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Chateau des Milandes was built in 1489. It was left to fall into ruin during the French Revolution but restored in the 19th Century when it was bought, in the 1930s, by the legendary Josephine Baker.

 

The chateau is one of the prettier of the chateaus in this area and is surrounded by a very pleasant garden. The chateau illustrates the transition from gothic to Renaissance architecture with features inside from both eras. Inside the large windows let in plenty of light?

 

The chateau is now largely devoted to Josephine Baker. Starting with the nude photographs taken of Josephine early in her career, moving on, in the salle de music-hall, to photos of her many stage appearances and displays including one of her legendary banana belts! Le grand salon, a beatiful room with a gothic frieze and a Renaissance frieze, plus a collection of fabulous dresses worn by Josephine Baker and created by some of the most famous dress designers of the day. Another room is dedicated to Josephine's resistance work and includes her military uniform and the medals she was awarded for her work in the resistance. This included helping numerous refugees escape France and transmitting to General de Galle messages written in invisible ink on the pages of her music.

Our portable change table. Unfortunately portability includes being able to fold in the middle, thus urine can trickle where the two halves are joined...

willowgrovedaycamp.com/willows/

 

At this time in the camp season each child has found his/her favorite activities, which include Basketball, Soccer, Nature, Boating/Fishing, Tennis, Mini-Golf, Dance, etc.. Another favorite activity is when the Willows ride the Big Wheels. Everyone really loves racing their cars around the track. Of course, all The Willows love swimming and riding “Magic,” the pony.

 

Last week ended on a tasty note with our campers making Tie Dye bread in Cooking. After the bread was dyed, it was turned into grilled cheese or toast. Everyone found it yummy!

On Tuesday the Tadpoles and Minnows went to Woodcraft where they painted bird houses. They really enjoyed choosing their favorite colors. The Willows really love participating in big kid activities.

 

Our theme this week was “Up, Up and Away.” In Camper Creations, the children had fun making and decorating refrigerator kite magnets. They can’t wait to display them at home! In Ceramics, the children enjoyed adorning their ceramic bathing suits. These projects will be painted and sent home before the end of camp. We hope you enjoyed your child’s

ceramic hands/foot prints and ceramic faces.

 

While Carnival was postponed on Thursday the day was full of terrific rainy day activities. Our theme was “Harry the Dirty Dog” and we made a special snack, read the book, watched the movie and made our furry friends.

 

This fun filled week ended as the campers were thrilled to participate in the annual Carnival on Friday. It was a huge success and everyone had a terrific time. The campers played games, went on rides, ate lots of goodies and won prizes at various booths. Also on Friday was “Puttin’ on the Hits” where The Willows danced to the “Banana” song from “Despicable Me.”

 

About Willow Grove Day Camp

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 at Willow Grove Day Camp please visit: willowgrovedaycamp.com/willows/

A snail is, in loose terms, a shelled gastropod. The name is most often applied to land snails, terrestrial pulmonate gastropod molluscs. However, the common name snail is also used for most of the members of the molluscan class Gastropoda that have a coiled shell that is large enough for the animal to retract completely into. When the word "snail" is used in this most general sense, it includes not just land snails but also numerous species of sea snails and freshwater snails. Gastropods that naturally lack a shell, or have only an internal shell, are mostly called slugs, and land snails that have only a very small shell (that they cannot retract into) are often called semi-slugs.

 

Snails have considerable human relevance, including as food items, as pests, as vectors of disease, and their shells are used as decorative objects and are incorporated into jewelry. The snail has also had some cultural significance, and has been used as a metaphor.

 

OVERVIEW

Snails that respire using a lung belong to the group Pulmonata. As traditionally defined, the Pulmonata were found to be polyphyletic in a molecular study per Jörger et al., dating from 2010. But snails with gills also form a polyphyletic group; in other words, snails with lungs and snails with gills form a number of taxonomic groups that are not necessarily more closely related to each other than they are related to some other groups.

 

Both snails that have lungs and snails that have gills have diversified so widely over geological time that a few species with gills can be found on land and numerous species with lungs can be found in freshwater. Even a few marine species have lungs.

 

Snails can be found in a very wide range of environments, including ditches, deserts, and the abyssal depths of the sea. Although land snails may be more familiar to laymen, marine snails constitute the majority of snail species, and have much greater diversity and a greater biomass. Numerous kinds of snail can also be found in fresh water.

 

Most snails have thousands of microscopic tooth-like structures located on a banded ribbon-like tongue called a radula. The radula works like a file, ripping food into small pieces. Many snails are herbivorous, eating plants or rasping algae from surfaces with their radulae, though a few land species and many marine species are omnivores or predatory carnivores. Snails cannot absorb colored pigments when eating paper or cardboard so their feces are also colored.

 

Several species of the genus Achatina and related genera are known as giant African land snails; some grow to 38 cm from snout to tail, and weigh 1 kg). The largest living species of sea snail is Syrinx aruanus; its shell can measure up to 90 cm in length, and the whole animal with the shell can weigh up to 18 kg.

 

The snail Lymnaea makes decisions by using only two types of neurons: one deciding whether the snail is hungry, and the other deciding whether there is food in the vicinity.

 

The largest known land gastropod is the African giant snail Achatina achatina, the largest recorded specimen of which measured 39.3 centimetres from snout to tail when fully extended, with a shell length of 27.3 cm in December 1978. It weighed exactly 900 g. Named Gee Geronimo, this snail was owned by Christopher Hudson (1955–79) of Hove, East Sussex, UK, and was collected in Sierra Leone in June 1976.

 

TYPES OF SNAILS BY HABITAT

SLUGS

Gastropods that lack a conspicuous shell are commonly called slugs rather than snails. Some species of slug have a red shell, some have only an internal vestige that serves mainly as a calcium repository, and others have no shell at all. Other than that there is little morphological difference between slugs and snails. There are however important differences in habitats and behavior.

 

A shell-less animal is much more maneuverable and compressible, so even quite large land slugs can take advantage of habitats or retreats with very little space, retreats that would be inaccessible to a similar-sized snail. Slugs squeeze themselves into confined spaces such as under loose bark on trees or under stone slabs, logs or wooden boards lying on the ground. In such retreats they are in less danger from either predators or desiccation, and often those also are suitable places for laying their eggs.

 

Slugs as a group are far from monophyletic; biologically speaking "slug" is a term of convenience with little taxonomic significance. The reduction or loss of the shell has evolved many times independently within several very different lineages of gastropods. The various taxa of land and sea gastropods with slug morphology occur within numerous higher taxonomic groups of shelled species; such independent slug taxa are not in general closely related to one another.

 

HUMAN RELEVANCE

Land snails are known as an agricultural and garden pest but some species are an edible delicacy and occasionally household pets.

 

IN AGRICULTURE

There are a variety of snail-control measures that gardeners and farmers use in an attempt to reduce damage to valuable plants. Traditional pesticides are still used, as are many less toxic control options such as concentrated garlic or wormwood solutions. Copper metal is also a snail repellent, and thus a copper band around the trunk of a tree will prevent snails from climbing up and reaching the foliage and fruit. A layer of a dry, finely ground, and scratchy substance such as diatomaceous earth can also deter snails.

 

The decollate snail (Rumina decollata) will capture and eat garden snails, and because of this it has sometimes been introduced as a biological pest control agent. However, this is not without problems, as the decollate snail is just as likely to attack and devour other gastropods that may represent a valuable part of the native fauna of the region.

 

AS FOOD

In French cuisine, edible snails are served for instance in Escargot à la Bourguignonne. The practice of rearing snails for food is known as heliciculture. For purposes of cultivation, the snails are kept in a dark place in a wired cage with dry straw or dry wood. Coppiced wine-grape vines are often used for this purpose. During the rainy period, the snails come out of hibernation and release most of their mucus onto the dry wood/straw. The snails are then prepared for cooking. Their texture when cooked is slightly chewy.

 

As well as being relished as gourmet food, several species of land snails provide an easily harvested source of protein to many people in poor communities around the world. Many land snails are valuable because they can feed on a wide range of agricultural wastes, such as shed leaves in banana plantations. In some countries, giant African land snails are produced commercially for food.

 

Land snails, freshwater snails and sea snails are all eaten in a number of countries (principally Spain, Philippines, Morocco, Nigeria, Algeria, Cameroon, France, Italy, Portugal, Greece, Bulgaria, Belgium, Vietnam, Laos, Cambodia, Cyprus, Ghana, Malta, Terai of Nepal, China, Northeast India states such as Manipur, Tripura and parts of the United States). In certain parts of the world, snails are fried. For example, in Indonesia, they are fried as satay, a dish known as sate kakul. The eggs of certain snail species are eaten in a fashion similar to the way caviar is eaten.

 

In Bulgaria, snails are traditionally cooked in an oven with rice or fried in a pan with vegetable oil and red paprika powder. Before they are used for those dishes, however, they are thoroughly boiled in hot water (for up to 90 minutes) and manually extracted from their shells. The two species most commonly used for food in the country are Helix lucorum and Helix pomatia.

 

FAMINE FOOD

Snails and slug species that are not normally eaten in certain areas have occasionally been used as famine food in historical times. A history of Scotland written in the 1800s recounts a description of various snails and their use as food items in times of plague.

 

COSMETIC

Skin creams derived from Helix aspersa snails are sold for use on wrinkles, scars, dry skin, and acne. A research study suggested that secretions produced under stress by Helix aspersa might facilitate regeneration of wounded tissue.

Cultural depictions

 

SYMBOLISM

Because of its slowness, the snail has traditionally been seen as a symbol of laziness. In Christian culture, it has been used as a symbol of the deadly sin of sloth. Psalms 58:8 uses snail slime as a metaphorical punishment. In Mayan mythology, the snail is associated with sexual desire, being personified by the god Uayeb.

 

DIVINATION AND OTHER RELIGIOUS USES

Snails were widely noted and used in divination. The Greek poet Hesiod wrote that snails signified the time to harvest by climbing the stalks, while the Aztec moon god Tecciztecatl bore a snail shell on his back. This symbolised rebirth; the snail's penchant for appearing and disappearing was analogised with the moon.

 

LOVE DARTS AND CUPID

Professor Ronald Chase of McGill University in Montreal has suggested the ancient myth of Cupid's arrows might be based on early observations of the love dart behavior of the land snail species Helix aspersa.

 

In contemporary speech, the expression "a snail's pace" is often used to describe a slow, inefficient process. The phrase "snail mail" is used to mean regular postal service delivery of paper messages as opposed to the delivery of email, which can be virtually instantaneous.

 

IN INDONESIAN MYTHOLOGY

DEWI SEKARTAJI AS KEONG EMAS

Keong Emas (Javanese and Indonesian for Golden Snail) is a popular Javanese folklore about a princess magically transformed and contained in a golden snail shell. The folklore is a part of popular Javanese Panji cycle telling the stories about the prince Panji Asmoro Bangun (also known as Raden Inu Kertapati) and his consort, princess Dewi Sekartaji (also known as Dewi Chandra Kirana).

 

TEXTILES

Certain varieties of snails, notably the family Muricidae, produce a secretion that is a color-fast natural dye. The ancient Tyrian purple was made in this way as were other purple and blue dyes. The extreme expense of extracting this secretion is sufficient quantities limited its use to the very wealthy. It is such dyes as these that led to certain shades of purple and blue being associated with royalty and wealth.

 

WIKIPEDIA

Birmingham's skyline includes this rather dramatic hotel called the Radisson Blu - I like the way it stands in contrast to this old Chinese monument in the old Horsefair underpass.

Ipê Amarelo, Tabebuia [chrysotricha or ochracea].

Ipê-amarelo em Brasília (UnB), Brasil.

This tree is in Brasília, Capital of Brazil.

 

Text, in english, from Wikipedia, the free encyclopedia

"Trumpet tree" redirects here. This term is occasionally used for the Shield-leaved Pumpwood (Cecropia peltata).

Tabebuia

Flowering Araguaney or ipê-amarelo (Tabebuia chrysantha) in central Brazil

Scientific classification

Kingdom: Plantae

(unranked): Angiosperms

(unranked): Eudicots

(unranked): Asterids

Order: Lamiales

Family: Bignoniaceae

Tribe: Tecomeae

Genus: Tabebuia

Gomez

Species

Nearly 100.

Tabebuia is a neotropical genus of about 100 species in the tribe Tecomeae of the family Bignoniaceae. The species range from northern Mexico and the Antilles south to northern Argentina and central Venezuela, including the Caribbean islands of Hispaniola (Dominican Republic and Haiti) and Cuba. Well-known common names include Ipê, Poui, trumpet trees and pau d'arco.

They are large shrubs and trees growing to 5 to 50 m (16 to 160 ft.) tall depending on the species; many species are dry-season deciduous but some are evergreen. The leaves are opposite pairs, complex or palmately compound with 3–7 leaflets.

Tabebuia is a notable flowering tree. The flowers are 3 to 11 cm (1 to 4 in.) wide and are produced in dense clusters. They present a cupular calyx campanulate to tubular, truncate, bilabiate or 5-lobed. Corolla colors vary between species ranging from white, light pink, yellow, lavender, magenta, or red. The outside texture of the flower tube is either glabrous or pubescentThe fruit is a dehiscent pod, 10 to 50 cm (4 to 20 in.) long, containing numerous—in some species winged—seeds. These pods often remain on the tree through dry season until the beginning of the rainy.

Species in this genus are important as timber trees. The wood is used for furniture, decking, and other outdoor uses. It is increasingly popular as a decking material due to its insect resistance and durability. By 2007, FSC-certified ipê wood had become readily available on the market, although certificates are occasionally forged.

Tabebuia is widely used as ornamental tree in the tropics in landscaping gardens, public squares, and boulevards due to its impressive and colorful flowering. Many flowers appear on still leafless stems at the end of the dry season, making the floral display more conspicuous. They are useful as honey plants for bees, and are popular with certain hummingbirds. Naturalist Madhaviah Krishnan on the other hand once famously took offense at ipé grown in India, where it is not native.

Lapacho teaThe bark of several species has medical properties. The bark is dried, shredded, and then boiled making a bitter or sour-tasting brownish-colored tea. Tea from the inner bark of Pink Ipê (T. impetiginosa) is known as Lapacho or Taheebo. Its main active principles are lapachol, quercetin, and other flavonoids. It is also available in pill form. The herbal remedy is typically used during flu and cold season and for easing smoker's cough. It apparently works as expectorant, by promoting the lungs to cough up and free deeply embedded mucus and contaminants. However, lapachol is rather toxic and therefore a more topical use e.g. as antibiotic or pesticide may be advisable. Other species with significant folk medical use are T. alba and Yellow Lapacho (T. serratifolia)

Tabebuia heteropoda, T. incana, and other species are occasionally used as an additive to the entheogenic drink Ayahuasca.

Mycosphaerella tabebuiae, a plant pathogenic sac fungus, was first discovered on an ipê tree.

Tabebuia alba

Tabebuia anafensis

Tabebuia arimaoensis

Tabebuia aurea – Caribbean Trumpet Tree

Tabebuia bilbergii

Tabebuia bibracteolata

Tabebuia cassinoides

Tabebuia chrysantha – Araguaney, Yellow Ipê, tajibo (Bolivia), ipê-amarelo (Brazil), cañaguate (N Colombia)

Tabebuia chrysotricha – Golden Trumpet Tree

Tabebuia donnell-smithii Rose – Gold Tree, "Prima Vera", Cortez blanco (El Salvador), San Juan (Honduras), palo blanco (Guatemala),duranga (Mexico)

A native of Mexico and Central Americas, considered one of the most colorful of all Central American trees. The leaves are deciduous. Masses of golden-yellow flowers cover the crown after the leaves are shed.

Tabebuia dubia

Tabebuia ecuadorensis

Tabebuia elongata

Tabebuia furfuracea

Tabebuia geminiflora Rizz. & Mattos

Tabebuia guayacan (Seem.) Hemsl.

Tabebuia haemantha

Tabebuia heptaphylla (Vell.) Toledo – tajy

Tabebuia heterophylla – roble prieto

Tabebuia heteropoda

Tabebuia hypoleuca

Tabebuia impetiginosa – Pink Ipê, Pink Lapacho, ipê-cavatã, ipê-comum, ipê-reto, ipê-rosa, ipê-roxo-damata, pau d'arco-roxo, peúva, piúva (Brazil), lapacho negro (Spanish); not "brazilwood"

Tabebuia incana

Tabebuia jackiana

Tabebuia lapacho – lapacho amarillo

Tabebuia orinocensis A.H. Gentry[verification needed]

Tabebuia ochracea

Tabebuia oligolepis

Tabebuia pallida – Cuban Pink Trumpet Tree

Tabebuia platyantha

Tabebuia polymorpha

Tabebuia rosea (Bertol.) DC.[verification needed] (= T. pentaphylla (L.) Hemsley) – Pink Poui, Pink Tecoma, apama, apamate, matilisguate

A popular street tree in tropical cities because of its multi-annular masses of light pink to purple flowers and modest size. The roots are not especially destructive for roads and sidewalks. It is the national tree of El Salvador and the state tree of Cojedes, Venezuela

Tabebuia roseo-alba – White Ipê, ipê-branco (Brazil), lapacho blanco

Tabebuia serratifolia – Yellow Lapacho, Yellow Poui, ipê-roxo (Brazil)

Tabebuia shaferi

Tabebuia striata

Tabebuia subtilis Sprague & Sandwith

Tabebuia umbellata

Tabebuia vellosoi Toledo

 

Ipê-do-cerrado

Texto, em português, da Wikipédia, a enciclopédia livre.

Ipê-do-cerrado

Classificação científica

Reino: Plantae

Divisão: Magnoliophyta

Classe: Magnoliopsida

Subclasse: Asteridae

Ordem: Lamiales

Família: Bignoniaceae

Género: Tabebuia

Espécie: T. ochracea

Nome binomial

Tabebuia ochracea

(Cham.) Standl. 1832

Sinónimos

Bignonia tomentosa Pav. ex DC.

Handroanthus ochraceus (Cham.) Mattos

Tabebuia chrysantha (Jacq.) G. Nicholson

Tabebuia hypodictyon A. DC.) Standl.

Tabebuia neochrysantha A.H. Gentry

Tabebuia ochracea subsp. heteropoda (A. DC.) A.H. Gentry

Tabebuia ochracea subsp. neochrysantha (A.H. Gentry) A.H. Gentry

Tecoma campinae Kraenzl.

ecoma grandiceps Kraenzl.

Tecoma hassleri Sprague

Tecoma hemmendorffiana Kraenzl.

Tecoma heteropoda A. DC.

Tecoma hypodictyon A. DC.

Tecoma ochracea Cham.

Ipê-do-cerrado é um dos nomes populares da Tabebuia ochracea (Cham.) Standl. 1832, nativa do cerrado brasileiro, no estados de Amazonas, Pará, Maranhão, Piauí, Ceará, Pernambuco, Bahia, Espírito Santo, Goiás, Mato Grosso, Mato Grosso do Sul, Minas Gerais, Rio de Janeiro, São Paulo e Paraná.

Está na lista de espécies ameaçadas do estado de São Paulo, onde é encontrda também no domínio da Mata Atlântica[1].

Ocorre também na Argentina, Paraguai, Bolívia, Equador, Peru, Venezuela, Guiana, El Salvador, Guatemala e Panamá[2].

Há uma espécie homônima descrita por A.H. Gentry em 1992.

Outros nomes populares: ipê-amarelo, ipê-cascudo, ipê-do-campo, ipê-pardo, pau-d'arco-do-campo, piúva, tarumã.

Características

Altura de 6 a 14 m. Tronco tortuso com até 50 cm de diâmetro. Folhas pilosas em ambas as faces, mais na inferior, que é mais clara.

Planta decídua, heliófita, xerófita, nativa do cerrado em solos bem drenados.

Floresce de julho a setembro. Os frutos amadurecem de setembro a outubro.

FloresProduz grande quantidade de sementes leves, aladas com pequenas reservas, e que perdem a viabilidade em menos de 90 dias após coleta. A sua conservação vem sendo estudada em termos de determinação da condição ideal de armazenamento, e tem demonstrado a importância de se conhecer o comportamento da espécie quando armazenada com diferentes teores de umidade inicial, e a umidade de equilíbrio crítica para a espécie (KANO; MÁRQUEZ & KAGEYAMA, 1978). As levíssimas sementes aladas da espécie não necessitam de quebra de dormência. Podem apenas ser expostas ao sol por cerca de 6 horas e semeadas diretamente nos saquinhos. A germinação ocorre após 30 dias e de 80%. As sementes são ortodoxas e há aproximadamente 72 000 sementes em cada quilo.

O desenvolvimento da planta é rápido.

Como outros ipês, a madeira é usada em tacos, assoalhos, e em dormentes e postes. Presta-se também para peças torneadas e instrumento musicais.

 

Tabebuia alba (Ipê-Amarelo)

Texto, em português, produzido pela Acadêmica Giovana Beatriz Theodoro Marto

Supervisão e orientação do Prof. Luiz Ernesto George Barrichelo e do Eng. Paulo Henrique Müller

Atualizado em 10/07/2006

 

O ipê amarelo é a árvore brasileira mais conhecida, a mais cultivada e, sem dúvida nenhuma, a mais bela. É na verdade um complexo de nove ou dez espécies com características mais ou menos semelhantes, com flores brancas, amarelas ou roxas. Não há região do país onde não exista pelo menos uma espécie dele, porém a existência do ipê em habitat natural nos dias atuais é rara entre a maioria das espécies (LORENZI,2000).

A espécie Tabebuia alba, nativa do Brasil, é uma das espécies do gênero Tabebuia que possui “Ipê Amarelo” como nome popular. O nome alba provém de albus (branco em latim) e é devido ao tomento branco dos ramos e folhas novas.

As árvores desta espécie proporcionam um belo espetáculo com sua bela floração na arborização de ruas em algumas cidades brasileiras. São lindas árvores que embelezam e promovem um colorido no final do inverno. Existe uma crença popular de que quando o ipê-amarelo floresce não vão ocorrer mais geadas. Infelizmente, a espécie é considerada vulnerável quanto à ameaça de extinção.

A Tabebuia alba, natural do semi-árido alagoano está adaptada a todas as regiões fisiográficas, levando o governo, por meio do Decreto nº 6239, a transformar a espécie como a árvore símbolo do estado, estando, pois sob a sua tutela, não mais podendo ser suprimida de seus habitats naturais.

Taxonomia

Família: Bignoniaceae

Espécie: Tabebuia Alba (Chamiso) Sandwith

Sinonímia botânica: Handroanthus albus (Chamiso) Mattos; Tecoma alba Chamisso

Outros nomes vulgares: ipê-amarelo, ipê, aipê, ipê-branco, ipê-mamono, ipê-mandioca, ipê-ouro, ipê-pardo, ipê-vacariano, ipê-tabaco, ipê-do-cerrado, ipê-dourado, ipê-da-serra, ipezeiro, pau-d’arco-amarelo, taipoca.

Aspectos Ecológicos

O ipê-amarelo é uma espécie heliófita (Planta adaptada ao crescimento em ambiente aberto ou exposto à luz direta) e decídua (que perde as folhas em determinada época do ano). Pertence ao grupo das espécies secundárias iniciais (DURIGAN & NOGUEIRA, 1990).

Abrange a Floresta Pluvial da Mata Atlântica e da Floresta Latifoliada Semidecídua, ocorrendo principalmente no interior da Floresta Primária Densa. É característica de sub-bosques dos pinhais, onde há regeneração regular.

Informações Botânicas

Morfologia

As árvores de Tabebuia alba possuem cerca de 30 metros de altura. O tronco é reto ou levemente tortuoso, com fuste de 5 a 8 m de altura. A casca externa é grisáceo-grossa, possuindo fissuras longitudinais esparas e profundas. A coloração desta é cinza-rosa intenso, com camadas fibrosas, muito resistentes e finas, porém bem distintas.

Com ramos grossos, tortuosos e compridos, o ipê-amarelo possui copa alongada e alargada na base. As raízes de sustentação e absorção são vigorosas e profundas.

As folhas, deciduais, são opostas, digitadas e compostas. A face superior destas folhas é verde-escura, e, a face inferior, acinzentada, sendo ambas as faces tomentosas. Os pecíolos das folhas medem de 2,5 a 10 cm de comprimento. Os folíolos, geralmente, apresentam-se em número de 5 a 7, possuindo de 7 a 18 cm de comprimento por 2 a 6 cm de largura. Quando jovem estes folíolos são densamente pilosos em ambas as faces. O ápice destes é pontiagudo, com base arredondada e margem serreada.

As flores, grandes e lanceoladas, são de coloração amarelo-ouro. Possuem em média 8X15 cm.

Quanto aos frutos, estes possuem forma de cápsula bivalvar e são secos e deiscentes. Do tipo síliqua, lembram uma vagem. Medem de 15 a 30 cm de comprimento por 1,5 a 2,5 cm de largura. As valvas são finamente tomentosas com pêlos ramificados. Possuem grande quantidade de sementes.

As sementes são membranáceas brilhantes e esbranquiçadas, de coloração marrom. Possuem de 2 a 3 cm de comprimento por 7 a 9 mm de largura e são aladas.

Reprodução

A espécie é caducifólia e a queda das folhas coincide com o período de floração. A floração inicia-se no final de agosto, podendo ocorrer alguma variação devido a fenômenos climáticos. Como a espécie floresce no final do inverno é influenciada pela intensidade do mesmo. Quanto mais frio e seco for o inverno, maior será a intensidade da florada do ipê amarelo.

As flores por sua exuberância, atraem abelhas e pássaros, principalmente beija-flores que são importantes agentes polinizadores. Segundo CARVALHO (2003), a espécie possui como vetor de polinização a abelha mamangava (Bombus morio).

As sementes são dispersas pelo vento.

A planta é hermafrodita, e frutifica nos meses de setembro, outubro, novembro, dezembro, janeiro e fevereiro, dependendo da sua localização. Em cultivo, a espécie inicia o processo reprodutivo após o terceiro ano.

Ocorrência Natural

Ocorre naturalmente na Floresta Estaciobal Semidecicual, Floresta de Araucária e no Cerrado.

Segundo o IBGE, a Tabebuia alba (Cham.) Sandw. é uma árvore do Cerrado, Cerradão e Mata Seca. Apresentando-se nos campos secos (savana gramíneo-lenhosa), próximo às escarpas.

Clima

Segundo a classificação de Köppen, o ipê-amarelo abrange locais de clima tropical (Aw), subtropical úmido (Cfa), sutropical de altitude (Cwa e Cwb) e temperado.

A T.alba pode tolerar até 81 geadas em um ano. Ocorre em locais onde a temperatura média anual varia de 14,4ºC como mínimo e 22,4ºC como máximo.

Solo

A espécie prefere solos úmidos, com drenagem lenta e geralmente não muito ondulados (LONGHI, 1995).

Aparece em terras de boa à média fertilidade, em solos profundos ou rasos, nas matas e raramente cerradões (NOGUEIRA, 1977).

Pragas e Doenças

De acordo com CARVALHO (2003), possui como praga a espécie de coleópteros Cydianerus bohemani da família Curculionoideae e um outro coleóptero da família Chrysomellidae. Apesar da constatação de elevados índices populacionais do primeiro, os danos ocasionados até o momento são leves. Nas praças e ruas de Curitiba - PR, 31% das árvores foram atacadas pela Cochonilha Ceroplastes grandis.

ZIDKO (2002), ao estudar no município de Piracicaba a associação de coleópteros em espécies arbóreas, verificou a presença de insetos adultos da espécie Sitophilus linearis da família de coleópteros, Curculionidae, em estruturas reprodutivas. Os insetos adultos da espécie emergiram das vagens do ipê, danificando as sementes desta espécie nativa.

ANDRADE (1928) assinalou diversas espécies de Cerambycidae atacando essências florestais vivas, como ingazeiro, cinamomo, cangerana, cedro, caixeta, jacarandá, araribá, jatobá, entre outras como o ipê amarelo.

A Madeira

A Tabebuia alba produz madeira de grande durabilidade e resistência ao apodrecimento (LONGHI,1995).

MANIERI (1970) caracteriza o cerne desta espécie como de cor pardo-havana-claro, pardo-havan-escuro, ou pardo-acastanhado, com reflexos esverdeados. A superfície da madeira é irregularmente lustrosa, lisa ao tato, possuindo textura media e grã-direita.

Com densidade entre 0,90 e 1,15 grama por centímetro cúbico, a madeira é muito dura (LORENZI, 1992), apresentando grande dificuldade ao serrar.

A madeira possui cheiro e gosto distintos. Segundo LORENZI (1992), o cheiro característico é devido à presença da substância lapachol, ou ipeína.

Usos da Madeira

Sendo pesada, com cerne escuro, adquire grande valor comercial na marcenaria e carpintaria. Também é utilizada para fabricação de dormentes, moirões, pontes, postes, eixos de roda, varais de carroça, moendas de cana, etc.

Produtos Não-Madeireiros

A entrecasca do ipê-amarelo possui propriedades terapêuticas como adstringente, usada no tratamento de garganta e estomatites. É também usada como diurético.

O ipê-amarelo possui flores melíferas e que maduras podem ser utilizadas na alimentação humana.

Outros Usos

É comumente utilizada em paisagismo de parques e jardins pela beleza e porte. Além disso, é muito utilizada na arborização urbana.

Segundo MOREIRA & SOUZA (1987), o ipê-amarelo costuma povoar as beiras dos rios sendo, portanto, indicado para recomposição de matas ciliares. MARTINS (1986), também cita a espécie para recomposição de matas ciliares da Floresta Estacional Semidecidual, abrangendo alguns municípios das regiões Norte, Noroeste e parte do Oeste do Estado do Paraná.

Aspectos Silviculturais

Possui a tendência a crescer reto e sem bifurcações quando plantado em reflorestamento misto, pois é espécie monopodial. A desrrama se faz muito bem e a cicatrização é boa. Sendo assim, dificilmente encopa quando nova, a não ser que seja plantado em parques e jardins.

Ao ser utilizada em arborização urbana, o ipê amarelo requer podas de condução com freqüência mediana.

Espécie heliófila apresenta a pleno sol ramificação cimosa, registrando-se assim dicotomia para gema apical. Deve ser preconizada, para seu melhor aproveitamento madeireiro, podas de formação usuais (INQUE et al., 1983).

Produção de Mudas

A propagação deve realizada através de enxertia.

Os frutos devem ser coletados antes da dispersão, para evitar a perda de sementes. Após a coleta as sementes são postas em ambiente ventilado e a extração é feita manualmente. As sementes do ipê amarelo são ortodoxas, mantendo a viabilidade natural por até 3 meses em sala e por até 9 meses em vidro fechado, em câmara fria.

A condução das mudas deve ser feita a pleno sol. A muda atinge cerca de 30 cm em 9 meses, apresentando tolerância ao sol 3 semanas após a germinação.

Sementes

Os ipês, espécies do gênero Tabebuia, produzem uma grande quantidade de sementes leves, aladas com pequenas reservas, e que perdem a viabilidade em poucos dias após a sua coleta. A sua conservação vem sendo estudada em termos de determinação da condição ideal de armazenamento, e tem demonstrado a importância de se conhecer o comportamento da espécie quando armazenada com diferentes teores de umidade inicial, e a umidade de equilíbrio crítica para a espécie (KANO; MÁRQUEZ & KAGEYAMA, 1978).

As levíssimas sementes aladas da espécie não necessitam de quebra de dormência. Podem apenas ser expostas ao sol por cerca de 6 horas e semeadas diretamente nos saquinhos. A quebra natural leva cerca de 3 meses e a quebra na câmara leva 9 meses. A germinação ocorre após 30 dias e de 80%.

As sementes são ortodoxas e há aproximadamente 87000 sementes em cada quilo.

Preço da Madeira no Mercado

O preço médio do metro cúbico de pranchas de ipê no Estado do Pará cotado em Julho e Agosto de 2005 foi de R$1.200,00 o preço mínimo, R$ 1509,35 o médio e R$ 2.000,00 o preço máximo (CEPEA,2005).

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An Oystercatcher with a tasty Mussel

Deze afbeelding is rechtenvrij. Vermeld bij gebruik altijd “Bron: Nederlands Visbureau”.

 

This image is free of copyright. Always include the following reference in your caption: “Source: Dutch Fish Marketing Board”.

The Miao is an ethnic group recognized by the government of China as one of the 55 official minority groups. Miao is a Chinese term and does not reflect the self-designations of the component groups of people, which include (with some variant spellings) Hmong, Hmub, Xong (Qo-Xiong), and A-Hmao.

 

The Chinese government has grouped these people and other non-Miao peoples together as one group, whose members may not necessarily be either linguistically or culturally related, though the majority are members of Miao-Yao language family, which includes the Hmong, Hmub, Xong, and A-Hmao and the majority do share cultural similarities. Because of the previous given reasons, many Miao peoples cannot communicate with each other in their mother tongues, and have different histories and cultures. A few groups designated as Miao by the PRC do not even agree that they belong to the ethnic group, though most Miao groups, such as the Hmong and Hmub, do agree with the collective grouping as a single ethnic group – Miao.

 

The Miao live primarily in southern China's mountains, in the provinces of Guizhou, Hunan, Yunnan, Sichuan, Guangxi, Hainan, Guangdong, and Hubei. Some members of the Miao sub-groups, most notably the Hmong people, have migrated out of China into Southeast Asia (northern Vietnam, Laos, Burma (Myanmar) and Thailand). Following the communist takeover of Laos in 1975, a large group of Hmong refugees resettled in several Western nations, mainly in the United States, France, and Australia. There has been a recent tendency by Hmong Americans to group all Miao peoples together under the term Hmong because of their disdain for the Chinese term Miao. This however fails to recognize that the Hmong are only a subgroup within the broader linguistic and cultural family of Miao people and the vast majority of Miao people do not classify themselves as Hmong and have their own names for themselves.

 

NOMENCLATURE: MIAO AND HMONG

The term "Miao" gained official status in 1949 as a minzu (ethnic group) encompassing a group of linguistically-related ethnic minorities in Southwest China. This was part of a larger effort to identify and classify minority groups to clarify their role in the national government, including establishing autonomous administrative divisions and allocating the seats for representatives in provincial and national government.

 

Historically, the term "Miao" had been applied inconsistently to a variety of non-Han peoples. Early Western writers used Chinese-based names in various transcriptions: Miao, Miao-tse, Miao-tsze, Meau, Meo, mo, miao-tseu etc. In Southeast Asian contexts words derived from the Chinese "Miao" took on a sense which was perceived as derogatory by the Hmong subgroup living in that region. In China, however, the term has no such context and is used by the Miao people themselves, of every group.

 

The later prominence of Hmong people in the West has led to a situation where the entire Miao linguistic/cultural family is sometimes referred to as Hmong in English language sources. Following the recent increased interaction of Hmong in the West with Miao in China it is reported that some upwardly aspiring non-Hmong Miao have even begun to identify themselves as Hmong. However, most non-Hmong Miao in China are unfamiliar with the term as referring to their entire group and continue to use "Miao", or their own separate ethnic self-designations.

 

Though the Miao themselves use various self-designations, the Chinese traditionally classify them according to the most characteristic colour of the women's clothes. The list below contains some of these self-designations, the colour designations, and the main regions inhabited by the four major groups of Miao in China:

 

Ghao Xong/Qo Xiong; Xong; Red Miao; Qo Xiong Miao: west Hunan

Gha Ne/Ka Nao; Hmub; Black Miao; Mhub Miao: southeast Guizhou

A-Hmao; Big Flowery Miao: west Guizhou and northeast Yunnan

Gha-Mu; Hmong, Mong; White Miao, Green/Blue Miao, Small Flowery Miao; south and east Yunnan, south Sichuan and west Guizhou

 

DEMOGRAPHICS

According to the 2000 census, the number of Miao in China was estimated to be about 9.6 million. Outside of China, members of the Miao linguistic/cultural family sub-group or nations of the Hmong live in Thailand, Laos, Vietnam and Burma due to outward migrations starting in the 18th century. As a result of recent migrations in the aftermath of the Indochina and Vietnam Wars from 1949–75, many Hmong people now live in the United States, French Guiana, France and Australia. Altogether, there are approximately 8 million speakers in the Miao language family. This language family, which consists of 6 languages and around 35 dialects (some of which are mutually intelligible) belongs to the Hmong/Miao branch of the Hmong–Mien (Miao–Yao) language family.

 

The Hmong live primarily in the northern mountainous reaches of Southeast Asia including Thailand, Laos and Vietnam, and in far Southwest China mostly in the provinces of Yunnan, Guangxi, and to a very limited extent in Guizhou. There are about 1.5–2 million Hmong in China.

 

Note: The Miao areas of Sichuan province became part of the newly created Chongqing Municipality in 1997.

 

Most Miao currently live in China. Miao population growth in China:

 

1953: 2,510,000

1964: 2,780,000

1982: 5,030,000

1990: 7,390,000

 

3,600,000 Miao, about half of the entire Chinese Miao population, were in Guizhou in 1990. The Guizhou Miao and those in the following six provinces make up over 98% of all Chinese Miao:

 

Hunan: 1,550,000

Yunnan: 890,000

Sichuan: 530,000

Guangxi: 420,000

Hubei: 200,000

Hainan: 50,000 (known as Miao but ethnically Yao and Li)

 

In the above provinces, there are 6 Miao autonomous prefectures (shared officially with one other ethnic minority):

 

Qiandongnan Miao and Dong Autonomous Prefecture (黔东南 : Qiándōngnán), Guizhou

Qiannan Buyei and Miao Autonomous Prefecture (黔南 : Qiánnán), Guizhou

Qianxinan Buyei and Miao Autonomous Prefecture (黔西南 : Qiánxīnán), Guizhou

Xiangxi Tujia and Miao Autonomous Prefecture (湘西 : Xiāngxī), Hunan

Wenshan Zhuang and Miao Autonomous Prefecture (Hmong) (文山 : Wénshān), Yunnan

Enshi Tujia and Miao Autonomous Prefecture (恩施 : Ēnshī), Hubei

 

There are in addition 23 Miao autonomous counties:

 

Hunan:Mayang (麻阳 : Máyáng), Jingzhou (靖州 : Jīngzhōu), and Chengbu (城步 : Chéngbù)

Guizhou: Songtao (松桃 : Sōngtáo), Yingjiang (印江 : Yìnjiāng), Wuchuan (务川 : Wùchuān), Daozhen (道真 : Dǎozhēn), Zhenning (镇宁 : Zhènníng), Ziyun (紫云 : Zǐyún), Guanling (关岭 : Guānlíng), and Weining (威宁 : Wēiníng)

Yunnan: Pingbian (屏边 : Píngbiān), Jinping (金平 : Jīnpíng), and Luquan (禄劝 : Lùquàn)

Chongqing: Xiushan (秀山 : Xiùshān), Youyang (酉阳 : Yǒuyáng), Qianjiang (黔江 : Qiánjiāng), and Pengshui (彭水 : Péngshuǐ)

Guangxi: Rongshui (融水 : Róngshuǐ), Longsheng (龙胜 : Lóngshēng), and Longlin (隆林 : Lōnglín) (including Hmong)

Hainan Province: Qiong (琼中 : Qióngzhōng) and Baoting (保亭 : Bǎotíng)

 

Most Miao reside in hills or on mountains, such as

 

Wuling Mountain by the Qianxiang River (湘黔川边的武陵山 : Xiāngqián Chuān Biān Dí Wǔlíng Shān)

Miao Mountain (苗岭 : Miáo Líng), Qiandongnan

Yueliang Mountain (月亮山 : Yuèliàng Shān), Qiandongnan

Greater and Lesser Ma Mountain (大小麻山 : Dà Xiǎo Má Shān), Qiannan

Greater Miao Mountain (大苗山 : Dà Miáo Shān), Guangxi

Wumeng Mountain by the Tianqian River (滇黔川边的乌蒙山 : Tiánqián Chuān Biān Dí Wūmēng Shān)

 

Several thousands of Miao left their homeland to move to larger cities like Guangzhou and Beijing. There are 2,000,000 Hmong spread throughout northern Vietnam, Laos, Burma, and on other continents. 174,000 live in Thailand, where they are one of the six main hill tribes.

 

HISTORY

History according to Chinese legend and other considerations

According to Chinese legend, the Miao who descended from the Jiuli tribe led by Chiyou (Chinese: 蚩尤 pinyin: Chīyóu) were defeated at the Battle of Zhuolu (Chinese: 涿鹿 pinyin: Zhuōlù, a defunct prefecture on the border of present provinces of Hebei and Liaoning) by the military coalition of Huang Di (Chinese: 黃帝 pinyin: Huángdì) and Yan Di, leaders of the Huaxia (Chinese: 華夏 pinyin: Huáxià) tribe as the two tribes struggled for supremacy of the Yellow River valley.

 

ARCHEOLOGICAL DISCOVERIES

According to André-Georges Haudricourt and David Strecker's claims based on limited secondary data, the Miao were among the first people to settle in present-day China. They claim that the Han borrowed a lot of words from the Miao in regard to rice farming. This indicated that the Miao were among the first rice farmers in China. In addition, some have connected the Miao to the Daxi Culture (5,300 – 6,000 years ago) in the middle Yangtze River region. The Daxi Culture has been credited with being amongst the first cultivators of rice in the Far East by Western scholars. However, in 2006 rice cultivation was found to have existed in the Shandong province even earlier than the Daxi Culture.

 

A western study mention that the Miao (especially the Miao-Hunan) have some DNA from the Northeast people of China, but has origins in southern china. Recent DNA samples of Miao males contradict this theory. The White Hmong have 25% C, 8% D, & 6% N(Tat) yet they have the least contact with the Han population.

 

CHU

In 2002, the Chu language has been identified as perhaps having influence from Tai–Kam and Miao–Yao languages by researchers at University of Massachusetts Amherst.

 

QIN AND HAN DYNASTIES

The term Miao was first used by the Han Chinese in pre-Qin times (in other words, before 221 BC) for designating non-Han Chinese groups in the south. It was often used in combination: "nanmiao", "miaomin", "youmiao" and "sanmiao" (三苗; pinyin: Sānmiáo)

 

MING AND QING DYNASTIES

During the Ming and Qing dynasties (1368–1911) 'miao' and 'man' were both used, the second possibly to designate the Yao (傜 Yáo) people. The Yuan, Ming, and Qing Dynasties could neither fully assimilate nor control the indigenous people.

 

During the Miao Rebellions, when Miao tribes rebelled, Ming troops, including Han Chinese, Hui people, and Uyghurs crushed the rebels, killing thousands of them. Mass castrations of Miao boys also took place.

 

During the Qing Dynasty the Miao fought three wars against the empire. In 1735 in the southeastern province of Guizhou, the Miao rose up against the government's forced assimilation. Eight counties involving 1,224 villages fought until 1738 when the revolt ended. According to Xiangtan University Professor Wu half the Miao population were affected by the war.

 

The second war (1795–1806) involved the provinces of Guizhou and Hunan. Shi Sanbao and Shi Liudeng led this second revolt. Again, it ended in failure, but it took 11 years to quell the uprising.

 

The greatest of the three wars occurred from 1854 to 1873. Zhang Xiu-mei led this revolt in Guizhou until his capture and death in Changsha, Hunan. This revolt affected over one million people and all the neighbouring provinces. By the time the war ended Professor Wu said only 30 percent of the Miao were left in their home regions. This defeat led to the Hmong people migrating out of China.

 

During Qing times, more military garrisons were established in southwest China. Han Chinese soldiers moved into the Taijiang region of Guizhou, married Miao women, and the children were brough up as Miao. In spite of rebellion against the Han, Hmong leaders made allies with Han merchants.

 

Politically and militarily, the Miao continued to be a stone in the shoe of the Chinese empire. The imperial government had to rely on political means to ensnare Hmong people, they created multiple competing positions of substantial prestige for Miao people to participate and assimilate into the Qing government system. During the Ming and Qing times, the official position of Kiatong was created in Indochina. The Miao would employ the use of the Kiatong government structure until the 1900s when they entered into French colonial politics in Indochina.

 

20th CENTURY

During the founding of the People's Republic of China (PRC), the Miao played an important role in its birth when they helped Mao Zedong to escape the Kuomintang in the Long March with supplies and guides through their territory.

 

In Vietnam, a powerful Hmong named Vuong Chinh Duc, dubbed the king of the Hmong, aided Ho Chi Minh's nationalist move against the French, and thus secured the Hmong's position in Vietnam. During the Vietnam War, Miao fought on both sides, the Hmong in Laos primarily for the US, across the border in Vietnam for the North-Vietnam coalition, the Chinese-Miao for the Communists. However, after the war the Vietnamese were very aggressive towards the Hmong who suffered many years of reprisals and genocide. Most Hmong in Thailand also supported a brief Communist uprising during the war.

 

HAN CHINESE ORIGIN MIAO CLANS

A great number of Hmong lineage clans were founded by Chinese men who married Hmong women, these distinct Chinese descended clans practice Chinese burial customs instead of Hmong style burials.

 

The Hmong children of Hmong women who married Chinese men was the origin of numerous China and South East Asia based Hmong lineages and clans, these were called "Chinese Hmong" ("Hmong Sua") in Sichuan, the Hmong were instructed in military tactics by fugitive Chinese rebels.

 

Marriages between Hmong women and Han Chinese men is the origin of a lot of Hmong lineages and clans.

 

Hmong women married Han Chinese men to found new Hmong lineages which use Chinese names.

 

Chinese men who married into Hmong clans have established more Hmong clans than the ritual twelve, Chinese "surname groups" are comparable to the Hmong clans which are patrilineal, and practice exogamy.

 

Hmong women married Han Chinese men who pacified Ah rebels who were fighting against the Ming dynasty, and founded the Wang clan among the Hmong in Gongxian county, of Sichuan's Yibin district.

 

Hmong women who married Chinese men founded a new Xem clan in a Hmong village (among Northern Thailand's Hmong), fifty years later in Chiangmai two of their Hmong boy descendants were Catholics. A Hmong woman and a Chinese man married and founded the Lauj clan in Northern Thailand.

 

A marriage between a Hmong woman and a Chinese man resulted in northern Thailand's Lau2 clan being founded, another Han Chinese with the family name Deng founded another Hmong clan, Han Chinese men's marriages with Hmong women has led some ethnographers to conclude that Hmong clans in the modern era have possible all or partly have been founded in this matter.

 

Jiangxi Han Chinese are claimed by some as the forefathers of the southeast Guizhou Miao, and Miao children were born to the many Miao women married Han Chinese soldiers in Taijiang in Guizhou before the second half of the 19th century.

 

Imperially commissioned Han Chinese chieftancies "gon native", with the Miao and were the ancestors of a part of the Miao population in Guizhou.

 

The Hmong Tian clan in Sizhou began in the seventh century as a migrant Han Chinese clan.

 

Non-han women such as Miao women became wives of Han Chinese male soldiers who fought against the Miao rebellions during the Qing and Ming dynasties since Han women were not available.

 

The Ming dynasty Hongwu Emperor sent troops to Guizhou whose descendants became the Tunbao. The origin of the Tunbao people traces back to when the Ming dynasty sent 300,000 Han Chinese male soldiers in 1381 to conquer Yunnan and the men married Yao and Miao women.

 

The presence of women presiding over weddings was a feature noted in "Southeast Asian" marriages, such as in 1667 when a Miao woman in Yunnan married a Chinese official.

Some Sinicization occurred, in Yunnan a Miao chief's daughter married a scholar in the 1600s who wrote that she could read, write, and listen in Chinese and read Chinese classics.

 

The Sichuan Hmong village of Wangwu was visited by Nicholas Tapp who wrote that the "clan ancestral origin legend" of the Wang Hmong clan, had said that several times they were married into the Han Chinese and possibly one of these was their ancestor Wang Wu, there were two tpes of Hmong, "cooked" who sided with Chinese and "raw" who rebelled against the Chinese, the Chinese were supported by the Wang Hmong clan. A Hmong woman was married by the non-Hmong Wang Wu according to The Story of the Ha Kings in Wangwu village.

 

DISTRIBUTION

The 2000 Chinese census recorded 8,940,116 Miao in mainland China.

 

CUISINE

Miao Fish (苗鱼 miáo yǘ)

Miao fish is a special way of cooking a fish by Miao people. It has been recognized as a local featured cuisine with its tasty flavor: the mixture of fish, green peppers, ginger slices and garlic provided people with great eating experience.

 

WIKIPEDIA

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Mt. Desert Island and Ellsworth area, Maine, on July 10, 2018. The island includes the towns of Bar Harbor, Northeast Harbor and more. Just offshore, outside the Mt Desert harbor, is Bear Island. Ferries and water taxis transport mail, supplies, residents and tourists to the nearby Cranberry Isles (Great Cranberry, Islesford (Little Cranberry), and Sutton. Cranberry Isles are the five islands of Great Cranberry, Islesford (Little Cranberry), Sutton, Baker and Bear. Buoys dot the surrounding waters where lobster fisherman haul their catch in the morning and afternoons. The communities on these islands are home to many of the fishermen. Cranberry Isles received a U.S. Department of Agriculture (USDA) Rural Development (RD) Community Connect Grant in the amount of $1,320,370. This is the first Community Connect Grant a Maine community has received in over a decade. Rural Development funds will be used to construct a combination fiber-to-the-premises (FTTP) and fixed wireless system providing service to the unserved islands of Great Cranberry, Islesford (FTTP service) and Sutton (fixed wireless), Maine. Approximately 141 year-round residents will benefit from the funded system, though in the summer population increases to 1,260. The proposed system will bring increased economic, educational, and health care opportunities to the island. Residents will be able to access a Community Center with Internet service for a period of at least two years. On Islesford the Cranberry Isles Fishermen’s Co-op who rely on stable computer connections pay the fishermen for their catch and sell the products in their stores. Islesford Artisans, operated by Katy Fernald, displays and sells art work from her family of Danny and Malcolm; and the community of more than 30 artisans on the island. The faster and reliable internet connection makes it easy to update and maintain their web site for online sales. A recent sell went to a buyer in England. Residents such as Dr. Ralph ‘Skip’ Stevens, can now can grade his university students’ work from home. In the past, especially in winter he would have to make his way through the snow to the island’s library “Neighborhood House” to do his work. For years the library had been then only high speed connection with a wifi router so people could be in or near the building and get connected. On February, 2018, Dr. Stevens can now stay at home to communicate with his students and grade their work. USDA Photo by Lance Cheung.

Background: Parasitic diseases in tropical regions are important cause of morbidity and mortality. Some groups of infection that sufficient attention has not been attributed to by donors and planners worldwide still exist presently. These infections include schistosomiasis, soil transmited helminthes (STHs), amibiasis etc. Intestinal parasitic infections still constitute major public health threats in many parts of Cameroon. To improve on the different control measures and their effectiveness, continuous surveys are necessary to update epidemiological data.

 

Aim: This study aim to evaluate the transmission level of intestinal parasitosis and morbidity indicators link to infections in inhabitants of Lolodorf Health district in south Cameroon. Informations from such studies will permit to build concrete recommendations for the National control program for these infections.

 

Methodology: A total of 423 participants were recruited for the study. Stool samples were collected and examined microscopically for the search of helminthes eggs and protozoan cysts using Kato Katz and concentration formol-ether techniques respectively. Anemia was evaluated by measuring heamoglobin level using the spectrophotometic technic with a hemoglobinometer URIT-12 while malnutrition was determined by taking anthropometric parameters.

 

Results: Out of 423 participants examined, 321 (75.9%) were infected with Ascaris lumbricoides (30.3%), Trichuris trichiura (64.5%), Hookworms (12.5%), E. histolytica/ E. dispar (9.9%) and E. coli (34.0%). Among infected individuals, 117 (36.4%) had single infections, while 204 (63.6%) had multiple infections. Multiple infections were significantly high (P= 0.0001) compared to single infections. E. histolytica/ E. dispar infection was significantly more prevalent in females than in males (P=0.01), same as in participants of 3-5 years for Hookworms (P= 0.02), 3-5 years and 11-15 years for E. coli (P= 0.04). T. trichura infections occurred more frequently as single infection (P= 0.0001). Interactions between T. trichiura+ E. coli led to a significant increase of E. coli prevalence (P= 0.001). Significant high egg load was observed for T. trichiura (P= 0.00001) and in people between 3-5 years infected by T. trichiura (P=0.0001) and hookworms (P=0.0001). Low infection intensity was significantly more observed compared to moderate and high infection intensities (P= 0.0001) for A. lumbricoides, T. trichiura, and Hookworm. T. trichiura density increases significantly when it interacts with A. lumbricoides + Hookworms, A. lumbricoides + E. coli, Hookworms + E. coli, E. histolytica/ E. dispar + E. coli, A. lumbricoides + Hookworms + E. coli and A. lumbricoides + E. histolytica/ E. dispar + E. coli (P< 0.05).Anemia and malnutrition were the morbidity indicators evaluated. Participants were severely anemic (46.2%) with probable chronic malnutrition (36.7%). Moderate anemia was significantly more observed in infected participants (49.7%: P<0.0001), same for participants of 11-15 years for the two indicators (P<0.0001).

 

Conclusion: This study has demonstrated that the Ngovayang health area in the health district of Lolodorf is highly endemic for intestinal parasites with high level of anemia and malnutrition observed in individuals, constitutes an area with high risk of transmission. This implies that, the protocol of mass drug administration recommended by MINSANTE might not be adequate to reduce the endemicity level and morbidity caused by these parasites. Also, recommendations for control measures should be done while taking into consideration the impact of morbidity indicators in infected population.

 

Author(s) Details

 

Dr. Nkengazong Lucia

Institute of Medical Research and Medicinal Plants Studies (IMPM), Yaounde, P.O.Box 13033, Cameroon & Laboratory of Parasitology and Ecology, Faculty of Science, University of Yaounde I, P.O.Box 812, Cameroon.

 

Ngo Ngue Thérèse Nadyne

Faculty of Science, University of Ngaoundere, P.O.Box 454, Cameroon.

 

Professor Nukenine, Elias Nchiwan

Faculty of Science, University of Ngaoundere, P.O.Box 454, Cameroon.

 

Ngué Monique

Institute of Medical Research and Medicinal Plants Studies (IMPM), Yaounde, P.O.Box 13033, Cameroon.

 

Prof. Moyou-Somo Roger

Institute of Medical Research and Medicinal Plants Studies (IMPM), Yaounde, P.O.Box 13033, Cameroon.

 

Read full article: bp.bookpi.org/index.php/bpi/catalog/view/59/645/525-1

View More: www.youtube.com/watch?v=KVLrr_CjRYo

When couples dream of their perfect wedding destination abroad, their vision often includes escaping to a far-away place that offers all of the charms one could possibly desire for their Religious or Civil Ceremony.

 

So, if you're looking at celebrating your wedding in Sicily, Taormina is a good choice.Taormina's beauty is uncontested.Some cities are known for their art treasures, others for their natural beauties; only a few, like Taormina, own both.Visitors to this magical yet relatively undiscovered island, leave with its images of sheer beauty, its cultural simplicity, the passion and warmth of the people and historical delights etched permanently in their memories.Within its ancient stone gates, the old town has fascinating archeological monuments and medieval homes like Palazzo Santo Stefano (where civil weddings are held). Magnificent views of the sea complete the picture.The most famous is the view overlooking the Greco-Roman amphitheatre; with Mount Etna and the sea in the background.

 

The city is located on a cliff top overlooking the deep blue of the never ending horizon reflected in a clear turquoise sea which surrounds the bays and beaches.In fact it is Sicily's number one tourist resort, boasting magnificent scenery, architecture and great local cuisine.It's no wonder tourists flock to Taormina every year. Its rich culture and crystal clear sea and views of Mount Etna create a magical atmosphere.Taormina has endlessly winding medieval streets and tiny passages, each with its own secrets. Some of these intriguing places are secluded gardens hidden by stone walls; others are set on terraces overlooking the coast or in more public but equally pleasant squares.Taormina is beautiful by day but in the evenings its atmosphere is simply enchanting, whether you stroll the illuminated streets or indulge in the view of the coast over an authentic Sicilian dinner.Taormina's ancient Greek splendor, medieval charm and unique views will leave you with a lasting impression of Sicily.The climate is mild even in the winter, where it feels like eternal spring time. Its air is filled with the scent of orange and lemon blossoms.Steal away on an island retreat in beautiful Sicily, as it offers a taste of the traditional with a delicate touch of the exotic.There are several charming churches here in which to have a Catholic wedding, as well as Taormina's city hall for civil weddings, which takes an exquisitely charming medieval mood.Taormina's regal Norman Byzantine, Romanesque and Baroque churches offer a beautiful venue for a religious wedding.Couples may choose to exchange their wedding vows in any of these spectacular locations!The whole Taormina experience leaves visitors breathless and enthusiastic to plan their dream wedding here.

 

Make the dream come true for you...

 

www.weddinginsicily.ie/

 

www.timeoutpub.com/

   

Taormina is a comune and small town on the east coast of the island of Sicily, Italy, in the Province of Messina, about midway between Messina and Catania. Taormina has been a very popular tourist destination since the 19th century. It has popular beaches (accessible via an aerial tramway) on the Ionian sea, which is remarkably warm and has a high salt content. Taormina can be reached via highways from Messina from the north and Catania .Just south of Taormina is the Isola Bella, a nature reserve. Tours of the Capo Sant' Andrea grottos are also available. Taormina is built on an extremely hilly coast, and is approximately a forty-five minute drive away from Europe's largest active volcano, Mount Etna.A stay at Taormina is not just a seaside vacation. This area, rich in charm and history, must be experienced in a spirit that is outside the ordinary, and for one simple reason: here, everything is extraordinary. Every stone is a thousand-year-old piece of history, the glorious sea reflects Taormina's beauty, as it shapes and marks the passage of time, and the places that enchanted the Greeks create to this day a vibrant and exciting ambiance. But trying to describe in words what makes Taormina unique is truly difficult.

 

Taormina ist eine Stadt mit 11.076 Einwohnern (Stand 31. Dezember 2010) an der Ostküste Siziliens. Die Gründung der Stadt geht auf die Sikuler zurück, die schon vor der griechischen Kolonisation auf den Terrassen des Monte Tauro siedelten. Im 4. Jahrhundert vor Christus wurde die Stadt griechisch. Die heutige Stadt ist eine Neugründung aus dem Mittelalter, nachdem die Araber die antike Stadt zerstört hatten.Auf Grund der malerischen Landschaft, des milden Klimas und zahlreicher historischer Sehenswürdigkeiten entwickelte sich die Stadt im 19. und 20. Jahrhundert zu einem der wichtigsten Touristenzentren Siziliens. Besonders bekannt und sehenswert sind das antike Theater mit Blick auf den Ätna und den Golf von Giardini-Naxos und die kleine Insel Isola Bella vor der Küste Taorminas.

 

Taormina (griego antiguo Ταυρομένιον, Tauromenion, latín Tauromenium) es una ciudad situada en la costa este de la isla de Sicilia (Italia), en la provincia de Mesina, a medio camino entre Mesina y Catania. Cuenta con 10.991 habitantes.Está casi en el límite de la provincia de Catania, se extiende por el monte Tauro, a 200 m de altitud, y se halla en un balcón sobre el mar, enfrente del volcán Etna. Es un centro turístico muy importante desde el siglo XIX.Posee magníficas playas (accesibles mediante teleférico) y un patrimonio histórico muy rico, cuyo máximo exponente es el célebre teatro greco-romano. Además, se conserva un castillo árabe, que ocupa el lugar de la antigua ciudadela o Arx.Taormina y el volcán Etna al fondo, desde el teatro griego.La ciudad fue fundada por los griegos en el 736 a. C., con el nombre de Naxos.La leyenda cuenta que los marinos griegos que pasaban por la costa oriental de Sicilia olvidaron realizar sacrificios en honor a Poseidón, y él, encolerizado, les hizo naufragar. El único superviviente, Teocles, llegó al Capo Schico, próximo a Naxos, y volvió a Grecia para contar las maravillas de Sicilia, convenciendo a sus compatriotas para instalarse en la isla.

 

Taormine, en italien Taormina, est une commune de la province de Messine en Sicile (Italie).Taormine est située sur la côte est de la Sicile, à peu près à mi-chemin entre Messine et Catane (50 km), presque à la limite de la province de Catane.Elle s’étend sur le Mont Tauro à 200 m d’altitude. La ville est en balcon sur la mer face à l’Etna. La Calabre, distante d'environ 30 km, est visible par temps clair ainsi que la nuit.La légende dit que des marins grecs, passant sur la côte orientale de la Sicile, avaient oublié de sacrifier à Neptune. Celui-ci, en colère, fit chavirer leur embarcation. Le seul survivant, Théocle, parvint au Cap Schiso, non loin du site de Naxos (aujourd'hui Giardini-Naxos). Il retourna ensuite en Grèce pour narrer à ses compatriotes les merveilles de la Sicile. Certains, convaincus, décidèrent de venir s’y installer.

 

Taormina è un comune di 10.991 abitanti della provincia di Messina. E' uno dei centri balneari di maggiore rilievo di tutta la regione. Il suo aspetto, il suo paesaggio, i suoi luoghi, le sue bellezze riescono ad attirare turisti provenienti da tutto il mondo.Situata su una collina a 206 m di altezza sul livello del mare , sospesa tra rocce e mare su un terrazzo del monte Tauro, in uno scenario di bellezze naturali unico per varietà e contrasti di motivi , splendore di colori e lussureggiante vegetazione.Il clima è dolcemente mite.Molto belle le mezze stagioni , Primavera e Autunno infatti vantano un clima idealmente mite.La storia di Taormina è sicuramente costellata da molteplici dominazioni, e questo è possibile vederlo passeggiando per le strade del centro storico che mostrano i segni lasciati dai vari popoli passati per Taomina. Essendo situata al centro del mediterraneo la Sicilia fu sempre una preda ambita per la sua posizione strategica di passaggio,situata sulla parte est e in posizione fortificata su una collina permetteva già da allora di controllare buona parte della costa ionica e ha sempre rappresentato un ottimo punto di fortificazione e controllo nelle stradegie di guerra. Dopo aver attestato l'esistenza di una sede di siculi ( antichi abitanti dell'isola, detti anche sicani) presso Taormina, per certo vi passarono e vi lasciarono le loro tracce I Greci, i Romani, i Saraceni, dunque gli Arabi, i Bizantini ,I Normanni , Gli Aragonesi , e per ultimi i Borboni.Un soggiorno a Taormina non è semplicemente una vacanza al mare. Questi luoghi, pregni di storia e di fascino, chiedono infatti di essere vissuti con uno spirito diverso da quello comune e la ragione è semplice: qui tutto è fuori dall'ordinario.Ogni pietra reca in sé una storia millenaria, il mare meraviglioso su cui Taormina riflette tutta la sua bellezza, condiziona e scandisce lo scorrere del tempo ed i luoghi che furono l'incanto dei greci trasmettono tutt'oggi un'atmosfera vibrante di emozioni. Ma tentare di descrivere con le parole ciò che rende unica Taormina è davvero difficile.

 

Font : Wikipedia

 

www.youtube.com/watch?v=qgokPbsuXrw

 

www.youtube.com/watch?v=2na3n59torA

 

www.youtube.com/watch?v=SMiplnTr6FU

 

www.youtube.com/watch?v=XDDZzYD2vxY

As always NEoN celebrates its festival with a late night party. Acts include Plastique Fantastique, Verity Brit & Musician U, Fallope & The Tubes and Resident DJ RHL. With a pop up bar and performances amongst our large group exhibition the vast factory space West Ward Works, this night promises to be a visual audible delight.

 

Plastique Fantastique (UK)

 

A performance fiction envisaged as a group of human and non-human avatars delivering communiqués from the past and the future. The communiqués are channelled through installations, writing, comics and sound and moving image work and performances, addressing technology, popular and mass media and sacred cultures and also human-machine animals and non-human entities and agents. Over several years, numerous people have produced Plastique Fantastique but there is also a core group producing the performance fiction. Plastique Fantastique was first presented by David Burrows and Simon O’Sullivan and developed with long-term collaborators Alex Marzeta and Vanessa Page, and more recently with Mark Jackson. For NE0N 2017, this group will call forth and trap a bit-coin-fairy-spirit to ask it seems questions. The performance – Plastique Fantastique Protocols for the Society for Cutting Up Mun-knee-snakers (S.C.U.M.): I-Valerie-Solaris-AKA-@32ACP-Amazon.co.uk-recommends-‘Pacific-Rim’ may/may-not shoot b1t-c0in-f@iry-sp1r1t) – uses drone-folk-songs, moving image projection, reliquaries and ritual to manifest the block-chain-spirit.

 

David Burrows, Alex Marzeta, Vanessa Page and Mark Jackson will be performing.

  

Rites of the Zeitgeber, Verity Brit & Musician ‘U’ (UK)

 

9 channel video installation, live score performed by musician ‘U’

 

The Zeitgeber (‘time giver’ or ‘synchroniser’) is honoured by a triadic henge of stacked CRT monitors in which past durations collide with future vacuums. Strange extra-terrestrial topographies are traversed across geological time and the internet. Curious substances are unearthed and lost languages resurrected. Fragments from Mina Loy, J. G. Ballard and Henri Bergson emerge amongst an archaeology of media from Super 8, VHS, to HD. Time bends from matter, history is up-set and the clock is obsolete.

 

Verity Birt an artist based in London. She studied an MA in Moving Image at the Royal College of Art (2013–2015) and BA in Art Practice at Goldsmiths University of London (2008–2011). She is involved with collaborative research groups; The Future is a Collective Project, Reconfiguring Ruins and a founding member of women artists collective Altai. This summer, Verity was artist in residence at BALTIC and The Newbridge Project in Newcastle. Previous exhibitions include: Our House of Common Weeds; Res. Gallery, London (2017); Relics from the De-crypt | Gossamer Fog Gallery London (2017), Altai in Residence, Experiments in Collective Practice, Dyson Gallery, London (2017); Chemhex Extract, Peacock Visual Arts, Aberdeen (2016); Feeling Safer, IMT Gallery, London and Gallery North, New York (2016); Come to Dust, Generator Projects, Dundee (2016)

 

Fallopé & The Tubes (UK)

 

A weirdo-punk performance band. Each live show features live humans! film and visuals! costumes! sculpture! visual props! and music/a sequence of sounds!

 

Fallopé and The Tubes is a fluctuating live musical and performative event with contributions from Sarah Messenger, Ruby Pester, Nadia Rossi, Rachel Walker, Catherine Weir, Emma McIntyre and Skye Renee Foley. The group are made up of Scottish based artists and musicians that are also filmmakers, festival organisers, librarians, boatbuilders and more who work collaboratively to devise live performances. Drawing influence from a wide range of fringe and mainstream musical genres, exploring sexuality, elements of social satire, self promotion and leftist political ideologies.

 

The group was established in January 2014 at Insriach Bothy, Aviemore and have developed their practice during numerous residency experiences across Scotland. By living and working together ‘off grid’ the group have developed experimental techniques to create a collective energy. Fallopé & The Tubes draw influence from a wide range of fringe and mainstream musical genres, as well as sexuality, elements of social satire and self promotion and leftist political ideologies. Soakin Records

 

DJ RHL (UK)

 

Resident NEoN DJ has been entertaining us since 2010. Djing for about 25 years, he predominately plays Techno but you often find him playing anything dance music related. Spinning old school vinyl sets containing an eclectic mix of old and new stuff. RHL just likes making people dance. Check here for past performances.

 

Accompanying DJ RHL is ‘The Wanderer‘ aka Naomi Lamb. Naomi works layers of diverse video loops into an ever evolving collage colours textures and shape and intuitively mixies visuals live. She improvises, freestyles and channels the room, customising the ephemeral moving collage in response to the tone of the happening.

 

For the past 20 years Naomi has been a prolific live video art performer utilising techniques and process that is often associated with the ever growing subculture of VJing and presents under the name of ‘The Wander’. Naomi has an intimate knowledge of not only the process of live video performance but also an wide reaching connections within the VJ community and has performed at many of the leading outdoor music and art festivals in New Zealand with a debut at two English Festivals this summer and she is super please for her first time mixing it up in Scotland to be at NEoN. “

 

AGK Booth

 

Yuck ’n Yum hereby invites you to attend the Annual General Karaoke booth at this year’s NEoN at Night. The AGK is a fiercely contested karaoke video competition, getting creative types to make videos that will shock, delight and confound its audience. First staged back in 2010, over the years the AGK has built up a sizeable back catalogue of singalong anthems encompassing everything from pop classics to the most extreme avant garde out there. Now Yuck ’n Yum will bring the AGK archive to NEoN revellers in an audiovisual extravaganza that will overturn everything you ever thought you knew about karaoke convention. This November, Yuck ’n Yum together with NEoN are making a song and dance about it.

 

About the Artists Yuck ‘n Yum is a curatorial collective formed in Dundee 2008. Until 2013 its main raison d’etre was to make zines and distribute art. The AGK booth is the first of three projects that will kick start a period of activity after a couple of years of hibernation.

 

Yuck ‘n Yum are Andrew Maclean, Gayle Meikle, Ben Robinson, Alexandra Ross, Alex Tobin, Becca Clark and Morgan Cahn.

 

WEST WARD WORKS

Guthrie Street

DD1 5BR

 

Images: Kathryn Rattray Photography

GOVERNOR ANNOUNCES STOP VIOLENCE AGAINST WOMEN ACT

PROGRAM GRANT AWARDS

  

CHARLESTON -- Governor Earl Ray Tomblin today, June 29, 2016, awarded $1,087,599.00 in STOP Violence Against Women Grant Program funds for twenty-eight (28) projects statewide. The purpose of these funds is to establish or enhance teams whose core members include victim service providers, law enforcement, and prosecution to improve the criminal justice system's response to violence against women. Grants provide personnel, equipment, training, technical assistance, and information systems for the establishment or enhancement of these teams. Additionally, statewide projects are funded to provide training and educational opportunities for all victim service providers, law enforcement, prosecution, and court personnel throughout the state.

STOP funds are awarded from the Office on Violence Against Women, Office of the U.S. Department of Justice. The funds are administered by the Division of Justice and Community Services.

Funds were awarded to the following:

CABELL

 

Branches Domestic Violence Shelter, Inc.$55,446.00

These funds provide for the enhancement and the continuation of the Cabell County STOP Team to improve the criminal justice system's response to victims of domestic violence, sexual assault, stalking and dating violence. The core Team includes the Cabell County Prosecutor's Office, Branches Domestic Violence Shelter, CONTACT of Huntington, and the Huntington Police Department.

 

Contact:Ms. Amanda McComas

Phone: (304) 529-2382

Email: mccomas@branchesdvs.org

 

CALHOUN

 

Family Crisis Intervention Center$19,799.00

These funds provide for the enhancement and the continuation of the Calhoun County STOP Team to improve the criminal justice system's response to victims of domestic violence, sexual assault, stalking and dating violence. The core Team includes the Calhoun County Prosecutor's Office, the Family Crisis Intervention Center, and the Calhoun County Sheriff's Department.

 

Contact:Ms Emly S. Larkins

Phone: (304) 428-2333

Email: eelarkins@suddenlink.net

 

FAYETTE

 

Comprehensive Women's Service Council$32,671.00

These funds provide for the enhancement and the continuation of the Fayette County STOP Team to improve the criminal justice system's response to victims of domestic violence, sexual assault, stalking and dating violence. The core Team includes the Fayette County Prosecutor's Office, the Comprehensive Women’s Service Council, and the Fayette County Sheriff’s Department.

 

Contact:Ms. Patricia M. Bailey

Phone: (304) 255-2559

Email: Pbailey@wrcwv.org

 

GRANT

 

Family Crisis Center, Inc.$17,683.00

These funds provide for the enhancement and the continuation of the Grant County STOP Team to improve the criminal justice system's response to victims of domestic violence, sexual assault, stalking and dating violence. The core Team includes the Grant County Prosecutor’s Office, the Family Crisis Center, and the Grant County Sheriff’s Department.

 

Contact:Ms. Sony Fazzalore

Phone: (304) 788-6061

Email: fcc911@frontier.com

 

GREENBRIER

 

Family Refuge Center$53,040.00

These funds provide for the enhancement and the continuation of the Greenbrier County STOP Team to improve the criminal justice system's response to victims of domestic violence, sexual assault, stalking and dating violence. The core Team includes the Greenbrier County Prosecutor's Office, the Family Refuge Center, the Lewisburg Police Department, and the Greenbrier County Sheriff’s Department.

  

Contact:Ms. Kenosha Davenport

Phone: (304) 645-6334

Email: kenoshad@familyrefugecenter.org

 

HARRISON

 

Task Force on Domestic Violence, "HOPE, Inc."$43,176.00

These funds provide for the enhancement and the continuation of the Harrison County STOP Team to improve the criminal justice system's response to victims of domestic violence, sexual assault, stalking and dating violence. The core Team includes the Harrison County Prosecutor's Office, the Task Force on Domestic Violence “HOPE, Inc.”, the Bridgeport Police Department and the Clarksburg Police Department.

 

Contact:Ms. Harriet Sutton

Phone: (304) 367-1100

Email: hmsutton@hopeincwv.org

 

KANAWHA

 

Kanawha County Commission$46,429.00

These funds provide for the enhancement and the continuation of the Kanawha County STOP Team to improve the criminal justice system's response to victims of domestic violence, sexual assault, stalking and dating violence. The core Team includes the Kanawha County Prosecutor's Office, the YWCA Resolve Family Abuse Program, the Family Counseling Connection – REACH Program, Beginning My Empowerment Thru Emmanuel's Kingdom (BEMEEK) Outreach Program, the Kanawha County Sheriff’s Department, and the Charleston Police Department.

 

Contact:Ms. Gale A. Teare

Phone: (304) 357-0499

Email: galeteare@kcso.us

 

MARION

 

Task Force on Domestic Violence, "HOPE, Inc."$51,078.00

These funds provide for the enhancement and the continuation of the Marion County STOP Team to improve the criminal justice system's response to victims of domestic violence, sexual assault, stalking and dating violence. The core Team includes the Marion County Prosecutor's Office, the Task Force on Domestic Violence, "HOPE, Inc.", the Marion County Sheriff's Department, and the Fairmont Police Department.

  

Contact:Ms. Harriet Sutton

Phone: (304) 367-1100

Email: hmsutton@hopeincwv.org

  

MARSHALL

 

Marshall County Commission$25,259.00

These funds provide for the enhancement and the continuation of the Marshall County STOP Team to improve the criminal justice system's response to victims of domestic violence, sexual assault, stalking and dating violence. The core Team includes the Marshall County Prosecutor's Office, the YWCA Family Violence Prevention Program, and the Marshall County Sheriff's Department.

 

Contact:Ms. Betsy Frohnapfel

Phone: (304) 845-0482

Email: bfrohnapfel@marshallcountywv.org

 

MINERAL

 

Family Crisis Center, Inc.$17,683.00

These funds provide for the enhancement and the continuation of the Mineral County STOP Team to improve the criminal justice system's response to victims of domestic violence, sexual assault, stalking and dating violence. The core Team includes the Mineral County Prosecutor's Office, the Family Crisis Center, and the Mineral County Sheriff’s Department.

 

Contact:Ms. Sonya Fazzalore

Phone: (304) 788-6061

Email: fcc911@frontier.com

 

MINGO

 

Tug Valley Recovery Shelter, Inc.$43,576.00

These funds provide for the enhancement and the continuation of the Mingo County STOP Team to improve the criminal justice system's response to victims of domestic violence, sexual assault, stalking and dating violence. The core Team includes the Mingo County Prosecutor's Office, the Tug Valley Recovery Shelter, and the Mingo County Sheriff's Department.

 

Contact:Ms. Kim Ryan

Phone: (304) 235-6121

Email: k.s.ryan@hotmail.com

 

MINGO, LOGAN

 

Tug Valley Recovery Shelter, Inc.$32,596.00

These funds provide for the enhancement and the continuation of the Logan County STOP Team to improve the criminal justice system's response to victims of domestic violence, sexual assault, stalking and dating violence. The core Team includes the Logan County Prosecutor's Office, the Tug Valley Recovery Shelter, and the Logan County Sheriff’s Department.

 

Contact:Ms. Kim Ryan

Phone: (304) 235-6121

Email: k.s.ryan@hotmail.com

MONONGALIA

 

The Rape & Domestic Violence Information Center, Inc.$54,599.00

These funds provide for the enhancement and the continuation of the Monongalia County STOP Team to improve the criminal justice system's response to victims of domestic violence, sexual assault, stalking and dating violence. The core Team includes the Monongalia County Prosecutor's Office, the Rape and Domestic Violence Information Center, the Morgantown Police Department, the Monongalia County Sheriff’s Department, and the Star City Police Department.

 

Contact:Ms. Judy King

Phone: (304) 292-5100

Email: rdvic99@earthlink.net

 

Monroe

 

Family Refuge Center$23,825.00

These funds provide for the enhancement and the continuation of the Monroe County STOP Team to improve the criminal justice system's response to victims of domestic violence, sexual assault, stalking and dating violence. The core Team includes the Monroe County Prosecutor's Office, the Family Refuge Center, and the Monroe County Sheriff's Department.

 

Contact:Ms. Kenosha Davenport

Phone: (304) 645-6334

Email: kenoshad@familyresourcecenter.org

 

NICHOLAS

 

Comprehensive Women's Service Council$36,904.00

These funds provide for the enhancement and the continuation of the Nicholas County STOP Team to improve the criminal justice system's response to victims of domestic violence, sexual assault, stalking and dating violence. The core Team includes the Nicholas County Prosecutor's Office, the Comprehensive Women’s Service Council and the Nicholas County Sheriff's Department.

 

Contact:Ms. Patricia M. Bailey

Phone: (304) 255-2559

Email: pbailey@wrcwv.org

 

OHIO

 

Ohio County Commission$87,614.00

These funds provide for the enhancement and the continuation of the Ohio County STOP Team to improve the criminal justice system's response to victims of domestic violence, sexual assault, stalking and dating violence. The core Team includes the Ohio County Prosecutor's Office, the YWCA Family Violence Prevention Program, the YWCA Cultural Diversity and Community Outreach Program, and the Ohio County Sheriff’s Department.

 

Contact:Mr. Scott R. Smith

Phone: (304) 234-3631

Email: ssmith@wvocpa.org

 

POCAHONTAS

 

Family Refuge Center $6,000.00

These funds provide for the enhancement of the Pocahontas County STOP Team to improve the criminal justice system's response to victims of domestic violence, sexual assault, stalking and dating violence. The core Team includes the Pocahontas County Prosecutor’s Office, the Family Refuge Center and the Pocahontas County Sheriff’s Department.

 

Contact:Ms. Kenosha Davenport

Phone: (304) 645-6334

Email: kenoshad@familyrefugecenter.org

 

PRESTON

 

The Rape & Domestic Violence Information Center, Inc.$35,643.00

These funds provide for the enhancement and the continuation of the Preston County STOP Team to improve the criminal justice system's response to victims of domestic violence, sexual assault, stalking and dating violence. The core Team includes the Preston County Prosecutor's Office, the Rape and Domestic Violence Information Center, and the Preston County Sheriff's Department.

 

Contact:Ms. Judy King

Phone: (304) 292-5100

Email: rdvic99@earthlink.net

 

PUTNAM

 

Putnam County Commission$25,421.00

These funds provide for the enhancement and the continuation of the Putnam County STOP Team to improve the criminal justice system's response to victims of domestic violence, sexual assault, stalking and dating violence. The core Team includes the Putnam County Prosecutor's Office, Branches Domestic Violence Shelter, the Family Counseling Connection - REACH Program, and the Putnam County Sheriff's Department.

 

Contact:Sheriff Steve Deweese

Phone: (304) 586-0256

Email: tcraigo@putnamwv.org

 

RALEIGH

 

Comprehensive Women's Service Council$60,535.00

These funds provide for the enhancement and the continuation of the Raleigh County STOP Team to improve the criminal justice system's response to victims of domestic violence, sexual assault, stalking and dating violence. The core Team includes the Raleigh County Prosecutor's Office, the Comprehensive Women’s Service Council, and the Beckley Police Department.

 

Contact:Ms. Patricia M. Bailey

Phone: (304) 255-2559

Email: pbailey@wrcwv.org

 

RANDOLPH

 

Women's Aid in Crisis$16,767.00

These funds provide for the enhancement and the continuation of the Randolph County STOP Team to improve the criminal justice system's response to victims of domestic violence, sexual assault, stalking and dating violence. The core Team includes the Randolph County Prosecutor's Office, Women's Aid in Crisis, and the Randolph County Sheriff’s Department.

 

Contact:Ms. Marcia R. Drake

Phone: (304) 626-8433

Email: mdrake@waicwv.org

 

ROANE

 

Family Crisis Intervention Center$17,398.00

These funds provide for the enhancement and the continuation of the Roane County STOP Team to improve the criminal justice system's response to victims of domestic violence, sexual assault, stalking and dating violence. The core Team includes the Roane County Prosecutor's Office, the Family Crisis Intervention Center, the Spencer Police Department, and the Roane County Sheriff's Department.

 

Contact:Ms. Emily S. Larkins

Phone: (304) 428-2333

Email: eelarkins@suddenlink.net

 

UPSHUR

 

Upshur County Commission$26,496.00

These funds provide for the enhancement and the continuation of the Upshur County STOP Team to improve the criminal justice system's response to victims of domestic violence, sexual assault, stalking and dating violence. The core Team includes the Upshur County Prosecutor's Office, Women's Aid in Crisis, and the Buckhannon Police Department.

  

Contact:Mr. David E. Godwin

Phone: (304) 472-9699

Email: degodwin@upshurcounty.org

  

STATEWIDE

 

West Virginia Prosecuting Attorneys Institute$39,284.00

These funds provide for the development and continuation of strengthening prosecution strategies and best practices as well as improve prosecution-based victim services in cases involving violence against women through training and the development of resources.

 

Contact:Ms. Sherry Eling

Phone: (304) 558-3348

Email: sherry.s.eling@wv.gov

 

West Virginia Foundation for Rape Information and Services$56,689.00

These funds provide for finalizing the development of an Advocate Guide and Protocol with participating correctional facilities in the state for service provision; convert training materials into e-learning resources; and work with Rape Crisis Centers on service implementation in order to work towards compliance with PREA requirements.

 

Contact:Ms. Nancy Hoffman

Phone: (304) 366-9500

Email: wvfris@frontier.com

 

West Virginia Supreme Court of Appeals$54,104.00

These funds provide for updating and printing the Domestic Violence Benchbook; to provide the salary of a DV Case Coordinator for the pilot program of the Kanawha County Domestic Violence Court; to maintain the Domestic Violence Registry back-up internet site; and to provide continued training for court personnel in the area of domestic violence, sexual assault, stalking and dating violence.

 

Contact:Ms. Angela Saunders

Phone: (304) 558-0145

Email: Angela.saunders@courtswv.gov

 

West Virginia Coalition Against Domestic Violence$43,763.00

These funds provide for the continued enhancement of the statewide domestic and sexual violence database; to provide training and technical assistance for STOP Teams and Domestic Violence Programs on cultural diversity and cultural competency; and to promote dating violence protocols.

 

Contact:Ms. Tonia Thomas

Phone: (304) 965-3552

Email: tthomas@wvcadv.org

  

West Virginia Foundation for Rape Information and Serivces$64,121.00

These funds provide for training activities, the on-going development and capacity building of service providers to victims of sexual assault, dating violence and stalking crimes, and to provide training and resources for these programs in order to provide services to sexual assault, dating violence, and stalking victims.

 

Contact:Ms. Nancy Hoffman

Phone: (304) 366-9500

Email: wvfris@frountier.com

  

Division of Justice & Community Services contact:

 

Sarah J. Brown

Senior Justice Programs Specialist

Division of Justice and Community Services

1204 Kanawha Boulevard, East

Charleston, West Virginia 25301

Phone: (304) 558-8814, Extension 53337

Email: Sarah.J.Brown@wv.gov

  

Photos available for media use. All photos should be attributed “Photo courtesy of Office of the Governor.”

Includes new Newark International Airport station and suspension of PATH service to the WTC.

Joshua Tree National Park is located in southeastern California. Declared a U.S. National Park in 1994 when the U.S. Congress passed the California Desert Protection Act (Public Law 103-433), it had previously been a U.S. National Monument since 1936. It is named for the Joshua tree (Yucca brevifolia) forests native to the park. It covers a land area of 789,745 acres (319,598 ha). A large part of the park is designated to wilderness area—some 429,690 acres (173,890 ha). Straddling the San Bernardino County/Riverside County border, the park includes parts of two deserts, each an ecosystem whose characteristics are determined primarily by elevation: the higher Mojave Desert and lower Colorado Desert. The Little San Bernardino Mountains run through the southwest edge of the park.

 

The higher, drier, and slightly cooler Mojave Desert is the special habitat of Yucca brevifolia, the Joshua tree for which the park is named. It occurs in patterns from dense forests to distantly spaced specimens. In addition to Joshua tree forests, the western part of the park includes some of the most interesting geologic displays found in California's deserts. The dominant geologic features of this landscape are hills of bare rock, usually broken up into loose boulders. These hills are popular amongst rock climbing and scrambling enthusiasts. The flatland between these hills is sparsely forested with Joshua trees. Together with the boulder piles and Skull Rock, the trees make the landscape otherworldly.

 

There are several hiking trails within the park, many of which can be accessed from a campground. Shorter trails, such as the one mile hike through Hidden Valley, offer a chance to view the beauty of the park without straying too far into the desert.

 

The park is popular with rock climbers and was originally a winter practice area while Yosemite Valley and other parts of the Sierra Nevada were snowbound, but later became an area of interest in its own right. There are thousands of named climbing routes, at all levels of difficulty. The routes are typically short, the rocks being rarely more than 230 ft (70 m) in height, but access is usually a short, easy walk through the desert, and it is possible to do a number of interesting climbs in a single day. The rocks are all composed of quartz monzonite, a very rough type of granite made even more so as there is no snow or ice to polish it as in places like Yosemite.

 

en.wikipedia.org/wiki/Joshua_Tree_National_Park

 

en.wikipedia.org/wiki/Wikipedia:Text_of_Creative_Commons_...

Choose to Include Peace Walk. Photo by Thomas Graning/Ole Miss Digital Imaging Services

Ron’s Challenger includes several innovations and modifications not found in conventional Challenger engines; he eliminated most of the castings and replaced them with his custom machined parts. This one includes a custom made 6-blade fan with airfoil blades that he produced on his EDM machine. The new gear case in front not only supports the distributor drive, but also the fuel and oil pumps and a robust water pump bracket. His high capacity water pump delivers an even flow to both cylinder banks and through his custom aluminum radiator; and the finishing touch was the addition of his signature trademark “MOON” accelerator pedal. The engine has a bore of 1 inch and a stroke of 1 inch for a total displacement of 5 cubic inches. He finished the engine in 2006 and demonstrated it at many model engineering shows and hot rod events.

 

In 2011 he disassembled it, added two main bearings for a total of five, and fabricated a 90 degree crankshaft to replace the standard 180 degree crankshaft. It is a strong runner and produces a notable cadence much different from other Challenger engines.

 

See More Ron Bement Engines at: www.flickr.com/photos/15794235@N06/albums/72157672412869233

 

See More V8 Engines at: www.flickr.com/photos/15794235@N06/albums/72157663468409191

 

See Our Model Engine Collection at: www.flickr.com/photos/15794235@N06/albums/72157602933346098

 

Visit Our Photo Albums at: www.flickr.com/photos/15794235@N06/sets

 

Courtesy of Ron and Diane Bement

Lori R. Lee and children

Mark A. Bement and children

Paul and Paula Knapp

Miniature Engineering Museum

www.engine-museum.com

   

Maybee is a village in southwestern Exeter Township in Monroe County in the U.S. state of Michigan, established in 1873 and incorporated in 1899. The population was 562 at the 2010 census. Most of the village is served by Monroe Public Schools and is located in the extreme northwest portion of the district, but the westernmost strip of the village is located within the Dundee Community Schools district.

 

Maybee was named for Abram Maybee, who, along with Joseph Klotz, surveyed, platted, and sold the land that became the village between 1873 and 1875. The village was incorporated in 1899. Spurred on by the railroad, the village grew to include a grain elevator, grist mill, stone quarry, sand pit, hotel, three churches, two schools, and several small factories and stores. It is primarily an agricultural community. The grain elevator and quarry are still operating, along with several small businesses and restaurants.

 

en.wikipedia.org/wiki/Maybee,_Michigan

 

en.wikipedia.org/wiki/Wikipedia:Text_of_Creative_Commons_...

Crochet pattern includes instructions for a cherry pie, cupcakes and a 3 tier cake

E.K.Yap, the MPA & MPAS multi-award winning photographer, has created many iconic masterpieces and photographed covers & campaigns for influential publications & luxury brands. His projects include Patek Philippe, Breguet, Chopard, Bvlgari, Cartier, Chanel & Franck Muller to name a few.

 

With his wide-ranging experience in art as a creative director in the advertising & publishing industry, he consistently achieves the best results with his precision skill, specialising in luxury projects particularly jewellery, timepiece, product, interior, portrait & fashion.

 

PHILOSOPHY

“I'm passionate in capturing more than just a beautiful image, I like to craft an inspiring masterpiece with soul & meaning”

 

AWARD

Advertising/Advertorial/ Editorial - MPA Far East

Architecture/ Cityscape/ Interior - MPA Far East

Illustrative & Creative - MPA Far East

Fashion - MPA Far East

Still Life - MPA Far East

Best Cover - MPAS

 

PROJECT

A. Lange & Söhne/ Audemars Piguet/ Azimuth/ Aston Martin/ ABN Ambro/ Arium Collection/ Arcatel/ Anlene/ Aqua Culture/ Adidas/ Aries Gold/ Bvlgari/ Breguet/ Bottega Veneta/ Boucheron/ Blancpain/ Breitling/ Baker Furniture/ BBDO/ Borobudur/ Bonhams/ Berggren Jewellery/ Cartier/ Chanel/ Chopard/ CitiGold/ Carat Club/ CapitaLand/ CLIO/ CEL Development/ Coty/ Confetti by Mui/ Canon/ Dolce & Gabbana/ Distillery/ D Editors/ Dell/ Franck Muller/ Flower Diamonds/ Fujitsu/ Fuchsia Lane/ Farm Best/ Ferrari/ Girard-Perregaux/ Genting/ Green Chapter/ Gucci/ Geyer/ Harry Winston/ Hassell Studio/ Hilton Hotel/ Heeton/ Hublot/ Hassell Studio/ HDB/ Hermès/ I.D.Department/ IWC/ Image Bank/ ICI Duluxe/ Inoue Japan/ Jobstreet/ Jaeger-LeCoultre/ Johnny Walker/ JOID/ Kwanpen/ Krieit Associate/ KrisShop/ KFC/ K-Suites/ Louis Moinet/ Levi’s/ Lalique/ Luminox/ Lloyd’s Asia/ Ladurée/ Lush Radio/ Louis Vuitton/ Leonard Drake/ Livita/ Lifelink/ Manolo Blahnik/ Montblanc/ Mediacorp/ MCL Land/ Mirinda/ Marc Anthony/ Maxis Mobile/ Novetel Hotel/ NTU/ National Geographic/ Omega/ Patek Philippe/ Piaget/ Philips/ Playboy/ Prada/ Pepsi/ Pure Earth/ Richard Mille/ Rolex/ Roger Dubuis/ Resort World Sentosa/ Richemont/ Reebonz/ SkysShop/ Singland/ Splendor/ Sarcar/ Sinn/ Shangri-La Hotel/ SIA/ Shelton/ Sally Hansen/ Skin Science/ StarAsia/ Skin79/ Sally Hansen/ Sports Toto/ Spritzer/ 7-Up/ The Mill/ Tag Heuer/ Tiffany/ Transware/ The Hour Glass/ Tudor/ TV3/ Universal Studio/ Ulysse Nardin/ UOI/ UOB/ Vihari Jewels/ Vacheron Constantin/ Van Cleef & Arpels/ Wild Rice/ Zenith

 

EDITORIAL

August Man/ Affluent/August Women/ Appetite/ Adore/ Awesome/ Business Time/ Baccarat/ Business Craft/ Crown/ CitaBella/ Esquire/ ELLE/ Fiori/ Golf Vacations/ Harper’s Bazaar/ Inspire Travel/ Jewels & Time/ Jewellery Craft/ L’Official/ Luxury Guide/ Luxury Insider/ Luxx Jewellery/ Legacy of Singapore/ Men’s Folio/ Man Stuff/ OASiS/ Prestige/ Prestige Lifestyle/ Pen Craft/ PC World/ PC Magazine/ Robb Report/ RWS Invites/ Solitaire/ Style/ Tatler/ Tatler Wedding/ Tatler Home/ Time Craft/ TiCTalk/ World of Watches

Profile:Ben Bostrom

   

When you grow up in a motorcycle racing family, your typical Sunday picnic probably includes some bar-banging action with your little brother in front of Mom and Dad—and another 89,998 fans at Laguna Seca Raceway. For Red Rider Ben Bostrom, 1998 AMA Superbike Champion and World Superbike veteran, nothing pleases him more than dicing with his brother Eric, also an AMA Superbike contender, in front of a home crowd.

   

Bostrom returned to AMA Superbike racing last year aboard Honda’s RC51 after campaigning on the World Superbike circuit for three years. “Coming back home to ride for Honda and living with my brother Eric made me stronger,” says Bostrom. “In Europe, you’re constantly going from one place to another. Here, you race, jump on a plane and you’re home.” And home is a good place to be for the middle of three brothers who spent their youth riding, racing and camping with their family. “The spirit of competition is bred into all of us. It kept us tight and it kept us together,” Bostrom recalls.

   

Bostrom and Honda have a unique relationship built on confidence and something more. “I started with a Honda Z50 when I was a kid, and I’ve ridden Hondas most of my life. Honda is like family. I have a lot of trust in Honda because they put a lot into racing. I know every time I go out, I have the best bike on the track.”

   

At the inaugural Superbike race of 2003—the Daytona 200—Bostrom’s homecoming was remarkable, considering his absence from the track since 1999. He grabbed the pole position in qualifying and nearly won the marathon race, only to be nipped by teammate Miguel Duhamel .069 seconds short of the finish line. He rode consistently well for the remainder of the season, claiming five more podium appearances on his way to finishing fourth overall in the series.

   

At the end of the year, Bostrom surprised his many fans with an appearance in the AMA’s newest racing forum, Supermoto—a blend of on- and off-road racing on tracks comprised of both pavement and dirt. On a cool November evening in Las Vegas, he outrode many of the biggest names in the sport from around the world to capture the first AMA Supermoto Championship. “This championship was very important to me and to Honda,” he exclaimed on the podium. “Honda worked hard and gave me a great bike. Supermoto is a coming thing. We're going out tonight to celebrate!”

   

Bostrom would like nothing better than to celebrate his second AMA Superbike title on a Honda in 2004. His confidence is fueled by his enthusiasm for Honda’s new Superbike weapon, the CBR1000RR. “It’s an incredible bike. It’s so smooth, with an unbelievable engine, power everywhere. They have to drag me off,” he jokes.

   

Even though it’s been five years since he won the AMA Superbike championship aboard a Honda RC45, it didn’t take the gifted 29-year-old long to dial in his new machine. During the annual pre-season Dunlop tire test at Daytona International Speedway in December, Bostrom and his #155 CBR1000RR turned the fastest lap of the week—a 1:47.65, just a tick behind the lap record held by Nicky Hayden.

   

In the off-season, Bostrom lives for a competitive challenge and maintains his exceptional conditioning by rock climbing, surfing and riding motocross. At times he abstains from riding. “No bikes,” he says emphatically. “If you never get off the bike, you never appreciate what you have.”

   

As he enters his 11th year of professional motorcycle racing, Bostrom is philosophical about his career. “Whatever you do, life is about finding yourself, setting goals.” You don’t have to be a mind-reader to know where the determined Bostrom has set his sights. Armed with his new CBR1000RR tuned by legendary Crew Chief Merlyn Plumlee, Bostrom’s target is a second AMA Superbike Championship. He’s home. He’s happy. He’s hungry.

 

Ben Bostrom

   

2003

 

4th AMA Superbike

   

2002

 

5th FIM World Superbike

   

2001

 

3rd FIM World Superbike

   

2000

 

7th FIM World Superbike

   

1999

 

2nd AMA Superbike

   

1998

 

1st AMA Superbike

   

1997

 

2nd AMA 750 Supersport

 

12th AMA 600 Supersport

 

16th AMA Superbike

   

1996

 

2nd AMA Super Twins

 

4th AMA Supersport

 

AMA Rookie of the Year

   

1995

 

7th AMA Super Twins (Rookie road racing year)

 

9th AMA National 883 Dirt Track

   

1994

 

14th AMA National 600 Dirt Track

   

1992

 

6th AMA National 600 Dirt Track

 

AMA Dirt Track Rookie of the Year

   

Rider Profile

 

Born: May 7, 1974, Redding, California

 

Residence: Las Vegas, Nevada

 

National #: 155 AMA Superbike

 

Began riding: 1978, age 4

 

First race: 1982, age 8

 

Training: Rock climbing, running, motocross, trail riding, surfing, weight lifting

 

Hobbies: Rock climbing, snowboarding, dirt bikes, rock climbing, guitar

 

Height/weight: 5' 10"/157 lbs.

 

Marital status: Single

 

Current race bike: Honda CBR1000RR

 

Crew Chief: Merlyn Plumlee

 

Mechanics: David Jones, Mark Braunwalder, Rick Boyles

 

 

Sunday 5th February 2012 Doors open at 3.00pm - 9.00pm

Our acts are unsuitable for under 18's. £5 on the door but all confirmed performers are free.

 

We have an amazing sixth line up for you at The New inn Gloucester which includes the usual eclectic mix of acts bands singers and spoken word performers but for February we will have a predominantly large and diverse range of hilarious stand up comedy...lucky lucky Gloucester!!

  

As usual ARTournament will be giving away £100 in cash for the best audience voted performance of the day. Each member of the audience will be given one vote on the door when they arrive. The performer/s with the most votes at 8.45pm will be presented with £100 in cash-good luck everyone.

 

IMPORTANT.....PLEASE CAN ALL ACTS SIGN IN AN HOUR BEFORE THEY ARE DUE TO PERFORM AS DUE TO ILLNESS TRAINS PLANES AND AUTOMOBILES WE MAY HAVE TO CHANGE THE TIME SLOTS TO EARLIER OR LATER DEPENDING ON HOW THINGS ARE RUNNING and THERE WILL BE A FILM CREW ON SITE, IF ANYONE OBJECTS TO BEING FILMED CAN YOU PLEASE LET US KNOW ASAP.

 

On the Elephant Stage we have a good PA, 2 sm58 mics and can use CDs for backing tracks. The Moroccan Stage has a small PA and MIc and is acoustic/spoken word. if you need any help our engineer is James Candler (in friends list) Thanks

 

Compered by the talented Guy Williams who will also be performing his poetry for us on during the day.

 

3-3.30pm James Evans-Musician

3.30-3.45pm Lyn Cinderry

3.30-4pm Jim Evans and his tantalising Banjo

4-4.15pm Jeremy Toombs Poet

4.15-4.30pm James Bunting

4.30- 5pm Benita Johnson-Acoustic Set

5pm-5.15pm Alison Hustwitt

5.15-5.30pm Helen Gregory-Poet

5.30-5.40pm Citizen Smith-A poem

5.40-6pm Sophia Marie Bovall

6-6.15pm Debra hannis

6.15-6.30pm Andrew Owens

6.30-7pm Jade Richards Poetess.

7-7.15pm Guy Williams-a poet and also our compere for April.

7.15-7.30 Sarah Snell Pym TBC

7.30-8pm Angus McDressence Clements-very talented local musician who will be treating us to some new music.

8-8.30pm Damon Thomas and his beautiful blues.

 

Compere for the Elephant Stage is the multi talented hilarious comedy guru Josh Richards. He and Guy Williams are consistently a couple of the audience's favorite performers and we are looking forward to having them on our stages for the whole day.

 

3-3.30pm Hartley playing some sweet music

3.30-4pm Ratface Russ and his musical box of tricks.

4-4.30pm Shadowlight Sounds

4.30-5pm Rebecca Cant-Novembers favourite singer and £100 cash winner

5-5.15pm Claire Nelson-Our special funny lady and winner of last months audience vote.

5.15-5.30 Jamie Doughty-a special brand of funny

5.30-6pm Our funny Birmingham friends Louise+Nadeem and Lou

6-6.15pm Julie ‘Psycho’Jones-hilarious and winner of dec £100 prize.

6.15-6.30pm Demitris Deech-brilliant, witty, fast stand up

6.30-6.45pm Bambos- special kind of greek Musician-looking forward to this one..

6.45-7pm Matt Leigh-Clever Comedy and brand new material especially for you lot...

7.15-7.30pm Darren Hoskins and his box of comedy tricks

7.30-7.45pm John Bassett-very very funny

7.45-8pm Mark Chatterley-A laugh a minute

8.00-8.45pm Gregory Davies and the Simplistic Scientists-and its Greg's Birthday!

    

MARCH 2012

 

Elephant Stage-Bands and Comedy March 2012

Compered by the hilarious Josh Richards and his alter ego the Koala....

3.00-3.30pm Lisa Wilkinson-Acoustic

3.30-3.45pm Alison Hustwitt and her hilarious little songs

3.45-4.10pm Way Out West-a band you have to see to believe!

4.15-4.30pm Darren Hoskins and his box of comedy tricks

4.30-4.50pm Martin Thorne-An amazing blues singer and guitarist

5.00-5.10pm James Rushbrook and his new 2012 comedy set-lucky lucky us

5.15-5.25pm Mark Chatterley-A laugh a minute

5.30-5.45pm Julie ‘Psycho’Jones - Januarys winner and hilarious is an understatement!

5.45-6.00pm Demitris Deech-brilliant, witty, fast stand up and Febs Winner

6.00-6.15pm Josh Richards brings in the Koala-be scared, very scared!

6.15-6.45pm Stephen Grimes will be treating us all to a bit of hip hop

6.45-6.55pm Paul Cook With Some New Stand Up Comedy

7.00-7.30pm Martin Maidment and his infamous band Gagarin

7.30-8.00pm Club 41 James Alexander Dart and his rocking band

8.00-8.20pm Damon Thomas and his beautiful blues-came in second last month!

8.30-9.00pm Liam Dunn and his band www.stereoinfluence.com

   

Moroccan Stage-Spoken Word and Acoustic

Compered by the brains behind Worcester Literary Festival and a poet in her own right...the multi talented Lisa Ventura.

3.00-3.30pm Rebecca Cant-Decembers winner and an unbeleivable voice. TBC

3.30-3.45pm Lisa Ventura

3.45-4.00pm Andrew Owens

4.00-4.15pm Keith Hyatt-bringing some acoustic flamenco guitar and poetry

4.15-4.30pm Sarah Snell Pym

4.30-4.45pm Mark Chatterley

4.45-5.00pm Julie Jones and her comedy from the freezer

5.00-5.15pm Tony Judge-satirical short stories.

5.15-5.30pm Jeremy Toombs TBC

5.30-5.45pm Lyn Cinderry TBC

5.45-6.00pm James Bunting-Amazing Bristol Poet

6.00-6.15pm Chloe Lees-Grown up stories

6.15-6.30pm John Bassetts Dark Tales TBC

6.30-6.45pm Guy Williams and his broken foot!

6.45-7.00pm Suz Winspear

7.00-7.15pm Dan Holloway-http://www.youtube.com/watch?v=qXXdIqA8LsI

7.15-7.30pm Joel Denno

7.30-7.45pm Closing from Lisa Ventura

7.45-8.00pm TBC

           

Joel Denno

  

Tony Judge-satirical short stories and a regular reader at Parole Parlate (Worcester) and on Radio Wildfire.

Keith Hyatt-bringing some acoustic flamenco feel guitar and poetry all the way from Swindon. TBC

 

April 2012 Bookings

Paul Johnson and his guitar will be treating us all again.

Emmet Brown-Whitey Shakespliff Oldham rapping and highly recommended

The Bonfire of the insanities Sunday Chill was reviewed by the Citizen so don't listen to us blowing our own trumpet - see what they have to think...http://www.thisisgloucestershire.co.uk/nailed-arts-festival/story-13787726-detail/story.html

Down among the Bluebells at Patching Woods this afternoon

Paimpont forest, also known as Brocéliande, is in the French commune of Paimpont, near the city of Rennes in Brittany. As Brocéliande it had a reputation in the Medieval imagination as a place of magic and mystery. It is the setting of a number of adventures in Arthurian legend, notably Chrétien de Troyes's Yvain, the Knight of the Lion, and locals claim the tree in which the Lady of the Lake supposedly imprisoned Merlin can still be seen today. Other legendary places said to lie within the forest include the Val sans Retour, the tomb of Merlin, the Fountain of Youth, and Hotié de Vivianne (castle of the Lady of the Lake). The medieval chronicler Wace visited the forest but left disappointed:

 

"...I went there in search of marvels; I saw the forest and the land and looked for marvels, but found none. I came back as a fool and went as a fool. I went as a fool and came back as a fool. I sought foolishness and considered myself a fool."

 

For those living close to Paimpont, the Arthurian legend is very strong. Many names in the legend can be translated into Breton or French, for example the name Lancelot translates as "wanderer" or "vagabond" in Breton. There is also a strong influence from the Druids, and all around Brittany are standing stones or alignments, the most famous of which are nearby at Carnac; a group of the alignments at Kerlescan are nicknamed "the soldiers of Arthur."

 

Paimpont is a forest of broadleaf trees, oaks and beeches mainly, with areas of conifers either inside after clear-felling or on the periphery as transition with the moor, for example towards the west in the sector of Tréhorenteuc and the Val-sans-Retour (= Valley of no Return) which was devastated by several fires in particular in 1976, a year of great drought. It occupies mainly the territory of the commune of Paimpont, but extends to bordering communes, mainly Guer and Beignon in the south, Saint-Péran in the northeast, and Concoret in north. The forest of Paimpont is the largest remnant of an ancient forest occupying Argoat, the interior region of Brittany. It was more often called the forest of Brécélien, but its ancient character and other qualities underlined by many authors decided on its name of "forest of Brocéliande," tallying of the adventures of the legend of the Round Table. This flattering designation was reinforced by the birth of the Pays de Brocéliande at the end of the 20th century, an institution intended to facilitate the development of the communes of the west of the département.

 

The relative altitude of the forested massif contributes to give it a climate close to the oceanic climate of the coasts of Finistere. This mode, where west and south-west winds carry of clouds and regular rain supports the vegetation, dominates. The surplus of water feeds the many brooks occupying the bottoms of small valleys before flowing into the river Aff, then the Vilaine, to the area around Redon in the south of the department. The highest point is at 256 m in the western part called Haute forêt. Altitude decreases regularly while offering viewpoints towards the department of Morbihan; viewpoints which one finds the equivalents in the north on the commune of Mauron, port of the Côtes-d'Armor. It is not far from there that the Paimpont Biological Station of the University of Rennes 1, built in 1966 and 1967, dominates the lake of Chatenay. The varied forest and its surroundings constitute a framework favorable to many training courses in which the Rennes 1 biology students as well as foreign researchers take part. These buildings can accommodate approximately 70 people, and researchers work all the year on subjects generally very far away from the local biotope such as behavior of primates, represented by Cercopithecus, whose cries are familiar for the area but surprising to the walker little accustomed to this exotic fauna. The first researchers lengthily studied the ecology of the Armorican moors, the grounds, and the hydrology.

 

The forest belongs mainly to owners who maintain it and exploit it for timber and hunting; only in the north-eastern part, a small part (10%) is "domanial" and is managed by the National Forestry Commission. This situation prevents freedom of movement in the forest even with the access to the borough and its pond. The owners, however, signed a convention authorizing, from April 1 to the end of September, the use of some hiking trails in the forest. Among the responsibilities of the forest guards are watching for behaviors that threaten the forest, its flora, and its fauna. For example, behaviors that pose the risk of fire, and those that endanger the game, like dogs running loose. The gathering of mushrooms is not absolutely prohibited, but it is only tolerated near the approved trails. Because of its importance before the French Revolution, the forest was the responsibility of a royal jurisdiction called the National Forestry Commission, as the traditional jurisdictions of the seigneurs did not occupying itself with forest management. The wood was excessively exploited for the power supply of the charcoal blast furnaces for the nearby industry, at least in the 17th and 18th centuries; the assignment of the trees of first choice to the navy was a marginal role.

 

An extract of the files of the correctional court of Montfort:

 

"Having left the forging mills of Paimpont on Monday morning, he passed by the workshop of the carpenter who was far away from the forging mills but in the middle of the forest, he drank there with Julien Auffray his cousin and foreman of the carpenters." (Foreman of the carpenters and sawyers on contract to the naval yards elsewhere). Auffray interrogation, 1826.

 

The Matter of Britain is a name given collectively to the legends that concern the Celtic and legendary history of Great Britain, especially those focused on King Arthur and the knights of the Round Table. The 12th century French poet Jean Bodel created the name in the following lines of his epic Chanson de Saisnes:

 

Ne sont que III matières à nul homme atandant,

De France et de Bretaigne, et de Rome la grant.

 

The name distinguishes and relates the Matter of Britain from the mythological themes taken from classical antiquity, the "matter of Rome", and the tales of the paladins of Charlemagne and their wars with the Moors and Saracens, which constituted the "matter of France". While Arthur is the chief subject of the Matter of Britain, other lesser-known legendary history of Great Britain, including the stories of Brutus of Britain, Old King Cole, King Lear, and Gogmagog, is also included in the Matter of Britain: see Legendary Kings of the Britons.

 

Legendary history of Britain

 

It could be said that the legendary history of Britain was created in part to form a body of patriotic myth for the island. Several agendas thus can be seen in this body of literature.

 

The Historia Britonum, the earliest known source of the story of Brutus of Britain, may have been devised to create a distinguished genealogy for a number of Welsh princes in the 9th century. Traditionally attributed to Nennius, its actual compiler is unknown; it exists in several recensions. This tale went on to achieve greater currency because its inventor linked Brutus to the diaspora of heroes that followed the Trojan War, and thus provided raw material which later mythographers such as Geoffrey of Monmouth, Michael Drayton, and John Milton could draw upon, linking the settlement of Britain to the heroic age of Greek literature, for their several and diverse literary purposes. As such, this material could be used for patriotic mythmaking just as Virgil linked the mythical founding of Rome to the Trojan War in The Æneid. Geoffrey of Monmouth also introduced the fanciful claim that the Trinovantes, reported by Tacitus as dwelling in the area of London, had a name he interpreted as Troi-novant, "New Troy".

 

More speculative claims link Celtic mythology with several of the rulers and incidents compiled by Geoffrey of Monmouth in his Historia Regum Britanniæ. It has been suggested, for instance, that Leir of Britain, who later became Shakespeare's King Lear, was originally the Welsh sea-god Llŷr (see also the Irish sea-god Lir). Various Celtic deities have been identified with characters from Arthurian literature as well: Morgan le Fay was often thought to have originally been the Welsh goddess Modron (cf. the Irish goddess Mórrígan). Many of these identifications come from the speculative comparative religion of the late 19th century, and have been questioned in more recent years.

 

William Shakespeare seems to have been deeply interested in the legendary history of Britain, and to have been familiar with some of its more obscure byways. Shakespeare's plays contain several tales relating to these legendary kings, such as King Lear and Cymbeline. It has been suggested that Shakespeare's Welsh schoolmaster Thomas Jenkins introduced him to this material, and perhaps directed him to read Geoffrey of Monmouth[citation needed]. These tales also figure in Raphael Holinshed's The Chronicles of England, Scotland, and Ireland, which also appears in Shakespeare's sources for Macbeth. A Welsh schoolmaster appears as the character Sir Hugh Evans in The Merry Wives of Windsor.

 

Other early authors also drew from the early Arthurian and pseudo-historical sources of the Matter of Britain. The Scots, for instance, formulated a mythical history in the Picts and the Dál Riata royal lines. While they do eventually become factual lines, unlike those of Geoffrey, their origins are vague and often incorporate both aspects of mythical British history and mythical Irish history. The story of Gabhran especially incorporates elements of both those histories.

 

The Arthurian cycle

"Parsifal before the Castle of the Grail" - inspired by Richard Wagner's Opera Parsifal - painted in Weimar Germany 1928 by Hans Werner Schmidt (1859-1950)

 

The Arthurian literary cycle is the best known part of the Matter of Britain. It has succeeded largely because it tells two interlocking stories that have intrigued many later authors. One concerns Camelot, usually envisioned as a doomed utopia of chivalric virtue, undone by the fatal flaws of Arthur and Sir Lancelot. The other concerns the quests of the various knights to achieve the Holy Grail; some succeed (Galahad, Percival), and others fail (Lancelot).

 

The medieval tale of Arthur and his knights is full of Christian themes; those themes involve the destruction of human plans for virtue by the moral failures of their characters, and the quest for an important Christian relic. Finally, the relationships between the characters invited treatment in the tradition of courtly love, such as Lancelot and Guinevere, or Tristan and Iseult. In more recent years, the trend has been to attempt to link the tales of King Arthur and his knights with Celtic mythology, usually in highly romanticized, early twentieth century reconstructed versions.

 

Additionally, it is possible to read the Arthurian literature in general, and that concerned with the Grail tradition in particular, as an allegory of human development and spiritual growth (a theme explored by mythologist Joseph Campbell amongst others).

 

Sources wikipedia

On the way back from Oxfordshire, I thought about stopping off somewhere to take some church shots.

 

I'm sure Oxfordshire, Buckinghamshire, Surrey and Sussex have fine churches just off the motorway, but one had stuck in my head, back in Kent, and that Hever.

 

What I didn't realise is how hard it was to get too.

 

I followed the sat nav, taking me off the motorway whilst still in Sussex, then along narrow and twisting main roads along the edge of the north downs, through some very fine villages, but were in Sussex.

 

Would I see the sign marking my return to the Garden of England?

 

Yes, yes I would.

 

Edenbridge seemed quite an unexpectedly urban place, despite its name, so I didn't stop to search for an older centre, just pressing un until I was able to turn down Hever Road.

 

It had taken half an hour to get here.

 

St Peter stands by the gate to the famous castle, a place we have yet to visit, and even on a showery Saturday in March, there was a constant stream of visitors arriving.

 

I asked a nice young man who was directing traffic, where I could park to visit the church. He directed me to the staff car park, meaning I was able to get this shot before going in.

 

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Near the grounds of Hever Castle, medieval home of the Bullen family. Sandstone construction with a nice west tower and spire. There is a prominent chimney to the north chapel, although this is not the usual Victorian addition, but a Tudor feature, whose little fireplace may be seen inside! The church contains much of interest including a nineteenth-century painting of Christ before Caiphas by Reuben Sayers and another from the school of Tintoretto. The stained glass is all nineteenth and twentieth century and includes a wonderfully evocative east window (1898) by Burlisson and Grylls with quite the most theatrical sheep! The south chancel window of St Peter is by Hardman and dated 1877. In the north chapel is a fine tomb chest which displays the memorial brass of Sir Thomas Bullen (d. 1538), father of Queen Anne Boleyn. Just around the corner is a typical, though rather insubstantial, seventeenth-century pulpit with sounding board.

 

www.kentchurches.info/church.asp?p=Hever

 

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HEVER.

SOUTH-EASTWARD from Eatonbridge lies Hever, called in the Textus Roffensis, and some antient records, Heure, and in others, Evere.

 

This parish lies below the sand hill, and is consequently in that district of this county called The Weald.

 

There is a small part of it, called the Borough of Linckbill, comprehending a part of this parish, Chidingstone, and Hever, which is within the hundred of Ruxley, and being part of the manor of Great Orpington, the manerial rights of it belong to Sir John Dixon Dyke, bart. the owner of that manor.

 

THE PARISH of Hever is long, and narrow from north to south. It lies wholly below the sand hills, and consequently in the district of the Weald; the soil and face of the country is the same as that of Eatonbridge, last described, the oak trees in it being in great plently, and in general growing to a very large size. The river Eden directs its course across it, towards Penshurst and the Medway, flowing near the walls of Hever castle, about a quarter of a mile southward from which is the village of Hever and the parsonage; near the northern side of the river is the seat of Polebrooke, late Douglass's, now Mrs. Susannah Payne's; and a little farther, the hamlets of Howgreen and Bowbeach; part of Linckhill borough, which is in the hundred of Ruxley, extends into this parish. There is a strange odd saying here, very frequent among the common people, which is this:

 

Jesus Christ never was but once at Hever.

 

And then he fell into the river.

 

Which can only be accounted for, by supposing that it alluded to a priest, who was carrying the bost to a sick person, and passing in his way over a bridge, sell with it into the river.

 

Hever was once the capital seat and manor of a family of the same name, whose still more antient possessions lay at Hever, near Northfleet, in this county, who bore for their arms, Gules, a cross argent. These arms, with a lable of three points azure, still remained in the late Mote-house, in Maidstone, and are quartered in this manner by the earl of Thanet, one of whose ancestors, Nicholas Tuston, esq. of Northiam, married Margaret, daughter and heir of John Hever of this county. (fn. 1)

 

William de Heure. possessed a moiety of this place in the reign of king Edward I. in the 2d of which he was was sheriff of this county, and in the 9th of it obtained a grant of free warren within his demesne lands in Heure, Chidingstone, and Lingefield.

 

Sir Ralph de Heure seems at this time to have possessed the other moiety of this parish, between whose son and heir, Ralph, and Nicholas, abbot of St. Augustine's, there had been, as appears by the register of that abbey, several disputes concerning lands in Hever, which was settled in the 4th year of king Edward I. by the abbot's granting to him and his heirs for ever, the land which he held of him in Hever, to hold by the service of the fourth part of a knight's fee.

 

William de Hever, in the reign of king Edward III. became possessed of the whole of this manor, and new built the mansion here, and had licence to embattle it; soon after which he died, leaving two daughters his coheirs; one of whom, Joane, carried one moiety of this estate in marriage to Reginald Cobham, a younger son of the Cobhams of Cobham, in this county; (fn. 2) whence this part of Hever, to distinguish it from the other, acquired the name of Hever Cobham.

 

His son, Reginald lord Cobham, in the 14th year of that reign, obtained a charter for free warren within his demesne lands in Hever. (fn. 3) He was succeeded in this manor by his son, Reginald lord Cobham, who was of Sterborough castle, in Surry, whence this branch was stiled Cobhams of Sterborough.

 

The other moiety of Hever, by Margaret, the other daughter and coheir, went in marriage to Sir Oliver Brocas, and thence gained the name of Hever Brocas. One of his descendants alienated it to Reginald lord Cobham, of Sterborough, last mentioned, who died possessed of both these manors in the 6th year of king Henry IV.

 

His grandson, Sir Thomas Cobham, sold these manors to Sir Geoffry Bulleyn, a wealthy mercer of London, who had been lord mayor in the 37th year of king Henry VI. He died possessed of both Hever Cobham and Hever Brocas, in the 3d year of king Edward IV. leaving by Anne, his wife, eldest sister of Thomas, lord Hoo and Hastings, Sir William Bulleyn, of Blickling, in Norfolk, who married Margaret, daughter and coheir of Thomas Boteler, earl of Ormond, by whom he had a son and heir, Thomas, who became a man of eminent note in the reign of king Henry VIII. and by reason of the king's great affection to the lady Anne Bulleyn, his daughter, was in the 17th year of that reign, created viscount Rochford; and in the 21st year of it, being then a knight of the Garter, to that of earl of Wiltshire and Ormond; viz. Wiltshire to his heirs male, and Ormond to his heirs general.

 

He resided here, and added greatly to those buildings, which his grandfather, Sir Geoffry Bulleyn, began in his life time, all which he completely finished, and from this time this seat seems to have been constantly called HEVER-CASTLE.

 

He died in the 30th of the same reign, possessed of this castle, with the two manors of Hever Cobham and Brocas, having had by Elizabeth his wife, daughter of Thomas Howard, duke of Norfolk, one sonGeorge, executed in his life time; and two daughters, Anne, wife to king Henry VIII. and Mary, wife of William Carey, esquire of the body, and ancestor of the lords Hunsdon and the earls of Dover and Monmouth.

 

On the death of the earl of Wiltshire, without issue male, who lies buried in this church, under an altar tomb of black marble, on which is his figure, as large as the life, in brass, dressed in the robes of the Garter, the king seised on this castle and these manors, in right of his late wife, the unfortunate Anne Bulleyn, the earl's daughter, who resided at Hever-castle whilst the king courted her, there being letters of both extant, written by them from and to this place, and her chamber in it is still called by her name; and they remained in his hands till the 32d year of his reign, when he granted to the lady Anne of Cleves, his repudiated wife, his manors of Hever, Seale, and Kemsing, among others, and his park of Hever, with its rights, members, and appurtenances, then in the king's hands; and all other estates in Hever, Seale, and Kemsing, lately purchased by him of Sir William Bulleyn and William Bulleyn, clerk, to hold to her during life, so long as she should stay within the realm, and not depart out of it without his licence, at the yearly rent of 931. 13s. 3½d. payable at the court of augmention. She died possessed of the castle, manors, and estates of Hever, in the 4th and 5th year of king Philip and queen Mary, when they reverted again to the crown, where they continued but a short time, for they were sold that year, by commissioners authorised for this purpose, to Sir Edward Waldegrave and dame Frances his wife; soon after which the park seems to have have been disparked.

 

This family of Waldegrave, antiently written Walgrave, is so named from a place, called Walgrave, in the county of Northampton, at which one of them was resident in the reign of king John, whose descendants afterwards settled in Essex, and bore for their arms, Per pale argent and gules. Warine de Walgrave is the first of them mentioned, whose son, John de Walgrave, was sheriff of London, in the 7th year of king John's reign, whose direct descendant was Sir Edward Waldegrave, who purchased this estate, as before mentioned. (fn. 5) He had been a principal officer of the household to the princess Mary; at the latter end of the reign of king Edward VI. he incurred the king's displeasure much by his attachment to her interest, and was closely imprisoned in the Tower; but the king's death happening soon afterwards, queen Mary amply recompensed his sufferings by the continued marks of her favour and bounty, which she conferred on him; and in the 4th and 5th years of that reign, he obtained, as above mentioned, on very easy terms, the castle and manors of Hever Cobham and Brocas; and besides being employed by the queen continually in commissions of trust and importance, had many grants of lands and other favours bestowed on him. But on the death of queen Mary, in 1558, he was divested of all his employments, and committed prisoner to the Tower, (fn. 6) where he died in the 3d year of queen Elizabeth. He left two sons, Charles, his heir; and Nicholas, ancestor to those of Boreley, in Essex; and several daughters.

 

Charles Waldegrave succeeded his father in his estates in this parish; whose son Edward received the honour of knighthood at Greenwich, in 1607, and though upwards of seventy years of age, at the breaking out of the civil wars, yet he nobly took arms in the king's defence, and having the command of a regiment of horse, behaved so bravely, that he had conferred on him the dignity of a baronet, in 1643; after which he continued to act with great courage in the several attacks against the parliamentary forces, in which time he lost two of his sons, and suffered in his estate to the value of fifty thousand pounds.

 

His great grandson, Sir Henry Waldegrave, in 1686, in the 1st year of king James II. was created a peer, by the title of baron Waldegrave of Chewton, in Somersetshire, and had several offices of trust conferred on him; but on the Revolution he retired into France, and died at Paris, in 1689. (fn. 7) He married Henrietta, natural daughter of king James II. by Arabella Churchill, sister of John duke of Marlborough, by whom he had James, created earl of Waldegrave in the 3d year of king George II. who, in the year 1715, conveyed the castle and these manors to Sir William Humfreys, bart. who that year was lord mayor of the city of London. He was of Barking, in Essex, and had been created a baronet in 1714. He was descended from Nathaniel Humfreys, citizen of London, the second son of William ap Humfrey, of Montgomery, in North Wales, and bore for his arms two coats, Quarterly, 1st and 4th, sable, two nags heads erased argent; 2d and 3d, per pale or and gules, two lions rampant endorsed, counterchanged.

 

He died in 1735, leaving by his first wife, Margaret, daughter of William Wintour, of Gloucestershire, an only son and heir, Sir Orlando Humfreys, bart. who died in 1737, having had by Ellen, his wife, only child of colonel Robert Lancashire, three sons and two daughters; two of the sons died young; Robert, the second and only surviving son, had the castle and manors of Hever Cobham and Brocas, and died before his father possessed of them, as appears by his epitaph, in 1736, ætat. 28.

 

On Sir Orlando's death his two daughters became his, as well as their brother's, coheirs, of whom Mary, the eldest, had three husbands; first, William Ball Waring, of Dunston, in Berkshire, who died in 1746, without issue; secondly, John Honywood, esq. second brother of Richard, of Mark's-hall, who likewife died without issue, in 1748; and lastly, Thomas Gore, esq. uncle to Charles Gore, esq. M.P. for Hertfordshire; which latter had married, in 1741, Ellen Wintour, the only daughter of Sir Orlando Humfreys, above mentioned.

 

They, with their husbands, in 1745, joined in the sale of Hever-castle and the manors of Hever Cobham and Hever Brocas, to Timothy Waldo. He was descended from Thomas Waldo, of Lyons, in France, one of the first who publicly opposed the doctrines of the church of Rome, of whom there is a full account in the Atlas Geograph. vol. ii. and in Moreland's History of the Evangelical Churches of Piedmont. One of his descendants, in the reign of queen Elizabeth, to escape the persecution of the duke D'Alva, came over to England, where he and his descendants afterwards settled, who bore for their arms, Argent a bend azure, between three leopards heads of the second; of whom, in king Charles II.'s reign, there were three brothers, the eldest of whom, Edward, was knighted, and died without male issue, leaving two daughters his coheirs; the eldest of whom, Grace, married first Sir Nicholas Wolstenholme, bart. and secondly, William lord Hunsdon, but died without issue by either of them, in 1729. The second brother was of Harrow, in Middlesex; and Timothy, the third, was an eminent merchant of London, whose grandsons were Edward, who was of South Lambeth, esq. and died in 1783, leaving only one daughter; and Timothy, of Clapham, esquire, the purchaser of this estate, as above mentioned, who was afterwards knighted, and died possessed of it, with near thirteen hundred acres of land round it, in 1786; he married, in 1736, Miss Catherine Wakefield, by whom he left an only daughter and heir, married to George Medley, esq. of Sussex, lady Waldo surviving him is at this time intitled to it.

 

The castle is entire, and in good condition; it has a moat round it, formed by the river Eden, over which there is a draw bridge, leading to the grand entrance, in the gate of which there is yet a port cullis, within is a quadrangle, round which are the offices, and a great hall; at the upper end of which, above a step, is a large oak table, as usual in former times. The great stair case leads up to several chambers and to the long gallery, the cieling of which is much ornamented with soliage in stucco; the rooms are all wainscotted with small oaken pannels, unpainted. On one side of the gallery is a recess, with an ascent of two steps, and one seat in it, with two returns, capable of holding ten or twelve persons, which, by tradition, was used as a throne, when king Henry VIII. visited the castle. At the upper end of the gallery, on one side of a large window, there is in the floor a kind of trap door, which, when opened, discovers a narrow and dark deep descent, which is said to reach as far as the moat, and at this day is still called the dungeon. In a closet, in one of the towers, the window of which is now stopped up, there is an adjoining chamber, in which queen Anne Bulleyn is said to have been consined after her dis grace. The entrance to this closet, from the chamber, is now by a small door, which at that time was a secret sliding pannel, and is yet called Anne Bulleyn's pannel.

 

In the windows of Hever-castle are these arms; Argent, three buckles gules, within the garter; a shield of four coasts, Howard, Brotherton, Warren, and Mowbray, argent three buckles gules; a shield of eight coats, viz. Bulleyn, Hoo, St. Omer, Malmains, Wickingham, St. Leger, Wallop, and Ormond; and one, per pale argent and gules, for Waldegrave. (fn. 8)

 

It is reported, that when Henry VIII. with his attendants, came to the top of the hill, within sight of the castle, he used to wind his bugle horn, to give notice of his approach.

 

There was a court baron constantly held for each of the above manors till within these forty years, but at present there is only one, both manors being now esteemed but as one, the circuit of which, over the neighbouring parishes, is very extensive.

 

SEYLIARDS is an estate here which extends itself into the parishes of Brasted and Eatonbridge, but the mansion of it is in this parish, and was the antient seat of the Seyliards, who afterwards branched out from hence into Brasted, Eatonbridge, Chidingstone, and Boxley, in this county.

 

The first of this name, who is recorded to have possessed this place, was Ralph de Seyliard, who resided here in the reign of king Stephen.

 

Almerick de Eureux, earl of Gloucester, who lived in the reign of king Henry III. demised lands to Martin at Seyliard, and other lands, called Hedinden, to Richard Seyliard, both of whom were sons of Ralph at Seyliard, and the latter of them was ancestor to those seated here and at Delaware, in Brasted. (fn. 9)

 

This place continued in his descendants till Sir Tho. Seyliard of Delaware, passed it away to John Petley, esq. who alienated it to Sir Multon Lambarde, of Sevenoke, and he died possessed of it in 1758; and it is now the property of his grandson, Multon Lambarde, of Sevenoke, esq.

 

Charities.

A PERSON gave, but who or when is unknown, but which has time out of mind been distributed among the poor of this parish, the sum of 10s. yearly, to be paid out of land vested in the churchwardens, and now of that annual produce.

 

The Rev. JOHN PETER gave by will, about 1661, the sum of 10s. yearly, to be paid for the benefit of poor farmers only, out of land vested in the rector, the heirs of Wm. Douglass, and the heirs of Francis Bowty, and now of that annual produce.

 

The Rev. GEORGE BORRASTON, rector, and several of the parishioners, as appears by a writing dated in 1693, purchased, with money arising from several bequests, the names of the donors unknown, except that of WILLIAM FALKNER, to which the parishioners added 15l. a piece of land, the rent to be distributed yearly among the poor of the parish, vested in the rector and churchwardens, and of the annual produce of 3l. 12s.

 

Rev. THOMAS LANCASTER, rector, gave by will in 1714, for buying good books for the poor, and in case books are not wanting for the schooling of poor children at the discretion of the mimister, part of a policy on lives, which was exchanged for a sum of money paid by his executor, being 20l. vested in the minister and churchwardens.

 

SIR TIMOTHY WALDO gave by will in 1786, 500l. consolidated 3 per cent. Bank Annuities, one moiety of the interest of which to be applied for the placing of some poor boy of the parish apprentice to a farmer, or some handicraft trade, or to the sea service, or in cloathing such poor boy during his apprenticeship, and in case no such poor boy can be found, this moiety to be distributed among such of the industrious poor who do not receive alms. The other moiety to be laid out in buying and distributing flannel waistcoats, or strong shoes, or warm stockings, among such of the industrious or aged poor persons inhabiting within this parish, as do not receive alms, vested in the Salters Company.

 

HEVER is within the ECCLESIASTICAL JURISDICTION of the diocese of Rochester, and being a peculiar of the archbishop, is as such within the deanry of Shoreham. The church, which stands at the east end of the village, is a small, but neat building, consisting of one isle and two chancels, having a handsome spire at the west end of it. It is dedicated to St. Peter.

 

Among other monuments and inscriptions in it are the following:—In the isle is a grave-stone, on which is the figure of a woman, and inscription in black letter in brass, for Margaret, wife of William Cheyne, obt. 1419, arms, a fess wavy between three crescents.—In the chancel, a memorial for Robert Humfreys, esq. lord of the manor of Heaver, only son and heir of Sir Orlando Humfreys, bart. of Jenkins, in Effex, obt. 1736. Against the wall is a brass plate, with the figure of a man kneeling at a desk, and inscription in black letter for William Todde, schoolmaster to Charles Waldegrave, esq. obt. 1585.—In the north chancel, an altar tomb, with the figure on it at large in brass, of Sir Thomas Bullen, knight of the garter, earl of Wilcher and earl of Ormunde, obt. 1538. A small slab with a brass plate, for ........ Bullayen, the son of Sir Thomas Bullayen.—In the belsry, a stone with a brass plate, and inscription in black letter in French, for John de Cobham, esquire, obt. 1399, and dame Johane, dame de Leukenore his wife, and Renaud their son; near the above is an antient altar tomb for another of that name, on which is a shield of arms in brass, or, on a chevron, three eagles displayed, a star in the dexter point. These were the arms of this branch of the Cobhams, of Sterborough-castle. (fn. 10)

 

This church is a rectory, the advowson of which belonged to the priory of Combwell, in Goudhurst, and came to the crown with the rest of its possessions at the time of the surrendry of it, in the 7th year of king Henry VIII. in consequence of the act passed that year for the surrendry of all religious houses, under the clear yearly revenue of two hundred pounds. Soon after which this advowson was granted, with the scite of the priory, to Thomas Colepeper, but he did not long possess it; and it appears, by the Escheat Rolls, to have come again into the hands of the crown, and was granted by the king, in his 34th year, to Sir John Gage, to hold in capite by knights service; who exchanged it again with Tho. Colepeper, to confirm which an act passed the year after. (fn. 11) His son and heir, Alexander Colepeper, had possession granted of sundry premises, among which was the advowson of Hever, held in capite by knights service, in the 3d and 4th years of king Philip and queen Mary; the year after which it was, among other premises, granted to Sir Edward Waldegrave, to hold by the like tenure.

 

Charles Waldegrave, esq. in the 12th year of queen Elizabeth, alienated this advowson to John Lennard, esq. of Chevening, and being entailed to his heirs male, by the last will of Sampson Lennard, esq. his eldest son, under the word hereditament possessed it, and it being an advowson in gross, was never disentailed by Henry, Richard, or Francis, lords Dacre, his descendants, so that it came to Thomas lord Dacre, son of the last mentioned Francis, lord Dacre, afterwards earl of Sussex, in 1673, and at length sole heir male of the descendants of John Lennard, esq. of Chevening, above mentioned; and the same trial was had for the claim of a moiety of it, at the Queen's-bench bar, as for the rest of the earl's estates, and a verdict then obtained in his favour, as has been already fully mentioned before, under Chevening.

 

The earl of Sussex died possessed of it in 1715, (fn. 12) whose two daughters, his coheirs, on their father's death became entitled to this advowson, and a few years afterwards alienated the same.

 

It then became the property of the Rev. Mr. Geo. Lewis, as it has since of the Rev. Mr. Hamlin, whose daughter marrying the Rev. Mr. Nott, of Little Horsted, in Sussex, he is now intitled to it.

 

In the 15th year of king Edward I. this church of Heure was valued at fifteen marcs.

 

By virtue of a commission of enquiry, taken by order of the state, in 1650, issuing out of chancery, it was returned, that Hever was a parsonage, with a house, and twelve acres of glebe land, which, with the tithes, were worth seventy-seven pounds per annum, master John Petter being then incumbent, and receiving the profits, and that Francis lord Dacre was donor of it. (fn. 13)

 

This rectory was valued, in 1747, at 1831. per annum, as appears by the particulars then made for the sale of it.

 

It is valued, in the king's books, at 15l. 17s. 3½d. and the yearly tenths at 1l. 10s. 8¾d. It is now of the yearly value of about 200l.

 

¶The priory of Combwell, in Goudhurst, was endowed by Robert de Thurnham, the founder of that house, in the reign of king Henry II. with his tithe of Lincheshele and sundry premises in this parish, for which the religious received from the rector of this church the annual sum of 43s. 4d.

 

www.british-history.ac.uk/survey-kent/vol3/pp190-202

Includes a few old members who have found their way back to the flock.

Dongdaemun Design Plaza

Seoul, Korea

Complete and assembled - no damage

 

Includes an extra set of lower legs and extra hands with two-toned manicure, plus her complete fashion and accessories:

faux leather pants

graphic print camisole with train

yellow heels

silver/black flats,

jewelry

sunglasses

clutch purse

beret

elbow-length leather gloves with molded hands. As a special "build a doll," she did not come with her own box or COA

  

Includes, Bear topper with bottle, 2 bibs, 4 onesies 3-6 months and a hooded blanket, with 34 size 1 diapers. 14 " tall & 13" wide

This picture includes the following British vehicles:

 

The red double decker bus was built in 1957 by Associated Equipment Company (AEC) for Ironwood Transport Corporation.

(Modified from Scotnick's original tan-and-red design to have better structural integrity while removing any non-existent parts.)

 

The Ambulance (white van) was Constructed in 1950 for Strawberry Fields Hospital.

(Slightly modified from 10937 Arkham Asylum)

 

The black car was built by Ford as a Anglia 105E in 1959.

(This one car was originally built from the 2002 "Escape from Privet Drive" set. I stretched the car, removed the doors (but kept the opening trunk), & made the front SNOT section gap free. The car is now almost 100% black, and features an light bluish gray under-carriage.)

 

The dark bluish gray van was built by Ford in 1953.

(Constructed from the 2007 "Hobby Trains" set but in dark bluish gray and featuring an enclosed cabin, plus all new larger wheels.)

 

The yellow vehicle is a Morris Postal Van was built in 1960.

(Modified from Scottnick's Red Postal Van, this yellow van features a brighter paint scheme and a sign on the side signifying it's job as a letter carrier.)

 

The light blue Milk Delivery Lorry was built by an unknown maker in 1953.

(Another Scottnick design, this time of a Milk Delivery truck. Features a medium blue and white color scheme with trans-medium blue windows. The new train window makes a prominent appearance as the front windscreen.)

 

This tan car is a Standard Motor Company Vanguard and was made in 1952.

(This car is based on the shattered remains of the Palace Cinema limo. I never could figure out what it was until I saw a picture of a Vanguard on Wikipedia.)

 

LDD file: www.mocpages.com/user_images/80135/1393265885m.lxf

E.K.Yap, the MPA & MPAS multi-award winning photographer, has created many iconic masterpieces and photographed covers & campaigns for influential publications & luxury brands. His projects include Patek Philippe, Breguet, Chopard, Bvlgari, Cartier, Chanel & Franck Muller to name a few.

 

With his wide-ranging experience in art as a creative director in the advertising & publishing industry, he consistently achieves the best results with his precision skill, specialising in luxury projects particularly jewellery, timepiece, product, interior, portrait & fashion.

 

PHILOSOPHY

“I'm passionate in capturing more than just a beautiful image, I like to craft an inspiring masterpiece with soul & meaning”

 

AWARD

Advertising/Advertorial/ Editorial - MPA Far East

Architecture/ Cityscape/ Interior - MPA Far East

Illustrative & Creative - MPA Far East

Fashion - MPA Far East

Still Life - MPA Far East

Best Cover - MPAS

 

PROJECT

A. Lange & Söhne/ Audemars Piguet/ Azimuth/ Aston Martin/ ABN Ambro/ Arium Collection/ Arcatel/ Anlene/ Aqua Culture/ Adidas/ Aries Gold/ Bvlgari/ Breguet/ Bottega Veneta/ Boucheron/ Blancpain/ Breitling/ Baker Furniture/ BBDO/ Borobudur/ Bonhams/ Berggren Jewellery/ Cartier/ Chanel/ Chopard/ CitiGold/ Carat Club/ CapitaLand/ CLIO/ CEL Development/ Coty/ Confetti by Mui/ Canon/ Dolce & Gabbana/ Distillery/ D Editors/ Dell/ Franck Muller/ Flower Diamonds/ Fujitsu/ Fuchsia Lane/ Farm Best/ Ferrari/ Girard-Perregaux/ Genting/ Green Chapter/ Gucci/ Geyer/ Harry Winston/ Hassell Studio/ Hilton Hotel/ Heeton/ Hublot/ Hassell Studio/ HDB/ Hermès/ I.D.Department/ IWC/ Image Bank/ ICI Duluxe/ Inoue Japan/ Jobstreet/ Jaeger-LeCoultre/ Johnny Walker/ JOID/ Kwanpen/ Krieit Associate/ KrisShop/ KFC/ K-Suites/ Louis Moinet/ Levi’s/ Lalique/ Luminox/ Lloyd’s Asia/ Ladurée/ Lush Radio/ Louis Vuitton/ Leonard Drake/ Livita/ Lifelink/ Manolo Blahnik/ Montblanc/ Mediacorp/ MCL Land/ Mirinda/ Marc Anthony/ Maxis Mobile/ Novetel Hotel/ NTU/ National Geographic/ Omega/ Patek Philippe/ Piaget/ Philips/ Playboy/ Prada/ Pepsi/ Pure Earth/ Richard Mille/ Rolex/ Roger Dubuis/ Resort World Sentosa/ Richemont/ Reebonz/ SkysShop/ Singland/ Splendor/ Sarcar/ Sinn/ Shangri-La Hotel/ SIA/ Shelton/ Sally Hansen/ Skin Science/ StarAsia/ Skin79/ Sally Hansen/ Sports Toto/ Spritzer/ 7-Up/ The Mill/ Tag Heuer/ Tiffany/ Transware/ The Hour Glass/ Tudor/ TV3/ Universal Studio/ Ulysse Nardin/ UOI/ UOB/ Vihari Jewels/ Vacheron Constantin/ Van Cleef & Arpels/ Wild Rice/ Zenith

 

EDITORIAL

August Man/ Affluent/August Women/ Appetite/ Adore/ Awesome/ Business Time/ Baccarat/ Business Craft/ Crown/ CitaBella/ Esquire/ ELLE/ Fiori/ Golf Vacations/ Harper’s Bazaar/ Inspire Travel/ Jewels & Time/ Jewellery Craft/ L’Official/ Luxury Guide/ Luxury Insider/ Luxx Jewellery/ Legacy of Singapore/ Men’s Folio/ Man Stuff/ OASiS/ Prestige/ Prestige Lifestyle/ Pen Craft/ PC World/ PC Magazine/ Robb Report/ RWS Invites/ Solitaire/ Style/ Tatler/ Tatler Wedding/ Tatler Home/ Time Craft/ TiCTalk/ World of Watches

The Lidl Run Kildare Events 2013 were held at the Curragh Racecourse, Newbridge, Co. Kildare, Ireland on Sunday 12th May 2013. There were three events: a 10KM, a half marathon, and a full marathon. This is a selection of photographs which includes all events. The photographs are taken from the start and finish of the marathon, the finish of the 10KM, and the finish of the half marathon. Due to the large numbers participating we did not manage to photograph everyone - which was not helped by the weather. Congratulations to Jo Cawley and her RunKildare crew for another great event. The weather didn't dampen the spirits of the many happy participants.

 

Electronic timing was provided by Red Tag Timing [www.redtagtiming.com/]

 

Overall Race Summary

Participants: There were approximately 3,000 participants over the 3 race events - there were runners, joggers, and walkers participating.

Weather: A cold breezy morning with heavy rain at the start. The weather dried up for the 10KM and the Half Marathon races

Course: This is an undulating course with some good flat stretches on the Curragh.

  

Viewing this on a smartphone device?

If you are viewing this Flickr set on a smartphone and you want to see the larger version(s) of this photograph then: scroll down to the bottom of this description under the photograph and click the "View info about this photo..." link. You will be brought to a new page and you should click the link "View All Sizes".

 

Some Useful Links

GPS Garmin Trace of the Kildare Marathon Route: connect.garmin.com/activity/175709313

Homepage of the Lidl Run Kildare Event: www.kildaremarathon.ie/index.html

Facebook Group page of the Lidl Run Kildare Event: www.facebook.com/RunKildare

Boards.ie Athletics Discussion Board pages about the race series: www.boards.ie/vbulletin/showthread.php?t=2056815306

Our photographs from Run Kildare 2012: www.flickr.com/photos/peterm7/sets/72157629707887620/

Our photographs from Run Kildare 2011: www.flickr.com/photos/peterm7/sets/72157626725200956/

A small selection of photographs from Run Kildare 2010: www.flickr.com/photos/peterm7/sets/72157623899845567/ (first event)

 

Can I use the photograph with the watermark?

Yes! Absolutely - you can post this photograph to your social networks, blogs, micro-blogging, etc.

 

How can I get a full resolution, no watermark, copy of these photographs?

 

All of the photographs here on this Flickr set have a visible watermark embedded in them. All of the photographs posted here on this Flickr set are available, free, at no cost, at full resolution WITHOUT watermark. We take these photographs as a hobby and as a contribution to the running community in Ireland. We do not know of any other photographers who operate such a policy. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, web multimedia, commercial/promotional material that you provide a link back to our Flickr page to attribute us. This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.

 

Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.

 

In summary please remember - all we ask is for you to link back to our Flickr set or Flickr pages. Taking the photographs and preparing them for online posting does take a significant effort. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around, send us an email, leave a comment beside the photographs, send us a Flickr email, etc.

 

If you would like to contribute something for your photograph(s)?

Some people offer payment for our photographs. We do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would pay for their purchase from other photographic providers we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.

 

I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?

 

As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:

 

     ►You were hidden behind another participant as you passed our camera

     ►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set

     ►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone

     ►We simply missed you - sorry about that - we did our best!

  

You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.

 

Don't like your photograph here?

That's OK! We understand!

 

If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.

 

I want to tell people about these great photographs!

Great! Thank you! The best link to spread the word around is probably www.flickr.com/peterm7/sets

  

Video Mapping Philipp Geist_Germany+Brazil 2013-2014_- Santa Marta 2014_©Fred Pacífico/Porã

 

„VideoInstallation by Philipp Geist“, "Philipp Geist", „Copyright 2014 Philipp Geist / VG Bildkunst 2014", www.videogeist.de, mail@videogeist.de, „Rio de Janeiro“, "Santa Marta“, „Cristo Redentor“, „Dona Marta“, „Deutschland + Brasilien 2013-2014“, “Alemanha + Brasil 2013-2014”

 

Photo by Fred Pacífico

©2014 Philipp Geist / VG BIldkunst Bonn

 

Rio de Janeiro / Brazil 2014

Christ statue (Cristo Redentor) – May 12

Dona Marta favela – May 15 and 16,2014

 

Light Art-Video-Mapping-Installations Philipp Geist in Rio de Janeiro / Brazil 2014

on the Christ statue (Cristo Redentor) - May 12 and in the Dona Marta favela - May 15 and 16,

2014

 

Installation Philipp Geist Year of Germany in Brazil 2013/2014

Concept Time Drifts May 2014

 

At the end of the Year of Germany in Brazil 2013/2014, the artist Philipp Geist (Berlin, 1976)

develops two light installations in Rio this year; the first one on the world-famous Christ statue

(Cristo Redentor) and the other installation in the Santa Marta favela. For the installation the

artist presents artistic-liberal and poetic German and Brazilian themes and develops a building

and floor light installation of colored words and phrases in Portuguese, German, and in other

international languages. The installation deals with cultural characteristics and achievements of

both countries and visualizes the issues of time and space, volatility and presence in a free

artistic style. The two projects are in fact a double project which is combined. The installation

on the symbol of Rio and Brazil, the Christ statue, is recorded and projected onto the small

buildings and huts of the favela. The Christ statue, which has been built to protect the city and

the sailors, is symbolically projected on the shantytown, the favela, in a protective way. The

installation in the favela will be seen not only on a facade as a large cinema projection or as a

static image, but on several winding buildings, the roofs, the floor and on the steps. Thus, the

visitor becomes a part of the installation and can immerse into the projection and the light and

introduce himself. Chalk crayons are put out on the streets in the favela and the young and old

residents and visitors can write and paint words on the street, the ground, the stairs or even on

the house walls. The residents and several institutions should be addressed to submit words and

associations dealing with Rio, Brazil and Germany.

For the installation, which was shown at the Luminale in 2012, the artist Philipp Geist won the

German Lighting Design Award 2013 (Deutscher Lichtdesign-Preis 2013) in the category Light Art.

The series 'Time Drifts' is characterized by the complex and subtle way of visualizing various

currents and voices in cultural contexts and to provide institutions and visitors with the

opportunity of substantive participation: different personalities, visitors and institutions may be

addressed in advance and then contribute words and associations. Current and historico-cultural

topics are researched in advance by the artist and then integrated in a sensitive and subtle way.

The projection dismisses the use of screens, because concepts and associations are projected on

a large area onto the floor surface on several facades and in theater fog. Over the course of two

days, the installation can be seen on-site in the favela on May 15 and 16 and on the Cristo

Redentor on May 12 for a day.

Short, tall, young and old visitors can interactively participate in the installation by tracing and

adding words with colored chalk crayons available on the streets. Thus, over the period of the

installation, a carpet of words is evolved with terms that are contributed locally by the visitors

by means of the temporary and volatile 'medium' of chalk crayons. Philipp Geist develops in this

way a dialogue between the place, the visitors and his artistic work.

The concrete, tangible projection of the architecture and the static terms on the floor area

represents the facts and visible relics that are responsible for our understanding of history. The

transparent and volatile projection in the fog reminds us that part of the history can not be

preserved and that it is created in our individual imagination in a single moment. Words are

briefly visible as a metaphor for transience and then disappear again. This interplay of the

various text and image layers in the space refers to the location and the history/-ies of Brazil

and Germany and the cultural exchange between the two countries. The visitors themselves are

part of the installation: they dive into the large floor projection. In this way, different

perspectives and experiences of space are unified. Abstract passages which are created, then

overlapped and displaced by each other symbolize the constant changes in history, the passage

of time and the transience of existence. Even the understanding of the past is in the flux. The

modern writings and formations created on the computer establish a connection to the present

and the possibilities of today's technology and show that the perception of history and culture

depends always on the possibilities and constraints of the present.

'Time Drifts - Words of Berlin' is part of a series of installations, which has been shown in recent

years by Philipp Geist, and which are always re-developed site-specifically and adapted to the

local conditions: In October 2012, Philipp Geist showed the installation on the entire Potsdamer

Platz (public square) and the Kolhoff Tower and Renzo Piano Tower skyscrapers. In April 2012

the installation was shown at the Luminale in Frankfurt where it was seen by more than 40,000

visitors and thus the main project of the Luminale 2012. In 2011, Philipp Geist presented the

'Time Drifts' installation in Vancouver at the Jack Poole Plaza, as well as in Montreal on the

Place des Arts in 2010. The 'Timing' installation was shown at the 2009 Glow Festival in

Eindhoven. In the end of 2009, on the occasion of the birthday of the King of Thailand, 2-3

million visitors saw his facade installation at the royal throne in Bangkok. Other projects

include: 'Timelines' at the prestigious Pallazzio delle Esposizioni (Rome, 2007), 'Time Fades'

at the Cultural Forum of Berlin and 'Broken Time Lines' at the old spa Kurhaus Ahrenshoop

(Germany, 2008).

Geist's projects are primarily characterized by their complexity concerning the integration of

space, sound and motion images. His video mapping installations waive screens and transform a

wide range of architectures in moving, picturesque light sculptures which challenge the viewer's

perception of two- and three-dimensionality.

  

www.alemanha-brasil.org/br/node/8542

www.alemanha-brasil.org/Programme/Dia/2014-05-12

www.alemanha-brasil.org/Programme/Dia/2014-05-15

www.alemanha-brasil.org/Programme/Dia/2014-05-16

  

---------------

 

Arte de luz - Instalações de Mapeamento de Vídeo por Philipp Geist no Rio de Janeiro / Brasil

2014 no Cristo Redentor no dia 12 de maio e na favela Santa Marta nos dias 15 e 16 de maio de

2014

 

Instalação Philipp Geist Ano Alemanha + Brasil 2013/2014

Conceito Time Drifts Maio 2014

 

No final do ano Alemnaha + Brasil 2013/2014, o artista Philipp Geist (1976, Berlim) desenvolverá

duas instalações de luz no Rio; uma delas será exibida na mundialmente famosa estátua do

Cristo Redentor, e a outra na favela Santa Marta. Para a instalação, o artista traz temas teutobrasileiros

de maneira liberal-artística e poética desenvolvendo instalações de luz em edifícios e

no solo a partir de palavras e conceitos coloridos em Português, Alemão e em outros idiomas

internacionais. A instalação lida com as peculiaridades e realizações culturais de ambos os países

e visualiza as questões de tempo e espaço e de volatilidade e presença no estilo liberal-artístico.

Os dois projetos em questão representam um projeto duplo que é combinado. A instalação na

estátua do Cristo Redentor, como um símbolo do Rio e do Brasil, será gravada e projetada nos

pequenos prédios e barracos da favela. A estátua do Cristo Redentor, que foi erguida para

proteger a cidade e os marinheiros, será então projetada como um símbolo de proteção em uma

favela. A instalação na favela é visto não apenas em uma fachada como uma projeção grande de

cinema ou como uma imagem estática, mas em vários prédios sinuosos, em telhados, no solo e

nas escadas. Desta maneira, o visitante conseguirá ser parte da instalação e imergir e mergulhar

na projeção e na luz. Na favela, será distribuído giz para pintura de rua, e os moradores e

visitantes, tanto jovens quanto velhos, podem escrever e pintar conceitos na rua, no solo, nas

escadas ou até mesmo nas paredes das casas. Os moradores e diversas instituições serão

convidados a contribuir com conceitos e associações que representam o Rio, o Brasil e a

Alemanha.

Para as instalações apresentadas na Luminal em 2012, o artista Philipp Geist ganhou o

'Deutscher Lichtdesign-Preis 2013” (Prêmio Alemão de Desenho de Luz de 2013) na categoria

Arte de Luz. A série Time Drifts caracteriza-se pela forma complexa e sutil de visualizar várias

correntes e vozes em contextos culturais e de oferecer a instituições e aos visitantes a

oportunidade de participar: diferentes personalidades, visitantes e instituições podem ser

contatados antecipadamente para contribuir com termos e associações. Temas atuais, históricos

e culturais serão previamente pesquisados pelo artista e, depois, integrados de uma forma

sensível e sutil. A projeção é realizada sem o uso de telas porque conceitos e associações são

projetados, em grande estilo, sobre a superfície do solo, em diversas frentes e envolvidos em

fumaça. Ao longo de dois dias, a instalação estará em exibição em 15 e 16 de maio na favela, e

em 12 de maio, por um dia, no Cristo Redentor.

Visitantes jovens e velhos podem envolver-se na instalação e traçar ou adicionar palavras com

giz colorido, que será distribuído, e assim participar interativamente na instalação. Desta

maneira, durante a duração da instalação, será desenvolvido um tapete de palavras. As palavras

serão fornecidas, no próprio local, pelos visitantes usando o giz, um meio temporário e volátil.

Philipp Geist desenvolve assim um diálogo entre o local, os visitantes e seu trabalho artístico.

A área de projeção concreta e tangível da arquitetura e os termos estáticos sobre a superfície do

solo representam os fatos e as relíquias visíveis que compõem a nossa compreensão da história. A

área de projeção transparente e sumindo por dentro da fumaça lembra que parte da história não

pode ser preservada e que ela é criada na nossa imaginação individual momentaneamente.

Conceitos são brevemente visíveis, como uma metáfora para a transitoriedade e, logo mais,

desaparecem. Esta interação entre as várias camadas de texto e de imagens no espaço refere-se

à localização e a(s) história(s) do Brasil e da Alemanha e o intercâmbio cultural entre os dois

países. Os próprios visitantes tornam-se parte da instalação: eles imergem na grande projeção

do solo. Desta forma, diferentes perspectivas e experiências de espaço são unidas. Passagens

abstratas que são formadas, sobrepostas e suprimidas pela próxima simbolizam as mudanças

contínuas na história, a passagem do tempo e a transitoriedade da existência. A compreensão do

passado também está no fluxo. As fontes e formações modernas criadas no computador

estabelecem uma conexão com o presente e com as possibilidades da tecnologia de hoje: a

percepção da história e da cultura sempre dependende das capacidades e limitações do

presente.

'Time Drifts - Words of Berlin' faz parte de uma série de instalações, que foram apresentadas

durante os últimos anos por Philipp Geist e que são sempre redesenvolvidas para as condições

locais específicas: em outubro de 2012, Philipp Geist exibiu a instalação em toda a praça

Potsdamer Platz (Berlim) e nos dois arranha-céus Kolhoff Tower (Berlim) e Renzo Piano Tower

(Londres). Em abril de 2012, a instalação foi apresentada no evento da Luminal em Frankfurt

onde foi vista por mais de 40.000 visitantes sendo o principal projeto da Luminal de 2012. Em

2011, Philipp Geist mostrou a instalação Time Drifts na praça Jack Poole Plaza em Vancouver

bem como em Montreal, Canadá, no centro de arte Place des Arts, em 2010. A instalação Timing

foi exibida no Glow Festival de 2009 in Eindhoven, Holanda. No final de 2009 e por ocasião do

aniversário do rei tailandês, aprox. 2 a 3 milhões de visitantes viram a instalação de fachada do

artista no trono real em Banguecoque. Seus outros projetos incluem: Time Lines, no prestigiado

museu Palazzio delle Esposizioni (Roma, 2007); Time Fades, no Fórum Cultural de Berlim;

Broken Time Lines, no antigo spa Kurhaus Ahrenshoop (Alemanha, 2008).

Os projetos de Geist são principalmente caracterizados por sua complexidade na integração de

espaço, som e imagens de movimento. Suas instalações de mapeamento de vídeo renunciam

telas e transformam uma ampla gama de arquiteturas em esculturas móveis e pitorescas que

desafiam a percepção do espectador de duas e três dimensões.

  

www.alemanha-brasil.org/br/node/8542

www.alemanha-brasil.org/Programme/Dia/2014-05-12

www.alemanha-brasil.org/Programme/Dia/2014-05-15

www.alemanha-brasil.org/Programme/Dia/2014-05-16

  

---------------

 

Lichtkunst-VideoMappingInstallationen Philipp Geist in Rio de Janeiro / Brasilien 2014

an der Christstatue (Cristo Redender) 12.5 und in der Favela Santa Marta 15./16.5.2014

 

Installation Philipp Geist Deutsch-Brasilianisches Jahr 2013/2014

Konzept Time Drifts Mai 2014

 

Zum Abschluss des Deutsch-Brasilianischen-Jahres 2013/2014 entwickelt der Berliner Künstler

Philipp Geist (1976) zwei Lichtinstallation in Rio d.J.; eine an der weltbekannten Christstatue

(Cristo Redender) und in die andere Installation in der Favela Santa Marta. Bei der Installation

greift der Künstler künstlerisch frei und poetisch deutsch brasilianische Themen auf und

entwickelt eine Gebäude- und Boden-Lichtinstallation aus farbigen Wörtern und Begriffen in

portugiesischer, deutscher, und in weiteren internationalen Sprachen. Die Installation thematisiert

kulturelle Besonderheiten und Errungenschaften beider Länder und visualisiert die Themen Zeit

und Raum, Flüchtigkeit und Präsenz in freien künstlerischen Art. Bei den beiden Projekten handelt

es sich um ein Doppelprojekt welches kombiniert wird. Die Installation auf das Wahrzeichen von

Rio und Brasilien die Christstatue, wird aufgenommen und auf die kleinen Gebäude und Hütten

der Favela projiziert. Die Christstatue die errichtet worden ist um die Stadt und Seeleute zu

schützen, wird so symbolisch schützend über ein Armenviertel die Favela projiziert. Dabei ist die

Installation in der Favela nicht nur auf einer Fassade als große Kinoprojektion oder als statisches

Bild zu sehen, sondern auf mehreren verwinkelten Gebäuden, den Dächern, den Boden und auf

den Stufen. Der Besucher wird vielmehr auf diese Weise selbst Teil der Installation und kann in die

Projektion und das Licht eintauchen und sich einbringen. In der Favela werden Strassenmalkreide

ausgelegt und die Bewohner und Besucher ob jung oder alt können Begriffe auf die Strasse, den

Boden, die Treppenstufen oder sogar auf die Hauswände schreiben und malen. Die Bewohner und

verschiedene Institutionen sollen angesprochen werden Assoziationen und Begriffe die für Rio,

Brasilien und Deutschland stehen einzureichen.

Für die 2012 bei der Luminale gezeigten Installation hat der Künstler Philipp Geist den Deutschen

Lichtdesign-Preis 2013 in der der Kategorie Lichtkunst gewonnen. Die Serie 'Time Drifts' zeichnet

sich aus durch die komplexe und die subtile Möglichkeit, verschiedenste Strömungen und

Stimmen in kulturellen Kontexten sichtbar zu machen und Institutionen und Besuchern die

Möglichkeit zur inhaltlichen Partizipation zu geben: Es können verschiedene Persönlichkeiten,

Besucher und Institute im Vorfeld angesprochen werden, die Begriffe und Assoziationen

beisteuern. Aktuelle und kulturhistorische Themen werden im Vorfeld vom Künstler recherchiert

und auf sensible und subtile Weise integriert. Die Projektion verzichtet auf den Einsatz von

Leinwänden, denn Begriffe und Assoziationen werden grossflächig auf die Bodenfläche, auf

mehrere Fassaden und in Theaternebel projiziert. Über den Zeitraum von 2 Tagen wird die

Installation vor Ort in der Favela am 15/16.Mai und die Installation am Cristo Redentor am 12.Mai

für einen Tag zu sehen sein.!

Kleine, große, junge und alte Besucher können sich einbringen in die Installation und mit farbiger

Straßenmalkreide, die ausgelegt wird, Wörter nachzeichnen und hinzufügen und so interaktiv an

der Installation teilnehmen. Über die Installationsdauer entsteht somit ein Wörterteppich aus

Begriffen, die vor Ort von den Besuchern selbst mittels dem temporären und flüchtigen 'Medium'

der Strassenmalkreide beigesteuert werden. Geist entwickelt auf diese Weise einen Dialog

zwischen dem Ort, den Besuchern und seiner künstlerischen Arbeit. ! !

Die konkrete, greifbare Projektionsfläche der Architektur und die statischen Begriffe auf der

Bodenfläche stehen für die Fakten und sichtbaren Relikte, welche unser Geschichtsverständnis

ausmachen. Die transparente, sich verflüchtigende Projektionsfläche im Nebel erinnert daran,

dass ein Teil der Geschichte nicht konserviert werden kann und im Moment in unserer individuellen

Vorstellung entsteht. Begriffe werden als Metapher für die Vergänglichkeit kurzzeitig sichtbar und

verschwinden sofort wieder. Dieses Zusammenspiel der verschiedenen Text- und Bildschichten im

Raum verweist auf den Ort und die Geschichte(n) Brasiliens und Deutschlands und den kulturellen

Austausch beider Länder. Die Besucher selbst werden Teil der Installation: sie tauchen in die

großflächige Bodenprojektion ein. Auf diese Weise vereinen sich unterschiedliche Perspektiven

und Raumerfahrungen. Abstrakte Passagen, die sich aufbauen, überlagern und gegenseitig

verdrängen, symbolisieren die ständigen Veränderungen in der Geschichte, den Lauf der Zeit und

die Flüchtigkeit des Seins. Auch das Verständnis von der Vergangenheit ist im Fluss. Die

modernen Schriften und Formationen, die am Computer entstanden sind, stellen eine Verbindung

zur Gegenwart und den Möglichkeiten der heutigen Technik her und zeigen, dass die Erfahrbarkeit

von Geschichte und Kultur immer von den Möglichkeiten und Rahmenbedingungen der Gegenwart

abhängig ist.

'Time Drifts - Words of Berlin' ist Teil einer Serie von Installationen, die Philipp Geist in den letzten

Jahren gezeigt hat, und die dabei immer wieder neu an die örtlichen Gegebenheiten ortsspezifisch

weiterentwickelt wird: Im Oktober 2012 zeigte Geist die Installation auf dem gesamten Potsdamer

Platz und den beiden Hochhäusern Kolhoff Tower und Renzo Piano Tower. Im April 2012 wurde die

Installation in Frankfurt auf der Luminale gezeigt, wurde von mehr als 40.000 Besuchern gesehen

und war das Hauptprojekt der Luminale 2012. Im Jahr 2011 zeigte Geist die Installation Time Drifts

in Vancouver am Jack-Poole Plaza, ebenso wie in Montreal am Place des Arts in 2010. Die

Installation 'Timing' war 2009 auf dem Glow Festival in Eindhoven zu sehen. Ende 2009 sahen

anlässlich des Geburtstages des thailändischen Königs ca. 2-3 Millionen Besucher seine

Fassadeninstallation am königlichen Thron in Bangkok. Andere Projekte waren u.a.: 'Time Lines'

am renommierten Museum delle Esposizioni (2007), 'Time Fades' am Berliner Kulturforum,

'Broken Time Lines' am alten Kurhaus Ahrenshoop (2008).

Geists Projekte sind in erster Linie gekennzeichnet durch ihre Komplexität in der Integration von

Raum, Ton und Bewegbild. Seine Video-Mapping-Installationen verzichten auf Leinwände und

verwandeln verschiedenste Architekturen in bewegte, malerische Lichtskulpturen, die die

Wahrnehmung der Betrachter von Zwei- und Dreidimensionalität herausfordern.

  

Video Mapping Philipp Geist_Ano da Alemanha no Brasil - Cristo Redentor 2014

 

Photo by Fred Pacífico

©2014 Philipp Geist / VG BIldkunst Bonn

 

Rio de Janeiro / Brazil 2014

Christ statue (Cristo Redentor) – May 12

Dona Marta favela – May 15 and 16,2014

 

Light Art-Video-Mapping-Installations Philipp Geist in Rio de Janeiro / Brazil 2014

on the Christ statue (Cristo Redentor) - May 12 and in the Dona Marta favela - May 15 and 16,

2014

 

Installation Philipp Geist Year of Germany in Brazil 2013/2014

Concept Time Drifts May 2014

 

At the end of the Year of Germany in Brazil 2013/2014, the artist Philipp Geist (Berlin, 1976)

develops two light installations in Rio this year; the first one on the world-famous Christ statue

(Cristo Redentor) and the other installation in the Santa Marta favela. For the installation the

artist presents artistic-liberal and poetic German and Brazilian themes and develops a building

and floor light installation of colored words and phrases in Portuguese, German, and in other

international languages. The installation deals with cultural characteristics and achievements of

both countries and visualizes the issues of time and space, volatility and presence in a free

artistic style. The two projects are in fact a double project which is combined. The installation

on the symbol of Rio and Brazil, the Christ statue, is recorded and projected onto the small

buildings and huts of the favela. The Christ statue, which has been built to protect the city and

the sailors, is symbolically projected on the shantytown, the favela, in a protective way. The

installation in the favela will be seen not only on a facade as a large cinema projection or as a

static image, but on several winding buildings, the roofs, the floor and on the steps. Thus, the

visitor becomes a part of the installation and can immerse into the projection and the light and

introduce himself. Chalk crayons are put out on the streets in the favela and the young and old

residents and visitors can write and paint words on the street, the ground, the stairs or even on

the house walls. The residents and several institutions should be addressed to submit words and

associations dealing with Rio, Brazil and Germany.

For the installation, which was shown at the Luminale in 2012, the artist Philipp Geist won the

German Lighting Design Award 2013 (Deutscher Lichtdesign-Preis 2013) in the category Light Art.

The series 'Time Drifts' is characterized by the complex and subtle way of visualizing various

currents and voices in cultural contexts and to provide institutions and visitors with the

opportunity of substantive participation: different personalities, visitors and institutions may be

addressed in advance and then contribute words and associations. Current and historico-cultural

topics are researched in advance by the artist and then integrated in a sensitive and subtle way.

The projection dismisses the use of screens, because concepts and associations are projected on

a large area onto the floor surface on several facades and in theater fog. Over the course of two

days, the installation can be seen on-site in the favela on May 15 and 16 and on the Cristo

Redentor on May 12 for a day.

Short, tall, young and old visitors can interactively participate in the installation by tracing and

adding words with colored chalk crayons available on the streets. Thus, over the period of the

installation, a carpet of words is evolved with terms that are contributed locally by the visitors

by means of the temporary and volatile 'medium' of chalk crayons. Philipp Geist develops in this

way a dialogue between the place, the visitors and his artistic work.

The concrete, tangible projection of the architecture and the static terms on the floor area

represents the facts and visible relics that are responsible for our understanding of history. The

transparent and volatile projection in the fog reminds us that part of the history can not be

preserved and that it is created in our individual imagination in a single moment. Words are

briefly visible as a metaphor for transience and then disappear again. This interplay of the

various text and image layers in the space refers to the location and the history/-ies of Brazil

and Germany and the cultural exchange between the two countries. The visitors themselves are

part of the installation: they dive into the large floor projection. In this way, different

perspectives and experiences of space are unified. Abstract passages which are created, then

overlapped and displaced by each other symbolize the constant changes in history, the passage

of time and the transience of existence. Even the understanding of the past is in the flux. The

modern writings and formations created on the computer establish a connection to the present

and the possibilities of today's technology and show that the perception of history and culture

depends always on the possibilities and constraints of the present.

'Time Drifts - Words of Berlin' is part of a series of installations, which has been shown in recent

years by Philipp Geist, and which are always re-developed site-specifically and adapted to the

local conditions: In October 2012, Philipp Geist showed the installation on the entire Potsdamer

Platz (public square) and the Kolhoff Tower and Renzo Piano Tower skyscrapers. In April 2012

the installation was shown at the Luminale in Frankfurt where it was seen by more than 40,000

visitors and thus the main project of the Luminale 2012. In 2011, Philipp Geist presented the

'Time Drifts' installation in Vancouver at the Jack Poole Plaza, as well as in Montreal on the

Place des Arts in 2010. The 'Timing' installation was shown at the 2009 Glow Festival in

Eindhoven. In the end of 2009, on the occasion of the birthday of the King of Thailand, 2-3

million visitors saw his facade installation at the royal throne in Bangkok. Other projects

include: 'Timelines' at the prestigious Pallazzio delle Esposizioni (Rome, 2007), 'Time Fades'

at the Cultural Forum of Berlin and 'Broken Time Lines' at the old spa Kurhaus Ahrenshoop

(Germany, 2008).

Geist's projects are primarily characterized by their complexity concerning the integration of

space, sound and motion images. His video mapping installations waive screens and transform a

wide range of architectures in moving, picturesque light sculptures which challenge the viewer's

perception of two- and three-dimensionality.

  

www.alemanha-brasil.org/br/node/8542

www.alemanha-brasil.org/Programme/Dia/2014-05-12

www.alemanha-brasil.org/Programme/Dia/2014-05-15

www.alemanha-brasil.org/Programme/Dia/2014-05-16

  

---------------

 

Arte de luz - Instalações de Mapeamento de Vídeo por Philipp Geist no Rio de Janeiro / Brasil

2014 no Cristo Redentor no dia 12 de maio e na favela Santa Marta nos dias 15 e 16 de maio de

2014

 

Instalação Philipp Geist Ano Alemanha + Brasil 2013/2014

Conceito Time Drifts Maio 2014

 

No final do ano Alemnaha + Brasil 2013/2014, o artista Philipp Geist (1976, Berlim) desenvolverá

duas instalações de luz no Rio; uma delas será exibida na mundialmente famosa estátua do

Cristo Redentor, e a outra na favela Santa Marta. Para a instalação, o artista traz temas teutobrasileiros

de maneira liberal-artística e poética desenvolvendo instalações de luz em edifícios e

no solo a partir de palavras e conceitos coloridos em Português, Alemão e em outros idiomas

internacionais. A instalação lida com as peculiaridades e realizações culturais de ambos os países

e visualiza as questões de tempo e espaço e de volatilidade e presença no estilo liberal-artístico.

Os dois projetos em questão representam um projeto duplo que é combinado. A instalação na

estátua do Cristo Redentor, como um símbolo do Rio e do Brasil, será gravada e projetada nos

pequenos prédios e barracos da favela. A estátua do Cristo Redentor, que foi erguida para

proteger a cidade e os marinheiros, será então projetada como um símbolo de proteção em uma

favela. A instalação na favela é visto não apenas em uma fachada como uma projeção grande de

cinema ou como uma imagem estática, mas em vários prédios sinuosos, em telhados, no solo e

nas escadas. Desta maneira, o visitante conseguirá ser parte da instalação e imergir e mergulhar

na projeção e na luz. Na favela, será distribuído giz para pintura de rua, e os moradores e

visitantes, tanto jovens quanto velhos, podem escrever e pintar conceitos na rua, no solo, nas

escadas ou até mesmo nas paredes das casas. Os moradores e diversas instituições serão

convidados a contribuir com conceitos e associações que representam o Rio, o Brasil e a

Alemanha.

Para as instalações apresentadas na Luminal em 2012, o artista Philipp Geist ganhou o

'Deutscher Lichtdesign-Preis 2013” (Prêmio Alemão de Desenho de Luz de 2013) na categoria

Arte de Luz. A série Time Drifts caracteriza-se pela forma complexa e sutil de visualizar várias

correntes e vozes em contextos culturais e de oferecer a instituições e aos visitantes a

oportunidade de participar: diferentes personalidades, visitantes e instituições podem ser

contatados antecipadamente para contribuir com termos e associações. Temas atuais, históricos

e culturais serão previamente pesquisados pelo artista e, depois, integrados de uma forma

sensível e sutil. A projeção é realizada sem o uso de telas porque conceitos e associações são

projetados, em grande estilo, sobre a superfície do solo, em diversas frentes e envolvidos em

fumaça. Ao longo de dois dias, a instalação estará em exibição em 15 e 16 de maio na favela, e

em 12 de maio, por um dia, no Cristo Redentor.

Visitantes jovens e velhos podem envolver-se na instalação e traçar ou adicionar palavras com

giz colorido, que será distribuído, e assim participar interativamente na instalação. Desta

maneira, durante a duração da instalação, será desenvolvido um tapete de palavras. As palavras

serão fornecidas, no próprio local, pelos visitantes usando o giz, um meio temporário e volátil.

Philipp Geist desenvolve assim um diálogo entre o local, os visitantes e seu trabalho artístico.

A área de projeção concreta e tangível da arquitetura e os termos estáticos sobre a superfície do

solo representam os fatos e as relíquias visíveis que compõem a nossa compreensão da história. A

área de projeção transparente e sumindo por dentro da fumaça lembra que parte da história não

pode ser preservada e que ela é criada na nossa imaginação individual momentaneamente.

Conceitos são brevemente visíveis, como uma metáfora para a transitoriedade e, logo mais,

desaparecem. Esta interação entre as várias camadas de texto e de imagens no espaço refere-se

à localização e a(s) história(s) do Brasil e da Alemanha e o intercâmbio cultural entre os dois

países. Os próprios visitantes tornam-se parte da instalação: eles imergem na grande projeção

do solo. Desta forma, diferentes perspectivas e experiências de espaço são unidas. Passagens

abstratas que são formadas, sobrepostas e suprimidas pela próxima simbolizam as mudanças

contínuas na história, a passagem do tempo e a transitoriedade da existência. A compreensão do

passado também está no fluxo. As fontes e formações modernas criadas no computador

estabelecem uma conexão com o presente e com as possibilidades da tecnologia de hoje: a

percepção da história e da cultura sempre dependende das capacidades e limitações do

presente.

'Time Drifts - Words of Berlin' faz parte de uma série de instalações, que foram apresentadas

durante os últimos anos por Philipp Geist e que são sempre redesenvolvidas para as condições

locais específicas: em outubro de 2012, Philipp Geist exibiu a instalação em toda a praça

Potsdamer Platz (Berlim) e nos dois arranha-céus Kolhoff Tower (Berlim) e Renzo Piano Tower

(Londres). Em abril de 2012, a instalação foi apresentada no evento da Luminal em Frankfurt

onde foi vista por mais de 40.000 visitantes sendo o principal projeto da Luminal de 2012. Em

2011, Philipp Geist mostrou a instalação Time Drifts na praça Jack Poole Plaza em Vancouver

bem como em Montreal, Canadá, no centro de arte Place des Arts, em 2010. A instalação Timing

foi exibida no Glow Festival de 2009 in Eindhoven, Holanda. No final de 2009 e por ocasião do

aniversário do rei tailandês, aprox. 2 a 3 milhões de visitantes viram a instalação de fachada do

artista no trono real em Banguecoque. Seus outros projetos incluem: Time Lines, no prestigiado

museu Palazzio delle Esposizioni (Roma, 2007); Time Fades, no Fórum Cultural de Berlim;

Broken Time Lines, no antigo spa Kurhaus Ahrenshoop (Alemanha, 2008).

Os projetos de Geist são principalmente caracterizados por sua complexidade na integração de

espaço, som e imagens de movimento. Suas instalações de mapeamento de vídeo renunciam

telas e transformam uma ampla gama de arquiteturas em esculturas móveis e pitorescas que

desafiam a percepção do espectador de duas e três dimensões.

  

www.alemanha-brasil.org/br/node/8542

www.alemanha-brasil.org/Programme/Dia/2014-05-12

www.alemanha-brasil.org/Programme/Dia/2014-05-15

www.alemanha-brasil.org/Programme/Dia/2014-05-16

  

---------------

 

Lichtkunst-VideoMappingInstallationen Philipp Geist in Rio de Janeiro / Brasilien 2014

an der Christstatue (Cristo Redender) 12.5 und in der Favela Santa Marta 15./16.5.2014

 

Installation Philipp Geist Deutsch-Brasilianisches Jahr 2013/2014

Konzept Time Drifts Mai 2014

 

Zum Abschluss des Deutsch-Brasilianischen-Jahres 2013/2014 entwickelt der Berliner Künstler

Philipp Geist (1976) zwei Lichtinstallation in Rio d.J.; eine an der weltbekannten Christstatue

(Cristo Redender) und in die andere Installation in der Favela Santa Marta. Bei der Installation

greift der Künstler künstlerisch frei und poetisch deutsch brasilianische Themen auf und

entwickelt eine Gebäude- und Boden-Lichtinstallation aus farbigen Wörtern und Begriffen in

portugiesischer, deutscher, und in weiteren internationalen Sprachen. Die Installation thematisiert

kulturelle Besonderheiten und Errungenschaften beider Länder und visualisiert die Themen Zeit

und Raum, Flüchtigkeit und Präsenz in freien künstlerischen Art. Bei den beiden Projekten handelt

es sich um ein Doppelprojekt welches kombiniert wird. Die Installation auf das Wahrzeichen von

Rio und Brasilien die Christstatue, wird aufgenommen und auf die kleinen Gebäude und Hütten

der Favela projiziert. Die Christstatue die errichtet worden ist um die Stadt und Seeleute zu

schützen, wird so symbolisch schützend über ein Armenviertel die Favela projiziert. Dabei ist die

Installation in der Favela nicht nur auf einer Fassade als große Kinoprojektion oder als statisches

Bild zu sehen, sondern auf mehreren verwinkelten Gebäuden, den Dächern, den Boden und auf

den Stufen. Der Besucher wird vielmehr auf diese Weise selbst Teil der Installation und kann in die

Projektion und das Licht eintauchen und sich einbringen. In der Favela werden Strassenmalkreide

ausgelegt und die Bewohner und Besucher ob jung oder alt können Begriffe auf die Strasse, den

Boden, die Treppenstufen oder sogar auf die Hauswände schreiben und malen. Die Bewohner und

verschiedene Institutionen sollen angesprochen werden Assoziationen und Begriffe die für Rio,

Brasilien und Deutschland stehen einzureichen.

Für die 2012 bei der Luminale gezeigten Installation hat der Künstler Philipp Geist den Deutschen

Lichtdesign-Preis 2013 in der der Kategorie Lichtkunst gewonnen. Die Serie 'Time Drifts' zeichnet

sich aus durch die komplexe und die subtile Möglichkeit, verschiedenste Strömungen und

Stimmen in kulturellen Kontexten sichtbar zu machen und Institutionen und Besuchern die

Möglichkeit zur inhaltlichen Partizipation zu geben: Es können verschiedene Persönlichkeiten,

Besucher und Institute im Vorfeld angesprochen werden, die Begriffe und Assoziationen

beisteuern. Aktuelle und kulturhistorische Themen werden im Vorfeld vom Künstler recherchiert

und auf sensible und subtile Weise integriert. Die Projektion verzichtet auf den Einsatz von

Leinwänden, denn Begriffe und Assoziationen werden grossflächig auf die Bodenfläche, auf

mehrere Fassaden und in Theaternebel projiziert. Über den Zeitraum von 2 Tagen wird die

Installation vor Ort in der Favela am 15/16.Mai und die Installation am Cristo Redentor am 12.Mai

für einen Tag zu sehen sein.!

Kleine, große, junge und alte Besucher können sich einbringen in die Installation und mit farbiger

Straßenmalkreide, die ausgelegt wird, Wörter nachzeichnen und hinzufügen und so interaktiv an

der Installation teilnehmen. Über die Installationsdauer entsteht somit ein Wörterteppich aus

Begriffen, die vor Ort von den Besuchern selbst mittels dem temporären und flüchtigen 'Medium'

der Strassenmalkreide beigesteuert werden. Geist entwickelt auf diese Weise einen Dialog

zwischen dem Ort, den Besuchern und seiner künstlerischen Arbeit. ! !

Die konkrete, greifbare Projektionsfläche der Architektur und die statischen Begriffe auf der

Bodenfläche stehen für die Fakten und sichtbaren Relikte, welche unser Geschichtsverständnis

ausmachen. Die transparente, sich verflüchtigende Projektionsfläche im Nebel erinnert daran,

dass ein Teil der Geschichte nicht konserviert werden kann und im Moment in unserer individuellen

Vorstellung entsteht. Begriffe werden als Metapher für die Vergänglichkeit kurzzeitig sichtbar und

verschwinden sofort wieder. Dieses Zusammenspiel der verschiedenen Text- und Bildschichten im

Raum verweist auf den Ort und die Geschichte(n) Brasiliens und Deutschlands und den kulturellen

Austausch beider Länder. Die Besucher selbst werden Teil der Installation: sie tauchen in die

großflächige Bodenprojektion ein. Auf diese Weise vereinen sich unterschiedliche Perspektiven

und Raumerfahrungen. Abstrakte Passagen, die sich aufbauen, überlagern und gegenseitig

verdrängen, symbolisieren die ständigen Veränderungen in der Geschichte, den Lauf der Zeit und

die Flüchtigkeit des Seins. Auch das Verständnis von der Vergangenheit ist im Fluss. Die

modernen Schriften und Formationen, die am Computer entstanden sind, stellen eine Verbindung

zur Gegenwart und den Möglichkeiten der heutigen Technik her und zeigen, dass die Erfahrbarkeit

von Geschichte und Kultur immer von den Möglichkeiten und Rahmenbedingungen der Gegenwart

abhängig ist.

'Time Drifts - Words of Berlin' ist Teil einer Serie von Installationen, die Philipp Geist in den letzten

Jahren gezeigt hat, und die dabei immer wieder neu an die örtlichen Gegebenheiten ortsspezifisch

weiterentwickelt wird: Im Oktober 2012 zeigte Geist die Installation auf dem gesamten Potsdamer

Platz und den beiden Hochhäusern Kolhoff Tower und Renzo Piano Tower. Im April 2012 wurde die

Installation in Frankfurt auf der Luminale gezeigt, wurde von mehr als 40.000 Besuchern gesehen

und war das Hauptprojekt der Luminale 2012. Im Jahr 2011 zeigte Geist die Installation Time Drifts

in Vancouver am Jack-Poole Plaza, ebenso wie in Montreal am Place des Arts in 2010. Die

Installation 'Timing' war 2009 auf dem Glow Festival in Eindhoven zu sehen. Ende 2009 sahen

anlässlich des Geburtstages des thailändischen Königs ca. 2-3 Millionen Besucher seine

Fassadeninstallation am königlichen Thron in Bangkok. Andere Projekte waren u.a.: 'Time Lines'

am renommierten Museum delle Esposizioni (2007), 'Time Fades' am Berliner Kulturforum,

'Broken Time Lines' am alten Kurhaus Ahrenshoop (2008).

Geists Projekte sind in erster Linie gekennzeichnet durch ihre Komplexität in der Integration von

Raum, Ton und Bewegbild. Seine Video-Mapping-Installationen verzichten auf Leinwände und

verwandeln verschiedenste Architekturen in bewegte, malerische Lichtskulpturen, die die

Wahrnehmung der Betrachter von Zwei- und Dreidimensionalität herausfordern.

 

Video Mapping Philipp Geist_Ano da Alemanha no Brasil - Cristo Redentor 2014

 

Photo by Fred Pacífico

©2014 Philipp Geist / VG BIldkunst Bonn

 

Rio de Janeiro / Brazil 2014

Christ statue (Cristo Redentor) – May 12

Dona Marta favela – May 15 and 16,2014

 

Light Art-Video-Mapping-Installations Philipp Geist in Rio de Janeiro / Brazil 2014

on the Christ statue (Cristo Redentor) - May 12 and in the Dona Marta favela - May 15 and 16,

2014

 

Installation Philipp Geist Year of Germany in Brazil 2013/2014

Concept Time Drifts May 2014

 

At the end of the Year of Germany in Brazil 2013/2014, the artist Philipp Geist (Berlin, 1976)

develops two light installations in Rio this year; the first one on the world-famous Christ statue

(Cristo Redentor) and the other installation in the Santa Marta favela. For the installation the

artist presents artistic-liberal and poetic German and Brazilian themes and develops a building

and floor light installation of colored words and phrases in Portuguese, German, and in other

international languages. The installation deals with cultural characteristics and achievements of

both countries and visualizes the issues of time and space, volatility and presence in a free

artistic style. The two projects are in fact a double project which is combined. The installation

on the symbol of Rio and Brazil, the Christ statue, is recorded and projected onto the small

buildings and huts of the favela. The Christ statue, which has been built to protect the city and

the sailors, is symbolically projected on the shantytown, the favela, in a protective way. The

installation in the favela will be seen not only on a facade as a large cinema projection or as a

static image, but on several winding buildings, the roofs, the floor and on the steps. Thus, the

visitor becomes a part of the installation and can immerse into the projection and the light and

introduce himself. Chalk crayons are put out on the streets in the favela and the young and old

residents and visitors can write and paint words on the street, the ground, the stairs or even on

the house walls. The residents and several institutions should be addressed to submit words and

associations dealing with Rio, Brazil and Germany.

For the installation, which was shown at the Luminale in 2012, the artist Philipp Geist won the

German Lighting Design Award 2013 (Deutscher Lichtdesign-Preis 2013) in the category Light Art.

The series 'Time Drifts' is characterized by the complex and subtle way of visualizing various

currents and voices in cultural contexts and to provide institutions and visitors with the

opportunity of substantive participation: different personalities, visitors and institutions may be

addressed in advance and then contribute words and associations. Current and historico-cultural

topics are researched in advance by the artist and then integrated in a sensitive and subtle way.

The projection dismisses the use of screens, because concepts and associations are projected on

a large area onto the floor surface on several facades and in theater fog. Over the course of two

days, the installation can be seen on-site in the favela on May 15 and 16 and on the Cristo

Redentor on May 12 for a day.

Short, tall, young and old visitors can interactively participate in the installation by tracing and

adding words with colored chalk crayons available on the streets. Thus, over the period of the

installation, a carpet of words is evolved with terms that are contributed locally by the visitors

by means of the temporary and volatile 'medium' of chalk crayons. Philipp Geist develops in this

way a dialogue between the place, the visitors and his artistic work.

The concrete, tangible projection of the architecture and the static terms on the floor area

represents the facts and visible relics that are responsible for our understanding of history. The

transparent and volatile projection in the fog reminds us that part of the history can not be

preserved and that it is created in our individual imagination in a single moment. Words are

briefly visible as a metaphor for transience and then disappear again. This interplay of the

various text and image layers in the space refers to the location and the history/-ies of Brazil

and Germany and the cultural exchange between the two countries. The visitors themselves are

part of the installation: they dive into the large floor projection. In this way, different

perspectives and experiences of space are unified. Abstract passages which are created, then

overlapped and displaced by each other symbolize the constant changes in history, the passage

of time and the transience of existence. Even the understanding of the past is in the flux. The

modern writings and formations created on the computer establish a connection to the present

and the possibilities of today's technology and show that the perception of history and culture

depends always on the possibilities and constraints of the present.

'Time Drifts - Words of Berlin' is part of a series of installations, which has been shown in recent

years by Philipp Geist, and which are always re-developed site-specifically and adapted to the

local conditions: In October 2012, Philipp Geist showed the installation on the entire Potsdamer

Platz (public square) and the Kolhoff Tower and Renzo Piano Tower skyscrapers. In April 2012

the installation was shown at the Luminale in Frankfurt where it was seen by more than 40,000

visitors and thus the main project of the Luminale 2012. In 2011, Philipp Geist presented the

'Time Drifts' installation in Vancouver at the Jack Poole Plaza, as well as in Montreal on the

Place des Arts in 2010. The 'Timing' installation was shown at the 2009 Glow Festival in

Eindhoven. In the end of 2009, on the occasion of the birthday of the King of Thailand, 2-3

million visitors saw his facade installation at the royal throne in Bangkok. Other projects

include: 'Timelines' at the prestigious Pallazzio delle Esposizioni (Rome, 2007), 'Time Fades'

at the Cultural Forum of Berlin and 'Broken Time Lines' at the old spa Kurhaus Ahrenshoop

(Germany, 2008).

Geist's projects are primarily characterized by their complexity concerning the integration of

space, sound and motion images. His video mapping installations waive screens and transform a

wide range of architectures in moving, picturesque light sculptures which challenge the viewer's

perception of two- and three-dimensionality.

  

www.alemanha-brasil.org/br/node/8542

www.alemanha-brasil.org/Programme/Dia/2014-05-12

www.alemanha-brasil.org/Programme/Dia/2014-05-15

www.alemanha-brasil.org/Programme/Dia/2014-05-16

  

---------------

 

Arte de luz - Instalações de Mapeamento de Vídeo por Philipp Geist no Rio de Janeiro / Brasil

2014 no Cristo Redentor no dia 12 de maio e na favela Santa Marta nos dias 15 e 16 de maio de

2014

 

Instalação Philipp Geist Ano Alemanha + Brasil 2013/2014

Conceito Time Drifts Maio 2014

 

No final do ano Alemnaha + Brasil 2013/2014, o artista Philipp Geist (1976, Berlim) desenvolverá

duas instalações de luz no Rio; uma delas será exibida na mundialmente famosa estátua do

Cristo Redentor, e a outra na favela Santa Marta. Para a instalação, o artista traz temas teutobrasileiros

de maneira liberal-artística e poética desenvolvendo instalações de luz em edifícios e

no solo a partir de palavras e conceitos coloridos em Português, Alemão e em outros idiomas

internacionais. A instalação lida com as peculiaridades e realizações culturais de ambos os países

e visualiza as questões de tempo e espaço e de volatilidade e presença no estilo liberal-artístico.

Os dois projetos em questão representam um projeto duplo que é combinado. A instalação na

estátua do Cristo Redentor, como um símbolo do Rio e do Brasil, será gravada e projetada nos

pequenos prédios e barracos da favela. A estátua do Cristo Redentor, que foi erguida para

proteger a cidade e os marinheiros, será então projetada como um símbolo de proteção em uma

favela. A instalação na favela é visto não apenas em uma fachada como uma projeção grande de

cinema ou como uma imagem estática, mas em vários prédios sinuosos, em telhados, no solo e

nas escadas. Desta maneira, o visitante conseguirá ser parte da instalação e imergir e mergulhar

na projeção e na luz. Na favela, será distribuído giz para pintura de rua, e os moradores e

visitantes, tanto jovens quanto velhos, podem escrever e pintar conceitos na rua, no solo, nas

escadas ou até mesmo nas paredes das casas. Os moradores e diversas instituições serão

convidados a contribuir com conceitos e associações que representam o Rio, o Brasil e a

Alemanha.

Para as instalações apresentadas na Luminal em 2012, o artista Philipp Geist ganhou o

'Deutscher Lichtdesign-Preis 2013” (Prêmio Alemão de Desenho de Luz de 2013) na categoria

Arte de Luz. A série Time Drifts caracteriza-se pela forma complexa e sutil de visualizar várias

correntes e vozes em contextos culturais e de oferecer a instituições e aos visitantes a

oportunidade de participar: diferentes personalidades, visitantes e instituições podem ser

contatados antecipadamente para contribuir com termos e associações. Temas atuais, históricos

e culturais serão previamente pesquisados pelo artista e, depois, integrados de uma forma

sensível e sutil. A projeção é realizada sem o uso de telas porque conceitos e associações são

projetados, em grande estilo, sobre a superfície do solo, em diversas frentes e envolvidos em

fumaça. Ao longo de dois dias, a instalação estará em exibição em 15 e 16 de maio na favela, e

em 12 de maio, por um dia, no Cristo Redentor.

Visitantes jovens e velhos podem envolver-se na instalação e traçar ou adicionar palavras com

giz colorido, que será distribuído, e assim participar interativamente na instalação. Desta

maneira, durante a duração da instalação, será desenvolvido um tapete de palavras. As palavras

serão fornecidas, no próprio local, pelos visitantes usando o giz, um meio temporário e volátil.

Philipp Geist desenvolve assim um diálogo entre o local, os visitantes e seu trabalho artístico.

A área de projeção concreta e tangível da arquitetura e os termos estáticos sobre a superfície do

solo representam os fatos e as relíquias visíveis que compõem a nossa compreensão da história. A

área de projeção transparente e sumindo por dentro da fumaça lembra que parte da história não

pode ser preservada e que ela é criada na nossa imaginação individual momentaneamente.

Conceitos são brevemente visíveis, como uma metáfora para a transitoriedade e, logo mais,

desaparecem. Esta interação entre as várias camadas de texto e de imagens no espaço refere-se

à localização e a(s) história(s) do Brasil e da Alemanha e o intercâmbio cultural entre os dois

países. Os próprios visitantes tornam-se parte da instalação: eles imergem na grande projeção

do solo. Desta forma, diferentes perspectivas e experiências de espaço são unidas. Passagens

abstratas que são formadas, sobrepostas e suprimidas pela próxima simbolizam as mudanças

contínuas na história, a passagem do tempo e a transitoriedade da existência. A compreensão do

passado também está no fluxo. As fontes e formações modernas criadas no computador

estabelecem uma conexão com o presente e com as possibilidades da tecnologia de hoje: a

percepção da história e da cultura sempre dependende das capacidades e limitações do

presente.

'Time Drifts - Words of Berlin' faz parte de uma série de instalações, que foram apresentadas

durante os últimos anos por Philipp Geist e que são sempre redesenvolvidas para as condições

locais específicas: em outubro de 2012, Philipp Geist exibiu a instalação em toda a praça

Potsdamer Platz (Berlim) e nos dois arranha-céus Kolhoff Tower (Berlim) e Renzo Piano Tower

(Londres). Em abril de 2012, a instalação foi apresentada no evento da Luminal em Frankfurt

onde foi vista por mais de 40.000 visitantes sendo o principal projeto da Luminal de 2012. Em

2011, Philipp Geist mostrou a instalação Time Drifts na praça Jack Poole Plaza em Vancouver

bem como em Montreal, Canadá, no centro de arte Place des Arts, em 2010. A instalação Timing

foi exibida no Glow Festival de 2009 in Eindhoven, Holanda. No final de 2009 e por ocasião do

aniversário do rei tailandês, aprox. 2 a 3 milhões de visitantes viram a instalação de fachada do

artista no trono real em Banguecoque. Seus outros projetos incluem: Time Lines, no prestigiado

museu Palazzio delle Esposizioni (Roma, 2007); Time Fades, no Fórum Cultural de Berlim;

Broken Time Lines, no antigo spa Kurhaus Ahrenshoop (Alemanha, 2008).

Os projetos de Geist são principalmente caracterizados por sua complexidade na integração de

espaço, som e imagens de movimento. Suas instalações de mapeamento de vídeo renunciam

telas e transformam uma ampla gama de arquiteturas em esculturas móveis e pitorescas que

desafiam a percepção do espectador de duas e três dimensões.

  

www.alemanha-brasil.org/br/node/8542

www.alemanha-brasil.org/Programme/Dia/2014-05-12

www.alemanha-brasil.org/Programme/Dia/2014-05-15

www.alemanha-brasil.org/Programme/Dia/2014-05-16

  

---------------

 

Lichtkunst-VideoMappingInstallationen Philipp Geist in Rio de Janeiro / Brasilien 2014

an der Christstatue (Cristo Redender) 12.5 und in der Favela Santa Marta 15./16.5.2014

 

Installation Philipp Geist Deutsch-Brasilianisches Jahr 2013/2014

Konzept Time Drifts Mai 2014

 

Zum Abschluss des Deutsch-Brasilianischen-Jahres 2013/2014 entwickelt der Berliner Künstler

Philipp Geist (1976) zwei Lichtinstallation in Rio d.J.; eine an der weltbekannten Christstatue

(Cristo Redender) und in die andere Installation in der Favela Santa Marta. Bei der Installation

greift der Künstler künstlerisch frei und poetisch deutsch brasilianische Themen auf und

entwickelt eine Gebäude- und Boden-Lichtinstallation aus farbigen Wörtern und Begriffen in

portugiesischer, deutscher, und in weiteren internationalen Sprachen. Die Installation thematisiert

kulturelle Besonderheiten und Errungenschaften beider Länder und visualisiert die Themen Zeit

und Raum, Flüchtigkeit und Präsenz in freien künstlerischen Art. Bei den beiden Projekten handelt

es sich um ein Doppelprojekt welches kombiniert wird. Die Installation auf das Wahrzeichen von

Rio und Brasilien die Christstatue, wird aufgenommen und auf die kleinen Gebäude und Hütten

der Favela projiziert. Die Christstatue die errichtet worden ist um die Stadt und Seeleute zu

schützen, wird so symbolisch schützend über ein Armenviertel die Favela projiziert. Dabei ist die

Installation in der Favela nicht nur auf einer Fassade als große Kinoprojektion oder als statisches

Bild zu sehen, sondern auf mehreren verwinkelten Gebäuden, den Dächern, den Boden und auf

den Stufen. Der Besucher wird vielmehr auf diese Weise selbst Teil der Installation und kann in die

Projektion und das Licht eintauchen und sich einbringen. In der Favela werden Strassenmalkreide

ausgelegt und die Bewohner und Besucher ob jung oder alt können Begriffe auf die Strasse, den

Boden, die Treppenstufen oder sogar auf die Hauswände schreiben und malen. Die Bewohner und

verschiedene Institutionen sollen angesprochen werden Assoziationen und Begriffe die für Rio,

Brasilien und Deutschland stehen einzureichen.

Für die 2012 bei der Luminale gezeigten Installation hat der Künstler Philipp Geist den Deutschen

Lichtdesign-Preis 2013 in der der Kategorie Lichtkunst gewonnen. Die Serie 'Time Drifts' zeichnet

sich aus durch die komplexe und die subtile Möglichkeit, verschiedenste Strömungen und

Stimmen in kulturellen Kontexten sichtbar zu machen und Institutionen und Besuchern die

Möglichkeit zur inhaltlichen Partizipation zu geben: Es können verschiedene Persönlichkeiten,

Besucher und Institute im Vorfeld angesprochen werden, die Begriffe und Assoziationen

beisteuern. Aktuelle und kulturhistorische Themen werden im Vorfeld vom Künstler recherchiert

und auf sensible und subtile Weise integriert. Die Projektion verzichtet auf den Einsatz von

Leinwänden, denn Begriffe und Assoziationen werden grossflächig auf die Bodenfläche, auf

mehrere Fassaden und in Theaternebel projiziert. Über den Zeitraum von 2 Tagen wird die

Installation vor Ort in der Favela am 15/16.Mai und die Installation am Cristo Redentor am 12.Mai

für einen Tag zu sehen sein.!

Kleine, große, junge und alte Besucher können sich einbringen in die Installation und mit farbiger

Straßenmalkreide, die ausgelegt wird, Wörter nachzeichnen und hinzufügen und so interaktiv an

der Installation teilnehmen. Über die Installationsdauer entsteht somit ein Wörterteppich aus

Begriffen, die vor Ort von den Besuchern selbst mittels dem temporären und flüchtigen 'Medium'

der Strassenmalkreide beigesteuert werden. Geist entwickelt auf diese Weise einen Dialog

zwischen dem Ort, den Besuchern und seiner künstlerischen Arbeit. ! !

Die konkrete, greifbare Projektionsfläche der Architektur und die statischen Begriffe auf der

Bodenfläche stehen für die Fakten und sichtbaren Relikte, welche unser Geschichtsverständnis

ausmachen. Die transparente, sich verflüchtigende Projektionsfläche im Nebel erinnert daran,

dass ein Teil der Geschichte nicht konserviert werden kann und im Moment in unserer individuellen

Vorstellung entsteht. Begriffe werden als Metapher für die Vergänglichkeit kurzzeitig sichtbar und

verschwinden sofort wieder. Dieses Zusammenspiel der verschiedenen Text- und Bildschichten im

Raum verweist auf den Ort und die Geschichte(n) Brasiliens und Deutschlands und den kulturellen

Austausch beider Länder. Die Besucher selbst werden Teil der Installation: sie tauchen in die

großflächige Bodenprojektion ein. Auf diese Weise vereinen sich unterschiedliche Perspektiven

und Raumerfahrungen. Abstrakte Passagen, die sich aufbauen, überlagern und gegenseitig

verdrängen, symbolisieren die ständigen Veränderungen in der Geschichte, den Lauf der Zeit und

die Flüchtigkeit des Seins. Auch das Verständnis von der Vergangenheit ist im Fluss. Die

modernen Schriften und Formationen, die am Computer entstanden sind, stellen eine Verbindung

zur Gegenwart und den Möglichkeiten der heutigen Technik her und zeigen, dass die Erfahrbarkeit

von Geschichte und Kultur immer von den Möglichkeiten und Rahmenbedingungen der Gegenwart

abhängig ist.

'Time Drifts - Words of Berlin' ist Teil einer Serie von Installationen, die Philipp Geist in den letzten

Jahren gezeigt hat, und die dabei immer wieder neu an die örtlichen Gegebenheiten ortsspezifisch

weiterentwickelt wird: Im Oktober 2012 zeigte Geist die Installation auf dem gesamten Potsdamer

Platz und den beiden Hochhäusern Kolhoff Tower und Renzo Piano Tower. Im April 2012 wurde die

Installation in Frankfurt auf der Luminale gezeigt, wurde von mehr als 40.000 Besuchern gesehen

und war das Hauptprojekt der Luminale 2012. Im Jahr 2011 zeigte Geist die Installation Time Drifts

in Vancouver am Jack-Poole Plaza, ebenso wie in Montreal am Place des Arts in 2010. Die

Installation 'Timing' war 2009 auf dem Glow Festival in Eindhoven zu sehen. Ende 2009 sahen

anlässlich des Geburtstages des thailändischen Königs ca. 2-3 Millionen Besucher seine

Fassadeninstallation am königlichen Thron in Bangkok. Andere Projekte waren u.a.: 'Time Lines'

am renommierten Museum delle Esposizioni (2007), 'Time Fades' am Berliner Kulturforum,

'Broken Time Lines' am alten Kurhaus Ahrenshoop (2008).

Geists Projekte sind in erster Linie gekennzeichnet durch ihre Komplexität in der Integration von

Raum, Ton und Bewegbild. Seine Video-Mapping-Installationen verzichten auf Leinwände und

verwandeln verschiedenste Architekturen in bewegte, malerische Lichtskulpturen, die die

Wahrnehmung der Betrachter von Zwei- und Dreidimensionalität herausfordern.

As always NEoN celebrates its festival with a late night party. Acts include Plastique Fantastique, Verity Brit & Musician U, Fallope & The Tubes and Resident DJ RHL. With a pop up bar and performances amongst our large group exhibition the vast factory space West Ward Works, this night promises to be a visual audible delight.

 

Plastique Fantastique (UK)

 

A performance fiction envisaged as a group of human and non-human avatars delivering communiqués from the past and the future. The communiqués are channelled through installations, writing, comics and sound and moving image work and performances, addressing technology, popular and mass media and sacred cultures and also human-machine animals and non-human entities and agents. Over several years, numerous people have produced Plastique Fantastique but there is also a core group producing the performance fiction. Plastique Fantastique was first presented by David Burrows and Simon O’Sullivan and developed with long-term collaborators Alex Marzeta and Vanessa Page, and more recently with Mark Jackson. For NE0N 2017, this group will call forth and trap a bit-coin-fairy-spirit to ask it seems questions. The performance – Plastique Fantastique Protocols for the Society for Cutting Up Mun-knee-snakers (S.C.U.M.): I-Valerie-Solaris-AKA-@32ACP-Amazon.co.uk-recommends-‘Pacific-Rim’ may/may-not shoot b1t-c0in-f@iry-sp1r1t) – uses drone-folk-songs, moving image projection, reliquaries and ritual to manifest the block-chain-spirit.

 

David Burrows, Alex Marzeta, Vanessa Page and Mark Jackson will be performing.

  

Rites of the Zeitgeber, Verity Brit & Musician ‘U’ (UK)

 

9 channel video installation, live score performed by musician ‘U’

 

The Zeitgeber (‘time giver’ or ‘synchroniser’) is honoured by a triadic henge of stacked CRT monitors in which past durations collide with future vacuums. Strange extra-terrestrial topographies are traversed across geological time and the internet. Curious substances are unearthed and lost languages resurrected. Fragments from Mina Loy, J. G. Ballard and Henri Bergson emerge amongst an archaeology of media from Super 8, VHS, to HD. Time bends from matter, history is up-set and the clock is obsolete.

 

Verity Birt an artist based in London. She studied an MA in Moving Image at the Royal College of Art (2013–2015) and BA in Art Practice at Goldsmiths University of London (2008–2011). She is involved with collaborative research groups; The Future is a Collective Project, Reconfiguring Ruins and a founding member of women artists collective Altai. This summer, Verity was artist in residence at BALTIC and The Newbridge Project in Newcastle. Previous exhibitions include: Our House of Common Weeds; Res. Gallery, London (2017); Relics from the De-crypt | Gossamer Fog Gallery London (2017), Altai in Residence, Experiments in Collective Practice, Dyson Gallery, London (2017); Chemhex Extract, Peacock Visual Arts, Aberdeen (2016); Feeling Safer, IMT Gallery, London and Gallery North, New York (2016); Come to Dust, Generator Projects, Dundee (2016)

 

Fallopé & The Tubes (UK)

 

A weirdo-punk performance band. Each live show features live humans! film and visuals! costumes! sculpture! visual props! and music/a sequence of sounds!

 

Fallopé and The Tubes is a fluctuating live musical and performative event with contributions from Sarah Messenger, Ruby Pester, Nadia Rossi, Rachel Walker, Catherine Weir, Emma McIntyre and Skye Renee Foley. The group are made up of Scottish based artists and musicians that are also filmmakers, festival organisers, librarians, boatbuilders and more who work collaboratively to devise live performances. Drawing influence from a wide range of fringe and mainstream musical genres, exploring sexuality, elements of social satire, self promotion and leftist political ideologies.

 

The group was established in January 2014 at Insriach Bothy, Aviemore and have developed their practice during numerous residency experiences across Scotland. By living and working together ‘off grid’ the group have developed experimental techniques to create a collective energy. Fallopé & The Tubes draw influence from a wide range of fringe and mainstream musical genres, as well as sexuality, elements of social satire and self promotion and leftist political ideologies. Soakin Records

 

DJ RHL (UK)

 

Resident NEoN DJ has been entertaining us since 2010. Djing for about 25 years, he predominately plays Techno but you often find him playing anything dance music related. Spinning old school vinyl sets containing an eclectic mix of old and new stuff. RHL just likes making people dance. Check here for past performances.

 

Accompanying DJ RHL is ‘The Wanderer‘ aka Naomi Lamb. Naomi works layers of diverse video loops into an ever evolving collage colours textures and shape and intuitively mixies visuals live. She improvises, freestyles and channels the room, customising the ephemeral moving collage in response to the tone of the happening.

 

For the past 20 years Naomi has been a prolific live video art performer utilising techniques and process that is often associated with the ever growing subculture of VJing and presents under the name of ‘The Wander’. Naomi has an intimate knowledge of not only the process of live video performance but also an wide reaching connections within the VJ community and has performed at many of the leading outdoor music and art festivals in New Zealand with a debut at two English Festivals this summer and she is super please for her first time mixing it up in Scotland to be at NEoN. “

 

AGK Booth

 

Yuck ’n Yum hereby invites you to attend the Annual General Karaoke booth at this year’s NEoN at Night. The AGK is a fiercely contested karaoke video competition, getting creative types to make videos that will shock, delight and confound its audience. First staged back in 2010, over the years the AGK has built up a sizeable back catalogue of singalong anthems encompassing everything from pop classics to the most extreme avant garde out there. Now Yuck ’n Yum will bring the AGK archive to NEoN revellers in an audiovisual extravaganza that will overturn everything you ever thought you knew about karaoke convention. This November, Yuck ’n Yum together with NEoN are making a song and dance about it.

 

About the Artists Yuck ‘n Yum is a curatorial collective formed in Dundee 2008. Until 2013 its main raison d’etre was to make zines and distribute art. The AGK booth is the first of three projects that will kick start a period of activity after a couple of years of hibernation.

 

Yuck ‘n Yum are Andrew Maclean, Gayle Meikle, Ben Robinson, Alexandra Ross, Alex Tobin, Becca Clark and Morgan Cahn.

 

WEST WARD WORKS

Guthrie Street

DD1 5BR

 

Images: Kathryn Rattray Photography

Oxon Cove Park and Oxon Cove Farm is a national historic district that includes a living farm museum operated by the National Park Service, and located at Oxon Hill, Prince George's County, Maryland. It was listed on the National Register of Historic Places in 2003.

 

The park provides an excellent resource for environmental studies, wildlife observing, fishing, and other recreational activities made possible by easy access to the Potomac River. Fourteen buildings and two structures are located in the historic district and associated with the property's sequential development as a plantation, an institutional agricultural complex, and a farm museum.

 

The Oxon Hill Farm includes the Mount Welby home, Farm Museum, barns, a stable, feed building, livestock buildings and a visitor activity barn. Farm animals include cows, horses and chickens. Visitors can view the animals up close daily and learn about the workings of a farm. The Farm Museum building displays historical farm equipment dating from the late 19th century.

 

The district also includes a hexagonal frame outbuilding; ca. 1830 brick root cellar; ca. 1973 frame hog house; ca. 1890 frame horse and pony barn; ca. 1991 frame chicken house; ca. 1970 steel-frame implement shed; ca. 1980 frame visitor barn; ca. 1970 steel-frame windmill; ca. 1940 frame hay barn; ca. 1890 frame feed building; ca. 1830 brick stable; ca. 1970 frame tool shed; ca. 1980 frame "sorghum sirip" shed; and a ca. 1980 frame dairy barn, and ca. 1940 tile silo. From the 1890s to 1950s, under the ownership of St. Elizabeth's Hospital, the site was used as a therapeutic treatment center for the mentally ill known as Godding Croft. The Oxon Cove Farm historic district is located on the crest of a ridge overlooking the Potomac River, north of I-95.

 

The principal dwelling, known as "Mount Welby," is a ca. 1807-1811 two-story three-bay brick structure laid in Flemish bond with Italianate detailing and sheltered by a shed roof, and visible to motorists crossing the interstate Woodrow Wilson Bridge. The house was built by Irish immigrant Dr. Samuel DeButts. It was entrusted to the National Park Service in 1959 in order to protect its resources from increased development. From 1891 to 1950, the property was used as a therapeutic farm by St. Elizabeths Hospital, and was known as Godding Croft.

 

The house is operated as a historic house museum, with exhibits about period life in the early 19th century for the owners and slaves on the plantation. Other exhibits focus on the home's role at Godding Croft.

 

en.wikipedia.org/wiki/Oxon_Cove_Park_and_Oxon_Hill_Farm

 

en.wikipedia.org/wiki/Wikipedia:Text_of_Creative_Commons_...

As always NEoN celebrates its festival with a late night party. Acts include Plastique Fantastique, Verity Brit & Musician U, Fallope & The Tubes and Resident DJ RHL. With a pop up bar and performances amongst our large group exhibition the vast factory space West Ward Works, this night promises to be a visual audible delight.

 

Plastique Fantastique (UK)

 

A performance fiction envisaged as a group of human and non-human avatars delivering communiqués from the past and the future. The communiqués are channelled through installations, writing, comics and sound and moving image work and performances, addressing technology, popular and mass media and sacred cultures and also human-machine animals and non-human entities and agents. Over several years, numerous people have produced Plastique Fantastique but there is also a core group producing the performance fiction. Plastique Fantastique was first presented by David Burrows and Simon O’Sullivan and developed with long-term collaborators Alex Marzeta and Vanessa Page, and more recently with Mark Jackson. For NE0N 2017, this group will call forth and trap a bit-coin-fairy-spirit to ask it seems questions. The performance – Plastique Fantastique Protocols for the Society for Cutting Up Mun-knee-snakers (S.C.U.M.): I-Valerie-Solaris-AKA-@32ACP-Amazon.co.uk-recommends-‘Pacific-Rim’ may/may-not shoot b1t-c0in-f@iry-sp1r1t) – uses drone-folk-songs, moving image projection, reliquaries and ritual to manifest the block-chain-spirit.

 

David Burrows, Alex Marzeta, Vanessa Page and Mark Jackson will be performing.

  

Rites of the Zeitgeber, Verity Brit & Musician ‘U’ (UK)

 

9 channel video installation, live score performed by musician ‘U’

 

The Zeitgeber (‘time giver’ or ‘synchroniser’) is honoured by a triadic henge of stacked CRT monitors in which past durations collide with future vacuums. Strange extra-terrestrial topographies are traversed across geological time and the internet. Curious substances are unearthed and lost languages resurrected. Fragments from Mina Loy, J. G. Ballard and Henri Bergson emerge amongst an archaeology of media from Super 8, VHS, to HD. Time bends from matter, history is up-set and the clock is obsolete.

 

Verity Birt an artist based in London. She studied an MA in Moving Image at the Royal College of Art (2013–2015) and BA in Art Practice at Goldsmiths University of London (2008–2011). She is involved with collaborative research groups; The Future is a Collective Project, Reconfiguring Ruins and a founding member of women artists collective Altai. This summer, Verity was artist in residence at BALTIC and The Newbridge Project in Newcastle. Previous exhibitions include: Our House of Common Weeds; Res. Gallery, London (2017); Relics from the De-crypt | Gossamer Fog Gallery London (2017), Altai in Residence, Experiments in Collective Practice, Dyson Gallery, London (2017); Chemhex Extract, Peacock Visual Arts, Aberdeen (2016); Feeling Safer, IMT Gallery, London and Gallery North, New York (2016); Come to Dust, Generator Projects, Dundee (2016)

  

Fallopé & The Tubes (UK)

 

A weirdo-punk performance band. Each live show features live humans! film and visuals! costumes! sculpture! visual props! and music/a sequence of sounds!

 

Fallopé and The Tubes is a fluctuating live musical and performative event with contributions from Sarah Messenger, Ruby Pester, Nadia Rossi, Rachel Walker, Catherine Weir, Emma McIntyre and Skye Renee Foley. The group are made up of Scottish based artists and musicians that are also filmmakers, festival organisers, librarians, boatbuilders and more who work collaboratively to devise live performances. Drawing influence from a wide range of fringe and mainstream musical genres, exploring sexuality, elements of social satire, self promotion and leftist political ideologies.

 

The group was established in January 2014 at Insriach Bothy, Aviemore and have developed their practice during numerous residency experiences across Scotland. By living and working together ‘off grid’ the group have developed experimental techniques to create a collective energy. Fallopé & The Tubes draw influence from a wide range of fringe and mainstream musical genres, as well as sexuality, elements of social satire and self promotion and leftist political ideologies. Soakin Records

  

DJ RHL (UK)

 

Resident NEoN DJ has been entertaining us since 2010. Djing for about 25 years, he predominately plays Techno but you often find him playing anything dance music related. Spinning old school vinyl sets containing an eclectic mix of old and new stuff. RHL just likes making people dance. Check here for past performances.

 

Accompanying DJ RHL is ‘The Wanderer‘ aka Naomi Lamb. Naomi works layers of diverse video loops into an ever evolving collage colours textures and shape and intuitively mixies visuals live. She improvises, freestyles and channels the room, customising the ephemeral moving collage in response to the tone of the happening.

 

For the past 20 years Naomi has been a prolific live video art performer utilising techniques and process that is often associated with the ever growing subculture of VJing and presents under the name of ‘The Wander’. Naomi has an intimate knowledge of not only the process of live video performance but also an wide reaching connections within the VJ community and has performed at many of the leading outdoor music and art festivals in New Zealand with a debut at two English Festivals this summer and she is super please for her first time mixing it up in Scotland to be at NEoN. “

  

AGK Booth

 

Yuck ’n Yum hereby invites you to attend the Annual General Karaoke booth at this year’s NEoN at Night. The AGK is a fiercely contested karaoke video competition, getting creative types to make videos that will shock, delight and confound its audience. First staged back in 2010, over the years the AGK has built up a sizeable back catalogue of singalong anthems encompassing everything from pop classics to the most extreme avant garde out there. Now Yuck ’n Yum will bring the AGK archive to NEoN revellers in an audiovisual extravaganza that will overturn everything you ever thought you knew about karaoke convention. This November, Yuck ’n Yum together with NEoN are making a song and dance about it.

 

About the Artists Yuck ‘n Yum is a curatorial collective formed in Dundee 2008. Until 2013 its main raison d’etre was to make zines and distribute art. The AGK booth is the first of three projects that will kick start a period of activity after a couple of years of hibernation.

 

Yuck ‘n Yum are Andrew Maclean, Gayle Meikle, Ben Robinson, Alexandra Ross, Alex Tobin, Becca Clark and Morgan Cahn.

 

WEST WARD WORKS

Guthrie Street

DD1 5BR

 

Images: NEoN

Arizona CBP Operations, to include aerials of CBP locations, canine inspections, ports of entry and exit, border patrols, OFO operations and inspections, apprehensions, drug seizures, and check points.

Raleigh, NC - On November 18, NC Vision Zero hosts the third annual World Day of Remembrance (WDR) event at the State Capitol. A memorial display featuring thousands of shoes will be open to the public from 10am-5pm. The press event at 3pm will include remarks from Insurance Commissioner Mike Causey, NCGHSP Director Mark Ezzell, and Tammy Garlock, who lost her son in a distracted driving crash.

The WDR memorial exhibit will display thousands of shoes, each pair representing a victim of traffic crashes on NC roads. Visitors to the exhibit can place yellow paper flowers on shoes to remember lost loved ones and honor their memory.

The annual exhibit is one of several WDR events around the globe, each focused on honoring the lives lost on our world’s roads and spreading awareness about preventable traffic violence.

About World Day of Remembrance for Road Traffic Victims

The third Sunday of every November, the World Day of Remembrance for Road Traffic Victims calls attention to the suffering and heartache felt by millions as a result of preventable traffic violence. Hundreds of events honoring the lives lost are hosted all over the world.

About NC Vision Zero

Last year, 1,412 people were killed another 4,500 were seriously injured on North Carolina roads. NC Vision Zero is a collaborative, data-driven program aimed at eliminating these preventable roadway deaths and serious injuries. For more information, visit ncvisionzero.org.

 

NC Vision Zero Task Force Mission & Vision

Background

1,412 people were killed on North Carolina roads in 2017. Year after year, traffic

violence destroys an unacceptable number of lives in North Carolina: North Carolinians

clearly face a public health crisis. People of conscience naturally resent paying such an

unnecessary and unjust price for mobility. Every death from traffic violence is

demonstrably preventable.

Motor vehicle crashes are also financially costly, as one of the leading causes of Years

of Productive Life Lost due to unintentional injury for all age groups below 65 (CDC). In

one year, crash-related deaths cost North Carolina residents $1.71 Billion in medical

costs and work loss costs (CDC).

Resolved that losing even one life to traffic violence is unacceptable, the North Carolina

Executive Committee for Highway Safety (ECHS) passed a resolution adopting a Vision

Zero initiative in May 2015. The NC ECHS concluded that overcoming the challenges

connected with transforming traffic safety culture and drastically reducing serious injury

and death on our roadways would require a sustained collaborative effort. It therefore

established the NC Vision Zero Task Force to facilitate collaboration and lead the zero

tolerance charge for the state.

The NC Vision Zero Task Force consists of public and private-sector stakeholders, as

well as experts in the fields of engineering, law enforcement, education, emergency

response, and public engagement from across North Carolina. Its intent is to assist with

the implementation of North Carolina’s statewide Vision Zero initiative. It provides an

adaptive ecosystem, in which all participating safety initiatives can share information

freely and fluidly.

NC Vision Zero Principles:

1. No loss of life on North Carolina roads is acceptable.

2. All road users deserve safe streets.

3. North Carolinians should not incur risk of death or serious injury in exchange for

mobility.

4. A safe systems approach is required to eliminate fatal and serious injuries.

What is Vision Zero?

Vision Zero is a transportation safety paradigm conceived in Sweden in the late 1990s

to eliminate traffic deaths and serious injuries by means of systemic interventions.

Through its Vision Zero efforts, Sweden has reduced traffic fatalities by half, making it

one of the safest places to travel in the world. A central tenet of Vision Zero is that

people should not be killed or seriously injured as a consequence of mobility. Vision

Zero recognizes that humans make mistakes and, therefore, that the transportation

system should be designed to minimize the consequences of those errors.

Vision Zero is based on a Safe Systems approach , equally reliant on safer roads,

safer vehicles, and safer road users to achieve zero roadway deaths.

Safer Roads

Roadways should be designed to protect their imperfect, human users by physically

limiting the range of possible dangerous acts those users can perform.

Safer Vehicles

Vehicle technology should be designed to compensate for natural human deficiencies of

attention, perception, reaction speed, etc. to prevent or mitigate crashes.

Safer Road Users

Outreach should be designed to encourage a sense of shared responsibility in all

road-users, motivating them always to make intelligent, courteous, and safe decisions

on the road.

NC Vision Zero Task Force Vision, Mission, and Goals

Vision: To eliminate traffic fatalities and serious injuries through collaborative,

data-driven interventions.

The purpose of the NC Vision Zero Task Force is to eliminate deaths and serious

injuries on all modes of ground transportation using data-driven prevention strategies

(with emphasis on a safe systems approach) in collaboration with local, regional, and

state partners.

Mission: To supply all safety stakeholders in North Carolina with effective resources,

tools, and information, enabling them to eliminate traffic fatalities and serious injuries.

The NC Vision Zero Task Force mission includes the following goals:

● Serve as a clearinghouse for North Carolina safety data, research, and

resources.

● Provide a bridge for collaboration by facilitating communications between traffic

safety stakeholders across the state.

● Encourage and promote safe systems designs, which prioritize safety over

speed.

● Inspire and encourage, support and amplify local, regional, and statewide Vision

Zero initiatives.

● Facilitate access to information regarding safety initiatives operating and

developing in North Carolina.

● Advocate for processes and outcomes which promote public health equity,

engage with populations disproportionately killed or seriously injured on North

Carolina roads, and protect the most vulnerable road users.

● Serve as conduit for advocates, concerned citizens, and traffic safety

professionals to present research, efforts, and proposed solutions for statewide

consideration and implementation.

● Provide updates and recommendations to ECHS.

● Establish criteria/guidelines/best practices for local Vision Zero initiatives.

● Promote policies and practices to account for the safety of all road users

regardless of mode of transportation, age, ability, race, or income.

● Promote a culture of traffic safety in North Carolina, in which roadway violence is

not tolerated or socially acceptable.

● Provide research, crash data, and stakeholder engagement for proposed

policies.

Long Term Goals

● Cut fatalities and serious injuries in North Carolina in half by 2030, as established

in the North Carolina Highway Safety Plan.

● Improve access, transparency, and public understanding of crash causes and

data.

● Educate and empower North Carolinians to speak up if someone is being unsafe

on the road.

● Engage researchers, practitioners, and invested community members toward

developing a deeper understanding of the contributing factors involved in road

user safety, and investigating ways to effectively implement proven

countermeasures and community-based interventions.

 

Contact: Miracle King, NCDOT Communications Specialist 919-814-3657 miracleking@ncdot.gov

Available from:

Adventure House

www.adventurehouse.com/

Please support their reprint efforts!

c1910 postcard view of Lincoln City, Indiana. President Lincoln grew up near here. This scene shows the L. E. & St. L. (Louisville, Evansville & St. Louis) Railway (Cannelton Branch) in the foreground. The L. E. & St. L. was commonly known as the Southern Railroad. It followed Railway Avenue through the heart of Lincoln City from southwest to northeast. The European Hotel and nearby buildings stood on the east side of the Cannelton Branch near where it joined the main line. The train station was just outside this scene on the left between that main line and the Cannelton Branch. This view was looking northeast.

 

The Cannelton Branch ran from Lincoln City southeast through Troy and Tell City to Cannelton on the Ohio River. The other line through Lincoln City ran a short distance southwest where it split and ran south to Rockport on the Ohio River and southwest to Evansville. That same line ran northeast from Lincoln City to French Lick and a connection with the C. I. & L. (Chicago, Indianapolis & Louisville) Railroad, or Monon Route.

 

The book Indiana’s Lincolnland (Images of America) includes photographs of the station in Lincoln City. One image shows the European Hotel in the background. The businesses next to the hotel aren’t identified in this postcard view. The post office probably operated out of the business in the building next to the hotel. A sign in one of the hotel windows advertised a RESTAURANT.

 

1. Mike Capps and Jane Ammeson, Indiana’s Lincolnland (Images of America) (Charleston, SC: Arcadia Publishing, 2008).

 

This image was created by Thomas Keesling from a postcard courtesy of the Indiana Postal History Society.

 

Selected close-up sections of this postcard can be seen here, from left to right in the image.

 

www.flickr.com/photos/hoosier_recollections/15363763442/

 

www.flickr.com/photos/hoosier_recollections/15177312939/

 

Copyright 2005-2014 by Hoosier Recollections. All rights reserved. This image is part of a creative package that includes the associated text, geodata and/or other information. Neither this package in its entirety nor any of the individual components may be downloaded, transmitted or reproduced without the prior written permission of Hoosier Recollections.

Repairs on the U.S. Capitol Dome have begun in enclosed areas. This repair work includes lead paint removal, application of primer coat, cast iron repairs, new castings, epoxy filling of pits and voids in the cast iron surfaces and more. Details at www.aoc.gov/dome.

 

-----

This official Architect of the Capitol photograph is being made available for educational, scholarly, news or personal purposes (not advertising or any other commercial use). When any of these images is used the photographic credit line should read “Architect of the Capitol.” These images may not be used in any way that would imply endorsement by the Architect of the Capitol or the United States Congress of a product, service or point of view. For more information visit www.aoc.gov/terms.

 

Reference: 426617

This is a photograph from the East of Ireland Marathon Series Marathon which was held in Longwood Village, Co. Meath, Ireland on Saturday 2nd August 2014 at 09:00. There were 47 participants in the marathon which completed 8 loops of a 5KM route (and a additional 2KM) with Longwood GAA club acting as Race Headquarters, Start, Finish, and refreshments area. The weather was unseasonably wet for this time of year with rain for the entire duration of the race. However this didn't stop everyone enjoying the day. Thanks to the folks at Longwood GAA (particularly Barry Clarke and Vincent Byrne) who provided excellent hospitality and facilities for all participants. There was a great atmosphere at the race and everyone enjoyed another trip to the countryside for an EOIM. Hot showers and changing rooms were also available.

  

Despite the weather there were a few PBs and fast inidividual times. The course is a nice fast flat 5KM loop. It is used every year as the Longwood GAA 5KM Road Race. The marathon loop followed the reverse of the race route for safety reasons as the roads were fully opened for the EOIM event. There is a total elevation gain of 20ft and an elevation loss of 23ft. The sources of elevation gain are only very small rises on the road and aren't really noticeable. Part of the route includes a kilometer on a boreen which is nicely sheltered and with good road surface. The road surface is excellent for the entire route. The heavy rain from the previous 12 hours meant there were some puddles along the roads. Whilst Longwood is a rural venue it is easily accessible from all parts of Ireland due to it's close proximity to the N4 and the M4 Motorways.

 

We have an extensive set of photographs from today's event on the following Flickr Photoset Page: www.flickr.com/photos/peterm7/sets/72157646066559286/

 

Reading on a Smartphone or tablet? Don't forget to scroll down further to read more about this race and see important Internet links to other information about the race! You can also find out how to access and download these photographs.

 

Tell me more about the East of Ireland Marathon Series

This race event was part of the East of Ireland Marathon Series. The East Of Ireland Marathon Series aims to make marathons affordable and convienient for the runners of Ireland. The series organisers aim to promote marathon running and to make the process as stress free and enjoyable as possible. All courses are measured to full AAI standards and have a minimum of 10 Entrants. The marathons are self sufficent to a degree although there are limited supplies of water available on the day of the race. There will be no extra frills like chip timing and finish gantrys. However all finishing times are accurately and officially recorded and each marathon counts as an official marathon. Overall, this approach to marathon organisation helps to keep the price down and allows these races to be run in as an economically affordable manner as possible. The East of Ireland Marathon series is all inclusive and welcomes runners who are new to marathon running as well as experienced veterans. So if you are thinking of your 1st marathon, your 10th marathon, or your 100th the East of Ireland Marathon Series will provide a very friendly and low-cost environment for to become part of Ireland's marathon running community.

 

Some useful Internet links

Our photographs from the East of Ireland Marathon in Longwood in January 2014: www.flickr.com/photos/peterm7/sets/72157640099311556/

East of Ireland Marathons Facebook Group Page: www.facebook.com/groups/130592073780072/ (you will need a Facebook account to view this)

East of Ireland Marathons Website: www.eastofirelandmarathons.com/

Race Website with Route Description: www.peterm7.com/longwoodEOIM

Garmin GPS Trace of the Marathon Route (main loop) connect.garmin.com/activity/401171615

  

Can I use these photographs directly from Flickr on my social media account(s)?

 

Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.

 

We take these photographs as a hobby and as a contribution to the running community in Ireland. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us.

 

This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.

 

I want to download these pictures to my computer or device?

 

You can download the photographic image here direct to your computer or device. This version is the low resolution web-quality image. How to download will vary slight from device to device and from browser to browser. However - look for a symbol with three dots 'ooo' or the link to 'View/Download' all sizes. When you click on either of these you will be presented with the option to download the image. Remember just doing a right-click and "save target as" will not work on Flickr.

 

I want get full resolution, print-quality, copies of these photographs?

 

If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.

 

Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.

 

In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting does take a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.

 

I would like to contribute something for your photograph(s)?

Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.

 

We use Creative Commons Licensing for these photographs

We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?

The explaination is very simple.

Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own. This usually just mean putting a link to our photographs somewhere on your website, blog, or Facebook where other people can see it.

ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.

 

Creative Commons aims to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/

 

I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?

 

As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:

 

     ►You were hidden behind another participant as you passed our camera

     ►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set

     ►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone

     ►We simply missed you - sorry about that - we did our best!

  

You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.

 

Don't like your photograph here?

That's OK! We understand!

 

If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.

 

I want to tell people about these great photographs!

Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets

   

Pūjā is a prayer ritual performed by Hindus to host, honour and worship one or more deities, or to spiritually celebrate an event. Sometimes spelled phonetically as Pooja or Poojah, it may honour or celebrate the presence of special guest(s), or their memories after they pass away. The word Pūjā (Devanagari: पूजा) comes from Sanskrit, and means reverence, honour, homage, adoration, and worship. Puja rituals are also held by Buddhists, Jains and Sikhs.

 

In Hinduism, puja is done on a variety of occasions, frequency and settings. It may include daily puja done in the home, to occasional temple ceremonies and annual festivals, to few lifetime events such as birth of a baby or a wedding, or to begin a new venture. The two main areas where puja is performed are in the home and at temples to mark certain stages of life, events or some festivals such as Durga Puja and Lakshmi Puja. Puja is not mandatory; it may be a routine daily affair for some Hindus, periodic ritual for some, and infrequent for other Hindus. In some temples, various pujas may be performed daily at various times of the day; in other temples, it may be occasional.

 

Puja varies according to the school of Hinduism. Within a given school, puja may vary by region, occasion, deity honored, and steps followed. In formal Nigama ceremonies, a fire may be lit in honour of deity Agni, without an idol or image present. In contrast, in Agama ceremonies, an idol or image of deity is present. In both ceremonies, a diya or incense stick may be lit while a prayer is chanted or hymn is sung. Puja is typically performed by a Hindu worshipper alone, though sometimes in presence of a priest who is well versed in procedure and hymns. In temples and priest-assisted event puja, food, fruits and sweets may be included as offerings to the deity, which, after the prayers, becomes prasad - blessed food shared by all present at the puja.

 

Both Nigama and Agama puja are practiced in Hinduism in India. In Hinduism of Bali Indonesia, Agama puja is most prevalent both inside homes and in temples. Puja is sometimes called Sembahyang in Indonesia.

 

ETYMOLOGY

Puja (Sanskrit: पूजा) is an ancient word, with unclear origins. Joshi claims the word puja was first used in vedic times when Sūtra were composed, to describe prayers and worship before yajna or homa - fire deity, Agni. Charpentier suggests the origin of the word Puja may lie in the Dravidian languages. Two possible Tamil roots have been suggested: Poosai "to smear with something" and Poochei "to do with flowers".

 

ORIGNS

According to scholars, one of the earliest mentions of Pūjā is in the Grihya Sutras, which provide rules for domestic rites. These Sutras, dated to be about 500 BC, use the term puja to describe the hospitality to honor priests who were invited to one’s home to lead rituals for departed ancestors. As Hindu philosophy expanded and diversified, with developments such as the bhakti movement, the vedic puja ritual were modified and applied to the deities. As with vedic times, the general concept of puja remained the same, but expanded to welcoming the deity along with the deity's spiritual essence as one's honored guest. The Puranic corpus of literature, dating from about 6th century CE, contain extensive outline on how to perform deity puja (deva pūjā). Deity puja thus melds Vedic rites with devotion to deity in its ritual form. As with many others aspects of Hinduism, both Vedic puja and devotional deity puja continued, the choice left to the Hindu.

 

As a historical practice, Pūjā in Hinduism, has been modeled around the idea of hosting a deity, or important person, as an honored and dearest guest in the best way one can, given one's resources, and receiving their happiness and blessing in return. Paul Thieme suggests from passages in the Rāmāyaṇa that the word pūjā referred to the hospitable reception of guests and that the things offered to guests could be offered to the gods and their dwellings. The rituals in question were the "five great sacrifices" or pañcamahāyajña recorded in the Gṛhyasūtra texts (for this literature, see Kalpa). The development of pūjā thus emerged from Vedic domestic traditions and was carried into the temple environment by analogy: just as important guests had long been welcomed in well-to-do homes and offered things that pleased them, so too were the gods welcomed in temple-homes and offered things that pleased them. Copper-plate charters recording grants of lands to temples show that this religious practice was actively encouraged from the mid-4th century.

 

SIGNIFICANCE OF PUJA

In the earliest texts describing Vedic puja, the significance of puja was to host the priest so that he could make direct requests to the gods. An example petition prayer made during a Vedic puja, according to Wade Wheelock, is:

 

Indra-Agni, slayers of Vrtra with the beautiful thunderbolt, prosper us with new gifts;

O Indra, bring treaures with your right hand;

O Agni grant the enjoyments of a good household;

Give (us) vigor, wealth in cattle, and possession of good horses.

- ÄsvSü

 

In contrast to Vedic pujas, the significance of deity pujas shifted from petitions and external goals to the experience of oneness with the deities and their spiritual essence. It became a form of yoga whose final result aimed to be the consciousness of god through homage to god. Nevertheless, even with this evolved theoretical spiritual significance, for many people, puja continued to be a vehicle to petition desires and appeals, such as for good health of one's child, speedy recovery from illness, success in venture envisioned or such. In the structure and practice of puja, the mantras and rituals focus on spirituality, and any petitions and appeals are tacked only to the end of the puja.

 

Zimmer relates puja to yantras, with the rituals helping the devotee focus on the spiritual concepts. Puja in Hinduism, claims Zimmer, is a path and process of transformation of consciousness, where the devotee and the spiritual significance of the deity are brought together. This ritual puja process, in different parts of India, is considered to be liberating, releasing, purifying and a form of yoga of spirit and emotions.

 

Puja in Hinduism sometimes involves themes beyond idols or images. Even persons, places, rivers, concrete objects or anything is seen as manifestations of divine reality by some Hindus. The access to the divine is not limited to renunciatory meditation as in yoga school of Hinduism or idols in bhakti school. For some the divine is everywhere, without limit to its form, and a puja to these manifestations signifies the same spiritual meaning to those who choose to offer a prayer to persons, places, rivers, concrete objects or anything else.

 

TEMPLE PUJA

Temple (Mandir) pūjā is more elaborate than the domestic versions and typically done several times a day. They are also performed by a temple priest, or pujari. In addition, the temple deity (patron god or goddess) is considered a resident rather than a guest, so the puja is modified to reflect that; for example the deity is "awakened" rather than "invoked" in the morning. Temple pujas vary widely from region to region and for different sects, with devotional hymns sung at Vaishnava temples for example. At a temple puja, there is often less active participation, with the priest acting on behalf of others.

 

ELABORATE PUJA

A full home or temple puja can include several traditional upacaras or "attendances". The following is an example puja; these steps may vary according to region, tradition, setting, or time particularly in ways the deity is hosted. In this example, the deity is invited as a guest, the devotee hosts and takes care of the deity as an honored guest, hymns and food are offered to the deity, after an expression of love and respect the host takes leave and with affection expresses good bye to the deity. Indologist Jan Gonda has identified 16 steps (shodasha upachara) that are common in all varieties of puja:

 

1. Avahana (“invocation”). The deity is invited to the ceremony from the heart.

2. Asana. The deity is offered a seat.

3. Padya. The deity’s feet are symbolically washed.

4. Water is offered for washing the head and body

5. Arghya. Water is offered so the deity may wash its mouth.

6. Snana or abhisekha. Water is offered for symbolic bathing.

7. Vastra (“clothing”). Here a cloth may be wrapped around the image and ornaments affixed to it.

8. Upaveeda or Mangalsutra. Putting on the sacred thread.

9. Anulepana or gandha. Perfumes and ointments are applied to the image. Sandalwood paste or kumkum is applied.

10. Pushpa. Flowers are offered before the image, or garlands draped around its neck.

11. Dhupa. Incense is burned before the image.

12. Dipa or Aarti. A burning lamp is waved in front of the image.

13. Naivedya. Foods such as cooked rice, fruit, clarified butter, sugar, and betel leaf are offered.

14. Namaskara or pranama. The worshipper and family bow or prostrate themselves before the image to offer homage.

15. Parikrama or Pradakshina. Circumambulation around the deity.

16. Taking leave.

 

Sometimes additional steps are included:

1. Dhyana (“Meditation”). The deity is invoked in the heart of the devotee.

2. Acamanıya. Water is offered for sipping.

3. Aabaran. The deity is decorated with ornaments.

4. Chatram. Offering of umbrella.

5. Chamaram Offering of fan or fly-whisk (Chamara).

6. Visarjana or Udvasana. The deity is moved from the place.

 

There are variations in this puja method such as:

1. Pancha upachara pooja (puja with 5 steps).

2. Chatushasti upachara puja (puja with 64 steps).

 

The structure of elaborate puja also varies significantly between temples, regions and occasions.

 

QUICK PUJA

A quick puja has the same structure as acts ordinary people would perform for a quick reception, hospitality and affectionate interaction with a beloved guest. First the deity is greeted, acknowledged by name and welcomed, sometimes with a diya or lighted incense stick. The devotee proceeds to connect with the spiritual manifestation by meditating (a form of darshan), or chanting hymns and mantras, then personal prayers follow. After prayer is finished, the spiritual visitor as guest is affectionately thanked and greeted good bye. A quick meditative puja is sometimes offered by some Hindus without an idol or image. According to Fuller, Hindu texts allow flexibility and abbreviated puja according to occasion, needs and personal preferences.

 

PUJA IN BALINESE HINDUISM

In Hinduism of Bali Indonesia, puja is sometimes called Sembahyang. The word originates from two words in old Javanese: sembah and hyang. Sembah means to respect and bow down; Hyang means divine, God/Shang Hyang Widhi, holy man, and ancestors. So to pray means to respect, bow down, surrender to the divine and ancestors.

 

Sembahyang (Puja) is an obligation for Balinese Hindus, the prayers and hymns are derived from the Vedas. A family typically offers prayers everyday, with Kewangen and other offerings. Kewangen means aromatic, and it is made from leaves and flowers in form of auspicious Vedic symbols. Balinese use kewangen to worship the divine, both in form of Purusha (soul) and Pradana (body). As with India, Balinese make offerings, including symbolic inclusion of fire, incense and mantras.

 

GURU PUJA

In the case of great spiritual masters, there is also a custom to perform puja for a living person. Gurus are sometimes chosen as objects of puja and honored as living gods or seen the embodiment of specific deities. Gurus are sometimes adorned with symbolic clothes, garlands and other ornaments, and celebrated with incense, washing and anointing their feet, giving them fruits, food and drinks and meditating at their feet, asking for their blessing.

 

PUJA AS A SOCIAL, HUMAN RIGHTS EVENT

As with Church services in Christianity, Pūjā in Hinduism has served as a means for Hindu communities outside India to gather, socialize, discover new friends and sometimes discuss ways to address social discrimination of Hindus. For example, Marion O'Callaghan reports that the Hindu diaspora brought as indentured laborers to Trinidad by the British colonial government, suffered discriminatory laws that did not recognize traditional Hindu marriages or inheritance rights of children from a traditional Hindu marriage, nor did the non-Hindu majority government allow pyre cremation or construction of crematorium. These Hindu rituals were considered pagan and uncivilized. Pujas offered a way for Hindus to meet, socially organize and petition their human rights. Over time, pujas became as much as social and community recreational event, as a religious event.

 

CRITIQUE OF PUJA IN THE PURVA MIMAMSAKA SCHOOL

Although pūjā is accepted as a valid religious activity by Hindus at large, it has long been criticised by Mīmāṃsā thinkers. The foundational work of this school is the Karmamīmāṃsāsūtra or "Aphorisms for Enquiry into the Act," composed by Jaimini. The earliest surviving commentary is by Śabara who lived around the end of the fourth century. Śabara's commentary, known as Śabarabhāṣya holds pride of place in Mīmāṃsā in that Sabara's understanding is taken as definitive by all later writers. In his chapter entitled Devatādikaraṇa (9 : 1: 5: 6-9), Śabara examines the popular understanding of the gods and attempts to refute the belief that they have material bodies, are able to eat the offerings made to them, and are capable of being pleased and so able to reward worshippers. Basing himself on the Vedas (he refused to accept the Mahābhārata, Purāṇa texts or even the Smṛti literatures as valid sources of authority), Śabara concludes that the gods are neither corporeal nor sentient and thus unable to enjoy offerings or own property. For this he appeals to empirical observation, noting that offerings do not decrease in size when given to the gods; any decrease is simply due to exposure to the air. Likewise he argues that substances are offered to gods not according to the wishes of the gods, but that "what is vouched for by direct perception is that the things are used according to the wishes of the temple servants (pratyakṣāt pramāṇāt devatāparicārakāṇām abhiprāyaḥ). In the course of his discussion, Śabara's asserts that "there is no relation between the case of guests and the sacrificial act." This incidental remark provides sound historical proof that pūjā was built on analogy with atithi, the ancient Vedic tradition of welcoming guests. What Śabara is maintaining is that this analogy is not valid. While the Mīmāṃsakas continued to maintain this interpretation for centuries, their defeat in debate at the hands of Śaṅkarācārya led to theirs being a minority view. It is a remarkable testament to the plurality and tolerance of Indian civilization that Mīmāṃsakas flourished even into the 17th century, as evidenced by the commentaries of Nīlakaṇṭha.

 

REGIONAL NAMES

Puja, sometimes spelled pooja, is called பூஜை in Tamil, and bucha (บูชา) in Thai.

 

WIKIPEDIA

Lüneburg (officially the Hanseatic Town of Lüneburg, German: Hansestadt Lüneburg, pronounced [ˈhan.zə.ʃtat ˈlyː.nə.bʊɐk], Low German Lümborg, Latin Luneburgum or Lunaburgum, Old High German Luneburc, Old Saxon Hliuni, Polabian Glain), also called Lunenburg in English, is a town in the German state of Lower Saxony. It is located about 50 km southeast of another Hanseatic city, Hamburg. It is part of the Hamburg Metropolitan Region. The capital of the district of Lüneburg, its population is around 72,000 people. Lüneburg's urban area, which includes the surrounding communities like Adendorf, Bardowick, Bleckede, Amelinghausen and Reppenstedt, has a population of around 103,000. Lüneburg has been allowed to use the title "Hansestadt" (Hanseatic Town) in its name since 2007, in recognition of its membership in the former Hanseatic League. Lüneburg is also a university town.

 

GEOGRAPHY

LOCATION

Lüneburg lies on the river Ilmenau, about 30 kilometres from its confluence with the Elbe. The river flows through the town and is featured in its song; it was formerly traversed by cogs taking salt from the town to the other, larger, ports of the Hanseatic League nearby.

 

To the south of the town stretches the 7,400-square-kilometre Lüneburg Heath which emerged as a result of widespread tree-felling, forest fires and grazing. The tradition that the heath arose from centuries of logging undertaken to meet the constant need of the Lüneburg salt works for wood is not historically confirmed. More likely, the heath was originally formed by clearances during the Bronze Age. The old town (Altstadt) of Lüneburg lies above a salt dome which is the town's original source of prosperity. However, the constant mining of the salt deposits over which the town stands has also resulted in the sometimes gradual, sometimes dramatically pronounced, sinking of various areas of the town. On the western edge of the town is the Kalkberg, a small hill and former gypsum quarry.

 

TOWN LAYOUT

HISTORICAL QUARTERS

The motto Mons, Pons, Fons ("Hill, bridge, spring") characterised the development of the town from the 8th century as it coalesced from initially three, and later four, areas of settlement. These areas were the refuge castle on the — at that time considerably higher — Kalkberg, together with its adjoining settlement (the Marktviertel or "Market Quarter"), the village of Modestorpe between the bridge over the river Ilmenau and the large square, Am Sande (the Sandviertel or "Sand Quarter"), and the saline with its walled settlement for the work force (the Sülzviertel or "Salt Quarter"). Not until the 13th century was the river port settlement (the Wasserviertel or "Waterside Quarter") built between the market place and the Ilmenau. The resulting shape of the town thus formed did not change until its expansion in the late 19th century and it is still clearly visible today. Lüneburg's six historic town gates were the Altenbrücker Tor, the Bardowicker Tor, the Rote Tor, the Sülztor, the Lüner Tor and the Neue Tor.

 

NEIGHBOURHOODS

Luneburg has the following Stadtteile: Altstadt, Bockelsberg, Ebensberg, Goseburg-Zeltberg, Häcklingen, Kaltenmoor (the largest Statdteil, with around 8,000 inhabitants), Kreideberg, Lüne, Moorfeld, Mittelfeld, Neu Hagen, Ochtmissen, Oedeme, Rettmer, Rotes Feld, Schützenplatz, Weststadt and Wilschenbruch.

 

Jüttkenmoor, Klosterkamp, Bülows Kamp, In den Kämpen, Krähornsberg, Schäferfeld, Volgershall and Zeltberg are the names of individual blocks within a single Stadtteil.

 

SUBSIDENCE

The houses in the historic quarter between the Lüneburg Saltworks (today the German Salt Museum) and the Kalkberg were built above a salt dome that was excavated by the saltworks and which extended to just below the surface of the ground. As a result of the increasing quantities of salt mined with improved technical equipment after 1830, the ground began to sink by several metres. This resulted in the so-called Senkungsgebiet or "subsidence area". The houses there and the local church (St. Lambert's) lost their stability and had to be demolished. Because of this subsidence, and because salt mining was increasingly unprofitable, the saltworks were finally closed in 1980. Today, only small amounts of brine are extracted for the health spa in the Lüneburg Thermal Salt Baths (the Salztherme Lüneburg or SaLü). One side of the saltworks now houses a supermarket, while the other is the German Salt Museum.

 

The subsidence has been monitored at about 240 stations since 1946 every two years. The land has not quite stopped subsiding yet, but it is stable enough that new construction has taken place on it, and several historic buildings which had previously been damaged or demolished have been restored. The subsidence can still be clearly seen even today. Those who walk from Am Sande to the end of the Grapengießerstraße can clearly sense the degree of subsidence for themselves: the hollow in front of them was formerly at the same level as the Grapengießerstraße. This depression extends as far as the Lambertiplatz square.

 

In the Frommestraße, another sign of earth movements caused by salt mining may be seen: the Tor zur Unterwelt ("Door to the Underworld"), where two cast iron doors have been pushed on top of one another.

 

Near St. Michael's Church (Michaeliskirche) other consequences of the subsidence can be seen in its sloping columns and the west wing of the nave. Current subsidence movements can be seen in the road known as Ochtmisser Kirchsteig.

 

HISTORY

PREHISTORY

The first signs of human presence in the area of Lüneburg date back to the time of Neanderthal Man: 56 axes, estimated at 150,000 years old, were uncovered during the construction in the 1990s of the autobahn between Ochtmissen and Bardowick. The site of the discovery at Ochtmissen was probably a Neanderthal hunting location where huntsmen skinned and cut up the animals they had caught.

 

The area was almost certainly not continuously inhabited at that time, however, due to the various glaciations that lasted for millennia. The first indication of a permanent, settled farming culture in the area was found not far from the site of the Neanderthal discovery in the river Ilmenau between Lüne and Bardowick. This was an axe that is described as a Schuhleistenkeil or "shoe last wedge" due to its shape. It dates to the 6th century BC and is now in the collection of the Lüneburg Museum.

 

Since the Bronze Age, the Lüneburg hill known as the Zeltberg has concealed a whole range of prehistoric and early historic graves, which were laid out by people living in the area of the present-day town of Lüneburg. One of the oldest finds from this site is a so-called Unetice flanged axe (Aunjetitzer Randleistenbeil) which dates to 1900 BC.

 

The land within the town itself has also yielded a number of ice age urns that were already being reported in the 18th century. These discoveries are, however, like those from the Lüneburger Kalkberg — they went into the private collections of several 18th century scholars and, with a few exceptions, were lost when the scholars died.

 

Also worth mentioning in this regard are the Lombard Urnfield graves on the Lüneburg Zeltberg and Oedeme from the first few centuries AD. In the Middle Ages, there several discoveries were made on the site of the town, for example on the site of the old village of Modestorpe not far from St. John's Church (Johanniskirche), at the Lambertiplatz near the saltworks and in the old Waterside Quarter.

 

The ancient town may be that identified as Leufana or Leuphana (Greek: Λευφάνα), a town listed in Ptolemy (2.10) in the north of Germany on the west of the Elbe.

 

FROM VILLAG ETO COMMERCIAL TOWN

Lüneburg was first mentioned in medieval records in a deed signed on 13 August, 956 AD, in which Otto I, Holy Roman Emperor granted "the tax from Lüneburg to the monastery built there in honour of Saint Michael" (German den Zoll zu Lüneburg an das zu Ehren des heiligen Michaels errichtete Kloster, Latin: teloneum ad Luniburc ad monasterium sancti Michahelis sub honore constructum). An older reference to the place in the Frankish imperial annals dated 795 states:...ad fluvium Albim pervenit ad locum, qui dicitur Hliuni i.e. on the river Elbe, at the location, which is called "Hliuni") and refers to one of the three core settlements of Lüneburg; probably the castle on the Kalkburg which was the seat of the Billunger nobles from 951. The Elbe-Germanic name Hliuni corresponds to the Lombard word for "refuge site".

 

From archaeological finds, it is clear that the area around Lüneburg had already been settled (in the museum of the Principality of Lüneburg, for example, there is a whole range of artefacts that were found here) and the saltworks had already started production.

 

According to tradition, the salt was first discovered by a hunter who observed a wild boar bathing in a pool of water, shot and killed it, and hung the coat up to dry. When it was dry, he discovered white crystals in the bristles — salt. Later he returned to the site of the kill and located the salt pool, the first production of salt on the site took place. In the town hall is a bone preserved in a glass case; legend has it that this is the preserved leg-bone of the boar. It was here that the Lüneburg Saltworks was subsequently established for many centuries.

 

In spite of its lucrative saltworks, Lüneburg was originally subordinated to the town of Bardowick only a few miles to the north. Bardowick was older and was an important trading post for the Slavs. Bardowick's prosperity – it had seven churches – was based purely on the fact that no other trading centres were tolerated. Only when Bardowick refused to pay allegiance to Henry the Lion was it destroyed by him in 1189, whereupon Lüneburg was given town privileges (Stadtrechte) and developed into the central trading post in the region in place of Bardowick.

 

The Polabian name for Lüneburg is Glain (written as Chlein or Glein in older German sources), probably derived from glaino (Slavonic: glina) which means "clay". In the Latin texts Lüneburg surfaces not only as the Latinised Lunaburgum, but also as Selenopolis.

 

HANSEATIC PERIOD

As a consequence of the monopoly that Lüneburg had for many years as a supplier of salt within the North German region, a monopoly not challenged until much later by French imports, it very quickly became a member of the Hanseatic League. The League was formed in 1158 in Lübeck, initially as a union of individual merchants, but in 1356 it met as a federation of trading towns at the first general meeting of the Hansetag. Lüneburg's salt was needed in order to pickle the herring caught in the Baltic Sea and the waters around Norway so that it could be preserved for food inland during periods of fasting when fish (not meat) was permitted.

 

The Scania Market at Scania in Sweden was a major fish market for herring and became one of the most important trade events in Northern Europe in the Middle Ages. Lüneburg's salt was in great demand and the town quickly became one of the wealthiest and most important towns in the Hanseatic League, together with Bergen and Visby (the fish suppliers) and Lübeck (the central trading post between the Baltic and the interior). In the Middle Ages salt was initially conveyed overland up the Old Salt Road to Lübeck. With the opening of the Stecknitz Canal in 1398 salt could be transported by cog from the Lübeck salt warehouses, the Salzspeicher.

 

Around the year 1235, the Duchy of Brunswick-Lüneburg emerged, ruled by a family whose aristocratic lines repeatedly divided and re-united. The smaller states that kept re-appearing as a result, and which ranked as principalities, were usually named after the location of the ducal seat. Thus between 1267 and 1269 a Principality of Lüneburg was created for the first time, with Lüneburg as the seat of the royal Residenz. In 1371, in the wake of the Lüneburg War of Succession, rebel citizens threw the princes out of the town and destroyed their royal castle on the Kalkberg along with the nearby monastery. The state peace treaty in 1392 granted their demand to become a free imperial town, a status they were able to defend until 1637. The money now stayed in the town, enabling fine houses and churches to be built.

 

In 1392 Lüneburg was accorded the staple right. This forced merchants who travelled through the area with their carts to stop in Lüneburg, unload their wares, and offer them for sale for a certain period. So that merchants could not go around Lüneburg, an impassable defensive barrier was built west of the town in 1397; a similar barrier was built east of the town in 1479.

 

The Lüneburg Prelates' War caused a crisis from 1446 to 1462. This was not a war in the proper sense, but rather a bitter dispute between the town council and those members of the clergy who were also part-owners of the town's saltworks. It was not resolved until the intervention of the Danish King Christian I, the Bishop of Schwerin and the Lübeck Bishop, Arnold Westphal.

 

In 1454 the citizens demanded even more influence over public life.

 

Since 2007, Lüneburg has once again held the title of a Hanseatic town.

 

MODERN PERIOD TO THE END OF SECOND WORLD WAR

With the demise of the Hanseatic League – and the absence of herrings around 1560 around Falsterbo in Scania – the biggest customers of Lüneburg's salt broke away and the town rapidly became impoverished. Hardly any new houses were built in central Lüneburg after this time, which is why the historical appearance of the town centre has remained almost unchanged until the present day.

 

The town became part of the Electorate of Hanover in 1708, the Kingdom of Westphalia in 1807, the First French Empire in 1810, the Kingdom of Hanover in 1814, and the Prussian Province of Hanover in 1866.

 

In the centuries after the collapse of the League, it was as if Lüneburg had fallen into a Sleeping Beauty slumber. Heinrich Heine, whose parents lived in Lüneburg from 1822 to 1826, called it his "residence of boredom" (Residenz der Langeweile). Near the end of the 19th century Lüneburg evolved into a garrison town, and it remained so until the 1990s.

 

In the Lüneburg Special Children's Ward, part of the Lüneburg State Mental Hospital, it is suspected that over 300 children were killed during the Second World War as part of the official Nazi child euthanasia programme.

 

In 1945 Lüneburg surfaced once again in the history books when, south of the town on the hill known as the Timeloberg (near the village of Wendisch Evern) the German Instrument of Surrender was signed that brought the Second World War in Europe to an end. The location is presently inaccessible to the general public as it lies within a military out-of-bounds area. Only a small monument on a nearby track alludes to the event. On 23 May 1945 Reichsführer SS Heinrich Himmler took his own life in Lüneburg whilst in British Army custody by biting into a potassium cyanide capsule embedded in his teeth before he could be properly interrogated. He was subsequently buried in an unmarked location in a nearby forest.

 

POST-WAR PERIOD

Even before the Nuremberg Trials took place, the first war crimes trial, the so-called Belsen Trial (Bergen-Belsen-Prozess), began in Lüneburg on 17 September 1945 conducted against 45 former SS men, women and kapos (prisoner functionaries) from the Bergen-Belsen and Auschwitz concentration camps.

 

After World War II, Lüneburg became part of the new state of Lower Saxony. But the dilapidated state of its buildings led to various plans to try to improve living conditions. One proposition that was seriously discussed was to tear down the entire Altstadt and replace it with modern buildings. The ensuing public protest resulted in Lüneburg becoming the focal point for a new concept: cultural heritage conservation. Since the early 1970s the town has been systematically restored. A leading figure in this initiative since the late 1960s has been Curt Pomp: against much opposition from politicians and councillors he founded and championed the Lüneburg Altstadt Working Group (Arbeitskreis Lüneburger Altstadt) for the preservation of historic buildings. His engagement was rewarded with the German Prize for Cultural Heritage Conservation and the German Order of Merit. Today Lüneburg is a tourist attraction as a result of the restoration and important sectors of the town's economy also depend on tourism.

 

Between Lüneburg and Soltau to the southwest, a large military training area, the Soltau-Lüneburg Training Area (SLTA), was established by the British and Canadian military, which was used from 1963 to 1994. It was governed by the Soltau-Lüneburg Agreement between the Federal Republic of Germany, the United Kingdom and Canada. The area was located on the Lüneburg Heath and was heavily used particularly by tanks and other armoured vehicles.

 

The salt mine was closed in 1980, ending the thousand-year tradition of salt mining, although small amounts are still mined for ceremonial purposes. Small bags of salt may be purchased in the town hall, and bags are given as a gift from the town to all couples married in the town. After the closing of the salt mines, the town gained new relevance from its university, which was founded in 1989.

 

As part of the restructuring of Defence in 1990 two of the three Bundeswehr barracks in the town were closed and the remaining one reduced in size. The Bundesgrenzschutz barracks was also closed. Lüneburg University moved to the site of the old Scharnhorst barracks. The university grew out of the new economics and cultural studies departments set up in the 1980s and their amalgamation with the College of Education (Pädagogischen Hochschule or PH) that took place in 1989. Since its move to the former barracks site the university has enrolled increasing numbers of students. The expansion of the university is an important contribution to the restructuring of the town into a service centre.

 

Today an industrial estate, the Lünepark, has been built on the terrain of the old Bundesgrenzschutz barracks with its new industrial premises for entrepreneurs. The promotion of trade and industry has resulted in many firms from the ICT area locating themselves there. In May 2006 the nearby Johannes Westphal Bridge was opened to traffic. This links the newly created Lünepark with the suburb of Goseburg on the far side of the Ilmenau. Since 5 October 2007 Lüneburg has been able to call itself a Hanseatic Town; together with Stade it is one of only two towns in Lower Saxony to bear the title.

 

AMALGAMATED VILLAGES/COMMUNITIES

1943: Hagen and Lüne

1974: Häcklingen, Ochtmissen, Oedeme and Rettmer as well as the Ortsteile of Alt-Hagen, Ebensberg and Pflegerdorf/Gut Wienebüttel.

 

DEMOGRAPHICS

Lüneburg already had about 14,000 inhabitants in the Late Middle Ages and beginning of the Modern Period and was one of the largest 'cities' of its time, but its population shrank with the economic downturn to just 9,400 in 1757; then rose again to 10,400 in 1813. With the onset of industrialisation in the 19th century, population growth accelerated. If 13,000 were living in the town in 1855, by 1939 there were as many as 35,000. Shortly after the Second World War, refugees and displaced persons from Germany's eastern territories brought an increase in population within just a few months of around 18,000 people so that the total number in December 1945 was 53,000. In 2003 the 70,000 level was exceeded for the first time.

 

The town of Lüneburg, its eponymous district and the neighbouring district of Harburg belong to the few regions in Germany that have experienced such a massive growth. The reasons for this include the growth of areas around the Hamburg Metropolitan Region and the consequent shift of people to those areas. The Lower Saxon State Office for Statistics has forecast that the town of Lüneburg will have a population of 89,484 by the year 2021. More realistic estimates, however, put the future size Lüneburg at between 75,000 and 79,000 in that time frame.

 

On 31 December 2008, according to the Statistics Office, the official census for Lüneburg recorded 72,492 people (those who had their main residence in the town and after adjustments with other states offices) – the highest number in its history. Currently Lüneburg is the eleventh largest centre of population in Lower Saxony. In addition Lüneburg has particularly close relations with its adjacent municipalities which are also growing and with which it is forming an agglomeration. The town, together with the nearby villages of Adendorf, Bardowick, Deutsch Evern, Reppenstedt, Vögelsen and Wendisch Evern, has a total population of about 103,000 and, on that basis, would qualify as a city (in Germany cities or Großstädte are defined as settlements with a population of over 100,000). The town council has the plan to extend the population by adding these villages to the town area.

 

The following overview shows the population figures based on the situation at the time. Up to 1813 they were mostly estimates; thereafter based on censuses (*) or official projections by the State Office of Statistics. From 1871 the figures were based on those 'present in the town', from 1925 on those 'living in the town' and since 1987 on the 'population who have their main residence in the town'. Before 1871 the numbers were based on inconsistent survey methods.

 

ECONOMY

At one time Lüneburg had over 80 breweries. The Lüneburger Kronen Brewery of 1485 in Heiligengeiststraße brewed beers such as Lüneburger Kronen-Pilsener and Moravia Pilsener that were very well known in North Germany. These beers are brewed today by the Holsten Brewery in Hamburg, although the original yeast stock (Hefestämme) was destroyed when the Kronen Brewery was taken over. Only the original Lüneburger Pilsener is still produced as before, although it is now made by the Holsten Brewery and only sold on tap. Today there are just two small inn breweries left in Lüneburg. In the Nolte Inn Brewery (Gasthausbrauerei Nolte) some distance from the centre on the Dahlenburger Landstraße and in the Brau- und Tafelhaus Mälzer in Heiligengeiststraße the tradition of Lüneburger breweries lives on.

 

Recently Lüneburg has increasingly developed into a venue for tourists. Nevertheless, medium-sized and small businesses still play a major role in Lüneburg's economy. The University of Lüneburg has also generated changes which, together with its student population, have stimulated the economy of the region.

 

ARTS AND CULTURE

THEATRE

The Lüneburg Theatre (Theater Lüneburg) is one of the smallest, three-stage theatres in Germany. Not only are plays of all styles put on, but also operas, operettas, musicals and ballets. Although the financial means of the Lüneburg Theatre are comparatively limited, it is no 'provincial stage' and can hold its ground successfully against the many theatres in nearby Hamburg. In addition Lüneburg has a large number of amateur theatres, that also produce regular performances. Such a variety in amateur drama is otherwise only found in large cities like Hamburg or Hanover. Examples include (arranged in order of year founded):

 

Niederdeutsche Bühne Sülfmeister

Kleines Keller Theater e. V.

Amateurtheater Rampenlicht e. V.

Theater Spotlight

theater im e.novum'

 

In addition there are amateur theatres in the surrounding communities such as the Puschentheater in Melbeck, the Plattsnack Widsbold in Marxen am Berge and the Kleine Salzhäuser Theater (KleiST) in Salzhausen.

 

MUSEUMS

The historic town is itself a kind of open-air museum (a "Rothenburg of the North"), but there are numerous museums and old churches (St. Michael's, St. John's, St. Nicholas'). The most important museums are the German Salt Museum in the premises of the old Lüneburg Saltworks, in which the significance of salt in the Middle Ages and the extraction of salt is portrayed, and the Museum of the Principality of Lüneburg, in which the town's history and the history of the surrounding area is captured. Also worthy of mention are the East Prussian State Museum, the nearby North German Brewery Museum with a gallery of valuable drinking vessels (over 1200 years), the 1485 Kronen Brewery of Lüneburg and the Lüneburg Nature Museum on the edge of the subsidence zone.

 

TOWN ARCHITECTURE

Lüneburg is one of the few towns in North Germany whose historic centre was not destroyed during the Second World War. Nevertheless, the general neglect of its buildings until the 1960s and the damage in the area of subsidence has led to gaps in the historic architecture of the town. In addition the demolition of ramshackle buildings in the 1950s and 1960s and the construction of shops with a contemporary design broke up the historic appearance of many rows of houses. Since the beginning of the 1970s, however, Lüneburg has been carefully restored. The restoration process revealed hitherto hidden ceiling frescos, medieval pottery workshops and many historic soakaways (Sickergruben) from which a considerably better picture of life in the Middle Ages resulted.

 

In the Lüneburg Stadtteil of Kaltenmoor is St. Stephen's (St. Stephanus), the oldest ecumenical building in the town, with Protestant and Catholic churches under one roof. Other buildings worthy of mention are the three remaining town churches: St. John (St. Johannis am Sande, completed 1370), St. Michael (Michaeliskirche), where Johann Sebastian Bach was a choirboy from 1700 to 1702, and the relatively 'modern' St. Nicholas (Nikolaikirche), which was built in 1407. The Church of St. Lambertus (Lambertikirche) was demolished in 1850 due to its dilapidated state; it stood in the subsidence area.

 

In addition there are the Glockenhaus ("Bell House", an old armoury) on the Glockenhof, the Rathsapotheke (town chemist's), dating to 1598, in Große Bäckerstraße and the historic town hall or Rathaus with its famous town council meeting room, the Gerichtslaube. The Luna Fountain (Lunabrunnen) in front of the town hall is graced by a bronze statue of the moon goddess with bow and arrow; the original dating to 1532 was stolen in 1970 and melted down; the present statue is a replica dating to 1972. In the area of the old port can still be seen the Baroque façade of the "Old Store" (Altes Kaufhaus), most of the rest of which was burned down and had to be replaced by one that was more suitable for a fire station. The port is also home to the "Old Crane" (Alter Kran), a wooden, medieval riverside crane that is still in working order today and which has two large wheels inside that enable the crane cable to be raised and lowered. The fire station moved in autumn 2007 to a new building on the edge of the town centre; the Altes Kaufhaus has since (2009) been converted into a hotel.

 

On the southern edge of the town centre is the Lüneburg Water Tower which now acts as an observation tower.

 

In front of the gates of the old town is Lüne Abbey, a former Benedictine nunnery. It was built in 1172 and has been restored.

 

About 2 kilometres west of Lüneburg, in the villages of Reppenstedt and Vögelsen, is a well-preserved section of the historic Lüneburg Landwehr, a boundary embankment and ditch, that can be walked.

 

EDUCATION

The town has one university, the Leuphana Universität Lüneburg (previously known only as the Universität Lüneburg). There are 14 high schools in the town: 5 Gymnasien, 4 Realschulen, and 5 Hauptschulen; there is currently 1 Gesamtschule, the "IGS Lüneburg" founded in 2009. There are 6 vocational schools, 3 special schools, 3 private schools, and 12 elementary schools.

 

Leuphana Universität Lüneburg has more than 7,000 students.

 

WIKIPEDIA