa na polisi waovu kuliuvunja moyo wangu. Moyo wangu ulijawa na chuki kwa hili kundi lafi, ovu la ibilisi, na nilitamani sana ufalme wa Kristo kuwasili punde. Mwishowe, licha ya kutokuwa na ushahidi wowote, walinihukumu mwaka mmoja na miezi mitatu ya kuelimishwa tena kupitia kazi kwa ajili ya “kuvuruga utulivu wa umma.”
Baada ya kuteswa kikatili na serikali ya CCP, kwa kweli nilikuwa nimeonja upendo na wokovu wa Mungu kwangu, na nilikuja kufahamu ukuu na uweza wa Mungu na matendo Yake ya muujiza, nilikuwa nimeona mamlaka na nguvu ya maneno ya Mungu. Aidha kwa kweli nilikuwa nimemdharau Shetani. Katika kipindi hicho cha mateso, maneno ya Mungu yalikuwa yameandamana na mimi kupitia mchana na usiku za kudhikisha, maneno ya Mungu yalikuwa yameniruhusu kubaini njama janja za Shetani na kutoa ulinzi wa wakati wa kufaa. Maneno ya Mungu yalikuwa yamenifanya kuwa mwenye nguvu na ujasiri, yakiniruhusu kushinda mateso yao katili mara kwa mara tena. Maneno ya Mungu yalikuwa yamenipa nguvu na imani, yalikuwa yamenipa ujasiri wa kupigana na Shetani hadi mwisho kabisa…. Shukrani ziwe kwa Mungu! Mwenyezi Mungu ndiye ukweli, njia na uzima! Daima nitamfuata Mwenyezi Mungu hadi mwisho kabisa!
Image Source: Kanisa la Mwenyezi Mungu
Terms of Use: sw.kingdomsalvation.org/disclaimer.html
.
045621022011
.
____________________________
NO Self promotion by Image / HTML or WEB Link
NO Faves With out Comments plz,
Doing such act might cause you A Block from Me
Only Appreciation. Critics . comments Faves, Notes , Blog it And Own Comments are welcome and NO Round Up Comments plz !!
Take Some time with me to share your feelings here,
____________________________________________ ,
,
Pay Visit to my:
Light Box
Getty Image Here
Twitter Here
Face Book Here
My Blog Here
My Modern Met Here
Red Bubble Here
__________________________
.
The Edit of this Photo Demands Your View In BLACK with Large size for better out put, Plz Press L for Black
This is the cover photo of my set National Language Movement 2011
This Photo was taken on 21th Fab at 01:30 pm , From Jatio Shaheed Minar , Dhaka, BANGLADESH, This Photo was Taken while my Special Photowalk with The flickr Group Frame BANGLADESH
Description :The Bengali Language Movement: and in Bangali Trnslation to ভাষা আন্দোলন
The Bengali Language Movement: Can read In Bangoli here]ভাষা আন্দোলন, also known as the Language Movement (Bengali: ভাষা আন্দোলন; Bhasha Andolon), was a political effort in Bangladesh (then known as East Pakistan), advocating the recognition of the Bengali language as an official language ofPakistan. Such recognition would allow Bengali to be used in government affairs.When the state of Pakistan was formed in 1947, its two regions, East Pakistan (also called East Bengal) and West Pakistan, were split along cultural, geographical, and linguistic lines. In 1948, the Government of Pakistan ordained Urdu as the sole national language, sparking extensive protests among the Bengali-speaking majority of East Pakistan. Facing rising sectarian tensions and mass discontent with the new law, the government outlawed public meetings and rallies. The students of the University of Dhaka and other political activists defied the law and organised a protest on 21 February 1952. The movement reached its climax when police killed student demonstrators on that day. The deaths provoked widespread civil unrest led by the Awami Muslim League, later renamed the Awami League. After years of conflict, the central government relented and granted official status to the Bengali language in 1956. In 2000,UNESCO declared 21 February International Mother Language Day for the whole world to celebrate[1], in tribute to the Language Movement and the ethno-linguistic rights of people around the world.The Language Movement catalysed the assertion of Bengali national identity in Pakistan, and became a forerunner to Bengali nationalist movements, including the 6-point movement and subsequently the Bangladesh Liberation War in 1971. In Bangladesh, 21 February is observed as Language Movement Day, a national holiday. The Shaheed Minar monument was constructed near Dhaka Medical College in memory of the movement and its victims
Background
The present nations of Pakistan and Bangladesh were part of undivided India during the British colonial rule. From the mid-19th century, the Urdu language had been promoted as thelingua franca of Indian Muslims by political and religious leaders such as Sir Khwaja Salimullah, Sir Syed Ahmed Khan, Nawab Viqar-ul-Mulk and Maulvi Abdul Haq.[2][3] Urdu is an Indo-Aryan language of the Indo-Iranian branch, belonging to the Indo-European family of languages. It developed under Persian, Arabic and Turkic influence on apabhramshas (last linguistic stage of the medieval Indian Aryan language Pali-Prakrit)[4] in South Asia during the Delhi Sultanate and Mughal Empire.[5] With its Perso-Arabic script, the language was considered a vital element of the Islamic culture for Indian Muslims; Hindi and the Devanagari script were seen as fundamentals of Hindu culture.[2]While the use of Urdu grew common with Muslims in northern India, the Muslims of Bengal (a province in the eastern part of British Indian sub-continent) primarily used the Bengali language. Bengali is an Eastern Indo-Aryan language that arose from the eastern Middle Indic languages around 1000 CE[6] and developed considerably during the Bengal Renaissance. As early as the late 19th century, social activists such as the Muslim feminist Roquia Sakhawat Hussain were choosing to write in Bengali to reach out to the people and develop it as a modern literary language. Supporters of Bengali opposed Urdu even before the partition of India, when delegates from Bengal rejected the idea of making Urdu the lingua franca of Muslim India in the 1937 Lucknow session of the Muslim League. The Muslim League was a British Indian political party that became the driving force behind the creation of Pakistan as a Muslim state separate from British India.[7]
The Other Set related to this set are available here at : International Mother Language Day
All other Photos of this set are available at : National Language Movement Dat 2011
_____________________________________
Thanks In Advance for not Inviting me to any Group and Attaching Graphics to this picture as a part of your comments, I appreciate you to view my photo , click Faves and write your comments instead you copy pest your comment to me.
Press F to Faves This Photo
-Please don't use or alter this image on websites, blogs or any other media without my explicit permission. © All rights reserved,
Philadelphia, PA, est. 1682; pop. 1,567,442 (metro 6MM)
• built in 1740 • earliest known photograph is dated 1859 — bldg. was then 119 yrs. old [photo] • Georgian-Colonial trinity aka "bandbox" design • typically, trinity houses had 1 room per floor & were built facing each other in rows of 4 identical bldgs. • in addition to the room on each floor, this house had a walkable attic room & a cellar
• served as both business & residence for shopkeepers & artisans for over 150 yrs. • among the occupants in the 18th c. were a shoemaker, apothecary & an upholsterer named Betsy Ross, who is said to have sewn the first American flag in this building • estimates of when & how long she lived here have her arriving in 1773 at the earliest & departing as late as 1791
• over time the house changed in appearance [photos] as neighborhood houses were razed & replaced w/larger commercial buildings —Where's Betsy
Betsy Ross
• Elizabeth "Betsy" Griscom (1752-1836) was a fourth-generation American • daughter of Samuel Griscom (1717-1793) & Rebecca James (c. 1730-1793) • the 8th of their 17 children • great granddaughter of Andrew Griscom (c. 1654-1694), a Quaker carpenter who migrated from England to New Jersey in 1680, 1 yr. before William Penn founded Philadelphia
"She often laughed at the curious fact that she was born on the first day of the week, the first day of the month, the first day of the year, and the first year of the 'new style' [which was] the dividing line between the old way of measuring the years time and the new method under the [Gregorian calendar… She was also] the seventh daughter of a seventh daughter." —C.B. Satterthwaite, great grandson, The Des Moines Register, 07 Jan, 1906
• at age 3 Betsy's family moved to a large home at 4th & Arch Sts. • went to a Friends (Quaker) public school • 8 of her siblings died before adulthood • lost her mother, father & sister, Deborah, to the 1793 yellow fever epidemic
• upon completion of her schooling at age 12, her father apprenticed her to upholsterer John Webster • fell in love with fellow apprentice John Ross (1752-1773), son of an Episcopal asst. rector at Christ Church • defying her parents, in 1773 Betsy, age 21, eloped w/John
• Betsy's sister Sarah & her husband Capt. Wm. Donaldson rowed the couple across the Delaware River, heading 5 miles downstream to Gloucestertown, NJ • they were married at family friend William Hugg Jr.'s tavern & inn, known locally as Hugg's …more: The New Jersey Hugg Line
• because her marriage to a non-Quaker was considered an act of "disorderly and undutiful conduct," Betsy was split from her family & read out of meeting, i.e., disowned by her Quaker community • became a member of Christ Church • the Ross's pew No. 12 [photo] was adjacent to Martha & George Washington's No. 56 & not far from Deborah & Benjamin Franklin's No. 70
• the newlyweds — now trained upholsterers — opened their own business • c. 1773 they rented a house, probably at what is today 239 Arch St. although the exact site is still debated by historians • most records point to this house or one next door at No. 241, long since razed
"The identity of the location was always preserved in the family, which agrees with the records in the old Philadelphia directories… from 1785, the first published, to the removal of Betsy Ross and her husband from 239 Arch Street, in 1791" —Betsy Ross grandson George Canby, New York Times, 05 July, 1908
• Benjamin Franklin & Benjamin Chew were among the Rosses' customers • business slowed during the Revolutionary War as fabric was in short supply • John Ross joined the Pennsylvania militia • mid-Jan., 1776, he was gravely wounded by a powder explosion at a Delaware River ammunition cache, apparently while standing guard • Betsy nursed him in their home, but he died within days
• in June, 1777, Betsy married girlhood suitor Joseph Ashburn, a privateer who commanded the sailing sloop Swallow • the couple had 2 daughters • the 1st, Aucilla ("Zillah"), died in infancy
• British troops entered Philadelphia on 26 Sep., 1777 after their victory at the Battle of Brandywine • the Ashburn home was forcibly shared with British occupation soldiers as the Continental Army suffered through the killing winter at Valley Forge • the British soldiers nicknamed Betsy "Little Rebel" —US History•org
• Betsy was pregnant with Elizabeth ("Eliza") when Joseph accepted a job offer & shipped out as first mate on the 6-gun brigantine, Patty • returned to be present for the Feb., 1781 birth of their 2nd daughter
• Joseph became master of the 18-gun Lion & took her to sea late in the summer of 1781 • on 31 Aug., his ship was captured off the coast of France by a 44-gun British frigate, the HMS Prudente
• prior to March, 1782, the British refused to designate captured rebels as prisoners of war, thus the captives from the Lion were viewed as traitors, charged with high treason & committed to Plymouth, England's Mill Prison [images] • while incarcerated, Ashburn met fellow prisoner John Claypoole, a longtime friend of the Ross family
• Claypoole, a Continental Army vet, had been wounded at Germantown & consequently discharged • in 1781 he signed on to man the 18-gun Pennsylvania privateer Chevalier de la Luzerne & was captured in April • in the spring of 1782 Ashburn died in prison, leaving Betsy a 2-time war widow at age 30 —Betsy Ross and the Making of America
"In the Night of the 3d of March Mr Joseph Ashburn departed this life after an illness of about a week which he bore with amazing fortitude & resignation" —John Claypoole, Mill Prison
"The story goes that Ashburn, while in Mill Prison, often talked with John Claypoole about his wife, Betty*, and at his death sent farewell messages by him to her. Claypoole, on his arrival in Philadelphia, hastened to deliver these messages, and inside of eight months he married her." —John Claypoole's Memorandum-Book *Betsy is referred to as "Betty" in some 18th, 19th & early 20th c. books & media
• in 1782 Claypoole returned to Philadelphia, called on Betsy & married her the following year • gave up his seafaring career to join her at the Arch St. upholstery shop • though renamed "John Claypoole, upholsterer," to customers the shop remained Betsy's place • the couple had 5 daughters: Clarissa, Susanna, Rachel, Jane & Harriet, who died at 9 months • sometime after Susanna's birth in 1786, the Claypooles moved from Arch St. to a larger house on 2nd
• Betsy returned to her Quaker roots, albeit with the Free (Fighting) Quakers, a group exiled from the main Quaker community when their support for the Revolution was ruled a violation of the faith's peace testimony • the couple became members c. 1785 • image: Betsy Claypoole signature taken from the Meeting House roster
• it is widely believed that when the Free Quaker Meeting House shut down in 1834, it was its last attending members — Elizabeth Claypoole & Samuel Wetherill — who closed the doors
• in 1817, after a long illness, John Claypoole died • Betsy never remarried • after retiring, she moved to the home of her daughter, Susanna • she died on 30 Jan, 1836, age 84
The American Flags
"Flags were a rare sight on land in the British North American colonies," —Wooden Teachout, Capture the Flag: A Political History of American Patriotism
• American flags were seldom used in parades or displayed by private citizens • colors were flown mainly in battle, over government institutions & on ships, where they were essential to identifying other vessels & determining friend or foe
• this changed after America's 1876 Centennial Exposition, which explains why "flags made prior to the Civil War are extremely rare, and flags made before 1820 are practically nonexistent." —Jeff R. Bridgeman, Stars and Stripes, Early American Life, Aug. 2011
• with the onset of the Revolutionary War, a flag for the "United Colonies" was created without the sanction of the Continental Congress • this 1775 flag was known as the Continental Colors, aka Grand Union, Congress Flag, Cambridge Flag
• on 2 Dec., 1775, the 1st Continental Colors flag was hand sewn by milliner Margaret Manny, who had begun making flags & ensigns the previous year
"Everyone knows about Betsy Ross, why do we know nothing about Margaret Manny? Probably for no better reason than that she had fewer articulate friends and relatives to build a story around her." —historian Barbara Tuchman, The First Salute
• the Continental Colors had 13 alternating red & white stripes with the British Union crosses in the canton • was created to replace the use of individual colony flags • prior to the Declaration of Independence, it was probably the most used unofficial flag of the revolution • American Flag Timeline
• the inclusion of the British Jack in the design signals that this flag was intended not for a civil war of secession, but rather a crusade to secure the American colonists' rights as Englishman • prior to the signing of the Declaration of Independence, Gen. George Washington, still hoping for reconciliation with Mother England, would occasionally toast the King —The Forgotten Flag of the American Revolution and What It Means
• on 3 Dec, 1775, the new flag was raised by 1st Lt. John Paul Jones (1747-1792) on the 30-gun Continental Navy frigate USS Alfred [painting], the 1st national ensign to fly on an American fighting vessel —Naval History Blog
• the flag later flew over the signing of the Declaration of Independence & according to tradition (contested by some scholars), it was raised on a ship's mast atop Charlestown's Prospect Hill [painting] during Washington's 1 Jan., 1776 siege of Boston
• spotting the hybrid British/American flag for the first time, confused British observers took it as a signal of submission: “By this time, I presume, they begin to think it strange that we have not made a formal surrender of our lines,” Washington wrote • his psychological weaponry also included an early form of war propaganda
• absent a single government-mandated flag design, a variety of others were used • within a yr. after Prospect hill, the Continental Colors' Union Jack was replaced by a blue field w/13 white stars in various arrangements, e.g., rows, or possibly a circle?
• on 14 June, 1777, now celebrated as Flag Day, the American Flag was born by resolution of the Continental Congress, the country’s 1st flag law • during the Revolutionary period that followed, the stars on most American flags were arranged in rows of 4-5-4 with the number of points on most stars ranging from 4 to 8 • compared to the Continental Colors, the rows of stars made it easier to identify the flag/ship/nationality at sea —The 13 Stars & Stripes
The Story
• about a year before the Flag Resolution of 1777 Betsy Ross, 5-months a widow & struggling to make a ends meet, is said to have received a visit from a Continental Congress flag committee (apparently a secret one as there are no records of its existence)
• according to the well known Betsy Ross story, in late May of 1776 (but possibly 1777) 3 heroes of the revolution — George Ross, the uncle of Betsy's late husband, financier/slave trader Robert Morris & Betsy's pew neighbor Gen. George Washington [portraits] — called on her to discuss a flag for the new nation
• Rachel Fletcher (Betsy's daughter) recalled that "…she was previously well acquainted with Washington, and that he had often been in her house in friendly visits, as well as on business. That she had embroidered ruffles for his shirt bosoms and cuffs, and that it was partly owing to his friendship for her that she was chosen to make the flag." —Rachel's affidavit
• as told by Betsy, Gen. Washington, then head of the Continental Army, showed her a rough design of a flag with 6-pointed stars • she offered suggestions for modifications & stated a preference for 5-pointed stars • when her visitors expressed concern over the difficulty of producing them, she replied, "Nothing easier," which she then proved by cutting a 5-pointed star in a single snip • video: Make a perfect star with ONE cut! (1:15) • Two Conundrums Concerning the Betsy Ross Five-Pointed Star
• changes approved, Washington redrew the flag w/a pencil • Betsy's friend & collaborator William Barrett, a Cherry St. ornamental painter created a water color copy of the drawing for her to work from • 1-2 other seamstresses sewed alternate designs for the committee, but only Betsy's was approved & used
• what is known today as the "Betsy Ross flag" has 13 red & white stripes & a ring of 13, white 5-pointed stars • though the design may have been in use by 1777, vexillologists believe that between 1777-1795, (the yrs. the official flag had 13 stars) most flags displayed stars in rows, which are easier to produce than a circle
• None of the surviving flags from the 18th century exhibit the Betsy Ross pattern • however a few examples are depicted in the art of the era (although period art is notoriously unreliable for flag research)
• the flag depicted in Chas. Willson Peale's 1779 George Washington at the Battle of Princeton is generally considered credible & "may be the only evidence in a painting… that suggests that a circle-pattern flag may have existed in colonial times… Otherwise, you won't see an American flag with a perfect circle of stars made before the 1890s." —Jeff R. Bridgeman, loc. cit.13 Stars in the Betsy Ross Pattern • historically significant the American flags [images]
• though known as an upholsterer, there is no doubt that Betsy made flags, having sewn pennants & ensigns for the Pennsylvania State Navy Board (as did Margaret Manning & Rebecca Young, whose daughter Mary Pickersgill would go on to sew the enormous flag that inspired the U.S. National Anthem, Francis Scott Key's The Star-Spangled Banner)
• a month before Congress passed the Flag Resolution, Betsy was paid 14 pounds, 12 shillings, 2 pence (~$2,300 in 2017 USD) for what must have been a prodigious quantity of Pennsylvania Navy flags • there is no hard evidence that any of these were American flags • "...today we are reasonably convinced that Betsy’s flag was a naval flag, with a simple ‘in line’ arrangement of the stars…" —John B. Harker, Historian & Betsy Ross descendent
• Betsy (Elizabeth Claypool) was now in the business of producing flags & ensigns for the federal govt. • throughout the Jefferson & Madison admins. the skilled needlewoman made flags as large as 18' x 24' for American military installations, with demand peaking during the War of 1812
• for the rest of her life she — in her words — "never knew what it was to want employment" • her oldest daughter, Clarissa Sidney Wilson (1785-1864) [portrait], succeeded her, supplying arsenals, navy yards & the mercantile marine with flags for years —Betsy Ross•org
"In the last years of her life, Ross was neither more nor less important than other aging women who had lived through the Revolution. That she became famous while others were forgotten exposes the interlocking power of family history, local memory, and national politics." —How Betsy Ross Became Famous by Laurel Thatcher Ulrich, Historian
The Legend
"…at a time of great historic import such as that time when the Declaration was signed, people have no leisure to think about the minor events which are taking place. Thus, during the revolution no one thought of Betsy Ross as a national heroine, and it was not, in fact until 1870 that William J. Canby (1825-1890) first brought the story of how the first flag was made into general prominence." —Dr. Lloyd Balderston, great-grandson of Betsy Ross, The Philadelphia Inquirer, 3 Jul, 1908
• there is no record of the the Betsy Ross story prior to 1870 • that year — 34 years after her death — Betsy's 45 yr. old grandson, a title processor named William Jackson Canby, presented a paper titled The History of the Flag of the United States to the Historical Society of Pennsylvania • the document, accompanied by sworn affidavits, was an oral history passed on by descendants of Betsy Ross, including Canby himself who was 11 yrs. old when she died • …more: The Evolution of the American Flag by (Betsy Ross descendants) George Canby (1829-1907), Lloyd Balderston, Ph.D (1863-1933)
• the story was largely ignored until it was mentioned in historian George Henry Preble's 1872 book Our Flag & appeared in the July, 1873 Harper's Monthly [illustration] • with Civil War wounds slowly healing & the 1876 centennial celebration fast approaching, Betsy Ross & the flag entered American consciousness • in the 1880's her story began to appear in textbooks • by the mid 1890s it was often illustrated by an engraving of The Birth of Our Nation’s Flag, an 1893 painting by Charles H. Weisgerber (1856-1932)
• oral tradition has it that in 1892 Weisgerber, a 36 yr. old aspiring artist, was bent on winning a forthcoming art competition • walking along Arch St., he noticed a plaque at No. 239 which identified the bldg. as the site where Betsy Ross sewed the 1st American flag
• inspired, Weisgerber envisioned a scene of Betsy & the 1st flag set in her shop • to fill in details of the story, characters & setting, he drew on period portraits, the testimony of living descendants & the 22 yr. old Canby paper
• with no authentic image of Betsy in existence (according to her relatives), Weisgerber painted a composite taken from images of 4 of her daughters & a granddaughter who was said to closely resemble her • the resulting portrait was critiqued by relatives who had known her & modified accordingly • Weisgerber then created a massive 9' x 12' painting • portrayed the young Widow Ross, saintly matriarch of a new nation, as she presents the 1st American flag to 3 revered American patriarchs
• "the image was [said] …by Mrs. Ross' grandson, George Canby, to be the only correct likeness of [her]" — he was 7 yrs. old when Betsy Ross died —The Times (Philadelphia) 15 Jun 1893
• the flag depicted in the painting — with no evidence to support the authenticity of its design — has since been known as the "Betsy Ross flag," the standard for celebrating the U.S.A.'s birthday each 4th of July
The Apotheosis
• Weisgerber's painting won the $1,000 prize & in 1893 was showcased in the Pennsylvania Building at Chicago’s Columbian Exposition • seen by millions of visitors • contributed to the nascent reverence for Betsy Ross & the flag as sacred symbols of the emerging, quasi-religious American civil religion • politicians, patriotic societies & public sentiment propelled the flag's transformation into an object of veneration, its role expanding well beyond the customary military & govt. functions
On Flag Day, 1894, the Colonial Dames gathered 500 schoolchildren to honor “the adoption by Congress . . . of the flag made by Betsy Ross from the design submitted to her by Gen. Washington” • by 1895, 10 states had laws requiring public schools to display the flag on all school days — Laurel Thatcher Ulrich, loc. cit.
• in 1897 the City of New York bought thousands of lithographs of Weisgerber’s painting for its public schools: “It is thought that the representation which is declared historically correct, together with such lectures as the teachers may deliver, will add much to the pupil’s knowledge and keep alive a proper reverence for the country’s emblem.” —New York Times, 14 Feb, 1897
• in 1885, NYC school principal George T. Balch (1821-1908), a vet. of the Indian & Civil Wars, wrote Salute to the Flag, the U.S.A.'s first pledge of allegiance
"I give my hand and my heart to my country — one nation, one language, one flag."
• the heightened patriotism of the era inspired a movement to organize schoolyard flag raising ceremonies • the American Flag Assn. was founded in 1897 for the "fostering of public sentiment in favor of honoring the flag in our country and preserving it from desecration" • Natl. Flag Day was proclaimed in 1917
• Christian Socialist Francis Bellamy (1855-1931), who worked in the premium dept. of The Youth's Companion magazine, wrote a new U.S. Pledge of Allegiance (1892) for his employer • created as part of the magazine's campaign to sell American flags to public schools • goal was a flag in every classroom • 25,000 schools acquired flags the 1st yr. • though priced "at cost," banner sales proved profitable
• Bellamy also choreographed a salute — the "Bellamy Salute" — to accompany the pledge • because of its similarity to the Nazi heil it was replaced by a right-hand-over-heart gesture during World War II • another Youth's Companion employee, James Upham, headed a flag-centric project designed to engage public schools in the commemoration of the U.S.A.'s 1st Columbus Day (Oct. 1892)
The Verdict
• for nearly a century-and-a-half, historians have debated the available evidence in an attempt to prove that Betsy Ross either did or did not produce the 1st American flag: "There’s no good historical evidence that she did. But that doesn’t mean she didn’t. There’s simply a lack of documentation. Most historians believe the story is apocryphal." —Marc Leepson, author of Flag: An American Biography, The Truth About Betsy Ross
• the identity of the woman who sewed America's 1st flag may never be certain, but there is good reason to believe that its designer may have been Francis Hopkinson (1737-1791) • the NJ representative to the Continental Congress & signer of the Declaration of Independence is the only person entered into the Congressional record for designing the 1st American flag
• it has been speculated that on 14 June, 1777, it was Hopkinson who replaced the British crosses in the Continental Colors with white stars on a blue field • no original sketch of a Hopkinson flag exists, but surviving rough sketches including his design for the Great Seal of the U.S. incorporate elements of 2 of his flag designs —Wikipedia
On 25 May, 1780, Hopkinson wrote to the Continental Board, requesting "a Quarter Cask of the public Wine" as payment for several itemized "patriotic designs" he had completed, most notably, "the flag of the United States of America" • submitted another bill on 24 June for "drawings and devices," including "the Naval Flag of the United States"
• the Treasury Board rejected his request for payment because he "was not the only person consulted on those exhibitions of Fancy" & furthermore was not entitled to compensation as he was already on the government payroll —Did Francis Hopkinson Design Two Flags?, Earl P. Williams, Jr.
• Hopkinson is also considered America's 1st poet-composer • written at age 21, his song My Days have been so Wondrous Free (1759) is regarded as the earliest surviving American secular composition [listen] —UPen•edu
Saving Betsy's House
• by 1859, 239 Arch St. was occupied by the family of German immigrant (Carl) Philip Mund (1822-1883), who operated a tailor's shop on the 1st floor • the landlord, after collecting rent for the first year, never returned • over the succeeding rent-free decades, the Munds operated a variety of businesses in their retail space
• after Canby's 1870 speech identified the location of Betsy Ross's house as Arch between 2nd & 3rd, the Munds — occupants of the block's last standing colonial house — posted a sign: "First Flag of the US Made in this House" • in 1876, as visitors poured into the city for the Philadelphia Centennial Exhibition, the Munds ran an ad for their latest 1st floor business: "Original Flag House, Lager, Wine and Liquors. This is the house where the first United States flag was made by Mrs. John Ross." —Historic Philadelphia
• after Philip Mund died his wife Amelia, who objected to running a saloon, converted the space into a cigar store & candy shop which operated until 1892 — her son Charles then devoted the space to a museum/souvenir shop [photo] —The Betsy Ross House Facts, Myths, and Pictures by G.A. Anderson
• c. 1897 citizens led by Charles Weisgerber organized the American Flag Soc. & Betsy Ross Memorial Assn. • goal was to rescue the house from imminent demolition • intended to purchase it from Charles Mund, restore it to its 18th-c. appearance, preserve the memory of Betsy Ross & honor the American flag
• to raise the funds for purchasing the Betsy Ross "American Flag House," the Association devised a rudimentary multi-level marketing strategy • sold lifetime memberships for 10 cents • each member was encouraged to recruit others & form a group of 30; each group founder received a chromolithographograph of Weisgerber's painting • over 2 million monochrome certificates were sold at ten cents each • the colorful chromoliths were available at addl. cost (frame not included) —Enjoying Philadelphia
• the Association leased the house in 1898, purchased it in 1903 • Weisgerber & his family moved in • lived upstairs, kept the museum & a souvenir shop on the 1st floor • in 1902 they named their newborn son Charles Vexil Domus, Latin for "flag house" [photo] • he would later replace his parents as custodian of the house —G.A. Anderson, loc. cit.
• by 1936 the house was on the verge of ruin • in 1937 Philadelphia Mayor Davis Wilson proposed a restoration by WPA workers • this provoked "a storm of protest" from critics
• Pennsylvania Historical Soc. members wrote off the Betsy Ross story as "hokum" and "the bunk" • the protests from scholars & historians sparked an unwinnable faith vs. reason culture war with patriotic organizations such as the Daughters of the American Revolution & the Patriotic Order Sons of America
• amid the controversy, Philadelphia radio manufacturer & philanthropist A. Atwater Kent (1873-1949) offered to pay up to $25K for the restoration • Historical architect, Richardson Brognard Okie (1875-1945) won the commission
• the design for the restoration was derived from evidence & conjecture • goal was to return the bldg. to its c. 1777 appearance • surviving architectural elements were preserved when possible • materials salvaged from demolished colonial era homes were also used • in 1941, the Association gave the property to the city • the house now stands as one of Philadelphia's most popular tourist attractions
Postscript
• in 1929 Hugg's tavern, where Betsy Griscom defied family & church to marry John Ross, was demolished to make way for the Proprietor's Park swimming pool, which no longer exists • the Revolutionary War-era Hugg-Harrison-Glover House (1764), built on property owned by the Hugg family as early as 1683, was razed in the face of fervent opposition, March, 2017 —Facebook
• 178 yrs. after Betsy's wedding & just 5 blocks from where Hugg's once stood, another American legend was born at the Twin Bar [photo] when Bill Haley (and the Saddlemen) performed there in the early 1950s [poster] • in 1952 Haley's band laid down a cover of Rock the Joint [listen], an historic 1949 recording by Jimmy Preston & His Prestonians [listen] • each of these recordings has been cited as a candidate for the title of first rock 'n' roll song • Gloucester City thus became one of several U.S. sites that claims the title "Cradle of Rock 'n Roll"
Charles H. Weisgerber died in 1932 • his magnum opus, The Birth of the American Flag lay rolled up & hidden away in a barn loft & later in the back of a South Jersey dye-making workshop • his grandson Stuart (son of Vexil Domus) found it — still rolled up — in his mother's basement • its poor condition precluded exhibition: in the 50s, hanging in the old State Museum at Harrisburg, it had been vandalized, then incurred additional damage from repeated unrolling
• Weisgerber sought a Philadelphia home for the massive work but was unsuccessful • after a $40K restoration in 2002 the painting, it's appraised market value just $50K, returned to the State Museum at Harrisburg
• in 1976 the remains of Betsy Ross & 3rd husband John Claypoole were moved from Mount Moriah cemetery, Yeadon, PA, to the garden on the west side of the Betsy Ross House courtyard
© Denis Dumoulin 2011- Tous droits réservés
Visiter: www.passioncanon.net/default.html
Je vous présente c'est magnifique insecte rarement photographier surnommé par nos cousins français les girafes gracieuses, il y plus 8000 espèces(É-U+Can) de c'est digne représentants des Hymenoptera de la famille des Ichneumonidae. Il parasite les larves de Circidae(Tremex) et par le fait même représente une source importante de nourriture pour la faune aviaire, principalement la famille des pics. C'est Hyménoptère détecte grâce à leur antenne le mouvement des larves ainsi que les galeries de ceux-ci par la suite elle enfonce dans les orifices du bois leur ovopositeur(l'ovopositeur est une tige rigide par lequel un insectes peux pondre, chez les Megarhyssa il y a trois partie; l'ovopositeur et deux tige guide qui permet une meilleur pénétration dans le bois)) à l'intérieur des galeries pour pondre des oeufs qui une fois éclos, von s'accrocher aux larves de Trémex et ainsi dévorer leur hôte tranquillement pour finalement émerger après un cycle de métamorphose.
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
14 Performances. Relation Work (1976 - 1980). Filmed by Paolo Cardazzo. Marina Abramović/ Ulay. Neuer Berliner Kunstverein, Berlin, Germany.
Abramović, Marina. Student Body: Workshops 1979 - 2003: Performances 1993 - 2003. Milano: ed. Charta, 2003.
Bergson, Henri. Creative Evolution. London: Macmillan and Co., 1911.
Bergson, Henri. Key Writings. Edited by Keith Ansell-Pearson and John Mullarkey. New York:
Continuum, 2002.
Bergson, Henri. Matter and Memory. New York: Zone Books, 1988.
Blaikie, William. “Common Sense Physical Training.” In Athletics and Health: Modern Achievement: Advice and Instruction upon the Conduct of Life, Principles of Business, Care of Health, Duties of Citizenship, etc. Edited by Edward Everett Hale. New York: P.F. Collier & Son, 1902.
Blaikie, William. How to Get Strong and How to Stay So. New York: Harper & Brothers Publishers, 1883.
Cunningham, Merce. Changes: Notes on Choreography. New York: Something Else Press, 1969.
de Balzac, Honoré. The Human Comedy. EBook: Project Gutenberg, 2010. de Balzac, Honoré. Théorie de la démarche. 1833, 1853.
de Biran, Maine. “Opposition du principe de Descartes avec celui d’une science de l’homme. Première base d’une division des faits psychologiques et physiologiques. Perception et sensation animale.” In Maine de Biran. Librairie Philosophique J. VRIN, 1990.
de Tocqueville, Alexis. The Old Regime and the Revolution. New York: Harper & Brothers, Publishers, 1856.
Delaumosne, M. L’Abbe. “The Delsarte System.” Translated by Frances A. Shaw. In Delsarte System of Oratory, 4th Ed. New York: Edgar S. Werner, 1893.
Descartes, René. Méditations metaphysiques. 1641.
Gropius, Walter, and Arthur S. Wensinger, eds. The Theater of the Bauhaus: Oskar Schlemmer, Laszlo Moholy-Nagy, Farkas Molnár. Translated by Arthur S. Wensinger. Middleton, Conn.: Wesleyan University, 1961.
Hahn, Archibald. How to Sprint: The Theory of Spring Racing. New York: American Sports Publishing Company, 1923.
Hegel, Georg Wilhelm Friedrich. Phenomenology of Spirit. Translated by A.V. Miller. Oxford: Oxford University Press, 1977.
Helmholtz, Hermann. “On the Facts Underlying Geometry.” In Epistemological Writings: Hermann von Helmholtz. Edited by R.S. Cohen and Y. Elkana. Boston: D. Reidel Publishing Company, 1977.
Helmholtz, Hermann. Théorie physiologique de la musique fondée sur l’étude des sensations auditives. Paris: Masson, 1868.
Helmholtz, Hermann. Treatise of Physiological Optics (Handbuch der physiologischen Optik) 1856. 3 Volumes. Translated by James P.C. Southall. Milwaukee, 1924.
Holmes, Oliver Wendall. Soundings from the Atlantic. Boston: Tickknor and Fields, 1864. James, William. The Principles of Psychology. New York: Henry Holt & Co, 1890, 1918.
James, William. Writings 1902 - 1910. Edited by Bruce Kuklick. New York: Literary Classics of the United States, 1987.
Kandinsky, Vasily. Über Das Geistige in der Kunst. Dritte Auflage. München: R. Piper&Co, 1912.
Kant, Immanuel. “Was ist Aufklärung?” 1784.
Laban, Rudolf. A Life for Dance: Reminiscences. Translated by Lisa Ullmann. London: Macdonald & Evans, 1975.
Laban, Rudolf. Choreographie. Jena: E. Diederichs, 1926.
Laban, Rudolf. Choreutics. Edited by Lisa Ullmann. London: Macdonald & Evans, 1939, 1966.
Laban, Rudolf. Effort: Economy in Body Movement. 2nd Edition. Boston: Plays, 1947, 1974.
Laban, Rudolf. Principles of Dance and Movement Notation. New York: A Dance Horizons Republication, 1956, 1970.
Laban, Rudolf. The Language of Movement: A Guidebook to Choreutics. Edited by Lisa Ullmann. Boston: Plays, Inc., 1974.
MacKaye, Percy. “Steele Mackaye, Dynamic Artist of the American Theatre; An Outline of his Life Work,” in The Drama. Edited by William Norman Guthrie and Charles Hubbard Sergel. Chicago: The Dramatic Publishing Company, 1911.
Marey, Étienne-Jules. La Machine Animale: Locomotion Terrestre et Aérienne. Paris: Librairie Germer Baillière, 1873.
Marey, Étienne-Jules. Le Vol des Oiseaux. Paris: Libraire de l’académie de médecine, 1890. Marey, Étienne-Jules. Movement. Translated by Eric Pritchard. New York: D. Appleton and
Company, 1895.
Michelet, Jules. The History of France. Volume I. Translated by Walter K. Kelly. London: Chapman and Hall, 1844.
Morgan, Anna. An Hour with Delsarte: A Study of Expression. New York: Edgar S. Werner Publisher, 1891.
Muybridge, Eadweard. Animal Locomotion: An Electro-photographic Investigation of Consecutive Phases of Animal Movements. Philadelphia: University of Pennsylvania and J. B. Lippincott Company, 1887.
Muybridge, Eadweard. Descriptive Zoopraxography, or the Science of Animal Locomotion. Philadelphia: University of Pennsylvania, 1893.
Muybridge, Eadweard. The Attitudes of Animals in Motion: A Series of Photographs Illustrating the Consecutive Positions assumed by Animals in Performing Various Movements; Executed at Palo Alto, California, in 1878 and 1879 (1881). Albumen, Library of Congress, Washington, D.C., Library of Congress.
Muybridge, Eadweard. The Human Figure in Motion. New York: Dover Publications, 1955. Ramsaye, Terry. A Million and One Nights: A History of the Motion Picture. U.K.: Simon and
Schuster, Inc., 1926, 1954.
Richer, Paul. Physiologie Artistique: De l’Homme en Mouvement. Paris: Aulanier et Cie, 1896.
Sanburn, Frederic. Delsartean Scrap-book: Health, Personality, Beauty, House-Decoration, Dress, etc. New York: United States Book Company, c. 1890.
Schlemmer, Oskar. Briefe und Tagebücher: The Letters and Diaries of Oskar Schlemmer. Edited by Tut Schlemmer. Translated by Krishna Winston. Middletown, Conn: Wesleyan University Press, 1972.
Schlemmer, Oskar, and Heimo Kuchling. Der Mensch, Unterricht am Bauhaus. Nachgelassene Aufzeichnungen. Mainz: F. Kupferberg, 1969.
Schuftan, Werner. Handbuch des Tanzes. Preface by Rudolf von Laban. Mannheim: Verlag Deutscher Chorsänger Verband und Tänzerbund, 1928.
Shearman, Sir Montague. Athletics and Football. London: Longmans, Green, and Co., 1888. Smith, Shawn Michelle. At the Edge of Sight: Photography and the Unseen. Durham: Duke
University Press, 2013.
Stebbins, Genevieve. Delsarte System of Expression, 5th Edition. New York: Edgar S. Werner, 1894; orig. 1885.
Talbot, Frederick A. Practical Cinematography and its Applications. London: William Heinemann, 1913.
Wigman, Mary. The Mary Wigman Book: Her Writings. Middletown, CT: Wesleyan University Press, 1975.
Abramović, Marina, et al. Marina Abramović: Seven Easy Pieces. New York: Charta 2007. Acconci, Vito. Language to Cover a Page: The Early Writings of Vito Acconci. Edited by Craig
Dworkin. Cambridge: MIT Press, 2006.
Adolphs, Volker, and Philip Norten. Gehen Bleiben: Bewegung, Körper, Ort in der Kunst der
Gegenwart. Bonn: Kunstmuseum Bonn, 2007.
Agamben, Giorgio. “Movement.” In Dance: Documents of Contemporary Art. Edited André
Lepecki. London: MIT Press and WhiteChapel Gallery, 2012.
Alberro, Alexander, and Blake Stimson, eds. Institutional Critique: An Anthology of Artists’
Writings. Cambridge: MIT Press, 2009.
Albers, Kate Palmer. “Abundant Images and the Collective Sublime.” Exposure. Volume 46,
Issue 2 (Fall 2013).
Allen, Beverly. Rape Warfare: The Hidden Genocide in Bosnia-Herzegovina and Croatia. Minneapolis: University of Minnesota Press, 1996.
Alloway, Lawrence. The Venice Biennale 1895 - 1968: from salon to goldfish bowl. Greenwich, CT: New York Graphic Society LTD., 1968.
Anderson, Ben. “Affect and Biopower: Towards a Politics of Life.” Transactions - Institute of British Geographers, Issue 1 (2011).
Andras, Edit, and Bojana Pejic, eds. Gender Check: Femininity and Masculinity in the Art of Eastern Europe. Cologne: Buchhandlung Walther König, 2009.
Antliff, Mark. Inventing Bergson: Cultural Politics and the Parisian Avant-Garde. Princeton: Princeton University Press, 1992.
Arendt, Hannah. The Human Condition, Second Edition. Chicago: University of Chicago Press, 1958, 1998.
Arendt, Hannah. On Violence. New York: Harcourt Brace, 1969.
Atkins, Dawn, ed. Looking Queer: Body Image and Identity in Lesbian, Bisexual, Gay, and
Transgender Communities. New York: The Haworth Press, 1998.
Ault, Julie, ed. Alternative Art, New York, 1965-1985: A Cultural Politics Book for the Social
Text Collective. Minneapolis: University of Minnesota Press, 2002.
Auslander, Philip. “Going with the Flow: Performance Art and Mass Culture.” TDR. Volume 33,
Number 2 (Summer 1989).
Auslander, Philip. “The Performativity of Performance Documentation.” PAJ 84 (2006).
Backstein, Joseph, and Daniel Birnbaum, Sven-Olov Wallenstein. Thinking Worlds - The Moscow Conference on Philosophy, Politics, and Art. Berlin: Sternberg Press, 2008.
Badovinac, Zdenka. Body and the East: From the 1960s to the Present. Cambridge, Mass.: MIT Press, 1999.
Baer, Ulrich. Spectral Evidence: The Photography of Trauma. Cambridge: MIT Press, 2002. Baker, George. “Entr’acte.” October. Volume 105 (Summer 2003).
Bale, John. Imagined Olympians: Body Culture and Colonial Representations in Rwanda. Minneapolis: University of Minnesota Press, 2002.
Bale, John. Running Cultures: Racing in Time and Space. London: Frank Cass, 2004. Banes, Sally. Democracy’s Body: Judson Dance Theatre, 1962 - 1964. Durham, NC: Duke
University Press, 1993.
Banes, Sally. Terpsichore in Sneakers: Post-Modern Dance, 2nd edition. Middletown, CT: Wesleyan University Press, 1987.
Bartenieff, Irmgard. Body Movement: Coping with the Environment. New York: Routledge, 2002.
Barthes, Roland. Camera Lucida: Reflections on Photography. Translated by Richard Howard. New York: Hill and Wang, 198, 2010.
Barthes, Roland. Mythologies. Translated by Annette Lavers. New York: Hill and Wang, 1972. Batchen, Geoffrey. Burning with Desire: The Conception of Photography. Cambridge: MIT
Press, 1997.
Baudelaire, Charles. The Parisian Prowler, Le Spleen de Paris Petits Poèmes en Prose. Translated by Edward K. Kaplan. Athens: The University of Georgia Press, 1989.
Bauer, M. W. and G. Gaskell. Biotechnology — the Making of a Global Controversy. Cambridge: Cambridge University Press, 2002.
Bayat, Asef. Life as Politics: How Ordinary People Change the Middle East. Amsterdam: Amsterdam University Press, 2010, 2015.
Belaief, Lynne. “Meanings of the Body.” Journal of the Philosophy of Sport. Volume 4, Issue 1 (1977).
Bell, Catherine. Ritual: Perspectives and Dimensions. New York: Oxford University Press, 1997.
Benjamin, Walter. Charles Baudelaire: A Lyric Poet in the Era of High Capitalism. Translated by Harry Zohn. London: Verso, 1997.
Benjamin, Walter. Selected Writings, Volumes 1 - 4. Edited by Howard Eiland and Michael W. Jennings. Cambridge: Belknap Press of Harvard University Press, 2003 - 2006.
Benjamin, Walter. “The Storyteller: Reflections on the Works of Nikolai Leskov.” In Illuminations. Edited by Hannah Arendt. Translated by Harry Zohn. New York: Schocken Books, 2007.
Bennett, Jill. Empathic Vision: Affect, Trauma, and Contemporary Art. Stanford, CA; Stanford University Press, 2005.
Berger, John. About Looking. New York: Pantheon Books, 1980.
Bergson, Henri. Laughter: An Essay on the Meaning of the Comic. Translated by Cloudesley Brereton and Fred Rothwell. New York: The Macmillan Company, 1914.
Bishop, Claire, and Marta Dziewańska, eds. 1968 - 1989: Political Upheaval and Artistic Change. Warsaw: Museum of Modern Art, 2009.
Bishop, Claire. Artificial Hells: Participatory Art and the Politics of Spectatorship. London: Verso, 2012.
Bishop, Claire. Radical Museology: or, What’s ‘Contemporary’ in Museums of Contemporary Art? London: Koenig Books, 2013.
Black, Graham. Transforming Museums in the Twenty-First Century. New York: Routledge, 2011.
Blaive, Muriel, and Christian Gerbel, Thomas Lindenberger, eds. Clashes in European Memory: The Case of Communist Repression and the Holocaust. Innsbruck: Studienverlag, 2011.
Blassnigg, Martha. Time, Memory, Consciousness and the Cinema Experience: Revisiting Ideas on Matter and Spirit. New York: Rodopi, 2009.
Bloomer, Kent C., and Charles Willard Moore. Body, Memory, and Architecture. New Haven: Yale University Press, 1977.
Boecker, Henning, et. al. “The Runner’s High: Opioidergic Mechanisms in the Human Brain.” Cerebral Cortex. Volume 18, Number 11 (2008).
Bougarel, Xavier, and Elissa Helms, Ger Duijzings, eds. The New Bosnian Mosaic: Identities, Memories and Moral Claims in a Post-War Society. Hampshire, England: Ashgate, 2007.
Bourdieu, Pierre. Outline of a Theory of Practice. Cambridge: Cambridge University Press, 1977.
Bourriaud, Nicolas. Relational Aesthetics. Dijon: Les Presses du réel, 1998, 2002.
Brandstetter, Gabriele. Poetics of Dance: Body, Image and Space in the Historical Avant- Gardes. Translated by Elena Polzer and Mark Franko. Oxford: Oxford University Press, 1995, 2015.
Braudy, Leo, and Marshall Cohen, eds. Film Theory and Criticism: Introductory Readings. New York: Oxford UP, 1999.
Braun, Marta. Eadweard Muybridge. London: Reaktion, 2010.
Braun, Marta. Picturing Time: The Work of Etienne-Jules Marey (1830 - 1904). Chicago:
University of Chicago Press, 1992, 1994.
Brettell, Richard R. Modern Art, 1851 - 1929: Capitalism and Representation. Oxford: Oxford University Press, 1999.
Brooke, J.D., and H.T.A. Whiting, eds. Human Movement - A Field of Study. London: Henry Kimpton Publishers, 1973.
Brown, Keith S., and Yannis Hamilakis, eds. The Usable Past: Greek Metahistories. Lanham, MD: Lexington Books, 2003.
Brunnbauer, Ulf, and Konrad Clewing, eds. Südost-Forschungen. Munich: R. Oldenbourg Verlag, 2008.
Bruno, Giuliana. Atlas of Emotion: Journeys in Art, Architecture, and Film. New York: Verso, 2002.
Bryzgel, Amy. Performing the East: Performance Art in Russia, Latvia, and Poland since 1980. London: I.B. Tauris, 2012.
Buchloh, Benjamin H. D. Neo-Avantgarde and Culture Industry: Essays on European and American Art from 1955 to 1975. Cambridge: MIT Press, 2001, 2003.
Buck-Morss, Susan. The Dialectics of Seeing: Walter Benjamin and the Arcades Project. Cambridge: MIT Press, 1991.
Burchell, Graham, and Colin Gordon, Peter Miller, eds. The Foucault Effect: Studies in Governmentality. Chicago: University of Chicago Press, 1991.
Bürger, Peter. Theory of the Avant-Garde. Translated by Michael Shaw. Minneapolis: University of Minnesota Press and Manchester University Press, 1974, 1984.
Butler, Judith. Bodies that Matter: On the Discursive Limits of Sex. New York: Routledge, 1993. Butler, Judith. Gender Trouble: Feminism and the Subversion of Identity. New York: Routledge,
2006.
Butler, Samuel. Unconscious Memory: A Comparison between the Theory of Dr. Ewald Hering and the ‘Philosophy of the Unconscious’ of Dr. Edward von Hartmann. London: David Bogue, 1880.
Cage, John. Silence: Lectures and Writings. Middletown, CT: Wesleyan University Press, 1961. Campany, David, ed. The Cinematic: Documents of Contemporary Art. Cambridge: MIT Press,
2007.
Canales, Jimena. A Tenth of a Second: A History. Chicago: University of Chicago Press, 2009.
Careri, Francesco. Walkscapes: Walking as an Aesthetic Practice. Translated by Steve Piccolo and Paul Hammond. Barcelona: Editorial Gusavo Gili, 2002.
Carroll, Noël. Theorizing the Moving Image. Cambridge: Cambridge University Press, 1996. Cetinić, Ljiljana, and Ana Panić, eds. Štafete: Titova Štafeta - Štafeta Mladosti, 1945 - 1987.
Belgrade: Tipografik plus, 2008.
Chase, Stuart. Men and Machines. New York: Macmillan Co, 1929.
Christesen, Paul. Sport and Democracy in the Ancient and Modern Worlds. Cambridge: Cambridge University Press, 2012.
Christian, Mary. Marina Abramović: The Artist is Present. New York: The Museum of Modern Art, 2010.
Clark, Kenneth. The Nude: A Study in Ideal Form. New York: Pantheon Books, 1956. Coleman, Simon, and John Eade, eds. Reframing Pilgrimage: Cultures in Motion. London:
Routledge, 2004.
Connerton, Paul. The Spirit of Mourning: History, Memory and the Body. Cambridge: Cambridge University Press, 2011.
Cosgrove, Denis. Geography and Vision: Seeing, Imagining and Representing the World. New York: I.B. Tauris, 2008.
Cottington, David. Cubism in the Shadow of War: The Avant-Garde and Politics in Paris 1905- 1914. New Haven: Yale University Press, 1998.
Crane, Susan, ed. Museums and Memory. Stanford: Stanford University Press, 2000. Crary, Jonathan. Techniques of the Observer: On Vision and Modernity in the Nineteenth
Century. Cambridge: MIT Press, 1990.
Crow, Thomas. The Rise of the Sixties: American and European Art in the Era of Dissent.
London: Laurence King Publishing, 1996.
Csiksgentmihalyi, Mihaly. Creativity! Flow and psychology of discovery and invention. New York: Harper Collins, 1996.
Cumming, John. Runners & Walkers: A Nineteenth Century Sports Chronicle. Chicago: Regency Gateway, 1981.
Cvejić, Bojana, and Ana Vujanović. Public Sphere by Performance. Belgrade: b_books, TkH, 2012.
Dagg, Anne Innis. Running, Walking, and Jumping: The Science of Locomotion. New York: Crane, Russak & Company, Inc, 1977.
de Certeau, Michel. The Practice of Everyday Life. Translated by Steven Rendall. Berkeley: University of California Press, 1984, 1988.
de Certeau, Michel. The Writing of History. Translated by Tom Conley. New York: Columbia University Press, 1975, 1988.
de Groote, Pascale. Ballets Suédois: Jean Börlin. Ghent: University of Ghent, 2002.
de Waal, Frans. The Age of Empathy: Nature’s Lessons for a Kinder Society. New York:
Harmony Books, 2009.
Deleuze, Gilles. Cinema 1: The Movement-Image. Minneapolis: University of Minnesota Press, 1986.
Deleuze, Gilles, and Félix Guattari. A Thousand Plateaus. London: Continuum, 1980, 2008. Dewey, John. The Public and its Problems: An Essay in Political Inquiry. Edited by Melvin L.
Rogers. University Park, PA: The Pennsylvania State University, 2012.
di Giovanni, Janine. Madness Visible: A Memoir of War. London: Bloomsbury, 2005.
Djetelić, Pera, and Dragan Maršičević. Narodna Omladina i Jugoslovenski Kongres za Fizičku Kulturu. Beograd: Mladost, 1959.
Djurić, Dubravka, and Miško Šuvaković, eds. Impossible Histories: Historical Avant-gardes, Neo-avant-gardes, and Post-avant-gardes in Yugoslavia, 1918 - 1991. Cambridge: MIT Press, 2003.
Donawerth, Jane, ed. Rhetorical Theory by Women before 1900: An Anthology. Lanham, MD: Rowman & Littlefield Publishers, Inc, 2002.
Dörr, Evelyn. Rudolf Laban: The Dancer of the Crystal. Lanham, Maryland: The Rowman & Littlefield Publishing Group, Inc., 2008.
Drakulić, Slavenka. Balkan Express: Fragments from the Other Side of War. London: Hutchinson, 1993.
Drakulić, Slavenka. They Would Never Hurt a Fly: War Criminals on Trial in the Hague. New York: Penguin, 2005.
Drapag, Vesna. Constructing Yugoslavia: A Transnational History. London: Palgrave Macmillan, 2010.
Duncan, Carol. Civilizing Rituals: Inside Public Art Museums. Abingdon: Routledge, 1995. Eamon, Christopher. Rearview Mirror: New Art from Central and Eastern Europe. Edmonton:
Art Gallery of Alberta, 2011.
Eichberg, Henning, ed. Body Cultures: Essays on Sport, Space, and Identity. London, New York: Routledge, 1998.
Elias, Norbert. The Civilizing Process. Sociogenetic and Psychogenetic Investigations. Oxford: Blackwell, 1939, 2000.
Elias, Norbert, and Eric Dunning. Quest for Excitement: Sport and Leisure in the Civilising Process. Dublin: University of College Dublin Press, 2008.
Enwezor, Okwui. Archive Fever: Uses of the Document in Contemporary Art. Göttingen: Steidl Publishers, 2008.
Erjavec, Aleš, ed. Postmodernism and the Postsocialist Condition: Politicized Art under Late Socialism. Berkeley: University of California Press, 2003.
Fer, Briony, and David Batchelor, Paul Wood. Realism, Rationalism, Surrealism: Art Between the Wars. New Haven: Yale University Press, 1993.
Finn, David. How to Visit A Museum. New York: Abrams, 1985.
Fleming, Bruce. Running is Life: Transcending the Crisis of Modernity. Lanham: University
Press of America, Inc, 2010.
Forrester, Sibelan E.S., and Magdalena J. Zaborowska, Elena Gapova, eds. Over the Wall/After the Fall: Post-Communist Cultures Through an East-West Gaze. Bloomington: Indiana University Press, 2004.
Foster, Hal. The Return of the Real: The Avant-Garde at the End of the Century. Cambridge: MIT Press, 1996.
Foster, Hal. “What’s Neo about the Neo-Avant-Garde?” October. Volume 70, The Duchamp Effect (Autumn, 1994), 5 - 32.
Foucault, Michel. Discipline and Punish: The Birth of the Prison. Translated by Alan Sheridan. New York: Vintage Books, Random House, Inc, 1977, 1995.
Foucault, Michel. The History of Sexuality Volume 1. Translated by Robert Hurley. New York: Pantheon Books, 1978.
Foucault, Michel. Power/Knowledge: Selected Interviews & Other Writings, 1972 - 1977. Edited by Colin Gordon. New York: Pantheon Books,1972, 1980.
Fraleigh, Sondra Horton. Dance and the Lived Body: A Descriptive Aesthetics. Pittsburgh: University of Pittsburgh Press, 1987.
Frampton, Hollis. “Eadweard Muybridge: Fragments of a Tesseract.” In On the Camera Arts and Consecutive Matters: The Writings of Hollis Frampton. Cambridge: MIT Press, 2009.
Fried, Michael. Four Honest Outlaws: Sala, Ray, Marioni, Gordon. New Haven: Yale University Press, 2011.
Gallagher, Catherine, and Thomas Laqueur, eds. The Making of the Modern Body: Sexuality and Society in the Nineteenth Century. Berkeley: University of California Press, 1987.
Gamwell, Lynn, ed. Dreams Nineteen Hundred to Two Thousand: Science, Art, and the Unconscious Mind. Binghamton: State University of New York at Binghamton, 2000.
Gay, Peter. Savage Reprisals: Bleak House, Madame Bovary, Buddenbrooks. New York: W.W. Norton & Company, 2002.
Gehm, Sabine, and Pirkko Husemann, Katharina von Wilke, eds. Knowledge in Motion: Perspectives of Artistic and Scientific Research in Dance. Translated by Bettina von Arps- Aubert. Bielefeld: Transcript, 2007.
Genoways, Hugh H., ed. Museum Philosophy for the Twenty-First Century. Oxford: AltaMira Press, 2006.
Geoghegan, Bernard Dionysius. “After Kittler: On the Cultural Techniques of Recent German Media Theory.” Theory Culture Society (August 2013).
Gidal, Peter. Materialist Film. London: Routledge, 1989.
Giedion, Siegfried. Space, Time, and Architecture: The Growth of a New Tradition. Cambridge:
Harvard University Press, 1974.
Godard, Jean-Luc. Godard on Godard. Edited by Jean Narboni and Tom Milne. New York: The Viking Press, 1968, 1972.
Gödl, Doris. “Challenging the Past: Serbian and Croatian Aggressor-Victim Narratives.” International Journal of Sociology 37. No. 1 (2007).
Goldberg, Roselee. Performance: Live Art Since the ‘60s. London: Thames & Hudson, 2004.
Goldberg, Roselee. Performance Art: From Futurism to the Present. London: Thames & Hudson, 2001.
Goldberg, Vicki, ed. Photography in Print: Writings from 1816 to the Present. New York: Simon and Schuster, 1981.
Golding, Sue, ed. The Eight Technologies of Otherness. London: Routledge, 1997. Gotaas, Thor. Running: A Global History. London: Reaktion Books, 2009.
Grau, Andrée, and Stephanie Jordan. Europe Dancing: Perspectives on Theatre, Dance, and Cultural Identity. New York: Routledge, 2000.
Grigorov, Dimitar. “‘Рачунајте на нас.’ ‘Oдломак’ о Титовој штафети или Штафети младости.” In Друштвену историју. Belgrade: 2008.
Grimes, Ronald L. Beginnings in Ritual Studies. Columbia: University of South Carolina Press, 1995.
Groys, Boris. Introduction to Antiphilosophy. Translated by David Fernbach. London: Verso, 2012.
Groys, Boris. The Communist Postscript. Translated by Thomas Ford. London: Verso, 2010. Groys, Boris, and Ann von der Heiden, Peter Weibel, eds. Zurück aus der Zukunft.
Osteuropäische Kulturen im Zeitalter des Postkommunismus. Berlin: Suhrkamp, 2005.
Gržinić, Marina, and Günther Heeg, Veronika Darian. Mind the Map! History is not a Given: A
th th
Critical Anthology Based on the Symposium [Leipzig, 13 -16 October 2005]. Frankfurt:
Revolver, 2006.
Guttman, Allen. “Sport, Politics, and the Engaged Historian.” Journal of Contemporary History. Volume 38, Number 3 (2003).
Hardt, Michael, and Antonio Negri. Empire. Boston, Harvard University Press, 2001. Hargreaves, Jennifer, and Patricia Anne Vertinsky, eds. Physical Culture, Power, and the Body.
New York: Routledge, 2007.
Harris, Mary Emma. The Arts at Black Mountain College. Cambridge: MIT Press, 1987, 2002.
Harte, Jane L., et. al. “The effects of running and meditation on beta-endorphin, corticotropin- releasing hormone and cortisol in plasma, and on mood.” Biological Psychology. Volume 40, Issue 3 (June 1995).
Harte, Jane L., and Georg H. Eifert. “The effects of running, environment, and attentional focus on athletes’ catecholamine and cortisol levels and moods.” Psychophysiology. Volume 32, Issue 1 (January 1995).
Havránek, Vít, ed. Jiří Kovanda: Actions and Installations, 2005-1976. Zurich: Tranzit & JRP|Ringier, 2006.
Helme, Sirje. PopKunst Forever: Estonian Pop Art at the Turn of the 1960s and 1970s. Tallinn: Art Museum of Estonia - Kumu Art Museu, 2010.
Hemmings, Frederick William John, ed. The Age of Realism. Baltimore: Penguin Books, 1974. Hendricks, Gordon. Eadweard Muybridge: The Father of the Motion Picture. New York:
Grossman Publishers, of Viking Press, 1975.
Henning, Michelle. Museums, Media, and Cultural Theory. New York: Open University Press, 2006.
Hewitt, Andrew. Social Choreography: Ideology as Performance in Dance and Everyday Movement. Durham: Duke University Press, 2005.
Higgins, Steven. Still Moving: The Film and Media Collections of the Museum of Modern Art. New York: The Museum of Modern Art, 2006.
Hoberman, John M. “Sport and Political Ideology.” Journal of Sport and Social Issues. Volume 1, Number 2 (1977).
Hodgson, John. Mastering Movement: The Life and Work of Rudolf Laban. New York: Routledge, 2001.
Hoelzl, Ingrid, and Friedrich Tietjen, eds. Images in Motion. Burges: Die Keure, 2012. Husserl, Edmund. The Phenomenology of Internal Time-Consciousness. Edited by Martin
Heidegger. Translated by James S. Churchill. Bloomington: Indiana University Press, 1964.
IRWIN, ed. East Art Map: Contemporary Art and Eastern Europe. London: Afterall and MIT Press, 2006.
Ivey, Paul Eli. Radiance from Halcyon: A Utopian Experiment in Religion and Science. Minneapolis: University of Minnesota Press, 2013.
Jameson, Frederic. Postmodernism, or, The Cultural Logic of Late Capitalism. Durham: Duke University Press,1991.
Janevski, Ana, ed. As Soon as I Open My Eyes I See a Film: Experiment in the Art of Yugoslavia in the 1960s and 1970s. Warsaw: Museum of Modern Art, 2010.
Jarausch, Konrad H., and Michael Geyer. Shattered Past: Reconstructing German Histories. Princeton, NJ: Princeton University Press, 2003.
Jones, Amelia. Body Art/Performing the Subject. Minneapolis: University of Minnesota Press, 1998.
Jones, Amelia, and Adrian Heathfield. Perform, Repeat, Record: Live Art in History. Chicago: University of Chicago Press, 2012.
Jones, Amelia. “The Body and Technology.” Art Journal. Volume 60, Number 1 (Spring, 2001). Joseph, Brandon W. Random Order: Robert Rauschenberg and the Neo-avant-garde.
Cambridge: MIT Press, 2003.
Joy, Jenn. The Choreographic. Cambridge: MIT Press, 2014.
Jünger, Ernst. “War and Photography.” Translated by Anthony Nassar. New German Critique. Number 59 (Spring-Summer, 1993).
Kater, Michael H. Hitler Youth. Cambridge, Mass.: Harvard University Press, 2004. Kebo, Ozren. Sarajevo za početnike. Sarajevo: Dani, 1996.
Kelley, Jeff, ed. Essays on the Blurring of Art and Life. Berkley: University of California Press, 1993, 2003.
Kern, Stephen. The Culture of Time and Space. Cambridge, Mass: Harvard University Press, 1983.
Kester, Grant H. Conversation Pieces: Community and Communication in Modern Art. Berkley: University of California Press, 2004.
Kholeif, Omar. Moving Image. London: Whitechapel, 2015.
Kirkpatrick, Sidney. The Revenge of Thomas Eakins. New Haven: Yale University Press, 2006.
Kirn, Gal, and Dubravka Sekulić, Žiga Testen, eds. Surfing the Black: Yugoslav Black Wave Cinema and its Transgressive Moments. Maastricht: Jan van Eyck Academie, 2012.
Kittler, Friedrich A. Gramophone, Film, Typewriter. Stanford: Stanford University Press, 1999. Klinger, Cornelia, and Bartomeu Mari. Modernologies: Contemporary Artists Researching
Modernity and Modernism. Barcelona: Museu d’Art Contemporani de Barcelona, 2009.
Knell, Simon J., et al., eds. National Museums: New Studies from around the World. New York:
Routledge, 2011.
Knudson, Duane. Fundamentals of Biomechanics, Second Edition. New York: Springer, 2007.
Knust, Albrecht. Handbook of Kinetography Laban: Examples. Hamburg: Das Tanzarchiv, 1958. Koch, Sabine, et al. Body Memory, Metaphor, and Movement. Philadelphia: John Benjamins
Publishing Company, 2012.
Krauss, Rosalind E. “Sculpture in the Expanded Field.” October. Volume 8 (Spring 1979).
Krauss, Rosalind E. The Originality of the Avant-Garde and Other Modernist Myths. Cambridge: MIT Press, 1985.
Kuligowski, Waldemar. “A Relay of Youth of the 21st Century. A Re-enactment of Ritual or a Grotesque Performance?” Cargo. Volume 10, Number 1 - 2 (2012).
Kwon, Miwon. One Place After Another: Site-Specific Art and Locational Identity. Cambridge: MIT Press, 2002.
LaBelle, Brandon. Background Noise: Perspectives on Sound Art. London and New York: Continuum International Publishing Group, 2006.
Lakoff, George, and Mark Johnson. Metaphors We Live By. Chicago: University of Chicago Press, 1980.
Landsberg, Alison. Prosthetic Memory: The Transformation of American Remembrance in the Age of Mass Culture. New York: Columbia University Press, 2004.
Laws, Kenneth, and Francia Russell. Physics and the Art of Dance: Understanding Movement. Oxford: Oxford University Press, 2002.
le Blanc, Guillaume. Courir: Méditations Physiques. Paris: Éditions Flammarion, 2012.
Leahy, Helen Rees. Museum Bodies: The Politics of Practices of Visiting and Viewing. Surrey,
England: Ashgate, 2012.
Lederman, Gail. Manliness and Civilization: A Cultural History of Gender and Race in the
United States, 1880 - 1917. Chicago: The University of Chicago Press, 1995. Lefebvre, Henri. The Production of Space. Oxford: Blackwell, 1991.
Lehman, Arnold L., and Brenda Richardson, eds. Oskar Schlemmer. Baltimore: The Baltimore Museum of Art, 1986.
Lemke, Thomas. Bio-Politics: An Advanced Introduction. Translated by Eric Frederick Trump. New York: New York University Press, 2011.
Lepage, Jean-Denis G.G. Hitler Youth, 1922 - 1945: An Illustrated History. London: McFarland & Company, Inc.,2009.
Lepecki, André, ed. Dance: Documents of Contemporary Art. London: MIT Press and WhiteChapel Gallery, 2012.
Leposavić, Radonja. vlasTito iskustvo. Belgrade: Publikum, 2005.
Licht, Alan. Sound Art: Beyond Music, Between Categories. New York: Rizzoli International
Publications, 2007.
Lippard, Lucy. Six Years: The Dematerialization of the Art Object from 1966 to 1972. Berkley: University of California Press, 1973.
Loland, Sigmund, and Berit Skirstad, Ivan Waddington. Pain and Injury in Sport: Social and Ethical Analysis. New York: Routledge, 2006.
Luthar, Breda, and Maruša Pušnik, eds. Remembering Utopia: The Culture of Everyday Life in Socialist Yugoslavia. Washington, D.C.: New Academia Publishers, 2010.
Mackay, Robin, and Armen Avanessian, eds. #Accelerate: The Accelerationist Reader. Falmouth, UK: Urbanomic, 2014.
Malcolm, Noel. Bosnia: A Short Story. London: MacMillan, 1994.
Maletic, Vera. Body - Space - Expression: The Development of Rudolf Laban’s Movement and
Dance Concepts. Amsterdam: Mouton de Gruyter, 1987.
Marie, Michel. The French New Wave: An Artistic School. Translated by Richard Neupert.
Oxford: Blackwell Publishing, 1997.
Marien, Mary Warner. Photography: A Cultural History. 2nd Edition. London: Laurence King Publishing Ltd, 2002, 2006.
Marks, Laura. Touch: Sensuous Theory and Multisensory Media. Minneapolis: University of Minnesota Press, 2002.
Marvin, Carolyn. When Old Technologies Were New: Thinking about Electric Communication in the Late Nineteenth Century. Oxford: Oxford University Press, 1988.
Mathews, Nancy Mowll. “The Body in Motion.” In Moving Pictures: American Art and Early Film, 1880 - 1910. Manchester, Vermont: Hudson Hills Press, 2005.
Mauss, Marcel. “Techniques of the Body” (1934). In Incorporations, Zone 6. Edited by Jonathan Crary and Sanford Kwinter. New York: Zone, 1992.
Mazower, Mark. Dark Continent: Europe’s Twentieth Century. New York: A.A. Knopf, 1999.
McGinnis, Peter M. Biomechanics of Sport and Exercise, Third Edition. Champaign, IL: Human Kinetics, 2013.
McSorley, Kevin, ed. War and the Body: Militarisation, Practice and Experience. New York: Routledge, 2013.
Meltzer, Eve. Systems We Have Loved: Conceptual Art, Affect, and the Antihumanist Turn. Chicago: The University of Chicago, 2013.
Merleau-Ponty, Maurice. The Phenomenology of Perception. Translated by Colin Smith. London: Routledge and Kegan Paul, 1962, 1989.
Metz, Christian. Film Language: A Semiotics of the Cinema. Translated by Michael Taylor. New York: Oxford University Press, 1974.
Metz, Christian. “Photography and Fetish.” October. Volume 34 (Autumn, 1985).
Meyer, James. Minimalism: Art and Polemics in the Sixties. New Haven: Yale University Press,
Michelson, Annette, ed. Kino-Eye: The Writings of Dziga Vertov. Translated by Kevin O’Brien. Berkeley: University of California Press, 1984.
Mirzoeff, Nicholas, ed. The Visual Culture Reader, Second Edition. New York: Routledge, 1998, 2002.
Mishima, Yukio. Sun and Steel: His Personal Testament on Art, Action, and Ritual Death. New York: Kodansha, 1970.
Mondloch, Kate. Screens: Viewing Media Installation Art. Minneapolis: The University of Minnesota Press, 2010.
Moore, Sarah J. Empire on Display: San Francisco’s Panama-Pacific International Exposition of 1915. Norman, OK: University of Oklahoma Press, 2013.
Morgan, William P. “Affective beneficence of vigorous physical activity.” Medicine and Science in Sports and Exercise. Volume 17, Number 1 (February 1985).
Morse, Meredith. Soft is Fast: Simone Forti in the 1960s and After. Cambridge: MIT Press, 2016.
Mosse, George L. The Image of Man: The Creation of Modern Masculinity. Oxford: Oxford University Press, 1996.
Motherwell, Robert, ed. Dada Painters and Poets. New Haven: Harvard University Press, 1981.
Mozley, Anita Ventura, ed. Eadweard Muybridge: The Stanford Years, 1872 - 1882. San Francisco: Stanford University, 1972.
Mulvey, Laura. Death 24x a Second: Stillness and the Moving Image. London: Reaction books, 2006.
Mumford, Lewis. Technics and Civilization. London: Routledge & Kegan Paul LTD, 1934, 1955.
Muñoz, José Esteban. Disidentifications: Queers of Color and the Performance of Politics. Minneapolis: The University of Minnesota Press, 1999.
Musolff, Andreas. Metaphor, Nation, and the Holocaust: The Concept of the Body Politic. New York: Routledge, 2010.
New Collectivism, ed. Neue Slowenische Kunst. Translated by Marjan Golobič. Hong Kong: Paramount Printing, 1991.
Newman, Michael, and Jon Bird, eds. Rewriting Conceptual Art. London: Reaction Books, 1999. O’Doherty, Brian. Inside the White Cube: The Ideology of the Gallery Space. Berkley:
University of California Press, 1986.
O’Rourke, Karen. Walking and Mapping: Artists as Cartographers. Cambridge: MIT Press, 2013.
Obrist, Hans Ulrich. Do It: The Compendium. New York: Independent Curators International/D.A.P., 2013.
Partsch-Bergsohn, Isa. Modern Dance in Germany and the Untied States: Crosscurrents and Influences. Chur: Harwood Academic Publishers, 1994.
Passerini, Luisa, ed. Memory and Totalitarianism. Oxford: Oxford University Press, 1992. Pavković, Aleksandar. The Fragmentation of Yugoslavia: Nationalism and War in the Balkans,
Second Edition. New York: St. Martin’s Press, 2000.
Pegrum, Mark A. Challenging Modernity: Dada Between Modern and Postmodern. Oxford: Berghahn Books, 2000.
Peiffer, Lorenz. Sport im Nationalsozialismus: Zum aktuellen Stand der sporthistorischen Forschung. Göttingen: Verlag Die Werkstaat, 2004, 2015.
Pejić, Bojana, and David Elliot. After the Wall: Art and Culture in Post-Communist Europe. Stockholm: Moderna Museet, 1999.
Penz, Otto. “Sport and Speed.” International Review for the Sociology of Sport. Volume 25, Number 2 (June 1990).
Peoples, Crocker. “A Psychological Analysis of the ‘Runner’s High’ (Human Performance).” Physical Educator. Volume 40, Number 1 (March 1, 1983).
Perica, Vjekoslav. Balkan Idols: Religion and Nationalism in Yugoslav States. Oxford: Oxford University Press, 2002.
Petrov, Ana. “Telesni projekti i regulacija normativnog tela: uloga fizičke kulture u Jugoslaviji.” Institut za etnologiju i folkloristiku. Issue 51, Number 2 (2014).
Pfister, Gertrud, ed. Gymnastics, A Transatlantic Movement: From Europe to America. New York: Routledge, 2011.
Phelan, Peggy. Unmarked: The Politics of Performance. New York: Routledge, 1993. Phillips, Christopher, ed. Photography in the Modern Era: European Documents and Critical
Writings, 1913 - 1940. New York: The Metropolitan Museum of Art/Aperature, 1990. Phillips, Murray G. Deconstructing Sport History: A Postmodern Analysis. Albany: State
University of New York Press, 2006.
Pissaro, Joachim, et al. Martin Creed: What’s the Point of It? London: Hayward Publishing, 2014.
Piotrowski, Piotr. In the Shadow of Yalta: Art and the Avant-Garde in Eastern Europe, 1945 - 1989. London: Reaktion, 2009.
Preston-Dunlop, Valerie. Rudolf Laban: An Extraordinary Life. London, Dance Books, 1998. Preziosi, Donald. Art Religion Amnesia: The Enchantments of Credulity. New York: Routledge,
Pursell, Caroll. White Heat: People and Technology. Berkley: University of California Press, 1994.
Quercetani, R. L. A World History of Track and Field Athletics 1864-1964. London: Oxford University Press, 1964.
Rabinbach, Anson. The Human Motor: Energy, Fatigue, and the Origins of Modernity. New York: Basic Books, 1990.
Rabinow, Paul, ed. The Foucault Reader. New York: Random House, 1984.
Radstone, Susannah, and Bill Schwarz, Memory: Histories, Theories, Debates. New York: Fordham University Press, 2010.
Rancière, Jacques. Aesthetics and its Discontents. Malden: Polity Press, 2004.
Rancière, Jacques. The Emancipated Spectator. Translated by Gregory Elliot. London: Verso,
Rancière, Jacques. The Politics of Aesthetics: The Distribution of the Sensible. London: Continuum, 2006.
Rees, A.L., and Duncan White, Steven Ball, David Curtis, eds. Expanded Cinema: Art, Performance, Film. London: Tate Publishing, 2011.
Rempel, Gerhard. Hitler’s Children: The Hitler Youth and the SS. Chapel Hill: University of North Carolina Press, 1989.
Richards, Mary. Marina Abramović. New York: Routledge, 2010.
Ricoeur, Paul. Oneself as Another. Translated by Kathleen Blamey. Chicago: University of
Chicago Press, 1992.
Rosa, Hartmut. Beschleunigung und Entfremdung: Entwurf einer Kritischen Theorie
spätmoderner Zeitlichkeit. Berlin: Suhrkamp, 2013.
Rosa, Hartmut, and William E. Scheuerman. High-Speed: Social Acceleration, Power, and
Modernity. University Park, PA: The Pennsylvania State University, 2009.
Rosati, Lauren, and Mary Anne Staniszewski, eds. Alternative Histories: New York Art Spaces,
1960-2010. Cambridge: MIT Press, 2012.
Rosenstone, Robert A., “History in Images/History in Words: Reflections on the Possibility of Really Putting History onto Film.” The American Historical Review. Volume 93. Number 5 (December 1988).
Rossol, Nadine. Performing the Nation in Interwar Germany: Sport, Spectacle, and Political Symbolism, 1926 - 1936. New York: Palgrave Macmillan, 2010.
Roxby-Maude, Alice, On Camera: Performance and Photography. Southampton: John Hansard Gallery, 2007.
Ruyter, Nancy Lee Chalfa. The Cultivation of Body and Mind in Nineteenth-Century American Delsartism. Westport, CT: Greenwood Press, 1999.
Salazar, James B. Bodies of Reform The Rhetoric of Character in Gilded Age America. New York: New York University Press, 2010.
Schechner, Richard. Essays on Performance Theory 1970 - 1976. New York: Drama Book Specialists, 1973, 1977.
Scheerder, Jeroen, and Koen Breedveld, eds. Running Across Europe: The Rise and Size of One of the Largest Sport Markets. New York: Palgrave Macmillan, 2015.
Seckinelgin, H., and Billy Wong, eds. Global Civil Society 2011: Globally and the Absence of Justice. Hampshire: Palgrave Macmillan, 2011.
Sekula, Allan. “The Body and the Archive.” October. Volume 39 (Winter, 1986). Semon, Richard. Die mnemischen Empmfindungen in ihren Beziehungen zu den
Originalempfindungen. Leipzig: W. Engelmann, 1909.
Shawn, Ted. Every Little Movement: A Book About François Delsarte. Pittsfield, MA: The Eagle
Printing and Binding Company, 1954.
Shayt, David H. “Stairway to Redemption: America’s Encounter with the British Prison
Treadmill.” Technology and Culture, Volume 30, Number 4 (Oct. 1989).
Sheridan, Heather, and Leslie Howe, and Keith Thompson, eds. Sporting Reflections: Some
Philosophical Perspectives. Aachen: Meyer & Meyer Verlag, 2007.
Siegmund, Gerald, and Stefan Hölscher, eds. Dance, Politics, and Co-Immunity: Thinking Resistances, Current Perspectives on Politics and Communities in the Arts. Volume 1. Zürich- Berlin: Diaphanes, 2013.
Sileo, Diego, and Eugenio Viola, PAC (Milano), eds. Marina Abramović: The Abramović Method. 2 Volumes. Milan: 24 ORE Cultura, 2012.
Silverman, Kaja. The Subject of Semiotics. New York: Oxford University Press, 1983.
Slevin, Tom. Vision of the Human: Art, World War One and the Modernist Subject. London: I.B.
Tauris, 2015.
Solnit, Rebecca. River of Shadows: Eadweard Muybridge and the Technological Wild West. New York: Viking, 2003.
Solnit, Rebecca. Wanderlust: A History of Walking. London: Verso, 2001.
Sontag, Susan. Against Interpretation and Other Essays. New York: Picador, 1966, 2001. Sontag, Susan. “Fascinating Fascism.” The New York Review of Books (6 February 1975). Sontag, Susan. On Photography. New York: Picador, 1977.
Spieker, Sven. The Big Archive: Art from Bureaucracy. Cambridge: MIT Press, 2008. Stepišnik, Drago. Oris Zgodovine Telesne Kulture na Slovenskem. Ljubljana: Dražavna založba
Slovenija, 1968.
Stipančić, Branka. “‘Zame je resničnost umetnost,’ Intervju s Tomislavom Gotovcem.” Vijenac, Number 123/VI (8 Oct. 1998).
Stoddart, Tom. Sarajevo. Washington, D.C.: Smithsonian Institution Press, 1998.
Stošić, Mirjana. “Body-name — The Brotherhood Chronotype and Social Choreography.”
Култура/Culture (2015).
Suljagić, Emir. Postcards from the Grave. Translated by Lejla Haverić. London: The Bosnian
Institute, 2005.
Susovski, Marijan, ed. The New Art Practice in Yugoslavia, 1966 - 1978. Zagreb: Gallery of Contemporary Art, 1978.
Sutil, Nicolás Salazar. Motion and Representation: The Language of Human Movement. Cambridge: MIT Press, 2015.
Swenson, Kirsten. Irrational Judgements: Eva Hesse, Sol Lewitt, and 1960s New York. New Haven: Yale University Press, 2015.
Szeemann, Harold. Zum freien Tanz, zu reiner Kunst. Rolandseck: Stiftung Hans Arp und Sophie Taeuber-Arp, 1991.
Tagg, John. The Burden of Representation: Essays on Photographies and Histories. Minneapolis: University of Minnesota Press, 1988.
Tilmans, Karin, and Frank van Vree, Jay Winter, eds. Performing the Past: Memory, History, and Identity in Modern Europe. Amsterdam: Amsterdam University Press, 2010.
Tumarkin, Maria M. Traumascapes: The Power and Fate of Places Transformed by Tragedies. Victoria, Australia: Melbourne University Press, 2005.
Udall, Sharyn R. Dance and American Art: A Long Embrace. Madison: University of Wisconsin Press, 2012.
Vacche, Angela Dalle. Film, Art, New Media: Museum without Walls? New York: Palgrave Macmillan, 2012.
Vertinsky, Patricia Anne. The Eternally Wounded Woman: Women, Doctors, and Exercise in the Late Nineteenth Century. Manchester: Manchester University Press, 1989.
Virilio, Paul. The Art of the Motor. Translated Julie Rose. Minneapolis: University of Minnesota Press, 1995.
Weibel, Peter. Beyond Art: A Third Culture. Vienna: Ambra Verlag, 2005.
Wells, Liz, ed. Photography: A Critical Introduction. New York: Rutledge, 1996/2015.
Westcott, James. When Marina Abramović Dies: A Biography. Cambridge: MIT Press, 2010.
White, Hayden. “Historiography and Historiophoty.” The American Historical Review. Volume 93. Number 5 (December 1988).
White, Hayden V. Metahistory: The Historical Imagination in Nineteenth-Century Europe. Baltimore: Johns Hopkins University Press, 1973.
Wiehager, Renate, ed. Moving Pictures: Photography and Film in Contemporary Art. Ostfildern- Ruit, Germany: Hate Cantz Publishers, 2001.
Williams, Raymond. Culture and Society, 1780 - 1950. New York: Columbia University Press, 1958/1983.
Wood, Catherine. Yvonne Rainer: The Mind is a Muscle. London: Afterall, 2007. Wood, Denis. The Power of Maps. New York: Guilford Press, 2010.
Woodward, Susan L. Balkan Tragedy: Chaos and Dissolution after the Cold War. Washington, D.C.: The Brookings Institution, 1995.
Young, Kevin. Deviance and Social Control in Sport. Champaign, IL: Human Kinetics, 2008. Youngblood, Gene. Expanded Cinema. New York: E.P. Dutton and Co., 1970.
Zelizer, Barbie, ed. Visual Culture and the Holocaust. New Brunswick: Rutgers University Press, 2001.
Zidić, Igor, and Ana Dević, Antonio Gotovac Lauer a.k.a. Tomislav Gotovac. Antonio Gotovac Lauer: Čelična mreža. Zagreb: Moderna Galerija and Studio Josip Račič, 2006.
Zorn, John W., ed. The Essential Delsarte. Metuchen, NJ: The Scarecrow Press, Inc, 1968.
Žižek, Slavoj. The Indivisible Remainder: An Essay on Schelling and Related Matters. London: Verso, 1996.
----
------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
—-
CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
-------
In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
------
for activating the format or for inviting the installation
please contact 1@colonel.dk
-----
critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
14 Performances. Relation Work (1976 - 1980). Filmed by Paolo Cardazzo. Marina Abramović/ Ulay. Neuer Berliner Kunstverein, Berlin, Germany.
Abramović, Marina. Student Body: Workshops 1979 - 2003: Performances 1993 - 2003. Milano: ed. Charta, 2003.
Bergson, Henri. Creative Evolution. London: Macmillan and Co., 1911.
Bergson, Henri. Key Writings. Edited by Keith Ansell-Pearson and John Mullarkey. New York:
Continuum, 2002.
Bergson, Henri. Matter and Memory. New York: Zone Books, 1988.
Blaikie, William. “Common Sense Physical Training.” In Athletics and Health: Modern Achievement: Advice and Instruction upon the Conduct of Life, Principles of Business, Care of Health, Duties of Citizenship, etc. Edited by Edward Everett Hale. New York: P.F. Collier & Son, 1902.
Blaikie, William. How to Get Strong and How to Stay So. New York: Harper & Brothers Publishers, 1883.
Cunningham, Merce. Changes: Notes on Choreography. New York: Something Else Press, 1969.
de Balzac, Honoré. The Human Comedy. EBook: Project Gutenberg, 2010. de Balzac, Honoré. Théorie de la démarche. 1833, 1853.
de Biran, Maine. “Opposition du principe de Descartes avec celui d’une science de l’homme. Première base d’une division des faits psychologiques et physiologiques. Perception et sensation animale.” In Maine de Biran. Librairie Philosophique J. VRIN, 1990.
de Tocqueville, Alexis. The Old Regime and the Revolution. New York: Harper & Brothers, Publishers, 1856.
Delaumosne, M. L’Abbe. “The Delsarte System.” Translated by Frances A. Shaw. In Delsarte System of Oratory, 4th Ed. New York: Edgar S. Werner, 1893.
Descartes, René. Méditations metaphysiques. 1641.
Gropius, Walter, and Arthur S. Wensinger, eds. The Theater of the Bauhaus: Oskar Schlemmer, Laszlo Moholy-Nagy, Farkas Molnár. Translated by Arthur S. Wensinger. Middleton, Conn.: Wesleyan University, 1961.
Hahn, Archibald. How to Sprint: The Theory of Spring Racing. New York: American Sports Publishing Company, 1923.
Hegel, Georg Wilhelm Friedrich. Phenomenology of Spirit. Translated by A.V. Miller. Oxford: Oxford University Press, 1977.
Helmholtz, Hermann. “On the Facts Underlying Geometry.” In Epistemological Writings: Hermann von Helmholtz. Edited by R.S. Cohen and Y. Elkana. Boston: D. Reidel Publishing Company, 1977.
Helmholtz, Hermann. Théorie physiologique de la musique fondée sur l’étude des sensations auditives. Paris: Masson, 1868.
Helmholtz, Hermann. Treatise of Physiological Optics (Handbuch der physiologischen Optik) 1856. 3 Volumes. Translated by James P.C. Southall. Milwaukee, 1924.
Holmes, Oliver Wendall. Soundings from the Atlantic. Boston: Tickknor and Fields, 1864. James, William. The Principles of Psychology. New York: Henry Holt & Co, 1890, 1918.
James, William. Writings 1902 - 1910. Edited by Bruce Kuklick. New York: Literary Classics of the United States, 1987.
Kandinsky, Vasily. Über Das Geistige in der Kunst. Dritte Auflage. München: R. Piper&Co, 1912.
Kant, Immanuel. “Was ist Aufklärung?” 1784.
Laban, Rudolf. A Life for Dance: Reminiscences. Translated by Lisa Ullmann. London: Macdonald & Evans, 1975.
Laban, Rudolf. Choreographie. Jena: E. Diederichs, 1926.
Laban, Rudolf. Choreutics. Edited by Lisa Ullmann. London: Macdonald & Evans, 1939, 1966.
Laban, Rudolf. Effort: Economy in Body Movement. 2nd Edition. Boston: Plays, 1947, 1974.
Laban, Rudolf. Principles of Dance and Movement Notation. New York: A Dance Horizons Republication, 1956, 1970.
Laban, Rudolf. The Language of Movement: A Guidebook to Choreutics. Edited by Lisa Ullmann. Boston: Plays, Inc., 1974.
MacKaye, Percy. “Steele Mackaye, Dynamic Artist of the American Theatre; An Outline of his Life Work,” in The Drama. Edited by William Norman Guthrie and Charles Hubbard Sergel. Chicago: The Dramatic Publishing Company, 1911.
Marey, Étienne-Jules. La Machine Animale: Locomotion Terrestre et Aérienne. Paris: Librairie Germer Baillière, 1873.
Marey, Étienne-Jules. Le Vol des Oiseaux. Paris: Libraire de l’académie de médecine, 1890. Marey, Étienne-Jules. Movement. Translated by Eric Pritchard. New York: D. Appleton and
Company, 1895.
Michelet, Jules. The History of France. Volume I. Translated by Walter K. Kelly. London: Chapman and Hall, 1844.
Morgan, Anna. An Hour with Delsarte: A Study of Expression. New York: Edgar S. Werner Publisher, 1891.
Muybridge, Eadweard. Animal Locomotion: An Electro-photographic Investigation of Consecutive Phases of Animal Movements. Philadelphia: University of Pennsylvania and J. B. Lippincott Company, 1887.
Muybridge, Eadweard. Descriptive Zoopraxography, or the Science of Animal Locomotion. Philadelphia: University of Pennsylvania, 1893.
Muybridge, Eadweard. The Attitudes of Animals in Motion: A Series of Photographs Illustrating the Consecutive Positions assumed by Animals in Performing Various Movements; Executed at Palo Alto, California, in 1878 and 1879 (1881). Albumen, Library of Congress, Washington, D.C., Library of Congress.
Muybridge, Eadweard. The Human Figure in Motion. New York: Dover Publications, 1955. Ramsaye, Terry. A Million and One Nights: A History of the Motion Picture. U.K.: Simon and
Schuster, Inc., 1926, 1954.
Richer, Paul. Physiologie Artistique: De l’Homme en Mouvement. Paris: Aulanier et Cie, 1896.
Sanburn, Frederic. Delsartean Scrap-book: Health, Personality, Beauty, House-Decoration, Dress, etc. New York: United States Book Company, c. 1890.
Schlemmer, Oskar. Briefe und Tagebücher: The Letters and Diaries of Oskar Schlemmer. Edited by Tut Schlemmer. Translated by Krishna Winston. Middletown, Conn: Wesleyan University Press, 1972.
Schlemmer, Oskar, and Heimo Kuchling. Der Mensch, Unterricht am Bauhaus. Nachgelassene Aufzeichnungen. Mainz: F. Kupferberg, 1969.
Schuftan, Werner. Handbuch des Tanzes. Preface by Rudolf von Laban. Mannheim: Verlag Deutscher Chorsänger Verband und Tänzerbund, 1928.
Shearman, Sir Montague. Athletics and Football. London: Longmans, Green, and Co., 1888. Smith, Shawn Michelle. At the Edge of Sight: Photography and the Unseen. Durham: Duke
University Press, 2013.
Stebbins, Genevieve. Delsarte System of Expression, 5th Edition. New York: Edgar S. Werner, 1894; orig. 1885.
Talbot, Frederick A. Practical Cinematography and its Applications. London: William Heinemann, 1913.
Wigman, Mary. The Mary Wigman Book: Her Writings. Middletown, CT: Wesleyan University Press, 1975.
Abramović, Marina, et al. Marina Abramović: Seven Easy Pieces. New York: Charta 2007. Acconci, Vito. Language to Cover a Page: The Early Writings of Vito Acconci. Edited by Craig
Dworkin. Cambridge: MIT Press, 2006.
Adolphs, Volker, and Philip Norten. Gehen Bleiben: Bewegung, Körper, Ort in der Kunst der
Gegenwart. Bonn: Kunstmuseum Bonn, 2007.
Agamben, Giorgio. “Movement.” In Dance: Documents of Contemporary Art. Edited André
Lepecki. London: MIT Press and WhiteChapel Gallery, 2012.
Alberro, Alexander, and Blake Stimson, eds. Institutional Critique: An Anthology of Artists’
Writings. Cambridge: MIT Press, 2009.
Albers, Kate Palmer. “Abundant Images and the Collective Sublime.” Exposure. Volume 46,
Issue 2 (Fall 2013).
Allen, Beverly. Rape Warfare: The Hidden Genocide in Bosnia-Herzegovina and Croatia. Minneapolis: University of Minnesota Press, 1996.
Alloway, Lawrence. The Venice Biennale 1895 - 1968: from salon to goldfish bowl. Greenwich, CT: New York Graphic Society LTD., 1968.
Anderson, Ben. “Affect and Biopower: Towards a Politics of Life.” Transactions - Institute of British Geographers, Issue 1 (2011).
Andras, Edit, and Bojana Pejic, eds. Gender Check: Femininity and Masculinity in the Art of Eastern Europe. Cologne: Buchhandlung Walther König, 2009.
Antliff, Mark. Inventing Bergson: Cultural Politics and the Parisian Avant-Garde. Princeton: Princeton University Press, 1992.
Arendt, Hannah. The Human Condition, Second Edition. Chicago: University of Chicago Press, 1958, 1998.
Arendt, Hannah. On Violence. New York: Harcourt Brace, 1969.
Atkins, Dawn, ed. Looking Queer: Body Image and Identity in Lesbian, Bisexual, Gay, and
Transgender Communities. New York: The Haworth Press, 1998.
Ault, Julie, ed. Alternative Art, New York, 1965-1985: A Cultural Politics Book for the Social
Text Collective. Minneapolis: University of Minnesota Press, 2002.
Auslander, Philip. “Going with the Flow: Performance Art and Mass Culture.” TDR. Volume 33,
Number 2 (Summer 1989).
Auslander, Philip. “The Performativity of Performance Documentation.” PAJ 84 (2006).
Backstein, Joseph, and Daniel Birnbaum, Sven-Olov Wallenstein. Thinking Worlds - The Moscow Conference on Philosophy, Politics, and Art. Berlin: Sternberg Press, 2008.
Badovinac, Zdenka. Body and the East: From the 1960s to the Present. Cambridge, Mass.: MIT Press, 1999.
Baer, Ulrich. Spectral Evidence: The Photography of Trauma. Cambridge: MIT Press, 2002. Baker, George. “Entr’acte.” October. Volume 105 (Summer 2003).
Bale, John. Imagined Olympians: Body Culture and Colonial Representations in Rwanda. Minneapolis: University of Minnesota Press, 2002.
Bale, John. Running Cultures: Racing in Time and Space. London: Frank Cass, 2004. Banes, Sally. Democracy’s Body: Judson Dance Theatre, 1962 - 1964. Durham, NC: Duke
University Press, 1993.
Banes, Sally. Terpsichore in Sneakers: Post-Modern Dance, 2nd edition. Middletown, CT: Wesleyan University Press, 1987.
Bartenieff, Irmgard. Body Movement: Coping with the Environment. New York: Routledge, 2002.
Barthes, Roland. Camera Lucida: Reflections on Photography. Translated by Richard Howard. New York: Hill and Wang, 198, 2010.
Barthes, Roland. Mythologies. Translated by Annette Lavers. New York: Hill and Wang, 1972. Batchen, Geoffrey. Burning with Desire: The Conception of Photography. Cambridge: MIT
Press, 1997.
Baudelaire, Charles. The Parisian Prowler, Le Spleen de Paris Petits Poèmes en Prose. Translated by Edward K. Kaplan. Athens: The University of Georgia Press, 1989.
Bauer, M. W. and G. Gaskell. Biotechnology — the Making of a Global Controversy. Cambridge: Cambridge University Press, 2002.
Bayat, Asef. Life as Politics: How Ordinary People Change the Middle East. Amsterdam: Amsterdam University Press, 2010, 2015.
Belaief, Lynne. “Meanings of the Body.” Journal of the Philosophy of Sport. Volume 4, Issue 1 (1977).
Bell, Catherine. Ritual: Perspectives and Dimensions. New York: Oxford University Press, 1997.
Benjamin, Walter. Charles Baudelaire: A Lyric Poet in the Era of High Capitalism. Translated by Harry Zohn. London: Verso, 1997.
Benjamin, Walter. Selected Writings, Volumes 1 - 4. Edited by Howard Eiland and Michael W. Jennings. Cambridge: Belknap Press of Harvard University Press, 2003 - 2006.
Benjamin, Walter. “The Storyteller: Reflections on the Works of Nikolai Leskov.” In Illuminations. Edited by Hannah Arendt. Translated by Harry Zohn. New York: Schocken Books, 2007.
Bennett, Jill. Empathic Vision: Affect, Trauma, and Contemporary Art. Stanford, CA; Stanford University Press, 2005.
Berger, John. About Looking. New York: Pantheon Books, 1980.
Bergson, Henri. Laughter: An Essay on the Meaning of the Comic. Translated by Cloudesley Brereton and Fred Rothwell. New York: The Macmillan Company, 1914.
Bishop, Claire, and Marta Dziewańska, eds. 1968 - 1989: Political Upheaval and Artistic Change. Warsaw: Museum of Modern Art, 2009.
Bishop, Claire. Artificial Hells: Participatory Art and the Politics of Spectatorship. London: Verso, 2012.
Bishop, Claire. Radical Museology: or, What’s ‘Contemporary’ in Museums of Contemporary Art? London: Koenig Books, 2013.
Black, Graham. Transforming Museums in the Twenty-First Century. New York: Routledge, 2011.
Blaive, Muriel, and Christian Gerbel, Thomas Lindenberger, eds. Clashes in European Memory: The Case of Communist Repression and the Holocaust. Innsbruck: Studienverlag, 2011.
Blassnigg, Martha. Time, Memory, Consciousness and the Cinema Experience: Revisiting Ideas on Matter and Spirit. New York: Rodopi, 2009.
Bloomer, Kent C., and Charles Willard Moore. Body, Memory, and Architecture. New Haven: Yale University Press, 1977.
Boecker, Henning, et. al. “The Runner’s High: Opioidergic Mechanisms in the Human Brain.” Cerebral Cortex. Volume 18, Number 11 (2008).
Bougarel, Xavier, and Elissa Helms, Ger Duijzings, eds. The New Bosnian Mosaic: Identities, Memories and Moral Claims in a Post-War Society. Hampshire, England: Ashgate, 2007.
Bourdieu, Pierre. Outline of a Theory of Practice. Cambridge: Cambridge University Press, 1977.
Bourriaud, Nicolas. Relational Aesthetics. Dijon: Les Presses du réel, 1998, 2002.
Brandstetter, Gabriele. Poetics of Dance: Body, Image and Space in the Historical Avant- Gardes. Translated by Elena Polzer and Mark Franko. Oxford: Oxford University Press, 1995, 2015.
Braudy, Leo, and Marshall Cohen, eds. Film Theory and Criticism: Introductory Readings. New York: Oxford UP, 1999.
Braun, Marta. Eadweard Muybridge. London: Reaktion, 2010.
Braun, Marta. Picturing Time: The Work of Etienne-Jules Marey (1830 - 1904). Chicago:
University of Chicago Press, 1992, 1994.
Brettell, Richard R. Modern Art, 1851 - 1929: Capitalism and Representation. Oxford: Oxford University Press, 1999.
Brooke, J.D., and H.T.A. Whiting, eds. Human Movement - A Field of Study. London: Henry Kimpton Publishers, 1973.
Brown, Keith S., and Yannis Hamilakis, eds. The Usable Past: Greek Metahistories. Lanham, MD: Lexington Books, 2003.
Brunnbauer, Ulf, and Konrad Clewing, eds. Südost-Forschungen. Munich: R. Oldenbourg Verlag, 2008.
Bruno, Giuliana. Atlas of Emotion: Journeys in Art, Architecture, and Film. New York: Verso, 2002.
Bryzgel, Amy. Performing the East: Performance Art in Russia, Latvia, and Poland since 1980. London: I.B. Tauris, 2012.
Buchloh, Benjamin H. D. Neo-Avantgarde and Culture Industry: Essays on European and American Art from 1955 to 1975. Cambridge: MIT Press, 2001, 2003.
Buck-Morss, Susan. The Dialectics of Seeing: Walter Benjamin and the Arcades Project. Cambridge: MIT Press, 1991.
Burchell, Graham, and Colin Gordon, Peter Miller, eds. The Foucault Effect: Studies in Governmentality. Chicago: University of Chicago Press, 1991.
Bürger, Peter. Theory of the Avant-Garde. Translated by Michael Shaw. Minneapolis: University of Minnesota Press and Manchester University Press, 1974, 1984.
Butler, Judith. Bodies that Matter: On the Discursive Limits of Sex. New York: Routledge, 1993. Butler, Judith. Gender Trouble: Feminism and the Subversion of Identity. New York: Routledge,
2006.
Butler, Samuel. Unconscious Memory: A Comparison between the Theory of Dr. Ewald Hering and the ‘Philosophy of the Unconscious’ of Dr. Edward von Hartmann. London: David Bogue, 1880.
Cage, John. Silence: Lectures and Writings. Middletown, CT: Wesleyan University Press, 1961. Campany, David, ed. The Cinematic: Documents of Contemporary Art. Cambridge: MIT Press,
2007.
Canales, Jimena. A Tenth of a Second: A History. Chicago: University of Chicago Press, 2009.
Careri, Francesco. Walkscapes: Walking as an Aesthetic Practice. Translated by Steve Piccolo and Paul Hammond. Barcelona: Editorial Gusavo Gili, 2002.
Carroll, Noël. Theorizing the Moving Image. Cambridge: Cambridge University Press, 1996. Cetinić, Ljiljana, and Ana Panić, eds. Štafete: Titova Štafeta - Štafeta Mladosti, 1945 - 1987.
Belgrade: Tipografik plus, 2008.
Chase, Stuart. Men and Machines. New York: Macmillan Co, 1929.
Christesen, Paul. Sport and Democracy in the Ancient and Modern Worlds. Cambridge: Cambridge University Press, 2012.
Christian, Mary. Marina Abramović: The Artist is Present. New York: The Museum of Modern Art, 2010.
Clark, Kenneth. The Nude: A Study in Ideal Form. New York: Pantheon Books, 1956. Coleman, Simon, and John Eade, eds. Reframing Pilgrimage: Cultures in Motion. London:
Routledge, 2004.
Connerton, Paul. The Spirit of Mourning: History, Memory and the Body. Cambridge: Cambridge University Press, 2011.
Cosgrove, Denis. Geography and Vision: Seeing, Imagining and Representing the World. New York: I.B. Tauris, 2008.
Cottington, David. Cubism in the Shadow of War: The Avant-Garde and Politics in Paris 1905- 1914. New Haven: Yale University Press, 1998.
Crane, Susan, ed. Museums and Memory. Stanford: Stanford University Press, 2000. Crary, Jonathan. Techniques of the Observer: On Vision and Modernity in the Nineteenth
Century. Cambridge: MIT Press, 1990.
Crow, Thomas. The Rise of the Sixties: American and European Art in the Era of Dissent.
London: Laurence King Publishing, 1996.
Csiksgentmihalyi, Mihaly. Creativity! Flow and psychology of discovery and invention. New York: Harper Collins, 1996.
Cumming, John. Runners & Walkers: A Nineteenth Century Sports Chronicle. Chicago: Regency Gateway, 1981.
Cvejić, Bojana, and Ana Vujanović. Public Sphere by Performance. Belgrade: b_books, TkH, 2012.
Dagg, Anne Innis. Running, Walking, and Jumping: The Science of Locomotion. New York: Crane, Russak & Company, Inc, 1977.
de Certeau, Michel. The Practice of Everyday Life. Translated by Steven Rendall. Berkeley: University of California Press, 1984, 1988.
de Certeau, Michel. The Writing of History. Translated by Tom Conley. New York: Columbia University Press, 1975, 1988.
de Groote, Pascale. Ballets Suédois: Jean Börlin. Ghent: University of Ghent, 2002.
de Waal, Frans. The Age of Empathy: Nature’s Lessons for a Kinder Society. New York:
Harmony Books, 2009.
Deleuze, Gilles. Cinema 1: The Movement-Image. Minneapolis: University of Minnesota Press, 1986.
Deleuze, Gilles, and Félix Guattari. A Thousand Plateaus. London: Continuum, 1980, 2008. Dewey, John. The Public and its Problems: An Essay in Political Inquiry. Edited by Melvin L.
Rogers. University Park, PA: The Pennsylvania State University, 2012.
di Giovanni, Janine. Madness Visible: A Memoir of War. London: Bloomsbury, 2005.
Djetelić, Pera, and Dragan Maršičević. Narodna Omladina i Jugoslovenski Kongres za Fizičku Kulturu. Beograd: Mladost, 1959.
Djurić, Dubravka, and Miško Šuvaković, eds. Impossible Histories: Historical Avant-gardes, Neo-avant-gardes, and Post-avant-gardes in Yugoslavia, 1918 - 1991. Cambridge: MIT Press, 2003.
Donawerth, Jane, ed. Rhetorical Theory by Women before 1900: An Anthology. Lanham, MD: Rowman & Littlefield Publishers, Inc, 2002.
Dörr, Evelyn. Rudolf Laban: The Dancer of the Crystal. Lanham, Maryland: The Rowman & Littlefield Publishing Group, Inc., 2008.
Drakulić, Slavenka. Balkan Express: Fragments from the Other Side of War. London: Hutchinson, 1993.
Drakulić, Slavenka. They Would Never Hurt a Fly: War Criminals on Trial in the Hague. New York: Penguin, 2005.
Drapag, Vesna. Constructing Yugoslavia: A Transnational History. London: Palgrave Macmillan, 2010.
Duncan, Carol. Civilizing Rituals: Inside Public Art Museums. Abingdon: Routledge, 1995. Eamon, Christopher. Rearview Mirror: New Art from Central and Eastern Europe. Edmonton:
Art Gallery of Alberta, 2011.
Eichberg, Henning, ed. Body Cultures: Essays on Sport, Space, and Identity. London, New York: Routledge, 1998.
Elias, Norbert. The Civilizing Process. Sociogenetic and Psychogenetic Investigations. Oxford: Blackwell, 1939, 2000.
Elias, Norbert, and Eric Dunning. Quest for Excitement: Sport and Leisure in the Civilising Process. Dublin: University of College Dublin Press, 2008.
Enwezor, Okwui. Archive Fever: Uses of the Document in Contemporary Art. Göttingen: Steidl Publishers, 2008.
Erjavec, Aleš, ed. Postmodernism and the Postsocialist Condition: Politicized Art under Late Socialism. Berkeley: University of California Press, 2003.
Fer, Briony, and David Batchelor, Paul Wood. Realism, Rationalism, Surrealism: Art Between the Wars. New Haven: Yale University Press, 1993.
Finn, David. How to Visit A Museum. New York: Abrams, 1985.
Fleming, Bruce. Running is Life: Transcending the Crisis of Modernity. Lanham: University
Press of America, Inc, 2010.
Forrester, Sibelan E.S., and Magdalena J. Zaborowska, Elena Gapova, eds. Over the Wall/After the Fall: Post-Communist Cultures Through an East-West Gaze. Bloomington: Indiana University Press, 2004.
Foster, Hal. The Return of the Real: The Avant-Garde at the End of the Century. Cambridge: MIT Press, 1996.
Foster, Hal. “What’s Neo about the Neo-Avant-Garde?” October. Volume 70, The Duchamp Effect (Autumn, 1994), 5 - 32.
Foucault, Michel. Discipline and Punish: The Birth of the Prison. Translated by Alan Sheridan. New York: Vintage Books, Random House, Inc, 1977, 1995.
Foucault, Michel. The History of Sexuality Volume 1. Translated by Robert Hurley. New York: Pantheon Books, 1978.
Foucault, Michel. Power/Knowledge: Selected Interviews & Other Writings, 1972 - 1977. Edited by Colin Gordon. New York: Pantheon Books,1972, 1980.
Fraleigh, Sondra Horton. Dance and the Lived Body: A Descriptive Aesthetics. Pittsburgh: University of Pittsburgh Press, 1987.
Frampton, Hollis. “Eadweard Muybridge: Fragments of a Tesseract.” In On the Camera Arts and Consecutive Matters: The Writings of Hollis Frampton. Cambridge: MIT Press, 2009.
Fried, Michael. Four Honest Outlaws: Sala, Ray, Marioni, Gordon. New Haven: Yale University Press, 2011.
Gallagher, Catherine, and Thomas Laqueur, eds. The Making of the Modern Body: Sexuality and Society in the Nineteenth Century. Berkeley: University of California Press, 1987.
Gamwell, Lynn, ed. Dreams Nineteen Hundred to Two Thousand: Science, Art, and the Unconscious Mind. Binghamton: State University of New York at Binghamton, 2000.
Gay, Peter. Savage Reprisals: Bleak House, Madame Bovary, Buddenbrooks. New York: W.W. Norton & Company, 2002.
Gehm, Sabine, and Pirkko Husemann, Katharina von Wilke, eds. Knowledge in Motion: Perspectives of Artistic and Scientific Research in Dance. Translated by Bettina von Arps- Aubert. Bielefeld: Transcript, 2007.
Genoways, Hugh H., ed. Museum Philosophy for the Twenty-First Century. Oxford: AltaMira Press, 2006.
Geoghegan, Bernard Dionysius. “After Kittler: On the Cultural Techniques of Recent German Media Theory.” Theory Culture Society (August 2013).
Gidal, Peter. Materialist Film. London: Routledge, 1989.
Giedion, Siegfried. Space, Time, and Architecture: The Growth of a New Tradition. Cambridge:
Harvard University Press, 1974.
Godard, Jean-Luc. Godard on Godard. Edited by Jean Narboni and Tom Milne. New York: The Viking Press, 1968, 1972.
Gödl, Doris. “Challenging the Past: Serbian and Croatian Aggressor-Victim Narratives.” International Journal of Sociology 37. No. 1 (2007).
Goldberg, Roselee. Performance: Live Art Since the ‘60s. London: Thames & Hudson, 2004.
Goldberg, Roselee. Performance Art: From Futurism to the Present. London: Thames & Hudson, 2001.
Goldberg, Vicki, ed. Photography in Print: Writings from 1816 to the Present. New York: Simon and Schuster, 1981.
Golding, Sue, ed. The Eight Technologies of Otherness. London: Routledge, 1997. Gotaas, Thor. Running: A Global History. London: Reaktion Books, 2009.
Grau, Andrée, and Stephanie Jordan. Europe Dancing: Perspectives on Theatre, Dance, and Cultural Identity. New York: Routledge, 2000.
Grigorov, Dimitar. “‘Рачунајте на нас.’ ‘Oдломак’ о Титовој штафети или Штафети младости.” In Друштвену историју. Belgrade: 2008.
Grimes, Ronald L. Beginnings in Ritual Studies. Columbia: University of South Carolina Press, 1995.
Groys, Boris. Introduction to Antiphilosophy. Translated by David Fernbach. London: Verso, 2012.
Groys, Boris. The Communist Postscript. Translated by Thomas Ford. London: Verso, 2010. Groys, Boris, and Ann von der Heiden, Peter Weibel, eds. Zurück aus der Zukunft.
Osteuropäische Kulturen im Zeitalter des Postkommunismus. Berlin: Suhrkamp, 2005.
Gržinić, Marina, and Günther Heeg, Veronika Darian. Mind the Map! History is not a Given: A
th th
Critical Anthology Based on the Symposium [Leipzig, 13 -16 October 2005]. Frankfurt:
Revolver, 2006.
Guttman, Allen. “Sport, Politics, and the Engaged Historian.” Journal of Contemporary History. Volume 38, Number 3 (2003).
Hardt, Michael, and Antonio Negri. Empire. Boston, Harvard University Press, 2001. Hargreaves, Jennifer, and Patricia Anne Vertinsky, eds. Physical Culture, Power, and the Body.
New York: Routledge, 2007.
Harris, Mary Emma. The Arts at Black Mountain College. Cambridge: MIT Press, 1987, 2002.
Harte, Jane L., et. al. “The effects of running and meditation on beta-endorphin, corticotropin- releasing hormone and cortisol in plasma, and on mood.” Biological Psychology. Volume 40, Issue 3 (June 1995).
Harte, Jane L., and Georg H. Eifert. “The effects of running, environment, and attentional focus on athletes’ catecholamine and cortisol levels and moods.” Psychophysiology. Volume 32, Issue 1 (January 1995).
Havránek, Vít, ed. Jiří Kovanda: Actions and Installations, 2005-1976. Zurich: Tranzit & JRP|Ringier, 2006.
Helme, Sirje. PopKunst Forever: Estonian Pop Art at the Turn of the 1960s and 1970s. Tallinn: Art Museum of Estonia - Kumu Art Museu, 2010.
Hemmings, Frederick William John, ed. The Age of Realism. Baltimore: Penguin Books, 1974. Hendricks, Gordon. Eadweard Muybridge: The Father of the Motion Picture. New York:
Grossman Publishers, of Viking Press, 1975.
Henning, Michelle. Museums, Media, and Cultural Theory. New York: Open University Press, 2006.
Hewitt, Andrew. Social Choreography: Ideology as Performance in Dance and Everyday Movement. Durham: Duke University Press, 2005.
Higgins, Steven. Still Moving: The Film and Media Collections of the Museum of Modern Art. New York: The Museum of Modern Art, 2006.
Hoberman, John M. “Sport and Political Ideology.” Journal of Sport and Social Issues. Volume 1, Number 2 (1977).
Hodgson, John. Mastering Movement: The Life and Work of Rudolf Laban. New York: Routledge, 2001.
Hoelzl, Ingrid, and Friedrich Tietjen, eds. Images in Motion. Burges: Die Keure, 2012. Husserl, Edmund. The Phenomenology of Internal Time-Consciousness. Edited by Martin
Heidegger. Translated by James S. Churchill. Bloomington: Indiana University Press, 1964.
IRWIN, ed. East Art Map: Contemporary Art and Eastern Europe. London: Afterall and MIT Press, 2006.
Ivey, Paul Eli. Radiance from Halcyon: A Utopian Experiment in Religion and Science. Minneapolis: University of Minnesota Press, 2013.
Jameson, Frederic. Postmodernism, or, The Cultural Logic of Late Capitalism. Durham: Duke University Press,1991.
Janevski, Ana, ed. As Soon as I Open My Eyes I See a Film: Experiment in the Art of Yugoslavia in the 1960s and 1970s. Warsaw: Museum of Modern Art, 2010.
Jarausch, Konrad H., and Michael Geyer. Shattered Past: Reconstructing German Histories. Princeton, NJ: Princeton University Press, 2003.
Jones, Amelia. Body Art/Performing the Subject. Minneapolis: University of Minnesota Press, 1998.
Jones, Amelia, and Adrian Heathfield. Perform, Repeat, Record: Live Art in History. Chicago: University of Chicago Press, 2012.
Jones, Amelia. “The Body and Technology.” Art Journal. Volume 60, Number 1 (Spring, 2001). Joseph, Brandon W. Random Order: Robert Rauschenberg and the Neo-avant-garde.
Cambridge: MIT Press, 2003.
Joy, Jenn. The Choreographic. Cambridge: MIT Press, 2014.
Jünger, Ernst. “War and Photography.” Translated by Anthony Nassar. New German Critique. Number 59 (Spring-Summer, 1993).
Kater, Michael H. Hitler Youth. Cambridge, Mass.: Harvard University Press, 2004. Kebo, Ozren. Sarajevo za početnike. Sarajevo: Dani, 1996.
Kelley, Jeff, ed. Essays on the Blurring of Art and Life. Berkley: University of California Press, 1993, 2003.
Kern, Stephen. The Culture of Time and Space. Cambridge, Mass: Harvard University Press, 1983.
Kester, Grant H. Conversation Pieces: Community and Communication in Modern Art. Berkley: University of California Press, 2004.
Kholeif, Omar. Moving Image. London: Whitechapel, 2015.
Kirkpatrick, Sidney. The Revenge of Thomas Eakins. New Haven: Yale University Press, 2006.
Kirn, Gal, and Dubravka Sekulić, Žiga Testen, eds. Surfing the Black: Yugoslav Black Wave Cinema and its Transgressive Moments. Maastricht: Jan van Eyck Academie, 2012.
Kittler, Friedrich A. Gramophone, Film, Typewriter. Stanford: Stanford University Press, 1999. Klinger, Cornelia, and Bartomeu Mari. Modernologies: Contemporary Artists Researching
Modernity and Modernism. Barcelona: Museu d’Art Contemporani de Barcelona, 2009.
Knell, Simon J., et al., eds. National Museums: New Studies from around the World. New York:
Routledge, 2011.
Knudson, Duane. Fundamentals of Biomechanics, Second Edition. New York: Springer, 2007.
Knust, Albrecht. Handbook of Kinetography Laban: Examples. Hamburg: Das Tanzarchiv, 1958. Koch, Sabine, et al. Body Memory, Metaphor, and Movement. Philadelphia: John Benjamins
Publishing Company, 2012.
Krauss, Rosalind E. “Sculpture in the Expanded Field.” October. Volume 8 (Spring 1979).
Krauss, Rosalind E. The Originality of the Avant-Garde and Other Modernist Myths. Cambridge: MIT Press, 1985.
Kuligowski, Waldemar. “A Relay of Youth of the 21st Century. A Re-enactment of Ritual or a Grotesque Performance?” Cargo. Volume 10, Number 1 - 2 (2012).
Kwon, Miwon. One Place After Another: Site-Specific Art and Locational Identity. Cambridge: MIT Press, 2002.
LaBelle, Brandon. Background Noise: Perspectives on Sound Art. London and New York: Continuum International Publishing Group, 2006.
Lakoff, George, and Mark Johnson. Metaphors We Live By. Chicago: University of Chicago Press, 1980.
Landsberg, Alison. Prosthetic Memory: The Transformation of American Remembrance in the Age of Mass Culture. New York: Columbia University Press, 2004.
Laws, Kenneth, and Francia Russell. Physics and the Art of Dance: Understanding Movement. Oxford: Oxford University Press, 2002.
le Blanc, Guillaume. Courir: Méditations Physiques. Paris: Éditions Flammarion, 2012.
Leahy, Helen Rees. Museum Bodies: The Politics of Practices of Visiting and Viewing. Surrey,
England: Ashgate, 2012.
Lederman, Gail. Manliness and Civilization: A Cultural History of Gender and Race in the
United States, 1880 - 1917. Chicago: The University of Chicago Press, 1995. Lefebvre, Henri. The Production of Space. Oxford: Blackwell, 1991.
Lehman, Arnold L., and Brenda Richardson, eds. Oskar Schlemmer. Baltimore: The Baltimore Museum of Art, 1986.
Lemke, Thomas. Bio-Politics: An Advanced Introduction. Translated by Eric Frederick Trump. New York: New York University Press, 2011.
Lepage, Jean-Denis G.G. Hitler Youth, 1922 - 1945: An Illustrated History. London: McFarland & Company, Inc.,2009.
Lepecki, André, ed. Dance: Documents of Contemporary Art. London: MIT Press and WhiteChapel Gallery, 2012.
Leposavić, Radonja. vlasTito iskustvo. Belgrade: Publikum, 2005.
Licht, Alan. Sound Art: Beyond Music, Between Categories. New York: Rizzoli International
Publications, 2007.
Lippard, Lucy. Six Years: The Dematerialization of the Art Object from 1966 to 1972. Berkley: University of California Press, 1973.
Loland, Sigmund, and Berit Skirstad, Ivan Waddington. Pain and Injury in Sport: Social and Ethical Analysis. New York: Routledge, 2006.
Luthar, Breda, and Maruša Pušnik, eds. Remembering Utopia: The Culture of Everyday Life in Socialist Yugoslavia. Washington, D.C.: New Academia Publishers, 2010.
Mackay, Robin, and Armen Avanessian, eds. #Accelerate: The Accelerationist Reader. Falmouth, UK: Urbanomic, 2014.
Malcolm, Noel. Bosnia: A Short Story. London: MacMillan, 1994.
Maletic, Vera. Body - Space - Expression: The Development of Rudolf Laban’s Movement and
Dance Concepts. Amsterdam: Mouton de Gruyter, 1987.
Marie, Michel. The French New Wave: An Artistic School. Translated by Richard Neupert.
Oxford: Blackwell Publishing, 1997.
Marien, Mary Warner. Photography: A Cultural History. 2nd Edition. London: Laurence King Publishing Ltd, 2002, 2006.
Marks, Laura. Touch: Sensuous Theory and Multisensory Media. Minneapolis: University of Minnesota Press, 2002.
Marvin, Carolyn. When Old Technologies Were New: Thinking about Electric Communication in the Late Nineteenth Century. Oxford: Oxford University Press, 1988.
Mathews, Nancy Mowll. “The Body in Motion.” In Moving Pictures: American Art and Early Film, 1880 - 1910. Manchester, Vermont: Hudson Hills Press, 2005.
Mauss, Marcel. “Techniques of the Body” (1934). In Incorporations, Zone 6. Edited by Jonathan Crary and Sanford Kwinter. New York: Zone, 1992.
Mazower, Mark. Dark Continent: Europe’s Twentieth Century. New York: A.A. Knopf, 1999.
McGinnis, Peter M. Biomechanics of Sport and Exercise, Third Edition. Champaign, IL: Human Kinetics, 2013.
McSorley, Kevin, ed. War and the Body: Militarisation, Practice and Experience. New York: Routledge, 2013.
Meltzer, Eve. Systems We Have Loved: Conceptual Art, Affect, and the Antihumanist Turn. Chicago: The University of Chicago, 2013.
Merleau-Ponty, Maurice. The Phenomenology of Perception. Translated by Colin Smith. London: Routledge and Kegan Paul, 1962, 1989.
Metz, Christian. Film Language: A Semiotics of the Cinema. Translated by Michael Taylor. New York: Oxford University Press, 1974.
Metz, Christian. “Photography and Fetish.” October. Volume 34 (Autumn, 1985).
Meyer, James. Minimalism: Art and Polemics in the Sixties. New Haven: Yale University Press,
Michelson, Annette, ed. Kino-Eye: The Writings of Dziga Vertov. Translated by Kevin O’Brien. Berkeley: University of California Press, 1984.
Mirzoeff, Nicholas, ed. The Visual Culture Reader, Second Edition. New York: Routledge, 1998, 2002.
Mishima, Yukio. Sun and Steel: His Personal Testament on Art, Action, and Ritual Death. New York: Kodansha, 1970.
Mondloch, Kate. Screens: Viewing Media Installation Art. Minneapolis: The University of Minnesota Press, 2010.
Moore, Sarah J. Empire on Display: San Francisco’s Panama-Pacific International Exposition of 1915. Norman, OK: University of Oklahoma Press, 2013.
Morgan, William P. “Affective beneficence of vigorous physical activity.” Medicine and Science in Sports and Exercise. Volume 17, Number 1 (February 1985).
Morse, Meredith. Soft is Fast: Simone Forti in the 1960s and After. Cambridge: MIT Press, 2016.
Mosse, George L. The Image of Man: The Creation of Modern Masculinity. Oxford: Oxford University Press, 1996.
Motherwell, Robert, ed. Dada Painters and Poets. New Haven: Harvard University Press, 1981.
Mozley, Anita Ventura, ed. Eadweard Muybridge: The Stanford Years, 1872 - 1882. San Francisco: Stanford University, 1972.
Mulvey, Laura. Death 24x a Second: Stillness and the Moving Image. London: Reaction books, 2006.
Mumford, Lewis. Technics and Civilization. London: Routledge & Kegan Paul LTD, 1934, 1955.
Muñoz, José Esteban. Disidentifications: Queers of Color and the Performance of Politics. Minneapolis: The University of Minnesota Press, 1999.
Musolff, Andreas. Metaphor, Nation, and the Holocaust: The Concept of the Body Politic. New York: Routledge, 2010.
New Collectivism, ed. Neue Slowenische Kunst. Translated by Marjan Golobič. Hong Kong: Paramount Printing, 1991.
Newman, Michael, and Jon Bird, eds. Rewriting Conceptual Art. London: Reaction Books, 1999. O’Doherty, Brian. Inside the White Cube: The Ideology of the Gallery Space. Berkley:
University of California Press, 1986.
O’Rourke, Karen. Walking and Mapping: Artists as Cartographers. Cambridge: MIT Press, 2013.
Obrist, Hans Ulrich. Do It: The Compendium. New York: Independent Curators International/D.A.P., 2013.
Partsch-Bergsohn, Isa. Modern Dance in Germany and the Untied States: Crosscurrents and Influences. Chur: Harwood Academic Publishers, 1994.
Passerini, Luisa, ed. Memory and Totalitarianism. Oxford: Oxford University Press, 1992. Pavković, Aleksandar. The Fragmentation of Yugoslavia: Nationalism and War in the Balkans,
Second Edition. New York: St. Martin’s Press, 2000.
Pegrum, Mark A. Challenging Modernity: Dada Between Modern and Postmodern. Oxford: Berghahn Books, 2000.
Peiffer, Lorenz. Sport im Nationalsozialismus: Zum aktuellen Stand der sporthistorischen Forschung. Göttingen: Verlag Die Werkstaat, 2004, 2015.
Pejić, Bojana, and David Elliot. After the Wall: Art and Culture in Post-Communist Europe. Stockholm: Moderna Museet, 1999.
Penz, Otto. “Sport and Speed.” International Review for the Sociology of Sport. Volume 25, Number 2 (June 1990).
Peoples, Crocker. “A Psychological Analysis of the ‘Runner’s High’ (Human Performance).” Physical Educator. Volume 40, Number 1 (March 1, 1983).
Perica, Vjekoslav. Balkan Idols: Religion and Nationalism in Yugoslav States. Oxford: Oxford University Press, 2002.
Petrov, Ana. “Telesni projekti i regulacija normativnog tela: uloga fizičke kulture u Jugoslaviji.” Institut za etnologiju i folkloristiku. Issue 51, Number 2 (2014).
Pfister, Gertrud, ed. Gymnastics, A Transatlantic Movement: From Europe to America. New York: Routledge, 2011.
Phelan, Peggy. Unmarked: The Politics of Performance. New York: Routledge, 1993. Phillips, Christopher, ed. Photography in the Modern Era: European Documents and Critical
Writings, 1913 - 1940. New York: The Metropolitan Museum of Art/Aperature, 1990. Phillips, Murray G. Deconstructing Sport History: A Postmodern Analysis. Albany: State
University of New York Press, 2006.
Pissaro, Joachim, et al. Martin Creed: What’s the Point of It? London: Hayward Publishing, 2014.
Piotrowski, Piotr. In the Shadow of Yalta: Art and the Avant-Garde in Eastern Europe, 1945 - 1989. London: Reaktion, 2009.
Preston-Dunlop, Valerie. Rudolf Laban: An Extraordinary Life. London, Dance Books, 1998. Preziosi, Donald. Art Religion Amnesia: The Enchantments of Credulity. New York: Routledge,
Pursell, Caroll. White Heat: People and Technology. Berkley: University of California Press, 1994.
Quercetani, R. L. A World History of Track and Field Athletics 1864-1964. London: Oxford University Press, 1964.
Rabinbach, Anson. The Human Motor: Energy, Fatigue, and the Origins of Modernity. New York: Basic Books, 1990.
Rabinow, Paul, ed. The Foucault Reader. New York: Random House, 1984.
Radstone, Susannah, and Bill Schwarz, Memory: Histories, Theories, Debates. New York: Fordham University Press, 2010.
Rancière, Jacques. Aesthetics and its Discontents. Malden: Polity Press, 2004.
Rancière, Jacques. The Emancipated Spectator. Translated by Gregory Elliot. London: Verso,
Rancière, Jacques. The Politics of Aesthetics: The Distribution of the Sensible. London: Continuum, 2006.
Rees, A.L., and Duncan White, Steven Ball, David Curtis, eds. Expanded Cinema: Art, Performance, Film. London: Tate Publishing, 2011.
Rempel, Gerhard. Hitler’s Children: The Hitler Youth and the SS. Chapel Hill: University of North Carolina Press, 1989.
Richards, Mary. Marina Abramović. New York: Routledge, 2010.
Ricoeur, Paul. Oneself as Another. Translated by Kathleen Blamey. Chicago: University of
Chicago Press, 1992.
Rosa, Hartmut. Beschleunigung und Entfremdung: Entwurf einer Kritischen Theorie
spätmoderner Zeitlichkeit. Berlin: Suhrkamp, 2013.
Rosa, Hartmut, and William E. Scheuerman. High-Speed: Social Acceleration, Power, and
Modernity. University Park, PA: The Pennsylvania State University, 2009.
Rosati, Lauren, and Mary Anne Staniszewski, eds. Alternative Histories: New York Art Spaces,
1960-2010. Cambridge: MIT Press, 2012.
Rosenstone, Robert A., “History in Images/History in Words: Reflections on the Possibility of Really Putting History onto Film.” The American Historical Review. Volume 93. Number 5 (December 1988).
Rossol, Nadine. Performing the Nation in Interwar Germany: Sport, Spectacle, and Political Symbolism, 1926 - 1936. New York: Palgrave Macmillan, 2010.
Roxby-Maude, Alice, On Camera: Performance and Photography. Southampton: John Hansard Gallery, 2007.
Ruyter, Nancy Lee Chalfa. The Cultivation of Body and Mind in Nineteenth-Century American Delsartism. Westport, CT: Greenwood Press, 1999.
Salazar, James B. Bodies of Reform The Rhetoric of Character in Gilded Age America. New York: New York University Press, 2010.
Schechner, Richard. Essays on Performance Theory 1970 - 1976. New York: Drama Book Specialists, 1973, 1977.
Scheerder, Jeroen, and Koen Breedveld, eds. Running Across Europe: The Rise and Size of One of the Largest Sport Markets. New York: Palgrave Macmillan, 2015.
Seckinelgin, H., and Billy Wong, eds. Global Civil Society 2011: Globally and the Absence of Justice. Hampshire: Palgrave Macmillan, 2011.
Sekula, Allan. “The Body and the Archive.” October. Volume 39 (Winter, 1986). Semon, Richard. Die mnemischen Empmfindungen in ihren Beziehungen zu den
Originalempfindungen. Leipzig: W. Engelmann, 1909.
Shawn, Ted. Every Little Movement: A Book About François Delsarte. Pittsfield, MA: The Eagle
Printing and Binding Company, 1954.
Shayt, David H. “Stairway to Redemption: America’s Encounter with the British Prison
Treadmill.” Technology and Culture, Volume 30, Number 4 (Oct. 1989).
Sheridan, Heather, and Leslie Howe, and Keith Thompson, eds. Sporting Reflections: Some
Philosophical Perspectives. Aachen: Meyer & Meyer Verlag, 2007.
Siegmund, Gerald, and Stefan Hölscher, eds. Dance, Politics, and Co-Immunity: Thinking Resistances, Current Perspectives on Politics and Communities in the Arts. Volume 1. Zürich- Berlin: Diaphanes, 2013.
Sileo, Diego, and Eugenio Viola, PAC (Milano), eds. Marina Abramović: The Abramović Method. 2 Volumes. Milan: 24 ORE Cultura, 2012.
Silverman, Kaja. The Subject of Semiotics. New York: Oxford University Press, 1983.
Slevin, Tom. Vision of the Human: Art, World War One and the Modernist Subject. London: I.B.
Tauris, 2015.
Solnit, Rebecca. River of Shadows: Eadweard Muybridge and the Technological Wild West. New York: Viking, 2003.
Solnit, Rebecca. Wanderlust: A History of Walking. London: Verso, 2001.
Sontag, Susan. Against Interpretation and Other Essays. New York: Picador, 1966, 2001. Sontag, Susan. “Fascinating Fascism.” The New York Review of Books (6 February 1975). Sontag, Susan. On Photography. New York: Picador, 1977.
Spieker, Sven. The Big Archive: Art from Bureaucracy. Cambridge: MIT Press, 2008. Stepišnik, Drago. Oris Zgodovine Telesne Kulture na Slovenskem. Ljubljana: Dražavna založba
Slovenija, 1968.
Stipančić, Branka. “‘Zame je resničnost umetnost,’ Intervju s Tomislavom Gotovcem.” Vijenac, Number 123/VI (8 Oct. 1998).
Stoddart, Tom. Sarajevo. Washington, D.C.: Smithsonian Institution Press, 1998.
Stošić, Mirjana. “Body-name — The Brotherhood Chronotype and Social Choreography.”
Култура/Culture (2015).
Suljagić, Emir. Postcards from the Grave. Translated by Lejla Haverić. London: The Bosnian
Institute, 2005.
Susovski, Marijan, ed. The New Art Practice in Yugoslavia, 1966 - 1978. Zagreb: Gallery of Contemporary Art, 1978.
Sutil, Nicolás Salazar. Motion and Representation: The Language of Human Movement. Cambridge: MIT Press, 2015.
Swenson, Kirsten. Irrational Judgements: Eva Hesse, Sol Lewitt, and 1960s New York. New Haven: Yale University Press, 2015.
Szeemann, Harold. Zum freien Tanz, zu reiner Kunst. Rolandseck: Stiftung Hans Arp und Sophie Taeuber-Arp, 1991.
Tagg, John. The Burden of Representation: Essays on Photographies and Histories. Minneapolis: University of Minnesota Press, 1988.
Tilmans, Karin, and Frank van Vree, Jay Winter, eds. Performing the Past: Memory, History, and Identity in Modern Europe. Amsterdam: Amsterdam University Press, 2010.
Tumarkin, Maria M. Traumascapes: The Power and Fate of Places Transformed by Tragedies. Victoria, Australia: Melbourne University Press, 2005.
Udall, Sharyn R. Dance and American Art: A Long Embrace. Madison: University of Wisconsin Press, 2012.
Vacche, Angela Dalle. Film, Art, New Media: Museum without Walls? New York: Palgrave Macmillan, 2012.
Vertinsky, Patricia Anne. The Eternally Wounded Woman: Women, Doctors, and Exercise in the Late Nineteenth Century. Manchester: Manchester University Press, 1989.
Virilio, Paul. The Art of the Motor. Translated Julie Rose. Minneapolis: University of Minnesota Press, 1995.
Weibel, Peter. Beyond Art: A Third Culture. Vienna: Ambra Verlag, 2005.
Wells, Liz, ed. Photography: A Critical Introduction. New York: Rutledge, 1996/2015.
Westcott, James. When Marina Abramović Dies: A Biography. Cambridge: MIT Press, 2010.
White, Hayden. “Historiography and Historiophoty.” The American Historical Review. Volume 93. Number 5 (December 1988).
White, Hayden V. Metahistory: The Historical Imagination in Nineteenth-Century Europe. Baltimore: Johns Hopkins University Press, 1973.
Wiehager, Renate, ed. Moving Pictures: Photography and Film in Contemporary Art. Ostfildern- Ruit, Germany: Hate Cantz Publishers, 2001.
Williams, Raymond. Culture and Society, 1780 - 1950. New York: Columbia University Press, 1958/1983.
Wood, Catherine. Yvonne Rainer: The Mind is a Muscle. London: Afterall, 2007. Wood, Denis. The Power of Maps. New York: Guilford Press, 2010.
Woodward, Susan L. Balkan Tragedy: Chaos and Dissolution after the Cold War. Washington, D.C.: The Brookings Institution, 1995.
Young, Kevin. Deviance and Social Control in Sport. Champaign, IL: Human Kinetics, 2008. Youngblood, Gene. Expanded Cinema. New York: E.P. Dutton and Co., 1970.
Zelizer, Barbie, ed. Visual Culture and the Holocaust. New Brunswick: Rutgers University Press, 2001.
Zidić, Igor, and Ana Dević, Antonio Gotovac Lauer a.k.a. Tomislav Gotovac. Antonio Gotovac Lauer: Čelična mreža. Zagreb: Moderna Galerija and Studio Josip Račič, 2006.
Zorn, John W., ed. The Essential Delsarte. Metuchen, NJ: The Scarecrow Press, Inc, 1968.
Žižek, Slavoj. The Indivisible Remainder: An Essay on Schelling and Related Matters. London: Verso, 1996.
----
------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
—-
CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
-------
In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
------
for activating the format or for inviting the installation
please contact 1@colonel.dk
-----
critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
"Como entrar al reino de dios" | ¿Realmente es el perdón de los pecados un pasaje al reino de los cielos?
Hermanos y hermanas, ¡que la paz sea con ustedes! Muchos hermanos y hermanas tienen este punto de vista: Si seguimos al Señor y oramos en Su nombre, nuestros pecados serán perdonados, y a través de esto, además de frecuentes donaciones, trabajo, predicación, viajes y gastos, creemos que finalmente entraremos en el reino de los cielos. Pero muchos cristianos están confundidos: Nuestros pecados son perdonados, y hemos hecho algunas buenas obras, pero cuando entramos en contacto con otros, todavía revelamos la ira y nos volvemos furiosos con otras personas, no podemos llevarnos bien con otros, a menudo codiciamos y perseguimos cosas mundanas... Aunque oramos y nos confesamos al Señor todos los días, después ocurren los mismos problemas. ¿Pueden personas tan llenas de pecado como nosotros obtener realmente la aprobación de Dios y entrar en el reino de los cielos? Hoy, hablaremos para tratar esta cuestión.
Hermanos y hermanas, si queremos entender si aquellos cuyos pecados han sido perdonados pueden entrar en el reino de Dios, primero debemos entender a qué se refiere el tener nuestros pecados perdonados, así como su verdadero significado.
…
Leer más: https : / / www.evangelio-es.org/pasaje-al-reino-de-los-cielos.html
Recomendación: Reflexiones Cristianas
Barry McGee "Site-Specific Loft Installation" at the Roberts and Tilton Gallery in L.A.
Project Room
Barry McGee (TWIST)
Site-Specific Loft Installation (click to see a lot more photos from the installation)
"Running concurrently with the group exhibition Do Not Stack, McGee takes over the project space, transforming the room’s physical relationship with the visitor into an interactive viewing. A distinctive cluster of McGee’s various paintings, works on paper and urban objects can be accessed by ascending through the floor of the utilitarian structure to the lofted space above."
Barry McGee "Site-Specific Loft Installation" at the Roberts and Tilton Gallery in L.A.
I spoke with the director of the gallery. He said that the gallery offered this 10' x 10' room to Barry McGee to do something with it. He said they got to talking and then Barry asked, "Can I build a loft?" And they did. A real interesting space. Well worth a visit in my opinion.
Lori Deiter and I made it to RGSP just after 8am...
We hiked from the Lake Rose parking lot down the Highland Trail, onto Glen Leigh, stopped at Waters Meet, continued on Ganoga Glen and back to the Lake Rose parking lot. Made it back to her vehicle around 1pm
Glen Leigh water flow is quite low, but Ganoga Glen seems to have a little bit more.
Check out my blog post about this adventure, here:
rickettsglen.wordpress.com/2014/09/09/august-22nd-2014/
Ricketts Glen State Park
Fairmount Township, Pennsylvania
Friday, August 22nd, 2014
Like / Follow / Subscribe:
Facebook | Google+ | Etsy | Pixoto | FineArtAmerica | RedBubble
www.cedarwave.com/fleet/MV-Lotus.php
LOTUS is listed on the National Register of Historic Places. She is 92 feet long with a beam 18 feet and a draft 5.5 feet. She displaces 102 tons. She was designed by naval architects Lee and Brinton, and built in the Sloan Yard, Seattle , Washington. LOTUS was launched in May, 1909.
Built to cruise the Inside Passage of the Pacific Northwest, LOTUS was built for Maurice McMicken, attorney, legal counsel to the legislature of the State of Washington, publisher of the Seattle Post Intelligencer Newspaper, sportsman and civil leader. He cruised her extensively in the waters of the Inland Passage between Olympia WA, through British Columbia and as far north as Alaska.
en.wikipedia.org/wiki/Lotus_(motor_vessel)
www.olsonengr.com/download/globios/mcmickenmauricebio.pdf
"LOTUS features a strongly Edwardian design ethic, with the chandeliers, claw-foot tubs, mahogany inlays, and exposed beams of the same sort found in homes built in that era. Her interior has been remarkably preserved, with nearly all the original wood and fixtures from the main cabin forward. The galley has been modified to enclose the once-open engine room space, and to accommodate modern appliances and fixtures. Above, in the pilothouse and on the upper deck, wonderful 360-degree views are afforded from beneath an awning extending the length of the deck."
el.kingdomsalvation.org/gospel/God-s-incarnation-6.html
Σχετικά λόγια του Θεού:
« Η σωτηρία του ανθρώπου από τον Θεό δεν επιτελείται απευθείας μέσω του Πνεύματος ή ως Πνεύμα, διότι το Πνεύμα Του δεν μπορεί ούτε να το αγγίξει ούτε να το δει ο άνθρωπος και δεν μπορεί να το προσεγγίσει ο άνθρωπος. Αν προσπαθούσε να σώσει τον άνθρωπο άμεσα μέσω του Πνεύματος, ο άνθρωπος δεν θα ήταν σε θέση να λάβει τη σωτηρία Του. Και αν δεν ήταν ο Θεός που ενδύθηκε την εξωτερική μορφή ενός δημιουργημένου ανθρώπου, δεν θα ήταν σε θέση να λάβει αυτή τη σωτηρία. Γιατί ο άνθρωπος δεν μπορεί με κανέναν τρόπο να τον πλησιάσει, όπως όταν δεν μπορούσε κανείς να πλησιάσει το σύννεφο του Ιεχωβά. Μόνο μέσω της ενσάρκωσής Tου σε δημιουργημένο άνθρωπο, δηλαδή, μόνο θέτοντας την οδό Του στη σάρκα που θα γίνει,θα μπορεί προσωπικά να εμφυσήσει την οδό σε όλους όσους Τον ακολουθούν. Μόνο τότε ο άνθρωπος θα μπορέσει να ακούσει ο ίδιος την οδό Του, να δει την οδό Του και να λάβει την οδό Του, τότε μέσω αυτού θα σωθεί πλήρως. Εάν ο Θεός δεν ενσαρκωνόταν, κανένας θνητός δεν θα λάμβανε τόσο μεγάλη σωτηρία, και δεν θα σωζόταν ούτε ένας άνθρωπος. Εάν το Πνεύμα του Θεού εργαζόταν απευθείας μεταξύ των ανθρώπων, ο άνθρωπος θα πλήττονταν ή θα παρασυρόταν πλήρως και θα φυλακιζόταν από τον Σατανά, γιατί ο άνθρωπος δεν είναι σε θέση να συγχρωτιστεί με τον Θεό. Η πρώτη ενσάρκωση έγινε για να λυτρώσει τον άνθρωπο από την αμαρτία μέσω της σάρκας του Ιησού, δηλαδή, Αυτός έσωσε τον άνθρωπο από τον σταυρό, αλλά η διεφθαρμένη σατανική διάθεση παρέμενε ακόμα μέσα στον άνθρωπο. Η δεύτερη ενσάρκωση δεν πρέπει πλέον να χρησιμεύει ως προσφορά περί αμαρτίας, αλλά για να σώζει πλήρως όσους λυτρώθηκαν από την αμαρτία. Αυτό γίνεται έτσι ώστε όσοι συγχωρούνται να μπορούν να απελευθερωθούν από τις αμαρτίες τους και να εξαγνιστούν πλήρως και να επιτύχουν αλλαγή της διάθεσής τους, σπάζοντας έτσι τα δεσμά της επιρροής του σκότους του Σατανά και επιστρέφοντας ενώπιον του θρόνου του Θεού. Μόνο κατ’ αυτόν τον τρόπο μπορεί ο άνθρωπος να αγιοποιηθεί πλήρως. »
από «Το μυστήριο της ενσάρκωσης (4)» στο βιβλίο «Ο Λόγος Ενσαρκώνεται»
Πηγή εικόνας: Εκκλησία του Παντοδύναμου Θεού
Όροι Χρήσης： el.kingdomsalvation.org/disclaimer.html
May 20, 2020 - Bushnell Nebraska
Prints Available...Click Here
All Images are also available for...
stock photography & non exclusive licensing...
Watch the Video from this storm chase day on Flickr Click Here
Day 2 of chasing the plains of Wyoming. With a good chance of seeing what we came for. We had plans in place to be in position early to catch that's days first round of severe storms in Central Wyoming.
Moving west via Hwy 26 through Torrington, Lingle, Fort Laramie, Guernsey, then north on I-25 to Glendo where we would stop to watch the scudnado form and not produce.
Packed the gear up after this event and moved south to be ahead of part 2 of that afternoon and evenings cells that were to develop shortly after this first event.
After the jaunt south to Pine Bluff Wyoming we headed to Bushnell Nebraska. About 15 miles from Pine Bluff Wyoming to watch this next storm build and eventually move west into Nebraska. We didn't want to be under the base of this storm due to the hail core. So we backed off and awaited the storm to develop right at sunset!
*** Please NOTE and RESPECT the Copyright ***
Copyright 2020
Dale Kaminski @ NebraskaSC Photography
All Rights Reserved
This image may not be copied, reproduced, published or distributed in any medium without the expressed written permission of the copyright holder.
#ForeverChasing
#NebraskaSC
✰ Credit ✰
.: CORAZON:. - Tattoo ADA - Fetish Fair
:: pm :: - Shades Outfit - Fetish Fair
NEW ATTITUDE
● Tumblr
● Flickr
www.kingdomsalvation.org/ru/testimonies/it-was-god-who-ke...
Христианские свидетельства | Бог защитил нашу семью от стихийного бедствия
Ван Лань, Пекин
6 августа 2012 г.
21 июля 2012 года наша деревня попала под удар сильнейшего за 60 лет наводнения. Стихия ударила с небес, потоки воды смешались с грязью и камнями и разорили всю деревню и разрушили большинство домов.
После пяти часов вечера начался сильный ливень. Потоки воды и камни шли с вершин прямо на наш дом, и повсюду вокруг была вода. Наводнение смыло курятник нашей дочери и наши свинарники вместе со всеми животными. Вода уже подходила к нашему дому, в котором оставался пожилой человек 94 лет и 10-месячный ребенок. Мы запаниковали. Пока я, схватив младенца, помогала старику перебраться в дом повыше, вода начала заливать тот, что пониже. Ливень все продолжался. Мы смотрели, как вода подступает к дому, в котором мы укрылись. Я была вне себя от страха. Я позвонила старосте деревни, но он сказал мне, что нам нужно уходить выше в горы, и что им едва хватает сил, чтобы спастись самим. В этой ситуации каждый человек был сам за себя. От страха я вспомнила слова Бога: «Бедствие навлечено Мной и, конечно же, управляется Мной». («Готовьте достаточно добрых дел для вашего место назначения» в книге «Слово является во плоти»). Верить в Бога значит полагаться на Него, ведь на людей, положиться нельзя, поэтому я плача встала в дверях и во весь голос обратилась Богу с мольбой о помощи: «Боже, спаси нас! О Боже, спаси нас!» Мы все встали на колени и начали молиться: «Боже, если мы погибнем в этом наводнении, в этом будет Твоя праведность, ведь мы были слишком строптивыми. Если мы спасемся, мы спасемся Твоей милостью. Мы начнем жизнь с чистого листа, мы будем внимать Твоей воле, мы начнем исполнять свой долг и распространять евангелие
». На улице стемнело, но мы не осмеливались выйти из дома. Вся семья собралась вместе, мы говорили о том, что судьба всего человечества находится в руках Бога, что если Он пожелает смерти человека, тому нигде не спрятаться и не вырваться из рук Бога. Мы перестали бояться смерти.
...
Image Source: Церковь Всемогущего Бога
Terms of Use: www.kingdomsalvation.org/ru/disclaimer.html
HEAD: ABSOLUT CREATION EVE'olution-head
BODY: Maitreya Lara body + SLink hands/feet
HEAD / BODY APPLIER: Van Luck Valkyries. Meyo (appliers: Omega/SLink head/body) tyvm! - Gacha
HAIR: Besom Rat
EYES: Byte Sized Shapes Nocturnal 1 L$ @ marketplace
TONGUE: OtherSkin Truth tyvm!
NAIL APPLIER: La Boheme Carbonite. Silver (SLink) soon @ Addicted To Appliers Hunt tyvm!
TATTOO CHEST: Speakeasy Dishonor (appliers: Omega, TMP, SLink)
TATTOO LEGS: Things Maita (appliers: Belleza, Omega, TMP, SLink)
CROWN: DirtyStories Lost Crown tyvm!
HOOD w/horns: ImmateriA Vampire Crusades tyvm!
HEADPIECE (w/skull): Van Luck Valkyries. Skull & Flowers headdress @ Fair Play: El Mundo *new* tyvm! - Gacha
HEADPIECE / PAULDRONS / NECKLACE / BRACELET (flowers): MdiMODA [00E] @ Fair Play: El Mundo *new* tyvm! - Gacha
EYEPATCH: Suicide Gurls Aegis. Silver @ Fair Play: El Mundo *new* tyvm!
NECK CORSET: ALEGRIA Isabel. Black tyvm!
SHOULDER PADS: DirtyStories Soul Hunter Rose w/color HUD tyvm!
PAULDRONS / BRACELETS: Dita Couture Spring Goddesses.red @ Fair Play: El Mundo *new* tyvm!
ARMBAND: DirtyStories Demonic w/color HUD @ Fair Play: El Mundo *new* tyvm!
STAFF: [Gauze] Alchemist. Power tyvm!
STRIPES TOP: Van Luck Valkyries. Black outfit (appliers: Omega) @ Fair Play: El Mundo *new* tyvm! - Gacha
BRA: RAPTURE Dress-APO-Vampire - part of full outfit @ Fair Play: El Mundo *new* tyvm!
SKIRT: ImmateriA Guardian of Reims - part of full outfit @ Fair Play: El Mundo *new* tyvm!
DRAPE: Vengeful Threads Morrigan - part of dress tyvm!
FOOT JEWELRY: Independent Objects Alia. Blue (SLink high) tyvm!
whytake.net/Portfolio/FranciscoDominguez/5334
www.linkingoo.com/foto/13/1304/francisco_dominguez.html
www.fluidr.com/photos/35196188@N03
www.fotonatura.org/mifotonatura/galeria.php
www.youtube.com/user/25elgaucho
www.youtube.com/user/25elgaucho/videos?tag_id=&view=0...
es.wikiloc.com/wikiloc/spatialArtifacts.do
Las tres Gracias es un cuadro del pintor barroco Peter Paul Rubens. Como en otros cuadros de tema mitológico, Rubens lo plantea de modo muy distinto al de los artistas que le precedieron. En efecto, esta obra del llamado príncipe de los pintores flamencos es la antítesis de la obra anterior de Rafael Sanzio Las Gracias, caracterizada por un sentimiento general de castidad. Las Gracias de Rafael representan las hijas de Zeus y pueden citarse como tipo de belleza ideal, mientras que las de Rubens pueden corresponder a la belleza más sensual. Aglaya, Talia y Eufrósine no fueron para Rubens más que una excusa para pintar tres academias femeninas, reproducción de las exuberantes formas de sus habituales modelos.
The Three Graces (Rubens). As in other mythological paintings, Rubens raises it very different from the way artists before him. Indeed, this work of the prince among Flemish painters is the antithesis of the previous work of Raphael Sanzio The Graces, characterized by a general feeling of chastity. Thanks Rafael represent the daughters of Zeus and may be cited as ideal type of beauty, while Rubens may correspond to the most sensual beauty. Aglaia, Euphrosyne Talia and Rubens were not for an excuse to paint three female academies, reproduction of their usual exuberant forms of models
She is as smart as she is beautiful, and is a VERY talented writer.
Read about this night at sophielynne1.blogspot.com/2013/03/keystone-conference-par...
NO Self promotion by Image / HTML or WEB Link
NO Faves With out Comments plz,
Doing such act might cause you A Block from Me
Only Appreciation. Critics . comments Faves, Notes , Blog it And Own Comments are welcome and NO Round Up Comments plz !!
Take Some time with me to share your feelings here,
__________________________
,990613022011,
,Pay Visit to my:
Light Box
Getty Image Here
Twitter Here
Face Book Here
My Blog Here
___________________________________________________________
.
The Edit of this Photo Demands Your View In BLACK with Large size for better out put, Plz Press L for Black
_______________________________________
.Description
This is the cover photo of my set Spring Celebration 2011 [বসন্ত উথসব ২০১১(Bashanto Uthsob) ]
This Photo was taken on 13th Feb 2011 / 01 Falgun 1417 Bangoli Calender Yr at 4:30 pm , from Rabindro Sorobor [ A open air Cultural Venue ] Dhaka BANGLADESH . All the photos are Candid and with less treatment, The Spring Celebration here in BANGLADESH is Commonly known as Bashanto Uthsob,[ Bashanto is :
A name of Color
A name of most soothing weather
A name of flowery days
and Most Interesting season here in Bangladesh ]
This is the 1st Day of Falgun[ Falgun is a Bangoli Calendar Month ] Every Bangoli Calendar Year on 13th February comes as Our celebration day, Same As Valentine day on 14th Feb , We Follow both the day as our Valentine day, 13th Feb as for Bangoli and 14th Feb as FOR western culture,
The First day of Falgun is memorable for its colorful celebration. People from all age and categories celebrate this day with joy amd Festivities to welcome the spring season . They celebrate this day with folk dances , music, recitations and rallies throughout the country to commemorate the Bashanta Uthsob. Girls ware Yellow sarees and Boys wear Yellow Panjabees to celebrate the day, Most of the youth and children’s Painted their faces to make the day more colorful . At the same time , people hope that the coming days will be full of light and Joy,
The Spring [BASHANTO ] Comes to Bangladesh is the end state of Winter and the beginning of Summer, with new leafs in the branches of trees ,
Beds are full with Flowers in the garden and The Bird [KOKIL] Twitted are all the Happening in Spring [Bashanto ]
_____________________
Thanks In Advance for not Inviting me to any Group and Attaching Graphics to this picture as a part of your comments, I appreciate you to view my photo , click Faves and write your comments instead you copy pest your comment to me.
Press F to Faves This Photo
-Please don't use or alter this image on websites, blogs or any other media without my explicit permission. © All rights reserved,
________________________________________________________________________
Nikon D300 + Samyang 8mm
________________________________________________________________________
Compra le mie stampre su www.antoniomariniello.com
Buy my photos on www.antoniomariniello.com
________________________________________________________________________
Antonio Mariniello website & Antonio Mariniello Facebook Fan Page
________________________________________________________________________
Contatto - Contact: mrantonio9285@ymail.com
________________________________________________________________________
My photos on Explore | facebook | twitter | linkedin | fluidr | flickrtab | bananr | flickriver
________________________________________________________________________
Copyright © Antonio Mariniello - Tutti i diritti riservati. All rights reserved.
Please don't use my pics. If you are interested in this pic contact me.
La riproduzione totale o parziale, in qualunque forma è proibita senza autorizzazione.
________________________________________________________________________
via KrakyLand.net Ms. Splosion Man Download Pc Game www.krakyland.net/2016/01/ms-splosion-man-download-pc-gam...
Fonte dell'immagine: La Chiesa di Dio Onnipotente
Condizioni d'Uso: www.kingdomsalvation.org/it/disclaimer.html
L'emozionante inno del Regno ha risuonato, annunciando all'intero universo la venuta di Dio tra gli uomini! Il Regno di Dio è arrivato! Tutte le genti acclamano, tutte le cose si rallegrano! Ogni cosa nei cieli trabocca di gioia. Che accattivanti scene di giubilo sono queste? Tra gli uomini, che vivono nel dolore e hanno sopportato per millenni la corruzione di Satana, chi non desidera – chi non brama – la venuta di Dio? Quanti credenti e seguaci di Dio nel corso dei secoli, sotto l'influenza di Satana, hanno patito sofferenze e avversità, persecuzioni e alienazioni? Chi non spera che il Regno di Dio venga presto? Avendo provato le gioie e i dolori dell'umanità, quale umano non desidera che la verità e la giustizia detengano il potere tra gli uomini? Quando verrà il Regno di Dio, finalmente arriverà il giorno disperatamente atteso da tutte le nazioni e tutti i popoli! In quel momento, quale sarà lo scenario tra tutte le cose in cielo e in terra? Quanto sarà meravigliosa la vita nel Regno? Con "L'inno del Regno: Il Regno discende sul mondo", le preghiere di millenni si avvereranno!
Fonte: www.kingdomsalvation.org/it/videos/kingdom-descends-upon-...
Jan Baptist Tijssens (1657-c.1723) - Guardroom interior with armour and a standard behind
www.sothebys.com/en/auctions/ecatalogue/2014/old-master-b...
St. Hilda’s By The Sea is a small Anglican church in Sechelt. Set among the verdant green trees of the temperate rainforest, it is an eclectic mix of old and new: retired British pensioners polish the altar crystal and set out flowers for Sunday services, presided over by a gay Chinese-Canadian priest. Tai chi mixes with Celtic mysticism in a melange that is somehow stronger than its parts. And isn’t that what community is all about?
From the official website:
Walking the labyrinth is an ancient spiritual act that is being rediscovered during our time.
Usually constructed from circular patterns, labyrinths are based on principles of sacred geometry. Sometimes called “divine imprints”, they are found around the world as sacred patterns that have been passed down through the ages for at least 4,000 years. When a pattern of a certain size is constructed or placed on the ground, it can be used for walking meditations and rituals.
Labyrinths and their geometric cousins (spirals and mandalas) can be found in almost every religious tradition. For example, the Kabbala, or Tree of Life, is found in the Jewish mystical tradition. The Hopi Medicine Wheel, and the Man in the Maze are two forms from the Native American labyrinth traditions. The Cretan labyrinth, the remains of which can be found on the island of Crete, has seven path rings and is the oldest known labyrinth (4,000 or 5.000 years old).
In Europe, the Celts and later the early Christian Celtic Church revered labyrinths and frequently built them in natural settings. Sacred dances would be performed in them to celebrate solar and religious festivals. During the Middle Ages, labyrinths were created in churches and cathedrals throughout France and Northern Italy. These characteristically flat church or pavement labyrinths were inlaid into the floor of the nave of the church.
The Chartres Labyrinth
The labyrinth constructed at St. Hilda’s is an 11-circuit labyrinth. It is a replica of the one embedded in the floor of Chartres Cathedral in France. The design of this labyrinth, and many of the other church labyrinths in Europe, is a reworking of the ancient labyrinth design in which an equal-armed cross is emphasized and surrounded by a web of concentric circles. As with many Christian symbols, this was an adaptation of a symbol; that is known to have predated the Christian faith. This medieval variation is considered a breakthrough in design because it is less linear than the preceding, more formal, Roman design that developed from quadrant to quadrant. The medieval design made one path as long as possible, starting at the outer circumference and leading to the centre. Fraught with twists and turns, the path’s meanderings were considered symbolic representations of the Christian pilgrim’s journey to the Holy City of Jerusalem and of one’s own journey through life. This classical design is sometimes referred to as “the Chartres Labyrinth” due to the location of its best known example. The labyrinth was built at Chartres in the early 13th century (~ 1215 A.D.). No one knows the source of this classical 11-circuit labyrinth design, and much of its spiritual meaning and use has been lost.
The Chartres Labyrinth is located in the west end of the nave, the central body of the cathedral. When you walk in the main doors and look towards the high altar, you see the center of the labyrinth on the floor about 50 feet in front of you. It is approximately 42 feet in diameter and the path is 16 inches wide. At Chartres, the center of the Rose Window mirrors the center of the labyrinth. The cathedral is perfectly proportioned, so that if we put the west wall of the cathedral on hinges and folded it down on the labyrinth, the Rose Window would fit almost perfectly over the labyrinth.
Labyrinth or Maze?
The difference between a labyrinth used for meditation and mazes can be confusing. Mazes often have many entrances, dead-ends and cul-de-sacs that frequently confound the human mind. In contrast, meditation labyrinths offer only one path. By following the one path to the center, the seeker can use the labyrinth to quiet his or her mind and find peace and illumination at the center of his or her being. “As soon as one enters the labyrinth, one realizes that the path of the labyrinth serves as a metaphor for one’s spiritual journey. The walk, and all that happens on it, can be grasped through the intuitive, pattern-discerning faculty of the person walking it. The genius of this tool is that it reflects back to the seeker whatever he or she needs to discover from the perspective of a new level of conscious awareness.”
The Labyrinth is a Universal Meditation Tool
Anyone from any tradition or spiritual path can walk into the labyrinth and, through reflecting in the present moment, can benefit from it. A meditation labyrinth is one of many tools that can be used for spiritual practice. Like any tool, it is best used with a proper, good, intention. A church or temple can be used simply as a refuge from a rainstorm, but it can be so much more with a different intention. The same is true of the labyrinth. The seeker is only asked to put one foot in front of the other. By stepping into the labyrinth, we are choosing once again to walk the contemplative spiritual path. We are agreeing to let ourselves be open to see, to be free to hear, and to becoming real enough to respond. The labyrinth is a prayer path, a crucible of change, a meditation tool, a blueprint where psyche meets soul.
The best way to learn about the labyrinth is to walk a well-constructed one a few times, with an open heart and an open mind. Then allow your experience to guide you as to whether this will be a useful spiritual tool for you.
The Chartres Labyrinth and the Pilgrim’s Journey
Pilgrims are persons in motion – passing through territories not their own – seeking something we might call completion, or perhaps the word clarity will do as well, a goal to which only the spirit’s compass points the way.
Richard R. Niebuhr in Pilgrims and Pioneers
“The tradition of pilgrimage is as old as religion itself. Worshippers on pilgrimage traveled to holy festivals whether to solstice celebrations, to Mecca to gather around the Ka’aba for the high holy days of Islam, or to Easter festivals in the Holy City of Jerusalem. Pilgrimages were a mixture of religious duty and holiday relaxation for the peasant, the commoner and rich land owner alike. The journey was often embarked on in groups with designated places to stay at night. The pilgrims were restless to explore the mystical holy places, and many were in search of physical or spiritual healing.
The Christian story, which emphasized the humanity of Christ, fascinated the pilgrims. In the Middle Ages, most people did not read. As a result, they were much more oriented to the senses than we are today. They learned the story by traveling to Jerusalem to walk where Jesus walked, to pray where he prayed, and to experience, in a solemn moment, where he died. Unlike today, Pilgrims encountered the truth of the Christian mystery through an ongoing intimacy with all their senses.
When a person committed his or her life to Christ in the early Middle Ages, they sometimes made a vow to make a pilgrimage to the Holy City of Jerusalem. However, by the 12th century when the Crusades swept across Europe and the ownership of Jerusalem was in tumultuous flux, travel became dangerous and expensive. In response to this situation, the Roman Church appointed seven pilgrimage cathedrals to become “Jerusalem” for pilgrims. Consequently, in the pilgrimage tradition, the path within the labyrinth was called the Chemin de Jerusalem and the center of the labyrinth was called “New Jerusalem”.
The walk into the labyrinth marked the end of the physical journey across the countryside and served as a symbolic entry-way into the spiritual realms of the Celestial City. The image of the Celestial City – taken straight out of the Book of Revelation to John – captivated the religious imagination of many during the Middle Ages. The wondrous Gothic cathedrals, with painted walls either in bright, even gaudy colours, or else white-washed, were designed to represent the Celestial City. The stained glass windows – when illuminated by the sun – created the sense of colourful, dancing jewels, allowing the pilgrim to experience the awesome mystery of the City of God.”
The Journey of Life
A fundamental approach to the labyrinth is to see it as a metaphor for life’s journey. The labyrinth reminds us that all of life, with its joys, sorrows, twists and turns, is a journey that comes from God (birth) and goes to God (death). It is a physical metaphor for the journey of healing, spiritual and emotional growth and transformation. Following the path is like any journey. Sometimes you feel you are at or nearing your destination, and at other times you may feel distant or even lost. Only by faithfully keeping to the path will you arrive at the physical center of the labyrinth, which signifies God, the center of our lives and souls.
Applying the Three Fold Mystical Tradition to the Labyrinth
In the Christian mystical tradition, the journey to God was articulated in the three stages. These stages have become recognized as being universal to meditation: to release and quiet; to open and receive; and to take what was gained back out into the world.
The Three Stages
The first part of the Three- Fold Mystical Path is Purgation. This archaic word is from the root word “to purge”, meaning to cleanse, to let go. Shedding is another way of describing the experience. The mystical word is empting or releasing. It is believed that monks journeyed the first part of the labyrinth Purgation on their knees as a penitential act. This was not done for reasons of punishment as we might think, but as a way to humble oneself before God.
The second stage of the Three-Fold Path, Illumination, is found in the center of the labyrinth. Usually it is a surprise to reach the center because the long winding path seems “illogical” and cannot be figured out by the linear mind. After quieting the mind in the first part of the walk, the center presents a new experience: a place of meditation and prayer. Often people at this stage in the walk find insight into their situation in life, or clarity about a certain problem, hence the label “illumination”. As one enters the
center, the instruction is simple: enter with an open heart and mind; receive what there is for you.
The third stage, Union, begins when you leave the center of the labyrinth and continues as you retrace the path that brought you in. In this stage the meditation takes on a grounded, energized feeling. Many people who have had an important experience in the center feel that this third stage of the labyrinth gives them a way of integrating the insights they received. Others feel that this stage stokes the creative fires within. It energizes insight. It empowers, invites, and even pushes us to be more authentic and confident and to take risks with our gifts in the world. Union means communing with God.
The Monastic Orders experienced a union with God through their community life by creating a fulfilling balance between the work that was assigned, sleep and the many hours of worship attended daily. Our times present a similar challenge: we struggle to find balance between work, sleep, family and friends, leisure and spiritual life. The lack of structured communities in which people share work responsibilities and the “every person for himself or herself” mentality (or every family for itself) prevalent in our highly individualistic society makes the task of finding balance even more difficult.
Monastic communities offered a mystical spirituality that spoke to highly intuitive and intensely introverted people and (paradoxically to some) at the same time provided an economic structure throughout Europe. Monasteries during the Middle Ages provided schools and hospitals managed by monks; yet, at the same time, cloistered life helped the monks stay inwardly directed. Today, without any reliable structure directing us, the way of union needs to be re-thought. Our times call for most of us to be outer-directed. We are called to action in every aspect of our society in order to meet the spiritual challenges that confront us in the 21st century. Gratefully, there are still people in religious orders holding the candle for deep contemplation, but the majority of people involved in the spiritual transformation are searching for a path that guides them to service in the world in an active, extroverted, compassionate way. The third stage of the labyrinth empowers the seeker to move back into the world replenished and directed – which makes the labyrinth a particularly powerful tool for transformation.
Walking the Labyrinth: The Process
The purpose of all spiritual disciplines – prayer, fasting, meditation – is to help create an open attentiveness that enables us to receive and renew our awareness of our grounding and wholeness in God.
The Experience of Walking Meditation
Many of us have trouble quieting our minds. The Buddhists call the distracted state of mind the “monkey mind”, which is an apt image of what the mind is frequently like: thoughts swinging like monkeys from branch to branch, chattering away without any rhyme or conscious reason. When the mind is quiet, we feel peaceful and open, aware of a silence that embraces the universe.
Complete quiet in the mind is not a realistic goal for most of us. Instead, the task is to dis-identify with the thoughts going through our minds. Don’t get hooked by the thoughts, let them go. Thomas Keating, a Cistercian monk who teaches Centering Prayer (meditation) in the Christian tradition, described the mind as a still lake. A thought is like a fish that swims through it. If you get involved with the fish (“Gee what an unusual fish, I wonder what it is called?”), then you are hooked. Many of us have discovered through learning meditation how difficult it is to quiet the mind; yet, the rewards are great.
In the labyrinth, the sheer act of walking a complicated, attention demanding path begins to focus the mind. Thoughts of daily tasks and experiences become less intrusive. A quiet mind does not happen automatically. You must gently guide the mind with the intention of letting go of extraneous thoughts. This is much easier to do when your whole body is moving – when you are walking. Movement takes away the excess charge of psychic energy that disturbs our efforts to quiet our thought processes.
Two Basic Approaches to the Walk
One way to walk the labyrinth is to choose to let all thought go and simply open yourself to your experience with gracious attention. Usually – though not always – quieting happens in the first stage of the walk. After the mind is quiet, you can choose to remain in the quiet. Or use the labyrinth as a prayer path. Simply begin to talk to God. This is an indication that you are ready to receive what is there for you, or you allow a sincere part of your being to find its voice.
A second approach to a labyrinth walk is to consider a question. Concentrate on the question as you walk in. Amplify your thoughts about it; let all else go but your question. When you walk into the center with an open heart and an open mind, you are opening yourself to receiving new information, new insights about yourself.
Guidelines for the Walk
Find your pace. In our chaotic world we are often pushed beyond a comfortable rhythm. In this state we lose the sense of our own needs. To make matters worse, we are often rushed and then forced to wait. Anyone who has hurried to the bank only to stand in line knows the feeling. Ironically, the same thing can happen with the labyrinth, but there is a difference. The labyrinth helps us find what our natural pace would be and draws our attention to it when we are not honouring it.
Along with finding your pace, support your movement through the labyrinth by becoming conscious of your breath. Let your breath flow smoothly in and out of your body. It can be coordinated with each step – as is done in the Buddhist walking meditation – if you choose. Let your experience be your guide.
Each experience in the labyrinth is different, even if you walk it often in a short period of time. The pace usually differs each time as well. It can change dramatically within the different stages of the walk. When the labyrinth has more than a comfortable number of seekers on it, you can “pass” people if you want to continue to honour the intuitive pace your inner process has set. If you are moving at a slower pace, you can allow people to pass you. At first people are uncomfortable with the idea of “passing” someone on the labyrinth. It looks competitive, especially since the walk is a spiritual exercise. Again, these kinds of thoughts and feelings, we hope, are greeted from a spacious place inside that smiles knowingly about the machinations of the human ego. On the spiritual path we meet every and all things. To find our pace, to allow spaciousness within, to be receptive to all experience, and to be aware of the habitual thoughts and issues that hamper our spiritual development is a road to self-knowledge.
Summary of How to Walk the Labyrinth
Pause at the entry way to allow yourself to be fully conscious of the act of stepping into the labyrinth. Allow about a minute, or several turns on the path, to create some space between yourself and the person in front of you. Some ritual act, such as a bow, may feel appropriate during the labyrinth walk. Do what comes naturally.
Follow your pace. Allow your body to determine the pace. If you allow a rapid pace and the person in front of you is moving slower, feel free to move around this person. This is easiest to do at the turns by turning earlier. If you are moving slowly, you can step onto the labyrs (wide spaces at the turns) to allow others to pass.
The narrow path is a two-way street. If you are going in and another person is going out, you will meet on the path. If you want to keep in an inward meditative state, simply do not make eye contact. If you meet someone you know, a touch of the hand or a hug may be an important acknowledgement of being on the path together.
Symbolism and Meanings Found in the Chartres Labyrinth
Circles and Spirals
The circle is the symbol of unity or union and it is the primary shape of all labyrinths. The circle in sacred geometry represents the incessant movement of the universe (uncomprehensible) as opposed to the square which represents comprehensible order. The labyrinth is a close cousin to the spiral and it, too, reflects the cyclical element of nature and is regarded as the symbol of eternal life.
The labyrinth functions like a spiral, creating a vortex in its center. Upon entering, the path winds in a clockwise pattern. Energy is being drawn out. Upon leaving the center the walker goes in a counter clockwise direction. The unwinding path integrates and empowers us on our walk back out. We are literally ushered back out into the world in a strengthened condition.
The Path
The path lies in 11 concentric circles with the 12th being the labyrinth center. The path meanders throughout the whole circle. There are 34 turns on the path going into the center. Six are semi-right turns and 28 are 180° turns. So the 12 rings that form the 11 pathways may symbolically represent, the 12 apostles, 12 tribes of Israel or 12 months of the year. Twelve is a mystical number in Christianity. In sacred geometry three represents heaven and four represents earth. Twelve is the product of 3 x 4 and, therefore, the path which flows through the whole is then representative of all creation.
The obvious metaphor for the path is the difficult path to salvation, with its many twists and turns. Since we cannot see a straight path to our destination, the labyrinth can be viewed as a metaphor for our lives. We learn to surrender to the path (Christ) and trust that he will lead us on our journey.
The path can also be viewed as grace or the Church guiding us through chaos.
The Cruciform and Labyrs
The labyrinth is divided equally into four quadrants that make an equal-armed cross or cruciform. The four arms represent in symbol what is thought to be the essential
structure of the universe for example, the four spatial directions, the four elements (earth, wind, water and fire), the four seasons and, most important, salvation through the cross. The four arms of the cross emerging from the center seem to give order to the would-be chaos of the meandering path around it.
The Chartres labyrinth cross or cruciform is delineated by the 10 labyrs (labyr means to turn and this is the root of the word labyrinth). The labyrs are double-ax shaped and visible at the turns and between turns. They are traditionally seen as a symbol of women’s power and creativity.
The Centre Rosette
In the Middle Ages, the rose was regarded as a symbol for the Virgin Mary. Because of its association with the myths of Percival and the Holy Grail at that time, it also was seen as a sign of beauty and love. The rose becomes symbolic of both human and divine love, of passionate love, but also love beyond passion. The single rose became a symbol of a simple acceptance of God’s love for the world.
Unlike a normal rose (which has five petals) the rosette has six petals and is steeped in mysticism. Although associated with the Rose of Sharon, which refers to Mary, it may also represent the Holy Spirit (wisdom and enlightenment). The six petals may have corresponded to the story of the six days of creation. In other mystical traditions, the petals can be viewed as the levels of evolution (mineral, plant, animal, humankind, angelic and divine).
The Lunations
The lunations are the outer ring of partial circles that complete the outside circle of the labyrinth. They are unique to the Chartres design.
Celtic Symbols on the St. Hilda’s Labyrinth
The Celtic peoples have given us seven enduring spiritual principles:
1. A deep respect of nature, regarding creation as the fifth Gospel.
2. Quiet care for all living things.
3. The love of learning.
4. A wonder-lust or migratory nature.
5. Love of silence and solitude.
6. Understanding of time as a sacred reality and an appreciation of ordinary life, worshipping God through everyday life, and with great joy.
7. The value of family and clan affiliation, and especially spiritual ties of soul friends.
To show our respect for such wisdom, two Celtic designs adorn the St. Hilda’s labyrinth.
To mark the entrance to the labyrinth is a Celtic zoomorphic design painted in red. Traditionally, Celtic monks used intricate knotwork and zoomorphic designs (odd animals intertwined in uncomfortable ways) as mere filler for their illuminated gospel texts. They had no discernible meaning.
However, because of their unique design components, zoomorphs are now associated with transformations.
Transformation, change, action, and passion are also associated with red, the colour of fire. Therefore, this entrance symbol may well be an appropriate sign for the journey ahead.
At the labyrinth’s centre is a Celtic triquetra. This interlocked knotwork design of three stylized fish (whales) is often interpreted as the Trinity knot. It is a perfect representation of the concept of "three in one" in Christian trinity beliefs. Having the design enclosed within the centre circle further emphasizes the unity theme.
The triquetra can also be considered to represent the triplicities of mind, body, and soul, as well as the three domains of earth- earth, sea, and sky.
Final Reflection: The Labyrinth as a “Thinning Place”
In Celtic Christianity, places where people felt most strongly connected with God’s presence were referred to as thin places. It was these places in nature (forest groves, hilltops and deep wells) that the seen and unseen worlds were most closely connected, and the inhabitants of both worlds could momentarily touch the other. Today our churches, temples and sacred sites are the new thin places to meet the Divine. Here, at St Hilda’s, we have opportunities to encounter many thinning places – whether it be during Eucharistic or Taize services, while singing or praying, or through the love of a welcoming inclusive community. The labyrinth is a welcome addition; and with the right intent can also become a new thinning place for the modern pilgrim/spiritual seeker.This outward journey is an archetype with which we can have a direct experience. We can walk it. It can serve to frame the inward journey – a journey of repentance, forgiveness and rebirth, a journey that seeks a deeper faith, and greater holiness, a journey in search of God.
This High Dynamic Range panorama was stitched from 84 bracketed images with PTGUI Pro, tone-mapped with Photomatix, and touched up in Aperture.
Original size: 18160 × 9080 (164.9 MP; 194 MB).
Location: St. Hilda’s By The Sea Anglican Church, Sechelt, British Columbia, Canada
.........
innisfreegarden.org/garden.html
We arrived at Innisfree as soon as it opened at 10AM one mid-August morning when the entire Northeastern US was in the middle of a record heatwave. Despite the heat and humidity, we were able to make a quick 1.5 mile circle on the path around the deep glacial lake at the heart of this 150 acre garden before we wilted and had to return to our air conditioned car. The harsh mid-day light made photography challenging, as you can see. We learned that Innisfree, said by some to be one of the world's Ten Great Gardens, opens at sunrise on three occasions each year, and we are already planning another trip to the Hudson River Valley in the future when we hope we can see and photograph this amazing place under better conditions.
"Like the pyramids of Egypt or the Great Wall of China, Innisfree helps us to define what we mean by ‘civilization’. It’s one of the few places in this world that lived up to — nay, exceeded — my expectations."
David Wheeler, Editor, Hortus (2013)
"In the late 1920s, Walter Beck and his wife, avid gardener and heiress Marion Burt Beck, began work on Innisfree, their country residence in Millbrook, New York. Walter Beck’s fascination with Asian art influenced his painting, the collecting he and his wife pursued, and their ideas on garden design. In the 1930s, Beck discovered the work of 8th-century Chinese poet, painter and garden maker Wang Wei. Studying scroll paintings of his famed garden, the Wangchuan Villa, Beck observed that Wang created carefully defined, inwardly focused gardens and garden vignettes within a larger, naturalistic landscape. Wang’s place-making technique — christened “cup gardens,” by Beck — influenced centuries of Chinese and Japanese garden design. It is also the principal design motif in the Innisfree landscape. Like his Chinese predecessor, Beck created three-dimensional pictures in the garden, incorporating both rocks from the site and horticultural advice from his wife. Unlike Wang Wei, or perhaps more familiar figures like Lawrence Johnston, who used his cup-like rooms at Hidcote in England to draw one through a sequence of events and create an overall sense of place, Beck focused more on individual compositions. Relating these to each other and to the landscape as a whole was the genius of Lester Collins."
The genius of this place lies not so much in the ideas which the designers formulated for the cup gardens, many of which are disarmingly simple, but in the way they have been maintained over the years. Essentially, everything is allowed to settle into the prevailing spirit of the place; if it does not, it is removed. It is this sensitivity, care and attention to the qualities of landscape, natural and made, that make Innisfree such a memorable success.
Tim Richardson, Great Gardens of America (2000)
Western gardens are usually designed to embrace a view of the whole. Little is hidden. The garden, like a stage set, is there in its entirety, its overall design revealed in a glance. The traditional Chinese garden is usually designed so that a view of the whole is impossible. [It] requires a stroll over serpentine, seemingly aimless arteries. The observer walks into a series of episodes, like Alice through the looking glass."
Lester Collins, Innisfree: An American Garden (1994)
Suprisingly...my first time shooting this...
Information From www.forgottenoh.com/LakeView/haserot.html
Lake View's most famous piece of graveside sculpture stands atop the grave of Francis Haserot and his family, near the Mark Hanna mausoleum at the edge of the cemetery proper.
The Haserots, it turns out, are in the institutional-sized canned good business, and are famous for the quality of their product. Their company, Northen Haserot, supplies hotels, restaurants, schools, hospitals, and other institutions with canned meats, seafood, dairy, beverages, and produce, as well as certain types of food-service equipment and cleaning chemicals. Northern Haserot was founded in Cleveland in 1892 and has been located there ever since. They only ship to the Cleveland, Akron, Canton, Youngstown, Toledo, and Columbus metropolitan areas, but they manage to operate two distribution facitilites with 125,000 and 60,000 square feet of space, as well as a USDA federally inspected meat plant. You can read more about the company at www.northernhaserot.com.
What's clear is that the Haserots' skill in shipping big cans of food is surpassed only by their impeccable taste in art. The statue at their cemetery plot was sculpted in 1924 by Herman Matzen.
The name I've always heard attached to the piece is "The Angel of Death Victorious." The angel has his hands folded atop something that most people mistakenly call a sword. It would make sense, but in this case he's holding an upside down torch, symbolizing a life extinguished. His pose is creepy enough, but the years have streaked his bronze skin and caused tears of discolored metal to stream from his blank eyes.
Want some interesting information regarding the "haunting" of the Haserot Angel?
www.nhaccuatui.com/bai-hat/tro-ve-buc-tuong.wZ0FvtsgEq.html
Để hôm qua sau lưng
Cất bước quay trở về
Để bửa tối ấm áp bên mẹ hiền
Để đêm đông lùi xa
Khi bước chân bên hiên nhà
Đường xa không sao ngăn
Những bước chân trở về
Để sống phút ấm áp bên bạn bè
Và bên ly trà thơm
Bên ánh lửa hồng thắp lên
Ref:
Có bước chân đường xa đó
Có bước chân trở về
Có bước chân đường xa đó
Có bước chân trở về
Để hôm qua trôi xa cho ngày qua
Để hôm qua trôi xa cho ngày qua
***
Từ bao năm lênh đênh
Những dấu vết bụi đường
Tuổi thơ đã vụt trôi thủa ngày nào
Trời gian xa thật xa
Vốn sống ta mang về nhà
Gặp nhau trong thân thương
Thân thương những lời chào
Cùng chia nhau niềm vui phút gặp lại
Và bên ly trà thơm
Bên ánh lửa hồng đắm say
.......................
Specifications
Engine
• VR-series twin-turbocharged 3.8-liter V6.
• 480 hp @ 6,800 rpm. 430 lb-ft torque @ 3,200–5,200 rpm.
• Dual overhead camshafts with variable intake-valve timing.
• Cast aluminum cylinder block with high-endurance/low-friction plasma-sprayed bores.
• IHI twin turbochargers, one per cylinder bank.
• Pressurized lubrication system with thermostatically controlled cooling.
Drivetrain
• ATTESA ET-S All-Wheel Drive (AWD) with independent rear-mounted transaxle integrating transmission, differential and AWD transfer case.
• Rigid, lightweight carbon-composite driveshaft between engine and transaxle.
• Electronic traction control plus 1.5-way mechanically locking rear differential.
• Vehicle Dynamics Control (VDC-R) with three driver-selectable settings: Normal (for daily driving, controls brakes and engine output), R-Mode (for ultimate performance, utilizes AWD torque distribution for additional vehicle stability) and Off (driver does not want the help of the system).
• Hill Start Assist prevents rollback when starting on an incline.
DisclaimerVDC-R cannot prevent accidents due to abrupt steering, carelessness, or dangerous driving techniques. Always drive safely.
Transmission
• 6-speed Dual Clutch Transmission with three driver-selectable modes: Normal (for maximum smoothness and efficiency), Snow (for gentler starting and shifting on slippery surfaces), and R mode (for maximum performance with fastest shifts).
• Fully automatic shifting or full sequential manual control via gearshift or steering wheel-mounted paddle shifters.
• Dual clutch design changes gears in less than 0.5 second (0.2 second in R mode).
• Downshift Rev Matching (DRM).
• Predictive pre-shift control (in R mode) based on throttle position, vehicle speed, braking and other information.
Wheels and Tires
• 20 x 9.5" (front) and 20 x 10.5" (rear) super-lightweight forged-aluminum wheels with Gunmetal Gray finish.
• Exclusively developed nitrogen-filled Bridgestone® RE070A high-capacity run-flat summer tires, 255/40R20 front and 285/35R20 rear.
• Tire Pressure Monitoring System (TPMS).
• Optional exclusively developed nitrogen-filled Dunlop® run-flat all-season tires, 255/40R20 front and 285/35R20 rear (includes Bright Silver wheels).
Brakes
• Brembo® 4-wheel disc brakes with 4-wheel Antilock Braking System (ABS), Brake Assist, Electronic Brakeforce Distribution and Preview Braking.
• Two-piece floating-rotor 15-inch front and rear discs with diamond-pattern internal ventilation.
• 6-piston front/4-piston rear monoblock calipers.
Steering
• Rack-and-pinion steering with vehicle-speed-sensitive power assist.
• 2.6 steering-wheel turns lock-to-lock.
Suspension
• 4-wheel independent suspension with Bilstein® DampTronic system with three driver-selectable modes: Normal/Sport (for automatic electronic control of damping), Comfort (for maximum ride comfort), and R mode (engages maximum damping rate for high-performance cornering).
• Electronically controlled variable-rate shock absorbers. High-accuracy progressive-rate coil springs.
• Front double-wishbone/rear multi-link configuration with aluminum members and rigid aluminum subframes.
• Hollow front and rear stabilizer bars.
Body/Chassis
• Exclusive Premium Midship platform with jig-welded hybrid unibody.
• Aluminum hood, trunk and door skins. Die-cast aluminum door structures.
• Carbon-reinforced front crossmember/radiator support.
Back to Top
Standard Features
Exterior
• Wide-beam headlights with High Intensity Discharge (HID) low beams.
• LED taillights and brake lights.
• Dual heated power mirrors.
• Flush-mounted aluminum door handles.
• Body-color rear spoiler with integrated center high-mounted stop light.
• UV-reducing tinted glass.
Audio/Navigation/Performance Monitor
• Digital Bose® audio system with AM/FM/in-dash 6-CD changer and 11 speakers including dual subwoofers.
• HDD Music Box system, including hard drive with 9.4 GB for audio storage.
• MP3, WMA and DVD audio capable. In-dash Compact Flash card reader.
• HDD-based GPS navigation with touch screen.
• Driver-configurable performance monitor, developed with Sony® Polyphony, with graphical readouts of vehicle data and driving data displayed on a total of 11 screens.
• 7-inch WVGA high-resolution color-LCD display for audio, navigation and performance monitor.
Interior
• Automatic Temperature Control (ATC).
• Electronic analog instrument cluster with multi-function trip computer and digital gear indicator.
• Power front windows with one-touch auto-up/down feature.
• Intelligent Key system with pushbutton start. Power door locks.
• Cruise control.
• Tilt/telescoping steering column.
• Bluetooth® Hands-free phone system with voice recognition.
Seating/Appointments
• Leather upholstered front seats with perforated Alcantara inserts.
• 8-way power front seats with entry/exit switch for rear-seat passengers.
• Driver-shaped bucket seat.
• Dual individual rear seats.
• Heated front seats.
• Leather-wrapped steering wheel and shift knob.
• Drilled aluminum pedals.
Safety/Security
• Nissan Advanced Air Bag System (AABS) with dual-stage supplemental front air bags, seat belt sensors and occupant-classification sensor.
• Driver and front-passenger side-impact supplemental air bags and roof-mounted curtain supplemental air bags.
• Front seat belts with pretensioners and load limiters.
• Nissan Vehicle Immobilizer System.
• Vehicle Security System.
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
14 Performances. Relation Work (1976 - 1980). Filmed by Paolo Cardazzo. Marina Abramović/ Ulay. Neuer Berliner Kunstverein, Berlin, Germany.
Abramović, Marina. Student Body: Workshops 1979 - 2003: Performances 1993 - 2003. Milano: ed. Charta, 2003.
Bergson, Henri. Creative Evolution. London: Macmillan and Co., 1911.
Bergson, Henri. Key Writings. Edited by Keith Ansell-Pearson and John Mullarkey. New York:
Continuum, 2002.
Bergson, Henri. Matter and Memory. New York: Zone Books, 1988.
Blaikie, William. “Common Sense Physical Training.” In Athletics and Health: Modern Achievement: Advice and Instruction upon the Conduct of Life, Principles of Business, Care of Health, Duties of Citizenship, etc. Edited by Edward Everett Hale. New York: P.F. Collier & Son, 1902.
Blaikie, William. How to Get Strong and How to Stay So. New York: Harper & Brothers Publishers, 1883.
Cunningham, Merce. Changes: Notes on Choreography. New York: Something Else Press, 1969.
de Balzac, Honoré. The Human Comedy. EBook: Project Gutenberg, 2010. de Balzac, Honoré. Théorie de la démarche. 1833, 1853.
de Biran, Maine. “Opposition du principe de Descartes avec celui d’une science de l’homme. Première base d’une division des faits psychologiques et physiologiques. Perception et sensation animale.” In Maine de Biran. Librairie Philosophique J. VRIN, 1990.
de Tocqueville, Alexis. The Old Regime and the Revolution. New York: Harper & Brothers, Publishers, 1856.
Delaumosne, M. L’Abbe. “The Delsarte System.” Translated by Frances A. Shaw. In Delsarte System of Oratory, 4th Ed. New York: Edgar S. Werner, 1893.
Descartes, René. Méditations metaphysiques. 1641.
Gropius, Walter, and Arthur S. Wensinger, eds. The Theater of the Bauhaus: Oskar Schlemmer, Laszlo Moholy-Nagy, Farkas Molnár. Translated by Arthur S. Wensinger. Middleton, Conn.: Wesleyan University, 1961.
Hahn, Archibald. How to Sprint: The Theory of Spring Racing. New York: American Sports Publishing Company, 1923.
Hegel, Georg Wilhelm Friedrich. Phenomenology of Spirit. Translated by A.V. Miller. Oxford: Oxford University Press, 1977.
Helmholtz, Hermann. “On the Facts Underlying Geometry.” In Epistemological Writings: Hermann von Helmholtz. Edited by R.S. Cohen and Y. Elkana. Boston: D. Reidel Publishing Company, 1977.
Helmholtz, Hermann. Théorie physiologique de la musique fondée sur l’étude des sensations auditives. Paris: Masson, 1868.
Helmholtz, Hermann. Treatise of Physiological Optics (Handbuch der physiologischen Optik) 1856. 3 Volumes. Translated by James P.C. Southall. Milwaukee, 1924.
Holmes, Oliver Wendall. Soundings from the Atlantic. Boston: Tickknor and Fields, 1864. James, William. The Principles of Psychology. New York: Henry Holt & Co, 1890, 1918.
James, William. Writings 1902 - 1910. Edited by Bruce Kuklick. New York: Literary Classics of the United States, 1987.
Kandinsky, Vasily. Über Das Geistige in der Kunst. Dritte Auflage. München: R. Piper&Co, 1912.
Kant, Immanuel. “Was ist Aufklärung?” 1784.
Laban, Rudolf. A Life for Dance: Reminiscences. Translated by Lisa Ullmann. London: Macdonald & Evans, 1975.
Laban, Rudolf. Choreographie. Jena: E. Diederichs, 1926.
Laban, Rudolf. Choreutics. Edited by Lisa Ullmann. London: Macdonald & Evans, 1939, 1966.
Laban, Rudolf. Effort: Economy in Body Movement. 2nd Edition. Boston: Plays, 1947, 1974.
Laban, Rudolf. Principles of Dance and Movement Notation. New York: A Dance Horizons Republication, 1956, 1970.
Laban, Rudolf. The Language of Movement: A Guidebook to Choreutics. Edited by Lisa Ullmann. Boston: Plays, Inc., 1974.
MacKaye, Percy. “Steele Mackaye, Dynamic Artist of the American Theatre; An Outline of his Life Work,” in The Drama. Edited by William Norman Guthrie and Charles Hubbard Sergel. Chicago: The Dramatic Publishing Company, 1911.
Marey, Étienne-Jules. La Machine Animale: Locomotion Terrestre et Aérienne. Paris: Librairie Germer Baillière, 1873.
Marey, Étienne-Jules. Le Vol des Oiseaux. Paris: Libraire de l’académie de médecine, 1890. Marey, Étienne-Jules. Movement. Translated by Eric Pritchard. New York: D. Appleton and
Company, 1895.
Michelet, Jules. The History of France. Volume I. Translated by Walter K. Kelly. London: Chapman and Hall, 1844.
Morgan, Anna. An Hour with Delsarte: A Study of Expression. New York: Edgar S. Werner Publisher, 1891.
Muybridge, Eadweard. Animal Locomotion: An Electro-photographic Investigation of Consecutive Phases of Animal Movements. Philadelphia: University of Pennsylvania and J. B. Lippincott Company, 1887.
Muybridge, Eadweard. Descriptive Zoopraxography, or the Science of Animal Locomotion. Philadelphia: University of Pennsylvania, 1893.
Muybridge, Eadweard. The Attitudes of Animals in Motion: A Series of Photographs Illustrating the Consecutive Positions assumed by Animals in Performing Various Movements; Executed at Palo Alto, California, in 1878 and 1879 (1881). Albumen, Library of Congress, Washington, D.C., Library of Congress.
Muybridge, Eadweard. The Human Figure in Motion. New York: Dover Publications, 1955. Ramsaye, Terry. A Million and One Nights: A History of the Motion Picture. U.K.: Simon and
Schuster, Inc., 1926, 1954.
Richer, Paul. Physiologie Artistique: De l’Homme en Mouvement. Paris: Aulanier et Cie, 1896.
Sanburn, Frederic. Delsartean Scrap-book: Health, Personality, Beauty, House-Decoration, Dress, etc. New York: United States Book Company, c. 1890.
Schlemmer, Oskar. Briefe und Tagebücher: The Letters and Diaries of Oskar Schlemmer. Edited by Tut Schlemmer. Translated by Krishna Winston. Middletown, Conn: Wesleyan University Press, 1972.
Schlemmer, Oskar, and Heimo Kuchling. Der Mensch, Unterricht am Bauhaus. Nachgelassene Aufzeichnungen. Mainz: F. Kupferberg, 1969.
Schuftan, Werner. Handbuch des Tanzes. Preface by Rudolf von Laban. Mannheim: Verlag Deutscher Chorsänger Verband und Tänzerbund, 1928.
Shearman, Sir Montague. Athletics and Football. London: Longmans, Green, and Co., 1888. Smith, Shawn Michelle. At the Edge of Sight: Photography and the Unseen. Durham: Duke
University Press, 2013.
Stebbins, Genevieve. Delsarte System of Expression, 5th Edition. New York: Edgar S. Werner, 1894; orig. 1885.
Talbot, Frederick A. Practical Cinematography and its Applications. London: William Heinemann, 1913.
Wigman, Mary. The Mary Wigman Book: Her Writings. Middletown, CT: Wesleyan University Press, 1975.
Abramović, Marina, et al. Marina Abramović: Seven Easy Pieces. New York: Charta 2007. Acconci, Vito. Language to Cover a Page: The Early Writings of Vito Acconci. Edited by Craig
Dworkin. Cambridge: MIT Press, 2006.
Adolphs, Volker, and Philip Norten. Gehen Bleiben: Bewegung, Körper, Ort in der Kunst der
Gegenwart. Bonn: Kunstmuseum Bonn, 2007.
Agamben, Giorgio. “Movement.” In Dance: Documents of Contemporary Art. Edited André
Lepecki. London: MIT Press and WhiteChapel Gallery, 2012.
Alberro, Alexander, and Blake Stimson, eds. Institutional Critique: An Anthology of Artists’
Writings. Cambridge: MIT Press, 2009.
Albers, Kate Palmer. “Abundant Images and the Collective Sublime.” Exposure. Volume 46,
Issue 2 (Fall 2013).
Allen, Beverly. Rape Warfare: The Hidden Genocide in Bosnia-Herzegovina and Croatia. Minneapolis: University of Minnesota Press, 1996.
Alloway, Lawrence. The Venice Biennale 1895 - 1968: from salon to goldfish bowl. Greenwich, CT: New York Graphic Society LTD., 1968.
Anderson, Ben. “Affect and Biopower: Towards a Politics of Life.” Transactions - Institute of British Geographers, Issue 1 (2011).
Andras, Edit, and Bojana Pejic, eds. Gender Check: Femininity and Masculinity in the Art of Eastern Europe. Cologne: Buchhandlung Walther König, 2009.
Antliff, Mark. Inventing Bergson: Cultural Politics and the Parisian Avant-Garde. Princeton: Princeton University Press, 1992.
Arendt, Hannah. The Human Condition, Second Edition. Chicago: University of Chicago Press, 1958, 1998.
Arendt, Hannah. On Violence. New York: Harcourt Brace, 1969.
Atkins, Dawn, ed. Looking Queer: Body Image and Identity in Lesbian, Bisexual, Gay, and
Transgender Communities. New York: The Haworth Press, 1998.
Ault, Julie, ed. Alternative Art, New York, 1965-1985: A Cultural Politics Book for the Social
Text Collective. Minneapolis: University of Minnesota Press, 2002.
Auslander, Philip. “Going with the Flow: Performance Art and Mass Culture.” TDR. Volume 33,
Number 2 (Summer 1989).
Auslander, Philip. “The Performativity of Performance Documentation.” PAJ 84 (2006).
Backstein, Joseph, and Daniel Birnbaum, Sven-Olov Wallenstein. Thinking Worlds - The Moscow Conference on Philosophy, Politics, and Art. Berlin: Sternberg Press, 2008.
Badovinac, Zdenka. Body and the East: From the 1960s to the Present. Cambridge, Mass.: MIT Press, 1999.
Baer, Ulrich. Spectral Evidence: The Photography of Trauma. Cambridge: MIT Press, 2002. Baker, George. “Entr’acte.” October. Volume 105 (Summer 2003).
Bale, John. Imagined Olympians: Body Culture and Colonial Representations in Rwanda. Minneapolis: University of Minnesota Press, 2002.
Bale, John. Running Cultures: Racing in Time and Space. London: Frank Cass, 2004. Banes, Sally. Democracy’s Body: Judson Dance Theatre, 1962 - 1964. Durham, NC: Duke
University Press, 1993.
Banes, Sally. Terpsichore in Sneakers: Post-Modern Dance, 2nd edition. Middletown, CT: Wesleyan University Press, 1987.
Bartenieff, Irmgard. Body Movement: Coping with the Environment. New York: Routledge, 2002.
Barthes, Roland. Camera Lucida: Reflections on Photography. Translated by Richard Howard. New York: Hill and Wang, 198, 2010.
Barthes, Roland. Mythologies. Translated by Annette Lavers. New York: Hill and Wang, 1972. Batchen, Geoffrey. Burning with Desire: The Conception of Photography. Cambridge: MIT
Press, 1997.
Baudelaire, Charles. The Parisian Prowler, Le Spleen de Paris Petits Poèmes en Prose. Translated by Edward K. Kaplan. Athens: The University of Georgia Press, 1989.
Bauer, M. W. and G. Gaskell. Biotechnology — the Making of a Global Controversy. Cambridge: Cambridge University Press, 2002.
Bayat, Asef. Life as Politics: How Ordinary People Change the Middle East. Amsterdam: Amsterdam University Press, 2010, 2015.
Belaief, Lynne. “Meanings of the Body.” Journal of the Philosophy of Sport. Volume 4, Issue 1 (1977).
Bell, Catherine. Ritual: Perspectives and Dimensions. New York: Oxford University Press, 1997.
Benjamin, Walter. Charles Baudelaire: A Lyric Poet in the Era of High Capitalism. Translated by Harry Zohn. London: Verso, 1997.
Benjamin, Walter. Selected Writings, Volumes 1 - 4. Edited by Howard Eiland and Michael W. Jennings. Cambridge: Belknap Press of Harvard University Press, 2003 - 2006.
Benjamin, Walter. “The Storyteller: Reflections on the Works of Nikolai Leskov.” In Illuminations. Edited by Hannah Arendt. Translated by Harry Zohn. New York: Schocken Books, 2007.
Bennett, Jill. Empathic Vision: Affect, Trauma, and Contemporary Art. Stanford, CA; Stanford University Press, 2005.
Berger, John. About Looking. New York: Pantheon Books, 1980.
Bergson, Henri. Laughter: An Essay on the Meaning of the Comic. Translated by Cloudesley Brereton and Fred Rothwell. New York: The Macmillan Company, 1914.
Bishop, Claire, and Marta Dziewańska, eds. 1968 - 1989: Political Upheaval and Artistic Change. Warsaw: Museum of Modern Art, 2009.
Bishop, Claire. Artificial Hells: Participatory Art and the Politics of Spectatorship. London: Verso, 2012.
Bishop, Claire. Radical Museology: or, What’s ‘Contemporary’ in Museums of Contemporary Art? London: Koenig Books, 2013.
Black, Graham. Transforming Museums in the Twenty-First Century. New York: Routledge, 2011.
Blaive, Muriel, and Christian Gerbel, Thomas Lindenberger, eds. Clashes in European Memory: The Case of Communist Repression and the Holocaust. Innsbruck: Studienverlag, 2011.
Blassnigg, Martha. Time, Memory, Consciousness and the Cinema Experience: Revisiting Ideas on Matter and Spirit. New York: Rodopi, 2009.
Bloomer, Kent C., and Charles Willard Moore. Body, Memory, and Architecture. New Haven: Yale University Press, 1977.
Boecker, Henning, et. al. “The Runner’s High: Opioidergic Mechanisms in the Human Brain.” Cerebral Cortex. Volume 18, Number 11 (2008).
Bougarel, Xavier, and Elissa Helms, Ger Duijzings, eds. The New Bosnian Mosaic: Identities, Memories and Moral Claims in a Post-War Society. Hampshire, England: Ashgate, 2007.
Bourdieu, Pierre. Outline of a Theory of Practice. Cambridge: Cambridge University Press, 1977.
Bourriaud, Nicolas. Relational Aesthetics. Dijon: Les Presses du réel, 1998, 2002.
Brandstetter, Gabriele. Poetics of Dance: Body, Image and Space in the Historical Avant- Gardes. Translated by Elena Polzer and Mark Franko. Oxford: Oxford University Press, 1995, 2015.
Braudy, Leo, and Marshall Cohen, eds. Film Theory and Criticism: Introductory Readings. New York: Oxford UP, 1999.
Braun, Marta. Eadweard Muybridge. London: Reaktion, 2010.
Braun, Marta. Picturing Time: The Work of Etienne-Jules Marey (1830 - 1904). Chicago:
University of Chicago Press, 1992, 1994.
Brettell, Richard R. Modern Art, 1851 - 1929: Capitalism and Representation. Oxford: Oxford University Press, 1999.
Brooke, J.D., and H.T.A. Whiting, eds. Human Movement - A Field of Study. London: Henry Kimpton Publishers, 1973.
Brown, Keith S., and Yannis Hamilakis, eds. The Usable Past: Greek Metahistories. Lanham, MD: Lexington Books, 2003.
Brunnbauer, Ulf, and Konrad Clewing, eds. Südost-Forschungen. Munich: R. Oldenbourg Verlag, 2008.
Bruno, Giuliana. Atlas of Emotion: Journeys in Art, Architecture, and Film. New York: Verso, 2002.
Bryzgel, Amy. Performing the East: Performance Art in Russia, Latvia, and Poland since 1980. London: I.B. Tauris, 2012.
Buchloh, Benjamin H. D. Neo-Avantgarde and Culture Industry: Essays on European and American Art from 1955 to 1975. Cambridge: MIT Press, 2001, 2003.
Buck-Morss, Susan. The Dialectics of Seeing: Walter Benjamin and the Arcades Project. Cambridge: MIT Press, 1991.
Burchell, Graham, and Colin Gordon, Peter Miller, eds. The Foucault Effect: Studies in Governmentality. Chicago: University of Chicago Press, 1991.
Bürger, Peter. Theory of the Avant-Garde. Translated by Michael Shaw. Minneapolis: University of Minnesota Press and Manchester University Press, 1974, 1984.
Butler, Judith. Bodies that Matter: On the Discursive Limits of Sex. New York: Routledge, 1993. Butler, Judith. Gender Trouble: Feminism and the Subversion of Identity. New York: Routledge,
2006.
Butler, Samuel. Unconscious Memory: A Comparison between the Theory of Dr. Ewald Hering and the ‘Philosophy of the Unconscious’ of Dr. Edward von Hartmann. London: David Bogue, 1880.
Cage, John. Silence: Lectures and Writings. Middletown, CT: Wesleyan University Press, 1961. Campany, David, ed. The Cinematic: Documents of Contemporary Art. Cambridge: MIT Press,
2007.
Canales, Jimena. A Tenth of a Second: A History. Chicago: University of Chicago Press, 2009.
Careri, Francesco. Walkscapes: Walking as an Aesthetic Practice. Translated by Steve Piccolo and Paul Hammond. Barcelona: Editorial Gusavo Gili, 2002.
Carroll, Noël. Theorizing the Moving Image. Cambridge: Cambridge University Press, 1996. Cetinić, Ljiljana, and Ana Panić, eds. Štafete: Titova Štafeta - Štafeta Mladosti, 1945 - 1987.
Belgrade: Tipografik plus, 2008.
Chase, Stuart. Men and Machines. New York: Macmillan Co, 1929.
Christesen, Paul. Sport and Democracy in the Ancient and Modern Worlds. Cambridge: Cambridge University Press, 2012.
Christian, Mary. Marina Abramović: The Artist is Present. New York: The Museum of Modern Art, 2010.
Clark, Kenneth. The Nude: A Study in Ideal Form. New York: Pantheon Books, 1956. Coleman, Simon, and John Eade, eds. Reframing Pilgrimage: Cultures in Motion. London:
Routledge, 2004.
Connerton, Paul. The Spirit of Mourning: History, Memory and the Body. Cambridge: Cambridge University Press, 2011.
Cosgrove, Denis. Geography and Vision: Seeing, Imagining and Representing the World. New York: I.B. Tauris, 2008.
Cottington, David. Cubism in the Shadow of War: The Avant-Garde and Politics in Paris 1905- 1914. New Haven: Yale University Press, 1998.
Crane, Susan, ed. Museums and Memory. Stanford: Stanford University Press, 2000. Crary, Jonathan. Techniques of the Observer: On Vision and Modernity in the Nineteenth
Century. Cambridge: MIT Press, 1990.
Crow, Thomas. The Rise of the Sixties: American and European Art in the Era of Dissent.
London: Laurence King Publishing, 1996.
Csiksgentmihalyi, Mihaly. Creativity! Flow and psychology of discovery and invention. New York: Harper Collins, 1996.
Cumming, John. Runners & Walkers: A Nineteenth Century Sports Chronicle. Chicago: Regency Gateway, 1981.
Cvejić, Bojana, and Ana Vujanović. Public Sphere by Performance. Belgrade: b_books, TkH, 2012.
Dagg, Anne Innis. Running, Walking, and Jumping: The Science of Locomotion. New York: Crane, Russak & Company, Inc, 1977.
de Certeau, Michel. The Practice of Everyday Life. Translated by Steven Rendall. Berkeley: University of California Press, 1984, 1988.
de Certeau, Michel. The Writing of History. Translated by Tom Conley. New York: Columbia University Press, 1975, 1988.
de Groote, Pascale. Ballets Suédois: Jean Börlin. Ghent: University of Ghent, 2002.
de Waal, Frans. The Age of Empathy: Nature’s Lessons for a Kinder Society. New York:
Harmony Books, 2009.
Deleuze, Gilles. Cinema 1: The Movement-Image. Minneapolis: University of Minnesota Press, 1986.
Deleuze, Gilles, and Félix Guattari. A Thousand Plateaus. London: Continuum, 1980, 2008. Dewey, John. The Public and its Problems: An Essay in Political Inquiry. Edited by Melvin L.
Rogers. University Park, PA: The Pennsylvania State University, 2012.
di Giovanni, Janine. Madness Visible: A Memoir of War. London: Bloomsbury, 2005.
Djetelić, Pera, and Dragan Maršičević. Narodna Omladina i Jugoslovenski Kongres za Fizičku Kulturu. Beograd: Mladost, 1959.
Djurić, Dubravka, and Miško Šuvaković, eds. Impossible Histories: Historical Avant-gardes, Neo-avant-gardes, and Post-avant-gardes in Yugoslavia, 1918 - 1991. Cambridge: MIT Press, 2003.
Donawerth, Jane, ed. Rhetorical Theory by Women before 1900: An Anthology. Lanham, MD: Rowman & Littlefield Publishers, Inc, 2002.
Dörr, Evelyn. Rudolf Laban: The Dancer of the Crystal. Lanham, Maryland: The Rowman & Littlefield Publishing Group, Inc., 2008.
Drakulić, Slavenka. Balkan Express: Fragments from the Other Side of War. London: Hutchinson, 1993.
Drakulić, Slavenka. They Would Never Hurt a Fly: War Criminals on Trial in the Hague. New York: Penguin, 2005.
Drapag, Vesna. Constructing Yugoslavia: A Transnational History. London: Palgrave Macmillan, 2010.
Duncan, Carol. Civilizing Rituals: Inside Public Art Museums. Abingdon: Routledge, 1995. Eamon, Christopher. Rearview Mirror: New Art from Central and Eastern Europe. Edmonton:
Art Gallery of Alberta, 2011.
Eichberg, Henning, ed. Body Cultures: Essays on Sport, Space, and Identity. London, New York: Routledge, 1998.
Elias, Norbert. The Civilizing Process. Sociogenetic and Psychogenetic Investigations. Oxford: Blackwell, 1939, 2000.
Elias, Norbert, and Eric Dunning. Quest for Excitement: Sport and Leisure in the Civilising Process. Dublin: University of College Dublin Press, 2008.
Enwezor, Okwui. Archive Fever: Uses of the Document in Contemporary Art. Göttingen: Steidl Publishers, 2008.
Erjavec, Aleš, ed. Postmodernism and the Postsocialist Condition: Politicized Art under Late Socialism. Berkeley: University of California Press, 2003.
Fer, Briony, and David Batchelor, Paul Wood. Realism, Rationalism, Surrealism: Art Between the Wars. New Haven: Yale University Press, 1993.
Finn, David. How to Visit A Museum. New York: Abrams, 1985.
Fleming, Bruce. Running is Life: Transcending the Crisis of Modernity. Lanham: University
Press of America, Inc, 2010.
Forrester, Sibelan E.S., and Magdalena J. Zaborowska, Elena Gapova, eds. Over the Wall/After the Fall: Post-Communist Cultures Through an East-West Gaze. Bloomington: Indiana University Press, 2004.
Foster, Hal. The Return of the Real: The Avant-Garde at the End of the Century. Cambridge: MIT Press, 1996.
Foster, Hal. “What’s Neo about the Neo-Avant-Garde?” October. Volume 70, The Duchamp Effect (Autumn, 1994), 5 - 32.
Foucault, Michel. Discipline and Punish: The Birth of the Prison. Translated by Alan Sheridan. New York: Vintage Books, Random House, Inc, 1977, 1995.
Foucault, Michel. The History of Sexuality Volume 1. Translated by Robert Hurley. New York: Pantheon Books, 1978.
Foucault, Michel. Power/Knowledge: Selected Interviews & Other Writings, 1972 - 1977. Edited by Colin Gordon. New York: Pantheon Books,1972, 1980.
Fraleigh, Sondra Horton. Dance and the Lived Body: A Descriptive Aesthetics. Pittsburgh: University of Pittsburgh Press, 1987.
Frampton, Hollis. “Eadweard Muybridge: Fragments of a Tesseract.” In On the Camera Arts and Consecutive Matters: The Writings of Hollis Frampton. Cambridge: MIT Press, 2009.
Fried, Michael. Four Honest Outlaws: Sala, Ray, Marioni, Gordon. New Haven: Yale University Press, 2011.
Gallagher, Catherine, and Thomas Laqueur, eds. The Making of the Modern Body: Sexuality and Society in the Nineteenth Century. Berkeley: University of California Press, 1987.
Gamwell, Lynn, ed. Dreams Nineteen Hundred to Two Thousand: Science, Art, and the Unconscious Mind. Binghamton: State University of New York at Binghamton, 2000.
Gay, Peter. Savage Reprisals: Bleak House, Madame Bovary, Buddenbrooks. New York: W.W. Norton & Company, 2002.
Gehm, Sabine, and Pirkko Husemann, Katharina von Wilke, eds. Knowledge in Motion: Perspectives of Artistic and Scientific Research in Dance. Translated by Bettina von Arps- Aubert. Bielefeld: Transcript, 2007.
Genoways, Hugh H., ed. Museum Philosophy for the Twenty-First Century. Oxford: AltaMira Press, 2006.
Geoghegan, Bernard Dionysius. “After Kittler: On the Cultural Techniques of Recent German Media Theory.” Theory Culture Society (August 2013).
Gidal, Peter. Materialist Film. London: Routledge, 1989.
Giedion, Siegfried. Space, Time, and Architecture: The Growth of a New Tradition. Cambridge:
Harvard University Press, 1974.
Godard, Jean-Luc. Godard on Godard. Edited by Jean Narboni and Tom Milne. New York: The Viking Press, 1968, 1972.
Gödl, Doris. “Challenging the Past: Serbian and Croatian Aggressor-Victim Narratives.” International Journal of Sociology 37. No. 1 (2007).
Goldberg, Roselee. Performance: Live Art Since the ‘60s. London: Thames & Hudson, 2004.
Goldberg, Roselee. Performance Art: From Futurism to the Present. London: Thames & Hudson, 2001.
Goldberg, Vicki, ed. Photography in Print: Writings from 1816 to the Present. New York: Simon and Schuster, 1981.
Golding, Sue, ed. The Eight Technologies of Otherness. London: Routledge, 1997. Gotaas, Thor. Running: A Global History. London: Reaktion Books, 2009.
Grau, Andrée, and Stephanie Jordan. Europe Dancing: Perspectives on Theatre, Dance, and Cultural Identity. New York: Routledge, 2000.
Grigorov, Dimitar. “‘Рачунајте на нас.’ ‘Oдломак’ о Титовој штафети или Штафети младости.” In Друштвену историју. Belgrade: 2008.
Grimes, Ronald L. Beginnings in Ritual Studies. Columbia: University of South Carolina Press, 1995.
Groys, Boris. Introduction to Antiphilosophy. Translated by David Fernbach. London: Verso, 2012.
Groys, Boris. The Communist Postscript. Translated by Thomas Ford. London: Verso, 2010. Groys, Boris, and Ann von der Heiden, Peter Weibel, eds. Zurück aus der Zukunft.
Osteuropäische Kulturen im Zeitalter des Postkommunismus. Berlin: Suhrkamp, 2005.
Gržinić, Marina, and Günther Heeg, Veronika Darian. Mind the Map! History is not a Given: A
th th
Critical Anthology Based on the Symposium [Leipzig, 13 -16 October 2005]. Frankfurt:
Revolver, 2006.
Guttman, Allen. “Sport, Politics, and the Engaged Historian.” Journal of Contemporary History. Volume 38, Number 3 (2003).
Hardt, Michael, and Antonio Negri. Empire. Boston, Harvard University Press, 2001. Hargreaves, Jennifer, and Patricia Anne Vertinsky, eds. Physical Culture, Power, and the Body.
New York: Routledge, 2007.
Harris, Mary Emma. The Arts at Black Mountain College. Cambridge: MIT Press, 1987, 2002.
Harte, Jane L., et. al. “The effects of running and meditation on beta-endorphin, corticotropin- releasing hormone and cortisol in plasma, and on mood.” Biological Psychology. Volume 40, Issue 3 (June 1995).
Harte, Jane L., and Georg H. Eifert. “The effects of running, environment, and attentional focus on athletes’ catecholamine and cortisol levels and moods.” Psychophysiology. Volume 32, Issue 1 (January 1995).
Havránek, Vít, ed. Jiří Kovanda: Actions and Installations, 2005-1976. Zurich: Tranzit & JRP|Ringier, 2006.
Helme, Sirje. PopKunst Forever: Estonian Pop Art at the Turn of the 1960s and 1970s. Tallinn: Art Museum of Estonia - Kumu Art Museu, 2010.
Hemmings, Frederick William John, ed. The Age of Realism. Baltimore: Penguin Books, 1974. Hendricks, Gordon. Eadweard Muybridge: The Father of the Motion Picture. New York:
Grossman Publishers, of Viking Press, 1975.
Henning, Michelle. Museums, Media, and Cultural Theory. New York: Open University Press, 2006.
Hewitt, Andrew. Social Choreography: Ideology as Performance in Dance and Everyday Movement. Durham: Duke University Press, 2005.
Higgins, Steven. Still Moving: The Film and Media Collections of the Museum of Modern Art. New York: The Museum of Modern Art, 2006.
Hoberman, John M. “Sport and Political Ideology.” Journal of Sport and Social Issues. Volume 1, Number 2 (1977).
Hodgson, John. Mastering Movement: The Life and Work of Rudolf Laban. New York: Routledge, 2001.
Hoelzl, Ingrid, and Friedrich Tietjen, eds. Images in Motion. Burges: Die Keure, 2012. Husserl, Edmund. The Phenomenology of Internal Time-Consciousness. Edited by Martin
Heidegger. Translated by James S. Churchill. Bloomington: Indiana University Press, 1964.
IRWIN, ed. East Art Map: Contemporary Art and Eastern Europe. London: Afterall and MIT Press, 2006.
Ivey, Paul Eli. Radiance from Halcyon: A Utopian Experiment in Religion and Science. Minneapolis: University of Minnesota Press, 2013.
Jameson, Frederic. Postmodernism, or, The Cultural Logic of Late Capitalism. Durham: Duke University Press,1991.
Janevski, Ana, ed. As Soon as I Open My Eyes I See a Film: Experiment in the Art of Yugoslavia in the 1960s and 1970s. Warsaw: Museum of Modern Art, 2010.
Jarausch, Konrad H., and Michael Geyer. Shattered Past: Reconstructing German Histories. Princeton, NJ: Princeton University Press, 2003.
Jones, Amelia. Body Art/Performing the Subject. Minneapolis: University of Minnesota Press, 1998.
Jones, Amelia, and Adrian Heathfield. Perform, Repeat, Record: Live Art in History. Chicago: University of Chicago Press, 2012.
Jones, Amelia. “The Body and Technology.” Art Journal. Volume 60, Number 1 (Spring, 2001). Joseph, Brandon W. Random Order: Robert Rauschenberg and the Neo-avant-garde.
Cambridge: MIT Press, 2003.
Joy, Jenn. The Choreographic. Cambridge: MIT Press, 2014.
Jünger, Ernst. “War and Photography.” Translated by Anthony Nassar. New German Critique. Number 59 (Spring-Summer, 1993).
Kater, Michael H. Hitler Youth. Cambridge, Mass.: Harvard University Press, 2004. Kebo, Ozren. Sarajevo za početnike. Sarajevo: Dani, 1996.
Kelley, Jeff, ed. Essays on the Blurring of Art and Life. Berkley: University of California Press, 1993, 2003.
Kern, Stephen. The Culture of Time and Space. Cambridge, Mass: Harvard University Press, 1983.
Kester, Grant H. Conversation Pieces: Community and Communication in Modern Art. Berkley: University of California Press, 2004.
Kholeif, Omar. Moving Image. London: Whitechapel, 2015.
Kirkpatrick, Sidney. The Revenge of Thomas Eakins. New Haven: Yale University Press, 2006.
Kirn, Gal, and Dubravka Sekulić, Žiga Testen, eds. Surfing the Black: Yugoslav Black Wave Cinema and its Transgressive Moments. Maastricht: Jan van Eyck Academie, 2012.
Kittler, Friedrich A. Gramophone, Film, Typewriter. Stanford: Stanford University Press, 1999. Klinger, Cornelia, and Bartomeu Mari. Modernologies: Contemporary Artists Researching
Modernity and Modernism. Barcelona: Museu d’Art Contemporani de Barcelona, 2009.
Knell, Simon J., et al., eds. National Museums: New Studies from around the World. New York:
Routledge, 2011.
Knudson, Duane. Fundamentals of Biomechanics, Second Edition. New York: Springer, 2007.
Knust, Albrecht. Handbook of Kinetography Laban: Examples. Hamburg: Das Tanzarchiv, 1958. Koch, Sabine, et al. Body Memory, Metaphor, and Movement. Philadelphia: John Benjamins
Publishing Company, 2012.
Krauss, Rosalind E. “Sculpture in the Expanded Field.” October. Volume 8 (Spring 1979).
Krauss, Rosalind E. The Originality of the Avant-Garde and Other Modernist Myths. Cambridge: MIT Press, 1985.
Kuligowski, Waldemar. “A Relay of Youth of the 21st Century. A Re-enactment of Ritual or a Grotesque Performance?” Cargo. Volume 10, Number 1 - 2 (2012).
Kwon, Miwon. One Place After Another: Site-Specific Art and Locational Identity. Cambridge: MIT Press, 2002.
LaBelle, Brandon. Background Noise: Perspectives on Sound Art. London and New York: Continuum International Publishing Group, 2006.
Lakoff, George, and Mark Johnson. Metaphors We Live By. Chicago: University of Chicago Press, 1980.
Landsberg, Alison. Prosthetic Memory: The Transformation of American Remembrance in the Age of Mass Culture. New York: Columbia University Press, 2004.
Laws, Kenneth, and Francia Russell. Physics and the Art of Dance: Understanding Movement. Oxford: Oxford University Press, 2002.
le Blanc, Guillaume. Courir: Méditations Physiques. Paris: Éditions Flammarion, 2012.
Leahy, Helen Rees. Museum Bodies: The Politics of Practices of Visiting and Viewing. Surrey,
England: Ashgate, 2012.
Lederman, Gail. Manliness and Civilization: A Cultural History of Gender and Race in the
United States, 1880 - 1917. Chicago: The University of Chicago Press, 1995. Lefebvre, Henri. The Production of Space. Oxford: Blackwell, 1991.
Lehman, Arnold L., and Brenda Richardson, eds. Oskar Schlemmer. Baltimore: The Baltimore Museum of Art, 1986.
Lemke, Thomas. Bio-Politics: An Advanced Introduction. Translated by Eric Frederick Trump. New York: New York University Press, 2011.
Lepage, Jean-Denis G.G. Hitler Youth, 1922 - 1945: An Illustrated History. London: McFarland & Company, Inc.,2009.
Lepecki, André, ed. Dance: Documents of Contemporary Art. London: MIT Press and WhiteChapel Gallery, 2012.
Leposavić, Radonja. vlasTito iskustvo. Belgrade: Publikum, 2005.
Licht, Alan. Sound Art: Beyond Music, Between Categories. New York: Rizzoli International
Publications, 2007.
Lippard, Lucy. Six Years: The Dematerialization of the Art Object from 1966 to 1972. Berkley: University of California Press, 1973.
Loland, Sigmund, and Berit Skirstad, Ivan Waddington. Pain and Injury in Sport: Social and Ethical Analysis. New York: Routledge, 2006.
Luthar, Breda, and Maruša Pušnik, eds. Remembering Utopia: The Culture of Everyday Life in Socialist Yugoslavia. Washington, D.C.: New Academia Publishers, 2010.
Mackay, Robin, and Armen Avanessian, eds. #Accelerate: The Accelerationist Reader. Falmouth, UK: Urbanomic, 2014.
Malcolm, Noel. Bosnia: A Short Story. London: MacMillan, 1994.
Maletic, Vera. Body - Space - Expression: The Development of Rudolf Laban’s Movement and
Dance Concepts. Amsterdam: Mouton de Gruyter, 1987.
Marie, Michel. The French New Wave: An Artistic School. Translated by Richard Neupert.
Oxford: Blackwell Publishing, 1997.
Marien, Mary Warner. Photography: A Cultural History. 2nd Edition. London: Laurence King Publishing Ltd, 2002, 2006.
Marks, Laura. Touch: Sensuous Theory and Multisensory Media. Minneapolis: University of Minnesota Press, 2002.
Marvin, Carolyn. When Old Technologies Were New: Thinking about Electric Communication in the Late Nineteenth Century. Oxford: Oxford University Press, 1988.
Mathews, Nancy Mowll. “The Body in Motion.” In Moving Pictures: American Art and Early Film, 1880 - 1910. Manchester, Vermont: Hudson Hills Press, 2005.
Mauss, Marcel. “Techniques of the Body” (1934). In Incorporations, Zone 6. Edited by Jonathan Crary and Sanford Kwinter. New York: Zone, 1992.
Mazower, Mark. Dark Continent: Europe’s Twentieth Century. New York: A.A. Knopf, 1999.
McGinnis, Peter M. Biomechanics of Sport and Exercise, Third Edition. Champaign, IL: Human Kinetics, 2013.
McSorley, Kevin, ed. War and the Body: Militarisation, Practice and Experience. New York: Routledge, 2013.
Meltzer, Eve. Systems We Have Loved: Conceptual Art, Affect, and the Antihumanist Turn. Chicago: The University of Chicago, 2013.
Merleau-Ponty, Maurice. The Phenomenology of Perception. Translated by Colin Smith. London: Routledge and Kegan Paul, 1962, 1989.
Metz, Christian. Film Language: A Semiotics of the Cinema. Translated by Michael Taylor. New York: Oxford University Press, 1974.
Metz, Christian. “Photography and Fetish.” October. Volume 34 (Autumn, 1985).
Meyer, James. Minimalism: Art and Polemics in the Sixties. New Haven: Yale University Press,
Michelson, Annette, ed. Kino-Eye: The Writings of Dziga Vertov. Translated by Kevin O’Brien. Berkeley: University of California Press, 1984.
Mirzoeff, Nicholas, ed. The Visual Culture Reader, Second Edition. New York: Routledge, 1998, 2002.
Mishima, Yukio. Sun and Steel: His Personal Testament on Art, Action, and Ritual Death. New York: Kodansha, 1970.
Mondloch, Kate. Screens: Viewing Media Installation Art. Minneapolis: The University of Minnesota Press, 2010.
Moore, Sarah J. Empire on Display: San Francisco’s Panama-Pacific International Exposition of 1915. Norman, OK: University of Oklahoma Press, 2013.
Morgan, William P. “Affective beneficence of vigorous physical activity.” Medicine and Science in Sports and Exercise. Volume 17, Number 1 (February 1985).
Morse, Meredith. Soft is Fast: Simone Forti in the 1960s and After. Cambridge: MIT Press, 2016.
Mosse, George L. The Image of Man: The Creation of Modern Masculinity. Oxford: Oxford University Press, 1996.
Motherwell, Robert, ed. Dada Painters and Poets. New Haven: Harvard University Press, 1981.
Mozley, Anita Ventura, ed. Eadweard Muybridge: The Stanford Years, 1872 - 1882. San Francisco: Stanford University, 1972.
Mulvey, Laura. Death 24x a Second: Stillness and the Moving Image. London: Reaction books, 2006.
Mumford, Lewis. Technics and Civilization. London: Routledge & Kegan Paul LTD, 1934, 1955.
Muñoz, José Esteban. Disidentifications: Queers of Color and the Performance of Politics. Minneapolis: The University of Minnesota Press, 1999.
Musolff, Andreas. Metaphor, Nation, and the Holocaust: The Concept of the Body Politic. New York: Routledge, 2010.
New Collectivism, ed. Neue Slowenische Kunst. Translated by Marjan Golobič. Hong Kong: Paramount Printing, 1991.
Newman, Michael, and Jon Bird, eds. Rewriting Conceptual Art. London: Reaction Books, 1999. O’Doherty, Brian. Inside the White Cube: The Ideology of the Gallery Space. Berkley:
University of California Press, 1986.
O’Rourke, Karen. Walking and Mapping: Artists as Cartographers. Cambridge: MIT Press, 2013.
Obrist, Hans Ulrich. Do It: The Compendium. New York: Independent Curators International/D.A.P., 2013.
Partsch-Bergsohn, Isa. Modern Dance in Germany and the Untied States: Crosscurrents and Influences. Chur: Harwood Academic Publishers, 1994.
Passerini, Luisa, ed. Memory and Totalitarianism. Oxford: Oxford University Press, 1992. Pavković, Aleksandar. The Fragmentation of Yugoslavia: Nationalism and War in the Balkans,
Second Edition. New York: St. Martin’s Press, 2000.
Pegrum, Mark A. Challenging Modernity: Dada Between Modern and Postmodern. Oxford: Berghahn Books, 2000.
Peiffer, Lorenz. Sport im Nationalsozialismus: Zum aktuellen Stand der sporthistorischen Forschung. Göttingen: Verlag Die Werkstaat, 2004, 2015.
Pejić, Bojana, and David Elliot. After the Wall: Art and Culture in Post-Communist Europe. Stockholm: Moderna Museet, 1999.
Penz, Otto. “Sport and Speed.” International Review for the Sociology of Sport. Volume 25, Number 2 (June 1990).
Peoples, Crocker. “A Psychological Analysis of the ‘Runner’s High’ (Human Performance).” Physical Educator. Volume 40, Number 1 (March 1, 1983).
Perica, Vjekoslav. Balkan Idols: Religion and Nationalism in Yugoslav States. Oxford: Oxford University Press, 2002.
Petrov, Ana. “Telesni projekti i regulacija normativnog tela: uloga fizičke kulture u Jugoslaviji.” Institut za etnologiju i folkloristiku. Issue 51, Number 2 (2014).
Pfister, Gertrud, ed. Gymnastics, A Transatlantic Movement: From Europe to America. New York: Routledge, 2011.
Phelan, Peggy. Unmarked: The Politics of Performance. New York: Routledge, 1993. Phillips, Christopher, ed. Photography in the Modern Era: European Documents and Critical
Writings, 1913 - 1940. New York: The Metropolitan Museum of Art/Aperature, 1990. Phillips, Murray G. Deconstructing Sport History: A Postmodern Analysis. Albany: State
University of New York Press, 2006.
Pissaro, Joachim, et al. Martin Creed: What’s the Point of It? London: Hayward Publishing, 2014.
Piotrowski, Piotr. In the Shadow of Yalta: Art and the Avant-Garde in Eastern Europe, 1945 - 1989. London: Reaktion, 2009.
Preston-Dunlop, Valerie. Rudolf Laban: An Extraordinary Life. London, Dance Books, 1998. Preziosi, Donald. Art Religion Amnesia: The Enchantments of Credulity. New York: Routledge,
Pursell, Caroll. White Heat: People and Technology. Berkley: University of California Press, 1994.
Quercetani, R. L. A World History of Track and Field Athletics 1864-1964. London: Oxford University Press, 1964.
Rabinbach, Anson. The Human Motor: Energy, Fatigue, and the Origins of Modernity. New York: Basic Books, 1990.
Rabinow, Paul, ed. The Foucault Reader. New York: Random House, 1984.
Radstone, Susannah, and Bill Schwarz, Memory: Histories, Theories, Debates. New York: Fordham University Press, 2010.
Rancière, Jacques. Aesthetics and its Discontents. Malden: Polity Press, 2004.
Rancière, Jacques. The Emancipated Spectator. Translated by Gregory Elliot. London: Verso,
Rancière, Jacques. The Politics of Aesthetics: The Distribution of the Sensible. London: Continuum, 2006.
Rees, A.L., and Duncan White, Steven Ball, David Curtis, eds. Expanded Cinema: Art, Performance, Film. London: Tate Publishing, 2011.
Rempel, Gerhard. Hitler’s Children: The Hitler Youth and the SS. Chapel Hill: University of North Carolina Press, 1989.
Richards, Mary. Marina Abramović. New York: Routledge, 2010.
Ricoeur, Paul. Oneself as Another. Translated by Kathleen Blamey. Chicago: University of
Chicago Press, 1992.
Rosa, Hartmut. Beschleunigung und Entfremdung: Entwurf einer Kritischen Theorie
spätmoderner Zeitlichkeit. Berlin: Suhrkamp, 2013.
Rosa, Hartmut, and William E. Scheuerman. High-Speed: Social Acceleration, Power, and
Modernity. University Park, PA: The Pennsylvania State University, 2009.
Rosati, Lauren, and Mary Anne Staniszewski, eds. Alternative Histories: New York Art Spaces,
1960-2010. Cambridge: MIT Press, 2012.
Rosenstone, Robert A., “History in Images/History in Words: Reflections on the Possibility of Really Putting History onto Film.” The American Historical Review. Volume 93. Number 5 (December 1988).
Rossol, Nadine. Performing the Nation in Interwar Germany: Sport, Spectacle, and Political Symbolism, 1926 - 1936. New York: Palgrave Macmillan, 2010.
Roxby-Maude, Alice, On Camera: Performance and Photography. Southampton: John Hansard Gallery, 2007.
Ruyter, Nancy Lee Chalfa. The Cultivation of Body and Mind in Nineteenth-Century American Delsartism. Westport, CT: Greenwood Press, 1999.
Salazar, James B. Bodies of Reform The Rhetoric of Character in Gilded Age America. New York: New York University Press, 2010.
Schechner, Richard. Essays on Performance Theory 1970 - 1976. New York: Drama Book Specialists, 1973, 1977.
Scheerder, Jeroen, and Koen Breedveld, eds. Running Across Europe: The Rise and Size of One of the Largest Sport Markets. New York: Palgrave Macmillan, 2015.
Seckinelgin, H., and Billy Wong, eds. Global Civil Society 2011: Globally and the Absence of Justice. Hampshire: Palgrave Macmillan, 2011.
Sekula, Allan. “The Body and the Archive.” October. Volume 39 (Winter, 1986). Semon, Richard. Die mnemischen Empmfindungen in ihren Beziehungen zu den
Originalempfindungen. Leipzig: W. Engelmann, 1909.
Shawn, Ted. Every Little Movement: A Book About François Delsarte. Pittsfield, MA: The Eagle
Printing and Binding Company, 1954.
Shayt, David H. “Stairway to Redemption: America’s Encounter with the British Prison
Treadmill.” Technology and Culture, Volume 30, Number 4 (Oct. 1989).
Sheridan, Heather, and Leslie Howe, and Keith Thompson, eds. Sporting Reflections: Some
Philosophical Perspectives. Aachen: Meyer & Meyer Verlag, 2007.
Siegmund, Gerald, and Stefan Hölscher, eds. Dance, Politics, and Co-Immunity: Thinking Resistances, Current Perspectives on Politics and Communities in the Arts. Volume 1. Zürich- Berlin: Diaphanes, 2013.
Sileo, Diego, and Eugenio Viola, PAC (Milano), eds. Marina Abramović: The Abramović Method. 2 Volumes. Milan: 24 ORE Cultura, 2012.
Silverman, Kaja. The Subject of Semiotics. New York: Oxford University Press, 1983.
Slevin, Tom. Vision of the Human: Art, World War One and the Modernist Subject. London: I.B.
Tauris, 2015.
Solnit, Rebecca. River of Shadows: Eadweard Muybridge and the Technological Wild West. New York: Viking, 2003.
Solnit, Rebecca. Wanderlust: A History of Walking. London: Verso, 2001.
Sontag, Susan. Against Interpretation and Other Essays. New York: Picador, 1966, 2001. Sontag, Susan. “Fascinating Fascism.” The New York Review of Books (6 February 1975). Sontag, Susan. On Photography. New York: Picador, 1977.
Spieker, Sven. The Big Archive: Art from Bureaucracy. Cambridge: MIT Press, 2008. Stepišnik, Drago. Oris Zgodovine Telesne Kulture na Slovenskem. Ljubljana: Dražavna založba
Slovenija, 1968.
Stipančić, Branka. “‘Zame je resničnost umetnost,’ Intervju s Tomislavom Gotovcem.” Vijenac, Number 123/VI (8 Oct. 1998).
Stoddart, Tom. Sarajevo. Washington, D.C.: Smithsonian Institution Press, 1998.
Stošić, Mirjana. “Body-name — The Brotherhood Chronotype and Social Choreography.”
Култура/Culture (2015).
Suljagić, Emir. Postcards from the Grave. Translated by Lejla Haverić. London: The Bosnian
Institute, 2005.
Susovski, Marijan, ed. The New Art Practice in Yugoslavia, 1966 - 1978. Zagreb: Gallery of Contemporary Art, 1978.
Sutil, Nicolás Salazar. Motion and Representation: The Language of Human Movement. Cambridge: MIT Press, 2015.
Swenson, Kirsten. Irrational Judgements: Eva Hesse, Sol Lewitt, and 1960s New York. New Haven: Yale University Press, 2015.
Szeemann, Harold. Zum freien Tanz, zu reiner Kunst. Rolandseck: Stiftung Hans Arp und Sophie Taeuber-Arp, 1991.
Tagg, John. The Burden of Representation: Essays on Photographies and Histories. Minneapolis: University of Minnesota Press, 1988.
Tilmans, Karin, and Frank van Vree, Jay Winter, eds. Performing the Past: Memory, History, and Identity in Modern Europe. Amsterdam: Amsterdam University Press, 2010.
Tumarkin, Maria M. Traumascapes: The Power and Fate of Places Transformed by Tragedies. Victoria, Australia: Melbourne University Press, 2005.
Udall, Sharyn R. Dance and American Art: A Long Embrace. Madison: University of Wisconsin Press, 2012.
Vacche, Angela Dalle. Film, Art, New Media: Museum without Walls? New York: Palgrave Macmillan, 2012.
Vertinsky, Patricia Anne. The Eternally Wounded Woman: Women, Doctors, and Exercise in the Late Nineteenth Century. Manchester: Manchester University Press, 1989.
Virilio, Paul. The Art of the Motor. Translated Julie Rose. Minneapolis: University of Minnesota Press, 1995.
Weibel, Peter. Beyond Art: A Third Culture. Vienna: Ambra Verlag, 2005.
Wells, Liz, ed. Photography: A Critical Introduction. New York: Rutledge, 1996/2015.
Westcott, James. When Marina Abramović Dies: A Biography. Cambridge: MIT Press, 2010.
White, Hayden. “Historiography and Historiophoty.” The American Historical Review. Volume 93. Number 5 (December 1988).
White, Hayden V. Metahistory: The Historical Imagination in Nineteenth-Century Europe. Baltimore: Johns Hopkins University Press, 1973.
Wiehager, Renate, ed. Moving Pictures: Photography and Film in Contemporary Art. Ostfildern- Ruit, Germany: Hate Cantz Publishers, 2001.
Williams, Raymond. Culture and Society, 1780 - 1950. New York: Columbia University Press, 1958/1983.
Wood, Catherine. Yvonne Rainer: The Mind is a Muscle. London: Afterall, 2007. Wood, Denis. The Power of Maps. New York: Guilford Press, 2010.
Woodward, Susan L. Balkan Tragedy: Chaos and Dissolution after the Cold War. Washington, D.C.: The Brookings Institution, 1995.
Young, Kevin. Deviance and Social Control in Sport. Champaign, IL: Human Kinetics, 2008. Youngblood, Gene. Expanded Cinema. New York: E.P. Dutton and Co., 1970.
Zelizer, Barbie, ed. Visual Culture and the Holocaust. New Brunswick: Rutgers University Press, 2001.
Zidić, Igor, and Ana Dević, Antonio Gotovac Lauer a.k.a. Tomislav Gotovac. Antonio Gotovac Lauer: Čelična mreža. Zagreb: Moderna Galerija and Studio Josip Račič, 2006.
Zorn, John W., ed. The Essential Delsarte. Metuchen, NJ: The Scarecrow Press, Inc, 1968.
Žižek, Slavoj. The Indivisible Remainder: An Essay on Schelling and Related Matters. London: Verso, 1996.
----
------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
—-
CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
-------
In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
------
for activating the format or for inviting the installation
please contact 1@colonel.dk
-----
critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
Konica T Autoreflex, lens Hexanon AR 57mm f/1.4, film Kodak Tri-X 400, Xtol+Rodinal
KonKod400_15 Scan-101210-01
July 7, 2014 - North of Kearney Nebraska US
Prints Available...Click Here
All Images are also available for...
stock photography & non exclusive licensing...
Always good storm chasing stories to tell about my weather adventures in 2014.
Days right after my knee replacement... Home from the hospital & I definitely wasn't supposed to be out and about. Knee was almost in a cast and I wasn't supposed to be doing anything to aggravate the situation. Though my quest for severe weather never ends and I wasn't going to miss another possible chase especially when its in my backyard. This storm was going to be a photogenic monster... Decision was made & off I went.
Personal Note *** On the original set Back in 2014 I had use the free Avery photo editor here Flickr and it wasn't the best but I had no prior knowledge of editing them back then. Only shot in .jpg format and I didn't do the best by over coloring and over saturation. Was very under experienced in photo editing back then.
Another epic set of thunderstorm captures from South Central Nebraska remastered through Lightroom and Photoshop. Though I paid for it with my knee just being replaced. I was super sore and the swelling was unreal a few days after this event. All worth it when it comes to what epic views I caught storm chasing on that particular day!
#ForeverChasing
Like | Follow | Subscribe | #NebraskaSC @
| Facebook | YouTube | Twitter | Instagram | Twitch |
* Fine Arts America Exclusively for my High Quality Prints! *
*** Please NOTE and RESPECT the Copyright ***
© Dale Kaminski @ NebraskaSC Photography - All Rights Reserved
This image may not be copied, reproduced, published or distributed in any medium without the expressed written permission of the copyright holder.