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Seattle Modern Home Tour
www.graymag.com/modern-home-tour-seattle-2017.html
10th Ave E
In the Roanoke Park neighborhood of Seattle, the Best Practice design team was asked to modernize & breathe life into a 100yo grand house for a sophisticated & stylish family w/ 2 young boys. Although the stately house had much to admire, at the time of purchase it was extremely outdated & in dire need of a refresh. We approached the complete interior remodel w/ a genuine sense of reverence for the original character & craftsman details, but w/ an aim for the unconventional. The design consisted of rigorous attention to clean & simple details for the new inserted design elements along w/ isolated & highly curated moments of color & material whimsy.
On the main floor, a warren of weird closets was removed to open up the kitchen to the dining room while keeping a vintage built in hutch that ties the two rooms together. The kitchen was completely updated, including all new cabinets & a new central island, but preserved an existing glass atrium to the west, creating a light filled & functional workspace w/ seating. The remainder of the main floor received a fresh coat of paint & the dining room was outfitted w/ a new toile wallpaper that works w/ both the original character of the house & the contemporary makeover.
Flowing up the beautiful, open stair w/ original stained glass windows to the upper level, an unused storage cabinet was transformed into a hidden reading nook w/ peek-a-boo view to the kitchen. The upstairs landing was reconfigured to suit our modern family, leading to the new master suite, new storage closet, & 2 new bedrooms w/ a Jack-&-Jill bathroom. The old sleeping porch, complete w/ original divided-light casement windows was transformed into a sunny home office that overlooks the backyard. While the layout is very contemporary in organization, great care was taken to highlight & sometimes contrast the existing & very traditional details of the house. Original doors, many of the windows, railings & hardware were carefully salvaged, cleaned & reused in conjunction w/ new elements.
Renovation in the basement included the removal of outdated heating system & cold storage in order to create a guest suite w/ ¾ bathroom, an enlarged laundry room & multi-use play area for the busy family.
The last few days have been a flurry of activity with building on the river and wet lands. But, in between I have gone to a bunch of new places and back to some of my favorite venues.
Xavier & I love to salsa. So we did a search and wham, we found >Latin Palace Dance Club. Couples were dancing in dressy attire to wonderful salsa music. Wearing a tuxedo without a shirt and me in a short cocktail dress, it so reminded Xavier & me of Miami clubs.
A stopover at Organica to catch the last hour of DJ Qee's set woke us up with a nice psy jolt! So good to hear Qee's dynamic sounds and see old friends.
A brand new club called Fear FM sent me a tp. I got to meet owner/builder Cypher Webb. Beautifully built by Cypher, he was also spinning an awesome set of hardstyle and goth rock. I had a blast there. Cypher is also recruiting DJ's so peeps, give him a shout!
It was so late on Thursday night (Fri morn?) that I just had to stop off and say hi to DJ Xavi at The Cave. Owner Tasty Hax was there, too. I run into her at every party!
Friday afternoon, I got a tp from one of the builders. I ended up at Blackhearts 80's club. I love the funkiness of this club. So simple. It feels like a rock n roll club. Halloween was coming and the Pillsbury Dough Boy showed up! LOL!
Late night, and Xavier & I headed for DJ Nebulae's set at Piranha. Xavi loves this club. He set his JMD Effects hud on and we were in psy heaven. We always have fun at Shad's club!
In between all the craziness, I hit New Berlin's Electro Smog. Gee... I can't seem to get enough of this place. Zap Hax was hosting and DJ djleftydc Denja was spinning a sweet set of tunes.
Another new place I landed upon was Le Ghetto Hype. This is a fun club of alternative and eclectic tunes. Owner DJ Frederick Neberle & partner ARNAUD Mureaux have built a wonderful place to hang.
Off to Divaz Lounge! DJ 8wall Wrigglesworth just sent me a tp! OMG, 8wall is spinning at Divaz.
I met 8wall at Dance Island last year and then over at Nutrie. He spins a very chill set of house and minimal tunes.
But, the highlight of my night was at Old Factory listening to DJ Jeangilles Anthony. This frenchman is an artist. Beautiful industrial noise layered with a hardstyle beat... then transcending into experimental music... psychedelic experimental noise. LOL! and I fell asleep there... just couldn't leave!
Late night on Friday, Xavier and I ended up at DJ Digital Francis' Le Pardis de Digital Nation. It was an after party and Digi was spinning. Xavi & Digi started a "stump me" game. I think Digital was very impressed with Xavier's musical knowledge. They bro-downed the entire night leaving me and DJ Snowkitty dumbfounded... 'cause neither of us knew any of the tunes. LOL! I think Xavier has a new favorite dj now!
Kern Invite - 11/01/08
Hart Park - Bakersfield, CA
www.andynoise.com/kernxcinvite08.html
Varsity Girls - 2008 Kern County Cross Country
Championships
School Athlete Time Overall Scoring Team
1. Ridgeview Tijerra Lynch 18:58.24 1 1 1
2. Shafter Elizabeth Wittenberg 19:02.62 2 2 1
3. Garces Monica Guzman 19:15.89 3 3 1
4. North Celilia Lopez 19:21.87 4 4 1
5. Ridgeview Ashley Duran 19:23.47 5 5 2
6. Ridgeview Jessica Huizar 19:25.81 6 6 3
7. Foothill Natalie Fernandez 19:35.65 7 7 1
8. East Lucia Garcia 19:46.20 8 x 1
9. Stockdale Amber Nelson 19:59.40 9 8 1
10. Taft Megan Thompson 20:01.34 10 x 1
11. Stockdale Carolin Haney 20:01.70 11 9 2
12. Stockdale Shelbe Pennel 20:03.86 12 10 3
13. Shafter Moriah Milwee 20:05.23 13 11 2
14. Ridgeview Desiree Armendariz 20:08.00 14 12 4
15. Arvin Tanya Hernandez 20:10.02 15 x 1
16. Highland Nichole Berry 20:19:01 16 13 1
17. BHS Sarah Baker 20:25.37 17 14 1
18. North Medeline Maier 20:29.38 18 15 2
19. Ridgeview Monica Lazo 20:33.39 19 16 5
20. Shafter Lindsee Handel 20:36.70 20 17 3
21. Centennial Jessica Folsom 20:41.80 21 18 1
22. BHS Emily Shuford 20:45.35 22 19 2
23. Ridgeview Linda Gonzalez 20:58:28 23 20 6
24. BHS Gabrielle Lerma 21:03.97 24 21 3
25. Stockdale Courtney Moore 21:06.02 25 22 4
26. North Meagan Menzel 21:10.17 26 23 3
27. BHS Gracie Garcia 21:11.76 27 24 4
28. Foothill Perla Veloz 21:13.21 28 25 2
29. Foothill Crystal Rodriguez 21:20.30 29 26 3
30. Independence Katelynn Webb 21:21.51 30 27 1
31. Golden Valley Karina Rocha 21:23.57 31 28 1
32. Shafter Katerina Plaza 21:27.21 32 29 4
33. North Blanca Perez 21:27.98 33 30 4
34. Wasco Amanda Castellon 21:28.25 34 31 1
35. Foothill Kaitlyn Mrasak 21:31.45 35 32 4
36. Tehachapi Brenda Gonzalez 21:33.34 36 33 1
37. Highland Gabi Rodier 21:34.56 37 34 2
38. Centennial Margaret Martinez 21:35.39 38 35 2
39. Stockdale Cynthia Lopez 21:35.61 39 36 5
40. Centennial Jessica Crowe 21:43.49 40 37 3
41. Highland Hilaria Vasquez 21:43.76 41 38 3
42. North Yadira Perez 21:49.62 42 39 5
43. Foothill Erica Castro 21:53.39 43 40 5
44. Centennial Stephanie Dittman 21:55.56 44 41 4
45. Independence Natalie Ambriz 22:08.45 45 42 2
46. Stockdale Madison Schutzner 22:14.92 46 43 6
47. Highland Katherine Mayberry 22:16.42 47 44 4
48. Centennial Jorey Braughton 22:18.95 48 45 5
49. North Kaylee Meyer 22:20.98 49 46 6
50. Garces Lauren Brown 22:21.19 50 47 2
51. Golden Valley Denise Silva 22:23.90 51 48 2
52. Foothill Violeta Quintanar 22:24.92 52 49 6
53. Highland Desiree Martinez 22:25.59 53 50 5
54. Independence Sara Sullivan 22:25.95 54 51 3
55. Garces Lizbeth Lopez 22:28.11 55 52 3
56. Garces Tammy Vu 22:35.68 56 53 4
57. West Selam Habebo 22:39.75 57 x 1
58. Shafter Leana Lara 22:51.69 58 54 5
59. Independence Carlie Croxton 22:55.06 59 55 4
60. Cesar Chavez Rosa Montanez 22:57.28 60 x 1
61. Foothill Maria Zepeda 22:57.55 61 56 7
62. Garces Marissa Machado 22:57.92 62 57 5
63. Shafter Mayra Torres 23:00.88 63 58 6
64. Golden Valley Carmelita Aguilar 23:04.07 64 59 3
65. Ridgeview M. Salgado 23:14.56 65 60 7
66. Golden Valley Anna Avina 23:20.23 66 61 4
67. Golden Valley Ninive Alveno 23:26.73 67 62 6
68. Golden Valley Mercedes Salgado 23:26.73 68 63 5
69. Centennial Paige Anderson 23:30.27 69 64 6
70. Garces Sammie Lobardo 23:34.37 70 65 6
71. Arvin Bianca Quinonez 23:41.85 71 x 2
72. Kern Valley S. Hinkey 23:42.47 72 x 1
73. Frontier Ariel Driskill 23:43.12 73 66 1
74. Centennial J. Estrada 23:50.91 74 67 7
75. Kern Valley S. Hazzard 23:51.80 75 x 2
76. Garces G. Ortiz 23:54.66 76 68 7
77. North Priscilla Cruz 23:55.51 77 69 7
78. BHS Kristina Logan 24:04.10 78 70 5
79. Frontier Jasmine Mattos 24:05.42 79 71 2
80. Stockdale Delilah Diaz 24:10.83 80 72 7
81. West Wennie Agbalog 24:28.90 81 x 2
82. Wasco Anna Orozco 24:29.57 82 73 2
83. Wasco Ruby Jacabo 24:30.22 83 74 3
84. Tehachapi Anna Duke 24:33.57 84 75 2
85. Wasco S. Castellon 24:42.66 85 76 6
86. Independence Shelby Woolf 24:58.35 86 77 6
87. BHS Sarah Stidham 24:58.76 87 78 6
88. Arvin Gaby Gomez 25:04.17 88 x 3
89. Highland Cristina Valenzuela 25:05.21 89 79 6
90. McFarland Monica Gonzalez 25:42.30 90 x 1
91. Tehachapi Susie Cuevas 25:57.15 91 x 3
92. Wasco B. Medina 26:00.11 92 80 4
93. Cesar Chavez Shannan Albay 26:00.32 93 x 2
94. BC Tiffany Rodriguez 26:26.77 94 x 1
95. Tehachapi Ariel Deval 26:50.73 95 81 4
96. Wasco A. Rios 27:14.74 96 82 5
97. Independence Samantha Antu 27:17.44 97 83 5
98. Tehachapi L. Shoemaker 27:44.92 98 84 5
99. BC Victoria Wheeler 28:09.47 99 x 2
100. Tehachapi J. Bahera 29:20:93 100 85 6
101. Frontier T. See 29:29.12 101 86 3
102. Frontier Savanah Olson 30:18.04 102 87 4
103. Frontier A. Rojas NT 103 88 5
The Birds of Ireland: A Field Guide with Jim Wilson
Shorebirds of Ireland with Jim Wilson.
Freshwater Birds of Ireland with Jim Wilson (NOW OUT OF PRINT)
www.markcarmodyphotography.com
The Eurasian Curlew (Numenius arquata) is a wader in the large family Scolopacidae. It is one of the most widespread of the curlews, breeding across temperate Europe and Asia. In Europe, this species is often referred to just as the "curlew", and in Scotland known as the "whaup" in Scots. The familiar call is a loud curloo-oo.
The only similar species over most of the curlew's range is the Whimbrel (N. phaeopus). The Whimbrel is smaller and has a shorter bill with a kink rather than a smooth curve. Flying curlews may also resemble, albeit not existing in the same area, Bar-tailed Godwits (Limosa lapponica) in their winter plumages; however, the latter have a smaller body, a slightly upturned beak, and legs that do not reach far beyond their tail tips. The Eurasian curlew's feet are longer, forming a conspicuous "point". The curlew exists as a migratory species over most of its range, wintering in Africa, southern Europe and south Asia. Occasionally a vagrant individual reaches places far from its normal range, such as Nova Scotia and the Marianas. It is present all year in the milder climates of Ireland, the United Kingdom and its adjacent European coasts.
Formerly classified as a species of Least Concern by the IUCN, it was suspected to be rarer than generally assumed. Following the evaluation of its population size, the classification was found to be incorrect, and it was consequently promoted to Near Threatened status in 2008. Though it is a common bird, its numbers are noticeably declining. In Ireland, the breeding population is estimated to have declined by 86% in the last 30 years. (wikipedia)
The haunting cry of the Curlew is one of the most evocative and memorable sounds of the Irish landscape. For me, it is the sound of my childhood, when I would be out birdwatching during the winter months around Cork Harbour.
Sadly, these iconic birds have been suffering severe declines for many years in Ireland. Whilst they are still a regular sight along our coasts in winter when migrant birds from northern Europe come here to take advantage of our relatively mild winters, feeding in our estuaries and wetlands in large numbers, it is our resident breeding population that is now in danger of extinction. A terrible indictment of the country's (and governments) attitude to our natural heritage. Ireland's reputation for being "green" is, sadly, built on a myth.
Please see the Cry of the Curlew Appeal, initiated by Birdwatch Ireland, if you wish to help conserve this species.
This individual was feeding quite happily along the edge of the salt marsh at Bull Island in Co. Dublin at high tide.
Here is the amazing Local Cave House Hotel i stayed in Cappadocia. I would highly recommend Local Cave House Hotel for all backpackers, like me :). You can even book your hostel online from Turkey Hostels. Cheers !
Founded by Wiliam and Elizabeth Harrison in c 1862 following a legacy by his brother Robert and wife, Charlotte Scholastica who both died young. They had lived on the fringes of Regents Park and RObert had been involved in overseas trade. William and Elizabeth had a timber business close to the Triangle in Mare Street. EW Pugin,closely associated with Ramsgate's finer buildings, was the architect. The building was a home for about 40 poor Catholics aged 60 or over. In 1972 the home moved to Princes Risborough and the buildings in Clapton were demolished. The plan was to have buildings either side of a square with a chapel to at the top(N) and Kenninghall Road to the bottom (S) The Gothic interior of the chapel may be seen here.
EW or Edward Welby Pugin was a prolific architect of churches, especially in the North West of England. After his death, his half brother and younger brother took over his practice as Pugin and Pugin.
The Pugin family tree may be seen here. Notice that AWN Pugin, the designer of the houses of parliament was married at 19 and had a child at 20,his first wife dying in childbirth, and was married twice again and died at 40 himself. Pugin senior was responsible for the interior designs of the Palace of Westminster, overseen by Sir Charles Barry. A hint of that may be seen in the interior at St Scholastica's Hall
www.flickr.com/photos/sludgeulper/3441948223/
Location of St Scholastica's retreat in 1898 here
Stained glass of St Scholastica on Wirral here Also in St Dominics , London, and Duluth MN.
AHS Ames High School Alumni Assoc - Ames, IA
ameshigh.org - reunions - photos - newsletters - authors - calendar - news - deceased - email - letters - join AHSAA
21st annual Ames High School All Class Holiday Gathering get-together held Saturday December 26, 2015 at Olde Main Restaurant, Ames, Iowa. 200+ classmates attended the 2015 Holiday get-together, it was a lot of fun, like a small all school reunion. Went through 160 name tags by 9pm.
December 26, 2015 #photobyEdH #photobyEdHendricksonJr
Olde Main Restaurant
Ames, Iowa
200+ attendance
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Kim Anne Corieri Boeke Obituary
Kim Corieri Obituary
1953 - 2020
www.hamiltonsfuneralhome.com/services/services_detail.asp...
On November 7, 2020, Kim Corieri Boeke listened to Joe Biden and Kamala Harris speak after becoming President Elect and Vice President Elect of the United States. As a proud Democrat who had been active in party politics for years, she was overjoyed with the results of the election. Sometime later that night, Kim passed away. Although she had struggled with health issues for many years, and most recently with concerns about her heart, no one sensed that her death was imminent.
Kim was born in Des Moines, Iowa in 1953. A second generation Italian-American, her family lived many places in central Iowa, but she was a graduate of Ames High School. Kim was a woman of many passions, including an abiding love of California, cats, playing pool, and the color purple. She also deeply treasured her friendships and put great effort into staying connected with friends who were distant in time or place. Many of her greatest relationships came from the 12-1/2 years she worked at Commtron/Ingram. Over the years, she maintained and nurtured the friendships she made with co-workers and even some of her customers. In 2001, Kim had to leave the job and friends she loved so much due to the onset of the depression and anxiety she struggled with for the remainder of her life. Although she hoped to feel well enough to return to Commtron/Ingram, that was not to be...yet her friendships continued.
In August, 1996, Kim married John Boeke who was her devoted husband and steadfast beloved companion for the remainder of her life. Together they were avid Iowa State Cyclone fans and attended as many sports games as they could. Women’s basketball was a special favorite. Kim attended many Boeke family get togethers, always welcomed and welcoming to new members of the clan. She was especially fond of her mother-in-law, Bobbie Boeke. Together, she and John traveled to visit distant relatives and see the wonders of our country. In November of 2017, they even moved to San Jose, CA so Kim could live out her dream of living in the Bay Area. For several months they relished exploring the region, and Kim was able to walk along the beach at Half Moon Bay at sunset. However, they missed being near their family and dear friends so John and Kim returned home to Iowa.
Recently they had moved to a new apartment in Grimes, Iowa and they were just getting settled into their new place. After losing their 20 year-old cherished cat, Britteney, this summer, they had welcomed two new cats, Mercedes and kitty Jayden, into their home. The recent election had turned out the way they hoped.....there was a lot to look forward to.
Kim was preceded in death by her parents, Bud and Retha Corieri; and adored cats, Britteney, Prince, and Princess. She is survived by her husband, John Boeke; stepdaughter, Elizabeth Boeke; step-granddaughter, Kylie Boeke; siblings, Rosalind Paige, Leslie Corieri, and Kelly White.
There is currently no memorial service planned. Memorial contributions in her honor can be made to the Ames High School Theater Department, 1921 Ames High Drive in Ames, IA, 50010.
Online condolences may be expressed at www.HamiltonsFuneralHome.com.
The tribute video for Kim Corieri Boeke will be available here shortly.
--- 2nd obituary
www.echovita.com/us/obituaries/ia/des-moines/kim-boeke-11...
Kim Boeke Obituary
1953-2020
It is always difficult saying goodbye to someone we love and cherish. Family and friends must say goodbye to their beloved Kim Boeke (Des Moines, Iowa), who passed away on November 7, 2020. You can send your sympathy in the guestbook provided and share it with the family.
She was predeceased by : her parents, Bud Corieri and Retha Corieri; and her pets, Britteney, Prince and Princess.
She is survived by : her husband John Boeke; her step-daughter Elizabeth Boeke; her step-granddaughter Kylie Boeke; and her siblings, Rosalind Paige, Leslie Corieri and Kelly White.
Memorial contributions in her honor can be made to the Ames High School Theater Department, 1921 Ames High Drive, Ames, IA, 50010.
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AHSAA Ames High School Alumni Association Ames, IA
ADOLFO VASQUEZ ROCCA _Doctor en Filosofía _ Director de 'Revista Observaciones Filosóficas'
ADOLFO VASQUEZ ROCCA __PH. D.
Doctor en Filosofía
Universidad Complutense de Madrid UCM
www.danoex.net/adolfovasquezrocca.html
Adolfo Vásquez Rocca
Doctor en Filosofía
REVISTA OBSERVACIONES FILOSÓFICAS
Prof. Dr. Adolfo Vásquez Rocca
Director de Revista Observaciones Filosóficas.
VÁSQUEZ ROCCA, Adolfo
Doctor en Filosofía
Valparaiso - Madrid
Pontificia Universidad Católica de Valparaíso
Universidad Andrés Bello UNAB
Universidad Complutense de Madrid
Tlf. (56) 32 - 233347X | E-mail: adolfovrocca@gmail.com
Trayectoría Académica
Doctor en Filosofía por la Pontificia Universidad Católica de Valparaíso; Postgrado Universidad Complutense de Madrid, Departamento de Filosofía IV. Profesor de Postgrado del Instituto de Filosofía de la Pontificia Universidad Católica de Valparaíso; Profesor de Antropología y Estética en el Departamento de Artes y Humanidades de la Universidad Andrés Bello UNAB. Profesor de la Escuela de Periodismo y Arquitectura UNAB Santiago. – En octubre de 2006 y 2007 es invitado por la 'Fundación Hombre y Mundo' y la UNAM a dictar un Ciclo de Conferencias en México. – Miembro del Consejo Editorial Internacional de la 'Fundación Ética Mundial' de México. Director del Consejo Consultivo Internacional de 'Konvergencias', Revista de Filosofía y Culturas en Diálogo, Argentina. Miembro del Conselho Editorial da Humanidades em Revista, Universidade Regional do Noroeste do Estado do Rio Grande do Sul, Brasil y del Cuerpo Editorial de Sophia –Revista de Filosofía de la Pontificia Universidad Católica del Ecuador–. Asesor Consultivo de Enfocarte –Revista de Arte y Literatura– Asturias, España. Miembro del Consejo Editorial Internacional de 'Reflexiones Marginales' –Revista de la Facultad de Filosofía y Letras UNAM– Director de Revista Observaciones Filosóficas. Profesor visitante en la Maestría en Filosofía de la Benemérita Universidad Autónoma de Puebla. – Profesor visitante Florida Christian University USA y Profesor Asociado al Grupo Theoria –Proyecto europeo de Investigaciones de Postgrado– UCM. Académico Investigador de la Vicerrectoría de Investigación y Postgrado, Universidad Andrés Bello. Artista conceptual. Ha publicado el Libro: Peter Sloterdijk; Esferas, helada cósmica y políticas de climatización, Colección Novatores, Nº 28, Editorial de la Institución Alfons el Magnànim (IAM), Valencia, España, 2008. Invitado especial a la International Conference de la Trienal de Arquitectura de Lisboa | Lisbon Architecture Triennale 2011
PUBLICACIONES
Publicaciones Internacionales Catalogadas en DIALNET Directorio de Publicaciones Científicas Hispanoamericanas
dialnet.unirioja.es/servlet/autor?codigo=1053859
Publications Scientific
de.scientificcommons.org/adolfo_v%C3%A1squez_rocca
Biblioteket og Aarhus Universitet, Denmark | Det Humanistiske Fakultet
Biblioteca Universidad Complutense de Madrid
Directorio de recursos digitales - Ministerio de Cultura, España
roai.mcu.es/es/consulta/busqueda_referencia.cmd?campo=ida...
Biblioteca Asociación Filosófica UI
www.uruguaypiensa.org.uy/categoria_144_1_1.html
LIBROS
VÁSQUEZ ROCCA, Adolfo
Libro: Peter Sloterdijk; Esferas, helada cósmica y políticas de climatización, Colección Novatores, Nº 28, Editorial de la Institución Alfons el Magnànim (IAM), Valencia, España, 2008. 221 páginas | I.S.B.N.: 978-84-7822-523-1
INVESTIGACIÓN:
Proyecto de Investigación N° DI-10-09/JM - UNAB
“Ontología de las distancias en Sloterdijk, hacia una teoría antropotécnica de las comunicaciones”.
Dirección de Investigación, Universidad Andrés Bello – Fondo Jorge Millas 2009, Facultad de Humanidades y Educación UNAB
TRAYECTORÍA ACADÉMICA
Doctor en Filosofía por la Pontificia Universidad Católica de Valparaíso; Postgrado Universidad Complutense de Madrid, Departamento de Filosofía IV, Teoría del Conocimiento y Pensamiento Contemporáneo. Áreas de Especialización Antropología y Estética.
Profesor de Postgrado del Instituto de Filosofía de la PUCV, Profesor asociado al Grupo Theoria Proyecto europeo de Investigaciones de Postgrado.
(1993) Profesor del Seminario "Lógica Contemporánea 'Wittgenstein y El Círculo de Viena' ", Instituto de Filosofía, Universidad Católica de Valparaíso
(1995-1998) Director de Investigación Teoría del Conocimiento -Theory of Knowledge Tok- The Mackay School, Bachillerato Internacional, International Baccalaureate.
(2005-2008) Profesor de Antropología, Escuela de Medicina, Universidad Andrés Bello.
(2005-2010) Profesor de Antropología Filosófica y Estética, Departamento de Artes y Humanidades de la Universidad Andrés Bello, UNAB
(2006-2007) Profesor de Estética, Escuela de Arquitectura, Universidad Andrés Bello UNAB
(2006) Profesor del Diplomado en Psicología Clínica "Psicopatología, subjetividad y cultura". Escuela de Psicología PUCV
(2006 - 2010) Profesor de Estética Escuela de Arquitectura, Universidad Andrés Bello, UNAB
(2006-2010) Profesor de Fundamentos Culturales de la Comunicación. Escuela de Periodismo, Universidad Andrés Bello, UNAB
(2006-2010) Profesor de la Escuela de Psicología, Universidad Andrés Bello, UNAB
(2006-2007) Profesor invitado Facultad de Filosofía y Letras de la Universidad Nacional Autónoma de México, UNAM
(2007) Profesor visitante de la Benemérita Universidad Autónoma de Puebla, semestre de otoño 2007, BUAP
(2005-2008) Profesor de Postgrado, Instituto de Filosofía, Pontificia Universidad Católica de Valparaíso, PUCV
(2005-2010) Profesor Asociado Grupo THEORIA Proyecto europeo de Investigaciones de Postgrado. UCM
(2009-2010) Profesor visitante Florida Christian University USA
(2010) Director Académico Carrera de Filosofía y Teología, Universidad Cristiana de Chile UCCH
(2009-2010) Académico Investigador de la Vicerrectoría de Investigación y Postgrado, Universidad Andrés Bello.
Asignaturas y Seminarios de Postgrado impartidos:
2005 - 2º Seminario "Rorty: ironismo liberal y giro narrativo de la Filosofía".
2006 1º Seminario Sloterdijk: "Crítica de la Razón Cínica"
2006 2º Seminario "Nietzsche; Genealogía de la moral y voluntad de ficción"
2007 1º Seminario Sloterdijk - Nietzsche
2007 2º Seminario: Sloterdijk un pensador estético
2008 1º Seminario "Peter Sloterdijk - W. Benjamín; De la Filosofía a la Arquitectura"
2008 2º Seminario "Sloterdijk y Baudrillard; Ontología de las distancias y antropotécnica de las comunicaciones"
PARTICIPACIÓN EN SEMINARIOS Y CONGRESOS
2004 Seminario Homenaje Prof. Dr. Mirko Skarica, Instituto de Filosofía, Pontificia Universidad Católica de Valparaíso. Ponencia: "Lógica paraconsistente y semántica de los mundos posibles", noviembre.
2004 Seminario "Raúl Ruiz y la vanguardia del Cine francés", organizado por la PUCV. UPLACED, ARCIS y Embajada de Francia. Conferencia: "Raúl Ruiz; Defensa retórica del arte de filmar y del cine como arte; plan secreto, sinfonía dramática y lógica narrativa", octubre.
2005 "El Dios Pensado: Estudios antropológicos acerca de lo divino" Ciclo de Conferencias en la Universidad Andrés Bello. Departamento de Artes y Humanidades - Campus República, UNAB. Conferencia: "Ludwig Wittgenstein; Mística, Filosofía y Silencio", septiembre
2006 Video-Conferencia UCM - UNED y A Parte Rei en ATEI Asociación de Televisión Educativa Iberoamericana, “El poder de la palabra; lenguaje y realidad”, Febrero, 2006, serbal.pntic.mec.es/~cmunoz11/video3.html
2006 Universidad Veracruzana en su 50' Aniversario y XI Encuentro Nacional de Pasantes de Filosofía. Conferencia Magistral: "La ficción del sujeto y las seducciones de la gramática en Nietzsche y Deleuze", octubre.
2006 Universidad Autónoma de Tlaxcala. Conferencia: "En el mismo barco: ensayo sobre la hiperpolítica, posmodernidad y globalización en Peter Sloterdijk", octubre.
2006 Universidad Autónoma de Tlaxcala. Cursillo Maestría en Filosofía: “El giro Estético de la epistemología; redescripciones de la posmodernidad”, 19 y 20 de octubre.
2006 1er Coloquio Hispanoamericano de Filosofía después de Auschwitz, en el Antiguo Colegio de Medicina, Ciudad de México; organizado por la UNAM, la Universidad Iberoamericana y La Asociación Filosófica de México. Ponencia: "Peter Sloterdijk; El Posthumanismo: sus fuentes teológicas y sus medios técnicos", octubre.
2006 Coloquio internacional: Repercusiones e interacciones políticas, filosóficas y teológicas entre oriente y occidente. UNAM, Mesa ética y Responsabilidad humana, Ponencia: "Rorty: el Giro narrativo de la Ética o la Filosofía como género literario", octubre.
2007 II Coloquio Franco-Hispano-Chileno de Etnopsicología y III Seminario Internacional sobre el Espacio "El Espacio y el Lenguaje". PUCV. Ponencia: "Metafórica de las Esferas; una aproximación al hombre como experimento sonoro", enero.
2007 Instituto de Sistemas Complejos de Valparaíso, Ciclo: "Diálogo: Ciencia, Política y Poder. ¿Es Chile una Sociedad Justa?". Conferencia: "Imaginarios, cartografía de las emociones escindidas y crisis del proyecto urbano, mayo.
2007 Congreso Internacional Nietzsche “Filosofía, Arte, religión, ciencia y política en Nietzsche: memorias de un caminante intempestivo”, organizado por la Universidad Veracruzana, México. Ponencia: "Nietzsche y Sloterdijk; depauperación del nihilismo, posthumanismo y complejidad extrahumana", octubre.
2007 Conferencia Magistral en el Colegio de Filosofía, introductoria a la Maestría en Filosofía de la Benemérita Universidad Autónoma de Puebla, “Peter Sloterdijk; Esferas, deriva biotecnológica y el cinismo difuso de nuestras sociedades Exhaustas”, octubre.
2007 Curso en el Colegio de Filosofía, introductoria a la Maestría en Filosofía de la Benemérita Universidad Autónoma de Puebla: “Sloterdijk; Esferas, Flujos y Redes; Antropología y Estética Posmoderna”, octubre.
2007 Conferencia Magistral Aula Magna, Universidad Nacional Autónoma de México UNAM, Sloterdijk; Esferas y Temblores de Aire [Estética, Ontogénesis de los Espacios Humanos y Etno-terrorismo], octubre
2007 Congreso Internacional de Fenomenología y Hermenéutica, Universidad Andrés Bello, sección Estética. Ponencia: “Sloterdijk: Esferas, fenomenología y ontogénesis de los espacios humanos”, octubre.
2000 "Reflexiones sobre Alteridad y Reconocimiento". Encuentros de la Facultad de Filosofía UCM con pensadores contemporáneos alemanes. Goethe Institut Madrid. Octubre.
2000 Ponencia en Seminario "El Reto del Espacio: Pensar con Heidegger sobre la obra de Eduardo Chillida", Facultad de Filosofía y Letras, Universidad Pontificia Comillas, Campus Cantoblanco, noviembre.
2000 Ponencia "El peso del mundo y el lento regreso del sujeto escindido en Peter Hanke", Encuentro Interdepartamental en torno a la Crisis de Fin de Siglo. Aspectos de la Identidad Europea. Facultad de Filosofía UNIVERSIDAD COMPLUTENSE DE MADRID. Diciembre.
2004 Seminario Homenaje Prof. Dr. Mirko Skarica, Instituto de Filosofía, Pontificia Universidad Católica de Valparaíso Ponencia:
Ponencia "Lógica paraconsistente y semántica de los mundos posibles" (noviembre).
2004 octubre Seminario "Raúl Ruiz y la vanguardia del Cine francés", organizado por la PUCV. UPLACED, ARCIS y EMBAJADA DE FRANCIA. Conferencia: "Raúl Ruiz; Defensa retórica del arte de filmar y del cine como arte; plan secreto, sinfonía dramática y lógica narrativa"
2005 "El Dios Pensado: Estudios antropológicos acerca de lo divino" Ciclo de Conferencias en la Universidad Andrés Bello. Departamento de Artes y Humanidades - Campus República, UNAB Conferencia: "Ludwig Wittgenstein; Mística, Filosofía y Silencio"
2006 I COLOQUIO FRANCO-HISPANO-CHILENO DE ETNOPSICOLOGÍA Y II SEMINARIO INTERNACIONAL SOBRE EL ESPACIO "EL ESPACIO Y EL OTRO". Enero, PUCV. Coloquio y moderación Ponencia de la Dra. Adela Cortina Orts
2007 CONGRESO INTERNACIONAL DE FENOMENOLOGÍA Y HERMENÉUTICA
Comunicación “Sloterdijk: Esferas, fenomenología y ontogénesis de los espacios humanos”,
Universidad Andrés Bello UNAB (17 - 19 de octubre, 2007)
2008 II Seminario "De la Filosofía a la Literatura"
Departamento de Artes y Humanidades, Universidad Andrés Bello UNAB (7 de noviembre, 2008)
Conferencia “Sloterdijk; Pensamiento, expedición y verdad”.
2008 Segundo Coloquio Interdisciplinario: “El Pensamiento de Carla Cordua y El Desarrollo de la Filosofía En Chile”.
Seminario Permanente Hegel – Marx. Facultad de Filosofía y Humanidades, Universidad de Chile UCH (13 de noviembre, 2008)
Ponencia: “En Torno a Sloterdijk y Heidegger: La recepción Filosófica”.
2008 Bienal de Artes Visuales de Honduras 2008: Diásporas del Futuro (BAVH)
Conferencia "El objetivo de la Crítica de Arte" [17 - 19 de noviembre, 2008]
2008 Congreso Internacional - Interdisciplinario de Filosofía, Córdoba, 2008. SAF Sociedad Argentina de Filosofía.
Museo - Palacio Martín Ferreyra (24 al 29 de noviembre, 2008)
Conferencia “Sloterdijk. Ontología de las distancias, concierto de transferencias e historia de la fascinación de proximidad”
2009 III Congreso Panamericano de Bioética OPS, 17 al 20 de junio, Caracas 2009.
Orden Hospitalaria San Juan de Dios. Conferencia inaugural:
“Sloterdijk, Heidegger y Agamben; Biopolítica o notas sobre el Parque Humano y la nuda vida”.
2009 “Seminario Internacional. Giorgio Agamben: Teología Política y Biopolítica”. Organizado por el Instituto de Humanidades de la Universidad Diego Portales. Ponencia: “Sloterdijk, Agamben y Nietzsche: Biopolítica, posthumanismo y Biopoder”. Septiembre
2009 Congreso “El sujeto de la Globalización” Organizado por la SAF Sociedad Asturiana de Filosofía, España. Conferencia: “Sloterdijk y el imaginario de la Globalización; mundo sincrónico y conciertos de transferencia” Octubre 2009 www.sociedadasturianadefilosofia.org/
- 2009 II Seminario Local de Pensamiento Ambiental y Filosofía Contemporánea, Universidad Nacional de Colombia-Sede Manizales, Universidad de Caldas. Auditorio Juan Hurtado Bloque H Piso -1, Diciembre 4 y 5 de 2009.
2010 Seminario de Postgrado, "Seminario Sloterdijk: Esferas y Posthumanismo; Sobre capitalismo, neuroglobalización y mundos asesores", Cátedra Inaugural de la Maestría en Estética, Universidad Nacional de Colombia, Medellín, Facultad de Ciencias Humanas y Económicas, Departamento de Estudios Filosóficos y Culturales, 10 al 12 de Agosto 2010, www.observacionesfilosoficas.net/seminariocolombia.htm
- 2011 International-Conference TRIENAL DE ARQUITECTURA DE LISBOA | LISBON ARCHITECTURE TRIENNALE, Conference "Psicopolítica en Sloterdijk y Virilio; El vértigo de la sobremodernidad; ciudades del pánico y turismo etnográfico”, Lisboa, Portugal, 15 and 16 January 2001 www.trienaldelisboa.com/en/international-conference
CONFERENCIAS INTERNACIONALES
Octubre 2006
Ciclo de Conferencias en México invitado por la Fundación Hombre y Mundo y la UNAM, 0ctubre de 2006.
- UV Universidad Veracruzana en su 50' Aniversario y XI Encuentro Nacional de Pasantes de Filosofía.
Conferencia Magistral: "La ficción del sujeto y las seducciones de la gramática en Nietzsche y Deleuze".
serbal.pntic.mec.es/~cmunoz11/vasquez49.pdf
- 1° COLOQUIO HISPANOAMERICANO DE FILOSOFÍA DESPUÉS DE AUSCHWITZ, en el Antiguo Colegio de Medicina, Ciudad de México; organizado por la UNAM, la UNIVERSIDAD IBEROAMERICANA Y LA ASOCIACIÓN FILOSÓFICA DE MÉXICO.
Ponencia: "Peter Sloterdijk; El Posthumanismo: sus fuentes teológicas y sus medios técnicos".
- UNIVERSIDAD AUTÓNOMA DE TLAXCALA
Conferencia: "El giro Estético de la Epistemología; el estatuto óntico-semiótico de la ficción".
- COLOQUIO INTERNACIONAL: REPERCUSIONES E INTERACCIONES POLÍTICAS, FILOSÓFICAS Y TEOLÓGICAS ENTRE ORIENTE Y OCCIDENTE
Conferencia Aula Magna, UNIVERSIDAD NACIONAL AUTÓNOMA DE MÉXICO. UNAM:
"Rorty: el Giro narrativo de la Ética o la Filosofía como género literario"
- Ponencia "Espacio y Arquitectura de la Memoria; Hölderlin Trakl y Teillier", En Taller de Investigación "Arquitectura y Humanidades", Programa de Maestría y Doctorado en ARQUITECTURA - UNIVERSIDAD NACIONAL AUTÓNOMA DE MÉXICO. UNAM
2007 - 2010
- II COLOQUIO FRANCO-HISPANO-CHILENO DE ETNOPSICOLOGÍA Y III SEMINARIO INTERNACIONAL SOBRE EL ESPACIO "EL ESPACIO Y EL LENGUAJE". 9 y 12 de Enero de 2007, PUCV
Conferencia: "Metafórica de las Esferas; una aproximación al hombre como experimento sonoro".
- INSTITUTO DE SISTEMAS COMPLEJOS DE VALPARAÍSO ISCV
Conferencia: "Imaginarios, cartografía de las emociones escindidas y crisis del proyecto urbano" En el marco del Ciclo: "Diálogo: Ciencia, Política y Poder – ¿Es Chile una Sociedad Justa?"
www.psikeba.com.ar/actualizaciones/archivo_06_07/Institut...
- EXPOSICIÓN "Esferas, flujos y complejidad extrahumana" Galería SONAR -Arte y Estudios Culturales- Buenos Aires.
comunicacion.unab.cl/index.php?option=com_content&tas...
[octubre - noviembre de 2007]
Exposición de Pintura: "La condición posthumana", En Espacio Expositivo Itaca -Homines- Málaga.
www.homines.com/itaca/vazquez_condicion_posthumana/index.htm
Exposición "La condition Posthumaine” En Psychanalyse Gallery Paris.
- Ciclo de Conferencias en México
- Conferencias y Congresos en México, invitado por la UNAM y la Fundación Cultural Hombre y Mundo
- CONGRESO INTERNACIONAL NIETZSCHE “Filosofía, Arte, religión, ciencia y política en Nietzsche: memorias de un caminante intempestivo”,
Universidad Veracruzana UV, México
Ponencia: "Nietzsche y Sloterdijk; depauperación del nihilismo, post humanismo y complejidad extrahumana".
[1 al 5 de octubre 2007]
- CONFERENCIA Y CURSILLO EN LA MAESTRÍA DE FILOSOFÍA
Benemérita Universidad Autónoma de Puebla BUAP [octubre 2007]
- CONFERENCIA MAGISTRAL AULA MAGNA de la Facultad de Filosofía y Letras de la Universidad Nacional Autónoma de México UNAM:
“Sloterdijk; Esferas y Temblores de Aire [Estética, Ontogénesis de los Espacios Humanos y Atmo-terrorismo]”
[9 de octubre 2007]
Agencia Universitaria de Noticias UNAM
aunam.politicas.unam.mx/Archivo/07/octubre/071010-pol.htm
- CONGRESO INTERNACIONAL DE FENOMENOLOGÍA Y HERMENÉUTICA
Sección ESTÉTICA
Comunicación “Sloterdijk: Esferas, fenomenología y ontogénesis de los espacios humanos”,
Universidad Andrés Bello UNAB [17 - 19 de octubre, 2007]
- SEMINARIO 'La Poética del Cine en Raúl Ruiz”, FESTIVAL DE CINE DE SEVILLA 2007, en colaboración con la Universidad Hispalense, Ponencia: "La Poética del Cine; sobre las permutaciones antropológicas en el cine de Raúl Ruiz”, 2 de noviembre 2007.
- 2009 III Congreso Panamericano de Bioética OPS, 17 al 20 de junio, Caracas 2009.
Conferencia inaugural: “Sloterdijk, Heidegger y Agamben; Biopolítica o notas sobre el Parque Humano y la nuda vida”.
- 2009 “Seminario acerca de la verdad” Tercera Versión Departamento de Artes y Humanidades, Universidad Andrés Bello.
Campus Viña del Mar - 22 de junio
Ponencia: “Sloterdijk y Heidegger. Verdad y biopolítica después de la crisis del humanismo”.
- 2009 “Seminario Internacional. Giorgio Agamben: Teología Política y Biopolítica”. Organizado por el Instituto de Humanidades de la Universidad Diego Portales. Ponencia: “Sloterdijk, Agamben y Nietzsche: Biopolítica, posthumanismo y Biopoder”. Septiembre
- 2009 Congreso “El sujeto de la Globalización” Organizado por la SAF Sociedad Asturiana de Filosofía, Gigón - España. Conferencia: “Sloterdijk y el imaginario de la Globalización; mundo sincrónico y conciertos de transferencia” Octubre 2009 www.sociedadasturianadefilosofia.org/
- II Seminario Local de Pensamiento
- 2009 II Seminario Local de Pensamiento Ambiental y Filosofía Contemporánea, Universidad Nacional de Colombia-Sede Manizales, Universidad de Caldas. Auditorio Juan Hurtado Bloque H Piso -1, Diciembre 4 y 5 de 2009.
- 2010 Seminario de Postgrado, "Seminario Sloterdijk: Esferas y Posthumanismo; Sobre capitalismo, neuroglobalización y mundos asesores", Cátedra Inaugural de la Maestría en Estética, Universidad Nacional de Colombia, Medellín, Facultad de Ciencias Humanas y Económicas, Departamento de Estudios Filosóficos y Culturales, 10 al 12 de Agosto 2010, www.observacionesfilosoficas.net/seminariocolombia.htm
- 2011 International-Conference TRIENAL DE ARQUITECTURA DE LISBOA | LISBON ARCHITECTURE TRIENNALE, Conference "Psicopolítica en Sloterdijk y Virilio; El vértigo de la sobremodernidad; ciudades del pánico y turismo etnográfico”, Lisboa, Portugal, 15 and 16 January 2001 www.trienaldelisboa.com/en/international-conference
PROYECTOS DE INVESTIGACIÓN
2009 - 2010
- Proyecto de Investigación N° DI-10-09/JM - UNAB
- Proyecto de Investigación: “Ontología de las distancias en Sloterdijk, hacia una teoría antropotécnica de las comunicaciones”.
Dirección General de Investigación y Desarrollo, (VRID) – Vicerrectoría de Investigación y Doctorado UNAB
Fondo Jorge Millas 2009, Facultad de Humanidades y Educación. Universidad Andrés Bello
2011 - 2012
- Proyecto de Investigación N° DI-08-11/JM - UNAB
- Proyecto de Investigación: “Ontología del cuerpo en la Filosofía de Jean Luc Nancy, Biopolítica, Alteridad y Estética de la Enfermedad”.
Dirección General de Investigación y Desarrollo, (VRID) – Vicerrectoría de Investigación y Doctorado UNAB
Fondo Jorge Millas 2009, Facultad de Humanidades y Educación. Universidad Andrés Bello
PROYECTOS DE CREACIÓN ARTÍSTICA
2007 - 2008
Exposición la Condición Post-Humana | Buenos Aires - Málaga |
Marco conceptual y Registro de Obras
ENTREVISTAS
2010
"Filosofía como teoría erótica. Entrevista a Adolfo Vásquez Rocca". Entrevista en 'ALCANCES' Vol.I, Nº 1, año 2010 – Revista de Filosofía – de la Facultad de Filosofía y Humanidades de la Universidad de Chile. www.alcances.cl/ver-articulo.php?id=81
PARTICIPACIÓN EN DIRECTORIOS INTERNACIONALES Y CONCEJOS CIENTÍFICOS.
Director
Revista Observaciones Filosóficas
www.observacionesfilosoficas.net/
Revista de Filosofía Contemporánea, con secciones dedicadas a la Antropología, Estética, Epistemología, Ética, Psicología y Literatura. Indexada en Base de Datos de la Universidad Complutense de Madrid, Catalogada en UNIVERSIA.net Directorio de la Conferencia de Rectores de Universidades Españolas y el Consejo Superior de Investigaciones Científicas (CSIC); DIALNET Directorio de publicaciones científicas hispanoamericanas; LATINDEX Sistema de Publicaciones Científicas Seriadas de América Latina, España y Portugal. En BIBLIOTECA VIRTUAL MIGUEL DE CERVANTES; Les Signets de la BIBLIOTHÈQUE NATIONALE DE FRANCE: Philosophie, Revues y Centre d'Études en Rhétorique, Philosophie et Historie des Idées, Paris. Asociada al Postgrado en Filosofía - Pontificia Universidad Católica de Valparaíso y al Grupo THEORIA Proyecto europeo de Investigaciones de Postgrado. ISSN 0718-3712
Secretario de Redacción de Philosophica, Revista del Instituto de Filosofía de la PUCV. ISSN0716–1913
Editor Asociado de Psikeba, Revista de Psicoanálisis y Estudios Culturales, Buenos Aires, ISSN 1850-339X www.psikeba.com.ar
Miembro de la Federación Internacional de Archivos Fílmicos (FIAF) con sede en Bruselas, Bélgica.
Miembro del Consejo de Redacción de Revista Homines –Arte y Cultura– MA-739-2004, Málaga, España.
Miembro del Consejo Editorial Internacional de la Fundación Ética Mundial de México, www.eticamundial.com.mx/fundacion.html
Miembro del Conselho Editorial da Humanidades em Revista, Universidade Regional do Noroeste do Estado do Rio Grande do Sul, Brasil.
Miembro de la Sociedad Internacional de Bioética (SIBI) - 'Bioéticas'. Guía internacional de la Bioética
Miembro del Consejo Editorial Internacional de 'Cuadernos del Seminario' - Revista del Seminario del Espacio ISSN 0718-4247 Vicerrectoría de Investigación y Estudios Avanzados Pontificia Universidad Católica de Valparaíso.
Miembro del Consejo Editorial de Escáner Cultural - Revista de Arte Contemporáneo y nuevas tendencias, Santiago.
Miembro del Taller de Investigacion "Arquitectura y Humanidades" del Programa de Maestría y Doctorado en Arquitectura de la Universidad Nacional Autónoma de México, UNAM
Miembro del Consejo Consultivo Internacional y dictaminador de Revista de Humanidades:Tecnológico de Monterrey, México.
Director del Consejo Consultivo Internacional de Konvergencias, Revista de Filosofía y Culturas en Diálogo, Argentina. ISSN 1669-9092
COLUMNISTA DE REVISTAS Y PUBLICACIONES INTERNACIONALES, entre las que se cuentan:
A PARTE REI ISSN: 1137-8204 -Revista de la Sociedad de Estudios Filosóficos de Madrid-
NÓMADAS Revista Crítica de Ciencias Sociales y Jurídicas ISSN 1578-6730 - Universidad Complutense de Madrid.
MARGEN CERO, Miembro fundador de la Asociación de Revistas Culturales de España, ISSN 1695-4807
CUENTA Y RAZÓN, Revista de la Fundación de Estudios Sociológicos (FUNDES) de Madrid, Fundada por Julián Marías, ISSN: 0211-1381
HETEROGÉNESIS [SWEDISH-SPANISH] _ Revista de arte contemporáneo. TIDSKRIFT FÖR SAMTIDSKONST
MODALOGÍA Filosofía della moda - Italia
EIKASIA Revista de Filosofía, ISSN 1885-5679 - Oviedo, España
ENFOCARTE Revista Internacional de Arte y Cultura, España
DEBATS Revista de Filosofía y crítica cultural, ISSN 0212-0585, Institució Alfons el Magnànim, Valencia.
LIBROS
VÁSQUEZ ROCCA, Adolfo
Libro: Peter Sloterdijk; Esferas, helada cósmica y políticas de climatización, Colección Novatores, Nº 28, Editorial de la Institución Alfons el Magnànim (IAM), Valencia, España, 2008. 221 páginas | I.S.B.N.: 978-84-7822-523-1
Libro: Rorty: el Giro narrativo de la Ética o la Filosofía como género literario [Compilación de Conferencias en México D.F.] Editorial Hombre y Mundo (HyM), México, 2007 Publicación programada para 2009.
ENTREVISTAS
2010
"Filosofía como teoría erótica. Entrevista a Adolfo Vásquez Rocca". Entrevista en 'ALCANCES' Vol.I, Nº 1, año 2010 – Revista de Filosofía – de la Facultad de Filosofía y Humanidades de la Universidad de Chile. www.alcances.cl/ver-articulo.php?id=81
TESIS DIRIGIDAS
- Tesis: "Globalización y ontología de las distancias en Sloterdijk; hacia una teoría antropotécnica de las comunicaciones". Srta. Liliana Vásquez Rocca
Grado de Magíster en Filosofía. Instituto de Filosofía, Pontificia Universidad Católica de Valparaíso, 2010.
- Tesis: "El espacio interfacial de la convivencia; Micro-esfereología en Peter Sloterdijk". Srta. Lucía Muñiz, 2009
Grado de Magister en Filosofía Práctica, Colegio de Filosofía, Benemérita Universidad Autónoma de Puebla, México.
- Tesis: "Antecedentes y Alcances del problema del humanismo en "Normas para el Parque Humano" de Sloterdijk". Sr. Dusan Vuskovic.
Grado de Licenciatura en Filosofía. Instituto de Filosofía, Pontificia Universidad Católica de Valparaíso, 2008.
- Tesis: "El desarrollo de la intimidad en el tránsito de la Psico-técnica", Sr. Jonathan Belmar Guzmán.
Grado de Licenciatura en Filosofía. Instituto de Filosofía, Pontificia Universidad Católica de Valparaíso, 2007.
PUBLICACIONES indexadas
Publicaciones Internacionales Catalogadas en los siguientes Directorios y Bases de Datos:
Directorio de contenidos científicos, DIALNET, Universidad de la Rioja, España.
dialnet.unirioja.es/servlet/autor?codigo=1053859
Directorio de recursos digitales - Ministerio de Cultura, España
roai.mcu.es/es/consulta/busqueda_referencia.cmd?campo=ida...
Revistas Científicas de la UCM - Editorial Board
Biblioteket og Aarhus Universitet, Denmark | Det Humanistiske Fakultet
ISOC, CIENCIAS SOCIALES Y HUMANIDADES - CINDOC (Centro de Información y Documentación Científica), CSIC (España)
Directorio de publicaciones científicas de América Latina LATINDEX
PHILOSOPHER'S INDEX
DIALNET
ISI
SciELO
DOAJ
www.danoex.net/adolfovasquezrocca.html
ADOLFO VASQUEZ ROCCA __PH. D.
Doctor en Filosofía
Universidad Complutense de Madrid UCM
www.danoex.net/adolfovasquezrocca.html
Adolfo Vásquez Rocca
Doctor en Filosofía
VÁSQUEZ ROCCA, Adolfo
Doctor en Filosofía
Valparaiso - Madrid
ADOLFO VASQUEZ ROCCA __PH. D.
Doctor en Filosofía
Universidad Complutense de Madrid UCM
www.danoex.net/adolfovasquezrocca.html
Adolfo Vásquez Rocca
Doctor en Filosofía
REVISTA OBSERVACIONES FILOSÓFICAS
Prof. Dr. Adolfo Vásquez Rocca
Director de Revista Observaciones Filosóficas.
Mr. Adolfo Vásquez Rocca PH. D. Oxford University: International Baccalaureate IB. Theory of Knowledge _ Director
Pontificia Universidad Católica de Valparaíso
Universidad Andrés Bello UNAB
Universidad Complutense de Madrid
Tlf. (56) 32 - 233347X | E-mail: adolfovrocca@gmail.com
Universidad Complutense de Madrid
Stylist, Graphics & Photography :::: Clix Credits
"I can't wait 'til I get you on the floor, good-looking
Going hot, so hot, just like an oven
And I'll burn myself, but just had to touch it
But it's so fine and it's all mine
Hey baby, we don't mind all the watching, ha
Cause if they study close, real close
They might learn something
She ain't nothing but a little doozie when she does it
She's so fine tonight
And as long as I got my suit and tie
I'ma leave it all on the floor tonight
And you got fixed up to the nines
Let me show you a few things
All pressed up in black and white
And you're dressed in that dress I like
Love is swinging in the air tonight
Let me show you a few things
Let me show you a few things
Show you a few things about love
Now we're in the swing of love
Let me show you a few things
Show you a few things about love
Hey
Stop, let me get a good look at it
Oh, so thick, now I know why they call it a fatty
And aww, shit's so sick, got a hit and picked up a habit
But that's alright, cause you're all mine
Awww, go on and show 'em who you call "Daddy"
I guess they're just mad cause girl, they wish they had it
Oh, my killer, my thriller, yeah, you're a classic
And you're all mine tonight.."
willowgrovedaycamp.com/willows.html
We have just finished our third week of camp. The Willows campers have been kept very busy these past three weeks. The days have been flying by way too quickly. It was very exciting to have all our Willows family members join us for an outstanding visiting day. The children were extremely excited to share their activities with their parents, while the parents had fun pretending to be campers. We hope you had as much fun as we did and lunch together was terrific.
The children enjoyed this weeks theme of “I Spy”. They had fun decorating binoculars in Camper Creations. In Ceramics, each child enjoyed making their favorite food out of clay with the help of their parents. Their ceramic projects will be sent home shortly. To end our wonderful week, The Willows campers joined the rest of camp at Waterworld. The children drove
water boats and joined in other great water activities. A terrific time was had by all!
Willow Grove Day Camp provides summer fun for kids who live in Willow Grove, Abington, Blue Bell, Hatboro, Horsham, Huntingdon Valley, Lafayette Hill, Philadelphia, Plymouth Meeting, Southampton and the surrounding areas. For more information on Willow Grove Day Camp and the services they provide please visit: willowgrovedaycamp.com/willows.html
Cashtown Inn. Gettysburg, Pennsylvania. April 2008.
From cashtowninn.com/history.html
On the Road to Gettysburg
by George F. Skoch
Stand on the front porch of the Cashtown Inn and let your eyes roam along the gentle grade of Old Chambersburg Pike as it rises past apple orchards and open fields toward the wooded slope of Cashtown Gap in South Mountain. Then let your mind wander back to the Gettysburg Campaign in the summer of 1863, when Confederate troops filled this roadway.
To an unwary observer who stood in front of Cashtown Inn on June 29 of that year, it must have looked as if the whole Rebel army had emerged from the rough, forested ridgeline when the van of Lt. Gen. A.P. Hill's Third Corps suddenly swung into view. Their crimson banners swayed with the liquid motion of marching soldiers, who were dressed in ragged butternut and gray. A gentle breeze carried with it the noise of rattling mess tins, the clanking of swords and bayonets, and the cheerful bantering of confident veterans on parade. To Cashtown Innkeeper Jacob Mickley, who witnessed the spectacle, it appeared as if “the entire force under Lee...passed within twenty feet of my barroom.”
Including a brief occupation by Confederate cavalry under Jeb Stuart in October 1862, this was the second time in less than a year that the Rebels had invaded Cashtown* (*Cashtown Inn gave its name to the peaceful crossroads village where the inn was built circa 1797. The name Cashtown was derived from the business practices of the first innkeeper, Peter Marck, who had insisted on cash payments for the goods he sold and the highway tolls he collected.)
During the Gettysburg Campaign, Robert E. Lee's Army of Northern Virginia had surged across southern Pennsylvania at will until June 28. Late that day scouts informed Lee that the Union army was north of the Potomac River and coming his way. Quickly Lee ordered his scattered army to concentrate at Cashtown, which stood strategically on his supply line back to Virginia. Within hours, legions of lean Rebel soldiers descended from Cashtown Gap and shuffled past Jacob Mickley's Inn.
As one of the oldest hostelries in the region, Cashtown Inn had served “for the entertainment of strangers and travelers” since 1815. That fateful summer of 1863, however, Cashtown Inn served hundreds of unwelcome strangers, including Confederate Gens. A.P. Hill, Henry Heth, and John D. Imboden. Suffering from a chronic ailment when he arrived at Cashtown at the head of his corps on June 29, the 37-year old Hill set up his headquarters in the relative comfort of Cashtown Inn. It was a good choice. For decades Cashtown Inn had been touted for its “healthy neighborhood; pure mountain air” and “daily bath” in fine waters from a natural spring flowing through the cellar. The cellar also included two giant brick ovens where Confederate commissaries could bake bread in abundance. (The spring and evidence of the brick ovens are visible today).
Cashtown itself was transformed into an armed camp for several days in late June and early July 1863, while the battle of Gettysburg raged just eight miles to the east. It was from there that the pivotal battle was launched when A.P. Hill sent Maj. Gen. Henry Heth's division to Gettysburg for shoes and supplies. Cashtown Inn bustled with activity during this time while Confederate officers and their staffs were quartered here. A stable located next to the Inn (but no longer standing) was used to shelter the wounded, as were many of the homes in the vicinity. Also dotting the orchards and meadows surrounding the village were hundreds of Lee's supply wagons and the cannons and carriages belonging to his artillery reserve.
Lee used many of these same vehicles to transport his wounded back to Virginia following his defeat at Gettysburg. Commander of the 17-mile long wagon train of misery, Brig. Gen. John Imboden made his headquarters at Cashtown Inn. On July 4, Imboden wrote, “About 4 pm the head of the column was put in motion near Cashtown and began the ascent of the mountain in the direction of Chambersburg.” It wasn't until the next day when Imboden passed over South Mountain with the last of the wagons that peace returned to Cashtown.
(In previous) decades Cashtown Inn has been on the declining end of almost two centuries of service. In 1948 a by-pass constructed on a segment of the Lincoln Highway (Route 30) relegated Cashtown Inn to the backwash of tourist traffic. The Inn fell to disrepair and some ill-repute. Not long ago, for example, a previous owner of this Civil War landmark had considered sub-dividing it into low-income apartments.
Preservationists take heart, though. (t)hanks to the tireless efforts of ... (former) owners Charles “Bud” Buckley and his wife Carolyn, Cashtown Inn is back, and is once again providing for the “entertainment of strangers and travelers.”... - George F. Skoch
"Reflecting Transformation"
at NO LONGER EMPTY, New York City, New York
July 30th - September 26th, 2009
www.nolongerempty.com/ ("NO LONGER EMPTY" homepage)
www.nolongerempty.com/new/pressrelease_02.html
NO LONGER EMPTY opens second exhibition in series
“Reflecting Transformation” July 30th to Sept. 26th
Press preview: Thursday July 30th , 11 am – 1pm
Opening Reception: Thursday July 30th 6-9 PM
Participating Artists: Yoko Ono, Cao Fei, Alyson Shotz, U-Ram Choe, Siebren Versteeg, Stephanie Rothenberg, Sean Slemon, Suzanne Song.
Curators: Manon Slome, Asher Remy-Toledo and Julia Draganovic
Associate curator: Julian Navarro and Tara de la Garza
Location: The Caledonia, (retail space to the right) 450 W 16th near 10th Ave.
For more information please contact: Manon Slome manon@nolongerempty.com
For images: info@nolongerempty.com
www.nolongerempty.com updates: www.nolongerempty.blogspot.com
NO LONGER EMPTY, a not for profit group that places high quality art exhibitions in vacated store fronts throughout New York City, is pleased to announce the launch of its second project in the (yet to be leased) retail space of The Caledonia under the recently opened High Line.
To reflect the revitalization of the meat packing area in general and the High Line in particular, the exhibition will reflect this urban regeneration through art works selected to reflect a theme of transformation.
Reflecting Transformations references the regeneration of the area and the transformative nature that art can have on a community. This group exhibit also reflects the minimalist aesthetic that the blank slate of a new development can afford.
NO LONGER EMPTY was conceived as a meeting point between art and the economic crisis. The organization seeks to provide a challenging platform to artists and to revitalize the empty commercial spaces by creating more traffic and showing the sites filled with positive energy instead of being just one more empty storefront in the city. We also want to support the local business community of each area through the increased flow of visitors that these exhibitions will bring.
Notes on the artists:
Yoko Ono
Conceptual and fluxus artist, Yoko Ono, will present a work from her series of space transformations which, as the artist has said, work mainly as an invocation “to constructing in your head”. The installation being presented in this exhibition will consist of security barriers which delineate a specific site in the space chosen for transformation together with the sign "SPACE TRANSFORMER IS BEING BUILT”. The installation will be accompanied by take away cards which continue the concept as one goes through the city with the invocation to be a “SPACE TRANSFORMER”.
Cao Fei
Cao Fei, aka China Tracy, has made one of the more worthwhile visual creations to come out of the popular virtual reality website, Second Life. Her practice focuses on developing the relationships and technical possibilities of film, animation and the internet to depict the swift and radical cultural changes such technology permits and fosters.
Cao Fei has developed a unique pictorial language which superimposes reality and fiction in ways such sites as Second Life makes it ever harder to distinguish. "This artwork is part of the Cisneros Fontanals Art Foundation (CIFO) in Miami."
Alyson Shotz
Creates works in a variety of media, from large-scale installations to digital photography. Her work focuses on making palpable the shape of space and inhabits a tradition of seeing our culture through the perception of nature.
Shotz will present a large scale light reflecting wall drawing which consists of computer renderings of virtual space transformed into a two dimensional drawing made out of needles and threads which reflect the light. The final work constitutes a reformulation of volume into a two dimensional work.
Her reflective pieces shift the viewer’s apprehension of space and architecture changing constantly in response to light, movement and the presence of the viewer.
U-Ram Choe
U-Ram Choe's work engages a fanciful dialog of aesthetics and machinery, explores themes of biological transformation, flight, and movement. In his recent work, large-scale metal and plastic automata materialize with such a delicacy and weightlessness that it seems to take on the shape and silhouette of an organic life form. Motors, heat and light sensitive materials add to the intricacy of Choe's kinetic sculptures. For this installation Choe will present “Jet Hiatus” first observed at an airplane scrap site in the Mojave Desert, is regarded as an inorganic creature mutated from the microscopic machine living in a gas turbine engine
Stephanie Rothenberg
Stephanie Rothenberg uses performance, video, and net-based media to create interactive situations that question relationships between individuals and socially constructed identities, lifestyles and public spaces. Referencing corporate models and their infrastructures, her work merges popular forms of advertising and market research with participatory experiences involving role-playing and fantasy. The video is a collaboration with Jeff Crouse and Annie Ok, co-director.
Sean Slemon
"Light Beam at 7 am" is a site specific installation which shows the viewer in material form what the potential sunlight could be in the Caledonia space, if the sun was not blocked by tall buildings on the opposite side of the street. The light beam installation will be constructed from construction plywood-converting an industrial material back into a natural occurrence. The plywood beam has the four edges open by a half inch, to allow bright light to flow out of them, as they run from the window to the floor. Eight fluorescent lights light up the 20 ft length of the beam.
Suzanne Song
Suzanne Song’s painting with its minimalist aesthetic is at once meditative and transformative of the notion of space and volume on the surface of the canvas. Architectural space and depth seem to be suggested by the subtlest application of paint summoning presence from a void or possibility from nothing. As the artist states: I am interested in the principles of illusion- its contradictions and paradoxes- and how illusion can be replicated to reveal a multifaceted dimension.”
Siebren Versteeg
Multi-media artist Siebren Versteeg often writes a code, goes to bed, and wakes in the morning to see what the computer created over night randomly choosing images. His works explore ideas of connectivity in our global culture, the tautological nature of material and immaterial information, and the human spiritual condition in relation to the advancement of technology. Versteeg linked together a Napster marketing slogan “Have everything and own nothing” to the teaching of eastern philosophy and Buddhism, this seemed very apt to some of the important paradoxes of the technical age - letting go, holding on.
www.bmw.fr/fr/new-vehicles/M/m4-coupe/2014/apercu.html La haute performance visible dès le premier regard : la BMW M4 Coupé perpétue la tradition des automobiles M en alliant un look sportif et musclé à un design captivant. La ligne athlétique et la silhouette étirée soulignent l’esthétique puissante et le dynamisme de cette voiture de sport charismatique. L’intérieur est au diapason : conçu sur mesure pour le conducteur, le poste de conduite séduit par son ergonomie parfaite et son cachet résolument sportif.
Dynamisme
Efficience
Services & Apps
Aides à la conduite
Sécurité et confort
M Power World
Images et vidéos
Caractéristiques techniques
CONÇU POUR LA PERFORMANCE.
Le moteur M TwinPower Turbo de la BMW M4 Coupé.
Le cœur de la BMW M4 Coupé : le tout nouveau 6 cylindres en ligne essence BMW M TwinPower Turbo. Une puissance phénoménale et une sonorité inimitable. Une interaction parfaitement orchestrée de technologies issues du sport automobile permet d’atteindre 431 ch (317 kW) avec un déploiement de puissance immédiat.
6 cylindres en ligne essence M TwinPower Turbo
Le 6 cylindres en ligne essence M TwinPower de 3,0 l associe une capacité à monter haut dans les tours, jusqu’à 7 600 tr/min, à une puissance souveraine avec un couple maximal de 550 Nm. 4,1 secondes suffisent au moteur M de 431 ch (317 kW) pour accélérer la voiture de 0 à 100 km/h. Grâce à l’injection directe bi-turbo et à un réglage fin typiquement M, le moteur réagit directement à la moindre injonction sur l’accélérateur avec une poussée phénoménale et des reprises souveraines. Un concept de refroidissement digne de la compétition ainsi qu’un couvercle de carter d’huile et une pompe à huile supplémentaires permettent à ce moteur M de relever tous les défis. De nombreuses innovations telles que l’architecture avec des cylindres non chemisés ou un vilebrequin forgé plus léger s’inscrivent dans le cadre du concept de construction allégée intelligente, améliorent le dynamisme et les accélérations, réduisent la consommation et permettent une répartition optimale de la charge entre les essieux. Résultat : une agilité inédite soulignée par la sonorité inimitable du moteur M.
Émissions de CO2 en g/km 204,0 [194,0]
Consommation en cycle mixte en l/100 km 8,8 [8,3]
Cylindres/soupapes 6/4
Cylindrée en cm³ 2979
Course/alésage (mm) 89,6/84,0
Puissance en kW (ch) à t/min. 317 (431)/5500-7300
Couple max (Nm) à t/min. 550/1850-5500
Taux de compression: 1 10,2 Les 431 ch n’attendent que vos instructions. Propulsée jusque dans la zone rouge en quelques secondes par son moteur 6 cylindres en ligne essence M TwinPower Turbo, la BMW M4 Coupé délivre une puissance immédiatement perceptible. La poussée est très finement dosée même dans les plus hauts régimes. Des technologies de compétition adaptées telles que le différentiel actif M transmettent la puissance du moteur M directement à la route et assurent un contrôle sûr et optimal en toutes circonstances. Hautes performances, technologies d’exception et sensations sportives se résument en une lettre : M. Le M Power World propose des informations exclusives sur les automobiles hautes performances M. C’est aussi un lieu de rencontre pour tous les passionnés de la lettre la plus puissante du monde.
Le M Power World est tout aussi unique que les modèles signés M. Les fans de BMW M peuvent ici s’informer sur tout ce qui touche aux voitures de sport hautes performances de BMW.
Mais ils profitent de bien d’autres choses encore, du coup d’œil dans les coulisses de BMW M GmbH à l’espace service qui les met en contact direct avec leur Concessionnaire BMW, en passant par un forum en ligne pour échanger des expériences avec d’autres conducteurs de BMW M.
Vous souhaitez découvrir BMW M sur un mode direct et authentique ? Alors rejoignez l’univers virtuel de BMW M Power.
BMW M Power World
Collaboration beetween Biennalist and Ultracontemporay
Art Format
www.emergencyrooms.org/formats.html
Documenta From Wikipedia,
The Fridericianum during documenta (13)
documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time.[1] It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.
Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.
Etymology of documenta
The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]
Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]
History
Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7
Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.
Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, documenta (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]
Criticism
documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At documenta (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the documenta (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]
Directors
The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. documenta IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]
TitleDateDirectorExhibitorsExhibitsVisitors
documenta16 July – 18 September 1955Arnold Bode148670130,000
II. documenta11 July – 11 October 1959Arnold Bode, Werner Haftmann3381770134,000
documenta III27 June – 5 October 1964Arnold Bode, Werner Haftmann3611450200,000
4. documenta27 June – 6 October 196824-strong documenta council1511000220,000
documenta 530 June – 8 October 1972Harald Szeemann218820228,621
documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410
documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691
documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417
documenta IX12 June – 20 September 1992Jan Hoet1891000603,456
documenta X21 June – 28 September 1997Catherine David120700628,776
documenta118 June – 15 September 2002Okwui Enwezor118450650,924
documenta 1216 June – 23 September 2007Roger M. Buergel/Ruth Noack[19]114over 500754,301
documenta (13)9 June – 16 September 2012Carolyn Christov-Bakargiev187[20]904,992[21]
documenta 148 April – 16 July 2017 in Athens, Greece;
10 June – 17 September 2017 in KasselAdam Szymczykmore than 1601500339.000 in Athens
891.500 in Kassel
documenta fifteen18 June 2022 – 25 September 2022 in Kasselruangrupa[22]
2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[23]
Venues
documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal.[24] At documenta (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]
There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at documenta IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[25] For documenta (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.
Rahmenbau (1977) by Haus Rucker und Co.
A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).
documenta archive
The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from the files and materials of the documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer.
Management
Visitors
In 1992, on the occasion of documenta IX, for the first time in the history of the documenta, more than half a million people traveled to Kassel.[26] The 2002 edition of documenta attracted 650,000 visitors, more than triple Kassel's population.[27] In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of the visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous.[28] In 2012, documenta (13) had 904,992 visitors.[21]
References
Adrian Searle (June 11, 2012), "Documenta 13: Mysteries in the mountain of mud", The Guardian.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Arnold Bode coined this phrase for the first time in the prologue of the first volume of the catalogue: documenta III. Internationale Ausstellung; Catalogue: Volume 1: Painting and Sculpture; Volume 2: Sketches; Volume 3: Industrial Design, Print; Kassel/Köln 1964; p. XIX
Kimpel, Harald: documenta, Mythos und Wirklichkeit. Köln 1997, ISBN 3-7701-4182-2
Alice Rawsthorn (June 3, 2012), A Symbol Is Born The New York Times.
The documenta IV Exhibition in Kassel (1968) German History in Documents and Images (GHDI).
Helen Chang (June 22, 2007), "Catching the Next Wave In Art at Documenta", The Wall Street Journal.
Roberta Smith (September 7, 2007), "Documenta 5" The New York Times.
Gimeno-Martinez, Javier; Verlinden, Jasmijn (2010). "From Museum of Decorative Arts to Design Museum: The Case of the Design museum Gent". Design and Culture. 2 (3).
dX 1997 Archived 2013-06-14 at the Wayback Machine, documenta XII.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale The New York Times.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Kelly Crow (June 8, 2012), A Party, Every Five Years, for 750,000 Guests The Wall Street Journal.
Jerry Saltz (June 15, 2012), Jerry Saltz: "Eleven Things That Struck, Irked, or Awed Me at Documenta 13" New York Magazine.
Michael Brenson (June 15, 1987), "Documenta 8, Exhibition In West Germany", The New York Times.
Michael Kimmelman (July 5, 1992) "At Documenta, It's Survival Of the Loudest", The New York Times.
Jackie Wullschlager (May 19, 2012) Vertiginous doubt Financial Times.
Julia Halperin, Gareth Harris (July 18, 2014) How much are curators really paid? Archived July 20, 2014, at the Wayback Machine The Art Newspaper.
Holland Cotter (22 June 2007). "Asking Serious Questions in a Very Quiet Voice". The New York Times. Retrieved 2014-08-29.
Ulrike Knöfel (8 June 2012). "What the 13th Documenta Wants You to See". Der Spiegel.
"904,992 people visit documenta (13) in Kassel". documenta und Museum Fridericianum Veranstaltungs-GmbH. 16 September 2012. Archived from the original on 25 February 2014. Retrieved 8 August 2013.
Russeth, Andrew (2019-02-22). "Ruangrupa Artist Collective Picked to Curate Documenta 15". ARTnews.com. Retrieved 2020-01-05.
"In Germany, Disguising Documentary As Art". The Huffington Post. Retrieved 2015-09-28.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale International Herald Tribune.
Roberta Smith (June 22, 1992), A Small Show Within an Enormous One The New York Times.
d9 1992 Archived 2014-02-22 at the Wayback Machine, documenta XII.
Adrian Searle (June 19, 2007), 100 days of ineptitude The Guardian.
Catherine Hickley (September 24, 2007), "Documenta Contemporary Art Show Draws Record 754,000 to Kassel", Bloomberg.
Carly Berwick (May 17, 2007), "Documenta 'Mystery' Artists Are Revealed; Buzz Strategy Fizzles", Bloomberg.
Rachel Donado (April 5, 2017), German Art Exhibition Documenta Expands Into Athens, The New York Times.
Catherine Hickley (November 27, 2017), Documenta manager to leave post after budget overruns The Art Newspaper.
Further reading
Hickley, Catherine (2021-06-18). "This Show Sets the Direction of Art. Its Past Mirrored a Changing World". The New York Times.
Nancy Marmer, "Documenta 8: The Social Dimension?" Art in America, vol. 75, September 1987, pp. 128–138, 197–199.
other biennales :
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
lumbung
Short concept by ruangrupa for documenta 15
"We want to create a globally oriented, cooperative, interdisciplinary art and culture platform that will remain effective beyond the 100 days of documenta fifteen. Our curatorial approach aims at a different kind of collaborative model of resource use—economically, but also in terms of ideas, knowledge, programs, and innovation."
ruangrupa’s central curatorial approach for documenta fifteen is based on the principles of collectivity, resource building, and equal sharing. They aim to appeal not just to an art audience but to a variety of communities, and to promote local commitment and participation. Their approach is based on an international network of local, community-based organizations from the art and other cultural contexts and can be outlined by the Indonesian term lumbung. lumbung, directly translatable as “rice barn,” is a collective pot or accumulation system used in rural areas of Indonesia, where crops produced by a community are stored as a future shared common resource and distributed according to jointly determind criteria. Using lumbung as a model, documenta fifteen is a collective resource pot, operating under the logics of the commons. It is an agglomeration of ideas, stories, (wo)manpower, time, and other shareable resources. At the center of lumbung is the imagination and the building of these collective, shared resources into new models of sustainable ideas and cultural practices. This will be fostered by residencies, assemblies, public activities, and the development of tools.
Interdisciplinarity is key in this process. It is where art meets activism, management, and networking to gather support, understand environments, and identify local resources. These elements then create actions and spaces, intertwine social relations and transactions; they slowly grow and organically find a public form. This is a strategy “to live in and with society.” It imagines the relations an art institution has with its community by being an active constituent of it. Strategies are then developed based on proximity and shared desires.
The main principles of the process are:
• Providing space to gather and explore ideas
• Collective decision making
• Non-centralization
• Playing between formalities and informalities
• Practicing assembly and meeting points
• Architectural awareness
• Being spatially active to promote conversation
• A melting pot for and from everyone’s thoughts, energies, and ideas
#documentakassel
#documenta
#documenta15
#artformat
#formatart
#rundebate
#thierrygeoffroy
#Colonel
#CriticalRun
#venicebiennale
#documentafifteen
#formatart
#documentacritic
#biennalist
#ultracontemporary art
protestart
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Panasonic LEICA DG 8-18mm f/2.8-4 Review
A Five-Year Photographic Journey with the M4/3 Series.
mp3.zing.vn/bai-hat/Sorry-That-I-Loved-You-Anthony-Neely/...
For all of the times that I tried for your smile
For making you think that I was worth the while
So your love love love love love would be mine
For sending you flowers and holding your hand
That no one was there to take a stand
But then love love love made us blind
And I’m so sorry that I hurt you
Sorry that I fell through
Sorry I was falling in love with you
Im sorry that it came true but sorry doesn’t turn back time
For all that I have done to you
I wish that I could make it right
So sorry that I loved you
Sorry that I needed you
Sorry that I held you tight
And Im so sorry for…
Making you love me and saying goodbye
For being the one that taught you how to cry
It was love love love and it passed us by
For giving you every thing that you dreamed
For taking it back when I fled the scene
Sorry love, for wasting your time
And I’m so sorry that I hurt you
Sorry that I fell through
Sorry I was falling in love with you
Im sorry that it came true but sorry doesn’t turn back time
For all that I have done to you
I wish that I could make it right
So sorry that I loved you
Sorry that I needed you
Sorry that I held you tight
An apology now after all of this time
Won’t make any difference tonight
But im hopin “im sorry” will open your mind
To love love love love in your life
Sorry that I hurt you
Sorry that I fell through
Sorry I was falling in love with you
Im sorry that it came true but sorry doesn’t turn back time
For all that I have done to you
I wish that I could make it right (tonight)
So sorry that I hurt you
Sorry that I fell through
Sorry I was falling in love with you (I was falling in love)
Im sorry that it came true but sorry doesn’t turn back time
I'm sorry that I loved you
I'm sorry that I hurt you
I'm so sorry that I loved you
I'm so sorry that I hurt you
I'm sorry that I loved you....
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All of My Reviews｜心得文：
Olympus MZD 17mm f/1.2 PRO Review
Olympus MZD 25mm f/1.2 PRO Review
Olympus MZD 45mm f/1.2 PRO Review
Panasonic LEICA DG 12mm f/1.4 Review
Panasonic LEICA DG 8-18mm f/2.8-4 Review
A Five-Year Photographic Journey with the M4/3 Series.
[crosseye stereograph, see 3D with your right eye on the left image, and left on right.]
yt3d, OMG blonde, WindSeeker first night, Fiesta Village, Knott's Berry Farm, Buena Park, CA
Knott's Berry Farm.
Cedar Fair Entertainment Company.
.
SAFETY GUIDE.
Must be 52" tall to ride..
1 Guest per seat..
Riders under the age of 8 yrs. old must be accompanied by an adult..
This ride may not accommodate guests of a larger size. Enter via exit to ensure the restraints function properly prior to waiting in line..
All passenger restraint systems, including lap bars, shoulder harnesses and seat belts must be positioned and fastened properly to allow guests to ride..
.
WINDSEEKER.
is not recommended for guests with a history of .
* Recent Surgery.
* Heart Trouble / High Blood Pressure.
* Neck Trouble.
* Back Trouble.
or are.
* Pregnant.
OR any physical conditions that may be aggravated by this ride..
.
Attention Riders: Due to the nature of this attraction, backpacks, purses, electronics, stuffed animals, and other loos items are not permitted. Smaller items may be secured n cargo pockets, waist packs, left in a locker, or with a non-rider. Loose fitting shoes may be left in a designated area on the ride platform. Knott's Berry Farm is not responsible for lost items..
.
* Caution: Car may move when entering or exiting..
* Remain seated facing forward in an upright position with your back against the seat back and hold on until the ride comes to a complete stop..
* Swinging of seats of holding onto neighboring chairs is prohibited..
* Please do not swing or twist in your seat while riding..
* Keep all parts of our body inside the car at all times..
* Refrain from throwing or dropping items from the ride..
* This attraction contains strobe lighting..
* Finish food and drink before boarding..
* For safety, no picture taking while riding..
* Please refrain from smoking in line or while riding..
* Secure your lap bar..
* Fasten your seatbelt..
* Shirts are required..
* Guests with any type of prosthesis should not ride unless they can ensure that the device is properly secured and will remain in place during the ride. Please speak with the Ride Operator prior to waiting in line..
* SPECIAL ACCESS via entrance. TRANSFER REQUIRED Notices pursuant to C.C.R. TITLE 8, SECTION 344.7 may be viewed at the SECURITY OFFICE..
* Passengers with fear of height shall not ride..
————————————————————————.
^ RIDERS MUST BE TALLER THAN THIS TO RIDE ^.
.
WARNING.
Many rides at Knott's Berry Farm are dynamic and thrilling. There are inherent risks in riding any amusement ride. For your protection, each ride is rated for its special features, such as high speed, steep drops, sharp turns or other dynamic forces. If you choose to ride, you accept all of these risks. Restrictions for guests of extreme size (height or weight) are posted at certain rides. Guests with disabilities should refer to our Ride Admission Policy available at the Information Center. Participate responsibly. You should be in good health to ride safely. You know your physical conditions an limitations - Knott's Berry Farm does not. If you suspect your health could be at risk for any reason, or you could aggravate a pre-existing condition of any kind DO NOT RIDE!
dsc00023, 2011.08.18 20.40, 3D, WindSeeker, Fiesta Village, Knott's Berry Farm, Buena Park, CA
jaumefabrega.blogspot.fr/2008/11/caracoles.html
CARACOLES
De Borgoña a Lérida: los caracoles, entre el amor y el odio
La mejor forma de torturar a un inglés medio es haciendole comer "escargots", una palabra (y un producto, al cual ni se atreven a llamar en su idioma, snail) que les produce una profunda repelencia, como a muchos otros pueblos europeos y americanos. Los ingleses, para zaherir a los francesos, en los dichos y en las canciones pop, los llaman "come-caracoles".
Los franceses, naturalmente, los consideran exquisitos y han convertido los Caracoles a la borgoñona en un plato de fama internacional. En muchas tiendas y mercados se pueden encontrar estos caracoles envasados, con sus características grandes conchas. La forma més típica de comerlos es rellenandolos con una pasta ("beurre d' escargot") hecha con mantequilla, escalonia y perejil.
Sobre gustos...O bien, no siempre la fama acompaña la realidad.Los caracoles mediterráneos (llamados "petit-gris" en Francia), perfumados con las hierbas aromáticas que comen, tienen un sabor más pronunciado y, además, admiten una culinaria mucho más rica y variada. El gordo caracol de Borgoña (atención: los franceses lo llaman también "de viña"; no tienen nada que ver con el caracol al que aquí le damos ese nombre), cercano a los pastos crasos y verdes de esta región con un buey tan extraordinario, aunque sea la "aristocracia" gastronómica del caracol, no tiene color.
No tiene color delante una "vaqueta" catalano-valenciana, un caracol finísmo y perfumado de tomillo, que se vende muy caro (por unidades, ya que es muy escaso) y que caracteriza la Paella genuina. No tiene color delante de los "cargols de vinya" o "vinyal" (caracoles de viña), los "bovers",los "monja", los "sabateres", los diminutos "cargolins"...
Y no tienen color delante preparciones tan prehistóricas como los "cargols a la palla" o " a la brutesca", que se chamuscan, sin limpiar, directamente sobre el fuego. Un poco más evolucionados dentro de la escala gastornómica, tenemos los "cargols a la llauna" tal como se elaboran en Lérida, y particularment en su famosa "Festa del Cargol" en donde se consumen centenares de unidades de ellos. O la "cargolada" de la Cataluña Francesa y el Languedoc, hechos a la brasa, rociados con tocino y degustados con alioli ("allioli" o "aïoli"). En esta zona de Cataluña Norte el caracol da lugar, incluso, a fiestas en les que se intenta batir records dels Guinnes en cuanto a su consumo colectivo (en Tuïr se consumen 20.000 ). El prestigioso R.J. Courtine, comentarista gastronómico de "Le Monde" con el seudónimo La Reynière, comenta el dicho catalán "al juliol, ni dona ni cargol" que, simplemente, alude al hecho de que con el calor el amor y la buena comida no suelen funcionar...Consecuentement, los carcoles suelen constituir comida de invierno -en Euskadi eran típicos de Navidad- y también de Cuaresma. Por eso se suelen aderezar con salsas picantes a base de guindilla o ajo, vinagretas con pimienta,etc. Aunque no hay que olvidar que el caracol puede ser la base de una gastronomía tradicional mucho más sofisticada: se concinan con sepia, con centolla o kabrarroka, , con conejo, arroz, salchichas; incluso se hacen tortas , buñuelos y sopas o caldos cortos (como en Marruecos).
De sus huevos se extrae el carísimo "caviar de caracol". En el mercado se encuentran congelados, procedents del este y centro de Europa, Turquía, norte de Africa e incluso China e Indonesia.Otros proceden de "granjas" españolas.
Para mi la mejor cocina del caracol es la de Xipre y la de los pises catalanes, por la variedad y exquisitez de las recetas.
He aquí algunas de las más populares en el levante ibérico:
-Cargolada amb allioli
-Cargols a la llauna (al horno)
-Cargols a la petarrallada
-Cargols fregits
-Cargols dolços i coents (dulces y picante)
-Cargols amb salsa de tomata i vinagreta
-Arròs amb cargols
-Cargols sense closca (sin caparazón, rellenos)
-Cargols amb pernil (en salsa)
-Caragols amb patata i maonesa
-Cargols amb conill (conejo)
Y aquí entramos en elfant´stico y surrealista mundo del “mar y montaña”:
-Cargols amb conill de bosc i pop (pulpo; recta de mi madre)
-Cargols amb conill i sèpia
-Cargols amb peus de porc (manitas de cerdo)
-Cargols amb llagosta (o centollo, bocas, etc.)
-Cargols amb calamars
-Cargols amb costelló (costilla de cerdo)
-Cargols amb salsitxes i popets (pulpitos)
-Cargols amb botifarra i sèpia
-Cargols amb escorpa (cabracho, escorpeno)
-Cassola de tros amb cargols
-Paella de l´hort
-Caragols amb sobrassada
La mayor parte de estas recetas se pueden encontrar en mi libro La cuina surrealista - Jaume Fàbrega (Pagès Editors, Lleida, 2004).
CIF CENTRAL SECTION CHAMPIONSHIP
Liberty High School - Wednesday, May 14, 2008
www.andynoise.com/valley08.html
Central Section Grand Masters
At Liberty
Team standings--unavailable.
400 relay--1. Bakersfield (Hunt, Turner, Johnson, Norwood), 42.28; 2. Clovis East (Bourbon, Scott, Smith, Woods), 42.58; 3. Redwood (Stewart, Ray, Root, Coles), 43.07; 4. Central (Newsome, Bigelow, Hammack, Phillips), 43.15. 1,600--1. Chris Schwartz, Foot, 4:15.80; 2. Jonathan Sanchez, Buch, 4:17.48; 3. Eric Battles, CW, 4:20.34; 4. Jesse Arellano, Mad, 4:21.56. 110H--1. Ethan DeJongh, MtW, 14.49; 2. Sean Johnson, Buch, 14.66; 3. Jon Funch, CW, 14.81; 4. Isiah Crunk, Wash, 15.17. 400--1. Maurice Lewis, Ed, 49.08; 2. Isiah Purvis, Lib, 49.13; 3. Daniel Lozano, Stock, 49.35; 4. Jelani Hendrix, Ed, 49.62. 100--1. Brendon Bigelow, Central, 10.62; 2. Emmanuel Turner, Bak, 10.81; 3. Matt Sumlin, Gar, 10.91; 4. Chris Lopez, GW, 10.98. 800--1. Anthony Mitchell, North, 1:54.19; 2. Aric Champagne, MtW, 1:54.97; 3. Andrew Campbell, CW, 1:55.69; 4. Arturo Ramirez, Centennial, 1:55.83. 300H--1. DeJongh, MtW, 37.93; 2. Cody Alves, Sel, 37.94; 3. James Smith, CE, 39.03; 4. Sean Johnson, Buch, 39.28. 200--1. Brendon Bigelow, Central, 21.29; 2. Isiah Purvis, Lib, 21.96; 3. Mario Navarette, Sanger, 22.04; 4. Chris Lopez, GW, 22.29. 3,200--1. Chris Schwartz, Foot, 9:24.19; 2. Jonathan Sanchez, Buch, 9:24.99; 3. Jon Ross, CE, 9:26.42; 4. Danny Vartanien, Buch, 9:26.42. 1,600 relay--1. Edison (Hendrix, Carter, Boughton, Lewis), 3:17.86; 2. Liberty (Hill, Garside, Affentranger, Purvis), 3:18.95; 3. Bakersfield (Miller, Turner, Johnson, Gooden), 3:20.06; 4. Clovis East (Ellis, Defonska, Woods, Smith), 3:22.40. PV--1. Andrew Lohse, Mad, 15-0; 2. Michael Peterson, CE, 15-0J; 3. Jeff Brenner, Cl, 14-6; 4. Frankie Puente, Sel, 14-0. SP--1. Dayshan Ragans, Foot, 60-7; 2. Matt Darr, Fron, 52-8.75; 3. Troy Rush, CW, 52-8.5; 4. Christian Millard, CE, 51-10.5. TJ--1. Johnny Carter, Ridge, 48-3; 2. Tyler Thompson, Shaf, 47-3; 3. Chris Kelly, Ridge, 46-11.5; 4. Jordan Smith, Central, 46-10.5. D--1. Dayshan Ragans, Foot, 199-2; 2. Jacob Budwig, Fowl, 168-8; 3. Niko Gomes, Cl, 164-10; 4. Matt Darr, Fron, 157-7. LJ--1. Kenny Phillips, Central, 23-4; 2. Tyler Thompson, Shaf, 21-11.5; 3. Dillon Root, Red, 21-11; 4. Kevin Norwood, GV, 21-8.75. HJ--1. Kenny Phillips, Central, 6-8; 2. Isiah Griggs, Bak, 6-6; 3. George Robbins, West, 6-4; 4. Jeff Brenner, Cl, 6-4J.
Notes: Top three in each event advance to state meet, May 30-31 in Norwalk. The two wild cards with the best times/marks from all sections also advance.
Girls track
Central Section Grand Masters
At Liberty
Team standings--unavailable.
400 relay--1. Edison (Eng, Scott, Thompson, Sears), 47.16; 2. Bullard (J. Williams, Riddlesprigger, Baisch, L. Williams), 48.17; 3. Tulare Western, 48.73; 4. Bakersfield (Torres, Belt, Brown, Wandick), 48.80. 1,600--1. Saleh Barsarian, Cl, 5:02.98; 2. Meghan Marvin, Cl, 5:03.02; 3. Chloe Allen, CW, 5:04.62; 4. Allison Gonzales, Ex, 5:11.52; 100H--1. Alyssa Monteverde, CW, 14.59; 2. Brianny Williams, Ed, 14.60; 3. Taylor Jackson, Fr, 15.04; 4. Jen Melton, CW, 15.37. 400--1. Breanna Thompson, Ed, 56.64; 2. Dedrea Wyrik, Sun, 57.49; 3. Lasasha Aldredge, Central, 58.12; 4. Taylor Donaldson, Reed, 58.13. 100--1. Megan Del Pino, CW, 11.66; 2. Jenna Prandini, Cl, 11.74; 3. Lynn Williams, Bul, 12.00; 4. Brushay Wandick, Bak, 12.01. 800--1. Allysa Mejia, Reed, 2:17.47; 2. Molly Pahkamaa, ElD, 2:17.73; 3. Katie Fry, Ex, 2:18.74; 4. Ashlee Thomas, Centennial, 2:19.77. 300H--1. Alyssa Monteverde, CW, 43.92; 2. Taylor Jackson, Fron, 44.86; 3. Brianny Williams, Ed, 45.69; 4. Alana Alexander, Centennial, 46.12. 200--1. Megan Del Pino, CW, 23.94; 2. Dominique Whittington, Lem, 24.65; 3. Brushay Wandick, Bak, 24.69; 4. Breanna Thompson, Ed, 24.90. 3,200--1. Jordan Hasay, MP, 10:24.78; 2. Meghan Marvin, Cl, 10:59.96; 3. Chloe Allen, CW, 11:06.19; 4. Corina Mendoza, Mad, 11:32.06. 1,600 relay--1. Edison (Burk, Thompson, Scott, Smith), 3:54.89; 2. Stockdale (Cady, Anderson, Mello, S. Anderson), 3:58.26; 3. Clovis West (Laidley, Capriotti, Del Pino, Monteverde), 3:59.02; 4. Reedley, 3:59.07. D--1. Anna Jelmini, Shaf, 162-5; 2. Alex Collatz, Stock, 148-6; 3. Carey Tuuamalemalo, Taft, 130-9; 4. Janae Coffee, CW, 121-6. LJ--1. Jenna Prandini, Cl, 18-7.25; 2. Lynn Williams, Bul, 18-0.75; 3. Alana Alexander, Centennial, 17-6.75; 4. Ja'Nia Sears, Ed, 17-6.5. HJ--1. Alyssa Monteverde, CW, 5-4; 2. Cristina Muro, GW, 5-2; 3. Katherine Mahr, Buch, 5-2; 4. Marish Riddlesprigger, Bul, 5-2J. SP--1. Anna Jelmini, Shaf, 44-0.75; 2. Destanie Yarbrough, CE, 37-10; 3. Heather Vermillion, Red, 37-9; 4. Tasha Firstone, CW, 36-6.5. TJ--1. Alana Alexander, Centennial, 38-3.75; 2. Jenna Prandini, Cl, 38-3; 3. Goziam Okolie, 36-10.5; 4. Alex Collatz, Stock, 36-2. PV--1. Allison Berryhill, CW, 11-6; 2. Amanda Klinchuch, Lib, 11-6J; 3. Cheree Jones, King, 10-6; 4. Emily Falkenstein, Buch, 10-6J.
Notes: Top three in each event advance to state meet, May 30-31 in Norwalk. The two wild cards with the best times/marks from all sections also advance.
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.
www.lawnpros.biz/lawn-aeration-colorado-springs.html
Lawn Pros
3335 Landmark lane
Colorado Springs CO.
719-963-6267
720-221-3606
Lawn Aeration Colorado Springs
Do you often take a look at your lawn and wish it was thicker, greener or less patchy? If so, you could be suffering from soil compaction and poor grass aeration. Luckily, these symptoms are easy to solve by making aerating your turf part of your regular lawn care routine. Lawn Pros offers deep core lawn aeration Colorado Springs service for residential properties using the best lawn aeration equipment and techniques you can find.
Why lawn aeration?
Lawn aeration service is vital for all lawns and helps to increase the overall health of your lawn. The benefits of lawn aeration includes increased water retention, air penetration and the reduction of soil compaction. Lawn aeration also helps to remove the buildup of thatch which is dead organic matter. Thatch is thought to feed insects and also promotes weed growth.
Poor lawn drainage:
Soil compaction often manifests itself by the pooling or puddling of water on the turfs surface or by runoff into the surrounding beds or paths. Compacted soil has had the air and moisture squeezed out from between the grains of the soil leaving fewer and smaller passages for the rain to soak into the turf. This water then collects on the surface and runs off into the surrounding garden, but leaves the grass with only a wet surface layer and very little seepage into the deeper soil where the roots can access it an nourish the grass.
This puddling and runoff from compacted soil can lead to shallow root structures and rapid drying and dehydration. The suction effect of the evaporating water between the grains of the soil also compacts it further compounding the effect for the next rainfall or watering.
You can identify poor drainage by comparing your lawn to others in the area. If yours seems to be thinner, less green and dries out more quickly you may well have an issue with water retention in the soil that can be solved by lawn aeration.
How often should I aerate my lawn?
Lawn aeration service should be completed atleast two to three times per year to achieve the best results. We recommend early spring lawn aeration and fall. Lawn aeration may also be performed in the early summer months for greater water penetration resulting in a thicker and healthier lawn before the heat.
QUESTIONS ABOUT LAWN AERATION COLORADO SPRINGS:
Q: Do I need to mark all my sprinkler heads and how do I mark them?
A: Our machines will not get within 6" of the perimeter of your yard, so sprinkler heads on the edges "usually" do not need to be flagged, just heads in the middle of the yard. We keep plenty of sprinkler parts on hand so we will immediately replace any sprinkler head that we damage that has been clearly marked, but will not be responsible for sprinkler heads that are not clearly marked. If you do not have flags then you can use yard toys, rocks, sticks or anything that is visible and will attract the attention of the crew, or point them out to us when we arrive to do the lawn aeration.
Q: Do I need to be home at the time of the lawn aeration?
A: No, no one needs to be home when we're doing the aeration as long as all gates are unlocked so we can access the back yard and also please be sure that all pets are kept indoors. Please call with any special instructions or leave a note where visible.
Q: I'm not sure of my lawn size, what happens if it's more than 5000sq. ft.?
A: If your lawn is more than 5000 sq. ft. we will immediately try to contact you. We charge $10.00 for each additional 1000 sq. ft of lawn so you can make the decision to proceed or not. If we can't get a hold of you the aeration will not be done but will be rescheduled ASAP if you wish.
Q: If I am not there then how can I pay you?
A: You can leave a check or cash for us under the front door mat, screen door, or wherever you feel comfortable. Just let us know where so we can access it discretely and quickly or you can pay over the phone with any major credit or debit card after the service is completed. You can also pay online. Just go to lawnpros.biz and click on payments.
Why Lawn Pros? We continue to strive to be the best we can be. We invest in our people and equipment. We don't look for short cuts. We continue to look for the best way to service our customers in Colorado Springs. We use only the best products.
Things to do before your lawn aeration:
1. If you have a sprinkler system, please mark off any sprinkler heads that are in the center of the lawn. We typically stay way from about 6 inches of the perimeter, so you don't have to worry about those sprinkler heads on the edges, but please feel free to mark all if you wish. This is to avoid any damage to your sprinkler heads or our equipment.
2. Water your lawn as often as you can before your aeration. The soil should be moist but not wet, this allows for deeper plugs.
3. Please clean up after your pets before we come.
www.lawnpros.biz/lawn-care-packages-colorado-springs.html
719-963-6267
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flickriver.com/photos/javier1949/popular-interesting/
EL RANCHITO
www.mataderomadrid.org/ficha/995/el-ranchito.html
Nave 16 (espacio de exposiciones)
Arquitectos: Alejandro Vírseda, José Ignacio Carnicero e Ignacio Vila Almazán, 2011
Un versátil espacio expositivo de más de cuatro mil metros cuadrados, capaz de acoger grandes proyectos multidisciplinares, cuya rehabilitación ha sido finalista de los premios FAD de arquitectura 2012. El espacio puede ser fácilmente dividido en módulos independientes separados por grandes paneles de acero y permitir así la programación de contenidos de forma simultánea: proyecciones, grandes exposiciones, conciertos, talleres de producción de obra, charlas, propuestas escénicas o actividades sociales. El proyecto transforma la nave en un gran espacio expositivo versátil y polivalente, que puede funcionar como la mayor sala de exposiciones, instalaciones o actividades de artes vivas de Madrid o como un conjunto de espacios independientes de menor tamaño (hasta 5 salas). Esta flexibilidad se logra mediante la introducción en los dos espacios de doble altura de unos recintos de puertas de dos alturas, concebidos como una gran instalación efímera que contrasta con el carácter tectónico e imperecedero de la envolvente arquitectónica de la nave. Estas puertas, que garantizan mediante sencillos giros la total polivalencia del espacio interior de la nave, dotan igualmente a los mismos de la versatilidad lumínica y ambiental requerida en cada uno de los espacios según las características de la actividad realizada (Las instalaciones del edificio también han sido sectorizadas para colaborar con esta versatilidad espacial). El material utilizado para realizar estas cajas de puertas es el acero, cuyo cromatismo contrasta con la superficie interior de los paramentos de la envolvente, caracterizándose así, de modo particular los dos espacios en doble altura de la nave. Cuando las puertas se abran los paramentos puros y herméticos de la caja oscura desaparecen, apareciendo la envolvente actual con su característica estructura de finos perfiles metálicos. El estrecho cuerpo adosado a la nave en su fachada hacia el río Manzanares alberga las dotaciones de servicio.
MATADERO MADRID - CENTRO DE CREACIÓN CONTEMPORÁNEA Antiguos Matadero y Mercado Municipal de Ganados
Pº de la Chopera, 2 a 14 C/V a Pza. de Legazpi 8, Vado de Santa Catalina y Av. del Manzanares. Madrid.
Actuación inicial: Luis Bellido González, arquitecto y José Eugenio Ribera Autaste, ingeniero. 1910 (Proyecto) 1910-1925 (Obras).
Matadero de aves y gallinas: Luis Bellido González y Francisco Javier Ferrero Llusiá: 1926 (Proyecto) 1932-1933 (Obras).
Acondicionamiento de la Casa del Reloj, Nave de Terneras y pabellones de acceso para Junta Municipal del Distrito de Arganzuela y salas culturales y deportivas: Rafael Fernández-Rañada Gándara: 1983 (Proyecto) 1983-1984 (Obras).
Rehabilitación de la “nave de patatas” para Invernadero-Palacio de Cristal, antiguo parque del matadero y consolidación estructural de naves del recinto sur: Guillermo Costa Pérez-Herrero: 1990 (Proyecto) 1990-1992 (Obras).
Adaptación de naves para sedes del Ballet Nacional y Compañía Nacional de Danza: Antonio Fernández-Alba y José Luis Castillo-Puche Figueira 1990 (Proyecto) 1993-1999 (Obras)
Vestíbulo y Espacio Intermediae. (nave 17c) Arquitectos Arturo Franco y Fabrice Van Teslaar en colaboración con el arquitecto de interiores Diego Castellanos 2006-07
Naves del Español (naves 10, 11 y 12) Arquitectos Emilio Esteras 2007-10 y Justo Benito 2009-10
Central de Diseño (nave 17) Arquitecto José Antonio García Roldán 2007
Taller y Oficina de Coordinación (parte de la nave 8) Arquitecto Arturo Franco 2010
Calle y Plaza Matadero Arquitectos Ginés Garrido, Carlos Rubio y Fernando Porras 2011
ESCARAVOX Andrés Jaque Arquitectos 2012
Depósito de especies y nuevo acceso por Legazpi. BCP Ingenieros -Luis Benito Olmeda y Francisco Calderón- con María Langarita y Víctor Navarro arquitectos. 2011
Nave 16 Arquitectos: Alejandro Vírseda, José Ignacio Carnicero e Ignacio Vila Almazán, 2011
Nave de Música (Nave 15) Arquitectos: María Langarita y Víctor Navarro, en colaboración con el diseñador mexicano Jerónimo Hagerman, 2011
Cineteca y Cantina Archivo Documenta (nave 17 c, d, e y f) Arquitectos: José María Churtichaga y Cayetana de la Quadra Salcedo 2011
Casa del Lector. Centro Internacional para la Investigación, el Desarrollo y la Difusión de la Lectura de la Fundación Germán Sánchez Ruipérez. (naves 13 y 14, 17b y tres crujías de la nave 17. Arquitecto Antón García Abril. Diseño gráfico y señalización: Alberto Corazón. Interiorismo Jesús Moreno y Asociados 2012
El arquitecto Joaquín Saldaña resulta ganador del concurso convocado por el Ayuntamiento de Madrid el año 1899 para la realización de los nuevos matadero y mercado municipal de ganados en la Dehesa de La Arganzuela, junto al Manzanares, si bien, finalmente las obras se realizan de acuerdo con el proyecto redactado en 1910 por Luis Bellido, arquitecto de propiedades del Ayuntamiento, con la colaboración de J. Eugenio Ribera, ingeniero de reconocido prestigio. El conjunto arquitectónico se compone de 48 edificios agrupados en cinco sectores de producción: dirección y administración, matadero, mercado de abastos, mercado de trabajo y sección sanitaria, cuenta además con viviendas para el personal y capilla; también de sistema de circulaciones y ferrocarril propios... una autentica ciudad laboral.
Sigue el sistema alemán de pabellones aislados, relacionados por medio de viales y presididos por un edificio administrativo, la "Casa del Reloj" situado sobre el eje principal de la composición. Por sus características arquitectónicas y por su escala es uno de los conjuntos edificados más significativos de Madrid. Se advierte en él una unidad estilística y constructiva derivada del uso racional en sus fábricas de tres materiales esenciales ladrillo, mampostería y cerámica, y una cuidadosa introducción de elementos metálicos en la estructura; además de otros aspectos significativos como el empleo de un lenguaje de inspiración neomudéjar muy atenuado, habitual en la arquitectura industrial de la época. El matadero de Madrid sirve de modelo para la construcción en España de este tipo de edificios.
Para el crítico González Amezqueta "Es un ejemplo de gran calidad de arquitectura industrial perfectamente insertado en los procedimientos del ladrillo, con derivaciones hacia el neomudéjar. La mecánica funcional de los procesos laborales no impide discretas acentuaciones ornamentales, ya que todo el proceso constructivo es estrictamente artesanal, con predominio de las técnicas fabricadas del ladrillo en las partes más acertadas".
En 1926, en zona próxima al Vado de Santa Catalina, proyecta Bellido el matadero de gallinas y aves, siendo realizadas las obras, entre 1932 y 1933, bajo la dirección de Francisco Javier Ferrero con la introducción de una clara y cuidada estructura de hormigón pionera en la ciudad y en la que reside uno de sus valores principales.
A partir de 1940 se llevan a cabo diferentes remodelaciones y ampliaciones, entre ellas la de la nave de patatas, el pabellón de autopsias y los abrevaderos.
En la década de 1980, perdida su función original, el Departamento de Conservación de Edificios del Ayuntamiento comienza la rehabilitación sistemática de los edificios del conjunto para su uso como contenedores de actividades culturales, sociales, deportivas y administrativas propias del Ayuntamiento; primero bajo la dirección de Rafael Fernández-Rañada, que acondiciona la Casa del Reloj para Junta Municipal del Distrito de Arganzuela y la nave de terneras para sala cultural y deportiva, y después, de Guillermo Costa que realiza el Palacio de Cristal (rehabilitación de la nave de patatas para invernadero) y el parque del matadero, con la colaboración del ingeniero, también municipal, M. Ángel Martínez Lucio.
Desde 1996 Costa continúa la consolidación estructural de fachadas y cubiertas de 7 naves del recinto sur, sin un uso predeterminado y en distintas fases, a la espera de la realización del proyecto para su adecuación a nuevas actividades de carácter cultural, comercial o de ocio. Finalmente, el conjunto edificado se incluye en el catálogo de bienes a conservar dentro del Plan General de Ordenación Urbana de 1997.
En el extremo norte parte de las antiguas naves de estabulación son cedidas al Instituto Nacional de Artes Escénicas y de la Música (INAEM) para establecer en ellas las sedes del Ballet Nacional de España y de la Compañía Nacional de Danza, según proyecto de Fernández Alba y Castillo-Puche, concluyéndose las obras de adaptación en 1999.
En 2005 se aprueba la modificación del Plan Especial de Intervención, Adecuación Arquitectónica y Control Urbanístico-Ambiental de Usos del recinto del antiguo matadero municipal, que incrementa el uso cultural hasta el 75% del total.
A partir de 2006 el Ayuntamiento se plantea rehabilitar en distintas fases, mediante proyectos derivados de concursos de arquitectura, este inmenso contenedor de casi 150.000 m2, para albergar multitud de eventos y encuentros, fomentando la creatividad de artistas de múltiples especialidades. El conjunto se convierte en un núcleo de actividad cultural que alberga las más importantes citas de la ciudad. Así, se inician actuaciones para convertir el recinto en centro de apoyo a la creación, en campo de experimentación de la nueva arquitectura, pero siguiendo los criterios de intervención del Plan Especial, que establece la preservación de la envolvente de las naves. La línea maestra que ha guiado las intervenciones es la reversibilidad, de modo que los edificios pueden ser fácilmente devueltos a su estado original. Las actuaciones mantienen expresamente las huellas del pasado para reforzar el carácter experimental de las nuevas instituciones que alojan. Se ha buscado el equilibrio entre el respeto máximo al espacio, y una dotación específica, que lo distinga, a través del uso limitado de materiales industriales directos y que, al mismo tiempo, dé servicio a los diferentes usos que pueda albergar.
En 2012, tras la visita del jurado de los premios FAD a Matadero Madrid, decidió reconocer la labor en conjunto de todos los arquitectos que han participado en el proceso de reforma. El fallo valora “tanto la actitud global de la propuesta, que apuesta de una forma valiente por la experimentación y el respeto a los espacios de libertad gestionados desde la sociedad civil, como la conceptualización del proyecto, desde su inicio en el 2007 con la rehabilitación del vestíbulo y el espacio Intermediae, hasta las recientes intervenciones de la Nave 16 y la Nave de Música finalistas en la presente edición de los Premios FAD”. Así mismo, el jurado destacó de Matadero Madrid “la inteligencia colectiva, la unidad que le viene inferida por la arquitectura industrial preexistente, y que con un mínimo de protagonismo exterior de las nuevas intervenciones, en el interior resuelve con rigor y autenticidad las diversas necesidades del extenso programa del centro, buscando no sólo mantener los espacios arquitectónicos y formas estructurales, sino también el carácter, la atmósfera y sobre todo el irrepetible paso del tiempo”.
Ese mismo año el Colegio Oficial de Arquitectos de Madrid otorgó uno de sus premios a las intervenciones en la Cineteca y Archivo Documenta, y en la Nave 16. Por último, destaca la interconexión de Matadero Madrid y Madrid Río mediante la urbanización de los espacios públicos -Calle y Plaza Matadero- por el mismo equipo de arquitectos -Ginés Garrido, Carlos Rubio y Fernando Porras- que proyectó Madrid Río. Está previsto además que dicha conexión, gracias a dos nuevos accesos, se amplíe entre diciembre de 2012 y julio de 2013. Madrid Río ha recibido, entre otros premios, el International Architecture Award 2012 del Chicago Athenaeum of Architecture and Design y el European Centre for Architecture Art Design and Urban Studies, el Premio de Diseño Urbano y Paisajismo Internacional otorgado por el Comité de Críticos de Arquitectura CICA, en el marco de la XIII Bienal de Buenos Aires; o el Premio FAD de Ciudad y Paisaje 2012, entre otros galardones.
Bakersfield Track Club Half Marathon and 5K
November 15, 2008
Half Marathon
www.andynoise.com/fallbtchalf08.html
Place Name Time Pace Div/Tot Sex/Tot Div
1 GALVIN GONZALEZ 1:11:30 5:28 1/8 1/98 M3034
2 David Bacus 1:14:52 5:43 1/4 2/98 M2024
3 ZACHARY HOLT 1:21:52 6:15 1/10 3/98 M1319
4 JORDAN PERRY 1:23:34 6:23 1/8 4/98 M2529
5 Rudy Montoya 1:23:49 6:24 1/11 5/98 M4044
6 Jose Salcedo 1:25:28 6:32 2/4 6/98 M2024
7 Timothy Anderson 1:25:33 6:32 1/18 7/98 M5054
8 Chris Anderson 1:26:31 6:37 2/10 8/98 M1319
9 Diego Diaz 1:26:58 6:39 1/14 9/98 M3539
10 JOHN PURCELL 1:28:22 6:45 3/10 10/98 M1319
11 SHAWNA ROUNTREE 1:29:00 6:48 1/8 1/73 F2529
12 CREGG WEINMANN 1:29:53 6:52 2/18 11/98 M5054
13 Craig Gardner 1:30:40 6:56 3/18 12/98 M5054
14 Javier Cruz 1:31:16 6:58 1/11 13/98 M4549
15 Steve Dirkse 1:31:23 6:59 2/14 14/98 M3539
16 WALTER PAVLAKOVICH 1:31:36 7:00 4/18 15/98 M5054
17 David Little 1:32:46 7:05 4/10 16/98 M1319
18 Ezequiel Gonzalez 1:32:47 7:05 5/10 17/98 M1319
19 Alec Briones 1:33:03 7:07 1/9 18/98 M5559
20 Damon Wilstead 1:33:55 7:11 2/8 19/98 M3034
21 BART VANDERWAL 1:35:35 7:18 2/11 20/98 M4044
22 John Lee 1:35:55 7:20 5/18 21/98 M5054
23 Roehl Caragao 1:36:29 7:22 2/11 22/98 M4549
24 MARK OGILVIE 1:37:25 7:27 3/11 23/98 M4044
25 Dave Hoglund 1:37:26 7:27 2/9 24/98 M5559
26 JEFF GIUMARRA 1:37:29 7:27 3/8 25/98 M3034
27 Jacob Scott 1:37:32 7:27 6/10 26/98 M1319
28 JAMES BELL 1:37:32 7:27 6/18 27/98 M5054
29 Charolette Cholometes 1:37:40 7:28 1/9 2/73 F3034
30 DAVE MEEK 1:38:36 7:32 3/14 28/98 M3539
31 Daniel Ramirez 1:39:18 7:35 3/9 29/98 M5559
32 AARON ALBAY 1:39:25 7:36 7/10 30/98 M1319
33 COURTNEY MOORE 1:40:16 7:40 1/1 3/73 F1319
34 Richard Black 1:40:35 7:41 7/18 31/98 M5054
35 JOSE MONTELONGO 1:40:44 7:42 4/14 32/98 M3539
36 Klaus Benamy-Hackel 1:41:14 7:44 4/9 33/98 M5559
37 MICHAEL RAMIREZ 1:41:20 7:45 2/8 34/98 M2529
38 Raul Gonzalez 1:41:31 7:45 5/14 35/98 M3539
39 Freddie Bingham 1:42:33 7:50 4/8 36/98 M3034
40 Mike Gonzalez 1:42:47 7:51 3/11 37/98 M4549
41 Gerry Saba 1:43:55 7:56 4/11 38/98 M4044
42 DAVE PEGLER 1:44:04 7:57 5/11 39/98 M4044
43 DEBBIE WALLACE 1:45:03 8:02 1/12 4/73 F4549
44 EDDIE PAULSEN 1:45:25 8:03 6/14 40/98 M3539
45 Gary Enns 1:45:33 8:04 7/14 41/98 M3539
46 GREG FONTES 1:45:33 8:04 4/11 42/98 M4549
47 JOE SWEET 1:45:35 8:04 5/8 43/98 M3034
48 Sara Bradford 1:45:52 8:05 2/9 5/73 F3034
49 Daniel Tavarez 1:46:31 8:08 8/14 44/98 M3539
50 Connie Tavarez 1:46:35 8:09 1/5 6/73 F3539
Bakersfield Track Club Half Marathon and 5K
November 15, 2008
Half Marathon
Place Name Time Pace Div/Tot Sex/Tot Div
51 Todd Witwer 1:47:12 8:11 8/18 45/98 M5054
52 MARK WITCHER 1:48:41 8:18 9/18 46/98 M5054
53 Roy Walford 1:50:02 8:24 1/3 47/98 M6064
54 HAYLEY TOBIN 1:50:13 8:25 1/14 7/73 F4044
55 Amy Fredericks 1:50:33 8:27 1/2 8/73 F6064
56 KELLY LOPEZ 1:50:45 8:28 2/14 9/73 F4044
57 ROBERT JOHNSON 1:50:48 8:28 5/9 48/98 M5559
58 JOSHUA GARZA 1:50:50 8:28 6/11 49/98 M4044
59 Eric Wolf 1:50:52 8:28 3/4 50/98 M2024
60 Derek Jeffery 1:51:02 8:29 3/8 51/98 M2529
61 BROOKS RICHARDSON 1:51:25 8:31 10/18 52/98 M5054
62 Tony Jeffery 1:52:52 8:37 7/11 53/98 M4044
63 Mike Moore 1:53:34 8:41 5/11 54/98 M4549
64 DAVE COWLES 1:54:34 8:45 8/11 55/98 M4044
65 Brian Cisneros 1:55:06 8:48 8/10 56/98 M1319
66 John Wilson 1:55:22 8:49 2/3 57/98 M6064
67 Mike Barella 1:55:26 8:49 9/11 58/98 M4044
68 FRANCISCO RAMIREZ 1:55:29 8:49 9/14 59/98 M3539
69 Jose Torres 1:56:33 8:54 9/10 60/98 M1319
70 Yolanda Hughes 1:56:38 8:55 3/14 10/73 F4044
71 Keith Stearmon 1:56:40 8:55 4/8 61/98 M2529
72 BOB BARTON 1:57:15 8:57 6/11 62/98 M4549
73 JOHN OPHEIM 1:57:22 8:58 3/3 63/98 M6064
74 Margaret Patterson 1:57:26 8:58 2/12 11/73 F4549
75 Jim Cowles 1:57:28 8:58 1/2 64/98 M6569
76 PHILIPPE IGOA 1:58:11 9:02 7/11 65/98 M4549
77 KATE QUINN 1:58:11 9:02 1/7 12/73 F5559
78 Ken Berckes 1:58:18 9:02 11/18 66/98 M5054
79 CARMEN ALBANES 1:58:25 9:03 1/11 13/73 F5054
80 KATHRYN JOSLIN 1:58:28 9:03 3/9 14/73 F3034
81 Darlene Savage 1:59:12 9:06 3/12 15/73 F4549
82 CHRIS DANFORTH 1:59:57 9:10 8/11 67/98 M4549
83 JUAN CERVANTES 2:00:23 9:12 4/4 68/98 M2024
84 JOSIE MARTIN 2:00:31 9:12 2/11 16/73 F5054
85 TAMMY GARCIA 2:01:31 9:17 4/14 17/73 F4044
86 Carol Weston 2:01:47 9:18 2/2 18/73 F6064
87 Esther Ray 2:02:16 9:20 2/7 19/73 F5559
88 Bob Ziemet 2:02:25 9:21 2/2 69/98 M6569
89 TRACY HUBBELL 2:02:40 9:22 5/14 20/73 F4044
90 ERIC BERLIN 2:03:45 9:27 12/18 70/98 M5054
91 craig smith 2:04:15 9:30 9/11 71/98 M4549
92 Jialan Su 2:04:21 9:30 4/9 21/73 F3034
93 DANIEL RODRIGUEZ 2:04:29 9:31 13/18 72/98 M5054
94 Greg Adkins 2:04:32 9:31 10/14 73/98 M3539
95 Tawnie McCaa 2:04:55 9:33 1/2 22/73 F2024
96 ROY PIERUCCI 2:04:56 9:33 6/9 74/98 M5559
97 ALICIA BROWN 2:05:39 9:36 2/5 23/73 F3539
98 Kevin Higgins 2:05:49 9:37 14/18 75/98 M5054
99 Guido Climer 2:06:11 9:38 11/14 76/98 M3539
100 Lonnie Stockton 2:06:16 9:39 6/14 24/73 F4044
Bakersfield Track Club Half Marathon and 5K
November 15, 2008
Half Marathon
Place Name Time Pace Div/Tot Sex/Tot Div
101 CHARLES MATHER 2:06:55 9:42 5/8 77/98 M2529
102 Meg Reimers 2:07:10 9:43 7/14 25/73 F4044
103 Barb Johnston 2:07:27 9:44 3/11 26/73 F5054
104 Katie Nickell 2:07:27 9:44 8/14 27/73 F4044
105 HOPE ROE 2:07:39 9:45 4/12 28/73 F4549
106 RODERICK MARCIA 2:07:45 9:46 6/8 78/98 M3034
107 Connie Taylor 2:07:46 9:46 5/9 29/73 F3034
108 Nicole Panero 2:07:50 9:46 2/8 30/73 F2529
109 Cory Bringman 2:08:26 9:49 3/5 31/73 F3539
110 LONDO WHITNEY 2:09:11 9:52 12/14 79/98 M3539
111 Odette Hudson 2:09:27 9:53 3/7 32/73 F5559
112 Clarissa Wilstead 2:09:49 9:55 3/8 33/73 F2529
113 JEFF COOMBER 2:09:58 9:56 15/18 80/98 M5054
114 Susan James 2:10:43 9:59 4/11 34/73 F5054
115 JOAN COLLIN S 2:11:42 10:04 5/11 35/73 F5054
116 Denise Haynes 2:11:43 10:04 5/12 36/73 F4549
117 Peg Baird 2:13:42 10:13 6/11 37/73 F5054
118 REBECCA WALKER 2:15:22 10:20 4/8 38/73 F2529
119 Troy Wells 2:15:29 10:21 10/11 81/98 M4044
120 Fred Little 2:15:29 10:21 16/18 82/98 M5054
121 Brock Sheela 2:16:35 10:26 7/8 83/98 M3034
122 Pedro Segura 2:16:59 10:28 7/9 84/98 M5559
123 DELORES CORTEZ 2:17:12 10:29 1/2 39/73 F7099
124 Jennifer Fendrick 2:17:26 10:30 4/5 40/73 F3539
125 Rachel Taylor 2:17:48 10:32 5/8 41/73 F2529
126 DANIEL J. RAMIREZ 2:17:49 10:32 13/14 85/98 M3539
127 Angelica Rogers 2:18:22 10:34 7/11 42/73 F5054
128 Jason Gutierrez 2:19:10 10:38 6/8 86/98 M2529
129 Maria Steele 2:19:13 10:38 8/11 43/73 F5054
130 Janice Horcasitas 2:19:16 10:38 4/7 44/73 F5559
131 DALE VAN SCHAACK 2:20:54 10:46 5/7 45/73 F5559
132 MARILYN JOHNSON 2:20:56 10:46 6/7 46/73 F5559
133 Deanna Koelewyn 2:23:11 10:56 6/12 47/73 F4549
134 Karen Briltz 2:23:15 10:57 9/14 48/73 F4044
135 PEGGY SCHUH 2:23:29 10:58 9/11 49/73 F5054
136 RICHARD GARRETT 2:23:30 10:58 10/11 87/98 M4549
137 JOSHUA ST. CLAIR 2:24:23 11:02 10/10 88/98 M1319
138 DAVID CHAPIN 2:25:02 11:05 7/8 89/98 M2529
139 JOANNA THOMAS 2:25:03 11:05 6/8 50/73 F2529
140 Paula Badasci 2:25:14 11:06 10/14 51/73 F4044
141 Joe Saldana 2:26:19 11:11 17/18 90/98 M5054
142 carol montez 2:29:10 11:24 7/12 52/73 F4549
143 Lynda Ernst 2:30:26 11:29 8/12 53/73 F4549
144 Maria Mendoza 2:31:06 11:33 7/8 54/73 F2529
145 Christine Gibson 2:34:12 11:47 8/8 55/73 F2529
146 Cheryl Scott 2:35:09 11:51 11/11 91/98 M4044
147 Renee Candelaria 2:35:46 11:54 9/12 56/73 F4549
148 Becky Whitehead 2:37:09 12:00 2/2 57/73 F7099
149 David Martino-Carr 2:38:34 12:07 8/9 92/98 M5559
150 Cheryl Wahl 2:39:43 12:12 10/12 58/73 F4549
Bakersfield Track Club Half Marathon and 5K
November 15, 2008
Half Marathon
Place Name Time Pace Div/Tot Sex/Tot Div
151 Brad Wahl 2:39:43 12:12 11/11 93/98 M4549
152 CAROL MONJE 2:41:13 12:19 10/11 59/73 F5054
153 SHELLEY JOHNSON 2:41:41 12:21 11/14 60/73 F4044
154 MICHAEL GARCIA 2:41:42 12:21 9/9 94/98 M5559
155 Yiota Harrelson 2:43:32 12:29 6/9 61/73 F3034
156 Kim Aviles 2:44:28 12:34 12/14 62/73 F4044
157 JULIE LEE 2:47:44 12:49 13/14 63/73 F4044
158 Eva Ramirez 2:47:48 12:49 7/9 64/73 F3034
159 Melanie Reed 2:47:53 12:49 14/14 65/73 F4044
160 GEOFF MCAVOY 2:49:14 12:56 8/8 95/98 M2529
161 SUSAN ORMEROD 2:54:42 13:21 11/12 66/73 F4549
162 Kenadee Mishler 2:58:06 13:36 2/2 67/73 F2024
163 Phyllis Martino-Carr 3:00:00 13:45 7/7 68/73 F5559
164 Kathy Berckes 3:00:04 13:45 11/11 69/73 F5054
165 Rafaela Cisneros 3:01:09 13:50 5/5 70/73 F3539
166 Dwayne Mishler 3:02:07 13:55 18/18 96/98 M5054
167 Elizabeth Luckhardt 3:03:22 14:00 12/12 71/73 F4549
168 Ana Arreola 3:03:54 14:03 8/9 72/73 F3034
169 IAN BYERS 3:06:51 14:16 8/8 97/98 M3034
170 Gisela Gomez 3:08:08 14:22 9/9 73/73 F3034
171 Robert Sandoval 3:08:08 14:22 14/14 98/98 M3539
©2008 Bakersfield Track Club
Fountain Paint Pot trail, Yellowstone National Park, Wyoming, USA
Map (link):
[ www.google.co.in/imgres?imgurl=https://4.bp.blogspot.com/... and Spasm Geysers, Fountain Paint Pot trail, Yellowstone National Park images&ved=0ahUKEwjkgubQv8XeAhUC3Y8KHaFRCQ8QMwhNKBowGg&iact=mrc&uact=8 ]
This part of Lower Geyser Basin seen from a half-mile trail has all four of the hydrothermal features found in the park:
Clepsydra Geyser is a geyser in the Lower Geyser Basin of Yellowstone National Park. Clepsydra plays nearly continuously to heights of 45 feet. The name Clepsydra is derived from the Greek word for water clock. Prior to the 1959 Hebgen Lake earthquake, it erupted regularly every three minutes.
Yellowstone National Park has several hydrothermal areas, so what makes the Fountain Paint Pot Area worth visiting? For starters, this part of Lower Geyser Basin has all four of the hydrothermal features found in the park (mudpots, geysers, hot springs, and fumaroles) and you can see them all from a compact half-mile long boardwalk loop. While none of the many Fountain Paint Pot Area geysers are as famous as Old Faithful, they erupt so frequently that you are almost guaranteed a great show on your short hike. Since the walkway passes all four of Yellowstone’s hydrothermal formations, the hike comes with a guaranteed lesson in hydrothermal volcanism.
Hiking the loop in a clockwise direction, you will first pass through a forest of lodgepole pine snags that were drowned and left lifeless by the surrounding hot springs. As you approach the northwest end of the loop, you will spot a lively collection of geysers. Clepsydra Geyser, Fountain Geyser, Jelly Geyser, Jet Geyser, Morning Geyser, Spasm Geyser, and Twig Geyser erupt with various levels of regularity.
As you progress around the walkway toward the northeast corner, you will pass Red Spouter, which behaves like a fumarole, a hot spring, and a mudpot throughout the year. It is like a hot spring in the winter, a muddy reddish pool in the spring and a steaming fumarole in the drier summer and fall. Wrapping down the east side of the boardwalk, you will pass Leather Pool and a slope of fumaroles. These gaps in the surface whistle and hiss as gasses and steam escape from the ground. Just below the fumaroles, where a little more water is present, the trail circles Fountain Paint Pot. These mudpots bubble and pop as globs of mud springs from the surface like miniature trapeze artists.
Continuing downhill, the hydrothermal features become even wetter as you arrive at Silex Spring. Look down into the small blue pool rimmed with white silica. Water spills over the sides of the spring creating an orange-colored surface covered in rippling runoff. These colors are created by thermophiles, heat-loving microorganisms that live in Yellowstone’s hot springs.
( www.hikespeak.com/trails/fountain-paint-pot-trail-yellows... )
Geothermal features of Yellowstone NP- A brief note:
There are four geothermal features found in the park – Hot springs, Geysers, Fumaroles , and Mud volcanoes/pots.
What is a Hot spring?
Hot spring, also called thermal spring, spring with water at temperatures substantially higher than the air temperature of the surrounding region. Most hot springs discharge groundwater that is heated by shallow intrusions of magma (molten rock) in volcanic areas.
Some thermal springs, however, are not related to volcanic activity. In general, the temperature of rocks within the earth increases with depth. The rate of temperature increase with depth is known as the geothermal gradient. In such cases, the water is heated by convective circulation: groundwater percolating downward reaches depths of a kilometre or more where the temperature of rocks is high because of the normal temperature gradient of the Earth’s crust—about 30 °C / kilometer in the first 10 km. The water from hot springs in non-volcanic areas is heated in this manner.
But in active volcanic zones such as Yellowstone National Park, water may be heated by coming into contact with magma (molten rock). The high temperature gradient near magma may cause water to be heated enough that it boils or becomes superheated. If the water becomes so hot that it builds steam pressure and erupts in a jet above the surface of the Earth, it is called a geyser.
[ Warm springs are sometimes the result of hot and cold springs mixing. They may occur within a volcanic area or outside of one. One example of a non-volcanic warm spring is Warm Springs, Georgia (frequented for its therapeutic effects by paraplegic U.S. President Franklin D. Roosevelt, who built the Little White House there) ].
List of hot springs:
[ en.wikipedia.org/wiki/List_of_hot_springs ]
The science of colors of a hot spring:
[ ttps://www.britannica.com/science/hot-spring]
Many of the colours in hot springs are caused by thermophilic (heat-loving) microorganisms, which include certain types of bacteria, such as cyanobacteria, and species of archaea and algae. Many thermophilic organisms grow in huge colonies called mats that form the colourful scums and slimes on the sides of hot springs. The microorganisms that grow in hot springs derive their energy from various chemicals and metals; potential energy sources include molecular hydrogen, dissolved sulfides, methane, iron, ammonia, and arsenic. In addition to geochemistry, the temperature and pH of hot springs play a central role in determining which organisms inhabit them.
Examples of thermophilic microorganisms found in hot springs include bacteria in the genera Sulfolobus, which can grow at temperatures of up to 90 °C (194 °F), Hydrogenobacter, which grow optimally at temperatures of 85 °C (185 °F), and Thermocrinis, which grow optimally at temperatures of 80 °C (176 °F). Thermophilic algae in hot springs are most abundant at temperatures of 55 °C (131 °F) or below.
What is a Geyser?
A geyser is formed when water collecting below the surface is heated by a magma source. When the water boils, it rises to the surface. If the water has an unobstructed path, it will pool on the surface in the form of a steaming hot springs. If the passage of the water is imposed upon, the pressure will increase. When the pressure becomes too great, the water converts into to steam. Steam takes up 1,500 times the volume of water, and at this point, the pressure becomes so intense that the steam and surrounding water droplets shoot out of the ground in geyser form, erupting until the pressure has abated and the process starts all over again.
What is a fumarole?
It’s a vent in the Earth’s surface from which steam and volcanic gases are emitted. The major source of the water vapour emitted by fumaroles is groundwater heated by bodies of magma lying relatively close to the surface. Carbon dioxide, sulfur dioxide, and hydrogen sulfide are usually emitted directly from the magma. Fumaroles are often present on active volcanoes during periods of relative quiet between eruptions.
Fumaroles are closely related to hot springs and geysers. In areas where the water table rises near the surface, fumaroles can become hot springs. A fumarole rich in sulfur gases is called a solfatara; a fumarole rich in carbon dioxide is called a mofette. If the hot water of a spring only reaches the surface in the form of steam, it is called a fumarole. [ www.britannica.com/science/fumarole ]
What is a mud volcano/ mud pot/ paint pot?
Usually mud volcanoes are created by hot-spring activity where large amounts of gas and small amounts of water react chemically with the surrounding rocks and form a boiling mud.
Geo-chemistry of mud volcano: Hydrogen sulfide gas rising from magma chamber, as in Yellowstone’s, causes the rotten-egg smell. Microorganisms, or thermophiles, use this gas as a source of energy, and then help turn the gas into sulfuric acid. The acid then breaks down the rocks and soil into mud. Many of the colors seen are vast communities of thermophiles, but some of the yellow is pure sulfur. When iron mixes with sulfur to form iron sulfide, gray and black swirls sometimes appear in the mud (From description of the display board in the park).
If the water of a hot spring is mixed with mud and clay, it is called a mud pot. Variations are the porridge pot (a basin of boiling mud that erodes chunks of the surrounding rock) and the paint pot (a basin of boiling mud that is tinted yellow, green, or blue by minerals from the surrounding rocks).
There are other mud volcanoes, entirely of a nonigneous origin, occur only in oil-field regions that are relatively young and have soft, unconsolidated formations.
Sources: [ www.britannica.com/science/mud-volcano ], and display boards of the YNP.
A quick overview of YNP
Yellowstone National Park is an American national park located in Wyoming, Montana, and Idaho. Approximately 96 percent of the land area of Yellowstone National Park is located within the state of Wyoming. The Park spans an area of 8,983 km2 comprising lakes, canyons, rivers and mountain ranges. The park is known for its wildlife and its many geothermal features. It has many types of ecosystems, but the subalpine forest is the most abundant. It is part of the South Central Rockies forests eco-region.
It was established by the U.S. Congress and signed into law by President Ulysses S. Grant on March 1, 1872. Yellowstone was the first national park in the U.S. and is also widely held to be the first national park in the world. Native Americans have lived in the Yellowstone region for at least 11,000 years. Aside from visits by mountain -men during the early to mid-19th century, organized exploration did not begin until the late 1860s.
The park contains the headwaters of the Yellowstone River, from which it takes its historical name. Although it is commonly believed that the river was named for the yellow rocks seen in the ‘Grand Canyon of the Yellowstone’, the Native American name source is unclear.
Yellowstone Lake is one of the largest high-elevation lakes in North America and is centered over the Yellowstone Caldera, the largest supervolcano on the continent. The caldera is considered as an active volcano. It has erupted with tremendous force several times in the last two million year. The Yellowstone Caldera is the largest volcanic system in North America. It has been termed a "supervolcano" because the caldera was formed by exceptionally large explosive eruptions. The magma chamber that lies under Yellowstone is estimated to be a single connected chamber, about 60 km long, 29 km wide, and 5 to 12 km deep. Yellowstone Lake is up to 400 feet deep and has 180 km of shoreline.The lake is at an elevation of 7,733 feet above sea levels. Half of the world's geysers and hydrothermal features are there in Yellowstone, fueled by this ongoing volcanism. Lava and rocks from volcanic eruptions cover most of the land area of Yellowstone. The park is the centerpiece of the Greater Yellowstone Ecosystem, the largest remaining nearly-intact ecosystem in the Earth's northern temperate zone. In 1978, Yellowstone was named a UNESCO World Heritage Site.
In May 2001, the U.S. Geological Survey, Yellowstone National Park, and the University of Utah created the Yellowstone Volcano Observatory (YVO), a partnership for long-term monitoring of the geological processes of the Yellowstone Plateau volcanic field, for disseminating information concerning the potential hazards of this geologically active region.
Hundreds of species of mammals, birds, fish, and reptiles have been documented, including several that are either endangered or threatened. The vast forests and grasslands also include unique species of plants. Yellowstone Park is the largest and most famous mega fauna location in the contiguous United States. Grizzly bears, wolves, and free-ranging herds of bison and elk live in this park. The Yellowstone Park bison herd is the oldest and largest public bison herd in the United States.
Forest fires occur in the park each year. In the largest forest fires of 1988, nearly one third of the park was burnt.
Yellowstone has numerous recreational opportunities, including hiking, camping, boating, fishing and sightseeing. Paved roads provide close access to the major geothermal areas as well as some of the lakes and waterfalls. During the winter, visitors often access the park by way of guided tours that use either snow coaches or snowmobiles.
Fire in Yellowstone NP:
Causes of wildfire in Yellowstone NP
Wildfire has had a role in the dynamics of Yellowstone’s ecosystems for thousands of years. Although many fires were caused by human activities, most ignitions were natural. The term "natural ignition" usually refers to a lightning strike. Afternoon thunderstorms occur frequently in the northern Rocky Mountains but release little precipitation, a condition known as ‘dry lightning’. In a typical season there are thousands of lightning strikes in Yellowstone. Lightning strikes are powerful enough to rip strips of bark off of a tree in a shower of sparks and blow the pieces up to 100 feet away. However, most lightning strikes do not result in a wildfire because fuels are not in a combustible state.
The great fire incidence of 1988
The Yellowstone fires of 1988 collectively formed the largest wildfire in the recorded history of Yellowstone National Park in the United States. Starting as many smaller individual fires, the flames quickly spread out of control due to drought conditions and increasing winds, combining into one large conflagration which burned for several months. The fires almost destroyed two major visitor destinations and, on September 8, 1988, the entire park closed to all non-emergency personnel for the first time in its history. Only the arrival of cool and moist weather in the late autumn brought the fires to an end. A total of 793,880 acres, or 36 percent of the park was affected by the wildfires.
Fire incidence, 2016
As of September 21, 2016, 22 fires (human and lightning-caused) have burned more than 62,000 acres in Yellowstone National Park, making it the highest number of acres burned since the historic 1988 fire.
Heritage and Research Center
The Heritage and Research Center is located at Gardiner, Montana, near the north entrance to the park. The center is home to the Yellowstone National Park's museum collection, archives, research library, historian, archeology lab, and herbarium. The Yellowstone National Park Archives maintain collections of historical records of Yellowstone and the National Park Service. The collection includes the administrative records of Yellowstone, as well as resource management records, records from major projects, and donated manuscripts and personal papers. The archives are affiliated with the National Archives and Records Administration.
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Rayer Bazar Boddhobhumi (Martyred Intellectuals Memorial) is a memorial built in memory of the martyred intellectuals of Bangladesh Liberation War. The Martyred Intellectuals Memorial is situated at Rayer Bazar area of Dhaka. In the history of Bangladesh's Liberation War, this memorial site has special significance. In 1971 considered as a fringe area of the city this area was infamous for its brick manufacturing facilities and the killing grounds within it. Especially at the waning days of the war from December 14-December 16, 1971 this field witnessed the killings of the prominent intellectuals of the nation. The memorial is a massive red brick wall, with jagged edges. This wall has a window within it. The reflection of the red brick jagged wall, falls in to a pool of water in front of it, along with a black square column. The jagged wall is the symbol of the rough brick filed killing ground. The massing open window signifies the nations sigh of loosing the best of her children. The reflection pool and the black column is the reminder to the present generation of the sacrifice the nation had to make to achieve its freedom.
MOVIE Preview of a 1 Kilometer long Space ship of the GFOL
It is difficult to see the size of the ship, until it has been completed with a texture effect (painted). Here are its current dimensions :
Width : 500 m
Height : 200 m
length : 1000 m (he he yes One kilometer long.
This is just a preview the ship is only partially built, it will be having a Star Trek style Bridge and is also yet to be painted and have details added to the exterior.
This model is being created for my movies, The Adventures of OLeg part's 4 + as a fictional dramatisation of what might happen when the GFL arrives, of coarse this ship is not a true representation as the GFL might hold copyright on their own ships lol
Author of this ship is:
Emmanuel Baranger
From the Flightgear Project
helijah.free.fr/flightgear/hangar.htm
The sky is the limit in model creation!
Spaceship Logo Image copyrighted by: Christian Vazquez
Christian has made this wonderful emblem for the October 14th 2008 ET event.
He has also made various t- shirts that have this emblem on it.
October 14th T-Shirts by Christian Vazquez
Emmanuel has modeled many Flightgear Aircraft including:
Hugues H4 Hercules
Dornier Do 335
Lockheed C 130
Messerschmidt Me262
Sikorsky UH 60 BlackHawk
Sikorsky S 58
Lockheed SR 71
Hornet (autogire)
APM20 Lionceau
Payen 100
de Havilland DH 89
Bell-Boeing V22 Osprey
Beechcraft Starship 1
Bleriot XI
Farman IV
Grob G115
Macchi Costaldi MC 72
FK9 Mark 2
Super Frelon
Blohm & Voss BV 141
Alouette II
Arsenal VG 33
Aeroprakt 24 Viking
Ryan NYP "Spirit of St Louis"
Alphajet
Vickers Vimy
X3 Stiletto
Dornier Do X
Bugatti modèle 100
Zlin 50 lx
HondaJet
DHC 3 Otter
Gee Bee
Supermarine S6b
Bernard HV 220
Stampe SV 4
Rutan Quickie 2
Couzinet 70 Arc en Ciel
Carreidas 160 Jet
de Havilland D.H 91
de Havilland DH 88
Hughes H1 Racer
Grob G109
ARADO AR 234
Hughes XF 11
Tupolev ANT 20 "Maxim Gorky"
Robin DR 400
Skyranger
Rutan Long EZ
SM 55
Santos Dumont 14 Bis
Velocity XL
TBM/TBF Avenger
[crosseye stereograph, see 3D with your right eye on the left image, and left on right.]
Southern Pacific Railway Post Office #12, Travel Town, Griffith Park, Los Angeles, California
This narrowgauge truck set, cast in Sacramento, CA by Southern Pacific, is one of two designs of 're-gauge-able' trucks on display inside the Travel Town Museum building. The wheels can be detatched from the replaceable axle by four bolts within the inside face, and a new beam can be cut from wood for the bolster support and kingpin. The sliding bearings on the end of each axle predated roller or ball bearings, and could generate a great deal of heat from friction. Hopefully the grease packed under the hinged covers was warm enough to liquify and penetrate the bearing gap. One of the primary reasons a caboose had bay windows or a coupula above, and it's placement at the end of the train, was to keep a vigilant watch for the "hotbox" - an improperly lubricated bearing would cause excessive wear, or start a fire!
Notice that there are no springs in this design, any spring action is from the steel and wood supports.
The axles and crossblocks on this Southern Pacific Railway Post Office #12 bogie truck are fabricated of wood a design to facilitate re-gauging this 3' narrow-gauge truck to standard gauge 4'8½". The trucks are unsprung, which is to say the design does not incorporate springs, and there is a very narrow bolster around the kingpin. So, in addition to feeling every gap in the uneven and wavy rail, swaying and rocking was magnified at speeds above 12 miles per hour - working to precisely sort mail along the route was a very uncomfortable occupation.
SOUTHERN PACIFIC RAILWAY POST OFFICE #12
BUILT: c.1880 BY CARTER BROTHERS
WEIGHT: 13 TONS
LENGTH: 43'
DONATED: 1960 BY SOUTHERN PACIFIC RAILROAD
This pre-20th Century, wooden car was put to a variety of uses by its owners: caboose, baggage car, railway postal car, and most notably, a baggage-mail combination. Mail transportation by rail had existed as long as the railroads themselves. In Britain, mail was already being sorted within rail cars in the late 1830's. This practice was imitated on a few American railroads, but came into widespread use only after the Civil War. Perhaps no more efficient mail system could have existed than that of the railway postal system. Both local and long-distance trains included a car equipped with pigeonholes, sorting bags and tables, cancellation stamps, and one or more frenzied clerks trying to sort a bag of mail picked up at one station, before arriving at the next station each would be only ten or twenty minutes down the road. Early in their history, these railway postal cars (RPO's) shared space with express baggage service. Later, as the system grew more elaborate, entire 60- or 80-foot RPO cars were specially built for that purpose, and resembled small versions of a post office.
As with other aspects of railroading, RPO cars and their clerks have a lore all their own. The metal arms which swung out from the side of the car to catch a hanging mail bag when the train was not scheduled to stop at a station are collectors items, as are any existing cancellation stamps. Clerks carried guns for protection against outlaws wanting to steal the mail. In the first decades, clerks worked on cars furnished either with fire-causing wood stoves or without any heat at all. Doors could not be left open for security reasons, so the cars were barely ventilated in the summer heat. If they
had toilet facilities at all, they were crude and rarely private. Sometimes a lone clerk, sometimes a handful of men tripping over and stepping on each other, slaved at sorting and canceling mail, catching a new bag every twenty minutes, and simultaneously kicking off a bag sorted for that stop.
By the 1960's, railway mail, like railway passenger service and some railway freight service, was failing in favor of air transport of mail. The last RPO ran between Washington D. C. and New York in June 30, 1977.
dsc00662, 34.154469,-118.307759, 2009.10.18 16.38.24, 3D, Los Angeles, Griffith Park, Travel Town, Southern Pacific Railway Post Office #12, Coupler.jpg
Marseille, Bouches-du-Rhône (France).
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La reflexión: www.santimb.com/2012/03/la-bonne-mere.html
CASTELLANO
Notre-Dame de la Garde, más comúnmente conocida como la Bonne Mère (la buena madre en idioma francés) es una basílica menor dedicada al culto católico en la ciudad francesa de Marsella (departamento de Bocas del Ródano). Situada a 162 metros de altura al sur del Vieux-Port su silueta de estilo neo-bizantino coronada por una efigie dorada de la Virgen María es una de las estampas más características de la ciudad.
El nombre de de la Garde se viene aplicando desde tiempos antiguos a la colina donde hoy se encuentra la basílica y donde históricamente había un puesto de observación. En 1525 para proteger junto con el Castillo de If la entrada al puerto de los ejércitos del emperador Carlos V el rey Francisco I de Francia ordena la construcción de un fuerte. La actual iglesia, realizada por el arquitecto Henri-Jacques Espérandieu a partir 1853 por deseo de monseñor Eugène de Mazenod, se asienta sobre los cimientos de dicho fortín.
Se trata de una obra de estilo románico-bizantino recubierta de mármol y pórfido proveniente de Italia. Destaca, entre otras cosas, por la monumental estatua de 11m de altura de la Virgen que corona su campanario. Esta imagen de bronce, obra del escultor Eugène-Louis Lequesne, fue recubierta de pan de oro en los talleres del orfebre parisino Christofle. Se instaló definitivamente en 1870 y ha sido restaurada en varias ocasiones (1897, 1936, 1963 y 1989).
Desde 1892 puede accederse a ella en un funicular que trepa a la colina de la Garde. Antiguamente la estatua de la Virgen constituía una atracción turística visitable a través de una escalera que hoy en día se encuentra clausurada.
El emplazamiento de la basílica es un lugar de culto para los pescadores marselleses desde siglos atrás. La primera construcción religiosa documentada es una capilla levantada el 1214 por el eremita local maestro Pierre. Otras le fueron sucediendo hasta que en 5 de junio de 1864 se consagra la actual basílica. Llama la atención en su interior la presencia de exvotos de todo tipo, desde los dedicados por marineros agradecidos, a otros para pedir ayuda al equipo de fútbol local (el Olympique de Marsella) e incluso los restos colgados de un coche de bomberos que sobrevivió a un incendio forestal.
Más info: es.wikipedia.org/wiki/Notre-Dame_de_la_Garde
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ENGLISH
Notre-Dame de la Garde is a basilica located in Marseille, France. This ornate Neo-Byzantine church is situated at the highest natural point in Marseille, a 162 m (532 ft) limestone outcrop on the south side of the Old Port. As well as being a major local landmark, it is the site of a popular annual pilgrimage every Assumption Day (August 15). Local inhabitants commonly refer to it as la bonne mère ("the good mother").
A minor basilica of the Catholic church, it is situated on a limestone peak of 149m (490 feet), on the walls and foundations of an old fort. Built by architect Henri-Jacques Espérandieu in the Neo-Byzantine style, the basilica was consecrated on 5 June 1864. It replaced a church of the same name built in 1214 and reconstructed in the 15th century. The basilica was built on the foundations of a 16th-century fort constructed by Francis I of France to resist the 1536 siege of the city by the Emperor Charles V. The basilica is made up of two parts: a lower church, or crypt, dug out of the rock and in the Romanesque style, and an upper church of Neo-Byzantine style decorated with mosaics. A square bell-tower of 41m (135 feet) is surmounted by a belfry of 12.5m (42 feet) which itself supports a monumental, 11.2m (27 feet) tall statue of the Madonna and Child made out of copper gilded with gold leaf.
The stone used for the construction of the basilica, in particular the green limestone originating in the area surrounding Florence, was discovered to be sensitive to atmospheric corrosion. An extensive restoration took place from 2001 to 2008. This included work on the mosaics, damaged by candle smoke, and also by the impact of bullets during the Liberation of France at the end of World War II.
In Marseilles, Notre-Dame de la Garde is traditionally regarded by the population as the guardian and the protectress of the city.
More info: en.wikipedia.org/wiki/Notre-Dame_de_la_Garde
Fonte dell'immagine: La Chiesa di Dio Onnipotente
Condizioni d'Uso: Avviso legale e condizioni per l’uso
Il Regno dei Cieli è in realtà sulla terra
di Chen Bo, Cina
La più grande aspirazione di noi credenti è riuscire a entrare nel Regno dei Cieli e godere dell’eterna beatitudine che il Signore ha concesso all’uomo. Ogni volta che sentivo un pastore dire in un sermone che il posto che il Signore preparerà per noi in futuro è nell’alto dei cieli, che ci saranno campi dorati e mura di giada, e gemme che brilleranno ovunque, che noi potremo mangiare il frutto dell’albero della vita e bere l’acqua del fiume della vita, che non ci saranno più dolore, lacrime o afflizione e tutti saremo liberi e liberati, provavo un moto incredibile di emozione e di gioia. Era un luogo a cui anelavo tantissimo, e la mia vita di duro lavoro e di sofferenza sulla terra mi lasciava svigorita nel cuore. E così andai in giro a predicare il Vangelo e mi adoperai con entusiasmo per il Signore; diffondevo il Vangelo e fondavo Chiese, e non mi fermavo mai a riprendere fiato, per quanto doloroso o difficile fosse. Soprattutto da quando ho saputo che siamo negli ultimi giorni e che il Signore sarebbe tornato presto per portarci tutti nella nostra casa celeste, ho lavorato e mi sono adoperata ancor più proattivamente.
Un giorno, mi recai a casa di mia sorella per sapere come stava nostra madre. Prima di andarmene, mia sorella mi diede un libro, raccomandandosi che lo leggessi con attenzione. Pensai tra me e me: “Il libro che mi ha dato mia sorella è di sicuro un’opera spirituale. Il caso vuole che il mio spirito si senta molto inaridito in questo momento; non ho la sensazione che il Signore sia con me, né mi sento illuminata dalla lettura della Bibbia. Al mio ritorno, dovrò leggere questo libro con attenzione. Forse mi darà qualcosa”. Dopo essere tornata a casa, aprii il libro, cominciai a leggere e, prima che me ne rendessi conto, venni risucchiata dalle sue parole. Più leggevo, più lo apprezzavo; più leggevo, più sentivo che c’era luce in quelle parole, che esse erano illuminate dallo Spirito Santo e che non era possibile che potessero essere pronunciate da una persona normale. Da quando ho letto quel libro, sono giunta a comprendere alcune verità che prima, leggendo la Bibbia, non capivo e nella mia mente sento chiarezza e gioia. Sono disposta a pregare per avvicinarmi al Signore e la mia fede si è rafforzata. La mia condizione spirituale è migliorata sempre più. Pensai: “Solo l’opera dello Spirito Santo può dare all’uomo fede e forza, provvedere al suo spirito e nutrirlo. Le parole di questo libro provengono certamente dallo Spirito Santo”. Di conseguenza, la mattina, la prima cosa che faccio quando mi sveglio è leggere questo libro.
Un giorno, aprii il libro e lessi il seguente passo: “Dio che entra nel riposo significa che Egli non compirà più il Proprio lavoro di salvezza dell’umanità. L’umanità che accede al riposo significa che l’intera umanità vivrà nella luce di Dio e sotto la Sua benedizione; non ci sarà alcuna corruzione di Satana, né verrà perpetrata alcuna ingiustizia. Gli uomini vivranno una normale esistenza sulla terra e Dio Si prenderà cura di loro” (“Dio e l’uomo entreranno nel riposo insieme” in “La Parola appare nella carne”). Mi fermai in quel punto. Il mio cuore sussultò e pensai tra me e me: “In futuro l’uomo vivrà sulla terra? Il Signore Gesù non ha promesso che in futuro vivremo in cielo? Perché queste parole parlano dello stare sulla terra? Come potrebbe essere? Sto fraintendendo?” Quindi, rilessi attentamente il passo, e le parole affermavano davvero che in futuro l’uomo avrebbe vissuto sulla terra. Allora, cosa significa realmente ciò? Quello non bastava. Dovevo capire cosa, in effetti, significasse. Perciò, continuai a leggere: “Dio ha la destinazione propria di Dio e l’uomo quella propria dell’uomo. Durante il Suo riposo, Dio continuerà a guidare l’esistenza dell’intera umanità sulla terra. Nella luce di Dio, l’uomo renderà lode all’unico vero Dio in cielo. […] Quando l’umanità entra nel riposo, significa che l’uomo è divenuto autentica creazione; l’umanità venererà Dio dalla terra e condurrà una normale esistenza umana. Gli uomini non saranno più disobbedienti nei confronti di Dio né Gli resisteranno; essi faranno ritorno all’originaria vita di Adamo ed Eva” (“Dio e l’uomo entreranno nel riposo insieme” in “La Parola appare nella carne”). Più leggevo, più mi sentivo confusa: “L’uomo adorerà Dio dalla terra? Come potrà avvenire? Nella Bibbia non si dice forse che ciò avrà luogo in cielo? Come potrebbe essere sulla terra?” Mi precipitai a prendere la mia Bibbia, aprendola su Giovanni 14:2-3, e lessi il punto in cui il Signore Gesù afferma: “Nella casa del Padre Mio ci sono molte dimore; se no, vi avrei detto forse che Io vado a prepararvi un luogo? Quando sarò andato e vi avrò preparato un luogo, tornerò e vi accoglierò presso di Me, affinché dove sono Io, siate anche voi”. Il Signore Gesù dice chiaramente che la Sua resurrezione e ascesa in cielo avevano lo scopo di preparare un posto per noi, affinché la nostra destinazione fosse in cielo. Questa è la promessa del Signore. Pensai tra me e me: “Ciò che questo libro sta dicendo è diverso da ciò che dice il Signore; quindi, non posso continuare a leggerlo”. Dopo aver chiuso il libro, mi ritrovai in uno stato mentale di grande confusione; non sapevo cosa fosse giusto e, quindi, pregai insistentemente il Signore: “Oh Signore, ti prego di guidarmi e di condurmi. Cosa dovrei fare? Dovrei leggere questo libro o no? Oh Signore, ti prego di illuminarmi e di guidarmi…” Dopo aver pregato, pensai a come, dopo aver letto quel libro, mi ero sentita più vicina nel mio rapporto con il Signore, più entusiasta della mia fede in Lui e che il mio spirito stava ricevendo nutrimento: “Se mettessi giù questo libro e smettessi di leggerlo, tornerei alla mia precedente condizione, quella in cui il mio spirito si sentiva inaridito”. Poiché quel libro mi dava moltissimo, poiché potevo essere certa che provenisse dallo Spirito Santo, che non potesse essere frainteso, dato che proveniva dallo Spirito Santo, sebbene quelle parole non fossero conformi alle mie concezioni, non dovevo rinunciarvi né esimermi dal leggerle per nessun motivo. Mentre ci pensavo su, decisi che avrei fatto meglio a continuare a leggere, prima di decidere.
Quindi, presi di nuovo in mano il libro e continuai a leggere: “Il luogo di riposo dell’uomo è sulla terra, mentre il luogo del riposo di Dio è in cielo. Mentre l’uomo venera Dio nel riposo, egli vivrà sulla terra, e mentre Dio guida quel che resta dell’umanità nel riposo, Egli la guiderà dal cielo, non dalla terra” (“Dio e l’uomo entreranno nel riposo insieme” in “La Parola appare nella carne”). Continuai a rifletterci nella mia mente: “Questo passo ora dice che il luogo del riposo di Dio è in cielo e che, mentre l’uomo riposa, adorerà Dio sulla terra. Potrebbe darsi che il luogo di riposo dell’uomo sia sulla terra, come affermano queste parole? È impossibile! Il Signore Gesù ha già affermato che noi saremo ovunque si trovi il Signore e il Signore Gesù venne resuscitato e ascese in cielo, per cui anche noi ascenderemo sicuramente in cielo!” Pensai agli anni passati, a quante strade che avevo percorso per il Signore, a quante sofferenze avevo sopportato. Non era stato forse allo scopo di ascendere al cielo e non dover più sopportare le sofferenze sulla terra? Se è davvero come afferma quel libro, ovvero che in futuro l’uomo continuerà a vivere sulla terra, allora le mie speranze non verranno forse vanificate? Rimasi distesa sul letto, come paralizzata. Mi sentivo debole dalla testa ai piedi. Più pensavo alla cosa, più non riuscivo a calmarmi. Perciò, per trovare una soluzione, mi precipitai a casa di mia sorella.
Quando arrivai a casa di mia sorella, trovai una donna di mezza età e, quando mia sorella ci presentò, venni a sapere che si trattava di sorella Li. Dopo poco, parlai con loro dei miei pensieri successivi alla lettura di quel libro. Dopo aver ascoltato, sorella Li si rivolse a me, dicendo: “Sorella, tutti coloro che, tra noi, credono nel Signore pensano che il Signore Gesù abbia promesso di preparare un posto per l’uomo e che, ovunque Egli Si trovi, ci chiederà di andare lì. Il Signore è asceso al cielo; quindi, in futuro, quando il Signore tornerà, certamente ci accoglierà in cielo affinché viviamo insieme a Lui. Ma qualcuno di noi si è chiesto se questo tipo di fantasia e ragionamento sia attendibile? Se fosse come ce lo immaginiamo, cioè che il Signore verrà e ci porterà in cielo, le parole della preghiera al Signore ‘Venga il tuo regno; sia fatta la tua volontà, come in cielo, anche in terra’ (Matteo 6:10) e la profezia nell’Apocalisse ‘Ecco il tabernacolo di Dio con gli uomini! Egli abiterà con loro, essi saranno suoi popoli e Dio stesso sarà con loro e sarà il loro Dio’ (Apocalisse 21:3) non verrebbero forse vanificate? Come potrebbero queste cose svolgersi come predetto? Se la destinazione finale che Dio ci assegna fosse in cielo, quando Egli creò in origine l’uomo, che senso aveva farci vivere sulla terra?” Non ero affatto convinta e replicai: “Nonostante questi testi sacri affermino tali cose, il Signore Gesù Stesso disse: ‘Io vado a prepararvi un luogo; e quando sarò andato e v’avrò preparato un luogo, tornerò, e v’accoglierò presso di Me, affinché dove son Io, siate anche voi’ (Giovanni 14:2-3). Dopo essere risorto, il Signore Gesù ascese al cielo ed è qui che Egli dice che andrà a preparare un posto per noi. Egli afferma che, ovunque Si trovi, anche noi potremmo stare. Perciò, questo prova che Dio ci promise che saremmo ascesi al cielo per ottenere la vita eterna, e non che avremmo ottenuto la vita eterna sulla terra. Questa è una cosa che nessuno può negare!” Sorella Li continuò a parlare pazientemente: “Sorella, è vero che il Signore sta preparando un posto per coloro che credono in Lui, ma tale posto si trova di fatto sulla terra o in cielo? Il Signore non dice così nelle Sue parole; quindi, su cosa ci basiamo quando affermiamo che il posto che Egli sta preparando per noi è in cielo? Si tratta di fatto della promessa del Signore o della nostra personale concezione e fantasia? Per coloro tra noi che credono in Dio, tutte le cose dovrebbero basarsi sulla parola del Signore; le nostre personali concezioni e fantasie non andrebbero mescolate alla parola del Signore, per poi dire che si tratta del significato del Signore. Ciò non equivale forse a fare affidamento sulle nostre idee per spiegare la parola del Signore? Non significa forse distorcere la parola del Signore? Quindi, non possiamo fare affidamento sulle fantasie che abbiamo in testa, sui nostri pensieri e sulle nostre preferenze per spiegare la parola del Signore. Se così fosse, commetteremmo un errore. Nella Genesi 2:7-8 si afferma: ‘E Jahvè Dio formò l’uomo dalla polvere della terra, gli soffiò nelle narici un alito vitale, e l’uomo divenne un’anima vivente. E Jahvè Dio piantò un giardino in Eden, in oriente, e quivi pose l’uomo che aveva formato’. È evidente che al principio Dio creò l’uomo sulla terra e che, prima di crearlo, creò tutte le cose, per preparare un ambiente adatto alla vita dell’uomo. Quindi, possiamo constatare che è volontà di Dio farci vivere sulla terra. Inoltre, nel ‘Padre nostro’, Egli ci fa pregare Dio affinché il Suo Regno venga in terra. Nel Libro dell’Apocalisse è profetizzato: ‘Il regno del mondo è passato al nostro Signore e al Suo Cristo ed egli regnerà nei secoli dei secoli’ (Apocalisse 11:15). ‘Il tabernacolo di Dio con gli uomini! Egli abiterà con loro’ (Apocalisse 21:3). Da queste righe della Scrittura e della profezia possiamo constatare che il posto che Dio sta preparando per noi è sulla terra e non in cielo, e che la nostra futura destinazione finale è in terra, e non in cielo…”. La spiegazione di sorella Li andava completamente contro le mie concezioni. Semplicemente, non ascoltavo ciò che diceva. Mi alzai in piedi e le dissi con rabbia: “Smettila di parlare! Per anni, ho corso, mi sono spesa e ho sofferto per il Signore, per poter ascendere al cielo! Ho aspettato con impazienza per tutto il tempo che il Signore mi riportasse nella dimora dei cieli, così da non dover più patire in terra. Tu dici che la nostra destinazione finale è in terra. Non posso accettarlo”. Dopo aver detto questo, mi voltai per andarmene. La mia sorella minore si precipitò, cercando di parlarmi: “Sorellina, come puoi essere così testarda? Il punto di vista cui ti aggrappi è corretto? Il Signore dice: ‘Io vado a prepararvi un luogo’. Tu non conosci il vero significato di queste parole e stai mantenendo le tue personali opinioni. Non è da sciocchi? Questo non è il genere di atteggiamento che le persone che cercano la verità dovrebbero avere! Il Signore Gesù che stiamo aspettando è già ritornato: Dio Onnipotente è il ritorno del Signore Gesù! Quel libro che ti diedi da leggere contiene le espressioni personali e le parole di Dio! Il Signore che abbiamo aspettato ogni giorno, affinché ci venisse a prendere, ora è tornato. Dobbiamo ascoltare con attenzione. Non dobbiamo assolutamente lasciarci sfuggire questa rarissima opportunità!”
Ero stupefatta nel sentire mia sorella pronunciare quelle parole. Non riuscivo a credere a quello che avevo appena sentito: “Il Signore è tornato? È vero?” Quindi mia sorella disse: “Non eri tu, prima, che dicevi che le parole di quel libro provengono dallo Spirito Santo? Quando lo leggevi, sentivi di aver ricevuto moltissimo, di aver avuto l’opera dello Spirito Santo e che il tuo rapporto con Dio era diventato più stretto. Ora pensa a questa cosa: oltre alla parola del Signore, chi altri parla in modo tale da sortire un effetto del genere? Ora il Signore è tornato per operare e per pronunciare nuove parole e noi possiamo godere della dolcezza delle parole di Dio. Se non cerchiamo né esaminiamo, se ci limitiamo ad aggrapparci alle nostre concezioni e fantasie, nonché al significato letterale della Bibbia, senza lasciarci andare, allora alla fine ci rovineremo. Ai loro tempi, i farisei con una buona conoscenza della Bibbia si aggrappavano alle parole di quest’ultima: non cercavano affatto di domandarsi se la loro comprensione della Bibbia fosse corretta o se fosse conforme alla volontà di Dio, o meno. Al contrario, pensavano che un uomo che non si chiamava Messia non fosse il Salvatore che sarebbe venuto; semplicemente, non esaminavano se la via del Signore Gesù potesse offrire la vita all’uomo e mostrargli un sentiero per fare pratica. Si limitavano ad aggrapparsi ostinatamente alle loro concezioni e fantasie e rifiutavano ciecamente la salvezza del Signore Gesù, commettendo infine il crimine odioso di inchiodare il Signore alla croce. Non possiamo seguire le orme dei farisei e percorrere il loro sentiero di opposizione a Dio!” Dopo aver ascoltato le parole di mia sorella, pensai tra me e me: “Ciò che mia sorella sta dicendo è ragionevole. La parola del Signore è l’unica soluzione, quando lo spirito di un uomo è inaridito”. Ripensai a come la condizione del mio spirito sia andata via via migliorando da quando leggo le parole di quel libro, a come esso mi abbia donato la fede in Dio e a come mi faccia sentire che Dio è in mia presenza. “Sento persino di comprendere alcune verità. Potrebbe darsi che le parole di quel libro siano davvero il Signore che torna a parlare? Il ritorno del Signore è un’occasione importante. Farei meglio a non rifiutare e giudicare alla cieca; devo sforzarmi di esaminare e cercare, non posso essere come quei farisei che non cercavano la verità, che si aggrappavano alle loro concezioni in opposizione a Dio!” In quel momento mi sentii piacevolmente sorpresa e spaventata allo stesso tempo. Ero piacevolmente sorpresa perché credevo nel Signore e attendevo ansiosamente che Egli tornasse per accettarmi nel Regno dei Cieli, dove potevo vivere libera dalle preoccupazioni, senza più dover affrontare difficoltà in terra, e oggi apprendevo la notizia del ritorno del Signore. Questa è davvero una grandissima e gioiosa opportunità. Ero spaventata perché, se Dio Onnipotente è il Signore ritornato, allora il mio sogno di attendere che il Signore mi accetti nel Regno dei Cieli verrebbe infranto… In cuor mio sentivo emozioni contrastanti di ogni genere; non sapevo cosa provavo. Mi sentivo impotente. Tutto quello che potevo fare era rivolgermi al Signore in preghiera: “Oh Signore! Ho aspettato con ansia ogni giorno che Tu mi portassi nella Tua dimora celeste, ma dicono che il posto che hai preparato per la mia destinazione finale sia qui sulla terra. Sono davvero incapace di affrontare questa realtà. Non voglio davvero sperimentare questo genere di difficoltà sulla terra. Oh Signore! Sento un grande dolore in questo momento in cuor mio: ti prego di aiutarmi e di guidarmi nel sentiero innanzi a me”. Dopo aver pregato, pensai alle parole del Signore Gesù, quando Egli afferma: “Beati i poveri in spirito, perché di loro è il Regno dei Cieli” (Matteo 5:3). È vero! Il Signore apprezza e permette l’ingresso nel Regno dei Cieli soltanto a coloro che sono poveri di spirito e che cercano la verità. Io dovrei essere una persona povera di spirito. Solo ascoltando attentamente la loro spiegazione mi conformerò alla volontà del Signore.
In quel momento sorella Li disse: “Il Signore ha detto: ‘Beati i puri di cuore, perché vedranno Dio’ (Matteo 5:8). Mentre accogliamo il ritorno del Signore, dobbiamo ascoltare la Sua parola e agire come persone pure di cuore. Sebbene l’opera che Dio svolge oggi non si conformi alle nostre concezioni e fantasie, tutto ciò che Dio fa è bene, tutto è a vantaggio dell’uomo e in mezzo a tutto vi è la volontà di Dio, dove la verità può essere cercata. Se non lo capiamo perfettamente, dobbiamo per prima cosa farci da parte e sforzarci di cercare la verità, in modo da poter ricevere l’illuminazione di Dio e comprendere la Sua volontà. Sorella, apri il tuo cuore e parla delle cose che ancora non comprendi, e potremo cercare insieme incontrandoci e parlandone”. Sentivo che ciò che sorella Li aveva detto era sensato; dovevo calmarmi e cercare; quindi dissi: “Sorella, c’è una cosa che non comprendo: perché la nostra destinazione finale non è in cielo, ma è qui in terra?” Sorella Li trovò Giovanni 3:13: “Nessuno è salito in cielo, se non colui che è disceso dal cielo: il Figlio dell’uomo” e Isaia 66:1 “Il cielo è il Mio trono e la terra è lo sgabello dei Miei piedi” e mi diede questi due passi da leggere. Quindi ne spiegò il significato. Grazie alla spiegazione della sorella, nella mia mente sentivo che era tutto improvvisamente chiaro. Anch’io conoscevo quei passi delle Scritture; allora, perché non vi avevo mai riflettuto prima? Il Signore dice chiaramente che, a eccezione del Figlio dell’uomo che scese dal cielo, nessun uomo può ascendere al cielo, poiché il cielo è il trono di Dio e la terra il Suo poggiapiedi; quindi, come potrebbe l’uomo meritare di ascendere al cielo? Dio creò l’uomo sulla terra e fece in modo che vivesse lì. Dal giorno in cui Dio creò l’uomo, l’uomo ha abitato la terra generazione dopo generazione, aumentando gradualmente di numero. Tutta l’opera che Dio ha svolto per salvare l’uomo ha avuto luogo anch’essa in terra. Si trattava di qualcosa che Dio aveva prestabilito da molto tempo. È un qualcosa che nessuno può cambiare. La sorella tenne poi una condivisione sulla Bibbia, su come il Signore ha detto che avrebbe preparato un posto per noi. Ci spiegò che ciò si riferiva alla manifestazione e all’opera del Dio incarnato sulla terra negli ultimi giorni, e che Egli aveva predestinato che noi saremmo nati negli ultimi giorni, che avremmo sentito la voce di Dio, saremmo stati portati dinanzi al trono di Dio, avremmo accettato il giudizio e la purificazione di Dio degli ultimi giorni, e alla fine saremmo stati condotti nel Regno di Dio. Questo è il vero significato delle parole “dove sono Io, siate anche voi” (Giovanni 14:3). Sembra che il Regno di Dio sia in realtà in terra e che la destinazione finale dell’umanità sia sulla terra e non in cielo! Avevo vissuto tutto il tempo all’interno delle mie personali concezioni e fantasie; stabilii che Dio sarebbe ritornato per portarmi a vivere in cielo, ma ciò non è affatto conforme alla volontà del Signore; ciò non è conforme ai fatti! Tuttavia, non ero comunque ancora pronta a vivere questo genere di vita sulla terra, dove ero afflitta da Satana. Così, poco dopo, spiegai i pensieri che avevo in testa a sorella Li.
Dopo avermi ascoltata, sorella Li aprì il libro “La Parola appare nella carne”, e mi lesse un passo tratto dalla parola di Dio Onnipotente: “La vita nel riposo è una vita senza guerra, senza lordura, senza il persistere dell’ingiustizia. Ciò significa che manca del tormento di Satana (qui ‘Satana’ si riferisce alle forze ostili), della corruzione di Satana, così come dell’invasione di qualsiasi forza che si opponga a Dio. Ogni cosa procede secondo la propria natura e rende lode al Signore della creazione. Cielo e terra sono totalmente tranquilli. Questa è la vita dell’umanità nel riposo. […] Dopo che Dio e l’uomo saranno entrati nel riposo, Satana non esisterà più e, come Satana, così pure i malvagi non esisteranno più. Prima che Dio e l’uomo entrino nel riposo, i malvagi che un tempo perseguitarono Dio sulla terra e i nemici che Gli disobbedirono sulla terra saranno già stati distrutti; saranno stati distrutti dai grandi cataclismi degli ultimi giorni. Dopo che quei malvagi individui saranno stati completamente distrutti, la terra non conoscerà mai più il tormento di Satana. L’umanità otterrà completa salvezza e solo allora l’opera di Dio avrà termine definitivamente. Questi sono i prerequisiti perché Dio e l’uomo entrino nel riposo” (“Dio e l’uomo entreranno nel riposo insieme” in “La Parola appare nella carne”).
Attraverso la lettura delle parole di Dio Onnipotente giunsi a comprendere che, nonostante in futuro le nostre vite saranno ancora sulla terra, quando Dio completerà la Sua fase finale dell’opera di salvezza dell’umanità, Satana verrà distrutto e le nostre vite sulla terra non verranno più minacciate da Satana, né noi avremo preoccupazioni o faticheremo, verseremo lacrime o sospireremo. Sarà esattamente come quando Adamo ed Eva vivevano nel Giardino dell’Eden. Saremo liberi di adorare Dio, vivendo una vita lieta e benedetta in cui Dio è con l’uomo. Questa è la destinazione finale dell’umanità e questa è l’ultima cosa che Dio realizzerà nella Sua opera degli ultimi giorni. È davvero straordinario! Proprio in quell’istante tirai un sospiro di sollievo: “Chi potrebbe parlare della destinazione finale dell’umanità con una tale chiarezza? Chi potrebbe pianificare la fine dell’umanità? Solo Dio potrebbe farlo!” All’interno della parola di Dio Onnipotente riconobbi la voce di Dio e capii che l’opera di Dio Onnipotente è Dio che appare per operare! Mi ero finalmente sbarazzata delle concezioni nella mia mente e accettai con gioia l’opera di Dio Onnipotente degli ultimi giorni, ritornando innanzi al trono di Dio.
Fonte: La Chiesa di Dio Onnipotente
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SALKANTAY TREK TO MACHU PICCHU
5 DAYS - 4 NIGHTS
SALKANTAY TREK TO MACHU PICCHU
5 DAYS - 4 NIGHTS
The amazing Salkantay trek to Machupicchu is one of the famous treks in Cusco and the best alternative route to get to Machupicchu. It is takes you through different types of landscapes from the typical Andean landscape up to the snowcapped mountains and down to the tropical forests and finally gets you into the jungle, Salkantay trek named among the 25 best Treks in the World, by National Geographic Adventure Travel Magazine
If you are thinking to do a hiking trip to Machupicchu and you want to be off of the beaten path and be in touch with the nature; Salkantay trek is the best option. Hiking 75 kilometers = 46 miles and reaching the famous Apacheta (mountain offerings) pass 4621masl = 15160ft which is the highest point of the Salkantay trek: enjoying the amazing view during the hike from Mollepata town to Soraypampa base camp at knee of the Umantay mountain. Then to go up to the highest point to enjoy the view of outstanding snow-capped Salkantay mount. This was one of the most important Apus in the Inca period! Then you are going dawn to Chaullay through the beautiful scenery and then go to Santa Teresa to jump into the natural and medicinal hot spring. And finally we reach to Aguas Calientes town for overnight in the hotel and the last day of your adventure you will get up too early to be the firsts ones up in Machupicchu and enjoy the sunrise.
OVERVIEW
Highlight: Hiking alongside the magnificent Apu Salkantay and then arriving at the ruins of Machu Picchu.
Location: The Salkantay trek begins 3 hours driving to the west of Cusco, Peru. We pass the village of Mollepata and begin hiking at Marcocasa.
Duration: 5 days/ 4 nights
Starting point: cusco
Ending point: cusco
Level: Moderate to Challenging
Adventure Rating: Given the new restrictions on the Inca trail, Salkantay is the second most popular hike in the region and some of the campsites are less remote than on other trails.
Modality: Trekking, Archaeological and Cultural
Ideal for: Adventure Seekers, Couples, Friends, Nature Lovers, and Intrepid People
Altitude: 2,800 masl to 4,650 masl
Inca Trail alternative: Yes, the Salkantay trek is an excellent option.
Departure Dates: Daily departures
All private service departure dates are adapted to your request
Trekkers Wanted: If you wish to join a group tour, please see Trekkers Wanted.You can also form your own tour to be advertised on this page maximum group size 10.
ITINERARY - SALKANTAY TREK TO MACHU PICCHU 5 DAYS - 4 NIGHTS
DAY 1: Cusco - Mollepata - Marcocasa - Soraypampa.
We will pick you up from your hotel in Cusco from 5: 00 am to 5:30 am to go by bus to Mollepata. Begin a spectacular scenic drive through the Anta plains with beautiful and panoramic views of the majestic Salkantay and other mountains covered with snow, and the Valley of Apurimac River. After two and a half hours drive we stop in Mollepata to have breakfast for last minute supplies, leg-stretching or to use the bathrooms, before continuing to Marcocasa. There we will meet with our support staff. They will load the equipment on horses and mules. Around 9:30 a.m. we will star our trek toward Soraypampa (3900 meters above sea level) if we keep a regular pace we will take 4 hours approximately to reach to Soraypampa the first camp site where will have lunch after lunch in the afternoon we have an option to go up to Umantay lake (4200masl) which takes 3 hours hike back and forth from the camp to see the glacier lake of Umantay. But if we keep slow pace; we will have lunch at halfway between Soraypampa and Marco Casa maybe after 3 hours of hiking. And after that we hike two a half hours more to Soraypampa. Anyway our camp is going be at Soraypampa. Sleeping tents will be ready and we will have a warm delicious dinner in the evening.
Meals: Lunch, Dinner.
Overnight: Soraypampa in the tents.
Maximum Altitude: 3850 masl.
Minimum Altitude: 2850 masl.
Hiking distance: 14 km approx.
DAY 2: Soraypampa - Salkantay Pass - Huayramachay – Chaullay
Today early in the morning we will wake you up with the coca tea. Around 6:00 we will have a nutritious breakfast around 7:00 am we will start the hardest day of the whole Salkantay trek; we will be walking up to the highest point of the trek. After 6 kilometers uphill through the magnificent scenery of Rocky Mountains and enjoying the view of Salkantay mount. We reach the top of the trek. We will appreciate spectacular views of the mountains and the imposing snowy peaks of the Salkantay (6264 meters above sea level) which is known as the second highest mountain of the Cusco region. After 2 hours downhill around 1:00 p.m. we will have our delicious Peruvian lunch, in the area called Huayracmachay. Then we continue our hike to Chaullay approximately 3 hours of downhill we will get to our camp in Chaullay = 2900 masl Where we will have the sleeping tents ready. Around 7: 00 pm we will have dinner to recover energy from the trek.
Meals: Breakfast, Lunch, Dinner.
Overnight: Chaullay in the tents.
Maximum Altitude: 4650 masl.
Minimum Altitude: 2920 masl.
hiking distance: 20km to Chaullay.
DAY 3: Chaullay - Collpapampa - La Playa - Santa Teresa (Cola de Mono Campsite)
Around 7:30 am; we will start our trek to La Playa through the Santa Teresa valley. We will hike 6 hours approximately during the hike will see: water fall, orchids, coffee, banana, avocado plantations and we will taste the famous passion fruit or granadilla and also we will see a village call Colpapampa also call the “forest cloudy brow” where waterfalls, thermal hot springs, fruit-bearing trees, varied flora, and birds can be observed. If we are lucky, we will be able to see the famous bird called “the Cock of the Rocks”. After lunch at La playa, we will catch a local transportation to Santa Teresa. Where will have an overnight at “cola de mono” campsite. We are the only trekking company allow camping there. In the afternoon we may go to Santa Teresa´s hot spring to enjoy it. Then back at the campsite for happy hours and dinner.
Meals: Breakfast, Lunch, Dinner.
Overnight: Santa Teresa “cola de mono campsite” in the tents.
Maximum Altitude: 2920 masl.
Minimum Altitude: 1600 masl.
Hiking distance: 15km approx.
DAY 4: Santa Teresa (Cola de Mono Campsite) - Hidroeléctrica - Aguas Calientes
After of our delicious breakfast we are going to walk approximately 7 hours. Around 8:30 a.m. we start our trek to Colpani village we will have the opportunity to see coca farms, mandarin, orange and yucca. And a lovely view of the Santa Teresa Valley. We follow along the riverside of Vilcanota River until arrive to the Oroya (cable bridge) then we keep going to Hidroelectrica where will have our lunch. After lunch we going to walk along the train track but on the base of Machupicchu and Waynapicchu Mountain from the way we will see Machupicchu. After two a half hours hike we will be at Aguas Calientes town: base town of Machupicchu for overnight in the hotel and dinner at the local restaurant.
Meals: Breakfast, Lunch, Dinner.
Overnight: in Aguas Calientes at the hotel which included in the package.
Maximum Altitude: 2350 masl.
Minimum Altitude: 2000 masl.
Hiking distance: 18 km approx.
DAY 5: Aguas Calientes - Machu Picchu - Ollantaytambo – Cusco
Today early in the morning after breakfast at the hotel you will be able to choose between. Walk up to Machupicchu. Or take bus up to Machupicchu. Any way we will be the first ones into Machupicchu to enjoy the sunrise and you will have two a half hours guided tour. Then you will have the free time to explore Machupicchu by yourselves or if you desire, ascent toward the Huaynapicchu Mountain. Or climb to Machupicchu montaña. After Machupicchu you are going back to Aguas Calientes to take a train to Ollantaytambo and from there by bus back to Cusco. The bus drops you off at your hotel in Cusco.
Meals: Breakfast.
WHAT IS INCLUDED?
Pre-departure briefing at the office in Cusco
Collection from your hotel in the morning and transfer in private transportation to Marcocasa (starting point of the trek).
Personal tents: 2 people in each 4-people-capacity tent, to allow for higher comfort and a safe keeping of backpacks. Our tents are 3-season, highly maintained to ensure an excellent performance in field. Kailas, Pro Aconcagua and Rei 4 Outfitter tents are employed when double accommodation is requested.
One sleeping pad per person.
1 Blanket. Or Liner.
One pillow per person.
Dining tent with tables and chairs
Kitchen tent
English speaking professional and official tourist guide (2 guides for groups of over 10 people)
1 night accommodation in Aguas Calientes
Chef and cooking equipment
Pack animals (to carry tents, food and cooking equipment) – days 1 to 4
Pack animals to carry personal gear up to a maximum of 7kg per person (including sleeping pad and sleeping bag) – days 1 to 4
1 emergency horse every 8 persons – days 1 to 3
Accommodation for all our staff
Meals (4B, 4L, 4D + daily morning snack + daily tea service except last day). Vegetarian or special menus are available at no extra cost
One textile snack bag per person, to avoid the usage of plastic bags that contaminate our environment
Boiled filtered water every day since the first lunch. For your water bottles.
Bio-degradable personal hand soaps
Bio-degradable dishwashing detergents used by our kitchen staff
Others: hot water every morning and evening for washing purposes / boiled water to fill in your water bottle every morning and night, and at lunch time if requested with enough time ahead
First-aid kit including emergency oxygen bottle
Machupicchu entrance fee
One way bus ticket from Aguas Calientes to Machupicchu on day 4
Expedition Train from Aguas Calientes to Cusco. Upgrade to Vistadome or Hiram Bingham service, availability upon request.
Transfer from train station to the hotel in Cusco
24-h guest service: please ask for the emergency number available during your time of visit.
WHAT IS NOT INCLUDED?
First breakfast on day one.
Lunch on the last day after the guided tour at Machu Picchu
Walking Sticks
Sleeping bag: you may rent it from us. Our sleeping bags are -20ºC-comfort (0ºF), mummy form and include a sleeping liner. They are cleaned after every use and have a maximum usage of 30 trips.
OPTIONAL AND RENTALS
Extra night in Aguas Calientes $50 (or email us for alternate options). We will just need to arrange your train back to Cusco for the following day.
Please tell us before final booking process.
Personal horse and horsemen for riding or carrying extra personal belongings while on the trek.
Extra cost is $80 for the trek.
Therma-rest inflatable sleeping pad rent: US$ 5.00 per day
Entrance to the Hot Springs in Santa Teresa.
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2013 NCAA College Football Week 6
ALL LIVE GAME SCHEDULE
Thursday October 3
Iowa State Cyclones V Texas Longhorns-From:-7:30pm
Louisiana-Monroe Warhawks V Western Kentucky Hilltoppers-From:-7:30pm
UCLA Bruins V Utah Utes-From:-10:00pm>>
Friday October 4
Utah State Aggies V BYU Cougars-From:-8:00pm
San Diego State Aztecs V Nevada Wolf Pack-From:-9:00pm
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Navy Midshipmen V Air Force Falcons-From:-11:30Am
Buffalo Bulls V Eastern Michigan Eagles-From:-12:00pm
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Indiana Hoosiers V Penn State Nittany Lions-From:-12:00pm
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willowgrovedaycamp.com/willows.html
We are two weeks into camp and we must say it has been great! This past week the children have been able to experience all the activities offered at Willow Grove Day Camp including Pony Rides, Tennis and Boating/Fishing. Week 2 of camp's theme was “Celebrate America.” Everyone had fun making Patriotic necklaces which have been sent home. In Ceramics the campers made their hand or foot prints. This week and last, the campers had a special treat at Cooking where they made “dirt” (pudding). Also, each Willows camper continues to master their techniques at swimming and can’t wait to perform their skills on visiting day. Everyone is having a terrific time, and each child has found his/her favorite activities.
Willow Grove Day Camp provides summer fun for kids who live in Willow Grove, Abington, Blue Bell, Hatboro, Horsham, Huntingdon Valley, Lafayette Hill, Philadelphia, Plymouth Meeting, Southampton and the surrounding areas. For more information on Willow Grove Day Camp and the services they provide please visit: willowgrovedaycamp.com/willows.html
Kern Invite - 11/01/08
Hart Park - Bakersfield, CA
www.andynoise.com/kernxcinvite08.html
Varsity Boys - 2008 Kern County Cross Country
Championships
School Athlete Time Overall Scoring Team
1. Foothill Chris Schwartz 14:59.76 1 1 1
2. McFarland Alfonso Cisneros 15:33.49 2 2 1
3. McFarland Francisco Nava 15:48.44 3 3 2
4. McFarland Marco Perez 15:48.85 4 4 3
5. Stockdale Curtis Kelly 15:50.33 5 5 1
6. Ridgeview Brian Solis 15:50.81 6 6 1
7. Wasco A. Mendoza 15:51.72 7 7 1
8. Ridgeview Alex Garcia 15:52.70 8 8 2
9. Shafter Chris Handel 15:53.96 9 9 1
10. McFarland Gerardo Alcala 15:54.28 10 10 4
11. Shafter Jesus Villalpondo 16:05.48 11 11 2
12. Highland Colin Lewis 16:06.79 12 12 1
13. Centennial Nathan Vincent 16:08.77 13 13 1
14. Ridgeview Robby Baker 16:13.01 14 14 3
15. McFarland Eduardo Bautista 16:18.69 15 15 5
16. BHS Andrew Ariey 16:21.59 16 16 1
17. Garces Connor O'Malley 16:23.32 17 17 1
18. Stockdale Blair Slaton 16:25.15 18 18 2
19. Ridgeview Jerrio Lewis 16:25.61 19 19 4
20. East Jose Ramirez 16:25.97 20 20 1
21. East Mose Valdez 16:26.30 21 21 2
22. Highland Thomas Turner 16:26.59 22 22 2
23. Golden Valley Daymon Sandles 16:26.91 23 23 1
24. Foothill Jose Lopez 16:27.22 24 24 2
25. Ridgeview Miguel Munoz 16:30.13 25 25 5
26. Wasco G. Linares 16:34.10 26 26 2
27. Shafter Josh Wittenberg 16:34.61 27 27 3
28. Highland Jake Van Zandt 16:36.62 28 28 3
29. East Charlie Zaragoza 16:39.22 29 29 3
30. BHS Andrew Edquist 16:41.12 30 30 2
31. Cesar Chavez Martin Rios 16:45.91 31 31 1
32. Highland Ivan Esquivias 16:47.91 32 32 4
33. BHS Zachary Holt 16:48.98 33 33 3
34. Stockdale Anthony Dao 16:49.30 34 34 3
35. Cesar Chavez Ruben Galaviz 16:49.67 35 35 2
36. Wasco O. Mirando 16:50.04 36 36 3
37. Shafter Alex Moreno 16:51.14 37 37 4
38. Wasco E. Sanchez 16:52.02 38 38 4
39. Wasco E. Ramirez 16:53.29 39 39 5
40. East Camilo Mosqueda 16:53.84 40 40 4
41. East Vincente Herrera 16:54.31 41 41 5
42. Foothill Erick Bautista 16:54.82 42 42 3
43. Arvin Ben Orozco 16:57.57 43 43 1
44. Shafter Hector Montoya 17:01.02 44 44 5
45. Garces Jesus Guzman 17:02.28 45 45 2
46. Garces Michael Bedard 17:02.88 46 46 3
47. Frontier Tanner Urmston 17:03.48 47 47 1
48. BHS John Purcell 17:04.08 48 48 4
49. Centennial Ty Heiter 17:04.73 49 49 2
50. Frontier Richard Peralta 17:05.73 50 50 2
51. Shafter Cristian Barrios 17:07.93 51 51 6
52. Centennial Gehrig Smith 17:08.86 52 52 3
53. BHS Christopher Anderson 17:09.32 53 53 5
54. Highland Justin Burnett 17:10.77 54 54 5
55. Wasco J. DeJulian 17:11.97 55 55 6
56. Stockdale Stephen Burke 17:16.30 56 56 4
57. Arvin Juan Calderon 17:16.89 57 57 2
58. Wasco Cesar Patino 17:19.39 58 58 7
59. Cesar Chavez Tim Yanez 17:21.10 59 59 3
60. Highland Ariel Hurtado 17:23.69 60 60 6
61. North Adam Ralls 17:24.02 61 x 1
62. Ridgeview Michael Anseno 17:24.53 62 61 6
63. Ridgeview Jaime Madrigal 17:31.18 63 62 7
64. Foothill Patrick Manrique 17:32.75 64 63 4
65. Frontier Will Beechinor 17:33.57 65 64 3
66. East Alex Estrada 17:38.64 66 65 6
67. Burroughs Jesse Wigfield 17:38.99 67 66 1
68. Centennial Eric Millan 17:39.50 68 67 4
69. Burroughs Daniel Lathrop 17:39.91 69 68 2
70. Shafter Jacob Vasquez 17:40.47 70 69 7
71. Garces David Freed 17:40.91 71 70 4
72. Centennial Jake Howry 17:42.54 72 71 5
73. Burroughs Andrew Szczpiorski 17:44.05 73 72 3
74. Frontier D. Sclafani 17:47.26 74 73 4
75. Stockdale Max Morales 17:48.38 75 74 5
76. Burroughs Eduardo Carrillo 17:51.64 76 75 4
77. Burroughs Keith Christman 17:57.59 77 76 5
78. Golden Valley Jose Salgado 17:59.82 78 77 2
79. Cesar Chavez Rudy Sandoval 18:00.34 79 78 4
80. Centennial Brad Hinsley 18:04.58 80 79 6
81. Arvin Yessuri Villsenor 18:05.30 81 80 3
82. Burroughs Nathan Cheadle 18:10.33 82 81 6
83. Foothill Javier Garcia 18:11.22 83 82 5
84. Foothill Ernest Marquez 18:11.57 84 83 6
85. BC Kevin Yarian 18:27.47 85 84 1
86. North Chris Emmett 18:29.51 86 x 2
87. Cesar Chavez Andres Rodriguez 18:30.45 87 85 5
88. Tehachapi Corey Torres 18:32.16 88 86 1
89. Frontier Michael Sclafani 18:33.62 89 87 5
90. Garces Patrick Gomez 18:37.52 90 88 5
91. Highland Humberto Ramirez 18:37.98 91 89 7
92. Golden Valley David Gamino 18:40.22 92 90 3
93. Frontier Ricky Gonzales 19:03.13 93 91 6
94. Garces Chris Real 19:06.29 94 92 6
95. Stockdale D. Sherrill 19:08.29 95 93 6
96. Garces Dillon Lyles 19:16.75 96 94 7
97. Tehachapi Christian Torres 19:19.03 97 95 2
98. BC Mark McCutcheon 19:20:78 98 96 2
99. Golden Valley Nick Cruz 19:22.49 99 97 4
100. Golden Valley Daniel Perez 19:25.13 100 98 5
101. Foothill Christian Paredes 19:32.03 101 99 7
102. Arvin Adrian Rodriguez 19:32.67 102 100 4
103. BC Thomas Beard 19:59.04 103 101 3
104. West Michael Branquino 19:59.63 104 x 1
105. BHS Nick Flores 20:04.27 105 102 6
106. Tehachapi Logan Collier 20:07.47 106 103 3
107. Kern Valley C. Woodward 20:22.63 107 x 1
108. Arvin Christian Guerrero 20:31.41 108 104 5
109. Burroughs Daniel Meade 20:41.26 109 105 7
110. Golden Valley Ryan Davis 20:41.26 110 106 6
111. BHS Robby Harris 20:42.01 111 107 7
112. East Hector Fuentes 20:42.57 112 108 7
113. Frontier Alex Blanton 20:56.97 113 109 7
114. Cesar Chavez Joel Hernandez 21:02.22 114 110 6
115. Tehachapi Trent Sherman 21:02.94 115 111 4
116. Tehachapi Shaddi Haddad 21:18.14 116 112 5
117. BC Austin Adee 21:25.45 117 113 4
118. BC Aaron Stephens 21:31.77 118 114 5
119. Kern Valley J. Pistocco 23:15.37 119 x 2
120. Tehachapi Corey Hebron 23:19.78 120 115 6
121. West Kevin Serrano 23:48.05 121 x 2
Collaboration beetween Biennalist and Ultracontemporay
Art Format
www.emergencyrooms.org/formats.html
Documenta From Wikipedia,
The Fridericianum during documenta (13)
documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time.[1] It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.
Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.
Etymology of documenta
The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]
Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]
History
Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7
Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.
Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, documenta (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]
Criticism
documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At documenta (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the documenta (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]
Directors
The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. documenta IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]
TitleDateDirectorExhibitorsExhibitsVisitors
documenta16 July – 18 September 1955Arnold Bode148670130,000
II. documenta11 July – 11 October 1959Arnold Bode, Werner Haftmann3381770134,000
documenta III27 June – 5 October 1964Arnold Bode, Werner Haftmann3611450200,000
4. documenta27 June – 6 October 196824-strong documenta council1511000220,000
documenta 530 June – 8 October 1972Harald Szeemann218820228,621
documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410
documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691
documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417
documenta IX12 June – 20 September 1992Jan Hoet1891000603,456
documenta X21 June – 28 September 1997Catherine David120700628,776
documenta118 June – 15 September 2002Okwui Enwezor118450650,924
documenta 1216 June – 23 September 2007Roger M. Buergel/Ruth Noack[19]114over 500754,301
documenta (13)9 June – 16 September 2012Carolyn Christov-Bakargiev187[20]904,992[21]
documenta 148 April – 16 July 2017 in Athens, Greece;
10 June – 17 September 2017 in KasselAdam Szymczykmore than 1601500339.000 in Athens
891.500 in Kassel
documenta fifteen18 June 2022 – 25 September 2022 in Kasselruangrupa[22]
2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[23]
Venues
documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal.[24] At documenta (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]
There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at documenta IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[25] For documenta (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.
Rahmenbau (1977) by Haus Rucker und Co.
A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).
documenta archive
The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from the files and materials of the documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer.
Management
Visitors
In 1992, on the occasion of documenta IX, for the first time in the history of the documenta, more than half a million people traveled to Kassel.[26] The 2002 edition of documenta attracted 650,000 visitors, more than triple Kassel's population.[27] In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of the visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous.[28] In 2012, documenta (13) had 904,992 visitors.[21]
References
Adrian Searle (June 11, 2012), "Documenta 13: Mysteries in the mountain of mud", The Guardian.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Arnold Bode coined this phrase for the first time in the prologue of the first volume of the catalogue: documenta III. Internationale Ausstellung; Catalogue: Volume 1: Painting and Sculpture; Volume 2: Sketches; Volume 3: Industrial Design, Print; Kassel/Köln 1964; p. XIX
Kimpel, Harald: documenta, Mythos und Wirklichkeit. Köln 1997, ISBN 3-7701-4182-2
Alice Rawsthorn (June 3, 2012), A Symbol Is Born The New York Times.
The documenta IV Exhibition in Kassel (1968) German History in Documents and Images (GHDI).
Helen Chang (June 22, 2007), "Catching the Next Wave In Art at Documenta", The Wall Street Journal.
Roberta Smith (September 7, 2007), "Documenta 5" The New York Times.
Gimeno-Martinez, Javier; Verlinden, Jasmijn (2010). "From Museum of Decorative Arts to Design Museum: The Case of the Design museum Gent". Design and Culture. 2 (3).
dX 1997 Archived 2013-06-14 at the Wayback Machine, documenta XII.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale The New York Times.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Kelly Crow (June 8, 2012), A Party, Every Five Years, for 750,000 Guests The Wall Street Journal.
Jerry Saltz (June 15, 2012), Jerry Saltz: "Eleven Things That Struck, Irked, or Awed Me at Documenta 13" New York Magazine.
Michael Brenson (June 15, 1987), "Documenta 8, Exhibition In West Germany", The New York Times.
Michael Kimmelman (July 5, 1992) "At Documenta, It's Survival Of the Loudest", The New York Times.
Jackie Wullschlager (May 19, 2012) Vertiginous doubt Financial Times.
Julia Halperin, Gareth Harris (July 18, 2014) How much are curators really paid? Archived July 20, 2014, at the Wayback Machine The Art Newspaper.
Holland Cotter (22 June 2007). "Asking Serious Questions in a Very Quiet Voice". The New York Times. Retrieved 2014-08-29.
Ulrike Knöfel (8 June 2012). "What the 13th Documenta Wants You to See". Der Spiegel.
"904,992 people visit documenta (13) in Kassel". documenta und Museum Fridericianum Veranstaltungs-GmbH. 16 September 2012. Archived from the original on 25 February 2014. Retrieved 8 August 2013.
Russeth, Andrew (2019-02-22). "Ruangrupa Artist Collective Picked to Curate Documenta 15". ARTnews.com. Retrieved 2020-01-05.
"In Germany, Disguising Documentary As Art". The Huffington Post. Retrieved 2015-09-28.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale International Herald Tribune.
Roberta Smith (June 22, 1992), A Small Show Within an Enormous One The New York Times.
d9 1992 Archived 2014-02-22 at the Wayback Machine, documenta XII.
Adrian Searle (June 19, 2007), 100 days of ineptitude The Guardian.
Catherine Hickley (September 24, 2007), "Documenta Contemporary Art Show Draws Record 754,000 to Kassel", Bloomberg.
Carly Berwick (May 17, 2007), "Documenta 'Mystery' Artists Are Revealed; Buzz Strategy Fizzles", Bloomberg.
Rachel Donado (April 5, 2017), German Art Exhibition Documenta Expands Into Athens, The New York Times.
Catherine Hickley (November 27, 2017), Documenta manager to leave post after budget overruns The Art Newspaper.
Further reading
Hickley, Catherine (2021-06-18). "This Show Sets the Direction of Art. Its Past Mirrored a Changing World". The New York Times.
Nancy Marmer, "Documenta 8: The Social Dimension?" Art in America, vol. 75, September 1987, pp. 128–138, 197–199.
other biennales :
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
lumbung
Short concept by ruangrupa for documenta 15
"We want to create a globally oriented, cooperative, interdisciplinary art and culture platform that will remain effective beyond the 100 days of documenta fifteen. Our curatorial approach aims at a different kind of collaborative model of resource use—economically, but also in terms of ideas, knowledge, programs, and innovation."
ruangrupa’s central curatorial approach for documenta fifteen is based on the principles of collectivity, resource building, and equal sharing. They aim to appeal not just to an art audience but to a variety of communities, and to promote local commitment and participation. Their approach is based on an international network of local, community-based organizations from the art and other cultural contexts and can be outlined by the Indonesian term lumbung. lumbung, directly translatable as “rice barn,” is a collective pot or accumulation system used in rural areas of Indonesia, where crops produced by a community are stored as a future shared common resource and distributed according to jointly determind criteria. Using lumbung as a model, documenta fifteen is a collective resource pot, operating under the logics of the commons. It is an agglomeration of ideas, stories, (wo)manpower, time, and other shareable resources. At the center of lumbung is the imagination and the building of these collective, shared resources into new models of sustainable ideas and cultural practices. This will be fostered by residencies, assemblies, public activities, and the development of tools.
Interdisciplinarity is key in this process. It is where art meets activism, management, and networking to gather support, understand environments, and identify local resources. These elements then create actions and spaces, intertwine social relations and transactions; they slowly grow and organically find a public form. This is a strategy “to live in and with society.” It imagines the relations an art institution has with its community by being an active constituent of it. Strategies are then developed based on proximity and shared desires.
The main principles of the process are:
• Providing space to gather and explore ideas
• Collective decision making
• Non-centralization
• Playing between formalities and informalities
• Practicing assembly and meeting points
• Architectural awareness
• Being spatially active to promote conversation
• A melting pot for and from everyone’s thoughts, energies, and ideas
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SCRIBBLE & SCRIPTURE at the Roberts and Tilton Gallery in L.A.
Barry McGee / Phil Frost / Thomas Campbell
February 15th - April 15th, 2003
"The act of scribbling. Arguably the purest form of creative expression and often times the first manifestation of children's art. It is always a talisman of the subconscious, unpredictable, insane and undeniably authentic. Artists such as Twombly, Pollock and Basquiat understood the power of this method for eliciting energy and emotion. Thomas Campbell, Phil Frost and Barry McGee could be considered the torchbearers of this tradition for the current generation. All three are artists whose works have spawned from the culture of the street. Campbell from skateboarding, Frost and McGee from graffiti, all of which are erratic, dangerous and many times illegal acts. By necessity each of these artists has had to learn to act quickly to execute a gesture and achieve a desired effect. When this energy is harnessed and transferred into the context of works for the gallery the effect can become almost spiritual. Although none of these artists would profess to preach any religious dogma in their works, it cannot be denied that each has their own unique mantra. Thomas Campbell's multi-colored and layered canvases are filled with scrawled anecdotes such as "Be Here Now" or "Upchuck and Rejoice", lessons on the benefits of living in the moment and letting go of negative spiritual energies. Phil Frost's works, paintings and assemblages executed in a variety of materials are reminiscent of African and Aboriginal folk art and at times installations have been arranged in the form of alters to super heroes or mythological characters from the artist's mind. Barry McGee's multi media installations, which include everything from wall paintings and framed drawings and photographs to empty liquor bottles, contain iconography that owes much to Mexican and American Indian spiritual practices.
Architectural firm Otto Design Group will provide exhibition design, creating an entire environment including installation spaces and a small store selling inexpensively priced books, magazines, records, and other artists' ephemera. Scribble & Scripture will mark the major gallery debut in Los Angeles for all three artists.
Curated by Aaron Rose"
Description of exhibit taken from the Roberts & Tilton Gallery website
more photos of the Scribble & Scripture show can be found: HERE
Ethiopia. Gondar
From : www.angelfire.com/ak/sellassie/food/coffee.html
The Coffee Drinking Ceremony
Spreading freshly cut grass on the floor sets the scene for the coffee ceremony. Traditionally, for any special occasion, scented grass will be strewn directly on the floors of houses. A recent development is to scatter flowers over the grass to make it attractive.
People take their seats around the carpet of grass and the necessary utensils for the ceremony. The lady making the coffee will sit in the centre on a stool and be dressed in a white Ethiopian dress with coloured, woven, decorative borders.
The main items needed for the ceremony include: - a black clay coffee pot, locally known as jebena which is round at the bottom with a straw lid, placed on a circular band of straw. Small, often decorated china cups, known as sini are lined up together with a sugar jug on a special wooden curved tray with four short legs, like a miniature table.
There is a narrow-waisted clay brazier for burning charcoal on which the coffee is roasted and brewed and a flat round iron pan and a spoon with a long handle for roasting the coffee beans. A small clay incense-burner and some roasted grain lie in a colourful straw basket. All together there are about forty-one items for the ceremony.
The lady who is conducting the ceremony gently washes a handful of coffee beans on the heated pan. Roasted popcorn, barley or bread is passed round, amid general conversation while the coffee beans are stirred and shaken and the husks are blown away. When the coffee beans have turned black and shining and the aromatic oil is coaxed out of them, the lady brings the pan around to every body shaking the beans so that the coffee smoke rises from the pan and gives off the strong coffee-flavoured aroma. Everybody stretches out their arms to pull the aroma closer to their noses.
The lady then brings one or two pieces of burning charcoal to the incense burner and cream-coloured incense crystals are thrown on to the burning charcoal. A few seconds later the air is filled with the smoke and aroma of the incense, mingled with the coffee smell. The Jebena, will be filled with water and placed on the brazier for boiling before the ground coffee is poured into it. At this time the lady will grind the coffee with a wooden pestle and a mortar.
Ground coffee is then added to the water in the pot little by little. With a graceful movement the lady then lifts the jebena and holding it high pours into the little cups and fills them up to the brim. Now the first round of coffee known as awol, a word of Arabic origin, meaning ‘first’ is ready to be drunk. The cups are then served, starting with the elderly first. Children are not served coffee but they will be given a handful of roasted popcorn, barley or a piece of bread, which is prepared for the ceremony. Traditionally in many parts of the country, coffee would have been served slightly salted and in some parts mixed with fresh butter, but currently it is served with sugar.
After the first round the jebena is refilled with water and there is more talking and consumption of popcorn or bread. The second round is now ready. It is weaker than the first as no further coffee has been added. This new round is called tona, from the Arabic thani, meaning ‘second’. When there are many guests and not enough cups to go round, or when it becomes difficult to remember to whom each cup belongs, a bowl of water will be brought in for rinsing the cups between rounds.
The third and final brew is made by again adding water to the original coffee, and brining it to the boil. The last brew is called baraka, which means ‘blessing’ in several languages including Arabic and Geez, the Ethiopian ecclesiastical language. At the end of the third round the elderly bless the house and everybody departs.
Our Lady of Lourdes & St Joseph, Leigh on Sea, Essex
I passed OLoL&SJ (apologies for the acronym) on my way to St Clement and had to stop. This RC church had fallen off my radar and would have been missed had it not been so arresting.
Built in the 1920's to the design of the parish priest, Fr FW Gilbert, it stands as his personal testament to God. Full of good period glass, a very Catholic reredos, lectern and rood; unusually a SE tower but, to my mind, the most exceptional feature is the Lady Chapel which is a scaled replica of Lourdes.
A rich priest's homage to Gothic architecture with a distinct Catholic twist - I wish this was my parish church!
Neither Pevsner nor Mee covered it (inherent anti Catholicism at work?) so Taking Stock instead:
An idiosyncratic Gothic church of the 1920s, very much a personal work by the parish priest Fr F. W. Gilbert, but closely following the design of Charles Nicholson’s church of St Alban at Westcliff-on-Sea. The church was sympathetically extended in the 1960s. The interior is rich in fittings, some designed by Fr Gilbert.
The original church (now the parish hall) began life as a timber-framed, corrugated iron drill hall, originally built for the Essex Volunteers in 1900 under the supervision of Major Burles and purchased in 1913. The site of the present church was purchased by the Rev. F.W. Gilbert in 1924, using donations and his private money. It appears that Fr Gilbert acted as his own architect, his design borrowing heavily from that of the Anglican church of St Alban the Martyr at Westcliff-on-Sea, built in 1898-1908 from designs by Nicholson & Corlette. The Gilbert family promised £2,000 once building work commenced. The contract price was £12,234. The builders were Messrs Marshall & Smith of Grays but Fr Gilbert acted as his own clerk of works, using local labour, including unemployed men from Grays. The foundation stone was laid on 7 October 1924 and the church opened in September 1925. The presbytery was built in 1925.
The church was sympathetically extended in 1965-66 by Burles, Newton & Partners, in the same style and materials; the west wall was moved twenty feet further out to create a choir gallery, west door and porch and a baptistery with organ chamber above. Proposals to replace the old hall with a new and larger building were prepared in 2007 but have not yet been implemented.
The church is a large and handsome structure in a free Gothic style. The walls are faced with random rubble with stone dressings. Apparently much of the stone was quarried near Glasgow and was originally used as ballast in lighters intended for the Gallipoli campaign, which were later bought by a local ship owner, who donated the stone for the building of the church. The roof is covered in plain tiles. On plan the church comprises a long nave and sanctuary under a continuous roof swept down over north and south aisles, southwest porch, northwest organ chamber, southeast double transept and southeast tower. The gabled west end is Burles & Newton’s work of the 1960s and has a broad straight-headed doorway flanked by small trefoiled windows with a large six-light traceried window above. On the north side is a tall transeptal organ chamber and then the low side wall of the north aisle with three pairs of small trefoiled windows. On the south side is a small projecting porch and then the low side wall of the south aisle, a double transept with three-light traceried windows in the gabled ends and then the bold square south east tower. The tower is of three stages with a traceried two-light window on the south side of the lowest stage and pairs of small openings in the two stages above. The tower has a single large diagonal buttress at the southeast corner, crenellated flint-faced parapets and a tiled spirelet. The east end wall of the sanctuary is articulated with three round-headed blind arches. This wall fronts the garden of the large presbytery which is attached to the northeast corner of the church, and the church and presbytery together form a strong architectural composition.
The interior walls are all plastered and painted with plain flooring of timber. There is a west gallery in the 1960s extension and nave arcades of four bays of simple pointed chamfered arches on square chamfered concrete piers. Above each pier the nave is spanned by the tie beams of the roof and above them is a five-sided timbered ceiling. The aisles have lean-to roofs and are also timbered. The east bay on the south side is a small transept. There is no chancel arch in the usual sense, but the division between nave and sanctuary is marked by pilaster strips on the walls with a rood beam at half- height and a timber rib spanning the roof between them. The sanctuary has a single large open arch on each side and is richly furnished. The east wall in particular is lined to full-height with carved decoration. The floor is black and white marble. On the south side of the sanctuary is a second transept divided from the first by a double arch resting on dwarf double columns with ornamental Gothic capitals. In the east wall of this transept a chamfered pointed arch leads to the base of the tower which contains a Lourdes grotto.
The church is rich in fittings. These include the carved timber reredos filling the whole east wall, the extraordinary pulpit with figures of evangelists supported by cherubs, apparently designed by Fr Gilbert, who also designed the figures of the rood beam, the elaborate oak stalls in the sanctuary and the font at the west end of the nave given in memory of Col. Knight (d.1891) with its stone bowl on clustered columns and a surrounding floor of Cosmati work.
There is some stained glass in the church including the west window by Whitefriars and other windows by Goddard & Gibbs. The scale model of the Lourdes grotto was built by Cyril Psaila (d. 1931).
"Play It By Trust" 1966/1999
by Yoko Ono
White pieces on white board
www.francisnaumann.com/EXHIBITIONS/DuchampChess/index.html
“Marcel Duchamp: The Art of Chess” is the first exhibition devoted to exploring the influence of Duchamp’s activities as a chess player on his artistic production. It debuted at the St. Louis University Museum of Art (May 6 – August 16, 2009), and the present gallery exhibition is an expanded version of that show. It will open at Francis M. Naumann Fine Art on September 10, 2009 (and run through October 31, 2009).
The exhibition features the magnificent early cubist drawing Study for Portrait of Chess Players (1911), which renders Duchamp’s two brothers—Raymond Duchamp-Villon and Jacques Villon—intently engaged in a game of chess; a large central “X” in the center of the composition represents the precise point where their minds meet, a cerebral focus common to much of Duchamp’s subsequent production. Among the highlights of the show will be an example of the readymade Trébuchet (1917/64), the coat rack that visitors to Duchamp’s studio were expected to trip over (the chess equivalent of a gambit offered in the opening of a game); the Nice chess poster (1925); regular and deluxe examples of his book on endgame strategy (1932); the Pocket Chess Set (1943); and Cupid (1943), a recently discovered original drawing for the announcement of a show at the Julien Levy Gallery (in which Duchamp seems to have embedded a hidden message). A number of photographs of Duchamp either playing chess or seated before a chessboard will also be displayed. A signed, limited edition photograph by Arnold Rosenberg of Marcel Duchamp moving chess pieces behind glass (1958) was issued to commemorate this exhibition.
Also included in the show will be works by a number of Duchamp’s contemporaries—Man Ray, Georges de Zayas, Max Ernst, Salvador Dalí, Leon Kelly, Beatrice Wood, Arman and Sarah Austin—that relate to Duchamp’s involvement with the game of chess, as well as a selection of works by contemporary artists—Charles Juhàsz Alvardo, Mike Bidlo, Donald Bradford, Russell Connor, Ingrid Evans, Mark Kostabi, Sophie Matisse, Daniel Meirom, James Meyer, Trong Gia Nguyen, Yoko Ono, Jennifer Shahade, Diana Thater, Douglas Vogel—some of whom have made works specially for inclusion in this show.
Accompanying the exhibition will be Marcel Duchamp: The Art of Chess, a book featuring essays by Francis M. Naumann and Bradley Bailey, both of which demonstrate that Duchamp’s identity as a chess player is so thoroughly interfused with his work as an artist that the two activities are aesthetically and conceptually inseparable. The book also includes the analyses of fifteen Duchamp games by Jennifer Shahade (two-time American Women’s Chess Champion). These games will be reenacted in the exhibition on a video monitor, on which visitors will be able to view the movement of the pieces, all laid out in the format of Duchamp’s Pocket Chess Set of 1943.
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Shibu Onsen is a historic and attractive hot spring town in Yamanouchi, which has retained a traditional atmosphere. Nestled in a small valley, Shibu Onsen is spread out on a gentle slope beside the Yokoyugawa River, with Yudanaka Onsen located below and the Jigokudani Monkey Park above.
During its long history, the area has been visited for its hot spring water by a lot of people, including priests, samurai and poets. Some of the ryokan (Japanese style inns) that line Shibu's narrow streets, date back over 400 years, adding greatly to Shibu's atmosphere. Guests of the ryokan are encouraged to take a stroll around town in the traditional onsen clothing of yukata robes and geta sandals.
One incentive to walk around the town is to make use of the public bath houses, of which there are nine. The public baths are locked and, except for one, only accessible to locals and overnight guests, who are provided with a master key by their ryokan. The bath houses are small buildings, divided into a women's side and a men's side, and the baths themselves are quite simple. The bath houses are numbered, but also have special names and cure different ailments. Source: www.japan-guide.com
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Yamanouchi is a municipality in northern Nagano Prefecture with a variety of tourist attractions. The area's Jigokudani Monkey Park draws many visitors because of its unique wild monkeys, who bathe in the park's natural hot springs. The monkeys are not the only ones enjoying the water, as the nearby towns of Shibu Onsen and Yudanaka Onsen are centered around the bathing experience.
The largest ski resort in Japan, Shiga Kogen, is also located within Yamanouchi. One single ticket gives skiers and snowboarders access to dozens of runs, some of which hosted events during the 1998 Nagano Winter Olympics. Shiga Kogen and other parts of Yamanouchi are part of the Joshinetsu Kogen National Park, which offers hiking and other outdoor activities when there is no snow on the hills. Source: www.japan-guide.com