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Ο Θεός λέει:«Στην Εποχή της Βασιλείας, ο Θεός χρησιμοποιεί τον λόγο για να αναγγείλει μια νέα εποχή, να αλλάξει τα μέσα του έργου Του και να επιτελέσει το έργο όλης της εποχής. Αυτή είναι η θεμελιώδης αρχή, σύμφωνα με την οποία ο Θεός εργάζεται στην Εποχή του Λόγου. Ενσαρκώθηκε για να μιλήσει από διαφορετικές οπτικές γωνίες, επιτρέποντας στον άνθρωπο να δει αληθινά τον Θεό, ο οποίος είναι ο Λόγος που εμφανίζεται στη σάρκα, και η σοφία και το θαύμα Του. Αυτό το έργο επιτελείται ώστε να επιτύχει πιο καλύτερα τους στόχους της κατάκτησης του ανθρώπου, της τελείωσης του ανθρώπου και της εξόντωσης του ανθρώπου. Αυτό είναι το πραγματικό νόημα της χρήσης του λόγου για την επιτέλεση του έργου στην Εποχή του Λόγου. Μέσω του λόγου, ο άνθρωπος καταφέρνει να γνωρίσει το έργο του Θεού, τη διάθεση του Θεού, την ουσία του ανθρώπου και σε τι οφείλει να εισέλθει ο άνθρωπος. Μέσω του λόγου, ολοκληρώνεται το σύνολο του έργου που ο Θεός επιθυμεί να επιτελέσει στην Εποχή του Λόγου. Μέσω του λόγου, ο άνθρωπος αποκαλύπτεται, αποκλείεται και δοκιμάζεται. Ο άνθρωπος έχει δει τον λόγο, έχει ακούσει τον λόγο και έχει επίγνωση της ύπαρξης του λόγου. Ως αποτέλεσμα, ο άνθρωπος πιστεύει στην ύπαρξη του Θεού. Ο άνθρωπος πιστεύει στην παντοδυναμία και τη σοφία του Θεού, καθώς και στην καρδιά του Θεού που είναι γεμάτη αγάπη για τον άνθρωπο, και στην επιθυμία Του να σώσει τον άνθρωπο. Μολονότι η λέξη «λόγος» είναι απλή και συνηθισμένη, ο λόγος που προέρχεται από το στόμα του ενσαρκωμένου Θεού συγκλονίζει ολόκληρο το σύμπαν. Ο λόγος Του μεταμορφώνει την καρδιά του ανθρώπου, τις αντιλήψεις και την παλαιά διάθεση του ανθρώπου, καθώς και την παλαιά εμφάνιση ολόκληρου του κόσμου. Μέσα από τις διάφορες εποχές, μόνο ο Θεός της σημερινής εποχής εργάζεται κατ’ αυτόν τον τρόπο, και μόνο Αυτός μιλά και σώζει τον άνθρωπο κατ’ αυτόν τον τρόπο. Εφεξής, ο άνθρωπος ζει υπό την καθοδήγηση του λόγου, ποιμαίνεται και εφοδιάζεται από τον λόγο. Ζει στον κόσμο του λόγου, ζει μέσα στο ανάθεμα και τις ευλογίες του λόγου του Θεού και υπάρχουν ακόμα περισσότεροι άνθρωποι που ζουν υπό την κρίση και την παίδευση του λόγου. Αυτός ο λόγος και αυτό το έργο είναι όλα χάριν της σωτηρίας του ανθρώπου, την επίτευξη του θελήματος του Θεού και την αλλαγή της αρχικής εμφάνισης του κόσμου της παλαιάς δημιουργίας. Ο Θεός δημιούργησε τον κόσμο με τον λόγο, οδηγεί τους ανθρώπους σε όλο το σύμπαν με τον λόγο, κατακτά και τους σώζει με τον λόγο. Εν τέλει, θα χρησιμοποιήσει τον λόγο για να θέσει τέλος σε ολόκληρο τον παλαιό κόσμο. Μόνο τότε θα ολοκληρωθεί πλήρως το σχέδιο διαχείρισης. Καθ’ όλη τη διάρκεια της Εποχής της Βασιλείας, ο Θεός χρησιμοποιεί τον λόγο για να επιτελέσει το έργο Του και να επιτύχει τα αποτελέσματα του έργου Του. Δεν κάνει τερατουργίες ούτε κάνει θαύματα. Απλώς επιτελεί το έργο Του μέσω του λόγου. Εξαιτίας του λόγου, ο άνθρωπος τρέφεται και εφοδιάζεται. Εξαιτίας του λόγου, ο άνθρωπος κερδίζει τη γνώση και την αληθινή εμπειρία. Ο άνθρωπος στην Εποχή του Λόγου έχει πράγματι λάβει εξαιρετικές ευλογίες. Ο άνθρωπος δεν υποφέρει από πόνους της σάρκας και απλώς απολαμβάνει την πλούσια προσφορά του λόγου του Θεού. Δεν χρειάζεται να αναζητήσει ή να ταξιδέψει, και βλέπει με άνεση την εμφάνιση του Θεού, Τον ακούει να μιλάει προσωπικά, λαμβάνει την προσφορά Του και να Τον βλέπει προσωπικά να επιτελεί το έργο Του. Ο άνθρωπος στο παρελθόν δεν ήταν σε θέση να τα απολαύσει αυτά, και δεν θα μπορούσε ποτέ να λάβει αυτές τις ευλογίες....»
από το βιβλίο «Ο Λόγος Ενσαρκώνεται»
Εισαγωγή
σύσταση：Αγία Γραφή
Πηγή εικόνας: Εκκλησία του Παντοδύναμου Θεού
Όροι Χρήσης： el.kingdomsalvation.org/disclaimer.html
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.
Links het voormalige wijkgebouw van het Groene Kruis (1938), van architect Pieter Mekkes (1887-1968). In 1961 gewijzigd in een dubbel woonhuis aan de Brink ZZ 2-4. Op deze locatie stond de tramremise van de paardentram: www.oudzuidlaren.nl/html/paardetram.html
Naast het voormalige wijkgebouw van het Groene Kruis staat de voormalige boerderij van Dr. H. Hamminga aan de Brink Zuidzijde 4. Hij is een zoon van huisarts Lambertus Hamminga, woonachtig aan de Brink Oostzijde 2, geb. Zuidlaren 4-8-1889, ovl. Zuidlaren 8-12-1957, kleinzoon van Hendrik Hamminga (1860-1935), landbouwer (adres A 204), en Jochemina Hamminga, achterkleinzoon van Lambert Hamminga (1819-1897), landbouwer (adres A 204), en Aaltje Julsing en achterachterkleinzoon van Jan Hamminga, landbouwer, en Hendrikje Schuiling:
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In het midden Huize "Laar End" aan de Brink ZZ 8, oorspronkelijk eenlaags:
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Het Buiten Verblyf van Dr. Wicher Oncko van Swinderen te Zuidlaren werd in 1784 te koop aangeboden ten Huize van de Wed. van Evert Jans aan de Brink in Zuidlaren.
Dr. Wichter Oncko van Swinderen, geb. Groningen 4-1-1766, ovl. Paterswolde (Huis te Paterswolde, ook Huize Nijborg) 3-10-1800, zoon van Abraham Quevellerius van Swinderen en Gesina van Rehden, tr. 1. 15-6-1791 Catharina Mechelina van Coevorden, ovl. 24-4-1794; tr. 2. 23-5-1796 Aletta van Swinderen, geb. Vlagtwedde 20-1-1765, ovl. Paterswolde (Huis te Paterswolde, ook Huize Nijborg) 23-10-1800, dochter van Albert Hindrik van Swinderen en Edzardina Sparringa.
Ommelander Courant van 7-10-1800 en 28-10-1800:
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Groninger Courant van 22-8-1794:
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Zyne Excellentie de Heer Lt. Generaal J.W. de Famars, ovl. 1785, bood op 12-9-1774 ten Huize van de Weduwe van Evert Jans te Zuidlaren bezittingen in Schipborg, Zuidlaren, Midlaren en De Groeve te koop aan. Groninger Courant van 2-9-1774:
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"Geslachtlijst van de familie Van Swinderen. Opgemaakt en met eenige bijlagen vermeerderd", door Th. van Swinderen; Groningen 22 April 1850 (Google Books).
Joan Pieter Servatius, ontvanger belasting, geb. Maastricht
2-1-1752, ovl. Zuidlaren, Laareind, 25-3-1819, zoon van
Matias Servatius en Catharina Willig, tr. Gerardina Fokkelina Engelhard, geb. Bourtange 23-2-1758, ovl. Assen 1-3-1838, dochter van Nicolaas Engelhard en Maria Alting.
Overlijdensbericht van Gerardina Fokkelina Servatius-Engelhard in de Javasche Courant van 4-8-1838:
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Hun zoon Nicolaas Gerard Servatius, ontvanger, geb. Coevorden 21-4-1793, ovl. Assen 15-5-1870, tr. Groningen 4-9-1819 Charlotta Gerardina van Swinderen, geb. Paterswolde 1798, ovl. Leiden (Breedestraat) 26-6-1858, oud 60 jaar, dochter van Wicher Onco van Swinderen en Aletta van Swinderen.
De Wed. van de Heer J.P. Servatius te Assen bood het Buitengoed Laareind aan de Brink ZZ 8 in Zuidlaren in 1835 te koop aan. Mocht het Buitengoed niet naar genoegen worden verkocht, dan zou het op Afbraak worden verkocht. Groninger Courant van 13-10-1835: resolver.kb.nl/resolve?urn=ddd:010772134:mpeg21:a0006
Charlotte Gerardine Servatius-van Swinderen bood het Buitengoed Laareind aan de Brink ZZ 8 in Zuidlaren in 1838 te koop aan.
Huwelijkdatum: 10-11-1748; 1e Proclamatiedatum: 3-11-1748;
Bruidegom: Evert Jans, Jongeman; woonplaats: Gasselte
Bruid: Gesina Ottens Karst, Jongedochter; woonplaats: Zuitlaren. Hun kinderen heten Grietje, Jantje, Jan, Otte en Roelofje.
Gedoopt: Roelofje, geboren te Zuidlaren, gedoopt op 28-10-1759, dochter van Evert Jans en Gesina Ottens Karst.
Huwelijkdatum: 24-4-1808; 1e Proclamatiedatum: 3-4-1808;
Bruidegom: Otto Everts, Jongeman; woonplaats: Zuidlaren
Bruid: Henderkien Lukas, Jongedochter; woonplaats: Zuidlaren.
Op 6-2-1813 werd Evert Everts in Zuidlaren geboren, zoon van Otto Everts, brouwer, tapper, koopman, landbouwer, ovl. Zuidlaren 6-11-1835, oud 71 jaar, en van Hendrikje Lukas Strating, dochter van landbouwer Lucas Jans Strating (1753-1819) en Jantje Jans Tiddens (1750-1834).
Kastelein Otto Everts in Zuidlaren in 1803 en 1808. Ommelander Courant van 27-12-1803 en 1-3-1808:
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Kastelein Otto Everts in Zuidlaren in 1814. Advertentieblad, bekendmakingen en onderscheidene berigten van Groningen
11-1-1814:
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De Erven Otto Everts en Hendrikje Lucas Strating boden op 29-1-1838, ten Huize van Thale Zondag, de Behuizinge en Hof.......aan de Brink te koop aan. Drentsche Courant van 23-1-1838: resolver.kb.nl/resolve?urn=ddd:010785121:mpeg21:a0008
In 1832 was landbouwer Lucas Strating eigenaar van het perceel Kad. G 73 aan de Brink, gelegen naast het perceel G 67 van Willem Jacob graaf van Heiden, Lid van het College van Gedeputeerde Staten, geb. Den Haag 15-11-1778, ovl. Zuidlaren 3-6-1835:
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Oude Staten Archieven (OSA), toegangsnummer 0001, inventarisnummer 868.37, Haardstedengeld Zuidlaren, Zuidlaren, 1784, pagina 5245
Vermelding: De Weduwe van Evert Jans, heeft nering.
Bedrag: 2-00-00.
Oude Staten Archieven (OSA), toegangsnummer 0001, inventarisnummer 868.37, Haardstedengeld Zuidlaren, Zuidlaren, 1794, pagina 5257
Vermelding: De Wed: Evert Jans brouwersche.
Bedrag: 2-00-00.
Van 1838 tot 1870 woonde timmerman en metselaar Willem Sikkens, geb. Zuidlaren 25-1-1795, ovl. Zuidlaren 3-6-1870, zoon van timmerman Jan Alberts Sikkens (1751-1824) en Anniggien Kars Peulinga (1765-1846), aan de Brink ZZ 8 (Kad. Sectie G 655), later Huize "Laar End". Hij was aandeelhouder in de door J.J.A. Ardesch, P.A.G. de Milly, Dr. B.W. van de Sande Slot en Mr. L. graaf van Heiden Reinestein in 1856 opgerichte “Oostermoersche Straatweg-maatschappij”. Alle aandeelhouders worden bij naam genoemd in de Nederlandsche Staatscourant van 8-11-1856. In 1880 heeft de H. Wuffing het huis (Kad. Sectie G 1403) laten verbouwen. Omstreeks 1909 kocht de Jkvr. Nicoline Hobbine Daniële van Andringa de Kempenaer, ovl. Huize "Laer-End" 6-10-1942, oud 67 jaar, het pand Brink ZZ 8 van trambeambte en houthandelaar Jan Jakobs Zondag (1874-1947) en huismeester Jan Beekman (1864-1948), die het in hetzelfde jaar hadden gekocht van Pieter Krul, sigarenfabrikant in Groningen, geb. Bolsward 11-3-1840, ovl. Groningen 18-6-1917. In 1911 is er een verdieping opgebouwd onder architectuur van ir. Gerhardus Knuttel, geb. Delft 8-12-1880, ovl. Rijswijk 22-2-1961; de bouwvergunning is van 30-5-1911. Knuttel was in 1913 de architect van Huize de Kempenaer aan de Rijksstraatweg 240 in Haren, en in 1915 van het landhuis aan de Dr. Nassaulaan 20 in Assen.
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Hij was aandeelhouder in de in 1856 opgerichte “Oostermoersche Straatweg-maatschappij”. Zijn erven boden op 20-1-1871 zijn huis en tuin te koop aan ten huize van Berend Bakker. Mogelijk was hij betrokken bij het ontwerp en de bouw van de tolhuizen in Schuilingsoord, Midlaren en De Groeve. In de advertentie werd gesproken over "eene ruime en nette Behuizinge en Erf, staande op eene aangename stand aan de Brink te Zuidlaren, en een akker Bouwland op de Esch aldaar" (Kad. Sectie G 377). Op 14-1-1871 werd Hooiland en Bouwland van Willem Sikkens in Eelde verkocht. Provinciale Drentsche en Asser Courant van 7-1-1871, 9-1-1871 en 16-1-1871:
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Willems Sikkens had een zoon Hendrik Sikkens, opzigter waterstaat, geb. Zuidlaren 28-6-1840, ovl. De Punt (Vries) 30-7-1866, en twee dochters, nl. Jantien Sikkens, geb. Zuidlaren 14-1-1848 en Geesje Sikkens, geb. Zuidlaren 6-2-1854.
Willem Sikkens had een broer Albert Sikkens, timmerman, geb. Zuidlaren 6-6-1791, ovl. Zuidlaren 22-5-1877, gehuwd met Barbara Leen, en een broer Kars Sikkens, kuiper, timmerman, geb. Zuidlaren ca. 1793, ovl. Zuidlaren 18-9-1847, gehuwd met Geertruid Klaassens Nijland.
Tolhuis Schuilingsoord: www.panoramio.com/photo/103030774
Willem Sikkens was aandeelhouder in de door J.J.A. Ardesch, P.A.G. de Milly, Dr. B.W. van de Sande Slot en Mr. L. graaf van Heiden Reinestein in 1856 opgerichte “Oostermoersche Straatweg-maatschappij”. Alle aandeelhouders worden bij naam genoemd in de Nederlandsche Staatscourant van 8-11-1856:
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Tolhuis Schuilingsoord: www.panoramio.com/photo/103030774
Zie ook de volgende foto's van de Brink:
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Bij Koninklijk Besluit van 19-8-1855 kregen de heren J.J.A. Ardesch, Jhr. mr. P.A.G. de Milly, dr. B.W. van de Sande Slot en mr. L. graaf van Heiden Reinestein, allen uit Zuidlaren, toestemming voor de aanleg van een kunstweg van Zuidlaren over Annen en Eext tot Gieten en daar aansluitende aan de provincialen weg van Assen naar de Hilte, met concessie tot tolheffing aan twee tolboomen. Groninger Courant van 26-8-1855 (resolver.kb.nl/resolve?urn=ddd:010771365:mpeg21:a0022). J.J.A. Ardesch is de gepensioneerd Generaal-Majoor Johan Jacob Anton Ardesch, geb. Veere 31-1-1787, ovl. Zuidlaren 1-11-1857. Op 19-4-1906 werd ten sterfhuize van mevr. Sebastiana Ardesch-de Rooij in Zuidlaren (A nr. 52) ten verzoeke van G. Kniphorst te Stadskanaal een Boeldag gehouden, tot verkoop van Tafels Stoelen, Klok etc. Zij is geb. Den Haag 4-11-1812, ovl. Zuidlaren 20-1-1906. Nieuwsblad van het Noorden van 8-4-1906:
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P.A.G. de Milly is Jhr. Paul Antoine Guillaume de Milly, Burgemeester van Zuidlaren van 1843 tot 1883, geb. Den Bosch 22-11-1807, ovl. Zuidlaren 5-2-1890. Dr. B.W. van de Sande Slot is de arts Bernardus Willem van de Sande Slot, geb. Meppel 27-7-1813, ovl. Zuidlaren 1-5-1873. Mr. L. graaf van Heiden Reinestein is Louis van Heiden Reinestein, Commissaris des Konings in Groningen, Burgemeester van Zuidlaren van 1832 tot 1838, geb. Laarwoud, Zuidlaren, 11-7-1882, ovl. Zuidlaren 2-11-1882.
Rechts de boerderij aan de Brink Zuidzijde 10, al zeer lang in bezit van de familie Karsens.
In 1832 was de wed. Roelof Karsten de eigenaar van het perceel aan de Brink ZZ, Kad. G 298 art. 159.
Zij is Lammigje Sissingh, ovl. Zuidlaren 29-9-1854, oud 62 jaar, weduwe van Roelof Karsten, geb. Zuidlaren 2-3-1777, ovl. Zuidlaren 12-11-1819, zoon van Willem Carsten ovl. Zuidlaren 24-2-1816, oud 75 jaar, en van Hendrikje Tamming (ook Tammink), kleinzoon van Otte Carsten en Grietje Roelfs.
In 1896 was vermoedelijk Reinder Karsens de eigenaar, geb. Zuidlaren 24-9-1850, ovl. Zuidlaren 10-8-1923, gehuwd met Harmtien Hamminga, zoon van Roelof Karsens, geb. Zuidlaren 18-4-1823, ovl. 20-2-1876, en van Elisabet Kluiving, kleinzoon van Tijs Kars(s)ens (1793-1865) en Adriaantje Wuffing, achterkleinzoon van Kars Lammers Karssens en Geesje Klaasens. Op deze afbeelding staat de poststempoel van 1918.
Op 11-7-1802 zijn 32 huizen en schuren in Zuidlaren afgebrand. De brand begon in het huis van olieslager en koopman Jan Hessels.
Het Hoge-Huis "voor aan de Straat te Zuidlaren", van de Geertruit Karsten-Bavinge, weduwe van Roelof Ottens Karsten (ook Carsten), brandde volledig af. Zij overleed in Zuidlaren op 20-11-1803.
Op 29-7-1803 hielden H. Tammink en W. Sissink een aanbesteding ten huize van Adde Jans van het "Optimmeren van hun Behuizingen en Schuuren". Groninger Courant van 22-7-1803: resolver.kb.nl/resolve?urn=ddd:010159455:mpeg21:a0014
H. Tammink is vermoedelijk Harmen Tammink, landbouwer, geb. Zuidlaren 7-10-1742, ovl. Zuidlaren 16-9-1817, zoon van Jan Roelofs Tammink en Grietje Harms Hemsing, tr. Zuidlaren 28-11-1769 Alberdina Hoenderken, jongedochter van Noordlaren. Zijn overlijden werd aangegeven door zijn buurmannen Harm Freriks Bakker (52 jr), bakker, en Derk Jacobs Hagedoorn (41 jr), landbouwer, kastelein.
In 1832 was landbouwer Roelof Tammink de eigenaar van het pand Kad. G 148, art. 310, gelegen aan wat later de Kleine Brink werd genoemd, op de hoek met de Brinkstraat. Hij is ged. Zuidlaren 3-3-1776, ovl. Zuidlaren 10-7-1846, zoon van Harmen Tammink en Alberdina Hoenderkens, echtgenoot van Jantien Pelinck, geb. Norg 7-3-1782, ovl. Zuidlaren 8-4-1857, De weduwe Derk Jacobs Hagedoorn was in 1832 eigenaar van het huis Kad. G 132, art. 103, ongeveer waar later "De Koppelpaarden" is gebouwd: www.flickr.com/photos/148859204@N07/32795101964/in/photolist
W. Sissink is vermoedelijk Willem Sissing(h), ged. Zuidlaren 9-9-1753, ovl. Zuidlaren 8-1-1808, zoon van Lukas Sissing en Aaltje Willem Dekkers, tr. 1. Zuidlaren 18-6-1790 Hillegonda Homans, jongedochter van Vries, begr. Zuidlaren 25-1-1801; tr. 2. Zuidlaren 7-6-1801 Ida Bavingh, jongedochter van Tarelo, geb. Vries 1-8-1762, ovl. Taarlo 23-2-1831, dochter van Willem Baving en Aaltien Harders.
Willem Sissing(h) en Hillegonda Homans hadden twee zonen: Lucas, geb. Zuidlaren 16-5-1791, ovl. Zuidlaren 8-8-1802, en Fredrik, geb. Zuidlaren 21-8-1793.
In 1832 was Hendrik Sissing in Noordlaren de eigenaar van het huis Kad. G 91, art. 286, aan de Brink ZZ in Zuidlaren. Hendrik Sissing, geb. Zuidlaren, ovl. Noordlaren 26-1-1845, oud 86 jaar, zoon van Harm Sissing en Jantien Baving, was gehuwd met Dorothea Ottens, ovl. Noordlaren 20-2-1844, oud 82 jaar.
Harm Sissing was in 1832 eigenaar van het huis Kad. G 301, art. 283 aan de Brink ZZ, naast Huize Laareind van de wed. Joan Pieter Servatius. Harm Sissing, geb. Zuidlaren 9-12-1788, ovl. Zuidlaren 13-8-1837, zoon van Egbert Harms Sissing (ook Sissink en Sissingh) en Grietjen Hendriks Wuffing (ook Wuffen), tr. Grietjen Wuffing (ook Wuffen), ovl. Zuidlaren 5-4-1847, oud 53 jaar, dochter van Willem Egberts Wuffing en Wemelina Egberts. Egbert Harms Sissing (ook Sissink en Sissingh), geb. Vries 22-3-1756, ovl. ten huize van de wed. Roelof Carsten in Zuidlaren 22-3-1824, oud 68 jaar, is een zoon van Harm Sissingh en Jantien Baving. Egbert's overlijden werd aangegeven door de buurmannen Roelof Jans Strating, oud 31 jaar, landbouwer, en Jeen Reenks de Boer, oud 31 jaar, commies.
Jan Hessels is Jan Hessel Hessels, geb. Wittelte/Diever 1760, ovl. Zuidlaren (huis nr. 88) 1-8-1813, oud 53 jaar. Zijn overlijden werd aangegeven door de buurmannen Otte Everts en Willem Bos. Otte Everts, landbouwer, tapper, overleed in Zuidlaren op 6-11-1835, oud 71 jaar, echtgenoot van Hendrikje Lucas Strating; zijn overlijden werd aangegeven door de buurmannen Albert Bazuin (60 jr), landbouwer, en Folkert Gabriel Bolt (41 jr), tuinier. Albert Bazuin was gevestigd aan de Brink OZ, Kad. G 74, art. 14, naast Lucas Strating, Kad. G 73, art. 305. Lucas Strating was weer de buurman van Willem Jacob graaf van Heiden, Schout en Lid van het College van Gedeputeerde Staten van Drenthe, Kad. G 67, art. 111:
www.flickr.com/photos/148859204@N07/33738086742/in/photolist
Jan Hessels is een zoon van wijlen Hessel Jans en Hilligje Jans Boldinghe, woonachtig in Wittelte, echtgenoot van Margien Koops, geb. Peize 13-4-1730, ovl. Peize 16-9-1817. Zij zijn de ouders van Hessel Jan Hessels, gemeenteontvanger, geb. Smilde 25-12-1790, ovl. Zuidlaren 18-11-1874, echtgenoot van Tjaatje Bosscher (ook Bosker), geb. Winschoten 25-12-1788, ovl. Zuidlaren 10-7-1877.
Op 26-8-1803 werd een collecte gehouden door de Commissie tot de Directie over de gecollecteerde Penningen om de getroffenen te helpen.
Bataafsche Leeuwarder Courant van 16-7-1803:
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Groninger Courant van 12-8-1803, 16-8-1803, 26-8-1803:
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Ommelander Courant van 19-8-1803 en 14-10-1803:
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"De Erfgenamen van Wylen de Wedw. R. Carsten zyn voornemens door het Gericht van Zuidlaren publyk te laten verkopen: Een Huisplaatse voor aan de Straat te Zuidlaren, met de van de Brand overgebleeven Materialen daarop staande, van ouds het Hoge-Huis genaamt; benevens om de 7 Mudden Bouwland, en Weideland en 2 Matten Hooyland, het Knypstuk genaamt, gelegen aan het Drentsche Diep, tegen over het Foxholster Meer. Deze Verkopinge zal zyn op eerstkende Donderdag de 29 December 1803, ten Huize van Otte Everts te Zuidlaren". Ommelander Courant van 27-12-1803: resolver.kb.nl/resolve?urn=ddd:010215689:mpeg21:a0013
Geertruit Bavinge, jongedochter van Zuitlaren, tr. Zuidlaren 11-5-1749 Roelof Ottens Karst, jongeman van Zuitlaren.
Op 2-5-1751 werd Otte Kars, zoon van Roelof Ottens Karst en Geertruit Bavinge, in Zuidlaren gedoopt.
Op 17-11-1754 werd Grietje Karst, dochter van Roelof Karst en Geertruit Baving, in Zuidlaren gedoopt.
Op 27-11-1757 werd Jan Karst, zoon van Roelof Ottens Karst en Geertruit Bavinge, in Zuidlaren gedoopt.
Geertruida Bavingh overleed in Zuidlaren op 20-11-1803, gehuwd geweest met R. Carst. De weduwe van Roelf Cars(t) was keutersche en had in 1764 en 1774 een winkel:
Oude Staten Archieven (OSA), toegangsnummer 0001, inventarisnummer 868.37, Haardstedengeld Zuidlaren, Zuidlaren, 1764, pagina 5208
Oude Staten Archieven (OSA), toegangsnummer 0001, inventarisnummer 868.37, Haardstedengeld Zuidlaren, Zuidlaren, 1774, pagina 5225.
In 1832 was de weduwe Jan Sikkens de eigenaar van een huis aan de Brink ZZ, Kad. G 294 art. 278, nabij Laar-End op nr. 8.
Op 19-11-1835 werd Laar-Eind te koop aangeboden. Groninger Courant van 17-11-1835: resolver.kb.nl/resolve?urn=ddd:010772145:mpeg21:a0019
Lit.: "Landbouwers in Zuidlaren in 1896", door Hans Fidder, in "De Zeven Brinken", uitgave van de Historische Vereniging Zuidlaren, jaargang 20, nr. 1, maart 2013. "De Drentsche Scheper", door Henk Brink, in het tijdschrift "De Zeven Brinken" van de Historische Vereniging Zuidlren, Jaargang 21 nummer 2, juni 2014 (een scheper is een schaapsherder).
"Laar End" werd bewoond door Jonkvrouwe Nicoline Hobbine Daniële van Andringa de Kempenaer (1875-1942), ovl. Huize "Laer-End" 6-10-1942, oud 67 jaar. Nieuwsblad van het Noorden van 7-10-1942 (resolver.kb.nl/resolve?urn=ddd:010330388:mpeg21:a0079). Haar broer Willem Regnerus Livius van Andringa de Kempenaer trouwde in Zuidlaren op 9-6-1909 met Marie Anne Wilhelmine Louise de Millij van Heiden Reinestein, dochter van Louis Albert Sigismond Jacques de Milly van Heiden Reinestein, geb. in Zuidlaren in 1847 en burgemeester van Zuidlaren van 1888-1893. Na Nicoline Hobbine Daniële van Andringa de Kempenaer (1875-1942) werd Laar-End bewoond door Arnold Regenerus Marie Dorhout Mees, geb. Winschoten 27-12-1908, ovl. Zuidlaren 7-10-1945, en echtgenote Ingrid Vivi Dorhout Mees-Wallin. Arnold Regenerus Marie Dorhout Mees is een zoon van Arnoldus Regnerus Dorhout Mees, substituut griffier, en Maria van Andringa de Kempenaer. "Restauratie van landhuis Laar End te Zuidlaren" in het Nieuwsblad van het Noorden van 18-6-1963:
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De nabijgelegen synagoge is zeer waarschijnlijk ontworpen door architect Geert Stel, geb. Assen 30-12-1847, ovl. Assen 8-1-1910. De synagoge is op 28-5-1884 ingewijd:
www.drentsarchief.nl/beeldbank/d16dfa7e-3dd9-42ae-b66c-61...
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Provinciale Drentsche en Asser Courant van 21-5-1884:
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De synagoge in Beilen is in 1884 ontworpen door architect Geert Stel te Assen:
www.drentsarchief.nl/beeldbank/6fe839ef-3d7b-48a1-83d3-36...
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Provinciale Drentsche en Asser Courant van 16-10-1884:
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In 1890 werd de bouw van een nieuw Raadhuis door B&W van de Gemeente Gasselte toevertrouwd aan architect G. Stel. Algemeen Handelsblad van 5-2-1890 (resolver.kb.nl/resolve?urn=ddd:010142692:mpeg21:a0014).
Dit Raadhuis, gelegen aan de Vaart 11 in Gasselternijveen, is een Rijksmonument met nr. 508692 (monumentenregister.cultureelerfgoed.nl).
In 1895 was Stel de architect van een school en onderwijzerswoning te Nieuwediep en van de verbouw van scholen in Gieterveen en Gieten. Nieuwsblad van het Noorden van 31-7-1895 (resolver.kb.nl/resolve?urn=ddd:010885642:mpeg21:a0059).
Geert Stel was in 1891 en 1895 de architect van Villa "Anna" (vanaf 1911 Villa "Maloja") aan de Hoofdweg 276 in Paterswolde, en in 1895 ook van de verbouw van Villa "Vosbergen" in Paterswolde.
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Architect G. Stel werd op 26-10-1897 door de Gemeenteraad van Assen benoemd tot leraar aan de Gemeentelijke Teekenschool. De Telegraaf van 27-10-1897 (resolver.kb.nl/resolve?urn=ddd:110541039:mpeg21:a0023).
In 1897 was architect Stel verantwoordelijk voor het verbouwen van scholen in Hooghalen, Hijken en Wijster in de Gemeente Beilen. Nieuwsblad van het Noorden van 14-9-1897 (resolver.kb.nl/resolve?urn=ddd:010885128:mpeg21:a0031).
In 1898 was hij de architect van een Drukkerij met bureaux voor Gratema in Assen. Nieuwsblad van het Noorden van 29-12-1898 (resolver.kb.nl/resolve?urn=ddd:010887490:mpeg21:a0027).
"Te Zuidlaren is vanwege de Vereeniging ter bevordering van het Ambachtsonderwijs in Drenthe een teekencursus geopend welke onder leiding staat van den Heer G. Stel, architect te Assen". Het nieuws van den dag : kleine courant van 2-12-1898 (resolver.kb.nl/resolve?urn=ddd:010126087:mpeg21:a0094).
G. Stel was in 1899 de architect van een dubbel huis aan de Molenstraat in Assen i.o.v. de wed. Zwiers. Nieuwsblad van het Noorden van 28-10-1899 (resolver.kb.nl/resolve?urn=ddd:010886458:mpeg21:a0029).
In 1900 was Stel de architect van een onderwijzerswoning te Wittelte, Gemeente Diever. Leeuwarder Courant 3-4-1900 (resolver.kb.nl/resolve?urn=ddd:010595736:mpeg21:a0049).
In 1901 werd Stel benoemd tot onderwijzer "aan den teekencursus te Beilen". Het nieuws van den dag : kleine courant 15-01-1901 (resolver.kb.nl/resolve?urn=ddd:010128091:mpeg21:a0143).
In 1902 was G. Stel de architect van een dubbele woning met pakhuis in de Schoolstraat in Assen voor G. H. Klapdoor. Nieuwsblad van het Noorden van 5-3-1902 (resolver.kb.nl/resolve?urn=ddd:010890529:mpeg21:a0081).
In 1906 was G. Stel de architect van een dubbel woonhuis aan de Zuidersingel in Assen voor mej. H. Zuidweg. Nieuwsblad van het Noorden van 16-10-1906 (resolver.kb.nl/resolve?urn=ddd:010894831:mpeg21:a0045).
In 1906 was G. Stel de architect van een boschhuisje op "De Eerste Steen" in Assen voor Hendrik Jan Oosting (1842-1915). Dit huis is een Rijksmonument met nummer 469371:
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"De Eerste Steen" was het landgoed van zijn voorvader Jan Haak Oosting (1749-1828). Nieuwsblad van het Noorden van 16-12-1906 (resolver.kb.nl/resolve?urn=ddd:010894884:mpeg21:a0037).
In 1907 werd een Heerenhuis aan de Oostersingel in Assen te koop aangeboden. Inlichtingen konden worden ingewonnen bij architect G. Stel. Nieuwsblad van het Noorden van 13-10-1907 (resolver.kb.nl/resolve?urn=ddd:010890200:mpeg21:a0110).
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All of My Reviews｜心得文：
Olympus MZD 17mm f/1.2 PRO Review
Olympus MZD 25mm f/1.2 PRO Review
Olympus MZD 45mm f/1.2 PRO Review
Panasonic LEICA DG 12mm f/1.4 Review
Panasonic LEICA DG 8-18mm f/2.8-4 Review
A Five-Year Photographic Journey with the M4/3 Series.
www.decorobra.com/como-organizar-la-sala-de-estudio.html
La sala de estudio es un ambiente muy importante de su casa que no sólo deben lucir bien... debe ser también funcional, tener la configuración correcta y el ambiente adecuado. Un cuarto de estudio debe ser un espacio amplio y elegante donde usted pueda pasar tiempo, hacer tareas o simplemente estudiar y reflexionar.
Si se propone crear una sala de estudio en el hogar, es recomendable que tenga en cuenta algunos puntos claves, como quién va a utilizar el espacio (adultos, jóvenes), qué tipo de actividades concretas usted va a realizar en la sala, que organización le dará a los muebles para que sea un espacio funcional, etc.
La puesta en marcha de una sala de estudio requiere de un buen tamaño de escritorio con un ordenador de sobremesa. Esto le será muy útil también si tu trabajo no requiere movilidad. Si está ejecutando un negocio desde casa, entonces debe prestar atención a las necesidades de almacenamiento y las herramientas de comunicaciones como máquinas de fax.
La sala de estudio es también el lugar perfecto para exhibir su colección de libros en estanterías diseñadas para lucir una biblioteca de estilo tradicional, siempre combinadas con el resto del mobiliario utilizado.
Además debe procurar que los colores y diseños de los muebles sean de su agrado. Hablando de colores, antes de escoger un color para su cuarto de estudio, es muy importante echar un vistazo a sus preferencias y sus toques personales. Por ejemplo, la combinación de blancos con algunos tonos azules será bastante neutra y agradable. Luego debe enfocarse en la decoración pensando en todo tipo de adornos y accesorios que vayan a ser de su utilidad. Respecto a los muebles básicos no olvide colocar un escritorio, silla cómoda, lámpara de mesa, tablero para escribir sus tareas, y hasta puede agregar una pizarra. La iluminación ideal sería una lámpara de escritorio que sea de luz blanca. No se recomiendan lámparas con luz de colores, ya que esto esfuerza la vista.
[gallery link="file"]
Collaboration beetween Biennalist and Ultracontemporay
Art Format
www.emergencyrooms.org/formats.html
Documenta From Wikipedia,
The Fridericianum during documenta (13)
documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time.[1] It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.
Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.
Etymology of documenta
The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]
Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]
History
Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7
Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.
Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, documenta (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]
Criticism
documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At documenta (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the documenta (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]
Directors
The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. documenta IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]
TitleDateDirectorExhibitorsExhibitsVisitors
documenta16 July – 18 September 1955Arnold Bode148670130,000
II. documenta11 July – 11 October 1959Arnold Bode, Werner Haftmann3381770134,000
documenta III27 June – 5 October 1964Arnold Bode, Werner Haftmann3611450200,000
4. documenta27 June – 6 October 196824-strong documenta council1511000220,000
documenta 530 June – 8 October 1972Harald Szeemann218820228,621
documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410
documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691
documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417
documenta IX12 June – 20 September 1992Jan Hoet1891000603,456
documenta X21 June – 28 September 1997Catherine David120700628,776
documenta118 June – 15 September 2002Okwui Enwezor118450650,924
documenta 1216 June – 23 September 2007Roger M. Buergel/Ruth Noack[19]114over 500754,301
documenta (13)9 June – 16 September 2012Carolyn Christov-Bakargiev187[20]904,992[21]
documenta 148 April – 16 July 2017 in Athens, Greece;
10 June – 17 September 2017 in KasselAdam Szymczykmore than 1601500339.000 in Athens
891.500 in Kassel
documenta fifteen18 June 2022 – 25 September 2022 in Kasselruangrupa[22]
2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[23]
Venues
documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal.[24] At documenta (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]
There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at documenta IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[25] For documenta (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.
Rahmenbau (1977) by Haus Rucker und Co.
A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).
documenta archive
The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from the files and materials of the documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer.
Management
Visitors
In 1992, on the occasion of documenta IX, for the first time in the history of the documenta, more than half a million people traveled to Kassel.[26] The 2002 edition of documenta attracted 650,000 visitors, more than triple Kassel's population.[27] In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of the visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous.[28] In 2012, documenta (13) had 904,992 visitors.[21]
References
Adrian Searle (June 11, 2012), "Documenta 13: Mysteries in the mountain of mud", The Guardian.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Arnold Bode coined this phrase for the first time in the prologue of the first volume of the catalogue: documenta III. Internationale Ausstellung; Catalogue: Volume 1: Painting and Sculpture; Volume 2: Sketches; Volume 3: Industrial Design, Print; Kassel/Köln 1964; p. XIX
Kimpel, Harald: documenta, Mythos und Wirklichkeit. Köln 1997, ISBN 3-7701-4182-2
Alice Rawsthorn (June 3, 2012), A Symbol Is Born The New York Times.
The documenta IV Exhibition in Kassel (1968) German History in Documents and Images (GHDI).
Helen Chang (June 22, 2007), "Catching the Next Wave In Art at Documenta", The Wall Street Journal.
Roberta Smith (September 7, 2007), "Documenta 5" The New York Times.
Gimeno-Martinez, Javier; Verlinden, Jasmijn (2010). "From Museum of Decorative Arts to Design Museum: The Case of the Design museum Gent". Design and Culture. 2 (3).
dX 1997 Archived 2013-06-14 at the Wayback Machine, documenta XII.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale The New York Times.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Kelly Crow (June 8, 2012), A Party, Every Five Years, for 750,000 Guests The Wall Street Journal.
Jerry Saltz (June 15, 2012), Jerry Saltz: "Eleven Things That Struck, Irked, or Awed Me at Documenta 13" New York Magazine.
Michael Brenson (June 15, 1987), "Documenta 8, Exhibition In West Germany", The New York Times.
Michael Kimmelman (July 5, 1992) "At Documenta, It's Survival Of the Loudest", The New York Times.
Jackie Wullschlager (May 19, 2012) Vertiginous doubt Financial Times.
Julia Halperin, Gareth Harris (July 18, 2014) How much are curators really paid? Archived July 20, 2014, at the Wayback Machine The Art Newspaper.
Holland Cotter (22 June 2007). "Asking Serious Questions in a Very Quiet Voice". The New York Times. Retrieved 2014-08-29.
Ulrike Knöfel (8 June 2012). "What the 13th Documenta Wants You to See". Der Spiegel.
"904,992 people visit documenta (13) in Kassel". documenta und Museum Fridericianum Veranstaltungs-GmbH. 16 September 2012. Archived from the original on 25 February 2014. Retrieved 8 August 2013.
Russeth, Andrew (2019-02-22). "Ruangrupa Artist Collective Picked to Curate Documenta 15". ARTnews.com. Retrieved 2020-01-05.
"In Germany, Disguising Documentary As Art". The Huffington Post. Retrieved 2015-09-28.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale International Herald Tribune.
Roberta Smith (June 22, 1992), A Small Show Within an Enormous One The New York Times.
d9 1992 Archived 2014-02-22 at the Wayback Machine, documenta XII.
Adrian Searle (June 19, 2007), 100 days of ineptitude The Guardian.
Catherine Hickley (September 24, 2007), "Documenta Contemporary Art Show Draws Record 754,000 to Kassel", Bloomberg.
Carly Berwick (May 17, 2007), "Documenta 'Mystery' Artists Are Revealed; Buzz Strategy Fizzles", Bloomberg.
Rachel Donado (April 5, 2017), German Art Exhibition Documenta Expands Into Athens, The New York Times.
Catherine Hickley (November 27, 2017), Documenta manager to leave post after budget overruns The Art Newspaper.
Further reading
Hickley, Catherine (2021-06-18). "This Show Sets the Direction of Art. Its Past Mirrored a Changing World". The New York Times.
Nancy Marmer, "Documenta 8: The Social Dimension?" Art in America, vol. 75, September 1987, pp. 128–138, 197–199.
other biennales :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
lumbung
Short concept by ruangrupa for documenta 15
"We want to create a globally oriented, cooperative, interdisciplinary art and culture platform that will remain effective beyond the 100 days of documenta fifteen. Our curatorial approach aims at a different kind of collaborative model of resource use—economically, but also in terms of ideas, knowledge, programs, and innovation."
ruangrupa’s central curatorial approach for documenta fifteen is based on the principles of collectivity, resource building, and equal sharing. They aim to appeal not just to an art audience but to a variety of communities, and to promote local commitment and participation. Their approach is based on an international network of local, community-based organizations from the art and other cultural contexts and can be outlined by the Indonesian term lumbung. lumbung, directly translatable as “rice barn,” is a collective pot or accumulation system used in rural areas of Indonesia, where crops produced by a community are stored as a future shared common resource and distributed according to jointly determind criteria. Using lumbung as a model, documenta fifteen is a collective resource pot, operating under the logics of the commons. It is an agglomeration of ideas, stories, (wo)manpower, time, and other shareable resources. At the center of lumbung is the imagination and the building of these collective, shared resources into new models of sustainable ideas and cultural practices. This will be fostered by residencies, assemblies, public activities, and the development of tools.
Interdisciplinarity is key in this process. It is where art meets activism, management, and networking to gather support, understand environments, and identify local resources. These elements then create actions and spaces, intertwine social relations and transactions; they slowly grow and organically find a public form. This is a strategy “to live in and with society.” It imagines the relations an art institution has with its community by being an active constituent of it. Strategies are then developed based on proximity and shared desires.
The main principles of the process are:
• Providing space to gather and explore ideas
• Collective decision making
• Non-centralization
• Playing between formalities and informalities
• Practicing assembly and meeting points
• Architectural awareness
• Being spatially active to promote conversation
• A melting pot for and from everyone’s thoughts, energies, and ideas
#documentakassel
#documenta
#documenta15
#artformat
#formatart
#rundebate
#thierrygeoffroy
#Colonel
#CriticalRun
#venicebiennale
#documentafifteen
#formatart
#documentacritic
#biennalist
#ultracontemporary art
protestart
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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.
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.
below from www.brainyquote.com/quotes/authors/a/albert_camus.html
are a few quotes from Albert Camus, French Philosopher
Date of Birth: November 7, 1913
Date of Death: January 4, 1960
A free press can, of course, be good or bad, but, most certainly without freedom, the press will never be anything but bad.
A guilty conscience needs to confess. A work of art is a confession.
A man without ethics is a wild beast loosed upon this world.
A man's work is nothing but this slow trek to rediscover, through the detours of art, those two or three great and simple images in whose presence his heart first opened.
A taste for truth at any cost is a passion which spares nothing.
Abstract Art: A product of the untalented, sold by the unprincipled to the utterly bewildered.
After all manner of professors have done their best for us, the place we are to get knowledge is in books. The true university of these days is a collection of books.
After all, every murderer when he kills runs the risk of the most dreadful of deaths, whereas those who kill him risk nothing except promotion.
Ah, mon cher, for anyone who is alone, without God and without a master, the weight of days is dreadful.
Alas, after a certain age every man is responsible for his face.
All great deeds and all great thoughts have a ridiculous beginning.
All great deeds and all great thoughts have a ridiculous beginning. Great works are often born on a street corner or in a restaurant's revolving door.
All modern revolutions have ended in a reinforcement of the power of the State.
An intellectual is someone whose mind watches itself.
As a remedy to life in society I would suggest the big city. Nowadays, it is the only desert within our means.
At 30 a man should know himself like the palm of his hand, know the exact number of his defects and qualities, know how far he can go, foretell his failures - be what he is. And, above all, accept these things.
At any street corner the feeling of absurdity can strike any man in the face.
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Descargar Aquí ► www.imagenesdeamor.pro/2016/03/como-enamorar-a-una-mujer....
¿Cómo enamorar a una mujer? ¿Quieres hacer que la chica que te guste se enamore de ti? Aquí se te dará consejos efectivos para lograrlo.
Cómo enamorar a una mujer: 10 consejos para lograrlo
10 Consejos de cómo enamorar a una mujer
A muchos hombres se les hace difícil enamorar a una mujer, hablarles, invitarlas a salir y lograr que sean sus novias. Generalmente pasa por el desconocimiento de qué les gusta a las mujeres de un hombre. A continuación les enseñaremos cómo enamorar a una mujer.
#1 Hombre seguro
Despójate de los nervios y trata de estar seguro de ti mismo, demuestra tu carácter, sé un hombre que respeta y que se hace respetar. Tenlo por seguro que ellas preferirán mil veces un hombre con quien sentirse en confianza que tener al frente suyo unos músculos bien definidos.
#2 No mentir nunca
Para una mujer la sinceridad es la cualidad más valiosa que admiran de un hombre. Tampoco debes fingir algo que no eres realmente, muéstrate tal cual. Las mujeres tiene un agudizimo olfato para identificar cuándo un hombre les miente.
#3 Invítala a salir
Toda mujer quedará maravillada si la sorprendes invitándola a salir a un sitio que tú haz escogido, sobre todo si tu tomas el mando de la situación. Llévala a lugares especiales y diferentes así le demostraras con tu esfuerzo lo interesado que estas en ella.
#4 Limpio y bien vestido
Toda mujer se fija hasta en el más mínimo detalle, es importante vestir adecuadamente con una camisa y unos buenos zapatos, además del peinado y la limpieza corporal. Ellas se derriten cuando ven a un chico en camisa.
#5 Hombre de proyectos
Comparte con ella a qué te dedicas y sobre todo qué proyectos tienes para el futuro. Qué aspiraciones tienes tienes en la vida, ello la hará saber que no eres una persona sin metas mi ideales.
#6 No piropos
No caigas en las siempre repetidas frases de amor que se usan comúnmente. No caigas en lo vulgar, si vas a decirle palabras bonitas que salgan corazón, estas deben ser románticas y sutiles. ¡Las tendrás en tus manos!.
#7 Hazla reír
Evita los temas aburridos, hablen de cualquier cosa e identifica qué es lo que le hace reír. Si vez que ella no para de reír, vas por muy buen camino y aunque no lo crees estarás haciendo que ella se enamore de ti.
Cómo enamorar a una mujer: Hazla reír siempre.
#8 Detalles sorpresa
Debes saber que a las mujeres no esperan el regalo más costoso, esperan un detalle hecho por ti mismo en el que hayas invertido tu tiempo y tu cariño en hacerlo. Si es el caso que el presente no es hecho por ti, procura dé en el clavo con lo que a ella le guste, que recuerdes las cosas que le gustan y que dedique tiempo en buscar el adecuado bastará para conquistarla.
#9 Dile lo que sientes
A los hombres por lo general les cuesta decir lo que sienten un “te quiero”, “te amo” o “te extraño”. Dile lo que sientes por ella poco a poco, con tus propias palabras, si te apresuras mucho parecerás desesperado y no queremos eso.
#10 No sexo
Si hay algo que espanta a las mujeres es que en las primeras citas demuestres que quieres tener intimidad con ellas. Pensaran que sólo buscas sexo, las mujeres son muy sensibles respecto a ese tema y opinan que se da en una etapa más avanzada de la relación. ¡Ten mucho cuidado!
Con estos 10 consejos de cómo enamorar a una mujer estas más que preparado para conquistar a cualquier mujer ¡Suerte!
El post ¿Cómo enamorar a una mujer? 10 Consejos para enamorarlas aparece primero en Imágenes de Amor.
¿Cómo enamorar a una mujer? 10 Consejos para enamorarlas | Consejos de Amor, Enamorar
Link:
www.torontomasons.com/york_rite_freemason.htm
www.torontomasons.com/york_rite_freemason.htm
www.knightstemplar.ca/links.html
Ontario Districts.
Cookstown: Phoenix Chapter No. 34. District 9.
York Rite of Masonry - Oldest Freemason Branch
The symbolic degrees of Entered Apprentice, Fellowcraft, and Master Mason, as conferred in Canada, are degrees of the York Rite.
York Masonry is the oldest and best known of all Masonic Rites.
It takes its name from York, England, where the earliest known record of Masonry exists, dating from about A.D. 923.
Masonry´s first written record is centered around York, the seat of the Ancient York Grand Lodge. In 1813, this Grand Lodge merged with another group called the Modern Grand Lodge, to form the United Grand Lodge of England. This is the basis upon which our present system of Symbolic Lodge Masonry is built.
You, as a Master Mason, have received the first three degrees of the York Rite. Having begun your Masonic work in the York Rite, it is natural that you should want to continue with it.
According to Masonic legend, every man raised to the sublime degree of a Master Mason received “substitute secrets”, as the “true secrets” were lost. It may prove a surprise to the average man, believing his work is completed, to be told that the secrets pertaining to the ceremony will not be given to him! This is unfortunate, but the veil is lifted in the degree of the Royal Arch, and in that degree only. Hence, no man actually becomes a Master Mason until he is exalted to that holy order.
Some would have the newly raised Master Mason believe that he can receive the secrets and word in a degree other than the Royal Arch. This is not true, historically or otherwise. The mother Grand Lodge of England was so emphatic regarding the necessity of the Royal Arch degree that many years ago, it set forth this as Paragraph One (1) of its Laws and Regulations:
“By the solemn act of the union between the two Grand Lodges of Freemasons of England in December, 1813, it was declared and pronounced that Pure Ancient Masonry consists of three degrees and no more, viz: those of the Entered Apprentice, the Fellowcraft, and the Master Mason, INCLUDING THE SUPREME ORDER OF THE HOLY ROYAL ARCH.”
On the North American Continent, there are additional degrees in the system, supplementing the work of the Lodge, Chapter, and Council, and the Orders conferred in the Commandery have been arranged into a system or Rite referred to as the American, Canadian, or York Rite of Freemasonry. It is American in structure, as it is a democratic organization in which every member has a voice and a right to be heard.
2. ROYAL ARCH MASONRY
The various local Chapters operate under the jurisdiction of the “Grand Chapter” of Province - Royal Arch Masons of Canada in the Province of Ontario. There is also the General Grand Chapter of Royal Arch Masons International. The General Grand Chapter constitutes the largest Masonic Body in the world though it is not recognized by the Province.
The Chapter confers four degrees (Capitular Degrees), giving a complete story of Masonic symbolism, in the following order:
bullet
Mark Master
bullet
Past Master (Virtual) (International not Ontarian)
bullet
Most Excellent Master
bullet
Royal Arch
The Mark Master degree is perhaps the oldest Masonic degree, and is one of the most highly respected. It teaches practical lessons for everyday living. This degree supplements the Fellowcraft Degree.
The Past Master degree teaches the candidate the important duties and responsibilities of the Oriental Chair, and is qualification for advancement.
It is commonly known that the symbolism of Freemasonry surrounds the building of the Temple. In symbolic Free-Masonry, the Temple is never completed. In the Most Excellent Master degree, we are taught the lessons of the completion and dedication of the Temple.
In the degree of the Royal Arch, the epitome of Masonic symbolism is found. It has been said “the Royal Arch is the root, heart and marrow of Masonry, without knowledge of which the Masonic character cannot be complete”.
The Royal Arch degree is the completion of the whole system of Freemasonry. Having begun regular advancement through the Symbolic Lodge, it is the duty of each Master Mason to complete the degree series. He who has sought further Masonic education should return to the Symbolic Lodge, retrace his steps and advance through the Rite until he can receive the climax of Masonic symbolism, as taught in the Royal Arch.
Only those who have attained the Royal Arch may be said to have completed their Masonic Work.
3. CRYPTIC MASONRY
The Councils of Cryptic Masons operate under the jurisdiction of the Grand Council of Cryptic Masons of each state and most Grand Councils operate under the General Grand Council of the United States. They confer the following three degrees:
bullet
Royal Master
bullet
Select Master
bullet
Super Excellent Master
Without the Royal and Select Master degrees, neither the Master Mason degree nor the Royal Arch degree is complete. These two degrees account for the concealment and preservation of the treasures revealed in the Royal Arch.
The Super Excellent Master is an honorary degree, qualifications for which are fulfilled by virtue of being in good standing in a Council. This degree is the most dramatic and spectacular of all Masonic systems.
4. KNIGHT TEMPLAR MASONRY
Local Commanderies are governed by the Grand Commandery of each jurisdiction.
In the Commandery, the Chivalric Orders of Christian Knighthood are conferred as follows:
bullet
The Illustrious Order of the Red Cross
bullet
The Order of Knight of Malta
bullet
The Order of the Temple
The Illustrious Order of the Red Cross is founded upon Truth – a divine attribute, the foundation of every virtue.
Knights of Malta. First called Knights Hospitallers of St. John of Jerusalem are known to have been in existence as early as 1099 A.D. It was the first organized body whose avowed purpose was the aid and care of those injured on a battlefield. The teaching of Christian applications of Masonic precepts begins with this Order.
The Order of the Temple is the crowning glory of York Rite Masonry. It is widely regarded as the most solemn and impressive experience in Masonry. Here the aspirant progresses in the footsteps of Jesus of Nazareth. At the empty tomb grows a sprig of acacia, teaching that we shall dwell forever in the realms of life and light eternal.
Freemasonry demands only a belief in a monotheistic God, where Hindu, Muslim, Jew and Gentile may together worship around its alters. The Christian Freemason alone has at his disposal a branch of the fraternity where he is free to interpret the teachings of the Symbolic Lodge according to his religious belief. The Masonic Orders of Christian Knighthood are the logical outcome of the Christian Mason´s belief in Christ as the Lion of the Tribe of Judah. That Mason believes Christ´s hand will raise the dead to life, and in His Holy Name the True Word is found and restored at last. “In the beginning was the Word, and the Word was with God, and the Word was God”.
WHAT DOES YORK RITE MASONRY OFFER?
The noble heritage of York Masonry is yours to take. The regular meetings of the various grades are conducive to firmer relationships and a closer spirit of brotherly love. Being a York Rite Mason does not mean you are elevated to a “higher rank´. It is an educational tool to help you realize the Fatherhood of God and Brotherhood of Man in your own life. We trust the foregoing has increased your interest in the York Rite.
York Rite of Masonry - Oldest Freemason Branch
The symbolic degrees of Entered Apprentice, Fellowcraft, and Master Mason, as conferred in Canada, are degrees of the York Rite.
York Masonry is the oldest and best known of all Masonic Rites.
It takes its name from York, England, where the earliest known record of Masonry exists, dating from about A.D. 923.
Masonry´s first written record is centered around York, the seat of the Ancient York Grand Lodge. In 1813, this Grand Lodge merged with another group called the Modern Grand Lodge, to form the United Grand Lodge of England. This is the basis upon which our present system of Symbolic Lodge Masonry is built.
You, as a Master Mason, have received the first three degrees of the York Rite. Having begun your Masonic work in the York Rite, it is natural that you should want to continue with it.
According to Masonic legend, every man raised to the sublime degree of a Master Mason received “substitute secrets”, as the “true secrets” were lost. It may prove a surprise to the average man, believing his work is completed, to be told that the secrets pertaining to the ceremony will not be given to him! This is unfortunate, but the veil is lifted in the degree of the Royal Arch, and in that degree only. Hence, no man actually becomes a Master Mason until he is exalted to that holy order.
Some would have the newly raised Master Mason believe that he can receive the secrets and word in a degree other than the Royal Arch. This is not true, historically or otherwise. The mother Grand Lodge of England was so emphatic regarding the necessity of the Royal Arch degree that many years ago, it set forth this as Paragraph One (1) of its Laws and Regulations:
“By the solemn act of the union between the two Grand Lodges of Freemasons of England in December, 1813, it was declared and pronounced that Pure Ancient Masonry consists of three degrees and no more, viz: those of the Entered Apprentice, the Fellowcraft, and the Master Mason, INCLUDING THE SUPREME ORDER OF THE HOLY ROYAL ARCH.”
On the North American Continent, there are additional degrees in the system, supplementing the work of the Lodge, Chapter, and Council, and the Orders conferred in the Commandery have been arranged into a system or Rite referred to as the American, Canadian, or York Rite of Freemasonry. It is American in structure, as it is a democratic organization in which every member has a voice and a right to be heard.
Sanctioned by Grand Lodge
The Grand Lodge of York, in 1780, gave its sanction to the working of five separated degrees or orders:
bullet
The Entered Apprentice.
bullet
The Fellowcraft.
bullet
The Master Mason.
bullet
The Royal Arch.
bullet
The Knight Templar.
The United Grand Lodge of England, the Mother of regular and legitimate Freemasonry in the world, set forth at the time of the Union the following: "It is declared and pronounced that pure and Ancient Craft Masonry consists of three degrees and no more, namely, those of Entered Apprentice, Fellow Craft and Master Mason, including the Holy Royal Arch.
And that the Grand Lodge might not create any misconstruction of their declaration, it was added:
"This article is not intended to prevent any Lodge or Chapter from holding meetings in any of the degrees of Chivalry, according to the Constitution of said Order."
Thus, the Order of the Temple was given an official place and standing in the structure of Masonry.
During the early and unwritten history of the Masonic Fraternity, there was a strong tone of Christianity which ran throughout the Symbolic structure, but by the time Anderson published his Constitutions, Christianity was virtually taken out of the ritual and Constitutions, because of a great desire to make the fraternity such as might be acceptable to men of any religion who subscribe to a belief in a Supreme Being.
Removal of Christian Symbolism
This was truly unfortunate for those who interpreted the Lodge symbols as Christian doctrines. To deprive Freemasonry of the Ancient Craft of its Christian symbolism in an attempt to make it more universal, was, to them, unmasonic, and characterized as being compared to "removing a Masterpiece of Art from a gallery, or depriving a Crown of its Most Precious Jewel.
And the Christian Freemason sought out an Order which interpreted his Freemasonry in the Light of the New Dispensation.
He ended his search when he entered any asylum of Knights Templar.
It was Dr. William F. Kuhn, the great Masonic thinker, who said: "Freemasonry is not a series of degrees to give those who have the money to purchase them, certain titles and decorations, for even in Freemasonry 'a fool may be a belted Knight', and an Entered Apprentice may have a clearer conception of God and man's relation to Him, than he who wears the insignia of the highest rank. Moral conception does not exist merely in believing but in believing and doing. The Stoics of Rome persuaded themselves to believe that they were of Divine Essence and elaborated a finely spun system of philosophy, but they permitted the poor to lie starving at their doors."
Templars believe in practice; their charities may not be proclaimed from the house tops, but the records of the smallest preceptor of Knights Templar should prove that Charity and Hospitality are yet the grand characteristics of this great Christian Order. Templary realizes that it is hypocritical to profess and teach great platitudes without making an honest effort to practice what is professed. Our governing body (Sovereign Great Priory) administers a substantial fund known as The Knights Templar Charitable Foundation, contributed to by all members and administered without ostentation. This fund originally designed for orphans of deceased Knights Templar is also used for many deserving welfare cases and education of deserving students, including those for the ministry.
What are the Chivalric Orders?
We have referred to the Orders conferred by a Preceptory. In Canada the work of the Preceptory is divided into three parts:
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The Order of the Red Cross.
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The Orders of Mediterranean Pass and Malta.
bullet
The Orders of the Temple.
The Red Cross Order is not, strictly speaking, a Christian Order. Its value in the Templar system is its bridging of the gap between the Royal Arch degree and the Order of the Temple. It is a story founded upon an important period in Hebrew history and stresses Faith in God, the importance of Truth, and the value of Liberty and Justice.
The Order of Malta brings to the novitiate the story of another of the great Chivalric Orders, whose deeds of heroism fill the pages of history, and whose Christian character forms a bright page in religious history.
The most striking degree or Order in Masonry in the opinion of most expert ritualists is the Order of Consecration as set out in the Canadian Work. It is rightly described as the "ne plus ultra" of the Masonic system and is especially appreciated by all Christian Freemasons. We cannot describe its beauty or the impressions which are created in the mind of the Candidate. It must be seen to be appreciated.
Rise up, 0 Men of God
Have done with lesser things
Give Heart and Soul and Mind and Strength
To serve the King of Kings.
Lift high the Cross of Christ
Tread where His feet have trod
As brothers of the Son of Man
Rise up, O Men of God.
To Royal Arch Masonry has been given the WORD. To Knights Templar is given the INTERPRETATION.
www.flickr.com/photos/21728045@N08/7626879410/in/datepost...
как обшить сайдингом дом sotdel.ru/obshivka-doma-sajdingom.html Советы по строительству дома, #сайдинг #sotdel Обшивка дома сайдингом – ответственный и интересный процесс. С каждой новой панелью облик вашего дома будет быстро меняться. Обшивка дома сайдингом – ответственный и интересный процесс. С каждой новой панелью облик вашего дома будет быстро меняться. Впервые отправляясь в магазин, чтобы выбрать сайдинг для обшивки дома, многие покупатели теряются в выборе. Помимо богатой палитры цветов, их вниманию предлагаются и различные варианты фактур – здесь и «корабельный брус», и «ёлочка», и «блок хаус», и «вертикальный сайдинг». Как выбрать сайдинг? Сайдинг производится из компаунда, основу которого составляет виниловая масса с добавленными в нее пластификаторами, красителями, стабилизаторами цвета и прочими присадками. Рецептура компаунда для внешнего и внутреннего слоя сайдинговой панели различается, поскольку они решают разные задачи. Внешняя сторона панели противостоит выгоранию цвета, шелушению и короблению поверхности, внутренняя отвечает за жесткость материала, устойчивость к перепадам температуры и механическим воздействиям. Две массы компаунда, приготовленные по разным рецептурам, сплавляются методом коэкструзии, таким образом, формируется целостная панель с улучшенными качественными характеристиками внешнего и внутреннего слоя. Если же внутренняя сторона сайдинга светлее наружной – это значит, что производитель в состав компаунда для сайдинга добавил меньше пигмента. Такой сайдинг относится к категории более бюджетных, но при этом может обладать вполне приемлемыми эксплуатационными характеристиками. А вот если панель сайдинга окрашена неравномерно – есть разводы, пятна, отличия в оттенке панелей в рамках одной партии – это однозначно свидетельствует о не самом качественном материале. Чтобы выполнить монтаж блок хауса или других видов сайдинга своими руками, мы рекомендуем внимательно ознакомиться с инструкцией по монтажу, которую вы получите при покупке, а также с видео инструкцией. Следуйте показанным на видео принципам монтажа сайдинга любого вида, включая блок хаус. Если обшиваем сайдингом стены дома или только цоколь или фронтон, то в любом случае придерживаемся основных правил по монтажу этого строительного материала. Существуют различные виды сайдинга, и их монтаж также имеет свои отличия. как обшить сайдингом дом www.sotdel.ru/obshivka-doma-sajdingom.html www.facebook.com/110372909302943/photos/a.228565947483638...
Продажа стройматериалов для внешней и внутренней отделки. Прайс-листы. Возможность онлайн-заказа продукции. Сведения о скидках и акциях.
Сухие смеси для ремонта www.sotdel.ru/suhie-stroitelnye-smesi/
Кухонный фартук www.sotdel.ru/fartuk-dlya-kuhni.html
Пиломатериалы для дома www.sotdel.ru/fartuk-dlya-kuhni.html
Кровельные материалы www.sotdel.ru/krovelnye_materialy.html
Москва ул. Верхние Поля, 48а
пн–пт 09:00–18:00; сб 09:00–15:00
+7 (495) 258-62-08
Commintment
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Geoffroy normally works with art formats like the EMERGENCY ROOM
to stimulate urgent expression by artist about today 's emergencies
Critcal run is an art format :
www.emergencyrooms.org/formats.html
www.colonel.dk contact : emergencyrooms@gmail.com
Thierry Geoffroy/ Colonel will be exhibiting in the museum Kunsthalle Mannheim from october 2018 part of the exhibition Konstruktion der Welt .Kunst und Ökonomie
Constructing the World: Art and Economy 1919-1939 and 2008-2018
10/12/18 to 02/03/19
Ten years after the peak of the global financial crisis in 2008, which profoundly shook the economic systems of America and Europe and had a lasting effect on present-day life, this topical exhibition is the first to illustrate the economy’s dramatic influence on art and to make global comparisons, demonstrating these in an analysis of two separate eras. Economic phenomena in the classical modernism of the 1920s and 30s are not only explored by focusing on art from the German Weimar Republic, the Soviet Union, and the United States, but also juxtaposed with artists of the present day.
Curatorial team: Dr. Eckhart Gillen (Berlin), Dr. Ulrike Lorenz, Dr. Sebastian Baden
Project Lead: Dr. Inge Herold, Assistence: Lisa Valentina Riedel, M. A. mult., Elisabeth Bohnet, M.A.
How does contemporary art reflect the world of work today? The catalogue for the second part of the exhibition Constructing the World at the Kunsthalle Mannheim takes a look at this question. The focus of it is primarily on artistic positions of the past decade that deal with the social, political, and economic effects of the most recent economic crisis after 2008. The works address and interrogate new production conditions and developments on the labor market as well as political conflicts. The accompanying publication provides fascinating insights into the diverse artistic positions.
Artists participating 2008-2018
Maja Bajevic - BBM (Observers of Operators of Machines) - Bureau d'Études - Claire Fontaine - Jacques Coetzer - Abraham Cruzvillegas - Szilárd Cseke - Chto Delat - Jeremy Deller - Simon Denny - Tatjana Doll - Harun Farocki & Antje Ehmann - Thierry Geoffroy - Andreas Gursky - Thomas Hirschhorn - Olaf Holzapfel - Sanja Iveković - Charles Lim Yi Yong - Maha Maamoun - José Antonio Vega Macotela - Tobias Rehberger - Oliver Ressler & Dario Azzellini - Mika Rottenberg - Superflex - Zefrey Throwell - Volume V - Maya Zack - Artur Żmijewski
Artists participating 1919-1939
Berenice Abbott - Gerd Arntz - Lester Thomas Beall - Thomas Hart Benton - George Biddle - John Biggers - Peter Blume - Margaret Bourke-White - Jacob Burck - Clarence Holbrook Carter - Charlie Chaplin - Ottilie Cieluszek - Ralston Crawford - Francis Hyman Criss - Stuart Davis - Alexander A. Deineka - Rudolf Dischinger - Otto Dix - Nikolaj A. Dolgorukow - Arthur Durston - Sergej M. Eisenstein - Fred Ellis - Walker Evans - Philip Evergood - Conrad Felixmüller - Hans Finsler - Max Gebhard - Hugo Gellert - John R. Grabach - Otto Griebel - William Gropper - Carl Grossberg - George Grosz - Hans Grundig - Kurt Günther - O. Louis Guglielmi - John Heartfield - Werner Heldt - Karl Hubbuch - Eric Johansson - Joe Jones - Grethe Jürgens - William Karp - Lewis W. Hine - Hannah Höch - Heinrich Hoerle - Edward Hopper - Hermann Otto Hoyer - Edward McKnight Kauffer - Gerhard Keil - Gustavs Klucis - Käthe Kollwitz - Pawel D. Korin - Valentina N. Kulagina - Wilhelm Lachnit - Fritz Lang - Wladimir W. Lebedew - Jack Levine - El Lissitzky - Arkadi Lobanow - Louis Lozowick - Sergej A. Lutschischkin - Reginald Marsh - Carl Mayer - László Moholy-Nagy - Dimitri Moor - Reinhold Nägele - Otto Nagel - Alice Neel - Oskar Nerlinger -Solomon B. Nikritin - Alice Lex-Nerlinger - Gerta Overbeck - Werner Peiner - Kusma S. Petrow-Wodkin - Juri I. Pimeno w - Natalia Pinus - Michail M. Plaksin - Jackson Pollock - Curt Querner - Climent N. Redko - Albert Renger-Patzsch - Serafima V. Rjangina - Alexander Rodtschenk o - Theodore Roszak - Walter Ruttmann - Leni Riefens tahl - Nikolaus Sagrekov - Alexander N. Samochwalow - Paul Sample - August Sander - Arkadi S. Schaichet - Rudolf Schlichter - Wilhelm Schnarrenberger - Georg Scholz - Franz Wilhelm Seiwert - Ben Shahn - Charles Sheeler - Georgi und Wladimir A. Stenberg - Warwara Stepanowa - Paul Strand - Miklos Suba - Ernst Thoms - Alexander G. Tyschler - Bumpei Usui - Konstantin A. Vialov - Karl Völker - Wladimir A. Wassiljew - Dsiga Wertow - Piotr W. Wiljams - Grant Wood - Gustav Wunderwald - Ekaterina S. Zernova - Heinrich Zille
www.colonel.dk contact : emergencyrooms@gmail.com
#artformats #artformat #formatart #biennale #biennalism #biennalecritic
#ARTIVISM #streetartist #politicalartist #activistartist #Epigrammatists #socialcommentary
#premonitionart #avantgardeart #inadvanceart #urbanartist #InstitutionalCritique
#artintime #onlineart
#toolate
thierry.geoffroy #thierrygeoffroy #artistrole
#biennalist #Biennalism #biennalecritic
#exhibition #contemporaryart #
#artandeconomy #kunsthallemannheim #museum #mannheim#thierrygeoffroycolonel
#kuma #kumamuseum
Salkantay Trek to Machu Picchu
5 Days / 4 Nights
Is a trek that takes you through diverse landscapes and altitudes as we trek around the skirts of Mount Salkantay(6271m/20,568ft) and camp within clear sight of the snow capped peak. Ascending to reach the famous Apacheta Pass at 4,600m/15,088ft) and then descent into a more tropical area passing Andenes and Chaullay on the far side of the mountain. Train ride from Hydro Electric Dam and then spend the rest of the 4th evening relaxing in the town and hotsprings of Aguas Calientes. Early 5th morning you take the bus (or walk if desired) up to Machu Picchu your well deserved prize. Late afternoon train and bus back to Cusco in the evening.
This path is well-known as the Salkantay Trek. After the Inca Trail, the Salkantay Trek is the most beautiful and popular one. Indeed, the magazine National Geographic Adventure rated the Salkantay Trek as one of the best 25 treks all over the world.
Salkantay Trek Itinerary
Day 1: Cusco - Mollepata - Soraypampa
We will leave from Cusco approximately between 4:30a.m. and 5:00a.m. A local bus will take us to the town of Mollepata (2900 meters above sea level) where we will arrive approximately at 8:15 in the morning to have breakfast. During the trip we will have panoramic views of the majestic Salkantay, other mountains covered with snow, and the Valley of Apurimac River. We will meet with our support staff, and they will load the equipment on horses and mules. Around 9:00 a.m., we will begin our walk toward Sayllapata (3200 meters above sea level). About 1:00p.m., we will have a Peruvian lunch. After lunch, we will continue hiking toward the Soraypampa villages (3850 meters above sea level). Around 5:30 in the afternoon we will arrive to our camp where the tents will be ready for you as well as your dinner.
Day 2: Soraypampa - Salkantay Pass - Huayracpunku - Chaullay
Today, nature will change drastically from dry sceneries to snowy peaks and tropical areas. After a nutritious breakfast, we will start the most difficult part of the trek. We will start the hike around 7:00 in the morning. We will hike to a place called Pampas Salkantay, then go toward the left side of the snowy peaks of Umantay located next to the Apu Salkantay. At midday, we will be on the highest point ( 4600 meters above sea level). We will appreciate spectacular views of the mountains and the imposing snowy peaks of the Salkantay (6264 meters above sea level) which is known as the second highest point of the Cusco region. Around 1:00 p.m., we will have our lunch, in the area called Huayracmachay. After a trek of approximately 3 hours, we will arrive to our camp in Challway (2920 meters above sea level). Around 7:00p.m., we will recuperate from the trek and eat dinner.
Day 3: Chaullay - Collpapampa - La Playa - Santa Teresa
Around 7:00a.m., we will start our trek. We will walk for about 6 hours toward Playa Sahuayaco and during this period; we will observe a town called Collpabamba, also called the “Forest Cloudy Brow” where waterfalls, thermal hot springs, fruit-bearing trees, varied flora, and birds can be observed. If we are lucky, we will be able to observe the famous bird called the “Cock of the Rocks”. From Playa Sahuayaco, we will head to the campsite located at the hot springs of Santa Teresa (It is recommended to bring a bath suit.) Here you will eat dinner.
Day 4: Santa Teresa - Hidroelectryc - Aguas Calientes
After of our delicious breakfast we are going to walk for approximately around 8:30 a.m we begin our trek to the village Colpani, we follow this rising trail, from which we will see plantations of coffee, banana, passion fruit and a lovely view of the Santa Teresa Valley. We follow along the riverside of Vilcanota River until arrive to the Oroya (canopy brich) From here we have an option to hike to hidroelectrica or to catch a small car where will take us until Hidroelectrica (25 minutes), from this place we can observe the back of Machupicchu Sanctuary, where we have the last lunch with all staff. from here we will continuo walking until arrive to Aguas Calientes around 4:30 p.m then we will stay in a hostal the last night.
Day 5: Aguas Calientes - Machu Picchu Sanctuary - Aguas Calientes - Ollantaytambo - Cusco
Today, you will be able to choose between waking up at 4:30a.m. and walking up to Machu Picchu or taking a bus to Machu Picchu at 7:00a.m. In Machu Picchu, you will have a guided tour for about two hours and after that you will be free to explore the Citadel and take pictures, or if you desire, ascent toward the Huaynapicchu Mountain. At 2:26p.m. or 6:03p.m. (depending on availability), you will be taking a train to Ollantaytambo and from there; a bus will drive you to your hotel in Cusco.
Call us: Telephone: (+51) (84) 632307, Telefax: (+51) (84) 632307
Cell Phone:(+51) (84) 974727031 / 958191179 / 958191179 (24 hours available)
Address in Cusco: Triunfo Street 392 - Centro Artesanal Arte Inka 2nd Floor 212 - Main Square of Cusco :
Business Hours: Monday to Sunday: (From 9:00am to 13:00PM) - ( From 15:00PM - 8:00PM)
E-mail: www.salkantaytrekking.com,http://www.salkantaytrekking.com
MAY DAY IN WHITSTABLE
From my blog: rangefinderchronicles.blogspot.co.uk/2014/08/may-day-in-w...
Plaubel Makina 67
Sprinkler Repair Colorado Springs CO.
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sociology.ucsc.edu/whorulesamerica/power/wealth.html
In the United States, wealth is highly concentrated in a relatively few hands. As of 2007, the top 1% of households (the upper class) owned 34.6% of all privately held wealth, and the next 19% (the managerial, professional, and small business stratum) had 50.5%, which means that just 20% of the people owned a remarkable 85%, leaving only 15% of the wealth for the bottom 80% (wage and salary workers).
en.wikipedia.org/wiki/Wealth_in_the_United_States
www.999ideas.com/redistribution-of-wealth.html
There's nothing wrong with being wealthy, but how you get there matters. In a fair and free society getting rich does not cause anyone's impoverishment. Historically, we have all benefited from an economy that rewards those who create the most value. . . . The danger of great wealth is that it buys great power, which can be used to take advantage of the poor and middle class. This is what has been happening more and more in recent years. Laws and regulations have been lobbied for and passed which allow the redistribution of wealth from the poor and middle class to the wealthy.
#112 in a series for one photo a day for a year
MAAM = Museo dell’Altro e dell’Altrove di Metropoliz_città meticcia.
Da streetartattack.blogspot.it/2013/10/district-913-roma.html:
Nato nel 2012, al termine del cantiere cinematografico e d’arte “Space Metropoliz”, il MAAM è un progetto di Giorgio de Finis. Contro-dipositivo situazionista e relazionale, si pone accanto e in concorrenza con le grandi istituzioni museali italiane e della capitale (il MAXXI e il MACRO), facendo della sua perifericità, della sua totale assenza di fondi, della sua non asetticità (il MAAM è un museo abitato) il suo punto di forza. Avviando un nuovo virtuoso rapporto tra arte e città e tra arte e vita, il Metropoliz si sta dotando, grazie al MAAM, di una pelle preziosa e di una collezione che l’aiuteranno a proteggersi dalla minaccia sempre incombente dello sgombero coatto. Il MAAM si prefigge di trasformare l’intera fabbrica occupata in un oggetto e in un soggetto d’arte collettiva. Gli artisti sono invitati a dare il loro contributo gratuitamente, interagendo con lo spazio e con gli abitanti. E non si può dire che non lo stiano facendo.
Oltre i “relitti” di Space Metropoliz (il telescopio di Gian Maria Tosatti, i muri dipinti di Sten & Lex, Lucamaleonte, Mr. Klevra, Hogre, la bandiera di Paolo Assenza, l’orto lunare di Fabio Pennacchia, il grande razzo costruito dagli abitanti della fabbrica occupata con l’aiuto di Stalker), la Pinacoteca Domestica Diffusa, oltre venti opere di arte contemporanea collocate nelle case degli abitanti di Metropoliz e fotografata da Carlo Gianferro, la “Stanza dei Giochi” (intervento site specific per la ludoteca di Metropoliz ad opera di Veronica Montanino e Alice Pasquini), la “Cattedralehouse_room#2” (opere di Cristiano Petrucci, Gianni Asdrubali, Veronica Montanino), il 5 ottobre il MAAM presenterà le nuove acquisizioni e i lavori realizzati nel corso dell’estate.
Le due nuove stanze d’artista, “Windows M” di Maddalena Mauri e ”Where are the flowers gone” di Micaela Lattanzio. L’intervento murario, tutto in polvere di grafite, che Maddalena Mauri realizza per il nuovo spazio galleria di Metropoliz, moltiplica le finestre della grande stanza dove un tempo stagionavano i salami della Fiorucci, invitando il mondo ad entrare. Un auspicio, per la fabbrica occupata, che coincide con il programma di eventi settimanali del nuovo spazio espositivo, uno dei dispositivi che il MAAM ha deciso di attivare per aprire con regolarità il cancello del 913 al quartiere e alla città, riducendo l’effetto enclave che pregiudizio e necessità di difendersi dallo sgombero rischiano di innescare. La porta “a saloon” della galleria che propone un enorme cuore diviso in due è un’opera di Paolo Angelosanto. La stanza di Micaela Lattanzio è invece uno spazio intimo, un invito alla “meditazione”, un’oasi di pace per chi, come il Chaplin di “Tempi moderni”, si trova incastrato ogni giorno nei meccanismi della metropoli (i suoi fiori di carta, oltre seimila, si liberano dagli ingranaggi e volano via…). Un luogo, questa preziosa stanza “fiorita”, che sembra condividere lo spirito delle stanze de Les Nymphéas di Monet all’Orangerie.
“District 913” tira via il telo anche sulla nuova “piazza” realizzata da Massimo Di Giovanni con L.U.N.A. una enorme sfera di ferro e legno che l’artista incastra tra le travi di un tetto crollato, che lo stesso Di Giovanni ha restaurato e messo in sicurezza). L’opera ha voluto rendere un omaggio all’idea della migrazione esoplanetaria alla conquista della luna narrata dalla favola contemporanea “Space Metropoliz” e all’idea che, lavorando tutti insieme, l’Altrove lo si possa alla fine portare sulla Terra. Altre grandi sfere saranno disseminate nella fabbrica da EPVS, a rendere il percorso difficile e claustrofobico (EPVS_ Bubbling 4 you #913# by EPVS).
Molto rilevanti anche i nuovi interventi di street art realizzati a Metropoliz. Dal grande muro d’ingresso sulla via Prenstina, firmato Borondo, e realizzato in collaborazione con la 999 Contemporary, alla meridiana di Rub Kendy (.R.E.V.O.L.U.T.I.O.N.), allo stencil di Lucamaleonte che riproduce, sulla facciata dell’ex-salumificio che guarda ai recenti scavi archeologici del lotto di fronte, il bassorilievo dei Musei Capitolini raffigurante la caccia al cinghiale. E ancora Alice Pasquini, Solo (con “Plan D, last level”), Diamond (con la porta “Welcome to Metropoliz”), Opiemme (“Questo muro ha un nuovo messaggio”). E ancora Giulio Vesprini, Gio Pistone, Cancelletto, omino71.
Tra le nuove opere acquisite dal MAAM segnaliamo quelle di Pablo Echaurren (“Suburbano disumano”), a cura di ARIA [rivista d’artista], Massimo Attardi (“Lang”, un omaggio all’autore di “Metropolis” che strizza l’occhio anche al gioco “facce di luna” di “Space Metropoliz”), Guendalina Salini (che ripropone in collezione permanente l’installazione “Dove comincia il lontano”), gli interventi murari di Marco Tamburro, Seboo Migone, Paolo Assenza, l’opera di Germano Serafini ”Composizione M”, quella di Michela de Mattei “Metropolitz. Pianoterra / piano, Terra” (a cura di Silvia Litardi), il lightbox di Salvatore Mauro “Pianeta dei Naufraghi”, i nuovi interventi di Santino Drago (”Sangue versato in mostra” e “Asilo politico”).
Bakersfield Track Club Half Marathon and 5K
November 15, 2008
Half Marathon
www.andynoise.com/fallbtchalf08.html
Place Name Time Pace Div/Tot Sex/Tot Div
1 GALVIN GONZALEZ 1:11:30 5:28 1/8 1/98 M3034
2 David Bacus 1:14:52 5:43 1/4 2/98 M2024
3 ZACHARY HOLT 1:21:52 6:15 1/10 3/98 M1319
4 JORDAN PERRY 1:23:34 6:23 1/8 4/98 M2529
5 Rudy Montoya 1:23:49 6:24 1/11 5/98 M4044
6 Jose Salcedo 1:25:28 6:32 2/4 6/98 M2024
7 Timothy Anderson 1:25:33 6:32 1/18 7/98 M5054
8 Chris Anderson 1:26:31 6:37 2/10 8/98 M1319
9 Diego Diaz 1:26:58 6:39 1/14 9/98 M3539
10 JOHN PURCELL 1:28:22 6:45 3/10 10/98 M1319
11 SHAWNA ROUNTREE 1:29:00 6:48 1/8 1/73 F2529
12 CREGG WEINMANN 1:29:53 6:52 2/18 11/98 M5054
13 Craig Gardner 1:30:40 6:56 3/18 12/98 M5054
14 Javier Cruz 1:31:16 6:58 1/11 13/98 M4549
15 Steve Dirkse 1:31:23 6:59 2/14 14/98 M3539
16 WALTER PAVLAKOVICH 1:31:36 7:00 4/18 15/98 M5054
17 David Little 1:32:46 7:05 4/10 16/98 M1319
18 Ezequiel Gonzalez 1:32:47 7:05 5/10 17/98 M1319
19 Alec Briones 1:33:03 7:07 1/9 18/98 M5559
20 Damon Wilstead 1:33:55 7:11 2/8 19/98 M3034
21 BART VANDERWAL 1:35:35 7:18 2/11 20/98 M4044
22 John Lee 1:35:55 7:20 5/18 21/98 M5054
23 Roehl Caragao 1:36:29 7:22 2/11 22/98 M4549
24 MARK OGILVIE 1:37:25 7:27 3/11 23/98 M4044
25 Dave Hoglund 1:37:26 7:27 2/9 24/98 M5559
26 JEFF GIUMARRA 1:37:29 7:27 3/8 25/98 M3034
27 Jacob Scott 1:37:32 7:27 6/10 26/98 M1319
28 JAMES BELL 1:37:32 7:27 6/18 27/98 M5054
29 Charolette Cholometes 1:37:40 7:28 1/9 2/73 F3034
30 DAVE MEEK 1:38:36 7:32 3/14 28/98 M3539
31 Daniel Ramirez 1:39:18 7:35 3/9 29/98 M5559
32 AARON ALBAY 1:39:25 7:36 7/10 30/98 M1319
33 COURTNEY MOORE 1:40:16 7:40 1/1 3/73 F1319
34 Richard Black 1:40:35 7:41 7/18 31/98 M5054
35 JOSE MONTELONGO 1:40:44 7:42 4/14 32/98 M3539
36 Klaus Benamy-Hackel 1:41:14 7:44 4/9 33/98 M5559
37 MICHAEL RAMIREZ 1:41:20 7:45 2/8 34/98 M2529
38 Raul Gonzalez 1:41:31 7:45 5/14 35/98 M3539
39 Freddie Bingham 1:42:33 7:50 4/8 36/98 M3034
40 Mike Gonzalez 1:42:47 7:51 3/11 37/98 M4549
41 Gerry Saba 1:43:55 7:56 4/11 38/98 M4044
42 DAVE PEGLER 1:44:04 7:57 5/11 39/98 M4044
43 DEBBIE WALLACE 1:45:03 8:02 1/12 4/73 F4549
44 EDDIE PAULSEN 1:45:25 8:03 6/14 40/98 M3539
45 Gary Enns 1:45:33 8:04 7/14 41/98 M3539
46 GREG FONTES 1:45:33 8:04 4/11 42/98 M4549
47 JOE SWEET 1:45:35 8:04 5/8 43/98 M3034
48 Sara Bradford 1:45:52 8:05 2/9 5/73 F3034
49 Daniel Tavarez 1:46:31 8:08 8/14 44/98 M3539
50 Connie Tavarez 1:46:35 8:09 1/5 6/73 F3539
Bakersfield Track Club Half Marathon and 5K
November 15, 2008
Half Marathon
Place Name Time Pace Div/Tot Sex/Tot Div
51 Todd Witwer 1:47:12 8:11 8/18 45/98 M5054
52 MARK WITCHER 1:48:41 8:18 9/18 46/98 M5054
53 Roy Walford 1:50:02 8:24 1/3 47/98 M6064
54 HAYLEY TOBIN 1:50:13 8:25 1/14 7/73 F4044
55 Amy Fredericks 1:50:33 8:27 1/2 8/73 F6064
56 KELLY LOPEZ 1:50:45 8:28 2/14 9/73 F4044
57 ROBERT JOHNSON 1:50:48 8:28 5/9 48/98 M5559
58 JOSHUA GARZA 1:50:50 8:28 6/11 49/98 M4044
59 Eric Wolf 1:50:52 8:28 3/4 50/98 M2024
60 Derek Jeffery 1:51:02 8:29 3/8 51/98 M2529
61 BROOKS RICHARDSON 1:51:25 8:31 10/18 52/98 M5054
62 Tony Jeffery 1:52:52 8:37 7/11 53/98 M4044
63 Mike Moore 1:53:34 8:41 5/11 54/98 M4549
64 DAVE COWLES 1:54:34 8:45 8/11 55/98 M4044
65 Brian Cisneros 1:55:06 8:48 8/10 56/98 M1319
66 John Wilson 1:55:22 8:49 2/3 57/98 M6064
67 Mike Barella 1:55:26 8:49 9/11 58/98 M4044
68 FRANCISCO RAMIREZ 1:55:29 8:49 9/14 59/98 M3539
69 Jose Torres 1:56:33 8:54 9/10 60/98 M1319
70 Yolanda Hughes 1:56:38 8:55 3/14 10/73 F4044
71 Keith Stearmon 1:56:40 8:55 4/8 61/98 M2529
72 BOB BARTON 1:57:15 8:57 6/11 62/98 M4549
73 JOHN OPHEIM 1:57:22 8:58 3/3 63/98 M6064
74 Margaret Patterson 1:57:26 8:58 2/12 11/73 F4549
75 Jim Cowles 1:57:28 8:58 1/2 64/98 M6569
76 PHILIPPE IGOA 1:58:11 9:02 7/11 65/98 M4549
77 KATE QUINN 1:58:11 9:02 1/7 12/73 F5559
78 Ken Berckes 1:58:18 9:02 11/18 66/98 M5054
79 CARMEN ALBANES 1:58:25 9:03 1/11 13/73 F5054
80 KATHRYN JOSLIN 1:58:28 9:03 3/9 14/73 F3034
81 Darlene Savage 1:59:12 9:06 3/12 15/73 F4549
82 CHRIS DANFORTH 1:59:57 9:10 8/11 67/98 M4549
83 JUAN CERVANTES 2:00:23 9:12 4/4 68/98 M2024
84 JOSIE MARTIN 2:00:31 9:12 2/11 16/73 F5054
85 TAMMY GARCIA 2:01:31 9:17 4/14 17/73 F4044
86 Carol Weston 2:01:47 9:18 2/2 18/73 F6064
87 Esther Ray 2:02:16 9:20 2/7 19/73 F5559
88 Bob Ziemet 2:02:25 9:21 2/2 69/98 M6569
89 TRACY HUBBELL 2:02:40 9:22 5/14 20/73 F4044
90 ERIC BERLIN 2:03:45 9:27 12/18 70/98 M5054
91 craig smith 2:04:15 9:30 9/11 71/98 M4549
92 Jialan Su 2:04:21 9:30 4/9 21/73 F3034
93 DANIEL RODRIGUEZ 2:04:29 9:31 13/18 72/98 M5054
94 Greg Adkins 2:04:32 9:31 10/14 73/98 M3539
95 Tawnie McCaa 2:04:55 9:33 1/2 22/73 F2024
96 ROY PIERUCCI 2:04:56 9:33 6/9 74/98 M5559
97 ALICIA BROWN 2:05:39 9:36 2/5 23/73 F3539
98 Kevin Higgins 2:05:49 9:37 14/18 75/98 M5054
99 Guido Climer 2:06:11 9:38 11/14 76/98 M3539
100 Lonnie Stockton 2:06:16 9:39 6/14 24/73 F4044
Bakersfield Track Club Half Marathon and 5K
November 15, 2008
Half Marathon
Place Name Time Pace Div/Tot Sex/Tot Div
101 CHARLES MATHER 2:06:55 9:42 5/8 77/98 M2529
102 Meg Reimers 2:07:10 9:43 7/14 25/73 F4044
103 Barb Johnston 2:07:27 9:44 3/11 26/73 F5054
104 Katie Nickell 2:07:27 9:44 8/14 27/73 F4044
105 HOPE ROE 2:07:39 9:45 4/12 28/73 F4549
106 RODERICK MARCIA 2:07:45 9:46 6/8 78/98 M3034
107 Connie Taylor 2:07:46 9:46 5/9 29/73 F3034
108 Nicole Panero 2:07:50 9:46 2/8 30/73 F2529
109 Cory Bringman 2:08:26 9:49 3/5 31/73 F3539
110 LONDO WHITNEY 2:09:11 9:52 12/14 79/98 M3539
111 Odette Hudson 2:09:27 9:53 3/7 32/73 F5559
112 Clarissa Wilstead 2:09:49 9:55 3/8 33/73 F2529
113 JEFF COOMBER 2:09:58 9:56 15/18 80/98 M5054
114 Susan James 2:10:43 9:59 4/11 34/73 F5054
115 JOAN COLLIN S 2:11:42 10:04 5/11 35/73 F5054
116 Denise Haynes 2:11:43 10:04 5/12 36/73 F4549
117 Peg Baird 2:13:42 10:13 6/11 37/73 F5054
118 REBECCA WALKER 2:15:22 10:20 4/8 38/73 F2529
119 Troy Wells 2:15:29 10:21 10/11 81/98 M4044
120 Fred Little 2:15:29 10:21 16/18 82/98 M5054
121 Brock Sheela 2:16:35 10:26 7/8 83/98 M3034
122 Pedro Segura 2:16:59 10:28 7/9 84/98 M5559
123 DELORES CORTEZ 2:17:12 10:29 1/2 39/73 F7099
124 Jennifer Fendrick 2:17:26 10:30 4/5 40/73 F3539
125 Rachel Taylor 2:17:48 10:32 5/8 41/73 F2529
126 DANIEL J. RAMIREZ 2:17:49 10:32 13/14 85/98 M3539
127 Angelica Rogers 2:18:22 10:34 7/11 42/73 F5054
128 Jason Gutierrez 2:19:10 10:38 6/8 86/98 M2529
129 Maria Steele 2:19:13 10:38 8/11 43/73 F5054
130 Janice Horcasitas 2:19:16 10:38 4/7 44/73 F5559
131 DALE VAN SCHAACK 2:20:54 10:46 5/7 45/73 F5559
132 MARILYN JOHNSON 2:20:56 10:46 6/7 46/73 F5559
133 Deanna Koelewyn 2:23:11 10:56 6/12 47/73 F4549
134 Karen Briltz 2:23:15 10:57 9/14 48/73 F4044
135 PEGGY SCHUH 2:23:29 10:58 9/11 49/73 F5054
136 RICHARD GARRETT 2:23:30 10:58 10/11 87/98 M4549
137 JOSHUA ST. CLAIR 2:24:23 11:02 10/10 88/98 M1319
138 DAVID CHAPIN 2:25:02 11:05 7/8 89/98 M2529
139 JOANNA THOMAS 2:25:03 11:05 6/8 50/73 F2529
140 Paula Badasci 2:25:14 11:06 10/14 51/73 F4044
141 Joe Saldana 2:26:19 11:11 17/18 90/98 M5054
142 carol montez 2:29:10 11:24 7/12 52/73 F4549
143 Lynda Ernst 2:30:26 11:29 8/12 53/73 F4549
144 Maria Mendoza 2:31:06 11:33 7/8 54/73 F2529
145 Christine Gibson 2:34:12 11:47 8/8 55/73 F2529
146 Cheryl Scott 2:35:09 11:51 11/11 91/98 M4044
147 Renee Candelaria 2:35:46 11:54 9/12 56/73 F4549
148 Becky Whitehead 2:37:09 12:00 2/2 57/73 F7099
149 David Martino-Carr 2:38:34 12:07 8/9 92/98 M5559
150 Cheryl Wahl 2:39:43 12:12 10/12 58/73 F4549
Bakersfield Track Club Half Marathon and 5K
November 15, 2008
Half Marathon
Place Name Time Pace Div/Tot Sex/Tot Div
151 Brad Wahl 2:39:43 12:12 11/11 93/98 M4549
152 CAROL MONJE 2:41:13 12:19 10/11 59/73 F5054
153 SHELLEY JOHNSON 2:41:41 12:21 11/14 60/73 F4044
154 MICHAEL GARCIA 2:41:42 12:21 9/9 94/98 M5559
155 Yiota Harrelson 2:43:32 12:29 6/9 61/73 F3034
156 Kim Aviles 2:44:28 12:34 12/14 62/73 F4044
157 JULIE LEE 2:47:44 12:49 13/14 63/73 F4044
158 Eva Ramirez 2:47:48 12:49 7/9 64/73 F3034
159 Melanie Reed 2:47:53 12:49 14/14 65/73 F4044
160 GEOFF MCAVOY 2:49:14 12:56 8/8 95/98 M2529
161 SUSAN ORMEROD 2:54:42 13:21 11/12 66/73 F4549
162 Kenadee Mishler 2:58:06 13:36 2/2 67/73 F2024
163 Phyllis Martino-Carr 3:00:00 13:45 7/7 68/73 F5559
164 Kathy Berckes 3:00:04 13:45 11/11 69/73 F5054
165 Rafaela Cisneros 3:01:09 13:50 5/5 70/73 F3539
166 Dwayne Mishler 3:02:07 13:55 18/18 96/98 M5054
167 Elizabeth Luckhardt 3:03:22 14:00 12/12 71/73 F4549
168 Ana Arreola 3:03:54 14:03 8/9 72/73 F3034
169 IAN BYERS 3:06:51 14:16 8/8 97/98 M3034
170 Gisela Gomez 3:08:08 14:22 9/9 73/73 F3034
171 Robert Sandoval 3:08:08 14:22 14/14 98/98 M3539
©2008 Bakersfield Track Club
willowgrovedaycamp.com/willows.html
The Willows at Willow Grove Day Camp is a camp for 3 and 4 year old children. This unique camp experience offers your child an early opportunity to learn and socialize with children their own age.
During the first week of camp, lots of fun was had as the children and counselors got to know each other. “Sun and Surf” was our first week theme. The children really enjoyed decorating their bucket and shovel memo pads during Arts and Crafts. Along with this activity, the Polar Bears and Penguins enthusiastically participated in Nature, Gymnastics, Dance, Tennis and Soccer. We are looking forward to the next seven weeks of fun-filled activities.
Willow Grove Day Camp provides summer fun for kids who live in Willow Grove, Abington, Blue Bell, Hatboro, Horsham, Huntingdon Valley, Lafayette Hill, Philadelphia, Plymouth Meeting, Southampton and the surrounding areas. For more information on the Willows and Willow Grove Day Camp please visit: willowgrovedaycamp.com/willows.html
willowgrovedaycamp.com/willows.html
The Willows at Willow Grove Day Camp is a camp for 3 and 4 year old children. This unique camp experience offers your child an early opportunity to learn and socialize with children their own age.
During the first week of camp, lots of fun was had as the children and counselors got to know each other. “Sun and Surf” was our first week theme. The children really enjoyed decorating their bucket and shovel memo pads during Arts and Crafts. Along with this activity, the Polar Bears and Penguins enthusiastically participated in Nature, Gymnastics, Dance, Tennis and Soccer. We are looking forward to the next seven weeks of fun-filled activities.
Willow Grove Day Camp provides summer fun for kids who live in Willow Grove, Abington, Blue Bell, Hatboro, Horsham, Huntingdon Valley, Lafayette Hill, Philadelphia, Plymouth Meeting, Southampton and the surrounding areas. For more information on the Willows and Willow Grove Day Camp please visit: willowgrovedaycamp.com/willows.html
MAAM = Museo dell’Altro e dell’Altrove di Metropoliz_città meticcia.
Da streetartattack.blogspot.it/2013/10/district-913-roma.html:
Nato nel 2012, al termine del cantiere cinematografico e d’arte “Space Metropoliz”, il MAAM è un progetto di Giorgio de Finis. Contro-dipositivo situazionista e relazionale, si pone accanto e in concorrenza con le grandi istituzioni museali italiane e della capitale (il MAXXI e il MACRO), facendo della sua perifericità, della sua totale assenza di fondi, della sua non asetticità (il MAAM è un museo abitato) il suo punto di forza. Avviando un nuovo virtuoso rapporto tra arte e città e tra arte e vita, il Metropoliz si sta dotando, grazie al MAAM, di una pelle preziosa e di una collezione che l’aiuteranno a proteggersi dalla minaccia sempre incombente dello sgombero coatto. Il MAAM si prefigge di trasformare l’intera fabbrica occupata in un oggetto e in un soggetto d’arte collettiva. Gli artisti sono invitati a dare il loro contributo gratuitamente, interagendo con lo spazio e con gli abitanti. E non si può dire che non lo stiano facendo.
Oltre i “relitti” di Space Metropoliz (il telescopio di Gian Maria Tosatti, i muri dipinti di Sten & Lex, Lucamaleonte, Mr. Klevra, Hogre, la bandiera di Paolo Assenza, l’orto lunare di Fabio Pennacchia, il grande razzo costruito dagli abitanti della fabbrica occupata con l’aiuto di Stalker), la Pinacoteca Domestica Diffusa, oltre venti opere di arte contemporanea collocate nelle case degli abitanti di Metropoliz e fotografata da Carlo Gianferro, la “Stanza dei Giochi” (intervento site specific per la ludoteca di Metropoliz ad opera di Veronica Montanino e Alice Pasquini), la “Cattedralehouse_room#2” (opere di Cristiano Petrucci, Gianni Asdrubali, Veronica Montanino), il 5 ottobre il MAAM presenterà le nuove acquisizioni e i lavori realizzati nel corso dell’estate.
Le due nuove stanze d’artista, “Windows M” di Maddalena Mauri e ”Where are the flowers gone” di Micaela Lattanzio. L’intervento murario, tutto in polvere di grafite, che Maddalena Mauri realizza per il nuovo spazio galleria di Metropoliz, moltiplica le finestre della grande stanza dove un tempo stagionavano i salami della Fiorucci, invitando il mondo ad entrare. Un auspicio, per la fabbrica occupata, che coincide con il programma di eventi settimanali del nuovo spazio espositivo, uno dei dispositivi che il MAAM ha deciso di attivare per aprire con regolarità il cancello del 913 al quartiere e alla città, riducendo l’effetto enclave che pregiudizio e necessità di difendersi dallo sgombero rischiano di innescare. La porta “a saloon” della galleria che propone un enorme cuore diviso in due è un’opera di Paolo Angelosanto. La stanza di Micaela Lattanzio è invece uno spazio intimo, un invito alla “meditazione”, un’oasi di pace per chi, come il Chaplin di “Tempi moderni”, si trova incastrato ogni giorno nei meccanismi della metropoli (i suoi fiori di carta, oltre seimila, si liberano dagli ingranaggi e volano via…). Un luogo, questa preziosa stanza “fiorita”, che sembra condividere lo spirito delle stanze de Les Nymphéas di Monet all’Orangerie.
“District 913” tira via il telo anche sulla nuova “piazza” realizzata da Massimo Di Giovanni con L.U.N.A. una enorme sfera di ferro e legno che l’artista incastra tra le travi di un tetto crollato, che lo stesso Di Giovanni ha restaurato e messo in sicurezza). L’opera ha voluto rendere un omaggio all’idea della migrazione esoplanetaria alla conquista della luna narrata dalla favola contemporanea “Space Metropoliz” e all’idea che, lavorando tutti insieme, l’Altrove lo si possa alla fine portare sulla Terra. Altre grandi sfere saranno disseminate nella fabbrica da EPVS, a rendere il percorso difficile e claustrofobico (EPVS_ Bubbling 4 you #913# by EPVS).
Molto rilevanti anche i nuovi interventi di street art realizzati a Metropoliz. Dal grande muro d’ingresso sulla via Prenstina, firmato Borondo, e realizzato in collaborazione con la 999 Contemporary, alla meridiana di Rub Kendy (.R.E.V.O.L.U.T.I.O.N.), allo stencil di Lucamaleonte che riproduce, sulla facciata dell’ex-salumificio che guarda ai recenti scavi archeologici del lotto di fronte, il bassorilievo dei Musei Capitolini raffigurante la caccia al cinghiale. E ancora Alice Pasquini, Solo (con “Plan D, last level”), Diamond (con la porta “Welcome to Metropoliz”), Opiemme (“Questo muro ha un nuovo messaggio”). E ancora Giulio Vesprini, Gio Pistone, Cancelletto, omino71.
Tra le nuove opere acquisite dal MAAM segnaliamo quelle di Pablo Echaurren (“Suburbano disumano”), a cura di ARIA [rivista d’artista], Massimo Attardi (“Lang”, un omaggio all’autore di “Metropolis” che strizza l’occhio anche al gioco “facce di luna” di “Space Metropoliz”), Guendalina Salini (che ripropone in collezione permanente l’installazione “Dove comincia il lontano”), gli interventi murari di Marco Tamburro, Seboo Migone, Paolo Assenza, l’opera di Germano Serafini ”Composizione M”, quella di Michela de Mattei “Metropolitz. Pianoterra / piano, Terra” (a cura di Silvia Litardi), il lightbox di Salvatore Mauro “Pianeta dei Naufraghi”, i nuovi interventi di Santino Drago (”Sangue versato in mostra” e “Asilo politico”).
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CRITICAL RUN IS A DEBATING FORMAT
www.emergencyrooms.org/criticalrun.html
THE 28/03/2012 we debate
IS NAVIGATION A TREAT ?
CAN ART BE CURATED BY A PHONE ?
"IS NAVIGATION BY PHONES AND BANKS A THREAT ?" Critical Run wednesday 28 mars / CPH
The App store has taken over state institutions like staten museum for kunst
Visitors are taking in charge and warmly recommanded to be guided by smartphones or ipods . the team from the museum , curators and directors are employing the word ipad every 3 minutes. their home page sound like they work for FONA .
but Can smart phones or ipad be promoted as inoffensif loving pedagogic tools we should swallow without doubts
is forgetting an active state
is beeing guided a state of apathy .
( i heard once at a DR- news conference that people need to be guided because they are stupid )
should we debate those issues together before to jump
Is the role of the national museum to promotte compagnies that some would also consider as global threat ?
the Critical Run ( run and debate before it is too late ) will take place in Kongenshave 16.15 meet in front t the kids ground ( lejeplads )
we will debate those issues of selectif history and Führung. with a group of artist immigrant in Denmark ( who is guiding whom to where )
every one is welcome with any opinion including hopenhagen believer fona or apple sales man believing in win-win
The Critical Run is in collaboration with BAZART and Critical Run
www.emergencyrooms.org/criticalrun.html
this debate will carry on globally until Documenta Kassel ( " The Next Documenta Should be curated by a phone " .
if you like to be one of the global critical run organisateur please contact : 1@colonel.dk
--------
and because we are talking about a museum exhibiting Jorn a little news from Guy Debord and ( navigation )
library.nothingness.org/articles/SI/en/display/2
CAN ART BE CURATED BY A PHONE ? / CRITICAL RUN the first CRITICAL RUN will take place in Copenhagen and the last in Kassel @documenta get informed of date :www.facebook.com/BIENNALIST or www.emergencyrooms.org/criticalrun.html if you want to be part of the debate and organise a Critical Run where you are please contact 1@colonel.dk
A DELEGATION OF FOREIGN ARTISTS / CURATORS AND FESTIVAL DIRECTORS LIVING IN DENMARK ARE EXPLORING AND DEBATING "DANISH ART " .
HOW IT WORKS .
A DIFFICULT QUESTION INDEED ....
the 28/03/2012 the DELEGATION visited Charlottenborg and Statens Museum for Kunst, did a Critical Run in between the two instutitions
.a video will follow and regular exploration in on plan COLLABORATION WITH BAZART ...more to come soon ....( new people can take contact ...)
THE DELEGATION :
Saied Masoudian
Neringa Abrutyte
Rene Victor Valqui Vidal
Marina Testa Pedersen
Diallo Ibrahima Sory
Pero Pivas
Branka Pivas Onofri
Faranak Sohi
Marcelo Lerer
Maher Khatib
Shohreh Shahrzad
Antonieta Medeiros Urioste
Maia Hauser
Åsmund Boye Kverneland
Thomas Fleurquin
Victor Monchamp
Ada Ortega Camara
Tijana Miskovic
Ginka Rinkova
Thierry Geoffroy
Elizabeth Löwe Hunter
Maja Spangsberg Jakobsen
Juan Fernando Lope
thank you Maja Spangsberg Jakobsen from Bazart /Peter Lind for the name and Marcello Lerer with cards / t6hanks to Claus Handberg Christensen / and the 2 institutions that welcome us //format : Thierry Geoffroy
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www.alejandrovalenciat.com/alejandrovt/vampiros.html
Fotografía: Daniel Ronderos (www.danielronderos.com/) + Alejandro Valencia-Tobón
Bienvenido a este experimento público llamado ‘Vampiros’. Lo que ves acá es el resultado de un trabajo de muchas personas que salió al dominio público el pasado 31 de Octubre de 2013. Todos juntos construimos un escenario para reflexionar sobre qué es una enfermedad llamada dengue. Más que respuestas buscamos preguntas a través de un ejercicio sensorial.
Durante mi PhD busco desarrollar un estudio antropológico sobre la creación y negociación de diferentes formas de conocimiento alrededor del dengue.
Actualmente me encuentro en Medellín (Colombia) desarrollando la fase de campo de mi PhD. El objetivo central de mi proyecto es explorar cómo la antropología, en conjunto con ideas y prácticas derivadas del arte y la ciencia, puede transformar la comprensión pública del dengue.
Si querés ver el curso de mi trabajo de campo, por favor accedé a este link (www.anthropologyartscience.blogspot.com)
Este proyecto está siendo desarrollado independientemente a modo de red, donde hay una serie de nodos que se entrelazan en un sentido no jerárquico. Las personas, colectivos o grupos de trabajo que se han unido a él son:
Los participantes de mi etnografía: Juanita, Sara, Jhon, Gilma, Juan, Johana, Jorge.
Colaboradores: Hernán Marín, Maribel Flórez, Daniel Ronderos, Andrés Ramírez, Elva López, Felipe Villegas, Martha Vera, Carolina Quintero, Manuela Herrera, Jovany Barajas, Sergio Pulido, Susana Valencia, Lucía Tobón, Mike Bluett, Loveday King, Amanda Hunter.
Entidades vinculadas a este proyecto: 3B Espacio, Publicidad Ábaco, Bimana, InspiraLab, Cataviento, Horniman Museum, Royal Anthropological Institute of Great Britain and Ireland, Pedro Mau/KNEEL, The University of Manchester, Granada Centre for Visual Anthropology, Colciencias.
A ellos mi profundo agradecimiento por su apoyo y por creer en este proyecto.
Cualquier opinión, crítica o comentario es más que bienvenido. Podés escribirme a vampiros@alejandrovalenciat.com. Si querés hacer parte de este proyecto, sólo tenés que manifestarlo.
Alejandro Valencia-Tobón
--------------------------
Sin 3B Espacio (Hernán Marín y Maribel Florez ) este trabajo no hubiese sido posible (www.facebook.com/3bEspacio).
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Más información:
www.decorobra.com/teoria-del-color-en-diseno-de-interiore...
El color tiene un efecto psicológico en tu estado de ánimo, dependiendo de ello las tonalidades y la intensidad de los colores. Si deseas alcanzar un estado de ánimo y una sensación especial para tu habitación, deja que la teoría del color que sea tu guía al elegir el diseño de tus ambientes.
El rojo simboliza el fuego, se asocia con la pasión y la fuerza o actividad. Este color estimula la conversación en una habitación, que es ideal para una sala de estar o comedor. Si deseas crear un ambiente un poco más romántico en el dormitorio, coloca algún accesorio rojo al lugar. Eso sí, sin ir demasiado al extremo con este color en la habitación, ya que será difícil relajarse y dormir.
El azul es apacible y tranquilo, es perfecto para un dormitorio o cuarto de baño. Los estudios demuestran que el color azul en realidad reduce la presión arterial y disminuye la frecuencia cardíaca.
Para dinamizar y elevar el estado de ánimo, añade un toque de amarillo a tu habitación. Amarillo brillante simboliza alegría, felicidad, energía y optimismo. Sin embargo, se aconseja no hacer del amarillo el color dominante, porque en demasía, este color puede tener el efecto contrario, de la pereza y o extrema cautela.
El naranja, alegre y divertido, sin duda agrega el entusiasmo a cualquier habitación. Estimula la naturaleza infantil o juvenil vivaz y entusiasta, se convierte en el color ideal para salas de juegos, habitaciones familiares, cocinas y espacios creativos.
El verde es el color de la vida, la naturaleza y la armonía. Este color tiende a tener cualidades curativas y relajantes, ideal para baños y dormitorios. El verde simboliza abundancia y la prosperidad de modo que no viene mal añadir algo de vegetación alrededor de su casa, especialmente en una oficina.
El púrpura es el color del lujo, riqueza y sofisticación. Los tonos claros, apagados, generan un estado de ánimo suave, relajado, perfecto para dormitorio principal. Tonos brillantes de púrpura, con una chispa de creatividad, puede ser ideal para las habitaciones de los niños, salas de arte, y oficinas.
Sí, el negro también es un color. Representa potencia, sofisticación y elegancia. El negro está mejor utilizado para estudios, bibliotecas, oficinas, salas de estar, dormitorio principal y comedor.
El blanco es símbolo de pureza, inocencia y tranquilidad. Agregar color blanco a un dormitorio, salón, cocina o crea una sensación de limpieza y suave elegancia.
Catedral de El Burgo de Osma
www.lafronteradelduero.com/Paginas/el_burgo_de_osma.html
La Catedral de El Burgo de Osma, bajo la advocación de Santa María de la Asunción, es el resultado de una sucesión secular de actuaciones constructivas que van desde los primeros años del siglo XII, cuando se levantó el primitivo templo románico, hasta la segunda mitad del siglo XVIII en que se dio remate a la torre barroca. Aunque conserva escasos elementos de la obra románica y luce añadidos renacentistas, barrocos y neoclásicos, lo que predomina en el conjunto catedralicio son las construcciones góticas llevadas a cabo en diversos periodos.
La Catedral burguense fue declarada Monumento Nacional el 3 de junio de 1931, y «entorno de protección» por Decreto 84/99, de 22 de abril, de la Comunidad de Castilla y León. Comparte la sede episcopal desde 1959 con la concatedral de San Pedro de Soria.
Apunte histórico
Osma es sede episcopal al menos desde 597, fecha en la que está documentado que su obispo, Juan, tomó parte en el Concilio doce de Recaredo. De esta época visigoda no se conserva vestigio arqueológico alguno referido al templo catedralicio que se ubicaría en la antigua Uxama. Tras el lapso de tres siglos de ocupación musulmana (s.VIII al X) y otro más de repoblación y consolidación del dominio cristiano, en 1101 se restauró la diócesis bajo los auspicios de la Sede Metropolitana de Toledo. En esa fecha tomó posesión de la silla episcopal el que fue su primer titular en esta segunda y definitiva era diocesana: Pedro de Bourges (San Pedro de Osma).
Por entonces, no sólo se había abandonado la antigua Úxama, emplazada ahora en el llano con el topónimo de Osma, sino que se estaba desarrollando un burgo o barrio al otro lado del río Ucero en el que existía una iglesia benedictina con culto a San Miguel. Ese fue el lugar elegido para levantar la nueva catedral en el estilo arquitectónico imperante en los albores del siglo XII: el románico. No hay noticia cierta de cuándo se comenzó la construcción de este templo pero es de presumir que fuese durante el episcopado de Pedro de Osma, es decir, entre los años 1101 y 1109. En todo caso, los rasgos estilísticos de lo poco que de él ha quedado no dejan lugar a duda de que proceden de principios de dicho siglo. Los obispos sucesores de Pedro que regirían la diócesis a lo largo de la primera mitad del siglo XII -Raimundo, Beltrán y Esteban- debieron ser los continuadores de la obra y quienes la llevaron a término, pues parece que quedó concluida a mediados de siglo.
Corta vida le esperaba a la flamante catedral. En 1231 accedió a la sede episcopal oxomense Juan Díaz de Medina (a quien se nombra con frecuencia como Juan Domínguez), Canciller de Fernando III el Santo. Este prelado, que provenía de la Colegiata de Santa María la Mayor de Valladolid de la que fue abad en los años anteriores (1219-1230) y que él mismo había reconstruido por entero, debió entender que la prematuramente obsoleta iglesia románica no poseía las dimensiones ni la funcionalidad que los nuevos tiempos demandaban y, experimentado como era en la construcción de grandes templos, decidió en 1232, y así lo puso en práctica, derribar la «vieja» catedral y erigir otra ajustada a los cánones góticos, al modo como se estaba haciendo en Burgos, en Cuenca o en Toledo. No obstante, la piqueta demoledora respetó el claustro y la sala capitular.
Las obras del templo gótico se prolongaron durante más de un siglo, siendo el obispo Bernabé quien a mediados del XIV logró darles fin. El resultado fue una iglesia de planta de cruz latina con tres naves de cinco tramos, transepto de cuatro tramos además del crucero, presbiterio de dos tramos, ábside principal y cuatro capillas absidales, dos a cada lado, sobre el muro oriental del transepto de forma parecida a las del monasterio cisterciense de Santa María de Huerta. El conjunto gótico se completó a principios del siglo XVI con la sustitución del claustro románico por el actual gótico tardío adosado al muro de la nave septentrional. El derribo del primero se llevó a cabo en 1505; de él se salvaron algunos capiteles y la arquería del frente de la sala capitular. Algunos años después, durante el mandato del obispo Pedro Álvarez de Acosta (1550-1554), se realizó el retablo mayor, obra de Juan de Juani y Juan Picardo.
El siglo XVIII fue pródigo en obras y reformas. En 1767 se finalizó la torre en su tercer intento, pues dos anteriores habían fracasado por derrumbe. La cabecera de la iglesia sufrió importantes alteraciones, primero por la construcción de la girola y de la capilla mayor, y luego por la incorporación de la sacristía y la capilla del venerable Palafox. La reforma de la capilla mayor se debió a Juan de Villanueva, lo mismo que la construcción de la sacristía (1770) y el proyecto de la capilla de Palafox (1772), si bien la ejecución de esta última obra le cupo a Sabatinni entre los años 1778 y 1783.
Kamera: Nikon FE2
Linse: Nikkor-S Auto 35mm f2.8 (1974)
Film: Kodak 5222 @ ISO 400 -1EV
Kjemi: Xtol (stock / 9 min. @ 20°C)
Monday 30 December 2024: My New Year resolutions for 2025:
1. Do not buy or use any goods or services coming from Israel or their Occupied Palestinian Territories. Boycott Israel - the most racist, fascist, immoral and genocidal apartheid country in the world.
For me, this is a simple operation and will only involve my total boycott of the Israeli online genealogy platforms MyHeritage and Geni. I have no interest in any other consumer product coming out of Israel. But many of you may have heard of Ahava Dead Sea products coming from the Occupied Territories. Don’t buy it, don’t use it.
2. Do not buy or use any American goods or services as far as it is humanly possible today. They only use their income for WAR. The only way to stop this MADNESS is to stop buying and using their goods and services. Money to the USA is money to Israel.
This task is not as simple as boycotting only Israeli goods and products, but I will do my best - just like the USA has done it’s best in supporting Israel’s genocide in Gaza, providing Israel with weapons and incredible amounts of money, abusing their powers in the UN Security Council, working against international law and justice, supporting apartheid and never ever actually supporting or working to establish a Free Sovereign Palestine.
Israel seems to have become a way for all the corrupt American politicians in their archaic 'democratic' system to get an extra income under the table, directly stealing from the people, and for the American War Industries to thrive and grow; it is a Perpetuum mobile where US politicians donate money to Israel and where Israel in return use those money given to buy off US politicians [tax-deductible] and buying their weapons to slaughter Palestinians.
Americans get their money back [but first, some commercials] [without paying taxes] [under the table] and the Israelis get their fascist religious extremist zionist dreams come true. Incidentally, Israel's bizarre dreams of grandeur are closely linked to the American voters' archaic dreams of extremist christian zionist Eschatology. These people all belong in the Bronze Age.
USA has for so many years since the end of the Cold War been endangering all of Europe’s security by abusing the NATO alliance (this abuse started back in 1999 with the bombing of Yugoslavia!) presiding over a European proxy war with Russia via Ukraine - a war that now even involves North Korea (WTF!) and has killed hundreds of thousands of lives in Europe and flooded Western Europe with refugees once again! It needs to stop, and our own nations and politicians who are hostages to the American gangster regime can do no other - so therefore I can no longer justify MY feeble hard-earned money feeding this warmongering genocidal nation. It has to stop, and the only way I can make a miniscule difference is by boycotting American goods and services.
- First on my list: Mark Zuckerberg (1984) and his his Facebook and all of Facebook's subsidiaries through Meta. Easy. Done. Nothing!
- Second on my list: Larry Page (b. 1973) and Sergey Brin’s (b. 1973) Google and Alphabet Inc. - this is not so easy. This company with their search engine, Gmail and their subsidiary companies like YouTube and Android have infested the whole world. Instead of Google's search engine I have been using DuckDuckGo for years - but this is also an American company so my search will go on for something more safe and European.
As for Gmail, I am using Swiss Proton Mail instead but I have yet to to make the cut final. I hope I will be able to do so during the course of 2025.
As for YouTube, I have no clear alternative right now that is not American.
Android is easy - I never used it. But instead of Android I use Apple - which I feel is safer - but here is the problem - it is an American company. Maybe the solution is to go full-on dumbphone and get a Swiss Punkt. I might in fact do that.
What do you really need an American ‘smartphone’ for anyways? Life is analogue.
More American companies and platforms to boycott:
- Amazon Inc. - I can get most of my (paper) books and other stuff I usually buy on Amazon locally anyways. Amazon is a convenient marketplace, that's true - but it’s American and I’d rather suffer a little inconvenience just to not let the Americans get my money.
- eBay - again, such a great platform and marketplace for (in my case) photographic camera equipment and whatnot - but then again - if I could buy directly from Japanese camera stores with ease and no American involvement I would do so in a heartbeat without using American eBay. Let’s hope the Japanese evolve their international trade in this regard.
As for FILM there's plenty of European film providers; hey, we were first with film and photography anyways and have long traditions still thriving and living here. But I do love Kodak 5222. This is a problem - but at least I only use European chemicals these days. Foma and Tetenal.
- PayPal - also a very convenient platform to use, but goddamned this is the brainchild of Elon Musk (b. 1971) and I’ll do my very best to never support that fascist bastard. You’ll never see me driving an American car either, and certainly not a Tesla. Most unethical car ever.
- Airbnb - an American company that makes it easy to rent a room or a house for anyone in all those illegal Israeli settlements in the Occupied Palestinian Territories - it's just as sick as if American tourists through a 'tourist agency' could come and live in Nazi german confiscated Norwegian flats, houses and cottages to relax or just 'experience' Nazi occupied Norway in 1941. This is exactly what Airbnb is making possible in the Occupied Palestinian Territories these days - and I shall never, ever use Airbnb.
OK, that’s a lot but we’re not finished yet.
- Disney - Easy. They destroyed Star Wars. Done!
- Pepsi and Coca-Cola - Done. Never again. There are many other local alternatives. Easy!
- McDonald’s and Burger King - Done. Easy. Probably the worst hamburgers in the world anyways.
So when it comes to consumer products that you get in the general store, there are two really big and awful companies that I will do my best to never buy their products ever again. These two companies are the American-owned Mondelez International and the Swiss company Nestlé together with all their subsidiaries and brands.
Things not to buy (applicable to me):
- Douwe Egberts coffee (Mondelez)
- Toblerone chocolate (Mondelez)
- Heinz products (Mondelez)
- L’Oréal and ALL their subsidiary products Garnier, Maybelline, Biotherm, Lancôme, Prada, Yves Saint Laurent, Kérastase, Guy Laroche, Redken (Nestlé)
- Nespresso (Nestlé)
- Nescafé (Nestlé)
- Nesquik (Nestlé)
- Nestea (Nestlé)
- Smarties chocolates (Nestlé)
- After Eight chocolate (Nestlé)
- Maggi products (Nestlé)
- Purina dogfood (Nestlé)
[and Friskies catfood for those of you with cats - also Nestlé]
- Freia chocolate products (Mondelez) [The chocolate that could never ever ever be sold to Sweden otherwise we would lose our independence AGAIN - but which could easily be sold to America instead. Remember all those Edvard Grieg Freia commercials?]
- Friele coffee (Mondelez) in Bergen which also produce ALL the norwegian COOP cooffee products and ALL the swedish Gevalia coffee brand products
- Marabou candy and ALL their chocolate products (Mondelez)
Allright, so already quite an extensive list and that’s not half of it.
Therefore at the end, I want to inform you all about the Boycat app - the Ethical Shopping and Boycott Companion. Use it.
And if you have more suggestions of Israeli and American companies, products and services to boycott, do let me know. I’m eager ears.
PS: I am fully aware that Flickr is American. There are many good things coming out of America. I hope in 2025 USA can change their ways.
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 transportsLieux : 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...
I have not invited Katrina personally for Jackpot's premiere, says Kaizad Gustad! - www.bolegaindia.com/gossips/I_have_not_invited_Katrina_pe...
Well done reportage for the austrian TV where Thierry Geoffroy / Colonel present it s format Biennalist www.emergencyrooms.org/biennalist.html , the film show with his students , part of a critical run and a slow dance
at the Maldives pavilion : "Can we rank emergencies ? "
see the TV video
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lists of artists participating at the Venice Biennale :
Hilma af Klint, Victor Alimpiev, Ellen Altfest, Paweł Althamer, Levi Fisher Ames, Yuri Ancarani, Carl Andre, Uri Aran, Yüksel Arslan, Ed Atkins, Marino Auriti, Enrico Baj, Mirosław Bałka, Phyllida Barlow, Morton Bartlett, Gianfranco Baruchello, Hans Bellmer, Neïl Beloufa, Graphic Works of Southeast Asia and Melanesia, Hugo A. Bernatzik Collection, Ștefan Bertalan, Rossella Biscotti, Arthur Bispo do Rosário, John Bock, Frédéric Bruly Bouabré, Geta Brătescu, KP Brehmer, James Lee Byars, Roger Caillois, Varda Caivano, Vlassis Caniaris, James Castle, Alice Channer, George Condo, Aleister Crowley & Frieda Harris, Robert Crumb, Roberto Cuoghi, Enrico David, Tacita Dean, John De Andrea, Thierry De Cordier, Jos De Gruyter e Harald Thys, Walter De Maria, Simon Denny, Trisha Donnelly, Jimmie Durham, Harun Farocki, Peter Fischli & David Weiss, Linda Fregni Nagler, Peter Fritz, Aurélien Froment, Phyllis Galembo, Norbert Ghisoland, Yervant Gianikian & Angela Ricci Lucchi, Domenico Gnoli, Robert Gober, Tamar Guimarães and Kasper Akhøj, Guo Fengyi, João Maria Gusmão & Pedro Paiva, Wade Guyton, Haitian Vodou Flags, Duane Hanson, Sharon Hayes, Camille Henrot, Daniel Hesidence, Roger Hiorns, Channa Horwitz, Jessica Jackson Hutchins, René Iché, Hans Josephsoh, Kan Xuan, Bouchra Khalili, Ragnar Kjartansson, Eva Kotátková, Evgenij Kozlov, Emma Kunz, Maria Lassnig, Mark Leckey, Augustin Lesage, Lin Xue, Herbert List, José Antonio Suárez Londoño, Sarah Lucas, Helen Marten, Paul McCarthy, Steve McQueen, Prabhavathi Meppayil, Marisa Merz, Pierre Molinier, Matthew Monahan, Laurent Montaron, Melvin Moti, Matt Mullican, Ron Nagle, Bruce Nauman, Albert Oehlen, Shinro Ohtake, J.D. ‘Okhai Ojeikere, Henrik Olesen, John Outterbridg, Paño Drawings, Marco Paolini, Diego Perrone, Walter Pichler, Otto Piene, Eliot Porter, Imran Qureshi, Carol Rama, Charles Ray, James Richards, Achilles G. Rizzoli, Pamela Rosenkranz, Dieter Roth, Viviane Sassen, Shinichi Sawada, Hans Schärer, Karl Schenker, Michael Schmidt, Jean-Frédéric Schnyder, Friedrich Schröder-Sonnenstern, Tino Sehgal, Richard Serra, Shaker Gift Drawings, Jim Shaw, Cindy Sherman, Laurie Simmons e Allan McCollum, Drossos P. Skyllas, Harry Smith, Xul Solar, Christiana Soulou, Eduard Spelterini, Rudolf Steiner, Hito Steyerl, Papa Ibra Tall, Dorothea Tanning, Anonymous Tantric Paintings, Ryan Trecartin, Rosemarie Trockel, Andra Ursuta, Patrick Van Caeckenbergh, Stan VanDerBeek, Erik van Lieshout, Danh Vo, Eugene Von Bruenchenhein, Günter Weseler, Jack Whitten, Cathy Wilkes, Christopher Williams, Lynette Yiadom-Boakye, Kohei YoshiyUKi, Sergey Zarva, Anna Zemánková, Jakub Julian Ziółkowski ,Artur Żmijewski.
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other Biennales (Biennials ) : Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial
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Persecución Religiosa: Interrogatorio en clase
Era un día soleado, y en el aula resonó la voz alta de la docente china. Boqian y sus compañeros de clase escuchaban a la maestra con atención. De repente, se abrió la puerta y entró el subdirector de la sección educativa. Le susurró algo al maestro chino, luego el profesor chino dejó de dar una conferencia y se hizo a un lado. El subdirector tomó el puntero, golpeó dos veces en la pizarra y luego preguntó con voz severa: "¡Todos! ¿Hay algún creyente de Dios en tu familia"? Los estudiantes negaron con la cabeza y respondieron: "No". Boqian, que se estaba sentado en el medio de la tercera fila, comentó ligeramente, que sus padres eran creyentes en Dios. Recordó que su madre una vez le había dicho, "China es un estado autoritario sin libertad religiosa. El PCCh no permite que las personas adoren al Dios verdadero, sino que se resisten fanáticamente a Él y a Su obra. Los creyentes en China corren el peligro de ser arrestados en cualquier momento o lugar y sufrir la cruel persecución del PCCh". Boqian sabía que nunca les diría a los maestros que él y sus padres creían en Dios, de lo contrario las consecuencias serían inimaginables.
El subdirector parecía insatisfecho con las respuestas de los estudiantes, y luego sacó del bolsillo un reproductor MP5 negro, lo levantó y les dijo a los estudiantes: "¿Quién ha visto alguna vez a un jugador así? ¿De quién es la familia que tiene ese jugador"? Muchos estudiantes se miraron el uno al otro y no sabían qué tenía que ver el reproductor del MP5 con la investigación de si había algún creyente en sus familias. Pero Boqian sabía claramente en su corazón que los hermanos y hermanas de la iglesia, incluyendo a sus padres, solían usar este tipo de reproductor para leer la palabra de Dios, escuchar himnos y ver películas del evangelio, pero no se atrevió a decir una palabra. Temió que le daría algo a la maestra. Luego, el subdirector miró a cada estudiante y dijo con dureza: "Quien sea que hable es un buen estudiante y será citado. Si descubro que alguien sabía algo y no lo dice, será disciplinado y nunca podrá graduarse sin problemas". Después de escuchar eso, Boqian se sintió nervioso nuevamente. Una vez más, pensó en las palabras de su madre: "El gobierno del PCCh está lleno de astutos trucos. Instalan cámaras en las calles para monitorear a los creyentes; además, van de puerta en puerta realizando inspecciones para buscar a los creyentes a fin de verificar las tarjetas de residencia, y también utilizan unidades de trabajo y escuelas para investigar si hay algún creyente en la familia de alguien. Una vez que encuentran a un creyente de Dios, lo arrestarán y perseguirán, y sus incrédulos miembros de la familia se verán implicados y perderán sus trabajos, y sus hijos perderán las oportunidades de seguir estudiando. El gobierno del PCCh realiza investigaciones tan fanáticamente solo por el deseo delirante de capturar a todos los cristianos y establecer un país sin Dios en China". Boqian sabía que la razón por la que el líder de la escuela actuó de esa manera ese día fue porque ellos eran dirigidos por el PCCh. Para encontrar a los creyentes de Dios, obligaron a los estudiantes a hablar sobre si había creyentes en sus familias a través de engaños y amenazas. El PCCh fue de hecho demasiado insidioso y malvado. Pensando en eso, Boqian se dio cuenta de que el truco de Satanás se escondía detrás de este acontecimiento. Si él era tímido y temeroso, los maestros verían los agujeros, lo que pondría en peligro a su familia y a los hermanos y hermanas. Decidió que, en cualquier caso, no vendería a sus hermanos y hermanas, y mucho menos traicionaría a Dios, y que oraría a Dios y confiaría en Él para vencer la tentación repentina de Satanás.
…
Leer más：Reflexiones Cristianas
[crosseye stereograph, see 3D with your right eye on the left image, and left on right.]
Southern Pacific Railway Post Office #12, Travel Town, Griffith Park, Los Angeles, California
This narrowgauge truck set, cast in Sacramento, CA by Southern Pacific, is one of two designs of 're-gauge-able' trucks on display inside the Travel Town Museum building. The wheels can be detatched from the replaceable axle by four bolts within the inside face, and a new beam can be cut from wood for the bolster support and kingpin. The sliding bearings on the end of each axle predated roller or ball bearings, and could generate a great deal of heat from friction. Hopefully the grease packed under the hinged covers was warm enough to liquify and penetrate the bearing gap. One of the primary reasons a caboose had bay windows or a coupula above, and it's placement at the end of the train, was to keep a vigilant watch for the "hotbox" - an improperly lubricated bearing would cause excessive wear, or start a fire!
Notice that there are no springs in this design, any spring action is from the steel and wood supports.
The axles and crossblocks on this Southern Pacific Railway Post Office #12 bogie truck are fabricated of wood a design to facilitate re-gauging this 3' narrow-gauge truck to standard gauge 4'8½". The trucks are unsprung, which is to say the design does not incorporate springs, and there is a very narrow bolster around the kingpin. So, in addition to feeling every gap in the uneven and wavy rail, swaying and rocking was magnified at speeds above 12 miles per hour - working to precisely sort mail along the route was a very uncomfortable occupation.
SOUTHERN PACIFIC RAILWAY POST OFFICE #12
BUILT: c.1880 BY CARTER BROTHERS
WEIGHT: 13 TONS
LENGTH: 43'
DONATED: 1960 BY SOUTHERN PACIFIC RAILROAD
This pre-20th Century, wooden car was put to a variety of uses by its owners: caboose, baggage car, railway postal car, and most notably, a baggage-mail combination. Mail transportation by rail had existed as long as the railroads themselves. In Britain, mail was already being sorted within rail cars in the late 1830's. This practice was imitated on a few American railroads, but came into widespread use only after the Civil War. Perhaps no more efficient mail system could have existed than that of the railway postal system. Both local and long-distance trains included a car equipped with pigeonholes, sorting bags and tables, cancellation stamps, and one or more frenzied clerks trying to sort a bag of mail picked up at one station, before arriving at the next station each would be only ten or twenty minutes down the road. Early in their history, these railway postal cars (RPO's) shared space with express baggage service. Later, as the system grew more elaborate, entire 60- or 80-foot RPO cars were specially built for that purpose, and resembled small versions of a post office.
As with other aspects of railroading, RPO cars and their clerks have a lore all their own. The metal arms which swung out from the side of the car to catch a hanging mail bag when the train was not scheduled to stop at a station are collectors items, as are any existing cancellation stamps. Clerks carried guns for protection against outlaws wanting to steal the mail. In the first decades, clerks worked on cars furnished either with fire-causing wood stoves or without any heat at all. Doors could not be left open for security reasons, so the cars were barely ventilated in the summer heat. If they
had toilet facilities at all, they were crude and rarely private. Sometimes a lone clerk, sometimes a handful of men tripping over and stepping on each other, slaved at sorting and canceling mail, catching a new bag every twenty minutes, and simultaneously kicking off a bag sorted for that stop.
By the 1960's, railway mail, like railway passenger service and some railway freight service, was failing in favor of air transport of mail. The last RPO ran between Washington D. C. and New York in June 30, 1977.
dsc04445, 2008:04:27 14:37:30, 3D, Travel Town, RPO, Railway Post Office #12
www.lapressegratuite.com/2014/02/expo-in-the-city-le-prem...
Expo in the City est le premier magazine gratuit dédié aux expositions parisiennes ; l’occasion nous a été donnée de poser quelques questions à Fleur Baudon, directrice de la publication et Arnaud Chedal-Anglay, fondateur et rédacteur en chef du magazine.
Bonjour à tous les deux, racontez-nous l’idée de départ, sa concrétisation et parlez-nous de l’équipe !
L’idée de départ : rendre un peu « sexy » les expos, dépoussiérer tout ça. Créer un magazine urbain, sympathique, résolument moderne, qui donne envie de sortir pour aller voir une expo avec ses amis, son amour, ses parents ou ses enfants.
Un magazine convivial, qui se partage, tout comme ses bons plans.
Un magazine pratique qui tient dans la poche.
Un magazine gratuit, pour une vraie promotion de l’Art à Paris, sans clivage.
Pour la première fois, un classement des expos en ligne avec les envies et les attentes des parisiens. Pas d’expo ‘’beaux arts’’ ou ‘’ sciences et techniques’’, mais les expos à faire le soir après le boulot, les expos gratuites, celles à faire en amoureux ou en famille. Les expos pour frimer le lundi matin au bureau, ou pour occuper les beaux parents qui débarquent !
Expo in the City souhaite faire de chaque sortie expo un vrai bon moment, sympa et inoubliable. Pour cela, nous avons créé les premiers « duos expos », de bonnes petites adresses parisiennes avec les meilleures expositions. Cela permet de prolonger le plaisir de la sortie avec un petit brunch, un resto, un apéro, ou un jardin caché, une boutique insolite…
La concrétisation de cette idée a mis 2 ans, 2 ans pendant lesquels nous avons fait et refait des maquettes de magazines, en interrogeant des parisiens pour vraiment comprendre leurs attentes et leurs envies, et leur offrir le meilleur des expos, dans une version colorée et joyeuse.
L’équipe : Fleur et Arnaud, aidés par nos proches, amis, et familles. Nous avons créé une association qui a pour but de promouvoir l’Art à Paris, de manière accessible et sympa. Nous sommes des indépendants, loin des grands groupes de presse. Des idéalistes ? Des ‘’fous’’ peut-être ? Des passionnés évidemment !
En octobre de cette année, vous avez rassemblé des fonds sur le site de financement participatif KissKissBankBank, comment cela s’est-il passé ?
La démarche nous a permis de récolter 5 000 euros ! Cela nous a permis de nous lancer, en finançant l’impression du premier numéro, et une partie du site web. C’était fou de voir comme ce projet a pu mobiliser des soutiens, nous appuyant dans cette démarche audacieuse.
Présentez-nous la ligne éditoriale de Expo in the City, le positionnement du mag.
Expo in the City est un magazine bimestriel, format poche extrêmement qualitatif, 100 pages en couleur, distribué gratuitement à 20 000 exemplaires dans le cœur de Paris, aux métros, entrées des cinémas, théâtres et musées.
Le ‘’petit livre’’ des expos toujours sur soi !
Nous souhaitons toucher tous les gens passionnés par l’art, mais pas seulement ! L’idée est vraiment d’ouvrir l’art à tous, en faisant re-découvrir les expos de Paris et la richesse culturelle de la capitale, par un classement inédit des expos, pour que chacun puisse trouver l’expo qui lui ressemble, ou l’expo qui convient à chaque occasion.
Nous avons voulu créer le 1er magazine qui ne se jette pas, avec sa sélection d’expos, ses bons plans, ses actus, son format poche ultra-pratique. Nous avons créé un magazine pour chacun et pour tous.
Où peut-on trouver le magazine aujourd’hui ? Peut-on s’abonner ?
Tous les 2 mois, Expo in the City est distribué pendant 2 semaines dans le centre de Paris et en région Parisienne. Aux stations de Métro, dans les files de musées, de cinés, de théâtre, en 20 000 exemplaires. Expo in the City est aussi accessible sur le web www.expointhecity.com/, avec des actus inédites et complémentaires, et des avis d’internautes. Pour ceux qui souhaitent recevoir leur magazine chez eux, nous proposons une formule d’abonnement à 24 euros par an (magazine gratuit + frais de gestion et d’envois), offrant en plus un pass pour Pompidou.
Vous êtes également présent sur le web, pourquoi éditer un magazine papier et un site web ?
Pour nous les deux supports sont complémentaires. L’un se consulte en se feuilletant, dans le métro, dans son salon, dans un café, il se lit. Nous étions très attachés au support papier car nous aimons personnellement lire, et garder nos livres et guides pour les reconsulter à l’envi.
Le site internet est un support complémentaire qui nous permet de suivre l’actualité à la semaine, voire chaque jour. Nous donnons la parole à nos internautes pour nous donner leur avis sur les expos et aider les autres internautes à faire leur choix d’expos. Internet est très vivant, évolue chaque jour. Le magazine est une valeur sûre qui se garde sur soi.
Des projets de développement ? L’envie de décliner le magazine dans une autre ville ?
Nous avons plein d’idées de développement !
Notre premier souhait est de faire grandir Expo in the City, en restant libres et indépendants, ce qui est assez difficile car nos moyens ne sont pas ceux des grands groupes. Nous souhaitons étendre les services que nous proposons à nos lecteurs, toujours dans un esprit de convivialité, par exemple en créant une carte Club permettant d’inviter gratuitement une personne avec soi dans les musées, en organisant des soirées vernissages, des discussions sur des sujets d’expos... Tout en restant sur Paris, peut-être étendrons nous le magazine à la rentrée, a une version sur l’Art en général (musique, théâtre, cinéma, écriture…).
Merci et longue vie à Expo in the City !
www.decorobra.com/techos-verdes-decorativos-y-ecologicos....
Los techos verdes son techos con vegetación, plantas que viven en ellos. Podemos encontrar dos tipos de techos verdes, los intensivos y los extensivos. Para los primeros se necesita una capa de tierra de aproximadamente 30 centímetros y es necesario que la construcción tenga elementos estructurales muy fuertes para soportar el peso de estos techos ecológicos. Los techos verdes intensivos pueden tener una gran variedad de plantas y son muy atractivos pero generalmente requieren de mucho mantenimiento. Debido a esto, son menos comunes que los techos verdes extensivos.
Para los techos verdes extensivos sólo se necesita 7un capa de entre 5 y 10 centímetros de espesor pero es más limitada la variedad de plantas que pueden alojar. En los últimos 50 años han sido muy usados y desarrollados en Europa, y en los últimos tiempos han empezado a implementarse en Latinoamérica.
Los techos verdes tienen muchas ventajas. Principalmente protegen los techos de los rayos solares, los cuales suelen causar grietas en los materiales. Además mantienen el techo más fresco lo cual reduce el efecto de calentamiento, contribuyendo a que las ciudades no estén cada año más calientes. Como consecuencia reduce el consumo energético, ya que no será tan necesaria la utilización de electrodomésticos tales como aires acondicionados, etc.
Los techos verdes extensivos tienen una capa de semillas generalmente de pasto. Poseen plantas de poca raíz y no muy tolerantes al exceso de agua. Al presenta una capa de tierra muy fina, permite la propagación de plantas silvestres, ya que no pueden vivir en ese medio, en cierta forma, árido. Debajo de la capa de tierra se encuentran varias capas más. La primera es una capa de drenaje, la cual permite que el agua se mueva libremente fuera del techo, y por último, una capa de barrera que impide el paso del agua hacia el techo.
Desde el punto de vista de la estética, los techos verdes poseen un aspecto por demás agradable y natural, que brinda a las construcciones un aire natural y fresco. Si usted está pensando en poner un techo en su casa, le recomendamos hacer las averiguaciones previas, para saber si la estructura de su vivienda lo resistirá.
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www.iti-worldwide.org/theatredaymessage.html
Author of the World Theatre Day Message 2009
Augusto Boal - Message 2009
"All human societies are “spectacular*” in their daily life and produce “spectacles” at special moments. They are “spectacular” as a form of social organization and produce “spectacles” like the one you have come to see.
Even if one is unaware of it, human relationships are structured in a theatrical way. The use of space, body language, choice of words and voice modulation, the confrontation of ideas and passions, everything that we demonstrate on the stage, we live in our lives. We are theatre!
Weddings and funerals are “spectacles”, but so, also, are daily rituals so familiar that we are not conscious of this. Occasions of pomp and circumstance, but also the morning coffee, the exchanged good-mornings, timid love and storms of passion, a senate session or a diplomatic meeting - all is theatre.
One of the main functions of our art is to make people sensitive to the “spectacles” of daily life in which the actors are their own spectators, performances in which the stage and the stalls coincide. We are all artists. By doing theatre, we learn to see what is obvious but what we usually can’t see because we are only used to looking at it. What is familiar to us becomes unseen: doing theatre throws light on the stage of daily life.
Last September, we were surprised by a theatrical revelation: we, who thought that we were living in a safe world, despite wars, genocide, slaughter and torture which certainly exist, but far from us in remote and wild places. We, who were living in security with our money invested in some respectable bank or in some honest trader’s hands in the stock exchange were told that this money did not exist, that it was virtual, a fictitious invention by some economists who were not fictitious at all and neither reliable nor respectable. Everything was just bad theatre, a dark plot in which a few people won a lot and many people lost all. Some politicians from rich countries held secret meetings in which they found some magic solutions. And we, the victims of their decisions, have remained spectators in the last row of the balcony.
Twenty years ago, I staged Racine’s Phèdre in Rio de Janeiro. The stage setting was poor: cow skins on the ground, bamboos around. Before each presentation, I used to say to my actors: “The fiction we created day by day is over. When you cross those bamboos, none of you will have the right to lie. Theatre is the Hidden Truth”.
When we look beyond appearances, we see oppressors and oppressed people, in all societies, ethnic groups, genders, social classes and casts; we see an unfair and cruel world. We have to create another world because we know it is possible. But it is up to us to build this other world with our hands and by acting on the stage and in our own life.
Participate in the “spectacle” which is about to begin and once you are back home, with your friends act your own plays and look at what you were never able to see: that which is obvious. Theatre is not just an event; it is a way of life!
We are all actors: being a citizen is not living in society, it is changing it."
Augusto Boal
(Original Portuguese)
So, here it is, the reason I drove across Norfolk: Trunch in all it's glory And it is glorious.
It has so many fascinating details, each one alone would be reason enough to visit, but together, in a fine village, next to the village pub, and with that font canopy, one of only four such in all of England, and one of two in the county.
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The oldest building in Trunch is St. Botolph's Church. It is mainly 14th. and 15th. Century but there are some fragments of stone in the walls which are believed to have been reused from an earlier Saxon church, which was recorded in the Domesday Book. There is much of interest in the church including a Rood Screen, a hammer beam roof and a rare Font Canopy.
trunchhistory.weebly.com/buildings.html
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The large village of Trunch is located about 5 miles from the north Norfolk coast. In the centre of the village, surrounded by a lovely collection of cottages and the more modern Crossroads Inn, is St Botolph's church. Much of what you see of the church is early 15th century, built upon earlier foundations.
Upon entering the church the first feature you will see is the font, which dates to the mid 14th century. Though the font is attractive, it is the carved and painted font canopy that really makes a visit to Trunch worthwhile.
This is a quite remarkable piece of woodwork, one of only four such canopies surviving in the entire country (the others are at St Peter Mancroft in Norwich, Durham Cathedral, and Luton). The canopy is supported on six beautifully carved legs. The carving detail is exquisite; with fanciful animal figures and foliage and a bit of political commentary, in the shape of a pig wearing a bishop's mitre.
In addition to the font canopy, Trunch features a superb 15th century hammer beam roof, a feature of many churches in Norfolk and Suffolk. Here the carvings of angels are beautifully performed. It is worth bringing along a pair of binoculars or a telescope in order to see the carvings properly.
Much easier to see are the medieval misericords (mercy seats) in the chancel. Each carving is unique; some represent angels, and others are more grotesque in nature. In addition there are some beautifully carved pew ends and a painted medieval rood screen that rivals many more famous churches in detail and colour.
There are 12 niches in the screen, each painted with a depiction of a single figure - 11 disciples plus St Paul. Much of the costume detail is well preserved, but the faces of the figures were destroyed during the upheavals of the Protestant Reformation in the 16th century.
www.britainexpress.com/counties/norfolk/churches/Trunch.htm
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William Earl Warren had the lordship of this town, (fn. 1) of which 3 freemen were deprived; one of them belonged to Herold, late King of England, another to Ralph Stalre, and the 3d to Ketel, who held 90 acres of land, and 14 borderers belonged to it, with 5 carucates among them; there was a church endowed with 10 acres, &c. 3 acres of meadow always valued at 30s. and there were also 5 freemen of Edric in King Edward's time, who had 34 acres of land, with 2 carucates, 2 acres and an half of meadow, always valued at 7s. 4d. (fn. 2)
This town also belonged to the Earl Warren's capital manor of Gimmingham, and paid suit and service to it. In the 34th of Henry III. Maud de Norwich granted by fine, to Richer, son of Nicholas, a messuage, 48 acres of land, a mill, and the sixth part of another in this town, Swathefeld and Bradfeld. In the 15th of Edward I. the Earl Warren claimed a weekly mercate, on Saturday, in this manor; and on the death of John Earl Warren, in the 21st of Edward III. the mercate was valued at 10s. per ann. the manor came after to the Earl of Lancaster, (as is before observed,) and so to John of Gaunt Duke of Lancaster, and King Henry IV. and is still in the Crown, as part of the dutchy of Lancaster.
The tenths were 4l. 10s. deducted 15s.
The Church is dedicated to St. Botolph, and is a regular pile, with a nave, 2 isles, and a chancel covered with lead, and has a tower with 4 bells.
In the chancel, on a little monument,
Lancelotus Thexton cappellanus Regis Edw. VI. sacre theologie baccalaureus, et rector de Trunch obt. 25. Febr. 1588, and this shield of arms, quarterly, in the first and fourth a cross between four lions heads erased, gules, in the 2d and 3d, ermine, fretty, azure.
In a window here, argent, a fess between two chevrons, sable.
On a gravestone
Hic jacet Magr. Robt. Cantell, quo'd. rector isti. ecclie, qui. obt. 1 Sept. Ao. Dni. 1480.
Gravestones
In memory of Thomas Worts, gent. who died November 13, 1693, aged 45, with his arms, three lions rampant, - - - — William Worts. gent. who married Elizabeth, daughter of Riches Brown of Fulmodeston, Esq. died August 25, 1694, aged 60, with the arms of Worts impaling Brown; two bars, between three spears heads, - - -
¶The patronage of the church was granted to the priory of Castleacre, by William Earl Warren, the first on his founding that priory. In the reign of Edward I. the rector had a manse, and 13 acres of land valued at 16 marks, Peter-pence 13d. and the prior of Castleacre had a pension or portion of tithe valued at 40s. the present valor is 10l. 13s. 4d. and pays first fruits, &c. the Norwich registers say that William, the second Earl Warren, granted the patronage, and Eborard Bishop of Norwich, confirmed it; and that Simon the Bishop confirmed the pension in 1268.
www.british-history.ac.uk/topographical-hist-norfolk/vol8...
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Trunch is the largest of the villages between North Walsham and the sea; but as all the industrialisation and tawdry caravan sites are hard against the coast, and Trunch is several miles inland, it has avoided these excesses and retains a great rural charm. It has a magnificent church with lots of fascinating treasures, as well as a shop, a green, a pub run by an ex-professional footballer, and generally all the typical features you expect to find in a large village in deepest rural Norfolk.
The church is perhaps the most interesting of all round about; and, while the large village lends it an urban quality that lacks the charm of, say, the churches of neighbouring Edingthorpe and Crostwight, it has by no means the Victorianised sterility of those at Bacton or Happisburgh.
St Botolph is a big church, and its tight graveyard makes it rather hard to photograph. The whole piece seems to have been rebuilt in the early 15th century, although the chancel may be a little later, and there is a hint of Decorated about the nave. The tower is quite simple, even slight. It builds boldly enough, but at the top of the second stage fades into a simple bell stage, understated, elegant and probably intended. This is not a building that shouts at you. A curiosity is the massive priest porch surrounding the door in the chancel. These are very unusual, although there is another, smaller one at neighbouring Knapton.
The great treasure, of course, is the marvellous font canopy. It is particularly fascinating because of its date, coming in the early 16th century right on the eve of the English protestant reformation. Like all church furnishings at this time - the tombs at Oxborough, for instance - it gives us a hint of what the English renaissance might have been like if it had been allowed to flower. Here, the massive structure tumbles with intricacy; fruit and flowers, leopards and lions peep around the silvery oak of the six octagonal columns which are fluted with interlocking chains of detail. The glory is the massive crown of canopied niches, with the haunting ghosts of crucifixion groups still apparent on three of the faces. The whole thing is at once in perfect harmony with the west end of the church, but exists because it was believed to be beautiful rather than known to be useful.There is only one other font canopy in Norfolk, at St Peter Mancroft in Norwich; Outside of the county there is another at Durham Cathedral, and a fourth at the parish church in Luton - but that is it.
Above the canopy is a rich 15th century hammerbeam roof, by no means as dramatic as that at nearby Knapton, but more beautiful, I think. In the space beneath the tower there is what appears to be a gallery like the plough guild gallery at Cawston. This is not as elaborate, but its oak has silvered and it is painted beautifully with trailing rose foliage.
The benching, unfortunately, is pretty much all 19th century, but along with the font canopy and roof the medieval screen survives. Like the canopy, this is richly ornamented in relief, including a bold dedicatory inscription in diagonal ribbons across the top part of the dado. The twelve figures (11 disciples and St Paul) are boldly placed and coloured, but their faces have been completely vandalised by the 16th century reformers. Low down on the north side of the doorway is a rare surviving carved consecration cross, suggesting that this screen was already installed in the newly built church of the 15th century. The screen had detached buttressing running vertically at intervals in front of it, as at Ludham. They have been almost entirely destroyed, but you can still see the fixings between the panels. It must have been magnificent.
The return stalls in the chancel are pretty much all Victorian, but they retain medieval misericords, and also you can see quatrefoil holes set into a sounding chamber to amplify the singing. There is a very curious memorial above the priest door, featuring the instruments of the passion. I have no idea how old it is.
All of these features would be enough, but part of the attraction of St Botolph is the sense of harmony, the way everything works together. You can add to these the sedilia, the magnificent organ, and the modern design of the glass in the east window. It is a peaceful, inspiring space.
Cottages and houses hem in the graveyard, and in the corner is the modern pub. Incidentally, I don't really know if the bloke who runs it is an ex-professional footballer. But, like many rural Norfolk landlords, he seems to be a cheerful 40-something cockney who serves a decent pint and cheap food - a recommended stop for churchcrawlers.
Simon Knott, April 2005
www.norfolkchurches.co.uk/trunch/trunch.htm
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And the pub is still good.
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The Big Move, Visioned, Initiated and Implemented by Chancellor Michael Harris IU Kokomo:
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aascu.org/WorkArea/DownloadAsset.aspx?id=5568
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At an event at IU Kokomo
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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 transportsLieux : 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...