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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
[Source]
By March 1890, the B&O [Baltimore & Ohio Railroad] line between St. George and Cranford Jct. was open to traffic.
By February 1896, the B&O found itself bankrupt. While paying dearly to reach New York, the B&O had neglected its western lines that were now in poor condition. In an attempt to refinance, J. P. Morgan intervened and replaced B&O’s top management. By 1900, the B&O was put under the control of the Pennsylvania Railroad, which made a number of improvements to the road. The PRR allowed the newly-developed New Jersey, New York and Staten Island properties to remain intact. For a short while in 1900 the SIRT operated a B&O connection passenger train from St. George to Plainfield, NJ Within a few years the B&O was profitable again and emerged from PRR control as a stronger railroad.
By the 1910’s, Staten Island was showing its shortcomings in handling B&O freight. Both Arlington and St. George Yards were choked with cars, many awaiting car float transport to West 26th Street and other connections around the harbor. To ease the load on Staten Island by 1912, the B&O again ran through freight into Jersey City on the Jersey Central. Staten Island would continue to be used as well and developed a heavy coal trade for the B&O. Staten Island’s deep water piers never generated traffic of the size experienced along the East and Hudson Rivers except in wartime.
As WW I developed, US railroads were put under the management of the USRA. In April 1918, B&O passenger trains were routed directly into Pennsylvania Station in New York. The move was mandated by the U.S.R.A. to ease the heavy traffic strain on the PRR as the B&O was underutilized.
During 1925 and 1926 Staten Island’s line saw a few experimental B&O passenger runs made to consider options. However, the long boat ride to Manhattan from Staten Island was not favorable for speed. From this point onward, the B&O resolved that if it could not compete with PRR passenger service on the basis of time to Washington, they would better it with quality.
B&O crews did not operate into Staten Island. SIRT crews handled all the traffic to and from Cranford Jct. During WW II, the SIRT exclusively handled all east coast military hospital trains. The Stapleton piers were designated for hospital ship docking. New York was the only east coast Port of Call for European Theatre hospital ships. The hospital trains ran through to their inland connections via Cranford Jct. Some stopped at Arlington to transfer wounded servicemen to a large military hospital on Staten Island. Troop movements, POW trains and war materiel as well crossed the Arthur Kill to and from Cranford Jct. and their appointed destinations. This kept the five mile stretch of B&O track in Union County N. J. busy and shiny. In 1944, the B&O conveyed its Baltimore & New York Railway property to the Staten Island Rapid Transit and dissolved the B&NY The SIRT worked this line with its own as well as assigned B&O locomotives since it was opened in 1890.
Before, during WW II and after, there were a number of special trains beyond the troop movements that were handled by the B&O over its New Jersey track to Staten Island. One pre-war train was a special for Winston Churchill, taking him to a ship at Stapleton for one of his many Atlantic crossings. SIRT provided a shined-up locomotive, sporting polished rods, white driver tires and a white-uniformed engine crew for that movement.
The very last SIRT special was for Queen Elizabeth II and Prince Philip of England on October 21, 1957. They traveled by rail from a state meeting with President Eisenhower in Washington DC to New York and a ride on the Staten Island Ferry. Their trains (press and royal) left Washington the evening of October 20 for Camp Kilmer New Jersey, traveling over the B&O and Reading Company. The movement was similar to a POTUS (President of the US) with extremely high security and secrecy.
Both trains reached the Camp via Reading’s Port Reading Branch. At the Camp, the trains were reconfigured by dropping the two leading diesel units of each, leaving one unit each for the next part of the trip to Staten Island. This was done for passing over the Arthur Kill swing bridge which had a limited load capacity. The two lead diesel sets were then taken to Cranford Junction via the Reading and Jersey Central to await return of the equipment from Staten Island.
On Monday, October 21 at 6 AM, the 10 car press train left Camp Kilmer over the Lehigh Valley to Staten Island Junction and the SIRT. Exactly one hour later, the 11 car heavy-weight Pullman-equipped royal train followed. Both specials rolled directly and non-stop into a freight yard at Stapleton. It was specially cleaned up for the occasion as was the motorcade’s route along Bay Street to St. George Ferry Terminal. As soon as the Queen’s motorcade left the yard, an SIRT switcher took each train back to Cranford Junction, hauling them in reverse. From Cranford, the equipment of both trains dead-headed to Baltimore early that afternoon.
After WW II, railroads declined in importance, efficiency and traffic. Highway construction aided the decline and the water barriers around New York were making the car float and lighterage business an expensive proposition for the railroads. Equipment was aging across the board for the B&O as well as other lines. On April 26, 1958, the B&O ran its last passenger trains to New York and out of Jersey City. All was typical, full B&O service right to the end. The next day, all B&O rolling stock at Jersey City was assembled into long trains of up to 30 or more passenger and express cars and deadheaded to Baltimore.
In November 1957, an Esso oil tanker collided with the old Arthur Kill bridge, knocking it off its central pivot. With the bridge rendered useless, the B&O immediately transferred all Staten Island freight to Jersey City. Car floats were used to bring Staten Island rail traffic back to St. George. By 1959, a new 558 foot single track vertical lift span replaced the old swing bridge. It is the longest of its type in the U.S. Along with the new bridge, the entire line from Cranford Jct to Arlington Yard was re-laid with new, heavier rail. A three mile branch line was extended from Gulf Port to Travis, along Staten Island’s west shore. This was done for unit coal trains coming from West Virginia to service a new Consolidated Edison power plant. Even late in the 1950’s, the B&O continued to invest in its New Jersey and Staten Island holdings.
By 1973, the Jersey Central closed its car float yard at Jersey City. The B&O then moved its car float freight back to St. George on Staten Island. In September 1979, this car float operation was taken over by the New York Dock Railway and was terminated in 1980. The St. George Yard was essentially abandoned, except for servicing a few isolated Staten Island industries still using rail service.
The interline tariff routing arrangement used by B&O/Chessie to reach New Jersey and New York was ended by Conrail in the early 1980’s, leaving the line completely out of the New Jersey freight market. In April 1985, the operating rights for the tracks between Cranford Jct to St. George were sold to the Delaware-Otsego Corp. of Cooperstown, NY.
Staten Island’s operation had been reduced to one isolated crew working four or five days a week. By October, 1989, the Delaware-Otsego Corp. embargoed the Staten Island North Shore line between Elm Park and St. George. The track in New Jersey was also put out of use for a while following a fire from a box car standing on a wood trestle near the Exxon Refinery. By 1990, all rail freight service to and from Staten Island ceased.
www.bangalorebreakdown.com/music.html
At Joe's Pub with Bangalore Breakdown.
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Play the music, not the instrument. ~Author Unknown
***
“Any great art work … revives and readapts time and space, and the measure of its success is the extent to which it makes you an inhabitant of that world - the extent to which it invites you in and lets you breathe its strange, special air.”
― Leonard Bernstein
***
"You are the music while the music lasts. "
-T.S. Eliot
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"Music is Magic. Magic is Life"
-Jimi Hendrix
(part of an unfinished song discovered after his death)
***
www.flickr.com/photos/42514297@N04/sets/72157632988389457...
View “A Life Of Music - to be cont.'d ...(with GRATITUDE!)” slideshow
www.flickr.com/photos/42514297@N04/sets/72157635185040413...
View “Photos for Media” slideshow
For both: Click on 'Show info' to see captions w' slideshow – Click on ‘Options’ to control speed
For slow “animated” slideshows click the double rectangle at the top right side of "set"- album page of choice.
__________
World / Jazz / Experimental / Improv / East-West / Ambient / Pop
PREMIK RUSSELL TUBBS
Looking for music for your film or project? Let’s talk...
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__________________
Contact/Listen
www.emusic.com/album/premik/mission-transcendence/10884302/
en.wikipedia.org/wiki/Premik_Russell_Tubbs
New music coming soon!
__________________
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Premik, a composer, arranger, producer and an accomplished multi-instrumentalist performs on various flutes, soprano, alto and tenor saxophones, wind synthesizers, and lap steel guitar.
Premik has worked with everyone from Carlos Santana, Whitney Houston, Herbie Hancock, John McLaughlin, Ravi Shankar, Narada Michael Walden, Clarence Clemons, Ornette Coleman, Jackson Browne, Jean-Luc Ponty, Lonnie Liston-Smith, Scarlet Riveria, James Taylor, Sting and Lady Gaga, just to name a few. He is equally adept in pop, R&B, jazz, world and experimental genres.
Sax solos on #1 Hits -: “How Will I Know” (Whitney Houston) and “Baby, Come To Me” (Regina Belle).
Premik's first major recording breakthrough was with John McLaughlin and the Mahavishnu Orchestra on the album“Visions of the Emerald Beyond.” Premik was a major part of the landmark Carlos Santana album "The Swing of Delight" which featured Herbie Hancock as co-arranger and co-musical director. Also featured were Wayne Shorter, Tony Williams, Ron Carter and several members of the Santana band.
www.premik.com/recordings/discography/
New music coming soon!
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YouTube -DEVADIP CARLOS SANTANA ~~ HANNIBAL ~~ 1980
Russel Tubbs, saxo
Devadip Santana, guitar
All photos LIFE Magazine
www.youtube.com/watch?v=lv_jsp_43h0
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Most recent recordings and projects:
In 2012 Premik recorded with 2011 Grammy nominee vocalist and composer Chandrika Krishnamurthy Tandon. 'Over 75 musicians came together to record the album in the US and India combining ancient traditional instruments like the rhumba, calypso, ektara, dugdugi and esraj with saxophone, banjo and piano to transcend musical boundaries.'
www.indianexpress.com/news/chandrika-tandons-new-album-in...
Sound Samples: www.amazon.com/Soul-March-Chandrika-Krishnamurthy-Tandon/...
www.cdbaby.com/cd/chandrikakrishnamurthyta2 Check out "JOG"
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Recording projects in 2010-2012 with Grammy award-winning producer and founder of Windham Hill Records Will Ackerman include albums by Fiona Jay Hawkins, Shambhu, Dean Boland, Rebecca Harrold, Ronnda Cadle and Masako.
Will Ackerman: ...‘The criteria for who works here go way past simple talent. Imaginary Road is my home and I’m only letting wonderful people into my home. I don’t care how talented you are; if you’re not able to wear your heart on your sleeve don’t bother to turn up. We use Keith Carlock (Sting and Steeley Dan) as a drummer too along with Arron Sterling (John Mayer and Sheryl Crow). Only last year I met Premik Russel Tubbs who plays sax and wind synths for us.
‘Premik has become part of the family...'
www.newagemusicworld.com/will-ackerman-interview-new-in-2...
imaginaryroadstudios.com/
*****
Premik plays on both of these albums
Winners in 2013
10th Annual ZMR Awards
Album: Masako
Artist: Masako M. Kumano
Award Category- Best New Artist
Premk with Masako: played wind synth on Secret Path to Point Reyes (track 3)
Album: Dreaming of Now Best
Artist: Shambhu
Award Category: Contemporary Instrumental Album
Premik with Shambhu: alto flute on Dreaming of Now (track 4) and wind synth on Jasmine (track 10)
www.zonemusicreporter.com/admin/2013award_finalists.asp
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Premik recorded with Heidi Breyer and accompanied her at the ZMR Awards 2013, staged in New Orleans.
www.zonemusicreporter.com/admin/performers.asp
ZMR Awards 2013 -Best Instrumental Album – Piano - “Beyond the Turning” - Heidi Breyer - Winterhall Records, produced at Synchrosonic Productions by Grammy winner Corin Nelsen. www.heidibreyer.com/
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New Age / Ambient / World Top 100 Radio Chart
ZoneMusicReporter.com
Top 100 Radio Play - #1 Top Recordings for January 2014
Title: Call of the Mountains - Artist: Masako
www.zonemusicreporter.com/charts/top100.asp
Premik plays wind synth on tracks 4 "Watching the Clouds", & 9 "Purple Indulgence".
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Premik, in conjunction with jazz pianist Uli Geissendoerfer heads Bangalore Breakdown, an exciting, world music ensemble. They released their first CD, titled Diary, in 2008. In the words of noted Jazz author Bill Milkowski: Is it world music? Is it jazz? Is it some kind of new uncategorizable fusion that hasn’t yet been labeled?
Sound samples here: www.bangalorebreakdown.com/music.html
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Premik and Uli Geissendoerfer will soon be releasing their own collaborative duo CD titled Passport to 'Happyness' (yes, happiness with a 'y'') www.ulimusic.com
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Premik will soon be featured in Carman Moore's Cd “Concerto for Ornette” in which Premik will play the orchestral solo saxophone part. Premik is also the featured saxophonist with SKYBAND on its recording of Carman Moore’s “DON AND BEA IN LOVE,” a fantasy concept album roughly about the intense Renaissance love between Dante and Beatrice which, in part, takes place in outer space! Carman Moore is a 2013 Guggenheim Fellowship winner. www.carmanmoore.com
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Premik’s ‘Journey To Light Ensemble’
Sound is East/West, jazz., a journey....
With Premik Russell Tubbs (saxpohones, flutes, lap steel, wind synth),
Dave Phelps (guitar),
Leigh Stuart (cello),
Nathan Peck (upright & electric bass),
www.alexskolnick.com/biography-nathan-peck/
Todd Isler (drums, percussion)
Naren Budakar (tabla)
www.sooryadance.com/html/Milan/naren.htm
Watch for a Journey To Light Ensemble album to be released in 2014
****
TriBeCaStan
Premik (saxophones, flutes, lap steel, wind synth)
***
Performing in:
25th Anniversary of the Rainforest Fund Benefit Concert
Thursday, April 17, 2014
Carnegie Hall
Stern Auditorium / Perelman Stage
7 PM
www.carnegiehall.org/Calendar/2014/4/17/0700/PM/25th-Anni...
***
Premik Russell Tubbs - solo with the London Royal Philharmonic -YouTube
And Premik is performng in SINGING THE OCEANS ALIVE CONCERT WITH THE ROYAL PHILHARMONIC CONCERT ORCHESTRA LONDON, ENGLAND APRIL 25, 2014
YouTube
'The first youtube appearance of my performance with the Royal Philharmonic Orchestra @ Fairfeild Hall in Croydon, England on April 25th. The piece is called "Apla Kathar". The main melody was composed by Sri Chinmoy & orchestrated by Vapushtara Matthijs Jongepier.' -Premik
www.youtube.com/watch?v=cQxnO3Da8rc
****
Premik will guest and record with the Five Toe Dragon
Premik Russell Tubbs with the Five Toed Dragon @ the BeanRunner Cafe 04/18/2014
YouTubes 4-18-2014
www.youtube.com/watch?v=spkxaVteX08 Set 2 0f 2
www.youtube.com/watch?v=JSI-ZwekM-Y Set 1 of 2
The sound of the Five Toed Dragon can be described as electro-acoustic featuring a distinctly original blend of styles from jazz, classical and ethnic music.
J. ERIC JOHNSON
F. CARTER HOODLESS
BRIAN LEE
Regular guest artists will include Charles Burnham/violin and Premik Russell Tubbs/ saxophones, fultes, wind synth
All are long time members Carman Moore ’s the Incredible Skyband and/or Skymusic Ensemble.
Carman Moore is a 2013 Guggenheim Fellowship winner.
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BeanRunner Cafe
A wonderful venue!
Owners Ted and Drew are true champions of the arts.
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Using Flickr – if not signed in (may differ if signed in)
1. www.flickr.com/photos/42514297@N04/sets/72157632988389457...
-Slideshow – Album Set, A Life Of Music - to be cont'd. ...(with GRATITUDE!)
(Click above link and once in the SLIDESHOW click on (upper right) 'Options' to control speed & Show Info’ to see captions w' slideshow
2. To the right of any photo – click upon the oval icon with Premik’s photo to go to the full page of all photos posted (the ‘Photostream’) or the X in the upper right corner to return to the full page of the Set album you are in
3. Click the small rectangle icon to the right of the full album ‘set’ page to see the SLOW ‘ANIMATED’ slideshow of photos within the album
4. To see individual photos –just click on any photo you would like to see from the full page. Caption will appear to the right
5. Scroll down the caption until you see small thumbnail sized photos – click the 3 dots directly under these photos- Click on ‘Download / All sizes’ to see photo enlarged
This will allow you to enlarge the photo you are viewing (or click to see as a slideshow as in #1.)
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Description stolen from the internets...
The Owens-Thomas House is located at 124 Abercorn Street in Savannah, Georgia.
The Owens-Thomas House was designed by William Jay, a young architect from England. Construction started in 1816, and was completed in 1819. The home's first owner was Richard Richardson, a wealthy banker and cotton merchant. He only lived there for three years, when he had some financial troubles and lost the house.
Mrs. Mary Maxwell was the home's next owner. She lived there for eight years, and rented out rooms to people visiting the city. One of her most famous guests was the Marquis de Lafayette, a Revolutionary War hero from France. He addressed the city from the house on March 19, 1825.
In 1830, the house was purchased by George Welshman Owens for $10,000. Owens was a lawyer, congressman, and mayor of Savannah. His family owned the house until 1951.
In 1951 Margaret Thomas, George Owens's granddaughter, donated the house to the Telfair Museum of Art. The house has been operated as a museum ever since then.
In addition to the home's rich history, it also has its own ghost story. Many believe that the ghost of Margaret Thomas resides at the house. She always loved caring for her garden, and today many visitors have seen a ghostly lady walking through the garden at night. Her ghost is also seen in the house's parlor, sometimes looking out the window.
Our site 21infantry.co.uk/
21infantry.co.uk/equipment.html
Facebook www.facebook.com/21infanterie/
Twitter twitter.com/21st_Infantry?ref_src=twsrc%5Etfw&ref_url...
The 21.Infanterie Division Living History Society, a non-profit living history society located in the UK. We are a collection of WWII historians and German vehicle enthusiasts that endeavour to keep the memories, sights, sounds, and smells of the late war 1944-1945 period alive.
Along with military historians and WW2 hobbyists, we also have within the society a collection of German wartime vehicle enthusiasts who are extremely active in various restoration projects throughout the year
The 21st Infantry Division is a WW2 living history Society was established 2014. Although We are nationally based group with experienced reenactors from all over the UK we are fortunate to have a home which is The Lincolnsfields Forties experience Museum,Bushey, Hertfordshire, a unique, hands on, WW2 living history attraction located at the site of the WW2 operational HQ of the USAAF 8th Fighter Command.
We are collectors and enthusiasts who provide authoritative and professional living-history displays for the public, as well as recreation battlefield scenarios and overnight tactical events for all members.
What we do? We are an extremely busy group which is active all year round. We aim to hold at least one event per month for members to get together such as below..
Film & TV Walk Ons
WW2 Film & TV Vehicles (action Vehicles)
Film & TV Extras
Professional photography
Public WW2 Events
WW2 prop construction
Period vehicle restoration
WW2 Airsoft events
Private Battle Weekends
Bushey Hall 1940's Museum open days (Monthly)
Our members therefore wear historically accurate uniforms, operate authentic or original vehicles,weaponry and equipment, and research the “day-to-day” life of the German Soldier on the eastern front - so as to correctly inform the audience.
The group is experienced in providing a professional body of extras for film and television.We aim to provide projects with a body of men complete with 100% realistic uniforms, weapons,equipment, vehicles and more importantly mindset.
Mémoire2cité il existe de nos jours, de nombreux photographes qui privilégient la qualité artistique de leurs travaux cartophiles. A vous de découvrir ces artistes inconnus aujourd’hui, mais qui seront peut-être les grands noms de demain. archipostcard.blogspot.com/search?updated-max=2009-02-13T... - museedelacartepostale.fr/periode-semi-moderne/ - archipostalecarte.blogspot.com/ - museedelacartepostale.fr/blog/ - museedelacartepostale.fr/exposition-permanente/ - www.queenslandplaces.com.au/category/headwords/brisbane-c... - collection-jfm.fr/t/cartes-postales-anciennes/france#.XGe... - www.cparama.com/forum/la-collection-de-cpa-f1.html - www.dauphinomaniac.org/Cartespostales/Francaises/Cartes_F... - furtho.tumblr.com/archive
le Logement Collectif* 50,60,70's, dans tous ses états..Histoire & Mémoire d'H.L.M. de Copropriété Renouvellement Urbain-Réha-NPNRU., twitter.com/Memoire2cite tout içi sig.ville.gouv.fr/atlas/ZUS/ - media/InaEdu01827/la-creatio" rel="noreferrer nofollow">fresques.ina.fr/jalons/fiche-media/InaEdu01827/la-creatio Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,
www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije : mécanisation, rationalisation et élaboration industrielle de la production. Des exemples concrets sont présentés afin d'illustrer l'utilisation des différentes innovations : les coffrages outils, coffrage glissant, le tunnel, des procédés pour accélérer le durcissement du béton. Le procédé dit de coffrage glissant est illustré sur le chantier des tours Pablo Picasso à Nanterre. Le principe est de s'affranchir des échafaudages : le coffrage épouse le contour du bâtiment, il s'élève avec la construction et permet de réaliser simultanément l'ensemble des murs verticaux. Au centre du plancher de travail, une grue distribue en continu le ferraillage et le béton. Sur un tel chantier les ouvriers se relaient 24h / 24 , www.dailymotion.com/video/xwytke?playlist=x34ije , www.dailymotion.com/video/x1bci6m?playlist=x34ije
Le reportage se penche ensuite sur la préfabrication en usine. Ces procédés de préfabrication en usine selon le commentaire sont bien adaptés aux pays en voie de développement, cela est illustré dans le reportage par une réalisation en Libye à Benghazi. Dans la course à l'allégement des matériaux un procédé l'isola béton est présenté. Un chapitre sur la construction métallique explique les avantage de ce procédé. La fabrication de composants ouvre de nouvelles perspectives à l'industrie du bâtiment.
Lieux géographiques : la Grande Borne 91, le Vaudreuil 27, Avoriaz, Avenue de Flandres à Paris, tours Picasso à Nanterre, vues de la défense, Benghazi Libye
www.dailymotion.com/playlist/x34ije_territoiresgouv_cinem... - mémoire2cité - le monde de l'Architecture locative collective et bien plus encore - mémoire2cité - Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,
Le Joli Mai (Restauré) - Les grands ensembles BOBIGNY l Abreuvoir www.youtube.com/watch?v=eUY9XzjvWHE … et la www.youtube.com/watch?v=hK26k72xIkU … www.youtube.com/watch?v=xCKF0HEsWWo …
Genève Le Grand Saconnex & la Bulle Pirate - architecte Marçel Lachat -
Un film de Julien Donada içi www.youtube.com/watch?time_continue=1&v=4E723uQcpnU … … .Genève en 1970. pic.twitter.com/1dbtkAooLM è St-Etienne - La muraille de Chine, en 1973 ce grand immeuble du quartier de Montchovet, existait encore photos la Tribune/Progres.
www.youtube.com/watch?v=AJAylpe8G48 …, - la tour 80 HLM située au 1 rue Proudhon à Valentigney dans le quartier des Buis Cette tour emblématique du quartier avec ces 15 étages a été abattu par FERRARI DEMOLITION (68). VALENTIGNEY (25700) 1961 - Ville nouvelle-les Buis 3,11 mn www.youtube.com/watch?v=C_GvwSpQUMY … - Au nord-Est de St-Etienne, aux confins de la ville, se dresse une colline Montreynaud la ZUP de Raymond Martin l'architecte & Alexandre Chemetoff pour les paysages de St-Saens.. la vidéo içi * Réalisation : Dominique Bauguil www.youtube.com/watch?v=Sqfb27hXMDo … … - www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije : mécanisation, rationalisation et élaboration industrielle de la production. Des exemples concrets sont présentés afin d'illustrer l'utilisation des différentes innovations : les coffrages outils, coffrage glissant, le tunnel, des procédés pour accélérer le durcissement du béton. Le procédé dit de coffrage glissant est illustré sur le chantier des tours Pablo Picasso à Nanterre. Le principe est de s'affranchir des échafaudages : le coffrage épouse le contour du bâtiment, il s'élève avec la construction et permet de réaliser simultanément l'ensemble des murs verticaux. Au centre du plancher de travail, une grue distribue en continu le ferraillage et le béton. Sur un tel chantier les ouvriers se relaient 24h / 24 , www.dailymotion.com/video/xwytke?playlist=x34ije , www.dailymotion.com/video/x1bci6m?playlist=x34ije
Le reportage se penche ensuite sur la préfabrication en usine. Ces procédés de préfabrication en usine selon le commentaire sont bien adaptés aux pays en voie de développement, cela est illustré dans le reportage par une réalisation en Libye à Benghazi. Dans la course à l'allégement des matériaux un procédé l'isola béton est présenté. Un chapitre sur la construction métallique explique les avantage de ce procédé. La fabrication de composants ouvre de nouvelles perspectives à l'industrie du bâtiment.
la Grande Borne 91, le Vaudreuil 27, Avoriaz, Avenue de Flandres à Paris, tours Picasso à Nanterre, vues de la défense, Benghazi Libye 1975 Réalisateur : Sydney Jézéquel, Karenty
la construction des Autoroutes en France - Les liaisons moins dangereuses 1972 www.dailymotion.com/video/xxi0ae?playlist=x34ije - Ministère de l'Équipement et de l'Aménagement du Territoire - Dotation par la France d'autoroutes modernes "nécessité vitale" pour palier à l'inadaptation du réseau routier de l'époque voué à la paralysie : le reportage nous montre des images d'embouteillages. Le ministre de l'Équipement et de l'Aménagement du Territoire dans les deux gouvernements de Pierre Messmer, de 1972 à 1974, Olivier Guichard explique les ambitions du programme de construction qui doit atteindre 800 km par ans en 1978. L'ouverture de section nouvelles va bon train : Nancy / Metz par exemple. Le reportage nous montre l'intérieur des bureaux d'études qui conçoivent ces autoroute dont la conception est assistée par ordinateurs dont le projet d'ensemble en 3D est visualisé sur un écran. La voix off nous informe sur le financement de ces équipements. Puis on peut voir des images de la construction du pont sur la Seine à Saint Cloud reliant l'autoroute de Normandie au périphérique, de l'échangeur de Palaiseau sur 4 niveau : record d'Europe précise le commentaire. Le reportage nous informe que des sociétés d'économies mixtes ont étés crées pour les tronçons : Paris / Lille, Paris / Marseille, Paris / Normandie. Pour accélérer la construction l’État a eu recours à des concessions privées par exemple pour le tronçon Paris / Chartres. "Les autoroutes changent le visage de la France : artères économiques favorisant le développement industriel elles permettent de revitaliser des régions en perte de vitesse et de l'intégrer dans le mouvement général de l'expansion" Sur le plan européen elles vont combler le retard de la France et réaliser son insertion. Images de l'inauguration de l'autoroute entre Paris et Bruxelles par le président Georges Pompidou. Le reportage rappel que l'autre fonction capitale des autoroute est de favoriser la sécurité. La question de la limitation de vitesse est posée au ministre de l’Équipement, qui n'y est favorable que sur certains tronçons. Un des facteur de sécurité selon le commentaire est l'humanisation des autoroutes : aires de repos, restaurants, signalisation touristiques... "Rien n'est impossible aux techniques modernes" nous apprend la voix off qui prend comme exemple le déplacement sur rail de 65 mètres d'un château classé afin de faire passer l'autoroute Lille / Dunkerque.Durée : 4 minutes 30 secondes
Sur les routes de France les ponts renaissent 1945 reconstruction de la France après la Seconde Guerre mondiale www.dailymotion.com/video/xuxrii?playlist=x34ije , Quelques mois après la fin de la Seconde Guerre mondiale, un triste constat s'impose : 5 944 passages sont coupés, soit plus de 110 km de brèches ; de nombreuses villes se trouvent isolées.Les chantiers s'activent dans toute la France pour "gagner la bataille des communications routières". Mais outre la pénurie de main d’œuvre, il faut faire face au manque de matériaux (béton, métal) et donc déployer des trésors d'imagination pour reconstruire les ponts détruits. Si le savoir faire des tailleurs de pierre est exploité, le plus spectaculaire est le relevage des ponts, comme le pont de Galliéni à Lyon, où 7 à 800 tonnes d'acier sont sorti de l'eau avec des moyens de l'époque. En avril 1945, il reste 5 700 ponts à reconstruire soit 200 000 tonnes d'acier, 600 000 tonnes de ciment, 250 000 m3 de bois, 10 millions de journées d'ouvrier, prix de l'effort de reconstruction.1945
Auteurs / réalisateurs : images : G.Delaunay, A.Pol, son : C.Gauguier Production : Direction Technique des Services des Ponts et Chaussées / Ministère des Travaux Publics et des Transports Support original : 16 mm noir et blanc Durée : 14 min Thèmes principaux : infrastructures-ouvrages d'art Mot clés : chantier, pont, Reconstruction, restauration, béton précontraint, ministère des travaux publics et des transports
Lieux : Lyon, Tournon, Caen - Le Bosquel, un village renait 1947 l'album cinématographique de la reconstruction, réalisation Paul de Roubaix production ministère de la Reconstruction et de l'Urbanisme, village prototype, architecte Paul Dufournet, www.dailymotion.com/video/xx5tx8?playlist=x34ije - Demain Paris 1959 dessin animé présentant l'aménagement de la capitale dans les années 60, Animation, dessin animé à vocation pédagogique visant à promouvoir la politique d’aménagement suivie dans les années 60 à Paris. Un raccourci historique sur l’extension de Paris du Moyen Âge au XIXe siècle (Lutèce, œuvres de Turgot, Napoléon, Haussmann), ce dessin animé retrace la naissance de la banlieue et de ses avatars au XXe siècle. Il annonce les grands principes d’aménagement des villes nouvelles et la restructuration du centre de Paris (référence implicite à la charte d’Athènes). Le texte est travaillé en rimes et vers. Une chanson du vieux Paris conclut poétiquement cette vision du futur. Thèmes principaux : Aménagement urbain / planification-aménagement régional Mots-clés : Banlieue, extension spatiale, histoire, quartier, ville, ville nouvelle Lieu géographique : Paris 75 Architectes ou personnalités : Eugène Haussmann, Napoléon, Turgot Réalisateurs : André Martin, Michel Boschet Production : les films Roger Leenhardt
www.dailymotion.com/video/xw6lak?playlist=x34ije - Rue neuve 1956 la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, villes, villages, grands ensembles réalisation : Jack Pinoteau , Panorama de la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, ce film de commande évoque les villes et villages français détruits puis reconstruits dans un style respectant la tradition : Saint-Malo, Gien, Thionville, Ammerschwihr, etc. ainsi que la reconstruction en rupture avec l'architecture traditionnelle à Châtenay-Malabry, Arles, Saint Étienne, Évreux, Chambéry, Villeneuve-Saint-Georges, Abbeville, Le Havre, Marseille, Boulogne-sur-Mer, Dunkerque. Le documentaire explique par exemple la manière dont a été réalisée la reconstruction de Saint-Malo à l'intérieur des rempart de la vieille ville : "c'est la fidélité à l'histoire et la force du souvenir qui a guidé l'architecte". Dans le même esprit à Gien, au trois quart détruite en 1940, seul le château construit en 1494 pour Anne de Beaujeu, fille aînée de Louis XI, fut épargné par les bombardements. La ville fut reconstruite dans le style des rares immeubles restant. Gien est relevé de ses ruines et le nouvel ensemble harmonieux est appelé « Joyau de la Reconstruction française ». Dans un deuxième temps est abordé le chapitre de la construction des cités et des grands ensembles, de l’architecture du renouveau qualifiée de "grandiose incontestablement". S’il est précisé "on peut aimer ou de ne pas aimer ce style", l’emporte au final l’argument suivant : les grands ensembles, c'est la campagne à la ville, un urbanisme plus aéré, plus vert." les films caravelles 1956, Réalisateur : Jack Pinoteau (connu pour être le metteur en scène du film Le Triporteur 1957 qui fit découvrir Darry Cowl) www.dailymotion.com/video/xuz3o8?playlist=x34ije , Film d'archive actualités de 1952 Reconstruction de la France sept ans après la fin de la seconde guerre mondiale état des lieux de la crise du logement , Actualités de 1952. Sept ans après la fin de la seconde guerre Mondiale état des lieux de la reconstruction de la France et de la crise du logement à l’œuvre, pénurie de logement, logements insalubres. Les actualités montrent des images d'archives de la destruction de la France, les Chars de la division Leclerc qui défilent sur les Champs Elysees. Le commentaire dénonce la lenteur de la reconstruction et notamment des manifestations qui ont eu lieue à Royan afin d''accélérer la reconstruction de la ville détruite.Le film montre à Strasbourg, Mulhouse, des réalisation moderne de grands ensembles et des images d'archive de la reconstruction du Havre de Saint Nazaire.Le film se termine à Marseille sur les réalisation nouvelles autour du vieux port puis on assiste à l'inauguration de la Cité Radieuse par le ministre de la Reconstruction et de l'Urbanisme Eugène Claudius-Petit en présence de son architecte Le Corbusier à qui le ministre remet la cravate de commandeur de la légion d'honneur. www.dailymotion.com/video/xk1g5j?playlist=x34ije Brigitte Gros - Urbanisme - Filmer les grands ensembles 2016 - par Camille Canteux chercheuse au CHS -Centre d'Histoire Sociale - Jeanne Menjoulet - Ce film du CHS daté de 2014 www.youtube.com/watch?v=VDUBwVPNh0s … L'UNION SOCIALE POUR L'HABITAT le Musée des H.L.M. musee-hlm.fr/ union-habitat.org/ - EXPOSITION :LES 50 ANS DE LA RESIDENCe SALMSON POINT-Du JOUR www.salmsonlepointdujour.fr/pdf/Exposition_50_ans.pdf - Sotteville Construction de l’Anjou, le premier immeuble de la Zone Verte sottevilleaufildutemps.fr/2017/05/04/construction-de-limm... - www.20minutes.fr/paris/diaporama-7346-photo-854066-100-an... - www.ladepeche.fr/article/2010/11/02/940025-140-ans-en-arc... dreux-par-pierlouim.over-blog.com/article-chamards-1962-9... missionphoto.datar.gouv.fr/fr/photographe/7639/serie/7695...
Braised Pork Belly with house made beans, onion marmalade - Auction Rooms Cafe AUD15.50
Having read about brains for breakfast in The Breakfast Blog review of Auction Rooms, I was a little disappointed not to see them on the menu. So I went for the next best thing, Belly Pork.
Again disappointment. The crackling wasn't crisp enough, and there was too much fat left in. Don't get me wrong, I do like the occasional seam of fat, but I don't need a geyser of oil with ever mouthful.
At least I can talk about having had a wickedly unhealthy breakfast though :P
---
As Matt Preston puts it, the decor is très Dumpster-chic! Good atmosphere too, but pity the food and coffee weren't anything to write home about.
Auction Rooms Cafe
(03) 9326 7749
103-107 Errol St
North Melbourne VIC 3051
Reviews:
- Auction Rooms, North Melbourne - The Breakfast Blog Thursday, March 19, 2009
- Auction Rooms, by Matt Preston, Reviewer, Epicure, The Age July 15, 2008
Kern Invite - 11/01/08
Hart Park - Bakersfield, CA
www.andynoise.com/kernxcinvite08.html
JV Boys - 2008 Kern County Cross Country
Championships
School Athlete Time Overall Scoring Team
1. Ridgeview Tino Romero 11:17.25 1 1 1
2. Wasco Oscar Gomez 11:26.11 2 2 1
3. East Marc Sotello 11:26.90 3 x 1
4. Shafter Matthew Yanez 11:34.14 4 x 1
5. McFarland Grenardo Garcia 11:34.63 5 x 1
6. Highland Juan Delgado 11:37.47 6 3 1
7. Centennial Brandon Ballard 11:38.17 7 4 1
8. Ridgeview Ernesto Castillo 11:38.94 8 5 2
9. Shafter Elias Picazo 11:40.09 9 x 2
10. Ridgeview Sukhwinder Singh 11:42.25 10 6 3
11. Wasco M. Vasquez 11:49.94 11 7 2
12. East Felix Trevino 11:51.62 12 x 2
13. Ridgeview Tree Hoisson 11:52.34 13 8 4
14. Stockdale Raymon Griggs 11:52.62 14 9 1
15. Highland Rafael Alcaraz 11:53.30 15 10 2
16. East Esteban Vargas 11:54.83 16 x 3
17. McFarland Adam Marquez 11:56.93 17 x 2
18. Frontier Corry Harris 12:02.24 18 11 1
19. Highland M. Shaffer 12:04.99 19 12 3
20. Highland Jo Dixon 12:05.53 20 13 4
21. Centennial Nick Trieberg 12:06.03 21 14 2
22. Highland Daniel Espinosa 12:07.15 22 15 5
23. Foothill Cesar Espinosa 12:10.84 23 16 1
24. Highland Ernan Lopez 12:18.78 24 17 6
25. Stockdale P. Bowen 12:25.59 25 18 2
26. Stockdale Andrew Worth 12:26.63 26 19 3
27. Foothill Jovani Pineda 12:32.47 27 20 2
28. Centennial Jake Smoot 12:33.35 28 21 3
29. Foothill Robert Guillen 12:36.97 29 22 3
30. Garces Jose Lopez 12:37.53 30 23 1
31. Highland Pablo Santiago 12:38.23 31 24 7
32. Ridgeview Ian Dowot 12:38.71 32 25 5
33. Frontier Ramon Sanchez 12:42.97 33 26 2
34. Foothill Peter Reyna 12:45.32 34 27 4
35. Ridgeview Hector Garay 12:45.76 35 28 6
36. Frontier Brian Cisneros 12:46.11 36 29 3
37. Stockdale Cornelius Sockey 12:49.24 37 30 4
38. Stockdale Nick Haley 12:49.57 38 31 5
39. Frontier Christopher Bedke 12:51.77 39 32 4
40. Frontier Chris Corral 12:52.80 40 33 5
41. Centennial CJ Carr 12:55.06 41 34 4
42. Ridgeview Arty Sanchez 12:55.60 42 35 7
43. Garces Dominic Gallegos 12:56.21 43 36 2
44. Foothill Oscar Rivera 12:57.02 44 37 5
45. Shafter Jonatan Lopez 12:59.96 45 x 3
46. Stockdale Evan Szablowsk 13:01.10 46 38 6
47. BHS Hector Sanchez 13:02.38 47 39 1
48. Foothill Guillermo Cisneros 13:05.95 48 40 6
49. Stockdale Jit Malay 13:06.90 49 41 7
50. Highland Nick Lopez 13:07.10 50 42 8
51. Centennial Craig Varner 13:15.59 51 43 5
52. Highland Tyler Dunlap 13:20.14 52 44 9
53. Stockdale Davis McLeod 13:20.73 53 45 8
54. Foothill Luis Garcia 13:22.06 54 46 7
55. Shafter Miguel Sanchez 13:23.34 55 x 4
56. Independence Curtis Valencia 13:25.34 56 47 1
57. Wasco Kyle Bearley 13:26.41 57 48 3
58. Ridgeview Martin Oropeza 13:27.08 58 49 8
59. Frontier Chris Mount 13:28.88 59 50 6
60. Wasco Anthony Ramirez 13:29.86 60 51 4
61. Frontier Jairo Garcia 13:34.10 61 52 7
62. Stockdale Kevin Chun 13:37.01 62 53 9
63. Foothill Marcos Sandoval 13:38.55 63 54 8
64. Arvin Jose Rodriguez 13:39.04 64 x 1
65. Frontier Steven Saenz 13:39.36 65 55 8
66. Stockdale John Bracamant 13:40.57 66 56 10
67. Wasco Kr. Brown 13:43.42 67 57 5
68. Stockdale Adrian Esquivas 13:45.00 68 58 11
69. Stockdale Joshua St. Clair 13:46.57 69 59 12
70. BHS Josh Harbin 13:49.65 70 60 2
71. Mira Monte Hislon Belo 13:53.35 71 x 1
72. Stockdale Eric Jorgensen 13:56.96 72 61 13
73. Garces Anthony Martinez 14:05.99 73 62 3
74. Arvin Rodger Tabada 14:15.08 74 x 2
75. Stockdale Phillip Radon 14:16.70 75 63 14
76. Stockdale Landon Medina 14:18.10 76 64 15
77. East Donald Sanchez 14:18.32 77 x 4
78. Frontier Spencer Cordova 14:25.94 78 65 9
79. Frontier Matt Walker 14:32.16 79 66 10
80. Wasco Arturo Miranda 14:32.82 80 67 6
81. Highland Luis Lopez 14:36.85 81 68 10
82. Independence Devin Lane 14:43.22 82 69 2
83. Garces Sterling Garza 14:43.64 83 70 4
84. Mira Monte Michael Pineda 14:45.10 84 x 2
85. Stockdale Joshua Le 14:45.99 85 71 16
86. Independence Michael Gallarza 14:46.50 86 72 3
87. Foothill William Saavedra 14:48.22 87 73 9
88. BHS Trevor Dalke 14:48.96 88 74 3
89. Independence Andrew Cruz 14:57.45 89 75 4
90. Highland Alex Harrell 15:01.62 90 76 11
91. BHS Wesley Elrich 15:02.07 91 77 4
92. Frontier Jason Phillips 15:02.54 92 78 11
93. Foothill Mason De La Cruz 15:03.92 93 79 10
94. Highland Estevan Espinoza 15:06.66 94 80 12
95. Mira Monte Rick Mendoza 15:08.42 95 x 3
96. Foothill AJ Lara 15:09.07 96 81 11
97. Centennial Jarod Kashwer 15:13.28 97 82 9
98. Highland Ryan Gonzalez 15:28.65 98 83 13
99. BHS Andres Eagleson 15:35.28 99 84 5
100. Frontier Kevin Sanchez 15:41.75 100 85 12
101. Centennial Brent Williams 15:46.70 101 86 10
102. Ridgeview Eric Jacques 15:46.93 102 87 9
103. Garces P. Newman 15:55.87 103 88 5
104. Foothill Jose Mejia 16:22.51 104 89 12
105. Independence Sky Payne 16:38.36 105 90 5
106. Foothill Logan Power 20:16.50 106 91 13
107. Arvin Oswaldo Leyva 24:45.86 107 x 3
108. North Sonny Medina 25:53.00 108 x 1
Kern Invite - 11/01/08
Hart Park - Bakersfield, CA
www.andynoise.com/kernxcinvite08.html
Varsity Boys - 2008 Kern County Cross Country
Championships
School Athlete Time Overall Scoring Team
1. Foothill Chris Schwartz 14:59.76 1 1 1
2. McFarland Alfonso Cisneros 15:33.49 2 2 1
3. McFarland Francisco Nava 15:48.44 3 3 2
4. McFarland Marco Perez 15:48.85 4 4 3
5. Stockdale Curtis Kelly 15:50.33 5 5 1
6. Ridgeview Brian Solis 15:50.81 6 6 1
7. Wasco A. Mendoza 15:51.72 7 7 1
8. Ridgeview Alex Garcia 15:52.70 8 8 2
9. Shafter Chris Handel 15:53.96 9 9 1
10. McFarland Gerardo Alcala 15:54.28 10 10 4
11. Shafter Jesus Villalpondo 16:05.48 11 11 2
12. Highland Colin Lewis 16:06.79 12 12 1
13. Centennial Nathan Vincent 16:08.77 13 13 1
14. Ridgeview Robby Baker 16:13.01 14 14 3
15. McFarland Eduardo Bautista 16:18.69 15 15 5
16. BHS Andrew Ariey 16:21.59 16 16 1
17. Garces Connor O'Malley 16:23.32 17 17 1
18. Stockdale Blair Slaton 16:25.15 18 18 2
19. Ridgeview Jerrio Lewis 16:25.61 19 19 4
20. East Jose Ramirez 16:25.97 20 20 1
21. East Mose Valdez 16:26.30 21 21 2
22. Highland Thomas Turner 16:26.59 22 22 2
23. Golden Valley Daymon Sandles 16:26.91 23 23 1
24. Foothill Jose Lopez 16:27.22 24 24 2
25. Ridgeview Miguel Munoz 16:30.13 25 25 5
26. Wasco G. Linares 16:34.10 26 26 2
27. Shafter Josh Wittenberg 16:34.61 27 27 3
28. Highland Jake Van Zandt 16:36.62 28 28 3
29. East Charlie Zaragoza 16:39.22 29 29 3
30. BHS Andrew Edquist 16:41.12 30 30 2
31. Cesar Chavez Martin Rios 16:45.91 31 31 1
32. Highland Ivan Esquivias 16:47.91 32 32 4
33. BHS Zachary Holt 16:48.98 33 33 3
34. Stockdale Anthony Dao 16:49.30 34 34 3
35. Cesar Chavez Ruben Galaviz 16:49.67 35 35 2
36. Wasco O. Mirando 16:50.04 36 36 3
37. Shafter Alex Moreno 16:51.14 37 37 4
38. Wasco E. Sanchez 16:52.02 38 38 4
39. Wasco E. Ramirez 16:53.29 39 39 5
40. East Camilo Mosqueda 16:53.84 40 40 4
41. East Vincente Herrera 16:54.31 41 41 5
42. Foothill Erick Bautista 16:54.82 42 42 3
43. Arvin Ben Orozco 16:57.57 43 43 1
44. Shafter Hector Montoya 17:01.02 44 44 5
45. Garces Jesus Guzman 17:02.28 45 45 2
46. Garces Michael Bedard 17:02.88 46 46 3
47. Frontier Tanner Urmston 17:03.48 47 47 1
48. BHS John Purcell 17:04.08 48 48 4
49. Centennial Ty Heiter 17:04.73 49 49 2
50. Frontier Richard Peralta 17:05.73 50 50 2
51. Shafter Cristian Barrios 17:07.93 51 51 6
52. Centennial Gehrig Smith 17:08.86 52 52 3
53. BHS Christopher Anderson 17:09.32 53 53 5
54. Highland Justin Burnett 17:10.77 54 54 5
55. Wasco J. DeJulian 17:11.97 55 55 6
56. Stockdale Stephen Burke 17:16.30 56 56 4
57. Arvin Juan Calderon 17:16.89 57 57 2
58. Wasco Cesar Patino 17:19.39 58 58 7
59. Cesar Chavez Tim Yanez 17:21.10 59 59 3
60. Highland Ariel Hurtado 17:23.69 60 60 6
61. North Adam Ralls 17:24.02 61 x 1
62. Ridgeview Michael Anseno 17:24.53 62 61 6
63. Ridgeview Jaime Madrigal 17:31.18 63 62 7
64. Foothill Patrick Manrique 17:32.75 64 63 4
65. Frontier Will Beechinor 17:33.57 65 64 3
66. East Alex Estrada 17:38.64 66 65 6
67. Burroughs Jesse Wigfield 17:38.99 67 66 1
68. Centennial Eric Millan 17:39.50 68 67 4
69. Burroughs Daniel Lathrop 17:39.91 69 68 2
70. Shafter Jacob Vasquez 17:40.47 70 69 7
71. Garces David Freed 17:40.91 71 70 4
72. Centennial Jake Howry 17:42.54 72 71 5
73. Burroughs Andrew Szczpiorski 17:44.05 73 72 3
74. Frontier D. Sclafani 17:47.26 74 73 4
75. Stockdale Max Morales 17:48.38 75 74 5
76. Burroughs Eduardo Carrillo 17:51.64 76 75 4
77. Burroughs Keith Christman 17:57.59 77 76 5
78. Golden Valley Jose Salgado 17:59.82 78 77 2
79. Cesar Chavez Rudy Sandoval 18:00.34 79 78 4
80. Centennial Brad Hinsley 18:04.58 80 79 6
81. Arvin Yessuri Villsenor 18:05.30 81 80 3
82. Burroughs Nathan Cheadle 18:10.33 82 81 6
83. Foothill Javier Garcia 18:11.22 83 82 5
84. Foothill Ernest Marquez 18:11.57 84 83 6
85. BC Kevin Yarian 18:27.47 85 84 1
86. North Chris Emmett 18:29.51 86 x 2
87. Cesar Chavez Andres Rodriguez 18:30.45 87 85 5
88. Tehachapi Corey Torres 18:32.16 88 86 1
89. Frontier Michael Sclafani 18:33.62 89 87 5
90. Garces Patrick Gomez 18:37.52 90 88 5
91. Highland Humberto Ramirez 18:37.98 91 89 7
92. Golden Valley David Gamino 18:40.22 92 90 3
93. Frontier Ricky Gonzales 19:03.13 93 91 6
94. Garces Chris Real 19:06.29 94 92 6
95. Stockdale D. Sherrill 19:08.29 95 93 6
96. Garces Dillon Lyles 19:16.75 96 94 7
97. Tehachapi Christian Torres 19:19.03 97 95 2
98. BC Mark McCutcheon 19:20:78 98 96 2
99. Golden Valley Nick Cruz 19:22.49 99 97 4
100. Golden Valley Daniel Perez 19:25.13 100 98 5
101. Foothill Christian Paredes 19:32.03 101 99 7
102. Arvin Adrian Rodriguez 19:32.67 102 100 4
103. BC Thomas Beard 19:59.04 103 101 3
104. West Michael Branquino 19:59.63 104 x 1
105. BHS Nick Flores 20:04.27 105 102 6
106. Tehachapi Logan Collier 20:07.47 106 103 3
107. Kern Valley C. Woodward 20:22.63 107 x 1
108. Arvin Christian Guerrero 20:31.41 108 104 5
109. Burroughs Daniel Meade 20:41.26 109 105 7
110. Golden Valley Ryan Davis 20:41.26 110 106 6
111. BHS Robby Harris 20:42.01 111 107 7
112. East Hector Fuentes 20:42.57 112 108 7
113. Frontier Alex Blanton 20:56.97 113 109 7
114. Cesar Chavez Joel Hernandez 21:02.22 114 110 6
115. Tehachapi Trent Sherman 21:02.94 115 111 4
116. Tehachapi Shaddi Haddad 21:18.14 116 112 5
117. BC Austin Adee 21:25.45 117 113 4
118. BC Aaron Stephens 21:31.77 118 114 5
119. Kern Valley J. Pistocco 23:15.37 119 x 2
120. Tehachapi Corey Hebron 23:19.78 120 115 6
121. West Kevin Serrano 23:48.05 121 x 2
You can read more about my $2 Portrait Project here.
Earlier today while shooting Derek up in the Tenderloin District, I ran into Frida. Frida asked if she could sit for a portrait as well and I told her more about my $2 Portrait Project and she said ok.
Frida was born and raised in San Francisco. I asked Frida if she had any kids and she told me she did. She said she had 11 of them. The oldest one was 26 she said and the youngest was 6. She also said she had 10 grandkids.
Frida told me that one of her sons had just almost been killed last month but that God saved him. She said that he was shot in a case of mistaken identity by someone when he was coming out of his house. Thank God he saved him for us she said. I asked Frida if she saw her children a lot and she smiled back and said every day.
Frida told me that she had her 11 different children with 3 different men. Two were Puerto Rican, she added. Frida told me that all three of the men were dead now.
Frida and I talked a bit about her being out on the street. She told me that she had had an alcohol problem but that she was over it now and better. She told me that it was hard work being out on the street. She said that a lot of people will just rush right past her saying "get a job." She said what they didn't understand was that this *was* her job. That asking people for money is a lot of hard work. Especially for a woman she added. "All the time men are coming up to me and saying 'Hey Baby,'" she told me.
I told Frida that I had four kids and she smiled and asked if they were all with the same woman. I told her they were and she laughed and said, oh well, not me.
Frida was a friendly woman who smiled a lot. She seemed very happy with her life and very proud of her children.
Leonard Nimoy, best known for playing the character Spock in the Star Trek television shows and films, died at 83.
www.nytimes.com/2015/02/27/arts/television/leonard-nimoy-...
Leonard Nimoy, the sonorous, gaunt-faced actor who won a worshipful global following as Mr. Spock, the resolutely logical human-alien first officer of the Starship Enterprise in the television and movie juggernaut “Star Trek,” died on Friday morning at his home in the Bel Air section of Los Angeles. He was 83.
His wife, Susan Bay Nimoy, confirmed his death, saying the cause was end-stage chronic obstructive pulmonary disease.
Mr. Nimoy announced that he had the disease last year, attributing it to years of smoking, a habit he had given up three decades earlier. He had been hospitalized earlier in the week.
For Leonard Nimoy, Spock’s Hold Made Reaching Escape Velocity FutileFEB. 27, 2015
Leonard Nimoy at his 2010 one-person photography exhibition at the Massachusetts Museum of Contemporary Art in North Adams, Mass.
His artistic pursuits — poetry, photography and music in addition to acting — ranged far beyond the United Federation of Planets, but it was as Mr. Spock that Mr. Nimoy became a folk hero, bringing to life one of the most indelible characters of the last half century: a cerebral, unflappable, pointy-eared Vulcan with a signature salute and blessing: “Live long and prosper” (from the Vulcan “Dif-tor heh smusma”).
As part of the Yiddish Book Center Wexler Oral History Project, Leonard Nimoy explains the origin of the Vulcan hand signal used by Spock, his character in the “Star Trek” series.
Video by Yiddish Book Center on Publish Date February 27, 2015. Photo by Yiddish Book Center’s Wexler Oral History Project.
Mr. Nimoy, who was teaching Method acting at his own studio when he was cast in the original “Star Trek” television series in the mid-1960s, relished playing outsiders, and he developed what he later admitted was a mystical identification with Spock, the lone alien on the starship’s bridge.
Yet he also acknowledged ambivalence about being tethered to the character, expressing it most plainly in the titles of two autobiographies: “I Am Not Spock,” published in 1977, and “I Am Spock,” published in 1995.
In the first, he wrote, “In Spock, I finally found the best of both worlds: to be widely accepted in public approval and yet be able to continue to play the insulated alien through the Vulcan character.”
“Star Trek,” which had its premiere on NBC on Sept. 8, 1966, made Mr. Nimoy a star. Gene Roddenberry, the creator of the franchise, called him “the conscience of ‘Star Trek’ ” — an often earnest, sometimes campy show that employed the distant future (as well as some primitive special effects by today’s standards) to take on social issues of the 1960s.
His stardom would endure. Though the series was canceled after three seasons because of low ratings, a cultlike following — the conference-holding, costume-wearing Trekkies, or Trekkers (the designation Mr. Nimoy preferred) — coalesced soon after “Star Trek” went into syndication.
The fans’ devotion only deepened when “Star Trek” was spun off into an animated show, various new series and an uneven parade of movies starring much of the original television cast, including — besides Mr. Nimoy — William Shatner (as Capt. James T. Kirk), DeForest Kelley (Dr. McCoy), George Takei (the helmsman, Sulu), James Doohan (the chief engineer, Scott), Nichelle Nichols (the chief communications officer, Uhura) and Walter Koenig (the navigator, Chekov).
When the director J. J. Abrams revived the “Star Trek” film franchise in 2009, with an all-new cast — including Zachary Quinto as Spock — he included a cameo part for Mr. Nimoy, as an older version of the same character. Mr. Nimoy also appeared in the 2013 follow-up, “Star Trek Into Darkness.”
His zeal to entertain and enlighten reached beyond “Star Trek” and crossed genres. He had a starring role in the dramatic television series “Mission: Impossible” and frequently performed onstage, notably as Tevye in “Fiddler on the Roof.” His poetry was voluminous, and he published books of his photography.
He also directed movies, including two from the “Star Trek” franchise, and television shows. And he made records, singing pop songs as well as original songs about “Star Trek,” and gave spoken-word performances — to the delight of his fans and the bewilderment of critics.
Thank you, Leonard Nimoy, and to all the crew of Star Trek who helped me grow up in the 1970s, giving me a vision of lives organized around the thirst for knowledge.
But all that was subsidiary to Mr. Spock, the most complex member of the Enterprise crew, who was both one of the gang and a creature apart engaged at times in a lonely struggle with his warring racial halves.
In one of his most memorable “Star Trek” performances, Mr. Nimoy tried to follow in the tradition of two actors he admired, Charles Laughton and Boris Karloff, who each played a monstrous character — Quasimodo and the Frankenstein monster — who is transformed by love.
In Episode 24, which was first shown on March 2, 1967, Mr. Spock is indeed transformed. Under the influence of aphrodisiacal spores he discovers on the planet Omicron Ceti III, he lets free his human side and announces his love for Leila Kalomi (Jill Ireland), a woman he had once known on Earth. In this episode, Mr. Nimoy brought to Spock’s metamorphosis not only warmth, compassion and playfulness, but also a rarefied concept of alienation.
“I am what I am, Leila,” Mr. Spock declares after the spores’ effect has worn off and his emotions are again in check. “And if there are self-made purgatories, then we all have to live in them. Mine can be no worse than someone else’s.”
Born in Boston on March 26, 1931, Leonard Simon Nimoy was the second son of Max and Dora Nimoy, Ukrainian immigrants and Orthodox Jews. His father worked as a barber.
From the age of 8, Leonard acted in local productions, winning parts at a community college, where he performed through his high school years. In 1949, after taking a summer course at Boston College, he traveled to Hollywood, though it wasn’t until 1951 that he landed small parts in two movies, “Queen for a Day” and “Rhubarb.”
He continued to be cast in little-known movies, although he did presciently play an alien invader in a cult serial called “Zombies of the Stratosphere,” and in 1961 he had a minor role on an episode of “The Twilight Zone.” His first starring movie role came in 1952 with “Kid Monk Baroni,” in which he played a disfigured Italian street-gang leader who becomes a boxer.
Mr. Nimoy served in the Army for two years, rising to sergeant and spending 18 months at Fort McPherson in Georgia, where he presided over shows for the Army’s Special Services branch. He also directed and starred as Stanley in the Atlanta Theater Guild’s production of “A Streetcar Named Desire” before receiving his final discharge in November 1955.
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He then returned to California, where he worked as a soda jerk, movie usher and cabdriver while studying acting at the Pasadena Playhouse. He achieved wide visibility in the late 1950s and early 1960s on television shows like “Wagon Train,” “Rawhide” and “Perry Mason.” Then came “Star Trek.”
Mr. Nimoy returned to college in his 40s and earned a master’s degree in Spanish from Antioch University Austin, an affiliate of Antioch College in Ohio, in 1978. Antioch University later awarded Mr. Nimoy an honorary doctorate.
Mr. Nimoy directed two of the Star Trek movies, “Star Trek III: The Search for Spock” (1984) and “Star Trek IV: The Voyage Home” (1986), which he helped write. In 1991, the same year that he resurrected Mr. Spock on two episodes of “Star Trek: The Next Generation,” Mr. Nimoy was also the executive producer and a writer of the movie “Star Trek VI: The Undiscovered Country.”
He then directed the hugely successful comedy “Three Men and a Baby” (1987), a far cry from his science-fiction work, and appeared in made-for-television movies. He received an Emmy nomination for the 1982 movie “A Woman Called Golda,” in which he portrayed the husband of Golda Meir, the prime minister of Israel, who was played by Ingrid Bergman. It was the fourth Emmy nomination of his career — the other three were for his “Star Trek” work — although he never won.
Mr. Nimoy’s marriage to the actress Sandi Zober ended in divorce. Besides his wife, he is survived by his children, Adam and Julie Nimoy; a stepson, Aaron Bay Schuck; and six grandchildren; one great-grandchild, and an older brother, Melvin.
Though his speaking voice was among his chief assets as an actor, the critical consensus was that his music was mortifying. Mr. Nimoy, however, was undaunted, and his fans seemed to enjoy the camp of his covers of songs like “If I Had a Hammer.” (His first album was called “Leonard Nimoy Presents Mr. Spock’s Music From Outer Space.”)
From 1977 to 1982, Mr. Nimoy hosted the syndicated series “In Search Of...,” which explored mysteries like the Loch Ness Monster and UFOs. He also narrated “Ancient Mysteries” on the History Channel from 1995 to 2003 and appeared in commercials, including two with Mr. Shatner for Priceline.com. He provided the voice for animated characters in “Transformers: The Movie,” in 1986, and “The Pagemaster,” in 1994.
In 2001 he voiced the king of Atlantis in the Disney animated movie “Atlantis: The Lost Empire,” and in 2005 he furnished voice-overs for the computer game Civilization IV. More recently, he had a recurring role on the science-fiction series “Fringe” and was heard, as the voice of Spock, in an episode of the hit sitcom “The Big Bang Theory.”
Mr. Nimoy was an active supporter of the arts as well. The Thalia, a venerable movie theater on the Upper West Side of Manhattan, now a multi-use hall that is part of Symphony Space, was renamed the Leonard Nimoy Thalia in 2002.
He also found his voice as a writer. Besides his autobiographies, he published “A Lifetime of Love: Poems on the Passages of Life” in 2002. Typical of Mr. Nimoy’s simple free verse are these lines: “In my heart/Is the seed of the tree/Which will be me.”
In later years, he rediscovered his Jewish heritage, and in 1991 he produced and starred in “Never Forget,” a television movie based on the story of a Holocaust survivor who sued a neo-Nazi organization of Holocaust deniers.
In 2002, having illustrated his books of poetry with his photographs, Mr. Nimoy published “Shekhina,” a book devoted to photography with a Jewish theme, that of the feminine aspect of God. His black-and-white photographs of nude and seminude women struck some Orthodox Jewish leaders as heretical, but Mr. Nimoy asserted that his work was consistent with the teaching of the kabbalah.
His religious upbringing also influenced the characterization of Spock. The character’s split-fingered salute, he often explained, had been his idea: He based it on the kohanic blessing, a manual approximation of the Hebrew letter shin, which is the first letter in Shaddai, one of the Hebrew names for God.
“To this day, I sense Vulcan speech patterns, Vulcan social attitudes and even Vulcan patterns of logic and emotional suppression in my behavior,” Mr. Nimoy wrote years after the original series ended.
But that wasn’t such a bad thing, he discovered. “Given the choice,” he wrote, “if I had to be someone else, I would be Spock.”
Correction: February 27, 2015
An earlier version of this obituary, using information from Antioch College, misstated the name of an institution that award Mr. Nimoy an honorary doctorate. It was Antioch University, not Antioch College.
Specifications
Engine
• VR-series twin-turbocharged 3.8-liter V6.
• 480 hp @ 6,800 rpm. 430 lb-ft torque @ 3,200–5,200 rpm.
• Dual overhead camshafts with variable intake-valve timing.
• Cast aluminum cylinder block with high-endurance/low-friction plasma-sprayed bores.
• IHI twin turbochargers, one per cylinder bank.
• Pressurized lubrication system with thermostatically controlled cooling.
Drivetrain
• ATTESA ET-S All-Wheel Drive (AWD) with independent rear-mounted transaxle integrating transmission, differential and AWD transfer case.
• Rigid, lightweight carbon-composite driveshaft between engine and transaxle.
• Electronic traction control plus 1.5-way mechanically locking rear differential.
• Vehicle Dynamics Control (VDC-R) with three driver-selectable settings: Normal (for daily driving, controls brakes and engine output), R-Mode (for ultimate performance, utilizes AWD torque distribution for additional vehicle stability) and Off (driver does not want the help of the system).
• Hill Start Assist prevents rollback when starting on an incline.
DisclaimerVDC-R cannot prevent accidents due to abrupt steering, carelessness, or dangerous driving techniques. Always drive safely.
Transmission
• 6-speed Dual Clutch Transmission with three driver-selectable modes: Normal (for maximum smoothness and efficiency), Snow (for gentler starting and shifting on slippery surfaces), and R mode (for maximum performance with fastest shifts).
• Fully automatic shifting or full sequential manual control via gearshift or steering wheel-mounted paddle shifters.
• Dual clutch design changes gears in less than 0.5 second (0.2 second in R mode).
• Downshift Rev Matching (DRM).
• Predictive pre-shift control (in R mode) based on throttle position, vehicle speed, braking and other information.
Wheels and Tires
• 20 x 9.5" (front) and 20 x 10.5" (rear) super-lightweight forged-aluminum wheels with Gunmetal Gray finish.
• Exclusively developed nitrogen-filled Bridgestone® RE070A high-capacity run-flat summer tires, 255/40R20 front and 285/35R20 rear.
• Tire Pressure Monitoring System (TPMS).
• Optional exclusively developed nitrogen-filled Dunlop® run-flat all-season tires, 255/40R20 front and 285/35R20 rear (includes Bright Silver wheels).
Brakes
• Brembo® 4-wheel disc brakes with 4-wheel Antilock Braking System (ABS), Brake Assist, Electronic Brakeforce Distribution and Preview Braking.
• Two-piece floating-rotor 15-inch front and rear discs with diamond-pattern internal ventilation.
• 6-piston front/4-piston rear monoblock calipers.
Steering
• Rack-and-pinion steering with vehicle-speed-sensitive power assist.
• 2.6 steering-wheel turns lock-to-lock.
Suspension
• 4-wheel independent suspension with Bilstein® DampTronic system with three driver-selectable modes: Normal/Sport (for automatic electronic control of damping), Comfort (for maximum ride comfort), and R mode (engages maximum damping rate for high-performance cornering).
• Electronically controlled variable-rate shock absorbers. High-accuracy progressive-rate coil springs.
• Front double-wishbone/rear multi-link configuration with aluminum members and rigid aluminum subframes.
• Hollow front and rear stabilizer bars.
Body/Chassis
• Exclusive Premium Midship platform with jig-welded hybrid unibody.
• Aluminum hood, trunk and door skins. Die-cast aluminum door structures.
• Carbon-reinforced front crossmember/radiator support.
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Standard Features
Exterior
• Wide-beam headlights with High Intensity Discharge (HID) low beams.
• LED taillights and brake lights.
• Dual heated power mirrors.
• Flush-mounted aluminum door handles.
• Body-color rear spoiler with integrated center high-mounted stop light.
• UV-reducing tinted glass.
Audio/Navigation/Performance Monitor
• Digital Bose® audio system with AM/FM/in-dash 6-CD changer and 11 speakers including dual subwoofers.
• HDD Music Box system, including hard drive with 9.4 GB for audio storage.
• MP3, WMA and DVD audio capable. In-dash Compact Flash card reader.
• HDD-based GPS navigation with touch screen.
• Driver-configurable performance monitor, developed with Sony® Polyphony, with graphical readouts of vehicle data and driving data displayed on a total of 11 screens.
• 7-inch WVGA high-resolution color-LCD display for audio, navigation and performance monitor.
Interior
• Automatic Temperature Control (ATC).
• Electronic analog instrument cluster with multi-function trip computer and digital gear indicator.
• Power front windows with one-touch auto-up/down feature.
• Intelligent Key system with pushbutton start. Power door locks.
• Cruise control.
• Tilt/telescoping steering column.
• Bluetooth® Hands-free phone system with voice recognition.
Seating/Appointments
• Leather upholstered front seats with perforated Alcantara inserts.
• 8-way power front seats with entry/exit switch for rear-seat passengers.
• Driver-shaped bucket seat.
• Dual individual rear seats.
• Heated front seats.
• Leather-wrapped steering wheel and shift knob.
• Drilled aluminum pedals.
Safety/Security
• Nissan Advanced Air Bag System (AABS) with dual-stage supplemental front air bags, seat belt sensors and occupant-classification sensor.
• Driver and front-passenger side-impact supplemental air bags and roof-mounted curtain supplemental air bags.
• Front seat belts with pretensioners and load limiters.
• Nissan Vehicle Immobilizer System.
• Vehicle Security System.
Obama WINS!
I headed to Grant Park direct from work, some time around 8:45pm. It seemed like none of the newspaper or TV websites could agree - the more cautious ones like the New York Times were updating as votes trickled in; other sites like Yahoo and CNN were projecting winners ahead of the final winners. Lest you think your vote doesn't count, just look at the state-by-state tallies - some of the states were won by a fraction of a percentage - fifteen or twenty thousand votes. That's the size of a small town.
The Loop was nearly empty, the few pedestrians there were all hurrying towards the lakefront. Police officers and CTA workers stood in clusters; buses lined up to be ready for the post-rally surge of people. As I waited at one corner, the three Streets and Sanitation men clustered there told me they heard it was "over 200" for Obama so far.
Here were all the people: a steady stream down both sides of Michigan Avenue, all heading for the few access points for the park. Hucksters hawked along the sidewalks, bikes were jammed along any surface where they could be locked, and everyone, it seemed, wore something showing their support for Obama.
I turned into Grant Park at the access point at Jackson, and joined the thick crowds aiming for the various large projection screens that had been scattered throughout the park. Forget the idea that the "smaller" event was going on at the Petrillo Bandshell; these crowds were like you see for the Taste. The ticketed event on the south side of the park was jam-packed and well-lit. People wandered around, talking and eating pizzas and checking their cell phones for updates. I was alternatively checking my own phone for election results and texts from my friend Vinnie, who I was trying to find amidst all these other supporters.
Every time a state win was announced, cheers would erupt from the crowds. People who had started the evening total strangers stood together, hands clutched or arms linked as they anxiously watched the screens, side by side - all colors, all religions, all ages, all united in one view, in a momentous moment in our country's history.
Then came the announcement - Virginia, I think it was, had gone to Barack Obama, and it was enough to give him the victory. Everybody was yelling, crying, hugging, waving flags; the park erupted in sound and flashbulbs and cheers.
I turned around and found myself facing a short, wiry old black man who was not even as tall as I am. His face was screwed up in emotion, tears spilling down his cheeks. The raw and naked emotion on his face said it all: this was a man who had seen much in his life, and now in the twilight of his years, we had finally elected a black President. He looked at once dazed and hopeful, standing there in his Bulls jacket and Sox cap and Obama shirt, hands moving unconsciously at his sides, his eyes continuing to water.
"A black man... our President. A black man... I never thought I would live to see this day." You could hear both the disbelief and the wonderment in his voice. His gaze fixed on mine, his dark eyes looking into my blue ones, and he held his arms open. "Would you please give me a hug?" he asked.
"Of course," I replied, smiling, and gave him a hug.
He hugged me fiercely, not letting go, and I could feel his body shaking as he sobbed against my shoulder. When he finally stepped back, he looked intently at me, tears still running from his eyes. "You know what this means, don't you? Anything is possible. Anything. Anybody can be anything they want."
"Yes, they can. This is a great day for our country."
"A great day." He looked away from me for a moment, towards the nearest projection screens and the jubilant crowds. "A great day. Yes, they can."
* * *
My picture has been featured here:
ballotvox.prx.org/archives/854/they-took-to-the-streets
And my story has been copied here:
ballotvox.prx.org/archives/852/a-black-man-will-be-president
* * *
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.
Collaboration beetween Biennalist and Ultracontemporay
Art Format
www.emergencyrooms.org/formats.html
Documenta From Wikipedia,
The Fridericianum during documenta (13)
documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time.[1] It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.
Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.
Etymology of documenta
The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]
Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]
History
Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7
Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.
Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, documenta (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]
Criticism
documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At documenta (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the documenta (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]
Directors
The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. documenta IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]
TitleDateDirectorExhibitorsExhibitsVisitors
documenta16 July – 18 September 1955Arnold Bode148670130,000
II. documenta11 July – 11 October 1959Arnold Bode, Werner Haftmann3381770134,000
documenta III27 June – 5 October 1964Arnold Bode, Werner Haftmann3611450200,000
4. documenta27 June – 6 October 196824-strong documenta council1511000220,000
documenta 530 June – 8 October 1972Harald Szeemann218820228,621
documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410
documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691
documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417
documenta IX12 June – 20 September 1992Jan Hoet1891000603,456
documenta X21 June – 28 September 1997Catherine David120700628,776
documenta118 June – 15 September 2002Okwui Enwezor118450650,924
documenta 1216 June – 23 September 2007Roger M. Buergel/Ruth Noack[19]114over 500754,301
documenta (13)9 June – 16 September 2012Carolyn Christov-Bakargiev187[20]904,992[21]
documenta 148 April – 16 July 2017 in Athens, Greece;
10 June – 17 September 2017 in KasselAdam Szymczykmore than 1601500339.000 in Athens
891.500 in Kassel
documenta fifteen18 June 2022 – 25 September 2022 in Kasselruangrupa[22]
2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[23]
Venues
documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal.[24] At documenta (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]
There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at documenta IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[25] For documenta (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.
Rahmenbau (1977) by Haus Rucker und Co.
A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).
documenta archive
The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from the files and materials of the documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer.
Management
Visitors
In 1992, on the occasion of documenta IX, for the first time in the history of the documenta, more than half a million people traveled to Kassel.[26] The 2002 edition of documenta attracted 650,000 visitors, more than triple Kassel's population.[27] In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of the visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous.[28] In 2012, documenta (13) had 904,992 visitors.[21]
References
Adrian Searle (June 11, 2012), "Documenta 13: Mysteries in the mountain of mud", The Guardian.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Arnold Bode coined this phrase for the first time in the prologue of the first volume of the catalogue: documenta III. Internationale Ausstellung; Catalogue: Volume 1: Painting and Sculpture; Volume 2: Sketches; Volume 3: Industrial Design, Print; Kassel/Köln 1964; p. XIX
Kimpel, Harald: documenta, Mythos und Wirklichkeit. Köln 1997, ISBN 3-7701-4182-2
Alice Rawsthorn (June 3, 2012), A Symbol Is Born The New York Times.
The documenta IV Exhibition in Kassel (1968) German History in Documents and Images (GHDI).
Helen Chang (June 22, 2007), "Catching the Next Wave In Art at Documenta", The Wall Street Journal.
Roberta Smith (September 7, 2007), "Documenta 5" The New York Times.
Gimeno-Martinez, Javier; Verlinden, Jasmijn (2010). "From Museum of Decorative Arts to Design Museum: The Case of the Design museum Gent". Design and Culture. 2 (3).
dX 1997 Archived 2013-06-14 at the Wayback Machine, documenta XII.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale The New York Times.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Kelly Crow (June 8, 2012), A Party, Every Five Years, for 750,000 Guests The Wall Street Journal.
Jerry Saltz (June 15, 2012), Jerry Saltz: "Eleven Things That Struck, Irked, or Awed Me at Documenta 13" New York Magazine.
Michael Brenson (June 15, 1987), "Documenta 8, Exhibition In West Germany", The New York Times.
Michael Kimmelman (July 5, 1992) "At Documenta, It's Survival Of the Loudest", The New York Times.
Jackie Wullschlager (May 19, 2012) Vertiginous doubt Financial Times.
Julia Halperin, Gareth Harris (July 18, 2014) How much are curators really paid? Archived July 20, 2014, at the Wayback Machine The Art Newspaper.
Holland Cotter (22 June 2007). "Asking Serious Questions in a Very Quiet Voice". The New York Times. Retrieved 2014-08-29.
Ulrike Knöfel (8 June 2012). "What the 13th Documenta Wants You to See". Der Spiegel.
"904,992 people visit documenta (13) in Kassel". documenta und Museum Fridericianum Veranstaltungs-GmbH. 16 September 2012. Archived from the original on 25 February 2014. Retrieved 8 August 2013.
Russeth, Andrew (2019-02-22). "Ruangrupa Artist Collective Picked to Curate Documenta 15". ARTnews.com. Retrieved 2020-01-05.
"In Germany, Disguising Documentary As Art". The Huffington Post. Retrieved 2015-09-28.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale International Herald Tribune.
Roberta Smith (June 22, 1992), A Small Show Within an Enormous One The New York Times.
d9 1992 Archived 2014-02-22 at the Wayback Machine, documenta XII.
Adrian Searle (June 19, 2007), 100 days of ineptitude The Guardian.
Catherine Hickley (September 24, 2007), "Documenta Contemporary Art Show Draws Record 754,000 to Kassel", Bloomberg.
Carly Berwick (May 17, 2007), "Documenta 'Mystery' Artists Are Revealed; Buzz Strategy Fizzles", Bloomberg.
Rachel Donado (April 5, 2017), German Art Exhibition Documenta Expands Into Athens, The New York Times.
Catherine Hickley (November 27, 2017), Documenta manager to leave post after budget overruns The Art Newspaper.
Further reading
Hickley, Catherine (2021-06-18). "This Show Sets the Direction of Art. Its Past Mirrored a Changing World". The New York Times.
Nancy Marmer, "Documenta 8: The Social Dimension?" Art in America, vol. 75, September 1987, pp. 128–138, 197–199.
other biennales :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
lumbung
Short concept by ruangrupa for documenta 15
"We want to create a globally oriented, cooperative, interdisciplinary art and culture platform that will remain effective beyond the 100 days of documenta fifteen. Our curatorial approach aims at a different kind of collaborative model of resource use—economically, but also in terms of ideas, knowledge, programs, and innovation."
ruangrupa’s central curatorial approach for documenta fifteen is based on the principles of collectivity, resource building, and equal sharing. They aim to appeal not just to an art audience but to a variety of communities, and to promote local commitment and participation. Their approach is based on an international network of local, community-based organizations from the art and other cultural contexts and can be outlined by the Indonesian term lumbung. lumbung, directly translatable as “rice barn,” is a collective pot or accumulation system used in rural areas of Indonesia, where crops produced by a community are stored as a future shared common resource and distributed according to jointly determind criteria. Using lumbung as a model, documenta fifteen is a collective resource pot, operating under the logics of the commons. It is an agglomeration of ideas, stories, (wo)manpower, time, and other shareable resources. At the center of lumbung is the imagination and the building of these collective, shared resources into new models of sustainable ideas and cultural practices. This will be fostered by residencies, assemblies, public activities, and the development of tools.
Interdisciplinarity is key in this process. It is where art meets activism, management, and networking to gather support, understand environments, and identify local resources. These elements then create actions and spaces, intertwine social relations and transactions; they slowly grow and organically find a public form. This is a strategy “to live in and with society.” It imagines the relations an art institution has with its community by being an active constituent of it. Strategies are then developed based on proximity and shared desires.
The main principles of the process are:
• Providing space to gather and explore ideas
• Collective decision making
• Non-centralization
• Playing between formalities and informalities
• Practicing assembly and meeting points
• Architectural awareness
• Being spatially active to promote conversation
• A melting pot for and from everyone’s thoughts, energies, and ideas
#documentakassel
#documenta
#documenta15
#artformat
#formatart
#rundebate
#thierrygeoffroy
#Colonel
#CriticalRun
#venicebiennale
#documentafifteen
#formatart
#documentacritic
#biennalist
#ultracontemporary art
protestart
See the Savannah River Bluffs Heritage Preserve in an interactive view (requires shockwave - a free, one-time, automatic download).
Camera: Nikon D100
Lense: AF-S DX Nikkor 18-70 mm f/3.5-4.5G IF-ED
Tripod: Manfrotto
Tripod head: Manfrotto 322RC2 Tripod Head with Nodal Ninja
Photos: 9 + 9 + 9 + 2 = 29 photos (three rows plus zenith and nadir)
Software: Stitched with PTGui (but warped with Panorama Tools); Blended with Enblend plugin; No photoshop
Original Image: 10,000 x 5,000 pixels; 27.5 MB
Location: Google Earth (requires Google Earth) | Street | Satellite | Hybrid | Nautical | Topo
traveladventureeverywhere.blogspot.com/2019/06/istra-town...
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ALBANIA
Albanian Trilogy: A Series of Devious Stratagems
Armando Lulaj
Commissioner: Ministry of Culture. Curator: Marco Scotini. Deputy Curator: Andris Brinkmanis. Venue: Pavilion at Arsenale
ANDORRA
Inner Landscapes
Roqué, Joan Xandri
Commissioner: Henry Périer. Deputy Commissioner: Joana Baygual, Sebastià Petit, Francesc Rodríguez
Curator: Paolo de Grandis, Josep M. Ubach. Venue: Spiazzi, Castello 3865
ANGOLA
On Ways of Travelling
António Ole, Binelde Hyrcan, Délio Jasse, Francisco Vidal, Nelo Teixeira
Commissioner: Ministry of Culture, Rita Guedes Tavares. Curator: António Ole. Deputy Curator: Antonia Gaeta. Venue: Conservatorio Benedetto Marcello - Palazzo Pisani, San Marco 2810
ARGENTINA
The Uprising of Form
Juan Carlos Diste´fano
Commissioner: Magdalena Faillace. Curator: Mari´a Teresa Constantin. Venue: Pavilion at Arsenale – Sale d’Armi
ARMENIA, Republic of
Armenity / Haiyutioun
Haig Aivazian, Lebanon; Nigol Bezjian, Syria/USA; Anna Boghiguian Egypt/Canada; Hera Büyüktasçiyan, Turkey; Silvina Der-Meguerditchian, Argentina/Germany; Rene Gabri & Ayreen Anastas, Iran/Palestine/USA; Mekhitar Garabedian, Belgium; Aikaterini Gegisian, Greece; Yervant Gianikian & Angela Ricci Lucchi, Italy; Aram Jibilian, USA; Nina Katchadourian, USA/Finland; Melik Ohanian, France; Mikayel Ohanjanyan, Armenia/Italy; Rosana Palazyan, Brazil; Sarkis, Turkey/France; Hrair Sarkissian, Syria/UK
Commissioner: Ministry of Culture of the Republic of Armenia. Deputy Commissioner: Art for the World, Mekhitarist Congregation of San Lazzaro Island, Embassy of the Republic of Armenia in Italy, Vartan Karapetian. Curator: Adelina Cüberyan von Fürstenberg. Venue: Monastery and Island of San Lazzaro degli Armeni
AUSTRALIA
Fiona Hall: Wrong Way Time
Fiona Hall
Commissioner: Simon Mordant AM. Deputy Commissioner: Charles Green. Curator: Linda Michael. Scientific Committee: Simon Mordant AM, Carolyn Christov-Bakargiev, Max Delany, Rachel Kent, Danie Mellor, Suhanya Raffel, Leigh Robb. Venue: Pavilion at Giardini
AUSTRIA
Heimo Zobernig
Commissioner: Yilmaz Dziewior. Curator: Yilmaz Dziewior. Scientific Committee: Friends of the Venice Biennale. Venue: Pavilion at Giardini
AZERBAIJAN, Republic of
Beyond the Line
Ashraf Murad, Javad Mirjavadov, Tofik Javadov, Rasim Babayev, Fazil Najafov, Huseyn Hagverdi, Shamil Najafzada
Commissioner: Heydar Aliyev Foundation. Curators: de Pury de Pury, Emin Mammadov. Venue: Palazzo Lezze, Campo S.Stefano, San Marco 2949
Vita Vitale
Edward Burtynsky, Mircea Cantor, Loris Cecchini, Gordon Cheung, Khalil Chishtee, Tony Cragg, Laura Ford, Noemie Goudal, Siobhán Hapaska, Paul Huxley, IDEA laboratory and Leyla Aliyeva, Chris Jordan with Rebecca Clark and Helena S.Eitel, Tania Kovats, Aida Mahmudova, Sayyora Muin, Jacco Olivier, Julian Opie, Julian Perry, Mike Perry, Bas Princen, Stephanie Quayle, Ugo Rondinone, Graham Stevens, Diana Thater, Andy Warhol, Bill Woodrow, Erwin Wurm, Rose Wylie
Commissioner: Heydar Aliyev Foundation. Curators: Artwise: Susie Allen, Laura Culpan, Dea Vanagan. Venue: Ca’ Garzoni, San Marco 3416
BELARUS, Republic of
War Witness Archive
Konstantin Selikhanov
Commissioner: Natallia Sharanhovich. Deputy Commissioners: Alena Vasileuskaya, Kamilia Yanushkevich. Curators: Aleksei Shinkarenko, Olga Rybchinskaya. Scientific Committee: Dmitry Korol, Daria Amelkovich, Julia Kondratyuk, Sergei Jeihala, Sheena Macfarlane, Yuliya Heisik, Hanna Samarskaya, Taras Kaliahin, Aliaksandr Stasevich. Venue: Riva San Biagio, Castello 2145
BELGIUM
Personnes et les autres
Vincent Meessen and Guests, Mathieu K. Abonnenc, Sammy Baloji, James Beckett, Elisabetta Benassi, Patrick Bernier & Olive Martin, Tamar Guimara~es & Kasper Akhøj, Maryam Jafri, Adam Pendleton
Commissioner: Wallonia-Brussels Federation and Wallonia-Brussels International. Curator: Katerina Gregos. Venue: Pavilion at Giardini
COSTA RICA
"Costa Rica, Paese di pace, invita a un linguaggio universale d'intesa tra i popoli".
Andrea Prandi, Beatrice Gallori, Beth Parin, Biagio Schembari, Carla Castaldo, Celestina Avanzini, Cesare Berlingeri, Erminio Tansini, Fabio Capitanio, Fausto Beretti, Giovan Battista Pedrazzini, Giovanni Lamberti, Giovanni Tenga, Iana Zanoskar, Jim Prescott, Leonardo Beccegato, Liliana Scocco, Lucia Bolzano, Marcela Vicuna, Marco Bellagamba, Marco Lodola, Maria Gioia dell’Aglio, Mario Bernardinello, Massimo Meucci, Nacha Piattini, Omar Ronda, Renzo Eusebi, Tita Patti, Romina Power, Rubens Fogacci, Silvio di Pietro, Stefano Sichel, Tino Stefanoni, Ufemia Ritz, Ugo Borlenghi, Umberto Mariani, Venere Chillemi, Jacqueline Gallicot Madar, Massimo Onnis, Fedora Spinelli
Commissioner: Ileana Ordonez Chacon. Curator: Gregorio Rossi. Venue: Palazzo Bollani
CROATIA
Studies on Shivering: The Third Degree
Damir Ocko
Commissioner: Ministry of Culture. Curator: Marc Bembekoff. Venue: Palazzo Pisani, S. Marina
CUBA
El artista entre la individualidad y el contexto
Lida Abdul, Celia-Yunior, Grethell Rasúa, Giuseppe Stampone, LinYilin, Luis Edgardo Gómez Armenteros, Olga Chernysheva, Susana Pilar Delahante Matienzo
Commissioner: Miria Vicini. Curators: Jorge Fernández Torres, Giacomo Zaza. Venue: San Servolo Island
CYPRUS, Republic of
Two Days After Forever
Christodoulos Panayiotou
Commissioner: Louli Michaelidou. Deputy Commissioner: Angela Skordi. Curator: Omar Kholeif. Deputy Curator: Daniella Rose King. Venue: Palazzo Malipiero, Sestiere San Marco 3079
CZECH Republic and SLOVAK Republic
Apotheosis
Jirí David
Commissioner: Adam Budak. Deputy Commissioner: Barbara Holomkova. Curator: Katarina Rusnakova. Venue: Pavilion at Giardini
ECUADOR
Gold Water: Apocalyptic Black Mirrors
Maria Veronica Leon Veintemilla in collaboration with Lucia Vallarino Peet
Commissioner: Andrea Gonzàlez Sanchez. Deputy Commissioner: PDG Arte Communications. Curator: Ileana Cornea. Deputy Curator: Maria Veronica Leon Veintemilla. Venue: Istituto Santa Maria della Pietà, Castello 3701
ESTONIA
NSFW. From the Abyss of History
Jaanus Samma
Commissioner: Maria Arusoo. Curator: Eugenio Viola. Venue: Palazzo Malipiero, campo San Samuele, San Marco 3199
EGYPT
CAN YOU SEE
Ahmed Abdel Fatah, Gamal Elkheshen, Maher Dawoud
Commissioner: Hany Al Ashkar. Curator: Ministry of Culture. Venue: Pavilion at Giardini
FINLAND (Pavilion Alvar Aalto)
Hours, Years, Aeons
IC-98
Commissioner: Frame Visual Art Finland, Raija Koli. Curator: Taru Elfving. Deputy Curator: Anna Virtanen. Venue: Pavilion at Giardini
FRANCE
revolutions
Céleste Boursier-Mougenot
Commissioner: Institut français, with Ministère de la Culture et de la Communication. Curator: Emma Lavigne. Venue: Pavilion at Giardini
GEORGIA
Crawling Border
Rusudan Gobejishvili Khizanishvili, Irakli Bluishvili, Dimitri Chikvaidze, Joseph Sabia
Commissioner: Ana Riaboshenko. Curator: Nia Mgaloblishvili. Venue: Pavilion at Arsenale – Sale d’Armi
GERMANY
Fabrik
Jasmina Metwaly / Philip Rizk, Olaf Nicolai, Hito Steyerl, Tobias Zielony
Commissioner: ifa (Institut für Auslandsbeziehungen) on behalf of the Federal Foreign Office. Deputy Commissioner: Elke aus dem Moore, Nina Hülsmeier. Curator: Florian Ebner. Deputy Curator: Tanja Milewsky, Ilina Koralova. Venue: Pavilion at Giardini
GREAT BRITAIN
Sarah Lucas
Commissioner: Emma Dexter. Curator: Richard Riley. Deputy Curator: Katrina Schwarz. Venue: Pavilion at Giardini
GRENADA *
Present Nearness
Oliver Benoit, Maria McClafferty, Asher Mains, Francesco Bosso and Carmine Ciccarini, Guiseppe Linardi
Commissioner: Ministry of Culture. Deputy Commissioner: Susan Mains. Curator: Susan Mains. Deputy Curator: Francesco Elisei. Venue: Opera don Orione Artigianelli, Sala Tiziano, Fondamenta delle Zattere ai Gesuati, Dorsoduro 919
GREECE
Why Look at Animals? AGRIMIKÁ.
Maria Papadimitriou
Commissioner: Hellenic Ministry of Culture, Education and Religious Affairs. Curator: Gabi Scardi. Deputy Curator: Alexios Papazacharias. Venue: Pavilion at Giardini
BRAZIL
So much that it doesn't fit here
Antonio Manuel, André Komatsu, Berna Reale
Commissioner: Luis Terepins. Curator: Luiz Camillo Osorio. Deputy Curator: Cauê Alves. Venue: Pavilion at Giardini
CANADA
Canadassimo
BGL
Commissioner: National Gallery of Canada, Marc Mayer. Deputy Commissioner: National Gallery of Canada, Yves Théoret. Curator: Marie Fraser. Venue: Pavilion at Giardini
CHILE
Poéticas de la disidencia | Poetics of dissent: Paz Errázuriz - Lotty Rosenfeld
Paz Errázuriz, Lotty Rosenfeld
Commissioner: Antonio Arèvalo. Deputy Commissioner: Juan Pablo Vergara Undurraga. Curator: Nelly Richard. Venue: Pavilion at Arsenale - Artiglierie
CHINA, People’s Republic of
Other Future
LIU Jiakun, LU Yang, TAN Dun, WEN Hui/Living Dance Studio, WU Wenguang/Caochangdi Work Station
Commissioner: China Arts and Entertainment Group, CAEG. Deputy Commissioners: Zhang Yu, Yan Dong. Curator: Beijing Contemporary Art Foundation. Scientific Committee: Fan Di’an, Zhang Zikang, Zhu Di, Gao Shiming, Zhu Qingsheng, Pu Tong, Shang Hui. Venue: Pavilion at Arsenale – Giardino delle Vergini
GUATEMALA
Sweet Death
Emma Anticoli Borza, Sabrina Bertolelli, Mariadolores Castellanos, Max Leiva, Pier Domenico Magri, Adriana Montalto, Elmar Rojas (Elmar René Rojas Azurdia), Paolo Schmidlin, Mónica Serra, Elsie Wunderlich, Collettivo La Grande Bouffe
Commissioner: Daniele Radini Tedeschi. Curators: Stefania Pieralice, Carlo Marraffa, Elsie Wunderlich. Deputy Curators: Luciano Carini, Simone Pieralice. Venue: Officina delle Zattere, Dorsoduro 947, Fondamenta Nani
HOLY SEE
Commissioner: Em.mo Card. Gianfranco Ravasi, Presidente del Pontificio Consiglio della Cultura. Venue: Pavilion at Arsenale – Sale d’Armi
HUNGARY
Sustainable Identities
Szilárd Cseke
Commissioner: Monika Balatoni. Deputy Commissioner: István Puskás, Sándor Fodor, Anna Karády. Curator: Kinga German. Venue: Pavilion at Giardini
ICELAND
Christoph Büchel
Commissioner: Björg Stefánsdóttir. Curator: Nína Magnúsdóttir. Venue: to be confirmed
INDONESIA, Republic of
Komodo Voyage
Heri Dono
Commissioner: Sapta Nirwandar. Deputy Commissioner: Soedarmadji JH Damais. Curator: Carla Bianpoen, Restu Imansari Kusumaningrum. Scientific Committee: Franco Laera, Asmudjo Jono Irianto, Watie Moerany, Elisabetta di Mambro. Venue: Venue: Arsenale
IRAN
Iranian Highlights
Samira Alikhanzaradeh, Mahmoud Bakhshi Moakhar, Jamshid Bayrami, Mohammed Ehsai
The Great Game
Lida Abdul, Bani Abidi, Adel Abidin, Amin Agheai, Ghodratollah Agheli, Shahriar Ahmadi, Parastou Ahovan, Farhad Ahrarnia, Rashad Alakbarov, Nazgol Ansarinia, Reza Aramesh, Alireza Astaneh, Sonia Balassanian, Mahmoud Bakhshi, Moakhar Wafaa Bilal, Mehdi Farhadian, Monir Farmanfarmaian, Shadi Ghadirian, Babak Golkar, Shilpa Gupta, Ghasem Hajizadeh, Shamsia Hassani, Sahand Hesamiyan, Sitara Ibrahimova, Pouran Jinchi, Amar Kanwar, Babak Kazemi, Ryas Komu, Ahmad Morshedloo, Farhad Moshiri, Mehrdad Mohebali, Huma Mulji, Azad Nanakeli, Jamal Penjweny, Imran Qureshi, Sara Rahbar, Rashid Rana, T.V. Santhosh, Walid Siti, Mohsen Taasha Wahidi, Mitra Tabrizian, Parviz Tanavoli, Newsha Tavakolian, Sadegh Tirafkan, Hema Upadhyay, Saira Wasim
Commissioner: Majid Mollanooruzi. Deputy Commissioners: Marco Meneguzzo, Mazdak Faiznia. Curators: Marco Meneguzzo, Mazdak Faiznia. Venue: Calle San Giovanni 1074/B, Cannaregio
IRAQ
Commissioner: Ruya Foundation for Contemporary Culture in Iraq (RUYA). Deputy Commissioner: Nuova Icona - Associazione Culturale per le Arti. Curator: Philippe Van Cauteren. Venue: Ca' Dandolo, San Polo 2879
IRELAND
Adventure: Capital
Sean Lynch
Commissioner: Mike Fitzpatrick. Curator: Woodrow Kernohan. Venue: Pavilion at Arsenale - Artiglierie
ISRAEL
Tsibi Geva | Archeology of the Present
Tsibi Geva
Commissioner: Arad Turgem, Michael Gov. Curator: Hadas Maor. Venue: Pavilion at Giardini
ITALY
Ministero dei Beni e delle attività culturali e del turismo - Direzione Generale Arte e Architettura Contemporanee e Periferie Urbane. Commissioner: Federica Galloni. Curator: Vincenzo Trione. Venue: Padiglione Italia, Tese delle Vergini at Arsenale
JAPAN
The Key in the Hand
Chiharu Shiota
Commissioner: The Japan Foundation. Deputy Commissioner: Yukihiro Ohira, Manako Kawata and Haruka Nakajima. Curator: Hitoshi Nakano. Venue : Pavilion at Giardini
KENYA
Creating Identities
Yvonne Apiyo Braendle-Amolo, Qin Feng, Shi Jinsong, Armando Tanzini, Li Zhanyang, Lan Zheng Hui, Li Gang, Double Fly Art Center
Commissioner: Paola Poponi. Curator: Sandro Orlandi Stagl. Deputy Curator: Ding Xuefeng. Venue: San Servolo Island
KOREA, Republic of
The Ways of Folding Space & Flying
MOON Kyungwon & JEON Joonho
Commissioner: Sook-Kyung Lee. Curator: Sook-Kyung Lee. Venue: Pavilion at Giardini
KOSOVO, Republic of
Speculating on the blue
Flaka Haliti
Commissioner: Ministry of Culture, Youth and Sports. Curator: Nicolaus Schafhausen. Deputy Curator: Katharina Schendl. Venue: Pavilion at Arsenale - Artiglierie
LATVIA
Armpit
Katrina Neiburga, Andris Eglitis
Commissioner: Solvita Krese (Latvian Centre for Contemporary Art). Deputy Commissioner: Kitija Vasiljeva. Curator: Kaspars Vanags. Venue: Pavilion at Arsenale
LITHUANIA
Museum
Dainius Liškevicius
Commissioner: Vytautas Michelkevicius. Deputy Commissioner: Rasa Antanaviciute. Curator: Vytautas Michelkevicius. Venue: Palazzo Zenobio, Fondamenta del Soccorso 2569, Dorsoduro
LUXEMBOURG, Grand Duchy of
Paradiso Lussemburgo
Filip Markiewicz
Commissioner: Ministry of Culture. Deputy Commissioner: MUDAM Luxembourg. Curator: Paul Ardenne. Venue: Cà Del Duca, Corte del Duca Sforza, San Marco 3052
MACEDONIA, Former Yugoslavian Republic of
We are all in this alone
Hristina Ivanoska and Yane Calovski
Commissioner: Maja Nedelkoska Brzanova, National Gallery of Macedonia. Deputy Commissioner: Olivija Stoilkova. Curator: Basak Senova. Deputy Curator: Maja Cankulovska Mihajlovska. Venue: Pavilion at Arsenale - Sale d’Armi
MAURITIUS *
From One Citizen You Gather an Idea
Sultana Haukim, Nirmal Hurry, Alix Le Juge, Olga Jürgenson, Helge Leiberg, Krishna Luchoomun, Neermala Luckeenarain, Kavinash Thomoo, Bik Van Der Pol, Laure Prouvost, Vitaly Pushnitsky, Römer + Römer
Commissioner: pARTage. Curators: Alfredo Cramerotti, Olga Jürgenson. Venue: Palazzo Flangini - Canareggio 252
MEXICO
Possesing Nature
Tania Candiani, Luis Felipe Ortega
Commissioner: Tomaso Radaelli. Deputy Commissioner: Magdalena Zavala Bonachea. Curator: Karla Jasso. Venue: Pavilion at Arsenale – Sale d’Armi
MONGOLIA *
Other Home
Enkhbold Togmidshiirev, Unen Enkh
Commissioner: Gantuya Badamgarav, MCASA. Curator: Uranchimeg Tsultemin. Scientific Committee: David A Ross, Boldbaatar Chultemin. Venue: European Cultural Centre - Palazzo Mora
MONTENEGRO
,,Ti ricordi Sjecaš li se You Remember "
Aleksandar Duravcevic
Commissioner/Curator: Anastazija Miranovic. Deputy Commissioner: Danica Bogojevic. Venue: Palazzo Malipiero (piano terra), San Marco 3078-3079/A, Ramo Malipiero
MOZAMBIQUE, Republic of *
Theme: Coexistence of Tradition and Modernity in Contemporary Mozambique
Mozambique Artists
Commissioner: Joel Matias Libombo. Deputy Commissioner: Gilberto Paulino Cossa. Curator: Comissariado-Geral para a Expo Milano 2015. Venue: Pavilion at Arsenale
NETHERLANDS, The
herman de vries - to be all ways to be
herman de vries
Commissioner: Mondriaan Fund. Curators: Colin Huizing, Cees de Boer. Venue: Pavilion ar Giardini
NEW ZEALAND
Secret Power
Simon Denny
Commissioner: Heather Galbraith. Curator: Robert Leonard. Venue: Biblioteca Nazionale Marciana, Marco Polo Airport
NORDIC PAVILION (NORWAY)
Camille Norment
Commissioner: OCA, Office for Contemporary Art Norway. Curator: Katya García-Antón. Deputy Curator: Antonio Cataldo. Venue: Pavilion at Giardini
PERU
Misplaced Ruins
Gilda Mantilla and Raimond Chaves
Commissioner: Armando Andrade de Lucio. Curator: Max Hernández-Calvo. Venue: Pavilion at Arsenale – Sale d’Armi
PHILIPPINES
Tie a String Around the World
Manuel Conde, Carlos Francisco, Manny Montelibano, Jose Tence Ruiz
Commissioner: National Commission for Culture and the Arts (NCCA), Felipe M. de Leon Jr. Curator: Patrick D. Flores. Venue: European Cultural Centre - Palazzo Mora
POLAND
Halka/Haiti. 18°48’05”N 72°23’01”W
C.T. Jasper, Joanna Malinowska
Commissioner: Hanna Wróblewska. Deputy Commissioner: Joanna Wasko. Curator: Magdalena Moskalewicz. Venue: Pavilion at Giardini
PORTUGAL
I Will Be Your Mirror / poems and problems
João Louro
Commissioner/Curator: María de Corral. Venue: Palazzo Loredan, campo S. Stefano
ROMANIA
Adrian Ghenie: Darwin’s Room
Adrian Ghenie
Commissioner: Monica Morariu. Deputy Commissioner: Alexandru Damian. Curator: Mihai Pop. Venue: Pavilion at Giardini
Inventing the Truth. On Fiction and Reality
Michele Bressan, Carmen Dobre-Hametner, Alex Mirutziu, Lea Rasovszky, Stefan Sava, Larisa Sitar
Commissioner: Monica Morariu. Deputy Commissioner: Alexandru Damian. Curator: Diana Marincu. Deputy Curators: Ephemair Association (Suzana Dan and Silvia Rogozea). Venue: New Gallery of the Romanian Institute for Culture and Humanistic Research in Venice
RUSSIA
The Green Pavilion
Irina Nakhova
Commissioner: Stella Kesaeva. Curator: Margarita Tupitsyn. Venue: Pavilion at Giardini
SERBIA
United Dead Nations
Ivan Grubanov
Commissioner: Lidija Merenik. Deputy Commissioner: Ana Bogdanovic. Curator: Lidija Merenik. Deputy Curator: Ana Bogdanovic. Scientific Committee: Jovan Despotovic. Venue: Pavilion at Giardini
SAN MARINO
Repubblica di San Marino “ Friendship Project “ China
Xu De Qi, Liu Dawei, Liu Ruo Wang, Ma Yuan, Li Lei, Zhang Hong Mei, Eleonora Mazza, Giuliano Giulianelli, Giancarlo Frisoni, Tony Margiotta, Elisa Monaldi, Valentina Pazzini
Commissioner: Istituti Culturali della Repubblica di San Marino. Curator: Vincenzo Sanfo. Venue: TBC
SEYCHELLES, Republic of *
A Clockwork Sunset
George Camille, Léon Wilma Loïs Radegonde
Commissioner: Seychelles Art Projects Foundation. Curators: Sarah J. McDonald, Victor Schaub Wong. Venue: European Cultural Centre - Palazzo Mora
SINGAPORE
Sea State
Charles Lim Yi Yong
Commissioner: Paul Tan, National Arts Council, Singapore. Curator: Shabbir Hussain Mustafa. Scientific Committee: Eugene Tan, Kathy Lai, Ahmad Bin Mashadi, June Yap, Emi Eu, Susie Lingham, Charles Merewether, Randy Chan. Venue: Pavilion at Arsenale – Sale d’Armi
SLOVENIA, Republic of
UTTER / The violent necessity for the embodied presence of hope
JAŠA
Commissioner: Simona Vidmar. Deputy Commissioner: Jure Kirbiš. Curators: Michele Drascek and Aurora Fonda. Venue: Pavilion at Arsenale - Artiglierie
SPAIN
Los Sujetos (The Subjects)
Pepo Salazar, Cabello/Carceller, Francesc Ruiz, + Salvador Dalí
Commissioner: Ministerio Asuntos Exteriores. Gobierno de España. Curator: Marti Manen. Venue: Pavilion at Giardini
SYRIAN ARAB REPUBLIC
Origini della civiltà
Narine Ali, Ehsan Alar, Felipe Cardeña, Fouad Dahdouh, Aldo Damioli, Svitlana Grebenyuk, Mauro Reggio, Liu Shuishi, Nass ouh Zaghlouleh, Andrea Zucchi, Helidon Xhixha
Commissioner: Christian Maretti. Curator: Duccio Trombadori. Venue: Redentore – Giudecca, San Servolo Island
SWEDEN
Excavation of the Image: Imprint, Shadow, Spectre, Thought
Lina Selander
Commissioner: Ann-Sofi Noring. Curator: Lena Essling. Venue: Pavilion at Arsenale
SWITZERLAND
Our Product
Pamela Rosenkranz
Commissioner: Swiss Arts Council Pro Helvetia, Sandi Paucic and Marianne Burki. Deputy-Commissioner: Swiss Arts Council Pro Helvetia, Rachele Giudici Legittimo. Curator: Susanne Pfeffer. Venue: Pavilion at Giardini
THAILAND
Earth, Air, Fire & Water
Kamol Tassananchalee
Commissioner: Chai Nakhonchai, Office of Contemporary Art and Culture (OCAC), Ministry of Culture. Curator: Richard David Garst. Deputy Curator: Pongdej Chaiyakut. Venue: Paradiso Gallerie, Giardini della Biennale, Castello 1260
TURKEY
Respiro
Sarkis
Commissioner: Istanbul Foundation for Culture and Arts. Curator: Defne Ayas. Deputy Curator: Ozge Ersoy. Venue: Pavilion at Arsenale – Sale d’Armi
TUVALU
Crossing the Tide
Vincent J.F. Huang
Commissioner: Taukelina Finikaso. Deputy Commissioner: Temate Melitiana. Curator: Thomas J. Berghuis. Scientific Committee: Andrea Bonifacio. Venue: Pavilion at Arsenale
UKRAINE
Hope!
Yevgenia Belorusets, Nikita Kadan, Zhanna Kadyrova, Mykola Ridnyi & SerhiyZhadan, Anna Zvyagintseva, Open Group, Artem Volokitin
Commissioner: Ministry of Culture. Curator: Björn Geldhof. Venue: Riva dei Sette Martiri
UNITED ARAB EMIRATES
1980 – Today: Exhibitions in the United Arab Emirates
Abdullah Al Saadi, Abdul Qader Al Rais, Abdulraheem Salim, Abdulrahman Zainal, Ahmed Al Ansari, Ahmed Sharif, Hassan Sharif, Mohamed Yousif, Mohammed Abdullah Bulhiah, Mohammed Al Qassab, Mohammed Kazem, Moosa Al Halyan, Najat Meky, Obaid Suroor, Salem Jawhar
Commissioner: Salama bint Hamdan Al Nahyan Foundation. Curator: Hoor Al Qasimi. Venue: Pavilion at Arsenale – Sale d'Armi
UNITED STATES OF AMERICA
Joan Jonas: They Come to Us Without a Word
Joan Jonas
Commissioner: Paul C. Ha. Deputy Commissioner: MIT List Visual Arts Center. Curators: Ute Meta Bauer, Paul C. Ha. Venue: Pavilion at Giardini
URUGUAY
Global Myopia II (Pencil & Paper)
Marco Maggi
Commissioner: Ricardo Pascale. Curator: Patricia Bentancour. Venue: Pavilion at Giardini
VENEZUELA, Bolivarian Republic of
Te doy mi palabra (I give you my word)
Argelia Bravo, Félix Molina (Flix)
Commissioner: Oscar Sotillo Meneses. Deputy Commissioner: Reinaldo Landaeta Díaz. Curator: Oscar Sotillo Meneses. Deputy Curator: Morella Jurado. Scientific Committee: Carlos Pou Ruan. Venue: Pavilion at Giardini
ZIMBABWE, Republic of
Pixels of Ubuntu/Unhu: - Exploring the social and cultural identities of the 21st century.
Chikonzero Chazunguza, Masimba Hwati, Gareth Nyandoro
Commissioner: Doreen Sibanda. Curator: Raphael Chikukwa. Deputy Curator: Tafadzwa Gwetai. Scientific Committee: Saki Mafundikwa, Biggie Samwanda, Fabian Kangai, Reverend Paul Damasane, Nontsikelelo Mutiti, Stephen Garan'anga, Dominic Benhura. Venue: Santa Maria della Pieta
ITALO-LATIN AMERICAN INSTITUTE
Voces Indígenas
Commissioner: Sylvia Irrazábal. Curator: Alfons Hug. Deputy Curator: Alberto Saraiva. Venue: Pavilion at Arsenale
ARGENTINA
Sofia Medici and Laura Kalauz
PLURINATIONAL STATE OF BOLIVIA
Sonia Falcone and José Laura Yapita
BRAZIL
Adriana Barreto
Paulo Nazareth
CHILE
Rainer Krause
COLOMBIA
León David Cobo,
María Cristina Rincón and Claudia Rodríguez
COSTA RICA
Priscilla Monge
ECUADOR
Fabiano Kueva
EL SALVADOR
Mauricio Kabistan
GUATEMALA
Sandra Monterroso
HAITI
Barbara Prézeau Stephenson
HONDURAS
Leonardo González
PANAMA
Humberto Vélez
NICARAGUA
Raúl Quintanilla
PARAGUAY
Erika Meza
Javier López
PERU
José Huamán Turpo
URUGUAY
Gustavo Tabares
Ellen Slegers
001 Inverso Mundus. AES+F
Magazzino del Sale n. 5, Dorsoduro, 265 (Fondamenta delle Zattere ai Saloni); Palazzo Nani Mocenigo, Dorsoduro, 960
May 9th – October 31st
Organization: VITRARIA Glass + A Museum
Catalonia in Venice: Singularity
Cantieri Navali, Castello, 40 (Calle Quintavalle)
May 9th - November 22nd
Organization: Institut Ramon Llull
venezia2015.llull.cat
Conversion. Recycle Group
Chiesa di Sant’Antonin, Castello (Campo Sant’Antonin)
May 6th - October 31st
Organization: Moscow Museum of Modern Art
Dansaekhwa
Palazzo Contarini-Polignac, Dorsoduro, 874 (Accademia)
May 7th – August 15th
Organization: The Boghossian Foundation
Dispossession
Palazzo Donà Brusa, Campo San Polo, 2177
May 9th - November 22nd
Organization: European Capital of Culture Wroclaw 2016
wroclaw2016.pl/biennale/
EM15 presents Doug Fishbone’s Leisure Land Golf
Arsenale Docks, Castello, 40A, 40B, 41C
May 6th - July 26th
Organization: EM15
Eredità e Sperimentazione
Grand Hotel Hungaria & Ausonia, Viale Santa Maria Elisabetta, 28, Lido di Venezia
May 9th - November 22nd
Organization: Istituto Nazionale di BioArchitettura - Sezione di Padova
Frontiers Reimagined
Palazzo Grimani, Castello, 4858 (Ramo Grimani)
May 9th - November 22nd
Organization: Tagore Foundation International; Polo museale del Veneto
Glasstress 2015 Gotika
Istituto Veneto di Scienze Lettere ed Arti, Palazzo Cavalli Franchetti, San Marco, 2847 (Campo Santo Stefano); Chiesa di Santa Maria della Visitazione, Centro Culturale Don Orione Artigianelli, Dorsoduro, 919 (Zattere); Fondazione Berengo, Campiello della Pescheria, 15, Murano;
May 9th — November 22nd
Organization: The State Hermitage Museum
Graham Fagen: Scotland + Venice 2015
Palazzo Fontana, Cannaregio, 3829 (Strada Nova)
May 9th - November 22nd
Organization: Scotland + Venice
Grisha Bruskin. An Archaeologist’s Collection
Former Chiesa di Santa Caterina, Cannaregio, 4941-4942
May 6th – November 22nd
Organization: Centro Studi sulle Arti della Russia (CSAR), Università Ca’ Foscari Venezia
Helen Sear, ... The Rest Is Smoke
Santa Maria Ausiliatrice, Castello, 450 (Fondamenta San Gioacchin)
May 9th - November 22nd
Organization: Cymru yn Fenis/Wales in Venice
Highway to Hell
Palazzo Michiel, Cannaregio, 4391/A (Strada Nova)
May 9th - November 22nd
Organization: Hubei Museum of Art
Humanistic Nature and Society (Shan-Shui) – An Insight into the Future
Palazzo Faccanon, San Marco, 5016 (Mercerie)
May 7th – August 4th
Organization: Shanghai Himalayas Museum
In the Eye of the Thunderstorm: Effervescent Practices from the Arab World & South Asia
Dorsoduro, 417 (Zattere)
May 6th - November 15th
Organization: ArsCulture
Italia Docet | Laboratorium- Artists, Participants, Testimonials and Activated Spectators
Palazzo Barbarigo Minotto, San Marco, 2504 (Fondamenta Duodo o Barbarigo)
May 9th – June 30th; September 11st – October 31st
Organization: Italian Art Motherboard Foundation (i-AM Foundation)
www.venicebiennale-italiadocet.org
Jaume Plensa: Together
Basilica di San Giorgio Maggiore, Isola di San Giorgio Maggiore
May 6th – November 22nd
Organization: Abbazia di San Giorgio Maggiore Benedicti Claustra Onlus
Jenny Holzer "War Paintings"
Museo Correr, San Marco, 52 (Piazza San Marco)
May 6th – November 22nd
Organization: The Written Art Foundation; Museo Correr, Fondazione Musei Civici di Venezia
correr.visitmuve.it
Jump into the Unknown
Palazzo Loredan dell’Ambasciatore, Dorsoduro, 1261-1262
May 9th – June 18th
Organization: Nine Dragon Heads
9dh-venice.com
Learn from Masters
Palazzo Bembo, San Marco, 4793 (Riva del Carbon)
May 9th – November 22nd
Organization: Pan Tianshou Foundation
pantianshou.caa.edu.cn/foundation_en
My East is Your West
Palazzo Benzon, San Marco, 3927
May 6th – October 31st
Organization: The Gujral Foundation
Ornamentalism. The Purvitis Prize
Arsenale Nord, Tesa 99
May 9th – November 22nd
Organization: The Secretariat of the Latvian Presidency of the Council of the European Union in 2015
www.purvisabalva.lv/en/ornamentalism
Path and Adventure
Arsenale, Castello, 2126/A (Campo della Tana)
May 9th – November 22nd
Organization: The Civic and Municipal Affairs Bureau; The Macao Museum of Art; The Cultural Affairs Bureau
Patricia Cronin: Shrine for Girls, Venice
Chiesa di San Gallo, San Marco, 1103 (Campo San Gallo)
May 9th – November 22nd
Organization: Brooklyn Rail Curatorial Projects
curatorialprojects.brooklynrail.org
Roberto Sebastian Matta. Sculture
Giardino di Palazzo Soranzo Cappello, Soprintendenza BAP per le Province di Venezia, Belluno, Padova e Treviso, Santa Croce, 770 (Fondamenta Rio Marin)
May 9th – November 22nd
Organization: Fondazione Echaurren Salaris
www.fondazioneechaurrensalaris.it
www.maggioregam.com/56Biennale_Matta
Salon Suisse: S.O.S. Dada - The World Is A Mess
Palazzo Trevisan degli Ulivi, Dorsoduro, 810 (Campo Sant'Agnese)
May 9th; June 4th - 6th; September 10th - 12th; October 15th - 17th; November 19th – 21st
Organization: Swiss Arts Council Pro Helvetia
Sean Scully: Land Sea
Palazzo Falier, San Marco, 2906
May 9th – November 22nd
Organization: Fondazione Volume!
Sepphoris. Alessandro Valeri
Molino Stucky, interior atrium, Giudecca, 812
May 9th – November 22nd
Organization: Assessorato alla Cultura del Comune di Narni(TR); a Sidereal Space of Art; Satellite Berlin
Tesla Revisited
Palazzo Nani Mocenigo, Dorsoduro, 960
May 9th – October 18th
Organization: VITRARIA Glass + A Museum
The Bridges of Graffiti
Arterminal c/o Terminal San Basilio, Dorsoduro (Fondamenta Zattere al Ponte Lungo)
May 9th - November 22nd
Organization: Associazione Culturale Inossidabile
The Dialogue of Fire. Ceramic and Glass Masters from Barcelona to Venice
Palazzo Tiepolo Passi, San Polo, 2774
May 6th - November 22nd
Organization: Fundaciò Artigas; ArsCulture
The Question of Beings
Istituto Santa Maria della Pietà, Castello, 3701
May 9th - November 22nd
Organization: Museum of Contemporary Art, Taipei (MoCA, Taipei)
The Revenge of the Common Place
Università Ca' Foscari, Ca' Bernardo, Dorsoduro, 3199 (Calle Bernardo)
May 9th – September 30th
Organization: Vrije Universiteit Brussel (Free University Brussels-VUB)
The Silver Lining. Contemporary Art from Liechtenstein and other Microstates
Palazzo Trevisan degli Ulivi, Dorsoduro, 810 (Campo Sant'Agnese)
October 24th – November 1st
Organization: Kunstmuseum Liechtenstein
The Sound of Creation. Paintings + Music by Beezy Bailey and Brian Eno
Conservatorio Benedetto Marcello, Palazzo Pisani, San Marco, 2810 (Campo Santo Stefano)
May 7th - November 22nd
Organization: ArsCulture
The Union of Fire and Water
Palazzo Barbaro, San Marco, 2840
May 9th - November 22nd
Organization: YARAT Contemporary Art Organisation
Thirty Light Years - Theatre of Chinese Art
Palazzo Rossini, San Marco, 4013 (Campo Manin)
May 9th - November 22nd
Organization: GAC Global Art Center Foundation; The Guangdong Museum of Art
Tsang Kin-Wah: The Infinite Nothing, Hong Kong in Venice
Arsenale, Castello, 2126 (Campo della Tana)
May 9th - November 22nd
Organization: M+, West Kowloon Cultural District; Hong Kong Arts Development Council
Under the Surface, Newfoundland and Labrador at Venice
Galleria Ca' Rezzonico, Dorsoduro, 2793
May 9th - November 22nd
Organization: Terra Nova Art Foundation
tnaf.ca
Ursula von Rydingsvard
Giardino della Marinaressa, Castello (Riva dei Sette Martiri)
May 6th - November 22nd
Organization:Yorkshire Sculpture Park
We Must Risk Delight: Twenty Artists from Los Angeles
Magazzino del Sale n. 3, Dorsoduro, 264 (Zattere)
May 7th - November 22nd
Organization: bardoLA
Wu Tien-Chang: Never Say Goodbye
Palazzo delle Prigioni, Castello, 4209 (San Marco)
May 9th - November 22nd
Organization: Taipei Fine Arts Museum of Taiwan
emailmarketing.comm100.com/email-marketing-tutorial/html-... Comm100 Email Marketing provides you with FREE email marketing Tutorial that will walk you through the concepts, benefits and best practices of email marketing.
performance event entitled “Climate Crisis Car Wash,” co-conceived by Canadian artist Celeste Pimm.
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academy-emergency-art.blogspot.dk/2014/05/why-should-berl...
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Biennalist @ Berlin Biennale . Should we debate global warming NOW or promote it ?
ARE BIENNALES DANGEROUS ?
Art Formats : ( including Emergency Art )
www.emergencyrooms.org/formats.html
Biennalist:
www.emergencyrooms.org/biennalist.html
THE EMERGENCY WILL REPLACE THE CONTEMPORARY
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----more about Berlin Biennale ---#BB8
Juan A. Gaitán appointed curator of the 8th Berlin Biennale for Contemporary Art
KW Institute for Contemporary Art in Berlin is delighted to announce the appointment of Juan A. Gaitán as curator of the 8th Berlin Biennale for Contemporary Art. The 8th Berlin Biennale will take place in spring 2014.
Juan A. Gaitán (Canada/Colombia) is an independent writer and curator, currently based in Mexico City and Berlin. He is trained as an artist and art historian at University of British Columbia and Emily Carr Institute of Art and Design in Vancouver (Canada). Between January 2009 and December 2011, he was curator at Witte de With Center for Contemporary Art in Rotterdam (The Netherlands), and between September 2011 and June 2012 adjunct professor in the Curatorial Practice Program at the California College of the Arts in San Francisco (USA). During the 2006 – 2008 period, he was on the Board of Directors of the Western Front Society, and worked as external curator at the Morris and Helen Belkin Art Gallery in Vancouver. His writings have been published in several journals, including Afterall, The Exhibitionist, Fillip, and Mousse. His most recent exhibition, Material Information, spans three venues in Bergen (Norway), and looks for a renewed critical approach to the contemporary global distribution of labor from the perspective of arts and crafts. He is presently member of the acquisitions committee at FRAC Nord-Pas de Calais in Dunquerke (France).
The Berlin Biennale for Contemporary Art is since its fourth edition one of the institutions supported by the German Federal Cultural Foundation as „outstanding cultural event“. The support of 2.5 Million Euros per edition ensures planning stability, enabling the organizers to address issues of content in an experimental way.
Since the first edition in 1998, the Berlin Biennale has become a major international event for contemporary art. Located in the midst of Berlin’s vibrant cultural scene in the fast-changing capital of Germany, the Berlin Biennale has received an enthusiastic response from the audience as an experimental, forward-looking and contextual show. The previous seven editions of the Berlin Biennale explored a variety of exhibition formats and involved diverse curatorial agendas.
Curators have been:
1st Berlin Biennale (1998): Klaus Biesenbach with Nancy Spector, and Hans Ulrich Obrist
2nd Berlin Biennale (2001): Saskia Bos
3rd Berlin Biennale (2004): Ute Meta Bauer
4th Berlin Biennale (2006): Maurizio Cattelan, Massimiliano Gioni, and Ali Subotnick
5th Berlin Biennale (2008): Adam Szymczyk and Elena Filipovic
6th Berlin Biennale (2010): Kathrin Rhomberg
7th Berlin Biennale (2012): Artur Żmijewski together with associate curators Voina and Joanna Warsza
The selection committee for the curatorship of the 8th Berlin Biennale consisted of Sergio Edelsztein (Director and Chief Curator, The Centre for Contemporary Art, Tel Aviv); Cao Fei (Artist, Bejing), Susanne Gaensheimer (Director, MMK Museum für Moderne Kunst, Frankfurt a. M.), Koyo Kouoh (Founding Director and Artistic Director, Raw Material Company - Center for Art, Knowledge and Society, Dakar), Matthias Mühling (Head of Department, Curator, Städtische Galerie im Lenbachhaus, Munich), Bisi Silva (Director and Founder, Centre for Contemporary Art, Lagos), and Patricia Sloane (Associate Curator, MUAC Museo Universitario Arte Contemporáneo and advisor to the Head of Visual Arts, UNAM Universidad Nacional Autónoma de México, Mexico City).
The Berlin Biennale is realized by KW Institute for Contemporary Art and funded by the German Federal Cultural Foundation.
KW Institute for Contemporary Art
Berlin Biennale für zeitgenössische Kunst
Auguststraße 69
#BB8
---artists participating ---
52 Künstler stehen auf der am gestrigen Sonntag veröffentlichten Künstlerliste der 8. Berlin Biennale: Zarouhie Abdalian, Bani Abidi, Mathieu Kleyebe Abonnenc, Saâdane Afif, David Chalmers Alesworth, Carlos Amorales, Andreas Angelidakis, Leonor Antunes, Julieta Aranda , Tarek Atoui, Nairy Baghramian, Bianca Baldi, Patrick Alan Banfield, Alberto Baraya , Rosa Barba, Gordon Bennett, Zachary Cahill, Mariana Castillo Deball, Carolina Caycedo, Tacita Dean, Mario García Torres, Beatriz González, Agatha Gothe-Snape, Shilpa Gupta, Cynthia Gutiérrez, Ganesh Haloi, Carsten Höller, Iman Issa, Irene Kopelman, Kemang Wa Lehulere, Matts Leiderstam, Li Xiaofei, Glenn Ligon, Goshka Macuga, Santu Mofokeng, Shahryar Nashat, Olaf Nicolai, Otobong Nkanga, Christodoulos Panayiotou, Judy Radul, Jimmy Robert, Anri Sala, Slavs and Tatars, Michael Stevenson, Mariam Suhail, Vivan Sundaram, Gaganendranath Tagore, Wolfgang Tillmans, Tonel, Danh Vo & Xiu Xiu, David Zink Yi, Carla Zaccagnini und das Center for Historical Reenactments.
Die 8. Berlin Biennale für zeitgenössische Kunst findet vom 29. Mai bis 3. August 2014 im Haus am Waldsee, den Museen Dahlem - Staatliche Museen zu Berlin, den KW Institute for Contemporary Art und dem "Crash Pad" in den KW statt.
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043221022011
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The Edit of this Photo Demands Your View In BLACK with Large size for better out put, Plz Press L for Black
This is the cover photo of my set National Language Movement 2011
This Photo was taken on 21th Fab at 01:30 pm , From Jatio Shaheed Minar , Dhaka, BANGLADESH, This Photo was Taken while my Special Photowalk with The flickr Group Frame BANGLADESH
Description :The Bengali Language Movement: and in Bangali Trnslation to ভাষা আন্দোলন
The Bengali Language Movement: Can read In Bangoli here]ভাষা আন্দোলন, also known as the Language Movement (Bengali: ভাষা আন্দোলন; Bhasha Andolon), was a political effort in Bangladesh (then known as East Pakistan), advocating the recognition of the Bengali language as an official language ofPakistan. Such recognition would allow Bengali to be used in government affairs.When the state of Pakistan was formed in 1947, its two regions, East Pakistan (also called East Bengal) and West Pakistan, were split along cultural, geographical, and linguistic lines. In 1948, the Government of Pakistan ordained Urdu as the sole national language, sparking extensive protests among the Bengali-speaking majority of East Pakistan. Facing rising sectarian tensions and mass discontent with the new law, the government outlawed public meetings and rallies. The students of the University of Dhaka and other political activists defied the law and organised a protest on 21 February 1952. The movement reached its climax when police killed student demonstrators on that day. The deaths provoked widespread civil unrest led by the Awami Muslim League, later renamed the Awami League. After years of conflict, the central government relented and granted official status to the Bengali language in 1956. In 2000,UNESCO declared 21 February International Mother Language Day for the whole world to celebrate[1], in tribute to the Language Movement and the ethno-linguistic rights of people around the world.The Language Movement catalysed the assertion of Bengali national identity in Pakistan, and became a forerunner to Bengali nationalist movements, including the 6-point movement and subsequently the Bangladesh Liberation War in 1971. In Bangladesh, 21 February is observed as Language Movement Day, a national holiday. The Shaheed Minar monument was constructed near Dhaka Medical College in memory of the movement and its victims
Background
The present nations of Pakistan and Bangladesh were part of undivided India during the British colonial rule. From the mid-19th century, the Urdu language had been promoted as thelingua franca of Indian Muslims by political and religious leaders such as Sir Khwaja Salimullah, Sir Syed Ahmed Khan, Nawab Viqar-ul-Mulk and Maulvi Abdul Haq.[2][3] Urdu is an Indo-Aryan language of the Indo-Iranian branch, belonging to the Indo-European family of languages. It developed under Persian, Arabic and Turkic influence on apabhramshas (last linguistic stage of the medieval Indian Aryan language Pali-Prakrit)[4] in South Asia during the Delhi Sultanate and Mughal Empire.[5] With its Perso-Arabic script, the language was considered a vital element of the Islamic culture for Indian Muslims; Hindi and the Devanagari script were seen as fundamentals of Hindu culture.[2]While the use of Urdu grew common with Muslims in northern India, the Muslims of Bengal (a province in the eastern part of British Indian sub-continent) primarily used the Bengali language. Bengali is an Eastern Indo-Aryan language that arose from the eastern Middle Indic languages around 1000 CE[6] and developed considerably during the Bengal Renaissance. As early as the late 19th century, social activists such as the Muslim feminist Roquia Sakhawat Hussain were choosing to write in Bengali to reach out to the people and develop it as a modern literary language. Supporters of Bengali opposed Urdu even before the partition of India, when delegates from Bengal rejected the idea of making Urdu the lingua franca of Muslim India in the 1937 Lucknow session of the Muslim League. The Muslim League was a British Indian political party that became the driving force behind the creation of Pakistan as a Muslim state separate from British India.[7]
The Other Set related to this set are available here at : International Mother Language Day
All other Photos of this set are available at : National Language Movement Dat 2011
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परमेश्वर के प्रासंगिक वचन:
तहेदिल से परमेश्वर की आत्मा को स्पर्श करके लोग परमेश्वर पर विश्वास करते हैं, उससे प्रेम करते हैं, और उसे संतुष्ट करते हैं, और इस प्रकार वे परमेश्वर की संतुष्टि प्राप्त करते हैं; जब वे परमेश्वर के वचनों के संपर्क में आते हैं, तो परमेश्वर का आत्मा का उन पर भावनात्मक प्रभाव पड़ता है। यदि तुम एक उचित आध्यात्मिक जीवन प्राप्त करना चाहते हो और परमेश्वर के साथ एक उचित संबंध स्थापित करना चाहते हो, तो तुम्हें पहले उसे अपना हृदय अर्पित करना होगा, और अपने हृदय को उसके सामने शांत करना होगा। अपने पूरे हृदय को परमेश्वर की स्तुति में डुबोकर ही तुम धीरे-धीरे एक उचित आध्यात्मिक जीवन का विकास कर सकते हो। यदि लोग परमेश्वर को अपना हृदय अर्पित नहीं करते हैं और उस पर पूरी तरह विश्वास नहीं करते हैं, और अगर उनका दिल उन्हें महसूस नहीं करता है और वे परमेश्वर के बोझ को अपना बोझ नहीं मानते हैं, तो जो कुछ भी वे कर रहे हैं उससे केवल परमेश्वर को धोखा दे रहे हैं, और ये धार्मिक व्यक्तियों का केवल व्यवहार है—ये परमेश्वर की प्रशंसा प्राप्त नहीं कर सकता है।
— "वचन देह में प्रकट होता है" में "परमेश्वर के साथ एक उचित संबंध स्थापित करना बहुत महत्वपूर्ण है" से उद्धृत
आज पवित्र आत्मा के वचन पवित्र आत्मा के कार्य का गतिविज्ञान हैं और इसके दौरान पवित्र आत्मा के द्वारा मनुष्य का निरंतर प्रबोधन, पवित्र आत्मा के कार्य की प्रवृत्ति है। और आज पवित्र आत्मा के कार्य की प्रवृत्ति क्या है? यह आज परमेश्वर के कार्य और एक सामान्य आध्यात्मिक जीवन में दर्ज होने में लोगों का नेतृत्व करना है। ...
सबसे पहले, तुम्हें अपने दिल को परमेश्वर के वचनों में उड़ेल देना चाहिए। तुम्हें परमेश्वर के अतीत के वचनों का अनुसरण नहीं करना चाहिए, और न तो उनका अध्ययन करना चाहिए और न ही आज के वचनों से उनकी तुलना करनी चाहिए। इसके बजाय, तुम्हें पूरी तरह से परमेश्वर के वर्तमान वचनों में अपना दिल उड़ेल देना चाहिए। अगर ऐसे लोग हैं जो अभी भी अतीत काल के परमेश्वर के वचन, आध्यात्मिक किताबें, या प्रचार-प्रसार के अन्य विवरणों को पढ़ना चाहते हैं, जो आज पवित्र आत्मा के वचनों का पालन नहीं करते हैं, तो वे सभी लोगों में सबसे अधिक मूर्ख हैं; परमेश्वर ऐसे लोगों से घृणा करता है। यदि तुम आज पवित्र आत्मा का प्रकाश स्वीकार करने के लिए तैयार हो, तो फिर अपने दिल को आज परमेश्वर की उक्तियों में उड़ेल दो। यह पहली चीज़ है जो तुम्हें हासिल करनी है।
— "वचन देह में प्रकट होता है" में "परमेश्वर के सबसे नए कार्य को जानो और परमेश्वर के चरण-चिन्हों का अनुसरण करो" से उद्धृत
परमेश्वर में विश्वास करने में तुम्हें कम से कम परमेश्वर के साथ एक सामान्य संबंध रखने के विषय का समाधान करना चाहिए। परमेश्वर के साथ सामान्य संबंध के बिना परमेश्वर में विश्वास करने का महत्व खो जाता है। परमेश्वर के साथ एक सामान्य संबंध को स्थापित करना परमेश्वर की उपस्थिति में अपने हृदय को शांत करने के द्वारा ही किया जा सकता है। परमेश्वर के साथ एक सामान्य संबंध को स्थापित करने का अर्थ है परमेश्वर के किसी भी कार्य पर संदेह न करना या उसका इनकार न करना, बल्कि उसके प्रति समर्पित रहना, और इससे बढ़कर इसका अर्थ है परमेश्वर की उपस्थिति में सही इरादों को रखना, स्वयं के बारे में न सोचते हुए हमेशा परमेश्वर के परिवार की बातों को सबसे महत्वपूर्ण विषय के रूप में सोचना, फिर चाहे तुम कुछ भी क्यों न कर रहे हो, परमेश्वर के अवलोकन को स्वीकार करना और परमेश्वर के प्रबंधनों के प्रति समर्पण करना। परमेश्वर की उपस्थिति में तुम जब भी कुछ करते हो तो तुम अपने हृदय को शांत कर सकते हो; यदि तुम परमेश्वर की इच्छा को नहीं भी समझते हो, फिर भी तुम्हें अपनी सर्वोत्तम योग्यता के साथ अपने कर्तव्यों और जिम्मेदारियों को पूरा करना चाहिए। अभी देर नहीं हुई है, परमेश्वर की इच्छा का स्वयं पर प्रकट होने की प्रतीक्षा करो, और फिर तुम इसे अभ्यास में लाओ। जब परमेश्वर के साथ तुम्हारा संबंध सामान्य हो जाता है, तब तुम्हारा संबंध लोगों के साथ भी सामान्य होगा। सब कुछ परमेश्वर के वचनों पर स्थापित है। परमेश्वर के वचनों को खाने और उन्हें पीने से परमेश्वर की माँगों के अनुसार कार्य करो, अपने दृष्टिकोणों को सही रखो, और ऐसे कार्यों को न करो जो परमेश्वर का प्रतिरोध करते हों या कलीसिया में विघ्न डालते हों। ऐसे कार्यों को न करो जो भाइयों और बहनों के जीवनों को लाभान्वित न करें, ऐसी बातों को न कहो जो दूसरे लोगों के जीवन में योगदान न दें, निंदनीय कार्य न करो। सब कार्यों को करने में न्यायी और सम्माननीय बनो और उन्हें परमेश्वर के समक्ष प्रस्तुति योग्य बनाओ। यद्यपि कभी-कभी देह कमज़ोर होती है, फिर भी तुम अपने लाभों का लालच न करते हुए परमेश्वर के परिवार को लाभान्वित करने को सर्वोच्च महत्त्व दे सकते हो, और धार्मिकता को पूरा कर सकते हो। यदि तुम इस तरह से कार्य कर सकते हो, तो परमेश्वर के साथ तुम्हारा संबंध सामान्य होगा।
जब भी तुम कुछ करते हो, तो तुम्हें यह जांचना आवश्यक है कि क्या तुम्हारी प्रेरणाएँ सही हैं। यदि तुम परमेश्वर की माँगों के अनुसार कार्य कर सकते हो, तो परमेश्वर के साथ तुम्हारा संबंध सामान्य है। यह निम्नतम मापदंड है। जब तुम अपनी प्रेरणाओं को जाँचते हो, तो यदि उनमें ऐसी प्रेरणाएँ मिल जाएँ जो सही न हों, और यदि तुम उनसे फिर सकते हो और परमेश्वर के वचनों के अनुसार कार्य कर सकते हो, तो तुम एक ऐसे व्यक्ति बन जाओगे जो परमेश्वर के समक्ष सही है, और जो दर्शाएगा कि परमेश्वर के साथ तुम्हारा संबंध सामान्य है, और तुम जो कुछ करते हो वह परमेश्वर के लिए है, न कि तुम्हारे अपने लिए। तुम जब भी कुछ करते या कहते हो, तो तुम्हें अपने हृदय को सही रखना, और धर्मी बनना चाहिए, और अपनी भावनाओं में नहीं बहना चाहिए, या तुम्हारी अपनी इच्छा के अनुसार कार्य नहीं करना चाहिए। ये ऐसे सिद्धांत हैं जिनमें परमेश्वर के विश्वासी स्वयं आचरण करते हैं। एक व्यक्ति की प्रेरणाएँ और उसका महत्व छोटी बातों में प्रकट हो सकता है, और इस प्रकार, परमेश्वर द्वारा सिद्ध बनाए जाने के मार्ग में प्रवेश करने के लिए लोगों को पहले उनकी अपनी प्रेरणाओं और परमेश्वर के साथ उनके संबंध का समाधान करना आवश्यक है। जब परमेश्वर के साथ तुम्हारा संबंध सामान्य होता है, केवल तभी तुम परमेश्वर के द्वारा सिद्ध किए जाओगे, और केवल तभी तुम में परमेश्वर का व्यवहार, काट-छाँट, अनुशासन और शोधन अपने वांछित प्रभाव को पूरा कर पाएगा। कहने का अर्थ यह है कि लोग अपने हृदयों में परमेश्वर को रख सकेंगे, और व्यक्तिगत लाभों को नहीं खोजेंगे, अपने व्यक्तिगत भविष्य (अर्थात् शरीर के बारे में सोचना) के बारे में नहीं सोचेंगे, बल्कि वे जीवन में प्रवेश करने के बोझ को रखेंगे, सत्य का अनुसरण करने में अपना सर्वोत्तम प्रयास करेंगे, और परमेश्वर के कार्य के प्रति समर्पित रहेंगे। इस प्रकार से, जिन लक्ष्यों को तुम खोजते हो वे सही हैं, और परमेश्वर के साथ तुम्हारा संबंध सामान्य है।
— "वचन देह में प्रकट होता है" में "परमेश्वर के साथ तुम्हारा संबंध कैसा है?" से उद्धृत
संदर्भ के लिए धर्मोपदेश और संगति के उद्धरण:
परमेश्वर के साथ उचित संबंध स्थापित करते समय, हमें कहाँ से शुरू करना चाहिए? परमेश्वर से प्रार्थना करते समय दिल से बात करना सबसे महत्वपूर्ण बात है। उदाहरण के लिए, प्रार्थना में तुम कहते हो, "हे परमेश्वर, मैं देखता हूँ कि मेरे कई भाई-बहन तेरे लिए खुद को समर्पित करते हैं, लेकिन मेरी हैसियत बहुत छोटी है। मैं अपनी आजीविका, अपने भविष्य के बारे में सोचता हूँ और सोचता हूँ कि क्या मेरा शरीर भविष्य में कठिनाइयों का सामना कर पाएगा। मैं सब कुछ नहीं त्याग सकता। मैं वाकई तेरे कर्ज में हूँ। उनके पास इतना बड़ा कद कैसे हो सकता है? हम समान प्रकार के परिवारों से आते हैं। मगर वे खुद को परमेश्वर के लिए पूरे समय खपा सकते हैं, मैं ऐसा क्यों नहीं कर सकता? मुझमें सत्य की बहुत कमी है। मैं हमेशा अपने शारीरिक इच्छाओं की चिंता करता हूँ। मेरे पास पर्याप्त आस्था नहीं है। हे परमेश्वर, मैं चाहता हूँ कि तू मुझे प्रबुद्ध करे, मुझे रोशन करे, मुझे वास्तव में तुझ पर विश्वास करने और तेरे लिए जल्द से जल्द खुद को खपाने में सक्षम बना।" यह दिल से बात करना है। यदि तुम हर दिन, दिल से, इस तरह परमेश्वर के साथ संवाद करते हो, तो उसे पता चलेगा कि तुम ईमानदार हो और उसे मूर्ख बनाने या चिकनी चुपड़ी बातों में फंसाने और उसे धोखा देने की कोशिश नहीं कर रहे हो। तब पवित्र आत्मा अपना कार्य करेगा। परमेश्वर के साथ उचित संबंध स्थापित करने का यही अर्थ है। हम रचनाएं हैं, और वह सृष्टिकर्ता है। रचना जब अपने सृष्टिकर्ता के सामने खड़ी हो तो उसके पास क्या-क्या होना चाहिए? उसके पास सच्ची आज्ञाकारिता, स्वीकृति, विश्वास और आराधना होनी चाहिए। हमें अपने दिल पूरी तरह से परमेश्वर को दे देना चाहिए। उन्हें उसे अगुवाई करने, शासन करने और योजना बनाने देना चाहिए। इस तरह प्रार्थना करना और तलाश करना सही है। परमेश्वर के साथ उचित संबंध स्थापित करने का यही अर्थ है।
— जीवन में प्रवेश पर धर्मोपदेश और संगति से उद्धृत
परमेश्वर के साथ उचित सम्बन्ध कैसे स्थापित करें? बहुत से सिद्धांत इसमें शामिल हैं। पहला यह है कि तुम्हें परमेश्वर की सर्वशक्तिमत्ता और बुद्धि में विश्वास करना होगा, तुम्हें विश्वास करना होगा कि परमेश्वर के सभी वचनों को पूरा किया जाएगा। यही आधार है। यदि तुम परमेश्वर के वचनों में विश्वास नहीं करते हो, तो यह नहीं चलेगा, क्योंकि इससे वास्तविक विश्वास की कमी दिखाई देती है; परमेश्वर की सर्वशक्तिमत्ता में विश्वास करने में विफलता वास्तविक विश्वास की कमी दर्शाती है। दूसरा, तुम्हें अपना दिल परमेश्वर को देना होगा और परमेश्वर को सभी चीजों में अधिकार लेने देना होगा। तीसरा, तुम्हें परमेश्वर की परीक्षा को स्वीकार करना होगा, और यह महत्वपूर्ण है। यदि तुम अपनी प्रार्थनाओं और सहभागिता, अपने कार्यों और शब्दों के बारे में परमेश्वर की परीक्षा को स्वीकार नहीं करते हो, तो तुम परमेश्वर के साथ सच्ची सहभागिता कैसे कर सकते हो? क्या तुम उसे बता सकते हो कि तुम्हारे दिल में क्या है? जब तुम बोलते हो, तो तुम केवल अपने लिए प्रार्थना करते हो; जब तुम बोलते हो, तो तुम जो कहते हो वह झूठ के साथ मिश्रित होता है, बुरे इरादे रखता है, और दिखावे और झूठ से भरा हुआ है। यदि तुम परमेश्वर की परीक्षा को स्वीकार नहीं करते हो, तो क्या तुम इन चीज़ों को पहचान सकते हो? एक बार जब तुम परमेश्वर की परीक्षा को स्वीकार कर लेते हो, तो जब तुम गलत बातें कहते हो, निरर्थक शब्दों को कहने के बाद, वादे करने के बाद, तुम तुरंत सोचते हो, "अरे, क्या मैं परमेश्वर को धोखा नहीं दे रहा हूँ? यह परमेश्वर से झूठ बोलने जैसा क्यों लगता है?" यही परमेश्वर की परीक्षा को स्वीकार करना है, और इसी कारण से यह इतना महत्वपूर्ण है। चौथा, तुम्हें सभी चीजों में सत्य तलाशना सीखना होगा। शैतान के दर्शन पर भरोसा न करो, और तुम्हें लाभ होता है या नहीं, इस पर आधारित चीजें मत करो। तुम्हें सत्य का अर्थ निकालते हुए, सत्य की तलाश करनी चाहिए, फिर तुम्हें सत्य का अभ्यास करना चाहिए। व्यक्तिगत लाभों या नुकसानों की परवाह किये बिना, तुम्हें सत्य का अभ्यास करना चाहिए और सत्य कहना चाहिए, साथ ही एक ईमानदार व्यक्ति बनना चाहिए। नुकसान उठाना एक तरह का आशीर्वाद है; जब तुम नुकसान उठाते हो, तो तुम्हें परमेश्वर का और अधिक आशीष मिलता है। अब्राहम का कई बार फायदा उठाया गया, और लोगों से अपने संवाद के दौरान वह हमेशा समझौता किया करता था। यहाँ तक कि उसके सेवकों ने भी शिकायत की, "आप इतने कमज़ोर क्यों हैं? आइए उनसे लड़ें!" उस समय अब्राहम ने क्या सोचा? "हम उनके साथ नहीं लड़ेंगे। सब कुछ परमेश्वर के हाथों में है, और थोड़ा सा नुकसान उठाने में कुछ भी बुरा नहीं है।" नतीजतन, परमेश्वर ने अब्राहम को और भी आशीष दिया। क्या यदि सत्य का अभ्यास करने के कारण, तुम्हें अपने व्यक्तिगत लाभ के विषय में नुकसान भुगतना पड़ा है, और तुम परमेश्वर को दोष नहीं देते हो, तो परमेश्वर तुम्हें आशीष देगा। पाँचवाँ, तुमको सभी चीजों में सत्य का पालन करना सीखना होगा, यह भी महत्वपूर्ण है। जो व्यक्ति सत्य के अनुसार चीजें कहता है उसकी पहचान के बावजूद, चाहे जो व्यक्ति ऐसा कहता है उसके हमारे साथ अच्छे रिश्ते हों या न हों, और चाहे हम उसके साथ कैसे भी व्यवहार करते हों, जब तक उसकी बातें सत्य के अनुसार है, हमें उसका पालन करना चाहिए और वह जो कहता है उसे स्वीकार करना चाहिए। यह क्या दर्शाता है? यह दिखाता है कि मनुष्य के पास ऐसा दिल है जो परमेश्वर का सम्मान करता है। यदि कोई व्यक्ति सत्य के अनुसार बात करने वाले तीन-चार साल के बच्चे का पालन कर सकता है, तो क्या यह व्यक्ति किसी भी तरह से घमंडी है? क्या यह कोई ऐसा है जो अहंकारी है? वह बदल गया है, उसका स्वभाव बदल गया है ...छठा, अपने कर्तव्यों को पूरा करने में परमेश्वर के प्रति वफादार रहो। सृजित प्राणी के रूप में अपने कर्तव्यों को कभी न भूलो। यदि तुम अपने कर्तव्यों को पूरा नहीं करते हो, तो तुम कभी भी परमेश्वर की अपेक्षाओं को पूरा नहीं कर पाओगे। यदि मनुष्य अपने कर्तव्यों को पूरा नहीं करता है, तो वह कचरा है, और वह शैतान से संबंधित है। यदि तुम परमेश्वर के सामने अपने कर्तव्यों को पूरा कर सकते हो, तो तुम परमेश्वर के लोगों में से एक हो, क्योंकि यही वह पहचान है। यदि तुमने अपने कर्तव्यों को अच्छी तरह से पूरा कर लिया है, तो तुम एक योग्य प्राणी हो; यदि तुम अपने कर्तव्यों को पूरा करने में असफल रहे, तो तुम एक योग्य प्राणी नहीं हो, और तुम्हें परमेश्वर की मंजूरी नहीं मिलेगी। इसलिए, यदि तुम अपने कर्तव्यों को पूरा करने में परमेश्वर के प्रति वफादार हो, यदि तुम फिर परमेश्वर के संपर्क में आते हो, तो क्या परमेश्वर तुम्हें आशीष नहीं दे सकता? क्या परमेश्वर तुम्हारे साथ नहीं हो सकता? सातवाँ, सभी चीजों में परमेश्वर के पक्ष में रहो, परमेश्वर के साथ दिल और मन से एक होकर रहो। अगर तुम्हारे माता-पिता कुछ ऐसा कहते हैं जो सत्य के अनुसार नहीं है, जो परमेश्वर के ख़िलाफ़ विद्रोह करता है और परमेश्वर का विरोध करता है, तो तुम्हें परमेश्वर के पक्ष में खड़े होने में सक्षम होना चाहिए, तुम्हें अपने माता-पिता के साथ तर्क-वितर्क करना चाहिए, उन्हें अस्वीकार कर देना चाहिए, उनकी बातों को मानने से इनकार कर देना चाहिए। क्या यह गवाही देना नहीं है? क्या यह शैतान को शर्मिंदा कर सकता है? (हाँ, कर सकता है।) ...यदि मनुष्य इन सात सिद्धांतों का पालन कर सकता है, तो वह परमेश्वर की मंजूरी प्राप्त कर सकता है और तभी परमेश्वर के साथ उसका रिश्ता पूरी तरह से सामान्य होगा। ये सात सिद्धांत बहुत ही महत्वपूर्ण हैं।
— जीवन में प्रवेश पर धर्मोपदेश और संगति से उद्धृत
स्रोत: सर्वशक्तिमान परमेश्वर की कलीसिया
उपयोग की शर्तें: hi.kingdomsalvation.org/disclaimer.html
आपके लिए अनुशंसित: प्रार्थनाओं का सही तरीका क्या है, परमेश्वर से वास्तव में प्रार्थना कैसे करें?
Seguir o Cordeiro e cantar cânticos novos
e louve a vinda do reino de Deus ao mundo!
melhor música gospel 2018
pt.godfootsteps.org/videos/follow-God-along-rough-path-mv...
Lori Deiter and I planned to hike the Falls Trail on Feb 1st... It was decided to hike in from Rte 118 up to Onondaga Falls on Glen Leigh. Mark Van Scyoc and his friend, Doug Reese met us in the parking lot and we hiked up together to B. Reynolds and they left to hike up to the base of Ganoga Falls. My favorite / highlight of the day was the ice leading up to and around Ozone Falls - awesome.
Ricketts Glen State Park
Luzerne County, Pennsylvania
Saturday, February 1st, 2014
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CIF CENTRAL SECTION CHAMPIONSHIP
Liberty High School - Wednesday, May 14, 2008
www.andynoise.com/valley08.html
Central Section Grand Masters
At Liberty
Team standings--unavailable.
400 relay--1. Bakersfield (Hunt, Turner, Johnson, Norwood), 42.28; 2. Clovis East (Bourbon, Scott, Smith, Woods), 42.58; 3. Redwood (Stewart, Ray, Root, Coles), 43.07; 4. Central (Newsome, Bigelow, Hammack, Phillips), 43.15. 1,600--1. Chris Schwartz, Foot, 4:15.80; 2. Jonathan Sanchez, Buch, 4:17.48; 3. Eric Battles, CW, 4:20.34; 4. Jesse Arellano, Mad, 4:21.56. 110H--1. Ethan DeJongh, MtW, 14.49; 2. Sean Johnson, Buch, 14.66; 3. Jon Funch, CW, 14.81; 4. Isiah Crunk, Wash, 15.17. 400--1. Maurice Lewis, Ed, 49.08; 2. Isiah Purvis, Lib, 49.13; 3. Daniel Lozano, Stock, 49.35; 4. Jelani Hendrix, Ed, 49.62. 100--1. Brendon Bigelow, Central, 10.62; 2. Emmanuel Turner, Bak, 10.81; 3. Matt Sumlin, Gar, 10.91; 4. Chris Lopez, GW, 10.98. 800--1. Anthony Mitchell, North, 1:54.19; 2. Aric Champagne, MtW, 1:54.97; 3. Andrew Campbell, CW, 1:55.69; 4. Arturo Ramirez, Centennial, 1:55.83. 300H--1. DeJongh, MtW, 37.93; 2. Cody Alves, Sel, 37.94; 3. James Smith, CE, 39.03; 4. Sean Johnson, Buch, 39.28. 200--1. Brendon Bigelow, Central, 21.29; 2. Isiah Purvis, Lib, 21.96; 3. Mario Navarette, Sanger, 22.04; 4. Chris Lopez, GW, 22.29. 3,200--1. Chris Schwartz, Foot, 9:24.19; 2. Jonathan Sanchez, Buch, 9:24.99; 3. Jon Ross, CE, 9:26.42; 4. Danny Vartanien, Buch, 9:26.42. 1,600 relay--1. Edison (Hendrix, Carter, Boughton, Lewis), 3:17.86; 2. Liberty (Hill, Garside, Affentranger, Purvis), 3:18.95; 3. Bakersfield (Miller, Turner, Johnson, Gooden), 3:20.06; 4. Clovis East (Ellis, Defonska, Woods, Smith), 3:22.40. PV--1. Andrew Lohse, Mad, 15-0; 2. Michael Peterson, CE, 15-0J; 3. Jeff Brenner, Cl, 14-6; 4. Frankie Puente, Sel, 14-0. SP--1. Dayshan Ragans, Foot, 60-7; 2. Matt Darr, Fron, 52-8.75; 3. Troy Rush, CW, 52-8.5; 4. Christian Millard, CE, 51-10.5. TJ--1. Johnny Carter, Ridge, 48-3; 2. Tyler Thompson, Shaf, 47-3; 3. Chris Kelly, Ridge, 46-11.5; 4. Jordan Smith, Central, 46-10.5. D--1. Dayshan Ragans, Foot, 199-2; 2. Jacob Budwig, Fowl, 168-8; 3. Niko Gomes, Cl, 164-10; 4. Matt Darr, Fron, 157-7. LJ--1. Kenny Phillips, Central, 23-4; 2. Tyler Thompson, Shaf, 21-11.5; 3. Dillon Root, Red, 21-11; 4. Kevin Norwood, GV, 21-8.75. HJ--1. Kenny Phillips, Central, 6-8; 2. Isiah Griggs, Bak, 6-6; 3. George Robbins, West, 6-4; 4. Jeff Brenner, Cl, 6-4J.
Notes: Top three in each event advance to state meet, May 30-31 in Norwalk. The two wild cards with the best times/marks from all sections also advance.
Girls track
Central Section Grand Masters
At Liberty
Team standings--unavailable.
400 relay--1. Edison (Eng, Scott, Thompson, Sears), 47.16; 2. Bullard (J. Williams, Riddlesprigger, Baisch, L. Williams), 48.17; 3. Tulare Western, 48.73; 4. Bakersfield (Torres, Belt, Brown, Wandick), 48.80. 1,600--1. Saleh Barsarian, Cl, 5:02.98; 2. Meghan Marvin, Cl, 5:03.02; 3. Chloe Allen, CW, 5:04.62; 4. Allison Gonzales, Ex, 5:11.52; 100H--1. Alyssa Monteverde, CW, 14.59; 2. Brianny Williams, Ed, 14.60; 3. Taylor Jackson, Fr, 15.04; 4. Jen Melton, CW, 15.37. 400--1. Breanna Thompson, Ed, 56.64; 2. Dedrea Wyrik, Sun, 57.49; 3. Lasasha Aldredge, Central, 58.12; 4. Taylor Donaldson, Reed, 58.13. 100--1. Megan Del Pino, CW, 11.66; 2. Jenna Prandini, Cl, 11.74; 3. Lynn Williams, Bul, 12.00; 4. Brushay Wandick, Bak, 12.01. 800--1. Allysa Mejia, Reed, 2:17.47; 2. Molly Pahkamaa, ElD, 2:17.73; 3. Katie Fry, Ex, 2:18.74; 4. Ashlee Thomas, Centennial, 2:19.77. 300H--1. Alyssa Monteverde, CW, 43.92; 2. Taylor Jackson, Fron, 44.86; 3. Brianny Williams, Ed, 45.69; 4. Alana Alexander, Centennial, 46.12. 200--1. Megan Del Pino, CW, 23.94; 2. Dominique Whittington, Lem, 24.65; 3. Brushay Wandick, Bak, 24.69; 4. Breanna Thompson, Ed, 24.90. 3,200--1. Jordan Hasay, MP, 10:24.78; 2. Meghan Marvin, Cl, 10:59.96; 3. Chloe Allen, CW, 11:06.19; 4. Corina Mendoza, Mad, 11:32.06. 1,600 relay--1. Edison (Burk, Thompson, Scott, Smith), 3:54.89; 2. Stockdale (Cady, Anderson, Mello, S. Anderson), 3:58.26; 3. Clovis West (Laidley, Capriotti, Del Pino, Monteverde), 3:59.02; 4. Reedley, 3:59.07. D--1. Anna Jelmini, Shaf, 162-5; 2. Alex Collatz, Stock, 148-6; 3. Carey Tuuamalemalo, Taft, 130-9; 4. Janae Coffee, CW, 121-6. LJ--1. Jenna Prandini, Cl, 18-7.25; 2. Lynn Williams, Bul, 18-0.75; 3. Alana Alexander, Centennial, 17-6.75; 4. Ja'Nia Sears, Ed, 17-6.5. HJ--1. Alyssa Monteverde, CW, 5-4; 2. Cristina Muro, GW, 5-2; 3. Katherine Mahr, Buch, 5-2; 4. Marish Riddlesprigger, Bul, 5-2J. SP--1. Anna Jelmini, Shaf, 44-0.75; 2. Destanie Yarbrough, CE, 37-10; 3. Heather Vermillion, Red, 37-9; 4. Tasha Firstone, CW, 36-6.5. TJ--1. Alana Alexander, Centennial, 38-3.75; 2. Jenna Prandini, Cl, 38-3; 3. Goziam Okolie, 36-10.5; 4. Alex Collatz, Stock, 36-2. PV--1. Allison Berryhill, CW, 11-6; 2. Amanda Klinchuch, Lib, 11-6J; 3. Cheree Jones, King, 10-6; 4. Emily Falkenstein, Buch, 10-6J.
Notes: Top three in each event advance to state meet, May 30-31 in Norwalk. The two wild cards with the best times/marks from all sections also advance.
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www.spokeo.com/Michael+Harris+10
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blogs.forbes.com/people/michaelharrischancellor/
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blogs.forbes.com/people/michaelharrischancellor/
prezi.com/mqmsmgcgni1u/iu-kokomomoving-forward/
Chancellor Michael Harris IUK - On the Move
www.youtube.com/watch?v=uD3exIJ-hGs
The Big Move, Visioned, Initiated and Implemented by Chancellor Michael Harris IU Kokomo:
www.youtube.com/watch?v=mJIe0t6aDEU
The Big Move, Visioned, Initiated and Implemented by Chancellor Michael Harris IU Kokomo:
www.youtube.com/watch?v=mJIe0t6aDEU
homepages.indiana.edu/web/page/normal/22373.html
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mydigimag.rrd.com/article/Up_Front/706709/67528/article.html
www.mlive.com/news/index.ssf/2008/08/swedish_king_to_visi...
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www.youtube.com/watch?v=uD3exIJ-hGs
www.youtube.com/watch?v=uD3exIJ-hGs
www.youtube.com/watch?v=uD3exIJ-hGs
Notable Alumni of Tel Aviv University: en.wikipedia.org/wiki/Tel_Aviv_University#Notable_alumni
Chancellor Michael Harris, IU Kokomo. Expert Analysis
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Chancellor Michael Harris, IU Kokomo, Expert Analysis
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IU Notable Alumni
en.wikipedia.org/wiki/List_of_Indiana_University_(Bloomington)_people
Michael Harris - "A viking with a heart of a mother and an Incandescent spirit."
Biennalist
Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.
About artist Thierry Geoffroy/Colonel:
en.wikipedia.org/wiki/Thierry_Geoffroy
en.wikipedia.org/wiki/Emergency_Room_(art)
www.emergencyrooms.org/formats.html
Biennalist :
Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.
-------------------------------------------
links about Biennalist :
Thierry Geoffroy/Colonel:
en.wikipedia.org/wiki/Thierry_Geoffroy
en.wikipedia.org/wiki/Emergency_Room_(art)
www.emergencyrooms.org/formats.html
—--Biennale from wikipedia —--
The Venice International Film Festival is part of the Venice Biennale. The famous Golden Lion is awarded to the best film screening at the competition.
Biennale (Italian: [bi.enˈnaːle]), Italian for "biennial" or "every other year", is any event that happens every two years. It is most commonly used within the art world to describe large-scale international contemporary art exhibitions. As such the term was popularised by Venice Biennale, which was first held in 1895. Since the 1990s, the terms "biennale" and "biennial" have been interchangeably used in a more generic way - to signify a large-scale international survey show of contemporary art that recurs at regular intervals but not necessarily biannual (such as triennials, Documenta, Skulptur Projekte Münster).[1] The phrase has also been used for other artistic events, such as the "Biennale de Paris", "Kochi-Muziris Biennale", Berlinale (for the Berlin International Film Festival) and Viennale (for Vienna's international film festival).
Characteristics[edit]
According to author Federica Martini, what is at stake in contemporary biennales is the diplomatic/international relations potential as well as urban regeneration plans. Besides being mainly focused on the present (the “here and now” where the cultural event takes place and their effect of "spectacularisation of the everyday"), because of their site-specificity cultural events may refer back to,[who?] produce or frame the history of the site and communities' collective memory.[2]
The Great Exhibition in The Crystal Palace in Hyde Park, London, in 1851, the first attempt to condense the representation of the world within a unitary exhibition space.
A strong and influent symbol of biennales and of large-scale international exhibitions in general is the Crystal Palace, the gigantic and futuristic London architecture that hosted the Great Exhibition in 1851. According to philosopher Peter Sloterdijk,[3][page needed] the Crystal Palace is the first attempt to condense the representation of the world in a unitary exhibition space, where the main exhibit is society itself in an a-historical, spectacular condition. The Crystal Palace main motives were the affirmation of British economic and national leadership and the creation of moments of spectacle. In this respect, 19th century World fairs provided a visual crystallization of colonial culture and were, at the same time, forerunners of contemporary theme parks.
The Venice Biennale as an archetype[edit]
The structure of the Venice Biennale in 2005 with an international exhibition and the national pavilions.
The Venice Biennale, a periodical large-scale cultural event founded in 1895, served as an archetype of the biennales. Meant to become a World Fair focused on contemporary art, the Venice Biennale used as a pretext the wedding anniversary of the Italian king and followed up to several national exhibitions organised after Italy unification in 1861. The Biennale immediately put forth issues of city marketing, cultural tourism and urban regeneration, as it was meant to reposition Venice on the international cultural map after the crisis due to the end of the Grand Tour model and the weakening of the Venetian school of painting. Furthermore, the Gardens where the Biennale takes place were an abandoned city area that needed to be re-functionalised. In cultural terms, the Biennale was meant to provide on a biennial basis a platform for discussing contemporary art practices that were not represented in fine arts museums at the time. The early Biennale model already included some key points that are still constitutive of large-scale international art exhibitions today: a mix of city marketing, internationalism, gentrification issues and destination culture, and the spectacular, large scale of the event.
Biennials after the 1990s[edit]
The situation of biennials has changed in the contemporary context: while at its origin in 1895 Venice was a unique cultural event, but since the 1990s hundreds of biennials have been organized across the globe. Given the ephemeral and irregular nature of some biennials, there is little consensus on the exact number of biennials in existence at any given time.[citation needed] Furthermore, while Venice was a unique agent in the presentation of contemporary art, since the 1960s several museums devoted to contemporary art are exhibiting the contemporary scene on a regular basis. Another point of difference concerns 19th century internationalism in the arts, that was brought into question by post-colonial debates and criticism of the contemporary art “ethnic marketing”, and also challenged the Venetian and World Fair’s national representation system. As a consequence of this, Eurocentric tendency to implode the whole word in an exhibition space, which characterises both the Crystal Palace and the Venice Biennale, is affected by the expansion of the artistic geographical map to scenes traditionally considered as marginal. The birth of the Havana Biennial in 1984 is widely considered an important counterpoint to the Venetian model for its prioritization of artists working in the Global South and curatorial rejection of the national pavilion model.
International biennales[edit]
In the term's most commonly used context of major recurrent art exhibitions:
Adelaide Biennial of Australian Art, South Australia
Asian Art Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Athens Biennale, in Athens, Greece
Bienal de Arte Paiz, in Guatemala City, Guatemala[4]
Arts in Marrakech (AiM) International Biennale (Arts in Marrakech Festival)
Bamako Encounters, a biennale of photography in Mali
Bat-Yam International Biennale of Landscape Urbanism
Beijing Biennale
Berlin Biennale (contemporary art biennale, to be distinguished from Berlinale, which is a film festival)
Bergen Assembly (triennial for contemporary art in Bergen, Norway)www.bergenassembly.no
Bi-City Biennale of Urbanism\Architecture, in Shenzhen and Hong Kong, China
Bienal de Arte de Ponce in Ponce, Puerto Rico
Biënnale van België, Biennial of Belgium, Belgium
BiennaleOnline Online biennial exhibition of contemporary art from the most promising emerging artists.
Biennial of Hawaii Artists
Biennale de la Biche, the smallest biennale in the world held at deserted island near Guadeloupe, French overseas region[5][6]
Biwako Biennale [ja], in Shiga, Japan
La Biennale de Montreal
Biennale of Luanda : Pan-African Forum for the Culture of Peace,[7] Angola
Boom Festival, international music and culture festival in Idanha-a-Nova, Portugal
Bucharest Biennale in Bucharest, Romania
Bushwick Biennial, in Bushwick, Brooklyn, New York
Canakkale Biennial, in Canakkale, Turkey
Cerveira International Art Biennial, Vila Nova de Cerveira, Portugal [8]
Changwon Sculpture Biennale in Changwon, South Korea
Dakar Biennale, also called Dak'Art, biennale in Dakar, Senegal
Documenta, contemporary art exhibition held every five years in Kassel, Germany
Estuaire (biennale), biennale in Nantes and Saint-Nazaire, France
EVA International, biennial in Limerick, Republic of Ireland
Göteborg International Biennial for Contemporary Art, in Gothenburg, Sweden[9]
Greater Taipei Contemporary Art Biennial, in Taipei, Taiwan
Gwangju Biennale, Asia's first and most prestigious contemporary art biennale
Havana biennial, in Havana, Cuba
Helsinki Biennial, in Helsinki, Finland
Herzliya Biennial For Contemporary Art, in Herzliya, Israel
Incheon Women Artists' Biennale, in Incheon, South Korea
Iowa Biennial, in Iowa, USA
Istanbul Biennial, in Istanbul, Turkey
International Roaming Biennial of Tehran, in Tehran and Istanbul
Jakarta Biennale, in Jakarta, Indonesia
Jerusalem Biennale, in Jerusalem, Israel
Jogja Biennale, in Yogyakarta, Indonesia
Karachi Biennale, in Karachi, Pakistan
Keelung Harbor Biennale, in Keelung, Taiwan
Kochi-Muziris Biennale, largest art exhibition in India, in Kochi, Kerala, India
Kortrijk Design Biennale Interieur, in Kortrijk, Belgium
Kobe Biennale, in Japan
Kuandu Biennale, in Taipei, Taiwan
Lagos Biennial, in Lagos, Nigeria[10]
Light Art Biennale Austria, in Austria
Liverpool Biennial, in Liverpool, UK
Lofoten International Art Festival [no] (LIAF), on the Lofoten archipelago, Norway[11]
Manifesta, European Biennale of contemporary art in different European cities
Mediations Biennale, in Poznań, Poland
Melbourne International Biennial 1999
Mediterranean Biennale in Sakhnin 2013
MOMENTA Biennale de l'image [fr] (formerly known as Le Mois de la Photo à Montréal), in Montreal, Canada
MOMENTUM [no], in Moss, Norway[12]
Moscow Biennale, in Moscow, Russia
Munich Biennale, new opera and music-theatre in even-numbered years
Mykonos Biennale
Nakanojo Biennale[13]
NGV Triennial, contemporary art exhibition held every three years at the National Gallery of Victoria, Melbourne, Australia
October Salon – Belgrade Biennale [sr], organised by the Cultural Center of Belgrade [sr], in Belgrade, Serbia[14]
OSTEN Biennial of Drawing Skopje, North Macedonia[15]
Biennale de Paris
Riga International Biennial of Contemporary Art (RIBOCA), in Riga, Latvia[16]
São Paulo Art Biennial, in São Paulo, Brazil
SCAPE Public Art Christchurch Biennial in Christchurch, New Zealand[17]
Prospect New Orleans
Seoul Biennale of Architecture and Urbanism
Sequences, in Reykjavík, Iceland[18]
Shanghai Biennale
Sharjah Biennale, in Sharjah, UAE
Singapore Biennale, held in various locations across the city-state island of Singapore
Screen City Biennial, in Stavanger, Norway
Biennale of Sydney
Taipei Biennale, in Taipei, Taiwan
Taiwan Arts Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Taiwan Film Biennale, in Hammer Museum, Los Angeles, U.S.A.
Thessaloniki Biennale of Contemporary Art [el], in Thessaloniki, Greece[19]
Dream city, produced by ART Rue Association in Tunisia
Vancouver Biennale
Visayas Islands Visual Arts Exhibition and Conference (VIVA ExCon) in the Philippines [20]
Venice Biennale, in Venice, Italy, which includes:
Venice Biennale of Contemporary Art
Venice Biennale of Architecture
Venice Film Festival
Vladivostok biennale of Visual Arts, in Vladivostok, Russia
Whitney Biennial, hosted by the Whitney Museum of American Art, in New York City, NY, USA
Web Biennial, produced with teams from Athens, Berlin and Istanbul.
West Africa Architecture Biennale,[21] Virtual in Lagos, Nigeria.
WRO Biennale, in Wrocław, Poland[22]
Music Biennale Zagreb
[SHIFT:ibpcpa] The International Biennale of Performance, Collaborative and Participatory Arts, Nomadic, International, Scotland, UK.
—---Venice Biennale from wikipedia —
The Venice Biennale (/ˌbiːɛˈnɑːleɪ, -li/; Italian: La Biennale di Venezia) is an international cultural exhibition hosted annually in Venice, Italy by the Biennale Foundation.[2][3][4] The biennale has been organised every year since 1895, which makes it the oldest of its kind. The main exhibition held in Castello, in the halls of the Arsenale and Biennale Gardens, alternates between art and architecture (hence the name biennale; biennial).[5][6][7] The other events hosted by the Foundation—spanning theatre, music, and dance—are held annually in various parts of Venice, whereas the Venice Film Festival takes place at the Lido.[8]
Organization[edit]
Art Biennale
Art Biennale
International Art Exhibition
1895
Even-numbered years (since 2022)
Venice Biennale of Architecture
International Architecture Exhibition
1980
Odd-numbered years (since 2021)
Biennale Musica
International Festival of Contemporary Music
1930
Annually (Sep/Oct)
Biennale Teatro
International Theatre Festival
1934
Annually (Jul/Aug)
Venice Film Festival
Venice International Film Festival
1932
Annually (Aug/Sep)
Venice Dance Biennale
International Festival of Contemporary Dance
1999
Annually (June; biennially 2010–16)
International Kids' Carnival
2009
Annually (during Carnevale)
History
1895–1947
On April 19, 1893, the Venetian City Council passed a resolution to set up an biennial exhibition of Italian Art ("Esposizione biennale artistica nazionale") to celebrate the silver anniversary of King Umberto I and Margherita of Savoy.[11]
A year later, the council decreed "to adopt a 'by invitation' system; to reserve a section of the Exhibition for foreign artists too; to admit works by uninvited Italian artists, as selected by a jury."[12]
The first Biennale, "I Esposizione Internazionale d'Arte della Città di Venezia (1st International Art Exhibition of the City of Venice)" (although originally scheduled for April 22, 1894) was opened on April 30, 1895, by the Italian King and Queen, Umberto I and Margherita di Savoia. The first exhibition was seen by 224,000 visitors.
The event became increasingly international in the first decades of the 20th century: from 1907 on, several countries installed national pavilions at the exhibition, with the first being from Belgium. In 1910 the first internationally well-known artists were displayed: a room dedicated to Gustav Klimt, a one-man show for Renoir, a retrospective of Courbet. A work by Picasso "Family of Saltimbanques" was removed from the Spanish salon in the central Palazzo because it was feared that its novelty might shock the public. By 1914 seven pavilions had been established: Belgium (1907), Hungary (1909), Germany (1909), Great Britain (1909), France (1912), and Russia (1914).
During World War I, the 1916 and 1918 events were cancelled.[13] In 1920 the post of mayor of Venice and president of the Biennale was split. The new secretary general, Vittorio Pica brought about the first presence of avant-garde art, notably Impressionists and Post-Impressionists.
1922 saw an exhibition of sculpture by African artists. Between the two World Wars, many important modern artists had their work exhibited there. In 1928 the Istituto Storico d'Arte Contemporanea (Historical Institute of Contemporary Art) opened, which was the first nucleus of archival collections of the Biennale. In 1930 its name was changed into Historical Archive of Contemporary Art.
In 1930, the Biennale was transformed into an Ente Autonomo (Autonomous Board) by Royal Decree with law no. 33 of 13-1-1930. Subsequently, the control of the Biennale passed from the Venice city council to the national Fascist government under Benito Mussolini. This brought on a restructuring, an associated financial boost, as well as a new president, Count Giuseppe Volpi di Misurata. Three entirely new events were established, including the Biennale Musica in 1930, also referred to as International Festival of Contemporary Music; the Venice Film Festival in 1932, which they claim as the first film festival in history,[14] also referred to as Venice International Film Festival; and the Biennale Theatro in 1934, also referred to as International Theatre Festival.
In 1933 the Biennale organized an exhibition of Italian art abroad. From 1938, Grand Prizes were awarded in the art exhibition section.
During World War II, the activities of the Biennale were interrupted: 1942 saw the last edition of the events. The Film Festival restarted in 1946, the Music and Theatre festivals were resumed in 1947, and the Art Exhibition in 1948.[15]
1948–1973[edit]
The Art Biennale was resumed in 1948 with a major exhibition of a recapitulatory nature. The Secretary General, art historian Rodolfo Pallucchini, started with the Impressionists and many protagonists of contemporary art including Chagall, Klee, Braque, Delvaux, Ensor, and Magritte, as well as a retrospective of Picasso's work. Peggy Guggenheim was invited to exhibit her collection, later to be permanently housed at Ca' Venier dei Leoni.
1949 saw the beginning of renewed attention to avant-garde movements in European—and later worldwide—movements in contemporary art. Abstract expressionism was introduced in the 1950s, and the Biennale is credited with importing Pop Art into the canon of art history by awarding the top prize to Robert Rauschenberg in 1964.[16] From 1948 to 1972, Italian architect Carlo Scarpa did a series of remarkable interventions in the Biennale's exhibition spaces.
In 1954 the island San Giorgio Maggiore provided the venue for the first Japanese Noh theatre shows in Europe. 1956 saw the selection of films following an artistic selection and no longer based upon the designation of the participating country. The 1957 Golden Lion went to Satyajit Ray's Aparajito which introduced Indian cinema to the West.
1962 included Arte Informale at the Art Exhibition with Jean Fautrier, Hans Hartung, Emilio Vedova, and Pietro Consagra. The 1964 Art Exhibition introduced continental Europe to Pop Art (The Independent Group had been founded in Britain in 1952). The American Robert Rauschenberg was the first American artist to win the Gran Premio, and the youngest to date.
The student protests of 1968 also marked a crisis for the Biennale. Student protests hindered the opening of the Biennale. A resulting period of institutional changes opened and ending with a new Statute in 1973. In 1969, following the protests, the Grand Prizes were abandoned. These resumed in 1980 for the Mostra del Cinema and in 1986 for the Art Exhibition.[17]
In 1972, for the first time, a theme was adopted by the Biennale, called "Opera o comportamento" ("Work or Behaviour").
Starting from 1973 the Music Festival was no longer held annually. During the year in which the Mostra del Cinema was not held, there was a series of "Giornate del cinema italiano" (Days of Italian Cinema) promoted by sectorial bodies in campo Santa Margherita, in Venice.[18]
1974–1998[edit]
1974 saw the start of the four-year presidency of Carlo Ripa di Meana. The International Art Exhibition was not held (until it was resumed in 1976). Theatre and cinema events were held in October 1974 and 1975 under the title Libertà per il Cile (Freedom for Chile)—a major cultural protest against the dictatorship of Augusto Pinochet.
On 15 November 1977, the so-called Dissident Biennale (in reference to the dissident movement in the USSR) opened. Because of the ensuing controversies within the Italian left wing parties, president Ripa di Meana resigned at the end of the year.[19]
In 1979 the new presidency of Giuseppe Galasso (1979-1982) began. The principle was laid down whereby each of the artistic sectors was to have a permanent director to organise its activity.
In 1980, the Architecture section of the Biennale was set up. The director, Paolo Portoghesi, opened the Corderie dell'Arsenale to the public for the first time. At the Mostra del Cinema, the awards were brought back into being (between 1969 and 1979, the editions were non-competitive). In 1980, Achille Bonito Oliva and Harald Szeemann introduced "Aperto", a section of the exhibition designed to explore emerging art. Italian art historian Giovanni Carandente directed the 1988 and 1990 editions. A three-year gap was left afterwards to make sure that the 1995 edition would coincide with the 100th anniversary of the Biennale.[13]
The 1993 edition was directed by Achille Bonito Oliva. In 1995, Jean Clair was appointed to be the Biennale's first non-Italian director of visual arts[20] while Germano Celant served as director in 1997.
For the Centenary in 1995, the Biennale promoted events in every sector of its activity: the 34th Festival del Teatro, the 46th art exhibition, the 46th Festival di Musica, the 52nd Mostra del Cinema.[21]
1999–present[edit]
In 1999 and 2001, Harald Szeemann directed two editions in a row (48th & 49th) bringing in a larger representation of artists from Asia and Eastern Europe and more young artists than usual and expanded the show into several newly restored spaces of the Arsenale.
In 1999 a new sector was created for live shows: DMT (Dance Music Theatre).
The 50th edition, 2003, directed by Francesco Bonami, had a record number of seven co-curators involved, including Hans Ulrich Obrist, Catherine David, Igor Zabel, Hou Hanru and Massimiliano Gioni.
The 51st edition of the Biennale opened in June 2005, curated, for the first time by two women, Maria de Corral and Rosa Martinez. De Corral organized "The Experience of Art" which included 41 artists, from past masters to younger figures. Rosa Martinez took over the Arsenale with "Always a Little Further." Drawing on "the myth of the romantic traveler" her exhibition involved 49 artists, ranging from the elegant to the profane.
In 2007, Robert Storr became the first director from the United States to curate the Biennale (the 52nd), with a show entitled Think with the Senses – Feel with the Mind. Art in the Present Tense.
Swedish curator Daniel Birnbaum was artistic director of the 2009 edition entitled "Fare Mondi // Making Worlds".
The 2011 edition was curated by Swiss curator Bice Curiger entitled "ILLUMInazioni – ILLUMInations".
The Biennale in 2013 was curated by the Italian Massimiliano Gioni. His title and theme, Il Palazzo Enciclopedico / The Encyclopedic Palace, was adopted from an architectural model by the self-taught Italian-American artist Marino Auriti. Auriti's work, The Encyclopedic Palace of the World was lent by the American Folk Art Museum and exhibited in the first room of the Arsenale for the duration of the biennale. For Gioni, Auriti's work, "meant to house all worldly knowledge, bringing together the greatest discoveries of the human race, from the wheel to the satellite," provided an analogous figure for the "biennale model itself...based on the impossible desire to concentrate the infinite worlds of contemporary art in a single place: a task that now seems as dizzyingly absurd as Auriti's dream."[22]
Curator Okwui Enwezor was responsible for the 2015 edition.[23] He was the first African-born curator of the biennial. As a catalyst for imagining different ways of imagining multiple desires and futures Enwezor commissioned special projects and programs throughout the Biennale in the Giardini. This included a Creative Time Summit, e-flux journal's SUPERCOMMUNITY, Gulf Labor Coalition, The Invisible Borders Trans-African Project and Abounaddara.[24][25]
The 2017 Biennale, titled Viva Arte Viva, was directed by French curator Christine Macel who called it an "exhibition inspired by humanism".[26] German artist Franz Erhard Walter won the Golden Lion for best artist, while Carolee Schneemann was awarded a posthumous Golden Lion for Lifetime Achievement.[27]
The 2019 Biennale, titled May You Live In Interesting Times, was directed by American-born curator Ralph Rugoff.[28]
The 2022 edition was curated by Italian curator Cecilia Alemani entitled "The Milk of Dreams" after a book by British-born Mexican surrealist painter Leonora Carrington.[29]
The Biennale has an attendance today of over 500,000 visitors.[30][31][32]
Role in the art market[edit]
When the Venice Biennale was founded in 1895, one of its main goals was to establish a new market for contemporary art. Between 1942 and 1968 a sales office assisted artists in finding clients and selling their work,[33] a service for which it charged 10% commission. Sales remained an intrinsic part of the biennale until 1968, when a sales ban was enacted. An important practical reason why the focus on non-commodities has failed to decouple Venice from the market is that the biennale itself lacks the funds to produce, ship and install these large-scale works. Therefore, the financial involvement of dealers is widely regarded as indispensable;[16] as they regularly front the funding for production of ambitious projects.[34] Furthermore, every other year the Venice Biennale coincides with nearby Art Basel, the world's prime commercial fair for modern and contemporary art. Numerous galleries with artists on show in Venice usually bring work by the same artists to Basel.[35]
Central Pavilion and Arsenale[edit]
The formal Biennale is based at a park, the Giardini. The Giardini includes a large exhibition hall that houses a themed exhibition curated by the Biennale's director.
Initiated in 1980, the Aperto began as a fringe event for younger artists and artists of a national origin not represented by the permanent national pavilions. This is usually staged in the Arsenale and has become part of the formal biennale programme. In 1995 there was no Aperto so a number of participating countries hired venues to show exhibitions of emerging artists. From 1999, both the international exhibition and the Aperto were held as one exhibition, held both at the Central Pavilion and the Arsenale. Also in 1999, a $1 million renovation transformed the Arsenale area into a cluster of renovated shipyards, sheds and warehouses, more than doubling the Arsenale's exhibition space of previous years.[36]
A special edition of the 54th Biennale was held at Padiglione Italia of Torino Esposizioni – Sala Nervi (December 2011 – February 2012) for the 150th Anniversary of Italian Unification. The event was directed by Vittorio Sgarbi
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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.
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.
I had some of the worst hairstyles you can imagine, reveals Jennifer Aniston! - www.bolegaindia.com/gossips/I_had_some_of_the_worst_hairs...
[for the full Inauguration story, visit my blog]
Emerging into the lower levels of Union Station's Metro stop, the only way to go was outside – all the direct accesses into the main part of the station were closed off. So I went outside and hooked left to head up to the main entrance. A large crowd was amassed here full of would-be train riders – some destined for Amtrak, some for MARC, some for VRE, and others trying to get to Metro. Police officers walked the banisters calling out information.
It was a bit aggravating as people tried to figure out where which groups were supposed to go. It ultimately ended up that Amtrak went one way and MARC / VRE went another way. Metro folks were out of luck: this station was exit-only and was closed to people trying to get on. It was a bit crazy at first just trying to figure out which mass of people I was supposed to be standing in... and we were all trying to figure that out together. Once we started getting into the right groups, one of the officers led the MARC group in a chant: "MARC! MARC! MARC!" to get other would-be riders to take heed.
There was one slip-up where a guy carrying large signs reading “MARC” with an upward-pointing arrow went walking away from the crowd… and like chasing after the Pied Piper, I and many other would-be MARC riders followed. It was when he kept walking away from the train station and stopped to chat with some police officers when I inquired whether we were supposed to be following the sign, or if he was just moving it about. It was the latter… I really didn’t quite expect that answer, but I was glad I asked.
This event was a blessing in disguise. Seconds later, they started letting some people into the station (the officers were metering entering traffic so it didn’t get too crowded). With me approaching at a different angle, a police car and porta-potty formed a pick and I had almost a clear shot into the now-moving crowd. In all I waited perhaps 10 minutes to get inside, and then another 10 minutes or so inside. It wasn’t bad – I generally felt like I was moving most of that time. With much of the day gone by, the crowd itself was still in good spirits, and almost every person thanked & praised the police staff & volunteers.
Rightly so. Considering the pressure of maintaining security, controlling crowds, and offering directions – all at the same time – I’d say that they really did do a stellar job (except for that hiccup when I first arrived that morning). The force could’ve used some more officers and volunteers to provide & reiterate information, as it was often difficult to hear instructions over the wail of the crowd. Additionally, I found that the volunteers tended to be a bit lacking in information… I suspect they were trained moreso in maintaining their specific locations and duties than offering directions, and I’m sure many came from areas far beyond DC.
It would have also been immensely useful had there been better maps available. WMATA, which runs the Metro services, has an excellent base map, but all they did with it was plot a couple concentric circles to show how far things were – 1 mile, 2 miles, 3 miles. All the other maps coming from the Inauguration Committee or the District were absolutely useless, often so cluttered with information in a jack-of-all-trades map that they became inundated with too much information. Some of the news stations prepared their own maps, but the informal Google Maps mashups just didn’t cut it for the level of detail that was needed. I hope that next time the District and committees make use of WMATA’s map as a base and then tailor-make several maps geared toward specific audiences.
The lines moved more quickly thanks to the fact that the officers & volunteers were just putting people on trains... any trains... You got separated out by Amtrak, VRE, MARC Penn Line, and then MARC Brunswick / Camden Lines. After that, you just boarded whatever train was waiting... didn't matter what train your ticket was for, so long as you were going in the right direction.
Kern Invite - 11/01/08
Hart Park - Bakersfield, CA
www.andynoise.com/kernxcinvite08.html
JV Boys - 2008 Kern County Cross Country
Championships
School Athlete Time Overall Scoring Team
1. Ridgeview Tino Romero 11:17.25 1 1 1
2. Wasco Oscar Gomez 11:26.11 2 2 1
3. East Marc Sotello 11:26.90 3 x 1
4. Shafter Matthew Yanez 11:34.14 4 x 1
5. McFarland Grenardo Garcia 11:34.63 5 x 1
6. Highland Juan Delgado 11:37.47 6 3 1
7. Centennial Brandon Ballard 11:38.17 7 4 1
8. Ridgeview Ernesto Castillo 11:38.94 8 5 2
9. Shafter Elias Picazo 11:40.09 9 x 2
10. Ridgeview Sukhwinder Singh 11:42.25 10 6 3
11. Wasco M. Vasquez 11:49.94 11 7 2
12. East Felix Trevino 11:51.62 12 x 2
13. Ridgeview Tree Hoisson 11:52.34 13 8 4
14. Stockdale Raymon Griggs 11:52.62 14 9 1
15. Highland Rafael Alcaraz 11:53.30 15 10 2
16. East Esteban Vargas 11:54.83 16 x 3
17. McFarland Adam Marquez 11:56.93 17 x 2
18. Frontier Corry Harris 12:02.24 18 11 1
19. Highland M. Shaffer 12:04.99 19 12 3
20. Highland Jo Dixon 12:05.53 20 13 4
21. Centennial Nick Trieberg 12:06.03 21 14 2
22. Highland Daniel Espinosa 12:07.15 22 15 5
23. Foothill Cesar Espinosa 12:10.84 23 16 1
24. Highland Ernan Lopez 12:18.78 24 17 6
25. Stockdale P. Bowen 12:25.59 25 18 2
26. Stockdale Andrew Worth 12:26.63 26 19 3
27. Foothill Jovani Pineda 12:32.47 27 20 2
28. Centennial Jake Smoot 12:33.35 28 21 3
29. Foothill Robert Guillen 12:36.97 29 22 3
30. Garces Jose Lopez 12:37.53 30 23 1
31. Highland Pablo Santiago 12:38.23 31 24 7
32. Ridgeview Ian Dowot 12:38.71 32 25 5
33. Frontier Ramon Sanchez 12:42.97 33 26 2
34. Foothill Peter Reyna 12:45.32 34 27 4
35. Ridgeview Hector Garay 12:45.76 35 28 6
36. Frontier Brian Cisneros 12:46.11 36 29 3
37. Stockdale Cornelius Sockey 12:49.24 37 30 4
38. Stockdale Nick Haley 12:49.57 38 31 5
39. Frontier Christopher Bedke 12:51.77 39 32 4
40. Frontier Chris Corral 12:52.80 40 33 5
41. Centennial CJ Carr 12:55.06 41 34 4
42. Ridgeview Arty Sanchez 12:55.60 42 35 7
43. Garces Dominic Gallegos 12:56.21 43 36 2
44. Foothill Oscar Rivera 12:57.02 44 37 5
45. Shafter Jonatan Lopez 12:59.96 45 x 3
46. Stockdale Evan Szablowsk 13:01.10 46 38 6
47. BHS Hector Sanchez 13:02.38 47 39 1
48. Foothill Guillermo Cisneros 13:05.95 48 40 6
49. Stockdale Jit Malay 13:06.90 49 41 7
50. Highland Nick Lopez 13:07.10 50 42 8
51. Centennial Craig Varner 13:15.59 51 43 5
52. Highland Tyler Dunlap 13:20.14 52 44 9
53. Stockdale Davis McLeod 13:20.73 53 45 8
54. Foothill Luis Garcia 13:22.06 54 46 7
55. Shafter Miguel Sanchez 13:23.34 55 x 4
56. Independence Curtis Valencia 13:25.34 56 47 1
57. Wasco Kyle Bearley 13:26.41 57 48 3
58. Ridgeview Martin Oropeza 13:27.08 58 49 8
59. Frontier Chris Mount 13:28.88 59 50 6
60. Wasco Anthony Ramirez 13:29.86 60 51 4
61. Frontier Jairo Garcia 13:34.10 61 52 7
62. Stockdale Kevin Chun 13:37.01 62 53 9
63. Foothill Marcos Sandoval 13:38.55 63 54 8
64. Arvin Jose Rodriguez 13:39.04 64 x 1
65. Frontier Steven Saenz 13:39.36 65 55 8
66. Stockdale John Bracamant 13:40.57 66 56 10
67. Wasco Kr. Brown 13:43.42 67 57 5
68. Stockdale Adrian Esquivas 13:45.00 68 58 11
69. Stockdale Joshua St. Clair 13:46.57 69 59 12
70. BHS Josh Harbin 13:49.65 70 60 2
71. Mira Monte Hislon Belo 13:53.35 71 x 1
72. Stockdale Eric Jorgensen 13:56.96 72 61 13
73. Garces Anthony Martinez 14:05.99 73 62 3
74. Arvin Rodger Tabada 14:15.08 74 x 2
75. Stockdale Phillip Radon 14:16.70 75 63 14
76. Stockdale Landon Medina 14:18.10 76 64 15
77. East Donald Sanchez 14:18.32 77 x 4
78. Frontier Spencer Cordova 14:25.94 78 65 9
79. Frontier Matt Walker 14:32.16 79 66 10
80. Wasco Arturo Miranda 14:32.82 80 67 6
81. Highland Luis Lopez 14:36.85 81 68 10
82. Independence Devin Lane 14:43.22 82 69 2
83. Garces Sterling Garza 14:43.64 83 70 4
84. Mira Monte Michael Pineda 14:45.10 84 x 2
85. Stockdale Joshua Le 14:45.99 85 71 16
86. Independence Michael Gallarza 14:46.50 86 72 3
87. Foothill William Saavedra 14:48.22 87 73 9
88. BHS Trevor Dalke 14:48.96 88 74 3
89. Independence Andrew Cruz 14:57.45 89 75 4
90. Highland Alex Harrell 15:01.62 90 76 11
91. BHS Wesley Elrich 15:02.07 91 77 4
92. Frontier Jason Phillips 15:02.54 92 78 11
93. Foothill Mason De La Cruz 15:03.92 93 79 10
94. Highland Estevan Espinoza 15:06.66 94 80 12
95. Mira Monte Rick Mendoza 15:08.42 95 x 3
96. Foothill AJ Lara 15:09.07 96 81 11
97. Centennial Jarod Kashwer 15:13.28 97 82 9
98. Highland Ryan Gonzalez 15:28.65 98 83 13
99. BHS Andres Eagleson 15:35.28 99 84 5
100. Frontier Kevin Sanchez 15:41.75 100 85 12
101. Centennial Brent Williams 15:46.70 101 86 10
102. Ridgeview Eric Jacques 15:46.93 102 87 9
103. Garces P. Newman 15:55.87 103 88 5
104. Foothill Jose Mejia 16:22.51 104 89 12
105. Independence Sky Payne 16:38.36 105 90 5
106. Foothill Logan Power 20:16.50 106 91 13
107. Arvin Oswaldo Leyva 24:45.86 107 x 3
108. North Sonny Medina 25:53.00 108 x 1
Virginia Oldoini, Countess of Castiglione (22 March 1837 – 28 November 1899), better known as La Castiglione, was an Italian aristocrat who achieved notoriety as a mistress of Emperor Napoleon III of France. She was also a significant figure in the early history of photography.
Born Virginia Elisabetta Luisa Carlotta Antonietta Teresa Maria Oldoïni, (French: Virginie Élisabeth Louise Charlotte Antoinette Thérèse Marie Oldoïni) in Florence, Tuscany to Marquis Filippo Oldoini and Marquise Isabella Lamporecchi, members of the minor Tuscan nobility, she was often known by her nickname of "Nicchia".
She married Francesco Verasis, conte di Castiglione, at the age of 17. He was twelve years her senior. They had a son, Giorgio.
Her cousin, Camillo, conte di Cavour, was a minister to Victor Emmanuel II, king of Sardinia(that included Piedmont and Savoy). When the Count and Countess traveled to Paris in 1855, the Countess was under her cousin's instructions to plead the cause of Italian unity with Napoleon III of France.
She achieved notoriety by becoming Napoleon III's mistress, a scandal that led her husband to demand a marital separation.
During her relationship with the French emperor in 1856 and 1857, she entered the social circle of European royalty. She met Augusta of Saxe-Weimar, Otto von Bismarck and Adolphe Thiers, among others.
The Countess was known for her beauty and her flamboyant entrances in elaborate dress at the imperial court. One of her most infamous outfits was a "Queen of Hearts" costume. George Frederic Watts painted her portrait in 1857.
She was described as having long, wavy blonde hair, pale skin, a delicate oval face, and eyes that constantly changed colour from green to an extraordinary blue-violet.
The Countess returned to Italy in 1857 when her affair with Napoleon III was over. Four years later, the Kingdom of Italy was proclaimed, conceivably in part due to the influence that the Countess had exerted on Napoleon III. That same year, she returned to France and settled in Passy.
In 1856 she began sitting for Mayer and Pierson, photographers favored by the imperial court.
Over the next four decades she directed Pierre-Louis Pierson to help her create 700 different photographs in which she re-created the signature moments of her life for the camera. She spent a large part of her personal fortune and even went into debt to execute this project. Most of the photographs depict the Countess in her theatrical outfits, such as the Queen of Hearts dress.
A number of photographs depict her in poses risqué for the era—notably, images that expose her bare legs and feet.
Virginia spent her declining years in an apartment in the Place Vendôme, where she had the rooms decorated in funereal black, the blinds kept drawn, and mirrors banished—apparently so she would not have to confront her advancing age and loss of beauty. She would only leave the apartment at night.
On November 28, 1899, she died at age sixty-two, and was buried at the Père Lachaise Cemetery in Paris.
Robert de Montesquiou, a Symbolist poet, dandy, and avid art collector, was fascinated by the Countess di Castiglione. He spent thirteen years writing a biography, La Divine Comtesse, which appeared in 1913. After her death, he collected 433 of her photographs, all of which entered the collection of the Metropolitan Museum of Art.
A Goddess of Self-Love Who Did Not Sit Quietly
By SARAH BOXER
Published: October 13, 2000
The countess had herself photographed as a frowning nun, as Medea with a knife, as the tragic heroine Beatrix, as Judith entering the tent of Holofernes, as a drowned virgin, as Lady Macbeth sleepwalking, as a courtesan flaunting her legs, as Anne Boleyn, as Goya's ''Maja,'' as a nurse to her dying dog and as a corpse in a coffin.
She used mirrors to fragment and multiply images. And she had an obsession with eyes and detached body parts.
''She would appear at gatherings like a goddess descended from the clouds,'' a contemporary noted, and she would ''allow people to admire her as if she were a shrine.'' The Princess Metternich oohed about her: ''Wonderful hair, the waist of a nymph, and a complexion the color of pink marble! In a word, Venus descended from Olympus!'' But, the princess added, ''after a few moments she began to get on your nerves.''
Her vanity was as famous as her beauty. She sent albums of her portraits to friends and admirers. She would not speak to women. She was endlessly enraptured with herself and assumed that others were as well.
In ''The Eyes,'' she holds a pocket mirror away from her face so that her eye is the only thing showing in it. Then she fixes this eye on the photographer. In ''The Opera Ball,'' all you can see is her back. She appears to be diving headfirst into a full-length mirror while a tiny pocket mirror watches from a chair.
When the countess's husband tried to take their son away from her, she responded by sending him a Medea-like portrait of herself titled ''Vengeance.'' She has a murderous look. She has a knife dripping with blood painted into her hand. Apparently, she made her point; she kept Giorgio.
Believed to be in Public Domain From Library of Congress, Prints and Photographs Collections. More on copyright: What does "no known restrictions" mean?
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Public Domain. Suggested credit: Lewis Hine/Library of Congress via pingnews. Additional information from source:
TITLE: Spooler tenders - 14 years old. Berkshire Cotton Mills. Location: Adams, Massachusetts / Lewis W. Hine.
CALL NUMBER: LOT 7479, v. 7, no. 4371[P&P]
Check for an online group record (may link to related items)
REPRODUCTION NUMBER: LC-DIG-nclc-03107 (color digital file from b&w original print)
LC-USZ62-101557 (b&w film copy negative)
No known restrictions on publication.
MEDIUM: 1 photographic print.
CREATED/PUBLISHED: 1916 July 10.
CREATOR:
Hine, Lewis Wickes, 1874-1940, photographer.
NOTES:
Title from NCLC caption card.
In album: Mills.
Hine no. 4371.
SUBJECTS:
United States--Massachusetts--Adams.
FORMAT:
Photographic prints.
PART OF: Photographs from the records of the National Child Labor Committee (U.S.)
REPOSITORY: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA
DIGITAL ID: (color digital file from b&w original print) nclc 03107 hdl.loc.gov/loc.pnp/nclc.03107
CARD #: ncl2004003505/PP
Based on Bonsaibirder's blog, I think it's a rock bunting...
Wednesday 19 February 2014: Neltner Refuge (3207 m / 10522 ft) - Toubkal (جبل توبقال) (4167 m / 13671 ft) - Neltner Refuge (3207 m / 10522 ft)
An early rise and shine at the Neltner Refuge - 5.53am alarm, breakfast back down in the dining room at 6.30am ish, donning waterproofs, boots, then outside for crampon lacing and ice axe wrangling (and photos) and we were ready and raring to go on our Mt Toubkal ascent by 7.15am. Beautiful clear blue skies, pristine snow and very cold. We'd had feather patterned ice on the inside of our dorm window this morning.
After a bit of stopping and starting we found our pace, with Hussein-the-guide leading the way and Mohammed bringing up the rear, and eventually splitting into two groups. Strong winds en route brought the temperature down further and whipped up the snow - beautiful but occasionally painful. You needed to keep moving. My ears got very cold (hence the scarf-as-headscarf look in the photos). Towards the top of the valley, the morning sun caught up with us, providing a touch of warmth but making the snowscape very bright. Time to don the Julbo sunglasses (another image element I'd rather be without!).
Just after 11am we reached the head of the valley - Tizi'n'Toubkal (3940 m / 12926 ft) - and were rewarded with a magical view east of misty blue ridges and, somewhere beyond that, the Sahara. Looking behind us we could see the valley we'd climbed through, to the north the path up to the peak - the metal pyramid on top making it easy to identify. A very photogenic stop, and Hussein found us a sheltered spot for a bit of a breather before the final push up and round to the very top of Toubkal.
We summited at 11.45am or there abouts, and once we'd caught our breaths it was time for celebratory snaps, sweets and mélange courtesy of Hussein. Tara, Liz, Denyse and Mohammed arrived about half an hour later accompanied by another group who were carrying skis on their packs, planning to a ski descent. Now that's what I call nuts (but then again, I don't ski....). More photos, plus bread and cheese triangles to celebrate. Beautiful panoramic views under blue skies - who could ask for more?
A speedy descent - due to a combination of taking a more direct path down and gravity, plus the lure of lunch back at the refuge. The wind had dropped and it got hot clad in accumulated thermals. I'd settled on Uniqlo polo neck base layer, M&S thermal top, Mountain Kingdoms fleece, plus my Goretex jacket on top; for bottoms, Icebreaker thermal leggings, Gelert trousers, Tibetan waterproof trews (admittedly a little on the short side) plus gaiters - a lower half look reminiscent of Little Lord Fauntleroy. As I'd absent-mindedly done yesterday's crampon training in my Salomon hiking boots (Women's Sector Mid GTX), I'd worn them again today - my new Scarpas didn't get a look in on this trip. My Mountain Equipment Women's Randonee Mitts were invaluable, as were (Hazel's - thank you...) trekking poles.
We were back at the refuge around 3.30pm, and by 4 o'clock were feasting on a late lunch of pasta, lentils, carrots, peas, cucumber/tomato/red onion/sweetcorn salad, bread and olives, accompanied by lots of tea and rounded off with the zingyest clementines I've ever tasted - it's citrus season, and these are fully ripened, fresh fruit.
As the wood stove warmed the dining room, afternoon tea followed at 5.30pm - paratha-y pancakes drizzled with honey - followed by dinner at 7pm. Bed followed not long after (and a good night's sleep, partly due to escaping last night's condensation drips).
A fantastic day.
PS It looks like we did the South Col / Cwm (Irhzer n'Ikhibi Janoub) route.
Read more on sparklytrainers.com ....
DSC04003_small
27 June 2014
Imago Anatopism
LEA10
Second Life
lindenarts.blogspot.com/2014/05/transitt-imago-anatopism....
Mimesis Monday
(Heidi Dahlsveen)
historieforteller.wordpress.com/tag/imago-anatopism/
Alpha Auer
(Elif Ayiter)
www.flickr.com/photos/alpha_auer/sets/72157644047392579
zikiquesti.blogspot.com/2014/05/transitt-imago-anatopism....
From the notecards:
“”
About Imago Anatopism:
The project tells the tale of Volund, a nordic, elf, a symbol following Joseph Campbell's "Hero with a Thousand Faces." Volund undergoes many persona changes during his travels in which he encounters several others that shape and transform him.
Stage 1: At the start of the tale Volund, a Norsk elf who is probably born on the edge of the world between Midgaard – the home of humans, and Utgaard – the home home of giants, is still a young boy who is taken by his father to a mountian where a tribe of dwarfs are to teach him the craft of blacksmithing.
At this early stage all Volund gets are the basics: Skin, shape, eyes and a pair of shoes.
Stage 2: This is the stage in which Volund is refuses the call to the adventure. He is still a timid boy who does not hear, or misinterprets the call or may even misuse the call since he is not yet mature enough to make his own decisions and only follows the decisions of others. All this leads to the murder of his father which makes Volund realise life's dangers and the magnitude of his task.
Symbolizing this blindness, at stage 2 Volund only gets a mask as an attachment.
Stage 3: Setting out on his adventure, Volund goes back to the mountain in order to learn further secrets of forging and the creation of magic tools from the dwarf. Such supernatural aids are both good and bad and once Volund puts on his magic belt and helmet he realizes that it is the dwarfs that killed his father. This makes them his enemy and he has a narrow escape as he leaves the mountain.
Thus, at stage 3 Volund gets a magic belt and helmet as two new attachments.
Stage 4: The idea of the entering another world is often symbolized by the belly of the whale. Volund is no different in this regard, and he throws himself into the ocean to float away to the unknown.
Thus, at stage 4 Volund gets a harpoon as a new attachment.
Stage 5: It is at this stage that Volund starts discovering his strength and power. He now has the ability to forge magic objects, such as life-like statues and wonderful weapons. It is at this stage that Volund meets a valkyrie (in this instance, a symbol for the concept of "goddess"), whom he first sees as a swan who is taking off her feathers in order to bathe in lake. Volund hides her feathers and makes her his first wife. However she leaves him at the end of 7 years when she finally finds her feathers and flees away.
"She is the mother, sister, mistress, bride," Campbell writes of the goddess. But she is also the death of of everything that dies. Campbell continues: "Woman, in the picture language of mythology, represents the totality of what can be known. The hero is the one who comes to know."
At stage 5 Volund gets a big present that he gives to the goddess as an offering as a new attachment.
Stage 6: Volund gets 9 rings from the valkyrie, which is a symbol of union. However these ring are also things that he can measure his own forging up against.
Stage 7: Volund is now supposed to start his journey back home, with newly gained wisdom. However, he faces yet another obstacle through the king who tries to hinder Volund from leaving by crippling him.
Thus, unsurprisingly, at this stage Volund gets a cane. There are several versions of this with different poses.
Stage 8: Volund gets his revenge upon the king by raping his daughter.
To quote Campbell again: "And always, after the first thrills of getting under way, the adventure develops into a journey of darkness, horror, disgust and phantasmagoric fears."
And so, at this stage Volund gets a caged bird with which he can seduce the king's daughter.
Stage 9: Volund has now made the king's daughter pregnant. However, in order to ensure that his own son inherits the throne, Volund also takes the precaution of killing the king's two sons.
Thus, at this stage the new attachment that Volund gets is a sword.
Stage 10: We are now nearing the end of the story and Volund sits bird-like on a roof, and tells the king what has happend and what the future will be.
Stage 11: While Volund started his journey in the ocean his return home is through the sky. He forges himself a huge pair of wings with which he flies back home.
Stage 12: We have come to the end of the tale and Volund has finally returned home as a wiser, older man who now deserves to put on the shiled and mantle of the hero.
Campbell writes: ”The hero is the champion of things becoming, not of things become, because he is.” And later ”Having died to his personal ego, he arose again established in the Self”.
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.
Callies Compstar 3.750" Stroke "Large Main Journal" 2.650" Small Block Chevy Crank with rod journal lightening holes to reduce weight and rounded counterweight edges to reduce windage.Removing the counterweights at each end of the crank{and the forging} should go along way to relieve flex at the main bearings,and crank twist.The large main journal has more crank overlap for a stronger crank:
www.popularhotrodding.com/tech/0710phr_crankshaft_tech/ph...
but it also thins the block web some,{along with 4-bolt versus 2-bolt main}so it's pick your poison using a OEM block{350 versus 400 blocks}the smaller journal would decrease friction but for the RPM range intended for this build I doubt that any of the advantages/disadvantages will make a noticable difference,I wanted the 400 block for the bore size,and budget,so the crank journal size choice was simply one that fit.SBC 383 build guide article from a 350 block:
www.carcraft.com/techarticles/ccrp_0808_383_stroker_small...
Rear main cap oil pump passage smoothed for oil flow.I blueprinted the bearing clearances to .003"mains,.002"rods by measuring,mixing and matching the upper and or lower bearing shells within the set.Two of the rods ended up just under .002" at .0018"and .0019" and one of the mains was .0028".All of the clearance variances were much less than .0005" out of the box,but by mixing and matching I got them all consistent with the exception of the two rods and one main.All of the parts and measuring tools were kept in the house for a constant measuring temp.and was much more comfortable for me to do the detail work{My wife rolls her eyes and shakes her head at me}but I actually do have a method to my madness.After I had everything measured,matched,and labeled I moved it all back to the garage for assembly.I went with the old rule of thumb for bearing clearance,.001"clearance for every inch of journal size to help keep as much oil control as possible.If this engine was planned to see extended high RPM use from the start, I would have used a .001" oversize bearing half in the rods to open the clearance up to .0025".
www.carcraft.com/techarticles/ccrp_0805_high_performance_...
Material = 4340
Rod Pins = 2.100"
Bob Weight =1,743 g
Bob weight is the rotating weight of the piston,pin,locks,rings,and rods.
Note: Typical Chevy 350 bob-weights are in the 1,910-1,930 gram range,and a typical bob-weight for a 6" rod 383 SBC is around 1800 grams.
Bearing clearance link:
www.carcraft.com/techarticles/ccrp_0805_high_performance_...
Engine Balancing and crankshaft info:
www.carcraft.com/howto/ccrp_0803_engine_balancing/index.html
Crankshaft Developments:
www.circletrack.com/drivetraintech/ctrp_0410_crankshaft_d...
Crankshaft Talk from the Experts:
www.chevyhiperformance.com/tech/engines_drivetrain/shortb...
Crankshaft Tech:
www.popularhotrodding.com/tech/0710phr_crankshaft_tech/in...
This is a link to a SBC 401cu.in. build from a .060"over "stroker" 350 block,4.060" bore,3.875" stroke,I thought it was interesting to see what the longer stroke did to the torque curve compared to other builds with about the same cubic inch.and was thinking about a longer stroke for my own build,but decided against it to keep the rod/stroke ratio a little higher and relieve some cylinder wall thrust.
airflowresearch.com/articles/article031/A-P1.htm
SBC 408cu.in. from a 350 block.4.000" stroke
www.popularhotrodding.com/tech/0805phr_408_cubic_inches_w...
SBC 408cu.in. from a .040" over 400 block.3.750" stroke
airflowresearch.com/articles/article045/A-P2.htm
SBC 412cu.in. 4.155"bore, 3.800" stroke
www.superchevy.com/technical/engines_drivetrain/completeb...
SBC 420cu.in. 4.155"bore 3.875" stroke
www.carcraft.com/techarticles/ccrp_0406_chevy_brutus_smal...
SBC 450cu.in from a Dart block,with the same 215 heads I used.
www.hotrod.com/techarticles/engine/113_0312_dart_450ci_sm...
Rod/Stroke Ratio,and Bore/Stroke of Common Engines:
Mopar 340----1.85R/S............ Bore=4.040"......Stroke=3.310"
Mopar 360----1.71R/S.............Bore=4.000"......Stroke=3.580"
Mopar 383----1.88R/S.............Bore=4.250"......Stroke=3.375"
Mopar 426Hemi---1.83R/S....Bore=4.250"......Stroke=3.750" {same stroke as SBC400}
www.carcraft.com/techfaq/ccrp_0809_building_hemi_for_less...
www.moparmusclemagazine.com/techarticles/37345_favorite_e...
SBC 302----1.90R/S................Bore=4.000"......Stroke=3.000"
SBC 305----1.64R/S................Bore=3.736"......Stroke=3.480"
SBC 307----1.75R/S................Bore=3.875"......Stroke=3.250"
www.superchevy.com/technical/engines_drivetrain/completeb...
SBC 327----1.75R/S................Bore=4.000"......Stroke=3.250"
SBC 350----1.64R/S................Bore=4.000"......Stroke=3.480"
www.carcraft.com/techarticles/116_0108_chevy_350_crate_en...
SBC 383/6"rod---1.60R/S.......Bore=4.030"......Stroke=3.750"{same stroke as SBC400}
www.hotrod.com/projectbuild/hrdp_0609_500hp_small_block_c...
"Stock" SBC 400---1.48R/S....Bore=4.125"......Stroke=3.750"{POOR R/S Ratio}
SBC406/ 6"rod---1.60R/S.......Bore=4.155"......Stroke=3.750"{The combo I used,internal ballance}
BB Chevy 427----1.63R/S.......Bore=4.251"......Stroke=3.760"{Ideal for Corvette,"My opinion"}
carcraft.automotive.com/115830/ccrp-0910-chevy-l88-427-en...
BBC 454----1.53R/S................Bore=4.251"......Stroke=4.000"{external ballance}
Ford 302----1.70R/S................Bore=4.000"......Stroke=3.000"
Ford 460----1.72R/S................Bore=4.360"......Stroke=3.850"
Buick 455----1.69R/S..............Bore=4.3125"....Stroke=3.900"
Olds 455----1.58R/S...............Bore=4.125".......Stroke=4.250"{same bore as SBC400}
www.popularhotrodding.com/tech/1006phr_1965_oldsmobile_cu...
www.carcraft.com/techarticles/116_0010_455ci_engines/inde...
www.popularhotrodding.com/tech/0302phr_oldsmobile_455ci_e...
Pontiac 455--1.57R/S.............Bore=4.150".......Stroke=4.210"
www.carcraft.com/techarticles/ccrp_0408_500_hp_street_her...
www.carcraft.com/techarticles/ccrp_0706_v8_engine_perform...
General guidelines is that a R/S ratio of 1.55 or higher is needed to reduce side thrust of the piston and reduce friction,this becomes more critical above 5500 RPM.
Rod Length Article:
www.stahlheaders.com/Lit_Rod Length.htm
Various SBC Engine Builds:
SBC406 Vortec heads and AFR 180 Comparison with 9.5:1 CR:
www.popularhotrodding.com/enginemasters/articles/hardcore...
A comparison of two 500hp SBC street engines 355 cu.in.and 406 cu.in.:
airflowresearch.com/articles/article096/A-P1.htm
9.8:1 CR 515hp Dart 406:
www.chevyhiperformance.com/techarticles/90719_dart_215cc_...
Stroker Soup:
www.superchevy.com/technical/engines_drivetrain/completeb...
400 Block-381ci. 680hp 12.2:1 CR:
www.hotrod.com/techarticles/engine/0304_chevy_400_block_3...
SBC 406ci. 11.1:1 CR 583hp:
www.chevyhiperformance.com/tech/engines_drivetrain/comple...
Beehive spring upgrade:
www.chevyhiperformance.com/tech/engines_drivetrain/shortb...
10.4 comp. 383 SBC with Dart 215 heads:
www.chevyhiperformance.com/techarticles/0304_beck_racing_...
Dart 440 SBC 10:1 comp. with Dart 215 heads:
www.dragzine.com/tech-stories/engine/dart-builds-the-ulti...
Video of a 406 SBC from Nelson Racing Engines.New EFI Hilborn 8 Stack.Very Cool induction system,and Responsive!!!!!! :
Vidya Balan's Bobby Jasoos starts rolling! - www.bolegaindia.com/gossips/Vidya_Balans_Bobby_Jasoos_sta...
Descargar Aquí ► www.imagenesdeamor.pro/2015/07/poemas-de-amor-para-enamor...
Hola a todos amigos de imagenesdeamor.pro, hoy tenemos preparados para ustedes 20 Poemas de Amor Románticos para Enamorar, la poesía es un instrumento ideal creativo, un canto vibrante del espíritu que denota sentimientos y apetencias del ser humano. Y con mayor razón los versos amorosos, manifestación estética de esa emoción, testimonio del afecto sutil e inefable de un hombre por una mujer, o de una mujer por un hombre. Y así podrás enamorar a la persona que mas quieres y poder despertar el amor en su corazón…
Rima XXIII ( Mirada)
Por una mirada, un mundo…
Por una mirada, un mundo,
por una sonrisa, un cielo,
por un beso… ¡yo no sé
que te diera por un beso!Gustavo Adolfo Bécquer
Si solo pudiera leer tu mente cuando me miras
Amor Eterno
Podrá nublarse el sol eternamente;
podrá secarse en un instante el mar;
podrá romperse el eje de la tierra
como un débil cristal.
¡Todo sucederá! Podrá la muerte
cubrirme con su fúnebre crespón;
pero jamás en mí podrá apagarse
la llama de tu amor.Gustavo Adolfo Bécquer
Quiero Amarte toda mi vida…
Rima XXXVIII
Los suspiros son aire y van
Al aire. Las lágrimas
Son agua y van al mar.
Dime mujer; cuando el
Amor se olvida,
¿Sabes a dónde va?Gustavo Adolfo Bécquer
Hombre parado a la orilla del mar acompañado de la frase: Si las lágrimas son de agua y van al mar, las palabras son de aire y van al viento, dime amor cuando un amor se olvida a donde va…
¿Qué es poesía?
¿Qué es poesía? Dices mientras clavas
en mi pupila tu pupila azul;
¿Qué es poesía…? ¿Y tú me lo preguntas?
¡Poesía… eres tú!Gustavo Adolfo Bécquer
Gustavo Adolfo Béquer, es uno de los principales autores de estos poemas espesamos con el por que nos sorprende con versos muy románticos, y poemas que llegan al corazón, perfectos poemas cortos de amor y otros poemas largos románticos, dependiendo de el momento o la circunstancia que estés viviendo muchos de estos poemas te servirán para atraer a la persona que amas, una forma como la puedes dar estos poemas son recitándose los, o también puedes mandarles la letra del poema, a su facebook, compartir el contenido del poema en tu google plus, o copiar y pegar a tu twitter, puedes guardarlos en tu celular y cuando los necesites te sacaran de algunos apuros y te ayudaran a conquistar a la persona que quieres, o reavivar el amor de pareja…
No sé si eres el amor de mi vida, pero sé que eres la persona de mis momentos felices
Poema 15
Me gustas cuando callas porque estás como ausente
y me oyes desde lejos y mi voz no te toca.
Parece que los ojos se te hubieran volado
y parece que un beso te cerrara la boca.
Como todas las cosas están llenas de mi alma
emerges de las cosas, llena del alma mía.
Mariposa de sueño, te pareces a mi alma
y te pareces a la palabra melancolía;
Me gustas cuando callas y estás como distante.
Y estás como quejándote, mariposa en arrullo.
Y me oyes desde lejos, y mi voz no te alcanza:
déjame que me calle con el silencio tuyo.
Déjame que te hable también con tu silencio,
claro como una lámpara, simple como un anillo.
Eres como la noche, callada y constelada.
Tu silencio es de estrella, tan lejano y sencillo.
Me gustas cuando callas porque estás como ausente.
Distante y dolorosa como si hubieras muerto.
Una palabra entonces, una sonrisa basta.
Y estoy alegre, alegre de que no sea cierto.Pablo Neruda
“No se debe olvidar nunca que la fuerza más poderosa en la tierra es el amor”
Se equivocó la paloma
Se equivocó la paloma.
Se equivocaba.
Por ir al Norte, fue al Sur.
Creyó que el trigo era agua.
Se equivocaba.
Creyó que el mar era el cielo;
que la noche la mañana.
Se equivocaba.
Que las estrellas eran rocío;
que la calor, la nevada.
Se equivocaba.
Que tu falda era tu blusa;
que tu corazón su casa.
Se equivocaba.
(Ella se durmió en la orilla.
Tú, en la cumbre de una rama.)
Rafael Alberti
Antes no había sentido el amor hasta que me enamoré de ti
EL BESO
Con candoroso embeleso
y rebozando alegría,
me pides morena mía
que te diga… ¿Qué es un beso?
Un beso es el eco suave de un canto,
que más que canto es un himno sacrosanto
que imitar no puede el ave.
Un beso es el dulce idioma
con que hablan dos corazones,
que mezclan sus impresiones
como las flores su aroma.
Un beso es…no seas loca…
¿Por qué me preguntas eso?
¡Junta tu boca a mi boca
y sabrás lo que es un beso!
Federrico Barreto
Tus besos me roban el aliento…
Tu Boca
Tu boca hecho con mágicos pinceles,
más que boca es cualquier húmeda granada
que pide tentadora y encarnada
un beso audaz que la derrita en mieles.
Cuando en tus risas entreabrirlas sueles
se difunde en la atmósfera extasiada
el grato olor de fruta sazonada
que hay en la intimidad de los vegetales.
Es abreviada gruta de frescura
constreñido paréntesis de flores
y animado jardín en miniatura.
Yo la besare en férvido embeleso
para sentir, muriéndose de amores,
la eternidad en la embriagues de un beso.
Quiero Jugar contigo y dejar que nos lleve la pasión
La Hora del Amor
La hora del amor,
tiene color de lilas
y mensajes dormidos,
con sabor de manzana.
tu cuerpo cual la hidra
que cobija mi cuerpo,
con el loco deseo
de eternizar el tiempo.
A la hora del amor
se cierra la garganta
acallando mil cantos
melodías del alma,
me atengo a ti enredada,
y soy cual mariposa,
aleando en tus entrañas.
La hora del amor
se aquieta y en silencio,
es de los dos el tiempo,
y no existen distancias…
Mariana Ortega
Tiernos enamorados oliendo una rosa roja con un fondo de muchos colores y brillo y la frase: Mi primer Amor hasta hoy lo recuerdo
Verso de Amor
El primer amor que entra al corazón
Es el último que sale de la memoriaPetit Seron
Imagen de una chica con alas de mariposa sosteniendo un corazón con la frase: Te amo tanto que esa palabra no cabe en mi corazón
El amor es un sentimiento limpio y espontaneo, capaz de hacer milagros, de ennoblecer y que toca por igual a todos los seres humanos. en este caso los autores nos hablan de muchas experiencias vividas, o como ellos se imaginan que es el amor, y de circunstancias como del beso, la hora del amor, nos tratan de llevar a su interior a lo que ellos sienten y nos envuelven con la belleza de lo que de ellos sale, de acuerdo al momento y circunstancia que están viviendo, y todo producto del Amo.
Te Amo
Me borraste del libro de tu vida,
más no tengo reproches que lanzarte;
si me llamé tuya y consentí en amarte,
no me muestro por ello arrepentida.
No es perenne el amor, no hay fuerza
capaz de contemplarlo eternamente…
Tú y yo nos adoramos locamente, no
importa que haya sido una mañana.
Dulce huella en mi espíritu has dejado
por que en mi corazón ¡Oh mi bien
amado!
no se abrieron las rosa de estío..
Yo no quiero no debo reprocharte,
porque espero algún día perdonarte
y llamarte de nuevo, amado mio.
Rosario Sansores (México)
Osito de peluche muy tierno, recostado la cabeza contra la pared, acompañado de la frase: Lo he intentado todo, pero Olvidarte no puedo…
YO NO QUIERO QUE NADIE ME CONSUELE
Yo no quiero que nadie me consuele
si me mata la fuerza de tu amor…
Si me matan los besos insaciables,
Fervorosos, ardiente que te doy.
Quiero yo que te invadan la tinieblas
cuando ya para mi no salga el sol.
Quiero yo que sucumbas y enloquezca,
¡loca sí, muerta sí, te quiero yo !
Mi querida, mi bien, mi soberana,
mi refugio, mi sueño, mi caudal,
mi laurel, mi ambición, mi santa madre…
¡y todavía más!
Pedro B. Palacios (Argentina)
En un beso sabrás lo que e callado
Una Flor
Una tarde bendecida
me diste , amada , una flor,
y de entonces su perfume
embriaga mi corazón.
Era un jazmín blanco y puro
más no tanto como tú ;
emblema de mis ensueños
símbolos de tu vida.
Yo lo conservo en mi pecho
y en el siempre vivirá;
lo han marchitado mis besos
y lo he regado al llorar.
Pero conserva el aroma
de tu aliento virginal
de tus lágrimas la huella,
de tus miradas quizá.
Será el dulce compañero
de mi triste soledad;
y mientras tú no me olvides
jamás me abandonarás.
Más, acaso por desgracia,
te olvidaras de mi amor,
no resistirán sus hojas
la tormenta del dolor.
Y en medio de mi amargura,
de mi angustia y aflicción,
se deshará en mil pedazos,
¡Y con el corazón!
Jerónimo Ossa (Panamá)
Joven mujer sentada a ala orilla de una laguna escribiendo en una libreta y la frase: la mejor opción dejarte ir
Despedida
Quizás te diga un día, que dejé
de quererte, aunque siga
queriéndote más allá de la
muerte ;y acaso no comprendas
en esta despedida, que, aunque
el amor nos une,
nos separa la vida.
Quizás te diga un día que se
me fue el amor,
y cerraré los ojos para amarte
mejor, porque el amor nos
ciega, pero vivos o muertos,
nuestros ojos cerrados, ven
mejor que estando abiertos.
Quizás te diga un día, que
dejé de quererte, aunque siga
queriéndote más allá de la
muerte; y acaso no
comprendas en esa
despedida, que nos
quedamos juntos
para toda la vida.
José Angel Buesa
Enamorados encontrándose y dándose un gran abrazo acompañados de la frase: No esperaba llegar a amarte de esta manera
Dice El
Le pedí una mirada, y al mirarme
brillaba en sus pupilas la piedad,
y sus ojos parecen que decían;
¡No puedo darte más!.
Le pedí un beso, ¡Un beso! y al dejarme
sobre sus labios el amor gustar,
su cuerpo contra el mío,
me decía:
¡No puedo darte más!
Le pedí, en una súplica suprema,
que me diera su ser… y al estrechar
su cuerpo contra el mío me decía:
¡No puedo darte más!
Miguel Magallanes Moure (Chile)
Hermosa foto de abrazo de enamorados abrazandose de manera muy emotiva acompañados de la frase: Y de repente surgió el Amor en mi Corazón
Dice Ella
Sus ojos suplicantes me pidieron
una tierna mirada, y por piedad mis ojos
se posaron en los suyos…
Pero él me dijo: ¡Más!
Sus ojos suplicantes me pidieron
una sonrisa, y por piedad
mis labios sonrieron a sus ojos
Pero él me dijo:¡Más!
Sus manos suplicantes me pidieron
que le diera más, y en mi afán
de contentarlo, le entregué mis manos…
Pero él mi dijo: ¡Más!
Sus labios suplicantes me pidieron que el
diera mi boca y por gustar
sus besos, le entregué mi boca trémula…
Pero él me dijo:¡Más!
Miguel Magallanes Moure (Chile)
Pareja de enamorados en beso muy apasionado con mordida incluida la chica tiene un piercing en la nariz junto a la frase: Tus besos me apasionan y no quiero dejarte ir
El Ultimo Beso
Tu boca hecha de amor y de ambrosía,
donde bebí de amor el rojo vino,
sobre tu rostro pálido y divino
una mancha sangrienta parecía.
Yo iba a partir y tú con ansia loca,
estrechándote a mí, sensual y ardiente,
en un beso juntaste largamente
la fiebre de tu boca con mi boca.
Hoy nada me interesa cuanto existe,
pero aunque la nostalgia me tortura
al recordar tu amor y tu hermosura.
Voy cruzando la vida menos triste,
porque llevo en los labios la dulzura
de aquél último beso que diste.
Felipe Sassone (Perú)
Foto de pareja de enamorados abrazandose sobre la cama, acompañados de la frase: El sentirte a mi lado hace explotar todas mis emociones, y despierta mi pasión
Seré Tuya
Seré tuya sin ti el día que los sueños
alejan de mi senda tu frente creadora,
el día que tu sed no pueda limitarse al
hueco de mis manos.
¡Seré tuya sin tí! Dejaré de mecerte
en la cuha encendida que tejieron mis
besos de borrará en tus labios la forma
de los mios, y el cielo de tu vida
tendrá un color distinto al de mi corazón.
Pero sabré ser tuya sin nublar tu camino
con la huella indecisa de mi andar
solitario. Me ceñiré a tú sombra, y
lo mas puro de mí.
¡Con qué amarga dulzura repetiré, ya
sola, esos gestos antiguos pero pulió tu
mirada! Me seguirás teniendo igual que
me quisiste y acunaré en secreto tu amor
eternizado.
Ernestina De Champourcin (Española)
Niña sentada en las escaleras con una expresion de angustia tomandose el cachete con las dos manos, y la frase: Temo mirar hacia atrás y darme cuenta que aún note puedo olvidar
Limosna de Amor
Yo limosnera de amor fui un día
de corazón en corazón llamé
pero nadie mi pena comprendía
de una limosna de cariño hallé
Llamé a tu corazón con yerta mano
y al mirarme tuviste compasión
un poco de cariño me brindaste
y yo en cambio te di mi corazón.
Hoy en vano llamé, tu pecho mudo
no me dio la limosna de su amor
y te quedaste indiferente y mudo
pero yo me quedé sin corazón.Rosario Sansores Prén
El besarte y mordete los labios solo significa una cosa… que no quiero dejarte ir
Nos Besamos
Nos besamos, ¿recuerdas?, una tarde
en el espejo azul de la bahía.
La gaviota del beso aún vibra y arde;
¡No a plegado; las alas todavía!.
Nos besamos, ¿recuerdas?, y el poniente
sangró la primavera de sus ramos…
luego del poniente se agolpó en tu frente.
Cuando otra vez, y muchas, nos besamos.
Y yo te digo la palabra viva
en la fuga ideal de tu mirada…
(aún tengo el alma de tu amor cautiva,
o tú ya no estas enamorada…)
Ahora, lejos de ti, te besaría
en melena luminosa y bruma,
mientras rueda el azul de la bahía
la cándida gaviota de luna.
Andrés de Piedra Bueno (Cuba)
Me despido con este ultimo poema mu bonito de que nos Besamos me gusta mucho, espero que a ustedes también les agrade, un fuerte abrazo a todos y hasta la próxima publicación de imagenesdeamor.pro .
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