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Articulated Tatra KT8D5 unit no 321 on Route 7 at Litvinov. Kosice in Slovakia was one of the few other places outside the czech republic to operated this type, along with Pyongyang in North Korea. Dopravní podnik měst Mostu a Litvínova, a.s. operated only 8 of this type. 315-322
A prototype was acquired in 1986, followed by a further seven in 1989.
By 1997 all eight of them had been sold to Miskolc in Hungary, this one becoming 215 in that city.
See the WIKIPEDIA PAGE here for Most transport.
In Summer 2016, some of the Miscolc vehicles [ex 317-9/21] were sold to Prague retaining their Hungarian fleet numbers 217/2/4/5 respectively [actually finally 212-7, 213 and 216 arriving in 2019]
transphoto.org/list.php?did=378
transphoto.ru/list.php?did=378&mid=228
215 has not entered service by 2021, awaiting modernisation, apparently.
he.kingdomsalvation.org/videos/the-true-love-of-god-mv.html
שיר משיחי | אהבת האמת של אלוהים
I
היום שוב אני ניצב בפני אלוהי.
לנוכח פניו הנפלאות, דברים רבים רוצה לבי לומר.
השארתי את נדודי העבר שלי מאחורי.
דבריו ממלאים אותי אושר ושמחה מחסדו.
דבריו העדינים של אלוהים משקים ומזינים אותי כדי שאגדל.
דבריו הקפדניים מעודדים אותי לעמוד שוב על רגליי.
, אנו שרים לך היום בזכות ברכותיך.
אנו יכולים להלל אותך היום משום שרוממת אותנו.
האל הכל יכול שאוהב אותנו!
אנו אוהבים אותך! או אלוהים! באמת ובתמים!
II
אני רוצה להתענג בדבריך כל ימי.
אני נושא עיני אליך, אלוהי, ומבקש אור בכל דרך אפשרית.
אתה משקה ומזין את אנשיך באהבה.
אתה מרחיק אותנו מהשטן המנסה להרחיקנו ממך.
דבריו העדינים של אלוהים משקים ומזינים אותי כדי שאגדל.
דבריו הקפדניים מעודדים אותי לעמוד שוב על רגליי.
אלוהים, אנו שרים לך היום בזכות ברכותיך.
אנו יכולים להלל אותך היום משום שרוממת אותנו.
האל הכל יכול שאוהב אותנו!
אנו אוהבים אותך! או אלוהים! באמת ובתמים!
III
אחים ואחיות! הבה נהלל ונשבח!
נצרו רגע זה שאנו חולקים יחדיו.
משוחררים מאזיקי נטל הבשר,
בואו נראה את אהבתנו לאלוהים בפעולות אמיתיות,
נמלא את חובתנו בכל לבבנו ובכל מאודנו.
אנו אוהבים אותך, האל הכל יכול! לעולם לא נעזוב אותך!
דבריו העדינים של אלוהים משקים ומזינים אותי כדי שאגדל.
דבריו הקפדניים מעודדים אותי לעמוד שוב על רגליי.
אלוהים, אנו שרים לך היום בזכות ברכותיך.
אנו יכולים להלל אותך היום.
IV
דבריו העדינים של אלוהים משקים ומזינים אותי כדי שאגדל.
דבריו הקפדניים מעודדים אותי לעמוד שוב על רגליי.
אלוהים, אנו שרים לך היום בזכות ברכותיך.
אנו יכולים להלל אותך היום משום שרוממת אותנו.
האל הכל יכול שאוהב אותנו!
אנו אוהבים אותך! או אלוהים! באמת ובתמים!
משום שרוממת אותנו.
הכל יכול שאוהב אותנו!
אנו אוהבים אותך! או אלוהים! באמת ובתמים!
מתוך 'עקבו אחר השה ושירו שירים חדשים'
Image Source:כנסיית האל הכול יכול
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שירת הלל לביאת המשיח – האל הכול יכול.
[Support TPOD whenever you buy from Amazon.com. Click here for more info]
Bicycling requires a specific mentality. It demands you accept sole responsibility for your momentum. Wind and incline contradict you. Every agonizing second of that contradiction, pings your resolve. You either respond with a willful decision to move forward or you let resistance stop you. If you don't let it stop you, the willful decision to move forward becomes second nature. Resistance becomes irrelevant.
This is the independent, self-directed mentality that propels cyclists. Its the mentality that propels entrepreneurs. Unsurprisingly, it is also the mentality that drives a cyclist to be an entrepreneur.
Joey Landis is co-owner the downtown Detroit-based bike messenger service Rock Dove Couriers. Joey founded Rock Dove with Tim and Melissa Sargent. The trio noticed downtown legal and accounting firms needed someone to delivery signed contracts. They collaborated to meet that need. Doing so also met a need for Joey.
"I've had a couple of jobs with terrible bosses," Joey said. "That convinced me that, eventually, I would have to be my own boss. I love it."
Even so, Joey's entrepreneurial path has not been unimpeded. Business has dropped as many downtown legal and accounting offices have started to use electronic transfer for many of their documents. In response, Rock Dove has broaden the scope of their delivery services to include food and other non-legal, non-accounting related packages.
A little wind. A bit of an incline. Nothing a determined cyclist can't peddle through.
- Noah -
Noah Stephens founded The People of Detroit Photodocumentary in April 2010 as a counterpoint to media fixated on despair and disrepair in the storied birthplace of American auto manufacturing. Since, TPOD has received national and international attention. Portraits from the project have appeared in Bloomberg BusinessWeek and other national publications.
In early 2011, a creative director saw the project online and hired Noah to shoot an ad campaign for McDonald's Corporation in Shanghai, China.
The People of Detroit Photodocumentary is funded in part by a grant from CEOS for Cities and the John S. And James L. Knight Foundation.
This model was specifically built for the Arawasi Wild Eagles blog's "Hayabusa Model Contest" in April/May 2017 (arawasi-wildeagles.blogspot.de/2017/03/japanese-aircraft-...) - and it is the guesstimate, based on a conversion set and a vague frontal picture of a real aircraft.
Inspiration struck when I came across a Rising Decals conversion (from the Czech Republic)set for an experimental Ki43 with wooden, retractable skis - tested in Manchuria in 1944. The set comes with finely crafted and moulded resin skis, plus a decal sheet for the rather bleak aircraft in natural metal finish. Anyway, I found the idea worth to become an entry, and took action.
The kit and its assembly:
The basis is the venarable 1:72 Hasegawa kit of the Ki43-II, a simple kit with good detail and fit, even though you get raised (though very fine) panel lines. The kit was basically built OOB, with only some detail additions in the cockpit, and I modified the wings and lower fuselage in so far that the "butterfly flaps" were added in extended position.
Concerning the ski landing gear, I did some legwork, and eventually found a Ki43-II with the same landing gear arrangement as the conversion set, but it also featured a four-bladed propeller!
The wheeled landing gear was simply replaced by the resin struts from the conversion set, the skis are separate pieces that fit neatly into each other and into the kit.
The propeller was scratched from the three OOB blades, plus a trimmed donor blade. The spinner is the front end of a German 250 kg bomb. Inside of the engine, a styrene tube was added as propeller mount, which received a long metal axis.
A venturi tube was added under the fuselage, too, and the canopy separated into two pieces for better display.
The frontal benchmark picture of "my" Ki43-II shows the aircraft in clean configuration, but I decided to use/add the underwing tanks in order to avoid filling the respective holes in the wings - and it makes the aircraft look more interesting, IMHO.
Painting and markings:
Concerning the aircraft's livery, I basically stuck to the machine depicted in the conversion set and on the few pictures of such machines - even though the info sheet states that "markings are uncertain".
Anyway, I went the suggested overall NMF route with grey-green fabric (individually mixed from Humbrol 90 and 155) on all rudder surfaces. As a personal note, and as an interpretation of the benchmark photograph of the Ki43-II I tried to build, the model received a worn and flaking cowling in IJA Green and Grey. The latter was also used for the drop tanks, with red primer showing through the tanks' front end. A black anti glare panel was added in front of and behind the canopy.
The cockpit interior was painted, based on Hasegawa's recommendations, in a greenish brown tone (a mix of Revell 45 and 16). The landing gear wells and the interior of the flaps was painted with Aodake Iro - and instead of mixing a metallic blue tone as a single tone I rather laid down an Aluminum base and added a clear, greenish blue lacquer on top - just like the real thing. The deep yellow ID markings on the wings' leading edges were painted with RAL 1028 (Lufthansa Gelb, Revell 310).
The skis appear to be massive wood pieces, and they were painted accordingly with a wet-in-wet mix of red brown and cream, for a streaky look, mimicking the wooden structure.
After basic painting (a basic coat with acrylic Aluminum, Revell 99), everything done with brushes and minimal masking, the kit received a light black ink wash, in order to emphasize engravings. For some "depth" effect, panels were post-shaded with Polished Aluminum Metallizer (Humbrol 27002) on top of the acrylic Aluminum base. During the polishing process with a piece of soft cloth, some grinded graphite was rubbed over all surfaces, too, creating a slightly worn and uneven look. This little trick also enhances the metallic shine of the surface, making it look less "painted". Graphite was also used in order to simulate light exhaust stains on the Hayabusa's flanks.
Once the (very thin and delicate) decals were in place, they received a light treatment with Aluminium and sand paper, in order to simulate some wear on the aircraft's surface. Finally, everything was sealed with a coat of semi-matt acrylic varnish, just the rudders and the anti-glare panels received a completely matt coat.
A quick build, done in less than three days from sprues to photo shots. Anyway, the model should rather be regarded as fictional, since my information basis has been rather corny and relied on very limited references. But I am, nevertheless, happy with the result, and I hope the model conveys the original idea of the converted Ki43 with skis?
"JAYNE COUNTY'S MAD TEA PARTY..SEX! ART! MUSIC!"
A KYMARA 21ST CENTURY THREE DAY HAPPENING
Friday, April 9, 2010 at 8:00pm
Chelsea Hotel
New York, NY
www.punkglobe.com/jaynecountyinterview0809.html
en.wikipedia.org/wiki/Jayne_County
www.facebook.com/group.php?gid=34004014453&ref=ts
Description
KYMARA 21ST CENTURY HAPENINGS, "PUNK GLOBE MAGAZINE", THE BLUE ELEPHANT EVENTS AND CAFE HARNEY AND SONS FINE TEA, WARWICK VALLEY WINERY AND DISTILLERY AND STUDIO 54 NY SUPERSTAR PARTY HOST, MIESTORM ALONG WITH MILO ROCK AND KYMARA
STARRING THE PREMIERE EXHIBIT OF THE ARTISTIC WORKS OF JAYNE COUNTY!!!!!
ALONG WITH THE ART, MUSIC AND FILM OF BILLY NAME, ANTON PERICH, CHRISTOPHER MAKOS, MICK ROCK, PRAIRIE PRINCE,CHRISTOPHER LYNCH, MARY WORONOV, LOUIS WALDON, WALTER STEDING, GAZELLE, GORMAN BECHARD, ERIC DANVILLE, THE FLOYDIAN DEVICE, DAVE STREET AND CO. AMANDA BURNS, MARK LA FALCE, AND MANY MORE MUSICIANS AND ARTISTS...
ANNOUNCING THE WORKS OF THE "BILLY NAME ANTE ART SUPERSTARS" JAYNE COUNTY, PRAIRIE PRINCE, RUBY LYNN REYNER, ANTON PERICH, MIESTORM, MILO ROCK, FERNANDO CARPANEDA, IAN COUCH, AND KYMARA
JAYNE COUNTY WILL BE PERFORMING LIVE AT CHELSEA HOTEL ALONG WITH HER NEW BAND, "THE WAR HOLES" FEATURING
MILO ROCK, FRANK COLEMAN, BOB TOXIC AND ARENA BOUND. VINTAGE FOOTAGE OF JAYNE COUNTY'S LIVE PERFORMANCE BY THE LEGENDARY ANTON PERICH
A FABULOUS ARRAY OF JAYNE COUNTY'S HISTORIC COSTUMES WILL BE ON DISPLAY!
FASHION SHOW BY "LIVE FAST" NYC
AWARD WINNING FILM "FRIENDS WITH BENEFITS" BY INDIE FILM DIRECTOR GORMAN BECHARD FOLLOWED BY A Q&A ON SUNDAY
A PORTION OF OUR PROCEEDS BENEFITS THE LGBT COMMUNITY SERVICES CENTER 208 West 13th Street New York, NY 10011
QUESTIONS????COMMENTS?????
CALL KYMARA DIRECTLY AT..
207-286-7399
OR EMAIL KYMARA@KYMARA.COM
Biography
Born in 1947 as Wayne Rogers, County left her hometown of Dallas, Georgia in 1968 to move to New York City, where she became a regular at the Stonewall Inn and took part in the historic riots. In 1969, County was asked by Warhol superstar and playwright Jackie Curtis to appear in her play Femme Fatale at the La MaMa Experimental Theatre Club, which also starred Patti Smith. In her autobiography, County says of Curtis, "She was my biggest influence, the person who really got me started." After a successful run of Femme Fatale, County wrote her own play World - Birth Of A Nation which she also appeared in, bringing her to the attention of Andy Warhol, who cast her in his own theatrical production Pork. After a run in New York, the play, with the New York cast, was performed in London for a few months. Upon returning to New York, County appeared in another play, Island, by Tony Ingrassia, again with Patti Smith.
Then, in 1972 County got her first band, Queen Elizabeth together, one of the pioneering glam rock bands. Despite being signed to MainMan Management, David Bowie's management firm, no records were ever produced, although the company did spend over $200,000 to film the 1974 stage show "Wayne at the Trucks", no footage of which has ever been released (even in bootleg form). The show featured numerous costume changes and some of County's raunchiest material. The film remains (presumably) in Bowie's vaults, though eight live recordings from this show were released in audio form on the 2006 CD Wayne County At The Trucks on Munster Records. The show is claimed by County to be the major inspiration for Bowie's stage show for the tour supporting his Diamond Dogs album.[1] In particular, County maintains that the song "Queenage Baby" was a prototype for Bowie's song "Rebel Rebel", a claim which is supported by some rock critics.[2][3]
In 1975, with her new band "The Backstreet Boys," Wayne County recorded three tracks for the compilation Max's Kansas City: New York New Wave, which also featured Suicide, Pere Ubu and The Fast. Wayne County and The Backstreet Boys played regularly at CBGBs and at Max's Kansas City, where County was also a DJ. In 1976, she appeared in the film The Blank Generation, directed by Amos Poe and Ivan Kral. The film, the recording and the shows were the beginnings of what came to be known as punk rock, and helped define this movement for a generation of youth.
In 1977, County left New York to return to London, where the English punk scene was just emerging. Here, she formed a new band called Wayne County & the Electric Chairs. County released the EP Electric Chairs 1977, plus a single on Illegal Records. This was followed by her most famous song, "Fuck Off" recorded as a single for Safari Records, with a European tour in support of the records. While in London, County met Derek Jarman who cast her as the character "Lounge Lizard" in the seminal punk film Jubilee, which also starred Adam Ant, Toyah Willcox, Ian Charleson and Jordan. After this The Electric Chairs recorded their first self-titled album, which featured "Eddie and Sheena", and an EP named Blatantly Offensive, which contained "Fuck Off" and "Toilet Love." After touring, they followed this up with another album Storm The Gates Of Heaven. The next album, released in 1979, was Things Your Mother Never Told You which featured several songs based on County's recent experiences in Germany. After it was released, the band broke up and County (along with guitarist Eliot Michaels) returned to the U.S. in 1979. It was at this time that she officially changed her stage name to "Jayne County" and began self-identifying as a woman. The final release by County on Safari Records, Rock and Roll Resurrection (In Concert), a live album recorded in Toronto on New Year's Eve of 1979, was under this new name.
In 1983, County returned to New York where she appeared in the theatrical production Les Girls with Holly Woodlawn and other performers. After this she returned to London for the premiere of City Of Lost Souls and stayed long enough to tour and record another album Private Oyster with Warren Heighway as manager. Her band included members of various UK based rock bands, including Manchester-based guitarists Stuart Clarke, Chris Lynch and Baz Creece on drums. Following widespread media attention she then returned again to the U.S.
In the 1990s many of the earlier recordings were released, such as the early Safari tracks on a CD called Rock & Roll Cleopatra. She recorded the album Goddess Of Wet Dreams in 1993, followed by Deviation in 1995. That same year she appeared in Wigstock: The Movie and released her autobiography Man Enough To Be A Woman.
Since Deviation, several new tracks have surfaced on various compilations and through Jayne's official website. Many of these tracks, both live and studio recordings, were collected on the Ratcage Records release So New York, including collaborations with Lisa Jackson and former Electric Chairs guitarist Eliot Michaels. A thunderous live show (recorded on Jayne's birthday) was released on the 2002 CD Wash Me In The Blood (Of Rock & Roll)- Live at Squeeze Box by Fang Records, and features a duet on "California Sun" by County and former nemesis "Handsome" Dick Manitoba of The Dictators.
Marni Turkel is one of the world's most skilled growers of orchid species and a renowned ceramist. Now after decades of collecting rare and fascinating species orchids, she has moved from her ceramics production to propagation of her vast collection of very rare orchid species. Her lab is brimming over with flasks of vigorous seedlings of rare and choice species not available anywhere else. Many of the species she is propagating for sale have never been offered in the US before. Unlike most growers who set seed pods via self-pollination, Marni goes to great lengths to procure pollen from other clones; these outcrosses ensure greater genetic diversity and stronger progeny.
Never satisfied with mediocrity, Marni is an innovative and resourceful person who is continually researching and experimenting so that her flasks come out beautifully. A great number of the species she has in her lab have never been propagated artificially before and she has had to pioneer new techniques to cater to the varied needs of different orchid species' seeds in flask.
I'm an enthusiastic customer, having bought a number of her excellent flasks. I have had very good results with the seedlings I have de-flasked, they are quite strong growers with very few losses.
[Una versión más legible se encontrará en la entrada correspondiente del blog, cuyo enlace se señala a continuación]
enriqueviolanevado.blogspot.com/2020/05/vocabulario-de-ge...
________________________________________________
El Listado de Términos publicado por la Ponencia de Geografía de España en noviembre de 2018 especifica que conceptos serán los escogidos para las pruebas de Selectividad. En el apartado de Climas encontramos los vocablos que se definen a continuación.
Se añaden los conceptos por referencias que han aparecido en las pruebas de selectividad desde el curso 2016-2017, año académico en el que se implantó el modelo de examen que los agregaba. Este repertorio incluye los elegidos para el curso 2019-2o20.
VOCABULARIO DE GEOGRAFÍA DE ESPAÑA
- El Clima (Unidad 3) -
________________________________________________
1. Amplitud térmica: Es la diferencia entre la temperatura media del mes más cálido y la del mes más frío. En España las más bajas se dan en Canarias y las más altas en la submeseta sur. Aumenta de la costa al interior.
2. Anticiclón: Es una zona de altas presiones (más de 1016 mb. ) rodeada de otras de presión más baja. El viento gira a su alrededor en sentido horario en el Hemisferio Norte. El tiempo asociado es estable, generalmente despejado y sin precipitaciones. A España le afectan el de las Azores y el del interior de la península en invierno, entre otros.
3. Aridez: Elemento climático consistente en zona en las que las precipitaciones resultan insuficientes para que la vegetación se mantenga en una situación óptima (inferiores a los 300 mm anuales en nuestro territorio). Se mide con diversos índices tanto mensuales (Gaussen) o generales (Köppen).
4. Barlovento: Lado expuesto a la dirección de la procedencia del viento, opuesto a Sotavento. Está orientado hacia el mar más cercano, por lo que concentra las precipitaciones. El ejemplo típico es la cornisa cantábrica que concentra la humedad proveniente de los vientos de poniente.
5. Borrasca: Es un área de bajas presiones (inferior a los 1013,5 mb) rodeada por otras de presión más alta. Los vientos circulan a su alrededor en sentido contrario a las agujas del reloj (en el Hemisferio Norte). Genera tiempo inestable, con intensos vientos, nubosidad y precipitaciones. A España le afectan las borrascas atlánticas, la del golfo de Génova y las borrascas térmicas del Norte de África, entre otras.
6. Brisas litorales: Vientos suaves que soplan desde el mar a la tierra y viceversa. Durante el día, sobre todo por la tarde, sopla desde el mar –más frío- a la tierra -más cálida-. Este viento se denomina brisa marina o diurna. Por la noche el mar está ligeramente más caliente y la brisa procede entonces de la tierra (brisa terrestre o nocturna).
7. Cambio climático: Es la alteración de las condiciones climáticas de la Tierra como resultado de la actuación humana. Su causa principal es el efecto invernadero, producido por emisiones a la atmósfera de vapor de agua y gases como metano y el dióxido de carbono. Las consecuencias son la elevación global de la temperatura de la tierra, el ascenso del nivel del mar y el incremento de la sequía.
8. Clima: Es la sucesión habitual de tipos de tiempo sobre un lugar. Para conocer el clima de un territorio, se necesita un período de observación de al menos 30 años. La ciencia que estudia el clima es la climatología.
9. Continentalidad: Condiciones medias de las cualidades climáticas de un área muy apartada del mar y/o de su influencia. Como el Océano es termorregulador, las zonas afectadas por la continentalidad presentan diferencias notorias entre sus máximas y mínimas. En España la configuración maciza y la disposición periférica del relieve agudizan este factor. Para algunos geógrafos continentalidad es sinónimo de amplitud térmica.
10. Equinoccio: Cada una de las posiciones del planeta Tierra con respecto al Sol en la que éste, a mediodía, aparenta situarse sobre el Ecuador. Ello sucede hacia el 21 de marzo (Equinoccio de primavera o vernal) y hacia el 23 de septiembre (Equinoccio de otoño o autumnal). Provoca desplazamientos de los centros de acción atmosféricos y suelen producirse en España, nubosidad y precipitaciones por estas fechas.
11. Frente polar: Sistema frontal principal que separa las masas de aire tropical y polar en el Atlántico Norte. Oscila de manera notoria en latitud a lo largo de estaciones y sus ondulaciones forman borrascas, muchas veces colocadas en cadena. Influye decisivamente en el clima hispano.
12. Humedad atmosférica: Es el porcentaje de vapor de agua que contiene el aire en relación al que podría contener si estuviese saturado (es decir, con la cantidad máxima de vapor que puede poseer sin llegar a la condensación). La humedad del aire depende de la proximidad al mar y de la temperatura (disminuye cuando aumenta la temperatura). En España se supera la media del 70% anual en las áreas costeras y en la submeseta norte, aquí con acusadas variaciones entre los máximos invernales y los mínimos estivales
13. Humedad relativa: Es el porcentaje de agua que contiene una masa de aire en relación con la máxima humedad absoluta que podría admitir sin producirse condensación. Es la forma más habitual de expresar la humedad atmosférica o ambiental.
14. Isobaras: Es una línea que une los puntos con una misma presión atmosférica. En los mapas de tiempo se representa de 4 en 4 mb o, más raramente, de 5 en 5 mb. Agrupadas de forma concéntrica señalan los centros de acción atmosférica.
15. Isotermas: Son líneas que une los puntos con la misma temperatura, puntual o media. Su valor se expresa en grados centígrados. En España las zonas con valores medios más elevados corresponden a Canarias y a la costa mediterránea y atlántica del sur peninsular.
16. Isoyetas: Es una línea que une los puntos con una misma precipitación anual. Su valor se expresa en mm. En España las más elevados ( superiores a 800 mm) se corresponden con las zonas montañosas y el norte peninsular, y las más bajas (inferiores a 300 mm) con Canarias y el SE peninsular.
17. Precipitaciones: Aguas procedentes de la atmósfera y que en forma sólida o líquida se deposita sobre la superficie de la tierra. Esto incluye la lluvia, la llovizna, la nieve y el granizo. Suele medirse en mm o l/m2. Pueden ser ortográficas (de relieve), convertidas (por calentamiento del suelo) o frontales (por frentes atmosféricos). La cantidad de precipitaciones sobre un punto de la superficie terrestre se denomina pluviosidad. En España las áreas con mayor volumen de precipitaciones se corresponden con las zonas montañosas y el norte peninsular.
18. Presión atmosférica: Es el peso del aire sobre una unidad de superficie. Se mide en milibares (mb), con el barómetro, y se representa mediante isobaras o líneas que unen los puntos con la misma presión. La presión media se establece en 1013,5 mb, aunque generalmente se usa el valor de 1016 mb.
19. Régimen pluviométrico: Sucesión habitual de las lluvias y su medición a lo largo de las estaciones en un área determinada. En España se distingue el régimen pluviométrico con máximo de invierno, con dos máximos en otoño y en primavera y con máximo en verano.
20. Régimen térmico: Serie general del régimen de las temperaturas del aire, basado en los ciclos anuales característicos de las temperaturas medias mensuales del mismo. En España existen diversos tipos de regímenes térmicos, todos ellos con mínimos invernales y máximos estivales, como ocurre en el resto del área templada boreal.
21. Solana: Ladera o vertiente de una cordillera o zona montañosa que recibe mayor cantidad de radiación solar que la vertiente o ladera opuesta (ladera de umbría).En nuestro hemisferio suele estar orientada hacia el sur. Sus temperaturas son más altas y su vegetación está adaptada a la mayor luminosidad y a la sequedad. En esta ladera los bosques resultan más reducidos. Hay que recordar que la distinción entre solana y umbría se establece con criterios distintos a los de barlovento y sotavento.
22. Solsticios: Cada una de las posiciones de la Tierra con respecto al Sol, en las que éste, al mediodía se halla sobre un trópico. En el Solsticio de verano o estival, en torno al 21 de junio el sol aparenta encontrarse sobre trópico de Cáncer. En el Solsticio de invierno o hiemal, en torno al 21 de diciembre el astro rey aparenta alzarse sobre el trópico de Capricornio.
23. Sotavento: Es la vertiente de un relieve montañoso expuesto al flujo descendente del viento. Al bajar el aire se recalienta y reseca, de modo que no produce precipitaciones. Las regiones situadas a sotavento de los vientos dominantes presentan clima seco, como el Sudeste peninsular, situadas tras las cordilleras Béticas. En los lugares situados a sotavento se produce el llamado efecto Föhn.
24. Temperatura: Grado de calor específico del aire en un lugar y momento determinado.
25. Tiempo atmosférico: Es el estado de la atmósfera sobre un lugar en un momento determinado. La ciencia que lo estudia es la meteorología.
26. Umbría: Es una zona que por su orientación está siempre o casi siempre en sombra. En las montañas es la vertiente del valle opuesta a la solana. En nuestro hemisferio suele mirar hacia el norte. Sus temperaturas son más bajas y su vegetación precisa sombra y mayor humedad. En esta ladera los bosques resultan más amplios que los de solana. Hay que recordar que la distinción entre solana y umbría se establece con criterios distintos a los de barlovento y sotavento.
________________________________________________
CONCEPTOS POR REFERENCIAS
1. La diferencia entre la temperatura máxima y la mínima de un lugar se denomina… AMPLITUD TÉRMICA.
2. La situación resultante de la falta de agua por la insuficiencia de las precipitaciones, se denomina ARIDEZ.
3. Cómo se llama la vertiente de una montaña expuesta a la dirección del viento? BARLOVENTO.
4. ¿Por qué nombre se conoce un campo de baja presión atmosférica, inferior a los 1014 mb? BORRASCA.
5. Al centro de acción de bajas presiones con valores inferiores a los 1.015 mb. se le denomina…
BORRASCA.
6. El cambio de clima atribuido directa o indirectamente a la actividad humana, que altera la composición de la atmósfera mundial y que se suma a la variabilidad natural del clima observada durante períodos de tiempo comparables, se denomina CAMBIO CLIMÁTICO.
7. Al momento del año en que el Sol forma un plano perpendicular con el ecuador y en que la duración del día es igual a la de la noche en toda la Tierra se denomina…EQUINOCCIO.
8. La superficie de separación de masas de aire polar y tropical que provoca inestabilidad atmosférica, se denomina FRENTE.
9. ¿Con qué nombre se conoce el fenómeno meteorológico que en ocasiones -comúnmente en septiembre y octubre- afecta al Levante español y produce precipitaciones muy intensas? GOTA FRÍA.
10. Las líneas que unen los puntos de igual presión en un mapa meteorológico se llaman… ISOBARAS.
11. Las líneas imaginarias que sobre un mapa unen los puntos que registran los mismos valores de precipitación expresados en mm o l/m² se denominan…ISOYETAS.
12. La cantidad de agua que cae en un lugar durante un periodo de tiempo determinado se mide en… MILÍMETROS CÚBICOS
13. El comportamiento de las precipitaciones a lo largo del año, haciendo un promedio de las mismas (lluvias, nieve, granizo convertidos a mm de lluvia) obtenidas a lo largo de un número considerable de años, se denomina RÉGIMEN PLUVIOMÉTRICO.
14. ¿Con qué nombre se denomina el comportamiento estacional de las temperaturas en un determinado clima y lugar? RÉGIMEN TÉRMICO.
15. El estado de la atmósfera en un lugar y momento determinado se denomina TIEMPO ATMOSFÉRICO.
16. El estado físico de la atmósfera en un momento preciso y en un lugar determinado, se denomina TIEMPO ATMOSFÉRICO.
________________________________________________
El grabado que hemos escogido como encabezamiento se titula Málaga.— Aspecto que presentaba el Paseo de la Alameda en el momento del paso del Ciclón, el 29 de octubre último, [1879]. La estampa e realizó a partir de un croquis de Emilio de la Cerda. Procede de La Ilustración Española y Americana publicada el ocho de noviembre de 1879 (número XLI, Año XXIII).
This season, "One Tree Hill dvd " introduces new characters and stories to complement an established core of beloved faces. Navigating their One Tree Hill dvd twenties without a road map, the denizens of Tree Hill are finding more questions than answers. But sometimes the search for answers leads you to great places - places you were meant to be. One Tree Hill dvd And sometimes simply finding the right person to ride shotgun on your journey is the most important piece to the puzzle. In season seven, our characters struggle to keep their dreams alive, their friendships intact, and their lives full, in the place they call home.
Having finally professed her love for Julian (Austin Nichols), Brooke (Sophia Bush) tries to reconcile her desire for a stable home life with the uncertainty of dating a film producer. Meanwhile, as his NBA career flourishes, Nathan (James Lafferty) navigates One Tree Hill dvd the pitfalls of being in the spotlight, with the help of his charismatic sports agent and friend, Clay (Robert Buckley). Equally busy recording for Red Bedroom Records, Haley's (Bethany Joy Galeotti) attempt to juggle motherhood, a career, and a famous husband are complicated when her free-spirited sister Quinn (Shantel VanSanten) returns with a surprising revelation. One Tree Hill dvd Jamie (Jackson Brundage) remains the brightest spot in Nathan and Haley's lives as they refuse to let him get lost in the shadows of their successful careers. Millie's (Lisa Goldstein) relationship with One Tree Hill dvd Mouth (Lee Norris) is challenged when she forms a friendship with the new face of Clothes Over Bros, starlet and train-wreck, Alex (Jana Kramer). Skills (Antwon Tanner) must choose between a settled life with Lauren One Tree Hill dvd (Allison Munn) and his desire for a new and exciting career. Finally, with the knowledge that his weakening heart could fail at any moment, Dan Scott (Paul Johansson) struggles to find forgiveness in what little time he has left on the earth.
"One Tree Hill dvd " was created by Mark Schwahn and is executive produced by Schwahn, Joe Davola, Greg Prange, Mike Tollin and Brian Robbins. "One Tree Hill dvd " is a Mastermind Laboratories and Tollin/Robbins Production in association with Warner Bros. Television.
Ahhh finally a new picture. I've been so busy with these last few weeks of school.
Research paper after research paper, exam after exam...when will it end!
But damn, I can't believe I'm pretty much already done with my freshman year of college. How crazy is that? It seems like I just graduated from high school. Weird.
But yes, I know this photo's nothing special, but I haven't had the time for anything more. More creative stuff (I have ideas!) during the summer when I have time to breathe.
Hope all is well! :)
Random Question:
What is your favorite color?
You will find 200+ of my poems HERE. fno.org/poetry/index.html
Now and then
We wait now
for the first touch
the first kiss
the warm embrace
the tenderness
and all that we have missed
but hungered for
long years now
We look far ahead
dusting off dreams
once forsaken
even forgotten
We begin to hope once again
Pushing aside any fears
Finding courage somewhere
we decide we can
and we will
make this happen
make this real
You take my hand
Now
And I take yours
In mine
And then we dance
Gliding across the floor
Like swans
Smoothly
Together
Now
And then
And forever
© Jamie McKenzie, all rights reserved
You will find more of my poems and songs here
and in The Storm in Its Passing and Flights of Fancy.
My songs are at
For the rest of this story it's posted here: yayasims.blogspot.com/2009/04/i-need-you-i-miss-you.html#...
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To entertain herself while her mother was out training her best friend Zoey to be a Prima ballerina under close and secret watch from the Russian balle troupe, Adele would talk to her nanny about the stories around the small village in Denmark.
"Every seven months a shinigami will appear to cure a girl's broken heart or a man's sweet revenge by killing anything without a second thought. People were outraged by this, so for years, the Asher family began to rise powerfully in the village and would send out one of their sons to defend the citizens against the shinigami. The Asher's were the last of a long line of elves that left this world for another. So, if you every see one Adele, don't ever let him go.." the old woman smiled.
* * * * *
So days later, Adele would always try and look for the Asher family. There wasn't any luck, the library was closed off to them, and the people of the village would ignore her every time! Till one afternoon her mother told her the news that Zoey had become a Prima Ballerina, "She was so wonderful, Adele, I'm so proud of her, why can't you be anything like Zoey Adele? She's so sweet and kind and talented, yet you're tall, lanky, and have the worst posture, I don't know why you haven't tried to be a Prima. I wish I had given birth to Zoey rather than you..." her mother stated.
That was the clincher, Adele ran up to her room in tears, angry and hateful for what her mother just said, that she looked out her window and began to feel that hatred call out for a shinigami to kill her mother. She no longer cared for her mother's life anymore. "I just wants that horrible woman gone..." she breathed into the empty air. But suddenly before the thoughts dug deeper, a glowing haze of white hair and silver eyes stood before her. "Are you a shinigami?" she whimpered. He lifted his hand in the air and breathed a spell around her. She instantly felt deep into a haze. Her mind was loosing the thoughts of hate and broken dreams, that when he stepped closer...her heart skipped a beat. He wrapped his arms around her and began chanting into her body, "I repel thee". Soon enough a dark smoke lifted from her heart and disappeared into the night. She was now empty..."Don't leave me..." she whispered when he began to let go. "I need to---" he was cut off by a strange feeling overwhelming his every thought.
* * *
She....she was his soul mate....he had finally found her soul....
"Who are you?" he asked. She felt the trance he created begin to intensify, "I'm....I'm Adelevice......Adelevice Lestat...."
-----------------------
Models: Adele Lestat and Rayden Asher
-------------------------------------------------------------------
Note: I'm half awake, if this doesn't make sense I'll spell check it in the morning. Z__Z
Check out the new dress on my eBay shop :) www.ebay.com/sch/eifeldolldress/m.html?item=261672350654&...
June 8, 2019 - West Central, South Central Nebraska
Prints Available...Click Here
All Images are also available for...
stock photography & non exclusive licensing...
Watch the Storm Chasing Video from that day's Chase on Flickr Click Here
No tornadoes on this day's chase, but some incredible supercell structure out on the plains of Nebraska.
We started the day with a supercell that had several meso structures being reported from radar. This storm was tracking slowly about 12 knots cresting from the northwest to southeast. Classic June storm structure for this time of year in Nebraska. Northwest of North Platte Nebraska it had reported wall cloud and we definitely wanted a piece of this action.
We arrived as it was gaining strength as it has pushed through Maxwell Nebraska. We stopped in Brady, just to the southeast via I-80 corridor to get the bugs off of the windshield and as the storm was gaining strength. We had stopped just a few miles to the south of Brady we set up shop to catch this storm. Nice clear beautiful structure accompanied the underbelly of this supercell. Though we had a clear cut defined wall cloud this storm never did show us her tornadic teeth.
After about an hour on this storm in the same position (rare for us to do this) we eventually had to back off and get back to the east. We had to get south of Gothenburg just a few miles off the I-80 exit area for the next structured shot of this supercell. Oh we got just what we were looking for! Phenomenal base rotation!
Eventually we had backed off again as the hail core was approaching. Plus this cell was loosing its steam. We moved back to the I-80 corridor then south of Cozad Nebraska and this cell was in redevelopment mode and we had some waiting to do. Though not a long wait as this original cell fizzled out but we had one more chance for good structure south of Overten Nebraska. We headed to Loomis Nebraska for another treat to end the day. Oh did I say treat? We got a whole bunch more eye candy than expected.
Just to the east of Loomis Nebraska we encountered some incredible supercell structure. This storm wasn't going to be shy, and she eventually showed us some teeth.
Personal Note: For some odd reason I didn't clear my memory card on my last chase, and I ran out of room on my SD Card. I had to stop shooting after the wall cloud was right over my location my Loomis Nebraska. I didn't have time to pull out my spare card and load it due to the strength and this fast moving cell. This storm cell became outflow dominate and man do I mean dominate. We got caught in the outflow boundary several times with tons of gustnadoes and almost haboobish. I did have my trusty camera with me... I was in the drivers seat so when we had a chance, I did capture some incredible pics that blew me away literally. Either I'll make another short video to proceed this one or you'll have to wait till I get them posted on my Flickr site flickr.com/nebraskasc.
All in all. I'm not always about catching the tornado. I had some good friends and fellow storm chasers along side that day. In my opinion... just another EPIC chase day in Nebraska!!! Woot Woot. More to come!
*** Please NOTE and RESPECT the Copyright ***
Copyright 2019
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
[Una versión más legible se encontrará en la entrada del blog, cuyo enlace se señala a continuación.]
enriqueviolanevado.blogspot.com.es/2014/11/comentarios-de...
En los juegos de exámenes de la Selectividad de Historia del Arte de Andalucía han aparecido las siguientes obras:
-El Gran Techo de la Cueva de Altamira.
-El Bisonte de la Cueva de Altamira.
-Cacería de ciervos en el Barranco de La Valltorta.
Incluimos además el Conjunto Megalítico de Stonehenge, por considerar que cuenta con posibilidades de ser escogida en futuras pruebas de las pruebas de acceso a las universidades andaluzas.
Las imágenes que ilustran los comentarios son las mismas (o muy parecidas) a las aparecidas en las pruebas. En el caso de Stonehenge hemos escogido la vista más habitual, en concreto una fotografía similar a la que aparece en el manual de Jesús Palomero Páramo (libro que ha suministrado imágenes para los exámenes de la selectividad andaluza en numerosas ocasiones).
El modelo de comentario que se sigue en cada obra intenta ajustarse a los criterios de corrección que se exigen en la selectividad de Andalucía. Concretamente se especifica que serán determinantes a la hora de calificar el empleo del vocabulario adecuado y específico, la localización (estilo, período histórico-artístico, escuela, autoría y cronología) y la contextualización (relación de la obra artística con su contexto histórico, social, político y religioso). Por lo demás, en el examen los epígrafes señalan que el alumno «clasifique y comente la imagen»
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COMENTARIO DE UNA OBRA DE ARTE: EL GRAN TECHO DE LA CUEVA DE ALTAMIRA.
1) IDENTIFICACIÓN
- Título de la obra: El Gran Techo de la Cueva de la Pintura.
- Autor: desconocido.
- Cronología: c. 15.000 – 12.000 a. C.
- Período histórico: Paleolítico Superior.
- Estilo: Pintura rupestre prehistórica.
- Escuela: Franco-cantábrica.
- Localización: Cueva de Altamira, Santillana del Mar, Cantabria, España.
2) ANÁLISIS
La imagen nos muestra una pintura rupestre. El soporte es la propia roca de la cueva. Los colores son pigmentos minerales aplicados con los dedos y con rudimentarios pinceles.
Se trata de una representación en la que predomina la línea sobre el color, con una paleta reducida al rojo, el ocre y el negro. Se aplica con distinta intensidad en el cuerpo del animal, indicando así de forma sumaria el volumen. Las protuberancias de la pared ayudan a dar esa impresión de corporeidad. No existe indicación de perspectiva o de paisaje y las figuras parecen flotar libremente en el espacio, Tal vez el solapamiento de distinta figuras puede ser interpretado como un deseo de mostrar la distancia, pero esta tesis no puede asegurarse.
Este conjunto pictórico es conocido como «el Gran Techo de la Cueva de Altamira» o bien «El Techo de los Polícromos» y se encuentra en la Gran Sala de la Cueva de Altamira. Esta cueva tiene una longitud de 270 metros desde la entrada hasta su extremo final. Se distinguen tres zonas:
a)La sala inmediata a la entrada. Se cree que sirvió de vivienda para el hombre prehistórico.
b)La sala de las pinturas polícromas, que las comunidades del Paleolítico convirtieron en santuario.
c)El resto de las salas y corredores de la cueva.
Hay que recordar que existen grabados y pinturas en todos los sectores señalados pero el mejor exponente es la bóveda natural de esa extraordinaria sala de 18 metros de largo por 9 metros de ancho. En la bóveda se llegan a contar 16 bisontes en muy diversas posturas (de pie, agachados, sin cabeza; saltando, en movimiento o quietos, con la cabeza vuelta, etc.) Otros animales (caballos, jabalíes) acompañan a los bisontes, siendo digna de destacar por su tamaño una soberbia cierva de 2,25 metros.
Para poder realizar los trabajos de la Gran Sala, y por supuesto los del interior, la luz natural era insuficiente por lo que el autor o autores tuvieron que utilizar luz artificial, probablemente lámparas alimentadas por tuétano.
La existencia de figuras que se superponen hizo pensar que la decoración de la cueva se realizó en varias etapas y por artistas de distintas tribus. Por tanto, los autores de estas imágenes rectificaban u ocultaban las realizaciones de los anteriores ocupantes. No obstante, se ha comprobado que el solapamiento es una forma de composición de la pintura prehistórica, pues se ha demostrado que las figuras encubiertas y las encubridoras son obra de los mismos pintores.
Según la comparación con otras pinturas, y mediante la ayuda del carbono 14, las pinturas de Altamira pertenecen al período Magdaleniense III y su datación puede fijarse entre los 15.000 y 12.000 a.C.
Cómo en el resto del arte paleolítico, el significado de estas creaciones artísticas sigue sin aclarar, bien que se han propuestos diversas teorías. Las más conocidas son las siguientes:
La teoría de la magia simpática y la fecundidad supone la existencia de motivaciones de tipo mágico encaminadas a propiciar la caza y a asegurar la fertilidad de la especie representada, en paralelo con las creencias de los pueblos actuales considerados como «primitivos».
Otra hipótesis, la estructuralista, señala que arte paleolítico tiene una organización interna pensada en función de un simbolismo metafísico y por ello las cuevas son santuarios que recogen un sistema religioso, basado en un complejo dispositivo iconográfico, en el que la simbología de elementos sexuales opuestos organizaba el mundo ideológico y las creencias del hombre prehistórico.
Una tercera teoría, la de la neuropsicología y el chamanismo, sugiere que las pinturas y grabados representan aquellas visiones que se alcanzan en estados de vigilia o sueños reales. Según esta teoría esos estados alterados se pueden alcanzar con drogas y técnicas usadas por los chamanes (el llamado «éxtasis chamánico»). Esta tesis recurre de nuevo al paralelismo etnográfico.
Respecto a la historia del yacimiento, la conservación de las pinturas y grabados se debe a un derrumbamiento que selló la entrada hace uno 13.000 años. Permanecieron ocultas, hasta su descubrimiento casual en 1868, bien que hubo que esperar a 1879 para que el erudito santanderino Marcelino de Sanz y Sautuola las explorara en profundidad y descubriera sus pinturas. En 1880 Sautuola publicó un folleto titulado: Breves apuntes sobre algunos objetos prehistóricos de la provincia de Santander, en el que sostenía el carácter prehistórico de dichas pinturas.
La comunidad científica acogió el descubrimiento con desconfianza. Esa desconfianza se convertirá en escepticismo. Después, en hostilidad. Ante este muro de rechazo de poco le sirvieron a Sautuola los escasos apoyos que recibió. Su defensor principal fue Juan Vilanova y Piera, uno de los primeros prehistoriadores de nuestro país.
El escepticismo se volvió reconocimiento y defensa cuando empezaron a aparecer, entre 1883 y 1901, otras pinturas rupestres en La Mouthe, Les Combarelles o Font de Gaume. Con todo, la desconfianza no se tornó en aceptación total por la comunidad científica cuando, ante el peso de las evidencias, Émile Cartailhac en 1902 publicó el famoso artículo Mea culpa d’un sceptique y visitaba ese mismo año la cueva.
En 1917 se abrió la cueva al público en general. A partir de ese momento se irían incrementando las visitas, pero durante los años de las décadas de 1960 y 1970, las numerosas personas que accedieron a la cueva hicieron peligrar su microclima y la conservación de las pinturas. Entre 1977 y 1982 y entre 2002 y 2014 la cueva ha permanecido cerrada al público, y en la actualidad el acceso resulta muy restringido.
3) CONTEXTUALIZACIÓN
En Europa se encuentran dos manifestaciones o escuelas de pintura rupestre prehistórica: la franco-cantábrica y la levantina. Se trata de estilos muy distintos entre sí, desarrollados en épocas y territorios distintos y sin ninguna conexión entre ambos.
Los principales testimonios de la pintura de las cuevas franco-cantábricas se encuentran en la cornisa cantábrica y en el suroeste de Francia. Estas pinturas se realizaron en las cuevas, casi siempre en el interior y en muchas ocasiones en lugares de difícil acceso.
Estas pinturas se datan en la última fase del Paleolítico, (35.000 a.C. y el 8.500 a. C.), denominada Paleolítico Superior. En esta etapa, el Homo sapiens, se impuso sobre el hombre de Neanderthal y el resto de especies de homínidos que aún perduraban.
La humanidad prehistórica vivía de una economía depredadora sustentada en la caza, la pesca y la recolección. Se organizaba en tribus y carecía de toda diferenciación social. Estos grupos llevan una existencia errante siguiendo las migraciones de los animales, maduración de los frutos y otros ciclos de ritmo estacional. Los enterramientos revelan la creencia en un mundo de ultratumba.
Posiblemente mantuvieran una concepción animista del mundo (creencia en que todos los seres y objetos de la naturaleza poseen alma) como ocurre en los pueblos primitivos actuales.
El artista debió ser un cazador más, con buenas dotes de observación y especialmente dotado para la pintura, o tal vez el arte entraba dentro de las atribuciones de chamán, el hechicero de la tribu. En cualquier caso estas manifestaciones debieron ser muy importantes para estas sociedades, pues se realizaron en condiciones muy difíciles y empleando recursos de los que no se encontraban muy sobrados.
______________________________________________
COMENTARIO DE UNA OBRA DE ARTE: BISONTE DE LA CUEVA DE ALTAMIRA
1) IDENTIFICACIÓN
- Título de la obra: Bisonte de la cueva de Altamira.
- Autor: desconocido.
- Cronología: c. 15.000 – 12.000 a. C.
- Período histórico: Paleolítico Superior.
- Estilo: Pintura rupestre prehistórica.
- Escuela: Franco-cantábrica.
- Localización: Cueva de Altamira, Santillana del Mar, Cantabria, España.
2) ANÁLISIS
La imagen nos muestra una pintura rupestre. El soporte es la propia roca de la cueva. Los colores son pigmentos minerales aplicados con los dedos y con rudimentarios pinceles.
Se trata de una representación en la que predomina la línea sobre el color, con una paleta reducida al rojo, el ocre y el negro. Se aplica con distinta intensidad en el cuerpo del animal, indicando así de forma sumaria el volumen. Las protuberancias de la pared ayudan a dar esa impresión de corporeidad. La figura se presenta de perfil absoluto y totalmente inmóvil.
No existe indicación de perspectiva o de paisaje. El bisonte parece flotar libremente en el espacio.
Se trata del llamado bisonte de pie, el Bisonte de Altamira por antonomasia, del conjunto de dieciséis figuras de este animal que se encuentran pintadas en el techo de la Gran Sala de esta cueva.
En la imagen que comentamos se puede constatar el avanzado momento de realización de las figuras de Altamira. En efecto, en las etapas más primitivas el animal es pintado con un contorno cerrado y con una sola pata por par, mientras que en la etapa en la que fue realizada la figura (el Magdaleniense) ya aparecen dibujadas las cuatro patas.
La interpretación de estas pinturas resulta todavía incierta. Las interpretaciones más conocidas son las siguientes:
-La de magia simpática: la representación de un animal propiciaba su fecundidad o el éxito en su captura.
-La de la dualidad de sexos: algunos investigadores buscan pautas en la disposición de los animales y creen encontrar un simbolismo binario en el que los équidos y los bóvidos, conformarían, respectivamente, lo masculino y lo femenino.
3) CONTEXTUALIZACIÓN
En Europa se encuentran dos manifestaciones o escuelas de pintura rupestre prehistórica: la franco-cantábrica y la levantina. Se trata de estilos muy distintos entre sí, desarrollados en épocas y territorios distintos y sin ninguna conexión entre ambos.
Los principales testimonios de la pintura de las cuevas franco-cantábricas se encuentran en la cornisa cantábrica y en el suroeste de Francia. Estas pinturas se realizaron en las cuevas, casi siempre en el interior y en muchas ocasiones en lugares de difícil acceso.
Estas pinturas se datan en la última fase del Paleolítico, entre el año 35.000 a.C. y el 8.500 a. C., denominada Paleolítico Superior. En esta etapa, el Homo sapiens, se impuso sobre el hombre de Neanderthal y el resto de especies de homínidos que aún perduraban.
La humanidad prehistórica vivía de una economía depredadora sustentada en la caza, la pesca y la recolección. Se organizaba en tribus y carecía de toda diferenciación social. Estos grupos llevan una existencia errante siguiendo las migraciones de los animales, maduración de los frutos y otros ciclos de ritmo estacional. Los enterramientos revelan la creencia en un mundo de ultratumba. Posiblemente mantuvieran una concepción animista del mundo (creencia en que todos los seres y objetos de la naturaleza poseen alma) como ocurre en los pueblos primitivos actuales.
El artista debió ser un cazador más, con buenas dotes de observación y especialmente dotado para la pintura, o tal vez el arte entraba dentro de las atribuciones de chamán, el hechicero de la tribu. En cualquier caso estas manifestaciones debieron ser muy importantes para estas sociedades, pues se realizaron en condiciones muy difíciles y empleando recursos de los que no se encontraban muy sobrados.
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COMENTARIO DE UNA OBRA DE ARTE:
CACERÍA DE CIERVOS EN EL BARRANCO DE LA VALLTORTA
1) IDENTIFICACIÓN
- Título de la obra: Cacería de ciervos en el Barranco de La Valltorta.
- Autor: Desconocido.
- Cronología: 9.000 – 6.000 a.C.
- Período histórico: Mesolítico.
- Estilo: Pintura rupestre prehistórica.
- Escuela: Pintura Levantina.
- Localización: Cueva de los Caballos, Barranco de la Valltorta, Tirig, Castellón (España).
2) ANÁLISIS
La imagen nos muestra una pintura rupestre. El soporte es la propia roca de la cueva. Los colores son pigmentos minerales aplicados con plumas o rudimentarios pinceles. Se trata de una representación en la que no se puede afirmar el predominio de la línea o del color, puesto que las figuras son monocromas. La tonalidad escogida es un rojo conocido como bermellón o almagre. Al aplicarse los colores de forma plana, no se indica el volumen y faltan también indicaciones de perspectiva o paisaje, bien que existe un sentido de la composición, con cierto carácter narrativo. Igualmente el artista se preocupó por mostrar el movimiento de las figuras.
Los cazadores aparecen ejecutados de una forma esquemática y desproporcionada, pero dotados de cierta expresividad, y sobre todo, de sentido del movimiento, como queda dicho. En comparación, los animales aparecen en posiciones más estáticas, bien que dotadas de un mayor naturalismo que las figuras humanas.
Respecto a la interpretación de estas pinturas se cree que tendrían un sentido mágico o religioso, y en cierta manera, conmemorativo. Las escenas serían una especie de exvotos, esto es una ofrenda o recordatorio de un favor de los dioses o de un hecho relevante para la tribu.
3) CONTEXTUALIZACIÓN
En Europa se encuentran dos manifestaciones o escuelas de pintura rupestre prehistórica: la franco-cantábrica y la levantina. Se trata de estilos muy distintos entre sí, desarrollados en épocas y territorios distintos y sin ninguna conexión entre ambos.
La denominación de arte levantino hace referencia al territorio por el que se extiende, ya que la mayoría de los yacimientos se concentran en el este de la Península Ibérica. Se desarrolló en el período denominado Mesolítico, que marca la transición entre el Paleolítico y el Neolítico. Su cronología se establece entre el 9.000 y el 6.000 a C, aunque la datación de estas pinturas es un asunto muy controvertido. De hecho, algunos investigadores creen que este arte se produjo ya en el Neolítico, o al que menos se prolongó hasta esta etapa.
Las pinturas levantinas se realizan en abrigos, oquedades naturales de escasa profundidad, emplazadas en barrancos y áreas rocosas.
En el Mesolítico, los grupos humanos comienzan un proceso de sedentarización estacional basado en la recolección de frutos, vegetales y moluscos marinos, la caza se reduce a las aves y pequeños mamíferos (caza menor).
Lo poco que se sabe sobre su organización social lo conocemos gracias a las pinturas. En ella se representa una sociedad con cierto nivel de organización, en la que se distinguen guerreros, jefes, sacerdotes y sacerdotisas. Aunque los varones ocupan el papel principal, se comprueba que las mujeres desempeñan un puesto relevante en la estructura de estas comunidades.
Se considera que la religión de estas comunidades se centraba en la adoración de las fuerzas de la naturaleza, sobre todos las que garantizan la fecundidad. Estas creencias justificarían la importancia dada a la ejecución de rituales, como la danza, o la propia realización de estas pinturas.
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COMENTARIO DE UNA OBRA DE ARTE: CONJUNTO MEGALÍTICO DE STONEHENGE.
1) IDENTIFICACIÓN
- Título de la obra: Conjunto Megalítico de Stonehenge.
- Autores: desconocidos.
- Cronología: c. 3.000 – 1.600 a. C.
- Período histórico: Entre el Neolítico y la Edad del Bronce.
- Estilo: Arquitectura Megalítica..
- Escuela: Franco-cantábrica.
- Localización: Llanura de Salisbury, cerca de Amesbury, condado de Wiltshire, Inglaterra.
2) ANÁLISIS
Stonehenge es el monumento más representativo de la arquitectura megalítica. Como en el resto del arte prehistórico, no existió una voluntad de dejar constancia de sus autores o responsables de la construcción.
Stonehenge está compuesto por varios recintos de forma circular formados por enormes monolitos sin desbastar. Existe un círculo de menhires (pieza pétrea hincada verticalmente en el suelo) y otros dos de trilitos (estructura una piedra en horizontal a manera de dintel y dos en vertical, conocidos como ortostatos, como postes. En uno de estos anillos, el interior, los trilitos se dispusieron aislados, mientras que en el exterior se alzaron de forma continua, de tal forma que cada ortostato soportara dos dinteles. No se empleó argamasa, ni ningún otro material de agarre. Para ensamblar las piedras se recurrió a técnicas propias de la ebanistería. Así en la cara superior de los ortostastos se dispuso un saliente que encaja con un agujero del dintel, de forma idéntica a las junturas de mortaja y espiga.
Entre las cuestiones que Stonehenge plantea, la primera es su clasificación. Para algunos arqueólogos es un crómlech, esto es un monumento formado por piedras clavadas en el suelo y que adoptan una forma circular o elíptica, cercando un terreno, pudiendo formar uno o varios recintos. Pero el resto de crómlechs conservados están compuestos por menhires. Otros especialistas prefieren clasificarlo como henge, término que designa un recinto circular u ovalada realizada mediante zanjas y terraplenes. De nuevo, esta terminología no acaba de ajustarse a Stonehenge, pues, efectivamente, el monumento presenta fosos y bancales, pero a diferencia del resto de henges, existe una estructura arquitectónica en su interior.
Se puede considerar, por tanto, que Stonehenge es un monumento único que combina varias de las tipologías de la arquitectura megalítica. Igualmente, hay que reservarle un puesto aparte dentro del acervo de las obras de la arquitectura prehistórico por el colosalismo de su escala y por la complejidad de su estructura.
En la construcción de Stonehenge se emplearon dos tipos de piedra distintos: bloques de arenisca, denominados «sarsen» y monolitos de diabasa, conocidas como «bluestones» («piedras azules»), procedentes de canteras distintas. Estos afloramientos rocosos se encuentran a considerable distancia de Stonehenge.
Las herramientas que debieron emplear en la cantera debieron ser, con toda probabilidad de piedra, pues la metalurgia del cobre y del bronce se hallaba en sus comienzos y se destinaba, además para las armas y objetos de gran valor. Se supone que la mayor parte de la labra de los bloques se realizó en la cantera, realizándose algunos retoques en el momento de colocar las piedras.
El transporte es la fase que plantea más problemas para los historiadores. Desechada la navegación fluvial, se supone que recurrieron a mover las rocas con cuerdas, rodillos, toscos raíles y rampas de tierra cuando había que salvar desniveles. Como fuerza de tracción se debieron utilizar bueyes.
Otro de los aspectos más debatido de Stonehenge es su finalidad. Actualmente existe cierto consenso en considerarlo como un santuario que combinaría un culto a los antepasados (se han hallado enterramientos de 240 personas distintas) con la veneración de alguna deidad o deidades de carácter estacional o solar. El culto a esta divinidad (o divinidades) explicaría el empleo del monumento como calendario para calcular equinoccios, solsticios y eclipses. La existencia de una avenida, las alineaciones astronómicas y la magnitud del monumento señalan, a no dudar, que la obra que analizamos se convertiría en centro de peregrinación multitudinaria en algún momento o época del año.
De todas formas, debe tenerse en cuenta que en el milenio y medio en el que se extendió su construcción, debieron producirse cambios en el planteamiento de la edificación y transformaciones en la naturaleza del culto que se tributaba. Parece lógico que distintos pueblos o confederaciones de tribus se sucedieran, de forma pacífica o mediante la guerra, en la dirección de las obras. Como, además, parte de los bloques han desaparecido al ser reaprovechados en épocas posteriores, queda por aclarar si el monumento pudo completarse o quedó inconcluso.
3) CONTEXTUALIZACIÓN
En la Europa Occidental y a mediados del quinto milenio antes de Cristo, se inicia la arquitectura llamada megalítica (término que procede de las palabras griegas mega (μεγας), grande y lithos (λιθος). Su aparición coincide con el ocaso del Neolítico y la difusión de la metalurgia.
La magnitud de estas obras implica una religión desarrollada y una estructura social compleja, ya que exige trabajo coordinado y una autoridad que regule la vida colectiva. Se supone que las sociedades que lo construyen fueron más o menos igualitarias; esto es, que aunque contasen con jefes y sacerdotes, no presentaban la férrea estratificación social de la mayor parte de las civilizaciones de la Antigüedad. Se impuso una actividad económica que contaba ya con la especialización del trabajo; la producción, acumulación y comercio de excedentes y el establecimiento de rutas de intercambio de bienes, algunas de ellas de larga distancia.
A las civilizaciones de esta etapa que presentan rasgos propios de la historia (dinastías, guerras...) pero que aún no cuentan con la escritura y la vida urbana son consideradas como protohistóricas, esto es, emplazadas en una fase de transición entre la prehistoria y el tiempo considerado como histórico.
Aunque podemos encontrar construcciones realizadas con grandes bloques de piedra por todo el mundo, en sentido estricto se considera megalitismo al fenómeno cultural focalizado en la Europa atlántica, iniciado en los finales del Neolítico, como queda dicho, y que perdura hasta la llegada de la Edad del Hierro (en torno al 1200 – 1000 a.C.).
El Megalitismo guarda vínculos con la arquitectura ciclópea de las Baleares, Córcega, Cerdeña, Malta y el Egeo, pero estas construcciones mediterráneas deben ser estudiadas en una dinámica cultural diferente.
Su dispersión geográfica y su amplísimo desarrollo temporal señalan que estas obras fueron erigidas por pueblos diversos que mantendrían contactos comerciales entre sí, sin que se pueda hablar de una raza, civilización o espiritualidad que unifique este fenómeno. Hoy en día se interpreta el megalitismo como un fenómeno plural, poligenista, que surgió en diferentes sitios a la vez (o en distintas épocas) sin que necesariamente tuviera que existir entre ellos una relación directa.
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La pintura que hemos escogido como emblema es Stonehenge de John Constable. Se trata de una acuarela pintada en 1835. A no dudar se trata de una vista tomada del natural. Las medidas de esta pintura son 38,7cm x 59,7 cm.
Esta acuarela fue expuesta en la Exposición de Verano de la Royal Academy of Arts de 1836. En 1888 ingresó en las colecciones de The Victoria and Albert Museum, National Museum of Art and Design (Londres, Gran Londres, Inglaterra, Reino Unido), cuando esta institución se denominaba South Kensington Museum. Entró como donación, con otras muchas obras del pintor, como donación de la hija del pintor, Isabel Constable, bien que ésta hizo constar que era un regalo suyo y de sus hermanos Maria Louisa Constable y Lionel Bicknell Constable.
La imagen procede de la Wikipedia:
commons.wikimedia.org/wiki/File:John_Constable_Stonehenge...
Los datos y la historia de la pintura proceden del catálogo virtual del museo:
collections.vam.ac.uk/item/O74470/stonehenge-watercolour-...
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La imagen del Gran Techo de la Cueva de Altamira procede de la página siguiente:
www.cantabriajoven.com/cuevas/altamira.html
La imagen del Bisonte de Altamira procede de la Wikipedia:
es.wikipedia.org/wiki/Cueva_de_Altamira#mediaviewer/File:...
La imagen de la cacería de ciervos de la Cueva de los Caballos del Barranco de la Valltorta es un escaneo del manual de Historia del Arte de Jesús Palomero Páramo.
La fotografía de Stonehenge presenta la siguiente procedencia:
www.nbcnews.com/science/science-news/source-stonehenge-bl...
www.kingdomsalvation.org/es/god-himself-the-unique-iii.html
Dios Todopoderoso dice: “Por tanto, el curso del desarrollo de una persona queda determinado por el entorno en el que crece, y también depende de las personas, los acontecimientos y las cosas con las que entra en contacto durante ese período de tiempo. Ya que las condiciones bajo las que una persona crece son predestinadas con mucha antelación, el entorno en el que uno vive durante este proceso también está, por supuesto, predeterminado. No se decide por las elecciones y preferencias personales, sino de acuerdo con los planes del Creador, está determinado por Sus disposiciones cuidadosas, por Su soberanía sobre el destino de la persona en la vida. Así pues, las personas que cualquier individuo encuentra en el curso de su crecimiento, y las cosas con las que entra en contacto, están todas inevitablemente conectadas con la orquestación y el arreglo del Creador. Las personas no pueden prever estos tipos de interrelaciones complejas ni controlarlas, ni entenderlas. Muchas cosas y personas diferentes tienen influencia sobre el entorno en el que una persona crece, y ningún ser humano es capaz de organizar y orquestar una red tan inmensa de conexiones. Ninguna persona o cosa, excepto el Creador, puede controlar la aparición, la presencia y la desaparición de todas las diversas personas, acontecimientos y cosas, y es precisamente esa inmensa red de conexiones la que da forma al desarrollo de una persona tal como el Creador lo haya predestinado y la que forma los diversos entornos en los que crecen las personas, y crea los diversos roles necesarios para la obra de gestión del Creador, estableciendo unos fundamentos sólidos y fuertes para que las personas cumplan con éxito sus misiones.
De "La Palabra manifestada en carne (Continuación)"
Fuente de la imagen: Iglesia de Dios Todopoderoso
Términos de uso: es.godfootsteps.org/disclaimer.html"
The Rathskeller in the Seelbach Hotel, Louisville, Kentucky
The 1907 addition to The Seelbach in Louisville, Kentucky, included a German rathskeller made of Rookwood Pottery created in nearby Cincinnati, Ohio, by workers hired from the Art Academy. Rookwood Pottery was founded by Maria Longworth Nichols (later Mrs. Bellamy Storer Jr.) in 1880.
According to "The Seelbach Hotel, A History of Louisville Tradition" by J. Theriot in August, 1988, "In making this expensive type of pottery, decorations were drawn by hand on the clay before firing, making the design part of the ware. After baking, various glazes were added in subsequent firings. The floors, columns and walls of the eighty-foot square room were made of the pottery. The ceiling is fine-tooled leather."
To complement the room, The Seelbach Realty Company's president, Charles C. Vogt, presented the hotel with a $10,000 gift, a Rookwood-faced clock. Such a collection of Rookwood was very rare and, today, The Rathskeller is one of only two surviving ensembles of this art form.
The Rathskeller (ratskellar, a German word meaning restaurant in the town-hall cellar) was built in Bavarian tradition. The Seelbach's Rathskeller menu offers this description: "As a matter of fact the Rathskeller in every essential, artistic detail, is a reproduction of the underground drinking and council hall of one of the famous castles on the Rhine."
The graceful arches supported by noble columns give a cathedral-like effect. The archway pillars are encircled with Rookwood pelican frescoes, a symbol of good luck, and the ceiling above the bar is covered with hand-painted 24K gold leaf leather detailing the signs of the zodiac.
The Rathskeller achieved immediate popularity. The July 1912 edition of Hotel Monthly describes it as having a "seating capacity from 300 to 400." Not only was it a beautiful nightspot, conveniently located for the after-theater crowds, but it was also one of the first air-conditioned rooms ever built. The Seelbachs vowed to keep the room at least 10 degrees cooler than the outside summer temperatures. To do so required 40 tons of steam-produced refrigeration every 24 hours.
When the hotel was sold to Abraham Liebling, one of the first improvements was for the managers to lease a corner of the first floor to Walgreen Drugs. The Seelbach welcomed this renovation. Since prohibition and the nationwide ban on alcohol sales, the first floor bar had closed and The Rathskeller was little more than an extension of a restaurant. With the drug store on the main floor, the restaurant simply found a home downstairs in the basement. Several years later after prohibition ended, management moved the restaurant back up to the renovated first floor and closed The Rathskeller for extensive changes. In April 1934, it re-opened with a 56-foot bar staffed by six bartenders. With these renovations, the basement bar moved into a new era. Instead of simply providing a stopping place for late-night theater patrons, The Rathskeller would now offer its own musical and dramatic entertainment featuring local bands and occasional first-run theater.
When Walgreen's lease expired in 1941, management opted to open a new nightclub, tentatively called The Seelbach Café-Bar. The club took away from The Rathskeller and in 1945, when the Legionaries offered to rent the basement, including The Rathskeller, for a members-only club, the managers agreed. Today, The Seelbach's most treasured heirloom, The Rathskeller, with its dramatic design, lighting, and hand-carved architectural details, is again operated by The Seelbach and is available for private events.
The RathskellerThe Rathskeller is the only surviving room in the world completely encrusted in Rookwood pottery. Rookwood pelicans pervade the area, and although the Hotel’s tourist information likes to cheerfully note that the pelicans are there “for good luck,” it’s also true that the pelican is regarded in some occult mythologies as a symbol of resurrecting one’s children after having killed them oneself, by anointing them with one’s own blood. The pelican has also long been synonymous with the Phoenix (the mythological bird of occult initiation, wherein one is reborn into a new awareness or gnosis) and with Henet (a pelican goddess from pyramid-era Egypt, who appears on walls of ancient tombs and in royal funerary texts).
The Seelbach Hotel was the dream of two German immigrants, and over the past century it has gained the reputation of one of the finest hotels in the area.
"They opened the doors in 1905, the original cost was approximately $990,000 dollars," says Larry Johnson, who is now the lobby concierge at Louisville's Seelbach Hotel.
"The poker room had the distinction of being where Al Capone came to play poker," Johnson says. "He probably would have stopped here on his way back to Chicago from being in eastern Kentucky, where he picked up his moonshine." It was the era of Prohibition and Al Capone played it safe at the hotel, always facing a mirror in the poker room to keep an eye on his competition ... and on his back. And Johnson says there were "lookouts" throughout the hotel. "Whenever the police came into the lobby, somebody would step on the button and the doors going into the poker room would automatically close and he would know to get out."
And secret passageways -- now sealed up -- allowed just that. "One of the doors went out and down to the street, and the other door went downstairs to the tunnels underneath the hotel. They would go down into the tunnels and he could go anywhere from a block to a mile away form the hotel without being seen."
Louisville police never caught up with Capone, whether he was escaping a card game or from another room he favored: the Rathskeller. Now a backdrop for corporate events and other parties, Johnson says the Rathskeller was a "big night club back in the 20s and 30s, it was a USO in World War I and World War II. During Prohibition, it was a dinner club."
Capone wasn't the only well-known character to frequent the Seelbach. An Army captain stationed at Camp Taylor also gained quite a reputation at the hotel. F. Scott Fitzgerald, he frequented the bar and supposedly he was kicked out on several occasions for being a booze hound and being a little rowdy," Johnson says. Despite his brushes with the law, Fitzgerald loved the opulent hotel. So much so he wrote about it years later in the Great Gatsby.
Lagu Pujian dan Penyembahan 2019 | Semua yang di Bawah Otoritas Sang Pencipta Sepenuhnya Sempurna
I
S'mua yang Tuhan ciptakan,
semua yang dapat dan tak dapat bergerak,
s'perti burung, ikan, bunga, pohon,
ternak, s'rangga, satwa liar,
s'mua dalam keadaan baik,
di mata Tuhan sesuai rencana-Nya,
s'mua di puncak kesempurnaan,
t'lah mencapai standar yang Tuhan inginkan.
II
Selangkah demi selangkah,
Dia lakukan karya-Nya sesuai rencana-Nya.
Satu demi satu,
hal yang ingin Dia ciptakan muncul.
Masing-masing adalah cerminan otoritas Tuhan.
Dan karenanya, semua makhluk hanya dapat
bersyukur atas kasih karunia-Nya,dan atas perbekalan dari Sang Pencipta.
III
S'bab perbuatan luar biasa Tuhan
mulai terwujud,
dunia ini berkembang
dengan semua yang diciptakan Tuhan;
berubah dari kekacauan,
dari kegelapan
jadi jelas dan cemerlang,
dari keheningan total,
jadi vitalitas yang tanpa batas.
IV
Di antara semua ciptaan,
dari terbesar sampai ke yang terkecil,
dari kecil ke mikroskopis,
tiada yang tak diciptakan
oleh otoritas Pencipta, oleh kuasa Pencipta.
Ada kebutuhan dan nilai yang unik dan inheren
pada eksistensi tiap-tiap ciptaan.
Apa pun bentuk dan strukturnya,
m'reka ada di bawah otoritas-Nya.
V
Di bawah otoritas Pencipta,
semua mainkan simfoni bagi kedaulatan-Nya;
memulai prelude 'tuk karya-Nya di hari baru.
Dan pada saat ini,
Sang Pencipta membuka lembaran baru dalam
karya pengelolaan-Nya.
Ya, Sang Pencipta buka lembaran baru.
VI
Ya, menurut hukum
tumbuh di musim semi, matang di musim panas,
panen musim gugur, penyimpanan musim dingin,
yang Pencipta tetapkan,
s'mua menggemakan rencana peng'lolaan-Nya,
sambut hari baru mereka,
awal, perjalanan baru.
M'reka kan berkembang biak tanpa henti,
tuk menyambut tiap hari baru,
di bawah daulat otoritas-Nya.
S'mua sepenuhnya sempurna.
dari "Firman Menampakkan Diri dalam Rupa Manusia"
🎵Rekomendasi：
Lagu Rohani Kristen Terbaru 2019 - berita Tuhan terbaru - mengejutkan Anda dan saya
VENICE BIENNALE / VENEZIA BIENNIAL 2013 : BIENNALIST
www.emergencyrooms.org/biennalist.html
Biennalist is an Art Format by Thierry Geoffroy / Colonel debating with artistic tools on Biennales and other cultural managed events . Often those events promote them selves with thematics and press releases faking their aim . Biennalist take the thematics of the Biennales very seriously , and test their pertinance . Artists have questioned for decade the canvas , the pigment , the museum ... since 1989 we question the Biennales .Often Biennalist converge with Emergency Room providing a burning content that cannot wait ( today before it is too late )
please contact before using the images : Thierry Geoffroy / Colonel 1@colonel.dk
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In 2013 Thierry Geoffroy / Colonel is represented at the Malives pavilion at the Venice Biennale and then went further and received hospitality at the Zimbabwe pavilion with the Emergency Room Mobile
www.emergencyrooms.org/biennalist.html
Meanwhile Thierry Geoffroy is in Copenhagen the work about todays emergencies continue at the gallery Marianne Friis on the
ULTRACONTEMPOARY WARM UP Wall established for this occasion since 6sept 2013
thierrygeoffroy.blogspot.dk/2013/09/colonel-s-warm-up-wal...
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lists of artists participating at the Venice Biennale :
Hilma af Klint, Victor Alimpiev, Ellen Altfest, Paweł Althamer, Levi Fisher Ames, Yuri Ancarani, Carl Andre, Uri Aran, Yüksel Arslan, Ed Atkins, Marino Auriti, Enrico Baj, Mirosław Bałka, Phyllida Barlow, Morton Bartlett, Gianfranco Baruchello, Hans Bellmer, Neïl Beloufa, Graphic Works of Southeast Asia and Melanesia, Hugo A. Bernatzik Collection, Ștefan Bertalan, Rossella Biscotti, Arthur Bispo do Rosário, John Bock, Frédéric Bruly Bouabré, Geta Brătescu, KP Brehmer, James Lee Byars, Roger Caillois, Varda Caivano, Vlassis Caniaris, James Castle, Alice Channer, George Condo, Aleister Crowley & Frieda Harris, Robert Crumb, Roberto Cuoghi, Enrico David, Tacita Dean, John De Andrea, Thierry De Cordier, Jos De Gruyter e Harald Thys, Walter De Maria, Simon Denny, Trisha Donnelly, Jimmie Durham, Harun Farocki, Peter Fischli & David Weiss, Linda Fregni Nagler, Peter Fritz, Aurélien Froment, Phyllis Galembo, Norbert Ghisoland, Yervant Gianikian & Angela Ricci Lucchi, Domenico Gnoli, Robert Gober, Tamar Guimarães and Kasper Akhøj, Guo Fengyi, João Maria Gusmão & Pedro Paiva, Wade Guyton, Haitian Vodou Flags, Duane Hanson, Sharon Hayes, Camille Henrot, Daniel Hesidence, Roger Hiorns, Channa Horwitz, Jessica Jackson Hutchins, René Iché, Hans Josephsoh, Kan Xuan, Bouchra Khalili, Ragnar Kjartansson, Eva Kotátková, Evgenij Kozlov, Emma Kunz, Maria Lassnig, Mark Leckey, Augustin Lesage, Lin Xue, Herbert List, José Antonio Suárez Londoño, Sarah Lucas, Helen Marten, Paul McCarthy, Steve McQueen, Prabhavathi Meppayil, Marisa Merz, Pierre Molinier, Matthew Monahan, Laurent Montaron, Melvin Moti, Matt Mullican, Ron Nagle, Bruce Nauman, Albert Oehlen, Shinro Ohtake, J.D. ‘Okhai Ojeikere, Henrik Olesen, John Outterbridg, Paño Drawings, Marco Paolini, Diego Perrone, Walter Pichler, Otto Piene, Eliot Porter, Imran Qureshi, Carol Rama, Charles Ray, James Richards, Achilles G. Rizzoli, Pamela Rosenkranz, Dieter Roth, Viviane Sassen, Shinichi Sawada, Hans Schärer, Karl Schenker, Michael Schmidt, Jean-Frédéric Schnyder, Friedrich Schröder-Sonnenstern, Tino Sehgal, Richard Serra, Shaker Gift Drawings, Jim Shaw, Cindy Sherman, Laurie Simmons e Allan McCollum, Drossos P. Skyllas, Harry Smith, Xul Solar, Christiana Soulou, Eduard Spelterini, Rudolf Steiner, Hito Steyerl, Papa Ibra Tall, Dorothea Tanning, Anonymous Tantric Paintings, Ryan Trecartin, Rosemarie Trockel, Andra Ursuta, Patrick Van Caeckenbergh, Stan VanDerBeek, Erik van Lieshout, Danh Vo, Eugene Von Bruenchenhein, Günter Weseler, Jack Whitten, Cathy Wilkes, Christopher Williams, Lynette Yiadom-Boakye, Kohei YoshiyUKi, Sergey Zarva, Anna Zemánková, Jakub Julian Ziółkowski ,Artur Żmijewski.
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other pavilions at Venice Biennale
Andorra Artists: Javier Balmaseda, Samantha Bosque, Fiona Morrison
Commissioner: Henry Périer Deputy Commissioners: Francesc Rodríguez, Ermengol Puig, Ruth Casabella
Curators: Josep M. Ubach, Paolo De GrandisAngola Artist: Edson Chagas Commissioner: Ministry of Culture
Curators: Beyond Entropy (Paula Nascimento, Stefano Rabolli Pansera), Jorge Gumbe, Feliciano dos Santos
Argentina Artist: Nicola Costantino Commissioner: Magdalena Faillace Curator: Fernando Farina
Armenia Artist: Ararat SarkissianCurator: Arman Grogoryan /AustraliaArtist: Simryn Gill Commissioner: Simon Mordant Deputy Commissioner: Penelope Seidler Curator: Catherine de Zegher /AustriaArtist: Mathias Poledna ,Curator: Jasper Sharp /AzerbaijanArtists: Rashad Alakbarov, Sanan Aleskerov, Chingiz Babayev, Butunay Hagverdiyev, Fakhriyya Mammadova, Farid Rasulov /Commissioner: Heydar Aliyev FoundationCurator: Hervé Mikaeloff
Bahamas Artist: Tavares Strachan Commissioner: Nalini Bethel, Ministry of Tourism Curators: Jean Crutchfield, Robert HobbsDeputy Curator: Stamatina Gregory/BangladeshChhakka Artists’ Group: Mokhlesur Rahman, Mahbub Zamal, A. K. M. Zahidul Mustafa, Ashok Karmaker, Lala Rukh Selim, Uttam Kumar Karmaker. Dhali Al Mamoon, Yasmin Jahan Nupur, Gavin Rain, Gianfranco Meggiato, Charupit School/Commissioner/Curator: Francesco Elisei. , Curator: Fabio Anselmi./BahrainArtists: Mariam Haji, Waheeda Malullah, Camille Zakharia /Commissioner: Mai bint Mohammed Al Khalifa, Minister of Culture /Curator: Melissa Enders-Bhatiaa/BelgiumArtist: Berlinde De Bruyckere
Commissioner: Joke Schauvliege, Flemish Minister for Environment, Nature and Culture .Curator: J. M. Coetzee ,Deputy Curator: Philippe Van Cauteren /Bosnia and Herzegovina
Artist: Mladen Miljanovic .Commissioners: Sarita Vujković, Irfan Hošić
Brazil Artists: Hélio Fervenza, Odires Mlászho, Lygia Clark, Max Bill, Bruno Munari
Commissioner: Luis Terepins, Fundação Bienal de São Paulo,Curator: Luis Pérez-Oramas ,Deputy Curator: André Severo
CanadaArtist: Shary Boyle /Commissioner: National Gallery of Canada / Musée des beaux-arts du Canada ,Curator: Josée Drouin-Brisebois/Central AsiaArtists: Vyacheslav Akhunov, Sergey Chutkov, Saodat Ismailova, Kamilla Kurmanbekova, Ikuru Kuwajima, Anton Rodin, Aza Shade, Erlan Tuyakov
Commissioner: HIVOS (Humanist Institute for Development Cooperation)
Deputy Commissioner: Dean Vanessa Ohlraun (Oslo National Academy of the Arts/The Academy of Fine Art)
Curators: Ayatgali Tuleubek, Tiago Bom
Scientific Committee: Susanne M. Winterling
ChileArtist: Alfredo JaarCommissioner: CNCA, National Council of Culture and the Arts Curator: Madeleine Grynsztejn
ChinaArtists: He Yunchang, Hu Yaolin, Miao Xiaochun, Shu Yong, Tong Hongsheng, Wang Qingsong, Zhang Xiaotao
Commissioner: China Arts and Entertainment Group (CAEG) ,Curator: Wang Chunchen
Costa Rica Artists: Priscilla Monge, Esteban Piedra, Rafael Ottón Solís, Cinthya Soto
Commissioner: Francesco EliseiCurator: Francisco Córdoba, Museo de Arte y Diseño Contemporáneo (Fiorella Resenterra)
Croatia Artist: Kata Mijatovic ,Commissioner/Curator: Branko Franceschi.
CubaArtists: Liudmila and Nelson, Maria Magdalena Campos & Neil Leonard, Sandra Ramos, Glenda León, Lázaro Saavedra, Tonel, Hermann Nitsch, Gilberto Zorio, Wang Du, H.H.Lim, Pedro Costa, Rui Chafes, Francesca Leone ,Commissioner: Miria ViciniCurators: Jorge Fernández Torres, Giacomo Zaza
CyprusArtists: Lia Haraki, Maria Hassabi, Phanos Kyriacou, Constantinos Taliotis, Natalie Yiaxi, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter Sinister /Louli Michaelidou
Deputy Commissioners: Angela Skordi, Marika Ioannou/Curator: Raimundas Malašauskas
Czech Republic & Slovak RepublicArtists: Petra Feriancova, Zbynek Baladran ,Commissioner: Monika Palcova, Curator: Marek Pokorny /DenmarkArtist: Jesper Just in collaboration with Project ProjectsEgypt
Artists: Mohamed Banawy, Khaled Zaki
EstoniaArtist: Dénes Farkas ,Commissioner: Maria Arusoo ,Curator: Adam Budak
FinlandArtist: Antti Laitinen , Commissioner: Raija Koli , Curators: Marko Karo, Mika Elo, Harri Laakso
FranceArtist: Anri Sala ,Curator: Christine Macel
GeorgiaArtists: Bouillon Group,Thea Djordjadze, Nikoloz Lutidze, Gela Patashuri with Ei Arakawa and Sergei Tcherepnin, Gio Sumbadze/Commissioner: Marine Mizandari, First Deputy Minister of Culture Curator: Joanna Warsza
GermanyArtists: Ai Weiwei, Romuald Karmakar, Santu Mofokeng, Dayanita Singh Commissioner/Curator: Susanne Gaensheimer /Great BritainArtist: Jeremy Deller ,Commissioner: Andrea Rose , Curator: Emma Gifford-Mead
Holy SeeArtists: Lawrence Carroll, Josef Koudelka, Studio Azzurro ,Curator: Antonio Paolucci
Hungary , Artist: Zsolt Asztalos , Curator: Gabriella Uhl
Iceland , Artist: Katrín Sigurðardóttir ,Commissioner: Dorotheé Kirch
Curators: Mary Ceruti , Ilaria Bonacossa/IndonesiaArtists: Albert Yonathan Setyawan, Eko Nugroho, Entang Wiharso, Rahayu Supanggah, Sri Astari, Titarubi
Deputy Commissioner: Achille Bonito Oliva , Assistant Commissioner: Mirah M. Sjarif
Curators: Carla Bianpoen, Rifky Effendy
IraqArtists: Abdul Raheem Yassir, Akeel Khreef, Ali Samiaa, Bassim Al-Shaker, Cheeman Ismaeel, Furat al Jamil, Hareth Alhomaam, Jamal Penjweny, Kadhim Nwir, WAMI (Yaseen Wami, Hashim Taeeh)
Commissioner: Tamara Chalabi (Ruya Foundation for Contemporary Culture)Curator: Jonathan Watkins.
IrelandArtist: Richard MosseCommissioner, Curator: Anna O’Sullivan
Israel , Artist: Gilad Ratman , Commissioners: Arad Turgeman, Michael GovCurator: Sergio Edelstein
ItalyArtists: Francesco Arena, Massimo Bartolini, Gianfranco Baruchello, Elisabetta Benassi, Flavio Favelli, Luigi Ghirri, Piero Golia, Francesca Grilli, Marcello Maloberti, Fabio Mauri, Giulio Paolini, Marco Tirelli, Luca Vitone, Sislej Xhafa ,Commissioner: Maddalena Ragni
Curator: Bartolomeo Pietromarchi /Ivory Coast Artists: Frédéric Bruly Bouabré, Tamsir Dia, Jems Koko Bi, Franck Fanny
Commissioner: Paolo De Grandis , Curator: Yacouba Konaté
Japan ,Artist: Koki Tanaka ,Curator: Mika Kuraya
KenyaArtists: Kivuthi Mbuno, Armando Tanzini, Chrispus Wangombe Wachira, Fan Bo, Luo Ling & Liu Ke, Lu Peng, Li Wei, He Weiming, Chen Wenling, Feng Zhengjie, César MeneghettiCommissioner: Paola Poponi ,Curators: Sandro Orlandi, Paola Poponi /Korea (Republic of)Artist: Kimsooja
KosovoArtist: Petrit Halilaj ,Commissioner: Erzen Shkololli ,Curator: Kathrin Rhomberg
KuwaitArtists: Sami Mohammad, Tarek Al-Ghoussein
Commissioner: Mohammed Al-Asoussi ,Curator: Ala Younis /Latin AmericaIstituto Italo-Latino Americano
Artists:Marcos Agudelo, Miguel Alvear & Patricio Andrade, Susana Arwas, François Bucher, Fredi Casco, Colectivo Quintapata (Pascal Meccariello, Raquel Paiewonsky, Jorge Pineda, Belkis Ramírez), Humberto Díaz, Sonia Falcone, León & Cociña, Lucía Madriz, Jhafis Quintero, Martín Sastre, Guillermo Srodek-Hart, Juliana Stein, Simón Vega, Luca Vitone, David Zink Yi. /Harun Farocki & Antje Ehmann. In collaboration with: Cristián Silva-Avária, Anna Azevedo, Paola Barreto, Fred Benevides, Anna Bentes, Hermano Callou, Renata Catharino, Patrick Sonni Cavalier, Lucas Ferraço Nassif, Luiz Garcia, André Herique, Bruna Mastrogiovanni, Cezar Migliorin, Felipe Ribeiro, Roberto Robalinho, Bruno Vianna, Beny Wagner, Christian Jankowski ,Commissioner: Sylvia Irrazábal ,Curator: Alfons Hug
Deputy Curator: Paz Guevara /Latvia Artists: Kaspars Podnieks, Krišs Salmanis ,Commissioners: Zane Culkstena, Zane Onckule ,Curators: Anne Barlow, Courtenay Finn, Alise Tifentale
LithuaniaArtist: Gintaras Didžiapetris, Elena Narbutaite, Liudvikas Buklys, Kazys Varnelis, Vytaute Žilinskaite, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter SinisterCommissioners: Jonas Žokaitis, Aurime Aleksandraviciute Curator: Raimundas Malašauskas /LuxembourgArtist: Catherine LorentCommissioner: Clément Minighetti Curator: Anna Loporcaro /MexicoArtist: Ariel Guzik ,Commissioner: Gastón Ramírez Feltrín ,Curator: Itala Schmelz
Montenegro ,Artist: Irena Lagator Pejovic .Commissioner/Curator: Nataša Nikcevic
The Netherlands ,Artist: Mark Manders
Commissioner: Mondriaan Fund ,Curator: Lorenzo Benedetti
New Zealand Artist: Bill Culbert ,Commissioner: Jenny Harper ,Deputy Commissioner: Heather Galbraith ,Curator: Justin Paton /Finland: ,Artist: Terike Haapoja ,Commissioner: Raija Koli ,Curators: Marko Karo, Mika Elo, Harri Laakso
Norway:Artists: Edvard Munch, Lene Berg
Curators: Marta Kuzma, Pablo Lafuente, Angela Vettese
Paraguay Artists: Pedro Barrail, Felix Toranzos, Diana Rossi, Daniel Milessi ,Commissioner: Elisa Victoria Aquino Laterza
Deputy Commissioner: Nori Vaccari Starck , Curator: Osvaldo González Real
Poland Artist: Konrad Smolenski Commissioner: Hanna Wróblewska Curators: Agnieszka Pindera, Daniel Muzyczuk
Portugal Artist: Joana Vasconcelos Curator: Miguel Amado
RomaniaArtists: Maria Alexandra Pirici, Manuel Pelmus Commissioner: Monica Morariu Deputy Commissioner: Alexandru Damia Curator: Raluca VoineaArtists: Anca Mihulet, Apparatus 22 (Dragos Olea, Maria Farcas,Erika Olea), Irina Botea, Nicu Ilfoveanu, Karolina Bregula, Adi Matei, Olivia Mihaltianu, Sebastian MoldovanCommissioner: Monica Morariu ,Deputy Commissioner: Alexandru Damian ,Curator: Anca Mihulet
Russia Artist: Vadim Zakharov ,Commissioner: Stella Kasaeva ,Curator: Udo Kittelmann
Serbia Artists: Vladimir Peric, Miloš Tomic .Commissioner: Maja Ciric
SloveniaArtist: Jasmina CibicCommissioner: Blaž Peršin ,Curator: Tevž Logar
South Africa Commissioner: Saul Molobi ,Curator: Brenton Maart
Spain Artist: Lara Almarcegui , Commissioner/Curator: Octavio Zaya
Switzerland Artist: Valentin Carron Commissioners: Pro Helvetia - Sandi Paucic and Marianne Burki
Curator: Giovanni CarmineVenue: Pavilion at Giardini
Syrian Arab RepublicArtists: Giorgio De Chirico, Miro George, Makhowl Moffak, Al Samman Nabil, Echtai Shaffik, Giulio Durini, Dario Arcidiacono, Massimiliano Alioto, Felipe Cardena, Roberto Paolini, Concetto Pozzati, Sergio Lombardo, Camilla Ancilotto, Lucio Micheletti, Lidia Bachis, Cracking Art Group, Hannu Palosuo
Commissioner: Christian Maretti Curator: Duccio Trombadori
Taiwan Artists: Bernd Behr, Chia-Wei Hsu, Kateřina Šedá + BATEŽO MIKILU Curator: Esther Lu
Thailand Artists: Wasinburee Supanichvoraparch, Arin Rungjang
Curators: Penwadee Nophaket Manont, Worathep Akkabootara
Turkey Artist: Ali Kazma Commissioner: Istanbul Foundation for Culture and Arts Curator: Emre Baykal
Ukraine Artists: Ridnyi Mykola, Zinkovskyi Hamlet, Kadyrova Zhanna Commissioner: Victor Sydorenko
Curators: Soloviov Oleksandr, Burlaka Victoria
United Arab Emirates Artist: Mohammed Kazem /Commissioner: Dr. Lamees Hamdan Curator: Reem Fadda
Uruguay Artist: Wifredo Díaz Valdéz
Commissioner: Ricardo Pascale Curators: Carlos Capelán, Verónica Cordeiro
USA Artist: Sarah Sze Commissioners/Curators: Carey Lovelace, Holly Block
Venezuela Colectivo de Artistas Urbanos Venezolanos , Commissioner: Edgar Ernesto González Curator: Juan Calzadilla
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Encyclopedic Palace is curated by Massimiliano Gioni
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Other Biennales (Biennials ) : Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
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Lagu Pujian Penyembahan Kristen - Melewati Angin dan Hujan
1
Oh Tuhan! Aku telah memberikan hatiku kepada-Mu.Tuhan yang nyata, Engkau sangat indah.
Engkau telah merendahkan diri-Mu dalam daging, berjalan di antara kami.
Engkau telah menyatakan kebenaran untuk menyelamatkan umat manusia, dengan sabar memberi makan, merawat, dan menyirami kami.
Engkau menanggung penolakan dan fitnah dalam diam, menjadi teladan bagi manusia di mana-mana.
Dengan kepemimpinan-Mu hatiku dipuaskan, firman-Mu menerangi jalan di depan.
Aku mengikuti jejak langkah-Mu dari dekat, aku melewati angin dan hujan bersama-Mu.
2
Oh Tuhan! Aku telah memberikan hatiku kepada-Mu. Tuhan yang nyata, Engkau sangat indah.
Penghakiman dan hajaran-Mu menyatakan seluruh kasih-Mu.
Kami ditahirkan oleh-Mu, kami diperbarui dan diubahkan, menjadi manusia baru.
Kebenaran dan kekudusan-Mu begitu indah, Engkau memenuhi seluruh hatiku.
Firman-Mu telah melengkapi kami, kami jadi satu hati dengan-Mu, bertumbuh semakin dekat kepada-Mu.
Aku mengikuti jejak langkah-Mu dari dekat, aku melewati angin dan hujan bersama-Mu.
3
Oh Tuhan! Aku telah memberikan hatiku kepada-Mu. Tuhan yang nyata, Engkau sangat indah.
Walau kami sangat menderita melewati kesulitan dan aniaya, kasih dan firman-Mu membimbing kami,
sehingga kami punya iman dan kekuatan dan menjadi saksi bagi-Mu lewat kesulitan.
Kami selalu mengasihi-Mu dan membalas kasih-Mu, kami akan menyebarkan kebenaran dan menjadi saksi bagi-Mu.
Bertahun-tahun kebersamaan dan saling mengasihi, kasih kami telah diperdalam lewat angin kencang dan hujan deras.
Aku mengikuti jejak langkah-Mu dari dekat, aku melewati angin dan hujan bersama-Mu.
🎵 Rekomendasi: Lagu Rohani Penyembahan
Lagu Penyembahan Yang Menyentuh Hati - Saat Teduh - Terima Kasih Tuhan
Blogged: now-when.blogspot.com/2008/04/guilty-pleasures.html
I've posted this photo not just because it's a beautiful cup, but in case anyone is looking to complete a set of these dishes or replace some broken ones.
I have four dinner plates, two bread and butter plates, three soup bowls and two cups and saucers in mint conditon. There is another bread and butter plate with a hideous chip that I'm going to get rid of.
The back story: these were my Great Aunt Mabel's 'good china' dishes. Born in Ottawa in the late 1890s, she lived for a while in Detroit with her husband, who gambled. Aunt Mabel apparently used to burn his winnings in the woodstove. She sent my grandmother, Gertrude, a copy of Lady Chatterley's Lover (which had been banned in Canada) and Granny apparently asked her sister if she would like her to burn the book rather than return it, since it was a POF (piece of filth).
When Great Aunt Mabel died in one of the restaurants in Ottawa's Lord Elgin Hotel at age 70 (not sure with whom she was lunching), my Aunt Pearl inherited her things. My mother loved this china though, and had always idolized her aunt Mabel. So after a year or so of non-stop lobbying, my mother got the dishes. Unfortunately this coincided with my mother's purchase of a dishwasher, and she put a lot of the pieces in the dishwasher, only to discover that they no longer had any gold decoration.
Aunt Mabel divorced her gambling husband. They had had one child, a beautiful boy who was always referred to as "Chubby" (I've never been sure why, because he wasn't). The story was that Chubby died from choking on a peanut. In fact, I have recently realized that it was anaphylactic shock that caused his death. And that there are genetic origins for my lifelong peanut allergy.
Aunt Mabel worked for many years at the Bank of Montreal on Sparks Street in Ottawa, a beautiful building with marble floors. My mother used to take me to visit her at the bank and there was always an old man there who used to give me pennies. After we had visited Aunt Mabel we would go across the street to Murphy Gamble's, one of the old classic department stores, where I was mesmerized by the whiteness of the elevator lady's gloves, the redness of her lipstick, and the glossy blackness of her hair. And then, while my mother looked at clothes, I would carefully lift the skirts of all the mannequins to see if they were wearing underpants or not (why? I have no idea). The results of my first poll, taken around 1960: approximately 90 per cent of the mannequins were indeed wearing underpants. And there were no visible panty lines.
From pacificwrecks.com/ships/maru/hirokawa.html
Hirokawa Maru (Bonegi 1)
IJN
Cargo
6,872 Tons
Ship History
Built by Kawasaki Kisen Kaisha at Kobe. Laid down April 6, 1939 as a 6,872-ton cargo ship. Launched May 10, 1940 as Hirokawa Maru. Completed October 12, 1940 and delivered to Kawasaki Kisen, K. K. Line for use on the K line cargo service.
Wartime History
On February 8, 1941 requisitioned by the Imperial Japanese Army (IJA) as No. 846 and converted into a Boku Kikansen (anti-aircraft) armed transport with six Type 88 75mm anti-aircraft guns and four Type 98 20mm cannons. On November 6, 1941 departs Moji bound for Wusong off Shanghai. On November 28, 1941 arrives Samah on Hainan Island.
PARTIAL HISTORY
On December 4, 1941 at 6:00am departs Samah as part of a convoy transporting the Japanese Army 25th Army to the Gulf of Thailand escorted by light cruisers, destroyers, minesweepers and subchaser. Hirokawa Maru, Sagami Maru, Kinka Maru, Tozan Maru escorted by destroyers Shinonome and Shirakumo are detached as part of the as part of the Pattani invasion force. On December 7, 1941 arrives off Pattani in Saim (Thailand) and successfully lands the Ando Detachment.
PARTIAL HISTORY
Part of a convoy of eleven transports: Arizona Maru, Kumagawa Maru, Sado Maru, Nagara Maru, Nako Maru, Canberra Maru, Brisbane Maru, Kinugawa Maru, Hirokawa Maru, Yamaura Maru, and Yamatsuki Maru escorted by twelve destroyers.
On November 13, 1942 departed Shortland and steamed down "The Slot" bound for Guadalcanal. Although scheduled to arrive during the night of November 13, 1942, the convoy was recalled to Shortland, due to the First Naval Battle of Guadalcanal.
During the afternoon of November 13, 1942 the convoy again departed Shortland again bound for Guadalcanal. Spotted by American aircraft, air attacks began hitting the convoy during the morning of November 14, and overwhelmed the escorting Japanese aircraft and sank six transports and forced one to turn back damaged, and later sank.
The remaining four transports and four destroyers continued to Guadalcanal. After nightfall, they stopped to the west of Guadalcanal, awaiting the conclusion of the Second Naval Battle of Guadalcanal.
Sinking History
On November 15, 1942 at 4:00am, the remaining four transports Kinugawa Maru, Hirokawa Maru, Yamaura Maru, and Yamatsuki Maru beached themselves on western Guadalcanal. Kinugawa Maru beached the furthest to the east at Bonegi.
Beginning at 5:55am, American aircraft from Henderson Field and elsewhere plus field artillery bombarded the ships. Later, destroyer USS Meade approached and opened fire for an hour with 5" shells, leaving them "blazing with many internal explosions."
These attacks set all four transports afire and destroyed most equipment not unloaded before dawn. Most of their ammunition and food supplies were lost. Approximately 2,000 troops with 260 cases of ammunition and 1,500 bags of rice made ashore.
Shipwreck
Hirokawa Maru was sunk off Bonegi to the east of Kinugawa Maru. Locally known as "Bonegi 1", "Bonegi No. 1" or "Bonegi One". The shipwreck rests with her mangled bow in shallow water with her amidships section is fairly intact. Her stern at 180' / 55m is covered with gun cartridges and deteriorated.
Well broken up by enemy bombing, she is now covered in soft and hard coral growth. A deck gun is still recognizable. Penetration of this wreck is not advised because deterioration leaves the wreckage unstable.
newcastlephotos.blogspot.com/2006/06/all-saints-cemetery....
All Saints Cemetery
This Cemetery stands on Jesmond Road, opposite Jesmond Old Cemetery and was the first cemetery in Newcastle to be instigated by the Burial Board. Consecrated in 1855 and opened in 1856 this was very much a rural part of Newcastle. The residential housing surrounding the cemetery on 3 sides were built later.
Noted Newcastle architect Benjamin Green designed the cemetery, its buildings and the fine Gothic archway over the entrance from Jesmond Road. The cemetery is surrounded by cast iron railings with fleur-de-lys heads.
The cemetery was extended to Osborne Avenue, from just under 10 acres by another 1.3 hectares in 1881.
In 1924 Carliol Square Gaol was demolished and the bodies of its executed criminals were transferred into unmarked graves in the cemetery.
In total around 90,000 burials have taken place here.
Thomas Harrison Hair (1810-1875) the artist best known for his Views of the Collieries of Northumberland and Durham, is buried here in an unmarked grave.
Two Small Chapels:
2 chapels. 1856 by Green. Coursed squared sandstone with ashlar turrets and dressings; Welsh slate roofs. T-plan with additional porch on side away from centre of cemetery, and corner turret on innermost side at south end. Aligned north-south. Decorated style. Double doors, with elaborate hinges,on inner fronts have nook shafts and head-stopped dripmoulds; similar surround to plainer door in outward-facing porch; windows of 3 lights facing gateway, 2 lights on other fronts, have similar dripmoulds. Lancets to corner turrets with gabled belfry under octagonal spirelets. Buttresses. Steeply-pitched roofs with cross finials. LISTED GRADE 2.
1 of the Chapels is now the Russian Orthodox Church Of St. George.
Gate, walls, piers, gates and railings.
Cemetery gateway, walls, piers, gates and railings. Dated 1856; by Green. Coursed squared sandstone with ashlar dressings; wrought iron gates; cast iron railings. Gothic style. High gable over 2-centred arch with 12 shafts each side and many mouldings; gabled ends have fantastic beasts climbing down kneelers; head-stopped dripmoulds, buttresses and finials.
High, pointed coping to flanking walls containing pedestrian doors in arches; end piers have gables with fleur-de-lis moulding. Chamfered coping to dwarf quadrant walls and similar walls along cemetery front, with 4 square piers at each side having pyramidal coping. High gates are Gothic-patterned; railings have fleur-de-lis heads.
Burials:
Samuel Smith.
Celtic Cross monument. Samuel Smith OBE JP (1872-1949) was the founder of Rington's Tea. He was born in Leeds and became an errand boy for a tea merchants on leaving school at 11. In 1908 he moved to Newcastle and set up a small shop in Heaton with William Titterington. They called the company Ringtons. The tea was imported from India and Sri Lanka then tasted, blended and packaged. It was delivered by the company's black, gold and green horse-drawn coaches. In 1926 the business moved to purpose-built premises in Algernon Road. Eventually there were 26 branches of Ringtons in the North. The firm moved into coachbuilding during the World Wars, which led to the creation of Smith's Electric Vehicles at Team Valley Trading Estate.
Alexander Gardner.
Cross monument. Alexander Gardner (1877-1921) was a footballer for Newcastle United. Before the First World War, Newcastle United were in the First Division, won three league titles and won one FA Cup final of three. Alexander was the captain and played at right half (midfielder). He made 268 appearances and scored 20 goals. He was born in Leith in 1899. The 1904/5 team won 23 out of 34 league games. In 1909 Alexander broke his leg, which ended his football career. He became landlord of the Dun Cow Inn in Claremont Road.
Michael Joseph Quigley.
Gravestone of Michael Joseph Quigley (1837-1924), American Civil War veteran. Michael was born in Bradford and emigrated to America with his wife shortly before the outbreak of civil war. He served under General Robert E. Lee in Virginia but was wounded in his left arm. He was later employed in Government Service. He returned to Britain in 1876. He lived in St. Lawrence Square off Walker Road. His income was subsidised by a pension from the American Government.
James Skinner.
Obelisk monument to James Skinner (1836-1920), shipbuilder. James was born in London. He moved to Newcastle aged 14 to begin an apprenticeship at Coutts shipyard at Low Walker. He went on to manage Andrew Leslie's shipyard at Hebburn then opened a yard at Bill Quay with William Wood, shipyard cashier. The firm Wood Skinner & Co. built 330 vessels over 42 years up to 1925. They also built the 30-bed Tyne Floating Hospital for Infectious Diseases at Jarrow Slake, designed by Newcastle Civil Engineer, George Laws. The hospital ship was launched on 2 August 1885. It sank in 1888. She was refloated and remained moored there for over 40 years.
Francis Batey.
Urn monument to Francis Batey (1841-1915), steam tug boat owner. Francis joined his father's tug boat business at the age of 11 and eventually gained his master's certificate. When the Albert Edward Dock opened in 1884, he was assistant pilot on the Rio Amazonas, the first ship to enter the dock. He went on to be chairman of several tug related companies on the River Tyne. One of his sons, John Thomas Batey, became Managing Director of Hawthorn Leslie's Hebburn shipyard.
Antonio Marcantonio.
Impressive monument of a statue of a monk or friar holding an infant. Antonio Marcantonio (1886-1960), ice cream manufacturer, arrived in Newcastle in 1895 to join a small colony of Italians living in Byker. In the early 1900s he returned to Italy to marry Angela. He returned to Newcastle and began making ice cream in a room in his house using small pans of salt and ice to freeze it. Eventually he took over a small factory on Stepney Bank. 500 gallons of ice cream were made daily. He also owned five ice cream parlours, the first one was in the Grainger Arcade. The Mark Toney business still flourishes (factory at Benton Square).
George Henry Carr.
A 13 feet high monument to George Henry Carr (1867-1889), racing cyclist. There is a shield on each side depicting a bicycle, flowers, the badge of the Jubilee Rovers Bicycle Club and the badge of Clarence Bicycle Club. Carr was a prominent figure on the racing circuit. He died aged 22 of inflammation of the brain.
John James Lightfoot,
Monument of an angel to John James Lightfoot (1877-1897), apprentice joiner. John James was crushed to death aged 19 during restoration of the 200 year old Green Tree beerhouse in Robson's Entry, Sandgate.The building collapsed killing 4 people and injuring 12. The disaster was sketched by the Chronicle's artist and published on 6 March 1897 the day after the accident. The article describes the scene - 'in the house to the east there was a yawning space where the wall had tumbled in; behind the hole a staircase stood, but seemed, like the sword of Damocles, to have no more than a hair-strength to support it'.
Josephine Esther Salisse.
Family vault of M. and H.M. Salisse. A stone sarcophagus with a bronze female figure mourning over it. Josephine Esther Salisse (1905-1924) was from Thornton Heath in Surrey. She died suddenly at her aunt's home in Stratford Road, Heaton, aged 19.
John and Benjamin Green were a father and son who worked in partnership as architects in North East England during the early nineteenth century. John, the father was a civil engineer as well as an architect. Although they did carry out some commissions separately, they were given joint credit for many of their projects, and it is difficult to attribute much of their work to a single individual. In general, John Green worked on civil engineering projects, such as road and rail bridges, whereas Benjamin worked on projects that were more purely architectural. Their work was predominantly church and railway architecture, with a sprinkling of public buildings that includes their masterpiece, Newcastle's Theatre Royal.
Drawings by John and Benjamin Green are held by the Laing Art Gallery in Newcastle upon Tyne.
Biographies
John Green was born on 29 June 1787 at Newton Fell House, Nafferton, two miles north of Ovington, Northumberland. He was the son of Benjamin Green, a carpenter and maker of agricultural implements. After finishing school, he worked in his father's business. The firm moved to the market town of Corbridge and began general building work with young John concentrating on architectural work. About 1820, John set up business as an architect and civil engineer in nearby Newcastle upon Tyne.
John Green married Jane Stobart in 1805, and they had two sons, John (c.1807–68) and Benjamin (c1811-58), both of whom became architects. Little is known about the career of John, but Benjamin worked in partnership with his father on many projects.
In 1822 John Green designed a new building for the Newcastle Literary and Philosophical Society. The building, which houses the society's substantial library, is still in use today. He also designed a number of farmhouses, being employed on the Beaufront estate near Hexham and also on the Duke of Northumberland’s estates.
John Green was principally a civil engineer, and built several road and rail bridges. In 1829–31 he built two wrought-iron suspension bridges crossing the Tyne (at Scotswood) and the Tees (at Whorlton). The bridge at Scotswood was demolished in 1967 but the one at Whorlton still survives. When the High Level Bridge at Newcastle was proposed ten years later, John Green submitted plans, but those of Robert Stephenson were accepted by the York, Newcastle and Berwick Railway. Green also built a number of bridges using an innovative system of laminated timber arches on masonry piers, the Weibeking system, based on the work of Bavarian engineer C.F. Weibeking. The two he built for the Newcastle and North Shields Railway, at the Ouseburn and at Willington Quay remain in use, though the timbers were replaced with wrought iron in a similar lattice pattern in 1869. In 1840 he was elected to the Institution of Civil Engineers, and in 1841 he was awarded the institution's Telford Medal for his work on laminated arch design.
John Green died in Newcastle on 30 September 1852.
Benjamin Green
Benjamin Green was a pupil of Augustus Charles Pugin, father of the more famous Augustus Welby Northmore Pugin. In the mid-1830s he became a partner of his father and remained so until the latter's death in 1852. The two partners differed somewhat. John has been described as a 'plain, practical, shrewd man of business' with a 'plain, severe and economical' style, whereas Benjamin was 'an artistic, dashing sort of fellow', with a style that was 'ornamental, florid and costly'.
The Greens worked as railway architects and it is believed that all the main line stations between Newcastle and Berwick upon Tweed were designed by Benjamin. In 2020 Morpeth Station was restored to Green's original designs following a £2.3M investment. They also designed a number of Northumbrian churches, the best examples being at Earsdon and Cambo.
The Green's most important commissions in Newcastle were the Theatre Royal (1836–37) and the column for Grey's Monument (1837–38). Both of these structures were part of the re-development of Newcastle city centre in neo-classical style by Richard Grainger, and both exist today. Although both of the partners were credited with their design, it is believed that Benjamin was the person responsible.
Another well-known structure designed by the Greens is Penshaw Monument (1844). This is a folly standing on Penshaw Hill in County Durham. It was built as a half-sized replica of the renowned Temple of Hephaestus in Athens, and was dedicated to John George Lambton, first Earl of Durham and the first Governor of the Province of Canada. The monument, being built on a hill is visible for miles around and is a famous local landmark. It is now owned by the National Trust.
Benjamin Green survived his father by only six years, and died in a mental home at Dinsdale Park, County Durham on 14 November 1858.
Major works
Presbyterian Chapel, Newcastle upon Tyne, 1822 (demolished 2011)
Literary and Philosophical Society, Newcastle upon Tyne, 1822–1825
St Peter's Church, Falstone, 1824–1825
Westgate Hill Cemetery, Newcastle upon Tyne, 1825–1829 (lodge demolished 1970, railings and gates removed, piers and basic layout remains)
Ingram Farm, Ingram, 1826
Whorlton Suspension Bridge, Wycliffe, County Durham, 1829–1831
Hawks Cottages, Gateshead, 1830 (demolished 1960)
Scotswood Chain Bridge, Newcastle upon Tyne, 1831, (demolished 1967)
Church of St Mary and St Thomas Aquinas, Stella, 1831–1832[1]
Bellingham Bridge, Bellingham, 1834
Holy Trinity Church, Stockton-On-Tees, 1834–1835[2]
Holy Trinity Church, Dalton (near Stamfordham), 1836
Vicarage of St Alban, Earsdon, 1836
Church of St Alban, Earsdon, 1836–1837
St Mary's Roman Catholic Church, Alnwick, 1836
Church of the Holy Saviour, Newburn, 1836–1837
Poor Law Guardians Hall, North Shields, 1837
Master Mariners Homes, Tynemouth, 1837–1840[3]
Theatre Royal, Newcastle upon Tyne, 1837
Parish Hall of the Church of the Holy Saviour, Newburn, 1838
Column of Grey's Monument, Newcastle upon Tyne, 1838
Willington Viaduct, Wallsend, 1837–1839
Ouseburn Viaduct, Newcastle upon Tyne, 1837–1839
Church of the Holy Saviour, Tynemouth, 1839–1841
Ilderton Vicarage, Ilderton, 1841
The Red Cottage, Whitburn, 1842
Holy Trinity Church, Cambo, 1842
Holy Trinity Church, Horsley-on-Rede, 1844
The Earl of Durham's Monument, Sunderland, 1844
St Edwin's, Coniscliffe, Co. Durham, 1844 (restoration of mediaeval church)
40–44 Moseley Street, Newcastle upon Tyne, 1845
Witham Testimonial Hall, Barnard Castle, 1846
Old Railway Station, Tynemouth Rd, Tynemouth 1846–1847
Acklington Station, Acklington, 1847
Chathill Station, Chathill, 1847
Belford Station, Belford, Northumberland, 1847
Morpeth Station, Morpeth, Northumberland, 1847
Warkworth Station, Warkworth, Northumberland, 1847
Holy Trinity Church, Seghill, 1849
Newcastle Joint Stock Bank, St Nicholas Square, Newcastle, c.1850
Norham station, Norham, 1851
St Paul's Church, Elswick, 1854
All Saints Cemetery, Jesmond, 1854
Sailor's Home, 11 New Quay, North Shields, 1856
United Free Methodist Church, North Shields, 1857
Corn Exchange, Groat Market, Newcastle (demolished 1974)
Newcastle upon Tyne, or simply Newcastle is a cathedral city and metropolitan borough in Tyne and Wear, England. It is located on the River Tyne's northern bank, opposite Gateshead to the south. It is the most populous settlement in the Tyneside conurbation and North East England.
Newcastle developed around a Roman settlement called Pons Aelius, the settlement became known as Monkchester before taking on the name of a castle built in 1080 by William the Conqueror's eldest son, Robert Curthose. It was one of the world's largest ship building and repair centres during the industrial revolution. Newcastle was part of the county of Northumberland until 1400, when it separated and formed a county of itself. In 1974, Newcastle became part of Tyne and Wear. Since 2018, the city council has been part of the North of Tyne Combined Authority.
The history of Newcastle upon Tyne dates back almost 2,000 years, during which it has been controlled by the Romans, the Angles and the Norsemen amongst others. Newcastle upon Tyne was originally known by its Roman name Pons Aelius. The name "Newcastle" has been used since the Norman conquest of England. Due to its prime location on the River Tyne, the town developed greatly during the Middle Ages and it was to play a major role in the Industrial Revolution, being granted city status in 1882. Today, the city is a major retail, commercial and cultural centre.
Roman settlement
The history of Newcastle dates from AD 122, when the Romans built the first bridge to cross the River Tyne at that point. The bridge was called Pons Aelius or 'Bridge of Aelius', Aelius being the family name of Roman Emperor Hadrian, who was responsible for the Roman wall built across northern England along the Tyne–Solway gap. Hadrian's Wall ran through present-day Newcastle, with stretches of wall and turrets visible along the West Road, and at a temple in Benwell. Traces of a milecastle were found on Westgate Road, midway between Clayton Street and Grainger Street, and it is likely that the course of the wall corresponded to present-day Westgate Road. The course of the wall can be traced eastwards to the Segedunum Roman fort at Wallsend, with the fort of Arbeia down-river at the mouth of the Tyne, on the south bank in what is now South Shields. The Tyne was then a wider, shallower river at this point and it is thought that the bridge was probably about 700 feet (210 m) long, made of wood and supported on stone piers. It is probable that it was sited near the current Swing Bridge, due to the fact that Roman artefacts were found there during the building of the latter bridge. Hadrian himself probably visited the site in 122. A shrine was set up on the completed bridge in 123 by the 6th Legion, with two altars to Neptune and Oceanus respectively. The two altars were subsequently found in the river and are on display in the Great North Museum in Newcastle.
The Romans built a stone-walled fort in 150 to protect the river crossing which was at the foot of the Tyne Gorge, and this took the name of the bridge so that the whole settlement was known as Pons Aelius. The fort was situated on a rocky outcrop overlooking the new bridge, on the site of the present Castle Keep. Pons Aelius is last mentioned in 400, in a Roman document listing all of the Roman military outposts. It is likely that nestling in the shadow of the fort would have been a small vicus, or village. Unfortunately, no buildings have been detected; only a few pieces of flagging. It is clear that there was a Roman cemetery near Clavering Place, behind the Central station, as a number of Roman coffins and sarcophagi have been unearthed there.
Despite the presence of the bridge, the settlement of Pons Aelius was not particularly important among the northern Roman settlements. The most important stations were those on the highway of Dere Street running from Eboracum (York) through Corstopitum (Corbridge) and to the lands north of the Wall. Corstopitum, being a major arsenal and supply centre, was much larger and more populous than Pons Aelius.
Anglo-Saxon development
The Angles arrived in the North-East of England in about 500 and may have landed on the Tyne. There is no evidence of an Anglo-Saxon settlement on or near the site of Pons Aelius during the Anglo-Saxon age. The bridge probably survived and there may well have been a small village at the northern end, but no evidence survives. At that time the region was dominated by two kingdoms, Bernicia, north of the Tees and ruled from Bamburgh, and Deira, south of the Tees and ruled from York. Bernicia and Deira combined to form the kingdom of Northanhymbra (Northumbria) early in the 7th century. There were three local kings who held the title of Bretwalda – 'Lord of Britain', Edwin of Deira (627–632), Oswald of Bernicia (633–641) and Oswy of Northumbria (641–658). The 7th century became known as the 'Golden Age of Northumbria', when the area was a beacon of culture and learning in Europe. The greatness of this period was based on its generally Christian culture and resulted in the Lindisfarne Gospels amongst other treasures. The Tyne valley was dotted with monasteries, with those at Monkwearmouth, Hexham and Jarrow being the most famous. Bede, who was based at Jarrow, wrote of a royal estate, known as Ad Murum, 'at the Wall', 12 miles (19 km) from the sea. It is thought that this estate may have been in what is now Newcastle. At some unknown time, the site of Newcastle came to be known as Monkchester. The reason for this title is unknown, as we are unaware of any specific monasteries at the site, and Bede made no reference to it. In 875 Halfdan Ragnarsson, the Danish Viking conqueror of York, led an army that attacked and pillaged various monasteries in the area, and it is thought that Monkchester was also pillaged at this time. Little more was heard of it until the coming of the Normans.
Norman period
After the arrival of William the Conqueror in England in 1066, the whole of England was quickly subjected to Norman rule. However, in Northumbria there was great resistance to the Normans, and in 1069 the newly appointed Norman Earl of Northumbria, Robert de Comines and 700 of his men were killed by the local population at Durham. The Northumbrians then marched on York, but William was able to suppress the uprising. That same year, a second uprising occurred when a Danish fleet landed in the Humber. The Northumbrians again attacked York and destroyed the garrison there. William was again able to suppress the uprising, but this time he took revenge. He laid waste to the whole of the Midlands and the land from York to the Tees. In 1080, William Walcher, the Norman bishop of Durham and his followers were brutally murdered at Gateshead. This time Odo, bishop of Bayeux, William's half brother, devastated the land between the Tees and the Tweed. This was known as the 'Harrying of the North'. This devastation is reflected in the Domesday Book. The destruction had such an effect that the North remained poor and backward at least until Tudor times and perhaps until the Industrial Revolution. Newcastle suffered in this respect with the rest of the North.
In 1080 William sent his eldest son, Robert Curthose, north to defend the kingdom against the Scots. After his campaign, he moved to Monkchester and began the building of a 'New Castle'. This was of the "motte-and-bailey" type of construction, a wooden tower on top of an earthen mound (motte), surrounded by a moat and wooden stockade (bailey). It was this castle that gave Newcastle its name. In 1095 the Earl of Northumbria, Robert de Mowbray, rose up against the king, William Rufus, and Rufus sent an army north to recapture the castle. From then on the castle became crown property and was an important base from which the king could control the northern barons. The Northumbrian earldom was abolished and a Sheriff of Northumberland was appointed to administer the region. In 1091 the parish church of St Nicholas was consecrated on the site of the present Anglican cathedral, close by the bailey of the new castle. The church is believed to have been a wooden building on stone footings.
Not a trace of the tower or mound of the motte and bailey castle remains now. Henry II replaced it with a rectangular stone keep, which was built between 1172 and 1177 at a cost of £1,444. A stone bailey, in the form of a triangle, replaced the previous wooden one. The great outer gateway to the castle, called 'the Black Gate', was built later, between 1247 and 1250, in the reign of Henry III. There were at that time no town walls and when attacked by the Scots, the townspeople had to crowd into the bailey for safety. It is probable that the new castle acted as a magnet for local merchants because of the safety it provided. This in turn would help to expand trade in the town. At this time wool, skins and lead were being exported, whilst alum, pepper and ginger were being imported from France and Flanders.
Middle Ages
Throughout the Middle Ages, Newcastle was England's northern fortress, the centre for assembled armies. The Border war against Scotland lasted intermittently for several centuries – possibly the longest border war ever waged. During the civil war between Stephen and Matilda, David 1st of Scotland and his son were granted Cumbria and Northumberland respectively, so that for a period from 1139 to 1157, Newcastle was effectively in Scottish hands. It is believed that during this period, King David may have built the church of St Andrew and the Benedictine nunnery in Newcastle. However, King Stephen's successor, Henry II was strong enough to take back the Earldom of Northumbria from Malcolm IV.
The Scots king William the Lion was imprisoned in Newcastle, in 1174, after being captured at the Battle of Alnwick. Edward I brought the Stone of Scone and William Wallace south through the town and Newcastle was successfully defended against the Scots three times during the 14th century.
Around 1200, stone-faced, clay-filled jetties were starting to project into the river, an indication that trade was increasing in Newcastle. As the Roman roads continued to deteriorate, sea travel was gaining in importance. By 1275 Newcastle was the sixth largest wool exporting port in England. The principal exports at this time were wool, timber, coal, millstones, dairy produce, fish, salt and hides. Much of the developing trade was with the Baltic countries and Germany. Most of the Newcastle merchants were situated near the river, below the Castle. The earliest known charter was dated 1175 in the reign of Henry II, giving the townspeople some control over their town. In 1216 King John granted Newcastle a mayor[8] and also allowed the formation of guilds (known as Mysteries). These were cartels formed within different trades, which restricted trade to guild members. There were initially twelve guilds. Coal was being exported from Newcastle by 1250, and by 1350 the burgesses received a royal licence to export coal. This licence to export coal was jealously guarded by the Newcastle burgesses, and they tried to prevent any one else on the Tyne from exporting coal except through Newcastle. The burgesses similarly tried to prevent fish from being sold anywhere else on the Tyne except Newcastle. This led to conflicts with Gateshead and South Shields.
In 1265, the town was granted permission to impose a 'Wall Tax' or Murage, to pay for the construction of a fortified wall to enclose the town and protect it from Scottish invaders. The town walls were not completed until early in the 14th century. They were two miles (3 km) long, 9 feet (2.7 m) thick and 25 feet (7.6 m) high. They had six main gates, as well as some smaller gates, and had 17 towers. The land within the walls was divided almost equally by the Lort Burn, which flowed southwards and joined the Tyne to the east of the Castle. The town began to expand north of the Castle and west of the Lort Burn with various markets being set up within the walls.
In 1400 Henry IV granted a new charter, creating a County corporate which separated the town, but not the Castle, from the county of Northumberland and recognised it as a "county of itself" with a right to have a sheriff of its own. The burgesses were now allowed to choose six aldermen who, with the mayor would be justices of the peace. The mayor and sheriff were allowed to hold borough courts in the Guildhall.
Religious houses
During the Middle Ages a number of religious houses were established within the walls: the first of these was the Benedictine nunnery of St Bartholomew founded in 1086 near the present-day Nun Street. Both David I of Scotland and Henry I of England were benefactors of the religious house. Nothing of the nunnery remains now.
The friary of Blackfriars, Newcastle (Dominican) was established in 1239. These were also known as the Preaching Friars or Shod Friars, because they wore sandals, as opposed to other orders. The friary was situated in the present-day Friars Street. In 1280 the order was granted royal permission to make a postern in the town walls to communicate with their gardens outside the walls. On 19 June 1334, Edward Balliol, claimant to be King of Scotland, did homage to King Edward III, on behalf of the kingdom of Scotland, in the church of the friary. Much of the original buildings of the friary still exist, mainly because, after the Dissolution of the Monasteries the friary of Blackfriars was rented out by the corporation to nine of the local trade guilds.
The friary of Whitefriars (Carmelite) was established in 1262. The order was originally housed on the Wall Knoll in Pandon, but in 1307 it took over the buildings of another order, which went out of existence, the Friars of the Sac. The land, which had originally been given by Robert the Bruce, was situated in the present-day Hanover Square, behind the Central station. Nothing of the friary remains now.
The friary of Austinfriars (Augustinian) was established in 1290. The friary was on the site where the Holy Jesus Hospital was built in 1682. The friary was traditionally the lodging place of English kings whenever they visited or passed through Newcastle. In 1503 Princess Margaret, eldest daughter of Henry VII of England, stayed two days at the friary on her way to join her new husband James IV of Scotland.
The friary of Greyfriars (Franciscans) was established in 1274. The friary was in the present-day area between Pilgrim Street, Grey Street, Market Street and High Chare. Nothing of the original buildings remains.
The friary of the Order of the Holy Trinity, also known as the Trinitarians, was established in 1360. The order devoted a third of its income to buying back captives of the Saracens, during the Crusades. Their house was on the Wall Knoll, in Pandon, to the east of the city, but within the walls. Wall Knoll had previously been occupied by the White Friars until they moved to new premises in 1307.
All of the above religious houses were closed in about 1540, when Henry VIII dissolved the monasteries.
An important street running through Newcastle at the time was Pilgrim Street, running northwards inside the walls and leading to the Pilgrim Gate on the north wall. The street still exists today as arguably Newcastle's main shopping street.
Tudor period
The Scottish border wars continued for much of the 16th century, so that during that time, Newcastle was often threatened with invasion by the Scots, but also remained important as a border stronghold against them.
During the Reformation begun by Henry VIII in 1536, the five Newcastle friaries and the single nunnery were dissolved and the land was sold to the Corporation and to rich merchants. At this time there were fewer than 60 inmates of the religious houses in Newcastle. The convent of Blackfriars was leased to nine craft guilds to be used as their headquarters. This probably explains why it is the only one of the religious houses whose building survives to the present day. The priories at Tynemouth and Durham were also dissolved, thus ending the long-running rivalry between Newcastle and the church for control of trade on the Tyne. A little later, the property of the nunnery of St Bartholomew and of Grey Friars were bought by Robert Anderson, who had the buildings demolished to build his grand Newe House (also known as Anderson Place).
With the gradual decline of the Scottish border wars the town walls were allowed to decline as well as the castle. By 1547, about 10,000 people were living in Newcastle. At the beginning of the 16th century exports of wool from Newcastle were more than twice the value of exports of coal, but during the century coal exports continued to increase.
Under Edward VI, John Dudley, Duke of Northumberland, sponsored an act allowing Newcastle to annexe Gateshead as its suburb. The main reason for this was to allow the Newcastle Hostmen, who controlled the export of Tyne coal, to get their hands on the Gateshead coal mines, previously controlled by the Bishop of Durham. However, when Mary I came to power, Dudley met his downfall and the decision was reversed. The Reformation allowed private access to coal mines previously owned by Tynemouth and Durham priories and as a result coal exports increase dramatically, from 15,000 tons in 1500 to 35,000 tons in 1565, and to 400,000 tons in 1625.
The plague visited Newcastle four times during the 16th century, in 1579 when 2,000 people died, in 1589 when 1700 died, in 1595 and finally in 1597.
In 1600 Elizabeth I granted Newcastle a charter for an exclusive body of electors, the right to elect the mayor and burgesses. The charter also gave the Hostmen exclusive rights to load coal at any point on the Tyne. The Hostmen developed as an exclusive group within the Merchant Adventurers who had been incorporated by a charter in 1547.
Stuart period
In 1636 there was a serious outbreak of bubonic plague in Newcastle. There had been several previous outbreaks of the disease over the years, but this was the most serious. It is thought to have arrived from the Netherlands via ships that were trading between the Tyne and that country. It first appeared in the lower part of the town near the docks but gradually spread to all parts of the town. As the disease gained hold the authorities took measures to control it by boarding up any properties that contained infected persons, meaning that whole families were locked up together with the infected family members. Other infected persons were put in huts outside the town walls and left to die. Plague pits were dug next to the town's four churches and outside the town walls to receive the bodies in mass burials. Over the course of the outbreak 5,631 deaths were recorded out of an estimated population of 12,000, a death rate of 47%.
In 1637 Charles I tried to raise money by doubling the 'voluntary' tax on coal in return for allowing the Newcastle Hostmen to regulate production and fix prices. This caused outrage amongst the London importers and the East Anglian shippers. Both groups decided to boycott Tyne coal and as a result forced Charles to reverse his decision in 1638.
In 1640 during the Second Bishops' War, the Scots successfully invaded Newcastle. The occupying army demanded £850 per day from the Corporation to billet the Scottish troops. Trade from the Tyne ground to a halt during the occupation. The Scots left in 1641 after receiving a Parliamentary pardon and a £4,000,000 loan from the town.
In 1642 the English Civil War began. King Charles realised the value of the Tyne coal trade and therefore garrisoned Newcastle. A Royalist was appointed as governor. At that time, Newcastle and King's Lynn were the only important seaports to support the crown. In 1644 Parliament blockaded the Tyne to prevent the king from receiving revenue from the Tyne coal trade. Coal exports fell from 450,000 to 3,000 tons and London suffered a hard winter without fuel. Parliament encouraged the coal trade from the Wear to try to replace that lost from Newcastle but that was not enough to make up for the lost Tyneside tonnage.
In 1644 the Scots crossed the border. Newcastle strengthened its defences in preparation. The Scottish army, with 40,000 troops, besieged Newcastle for three months until the garrison of 1,500 surrendered. During the siege, the Scots bombarded the walls with their artillery, situated in Gateshead and Castle Leazes. The Scottish commander threatened to destroy the steeple of St Nicholas's Church by gunfire if the mayor, Sir John Marley, did not surrender the town. The mayor responded by placing Scottish prisoners that they had captured in the steeple, so saving it from destruction. The town walls were finally breached by a combination of artillery and sapping. In gratitude for this defence, Charles gave Newcastle the motto 'Fortiter Defendit Triumphans' to be added to its coat of arms. The Scottish army occupied Northumberland and Durham for two years. The coal taxes had to pay for the Scottish occupation. In 1645 Charles surrendered to the Scots and was imprisoned in Newcastle for nine months. After the Civil War the coal trade on the Tyne soon picked up and exceeded its pre-war levels.
A new Guildhall was completed on the Sandhill next to the river in 1655, replacing an earlier facility damaged by fire in 1639, and became the meeting place of Newcastle Town Council. In 1681 the Hospital of the Holy Jesus was built partly on the site of the Austin Friars. The Guildhall and Holy Jesus Hospital still exist.
Charles II tried to impose a charter on Newcastle to give the king the right to appoint the mayor, sheriff, recorder and town clerk. Charles died before the charter came into effect. In 1685, James II tried to replace Corporation members with named Catholics. However, James' mandate was suspended in 1689 after the Glorious Revolution welcoming William of Orange. In 1689, after the fall of James II, the people of Newcastle tore down his bronze equestrian statue in Sandhill and tossed it into the Tyne. The bronze was later used to make bells for All Saints Church.
In 1689 the Lort Burn was covered over. At this time it was an open sewer. The channel followed by the Lort Burn became the present day Dean Street. At that time, the centre of Newcastle was still the Sandhill area, with many merchants living along the Close or on the Side. The path of the main road through Newcastle ran from the single Tyne bridge, through Sandhill to the Side, a narrow street which climbed steeply on the north-east side of the castle hill until it reached the higher ground alongside St Nicholas' Church. As Newcastle developed, the Side became lined with buildings with projecting upper stories, so that the main street through Newcastle was a narrow, congested, steep thoroughfare.
In 1701 the Keelmen's Hospital was built in the Sandgate area of the city, using funds provided by the keelmen. The building still stands today.
Eighteenth century
In the 18th century, Newcastle was the country's largest print centre after London, Oxford and Cambridge, and the Literary and Philosophical Society of 1793, with its erudite debates and large stock of books in several languages predated the London Library by half a century.
In 1715, during the Jacobite rising in favour of the Old Pretender, an army of Jacobite supporters marched on Newcastle. Many of the Northumbrian gentry joined the rebels. The citizens prepared for its arrival by arresting Jacobite supporters and accepting 700 extra recruits into the local militia. The gates of the city were closed against the rebels. This proved enough to delay an attack until reinforcements arrived forcing the rebel army to move across to the west coast. The rebels finally surrendered at Preston.
In 1745, during a second Jacobite rising in favour of the Young Pretender, a Scottish army crossed the border led by Bonnie Prince Charlie. Once again Newcastle prepared by arresting Jacobite supporters and inducting 800 volunteers into the local militia. The town walls were strengthened, most of the gates were blocked up and some 200 cannon were deployed. 20,000 regulars were billeted on the Town Moor. These preparations were enough to force the rebel army to travel south via the west coast. They were eventually defeated at Culloden in 1746.
Newcastle's actions during the 1715 rising in resisting the rebels and declaring for George I, in contrast to the rest of the region, is the most likely source of the nickname 'Geordie', applied to people from Tyneside, or more accurately Newcastle. Another theory, however, is that the name 'Geordie' came from the inventor of the Geordie lamp, George Stephenson. It was a type of safety lamp used in mining, but was not invented until 1815. Apparently the term 'German Geordie' was in common use during the 18th century.
The city's first hospital, Newcastle Infirmary opened in 1753; it was funded by public subscription. A lying-in hospital was established in Newcastle in 1760. The city's first public hospital for mentally ill patients, Wardens Close Lunatic Hospital was opened in October 1767.
In 1771 a flood swept away much of the bridge at Newcastle. The bridge had been built in 1250 and repaired after a flood in 1339. The bridge supported various houses and three towers and an old chapel. A blue stone was placed in the middle of the bridge to mark the boundary between Newcastle and the Palatinate of Durham. A temporary wooden bridge had to be built, and this remained in use until 1781, when a new stone bridge was completed. The new bridge consisted of nine arches. In 1801, because of the pressure of traffic, the bridge had to be widened.
A permanent military presence was established in the city with the completion of Fenham Barracks in 1806. The facilities at the Castle for holding assizes, which had been condemned for their inconvenience and unhealthiness, were replaced when the Moot Hall opened in August 1812.
Victorian period
Present-day Newcastle owes much of its architecture to the work of the builder Richard Grainger, aided by architects John Dobson, Thomas Oliver, John and Benjamin Green and others. In 1834 Grainger won a competition to produce a new plan for central Newcastle. He put this plan into effect using the above architects as well as architects employed in his own office. Grainger and Oliver had already built Leazes Terrace, Leazes Crescent and Leazes Place between 1829 and 1834. Grainger and Dobson had also built the Royal Arcade at the foot of Pilgrim Street between 1830 and 1832. The most ambitious project covered 12 acres 12 acres (49,000 m2) in central Newcastle, on the site of Newe House (also called Anderson Place). Grainger built three new thoroughfares, Grey Street, Grainger Street and Clayton Street with many connecting streets, as well as the Central Exchange and the Grainger Market. John Wardle and George Walker, working in Grainger's office, designed Clayton Street, Grainger Street and most of Grey Street. Dobson designed the Grainger Market and much of the east side of Grey Street. John and Benjamin Green designed the Theatre Royal at the top of Grey Street, where Grainger placed the column of Grey's Monument as a focus for the whole scheme. Grey Street is considered to be one of the finest streets in the country, with its elegant curve. Unfortunately most of old Eldon Square was demolished in the 1960s in the name of progress. The Royal Arcade met a similar fate.
In 1849 a new bridge was built across the river at Newcastle. This was the High Level Bridge, designed by Robert Stephenson, and slightly up river from the existing bridge. The bridge was designed to carry road and rail traffic across the Tyne Gorge on two decks with rail traffic on the upper deck and road traffic on the lower. The new bridge meant that traffic could pass through Newcastle without having to negotiate the steep, narrow Side, as had been necessary for centuries. The bridge was opened by Queen Victoria, who one year later opened the new Central Station, designed by John Dobson. Trains were now able to cross the river, directly into the centre of Newcastle and carry on up to Scotland. The Army Riding School was also completed in 1849.
In 1854 a large fire started on the Gateshead quayside and an explosion caused it to spread across the river to the Newcastle quayside. A huge conflagration amongst the narrow alleys, or 'chares', destroyed the homes of 800 families as well as many business premises. The narrow alleys that had been destroyed were replaced by streets containing blocks of modern offices.
In 1863 the Town Hall in St Nicholas Square replaced the Guildhall as the meeting place of Newcastle Town Council.
In 1876 the low level bridge was replaced by a new bridge known as the Swing Bridge, so called because the bridge was able to swing horizontally on a central axis and allow ships to pass on either side. This meant that for the first time sizeable ships could pass up-river beyond Newcastle. The bridge was built and paid for by William Armstrong, a local arms manufacturer, who needed to have warships access his Elswick arms factory to fit armaments to them. The Swing Bridge's rotating mechanism is adapted from the cannon mounts developed in Armstrong's arms works. In 1882 the Elswick works began to build ships as well as to arm them. The Barrack Road drill hall was completed in 1890.
Industrialisation
In the 19th century, shipbuilding and heavy engineering were central to the city's prosperity; and the city was a powerhouse of the Industrial Revolution. Newcastle's development as a major city owed most to its central role in the production and export of coal. The phrase "taking coals to Newcastle" was first recorded in 1538; it proverbially denotes bringing a particular commodity to a place that has more than enough of it already.
Innovation in Newcastle and surrounding areas included the following:
George Stephenson developed a miner's safety lamp at the same time that Humphry Davy developed a rival design. The lamp made possible the opening up of ever deeper mines to provide the coal that powered the industrial revolution.
George and his son Robert Stephenson were hugely influential figures in the development of the early railways. George developed Blücher, a locomotive working at Killingworth colliery in 1814, whilst Robert was instrumental in the design of Rocket, a revolutionary design that was the forerunner of modern locomotives. Both men were involved in planning and building railway lines, all over this country and abroad.
Joseph Swan demonstrated a working electric light bulb about a year before Thomas Edison did the same in the USA. This led to a dispute as to who had actually invented the light bulb. Eventually the two rivals agreed to form a mutual company between them, the Edison and Swan Electric Light Company, known as Ediswan.
Charles Algernon Parsons invented the steam turbine, for marine use and for power generation. He used Turbinia, a small, turbine-powered ship, to demonstrate the speed that a steam turbine could generate. Turbinia literally ran rings around the British Fleet at a review at Spithead in 1897.
William Armstrong invented a hydraulic crane that was installed in dockyards up and down the country. He then began to design light, accurate field guns for the British army. These were a vast improvement on the existing guns that were then in use.
The following major industries developed in Newcastle or its surrounding area:
Glassmaking
A small glass industry existed in Newcastle from the mid-15th century. In 1615 restrictions were put on the use of wood for manufacturing glass. It was found that glass could be manufactured using the local coal, and so a glassmaking industry grew up on Tyneside. Huguenot glassmakers came over from France as refugees from persecution and set up glasshouses in the Skinnerburn area of Newcastle. Eventually, glass production moved to the Ouseburn area of Newcastle. In 1684 the Dagnia family, Sephardic Jewish emigrants from Altare, arrived in Newcastle from Stourbridge and established glasshouses along the Close, to manufacture high quality flint glass. The glass manufacturers used sand ballast from the boats arriving in the river as the main raw material. The glassware was then exported in collier brigs. The period from 1730 to 1785 was the highpoint of Newcastle glass manufacture, when the local glassmakers produced the 'Newcastle Light Baluster'. The glassmaking industry still exists in the west end of the city with local Artist and Glassmaker Jane Charles carrying on over four hundred years of hot glass blowing in Newcastle upon Tyne.
Locomotive manufacture
In 1823 George Stephenson and his son Robert established the world's first locomotive factory near Forth Street in Newcastle. Here they built locomotives for the Stockton and Darlington Railway and the Liverpool and Manchester Railway, as well as many others. It was here that the famous locomotive Rocket was designed and manufactured in preparation for the Rainhill Trials. Apart from building locomotives for the British market, the Newcastle works also produced locomotives for Europe and America. The Forth Street works continued to build locomotives until 1960.
Shipbuilding
In 1296 a wooden, 135 ft (41 m) long galley was constructed at the mouth of the Lort Burn in Newcastle, as part of a twenty-ship order from the king. The ship cost £205, and is the earliest record of shipbuilding in Newcastle. However the rise of the Tyne as a shipbuilding area was due to the need for collier brigs for the coal export trade. These wooden sailing ships were usually built locally, establishing local expertise in building ships. As ships changed from wood to steel, and from sail to steam, the local shipbuilding industry changed to build the new ships. Although shipbuilding was carried out up and down both sides of the river, the two main areas for building ships in Newcastle were Elswick, to the west, and Walker, to the east. By 1800 Tyneside was the third largest producer of ships in Britain. Unfortunately, after the Second World War, lack of modernisation and competition from abroad gradually caused the local industry to decline and die.
Armaments
In 1847 William Armstrong established a huge factory in Elswick, west of Newcastle. This was initially used to produce hydraulic cranes but subsequently began also to produce guns for both the army and the navy. After the Swing Bridge was built in 1876 allowing ships to pass up river, warships could have their armaments fitted alongside the Elswick works. Armstrong's company took over its industrial rival, Joseph Whitworth of Manchester in 1897.
Steam turbines
Charles Algernon Parsons invented the steam turbine and, in 1889, founded his own company C. A. Parsons and Company in Heaton, Newcastle to make steam turbines. Shortly after this, he realised that steam turbines could be used to propel ships and, in 1897, he founded a second company, Parsons Marine Steam Turbine Company in Wallsend. It is there that he designed and manufactured Turbinia. Parsons turbines were initially used in warships but soon came to be used in merchant and passenger vessels, including the liner Mauretania which held the blue riband for the Atlantic crossing until 1929. Parsons' company in Heaton began to make turbo-generators for power stations and supplied power stations all over the world. The Heaton works, reduced in size, remains as part of the Siemens AG industrial giant.
Pottery
In 1762 the Maling pottery was founded in Sunderland by French Huguenots, but transferred to Newcastle in 1817. A factory was built in the Ouseburn area of the city. The factory was rebuilt twice, finally occupying a 14-acre (57,000 m2) site that was claimed to be the biggest pottery in the world and which had its own railway station. The pottery pioneered use of machines in making potteries as opposed to hand production. In the 1890s the company went up-market and employed in-house designers. The period up to the Second World War was the most profitable with a constant stream of new designs being introduced. However, after the war, production gradually declined and the company closed in 1963.
Expansion of the city
Newcastle was one of the boroughs reformed by the Municipal Corporations Act 1835: the reformed municipal borough included the parishes of Byker, Elswick, Heaton, Jesmond, Newcastle All Saints, Newcastle St Andrew, Newcastle St John, Newcastle St Nicholas, and Westgate. The urban districts of Benwell and Fenham and Walker were added in 1904. In 1935, Newcastle gained Kenton and parts of the parishes of West Brunton, East Denton, Fawdon, Longbenton. The most recent expansion in Newcastle's boundaries took place under the Local Government Act 1972 on 1 April 1974, when Newcastle became a metropolitan borough, also including the urban districts of Gosforth and Newburn, and the parishes of Brunswick, Dinnington, Hazlerigg, North Gosforth and Woolsington from the Castle Ward Rural District, and the village of Westerhope.
Meanwhile Northumberland County Council was formed under the Local Government Act 1888 and benefited from a dedicated meeting place when County Hall was completed in the Castle Garth area of Newcastle in 1910. Following the Local Government Act 1972 County Hall relocated to Morpeth in April 1981.
Twentieth century
In 1925 work began on a new high-level road bridge to span the Tyne Gorge between Newcastle and Gateshead. The capacity of the existing High-Level Bridge and Swing Bridge were being strained to the limit, and an additional bridge had been discussed for a long time. The contract was awarded to the Dorman Long Company and the bridge was finally opened by King George V in 1928. The road deck was 84 feet (26 m) above the river and was supported by a 531 feet (162 m) steel arch. The new Tyne Bridge quickly became a symbol for Newcastle and Tyneside, and remains so today.
During the Second World War, Newcastle was largely spared the horrors inflicted upon other British cities bombed during the Blitz. Although the armaments factories and shipyards along the River Tyne were targeted by the Luftwaffe, they largely escaped unscathed. Manors goods yard and railway terminal, to the east of the city centre, and the suburbs of Jesmond and Heaton suffered bombing during 1941. There were 141 deaths and 587 injuries, a relatively small figure compared to the casualties in other industrial centres of Britain.
In 1963 the city gained its own university, the University of Newcastle upon Tyne, by act of parliament. A School of Medicine and Surgery had been established in Newcastle in 1834. This eventually developed into a college of medicine attached to Durham University. A college of physical science was also founded and became Armstrong College in 1904. In 1934 the two colleges merged to become King's College, Durham. This remained as part of Durham University until the new university was created in 1963. In 1992 the city gained its second university when Newcastle Polytechnic was granted university status as Northumbria University.
Newcastle City Council moved to the new Newcastle Civic Centre in 1968.
As heavy industries declined in the second half of the 20th century, large sections of the city centre were demolished along with many areas of slum housing. The leading political figure in the city during the 1960s was T. Dan Smith who oversaw a massive building programme of highrise housing estates and authorised the demolition of a quarter of the Georgian Grainger Town to make way for Eldon Square Shopping Centre. Smith's control in Newcastle collapsed when it was exposed that he had used public contracts to advantage himself and his business associates and for a time Newcastle became a byword for civic corruption as depicted in the films Get Carter and Stormy Monday and in the television series Our Friends in the North. However, much of the historic Grainger Town area survived and was, for the most part, fully restored in the late 1990s. Northumberland Street, initially the A1, was gradually closed to traffic from the 1970s and completely pedestrianised by 1998.
In 1978 a new rapid transport system, the Metro, was built, linking the Tyneside area. The system opened in August 1980. A new bridge was built to carry the Metro across the river between Gateshead and Newcastle. This was the Queen Elizabeth II Bridge, commonly known as the Metro Bridge. Eventually the Metro system was extended to reach Newcastle Airport in 1991, and in 2002 the Metro system was extended to the nearby city of Sunderland.
As the 20th century progressed, trade on the Newcastle and Gateshead quaysides gradually declined, until by the 1980s both sides of the river were looking rather derelict. Shipping company offices had closed along with offices of firms related to shipping. There were also derelict warehouses lining the riverbank. Local government produced a master plan to re-develop the Newcastle quayside and this was begun in the 1990s. New offices, restaurants, bars and residential accommodation were built and the area has changed in the space of a few years into a vibrant area, partially returning the focus of Newcastle to the riverside, where it was in medieval times.
The Gateshead Millennium Bridge, a foot and cycle bridge, 26 feet (7.9 m) wide and 413 feet (126 m) long, was completed in 2001. The road deck is in the form of a curve and is supported by a steel arch. To allow ships to pass, the whole structure, both arch and road-deck, rotates on huge bearings at either end so that the road deck is lifted. The bridge can be said to open and shut like a human eye. It is an important addition to the re-developed quayside area, providing a vital link between the Newcastle and Gateshead quaysides.
Recent developments
Today the city is a vibrant centre for office and retail employment, but just a short distance away there are impoverished inner-city housing estates, in areas originally built to provide affordable housing for employees of the shipyards and other heavy industries that lined the River Tyne. In the 2010s Newcastle City Council began implementing plans to regenerate these depressed areas, such as those along the Ouseburn Valley.
O Senhor Jesus realizou a obra de redenção na Era da Graça e, quando estava na cruz, Ele disse: “Está consumado”. Assim, muitos crentes acreditam que a
obra de Deus de salvar a humanidade foi totalmente completada, que o Senhor Jesus nos absolveu de todos os nossos pecados e que, quando o Senhor retornar, seremos arrebatados diretamente para o reino dos céus. No entanto, as pessoas da Era da Graça ainda estão presas à sua natureza pecaminosa e estão pecando constantemente e têm se tornado cada vez mais depravadas. Está escrito na Bíblia: “Sereis pois santos, porque Eu sou santo” (Levítico 11:45). “A santificação, sem a qual ninguém verá o Senhor” (Hebreus 12:14). Claramente, o que o Senhor Jesus fez foi apenas a obra de redenção, não a obra de purificar totalmente a natureza pecaminosa da humanidade. Aqueles que desejam alcançar a salvação completa e entrar no reino dos céus precisam de outro estágio da obra de Deus — a obra da salvação completa.
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Star Trek: The Motion Picture (Paramount, 1979).
putlocker.bz/watch-star-trek-the-motion-picture-online-fr... Full Feature
Starring William Shatner, Leonard Nimoy, DeForest Kelley, James Doohan, George Takei, Majel Barrett, Walter Koenig, Nichelle Nichols, Persis Khambatta, Stephen Collins, Grace Lee Whitney, Mark Lenard. Directed by Robert Wise.
In Klingon space, three Klingon battle cruisers encounter a huge cloud-like anomaly. On the bridge of one of the ships, the captain (Mark Lenard) orders his crew to fire torpedoes at it, but they have no effect. The ships take evasive action.
Meanwhile, in Federation space, a monitoring station, Epsilon 9, picks up a distress signal from one of the Klingon ships. As the three ships are attempting to escape the cloud, energy beams shoot out and engulf each ship one by one, and they vanish. On Epsilon 9, the crew tracks the course of the cloud and discovers that it is headed for Earth.
On Vulcan, Spock (Leonard Nimoy) has been undergoing the kohlinahr ritual, in which he has been learning how to purge all of his emotions, and is nearly finished with his training. A female Vulcan Master (Edna Glover), surrounded by two men, is about to give him an ornate necklace as a symbol of pure logic, when Spock holds out his hand to stop her. Confused, she mind-melds with him and senses a consciousness calling to him from space that is affecting his human side. She drops the necklace. "You have not yet achieved kohlinahr. You must look elsewhere for your answer," she says as they leave Spock. "You will not find it here."
In San Francisco, Admiral James T. Kirk (William Shatner) arrives at Starfleet Headquarters in a shuttlecraft. He sees Commander Sonak (Jon Rashad Kamal), a Vulcan science officer who is joining the Enterprise crew and recommended for the position by Kirk himself. Kirk is bothered as to why Sonak is not on board yet. Sonak explains that Captain Willard Decker (Stephen Collins), the new captain of the Enterprise, wanted him to complete his science briefing at Headquarters before they left on their mission. The Enterprise has been undergoing a complete "refitting" for the past 18 months and is now under final preparations to leave, which would take at least 20 hours, but Kirk informs him that they only have 12. He tells Sonak to report to him on the Enterprise in one hour; he has a short meeting with Admiral Nogura and is intent on being on the ship.
Kirk transports to an office complex orbiting Earth and meets Montgomery Scott (James Doohan), the Enterprise's chief engineer. Scotty expresses his concern about the tight departure time. The cloud is less than three days away from Earth, and the Enterprise has been ordered to intercept it because they are the only ship in range. Scotty says that the refit can't be finished in 12 hours, and tries to convince him that the ship needs more work done as well as a shakedown cruise. Kirk insists that they are leaving, ready or not. They board a travel pod and begin the journey over to the drydock in orbit that houses the Enterprise.
Scotty tells Kirk that the crew hasn't had enough transition time with all the new equipment and that the engines haven't even been tested at warp power, not to mention that they have an untried captain. Kirk tells Scotty that two and a half years as Chief of Starfleet Operations may have made him a little stale, but that he wouldn't exactly consider himself untried. Kirk then tells a surprised Scotty that Starfleet gave him back his command of the Enterprise. Scotty doubts it, saying that he doesn't think it was that easy with Admiral Nogura, who gave Kirk his orders. They arrive at the Enterprise, and Scotty indulges Kirk with a brief tour of the new exterior of the ship.
Upon docking with the ship, Scotty is summoned to Engineering. Kirk goes up to the bridge, and is informed by Lt. Uhura (Nichelle Nichols) that Starfleet has just transferred command from Captain Decker over to him. Kirk finds Decker in engineering, whom is visibly upset when Kirk breaks the news that he is assuming command, but recognizes it is because Kirk has more experience. Decker will remain on the ship as 2nd officer. As Decker storms off, an alarm sounds. Someone is trying to beam over to the ship, but the transporter is malfunctioning. Kirk and Scotty race to the transporter room. Transporter operator Janice Rand (Grace Lee Whitney) is frantically trying to tell Starfleet to abort the transport, but it is too late. Commander Sonak and an unknown female officer are beaming in, but their bodies aren't re-forming properly in the beam. The female officer screams, and then their bodies disappear. Starfleet signals to them that they have died. Kirk tells Starfleet to express his sympathies to their families.
In the corridor, Kirk sees Decker and tells him they will have to replace Commander Sonak and wants another Vulcan. Decker tells him that no one is available that is familiar with the ship's new design. Kirk tells Decker he will have to double his duties as science officer as well.
In the recreation room, as Kirk briefs the assembled crew on the mission, they receive a transmission from Epsilon 9. Commander Branch (David Gautreaux) tells them they have analyzed the mysterious cloud. It generates an immense amount of energy and measures 2 A.U.s (300 million km) in diameter. There is also a vessel of some kind in the center. They've tried to communicate with it and have performed scans, but the cloud reflects them back. It seems to think of the scans as hostile and attacks them. Like the Klingon ships earlier, Epsilon 9 disappears.
Later on the bridge, Uhura informs Kirk that the transporter is working now. Lt. Ilia, (Persis Khambatta), a bald being from the planet Delta IV, arrives. Decker is happy to see her, as they developed a romantic relationship when he was assigned to her planet several years earlier. Ilia is curious about Decker's reduction in rank and Kirk interrupts and tells her about Decker being the executive and science officer. Decker tells her, with slight sarcasm, that Kirk has the utmost confidence in him. Ilia tells Kirk that her oath of celibacy is on record and asks permission to assume her duties. Uhura tells Kirk that one of the last few crew members to arrive is refusing to beam up. Kirk goes to the transporter room to ensure that "he" beams up.
Kirk tells Starfleet to beam the officer aboard. Dr. Leonard "Bones" McCoy (DeForest Kelley) materializes on the platform. McCoy is angry that his Starfleet commission was reactivated and that it was Kirk's idea for him to be brought along on the mission. His attitude changes, however, when Kirk says he desperately needs him. McCoy leaves to check out the new sickbay.
The crew finishes its repairs and the Enterprise leaves drydock and into the solar system. Dr. McCoy comes up to the bridge and complains that the new sickbay is nothing but a computer center. Kirk is anxious to intercept the cloud intruder, and orders Hikaru Sulu (George Takei) to go to warp speed. Suddenly, the ship enters a wormhole, which was created by an engine imbalance, and is about to collide with an asteroid that has been pulled inside. Kirk orders the phasers to be fired on it, but Decker tells Pavel Chekov (Walter Koenig) to fire photon torpedoes instead. The asteroid and the wormhole are destroyed. Annoyed, Kirk wants to meet with Decker in his quarters. Dr. McCoy decides to go along.
Kirk demands an explanation from Decker. Decker pointed out that the redesigned Enterprise channeled the phasers through the main engines and because they were imbalanced, the phasers were cut off. Kirk acknowledged that he had saved the ship; however, he accuses Decker of competing with him. Decker tells Kirk that, because of his unfamiliarity with the ship's new design, the mission is in jeopardy. Decker tells Kirk that he will gladly help Kirk understand the new design. Kirk then dismisses him from the room. In the corridor, Decker runs into Ilia. Ilia asked if the confrontation was difficult, and he tells her that it was about as difficult as seeing her again, and apologizes. She asked if he was sorry for leaving Delta IV, or for not saying goodbye. He said that if he had seen her again, would she be able to say goodbye? She says "no," and walked around him and entered her quarters nearby.
Back in Kirk's quarters, McCoy accuses Kirk of being the one who was competing, and the fact that it was Kirk who used the emergency to pressure Starfleet into letting him get command of the Enterprise. McCoy thinks that Kirk is obsessed with keeping his command. On Kirk's console viewscreen, Uhura informs Kirk that a shuttlecraft is approaching and that the occupant wishes to dock. Chekov also pipes in and replies that it appears to be a courier vessel. Kirk tells Chekov to handle the situation.
The shuttle approaches the Enterprise from behind, and the top portion of it detaches and docks at an airlock behind the bridge. Chekov is waiting by the airlock doors and is surprised to see Spock come aboard. Moments later, Spock arrives on the bridge, and everyone is shocked and pleased to see him, yet Spock ignores them. He moves over to the science station and tells Kirk that he is aware of the crisis and knows about the ship's engine design difficulties. He offers to step in as the science officer. McCoy and Dr. Christine Chapel (Majel Barret Roddenberry) come to the bridge to greet Spock, but Spock just stares alarmingly at their emotional outburst. Spock leaves to discuss fuel equations with Scotty in engineering.
With Spock's assistance, the engines are now rebalanced for full warp capacity. The ship successfully goes to warp to intercept the cloud. In the officers lounge, Spock meets with Kirk and McCoy. They discuss Spock's kohlinahr training on Vulcan, and how Spock broke off from his training to join them. Spock describes how he sensed the consciousness of the intruder, from a source more powerful that he has ever encountered, with perfect, logical thought patterns. He believes that it holds the answers he seeks. Uhura tells Kirk over the intercom that they have visual contact with the intruder.
The cloud scans the ship, but Kirk orders no return scans. Spock determines that the scans are coming from the center of the cloud. Uhura tries sending "linguacode" messages, but there is no response. Decker suggests raising the shields for protection, but Kirk determines that that might be considered hostile to the cloud. Spock analyzes the clouds composition, and discovers it has a 12-power energy field, the equivalent of power generated by thousands of starships.
Sitting at the science station, Spock awakens from a brief trance. He reveals to Kirk that the alien was communicating with him. The alien is puzzled; it contacted the Enterprise--why has the Enterprise not replied? A red alert sounds, and an energy beam from within the cloud touches the ship, and begins to overload the ship's systems. Bolts of lightning surround the warp core and nearly injure some engineering officers, and Chekov is also hurt--his hand is burned while sitting at the weapons station on the bridge. The energy beam then disappears. A medical team is summoned to the bridge, and Ilia is able to use her telepathic powers to soothe Chekov's pain.
Spock confirms to Kirk that the alien has been attempting to communicate. It communicates at a frequency of more than one million megahertz, and at such a high rate of speed, the message only lasts a millisecond. Spock programs to computer to send linguacode messages at that frequency. Another energy beam is sent out, but Spock transmits a message just in time, and the beam disappears. The ship continues on course through the cloud. They pass through many expansive and colorful cloud layers and upon clearing these, a giant vessel is revealed. It is roughly cylindrical in shape, with large spikes jutting out from the surface at equidistant angles between each other, forming a hexagon-like shape.
Kirk tells Uhura to transmit an image of the alien to Starfleet, but she explains that any transmission sent out of the cloud is being reflected back to them. Kirk orders Sulu to fly above and along the top of the vessel. The Enterprise is so small compared to the size of the alien vessel that it appears only as a little white dot next to it. The ship travels past many oddly-shaped structures, including a sunken area where the energy beams originate.
An alarm sounds, and yet another energy bolt approaches the ship. It appears on the bridge as a column of bright light that emits a very loud noise. The crew struggles to shield their eyes from its brilliant glow. Chekov asks Spock if it is one of the alien's crew, and Spock replies that it is a probe sent from the vessel. The probe slowly moves around the room and stops in front of the science station. Bolts of lightning shoot out from it and surround the console--it is trying to access the ship's computer. Spock manages to smash the controls to prevent further access, and the probe gives him an electric shock that sends him rolling onto the floor. The probe approaches the helm/navigation console and it scans Lt. Ilia. Suddenly, she vanishes, along with the probe.
Ahead of the ship looms another giant section of the vessel. A tractor beam is drawing the Enterprise toward an opening aperture. Decker calls for Chief DiFalco (Marcy Lafferty) to come up to the bridge as Ilia's replacement. The ship travels deep into the next chamber. Decker wonders why they were brought inside--they could have been easily destroyed outside. Spock deduces that the alien is curious about them. Uhura's monitor shows that the aperture is closing; they are trapped. The ship is released from the tractor beam and suddenly, an intruder alert goes off. Someone has come aboard the ship and is in the crew quarters section.
Kirk and Spock arrive inside a crewman's quarters to discover that the intruder is inside the sonic shower. It is revealed to be Ilia, although it isn't really her--there is a small red device attached to her neck. In a mechanized voice, she replies "You are the Kirk unit--you will listen to me." She explains that she has been programmed by an entity called "V'Ger" to observe and record the normal functions of the carbon-based units (humans) "infesting" the Enterprise. Kirk opens the shower door and "Ilia" steps out, wearing a small white garment that just materialized around her. Dr. McCoy and a security officer enter the room, and Kirk tells McCoy to scan her with a tricorder.
Kirk asks her who V'Ger is. She replies "V'Ger is that which programmed me." McCoy tells Kirk that Ilia is a mechanism and Spock confirms she is a probe that assumed Ilia's physical form. Kirk asks where the real Ilia is, and the probe states that "that unit" no longer functions. Kirk also asks why V'Ger is traveling to Earth, and the probe answers that it wishes to find the Creator, join with him, and become one with it. Spock suggests that McCoy perform a complete examination of the probe.
In sickbay, the Ilia probe lays on a diagnostic table, its sensors slowly taking readings. All normal body functions, down to the microscopic level, are exactly duplicated by the probe. Decker arrives and is stunned to see her there. She looks up at him and addresses him as "Decker", rather than "Decker unit," which intrigues Spock. Spock talks with Kirk and Decker in an adjoining room, and Spock locks the door. Spock theorizes that the real Ilia's memories and feelings have been duplicated by the probe as well as her body. Decker is angry that the probe killed Ilia, but Kirk convinces him that their only contact with the vessel is through the probe, and they need to use that advantage to find out more about the alien. Suddenly, the probe bursts through the door, and demands that Kirk assist her with her observations. He tells her that Decker will do it with more efficiency.
Decker and Ilia are seen walking around in the recreation room. He shows her pictures of previous ships that were named Enterprise. Decker has been trying to see if Ilia's memories or emotions can resurface, but to no avail. Kirk and McCoy are observing them covertly on a monitor from his quarters. Decker shows her a game that the crew enjoys playing. She is not interested and states that recreation and enjoyment has no meaning to her programming. At another game, which Ilia enjoyed and nearly always won, they both press one of their hands down onto a table to play it. The table lights up, indicating she won the game, and she gazes into Deckers eyes. This moment of emotion ends suddenly, and she returns to normal. "This device serves no purpose."
"Why does the Enterprise require the presence of carbon units?" she asks. Decker tells her the ship couldn't function without them. She tells him that more information is needed before the crew can be patterned for data storage. Horrified, he asks her what this means. "When my examination is complete, all carbon units will be reduced to data patterns." He tells her that within her are the memory patterns of a certain carbon unit. He convinces her to let him help her revive those patterns so that she can understand their functions better. She allows him to proceed.
Spock slowly enters an airlock room. He sees an officer standing at a console, his back to Spock. Spock quietly approaches him, and gives him the Vulcan nerve pinch to render him unconscious.
Decker, the probe, Dr. McCoy, and Dr. Chapel are in Ilia's quarters. Dr. Chapel gives the probe a decorative headband that Ilia used to wear. Chapel puts it over "Ilia's" head and turns her toward a mirror. Decker asks her if she remembers wearing it on Delta IV. The probe shows another moment of emotion, saying Dr. Chapel's name, and putting her hand on Decker's face, calling him Will. Behind them, McCoy reminds Decker that she is a mechanism. Decker asks "Ilia" to help them make contact with V'Ger. She says that she can't, and Decker asks her who the Creator is. She says V'Ger does not know. The probe becomes emotionless again and removes the headband.
Spock is now outside the ship in a space suit with an attached thruster pack. He begins recording a log entry for Kirk detailing his attempt to contact the alien. He activates a panel on the suit and calculates thruster ignition and acceleration to coincide with the opening of an aperture ahead of him. He hopes to get a better view of the spacecraft interior.
Kirk comes up to the bridge and Uhura tells him that Starfleet signals are growing stronger, indicating they are very close to Earth. Starfleet is monitoring the intruder and notifies Uhura that it is slowing down in its approach. Sulu confirms this and says that lunar beacons show the intruder is entering into orbit. Chekov tells Kirk that Airlock 4 has been opened and a thruster suit is missing. Kirk figures out that Spock has done it, and orders Chekov to get Spock back on the ship. He changes his mind, and instead tells him to determine his position.
Spock touches a button on his thruster panel and his thruster engine ignites. He is propelled forward rapidly, and enters the next chamber of the vessel just before the aperture closes behind him. The thruster engine shuts down, and the momentum carries Spock ahead further. He disconnects the thruster pack from his suit and it falls away from him.
Continuing his log entry, Spock sees an image of what he believes to be V'Gers home planet. He passes through a tunnel filled with crackling plasma energy, possibly a power source for a gigantic imaging system. Next, he sees several more images of planets, moons, stars, and galaxies stored and recorded. Spock theorizes that this may be a visual representation of V'Gers entire journey. "But who or what are we dealing with?" he ponders.
He sees the Epsilon 9 station, and notes to Kirk that he is convinced that all of what he is seeing is V'Ger; and that they are inside a living machine. Then he sees a giant image of Lt. Ilia with the sensor on her neck. Spock decides it must have some special meaning, so he attempts to mind-meld with it. He is quickly overwhelmed by the multitude of images flooding his mind, and is thrown backward.
Kirk is now in a space suit and has exited the ship. The aperture in front of the Enterprise opens, and Spock's unconscious body floats toward him. Later, Dr. Chapel and Dr. McCoy are examining Spock in sickbay. Dr. McCoy performs scans and determines that Spock endured massive neurological trauma from the mind-meld. Spock tells Kirk he should have known and Kirk asks if he was right about V'Ger. Spock calls it a conscious, living entity. Kirk explains that V'Ger considers the Enterprise a living machine and it's why "Ilia" refers to the ship as an entity and the crew as an infestation.
Spock describes V'Ger's homeworld as a planet populated by living machines with unbelievable technology. But with all that logic and knowledge, V'Ger is barren, with no mystery or meaning. He momentarily lapses into sleep but Kirk rouses him awake to ask what Spock should have known. Spock grasps Kirk's hand and tells him "This simple feeling is beyond V'Ger's comprehension. No meaning, no hope. And Jim, no answers. It's asking questions. 'Is this all that I am? Is there nothing more?'"
Uhura chimes in and tells Kirk that they are getting a faint signal from Starfleet. The intruder has been on their monitors for a while and the cloud is rapidly dissipating as it approaches. Sulu also comments that the intruder has slowed to sub-warp speed and is three minutes from Earth orbit. Kirk acknowledges and he, McCoy and Spock go up to the bridge.
Starfleet sends the Enterprise a tactical report on the intruders position. Uhura tells Kirk that V'Ger is transmitting a signal. Decker and "Ilia" come up to the bridge, and she says that V'Ger is signaling the Creator. Spock determines that the transmission is a radio signal. Decker tells Kirk that V'Ger expects an answer, but Kirk doesn't know the question. Then "Ilia" says that the Creator has not responded. An energy bolt is released from V'Ger and positions itself above Earth. Chekov reports that all planetary defense systems have just gone inoperative. Several more bolts are released, and they all split apart to form smaller ones and they assume equidistant positions around the planet.
McCoy notices that the bolts are the same ones that hit the ship earlier, and Spock says that these are hundreds of times more powerful, and from those positions, they can destroy all life on Earth. "Why?" Kirk asks "Ilia." She says that the carbon unit infestation will be removed from the Creator's planet as they are interfering with the Creator's ability to respond and accuses the crew of infesting the Enterprise and interfering in the same manner. Kirk tells "Ilia" that carbon units are a natural function of the Creator's planet and they are living things, not infestations. However "Ilia" says they are not true life forms like the Creator. McCoy realizes V'Ger must think its creator is a machine.
Spock compares V'Ger to a child, and suggests they treat it like one. McCoy retorts that this child is about to wipe out every living thing on Earth. To get "Ilia's" attention, Kirk says that the carbon units know why the Creator hasn't responded. The Ilia probe demands that the Creator "disclose the information." Kirk won't do it until V'Ger withdraws all the orbiting devices. In response to this, V'Ger cuts off the ship's communications with Starfleet. She tells him again to disclose the information. He refuses, and a plasma energy attack shakes the ship. McCoy tells Spock that the child is having a "tantrum."
Kirk tells the probe that if V'Ger destroys the Enterprise, then the information it needs will also be destroyed. Ilia says that it is illogical to withhold the required information, and asks him why he won't disclose it. Kirk explains it is because V'Ger is going to destroy all life on Earth. "Ilia" says that they have oppressed the Creator, and Kirk makes it clear he will not disclose anything. V'Ger needs the information, says "Ilia." Kirk says that V'Ger will have to withdraw all the orbiting devices. "Ilia" says that V'Ger will comply, if the carbon units give the information.
Spock tells Kirk that V'Ger must have a central brain complex. Kirk theorizes that the orbiting devices are controlled from there. Kirk tells "Ilia" that the information cant be disclosed to V'Ger's probe, but only to V'Ger itself. "Ilia" stares at the viewscreen, and, in response, the aperture opens and drags the ship forward with a tractor beam into the next chamber. Chekov tells Kirk that the energy bolts will reach their final positions and activate in 27 minutes. Kirk calls to Scotty on the intercom and tells him to stand by to execute Starfleet Order 2005; the self-destruct command. A female crewmember asks Scotty why Kirk ordered self-destruct, and Scotty tells her that Kirk hopes that when they explode, so will the intruder.
The countdown is now down to 18 minutes. DiFalco reports that they have traveled 17 kilometers inside the vessel. Kirk goes over to Spock's station, and sees that Spock has been crying. "Not for us," Kirk realizes. Spock tells him he is crying for V'Ger, and that he weeps for V'Ger as he would for a brother. As he was when he came aboard the Enterprise, so is V'Ger now--empty, incomplete, and searching. Logic and knowledge are not enough. McCoy realizes Spock has found what he needed, but that V'Ger hasn't. Decker wonders what V'Ger would need to fulfill itself.
Spock comments that each one of us, at some point in our lives asks, "Why am I here?" "What was I meant to be?" V'Ger hopes to touch its Creator and find those answers. DiFalco directs Kirk's attention to the viewscreen. Ahead of them is a structure with a bright light. Sulu reports that forward motion has stopped. Chekov replies that an oxygen/gravity envelope has formed outside of the ship. "Ilia" points to the structure on the screen and identifies it as V'Ger. Uhura has located the source of the radio signal and it is straight ahead. A passageway forms outside the ship as Kirk Spock, McCoy, Decker, and "Ilia" enter a turbolift.
The landing party exits an airlock on the top of the saucer section and walks up the passageway. At the end of the path is a concave structure, and in the center of it is an old NASA probe from three centuries earlier. Kirk tries to rub away the smudges on the nameplate and makes out the letters V G E R. He continues to rub, and discovers that the craft is actually Voyager 6. Kirk recalls the history of the Voyager program--it was designed to collect data and transmit it back to Earth. Decker tells Kirk that Voyager 6 disappeared through a black hole.
Kirk says that it must have emerged on the far side of the galaxy and got caught in the machine planet's gravity. Spock theorizes that the planet's inhabitants found the probe to be one of their own kind--primitive, yet kindred. They discovered the probe's 20th century programming, which was to collect data and return that information to its creator. The machines interpreted that instruction literally, and constructed the entire vessel so that Voyager could fulfill its programming. Kirk continues by saying that on its journey back, it amassed so much knowledge that it gained its own consciousness.
"Ilia" tells Kirk that V'Ger awaits the information. Kirk calls Uhura on his communicator and tells her to find information on the probe in the ship's computer, specifically the NASA code signal, which will allow the probe to transmit its data. Decker realizes that that is what the probe was signaling--it's ready to transmit everything. Kirk then says that there is no one on Earth who recognizes the old-style signal--the Creator does not answer.
Kirk calls out to V'Ger and says that they are the Creator. "Ilia" says that is not logical--carbon units are not true life forms. Kirk says they will prove it by allowing V'Ger to complete its programming. Uhura calls Kirk on his communicator and tells him she has retrieved the code. Kirk tells her to set the Enterprise transmitter to the code frequency and to transmit the signal. Decker reads off the numerical code on his tricorder, and is about to read the final sequence, but Voyager's circuitry burns out, an effort by V'Ger itself to prevent the last part of the code from being transmitted.
"Ilia" says that the Creator must join with V'Ger, and turns toward Decker. McCoy warns Kirk that they only have 10 minutes left. Decker figures out that V'Ger wanted to bring the Creator here and transmit the code in person. Spock tells Kirk that V'Ger's knowledge has reached the limits of the universe and it must evolve. Kirk says that V'Ger needs a human quality in order to evolve. Decker thinks that V'Ger joining with the Creator will accomplish that. He then goes over to the damaged circuitry and fixes the wires so he can manually enter the rest of the code through the ground test computer. Kirk tries to stop him, but "Ilia" tosses him aside. Decker tells Kirk that he wants this as much as Kirk wanted the Enterprise.
Suddenly, a bright light forms around Decker's body. "Ilia" moves over to him, and the light encompasses them both as they merge together. Their bodies disappear, and the light expands and begins to consume the area. Kirk, Spock, and McCoy retreat back to the Enterprise. V'Ger explodes, leaving the Enterprise above Earth, unharmed. On the bridge, Kirk wonders if they just saw the beginning of a new life form, and Spock says yes and that it is possibly the next step in their evolution. McCoy says that its been a while since he "delivered" a baby, and hopes that they got this one off to a good start.
Uhura tells Kirk that Starfleet is requesting the ship's damage and injury reports and vessel status. Kirk reports that there were only two casualties: Lt. Ilia and Captain Decker. He quickly corrects his statement and changes their status to "missing." Vessel status: fully operational. Scotty comes on the bridge and agrees with Kirk that it's time to give the Enterprise a proper shakedown. When Scotty offers to have Spock back on Vulcan in four days, Spock says that's unnecessary, as his task on Vulcan is completed.
Kirk tells Sulu to proceed ahead at warp factor one. When DiFalco asks for a heading, Kirk simply says "Out there, thataway." With that, the Enterprise flies overhead and engages warp drive.
youtu.be/4n2dGwYcp9k?t=8s Star Trek Theme
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le Logement Collectif* 50,60,70's, dans tous ses états..Histoire & Mémoire d'H.L.M. de Copropriété Renouvellement Urbain-Réha-NPNRU., twitter.com/Memoire2cite tout içi sig.ville.gouv.fr/atlas/ZUS/ - media/InaEdu01827/la-creatio" rel="noreferrer nofollow">fresques.ina.fr/jalons/fiche-media/InaEdu01827/la-creatio Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,
www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije : mécanisation, rationalisation et élaboration industrielle de la production. Des exemples concrets sont présentés afin d'illustrer l'utilisation des différentes innovations : les coffrages outils, coffrage glissant, le tunnel, des procédés pour accélérer le durcissement du béton. Le procédé dit de coffrage glissant est illustré sur le chantier des tours Pablo Picasso à Nanterre. Le principe est de s'affranchir des échafaudages : le coffrage épouse le contour du bâtiment, il s'élève avec la construction et permet de réaliser simultanément l'ensemble des murs verticaux. Au centre du plancher de travail, une grue distribue en continu le ferraillage et le béton. Sur un tel chantier les ouvriers se relaient 24h / 24 , www.dailymotion.com/video/xwytke?playlist=x34ije , www.dailymotion.com/video/x1bci6m?playlist=x34ije
Le reportage se penche ensuite sur la préfabrication en usine. Ces procédés de préfabrication en usine selon le commentaire sont bien adaptés aux pays en voie de développement, cela est illustré dans le reportage par une réalisation en Libye à Benghazi. Dans la course à l'allégement des matériaux un procédé l'isola béton est présenté. Un chapitre sur la construction métallique explique les avantage de ce procédé. La fabrication de composants ouvre de nouvelles perspectives à l'industrie du bâtiment.
Lieux géographiques : la Grande Borne 91, le Vaudreuil 27, Avoriaz, Avenue de Flandres à Paris, tours Picasso à Nanterre, vues de la défense, Benghazi Libye
www.dailymotion.com/playlist/x34ije_territoiresgouv_cinem... - mémoire2cité - le monde de l'Architecture locative collective et bien plus encore - mémoire2cité - Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,
Le Joli Mai (Restauré) - Les grands ensembles BOBIGNY l Abreuvoir www.youtube.com/watch?v=eUY9XzjvWHE … et la www.youtube.com/watch?v=hK26k72xIkU … www.youtube.com/watch?v=xCKF0HEsWWo …
Genève Le Grand Saconnex & la Bulle Pirate - architecte Marçel Lachat -
Un film de Julien Donada içi www.youtube.com/watch?time_continue=1&v=4E723uQcpnU … … .Genève en 1970. pic.twitter.com/1dbtkAooLM è St-Etienne - La muraille de Chine, en 1973 ce grand immeuble du quartier de Montchovet, existait encore photos la Tribune/Progres.
www.youtube.com/watch?v=AJAylpe8G48 …, - la tour 80 HLM située au 1 rue Proudhon à Valentigney dans le quartier des Buis Cette tour emblématique du quartier avec ces 15 étages a été abattu par FERRARI DEMOLITION (68). VALENTIGNEY (25700) 1961 - Ville nouvelle-les Buis 3,11 mn www.youtube.com/watch?v=C_GvwSpQUMY … - Au nord-Est de St-Etienne, aux confins de la ville, se dresse une colline Montreynaud la ZUP de Raymond Martin l'architecte & Alexandre Chemetoff pour les paysages de St-Saens.. la vidéo içi * Réalisation : Dominique Bauguil www.youtube.com/watch?v=Sqfb27hXMDo … … - www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije : mécanisation, rationalisation et élaboration industrielle de la production. Des exemples concrets sont présentés afin d'illustrer l'utilisation des différentes innovations : les coffrages outils, coffrage glissant, le tunnel, des procédés pour accélérer le durcissement du béton. Le procédé dit de coffrage glissant est illustré sur le chantier des tours Pablo Picasso à Nanterre. Le principe est de s'affranchir des échafaudages : le coffrage épouse le contour du bâtiment, il s'élève avec la construction et permet de réaliser simultanément l'ensemble des murs verticaux. Au centre du plancher de travail, une grue distribue en continu le ferraillage et le béton. Sur un tel chantier les ouvriers se relaient 24h / 24 , www.dailymotion.com/video/xwytke?playlist=x34ije , www.dailymotion.com/video/x1bci6m?playlist=x34ije
Le reportage se penche ensuite sur la préfabrication en usine. Ces procédés de préfabrication en usine selon le commentaire sont bien adaptés aux pays en voie de développement, cela est illustré dans le reportage par une réalisation en Libye à Benghazi. Dans la course à l'allégement des matériaux un procédé l'isola béton est présenté. Un chapitre sur la construction métallique explique les avantage de ce procédé. La fabrication de composants ouvre de nouvelles perspectives à l'industrie du bâtiment.
la Grande Borne 91, le Vaudreuil 27, Avoriaz, Avenue de Flandres à Paris, tours Picasso à Nanterre, vues de la défense, Benghazi Libye 1975 Réalisateur : Sydney Jézéquel, Karenty
la construction des Autoroutes en France - Les liaisons moins dangereuses 1972 www.dailymotion.com/video/xxi0ae?playlist=x34ije - Ministère de l'Équipement et de l'Aménagement du Territoire - Dotation par la France d'autoroutes modernes "nécessité vitale" pour palier à l'inadaptation du réseau routier de l'époque voué à la paralysie : le reportage nous montre des images d'embouteillages. Le ministre de l'Équipement et de l'Aménagement du Territoire dans les deux gouvernements de Pierre Messmer, de 1972 à 1974, Olivier Guichard explique les ambitions du programme de construction qui doit atteindre 800 km par ans en 1978. L'ouverture de section nouvelles va bon train : Nancy / Metz par exemple. Le reportage nous montre l'intérieur des bureaux d'études qui conçoivent ces autoroute dont la conception est assistée par ordinateurs dont le projet d'ensemble en 3D est visualisé sur un écran. La voix off nous informe sur le financement de ces équipements. Puis on peut voir des images de la construction du pont sur la Seine à Saint Cloud reliant l'autoroute de Normandie au périphérique, de l'échangeur de Palaiseau sur 4 niveau : record d'Europe précise le commentaire. Le reportage nous informe que des sociétés d'économies mixtes ont étés crées pour les tronçons : Paris / Lille, Paris / Marseille, Paris / Normandie. Pour accélérer la construction l’État a eu recours à des concessions privées par exemple pour le tronçon Paris / Chartres. "Les autoroutes changent le visage de la France : artères économiques favorisant le développement industriel elles permettent de revitaliser des régions en perte de vitesse et de l'intégrer dans le mouvement général de l'expansion" Sur le plan européen elles vont combler le retard de la France et réaliser son insertion. Images de l'inauguration de l'autoroute entre Paris et Bruxelles par le président Georges Pompidou. Le reportage rappel que l'autre fonction capitale des autoroute est de favoriser la sécurité. La question de la limitation de vitesse est posée au ministre de l’Équipement, qui n'y est favorable que sur certains tronçons. Un des facteur de sécurité selon le commentaire est l'humanisation des autoroutes : aires de repos, restaurants, signalisation touristiques... "Rien n'est impossible aux techniques modernes" nous apprend la voix off qui prend comme exemple le déplacement sur rail de 65 mètres d'un château classé afin de faire passer l'autoroute Lille / Dunkerque.Durée : 4 minutes 30 secondes
Sur les routes de France les ponts renaissent 1945 reconstruction de la France après la Seconde Guerre mondiale www.dailymotion.com/video/xuxrii?playlist=x34ije , Quelques mois après la fin de la Seconde Guerre mondiale, un triste constat s'impose : 5 944 passages sont coupés, soit plus de 110 km de brèches ; de nombreuses villes se trouvent isolées.Les chantiers s'activent dans toute la France pour "gagner la bataille des communications routières". Mais outre la pénurie de main d’œuvre, il faut faire face au manque de matériaux (béton, métal) et donc déployer des trésors d'imagination pour reconstruire les ponts détruits. Si le savoir faire des tailleurs de pierre est exploité, le plus spectaculaire est le relevage des ponts, comme le pont de Galliéni à Lyon, où 7 à 800 tonnes d'acier sont sorti de l'eau avec des moyens de l'époque. En avril 1945, il reste 5 700 ponts à reconstruire soit 200 000 tonnes d'acier, 600 000 tonnes de ciment, 250 000 m3 de bois, 10 millions de journées d'ouvrier, prix de l'effort de reconstruction.1945
Auteurs / réalisateurs : images : G.Delaunay, A.Pol, son : C.Gauguier Production : Direction Technique des Services des Ponts et Chaussées / Ministère des Travaux Publics et des Transports Support original : 16 mm noir et blanc Durée : 14 min Thèmes principaux : infrastructures-ouvrages d'art Mot clés : chantier, pont, Reconstruction, restauration, béton précontraint, ministère des travaux publics et des transports
Lieux : Lyon, Tournon, Caen - Le Bosquel, un village renait 1947 l'album cinématographique de la reconstruction, réalisation Paul de Roubaix production ministère de la Reconstruction et de l'Urbanisme, village prototype, architecte Paul Dufournet, www.dailymotion.com/video/xx5tx8?playlist=x34ije - Demain Paris 1959 dessin animé présentant l'aménagement de la capitale dans les années 60, Animation, dessin animé à vocation pédagogique visant à promouvoir la politique d’aménagement suivie dans les années 60 à Paris. Un raccourci historique sur l’extension de Paris du Moyen Âge au XIXe siècle (Lutèce, œuvres de Turgot, Napoléon, Haussmann), ce dessin animé retrace la naissance de la banlieue et de ses avatars au XXe siècle. Il annonce les grands principes d’aménagement des villes nouvelles et la restructuration du centre de Paris (référence implicite à la charte d’Athènes). Le texte est travaillé en rimes et vers. Une chanson du vieux Paris conclut poétiquement cette vision du futur. Thèmes principaux : Aménagement urbain / planification-aménagement régional Mots-clés : Banlieue, extension spatiale, histoire, quartier, ville, ville nouvelle Lieu géographique : Paris 75 Architectes ou personnalités : Eugène Haussmann, Napoléon, Turgot Réalisateurs : André Martin, Michel Boschet Production : les films Roger Leenhardt
www.dailymotion.com/video/xw6lak?playlist=x34ije - Rue neuve 1956 la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, villes, villages, grands ensembles réalisation : Jack Pinoteau , Panorama de la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, ce film de commande évoque les villes et villages français détruits puis reconstruits dans un style respectant la tradition : Saint-Malo, Gien, Thionville, Ammerschwihr, etc. ainsi que la reconstruction en rupture avec l'architecture traditionnelle à Châtenay-Malabry, Arles, Saint Étienne, Évreux, Chambéry, Villeneuve-Saint-Georges, Abbeville, Le Havre, Marseille, Boulogne-sur-Mer, Dunkerque. Le documentaire explique par exemple la manière dont a été réalisée la reconstruction de Saint-Malo à l'intérieur des rempart de la vieille ville : "c'est la fidélité à l'histoire et la force du souvenir qui a guidé l'architecte". Dans le même esprit à Gien, au trois quart détruite en 1940, seul le château construit en 1494 pour Anne de Beaujeu, fille aînée de Louis XI, fut épargné par les bombardements. La ville fut reconstruite dans le style des rares immeubles restant. Gien est relevé de ses ruines et le nouvel ensemble harmonieux est appelé « Joyau de la Reconstruction française ». Dans un deuxième temps est abordé le chapitre de la construction des cités et des grands ensembles, de l’architecture du renouveau qualifiée de "grandiose incontestablement". S’il est précisé "on peut aimer ou de ne pas aimer ce style", l’emporte au final l’argument suivant : les grands ensembles, c'est la campagne à la ville, un urbanisme plus aéré, plus vert." les films caravelles 1956, Réalisateur : Jack Pinoteau (connu pour être le metteur en scène du film Le Triporteur 1957 qui fit découvrir Darry Cowl) www.dailymotion.com/video/xuz3o8?playlist=x34ije , Film d'archive actualités de 1952 Reconstruction de la France sept ans après la fin de la seconde guerre mondiale état des lieux de la crise du logement , Actualités de 1952. Sept ans après la fin de la seconde guerre Mondiale état des lieux de la reconstruction de la France et de la crise du logement à l’œuvre, pénurie de logement, logements insalubres. Les actualités montrent des images d'archives de la destruction de la France, les Chars de la division Leclerc qui défilent sur les Champs Elysees. Le commentaire dénonce la lenteur de la reconstruction et notamment des manifestations qui ont eu lieue à Royan afin d''accélérer la reconstruction de la ville détruite.Le film montre à Strasbourg, Mulhouse, des réalisation moderne de grands ensembles et des images d'archive de la reconstruction du Havre de Saint Nazaire.
Le film se termine à Marseille sur les réalisation nouvelles autour du vieux port puis on assiste à l'inauguration de la Cité Radieuse par le ministre de la Reconstruction et de l'Urbanisme Eugène Claudius-Petit en présence de son architecte Le Corbusier à qui le ministre remet la cravate de commandeur de la légion d'honneur. www.dailymotion.com/video/xk1g5j?playlist=x34ije Brigitte Gros - Urbanisme - Filmer les grands ensembles 2016 - par Camille Canteux chercheuse au CHS -Centre d'Histoire Sociale - Jeanne Menjoulet - Ce film du CHS daté de 2014 www.youtube.com/watch?v=VDUBwVPNh0s … L'UNION SOCIALE POUR L'HABITAT le Musée des H.L.M. musee-hlm.fr/ union-habitat.org/ - EXPOSITION :LES 50 ANS DE LA RESIDENCe SALMSON POINT-Du JOUR
www.salmsonlepointdujour.fr/pdf/Exposition_50_ans.pdf - Sotteville Construction de l’Anjou, le premier immeuble de la Zone Verte sottevilleaufildutemps.fr/2017/05/04/construction-de-limm... - www.20minutes.fr/paris/diaporama-7346-photo-854066-100-an... - www.ladepeche.fr/article/2010/11/02/940025-140-ans-en-arc... dreux-par-pierlouim.over-blog.com/article-chamards-1962-9... missionphoto.datar.gouv.fr/fr/photographe/7639/serie/7695...
Zheng Muen is a co-worker at a Chinese Christian church in the United States. He has believed in the Lord for many years, and has worked for the Lord with unwavering enthusiasm. One day, his aunt witnessed to him that the Lord Jesus has returned and expressed the truth, and that He is performing the judgment and cleansing work of the last days. Hearing this news, Zheng Muen was very excited. Through reading Almighty God's words and watching the movies and videos of The Church of Almighty God, Zheng Muen confirmed from his heart that the words of Almighty God are the truth, and that Almighty God is quite possibly the second coming of Lord Jesus. Therefore, he and several brothers and sisters began investigating God's work of the last days. Unexpectedly, when Pastor Ma of his church learned this, he tried to disrupt and hinder Zheng Muen over and over. In order to make Zheng Muen give up examining the true way, Pastor Ma let him watch videos that the Chinese Communist government used to discredit and condemn Eastern Lightning. Zheng Muen was puzzled and couldn't understand why religious pastors and elders condemn Almighty God when it's clear that Almighty God's words are the truth and the voice of God, and why they not only do not seek and investigate the true way themselves but block other believers from accepting it. Why is this? … Afraid of being deceived and taking the wrong path, and at the same time afraid of missing the opportunity to be raptured at the Lord's return, Zheng Muen felt conflicted and confused. Just at that time, Pastor Ma sent him some negative propaganda of the Chinese Communist Party and the religious world. After reading it, Zheng Muen became doubtful. He believed the pastor's words and gave up investigating the true way. Later on, the witnesses of The Church of Almighty God fellowshiped about the truth with him, which allowed Zheng Muen to understand that the fundamental principle of investigating the true way is to see whether it has the truth and whether what is expressed is the voice of God. Only the appearance and work of Christ can express many truths, because no corrupt humans can express the truth. This is a manifold fact. If one does not pay attention to hearing the voice of God and only rely on their imagination to wait for the Lord Jesus to descend on a cloud, they will never be able to welcome God's appearance. Zheng Muen finally understood the mystery of the wise virgins hearing the voice of God that the Lord Jesus spoke of. He no longer believed the lies and fallacies of the Chinese Communist government and the religious world, and broke away from the control and bondage of the religious pastor. Zheng Muen deeply felt that it's not simple to investigate the true way, and that if one cannot discern things and does not seek the truth, they will never hear the voice of God or be brought before God's throne, and they will only die ensnared in Satan's net, which will fulfill these words in the Biblee: "My people are destroyed for lack of knowledge" (Hos 4:6), and "Fools die for want of wisdom" (Pro 10:21).
Reference: Photo 24/(345)
From the Girdwood Collection held by the British Library.
This image is part of the Europeana Collections 1914-1918
Date: 6 Sep 1915
See also:
- View this at the British Library's site
thomhaus.blogspot.com/2011/04/swimming-fish-quilt.html
I started this quilt when my little boy was about 6months old with a plan it would be for his 1st birthday. It was inspired by a picture I saw of paper fish. I loved the image of the beautiful little fish all swimming one way and then the lone fish in a bright colour swimming against the stream.
I drafted a template of the fish and divided it into 3 sections for the head, body and tail and then made up a variety of green stripes and then cut out the fish from these stripes and tacked them down with a rough running stitch.
With the help of mum (after I ruined the first go) I pieced together 3 different blue spots in varying sizes to give the effect of waves for the background.
I hand appliquéd all the fish on to the background (a laborious task to say the least) and used cute mother of pearl buttons for the fish’s eyes.
For the quilting I used the pearl cotton in the style from the Material Obsession girls as I didn’t want to be quilting this forever. The quilting shows up really nicely I think and was so quick and easy I definitely am enjoying this quilting as another way to get things finished! I also quilted a few scales on the fish using green pearl cotton to bring out the colours in the fish a little more.
,NO Self promotion by Image / HTML or WEB Link plz, Doing so Might cause you A Block from Me Only Appreciate Faves And Own Comments , and Avoid Round Up Comments with me Plz ,
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Description:
Good Bye Misty -2011, What Should have been the correct Caption for this set, I finally decide to make this a dedication to my friend RONI , and returned to the Basic and named this Photo set,
This is a Sort of Introducing BANGLADESH to my Flickr friends at different caption and set created by me.
This Photos are Taken on 20th Jan 2011 during my visit to village SALAN under Dhamrai UpoZilla, Dhaka, BANGLADSH,
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,The Misty weather in 2011 almost gone, I was Lucky to visit a village and collect few
seasonal shots, and now here presenting one of the rural Misty Lifestyle and weather , Before if you had Noticed I made a set on city life style and Misty days at Dhaka here
The Mist weather by enlarge any weather all over the world, be a misty, rainy or snow, the comes like blessing and when they go they have there last touch in the society,
And same I observe this yr, BANGLADESH sustain two cold shock in the country ,
And several people died , and a stormy / rain was although blessings for the farmer er
Still counted at least 20 life from the rural life here in BANGLADESH,
Even after all those negative , still the surreal Beauty catches peoples eye when you freeze image , and that’s the subject for me to present here in this set , for my flickr friend RONI.
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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.
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This article was printed in my hometown paper in honor of my great uncle on his 100th birthday. Kenny is a retired Milwaukee Road man.
www.wiscnews.com/juneaucountystartimes/news/local/article...
It was 100 years ago that a baby named Kenneth was enjoying his first full day on his own.
The first scheduled airline flight was taking off in Florida, flying from St. Petersburg to Tampa. Henry Ford was introducing an assembly line for his Model T. The company jumps wages from $2.40 for a nine-hour day to $5 for an eight-hour day. Charlie Chaplin debuted “The Tramp” in “Kid Auto Races at Venice.”
Ken Krotzman doesn’t remember those first days and months, but he remembers most things from his now-100-year life. With a sharp mind and sparkling eyes, he looks and acts nowhere near 100 years old. But he was born Feb. 11, 1914, near New Lisbon, about two miles from town in the Twin Bluffs area. He said the house is no longer there.
“I started at the Little Red School,” he said. “I don’t know why they called it that. The outhouse was red, so maybe the school started out red. I was born on a farm in the town of Lisbon.
“We grew what was the general run of things then – oats, corn, hay, buckwheat. Corn for the horses; we had two horses. We had a tractor. It was a Fordson, I think. It was gray. We had 10 to 12 cows and young stock, chickens. No hogs. We butchered some.”
Krotzman walked to school every day, but he said it wasn’t too bad.
“It was only a mile from our house to the post office,” he said with a chuckle. “I even went home for lunch sometimes – if I ran fast.”
After graduating high school, he attended the county normal – or teacher’s – college. He also attended the University of Wisconsin for a year.
“I taught for a year,” he said. “Then I went to the CCC camp. I worked mostly in the office there. I worked for a civilian doctor we had on hand. He was the best old guy. He even showed me how to sew up people. They’d come in with wounds and such when he wasn’t there, and I’d sew them up. That was during ’34 and ’35.”
From that came a job with the railroad – the Chicago-Milwaukee-St. Paul-Pacific, which no longer exists.
“I worked there 39 years,” he said. “I started in 1936 and stopped in 1975. I started out building bridges and was later promoted to foreman of a bridge crew. We’d repair buildings and bridges on branch lines. They eventually dried up, though. I spent quite a bit of time on the pontoon bridge at Prairie du Chien. That was quite an outfit. There was quite a lot of work and workers. They had to keep it level, so if the water went up, they had to lower the pontoon. The pontoon was basically just a boat. The mechanics were on hand to raise and operate it. They sold it in 1950 and it went out. They sold it to Lansing, Iowa, for a fishing pier.”
Krotzman loved to fish and hunt – hunted deer every year. And he did a little woodworking. He wasn’t in the armed forces because his job was designated an essential job during the war.
But the longest-lasting part and the portion of his life that brings a big smile to his face began in 1945.
“I was going fishing,” he said. “It was too dry around, so I went down a ditch on a back street. I was digging worms when I met her. She was following me.”
“You were following me!” said Arlene, his wife of almost 67 years. “I was walking to work.”
She ran a linotype in New Lisbon. The worm digging was going on behind her house.
Two years later the couple was married, May 3, 1947.
“It was my mom and dad’s 42nd anniversary,” Arlene Krotzman said.
What’s the secret of remaining married for 67 years?
“I was only home weekends,” the centenarian said. “I’d get home, be home Saturday and Sunday, and then go back Sunday afternoon.”
The two enjoyed their weekends.
“We’d go to dances with friends,” Arlene Krotzman said. “They used to have dance halls. We used to go out to the Bluffs; that was the main entertainment on Saturday nights.”
The two said they often went to River Bend, which was halfway between New Lisbon and Mauston.
“There’s nothing there now,” she said. “It was a bar plus food. It was a nice place.”
The couple had three children – Jim in 1949, Kathy in 1950 and Timothy in 1956. Jeff was stillborn in 1954.
“A guy was here to sell us a TV that night,” Arlene Krotzman said of Jeff’s birth. “I was starting labor and he didn’t want to leave.”
But they did buy the television, which was, of course, black and white. Ken Krotzman remembered the first television he ever saw, a bit of time before that.
“It was down the line a ways,” he said. “They had this contraption set up. The screen was all green.”
On their first TV, favorite shows were Ed Sullivan and Gunsmoke.
“We listened to Barn Dance on the radio,” Ken Krotzman said. “We had an old Silvertone radio with three big dials and two smaller dials. You had to fiddle with it to no end to get anything on the dang thing.”
Today he likes to read newspapers and books. He likes sports. Football – the Packers, of course. Basketball and baseball. The Badgers and the Brewers.
“It doesn’t seem like 100 years,” he said. “You can’t connect things through that. You just live this. The main thing is to stay really sharp.”
The most important thing he’s learned? That took a few moments of thought.
“I guess getting along with other people,” he said. “I ran a crew for years, and had to do that. You need to get along. Plus I always figure to not do anything to excess.”
This Sunday the two are celebrating that 100-year mark with a birthday party at the house they’ve lived in since 1948.
“We still do everything for ourselves,” Arlene Krotzman said. “Except getting ready for this party – we have help with that.”
The party will be an open house with cake, coffee and punch.
“Anybody who would like to come is invited,” she said.
There will be another party at her 100th birthday in nine years, and at Ken’s 110th birthday. As young as the two of them appear and act, don’t bet against it.
Happy Birthday, Ken!
pt.kingdomsalvation.org/videos/God-silently-provides-for-...
Melhor musicas gospel "Deus provê a todos silenciosamente"
Deus provê o que falta ao homem, em todo lugar e hora.
Ele vê os seus pensamentos, como seus corações mudam.
E Ele lhes dá o conforto de que precisam, animando-os e guiando-os.
Para quem O ama, para quem O segue,
Deus não reterá nada, todas as Suas bênçãos serão concedidas.
Ele dá graça a todos, e Sua misericórdia flui.
O que Ele tem e o que Ele é, Deus dá sem reservas.
Embora o homem ignore Seus pensamentos, Deus ainda o guia na luz.
O sustenta e ajuda a seguir Seu caminho, ajudando-o a obedecer,
para que receba de Sua mão o mais belo destino planejado.
Para quem O ama, para quem O segue,
Deus não reterá nada, todas as Suas bênçãos serão concedidas.
Ele dá graça a todos, e Sua misericórdia flui.
O que Ele tem e o que Ele é, Deus dá sem reservas.
Deus nunca revelou toda dor que Ele suporta, ou Seu estado de espírito.
Nenhuma queixa será ouvida, se ninguém se importa ou entende.
Deus apenas espera até que um dia eles acordem.
Para quem O ama, para quem O segue,
Deus não reterá nada, todas as Suas bênçãos serão concedidas.
Ele dá graça a todos, e Sua misericórdia flui.
O que Ele tem e o que Ele é, Deus dá sem reservas.
O que Ele tem e o que Ele é, Deus dá sem reservas.
O que Ele tem e o que Ele é, Deus dá sem reservas.
de Seguir o Cordeiro e cantar cânticos novos
música gospel de oração:
pt.kingdomsalvation.org/videos/prayer-of-God-s-people-mv....
Fonte da imagem：de "Igreja de Deus Todo-Poderoso"
[crosseye stereograph, see 3D with your right eye on the left image, and left on right.]
LOS ANGELES METROPOLITAN TRANSIT AUTHORITY #1543
These were the "Blimp Cars" of the high speed Interurban, multiple unit, electric trains of Southern California's Pacific Electric, the famous "Big Red Cars". This car made it's last run April 6.1961, from Los Angeles, 6th and Main (where now stands a bus terminal) to Long Beach, CA at Ocean and Long Beach Blvd. just a block from The Pike. There was an elevated wooden trestle that allowed it to bridge dense downtown automotive traffic, then it came down to street level just short of Alameda and curved South to Long Beach Avenue. When it got to Clement's Junction (Washington Street) the roadbed opened up to four tracks, on the outside was the South and North bound Local Service using smaller cars. The interior pair of the four track sets was reserved for strings of these heavy, high speed electric commuter trains. The private right of way was four tracks through Watts and down to Long Beach Blvd., where these cars would then ride down the center of the street to downtown Long Beach. Another line branched from the end of four track operation at Willow, and rocked on down to Electric Avenue in Seal Beach, past Signal Hill, the Lagoon and Alamitos Bay.
The curious round windows on the end earned the cars their nickname and were the portholes for the motorman operator.
The wind up knob to the left of the end door was attached by rope to the hot shoe end of the trolly pole pickup the operator could open the door and adjust the pole or reel it in and let up the one on the other end to change direction, the end doors were for train crew only and were not used to communicate passengers between cars.
dsc04407, 2008:04:27 14:11:46, 3D, Los Angeles, Griffith Park, Travel Town, MTA #1543 Metropolitan Transit Authority, Pacific Electric "Big Red Car" Interurban, Green Livery of 1961 - Long Beach "Balloon Car" or "Blimp"
dsc04407
www.emergencyrooms.org/biennalist.html
www.emergencyrooms.org/formats.html
more here about the Biennale :
Ralph Rugoff has declared: «May You Live in Interesting Times will no doubt include artworks that reflect upon precarious aspects of existence today, including different threats to key traditions, institutions and relationships of the “post-war order.” But let us acknowledge at the outset that art does not exercise its forces in the domain of politics. Art cannot stem the rise of nationalist movements and authoritarian governments in different parts of the world, for instance, nor can it alleviate the tragic fate of displaced peoples across the globe (whose numbers now represent almost one percent of the world’s entire population).»
ALBANIA
Maybe the cosmos is not so extraordinary
Commissioner: Ministry of Culture Republic of Albania. Curator: Alicia Knock.
Exhibitor: Driant Zeneli.
ALGERIA***
Time to shine bright
Commissioner/Curator: Hellal Mahmoud Zoubir, National Council of Arts and Letters Ministry of Culture. Exhibitors: Rachida Azdaou, Hamza Bounoua, Amina Zoubir, Mourad Krinah, Oussama Tabti.
Venue: Fondamenta S. Giuseppe, 925
ANDORRA
The Future is Now / El futur és ara
Commissioner: Eva Martínez, “Zoe”. Curators: Ivan Sansa, Paolo De Grandis.
Exhibitor: Philippe Shangti.
Venue: Istituto Santa Maria della Pietà, Castello 3701
ANTIGUA & BARBUDA
Find Yourself: Carnival and Resistance
Commissioner: Daryll Matthew, Minister of Sports, Culture, National Festivals and the Arts. Curator: Barbara Paca with Nina Khrushcheva. Exhibitors: Timothy Payne, Sir Gerald Price, Joseph Seton, and Frank Walter; Intangible Cultural, Heritage Artisans and Mas Troup.
Venue: Centro Culturale Don Orione Artigianelli, Dorsoduro 919
ARGENTINA
El nombre de un país / The name of a country
Commissioner: Sergio Alberto Baur Ambasciatore. Curator: Florencia Battiti. Exhibitor: Mariana Telleria.
Venue: Arsenale
ARMENIA (Republic of)
Revolutionary Sensorium
Commissioner: Nazenie Garibian, Deputy Minister. Curator: Susanna Gyulamiryan.
Exhibitors: "ArtlabYerevan" Artistic Group (Gagik Charchyan, Hovhannes Margaryan, Arthur Petrosyan, Vardan Jaloyan) and Narine Arakelian.
Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596
AUSTRALIA
ASSEMBLY
Commissioner: Australia Council for the Arts. Curator: Juliana Engberg. Exhibitor: Angelica Mesiti.
Venue: Giardini
AUSTRIA
Discordo Ergo Sum
Commissioner: Arts and Culture Division of the Federal Chancellery of Austria.
Curator: Felicitas Thun-Hohenstein. Exhibitor: Renate Bertlmann.
Venue: Giardini
AZERBAIJAN (Republic of )
Virtual Reality
Commissioner: Mammad Ahmadzada, Ambassador of the Republic of Azerbaijan.
Curators: Gianni Mercurio, Emin Mammadov. Exhibitors: Zeigam Azizov, Orkhan Mammadov, Zarnishan Yusifova, Kanan Aliyev, Ulviyya Aliyeva.
Venue: Palazzo Lezze, Campo S. Stefano, San Marco 2949
BANGLADESH (People’s Republic of)
Thirst
Commissioner: Liaquat Ali Lucky. Curators: Mokhlesur Rahman, Viviana Vannucci.
Exhibitors: Bishwajit Goswami, Dilara Begum Jolly, Heidi Fosli, Nafis Ahmed Gazi, Franco Marrocco, Domenico Pellegrino, Preema Nazia Andaleeb, Ra Kajol, Uttam Kumar karmaker.
Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596
BELARUS (Republic of)
Exit / Uscita
Commissioner: Siarhey Kryshtapovich. Curator: Olga Rybchinskaya. Exhibitor: Konstantin Selikhanov.
Venue: Spazio Liquido, Sestiere Castello 103, Salizada Streta
BELGIUM
Mondo Cane
Commissioner: Fédération Wallonie-Bruxelles. Curator: Anne-Claire Schmitz.
Exhibitor: Jos de Gruyter & Harald Thys.
Venue: Giardini
BOSNIA and HERZEGOVINA
ZENICA-TRILOGY
Commissioner: Senka Ibrišimbegović, Ars Aevi Museum for Contemporary Art Sarajevo.
Curators: Anja Bogojević, Amila Puzić, Claudia Zini. Exhibitor: Danica Dakić.
Venue: Palazzo Francesco Molon Ca’ Bernardo, San Polo 2184/A
BRAZIL
Swinguerra
Commissioner: José Olympio da Veiga Pereira, Fundação Bienal de São Paulo.
Curator: Gabriel Pérez-Barreiro. Exhibitor: Bárbara Wagner & Benjamin de Burca.
Venue: Giardini
BULGARIA
How We Live
Commissioner: Iaroslava Boubnova, National Gallery in Sofia. Curator: Vera Mlechevska.
Exhibitors: Rada Boukova , Lazar Lyutakov.
Venue: Palazzo Giustinian Lolin, San Marco 2893
CANADA
ISUMA
Commissioner: National Gallery of Canada. Curators: Asinnajaq, Catherine Crowston, Josée Drouin-Brisebois, Barbara Fischer, Candice Hopkins. Exhibitors: Isuma (Zacharias Kunuk, Norman Cohn, Paul Apak, Pauloosie Qulitalik).
Venue: Giardini
CHILE
Altered Views
Commissioner: Varinia Brodsky, Ministry of Cultures, Arts and Heritage.
Curator: Agustín Pérez. Rubio. Exhibitor: Voluspa Jarpa.
Venue: Arsenale
CHINA (People’s Republic of)
Re-睿
Commissioner: China Arts and Entertainment Group Ltd. (CAEG).
Curator: Wu Hongliang. Exhibitors: Chen Qi, Fei Jun, He Xiangyu, Geng Xue.
Venue: Arsenale
CROATIA
Traces of Disappearing (In Three Acts)
Commissioner: Ministry of Culture of the Republic of Croatia. Curator: Katerina Gregos.
Exhibitor: Igor Grubić.
Venue: Calle Corner, Santa Croce 2258
CUBA
Entorno aleccionador (A Cautionary Environment)
Commissioner: Norma Rodríguez Derivet, Consejo Nacional de Artes Plásticas.
Curator: Margarita Sanchez Prieto. Exhibitors: Alejandro Campins, Alex Hérnandez, Ariamna Contino and Eugenio Tibaldi. Venue: Isola di San Servolo
CYPRUS (Republic of)
Christoforos Savva: Untimely, Again
Commissioner: Louli Michaelidou. Curator: Jacopo Crivelli Visconti. Exhibitor: Christoforos Savva.
Venue: Associazione Culturale Spiazzi, Castello 3865
CZECH (Republic) and SLOVAK (Republic)
Stanislav Kolíbal. Former Uncertain Indicated
Commissioner: Adam Budak, National Gallery Prague. Curator: Dieter Bogner.
Exhibitor: Stanislav Kolibal.
Venue: Giardini
DOMINICAN (Republic) *
Naturaleza y biodiversidad en la República Dominicana
Commissioner: Eduardo Selman, Minister of Culture. Curators: Marianne de Tolentino, Simone Pieralice, Giovanni Verza. Exhibitors: Dario Oleaga, Ezequiel Taveras, Hulda Guzmán, Julio Valdez, Miguel Ramirez, Rita Bertrecchi, Nicola Pica, Marraffa & Casciotti.
Venue: Palazzo Albrizzi Capello, Cannaregio 4118 – Sala della Pace
EGYPT
khnum across times witness
Commissioner: Ministry of Culture. Curator: Ahmed Chiha.
Exhibitors: Islam Abdullah, Ahmed Chiha, Ahmed Abdel Karim.
Venue: Giardini
ESTONIA
Birth V
Commissioner: Maria Arusoo, Centre of Contemporary Arts of Estonia. Curators: Andrew Berardini, Irene Campolmi, Sarah Lucas, Tamara Luuk. Exhibitor: Kris Lemsalu.
Venue: c/o Legno & Legno, Giudecca 211
FINLAND (Alvar Aalto Pavilion)
A Greater Miracle of Perception
Commissioner: Raija Koli, Director Frame Contemporary Art Finland.
Curators: Giovanna Esposito Yussif, Bonaventure Soh Bejeng Ndikung, Christopher Wessels. Exhibitors: Miracle Workers Collective (Maryan Abdulkarim, Khadar Ahmed, Hassan Blasim, Giovanna Esposito Yussif, Sonya Lindfors, Bonaventure Soh Bejeng Ndikung, Outi Pieski, Leena Pukki, Lorenzo Sandoval, Martta Tuomaala, Christopher L. Thomas, Christopher Wessels, Suvi West).
Venue: Giardini
FRANCE
Deep see blue surrounding you / Vois ce bleu profond te fondre
Commissioner: Institut français with the Ministry for Europe and Foreign Affairs and the Ministry of Culture. Curator: Martha Kirszenbaum. Exhibitor: Laure Prouvost.
Venue: Giardini
GEORGIA
REARMIRRORVIEW, Simulation is Simulation, is Simulation, is Simulation
Commissioner: Ana Riaboshenko. Curator: Margot Norton. Exhibitor: Anna K.E.
Venue: Arsenale
GERMANY
Commissioner: ifa (Institut für Auslandsbeziehungen) on behalf of the Federal Foreign Office, Germany. Curator: Franciska Zólyom. Exhibitor: Natascha Süder Happelmann.
Venue: Giardini
GHANA ***
Ghana Freedom
Commissioner: Ministry of Tourism, Arts and Culture. Curator: Nana Oforiatta Ayim.
Exhibitors: Felicia Abban, John Akomfrah, El Anatsui, Lynette Yiadom Boakye, Ibrahim Mahama, Selasi Awusi Sosu.
Venue: Arsenale
GREAT BRITAIN
Cathy Wilkes
Commissioner: Emma Dexter. Curator: Zoe Whitley. Exhibitor: Cathy Wilkes.
Venue: Giardini
GREECE
Mr Stigl
Commissioner: Syrago Tsiara (Deputy Director of the Contemporary Art Museum - Metropolitan Organization of Museums of Visual Arts of Thessaloniki - MOMus).
Curator: Katerina Tselou. Exhibitors: Panos Charalambous, Eva Stefani, Zafos Xagoraris.
Venue: Giardini
GRENADA
Epic Memory
Commissioner: Susan Mains. Curator: Daniele Radini Tedeschi.
Exhibitors: Amy Cannestra, Billy Gerard Frank, Dave Lewis, Shervone Neckles, Franco Rota Candiani, Roberto Miniati, CRS avant-garde.
Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118
GUATEMALA
Interesting State
Commissioner: Elder de Jesús Súchite Vargas, Minister of Culture and Sports of Guatemala. Curator: Stefania Pieralice. Exhibitors: Elsie Wunderlich, Marco Manzo.
Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118
HAITI
THE SPECTACLE OF TRAGEDY
Commissioner: Ministry of Culture and Communication.
Curator: Giscard Bouchotte. Exhibitor: Jean Ulrick Désert.
Venue: Circolo Ufficiali Marina, Calle Seconda de la Fava, Castello 2168
HUNGARY
Imaginary Cameras
Commissioner: Julia Fabényi, Museo Ludwig – Museo d’arte contemporanea, Budapest.
Curator: Zsuzsanna Szegedy-Maszák. Exhibitor: Tamás Waliczky.
Venue: Giardini
ICELAND
Chromo Sapiens – Hrafnhildur Arnardóttir / Shoplifter
Commissioner: Eiríkur Þorláksson, Icelandic Ministry of Education, Science and Culture.
Curator: Birta Gudjónsdóttir. Exhibitor: Hrafnhildur Arnardóttir / Shoplifter.
Venue: Spazio Punch, Giudecca 800
INDIA
Our time for a future caring
Commissioner: Adwaita Gadanayak National Gallery of Modern Art.
Curator: Roobina Karode, Director & Chief Curator, Kiran Nadar Museum of Art. Exhibitors: Atul Dodiya, Ashim Purkayastha, GR Iranna, Jitish Kallat, Nandalal Bose, Rummana Hussain, Shakuntala Kulkarni.
Venue: Arsenale
INDONESIA
Lost Verses
Commissioner: Ricky Pesik & Diana Nazir, Indonesian Agency for Creative Economy.
Curator: Asmudjo Jono Irianto. Exhibitors: Handiwirman Saputra and Syagini Ratna Wulan.
Venue: Arsenale
IRAN (Islamic Republic of)
of being and singing
Commissioner: Hadi Mozafari, General Manager of Visual Arts Administration of Islamic Republic of Iran. Curator: Ali Bakhtiari.
Exhibitors: Reza Lavassani, Samira Alikhanzadeh, Ali Meer Azimi.
Venue: Fondaco Marcello, San Marco 3415
IRAQ
Fatherland
Commissioner: Fondazione Ruya. Curators: Tamara Chalabi, Paolo Colombo.
Exhibitor: Serwan Baran.
Venue: Ca’ del Duca, Corte del Duca Sforza, San Marco 3052
IRELAND
The Shrinking Universe
Commissioner: Culture Ireland. Curator: Mary Cremin. Exhibitor: Eva Rothschild.
Venue: Arsenale
ISRAEL
Field Hospital X
Commissioner: Michael Gov, Arad Turgeman. Curator: Avi Lubin. Exhibitor: Aya Ben Ron.
Venue: Giardini
ITALY
Commissioner: Federica Galloni, Direttore Generale Arte e Architettura Contemporanee e Periferie Urbane, Ministero dei Beni e delle Attività Culturali. Curator: Milovan Farronato.
Exhibitors: Enrico David, Liliana Moro, Chiara Fumai.
Venue: Padiglione Italia, Tese delle Vergini, Arsenale
IVORY COAST
The Open Shadows of Memory
Commissioner: Henri Nkoumo. Curator: Massimo Scaringella. Exhibitors: Ernest Dükü, Ananias Leki Dago, Valérie Oka, Tong Yanrunan.
Venue: Castello Gallery, Castello 1636/A
JAPAN
Cosmo-Eggs
Commissioner: The Japan Foundation. Curator: Hiroyuki Hattori. Exhibitors: Motoyuki Shitamichi, Taro Yasuno, Toshiaki Ishikura, Fuminori Nousaku.
Venue: Giardini
KIRIBATI
Pacific Time - Time Flies
Commissioner: Pelea Tehumu, Ministry of Internal Affairs. Curators: Kautu Tabaka, Nina Tepes. Exhibitors: Kaeka Michael Betero, Daniela Danica Tepes, Kairaken Betio Group; Teroloang Borouea, Neneia Takoikoi, Tineta Timirau, Teeti Aaloa, Kenneth Ioane, Kaumai Kaoma, Runita Rabwaa, Obeta Taia, Tiribo Kobaua, Tamuera Tebebe, Rairauea Rue, Teuea Kabunare, Tokintekai Ekentetake, Katanuti Francis, Mikaere Tebwebwe, Terita Itinikarawa, Kaeua Kobaua, Raatu Tiuteke, Kaeriti Baanga, Ioanna Francis, Temarewe Banaan, Aanamaria Toom, Einako Temewi, Nimei Itinikarawa, Teniteiti Mikaere, Aanibo Bwatanita, Arin Tikiraua.
Venue: European Cultural Centre, Palazzo Mora, Strada Nuova 3659
KOREA (Republic of)
History Has Failed Us, but No Matter
Commissioner: Arts Council Korea. Curator: Hyunjin Kim. Exhibitors: Hwayeon Nam, siren eun young jung, Jane Jin Kaisen.
Venue: Giardini
KOSOVO (Republic of)
Family Album
Commissioner: Arta Agani. Curator: Vincent Honore. Exhibitor: Alban Muja.
Venue: Arsenale
LATVIA
Saules Suns
Commissioner: Dace Vilsone. Curators: Valentinas Klimašauskas, Inga Lāce.
Exhibitor: Daiga Grantiņa.
Venue: Arsenale
LITHUANIA
Sun & Sea (Marina)
Commissioner: Rasa Antanavičıūte. Curator: Lucia Pietroiusti.
Exhibitors: Lina Lapelyte, Vaiva Grainyte and Rugile Barzdziukaite.
Venue: Magazzino No. 42, Marina Militare, Arsenale di Venezia, Fondamenta Case Nuove 2738c
LUXEMBOURG (Grand Duchy of)
Written by Water
Commissioner: Ministry of Culture of Luxembourg.
Curator: Kevin Muhlen. Exhibitor: Marco Godinho.
Venue: Arsenale
NORTH MACEDONIA (Republic of )
Subversion to Red
Commissioner: Mira Gakina. Curator: Jovanka Popova. Exhibitor: Nada Prlja.
Venue: Palazzo Rota Ivancich, Castello 4421
MADAGASCAR ***
I have forgotten the night
Commissioner: Ministry of Communication and Culture of the Republic of Madagascar. Curators: Rina Ralay Ranaivo, Emmanuel Daydé.
Exhibitor: Joël Andrianomearisoa.
Venue: Arsenale
MALAYSIA ***
Holding Up a Mirror
Commissioner: Professor Dato’ Dr. Mohamed Najib Dawa, Director General of Balai Seni Negara (National Art Gallery of Malaysia), Ministry of Tourism, Arts and Culture of Malaysia. Curator: Lim Wei-Ling. Exhibitors: Anurendra Jegadeva, H.H.Lim, Ivan Lam, Zulkifli Yusoff.
Venue: Palazzo Malipiero, San Marco 3198
MALTA
Maleth / Haven / Port - Heterotopias of Evocation
Commissioner: Arts Council Malta. Curator: Hesperia Iliadou Suppiej. Exhibitors: Vince Briffa, Klitsa Antoniou, Trevor Borg.
Venue: Arsenale
MEXICO
Actos de Dios / Acts of God
Commissioner: Gabriela Gil Verenzuela. Curator: Magalí Arriola. Exhibitor: Pablo Vargas Lugo.
Venue: Arsenale
MONGOLIA
A Temporality
Commissioner: The Ministry of Education, Culture, Science and Sports of Mongolia.
Curator: Gantuya Badamgarav. Exhibitor: Jantsankhorol Erdenebayar with the participation of traditional Mongolian throat singers and Carsten Nicolai (Alva Noto).
Venue: Bruchium Fermentum, Calle del Forno, Castello 2093-2090
MONTENEGRO
Odiseja / An Odyssey
Commissioner: Nenad Šoškić. Curator: Petrica Duletić. Exhibitor: Vesko Gagović.
Venue: Palazzo Malipiero (piano terra), San Marco 3078-3079/A, Ramo Malipiero
MOZAMBIQUE (Republic of)
The Past, the Present and The in Between
Commissioner: Domingos do Rosário Artur. Curator: Lidija K. Khachatourian.
Exhibitors: Gonçalo Mabunda, Mauro Pinto, Filipe Branquinho.
Venue: Palazzo Mora, Strada Nova, 3659
NETHERLANDS (The)
The Measurement of Presence
Commissioner: Mondriaan Fund. Curator: Benno Tempel. Exhibitors: Iris Kensmil, Remy Jungerman. Venue: Giardini
NEW ZEALAND
Post hoc
Commissioner: Dame Jenny Gibbs. Curators: Zara Stanhope and Chris Sharp.
Exhibitor: Dane Mitchell.
Venue: Palazzina Canonica, Riva Sette Martiri
NORDIC COUNTRIES (FINLAND - NORWAY - SWEDEN)
Weather Report: Forecasting Future
Commissioner: Leevi Haapala / Museum of Contemporary Art Kiasma / Finnish National Gallery, Katya García-Antón / Office for Contemporary Art Norway (OCA), Ann-Sofi Noring / Moderna Museet. Curators: Leevi Haapala, Piia Oksanen. Exhibitors: Ane Graff, Ingela Ihrman, nabbteeri.
Venue: Giardini
PAKISTAN ***
Manora Field Notes
Commissioner: Syed Jamal Shah, Pakistan National Council of the Arts, PNCA.
Curator: Zahra Khan. Exhibitor: Naiza Khan.
Venue: Tanarte, Castello 2109/A and Spazio Tana, Castello 2110-2111
PERU
“Indios Antropófagos”. A butterfly Garden in the (Urban) Jungle
Commissioner: Armando Andrade de Lucio. Curator: Gustavo Buntinx. Exhibitors: Christian Bendayán, Otto Michael (1859-1934), Manuel Rodríguez Lira (1874-1933), Segundo Candiño Rodríguez, Anonymous popular artificer.
Venue: Arsenale
PHILIPPINES
Island Weather
Commissioner: National Commission for Culture and the Arts (NCCA) / Virgilio S. Almario.
Curator: Tessa Maria T. Guazon. Exhibitor: Mark O. Justiniani.
Venue: Arsenale
POLAND
Flight
Commissioner: Hanna Wroblewska. Curators: Łukasz Mojsak, Łukasz Ronduda.
Exhibitor: Roman Stańczak.
Venue: Giardini
PORTUGAL
a seam, a surface, a hinge or a knot
Commissioner: Directorate-General for the Arts. Curator: João Ribas. Exhibitor: Leonor Antunes.
Venue: Fondazione Ugo e Olga Levi Onlus, Palazzo Giustinian Lolin, San Marco 2893
ROMANIA
Unfinished Conversations on the Weight of Absence
Commissioner: Attila Kim. Curator: Cristian Nae. Exhibitor: Belu-Simion Făinaru, Dan Mihălțianu, Miklós Onucsán.
Venues: Giardini and New Gallery of the Romanian Institute for Culture and Humanistic Research (Campo Santa Fosca, Palazzo Correr, Cannaregio 2214)
RUSSIA
Lc 15:11-32
Commissioner: Semyon Mikhailovsky. Curator: Mikhail Piotrovsky. Exhibitors: Alexander Sokurov, Alexander Shishkin-Hokusai.
Venue: Giardini
SAN MARINO (Republic of)
Friendship Project International
Commissioner: Vito Giuseppe Testaj. Curator: Vincenzo Sanfo. Exhibitors: Gisella Battistini, Martina Conti, Gabriele Gambuti, Giovanna Fra, Thea Tini, Chen Chengwei, Li Geng, Dario Ortiz, Tang Shuangning, Jens W. Beyrich, Xing Junqin, Xu de Qi, Sebastián.
Venue: Palazzo Bollani, Castello 3647; Complesso dell’Ospedaletto, Castello 6691
SAUDI ARABIA
After Illusion بعد توهم
Commissioner: Misk Art Insitute. Curator: Eiman Elgibreen. Exhibitor: Zahrah Al Ghamdi.
Venue: Arsenale
SERBIA
Regaining Memory Loss
Commissioner: Vladislav Scepanovic. Curator: Nicoletta Lambertucci. Exhibitor: Djordje Ozbolt.
Venue: Giardini
SEYCHELLES (Republic of)
Drift
Commissioner: Galen Bresson. Curator: Martin Kennedy.
Exhibitors: George Camille and Daniel Dodin.
Venue: Palazzo Mora, Strada Nova, 3659
SINGAPORE
Music For Everyone: Variations on a Theme
Commissioner: Rosa Daniel, Chief Executive Officer, National Arts Council (NAC).
Curator: Michelle Ho. Exhibitor: Song-Ming Ang.
Venue: Arsenale
SLOVENIA (Republic of)
Here we go again... SYSTEM 317
A situation of the resolution series
Commissioner: Zdenka Badovinac, Director Moderna galerija / Museum of Modern Art, Ljubljana. Curator: Igor Španjol. Exhibitor: Marko Peljhan.
Venue: Arsenale
SOUTH AFRICA (Republic of)
The stronger we become
Commissioner: Titi Nxumalo, Console Generale. Curators: Nkule Mabaso, Nomusa Makhubu. Exhibitors: Dineo Seshee Bopape, Tracey Rose, Mawande Ka Zenzile.
Venue: Arsenale
SPAIN
Perforated by Itziar Okariz and Sergio Prego
Commissioner: AECID Agencia Espanola de Cooperacion Internacional Para El Desarrollo. Ministerio de Asuntos Exteriores, Union Europea y Cooperacion. Curator: Peio Aguirre.
Exhibitors: Itziar Okariz, Sergio Prego.
Venue: Giardini
SWITZERLAND
Moving Backwards
Commissioner: Swiss Arts Council Pro-Helvetia: Marianne Burki, Sandi Paucic, Rachele Giudici Legittimo. Curator: Charlotte Laubard. Exhibitors: Pauline Boudry/Renate Lorenz.
Venue: Giardini
SYRIAN ARAB (Republic)
Syrian Civilization is still alive
Commissioner/Curator: Emad Kashout. Exhibitors: Abdalah Abouassali, Giacomo Braglia, Ibrahim Al Hamid, Chen Huasha, Saed Salloum, Xie Tian, Saad Yagan, Primo Vanadia, Giuseppe Biasio.
Venue: Isola di San Servolo; Chiesetta della Misericordia, Campo dell'Abbazia, Cannaregio
THAILAND
The Revolving World
Commissioner: Vimolluck Chuchat, Office of Contemporary Art and Culture, Ministry of Culture, Thailand. Curator: Tawatchai Somkong. Exhibitors: Somsak Chowtadapong, Panya Vijinthanasarn, Krit Ngamsom.
Venue: In Paradiso 1260, Castello
TURKEY
We, Elsewhere
Commissioner: IKSV. Curator: Zeynep Öz. Exhibitor: İnci Eviner.
Venue: Arsenale
UKRAINE
The Shadow of Dream cast upon Giardini della Biennale
Commissioner: Svitlana Fomenko, First Deputy Minister of Culture. Curators: Open group (Yurii Biley, Pavlo Kovach, Stanislav Turina, Anton Varga). Exhibitors: all artists of Ukraine.
Venue: Arsenale
UNITED ARAB EMIRATES
Nujoom Alghanem: Passage
Commissioner: Salama bint Hamdan Al Nahyan Foundation.
Curators: Sam Bardaouil and Till Fellrath. Exhibitor: Nujoom Alghanem.
Venue: Arsenale
UNITED STATES OF AMERICA
Martin Puryear: Liberty
Commissioner/Curator: Brooke Kamin Rapaport. Exhibitor: Martin Puryear.
Venue: Giardini
URUGUAY
“La casa empática”
Commissioner: Alejandro Denes. Curators: David Armengol, Patricia Bentancur.
Exhibitor: Yamandú Canosa.
Venue: Giardini
VENEZUELA (Bolivarian Republic of)
Metaphore of three windows
Venezuela: identity in time and space
Commissioner/Curator: Oscar Sottillo Meneses. Exhibitors: Natalie Rocha Capiello, Ricardo García, Gabriel López, Nelson Rangelosky.
Venue: Giardini
ZIMBABWE (Republic of)
Soko Risina Musoro (The Tale without a Head)
Commissioner: Doreen Sibanda, National Gallery of Zimbabwe. Curator: Raphael Chikukwa. Exhibitors: Georgina Maxim, Neville Starling , Cosmas Shiridzinomwa, Kudzanai Violet Hwami.
Venue: Istituto Provinciale per L’infanzia “Santa Maria Della Pietà”. Calle della Pietà Castello n. 3701 (ground floor)
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invited artist :
Lawrence Abu Hamdan (Jordan / Beirut)
Njideka Akunyili Crosby (Nigeria / USA),Halil Altındere (Turkey),Michael Armitage (Kenya / UK),Korakrit Arunanondchai (Thailand / USA),Alex Gvojic (USA),Ed Atkins (UK / Germany / Denmark),Tarek Atoui (Lebanon / France),
Darren Bader (USA),Nairy Baghramian (Iran / Germany,
Neïl Beloufa (France),Alexandra Bircken (Germany),Carol Bove (Switzerland / USA,
Christoph Büchel (Switzerland / Iceland,
Ludovica Carbotta (Italy / Barcelona),Antoine Catala (France / USA),Ian Cheng (USA),George Condo (USA
Alex Da Corte (USA),Jesse Darling (UK / Germany),Stan Douglas (Canada),Jimmie Durham (USA / Germany),Nicole Eisenman (France / USA,
Haris Epaminonda (Cyprus / Germany),Lara Favaretto (Italy),Cyprien Gaillard (France / Germany), Gill (India),Dominique Gonzalez-Foerster (France),Shilpa Gupta (India),Soham Gupta (India),Martine Gutierrez (USA),Rula Halawani (Palestine),Anthea Hamilton (UK),Jeppe Hein (Denmark / Germany),Anthony Hernandez (USA),Ryoji Ikeda (Japan / France),Arthur Jafa (USA),Cameron Jamie (USA / France / Germany),Kahlil Joseph (USA),Zhanna Kadyrova (Ukraine),Suki Seokyeong Kang (South Korea),Mari Katayama (Japan),Lee Bul (South Korea),Liu Wei (China),Maria Loboda (Poland / Germany),Andreas Lolis (Albania / Greece),Christian Marclay (USA / London),Teresa Margolles (Mexico / Spain),Julie Mehretu (Ethiopia / USA),Ad Minoliti (Argentina),Jean-Luc Moulène (France),Zanele Muholi (South Africa),Jill Mulleady (Uruguay / USA),Ulrike Müller (Austria / USA),Nabuqi (China),Otobong Nkanga (Nigeria / Belgium),Khyentse Norbu (Bhutan / India),Frida Orupabo (Norway),Jon Rafman (Canada).Gabriel Rico (Mexico),Handiwirman Saputra (Indonesia),Tomás Saraceno (Argentina / Germany),Augustas Serapinas (Lithuania),Avery Singer (USA),Slavs and Tatars (Germany),Michael E. Smith (USA),Hito Steyerl (Germany),Tavares Strachan (Bahamas / USA),Sun Yuan and Peng Yu (China),Henry Taylor (USA),Rosemarie Trockel (Germany),Kaari Upson (USA),Andra Ursuţa (Romania),Danh Vō (Vietnam / Mexico),Kemang Wa Lehulere (South Africa),Apichatpong Weerasethakul (Thailand) and Tsuyoshi Hisakado (Japan),Margaret Wertheim and Christine Wertheim (Australia / USA) ,Anicka Yi (South Korea/ USA),Yin Xiuzhen (China),Yu Ji (China / Austria)
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other Biennale :(Biennials ) :Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
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Thierry Geoffroy / Colonel
Mémoire2cité il existe de nos jours, de nombreux photographes qui privilégient la qualité artistique de leurs travaux cartophiles. A vous de découvrir ces artistes inconnus aujourd’hui, mais qui seront peut-être les grands noms de demain. archipostcard.blogspot.com/search?updated-max=2009-02-13T... - museedelacartepostale.fr/periode-semi-moderne/ - archipostalecarte.blogspot.com/ - museedelacartepostale.fr/blog/ - museedelacartepostale.fr/exposition-permanente/ - www.queenslandplaces.com.au/category/headwords/brisbane-c... - collection-jfm.fr/t/cartes-postales-anciennes/france#.XGe... - www.cparama.com/forum/la-collection-de-cpa-f1.html - www.dauphinomaniac.org/Cartespostales/Francaises/Cartes_F... - furtho.tumblr.com/archive
le Logement Collectif* 50,60,70's, dans tous ses états..Histoire & Mémoire d'H.L.M. de Copropriété Renouvellement Urbain-Réha-NPNRU., twitter.com/Memoire2cite tout içi sig.ville.gouv.fr/atlas/ZUS/ - media/InaEdu01827/la-creatio" rel="noreferrer nofollow">fresques.ina.fr/jalons/fiche-media/InaEdu01827/la-creatio Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,
www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije : mécanisation, rationalisation et élaboration industrielle de la production. Des exemples concrets sont présentés afin d'illustrer l'utilisation des différentes innovations : les coffrages outils, coffrage glissant, le tunnel, des procédés pour accélérer le durcissement du béton. Le procédé dit de coffrage glissant est illustré sur le chantier des tours Pablo Picasso à Nanterre. Le principe est de s'affranchir des échafaudages : le coffrage épouse le contour du bâtiment, il s'élève avec la construction et permet de réaliser simultanément l'ensemble des murs verticaux. Au centre du plancher de travail, une grue distribue en continu le ferraillage et le béton. Sur un tel chantier les ouvriers se relaient 24h / 24 , www.dailymotion.com/video/xwytke?playlist=x34ije , www.dailymotion.com/video/x1bci6m?playlist=x34ije
Le reportage se penche ensuite sur la préfabrication en usine. Ces procédés de préfabrication en usine selon le commentaire sont bien adaptés aux pays en voie de développement, cela est illustré dans le reportage par une réalisation en Libye à Benghazi. Dans la course à l'allégement des matériaux un procédé l'isola béton est présenté. Un chapitre sur la construction métallique explique les avantage de ce procédé. La fabrication de composants ouvre de nouvelles perspectives à l'industrie du bâtiment.
Lieux géographiques : la Grande Borne 91, le Vaudreuil 27, Avoriaz, Avenue de Flandres à Paris, tours Picasso à Nanterre, vues de la défense, Benghazi Libye
www.dailymotion.com/playlist/x34ije_territoiresgouv_cinem... - mémoire2cité - le monde de l'Architecture locative collective et bien plus encore - mémoire2cité - Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,
Le Joli Mai (Restauré) - Les grands ensembles BOBIGNY l Abreuvoir www.youtube.com/watch?v=eUY9XzjvWHE … et la www.youtube.com/watch?v=hK26k72xIkU … www.youtube.com/watch?v=xCKF0HEsWWo …
Genève Le Grand Saconnex & la Bulle Pirate - architecte Marçel Lachat -
Un film de Julien Donada içi www.youtube.com/watch?time_continue=1&v=4E723uQcpnU … … .Genève en 1970. pic.twitter.com/1dbtkAooLM è St-Etienne - La muraille de Chine, en 1973 ce grand immeuble du quartier de Montchovet, existait encore photos la Tribune/Progres.
www.youtube.com/watch?v=AJAylpe8G48 …, - la tour 80 HLM située au 1 rue Proudhon à Valentigney dans le quartier des Buis Cette tour emblématique du quartier avec ces 15 étages a été abattu par FERRARI DEMOLITION (68). VALENTIGNEY (25700) 1961 - Ville nouvelle-les Buis 3,11 mn www.youtube.com/watch?v=C_GvwSpQUMY … - Au nord-Est de St-Etienne, aux confins de la ville, se dresse une colline Montreynaud la ZUP de Raymond Martin l'architecte & Alexandre Chemetoff pour les paysages de St-Saens.. la vidéo içi * Réalisation : Dominique Bauguil www.youtube.com/watch?v=Sqfb27hXMDo … … - www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije : mécanisation, rationalisation et élaboration industrielle de la production. Des exemples concrets sont présentés afin d'illustrer l'utilisation des différentes innovations : les coffrages outils, coffrage glissant, le tunnel, des procédés pour accélérer le durcissement du béton. Le procédé dit de coffrage glissant est illustré sur le chantier des tours Pablo Picasso à Nanterre. Le principe est de s'affranchir des échafaudages : le coffrage épouse le contour du bâtiment, il s'élève avec la construction et permet de réaliser simultanément l'ensemble des murs verticaux. Au centre du plancher de travail, une grue distribue en continu le ferraillage et le béton. Sur un tel chantier les ouvriers se relaient 24h / 24 , www.dailymotion.com/video/xwytke?playlist=x34ije , www.dailymotion.com/video/x1bci6m?playlist=x34ije
Le reportage se penche ensuite sur la préfabrication en usine. Ces procédés de préfabrication en usine selon le commentaire sont bien adaptés aux pays en voie de développement, cela est illustré dans le reportage par une réalisation en Libye à Benghazi. Dans la course à l'allégement des matériaux un procédé l'isola béton est présenté. Un chapitre sur la construction métallique explique les avantage de ce procédé. La fabrication de composants ouvre de nouvelles perspectives à l'industrie du bâtiment.
la Grande Borne 91, le Vaudreuil 27, Avoriaz, Avenue de Flandres à Paris, tours Picasso à Nanterre, vues de la défense, Benghazi Libye 1975 Réalisateur : Sydney Jézéquel, Karenty
la construction des Autoroutes en France - Les liaisons moins dangereuses 1972 www.dailymotion.com/video/xxi0ae?playlist=x34ije - Ministère de l'Équipement et de l'Aménagement du Territoire - Dotation par la France d'autoroutes modernes "nécessité vitale" pour palier à l'inadaptation du réseau routier de l'époque voué à la paralysie : le reportage nous montre des images d'embouteillages. Le ministre de l'Équipement et de l'Aménagement du Territoire dans les deux gouvernements de Pierre Messmer, de 1972 à 1974, Olivier Guichard explique les ambitions du programme de construction qui doit atteindre 800 km par ans en 1978. L'ouverture de section nouvelles va bon train : Nancy / Metz par exemple. Le reportage nous montre l'intérieur des bureaux d'études qui conçoivent ces autoroute dont la conception est assistée par ordinateurs dont le projet d'ensemble en 3D est visualisé sur un écran. La voix off nous informe sur le financement de ces équipements. Puis on peut voir des images de la construction du pont sur la Seine à Saint Cloud reliant l'autoroute de Normandie au périphérique, de l'échangeur de Palaiseau sur 4 niveau : record d'Europe précise le commentaire. Le reportage nous informe que des sociétés d'économies mixtes ont étés crées pour les tronçons : Paris / Lille, Paris / Marseille, Paris / Normandie. Pour accélérer la construction l’État a eu recours à des concessions privées par exemple pour le tronçon Paris / Chartres. "Les autoroutes changent le visage de la France : artères économiques favorisant le développement industriel elles permettent de revitaliser des régions en perte de vitesse et de l'intégrer dans le mouvement général de l'expansion" Sur le plan européen elles vont combler le retard de la France et réaliser son insertion. Images de l'inauguration de l'autoroute entre Paris et Bruxelles par le président Georges Pompidou. Le reportage rappel que l'autre fonction capitale des autoroute est de favoriser la sécurité. La question de la limitation de vitesse est posée au ministre de l’Équipement, qui n'y est favorable que sur certains tronçons. Un des facteur de sécurité selon le commentaire est l'humanisation des autoroutes : aires de repos, restaurants, signalisation touristiques... "Rien n'est impossible aux techniques modernes" nous apprend la voix off qui prend comme exemple le déplacement sur rail de 65 mètres d'un château classé afin de faire passer l'autoroute Lille / Dunkerque.Durée : 4 minutes 30 secondes
Sur les routes de France les ponts renaissent 1945 reconstruction de la France après la Seconde Guerre mondiale www.dailymotion.com/video/xuxrii?playlist=x34ije , Quelques mois après la fin de la Seconde Guerre mondiale, un triste constat s'impose : 5 944 passages sont coupés, soit plus de 110 km de brèches ; de nombreuses villes se trouvent isolées.Les chantiers s'activent dans toute la France pour "gagner la bataille des communications routières". Mais outre la pénurie de main d’œuvre, il faut faire face au manque de matériaux (béton, métal) et donc déployer des trésors d'imagination pour reconstruire les ponts détruits. Si le savoir faire des tailleurs de pierre est exploité, le plus spectaculaire est le relevage des ponts, comme le pont de Galliéni à Lyon, où 7 à 800 tonnes d'acier sont sorti de l'eau avec des moyens de l'époque. En avril 1945, il reste 5 700 ponts à reconstruire soit 200 000 tonnes d'acier, 600 000 tonnes de ciment, 250 000 m3 de bois, 10 millions de journées d'ouvrier, prix de l'effort de reconstruction.1945
Auteurs / réalisateurs : images : G.Delaunay, A.Pol, son : C.Gauguier Production : Direction Technique des Services des Ponts et Chaussées / Ministère des Travaux Publics et des Transports Support original : 16 mm noir et blanc Durée : 14 min Thèmes principaux : infrastructures-ouvrages d'art Mot clés : chantier, pont, Reconstruction, restauration, béton précontraint, ministère des travaux publics et des transports
Lieux : Lyon, Tournon, Caen - Le Bosquel, un village renait 1947 l'album cinématographique de la reconstruction, réalisation Paul de Roubaix production ministère de la Reconstruction et de l'Urbanisme, village prototype, architecte Paul Dufournet, www.dailymotion.com/video/xx5tx8?playlist=x34ije - Demain Paris 1959 dessin animé présentant l'aménagement de la capitale dans les années 60, Animation, dessin animé à vocation pédagogique visant à promouvoir la politique d’aménagement suivie dans les années 60 à Paris. Un raccourci historique sur l’extension de Paris du Moyen Âge au XIXe siècle (Lutèce, œuvres de Turgot, Napoléon, Haussmann), ce dessin animé retrace la naissance de la banlieue et de ses avatars au XXe siècle. Il annonce les grands principes d’aménagement des villes nouvelles et la restructuration du centre de Paris (référence implicite à la charte d’Athènes). Le texte est travaillé en rimes et vers. Une chanson du vieux Paris conclut poétiquement cette vision du futur. Thèmes principaux : Aménagement urbain / planification-aménagement régional Mots-clés : Banlieue, extension spatiale, histoire, quartier, ville, ville nouvelle Lieu géographique : Paris 75 Architectes ou personnalités : Eugène Haussmann, Napoléon, Turgot Réalisateurs : André Martin, Michel Boschet Production : les films Roger Leenhardt
www.dailymotion.com/video/xw6lak?playlist=x34ije - Rue neuve 1956 la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, villes, villages, grands ensembles réalisation : Jack Pinoteau , Panorama de la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, ce film de commande évoque les villes et villages français détruits puis reconstruits dans un style respectant la tradition : Saint-Malo, Gien, Thionville, Ammerschwihr, etc. ainsi que la reconstruction en rupture avec l'architecture traditionnelle à Châtenay-Malabry, Arles, Saint Étienne, Évreux, Chambéry, Villeneuve-Saint-Georges, Abbeville, Le Havre, Marseille, Boulogne-sur-Mer, Dunkerque. Le documentaire explique par exemple la manière dont a été réalisée la reconstruction de Saint-Malo à l'intérieur des rempart de la vieille ville : "c'est la fidélité à l'histoire et la force du souvenir qui a guidé l'architecte". Dans le même esprit à Gien, au trois quart détruite en 1940, seul le château construit en 1494 pour Anne de Beaujeu, fille aînée de Louis XI, fut épargné par les bombardements. La ville fut reconstruite dans le style des rares immeubles restant. Gien est relevé de ses ruines et le nouvel ensemble harmonieux est appelé « Joyau de la Reconstruction française ». Dans un deuxième temps est abordé le chapitre de la construction des cités et des grands ensembles, de l’architecture du renouveau qualifiée de "grandiose incontestablement". S’il est précisé "on peut aimer ou de ne pas aimer ce style", l’emporte au final l’argument suivant : les grands ensembles, c'est la campagne à la ville, un urbanisme plus aéré, plus vert." les films caravelles 1956, Réalisateur : Jack Pinoteau (connu pour être le metteur en scène du film Le Triporteur 1957 qui fit découvrir Darry Cowl) www.dailymotion.com/video/xuz3o8?playlist=x34ije , Film d'archive actualités de 1952 Reconstruction de la France sept ans après la fin de la seconde guerre mondiale état des lieux de la crise du logement , Actualités de 1952. Sept ans après la fin de la seconde guerre Mondiale état des lieux de la reconstruction de la France et de la crise du logement à l’œuvre, pénurie de logement, logements insalubres. Les actualités montrent des images d'archives de la destruction de la France, les Chars de la division Leclerc qui défilent sur les Champs Elysees. Le commentaire dénonce la lenteur de la reconstruction et notamment des manifestations qui ont eu lieue à Royan afin d''accélérer la reconstruction de la ville détruite.Le film montre à Strasbourg, Mulhouse, des réalisation moderne de grands ensembles et des images d'archive de la reconstruction du Havre de Saint Nazaire.Le film se termine à Marseille sur les réalisation nouvelles autour du vieux port puis on assiste à l'inauguration de la Cité Radieuse par le ministre de la Reconstruction et de l'Urbanisme Eugène Claudius-Petit en présence de son architecte Le Corbusier à qui le ministre remet la cravate de commandeur de la légion d'honneur. www.dailymotion.com/video/xk1g5j?playlist=x34ije Brigitte Gros - Urbanisme - Filmer les grands ensembles 2016 - par Camille Canteux chercheuse au CHS -Centre d'Histoire Sociale - Jeanne Menjoulet - Ce film du CHS daté de 2014 www.youtube.com/watch?v=VDUBwVPNh0s … L'UNION SOCIALE POUR L'HABITAT le Musée des H.L.M. musee-hlm.fr/ union-habitat.org/ - EXPOSITION :LES 50 ANS DE LA RESIDENCe SALMSON POINT-Du JOUR www.salmsonlepointdujour.fr/pdf/Exposition_50_ans.pdf - Sotteville Construction de l’Anjou, le premier immeuble de la Zone Verte sottevilleaufildutemps.fr/2017/05/04/construction-de-limm... - www.20minutes.fr/paris/diaporama-7346-photo-854066-100-an... - www.ladepeche.fr/article/2010/11/02/940025-140-ans-en-arc... dreux-par-pierlouim.over-blog.com/article-chamards-1962-9... missionphoto.datar.gouv.fr/fr/photographe/7639/serie/7695...