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Para la preparación de la prueba de Selectividad de Andalucía del curso 2015-2016 se ofrece aquí una selección de doce ejercicios prácticos (un mapa de localización, ocho mapas temáticos, un perfil topográfico, un fotoplano y una comparativa de pirámides de población) que, a nuestro juicio, cuentan con grandes posibilidades de ser escogidos para las propuestas del curso 2015-2016. Para facilitar la edición (y su consulta) la hemos fraccionado en dos partes: Geografía Física por una parte y Geografía Humana y Económica por otra.
Conviene indicar que las informaciones ofrecidas por este medio tienen exclusivamente carácter ilustrativo, y no originarán derechos ni expectativas de derechos. En palabras de Michael Crichton «No podemos evaluar el futuro, ni podemos predecirlo. Estos son eufemismos. Solo podemos hacer suposiciones. Una suposición bien fundada sigue siendo solo una suposición.»
Nuestras suposiciones se basan en lo siguiente:
-Prácticas que han aparecido en numerosas ocasiones.
-Prácticas que se han repetido en los dos últimos juegos de pruebas.
-Prácticas que llevan muchos cursos sin ser seleccionadas.
Evidentemente, el número de criterios podría prolongarse hasta el infinito y parecer (o ser) cada vez más absurdos. El mejor ejemplo es «ejercicios que nadie pensaría que iban a volverlos a escoger». Pero este es más bien un anticriterio. Volvemos a insistir en lo aleatorio y personal de nuestras previsiones, pero arriesgarse a predecir es mejor que insistir en prepararse todo el repertorio de mapas y demás ejercicios.
Un indicio que nos parece digno de confianza es el análisis de los ejercicios aparecidos en el juego de exámenes de 2014-2015. Así, no se registran novedades, recurriendo bien a propuestas de los años inmediatamente anteriores, bien a esos ejercicios «veteranos» que aparecen en las convocatorias de toda la vida. De hecho, cuando en estos casos existen varias versiones, se ha optado siempre por la que cuenta con más apariciones. La voluntad de ayudar al alumnado parece, pues, evidente.
Lamentablemente, en el juego de propuestas 2013 – 2014 el número de prácticas sin precedentes o remozadas de arriba a abajo asciende a nada menos que siete. Y es que la selectividad andaluza es, en líneas generales y a largo plazo, conservadora y predecible, pero entre un año y otro puede variar de criterio por completo. Dicho sea de paso, tampoco es que la Ponencia sea un modelo de coherencia.
Si se registraran novedades (Dios no lo quiera), una página que se ha transformado en la cantera de la selectividad andaluza es la sección didáctica del Instituto Geográfico Nacional denominada «España a través de los mapas».
Este es el enlace de la página en cuestión:
Evidentemente, lo último que habría que realizar a estas alturas es analizar la cartografía publicada en esta web. Por lo demás, allí aparecen los mapas, pero no las preguntas que se realizan sobre ello.
Lo razonable (y lo previsible) sería esperar que en este curso no aparecieran novedades, dado que el actual modelo de selectividad concluye este año, Que este estado de expectativa pase a ser una realidad es algo que está por ver.
Pasando ya a nuestras previsiones, señalar que al final nos hemos decidido por doce pruebas. No se trata de un ranquin (pues no llegamos a discernir cuál de ellas cuenta con más posibilidades de ser elegidas); tampoco se trata de una selección por temas (bien que más o menos la selección se ajusta a un panorama sobre la asignatura). Tampoco hemos tratado de ofrecer una selección representativa de los distintos tipos de las figuraciones cartográficas y estadísticas que caracterizan al repertorio de la selectividad andaluza (aunque ha acabado pareciéndose mucho a esto último). En fin, que nada más lejos de nuestra intención que reconstruir el juego de doce pruebas (y doce ejercicios prácticos) del presente curso. Se trata simplemente de doce prácticas que cuentan con bastantes posibilidades de ser elegidas. Su ordenación sigue el esquema tradicional de la sucesión de contenidos de la asignatura, y no refleja ni sus posibilidades ni su importancia.
Hemos incluido algunos ejercicios que fueron elegidos en los exámenes titulares de junio y septiembre del curso 2013-2014. En principio esta circunstancia debía vetarlos para el curso siguiente. Pero en junio de 2013 se escogió el mismo mapa de las pruebas de junio del año anterior. La veda de los cálculos más desaforados había caído para siempre.
Un último apunte. La elección de los exámenes de junio y de septiembre se realiza recurriendo al azar (o eso nos cuentan). Por tanto igual acertamos ocho de las doce pruebas, pero fallamos en las cuatro que acaban como exámenes titulares. Y esto es válido para toda estadística o visión del futuro: al basarse en cálculos realizados tanto en las propuestas que acabaron como exámenes, como las que quedaron desechadas, se corre el riego de acertar lo que precisamente va a quedarse en el tintero.
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Mapa de altitudes sobre el nivel del mar de España
Los mapas orográficos con números son una de las especialidades de la selectividad de Andalucía. También lo es el recurrir a las pruebas de reserva del curso anterior. Así, este ejercicio figuró en el juego de exámenes del curso 2013-2014. En el 2015 fue escogido como examen de septiembre, hecho que, en principio, limita (pero no excluye) sus posibilidades de ser escogido en el presente curso.
El mapa procede de la sección didáctica del Instituto Geográfico Nacional denominada «España a través de los mapas».
Las preguntas que se realizan sobre él son las siguientes:
-Localice en el mapa las unidades de relieve señaladas numéricamente del 1 al 5.
1.-Cordillera Cantábrica, 2.-Submeseta Norte / Cuenca del Duero, 3.- Sistema Ibérico, 4.- Depresión del Ebro, 5.- Isla de Tenerife.
-Identifique y describa las características de los relieves señalados con las letras A y B.
A-Sierra Morena caracterizado por el relieve herciniano y B-Cordillera Penibética formada, en lo fundamental, por materiales paleozoicos (de la orogenia herciniana igualmente) levantados de nuevo en la orogenia alpina.
-Desarrolle las principales características de las unidades exteriores a la Meseta.
Las unidades exteriores son depresiones (Ebro, Guadalquivir y Tajo [esta última en territorio portugués] y cordilleras (Pirineos, Montes Vascos, Costero-Catalanas y Béticas). Unas y otras formaban parte de fondos marinos y fueron elevadas en la orogenia alpina. Las primeras acabaron por rellenarse con materiales como arcillas y calizas procedentes de la erosión de las segundas.
-Explique el origen de la formación de las principales zonas altitudinales que se observan en el mapa.
Las principales zonas altitudinales son los Pirineos, las Béticas y el Teide.
Las dos primeras presentan un roquedo paleozoico elevado de nuevo en la orogenia alpina y retocados por el glaciarismo en el cuaternario. Aquí se localizan las montañas más altas de la Península: El Mulhacén (3478 metros) en Sierra Nevada y el Aneto (3.404 metros) en el macizo de la Maladeta.
El Teide presenta rasgos totalmente distintos. Se trata de un estratovolcán que se eleva hasta los 3718 metros (aunque llegó a elevarse a cotas mayores en el pasado). Desde finales de la era terciaria se produce una sucesión de distintos edificios volcánicos, siendo el actual el quinto, con una antigüedad que se remonta al millón de años.
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Perfil topográfico de la Península Ibérica
El perfil topográfico lleva rodando por las pruebas de la selectividad andaluza desde 2003, siendo la séptima vez que fue escogido en el 2014. Dos de estas propuestas acabaron convertidas en exámenes titulares.
El esquema DACEB 3241 o más bien D3A2C4E1V se repite invariablemente en todas las manifestaciones de esta prueba.
La representación gráfica ha tenido que ser completamente rehecha dada la nula calidad de la reproducción en los exámenes.
Las preguntas que se realizan sobre él son las siguientes:
-Enuncie, ordenados de norte a sur, la letra y el nombre correspondiente de los sistemas de relieve que aparecen en el gráfico.
D: Cordillera Cantábrica.
A: Sistema Central.
C: Montes de Toledo.
E: Sierra Morena.
B: Cordilleras Béticas [Penibética].
-Enumere, ordenados de Norte-Sur, el número y nombre correspondiente, de los ríos que fluyen en los valles del gráfico.
3: Río Duero.
2: Río Tajo.
1: Río Guadiana.
4: Río Guadalquivir.
-Diga el nombre, y los números correspondientes, de los ríos que aparecen en el gráfico, ordenados de Sur a Norte.
4: Guadalquivir.
1: Guadiana
2: Tajo.
3: Duero.
-Describa las características del río que fluye en el valle señalado con el número 4.
Se trata del Guadalquivir, el quinto río más largo de la península ibérica con 657 km. Su cuenca se extiende ocupa la mayor parte de la comunidad de Andalucía, bien que se extiende por Extremadura, Castilla-La Mancha y Murcia. Se trata de un río con régimen pluvial-nival en su primer tramos (Sierra de Cazorla) y subtropical en el resto. Presenta un caudal considerable (164 m3/s en Sevilla). El principal afluente es el Genil, río que puede paragonarse con el Guadalquivir tanto por el caudal como por la extensión de la Cuenca.
El Guadalquivir desemboca en el océano Atlántico en un amplio estuario. Anteriormente lo realizaba en una amplia bahía, conocida por los geográfos antiguos como «Lago Ligustino» y que fue transformada progresivamente en un área de marismas por el continuo aporte de los sedimentos.
-De los sistemas de relieve, diga, con letra y nombre, cuáles de ellos son:
Interiores a la Meseta.
(A) Sistema Central y (C) Montes de Toledo.
Periféricos a la Meseta.
(D) Cordillera Cantábrica y (E) Sierra Morena.
Exteriores a la Meseta.
Cordilleras Béticas.
-¿Qué ríos de los que ha identificado desembocan en el Océano Atlántico?
Todos los ríos que aparecen en el corte (Duero, Tajo, Guadiana y Guadalquivir) tributan en el Océano Atlántico, a causa de la presencia del Sistema Ibérico que divide España en dos mitades asimétricas, y a causa también de la suave inclinación que presenta la Meseta hacia el Océano. La forma triangular de la Depresión del Guadalquivir con la base en las costas atlánticas y la parte de mayor altura en el vértice, explica que el Guadalquivir sea paralelo a los ríos mesetarios.
-Analice la estructura del relieve peninsular guiándose por perfil topográfico que se presenta.
El relieve español se estructura en la Meseta, zona de tierras de elevada altitud (entre 600 y 800 metros) divididas en dos sectores por el Sistema Central (A): la submeseta norte y la submeseta sur, esta última ligeramente accidentada por los Montes de Toledo (C). Estas cadenas montañosas se denominan «sierras interiores».
La Meseta está circundada por los rebordes montañosos. En el corte aparecen la Cordillera Cantábrica (D) al norte y Sierra Morena (E) al sur. Como se comprueba en el perfil, la Cordillera Cantábrica presenta mayor altura y un relieve más abrupto que Sierra Morena.
Más allá de los rebordes montañosos se sitúan los relieves exteriores a la Meseta. Se trata de depresiones y cordilleras. En el corte figuran la Depresión del Guadalquivir (4) y las Cordilleras Béticas (B). Como se advierte en el perfil, la primera es la zona con menor altitud de España mientras que en la segunda se sitúa la mayor altura de la Península: El Mulhacén (3478 metros) en Sierra Nevada
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Unidades litológicas de la Península Ibérica
Desde 2005, este mapa ha aparecido en cinco ocasiones, siendo la última una de las propuesta de 2015. Fue escogido como examen de septiembre en 2009. Ni las cuestiones ni los números han variado a lo largo (y a lo ancho de sus apariciones).
La representación gráfica ha tenido que ser completamente rehecha dada la escasa calidad de la reproducción en los exámenes.
Las preguntas que se realizan sobre él son las siguientes:
-Enumere, por separado, con sus números y nombre: las unidades interiores de la Meseta; las periféricas de la Meseta; y las exteriores a la Meseta.
Unidades Interiores de la Meseta:
-9 (Cuenca de la Submeseta Norte).
-10 (Sistema Central).
-11 (Cuenca de la Submeseta Sur).
- 12 (Montes de Toledo).
Unidades Periféricas a la Meseta:
- 1 (Macizo Galaico).
- 2 (Sector Occidental de la Cordillera Cantábrica).
- 3 (Sector Oriental de la Cordillera Cantábrica).
- 8 (Sistema Ibérico).
- 13 (Sierra Morena).
Unidades Exteriores a la Meseta:
- 4 (Pirineo Axial)
- 5 (Prepirineo).
- 6 (Cordillera Costero-Catalana).
- 7 (Depresión del Ebro)
- 14 (Depresión del Guadalquivir).
- 15 (Cordillera Subbética)
- 16 (Cordillera Penibética)
- ¿Qué Comunidades Autónomas tienen parte o todo su territorio asentado sobre la Iberia silícea en el Oeste peninsular?
Galicia, Asturias, Castilla-León, Extremadura y Andalucía.
-¿Qué relación básica guarda cada una de estas tres Iberias con distintos usos y aprovechamientos del territorio?
En la Iberia Silícea los suelos tienen poca profundidad y resultan muy pobres para la agricultura. Predomina la actividad ganadera, destacando el paisaje de la dehesa.
En la Iberia Caliza se encuentran paisajes escarpados en el que se sitúan las principales cadenas montañosas de la Península, como los Pirineos. Los únicos aprovechamientos agrarios son la explotación forestal y alguna ganadería.
En la Iberia Arcillosa predomina un relieve básicamente horizontal, apto para los cereales, viñedo y otros cultivos extensivos. De hecho la mayor parte de la actividad agrícola hispana se concentra en estos suelos.
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Distribución de las Precipitaciones en España
Desde 2002, este dinosaurio de la selectividad andaluza ha aparecido en siete ocasiones, siendo la las dos últimas las propuesta de 2014 y de 2015. Fue escogido como examen de septiembre en 20092, junio de 2011 y junio de 2015. Esta última selección limita (pero no excluye) sus posibilidades de que vuelva a ser escogido para el presente curso.
Las precipitaciones medias se miden en milímetros, oscilando entre los 200 y los 2000, y a partir de su distribución se trazan isoyetas (líneas que unen puntos con igual temperatura). Con puntos rojos se indican las áreas de máxima torrencialidad, lugares en los que han caído más de 400 milímetros en un solo día en el período comprendido entre el período 1956 – 1985.
En todas sus apariciones las preguntas que se realizan son siempre las mismas, salvo en el caso del juego de 2014.
Estas son las cuestiones:
-Compare las precipitaciones que se reciben en el Noroeste peninsular y las que se recogen en el Sureste de la península. Diga las diferencias que existen y explique las posibles causas.
En el Noroeste peninsular, en concreto en Galicia, Asturias y norte de la provincia de León las precipitaciones son muy altas, alcanzando los 800 milímetros como mínimo, y superando los 2000 milímetros en algunas cotas. Son cifras propias de la España Húmeda y del Clima Oceánico
En el Sureste peninsular (extremo oriental de Andalucía, Murcia, provincias de Albacete y Alicante). Las precipitaciones son inferiores a los 200 litros, y como máximo se acercan a los 400 milímetros. Se trata de valores típicos de la España Árida, y propios de un clima estepario o mediterráneo subdesértico.
La diferencia resulta, pues notoria, superando los 1000 milímetros. Mientras que la región noroeste presenta un superávit de agua que permite la existencia de una red de ríos caudalosos y una abundante vegetación natural, el extremo oriental se caracteriza por una red de torrentes y cárcavas secos gran parte del año y una vegetación escasa y discontinua de tipo arbustivo.
El Noroeste peninsular se encuentra todo el año bajo la acción de las borrascas atlánticas, mientras que la región sureste se encuentra totalmente aislada de las influencias atlánticas, pues se sitúa tras las cordilleras béticas. El Mediterráneo, en cambio, es un mar cerrado y cálido, que aporta escasas precipitaciones y además de forma torrencial. Por si fuera poco, esta zonas se ve afectada por las advecciones (tormentas secas) procedentes de África.
-Comente la relación existente entre los valores de precipitaciones y el relieve de la Península.
El volumen de las precipitaciones aumentan con la altura, pues las nubes al ascender se enfrían y el vapor se condensa (lluvias orográficas). Estos meteoros pueden caer en forma de nieve. Las cordilleras que reciben más lluvias son los Pirineos y la Cordillera Cantábrica, pues aparte de la altura, se encuentran en el extremo norte de la Península, y las precipitaciones aumentan con la latitud. En el resto de España existen focos aislados, verdaderos islotes de la España Húmeda, enclavados en las cumbres más elevadas, por encima de los mil metros normalmente, como las sierras de Guadalupe (Montes de Toledo), Guadarrama (Sistema Central), Segura (Cordilleras Béticas…). Hay que señalar que las cadenas montañosas que se sitúan en el oeste reciben lluvias más abundantes, al recibir las influencias atlánticas (Gredos, Grazalema…)
En las islas también las cumbres concentran las precipitaciones (sierra de la Tramontana en Mallorca y el Teide en Tenerife).
Diga el nombre de las provincias que se ven afectadas por la máxima torrencialidad de las precipitaciones.
Como queda dicho la máxima torrencialidad consiste en precipitaciones catastróficas (en un solo día se recogen más de 400 milímetros o sea la mitad de las precipitaciones de un lugar con lluvias abundantes en todo un año). Se localizan en Gerona, Tarragona, Castellón, Valencia, Murcia, Granada, Cádiz, Cáceres, Lugo y Vizcaya. (La localización es aproximada pues algunos puntos se sitúan en zonas limítrofes entre provincias y regiones como la sierra de Guadalupe). Se trata en todos los casos de regiones montañosas, en las que las tormentas y los cambios bruscos de tiempo son más frecuentes. Más de dos tercios se sitúan en la zona mediterránea. El clima mediterráneo se caracteriza precisamente, por lluvias torrenciales, causadas en otoño por el rápido enfriamiento de este mar y que suele asociarse con fenómenos de gota fría (presencia de aire muy frío en altura).
-Diga en qué sistemas montañosos se registran precipitaciones mayores de 1800 mm.
El Macizo Galaico, la Cordillera Cantábrica, los Montes Vascos, los Pirineos y la Cordillera Penibética (sierra de Grazalema).
-Describa el comportamiento de las precipitaciones en la costa mediterránea.
Las precipitaciones en esta área son escasas (entre 800 y 300 mm al año) y se distribuyen irregularmente, concentrándose en primavera y en otoño. En esta última estación es cuando suele alcanzarse el máximo pluviométrico. Al concentrarse en pocos días las precipitaciones, las lluvias torrenciales son relativamente frecuentes, provocando inundaciones y riadas. El enfriamiento súbito del Mediterráneo a principios del otoño suele provocar el fenómeno conocido como Gota Fría.
-Realice una síntesis de los procesos que originan la desigual distribución de las precipitaciones en España.
La disminución desde el noroeste al sureste, ya que los frentes occidentales pierden actividad.
La disminución desde la costa hacia el interior (la cercanía al mar favorece la llegada de frentes).
La situación periférica de los relieves montañosos obstaculiza la entrada de los frentes (y hace que llueva más en la periferia que en el interior).
El aumento en las vertientes de barlovento (el flanco más cercano al mar) y con la altura (el frío aumenta las posibilidades de condensación del agua). ________________________________________________
Tipos de regímenes fluviales de España
Este ejercicio práctico del examen ha aparecido en tres ocasiones 2012, 2013 y 2015. En sus dos primeras manifestaciones fue escogido como examen de junio, evidenciando que los ejercicios que se muestran en los exámenes titulares de un año, pueden volver a aparecer en los del siguiente. En todos los casos se repiten las mismas preguntas.
Este ejercicio cuenta con evidentes posibilidades de aparecer en las propuestas de 2016. Que aparezca en los exámenes de junio o de septiembre, es ya harina de otro costal.
Las preguntas que se realizan sobre él son las siguientes:
-Identifique las unidades de relieve que presentan un régimen fluvial de montaña.
La Cordillera Cantábrica, los Pirineos, el Sistema Central, el Sistema Ibérico y la Cordillera Penibética.
-Exponga las razones de la inexistencia de redes fluviales importantes en los dos archipiélagos representados.
Las Baleares están situadas en el Mar Mediterráneo, alejadas de los frentes que se forman en el Atlántico. La reducida extensión de estas islas, además, no atrae las lluvias que se forman en el Mediterráneo. Por último el predominio de la roca caliza favorece la filtración de las precipitaciones y la formación de acuíferos, pero dificulta la creación de una red fluvial.
Las Canarias están situadas en las inmediaciones del Trópico de Cáncer, en un área de clima desértico donde predomina la influencia del anticiclón de las Azores. Igualmente la reducida extensión de las islas no favorece la llegada de las lluvias. Por último el predominio de la roca volcánica favorece la escorrentía, pero por su dureza y relieve abrupto dificulta la formación de cursos fluviales.
Por tanto, en ambos archipiélagos predominan los torrentes y los arroyos.
-Explique qué factores influyen en la distribución de los diferentes regímenes fluviales en la España peninsular.
El clima (pero especialmente las precipitaciones). Dependiendo de la distribución de las precipitaciones podemos distinguir entre régimen nival, régimen pluvial y régimen mixto.
El relieve y la topografía, que determinan la organización de las cuencas y vertientes hidrográficas.
El basculamiento de la Meseta hacia el oeste y la presencia del Sistema Ibérico y de la Cordillera Cantábrica determinan la existencia de tres vertientes hidrográficas, con una evidente disimetría entre la atlántica y las otras dos. De todas formas, algunos geógrafos consideran que los ríos atlánticos y los cantábricos forman parte de una misma vertiente.
La topografía, por último, favorece la creación de obras hidráulicas cuando es abrupta.
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Balance Hídrico de las Principales Cuencas Hidrográficas de la Península Ibérica, Baleares y Canarias
Este ejercicio práctico del examen registra seis apariciones en las propuesta de 2001, 2002, 2007, 2008, 2009 y 2015. Sorprendentemente, todas quedaron relegadas al nivel de examen de reserva. En la de 2001 el mapa varía (es monocromo) y las cuestiones que se plantean presentan variaciones entre una convocatoria y otra. En el ejercicio de 2015 se reiteran las mismas preguntas que las de 2002 y 2007. Los números de localización de las cuencas no registran variaciones.
Nos encontramos, por tanto, ante uno de los ejercicios más veteranos de la selectividad y por tanto, terriblemente anticuado. Cuenta con evidentes posibilidades de aparecer en las propuestas de 2016. Que aparezca en los exámenes de junio o de septiembre, es ya harina de otro costal.
Las preguntas que se realizan sobre él son las siguientes:
-Exprese del 1 al 11 los nombres de los principales ríos que alimentan cada una de esas cuencas.
1-Ríos Gallegos (Tambre, Ulla...).
2-El Miño y los ríos de la vertiente cantábrica (Nalón, Deva, Nervión…).
3-Duero.
4-Tajo.
5-Guadiana, Tinto y Odiel.
6-Guadalquivir y Guadalete.
7-Ríos de la vertiente mediterránea sur (Andarax, Almanzora…)
8-Segura.
9-Ríos de la vertiente mediterránea levantina (Júcar, Turia y Mijares)
10-Ebro.
11-Ríos de la vertiente mediterránea catalana (Ter, Llobregat…)
12-Islas Baleares
13-Islas Canarias.
-¿Qué Comunidades Autónomas tienen un balance hídrico negativo?
Cataluña, Comunidad Valenciana, Murcia, Baleares, Canarias y el Este de Andalucía y Castilla-La Mancha.
-Explique los contrastes y variación de los valores del balance hídrico en las cuencas de la vertiente atlántica peninsular.
En la vertiente atlántica existen grandes contrastes entre los ríos gallegos con los balances hídricos más elevados de la Península y el resto. La causa radica en las abundantes lluvias que se registran en esa comunidad autónoma, frente a la relativa escasez del resto del país.
El régimen de los ríos gallegos es, además, bastante regular. En el resto se advierten crecidas en otoño y primavera y un estiaje en el verano que coincide con el mínimo de la precipitación (mayor cuando más meridional es el río).
-Explique las diferencias, en cuanto a la extensión y a la configuración del relieve de las cuencas, de las vertientes cantábrica, atlántica y mediterránea.
La vertiente cantábrica presenta una extensión reducida con ríos cortos (nacen en montañas cercanas a las costas), que presentan un gran desnivel. Los ríos resultan caudalosos y con un régimen bastante regular, por la abundancia y regularidad de lluvias.
La vertiente atlántica ocupa la mayor parte del territorio peninsular. Sus ríos son largos, con escaso desnivel, bien que en muchos tramos van encajonados. La gran extensión de las cuencas los hace más o menos caudalosos. El régimen suele ser irregular, con pronunciados estiajes y crecidas en otoño y primavera.
La vertiente mediterránea ocupa un tercio del territorio peninsular. Con la excepción del Ebro, sus ríos son cortos (nace en montañas cercanas a las costas). El desnivel es notorio y además el curso de estas corrientes suele ir embarrancado. El caudal resulta muy escaso. El régimen es sumamente irregular, con pronunciados estiajes y crecidas en otoño, a menudo catastróficas.
-Explique las causas de la variación de los balances hídricos entre las distintas cuencas.
El balance hídrico relaciona los recursos hídricos existentes y el consumo que se hace de ellos.
La disponibilidad de agua Depende de la extensión de las cuencas, el las precipitaciones medias y la demanda para el uso agrícola, la industria y el consumo humano.
Así nos encontraremos con cuencas con claros sobrantes (ríos cantábricos, ríos gallegos, el Duero, el Tajo y el Ebro), cuencas con equilibrio entre recursos y demanda (Guadiana, Pirineo Oriental y Júcar) y cuencas con déficit evidente (las restantes).
Precisamente la demanda se concentra en áreas con mayor dinamismo económico y geográfico (el arco mediterráneo, los archipiélagos) cuyos recursos hídricos son escasos.
La red de presas y la construcción de plantas desalinizadoras resulta insuficiente para cubrir una demanda en alza.
________________________________________________
La pintura que hemos escogido como emblema es una obra de la pintora inglesa Dora Carrington titulado «Paisaje español con montañas» («Spanish Landscape with Mountains»). Se trata de un óleo sobre lienzo pintado en torno a 1924.
Sus medidas son 55,9 x 66,7 centímetros. Pertenece a la colección de la Tate Gallery (Londres, Inglaterrra, Reino Unido). Entró en la institución en el 2004 como legado de la escritora Frances Partridge. Frances (de soltera Marshall) se casó en 1933 con Ralph Partridge, desconsolado viudo de la propia Carrington. Este vínculo probablemente explique la forma en la que el cuadro acabó en mano de Frances. Fuerza es decir que Dora se suicidó en 1932.
Con bastantes libertades, el óleo debe reproducir el paisaje de Yegen, municipio de las Alpujarras granadina o de sus alrededores. La pintora acudió allí en 1924 (o el año interior) al ser invitada por Gerald Brenan. Este escritor (a quién le negamos olímpicamente el título de «hispanista») mantenía un amor obsesivo (y no correspondido) por Carrington. Y es que los ingleses cuando se autoexilian o hacen viajes de largo recorrido por el extranjero (léase «Continente») llevan bien cargadas las maletas de traumas, conflictos personales y amores difíciles.
Los datos técnicos y la imagen proceden del catálogo virtual de la Tate Gallery:
www.tate.org.uk/art/artworks/carrington-spanish-landscape...
Spanish Landscape with Mountains circa 1924 Dora Carrington 1893-1932 Bequeathed by Frances Partridge 2004 www.tate.org.uk/art/work/T11896
SML Pro Blog: SoundCloud = Innovative Social Network for Musicians
SoundCloud is a social network startup for musicians based in Berlin. Originally from Stockholm, the founders created the site after they have grown "tired of getting emails with YouSentIt links or FTP log-ins just to be able to check out our friends latest soon-to-be released tracks."
Just a couple of years ago, when you mention music and social networks, the first site that came to mind is MySpace. Yes, MySpace is a social network and they do put much weight on music and musicians, but MySpace fails to innovate beyond implementing comments + music player, and that is barely social. In this blog post I will go through the many innovations SoundCloud brought to the music scene and explain why I like it so much.
Read full blog post with screenshots + videos »
SoundCloud Innovations
+2 Continuous playback from people you follow
+3 Push to other social networks
+4 DropBox
Cómo orar a Dios | Mi enfermedad se recuperó milagrosamente mientras oraba a Dios y confiando en Él
Soy cristiana y tengo setenta años. Una vez me quedé paralítica debido a una enfermedad y poco faltó para sufrir muerte cerebral. Durante ese período, renuncié a cualquier esperanza de sobrevivir, pero en un momento crítico, las palabras de Dios me dieron fe y me permitieron recuperar milagrosamente mi vida. Si Dios no me hubiera salvado, yo habría dejado este mundo hace mucho tiempo.
El 19 de abril de 2017, después de levantarme de la cama, tuve un terrible dolor de cabeza. De repente, tropecé y me caí sobre la cama. No podía mover la mitad de mi cuerpo, y gradualmente perdí el conocimiento.
Más tarde, mis familiares me llevaron a la sala de emergencias del hospital, donde me hicieron una tomografía computarizada. El médico dijo que la hemorragia en mi tronco cerebral fue causada por una ruptura de una pared arterial, y que si no detenían el sangrado, mi vida estaría en peligro. Mi hija sollozó al escuchar eso, pues estaba desconsolada. El médico no se arriesgó a aplazar el tratamiento y les dijo a las enfermeras que me llevaran a la unidad de reanimación de emergencia.
Allí, el médico les dijo a las enfermeras: “vigilen a la anciana, porque está a punto de perder la capacidad de respirar. Quítenle los pendientes, los anillos y el collar, y entréguenlos a su familia para que puedan prepararse mentalmente y comenzar con los preparativos para el fallecimiento”. Aunque no podía abrir mis ojos ni moverme en absoluto, yo estaba totalmente consciente. Cuando escuché que estaba a punto de morir, sentí miedo y tristeza. Aunque sabía que todas las personas mueren, no esperaba hacerlo de una manera tan rápida y repentina. No había tenido tiempo de despedirme de mis seres queridos, todavía no había contemplado este mundo por última vez y, a pesar de creer en Dios, no había adquirido la verdad ni la comprensión de Dios... En ese momento, sentí que mi vida era demasiado corta. La idea de tener que abandonar este mundo de una manera tan repentina, con tantas cosas que quedaban por hacer, me dejó el corazón cargado de pena y arrepentimiento.
...
Fuente: www.biblia-es.org/el-poder-de-la-oracion.html
Recomendación: La bendición de Dios
I borrowed those photos from
akibahobby.net/2009/09/revoltech_qb_merona_sample.html
they made detail introductions on figures not yet on the market.
It's about time for me to think about how to marker merona's face as I please. on the tittle I was saying facial improvement, but actually, her face is great in her own ways therefore no improvement is needed.
unlike Echidna, Merona's face has achieved her creater's own perfection (the model sculpter), and now it's time for me to achieve mine on Merona, and it will be my own version of it.
Here we see 3 photos, on the left is original face, at the middle, we can see normally my own skinning bear version of Merona. On the right, is how I tried to expanding her characteristic by adding unusual eyelashes.
One special thing about her eyes is her cross-shaped pupil, it remind me of circus and freak show, but I want to give her some magical, super natural feels and gorgeous gipsy female magician with extoic make-up (at least to Asians....) and all that out look. Plus she can have creams shoot out from her body, this character design actually goes perfectly well of the style that I wish to turn her into.
So, I decide to go bit extreme for her lower eyelashes, it's like a circus make-up and to fit the curve of her body and skirt, I go with round, petal like shape eyelash. I have no idea how I can actually draw that with Gundam marker, but it's always interesting to think about the possibilities.....
By the way check this out for extreme make up that also looks good:
[http://www.flickr.com/photos/skinning_bear/3922822613/]
(I just find out you can only play this trick in reply, so please see the following.)
if it didn't show, I have pic just under the same tittle around this album.....
I borrowed this pic from here:
images.google.com.tw/imgres?imgurl=http://userdisk.webry....
Mémoire2cité il existe de nos jours, de nombreux photographes qui privilégient la qualité artistique de leurs travaux cartophiles. A vous de découvrir ces artistes inconnus aujourd’hui, mais qui seront peut-être les grands noms de demain. archipostcard.blogspot.com/search?updated-max=2009-02-13T... - museedelacartepostale.fr/periode-semi-moderne/ - archipostalecarte.blogspot.com/ - museedelacartepostale.fr/blog/ - museedelacartepostale.fr/exposition-permanente/ - www.queenslandplaces.com.au/category/headwords/brisbane-c... - collection-jfm.fr/t/cartes-postales-anciennes/france#.XGe... - www.cparama.com/forum/la-collection-de-cpa-f1.html - www.dauphinomaniac.org/Cartespostales/Francaises/Cartes_F... - furtho.tumblr.com/archive
le Logement Collectif* 50,60,70's, dans tous ses états..Histoire & Mémoire d'H.L.M. de Copropriété Renouvellement Urbain-Réha-NPNRU., twitter.com/Memoire2cite tout içi sig.ville.gouv.fr/atlas/ZUS/ - media/InaEdu01827/la-creatio" rel="noreferrer nofollow">fresques.ina.fr/jalons/fiche-media/InaEdu01827/la-creatio Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,
www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije : mécanisation, rationalisation et élaboration industrielle de la production. Des exemples concrets sont présentés afin d'illustrer l'utilisation des différentes innovations : les coffrages outils, coffrage glissant, le tunnel, des procédés pour accélérer le durcissement du béton. Le procédé dit de coffrage glissant est illustré sur le chantier des tours Pablo Picasso à Nanterre. Le principe est de s'affranchir des échafaudages : le coffrage épouse le contour du bâtiment, il s'élève avec la construction et permet de réaliser simultanément l'ensemble des murs verticaux. Au centre du plancher de travail, une grue distribue en continu le ferraillage et le béton. Sur un tel chantier les ouvriers se relaient 24h / 24 , www.dailymotion.com/video/xwytke?playlist=x34ije , www.dailymotion.com/video/x1bci6m?playlist=x34ije
Le reportage se penche ensuite sur la préfabrication en usine. Ces procédés de préfabrication en usine selon le commentaire sont bien adaptés aux pays en voie de développement, cela est illustré dans le reportage par une réalisation en Libye à Benghazi. Dans la course à l'allégement des matériaux un procédé l'isola béton est présenté. Un chapitre sur la construction métallique explique les avantage de ce procédé. La fabrication de composants ouvre de nouvelles perspectives à l'industrie du bâtiment.
Lieux géographiques : la Grande Borne 91, le Vaudreuil 27, Avoriaz, Avenue de Flandres à Paris, tours Picasso à Nanterre, vues de la défense, Benghazi Libye
www.dailymotion.com/playlist/x34ije_territoiresgouv_cinem... - mémoire2cité - le monde de l'Architecture locative collective et bien plus encore - mémoire2cité - Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,
Le Joli Mai (Restauré) - Les grands ensembles BOBIGNY l Abreuvoir www.youtube.com/watch?v=eUY9XzjvWHE … et la www.youtube.com/watch?v=hK26k72xIkU … www.youtube.com/watch?v=xCKF0HEsWWo …
Genève Le Grand Saconnex & la Bulle Pirate - architecte Marçel Lachat -
Un film de Julien Donada içi www.youtube.com/watch?time_continue=1&v=4E723uQcpnU … … .Genève en 1970. pic.twitter.com/1dbtkAooLM è St-Etienne - La muraille de Chine, en 1973 ce grand immeuble du quartier de Montchovet, existait encore photos la Tribune/Progres.
www.youtube.com/watch?v=AJAylpe8G48 …, - la tour 80 HLM située au 1 rue Proudhon à Valentigney dans le quartier des Buis Cette tour emblématique du quartier avec ces 15 étages a été abattu par FERRARI DEMOLITION (68). VALENTIGNEY (25700) 1961 - Ville nouvelle-les Buis 3,11 mn www.youtube.com/watch?v=C_GvwSpQUMY … - Au nord-Est de St-Etienne, aux confins de la ville, se dresse une colline Montreynaud la ZUP de Raymond Martin l'architecte & Alexandre Chemetoff pour les paysages de St-Saens.. la vidéo içi * Réalisation : Dominique Bauguil www.youtube.com/watch?v=Sqfb27hXMDo … … - www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije : mécanisation, rationalisation et élaboration industrielle de la production. Des exemples concrets sont présentés afin d'illustrer l'utilisation des différentes innovations : les coffrages outils, coffrage glissant, le tunnel, des procédés pour accélérer le durcissement du béton. Le procédé dit de coffrage glissant est illustré sur le chantier des tours Pablo Picasso à Nanterre. Le principe est de s'affranchir des échafaudages : le coffrage épouse le contour du bâtiment, il s'élève avec la construction et permet de réaliser simultanément l'ensemble des murs verticaux. Au centre du plancher de travail, une grue distribue en continu le ferraillage et le béton. Sur un tel chantier les ouvriers se relaient 24h / 24 , www.dailymotion.com/video/xwytke?playlist=x34ije , www.dailymotion.com/video/x1bci6m?playlist=x34ije
Le reportage se penche ensuite sur la préfabrication en usine. Ces procédés de préfabrication en usine selon le commentaire sont bien adaptés aux pays en voie de développement, cela est illustré dans le reportage par une réalisation en Libye à Benghazi. Dans la course à l'allégement des matériaux un procédé l'isola béton est présenté. Un chapitre sur la construction métallique explique les avantage de ce procédé. La fabrication de composants ouvre de nouvelles perspectives à l'industrie du bâtiment.
la Grande Borne 91, le Vaudreuil 27, Avoriaz, Avenue de Flandres à Paris, tours Picasso à Nanterre, vues de la défense, Benghazi Libye 1975 Réalisateur : Sydney Jézéquel, Karenty
la construction des Autoroutes en France - Les liaisons moins dangereuses 1972 www.dailymotion.com/video/xxi0ae?playlist=x34ije - Ministère de l'Équipement et de l'Aménagement du Territoire - Dotation par la France d'autoroutes modernes "nécessité vitale" pour palier à l'inadaptation du réseau routier de l'époque voué à la paralysie : le reportage nous montre des images d'embouteillages. Le ministre de l'Équipement et de l'Aménagement du Territoire dans les deux gouvernements de Pierre Messmer, de 1972 à 1974, Olivier Guichard explique les ambitions du programme de construction qui doit atteindre 800 km par ans en 1978. L'ouverture de section nouvelles va bon train : Nancy / Metz par exemple. Le reportage nous montre l'intérieur des bureaux d'études qui conçoivent ces autoroute dont la conception est assistée par ordinateurs dont le projet d'ensemble en 3D est visualisé sur un écran. La voix off nous informe sur le financement de ces équipements. Puis on peut voir des images de la construction du pont sur la Seine à Saint Cloud reliant l'autoroute de Normandie au périphérique, de l'échangeur de Palaiseau sur 4 niveau : record d'Europe précise le commentaire. Le reportage nous informe que des sociétés d'économies mixtes ont étés crées pour les tronçons : Paris / Lille, Paris / Marseille, Paris / Normandie. Pour accélérer la construction l’État a eu recours à des concessions privées par exemple pour le tronçon Paris / Chartres. "Les autoroutes changent le visage de la France : artères économiques favorisant le développement industriel elles permettent de revitaliser des régions en perte de vitesse et de l'intégrer dans le mouvement général de l'expansion" Sur le plan européen elles vont combler le retard de la France et réaliser son insertion. Images de l'inauguration de l'autoroute entre Paris et Bruxelles par le président Georges Pompidou. Le reportage rappel que l'autre fonction capitale des autoroute est de favoriser la sécurité. La question de la limitation de vitesse est posée au ministre de l’Équipement, qui n'y est favorable que sur certains tronçons. Un des facteur de sécurité selon le commentaire est l'humanisation des autoroutes : aires de repos, restaurants, signalisation touristiques... "Rien n'est impossible aux techniques modernes" nous apprend la voix off qui prend comme exemple le déplacement sur rail de 65 mètres d'un château classé afin de faire passer l'autoroute Lille / Dunkerque.Durée : 4 minutes 30 secondes
Sur les routes de France les ponts renaissent 1945 reconstruction de la France après la Seconde Guerre mondiale www.dailymotion.com/video/xuxrii?playlist=x34ije , Quelques mois après la fin de la Seconde Guerre mondiale, un triste constat s'impose : 5 944 passages sont coupés, soit plus de 110 km de brèches ; de nombreuses villes se trouvent isolées.Les chantiers s'activent dans toute la France pour "gagner la bataille des communications routières". Mais outre la pénurie de main d’œuvre, il faut faire face au manque de matériaux (béton, métal) et donc déployer des trésors d'imagination pour reconstruire les ponts détruits. Si le savoir faire des tailleurs de pierre est exploité, le plus spectaculaire est le relevage des ponts, comme le pont de Galliéni à Lyon, où 7 à 800 tonnes d'acier sont sorti de l'eau avec des moyens de l'époque. En avril 1945, il reste 5 700 ponts à reconstruire soit 200 000 tonnes d'acier, 600 000 tonnes de ciment, 250 000 m3 de bois, 10 millions de journées d'ouvrier, prix de l'effort de reconstruction.1945
Auteurs / réalisateurs : images : G.Delaunay, A.Pol, son : C.Gauguier Production : Direction Technique des Services des Ponts et Chaussées / Ministère des Travaux Publics et des Transports Support original : 16 mm noir et blanc Durée : 14 min Thèmes principaux : infrastructures-ouvrages d'art Mot clés : chantier, pont, Reconstruction, restauration, béton précontraint, ministère des travaux publics et des transports
Lieux : Lyon, Tournon, Caen - Le Bosquel, un village renait 1947 l'album cinématographique de la reconstruction, réalisation Paul de Roubaix production ministère de la Reconstruction et de l'Urbanisme, village prototype, architecte Paul Dufournet, www.dailymotion.com/video/xx5tx8?playlist=x34ije - Demain Paris 1959 dessin animé présentant l'aménagement de la capitale dans les années 60, Animation, dessin animé à vocation pédagogique visant à promouvoir la politique d’aménagement suivie dans les années 60 à Paris. Un raccourci historique sur l’extension de Paris du Moyen Âge au XIXe siècle (Lutèce, œuvres de Turgot, Napoléon, Haussmann), ce dessin animé retrace la naissance de la banlieue et de ses avatars au XXe siècle. Il annonce les grands principes d’aménagement des villes nouvelles et la restructuration du centre de Paris (référence implicite à la charte d’Athènes). Le texte est travaillé en rimes et vers. Une chanson du vieux Paris conclut poétiquement cette vision du futur. Thèmes principaux : Aménagement urbain / planification-aménagement régional Mots-clés : Banlieue, extension spatiale, histoire, quartier, ville, ville nouvelle Lieu géographique : Paris 75 Architectes ou personnalités : Eugène Haussmann, Napoléon, Turgot Réalisateurs : André Martin, Michel Boschet Production : les films Roger Leenhardt
www.dailymotion.com/video/xw6lak?playlist=x34ije - Rue neuve 1956 la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, villes, villages, grands ensembles réalisation : Jack Pinoteau , Panorama de la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, ce film de commande évoque les villes et villages français détruits puis reconstruits dans un style respectant la tradition : Saint-Malo, Gien, Thionville, Ammerschwihr, etc. ainsi que la reconstruction en rupture avec l'architecture traditionnelle à Châtenay-Malabry, Arles, Saint Étienne, Évreux, Chambéry, Villeneuve-Saint-Georges, Abbeville, Le Havre, Marseille, Boulogne-sur-Mer, Dunkerque. Le documentaire explique par exemple la manière dont a été réalisée la reconstruction de Saint-Malo à l'intérieur des rempart de la vieille ville : "c'est la fidélité à l'histoire et la force du souvenir qui a guidé l'architecte". Dans le même esprit à Gien, au trois quart détruite en 1940, seul le château construit en 1494 pour Anne de Beaujeu, fille aînée de Louis XI, fut épargné par les bombardements. La ville fut reconstruite dans le style des rares immeubles restant. Gien est relevé de ses ruines et le nouvel ensemble harmonieux est appelé « Joyau de la Reconstruction française ». Dans un deuxième temps est abordé le chapitre de la construction des cités et des grands ensembles, de l’architecture du renouveau qualifiée de "grandiose incontestablement". S’il est précisé "on peut aimer ou de ne pas aimer ce style", l’emporte au final l’argument suivant : les grands ensembles, c'est la campagne à la ville, un urbanisme plus aéré, plus vert." les films caravelles 1956, Réalisateur : Jack Pinoteau (connu pour être le metteur en scène du film Le Triporteur 1957 qui fit découvrir Darry Cowl) www.dailymotion.com/video/xuz3o8?playlist=x34ije , Film d'archive actualités de 1952 Reconstruction de la France sept ans après la fin de la seconde guerre mondiale état des lieux de la crise du logement , Actualités de 1952. Sept ans après la fin de la seconde guerre Mondiale état des lieux de la reconstruction de la France et de la crise du logement à l’œuvre, pénurie de logement, logements insalubres. Les actualités montrent des images d'archives de la destruction de la France, les Chars de la division Leclerc qui défilent sur les Champs Elysees. Le commentaire dénonce la lenteur de la reconstruction et notamment des manifestations qui ont eu lieue à Royan afin d''accélérer la reconstruction de la ville détruite.Le film montre à Strasbourg, Mulhouse, des réalisation moderne de grands ensembles et des images d'archive de la reconstruction du Havre de Saint Nazaire.Le film se termine à Marseille sur les réalisation nouvelles autour du vieux port puis on assiste à l'inauguration de la Cité Radieuse par le ministre de la Reconstruction et de l'Urbanisme Eugène Claudius-Petit en présence de son architecte Le Corbusier à qui le ministre remet la cravate de commandeur de la légion d'honneur. www.dailymotion.com/video/xk1g5j?playlist=x34ije Brigitte Gros - Urbanisme - Filmer les grands ensembles 2016 - par Camille Canteux chercheuse au CHS -Centre d'Histoire Sociale - Jeanne Menjoulet - Ce film du CHS daté de 2014 www.youtube.com/watch?v=VDUBwVPNh0s … L'UNION SOCIALE POUR L'HABITAT le Musée des H.L.M. musee-hlm.fr/ union-habitat.org/ - EXPOSITION :LES 50 ANS DE LA RESIDENCe SALMSON POINT-Du JOUR www.salmsonlepointdujour.fr/pdf/Exposition_50_ans.pdf - Sotteville Construction de l’Anjou, le premier immeuble de la Zone Verte sottevilleaufildutemps.fr/2017/05/04/construction-de-limm... - www.20minutes.fr/paris/diaporama-7346-photo-854066-100-an... - www.ladepeche.fr/article/2010/11/02/940025-140-ans-en-arc... dreux-par-pierlouim.over-blog.com/article-chamards-1962-9... missionphoto.datar.gouv.fr/fr/photographe/7639/serie/7695...
faizakhalida.blogspot.com.br/2010/08/a-demissao-das-minha...
"A felicidade que senti com a realização da cirurgia feita não conseguiu compensar o adoecimento pela quantidade de ofensas que sofri. A fase mais tranquila de minha vida foi o pós-cirúrgico, pois vi um sonho realizado e o acolhimento que recebi do médico e sua equipe, mas ao chegar ao Brasil me vi diante do meu real contexto".
Dr. Kamol Pansritum
"LÁ NA TAILÂNDIA EM 2004, VIAJANDO SÓ E NO TSUNAMI, ME DIZIAM QUE EU ERA A PRIMEIRA BRASILEIRA OPERADA COM O DR. KAMOL PANSRITUM, QUE NENHUMA MULHER TRANSEXUAL DO BRASIL O HAVIA ESCOLHIDO ANTERIORMENTE. O ÚNICO OUTRO CIRURGIÃO TAILANDÊS CONFIADO PELAS BRASILEIRAS ATÉ ENTÃO ERA INACESSÍVEL PORQUE COBRAVA PELO MENOS 3 VEZES MAIS".
No ano de 2004 eu realizei uma cirurgia de redesignação sexual no exterior após o fim do ano letivo deste ano e o último compromisso de trabalho. Aproximadamente, eu viajei dia 22, cheguei no dia 23, mas não pude operar no mesmo dia porque o cirurgião estava cansado por ter realizado outra operação no mesmo dia. Acordei operada no Natal daquele ano, durante a ocasião do Tsunami, lá na Tailândia e me diziam que eu era a primeira brasileira a realizar a cirurgia de redesignação sexual com o médico cirurgião Kamol Pansristum.
PRIMEIRA FUNCIONÁRIA PÚBLICA DO MUNICÍPIO DE BELFORD ROXO A CORRIGIR A DOCUMENTAÇÃO EM RELAÇÃO AO PRENOME E AO SEXO EM VIRTUDE DO PROCESSO TRANSEXUALIZADOR REALIZADO DURANTE O TRABALHO NA REDE PÚBLICA MUNICIPAL.
"Viver a experiência do preconceito, do desprezo
Viver o desprezo de construir um caminho que nunca se percorreu.
Ver e conhecer as pessoas e os inimigos como eles são realmente, e não como se disfarçam.
Ser mulher é nascer no fogo e morrer com a missão cumprida".
VIVÊNCIA DA TRANSFOBIA ADMITIDA E VELADA
Marcelino santos de araújo (mat. 17994) ofendia professora transexual na internet. Foi descoberto pela delegacia de crimes virtuais . Ele é funcionário público municipal de Belford Roxo no cargo de eletricista de baixa tensão. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Registro de ocorrência na Delegacia de Polícia da transfobia do subsecretário municipal de Duque de Caxias Paulo Allevato RG 3473270 IFP no banheiro do prédio do IPTU da prefeitura municipal. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Segunda parte do registro de ocorrência na delegacia de polícia da transfobia do subsecretário municipal de Duque de Caxias Paulo Allevato RG 3473270 IFP no banheiro do prédio do IPTU da Prefeitura Municipal de Duque de Caxias. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Antes de realizar a cirurgia na Tailândia em dezembro de 2004, eu havia iniciado um acompanhamento médico no Hospital Estadual do Rio de Janeiro chamado IEDE em 06/03/2004. Logo na primeira consulta, que foi uma entrevista longa com o Doutor psiquiatra eu relatei a ele, inclusive, um grande abalo psicológico e mental em virtude do meu trabalho na rede de educação municipal de Belford Roxo no cargo de professorx. Caminhavam juntos nesse momento a minha disforia de gênero e o meu adoecimento psicológico e mental. As pessoas questionam se a cirurgia realizada não curaria todos os meus problemas e adoecimentos psicológicos e mentais. Uma coisa é a disforia de gênero com indicação cirúrgica de redesignação sexual. Outra coisa é o transtorno afetivo bipolar. Outra coisa também é o preconceito. Também o assédio moral. Também o bullying, etc.
PRECONCEITO ERA RELATADO EM PROCESSOS ADMINISTRATIVOS
2006
FOLHA 05 - PROCESSO 04/3977/06 - Esse diretor já me fez passar por inúmeros constrangimentos ... sempre usando brincadeiras ridículas perante as pessoas debochando da minha sexualidade e inclusive me proibia de trabalhar de saia ou vestido from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Era desrespeitada no exercício da minha função, dava aulas sendo chamada de viado, discriminada, me jogavam terra. Os alunos realizaram manifestação na Escola, na SEMED e ao vereador local pedindo o meu retorno à Escola, que me aceitassem (04/2743/03) from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
FOLHA 03 DO PROCESSO ADMINISTRATIVO 04/2743/03 - Fiquei perturbada, fragilizada, desorientada, com os nervos pronto pra explodir, paranoica, EM DEPRESSÃO com as pessoas que ficavam me chamando de Xxxxxxxxx debochando da minha sexualidade - Discriminação from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
"sentimento de tristeza, desânimo, dificuldades para dormir, cheia de pensamentos, irritabilidade, sentindo-se um lixo ..." (texto transcrito do prontuário médico de 15/06/2004 IEDE)
Após o psiquiatra do IEDE diagnosticar a transexualidade, ele me encaminhou para o tratamento endócrinológico em março de 2004 iniciando oficialmente o processo transexualizador acompanhado por lá. Juntamente com antidepressivo e ansiolítico sedativo, eu fazia uso de hormônio feminino transdérmico e bloqueador antiandrogênico oral. Quando eu cheguei ao IEDE eu já fazia uso de hormônio, estrogênio e progesterona e tive que mudar o que eu já tomava a partir daí.
Usuária Faiza Khálida Fagundes Coutinho - "a pressão social e o constrangimento sofridos fizeram com que apresentasse sintomas de depressão, relatados pela psiquiatra no prontuário da usuária, e este fato a fez deixar de comparecer ao trabalho". IEDE from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
O hormônio estrogênio mexe com o psicológico e com o mental assim como a medicação psicotrópica também. Um dos sintomas que se desenvolveram em mim foi a depressão por exemplo. Eu já sentia depressão quando cheguei ao Hospital do IEDE e essa questão foi relatada em prontuário médico do Hospital. Outra questão agravante, era que eu tinha também o transtorno afetivo bipolar que só foi diagnosticado uns 7 anos depois. É normal haver o diagnóstico demorado do transtorno bipolar. O uso dos remédios psicotrópicos podem piorar o quadro de quem tem o transtorno bipolar quando não se tem a ciência desta doença mental, eclodindo mania, euforia, quadros de humor e sintomas psicóticos por exemplo.
Diagnóstico do transtorno bipolar leva até 10 anos ou mais
DOCUMENTOS MÉDICOS EM PROCESSOS ADMINISTRATIVOS DE 2003 JÁ APONTAVAM DEPRESSÃO E ADOECIMENTO PSÍQUICO E MENTAL
O Formulário de Referência do Centro Psiquiátrico do Rio de Janeiro consta de processos administrativos de 2003 da professora Faiza Khálida arquivados pela Procuradoria Municipal de Belford Roxo. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
MÉDICA PSIQUIATRA TÉCNICA DO SUS SOLICITA TRATAMENTO AMBULATORIAL PSIQUIÁTRICO EM 17/07/03 PARA A PROFESSORA TRANSEXUAL FAIZA KHÁLIDA DA REDE MUNICIPAL DE EDUCAÇÃO DE BELFORD ROXO. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Em 2009 nos primeiros meses, eu estive na secretaria municipal de educação levada por uma amiga também funcionária pública municipal da rede de educação de Belford Roxo mostrando o documento médico psiquiátrico da médica que me acompanhava desde maio de 2008 cientificando a Prefeitura Municipal essas minhas realidades a fim de comprovação médica: que eu estava doente, em acompanhamento psiquiátrico, usando medicação psicotrópica, comprometida psicológica e mentalmente para o trabalho e para a vida social; mas o próprio gestor da secretaria de educação, coagido, 2 semanas depois, me disse que iria esquecer que ele tinha recebido ciência desse documento médico porque ele estava sendo pressionado pelo supervisor educacional da secretaria municipal de educação que também atuava como assessor jurídico da procuradoria de Belford Roxo Jorge Silva. O interesse e a mobilização do grupo dominante da Prefeitura Municipal de Belford Roxo era pela minha condenação, pela minha exclusão e pelo silenciamento do que eu passava e passei inclusive em relação a minha saúde psicológica e mental.
2003
HISTÓRICO DE ADOECIMENTO PSÍQUICO NO TRABALHO E PEDIDO DE SOCORRO A PROCURADORIA DE BELFORD ROXO "Não me encontro em condições mentais de desenvolver as minhas atividades. Por Jesus Cristo, preciso de ajuda médica"
REGISTRO DO CENTRO DE ATENÇÃO PSICOSSOCIAL LESLIE CHAVIN 17/07/2003 - DEPRESSÃO diagnóstico sindrômico PROBLEMAS NO TRABALHO DE PROFESSOR EM BELFORD ROXO Histórico de adoecimento psíquico MEDICAÇÃO ENCAMINHAMENTO - professora municipal Faiza Khálida. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
SEGUNDA FOLHA DO REGISTRO DO CAPS DE DUQUE DE CAXIAS (17/07/2003) MEDICAMENTO DOSE DIÁRIA - DIAGNÓSTICO SINDRÔMICO - ENCAMINHAMENTO - ASSINATURA DA MÉDICA PSIQUIATRA TÉCNICA - CRM E CONFERÊNCIA COM O DOCUMENTO ORIGINAL. ADOECIMENTO PSÍQUICO FAIZA KHÁLIDA. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
NO VERSO DA PRIMEIRA FOLHA DO REGISTRO DO CENTRO DE ATENÇÃO PSICOSSOCIAL LESLIE CHAVIN DE DUQUE DE CAXIAS A MÉDICA PSIQUIATRA RELATOU POUCA MELHORA COM O ANTIDEPRESSIVO AMYTRIL QUE A PROFESSORA FAIZA KHÁLIDA ESTAVA USANDO HÁ 7 DIAS (17/07/2003). from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
PARTE DO PROCESSO DE 2003 escrito à mão COM ASSINATURA E MATRÍCULAS MUNICIPAIS. "... Peço a Prefeitura que custeie para mim um tratamento Psicológico e Psiquiátrico pois sei que não me encontro mais, depois de tudo isso, no meu senso normal ..." from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
O meu diagnóstico do transtorno bipolar foi fechado apenas em 2011 e somente após o diagnóstico houve melhora. Antes, eu tomava entre as medicações o antidepressivo por indicação médica mas sem considerar essa realidade, podendo isso ter contribuído para os outros quadros graves que eu apresentei como euforia e sintomas psicóticos.
Devido à intensificação de transtornos de ordem psicológica, no ano de 2008 a usuária Faiza Khálida faltou sucessivamente. A usuária Faiza Khálida desde maio de 2008 encontrava-se sob os cuidados da médica psiquiatra Dra. - RIO SEM HOMOFOBIA from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Em 2015 um médico psiquiatra do posto de saúde público municipal de Duque de Caxias que também já me medicou e uma psicóloga perita que faz inclusive perícias para o Tribunal de Justiça do estado do Rio de Janeiro me falaram que o uso dos hormônios durante o meu processo transexualizador também ajudou que eu tivesse apresentado esse quadro de adoecimento mental grave que me levou a demissão nas minhas duas matrículas municipais de Belford Roxo.
A sua especial condição de transexual lhe trazia inúmeros dissabores aos quais não lhe era dado suportar, injúria, agrura e constrangimento ilegal sofridos. Faiza passou a apresentar depressão, comportamento delirante persecutório e sintomas psicóticos from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
As perícias concluíram que não apenas o uso e o não uso dos hormônios e o uso das medicações psicotrópicas, mas também as alterações bioquímicas e hormonais ocorridas durante este processo influenciaram neste quadro de adoecimento juntamente com as questões que me eram estressoras relacionadas ao preconceito, assédio e bullying no trabalho.
Seu prenome masculino sempre lhe causou muito constrangimento, sobretudo atualmente, após a operação de reversão sexual. Seu prenome causa constante ridicularização sendo fonte de risos, chacotas e discriminação. (2005 DEFENSORIA PÚBLICA Faiza Khalida) from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Em 2010 os processos administrativos realizados pela Procuradoria Municipal de Belford Roxo e que originaram os atos administrativos que me demitiram não consideraram que eu estava doente conforme relatam as diversas referências médicas.
Os processos que levaram aos atos administrativos que me demitiram também não consideraram o processo transexualizador que eu realizava tão conhecido publicamente pelos Procuradores Municipais e funcionários das diversas secretarias do município de Belford Roxo como a de educação e das escolas em que eu trabalhava.
O uso dos medicamentos que eu fazia também não foram considerados nestes processos.
"Meu nome de homem foi uma agressão imposta. Eu só quero ter paz no trabalho. Faiza Khálida 35 anos, professora 2008"
"Após uma operação bem-sucedida na Tailândia, Faiza Khálida ainda enfrenta dificuldades em escola municipal"
"Professora transexual luta contra o preconceito
Quatro anos depois de se submeter a uma cirurgia para mudança de sexo, Faiza Khálida, de 35 anos, ainda sofre preconceito na escola em que leciona inglês, em Belford Roxo"
"Tenho tido dores-de-cabeça e chorado muito - conta Faiza"
"Trauma do passado - Faiza foi afastada da primeira escola municipal em que trabalhou pela diretora após começar a fazer mudanças no seu corpo e no seu modo de vestir"
20/08/2007
A Sra Faiza Khálida Fagundes Coutinho apresentava tristeza, falta de prazer nas atividades, choro fácil, irritabilidade, impaciência com os alunos, insônia, ansiedade, cefaleias frequentes e dificuldades para cumprir suas tarefas no trabalho (Dra Isabella Vieira Médica CRM 5268631-0)
20/08/2007 - A Sra Faiza Khálida apresentava tristeza, falta de prazer nas atividades, choro fácil, irritabilidade, impaciência com os alunos (era professora), insônia, ansiedade, cefaleias frequentes E DIFICULDADES PARA CUMPRIR SUAS TAREFAS NO TRABALHO from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
A pressão social, a vulnerabilidade social, os problemas sociais presentes como a transfobia relatada pelo Jornal Extra em 2008, a homofobia relatada em processos administrativos e o bullying escolar também não foram citados. Nem mesmo os setores de Assistência Social e Direitos Humanos da Prefeitura Municipal de Belford Roxo e a coordenadoria LGBT (Lésbicas, Gays, Bissexuais, Travestis, Transexuais e Transgêneros) me ligaram ou procuraram para me dar uma palavra de conforto, assistência. Até esses setores que deveriam apoiar grupos marginalizados foram também dominados pelo grupo político dominante.
Embora a Secretaria de Assistência Social e Direitos Humanos e a Coordenadoria LGBT da Prefeitura Municipal de Belford Roxo saibam da situação de vulnerabilidade, dificuldade, isolamento, exclusão e carência de apoio e serviços públicos que muitas transexuais e transgêneros se encontram na escola, no trabalho e na sociedade, eu nunca fui procurada por esses setores responsáveis pela assistência social a LGBTs da Prefeitura Municipal. Em 2011, me foi dito na SEMPOPU (Secretaria Municipal de Políticas Públicas de Belford Roxo) que eu parasse de recorrer da minha demissão, que eu parasse de apresentar documentos e pareceres médicos comprobatórios e não aparecesse mais na Prefeitura mesmo se ainda tivesse algo a dizer já que eu não era bem-vinda.
DIGA NÃO A TODAS AS FORMAS DE PRECONCEITO
NOVEMBRO DA DIVERSIDADE BELFORD ROXO
CAMPANHA DA PREFEITURA MUNICIPAL
PROCESSO 04/1497/03
"Fui humilhada muitas vezes. Tem muita gente que tem ódio de homossexual e o preconceito é muito grande nas escolas. É um ambiente doentio. Eu sendo professorx não aguentei"
Fui humilhada muitas vezes. Tem muita gente que tem ódio de homossexual e o preconceito é muito grande nas escolas. Eu sendo professora não aguentei. É um ambiente doentio. (Professora em processo transexualizador Faiza Khálida) - 04 de junho de 2003 from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Uma pessoa de minha família me levou ao programa Rio sem Homofobia para ter apoio psicológico e jurídico. Eles me encaminharam para o núcleo da Defensoria Pública especializado em Diversidade (NUDIVERSIS) que entrou na Justiça em Belford Roxo contra esse ato administrativo que me demitiu.
Louvado seja o Senhor Jesus Cristo para sempre.
Professora Faiza Khálida Fagundes Coutinho
Prefeitura Municipal de Belford Roxo
Matrículas 5508 e 14725
Identidade 09089680-4
CPF 024114147-81
CLICAR PARA ACESSAR OS LINKS:
1- Ameaça de morte, assédio, bullying, tratamento discriminatório e adoecimento psíquico mental quando eu trabalhava na Escola Municipal São Bento em 2002.
RECEITUÁRIO DE CONTROLE ESPECIAL PASSADO PELA MÉDICA PSIQUIATRA TÉCNICA DO CAPS DE DUQUE DE CAXIAS - MEDICAMENTO PARA DEPRESSÃO (17/07/2003) Professora transexual de Belford Roxo Faiza Khálida após relato de tratamento discriminatório no trabalho. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
REMÉDIO TAMBÉM PASSADO PELA PSIQUIATRA E HOMEOPATA TÉCNICA DO CAPS DE DUQUE DE CAXIAS EM 17/07/2003 - 2 TABLETS MANHÃ / TARDE / NOITE - (HOMEOPATIA) - Quadro depressivo - professora transexual Faiza Khálida da rede municipal de educação de Belford Roxo from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
RECEITUÁRIO DE CONTROLE ESPECIAL CENTRO PSIQUIÁTRICO RIO DE JANEIRO PRESCRIÇÃO AMITRIPTILINA 10/07/03. OS PRIMEIROS TRATAMENTOS PSICOLÓGICOS APÓS VIVÊNCIAS TRAUMÁTICAS NO TRABALHO e INÍCIO DO USO DE MEDICAMENTOS PSICOTRÓPICOS PARA CONSEGUIR TRABALHAR. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Medicamento / remédio psiquiátrico DIAZEPAM prescrito no Centro Psiquiatrico do Rio de Janeiro para a professora transexual Faiza Khálida em 10 de julho de 2003 após depressão profunda causada por discriminação no trabalho na educação de Belford Roxo from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Data 10 de julho de 2003 registro dos sintomas psiquiátricos no trabalho da rede municipal de educação de Belford Roxo. (Doença do trabalho na Prefeitura Municipal de Belford Roxo e sintomas depressivos). Relatos de discriminação em processos de 2003. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
REGISTRO DO CENTRO DE ATENÇÃO PSICOSSOCIAL LESLIE CHAVIN 17/07/2003 - DEPRESSÃO diagnóstico sindrômico PROBLEMAS NO TRABALHO DE PROFESSOR EM BELFORD ROXO Histórico de adoecimento psíquico MEDICAÇÃO ENCAMINHAMENTO - professora municipal Faiza Khálida. de Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Folha 03 do Processo 04/002061/03 - Diretora Vera e orientadora pedagógica Fátima da Escola Municipal São Bento sacanearam a professora Faiza Khálida mentindo em relatório técnico de 2002 dizendo que ela não entregou o planejamento from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
2- Buscando eu ajuda psicológica e iniciando o uso de medicamento contínuo para conseguir trabalhar em 2003 após vivencias traumáticas no trabalho.
O Formulário de Referência do Centro Psiquiátrico do Rio de Janeiro consta de processos administrativos de 2003 da professora Faiza Khálida arquivados pela Procuradoria Municipal de Belford Roxo. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
PARTE DO PROCESSO DE 2003 escrito à mão COM ASSINATURA E MATRÍCULAS MUNICIPAIS. "... Peço a Prefeitura que custeie para mim um tratamento Psicológico e Psiquiátrico pois sei que não me encontro mais, depois de tudo isso, no meu senso normal ..." from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
MÉDICO PSIQUIATRA EDGAR TAVARES DA CLÍNICA DE REABILITAÇÃO CASA DAS PALMEIRAS ENCAMINHOU PROFESSORA TRANSEXUAL FAIZA KHÁLIDA DA REDE DE EDUCACAO DE BELFORD ROXO PARA PSICOTERAPIA AMBULATORIAL EM 21 DE JULHO 2003 - ADOECIMENTO PSÍQUICO from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
NO VERSO do encaminhamento do médico Edgar Tavares da Clínica Casa das Palmeiras FOI ESCRITO O TELEFONE E O ENDEREÇO DO AMBULATÓRIO DO IPUB (Ufrj) - Encaminhando professora Faiza Khálida para psicoterapia ambulatorial em 21/7/2003 from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
MÉDICA PSIQUIATRA TÉCNICA DO SUS SOLICITA TRATAMENTO AMBULATORIAL PSIQUIÁTRICO EM 17/07/03 PARA A PROFESSORA TRANSEXUAL FAIZA KHÁLIDA DA REDE MUNICIPAL DE EDUCAÇÃO DE BELFORD ROXO. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
3- Processo administrativo 04/14/97/03 - Assunto: Homofobia - AMBIENTE DOENTIO - onde registrei - "Eu sendo professorx não aguentei a homofobia. O preconceito é muito grande nas escolas municipais. Fui humilhada muitas vezes. É um ambiente doentio".
Prefeitura Municipal de Belford Roxo - Protocolo 04/001497/03 - Requerente: Xxxxxx (Faiza Khálida) Fagundes Coutinho - Matrículas 5508 e 14725 - professora em processo transexualizador - Assunto: Homofobia - Data: 04/06/2003 - escrito à mão from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Tem muita gente que tem ódio de homossexual e o preconceito é muito grande nas escolas, é um ambiente doentio. PROCESSO 04/001497/03 página 03 - 04 de junho de 2003 - Prefeitura Municipal de Belford Roxo - Assunto: HOMOFOBIA from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Fui humilhada muitas vezes. Tem muita gente que tem ódio de homossexual e o preconceito é muito grande nas escolas. Eu sendo professora não aguentei. É um ambiente doentio. (Professora em processo transexualizador Faiza Khálida) - 04 de junho de 2003 from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
4- PROCESSO ADMINISTRATIVO 04/2061/03 - Apresentei o Formulário Referência do Centro Psiquiátrico Rio de Janeiro de 10/07/2003 que também consta em vários outros processos administrativos: "MUITA CEFALEIA, INSÔNIA, MUITO AGRESSIVA, CHORA COM FACILIDADE, VONTADE DE SE MATAR, TRISTEZA, CID PSIQUIÁTRICO E SOLICITAÇÃO DE ATENDIMENTO E CONSULTAS PSIQUIÁTRICAS".
O Formulário de Referência do Centro Psiquiátrico do Rio de Janeiro consta de processos administrativos de 2003 da professora Faiza Khálida arquivados pela Procuradoria Municipal de Belford Roxo. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
MÉDICA PSIQUIATRA TÉCNICA DO SUS SOLICITA TRATAMENTO AMBULATORIAL PSIQUIÁTRICO EM 17/07/03 PARA A PROFESSORA TRANSEXUAL FAIZA KHÁLIDA DA REDE MUNICIPAL DE EDUCAÇÃO DE BELFORD ROXO. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Folha 03 do Processo 04/002061/03 - Diretora Vera e orientadora pedagógica Fátima da Escola Municipal São Bento sacanearam a professora Faiza Khálida mentindo em relatório técnico de 2002 dizendo que ela não entregou o planejamento from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Processo Administrativo da Prefeitura Municipal de Belford Roxo relata mentira usada em relatório técnico de 2002 para excluir professora transexual Faiza Khálida da escola e documentos médicos com CID psiquiátrico e sintomas depressivos from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Processo administrativo 04/2061/03 - Prefeitura Municipal de Belford Roxo - Estado do Rio de Janeiro - A professora Faiza Khálida em processo transexualizador de 30 anos foi atendida na emergência em 10/07/2003.CID psiquiátrico - Folha 04 from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
5- Processo Administrativo 04/2743/03 - Assunto: PROVIDÊNCIAS POR DISCRIMINAÇÃO - Vem requerer providências pela DISCRIMINAÇÃO por orientação sexual que sofri na Escola Municipal São Bento em cumprimento a lei. - Assédio Moral, Danos Morais, Discriminação, Relatório criminoso. "ERA DESRESPEITADA NO EXERCÍCIO DA MINHA FUNÇÃO. DAVA AULAS SENDO CHAMADA DE VIADO, ME JOGAVAM TERRA". "FIQUEI PERTURBADA, FRAGILIZADA, DESORIENTADA, COM OS NERVOS PRONTOS PRA EXPLODIR, PARANOICA, EM DEPRESSÃO COM AS PESSOAS QUE FICAVAM ME CHAMANDO DE VIADINHO DEBOCHANDO DA MINHA SEXUALIDADE". Também constam o Formulário Referência do Centro Psiquiátrico Rio de Janeiro e solicitação da médica do CAPS de tratamento psiquiátrico.
PROCESSO ADMINISTRATIVO NÚMERO 04/002743/03 - Assunto: PROVIDÊNCIAS POR DISCRIMINAÇÃO - Data: 07/10/2003 - PREFEITURA MUNICIPAL DE BELFORD ROXO - Requerente: Xxxxxx FAGUNDES COUTINHO (PROFESSORA FAIZA KHÁLIDA) de Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
EXCELENTÍSSIMO SENHOR PREFEITO DO MUNICÍPIO DE BELFORD ROXO Vem requerer a Vossa Excelência que se digne a conceder: Providências pela discriminação por orientação sexual que sofri na Escola Municipal São Bento em cumprimento a lei estadual número 3406/00 from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
FOLHA 03 DO PROCESSO ADMINISTRATIVO 04/2743/03 - Fiquei perturbada, fragilizada, desorientada, com os nervos pronto pra explodir, paranoica, EM DEPRESSÃO com as pessoas que ficavam me chamando de Xxxxxxxxx debochando da minha sexualidade - Discriminação from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Era desrespeitada no exercício da minha função, dava aulas sendo chamada de viado, discriminada, me jogavam terra. Os alunos realizaram manifestação na Escola, na SEMED e ao vereador local pedindo o meu retorno à Escola, que me aceitassem (04/2743/03) from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
O relatório criminoso discriminatório da diretora Vera Lúcia Castelar de 2002 sobre meu desempenho técnico usado para me excluir da Escola Municipal São Bento foi assinado apenas por 2 pessoas que não exerciam na Escola funções de nível superior. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Procurador Municipal e Presidente da Comissão Permanente de Inquérito Administrativo José Domingos Lucena (mat 11/20.972) diz no processo 04/002743/03 em 24/10/2005 que a professora Leila Bonine deve ser convidada a ler a lei antidiscriminatória from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
O Formulário de Referência do Centro Psiquiátrico do Rio de Janeiro consta de processos administrativos de 2003 da professora Faiza Khálida arquivados pela Procuradoria Municipal de Belford Roxo. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
MÉDICA PSIQUIATRA TÉCNICA DO SUS SOLICITA TRATAMENTO AMBULATORIAL PSIQUIÁTRICO EM 17/07/03 PARA A PROFESSORA TRANSEXUAL FAIZA KHÁLIDA DA REDE MUNICIPAL DE EDUCAÇÃO DE BELFORD ROXO. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
6- Diretora Vera Lúcia Castelar (mat. 53165) preparou relatório técnico criminoso em 2002 para me afastar da Escola Municipal São Bentos nas 2 matrículas. Eu fui ameaçada de ruína completa por causa deste relatório pela subsecretária de educação Rosângela Maria Gonçalves de Oliveira em 2002 e ameaçada de morte caso chegasse a 100 metros da escola em que eu trabalhava sofrendo discriminação. Após eu pedir reparação pelos DANOS, AMEAÇAS, CONSTRANGIMENTOS E TRAUMAS que me ocorreram por causa deste relatório técnico analisado também pelos 8 supervisores educacionais entre eles Jorge Silva (mat. 54368) , Antônio Carlos Lustosa (mat. 54434) e Joelma Milão, o relatório sumiu dentro da secretaria municipal de educação de Belford Roxo sendo anunciado em 2005 como se ele nunca tivesse existido. Eu continuava sendo tratada como homem na secretaria de educação mesmo após cirurgia transgenital.
7- Em 2005 a reportagem do Jornal O Dia informava que eu havia começado a tomar hormônios 3 anos antes em processo transexualizador. Mesmo após cirurgia e decisão judicial o nome social ainda não era mudado no diário da escola e na ficha funcional. Nesse momento o diretor da escola municipal Jorge Ayres me proibia de usar saia ou vestido conforme relatei em processo de 2006.
8- Em 2007, voltei a caminhar para o agravamento do meu estado mental revivendo traumas do passado na rede de educação em Belford Roxo após orientadora Conceição dizer que eu deveria sair da escola por ser transexual, promover inquérito administrativo disciplinar contra mim, ameaça de morte e dificuldades como abaixo-assinado para sair da escola.
20/08/2007 - A Sra Faiza Khálida apresentava tristeza, falta de prazer nas atividades, choro fácil, irritabilidade, impaciência com os alunos (era professora), insônia, ansiedade, cefaleias frequentes E DIFICULDADES PARA CUMPRIR SUAS TAREFAS NO TRABALHO from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Usuária Faiza Khálida Fagundes Coutinho - "a pressão social e o constrangimento sofridos fizeram com que apresentasse sintomas de depressão, relatados pela psiquiatra no prontuário da usuária, e este fato a fez deixar de comparecer ao trabalho". IEDE from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
9- Em dezembro de 2007, Procurador-Geral de Belford Roxo Lorival Almeida de Oliveira e José Domingos Lucena abriram inquérito promovido pela orientadora Conceição que me dizia que eu não podia estar na escola Jorge Ayres por ser transexual. A advogada da Secretaria Estadual de Direitos Difusos pediu cópia do processo para ela poder me defender. Não me foi permitido ter cópia do processo nem mesmo quando fui intimada a assinar a punição administrativa na secretaria de educação, sendo lá tratada como homem.
10- O contexto profissional em 2008 me causava abatimento e depressão, os meus 2 aparelhos de som que eu utilizava para dar aulas foram roubados ao mesmo tempo nas 2 escolas municipais em que eu lecionava. A orientadora da escola teria tratado com o rapaz que entrou na escola para danificar minha câmera digital na sala dos professores na frente dela.
11- O relatório discriminatório da diretora Vera Lucia Castelar em 2003 me ocasionou diversos danos inclusive psicológicos, mentais e administrativos, este relatório foi usado para me ameaçar, coagir e chantagear. No relatório técnico da diretora constava a mentira que eu não havia entregado o planejamento. Isso causava indignação inclusive da professora que havia entregado o planejamento junto comigo.
CLICAR AQUI TAMBÉM PARA LER SOBRE OS DANOS ME OCASIONADOS PELO RELATÓRIO TÉCNICO DISCRIMINATÓRIO DE 2002 DA DIRETORA VERA CASTELAR SOBRE MIM.
12- Em 2008 eu não conseguia desenvolver as minhas atividades devido ao meu quadro mental. A pressão social e o constrangimento sofrido fizeram com que eu apresentasse sintomas como depressão relatados em prontuários médicos, e este fato me fez deixar de comparecer ao trabalho.
13- Secretaria Municipal de Educação de Belford Roxo e Procuradoria Municipal silenciaram o preconceito que eu passei na rede pública de educação.
14- O julgamento fundamentalista religioso moral condenatório da identidade de gênero e da orientação sexual, piadinhas, deboches, ofensas, agressões e desrespeitos no trabalho me causavam cefaleia, choro, tristeza, ideação suicida e depressão desde 2003. Esse preconceito social cisnormativo me levava ao sofrimento e a ideação suicida.
15- A médica psiquiatra atestou em maio de 2008 que dificilmente haveria solução do meu quadro de adoecimento mental porque não havia resolução dos problemas sociais e referentes ao meu trabalho que me estressavam.
16- Para me condenar em inquérito administrativo disciplinar, procurador-geral de Belofrd Roxo Lorival Almeida de Oliveira mentiu em processo declarando que eu havia recebido cópia de processo, não permitindo que a advogada da Secretaria Estadual de Direitos Humanos e Difusos do Estado do Rio de Janeiro recebesse cópia do processo.
17- Orientadora pedagógica mobilizava para me tirar da escola. Vivenciava o isolamento.
18- Funcionários públicos municipais de Belford Roxo desrespeitavam a identidade de gênero de transexuais e transgêneros.
19- Transfobia que sofri no banheiro da Prefeitura em 13/10/2008 com o subsecretário Paulo Allevato RG 3473270 IFP.
20- Uma semana após eu ser levada em 2009 a secretaria municipal de educação de Belford Roxo por uma colega também funcionária pública do município mostrando ao subsecretário de educação Miguel de Sousa Ramiro o laudo médico atestando que eu estava comprometida para o trabalho e para a vida social, o subsecretário municipal de educação Miguel de Sousa Ramiro me disse pelo seu telefone celular que esqueceria que ele tinha conhecimento do laudo médico psiquiátrico porque ele tinha que obedecer as ordens do supervisor Jorge Silva (mat. 54368).
21- Em tudo o que me acontecia no meu trabalho de professora da rede municipal de Belford Roxo, nos documentos e relatórios administrativos, não era admitida essa realidade que eu enfrentava com todos os medos, embates, incertezas, discriminações, constrangimentos, prejuízos emocionais e psicológicos. Na escola, eu me sentia um ser do outro mundo em espetáculo circense, alvo do julgamento, conceitos e preconceitos de todos os agentes. As mudanças hormonais, físicas e cerebrais também não eram levadas em conta quando se avaliava minha conduta profissional. Eu era uma funcionária pública julgada fora da minha realidade que eu sou, fui e vivia. Somadas as alterações físicas eu tinha osteopenia, hérnias de disco com irradiação nas pernas e braços, fraturas, grande redução e aumento de peso chegando aos 100 kg, pressão alta e baixa. Eu atravessava um processo transexualizador. O direito à saúde que eu tinha por ser diagnosticada transexual não era apenas a questão da cirurgia transgenital paga com minhas economias de trabalho. Era um processo de adequação física, psicológica,mental, profissional, afetiva e social.
22- Relatório, ocorrência, inquérito, reunião e abaixo-assinado pela minha saída da escola municipal Jorge Ayres de Lima a partir da chegada da orientadora Conceição em 2007.
23- História - professora Faiza Khálida da rede municipal de educação de Belford Roxo.
24- Procuradora Municipal Débora Fernandes C. Pinto (mat. 80/28.585) indicada e fundamentalista religiosa, de posse do meu laudo médico psiquiátrico comprobatório de transtorno bipolar incapacitante, CRM, endereço e telefone da médica que me avaliava desde maio de 2008 e relato sobre problemas sociais relacionados a transexualidade, transfobia, homofobia, assédio e bullying, ignorou tudo e negou por 2 vezes a solicitação determinando que eu ficasse excluída do serviço público de Belford Roxo municipal.
25- A minha doença transtorno bipolar com sintomas psicóticos.
Louvado O Senhor Jesus Cristo para sempre.
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This Photo was taken on 05th mar 2011. This was a Personal Photo walk with a view to
Explore , Ramna Park , Dhaka, BANGLADESH, Ramna Park is the oldesr and Biggest park at Dhaka city, This was established during the British rules back and before 1947, This Park carries Heritage of civilization of Dhaka people, The Botanic Importance has emerge the park in many fold,
Besides Our National Calendar Year Celebration [Pohela Boishak] Takes place here at Commonly known as RAMNA BOTOMUL area. Before and even after 071 the park had a Wonderful restaurant , and presently its no more existing ,
There are many rear Breed of Flowers trees Like MANDA, Polash, Shimul. Canon Ball, Shegun, Gorjon, Chambal, Tetul, Korai, Champa, Pakoir,[ Plz Note all are Local name of th trees ] and many more unknown breeds are shedding the area for the people visiting and refreshing their mind and passing time with nature.
Adjacent to Ramna park, the other heritage bearing sports field is Commonly known now as Shawrawardi Uddan, early in Pakistan period , this was named as Race Course Moydan ,because The Horse Racing been played here till 1971, and the other establishment around Ramna park is our great Dhaka Club, Hotel Sheraton and Shishu park.
Beside the Sheraton Hotel , BARDEM HOSPITAL & PG Hospital also co located to this park which made the park avenue a rich and common use facilities for the peace loving people of Dhaka , BANGLADESH ,
My Photo walk along with my Shutter mate MS Karim bashir made a venture to collect few Images representing the value of PARK and Botanical impression here in this flickr community,
Hope you like this.
Plz Visit RAMNA PARK Here
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wychbury.blogspot.com/2012/02/hooked.html
In February of 2010, Lesley and I did and interview for the UK handmade blog and the final question we were both asked was 'If you had time to learn a new skill, what would it be?'. Lesley answered 'Tatting' and my answer was : 'crocheting – using vintage thread of course. Also bookkeeping, I need all the help I can get with that one!'
The brain splinter I had the whole time was to be able to make vintage looking five petalled flowers in faded old threads to include in Medieval/Victorian workbox inspired accessories. I think I'd got the idea from these lace samples I'd bought at a vintage fair www.flickr.com/photos/wychbury/3866930573/in/ set-72157612....
Well this Christmas I'd asked for 'The Happy Hooker' book and I bought a set of hooks from ebay but still to no avail, I just couldn't wrap my yarn around it! Once again the crochet got shelved and I resigned myself to askill unmastered. until my lovely friend Sharon stepped in. Almost immedietly on our arrival for tea at her house, she put a hook, some sparkly yarn and a glass of white in my hand and informed me quite bluntly that I was not leaving until I had made a granny square. She knew all along that she could teach me but I was a little resistant, I'd tried and tried after all and my loops were still tight and my yarn was still split. But with a quiet, smiling certainty Sharon insisted that if I followed her instructions I could do it - anyone can.
She firmly corrected me when I screwed it up, when I got it right she encouraged me in a 'Of course that's right - it's that simple' kind of a way and one glass later I had a 3" piece of very wobbly double crochet in sparkly teal wool. OK then, moving on - straight headlong into the granny square, guess what - it's easy! My friend's approach is that she is 'sharing' rather than teaching, she has a discovered something joyful and firmly insists to the most unsuspecting people that they share in the joy. The yarn and hook is presented as a binding contract between giver and receiver and you feel unable to fail. And she is right, we DO need crochet like we need those new boots or NY vanilla cheesecake, we will forgo sleep for it and work on a blanket in public unashamed.
As you can see I have now completed my first project with the balls of James C Brett Twinkle as bequeathed by my tutor, mentor and possibly my religious leader! My knee rug is 120cm square and used up more or less every scrap of Twinkle Yarn I had. I had since met some amazing crochetists and discovered some wonderful online recources. I'm never going to be in their league I don't think, I will always be a fabric and thread kind of a girl at heart, but what about my vntage flowers? Well using this wonderful tutorial from Applehead, they too are becoming a reality! applehead.typepad.com/applehead/crochet_flowe rs/ I am definitely needing some even smaller hooks that the 2mm one I have used so far and I may also need a magnifier if I'm honest but my first attempts are encouraging and I am looking forward to combining them with some old pearl beads and bronze findings to combine my new skill with some Wychbury style! www.flickr.com/photos/wychbury/6901502491/in/ photostream/
Happy Hooking!
Paula x
Many thanks to Sharon Lambert, Chrissie Freeth at The Yorkshire Craft Co. folksy.com/shops/TheYorkshireCraftCompany, Christine Harvey of Rose Cottage Crafts www.etsy.com/shop/RoseCottageCraftsUK?ref=pr_ shop_more, Lucy's attic24.typepad.com/
Our Lady & The English Martyrs, Cambridge
stepneyrobarts.blogspot.co.uk/2013/02/our-lady-english-ma...
Yesterday I revisited St Peter for internals and finished of Cambridge, visiting seven Victorian built churches only one of which, Our Lady & The English Martyrs, is worth writing up.
At first sight I wrote OLEM off as a Victorian Gothic monstrosity but as I wandered around the exterior I was struck by the quality of the building and the interior stunned me with lots of rather good glass and impressive architecture (oh and apart from three revisits, Babraham, Guilden Morden and Stow cum Quy, that finished the north west quadrant).
The Church of Our Lady and the English Martyrs, or OLEM, is situated in the heart of the city of Cambridge. An imposing example of the 19th Century Gothic Revival, it was built to the designs of Dunn & Hansom of Newcastle between 1885 and 1890, and founded solely by Mrs Yolande Marie Louise Lyne-Stephens, a former ballet dancer at the Paris Opera and Drury Lane, London, and widow of a wealthy banker. She promised to build the church on the feast of Our Lady of the Assumption, and Monsignor Christopher Scott - the first Rector - also wished to commemorate the Catholic Martyrs who died between 1535 and 1681, over thirty of whom had been in residence at the University.
Designed by architects Dunn and Hansom of Newcastle and built by the Cambridge firm of Rattee and Kett, OLEM is constructed in Casterton, Ancaster and Combe Down Stone. The church is a traditional cruciform structure in the early-decorated style with a large tower at the crossing, a polygonal apse and a west bell tower with a 65-metre spire, visible for miles around Cambridge. Quite often, it is quoted by visitors and local residents as a location point. The approximate internal dimensions of the church are: length 48 meters [156 ft] width across the aisles 16 meters [51 ft] width at the transepts 22 meters [71 ft], the height of the nave 15 meters [71ft].
Inside and over the west door stands the figure of Our Lady of the Assumption crowned with lilies and standing on the crescent moon with the vanquished serpent beneath. The west window shows the English Martyrs arranged in two principal groups, the clergy on the south side with St John Fisher in their midst and the laity on the north grouped round St Thomas More.
Beside the South aisle is an ancient statue of Our Lady with the Child Jesus. This statue is understood to be a gift in 1850 from Emmanuel College, which was built on the site of a Dominican Priory dating back to 1274. The Church of the Black Friars of Cambridge contained a statue of Our Blessed Lady to which much pilgrimage was had. Although unconfirmed this could be that statue.
The Chapel of the Holy Souls with the book of Remembrance is located at the west end of the south aisle. The sculpture above the altar depicts the solace and relief of the Holy Souls in Purgatory through the intercession of Our Lady and the angel who comforted Our Lord in Gethsemane. The Chapel is now appropriately used at the two great Christian celebrations: at Easter for the Empty Tomb indicating the Risen Lord, and at Christmas for the Crib.
The aisle windows were almost completely destroyed when the church was struck by a bomb on 1941, but were subsequently replaced in their original form. They epitomise the various sufferings of the English Martyrs, their being brought before the Council, racked, hung, drawn and quartered in the sight and sympathy of the faithful. The windows of the north aisle portray Carthusians, St Thomas Moore, B. Margaret Pole and others, while the south aisle is made a “Fisher Aisle”, devoted to scenes from the life of St John, Cardinal Bishop of Rochester, who in so many important ways is identified with Cambridge.
The best general impression of the interior is obtained from the gateway in the iron screen dividing the nave from the ante-chapel. The heads of the four great preachers of Our Lady’s Graces are carved in the four corners of the nave. The windows along the nave represent saints connected with the Church in Britain, arranged approximately in chronological order from east to west with a few additional figures in the eastern windows.
The Rood which is between the nave and the sanctuary is of the type known as “Majestas”; the figure of Our Lord, with glorified wounds, robed in alb, stole and pallium [as High Priest] and crowned [as King “reigning from the Tree”]. This was the earliest type of crucifix; the realistic figure, now almost universal, did not come into general use until the beginning of the thirteenth century. The cross, inspired by that at Nuremberg, is about 6 metres high, carved in oak; the figures of Christ and of Our Lady and of Saint John are of Kauri pine. They were carved locally by Mr. B. Maclean Leach and completed and blessed in 1914.
Beyond the present, modern altar is the High Altar with the relics of Saints Felix and Constantia, martyrs of the early Church. The tabernacle and ornaments of the altar are of exquisite French workmanship from Lyons. The baldacchino which covers the High Altar is similar to that over the tomb of Robert the Wise (1275-1343) at Santa Chiara, Naples. It is one of the earliest forms of adornment of a Christian altar. At the top is the figure of Our Lord in glory supported on each side by angels in act of adoration.
The design and the re-ordering of the sanctuary was done by Mr. Gerard Goalen of Harlow after the Second Vatican Council. On 7th April, 1973, Bishop Charles Grant consecrated the present central. The original High Altar has subsequently been used mainly for reservation of the Blessed Sacrament.
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
Eliss -$2.99- Already one of my favorite iPhone games from 2009, Eliss plays even better on an iPad. In order to master this game, you'll need to get good at using both hands to manage all the action on screen. Luckily the iPad's larger screen works in your favor with this addictive app.
IsoWords -$1.99- The larger screen totally works in your favor for selecting letters in this 3 dimensional Boggle like game. I was a fan of the pass-to-play feature before, but now I can lend my iPad to a friend and play multi-player over wifi using my iPhone.
Saucelifter -$1.99- The graphics look even better on the iPad than on the iPhone in this stylish take on the classic Choplifter genre. The controls are a bit sensitive at first, but you can adjust them in the options menu.
PAC-MAN Championship Edition -$2.99- Admittedly, I'm a big fan of the paku-paku franchise, but I didn't really grok the iPhone version till I rocked it on the iPad. It totally brings back memories of Friday night's at the skate rink. There are several different control interfaces available, but I recommend the swipe "joystick" control.
Platypus -$4.99- All I have to say is "claymation videogame" and I know I already have your attention. Most of the games on this list look great on an iPad because they happen to use vector graphics, but for whatever reason this non-vector artwork scales wonderfully onto the iPad's screen. Platypus also has local multi-player mode, so if you have an iPhone and an iPad you are all set to multiplay with friends with just one app purchase.
Ground Effect -$2.99- Ground Effect is like F-Zero with ekranoplans. The graphics port to the iPad well, and the rendering is nice and fast. Ground Effect also has several options for viewing the game in 3D anaglyph, so dig out those red/cyan glasses you have laying around.
Light Bike -$2.99- I honestly feel this game is virtually unplayable on the iPhone, but it's perfect for the iPad. Now it's way easier to navigate those split-second right-angle maneuvers.
Surfacer -Free- Surfacer is a great time-killing game about filling negative space.
Plants Versus Zombies -$2.99- You could pay $10 (!!!) for the iPad version of this game, but I felt the iPhone version didn't look too bad on the larger screen and only costs $3. Again, why pay 3 times as much for something that isn't iPhone compatible? Now the graphics of the iPhone version are a little blurry on the Pad, but they still look pretty good.
Racer Coaster -$0.99- This 3D racing game pits you against crazy curvy roads and obstacles. Fans of the classic Hard Drivin' games will love this game on the iPad, but not so much on the iPhone.
Fieldrunners -$2.99- Like PvZombies, the difference between Fieldrunners and Fieldrunners HD is certainly not worth triple the price. Maybe the developers will take some time in the future to make a more unique experience for the iPad to justify the increased price, but currently the old version of Fieldrunners works just fine for me.
Galcon Labs -$0.99- Like real time Risk in space, Galcon is another classic iPhone game that benefits from the larger screen real estate without losing too much visual. I'd also like to note that while the iPad version of this game is $10, he developer has really gone out of his way to create a unique experience for the iPad rather than a straightforward copy.
Star Defense -$0.99- There are hundreds of Tower Defense games to choose from, but Star Defense seemed to shine out on the iPad.
Bike Or Die 2 -$5.99- This game really made my last overseas flight go by quickly. I was pleased to see the game looks and feels great on the iPad too. Tons of maps to keep you playing for weeks.
Bit Pilot -$0.99- Bit Pilot is a pixelized shooter in which you try to avoid getting smashed by asteroids, but what really keeps me playing is Sabrepulse's anthemic chiptune soundtrack... which sounds fantastic on the iPad's speakers. Pro tip; use two fingers on the screen to control your ship at 2X speed.
Horror Racing -$0.99-
The steering wheel interface works much better on this larger screen and the graphics don't seem to take a big hit from the higher resolution.
C64 -Free- C64 is a Commodore emulator with tons of free games from the classic system. Unfortunately C64's UI looks extremely blurry on the iPad, the actual game screen itself looks nice and sharp. Luckily you remove most of the UI by keeping your device in horizontal view to full size the game screen. Retro heaven.
Time Loop -$0.99- This fun single player co-operative looks great on the iPad and is an easy puzzler for any age to get into.
Totemo -$0.99- Another puzzler that's just a good way to kill time and doesn't look too bad on your iPad.
Sentinel -$1.99- I was really impressed with how nice these graphics look on the iPad. The Sentinel games were some of my favorite iPhone games from last year, but not every graphic heavy iPhone game looks as good as this does on the iPad.
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
IU Kokomo Cougars First Year Men's Basketball Club part of vision for next year NAIA. Men's Basketball vs Marian University
Michael Harris IU Kokomo, Chancellor IU Kokomo, Vision for Cougar Sports, Cougar Club Sports, NAIA Conference. Athletics IU Kokomo Cougars, Chancellor IUK,
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IU Notable Alumni
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Michael Harris Chancellor, IU Kokomo Athletics, NAIA, Michael Harris academic, Chancellor IU Kokomo led Intercollegiate Sports and NAIA
Chancellor Michael Harris Initiating Club Sports and Leading IU Kokomo to NAIA Conference, פרופסור מייקל הריס
Chancellor Michael Harris, IU Kokomo - , Vision - Initiating Club Sports and Leading IU Kokomo to join NAIA Conference - Historic.
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Chancellor Michael Harris IUK - On the Move
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kokomoperspective.com/news/local_news/freshman-increase-d...
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www.youtube.com/watch?v=uD3exIJ-hGs
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IU Notable Alumni
en.wikipedia.org/wiki/List_of_Indiana_University_(Bloomington)_people
kokomoperspective.com/local_sports/cougar-women-s-volleyb...
whotalking.com/flickr/Chancellor
m.kokomoperspective.com/joe-biden-michael-harris-barack-o...
kokomoperspective.com/milt-cole-and-chancellor-michael-ha...
kokomoperspective.com/search/?t=article&q=michael+harris
indianasportsjournal.com/2012/04/17/cougars-join-ranks-of...
en.wikipedia.org/wiki/Michael_Harris_%28academic%29
nciia.org/network/conference/2010/presenters/michael_harris
www.facultyfocus.com/articles/academic-leadership/academi...
prezi.com/mqmsmgcgni1u/iu-kokomomoving-forward/
tackk.com/michaelharrischancellor
tackk.com/michaelharrischancellor
blogs.forbes.com/people/michaelharrischancellor/
The Big Move, Visioned, Initiated and Implemented by Chancellor Michael Harris IU Kokomo:
www.youtube.com/watch?v=mJIe0t6aDEU
mydigimag.rrd.com/article/Up_Front/706709/67528/article.html
www.kokomoherald.com/Content/Sports/Area-Sports/Article/I...
avoyership13.moxai.com/chan-7603525/all_p2.html
kokomoperspective.com/xtra/education/indiana-university-k...
www.dailymail.co.uk/tvshowbiz/article-1392163/Rod-Stewart...
www.dailymail.co.uk/tvshowbiz/article-1392282/Alessandra-...
www.dailymail.co.uk/tvshowbiz/article-1392115/Christie-Br...
www.dailymail.co.uk/tvshowbiz/article-1392071/Tamara-puts...
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www.dailymail.co.uk/tvshowbiz/article-1392094/Geri-Halliw...
www.dailymail.co.uk/tvshowbiz/article-1392017/Aubrey-ODay...
www.dailymail.co.uk/femail/article-1392213/How-love-need-...
maizehutton.blogspot.com/2011/02/house-that-love-built.html
You will find me.
We'll buy some land in the country and build our house by hand.
Everything inside will be made by us.
We'll have a front porch with a swing.
In the back will be a garden where we'll grow our own food & flowers.
We'll sit on the porch swing every evening and watch the sunset.
Then, one day we'll be blessed with a blond curly haired, brown eyed girl with cupid's bow lips and will fill the house with 6 of them.
Our home will be showered with laughter every day and we'll both stay there to teach them.
You'll have a place to work and when you're ever away, you'll return to have your girls yell 'Daddy's Home!'
They'll run out the door to embrace you and you'll be surrounded by bouncy yellow curls and sweet little faces hugging and kissing you.
You'll smile at me and I'll smile back, knowing we'd made this promise to each other.
And when we're old and the last girl has left, we'll curl up together on that porch swing and watch the sunset.
When the time comes for us, we'll both lie down,
cuddled together in a lace of arms and legs.
God will take us at the same time and the girls will know it was the way we were meant to leave.
Together.
For we will travel into the next life arm in arm.
There will be no sadness.
Only love.
The girls will understand.
They'll be proud of us and miss us.
That is how we'll leave our mark.
Six beautiful, happy, loving girls who will teach their children to love.
Because they grew up in....
The house that love built.
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.
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
Mémoire2cité il existe de nos jours, de nombreux photographes qui privilégient la qualité artistique de leurs travaux cartophiles. A vous de découvrir ces artistes inconnus aujourd’hui, mais qui seront peut-être les grands noms de demain. archipostcard.blogspot.com/search?updated-max=2009-02-13T... - museedelacartepostale.fr/periode-semi-moderne/ - archipostalecarte.blogspot.com/ - museedelacartepostale.fr/blog/ - museedelacartepostale.fr/exposition-permanente/ - www.queenslandplaces.com.au/category/headwords/brisbane-c... - collection-jfm.fr/t/cartes-postales-anciennes/france#.XGe... - www.cparama.com/forum/la-collection-de-cpa-f1.html - www.dauphinomaniac.org/Cartespostales/Francaises/Cartes_F... - furtho.tumblr.com/archive
le Logement Collectif* 50,60,70's, dans tous ses états..Histoire & Mémoire d'H.L.M. de Copropriété Renouvellement Urbain-Réha-NPNRU., twitter.com/Memoire2cite tout içi sig.ville.gouv.fr/atlas/ZUS/ - media/InaEdu01827/la-creatio" rel="noreferrer nofollow">fresques.ina.fr/jalons/fiche-media/InaEdu01827/la-creatio Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,
www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije : mécanisation, rationalisation et élaboration industrielle de la production. Des exemples concrets sont présentés afin d'illustrer l'utilisation des différentes innovations : les coffrages outils, coffrage glissant, le tunnel, des procédés pour accélérer le durcissement du béton. Le procédé dit de coffrage glissant est illustré sur le chantier des tours Pablo Picasso à Nanterre. Le principe est de s'affranchir des échafaudages : le coffrage épouse le contour du bâtiment, il s'élève avec la construction et permet de réaliser simultanément l'ensemble des murs verticaux. Au centre du plancher de travail, une grue distribue en continu le ferraillage et le béton. Sur un tel chantier les ouvriers se relaient 24h / 24 , www.dailymotion.com/video/xwytke?playlist=x34ije , www.dailymotion.com/video/x1bci6m?playlist=x34ije
Le reportage se penche ensuite sur la préfabrication en usine. Ces procédés de préfabrication en usine selon le commentaire sont bien adaptés aux pays en voie de développement, cela est illustré dans le reportage par une réalisation en Libye à Benghazi. Dans la course à l'allégement des matériaux un procédé l'isola béton est présenté. Un chapitre sur la construction métallique explique les avantage de ce procédé. La fabrication de composants ouvre de nouvelles perspectives à l'industrie du bâtiment.
Lieux géographiques : la Grande Borne 91, le Vaudreuil 27, Avoriaz, Avenue de Flandres à Paris, tours Picasso à Nanterre, vues de la défense, Benghazi Libye
www.dailymotion.com/playlist/x34ije_territoiresgouv_cinem... - mémoire2cité - le monde de l'Architecture locative collective et bien plus encore - mémoire2cité - Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,
Le Joli Mai (Restauré) - Les grands ensembles BOBIGNY l Abreuvoir www.youtube.com/watch?v=eUY9XzjvWHE … et la www.youtube.com/watch?v=hK26k72xIkU … www.youtube.com/watch?v=xCKF0HEsWWo …
Genève Le Grand Saconnex & la Bulle Pirate - architecte Marçel Lachat -
Un film de Julien Donada içi www.youtube.com/watch?time_continue=1&v=4E723uQcpnU … … .Genève en 1970. pic.twitter.com/1dbtkAooLM è St-Etienne - La muraille de Chine, en 1973 ce grand immeuble du quartier de Montchovet, existait encore photos la Tribune/Progres.
www.youtube.com/watch?v=AJAylpe8G48 …, - la tour 80 HLM située au 1 rue Proudhon à Valentigney dans le quartier des Buis Cette tour emblématique du quartier avec ces 15 étages a été abattu par FERRARI DEMOLITION (68). VALENTIGNEY (25700) 1961 - Ville nouvelle-les Buis 3,11 mn www.youtube.com/watch?v=C_GvwSpQUMY … - Au nord-Est de St-Etienne, aux confins de la ville, se dresse une colline Montreynaud la ZUP de Raymond Martin l'architecte & Alexandre Chemetoff pour les paysages de St-Saens.. la vidéo içi * Réalisation : Dominique Bauguil www.youtube.com/watch?v=Sqfb27hXMDo … … - www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije : mécanisation, rationalisation et élaboration industrielle de la production. Des exemples concrets sont présentés afin d'illustrer l'utilisation des différentes innovations : les coffrages outils, coffrage glissant, le tunnel, des procédés pour accélérer le durcissement du béton. Le procédé dit de coffrage glissant est illustré sur le chantier des tours Pablo Picasso à Nanterre. Le principe est de s'affranchir des échafaudages : le coffrage épouse le contour du bâtiment, il s'élève avec la construction et permet de réaliser simultanément l'ensemble des murs verticaux. Au centre du plancher de travail, une grue distribue en continu le ferraillage et le béton. Sur un tel chantier les ouvriers se relaient 24h / 24 , www.dailymotion.com/video/xwytke?playlist=x34ije , www.dailymotion.com/video/x1bci6m?playlist=x34ije
Le reportage se penche ensuite sur la préfabrication en usine. Ces procédés de préfabrication en usine selon le commentaire sont bien adaptés aux pays en voie de développement, cela est illustré dans le reportage par une réalisation en Libye à Benghazi. Dans la course à l'allégement des matériaux un procédé l'isola béton est présenté. Un chapitre sur la construction métallique explique les avantage de ce procédé. La fabrication de composants ouvre de nouvelles perspectives à l'industrie du bâtiment.
la Grande Borne 91, le Vaudreuil 27, Avoriaz, Avenue de Flandres à Paris, tours Picasso à Nanterre, vues de la défense, Benghazi Libye 1975 Réalisateur : Sydney Jézéquel, Karenty
la construction des Autoroutes en France - Les liaisons moins dangereuses 1972 www.dailymotion.com/video/xxi0ae?playlist=x34ije - Ministère de l'Équipement et de l'Aménagement du Territoire - Dotation par la France d'autoroutes modernes "nécessité vitale" pour palier à l'inadaptation du réseau routier de l'époque voué à la paralysie : le reportage nous montre des images d'embouteillages. Le ministre de l'Équipement et de l'Aménagement du Territoire dans les deux gouvernements de Pierre Messmer, de 1972 à 1974, Olivier Guichard explique les ambitions du programme de construction qui doit atteindre 800 km par ans en 1978. L'ouverture de section nouvelles va bon train : Nancy / Metz par exemple. Le reportage nous montre l'intérieur des bureaux d'études qui conçoivent ces autoroute dont la conception est assistée par ordinateurs dont le projet d'ensemble en 3D est visualisé sur un écran. La voix off nous informe sur le financement de ces équipements. Puis on peut voir des images de la construction du pont sur la Seine à Saint Cloud reliant l'autoroute de Normandie au périphérique, de l'échangeur de Palaiseau sur 4 niveau : record d'Europe précise le commentaire. Le reportage nous informe que des sociétés d'économies mixtes ont étés crées pour les tronçons : Paris / Lille, Paris / Marseille, Paris / Normandie. Pour accélérer la construction l’État a eu recours à des concessions privées par exemple pour le tronçon Paris / Chartres. "Les autoroutes changent le visage de la France : artères économiques favorisant le développement industriel elles permettent de revitaliser des régions en perte de vitesse et de l'intégrer dans le mouvement général de l'expansion" Sur le plan européen elles vont combler le retard de la France et réaliser son insertion. Images de l'inauguration de l'autoroute entre Paris et Bruxelles par le président Georges Pompidou. Le reportage rappel que l'autre fonction capitale des autoroute est de favoriser la sécurité. La question de la limitation de vitesse est posée au ministre de l’Équipement, qui n'y est favorable que sur certains tronçons. Un des facteur de sécurité selon le commentaire est l'humanisation des autoroutes : aires de repos, restaurants, signalisation touristiques... "Rien n'est impossible aux techniques modernes" nous apprend la voix off qui prend comme exemple le déplacement sur rail de 65 mètres d'un château classé afin de faire passer l'autoroute Lille / Dunkerque.Durée : 4 minutes 30 secondes
Sur les routes de France les ponts renaissent 1945 reconstruction de la France après la Seconde Guerre mondiale www.dailymotion.com/video/xuxrii?playlist=x34ije , Quelques mois après la fin de la Seconde Guerre mondiale, un triste constat s'impose : 5 944 passages sont coupés, soit plus de 110 km de brèches ; de nombreuses villes se trouvent isolées.Les chantiers s'activent dans toute la France pour "gagner la bataille des communications routières". Mais outre la pénurie de main d’œuvre, il faut faire face au manque de matériaux (béton, métal) et donc déployer des trésors d'imagination pour reconstruire les ponts détruits. Si le savoir faire des tailleurs de pierre est exploité, le plus spectaculaire est le relevage des ponts, comme le pont de Galliéni à Lyon, où 7 à 800 tonnes d'acier sont sorti de l'eau avec des moyens de l'époque. En avril 1945, il reste 5 700 ponts à reconstruire soit 200 000 tonnes d'acier, 600 000 tonnes de ciment, 250 000 m3 de bois, 10 millions de journées d'ouvrier, prix de l'effort de reconstruction.1945
Auteurs / réalisateurs : images : G.Delaunay, A.Pol, son : C.Gauguier Production : Direction Technique des Services des Ponts et Chaussées / Ministère des Travaux Publics et des Transports Support original : 16 mm noir et blanc Durée : 14 min Thèmes principaux : infrastructures-ouvrages d'art Mot clés : chantier, pont, Reconstruction, restauration, béton précontraint, ministère des travaux publics et des transports
Lieux : Lyon, Tournon, Caen - Le Bosquel, un village renait 1947 l'album cinématographique de la reconstruction, réalisation Paul de Roubaix production ministère de la Reconstruction et de l'Urbanisme, village prototype, architecte Paul Dufournet, www.dailymotion.com/video/xx5tx8?playlist=x34ije - Demain Paris 1959 dessin animé présentant l'aménagement de la capitale dans les années 60, Animation, dessin animé à vocation pédagogique visant à promouvoir la politique d’aménagement suivie dans les années 60 à Paris. Un raccourci historique sur l’extension de Paris du Moyen Âge au XIXe siècle (Lutèce, œuvres de Turgot, Napoléon, Haussmann), ce dessin animé retrace la naissance de la banlieue et de ses avatars au XXe siècle. Il annonce les grands principes d’aménagement des villes nouvelles et la restructuration du centre de Paris (référence implicite à la charte d’Athènes). Le texte est travaillé en rimes et vers. Une chanson du vieux Paris conclut poétiquement cette vision du futur. Thèmes principaux : Aménagement urbain / planification-aménagement régional Mots-clés : Banlieue, extension spatiale, histoire, quartier, ville, ville nouvelle Lieu géographique : Paris 75 Architectes ou personnalités : Eugène Haussmann, Napoléon, Turgot Réalisateurs : André Martin, Michel Boschet Production : les films Roger Leenhardt
www.dailymotion.com/video/xw6lak?playlist=x34ije - Rue neuve 1956 la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, villes, villages, grands ensembles réalisation : Jack Pinoteau , Panorama de la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, ce film de commande évoque les villes et villages français détruits puis reconstruits dans un style respectant la tradition : Saint-Malo, Gien, Thionville, Ammerschwihr, etc. ainsi que la reconstruction en rupture avec l'architecture traditionnelle à Châtenay-Malabry, Arles, Saint Étienne, Évreux, Chambéry, Villeneuve-Saint-Georges, Abbeville, Le Havre, Marseille, Boulogne-sur-Mer, Dunkerque. Le documentaire explique par exemple la manière dont a été réalisée la reconstruction de Saint-Malo à l'intérieur des rempart de la vieille ville : "c'est la fidélité à l'histoire et la force du souvenir qui a guidé l'architecte". Dans le même esprit à Gien, au trois quart détruite en 1940, seul le château construit en 1494 pour Anne de Beaujeu, fille aînée de Louis XI, fut épargné par les bombardements. La ville fut reconstruite dans le style des rares immeubles restant. Gien est relevé de ses ruines et le nouvel ensemble harmonieux est appelé « Joyau de la Reconstruction française ». Dans un deuxième temps est abordé le chapitre de la construction des cités et des grands ensembles, de l’architecture du renouveau qualifiée de "grandiose incontestablement". S’il est précisé "on peut aimer ou de ne pas aimer ce style", l’emporte au final l’argument suivant : les grands ensembles, c'est la campagne à la ville, un urbanisme plus aéré, plus vert." les films caravelles 1956, Réalisateur : Jack Pinoteau (connu pour être le metteur en scène du film Le Triporteur 1957 qui fit découvrir Darry Cowl) www.dailymotion.com/video/xuz3o8?playlist=x34ije , Film d'archive actualités de 1952 Reconstruction de la France sept ans après la fin de la seconde guerre mondiale état des lieux de la crise du logement , Actualités de 1952. Sept ans après la fin de la seconde guerre Mondiale état des lieux de la reconstruction de la France et de la crise du logement à l’œuvre, pénurie de logement, logements insalubres. Les actualités montrent des images d'archives de la destruction de la France, les Chars de la division Leclerc qui défilent sur les Champs Elysees. Le commentaire dénonce la lenteur de la reconstruction et notamment des manifestations qui ont eu lieue à Royan afin d''accélérer la reconstruction de la ville détruite.Le film montre à Strasbourg, Mulhouse, des réalisation moderne de grands ensembles et des images d'archive de la reconstruction du Havre de Saint Nazaire.Le film se termine à Marseille sur les réalisation nouvelles autour du vieux port puis on assiste à l'inauguration de la Cité Radieuse par le ministre de la Reconstruction et de l'Urbanisme Eugène Claudius-Petit en présence de son architecte Le Corbusier à qui le ministre remet la cravate de commandeur de la légion d'honneur. www.dailymotion.com/video/xk1g5j?playlist=x34ije Brigitte Gros - Urbanisme - Filmer les grands ensembles 2016 - par Camille Canteux chercheuse au CHS -Centre d'Histoire Sociale - Jeanne Menjoulet - Ce film du CHS daté de 2014 www.youtube.com/watch?v=VDUBwVPNh0s … L'UNION SOCIALE POUR L'HABITAT le Musée des H.L.M. musee-hlm.fr/ union-habitat.org/ - EXPOSITION :LES 50 ANS DE LA RESIDENCe SALMSON POINT-Du JOUR www.salmsonlepointdujour.fr/pdf/Exposition_50_ans.pdf - Sotteville Construction de l’Anjou, le premier immeuble de la Zone Verte sottevilleaufildutemps.fr/2017/05/04/construction-de-limm... - www.20minutes.fr/paris/diaporama-7346-photo-854066-100-an... - www.ladepeche.fr/article/2010/11/02/940025-140-ans-en-arc... dreux-par-pierlouim.over-blog.com/article-chamards-1962-9... missionphoto.datar.gouv.fr/fr/photographe/7639/serie/7695...
ציירים ישראלים אמנים ישראליים יוצרים עכשוויים אומנים מודרניים
ראו בקישור מספר ציורים אורגינאלים והדפסים ענקיים שישנם והם למכירה בסטודיו
naiveartprints.blogspot.com/2021/11/blog-post.html
רפי פרץ
סטודיו רחוב התחייה 22 תל אביב
טלפון 0525543715
אימייל rafi@art4collector.com
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.ציורים עיצוב הבית סגנונות עיצובי פנים סגנון מודרני יוקרתי הום סטיילינג מעצבי הפנים העיצוב הישראלי המודרני היוקרתי תמונות לעיצוב הבית ציורים לסלון לחדר שינה למטבח לשירותים ציור בסלון בחדר השינה במטבח בשרותים אמנות ישראלית בבית אומנות הישראלית בבתים מעצבים לך את היצירה בדירה צירה חדשנית מקורית דירות חדשניות מקוריות יוקרתיות תמונות מותאמות לספה למיטה רעיונות בתכנון הסלון המטבח סלון משרד מטבח משרדים סלונים ספות יפות צבעוניות טקסטורות טיפ והדרכה בתיכנון צבע לקיר צבעים לקירות קיר בהיר קירות בהירים משטח ככה משטחים כהים חלל מינימליסטי חללים מינימליסטיים צבעים לבן שחור אדום כתום כחול תכלת סגול צהוב ירוק בצבעים לבנים שחורים אדומים כתומים כחולים סגולים צהובים ירוקים באדום בכתום בצהוב בירוק בכחול בסגול בשחור בלבן מדרגות מרחפות מדרגה מרחבת חדרי ילדים מבוגרים הורים תינוקות דקורציה של הבתים הום דקור תל אביב חיפה ירושלים באר שבע חולון בת יום ראשון לציור אשדוד גבעתיים רמת גן פתח תקווה הרצליה נתינה חיפוי לקיר חיפויים לקירות בריקים הקיר הלבן סגנונות של דירות כפרי עמוס דקורטיבי כפריים חלל גדול קטן חללים גדולים קטנים ארונות שידות ארון דישה שולחן שולחנות כיסא כיסאות חלון חלונות מנורה מנורות אביזר אביזרים לבית פרטי לבתים פרטיים גינה גינות בחוץ בפנים חוץ פנים חרב תחושה מרחב מרחבים צרו קשר צור קשרים בקישור הבא ליצירה הקשר המעצב הפרטים העיצוב הפרטי אישי אינטימי רומנטי אווירה רומנטית אווירה נקייה רפי פרץ צייר ישראלי אמן עכשווי מודרני ציירים ישראלים אמנים ישראליים אומנים עכשוויים מודרניים יוצרים חדשניים מקוריים אומנות ישראלית עכשווית מודרנית חדשנית מקורית אמן ישראלי עכשווי מודרני חדשני מקורי יוצר יצירות ישראליות עכשוויות מודרניות מקוריות חדשניות התמונה היפה התמונות היפות הציור המיוחד הציורים המיוחדים הצייר הישראלי העכשווי המודרני הישראלי האמן החדשני המקורי האמנים הישראליים העכשוויים המודרניים המקוריים החדשניים המעצבים
raphael perez painter artist Paintings Home Design Styles Interior Design Upscale Modern Style Home Styling Interior Designers Upscale Modern Israeli Design Home Decor Paintings For Living Room For Bedroom Kitchen For Toilet Painting For Living Room In The Bedroom In The Kitchen Israeli Art At Home Israeli Art In Homes Design Your Work In The Apartment Original Innovative Art Original Luxury Tailor-made pictures Bed design ideas Kitchen living room Living room Office kitchen Offices Living rooms Beautiful sofas Colorful textures Tip and guidance in color planning Wall colors Wall walls Light walls Light surface Dark surfaces Minimalist spaces Minimalist colors White black red orange Blue light blue Purple Yellow yellow Black white Oranges Blue Purple Yellow Green In Red In Orange In Yellow In Blue In Purple In Black In White Floating Stairs Staircase Room Adult Children Rooms Parents Babies Home Decor Home Decoration Tel Aviv Haifa Jerusalem Beer Sheva Holon Sunday Painting Ashdod Givatayim Ramat Gan Petah Tikva Herzliya Giving Wall Cladding White wall bricks styles of rustic apartments laden with decorative rustic large space small spaces c Small dolls Chests of drawers Wardrobe Closet table Tables Chairs Window windows Lamp Lamps Accessories Home appliances Private homes Garden Gardens Outside interior Exterior Interior Sense Space Spaces Contact us Contact us at the following link Contact designer Private private intimate Romantic atmosphere Clean atmosphere Rafi Peretz Israeli painter modern contemporary artist Israeli painters Israeli artists modern contemporary artists original innovative artists original contemporary modern Israeli art original innovative modern contemporary Israeli artist creates original contemporary contemporary Israeli works The beautiful pictures The beautiful Israeli modern special paintings The unique Israeli paintings Original Contemporary Israeli Artists The original innovative innovative designers
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.
Image Credit: NASA. . For more information Visit NASA's Multimedia Gallery You may wish to consult NASA's
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Additional information from source:
In 2002, NASA produced the Blue Marble, the most detailed true-color image of the Earth's surface ever produced. Using data from NASA’s Terra satellite, scientists stitched together four months of observations of the land surface, coastal oceans, sea ice, and clouds into a seamless, photo-like mosaic of every square kilometer (.386 square mile) of our planet. In October 2005, the creators of the Blue Marble released a new version of the spectacular image collection that provides a full year's worth of monthly observations with twice the level of detail as the original called the Blue Marble: Next Generation.
Like the original, the Blue Marble: Next Generation is a mosaic of satellite data taken mostly from a NASA sensor called the Moderate Resolution Imaging Spectroradiometer (MODIS) that flies board NASA’s Terra and Aqua satellites.
Blue Marble: Next Generation improves the techniques for turning satellite data into digital images, providing greater detail in areas that usually appear very dark to the satellite (because a large amount of sunlight is being absorbed), for example in dense tropical forests. The ability to create a digital image that provides great detail in darker regions without 'washing out' brighter regions, like glaciers, snow-covered areas, and deserts is one of the great challenges of visualizing satellite data. The new version also improves image clarity, and gives highly reflective bodies of water a more realistic appearance.
Image Credit: NASA
[crosseye stereograph, see 3D with your right eye on the left image, and left on right.]
Knott's Berry Farm.
Cedar Fair Entertainment Company.
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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..
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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..
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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..
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* 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..
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^ RIDERS MUST BE TALLER THAN THIS TO RIDE ^.
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WARNING.
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dsc00005, 2011.08.17 19.19, 3D, Knott's Berry Farm, WindSeeker, from parking lot
el.kingdomsalvation.org/special-topic/mysteryofincarnatio...
«Για όσους θα σωθούν, η χρηστική αξία του Πνεύματος είναι πολύ κατώτερη από αυτή της σάρκας: Το έργο του Πνεύματος είναι ικανό να καλύψει ολόκληρο το σύμπαν, να διαπεράσει όλα τα βουνά, τα ποτάμια, τις λίμνες και τους ωκεανούς, αλλά το έργο της σάρκας σχετίζεται πιο αποτελεσματικά με κάθε άτομο, με το οποίο έχει επαφή. Επιπλέον, η σάρκα του Θεού με απτή μορφή μπορεί να γίνει καλύτερα κατανοητή και να την εμπιστευτεί ο άνθρωπος και μπορεί να εμβαθύνει περαιτέρω τη γνώση του ανθρώπου για τον Θεό και να αφήσει στον άνθρωπο μια πιο βαθιά εντύπωση για τις πραγματικές πράξεις του Θεού. Το έργο του Πνεύματος περιβάλλεται από μυστήριο κι έτσι, είναι δύσκολο για τα θνητά όντα να το κατανοήσουν κι ακόμα πιο δύσκολο να το δουν κι έτσι, μπορούν να στηριχθούν μόνο σε κενές φαντασιώσεις. Το έργο της σάρκας, ωστόσο, είναι κανονικό, βασίζεται στην πραγματικότητα, διαθέτει πλούσια σοφία και είναι γεγονός που μπορεί να παρατηρηθεί και από τα μάτια του ανθρώπου. Ο άνθρωπος μπορεί προσωπικά να βιώσει τη σοφία του έργου του Θεού και δεν χρειάζεται να χρησιμοποιεί την πλούσια φαντασία του. Αυτή είναι η ακρίβεια και η πραγματική αξία του έργου του ενσαρκωμένου Θεού. Το Πνεύμα μπορεί να κάνει μόνο πράγματα που είναι αόρατα για τον άνθρωπο και που είναι δύσκολο να τα φανταστεί κανείς, όπως, για παράδειγμα, η διαφώτιση του Πνεύματος, η κίνηση του Πνεύματος και η καθοδήγηση του Πνεύματος, αλλά για τον νοήμονα άνθρωπο, αυτά δεν παρέχουν κάποιο σαφές νόημα. Παρέχουν μόνο ένα συγκινητικό ή ένα ευρύ νόημα και δεν μπορούν να δώσουν οδηγίες με λέξεις. Το έργο του ενσαρκωμένου Θεού, ωστόσο, είναι πολύ διαφορετικό: Έχει ακριβή καθοδήγηση μέσω λέξεων, έχει σαφές θέλημα και έχει σαφείς στόχους που απαιτεί. Κι έτσι, ο άνθρωπος δεν χρειάζεται να ψάχνεται ή να χρησιμοποιεί τη φαντασία του, πόσο μάλλον να κάνει εικασίες. Αυτή είναι η σαφήνεια του έργου στη σάρκα και η μεγάλη του διαφορά από το έργο του Πνεύματος. Το έργο του Πνεύματος είναι κατάλληλο μόνο για ένα περιορισμένο πεδίο και δεν μπορεί να αντικαταστήσει το έργο της σάρκας. Το έργο της σάρκας δίνει στον άνθρωπο πολύ ακριβέστερους και αναγκαίους στόχους και πολύ πιο πραγματική, πολύτιμη γνώση απ’ ότι το έργο του Πνεύματος».
από το «Η διεφθαρμένη ανθρωπότητα έχει περισσότερο ανάγκη τη σωτηρία του ενσαρκωμένου Θεού»
Πηγή εικόνας: Εκκλησία του Παντοδύναμου Θεού
Όροι Χρήσης: el.kingdomsalvation.org/disclaimer.html
The Toronto Plaque website explains the significance of this sculpture, located [i]n front of the parking garage of the building on the east side of Berti Street just north of Richmond Street East", quoting its 2010 Heritage Toronto plaque. Here's what it says:
The adjacent York County Coat of Arms and the female figure inside the entrance once adorned the York County Registry Office, formerly located on this site. Commissioned by the County in 1941, the sculptural reliefs were created by Jacobine Jones, a leader in the field of architectural sculpture, who later became the Director of Sculpture at the Ontario College of Art. These sculptures remained with the building when the County left this site in the mid-1960s. Before demolition of the old building in 2008, the sculptures were removed. They were reinstalled on the present building in 2010.
"Deeds Speak" was the motto of the 3rd Regiment of York Militia, and has survived the liquidation of old York County to remain the motto of York Regional Police.
Wikipedia's article on Jacobine Jones provides a convenient overview of the life of this sculptor, most active in the mid-20th century.
el.kingdomsalvation.org/listen-to-His-word-obey-Him.html
I
Ο Θεός δεν νοιάζεται
αν κάποιος είν' ασήμαντος
ή και σπουδαίος.
Αρκεί ο άνθρωπος
ν' ακούει τον Θεό,
να υπακούει σ' ό,τι
ο Θεός διατάζει κι εμπιστεύεται,
και τότε θα μπορεί να συνεργάζεται
στο έργο Του,
στο σχέδιό Του και στο θέλημά Του,
έτσι το θέλημα και το σχέδιό Του
ανεμπόδιστα να προχωρούν,
τέτοιες πράξεις αξίζουν,
αξίζουν την ενθύμηση από τον Θεό,
κι αξίζουν να λάβουν
την ευλογία Του.
Ο Θεός θεωρεί πολύτιμους
τέτοιους ανθρώπους
και εκτιμάει τις πράξεις τους,
καθώς και την καρδιά
και την τρυφερή
στοργή τους γι' Αυτόν.
Αυτ' είναι του Θεού η στάση.
II
Ο Θεός δεν νοιάζεται
αν κάποιος είν' ασήμαντος
ή και σπουδαίος.
Αρκεί ο άνθρωπος
ν' ακούει τον Θεό,
να υπακούει σ' ό,τι
ο Θεός διατάζει κι εμπιστεύεται,
και τότε θα μπορεί να συνεργάζεται
στο έργο Του,
στο σχέδιό Του και στο θέλημά Του,
έτσι το θέλημα και το σχέδιό Του
ανεμπόδιστα να προχωρούν,
τέτοιες πράξεις αξίζουν,
αξίζουν την ενθύμηση από τον Θεό,
κι αξίζουν να λάβουν
την ευλογία Του.
Ο Θεός θεωρεί πολύτιμους
τέτοιους ανθρώπους
και εκτιμάει τις πράξεις τους,
καθώς και την καρδιά
και την τρυφερή
στοργή τους γι' Αυτόν.
Αυτ' είναι του Θεού η στάση.
από το βιβλίο «Ο Λόγος Ενσαρκώνεται»
Χριστιανικά τραγούδια
Πηγή εικόνας: Εκκλησία του Παντοδύναμου Θεού
Όροι Χρήσης： el.kingdomsalvation.org/disclaimer.html
Explore: Aug 13, 2008 #409
I am the flag of the United States of America.
I was born on June 14, 1777, in Philadelphia.
There the Continental Congress adopted my stars and stripes as the national flag.
My thirteen stripes alternating red and white, with a union of thirteen white stars in a field of blue, represented a new constellation, a new nation dedicated to the personal and religious liberty of mankind.
Today fifty stars signal from my union, one for each of the fifty sovereign states in the greatest constitutional republic the world has ever known.
My colors symbolize the patriotic ideals and spiritual qualities of the citizens of my country.
My red stripes proclaim the fearless courage and integrity of American men and boys and the self-sacrifice and devotion of American mothers and daughters.
My white stripes stand for liberty and equality for all.
My blue is the blue of heaven, loyalty, and faith.
I represent these eternal principles: liberty, justice, and humanity.
I embody American freedom: freedom of speech, religion, assembly, the press, and the sanctity of the home.
I typify that indomitable spirit of determination brought to my land by all my forefathers...
I am as old as my nation.
I am a living symbol of my nation's law: the Constitution of the United States and the Bill of Rights.
I voice Abraham Lincoln's philosophy: "A government of the people, by the people,for the people."
I stand guard over my nation's schools, the seedbed of good citizenship and true patriotism.
I am displayed in every schoolroom throughout my nation; every schoolyard has a flag pole for my display.
Daily thousands upon thousands of boys and girls pledge their allegiance to me and my country.
I have my own law—Public Law 829, "The Flag Code" - which definitely states my correct use and display for all occasions and situations.
I have my special day, Flag Day. June 14 is set aside to honor my birth.
Americans, I am the sacred emblem of your country. I symbolize your birthright, your heritage of liberty purchased with blood and sorrow.
I am your title deed of freedom, which is yours to enjoy and hold in trust for posterity.
If you fail to keep this sacred trust inviolate, if I am nullified and destroyed, you and your children will become slaves to dictators and despots.
Eternal vigilance is your price of freedom.
As you see me silhouetted against the peaceful skies of my country, remind yourself that I am the flag of your country, that I stand for what you are - no more, no less.
Guard me well, lest your freedom perish from the earth.
Dedicate your lives to those principles for which I stand: "One nation under God, indivisible, with liberty and justice for all."
I was created in freedom. I made my first appearance in a battle for human liberty.
God grant that I may spend eternity in my "land of the free and the home of the brave" and that I shall ever be known as "Old Glory," the flag of the United States of America.
Liberty State Park
Jersey City, NJ
Collaboration beetween Biennalist and Ultracontemporay
Art Format
www.emergencyrooms.org/formats.html
en.wikipedia.org/wiki/Thierry_Geoffroy
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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Geoffroy normally works with art formats like the EMERGENCY ROOM
to stimulate urgent expression by artist about today 's emergencies :
www.emergencyrooms.org/formats.html
www.colonel.dk contact : emergencyrooms@gmail.comThierry Geoffroy/ Colonel will be exhibiting in the museum Kunsthalle Mannheim from october 2018 part of the exhibition Konstruktion der Welt .Kunst und Ökonomie
Constructing the World: Art and Economy 1919-1939 and 2008-2018
10/12/18 to 02/03/19
Ten years after the peak of the global financial crisis in 2008, which profoundly shook the economic systems of America and Europe and had a lasting effect on present-day life, this topical exhibition is the first to illustrate the economy’s dramatic influence on art and to make global comparisons, demonstrating these in an analysis of two separate eras. Economic phenomena in the classical modernism of the 1920s and 30s are not only explored by focusing on art from the German Weimar Republic, the Soviet Union, and the United States, but also juxtaposed with artists of the present day.
Curatorial team: Dr. Eckhart Gillen (Berlin), Dr. Ulrike Lorenz, Dr. Sebastian Baden
Project Lead: Dr. Inge Herold, Assistence: Lisa Valentina Riedel, M. A. mult., Elisabeth Bohnet, M.A.
How does contemporary art reflect the world of work today? The catalogue for the second part of the exhibition Constructing the World at the Kunsthalle Mannheim takes a look at this question. The focus of it is primarily on artistic positions of the past decade that deal with the social, political, and economic effects of the most recent economic crisis after 2008. The works address and interrogate new production conditions and developments on the labor market as well as political conflicts. The accompanying publication provides fascinating insights into the diverse artistic positions.
Artists participating 2008-2018
Maja Bajevic - BBM (Observers of Operators of Machines) - Bureau d'Études - Claire Fontaine - Jacques Coetzer - Abraham Cruzvillegas - Szilárd Cseke - Chto Delat - Jeremy Deller - Simon Denny - Tatjana Doll - Harun Farocki & Antje Ehmann - Thierry Geoffroy - Andreas Gursky - Thomas Hirschhorn - Olaf Holzapfel - Sanja Iveković - Charles Lim Yi Yong - Maha Maamoun - José Antonio Vega Macotela - Tobias Rehberger - Oliver Ressler & Dario Azzellini - Mika Rottenberg - Superflex - Zefrey Throwell - Volume V - Maya Zack - Artur Żmijewski
Artists participating 1919-1939
Berenice Abbott - Gerd Arntz - Lester Thomas Beall - Thomas Hart Benton - George Biddle - John Biggers - Peter Blume - Margaret Bourke-White - Jacob Burck - Clarence Holbrook Carter - Charlie Chaplin - Ottilie Cieluszek - Ralston Crawford - Francis Hyman Criss - Stuart Davis - Alexander A. Deineka - Rudolf Dischinger - Otto Dix - Nikolaj A. Dolgorukow - Arthur Durston - Sergej M. Eisenstein - Fred Ellis - Walker Evans - Philip Evergood - Conrad Felixmüller - Hans Finsler - Max Gebhard - Hugo Gellert - John R. Grabach - Otto Griebel - William Gropper - Carl Grossberg - George Grosz - Hans Grundig - Kurt Günther - O. Louis Guglielmi - John Heartfield - Werner Heldt - Karl Hubbuch - Eric Johansson - Joe Jones - Grethe Jürgens - William Karp - Lewis W. Hine - Hannah Höch - Heinrich Hoerle - Edward Hopper - Hermann Otto Hoyer - Edward McKnight Kauffer - Gerhard Keil - Gustavs Klucis - Käthe Kollwitz - Pawel D. Korin - Valentina N. Kulagina - Wilhelm Lachnit - Fritz Lang - Wladimir W. Lebedew - Jack Levine - El Lissitzky - Arkadi Lobanow - Louis Lozowick - Sergej A. Lutschischkin - Reginald Marsh - Carl Mayer - László Moholy-Nagy - Dimitri Moor - Reinhold Nägele - Otto Nagel - Alice Neel - Oskar Nerlinger -Solomon B. Nikritin - Alice Lex-Nerlinger - Gerta Overbeck - Werner Peiner - Kusma S. Petrow-Wodkin - Juri I. Pimeno w - Natalia Pinus - Michail M. Plaksin - Jackson Pollock - Curt Querner - Climent N. Redko - Albert Renger-Patzsch - Serafima V. Rjangina - Alexander Rodtschenk o - Theodore Roszak - Walter Ruttmann - Leni Riefens tahl - Nikolaus Sagrekov - Alexander N. Samochwalow - Paul Sample - August Sander - Arkadi S. Schaichet - Rudolf Schlichter - Wilhelm Schnarrenberger - Georg Scholz - Franz Wilhelm Seiwert - Ben Shahn - Charles Sheeler - Georgi und Wladimir A. Stenberg - Warwara Stepanowa - Paul Strand - Miklos Suba - Ernst Thoms - Alexander G. Tyschler - Bumpei Usui - Konstantin A. Vialov - Karl Völker - Wladimir A. Wassiljew - Dsiga Wertow - Piotr W. Wiljams - Grant Wood - Gustav Wunderwald - Ekaterina S. Zernova - Heinrich Zille
www.colonel.dk contact : emergencyrooms@gmail.com
#artformats #artformat #formatart #biennale #biennalism #biennalecritic
#ARTIVISM #streetartist #politicalartist #activistartist #Epigrammatists #socialcommentary
#premonitionart #avantgardeart #inadvanceart #urbanartist #InstitutionalCritique
#artintime #onlineart
#toolate
thierry.geoffroy #thierrygeoffroy #artistrole
#biennalist #Biennalism #biennalecritic
#exhibition #contemporaryart #
#artandeconomy #kunsthallemannheim #museum #mannheim#thierrygeoffroycolonel
#kuma #kumamuseum
GP500 motorcycle windshields
The History of Bimota motorcycle company
The Beginning
In September 1972, Massimo Tamburini crashed his Honda 750 Four at the Misano racetrack. The accident left him with three broken ribs. If the accident hadn't occurred, Bimota may never have come into existence. While Massimo was recuperating, he constructed a tubular steel frame that could withstand the horsepower being produced by the big Japanese manufacturer's engines. The frame Massimo constructed lowered the center of gravity and reduced the weight of the original Honda. With the creation of the HB1, the Bimota was born. Only ten of these bikes were ever produced.
The Bimota Name
The Bimota name was derived from its founder's initials; Bianchi, Morri and Tamburini. However, it was the enthusiasm and engineering excellence of Massimo Tamburini that carried the Company to success. In the 1970s, Bimota produced racing frames that caught the attention of serious bike racers. Frames such as the YB1, YB2, YB3 and HDB1, HDB2 and SB1, were of superior quality and the perception of what a racing bike should be was changed forever.
New Market
Bimota discovered a new market niche in 1977. The Company began to produce exclusive high performance bikes. Some of these bikes were sold in the form of kits. However, the development of the KB1, that is legendary today, marked the point where Bimota began the journey to commercial success.
Success
The small Bimota factory located in Rimini was very successful during the 1980s, as was the Company's record at the track. Bimota also began to produce dream machines for the open road and streets during this time.
Tamburini Leaves Bimota
In 1983, Massimo Tamburini left Bimota. A talented young engineer by the name of Frederico Martini filled his position. Martini had worked with Ducati and brought with him a wealth of experience that allowed him to take Bimota to new heights. He led the Company to develop, produce and use basic concepts that he had developed at Ducati. These were used at Bimota during the 1990s.
Models Produced in the 1980s
Bimota produced several models during the 1980s, including the HB2, HB3, SB3, SB4, SB5, YB4ie, YB6, YB6 Tuatara, YB6 Exup, DB1se, DB1rs, KB2 and KB3.
Bimota at the Track
Martini took Bimota to new heights at the racetrack. In 1980, Jon Ekerold rode to victory in the 350cc championship. In 1987, Virginio Ferrari rode a YB4R to victory at the TT F1 World Championship.Martini Leaves Bimota
When the new decade of the 1990s arrived, Frederico Martini left Bimota. Pierluigi Marconi took his place as Technical Director. Marconi had collaborated with Martini as a student and he had great technical insight. He directed Bimota to produce bikes with aircraft alloy frames.
Models by Marconi
Under Marconi's supervision, Bimota produced the YB8, YB8e, YB8 Furano, DB2, DB2sv, DB2ef, DB3 Mantra, YB9 Bellaria, YB9sri, YB10, YB10 biposto, SB6, SB6R, SB7, SB8R, Supermono and others. The model that showed Marconi's genius and innovation, as well as the superior quality of Bimota was the hub steered TESI 1D. It was created in a wide range of forms that included the 1D, 1DSR, 1DES and 1DEF.
Giuseppe Morri Leaves Bimota
In 1993, the remaining founder of Bimota, Giuseppe Morri left the Company. Walter Martini filled his position of General Manager. Bimota doubled its production under Martini's leadership. 1,250 bikes were produced in 1995.
Bimota's 25th Anniversary
Bimota celebrated its 25th Anniversary in 1996 at the Santamonica track in Misano. Fans from all over the world flocked to the track for the celebrations. As the 90s decade drew to a close, the first all-Bimota bike went from development to the production line. It was the 500 Vdue, designed by Robbiano. The bike, engineered by Marconi, was created for the road as a Moto G.P.
Customer's demands for the 500 Vdue that was powered by the 500cc twin-cylinder Bimota engine were high. This lead the Company to deliver bikes before the model had been fully developed. All of the bikes had to be recalled, which left Bimota in a financial crisis.
The New Millennium
By 2000, Bimota was under new management and the future of the Company looked promising. New models were popular at the most prestigious bike shows around the world.
Top Model
During this time, the top model at Bimota was the SB8R. It was produced in both carbon fiber and fiberglass versions. Bimota had returned to its roots with an innovative frame that carried a powerful Suzuki engine. After being absent from the racetrack for eleven years, Bimota returned. It took part in the Super-bike World Championship. Virginio Ferrari managed the racing team. Technical Director was Franco Farne. Anthony Gobert rode the Bimota bike and was classified 12th in both the first and second race in Kyalami, South Africa. Anthony Gobert rode to victory again, two weeks later at the Australian GP on Philip Island - two great victories for Bimota.
Financial Crisis
Even though the results of these two races were amazing, Bimota found itself in dire financial straits once again. The Vdue engine project that had been started in the 1990s went terribly wrong. The Bimota factory went into bankruptcy. The factory closed. The first phase of Bimota ended abruptly at this time.
Revival
Fortunately, Bimota was able to regain its footing and get back into production in 2003, after many attempts to do so. Under new management, both the Bimota name and the Company traditions were revived. Today, Bimota is once again producing legendary bikes that have innovative design.
Awards
Bimota won the Motorcycle Design Award in the Supersport category at the Intermot Show. It was won by the Company's DB5 model. This is the latest addition to the trophy wall at the Remini factory.
FBI Stolen motorcycles
gp500.org/FBI_stolen_motorcycles.html
Motorcycles VIN Decoder
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Chancellor Michael Harris sharing the news of $1.25 million gift from Milt and Jean Cole
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DALE MESSICK
Dalia "Dale" Messick (April 11, 1906 – April 5, 2005) was the first woman syndicated comic strip artist in the United States. She was best known as the creator of Brenda Starr, which at its peak in the 1950s ran in 250 newspapers.
Dale Messick was born on April 11, 1906 in South Bend, Indiana to a seamstress and commercial artist. She had an interest in writing and drawing since childhood. She studied briefly at the Ray Commercial Art School in Chicago but left to begin a career as a professional artist.
She began working for a Chicago greeting card company and was successful but quit when her boss lowered her pay during the Great Depression. She moved to New York City and found work at another greeting card company at a higher salary, and began assembling a portfolio of comic strips after work.
Messick was not the first female comic strip creator; Nel Brinkley, Gladys Parker, and Edwina Dumm had all achieved success in the field. But there was still a bias against women and Messick decided to change her first name to Dale to help get her work seen by editors. She produced a number of ideas for strips with titles such as Weegee, Mimi the Mermaid, Peg and Pudy, the Struglettes, and Streamline Babies, none of which were picked up for publication
Brenda Starr
Messick created the character of Brenda Starr in 1940, naming it after a debutante from the 1930s and basing her appearance on Rita Hayworth. Messick wanted to produce a strip with a female protagonist; she decided a career as a reporter would allow her character to travel and have adventures, adventures more glamorous than those actually experienced by most reporters. She later commented on this in a 1986 article about her in the San Francisco Chronicle:
I used to get letters from girl reporters saying that their lives were nowhere near as exciting as Brenda's. I told them that if I made Brenda's life like theirs, nobody would read it.
Her break came when she came to the attention of another woman, Mollie Slott, who worked as a "girl Friday" (à la His Girl Friday) for New York Daily News publisher (and syndicate head) Joseph Medill Patterson. Patterson, reputedly biased against women cartoonists, wouldn't sign her up for daily publication in the News, but he accepted Brenda Starr, Reporter for syndication as a Sunday comic, and it made its debut on June 30, 1940. It was quickly a success; its mixture of adventure and romance was popular with both male and female readers.
Messick went on to create a number of other comic strips but none achieved the success of Brenda Starr. The only other strip which she worked on which is generally remembered was Perry Mason which she illustrated.
Messick retired from producing Brenda Starr in 1980. Ramona Fradon (artist) and Linda Sutter (writer) took over the strip from 1980 to 1985. June Brigman (artist) and Mary Schmich (writer) have done the strip from 1985 to the present. Messick wasn't impressed with her successors' versions of Starr, according to a 1998 quote in the Sonoma County Independent:
Now it doesn't look like Brenda at all. She looks more like she works at a bank. No glamour, no curves, no fashion — but it's still going pretty good.
Following her retirement from Brenda Starr, she moved to Oakmont, California to be near her daughter and grandchildren. She continued to work and created a new strip, Granny Glamour, which ran in Oakmont Gardens Magazine, a local weekly magazine. It ended after she had a stroke in 1998 and couldn't draw any more.
In 1995, Brenda Starr was one of twenty comic strips honored by a series of United States postage stamps; Messick was the only living creator.
She received the National Cartoonists Society's Story Comic Book Award for 1975 and their Milton Caniff Lifetime Achievement Award in 1997 for her work on Brenda Starr.
Cartoonist Dale Messick Dies; Creator of 'Brenda Starr' Strip
By Patricia Sullivan
Washington Post Staff Writer
Dale Messick, 98, whose glamorous, spirited, redheaded reporter Brenda Starr cracked open the comics pages for adventure-seeking female characters and cartoonists, died April 5 after a series of strokes. She was at her daughter's home in Penngrove, Calif.
Ms. Messick, who often described Brenda as her alter ego, created the quick-witted character in 1940. She drew and wrote "Brenda Starr, Reporter" for 43 years, until the syndicate that owned it pressured her to retire. The strip, which at its peak appeared in 250 newspapers.
Dale Messick
(Dalia Messick)
(11/4/1906 - 5/4/2005, USA)
Nightmare Before Christmas themed decorations on either side of the stage.
I just saw The Nightmare Before Christmas 4D, the 20th Anniversary Release of the movie, at its exclusive run at the El Capitan Theatre, in Hollywood, California. It was the matinee showing at 2:30 pm on Sunday, October 20, 2013.
I parked my car in the Hollywood and Highland Center, home of the Dolby Theatre, and walked across Hollywood Blvd to the El Capitan. I arrived at the theatre at 1:30 pm. Even though I had a reserved seat for the movie, I had to wait in line outside the theatre to before we could be let in, at about 2 pm. While we were waiting, a CM checked for tickets and gave us 3D glasses.
I happened to be standing right over the Tinker Bell star on the Hollywood Walk of Fame. And in the doorway of the Disney Soda Fountain and Studio Store is a star for Disneyland, added in 2005 on its 50th anniversary. The Disney Soda Fountain is closed right now. It will re-open in November 15 as the Ghirardelli® Soda Fountain and Chocolate Shop, as a large poster in the window of the shop announces.
I got my popcorn and soda, and took my seat. On stage playing organ was the theatre's long time organist Rob Richards, appropriately dressed in a black robe. In addition to playing Disney tunes, he played music from the Phantom of the Opera. The theatre was decorated in a Nightmare Before Christmas theme. The special effects were lights, pyrotechnics, audience participation cues onscreen, fog and ''snow''. The audience had a large percentage of children, but they were all very well behaved, and seemed to enjoy the movie very much. It was the first time for me seeing Nightmare on the big screen, and it was great seeing Jack, Sally, Oogie Boogie and the rest of the cast larger than life. The 3D made the characters appear very life-like, as if we were actually seeing them in front us for real. Of course, the fact that they were actual puppets animated through stop motion photography helped a great deal in the realism as well.
After the movie we got to see a special exhibit of the making of the movie, featuring photos and replicas of storyboards and sets from the movie. They also had the actual sets for Town Hall and the Spiral Mountain. All of it was behind glass, so you couldn't touch and feel the sets. On the way out, I took photos of some of the movie posters, and a display on the history of the theatre. On the way back to my car, I took photos of some other stars on the Walk of Fame, mainly related to Disney movies.
This trek offers an outstanding combination of amazing mountain and valley scenery in a remote area, the visit will really get an in-site into the Authentic Quechua Communities and see thatched stone houses surrounded by herds of llamas and alpacas, and even guinea pigs running loose inside the houses. This hike starts in the Lares Valley and village of the same name, where you can enjoy a night dip in its relaxing hot springs, to then follow to the Andean communities of Huacahuasi, Patacancha and Willoq, reaching the village of Aguas Calientes on the third night, after a 2-hour train-ride from Ollantaytambo. Finally, the fourth day is devoted to visiting the impressive Inca citadel of Machupicchu
Package Name:Lares Trek
Duration: 4 Days / 3 Nights
Type of Trek : Alternative Trek to Machu Picchu
Group Size : To suit group requirements - (no more than 12 Persons)
Difficulty degree of this hike: Moderate / Challenge
Departures Day:
Daily Departures - Small Groups
All private service departure dates are adapted to your request.
A minimum of 2 persons is needed for this trek
Activities: Adventure / Trekking / Biking / Ecological/
High Season: April - November
Route: Closed in February
Lares Trek Itinerary:
Day 1: Cusco - Lares (Hot Spring)
Day 2: Lares (Hot Spring) - Ipsaycocha)
Day 3: Ipsaycocha - Patacancha - Ollantaytambo - Aguas Calientes
Day 4: Aguas Calienties - Machu Picchu - Cusco
Day 1: Cusco - Lares (Hot Spring)
We leave Cusco at 6:00am in a private transport and drive for an approximated 4h through part of the Sacred Valley to then head towards Lares (3100m/10168ft), a little rural village located in the beautiful valley of the same name, hosting some well-known hot springs. Upon arrival, we leave our equipment and continue towards Choquecancha, an impressive archaeological site with amazing views of the neighboring valleys. After our visit, we hike back to Lares, where we can enjoy an evening dip in its hot springs before or after our dinner is served. Our camp will be set next to the thermal baths and access is free the whole night.
Day 2: Lares (Hot Spring) - Ipsaycocha)
After an early wake up and breakfast, we meet our horsemen and horses and leave our campsite at around 9.00am to walk along an ascending path that will lead us to Huacahuasi, (3600m/11808ft). This remote Andean community is located in an impressive valley, where the typical lifestyle and house constructions of the Quechua communities living at high altitude can be appreciated. We stop to visit a typical house and family, before we enjoy our lunch. In the early afternoon, we continue our hike ascending toward the mountain pass of Ipsay (4450m/14596ft/3h), walking across little communities and Andean flats (pampas) with the presence of llamas and alpacas. The pass offers impressive views of Mount Veronica and the surrounding snow-capped peaks. Just half an hour from this point is Ipsayqocha, a beautiful lagoon next to which we set our camp and spend the night, amidst awesome scenery.
Day 3: Ipsaycocha - Patacancha - Ollantaytambo - Aguas Calientes
After two full days of hiking today is much easier. After an early breakfast we walk downhill through a wide-open valley for about 2½ hours until we arrive at the village of Patacancha. We will have a chance to view some textiles made by the people of this community - the high quality weavings are famous for their intricate designs reflecting aspects of their everyday lives and culture. After we also get the chance to walk slowly down the valley to Willoq, another Quechua village where the locals still wear their traditional dress and are proud to maintain their cultural identity. From Patacancha we will take our transport further down the valley to Inca town of Ollantaytambo where we will rest and have lunch, then catch our afternoon train to AguasCalientes. This is an amazing journey that starts in the Quechua highlands and slowly descends to lush tropical vegetation as we near AguasCalientes. Total journey time about 1½ hours. Tonight we stay in the small quaint town of Machu Picchu.
Day 4: Aguas Calienties - Machu Picchu - Cusco
5 am breakfast then at 5.30am we get the bus to Machu Picchu. We need to depart early so those who wish to climb Huayna Picchu will need to sign up before the 2 hour guided tour. During your visit to these ancient ruins you will see clouds fly past and Machu Picchu will disappear with in them, so make sure you take pictures whilst the ruins are visible. After the tour you will have free time to explore the mountain of Huayna Picchu overlooking all of Machu Picchu - by far the best view! Huayna Picchu will take approximately 2 hours return trip. It is now your choice to enjoy lunch just outside the ruins or take the bus back to AguasCalientes to explore this small and quaint village. The train back to Cusco departs late afternoon so your estimated time of arrival is approximately 9pm.village. The train back to Cusco departs late afternoon so your estimated time of arrival is approximately 9pm.
What is Included:
English speaking guide
Pre-departure information meeting,
Machu Picchu entrance fees.
First aid kit, portable oxygen Tank,
3 night accommodation in tourist hostel,
Transfers,
Bus ticket Aguas Calientes Machu Picchu - Aguas Calientes,
Expedition train ticket Aguas Calientes - Ollantayatmbo,
Transfer from Ollantaytambo - Cusco Hotel
What is NOT Included:
International air fares to Peru,
Domestic flights, airport taxes,
Meals other than those specified in your itinerary,
Personal insurance.
Recomended Things To Take
Sleeping bag (you can rent at Cusco Expeditions office).
Bottle of mineral water.
Rain gear and/or plastic poncho (can be purchase in Cusco).
Hiking boots.
Warm jacket or fleece, t-shirts, shorts, long pants, sun hat and wool hat.
Flashlight.
Sun block.
Insect repellent.
Toilet paper and garbage bag.
Small towel and bathing suit (hot springs optional).
Camera, extra film and extra batteries.
Snacks, chocolates, energy bars.
Emergency money.
Walking stick (optional).
CALL US We are ready to take your call.
Call us: Telephone: (+51) (84) 632307, Telefax: (+51) (84) 632307
Cell Phone: (+51) (84) 974727031 / 958191179 / 984567085 (24 hours available)
Address: Triunfo Street 392 - Centro Artesanal Arte Inka 2nd Floor 212 - Main Square of Cusco
Business Hours: Monday to Sunday: (From 9:00am to 13:00PM) - ( From 15:00PM - 8:00PM)
E-mail: contact@cuscoexpeditions.com, info@cuscoexpeditions.com
MSN: cuscoexpeditions@hotmail.com
Website: www.cuscoexpeditions.com/
Copyright © 2010 - 2020 Cusco Expeditions E.I.R.L. - Peruvian Tour Operator - Travel Agency
A few weeks back I blogged about the latest Flickr feature, galleries. I've been using and making galleries now for a few weeks and thought I'd take a second to record my follow up observations after my initial post on the launch. I've been making one new gallery a day since Flickr launched the service.
Conceptually I think the idea of allowing users the ability to curate galleries of images on Flickr super interesting -- one of the more interesting ways to use the service actually. Practically speaking though I think that their are some serious flaws to how this service has been designed and I think that it could be significantly improved.
Problem #1: Flickr will not allow either moderate/restricted images or secretly NIPSA (not in public site areas) censored material to be put into galleries.
Flickr has three ways that they censor your images. The first is simple. If they don't like your image they just delete it (and maybe your entire account along with it).
The second is a less harsh public way. Either you can voluntary mark your own images as restricted or if you don't they might. When they do this your images are marked "moderate" or "restricted" on the image and you are made aware of the Flickr act.
The third way is a secret more nefarious way. Flickr uses a method whereby they will secretly mark your image NIPSA. Sometimes this happens even while to your face they will let you know that your image has been reviewed as "safe" by Flickr staff. You have no way of knowing which of your images have been secretly marked NIPSA and which have not. For a while Flickr had my entire photostream marked as NIPSA.
Whatever the case, neither moderate/restricted content or secret NIPSA content can be included in galleries. This is too bad. As a curator I should not be precluded from making galleries of whatever content I'd like.
Recently I made a gallery of images of Photo Realism painter Chuck Close's painting "Mark" that hangs in the NY Met. If someone wanted to make a similar gallery of say Photo Realist Painter Mel Ramos' work, they could not included two of my images of a painting of his that hangs in the all ages gallery at the Oakland Museum of California. The reason why? Flickr has marked these Ramos painting images of mine as "restricted." It sucks that something that can exist in a real life gallery in an all ages major metropolitan museum gallery, cannot exist in a virtual gallery on Flickr.
This problem would be easy enough to fix by simply attaching a "restricted" or "moderate" rating to any gallery that held "restricted" or "moderate" images. There is no reason why if you've opted in to view this material that you should not be able to both create and view galleries that include this material. Precluding them prevents me from making a kick ass gallery of images by one of my favorite photographers Merkley (for instance). Even though Merkley had a real life gallery showing of some of his work at 111 Minna, a physical gallery. I cannot create a comparable virtual gallery of his work because Flickr won't allow it. Flickr has a method whereby users can opt in to view material that is rated moderate or restricted.
Problem #2: User Created Galleries largely languish in obscurity. Once you go through the work of making a gallery there are no easy ways for other people to get to them. The people whose images you include in the gallery are notified of this fact on their recent activity page so they come and visit. But other than them, people largely don't visit galleries. These are the last five galleries where people have used my own images. Plug1 (0 views), mannequin (0 views), Swoon worthy B&W (23 views), Galactic (2 views), and Cocktails (8 views). These galleries will likely have more views when you look at them, but that's largely because I've posted links to them in this blog post. If someone goes through the work of curating a gallery it would be nice to see other ways on Flickr where people could access them.
The only method that Flickr has for promoting galleries right now is through a handful of galleries on the mostly stale gallery explore page which appears to be hand-curated by flickr staff, mostly, it appears, on the basis of whether or not flickr staff likes you or decided to include you as a user in the beta of the feature.
Problem #3: How can I see my friends/contacts galleries? At present there is no easy way to view the galleries of your contacts on Flickr. You are not notified when they make a gallery (unless your image is in it). There is no page like the "your contacts" photo page where you can go to see them. Without the tedious method of digging deep down into their photo page to find if (and most don't) they even have galleries you'd never know that they exist.
I believe that these three problems above could easily be corrected. The first problem is easy. Simply allow any images to be included in galleries, rather than restrict publicly or privately censored images. There is no good reason why Flickr should not do this. It might not fit into staff's vision of community shaping or moderation or whatever they call it, but prohibiting good users like Merkley from being included in this feature sucks.
In terms of the second problem, Flickr needs a central place where users can explore galleries. The page should be repopulated with new galleries as they are created every day and should rely on objective data around the interestingness ranking of galleries (rather than if Flickr staff likes your or dislikes you -- they already have the flickr blog for that).
The third problem would also be easily solved by creating a tab on an explore gallery pages that featured all of the galleries created by your contacts/friends and family. If friends of mine create galleries, I want to see them.
Galleries on Flickr has enormous potential. Curation is an incredibly significant discipline that all artists ought to consider pursuing. But as it stands right now, the new service from Flickr feels half-baked. I'm still going to make a gallery a day on Flickr for a while and continue promoting my galleries elsewhere than Flickr on the web, but Flickr needs to consider that as it stands now the new feature lacks serious teeth, which is too bad because the feature does in fact have so much potential.
Here are the galleries that I've created so far on Flickr:
The Owls are Not What They Seem
Recent Favorites from the Lightbox
You can see my galleries page where I am adding a new gallery every day here.
el.kingdomsalvation.org/Lord-s-redemption-and-God-s-judgm...
Χριστιανισμός
Ο Θεός λέει: «Τον καιρό εκείνον, το έργο του Ιησού ήταν η λύτρωση όλης της ανθρωπότητας. Οι αμαρτίες όλων όσων πίστευαν σ’ Αυτόν συγχωρέθηκαν. Εφόσον πίστευες σ’ Αυτόν, θα σε λύτρωνε. Αν πίστευες σ’ Αυτόν, δεν ήσουν πλέον αμαρτωλός, είχες απαλλαγεί από τις αμαρτίες σου. Αυτό ήταν το νόημα της σωτηρίας και δικαιολογούνταν μέσω της πίστης . Εντούτοις, όσοι πίστευαν, είχαν ακόμα μέσα τους την επαναστατικότητα και αντιτάσσονταν στον Θεό, στοιχεία τα οποία έπρεπε να απομακρυνθούν αργά. Σωτηρία δεν σήμαινε ότι ο άνθρωπος είχε κερδηθεί πλήρως από τον Ιησού, αλλά ότι ο άνθρωπος δεν ήταν πια αμαρτωλός, ότι είχε συγχωρεθεί για τις αμαρτίες του: Εφόσον πίστευες, δεν θα ήσουν ποτέ πια αμαρτωλός. »
από το «Το όραμα του έργου του Θεού (2)»
faizakhalida.blogspot.com.br/2008/07/gestores-educacionai...
Em 2007, a orientadora pedagógica Maria da Conceição da Silva Pereira, chamada de Conceição, me chamou na sala dela na Escola Municipal Jorge Ayres de Lima em Belford Roxo e me disse que o pai de um aluno disse para ela que o filho dele não podia estudar comigo porque eu era transexual e então eu tinha que sair da escola onde eu lecionava como professora concursada na forma da lei.
FOTO: pedagoga MARIA DA CONCEIÇÃO DA SILVA PEREIRA
A orientadora pedagógica Maria da Conceição da Silva Pereira disse que eu não podia escrever o meu nome em folhas de exercícios e nem podia colocar nenhuma foto minha. E me perguntou o que eu faria.
Futuramente eu fiquei sabendo que este meu procedimento em sala de aula foi relatado pela orientadora Conceição como se fosse uma avaliação, e constou de inquérito administrativo (07/0000611/2007 e Ofício nº 1553/G./SEMED/2007 DE 25/10/2007) onde eu fui punida com pena de advertência pelos procuradores de sempre Lorival Almeida de Oliveira e José Domingos Lucena. A pena pôde ser apenas de advertência, nesse momento, porque eu nunca havia sofrido uma punição administrativa antes como funcionária pública do município de Belford Roxo. Desde 2003 quando pela primeira vez eu me percebi sem condições psíquicas e mentais para desempenhar as minhas atividades devido também ao preconceito, eu relatei isso para esses procuradores municipais em processos administrativos e, que eu inclusive dava aulas sendo discriminada, chamada de viado e atingida por terra, pedras, lama e cocô.
Era desrespeitada no exercício da minha função, dava aulas sendo chamada de viado, discriminada, me jogavam terra. Os alunos realizaram manifestação na Escola, na SEMED e ao vereador local pedindo o meu retorno à Escola, que me aceitassem (04/2743/03) de Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
PARTE DO PROCESSO DE 2003 escrito à mão COM ASSINATURA E MATRÍCULAS MUNICIPAIS. "... Peço a Prefeitura que custeie para mim um tratamento Psicológico e Psiquiátrico pois sei que não me encontro mais, depois de tudo isso, no meu senso normal ..." de Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
FOLHA 03 DO PROCESSO ADMINISTRATIVO 04/2743/03 - Fiquei perturbada, fragilizada, desorientada, com os nervos pronto pra explodir, paranoica, EM DEPRESSÃO com as pessoas que ficavam me chamando de Xxxxxxxxx debochando da minha sexualidade - Discriminação de Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Eu tinha apenas feito um procedimento para que os alunos conseguissem responder a apostila de inglês onde havia a tarefa de elaborar um texto relatando informações pessoais.
E nesse caso a folha que eu havia preparado ajudou que os alunos conseguissem fazer em inglês uma redação preenchendo a apostila.
A exigência de colar uma foto pessoal e relatar os dados pessoais não era minha, mas do próprio livro de inglês, que foi comprado, distribuído e adotado oficialmente pela Secretaria de Educação da Prefeitura Municipal de Belford Roxo (SEMED).
O título do livro de inglês adotado pela rede municipal de Educação da Prefeitura de Belford Roxo era ENGLISH FOR LIFE. A autora do livro era Maria Lúcia Mercadante Naddeo. (Book One / Grade 5). As páginas do livro eram 18, 20 e 21.
A atividade era produzir um texto em inglês colocando informações pessoais, e digitar o texto produzido, colando-o no espaço do livro e ilustrando com UMA FOTO PESSOAL.
A própria autora colocou uma FOTO dela na capa de trás do livro junto ao seu nome e demais informações pessoais. O e-mail da autora do livro e site também são informados para contato e interação. O e-mail da professora autora do livro é colocado várias vezes para os alunos. A intolerância e o tratamento discriminatório foi caracterizado porque apenas eu era errada por ter colocado o meu e-mail em uma folha de exercício.
Autora colocou a foto dela, nome, e-mail e informações pessoais na capa de trás do livro adotado oficialmente pela Prefeitura Municipal de Belford Roxo mas professora transexual Faiza Khálida foi prejudicada e proibida por fazer a mesma coisa. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Autora colocou o e-mail dela e sites no livro adotado oficialmente pela Prefeitura Municipal de Belford Roxo, mas professora transexual Faiza Khálida foi prejudicada e proibida por fazer a mesma coisa (2 pesos - Discriminação, Tratamento discriminatório) from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Autora colocou o e-mail dela várias vezes no Livro adotado oficialmente pela Prefeitura Municipal de Belford Roxo, mas professora transexual Faiza Khálida foi prejudicada e proibida por fazer a mesma coisa (Preconceito, Discriminação e Transfobia) from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
A orientadora pedagógica Maria da Conceição da Silva Pereira disse que ela não queria fazer isso, mas que ela fez um registro disso e enviou para a SEMED (Secretaria Municipal de Educação de Belford Roxo). Ela me disse que ela não tinha a intenção de me prejudicar, mas que ela foi obrigada a me prejudicar, culpando o pai do aluno da atitude dela de ela ter registrado o fato e levado este assunto para outras instâncias onde eu fui posteriormente prejudicada.
A orientadora pedagógica Maria da Conceição da Silva Pereira falou que esse pai tinha cobrado uma providência dela. E, ela me disse que ela não queria, mas que teve que tomar alguma providência. E levar esse assunto adiante. Mas que eu não comentasse nada com ninguém, muito menos com o diretor José Carlos Neto Filho e a coordenadora do turno da tarde Cássia Conceição Fernandes de Oliveira que naquele momento estavam na sala dos professores, porque ela era minha amiga e queria me ajudar.
A orientadora pedagógica Maria da Conceição da Silva Pereira então me disse que ela era muito cristã, que ela conhecia muito bem a Bíblia e que a Bíblia condena o transexualismo e as pessoas transexuais. E misturou o assunto desse pai com essa folha de exercícios que eu tinha passado para as turmas da série daquele aluno, tratando a minha identidade de gênero com o meu procedimento profissional como se fossem uma coisa só.
A orientadora pedagógica Maria da Conceição da Silva Pereira quis saber naquele momento o que eu iria fazer, que providência eu iria tomar, quais seriam os meus próximos passos, como se nós estivéssemos numa guerra, sendo esta guerra através dela ou do sistema me atacando com relatórios, por exemplo, e eu tendo que me defender de alguma forma e tomar providências. Eu disse naquele momento para a orientadora pedagógica Maria da Conceição da Silva Pereira que se o pai do menino não queria que o filho dele estudasse comigo, que havia muitos outros alunos da escola que ficavam me pedindo para eu dar aulas para eles, e, que eu não tinha a oportunidade de dar aulas para esses alunos. Que eu poderia trocar a turma desse aluno por qualquer outra turma da escola com a outra professora de Inglês, Eliane, se a outra professora de inglês concordasse. Ou, que o aluno poderia trocar de turma e estudar numa outra classe em que a outra professora de Inglês, Eliane, desse aula.
A orientadora pedagógica Maria da Conceição da Silva Pereira me disse que o problema não era esse. A orientadora pedagógica Maria da Conceição da Silva Pereira então me disse que a intenção do pai era me ver fora daquela escola porque o pai do menino seria algo como um pastor de igreja evangélica ou protestante, teria conhecimento da Bíblia e achava que a escola tinha que tomar alguma providência disto, do que o pai teria descrito para ela como um absurdo. Ela me disse que era absurdo eu ser professora não apenas do filho daquele pai, mas também eu ser professora da Escola Municipal Jorge Ayres de Lima porque eu era transexual e por esse motivo eu tinha que sair da escola.
A orientadora pedagógica Maria da Conceição da Silva Pereira disse que ela tinha informações de que eu era uma professora corajosa, destemida e aguerrida. A orientadora pedagógica Maria da Conceição da Silva Pereira ficou me ameaçando repetindo para mim assertivamente afirmando que eu iria tomar um tiro, que eu estava sentenciada de morte. Isso me deixou completamente apavorada e transtornada trazendo novamente à tona traumas vividos no meu trabalho de professora municipal de Belford Roxo e contribuindo muito para o agravamento do meu quadro mental.
faizakhalida.blogspot.com.br/2002/01/rosangela-maria-gonc...
Neste momento, eu não consegui ficar ali mais na frente da orientadora Maria da Conceição da Silva Pereira. Me levantei e saí da sala dela. E a orientadora Maria da Conceição da Silva Pereira veio imediatamente atrás de mim. Eu entrei na sala de aula e naquele instante, os alunos começaram a me mostrar a apostila de Inglês respondida com um texto produzido por eles colocando as informações pessoais deles no livro de inglês distribuído pela Prefeitura, que eles tinham praticado comigo naquela folhinha cujo objetivo o pai e a orientadora Conceição haviam distorcido. Parecia a multiplicação das Redações, todos os alunos ansiosos esticando os livros ao mesmo tempo para eu ver que eles tinham escrito um texto em inglês. A Rosane, uma funcionária da escola que trabalhava a leitura naquele ano e trabalhava com projetos do governo na secretaria municipal de educação, fez um comentário naquele momento, que aquilo era a prova da competência do meu trabalho.
Eu havia apenas preparado uma folha para que os alunos conseguissem responder o livro de inglês onde havia a tarefa de elaborar um texto relatando informações pessoais. E nesse caso, a folha que eu havia preparado ajudou que os alunos conseguissem fazer em inglês uma redação, preenchendo a apostila. Nas reuniões, professores de língua estrangeira da rede municipal de Belford Roxo protestavam sobre a "obrigatoriedade e a cobrança" de ter o livro de inglês preenchido pelos alunos. Muitos professores confessavam que apenas passavam para os alunos as respostas para não sofrerem as penalizações da secretaria municipal de educação, já que grande parte dos alunos tinham dificuldades de leitura e não possuíam os conhecimentos prévios necessários.
A orientadora pedagógica Maria da Conceição da Silva Pereira relatava o meu procedimento de educadora de forma distorcida para o supervisor Leandro Oliveira da Silva e outras instâncias da Prefeitura Municipal de Belford Roxo.
A orientadora pedagógica Maria da Conceição da Silva Pereira não era funcionária CONCURSADA e efetiva. Ela era uma funcionária da Prefeitura contratada. As pessoas diziam que ela foi trabalhar na Escola Municipal Jorge Ayres de Lima por causa do Vereador BADIA (Obadias da Motta).
A orientadora pedagógica Conceição comentava que, embora ela fosse funcionária contratada, que já era CERTO de ela ser efetivada no próximo concurso público da Prefeitura Municipal de Belford Roxo que ainda nem tinha acontecido.
Realmente existem comentários dessa prática nos concursos públicos da Prefeitura Municipal de Belford Roxo chamada de CONCURSO TREM DA ALEGRIA, em um caso novas pessoas vão aparecendo em listas de aprovados no concurso público municipal. O comentário é que grande parte dos políticos de Belford Roxo, seus amigos, assessores, cabos eleitorais e parentes foram efetivados na Prefeitura e na Câmara Municipal através dessa prática ilícita.
No final do ano, após o fim da eleição municipal, com a vitória do candidato da oposição Alcides Rolim, a orientadora pedagógica Maria da Conceição da Silva Pereira passou a fazer o que era condenado no comportamento de um funcionário público, largava a escola Municipal Jorge Ayres de Lima e saía mais cedo, deixava tudo pra lá, agia com desídia. Ela dizia na escola que não estava mais nem aí porque no ano seguinte ela trabalharia como ASSESSORA DO VEREADOR BADIA. Ela dizia que o vereador Badia já tinha sido eleito e que ela trabalharia para ele GANHANDO MAIS.
FOTO: Escola Municipal Jorge Ayres de Lima
Na sala dos professores, professores me falavam que a orientadora pedagógica Conceição dizia para eles na sala dela que eu nunca faria dobra na escola municipal Jorge Ayres de Lima porque diferentemente dos outros professores ela nunca me daria aulas extras.
Eu também utilizava o meu aparelho portátil de som na escola em sala de aula com sucesso. A orientadora pedagógica Maria da Conceição da Silva Pereira, chamada de Conceição, induzia que outros professores me rejeitassem. Ela falava em reunião que se eu continuasse sendo bem-sucedida com esse método de ensino na Escola Municipal Jorge Ayres de Lima, todos os demais professores da escola municipal obrigatoriamente teriam de passar a trabalhar da forma como eu trabalhava com músicas e outras estratégias através do aparelho sonoro. A seguir, eu fui convencida pelo diretor Neto a deixar o meu aparelho de som portátil no armário da escola e os meus 2 aparelhos de som que eu utilizava para dar aulas foram "roubados" ao mesmo tempo nas 2 escolas municipais. Nenhuma ocorrência, relato, reunião ou averiguação foi feita sobre o roubo dos meus aparelhos ao contrário do que acontecia, e acontecia para me prejudicar.
A orientadora Conceição possivelmente também esteve envolvida no dano da minha câmera digital que eu utilizava para tirar fotos com alunos da escola. Um rapaz da localidade entrou na escola só para isso. Ele me procurou na internet, no ponto do ônibus, dentro do ônibus, na porta da sala de aula enquanto eu lecionava e finalmente na sala dos professores pedindo para ver a minha câmera digital, e pegando a câmera na sala dos professores danificou-a bem na frente da orientadora pedagógica Conceição indo embora imediatamente como se já tivesse cumprido o serviço e ído lá só para isso.
Alunos da turma 601(2008) eram abordados na escola municipal Jorge Ayres de Lima pela orientadora pedagógica Conceição que lhes perguntava por que motivo eles gostavam tanto de mim já que não havia razão para isso. Como a orientadora pedagógica Conceição não conseguiu me envenenar com essa turma, eu fui proibida de lecionar para eles, sendo obrigada a entregar o diário da classe 601 (2008) de inglês para a professora de língua portuguesa da escola Lenísia Junqueira permanecendo isolada na sala dos professores mesmo contra a vontade explícita dos alunos desta classe.
DISCRIMINAÇÃONA BAIXADA
Professora transexual luta contra preconceito (Jornal Extra, 2008)
Em uma das suas tentativas de me prejudicar, a orientadora Conceição elaborou um relatório induzindo que o supervisor da escola municipal Jorge Ayres de Lima Leandro Oliveira da Silva tomasse uma atitude contra mim. O supervisor Leandro foi obrigado a realizar uma reunião onde deixou claro a ilegalidade daquele relatório elaborado pela orientadora pedagógica Conceição e a obrigou a me pedir desculpas pela situação. A secretária da escola Rosimere Bittencourt de Oliveira, escrivã desta reunião, também se mostrou indignada com a atitude opressora da orientadora Conceição falando diretamente para ela que ela não deveria oprimir professores que trabalhavam. Para mostrar a orientadora Conceição o seu tratamento discriminatório, a secretária da escola Rosimere não se segurou e citou o caso do diretor e professor de história Neto que era conhecido por largar as turmas nas salas de aula "pegando fogo" e até por sair da escola para encontros íntimos no horário das aulas sem ter sofrido nenhuma chamada da orientadora Conceição. Mãe de aluna aparecia revoltada na escola municipal Jorge Ayres de Lima denunciando que o professor e diretor Neto passava a mão nas partes de alunas da escola. Outra mãe de aluna da escola que participou de reunião com a orientadora Conceição para a assinatura de abaixo-assinado a fim de que eu saísse da escola também me contava que a Conceição estava de preconceito comigo, pois ela não tocava no caso da outra professora da turma que faltava. Mesmo com a decisão do supervisor Leandro Oliveira da Silva de que não se levaria essas questões para fora da escola, fazendo que a orientadora Conceição rasgasse o seu relatório na minha frente, ela não cumpriu o que foi estabelecido em reunião pelo supervisor da escola, continuando a me prejudicar em outras instâncias.
CHORO FÁCIL
DECLARAÇÃO MÉDICA
20/08/2007 - A Sra Faiza Khálida apresentava tristeza, falta de prazer nas atividades, choro fácil, irritabilidade, impaciência com os alunos (era professora), insônia, ansiedade, cefaleias frequentes E DIFICULDADES PARA CUMPRIR SUAS TAREFAS NO TRABALHO
(Isabela Vieira - Médica - CRM 52 68631-0)
20/08/2007 - A Sra Faiza Khálida apresentava tristeza, falta de prazer nas atividades, choro fácil, irritabilidade, impaciência com os alunos (era professora), insônia, ansiedade, cefaleias frequentes E DIFICULDADES PARA CUMPRIR SUAS TAREFAS NO TRABALHO from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Eu passei a chorar fácil dentro e fora das escolas municipais, na sala dos professores, na sala de aula, em frente à escola. O diretor Neto de longe chamava pessoas para me ver chorando na sala dos professores. Eu chorava também porque sentia que eu não tinha mais capacidade para trabalhar, eu não conseguia. Sentia tristeza, falta de prazer nas atividades, cefaleias frequentes, DEPRESSÃO E O MEU QUADRO DE ABATIMENTO FOI PIORANDO. Além da elaboração de "relatório", "ocorrência", proibição de eu lecionar para determinada turma como a 601(2008), promoção de inquérito disciplinar, isolamento, a orientadora Conceição realizava reunião de pais para a assinatura de abaixo-assinado a fim de que eu saísse da Escola Municipal Jorge Ayres de Lima. O pior é que quando a orientadora Conceição viu que eu estava muito mais fragilizada mentalmente na escola, e chorava, ela entrou na sala de aula onde eu me encontrava chorando encostada na parede sem conseguir lecionar com o diretor Neto e a coordenadora Cássia com o livro preto, e ela fez a coordenadora Cássia realizar registro de ocorrência no livro preto como ela fazia com os alunos, sentada na mesa do professor, na frente de toda a turma enquanto eu não conseguia parar de chorar (registro de ocorrências da Coordenação de Turno do dia 13/09/07, referentes a E.M. Jorge Ayres de Lima "processo 07/0000611/2007 e Ofício nº 1553/G./SEMED/2007 DE 25/10/2007"). Muitos alunos vendo a situação gritavam pela escola municipal Jorge Ayres de Lima que eles estavam de preconceito com a professora Faíza, mas não adiantava. Inclusive a manifestação de alunos pela escola contra o preconceito era transformado em ocorrência e revertido em documento para ser analisado contra mim. Isso era sistematicamente realizado para a promoção de minha condenação e exclusão profissional.
(Professora Faiza Khálida Fagundes Coutinho matrículas 5508 e 14725 – Prefeitura Municipal de Belford Roxo, identidade 09089680-4, CPF 024114147-81)
Bendito é o preciosíssimo sangue do Senhor Jesus Cristo.
Jesus é o caminho.
Louvado seja o Senhor Jesus Cristo para sempre.
1- A orientadora pedagógica Conceição da Escola Municipal Jorge Ayres induzia que os demais professores rejeitassem o meu trabalho. Ela dizia que se eu continuasse a ser bem-sucedida com esse método de ensino que todos os demais professores teriam que trabalhar dessa forma.
2- Após a ameaça de morte da orientadora Conceição na escola municipal de Belford Roxo meu estado psicológico piorou muito pois eu já havia sofrido ameaça de morte 5 anos antes no meu trabalho de funcionária pública.
3- O RELATÓRIO SOBRE O II CONSELHO DE CLASSE DE 2007 NA ESCOLA MUNICIPAL JORGE AYRES DE LIMA FEITO PELA ORIENTADORA PEDAGÓGICA CONCEIÇÃO COM O OBJETIVO discriminatório DE ME PREJUDICAR.
4- Condenações e julgamentos religiosos, ameaças de morte e constrangimentos me causavam depressão.
5- Meu adoecimento psicológico e mental era ignorado nos relatórios técnicos da orientadora Conceição sobre mim e ocorrências. Parecia que o desejo dela era que eu ficasse mal.
6- Orientadora Conceição se mobilizava para me tirar de escola municipal de Belford Roxo e me prejudicava. Exclusão e isolamento.
7- Funcionários públicos municipais de Belford Roxo desrespeitavam a identidade de gênero de transgêneros, travestis e transexuais.
Procurador Municipal e Presidente da Comissão Permanente de Inquérito Administrativo José Domingos Lucena (mat 11/20.972) diz no processo 04/002743/03 em 24/10/2005 que a professora Leila Bonine deve ser convidada a ler a lei antidiscriminatória de Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Marcelino santos de araújo (mat. 17994) ofendia professora transexual na internet. Foi descoberto pela delegacia de crimes virtuais . Ele é funcionário público municipal de Belford Roxo no cargo de eletricista de baixa tensão. de Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
8- Mais um evento traumático comigo ficou impune devido ao meu estado de abatimento, apatia e inércia. Eu fui retirada à força de dentro do banheiro feminino da Prefeitura e jogada no chão da escada por aproximadamente 8 guardas-municipais a mando do subsecretário Paulo Allevato.
Registro de ocorrência na Delegacia de Polícia da transfobia do subsecretário municipal de Duque de Caxias Paulo Allevato RG 3473270 IFP no banheiro do prédio do IPTU da prefeitura municipal. de Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Segunda parte do registro de ocorrência na delegacia de polícia da transfobia do subsecretário municipal de Duque de Caxias Paulo Allevato RG 3473270 IFP no banheiro do prédio do IPTU da Prefeitura Municipal de Duque de Caxias. de Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
9- Folha 03 do Processo 04/002061/03 - Diretora Vera e orientadora pedagógica Fátima da Escola Municipal São Bento sacanearam a professora Faiza Khálida mentindo em relatório técnico de 2002 dizendo que ela não entregou o planejamento.
Folha 03 do Processo 04/002061/03 - Diretora Vera e orientadora pedagógica Fátima da Escola Municipal São Bento sacanearam a professora Faiza Khálida mentindo em relatório técnico de 2002 dizendo que ela não entregou o planejamento from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
10- Em processo administrativo de 2003 arquivado pela PROCURADORIA eu pedi socorro e registrei "que inúmeras vezes me encontrava chorando e relembrando esses tristes episódios no trabalho que não conseguia mais tirá-los da minha cabeça sentindo sintomas psiquiátricos pedindo em nome do Senhor Jesus Cristo ajuda médica e psicológica ".
PARTE DO PROCESSO DE 2003 escrito à mão COM ASSINATURA E MATRÍCULAS MUNICIPAIS. "... Peço a Prefeitura que custeie para mim um tratamento Psicológico e Psiquiátrico pois sei que não me encontro mais, depois de tudo isso, no meu senso normal ..." from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
11- O PROCESSO ADMINISTRATIVO DA PREFEITURA MUNICIPAL DE BELFORD ROXO NÚMERO 04/002743/03 - Assunto: PROVIDÊNCIAS POR DISCRIMINAÇÃO - Data: 07/10/2003 - Era desrespeitada no exercício da minha função, dava aulas sendo chamada de viado, discriminada, me jogavam terra. Fiquei perturbada, fragilizada, desorientada, com os nervos pronto pra explodir, paranoica, EM DEPRESSÃO com as pessoas que ficavam me chamando de Xxxxxxxxx debochando da minha sexualidade.
Era desrespeitada no exercício da minha função, dava aulas sendo chamada de viado, discriminada, me jogavam terra. Os alunos realizaram manifestação na Escola, na SEMED e ao vereador local pedindo o meu retorno à Escola, que me aceitassem (04/2743/03) from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
FOLHA 03 DO PROCESSO ADMINISTRATIVO 04/2743/03 - Fiquei perturbada, fragilizada, desorientada, com os nervos pronto pra explodir, paranoica, EM DEPRESSÃO com as pessoas que ficavam me chamando de Xxxxxxxxx debochando da minha sexualidade - Discriminação from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
12- Processo Administrativo 04/001497/03 - Data 04/06/2003 - HOMOFOBIA - " Tem muita gente que tem ódio de homossexual e o preconceito é muito grande nas escolas. É um ambiente doentio. Eu sendo professora não aguentei. Fui humilhada muitas vezes. Me disseram que eu teria de ser perfeita se quisesse continuar a ser professora ".
Fui humilhada muitas vezes. Tem muita gente que tem ódio de homossexual e o preconceito é muito grande nas escolas. Eu sendo professora não aguentei. É um ambiente doentio. (Professora em processo transexualizador Faiza Khálida) - 04 de junho de 2003 from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
13- A falta de aceitação social, intolerância, maldade e preconceito me causavam sofrimento.
REGISTRO DO CENTRO DE ATENÇÃO PSICOSSOCIAL LESLIE CHAVIN 17/07/2003 - DEPRESSÃO diagnóstico sindrômico PROBLEMAS NO TRABALHO DE PROFESSOR EM BELFORD ROXO Histórico de adoecimento psíquico MEDICAÇÃO ENCAMINHAMENTO - professora municipal Faiza Khálida. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
14- A PREFEITURA MUNICIPAL DE BELFORD ROXO, A PROCURADORIA MUNICIPAL E A SECRETARIA DE EDUCAÇÃO NUNCA ADMITIAM EM PUNIÇÃO, OCORRÊNCIA, RELATOS, RELATÓRIOS, PROCEDIMENTOS ADMINISTRATIVOS E INQUÉRITOS, INCLUSIVE OS QUE ME DEMITIRAM DEFINITIVAMENTE DO FUNCIONALISMO PÚBLICO MUNICIPAL, QUE EU ATRAVESSAVA TANTO UM PROCESSO BIOQUÍMICO DIÁRIO QUE AFETAVA TODA A MINHA MENTE E TODO O MEU CORPO COMO TAMBÉM ATRAVESSAVA UMA REALIDADE QUE ME CAUSAVA SOFRIMENTO.
15- Procuradores de Belford Roxo se recusavam a tomar conhecimento de que eu havia sido ameaçada de morte, trabalhava sobre pressão e sofria preconceito; e também, a dar acesso a processo a advogada da Secretaria Estadual de Direitos Humanos.
16- Secretaria de Educação e Procuradoria Municipal de Belford Roxo abafavam o problema da discriminação.
17- Eu já havia sido coagida, chantageada e ameaçada inclusive de morte no meu trabalho de professora da rede municipal de Belford Roxo através de relatório técnico.
18- Preciso ser respeitada em meus direitos como pessoa e funcionária pública - FOLHA 06 - PROCESSO 04/3977/06 - Professora transexual Faiza Khálida Fagundes Coutinho da Escola Municipal Jorge Ayres de Lima EM BELFORD ROXO - Data Entrada: 23/10/2006 - Esse diretor já me fez passar por inúmeros constrangimentos sempre usando brincadeiras ridículas perante as pessoas debochando da minha sexualidade que não diz respeito a ele. Esse diretor proibiu até onde pôde de assinar o meu nome Faiza Khálida no ponto da escola e inclusive me proibia de trabalhar usando saia ou vestido outra situação ridícula e fica debochando da foto em meus assentos funcionais que se encontra na SEMED.
FOLHA 05 - PROCESSO 04/3977/06 - Esse diretor já me fez passar por inúmeros constrangimentos ... sempre usando brincadeiras ridículas perante as pessoas debochando da minha sexualidade e inclusive me proibia de trabalhar de saia ou vestido de Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Preciso ser respeitada em meus direitos como pessoa e funcionária pública - FOLHA 06 - PROCESSO 04/3977/06 - Professora transexual Faiza Khálida Fagundes Coutinho da Escola Municipal Jorge Ayres de Lima EM BELFORD ROXO - Data Entrada: 23/10/2006 de Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
19- Problemas me ocasionados pelo relatório técnico de 2002 e procedimento administrativo decorrente nunca foram resolvidos.
(continuação dos problemas ocasionados pelo relatório técnico de 2002)
20- Procurador de Belford Roxo LORIVAL ALMEIDA DE OLIVEIRA mentiu dizendo que eu havia recebido cópia de processo para ter como me defender. Na ESCOLA MUNICIPAL JORGE AYRES DE LIMA não me deram cópia de nada e de nenhum processo. Não me deixaram ler o processo ou tirar cópia dele.
21- Em maio de 2008 a médica psiquiátrica verificou que dificilmente haveria SOLUÇÃO do meu QUADRO DE DEPRESSÃO porque NÃO HAVIA RESOLUÇÃO DOS PROBLEMAS SOCIAIS referentes ao meu trabalho que me estressavam.
22- Em 2009, o subsecretário municipal de Educação de Belford Roxo Miguel de Sousa Ramiro que prometeu mandar a minha frequência pelo período coberto pelo LAUDO MÉDICO PSIQUIÁTRICO, 2 semanas depois disse para mim que havia esquecido de tudo inclusive do MEU LAUDO MÉDICO mediante a pressão do supervisor educacional, consultor e assessor jurídico Jorge Silva (mat. 54368). OFÍCIOS REFERENTES A MIM FORAM EXTRAVIADOS NA SEMED (secretaria municipal de educação de Belford Roxo).
23- Procuradora de Belford Roxo DÉBORA FERNANDES CORDEIRO PINTO (matrícula 80/28.585) também ligada a igreja evangélica recusou por 2 vezes o meu pedido de readmissão. FOI CURTA E GROSSA. NÃO COMENTOU SOBRE O LAUDO MÉDICO APRESENTADO. NÃO SE INTERESSOU EM AVERIGUAR O QUADRO PSIQUIÁTRICO. NÃO FEZ REFERÊNCIA AOS PROBLEMAS SOCIAIS E AO PRECONCEITO NO TRABALHO. IGNOROU TUDO SIMPLESMENTE.
24- 2002 foi o ano em que pela primeira vez eu senti que havia ficado doente por causa do trabalho.
O Formulário de Referência do Centro Psiquiátrico do Rio de Janeiro consta de processos administrativos de 2003 da professora Faiza Khálida arquivados pela Procuradoria Municipal de Belford Roxo. de Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
25- Em processo administrativo no ano de 2003 eu pedi para que a Prefeitura Municipal de Belford Roxo custeasse um tratamento Psicológico e Psiquiátrico para mim alegando que eu não me encontrava mais depois de tudo que havia passado no serviço público da rede de educação em condições de desempenhar minhas funções equilibradamente, mas eu não fui atendida eu pedi no documento em nome do Senhor Jesus Cristo ajuda médica ".
26- Não condene alguém com transtorno bipolar com sintomas psicóticos no mundo do trabalho. É o que eu posso ensinar às pessoas para que o mundo seja um pouco melhor diante do quadro em que eu vivi no meu emprego de professora concursada e efetiva da Prefeitura Municipal de Belford Roxo.
Ninguém precisa ser trans para lutar contra a transfobia
Taken from: www.shadesofoakwood.com/pages/oakhistory.html
On November 11, 1982, the Haggerty lion was placed in Oakwood as a memorial to Michael Charles Haggerty who died at age 14 in an auto accident in 1974. His brother Thomas, who was two years younger than Michael, was an art student at Syracuse University when his parents asked him to create a special and original memorial. Michael had always liked lions and his mother thought a lion would be appropriate - a friendly protector, inviting but with claws. Thomas began work on the monument in the summer of 1981. He formed the clay image in his garage, spraying and wrapping his work each night. After this initial phase, the large figure was moved outside of his home and his work was supervised by an SU instructor. After a year's work, the 620 pound bronze statue was ready for placement. Michael had originally been buried at St. Mary's in DeWitt, but the authorities responsible for the diocese cemeteries objected to the monument. Michael was then reinterred in a special spot at Oakwood with the lion standing guard. Many people do not know about the Haggerty lion because it is situated in a wooded area and during seasons with leaves, it is well concealed. The lion can be found across the road from the Chapel. At the corner where the woods begin is a small trail which leads about 20 feet up a small incline to the monument.
Submitted for September's TMSH # 7 - Bronzed
Submitted for August's MSH # 4 - Freedom of art - I had several other possibilities, but for some reason when I think of freedom of art, this statue comes to mind. It's a shame that some people can be so small minded.
Submitted for March's MSH # 7 - Bronze Age
Виниловый сайдинг Mitten sotdel.ru/saiding-mitten.html #сайдинг #sotdel Сайдинг Mitten не бывает российским или китайским, он всегда канадский. Как и где производится сайдинг Миттен www.facebook.com/110372909302943/photos/a.298950240445208...
Первое тюнинг-ателье по загородным домам - отделка фасадов, кровельные работы. Монтаж сайдинга под ключ. Гарантия 5 лет на монтаж сайдинга
Строительные блоки WOODBE из древесины www.sotdel.ru/stroitelnye-bloki-woodbe.html
Панели ДВП (Древесно Волокнистая Плита) www.sotdel.ru/paneli-dvp-drevesno-voloknistaya-plita/
ПАНЕЛИ KMEW fasadnye-panely.sotdel.ru/
Фартук для кухни (Кухонный фартук) www.sotdel.ru/fartuk-dlya-kuhni.html
Москва ул. Верхние Поля, 48а
пн–пт 09:00–18:00; сб 09:00–15:00
+7 (495) 258-62-08
Lake Waramaug
www.stateparks.com/lake_waramaug.html
www.flickr.com/photos/corbettjames/5121821489/in/photostr...
Lillinonah’s Leap
Reprinted From:
Legendary Connecticut
Traditional Tales from the Nutmeg State
By David E. Philips
www.friendsofthelake.org/downloads/lillinonah_leap.200312...
When the English colonies in New England were very young, there was hardly an Indian
between the Hudson and the Penobscot Rivers who did not know about Chief Waramaug,
the great sachem of the Pootatuck tribe of western Connecticut. Not only was he
respected far and wide for his courage, wisdom and charismatic leadership, but also
admired by all for his magnificent hilltop headquarters overlooking the Housaronic River,
not far above the present town of New Milford. Called “Waramaug’s Palace,” the
structure was said to have been at least twenty feet wide and a hundred feet long, a “long
hours,” indeed, and unquestionable the largest Indian building ever constructed in New
England.
Made from bark and logs which had to be carried for many miles (mostly up hill) on the
backs of the artisans who built it, Warmamaug’s Palace was famed both for its
architectural grandeur and its ornate interior decoration. It is said, for example, that the
wall of the cavernous main council chamber were covered with colorful painting of the
chief, member of his family, his councilors and judges, while smaller apartments were
adorned from floor to ceiling with pictures of all the beasts, birds, reptiles and insects to
be found in the land of the Pootatucks. The best Indian artists, many loaned to
Waramaug by the chiefs of distant tribes, labored for months to complete the unique
administration building and museum of primitive art.
As proud as Waramaug was of his imposing palace, he was even prouder of the light of
his life, his lovely daughter, Lillinonah. Taught from birth to cultivate those virtues most
revered by her father – compassion for one’s fellow man, loyalty to family and tribe and
sensitivity to the beauties of Nature – Lillinonah was, at the age of eighteen, a young
woman whose humanity matched her grace and beauty. From near and far the young
braves came, as moths to the flame, to pay homage to Lillinonah – and perhaps win her hand in marriage. But first, of course, each had to pass muster with old Waramaug, and
that was no simple matter.
Not it happened that on a cold and wintry day, as Lillinonah was out waling in the woods
high above the swift rapids of the Housatonic, she came upon a handsome young white
man wandering aimlessly through the forest, stumbling occasionally and falling to his
knees before rising once more and continuing on. It was obvious to the Indian maiden
that the man was sick with cold and fever, weak of body and confused of mind. With pity
in her heart for the suffering stranger, she offered to assist him back to the village of the
Pootatucks, where he might find rest and treatment for his illness. When the white man
nodded his assent, she slowly walked him to her home, though he had to lean heavily
upon her for support, lest he collapse in the effort.
Although the elders of the village did not approve and did nothing to help her, Lillinonah
nursed the stricken Englishman through all the rest of the long, cold winter, seldom
leaving his side. As spring came to the encampment of the Pootatucks, he was well
along the road to recovery, thanks to the care of his attentive nurse and the good
medicine which she had provided. With the blossoming of the mountain laurel on the
banks of the Housatonic, love, too, bloomed in the house of Lillinonah. As the beautiful
daughter of Waramaug gazed with undisguised affection into the eyes of the man whose
life she had saved, she saw that he returned her adoration with unaffected ardor.
When summer came, the two young lovers finally decided that they must got to Chief
Waramaug, for a love as deep as theirs must be consummated by marriage. The great
sachem’s reaction, however, was as they both expected: he was very angry. With all the
eligible Indian suitors for miles around still beating a path to her door, how dare Lillinonah
ask for his blessings on a union with a white man, an unknown stranger whose culture
was so different from her own? Was it not true that the paleface despised the Indians,
regarding them as little better than the savage beasts of the forest? No, said Waramaug,
never would he sanction Lillinonah’s marriage to such a man.
But Lillinonah refused to eat or drink. Her once lovely face turned sallow and she began
to shrink before the very eyes of her distraught father. As summer waned, the once
beautiful daughter of Waramaug became a pale shadow of her former self, so great was
her pain and powerful her will. Finally, although he still regarded marriage between his
daughter and a white man as a burden almost too heavy to bear, Waramaug relented.Reluctantly, he consented to the marriage of his beloved Lillinonah to the man she had
found lost in the woods on that long ago winter’s day.
Before the marriage could take place, the betrothed couple agreed, the fair young man
should return to his own people, to let them know that he was still alive and well, and to
tell them of his plans to wed Lillinonah and live for the rest of his life in the company of the
Poootatucks. Both lovers realized that his people would urge him not to go back to his
lovely Indian princess. They would remind him that there were plenty of young English
women in the colonies just looking for a husband as attractive as he was. What right had
he to wed a dusky maid from a foreign and inferior race? But he promised Lillinonah that
no argument would ever persuade him to break his vow to marry. After one final winter
with his own people, he would return to Lillinonah – in the early spring. Sadly, he took his
leave.
The autumn passed, and winter, too, and as the first green began to show in the hickory
and oak along the Housatonic, Lillinonah bedecked herself with the wild flowers of the
forest as she waited in happy anticipation for her lover’s return. But summer came and
went, the reds and yellows of autumn showed bright on the trees, and still the young
Englishman had not come back to the land of the Pootatucks. Lillinonah no longer sand a
joyous song. There were no more flowers in her hair. Wan and listless, she wandered
through the woods, her eyes red-rimmed from weeping, searching and hoping against
hope that she had not been forgotten.
Chief Waramaug watched sadly as once more his daughter’s health began to fail and her
usually happy disposition to run morose under mounting waves of despondency.
Perhaps, he thought, he might bring her back from the brink of depression if he could only
interest her in a young man of her own race. So, unknown to Lillinonah, Waramaug
arranged a marriage for her with Eagle Feather, one of the brightest, most promising
braves in the Pootatuck tribe. Surely, such a fine youth as he, could give Lillinonah
something to live for.
But word reached Lillinonah of her father’s arrangement with Eagle Feather – and she
reacted immediately. Down on the shore of the Housatonic River, now rapid and swollen
with the heavy rains of autumn, she climbed into a canoe and shoved off into the teeth of
the roaring current. As the canoe was carried faster and faster toward the turbulent waters above the dangerous falls of the river, Lillinonah tossed away her paddle and sand
back in the bottom of the canoe to await her fate.
Then, high on a crag jutting over the river just above the cataract, she saw him! Her lost
lover had not forgotten. Even above the roar of the water she heard him call her name.
She stood in the canoe, waved her arms and screamed for help. Though he knew his
chances of saving his beloved were slim at best, the young Englishman did not hesitate
for a moment. He leaped from the overhanging bluff and plunged into the whitened
water, just as Lillinonah’s canoe struck a rock in the middle of the river and capsized,
spilling her into the frothy current. Swiftly as he could, he swam to her side and clasped
her body to him. Alas, neither realized that it was already too late. Still wrapped in loving
embrace, the doomed pair disappeared into the boiling falls and were crushed to death as
they were hurled to the rocks in the broad pool below.
They say that when the battered bodies of the star-crossed lovers were finally found, they
were still locked in each other’s arms. Noble, even in deepest mourning for his lost
Lillinonah, Chief Waramaug ordered that his daughter and her white lover be buried side
by side, contrary to Indian tradition, on the top of a hill overlooking the narrow gap of the
Housatonic River non known as Lover’s Leap. And when old Waramaug finally joined his
ancestors many dad years later, legend says that he, too, was laid to rest near the illfated
couple.
Though the tragic life of Lillinonah ended centuries ago, her legend will never be
forgotten. Any Connecticut map will show that the wide portion of the Housatonic River
which stretches for mils below the narrow rapids where the lovers met their deaths is, to
this day, still called Lake Lillinonah.
Οι δύο ενσαρκώσεις ολοκληρώνουν τη σημασία της ενσάρκωσης
Αν είχε πραγματοποιηθεί το έργο του Ιησού χωρίς να συμπληρώνεται από το έργο σε αυτό το στάδιο των εσχάτων ημερών, τότε ο άνθρωπος θα παρέμενε για πάντα προσκολλημένος στην αντίληψη ότι μόνο ο Ιησούς είναι ο Υιός του Θεού ο μονογενής, δηλαδή, ότι ο Θεός είχε μόνο έναν γιο και ότι οποιοσδήποτε άλλος ακολουθούσε έπειτα, υπό κάποιο άλλο όνομα, δεν θα ήταν ο Υιός του Θεού, πόσο μάλλον ο ίδιος ο Θεός. Ο άνθρωπος έχει την αντίληψη ότι όποιος λειτουργεί ως θυσία εξιλέωσης των αμαρτιών ή όποιος αναλαμβάνει την εξουσία εκ μέρους του Θεού και λυτρώνει όλους τους ανθρώπους, είναι ο Υιός του Θεού ο μονογενής. Υπάρχουν κάποιοι που πιστεύουν ότι εφόσον Εκείνος που θα έρθει είναι άντρας, θα μπορεί να θεωρείται ο Υιός του Θεού ο μονογενής και ο εκπρόσωπος του Θεού, ενώ υπάρχουν ακόμα κι εκείνοι που λένε ότι ο Ιησούς είναι ο Υιός του Ιεχωβά, ο μοναδικός Του Υιός. Δεν είναι αυτή μια εξαιρετικά υπερφίαλη αντίληψη του ανθρώπου; Αν δεν πραγματοποιούταν αυτό το στάδιο του έργου στην τελική εποχή, μια σκοτεινή σκιά θα κάλυπτε ολόκληρη την ανθρωπότητα, όσον αφορά στον Θεό. Σε μια τέτοια περίπτωση, ο άντρας θα θεωρούσε τον εαυτό του ανώτερο από τη γυναίκα, οι γυναίκες δεν θα μπορούσαν ποτέ να έχουν το κεφάλι ψηλά, κι έτσι, ούτε μία γυναίκα δεν θα μπορούσε να σωθεί. Οι άνθρωποι πιστεύουν πάντοτε ότι ο Θεός είναι άντρας και, επιπλέον, ότι εκείνος ανέκαθεν απεχθανόταν τη γυναίκα και ότι δεν θα της έδινε τη σωτηρία. Σε μια τέτοια περίπτωση, δεν θα ήταν αλήθεια ότι όλες οι γυναίκες, οι οποίες δημιουργήθηκαν από τον Ιεχωβά κι έχουν επίσης διαφθαρεί, δεν θα είχαν ποτέ μια ευκαιρία να σωθούν; Τότε, δεν θα ήταν άσκοπο για τον Ιεχωβά να δημιουργήσει τη γυναίκα, δηλαδή, να δημιουργήσει την Εύα; Η γυναίκα δεν θα χανόταν για όλη την αιωνιότητα; Γι’ αυτόν τον λόγο, πρέπει να πραγματοποιηθεί το στάδιο του έργου στις έσχατες ημέρες, προκειμένου να σωθεί ολόκληρη η ανθρωπότητα, όχι μόνο η γυναίκα, αλλά όλη η ανθρωπότητα. Αυτό το έργο γίνεται για χάρη όλης της ανθρωπότητας, όχι μόνο για χάρη της γυναίκας. Αν κάποιος πιστεύει κάτι διαφορετικό, τότε είναι πολύ ανόητος!
Thierry Geoffroy / Colonel exhibit now at The Kuma Museum his tent from document Kassel d13 , 2012 ( unsolicited )
that created debates about contempoarary art , started occupy movement in front of Fridericianum museum ... got confiscated , inspired marble tent installation documenta14
read more here :
www.emergencyrooms.org/documenta_kassel.html
Geoffroy normally works with art formats like the EMERGENCY ROOM
to stimulate urgent expression by artist about today 's emergencies :
The art work can be asking about "The Execution of Emperor Maximilian "where Manet paint an " after excecution moment "
Is art always too late ?
Can art prevent accidents ?
Does art always comes after the shooting or can art sometimes prevent it ?
Can artists have an impact ?
Could it be an art that could prevent and stop accidents not only witness and express about them ?
Thierry Geoffroy/ Colonel will be exhibiting in the museum Kunsthalle Mannheim from october 2018 part of the exhibition Konstruktion der Welt .Kunst und Ökonomie
Constructing the World: Art and Economy 1919-1939 and 2008-2018
10/12/18 to 02/03/19
Ten years after the peak of the global financial crisis in 2008, which profoundly shook the economic systems of America and Europe and had a lasting effect on present-day life, this topical exhibition is the first to illustrate the economy’s dramatic influence on art and to make global comparisons, demonstrating these in an analysis of two separate eras. Economic phenomena in the classical modernism of the 1920s and 30s are not only explored by focusing on art from the German Weimar Republic, the Soviet Union, and the United States, but also juxtaposed with artists of the present day.
Curatorial team: Dr. Eckhart Gillen (Berlin), Dr. Ulrike Lorenz, Dr. Sebastian Baden
Project Lead: Dr. Inge Herold, Assistence: Lisa Valentina Riedel, M. A. mult., Elisabeth Bohnet, M.A.
How does contemporary art reflect the world of work today? The catalogue for the second part of the exhibition Constructing the World at the Kunsthalle Mannheim takes a look at this question. The focus of it is primarily on artistic positions of the past decade that deal with the social, political, and economic effects of the most recent economic crisis after 2008. The works address and interrogate new production conditions and developments on the labor market as well as political conflicts. The accompanying publication provides fascinating insights into the diverse artistic positions.
Artists participating 2008-2018
Maja Bajevic - BBM (Observers of Operators of Machines) - Bureau d'Études - Claire Fontaine - Jacques Coetzer - Abraham Cruzvillegas - Szilárd Cseke - Chto Delat - Jeremy Deller - Simon Denny - Tatjana Doll - Harun Farocki & Antje Ehmann - Thierry Geoffroy - Andreas Gursky - Thomas Hirschhorn - Olaf Holzapfel - Sanja Iveković - Charles Lim Yi Yong - Maha Maamoun - José Antonio Vega Macotela - Tobias Rehberger - Oliver Ressler & Dario Azzellini - Mika Rottenberg - Superflex - Zefrey Throwell - Volume V - Maya Zack - Artur Żmijewski
Artists participating 1919-1939
Berenice Abbott - Gerd Arntz - Lester Thomas Beall - Thomas Hart Benton - George Biddle - John Biggers - Peter Blume - Margaret Bourke-White - Jacob Burck - Clarence Holbrook Carter - Charlie Chaplin - Ottilie Cieluszek - Ralston Crawford - Francis Hyman Criss - Stuart Davis - Alexander A. Deineka - Rudolf Dischinger - Otto Dix - Nikolaj A. Dolgorukow - Arthur Durston - Sergej M. Eisenstein - Fred Ellis - Walker Evans - Philip Evergood - Conrad Felixmüller - Hans Finsler - Max Gebhard - Hugo Gellert - John R. Grabach - Otto Griebel - William Gropper - Carl Grossberg - George Grosz - Hans Grundig - Kurt Günther - O. Louis Guglielmi - John Heartfield - Werner Heldt - Karl Hubbuch - Eric Johansson - Joe Jones - Grethe Jürgens - William Karp - Lewis W. Hine - Hannah Höch - Heinrich Hoerle - Edward Hopper - Hermann Otto Hoyer - Edward McKnight Kauffer - Gerhard Keil - Gustavs Klucis - Käthe Kollwitz - Pawel D. Korin - Valentina N. Kulagina - Wilhelm Lachnit - Fritz Lang - Wladimir W. Lebedew - Jack Levine - El Lissitzky - Arkadi Lobanow - Louis Lozowick - Sergej A. Lutschischkin - Reginald Marsh - Carl Mayer - László Moholy-Nagy - Dimitri Moor - Reinhold Nägele - Otto Nagel - Alice Neel - Oskar Nerlinger -Solomon B. Nikritin - Alice Lex-Nerlinger - Gerta Overbeck - Werner Peiner - Kusma S. Petrow-Wodkin - Juri I. Pimeno w - Natalia Pinus - Michail M. Plaksin - Jackson Pollock - Curt Querner - Climent N. Redko - Albert Renger-Patzsch - Serafima V. Rjangina - Alexander Rodtschenk o - Theodore Roszak - Walter Ruttmann - Leni Riefens tahl - Nikolaus Sagrekov - Alexander N. Samochwalow - Paul Sample - August Sander - Arkadi S. Schaichet - Rudolf Schlichter - Wilhelm Schnarrenberger - Georg Scholz - Franz Wilhelm Seiwert - Ben Shahn - Charles Sheeler - Georgi und Wladimir A. Stenberg - Warwara Stepanowa - Paul Strand - Miklos Suba - Ernst Thoms - Alexander G. Tyschler - Bumpei Usui - Konstantin A. Vialov - Karl Völker - Wladimir A. Wassiljew - Dsiga Wertow - Piotr W. Wiljams - Grant Wood - Gustav Wunderwald - Ekaterina S. Zernova - Heinrich Zille
www.colonel.dk contact : emergencyrooms@gmail.com
#artformats #artformat #formatart #biennale #biennalism #biennalecritic
#ARTIVISM #streetartist #politicalartist #activistartist #Epigrammatists #socialcommentary
#premonitionart #avantgardeart #inadvanceart #urbanartist #InstitutionalCritique
#artintime #onlineart
#toolate
thierry.geoffroy #thierrygeoffroy #artistrole
#biennalist #Biennalism #biennalecritic
#venicebiennale
#documentakassel #documenta #d13 #documenta13
#manet #edouardmanet
#exhibition #contemporaryart #
#artandeconomy #kunsthallemannheim #museum #mannheim#thierrygeoffroycolonel
#kuma #kumamuseum
BODY
Manufactured by Ihagee Kamerawerk Steenbergen & Co, Dresden, East Germany
Model: 1961, Version 1.6, (A&R: 6, Hummel: 050), (produced between 1960-62, quantity 58400)
Special features of Version 6: rectangular shape of the front plate; name plate with Exa metallic white on painted black background.
Version, manufacturing year, body and lens info are as to Andrzej Wrotniak
The original Exa is known as Exa 0 also
All Exa 0 produced between 1951-62
35mm film SLR camera
Engraving on the front plate: Ihagee Dresden
Lens release: via a lever on the left of the lens flange
Focusing: via Fresnel matte screen, ring and dial on the lens, w/DOF scale
Shutter: Mirror acts like a curtain as a part of the shutter, vertical moving, due to this maximum speed is limited to 1/150, speeds: 1/25-1/150 +B
setting : via a lever and scale on the right of the top plate
Shutter release: a knob, on front of the body, left side of the lens,
w/ a safety locking cap, and cable release socket, it can be pressed with the plunger on the lenses, w/ cable release socket also
Cocking knob: also winds the film, on the right of the top plate
Frame counter: window on the right of the top plate, additive type, manual reset by a thumb ring on front of it
Viewfinder: Waist level finder, w/ magnifier and sport finder with a lid, opens by a knob on the back side, interchangeable with SLR pentaprism finder
Finder release: via a knob beneath the Exa logo
Mirror: Stays up after exposure, so viewfinder is dark, cocking the shutter returns the mirror to normal position
Re-wind knob: on the left of the top plate
Re-wind release: a button just beside the cocking knob
Flash PC socket: two, on the right front side of the camera, F and X
Self-timer. none
Back cover: Hinged, removable, opens by a latch on the left side of the camera
Special take up spool
Tripod socket: 1/4''
Strap lugs
Body: metallic, Weight: 588g (wo/ the lens)
serial no. 573828 (inside the camera)
LENS:
aus Jena Pancolar 50mm f/2 (Zebra), 6 elements, auto-diaphragm type, (no internal aperture coupling, diaphragm always in open position, pressing the plunger on the lens closes the aperture to the pre-set f number then the shutter releases),
Exakta bayonet mount, interchangeable with Exakta Varex lenses,
filter thread: 49mm, serial no.8459679 (introduced 1964)
Aperture: f/2-f/22 setting: ring and scale on the lens
Focus range: 0.5-15m +inf
+SLR pentaprism finder, w/split image rangefinder, Ihagee, Dresden
Ihagee Kamerawerk Steenbergen & Co, in Dresden, which was the largest independent camera manufacturer in Germany and was founded in 1912 by Johan Steenbergen.
The true Exaktas and Exas are ones made by Ihagee in Dresden.
Although Exa is much simpler than the professional Exakta cameras, the workmanship is equally good, finish similar, and the family resemblance obvious. With its lower price, Exa cameras are addressed to the amateur photographers.
During the 25th year of production of the 35mm Exaktas, Ihagee introduced the black and white labels as for Exacta IIa as for the Exa.
Ihagee did not produce their own lenses. Instead, they relied on many of the major optical firms of their day to each produce a series of lenses for their cameras, eg. Carl Zeiss Jena, Meyer-Optik Görlitz and Schneider-Kreuznach. The lenses from these three makers, in terms of the number and variations of lenses produced, are the most plentiful and in most cases the easiest for collectors and users to acquire. Maybe, over 80% of the Exaktas offered for sale are equipped with normal focal length lenses from these three firms.
The East German Zeiss lenses made for export, were marked from 1954 with different engravings. The brand name Carl Zeiss Jena is replaced by C.Z. Jena or Jena or aus Jena.
Notes about Exa/Exakta classification
I use the Exa/Exakta classification of Andrzej Wrotniak. As to me, it is the best.
Some opinions of a serious Exa/Exakta collector, F W Tappe :
Andrzej Wrotniak uses a very sensible classification, listed on his website, which I personally like the best. It is multi dimensional in setup, without being complicated!
Richard Hummel's 1995 book lists an "one dimensional" classification, which is incomplete, but many sources still refer to this.
Aguila and Rouah (A&R) in their 2003 edition of "Exakta cameras 1933 - 1978", come to an improved classification. They built on their previous 1987 edition classification, which was the leading standard among collectors.
Klaus Wichmann, prolific writer of books about Exakta - and Exa cameras, published his classifications earliest.
More info Captain Jack, Maurizio Frizziero, F W Tappe, Exa Original in Camerapedia
Collaboration beetween Biennalist and Ultracontemporay
Art Format
www.emergencyrooms.org/formats.html
en.wikipedia.org/wiki/Thierry_Geoffroy
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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4.0-liter Tipo 209 V12 cylinders (330 cc per cylinder)
300 CV @ 6600 rpm
Number of units produced: 50 examples
Production period: 1963
The Ferrari 330 America is a hermaphrodite introduced by Ferrari in 1963 as the successor of the 250.
The 330 America was simply a 250 GT/E with a larger engine, the new 4.0 L Tipo 209 V12, with 300 CV @ 6600 rpm.
"330" refers to the approximate displacement of each single cylinder.
All 330 models used an evolution of the 400 Superamerica's 4.0 L Colombo V12 engine. It was substantially changed for the 330 cars, however, with wider bore spacing and the notable use of a true alternator rather than a dynamo generator.
The 330 GTC/GTS (598/100 examples 1966-1968) shared their chassis with the 275, only the 330 GT 2+2 (1099 examples, 1964-1967) was a truly unique product.
Ferrari 275 und 330 GT 2+2 have their transmission at the rear-axle (transaxle-layout) for better weight distribution.
MotorWORLD Classics Berlin
ExpoCenter City under the radio-tower
8 to 11 October 2015