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Chitose Hokkaido Japan 53-54
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Devocional diario | Ya entiendo el verdadero significado de “Consumado es”, lo que dijo el Señor Jesús
Esa mañana de domingo era como cualquier otra, cuando abrí mi Biblia, comencé mis devociones espirituales y vi que Hebreos 9:28 decía: “Así también Cristo, habiendo sido ofrecido una vez para llevar los pecados de muchos, aparecerá por segunda vez, sin relación con el pecado, para salvación de los que ansiosamente le esperan”. Cuando pensé en esto detenidamente, no pude evitar sentirme confundida. “Eso no puede ser”, pensé. “¿Acaso cuando el Señor Jesús dijo ‘Consumado es’ en la cruz no quiso decir que la obra de Dios para salvar al hombre se había completado totalmente? Cuando el Señor regrese, podremos entrar en el cielo inmediatamente y tener un banquete con el Señor, ¿cómo puede ser que esto diga que el Señor Jesús aparecerá de nuevo para salvar al hombre cuando Él regrese? ¿Qué es lo que significa esto?”.
Cuanto más pensaba en ello, más dudas tenía en mi corazón … “¡Esto no puede ser! Debo encontrar a alguien para compartir esta palabra conmigo”, pensé. Justo entonces, me vino a la mente mi compañera de trabajo de la iglesia, la hermana Xiao Xue. Solíamos hablar de la Biblia y justo en ese mismo momento la hermana Xiao Xue volvió de una reunión en otro sitio; no había nada que no me pudiera ayudar a encontrar.
Leer más: www.biblia-es.org/consumado-es.html
Free poster in German (Deutsch)
E-CONFERENCE - In 2007 Planeta.com hosts an online conference focusing on Tourism and Migration. If you have a website, help us promote our coverage by adding a link to
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In 2007 Planeta.com hosts an online conference focusing on Tourism and Migration which will highlight timely news and innovative work around the world.
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ABOUT THE CONFERENCE - The Tourism and Migration E-Conference is Planeta's 18th formal e-conference. The format will differ from previous events in that dialogue will run over six months.
January/February - Dialogue among co-sponsors and those who register early.
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May/June - Participants will conclude the dialogue by preparing recommendations and announcing individual and collaborative projects.
BACKGROUND - Tourism enterprises are increasingly considered as as providing an alternative to migration and a vehicle to alleviate poverty in developing economies by creating jobs. Likewise, tourists are staying longer in places -- blurring the distinction between tourism and migration. The Tourism and Migration E-Conference will address these issues and allow participants time to prepare recommendations and announce individual and collaborative endeavors.
REQUIREMENTS - Active participants are asked to have a professional interest in tourism or migration. You don't have to be an expert in both topics. Active participants will be required to post an introduction and to post at least two messages per month. An account on the Planeta Forum is necessary for active participation, though the posts can be read by all.
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The Toronto Plaque website explains the significance of this sculpture, located [i]n front of the parking garage of the building on the east side of Berti Street just north of Richmond Street East", quoting its 2010 Heritage Toronto plaque. Here's what it says:
The adjacent York County Coat of Arms and the female figure inside the entrance once adorned the York County Registry Office, formerly located on this site. Commissioned by the County in 1941, the sculptural reliefs were created by Jacobine Jones, a leader in the field of architectural sculpture, who later became the Director of Sculpture at the Ontario College of Art. These sculptures remained with the building when the County left this site in the mid-1960s. Before demolition of the old building in 2008, the sculptures were removed. They were reinstalled on the present building in 2010.
"Deeds Speak" was the motto of the 3rd Regiment of York Militia, and has survived the liquidation of old York County to remain the motto of York Regional Police.
Wikipedia's article on Jacobine Jones provides a convenient overview of the life of this sculptor, most active in the mid-20th century.
Well done reportage for the austrian TV where Thierry Geoffroy / Colonel present it s format Biennalist www.emergencyrooms.org/biennalist.html , the film show with his students , part of a critical run and a slow dance
at the Maldives pavilion : "Can we rank emergencies ? "
see the TV video
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lists of artists participating at the Venice Biennale :
Hilma af Klint, Victor Alimpiev, Ellen Altfest, Paweł Althamer, Levi Fisher Ames, Yuri Ancarani, Carl Andre, Uri Aran, Yüksel Arslan, Ed Atkins, Marino Auriti, Enrico Baj, Mirosław Bałka, Phyllida Barlow, Morton Bartlett, Gianfranco Baruchello, Hans Bellmer, Neïl Beloufa, Graphic Works of Southeast Asia and Melanesia, Hugo A. Bernatzik Collection, Ștefan Bertalan, Rossella Biscotti, Arthur Bispo do Rosário, John Bock, Frédéric Bruly Bouabré, Geta Brătescu, KP Brehmer, James Lee Byars, Roger Caillois, Varda Caivano, Vlassis Caniaris, James Castle, Alice Channer, George Condo, Aleister Crowley & Frieda Harris, Robert Crumb, Roberto Cuoghi, Enrico David, Tacita Dean, John De Andrea, Thierry De Cordier, Jos De Gruyter e Harald Thys, Walter De Maria, Simon Denny, Trisha Donnelly, Jimmie Durham, Harun Farocki, Peter Fischli & David Weiss, Linda Fregni Nagler, Peter Fritz, Aurélien Froment, Phyllis Galembo, Norbert Ghisoland, Yervant Gianikian & Angela Ricci Lucchi, Domenico Gnoli, Robert Gober, Tamar Guimarães and Kasper Akhøj, Guo Fengyi, João Maria Gusmão & Pedro Paiva, Wade Guyton, Haitian Vodou Flags, Duane Hanson, Sharon Hayes, Camille Henrot, Daniel Hesidence, Roger Hiorns, Channa Horwitz, Jessica Jackson Hutchins, René Iché, Hans Josephsoh, Kan Xuan, Bouchra Khalili, Ragnar Kjartansson, Eva Kotátková, Evgenij Kozlov, Emma Kunz, Maria Lassnig, Mark Leckey, Augustin Lesage, Lin Xue, Herbert List, José Antonio Suárez Londoño, Sarah Lucas, Helen Marten, Paul McCarthy, Steve McQueen, Prabhavathi Meppayil, Marisa Merz, Pierre Molinier, Matthew Monahan, Laurent Montaron, Melvin Moti, Matt Mullican, Ron Nagle, Bruce Nauman, Albert Oehlen, Shinro Ohtake, J.D. ‘Okhai Ojeikere, Henrik Olesen, John Outterbridg, Paño Drawings, Marco Paolini, Diego Perrone, Walter Pichler, Otto Piene, Eliot Porter, Imran Qureshi, Carol Rama, Charles Ray, James Richards, Achilles G. Rizzoli, Pamela Rosenkranz, Dieter Roth, Viviane Sassen, Shinichi Sawada, Hans Schärer, Karl Schenker, Michael Schmidt, Jean-Frédéric Schnyder, Friedrich Schröder-Sonnenstern, Tino Sehgal, Richard Serra, Shaker Gift Drawings, Jim Shaw, Cindy Sherman, Laurie Simmons e Allan McCollum, Drossos P. Skyllas, Harry Smith, Xul Solar, Christiana Soulou, Eduard Spelterini, Rudolf Steiner, Hito Steyerl, Papa Ibra Tall, Dorothea Tanning, Anonymous Tantric Paintings, Ryan Trecartin, Rosemarie Trockel, Andra Ursuta, Patrick Van Caeckenbergh, Stan VanDerBeek, Erik van Lieshout, Danh Vo, Eugene Von Bruenchenhein, Günter Weseler, Jack Whitten, Cathy Wilkes, Christopher Williams, Lynette Yiadom-Boakye, Kohei YoshiyUKi, Sergey Zarva, Anna Zemánková, Jakub Julian Ziółkowski ,Artur Żmijewski.
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other Biennales (Biennials ) : Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial
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Geoffroy normally works with art formats like the EMERGENCY ROOM
to stimulate urgent expression by artist about today 's emergencies :
www.emergencyrooms.org/formats.html
www.colonel.dk contact : emergencyrooms@gmail.comThierry Geoffroy/ Colonel will be exhibiting in the museum Kunsthalle Mannheim from october 2018 part of the exhibition Konstruktion der Welt .Kunst und Ökonomie
Constructing the World: Art and Economy 1919-1939 and 2008-2018
10/12/18 to 02/03/19
Ten years after the peak of the global financial crisis in 2008, which profoundly shook the economic systems of America and Europe and had a lasting effect on present-day life, this topical exhibition is the first to illustrate the economy’s dramatic influence on art and to make global comparisons, demonstrating these in an analysis of two separate eras. Economic phenomena in the classical modernism of the 1920s and 30s are not only explored by focusing on art from the German Weimar Republic, the Soviet Union, and the United States, but also juxtaposed with artists of the present day.
Curatorial team: Dr. Eckhart Gillen (Berlin), Dr. Ulrike Lorenz, Dr. Sebastian Baden
Project Lead: Dr. Inge Herold, Assistence: Lisa Valentina Riedel, M. A. mult., Elisabeth Bohnet, M.A.
How does contemporary art reflect the world of work today? The catalogue for the second part of the exhibition Constructing the World at the Kunsthalle Mannheim takes a look at this question. The focus of it is primarily on artistic positions of the past decade that deal with the social, political, and economic effects of the most recent economic crisis after 2008. The works address and interrogate new production conditions and developments on the labor market as well as political conflicts. The accompanying publication provides fascinating insights into the diverse artistic positions.
Artists participating 2008-2018
Maja Bajevic - BBM (Observers of Operators of Machines) - Bureau d'Études - Claire Fontaine - Jacques Coetzer - Abraham Cruzvillegas - Szilárd Cseke - Chto Delat - Jeremy Deller - Simon Denny - Tatjana Doll - Harun Farocki & Antje Ehmann - Thierry Geoffroy - Andreas Gursky - Thomas Hirschhorn - Olaf Holzapfel - Sanja Iveković - Charles Lim Yi Yong - Maha Maamoun - José Antonio Vega Macotela - Tobias Rehberger - Oliver Ressler & Dario Azzellini - Mika Rottenberg - Superflex - Zefrey Throwell - Volume V - Maya Zack - Artur Żmijewski
Artists participating 1919-1939
Berenice Abbott - Gerd Arntz - Lester Thomas Beall - Thomas Hart Benton - George Biddle - John Biggers - Peter Blume - Margaret Bourke-White - Jacob Burck - Clarence Holbrook Carter - Charlie Chaplin - Ottilie Cieluszek - Ralston Crawford - Francis Hyman Criss - Stuart Davis - Alexander A. Deineka - Rudolf Dischinger - Otto Dix - Nikolaj A. Dolgorukow - Arthur Durston - Sergej M. Eisenstein - Fred Ellis - Walker Evans - Philip Evergood - Conrad Felixmüller - Hans Finsler - Max Gebhard - Hugo Gellert - John R. Grabach - Otto Griebel - William Gropper - Carl Grossberg - George Grosz - Hans Grundig - Kurt Günther - O. Louis Guglielmi - John Heartfield - Werner Heldt - Karl Hubbuch - Eric Johansson - Joe Jones - Grethe Jürgens - William Karp - Lewis W. Hine - Hannah Höch - Heinrich Hoerle - Edward Hopper - Hermann Otto Hoyer - Edward McKnight Kauffer - Gerhard Keil - Gustavs Klucis - Käthe Kollwitz - Pawel D. Korin - Valentina N. Kulagina - Wilhelm Lachnit - Fritz Lang - Wladimir W. Lebedew - Jack Levine - El Lissitzky - Arkadi Lobanow - Louis Lozowick - Sergej A. Lutschischkin - Reginald Marsh - Carl Mayer - László Moholy-Nagy - Dimitri Moor - Reinhold Nägele - Otto Nagel - Alice Neel - Oskar Nerlinger -Solomon B. Nikritin - Alice Lex-Nerlinger - Gerta Overbeck - Werner Peiner - Kusma S. Petrow-Wodkin - Juri I. Pimeno w - Natalia Pinus - Michail M. Plaksin - Jackson Pollock - Curt Querner - Climent N. Redko - Albert Renger-Patzsch - Serafima V. Rjangina - Alexander Rodtschenk o - Theodore Roszak - Walter Ruttmann - Leni Riefens tahl - Nikolaus Sagrekov - Alexander N. Samochwalow - Paul Sample - August Sander - Arkadi S. Schaichet - Rudolf Schlichter - Wilhelm Schnarrenberger - Georg Scholz - Franz Wilhelm Seiwert - Ben Shahn - Charles Sheeler - Georgi und Wladimir A. Stenberg - Warwara Stepanowa - Paul Strand - Miklos Suba - Ernst Thoms - Alexander G. Tyschler - Bumpei Usui - Konstantin A. Vialov - Karl Völker - Wladimir A. Wassiljew - Dsiga Wertow - Piotr W. Wiljams - Grant Wood - Gustav Wunderwald - Ekaterina S. Zernova - Heinrich Zille
www.colonel.dk contact : emergencyrooms@gmail.com
#artformats #artformat #formatart #biennale #biennalism #biennalecritic
#ARTIVISM #streetartist #politicalartist #activistartist #Epigrammatists #socialcommentary
#premonitionart #avantgardeart #inadvanceart #urbanartist #InstitutionalCritique
#artintime #onlineart
#toolate
thierry.geoffroy #thierrygeoffroy #artistrole
#biennalist #Biennalism #biennalecritic
#exhibition #contemporaryart #
#artandeconomy #kunsthallemannheim #museum #mannheim#thierrygeoffroycolonel
#kuma #kumamuseum
March is apparently question month. To ask me a question, post a comment here: toddpage.livejournal.com/370916.html or send me a flickr mail. [Or leave it here if anomynity is not of any importance - the lj post comments are screened so that only I can see them]
All questions: Here
Question 5:What was it like, first realizing that you might be gay? When did you first wonder, when did you accept it, when did you act on it? How did you feel about it all?
The first time I realized I was gay I was 12 years old, taking a shower. I was not thinking about anything in particular, and out of nowhere, as I leaned to turn the water off, I realized: "Shit. I'm gay." I had never really lined things up. I knew I tended to try to help certain people at the store more than others. I'd never considered the fact that the ones I made efforts to help were men, had chest and facial hair, and were usually of a slightly larger build. [Yeah, even then I pursued the "bear" type.] All of a sudden things clicked into place. I was terrified. I hated it. I decided right then and there, that I would not be. I would not be gay. I would control it. Stop it. I could make this not be true, and like girls. I would find a woman, make her my wife, have kids and a dog, and live the straight life. There was nothing to say I couldn't fix this. And like that, I turned a switch in my mind off, and began some pretty hardcore denial. I still tended to help certain customers, and, suffice to say, I was not immune to knowledge of the internet. But somehow I managed to convince myself that despite the fact that I still gazed at men, I was straight. I wasn't aware of it even. I did denial extremely well, and forgot my discovery [until I was ready to deal with it.] It wasn't terribly difficult, honestly. Few people in my school interested me... in that way... and it would've been extremely complicated to be out at my all-boys catholic high school as it is. Either way, I ignored it. I went on one, awkward, date with my best female friend from high school. [Our theatre program did shows with the sister school's girls.]
My freshman year of college, I sunk further in, which led to my second realization. I dated a girl from my school who is a wonderful person, and very pretty, for about 2 weeks. Maybe 3. We'd hold hands, and cuddle when the group of us watched movies, and we went to dinner and a movie once. Every night, I'd walk her home to her dorm, and give her a hug, then walk to my dorm. Something missing from this situation? Ah, yes, at this point, we perhaps should have kissed. Something about it, the idea in itself, held me back. And the last evening... 2.5 weeks in, when it could be put off no longer, as she was my girlfriend at this point... I realized that I needed to kiss her good night. And as I leaned in to do so, it hit me again, in this order. "Oh, man... I really don't want to do this. FUCK. I'm gay." As I'm leaning in, I maneuver into what is clearly the worlds most awkward hug, and uncomfortably tell her "Good night"
Some history of me at this point. I am a pius, naive, freshman at a very conservative catholic college - my college was in fact #2 in the nation for most homophobic on the Princeton Review I have never touched alcohol, and at this point still believe I will not do so until I am 21. I go to church every sunday, and I go to "Prayer and Praise" every wednesday evening. As a general rule, I stop by the Harkins Hall chapel once every day or so because it is small, quiet, and I can pray there. I do all my homework in the chapel basement. I have hidden myself in this. I believe what I am told, but there is no strong faith behind it. It is a place I can fit in, where I know the rules and what is expected of me. At the same time I fight anyone who says that being gay is evil. [I HATE the word homosexual and homosexuality. It's so clerical.]
It is 2 am on a friday night, in late november, and I am now re-realizing I am gay. I am realizing that this may not be something for me to control. I am still very much hateful of the fact. This turns inward. I hate myself, and loath every part of me that makes me feel this way. I am already an outcast from most social situations, and awkward, the last thing I needed was this extra load. People would hate me. All of them. I'm sure of it. All my friends will leave me and hate me. I'll have to start enjoying shopping, and I'll probably have to listen to Madonna instead of punk rock. But no. Maybe this is still fixable. I had convinced myself that with great prayer, God could take this away. I started being more vigilant, praying daily, fixating myself on anything I could that would help me push away from this. I told the girl that something was up, and I needed to figure it out. She respected that, and I think knew EXACTLY what was up. I would cry in church, praying so hard that I shook, hoping and calling to God to let me find women attractive. Or at least to stop finding men attractive. Anything. Anything to avoid dealing with or accepting it, me. Somehow, this didn't work. Surprising, I know.
So, I had to deal with it. I had to start accepting me. That this was an uncontrollable aspect of who and what I was. It was a piece of me. It was something that had been created in me, like the color of my eyes, or the color of my hair. I turned to the internet. Looking at forums, and still looking for loopholes. I joined a forum for the young and gay and talked it through with people there. I talked with some people who had experience, [Bruin, creator of Bear With Me gave me an excellent X-Men analogy, that I remember specifically.] All of this occurred over the length of the second semester.
No one else knew at this point. I had come to a sort of shaky acceptance with it... but it was very weak. I wasn't confident in it, and I still hated it. I still didn't want it to be true, but I was at least aware that it was something outside of my control. Which, to be fair, is a big step in it's own. I was carrying it by myself though. Till a cast party. It was the second cast party for Brigadoon. There was a particularly homophobic person in the cast, who had written a letter in The Cowl the week before comparing homosexuality to cancer. As a joke, we had discussed one of the guys drunkenly kissing him. [We we're freshman, give us a break] This was the second time I had ever had alcohol, and I still hadn't learned how to drink, or how to control when I drink. My friend, Joe, suggests I do it, and I blurt out "No. Not until I come out."
And then I realize what I'd done, and leave. Joe follows me, and confronts me... I tell him it was a joke, and he rolls his eyes. It's the next day and we're having dinner when he asks me about it. And I slowly tell him that I thought it was true. I didn't know where on the kinsey scale I was [I'd recently discovered the scale, and I thought it was fancy] but I had a hunch it was true. At some point in the next month, the girl I'd dated asked me what had happened and I'd told her too. That was two people. And I had told them I was still not sure. Come graduation week. I was really the only person in my group of friends on campus for the week, and I read books the entire time. I read Augusten Burrough's 'Running with Scissors', then Dry, then David Sedaris' "Me Talk Pretty One Day" Believe it or not, these were the first books I'd read about or by gay people - at least to my knowledge. I was still looking for loopholes but I was recognizing that other people were like this, and they managed to survive life. I started gaining a little bit of confidence. I went home for the summer and, very shyly, got the 2 books on gay subjects out of my library, and read through them, looking for understanding. Looking for some kind of knowledge about who and what I was. I tend to read about things before I go into them. Alot.
Somehow, I decided I was ready to come out to my parents. I don't know if I decided I was ready, or if I decided it was the right thing to do. This was a horrible decision at this time, because my confidence levels were still extremely low. I nervously and carefully sat them down at the dinner table, feeling my heart in my chest. Terrified. The second or third most awful feeling I've ever felt. And I told them "I think I'm gay." I had prepared for various responses, based on my books, but life, surprisingly [sarcasm], doesn't run like books. They did not express hate, or anger, and told me that they would never love me any less... but that they did not think I was gay. That perhaps it was a phase. That everyone questioned it at some point or another, and that I needed more time to know for sure. Essentially, that the conclusion I had clawed my way too, was wrong. I didn't know how to respond, and instead of standing my ground, conceded that it was possible. We made dinner and watched Shrek. [My parents, by the way, are amazingly supportive people, who I have put through a lot, and who love and accept me for who I am, through everything I've done. They take the details of my life quite well. I don't want anyone thinking less of the two wonderful people who brought my life. This is something that for them, as for me, would take some adjusting to. And they have adjusted to it, now, and support me fully]
Nothing further was said. The response I'd received had shaken the confidence. I still knew I was attracted to guys, but what happened from there? I told another friend, a close female friend from PC, and her response was amazing. She told me she was proud of me for coming to terms with it, and that she was so happy for me. She was so... supportive. The people I'd told so far had expressed acceptance... but this was the first time support in it had come. It was surprising, and my confidence in myself and my ability to cope with it grew. I went back to school and started talking a little less furtively. And on October 10th, I got an IM from Joe: "So... tomorrows national coming out day... you gonna tell everyone?" I had never even thought about telling the rest of my friends. "I guess so. Might as well now, gonna have to do it eventually, right?" "Yup." I then sent the girlfriend an IM telling her my plan.
So, yeah. I came out on National Coming Out Day. Not because of the holiday, but because the holiday had kind've reminded me that it was something I should do. All my friends were in the cafe, eating lunch, and before some left for class, I said "I have to say something." *silence* "I'm queer."
Oh, how I regret saying "I'm queer". I had chosen it carefully, it was an umbrella term, and it allowed me retreat, should things turn a direction that I didn't favor. 3 or 4 raised their eyebrows in shock, 2 laughed. [Kaitlin told me later her exact reaction was "Well, yeah."] Only 1 person in my group of friends reacted poorly... and she kind've cast herself away. I still don't talk to her. It was kind've amazing. I could start talking about all the shit I had bottled up openly, and I didn't have to fit any mold. I was, amusingly, now requested by friends to do things like go to the mall, or go dancing. I think this was hilarious. I had not been hiding any desires or actions... so upon coming out I still hated shopping, and still, for the most part, was not interested in an evening of dancing. Still my confidence grew, and I got to be really okay with it. I started having recognizable crushes, and though I was still uncomfortable with some aspects, I made progress.
That covers all of the acceptance bit. It's still a process for me in some ways. I notice I have this instinct within me to push against anything stereotypical. I refused to listen to Madonna, or Cher... would not even give them a try, and I still respond to some "gay" things with a negative attitude. I'm working on this. I recently listened to Madonna, to give it a chance. I still don't really like it, but at least now I've given it a chance. I mean, the girl has some definite pipes... and Like a Prayer is hella fun, but it's just not something I'd listen to for the hell of it. I'm teaching myself to recognize that doing things that are stereotypical aren't bad, as long as you aren't doing them to fit the stereotype. And not doing them to avoid the stereotype is just another way of letting the stereotype control you.
When I first acted on it is a tricky business. There had been some minor flirting, back and forth, with a freshman named ... gah, we'll say Alex. Alex was bearish, and cute, but personality-wise, not at all a match for me. As has been discussed, this is important. I was not really interested, and had tried to express that in nice ways... or avoid it anyway. We did crew together for a show called My Sister In This House, and at the second cast party, I had a lot of beer. Like, A-LOT. This was probably my 7th time ever drinking [ a year later ] and I was pretty hammered. Okay, very hammered. I was blurrily aware of the goings-ons, it was very late, and few people we're left at the gathering. I was warm, and I came to realize it was because Alex was standing behind me, with his arms around me. It felt nice, and I was hammered, so I let it occur. Then he started to pull me into the room where no one else was. A little something triggered in my brain, and I resisted. But another tug and I followed. We were standing in the room when this exchange happened:
Alex: "You're beautiful."
Me: *pause* "You smell like soap."
Alex: "Is that a good thing?"
Me: *long pause* "Yes."
At this point, he licked the back of my neck, which felt nice, but weird, but didn't have much [drunk] time to recognize it, as he leaned in and put his tongue straight in my mouth.
This woke me up pretty quickly. I'm pretty glad, too, had it been a subtle kiss first, I might have a story I'd regret. Who knows though. I told him "No." and he asked me if that meant just now, or ever. I said I didn't know.
He didn't talk to me for a year. I'm not entirely sure I blame him. I'm not sure if that counts as acting on it, as I was barely aware, and didn't really act except for to realize I was not comfortable with it. But it was my first kiss, regardless. My first real acting on it was a year later. February of my junior year of college, and began with a meeting for coffee, then a kiss in a Chili's parking lot. It moved forward from there into my first relationship.
To sum up: Ages 12 and 18, never really wondered, it just HIT me, 19 and 20, and I hated it. Alot. I don't anymore though. I'm really actually comfortable with it now. I like that it's a part of me, and I no longer feel any desire to change it. I don't believe in gay pride, because I think it's something embedded within me, just like I wouldn't be proud of having blue eyes, I wouldn't be proud of being gay... but I do embrace it as a part of me, and support it. I am comfortable with who I am, finally, at 22, and it feels glorious. I've gotten beyond accepting it, and I support it in myself. Whenever you read about people's coming outs, they always refer to coming out to themself first. I think we can add a step and that is supporting themself in that. I am finally there. Not without my share of work left to accomplish further, but I have made great progress, and I feel certain I will make more in times to come.
[This photo was taken in my actual closet, PS... it was supposed to be a photo reflecting the "in the closet" thing - also, I don't take the time to edit any of these. [the text, that is]]
[self-portrait]
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This account is officially actively taking part of Year 2 of my 365 project.
3/7/09
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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.
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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visite en photos de la guadeloupe, des saintes, de la désirade et de Marie Galante
photo de Guadeloupe voyage, travel photographer Guadeloupe, photo Guadeloupe FRANCE
guadeloupe, désirade, plage, beach, island, rhp, antilles, gwada, vacances, soleil, mer, Deshaies, guadeloupe, gite, location, blue, Marie Galante, Saintes, caraibe, caribbean, domtom, papillon, karukera, ka, ile, les saintes, archipel, caribbe, sun, guadeloupe sunset, bleu, sunrise guadeloupe, location guadeloupe, guadeloupe écotourisme, tourisme guadeloupe, gites guadeloupe, Rhum
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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"צייד הנאצים"טוביה פרידמן
פרידה מצייד הנאצים טוביה פרידמן, שהביא ללכידת אייכמן
בסוף השבוע שעבר נקבר צייד הנאצים טוביה פרידמן. האיש שהקים את המכון לדוקומנטציה בחיפה, הביא לתפיסתם של אלפי נאצים, הגיע הכי קרוב לד"ר מנגלה והעלה את עצמות חוזה המדינה. גולת הכותרת במפעל חייו: אדולף אייכמן. זמן חיפה מביא את סיפורו של גיבור, שעשה הכל לבדו
עדי לרנר | 23/1/2011 16:20
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תגיות: טוביה פרידמן, צייד נאצים, בדיחה ידועה שהתרוצצה לפני מספר שנים על נשיא המדינה, שמעון פרס, סיפרה, שכאשר נתקע פעם אחת באחד מסיוריו בחו"ל ללא מכנסיים מתאימות, הובהלו לו 2 זוגות מכנסיים מהארץ. כשבא ללבוש אחד מהן – לא הצליח להיכנס לתוכו.
אמיר קנגון עם דודו טוביה פרידמן בוינה 1951 צילום: באדיבות המשפחה
מבולבל ניסה להיכנס פרס לזוג השני, אך גם כאן לא עלה בידו להיכנס אל המכנסיים. צלצלו בבהילות אנשי לשכתו לארץ, ונזפו בחייט הישראלי שהביא לפרס את המכנסיים הלא מתאימות. "זאת לא אשמתי", טען החייט, "בחו"ל שמעון פרס תמיד יותר גדול".
בשישי שעבר הובא למנוחת עולם בבית הקברות בכפר סמיר טוביה פרידמן, כשהוא בן 89 במותו. עשרות ליוו את צייד הנאצים, ואפילו ראש עיריית חיפה, יונה יהב, ספד לו וסיפר בהתרגשות איך ביקש בגיל 12 ממערכת העיתון "מעריב לנוער" לשהות במשך יום במחיצתו של פרידמן, ומאז נקשר אליו וליווה אותו.
למרבה הצער השם טוביה פרידמן לא יצלצל מוכר לרוב הקוראים, ובוודאי הצעירים שבהם. לעומת זאת, לפני כחמש שנים, כאשר נפטר צייד הנאצים שמעון ויזנטל, קיבלה לוויתו אזכורים בכל העיתונים ואתרי האינטרנט המרכזיים.
קשה להסביר כיצד זכה זה לתהילת עולם, והשני, אשר זכה לכבוד אצל כל שועי עולם, דווקא במולדתו נותר אלמוני יחסית, ואולי דווקא, כפי שהיטיב לומר זאת בעצמו פרידמן: "אם הייתי נשאר בוינה - גם אני הייתי הופך למפורסם כמו ויזנטל".
הצייד הראשון
קצרה היריעה מלספר את קורותיו של ניצול השואה, שפעל להבאת עצמות חוזה המדינה, בנימין זאב הרצל, ועצמות משפחתו, ארצה. שהיה זה שלמעשה מצא את אדולף אייכמן, והסגיר אותו לידי המוסד.
טוביה פרימן על רקע הרייכסטאג בגרמניה צילום: באדיבות המשפחה
שהיה האיש הקרוב ביותר למציאתו של ד"ר יוזף מנגלה, שעזר לארגון ה"הגנה" לאגור נשק לקראת סיום המנדט הבריטי, שפעל על מנת לבטל את חוק ההתיישנות על פשעי הנאצים, שאיתר למעלה מאלפיים מהם, כולל מפקד האס אס של גטו ראדום וסגנו, והביא להסגרתם של חלק ולתלייתם של אחרים, ועוד.
הכל בעזרת שתי ידיו ושתי רגליו, מבלי עזרה מהמדינה, מבלי תמיכה מ"יד ושם", בראש סניפה החיפאי עמד 3 שנים, מבלי לעשות לעצמו מפעל שלם של יחסי ציבור. מפעל של אדם אחד, שראוי שיישמע סיפורו.
את רוב שנותיו בארץ בילה טוביה פרידמן בדירתו בחיפה, אך את שנותיו האחרונות בילה פרידמן בחולון, בבית אחותו בלה קנגון, לאחר אירוע מוחי שעבר. השבעה עצמה נערכת בביתה של בלה, והדירה מלאה בתמונות ובתצלומים, שתלה אמיר, בנה, שנחשב עוד מילדות לממשיך דרכו של פרידמן.
בין תמונות של טוביה, או של בעלה של בלה, בוריס קנגון, שנפטר לפני 3 שנים, אחת התמונות הבולטות בסלון היא של רוני, בנו של פרידמן שנספה בתאונת צלילה ב-78'. אנה, אשתו של פרידמן, מספר אמיר, לא הצליחה לעמוד בכאב, ונפטר לאחר שנים ספורות.
ביום שישי נקבר פרידמן לצד שניהם, בבית הקברות בכפר סמיר. "רוני היה במבדקים לשייטת, צוללן מוכשר. בערב לפני שקרה האסון, ערב ליל הסדר, הם היו אצלנו בבית, הוא, אמא שלו, הדוד טוביה וכל החברים מהשייטת. לאחר שנגמרה הארוחה ואנשים עמדו לצאת, סגרתי בטעות את הדלת על האצבעות של היד שלו. מכיוון שאמו הייתה רופאה בבית החולים בחיפה חבשו לו את היד, ובבוקר הם נסעו לשארם.
היו 41 מעלות בחוץ, אבל הם צללו. בסירה עימם הייתה בחורה אמריקאית, שביקשה מרוני, כחלק מאתגר, להביא לה חול מעומק של 12 מטרים. רוני צלל, וחזר עם מבוקשה. בהמשך ביקשה ממנו לצלול לעומק עמוק יותר, גם במשימה זו עמד בהצלחה. לבסוף, שכשכבר היה מותש מהחום והצלילות ביקשה בשלישית. למרות עייפותו צלל שוב, אך מהצלילה הזאת לא שב".
תמונה נוספת שמראה לי אמיר היא של פרידמן ושלו, בגיל שנתיים, בוינה. הדוד מחזיק לאחיין את היד. וכך הם הלכו, יד ביד, שישים שנה, כשקנגון הופך לסגנו של דודו, עוזר היכן שצריך, שותף לאירועים, שבדיעבד הפכו היסטוריים, מתעד באדיקות, כמו הדוד, כדי שדבר לא יישכח.
הנאצים הראשונים
לפני כעשור התראיין פרידמן למגזין "בית משיח" של תנועת חב"ד, ובו סיפר על הקשר האמיץ שקשר עם הרבי מליובאוויטש, וגם על איך עצר, במסגרת תפקידו כקצין חקירות במשרד הביטחון הפולני, מאות נאצים, וביניהם נאצים מהגטו ממנו נמלט במהלך השואה.
טוביה פרידמן על קברו של בנימין זאב הרצל צילוםף באדיבות המשפחה
"הגעתי לוינה עם קבוצת יהודים נוספת, במטרה להמשיך לארץ ישראל, אלא שבשמים ייעדו לי מטרה אחרת. באותם ימים פגשתי בוינה את היינריך ראקוץ’, מידידי בעיר ראדום, אותו היכרתי אישית ממחנה הריכוז שקולנה. הוא הפתיע אותי: 'אתה זוכר את סמל האס אס בוכמאיר, שרצח בראדום כל כך הרבה יהודים? הוא נמצא כאן בוינה, ופתח חנות'.
"כשהגענו לשם התברר לנו כי הוא כלוא במחנה שבויים אמריקאי ליד זלצבורג. המשכנו לשם, והצגנו את עצמנו בפני מפקד המחנה. הוא ידע כי נאצים רבים מסתירים את שמותיהם ותפקידם, כדי להקל בעונש שיוטל עליהם. התחפשתי לאסיר גרמני, והוכנסתי למחנה כשבוי גרמני על מנת לנסות לזהות את הצורר בוכמאיר. כעבור שעות ספורות זיהיתי אותו, והוא נקרא מייד למפקד המחנה לחקירה.
"בוכמאיר אמר שאינו זוכר אותי. 'אתה התרוצצת עם מקל כבד, והכית בנו עד זוב דם', הזכרתי לו. 'היו לך אפילו אחיות שחבשו אותנו, כדי שתוכל להכותנו שוב אחר כך'. שפתיו של בוכמאיר נעו במבוכה וזעם, 'אבל לא הייתי הגרוע ביותר בראדום'.
"מיד לאחר החקירה החל הליך הסגרתו של בוכמאיר לפולין ושם הועמד לדין. לאחר מכן איתרנו נאצי נוסף בשם ריכרד שייגל, שהעביר אלפי יהודים מגיטו ראדום אל מחנה ההשמדה בטרבלינקה. מפקד משטרת וינה טען בפנינו כי ריכרד נעצר ושוחרר מחוסר הוכחות. אולם על סמך עדותי ועדותו של היינריך, הוא נעצר עוד באותו לילה. הוא נחקר והועמד לדין. את חייו סיים בבית הסוהר בוינה. אלו הנאצים הראשונים שלכדתי".
בהמשך מצא גם את ראש האס אס ומפקד המשטרה בראדום, הרברט בטכר, וסגנו וילהלם בלום, שהיו אחראים לשליחתם של כ-300,000 יהודים למחנה הריכוז בטרבלינקה, בהם משפחתו של פרידמן.
פרידמן נולד בראדום, פולין ב-1922. ב-1941 הועבר ביחד עם משפחתו לגטו ראדום, ושנה לאחר מכן נשלחו אחותו ואמו לטרבלינקה. הוא נשלח למחנה עבודה, ומשם נדד ממקום למקום, עד שהגיע למחנה ברחוב שקולנה.
ביוני 44' הצליח לברוח ביחד עם שני חברים נוספים מהגטו דרך תעלת ביוב, ושרד בשטח. הוא ניצל פעמים רבות ממוות, כשבאחת מהן, לילה לפני הוצאתו להורג, חיסל את החייל שהופקד עליו, וברח.
ב-45' הצטרף למשטרה הפולנית בזהות בדויה, וזאת למען המטרה אליה שאף – רדיפת הנאצים ונקמת דם משפחתו. הוא הפך לקצין חקירות, ובמסגרת תפקידו עצר מאות נאצים, והביאם לדין. שנה לאחר מכן, כשפגש את אחותו בלה, ששרדה אף היא, תכנן לעלות ארצה דרך ארגון "הבריחה", שם הכיר את אשר (ארתור) בן נתן, שלימים כיהן כשגריר הישראלי הראשון בגרמניה המערבית, וכיום מכהן כראש יד בן גוריון.
בן נתן גייס את פרידמן למשימת איסוף המידע אודות פושעי מלחמה נאצים, כאשר הראשון במעלה היה ראש החטיבה היהודית באס אס, אדולף אייכמן.
בראשית שנות ה-50 הפסיקה ארצות הברית את המאמצים באיתור פושעי מלחמה. פרידמן החליט לעלות לארץ, כשהאמין שבמדינת ישראל יוכל לעשות את משימתו ביתר שאת, אך בדיעבד את מרבית הפושעים שתפס - תפס דווקא בוינה.
האיש שמצא את אייכמן
גולת הכותרת במסע הצייד שניהל פרידמן כנגד הנאצים, הייתה ללא ספק 15 השנים בהם בילה במרדף אחר אדולף אייכמן.
אדולף אייכמן במשפטו, מאחורי קיר הזכוכית צילום: אי-פי
סיפור מציאתו של אייכמן החל בסוף אוגוסט 1959, כאשר מנהל המרכז הפדרלי לחקירת פשעי הנאצים, ארווין שילה, הודיע לפרידמן, שעבד איתו צמוד, כי ככל הנראה אותרו עקבותיו של אייכמן בכווית. פרידמן ניסה להציף את העניין לתודעה הארצית, ופנה לעיתונאי משה מייזלס שיפרסם את הסיפור.
הידיעה על הימצאו של אייכמן עשתה גלים, ומשרד החוץ ביקש מפרידמן לחדול ממעשיו. פרידמן נטש את הזירה המקומית, ופרסם מודעות בעיתונים בחו"ל, בה הציע פרס של 10 אלף דולרים למוסרי מידע אמין על מיקומו של אייכמן.
באוקטובר 59' התקבל אצל פרידמן מכתב מלותר הרמן, ניצול שואה שבחר לארגנטינה, וטען כי אייכמן נראה בבואנוס איירס בארגנטינה. פרידמן העביר את המידע למוסד, וב-23 במאי הודיע בן גוריון מעל בימת הכנסת כי אייכמן נמצא בישראל.
ב-24.5.60, יום לאחר ההודעה, פרסם רפאל בשן, כתב מעריב, טור. "היה זה יומו הגדול של איש ממוצע קומה, בעל עיניים נוגות והליכות הססניות, הנושא תדיר תיק עור ישן ומסמורטט תחת בית שחיו – יומו הגדול של טוביה פרידמן", כתב. "לא, הוא לא לכד במו ידיו את רב הטבחים – את המלאכה הטובה והנקייה עשו הבחורים, אבל טוביה פרידמן יצר את האווירה לכך.
"העלה את זכרו של רב הטבחים הערמומי הזה לסדר יומנו, הציב אותו על ראש כל שמחתנו, החדיר אותו לתודעתנו. שבוע שבוע, חודש חודש הוא נדנד, והטריד, והתדפק על דלתות מוסדות וארגונים, ואישים, וחברי כנסת, ומזכירים ומזכירונים - ולא נתן לנו מנוח, ולא אפשר לנו לשכוח.
"ממשרדון קטן בעיר הכרמל, בלי פרוטה של תמיכה ציבורית, ניהל את המערכה שלו – נגד אייכמן, ונגד בירוקרטיה ואטימות מוחין של מוסדות מסורבלים, קהי רגש, קצרי רואי, שהתנכלו לדוקומנטציה שלו.
"15 שנים רצופות רדף אחרי אדולף אייכמן, אסף פרט לפרט, מסמך למסמך, תצלום לתצלום. התכתב עם כל קצוות תבל, שלח לתובע הכללי הגרמני 400 עמודים גדושי חומר על אייכמן. אתמול הגיע פרידמן לסוף הדרך".
3 ימים לאחר מכן ראיין בשן את פרידמן: "אני עייף", אמר לו פרידמן, "עייף מ-15 שנות אייכמן. זה היום הגדול בחיי".
"בלי הדוד שלי - לא היו מגלים את אייכמן לעולם", מחזיר אותי האחיין אמיר למאה ה-21. "באחד העיתונים כתבו, שאייכמן היה בסך הכל נמושה. מה תפסו? אדם זקן. אבל שכחו את הדבר הכי חשוב - שהקונץ היה להגיע אליו, לחפש אותו בין כל המדינות שעזרו לו, להביא אותו לידי המוסד, ואת זה הדוד שלי עשה, הוא".
אגב, בזמן המשפט היה פרידמן אחד האנשים היחידים שהורשו להיכנס אל תאו של אייכמן, ועד היום נמצאים דפים, כתובים בעט אדומה, עליהם כתב אייכמן את פרטי הפיתרון הסופי. "כל יום במהלך המשפט הדוד שלי היה שם. הרי אייכמן כתב לו מכלא רמלה 2 דפים עם עט אדומה, על כל הפיתרון הסופי. הדוד שלי נתן את זה אחר כך לספריה הלאומית בירושלים, אבל צריך לזכור שאייכמן כתב את זה באופן אישי לדוד שלי".
האויב מבית
שנה לאחר תפיסתו של אייכמן, ב-1961, הוציא פרידמן את ספרו "הצייד", שתורגם ל-5 שפות ויצא במספר מהדורות. אמיר מספר שאפילו במהלך הוצאת הספר נתקל דודו בקשיים, הפעם מבית.
הפתרון הסופי בכתב ידו על אדולף אייכמן במכתב לטוביה פרידמן צילום רפרודוקציה: באדיבות המשפחה
"ב-1961, כשהוא בא לכתוב את הספר שלו, ובו סיפר שהוא עשה הכל, אז ראש המוסד דאז, איסר הראל, רצה למנוע ממנו את זה, אולי כי זה היה פוגע בספרו 'הבית ברחוב גריבלדי', שם היו פרטים מעט שונים מהפרטים שנתן דוד שלי. הוא לא הצליח מסיבה אחת, מכיוון שדוד שלי היה ביחסים טובים עם ז'קלין קנדי, שהייתה המו"ל של הספרייה הגדולה בעולם, והוציאה את הספר במספר שפות. מול גב שכזה אי אפשר להתווכח", נזכר קנגון.
סיפור נוסף שמתאר קנגון, מגלה סערה שהתחוללה סביב פרס ק.צטניק: "השכן שלי בתל אביב היה יחיאל דינור (ק.צטניק), וכשהוא כתב את סלמנדרה הוא הקדיש אותו לבן שלי, רוני, שבכיו, כך טען, השאיר אותו שפוי בלילות בהם כתב.
"פילו הילדים שלו לא ידעו, שהספרים שהם קוראים ולומדים נכתבו בידי אבא שלהם. יום אחד הוא סיפר לי על קרן ק.צטניק, ועל פרס של מיליון דולרים שמוענק דרכה. 'אני רוצה שהפרס יינתן לדוד שלך', אמר לי, 'מכיוון שהוא פועל מהארץ, וכל השאר לא. בסוף קיבל את הפרס אלי ויזל. אנחנו שתקנו, אבל דינור החליט שהוא מפסיק לתת את הפרס בעקבות המקרה".
אך סיפור זה הוא רק טיפה בים, לטענת קנגון, ודודו נאלץ להילחם בבירוקרטיה הישראלית לא פעם. אם מול אנשים מסוימים במוסד (למרות שעם השר לשעבר, רפי איתן, נשאר בקשרים מצוינים עד מותו) או אפילו "יד ושם", אשר בראש סניפו החיפאי עמד שלוש שנים עד אשר הסתכסך עם ראשיו ב-1956, בעקבות 2 מסיבות עיתונאים מפורסמות, בהן הציג מסמכים רבים שאסף בוינה אודות נאצים.
המדינה לא ביקשה את הסגרתם, ו"יד ושם", שטענה כי מטרתה תיעוד הנספים ולא רדיפת נאצים, אילצה את פרידמן לעזוב כעבור שנה את שורותיה. אז החליט פרידמן לייסד את "המכון לדוקומנטציה בישראל לחקר פעולות הפושעים הנאציים", שמטרתו הייתה חיבור ספרים בנושאי השואה, תביעת מדינות אשר ברשותן רכוש שנגזל מיהודים בשואה ועריכת תערוכות והרצאות בנושא השואה בארץ ובחו"ל. אחת התערוכות הציגה במרכז האקדמי כרמל עשרות צילומים המתעדים את תקופת השואה, אותם מסר פרידמן.
בצילומים נראים יהודי אירופה בגטאות, במחנות ההשמדה, וחלקם צולמו על ידי הנאצים דקות לפני ביצוע הוצאות להורג המוניות. כל הצילומים נתונים במסגרות ששוחזרו ושופצו, לקראת הצגתם בתערוכה. "הצגת התערוכה היא מחווה לטוביה פרידמן, שמפעל חייו היה להביא לדין פושעי מלחמה נאצים", מסר אז נשיא המרכז האקדמי, פרופסור יחזקאל טלר, "אבל חשיבותה בצורך שלנו לא רק לזכור, אלא גם להזכיר לדורות הבאים את אימת הימים ההם".
גם את המכון הזה הקים פרידמן מאפס, ועבד בו בהתנדבות עד אפריל 1958, כאשר הקונגרס הציוני העולמי החליט לאשר מימון חודשי של 200 לירות לפעילות המכון. נכון לשנת 2005 הוציא המכון לדוקומנטציה, יותר מ-150 פרסומים וכ-20 ספרים בנושא השואה.
הכי קרוב למנגלה
פעילות נוספת שהייתה לחם חוקו של פרידמן, היא פעולותיו לביטול ההתיישנות בחוק הגרמני על פשעי הנאצים. פרידמן לחם בנושא רבות, ולאחר כעשרים שנות מאבק הוחלט בבונדסטאג לבטל את ההתיישנות על פשעי רצח ורצח עם.
יוזף מנגלה צילום: אי-פי
אחד המקרים בהם לא ויתר פרידמן, היה איתורו של ד"ר יוזף מנגלה, אליו לקח גם את אחיינו אמיר: "הייתי עם הדוד שלי 3 פעמים בבית של יוזף מנגלה לפני 20 שנה", הוא מספר. "ישבנו מול הבן שלו בעיירה גינזבורג, מאה ק"מ מהגבול השוויצרי בדרך למינכן.
"הבית נקרא 'בית חרושת לקוגלגרים', אבל היה לנו מידע מבוסס ששם גרה משפחתו. נסענו עם הרכב, הגענו לשם ודוד שלי התחזה לאחד הלקוחות, כדי לראות איפה מנגלה חי. נפגשנו עם הבן, האמא ודיברנו בעיקר על קוגלגרים. הוא לא חשד בכלום.
אחרי כמה ימים של ביקורים, על מנת שפחדנו שלא ניפול בפח, הגענו שוב לאותו בית חרושת וקבענו שדוד שלי יהיה בפנים ואני בחוץ. אם יקרה משהו - שיודיע ואגיע. בפעם השלישית דוד שלי הצליח להבין מהבן איפה מנגלה נמצא. באותו הרגע גם הבן הבין שהוא נפל למלכוד. הוא ניסה לתפוס את הדוד שלי, וסגר עליו את דלת הברזל של הכניסה לבית.
"דוד שלי אותת לי, ואני עם המכונית פרצתי פנימה והוצאתי אותו. לצערי אז לא היו פלאפונים, וכשיצאנו משם הרמנו מייד טלפון לנציג של המוסד באותו אזור, ואמרנו לו שמנגלה נמצא במלון אנגלברג בציריך. אנשי המוסד רצו מהר לאזור, אבל בשעתיים הם פספסו אותו, מכיוון שהבן הספיק להזהיר אותו".
מנגלה לא נתפס מעולם, עד שבשנת 79' התגלתה גופת גבר שטבע מול חופי ברזיל. בדיקות DNA שנערכו לגופה לאחר מספר שנים גילו, כי מדובר באותו דוקטור רצחני, שמת משבץ בזמן ששחה בים.
כמו במקרה של ד"ר מנגלה, גם בשאר המקרים התלווית אל הדוד שלך? הרי כולם טוענים שאתה ממשיך הדרך שלו.
"תסתכל על התמונה (מצביע לי על אותה תמונה מוינה). ככה אנחנו כבר מגיל קטן. מגיל שנתיים הוא מחזיק לי את היד, ועכשיו אני החזקתי לו את היד. הרי כשהבן הבכור שלי נולד, קראתי לו רוני על שמו".
סיפור נוסף, שמראה את מידת התמדתו ועקשנותו של פרידמן, ניתן למצוא בסיפור בו הצליחו פרידמן וקנגון לאסוף מסמכים רבים מספריה בברלין. "יום אחד אומר לי הדוד שלי 'בוא ניסע לברלין. יש חוק מסוים לגבי הספריות, שטוען שאם עד שנה מסוימת האמריקאים לא רוצים לקחת את החומר איתם - זה נשאר אצל הגרמנים'.
"היה קולונל אמריקאי שקיבל 10 אלף דולרים, פלוס בונוסים לאשתו, כדי שיפנה את המקום. הגענו לשם בסוף שבוע, הבאנו צוות צילום, ולקחנו את כל המיקרו פילמים והמסמכים של הגסטאפו הגרמני שהיה שם. את הצילומים השארנו שם, כדי שלא יחשדו בכלום. הגענו לשגרירות בבון, ארתור היה השגריר, ומשם העברנו הכל למכון לדוקומנטציה בחיפה".
ואת כל המבצע הזה עשיתם רק שניכם?
"צריך לזכור שאת כל המבצעים הוא עשה לבד, ומפעם לפעם הוא ביקש שאני אעזור לו. הוא לבד, בלי שליחים. מפעל של בן אדם אחד, ואני רק עזרה קטנטנה לעתים".
את אייכמן דודך עזר ללכוד, מה בנוגע לאיוון דמיאניוק?
"לא היה לו בזה עניין, בעיניו דמיאניוק לא היה סחורה בכלל. הרי כמו דמיאניוק וגרועים ממנו היו עוד בעשרות אלפים".
נחזור רגע לבדיחה על שמעון פרס. פרידמן אמנם לא היה מוכר לציבור בארץ, אך בחיפה, בה בילה את רוב שנותיו, ידעו לתת לו את הכבוד הראוי לו, וב-2002 הוענק לו תואר יקיר העיר.
טוביה פרידמן צילום: באדיבות המשפחה
בכלל, נושא חיפה היה קרוב לליבו של פרידמן, ולכן, למרות בקשות מערים שונות בעולם, בחר את מקום מושבו, וגם את מכון הדוקומנטציה, בחיפה.
כעת אומר אחיינו, כי הוא הולך לשפץ את המקום ברחוב בן יהודה 31 בעיר, שהוזנח מעט בשנים האחרונות, ולהחזיר אותו לגדולתו. "דוד שלי תמיד אמר לי, כשהיינו טסים ברחבי העולם, שהחלום שלו הוא לקחת שתי פצצות אטום ולהפיל אותן על גרמניה. המסע שלו אף פעם לא נגמר".
לקראת סיום הראיון מקבל אמיר, לא איש קטן בכלל, שיחה, על הקו לשכת הנשיא, שמעון פרס, שהיה בקשרים טובים עם פרידמן עוד בחייו. אמיר לא מצליח להחזיק את עצמו, למשמע המחמאות מעבר לקו ודומע. כשאני שואל אותו מה הדבר הכי חשוב, שהוא רוצה שיזכרו מדודו - הוא משתנק בשנית, ונדמה בעיניי שוב כאותו ילד בן שנתיים, המחזיק ביד של דודו.
"אסכם זאת בשלושה משפטים: דוד מיוחד, דוד אחד ולעד אני אזכור אותך. זה מסכם את הכל מבחינתי. אין אחד כזה בכל כדור הארץ, שעשה מה שעשה הדוד שלי".
[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
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
Wreck of ML133 at Camasnagaul.
NN 09440 75247
This Motor Launch blew up on the morning of 11th May 1943 killing CPO Frank Hopkins who is buried in Glen Nevis
www.mbriscoe.me.uk/page11.html
The ML133 Disaster
Built by Lady Bee Ltd. Of Shoreham, Sussex, ML 133 was 75ft in length (cf. above) and was launched on November 18th 1940, commissioned on December 4 1940 and completed eight days later. The following account was written by Mr Christopher Wardle who was on board at the time:
The Death of the 133. (A very vivid Memory}
As it happened.....No bullshit...The real and true facts.
I was a crew member for the entire life of the boat, I joined it in England, sailed it to Scotland and we were the original ML Training Flotilla, the Flotilla consisted of several B class ML’s
The crew of all the B class ML’s at that time was 11 personnel. The 133 was the flotilla leader and carried a fully fledged CPO as coxswain, a Leading Telegrapher, a two-and-a-half ring (Lt Cdr) skipper, who incidentally at the time of the incident was in Inverness at a conference on fire-fighting.... would you believe. So the crew of all the flotilla of ML’s at the time consisted of The Captain, the 1st Lt...usually a very very young kid with one ring (Sub. Lt). Almost every Officer was ‘Wavy Navy’ (RNVR), the only regular navy on board was myself and the coxswain all the rest were Hos (Hostility Only).
We also had two ‘Mickey Mouses’ (Motor Mechanics), usually ex-garage mechanics and extremely competent guys, a telegraphist, who, since there was little on-air radio work served as the Officers flunky and above deck signalman, a Coxswain and 5 seamen, either ordinary or able seaman a total of 11.
It was a clear cold morning in May. The 133 was doing what was called guard duties. What we were guarding, I have no idea. But we asked no questions. We just did what we was told to do.
So the morning of the 11th May 1943 we were swinging around a buoy (near Camusnagaul) with a watchman on the upper deck protecting all the good folk at Fort William. Usually the coxswain poked his head into the mess deck and ‘Called the hands’, but for some reason he didn’t so I, as next in seniority did the honours.
One of the Motor Mechanics....Geordie... I think he was the oldest guy on board, maybe in his 40s ...very old to a young 23! Anyway he went into the engine room to start up a small motor we used for washing down the upper deck; always the first duty of the day. In the meantime the rest of the crew were either dressing, in the toilet, or trying to use the bathroom....all bleary eyed, ....Still no sign of the coxswain....very unusual. He was an extremely efficient CPO... no nonsense...ran the ship extremely well.
I was just in the middle of dressing when there was this explosion. I ran up the hatch to the upper deck. The 2 sides of boat had blown outboard from the wardroom to the forecastle and Geordie was laying on the starboard side groaning with one of his eyes hanging loose. Fire had engulfed the entire engine room. When Geordie had started the small motor there had been petrol fumes in the bilges and a spark must have caused the explosion and the fire.
He was in no condition to do anything; he was shocked and injured. The first thing was to call the coxswain CPO Frank (Polly) Hopkins... we battered on his door ...but no response. His door opened inward, refused to budge, think the explosion had lifted the bilge boards and jammed his door... But why wasn’t he answering? I just don’t know, we had nothing with which to smash his door, but we tried. In the end we all took to the upper deck....there was no panic...just a bunch of guys watching the fire getting bigger and bigger’
Being built of timber the boat stayed afloat tied up to the mooring buoy, even though both her sides had been blown almost flat against the water. Christopher continues….
‘The skipper was away. The young Jimmy (1st Lieutenant) was already in the water so I was the senior guy left and I told everyone to get into the water. We had no means at all to fight the fire, we couldn’t sink her , the sea cocks and all the extinguishers were in the engine room and there was no way we could help Geordie so we abandoned ship.
I swam towards the pier a mile away; it was bloody cold too! Some of the flotilla from around the corner obviously saw the smoke and dropped anchor and came a running. I was picked up by the 154. The sparker aboard was a friend, who took great delight hurling a lifebuoy at me before helping me aboard.
The big explosion came as we were swimming towards the pier; all the ammunition and the 100 octane petrol, 4000 gallons of it, I believe. The depth charges too probably went up. That was quite a bang. I heard later quite a few windows were lost in the town and whether this was true or not, I heard it said they found parts of the 3 pounder gun near the Ben!
From that point didn’t know what was transpiring. We were all taken to the base and fitted out (with dry clothing etc.) ‘cos we were all fairly naked having only just got out of our bunks, and in a couple of days we were all sent on leave. I was sent for by Commander Welman, the CO of the base who grilled me on what happened. He seemed more concerned with pages from the confidential books that had been washed ashore as they were supposed to be kept in a locked safe. He wanted to know how they were loose and floating around. I told him the 1st Lt had them out to make the new admiralty adjustments to them and hadn’t had time to replace them, I guess.
I served the rest of my time as an instructor at the base. I heard the divers had found the coxswain at the bottom of the Hatch, he had obviously made it out of his cabin but only as far as the hatch just outside his door. I was sent on leave and didn’t even get chance to go to the coxswains funeral.
Chris Wardle
May 2010
One of the boats which raced to the scene was the local ferry boat driven by local man Archie McLean. Having picked up a number of men from the water, Archie quickly realised that CPO Hopkins was still aboard. Manoeuvring his boat through the smoke and flames, Archie managed to get it alongside the stricken vessel. Despite being aware that it was full of high octane petrol, live ammunition and probably some depth charges too, he attempted to recue the missing man. As he was about to climb aboard, the second explosion occurred and the attempt had to be abandoned. Archie was awarded honorary membership of the Coastal Forces Veterans Association and was proud to attend the annual reunions of the Coastal veterans who visited the town thereafter.
Geordie, fortunately survived the accident and C.P.O. Frank Hopkins is buried in Glen Nevis. Unfortunately his wife watched the whole incident while not realising that her husband had been killed. Meanwhile, the wreck of ML 133 can still be seen on the Camasnagaul shore at low water.
MOST SECRET
407
War Diary
11.5.1943
Tuesday
HOME COMMANDS
Casualties and Defects
....
M.L.133
destroyed
Reporting total destruction by fire and
explosion of M.L.133 at her moorings at
Camusnagall at 0825/11 one C.P.O. Missing.
Propose holding board of enquiry in accordance
with K.R. and A.I. Articles 1130 and 1136.
(ST. CHRISTOPHER, 111212B)
Taken from: www.shadesofoakwood.com/pages/oakhistory.html
On November 11, 1982, the Haggerty lion was placed in Oakwood as a memorial to Michael Charles Haggerty who died at age 14 in an auto accident in 1974. His brother Thomas, who was two years younger than Michael, was an art student at Syracuse University when his parents asked him to create a special and original memorial. Michael had always liked lions and his mother thought a lion would be appropriate - a friendly protector, inviting but with claws. Thomas began work on the monument in the summer of 1981. He formed the clay image in his garage, spraying and wrapping his work each night. After this initial phase, the large figure was moved outside of his home and his work was supervised by an SU instructor. After a year's work, the 620 pound bronze statue was ready for placement. Michael had originally been buried at St. Mary's in DeWitt, but the authorities responsible for the diocese cemeteries objected to the monument. Michael was then reinterred in a special spot at Oakwood with the lion standing guard. Many people do not know about the Haggerty lion because it is situated in a wooded area and during seasons with leaves, it is well concealed. The lion can be found across the road from the Chapel. At the corner where the woods begin is a small trail which leads about 20 feet up a small incline to the monument.
Submitted for September's TMSH # 7 - Bronzed
Submitted for August's MSH # 4 - Freedom of art - I had several other possibilities, but for some reason when I think of freedom of art, this statue comes to mind. It's a shame that some people can be so small minded.
Submitted for March's MSH # 7 - Bronze Age
Through WSJ Online which I follow on Twitter, I was alerted to Kuroda's Wall Street Journal timely and informative opinion piece on Asia's Food Crisis (2008-05-05). I realized that this article was rich in research-based information and provided an excellent summary of a pivotal moment in the social history time-line of the way in which "Wealth Disparities Will Intensify." See Drummond and Tulk (2006). First I dugg Kuroda's article.
Then I began a slow world rhizomic process using the semantic web with its microblogs, blogs, social bookmarking, aggregators and folksonomies locating this article at the centre of a dendronic cartography.
Leaving all the windows and tabs open on Firefox I worked with and between Adobe Photoshop, notepad, blogs, etc to produce this series of layered images which I call digitage. They conform to Powerpoint's default size and highest resolution (1440 x 900). I saved them as .jpg to upload to the Flickr account using my new handy Flickr desktop uploader. These images Circum Asian Pacific Globe snurl.com/27ekf 2. "Globalization: Food, Fertilizer and Fuel", snurl.com/27el3 3. On the Tomato Trail 4. Consuming Questions: East and West snurl.com/27en3 were then combined into a .ppt PowerPoint file entitled "Food, Fertilizer, Fuel" which conforms to the slidenet.com default size. Once the slidenet.com presentation was uploaded I collected all the urls and transformed them into snurls. (Snurls are shortened urls that can also be used with microblogging services like Twitter.)
This article then on the East and West was a catalyst to my first "snurl cloud" or "snurl roll" on on Twitter. (A second snurl cloud links to the first: "Wealth Disparities Will Intensify also on Twitter (2008-05-06).
In a sense this is a virtual faint echo of Barndt's Tangled Routes (2001). See also Flynn-Burhoe (2006-11-17) on the layered digitage linking tomatoes, French Fries, fast foods, high-meat-protein-consumption, Milton Friedman's "The Social Responsibility of Business is to Increase Profits" (1970), Cannibals with Forks and Barndt's Tangled Routes: Women, Work and Globalization on the Tomato Trail (2001).
Webliography and Bibliography
Barndt, Deborah. 2001. Tangled Routes: Women, Work and Globalization on the Tomato Trail. Aurora, ON. Garamond Press.
Drummond, Don & Tulk, David (2006 ) Lifestyles of the Rich and Unequal: an Investigation into Wealth Inequality in Canada. TD Bank Financial Group.
Flynn-Burhoe, Maureen. 2006. "Wealth Disparities Will Intensify (Drummond and Tulk 2006)." >> December 15, 2006.
Kuroda, Haruhiko. 2008. "Solving Asia's Food Crisis". Wall Street Journal Asia. May 5, 2008.
Text for Flynn-Burhoe, Maureen 2008. "Food Fertilizer Fuel." >> papergirls.wordpress.com
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
Lake Waramaug
www.stateparks.com/lake_waramaug.html
www.flickr.com/photos/corbettjames/5121821489/in/photostr...
Lillinonah’s Leap
Reprinted From:
Legendary Connecticut
Traditional Tales from the Nutmeg State
By David E. Philips
www.friendsofthelake.org/downloads/lillinonah_leap.200312...
When the English colonies in New England were very young, there was hardly an Indian
between the Hudson and the Penobscot Rivers who did not know about Chief Waramaug,
the great sachem of the Pootatuck tribe of western Connecticut. Not only was he
respected far and wide for his courage, wisdom and charismatic leadership, but also
admired by all for his magnificent hilltop headquarters overlooking the Housaronic River,
not far above the present town of New Milford. Called “Waramaug’s Palace,” the
structure was said to have been at least twenty feet wide and a hundred feet long, a “long
hours,” indeed, and unquestionable the largest Indian building ever constructed in New
England.
Made from bark and logs which had to be carried for many miles (mostly up hill) on the
backs of the artisans who built it, Warmamaug’s Palace was famed both for its
architectural grandeur and its ornate interior decoration. It is said, for example, that the
wall of the cavernous main council chamber were covered with colorful painting of the
chief, member of his family, his councilors and judges, while smaller apartments were
adorned from floor to ceiling with pictures of all the beasts, birds, reptiles and insects to
be found in the land of the Pootatucks. The best Indian artists, many loaned to
Waramaug by the chiefs of distant tribes, labored for months to complete the unique
administration building and museum of primitive art.
As proud as Waramaug was of his imposing palace, he was even prouder of the light of
his life, his lovely daughter, Lillinonah. Taught from birth to cultivate those virtues most
revered by her father – compassion for one’s fellow man, loyalty to family and tribe and
sensitivity to the beauties of Nature – Lillinonah was, at the age of eighteen, a young
woman whose humanity matched her grace and beauty. From near and far the young
braves came, as moths to the flame, to pay homage to Lillinonah – and perhaps win her hand in marriage. But first, of course, each had to pass muster with old Waramaug, and
that was no simple matter.
Not it happened that on a cold and wintry day, as Lillinonah was out waling in the woods
high above the swift rapids of the Housatonic, she came upon a handsome young white
man wandering aimlessly through the forest, stumbling occasionally and falling to his
knees before rising once more and continuing on. It was obvious to the Indian maiden
that the man was sick with cold and fever, weak of body and confused of mind. With pity
in her heart for the suffering stranger, she offered to assist him back to the village of the
Pootatucks, where he might find rest and treatment for his illness. When the white man
nodded his assent, she slowly walked him to her home, though he had to lean heavily
upon her for support, lest he collapse in the effort.
Although the elders of the village did not approve and did nothing to help her, Lillinonah
nursed the stricken Englishman through all the rest of the long, cold winter, seldom
leaving his side. As spring came to the encampment of the Pootatucks, he was well
along the road to recovery, thanks to the care of his attentive nurse and the good
medicine which she had provided. With the blossoming of the mountain laurel on the
banks of the Housatonic, love, too, bloomed in the house of Lillinonah. As the beautiful
daughter of Waramaug gazed with undisguised affection into the eyes of the man whose
life she had saved, she saw that he returned her adoration with unaffected ardor.
When summer came, the two young lovers finally decided that they must got to Chief
Waramaug, for a love as deep as theirs must be consummated by marriage. The great
sachem’s reaction, however, was as they both expected: he was very angry. With all the
eligible Indian suitors for miles around still beating a path to her door, how dare Lillinonah
ask for his blessings on a union with a white man, an unknown stranger whose culture
was so different from her own? Was it not true that the paleface despised the Indians,
regarding them as little better than the savage beasts of the forest? No, said Waramaug,
never would he sanction Lillinonah’s marriage to such a man.
But Lillinonah refused to eat or drink. Her once lovely face turned sallow and she began
to shrink before the very eyes of her distraught father. As summer waned, the once
beautiful daughter of Waramaug became a pale shadow of her former self, so great was
her pain and powerful her will. Finally, although he still regarded marriage between his
daughter and a white man as a burden almost too heavy to bear, Waramaug relented.Reluctantly, he consented to the marriage of his beloved Lillinonah to the man she had
found lost in the woods on that long ago winter’s day.
Before the marriage could take place, the betrothed couple agreed, the fair young man
should return to his own people, to let them know that he was still alive and well, and to
tell them of his plans to wed Lillinonah and live for the rest of his life in the company of the
Poootatucks. Both lovers realized that his people would urge him not to go back to his
lovely Indian princess. They would remind him that there were plenty of young English
women in the colonies just looking for a husband as attractive as he was. What right had
he to wed a dusky maid from a foreign and inferior race? But he promised Lillinonah that
no argument would ever persuade him to break his vow to marry. After one final winter
with his own people, he would return to Lillinonah – in the early spring. Sadly, he took his
leave.
The autumn passed, and winter, too, and as the first green began to show in the hickory
and oak along the Housatonic, Lillinonah bedecked herself with the wild flowers of the
forest as she waited in happy anticipation for her lover’s return. But summer came and
went, the reds and yellows of autumn showed bright on the trees, and still the young
Englishman had not come back to the land of the Pootatucks. Lillinonah no longer sand a
joyous song. There were no more flowers in her hair. Wan and listless, she wandered
through the woods, her eyes red-rimmed from weeping, searching and hoping against
hope that she had not been forgotten.
Chief Waramaug watched sadly as once more his daughter’s health began to fail and her
usually happy disposition to run morose under mounting waves of despondency.
Perhaps, he thought, he might bring her back from the brink of depression if he could only
interest her in a young man of her own race. So, unknown to Lillinonah, Waramaug
arranged a marriage for her with Eagle Feather, one of the brightest, most promising
braves in the Pootatuck tribe. Surely, such a fine youth as he, could give Lillinonah
something to live for.
But word reached Lillinonah of her father’s arrangement with Eagle Feather – and she
reacted immediately. Down on the shore of the Housatonic River, now rapid and swollen
with the heavy rains of autumn, she climbed into a canoe and shoved off into the teeth of
the roaring current. As the canoe was carried faster and faster toward the turbulent waters above the dangerous falls of the river, Lillinonah tossed away her paddle and sand
back in the bottom of the canoe to await her fate.
Then, high on a crag jutting over the river just above the cataract, she saw him! Her lost
lover had not forgotten. Even above the roar of the water she heard him call her name.
She stood in the canoe, waved her arms and screamed for help. Though he knew his
chances of saving his beloved were slim at best, the young Englishman did not hesitate
for a moment. He leaped from the overhanging bluff and plunged into the whitened
water, just as Lillinonah’s canoe struck a rock in the middle of the river and capsized,
spilling her into the frothy current. Swiftly as he could, he swam to her side and clasped
her body to him. Alas, neither realized that it was already too late. Still wrapped in loving
embrace, the doomed pair disappeared into the boiling falls and were crushed to death as
they were hurled to the rocks in the broad pool below.
They say that when the battered bodies of the star-crossed lovers were finally found, they
were still locked in each other’s arms. Noble, even in deepest mourning for his lost
Lillinonah, Chief Waramaug ordered that his daughter and her white lover be buried side
by side, contrary to Indian tradition, on the top of a hill overlooking the narrow gap of the
Housatonic River non known as Lover’s Leap. And when old Waramaug finally joined his
ancestors many dad years later, legend says that he, too, was laid to rest near the illfated
couple.
Though the tragic life of Lillinonah ended centuries ago, her legend will never be
forgotten. Any Connecticut map will show that the wide portion of the Housatonic River
which stretches for mils below the narrow rapids where the lovers met their deaths is, to
this day, still called Lake Lillinonah.
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
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.''
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Effetto lift
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!
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.
SALKANTAY TREK TO MACHU PICCHU
5 DAYS - 4 NIGHTS
SALKANTAY TREK TO MACHU PICCHU
5 DAYS - 4 NIGHTS
The amazing Salkantay trek to Machupicchu is one of the famous treks in Cusco and the best alternative route to get to Machupicchu. It is takes you through different types of landscapes from the typical Andean landscape up to the snowcapped mountains and down to the tropical forests and finally gets you into the jungle, Salkantay trek named among the 25 best Treks in the World, by National Geographic Adventure Travel Magazine
If you are thinking to do a hiking trip to Machupicchu and you want to be off of the beaten path and be in touch with the nature; Salkantay trek is the best option. Hiking 75 kilometers = 46 miles and reaching the famous Apacheta (mountain offerings) pass 4621masl = 15160ft which is the highest point of the Salkantay trek: enjoying the amazing view during the hike from Mollepata town to Soraypampa base camp at knee of the Umantay mountain. Then to go up to the highest point to enjoy the view of outstanding snow-capped Salkantay mount. This was one of the most important Apus in the Inca period! Then you are going dawn to Chaullay through the beautiful scenery and then go to Santa Teresa to jump into the natural and medicinal hot spring. And finally we reach to Aguas Calientes town for overnight in the hotel and the last day of your adventure you will get up too early to be the firsts ones up in Machupicchu and enjoy the sunrise.
OVERVIEW
Highlight: Hiking alongside the magnificent Apu Salkantay and then arriving at the ruins of Machu Picchu.
Location: The Salkantay trek begins 3 hours driving to the west of Cusco, Peru. We pass the village of Mollepata and begin hiking at Marcocasa.
Duration: 5 days/ 4 nights
Starting point: cusco
Ending point: cusco
Level: Moderate to Challenging
Adventure Rating: Given the new restrictions on the Inca trail, Salkantay is the second most popular hike in the region and some of the campsites are less remote than on other trails.
Modality: Trekking, Archaeological and Cultural
Ideal for: Adventure Seekers, Couples, Friends, Nature Lovers, and Intrepid People
Altitude: 2,800 masl to 4,650 masl
Inca Trail alternative: Yes, the Salkantay trek is an excellent option.
Departure Dates: Daily departures
All private service departure dates are adapted to your request
Trekkers Wanted: If you wish to join a group tour, please see Trekkers Wanted.You can also form your own tour to be advertised on this page maximum group size 10.
ITINERARY - SALKANTAY TREK TO MACHU PICCHU 5 DAYS - 4 NIGHTS
DAY 1: Cusco - Mollepata - Marcocasa - Soraypampa.
We will pick you up from your hotel in Cusco from 5: 00 am to 5:30 am to go by bus to Mollepata. Begin a spectacular scenic drive through the Anta plains with beautiful and panoramic views of the majestic Salkantay and other mountains covered with snow, and the Valley of Apurimac River. After two and a half hours drive we stop in Mollepata to have breakfast for last minute supplies, leg-stretching or to use the bathrooms, before continuing to Marcocasa. There we will meet with our support staff. They will load the equipment on horses and mules. Around 9:30 a.m. we will star our trek toward Soraypampa (3900 meters above sea level) if we keep a regular pace we will take 4 hours approximately to reach to Soraypampa the first camp site where will have lunch after lunch in the afternoon we have an option to go up to Umantay lake (4200masl) which takes 3 hours hike back and forth from the camp to see the glacier lake of Umantay. But if we keep slow pace; we will have lunch at halfway between Soraypampa and Marco Casa maybe after 3 hours of hiking. And after that we hike two a half hours more to Soraypampa. Anyway our camp is going be at Soraypampa. Sleeping tents will be ready and we will have a warm delicious dinner in the evening.
Meals: Lunch, Dinner.
Overnight: Soraypampa in the tents.
Maximum Altitude: 3850 masl.
Minimum Altitude: 2850 masl.
Hiking distance: 14 km approx.
DAY 2: Soraypampa - Salkantay Pass - Huayramachay – Chaullay
Today early in the morning we will wake you up with the coca tea. Around 6:00 we will have a nutritious breakfast around 7:00 am we will start the hardest day of the whole Salkantay trek; we will be walking up to the highest point of the trek. After 6 kilometers uphill through the magnificent scenery of Rocky Mountains and enjoying the view of Salkantay mount. We reach the top of the trek. We will appreciate spectacular views of the mountains and the imposing snowy peaks of the Salkantay (6264 meters above sea level) which is known as the second highest mountain of the Cusco region. After 2 hours downhill around 1:00 p.m. we will have our delicious Peruvian lunch, in the area called Huayracmachay. Then we continue our hike to Chaullay approximately 3 hours of downhill we will get to our camp in Chaullay = 2900 masl Where we will have the sleeping tents ready. Around 7: 00 pm we will have dinner to recover energy from the trek.
Meals: Breakfast, Lunch, Dinner.
Overnight: Chaullay in the tents.
Maximum Altitude: 4650 masl.
Minimum Altitude: 2920 masl.
hiking distance: 20km to Chaullay.
DAY 3: Chaullay - Collpapampa - La Playa - Santa Teresa (Cola de Mono Campsite)
Around 7:30 am; we will start our trek to La Playa through the Santa Teresa valley. We will hike 6 hours approximately during the hike will see: water fall, orchids, coffee, banana, avocado plantations and we will taste the famous passion fruit or granadilla and also we will see a village call Colpapampa also call the “forest cloudy brow” where waterfalls, thermal hot springs, fruit-bearing trees, varied flora, and birds can be observed. If we are lucky, we will be able to see the famous bird called “the Cock of the Rocks”. After lunch at La playa, we will catch a local transportation to Santa Teresa. Where will have an overnight at “cola de mono” campsite. We are the only trekking company allow camping there. In the afternoon we may go to Santa Teresa´s hot spring to enjoy it. Then back at the campsite for happy hours and dinner.
Meals: Breakfast, Lunch, Dinner.
Overnight: Santa Teresa “cola de mono campsite” in the tents.
Maximum Altitude: 2920 masl.
Minimum Altitude: 1600 masl.
Hiking distance: 15km approx.
DAY 4: Santa Teresa (Cola de Mono Campsite) - Hidroeléctrica - Aguas Calientes
After of our delicious breakfast we are going to walk approximately 7 hours. Around 8:30 a.m. we start our trek to Colpani village we will have the opportunity to see coca farms, mandarin, orange and yucca. And a lovely view of the Santa Teresa Valley. We follow along the riverside of Vilcanota River until arrive to the Oroya (cable bridge) then we keep going to Hidroelectrica where will have our lunch. After lunch we going to walk along the train track but on the base of Machupicchu and Waynapicchu Mountain from the way we will see Machupicchu. After two a half hours hike we will be at Aguas Calientes town: base town of Machupicchu for overnight in the hotel and dinner at the local restaurant.
Meals: Breakfast, Lunch, Dinner.
Overnight: in Aguas Calientes at the hotel which included in the package.
Maximum Altitude: 2350 masl.
Minimum Altitude: 2000 masl.
Hiking distance: 18 km approx.
DAY 5: Aguas Calientes - Machu Picchu - Ollantaytambo – Cusco
Today early in the morning after breakfast at the hotel you will be able to choose between. Walk up to Machupicchu. Or take bus up to Machupicchu. Any way we will be the first ones into Machupicchu to enjoy the sunrise and you will have two a half hours guided tour. Then you will have the free time to explore Machupicchu by yourselves or if you desire, ascent toward the Huaynapicchu Mountain. Or climb to Machupicchu montaña. After Machupicchu you are going back to Aguas Calientes to take a train to Ollantaytambo and from there by bus back to Cusco. The bus drops you off at your hotel in Cusco.
Meals: Breakfast.
WHAT IS INCLUDED?
Pre-departure briefing at the office in Cusco
Collection from your hotel in the morning and transfer in private transportation to Marcocasa (starting point of the trek).
Personal tents: 2 people in each 4-people-capacity tent, to allow for higher comfort and a safe keeping of backpacks. Our tents are 3-season, highly maintained to ensure an excellent performance in field. Kailas, Pro Aconcagua and Rei 4 Outfitter tents are employed when double accommodation is requested.
One sleeping pad per person.
1 Blanket. Or Liner.
One pillow per person.
Dining tent with tables and chairs
Kitchen tent
English speaking professional and official tourist guide (2 guides for groups of over 10 people)
1 night accommodation in Aguas Calientes
Chef and cooking equipment
Pack animals (to carry tents, food and cooking equipment) – days 1 to 4
Pack animals to carry personal gear up to a maximum of 7kg per person (including sleeping pad and sleeping bag) – days 1 to 4
1 emergency horse every 8 persons – days 1 to 3
Accommodation for all our staff
Meals (4B, 4L, 4D + daily morning snack + daily tea service except last day). Vegetarian or special menus are available at no extra cost
One textile snack bag per person, to avoid the usage of plastic bags that contaminate our environment
Boiled filtered water every day since the first lunch. For your water bottles.
Bio-degradable personal hand soaps
Bio-degradable dishwashing detergents used by our kitchen staff
Others: hot water every morning and evening for washing purposes / boiled water to fill in your water bottle every morning and night, and at lunch time if requested with enough time ahead
First-aid kit including emergency oxygen bottle
Machupicchu entrance fee
One way bus ticket from Aguas Calientes to Machupicchu on day 4
Expedition Train from Aguas Calientes to Cusco. Upgrade to Vistadome or Hiram Bingham service, availability upon request.
Transfer from train station to the hotel in Cusco
24-h guest service: please ask for the emergency number available during your time of visit.
WHAT IS NOT INCLUDED?
First breakfast on day one.
Lunch on the last day after the guided tour at Machu Picchu
Walking Sticks
Sleeping bag: you may rent it from us. Our sleeping bags are -20ºC-comfort (0ºF), mummy form and include a sleeping liner. They are cleaned after every use and have a maximum usage of 30 trips.
OPTIONAL AND RENTALS
Extra night in Aguas Calientes $50 (or email us for alternate options). We will just need to arrange your train back to Cusco for the following day.
Please tell us before final booking process.
Personal horse and horsemen for riding or carrying extra personal belongings while on the trek.
Extra cost is $80 for the trek.
Therma-rest inflatable sleeping pad rent: US$ 5.00 per day
Entrance to the Hot Springs in Santa Teresa.
BIENNALIST @ Venice Biennale
www.emergencyrooms.org/biennalist.html
by www.colonel.dk and www.emergencyrooms.org
www.emergencyrooms.org/formats.html about other art format
------------about Venice Biennale history from wikipedia ---------
The Venice Biennale in English also called the "Venice Biennial") refers to an arts organization based in Venice
The Art Biennale, a contemporary visual art exhibition and so called because it is held biennially
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
In 2011, the countries were Albania, Andorra, Argentina, Australia, Austria, Azerbaijan, Bangladesh, Belarus, Belgium, Brazil, Bulgaria, Canada, Chile, China, Congo, Costa Rica, Croatia, Cuba, Cyprus, Czech and Slovak Republics, Denmark, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia, Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore, Slovenia, South Africa, Spain, Sweden, Switzerland, Syrian Arab Republic, Taiwan, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Wales and Zimbabwe. In addition to this there are two collective pavilions: Central Asia Pavilion and Istituto Italo-Latino Americano. In 2013, ten new participant countries developed national pavilions for the Biennale: Angola, the Bahamas, Bahrain, the Ivory Coast, Kosovo, Kuwait, the Maldives, Paraguay, Tuvalu, and the Holy See. In 2015, five new participant countries developed pavilions for the Biennale: Grenada [4], Republic of Mozambique, Republic of Seychelles, Mauritius and Mongolia. In 2017, three countries participated in the Art Biennale for the first time: Antigua & Barbuda, Kiribati, and Nigeria.[29]
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#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
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Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
, Photographic Source
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation
Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artist
From the website...
www.encinojon.com/greg/johnhub.html
JOHN CARL HUBINGER (1851-1907)
HUBINGER, JOHN C., manufacturer, millionaire and public benefactor, is one of the most remarkable men of this country; a Napoleon in business affairs, a man of destiny, through his own indomitable will, tireless energy and brilliant genius he has built up a magnificent structure on a financial foundation as solid as the rock of Gibraltar.
Mr. Hubinger was born in New Orleans, La., forty-six years ago, and is the son of John F. Hubinger, who was born in Bavaria, in 1828, and still survives, as well as his mother, who is a native of France.
It will this be seen that Mr. Hubinger, having been born in Louisiana, is a Creole, a term peculiar to the state, and having the same significance as Buckeye to those born in Ohio, or Nutmegs to those who first saw the light of day in Connecticut.
At the age of 4 his family moved north and at Falmouth, Ky., young Hubinger received in the public schools the first and only educational training he ever received from any school system; this experience covered about four years of study, and he applied himself so closely that he got a fair foundation, which he has since built on by private study and observation, until to-day he can be considered a well informed man outside of business matters, in which he excels.
His career has been an eventful one, full of exciting incidents, and it is a remarkable fact that he was 30 years of age before he amassed his first thousand dollars, having innumerable ups and downs in life, but never despairing and always aggressive.
It would require a volume the size of this to recount a history of his life from the time he started out to earn a living up to the present time when he controls millions of business interests, and is at the zenith of his usefulness. We will not attempt anything more than a passing notice of such facts as will interest his friends.
Of an inventive turn, he secured several patents which he sold to more or less advantage, and tried innumerable schemes at one time or another, succeeding at times and losing at others his little capital, through the boldness of his methods.
The idea of Elastic starch came to him years ago, when he acted as agent for a starch concern, and he had it constantly in mind, eventually arriving at the secret which he holds alone to-day, and which has make Elastic starch the most popular in the market.
In connection with his two brothers he founded the Elastic Starch company, at New Haven Conn., under the name of The J. C. Hubinger Bros.' Co., and at a later period opened another factory at Keokuk, Iowa, where he subsequently amassed a large fortune and became known as one of the most enterprising and public spirited citizens in the state.
In the west his interests are colossal, as well as the ventures which he has made successful; among his holdings being large tracts of real estate, improved and unimproved, in different parts of the western country.
He is owner of the Keokuk street railway system, the electric light plant and system, the Mississippi Valley Telephone company, capitalized at $2,225,000. This takes in a large number of cities in that section, and is the most dangerous and largest competitor of the Bell Telephone company in America, having over 10,000 telephone subscribers.
A man of rare executive ability, he finds time to personally direct the policy of all the enterprises in which he is interested, and at the same time to evolve many more brilliant schemes of a local nature, all of which are put through in a practical and successful way.
The magnitude of his transactions almost surpass belief; in the starch business they dispose of about 25,000,000 packages each year, the legitimate profits from which are enormous, and in other ways he handles not less than $3,000,000 annually.
His liberality is the marvel of the country in which he is known, and at his palatial home, overlooking the historic Mississippi river, he and his charming wife dispense a boundless hospitality to those fortunate enough to be their guests. All the luxuries and benefits that wealth can procure are there supplied, and an atmosphere of culture and refinement pervade the entire establishment.
Mr. Hubinger's family consists of himself, wife and four children, and while fond of promoting large enterprises, he is still fonder of the home circle and there spends all of his time that is not taken up by business cares.
-- Gue, B. F. Biographies and portraits of the progressive men of Iowa Des Moines : Conway & Shaw, 1899. Pages 256-257.
CHRONOLOGY
Born in March 1852 in New Orleans, LA.
Moved to Falmouth, KY, then to Keokuk, IA.
First jobs: laborer for Tim Ford, a railroad contractor; also a broom maker.
Moved to New Haven, CT.
Developed "Elastic" laundry starch in 1871, and sold it door to door by bicycle.
Joined by his two brothers, he founded the J.C. Hubinger Bros. Co.
Married Sadie Watts July 16, 1884.
Moved back to Keokuk in 1887 (1885?)
Established first Keokuk factory at 208 Main sometime after August 1887.
Built mansion on Grand Ave. Across the street was Hubinger Park.
Built a telephone exchange at Sixth and Blondeau; expanded during the 1890's.
Owner of the Keokuk Electric Railway System, the Electric Light and Power plant,
the Mississippi Valley Telephone Company, and many other investments.
Second marriage to Viola Miller in June 1896.
In 1900 business was so successful, he reopened the J.C. Hubinger Co. factory
on Bank St., introducing "Red Cross" and "Hubinger's Best" brand starches.
In the following years, however, the company went downhill as the use of
starch in clothing went out of style.
Died in near-poverty January 27, 1908 in a boarding house on High St.
Was buried in Oakland Cemetery, Keokuk, IA.
The Hubinger family sold the Keokuk starch factory in 1926; today, the
Hubinger company produces a wide variety of corn products including
starch, oil and syrup.
A couple of weeks ago I drank the kool-aid and bought myself some off-camera lighting equipment. Specifically, a pair of Pocket Wizards, an umbrella, a Super Clamp (two, actually; the second one is for this), a light stand (which is on backorder) and a couple of other miscellaneous things. It was an expensive week, but mostly because of the Pocket Wizards (which are pretty darn cool).
Anyway, this is the result. This is a photo of my SIG P229-R (chambered in .40 cal) with nightsights and a LaserMax sight. It's sitting on a piece of granite tile (purchased as scrap from a local store, which I got the idea for here).
Lighting was provided by a 430ex at full power (to bring out the detail in of the black anodized metal) on a Super Clamp attached a small stepladder (since the light stand is back ordered) with a 43" silver umbrella to my left. Just behind the piece of granite was a large (~24" by 36") piece of white construction paper to produce a small amount of backlighting and a clean reflection off the granite.
This was one of the most interesting photos of January 20th, 2007.
Geoffroy normally works with art formats like the EMERGENCY ROOM
to stimulate urgent expression by artist about today 's emergencies :
www.emergencyrooms.org/formats.html
www.colonel.dk contact : emergencyrooms@gmail.comThierry Geoffroy/ Colonel will be exhibiting in the museum Kunsthalle Mannheim from october 2018 part of the exhibition Konstruktion der Welt .Kunst und Ökonomie
Constructing the World: Art and Economy 1919-1939 and 2008-2018
10/12/18 to 02/03/19
Ten years after the peak of the global financial crisis in 2008, which profoundly shook the economic systems of America and Europe and had a lasting effect on present-day life, this topical exhibition is the first to illustrate the economy’s dramatic influence on art and to make global comparisons, demonstrating these in an analysis of two separate eras. Economic phenomena in the classical modernism of the 1920s and 30s are not only explored by focusing on art from the German Weimar Republic, the Soviet Union, and the United States, but also juxtaposed with artists of the present day.
Curatorial team: Dr. Eckhart Gillen (Berlin), Dr. Ulrike Lorenz, Dr. Sebastian Baden
Project Lead: Dr. Inge Herold, Assistence: Lisa Valentina Riedel, M. A. mult., Elisabeth Bohnet, M.A.
How does contemporary art reflect the world of work today? The catalogue for the second part of the exhibition Constructing the World at the Kunsthalle Mannheim takes a look at this question. The focus of it is primarily on artistic positions of the past decade that deal with the social, political, and economic effects of the most recent economic crisis after 2008. The works address and interrogate new production conditions and developments on the labor market as well as political conflicts. The accompanying publication provides fascinating insights into the diverse artistic positions.
Artists participating 2008-2018
Maja Bajevic - BBM (Observers of Operators of Machines) - Bureau d'Études - Claire Fontaine - Jacques Coetzer - Abraham Cruzvillegas - Szilárd Cseke - Chto Delat - Jeremy Deller - Simon Denny - Tatjana Doll - Harun Farocki & Antje Ehmann - Thierry Geoffroy - Andreas Gursky - Thomas Hirschhorn - Olaf Holzapfel - Sanja Iveković - Charles Lim Yi Yong - Maha Maamoun - José Antonio Vega Macotela - Tobias Rehberger - Oliver Ressler & Dario Azzellini - Mika Rottenberg - Superflex - Zefrey Throwell - Volume V - Maya Zack - Artur Żmijewski
Artists participating 1919-1939
Berenice Abbott - Gerd Arntz - Lester Thomas Beall - Thomas Hart Benton - George Biddle - John Biggers - Peter Blume - Margaret Bourke-White - Jacob Burck - Clarence Holbrook Carter - Charlie Chaplin - Ottilie Cieluszek - Ralston Crawford - Francis Hyman Criss - Stuart Davis - Alexander A. Deineka - Rudolf Dischinger - Otto Dix - Nikolaj A. Dolgorukow - Arthur Durston - Sergej M. Eisenstein - Fred Ellis - Walker Evans - Philip Evergood - Conrad Felixmüller - Hans Finsler - Max Gebhard - Hugo Gellert - John R. Grabach - Otto Griebel - William Gropper - Carl Grossberg - George Grosz - Hans Grundig - Kurt Günther - O. Louis Guglielmi - John Heartfield - Werner Heldt - Karl Hubbuch - Eric Johansson - Joe Jones - Grethe Jürgens - William Karp - Lewis W. Hine - Hannah Höch - Heinrich Hoerle - Edward Hopper - Hermann Otto Hoyer - Edward McKnight Kauffer - Gerhard Keil - Gustavs Klucis - Käthe Kollwitz - Pawel D. Korin - Valentina N. Kulagina - Wilhelm Lachnit - Fritz Lang - Wladimir W. Lebedew - Jack Levine - El Lissitzky - Arkadi Lobanow - Louis Lozowick - Sergej A. Lutschischkin - Reginald Marsh - Carl Mayer - László Moholy-Nagy - Dimitri Moor - Reinhold Nägele - Otto Nagel - Alice Neel - Oskar Nerlinger -Solomon B. Nikritin - Alice Lex-Nerlinger - Gerta Overbeck - Werner Peiner - Kusma S. Petrow-Wodkin - Juri I. Pimeno w - Natalia Pinus - Michail M. Plaksin - Jackson Pollock - Curt Querner - Climent N. Redko - Albert Renger-Patzsch - Serafima V. Rjangina - Alexander Rodtschenk o - Theodore Roszak - Walter Ruttmann - Leni Riefens tahl - Nikolaus Sagrekov - Alexander N. Samochwalow - Paul Sample - August Sander - Arkadi S. Schaichet - Rudolf Schlichter - Wilhelm Schnarrenberger - Georg Scholz - Franz Wilhelm Seiwert - Ben Shahn - Charles Sheeler - Georgi und Wladimir A. Stenberg - Warwara Stepanowa - Paul Strand - Miklos Suba - Ernst Thoms - Alexander G. Tyschler - Bumpei Usui - Konstantin A. Vialov - Karl Völker - Wladimir A. Wassiljew - Dsiga Wertow - Piotr W. Wiljams - Grant Wood - Gustav Wunderwald - Ekaterina S. Zernova - Heinrich Zille
www.colonel.dk contact : emergencyrooms@gmail.com
#artformats #artformat #formatart #biennale #biennalism #biennalecritic
#ARTIVISM #streetartist #politicalartist #activistartist #Epigrammatists #socialcommentary
#premonitionart #avantgardeart #inadvanceart #urbanartist #InstitutionalCritique
#artintime #onlineart
#toolate
thierry.geoffroy #thierrygeoffroy #artistrole
#biennalist #Biennalism #biennalecritic
#exhibition #contemporaryart #
#artandeconomy #kunsthallemannheim #museum #mannheim#thierrygeoffroycolonel
#kuma #kumamuseum
faizakhalida.blogspot.com.br/2009/01/em-2009-o-subsecreta...
Durante o período de férias, após a mudança de governo municipal com a posse do novo prefeito de Belford Roxo Alcides Rolim do PT (Partido dos Trabalhadores) e novo secretário municipal de educação William Campos, eu me dirigia até a secretaria de educação para tentar dar ciência ao novo governo municipal e ao novo secretário que eu me encontrava sem condições de trabalho pelos problemas de saúde, sociais e administrativos. Que eu me encontrava sob cuidados médicos desde março de 2008 com indicação de me manter afastada do trabalho. E que, segundo a médica que me avaliava, sem resolução da situação de estresse dificilmente haveria resolução do quadro apresentado.
PARTE DO PROCESSO DE 2003 escrito à mão COM ASSINATURA E MATRÍCULAS MUNICIPAIS. "... Peço a Prefeitura que custeie para mim um tratamento Psicológico e Psiquiátrico pois sei que não me encontro mais, depois de tudo isso, no meu senso normal ..." from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
O secretário de educação William Campos nunca podia me atender. Na primeira vez, no dia 9 de janeiro de 2009 quem ouviu os meus relatos foi a subsecretária de educação Joana D'arc que também atendia pelo nome de Joelma e era esposa do outro subsecretário de educação Miguel de Sousa Ramiro. O subsecretário Miguel de Sousa Ramiro também ao lado dela participou do nosso encontro ouvindo tudo atentamente. O outro subsecretário de educação Clayton apareceu na sala para nos observar e me deu um tchauzinho. A senhora subsecretária Joana D'arc anotou o meu nome e as escolas municipais onde eu estava lotada no seu caderno e pediu que eu ordenasse melhor os relatos, grampeasse e fizesse constar a ciência ao secretário municipal de educação William Campos.
Data 10 de julho de 2003 registro dos sintomas psiquiátricos no trabalho da rede municipal de educação de Belford Roxo. (Doença do trabalho na Prefeitura Municipal de Belford Roxo e sintomas depressivos). Relatos de discriminação em processos de 2003. de Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
No dia 14 de janeiro de 2009 a subsecretária Joana D'arc me confirmou ter entregado e encaminhado o meu quadro para o secretário de Educação William Campos. Mas o secretário William Campos nunca me atendeu.
20/08/2007 - A Sra Faiza Khálida apresentava tristeza, falta de prazer nas atividades, choro fácil, irritabilidade, impaciência com os alunos (era professora), insônia, ansiedade, cefaleias frequentes E DIFICULDADES PARA CUMPRIR SUAS TAREFAS NO TRABALHO from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Uma funcionária pública da Prefeitura municipal de Belford Roxo que havia trabalhado comigo na primeira escola de 1995 a 2002 e ficou sabendo da situação em que eu me encontrava, mais uma vez precisando de ajuda, me ligou muito preocupada comigo e querendo me ajudar disse que era para eu ir com ela até a secretaria municipal de educação de Belford Roxo com o LAUDO MÉDICO que a MÉDICA PSIQUIÁTRICA que me tratava desde 16/05/2008 havia me dado de DOENÇAS MENTAIS influenciadas por PROBLEMAS SOCIAIS e referentes ao meu TRABALHO. Esse anjo que apareceu para tentar me ajudar foi a Creusa, funcionária de apoio da secretaria da escola municipal São Bento.
SEGUNDA FOLHA DO REGISTRO DO CAPS DE DUQUE DE CAXIAS (17/07/2003) MEDICAMENTO DOSE DIÁRIA - DIAGNÓSTICO SINDRÔMICO - ENCAMINHAMENTO - ASSINATURA DA MÉDICA PSIQUIATRA TÉCNICA - CRM E CONFERÊNCIA COM O DOCUMENTO ORIGINAL. ADOECIMENTO PSÍQUICO FAIZA KHÁLIDA. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Assim eu me encontrei com a Creusa na casa dela e fomos juntas até a secretaria municipal de educação de Belford Roxo (SEMED) onde mostramos o LAUDO MÉDICO para diversos funcionários da secretaria de educação. Por fim fomos levadas ao subsecretário Miguel de Souza Ramiro.
Era desrespeitada no exercício da minha função, dava aulas sendo chamada de viado, discriminada, me jogavam terra. Os alunos realizaram manifestação na Escola, na SEMED e ao vereador local pedindo o meu retorno à Escola, que me aceitassem (04/2743/03) from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
A MÉDICA PSIQUIÁTRICA CLÍNICA ATESTOU PARA FINS DE COMPROVAÇÃO JUNTO À PREFEITURA MUNICIPAL DE BELFORD ROXO que eu me encontrava sob os seus cuidados médicos desde maio de 2008 por motivo de DOENÇA.
Fui humilhada muitas vezes. Tem muita gente que tem ódio de homossexual e o preconceito é muito grande nas escolas. Eu sendo professora não aguentei. É um ambiente doentio. (Professora em processo transexualizador Faiza Khálida) - 04 de junho de 2003 from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
A médica atestou que O MEU QUADRO PSIQUIÁTRICO é grandemente influenciado por PROBLEMAS SOCIAIS E REFERENTES AO MEU TRABALHO PELO FATO DE NÃO HAVER ACEITAÇÃO DA MINHA CONDIÇÃO SEXUAL E TODAS AS SITUAÇÕES QUE DAÍ DECORREM.
FOLHA 03 DO PROCESSO ADMINISTRATIVO 04/2743/03 - Fiquei perturbada, fragilizada, desorientada, com os nervos pronto pra explodir, paranoica, EM DEPRESSÃO com as pessoas que ficavam me chamando de Xxxxxxxxx debochando da minha sexualidade - Discriminação de Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
A médica atestou que O MEU QUADRO PSIQUIÁTRICO APRESENTADO DIFICILMENTE SERIA RESOLVIDO SE NÃO HOUVESSE A RESOLUÇÃO DESTA SITUAÇÃO DE ESTRESSE.
O relatório criminoso discriminatório da diretora Vera Lúcia Castelar de 2002 sobre meu desempenho técnico usado para me excluir da Escola Municipal São Bento foi assinado apenas por 2 pessoas que não exerciam na Escola funções de nível superior. de Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
A MÉDICA ATESTOU QUE EU APRESENTAVA A CAPACIDADE LABORATIVA E SOCIAL BASTANTE PREJUDICADA.
Devido à intensificação de transtornos de ordem psicológica, no ano de 2008 a usuária Faiza Khálida faltou sucessivamente. A usuária Faiza Khálida desde maio de 2008 encontrava-se sob os cuidados da médica psiquiatra Dra. - RIO SEM HOMOFOBIA from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
A MÉDICA AVALIAVA A NECESSIDADE DE AFASTAMENTO DO TRABALHO DESDE O INÍCIO DO MEU TRATAMENTO EM 16/05/2008.
Marcelino santos de araújo (mat. 17994) ofendia professora transexual na internet. Foi descoberto pela delegacia de crimes virtuais . Ele é funcionário público municipal de Belford Roxo no cargo de eletricista de baixa tensão. de Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
O subsecretário de educação nos garantiu que ele mesmo resolveria os meus problemas através do envio da frequência pela condição médica e DISCRIMINAÇÃO no trabalho. O subsecretário Miguel constatou que 21 processos meus continuavam com NOME e SEXO MASCULINOS, que eu nunca havia conseguido tirar uma licença prêmio e os 90 dias de férias que tinha direito por ter estado em período de férias a disposição do Juiz. O funcionário da secretaria de educação confirmou ao subsecretário Miguel que sabia que o meu nome e sexo nos registros já deveria ter sido alterado desde 2005. Naquele momento uma outra funcionária da secretaria de educação de Belford Roxo que era loira e tinha um cargo relacionado a área jurídica disse para mim e Creusa palavras muito confortadoras e bonitas contra a situação de preconceito.
Seu prenome masculino sempre lhe causou muito constrangimento, sobretudo atualmente, após a operação de reversão sexual. Seu prenome causa constante ridicularização sendo fonte de risos, chacotas e discriminação. (2005 DEFENSORIA PÚBLICA Faiza Khalida) from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Duas semanas depois, com a nomeação do supervisor educacional e consultor jurídico Jorge Silva (mat. 54368) como assessor jurídico da Secretaria de Educação de Belford Roxo, por telefone, o subsecretário Miguel de Sousa Ramiro disse que se esqueceu de tudo que ele havia prometido para mim e a Creusa, inclusive do LAUDO MÉDICO PSIQUIÁTRICO que ele havia tomado ciência. O subsecretário Miguel me disse que ele só faria o que o Jorge Silva mandasse ele fazer e passou o telefone celular dele para o Jorge Silva. Eu fiquei completamente descontrolada e bati boca com o Jorge Silva por telefone. Uma das coisas que eu me lembro que o Jorge Silva me falou ao telefone era que eu deveria comparecer na Secretaria Municipal de Belford Roxo na próxima segunda-feira onde eu seria exposta para a TV Globo como uma professora faltosa.
O Formulário de Referência do Centro Psiquiátrico do Rio de Janeiro consta de processos administrativos de 2003 da professora Faiza Khálida arquivados pela Procuradoria Municipal de Belford Roxo. de Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
No dia 05 de maio, na porta da sala do secretário de educação William Campos, me disseram como sempre que ele não poderia falar comigo. Desta vez a desculpa é que ele não estaria lá e sim ele estaria em Curitiba. O Jornal de Hoje publicou uma foto do secretário de educação de Belford Roxo William Campos lá na SEMED (secretaria municipal de educação) nesse dia relatando o encontro dele com várias pessoas. Eu nunca consegui conversar com ele.
FOTO: Secretário de Educação William Campos se encontrando com pessoas no dia 05/05/2009
www.jornalhoje.inf.br/bxd4.htm
FOLHA 05 - PROCESSO 04/3977/06 - Esse diretor já me fez passar por inúmeros constrangimentos ... sempre usando brincadeiras ridículas perante as pessoas debochando da minha sexualidade e inclusive me proibia de trabalhar de saia ou vestido de Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Em 8 de maio de 2009 a portaria SEMED número 36 designou comissão de sindicância para apurar o EXTRAVIO DE OFÍCIOS E PROCESSOS NA SECRETARIA MUNICIPAL DE EDUCAÇÃO DE BELFORD ROXO (SEMED). O artigo primeiro designou a abertura de sindicância a fim de buscar o Ofício número 165 que formulava a resposta ao Ofício número 73/SEMED/2009 referente a servidora Faiza Khálida Fagundes Coutinho. A comissão de sindicância era composta pelos servidores Antônio Carlos Lustosa (presidente) matrícula número 10/14714, Valéria Claudia Santos S.da Silva, matrícula número 10/5580 e Joelma Milão de Lemos, matrícula número 10/147/27, para sob a presidência do primeiro, constituírem a respectiva comissão. Esta portaria teria entrado em vigor em 12 de maio de 2009 e os trabalhos desta comissão deveriam estar concluídos em até 30 dias.
Preciso ser respeitada em meus direitos como pessoa e funcionária pública - FOLHA 06 - PROCESSO 04/3977/06 - Professora transexual Faiza Khálida Fagundes Coutinho da Escola Municipal Jorge Ayres de Lima EM BELFORD ROXO - Data Entrada: 23/10/2006 de Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
De primeiro de janeiro até o mês de abril de 2009 eu gastava em vão horas de ligações telefônicas falando com todos os setores que eu conseguia da Prefeitura Municipal de Belford Roxo (Gabinete do Prefeito, Procuradoria Municipal, Secretaria de Administração, Recursos Humanos, subsecretários e funcionários da SEMED). Eu não recebia mais pagamento, nenhum centavo sequer, nem mesmo um centavo de auxílio transporte, da passagem do ônibus, do triênio ou do quinquênio. Não recebia nenhum dinheiro para comprar meus remédios ou comer. Eu não recebia mais contracheque, não tinha livro de ponto para assinar, turmas para trabalhar e tarefas para cumprir. Ficava isolada na Escola Municipal Jorge Ayres de Lima. Até o dia 04/06/2009 às 9:24:46 permaneci nessa situação.
Usuária Faiza Khálida Fagundes Coutinho - "a pressão social e o constrangimento sofridos fizeram com que apresentasse sintomas de depressão, relatados pela psiquiatra no prontuário da usuária, e este fato a fez deixar de comparecer ao trabalho". IEDE from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Além de me sentir humilhada, eu sentia o estresse, mal-estar, pressão alta, medo de ser assassinada, temores, pânicos, tristeza, inseguranças, desesperança, apatia, prostração, depressão, irritação, desespero, nervosismo, insônia, revolta, vontade de morrer, vontade de me matar, descontrole emocional e psíquico, perda do senso crítico e da realidade, confusão mental, visões sobrenaturais, experiências místicas, alegrias extremas, explosões de êxtase, etc.
A sua especial condição de transexual lhe trazia inúmeros dissabores aos quais não lhe era dado suportar, injúria, agrura e constrangimento ilegal sofridos. Faiza passou a apresentar depressão, comportamento delirante persecutório e sintomas psicóticos from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Em um dia, após vivência de intensa agonia, sofrimento e audições persecutórias perturbadoras, cheguei a ver o Espírito Santo no alto do céu como uma águia enorme que veio até onde eu estava onde eu moro e Deus fez uma aliança comigo.
(Professora Faiza Khálida Fagundes Coutinho - Prefeitura Municipal de Belford Roxo, matrículas 5508 e 14725, Identidade 09089680-4, CPF 024114147-81)
Bendito é o preciosíssimo sangue do Senhor Jesus Cristo.
Jesus é o caminho.
Louvado seja o Senhor Jesus Cristo para sempre.
CLICAR ABAIXO PARA LER SOBRE:
1- Em processo administrativo de 2003 eu pedi para que a Prefeitura Municipal de Belford Roxo custeasse um tratamento Psicológico e Psiquiátrico para mim alegando que eu não me encontrava mais depois de tudo que havia passado no serviço público da rede de educação em condições de desempenhar minhas funções equilibradamente, mas eu não fui atendida. No mesmo parágrafo do processo de 2003 arquivado pela Procuradoria do Município, eu registrei "que inúmeras vezes me encontrava chorando e relembrando esses tristes episódios no trabalho que não conseguia mais tirá-los da minha cabeça sentindo um vazio muito grande e outros sintomas psiquiátricos que não conseguia explicar pedindo em nome do Senhor Jesus Cristo ajuda médica ".
2- Minha doença profissional começou em 2002 quando inclusive fui ameaçada de morte. Em 2003 após conseguir procurar ajuda médica passei a fazer uso de remédios psicotrópicos para conseguir exercer minhas funções como professora da rede municipal de Belford Roxo.
3- Após ser novamente ameaçada de morte em 2007 pela orientadora pedagógica que disse que eu tinha que sair da escola por ser transexual e que me perseguia, voltei a ter agravamento de quadro psicológico e emocional.
4- Em meio ao contexto de perseguição meus 2 aparelhos de som que eu utilizava para dar aulas foram roubados ao mesmo tempo nas 2 escolas municipais de Belford Roxo em que eu lecionava.
5- Mais um evento traumático comigo ficou impune devido ao meu estado de abatimento, apatia e inércia. Eu fui retirada à força de dentro do banheiro feminino da Prefeitura e jogada no chão da escada por aproximadamente 8 guardas-municipais a mando do subsecretário Paulo Allevato.
6- Procurador-geral Lorival Almeida de Oliveira mentiu dizendo que eu recebi cópia de processo para me defender. Não me permitiram tirar cópia nem ler o processo que me puniu.
7- Em maio de 2008 a médica psiquiátrica verificou que dificilmente haveria SOLUÇÃO do meu QUADRO DE DEPRESSÃO porque NÃO HAVIA RESOLUÇÃO DOS PROBLEMAS SOCIAIS referentes ao meu trabalho que me estressavam.
8- O suicídio era um dos pensamentos diários. Os remédios não faziam o efeito.
9- Orientadora pedagógica se mobilizava para me tirar da escola e me prejudicava. Vivenciava exclusão e isolamento.
10- Secretaria de Educação e Procuradoria Municipal de Belford Roxo abafavam o problema da discriminação.
11- Meu estado psicológico e mental era ignorado como que me ver mal e transtornada fosse justamente o que se desejasse.
12- Funcionários públicos municipais de Belford Roxo desrespeitavam a identidade de gênero de mulheres travestis e transexuais.
13- Procuradores de Belford Roxo e Agentes de Inquérito Administrativo ignoravam o preconceito, o processo transexualizador, o uso de medicações psicotrópicas, hormônios e alterações bioquímas e hormonais.
14- Os danos ocasionados pelo relatório técnico de 2002 e procedimento administrativo decorrente nunca foram resolvidos.
15- Relatório técnico de conhecimento de supervisores educacionais de Belford Roxo que posteriormente sumiu e foi anunciado como inexistente foi usado para me ameaçar e impedir que eu acessasse, permanecesse e trabalhasse em escola que lecionava a 8 anos.
16- Os problemas ocasionados pelo relatório técnico e procedimento administrativo decorrente nunca foram resolvidos. (PARTE 2)
17- O RELATÓRIO SOBRE O II CONSELHO DE CLASSE DE 2007 NA ESCOLA MUNICIPAL JORGE AYRES DE LIMA FEITO PELA ORIENTADORA PEDAGÓGICA CONCEIÇÃO COM O OBJETIVO discriminatório DE ME PREJUDICAR.
18- A PREFEITURA MUNICIPAL DE BELFORD ROXO, A PROCURADORIA MUNICIPAL E A SECRETARIA DE EDUCAÇÃO NUNCA ADMITIAM EM PUNIÇÃO, OCORRÊNCIA, RELATOS, RELATÓRIOS, PROCEDIMENTOS ADMINISTRATIVOS E INQUÉRITOS, INCLUSIVE OS QUE ME DEMITIRAM DEFINITIVAMENTE DO FUNCIONALISMO PÚBLICO MUNICIPAL, QUE EU ATRAVESSAVA TANTO UM PROCESSO BIOQUÍMICO DIÁRIO QUE AFETAVA TODA A MINHA MENTE E TODO O MEU CORPO COMO TAMBÉM ATRAVESSAVA UMA REALIDADE QUE ME CAUSAVA SOFRIMENTO.
19- Procuradora de Belford Roxo DÉBORA FERNANDES CORDEIRO PINTO (matrícula 80/28.585) também ligada a igreja evangélica recusou por 2 vezes o meu pedido de readmissão. FOI CURTA E GROSSA. NÃO COMENTOU SOBRE O LAUDO MÉDICO APRESENTADO. NÃO SE INTERESSOU EM AVERIGUAR O QUADRO PSIQUIÁTRICO. NÃO FEZ REFERÊNCIA AOS PROBLEMAS SOCIAIS E AO PRECONCEITO NO TRABALHO. IGNOROU TUDO SIMPLESMENTE.
20- Não condene alguém com transtorno bipolar com sintomas psicóticos no mundo do trabalho. É o que eu posso ensinar às pessoas para que o mundo seja um pouco melhor diante do quadro em que eu vivi no meu emprego de professora concursada e efetiva da Prefeitura Municipal de Belford Roxo.
21- O Ato de Demissão nas 2 matrículas em 2010.
22- Defesa de inquéritos e procedimentos administrativos, e disciplinares referentes a professora em processo transexualizador Faiza Khálida.
Depressão não é covardia
Bipolaridade não é frescura
Ansiedade não é falta de trabalho
Preconceito também precisa de tratamento
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Old Crow Tattoo and Gallery presents Stand Tall Pt.II: No Ceilings !
New Heights in Urban Contemporary Art
2 OPENING RECEPTIONS, 2 VENUES, 2 DAYS
Alot's happened since the last "Stand Tall" and as we move closer to 2012. We wanted to do it again, one last time....
Sooo here it is on March 4th and 5th, bigger and better with 60 of our favorite artists, covering a wide range of mediums and disciplines.
"Stand Tall" and in essence, is a conceptual installation show, where each artist has a 3ft x 9ft of wall space to exhibit whatever however they see fit. This show is meant to give each artist full liberty to create within a confined area. The concept allows for a visceral gallery presentation and also individual grace and focus from artist to artist.
Stand Tall Pt.II promises all the visual beauty of last years show but this time we'll be working with Photographer's, Skate Artists, Street Artists of all types, Visionary artists and of course Tattooists as well as accomplished fine artists to create a more dynamic event for everyone involved. We really cant say enough about the group of artists participating in this show. If you not familiar with any of they're work follow the links and get familiar.
JAPANTHER will be headlining the event and performing on Friday night @ Addis Habana. This will be a very special performance as they are also exhibiting in the show. This will be a rare time to see the artwork of JAPANTHER along with the music.
Mortar and Pestle will be playing @ Old Crow Tattoo and Gallery on Friday along with other surprises.
Daniel Yasmin w/ special guests will be playing live on Saturday evening.
Hosted by Philip Milic in the house he created.
We really hope you can attend this show, bring yourself and your friends both nights. This is a good one.
2 Venues, 2 Nights, Stand Tall Pt.II
Artist List
John Felix Arnold III / David Young V
felixthethirdrock.com/
ATWA
www.asiaartnow.com/EXHIBITIONS/2010-09-10/94.html
BDS (Terms, Deadeyes, Safety 1st, Ash Rose)
blackdiamondsshining.tumblr.com/
Lupo Avanti / Salem
Krescent Carasso
John Casey / Nathaniel Parsons / Obi Kaufmann / Dave Higgins
bunnywax.wordpress.com/
obikaufmann.wordpress.com/
dwhiggins.com/
nathanielparsons.com/
Chez
goldenwesttattoo.com/gallery/brush
Ken Davis
Deuce 7
www.flickr.com/groups/422469@N20/
Max Ehrman
maxehrman.carbonmade.com/
ESK
Oliver Fader / Ken Goto
1amsf.com/2010/02/24/the-city-artist-spotlight-oliver-fader/
Kristin Farr / Jeff Meadows
theclumsymonkey.com/
Gaia
gaiastreetart.com/
KenyG / AKO
akotheemptyobjects.blogspot.com/
Hyde
www.flickr.com/photos/hydester/
Ian and Matt from Japanther
japanther.com/
Jae54
Kathyrn Ka June
Junre / Abno / Dr.Sex
blog.ironlak.com/2011/01/video-jurne-dement-twigs-enron-m...
Koleo
Lango
Andre Malcolm
Jet Martinez / Kelly Ording
www.jetromartinez.com/index.htm
Philip Milic
Optimist
Ootheca / Marin Camille
www.thrivingink.com/blog/new-art-ootheca-shop
www.marincamille.com/statements.html
Parskid
Ian Ross
Satyr / Robert Bowen
Kola Shobo
kaysjay.zenfolio.com/
Siloette
Snowmonkey
www.flickr.com/photos/46463607@N04/4418735381/in/set-7215...
Swype
humblebeginningstattoo.com/artists.html
Smuggler
Smear
theartofsmear.com/home.html
Weirdo
Xavi
Kid Yellow / Henry Gunderson
kidyellow.com/
Vulcan
If you missed last year and wanna see what this year might be like check this link...
oaktownart.com/2010/04/12/the-stylistic-confides-of-lowbr...
Old Crow Tattoo and Gallery
362 Grand Ave.
Addis Habana
366 Grand Ave.
soundimageplus.blogspot.com/2011/01/editing.html
Panasonic GH1 20mm f/1.7
Shot in 16:9 crop mode
Worcester and Birmingham Canal Hanbury Worcestershire
Please respect copyright! All images are protected under UK copyright law and the Berne international copyright convention and are visibly and/or invisibly watermarked. No images are within the public domain. images may not be reproduced, copied, used or altered in any way, by any method, without written permission
[for the full Inauguration story, visit my blog]
My first instinct was to exit Union Station and to head directly toward the Mall. It was about 9:30 am at this point, and the shindig apparently started up at about 10pm. Just like on Sunday, I knew I wouldn’t get a crème de la crème location… and yet for some reason I thought I could just beeline straight toward the Mall? What was I thinking??
Sure enough, heading down Louisiana Avenue NW, we soon came to a roadblock at 1st Street NW. We turned right to head up First Street, since that would take us away from the Mall… that’s a smart idea, right? Surely there’d be fewer crowds! Well, our little segment of 1st Street approaching D Street was only about 300 feet long. It took an hour to get off that block.
The problems were many. Firstly, our block along First Street had people trying to get away from the roadblock (like us) heading northward. Then there were people with tickets to get those choice seats on the Mall; they were heading southward. I think we actually did a decent job of separating ourselves by the “keep right” method.
Then there were the people approaching the pending 1st & D St. intersection… they were coming westward from along D Street. Most of these people were trying to turn left… to head south… either to join the ticket line or just thinking that they could get closer to the Mall. They came head-to-head with our line trying to go eastward on D Street. Further north on 1st Street and further west on D Street were both not going to work – they were just as packed and immobile as our present situation.
Ambulances were approaching from the north and west, all trying to go eastward on D Street… the complicated matters. For a brief moment we were able to fill into the wake of a motorcycle going our direction, but others had the same idea & we didn’t get particularly far with that. People (civilians, soldiers, police, fire personnel… everyone) were up on concrete barriers shouting and pointing in all directions, providing little assistance. Citizens hoping to help clear things up were shouting out orders in direct conflict with those coming from officials… and then they’d suddenly reverse and shout an opposite order… and then they’d reverse again… both citizens and officials were doing this. I think the head-to-head crowds kind of flustered everyone there.
So it took an hour to get through. During this time, however, I came to identify a particular personality which would be prevalent the entire day: that of absolute kindness & excitement. In these sorts of situations, you often get a couple people pushing hard on the crowd… with one exception, we didn’t have that at all; and that one exception soon stopped when the crowd recoiled against them & proved that it wasn’t about to move any faster. Also in such crowds, those little tiny pushes that almost everyone makes on the person in front of them tends to add up – really making a powerful force on those in front… we really didn’t have that, either, except right at the very end where we freed up.
Details about pushing aside, the comradery was what really made things stand out. People were generally upbeat the whole way through, making brief acquaintances with those beside them – even if just for a fleeting moment before someone would get a chance to shift two steps away, out of vocal range. This optimistic sentiment lasted throughout the day: it was crowded, it was cold, and people were being forced to march horrendous distances… but that was the happiest I’ve ever seen people at any point in my 25 and a half years on this planet.
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
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.
SALKANTAY TREK TO MACHU PICCHU
5 DAYS - 4 NIGHTS
SALKANTAY TREK TO MACHU PICCHU
5 DAYS - 4 NIGHTS
The amazing Salkantay trek to Machupicchu is one of the famous treks in Cusco and the best alternative route to get to Machupicchu. It is takes you through different types of landscapes from the typical Andean landscape up to the snowcapped mountains and down to the tropical forests and finally gets you into the jungle, Salkantay trek named among the 25 best Treks in the World, by National Geographic Adventure Travel Magazine
If you are thinking to do a hiking trip to Machupicchu and you want to be off of the beaten path and be in touch with the nature; Salkantay trek is the best option. Hiking 75 kilometers = 46 miles and reaching the famous Apacheta (mountain offerings) pass 4621masl = 15160ft which is the highest point of the Salkantay trek: enjoying the amazing view during the hike from Mollepata town to Soraypampa base camp at knee of the Umantay mountain. Then to go up to the highest point to enjoy the view of outstanding snow-capped Salkantay mount. This was one of the most important Apus in the Inca period! Then you are going dawn to Chaullay through the beautiful scenery and then go to Santa Teresa to jump into the natural and medicinal hot spring. And finally we reach to Aguas Calientes town for overnight in the hotel and the last day of your adventure you will get up too early to be the firsts ones up in Machupicchu and enjoy the sunrise.
OVERVIEW
Highlight: Hiking alongside the magnificent Apu Salkantay and then arriving at the ruins of Machu Picchu.
Location: The Salkantay trek begins 3 hours driving to the west of Cusco, Peru. We pass the village of Mollepata and begin hiking at Marcocasa.
Duration: 5 days/ 4 nights
Starting point: cusco
Ending point: cusco
Level: Moderate to Challenging
Adventure Rating: Given the new restrictions on the Inca trail, Salkantay is the second most popular hike in the region and some of the campsites are less remote than on other trails.
Modality: Trekking, Archaeological and Cultural
Ideal for: Adventure Seekers, Couples, Friends, Nature Lovers, and Intrepid People
Altitude: 2,800 masl to 4,650 masl
Inca Trail alternative: Yes, the Salkantay trek is an excellent option.
Departure Dates: Daily departures
All private service departure dates are adapted to your request
Trekkers Wanted: If you wish to join a group tour, please see Trekkers Wanted.You can also form your own tour to be advertised on this page maximum group size 10.
ITINERARY - SALKANTAY TREK TO MACHU PICCHU 5 DAYS - 4 NIGHTS
DAY 1: Cusco - Mollepata - Marcocasa - Soraypampa.
We will pick you up from your hotel in Cusco from 5: 00 am to 5:30 am to go by bus to Mollepata. Begin a spectacular scenic drive through the Anta plains with beautiful and panoramic views of the majestic Salkantay and other mountains covered with snow, and the Valley of Apurimac River. After two and a half hours drive we stop in Mollepata to have breakfast for last minute supplies, leg-stretching or to use the bathrooms, before continuing to Marcocasa. There we will meet with our support staff. They will load the equipment on horses and mules. Around 9:30 a.m. we will star our trek toward Soraypampa (3900 meters above sea level) if we keep a regular pace we will take 4 hours approximately to reach to Soraypampa the first camp site where will have lunch after lunch in the afternoon we have an option to go up to Umantay lake (4200masl) which takes 3 hours hike back and forth from the camp to see the glacier lake of Umantay. But if we keep slow pace; we will have lunch at halfway between Soraypampa and Marco Casa maybe after 3 hours of hiking. And after that we hike two a half hours more to Soraypampa. Anyway our camp is going be at Soraypampa. Sleeping tents will be ready and we will have a warm delicious dinner in the evening.
Meals: Lunch, Dinner.
Overnight: Soraypampa in the tents.
Maximum Altitude: 3850 masl.
Minimum Altitude: 2850 masl.
Hiking distance: 14 km approx.
DAY 2: Soraypampa - Salkantay Pass - Huayramachay – Chaullay
Today early in the morning we will wake you up with the coca tea. Around 6:00 we will have a nutritious breakfast around 7:00 am we will start the hardest day of the whole Salkantay trek; we will be walking up to the highest point of the trek. After 6 kilometers uphill through the magnificent scenery of Rocky Mountains and enjoying the view of Salkantay mount. We reach the top of the trek. We will appreciate spectacular views of the mountains and the imposing snowy peaks of the Salkantay (6264 meters above sea level) which is known as the second highest mountain of the Cusco region. After 2 hours downhill around 1:00 p.m. we will have our delicious Peruvian lunch, in the area called Huayracmachay. Then we continue our hike to Chaullay approximately 3 hours of downhill we will get to our camp in Chaullay = 2900 masl Where we will have the sleeping tents ready. Around 7: 00 pm we will have dinner to recover energy from the trek.
Meals: Breakfast, Lunch, Dinner.
Overnight: Chaullay in the tents.
Maximum Altitude: 4650 masl.
Minimum Altitude: 2920 masl.
hiking distance: 20km to Chaullay.
DAY 3: Chaullay - Collpapampa - La Playa - Santa Teresa (Cola de Mono Campsite)
Around 7:30 am; we will start our trek to La Playa through the Santa Teresa valley. We will hike 6 hours approximately during the hike will see: water fall, orchids, coffee, banana, avocado plantations and we will taste the famous passion fruit or granadilla and also we will see a village call Colpapampa also call the “forest cloudy brow” where waterfalls, thermal hot springs, fruit-bearing trees, varied flora, and birds can be observed. If we are lucky, we will be able to see the famous bird called “the Cock of the Rocks”. After lunch at La playa, we will catch a local transportation to Santa Teresa. Where will have an overnight at “cola de mono” campsite. We are the only trekking company allow camping there. In the afternoon we may go to Santa Teresa´s hot spring to enjoy it. Then back at the campsite for happy hours and dinner.
Meals: Breakfast, Lunch, Dinner.
Overnight: Santa Teresa “cola de mono campsite” in the tents.
Maximum Altitude: 2920 masl.
Minimum Altitude: 1600 masl.
Hiking distance: 15km approx.
DAY 4: Santa Teresa (Cola de Mono Campsite) - Hidroeléctrica - Aguas Calientes
After of our delicious breakfast we are going to walk approximately 7 hours. Around 8:30 a.m. we start our trek to Colpani village we will have the opportunity to see coca farms, mandarin, orange and yucca. And a lovely view of the Santa Teresa Valley. We follow along the riverside of Vilcanota River until arrive to the Oroya (cable bridge) then we keep going to Hidroelectrica where will have our lunch. After lunch we going to walk along the train track but on the base of Machupicchu and Waynapicchu Mountain from the way we will see Machupicchu. After two a half hours hike we will be at Aguas Calientes town: base town of Machupicchu for overnight in the hotel and dinner at the local restaurant.
Meals: Breakfast, Lunch, Dinner.
Overnight: in Aguas Calientes at the hotel which included in the package.
Maximum Altitude: 2350 masl.
Minimum Altitude: 2000 masl.
Hiking distance: 18 km approx.
DAY 5: Aguas Calientes - Machu Picchu - Ollantaytambo – Cusco
Today early in the morning after breakfast at the hotel you will be able to choose between. Walk up to Machupicchu. Or take bus up to Machupicchu. Any way we will be the first ones into Machupicchu to enjoy the sunrise and you will have two a half hours guided tour. Then you will have the free time to explore Machupicchu by yourselves or if you desire, ascent toward the Huaynapicchu Mountain. Or climb to Machupicchu montaña. After Machupicchu you are going back to Aguas Calientes to take a train to Ollantaytambo and from there by bus back to Cusco. The bus drops you off at your hotel in Cusco.
Meals: Breakfast.
WHAT IS INCLUDED?
Pre-departure briefing at the office in Cusco
Collection from your hotel in the morning and transfer in private transportation to Marcocasa (starting point of the trek).
Personal tents: 2 people in each 4-people-capacity tent, to allow for higher comfort and a safe keeping of backpacks. Our tents are 3-season, highly maintained to ensure an excellent performance in field. Kailas, Pro Aconcagua and Rei 4 Outfitter tents are employed when double accommodation is requested.
One sleeping pad per person.
1 Blanket. Or Liner.
One pillow per person.
Dining tent with tables and chairs
Kitchen tent
English speaking professional and official tourist guide (2 guides for groups of over 10 people)
1 night accommodation in Aguas Calientes
Chef and cooking equipment
Pack animals (to carry tents, food and cooking equipment) – days 1 to 4
Pack animals to carry personal gear up to a maximum of 7kg per person (including sleeping pad and sleeping bag) – days 1 to 4
1 emergency horse every 8 persons – days 1 to 3
Accommodation for all our staff
Meals (4B, 4L, 4D + daily morning snack + daily tea service except last day). Vegetarian or special menus are available at no extra cost
One textile snack bag per person, to avoid the usage of plastic bags that contaminate our environment
Boiled filtered water every day since the first lunch. For your water bottles.
Bio-degradable personal hand soaps
Bio-degradable dishwashing detergents used by our kitchen staff
Others: hot water every morning and evening for washing purposes / boiled water to fill in your water bottle every morning and night, and at lunch time if requested with enough time ahead
First-aid kit including emergency oxygen bottle
Machupicchu entrance fee
One way bus ticket from Aguas Calientes to Machupicchu on day 4
Expedition Train from Aguas Calientes to Cusco. Upgrade to Vistadome or Hiram Bingham service, availability upon request.
Transfer from train station to the hotel in Cusco
24-h guest service: please ask for the emergency number available during your time of visit.
WHAT IS NOT INCLUDED?
First breakfast on day one.
Lunch on the last day after the guided tour at Machu Picchu
Walking Sticks
Sleeping bag: you may rent it from us. Our sleeping bags are -20ºC-comfort (0ºF), mummy form and include a sleeping liner. They are cleaned after every use and have a maximum usage of 30 trips.
OPTIONAL AND RENTALS
Extra night in Aguas Calientes $50 (or email us for alternate options). We will just need to arrange your train back to Cusco for the following day.
Please tell us before final booking process.
Personal horse and horsemen for riding or carrying extra personal belongings while on the trek.
Extra cost is $80 for the trek.
Therma-rest inflatable sleeping pad rent: US$ 5.00 per day
Entrance to the Hot Springs in Santa Teresa.
www.huffingtonpost.com/visit-florida/a-banyan-tree-and-th...
The tree came to the inventor’s Fort Myers winter home in 1925, a four-foot Ficus benghalenis producing white sap that Edison and his friends Henry Ford and Harvey Firestone hoped to use in making natural rubber.
The banyan was not the answer. But it remained, growing to an acre in diameter, and becoming one of more than 1,000 plants from around the world ornamenting 25 acres dedicated mostly to the man who invented the electric light bulb, the phonograph and the motion picture.
Fifteen historic buildings stand in graceful restorative pose, including the Edisons’ home and guest house, a botanic research laboratory, an artesian-fed swimming pool dating to 1911, and Ford’s winter home. The combined Edison and Ford estates, museum, laboratory, and shops are open 363 days a year, closed only on Thanksgiving and Christmas Day.
The botanical specimens, many of them labeled for easy identification, offer shade for strollers - and sometimes a touch of the exotic. It is not every day one sees an African sausage tree bearing hot-dog shaped fruit.
Edison, of course, is more extensively associated with his inventions. He held more than 1,000 United States patents, and he submitted patent paperwork for a record 65 consecutive years. Among his lesser known creations: the talking doll, the electric train, alkaline batteries, a fruit preserver, and a stencil pen, the grandfather of today’s tattoo stylus.
“Really cool,” said Aaron Summers, a visitor from San Diego. “I didn’t realize how many patents Edison actually had.”
A 15,000-square-foot, air-conditioned museum details the world’s busiest inventor’s extraordinary career, which stretched from 1869 - when he was 22 years old - virtually to 1931, the year he died.
Among hundreds of items and documents in the museum is Edison’s original custom Model T, a gift from Ford. A more personal artifact is the frame Edison built for the phonograph he was devising. Hard of hearing, Edison rigged the phonograph to the frame, which he would bite to feel vibrations and “hear” the music. The wizard’s teeth marks are visible in the wood.
The museum’s newest exhibit chronicles the camping adventures of Edison, Ford, Firestone and turn-of-the-century naturalist and environmental writer John Burroughs. The “vagabonds,” as they referred to themselves, camped throughout Florida and the United States.
Also on display is “Edison After 40,” an exhibit on loan from the Smithsonian Institution. It includes images from Edison’s middle and later years. In counterpoint, “The Child Wizard” shows early images of Edison as a youth, as captured in Michael Dooling’s award-winning book, Young Thomas Edison.
And not to be missed are the entertainment artifacts: phonographs, movie projectors, nickelodeons and films.
“I learned a lot of new things. So many inventions. I loved the phonographic demonstrations,” said Susan Wood, who is from England.
More than 200,000 visitors per year come to the property, where Edison and his family spent winter seasons starting in 1885. For $2,750, the inventor bought the property from the family of Jacob Summerlin, a legendary Florida cowman known as the King of the Crackers.
“This house is a dream . . . and we are living in Fairyland,” Edison’s wife Mina wrote of the Florida retreat, which was dubbed “Seminole Lodge.” At its edge, the broad Caloosahatchee River whispers against a restored limestone-and-coquina seawall.
Edison was perhaps “green” before the word became fashionable. Some of his words on the subject are posted in the museum: “I’d put my money on the sun and solar energy. What a source of power! I hope we don’t have to wait until oil and coal run out before we tackle that.” Edison wrote that in 1931.
Ford bought property next door to his mentor in 1916. As a youth, the motor company founder worked at an Edison company in Detroit. The budding auto magnate used his spare time tinkering with gas-powered engines. The two entrepreneurs met at a convention in 1896, and Edison encouraged the younger man. The two proved to be kindred spirits. The automaker purchased property next to Edison in 1916, naming it “The Mangoes.”
The entrepreneurs spent hours sitting on their porches, discussing projects, planning trips to the Everglades, listening to Mina play the piano, and perhaps playing Parcheesi, Edison’s favorite game.
“It was interesting to learn how good of friends they actually were,” said Eric Rye, visiting from Sarasota.
Guests had to stay in line, though. The Edisons had seven rules, one in particular noting that discretion was important: “Don’t fail to retire to your room for part of each day - so that the family may squabble without embarrassment.”
— By Jon Wilson, VISIT FLORIDA
Pasting from Copley Motorcars:
• • • • •
1967, Austin Mini Moke
Exterior color
White
Interior color
blue/white
Mileage
.
Price
incoming
The ultimate island car! 850cc 4 cylinder engine, 4 speed manual transmission, left hand drive, 4 passenger, removable soft top, just serviced and ready for those trips for ice cream.
• • • • •
Pasting from Wikipedia: Mini Moke:
• • • • •
The Mini Moke is a vehicle based on the Mini and designed for the British Motor Corporation (BMC) by Sir Alec Issigonis.[2] The name comes from "Mini"—the car with which the Moke shares many parts—and "Moke", which is an archaic dialect term for donkey.[3][4][5]
The initial design was a prototype for a light military vehicle in the style of the American Jeep, but its small wheels and low ground clearance made it impractical as an off-road vehicle. It was subsequently offered in a civilian version as a low-cost, easily maintained utility vehicle. The Moke finally achieved success as a beach buggy—becoming a popular 'cult' vehicle in the Seychelles, Australia, the United States and many tropical resorts in the Caribbean. The original Moke used identical engine, transmission and suspension parts to the basic Mini.[6][7]
Mokes were first built at the Morris factory in Oxford before production moved to BMC's Longbridge, Birmingham plant, and eventually overseas. 14,500 Mokes were produced in the UK between 1964 and 1968, 26,000 in Australia between 1966 and 1981, and 10,000 in Portugal between 1980 and 1993 when production of the Moke ended.[4]
www.nytimes.com/2009/11/22/opinion/22rich.html?_r=1&a...
Sarah Palin's political appeal has never had anything to do with facts — or coherent policy positions. The more she is attacked for not being in possession of pointy-headed erudition, the more powerful she becomes as an avatar of the anti-elite cause. As Rich Lowry, the editor of National Review, has correctly observed, “She represents less a philosophical strain on the right than an affect and a demographic.”
That demographic is white and non-urban: Just look at the stops and the faces on her carefully calibrated book tour. The affect is emotional — the angry air of grievance that emerged first at her campaign rallies in 2008, with their shrieked threats to Obama, and that has since resurfaced in the Hitler-fixated “tea party” movement (which she endorses in her book).
It’s a politics of victimization and sloganeering with no policy solutions required beyond the conservative mantra of No Taxes. Its standard-bearer can make stuff up with impunity: “Thanks, but no thanks on that bridge to nowhere”; Obama’s palling around with terrorists”; health care “death panels.”
. . . But no matter how much Palin tries to pass for “center-right,” she’s unlikely to fool that vast pool of voters left, right and center who have already written her off as unqualified for the White House. The G.O.P. establishment knows this, and is frightened. The demographic that Palin attracts is in decline; there’s no way the math of her fan base adds up to an Electoral College victory.
Culture is politics. Palin is at the red-hot center of age-old American resentments that have boiled up both from the ascent of our first black president and from the intractability of the Great Recession for those Americans who haven’t benefited from bailouts. As Palin thrives on the ire of the left, so she does from the disdain of Republican leaders who, with a condescension rivaling the sexism they decry in liberals, belittle her as a lightweight or instruct her to eat think-tank spinach.
The only person who can derail Palin is Palin herself. Should she not self-destruct, she will doom G.O.P. hopes of a 2012 comeback.
But the rest of the country cannot rest easy. The rage out there is larger than Palin and defies partisan labeling. . . . If Obama can’t tamp down that rage across the political map, Palin will at the very least pave the way for a demagogue with less baggage to pick up her torch.
Column by Frank Rich
www.miamiherald.com/opinion/other-views/story/1344558.html by Cal Thomas
The Palin phenomenon offers an opportunity for conservatives to choose their path to the future. Will it be a path of the angry and disenfranchised outsider, or will it be something of substance that produces triumphs in both politics and policy?
The victim thing is getting old.
Conservatives have a significant presence in virtually every venue they like to denounce. That includes government and especially the media. Talk radio rules, and the rulers are conservatives. Fox News Channel dominates the ratings.
. . . Victimization plays well with the conservative base and that's a problem. If conservatives don't rise from the muck of feeling excluded, disrespected, ignored and mocked, they will continue to suffer all of these things. There is nothing like proving the worth of your ideas to put the mockers in their place. Victimization can raise money, sell books and get one face time on TV, but it doesn't advance the ball.
www.thenation.com/doc/20091130/blumenthal
www.theaustralian.com.au/news/opinion/saint-sarah-republi...
funproducer.com/insurance-rates-changing-personal-factors... Rates Changing Personal Factors
Insurance rates can be different for different persons.Even these rates can be change for the family members as well.It can depend on the company policy,countries trends and many of the other circumstances which effects the insurance rates and related fields if insurance.
insurance-rates-changing-personal-factors (1)
Crashing dollar
insurance-rates-changing-personal-factors (2)
A anchorman afresh asked Edmunds about the kinds of claimed advice that can affect the bulk of car insurance. She aswell capital to apperceive whether humans could do annihilation to abode claimed factors that were befitting their car allowance ante high.Vehicle insurance.
They’re acceptable questions, and Edmunds was blessed to advice acknowledgment them. During the analysis it became bright that if it comes to car insurance, there’s hardly annihilation that isn’t personal. Actuality are 5 all-about-you factors that can affect your car allowance premium:
1: Your active profile.
Such factors as the bulk of afar you drive annually and your blow and admission history are above elements in ambience your allowance rate. The beneath you drive, the beneath blow of an blow and a claim. Safer active acceptation a history chargeless of accidents and affective violations .Car Insurance Australia.aswell credibility to anyone who’s beneath acceptable to book a claim.
2:The car you drive.
Car allowance premiums are based in allotment on the car’s sticker price, the bulk to adjustment it, its all-embracing assurance almanac and the likelihood of theft, according to the Allowance Advice Institute. The bulk of acclimation a aboriginal $225,000 2010 Ferrari 458 Italia is traveling to be a lot added than the adjustment costs for a acclimated $17,000 Nissan Altima. The exceptional will reflect this.
3: Your capital claimed information
including your age, action and area you live. Each of these things factors into the action of ambience your allowance bulk because allowance companies abject their premiums on actuarial advice about drivers. They attending for patterns of claims action a part of humans like you. A boyish boy is acceptable to accept a college allowance bulk than a middle-aged driver, because statistically, boyish boys accept added accidents than do 40-year-olds.Car Insurance Australia.
Your action can play a role if it affects how abundant active you do. Work that involves lots of afar on the road, such as an alfresco sales job, can affect rates. From the allowance company’s point of view, the added afar you drive agency added blow of an accident.
Insurance companies aswell attending at area you live. They clue bounded trends of accidents, car thefts, lawsuits and the bulk of medical affliction and car repair, according to the Allowance Advice Institute.
4: The advantage you choose
The added advantage you accept and the lower the deductible you set, the added you’ll pay.
5:Your acclaim score
Some allowance companies use acclaim array as a agency in ambience rates. This convenance is advancing beneath attack, however, with seven states in 2010 casual regulations apropos the use of acclaim advice in insurance. In 2011, several added accompaniment legislatures alien bills to adapt the practice.
Actuarial studies appearance that how a getting manages his or her banking diplomacy is an authentic augur of the bulk and Car Insurance Australia.admeasurement of allowance claims he or she ability file, according to the Allowance Advice Institute.
If you wish to lower your allowance costs, you can’t change your age, or calmly change your job or hometown. But there are some claimed changes you can make:
1:Accede pay-as-you-drive insurance
It’s a paradox, but the added claimed you get, the bigger your ante ability be. Pay-as-you-drive programs action bigger ante because they’re tailored to how you alone drive — as adjoin to the humans who are agnate to you in agreement of age or added changeless factors.
This agency that a jailbait who is an accomplished disciplinarian — who doesn’t speed, doesn’t drive at night and doesn’t drive abounding afar — can get a bigger bulk than the boilerplate teenager, whose actuarial contour pegs him as a greater risk, based on the blow history for humans his age.
Pay-as-you-drive affairs accept altered configurations, depending on the allowance aggregation and state. Some crave that you install a telematics accessory that transmits advice about your absolute active (such as speed, breadth and braking patterns) to the allowance company. Others, such as affairs acceptable in California, Car Insurance Quotes.alone are based on the bulk of afar you drive, not how you drive.
2:Be a calmer, added accurate driver
If you’ve had dispatch tickets in the past, boldness to change from getting a speedy, advancing disciplinarian to a calm one. A ancillary anniversary is that you’ll save money on gasoline. Edmunds testing has aswell apparent that a calm active appearance gets you 35 percent bigger ammunition economy.
3:Accept a car with a lower bulk of ownership
Edmunds has a True Bulk to Own (TCO) apparatus that lets you admeasurement up cars if you’re shopping. It takes into anniversary eight apparatus — depreciation, absorption on financing, taxes and fees, allowance premiums, fuel, maintenance, aliment and any federal tax acclaim that may be accessible — and tells you what your bulk would be over 5 years. It’s a way to get a examination of what your allowance premiums ability be. Also, allocution to your allowance aggregation if you’re car arcade to get a adduce on how your best will affect your insurance. If you delay until the accord is done, you’ve absent a adventitious to administer your costs.Car Insurance Australia.
4: Change your coverage
Don’t go for every alarm and blare in an auto allowance policy. If you’re accommodating to pay a hardly college deductible, you can wind up extenuative big on your rates. Traveling from a $250 to a $1,000 deductible could save you 25-40 percent on your policy. Set abreast a allocation of these funds to awning your costs in the accident of a claim.
If you accept an earlier car with absolute and blow coverage, you ability acquisition yourself paying added in allowance than the car is worth. One tip: Take your absolute and blow premiums and add those up. Multiply by 10. If your car is account beneath than that amount, don’t buy the coverage. If you’re afraid about getting larboard overexposed, accede this: The archetypal policyholder makes a affirmation alone already every 11 years, and letters a absolute accident alone already every 50 years.
5:Explore discounts for which you ability be qualified
The options accessible cover discounts for low-mileage drivers, for seniors and for cars with anti-theft accessories and assertive assurance devices. It’s a diffuse account — just ask your insurer about any discounts, and go from there.
6: Clean up your credit
Keep it in acceptable appearance by paying bills on time and by consistently blockage that there are no items on your history that do not accord to you. You can get chargeless anniversary acclaim address checks here.
Is there claimed advice that doesn’t matter? Gender, one able told us. Allowance companies don’t affliction if you’re changeable or macho as continued as you’re a safe driver. And it’s a allegory that red cars accept college allowance ante than those antic added sedate shades, according to the Allowance Advice Institute. Ultimately, allowance companies affliction about how acceptable it is that a accurate disciplinarian would end up authoritative or causing a cher affirmation adjoin them. Green is the alone blush that matters.
Read more: funproducer.com/insurance-rates-changing-personal-factors...
BIENNALIST @ Venice Biennale
www.emergencyrooms.org/biennalist.html
by www.colonel.dk and www.emergencyrooms.org
www.emergencyrooms.org/formats.html about other art format
------------about Venice Biennale history from wikipedia ---------
The Venice Biennale in English also called the "Venice Biennial") refers to an arts organization based in Venice
The Art Biennale, a contemporary visual art exhibition and so called because it is held biennially
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
In 2011, the countries were Albania, Andorra, Argentina, Australia, Austria, Azerbaijan, Bangladesh, Belarus, Belgium, Brazil, Bulgaria, Canada, Chile, China, Congo, Costa Rica, Croatia, Cuba, Cyprus, Czech and Slovak Republics, Denmark, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia, Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore, Slovenia, South Africa, Spain, Sweden, Switzerland, Syrian Arab Republic, Taiwan, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Wales and Zimbabwe. In addition to this there are two collective pavilions: Central Asia Pavilion and Istituto Italo-Latino Americano. In 2013, ten new participant countries developed national pavilions for the Biennale: Angola, the Bahamas, Bahrain, the Ivory Coast, Kosovo, Kuwait, the Maldives, Paraguay, Tuvalu, and the Holy See. In 2015, five new participant countries developed pavilions for the Biennale: Grenada [4], Republic of Mozambique, Republic of Seychelles, Mauritius and Mongolia. In 2017, three countries participated in the Art Biennale for the first time: Antigua & Barbuda, Kiribati, and Nigeria.[29]
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#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
, Photographic Source
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation
Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artist