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Our Lady & The English Martyrs, Cambridge
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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.
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
[
O Advogado do Emigrante Português ]( r.info-castilhoadvogados.com/912361q1b0rf.html ) [ ]( r.info-castilhoadvogados.com/1048co6la1b0rd.html )
Estimados Portugueses Emigrados pelo Mundo
Os nossos melhores cumprimentos
É com enorme prazer que o(a) contactamos a fim de lhe dar a conhecer que o serviço de O Advogado do Emigrante Português celebra doze anos de existência e de plena actividade, onde muitos foram os Portugueses por esse mundo fora que recorreram aos nossos serviços, legalizando e lutando pelos seus direitos em Portugal apesar da distância.
Para comemorar esta data a Sociedade de Advogados Tavares Castilho, Rodrigues & Associados SP, RL, criadora do serviço [ O Advogado do Emigrante Português ]( r.info-castilhoadvogados.com/1048co7dq1b0rd.html ) e do serviço [ Mudar o Estado Civil em Portugal ]( r.info-castilhoadvogados.com/1048co8661b0rd.html ), oferecerá aos seus clientes um desconto de 30 % sobre o valor da tabela interna da sociedade em todos os serviços, aplicando-se o mesmo a todos os orçamentos já dados.
Esta campanha vigorará até ao final do presente ano de 2016.
Assim, usufrua desta oportunidade para recorrer aos nossos serviços e aproveitar para, legalizar o seu estado civil em Portugal ou divorciar-se ou exigir partilhas, entre outros serviços, que poderá conhecer nos nossos sites:
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r.info-castilhoadvogados.com/1048co9r21b0rd.html ENVIE UM E-MAIL - NÓS LIGAMOS GRÁTIS [ ]( r.info-castilhoadvogados.com/1048coaji1b0rd.html ) O Advogado do Emigrantes Português
O ADVOGADO DO EMIGRANTE PORTUGUÊS é propriedade da sociedade de Advogados TAVARES CASTILHO RODRIGUES & ASSOCIADOS SOCIEDADE DE ADVOGADOS SP. R. L,
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Villa Baraka consists of 4 bedrooms; 2 bedrooms on the second level boasting rice field views and outdoor private seating areas and 2 bedrooms on the ground floor overlooking the pool and spacious living area with a well equipped kitchen with all modern conveniences and its sit up bar. This 2 storey villa has 4 en suite bedrooms in modern tropical shades of warm shade of brown gives an air of tranquility and calm living. Bali modern and chic, carefully designed villas with a sense of tranquility envelops you as you enter this haven. There are safe deposits boxes in every room, one satellite TV 42 inch flat screen with international channels, and free wireless internet service.
Descargar Aquí ► www.imagenesdeamor.pro/2017/12/imagenes-de-amor-bonitas-c...
Siempre es bueno darle variedad al amor, y qué mejor forma de hacerlo que a través de estas imágenes de amor perfectas para dedicarle al amor de tu vida, a tu pareja o a esa persona que te gusta tanto, con la que comienzas a sentir que todo va de maravilla. Recuerda que siempre es buen momento para cambiar, para refrescar las cosas. ¡Hazlo con esta bonita colección!
Mi vida… Me enamoré de ti y le agradezco a Dios que tú correspondieras a mis sentimientos. Tenerte conmigo es un sueño y lo mejor de todo es que es real. Cuidaré lo que tenemos como a uno de esos tesoros que solo se encuentran una vez en la vida.
Amor… Contigo tengo todo lo que siempre estuve buscando y no necesito a nadie más para sentirme tan feliz. Tú eres mi príncipe y no habrá nadie más que tenga la llave de mi corazón.
Amor… En lo más profundo de mi alma ha nacido este amor tan hermoso que siento por ti y no existe otra persona que haya despertado en mí un sentimiento tan lindo como este. Miles de gracias por amarme tanto.
Amor… Tengo que reconocer que mi vida es mucho mejor gracias a ti, por eso es que siempre ocuparás el primer lugar en mi corazón. Qué hermoso es compartir cada momento a tu lado y sentir la confirmación de que este sentimiento es verdadero.
Amor… Podría darte miles de besos y todas mi caricias, pero siento que jamas sería suficiente para poder demostrarte todo el amor que siento por ti. Te amo mucho y estaré eternamente agradecida a Dios por tenerte a mi lado.
Mi vida… Desde que tengo tu amor siento que ya no me falta nada porque eres el hombre que lo tiene todo. Me parece increíble que seamos tan felices estando juntos y deseo que por siempre tengas la completa seguridad que te amo con toda mi alma.
Amor… Todas las mañanas le doy gracias a Dios por haberme dado esta gran oportunidad de ser feliz a tu lado. Estoy segura de que estaremos juntos para siempre.
Amor… Antes de que llegaras a mi vida todo era, prácticamente, un desastre para mí: pero llegaste tú y me ayudaste a darle orden a mis cosas y me hiciste entender que yo soy capaz de lograr muchas cosas por mí misma. Siempre estaré agradecida contigo.
Amor… Tú eres la única persona capaz de hacer que me sienta completa, pues cada vez que te veo, mi corazón se llena de amor y felicidad. Creo que ya sabes lo mucho que te amo, mi amor; por eso te prometo que estaremos juntos para siempre y que nunca te voy a fallar.
Amor… De todas las bendiciones que he tenido en mi vida, tú eres una de las más grandes.
No dudes de que los detalles de amor contribuyen a tu relación de una bonita manera, pues siempre es bueno sentirse mimado y muy querido a través de este tipo de postales bonitas que le alegran el día a cualquiera. Esperamos que te hayan gustado. ¡Qué tengas un excelente día!
El post 10 Imágenes de amor bonitas con mensajes de amor para dedicar aparece primero en Imágenes de Amor.
10 Imágenes de amor bonitas con mensajes de amor para dedicar | Mensajes de Amor, dedicatorias de amor, frases de amor hermosas, frases románticas para él, imágenes de amor para mi novio
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
Referencia a las patéticas manipulaciones informativas del periódico El Día y la Televisión Autonómica. Entre los retratos que rodean a Mr. Bruns se pueden ver los de empresarios actualmente investigados por el caso Las Teresitas y sin embargo participantes en la construcción del puerto y en el negocio del gas licuado y varios políticos del Partido Popular y Coalición Canaria igualmente imputados por varios delitos por las fiscalías anticorrupción (Caso Las Teresitas, Caso Salmón), pero que siguen en sus cargos públicos.
A modo de ejemplos
1: La "Canaria" vio 2.000 asistentes
"LA OPINIÓN Vergüenza e indignación. Esa fue la respuesta de los manifestantes cuando ayer, superadas las tres de la tarde, se corrió la voz de que la primera edición del informativo del ente público Televisión Canaria había relegado la marcha a un segundo plano y dado una cifra "increíble" de 2.000 asistentes. A nadie le extrañó, de todas maneras, la actitud de la Canaria, aún cuando se suponga que debe ofrecer un servicio público, si bien la estimación despertó durísimas críticas ante la tergiversación sistemática de todo lo que ha tenido que ver con el proyecto del muelle desde diferentes medios. El telediario del mediodía abrió con la calima (que lleva ya cuatro días sobre Canarias), dejó como segunda noticia un incendio en Geneto ocurrido la tarde del viernes y relegó a la tercera posición la marcha, con una estimación de afluencia de 2.000 personas cuando a esa hora ya se sabía que la cantidad era muy superior. Por contra, TVE, Antena 3, la agencia Efe y la cadena SER a nivel nacional hablaron de más de 20.000"
2: Editorial de El Día comentando esta manfestación:
Canaria y la dominación colonial son nuestros peores males
"LA PASADA semana concluyó plena de acontecimientos. El último, la manifestación de tinerfeños -¿realmente eran todos tinerfeños?; tenemos constancia de que miles de personas se trasladaron ex profeso desde Canaria para armar jaleo aquí- contra Tenerife y sus intereses más vitales. Estamos convencidos de que la mano negra -o amarilla; lo mismo da- canariona anda detrás de todas las maniobras contra el puerto de Granadilla. Ahí tenemos, sin ir más lejos, la hijuela que ha introducido en nuestra Isla un diario de Las Palmas. Esa hijuela, que siempre actúa como un caballo de Troya, se regocija con todo lo que le afecta negativamente a Tenerife. No hay más que ver con qué alborozo ha titulado sus primeras páginas en los últimos días, tras conocerse la paralización cautelar por el Tribunal Superior de Justicia de Canarias de las obras de dicho puerto. Ese deleznable pasquín hasta se regodea cuando pierde el Club Deportivo Tenerife. Por eso aconsejamos a todos los habitantes de esta Isla que no compren tan abominable diario. Diario, lo hemos dicho en múltiples ocasiones pero conviene recordarlo, dirigido en estos momentos por un godo insufrible que tuvimos en esta Casa hasta que nos engañó, pues forma parte de su naturaleza morder la mano que le da de comer; igual que los perros de la ira. Antes dirigía ese planfleto pro canarión otro godo famoso por su pestilencia física, si bien la hediondez de su pluma supera con creces a la mugre corporal que siempre lo acompaña, producto de su aversión al jabón. Algún día escribiremos un comentario, e incluso un editorial, monográfico dedicado a estos dos godos y otros dos más; es decir, al cuarteto más aborrecible de la prensa canaria, que para nuestra desgracia no deciden mandarse a mudar de una vez y dejarnos a todos tranquilos.
La semana acabó, como señalamos, con una manifestación que nos causa náuseas. Lo decíamos en nuestro comentario de ayer y lo repetimos en el editorial de hoy. Sólo con ver las imágenes de esas personas que no quieren a su Isla -pese a que están en su perfecto derecho para manifestarse donde y cuando quieran-, nos dan arcadas. ¿Cómo es posible esta ruindad contra Tenerife? Recordamos a nuestros lectores que el proyecto del puerto industrial de Granadilla, con su correspondiente polígono, comenzó hace 30 años. Desde entonces se han realizado multitud de estudios, que han llevado a correcciones y modificaciones de la idea inicial. Lo que se pretende construir en la actualidad tiene una incidencia mínima, si es que la tiene, sobre los sebadales. La superficie de esta pradera submarina que se vería afectada, en caso de que, como subrayamos, hubiese daño alguno, apenas superaría el uno por ciento de las que hay en Canarias. Además, existe la posibilidad de que sean trasplantadas, a pesar de que lo nieguen los falsos ecologistas.
Somos conscientes de que una mala información -una desinformación desinteresada- sobre este aspecto del proyecto ha podido ser la causa de la suspensión cautelar decretada por el TSJC. Un organismo con sede en Las Palmas y jueces vinculados a Las Palmas, cuando menos por motivos de residencia. Esperemos que exista alguno de Tenerife entre esos magistrados, pues la orden de paralización procedía de Canaria.
Tenemos la esperanza de que esta obra esté detenida poco tiempo, considerando lo importante que es para nuestra Isla. Sean quienes sean los que protesten, a poco que los jueces se pronuncien con cautela este puerto seguirá adelante. Estamos convencidos de que el puerto de Granadilla será una realidad porque lo quiere el pueblo de una isla que en estos momentos está pasando hambre. El puerto generará muchos puestos de trabajo durante su construcción, y muchos más cuando ya esté en funcionamiento. No obstante, constatamos la presencia de dos focos contrarios a esta imprescindible infraestructura, formados por individuos contrarios, lo repetimos, al progreso de Tenerife. Uno de esos focos está encerrado en el Sanedrín de Vegueta; un antro donde moran individuos ruines y perversos hasta la médula, que tanto daño le están haciendo al Archipiélago. Esos siniestros personajes se han inventado el "gran" que anteponen al nombre de Canaria, con el único fin de hacer más daño todavía con la confusión y el engaño perpetuo. El otro foco nefasto para la principal isla del Archipiélago se oculta -quién lo iba a decir- en la ULL. Se trata de algunos profesores manipulados por falsos ecologistas, que a su vez están comandados desde Las Palmas, así como por personajes enemigos de Tenerife por sí mismos; es decir, individuos que odian a nuestra Isla sin necesidad de ser inducidos a ello, pues lo llevan en la sangre como llevan los canes de la ira el virus de la rabia. Entre esos hay catedráticos analfabetos, alguno de ellos muy conocido entre nosotros pues lo sufrimos en esta Casa. Ahí están sus nombres publicados para que la gente los conozca. Nos causa gracia leer en esa lista la filiación de un señor que con sus disparates estuvo a punto de desbaratar este periódico. Preso de una demencia calenturienta, nos llevó al borde del desprestigio y tuvo que ser llamado a capítulo por sus dislates. Aquí lo conocíamos como el loquinario. Es tan ignorante, que no sabe ni donde está Granadilla. Es un inculto integral.
Como decimos, Tenerife pasa por momentos dramáticos, hasta el punto de que sus habitantes menos favorecidos -aquellos a los que la crisis está golpeando con más dureza- pasan hambre en estos momentos. La culpa la tiene el Gobierno socialista español, que nos ha arrastrado a la miseria. Antes, hasta los taxistas de Santa Cruz poseían buenos coches y eran casi millonarios. Canaria y la dominación colonial son dos males que urge erradicar. Una tarea difícil de abordar con los políticos que hoy por hoy nos rigen. Los políticos de los partidos estatales detestan a Tenerife -la isla más grande y favorecida por la naturaleza-, y sólo benefician a Las Palmas. Mientras tanto, los de CC consienten con cobardía. A todos ellos los aborrecemos por habernos salido traidores y babiecas.
Como somos conscientes de que esto no tiene solución, insistimos en la urgencia de que llegue la verdadera democracia, la verdadera libertad y la verdadera decencia; elementos todos ellos que resultan imposibles de conseguir sin soberanía.
Decíamos ayer, y no es una broma, que el Parlamento de Canarias debería cerrar al menos durante un año porque no sirve para nada. Sus diputados sólo valen para subirse los sueldos mientras el pueblo agoniza de inanición, y para reprobar a un periódico que les canta las cuarenta y les dice en la cara que su comportamiento es ignominioso. También están siempre listas sus "señorías" -¡cuánto nos repugna oír esa palabra!- para despojar de sus viviendas a familias honradas. El Parlamento, insistimos, debe cerrar sus puertas y no volverlas a abrir hasta que se convierta en el Parlamento constituyente de la nueva e imprescindible nación canaria. Insistir en la absurda y criminal españolidad de estas Islas resulta pernicioso para todos nosotros. Los peninsulares se llevan nuestras riquezas y a cambio nos dan hambre. Siguen rebajándonos al concepto en que ya nos colocaron los primeros soberanos de esta tierra. Nos referimos a Isabel de Castilla y Fernando de Aragón; unos monarcas de muy dudosa moral. Reyes que inclusive expulsaron a los judíos y protegieron a la Santa Inquisición y que, en el caso de Canarias, sustituyeron a los menceyes guanches por esa podredumbre llegada de España para avasallarnos y esquilmarnos con avaricia. Tinerfeños, canarios: el asunto es muy serio. Hay que acabar con nuestra situación colonial y con los que se encierran en el templo sagrado del Parlamento, para robarle al pueblo y condenarlo al hambre y al desprestigio de proclamar que la isla tercera es grande, mientras Tenerife ha de estar condenada al último lugar. Estos son los individuos que residen en el Parlamento de la calle Teobaldo Power. Don Paulino, no se quede quieto; haga algo."
Die russische Kirche in Bad Ems ist der Hl. Märtyrerin Alexandra geweiht, der Gemahlin des römischen Kaisers Diokletian. Ihr Gedenktag fällt auf den 23. April (nach dem julianischen Kalender der Russischen Orthodoxen Kirche, dieser Tag entspricht dem 6. Mai des westlichen Kalenders). Gleichzeitig ist die Kirche dem Gedenken der Zarin Alexandra Fjodorovna gewidmet, der Gemahlin des Zaren Nikolaus l. (1825-1855). Zarin Alexandra Fjodorovna war als Prinzessin Charlotte von Preußen geboren und entstammte der Ehe König Friedrich Wilhelms lll. und der Königin Luise, einer Schwester Kaiser Wilhelms l.
Seit der Jahrhundertwende (1899/1900) kamen jährlich zwischen 5.000 und 8.000 Kurgäste aus dem russischen Kaiserreich. Die Aufenthaltsdauer der Gäste betrug in der Regel mehrere Wochen. Zu den Besuchern von Bad Ems gehörten so berühmte Namen wie die der Schriftsteller Gogol, Turgenew, Aksakov und Dostojewskij.
Dostojewskij weilte in den Jahren 1874 - 1876 und 1879 jeweils mehrere Wochen in Bad Ems. Hier verfaßte er Teile seines Romans "Die Brüder Karamazow".
Ende der 60er Jahre des 10. Jahrhunderts kam Zar Alexander ll. mit seiner Familie und seinem Hofstaat mehrmals zur Kur nach Bad Ems. Die Anwesenheit dieser hohen Gäste führte dazu, daß die Pläne zum Bau einer russischen Kirche wieder aufgegriffen wurden.
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
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#ARTIVISM #streetartist #politicalartist #activistartist #Epigrammatists #socialcommentary
#premonitionart #avantgardeart #inadvanceart #urbanartist #InstitutionalCritique
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Montblanc Moctezuma Review on YouTube:
YouTube Montblanc Moctezuma Review:
www.luxuo.com/style/the-montblanc-patron-of-art-homage-to...
The Montblanc Patron of Art Homage to Moctezuma I.
The Limited Edition collection honours the remarkable artistic and architectural achievements of Aztec culture, and the influence of one of its great leaders, Moctezuma I.
Every spring since 1992, Montblanc introduces the Patron of Art pen collection which pays tribute to those who exemplify the importance of art patronage throughout the world. The stellar names include Peggy Guggenheim, Pope Julius II and the latest being Roman emperor Publius Aelius Hadrianus. The Homage to Hadrian pen collection features gold-coated cones and cap tops, a reflection of the Roman buildings commissioned by Hadrian. This year’s Patron of Art Homage to Moctezuma I continues to be a fantastic example of Montblanc’s expertise in pen making.
Moctezuma I (1398-1469) also known as Moctezuma Ilhuicamina was the second Aztec emperor and fifth king of Tenochtitlan, ruling from 1440 to 1469. Under his reign, Tenochtitlan, which is now the center of Mexico City, blossomed thanks to social, economical and political reforms. The limited edition designs are released as part of the Patron of Art Homage that honours the remarkable artistic and architectural achievements of Moctezuma I. To coincide with the release of the Patron of Art Homage to Moctezuma I Limited Editions, Montblanc is introducing a fine stationery notebook in red calfskin Saffiano leather embossed with traditional Aztec motifs.
The latest Montblanc Patron of the Art Limited Edition 2020 collection is their Ode to Moctezuma 1 the ruler, who has shaped the image of Aztec culture and remains a great inspiration to write our own legacy. I really hope that the glyphs that are on the side of the fountain pen were chosen for their content and not just for an artistic flair. Contacting a Mayan scholar such as Floyd G Lounsbury would have upgraded their end product. I will try to locate and contact his colleagues to spread the word as they should have sufficiently deep pockets to drop the penny. Limited to 87 pieces.
en.wikipedia.org/wiki/Floyd_Lounsbury
Beginning in 1938 with his contributions to the Green Bay, Wisconsin-based Oneida Language and Folklore Project, while he was still an undergraduate, Floyd Lounsbury sustained a lifelong interest in indigenous languages—especially those, such as Oneida and Cherokee, in the Iroquoian family. His doctoral dissertation, published in 1953 as Oneida Verb Morphology, remains to this day the scholar’s bible for the basic structure and terminology of Iroquoian languages.
Iroquoian linguistics was not, however, Lounsbury’s only academic focus. He worked in acoustic phonetics and speech recognition; he refined new ways to teach linguistics, particularly with respect to field methods; he critiqued lexicostatistics and glottochronology; he wrote on the psychology of language; and he published on the history of anthropology. He was one of the most sought-after and influential anthropological linguists of his time.
Born and raised in Wisconsin farming communities, Lounsbury enrolled at the University of Wisconsin–Madison in 1932. He took nearly a decade to complete his undergraduate program because of the Great Depression’s economic necessities, but the extended period also allowed him to come in contact with a wide array of linguists and anthropologists and to adopt a thoughtful and measured approach to undergraduate education. Lounsbury majored in mathematics but also studied languages—primarily German but also Latin, Greek, Scandinavian languages, and Old Irish—along with phonetics, phonology, philology, and emerging theories of structuralist linguistics. After receiving his Ph.D. in anthropology from Yale University in 1949, Lounsbury accepted an appointment to its Department of Anthropology and remained at Yale until his retirement in 1979. Whether in classes, conferences, workshops, or personal conversation, Lounsbury’s students and colleagues considered him ever humble, generous, and insightful, with a prodigious memory for detail, a wide-ranging curiosity, and a formidable intellect.
www.nasonline.org/publications/biographical-memoirs/memoi...
Fountain Pen Patron of Art Homage to Moctezuma I Limited Edition 4810. USD$13,000.00
Limited to 87 pieces.
www.montblanc.com/en-ca/collection/writing-instruments/pa...
Moctezuma I was crowned ruler of the great Aztec Empire in 1440, thereby ushering in the golden age of the Aztecs. During his reign, he shaped the image of the Aztec state that we are familiar with today – one rich in culture and mythology. The capital city of Tenochtitlán, today’s Mexico City, blossomed under his rule. The Montblanc Patron of Art Homage to Moctezuma I Limited Edition 4810 with champagne-tone gold-coated fittings is dedicated to this supreme ruler of one of the most special cultures in world history. The overall design is inspired by an "atlatl", an Aztec spear-throwing device. The shape of the cone, refined with a hammer finish, is based on an Aztec sacrificial knife with an obsidian blade. The lacquer colors – petrol and carmine red – are inspired by the colors of the royal cloak. Two hieroglyphs decorating the cap symbolize the years of Moctezuma I's reign. The handcrafted Au 750 solid gold nib is adorned with a fine engraving inspired by the Aztec glyph for the city of Tenochtitlán: a three-armed cactus with a royal diadem and two scrolls.
Features
Clip: Champagne-tone gold-coated clip
Barrel: Red lacquered barrel
Cap: Pattern on cap underneath translucent petrol lacquer
NIB: Handcrafted Au 750 / 18 K solid gold, champagne-tone gold-coated nib with special design.
Montblanc Patron of Art Limited Edition 8
This edition, which comprises just eight pieces, is all about the pageantry of Moctezuma I and the Templo Mayor. The pen features an 18-karat champagne-tone gold cap whose elongated shape is set with diamonds, garnets, green tsavorites and multi-coloured sapphires. It is also decorated with a hand engraving of the winged Huitzilopochtli, patron god of the Aztecs.
Three-dimensional engravings of an eagle and cactus represent the foundation myth of the Aztec capital, while the two double-headed snakes symbolize renewal, fertility and luck. The spear-shaped clip is embellished with a triangular-cut green jade, and the cap crown sparkles with a Montblanc diamond. The barrel of the writing instrument is made of dark red jasper, with 18-karat champagne-tone gold inlays.
Montblanc Patron of Art Limited Edition 87 - 2020
This version is limited to just 87 pieces in homage to 1987, the year when the Templo Mayor was added to the UNESCO World Heritage list. The Montblanc Patron of Art Limited Edition 87 employs turquoise, which is a familiar stone used in Aztec decoration, and Central American cocobolo wood, a reference to the material used to make the traditional atlatl.
The mosaic is handcrafted, making every one of the pieces in the edition unique. The mother-of-pearl Montblanc emblem is embedded in an engraving of a traditional Aztec sun disc on the cap crown.
The handcrafted 18-karat gold gold nib is engraved with a glyph denoting the heart, a symbol of sacrifice. A further glyph engraved represents the second name of Moctezuma I: Ilhuicamina (meaning, “He who shoots an arrow into the sky.”).
Montblanc Patron of Art Limited Edition 888
The colors of this edition–turquoise and carmine–were used in fashioning royal garments. The sterling silver pen cap is artfully engraved with a traditional Aztec décor, and the lacquered barrel is engraved with a pattern again reminiscent of Moctezuma I’s cloak. It features four lines in 18-karat champagne-tone gold, evoking the directions that radiated from the Templo Mayor, the main temple and the literal center of the Aztec world.
The spear-shaped clip features an engraving of a quetzal’s feather, and it is set with a triangular-cut green jade. The forepart of the writing instrument and the cone are crafted from sterling silver, contrasting with the 18-karat champagne-tone gold fittings and the handcrafted solid gold nib. The Montblanc emblem, made of mother-of-pearl, is embedded in the engraving of an Aztec sun disk.
On. The right: Montblanc 888 Edition estimate C$3-4,000.00 plus tax.
www.watchesandwonders.com/?lang=en
This is an Egard Watch Company - Quantus V3 Mayan Limited Edition wristwatch which arrived with a Rose Gold wrist band. It arrived with a black/blue rubber strap as well as a brown leather strap with a rose gold clasp.
I suggest that you visit their website to see their currently available products; and to search YouTube for Egard Watch Co. and the newscast discussing corporate reactions to their well done pro police video. They expected to ship our watch order in September 2020, but with COVID-19 being so active in California, we will not be surprised by a delay in shipping. It’s difficult to wait patiently as our expectations are so high. FedEx delivered it on Oct. 1, 2020. As anticipated we had to pay 13% GST taxes through FedEx to CBSA by phone before the delivery could be made. I’m thrilled with this purchase. I hope that it lasts my lifetime; and because of my age it likely will. It turned out to be too heavy for MAC to wear comfortably.
This watch curves around the wearer’s wrist. It normally ships with both a black rubber strap and a black leather strap, but because of our rose gold watch order, MAC ordered it with a brown leather strap. The black rubber strap is the default strap.
Limited Edition to 3,000 (made in limited batches). Mine is 2197/3000. As of Oct. 4, 2020 this watch in this colour is not shown for sale on their website.
Case size: 43mm.
Case Material: Two piece curved 316L stainless steel.
Strap Width: 22mm.
Movement: Modified dual balance wheel, Manual wind Mechanical movement made in collaboration with Jinghe Ind.
Glass: Uniquely curved sapphire crystal.
Strap: High grade rubber + additional free full grain italian leather strap.
Music by CUSCO ♪ Montezuma ♪
Jorge Reyes y Antonio Zepeda - Lejos te llevas el espejo de tu rostro
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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.
Nº 6.
Renault 4 Pick-up (1979).
Escala 1/43.
"Mythique R4" - M6 Interactions.
Universal Hobbies.
France.
Año 2008.
More info: cntrois.over-blog.com/article-10966602.html
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"(...) Sur la base de la F6, Renault proposa en 1979 un pick-up fabriqué par Teilhol (également constructeur de la Renault 4 Rodéo sur châssis Renault 4).
Le Renault Express succéda à la Renault 4 F6 en 1985, la fourgonnette F4 continua d'être produite jusqu'en 1988. (...)"
Source: fr.wikipedia.org/wiki/Renault_4
More info: fr.wikipedia.org/wiki/Teilhol
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RENAULT 4 PICK UP (1979)
"La versatilidad del Renault 4 permitió construír una pick up derivada del mismo.
El trabajo no estuvo a cargo de la propia Renault sino de una empresa relacionada, ACL-Teilhol, que también fue la encargada de fabricar los utilitarios “Rodeo”, derivados de Renault 4 y 5.
La fábrica estaba situada en la localidad de Arlanc. Llegó a construír nada menos que 60.000 ejemplares de utilitarios derivados de Renault en todas sus variantes.
Las pick ups se construían a partir de la versión furgón 4 F6. Tenían chasis ligeramente alargado y refuerzos en la suspensión, con el agregado de una barra estabilizadora en el eje trasero.
La pick up de Teilhol debutó en julio de 1978.
Poco tiempo después, una reestructuración empresarial de Renault, sumado al hecho de que Teilhol producía vehículos con su propia marca, hizo que se le retirara la licencia para producir la pick up derivada del Renault 4.
Finalmente, en 1986, Teilhol se declaró en quiebra."
Fuente: clasicosenescala.blogspot.com.es/2016/03/renault-4-pick-u...
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Renault 4
"La Renault 4 (couramment appelée 4L) est une petite voiture populaire de grande diffusion de conception simple et pratique. Ce fut aussi la première application de la traction sur une voiture automobile de tourisme de la marque Renault après que cette technique a été adoptée sur l'Estafette en 1958.
Elle est construite d'août 1961 à la fin 1992 dans 28 pays, initialement avec la Dauphine sur l'île Seguin à Boulogne-Billancourt ainsi qu'à l'usine Renault de Flins, en Espagne (par Fasa-Renault), en Argentine par IKA-Renault, en Italie par Alfa Romeo (sous licence), au Maroc, à Madagascar, en Afrique du Sud, puis en Slovénie pour les dernières années de sa production.
La Renault 4 connut un grand succès auprès des PME, des artisans, de la gendarmerie (c'était l'une des voitures françaises de l'époque qui permettait de conduire avec le képi sur la tête), mais également auprès des PTT, de France Télécom ou EdF dans sa version fourgonnette F4 ; ces contrats lui donnèrent une très grande visibilité.
En France, la Renault 4 fut en tête des ventes de 1962 à 1965 (succédant à la Renault Dauphine), puis de 1967 à 1968. Elle reste aujourd'hui [Quand ?] la deuxième voiture française la plus vendue avec 8 135 424 exemplaires derrière la Peugeot 206 et juste devant le duo Renault 9 et 11."
(...)
"Moteurs utilisés sur la Renault 4 au fil des années4 :
- 603 cm3 (49 x 80) : puissance 23 ch et couple de 4,3 mkg. Monté sur R3 (modèles 1962) ;
- 747 cm3 (54,5 x 80) : puissance 27,6 ch à 30 ch et couple de 5,1 à 5,6 mkg ;
- 782 cm3 (55 x 80) à partir des modèles 1972 : puissance 30 ch et couple de 5,4 mkg ;
- 845 cm3 (58 x 80) avec option 5 CV : puissance 30 ch et couple de 5,9 mkg. Montée en série pour 1983 ;
- 956 cm3 (65 x 72) : puissance 34 ch et couple de 6,2 mkg. Monté sur les derniers modèles TL Savane à partir de mai 1986 ;
- 1 108 cm3 (70 x 72) : puissance 34 ch et couple de 7,5 mkg. Équipe en série la 4 GTL à partir du début 1978."
(...)
Versions
- La R3
"La R3 est une déclinaison économique avec le petit « moteur Billancourt » de 603 cm³ « sous-alésé » dérivé du moteur de la 4 CV. (...) Elle ne fut produite que de 1961 à 1962, le nombre total d'exemplaires construits varie selon les estimations entre 2 526 et 2 571, ce qui en fait un modèle extrêmement recherché par les collectionneurs aujourd'hui."
- La R4 L
"À côté de la R3 et de la R4 de base — sensiblement équivalente à la R3 dans sa présentation — il existait une déclinaison « Luxe » dite R4 L, elle se caractérisait par sa troisième vitre latérale et différents accessoires et baguettes inox, qui la rendait plus luxueuse.
Cette version, qui s'appela bientôt R4 L Export, fut la plus vendue. À tel point que l'appellation générique de la Renault 4 deviendra progressivement 4L. Par rapport à la version de base, qui possédait des sièges du type « strapontins suspendus » de même type que la 2 CV, la R4 L Export possédait des sièges plus élaborés et plus confortables (séparés à l'avant) et une banquette arrière rabattable."
- La Parisienne (1963)
- Les R4 Export, 4 TL et TL Savane
"Hormis le modèle de base, la Renault traverse la fin des années 1960 et les années 1970 sous la forme de la R4 « Export », qui devint la 4 TL pour 1976. (...)
En 1986, le modèle TL est rebaptisé « TL Savane » (...) En 1989, Renault équipe ce modèle du « pack sécurité » (...) "
- La 4 GTL
"Début 1978, la 4 GTL reprend la formule qui a fait le succès de la Renault 5 GTL : un gros « moteur Cléon-Fonte » de 1 108 cm3 retravaillé pour consommer moins (5,4 litres aux 100) et des bandes de protection latérales grises avec pare-chocs et crosses avant assortis. La version GTL supplantera rapidement la 4 TL.
En mai 1986, lors du remaniement de la gamme, la GTL devient « GTL Clan », (...)
En 1989, Renault revient à de plus banales jantes tôles, et équipe ce modèle du même « pack sécurité » que la version TL Savane.
Trop âgée pour pouvoir respecter les normes antipollution qui doivent arriver en 1993 (pot catalytique obligatoire), la production de Renault 4 est arrêtée fin 1992 avec une série « Bye-Bye » de R4 GTL Clan, des modèles numérotés de 1 à 1 000 devenus collectors."
- Séries spéciales
"Dès le début de la production, Renault propose des modèles à diffusion limitées, afin de relancer les ventes, ou encore rajeunir l'image de la voiture. Plusieurs séries spéciales sont ainsi créées : la « Safari » (1976), la « Jogging » (1981), la « Sixties » (1985) avec sa sellerie flashy et ses deux toits ouvrants, la « Carte jeune » (1991)...
Durant les années 1960, d'autres modèles nettement plus rares ont été produits, tels la « Plein air », la « Parisienne » ou encore des adaptations 4x4 produites par Sinpar."
(...)
Source: fr.wikipedia.org/wiki/Renault_4
More info:
www.renaultclassiccarclub.com/ModelsRegister/r4_history.html
la4ldesylvie.fr/index.php?option=com_content&view=art...
www.renaultownersclub.com/downloads/Renault_HC_50_years_R...
-----------------------------------------------------------------------------------------------
50 aniversario del Renault 4L en España [1964-2014]
Emilio Salmoral
Periodista especializado en el mundo del motor. Colaborador en AUTO BILD
02/05/2014 - 10:35
"Aunque el Renault 4L llevaba fabricándose desde finales de 1963 (se hicieron 250 unidades), hasta el año siguiente no comenzaron las primeras entregas a los clientes.
Pero el Renault 4 no era un coche desconocido, ya que llevaba desde 1961 fabricándose en Francia.
Es posible que circularan algunas unidades construidas en el país vecino, pero tuvieron que pasar tres años para fabricar en España.
Por cierto, en Portugal también se construyó en la planta de Guarda y los aficionados sienten devoción por él.
Respecto a la versión francesa, el Renault 4L de FASA es diferente. Los parachoques son de un diseño distinto y tiene una especie de bigote en la placa de la matrícula posterior. Además, los coches españoles tampoco tienen los intermitentes laterales que sí tenían los franceses.
La historia nos ha demostrado que lo que buscaban los ingenieros españoles era, sobre todo, una mecánica con mayores capacidades. Por ello, nuestro 4L utilizó un motor de 845 centímetros cúbicos y 30 CV de potencia con los que podía ofrecer unas capacidades dinámicas superiores que los del 0,7 litros que también se vendía en Francia como versión de acceso.
Asimismo, todos los coches comercializados en España tienen un sistema eléctrico de 12 voltios que permite una mayor iluminación.
En 1965, Renault lanza al mercado la versión Super que ofrecía a su conductor unos asientos más lujosos y en 1967 empieza a utilizar los paragolpes del Renault 8."
(...)
"En 1968 se introduce al mercado el primer restyling del Renault 4. Las principales diferencias son una parrilla totalmente nueva que se hace evidente en todo el frontal del vehículo.
Pero los mayores cambios se encuentran en la mecánica: el R4 abandona el motor originario del 4/4 y estrena el tipo Sierra del Renault 8 que ofrecía una elevadísima fiabilidad. Con este bloque, la potencia se incrementó hasta los 35 CV. También era muy alabado por los conductores de su época el excelente sincronizado de su caja de cambios.
Así se mantuvo el Renault 4 hasta que en 1978 se sometió a su segunda puesta al día. La bonita parrilla de aluminio dejó paso a una de plástico; los intermitentes adoptaron el color naranja y ganaron en tamaño. Por cierto, volvió a cambiar de paragolpes. Como el Renault 8 ya no se fabricaba, recurrió a los que usaba el Renault 4 francés de 1968.
En 1982 se produjo un hecho histórico, ya que el 4L adoptó el motor de 1,1 litros con 40 CV. Este bloque es legendario para la marca francesa, ya que lo han usado coches como el 8 TS, Renault 5 o Twingo.
Pero el interior del Renault 4L seguía siendo el mismo y muchos conductores estaban cansados de ese salpicadero de tono beige que era demasiado simple.
En 1983 FASA decidió darle a su coche un aspecto visual más moderno y apostó el plástico negro, una renovada instrumentación y unos asientos más cómodos que llegaron a incluir hasta reposacabezas.
El último Renault 4 se fabricó en Valladolid en 1989.
Aunque el coche se comercializó hasta 1992, el que quería un 4L tenía que comprarse la versión Clan que estaba fabricada en Eslovenia y no tenía la calidad de construcción de nuestro paisano castellano."
(...)
Fuente: www.autobild.es/reportajes/50-aniversario-renault-4l-espa...
More info:
elautomovilenespana.blogspot.com.es/2010/06/renault-4-ii....
es.wikipedia.org/wiki/Renault_4
www.ocio.net/motor/historia-del-renault-4-un-automovil-un...
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.
Nº 6.
Renault 4 Pick-up (1979).
Escala 1/43.
"Mythique R4" - M6 Interactions.
Universal Hobbies.
France.
Año 2008.
More info: cntrois.over-blog.com/article-10966602.html
--------------------------------------------------------------------------------------------------
"(...) Sur la base de la F6, Renault proposa en 1979 un pick-up fabriqué par Teilhol (également constructeur de la Renault 4 Rodéo sur châssis Renault 4).
Le Renault Express succéda à la Renault 4 F6 en 1985, la fourgonnette F4 continua d'être produite jusqu'en 1988. (...)"
Source: fr.wikipedia.org/wiki/Renault_4
More info: fr.wikipedia.org/wiki/Teilhol
-----------------------------------------------------------------------------------------------
RENAULT 4 PICK UP (1979)
"La versatilidad del Renault 4 permitió construír una pick up derivada del mismo.
El trabajo no estuvo a cargo de la propia Renault sino de una empresa relacionada, ACL-Teilhol, que también fue la encargada de fabricar los utilitarios “Rodeo”, derivados de Renault 4 y 5.
La fábrica estaba situada en la localidad de Arlanc. Llegó a construír nada menos que 60.000 ejemplares de utilitarios derivados de Renault en todas sus variantes.
Las pick ups se construían a partir de la versión furgón 4 F6. Tenían chasis ligeramente alargado y refuerzos en la suspensión, con el agregado de una barra estabilizadora en el eje trasero.
La pick up de Teilhol debutó en julio de 1978.
Poco tiempo después, una reestructuración empresarial de Renault, sumado al hecho de que Teilhol producía vehículos con su propia marca, hizo que se le retirara la licencia para producir la pick up derivada del Renault 4.
Finalmente, en 1986, Teilhol se declaró en quiebra."
Fuente: clasicosenescala.blogspot.com.es/2016/03/renault-4-pick-u...
-----------------------------------------------------------------------------------------------
Renault 4
"La Renault 4 (couramment appelée 4L) est une petite voiture populaire de grande diffusion de conception simple et pratique. Ce fut aussi la première application de la traction sur une voiture automobile de tourisme de la marque Renault après que cette technique a été adoptée sur l'Estafette en 1958.
Elle est construite d'août 1961 à la fin 1992 dans 28 pays, initialement avec la Dauphine sur l'île Seguin à Boulogne-Billancourt ainsi qu'à l'usine Renault de Flins, en Espagne (par Fasa-Renault), en Argentine par IKA-Renault, en Italie par Alfa Romeo (sous licence), au Maroc, à Madagascar, en Afrique du Sud, puis en Slovénie pour les dernières années de sa production.
La Renault 4 connut un grand succès auprès des PME, des artisans, de la gendarmerie (c'était l'une des voitures françaises de l'époque qui permettait de conduire avec le képi sur la tête), mais également auprès des PTT, de France Télécom ou EdF dans sa version fourgonnette F4 ; ces contrats lui donnèrent une très grande visibilité.
En France, la Renault 4 fut en tête des ventes de 1962 à 1965 (succédant à la Renault Dauphine), puis de 1967 à 1968. Elle reste aujourd'hui [Quand ?] la deuxième voiture française la plus vendue avec 8 135 424 exemplaires derrière la Peugeot 206 et juste devant le duo Renault 9 et 11."
(...)
"Moteurs utilisés sur la Renault 4 au fil des années4 :
- 603 cm3 (49 x 80) : puissance 23 ch et couple de 4,3 mkg. Monté sur R3 (modèles 1962) ;
- 747 cm3 (54,5 x 80) : puissance 27,6 ch à 30 ch et couple de 5,1 à 5,6 mkg ;
- 782 cm3 (55 x 80) à partir des modèles 1972 : puissance 30 ch et couple de 5,4 mkg ;
- 845 cm3 (58 x 80) avec option 5 CV : puissance 30 ch et couple de 5,9 mkg. Montée en série pour 1983 ;
- 956 cm3 (65 x 72) : puissance 34 ch et couple de 6,2 mkg. Monté sur les derniers modèles TL Savane à partir de mai 1986 ;
- 1 108 cm3 (70 x 72) : puissance 34 ch et couple de 7,5 mkg. Équipe en série la 4 GTL à partir du début 1978."
(...)
Versions
- La R3
"La R3 est une déclinaison économique avec le petit « moteur Billancourt » de 603 cm³ « sous-alésé » dérivé du moteur de la 4 CV. (...) Elle ne fut produite que de 1961 à 1962, le nombre total d'exemplaires construits varie selon les estimations entre 2 526 et 2 571, ce qui en fait un modèle extrêmement recherché par les collectionneurs aujourd'hui."
- La R4 L
"À côté de la R3 et de la R4 de base — sensiblement équivalente à la R3 dans sa présentation — il existait une déclinaison « Luxe » dite R4 L, elle se caractérisait par sa troisième vitre latérale et différents accessoires et baguettes inox, qui la rendait plus luxueuse.
Cette version, qui s'appela bientôt R4 L Export, fut la plus vendue. À tel point que l'appellation générique de la Renault 4 deviendra progressivement 4L. Par rapport à la version de base, qui possédait des sièges du type « strapontins suspendus » de même type que la 2 CV, la R4 L Export possédait des sièges plus élaborés et plus confortables (séparés à l'avant) et une banquette arrière rabattable."
- La Parisienne (1963)
- Les R4 Export, 4 TL et TL Savane
"Hormis le modèle de base, la Renault traverse la fin des années 1960 et les années 1970 sous la forme de la R4 « Export », qui devint la 4 TL pour 1976. (...)
En 1986, le modèle TL est rebaptisé « TL Savane » (...) En 1989, Renault équipe ce modèle du « pack sécurité » (...) "
- La 4 GTL
"Début 1978, la 4 GTL reprend la formule qui a fait le succès de la Renault 5 GTL : un gros « moteur Cléon-Fonte » de 1 108 cm3 retravaillé pour consommer moins (5,4 litres aux 100) et des bandes de protection latérales grises avec pare-chocs et crosses avant assortis. La version GTL supplantera rapidement la 4 TL.
En mai 1986, lors du remaniement de la gamme, la GTL devient « GTL Clan », (...)
En 1989, Renault revient à de plus banales jantes tôles, et équipe ce modèle du même « pack sécurité » que la version TL Savane.
Trop âgée pour pouvoir respecter les normes antipollution qui doivent arriver en 1993 (pot catalytique obligatoire), la production de Renault 4 est arrêtée fin 1992 avec une série « Bye-Bye » de R4 GTL Clan, des modèles numérotés de 1 à 1 000 devenus collectors."
- Séries spéciales
"Dès le début de la production, Renault propose des modèles à diffusion limitées, afin de relancer les ventes, ou encore rajeunir l'image de la voiture. Plusieurs séries spéciales sont ainsi créées : la « Safari » (1976), la « Jogging » (1981), la « Sixties » (1985) avec sa sellerie flashy et ses deux toits ouvrants, la « Carte jeune » (1991)...
Durant les années 1960, d'autres modèles nettement plus rares ont été produits, tels la « Plein air », la « Parisienne » ou encore des adaptations 4x4 produites par Sinpar."
(...)
Source: fr.wikipedia.org/wiki/Renault_4
More info:
www.renaultclassiccarclub.com/ModelsRegister/r4_history.html
la4ldesylvie.fr/index.php?option=com_content&view=art...
www.renaultownersclub.com/downloads/Renault_HC_50_years_R...
-----------------------------------------------------------------------------------------------
50 aniversario del Renault 4L en España [1964-2014]
Emilio Salmoral
Periodista especializado en el mundo del motor. Colaborador en AUTO BILD
02/05/2014 - 10:35
"Aunque el Renault 4L llevaba fabricándose desde finales de 1963 (se hicieron 250 unidades), hasta el año siguiente no comenzaron las primeras entregas a los clientes.
Pero el Renault 4 no era un coche desconocido, ya que llevaba desde 1961 fabricándose en Francia.
Es posible que circularan algunas unidades construidas en el país vecino, pero tuvieron que pasar tres años para fabricar en España.
Por cierto, en Portugal también se construyó en la planta de Guarda y los aficionados sienten devoción por él.
Respecto a la versión francesa, el Renault 4L de FASA es diferente. Los parachoques son de un diseño distinto y tiene una especie de bigote en la placa de la matrícula posterior. Además, los coches españoles tampoco tienen los intermitentes laterales que sí tenían los franceses.
La historia nos ha demostrado que lo que buscaban los ingenieros españoles era, sobre todo, una mecánica con mayores capacidades. Por ello, nuestro 4L utilizó un motor de 845 centímetros cúbicos y 30 CV de potencia con los que podía ofrecer unas capacidades dinámicas superiores que los del 0,7 litros que también se vendía en Francia como versión de acceso.
Asimismo, todos los coches comercializados en España tienen un sistema eléctrico de 12 voltios que permite una mayor iluminación.
En 1965, Renault lanza al mercado la versión Super que ofrecía a su conductor unos asientos más lujosos y en 1967 empieza a utilizar los paragolpes del Renault 8."
(...)
"En 1968 se introduce al mercado el primer restyling del Renault 4. Las principales diferencias son una parrilla totalmente nueva que se hace evidente en todo el frontal del vehículo.
Pero los mayores cambios se encuentran en la mecánica: el R4 abandona el motor originario del 4/4 y estrena el tipo Sierra del Renault 8 que ofrecía una elevadísima fiabilidad. Con este bloque, la potencia se incrementó hasta los 35 CV. También era muy alabado por los conductores de su época el excelente sincronizado de su caja de cambios.
Así se mantuvo el Renault 4 hasta que en 1978 se sometió a su segunda puesta al día. La bonita parrilla de aluminio dejó paso a una de plástico; los intermitentes adoptaron el color naranja y ganaron en tamaño. Por cierto, volvió a cambiar de paragolpes. Como el Renault 8 ya no se fabricaba, recurrió a los que usaba el Renault 4 francés de 1968.
En 1982 se produjo un hecho histórico, ya que el 4L adoptó el motor de 1,1 litros con 40 CV. Este bloque es legendario para la marca francesa, ya que lo han usado coches como el 8 TS, Renault 5 o Twingo.
Pero el interior del Renault 4L seguía siendo el mismo y muchos conductores estaban cansados de ese salpicadero de tono beige que era demasiado simple.
En 1983 FASA decidió darle a su coche un aspecto visual más moderno y apostó el plástico negro, una renovada instrumentación y unos asientos más cómodos que llegaron a incluir hasta reposacabezas.
El último Renault 4 se fabricó en Valladolid en 1989.
Aunque el coche se comercializó hasta 1992, el que quería un 4L tenía que comprarse la versión Clan que estaba fabricada en Eslovenia y no tenía la calidad de construcción de nuestro paisano castellano."
(...)
Fuente: www.autobild.es/reportajes/50-aniversario-renault-4l-espa...
More info:
elautomovilenespana.blogspot.com.es/2010/06/renault-4-ii....
es.wikipedia.org/wiki/Renault_4
www.ocio.net/motor/historia-del-renault-4-un-automovil-un...
[crosseye stereograph, see 3D with your right eye on the left image, and left on right.]
Knott's Berry Farm.
Cedar Fair Entertainment Company.
.
SAFETY GUIDE.
Must be 52" tall to ride..
1 Guest per seat..
Riders under the age of 8 yrs. old must be accompanied by an adult..
This ride may not accommodate guests of a larger size. Enter via exit to ensure the restraints function properly prior to waiting in line..
All passenger restraint systems, including lap bars, shoulder harnesses and seat belts must be positioned and fastened properly to allow guests to ride..
.
WINDSEEKER.
is not recommended for guests with a history of .
* Recent Surgery.
* Heart Trouble / High Blood Pressure.
* Neck Trouble.
* Back Trouble.
or are.
* Pregnant.
OR any physical conditions that may be aggravated by this ride..
.
Attention Riders: Due to the nature of this attraction, backpacks, purses, electronics, stuffed animals, and other loos items are not permitted. Smaller items may be secured n cargo pockets, waist packs, left in a locker, or with a non-rider. Loose fitting shoes may be left in a designated area on the ride platform. Knott's Berry Farm is not responsible for lost items..
.
* Caution: Car may move when entering or exiting..
* Remain seated facing forward in an upright position with your back against the seat back and hold on until the ride comes to a complete stop..
* Swinging of seats of holding onto neighboring chairs is prohibited..
* Please do not swing or twist in your seat while riding..
* Keep all parts of our body inside the car at all times..
* Refrain from throwing or dropping items from the ride..
* This attraction contains strobe lighting..
* Finish food and drink before boarding..
* For safety, no picture taking while riding..
* Please refrain from smoking in line or while riding..
* Secure your lap bar..
* Fasten your seatbelt..
* Shirts are required..
* Guests with any type of prosthesis should not ride unless they can ensure that the device is properly secured and will remain in place during the ride. Please speak with the Ride Operator prior to waiting in line..
* SPECIAL ACCESS via entrance. TRANSFER REQUIRED Notices pursuant to C.C.R. TITLE 8, SECTION 344.7 may be viewed at the SECURITY OFFICE..
* Passengers with fear of height shall not ride..
————————————————————————.
^ RIDERS MUST BE TALLER THAN THIS TO RIDE ^.
.
WARNING.
Many rides at Knott's Berry Farm are dynamic and thrilling. There are inherent risks in riding any amusement ride. For your protection, each ride is rated for its special features, such as high speed, steep drops, sharp turns or other dynamic forces. If you choose to ride, you accept all of these risks. Restrictions for guests of extreme size (height or weight) are posted at certain rides. Guests with disabilities should refer to our Ride Admission Policy available at the Information Center. Participate responsibly. You should be in good health to ride safely. You know your physical conditions an limitations - Knott's Berry Farm does not. If you suspect your health could be at risk for any reason, or you could aggravate a pre-existing condition of any kind DO NOT RIDE!
dsc00005, 2011.08.17 19.19, 3D, Knott's Berry Farm, WindSeeker, from parking lot
No Nagada Sang Dhol without Bhansali for Deepika Padukone! - www.bolegaindia.com/gossips/No_Nagada_Sang_Dhol_without_B...
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.
SALKANTAY TREK TO MACHU PICCHU
7 DAYS - 6 NIGHTS
SALKANTAY TREK TO MACHU PICCHU
7 DAYS - 6 NIGHTS
The amazing Salkantay trek to Machupicchu is one of the famous treks in Cusco and the best alternative route to get to Machupicchu. It is takes you through different types of landscapes from the typical Andean landscape up to the snowcapped mountains and down to the tropical forests and finally gets you into the jungle, Salkantay trek named among the 25 best Treks in the World, by National Geographic Adventure Travel Magazine
If you are thinking to do a hiking trip to Machupicchu and you want to be off of the beaten path and be in touch with the nature; Salkantay trek is the best option. Hiking 75 kilometers = 46 miles and reaching the famous Apacheta (mountain offerings) pass 4621masl = 15160ft which is the highest point of the Salkantay trek: enjoying the amazing view during the hike from Mollepata town to Soraypampa base camp at knee of the Umantay mountain. Then to go up to the highest point to enjoy the view of outstanding snow-capped Salkantay mount. This was one of the most important Apus in the Inca period! Then you are going dawn to Chaullay through the beautiful scenery and then go to Santa Teresa to jump into the natural and medicinal hot spring. And finally we reach to Aguas Calientes town for overnight in the hotel and the last day of your adventure you will get up too early to be the firsts ones up in Machupicchu and enjoy the sunrise.
OVERVIEW
Highlight: Hiking alongside the magnificent Apu Salkantay and then arriving at the ruins of Machu Picchu.
Location: The Salkantay trek begins 3 hours drive west of Cusco, Peru. We pass the village of Mollepata and begin hiking at Sayllapata.
Duration: 7 days/ 6 nights
Level: Moderate to Challenging
Adventure Rating: Given the new restrictions on the Inca trail, Salkantay is the second most popular hike in the region and some of the campsites are less remote than on other trails.
Modality: Trekking, Archaeological and Cultural
Ideal for: Adventure Seekers, Couples , Friends, Nature Lovers, Intrepid People
Altitude: 2,800 masl to 4,650 masl
Inka Trail alternative: Yes, the Salkantay trek is an excellent option.
Departure Dates: Daily departures
All private service departure dates are adapted to your request
Trekkers Wanted: If you wish to join a group tour, please see Next Departures 2014.You can also form your own tour to be advertised on this page. Maximum group size 10.
ITINERARY - SALKANTAY TREK TO MACHU PICCHU 7 DAYS - 6 NIGHTS
DAY 1: : Transfer Airport - Cusco Hotel, City Tour(Afternoon)
See and hear about the 6 archaeological sites of Cusco - the Cathedral, Koricancha (Temple of the Sun), Sacsayhuaman, Q'enqo, Pucapucara and Tambomachay.
DAY 2: Sacred Valley Tour (Full Day)
Visit the Sacred Valley of the Incas on this full-day monumental tour.
Sacred Valley Itinerary:
Visit Pisac Market & Ruins
Ollantaytambo
Chinchero
Chinchero Market
DAY 3: Cusco - Mollepata - Marcocasa - Soraypampa.
We will pick you up from your hotel in Cusco from 5: 00 am to 5:30 am to go by bus to Mollepata. Begin a spectacular scenic drive through the Anta plains with beautiful and panoramic views of the majestic Salkantay and other mountains covered with snow, and the Valley of Apurimac River. After two and a half hours drive we stop in Mollepata to have breakfast for last minute supplies, leg-stretching or to use the bathrooms, before continuing to Marcocasa. There we will meet with our support staff. They will load the equipment on horses and mules. Around 9:30 a.m. we will star our trek toward Soraypampa (3900 meters above sea level) if we keep a regular pace we will take 4 hours approximately to reach to Soraypampa the first camp site where will have lunch after lunch in the afternoon we have an option to go up to Umantay lake (4200masl) which takes 3 hours hike back and forth from the camp to see the glacier lake of Umantay. But if we keep slow pace; we will have lunch at halfway between Soraypampa and Marco Casa maybe after 3 hours of hiking. And after that we hike two a half hours more to Soraypampa. Anyway our camp is going be at Soraypampa. Sleeping tents will be ready and we will have a warm delicious dinner in the evening.
Meals: Lunch, Dinner.
Overnight: Soraypampa in the tents.
Maximum Altitude: 3850 masl.
Minimum Altitude: 2850 masl.
Hiking distance: 14 km approx.
DAY 4: Soraypampa - Salkantay Pass - Huayramachay – Chaullay
Today early in the morning we will wake you up with the coca tea. Around 6:00 we will have a nutritious breakfast around 7:00 am we will start the hardest day of the whole Salkantay trek; we will be walking up to the highest point of the trek. After 6 kilometers uphill through the magnificent scenery of Rocky Mountains and enjoying the view of Salkantay mount. We reach the top of the trek. We will appreciate spectacular views of the mountains and the imposing snowy peaks of the Salkantay (6264 meters above sea level) which is known as the second highest mountain of the Cusco region. After 2 hours downhill around 1:00 p.m. we will have our delicious Peruvian lunch, in the area called Huayracmachay. Then we continue our hike to Chaullay approximately 3 hours of downhill we will get to our camp in Chaullay = 2900 masl Where we will have the sleeping tents ready. Around 7: 00 pm we will have dinner to recover energy from the trek.
Meals: Breakfast, Lunch, Dinner.
Overnight: Chaullay in the tents.
Maximum Altitude: 4650 masl.
Minimum Altitude: 2920 masl.
hiking distance: 20km to Chaullay.
DAY 5: Chaullay - Collpapampa - La Playa - Santa Teresa (Cola de Mono Campsite)
Around 7:30 am; we will start our trek to La Playa through the Santa Teresa valley. We will hike 6 hours approximately during the hike will see: water fall, orchids, coffee, banana, avocado plantations and we will taste the famous passion fruit or granadilla and also we will see a village call Colpapampa also call the “forest cloudy brow” where waterfalls, thermal hot springs, fruit-bearing trees, varied flora, and birds can be observed. If we are lucky, we will be able to see the famous bird called “the Cock of the Rocks”. After lunch at La playa, we will catch a local transportation to Santa Teresa. Where will have an overnight at “cola de mono” campsite. We are the only trekking company allow camping there. In the afternoon we may go to Santa Teresa´s hot spring to enjoy it. Then back at the campsite for happy hours and dinner.
Meals: Breakfast, Lunch, Dinner.
Overnight: Santa Teresa “cola de mono campsite” in the tents.
Maximum Altitude: 2920 masl.
Minimum Altitude: 1600 masl.
Hiking distance: 15km approx.
DAY 6: Santa Teresa (Cola de Mono Campsite) - Hidroeléctrica - Aguas Calientes
After of our delicious breakfast we are going to walk approximately 7 hours. Around 8:30 a.m. we start our trek to Colpani village we will have the opportunity to see coca farms, mandarin, orange and yucca. And a lovely view of the Santa Teresa Valley. We follow along the riverside of Vilcanota River until arrive to the Oroya (cable bridge) then we keep going to Hidroelectrica where will have our lunch. After lunch we going to walk along the train track but on the base of Machupicchu and Waynapicchu Mountain from the way we will see Machupicchu. After two a half hours hike we will be at Aguas Calientes town: base town of Machupicchu for overnight in the hotel and dinner at the local restaurant.
Meals: Breakfast, Lunch, Dinner.
Overnight: in Aguas Calientes at the hotel which included in the package.
Maximum Altitude: 2350 masl.
Minimum Altitude: 2000 masl.
Hiking distance: 18 km approx.
DAY 7: Aguas Calientes - Machu Picchu - Ollantaytambo – Cusco
Today early in the morning after breakfast at the hotel you will be able to choose between. Walk up to Machupicchu. Or take bus up to Machupicchu. Any way we will be the first ones into Machupicchu to enjoy the sunrise and you will have two a half hours guided tour. Then you will have the free time to explore Machupicchu by yourselves or if you desire, ascent toward the Huaynapicchu Mountain. Or climb to Machupicchu montaña. After Machupicchu you are going back to Aguas Calientes to take a train to Ollantaytambo and from there by bus back to Cusco. The bus drops you off at your hotel in Cusco.
Meals: Breakfast.
WHAT IS INCLUDED?
Hoteles in Cusco
Day 1: City Tour Half Day
Day 2: Sacred Valley Tour Full Day
Pre-departure briefing at the office in Cusco
Collection from your hotel in the morning and transfer in private transportation to Marcocasa (starting point of the trek).
Personal tents: 2 people in each 4-people-capacity tent, to allow for higher comfort and a safe keeping of backpacks. Our tents are 3-season, highly maintained to ensure an excellent performance in field. Kailas, Pro Aconcagua and Rei 4 Outfitter tents are employed when double accommodation is requested.
One sleeping pad per person.
1 Blanket. Or Liner.
One pillow per person.
Dining tent with tables and chairs
Kitchen tent
English speaking professional and official tourist guide (2 guides for groups of over 10 people)
1 night accommodation in Aguas Calientes
Chef and cooking equipment
Pack animals (to carry tents, food and cooking equipment) – days 1 to 4
Pack animals to carry personal gear up to a maximum of 7kg per person (including sleeping pad and sleeping bag) – days 1 to 4
1 emergency horse every 8 persons – days 1 to 3
Accommodation for all our staff
Meals (4B, 4L, 4D + daily morning snack + daily tea service except last day). Vegetarian or special menus are available at no extra cost
One textile snack bag per person, to avoid the usage of plastic bags that contaminate our environment
Boiled filtered water every day since the first lunch. For your water bottles.
Bio-degradable personal hand soaps
Bio-degradable dishwashing detergents used by our kitchen staff
Others: hot water every morning and evening for washing purposes / boiled water to fill in your water bottle every morning and night, and at lunch time if requested with enough time ahead
First-aid kit including emergency oxygen bottle
Machupicchu entrance fee
One way bus ticket from Aguas Calientes to Machupicchu on day 4
Expedition Train from Aguas Calientes to Cusco. Upgrade to Vistadome or Hiram Bingham service, availability upon request.
Transfer from train station to the hotel in Cusco
24-h guest service: please ask for the emergency number available during your time of visit.
WHAT IS NOT INCLUDED?
Entrance fees - You need to purchase the Boleto de Turistico at the first site you enter (Soles 130 per person; valid for 10 days and allows you entrance into 16 various sites around Cusco and the Sacred Valley).
Entrance to visit the Cathedral of Cusco. S/25 Soles
Entrance to Visit Coricancha. S/ 10 Soles
Meals in Cusco
Day 3: breakfast on day one.
Lunch on the last day after the guided tour at Machu Picchu
Walking Sticks
Sleeping bag: you may rent it from us. Our sleeping bags are -20ºC-comfort (0ºF), mummy form and include a sleeping liner. They are cleaned after every use and have a maximum usage of 30 trips.
OPTIONAL AND RENTALS
Extra night in Aguas Calientes $50 (or email us for alternate options). We will just need to arrange your train back to Cusco for the following day.
Please tell us before final booking process.
Personal horse and horsemen for riding or carrying extra personal belongings while on the trek.
Extra cost is $80 for the trek.
Therma-rest inflatable sleeping pad rent: US$ 5.00 per day
Entrance to the Hot Springs in Santa Teresa.
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
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●台南店：(06) 267-0086
台南市東區崇學路20巷2號 (崇學路、崇明路交叉路口,「榮譽公有停車場」,步行約3分鐘)
●高雄店：(07) 322-2592
高雄市三民區博愛一路30號6樓 (合作金庫三民分行樓上)台灣婚紗攝影推薦
Source: www.autoworldmuseum.com/about.html
Why build an automotive museum? Because one way or another, our lives are touched by the automobile. We remember our parents’ cars, the ones we traveled in with family, the ones we borrowed for our first car date, the first ones we bought. The fast cars, the junkers, the modified ones and the ones we rebuilt—all of them are tied to us in memory. We even dream of cars.
William E. Backer, former owner of Backer Potato Chip Company in Fulton, Missouri, looked back in time and found that a vintage automobile was a thing of fascination. His memories were of old country roads and two lane highways. Bill Backer was an engineer and a builder who loved to tinker. Having built a successful potato chip company, he looked back at the cars that were part of his childhood. Shortly after, he owned a Canadian 1924 Dodge Touring. Dark blue with black fenders and a cloth top. Bill drove his family around the back country roads of Callaway County, Missouri and felt himself touching fading memories.
Not long after he collected the Dodge, Bill had a 1909 Ford Model T. Soon after that, a 1930 Model A. Then a 1929 Cord, a 1931 Rolls Royce Phantom II, a 1957 Chevy Bel Air, and so on. By the mid 1990’s, the number of classic autos in the collection neared 100. Bill found a home for many of his classic cars in an old retail building in Fulton. The Auto World Museum Foundation was formed and a classic car museum was opened to the public. Ten years later, in 2006, the automobile museum was moved to its current home at 200 Peacock Drive in Fulton. It is a building dedicated to the history of vintage and modern automobiles as well as the history of Callaway County and Fulton, Missouri.
After his passing in 2008, his daughter, Vicki McDaniel, assumed leadership of the museum and the collection of cars. Since then, the collection of vintage autos has changed a little. However, her primary passion is for the presentation of antique cars and modern ones in a place that everyone can visit.
The presentation of cars and staging of the museum is the vision of Tom K. Jones, Artistic Director of TKJ Designs in Fulton, Missouri. His concept for the museum was a movement through time and a portrayal of the history of Callaway County, Missouri. Auto World Museum is a stage—a movement through history. Its deep black curtains, scenes from back when, panels of advertising and memorabilia will take you through a history of motion in time. At first, you will visit a period not that long ago, although some say 100 years is a long time. As you move in a clockwise direction through the museum, you will find enticing displays. The simplicity of family drives in the convertible. The decadence of Hollywood and its fancy cars. The sights and sounds of the drive-in as you watched from the comfort of your Studebaker or Corvair. You will ponder when gas prices were really, really low. Finally, you will find yourself nearing the future, with displays of alternative fuel vehicles.
Auto World Museum will spark your curiosity. We hope that you will find that our collection of vintage and modern automobiles fascinates you the way that it did Bill Backer. We hope you will continue the journey with us as we add to the collection over time. We would like to thank William Harrison for his dedication to the research on the autos in the museum.
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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indianasportsjournal.com/2012/04/17/cougars-join-ranks-of...
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kokomoperspective.com/kp/news/people-of-the-year/article_...
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bulldogs.kettering.edu/perspective/2010/08/01/china-2010/
indianasportsjournal.com/2012/04/17/cougars-join-ranks-of...
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whotalking.com/flickr/Chancellor
m.kokomoperspective.com/joe-biden-michael-harris-barack-o...
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en.wikipedia.org/wiki/Michael_Harris_%28academic%29
homepages.indiana.edu/web/page/normal/20830.html
nciia.org/network/conference/2010/presenters/michael_harris
kokomoperspective.com/news/local_news/transformation-begi...
The Big Move, Visioned, Initiated and Implemented by Chancellor Michael Harris IU Kokomo:
www.youtube.com/watch?v=mJIe0t6aDEU
www.indianaeconomicdigest.net/main.asp?SectionID=31&S...
nciia.org/network/conference/2010/presenters/michael_harris
www.facultyfocus.com/articles/academic-leadership/academi...
tackk.com/michaelharrischancellor
blogs.forbes.com/people/michaelharrischancellor/
www.businesswire.com/news/home/20100602005505/en/Ketterin...
www.mlive.com/news/flint/index.ssf/2010/02/post_92.html
homepages.indiana.edu/web/page/normal/17736.html
mydigimag.rrd.com/article/Up_Front/706709/67528/article.html
avoyership13.moxai.com/chan-7603525/all_p2.html
kokomoperspective.com/sports/iuk/naia-approves-indiana-un...
prezi.com/mqmsmgcgni1u/iu-kokomomoving-forward/
Indiana University Kokomo Receives $1.25 Million Gift ...
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Jan 22, 2012 - Indiana University Kokomo has announced a $1.25 million gift from the family of Milt and Jean Cole, owners of Cole Hardwood in Logansport, ...
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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.
Blogged www.sminspiration.com/2011/12/bonne-fin-de-semaine-have-n...
2. www.tumblr.com/reblog/14132347010/CY8rkY7O
3. www.bhg.com/christmas/indoor-decorating/crafty-christmas-...
5. s-3-a-s-o-n-a-l.tumblr.com/
6. zsazsabellagio.blogspot.com/search?updated-max=2011-12-13...
7. www.modernofficeideas.com/2011/09/09/office-christmas-dec...
8. 4.bp.blogspot.com/-byfr_U6N5Vg/TuaGzPSCKDI/AAAAAAAAPUQ/vM...
9. hautemamasfaves.tumblr.com/post/14165544094
10. www.tumblr.com/reblog/13251981265/NrFZy12k
11. www.goodhousekeeping.com/holidays/christmas-ideas/red-and...
12. www.marthastewart.com/275166/christmas-tree-decorating-id...
Preserved and on display at Musee Delta, Orly Airport, Paris, France
Concorde 02 F-WTSA was fourth aircraft to be manufactured, and the second of preproduction aircraft.
Sierra-Alpha was the first to have dimensions and the shape of future the production aircraft: it had the extended tail cone fitted as well as the production specification secondary engine nozzle, with the thrust reverse buckets.
02 was the first Concorde to be visit the United States when she visited Dallas, Texas on September 20, 1973. It returned to Europe by carrying out the first crossing of the North Atlantic, between Washington and Orly, under the conditions of a passenger flight, with 32 passengers invited on his board on the September 26, 1973. The flight time was in 3 hours and 33 minutes of effective flight, with a block time of 3 hours and 47 minutes.
For several years during testing the aircraft was painted in British Airways colours on one side and Air France's 1970's livery on the other, although still being registered as a French aircraft. Today it has an Air France colour scheme
The aircraft completed its 313rd and final test flight on January 29, 1976. Its work took in such areas as the development of new engines, and a considerable number (134) rolling runway tests for amongst other things the certification of the new carbon brakes, the water deflectors and thrust reversers...etc?
F-WTSA's final flight was between Toulouse and Paris Orly on May 20, 1976. Takeoff was at 15:19 ans seh arrived into at Orly 16:26, where an ADP team will take over responsibility for the aircraft. It was gifted to ADP, the operator of Orly and other Paris airport in 1976 to replace a full size wooden replica that was originally on show at the airport, which was destroyed by fire a few years earlier.
The aircraft was decommissioned with the engines and of many parts being recovered to be used as spares on the Air France fleet. As the aircraft was going on public display its test equipment installations were removed, and its cabin was reconfigured to give her the interior of an in-service aircraft.
In 1988, ADP, the Orly airport operator decided that Concorde 02 was no longer a priority and condemned it to be scrap and to be cut out of pieces. Athis-Paray-Aviation saved Sierra Alpha from this tragedy, and since April 12, 1988, it has been on display at the Museum Delta in Athis-Mons, just outside the airport.
Hear audio of the piano and see more images of John's piano's visit to Blacksburg
Read the CT article on the visit.
Read the www.roanoke.com/news/roanoke/wb/118512
9/11, The Oklahoma City bombing, Virginia Tech, the Watts Riots, the assassinations of Dr. Martin Luther King, Jr., Presidents Abraham Lincoln and John F Kennedy, all horrific acts of violence, all catastrophic, all senseless.
Imagine a world without violence, a world of peace. This sentiment echoes the lyrics to John Lennon’s 1971 song, “Imagine”.
The concept of the tour was conceived after the piano was showcased at the IMAGINE exhibition at Goss Gallery in Dallas, Texas, 2006
The photographs will feature in a book which will spread a worldwide message of peace, transcending time, cultures and boundaries.
The piano has been photographed at:
Dealy Plaza in Dallas, Texas where President John F Kennedy was assassinated on November 22nd,1963
Memphis, Tennessee. at the National Civil Rights Museum (previously the Lorraine Motel) where Martin Luther King Jr. was assassinated on April 4th, 1968
The Ford Theatre in Washington D.C., the site of President Lincoln’s assassination 142 years ago.
The Walls at Texas State Penitentiary in Huntsville, Texas, on the day of a prisoner’s execution.
The Oklahoma City National Memorial on the 12th anniversary of the bombing tragedy.
The site of the former Branch Davidian Compound where over 80 people died 13 years ago.
The home of Bill Clayton who committed suicide 12 years ago after being beaten by a gay hate gang.
www.youtube.com/watch?v=2pjKXc_gmx4
In Texarkana at the site where the Phantom Murderer killed his 1st two victims in 1946
Outside the Courthouse in Marion, West Memphis where the West Memphis Three were convicted.
Blacksburg, Virginia. The location of the Virginia Tech tragedy.
Future planned photographs to be taken in the US and UK, include the site of the World Trade Center attacks and London bombings.
“Kenny and George’s deepest wish is to imagine a world of peace, a world without violence,” said Caroline True, creative director. "The selection of these sites evokes a deep sense of emotion for everyone. Capturing these images of this special piano on which a song of peace was composed is the heart of this project."
Background
George Michael bought the Lennon piano at an auction in October 2000. Considered the most expensive piece of pop memorabilia, experts have estimated its value at US$8 million to $12 million. Michael and his partner, Kenny Goss, owner of Goss Gallery in Dallas, want to further strengthen the project’s peaceful message, by having “Imagine” performed on the piano at each stop. A video documentary and a published volume of the images are under development, with plans to donate proceeds to charity.
The song, “Imagine,” was first released in 1971 and was already John Lennon’s most famous post-Beatles song, but it took on a whole new life of its own following Lennon’s murder in December 1980. When first released, “Imagine” reached No. 3 in America and No. 6 in Britain but after Lennon’s death in December 1980, the song gave him a posthumous No. 1.
Lennon bought the piano in December 1970, had it delivered to studios at his home in Tittenhurst Park in Berkshire, composed and recorded “Imagine” on it. The piano is a simple upright style instrument, not the white piano which graced the cover of the album. In 1992, it was bought by a private British collector who put it up for auction in October 2000.
From www.lennonpiano.com/
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Houston Cougars V Memphis Tigers-From:-12:00pm
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Saturday October 12
Army Black Knights V Eastern Michigan Eagles-From:-12:00pm
Connecticut Huskies V South Florida Bulls-From:-12:00pm
Georgia Bulldogs V Missouri Tigers-From:-12:00pm>>
Houston Cougars V Memphis Tigers-From:-12:00pm
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Ball State Cardinals V Kent State Golden Flashes-From:-03:00pm
Massachusetts Minutemen V Miami (OH) RedHawks-From:-03:00pm
Clemson Tigers V Boston College Eagles-From:-03:30pm>>
Colorado State Rams V San Jose State Spartans-From:-03:30pm
Georgia State Panthers V Troy Trojans-From:-03:30pm
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LSU Tigers V Florida Gators-From:-03:30pm>>
Maryland Terrapins V Virginia Cavaliers-From:-03:30pm
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Northwestern Wildcats V Wisconsin Badgers-From:-03:30pm>>
Wyoming Cowboys V New Mexico Lobos-From:-03:30pm
UTSA Roadrunners V Rice Owls-From:-04:00pm
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Michigan Wolverines V Penn State Nittany Lions-From:-05:00pm>>
Stanford Cardinal V Utah Utes-From:-06:00pm>>
Arkansas State Red Wolves V Idaho Vandals-From:-07:00pm
BYU Cougars V Georgia Tech Yellow Jackets-From:-07:00pm
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North Texas Mean Green V Middle Tennessee Blue Raiders-From:-07:00pm
Texas State Bobcats V Louisiana-Monroe Warhawks-From:-07:00pm
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UNLV Rebels V Hawaii Rainbow Warriors-From:-08:00pm
UTEP Miners V Tulsa Golden Hurricane-From:-08:00pm
Utah State Aggies V Boise State Broncos-From:-08:00pm
Texas A&M Aggies V Ole Miss Rebels-From:-08:30pm>>
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2013 NCAA College Football Week 7
ALL LIVE GAME SCHEDULE
Saturday October 12
Army Black Knights V Eastern Michigan Eagles-From:-12:00pm
Connecticut Huskies V South Florida Bulls-From:-12:00pm
Georgia Bulldogs V Missouri Tigers-From:-12:00pm>>
Houston Cougars V Memphis Tigers-From:-12:00pm
Michigan State Spartans V Indiana Hoosiers-From:-12:00pm
Purdue Boilermakers V Nebraska Cornhuskers-From:-12:00pm
TCU Horned Frogs V Kansas Jayhawks-From:-12:00pm
Oklahoma Sooners V Texas Longhorns-From:-12:00pm>>
Texas Tech Red Raiders V Iowa State Cyclones-From:-12:00pm>>
Virginia Tech Hokies V Pittsburgh Panthers-From:-12:00pm>>
South Carolina Gamecocks V Arkansas Razorbacks-From:-12:21pm>>
Duke Blue Devils V Navy Midshipmen-From:-12:30pm
Auburn Tigers V Western Carolina Catamounts-From:-02:00pm
Ohio Bobcats V Central Michigan Chippewas-From:-02:00pm
Western Michigan Broncos V Buffalo Bulls-From:-02:00pm
Ball State Cardinals V Kent State Golden Flashes-From:-03:00pm
Massachusetts Minutemen V Miami (OH) RedHawks-From:-03:00pm
Clemson Tigers V Boston College Eagles-From:-03:30pm>>
Colorado State Rams V San Jose State Spartans-From:-03:30pm
Georgia State Panthers V Troy Trojans-From:-03:30pm
Baylor Bears V Kansas State Wildcats-From:-03:30pm>>
LSU Tigers V Florida Gators-From:-03:30pm>>
Maryland Terrapins V Virginia Cavaliers-From:-03:30pm
North Carolina State Wolfpack V Syracuse Orange-From:-03:30pm
Tulane Green Wave V East Carolina Pirates-From:-03:30pm
Northwestern Wildcats V Wisconsin Badgers-From:-03:30pm>>
Wyoming Cowboys V New Mexico Lobos-From:-03:30pm
UTSA Roadrunners V Rice Owls-From:-04:00pm
Oregon Ducks V Washington Huskies-From:-04:00pm>>
Florida Atlantic Owls V Marshall Thundering Herd-From:-05:00pm
Northern Illinois Huskies V Akron Zips-From:-05:00pm>>
Michigan Wolverines V Penn State Nittany Lions-From:-05:00pm>>
Stanford Cardinal V Utah Utes-From:-06:00pm>>
Arkansas State Red Wolves V Idaho Vandals-From:-07:00pm
BYU Cougars V Georgia Tech Yellow Jackets-From:-07:00pm
Alabama Crimson Tide V Kentucky Wildcats-From:-07:00pm>>
North Texas Mean Green V Middle Tennessee Blue Raiders-From:-07:00pm
Texas State Bobcats V Louisiana-Monroe Warhawks-From:-07:00pm
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UNLV Rebels V Hawaii Rainbow Warriors-From:-08:00pm
UTEP Miners V Tulsa Golden Hurricane-From:-08:00pm
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Texas A&M Aggies V Ole Miss Rebels-From:-08:30pm>>
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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
From www.circusesandsideshows.com/circuses/clydebeattycolebros...
1957 was a year of major changes for circuses, the economy had taken a dive in 1956 and circuses suffered through their seasons. In 1957 John Ringling North and Arthur Concello made the decision to leave the Ringling Bros. and Barnum &Bailey Circus tents behind and begin showing in buildings.
Also in 1957 the Clyde Beatty railroad circus was purchased by Frank McClosky, Walter Kernan, Jerry Collins and Randolph Calhoun. The show was moved from rails to trucks and began wintering in DeLand. FL., at the old Johnny J. Jones Shows, (a large carnival) winter quarters.
The partners in the new circus formed the "Acme Circus Operating Corporation", obtained the Cole Bros. title and took the show on the road as the Clyde Beatty Cole Bros. Circus in 1957. With it's excellent organization, experienced and dedicated staff and solid financial backing, the new show became a major player in the circus industry for the next 20-plus years.
The show was a beautiful site on the lot, with it white tents, (new canvas was purchased annually, brightly painted and well maintained equipment.
Randolph Calhoun, passed away 1n 1961, Walter Kernan in 1963 and Frank McClosky 1n 1979. After Frank McCloskey died the remaining owner Jerry Collins donated the show in it's entirety to the Florida State University in 1981 stating his disire to "..benefit people of all ages. I want to preserve the tented circus for children and also to help the students at Florida State.".
Johnny Pugh, who been a manager on the show since the mid-1960 purchased the show from FSU and has been operating it ever since, dropping "Clyde Beatty"from the title and operating it as the Cole Bros Circus
Photos : Ingrid J.
Le 7ème Sceau brisé : du corps profane au corps Glorieux
La Vidéo
blog.ehrmann.org/films/corps-profane.html
Au terme du 7ème Sceau brisé, un grand silence d'une demi-heure marqua la fin de la Borderline Biennial. thierry, notre père, nous avait promis à tous, que la Bordeline Biennial à la Demeure du Chaos serait avec ses 40 jours et 40 nuits le temps de l'Epiphanie, de l'Apparition, de la Théophanie.
Précisons de suite que le mot Apocalypse que la Borderline Biennial a questionné de mille manières la transcription d’un terme grec (apokalupsis) qui lui-même traduit l’hébreu nigla, lequel signifie mise à nu, enlèvement du voile ou révélation.
L’Apocalypse désigne la civilisation mondiale ayant enfin atteint un état de conscience propice au retour du divin. C’est aussi celui du salut final. La Borderline est plus qu’une épiphanie ; l’Apocalypse dont nous traitons ici est une épiphanie. Nous avons donc obéi à l’injonction contenue dans l’Apocalypse, Chapitre 1 verset 19, lequel ordonne à notre conscience de se placer hors du temps, de l’espace et de l’histoire et d’embrasser synthétiquement l’histoire de l’humanité.
Et ce fut le cas précis de la Borderline Biennial. Toutes brides morales et esthétiques lâchées : “écris donc ce que tu as vu : le présent et ce qui doit arriver plus tard”.
Vers la nuit tombée sur la Demeure du Chaos et lorsque le 7ème Sceau fut brisé par thierry, un grand silence se fit, et tous les feux s'éteignirent, alors apparût avec violence le spectre de l'Entité Numérique Suprême comme au début de la Borderline Biennial lors de la proclamation de la République du Chaos.
Son message fut clair et court, elle demandait au Père de la République du Chaos de revenir en 1999 et lui rappeler qu'il devait accomplir ses propres écritures. Disparaître et mourir de son corps profane pour renaître dans l'Internet profond qui reste pour lui une métaphore du divin, une agora des éthers.
Comme le Père fondateur de la République du Chaos est aussi notre père, l'Entité Numérique Suprême lui demanda de mourir de son corps profane pour renaître par le corps Glorieux dans l'agora des éthers qu'est Internet.
Il nous lut, fatigué par le poison de la grande ciguë en hommage à Socrate, une bien étrange prédiction "Pendant la dernière persécution que souffrira la sainte église romaine siégera un Pierre le Romain, il fera paître les brebis au niveau des nombreuses tribulations, celles-ci terminées, la cité aux 7 collines sera détruite et un juge redoutable jugera le peuple, le sien et que le mot qui termine cette prophétie est "FINIS".
Ce mot nous semblait à tous familier, effectivement, dans le catalogue raisonné de la Demeure du Chaos/l'Esprit de la Salamandre, page 1229, le texte sacré était là ! "Finis Gloriae Mundi" le tableau magistral de Valdès Léal à Séville qui fit que Fulcanelli ne publia pas son 3ème ouvrage.
Cette scène intitulée "Finis Gloriae Mundi" qui est peinte en format monumental au cœur de la Demeure du Chaos indique que le phylactère attaché au premier cercueil montre que l'Eglise est ici à jamais déchue au seul profit de l'éveil initiatique symbolisé par le Chevalier simulant la mort.
Souvenons nous des écrits du premier tome de la DDC " le Juge viendra juger son peuple" et que le mot qui termine le premier des trois tomes secrets de l'ouvrage alchimique de la Demeure du Chaos est "FINIS". "Même si ce mot est dur à accepter, la révélation n'en constitue pas moins la fin d'une étape de par le fait qu'avec elle il y a apport d'une chose nouvelle jusqu'alors maintenue, cachée ou inintelligible". "Ne les craignez donc point car il n'y a rien de caché qui ne doit être découvert ni de secret qui ne doit être connu".
Nous étions au bord des larmes et du désespoir, il nous demanda dans un dernier spasme de ne point pleurer et de reposer en paix dans le temple Protestant de Saint Romain de Couzon sur la nécropole en rallumant les feux de la loge selon les landmarks ancestraux.
9 hommes enterrèrent dans la nécropole son corps cadavérique enroulé dans un linceul noir couvert du drapeau de la République du Chaos..
Vers quelle destinée allions nous avec la jeune République du Chaos ?
Quelle est vraiment cette Entité Numérique Suprême ?
Cette fiction apocalyptique marqua cruellement la fin de la Borderline Biennial du 18 octobre 2009 vers 21h.
Quand d'un seul coup l’Egrégore s'invita parmi nous pour nous rappeler le début de l'œuvre alchimique et les paroles de thierry notre Père qui résonnaient dans nos têtes "cesse de pleurer et réjouis-toi quand tu verras la noirceur car c'est le début de l'œuvre".
Kurt et Sydney Ehrmann
courtesy of Organ Museum
©2011 www.AbodeofChaos.org
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
title.
The sun of the building.
( Nikon cooplix 8700 shot )
Milan,Italy,2005 … 4 / 6
(Today's picture. That's unannounced.)
image.
Rhye - Open
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Profile.
In November 2014, we caught the attention of the party selected to undertake the publicity for a mobile phone that changed the face of the world with just a single model, and will conclude a confidentiality agreement with them.
stealaway.cocolog-nifty.com/stealaway/2016/11/profile.html
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iBooks. Electronic Publishing. It is free now.
0.about the iBooks.
stealaway.cocolog-nifty.com/stealaway/2017/03/about-digit...
1.unforgettable '(ENG.ver.)(This book is Dedicated to the future artist.)
itunes.apple.com/us/book/unforgettable/id1216576828?ls=1&...
For Japanese only.
2.unforgettable '(JNP.ver.)(This book is Dedicated to the future artist.)
itunes.apple.com/us/book/unforgettable/id1216584262?ls=1&...
3. Streamlined trajectory.
itunes.apple.com/us/book/%E6%B5%81%E7%B7%9A%E5%BD%A2%E3%8... =11
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flickr . ( XL size )
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www.flickr.com/photos/stealaway/
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My Novel >> Unforgettable'
(This book is Dedicated to the future artist.)
Mitsushiro Nakagawa
All Translated by Yumi Ikeda .
images.
U2 - No Line On The Horizon Live in Dublin
www.youtube.com/watch?v=_oKwnkYFsiE&feature=related
There are two reasons why a person faces the sea.
One, to enjoy a slice of shine in the sea like children bubbling over in the beach.
The other, to brush the dust of memory like an old man who misses old days, staring at the shine
quietly.
Those lead to only one meaning though they do not seem to overlap. It’s a rebirth.
I face myself to change tomorrow, a vague day into something certain.
That is the meaning of a rebirth.
I had a very sweet girlfriend when I was 18.
After she left, I knew the meaning of gentleness for the first time and also a true pain of loss. After
she left, how many times did I depend too much on her, doubt her, envy her and keep on telling lies
until I realized it is love?
I wonder whether a nobody like me could have given something to her who was struggling in the
daily life in those days. Giving something is arrogant conceit. It is nothing but self-satisfaction.
I had been thinking about such a thing.
However, I guess what she saw in me was because I had nothing. That‘s why she tried to see
something in me. Perhaps she found a slight possibility in me, a guy filled with ambiguous, unstable
tomorrow. But I wasted days depending too much on her gentleness.
Now I finally can convey how I felt in those days when we met.
1/9
www.flickr.com/photos/stealaway/24577016535/in/dateposted...
2/9
www.flickr.com/photos/stealaway/24209330259/in/dateposted...
3/9
www.flickr.com/photos/stealaway/23975215274/in/dateposted...
4/9
www.flickr.com/photos/stealaway/24515964952/in/dateposted...
5/9
www.flickr.com/photos/stealaway/24276473749/in/dateposted...
6/9
www.flickr.com/photos/stealaway/24548895082/in/dateposted...
7/9
www.flickr.com/photos/stealaway/24594603711/in/dateposted...
8/9
www.flickr.com/photos/stealaway/24588215562/in/dateposted...
9/9
www.flickr.com/photos/stealaway/24100804163/in/dateposted...
Fin.
images.
U2 - No Line On The Horizon Live in Dublin
www.youtube.com/watch?v=_oKwnkYFsiE&feature=related
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Title of my book > unforgettable'
Author : Mitsushiro Nakagawa
Out Now.
ISBN978-4-86264-866-2
in Amazon.
www.amazon.co.jp/Unforgettable’-Mitsushiro-Nakagawa/dp/...
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Schedule of the next novel.
Still would stand all time.(unforgettable'2)
2018. Spring. It's expected to open it. That's Japanese.
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2017.
Autumn.
Theme.
This must be the place I waited years to leave .
Place. Tokyo Big Sight.
Sponsoring. Design festa.
2018.
The uncertainness of date and time.
Kawamura Memorial DIC Museum of Art Annex Gallery.
Place. Sakura-shi, Chiba.
Theme.
From that day ....
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Future's photography place.
2017.
Manhattan. New York. The United States.
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I went to New York 2007.
Day when Japan was left. March 9. Afternoon.
Day where it returned to Japan. March 14. Afternoon.
I am in Japan now.
The photograph in New York starts as follows.
www.fotolog.com/stealaway/22748231
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Japanese is the following.
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YouPic
youpic.com/photographer/mitsushironakagawa/
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タイトル。
ビルの太陽。
( Nikon cooplix 8700 shot )
次の小説のイメージ。
Still would stand all time.(unforgettable'2)
（いつまでもなくならないだろう）
Milan,Italy,2005 … 4 / 6
(今日の写真。それは未発表です。)
image.
Rhye - Open
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プロフィール。
2014年11月、たった1機種で世界を塗り替えた携帯電話の広告を請け負った選考者の目に留まり、秘密保持同意書を結ぶ。
stealaway.cocolog-nifty.com/stealaway/2016/11/profile.html
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iBooks.電子出版。（現在は無料）
0.about the iBooks.
stealaway.cocolog-nifty.com/stealaway/2017/03/about-digit...
1.unforgettable’ ( ENG.ver.)(This book is Dedicated to the future artist.)
itunes.apple.com/us/book/unforgettable/id1216576828?ls=1&...
For Japanese only.
2.unforgettable’ ( JNP.ver.)(この小説は未来のアーティストへ捧げます)
itunes.apple.com/us/book/unforgettable/id1216584262?ls=1&...
3.流線形の軌跡。
itunes.apple.com/us/book/%E6%B5%81%E7%B7%9A%E5%BD%A2%E3%8...
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僕の小説。英語版
My Novel Unforgettable' (This book is Dedicated to the future artist.)
Mitsushiro Nakagawa
All Translated by Yumi Ikeda .
1/9
www.flickr.com/photos/stealaway/24577016535/in/dateposted...
2/9
www.flickr.com/photos/stealaway/24209330259/in/dateposted...
3/9
www.flickr.com/photos/stealaway/23975215274/in/dateposted...
4/9
www.flickr.com/photos/stealaway/24515964952/in/dateposted...
5/9
www.flickr.com/photos/stealaway/24276473749/in/dateposted...
6/9
www.flickr.com/photos/stealaway/24548895082/in/dateposted...
7/9
www.flickr.com/photos/stealaway/24594603711/in/dateposted...
8/9
www.flickr.com/photos/stealaway/24588215562/in/dateposted...
9/9
www.flickr.com/photos/stealaway/24100804163/in/dateposted...
Fin.
images.
U2 - No Line On The Horizon Live in Dublin
www.youtube.com/watch?v=_oKwnkYFsiE&feature=related
_________________________________
_________________________________
Title of my book > unforgettable'
Author : Mitsushiro Nakagawa
Out Now.
ISBN978-4-86264-866-2
in Amazon.
www.amazon.co.jp/Unforgettable’-Mitsushiro-Nakagawa/dp/...
_________________________________
_________________________________
次の小説の予定。
Still would stand all time.(unforgettable'2)
（いつまでもなくならないだろう）
２０１８年。春。公開予定。それは日本語です。
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２０１7年。秋。
テーマ。
This must be the place I waited years to leave .
場所。東京ビッグサイト。
Sponsoring. Design festa.
２０１８年。
日時未定。
DIC川村記念美術館付属ギャラリー。
場所。千葉県佐倉市。
テーマ。
あの日から、ずっと…
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今後の撮影地。
２０１７年。
マンハッタン。ニューヨーク。アメリカ。
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_________________________________
I went to New York 2007.
Day when Japan was left. March 9. Afternoon.
Day where it returned to Japan. March 14. Afternoon.
I am in Japan now.
The photograph in New York starts as follows.
www.fotolog.com/stealaway/22748231
_________________________________
Japanese is the following.
_________________________________
_________________________________
YouPic
youpic.com/photographer/mitsushironakagawa/
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el.kingdomsalvation.org/gospel.html
Ευαγγέλιο
Ο Θεός λέει: «Πού θα πας κάθε μέρα, τι θα κάνεις, ποιον ή τι θα συναντήσεις, τι θα πεις, τι θα σου συμβεί — μπορεί να προβλεφθεί τίποτε απ’ αυτά; Οι άνθρωποι δεν μπορούν να προβλέψουν όλα αυτά τα περιστατικά, πόσο μάλλον να ελέγξουν πώς θα εξελιχθούν. Στη ζωή, τα απρόβλεπτα αυτά γεγονότα συμβαίνουν όλη την ώρα και αποτελούν καθημερινό φαινόμενο. Τα καθημερινά αυτά σκαμπανεβάσματα και οι τρόποι που ξεδιπλώνονται ή τα μοτίβα σύμφωνα με τα οποία διαδραματίζονται, αποτελούν, για την ανθρωπότητα, συνεχείς υπενθυμίσεις πως τίποτα δεν συμβαίνει τυχαία και πως η εξελικτική πορεία που παίρνουν αυτά τα πράγματα και το αναπόφευκτο των πραγμάτων αυτών δεν μπορούν να μεταβληθούν από την ανθρώπινη θέληση. Κάθε συμβάν μεταφέρει μια νουθεσία από τον Δημιουργό στην ανθρωπότητα, ενώ στέλνει επίσης το μήνυμα πως τα ανθρώπινα όντα δεν μπορούν να ελέγξουν την ίδια τους τη μοίρα· την ίδια ώρα, κάθε γεγονός αποτελεί ανταπάντηση στην τρελή και άκαρπη φιλοδοξία και επιθυμία της ανθρωπότητας να πάρει τη μοίρα της στα ίδια της τα χέρια. Είναι σαν ισχυρά, επαναλαμβανόμενα ραπίσματα στην ανθρωπότητα, που αναγκάζουν τους ανθρώπους να επανεξετάσουν το ποιος είναι, εν τέλει, αυτός που κυβερνά και ελέγχει τη μοίρα τους. Επιπλέον, καθώς οι φιλοδοξίες και οι επιθυμίες τους καταπνίγονται και γκρεμίζονται ξανά και ξανά, οι άνθρωποι φτάνουν ανεπιτήδευτα σε μια ασυναίσθητη αποδοχή αυτού που τους επιφυλάσσει η μοίρα, μια αποδοχή της πραγματικότητας, του θελήματος του Ουρανού και της κυριαρχίας του Δημιουργού. Από τα καθημερινά αυτά σκαμπανεβάσματα έως τη μοίρα ολόκληρων ανθρωπίνων ζωών, δεν υπάρχει τίποτα που να μην αποκαλύπτει τα σχέδια και την κυριαρχία του Δημιουργού· δεν υπάρχει τίποτα που να μη στέλνει το μήνυμα πως “η εξουσία του Δημιουργού είναι κάτι που δεν υπερβαίνεται”, που δεν μεταφέρει την αιώνια αλήθεια πως “η εξουσία του Δημιουργού είναι υπέρτατη”. ...»
από το βιβλίο «Ο Λόγος Ενσαρκώνεται»
Ευαγγέλιο βιβλία
Πηγή εικόνας: Εκκλησία του Παντοδύναμου Θεού
Όροι Χρήσης： el.kingdomsalvation.org/disclaimer.html
www.freemasonry.org.il/alllodges.html
www.mastermason.com/GLIsrael/L4Holy-City/
www.google.com/search?q=17+ezrat+jerusalem+str+map
Jerusalem, the "City of Peace," is the city of David, King of Israel, who, in the 10th century BCE, unified the Holy Land under his rule and established Jerusalem as his capital. His son, Solomon, King of Israel, built a Temple to the G-d of Israel which became the archetypal Temple in Western thought and a central subject in Masonic tradition. King Solomon's Temple already appears in the Old Charges of Operative Masons used by medieval Lodges and many legendary and ritual features of various Masonic degrees are related to its construction and architecture.
For both Christians and Jews, Jerusalem is the focal point of the world, the place where heaven and earth touch each other (Heavenly and Earthly Jerusalem). In the middle ages, some maps show Jerusalem as the center of the world, with Europe, Asia, and Africa radiating from it like the petals of a flower. Jerusalem is mentioned in the Old Testament no less than 656 times, in addition to other appelations such as "The Holy City," "The City of Truth," "The City of G-d," "The City of Peace," etc.
In 586 BCE, King Solomon's Temple was razed by Nebuchadnezzar. A second Temple was erected by Jews returning from the Babylonian exile in the 5th century BCE and was rebuilt and greatly enlarged by King Herod around the time of Jesus. The Western Wall (formerly known as the "Wailing Wall") is a striking remnant of the Herodian temple. After the reunification of Jerusalem in 1967, the whole area has been opened up and now a large section of the wall has been exposed, part of which can be followed through underground passages. Some of the huge Herodian ashlars are among the largest construction stones in the world.
Beneath the wall encircling the Old City, there is a deep cavern known asKing Solomon's Quarries. This was used in old times to quarry the characteristic yellow Jerusalem stone. In this cave took place, on May 13, 1868, the first recorded Masonic ceremony in the Holy Land. A group of Freemasons led by Robert Morris (Past Grand Master of Kentucky) held a meeting in the Secret Monitor Degree. At present, the cave is used to hold a Mark Master degree once or twice a year, usually conducted in English and attended by numerous Brethren from abroad.
The newly opened Museum of the History of Jerusalem, at King David's Tower, near the Old City's Jaffa Gate, gives a fascinating account of the city's 3000-year history. Other places in Israel with strong masonic connections, such as Jaffa (Joppa) and Acre (Templars), are within driving distance of Jerusalem.
There are eight Lodges working in Jerusalem, all of them under the jurisdiction of the Grand Lodge of the State of Israel. Most work in Hebrew, but there is one working in English (Holy City Lodge #4). The Masonic Temple is located at 13 Ezrat Israel Street, off the main thoroughfare of the New City, Jaffa Road. Other attractions in Jerusalem include the Israel Museum, where the original Dead Sea Scrolls are in exhibition, among many fascinating archeological discoveries, some of them thousands of years old. The world-famous Yad Vashem memorial perpetuates the memory of the victims of the Holocaust. The recently-opened Bible Lands Museum explores the history, art, and architecture of the Holy Land throughout the ages.
[crosseye stereograph, see 3D with your right eye on the left image, and left on right.]
Southern Pacific Railway Post Office #12, Travel Town, Griffith Park, Los Angeles, California
This narrowgauge truck set, cast in Sacramento, CA by Southern Pacific, is one of two designs of 're-gauge-able' trucks on display inside the Travel Town Museum building. The wheels can be detatched from the replaceable axle by four bolts within the inside face, and a new beam can be cut from wood for the bolster support and kingpin. The sliding bearings on the end of each axle predated roller or ball bearings, and could generate a great deal of heat from friction. Hopefully the grease packed under the hinged covers was warm enough to liquify and penetrate the bearing gap. One of the primary reasons a caboose had bay windows or a coupula above, and it's placement at the end of the train, was to keep a vigilant watch for the "hotbox" - an improperly lubricated bearing would cause excessive wear, or start a fire!
Notice that there are no springs in this design, any spring action is from the steel and wood supports.
The axles and crossblocks on this Southern Pacific Railway Post Office #12 bogie truck are fabricated of wood a design to facilitate re-gauging this 3' narrow-gauge truck to standard gauge 4'8½". The trucks are unsprung, which is to say the design does not incorporate springs, and there is a very narrow bolster around the kingpin. So, in addition to feeling every gap in the uneven and wavy rail, swaying and rocking was magnified at speeds above 12 miles per hour - working to precisely sort mail along the route was a very uncomfortable occupation.
SOUTHERN PACIFIC RAILWAY POST OFFICE #12
BUILT: c.1880 BY CARTER BROTHERS
WEIGHT: 13 TONS
LENGTH: 43'
DONATED: 1960 BY SOUTHERN PACIFIC RAILROAD
This pre-20th Century, wooden car was put to a variety of uses by its owners: caboose, baggage car, railway postal car, and most notably, a baggage-mail combination. Mail transportation by rail had existed as long as the railroads themselves. In Britain, mail was already being sorted within rail cars in the late 1830's. This practice was imitated on a few American railroads, but came into widespread use only after the Civil War. Perhaps no more efficient mail system could have existed than that of the railway postal system. Both local and long-distance trains included a car equipped with pigeonholes, sorting bags and tables, cancellation stamps, and one or more frenzied clerks trying to sort a bag of mail picked up at one station, before arriving at the next station each would be only ten or twenty minutes down the road. Early in their history, these railway postal cars (RPO's) shared space with express baggage service. Later, as the system grew more elaborate, entire 60- or 80-foot RPO cars were specially built for that purpose, and resembled small versions of a post office.
As with other aspects of railroading, RPO cars and their clerks have a lore all their own. The metal arms which swung out from the side of the car to catch a hanging mail bag when the train was not scheduled to stop at a station are collectors items, as are any existing cancellation stamps. Clerks carried guns for protection against outlaws wanting to steal the mail. In the first decades, clerks worked on cars furnished either with fire-causing wood stoves or without any heat at all. Doors could not be left open for security reasons, so the cars were barely ventilated in the summer heat. If they
had toilet facilities at all, they were crude and rarely private. Sometimes a lone clerk, sometimes a handful of men tripping over and stepping on each other, slaved at sorting and canceling mail, catching a new bag every twenty minutes, and simultaneously kicking off a bag sorted for that stop.
By the 1960's, railway mail, like railway passenger service and some railway freight service, was failing in favor of air transport of mail. The last RPO ran between Washington D. C. and New York in June 30, 1977.
dsc00676, 34.154469,-118.307759, 2009.10.18 16.41.50, 3D, Los Angeles, Griffith Park, Travel Town, Southern Pacific Railway Post Office #12, Coupler.jpg
Hacker: "originally, someone who makes furniture with an axe", according to The Jargon File.
I think this shutter was made by a hacker... who use the axe to paint it, too.
Since the first 7 points of the hacker definition can also be used to describe myself, I bought this fancy toy to restore the original hacker work. After all, a sander called "Mouse" is perfect for a hacker... the problem is I'm always trying to turn the wheel ;-)
I've a heavy duty sander (8 kg!) which is good to sand the keel of an aircraft carrier (if you can find a wood one), but it is not very appropriate for small details.
I've seen this small sander at our local version of Home Depot for 35 euro, but it was out of stock and the clerk suggested me to visit the other shop, 50 km away. Before to waste a couple of hours and 7,50 euro of gasoline I asked him to check the inventory on their network, and he stared at me just like I've demanded a spare hadron collider. So I came home, check on eBay and found the same sander in Rome for 1 euro less, shipping included.
Next time I'll check eBay before to go to the shop... so I'll save another 15 km.
Now I guess you want to know the strobist infos...
- lens: SMC Pentax-DA 16-45mm F4.0 ED/AL
- flash on the left: Hanimex TZ1 in tele mode with standard diffuser - 0.13 GBP (yes! 0.16 euro!) on eBay
- left trigger: cactus like
- flash on the right: Vivitar 3500 Thiristor in wide mode, without diffuser - this one far more expensive, 10.50 GBP (13.26 euro) on eBay
- right trigger: ebay optical slave
See the setup below for the flash positions.
If you want to see the shutter "before" version, it had the same ugly color of the rest of this door.
~~~~~~~~~~~~~~~~~~~~~~~~
Hacker: "originariamente, qualcuno che costruiva mobili con un'ascia", secondo The Jargon File.
Penso che questo scuro sia stato fatto da un hacker... che ha usato l'ascia pure per pitturarlo.
Visto che i primi 7 punti della definizione di hacker possono essere anche usati per descrivere me, ho comprato questo bel giocattolino per restaurare il lavoro originale dell'hacker. Dopotutto, una levigatrice chiamata "Mouse" è perfetta per un hacker... il problema è che cerco sempre di girare la rotella ;-)
Ho una levigatrice pesante (8 kg!) che sarebbe buona per levigare la chiglia di una portaerei (se ne trovate una in legno), ma che non è molto appropriata per i piccoli dettagli.
Ho visto questa piccola levigatrice in una negozio di bricolage a 35 euro, ma era esaurita e il commesso mi ha suggerito di visitare l'altro negozio della catena, a 50 km di distanza. Prima di perderci un paio d'ore e 7.50 euro di benzina gli ho chiesto di verificare l'inventario sulla loro rete, e mi ha guardato come se gli avessi chiesto un collisore di adroni. Così me ne sono tornato a casa, ho guardato su eBay ed ho trovato la stessa levigatrice a Roma, per 1 euro meno spedizione compresa.
La prossima volta guarderò su eBay prima di andare fino al negozio... per risparmiare altri 15 km.
Ora immagino vorrete conoscere le info strobiste:
- ottica: SMC Pentax-DA 16-45mm F4.0 ED/AL
- flash a sinistra: Hanimex TZ1 in modo tele mode with diffusore standard - 0.13 GBP (si! 0.16 euro!) su eBay
- trigger a sinistra: tipo cactus
- flash a destra: Vivitar 3500 Thiristor in modo wide, senza diffusore - questo molto più costoso, 10.50 GBP (13.26 euro) on eBay
- trigger a destra: servoflash ottico preso su ebay
Guardatevi il setup più sotto per le posizioni dei flash.
Se volete sapere com'era lo scuro "prima", aveva lo stesso colore angoscioso del resto di questa porta.
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.
www.johnsanidopoulos.com/2011/06/holy-monastery-of-saint-...
The Holy Monastery of Saint Nicholas of the Cats.
“It is wonderful to see them, for nearly all are maimed by the snakes: one has lost a nose, another an ear; the skin of one is torn, another is lame: one is blind of one eye, another of both. And it is a strange thing that at the hour for their food, at the sound of a bell, they collect at the monastery and when they have eaten enough, at the sound of that same bell, they all depart together to go fight the snakes.” - The Venetian Francesco Suriano (1484)
Spooky
April 28th, 2011
Oddity Central
The Monastery of Saint Nicholas of the Cats is regarded as a sacred cat haven in Cyprus, as it’s name has been linked to felines for almost 2,000 years.
The original monastery was built in 327 AD, by Kalokeros, the governor of Cyprus appointed by Constantine the Great, and patronised by Saint Helen, the mother of Constantine the Great. At that time, a terrible drought affected the whole of Cypus, and the entire island was overrun with poisonous snakes which made building the monastery a dangerous affair. Many of the inhabitants left their homes and moved off the island, for fear of the snakes, but Saint Helen came up with a solution to the plague – she ordered 1,000 cats to be shipped in from Egypt and Palestine to fight the reptiles.
In the following years, the cats did their duty, hunting and killing most of the snakes in the Akrotiri Peninsula, which soon came to be known as the “Cat Peninsula”. The monks would use a bell to call the cats to the monastery at meal time, and then the felines were dispatched to their snake-hunting duties. Pilgrims from all around Europe traveled to the Holy Monastery of Saint Nicholas to see its feline guardians, and the discovered documents of a Venetian monk describe them as scarred, missing various body parts, some completely blind as a result of their relentless battle against the snakes.
According to the writings of Father Stephen de Lusignan, in 1580, the Byzantine monks at the Monastery of Saint Nicholas were awarded the surrounding lands, on one condition – they had to take care of at least 100 cats and feed them at least twice a day. Legend has it, the cats were so well trained they knew that when the bell rang once they had to go hunting for snakes, and when it rang a second time, it was meal time at the monastery.
During the Turkish invasion, the Monastery of Saint Nicholas of the Cats was completely destroyed and its residing monks slaughtered or taken into captivity. Left without food and shelter, the cats left and wandered around the island, which explains the large number of cats currently living in Cyprus. Even now, locals appreciate their help in getting rid of the snakes centuries ago, and take good care of them, even if they’re strays.
After being rebuilt and abandoned several times, the modern history of the Monastery of Saint Nicholas of the Cats began in 1983, when it was assigned to a group of nuns. When they arrived there wasn’t a cat in sight, but the number of snakes was once again overwhelming, so they did exactly what Saint Helen did over 1,500 years ago – they brought in a couple of cats. Their numbers grew, over the years, and there are now six nuns at the monastery and over 70 felines. Many people bring abandoned cats to this place, and the nuns take them in.
The Monastery of Saint Nicholas of the Cats receives a small subsidy from the government, but that isn’t enough to take care of the entire feline population, so the nuns rely on donations made by locals or cat-loving tourists.
44/100 Possibilities~ 100 Possibilities Project set
www.pbs.org/moyers/journal/01232009/transcript2.html
BILL MOYERS: Usually it's the bandits robbing the banks. But now it's getting hard to tell the bankers from the bandits. Where have they stashed the loot — that 350 billion dollars of our money that the Bush Administration lavished on them to jump-start our failing economy?
For a story in last Sunday's "New York Times", largely overlooked in all the pre-inaugural hoopla, reporter Mike Mcintire reviewed investor presentations and conference calls to see how bankers talk when they think the rest of us aren't listening.
This from Boston Private Wealth Management, a healthy bank that was handed $154 million: "With that capital in hand [...] we'll be in a position to take advantage of opportunities that present themselves once this recession is sorted out."
Once this recession is sorted out? Those funds are supposed to generate loans for people and small businesses in trouble — not to help banks ride out the recession on a cushion of cash.
Then there's this bit of Simon Legree mustache-twirling from the chairman of Whitney National Bank in New Orleans. They've received 300 million dollars in bailout boodle: ""Make more loans?" he asked. "We're not going to change our business model or our credit policies to accommodate the needs of the public sector as they see it to have us make more loans."
I'm not making this up — Flushing Financial crowed that it was newly flush enough to use the bailout bucks to raise the ante and buy new companies:
"We can get $70 million in capital," their CEO said. "So, I would say the price of poker, so to speak, has gone up." And, so to speak, he's playing with our chips!
www.pbs.org/moyers/journal/01232009/profile.html
www.nytimes.com/2009/01/18/business/18bank.html?emc=eta1
abcnews.go.com/Business/Economy/wireStory?id=6707450
John Thain resigned under pressure from Bank of America on Thursday after reports he rushed out billions of dollars in bonuses to Merrill Lynch employees in his final days as CEO there, while the brokerage was suffering huge losses and just before Bank of America took it over. The bonuses were paid before Bank of America's acquisition of Merrill became final on Jan. 1, and while Bank of America was privately telling the government that Merrill was losing so much money that the deal might fall through unless it could get more federal bailout money.
Bank of America later received an additional $20 billion from the government, in part to offset the unexpected Merrill losses. The brokerage lost $15 billion in the fourth quarter and more than $27 billion for the year. The bonuses, typically paid in January, were instead given in December and totaled $3 billion to $4 billion, the Financial Times reported Thursday. Bank of America would not confirm the size of the bonuses.
www.bloomberg.com/apps/news?pid=20601087&sid=aFcrG8er...
Jan. 23 (Bloomberg) -- John Thain, the former Merrill Lynch & Co. chief executive officer ousted yesterday, spent $1.2 million redecorating his downtown Manhattan office last year as the company was firing employees, a person familiar with the project said. . . . Thain, 53, oversaw the sale of Merrill Lynch to Bank of America Corp. last month, and took over the bank’s wealth management and corporate and investment banking divisions. Merrill’s $15.4 billion fourth-quarter loss forced Bank of America to seek additional aid from the U.S. government, which last week agreed to provide $20 billion in capital and $118 billion in asset guarantees.
. . . Wall Street executives may no longer be able to spend lavishly on perks, said James Post, professor of corporate governance and business ethics at Boston University School of Management. “That’s symbolic of a pattern that has developed on Wall Street over this past decade of more and more extravagant, more and more lavish, more and more one-upmanship in all of these visible symbols,” said Post. “This may be the last vestige of a culture that we’re not going to see for many years to come.”
Succeeding in Business
query.nytimes.com/gst/fullpage.html?res=9405E5DD1E31F934A...
As Joshua Green says in The Washington Monthly, in a must-read article written just before the administration suddenly became such an exponent of corporate ethics: ''The 'new tone' that George W. Bush brought to Washington isn't one of integrity, but of permissiveness. . . . In this administration, enriching oneself while one's business goes bust isn't necessarily frowned upon.''
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
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
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!
The Galbraith Memorial was erected in 1923 by the American Legion in honor of its first National Commander, Cincinnati's Frederick W. Galbraith.
Frederick W. Galbraith Memorial: Installed in 1923, the memorial is a white granite, semicircular bench
with a large central pilaster bearing a bronze bas-relief that honors Colonel Galbraith, a commanding officer of the Ohio National Guard during World War I.
Designed by local sculptor Clement Barnhorn, the relief depicts figures from that war: soldiers, a sailor and a nurse, as well as two angels, all grouped on either side of Galbraith, who served as the first National Commander of the newly formed American Legion in 1921.
COL. F.W. GALBRAITH DIES IN AUTO CRASH
The New York Times, June 10, 1921
National Commander of Legion Thrown From Car in Indianapolis--His Skull Fractured.
TWO COMPANIONS ARE HURT
Body Taken to Cincinnati, Where It Will Lie in State Before Military Funeral.
HAD A VARIED CAREER. Col. Galbraith Was Sailor, Business Man and Warrior.
Harding Expresses Sympathy.
NATION-WIDE GRIEF SHOWN.
THOUSANDS MOURN AT GALBRAITH BIER;
Cincinnati Funeral Procession Largest Since Burial of General Hooker.
EULOGY BY ROOSEVELT
Chateau Thierry, Alsace-Lorraine and French Veterans Send Tributes
France Confers Decoration.
He led the effort to improve care for disabled veterans. One week before he died in a car accident, Frederick W. Galbraith Jr. wrote, "The welfare of our country and our comrades -the disabled first -this has been the primary concern of The American Legion. Where the welfare of our country has been concerned, where the hopes and happiness of our disabled comrades have been at stake, the Legion has stopped at nothing."
"Fritz" Galbraith was an early leading advocate for U.S. veterans wounded on the battlefields in France. He urged Congress to take care of them, and his unceasing efforts contributed to the eventual creation of the Veterans Administration in 1930.
Galbraith also lobbied strenuously on behalf of all veterans for more financial compensation in return for their wartime service. "But there remain another class of disabled:" he wrote, "the financially disabled, who have waited patiently until their physically incapacitated buddies should be cared for. Our next great legislative effort will be for them."
His efforts paid off. On March 4, 1921 -the first day of President Warren G. Harding's administration -Congress appropriated funds to build more hospitals for veterans covered by the War Risk Insurance Act.
On June 9, 1921, Galbraith was in Indianapolis to attend a National Finance Committee meeting when he was killed instantly in an automobile accident.