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The seafront of Amsterdam called The IJ at the beginning of the Dutch Golden Age.

This print is a form of public relations for the city. For instance: the number of ships sailing at the same time is highly exaggerated and the towers in the city are much higher than in reality.

On the other hand the engraving shows interesting views that corresponded with reality. Notice the stocking of wood on the quay right from the centre of the print. Amsterdam was a staple-market for a lot of products, grain from the Baltic, spices from the East and wood from Norway. But also wine from the Loire, dried fruits from the Mediterranean and tar and iron from Sweden. The trade made the town rich and the harbor became the most visited and largest port in Europe.

The walls of Dis are guarded by fallen angels, the Furies, and Medusa. Dante emphasizes the character of the place as a city by describing its architectural features: towers, gates, walls, ramparts, bridges, and moats. It is thus an antithesis to the heavenly city, as for instance described by St. Augustine in his book City of God.

---

What Kind of City is Hell?

www.thetowner.com/what-kind-of-city-is-hell/

City of Dis: An Investigation by Chiara Clarke Siravo.

 

Like every country, Hell has a capital: the City of Dis. Conceived by Dante, its name comes from the Ancient Roman Father or God of the Underworld, Dis Pater. Dis is believed to have originated from the Latin word dives or wealthy, which in turn finds its etymological roots in deus, god and dīvus, divine. According to Cicero, this leads us directly to ploutōn, or Pluto, Ancient Greek for wealth, and the name of the Greco-Roman God of the Underworld. This emphasis on wealth is not coincidental. The Earth’s crust hid deep dark mysteries (hell and magic), but it also held out bright prospects (diamonds, minerals and metals), and was therefore rife with temptation. Western culture and the Christian religion in particular had a complex relationship with forbidden knowledge: what the earth concealed, was invisible to the naked eye for good reason. Dig too deep and you were asking for trouble.

 

In the Divine Comedy, Dante and Virgil journey through Hell’s first five circles before reaching Dis, which vertically expands through Hell’s deepest circles and marks the beginning of Lower Hell. Its gates are guarded by both mythological and Christian figures of evil: the three Furies, Medusa, and several Fallen Angels. It is clear from Virgil’s pallor and stuttering remarks that few have ever ventured this deep into the earth’s bowels. The path to Hell is easy—both physically and metaphorically; the real difficulty lies in ‘getting the hell out.’ As he stands facing the gates of Dis, this thought weighs upon Dante more profoundly than ever.

 

“For No and Yes within my head contend.”

 

Like many earthly cities, Dis is fortified by a wall and bordered by a river: a fortress located halfway to the center of the earth. The river Styx is more like a swamp and is filled with the agonizing bodies of sinners who try desperately to climb onto the boat that is taking Dante and Virgil toward the city walls.

 

According to Dante, Hell is shaped like an inverse cone, penetrating the earth down to its exact center. Although it can be reached through numerous gateways, Hell’s core lies 1,700 Florentine Miles (2,811 modern kilometers) directly below the city of Jerusalem, the center of the inhabited world. The actual distance from the crust to the earth’s center is 6,371 km.

 

Galileo Galilei compared this cone to an amphitheater, which, instead of opening onto a piazza, culminates precisely at Lucifer’s belly button. With the help of the few numbers provided by Dante and the calculations of Antonio Manetti, a fifteenth-century Florentine architect, Galilei was able to confidently apply his mathematical prowess to the measurement of Hell and beyond. For instance, he went so far as to calculate the dimensions of Lucifer himself, from which he was able to discern the size of the Earth.

 

Dis’ smell is “prodigious.” We can only imagine what that may be like. Today’s reader might think of something more familiar, the putrid fumes that emerge from New York’s manhole covers come to mind. Each era has its very own ‘hells.’ In Dante’s time and the centuries that followed cities were certainly less clean than today. During the periodic epidemics it was not uncommon to see death spill into the streets. Take for example Naples in 1685: a French priest, Jean Mabillon, visited the city and wrote in his diary that the women with ruffled hair and sunken faces gave “l’idee de la mort.” The seventeenth century seems to have been especially unfortunate. In 1631, Vesuvius suddenly erupted for the first time since 79 A.D. In 1656, only twenty-five years later the city was struck by plague. In 1685, it struck again.

 

Descriptions are of a city full of corpses: left in the grottos of the hills, in the early Christian catacombs, piled inside mass graves, abandoned in the piazze and thrown into the sea. Literature of all kinds emerged in the years following the epidemics: simple accounts of events that took place, epic novels, medical and scientific investigations, and apocalyptic religious treatises. When Mabillion visited in 1685, Naples was still licking its wounds. Hell was not difficult to imagine.

 

This was also the period of the Inquisition, and new instruments of torture were being designed and put to use regularly. It is hardly surprising that prints of hell during the seventeenth century resemble a fiery city scattered with the instruments of torture and populated with sinners of all kinds: courtesans, gluttons, lavishly dressed materialists.

Loosely translated, The Horrid Spectacle of Divine Justice. Horrendous indeed: bodies are being tortured in a variety of ways by demons and by machines. Objects and creatures flood the scene, some are familiar, like swords, cauldrons and bellows; others, such as the snake-like dragon twisted around the neck of the lady at the center of the engraving, not so much. (Remondini, Spettacolo Horrendo della Divina Giustitia, 17th c., University of Texas Austin)

 

Loosely translated, The Horrid Spectacle of Divine Justice. Horrendous indeed. Bodies are tortured in a variety of ways by demons and machines. Objects and creatures flood the scene, some are familiar, like swords, cauldrons and bellows; others, such as the snake-like dragon twisted around the neck of the lady at the center, not so much. (Remondini, Spettacolo Horrendo della Divina Giustitia, 17th c., University of Texas Austin)

 

What makes Dis seem urban, in its various incarnations, was not so much the usual attributes of a city, buildings and streets—actually these are not represented—but rather its stench, its dense population, the city walls, and the noise. In Dante’s Comedy, the wall also serves as a landmark and a barrier to differentiate Lower from Upper Hell, and thus those being punished for sins of malice from those punished for sins of passion. Malice implies ill will and is therefore far worse than passion, which the poet saw as an involuntary weakness. Dis and its walls, like Hell’s circles, serve as reminders of Dante’s moral system. In Hell, geography and morality are deeply intertwined.

 

It helps to look at some of the artistic interpretations of Dante’s Comedy that were aided by Manetti and Galielo’s calculations. Sandro Botticelli, who only had Manetti’s work as a basis, took some liberties, placing Dis at the far right corner of Hell’s cone. Here, Dis is circular and majestic; its water looks more like it might belong in the garden of earthly delights than in Hell. Botticelli was not happy with just one wall: there are six circular fortresses stacked onto one another, each with two towers. It seems, time and again, that the important thing when interpreting hell is to take earthly forms and exaggerate them, twist them into something familiar yet absurd and uncanny.

 

The well-ordered medieval city in Ambrogio Lorenzetti’s allegory of Buon Governo is subverted to become a bloated, frenzied city, where the symbols of orderly city life—walls, moat, towers and peaceful citizenry—become a hellish fortress teeming with sinners, devils and furies; the blue sky is black, and fire reigns for all eternity. (Ambrogio Lorenzetti, The Allegory of Good and Bad Government, 1338-1339, Palazzo Pubblico, Siena)

 

Despite his fear and hesitation, Dante makes it into Dis and down to the ninth circle of Hell where he and Virgil find a portentous Lucifer with part of his frozen body buried in the earth. The two poets climb out of Hell using Lucifer’s upside down legs as a ladder until they reach the path that will take them to Purgatory. In spite of Dante’s choosing Dis as the name of the city in his medieval Hell, there are no material riches here.

 

Stradano, who followed Galileo’s calculations and was more faithful to the math, shows an endless wall punctuated by flames that divides upper and lower hell. (Giovanni Stradano, Map of Lower Hell, 1587)

 

In completing the downward journey in order to once again rise and reach the light of day, however, the poet touches upon Hell’s fraught relationship with wealth, though of a different kind: the wealth of knowledge. To illustrate this, think back to his journey: in circle eight Dante had traveled far into Dis. He had heard Ulysses’ tale of his “restless itch to rove and rummage through the world,” and upon hearing this, the poet found himself gripping a rock in a sudden effort not to fall into the dark abyss below. Dante had recognized himself in the words of the Greek hero because, after all, there was an element of vain curiosity that had driven him further and further into the bowels of the earth. No and yes, yes and no, yes.

 

But in choosing the name Dis, Dante may have been simply poking fun at those who would ultimately end up there. Piero Camporesi, one of Hell’s most prolific and avid scholars wrote: “descriptions of impossible revenge and of inhuman delight in the complete destruction of the sinner were indissolubly linked to the place of punishment.” In other words there is no hell without Hell. We might go so far as to say that there is no city without Dis looming over our collective imagination.

---

See also the album: www.albelli.nl/onlinefotoboek-bekijken/3af1427e-1eae-4620...

   

Rosh HaShanah (ראש השנה) is the Jewish New Year. Over the centuries it has become associated with many food customs, for instance, eating sweet food to symbolize our hopes for a "Sweet New Year."

 

Honey (Apples and Honey)

 

Biblical texts often mention "honey" as the sweetener of choice though some historians believe that the honey referenced in the Bible was actually a sort of fruit paste. Real honey was, of course, available but much more difficult to acquire! Honey represented good living and wealth. The Land of Israel is often called the land of "milk and honey" in the Bible.

 

On the first night of Rosh Hashanah, we dip challah into honey and say the blessing over the challah. Then we dip apple slices into honey and say a prayer asking God for a sweet year. Slices of apple dipped in honey are often served to Jewish children – either at home or in religious school - as a special Rosh HaShanah snack.

 

Round Challah

 

After apples and honey, round loaves of challah are the most recognizable food symbol of Rosh HaShanah. Challah is a kind of braided egg bread that is traditionally served by Jews on Shabbat. During Rosh HaShanah, however, the loaves are shaped into spirals or rounds symbolizing the continuity of Creation. Sometimes raisins or honey are added to the recipe in order to make the resulting loaves extra sweet. (Click here to learn more about challah shapes and meanings.)

 

Honey Cake

 

Many Jewish households make honey cakes on Rosh HaShanah as another way to symbolically express their wishes for a Sweet New Year. Often people will use a recipe that has been passed down through the generations. Honey cake can be made with a variety of spices, though autumnal spices (cloves, cinnamon, allspice) are especially popular. Different recipes call for the use of coffee, tea, orange juice or even rum to add an additional dimension of flavor.

 

New Fruit

 

On the second night of Rosh Hashanah, we eat a "new fruit" – meaning, a fruit that has recently come into season but that we have not yet had the opportunity to eat. When we eat this new fruit, we say the shehechiyanu blessing thanking God for keeping us alive and bringing us to this season. This ritual reminds us to appreciate the fruits of the earth and being alive to enjoy them.

 

A pomegranate is often used as this new fruit. In the Bible, the Land of Israel is praised for its pomegranates. It is also said that this fruit contains 613 seeds just as there are 613 mitzvot. Another reason given for blessing and eating pomegranate on Rosh HaShanah is that we wish that our good deeds in the ensuing year will be as plentiful as the seeds of the pomegranate.

 

Fish

 

Rosh HaShanah literally means "head of the year" in Hebrew. For this reason in some Jewish communities it is traditional to eat the head of a fish during the Rosh HaShanah holiday meal. Fish is also eaten because it is an ancient symbol of fertility and abundance.

 

Sources:

 

Faye Levy's International Jewish Cookbook, A Time Warner Company, 1991.

The Spice and Spirit of Kosher-Jewish Cooking, Lubavitch Women’s Organization, 1977.

Alphabet Soup: Jewish Family Cooking from A to Z, Schechter Day Schools, 1990.

A Treasury of Jewish Holiday Baking. Goldman, Marcy. 1996.

 

judaism.about.com/od/holidays/a/Rosh-Hashanah-Food-Custom...

 

I have one Pomegranate tree or bush that I planted, and a number that the birds started... The trees in our gardens do make beautiful and delicious fruit... They are hardy here in Tucson, even though the top branches of the more exposed trees are killed back each year by frost. The flowers are gorgeous!

 

The focus is on the strong branches within... How does the camera do that? It probably detects edges as indicated by sudden light to dark changes over a number of contiguous pixels in a line in any of a number of directions... I suspect the depth of field and the distance from the subject affects that.

I am beginning to experiment to gain some degree of control over that focusing by taking half steps backwards in a series of shots...

  

Here are excerpts from an article by the California Rare Fruit Growers that can help a gardener like me:

www.crfg.org/pubs/ff/pomegranate.html

 

POMEGRANATE

 

Punica granatum L.

 

Punicaceae

 

Common Names: Pomegranate, Granada (Spanish), Grenade (French).

Related Species: Punica proto-punica.

 

Origin: The pomegranate is native from Iran to the Himalayas in northern India and was cultivated and naturalized over the whole Mediterranean region since ancient times. It is widely cultivated throughout India and the drier parts of southeast Asia, Malaya, the East Indies and tropical Africa. The tree was introduced into California by Spanish settlers in 1769. In this country it is grown for its fruits mainly in the drier parts of California and Arizona.

 

Adaptation: Pomegranates prefer a semi-arid mild-temperate to subtropical climate and are naturally adapted to regions with cool winters and hot summers. A humid climate adversely affects the formation of fruit. The tree can be severely injured by temperatures below 12° F. In the U. S. pomegranates can be grown outside as far north as southern Utah and Washington, D.C. but seldom set fruit in these areas. The tree adapts well to container culture and will sometimes fruit in a greenhouse.

 

DESCRIPTION

 

Growth Habits: The pomegranate is a neat, rounded shrub or small tree that can grow to 20 or 30 ft., but more typically to 12 to 16 ft. in height. Dwarf varieties are also known. It is usually deciduous, but in certain areas the leaves will persist on the tree. The trunk is covered by a red-brown bark which later becomes gray. The branches are stiff, angular and often spiny. There is a strong tendency to sucker from the base. Pomegranates are also long-lived. There are specimens in Europe that are known to be over 200 years of age. The vigor of a pomegranate declines after about 15 years, however.

Foliage: The pomegranate has glossy, leathery leaves that are narrow and lance-shaped.

 

Flowers: The attractive scarlet, white or variegated flowers are over an inch across and have 5 to 8 crumpled petals and a red, fleshy, tubular calyx which persists on the fruit. The flowers may be solitary or grouped in twos and threes at the ends of the branches. The pomegranate is self-pollinated as well as cross-pollinated by insects. Cross-pollination increases the fruit set. Wind pollination is insignificant.

 

Fruit: The nearly round, 2-1/2 to 5 in. wide fruit is crowned at the base by the prominent calyx. The tough, leathery skin or rind is typically yellow overlaid with light or deep pink or rich red. The interior is separated by membranous walls and white, spongy, bitter tissue into compartments packed with sacs filled with sweetly acid, juicy, red, pink or whitish pulp or aril. In each sac there is one angular, soft or hard seed. High temperatures are essential during the fruiting period to get the best flavor. The pomegranate may begin to bear in 1 year after planting out, but 2-1/2 to 3 years is more common. Under suitable conditions the fruit should mature some 5 to 7 months after bloom.

 

CULTIVARS

 

Balegal

Originated in San Diego, Calif. Selected by Paul H. Thomson. Large, roundish fruit, 3 inches in diameter. Somewhat larger than Fleshman. Skin pale pink, lighter then Fleshman. Flesh slightly darker than Fleshman, very sweet.

Cloud

From the Univ. of Calif., Davis pomegranate collection. Medium-sized fruit with a green-red color. Juice sweet and white.

Crab

From the Univ. of Calif., Davis pomegranate collection. Large fruit have red juice that is tart but with a rich flavor. A heavy bearing tree.

Early Wonderful

Large, deep-red, thin-skinned, delicious fruit. Ripens about 2 weeks ahead of Wonderful. Medium-sized bush with large, orange-red fertile flowers. Blooms late, very productive.

Fleshman

Originated in Fallbrook, Calif. Selected by Paul H. Thomson. Large, roundish fruit, about 3 inches in diameter, pink outside and in. Very sweet flavor, seeds relatively soft, quality very good.

Francis

Originated in Jamaica via Florida. Large, sweet, split-resistant fruit. Prolific producer.

Granada

Originated in Lindsay, Calif. Introduced in 1966. Bud mutation of Wonderful. Fruit resembles Wonderful, but displays a red crown while in the green state, darker red in color and less tart. Ripens one month earlier than Wonderful. Flowers also deeper red. Tree identical to Wonderful.

Green Globe

Originated in Camarillo, Calif. Selected by John Chater. Large, sweet, aromatic, green-skinned fruit. Excellent quality.

Home

From the Univ. of Calif., Davis pomegranate collection. The fruit is variable yellow-red in color, with light pink juice that is sweet and of rich flavor. Some bitterness.

King

From the Univ. of Calif., Davis pomegranate collection. Medium to large fruit, somewhat smaller than Balegal and Fleshman. Skin darker pink to red. Flavor very sweet. Has a tendency to split. Bush somewhat of a shy bearer.

Phoenicia (Fenecia)

Originated in Camarillo, Calif. Selected by John Chater. Large fruit, 4-5 inches in diameter, mottled red-green skin. Flavor sweet, seeds relatively hard.

Sweet

Fruit is lighter in color than Wonderful, remains slightly greenish with a red blush when ripe. Pink juice, flavor much sweeter than other cultivars. Excellent in fruit punch. Trees highly ornamental, bears at an early age, productive.

Utah Sweet

Very sweet, good quality fruit. Pink skin and pulp. Seeds notably softer than those of Wonderful and other standard cultivars. Attractive pinkish-orange flowers.

Wonderful

Originated in Florida. First propagated in California in 1896. Large, deep purple-red fruit. Rind medium thick, tough. Flesh deep crimson in color, juicy and of a delicious vinous flavor. Seeds not very hard. Better for juicing than for eating out of hand. Plant is vigorous and productive. Leading commercial variety in California.

 

CULTURE

 

Location: Pomegranates should be placed in the sunniest, warmest part of the yard or orchard for the best fruit, although they will grow and flower in part shade. The attractive foliage, flowers and fruits of the pomegranate, as well as its smallish size make it a excellent landscaping plant.

Soil: The pomegranate does best in well-drained ordinary soil, but also thrives on calcareous or acidic loam as well as rock strewn gravel.

 

Irrigation: Once established, pomegranates can take considerable drought, but for good fruit production they must be irrigated. To establish new plants they should be watered every 2 to 4 weeks during the dry season. The plants are tolerant of moderately saline water and soil conditions.

 

Fertilizing: In the West, the trees are given 2 to 4-ounce applications of ammonium sulfate or other nitrogen fertilizer the first two springs. After that very little fertilizer is needed, although the plants respond to an annual mulch of rotted manure or other compost.

 

Pruning: Plants should be cut back when they are about 2 ft. high. From this point allow 4 or 5 shoots to develop, which should be evenly distributed around the stem to keep the plant well balanced. These should start about 1 ft. from the ground, giving a short but well-defined trunk. Any shoots which appear above or below should be removed as should any suckers. Since the fruits are borne only at the tips of new growth, it is recommended that for the first 3 years the branches be judiciously shortened annually to encourage the maximum number of new shoots on all sides, prevent straggly development and achieve a strong well framed plant. After the 3rd year, only suckers and dead branches are removed.

 

Propagation: The pomegranate can be raised from seed but may not come true. Cuttings root easily and plants from them bear fruit after about 3 years. Twelve to 20 inches long cuttings should be taken in winter from mature, one-year old wood. The leaves should be removed and the cuttings treated with rooting hormone and inserted about two-thirds their length into the soil or into some other warm rooting medium. Plants can also be air-layered but grafting is seldom successful.

 

Pests and Diseases: Pomegranates are relatively free of most pests and diseases. Minor problems are leaf and fruit spot and foliar damage by white flies, thrips, mealybugs and scale insects. The roots are seldom bothered by gophers but deer will browse on the foliage.

 

Harvest: The fruits are ripe when they have developed a distinctive color and make a metallic sound when tapped. The fruits must be picked before over maturity when they tend to crack open, particularly when rained on. The pomegranate is equal to the apple in having a long storage life. It is best maintained at a temperature of 32° to 41° F. and can be kept for a period of 7 months within this temperature range and at 80 to 85% relative humidity without shrinking or spoiling. The fruits improve in storage, becoming juicier and more flavorful.

 

The fruit can be eaten out of hand by deeply scoring several times vertically and then breaking it apart. The clusters of juice sacs are then lifted out and eaten. The sacs also make an attractive garnish when sprinkled on various dishes. Pomegranate fruits are most often consumed as juice and can be juiced is several ways. The sacs can be removed and put through a basket press or the juice can be extracted by reaming the halved fruits on an ordinary orange juice squeezer. Another approach starts with warming the fruit slightly and rolling it between the hands to soften the interior. A hole is then cut in the stem end which is placed on a glass to let the juice run out, squeezing the fruit from time to time to get all the juice. The juice can be used in a variety of of ways: as a fresh juice, to make jellies, sorbets or cold or hot sauces as well as to flavor cakes, baked apples, etc. Pomegranate syrup is sold commercially as grenadine. The juice can also be made into a wine.

 

Commercial Potential: The primary commercial growing regions of the world are the Near East, India and surrounding countries and southern Europe. In California commercial cultivation is centered in the southern San Joaquin Valley. Consumer demand in this country is not great. More pomegranate fruits probably wind up as decorations in fruit bowls than are consumed.

  

_____________________________________________

Also see the more general Wikipedia article. It has a section on use in cooking by regions of the world:

en.wikipedia.org/wiki/Pomegranate

 

Here are a few highlights that struck my fancy:

 

A pomegranate (Punica granatum) is a fruit-bearing deciduous shrub or small tree growing to between five and eight meters tall. Native to the drier regions of the Mediterranean Basin, pomegranate is widely cultivated throughout India and parts of southeast Asia, Malaya, the East Indies and tropical Africa.[1] Introduced into Latin America and California by Spanish settlers in 1769, pomegranate is now cultivated in parts of California and Arizona for juice production. [2]

 

Scientific Classification

Kingdom: Plantae

Division: Magnoliophyta

Class: Magnoliopsida

Subclass: Rosidae

Order: Myrtales

Family: Lythraceae

Genus: Punica

Species: P. granatum

Binomial Name

Punica granatum - Linnaeus (Carl von Linné)

Synonyms

Punica malus - Linnaeus, 1758

 

Cultivars

More than 500 cultivars of pomegranate have been named, but such fruits evidently have considerable synonymy in which the same genotype is named differently across regions of the world.[4] Iran hosts a great genetic diversity of pomegranate and more than 760 Iranian genotypes are collected at Iranian national pomegranate collection in Yazd, Iran.

Several characteristics between pomegranate genotypes vary for identification, consumer preference, preferred use, and marketing, the most important of which are fruit size, exocarp color (ranging from yellow to purple, with pink and red most common), aril color (ranging from white to red), hardness of seed, maturity, juice content and its acidity, sweetness, and astringency.[4]

 

Etymology

The name "pomegranate" derives from Latin pomum ("apple") and granatus ("seeded"). This has influenced the common name for pomegranate in many languages (e.g., German Granatapfel, "Granat" meaning "garnet" and "Apfel" meaning "apple", thus "garnet apple"). Perhaps stemming from the French word for the fruit, "pomme-grenade", the pomegranate was known in early English as "apple of Grenada" -- a term which today survives only in heraldic blazons. This was probably a folk etymology, confusing Latin granatus with the Spanish city of Granada. The genus name Punica is named for the Phoenicians, who were active in broadening its cultivation, partly for religious reasons. In classical Latin, where "malum" was broadly applied to many apple-like fruits, the pomegranate's name was malum punicum or malum granatum, the latter giving rise to the Italian name melograno, or less commonly melagrana.

 

Potential health benefits

In preliminary laboratory research and human pilot studies, juice of the pomegranate was effective in reducing heart disease risk factors, including LDL oxidation, macrophage oxidative status, and foam cell formation,[35][36][37] all of which are steps in atherosclerosis and cardiovascular disease.

 

In a limited study of hypertensive patients, consumption of pomegranate juice for two weeks was shown to reduce systolic blood pressure by inhibiting serum angiotensin-converting enzyme.[38] Juice consumption may also inhibit viral infections[39] while pomegranate extracts have antibacterial effects against dental plaque.[40][41]

 

Culinary use

After opening the pomegranate by scoring it with a knife and breaking it open, the arils (seed casings) are separated from the peel and internal white pulp membranes. Separating the red arils is easier in a bowl of water, because the arils sink and the inedible pulp floats. Freezing the entire fruit also makes it easier to separate. Another very effective way of quickly harvesting the arils is to cut the pomegranate in half, score each half of the exterior rind four to six times, hold the pomegranate half over a bowl and smack the rind with a large spoon. The arils should eject from the pomegranate directly into the bowl, leaving only a dozen or more deeply embedded arils to remove.

 

The entire seed is consumed raw, though the watery, tasty aril is the desired part. The taste differs depending on the subspecies of pomegranate and its ripeness. The pomegranate juice can be very sweet or sour, but most fruits are moderate in taste, with sour notes from the acidic tannins contained in the aril juice.

 

Pomegranate juice has long been a popular drink in Persian and Indian cuisine, and began to be widely distributed in the United States and Canada in 2002.[12]

Grenadine syrup is thickened and sweetened pomegranate juice used in cocktail mixing. Before tomatoes (a new-world fruit) arrived in the Middle East, grenadine was widely used in many Iranian foods, and is still found in traditional recipes such as fesenjan, a thick sauce made from pomegranate juice and ground walnuts, usually spooned over duck or other poultry and rice, and in ash-e anar (pomegranate soup).[13]

 

Wild pomegranate seeds are used as a spice known as anardana (from Persian: anar+dana, pomegranate+seed), most notably in Indian and Pakistani cuisine, but also as a substitute for pomegranate syrup in Persian cuisine. Dried whole arils can often be obtained in ethnic Indian subcontinent markets. These seeds are separated from the flesh, dried for 10–15 days and used as an acidic agent for chutney and curry preparation. Ground anardana is also used, which results in a deeper flavoring in dishes and prevents the seeds from getting stuck in teeth. Seeds of the wild pomegranate variety known as daru from the Himalayas are regarded as quality sources for this spice.

 

Dried pomegranate arils, found in some natural specialty food markets, still contain the seed and residual aril water, maintaining a natural sweet and tart flavor. Dried arils can be used in several culinary applications, such as trail mix, granola bars, or as a topping for salad, yogurt, or ice cream. Chocolate covered arils, also available in gourmet food stores, may be added to desserts and baked items.

 

In the Caucasus, pomegranate is used mainly as juice.[14] In Azerbaijan a sauce from pomegranate juice (narsharab) is usually served with fish[15] or tika kabab. In Turkey, pomegranate sauce, (Turkish: nar ekşisi) is used as a salad dressing, to marinate meat, or simply to drink straight. Pomegranate seeds are also used in salads and sometimes as garnish for desserts such as güllaç.[16] Pomegranate syrup or molasses is used in muhammara, a roasted red pepper, walnut, and garlic spread popular in Syria and Turkey.[17]

 

In Greece, pomegranate (Greek: ρόδι, rodi) is used in many recipes, including kollivozoumi, a creamy broth made from boiled wheat, pomegranates and raisins, legume salad with wheat and pomegranate, traditional Middle Eastern lamb kebabs with pomegranate glaze, pomegranate eggplant relish, and avocado-pomegranate dip. Pomegranate is also made into a liqueur and popular fruit confectionery used as ice cream topping or mixed with yogurt or spread as jam on toast. In Cyprus as well as in Greece and among the Greek Orthodox Diaspora , ρόδι is used to make kolliva, a mixture of wheat, pomegranate seeds, sugar, almonds and other seeds served at memorial services.

 

In present-day cuisine, pomegranate can be used to add a creative touch to green salads or potato or chickpea-based salads.[18]

 

IMG_4305_2

Breaking news about current breast cancer research. News articles are continually updated with reviews and commentary from our breastcancer.org experts

  

Three drinks a day ups breast cancer risk: study:

 

Last Updated: 2007-09-27 7:49:07 -0400 (Reuters Health)

 

By Michael Kahn

  

NEW YORK (Reuters Health) - Postmenopausal women with elevated white blood cell (WBC) counts appear to be at increased risk of developing certain types of cancer, including breast, colorectal, endometrial, and lung cancers, a new study shows. Higher WBC counts also raise the risk of dying from cancer, according to the study.

 

The proportion of white blood cells (WBC) in the circulation can be used as an indicator of infection or inflammation.

 

Dr. Karen L. Margolis from HealthPartners Research Foundation, Minneapolis, Minnesota and colleagues studied the relation between the baseline WBC count and newly diagnosed breast, colorectal, endometrial, and lung cancers in 143,748 women enrolled in the Women's Health Initiative (WHI). All of the women were between the ages of 50 and 79 years old, and cancer-free at the outset.

 

Women with the highest WBC counts had a 15 percent higher risk of breast cancer, 19 percent higher risk of colorectal cancer, 42 percent higher risk of endometrial cancer, and 63 percent higher risk of lung cancer than did women with the lowest WBC counts, the authors report.

 

Death from breast cancer, colorectal cancer, and lung cancer was higher among women with the highest WBC counts (compared with women with the lowest), the investigators say, as was non-lung cancer and total-cancer mortality.

 

"A WBC in the upper range of normal (above 7 or so) should be on (doctors') radar, especially if it is persistent and unrelated to any known cause," Margolis said.

 

"Of course," Margolis emphasized, "most people with a WBC in this range will not develop cancer or cardiovascular disease in the next 5-10 years, and the relative risk increase for cancer is quite small -- relative to smoking, for instance."

 

SOURCE: Archives of Internal Medicine, September 24, 2007.

   

Source: www.breastcancer.org/risk/environmental/new_research/2007...

To the Zion Narrows and Wall Street! Sony A7RII Fine Art Zion National Park Autumn Winter Hike! Dr. Elliot McGucken Fine Art Landscape Photography!

  

facebook.com/mcgucken

instagram.com/elliotmcgucken

instagram.com/45surf

 

An important thing to remember is that even though pixel sizes keep getting smaller and smaller, the technology is advancing, so the smaller pixels are more efficient at collecting light. For instance, the Sony A7rII is back-illuminated which allows more photons to hit the sensor. Semiconductor technology is always advancing, so the brilliant engineers are always improving the signal/noise ratio. Far higher pixel counts, as well as better dynamic ranger, are thus not only possible, but the future!

 

Yes I have a Ph.D. in physics! I worked on phototranistors and photodiodes as well as an artificial retina for the blind. :)

 

You can read more about my own physics theory (dx4/dt=ic) here: herosodysseyphysics.wordpress.com/

 

And follow me on instagram! @45surf

instagram.com/45surf

 

Facebook!

www.facebook.com/elliot.mcgucken

 

Dr. Elliot McGucken Fine Art Photography!

 

I love shooting fine art landscapes and fine art nature photography! :) I live for it!

 

Feel free to ask me any questions! Always love sharing tech talk and insights! :)

 

And all the best on Your Epic Hero's Odyssey!

 

The new Lightroom rocks!

 

Beautiful magnificent clouds!

 

View your artistic mission into photography as an epic odyssey of heroic poetry! Take it from Homer in Homer's Odyssey: "Tell me, O muse, of that ingenious hero who travelled far and wide after he had sacked the famous town of Troy. Many cities did he visit, and many were the nations with whose manners and customs he was acquainted; moreover he suffered much by sea while trying to save his own life and bring his men safely home; but do what he might he could not save his men, for they perished through their own sheer folly in eating the cattle of the Sun-god Hyperion; so the god prevented them from ever reaching home. Tell me, too, about all these things, O daughter of Jove, from whatsoever source you may know them. " --Samuel Butler Translation of Homer's Odyssey

 

All the best on your Epic Hero's Odyssey from Johnny Ranger McCoy!

 

Sony A7RII Fine Art Zion National Park Autumn Winter Subway Hike! Dr. Elliot McGucken Fine Art Landscape Photography! Sony A7R2 & Sony 16-35mm Vario-Tessar T FE F4 ZA OSS E-Mount Lens!

took this picture last night -- yet another instance of seeing something cool, thinking, "wow, i wish i had my camera," contemplating not getting it and letting the scene be altered into the abyss, but ultimately deciding that i am going to get my camera. that's been a big thing for me lately -- making myself get my camera even when it's inconvenient. like at 2 AM when i should be sleeping but am instead sitting outside looking at the sky, lol.

 

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To the Zion Narrows and Wall Street! Sony A7RII Fine Art Zion National Park Autumn Winter Hike! Dr. Elliot McGucken Fine Art Landscape Photography!

  

facebook.com/mcgucken

instagram.com/elliotmcgucken

instagram.com/45surf

 

An important thing to remember is that even though pixel sizes keep getting smaller and smaller, the technology is advancing, so the smaller pixels are more efficient at collecting light. For instance, the Sony A7rII is back-illuminated which allows more photons to hit the sensor. Semiconductor technology is always advancing, so the brilliant engineers are always improving the signal/noise ratio. Far higher pixel counts, as well as better dynamic ranger, are thus not only possible, but the future!

 

Yes I have a Ph.D. in physics! I worked on phototranistors and photodiodes as well as an artificial retina for the blind. :)

 

You can read more about my own physics theory (dx4/dt=ic) here: herosodysseyphysics.wordpress.com/

 

And follow me on instagram! @45surf

instagram.com/45surf

 

Facebook!

www.facebook.com/elliot.mcgucken

 

Dr. Elliot McGucken Fine Art Photography!

 

I love shooting fine art landscapes and fine art nature photography! :) I live for it!

 

Feel free to ask me any questions! Always love sharing tech talk and insights! :)

 

And all the best on Your Epic Hero's Odyssey!

 

The new Lightroom rocks!

 

Beautiful magnificent clouds!

 

View your artistic mission into photography as an epic odyssey of heroic poetry! Take it from Homer in Homer's Odyssey: "Tell me, O muse, of that ingenious hero who travelled far and wide after he had sacked the famous town of Troy. Many cities did he visit, and many were the nations with whose manners and customs he was acquainted; moreover he suffered much by sea while trying to save his own life and bring his men safely home; but do what he might he could not save his men, for they perished through their own sheer folly in eating the cattle of the Sun-god Hyperion; so the god prevented them from ever reaching home. Tell me, too, about all these things, O daughter of Jove, from whatsoever source you may know them. " --Samuel Butler Translation of Homer's Odyssey

 

All the best on your Epic Hero's Odyssey from Johnny Ranger McCoy!

 

Sony A7RII Fine Art Zion National Park Autumn Winter Subway Hike! Dr. Elliot McGucken Fine Art Landscape Photography! Sony A7R2 & Sony 16-35mm Vario-Tessar T FE F4 ZA OSS E-Mount Lens!

Tribunal de Grande Instance de Bordeaux.

 

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Colorado Springs, CO - Another instance where the homeowner was just as entertaining as their house. It seemed that every piece of furniture had some sort of fascinating story behind it, even the placemats had an intriguing tale.

 

On a totally different subject, I've been using the Godox V1 flash for the last 18 months and I really like it. It's kept up to my heavy usage and it's been knocked around at times without breaking. What I appreciate most is the short cycle times between flashes and the brightness of the flash itself. It's relatively inexpensive also which makes it even more impressive.

Biennalist @ Venice Biennale

 

during the Venice Biennale 2019 Biennalist format will express the Biennale concept with art work

Biennalist / Venice Biennale

 

www.emergencyrooms.org/biennalist.html

 

#ThierryGeoffroy

#venicebiennale #biennalist #artformat #biennale #artbiennale #biennial

#BiennaleArte2019

  

more here about the Biennale :

 

Ralph Rugoff has declared: «May You Live in Interesting Times will no doubt include artworks that reflect upon precarious aspects of existence today, including different threats to key traditions, institutions and relationships of the “post-war order.” But let us acknowledge at the outset that art does not exercise its forces in the domain of politics. Art cannot stem the rise of nationalist movements and authoritarian governments in different parts of the world, for instance, nor can it alleviate the tragic fate of displaced peoples across the globe (whose numbers now represent almost one percent of the world’s entire population).»

 

ALBANIA

Maybe the cosmos is not so extraordinary

Commissioner: Ministry of Culture Republic of Albania. Curator: Alicia Knock.

Exhibitor: Driant Zeneli.

 

ALGERIA***

Time to shine bright

Commissioner/Curator: Hellal Mahmoud Zoubir, National Council of Arts and Letters Ministry of Culture. Exhibitors: Rachida Azdaou, Hamza Bounoua, Amina Zoubir, Mourad Krinah, Oussama Tabti.

Venue: Fondamenta S. Giuseppe, 925

 

ANDORRA

The Future is Now / El futur és ara

Commissioner: Eva Martínez, “Zoe”. Curators: Ivan Sansa, Paolo De Grandis.

Exhibitor: Philippe Shangti.

Venue: Istituto Santa Maria della Pietà, Castello 3701

 

ANTIGUA & BARBUDA

Find Yourself: Carnival and Resistance

Commissioner: Daryll Matthew, Minister of Sports, Culture, National Festivals and the Arts. Curator: Barbara Paca with Nina Khrushcheva. Exhibitors: Timothy Payne, Sir Gerald Price, Joseph Seton, and Frank Walter; Intangible Cultural, Heritage Artisans and Mas Troup.

Venue: Centro Culturale Don Orione Artigianelli, Dorsoduro 919

 

ARGENTINA

El nombre de un país / The name of a country

Commissioner: Sergio Alberto Baur Ambasciatore. Curator: Florencia Battiti. Exhibitor: Mariana Telleria.

Venue: Arsenale

 

ARMENIA (Republic of)

Revolutionary Sensorium

Commissioner: Nazenie Garibian, Deputy Minister. Curator: Susanna Gyulamiryan.

Exhibitors: "ArtlabYerevan" Artistic Group (Gagik Charchyan, Hovhannes Margaryan, Arthur Petrosyan, Vardan Jaloyan) and Narine Arakelian.

Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596

 

AUSTRALIA

ASSEMBLY

Commissioner: Australia Council for the Arts. Curator: Juliana Engberg. Exhibitor: Angelica Mesiti.

Venue: Giardini

 

AUSTRIA

Discordo Ergo Sum

Commissioner: Arts and Culture Division of the Federal Chancellery of Austria.

Curator: Felicitas Thun-Hohenstein. Exhibitor: Renate Bertlmann.

Venue: Giardini

 

AZERBAIJAN (Republic of )

Virtual Reality

Commissioner: Mammad Ahmadzada, Ambassador of the Republic of Azerbaijan.

Curators: Gianni Mercurio, Emin Mammadov. Exhibitors: Zeigam Azizov, Orkhan Mammadov, Zarnishan Yusifova, Kanan Aliyev, Ulviyya Aliyeva.

Venue: Palazzo Lezze, Campo S. Stefano, San Marco 2949

 

BANGLADESH (People’s Republic of)

Thirst

Commissioner: Liaquat Ali Lucky. Curators: Mokhlesur Rahman, Viviana Vannucci.

Exhibitors: Bishwajit Goswami, Dilara Begum Jolly, Heidi Fosli, Nafis Ahmed Gazi, Franco Marrocco, Domenico Pellegrino, Preema Nazia Andaleeb, Ra Kajol, Uttam Kumar karmaker.

Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596

 

BELARUS (Republic of)

Exit / Uscita

Commissioner: Siarhey Kryshtapovich. Curator: Olga Rybchinskaya. Exhibitor: Konstantin Selikhanov.

Venue: Spazio Liquido, Sestiere Castello 103, Salizada Streta

 

BELGIUM

Mondo Cane

Commissioner: Fédération Wallonie-Bruxelles. Curator: Anne-Claire Schmitz.

Exhibitor: Jos de Gruyter & Harald Thys.

Venue: Giardini

 

BOSNIA and HERZEGOVINA

ZENICA-TRILOGY

Commissioner: Senka Ibrišimbegović, Ars Aevi Museum for Contemporary Art Sarajevo.

Curators: Anja Bogojević, Amila Puzić, Claudia Zini. Exhibitor: Danica Dakić.

Venue: Palazzo Francesco Molon Ca’ Bernardo, San Polo 2184/A

 

BRAZIL

Swinguerra

Commissioner: José Olympio da Veiga Pereira, Fundação Bienal de São Paulo.

Curator: Gabriel Pérez-Barreiro. Exhibitor: Bárbara Wagner & Benjamin de Burca.

Venue: Giardini

 

BULGARIA

How We Live

Commissioner: Iaroslava Boubnova, National Gallery in Sofia. Curator: Vera Mlechevska.

Exhibitors: Rada Boukova , Lazar Lyutakov.

Venue: Palazzo Giustinian Lolin, San Marco 2893

 

CANADA

ISUMA

Commissioner: National Gallery of Canada. Curators: Asinnajaq, Catherine Crowston, Josée Drouin-Brisebois, Barbara Fischer, Candice Hopkins. Exhibitors: Isuma (Zacharias Kunuk, Norman Cohn, Paul Apak, Pauloosie Qulitalik).

Venue: Giardini

 

CHILE

Altered Views

Commissioner: Varinia Brodsky, Ministry of Cultures, Arts and Heritage.

Curator: Agustín Pérez. Rubio. Exhibitor: Voluspa Jarpa.

Venue: Arsenale

 

CHINA (People’s Republic of)

Re-睿

Commissioner: China Arts and Entertainment Group Ltd. (CAEG).

Curator: Wu Hongliang. Exhibitors: Chen Qi, Fei Jun, He Xiangyu, Geng Xue.

Venue: Arsenale

 

CROATIA

Traces of Disappearing (In Three Acts)

Commissioner: Ministry of Culture of the Republic of Croatia. Curator: Katerina Gregos.

Exhibitor: Igor Grubić.

Venue: Calle Corner, Santa Croce 2258

 

CUBA

Entorno aleccionador (A Cautionary Environment)

Commissioner: Norma Rodríguez Derivet, Consejo Nacional de Artes Plásticas.

Curator: Margarita Sanchez Prieto. Exhibitors: Alejandro Campins, Alex Hérnandez, Ariamna Contino and Eugenio Tibaldi. Venue: Isola di San Servolo

 

CYPRUS (Republic of)

Christoforos Savva: Untimely, Again

Commissioner: Louli Michaelidou. Curator: Jacopo Crivelli Visconti. Exhibitor: Christoforos Savva.

Venue: Associazione Culturale Spiazzi, Castello 3865

 

CZECH (Republic) and SLOVAK (Republic)

Stanislav Kolíbal. Former Uncertain Indicated

Commissioner: Adam Budak, National Gallery Prague. Curator: Dieter Bogner.

Exhibitor: Stanislav Kolibal.

Venue: Giardini

 

DOMINICAN (Republic) *

Naturaleza y biodiversidad en la República Dominicana

Commissioner: Eduardo Selman, Minister of Culture. Curators: Marianne de Tolentino, Simone Pieralice, Giovanni Verza. Exhibitors: Dario Oleaga, Ezequiel Taveras, Hulda Guzmán, Julio Valdez, Miguel Ramirez, Rita Bertrecchi, Nicola Pica, Marraffa & Casciotti.

Venue: Palazzo Albrizzi Capello, Cannaregio 4118 – Sala della Pace

 

EGYPT

khnum across times witness

Commissioner: Ministry of Culture. Curator: Ahmed Chiha.

Exhibitors: Islam Abdullah, Ahmed Chiha, Ahmed Abdel Karim.

Venue: Giardini

 

ESTONIA

Birth V

Commissioner: Maria Arusoo, Centre of Contemporary Arts of Estonia. Curators: Andrew Berardini, Irene Campolmi, Sarah Lucas, Tamara Luuk. Exhibitor: Kris Lemsalu.

Venue: c/o Legno & Legno, Giudecca 211

 

FINLAND (Alvar Aalto Pavilion)

A Greater Miracle of Perception

Commissioner: Raija Koli, Director Frame Contemporary Art Finland.

Curators: Giovanna Esposito Yussif, Bonaventure Soh Bejeng Ndikung, Christopher Wessels. Exhibitors: Miracle Workers Collective (Maryan Abdulkarim, Khadar Ahmed, Hassan Blasim, Giovanna Esposito Yussif, Sonya Lindfors, Bonaventure Soh Bejeng Ndikung, Outi Pieski, Leena Pukki, Lorenzo Sandoval, Martta Tuomaala, Christopher L. Thomas, Christopher Wessels, Suvi West).

Venue: Giardini

 

FRANCE

Deep see blue surrounding you / Vois ce bleu profond te fondre

Commissioner: Institut français with the Ministry for Europe and Foreign Affairs and the Ministry of Culture. Curator: Martha Kirszenbaum. Exhibitor: Laure Prouvost.

Venue: Giardini

 

GEORGIA

REARMIRRORVIEW, Simulation is Simulation, is Simulation, is Simulation

Commissioner: Ana Riaboshenko. Curator: Margot Norton. Exhibitor: Anna K.E.

Venue: Arsenale

 

GERMANY

Commissioner: ifa (Institut für Auslandsbeziehungen) on behalf of the Federal Foreign Office, Germany. Curator: Franciska Zólyom. Exhibitor: Natascha Süder Happelmann.

Venue: Giardini

 

GHANA ***

Ghana Freedom

Commissioner: Ministry of Tourism, Arts and Culture. Curator: Nana Oforiatta Ayim.

Exhibitors: Felicia Abban, John Akomfrah, El Anatsui, Lynette Yiadom Boakye, Ibrahim Mahama, Selasi Awusi Sosu.

Venue: Arsenale

 

GREAT BRITAIN

Cathy Wilkes

Commissioner: Emma Dexter. Curator: Zoe Whitley. Exhibitor: Cathy Wilkes.

Venue: Giardini

 

GREECE

Mr Stigl

Commissioner: Syrago Tsiara (Deputy Director of the Contemporary Art Museum - Metropolitan Organization of Museums of Visual Arts of Thessaloniki - MOMus).

Curator: Katerina Tselou. Exhibitors: Panos Charalambous, Eva Stefani, Zafos Xagoraris.

Venue: Giardini

 

GRENADA

Epic Memory

Commissioner: Susan Mains. Curator: Daniele Radini Tedeschi.

Exhibitors: Amy Cannestra, Billy Gerard Frank, Dave Lewis, Shervone Neckles, Franco Rota Candiani, Roberto Miniati, CRS avant-garde.

Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118

 

GUATEMALA

Interesting State

Commissioner: Elder de Jesús Súchite Vargas, Minister of Culture and Sports of Guatemala. Curator: Stefania Pieralice. Exhibitors: Elsie Wunderlich, Marco Manzo.

Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118

 

HAITI

THE SPECTACLE OF TRAGEDY

Commissioner: Ministry of Culture and Communication.

Curator: Giscard Bouchotte. Exhibitor: Jean Ulrick Désert.

Venue: Circolo Ufficiali Marina, Calle Seconda de la Fava, Castello 2168

 

HUNGARY

Imaginary Cameras

Commissioner: Julia Fabényi, Museo Ludwig – Museo d’arte contemporanea, Budapest.

Curator: Zsuzsanna Szegedy-Maszák. Exhibitor: Tamás Waliczky.

Venue: Giardini

 

ICELAND

Chromo Sapiens – Hrafnhildur Arnardóttir / Shoplifter

Commissioner: Eiríkur Þorláksson, Icelandic Ministry of Education, Science and Culture.

Curator: Birta Gudjónsdóttir. Exhibitor: Hrafnhildur Arnardóttir / Shoplifter.

Venue: Spazio Punch, Giudecca 800

 

INDIA

Our time for a future caring

Commissioner: Adwaita Gadanayak National Gallery of Modern Art.

Curator: Roobina Karode, Director & Chief Curator, Kiran Nadar Museum of Art. Exhibitors: Atul Dodiya, Ashim Purkayastha, GR Iranna, Jitish Kallat, Nandalal Bose, Rummana Hussain, Shakuntala Kulkarni.

Venue: Arsenale

 

INDONESIA

Lost Verses

Commissioner: Ricky Pesik & Diana Nazir, Indonesian Agency for Creative Economy.

Curator: Asmudjo Jono Irianto. Exhibitors: Handiwirman Saputra and Syagini Ratna Wulan.

Venue: Arsenale

 

IRAN (Islamic Republic of)

of being and singing

Commissioner: Hadi Mozafari, General Manager of Visual Arts Administration of Islamic Republic of Iran. Curator: Ali Bakhtiari.

Exhibitors: Reza Lavassani, Samira Alikhanzadeh, Ali Meer Azimi.

Venue: Fondaco Marcello, San Marco 3415

 

IRAQ

Fatherland

Commissioner: Fondazione Ruya. Curators: Tamara Chalabi, Paolo Colombo.

Exhibitor: Serwan Baran.

Venue: Ca’ del Duca, Corte del Duca Sforza, San Marco 3052

 

IRELAND

The Shrinking Universe

Commissioner: Culture Ireland. Curator: Mary Cremin. Exhibitor: Eva Rothschild.

Venue: Arsenale

 

ISRAEL

Field Hospital X

Commissioner: Michael Gov, Arad Turgeman. Curator: Avi Lubin. Exhibitor: Aya Ben Ron.

Venue: Giardini

 

ITALY

Commissioner: Federica Galloni, Direttore Generale Arte e Architettura Contemporanee e Periferie Urbane, Ministero dei Beni e delle Attività Culturali. Curator: Milovan Farronato.

Exhibitors: Enrico David, Liliana Moro, Chiara Fumai.

Venue: Padiglione Italia, Tese delle Vergini, Arsenale

 

IVORY COAST

The Open Shadows of Memory

Commissioner: Henri Nkoumo. Curator: Massimo Scaringella. Exhibitors: Ernest Dükü, Ananias Leki Dago, Valérie Oka, Tong Yanrunan.

Venue: Castello Gallery, Castello 1636/A

 

JAPAN

Cosmo-Eggs

Commissioner: The Japan Foundation. Curator: Hiroyuki Hattori. Exhibitors: Motoyuki Shitamichi, Taro Yasuno, Toshiaki Ishikura, Fuminori Nousaku.

Venue: Giardini

 

KIRIBATI

Pacific Time - Time Flies

Commissioner: Pelea Tehumu, Ministry of Internal Affairs. Curators: Kautu Tabaka, Nina Tepes. Exhibitors: Kaeka Michael Betero, Daniela Danica Tepes, Kairaken Betio Group; Teroloang Borouea, Neneia Takoikoi, Tineta Timirau, Teeti Aaloa, Kenneth Ioane, Kaumai Kaoma, Runita Rabwaa, Obeta Taia, Tiribo Kobaua, Tamuera Tebebe, Rairauea Rue, Teuea Kabunare, Tokintekai Ekentetake, Katanuti Francis, Mikaere Tebwebwe, Terita Itinikarawa, Kaeua Kobaua, Raatu Tiuteke, Kaeriti Baanga, Ioanna Francis, Temarewe Banaan, Aanamaria Toom, Einako Temewi, Nimei Itinikarawa, Teniteiti Mikaere, Aanibo Bwatanita, Arin Tikiraua.

Venue: European Cultural Centre, Palazzo Mora, Strada Nuova 3659

 

KOREA (Republic of)

History Has Failed Us, but No Matter

Commissioner: Arts Council Korea. Curator: Hyunjin Kim. Exhibitors: Hwayeon Nam, siren eun young jung, Jane Jin Kaisen.

Venue: Giardini

 

KOSOVO (Republic of)

Family Album

Commissioner: Arta Agani. Curator: Vincent Honore. Exhibitor: Alban Muja.

Venue: Arsenale

 

LATVIA

Saules Suns

Commissioner: Dace Vilsone. Curators: Valentinas Klimašauskas, Inga Lāce.

Exhibitor: Daiga Grantiņa.

Venue: Arsenale

 

LITHUANIA

Sun & Sea (Marina)

Commissioner: Rasa Antanavičıūte. Curator: Lucia Pietroiusti.

Exhibitors: Lina Lapelyte, Vaiva Grainyte and Rugile Barzdziukaite.

Venue: Magazzino No. 42, Marina Militare, Arsenale di Venezia, Fondamenta Case Nuove 2738c

 

LUXEMBOURG (Grand Duchy of)

Written by Water

Commissioner: Ministry of Culture of Luxembourg.

Curator: Kevin Muhlen. Exhibitor: Marco Godinho.

Venue: Arsenale

 

NORTH MACEDONIA (Republic of )

Subversion to Red

Commissioner: Mira Gakina. Curator: Jovanka Popova. Exhibitor: Nada Prlja.

Venue: Palazzo Rota Ivancich, Castello 4421

 

MADAGASCAR ***

I have forgotten the night

Commissioner: Ministry of Communication and Culture of the Republic of Madagascar. Curators: Rina Ralay Ranaivo, Emmanuel Daydé.

Exhibitor: Joël Andrianomearisoa.

Venue: Arsenale

 

MALAYSIA ***

Holding Up a Mirror

Commissioner: Professor Dato’ Dr. Mohamed Najib Dawa, Director General of Balai Seni Negara (National Art Gallery of Malaysia), Ministry of Tourism, Arts and Culture of Malaysia. Curator: Lim Wei-Ling. Exhibitors: Anurendra Jegadeva, H.H.Lim, Ivan Lam, Zulkifli Yusoff.

Venue: Palazzo Malipiero, San Marco 3198

 

MALTA

Maleth / Haven / Port - Heterotopias of Evocation

Commissioner: Arts Council Malta. Curator: Hesperia Iliadou Suppiej. Exhibitors: Vince Briffa, Klitsa Antoniou, Trevor Borg.

Venue: Arsenale

 

MEXICO

Actos de Dios / Acts of God

Commissioner: Gabriela Gil Verenzuela. Curator: Magalí Arriola. Exhibitor: Pablo Vargas Lugo.

Venue: Arsenale

 

MONGOLIA

A Temporality

Commissioner: The Ministry of Education, Culture, Science and Sports of Mongolia.

Curator: Gantuya Badamgarav. Exhibitor: Jantsankhorol Erdenebayar with the participation of traditional Mongolian throat singers and Carsten Nicolai (Alva Noto).

Venue: Bruchium Fermentum, Calle del Forno, Castello 2093-2090

 

MONTENEGRO

Odiseja / An Odyssey

Commissioner: Nenad Šoškić. Curator: Petrica Duletić. Exhibitor: Vesko Gagović.

Venue: Palazzo Malipiero (piano terra), San Marco 3078-3079/A, Ramo Malipiero

 

MOZAMBIQUE (Republic of)

The Past, the Present and The in Between

Commissioner: Domingos do Rosário Artur. Curator: Lidija K. Khachatourian.

Exhibitors: Gonçalo Mabunda, Mauro Pinto, Filipe Branquinho.

Venue: Palazzo Mora, Strada Nova, 3659

 

NETHERLANDS (The)

The Measurement of Presence

Commissioner: Mondriaan Fund. Curator: Benno Tempel. Exhibitors: Iris Kensmil, Remy Jungerman. Venue: Giardini

 

NEW ZEALAND

Post hoc

Commissioner: Dame Jenny Gibbs. Curators: Zara Stanhope and Chris Sharp.

Exhibitor: Dane Mitchell.

Venue: Palazzina Canonica, Riva Sette Martiri

 

NORDIC COUNTRIES (FINLAND - NORWAY - SWEDEN)

Weather Report: Forecasting Future

Commissioner: Leevi Haapala / Museum of Contemporary Art Kiasma / Finnish National Gallery, Katya García-Antón / Office for Contemporary Art Norway (OCA), Ann-Sofi Noring / Moderna Museet. Curators: Leevi Haapala, Piia Oksanen. Exhibitors: Ane Graff, Ingela Ihrman, nabbteeri.

Venue: Giardini

 

PAKISTAN ***

Manora Field Notes

Commissioner: Syed Jamal Shah, Pakistan National Council of the Arts, PNCA.

Curator: Zahra Khan. Exhibitor: Naiza Khan.

Venue: Tanarte, Castello 2109/A and Spazio Tana, Castello 2110-2111

 

PERU

“Indios Antropófagos”. A butterfly Garden in the (Urban) Jungle

Commissioner: Armando Andrade de Lucio. Curator: Gustavo Buntinx. Exhibitors: Christian Bendayán, Otto Michael (1859-1934), Manuel Rodríguez Lira (1874-1933), Segundo Candiño Rodríguez, Anonymous popular artificer.

Venue: Arsenale

 

PHILIPPINES

Island Weather

Commissioner: National Commission for Culture and the Arts (NCCA) / Virgilio S. Almario.

Curator: Tessa Maria T. Guazon. Exhibitor: Mark O. Justiniani.

Venue: Arsenale

 

POLAND

Flight

Commissioner: Hanna Wroblewska. Curators: Łukasz Mojsak, Łukasz Ronduda.

Exhibitor: Roman Stańczak.

Venue: Giardini

 

PORTUGAL

a seam, a surface, a hinge or a knot

Commissioner: Directorate-General for the Arts. Curator: João Ribas. Exhibitor: Leonor Antunes.

Venue: Fondazione Ugo e Olga Levi Onlus, Palazzo Giustinian Lolin, San Marco 2893

 

ROMANIA

Unfinished Conversations on the Weight of Absence

Commissioner: Attila Kim. Curator: Cristian Nae. Exhibitor: Belu-Simion Făinaru, Dan Mihălțianu, Miklós Onucsán.

Venues: Giardini and New Gallery of the Romanian Institute for Culture and Humanistic Research (Campo Santa Fosca, Palazzo Correr, Cannaregio 2214)

 

RUSSIA

Lc 15:11-32

Commissioner: Semyon Mikhailovsky. Curator: Mikhail Piotrovsky. Exhibitors: Alexander Sokurov, Alexander Shishkin-Hokusai.

Venue: Giardini

 

SAN MARINO (Republic of)

Friendship Project International

Commissioner: Vito Giuseppe Testaj. Curator: Vincenzo Sanfo. Exhibitors: Gisella Battistini, Martina Conti, Gabriele Gambuti, Giovanna Fra, Thea Tini, Chen Chengwei, Li Geng, Dario Ortiz, Tang Shuangning, Jens W. Beyrich, Xing Junqin, Xu de Qi, Sebastián.

Venue: Palazzo Bollani, Castello 3647; Complesso dell’Ospedaletto, Castello 6691

 

SAUDI ARABIA

After Illusion بعد توهم

Commissioner: Misk Art Insitute. Curator: Eiman Elgibreen. Exhibitor: Zahrah Al Ghamdi.

Venue: Arsenale

 

SERBIA

Regaining Memory Loss

Commissioner: Vladislav Scepanovic. Curator: Nicoletta Lambertucci. Exhibitor: Djordje Ozbolt.

Venue: Giardini

 

SEYCHELLES (Republic of)

Drift

Commissioner: Galen Bresson. Curator: Martin Kennedy.

Exhibitors: George Camille and Daniel Dodin.

Venue: Palazzo Mora, Strada Nova, 3659

 

SINGAPORE

Music For Everyone: Variations on a Theme

Commissioner: Rosa Daniel, Chief Executive Officer, National Arts Council (NAC).

Curator: Michelle Ho. Exhibitor: Song-Ming Ang.

Venue: Arsenale

 

SLOVENIA (Republic of)

Here we go again... SYSTEM 317

A situation of the resolution series

Commissioner: Zdenka Badovinac, Director Moderna galerija / Museum of Modern Art, Ljubljana. Curator: Igor Španjol. Exhibitor: Marko Peljhan.

Venue: Arsenale

 

SOUTH AFRICA (Republic of)

The stronger we become

Commissioner: Titi Nxumalo, Console Generale. Curators: Nkule Mabaso, Nomusa Makhubu. Exhibitors: Dineo Seshee Bopape, Tracey Rose, Mawande Ka Zenzile.

Venue: Arsenale

 

SPAIN

Perforated by Itziar Okariz and Sergio Prego

Commissioner: AECID Agencia Espanola de Cooperacion Internacional Para El Desarrollo. Ministerio de Asuntos Exteriores, Union Europea y Cooperacion. Curator: Peio Aguirre.

Exhibitors: Itziar Okariz, Sergio Prego.

Venue: Giardini

 

SWITZERLAND

Moving Backwards

Commissioner: Swiss Arts Council Pro-Helvetia: Marianne Burki, Sandi Paucic, Rachele Giudici Legittimo. Curator: Charlotte Laubard. Exhibitors: Pauline Boudry/Renate Lorenz.

Venue: Giardini

 

SYRIAN ARAB (Republic)

Syrian Civilization is still alive

Commissioner/Curator: Emad Kashout. Exhibitors: Abdalah Abouassali, Giacomo Braglia, Ibrahim Al Hamid, Chen Huasha, Saed Salloum, Xie Tian, Saad Yagan, Primo Vanadia, Giuseppe Biasio.

Venue: Isola di San Servolo; Chiesetta della Misericordia, Campo dell'Abbazia, Cannaregio

 

THAILAND

The Revolving World

Commissioner: Vimolluck Chuchat, Office of Contemporary Art and Culture, Ministry of Culture, Thailand. Curator: Tawatchai Somkong. Exhibitors: Somsak Chowtadapong, Panya Vijinthanasarn, Krit Ngamsom.

Venue: In Paradiso 1260, Castello

 

TURKEY

We, Elsewhere

Commissioner: IKSV. Curator: Zeynep Öz. Exhibitor: İnci Eviner.

Venue: Arsenale

 

UKRAINE

The Shadow of Dream cast upon Giardini della Biennale

Commissioner: Svitlana Fomenko, First Deputy Minister of Culture. Curators: Open group (Yurii Biley, Pavlo Kovach, Stanislav Turina, Anton Varga). Exhibitors: all artists of Ukraine.

Venue: Arsenale

 

UNITED ARAB EMIRATES

Nujoom Alghanem: Passage

Commissioner: Salama bint Hamdan Al Nahyan Foundation.

Curators: Sam Bardaouil and Till Fellrath. Exhibitor: Nujoom Alghanem.

Venue: Arsenale

 

UNITED STATES OF AMERICA

Martin Puryear: Liberty

Commissioner/Curator: Brooke Kamin Rapaport. Exhibitor: Martin Puryear.

Venue: Giardini

 

URUGUAY

“La casa empática”

Commissioner: Alejandro Denes. Curators: David Armengol, Patricia Bentancur.

Exhibitor: Yamandú Canosa.

Venue: Giardini

 

VENEZUELA (Bolivarian Republic of)

Metaphore of three windows

Venezuela: identity in time and space

Commissioner/Curator: Oscar Sottillo Meneses. Exhibitors: Natalie Rocha Capiello, Ricardo García, Gabriel López, Nelson Rangelosky.

Venue: Giardini

 

ZIMBABWE (Republic of)

Soko Risina Musoro (The Tale without a Head)

Commissioner: Doreen Sibanda, National Gallery of Zimbabwe. Curator: Raphael Chikukwa. Exhibitors: Georgina Maxim, Neville Starling , Cosmas Shiridzinomwa, Kudzanai Violet Hwami.

Venue: Istituto Provinciale per L’infanzia “Santa Maria Della Pietà”. Calle della Pietà Castello n. 3701 (ground floor)

 

---

invited artist :

Lawrence Abu Hamdan (Jordan / Beirut)

Njideka Akunyili Crosby (Nigeria / USA),Halil Altındere (Turkey),Michael Armitage (Kenya / UK),Korakrit Arunanondchai (Thailand / USA),Alex Gvojic (USA),Ed Atkins (UK / Germany / Denmark),Tarek Atoui (Lebanon / France),

Darren Bader (USA),Nairy Baghramian (Iran / Germany,

Neïl Beloufa (France),Alexandra Bircken (Germany),Carol Bove (Switzerland / USA,

Christoph Büchel (Switzerland / Iceland,

Ludovica Carbotta (Italy / Barcelona),Antoine Catala (France / USA),Ian Cheng (USA),George Condo (USA

Alex Da Corte (USA),Jesse Darling (UK / Germany),Stan Douglas (Canada),Jimmie Durham (USA / Germany),Nicole Eisenman (France / USA,

Haris Epaminonda (Cyprus / Germany),Lara Favaretto (Italy),Cyprien Gaillard (France / Germany), Gill (India),Dominique Gonzalez-Foerster (France),Shilpa Gupta (India),Soham Gupta (India),Martine Gutierrez (USA),Rula Halawani (Palestine),Anthea Hamilton (UK),Jeppe Hein (Denmark / Germany),Anthony Hernandez (USA),Ryoji Ikeda (Japan / France),Arthur Jafa (USA),Cameron Jamie (USA / France / Germany),Kahlil Joseph (USA),Zhanna Kadyrova (Ukraine),Suki Seokyeong Kang (South Korea),Mari Katayama (Japan),Lee Bul (South Korea),Liu Wei (China),Maria Loboda (Poland / Germany),Andreas Lolis (Albania / Greece),Christian Marclay (USA / London),Teresa Margolles (Mexico / Spain),Julie Mehretu (Ethiopia / USA),Ad Minoliti (Argentina),Jean-Luc Moulène (France),Zanele Muholi (South Africa),Jill Mulleady (Uruguay / USA),Ulrike Müller (Austria / USA),Nabuqi (China),Otobong Nkanga (Nigeria / Belgium),Khyentse Norbu (Bhutan / India),Frida Orupabo (Norway),Jon Rafman (Canada).Gabriel Rico (Mexico),Handiwirman Saputra (Indonesia),Tomás Saraceno (Argentina / Germany),Augustas Serapinas (Lithuania),Avery Singer (USA),Slavs and Tatars (Germany),Michael E. Smith (USA),Hito Steyerl (Germany),Tavares Strachan (Bahamas / USA),Sun Yuan and Peng Yu (China),Henry Taylor (USA),Rosemarie Trockel (Germany),Kaari Upson (USA),Andra Ursuţa (Romania),Danh Vō (Vietnam / Mexico),Kemang Wa Lehulere (South Africa),Apichatpong Weerasethakul (Thailand) and Tsuyoshi Hisakado (Japan),Margaret Wertheim and Christine Wertheim (Australia / USA) ,Anicka Yi (South Korea/ USA),Yin Xiuzhen (China),Yu Ji (China / Austria)

  

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other Biennale :(Biennials ) :Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale

Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art

  

وینس Venetsiya

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Thierry Geoffroy / Colonel

 

From Wikipedia, the free encyclopedia

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For rock throwing in general, see Rock throwing. For the method of metalworking, see Stoning (metalworking). For other uses, see Stoning (disambiguation).

"Lapidation" redirects here. For the album by Anthony Coleman, see Lapidation (album).

 

Saint Stephen, first martyr of Christianity, painted in 1506 by Marx Reichlich (1460–1520)

(Pinakothek of Munich)

 

Virasundara is stoned to death on the order of Rajasinha II of Kandy (Sri Lanka, c. 1672)

Stoning, or lapidation, is a method of capital punishment where a group throws stones at a person until the subject dies from blunt trauma. It has been attested as a form of punishment for grave misdeeds since ancient times. Its adoption in some legal systems has caused controversy in recent decades.

 

The Torah and Talmud prescribe stoning as punishment for a number of offenses. Over the centuries, Rabbinic Judaism developed a number of procedural constraints which made these laws practically unenforceable. Although stoning is not mentioned in the Quran, classical Islamic jurisprudence (fiqh) imposed stoning as a hadd (sharia-prescribed) punishment for certain forms of zina (illicit sexual intercourse) on the basis of hadith (sayings and actions attributed to the Islamic prophet Muhammad). It also developed a number of procedural requirements which made zina virtually impossible to prove in practice.

 

Stoning appears to have been the standard method of capital punishment in ancient Israel. Its use is attested in the early Christian era, but Jewish courts generally avoided stoning sentences in later times. Only a few isolated instances of legal stoning are recorded in pre-modern history of the Islamic world. Criminal laws of most modern Muslim-majority countries have been derived from Western models. In recent decades several states have inserted stoning and other hudud (pl. of hadd) punishments into their penal codes under the influence of Islamist movements. These laws hold particular importance for religious conservatives due to their scriptural origin, though in practice they have played a largely symbolic role and tended to fall into disuse.

 

In recent times, stoning has been a legal or customary punishment in the United Arab Emirates, Iraq, Qatar, Mauritania, Saudi Arabia, Somalia, Sudan, Yemen, northern Nigeria, Afghanistan, Brunei, and tribal parts of Pakistan, including northwest Kurram Valley and the northwest Khwezai-Baezai region.[1][2][3][4] In some of these countries, including Afghanistan and Iraq, where stoning is not legal, it has been carried out extrajudicially by militants, tribal leaders, and others.[2] In some other countries, including Nigeria and Pakistan, although stoning is a legal form of punishment, it has never been legally carried out. Stoning is condemned by human rights organizations and stoning sentences have sparked international controversies. Punishing adultery with stoning has varying levels of public support in the Muslim world, ranging from 86% of Muslims in Pakistan to 6% of Muslims in Albania and Bosnia.

  

Contents

1Religious scripture and law

1.1Judaism

1.2Islam

2History

3Contemporary legal status and use

3.1Afghanistan

3.2Brunei

3.3Indonesia

3.4Iran

3.5Iraq

3.6Nigeria

3.7Pakistan

3.8Saudi Arabia

3.9Sudan

3.10Somalia

3.11United Arab Emirates

3.12ISIL

4Views

4.1Support

4.2Opposition

5Human rights

5.1Women's rights

5.2LGBT rights

5.3Right to private life

6Examples

6.1Ancient

6.2Modern

6.3Averted

7Biblical

7.1Averted

8In literature

9In film and television

10See also

11References

12External links

 

Jesus and the woman taken in adultery by Julius Schnorr von Karolsfeld, 1860, where Jesus said that the man who was without sin should throw the first stone.

Religious scripture and law[edit]

Judaism[edit]

 

The Sabbath-breaker Stoned. Artistic impression of episode narrated in Numbers 15. James Tissot c.1900

Further information: Capital and corporal punishment in Judaism

Torah[edit]

The Jewish Torah (the first five books of the Hebrew Bible: Genesis, Exodus, Leviticus, Numbers, and Deuteronomy) serves as a common religious reference for Judaism. Stoning is the method of execution mentioned most frequently in the Torah. (Murder is not mentioned as an offense punishable by stoning, but it seems that a member of the victim's family was allowed to kill the murderer; see avenger of blood.) The crimes punishable by stoning were the following:

 

Touching Mount Sinai while God was giving Moses the Ten Commandments, Exodus 19:13

An ox that gores someone to death should be stoned, Exodus 21:28

Breaking Sabbath, Numbers 15:32–36

Giving one's "offspring" "to Molech" Leviticus 20:2-5

Having a "familiar spirit" (or being a necromancer) or being a "wizard", Leviticus 20:27

Enticing others to polytheism, Deuteronomy 13:7–11

Cursing God, Leviticus 24:10–16

Engaging in idolatry, Deuteronomy 17:2–7; or seducing others to do so, Deuteronomy 13:7–12

"Rebellion" against parents Deuteronomy 21:18-21.

Getting married as though a virgin, when not a virgin, Deuteronomy 22:13–21

Sexual intercourse between a man and a woman engaged to another man in a town, since she did not cry out, Deuteronomy 22:23-24; both parties should be stoned to death.

Forced sexual intercourse between a man and a woman engaged to another man in a field, where no one could hear her cries and save her, Deuteronomy 22:25-27; the man should be stoned.

Describing the stoning of those who entice others to apostates from Judaism, the Torah states:

 

If thy brother, the son of thy mother, or thy son, or thy daughter, or the wife of thy bosom, or thy friend, which [is] as thine own soul, entice thee secretly, saying, Let us go and serve other gods, which thou hast not known, thou, nor thy fathers; [Namely], of the gods of the people which [are] round about you, nigh unto thee, or far off from thee, from the [one] end of the earth even unto the [other] end of the earth; Thou shalt not consent unto him, nor hearken unto him; neither shall thine eye pity him, neither shalt thou spare, neither shalt thou conceal him: But thou shalt surely kill him; thine hand shall be first upon him to put him to death, and afterwards the hand of all the people. And thou shalt stone him with stones, that he die; because he hath sought to thrust thee away from the LORD thy God, which brought thee out of the land of Egypt, from the house of bondage.

 

— Deuteronomy 13:6–10[5]

A case noted in the Bible, not falling into any of the above categories, was that of Achan, stoned to death together with his sheep, other livestock and his children for having pillaged valuables from Jericho during Joshua's Conquest of Canaan.

 

Mishna[edit]

The Talmud describes four methods of execution: stoning, pouring molten lead down the throat of the condemned person, beheading, and strangulation (see Capital and corporal punishment in Judaism). The Mishna gives the following list of persons who should be stoned.[6][7]

 

"To the following sinners stoning applies – אלו הן הנסקלין

 

one who has had relations with his mother – הבא על האם

with his father's wife – ועל אשת האב

with his daughter-in-law – ועל הכלה

a human male with a human male – ועל הזכור

or with cattle – ועל הבהמה

and the same is the case with a woman who uncovers herself before cattle – והאשה המביאה את הבהמה

with a blasphemer – והמגדף

an idolater – והעובד עבודת כוכבים

he who sacrifices one of his children to Molech – והנותן מזרעו למולך

one that occupies himself with familiar spirits – ובעל אוב

a wizard – וידעוני

one who violates Sabbath – והמחלל את השבת

one who curses his father or mother – והמקלל אביו ואמו

one who has assaulted a betrothed damsel – והבא על נערה המאורסה

a seducer who has seduced men to worship idols – והמסית

and the one who misleads a whole town – והמדיח

a witch (male or female) – והמכשף

a stubborn and rebellious son – ובן סורר ומורה"

As God alone was deemed to be the only arbiter in the use of capital punishment, not fallible people, the Sanhedrin made stoning a hypothetical upper limit on the severity of punishment.[8]

  

The Punishment of Korah and the Stoning of Moses and Aaron (1480–1482), by Sandro Botticelli, Sistine Chapel, Rome.

Prior to early Christianity, particularly in the Mishnah, doubts were growing in Jewish society about the effectiveness of capital punishment in general (and stoning in particular) in acting as a useful deterrent. Subsequently, its use was dissuaded by the central legislators. The Mishnah states:

 

A Sanhedrin that puts a man to death once in seven years is called destructive. Rabbi Eliezer ben Azariah says that this extends to a Sanhedrin that puts a man to death even once in seventy years. Rabbi Akiba and Rabbi Tarfon say: Had we been in the Sanhedrin none would ever have been put to death. Rabban Simeon ben Gamaliel says: they would have multiplied shedders of blood in Israel.[9][10][11]

 

In the following centuries the leading Jewish sages imposed so many restrictions on the implementation of capital punishment as to make it de facto illegal. The restrictions were to prevent execution of the innocent, and included many conditions for a testimony to be admissible that were difficult to fulfill.

 

Philosopher Moses Maimonides wrote, "It is better and more satisfactory to acquit a thousand guilty persons than to put a single innocent one to death."[12] He was concerned that the law guard its public perception, to preserve its majesty and retain the people's respect. He saw errors of commission as much more threatening to the integrity of law than errors of omission.[13]

 

Mode of Judgment[edit]

In rabbinic law, capital punishment may only be inflicted by the verdict of a regularly constituted court of twenty-three qualified members. There must be the most trustworthy and convincing testimony of at least two qualified eyewitnesses to the crime, who must also depose that the culprit had been forewarned of the criminality and the consequences of his project.[7] The culprit must be a person of legal age and of sound mind, and the crime must be proved to have been committed of the culprit's free will and without the aid of others.

 

On the day the verdict is pronounced, the convict is led forth to execution. The Torah law (Leviticus 19:18) prescribes, "Thou shalt love thy neighbor as thyself"; and the Rabbis maintain that this love must be extended beyond the limits of social intercourse in life, and applied even to the convicted criminal who, "though a sinner, is still thy brother" (Mak. 3:15; Sanh. 44a): "The spirit of love must be manifested by according him a decent death" (Sanh. 45a, 52a). Torah law provides (Deut. 24:16), "The parents shall not be put to death for the children, neither shall the children be put to death for the parents; every man shall be put to death for his own sins", and rabbinic jurisprudence follows this principle both to the letter and in spirit. A sentence is not attended by confiscation of the convict's goods; the person's possessions descend to their legal heirs.

 

The Talmud limits the use of the death penalty to Jewish criminals who:

 

(A) while about to do the crime were warned not to commit the crime while in the presence of two witnesses (and only individuals who meet a strict list of standards are considered acceptable witnesses); and

(B) having been warned, committed the crime in front of the same two witnesses.[14]

In theory, the Talmudic method of how stoning is to be carried out differs from mob stoning. According to the Jewish oral law, after the Jewish criminal has been determined as guilty before the Great Sanhedrin, the two valid witnesses and the sentenced criminal go to the edge of a two-story building. From there the two witnesses are to push the criminal off the roof of a two-story building. The two-story height is chosen as this height is estimated by the Talmud to effect a quick and painless demise but is not so high that the body will become dismembered.[15] After the criminal has fallen, the two witnesses are to drop a large boulder onto the criminal – requiring both of the witnesses to lift the boulder together. If the criminal did not die from the fall or from the crushing of the large boulder, then any people in the surrounding area are to quickly cause him to die by stoning with whatever rocks they can find.

 

Islam[edit]

Main articles: Rajm and Zina

 

The Stoning of an Adulteress, illustration to a manuscript of 1001 Nights by Abu'l Hasan Ghaffari or his atelier. Tehran, 1853-1857.

 

Stoning of the Devil, 2006 Hajj

Islamic sharia law is based on the Quran and the hadith as primary sources.

 

Quran[edit]

The Qur'an does not mention the act of stoning (Rajm) for any crime.

 

Contrary to popular belief, the punishment for Adultery (Zina) in the Quran is not stoning to death but flogging with a 100 lashes (if the accuser can provide 4 witnesses to the act). If the accuser cannot produce 4 witnesses, he himself will be punished by flogging with 80 lashes.

 

The woman and the man guilty of fornication/adultery,- flog each of them with a hundred stripes: Let not compassion move you in their case, in a matter prescribed by Allah, if ye believe in Allah and the Last Day: and let a party of the Believers witness their punishment.

 

— Qur'an 24:2 [16]

And those who accuse chaste women then do not bring four witnesses, flog them, (giving) eighty stripes, and do not admit any evidence from them ever; and these it is that are the transgressors. Except those who repent after this and act aright, for surely Allah is Forgiving, Merciful.

 

— Qur'an 24:4-5 [17]

Hadith[edit]

 

This section may stray from the topic of the article. Please help improve this section or discuss this issue on the talk page. (December 2018)

Hadith refers to orally transmitted reports of statements or actions attributed to Muhammad. It was forbidden to record any Hadith on paper by Muhammad himself[citation needed], the first 4 righteous Caliphs after the death of Muhammed and the later Caliphs. They believed the Quran was clear, fully detailed, complete, perfect and sufficient. There were fears that people would confuse hadith with the Qur'an, influence would seep in from other creeds, fear for fabrications by heretics, for personal or political gain. The first Hadith (that have survived) were recorded 200 years after the prophet's death. There were tens of thousands Muhaddiths who had each memorised at least 400,000 narrations along with the chain of narrators for each narration. Out of the hundreds of thousands of Hadith only a very, very small percentage were declared authentic (Sahih) by Hadith Scholars. Hadith Scholars used a number of methods of evaluation to determine the veracity of the recorded oral reports. This is achieved by analyzing the text of the report, the scale of the report's transmission, the routes through which the report was transmitted, the individual narrators involved in its transmission and cross-referincing the reports.

 

Muslims vary in degrees of acceptance of the Hadith. To many Sunnite and Shiite Muslims (different collections of) the hadith are almost on par with the Quran itself. To others the Quran is the word of Allah but the Hadith are the words and deeds of a human (the prophet Muhammed) transmitted down by the 200 years old fallible memory of men. Useful but not completely reliable. Some Muslims give little to no credence to the Hadith. Then there are also the different sets of Hadith accepted by different branches of Islam (Temporary Marriage or Female Genital Mutilation) who consider each other's Hadith fake.

 

Stoning in the Sunnah mainly follows on the Jewish stoning rules of the Torah. A few hadiths refer to Muhammad ordering the stoning of a married[failed verification] Jewish man and a married[failed verification] woman committing an illegal sexual act after consulting the Torah.[18]

 

Narrated Ibn 'Umar: A Jew and Jewess were brought to the Prophet on a charge of committing an illegal sexual intercourse. The Prophet asked the Jews, "What do you (usually) do with them?" They said, "We blacken their faces and disgrace them." He said, "Bring here the Torah and recite it, if you are truthful." They (fetched it and) came and asked a one-eyed man to recite. He went on reciting till he reached a portion on which he put his hand. The Prophet said, "Lift up your hand!" He lifted his hand up and behold, there appeared the verse of Ar-Rajm (stoning of the adulterers to death). Then he said, "O Muhammad! They should be stoned to death but we conceal this Divine Law among ourselves." Then the Prophet ordered that the two sinners be stoned to death and, and they were stoned to death, and I saw the man protecting the woman from the stones.

 

— Volume 9, Book 93, Number 633: (See Hadith No. 809, Vol. 8)

Narrated by 'Abdullah bin 'Umar:The Jews came to Allah's Apostle and told him that a man and a woman from amongst them had committed illegal sexual intercourse. Allah's Apostle said to them, "What do you find in the Torah (old Testament) about the legal punishment of Ar-Rajm (stoning)?" They replied, (But) we announce their crime and lash them." Abdullah bin Salam said, "You are telling a lie; Torah contains the order of Rajm." They brought and opened the Torah and one of them solaced his hand on the Verse of Rajm and read the verses preceding and following it. Abdullah bin Salam said to him, "Lift your hand." When he lifted his hand, the Verse of Rajm was written there. They said, "Muhammad has told the truth; the Torah has the Verse of Rajm. The Prophet then gave the order that both of them should be stoned to death. ('Abdullah bin 'Umar said, "I saw the man leaning over the woman to shelter her from the stones."

 

— Volume 4, Book 56, Number 829:

In a few others, a Bedouin man is lashed, while a Jewish woman is stoned to death, for having sex outside marriage.[19]

 

Stoning is described as punishment in multiple hadiths.[20][21][22] Shia and Sunni hadith collections differ because scholars from the two traditions differ as to the reliability of the narrators and transmitters and the Imamah. Shi'a sayings related to stoning can be found in Kitab al-Kafi,[23] and Sunni sayings related to stoning can be found in the Sahih Bukhari and Sahih Muslim.[24] Based on these hadiths, in some Muslim countries, married adulterers are sentenced to death, while consensual sex between unmarried people results in 100 lashes.

 

Hadiths describe stoning as punishment under sharia.[21][22][25] In others stoning is prescribed as punishment for illegal sex between man and woman,[26] illegal sex by a slave girl, as well as anyone involved in any homosexual relations.[21][27] In some sunnah, the method of stoning, by first digging a pit and partly burying the person's lower half in it, is described.[28][29]

 

Narrated by Abu Huraira and Zaid bin Khalid Al-Juhani: A bedouin came to Allah's Apostle and said, "O Allah's apostle! I ask you by Allah to judge My case according to Allah's Laws." His opponent, who was more learned than he, said, "Yes, judge between us according to Allah's Laws, and allow me to speak." Allah's Apostle said, "Speak." He (i .e. the bedouin or the other man) said, "My son was working as a laborer for this (man) and he committed illegal sexual intercourse with his wife. The people told me that it was obligatory that my son should be stoned to death, so in lieu of that I ransomed my son by paying one hundred sheep and a slave girl. Then I asked the religious scholars about it, and they informed me that my son must be lashed one hundred lashes, and be exiled for one year, and the wife of this (man) must be stoned to death." Allah's Apostle said, "By Him in Whose Hands my soul is, I will judge between you according to Allah's Laws. The slave-girl and the sheep are to be returned to you, your son is to receive a hundred lashes and be exiled for one year. You, Unais, go to the wife of this (man) and if she confesses her guilt, stone her to death." Unais went to that woman next morning and she confessed. Allah's Apostle ordered that she be stoned to death.

 

— Sahih al-Bukhari, 3:50:885 see also Sahih al-Bukhari, 3:49:860, 8:82:842, 9:89:303

Narrated by Ash-Shaibani: I asked 'Abdullah bin Abi 'Aufa about the Rajam (stoning somebody to death for committing illegal sexual intercourse). He replied, "The Prophet carried out the penalty of Rajam," I asked, "Was that before or after the revelation of Surat-an-Nur?" He replied, "I do not know."

 

— Sahih al-Bukhari, 8:82:824 see also Sahih al-Bukhari, 8:82:809 9:92:432

Aisha reported: Abd b. Zam'a said Messenger of Allah, he is my brother as he was born on the bed of my father from his slave-girl. Allah's Messenger looked at his resemblance and found a clear resemblance with 'Utba. (But) he said: He is yours 'Abd (b. Zam'a), for the child is to be attributed to one on whose bed it is born, and stoning for a fornicator.

 

— Sahih Muslim, 8:3435 see also Sahih Muslim, 17:4216, 17:4191, 17:4212

Islamic jurisprudence (fiqh)[edit]

Stoning (Arabic: رجم Rajm, sometimes spelled as Rajam) has been extensively discussed in the texts of early, medieval and modern era Islamic jurisprudence (fiqh).[30]

 

According to traditional jurisprudence, zina can include adultery (of married parties), fornication (of unmarried parties), prostitution, bestiality, and rape.[31] Classification of homosexual intercourse as zina differs according to legal school.[32] Although stoning for zina is not mentioned in the Quran, all schools of traditional jurisprudence agreed on the basis of hadith that it is to be punished by stoning if the offender is muhsan (adult, free, Muslim, and having been married), with some extending this punishment to certain other cases and milder punishment prescribed in other scenarios.[32][31] The offenders must have acted of their own free will.[32] According to traditional jurisprudence, zina must be proved by testimony of four eyewitnesses to the actual act of penetration, or a confession repeated four times and not retracted later.[32][31] The Maliki legal school also allows an unmarried woman's pregnancy to be used as evidence, but the punishment can be averted by a number of legal "semblances" (shubuhat), such as existence of an invalid marriage contract.[32] These requirements made zina virtually impossible to prove in practice.[31] Rape was traditionally prosecuted under different legal categories which used normal evidentiary rules.[33] Making an accusation of zina without presenting the required eyewitnesses is called qadhf (القذف), which is itself a hadd crime[34][35][36] liable to a punishment of 80 lashes and to be unacceptable as witnesses unless they repent and reform.

 

According to the Islamic concept of Li'an, the testimony of a man who accuses his own wife without any other witnesses may be accepted if he swears by God four times that he is telling the truth with a fifth oath to incur God's condemnation if they be lying. In this case, if his wife counter swears, no punishment will be enforced.[37][38]

 

One of the widely followed Islamic legal commentaries, Al-Muwatta by Malik ibn Anas, state that contested pregnancy is sufficient proof of adultery and the woman must be stoned to death.[39][40]

 

Hanafi

Hanafi jurists have held that the accused must be a muhsan at the time of religiously disallowed sex, to be punished by Rajm (stoning).[41] A Muhsan is an adult, free, Muslim who has previously enjoyed legitimate sexual relations in matrimony, regardless of whether the marriage still exists.[39] In other words, stoning does not apply to someone who was never married in his or her life (only lashing in public is the mandatory punishment in such cases).[41]

 

For evidence, Hanafi fiqh accepts the following: self-confession, or testimony of four male witnesses (female witness is not acceptable).[41] Hanafi Islamic law literature specifies two types of stoning.[41] One, when the punishment is based on bayyina, or concrete evidence (four male witnesses). In this case the person is bound, a pit dug, the bound person placed and partially buried inside the pit so that he or she may not escape, thereafter the public stoning punishment is executed.[41] A woman sentenced to stoning must be partially buried up to her chest.[42] The first stones are thrown by the witnesses and the accuser, thereafter the Muslim community present, stated Abū Ḥanīfa and other Hanafi scholars.[41] In second type of stoning, when the punishment is based on self-confession, the stoning is to be performed without digging a pit or partially burying the person. In this case, the qadi (judge) should throw the first stone before other Muslims join in. Further, if the person flees, the person is allowed to leave.[41]

 

Hanafi scholars specify the stone size to be used for Rajm, to be the size of one's hand. It should not be too large to cause death too quickly, nor too small to extend only pain.[41]

 

Hanafis have traditionally held that the witnesses should throw the first stones in case the conviction was brought about by witnesses, and the qadi must throw the first stones in case the conviction was brought about by a confession.[43]

 

Shafi'i

The Shafii school literature has the same Islamic law analysis as the Hanafi. However, it recommends, that the first stone be thrown by the Imam or his deputy in all cases, followed by the Muslim community witnessing the stoning punishment.[42]

 

Hanbali

Hanbali jurist Ibn Qudamah states, "Muslim jurists are unanimous on the fact that stoning to death is a specified punishment for the married adulterer and adulteress. The punishment is recorded in number of traditions and the practice of Muhammad stands as an authentic source supporting it. This is the view held by all Companions, Successors and other Muslim scholars with the exception of Kharijites."[44]

 

Hanbali Islamic law sentences all forms of consensual but religiously illegal sex as punishable with Rajm.[45]

 

Maliki

Maliki school of jurisprudence (fiqh) holds that stoning is the required punishment for illegal sex by a married or widowed person, as well as for any form of homosexual relations among men.[21] Malik ibn Anas, founded of Maliki fiqh, considered pregnancy in an unmarried woman as a conclusive proof of zina. He also stated that contested pregnancy is also sufficient proof of adultery and any Muslim woman who is pregnant by a man who she is not married to, at the time of getting pregnant, must be stoned to death.[39][40] Later Maliki Muslim scholars admitted the concept of "sleeping embryo", where a divorced woman could escape the stoning punishment, if she remained unmarried and became pregnant anytime within five years of her divorce, and it was assumed that she was impregnated by her previous husband but the embryo remained dormant for five years.[46]

 

History[edit]

Stoning is attested in the Near East since ancient times as a form of capital punishment for grave sins.[47] Stoning was "presumably" the standard form of capital punishment in ancient Israel.[48] It is attested in the Old Testament as a punishment for blasphemy, idolatry and other crimes, in which the entire community pelted the offender with stones outside a city.[49] The death of Stephen, as reported in the New Testament (Acts 7:58) was also organized in this way. Paul was stoned and left for dead in Lystra (Acts 14:19). Josephus and Eusebius report that Pharisees stoned James, brother of Jesus, after hurling him from the pinnacle of the Temple shortly before the fall of Jerusalem in 70 CE. Historians disagree as to whether Roman authorities allowed Jewish communities to apply capital punishment to those who broke religious laws, or whether these episodes represented a form of lynching.[49] During the Late Antiquity, the tendency of not applying the death penalty at all became predominant in Jewish courts.[50] Where medieval Jewish courts had the power to pass and execute death sentences, they continued to do so for particularly grave offenses, although not necessarily the ones defined by the law, and they generally refrained from use of stoning.[48]

 

Aside from "a few rare and isolated" instances from the pre-modern era and several recent cases, there is no historical record of stoning for zina being legally carried out in the Islamic world.[31] In the modern era, sharia-based criminal laws have been widely replaced by statutes inspired by European models.[51][52] However, the Islamic revival of the late 20th century brought along the emergence of Islamist movements calling for full implementation of sharia, including reinstatement of stoning and other hudud punishments.[51][53] A number of factors have contributed to the rise of these movements, including the failure of authoritarian secular regimes to meet the expectations of their citizens, and a desire of Muslim populations to return to more culturally authentic forms of socio-political organization in the face of a perceived cultural invasion from the West.[54][55] Supporters of sharia-based legal reforms felt that "Western law" had had its chance to bring development and justice, and hoped that a return to Islamic law would produce better results. They also hoped that introduction of harsh penalties would put an end to crime and social problems.[56]

 

In practice, Islamization campaigns have focused on a few highly visible issues associated with the conservative Muslim identity, particularly women's hijab and the hudud criminal punishments (whipping, stoning and amputation) prescribed for certain crimes.[54] For many Islamists, hudud punishments are at the core of the divine sharia because they are specified by the letter of scripture rather than by human interpreters. Modern Islamists have often rejected, at least in theory, the stringent procedural constraints developed by classical jurists to restrict their application.[51] Several countries, including Iran, Pakistan, Sudan, and some Nigerian states have incorporated hudud rules into their criminal justice systems, which, however, retained fundamental influences of earlier Westernizing reforms.[51][53] In practice, these changes were largely symbolic, and aside from some cases brought to trial to demonstrate that the new rules were being enforced, hudud punishments tended to fall into disuse, sometimes to be revived depending on the local political climate.[51][52] The supreme courts of Sudan and Iran have rarely approved verdicts of stoning or amputation, and the supreme courts of Pakistan and Nigeria have never done so.[52]

 

Unlike other countries, where stoning was introduced into state law as part of recent reforms, Saudi Arabia has never adopted a criminal code and Saudi judges still follow traditional Hanbali jurisprudence.[57] Death sentences in Saudi Arabia are pronounced almost exclusively based on the system of judicial sentencing discretion (tazir) rather than sharia-prescribed (hudud) punishments, following the classical principle that hudud penalties should be avoided if possible.[58]

 

Contemporary legal status and use[edit]

As of September 2010, stoning is a punishment that is included in the laws in some countries including Saudi Arabia, Sudan, Iran, Somalia, Yemen and some predominantly Muslim states in northern Nigeria as punishment for Zina ("adultery by married persons").[59][60][61]

  

A map showing countries where public stoning is a judicial or extrajudicial form of punishment, as of 2013.[1]

Afghanistan[edit]

See also: Murder of Farkhunda

Stoning is illegal in Afghanistan, but is sometimes carried out by tribal leaders[2][62][63][64] and Taliban insurgents extrajudicially in certain parts of the country.[63][64][65][66] Before the Taliban government, most areas of Afghanistan, aside from the capital, Kabul, were controlled by warlords or tribal leaders. The Afghan legal system depended highly on an individual community's local culture and the political or religious ideology of its leaders. Stoning also occurred in lawless areas, where vigilantes committed the act for political purposes. Once the Taliban took over, it became a form of punishment for certain serious crimes or adultery. After the fall of the Taliban government, the Karzai administration re-enforced the 1976 penal code which made no provision for the use of stoning as a punishment. In 2013, the Ministry of Justice proposed public stoning as punishment for adultery.[67] However, the government had to back down from the proposal after it was leaked and triggered international outcry.[64] While stoning is officially banned in Afghanistan, it has continued to be reported occasionally as a crime.[65][68][69][70]

 

Brunei[edit]

Further information: Capital punishment in Brunei

Beginning on 3 April 2019, any Muslim individuals found guilty of gay sex and adultery will be stoned to death, according to a new penal code announced by Brunei. The punishment will be "witnessed by a group of Muslims."[71] Brunei has become the first Southeast Asian country which officially adopts public stoning as a judicial form of punishment.

 

On 5 May, the Sultan of Brunei confirmed that the de facto moratorium (a delay or suspension of an activity or a law) on the death penalty will apply to the Sharia Penal Code and committed Brunei to ratifying the United Nations Convention Against Torture (UNCAT).

 

Indonesia[edit]

Further information: Capital punishment in Indonesia

On 14 September 2009, the outgoing Aceh Legislative Council passed a bylaw that called for the stoning of married adulterers.[72] However, then governor Irwandi Yusuf refused to sign the bylaw, thereby keeping it a law without legal force and, in some views, therefore still a law draft, rather than actual law.[73] In March 2013, the Aceh government removed the stoning provision from its own draft of a new criminal code.[74]

 

Iran[edit]

Further information: Capital punishment in Iran

The Iranian judiciary officially placed a moratorium on stoning in 2002; however, in 2007, the Iranian judiciary confirmed that a man who had been convicted of adultery 10 years earlier, was stoned to death in Qazvin province.[75] In 2008, the judiciary tried to eliminate the punishment from the books in legislation submitted to parliament for approval.[76] In 2009, two people were stoned to death in Mashhad, Razavi Khorasan Province as punishment for the crime of adultery.[77] The amended penal code, adopted in 2013, no longer contains explicit language prescribing stoning as punishment for adultery. According to legal experts, while an explicit prescription of stoning as punishment for adultery has been removed from Iran's new penal code, stoning remains a possible form of punishment, since the penal code still lists it, without specifying when it should be used, and allows punishment to be based on fiqh (traditional Islamic jurisprudence), which includes provisions for stoning.[78][79] In 2013 the spokesman for the Iranian Parliament’s Justice Commission confirmed that while the Penal Code no longer prescribes stoning, it remains a valid punishment under sharia, which is enforceable under the Penal Code.[78][80] The most known case in Iran was the stoning of Soraya Manutchehri in 1986.

 

Methods

In the 2008 version of the Islamic Penal Code of Iran detailed how stoning punishments are to be carried out for adultery, and even hints in some contexts that the punishment may allow for its victims to avoid death:[81]

 

Article 102 – An adulterous man shall be buried in a ditch up to near his waist and an adulterous woman up to near her chest and then stoned to death.

 

Article 103 – In case the person sentenced to stoning escapes the ditch in which they are buried, then if the adultery is proven by testimony then they will be returned for the punishment but if it is proven by their own confession then they will not be returned.[81]

 

Article 104 – The size of the stone used in stoning shall not be too large to kill the convict by one or two throws and at the same time shall not be too small to be called a stone.[81]

 

Depending upon the details of the case, the stoning may be initiated by the judge overseeing the matter or by one of the original witnesses to the adultery.[81] Certain religious procedures may also need to be followed both before and after the implementation of a stoning execution, such as wrapping the person being stoned in traditional burial dress before the procedure.[82]

 

The method of stoning set out in the 2008 code was similar to that in a 1999 version of Iran's penal code.[83] Iran revised its penal code in 2013. The new code does not include the above passages, but does include stoning as a hadd punishment.[79] For example, Book I, Part III, Chapter 5, Article 132 of the new Islamic Penal Code (IPC) of 2013 in the Islamic Republic of Iran states, "If a man and a woman commit zina together more than one time, if the death penalty and flogging or stoning and flogging are imposed, only the death penalty or stoning, whichever is applicable, shall be executed".[84] Book 2, Part II, Chapter 1, Article 225 of the Iran's IPC released in 2013 states, "the hadd punishment for zina of a man and a woman who meet the conditions of ihsan shall be stoning to death".[84][85]

 

Iraq[edit]

In 2007, Du'a Khalil Aswad, a Yazidi girl, was stoned by her fellow tribesmen in northern Iraq for dating a Muslim boy.[86]

 

In 2012 at least 14 youths were stoned to death in Baghdad, apparently as part of a Shi'ite militant campaign against Western-style "emo" fashion.[87]

 

An Iraqi man was stoned to death, in August 2014, in the northern city of Mosul after one Sunni Islamic court sentenced him to die for the crime of adultery.[88]

 

Nigeria[edit]

Since the sharia legal system was introduced in the predominantly Muslim north of Nigeria in 2000, more than a dozen Nigerian Muslims have been sentenced to death by stoning for sexual offences ranging from adultery to homosexuality. However, none of these sentences has actually been carried out. They have either been thrown out on appeal, commuted to prison terms or left unenforced, in part as a result of pressure from human rights groups.[89][90][91][92]

 

Pakistan[edit]

Further information: Capital punishment in Pakistan

As part of Zia-ul-Haq's Islamization measures, stoning to death (rajm) at a public place was introduced into law via the 1979 Hudood Ordinances as punishment for adultery (zina) and rape (zina-bil-jabr) when committed by a married person.[93] However, stoning has never been officially utilized since the law came into effect and all judicial executions occur by hanging.[94] The first conviction and sentence of stoning (of Fehmida and Allah-Bakhsh) in September 1981 was overturned under national and international pressure. A conviction for adultery of Safia Bibi, a 13-year-old blind girl who alleged that she was raped by her employer and his son, was reversed and the conviction was set aside on appeal after bitter public criticism. Another conviction for adultery and sentence of stoning (of Shahida Parveen and Muhammad Sarwar) in early 1988 sparked outrage and led to a retrial and acquittal by the Federal Sharia Court. In this case the trial court took the view that notice of divorce by Shahida's former husband, Khushi Muhammad, should have been given to the Chairman of the local council, as stipulated under Section-7(3) of the Muslim Family Laws Ordinance, 1961. This section states that any man who divorces his wife must register it with the Union Council. Otherwise, the court concluded that the divorce stood invalidated and the couple became liable to conviction under the Adultery ordinance. In 2006, the ordinances providing for stoning in the case of adultery or rape were legislatively demoted from overriding status.[95]

 

Extrajudicial stonings in Pakistan have been known to happen in recent times. In March 2013, Pakistani soldier Anwar Din, stationed in Parachinar, was publicly stoned to death for allegedly having a love affair with a girl from a village in the country's north western Kurram Agency.[96] On 11 July 2013, Arifa Bibi, a young mother of two, was sentenced by a tribal court in Dera Ghazi Khan District, in Punjab, to be stoned to death for possessing a cell phone. Members of her family were ordered to execute her sentence and her body was buried in the desert far away from her village.[2][97]

 

In February 2014, a couple in a remote area of Baluchistan province was stoned to death after being accused of an adulterous relationship.[98] On 27 May 2014, Farzana Parveen, a 25-year-old married woman who was three months pregnant, was killed by being attacked with batons and bricks by nearly 20 members of her family outside the high court of Lahore in front of "a crowd of onlookers" according to a statement by a police investigator. The assailants, who allegedly included her father and brothers, attacked Farzana and her husband Mohammad Iqbal with batons and bricks. Her father Mohammad Azeem, who was arrested for murder, reportedly called the murder an "honor killing" and said "I killed my daughter as she had insulted all of our family by marrying a man without our consent."[99] The man whose second wife Farzana had become, Iqbal, told a news agency that he had strangled his previous wife in order to marry Farzana, and police said that he had been released for killing his first wife because a "compromise" had been reached with his family.[100]

 

Saudi Arabia[edit]

Further information: Capital punishment in Saudi Arabia

Legal stoning sentences have been reported in Saudi Arabia.[101][102] There were four cases of execution by stoning reported between 1981 and 1992.[103]

 

Sudan[edit]

In May 2012, a Sudanese court convicted Intisar Sharif Abdallah of adultery and sentenced her to death; the charges were appealed and dropped two months later.[104] In July 2012, a criminal court in Khartoum, Sudan, sentenced 23-year-old Layla Ibrahim Issa Jumul to death by stoning for adultery.[105] Amnesty International reported that she was denied legal counsel during the trial and was convicted only on the basis of her confession. The organization designated her a prisoner of conscience, "held in detention solely for consensual sexual relations", and lobbied for her release.[104] In September, Article 126 of the 1991 Sudan Criminal Law, which provided for death by stoning for apostasy, was amended to provide for death by hanging.[106]

 

Somalia[edit]

In October 2008, a girl, Aisha Ibrahim Duhulow, was buried up to her neck at a Somalian football stadium, then stoned to death in front of more than 1,000 people. The stoning occurred after she had allegedly pleaded guilty to adultery in a sharia court in Kismayo, a city that was controlled by Islamist insurgents. According to the insurgents she had stated that she wanted sharia law to apply.[107] However, other sources state that the victim had been crying, had begged for mercy and had to be forced into the hole before being buried up to her neck in the ground.[108] Amnesty International later learned that the girl was in fact 13 years old and had been arrested by al-Shabab militia after she had reported being gang-raped by three men.[109]

 

In December 2009, another instance of stoning was publicised after Mohamed Abukar Ibrahim was accused of adultery by the Hizbul Islam militant group.[110]

 

In September 2014, Somali al Shabaab militants stoned a woman to death, after she was declared guilty of adultery by an informal court.[111]

 

United Arab Emirates[edit]

Stoning is a legal form of judicial punishment in UAE. In 2006, an expatriate was sentenced to death by stoning for committing adultery.[112] Between 2009 and 2013, several people were sentenced to death by stoning.[113][114][115] In May 2014, an Asian housemaid was sentenced to death by stoning in Abu Dhabi.[116][117][118]

 

ISIL[edit]

Further information: Islamic State of Iraq and the Levant

Several adultery executions by stoning committed by IS have been reported in the autumn of 2014.[119][120][121] The Islamic State's magazine, Dabiq, documented the stoning of a woman in Raqqa as a punishment for adultery.[122]

 

In October 2014, IS released a video appearing to show a Syrian man stone his daughter to death for alleged adultery.[121][123]

 

en.wikipedia.org/wiki/Stoning

 

“For instance, on the planet Earth, man had always assumed that he was more intelligent than dolphins because he had achieved so much—the wheel, New York, wars and so on—whilst all the dolphins had ever done was muck about in the water having a good time. But conversely, the dolphins had always believed that they were far more intelligent than man—for precisely the same reasons.”

 

- Douglas Adams

Numerous folktales and several instances in mythological legends show that friends and friendship have been valued since the beginning of civilized world. The United States Congress, in 1935, proclaimed first Sunday of August as the National Friendship Day. Since then, celebration of National Friendship Day became an annual event all over the World. Yellow Rose was chosen as the official flower for Friendship Day festival because it symbolizes joy, friendship, delight, promise of a new beginning, "remember me", and "I care".

Lightning Bolts over the neighborhood captured during a thunderstorm in the early morning 0300hrs. (I was under the period of home self-isolation for covid19)

In this photographic instance, the intensely-lit streaks happen to travel across the frame from right to left in a flash creating some very exciting patterns in the night sky. A spectacular sight indeed, a bit scary though.

This is a natural phenomenon whereby electrostatic discharge occurs between 2 dissimilarly charged regions in the atmosphere followed by an instantaneous release of an enormous amount of electrical energy in the form of lightning streaks. This process also produces huge shock waves which resulted as sounds of thunder.

Without a doubt, it would be a scary affair if you are caught in the open during such an event with the prospect of being hit by one of these nasty bolts.

In ancient Greece, these phenomenon would be viewed as rivalry battles among the Gods in the heaven. Such conflicts are often the result of we human's misconduct. In order to have any form of resolution, offerings must be made to appease the Gods(polytheism) especially their chief, Zeus.

Well, today we know a great deal more about mother nature than the ancient world did. That's not the work of Gods over vicious disagreements but the work of natural electrostatic forces. However, the ancient folks are not dumb. With vivid imaginations, they managed to create powerful mythologies which made its way into their culture, literature and philosophy and even metamorphized into a religion which became the foundation for western civilization as a set of guiding principles. The very foundation was not only used to entertain, educate and propagate the world (as a pretext) but also as a very compelling tool to justify their political & religious appetite, motivations, bureaucracy, conquests and ambitions. Incidentally, those myths and legends that had been created so long ago are still in use by blood-tasty superpower western politicians till the present day as allegories to justify their geopolitical dominations, among others on the ground that they are so called "The World Leader'', "world police". But in fact, they are really a bunch of world bullies with peanut sized brains pivoted on greedy imperialism ideology. The economically weaker and the non-confrontational nations are being forced into submission to the western ideology with little or no choice, disregarding their long-standing culture, tradition, religious beliefs and whether they like it or not. When confronted with the oppressor's overwhelming military might, their largely unfair lopsided economic terms, deceptive unsustainable long term plans and toxic political influence invariably transform into a sweet recipe for success (only to the collective west though). The west has created an economic model in which all rules (world order) are written by them because they're so called the winner, guardian of the world, world democracy (well, in some sense yes but largely no) . A world in which the west plays the role of a sole predator and the rest are their easy preys. The rules are written in a way to make the prey forever prey or rather ever weaker prey so that they will never have a chance to stand up against their largely unfair rules let alone resist their attack. Any reluctance would be view as disobedient, rebellious, inappropriate and must be dealt with immediately with a nasty intimidating thing called sanction. which in most cases would tame the situation and reverse its course. For those that refuse to budge, there's another sweeter but a little bit more deadlier trick up the oppressor's sleeve, get ready for a swift and inevitable regime change, free of charge on the expense of blood-shed and political unrest of the nation concerned. This process will forcefully jettison the seemingly disobedient, highly dangerous, ideologically destructive leader and replace him with a damn 'peaceful' pro western 'law-abiding' human puppet. That would be considered as a highly educational move to get things back in proper alignment once more on the grounds that the west is helping to stabilize the 'artificially created' chaotic situation. Wow what a wonderfully constructed sugar-coated, peace-loving narrative by the world police. However, these fairy tales almost certainly never end with the people living happily ever after.... The exact opposite is true, people fighting and dying happily ever after.

The philosophy of world dominance is, it's easy to control the poor and even easier to control when you're poor and stupid. Similarly, it's difficult to control the rich and even more difficult if you're rich and clever. So the western hegemony make sure that nobody is richer and smarter than them, the master.

Such anachronistic, self defeating, selfish and highly toxic polarized attitude is not only despicable and barbaric but also catastrophic to the largely harmonized world.

Their appetite for power and world dominance continue to grow, and grow over the roof over time. The western oligarchs especially those from the weapons industries benefited from their bizarre economic model are showered with wealth beyond imagination and harness god-like power beyond human comprehension, however, they are so comfortably numb and oblivious to the fact that other nations have advanced too. In particular, China and Russia. They have grown up from poor stupid little kids to extremely clever and rich adults politically and they have all the rights as a human race to do so.. Now the what so called “i win you loose” US foreign policy which they imposed on others is being challenged by other nations and they are furious, insanely furious. The only way to contain this rise in economic power is to rage war irrationally, asserting indiscriminate military control measures (in short, joyfully kill the rebellious prey) which they are extremely good at containing the world for the last few decades but perhaps not the case anymore. Suddenly, the US and their gullible allies wake up from a very very sweet & comfortable dream and found themselves trapped in a very vulnerable position, in the midst of a fragile situation facing what they termed ‘enemies of the west’ simply because these people are far more diplomatic, sensible, rational, empathetic, logical, reasonable and exercise high level of common sense in dealing with geopolitical and economic problems than they do. The collective west (politicians) suddenly realized that they're just a self-licking ice cream cone after all.

Our common enemy though is certainly not one another but climate change, a fast deteriorating environmental condition which is a direct consequence of our activities as the human race progresses. A condition which could be addressed and must be addressed readily and responsibly over a long period of time before any positive outcome could be realized.

The only way to contain the detrimental effect of climate change is through concerted and well coordinated efforts of all nations wholeheartedly, spear-headed by the 'superpower' invariably, before it's all too late.

However, in hindsight we may not need to worry so much about dying from the slow-killing ill effects of climate change anymore. Incidentally, looking at the moldy development of the geopolitical tensions, the existence of the human race would likely come to a tragic end by our own actions, a nasty nuclear conflict instead.

Once the start button is depressed, the first thing that disappears is not the buildings nor the people. It's gonna be the deescalating button, the stop button if you like. It literally fails to exist anymore, you can't find it and put a finger on it and hopefully evade a nuclear catastrophe once it has started, there would be absolutely no avoiding fate for any human being and along with most lifeform on the planet. When that happen I'm afraid ITE (it's the end) That would mark the end of our civilization here on earth. A rather brief period of just a couple of millions years of human existence in the 4.5billion years of our planet's history.

....fast forward into the distant future...See you in about 300 million years later if...just if the place we called earth still exists. By some miraculous stroke of luck with the right combination of molecular structure and atmospheric conditions, life begins to evolve again, hooray ! Human would once again emerge as tiny little ape-like creatures, develop physically, learn to walk upright, walk the hell out of a huge continent coincidentally called Africa, becoming more intelligent, create civilizations, create nuclear weaponry(over a period of few million years of evolution) and mysteriously there's a US, Russia and China again, ting ting round 2, here we go again, and the rest, you guess ....history repeats itself once again....

  

Remember the one we have Lost.

  

With Lots of Love Keith Wendy.

Thank,s all History on 7 Dec 2016.

 

History

 

Thalidomide was created by Grünenthal in 1953 and was used in the late 1950s and early 1960s as a "wonder drug" to treat morning sickness, headaches, coughs, insomnia and colds. Thalidomide was marketed in the UK under the name Distaval in 1958, and advertisements emphasized the drug's complete safety, using phrases such as “non-toxic” and “no known toxicity”.

However, in 1961 an Australian doctor, William McBride, wrote to the Lancet after noticing an increase in deformed babies being born at his hospital – all to mothers who had taken Thalidomide.

Between 1958 and 1962 tens of thousands of women throughout Europe found that the baby they were carrying unaccountably miscarried, or, worse, after they gave birth were told it was stillborn. Thousands more discovered that their babies had severe birth defects, missing arms, legs, or with severe reductions to these limbs, or even worse, damage to their internal organs, brain, heart, kidneys, intestines, genitals, etc. During 1962 record keepers began to count all of the children living who were born damaged by the drug. The only complete records are of those who survived long enough to participate in the national compensation schemes, which were established in Germany, Britain, Japan, Sweden and Australia in the 1970s. The difficulty in uncovering the full toll of the disaster begins with the unknown numbers of miscarriages and stillbirths (possibly up to ten times the number of live births), and the widespread practice of infanticide.

The Thalidomide injuries did not stop once the babies were born. At the age of fifty, the Thalidomide Trust’s records show that around half of all survivors are coping with chronic pain – mainly from muscles and joints (musculo-skeletal pain), largely as a result of the challenges of living with missing or damaged limbs. For many, their bodies are deteriorating far faster than able-bodied people. Several have been told words to the effect “your body is getting the problems of someone in their seventies”, which at forty to fifty years of age is not good news. At least a quarter are coping with developing neurological problems, tingling, numbness, and pain in their affected limbs. This means that a person may be holding a cup, for instance, and the next thing they know is it has fallen to the floor and broken, because of the numbness in their hand. For these survivors, the disaster is still slowly unfolding in their day-to-day lives.

Grünenthal scientists were not only negligent in failing to withdraw the drug when reports of problems came in, or for failing to test it according to the standards of the time, but more than most companies they were very well placed to anticipate the possibility that Thalidomide would cause birth defects.

Grünenthal initially denied claims that the drug hadn’t been extensively tested according to the standards of the time, but once the scandal became undeniable, they sought to deflect blame and limit damage.

In 1961 Thalidomide was eventually withdrawn after being found to be a teratogan - a cause of birth defects. 12 years later, the UK company Distillers Biochemicals Limited (now Diageo) – which was responsible for distributing the drug in the UK – reached a compensation settlement following a legal battle by the families of those affected.

Based on incomplete medical evidence and unrealistic expectations of Thalidomide survivors future needs this settlement has turned out to be at an inadequate level. With all Thalidomide survivors in the UK now over the age of 50, it is no longer sufficient to deal with their rising cost of living, and the dramatic deterioration of their health.

To this day, Grünenthal have never accepted responsibility for the suffering caused by Thalidomide. On September 1st 2012, The Grünenthal Group released a statement containing an apology, stating that it "regrets" the consequences of the drug, which led to babies being born without limbs during the 1950s and 1960s. Although the statement was welcomed by some Thalidomide survivors, it is still not an acceptance of responsibility. They just want to live a comfortable life, and that means Grünenthal should be held accountable and pay for their mistake financially.

 

Spanish

Historia

La talidomida fue creado por Grünenthal en 1953 y fue utilizado a finales de 1950 y principios de 1960 como una "droga milagrosa" para el tratamiento de las náuseas, dolores de cabeza, tos, insomnio y resfriados. La talidomida fue comercializada en el Reino Unido bajo el nombre Distaval en 1958, y destacó los anuncios de seguridad completa del medicamento, utilizando frases como "no tóxico" y "no hay toxicidad conocida".

Sin embargo, en 1961 un médico australiano, William McBride, escribió a la revista The Lancet después de notar un aumento en los bebés que nacen deformes en su hospital - todo a las madres que habían tomado Talidomida.

Entre 1958 y 1962, decenas de miles de mujeres de toda Europa descubrieron que el bebé que llevaban inexplicablemente abortado, o, peor aún, después de dar a luz se les dijo que estaba muerto. Miles de personas descubrieron que sus bebés nacieron con defectos congénitos graves, los brazos, las piernas, que faltan o con reducciones severas a estos miembros, o peor aún, el daño a sus órganos internos, cerebro, corazón, riñones, intestinos, genitales, etc Durante 1962 guardianes de los registros empezó a contar toda la vida los niños que nacieron dañado por la droga. Los únicos registros completos son de los que sobrevivieron lo suficiente como para participar en los sistemas nacionales de indemnización, que se establecieron en Alemania, Gran Bretaña, Japón, Suecia y Australia en la década de 1970. La dificultad para descubrir el número de víctimas del desastre comienza con los números desconocidos de abortos involuntarios y mortinatos (posiblemente hasta diez veces el número de nacidos vivos), y la práctica generalizada del infanticidio.

Las lesiones de la talidomida no se detuvo una vez que los bebés nacieron. A la edad de cincuenta años, los registros de la confianza talidomida muestran que cerca de la mitad de todos los sobrevivientes están lidiando con el dolor crónico - principalmente de músculos y articulaciones (dolor musculoesquelético), en gran parte como resultado de los desafíos de vivir con la falta o ramas dañadas. Para muchos, sus cuerpos se deterioran mucho más rápido que las personas sanas. Algunos han dicho palabras en el sentido de "su cuerpo está recibiendo los problemas de alguien en los setenta", que a los cuarenta o cincuenta años de edad no es una buena noticia. Al menos una cuarta están lidiando con el desarrollo de problemas neurológicos, hormigueo, entumecimiento y dolor en las extremidades afectadas. Esto significa que una persona puede ser la celebración de una taza, por ejemplo, y lo siguiente que sé es que ha caído al suelo y se rompe, debido a la sensación de adormecimiento en la mano. Para estos sobrevivientes, el desastre está siendo poco a poco se desarrolla en su día a día.

Grünenthal científicos no sólo fueron negligentes al no haber retirado la droga cuando los informes de problemas de vino, o por no probarlo de acuerdo a los estándares de la época, pero más que la mayoría de las empresas que estaban muy bien situados para prever la posibilidad de que la talidomida haría causar defectos de nacimiento.

Grünenthal inicialmente negó las acusaciones de que el medicamento no ha sido ampliamente probado de acuerdo con los estándares de la época, pero una vez que el escándalo se hizo innegable, trataron de desviar la culpa y limitar el daño.

En 1961, la talidomida fue finalmente retirada después de haber sido encontrado para ser un teratogan - una de las causas de los defectos congénitos. 12 años después, el Reino Unido, Distillers Company Limited (ahora Bioquímicos Diageo) - encargada de la distribución de la droga en el Reino Unido - llegó a un acuerdo de compensación después de una batalla legal por las familias de los afectados.

Sobre la base de evidencia incompleta médica y expectativas poco realistas de la talidomida futuro sobrevivientes necesita esta solución ha resultado ser en un nivel adecuado. Con todos los sobrevivientes de la talidomida en el Reino Unido ahora más de 50 años de edad, ya no es suficiente para hacer frente a su creciente costo de vida, y el dramático deterioro de su salud.

A día de hoy, Grünenthal nunca ha aceptado la responsabilidad por el sufrimiento causado por la talidomida. El 1 de septiembre de 2012, el Grupo Grünenthal emitió una declaración que contenga una disculpa, diciendo que "lamenta" las consecuencias de la droga, lo que llevó a los bebés que nacen sin extremidades durante los años 1950 y 1960. Aunque la declaración fue bien recibida por algunos sobrevivientes de la talidomida, no es todavía una aceptación de responsabilidad. Ellos sólo quieren vivir una vida cómoda, y eso quiere decir Grünenthal deben rendir cuentas y pagar por su error financieramente.

 

Italian

Storia

La talidomide è stato creato da Grünenthal nel 1953 ed è stato utilizzato alla fine del 1950 e 1960 come un "farmaco miracoloso" per curare la malattia di mattina, mal di testa, tosse, insonnia e raffreddori. La talidomide è stato commercializzato nel Regno Unito con il nome di Distaval nel 1958, e la pubblicità ha sottolineato sicurezza del farmaco, con frasi come "non tossico" e "nessuna tossicità conosciuto".

Tuttavia, nel 1961 un medico australiano, William McBride, ha scritto al Lancet dopo aver notato un aumento delle nascite di bimbi malformati essendo nati a suo ospedale - tutti da madri che avevano assunto talidomide.

Tra il 1958 e il 1962 decine di migliaia di donne in tutta Europa ha scoperto che il bambino che portavano inspiegabilmente abortito, o, peggio, dopo che ha dato alla luce hanno detto che era morto. Altre migliaia hanno scoperto che i loro bambini hanno gravi difetti di nascita, braccia, gambe, mancanti o con gravi riduzioni a queste arti, o peggio ancora, danni ai loro organi interni, cervello, cuore, reni, intestino, genitali, ecc Nel 1962 custodi record cominciò a contare tutta la vita i bambini che sono nati danneggiati dal farmaco. Le uniche registrazioni complete sono di coloro che sono sopravvissuti abbastanza a lungo per partecipare ai sistemi di indennizzo nazionali, che sono stati stabiliti in Germania, Gran Bretagna, Giappone, Svezia e Australia nel 1970. La difficoltà nello scoprire il bilancio del disastro inizia con i numeri sconosciuti di aborti spontanei e nati morti (forse fino a dieci volte il numero di nati vivi), e la pratica diffusa di infanticidio.

Le lesioni Talidomide non si è fermata una volta che i bambini sono nati. All'età di 50, del Trust talidomide i tabulati mostrano che circa la metà di tutti i sopravvissuti stanno affrontando con dolore cronico - principalmente da muscoli e le articolazioni (il dolore muscoloscheletrico), soprattutto a causa delle sfide della vita con mancanti o arti danneggiati. Per molti, i loro corpi si stanno deteriorando molto più veloce di persone abili. Molti hanno detto parole per l'effetto "il tuo corpo è sempre il problema di qualcuno nei loro anni settanta", che a 40-50 anni di età non è una buona notizia. Almeno un quarto stanno affrontando con lo sviluppo di problemi neurologici, formicolio, intorpidimento e dolore a carico degli arti colpiti. Ciò significa che una persona può essere in possesso di un tazza, per esempio, e la prossima cosa che so è che è caduto a terra e rotto, a causa del torpore in mano. Per questi sopravvissuti, il disastro è ancora lentamente svolgendo nel loro giorno per giorno la vita.

Grünenthal scienziati non erano solo negligenza nel non ritirare il farmaco quando i report di problemi è venuto in, o per non aver testarlo secondo gli standard del tempo, ma più che la maggior parte delle aziende erano molto ben disposti ad anticipare la possibilità che Thalidomide avrebbe causare difetti di nascita.

Grünenthal inizialmente smentito che il farmaco non era stato ampiamente testati secondo gli standard del tempo, ma una volta che lo scandalo è diventata innegabile, hanno cercato di deviare la colpa e di limitare i danni.

Nel 1961 talidomide è stata infine ritirata dopo essere stato trovato per essere un teratogan - una causa di difetti di nascita. 12 anni dopo, i Distillers Company Limited, Regno Unito Biochemicals (ora Diageo) - incaricata di distribuire il farmaco nel Regno Unito - ha raggiunto un accordo di compensazione a seguito di una battaglia legale da parte delle famiglie delle persone colpite.

Sulla base di prove mediche incomplete e le aspettative non realistiche del futuro Thalidomide sopravvissuti ha bisogno di questa soluzione si è rivelata essere ad un livello insufficiente. Con tutti i sopravvissuti Talidomide nel Regno Unito ora di età superiore ai 50 anni, non è più sufficiente per affrontare la loro crescente costo della vita, e il drammatico deterioramento della loro salute.

Fino ad oggi, la Grünenthal non hanno mai accettato la responsabilità per la sofferenza causata dal talidomide. Il 1 ° settembre 2012, il Gruppo Grünenthal ha rilasciato una dichiarazione che contiene delle scuse, affermando che esso "deplora" le conseguenze della droga, che ha portato a bambini nati senza arti nel corso del 1950 e 1960. Anche se la dichiarazione è stata accolta da alcuni sopravvissuti talidomide, non è ancora una assunzione di responsabilità. Vogliono solo vivere una vita comoda, e questo significa che Grünenthal dovrebbero essere ritenuti responsabili e pagare per il loro errore finanziario.

  

Japanese

 

サリドマイドは1953年にGrünenthalによって作成されたとつわり、頭痛、咳、不眠や風邪を治療するための「特効薬」として、1950年代後半から1960年代初頭に使用された。サリドマイドは1958年に名称Distavalの下に英国で販売された、と広告はそのような「非毒性」と「知られていない毒性」などのフレーズを使用して、薬剤の完全な安全性を強調した。

サリドマイドを取っていた母親にすべて - しかし、1961年にオーストラリアの医師、ウィリアム·マクブライドは、彼の病院で生まれた赤ちゃん変形の増加に気付いた後、Lancet誌に手紙を書いた。

1958と1962の間で十ヨーロッパ全土の女性の何千人もの彼らは誕生それは死産だったと言われたた後に、彼らがどういうわけか運んでいた赤ちゃんが、悪化し流産し、またはことがわかった。もっと自分の赤ちゃんは1962レコードキーパーの間に脚、またはなど彼らの内臓、脳、心臓、腎臓、腸、生殖器、これらの手足、またはさらに悪いことに、ダメージに深刻な減少を伴う重度の先天性欠損、不足している武器を持っていたことを発見した何千も薬剤によって損傷生まれた生きたすべての子を数えるようになった。唯一の完全な記録は、1970年代にドイツ、イギリス、日本、スウェーデン、オーストラリアで設立された国家補償方式、に参加するのに十分な長生き残った人々のである。災害を完全に通行料を暴くの難しさは、流産や死産の未知数（おそらく生児出生の10倍の数まで）、および嬰児の広範な練習から始まる。

赤ちゃんが生まれた後にサリドマイドの怪我は停止しませんでした。主に筋肉や関節（筋骨格痛）から、大部分が欠落しているか損傷し手足と共に生きるの挑戦の結果として - 50歳の時、サリドマイドトラストの記録は、すべての生存者の約半数が慢性疼痛に対処していることを示している。多くの人にとって、自分の体は健常人よりもはるかに速く悪化している。いくつかは、年齢の四〇から五〇歳で良いニュースではない、「あなたの体は70代の誰かの問題を得ている」旨の言葉を言われている。少なくとも、四半期には、彼らの影響を受けた四肢の発達神経学的な問題、うずき、しびれ、痛みに対処されています。これは、人が、たとえば、カップを保持することができ、彼らが知っている次の事は、それが原因で彼らの手のしびれのため、床に落ちたし、壊れていることを意味します。これらの生存者のために、災害はまだゆっくりと彼らの日々の生活の中で展開されている。

Grünenthalの科学者は問題の報告が入ってきたときだけでなく、薬剤を撤回することができないで怠慢だったか、失敗するのは時間の基準に従ってそれをテストするための、より多くの企業よりも、彼らは非常によく可能性を予想するために置かれたサリドマイドだろうと先天性欠損症を引き起こす。

Grünenthalは当初、薬物が広く、時間の基準に従ってテストされていなかったの主張を否定したが、スキャンダルは否定できないとなったら、それらを非難し、限界ダメージを偏向しようとした。

先天性欠損症の原因は - 1961年にサリドマイドは、最終的にteratoganであることが判明された後に撤回された。 12年後、英国の会社ラーズ·バイオケミカルズ·リミテッド（現ディアジオ） - 英国で薬物を分配するための責任があった - 被災者の家族による法廷闘争以下の補償和解に達した。

この和解は、不十分なレベルであることが判明した不完全な医学的証拠とサリドマイド生存者の将来の非現実的な期待に基づいている必要がありますベース。英国内のすべてのサリドマイドの生存者で、今50歳以上、それはもはや彼らの生活費の上昇、そして自分の健康の劇的な悪化に対処するのに十分ではありません。

この日に、Grünenthalはサリドマイドによって引き起こされる苦しみの責任を受け入れたことがありません。 9月1日2012年、Grünenthalグループは、赤ちゃんへ導いたそれを "後悔"薬の影響は、1950年代と1960年代に手足ずに生まれていることを示す、謝罪を含む声明を発表した。文はいくつかのサリドマイド生存者に歓迎されたものの、それはまだ責任の受け入れではありません。彼らはただ、快適な生活をしたい、それがGrünenthalが責任を負うと財政的に自分の過ちのために支払うべきであることを意味します。

 

Saridomaido wa 1953-nen ni Grünenthal ni yotte sakusei sa reta to tsuwari, zutsū, seki, fumin ya kaze o chiryō suru tame no `tokkōyaku' to shite, 1950-nendai kōhan kara 1960-nendai shotō ni shiyō sa reta. Saridomaido wa 1958-nen ni meishō Distaval no shita ni Igirisu de hanbai sa reta, to kōkoku wa sono yō na `hi dokusei' to `shira rete inai dokusei' nado no furēzu o shiyō shite, yakuzai no kanzen'na anzen-sei o kyōchō shita. Saridomaido o totte ita hahaoya ni subete - shikashi, 1961-nen ni ōsutoraria no ishi, U~Iriamu· makuburaido wa, kare no byōin de umareta akachan henkei no zōka ni kidzuita nochi, ransetto-shi ni tegami o kaita. 1958 To 1962 no ma de jū yōroppa zendo no josei no nan sen-ri mo no karera wa tanjō soreha shizandatta to iwa retata nochi ni, karera ga dō iu wake ka hakonde ita akachan ga, akka shi ryūzan shi, matawa koto ga wakatta. Motto jibun no akachan wa 1962 rekōdokīpā no ma ni ashi, matawa nado karera no naizō, nō, shinzō, jinzō, chō, seishokki, korera no teashi, matawa saraniwaruikoto ni, damēji ni shinkokuna genshō o tomonau jūdo no senten-sei kesson, fusoku shite iru buki o motte ita koto o hakken shita nan sen mo yakuzai ni yotte sonshō umareta ikita subete no ko o kazoeru yō ni natta. Yuiitsu no kanzen'na kiroku wa, 1970-nendai ni Doitsu, Igirisu, Nihon, suu~ēden, ōsutoraria de setsuritsu sa reta kokka hoshō hōshiki, ni sanka suru no ni jūbun'na naga ikinokotta hitobito nodearu. Saigai o kanzen ni tsūkō-ryō o abaku no muzukashi-sa wa, ryūzan ya shizan no michisū (osoraku nama-ji shussei no 10-bai no kazu made), oyobi midorigo no kōhan'na renshū kara hajimaru. Akachan ga umareta nochi ni Saridomaido no kega wa teishi shimasendeshita. Omoni kin'niku ya kansetsu (suji kokkaku-tsū) kara, daibubun ga ketsuraku shite iru ka sonshō shi teashi to tomoniikiru no chōsen no kekka to shite - 50-sai no toki, saridomaidotorasuto no kiroku wa, subete no seizon-sha no yaku hansū ga mansei tōtsū ni taisho shite iru koto o shimeshite iru. Ōku no hito ni totte, jibun no karada wa kenjō hito yori mo haruka ni hayaku akka shite iru. Ikutsu ka wa, nenrei no shi rei kara go rei-saide yoi nyūsude wanai, `anata no karada wa 70-dai no dareka no mondai o ete iru' mune no kotoba o iwa rete iru. Sukunakutomo, shihanki ni wa, karera no eikyō o uketa shishi no hattatsu shinkeigakutekina mondai, uzuki, shibire, itami ni taisho sa rete imasu. Kore wa, hito ga, tatoeba, kappu o hoji suru koto ga deki, karera ga shitte iru tsugi no koto wa, sore ga gen'in de karera no te no shibire no tame, yuka ni ochitashi, kowarete iru koto o imi shimasu. Korera no seizon-sha no tame ni, saigai wa mada yukkuri to karera no hibi no seikatsu no naka de tenkai sa rete iru. Grünenthal no kagaku-sha wa mondai no hōkoku ga haitte kita toki dakedenaku, yakuzai o tekkai suru koto ga dekinaide taimandatta ka, shippai suru no wa jikan no kijun ni shitagatte sore o tesuto suru tame no, yori ōku no kigyō yori mo, karera wa hijō ni yoku kanōsei o yosō suru tame ni oka reta Saridomaidodarou to senten-sei kesson-shō o hikiokosu. Grünenthal wa tōsho, yakubutsu ga hiroku, jikan no kijun ni shitagatte tesuto sa rete inakatta no shuchō o hitei shitaga, sukyandaru wa hiteidekinai to nattara, sorera o hinan shi, genkai damēji o henkō shiyou to shita. Senten-sei kesson-shō no gen'in wa - 1961-nen ni Saridomaido wa, saishūtekini teratogandearu koto ga hanmei sa reta nochi ni tekkai sa reta. 12-Nen-go, Igirisu no kaisha rāzu· baiokemikaruzu· rimiteddo (gen diajio) - Igirisu de yakubutsu o bunpai suru tame no sekinin ga atta - hisai-sha no kazoku ni yoru hōtei tōsō ika no hoshō wakai ni tasshita. Kono wakai wa, fujūbun'na reberudearu koto ga hanmei shita fukanzen'na igaku-teki shōko to Saridomaido seizon-sha no shōrai no higenjitsutekina kitai ni motodzuite iru hitsuyō ga arimasu bēsu. Igirisu-nai no subete no Saridomaido no seizon-sha de, ima 50-sai ijō, sore wa mohaya karera no seikatsu-hi no jōshō, soshite jibun no kenkō no gekitekina akka ni taisho suru no ni jūbunde wa arimasen. Kono Ni~Tsu ni, Grünenthal wa Saridomaido ni yotte hikiokosa reru kurushimi no sekinin o ukeireta koto ga arimasen. 9 Tsuki 1-nichi 2012-nen, Grünenthal gurūpu wa, akachan e michibiita sore o" kōkai"-yaku no eikyō wa, 1950-nendai to 1960-nendai ni teashizu ni umarete iru koto o shimesu, shazai o fukumu seimei o happyō shita. Bun wa ikutsu ka no Saridomaido seizon-sha ni kangei sa reta mono no, sore wa mada sekinin no ukeirede wa arimasen. Karera wa tada, kaitekina seikatsu o shitai, sore ga Grünenthal ga sekininwoou to zaisei-teki ni jibun no ayamachi no tame ni shiharaubekidearu koto o imi shimasu.

  

Welsh

 

Thalidomid ei greu gan Grünenthal ym 1953 ac fe'i defnyddiwyd yn y 1950au hwyr a'r 1960au cynnar fel "cyffur rhyfeddod" i drin salwch bore, cur pen, peswch, anhunedd ac annwyd. Thalidomid ei farchnata yn y DU o dan yr enw Distaval ym 1958, a hysbysebion yn pwysleisio diogelwch cyflawn y cyffur, gan ddefnyddio ymadroddion megis "heb fod yn wenwynig" a "dim gwenwyndra hysbys".

Fodd bynnag, yn 1961 meddyg Awstralia, William McBride, ysgrifennodd at y Lancet ar ôl sylwi cynnydd mewn babanod deformed cael eu geni yn ei ysbyty - i gyd i famau a oedd wedi cymryd Thalidomide.

Rhwng 1958 a 1962 degau o filoedd o ferched ledled Ewrop gwelwyd bod y baban eu bod yn cario miscarried anesboniadwy, neu, yn waeth, ar ôl iddynt roi genedigaeth Dywedwyd wrthym ei fod yn farw-anedig. Mae miloedd mwy darganfod bod gan eu babanod namau geni difrifol, breichiau goll, coesau, neu gyda gostyngiadau difrifol i aelodau hyn, neu hyd yn oed yn waeth, difrod i'w organau mewnol, yr ymennydd, y galon, yr arennau, coluddion, organau cenhedlu, ac ati Yn ystod 1962 geidwaid record dechreuodd i gyfrif pob un o'r plant sy'n byw a anwyd niweidio gan y cyffur. Yr unig cofnodion cyflawn yn y rhai a oroesodd yn ddigon hir i gymryd rhan yn y cynlluniau iawndal cenedlaethol, a sefydlwyd yn yr Almaen, Prydain, Japan, Sweden ac Awstralia yn y 1970au. Yr anhawster mewn datgelu y doll llawn y drychineb yn dechrau gyda nifer anhysbys o gamesgor a marw-enedigaethau (o bosibl hyd at ddeg gwaith y nifer o enedigaethau byw), ac mae'r arfer cyffredin o babanladdiad.

Nid oedd yr anafiadau Thalidomide oedd yn rhoi'r gorau unwaith y bydd y babanod eu geni. Ar hanner cant oed, cofnodion yr Ymddiriedolaeth Thalidomid yn dangos bod tua hanner yr holl goroeswyr yn ymdopi â phoen cronig - yn bennaf o gyhyrau a chymalau (poen cyhyrysgerbydol), yn bennaf o ganlyniad i heriau o fyw gyda aelodau goll neu wedi'u difrodi. I lawer, mae eu cyrff yn dirywio yn llawer gyflymach na phobl abl. Mae nifer wedi cael gwybod y geiriau i'r perwyl "eich corff yn cael y problemau y bydd rhywun yn eu saithdegau", a oedd yn 40-50 mlwydd oed nad yw newyddion da. Mae o leiaf chwarter yn ymdopi â datblygu problemau niwrolegol, pinnau bach, diffyg teimlad, a phoen yn eu coesau yr effeithir arnynt. Mae hyn yn golygu y gall person gael ei dal cwpan, er enghraifft, a'r peth nesaf eu bod yn gwybod ei fod wedi disgyn i'r llawr ac yn torri, oherwydd y diffyg teimlad yn eu llaw. Ar gyfer goroeswyr hyn, mae'r drychineb yn dal yn datblygu yn araf yn eu bywydau o ddydd i ddydd.

Gwyddonwyr Grünenthal oedd nid yn unig yn esgeulus wrth fethu i dynnu'r cyffur pan ddaeth adroddiadau am broblemau mewn, neu am fethu i brofi ei fod yn ôl y safonau ar y pryd, ond yn fwy na'r rhan fwyaf o gwmnïau eu bod mewn sefyllfa dda iawn i ragweld y posibilrwydd y byddai Thalidomide achosi namau geni.

Grünenthal i ddechrau gwadu honiadau nad oedd y cyffur wedi cael ei brofi'n helaeth yn ôl y safonau ar y pryd, ond unwaith y bydd y sgandal daeth yn ddiymwad, maent yn ceisio symud y bai a therfyn difrod.

Ym 1961 Thalidomide ei dynnu'n ôl yn y pen draw ar ôl ei gael i fod yn teratogan - un o achosion o namau geni. 12 mlynedd yn ddiweddarach, mae'r DU Distillers Biochemicals cwmni Limited (Diageo erbyn hyn) - a oedd yn gyfrifol am ddosbarthu'r cyffur yn y DU - cyrraedd setliad iawndal yn dilyn brwydr gyfreithiol gan deuluoedd y rhai yr effeithir arnynt.

Yn seiliedig ar dystiolaeth feddygol anghyflawn a disgwyliadau afrealistig o oroeswyr Thalidomide anghenion y dyfodol setliad hwn wedi troi allan i fod ar lefel annigonol. Gyda'r holl goroeswyr Thalidomid yn y DU bellach dros 50 oed, ei bod yn ddigonol i ddelio â'u cynnydd mewn costau byw, ac mae'r dirywiad dramatig ar eu hiechyd mwyach.

Hyd heddiw, erioed Grünenthal wedi derbyn cyfrifoldeb am y dioddefaint a achosir gan Thalidomide. Ar 1 Medi 2012, rhyddhawyd y Grŵp Grünenthal datganiad sy'n cynnwys ymddiheuriad, gan ddweud ei fod yn "difaru" y canlyniadau y cyffur, a arweiniodd at fabanod yn cael eu geni heb aelodau yn ystod y 1950au a'r 1960au. Er bod y datganiad yn ei groesawu gan rai goroeswyr Thalidomid, nid yw'n dal i fod yn derbyn cyfrifoldeb. Maent yn unig yn awyddus i fyw bywyd cyfforddus, ac mae hynny'n golygu y dylai Grünenthal fod yn atebol ac yn talu am eu camgymeriad yn ariannol.

For instance, you can get a five pack of buttons for only $3! Order by 5 PM on Thursday May 5 and moosemoose will personally pack your buttons! urbanadventureleague.storenvy.com/

How Thatcher Brought Us Back from the Wilderness

By Louise Armitstead, From The Telegraph

 

5:18PM BST 13 Apr 2013

 

When Sir Winston Churchill died in 1965, there were a total of four tribute speeches in the House of Commons. When Parliament was recalled last week, seven hours was set aside for MPs and Lords to pay their respects to Baroness Thatcher.

 

There were statesman-like tributes from all three party leaders about Britain’s longest serving prime minister of the 20th Century, and long speeches praising her personal qualities – courage, conviction, patriotism and humour, all laced with a little glamour.

 

Lord Ashdown, no fawning fan of the Conservative leader, described Lady Thatcher as the “greatest prime minister of our day”. David Cameron said she had “saved” Britain.

 

From around the world the tributes came. President Obama commented that America had “lost one of the great champions of freedom and liberty”.

 

From Russia’s Mikhail Gorbachev to Israel’s Benjamin Netanyahu, Lady Thatcher was hailed as a transforming leader. “The amazing Margaret Thatcher,” said Steve Forbes, the chief executive of America’s eponymous publishing house. “We desperately need more leaders like her.”

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Lady Thatcher certainly aroused strong opinions. For the Left she became a hate figure, a scapegoat for a creaking social-democratic consensus that by the 1970s had left the dead unburied and uncollected rubbish piled high in Trafalgar Square.

 

“Thatcherism [wrought] the most heinous social and economic damage on this country, on my constituency, and on my constituents,” said Glenda Jackson, the Labour MP and former actress.

 

“We were told that everything I had been taught to regard as a vice, under Thatcherism was in fact a virtue: greed, selfishness, no care for the weaker, sharp elbows, sharp knees.”

 

Six days after her death, the battle is over Lady Thatcher’s legacy to a nation that in 1979 was drifting towards a divided and bitter also-ran. In 1990, when she reigned, Britain had rediscovered its mojo.

 

'Sick man of Europe'

 

This has not been about merely acclaiming, or criticising, the life of a former prime minister. Rather, the death of the Iron Lady, famed for her leadership in a crisis, has brought into sharp focus the handling of today’s problems – political, social and, above all, economic. Lady Thatcher came to power when Britain was the “sick man of Europe” and administered tough medicine with radical consequences. Free markets, privatisations, Big Bang and a refusal to support failing industries were the core of her political philosophy.

 

The memories are emotive because Britain, now teetering on the edge of triple-dip recession, faces a profound choice: to tackle today’s economic malaise with Thatcherite principles or reject them once and for all.

 

Should Britain resurrect monetarism and “live within its means”, or spend its way out of recession? Is quantitative easing dangerously interventionist or providing vital support? Did deregulation of the City cause the financial crisis? Has privatisation gone too far? Should the Government support some industries, or none? Should Britain quit Europe, cut taxes, and sell council estates back to the people who live in them?

 

And what is to be done about two-speed Britain, where London and the South-East leave the rest of the country struggling to keep up economically? Is there room for a “regional policy”?

 

The powder keg under the debate is that Lady Thatcher never sought popularity if she thought her policies were right. How true would that be today?

 

“If she’d waited for consensus nothing would ever have happened. She saw what needed to be done and did it,” said Lord Howard of Lympne, the former home secretary.

 

Tony Blair agreed, with some distinctly Thatcherite advice to the Labour Party in the New Statesman: “The paradox of the financial crisis is that, despite being widely held to have been caused by under-regulated markets, it has not brought a decisive shift to the Left.” He added: “We have to be dispassionate even when the issues arouse great passion.”

 

To listen to the vitriolic anger of Lady Thatcher’s opponents last week would be to imagine she exploded like a rocket on an otherwise peaceful and prosperous nation. But how many of the revellers at last week’s “death parties” would be able to cope, let alone be happier, in the Britain of 1979?

 

Handouts from the IMF

 

Back then, people had to wait six months to get a telephone, were banned from taking more than £50 abroad and were at the mercy of union leaders for jobs.

 

The economy was crippled by rampant inflation, punitive taxes and a 98pc levy on investment income that crushed entrepreneurial initiative. In 1977, Britain had to accept a handout from the International Monetary Fund (IMF), like Greece or Cyprus today.

 

The Government owned the telephones and railways, but also British Airways, Thomas Cook and Pickfords. Each was paralysed by inefficiency and bureaucracy, “customer service” was a little-known skill. A once proud industrial base was crumbling with low productivity, over-manning and a reputation for poor quality goods.

 

A total of 29m working days were lost to strikes in 1979, compared with 2m in 1990. Power cuts were standard and industries were limited to a three-day working week to conserve energy. The candle was almost a unit of currency.

 

Successive governments wrung their hands and pursued policies of conciliation with the unions, which basically meant capitulation. The demands from increasingly militant leaders grew; more money, more pay or paralysis.

 

Last week, the BBC, which Lady Thatcher disliked for its Leftist world view, replayed films of violent picket lines and repeated the epitaph that she was “divisive” because she apparently tore mining communities apart.

 

The decline had started long before. Harold Wilson, the Labour prime minister, closed 251 coal mines. Lady Thatcher closed 154. Despite the claim Lady Thatcher abandoned “rust-bucket industries”, Britain’s manufacturing production rose 7.5pc during her premiership.

 

Lives were upturned and jobs were lost and Lady Thatcher, like many leaders since, failed to come up with replacement employment in the mining areas of Wales and north-east England.

 

Despite this heavy price for some, few that lived through the 1970s regretted that Lady Thatcher reclaimed Britain from controlled labour and delivered a semblance of market discipline to the world of business.

 

Crisis of confidence

 

The unions weren’t the economy’s only shackles. Britain also suffered from a collective crisis of confidence.

 

The post-War, post-Empire consensus was to “manage the decline”. Prevailing economic attitudes were protectionist, provincial and very unambitious. The City was dusty and anachronistic and the nation increasingly looked to the Government for sustenance.

 

Into this twilight-zone – half civil war, half stupor – Lady Thatcher thrust her two passions that shattered the status quo; a hatred of socialism and a love of Friedrich Hayek, the free market economist. “Without economic liberty there could be no true political liberty,” she told European leaders in 1979.

 

In her vision, Britain was to be transformed into a nation of business leaders and wealth creators, unencumbered by the state, and with no need for reliance on it either.

 

Her mixed success has led some to conclude her ideology was a failure and others to lament that the policies were never fully implemented.

 

At the start, Lady Thatcher’s economic policies pushed Britain into a painful period of adjustment. George Osborne has been attacked for a 0.3pc contraction in the economy. In Lady Thatcher’s first two years GDP shrank 3.5pc and unemployment rose by a million.

 

Her government, under the chancellorship of Geoffrey Howe, attacked hyperinflation with blisteringly high interest rates, raised from 12pc to 14pc in 1979 and then to 17pc in 1980. Manufacturing was hard hit and the recession at the beginning of the 1980s was the worst since the Great Depression.

 

Yet her firm stance and radical action have led to demands for Mr Osborne to do the same. In Lord Howe’s first Budget in 1979, the top rate of income tax was cut from 83pc to 60pc (it was later cut to 40pc) and the basic rate was cut from 33pc to 30pc.

 

The moves sent an unmistakable pro-business, pro-aspiration message. Cameron and Osborne have tried to do the same with the cut in corporation tax, but the reality is that this is a minor levy in the morass of other business taxes that remain.

 

Thatcher’s mantra was that businesses created wealth, not governments and the privatisation of state-owned industries was one of her most lasting legacies.

 

State ownership of businesses, in Britain and abroad, had been the dominant practice since 1945. A sell-off was originally planned as a cash raid for the Treasury, but by the time Lady Thatcher left office, it had snowballed into a philosophy that swept across the world.

 

Between 1984 and 1991, 33 major companies were privatised in what the old guard, such as Harold MacMillan, called “selling off the family silver”.

 

Associated British Ports, British Airports Authority, British Airways, British Gas, British Steel, British Telecom, 17 electricity companies and 10 water and sewerage companies left public ownership.

 

According to the Centre for Policy Studies (CPS), the state companies went from costing the Treasury an average of £300m each a year in subsidies to contributing between £3.3bn and £5.8bn a year in corporation tax from 1987 onwards.

 

British Steel needed £1bn of Treasury support in 1980 on a turnover of £3bn, earning itself a place in the Guinness Book of Records for inefficiency. Soon after privatisation it was profitable and contributing £200m a year in taxes.

 

British Telecom had a £300m cash injection in 1980; in 1995 it paid £1.1bn to the Exchequer.

 

The consumer also benefited. By 1995, domestic gas prices fell 25pc and commercial gas costs were 50pc lower. Telecoms charges fell by 40pc and airport charges dropped 10pc.

 

Radical reform of labour laws

 

State-run companies accounted for 10pc of the UK economy in 1979, a figure that has fallen to just 2pc today and the programme is not yet complete. The Royal Mail is the latest to join the queue and there have been calls for a further sell-off of state assets from the Met Office, to Channel 4 and the London Underground.

 

The M6 toll road is a test case for proponents of road privatisation and the Coalition is determined to persuade private companies to help build public infrastructure developments. Lady Thatcher’s approach still has great traction.

 

Privatisation has had its problems; railways are still chronically underfunded, water prices have risen and companies stand accused of failing to properly invest in leaky pipes and Victorian sewerage systems.

 

Lady Thatcher’s move effectively privatised much of the British workforce as well and, with the defeat of the unions, instilled radically reformed labour laws in Britain.

 

The flexible labour market has proved to be one of the most important factors in Britain’s economic revival and still one of its most competitive factors, particularly compared with parts of Europe.

 

In February, Titan, the US tyre maker, said investing in France was a “stupid” idea since French workers “talk for three hours and work for three”. France, it said, has “beautiful women and fantastic wine” but “no idea how to run a business”.

 

Germany feels the same about the “Club Med” set of southern European nations and is demanding radical and rapid reform. Even in Britain, companies warn that the thicket of employment law, particularly from Europe, is stifling growth.

 

Privatisation also popularised owning shares. Suddenly everyone was “telling Sid” about which stocks to buy. It led to a boom in the investment industry and opened the capital markets up to normal families.

 

The seismic revolution came with the Big Bang in 1986, which razed protectionist legislation in financial services. Many have blamed Lady Thatcher for the crash that occurred 21 years later and have demanded the rebuilding of regulation.

 

But as Philip Booth, the economist pointed out, the “1980s was not a period of financial deregulation”. The insurance industry, for instance, has been regulation-free since 1870 but new rules were introduced between 1980 and 1982. Insider trading was outlawed in 1980. Basel 1, the first regulation of bank capital, was agreed by Lady Thatcher.

 

Resurrect the market and rediscover capitalism

 

The removal of the City’s cosseted structures changed financial services overnight. At a stroke, the “old tie” firms of jobbers, brokers and merchant bankers were exposed to ferocious competition and US work ethics as the American banks arrived in force. Most were bought by foreign interests which, in turn, flourished. Goldman Sachs was converted from an outpost of the New York bank into a booming global banking hub.

 

Lady Thatcher viewed the old boys of the City with the same contempt as the some of the dinosaurs of the Tory party; as her adviser Lord Bell said last week, she would have “profoundly appalled” by the greed and contempt exposed by the financial crisis. “She probably would have let the banks go bust, it was what the markets were asking for,” he said.

 

At her core, Lady Thatcher wanted to resurrect the market and rediscover capitalism.

 

Archie Norman, the chairman of ITV, said: “She restored the idea that free enterprise was a socially legitimate activity. She rebalanced the argument for capitalism and created confidence and belief in the social worth of entrepreneurship.”

 

Lady Thatcher may not have imagined the conversion of London from a fading imperial city to the global capital of the world. She cannot be credited with it all, but London embodies much of Lady Thatcher’s vision. Through finance, law, property, arts, culture and even food, the city allows Britain to punch far above its weight on the global stage.

 

It manages to strengthen the UK’s ties with America while setting it apart from Europe and it stands for wealth, innovation, achievement, hard work and aspiration, both for the individual and the nation.

 

Lady Thatcher was far from perfect and made plenty of mistakes. But as the economist Roger Bootle said: “In assessing Mrs Thatcher’s economic legacy, I can do no better than quote the following, which is a translation of the Latin words inscribed on the floor underneath the dome of St Paul’s Cathedral in relation to Sir Christopher Wren: 'Reader, if you seek his monument, look around you’.”

 

East end and the Great East Window.

 

York Minster is without doubt one of the largest and most impressive Gothic architectural buildings in all of England. The full majestic proportion of the building can be seen after entering a few narrow streets called the shambles that bring you to the south of the Church. Altho it's the Cathedral of York and it's dedication is St Peter, the building was given the title Minster for it's importance in the church field considering it's the home place for the Archbishop of York.

 

The Minster has had a long very active history with there being a building on site back to the Anglo- Saxon age. The Norman's built a Cathedral on site in the 11th-Century but shortly after the present Gothic Structure was built in place starting from the 13th-Century. The new nave was built on the old Norman Cathedral foundations and shortly after the Transepts, Choir and Chapter House were constructed. The original Central tower collapsed in 1407 and the present tower was built along with the western towers near the end of the Century.

 

The Cathedral has many notable features which includes the Chapter house, octagonal shaped with carvings of heads around the bases of the large windows, the space in the Nave and Choir making them the largest of their kind in England, a decorated Central tower and a large collection of bells which are set in the Western towers, one of them holding the Cathedral's hour bell 'Great Peter' along with 6 clock bells, while the other tower holds the 14 peal as well as a collection of 22 Carillion bells which are unique in an English Cathedral.

 

The Cathedral's main interior feature is it's medieval stained glass which is seen throughout the building. At the West end is a large window which near the top is heart shaped which has since been given title 'The Heart of Yorkshire'. The transepts too have their stained glass masterpieces with the North having the five sisters window while the South has a rose window.

The most famous Stained glass window in the Minster is the Great East Window by John Thornton, the largest piece of medieval glass in the world at 76 ft and if layed down would cover one of Wimbledon's tennis courts. For the past couple years the window has been replaced by a large full size print copy of the window since the glass was taken out as part of a large restoration project that is due to be completed in 2016.

 

During the Minster's turbulent history, it's been noted for having a number of disasters caused by fire. The first recorded instance was during the Anglo-Saxon period when the old wooden structure was destroyed. In 1137 the old Norman structure was damaged and replaced by another Norman building afterwards.

Most recently was a fire in 1829 started by resident Jonathan Martin which destroyed the East end roof along with the organ, after this Martin was tried at the Courts and sent to the Lunatic Asylum as it was found he was mentally unstable at the time of starting the arson. Shortly afterwards in 1840 the Nave and South West tower were gutted by a fire this time by accident.

On July 9 1984 thinking it was a lightning strike, fire destroyed the South Transept roof leaving it a gutted shell and open to the elements. Up to £2 million was spent to renovate the damage which was completed in 1988.

  

1931 Cord LeGrande Speedster (Reproduction)

 

Separating fact from fiction, mystery from the known.....

 

While I do not claim to be an authority on vintage, antique, classic automobiles, I will profess to be an ardent “seeker of facts” especially in instances where there is so much mystery (and a bit of drama) surrounding a particular subject. The 1931 Cord LeGrande is one such subject. Even the nomenclature itself when describing this car is subject to some confusion – in various articles the car is sometimes designated; “La Grande” (or LaGrande). In other references, it is described as “LeGrande (or Le Grande). Perhaps a Frenchman could clarify this seemingly minor discrepancy. For the sake of this article I will consistently use the terminology; “La Grande” as I believe this is the more proper or correct spelling.

 

__________________________________________________

 

The story of the 1931 Cord La Grande began as the brainchild of a young designer by the name of Philip O. Wright, who had been working for the Walter M. Murphy Company in Pasadena, California. Murphy was a premier body fabricator very popular in the 20’s and 30’s. Some of the sportiest Duesenberg Model Js were “Bodied by Murphy”. In 1930 the country was under the gripes of ‘The Great Depression’. Having been warned that his job was in jeopardy due to shrinking revenues, Wright left California and headed for Detroit in search of work. Stopping along the way at a sleepy little town in Indiana named Auburn, Wright landed an interview with then Auburn Automobile Company president, Roy Faulkner. Although Faulkner found Wright’s sketches of a sleek and innovative version of Cord’s L-29 car exciting, he informed Wright that due to the poor economy, he could not put Wright on his payroll. * But what Faulkner could do, despite the poor economy, is “steal” Wright’s plans for this sleek speedster model and this was precisely what he did! Very soon thereafter, Faulkner authorized the construction of a speedster based on Wright’s sketches. Cord’s stylist, Al Leamy was called in to rework the designs to reflect E. L. Cord’s minor design alterations. Although based on the chassis components and the 298 cubic-inch Lycoming eight cylinder engine, rather than the squared off, vertical and horizontal lines of the standard Cord L-29, this ‘boat-tail’ prototype model speedster was sleek and modern, with aircraft inspired ‘pontoon’ fenders and a steeply raked Vee windshield.

 

The result was the one and only 1931 Cord L-29 La Grande Speedsters ever built.

 

Sources indicate the La Grande Speedster made its debut at the 1931 New York Salon and was subsequently shown in Toronto, Canada and then at various Cord dealerships around the United States. It is at this point that things become a little ‘fuzzy’. Several sources report that the American movie actress, Jean Harlow’s new husband, Paul Bern, an executive at MGM purchased the Cord LeGande Speedster while attending the 1931 New York Salon and supposedly made arrangements to have the car shipped to Paris for the couple’s honeymoon. This does not exactly ‘fit’ with the facts. Paul Bern and Jean Harlow were not yet married in 1931 – they were actually married on July 2, 1932.

 

Another story is (as reported by the ACD Museum in Auburn, Indiana) is that Paul Bern purchased the original La Grande Speedster while attending the Concours d’Elegance show in Paris. From other sources, it was indicated that after a major spat between Berns' and Jean Harlow while in France, the car was shipped back to the United States. Here again, there is no record or evidence of this event having taken place. No shipping manifests, no personal accounts, no pictures and no official documents to support this ‘theory’. Additionally, soon after returning to the United States and only two months after marrying Jean Harlow, (September 5, 1932) Bern was found dead from a gunshot wound, in their home in Beverly Hills. The trail involving the mysterious 1931 La Grande Speedster went totally cold. Actually there are no records in existence that substantiate that the Cord La Grande Speedster was ever purchased by Paul Bern........nor anyone else, for that matter.

 

Putting aside the rumor that Jean Harlow’s husband bought the Cord Speedster, it is known that around late 1931 or early 1932 the La Grande Speedster was returned to the E.L. Cord Company and was refreshed for an appearance at the Concourse d’Elegance in Paris, France. It was necessary to replace the slim Woodlite headlights (as shown in the above image), which were illegal in Europe, with standard round headlights. The car then departed for France, were it appeared with actress Suzy Vincent at the Paris Concours d’Elegance. The car achieved First Place, repeating the success of Count Alexis de Saknoffsky and his Hayes-bodied Cord L-29 the preceding year. Immediately following its applause at the Paris Concours, the prize of the E.L. Cord Company appeared to drop off the face of the earth. The Cord La Grande Speedster disappeared in Europe and despite the best efforts of collectors, historians, restorers and dealers over the intervening years, not the slightest hint of its fate has yet surfaced. To this day, it remains one of the true enigmas of the classic car world.

 

To the best of my knowledge, there are only two known Cord La Grande Speedster reproductions in the world today – the one shown above which Dr. Fay Culbreth, an orthodontist and antique car enthusiast, commissioned Stan Gilliland of Kansas to build. This reproduction was built using the original Cord L-29 chassis and running gear. Bodywork was performed by Mark Kennison partner/owner of D&D Classic of Covington, Ohio. This exquisitely detailed 1931 Cord La Grande Speedster is currently the property of the Auburn-Cord-Duesenberg Museum in Auburn, Indiana having been acquired by generous donation from the former owner, David Stevenson of Farmington, CT and from Museum Collection Funds.

 

The only other known 1931 Cord La Grande Speedster reproduction is a beautiful Royal Cranberry and Cashmere Cream La Grande reproduction shown here. This particular car was completed in 2004. It has been displayed at many different venues; Meadowbrook, Silverbrook, Palo Alto, Rancho Mirage and at the Auburn-Cord-Duesenberg Festival as well as probably many other venues of which I am not aware. In early 2007 this fine replica joined the collection of renowned collector, John O’Quinn until being sold through RM Auctions for $368,500. According to sjb4photos Stahls Automotive Foundation in Chesterfield, Michigan acquired this beautiful cranberry and cream Cord replica.

 

Obviously, both exquisite La Grande reproductions have been (and hopefully will continue to be) photographed by many photographers, in many venues, over the years.

 

Above picture of car taken at the ACD Museum in Auburn, Indiana

 

Juxtaposition is the act or instance of placing two or more things side by side, often to compare or contrast, or to create an interesting effect. Week 12 had us finding and creating all sorts of Juxtapositions.

 

This collage features photos from participating members. Find out more at Compositionally Challenged, where we aim to inspire creativity and improve our technical skills.

Plains Indian Museum, Buffalo Bill Center of the West, Cody Wyoming

 

In the instance of this striking triptych, the information placard stands out for its relative thoroughness and Romanized transcriptions of Arapaho language terms:

 

Museum signage:

 

The People of the Buffalo

Robert Martinez, Northern Arapaho

triptych series, acrylic and oil on linen

Alexander Bodini Native Arts Fund

 

Left Neisonoo (Father)

Center Heeneecee (Buffalo Bull)

Right Neinoo noh Tel’yoonehihi’ (Mother & Child)

“The People of the Buffalo triptych depicts the central importance of the North American Bison to Plains tribes. Our food, clothing, homes, where we camped, and when we moved around it because it gave those things ot us.

The Heeneecee (Buffalo Bull) is colored in shades of red, as is the simple toned line in the background. It’s an abstraction of our earth and the color of blood that gives us life. The figure to the far left represents the masculine, Neisonoo (Father) and older age. The figures on the right are Neinoo noh Tei’yoonehihi’ (Mother & Child), which represent the feminine and the young. They are in shades of blue as many other tribes referred to the Arapaho as the Blue Sky People, the Blue Bead People, or Blue Tone People.

 

Composed in three panels are four figures as four is a sacred number representing many different things to Indigenous people. Though you can see the child, he or she is there as an unknown (also part of life) and with the sunset color scheme represents time in its constant flow.”

 

WEEK 31 – Stateline Kroger (II)

 

For what I believe is our final instance of recognizing and appreciating old floor patterns in this year’s photoset from the Stateline Kroger, here’s a close-up of that perimeter hugging stripe as it rounds the back left corner of the building. It looks kinda goofy here, since the refrigerated cases in the corner itself form a distinctly angular shape. But if you flip back three pics, you’ll see that the curve of the floor stripe follows exactly the curve of the rounded overhang, so it makes for a pretty cohesive appearance!

 

The stripe is rather faded these days, but back when the store opened, it would have been red in color. It’s also liable to survive remodels even where those other flooring patterns we’ve seen in this album are not, as we saw at the Clarksdale Kroger (although the stripe was black in color at that store, and also not rounded, indicating perhaps that store had a different décor package than Bauhaus back when it opened). We’ve also seen it at former Krogers – see here.

 

(c) 2019 Retail Retell

These places are public so these photos are too, but just as I tell where they came from, I'd appreciate if you'd say who :)

 

DISCLAIMER

Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!

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Some background:

The mighty Suchoj SuCh-1 started its life in early March 1943, when the Sukhoi OKB finished work on the design of a high-speed fighter with a unique powerplant arrangement. The aircraft was an all-metal low-wing mono­plane with conventional tail surfaces. The three-section wings had constant dihedral and basically trapezoidal planform; the sta­bilizers had zero dihedral.

 

Two Klimov M-107 water-cooled Vee-12 engines, each with a. take-off power of 1 ,600 hp (1,193 kW) and a maximum design power of 1,500 hp (1,119 kW) at 5,500 m (18,045 ft), were mounted in the center fuse­lage in a staggered-tandem arrangement: the front engine was offset to starboard and of the rear one to port. Thus, the total power was increased but the drag was the same as for a single-engined aircraft, which was expected to increase fight speed consider­ably. Consequently, the project was internally designated 'I-2M107', literally "Article powered by two M107 engines".

 

Furthermore, the left cylinder bank of the front engine and the right cylinder bank of the rear engine were disposed vertically, so that each engine had one set of exhaust stubs on top of the fuselage and one on the fuselage side. Both engines drove a single three ­blade tractor propeller of 4.0 m (13 tt 2 in) diameter via parallel extension shafts and a common reduction gearbox. Both water radiators were located side by side in a chin housing, while the oil coolers were buried in the wings. The total fuel capacity of the four tanks arranged in the center fuselage was 1,113 litres (244.86 Imp. gal).

 

Because of the power plant arrangement and the large ground angle (necessary to give adequate ground clearance for the large propeller) the cockpit was offset to port and placed ahead of the wing leading edge to provide better forward visibility on take-off and landing. The cockpit was protected by a bulletproof windscreen, a front armor plate and an armored backrest; the armor weight totaled 70kg (154Ib).

 

The main landing gear units with 800 x 280 mm (31.5x11 in) wheels retracted inwards into the wing roots and the 400 x 150 mm (15.7 x 5.9 in) tail wheel retracted aft. The fighter's armament consisted of two wing-mounted 12.7-mm Berezin UBS machine-guns firing outside the propeller disc and a single 20-mm ShVAK cannon fir­ing through the propeller hub*.

 

A full-scale mock-up was inspected in December 1943, and with German long range bombers threatening the Western front line as well as the lack of a fast and powerful fighters to intercept them (the earlier MiG-5 had turned out to be a disappointment, and Mikoyan's I-211/221 family if high altitude fighters also suffered from serious technical problems at that time), OKB Suchoj received an immediate go-ahead for further development of the SuCh-1, how the I-2M107 was now officially called, since Vladimir A. Chizhevskiy took lead of the project.

 

In the course of 1944 three prototypes went through a fast development program. While the aircraft itself was easy to handle, overheating problems and trouble with the gearbox for the two engines could only partly be rectified - esp. the power transmission should remain the SuCh-1s Achilles Heel.

 

Anyway, the Su-5 was ready for service introduction towards late 1944, and the powerful type was exclusively to be used as an interceptor. Several improvements had been made, compared to the prototypes: now two slightly more powerful Klimov VK-107A engines were used, which were better suited for high altitude operations, and the chin-mounted water cooler was considerably enlarged. The oil coolers had been re-designed and they were now placed under the wing roots.

 

The wing span had been extended by 6' and a bigger (now 4.3m diameter!), four-bladed propeller was added in order to improve performance at high altitude. No pressurized cabin was installed, but the cockpit received an extended glazing for better all-round field of vision.

 

Armament had also been augmented: now a Nudelman N-23 23mm cannon was firing through the propeller hub, and the number of UBS machine-guns in the wings was increased to four.

 

As initial duty experience was gathered, it became quickly clear that the firepower had to be augmented, so that the propeller-hub-mounted 23mm cannon was quickly replaced by a Nudelman-Richter NR-37 37mm cannon, and the four wing-mounted UBS machine guns were replaced by two 20-mm ShVAK cannons or even two Nudelman N-23 23mm cannons - the latter became the production standard from March 1945 on, even though the type's designation did not change.

 

Experience also showed that the overheating problem had been cured, but the complicated gear box tended to malfunction, esp. when full power was called for in aerial combat: high G forces took their toll and damaged the bearings, even warping the extension shafts and structural parts, so that some SuCh-1 were literally torn apart in mid-air.

 

The high torque powers of the large propeller also took their toll on handling: starting and landing was described as "hazardous", esp. when the fuel tanks were empty or in cross winds.

Consequently, SuCh-1 pilots were warned to engage into any dogfight or enter close combat with single-engined enemy fighters, and just focus on large enemy aircraft.

 

On the other side, the SuCh-1's powerful cannon armament made it a deadly foe: a single hit with the NR-37 cannon could down an aircraft, and its top speed of roundabout 700 km/h (435 mph) was more than enough for the Luftwaffe's heavy bomber types like the He 177.

 

Several engine and armament experiments were undertaken. For instance, at least one SuCh-1 was outfitted with a Nudelman-Sooranov NS-45 45mm cannon firing through the propeller hub, even a 57mm cannon was envisaged. Furthermore, one airframe was prepared to carry two Charomskiy M-30V 12 cylinder diesel engines, in order to produce a heavy long-range escort fighter (internally called I-2M30V).

In order to minimize the torque problems a contraprop arrangement with two three-bladed propellers and a diameter of only 3.6m was under development.

 

All in all only 120 of these powerful machines were built until the end of hostilities, as the feared mass attacks of German long range bombers did not materialize. as the Su-7 was complicated to operate and jet engines promised a far more efficient way of propulsion for high speeds, the type was already retired in 1947 and replaced by 1st generation jet fighters like the Yak-15 and MiG-9, which carried a similar armament, attained a better performance (except for the range) but weighed only half of the large and heavy SuCh-1.

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General characteristics

Crew: One

Length: 11.75 m (38 ft 5 3/4 in)

Wingspan: 13.85 m (45 ft 3 1/4 in)

Height: 5.30 m (17 ft 4 in)

Empty weight: 5.250 kg (11.565 lb)

Max. take-off weight: 8.100 kg (17.840 lb)

 

Powerplant:

2× Klimov VK-107A liquid-cooled V12 engines with an output of 1.650 hp (1.210 kW) each at sea level and 900 hp (650 kW) at 8.300m (27.220 ft)

 

Performance:

Maximum speed: 720 km/h (447 mph) at height, clean configuration

Range: 750 km (465 mi)

Service ceiling: 11.700 m (38.400 ft)

Rate of climb: 876 m/mim (2.850 ft/min)

 

Armament:

1× Nudelman-Richter NR-37 37mm cannon with 60 RPG, firing through the propeller hub

2× Nudelman N-23 23mm cannons with 120 RPG in the wings

Many different cannon and machine gun arrangements coulod be found, though.

 

*Information about the conceptual Suchoj I-2M107 was primarily gathered from the book 'OKB Suchoj', written by Yefim Gordon & Dmitriy Komissarov; Hersham (UK), 2010.

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The kit and its assembly (a long story!):

This abomination of an aircraft is/was real, even though the I-2M107 was never built – the fictional name Suchoj-Chizhevskiy SuCh-1 was actually chosen because I could not find any plausible Su-X code for a WWII fighter. Vladimir A. Chizhevskiy actually joined the Suchoj OKB in mid WWII, so I deemed this alternative to be plausible.

 

I had this on the agenda for a long time, but the horrors of kitbashing kept me from building it - until now. The current Anthony P memorial Group Build (for the deceased fellow member at whatifmodelers.com, RIP) was a good motivation to tackle this brute thing. Fortunately, I already had some major ingredients in store, so work could start asap.

 

From that, anything else was improvised from the scrap box, and with only a three side view of the I-2M107 as guidance. It became a true Frankenstein creation with...

 

● Fuselage and inner wings from the (horrible) NOVO Attacker

● Wings from an Italeri Fw 190 D-9 attached to them

● Nose is a resin Griffon from an Avro Lincoln conversion set from OzMods

● Tail cone is a radar nose from an F-4J Phantom II

● Tail fin is a horizontal stabilizer from a Matchbox SB2C Helldiver

● Vertical stabilizers come from a Matchbox Me 410

● Oil coolers are modified front landing gear wells from two Revell G.91 kits

● Cockpit hood comes from a Revell P-39 Airacobra

● Landing gear comes from an Italeri Fw 190 D-9, covers were modified/improvised

● Main wheels belong to a MPM Ryan Dark Shark

● Tail wheel belongs to a Matchbox Harrier

● The propeller was scratched, IIRC from a Grumman Hellcat drop tank front and blades from an Airfix A-1 Skyraider. Inside, a metal axis was mounted.

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Work started with the fuselage and the wings as separate segments.

 

The Attacker fuselage lost its fin and the cockpit and air intakes were simply cut away, just as the tail pipe. The resin Griffon was slightly shortened at the front, but more or less directly attached to the fuselage, after I had cut out openings for the four rows of exhaust nozzles.

Then, the new tail cone was glued onto the end and the original fairings for the Attacker's stabilizer cut away and sanded even - anything had to be made new.

 

The wings were a bit tricky. I had hoped to use the Attacker's OOB wings, but these were not only much too small and did not have the proper shape, they also lacked landing gear wells!

 

Finding a solution was not easy, and I had to improvise. After some trials I decided to cut the Attacker wing span at about the width where the guns are located, and then add Fw 190 wings.

The depth would be fine, even though the Fw 190 wings were a bit thicker, and they offered a leading edge kink which was good for the original and characteristic I-2M107's wing root extensions. The latter were sculpted from a 6mm thick core or styrene sheet, added to the Attacker parts' leading edge, and the rest, as well as the lacking Attacker wing's thickness, sculpted with 2C and later NC putty.

 

Furthermore I cut out and sculpted landing gear wells, another challenging, since these had to cover the Attacker/Fw 190 parts' intersection! LOTS of putty work, sanding and shaving, but as a benefit I was able to use the Attacker kit's original wing/fuselage joints. Effectively, my placement turned out to be a bit far outside, so the track appears too wide - the price to pay when you work on single parts. Anyway, I left it was it turned out, as a major correction at a late working stage would mean to tear anything apart again...

 

Back to the nose: adding the propeller and the cockpit into the massive nose was the next working station. The propeller had to be huge, and also needed a rather big spinner. A contraprop was ruled out, even though it would have looked great here. But eventually I settled for a scratch-built thing, made from a teardrop-shaped drop tank front onto which the four blades from a A-1 Skyraider were glued. Probably the biggest prop I have ever put onto a 1:72 scale model! Since the resin nose was massive, drilling a hole and adding a metal axis to the propeller was enough.

 

With that in place I started carving out a cockpit opening - it worked better and easier than expected with a mini drill and a coarse shaving head! The opening is still rather small, a seat and a pilot hardly fit, but it works - I found a rather smallish pilot figure, and added a seat and some other small details from the scrap box, just to have something inside.

 

For a canopy I found a very old (30 years, I guess...) clear part from a Revell P-39 Airacobra in the scrap box, which was almost perfect in shape and width. It was a bit blind and stained with ancient enamel paint, but some wet sanding and serious polishing almost got it back to translucent status. Since I would not open the cockpit, this was a sufficient solution.

 

The asymmetrical cockpit opening was, in an initial step, faired with styrene strips, for a rough outline, and then sculpted with 2C and later NC putty, blending it into the rest of the fuselage.

 

For the tail surfaces, the SB2C stabilizer was cut away at its base - it is not a bad donation piece, its shape and rudder come pretty close to the I-2M107's original design!

The stabilizers I used on my kitbash come from a Me 410, and their leading edge was a cut away so that the sweep angle would be a bit larger. They lack depth, compared to the I-2M107's original design, but since the wings have become more slender, too, I think it's a good compromise, and the best what I had at hand in the spares stash.

 

Finally, and before detail work could start, the wings were attached to the fuselage. I eventually set them back by ~6mm, so that the new, extended leading edge would match the respective fairing on the fuselage. The resulting gap at the trailing edge was, again, filled with 2C and NC putty.

 

A personal change was a different oil cooler arrangement. The original location was to be in the wings' leading edge, just in front of the landing gear wells - but that appeared a bit doubtful, as I could not find a plausible solution where the exit for the air would be? Consequently, and in order to avoid even more messy putty sculpting on the wings, I decided to re-locate the oil coolers completely, into shallow, tunnel-like fairings under the wing roots, not unlike the radiator arrangement on a Spitfire or Bf 109.

 

In order to check the surface quality I decided to add a coat of grey primer, once the fuselage/wing segments had been connected. This showed only minor flaws, but made another turn with NC putty and wet sanding necessary.

 

Now it was time for finishing touches, e .g. mounting the landing gear, completing the cockpit and adding exhaust stubs - cut individually from HO scale model railroad roof tiles and inserted into the four fuselage fairings.

 

The canopy was fixed into place with white glue, which also helped closing some small gaps.

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Painting and markings:

While the I-2M107 looks odd, to say the least, I wanted to keep the paint scheme rather simple and quasi-authentic. I went for a pale grey/green camouflage, used e. g. on late war Yakovlev Yak-3 fighters.

 

Basic colors are Humbrol 31 (Slate Grey, it has a very greenish, even teal, hue), ModelMaster 1740 (Dark Gull Grey, FS 36231) and Humbrol 167 (Barley Grey) for the lower sides with a wavy waterline. Since only marginal surface details were left over, I decided to fake panels and panel lines with paint.

Panels were simulated with lighter shades of the basic tones (RLM 62 from ModelMaster, Humbrol 140 and 127 below), panel lines were painted with highly thinned grey acrylic paint and a special brush - in German it's called a 'Schlepppinsel', it's got very long hairs and is also used to paint scallops on car models, and similar things are used for real car tuning/custom paintwork, too.

Sure, the painted panel lines are a bit rough, but I did not want to risk any damage through manual engraving on the rather delicate mixed-media surface of the kitbashed model. For an overall look or first impression it's very good, though.

 

As 'highlights' I added a white spinner and half of the fin was painted white, too.

 

The decals were puzzled together. The flashes and the tactical code number come from a Hobby Boss La-7, the Red Stars, IIRC, belong to a vintage MiG-21F from Hasegawa. The "Rodinu" slogan actually belongs to a 1:35 Soviet Tank decals set.

 

Finally, after some additional dry painting with light grey, some oil stains around the engines and coolers and soot stains at the exhaust stubs and guns (painted, plus some grinded graphite, as it yields a nice, metallic shimmer that looks like oil or burnt metal), everything was sealed under a coat of matt acrylic varnish.

  

If it had been built, the Suchoj I-2M107 must have been an impressive aircraft - it was bigger than a P-47 Thunderbolt or an A-1 Skyraider, and one can only wonder how its field performance would have been?

Similar concepts had been underway in UK, too, e. g. for a heavy naval attack aircraft, but the I-2M107 with its asymmetrical cockpit and engine arrangement were unique. A worthy whif, even if some details like the landing gear or the borrowed nose section are not 100% 'correct'.

 

On of those instances where the flower dominates the cactus.

 

Seen at the Arizona-Sonora Desert Museum, near Tucson.

  

2019 " TOO LATE "exhibition at gallery Sabsay ( periode Venice Biennale)

 

www.emergencyrooms.org/

 

www.colonel.dk/

 

www.copenhagenbiennale.org/

 

www.emergencyrooms.org/biennalist.html

 

www.emergencyrooms.org/formats.html

  

more here about the Biennale :

 

Ralph Rugoff has declared: «May You Live in Interesting Times will no doubt include artworks that reflect upon precarious aspects of existence today, including different threats to key traditions, institutions and relationships of the “post-war order.” But let us acknowledge at the outset that art does not exercise its forces in the domain of politics. Art cannot stem the rise of nationalist movements and authoritarian governments in different parts of the world, for instance, nor can it alleviate the tragic fate of displaced peoples across the globe (whose numbers now represent almost one percent of the world’s entire population).»

 

ALBANIA

Maybe the cosmos is not so extraordinary

Commissioner: Ministry of Culture Republic of Albania. Curator: Alicia Knock.

Exhibitor: Driant Zeneli.

 

ALGERIA***

Time to shine bright

Commissioner/Curator: Hellal Mahmoud Zoubir, National Council of Arts and Letters Ministry of Culture. Exhibitors: Rachida Azdaou, Hamza Bounoua, Amina Zoubir, Mourad Krinah, Oussama Tabti.

Venue: Fondamenta S. Giuseppe, 925

 

ANDORRA

The Future is Now / El futur és ara

Commissioner: Eva Martínez, “Zoe”. Curators: Ivan Sansa, Paolo De Grandis.

Exhibitor: Philippe Shangti.

Venue: Istituto Santa Maria della Pietà, Castello 3701

 

ANTIGUA & BARBUDA

Find Yourself: Carnival and Resistance

Commissioner: Daryll Matthew, Minister of Sports, Culture, National Festivals and the Arts. Curator: Barbara Paca with Nina Khrushcheva. Exhibitors: Timothy Payne, Sir Gerald Price, Joseph Seton, and Frank Walter; Intangible Cultural, Heritage Artisans and Mas Troup.

Venue: Centro Culturale Don Orione Artigianelli, Dorsoduro 919

 

ARGENTINA

El nombre de un país / The name of a country

Commissioner: Sergio Alberto Baur Ambasciatore. Curator: Florencia Battiti. Exhibitor: Mariana Telleria.

Venue: Arsenale

 

ARMENIA (Republic of)

Revolutionary Sensorium

Commissioner: Nazenie Garibian, Deputy Minister. Curator: Susanna Gyulamiryan.

Exhibitors: "ArtlabYerevan" Artistic Group (Gagik Charchyan, Hovhannes Margaryan, Arthur Petrosyan, Vardan Jaloyan) and Narine Arakelian.

Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596

 

AUSTRALIA

ASSEMBLY

Commissioner: Australia Council for the Arts. Curator: Juliana Engberg. Exhibitor: Angelica Mesiti.

Venue: Giardini

 

AUSTRIA

Discordo Ergo Sum

Commissioner: Arts and Culture Division of the Federal Chancellery of Austria.

Curator: Felicitas Thun-Hohenstein. Exhibitor: Renate Bertlmann.

Venue: Giardini

 

AZERBAIJAN (Republic of )

Virtual Reality

Commissioner: Mammad Ahmadzada, Ambassador of the Republic of Azerbaijan.

Curators: Gianni Mercurio, Emin Mammadov. Exhibitors: Zeigam Azizov, Orkhan Mammadov, Zarnishan Yusifova, Kanan Aliyev, Ulviyya Aliyeva.

Venue: Palazzo Lezze, Campo S. Stefano, San Marco 2949

 

BANGLADESH (People’s Republic of)

Thirst

Commissioner: Liaquat Ali Lucky. Curators: Mokhlesur Rahman, Viviana Vannucci.

Exhibitors: Bishwajit Goswami, Dilara Begum Jolly, Heidi Fosli, Nafis Ahmed Gazi, Franco Marrocco, Domenico Pellegrino, Preema Nazia Andaleeb, Ra Kajol, Uttam Kumar karmaker.

Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596

 

BELARUS (Republic of)

Exit / Uscita

Commissioner: Siarhey Kryshtapovich. Curator: Olga Rybchinskaya. Exhibitor: Konstantin Selikhanov.

Venue: Spazio Liquido, Sestiere Castello 103, Salizada Streta

 

BELGIUM

Mondo Cane

Commissioner: Fédération Wallonie-Bruxelles. Curator: Anne-Claire Schmitz.

Exhibitor: Jos de Gruyter & Harald Thys.

Venue: Giardini

 

BOSNIA and HERZEGOVINA

ZENICA-TRILOGY

Commissioner: Senka Ibrišimbegović, Ars Aevi Museum for Contemporary Art Sarajevo.

Curators: Anja Bogojević, Amila Puzić, Claudia Zini. Exhibitor: Danica Dakić.

Venue: Palazzo Francesco Molon Ca’ Bernardo, San Polo 2184/A

 

BRAZIL

Swinguerra

Commissioner: José Olympio da Veiga Pereira, Fundação Bienal de São Paulo.

Curator: Gabriel Pérez-Barreiro. Exhibitor: Bárbara Wagner & Benjamin de Burca.

Venue: Giardini

 

BULGARIA

How We Live

Commissioner: Iaroslava Boubnova, National Gallery in Sofia. Curator: Vera Mlechevska.

Exhibitors: Rada Boukova , Lazar Lyutakov.

Venue: Palazzo Giustinian Lolin, San Marco 2893

 

CANADA

ISUMA

Commissioner: National Gallery of Canada. Curators: Asinnajaq, Catherine Crowston, Josée Drouin-Brisebois, Barbara Fischer, Candice Hopkins. Exhibitors: Isuma (Zacharias Kunuk, Norman Cohn, Paul Apak, Pauloosie Qulitalik).

Venue: Giardini

 

CHILE

Altered Views

Commissioner: Varinia Brodsky, Ministry of Cultures, Arts and Heritage.

Curator: Agustín Pérez. Rubio. Exhibitor: Voluspa Jarpa.

Venue: Arsenale

 

CHINA (People’s Republic of)

Re-睿

Commissioner: China Arts and Entertainment Group Ltd. (CAEG).

Curator: Wu Hongliang. Exhibitors: Chen Qi, Fei Jun, He Xiangyu, Geng Xue.

Venue: Arsenale

 

CROATIA

Traces of Disappearing (In Three Acts)

Commissioner: Ministry of Culture of the Republic of Croatia. Curator: Katerina Gregos.

Exhibitor: Igor Grubić.

Venue: Calle Corner, Santa Croce 2258

 

CUBA

Entorno aleccionador (A Cautionary Environment)

Commissioner: Norma Rodríguez Derivet, Consejo Nacional de Artes Plásticas.

Curator: Margarita Sanchez Prieto. Exhibitors: Alejandro Campins, Alex Hérnandez, Ariamna Contino and Eugenio Tibaldi. Venue: Isola di San Servolo

 

CYPRUS (Republic of)

Christoforos Savva: Untimely, Again

Commissioner: Louli Michaelidou. Curator: Jacopo Crivelli Visconti. Exhibitor: Christoforos Savva.

Venue: Associazione Culturale Spiazzi, Castello 3865

 

CZECH (Republic) and SLOVAK (Republic)

Stanislav Kolíbal. Former Uncertain Indicated

Commissioner: Adam Budak, National Gallery Prague. Curator: Dieter Bogner.

Exhibitor: Stanislav Kolibal.

Venue: Giardini

 

DOMINICAN (Republic) *

Naturaleza y biodiversidad en la República Dominicana

Commissioner: Eduardo Selman, Minister of Culture. Curators: Marianne de Tolentino, Simone Pieralice, Giovanni Verza. Exhibitors: Dario Oleaga, Ezequiel Taveras, Hulda Guzmán, Julio Valdez, Miguel Ramirez, Rita Bertrecchi, Nicola Pica, Marraffa & Casciotti.

Venue: Palazzo Albrizzi Capello, Cannaregio 4118 – Sala della Pace

 

EGYPT

khnum across times witness

Commissioner: Ministry of Culture. Curator: Ahmed Chiha.

Exhibitors: Islam Abdullah, Ahmed Chiha, Ahmed Abdel Karim.

Venue: Giardini

 

ESTONIA

Birth V

Commissioner: Maria Arusoo, Centre of Contemporary Arts of Estonia. Curators: Andrew Berardini, Irene Campolmi, Sarah Lucas, Tamara Luuk. Exhibitor: Kris Lemsalu.

Venue: c/o Legno & Legno, Giudecca 211

 

FINLAND (Alvar Aalto Pavilion)

A Greater Miracle of Perception

Commissioner: Raija Koli, Director Frame Contemporary Art Finland.

Curators: Giovanna Esposito Yussif, Bonaventure Soh Bejeng Ndikung, Christopher Wessels. Exhibitors: Miracle Workers Collective (Maryan Abdulkarim, Khadar Ahmed, Hassan Blasim, Giovanna Esposito Yussif, Sonya Lindfors, Bonaventure Soh Bejeng Ndikung, Outi Pieski, Leena Pukki, Lorenzo Sandoval, Martta Tuomaala, Christopher L. Thomas, Christopher Wessels, Suvi West).

Venue: Giardini

 

FRANCE

Deep see blue surrounding you / Vois ce bleu profond te fondre

Commissioner: Institut français with the Ministry for Europe and Foreign Affairs and the Ministry of Culture. Curator: Martha Kirszenbaum. Exhibitor: Laure Prouvost.

Venue: Giardini

 

GEORGIA

REARMIRRORVIEW, Simulation is Simulation, is Simulation, is Simulation

Commissioner: Ana Riaboshenko. Curator: Margot Norton. Exhibitor: Anna K.E.

Venue: Arsenale

 

GERMANY

Commissioner: ifa (Institut für Auslandsbeziehungen) on behalf of the Federal Foreign Office, Germany. Curator: Franciska Zólyom. Exhibitor: Natascha Süder Happelmann.

Venue: Giardini

 

GHANA ***

Ghana Freedom

Commissioner: Ministry of Tourism, Arts and Culture. Curator: Nana Oforiatta Ayim.

Exhibitors: Felicia Abban, John Akomfrah, El Anatsui, Lynette Yiadom Boakye, Ibrahim Mahama, Selasi Awusi Sosu.

Venue: Arsenale

 

GREAT BRITAIN

Cathy Wilkes

Commissioner: Emma Dexter. Curator: Zoe Whitley. Exhibitor: Cathy Wilkes.

Venue: Giardini

 

GREECE

Mr Stigl

Commissioner: Syrago Tsiara (Deputy Director of the Contemporary Art Museum - Metropolitan Organization of Museums of Visual Arts of Thessaloniki - MOMus).

Curator: Katerina Tselou. Exhibitors: Panos Charalambous, Eva Stefani, Zafos Xagoraris.

Venue: Giardini

 

GRENADA

Epic Memory

Commissioner: Susan Mains. Curator: Daniele Radini Tedeschi.

Exhibitors: Amy Cannestra, Billy Gerard Frank, Dave Lewis, Shervone Neckles, Franco Rota Candiani, Roberto Miniati, CRS avant-garde.

Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118

 

GUATEMALA

Interesting State

Commissioner: Elder de Jesús Súchite Vargas, Minister of Culture and Sports of Guatemala. Curator: Stefania Pieralice. Exhibitors: Elsie Wunderlich, Marco Manzo.

Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118

 

HAITI

THE SPECTACLE OF TRAGEDY

Commissioner: Ministry of Culture and Communication.

Curator: Giscard Bouchotte. Exhibitor: Jean Ulrick Désert.

Venue: Circolo Ufficiali Marina, Calle Seconda de la Fava, Castello 2168

 

HUNGARY

Imaginary Cameras

Commissioner: Julia Fabényi, Museo Ludwig – Museo d’arte contemporanea, Budapest.

Curator: Zsuzsanna Szegedy-Maszák. Exhibitor: Tamás Waliczky.

Venue: Giardini

 

ICELAND

Chromo Sapiens – Hrafnhildur Arnardóttir / Shoplifter

Commissioner: Eiríkur Þorláksson, Icelandic Ministry of Education, Science and Culture.

Curator: Birta Gudjónsdóttir. Exhibitor: Hrafnhildur Arnardóttir / Shoplifter.

Venue: Spazio Punch, Giudecca 800

 

INDIA

Our time for a future caring

Commissioner: Adwaita Gadanayak National Gallery of Modern Art.

Curator: Roobina Karode, Director & Chief Curator, Kiran Nadar Museum of Art. Exhibitors: Atul Dodiya, Ashim Purkayastha, GR Iranna, Jitish Kallat, Nandalal Bose, Rummana Hussain, Shakuntala Kulkarni.

Venue: Arsenale

 

INDONESIA

Lost Verses

Commissioner: Ricky Pesik & Diana Nazir, Indonesian Agency for Creative Economy.

Curator: Asmudjo Jono Irianto. Exhibitors: Handiwirman Saputra and Syagini Ratna Wulan.

Venue: Arsenale

 

IRAN (Islamic Republic of)

of being and singing

Commissioner: Hadi Mozafari, General Manager of Visual Arts Administration of Islamic Republic of Iran. Curator: Ali Bakhtiari.

Exhibitors: Reza Lavassani, Samira Alikhanzadeh, Ali Meer Azimi.

Venue: Fondaco Marcello, San Marco 3415

 

IRAQ

Fatherland

Commissioner: Fondazione Ruya. Curators: Tamara Chalabi, Paolo Colombo.

Exhibitor: Serwan Baran.

Venue: Ca’ del Duca, Corte del Duca Sforza, San Marco 3052

 

IRELAND

The Shrinking Universe

Commissioner: Culture Ireland. Curator: Mary Cremin. Exhibitor: Eva Rothschild.

Venue: Arsenale

 

ISRAEL

Field Hospital X

Commissioner: Michael Gov, Arad Turgeman. Curator: Avi Lubin. Exhibitor: Aya Ben Ron.

Venue: Giardini

 

ITALY

Commissioner: Federica Galloni, Direttore Generale Arte e Architettura Contemporanee e Periferie Urbane, Ministero dei Beni e delle Attività Culturali. Curator: Milovan Farronato.

Exhibitors: Enrico David, Liliana Moro, Chiara Fumai.

Venue: Padiglione Italia, Tese delle Vergini, Arsenale

 

IVORY COAST

The Open Shadows of Memory

Commissioner: Henri Nkoumo. Curator: Massimo Scaringella. Exhibitors: Ernest Dükü, Ananias Leki Dago, Valérie Oka, Tong Yanrunan.

Venue: Castello Gallery, Castello 1636/A

 

JAPAN

Cosmo-Eggs

Commissioner: The Japan Foundation. Curator: Hiroyuki Hattori. Exhibitors: Motoyuki Shitamichi, Taro Yasuno, Toshiaki Ishikura, Fuminori Nousaku.

Venue: Giardini

 

KIRIBATI

Pacific Time - Time Flies

Commissioner: Pelea Tehumu, Ministry of Internal Affairs. Curators: Kautu Tabaka, Nina Tepes. Exhibitors: Kaeka Michael Betero, Daniela Danica Tepes, Kairaken Betio Group; Teroloang Borouea, Neneia Takoikoi, Tineta Timirau, Teeti Aaloa, Kenneth Ioane, Kaumai Kaoma, Runita Rabwaa, Obeta Taia, Tiribo Kobaua, Tamuera Tebebe, Rairauea Rue, Teuea Kabunare, Tokintekai Ekentetake, Katanuti Francis, Mikaere Tebwebwe, Terita Itinikarawa, Kaeua Kobaua, Raatu Tiuteke, Kaeriti Baanga, Ioanna Francis, Temarewe Banaan, Aanamaria Toom, Einako Temewi, Nimei Itinikarawa, Teniteiti Mikaere, Aanibo Bwatanita, Arin Tikiraua.

Venue: European Cultural Centre, Palazzo Mora, Strada Nuova 3659

 

KOREA (Republic of)

History Has Failed Us, but No Matter

Commissioner: Arts Council Korea. Curator: Hyunjin Kim. Exhibitors: Hwayeon Nam, siren eun young jung, Jane Jin Kaisen.

Venue: Giardini

 

KOSOVO (Republic of)

Family Album

Commissioner: Arta Agani. Curator: Vincent Honore. Exhibitor: Alban Muja.

Venue: Arsenale

 

LATVIA

Saules Suns

Commissioner: Dace Vilsone. Curators: Valentinas Klimašauskas, Inga Lāce.

Exhibitor: Daiga Grantiņa.

Venue: Arsenale

 

LITHUANIA

Sun & Sea (Marina)

Commissioner: Rasa Antanavičıūte. Curator: Lucia Pietroiusti.

Exhibitors: Lina Lapelyte, Vaiva Grainyte and Rugile Barzdziukaite.

Venue: Magazzino No. 42, Marina Militare, Arsenale di Venezia, Fondamenta Case Nuove 2738c

 

LUXEMBOURG (Grand Duchy of)

Written by Water

Commissioner: Ministry of Culture of Luxembourg.

Curator: Kevin Muhlen. Exhibitor: Marco Godinho.

Venue: Arsenale

 

NORTH MACEDONIA (Republic of )

Subversion to Red

Commissioner: Mira Gakina. Curator: Jovanka Popova. Exhibitor: Nada Prlja.

Venue: Palazzo Rota Ivancich, Castello 4421

 

MADAGASCAR ***

I have forgotten the night

Commissioner: Ministry of Communication and Culture of the Republic of Madagascar. Curators: Rina Ralay Ranaivo, Emmanuel Daydé.

Exhibitor: Joël Andrianomearisoa.

Venue: Arsenale

 

MALAYSIA ***

Holding Up a Mirror

Commissioner: Professor Dato’ Dr. Mohamed Najib Dawa, Director General of Balai Seni Negara (National Art Gallery of Malaysia), Ministry of Tourism, Arts and Culture of Malaysia. Curator: Lim Wei-Ling. Exhibitors: Anurendra Jegadeva, H.H.Lim, Ivan Lam, Zulkifli Yusoff.

Venue: Palazzo Malipiero, San Marco 3198

 

MALTA

Maleth / Haven / Port - Heterotopias of Evocation

Commissioner: Arts Council Malta. Curator: Hesperia Iliadou Suppiej. Exhibitors: Vince Briffa, Klitsa Antoniou, Trevor Borg.

Venue: Arsenale

 

MEXICO

Actos de Dios / Acts of God

Commissioner: Gabriela Gil Verenzuela. Curator: Magalí Arriola. Exhibitor: Pablo Vargas Lugo.

Venue: Arsenale

 

MONGOLIA

A Temporality

Commissioner: The Ministry of Education, Culture, Science and Sports of Mongolia.

Curator: Gantuya Badamgarav. Exhibitor: Jantsankhorol Erdenebayar with the participation of traditional Mongolian throat singers and Carsten Nicolai (Alva Noto).

Venue: Bruchium Fermentum, Calle del Forno, Castello 2093-2090

 

MONTENEGRO

Odiseja / An Odyssey

Commissioner: Nenad Šoškić. Curator: Petrica Duletić. Exhibitor: Vesko Gagović.

Venue: Palazzo Malipiero (piano terra), San Marco 3078-3079/A, Ramo Malipiero

 

MOZAMBIQUE (Republic of)

The Past, the Present and The in Between

Commissioner: Domingos do Rosário Artur. Curator: Lidija K. Khachatourian.

Exhibitors: Gonçalo Mabunda, Mauro Pinto, Filipe Branquinho.

Venue: Palazzo Mora, Strada Nova, 3659

 

NETHERLANDS (The)

The Measurement of Presence

Commissioner: Mondriaan Fund. Curator: Benno Tempel. Exhibitors: Iris Kensmil, Remy Jungerman. Venue: Giardini

 

NEW ZEALAND

Post hoc

Commissioner: Dame Jenny Gibbs. Curators: Zara Stanhope and Chris Sharp.

Exhibitor: Dane Mitchell.

Venue: Palazzina Canonica, Riva Sette Martiri

 

NORDIC COUNTRIES (FINLAND - NORWAY - SWEDEN)

Weather Report: Forecasting Future

Commissioner: Leevi Haapala / Museum of Contemporary Art Kiasma / Finnish National Gallery, Katya García-Antón / Office for Contemporary Art Norway (OCA), Ann-Sofi Noring / Moderna Museet. Curators: Leevi Haapala, Piia Oksanen. Exhibitors: Ane Graff, Ingela Ihrman, nabbteeri.

Venue: Giardini

 

PAKISTAN ***

Manora Field Notes

Commissioner: Syed Jamal Shah, Pakistan National Council of the Arts, PNCA.

Curator: Zahra Khan. Exhibitor: Naiza Khan.

Venue: Tanarte, Castello 2109/A and Spazio Tana, Castello 2110-2111

 

PERU

“Indios Antropófagos”. A butterfly Garden in the (Urban) Jungle

Commissioner: Armando Andrade de Lucio. Curator: Gustavo Buntinx. Exhibitors: Christian Bendayán, Otto Michael (1859-1934), Manuel Rodríguez Lira (1874-1933), Segundo Candiño Rodríguez, Anonymous popular artificer.

Venue: Arsenale

 

PHILIPPINES

Island Weather

Commissioner: National Commission for Culture and the Arts (NCCA) / Virgilio S. Almario.

Curator: Tessa Maria T. Guazon. Exhibitor: Mark O. Justiniani.

Venue: Arsenale

 

POLAND

Flight

Commissioner: Hanna Wroblewska. Curators: Łukasz Mojsak, Łukasz Ronduda.

Exhibitor: Roman Stańczak.

Venue: Giardini

 

PORTUGAL

a seam, a surface, a hinge or a knot

Commissioner: Directorate-General for the Arts. Curator: João Ribas. Exhibitor: Leonor Antunes.

Venue: Fondazione Ugo e Olga Levi Onlus, Palazzo Giustinian Lolin, San Marco 2893

 

ROMANIA

Unfinished Conversations on the Weight of Absence

Commissioner: Attila Kim. Curator: Cristian Nae. Exhibitor: Belu-Simion Făinaru, Dan Mihălțianu, Miklós Onucsán.

Venues: Giardini and New Gallery of the Romanian Institute for Culture and Humanistic Research (Campo Santa Fosca, Palazzo Correr, Cannaregio 2214)

 

RUSSIA

Lc 15:11-32

Commissioner: Semyon Mikhailovsky. Curator: Mikhail Piotrovsky. Exhibitors: Alexander Sokurov, Alexander Shishkin-Hokusai.

Venue: Giardini

 

SAN MARINO (Republic of)

Friendship Project International

Commissioner: Vito Giuseppe Testaj. Curator: Vincenzo Sanfo. Exhibitors: Gisella Battistini, Martina Conti, Gabriele Gambuti, Giovanna Fra, Thea Tini, Chen Chengwei, Li Geng, Dario Ortiz, Tang Shuangning, Jens W. Beyrich, Xing Junqin, Xu de Qi, Sebastián.

Venue: Palazzo Bollani, Castello 3647; Complesso dell’Ospedaletto, Castello 6691

 

SAUDI ARABIA

After Illusion بعد توهم

Commissioner: Misk Art Insitute. Curator: Eiman Elgibreen. Exhibitor: Zahrah Al Ghamdi.

Venue: Arsenale

 

SERBIA

Regaining Memory Loss

Commissioner: Vladislav Scepanovic. Curator: Nicoletta Lambertucci. Exhibitor: Djordje Ozbolt.

Venue: Giardini

 

SEYCHELLES (Republic of)

Drift

Commissioner: Galen Bresson. Curator: Martin Kennedy.

Exhibitors: George Camille and Daniel Dodin.

Venue: Palazzo Mora, Strada Nova, 3659

 

SINGAPORE

Music For Everyone: Variations on a Theme

Commissioner: Rosa Daniel, Chief Executive Officer, National Arts Council (NAC).

Curator: Michelle Ho. Exhibitor: Song-Ming Ang.

Venue: Arsenale

 

SLOVENIA (Republic of)

Here we go again... SYSTEM 317

A situation of the resolution series

Commissioner: Zdenka Badovinac, Director Moderna galerija / Museum of Modern Art, Ljubljana. Curator: Igor Španjol. Exhibitor: Marko Peljhan.

Venue: Arsenale

 

SOUTH AFRICA (Republic of)

The stronger we become

Commissioner: Titi Nxumalo, Console Generale. Curators: Nkule Mabaso, Nomusa Makhubu. Exhibitors: Dineo Seshee Bopape, Tracey Rose, Mawande Ka Zenzile.

Venue: Arsenale

 

SPAIN

Perforated by Itziar Okariz and Sergio Prego

Commissioner: AECID Agencia Espanola de Cooperacion Internacional Para El Desarrollo. Ministerio de Asuntos Exteriores, Union Europea y Cooperacion. Curator: Peio Aguirre.

Exhibitors: Itziar Okariz, Sergio Prego.

Venue: Giardini

 

SWITZERLAND

Moving Backwards

Commissioner: Swiss Arts Council Pro-Helvetia: Marianne Burki, Sandi Paucic, Rachele Giudici Legittimo. Curator: Charlotte Laubard. Exhibitors: Pauline Boudry/Renate Lorenz.

Venue: Giardini

 

SYRIAN ARAB (Republic)

Syrian Civilization is still alive

Commissioner/Curator: Emad Kashout. Exhibitors: Abdalah Abouassali, Giacomo Braglia, Ibrahim Al Hamid, Chen Huasha, Saed Salloum, Xie Tian, Saad Yagan, Primo Vanadia, Giuseppe Biasio.

Venue: Isola di San Servolo; Chiesetta della Misericordia, Campo dell'Abbazia, Cannaregio

 

THAILAND

The Revolving World

Commissioner: Vimolluck Chuchat, Office of Contemporary Art and Culture, Ministry of Culture, Thailand. Curator: Tawatchai Somkong. Exhibitors: Somsak Chowtadapong, Panya Vijinthanasarn, Krit Ngamsom.

Venue: In Paradiso 1260, Castello

 

TURKEY

We, Elsewhere

Commissioner: IKSV. Curator: Zeynep Öz. Exhibitor: İnci Eviner.

Venue: Arsenale

 

UKRAINE

The Shadow of Dream cast upon Giardini della Biennale

Commissioner: Svitlana Fomenko, First Deputy Minister of Culture. Curators: Open group (Yurii Biley, Pavlo Kovach, Stanislav Turina, Anton Varga). Exhibitors: all artists of Ukraine.

Venue: Arsenale

 

UNITED ARAB EMIRATES

Nujoom Alghanem: Passage

Commissioner: Salama bint Hamdan Al Nahyan Foundation.

Curators: Sam Bardaouil and Till Fellrath. Exhibitor: Nujoom Alghanem.

Venue: Arsenale

 

UNITED STATES OF AMERICA

Martin Puryear: Liberty

Commissioner/Curator: Brooke Kamin Rapaport. Exhibitor: Martin Puryear.

Venue: Giardini

 

URUGUAY

“La casa empática”

Commissioner: Alejandro Denes. Curators: David Armengol, Patricia Bentancur.

Exhibitor: Yamandú Canosa.

Venue: Giardini

 

VENEZUELA (Bolivarian Republic of)

Metaphore of three windows

Venezuela: identity in time and space

Commissioner/Curator: Oscar Sottillo Meneses. Exhibitors: Natalie Rocha Capiello, Ricardo García, Gabriel López, Nelson Rangelosky.

Venue: Giardini

 

ZIMBABWE (Republic of)

Soko Risina Musoro (The Tale without a Head)

Commissioner: Doreen Sibanda, National Gallery of Zimbabwe. Curator: Raphael Chikukwa. Exhibitors: Georgina Maxim, Neville Starling , Cosmas Shiridzinomwa, Kudzanai Violet Hwami.

Venue: Istituto Provinciale per L’infanzia “Santa Maria Della Pietà”. Calle della Pietà Castello n. 3701 (ground floor)

 

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invited artist :

Lawrence Abu Hamdan (Jordan / Beirut)

Njideka Akunyili Crosby (Nigeria / USA),Halil Altındere (Turkey),Michael Armitage (Kenya / UK),Korakrit Arunanondchai (Thailand / USA),Alex Gvojic (USA),Ed Atkins (UK / Germany / Denmark),Tarek Atoui (Lebanon / France),

Darren Bader (USA),Nairy Baghramian (Iran / Germany,

Neïl Beloufa (France),Alexandra Bircken (Germany),Carol Bove (Switzerland / USA,

Christoph Büchel (Switzerland / Iceland,

Ludovica Carbotta (Italy / Barcelona),Antoine Catala (France / USA),Ian Cheng (USA),George Condo (USA

Alex Da Corte (USA),Jesse Darling (UK / Germany),Stan Douglas (Canada),Jimmie Durham (USA / Germany),Nicole Eisenman (France / USA,

Haris Epaminonda (Cyprus / Germany),Lara Favaretto (Italy),Cyprien Gaillard (France / Germany), Gill (India),Dominique Gonzalez-Foerster (France),Shilpa Gupta (India),Soham Gupta (India),Martine Gutierrez (USA),Rula Halawani (Palestine),Anthea Hamilton (UK),Jeppe Hein (Denmark / Germany),Anthony Hernandez (USA),Ryoji Ikeda (Japan / France),Arthur Jafa (USA),Cameron Jamie (USA / France / Germany),Kahlil Joseph (USA),Zhanna Kadyrova (Ukraine),Suki Seokyeong Kang (South Korea),Mari Katayama (Japan),Lee Bul (South Korea),Liu Wei (China),Maria Loboda (Poland / Germany),Andreas Lolis (Albania / Greece),Christian Marclay (USA / London),Teresa Margolles (Mexico / Spain),Julie Mehretu (Ethiopia / USA),Ad Minoliti (Argentina),Jean-Luc Moulène (France),Zanele Muholi (South Africa),Jill Mulleady (Uruguay / USA),Ulrike Müller (Austria / USA),Nabuqi (China),Otobong Nkanga (Nigeria / Belgium),Khyentse Norbu (Bhutan / India),Frida Orupabo (Norway),Jon Rafman (Canada).Gabriel Rico (Mexico),Handiwirman Saputra (Indonesia),Tomás Saraceno (Argentina / Germany),Augustas Serapinas (Lithuania),Avery Singer (USA),Slavs and Tatars (Germany),Michael E. Smith (USA),Hito Steyerl (Germany),Tavares Strachan (Bahamas / USA),Sun Yuan and Peng Yu (China),Henry Taylor (USA),Rosemarie Trockel (Germany),Kaari Upson (USA),Andra Ursuţa (Romania),Danh Vō (Vietnam / Mexico),Kemang Wa Lehulere (South Africa),Apichatpong Weerasethakul (Thailand) and Tsuyoshi Hisakado (Japan),Margaret Wertheim and Christine Wertheim (Australia / USA) ,Anicka Yi (South Korea/ USA),Yin Xiuzhen (China),Yu Ji (China / Austria)

  

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other Biennale :(Biennials ) :Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale

Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art

  

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No reproduction of this image is allowed without prior permission of the photographer. Ninguna reproducción de esta imagen está permitida sin el previo permiso del fotógrafo.

 

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Dualism in cosmology is the moral, or spiritual belief that two fundamental concepts exist, which often oppose each other. It is an umbrella term that covers a diversity of views from various religions, including both traditional religions and scriptural religions.

 

Moral dualism is the belief of the great complement of, or conflict between, the benevolent and the malevolent. It simply implies that there are two moral opposites at work, independent of any interpretation of what might be "moral" and independent of how these may be represented. Moral opposites might, for example, exist in a worldview which has one god, more than one god, or none. By contrast, duotheism, bitheism or ditheism implies (at least) two gods. While bitheism implies harmony, ditheism implies rivalry and opposition, such as between good and evil, or light and dark, or summer and winter. For example, a ditheistic system could be one in which one god is a creator, and the other a destroyer. In theology, dualism can also refer to the relationship between the deity and creation or the deity and the universe (see theistic dualism). This form of dualism is a belief shared in certain traditions of Christianity and Hinduism.[1] Alternatively, in ontological dualism, the world is divided into two overarching categories. The opposition and combination of the universe's two basic principles of yin and yang is a large part of Chinese philosophy, and is an important feature of Taoism. It is also discussed in Confucianism.

 

Many myths and creation motifs with dualistic cosmologies have been described in ethnographic and anthropological literature. These motifs conceive the world as being created, organized, or influenced by two demiurges, culture heroes, or other mythological beings, who either compete with each other or have a complementary function in creating, arranging or influencing the world. There is a huge diversity of such cosmologies. In some cases, such as among the Chukchi, the beings collaborate rather than competing, and contribute to the creation in a coequal way. In many other instances the two beings are not of the same importance or power (sometimes, one of them is even characterized as gullible). Sometimes they can be contrasted as good versus evil.[2] They may be often believed to be twins or at least brothers.[3][4] Dualistic motifs in mythologies can be observed in all inhabited continents. Zolotaryov concludes that they cannot be explained by diffusion or borrowing, but are rather of convergent origin: they are related to a dualistic organization of society (moieties); in some cultures, this social organization may have ceased to exist, but mythology preserves the memory in more and more disguised ways.[5]

Moral dualism[edit]

 

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Moral dualism is the belief of the great complement or conflict between the benevolent and the malevolent. Like ditheism/bitheism (see below), moral dualism does not imply the absence of monist or monotheistic principles. Moral dualism simply implies that there are two moral opposites at work, independent of any interpretation of what might be "moral" and—unlike ditheism/bitheism—independent of how these may be represented.

 

For example, Mazdaism (Mazdean Zoroastrianism) is both dualistic and monotheistic (but not monist by definition) since in that philosophy God—the Creator—is purely good, and the antithesis—which is also uncreated–is an absolute one. Zurvanism (Zurvanite Zoroastrianism), Manichaeism, and Mandaeism are representative of dualistic and monist philosophies since each has a supreme and transcendental First Principle from which the two equal-but-opposite entities then emanate. This is also true for the lesser-known Christian gnostic religions, such as Bogomils, Catharism, and so on. More complex forms of monist dualism also exist, for instance in Hermeticism, where Nous "thought"—that is described to have created man—brings forth both good and evil, dependent on interpretation, whether it receives prompting from the God or from the Demon. Duality with pluralism is considered a logical fallacy.

 

History[edit]

Moral dualism began as a theological belief. Dualism was first seen implicitly in Egyptian religious beliefs by the contrast of the gods Set (disorder, death) and Osiris (order, life).[6] The first explicit conception of dualism came from the Ancient Persian religion of Zoroastrianism around the mid-fifth century BC. Zoroastrianism is a monotheistic religion that believes that Ahura Mazda is the eternal creator of all good things. Any violations of Ahura Mazda's order arise from druj, which is everything uncreated. From this comes a significant choice for humans to make. Either they fully participate in human life for Ahura Mazda or they do not and give druj power. Personal dualism is even more distinct in the beliefs of later religions.

 

The religious dualism of Christianity between good and evil is not a perfect dualism as God (good) will inevitably destroy Satan (evil). Early Christian dualism is largely based on Platonic Dualism (See: Neoplatonism and Christianity). There is also a personal dualism in Christianity with a soul-body distinction based on the idea of an immaterial Christian soul.[7]

 

Duotheism, bitheism, ditheism[edit]

When used with regards to multiple gods, dualism may refer to duotheism, bitheism, or ditheism. Although ditheism/bitheism imply moral dualism, they are not equivalent: ditheism/bitheism implies (at least) two gods, while moral dualism does not necessarily imply theism (theos = god) at all.

 

Both bitheism and ditheism imply a belief in two equally powerful gods with complementary or antonymous properties; however, while bitheism implies harmony, ditheism implies rivalry and opposition, such as between good and evil, bright and dark, or summer and winter. For example, a ditheistic system would be one in which one god is creative, the other is destructive (cf. theodicy). In the original conception of Zoroastrianism, for example, Ahura Mazda was the spirit of ultimate good, while Ahriman (Angra Mainyu) was the spirit of ultimate evil.

 

In a bitheistic system, by contrast, where the two deities are not in conflict or opposition, one could be male and the other female (cf. duotheism[clarification needed]). One well-known example of a bitheistic or duotheistic theology based on gender polarity is found in the neopagan religion of Wicca. In Wicca, dualism is represented in the belief of a god and a goddess as a dual partnership in ruling the universe. This is centered on the worship of a divine couple, the Moon Goddess and the Horned God, who are regarded as lovers. However, there is also a ditheistic theme within traditional Wicca, as the Horned God has dual aspects of bright and dark - relating to day/night, summer/winter - expressed as the Oak King and the Holly King, who in Wiccan myth and ritual are said to engage in battle twice a year for the hand of the Goddess, resulting in the changing seasons. (Within Wicca, bright and dark do not correspond to notions of "good" and "evil" but are aspects of the natural world, much like yin and yang in Taoism.)

 

Radical and mitigated dualism[edit]

Radical Dualism – or absolute Dualism which posits two co-equal divine forces.[8] Manichaeism conceives of two previously coexistent realms of light and darkness which become embroiled in conflict, owing to the chaotic actions of the latter. Subsequently, certain elements of the light became entrapped within darkness; the purpose of material creation is to enact the slow process of extraction of these individual elements, at the end of which the kingdom of light will prevail over darkness. Manicheanism likely inherits this dualistic mythology from Zoroastrianism, in which the eternal spirit Ahura Mazda is opposed by his antithesis, Angra Mainyu; the two are engaged in a cosmic struggle, the conclusion of which will likewise see Ahura Mazda triumphant. 'The Hymn of the Pearl' included the belief that the material world corresponds to some sort of malevolent intoxication brought about by the powers of darkness to keep elements of the light trapped inside it in a state of drunken distraction.

Mitigated Dualism – is where one of the two principles is in some way inferior to the other. Such classical Gnostic movements as the Sethians conceived of the material world as being created by a lesser divinity than the true God that was the object of their devotion. The spiritual world is conceived of as being radically different from the material world, co-extensive with the true God, and the true home of certain enlightened members of humanity; thus, these systems were expressive of a feeling of acute alienation within the world, and their resultant aim was to allow the soul to escape the constraints presented by the physical realm.[8]

However, bitheistic and ditheistic principles are not always so easily contrastable, for instance in a system where one god is the representative of summer and drought and the other of winter and rain/fertility (cf. the mythology of Persephone). Marcionism, an early Christian sect, held that the Old and New Testaments were the work of two opposing gods: both were First Principles, but of different religions.[9]

 

Theistic dualism[edit]

In theology, dualism can refer to the relationship between God and creation or God and the universe. This form of dualism is a belief shared in certain traditions of Christianity and Hinduism.[10][1]

 

In Christianity[edit]

 

The Cathars being expelled from Carcassonne in 1209. The Cathars were denounced as heretics by the Roman Catholic Church for their dualist beliefs.

The dualism between God and Creation has existed as a central belief in multiple historical sects and traditions of Christianity, including Marcionism, Catharism, Paulicianism, and other forms of Gnostic Christianity. Christian dualism refers to the belief that God and creation are distinct, but interrelated through an indivisible bond.[1] However, Gnosticism is a diverse, syncretistic religious movement consisting of various belief systems generally united in a belief in a distinction between a supreme, transcendent God and a blind, evil demiurge responsible for creating the material universe, thereby trapping the divine spark within matter.[11]

 

In sects like the Cathars and the Paulicians, this is a dualism between the material world, created by an evil god, and a moral god. Historians divide Christian dualism into absolute dualism, which held that the good and evil gods were equally powerful, and mitigated dualism, which held that material evil was subordinate to the spiritual good.[12] The belief, by Christian theologians who adhere to a libertarian or compatibilist view of free will, that free will separates humankind from God has also been characterized as a form of dualism.[1] The theologian Leroy Stephens Rouner compares the dualism of Christianity with the dualism that exists in Zoroastrianism and the Samkhya tradition of Hinduism. The theological use of the word dualism dates back to 1700, in a book that describes the dualism between good and evil.[1]

 

The tolerance of dualism ranges widely among the different Christian traditions. As a monotheistic religion, the conflict between dualism and monism has existed in Christianity since its inception.[13] The 1912 Catholic Encyclopedia describes that, in the Catholic Church, "the dualistic hypothesis of an eternal world existing side by side with God was of course rejected" by the thirteenth century, but mind–body dualism was not.[14] The problem of evil is difficult to reconcile with absolute monism, and has prompted some Christian sects to veer towards dualism. Gnostic forms of Christianity were more dualistic, and some Gnostic traditions posited that the Devil was separate from God as an independent deity.[13] The Christian dualists of the Byzantine Empire, the Paulicians, were seen as Manichean heretics by Byzantine theologians. This tradition of Christian dualism, founded by Constantine-Silvanus, argued that the universe was created through evil and separate from a moral God.[15]

 

The Cathars, a Christian sect in southern France, believed that there was a dualism between two gods, one representing good and the other representing evil. Whether or not the Cathari possessed direct historical influence from ancient Gnosticism is a matter of dispute, as the basic conceptions of Gnostic cosmology are to be found in Cathar beliefs (most distinctly in their notion of a lesser creator god), though unlike the second century Gnostics, they did not apparently place any special relevance upon knowledge (gnosis) as an effective salvific force. In any case, the Roman Catholic Church denounced the Cathars as heretics, and sought to crush the movement in the 13th century. The Albigensian Crusade was initiated by Pope Innocent III in 1208 to remove the Cathars from Languedoc in France, where they were known as Albigesians. The Inquisition, which began in 1233 under Pope Gregory IX, also targeted the Cathars.[16]

 

In Hinduism[edit]

The Dvaita Vedanta school of Indian philosophy espouses a dualism between God and the universe by theorizing the existence of two separate realities. The first and the more important reality is that of Shiva or Shakti or Vishnu or Brahman. Shiva or Shakti or Vishnu is the supreme Self, God, the absolute truth of the universe, the independent reality. The second reality is that of dependent but equally real universe that exists with its own separate essence. Everything that is composed of the second reality, such as individual soul (Jiva), matter, etc. exist with their own separate reality. The distinguishing factor of this philosophy as opposed to Advaita Vedanta (monistic conclusion of Vedas) is that God takes on a personal role and is seen as a real eternal entity that governs and controls the universe.[17][better source needed] Because the existence of individuals is grounded in the divine, they are depicted as reflections, images or even shadows of the divine, but never in any way identical with the divine. Salvation therefore is described as the realization that all finite reality is essentially dependent on the Supreme.[18]

 

Ontological dualism[edit]

 

The yin and yang symbolizes the duality in nature and all things in the Taoist religion.

Alternatively, dualism can mean the tendency of humans to perceive and understand the world as being divided into two overarching categories. In this sense, it is dualistic when one perceives a tree as a thing separate from everything surrounding it. This form of ontological dualism exists in Taoism and Confucianism, beliefs that divide the universe into the complementary oppositions of yin and yang.[19] In traditions such as classical Hinduism (Samkhya, Yoga, Vaisheshika and the later Vedanta schools, which accepted the theory of Gunas), Zen Buddhism or Islamic Sufism, a key to enlightenment is "transcending" this sort of dualistic thinking, without merely substituting dualism with monism or pluralism.

 

In Chinese philosophy[edit]

 

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The opposition and combination of the universe's two basic principles of yin and yang is a large part of Chinese philosophy, and is an important feature of Taoism, both as a philosophy and as a religion, although the concept developed much earlier. Some argue that yin and yang were originally an earth and sky god, respectively.[20] As one of the oldest principles in Chinese philosophy, yin and yang are also discussed in Confucianism, but to a lesser extent.

 

Some of the common associations with yang and yin, respectively, are: male and female, light and dark, active and passive, motion and stillness. Some scholars believe that the two ideas may have originally referred to two opposite sides of a mountain, facing towards and away from the sun.[20] The yin and yang symbol in actuality has very little to do with Western dualism; instead it represents the philosophy of balance, where two opposites co-exist in harmony and are able to transmute into each other. In the yin-yang symbol there is a dot of yin in yang and a dot of yang in yin. In Taoism, this symbolizes the inter-connectedness of the opposite forces as different aspects of Tao, the First Principle. Contrast is needed to create a distinguishable reality, without which we would experience nothingness. Therefore, the independent principles of yin and yang are actually dependent on one another for each other's distinguishable existence.

 

The complementary dualistic concept seen in yin and yang represent the reciprocal interaction throughout nature, related to a feedback loop, where opposing forces do not exchange in opposition but instead exchange reciprocally to promote stabilization similar to homeostasis. An underlying principle in Taoism states that within every independent entity lies a part of its opposite. Within sickness lies health and vice versa. This is because all opposites are manifestations of the single Tao, and are therefore not independent from one another, but rather a variation of the same unifying force throughout all of nature.

 

In traditional religions[edit]

Samoyed peoples[edit]

In a Nenets myth, Num and Nga collaborate and compete with each other, creating land,[21] there are also other myths about competing-collaborating demiurges.[22]

 

Comparative studies of Kets and neighboring peoples[edit]

Among others, also dualistic myths were investigated in researches which tried to compare the mythologies of Siberian peoples and settle the problem of their origins. Vyacheslav Ivanov and Vladimir Toporov compared the mythology of Ket people with those of speakers of Uralic languages, assuming in the studies, that there are modelling semiotic systems in the compared mythologies; and they have also made typological comparisons.[23][24] Among others, from possibly Uralic mythological analogies, those of Ob-Ugric peoples[25] and Samoyedic peoples[26] are mentioned. Some other discussed analogies (similar folklore motifs, and purely typological considerations, certain binary pairs in symbolics) may be related to dualistic organization of society—some of such dualistic features can be found at these compared peoples.[27] It must be admitted that, for Kets, neither dualistic organization of society[28] nor cosmological dualism[29] has been researched thoroughly: if such features existed at all, they have either weakened or remained largely undiscovered;[28] although there are some reports on division into two exogamous patrilinear moieties,[30] folklore on conflicts of mythological figures, and also on cooperation of two beings in creating the land:[29] the diving of the water fowl.[31] If we include dualistic cosmologies meant in broad sense, not restricted to certain concrete motifs, then we find that they are much more widespread, they exist not only among some Siberian peoples, but there are examples in each inhabited continent.[32]

 

Chukchi[edit]

A Chukchi myth and its variations report the creation of the world; in some variations, it is achieved by the collaboration of several beings (birds, collaborating in a coequal way; or the creator and the raven, collaborating in a coequal way; or the creator alone, using the birds only as assistants).[33][34]

 

Fuegians[edit]

See also: Fuegians § Spiritual culture

All three Fuegian tribes had dualistic myths about culture heros.[35] The Yámana have dualistic myths about the two [joalox] brothers. They act as culture heroes, and sometimes stand in an antagonistic relation with each other, introducing opposite laws. Their figures can be compared to the Kwanyip-brothers of the Selk'nam.[36] In general, the presence of dualistic myths in two compared cultures does not imply relatedness or diffusion necessarily.[32]

 

en.wikipedia.org/wiki/Dualistic_cosmology

 

In spirituality, nondualism, also called non-duality, means "not two" or "one undivided without a second".[1][2] Nondualism primarily refers to a mature state of consciousness, in which the dichotomy of I-other is "transcended", and awareness is described as "centerless" and "without dichotomies". Although this state of consciousness may seem to appear spontaneous,[note 1] it usually follows prolonged preparation through ascetic or meditative/contemplative practice, which may include ethical injunctions. While the term "nondualism" is derived from Advaita Vedanta, descriptions of nondual consciousness can be found within Hinduism (Turiya, sahaja), Buddhism (emptiness, pariniṣpanna, nature of mind, rigpa), Islam (Wahdat al Wujud, Fanaa, and Haqiqah) and western Christian and neo-Platonic traditions (henosis, mystical union).

 

The Asian ideas of nondualism developed in the Vedic and post-Vedic Upanishadic philosophies around 800 BCE,[3] as well as in the Buddhist traditions.[4] The oldest traces of nondualism in Indian thought are found in the earlier Hindu Upanishads such as Brihadaranyaka Upanishad, as well as other pre-Buddhist Upanishads such as the Chandogya Upanishad, which emphasizes the unity of individual soul called Atman and the Supreme called Brahman. In Hinduism, nondualism has more commonly become associated with the Advaita Vedanta tradition of Adi Shankara.[5]

 

In the Buddhist tradition non-duality is associated with the teachings of emptiness (śūnyatā) and the two truths doctrine, particularly the Madhyamaka teaching of the non-duality of absolute and relative truth,[6][7] and the Yogachara notion of "mind/thought only" (citta-matra) or "representation-only" (vijñaptimātra).[5] These teachings, coupled with the doctrine of Buddha-nature have been influential concepts in the subsequent development of Mahayana Buddhism, not only in India, but also in East Asian and Tibetan Buddhism, most notably in Chán (Zen) and Vajrayana.

 

Western Neo-Platonism is an essential element of both Christian contemplation and mysticism, and of Western esotericism and modern spirituality, especially Unitarianism, Transcendentalism, Universalism and Perennialism.Etymology[edit]

When referring to nondualism, Hinduism generally uses the Sanskrit term Advaita, while Buddhism uses Advaya (Tibetan: gNis-med, Chinese: pu-erh, Japanese: fu-ni).[8]

 

"Advaita" (अद्वैत) is from Sanskrit roots a, not; dvaita, dual, and is usually translated as "nondualism", "nonduality" and "nondual". The term "nondualism" and the term "advaita" from which it originates are polyvalent terms. The English word's origin is the Latin duo meaning "two" prefixed with "non-" meaning "not".

 

"Advaya" (अद्वय) is also a Sanskrit word that means "identity, unique, not two, without a second," and typically refers to the two truths doctrine of Mahayana Buddhism, especially Madhyamaka.

 

One of the earliest uses of the word Advaita is found in verse 4.3.32 of the Brihadaranyaka Upanishad (~800 BCE), and in verses 7 and 12 of the Mandukya Upanishad (variously dated to have been composed between 500 BCE to 200 CE).[9] The term appears in the Brihadaranyaka Upanishad in the section with a discourse of the oneness of Atman (individual soul) and Brahman (universal consciousness), as follows:[10]

 

An ocean is that one seer, without any duality [Advaita]; this is the Brahma-world, O King. Thus did Yajnavalkya teach him. This is his highest goal, this is his highest success, this is his highest world, this is his highest bliss. All other creatures live on a small portion of that bliss.

 

— Brihadaranyaka Upanishad 4.3.32, [11][12][13]

The English term "nondual" was also informed by early translations of the Upanishads in Western languages other than English from 1775. These terms have entered the English language from literal English renderings of "advaita" subsequent to the first wave of English translations of the Upanishads. These translations commenced with the work of Müller (1823–1900), in the monumental Sacred Books of the East (1879).

 

Max Müller rendered "advaita" as "Monism", as have many recent scholars.[14][15][16] However, some scholars state that "advaita" is not really monism.[17]

 

Definitions[edit]

See also: Monism, Mind-body dualism, Dualistic cosmology, and Pluralism (philosophy)

Nondualism is a fuzzy concept, for which many definitions can be found.[note 2]

 

According to Espín and Nickoloff, "nondualism" is the thought in some Hindu, Buddhist and Taoist schools, which, generally speaking:

 

... teaches that the multiplicity of the universe is reducible to one essential reality."[18]

 

However, since there are similar ideas and terms in a wide variety of spiritualities and religions, ancient and modern, no single definition for the English word "nonduality" can suffice, and perhaps it is best to speak of various "nondualities" or theories of nonduality.[19]

 

David Loy, who sees non-duality between subject and object as a common thread in Taoism, Mahayana Buddhism, and Advaita Vedanta,[20][note 3] distinguishes "Five Flavors Of Nonduality":[web 1]

 

The negation of dualistic thinking in pairs of opposites. The Yin-Yang symbol of Taoism symbolises the transcendence of this dualistic way of thinking.[web 1]

Monism, the nonplurality of the world. Although the phenomenal world appears as a plurality of "things", in reality they are "of a single cloth".[web 1]

Advaita, the nondifference of subject and object, or nonduality between subject and object.[web 1]

Advaya, the identity of phenomena and the Absolute, the "nonduality of duality and nonduality",[web 1] c.q. the nonduality of relative and ultimate truth as found in Madhyamaka Buddhism and the two truths doctrine.

Mysticism, a mystical unity between God and man.[web 1]

The idea of nondualism is typically contrasted with dualism, with dualism defined as the view that the universe and the nature of existence consists of two realities, such as the God and the world, or as God and Devil, or as mind and matter, and so on.[23][24]

 

Ideas of nonduality are also taught in some western religions and philosophies, and it has gained attraction and popularity in modern western spirituality and New Age-thinking.[25]

 

Different theories and concepts which can be linked to nonduality are taught in a wide variety of religious traditions. These include:

 

Hinduism:

In the Upanishads, which teach a doctrine that has been interpreted in a nondualistic way, mainly tat tvam asi.[26]

The Advaita Vedanta of Shankara[27][26] which teaches that a single pure consciousness is the only reality, and that the world is unreal (Maya).

Non-dual forms of Hindu Tantra[28] including Kashmira Shaivism[29][28] and the goddess centered Shaktism. Their view is similar to Advaita, but they teach that the world is not unreal, but it is the real manifestation of consciousness.[30]

Forms of Hindu Modernism which mainly teach Advaita and modern Indian saints like Ramana Maharshi and Swami Vivekananda.

Buddhism:

"Shūnyavāda (emptiness view) or the Mādhyamaka school",[31][32] which holds that there is a non-dual relationship (that is, there is no true separation) between conventional truth and ultimate truth, as well as between samsara and nirvana.

"Vijnānavāda (consciousness view) or the Yogācāra school",[31][33] which holds that there is no ultimate perceptual and conceptual division between a subject and its objects, or a cognizer and that which is cognized. It also argues against mind-body dualism, holding that there is only consciousness.

Tathagatagarbha-thought,[33] which holds that all beings have the potential to become Buddhas.

Vajrayana-buddhism,[34] including Tibetan Buddhist traditions of Dzogchen[35] and Mahamudra.[36]

East Asian Buddhist traditions like Zen[37] and Huayan, particularly their concept of interpenetration.

Sikhism,[38] which usually teaches a duality between God and humans, but was given a nondual interpretation by Bhai Vir Singh.

Taoism,[39] which teaches the idea of a single subtle universal force or cosmic creative power called Tao (literally "way").

Subud[25]

Abrahamic traditions:

Christian mystics who promote a "nondual experience", such as Meister Eckhart and Julian of Norwich. The focus of this Christian nondualism is on bringing the worshiper closer to God and realizing a "oneness" with the Divine.[40]

Sufism[39]

Jewish Kabbalah

Western traditions:

Neo-platonism [41] which teaches there is a single source of all reality, The One.

Western philosophers like Hegel, Spinoza and Schopenhauer.[41] They defended different forms of philosophical monism or Idealism.

Transcendentalism, which was influenced by German Idealism and Indian religions.

Theosophy

New age

Hinduism[edit]

"Advaita" refers to nondualism, non-distinction between realities, the oneness of Atman (individual self) and Brahman (the single universal existence), as in Vedanta, Shaktism and Shaivism.[42] Although the term is best known from the Advaita Vedanta school of Adi Shankara, "advaita" is used in treatises by numerous medieval era Indian scholars, as well as modern schools and teachers.[note 4]

 

The Hindu concept of Advaita refers to the idea that all of the universe is one essential reality, and that all facets and aspects of the universe is ultimately an expression or appearance of that one reality.[42] According to Dasgupta and Mohanta, non-dualism developed in various strands of Indian thought, both Vedic and Buddhist, from the Upanishadic period onward.[4] The oldest traces of nondualism in Indian thought may be found in the Chandogya Upanishad, which pre-dates the earliest Buddhism. Pre-sectarian Buddhism may also have been responding to the teachings of the Chandogya Upanishad, rejecting some of its Atman-Brahman related metaphysics.[43][note 5]

 

Advaita appears in different shades in various schools of Hinduism such as in Advaita Vedanta, Vishishtadvaita Vedanta (Vaishnavism), Suddhadvaita Vedanta (Vaishnavism), non-dual Shaivism and Shaktism.[42][46][47] In the Advaita Vedanta of Adi Shankara, advaita implies that all of reality is one with Brahman,[42] that the Atman (soul, self) and Brahman (ultimate unchanging reality) are one.[48][49] The advaita ideas of some Hindu traditions contrasts with the schools that defend dualism or Dvaita, such as that of Madhvacharya who stated that the experienced reality and God are two (dual) and distinct.[50][51]

 

Vedanta[edit]

Main article: Vedanta

Several schools of Vedanta teach a form of nondualism. The best-known is Advaita Vedanta, but other nondual Vedanta schools also have a significant influence and following, such as Vishishtadvaita Vedanta and Shuddhadvaita,[42] both of which are bhedabheda.

 

Advaita Vedanta[edit]

Main article: Advaita Vedanta

 

Swans are important figures in Advaita

The nonduality of the Advaita Vedanta is of the identity of Brahman and the Atman.[52] Advaita has become a broad current in Indian culture and religions, influencing subsequent traditions like Kashmir Shaivism.

 

The oldest surviving manuscript on Advaita Vedanta is by Gauḍapāda (6th century CE),[5] who has traditionally been regarded as the teacher of Govinda bhagavatpāda and the grandteacher of Adi Shankara. Advaita is best known from the Advaita Vedanta tradition of Adi Shankara (788-820 CE), who states that Brahman, the single unified eternal truth, is pure Being, Consciousness and Bliss (Sat-cit-ananda).[53]

 

Advaita, states Murti, is the knowledge of Brahman and self-consciousness (Vijnana) without differences.[54] The goal of Vedanta is to know the "truly real" and thus become one with it.[55] According to Advaita Vedanta, Brahman is the highest Reality,[56][57][58] The universe, according to Advaita philosophy, does not simply come from Brahman, it is Brahman. Brahman is the single binding unity behind the diversity in all that exists in the universe.[57] Brahman is also that which is the cause of all changes.[57][59][60] Brahman is the "creative principle which lies realized in the whole world".[61]

 

The nondualism of Advaita, relies on the Hindu concept of Ātman which is a Sanskrit word that means "real self" of the individual,[62][63] "essence",[web 3] and soul.[62][64] Ātman is the first principle,[65] the true self of an individual beyond identification with phenomena, the essence of an individual. Atman is the Universal Principle, one eternal undifferentiated self-luminous consciousness, asserts Advaita Vedanta school of Hinduism.[66][67]

 

Advaita Vedanta philosophy considers Atman as self-existent awareness, limitless, non-dual and same as Brahman.[68] Advaita school asserts that there is "soul, self" within each living entity which is fully identical with Brahman.[69][70] This identity holds that there is One Soul that connects and exists in all living beings, regardless of their shapes or forms, there is no distinction, no superior, no inferior, no separate devotee soul (Atman), no separate God soul (Brahman).[69] The Oneness unifies all beings, there is the divine in every being, and all existence is a single Reality, state the Advaita Vedantins.[71] The nondualism concept of Advaita Vedanta asserts that each soul is non-different from the infinite Brahman.[72]

 

Advaita Vedanta – Three levels of reality[edit]

Advaita Vedanta adopts sublation as the criterion to postulate three levels of ontological reality:[73][74]

 

Pāramārthika (paramartha, absolute), the Reality that is metaphysically true and ontologically accurate. It is the state of experiencing that "which is absolutely real and into which both other reality levels can be resolved". This experience can't be sublated (exceeded) by any other experience.[73][74]

Vyāvahārika (vyavahara), or samvriti-saya,[75] consisting of the empirical or pragmatic reality. It is ever-changing over time, thus empirically true at a given time and context but not metaphysically true. It is "our world of experience, the phenomenal world that we handle every day when we are awake". It is the level in which both jiva (living creatures or individual souls) and Iswara are true; here, the material world is also true.[74]

Prāthibhāsika (pratibhasika, apparent reality, unreality), "reality based on imagination alone". It is the level of experience in which the mind constructs its own reality. A well-known example is the perception of a rope in the dark as being a snake.[74]

Similarities and differences with Buddhism[edit]

Scholars state that Advaita Vedanta was influenced by Mahayana Buddhism, given the common terminology and methodology and some common doctrines.[76][77] Eliot Deutsch and Rohit Dalvi state:

 

In any event a close relationship between the Mahayana schools and Vedanta did exist, with the latter borrowing some of the dialectical techniques, if not the specific doctrines, of the former.[78]

 

Advaita Vedanta is related to Buddhist philosophy, which promotes ideas like the two truths doctrine and the doctrine that there is only consciousness (vijñapti-mātra). It is possible that the Advaita philosopher Gaudapada was influenced by Buddhist ideas.[5] Shankara harmonised Gaudapada's ideas with the Upanishadic texts, and developed a very influential school of orthodox Hinduism.[79][80]

 

The Buddhist term vijñapti-mātra is often used interchangeably with the term citta-mātra, but they have different meanings. The standard translation of both terms is "consciousness-only" or "mind-only." Advaita Vedanta has been called "idealistic monism" by scholars, but some disagree with this label.[81][82] Another concept found in both Madhyamaka Buddhism and Advaita Vedanta is Ajativada ("ajāta"), which Gaudapada adopted from Nagarjuna's philosophy.[83][84][note 6] Gaudapada "wove [both doctrines] into a philosophy of the Mandukaya Upanisad, which was further developed by Shankara.[86][note 7]

 

Michael Comans states there is a fundamental difference between Buddhist thought and that of Gaudapada, in that Buddhism has as its philosophical basis the doctrine of Dependent Origination according to which "everything is without an essential nature (nissvabhava), and everything is empty of essential nature (svabhava-sunya)", while Gaudapada does not rely on this principle at all. Gaudapada's Ajativada is an outcome of reasoning applied to an unchanging nondual reality according to which "there exists a Reality (sat) that is unborn (aja)" that has essential nature (svabhava), and this is the "eternal, fearless, undecaying Self (Atman) and Brahman".[88] Thus, Gaudapada differs from Buddhist scholars such as Nagarjuna, states Comans, by accepting the premises and relying on the fundamental teaching of the Upanishads.[88] Among other things, Vedanta school of Hinduism holds the premise, "Atman exists, as self evident truth", a concept it uses in its theory of nondualism. Buddhism, in contrast, holds the premise, "Atman does not exist (or, An-atman) as self evident".[89][90][91]

 

Mahadevan suggests that Gaudapada adopted Buddhist terminology and adapted its doctrines to his Vedantic goals, much like early Buddhism adopted Upanishadic terminology and adapted its doctrines to Buddhist goals; both used pre-existing concepts and ideas to convey new meanings.[92] Dasgupta and Mohanta note that Buddhism and Shankara's Advaita Vedanta are not opposing systems, but "different phases of development of the same non-dualistic metaphysics from the Upanishadic period to the time of Sankara."[4]

 

Vishishtadvaita Vedanta[edit]

 

Ramanuja, founder of Vishishtadvaita Vedanta, taught 'qualified nondualism' doctrine.

See also: Bhedabheda

Vishishtadvaita Vedanta is another main school of Vedanta and teaches the nonduality of the qualified whole, in which Brahman alone exists, but is characterized by multiplicity. It can be described as "qualified monism," or "qualified non-dualism," or "attributive monism."

 

According to this school, the world is real, yet underlying all the differences is an all-embracing unity, of which all "things" are an "attribute." Ramanuja, the main proponent of Vishishtadvaita philosophy contends that the Prasthana Traya ("The three courses") – namely the Upanishads, the Bhagavad Gita, and the Brahma Sutras – are to be interpreted in a way that shows this unity in diversity, for any other way would violate their consistency.

 

Vedanta Desika defines Vishishtadvaita using the statement: Asesha Chit-Achit Prakaaram Brahmaikameva Tatvam – "Brahman, as qualified by the sentient and insentient modes (or attributes), is the only reality."

 

Neo-Vedanta[edit]

Main articles: Neo-Vedanta, Swami Vivekananda, and Ramakrishna Mission

Neo-Vedanta, also called "neo-Hinduism"[93] is a modern interpretation of Hinduism which developed in response to western colonialism and orientalism, and aims to present Hinduism as a "homogenized ideal of Hinduism"[94] with Advaita Vedanta as its central doctrine.[95]

 

Neo-Vedanta, as represented by Vivekananda and Radhakrishnan, is indebted to Advaita vedanta, but also reflects Advaya-philosophy. A main influence on neo-Advaita was Ramakrishna, himself a bhakta and tantrika, and the guru of Vivekananda. According to Michael Taft, Ramakrishna reconciled the dualism of formlessness and form.[96] Ramakrishna regarded the Supreme Being to be both Personal and Impersonal, active and inactive:

 

When I think of the Supreme Being as inactive – neither creating nor preserving nor destroying – I call Him Brahman or Purusha, the Impersonal God. When I think of Him as active – creating, preserving and destroying – I call Him Sakti or Maya or Prakriti, the Personal God. But the distinction between them does not mean a difference. The Personal and Impersonal are the same thing, like milk and its whiteness, the diamond and its lustre, the snake and its wriggling motion. It is impossible to conceive of the one without the other. The Divine Mother and Brahman are one.[97]

 

Radhakrishnan acknowledged the reality and diversity of the world of experience, which he saw as grounded in and supported by the absolute or Brahman.[web 4][note 8] According to Anil Sooklal, Vivekananda's neo-Advaita "reconciles Dvaita or dualism and Advaita or non-dualism":[99]

 

The Neo-Vedanta is also Advaitic inasmuch as it holds that Brahman, the Ultimate Reality, is one without a second, ekamevadvitiyam. But as distinguished from the traditional Advaita of Sankara, it is a synthetic Vedanta which reconciles Dvaita or dualism and Advaita or non-dualism and also other theories of reality. In this sense it may also be called concrete monism in so far as it holds that Brahman is both qualified, saguna, and qualityless, nirguna.[99]

 

Radhakrishnan also reinterpreted Shankara's notion of maya. According to Radhakrishnan, maya is not a strict absolute idealism, but "a subjective misperception of the world as ultimately real."[web 4] According to Sarma, standing in the tradition of Nisargadatta Maharaj, Advaitavāda means "spiritual non-dualism or absolutism",[100] in which opposites are manifestations of the Absolute, which itself is immanent and transcendent:[101]

 

All opposites like being and non-being, life and death, good and evil, light and darkness, gods and men, soul and nature are viewed as manifestations of the Absolute which is immanent in the universe and yet transcends it.[102]

 

Kashmir Shaivism[edit]

Main articles: Shaivism and Kashmir Shaivism

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Advaita is also a central concept in various schools of Shaivism, such as Kashmir Shaivism[42] and Shiva Advaita.

 

Kashmir Shaivism is a school of Śaivism, described by Abhinavagupta[note 9] as "paradvaita", meaning "the supreme and absolute non-dualism".[web 5] It is categorized by various scholars as monistic[103] idealism (absolute idealism, theistic monism,[104] realistic idealism,[105] transcendental physicalism or concrete monism[105]).

 

Kashmir Saivism is based on a strong monistic interpretation of the Bhairava Tantras and its subcategory the Kaula Tantras, which were tantras written by the Kapalikas.[106] There was additionally a revelation of the Siva Sutras to Vasugupta.[106] Kashmir Saivism claimed to supersede the dualistic Shaiva Siddhanta.[107] Somananda, the first theologian of monistic Saivism, was the teacher of Utpaladeva, who was the grand-teacher of Abhinavagupta, who in turn was the teacher of Ksemaraja.[106][108]

 

The philosophy of Kashmir Shaivism can be seen in contrast to Shankara's Advaita.[109] Advaita Vedanta holds that Brahman is inactive (niṣkriya) and the phenomenal world is an illusion (māyā). In Kashmir Shavisim, all things are a manifestation of the Universal Consciousness, Chit or Brahman.[110][111] Kashmir Shavisim sees the phenomenal world (Śakti) as real: it exists, and has its being in Consciousness (Chit).[112]

 

Kashmir Shaivism was influenced by, and took over doctrines from, several orthodox and heterodox Indian religious and philosophical traditions.[113] These include Vedanta, Samkhya, Patanjali Yoga and Nyayas, and various Buddhist schools, including Yogacara and Madhyamika,[113] but also Tantra and the Nath-tradition.[114]

 

Contemporary vernacular Advaita[edit]

Advaita is also part of other Indian traditions, which are less strongly, or not all, organised in monastic and institutional organisations. Although often called "Advaita Vedanta," these traditions have their origins in vernacular movements and "householder" traditions, and have close ties to the Nath, Nayanars and Sant Mat traditions.

 

Ramana Maharshi[edit]

 

Ramana Maharshi (1879–1950) explained his insight using Shaiva Siddhanta, Advaita Vedanta and Yoga teachings.

Main article: Ramana Maharshi

Ramana Maharshi (30 December 1879 – 14 April 1950) is widely acknowledged as one of the outstanding Indian gurus of modern times.[115] Ramana's teachings are often interpreted as Advaita Vedanta, though Ramana Maharshi never "received diksha (initiation) from any recognised authority".[web 6] Ramana himself did not call his insights advaita:

 

D. Does Sri Bhagavan advocate advaita?

M. Dvaita and advaita are relative terms. They are based on the sense of duality. The Self is as it is. There is neither dvaita nor advaita. "I Am that I Am."[note 10] Simple Being is the Self.[117]

 

Neo-Advaita[edit]

Main article: Neo-Advaita

Neo-Advaita is a New Religious Movement based on a modern, western interpretation of Advaita Vedanta, especially the teachings of Ramana Maharshi.[118] According to Arthur Versluis, neo-Advaita is part of a larger religious current which he calls immediatism,[119][web 9] "the assertion of immediate spiritual illumination without much if any preparatory practice within a particular religious tradition."[web 9] Neo-Advaita is criticized for this immediatism and its lack of preparatory practices.[120][note 11][122][note 12] Notable neo-advaita teachers are H. W. L. Poonja[123][118] and his students Gangaji,[124] Andrew Cohen,[note 13], and Eckhart Tolle.[118]

 

According to a modern western spiritual teacher of nonduality, Jeff Foster, nonduality is:

 

the essential oneness (wholeness, completeness, unity) of life, a wholeness which exists here and now, prior to any apparent separation [...] despite the compelling appearance of separation and diversity there is only one universal essence, one reality. Oneness is all there is – and we are included.[126]

 

Natha Sampradaya and Inchegeri Sampradaya[edit]

Main articles: Nath, Sahaja, and Inchegeri Sampradaya

The Natha Sampradaya, with Nath yogis such as Gorakhnath, introduced Sahaja, the concept of a spontaneous spirituality. Sahaja means "spontaneous, natural, simple, or easy".[web 13] According to Ken Wilber, this state reflects nonduality.[127]

 

Buddhism[edit]

There are different Buddhist views which resonate with the concepts and experiences of non-duality or "not two" (advaya). The Buddha does not use the term advaya in the earliest Buddhist texts, but it does appear in some of the Mahayana sutras, such as the Vimalakīrti.[128] While the Buddha taught unified states of mental focus (samadhi) and meditative absorption (dhyana) which were commonly taught in Upanishadic thought, he also rejected the metaphysical doctrines of the Upanishads, particularly ideas which are often associated with Hindu nonduality, such as the doctrine that "this cosmos is the self" and "everything is a Oneness" (cf. SN 12.48 and MN 22).[129][130] Because of this, Buddhist views of nonduality are particularly different than Hindu conceptions, which tend towards idealistic monism.

 

In Indian Buddhism[edit]

 

The layman Vimalakīrti Debates Manjusri, Dunhuang Mogao Caves

According to Kameshwar Nath Mishra, one connotation of advaya in Indic Sanskrit Buddhist texts is that it refers to the middle way between two opposite extremes (such as eternalism and annihilationism), and thus it is "not two".[131]

 

One of these Sanskrit Mahayana sutras, the Vimalakīrti Nirdeśa Sūtra contains a chapter on the "Dharma gate of non-duality" (advaya dharma dvara pravesa) which is said to be entered once one understands how numerous pairs of opposite extremes are to be rejected as forms of grasping. These extremes which must be avoided in order to understand ultimate reality are described by various characters in the text, and include: Birth and extinction, 'I' and 'Mine', Perception and non-perception, defilement and purity, good and not-good, created and uncreated, worldly and unworldly, samsara and nirvana, enlightenment and ignorance, form and emptiness and so on.[132] The final character to attempt to describe ultimate reality is the bodhisattva Manjushri, who states:

 

It is in all beings wordless, speechless, shows no signs, is not possible of cognizance, and is above all questioning and answering.[133]

 

Vimalakīrti responds to this statement by maintaining completely silent, therefore expressing that the nature of ultimate reality is ineffable (anabhilāpyatva) and inconceivable (acintyatā), beyond verbal designation (prapañca) or thought constructs (vikalpa).[133] The Laṅkāvatāra Sūtra, a text associated with Yogācāra Buddhism, also uses the term "advaya" extensively.[134]

 

In the Mahayana Buddhist philosophy of Madhyamaka, the two truths or ways of understanding reality, are said to be advaya (not two). As explained by the Indian philosopher Nagarjuna, there is a non-dual relationship, that is, there is no absolute separation, between conventional and ultimate truth, as well as between samsara and nirvana.[135][136] The concept of nonduality is also important in the other major Indian Mahayana tradition, the Yogacara school, where it is seen as the absence of duality between the perceiving subject (or "grasper") and the object (or "grasped"). It is also seen as an explanation of emptiness and as an explanation of the content of the awakened mind which sees through the illusion of subject-object duality. However, it is important to note that in this conception of non-dualism, there are still a multiplicity of individual mind streams (citta santana) and thus Yogacara does not teach an idealistic monism.[137]

 

These basic ideas have continued to influence Mahayana Buddhist doctrinal interpretations of Buddhist traditions such as Dzogchen, Mahamudra, Zen, Huayan and Tiantai as well as concepts such as Buddha-nature, luminous mind, Indra's net, rigpa and shentong.

 

Madhyamaka[edit]

Main articles: Madhyamika, Shunyata, and Two truths doctrine

 

Nagarjuna (right), Aryadeva (middle) and the Tenth Karmapa (left).

Madhyamaka, also known as Śūnyavāda (the emptiness teaching), refers primarily to a Mahāyāna Buddhist school of philosophy [138] founded by Nāgārjuna. In Madhyamaka, Advaya refers to the fact that the two truths are not separate or different.,[139] as well as the non-dual relationship of saṃsāra (the round of rebirth and suffering) and nirvāṇa (cessation of suffering, liberation).[42] According to Murti, in Madhyamaka, "Advaya" is an epistemological theory, unlike the metaphysical view of Hindu Advaita.[54] Madhyamaka advaya is closely related to the classical Buddhist understanding that all things are impermanent (anicca) and devoid of "self" (anatta) or "essenceless" (niḥsvabhāvavā),[140][141][142] and that this emptiness does not constitute an "absolute" reality in itself.[note 14].

 

In Madhyamaka, the two "truths" (satya) refer to conventional (saṃvṛti) and ultimate (paramārtha) truth.[143] The ultimate truth is "emptiness", or non-existence of inherently existing "things",[144] and the "emptiness of emptiness": emptiness does not in itself constitute an absolute reality. Conventionally, "things" exist, but ultimately, they are "empty" of any existence on their own, as described in Nagarjuna's magnum opus, the Mūlamadhyamakakārikā (MMK):

 

The Buddha's teaching of the Dharma is based on two truths: a truth of worldly convention and an ultimate truth. Those who do not understand the distinction drawn between these two truths do not understand the Buddha's profound truth. Without a foundation in the conventional truth the significance of the ultimate cannot be taught. Without understanding the significance of the ultimate, liberation is not achieved.[note 15]

 

As Jay Garfield notes, for Nagarjuna, to understand the two truths as totally different from each other is to reify and confuse the purpose of this doctrine, since it would either destroy conventional realities such as the Buddha's teachings and the empirical reality of the world (making Madhyamaka a form of nihilism) or deny the dependent origination of phenomena (by positing eternal essences). Thus the non-dual doctrine of the middle way lies beyond these two extremes.[146]

 

"Emptiness" is a consequence of pratītyasamutpāda (dependent arising),[147] the teaching that no dharma ("thing", "phenomena") has an existence of its own, but always comes into existence in dependence on other dharmas. According to Madhyamaka all phenomena are empty of "substance" or "essence" (Sanskrit: svabhāva) because they are dependently co-arisen. Likewise it is because they are dependently co-arisen that they have no intrinsic, independent reality of their own. Madhyamaka also rejects the existence of absolute realities or beings such as Brahman or Self.[148] In the highest sense, "ultimate reality" is not an ontological Absolute reality that lies beneath an unreal world, nor is it the non-duality of a personal self (atman) and an absolute Self (cf. Purusha). Instead, it is the knowledge which is based on a deconstruction of such reifications and Conceptual proliferations.[149] It also means that there is no "transcendental ground," and that "ultimate reality" has no existence of its own, but is the negation of such a transcendental reality, and the impossibility of any statement on such an ultimately existing transcendental reality: it is no more than a fabrication of the mind.[web 14][note 16] Susan Kahn further explains:

 

Ultimate truth does not point to a transcendent reality, but to the transcendence of deception. It is critical to emphasize that the ultimate truth of emptiness is a negational truth. In looking for inherently existent phenomena it is revealed that it cannot be found. This absence is not findable because it is not an entity, just as a room without an elephant in it does not contain an elephantless substance. Even conventionally, elephantlessness does not exist. Ultimate truth or emptiness does not point to an essence or nature, however subtle, that everything is made of.[web 15]

 

However, according to Nagarjuna, even the very schema of ultimate and conventional, samsara and nirvana, is not a final reality, and he thus famously deconstructs even these teachings as being empty and not different from each other in the MMK where he writes:[41]

 

The limit (koti) of nirvāṇa is that of saṃsāra

 

The subtlest difference is not found between the two.

 

According to Nancy McCagney, what this refers to is that the two truths depend on each other; without emptiness, conventional reality cannot work, and vice versa. It does not mean that samsara and nirvana are the same, or that they are one single thing, as in Advaita Vedanta, but rather that they are both empty, open, without limits, and merely exist for the conventional purpose of teaching the Buddha Dharma.[41] Referring to this verse, Jay Garfield writes that:

 

to distinguish between samsara and nirvana would be to suppose that each had a nature and that they were different natures. But each is empty, and so there can be no inherent difference. Moreover, since nirvana is by definition the cessation of delusion and of grasping and, hence, of the reification of self and other and of confusing imputed phenomena for inherently real phenomena, it is by definition the recognition of the ultimate nature of things. But if, as Nagarjuna argued in Chapter XXIV, this is simply to see conventional things as empty, not to see some separate emptiness behind them, then nirvana must be ontologically grounded in the conventional. To be in samsara is to see things as they appear to deluded consciousness and to interact with them accordingly. To be in nirvana, then, is to see those things as they are - as merely empty, dependent, impermanent, and nonsubstantial, not to be somewhere else, seeing something else.[150]

 

It is important to note however that the actual Sanskrit term "advaya" does not appear in the MMK, and only appears in one single work by Nagarjuna, the Bodhicittavivarana.[151]

 

The later Madhyamikas, states Yuichi Kajiyama, developed the Advaya definition as a means to Nirvikalpa-Samadhi by suggesting that "things arise neither from their own selves nor from other things, and that when subject and object are unreal, the mind, being not different, cannot be true either; thereby one must abandon attachment to cognition of nonduality as well, and understand the lack of intrinsic nature of everything". Thus, the Buddhist nondualism or Advaya concept became a means to realizing absolute emptiness.[152]

 

Yogācāra tradition[edit]

 

Asaṅga (fl. 4th century C.E.), a Mahayana scholar who wrote numerous works which discuss the Yogacara view and practice.

Main article: Yogacara

In the Mahayana tradition of Yogācāra (Skt; "yoga practice"), adyava (Tibetan: gnyis med) refers to overcoming the conceptual and perceptual dichotomies of cognizer and cognized, or subject and object.[42][153][154][155] The concept of adyava in Yogācāra is an epistemological stance on the nature of experience and knowledge, as well as a phenomenological exposition of yogic cognitive transformation. Early Buddhism schools such as Sarvastivada and Sautrāntika, that thrived through the early centuries of the common era, postulated a dualism (dvaya) between the mental activity of grasping (grāhaka, "cognition", "subjectivity") and that which is grasped (grāhya, "cognitum", intentional object).[156][152][156][157] Yogacara postulates that this dualistic relationship is a false illusion or superimposition (samaropa).[152]

 

Yogācāra also taught the doctrine which held that only mental cognitions really exist (vijñapti-mātra),[158][note 17] instead of the mind-body dualism of other Indian Buddhist schools.[152][156][158] This is another sense in which reality can be said to be non-dual, because it is "consciousness-only".[159] There are several interpretations of this main theory, which has been widely translated as representation-only, ideation-only, impressions-only and perception-only.[160][158][161][162] Some scholars see it as a kind of subjective or epistemic Idealism (similar to Kant's theory) while others argue that it is closer to a kind of phenomenology or representationalism. According to Mark Siderits the main idea of this doctrine is that we are only ever aware of mental images or impressions which manifest themselves as external objects, but "there is actually no such thing outside the mind."[163] For Alex Wayman, this doctrine means that "the mind has only a report or representation of what the sense organ had sensed."[161] Jay Garfield and Paul Williams both see the doctrine as a kind of Idealism in which only mentality exists.[164][165]

 

However, it is important to note that even the idealistic interpretation of Yogācāra is not an absolute monistic idealism like Advaita Vedanta or Hegelianism, since in Yogācāra, even consciousness "enjoys no transcendent status" and is just a conventional reality.[166] Indeed, according to Jonathan Gold, for Yogācāra, the ultimate truth is not consciousness, but an ineffable and inconceivable "thusness" or "thatness" (tathatā).[153] Also, Yogācāra affirms the existence of individual mindstreams, and thus Kochumuttom also calls it a realistic pluralism.[82]

 

The Yogācārins defined three basic modes by which we perceive our world. These are referred to in Yogācāra as the three natures (trisvabhāva) of experience. They are:[167][168]

 

Parikalpita (literally, "fully conceptualized"): "imaginary nature", wherein things are incorrectly comprehended based on conceptual and linguistic construction, attachment and the subject object duality. It is thus equivalent to samsara.

Paratantra (literally, "other dependent"): "dependent nature", by which the dependently originated nature of things, their causal relatedness or flow of conditionality. It is the basis which gets erroneously conceptualized,

Pariniṣpanna (literally, "fully accomplished"): "absolute nature", through which one comprehends things as they are in themselves, that is, empty of subject-object and thus is a type of non-dual cognition. This experience of "thatness" (tathatā) is uninfluenced by any conceptualization at all.

To move from the duality of the Parikalpita to the non-dual consciousness of the Pariniṣpanna, Yogācāra teaches that there must be a transformation of consciousness, which is called the "revolution of the basis" (āśraya-parāvṛtti). According to Dan Lusthaus, this transformation which characterizes awakening is a "radical psycho-cognitive change" and a removal of false "interpretive projections" on reality (such as ideas of a self, external objects, etc).[169]

 

The Mahāyānasūtrālamkāra, a Yogācāra text, also associates this transformation with the concept of non-abiding nirvana and the non-duality of samsara and nirvana. Regarding this state of Buddhahood, it states:

 

Its operation is nondual (advaya vrtti) because of its abiding neither in samsara nor in nirvana (samsaranirvana-apratisthitatvat), through its being both conditioned and unconditioned (samskrta-asamskrtatvena).[170]

 

This refers to the Yogācāra teaching that even though a Buddha has entered nirvana, they do no "abide" in some quiescent state separate from the world but continue to give rise to extensive activity on behalf of others.[170] This is also called the non-duality between the compounded (samskrta, referring to samsaric existence) and the uncompounded (asamskrta, referring to nirvana). It is also described as a "not turning back" from both samsara and nirvana.[171]

 

For the later thinker Dignaga, non-dual knowledge or advayajñāna is also a synonym for prajñaparamita (transcendent wisdom) which liberates one from samsara.[172]

 

Other Indian traditions[edit]

Buddha nature or tathagata-garbha (literally "Buddha womb") is that which allows sentient beings to become Buddhas.[173] Various Mahayana texts such as the Tathāgatagarbha sūtras focus on this idea and over time it became a very influential doctrine in Indian Buddhism, as well in East Asian and Tibetan Buddhism. The Buddha nature teachings may be regarded as a form of nondualism. According to Sally B King, all beings are said to be or possess tathagata-garbha, which is nondual Thusness or Dharmakaya. This reality, states King, transcends the "duality of self and not-self", the "duality of form and emptiness" and the "two poles of being and non being".[174]

 

There various interpretations and views on Buddha nature and the concept became very influential in India, China and Tibet, where it also became a source of much debate. In later Indian Yogācāra, a new sub-school developed which adopted the doctrine of tathagata-garbha into the Yogācāra system.[166] The influence of this hybrid school can be seen in texts like the Lankavatara Sutra and the Ratnagotravibhaga. This synthesis of Yogācāra tathagata-garbha became very influential in later Buddhist traditions, such as Indian Vajrayana, Chinese Buddhism and Tibetan Buddhism.[175][166] Yet another development in late Indian Buddhism was the synthesis of Madhymaka and Yogacara philosophies into a single system, by figures such as Śāntarakṣita (8th century). Buddhist Tantra, also known as Vajrayana, Mantrayana or Esoteric Buddhism, drew upon all these previous Indian Buddhist ideas and nondual philosophies to develop innovative new traditions of Buddhist practice and new religious texts called the Buddhist tantras (from the 6th century onwards).[176] Tantric Buddhism was influential in China and is the main form of Buddhism in the Himalayan regions, especially Tibetan Buddhism.

  

en.wikipedia.org/wiki/Nondualism

   

The Wheel of Fortune, or Rota Fortunae, is a concept in medieval and ancient philosophy referring to the capricious nature of Fate. The wheel belongs to the goddess Fortuna, who spins it at random, changing the positions of those on the wheel - some suffer great misfortune, others gain windfalls. Fortune appears on all paintings as a woman, sometimes blindfolded, "puppeteering" a wheel.Origins[edit]

The origin of the word is from the "wheel of fortune" - the zodiac, referring to the Celestial spheres of which the 8th holds the stars, and the 9th is where the signs of the zodiac are placed. The concept was first invented in Babylon and later developed by the ancient Greeks. The concept somewhat resembles the Bhavacakra, or Wheel of Becoming, depicted throughout Ancient Indian art and literature, except that the earliest conceptions in the Roman and Greek world involve not a two-dimensional wheel but a three-dimensional sphere, a metaphor for the world. It was widely used in the Ptolemaic perception of the universe as the zodiac being a wheel with its "signs" constantly turning throughout the year and having effect on the world's fate (or fortune). Ptolemaic model of the spheres for Venus, Mars, Jupiter, and Saturn with epicycle, eccentric deferent and equant point. Georg von Peuerbach, Theoricae novae planetarum, 1474.

Vettius Valens, a second century BC astronomer and astrologer, wrote. There are many wheels, most moving from west to east, but some move from east to west.

Seven wheels, each hold one heavenly object, the first holds the moon... Then the eighth wheel holds all the stars that we see... And the ninth wheel, the wheel of fortunes, moves from east to west, and includes each of the twelve signs of fortune, the twelve signs of the zodiac. Each wheel is inside the other, like an onion's peel sits inside another peel, and there is no empty space between them.[this quote needs a citation] In the same century, the Roman tragedian Pacuvius wrote: Fortunam insanam esse et caecam et brutam perhibent philosophical, Saxoque instare in globoso praedicant volubili: Id quo saxum inpulerit fors, eo cadere Fortunam autumant. Caecam ob eam rem esse iterant, quia nihil cernat, quo sese adplicet; Insanam autem esse aiunt, quia atrox, incerta instabilisque sit; Brutam, quia dignum atque indignum nequeat internoscere. Philosophers say that Fortune is insane and blind and stupid, and they teach that she stands on a rolling, spherical rock: they affirm that, wherever chance pushes that rock, Fortuna falls in that direction. They repeat that she is blind for this reason: that she does not see where she's heading; they say she's insane, because she is cruel, flaky and unstable; stupid, because she can't distinguish between the worthy and the unworthy.

—Pacuvius, Scaenicae Romanorum Poesis Fragmenta. Vol. 1, ed. O. Ribbeck, 1897

The idea of the rolling ball of fortune became a literary topos and was used frequently in declamation. In fact, the Rota Fortunae became a prime example of a trite topos or meme for Tacitus, who mentions its rhetorical overuse in the Dialogus de oratoribus. Fortuna eventually became Christianized: the Roman philosopher Boethius (d. 524) was a major source for the medieval view of the Wheel, writing about it in his Consolatio Philosophiae - "I know how Fortune is ever most friendly and alluring to those whom she strives to deceive, until she overwhelms them with grief beyond bearing, by deserting them when least expected. … Are you trying to stay the force of her turning wheel? Ah! dull-witted mortal, if Fortune begin to stay still, she is no longer Fortune."

The Wheel was widely used as an allegory in medieval literature and art to aid religious instruction. Though classically Fortune's Wheel could be favourable and disadvantageous, medieval writers preferred to concentrate on the tragic aspect, dwelling on downfall of the mighty - serving to remind people of the temporality of earthly things. In the morality play Everyman (c. 1495), for instance, Death comes unexpectedly to claim the protagonist. Fortune's Wheel has spun Everyman low, and Good Deeds, which he previously neglected, are needed to secure his passage to heaven. Geoffrey Chaucer used the concept of the tragic Wheel of Fortune a great deal. It forms the basis for the Monk's Tale, which recounts stories of the great brought low throughout history, including Lucifer, Adam, Samson, Hercules, Nebuchadnezzar, Belshazzar, Nero, Alexander the Great, Julius Caesar and, in the following passage, Peter I of Cyprus. O noble Peter, Cyprus' lord and king,

Which Alexander won by mastery, To many a heathen ruin did'st thou bring; For this thy lords had so much jealousy,

That, for no crime save thy high chivalry, All in thy bed they slew thee on a morrow. And thus does Fortune's wheel turn treacherously And out of happiness bring men to sorrow.

~ Geoffrey Chaucer, The Canterbury Tales, The Monk's Fortune's Wheel often turns up in medieval art, from manuscripts to the great Rose windows in many medieval cathedrals, which are based on the Wheel. Characteristically, it has four shelves, or stages of life, with four human figures, usually labeled on the left regnabo (I shall reign), on the top regno (I reign) and is usually crowned, descending on the right regnavi (I have reigned) and the lowly figure on the bottom is marked sum sine regno (I am without a kingdom). Dante employed the Wheel in the Inferno and a "Wheel of Fortune" trump-card appeared in the Tarot deck (circa 1440, Italy). The wheel of fortune from the Burana Codex; The figures are labelled "Regno, Regnavi, Sum sine regno, Regnabo": I reign, I reigned, My reign is finished, I shall reign

In the medieval and renaissance period, a popular genre of writing was "Mirrors for Princes", which set out advice for the ruling classes on how to wield power (the most famous being The Prince by Niccolò Machiavelli). Such political treatises could use the concept of the Wheel of Fortune as an instructive guide to their readers. John Lydgate's Fall of Princes, written for his patron Humphrey, Duke of Gloucester is a noteworthy example. Many Arthurian romances of the era also use the concept of the Wheel in this manner, often placing the Nine Worthies on it at various points....fortune is so variant, and the wheel so moveable, there nis none constant abiding, and that may be proved by many old chronicles, of noble Hector, and Troilus, and Alisander, the mighty conqueror, and many mo other; when they were most in their royalty, they alighted lowest. ~ Lancelot in Thomas Malory's Le Morte d'Arthur, Chapter XVII.[3] Like the Mirrors for Princes, this could be used to convey advice to readers. For instance, in most romances, Arthur's greatest military achievement - the conquest of the Roman Empire - is placed late on in the overall story. However in Malory's work the Roman conquest and high point of King Arthur's reign is established very early on. Thus, everything that follows is something of a decline. Arthur, Lancelot and the other Knights of the Round Table are meant to be the paragons of chivalry, yet in Malory's telling of the story they are doomed to failure. In medieval thinking, only God was perfect, and even a great figure like King Arthur had to be brought low. For the noble reader of the tale in the Middle Ages, this moral could serve as a warning, but also as something to aspire to. Malory could be using the concept of Fortune's Wheel to imply that if even the greatest of chivalric knights made mistakes, then a normal fifteenth-century noble didn't have to be a paragon of virtue in order to be a good knight. The Wheel of Fortune motif appears significantly in the Carmina Burana (or Burana Codex), albeit with a postclassical phonetic spelling of the genitive form Fortunae. Excerpts from two of the collection's better known poems, "Fortuna Imperatrix Mundi (Fortune, Empress of the World)" and "Fortune Plango Vulnera (I Bemoan the Wounds of Fortune)," read: Sors immanis et inanis, rota tu volubilis, status malus,

vana salus semper dissolubilis, obumbrata et velata michi quoque niteris; nunc per ludum dorsum nudum fero tui sceleris. Fortune rota volvitur; descendo minoratus; alter in altum tollitur; nimis exaltatus rex sedet in vertice caveat ruinam! nam sub axe legimus Hecubam reginam.Fate - monstrous and empty, you whirling wheel, status is bad,

well-being is vain always may melt away, shadowy

and veiled you plague me too; now through the game

bare backed I bear your villainy. The wheel of Fortune turns;

I go down, demeaned; another is carried to the height;

far too high up sits the king at the summit - let him beware ruin! for under the axis we read: Queen Hecuba. Later usage:

Fortune and her Wheel have remained an enduring image throughout history. Fortune's wheel can also be found in Thomas More's Utopia. Wheel of fortune in Sebastian Brant`s Narrenschiff, woodcut by A. Dürer William Shakespeare in Hamlet wrote of the "slings and arrows of outrageous fortune" and, of fortune personified, to "break all the spokes and fellies from her wheel." And in Henry V, Act 3 Scene VI[4] are the lines: Bardolph, a soldier who is loyal and stout-hearted and full of valour, has, by a cruel trick of fate and a turn of silly Fortune's wildly spinning wheel, that blind goddess who stands upon an ever-rolling stone—

Fluellen: Now, now, Ensign Pistol. Fortune is depicted as blind, with a scarf over her eyes, to signify that she is blind. And she is depicted with a wheel to signify—this is the point—that she is turning and inconstant, and all about change and variation. And her foot, see, is planted on a spherical stone that rolls and rolls and rolls. Shakespeare also references this Wheel in King Lear.[5] The Earl of Kent, who was once held dear by the King, has been banished, only to return in disguise. This disguised character is placed in the stocks for an overnight and laments this turn of events at the end of Act II, Scene 2:Fortune, good night, smile once more; turn thy wheel! In Act IV, scene vii, King Lear also contrasts his misery on the "wheel of fire" to Cordelia's "soul in bliss". Shakespeare also made reference to this in "Macbeth" throughout the whole play. Macbeth starts off halfway up the wheel when a Thane, but moves higher and higher until he becomes king, but falls right down again towards the end as his wife dies, and he in turn dies.

In Anthony Trollope's novel The Way We Live Now, the character Lady Carbury writes a novel entitled "The Wheel of Fortune" about a heroine who suffers great financial hardships.

Selections from the Carmina Burana, including the two poems quoted above, were set to new music by twentieth-century classical composer Carl Orff, whose well-known "O Fortuna" is based on the poem Fortuna Imperatrix Mundi.

Jerry Garcia recorded a song entitled "The Wheel" (co-written with Robert Hunter and Bill Kreutzmann) for his 1972 solo album Garcia, and performed the song regularly with the Grateful Dead from 1976 onward. The song "Wheel in the Sky" by Journey from their 1978 release Infinity also touches on the concept through the lyrics "Wheel in the sky keeps on turnin' / I don't know where I'll be tomorrow". The song "Throw Your Hatred Down" by Neil Young on his 1995 album Mirror Ball, recorded with Pearl Jam, has the verse "The wheel of fortune / Keeps on rollin' down". The term has found its way into modern popular culture through the Wheel of Fortune game show, where contestants win or lose money determined by the random spin of a wheel. Also, the video game series character Kain (Legacy of Kain) used the wheel of fate. Fortuna does occasionally turn up in modern literature, although these days she has become more or less synonymous with Lady Luck. Her Wheel is less widely used as a symbol, and has been replaced largely by a reputation for fickleness. She is often associated with gamblers, and dice could also be said to have replaced the Wheel as the primary metaphor for uncertain fortune. The Hudsucker Proxy, a film by the Coen Brothers, also uses the Rota Fortunae concept and in the TV series Firefly (2002) the main character, Malcolm Reynolds, says "The Wheel never stops turning, Badger" to which Badger replies "That only matters to the people on the rim". Likewise, a physical version of the Wheel of Fortune is used in Mad Max Beyond Thunderdome, a film by George Miller and George Ogilvie. In the movie, the title character reneges on a contract and is told "bust a deal, face the wheel." In the science fiction TV series Farscape, the fourth episode of the fourth season has main character Crichton mention that his grandmother told him that fate was like a wheel, alternately bringing fortunes up and down, and the episode's title also references this. Unlike many other instances of the wheel of fortune analogy, which focus on tragic falls from good fortune, Crichton's version is notably more positive, and meant as a message of endurance: those suffering from bad fortune must remain strong and "wait for the wheel" of fortune to turn back to eventually turn back to good fortune again. Ignatius J. Reilly, the central character from John Kennedy Toole's novel A Confederacy of Dunces, states that he believes the Rota Fortunae to be the source of all man's fate. In the Fable video game series, the wheel of fortune appears twice, somehow perverted. The Wheel of Unholy Misfortune is a torture device in Fable II. It is found in the Temple of Shadows in Rookridge. The Hero can use the wheel to sacrifice followers to the shadows. In Fable III, Reaver's Wheel of Misfortune is a device that, once activated, sends to The Hero a round of random monsters. The Wheel of Fortune is featured in a Magic: the Gathering card by that name that forces all players to discard their hands and draw new ones.

en.wikipedia.org/wiki/Rota_Fortunae

Wheel of Fortune is R.O.T.A or TARO and TORA all 3 are born in same meaning :the workings of a social engine ROTARY'S WHEEL EMBLEM

 

A wheel has been the symbol of Rotary since our earliest days. The first design was made by Chicago Rotarian Montague Bear, an engraver who drew a simple wagon wheel, with a few lines to show dust and motion. The wheel was said to illustrate "Civilization and Movement." Most of the early clubs had some form of wagon wheel on their publications and letterheads. Finally, in 1922, it was decided that all Rotary clubs should adopt a single design as the exclusive emblem of Rotarians. Thus, in 1923, the present gear wheel, with 24 cogs and six spokes was adopted by the "Rotary International Association." A group of engineers advised that the geared wheel was mechanically unsound and would not work without a "keyway" in the center of the gear to attach it to a power shaft. So, in 1923 the keyway was added and the design which we now know was formally adopted as the official Rotary International emblem. www.icufr.org/abc/abc01.htm

www.rotaryfirst100.org/history/history/wheel/

The most popular symbol is the All seeing eye, and most popular hand signs are the Horn and the 666. Any study of Music and ... Circle (Rotary symbol)

[These are the symbols used by the Reptilian proxy group, the Reptoids (Illuminati, & Freemasons), collectively are known as Satanists or Luciferians. The signs of Evil. The most popular symbol is the All seeing eye, and most popular hand signs are the Horn and the 666. Any study of Music and Movies will find all the usual suspects (proving Satanic control), along with some symbols for mind control. If you want a symbol to use stick with the heart, the exact opposite of Evil. They like to cut them out and offer them to Lucifer, see Blood sacrifice. All the worshiped 'Gods' are a few Anunnaki/Reptilians going under various names down the years such as: Nimrod/Anubis/Horus/Osiris/Baal/Shamash/Janus/Quetzalcoatl/Baphomet/Lucifer/Moloch etc, hence all the snake and horn symbols. The symbols are their secret language, and you can see the connections down the years by the use of the same symbols, e.g. Freemasonry, the US Government, and Communism with the Hidden hand, the hidden hand of history.]

www.whale.to/b/symbols_h.html

St Ethelbert, Hessett, Suffolk

 

Consider for one moment, if you will, the extent to which the beliefs and practices of a religious community affect the architecture of its buildings. Think of a Mosque, for instance. Often square, expressing the democracy of Islam, but without any imagery of the human figure, for such things are proscribed. Think of a Synagogue, focused towards the Holy Scriptures in the Ark, but designed to enable the proclaiming of the Word, and the way that early non-conformist chapels echo this architecture of Judaism - indeed, those who built the first free churches, like Ipswich's Unitarian Chapel, actually called them synagogues.

 

The shape of a church, then, is no accident. A typical Suffolk perpendicular church of the 15th century has wide aisles, to enable liturgical processions, a chancel for the celebration of Mass, places for other altars, niches for devotional statues, a focus towards the Blessed Sacrament in the east, a roof of angels to proclaim a hymn of praise, a large nave for devotional and social activities, and wall paintings of the Gospels and hagiographies of Saints, of the catechism and teachings of the Catholic Church.

 

As Le Corbusier might have said if he'd been around at the time, a medieval church is a machine for making Catholicism happen.

 

No longer, of course. The radical and violent fracture in popular religion in the middle years of the 16th century gave birth to the Church of England, and the new church inherited buildings that were quite unsuitable for the new congregational protestant theology - a problem that, to some extent, the Church of England has never entirely solved.

 

Over the centuries, the problem has been addressed in different ways; celebrating Communion at a table in the nave, for example, and blocking off the chancel for other uses. Although this was challenged by the Laudian party in the early part of the 17th century, it was the way that many parishes reinvented their buildings, and most were to stay like that until the middle years of the 19th century. Some went further: a pulpit placed halfway down the nave, or even at the back of the church, meant that the seating could be arranged so that it no longer focused towards the east, thus breaking the link with Catholic (and Laudian) sacramentalism. For several centuries, Anglican churches focused on the pulpit rather than the altar.

 

With the coming to influence of the 19th century Oxford Movement, all this underwent another dramatic change, with the great majority of our medieval parish churches having their interiors restored to their medieval integrity, reinventing themselves as sacramental spaces. This is the condition in which we find most of them today, and some Anglican theologians are asking the question that the Catholic Church asked itself at Vatican II in the 1960s - is a 19th century liturgical space really appropriate for the Church of the 21st century?

 

This may seem like a digression, but I hope it will become apparent why I've raised it. For similar questions have been asked throughout the history of Christianity.

 

So, let us hasten at once to Hessett. Here we are, roughly halfway between Bury and Stowmarket - like nearby Woolpit, this must once have been a more important place than it is today, and perhaps St Ethelbert gives us evidence of that.

 

The church sits like a glowing jewel in its wide churchyard, right on the main road through the village. It is pretty well perfect if you are looking for a fine Suffolk exterior. An extensive 15th century rebuilding enwraps the earlier tower, which was crowned by the donor of the rebuilding, John Bacon.The nave and aisles are deliciously decorated, reminding me rather of neighbouring Rougham, although this is a small church, and the aisles make it almost square. A dedicatory inscription on the two storey vestry in the north east corner bids us pray for the souls of John and Katherine Hoo, who donated the chancel and paid for the trimmings to the aisles. Their inscription has been damaged by protestant reformers, who obviously did not believe in the efficacy of prayers for the dead.

 

Although not comparable with Woolpit, the porch is a grand affair, and a bold statement. You may find the south door locked, but if this is the case then the priest's door into the chancel is usually open. If both are locked, then there is a keyholder, because the people of this parish really want you to see inside this church. And it is as well that they do, for, if you didn't know already, this is one of the most fascinating interiors in the county.

 

In a way, it is rather good to enter it from the chancel, because in this way St Ethelbert unfolds its treasures slowly.You step into relative darkness - or, at least, it seems so in comparison with the nave beyond the rood screen. This is partly a result of the abundance of dark wood, and in truth the chancel appears rather overcrowded. The most striking objects in view are the return stalls, which fill the two westerly corners of the chancel. These are in the style of a college or school of priests, with their backs to the rood screen, but then 'returning' around the walls to the east. They are fine, and are certainly 15th or 16th century. But one of the stalls, that to the north, is different to the others, and seems slightly out of place. It is elaborately carved with faces, birds and foliage.

 

Mortlock thought that it might have been intended for a private house. The stall in front of it has heads on it that appear to be wearing 18th century wigs, although I don't know enough about furniture to be sure if this is the case (or about wigs, for that matter). The sanctuary is largely Victorianised, with a great east window depicting Saints. The south windows of the chancel depict a lovely Adoration scene by the O'Connors.

 

The chancel is separated from the nave by the 15th century rood screen, which is elegantly painted and gilt on the west side, the beautifully tracery intricately carved above. The rood screen has been fitted with attractive iron gates, presumably evidence of Anglo-catholic enthusiasm here in the early 20th century, and you step down through them into the light. A first impression is that you are entering a much older space than the one you have left. There is an 18th century mustiness, enhanced by the box pews that line the aisles. And, beyond, on walls and in windows, are wonderful things.

 

The number of surviving wall paintings in England is a tiny fraction of what existed before the 15th and 16th centuries. All churches had them, and in profusion. It isn't enough to say that they were a 'teaching aid' of a church of illiterate peasants. In the main, they were devotional, and that is why they were destroyed. However, it is more complicated than that. Reseach in recent years has indicated that many wall paintings were destroyed before the Reformation, perhaps a century before. In some churches, they have been punched through with Perpendicular windows, which are clearly pre-Reformation. In the decades after the Black Death, there seems to have been a sea change in the liturgical use of these buildings, a move away from an individualistic, devotional usage to a corporate liturgical one. THere is a change of emphasis towards more education and exegesis. This is the time that pulpits and benches appear, long before protestantism was on the agenda. What seems to happen is that many buildings were intended now to be full of light, and devotional wall paintings were either whitewashed, or replaced with catechetical ones.

 

The decoration of the nave was the responsibility of the people of the parish, not of the Priest. The wall paintings of England can be divided into roughly three groups. Roughly speaking, the development of wall paintings over the later medieval period is in terms of these three overlapping emphases.

 

Firstly, the hagiographies - stories of the Saints. These might have had a local devotion, although some saints were popular over a wide area, and most churches seem to have included a devotion to St Christopher right up until the Reformation.

 

Secondy came those which illustrate incidents in the life of Christ and his mother, the Blessed Virgin. Although partly pedagogical, they were also enabling tools, since private devotions often involved a contemplation upon them, and at Mass the larger part of those present would have been involved in private devotions.

 

Lastly, there are catechetical wall paintings, illustrating the teachings of the Catholic church. It should not be assumed that these are dogmatic - many are simply artistic representations of stories, and others are simplifications of theological ideas - the seven deadly sins and the seven cardinal virtues, for example. Some warn against occasions of sin (gossiping, for example) and generally wall paintings provide a local site for discussion and exemplification.

 

To an extent, all the above is largely true of stained glass, as well, with the caveat that stained glass was more expensive, relied on local patronage, and often has this patronage as a subtext, hence the large number of heraldic devices and images of local worthies. But it was also devotional, and so it was also destroyed.

So - what survives at Hessett? The wall paintings first.

 

Starting in the south east corner of the nave, we have Suffolk's finest representation of St Barbara, presenting a tower. St Barbara is a mythical saint, relegated to non-league status in recent years by the Catholic Church, who nevertheless was very popular in early medieval times, because she was invoked against strikes by lightning and sudden fires. This resulted from her legend; her father, on finding her to be a Christian, walled her up in a tower until she repented. As a result, he was struck by lightning, and reduced to ashes. She was also the patron saint of the powerful building trade, and as such her image graced their guild altars - perhaps that was the case here.

 

Above the south door is another figure, often identified as St Christopher, but I do not think that this can be the case. St Christopher is found nowhere else in Suffolk above a south door. The traditional iconography of this mythical saint is not in place here, and it is hard to see how this figure could ever have been interpreted as such. I suspect it is a result of an early account confusing the two images over the north and south doors, and the mistake being repeated in later accounts.

 

In fact, digital enhancement seems to suggest that there are two figures above the south door, overlapping each other slightly. The figure on the left appears to be winged, while the figure on the right is barefoot, and may be carrying a beam or scales. The Archangel St Michael is often shown weighing souls in doom paintings, but I do not think this is part of a doom (again, it would be exceptional for this to appear over a south door) and I do not think it is St Michael.

 

I think that the figure on the left is probably Gabriel, and this is part of a later Annunciation painting overlapping an earlier image, the barefoot man. So who is he? Another suggestion is that it is St John the Baptist, as he is often shown barefoot. But what if the beam of the 'weighing scales' is actually part of a yoke? The supporting beam appears to continue over the figure's right shoulder, but the left side of his body is lost to us.

 

Could it be that it is not a Saint at all, but some representation of an agricultural worker? Perhaps it is part of a larger image (and we should not forget that the surviving paintings are a small part of what must have been there before). Perhaps it is even part of a hagiography - think of the wheel of the bullock cart in the St Edmund sequence at Thornham Parva, interpreted for many years as St Catherine's wheel. However, I wonder if it might even be a lost image of that most circumscribed of East Anglian saints, Walstan. He is carrying a scythe on the wall a few miles off at Cavenham - could this be him here? Whatever, it is likely to be part of a hagiographical sequence which was later replaced by a Life of Christ sequence, which usually ran from west to east along the south wall. This would also explain the location of what might be part of an Annunciation scene.

 

The wall painting opposite, above the north door, is St Christopher. Although it isn't as clear as himself at, say, nearby Bradfield Combust, he bestrides the river in the customary manner, staff in hand. The Christ child is difficult to discern, but you can see the fish in the water. Also in the water, and rather unusual, are two figures. They are rendered rather crudely, almost like gingerbread men. Could they be the donors of the north aisle, John and Katherine Hoo in person?

 

Moving along the north aisle, we come to the set of paintings for which Hessett is justifiably famous. They are set one above the other between two windows, at the point where might expect the now-vanished screen to a chapel to have been. The upper section was here first. It shows the seven deadly sins (described wrongly in some text books as a tree of Jesse, or ancestory of Christ). Two devils look on as, from the mouth of hell, a great tree sprouts, ending in seven images. Pride is at the top, and in pairs beneath are Gluttony and Anger, Vanity and Envy, Avarice and Lust.

 

Mortlock suggests that some attempt has been made to erase the image for Lust, which may simply be mid-16th century Calvinistic prurience on the part of some reformer here. This would suggest that this cathecetical tool was here right up until the Reformation.

 

The idea of 'Seven Deadly Sins' was anathema to the reformers, because it is entirely unscriptural. Rather, as a catechetic tool, it is a way of drawing together a multitude of sins into a simplistic aide memoire. This could then be used in confession, taking each of them one at a time and examining ones conscience accordingly. It should not be seen simply as a 'warning' to ignorant peasants; the evidence is that the ordinary rural people of late medieval England were theologically very articulate. Rather, it was a tool for use, in contemplation and preparation for the sacrament of reconciliation, which may well have ordinarily taken place in the chapel here.

 

The wall painting beneath the Sins is even more interesting. This is a very rare 'Christ of the Trades', and dates from the early 15th century, about a hundred years after the painting above. It is rather faded, and takes a while to discern, and not all of it is decodable. However, enough is there to be fascinating. The image of the 'Christ of the Trades' is known throughout Christendom, and contemporary versions with this can be found in other parts of Europe. It shows the risen Christ in the centre, and around him a vast array of the tools and symbols of various trades. It rises from the medieval perception that Christ was a working man, a carpenter, and it symbolises the dignity of labour and of craftsmanship.

 

I think it is extremely unlikely that it shows symbols of things which shouldn't be done on a Sunday, although Anne Marshall's Painted Churches site contains an interesting argument to the contrary.

 

Perhaps the most fascinating symbol, and the one that everyone notices, is the playing card. It shows the six of diamonds. Does it represent the makers of playing cards? If so, it might suggest a Flemish influence. Or could it be intended to represent something else? Whatever, it is one of the earliest representations of a playing card in England. Why is this here? It may very well be that there was a trades gild chantry chapel at the east end of the north aisle, and this painting was at its entrance.

 

At the east end of the north aisle now is the church's set of royal arms. Cautley saw it in the vestry in the 1930s, and identified it as a Queen Anne set. Now, with additions stripped away, it is revealed as a Charles II set from the 1660s, and a very fine one. It is fascinating to see it at such close range. Usually, they are set above the south door now, although they would originally have been placed above the chancel arch, in full view of the congregation, a gentle reminder of who was in charge.

 

The glass alone is worth coming to Hessett to see. Few Suffolk churches have such an expanse, none have such a variety, or glass of such quality and interest. It consists essentially of three ranges: the life and Passion of Christ in the north aisle (although some glass has been reset across the church), images and hagiographies of Saints in the south aisle, and a heavily restored but nonetheless fascinating sequence of the life of Christ in the west window. This bears close attention, for the fragments set into the restored work include several fascinating details, including the punctured feet of Christ ascending to heaven in a cloud of glory, and a Harrowing of Hell including the crushing of a fallen angel.

 

In the north aisle, the scourging of Christ stands out, the wicked grins of the persecutors contrasting with the pained nobility of the Christ figure. In the next window, Christ rises from the dead, coming out of his tomb like the corpses in the doom paintings at Stanningfield, North Cove and Wenhaston. The Roman centurion sleeps soundly in the foreground.

 

The most famous image is in the east window of the south aisle. Apparently, it shows a bishop holding the chain to a bag, with four children playing at his feet. I say apparently, because there is rather more going on here than meets the eye. The reason that this image is so famous is that the small child in the foreground is holding what appears to be a golf club or hockey stick, and this would be the earliest representation of such an object in all Europe. A rather more sober school of thought argues that it is a fuller's club, used for dying clothes, and the symbol of St James the Less. The whole image has been said to represent St Nicholas, who was a Bishop, and whose legends include a bag of gold and a group of children.

 

Unfortunately, this is not convincing. St Nicholas is never symbolised by a bag of gold, and there are three children in the St Nicholas legend, not four. In any case, the hand in the picture is not holding the chain to a bag at all, but a rosary.

 

What has happened here is that the head of a Bishop has been grafted on to the body of a figure which is probably still in its original location. The three lights of this window contained a set of the Holy Kinship. The light to the north of the 'Bishop' contains two children playing with what ae apparently toys, but when you look closely you can see that one is holding a golden shell, and the other a poisoned chalice. They are the infant St James and St John, and the lost figure above them was their mother, Mary Salome.

 

This means that the figure with the Bishop's head is actually Mary Cleophas, mother of four children including St James the Less, and it really is a fuller's club. The third light to the south, of course, would have depicted the Blessed Virgin and child, but she is lost to us.

 

If the windows and wallpaintings were all there was, then Hessett would be remarkable enough. But there is something else, two things, actually, that elevate it above all other Suffolk churches, and all the churches of England. For St Ethelbert is the proud owner of two unique survivals. At the back of the church is a chest, no different from those you'll find in many a parish church. In common with those, it has three separate locks, the idea being that the Rector and two Churchwardens would have a key each, and it would be necessary for all three of them to be present for the chest to be opened. It was used for storing parish records and valuables.

 

At some point, one of the keys was lost. There is a great story about the iconoclast William Dowsing turning up here and demanding the chest be opened; on account of the missing key, it couldn't be. Unfortunately, this story isn't true: Dowsing never visited Hessett. The chest was eventually opened in the 19th century. Inside were found two extraordinary pre-Reformation survivals. These are a pyx cloth and a burse. The pyx cloth was draped over the wooden canopy that enclosed the blessed sacrament (one of England's four surviving medieval pyxes is also in Suffolk, at Dennington) before it was raised above the high altar. The burse was used to contain the host before consecration at the Mass. They are England's only surviving examples, and they're both here.

 

Or, more precisely they aren't - both have been purloined by the British Museum, the kind of theft that no locked church can prevent.

 

But there are lifesize photos of both either side of the tower arch. The burse is basically an envelope, and features the Veronica face of Christ on one side with the four evangelistic symbols in each corner. On the other is an Agnus Dei, the Lamb of God. The survival of both is extraordinary. It is one thing to explore the furnishings of lost Catholic England, quite another to come face to face with articles that were actually used in the liturgy.

 

In front of the pictures stands the font, a relatively good one of the early 15th century, though rather less exciting than everything going on around it. The dedicatory inscription survives, to a pair of Hoos of an earlier generation than the ones on the vestry.Turning east again, the ranks of simple 15th century benches are all of a piece with their church. They have survived the violent transitions of the centuries, and have seated generation after generation of Hessett people. They were new here when this church was alive with coloured light, with the hundreds of candles flickering on the rood beam, the processions, the festivals, and the people's lives totally integrated with the liturgy of the seasons. For the people of Catholic England, their religion was as much a part of them as the air they breathed. They little knew how soon it would all come to an end.

 

And so, there it is - one of the most fascinating and satisfactory of all East Anglia's churches. And yet, not many people know about it; we are only three miles from the brown-signed honeypot of Woolpit, where a constant stream of visitors come and go. I've visited Hessett many times, and never once encountered another visitor. Still, there you are, I suppose. Perhaps some places are better kept secret. But come here if you can, for here is a medieval worship space with much surviving evidence of what it was actually meant to be, and meant to do.

 

Postscript: I wrote the above in 2000, adapting it in 2003 and 2006. I have left the structure of the narrative as it was when I made those early visits. I have corrected some confusion in the description of the glass, a consequence of my general inability to tell my left from my right. I have also taken the opportunity to go through the text and make myself sound slightly less pompous.

 

One of the delights of Hessett is that there really are genuine mysteries about some of the wall paintings and glass. Digital enhancement has added to these mysteries rather than solving them. In addition, one thing I have learned as I get older, and perhaps a little bit wiser, is that there really are more things in heaven and earth than are dreamed of in our early 21st century philosophy. If this has led to an unravelling of the certainties previously offered, then I can only plead that this is another excuse to go back soon.

Sony A7RII Fine Art Zion National Park Autumn Winter Subway Hike! Dr. Elliot McGucken Fine Art Landscape Photography!

 

An important thing to remember is that even though pixel sizes keep getting smaller and smaller, the technology is advancing, so the smaller pixels are more efficient at collecting light. For instance, the Sony A7rII is back-illuminated which allows more photons to hit the sensor. Semiconductor technology is always advancing, so the brilliant engineers are always improving the signal/noise ratio. Far higher pixel counts, as well as better dynamic ranger, are thus not only possible, but the future!

 

Yes I have a Ph.D. in physics! I worked on phototranistors and photodiodes as well as an artificial retina for the blind. :)

 

You can read more about my own physics theory (dx4/dt=ic) here: herosodysseyphysics.wordpress.com/

 

And follow me on instagram! @45surf

instagram.com/45surf

 

Facebook!

www.facebook.com/elliot.mcgucken

 

www.facebook.com/45surfAchillesOdysseyMythology

 

Dr. Elliot McGucken Fine Art Photography!

 

I love shooting fine art landscapes and fine art nature photography! :) I live for it!

 

45surf fine art!

 

Feel free to ask me any questions! Always love sharing tech talk and insights! :)

 

And all the best on Your Epic Hero's Odyssey!

 

The new Lightroom rocks!

 

Beautiful magnificent clouds!

 

View your artistic mission into photography as an epic odyssey of heroic poetry! Take it from Homer in Homer's Odyssey: "Tell me, O muse, of that ingenious hero who travelled far and wide after he had sacked the famous town of Troy. Many cities did he visit, and many were the nations with whose manners and customs he was acquainted; moreover he suffered much by sea while trying to save his own life and bring his men safely home; but do what he might he could not save his men, for they perished through their own sheer folly in eating the cattle of the Sun-god Hyperion; so the god prevented them from ever reaching home. Tell me, too, about all these things, O daughter of Jove, from whatsoever source you may know them. " --Samuel Butler Translation of Homer's Odyssey

 

All the best on your Epic Hero's Odyssey from Johnny Ranger McCoy!

  

Sony A7RII Fine Art Zion National Park Autumn Winter Subway Hike! Dr. Elliot McGucken Fine Art Landscape Photography! Sony A7R2 & Sony 16-35mm Vario-Tessar T FE F4 ZA OSS E-Mount Lens!

 

fine art landscape photography,fine art photography, fine art photographer, elliot mcgucken photography, landscapes, fine art landscape, landscape, landscape photography

Another rare instance where I considered a 'modern' car to be worthy of a photo.

 

I suspect very few of these were sold here, as this was the first time I had seen a second generation Forester.

 

HML? confirms this, stating that only 176 of this model were accounted for at the end of last year.

 

This example was registered in Peterborough on the 3rd November 2005, and is currently on its second owner, who acquired it on the 22nd August 2008.

 

Clearly gets a lot of use, as it covered an impressive 107,129 miles at its last MOT.

 

The colour has been rather unfairly recorded as grey, when it is quite clearly silver.

Allied Armorers Manufacturing designed and built the A2W "Bigfoot" Armored Assault Walker for the Separatist Army. Standing over six meters high and weighing almost twenty tons fully loaded, the A2W Bigfoot posed a terrific threat to the Marine forces. Designed for infantry support, A2W's were equally heavily armored and armed to the teeth. Due to the deep footprints they left behind, the A2W was affectionately referred to as "Bigfoot" by the Separatist soldiers who fought alongside them.

Several variants existed but the most common featured two moveable twin anti-aircraft cannons (located over either shoulder), two gigantic 105mm Dragonslayer cannons (attached to the starboard side), and eight anti-personnel Sabre missiles (attached to the port side). Constructed of a material that splintered when impacted, Sabre missiles exploded shrapnel across the battlefield.

Because of it's weight, A2W's were slower than their lighter-armored counterparts, Marine T.A.H. Bayonets, but time has shown that in some instances, sheer firepower alone could make up the difference.

Not even a joke as far as I can tell

 

See, for instance:

 

www.loopnorth.com/news/bridge0618.htm

 

According to a public notice on the city’s website, the Chicago Avenue Bridge over the north branch of the Chicago River is available to anyone who will remove it at their expense, maintain it, and assume all financial responsibility.

 

Otherwise, the bridge is expected to be demolished so that a non-movable concrete and steel bridge can be built.

 

The city is asking interested parties to send a letter by July 13 detailing means of funding, how the bridge will be moved, how quickly it will be moved, and where it will be moved to.

 

The current bridge at Chicago Avenue, a pony truss bascule bridge, opened to traffic in 1912, replacing a swing bridge that had been there since 1849. It was one of the first of the Chicago River bridges to have an operator house made of concrete and not wood. According to a 1911 report by Chicago Department of Public Works, the city intended to eventually build a subway under Chicago Avenue, and so the Chicago Avenue Bridge was specially designed to accommodate future construction of a double subway tunnel.

Another of those instances where I stumbled across a good card I already had and looked for what else was available.

 

A good spread of Fords, with the Corsair and Zodiac contrasting with the basic Anglia 105E and older Ford Popular.

 

Renault 4 at the back? If so it's the only immediately obvious foreign car I can see, quite a contrast with the next card along from just 10 or so years later.

 

Location here, not much has changed with the buildings: goo.gl/maps/i4Awiu3CQDezhkcc6

 

Unsent card, unknown publisher, ref. PT5659.

The Chinese retire early, at least for now, and older people have much time on their hands to sit and contemplate the changes to the country in their lifetime. The Communists have made many changes of course but this lady must be old enough to remember eyewitness accounts of the last major trouble in Dali, which was the headquarters of the Panthay Rebellion in the nineteenth century.

There are more pressing local concerns however, for instance: what will become of them all if people continue to build on farming land without constraint?

London Docklands is the riverfront and former docks in London. It is located in inner east and southeast London, in the boroughs of Southwark, Tower Hamlets, Lewisham, Newham and Greenwich. The docks were formerly part of the Port of London, at one time the world's largest port. After the docks closed, the area had become derelict and poverty-ridden by the 1980s. The Docklands' regeneration began later that decade; it has been redeveloped principally for commercial and residential use. The name "London Docklands" was used for the first time in a government report on redevelopment plans in 1971 and has since been almost universally adopted. The redevelopment created wealth, but also led to some conflict between the new and old communities in the area.

 

Establishment

In Roman and medieval times, ships arriving in the River Thames tended to dock at small quays in the present-day City of London or Southwark, an area known as the Pool of London. However, these gave no protection against the elements, were vulnerable to thieves and suffered from a lack of space at the quayside. The Howland Great Dock in Rotherhithe (built in 1696, and later to form the core of the Surrey Commercial Docks) was designed to address these problems, providing a large, secure and sheltered anchorage with room for 120 large vessels. It was a major commercial success, and provided for two phases of expansion during the Georgian and Victorian eras.

 

The first of the Georgian docks was the West India (opened in 1802), followed by the London (1805), the East India (also 1805), the Surrey (1807), the Regent's Canal Dock (1820), St Katharine (1828) and the West India South (1829). The Victorian docks were mostly further east, comprising the Royal Victoria (1855), Millwall (1868) and Royal Albert (1880). The King George V Dock (1921) was a late addition.

 

Development

Three principal kinds of docks existed. Wet docks were where ships were laid up at anchor and loaded or unloaded. Dry docks, which were far smaller, took individual ships for repairing. Ships were built at dockyards along the riverside. In addition, the river was lined with innumerable warehouses, piers, jetties and dolphins (mooring points). The various docks tended to specialise in different forms of produce. The Surrey Docks concentrated on timber, for instance; Millwall took grain; St Katharine took wool, sugar and rubber; and so on.

 

The docks required an army of workers, chiefly lightermen (who carried loads between ships and quays aboard small barges called lighters) and quayside workers, who dealt with the goods once they were ashore. Some of the workers were highly skilled: the lightermen had their own livery company or guild, while the deal porters (workers who carried timber) were famous for their acrobatic skills. Most were unskilled and worked as casual labourers. They assembled at certain points, such as pubs, each morning, where they were selected more or less at random by foremen. For these workers, it was effectively a lottery whether they would get work on any particular day. This arrangement continued until as late as 1965, although it was somewhat regularised after the creation of the National Dock Labour Scheme in 1947.

 

The main dockland areas were originally low-lying marshes, mostly unsuitable for agriculture and lightly populated. With the establishment of the docks, the dock workers formed a number of tight-knit local communities with their own distinctive cultures and slang. Due to poor communications with other parts of London, they tended to develop in some isolation. Road access to the Isle of Dogs, for example, was only via two swing bridges. Local sentiment there was so strong that Ted Johns, a local community campaigner, and his supporters, in protest at the lack of social provision from the state, unilaterally declared independence for the area, set up a so-called "Island Council" with Johns himself as its elected leader, and blocked off the two access roads.

 

20th century

The docks were originally built and managed by a number of competing private companies. From 1909, they were managed by the Port of London Authority (PLA) which amalgamated the companies in a bid to make the docks more efficient and improve labour relations. The PLA constructed the last of the docks, the King George V, in 1921, as well as greatly expanding the Tilbury docks.

 

German bombing during the Second World War caused massive damage to the docks, with 380,000 tons of timber destroyed in the Surrey Docks in a single night. Nonetheless, following post-war rebuilding they experienced a resurgence of prosperity in the 1950s. The end came suddenly, between approximately 1960 and 1970, when the shipping industry adopted the newly invented container system of cargo transportation. London's docks were unable to accommodate the much larger vessels needed by containerization, and the shipping industry moved to deep-water ports such as Tilbury and Felixstowe. Between 1960 and 1980, all of London's docks were closed, leaving around eight square miles (21 km2) of derelict land in East London.

 

Redevelopment

Efforts to redevelop the docks began almost as soon as they were closed, although it took a decade for most plans to move beyond the drawing board and another decade for redevelopment to take full effect. The situation was greatly complicated by the large number of landowners involved: the PLA, the Greater London Council (GLC), the British Gas Corporation, five borough councils, British Rail and the Central Electricity Generating Board.

 

To address this problem, in 1981 the Secretary of State for the Environment, Michael Heseltine, formed the London Docklands Development Corporation (LDDC) to redevelop the area. This was a statutory body appointed and funded by central government (a quango), with wide powers to acquire and dispose of land in the Docklands. It also served as the development planning authority for the area.

 

Another important government intervention was the designation in 1982 of an enterprise zone, an area in which businesses were exempt from property taxes and had other incentives, including simplified planning and capital allowances. This made investing in the Docklands a significantly more attractive proposition and was instrumental in starting a property boom in the area.

 

The LDDC was controversial; it was accused of favouring elitist luxury developments rather than affordable housing, and it was unpopular with the local communities, who felt that their needs were not being addressed. Nonetheless, the LDDC was central to a remarkable transformation in the area, although how far it was in control of events is debatable. It was wound up in 1998 when control of the Docklands area was handed back to the respective local authorities.

 

The massive development programme managed by the LDDC during the 1980s and 1990s saw a huge area of the Docklands converted into a mixture of residential, commercial and light industrial space. The clearest symbol of the whole effort was the ambitious Canary Wharf project that constructed Britain's tallest building at the time and established a second business district (CBD) in London. However, there is no evidence that the LDDC foresaw this scale of development; nearby Heron Quays had already been developed as low-density offices when Canary Wharf was proposed, and similar development was already underway on Canary Wharf itself, Limehouse Studios being the most famous occupant.

 

Canary Wharf was far from trouble-free; the property slump of the early 1990s halted further development for several years. Developers found themselves, for a time, saddled with property that they were unable to sell or let.

 

Transport

The Docklands historically had poor transport connections. This was addressed by the LDDC with the construction of the Docklands Light Railway (DLR), which connected the Docklands with the city. According to Transport for London, the owner of the project, it was a remarkably inexpensive development, costing only £77 million in its first phase, as it relied on reusing disused railway infrastructure and derelict land for much of its length. The LDDC originally requested a full London Underground line, but the Government refused to fund it.

 

The LDDC also built the Limehouse Link tunnel, a cut and cover road tunnel linking the Isle of Dogs to The Highway (the A1203 road) at a cost of over £150 million per kilometre, one of the most expensive stretches of road ever built.

 

The LDDC also contributed to the development of London City Airport (IATA airport code LCY), opened in October 1987 on the spine of the Royal Docks.

 

The London Underground's Jubilee line was extended eastwards in 1999; it now serves Rotherhithe/Surrey Quays at Canada Water station, the Isle of Dogs at Canary Wharf tube station, Greenwich at North Greenwich tube station and the nearby Royal Docks at Canning Town station. The DLR was extended in 1994 to serve much of the Royal Docks area when the Beckton branch was opened. The Isle of Dogs branch was extended further south, and in 1999 it began serving Greenwich town centre—including the Cutty Sark museum—Deptford and finally Lewisham. In 2005, a new branch of the DLR opened from Canning Town to serve what used to be the eastern terminus of the North London Line, including a station at London City Airport. It was then further extended to Woolwich Arsenal in 2009.

 

Future developments

Further development projects are being proposed and put into practice within the London Dockland area, such as:

 

Extensions of the DLR, possibly to Dagenham.

Further development of Canada Water.

Redevelopment of Blackwall Basin and Wood Wharf, east of Canary Wharf.

New skyscrapers to be built at Canary Wharf, including the Riverside South towers, the Heron Quays West double-skyscraper development and the North Quay project, consisting of three towers.

In the early 21st century, redevelopment is spreading into the more suburban parts of east and southeast London, and into the parts of the counties of Kent and Essex that abut the Thames Estuary. See Thames Gateway and Lower Lea Valley for further information on this trend.

 

History

The numbers of several London Buses routes are prefixed D for Docklands; all run on the north bank of the River Thames as part of the London bus network, and act as feeder buses to the DLR. The D network was developed in the early stages of Docklands redevelopment; it was originally much larger, but as transport rapidly improved across east London, the need for the D routes reduced. Today only four remain, running primarily in Tower Hamlets and briefly into Newham and Hackney. Stagecoach London operate routes D6, D7 and D8, and Blue Triangle operate route D3.

 

21st century

The population of the Docklands has more than doubled during the last 30 years, and the area has become a major business centre. Canary Wharf has emerged as one of Europe's biggest clusters of skyscrapers and a major extension to the financial services district of the City of London.

 

Although most of the old wharfs and warehouses have been demolished, some have been restored and converted into flats. Many of the docks themselves have survived and are now used as marinas or watersports centres; a major exception is the Surrey Commercial Docks, which are now largely filled in. Although large ships can—and occasionally still do—visit the old docks, all of the commercial traffic has moved downriver further east.

 

The revival of the Docklands has had major effects in other run-down surrounding areas. Greenwich and Deptford are undergoing large-scale redevelopment, chiefly as a result of the improved transport links making them more attractive to commuters.

 

The Docklands' redevelopment has, however, had some less beneficial aspects. The massive property boom and consequent rise in house prices has led to friction between the new arrivals and the old Docklands communities, who have complained of being squeezed out. It has also made for some of the most striking disparities to be seen anywhere in Britain: luxury executive flats constructed alongside run-down public housing estates.

 

The Docklands' status as a symbol of Margaret Thatcher's Britain has also made it a target for terrorists. After a failed attempt to bomb Canary Wharf in 1992, a large IRA bomb exploded at South Quay on 9 February 1996. Two people died in the explosion, forty people were injured and an estimated £150 million of damage was caused. This bombing ended an IRA ceasefire. James McArdle was sentenced to 25 years of jail time but released in 2000 under the terms of the Good Friday Agreement and royal prerogative of mercy officially signed by Queen Elizabeth II.

 

In a further sign of regeneration in the area, the Docklands now has its own symphony orchestra, Docklands Sinfonia; which was formed in January 2009 and is based at St Anne's Limehouse.

 

Economy

The offices of The Independent group of publications were at one time situated in the Docklands. In 2008, Independent News & Media announced that The Independent would be moving its offices to Northcliffe House in Kensington.

 

London's Docklands has become one of the world's leading global internet hubs since the opening in 1990 of the carrier-neutral Telehouse campus, which hosts the vast majority of LINX's internet peering traffic, occupying over 73,000 square metres. In August 2016, Telehouse Europe opened the $177 million North Two data centre of 24,000 square metres that became the only UK data centre to own a 132 kV on-campus grid substation that is directly connected to the National Grid, reducing transmission losses and improving power density and service continuity.

 

The history of London, the capital city of England and the United Kingdom, extends over 2000 years. In that time, it has become one of the world's most significant financial and cultural capital cities. It has withstood plague, devastating fire, civil war, aerial bombardment, terrorist attacks, and riots.

 

The City of London is the historic core of the Greater London metropolis, and is today its primary financial district, it represents only a small part of the wider metropolis.

 

Foundations and prehistory

Some recent discoveries indicate probable very early settlements near the Thames in the London area. In 1993, the remains of a Bronze Age bridge were found on the Thames's south foreshore, upstream of Vauxhall Bridge.[1] This bridge either crossed the Thames or went to a now lost island in the river. Dendrology dated the timbers to between 1750 BC and 1285 BC. In 2001, a further dig found that the timbers were driven vertically into the ground on the south bank of the Thames west of Vauxhall Bridge.

 

In 2010, the foundations of a large timber structure, dated to between 4800 BC and 4500 BC were found, again on the foreshore south of Vauxhall Bridge. The function of the mesolithic structure is not known. All these structures are on the south bank at a natural crossing point where the River Effra flows into the Thames.

 

Archaeologist Leslie Wallace notes, "Because no LPRIA [Late pre-Roman Iron Age] settlements or significant domestic refuse have been found in London, despite extensive archaeological excavation, arguments for a purely Roman foundation of London are now common and uncontroversial."

 

Early history

Roman London (47–410 AD)

Londinium was established as a civilian town by the Romans about four years after the invasion of 43 AD. London, like Rome, was founded on the point of the river where it was narrow enough to bridge and the strategic location of the city provided easy access to much of Europe. Early Roman London occupied a relatively small area, roughly equivalent to the size of Hyde Park. In around 60 AD, it was destroyed by the Iceni led by their queen Boudica. The city was quickly rebuilt as a planned Roman town and recovered after perhaps 10 years; the city grew rapidly over the following decades.

 

Although some sources claim that during the 2nd century Londinium replaced Colchester as the capital of Roman Britain (Britannia) there is no surviving evidence to prove it was ever the capital of Roman Britain. Its population was around 60,000 inhabitants. It boasted major public buildings, including the largest basilica north of the Alps, temples, bath houses, an amphitheatre and a large fort for the city garrison. Political instability and recession from the 3rd century onwards led to a slow decline.

 

At some time between 180 AD and 225 AD, the Romans built the defensive London Wall around the landward side of the city. The wall was about 3 kilometres (1.9 mi) long, 6 metres (20 ft) high, and 2.5 metres (8.2 ft) thick. The wall would survive for another 1,600 years and define the City of London's perimeters for centuries to come. The perimeters of the present City are roughly defined by the line of the ancient wall.

 

Londinium was an ethnically diverse city with inhabitants from across the Roman Empire, including natives of Britannia, continental Europe, the Middle East, and North Africa.[9]

 

In the late 3rd century, Londinium was raided on several occasions by Saxon pirates. This led, from around 255 onwards, to the construction of an additional riverside wall. Six of the traditional seven city gates of London are of Roman origin, namely: Ludgate, Newgate, Aldersgate, Cripplegate, Bishopsgate and Aldgate (Moorgate is the exception, being of medieval origin).

 

By the 5th century, the Roman Empire was in rapid decline and in 410 AD, the Roman occupation of Britannia came to an end. Following this, the Roman city also went into rapid decline and by the end of the 5th century was practically abandoned.

 

Anglo-Saxon London (5th century – 1066)

Until recently it was believed that Anglo-Saxon settlement initially avoided the area immediately around Londinium. However, the discovery in 2008 of an Anglo-Saxon cemetery at Covent Garden indicates that the incomers had begun to settle there at least as early as the 6th century and possibly in the 5th. The main focus of this settlement was outside the Roman walls, clustering a short distance to the west along what is now the Strand, between the Aldwych and Trafalgar Square. It was known as Lundenwic, the -wic suffix here denoting a trading settlement. Recent excavations have also highlighted the population density and relatively sophisticated urban organisation of this earlier Anglo-Saxon London, which was laid out on a grid pattern and grew to house a likely population of 10–12,000.

 

Early Anglo-Saxon London belonged to a people known as the Middle Saxons, from whom the name of the county of Middlesex is derived, but who probably also occupied the approximate area of modern Hertfordshire and Surrey. However, by the early 7th century the London area had been incorporated into the kingdom of the East Saxons. In 604 King Saeberht of Essex converted to Christianity and London received Mellitus, its first post-Roman bishop.

 

At this time Essex was under the overlordship of King Æthelberht of Kent, and it was under Æthelberht's patronage that Mellitus founded the first St. Paul's Cathedral, traditionally said to be on the site of an old Roman Temple of Diana (although Christopher Wren found no evidence of this). It would have only been a modest church at first and may well have been destroyed after he was expelled from the city by Saeberht's pagan successors.

 

The permanent establishment of Christianity in the East Saxon kingdom took place in the reign of King Sigeberht II in the 650s. During the 8th century, the kingdom of Mercia extended its dominance over south-eastern England, initially through overlordship which at times developed into outright annexation. London seems to have come under direct Mercian control in the 730s.

 

Viking attacks dominated most of the 9th century, becoming increasingly common from around 830 onwards. London was sacked in 842 and again in 851. The Danish "Great Heathen Army", which had rampaged across England since 865, wintered in London in 871. The city remained in Danish hands until 886, when it was captured by the forces of King Alfred the Great of Wessex and reincorporated into Mercia, then governed under Alfred's sovereignty by his son-in-law Ealdorman Æthelred.

 

Around this time the focus of settlement moved within the old Roman walls for the sake of defence, and the city became known as Lundenburh. The Roman walls were repaired and the defensive ditch re-cut, while the bridge was probably rebuilt at this time. A second fortified Borough was established on the south bank at Southwark, the Suthringa Geworc (defensive work of the men of Surrey). The old settlement of Lundenwic became known as the ealdwic or "old settlement", a name which survives today as Aldwich.

 

From this point, the City of London began to develop its own unique local government. Following Æthelred's death in 911 it was transferred to Wessex, preceding the absorption of the rest of Mercia in 918. Although it faced competition for political pre-eminence in the united Kingdom of England from the traditional West Saxon centre of Winchester, London's size and commercial wealth brought it a steadily increasing importance as a focus of governmental activity. King Athelstan held many meetings of the witan in London and issued laws from there, while King Æthelred the Unready issued the Laws of London there in 978.

 

Following the resumption of Viking attacks in the reign of Æthelred, London was unsuccessfully attacked in 994 by an army under King Sweyn Forkbeard of Denmark. As English resistance to the sustained and escalating Danish onslaught finally collapsed in 1013, London repulsed an attack by the Danes and was the last place to hold out while the rest of the country submitted to Sweyn, but by the end of the year it too capitulated and Æthelred fled abroad. Sweyn died just five weeks after having been proclaimed king and Æthelred was restored to the throne, but Sweyn's son Cnut returned to the attack in 1015.

 

After Æthelred's death at London in 1016 his son Edmund Ironside was proclaimed king there by the witangemot and left to gather forces in Wessex. London was then subjected to a systematic siege by Cnut but was relieved by King Edmund's army; when Edmund again left to recruit reinforcements in Wessex the Danes resumed the siege but were again unsuccessful. However, following his defeat at the Battle of Assandun Edmund ceded to Cnut all of England north of the Thames, including London, and his death a few weeks later left Cnut in control of the whole country.

 

A Norse saga tells of a battle when King Æthelred returned to attack Danish-occupied London. According to the saga, the Danes lined London Bridge and showered the attackers with spears. Undaunted, the attackers pulled the roofs off nearby houses and held them over their heads in the boats. Thus protected, they were able to get close enough to the bridge to attach ropes to the piers and pull the bridge down, thus ending the Viking occupation of London. This story presumably relates to Æthelred's return to power after Sweyn's death in 1014, but there is no strong evidence of any such struggle for control of London on that occasion.

 

Following the extinction of Cnut's dynasty in 1042 English rule was restored under Edward the Confessor. He was responsible for the foundation of Westminster Abbey and spent much of his time at Westminster, which from this time steadily supplanted the City itself as the centre of government. Edward's death at Westminster in 1066 without a clear heir led to a succession dispute and the Norman conquest of England. Earl Harold Godwinson was elected king by the witangemot and crowned in Westminster Abbey but was defeated and killed by William the Bastard, Duke of Normandy at the Battle of Hastings. The surviving members of the witan met in London and elected King Edward's young nephew Edgar the Ætheling as king.

 

The Normans advanced to the south bank of the Thames opposite London, where they defeated an English attack and burned Southwark but were unable to storm the bridge. They moved upstream and crossed the river at Wallingford before advancing on London from the north-west. The resolve of the English leadership to resist collapsed and the chief citizens of London went out together with the leading members of the Church and aristocracy to submit to William at Berkhamstead, although according to some accounts there was a subsequent violent clash when the Normans reached the city. Having occupied London, William was crowned king in Westminster Abbey.

 

Norman and Medieval London (1066 – late 15th century)

The new Norman regime established new fortresses within the city to dominate the native population. By far the most important of these was the Tower of London at the eastern end of the city, where the initial timber fortification was rapidly replaced by the construction of the first stone castle in England. The smaller forts of Baynard's Castle and Montfichet's Castle were also established along the waterfront. King William also granted a charter in 1067 confirming the city's existing rights, privileges and laws. London was a centre of England's nascent Jewish population, the first of whom arrived in about 1070. Its growing self-government was consolidated by the election rights granted by King John in 1199 and 1215.

 

On 17 October 1091 a tornado rated T8 on the TORRO scale (equivalent to an F4 on the Fujita scale) hit London; it directly struck the church of St. Mary-le-Bow; four rafters 7.9 meters long (26 feet) were said to have been buried so deep into the ground that only 1.2 meters (4 feet) was visible. Other churches in the area were destroyed as well; it was reported to have also destroyed over 600 houses (although most of them were primarily wood) and hit the London Bridge, after the tornado the bridge was rebuilt in stone. The tornado caused 2 deaths and an unknown number of injuries; this tornado is mentioned in chronicles by Florence of Worcester and William of Malmesbury, the latter of the two describing it as "a great spectacle for those watching from afar, but a terrifying experience for those standing near".

 

In 1097, William Rufus, the son of William the Conqueror, began the construction of 'Westminster Hall', which became the focus of the Palace of Westminster.

 

In 1176, construction began of the most famous incarnation of London Bridge (completed in 1209), which was built on the site of several earlier timber bridges. This bridge would last for 600 years, and remained the only bridge across the River Thames until 1739.

 

Violence against Jews took place in 1190, after it was rumoured that the new King had ordered their massacre after they had presented themselves at his coronation.

 

In 1216, during the First Barons' War London was occupied by Prince Louis of France, who had been called in by the baronial rebels against King John and was acclaimed as King of England in St Paul's Cathedral. However, following John's death in 1217 Louis's supporters reverted to their Plantagenet allegiance, rallying round John's son Henry III, and Louis was forced to withdraw from England.

 

In 1224, after an accusation of ritual murder, the Jewish community was subjected to a steep punitive levy. Then in 1232, Henry III confiscated the principal synagogue of the London Jewish community because he claimed their chanting was audible in a neighboring church. In 1264, during the Second Barons' War, Simon de Montfort's rebels occupied London and killed 500 Jews while attempting to seize records of debts.

 

London's Jewish community was forced to leave England by the expulsion by Edward I in 1290. They left for France, Holland and further afield; their property was seized, and many suffered robbery and murder as they departed.

 

Over the following centuries, London would shake off the heavy French cultural and linguistic influence which had been there since the times of the Norman conquest. The city would figure heavily in the development of Early Modern English.

 

During the Peasants' Revolt of 1381, London was invaded by rebels led by Wat Tyler. A group of peasants stormed the Tower of London and executed the Lord Chancellor, Archbishop Simon Sudbury, and the Lord Treasurer. The peasants looted the city and set fire to numerous buildings. Tyler was stabbed to death by the Lord Mayor William Walworth in a confrontation at Smithfield and the revolt collapsed.

 

Trade increased steadily during the Middle Ages, and London grew heavily as a result. In 1100, London's population was somewhat more than 15,000. By 1300, it had grown to roughly 80,000. London lost at least half of its population during the Black Death in the mid-14th century, but its economic and political importance stimulated a quick recovery despite further epidemics. Trade in London was organised into various guilds, which effectively controlled the city, and elected the Lord Mayor of the City of London.

 

Medieval London was made up of narrow and twisting streets, and most of the buildings were made from combustible materials such as timber and straw, which made fire a constant threat, while sanitation in cities was of low-quality.

 

Modern history

Tudor London (1485–1604)

In 1475, the Hanseatic League set up its main English trading base (kontor) in London, called Stalhof or Steelyard. It existed until 1853, when the Hanseatic cities of Lübeck, Bremen and Hamburg sold the property to South Eastern Railway. Woollen cloth was shipped undyed and undressed from 14th/15th century London to the nearby shores of the Low Countries, where it was considered indispensable.

 

During the Reformation, London was the principal early centre of Protestantism in England. Its close commercial connections with the Protestant heartlands in northern continental Europe, large foreign mercantile communities, disproportionately large number of literate inhabitants and role as the centre of the English print trade all contributed to the spread of the new ideas of religious reform. Before the Reformation, more than half of the area of London was the property of monasteries, nunneries and other religious houses.

 

Henry VIII's "Dissolution of the Monasteries" had a profound effect on the city as nearly all of this property changed hands. The process started in the mid-1530s, and by 1538 most of the larger monastic houses had been abolished. Holy Trinity Aldgate went to Lord Audley, and the Marquess of Winchester built himself a house in part of its precincts. The Charterhouse went to Lord North, Blackfriars to Lord Cobham, the leper hospital of St Giles to Lord Dudley, while the king took for himself the leper hospital of St James, which was rebuilt as St James's Palace.

 

The period saw London rapidly rising in importance among Europe's commercial centres. Trade expanded beyond Western Europe to Russia, the Levant, and the Americas. This was the period of mercantilism and monopoly trading companies such as the Muscovy Company (1555) and the British East India Company (1600) were established in London by royal charter. The latter, which ultimately came to rule India, was one of the key institutions in London, and in Britain as a whole, for two and a half centuries. Immigrants arrived in London not just from all over England and Wales, but from abroad as well, for example Huguenots from France; the population rose from an estimated 50,000 in 1530 to about 225,000 in 1605. The growth of the population and wealth of London was fuelled by a vast expansion in the use of coastal shipping.

 

The late 16th and early 17th century saw the great flourishing of drama in London whose preeminent figure was William Shakespeare. During the mostly calm later years of Elizabeth's reign, some of her courtiers and some of the wealthier citizens of London built themselves country residences in Middlesex, Essex and Surrey. This was an early stirring of the villa movement, the taste for residences which were neither of the city nor on an agricultural estate, but at the time of Elizabeth's death in 1603, London was still relatively compact.

 

Xenophobia was rampant in London, and increased after the 1580s. Many immigrants became disillusioned by routine threats of violence and molestation, attempts at expulsion of foreigners, and the great difficulty in acquiring English citizenship. Dutch cities proved more hospitable, and many left London permanently. Foreigners are estimated to have made up 4,000 of the 100,000 residents of London by 1600, many being Dutch and German workers and traders.

 

Stuart London (1603–1714)

Paul's Cathedral had lost its spire by this time. The two theatres on the foreground (Southwark) side of the Thames are The Bear Garden and The Globe. The large church in the foreground is St Mary Overie, now Southwark Cathedral.

London's expansion beyond the boundaries of the City was decisively established in the 17th century. In the opening years of that century the immediate environs of the City, with the principal exception of the aristocratic residences in the direction of Westminster, were still considered not conducive to health. Immediately to the north was Moorfields, which had recently been drained and laid out in walks, but it was frequented by beggars and travellers, who crossed it in order to get into London. Adjoining Moorfields were Finsbury Fields, a favourite practising ground for the archers, Mile End, then a common on the Great Eastern Road and famous as a rendezvous for the troops.

 

The preparations for King James I becoming king were interrupted by a severe plague epidemic, which may have killed over thirty thousand people. The Lord Mayor's Show, which had been discontinued for some years, was revived by order of the king in 1609. The dissolved monastery of the Charterhouse, which had been bought and sold by the courtiers several times, was purchased by Thomas Sutton for £13,000. The new hospital, chapel, and schoolhouse were begun in 1611. Charterhouse School was to be one of the principal public schools in London until it moved to Surrey in the Victorian era, and the site is still used as a medical school.

 

The general meeting-place of Londoners in the day-time was the nave of Old St. Paul's Cathedral. Merchants conducted business in the aisles, and used the font as a counter upon which to make their payments; lawyers received clients at their particular pillars; and the unemployed looked for work. St Paul's Churchyard was the centre of the book trade and Fleet Street was a centre of public entertainment. Under James I the theatre, which established itself so firmly in the latter years of Elizabeth, grew further in popularity. The performances at the public theatres were complemented by elaborate masques at the royal court and at the inns of court.

 

Charles I acceded to the throne in 1625. During his reign, aristocrats began to inhabit the West End in large numbers. In addition to those who had specific business at court, increasing numbers of country landowners and their families lived in London for part of the year simply for the social life. This was the beginning of the "London season". Lincoln's Inn Fields was built about 1629. The piazza of Covent Garden, designed by England's first classically trained architect Inigo Jones followed in about 1632. The neighbouring streets were built shortly afterwards, and the names of Henrietta, Charles, James, King and York Streets were given after members of the royal family.

 

In January 1642 five members of parliament whom the King wished to arrest were granted refuge in the City. In August of the same year the King raised his banner at Nottingham, and during the English Civil War London took the side of the parliament. Initially the king had the upper hand in military terms and in November he won the Battle of Brentford a few miles to the west of London. The City organised a new makeshift army and Charles hesitated and retreated.

 

Subsequently, an extensive system of fortifications was built to protect London from a renewed attack by the Royalists. This comprised a strong earthen rampart, enhanced with bastions and redoubts. It was well beyond the City walls and encompassed the whole urban area, including Westminster and Southwark. London was not seriously threatened by the royalists again, and the financial resources of the City made an important contribution to the parliamentarians' victory in the war.

 

The unsanitary and overcrowded City of London has suffered from the numerous outbreaks of the plague many times over the centuries, but in Britain it is the last major outbreak which is remembered as the "Great Plague" It occurred in 1665 and 1666 and killed around 60,000 people, which was one fifth of the population. Samuel Pepys chronicled the epidemic in his diary. On 4 September 1665 he wrote "I have stayed in the city till above 7400 died in one week, and of them about 6000 of the plague, and little noise heard day or night but tolling of bells."

 

Great Fire of London (1666)

The Great Plague was immediately followed by another catastrophe, albeit one which helped to put an end to the plague. On the Sunday, 2 September 1666 the Great Fire of London broke out at one o'clock in the morning at a bakery in Pudding Lane in the southern part of the City. Fanned by an eastern wind the fire spread, and efforts to arrest it by pulling down houses to make firebreaks were disorganised to begin with. On Tuesday night the wind fell somewhat, and on Wednesday the fire slackened. On Thursday it was extinguished, but on the evening of that day the flames again burst forth at the Temple. Some houses were at once blown up by gunpowder, and thus the fire was finally mastered. The Monument was built to commemorate the fire: for over a century and a half it bore an inscription attributing the conflagration to a "popish frenzy".

 

The fire destroyed about 60% of the City, including Old St Paul's Cathedral, 87 parish churches, 44 livery company halls and the Royal Exchange. However, the number of lives lost was surprisingly small; it is believed to have been 16 at most. Within a few days of the fire, three plans were presented to the king for the rebuilding of the city, by Christopher Wren, John Evelyn and Robert Hooke.

 

Wren proposed to build main thoroughfares north and south, and east and west, to insulate all the churches in conspicuous positions, to form the most public places into large piazzas, to unite the halls of the 12 chief livery companies into one regular square annexed to the Guildhall, and to make a fine quay on the bank of the river from Blackfriars to the Tower of London. Wren wished to build the new streets straight and in three standard widths of thirty, sixty and ninety feet. Evelyn's plan differed from Wren's chiefly in proposing a street from the church of St Dunstan's in the East to the St Paul's, and in having no quay or terrace along the river. These plans were not implemented, and the rebuilt city generally followed the streetplan of the old one, and most of it has survived into the 21st century.

 

Nonetheless, the new City was different from the old one. Many aristocratic residents never returned, preferring to take new houses in the West End, where fashionable new districts such as St. James's were built close to the main royal residence, which was Whitehall Palace until it was destroyed by fire in the 1690s, and thereafter St. James's Palace. The rural lane of Piccadilly sprouted courtiers mansions such as Burlington House. Thus the separation between the middle class mercantile City of London, and the aristocratic world of the court in Westminster became complete.

 

In the City itself there was a move from wooden buildings to stone and brick construction to reduce the risk of fire. Parliament's Rebuilding of London Act 1666 stated "building with brick [is] not only more comely and durable, but also more safe against future perils of fire". From then on only doorcases, window-frames and shop fronts were allowed to be made of wood.

 

Christopher Wren's plan for a new model London came to nothing, but he was appointed to rebuild the ruined parish churches and to replace St Paul's Cathedral. His domed baroque cathedral was the primary symbol of London for at least a century and a half. As city surveyor, Robert Hooke oversaw the reconstruction of the City's houses. The East End, that is the area immediately to the east of the city walls, also became heavily populated in the decades after the Great Fire. London's docks began to extend downstream, attracting many working people who worked on the docks themselves and in the processing and distributive trades. These people lived in Whitechapel, Wapping, Stepney and Limehouse, generally in slum conditions.

 

In the winter of 1683–1684, a frost fair was held on the Thames. The frost, which began about seven weeks before Christmas and continued for six weeks after, was the greatest on record. The Revocation of the Edict of Nantes in 1685 led to a large migration of Huguenots to London. They established a silk industry at Spitalfields.

 

At this time the Bank of England was founded, and the British East India Company was expanding its influence. Lloyd's of London also began to operate in the late 17th century. In 1700, London handled 80% of England's imports, 69% of its exports and 86% of its re-exports. Many of the goods were luxuries from the Americas and Asia such as silk, sugar, tea and tobacco. The last figure emphasises London's role as an entrepot: while it had many craftsmen in the 17th century, and would later acquire some large factories, its economic prominence was never based primarily on industry. Instead it was a great trading and redistribution centre. Goods were brought to London by England's increasingly dominant merchant navy, not only to satisfy domestic demand, but also for re-export throughout Europe and beyond.

 

William III, a Dutchman, cared little for London, the smoke of which gave him asthma, and after the first fire at Whitehall Palace (1691) he purchased Nottingham House and transformed it into Kensington Palace. Kensington was then an insignificant village, but the arrival of the court soon caused it to grow in importance. The palace was rarely favoured by future monarchs, but its construction was another step in the expansion of the bounds of London. During the same reign Greenwich Hospital, then well outside the boundary of London, but now comfortably inside it, was begun; it was the naval complement to the Chelsea Hospital for former soldiers, which had been founded in 1681. During the reign of Queen Anne an act was passed authorising the building of 50 new churches to serve the greatly increased population living outside the boundaries of the City of London.

 

A view of London from the east in 1751

The 18th century was a period of rapid growth for London, reflecting an increasing national population, the early stirrings of the Industrial Revolution, and London's role at the centre of the evolving British Empire.

 

In 1707, an Act of Union was passed merging the Scottish and the English Parliaments, thus establishing the Kingdom of Great Britain. A year later, in 1708 Christopher Wren's masterpiece, St Paul's Cathedral was completed on his birthday. However, the first service had been held on 2nd of December 1697; more than 10 years earlier. This Cathedral replaced the original St. Paul's which had been completely destroyed in the Great Fire of London. This building is considered one of the finest in Britain and a fine example of Baroque architecture.

 

Many tradesmen from different countries came to London to trade goods and merchandise. Also, more immigrants moved to London making the population greater. More people also moved to London for work and for business making London an altogether bigger and busier city. Britain's victory in the Seven Years' War increased the country's international standing and opened large new markets to British trade, further boosting London's prosperity.

 

During the Georgian period London spread beyond its traditional limits at an accelerating pace. This is shown in a series of detailed maps, particularly John Rocque's 1741–45 map (see below) and his 1746 Map of London. New districts such as Mayfair were built for the rich in the West End, new bridges over the Thames encouraged an acceleration of development in South London and in the East End, the Port of London expanded downstream from the City. During this period was also the uprising of the American colonies.

 

In 1780, the Tower of London held its only American prisoner, former President of the Continental Congress, Henry Laurens. In 1779, he was the Congress's representative of Holland, and got the country's support for the Revolution. On his return voyage back to America, the Royal Navy captured him and charged him with treason after finding evidence of a reason of war between Great Britain and the Netherlands. He was released from the Tower on 21 December 1781 in exchange for General Lord Cornwallis.

 

In 1762, George III acquired Buckingham Palace (then called Buckingham House) from the Duke of Buckingham. It was enlarged over the next 75 years by architects such as John Nash.

 

A phenomenon of the era was the coffeehouse, which became a popular place to debate ideas. Growing literacy and the development of the printing press meant that news became widely available. Fleet Street became the centre of the embryonic national press during the century.

 

18th-century London was dogged by crime. The Bow Street Runners were established in 1750 as a professional police force. Penalties for crime were harsh, with the death penalty being applied for fairly minor crimes. Public hangings were common in London, and were popular public events.

 

In 1780, London was rocked by the Gordon Riots, an uprising by Protestants against Roman Catholic emancipation led by Lord George Gordon. Severe damage was caused to Catholic churches and homes, and 285 rioters were killed.

 

Up until 1750, London Bridge was the only crossing over the Thames, but in that year Westminster Bridge was opened and, for the first time in history, London Bridge, in a sense, had a rival. In 1798, Frankfurt banker Nathan Mayer Rothschild arrived in London and set up a banking house in the city, with a large sum of money given to him by his father, Amschel Mayer Rothschild. The Rothschilds also had banks in Paris and Vienna. The bank financed numerous large-scale projects, especially regarding railways around the world and the Suez Canal.

 

The 18th century saw the breakaway of the American colonies and many other unfortunate events in London, but also great change and Enlightenment. This all led into the beginning of modern times, the 19th century.

 

19th century

During the 19th century, London was transformed into the world's largest city and capital of the British Empire. Its population expanded from 1 million in 1800 to 6.7 million a century later. During this period, London became a global political, financial, and trading capital. In this position, it was largely unrivalled until the latter part of the century, when Paris and New York began to threaten its dominance.

 

While the city grew wealthy as Britain's holdings expanded, 19th-century London was also a city of poverty, where millions lived in overcrowded and unsanitary slums. Life for the poor was immortalised by Charles Dickens in such novels as Oliver Twist.

 

In 1829, the then Home Secretary (and future prime minister) Robert Peel established the Metropolitan Police as a police force covering the entire urban area. The force gained the nickname of "bobbies" or "peelers" named after Robert Peel.

 

19th-century London was transformed by the coming of the railways. A new network of metropolitan railways allowed for the development of suburbs in neighbouring counties from which middle-class and wealthy people could commute to the centre. While this spurred the massive outward growth of the city, the growth of greater London also exacerbated the class divide, as the wealthier classes emigrated to the suburbs, leaving the poor to inhabit the inner city areas.

 

The first railway to be built in London was a line from London Bridge to Greenwich, which opened in 1836. This was soon followed by the opening of great rail termini which eventually linked London to every corner of Great Britain, including Euston station (1837), Paddington station (1838), Fenchurch Street station (1841), Waterloo station (1848), King's Cross station (1850), and St Pancras station (1863). From 1863, the first lines of the London Underground were constructed.

 

The urbanised area continued to grow rapidly, spreading into Islington, Paddington, Belgravia, Holborn, Finsbury, Shoreditch, Southwark and Lambeth. Towards the middle of the century, London's antiquated local government system, consisting of ancient parishes and vestries, struggled to cope with the rapid growth in population. In 1855, the Metropolitan Board of Works (MBW) was created to provide London with adequate infrastructure to cope with its growth. One of its first tasks was addressing London's sanitation problems. At the time, raw sewage was pumped straight into the River Thames. This culminated in The Great Stink of 1858.

 

Parliament finally gave consent for the MBW to construct a large system of sewers. The engineer put in charge of building the new system was Joseph Bazalgette. In what was one of the largest civil engineering projects of the 19th century, he oversaw construction of over 2100 km of tunnels and pipes under London to take away sewage and provide clean drinking water. When the London sewerage system was completed, the death toll in London dropped dramatically, and epidemics of cholera and other diseases were curtailed. Bazalgette's system is still in use today.

 

One of the most famous events of 19th-century London was the Great Exhibition of 1851. Held at The Crystal Palace, the fair attracted 6 million visitors from across the world and displayed Britain at the height of its Imperial dominance.

 

As the capital of a massive empire, London became a magnet for immigrants from the colonies and poorer parts of Europe. A large Irish population settled in the city during the Victorian period, with many of the newcomers refugees from the Great Famine (1845–1849). At one point, Catholic Irish made up about 20% of London's population; they typically lived in overcrowded slums. London also became home to a sizable Jewish community, which was notable for its entrepreneurship in the clothing trade and merchandising.

 

In 1888, the new County of London was established, administered by the London County Council. This was the first elected London-wide administrative body, replacing the earlier Metropolitan Board of Works, which had been made up of appointees. The County of London covered broadly what was then the full extent of the London conurbation, although the conurbation later outgrew the boundaries of the county. In 1900, the county was sub-divided into 28 metropolitan boroughs, which formed a more local tier of administration than the county council.

 

Many famous buildings and landmarks of London were constructed during the 19th century including:

Trafalgar Square

Big Ben and the Houses of Parliament

The Royal Albert Hall

The Victoria and Albert Museum

Tower Bridge

20th century

 

1900 to 1939

London entered the 20th century at the height of its influence as the capital of one of the largest empires in history, but the new century was to bring many challenges.

 

London's population continued to grow rapidly in the early decades of the century, and public transport was greatly expanded. A large tram network was constructed by the London County Council, through the LCC Tramways; the first motorbus service began in the 1900s. Improvements to London's overground and underground rail network, including large scale electrification were progressively carried out.

 

During World War I, London experienced its first bombing raids carried out by German zeppelin airships; these killed around 700 people and caused great terror, but were merely a foretaste of what was to come. The city of London would experience many more terrors as a result of both World Wars. The largest explosion in London occurred during World War I: the Silvertown explosion, when a munitions factory containing 50 tons of TNT exploded, killing 73 and injuring 400.

 

The period between the two World Wars saw London's geographical extent growing more quickly than ever before or since. A preference for lower density suburban housing, typically semi-detached, by Londoners seeking a more "rural" lifestyle, superseded Londoners' old predilection for terraced houses. This was facilitated not only by a continuing expansion of the rail network, including trams and the Underground, but also by slowly widening car ownership. London's suburbs expanded outside the boundaries of the County of London, into the neighbouring counties of Essex, Hertfordshire, Kent, Middlesex and Surrey.

 

Like the rest of the country, London suffered severe unemployment during the Great Depression of the 1930s. In the East End during the 1930s, politically extreme parties of both right and left flourished. The Communist Party of Great Britain and the British Union of Fascists both gained serious support. Clashes between right and left culminated in the Battle of Cable Street in 1936. The population of London reached an all-time peak of 8.6 million in 1939.

 

Large numbers of Jewish immigrants fleeing from Nazi Germany settled in London during the 1930s, mostly in the East End.

 

Labour Party politician Herbert Morrison was a dominant figure in local government in the 1920s and 1930s. He became mayor of Hackney and a member of the London County Council in 1922, and for a while was Minister of Transport in Ramsay MacDonald's cabinet. When Labour gained power in London in 1934, Morrison unified the bus, tram and trolleybus services with the Underground, by the creation of the London Passenger Transport Board (known as London Transport) in 1933., He led the effort to finance and build the new Waterloo Bridge. He designed the Metropolitan Green Belt around the suburbs and worked to clear slums, build schools, and reform public assistance.

 

In World War II

During World War II, London, as many other British cities, suffered severe damage, being bombed extensively by the Luftwaffe as a part of The Blitz. Prior to the bombing, hundreds of thousands of children in London were evacuated to the countryside to avoid the bombing. Civilians took shelter from the air raids in underground stations.

 

The heaviest bombing took place during The Blitz between 7 September 1940 and 10 May 1941. During this period, London was subjected to 71 separate raids receiving over 18,000 tonnes of high explosive. One raid in December 1940, which became known as the Second Great Fire of London, saw a firestorm engulf much of the City of London and destroy many historic buildings. St Paul's Cathedral, however, remained unscathed; a photograph showing the cathedral shrouded in smoke became a famous image of the war.

 

Having failed to defeat Britain, Hitler turned his attention to the Eastern front and regular bombing raids ceased. They began again, but on a smaller scale with the "Little Blitz" in early 1944. Towards the end of the war, during 1944/45 London again came under heavy attack by pilotless V-1 flying bombs and V-2 rockets, which were fired from Nazi occupied Europe. These attacks only came to an end when their launch sites were captured by advancing Allied forces.

 

London suffered severe damage and heavy casualties, the worst hit part being the Docklands area. By the war's end, just under 30,000 Londoners had been killed by the bombing, and over 50,000 seriously injured, tens of thousands of buildings were destroyed, and hundreds of thousands of people were made homeless.

 

1945–2000

Three years after the war, the 1948 Summer Olympics were held at the original Wembley Stadium, at a time when the city had barely recovered from the war. London's rebuilding was slow to begin. However, in 1951 the Festival of Britain was held, which marked an increasing mood of optimism and forward looking.

 

In the immediate postwar years housing was a major issue in London, due to the large amount of housing which had been destroyed in the war. The authorities decided upon high-rise blocks of flats as the answer to housing shortages. During the 1950s and 1960s the skyline of London altered dramatically as tower blocks were erected, although these later proved unpopular. In a bid to reduce the number of people living in overcrowded housing, a policy was introduced of encouraging people to move into newly built new towns surrounding London. Living standards also rose, with real earnings rising by approximately 70.% in the 20 years after the end of the war.

 

Through the 19th and in the early half of the 20th century, Londoners used coal for heating their homes, which produced large amounts of smoke. In combination with climatic conditions this often caused a characteristic smog, and London became known for its typical "London Fog", also known as "Pea Soupers". London was sometimes referred to as "The Smoke" because of this. In 1952, this culminated in the disastrous Great Smog of 1952 which lasted for five days and killed over 4,000 people. In response to this, the Clean Air Act 1956 was passed, mandating the creating of "smokeless zones" where the use of "smokeless" fuels was required (this was at a time when most households still used open fires); the Act was effective.

 

Starting in the mid-1960s, and partly as a result of the success of such UK musicians as the Beatles and The Rolling Stones, London became a centre for the worldwide youth culture, exemplified by the Swinging London subculture which made Carnaby Street a household name of youth fashion around the world. London's role as a trendsetter for youth fashion continued strongly in the 1980s during the new wave and punk eras and into the mid-1990s with the emergence of the Britpop era.

 

From the 1950s onwards London experienced an increase in immigration, largely from Commonwealth countries such as Jamaica, India, Bangladesh and Pakistan. However, the integration of the new immigrants was not always easy. Racial tensions emerged in events such as the Brixton Riots in the early 1980s.

 

From the beginning of "The Troubles" in Northern Ireland in the early 1970s until the mid-1990s, London was subjected to repeated terrorist attacks by the Provisional IRA.

 

The outward expansion of London was slowed by the war, and the introduction of the Metropolitan Green Belt. Due to this outward expansion, in 1965 the old County of London (which by now only covered part of the London conurbation) and the London County Council were abolished, and the much larger area of Greater London was established with a new Greater London Council (GLC) to administer it, along with 32 new London boroughs.

 

Greater London's population declined steadily in the decades after World War II, from an estimated peak of 8.6 million in 1939 to around 6.8 million in the 1980s. However, it then began to increase again in the late 1980s, encouraged by strong economic performance and an increasingly positive image.

 

London's traditional status as a major port declined dramatically in the post-war decades as the old Docklands could not accommodate large modern container ships. The principal ports for London moved downstream to the ports of Felixstowe and Tilbury. The docklands area had become largely derelict by the 1980s, but was redeveloped into flats and offices from the mid-1980s onwards. The Thames Barrier was completed in the 1980s to protect London against tidal surges from the North Sea.

 

In the early 1980s political disputes between the GLC run by Ken Livingstone and the Conservative government of Margaret Thatcher led to the GLC's abolition in 1986, with most of its powers relegated to the London boroughs. This left London as the only large metropolis in the world without a central administration.

 

In 2000, London-wide government was restored, with the creation of the Greater London Authority (GLA) by Tony Blair's government, covering the same area of Greater London. The new authority had similar powers to the old GLC, but was made up of a directly elected Mayor and a London Assembly. The first election took place on 4 May, with Ken Livingstone comfortably regaining his previous post, becoming first elected mayor of London. London was recognised as one of the nine regions of England. In global perspective, it was emerging as a World city widely compared to New York and Tokyo.

 

21st century

Around the start of the 21st century, London hosted the much derided Millennium Dome at Greenwich, to mark the new century.[50] Other Millennium projects were more successful. One was the largest observation wheel in the world, the "Millennium Wheel", or the London Eye, which was erected as a temporary structure, but soon became a fixture, and draws four million visitors a year. The National Lottery also released a flood of funds for major enhancements to existing attractions, for example the roofing of the Great Court at the British Museum.

 

The London Plan, published by the Mayor of London in 2004, estimated that the population would reach 8.1 million by 2016, and continue to rise thereafter. This was reflected in a move towards denser, more urban styles of building, including a greatly increased number of tall buildings, and proposals for major enhancements to the public transport network. However, funding for projects such as Crossrail remained a struggle.

 

On 6 July 2005 London won the right to host the 2012 Olympics and Paralympics making it the first city to host the modern games three times. However, celebrations were cut short the following day when the city was rocked by a series of terrorist attacks. More than 50 were killed and 750 injured in three bombings on London Underground trains and a fourth on a double decker bus near King's Cross.

 

London was the starting point for countrywide riots which occurred in August 2011, when thousands of people rioted in several city boroughs and in towns across England. They were the biggest riots in modern English history. In 2011, the population grew over 8 million people for the first time in decades. White British formed less than half of the population for the first time.

 

In the public there was ambivalence leading-up to the 2012 Summer Olympics in the city,[58] though public sentiment changed strongly in their favour following a successful opening ceremony and when the anticipated organisational and transport problems never occurred.

 

Boris Johnson, later Prime Minister of the United Kingdom and Leader of the Conservative Party, served as mayor of London from 1 May 2008 until 5 May 2016, being elected in 2008 and reelected in 2012.

 

In the 2016 United Kingdom European Union membership referendum, London was the only region in England, where Remain won the highest share of the vote. The voter turnout was the highest in London since the 1950 general election. However, Britain’s exit from the European Union (EU) in early 2021 (Brexit) only marginally weakened London’s position as an international financial center (IFC).

 

In May 2021, Sadiq Khan, the first Muslim mayor of a major Western capital city, won a second term as London's mayor.

 

In 2022, the Elizabeth line railway opened, connecting Heathrow and Reading to Shenfield and Abbey Wood through a tunnel in the city between Paddington and Liverpool Street, revolutionising east-west travel in London.

 

On 6 May 2023, the coronation of Charles III and his wife, Camilla, as king and queen of the United Kingdom and the other Commonwealth realms, took place at Westminster Abbey, London.

tokyo, japan

Lightning Bolts over the neighborhood captured during a thunderstorm in the early morning 0300hrs. (I was under the period of home self-isolation for covid19)

In this photographic instance, the intensely-lit streaks happen to travel across the frame from right to left in a flash creating some very exciting patterns in the night sky. A spectacular sight indeed, a bit scary though.

This is a natural phenomenon whereby electrostatic discharge occurs between 2 dissimilarly charged regions in the atmosphere followed by an instantaneous release of an enormous amount of electrical energy in the form of lightning streaks. This process also produces huge shock waves which resulted as sounds of thunder.

Without a doubt, it would be a scary affair if you are caught in the open during such an event with the prospect of being hit by one of these nasty bolts.

In ancient Greece, these phenomenon would be viewed as rivalry battles among the Gods in the heaven. Such conflicts are often the result of we human's misconduct. In order to have any form of resolution, offerings must be made to appease the Gods(polytheism) especially their chief, Zeus.

Well, today we know a great deal more about mother nature than the ancient world did. That's not the work of Gods over vicious disagreements but the work of natural electrostatic forces. However, the ancient folks are not dumb. With vivid imaginations, they managed to create powerful mythologies which made its way into their culture, literature and philosophy and even metamorphized into a religion which became the foundation for western civilization as a set of guiding principles. The very foundation was not only used to entertain, educate and propagate the world (as a pretext) but also as a very compelling tool to justify their political & religious appetite, motivations, bureaucracy, conquests and ambitions. Incidentally, those myths and legends that had been created so long ago are still in use by blood-tasty superpower western politicians till the present day as allegories to justify their geopolitical dominations, among others on the ground that they are so called "The World Leader'', "world police". But in fact, they are really a bunch of world bullies with peanut sized brains pivoted on greedy imperialism ideology. The economically weaker and the non-confrontational nations are being forced into submission to the western ideology with little or no choice, disregarding their long-standing culture, tradition, religious beliefs and whether they like it or not. When confronted with the oppressor's overwhelming military might, their largely unfair lopsided economic terms, deceptive unsustainable long term plans and toxic political influence invariably transform into a sweet recipe for success (only to the collective west though). The west has created an economic model in which all rules (world order) are written by them because they're so called the winner, guardian of the world, world democracy (well, in some sense yes but largely no) . A world in which the west plays the role of a sole predator and the rest are their easy preys. The rules are written in a way to make the prey forever prey or rather ever weaker prey so that they will never have a chance to stand up against their largely unfair rules let alone resist their attack. Any reluctance would be view as disobedient, rebellious, inappropriate and must be dealt with immediately with a nasty intimidating thing called sanction. which in most cases would tame the situation and reverse its course. For those that refuse to budge, there's another sweeter but a little bit more deadlier trick up the oppressor's sleeve, get ready for a swift and inevitable regime change, free of charge on the expense of blood-shed and political unrest of the nation concerned. This process will forcefully jettison the seemingly disobedient, highly dangerous, ideologically destructive leader and replace him with a damn 'peaceful' pro western 'law-abiding' human puppet. That would be considered as a highly educational move to get things back in proper alignment once more on the grounds that the west is helping to stabilize the 'artificially created' chaotic situation. Wow what a wonderfully constructed sugar-coated, peace-loving narrative by the world police. However, these fairy tales almost certainly never end with the people living happily ever after.... The exact opposite is true, people fighting and dying happily ever after.

The philosophy of world dominance is, it's easy to control the poor and even easier to control when you're poor and stupid. Similarly, it's difficult to control the rich and even more difficult if you're rich and clever. So the western hegemony make sure that nobody is richer and smarter than them, the master.

Such anachronistic, self defeating, selfish and highly toxic polarized attitude is not only despicable and barbaric but also catastrophic to the largely harmonized world.

Their appetite for power and world dominance continue to grow, and grow over the roof over time. The western oligarchs especially those from the weapons industries benefited from their bizarre economic model are showered with wealth beyond imagination and harness god-like power beyond human comprehension, however, they are so comfortably numb and oblivious to the fact that other nations have advanced too. In particular, China and Russia. They have grown up from poor stupid little kids to extremely clever and rich adults politically and they have all the rights as a human race to do so.. Now the what so called “i win you loose” US foreign policy which they imposed on others is being challenged by other nations and they are furious, insanely furious. The only way to contain this rise in economic power is to rage war irrationally, asserting indiscriminate military control measures (in short, joyfully kill the rebellious prey) which they are extremely good at containing the world for the last few decades but perhaps not the case anymore. Suddenly, the US and their gullible allies wake up from a very very sweet & comfortable dream and found themselves trapped in a very vulnerable position, in the midst of a fragile situation facing what they termed ‘enemies of the west’ simply because these people are far more diplomatic, sensible, rational, empathetic, logical, reasonable and exercise high level of common sense in dealing with geopolitical and economic problems than they do. The collective west (politicians) suddenly realized that they're just a self-licking ice cream cone after all.

Our common enemy though is certainly not one another but climate change, a fast deteriorating environmental condition which is a direct consequence of our activities as the human race progresses. A condition which could be addressed and must be addressed readily and responsibly over a long period of time before any positive outcome could be realized.

The only way to contain the detrimental effect of climate change is through concerted and well coordinated efforts of all nations wholeheartedly, spear-headed by the 'superpower' invariably, before it's all too late.

However, in hindsight we may not need to worry so much about dying from the slow-killing ill effects of climate change anymore. Incidentally, looking at the moldy development of the geopolitical tensions, the existence of the human race would likely come to a tragic end by our own actions, a nasty nuclear conflict instead.

Once the start button is depressed, the first thing that disappears is not the buildings nor the people. It's gonna be the deescalating button, the stop button if you like. It literally fails to exist anymore, you can't find it and put a finger on it and hopefully evade a nuclear catastrophe once it has started, there would be absolutely no avoiding fate for any human being and along with most lifeform on the planet. When that happen I'm afraid ITE (it's the end) That would mark the end of our civilization here on earth. A rather brief period of just a couple of millions years of human existence in the 4.5billion years of our planet's history.

....fast forward into the distant future...See you in about 300 million years later if...just if the place we called earth still exists. By some miraculous stroke of luck with the right combination of molecular structure and atmospheric conditions, life begins to evolve again, hooray ! Human would once again emerge as tiny little ape-like creatures, develop physically, learn to walk upright, walk the hell out of a huge continent coincidentally called Africa, becoming more intelligent, create civilizations, create nuclear weaponry(over a period of few million years of evolution) and mysteriously there's a US, Russia and China again, ting ting round 2, here we go again, and the rest, you guess ....history repeats itself once again....

gabby.

I have no memory of taking this photo. Obviously the photo looks nothing like what it actually looked like. For instance, it wasn't actualy taken at night.

.

.

.

'Array'

 

Camera: Argus C3 (1954)

Film: Seattle Film Works 200

Process: DIY ECN-2

 

Idaho

July 2019

18th century German painting of a famous Madonna know as the Mother of Good Counsel.

 

During the Counter-reformation the Augustinian order decided to place the order under the protection of Our Lady of Good Counsel. They began to honour her image wherever they were established. In Germany, for instance, seventy-thousand images were soon distributed and the devotion began to flourish.

 

The original image is kept in Genazzano, a small town southeast of Rome.

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

 

A short article I once wrote about the image:

 

About 50 kilometers south of Rome lies Genazzano. The small Italian town is renowned throughout the world for its miraculous image of the Virgin Mary, known as the Mother of Good Counsel. It is kept in the town's Augustinian church and attracts many pilgrims.

 

The story of the shrine begins in 1467. According to a legend in that year a widow called Petruzzia di Janeo decided to rebuild Genazzano's old Augustinian church. The building had since long been decrepit. The people of Genazzano laughed at the widow's plans, knowing that she lacked the means for such an undertaking. Although they did for a while help to rebuild the church, they refused their aid when Petruzzia ran out of money. Then on April 25 1467, Saint Mark's Day, a miracle happened. While the population of Genazzano participated in a festive carnival, a cloud descended from a sparkling clear sky before the uncompleted church. When the cloud disappeared, a small picture of the Virgin and Child could be witnessed on one of the church's inside walls. At the same moment, all the town's church bells began to ring. The story of the miraculous picture soon spread and many people came to view it. Between the end of April and mid-August of 1467, 171 miracles were recorded at the site.

 

Because of its miraculous origin, the image became known as the 'Madonna of Paradise'. But where did the people of Genazzano believe it came from? The second part of the legend provides an answer to this question: A short while after the image appeared, two Albanians arrived in Genazzano. They had fled from the Ottoman Turks, who occupied Albania at the time. The men told the people of Genazzano the image came from a church in their hometown Scutari, the current city of Shkodra. There it had been an object of fervent veneration. However, shortly before the Turkish occupation of the city, it miraculously left Scutari. The men testified they had seen the image being carried by a cloud in the direction of Italy, to where they followed it.

 

The half figure of the Mother of Good Counsel is a so-called 'Eleousa', a depiction of the Virgin Mary as 'Mother of Tenderness'. Mother and Child appear before a curtain with a rainbow behind.The fresco is executed on a thin layer of plaster. It is probably an Umbrian work dating from the 14th century. Stylistically, the image is strongly influenced by the work of the famous Italian artist Giotto (1267-1337).

 

Over the centuries, millions of pilgrims have come to view the image in Genazzano's Augustinian church. It is kept in one of the church's side chapels. After a papal coronation in November 1682, a canon of Saint Peter's chapter in Rome reported that the image is for the most part suspended in the air, only attached to the wall at the top. This was considered a miracle. It was also believed that at certain times the facial expressions of the image changed.

 

Most striking about the devotion to the Mother of Good Counsel is that it is found all over the world. In many countries there are shrines and churches dedicated to this particular image of the Virgin. The widespread popularity is largely due to the promotion of the cult by the Augustinian order, who choose the Virgin of Good Counsel as their patron. Everywhere the Augustinians went, they took copies of the image with them. In central Europe alone, about 70.000 copies could be found in the 18th century. In 1748 the first Italian devotional book was published, which was soon translated into other languages. The Jesuits have also spread the devotion, like they did with many other local Marian cults.

 

On April 26, the Mother of Good Counsel in commemorated in a special Mass. The feast has been celebrated in Genazzano since 1727 and was officially approved in 1789. The invocation 'Mother of Good Counsel, pray for us' was added to the Litany of Loreto in the 19th century.

 

The image of the Mother of Good Counsel remains one of the world's most venerated images of the Virgin Mary. Its popularity is probably due to two factors: the striking tenderness of Mother and Child and its appealing title. The title is probably a popular expression of the ancient theological idea of Mary as a manifestation of Divine Wisdom. That is why one can often read the following text from Ecclesiastes (6:24) on old devotional prints of the Mother of Good Counsel: 'Listen my son, and accept a wise advice and do not reject my counsel'.

A Fork-tailed Drongo flew after the Bateleur and attacked this stocky eagle when it ventured too close to it's nest.

Tanzania, January 2015

 

The bateleur eagle is one of these mesmerizing birds. The medium-sized eagle is a colorful species and has earned its title as one of the most majestic African eagles.

They demand adoration simply by being present. But many people don’t know the ins-and-outs of the silent predator.

The bateleur eagle (Terathopius ecaudatus) is a fascinating species, and the follwing facts will help you understand why.

1.

The bateleur is a proudly African eagle. The raptor spends its days soaring through the African sky and scanning for its next meal.

 

Bateleur eagles are widely distributed in Africa, particularly in the south of the Sahara Desert. But unlike many eagle species, they prefer open land to dense forest.

 

Are you visiting South Africa? The Kruger National Park, Timbavati Game Reserve, and Sabi Sands are a few places that you might strike lucky with a sighting.

 

While African grassland and acacia savannah are the habitats of choice, it’s not the only place that you can spot the bateleur.

 

Bateleur eagles are also endemic to certain parts of south-western Arabia. Particularly areas with similar woodland habitat.

2.

Family history can be a funny thing. And the bateleur has quite an interesting family connection. Belonging to the Accipitridae family, the bateleur’s closest relative is the brown snake eagle.

 

But despite this connection, the bateleur is the only member of the genus Terathopius.

 

The bird is easier identified by its appearance rather than its family group. The bateleur’s iconic red face (adults only) combined with its pitch-black feathers and grey (sometimes tawny) mantle make it quite a sight to behold.

3.

The bateleur is a magnificent sight in flight. You can even catch a glimpse of their white underwing when watching from underneath. But there’s something extra interesting about their form.

 

When translated from both Latin and Greek, their scientific name means “marvelous face, no tail”. This translation can be a bit misleading as the bateleur does have a tail. But it’s so short that the eagle’s legs extend further than the tail when in flight.

 

However, chances are that you’ll be more in awe of their striking face than anything else. The bateleur’s red facial skin and beak are characteristic markings and quite beautiful.

 

4. The National Emblem of Zimbabwe

Have you ever been to the vibrant nation of Zimbabwe? If not, perhaps you’ve seen their flag? The national emblem of Zimbabwe is a stone-carved Zimbabwe bird.

 

There is no certainty about which bird the emblem displays. However, the general consensus is that it represents the bateleur eagle or the African fish eagle. What an honour!

5.

If you think that sitting behind a desk for 9 hours is tough, imagine spending the same amount of time hunting for food!

The bateleur eagle typically spends about 8-9 hours each day on the hunt. As scavenger birds, their menu varies to include a wide variety of prey. You may discover a bateleur snacking on mice and birds one day, and an antelope carcass the next.

6.

“Bateleur” translates to “street performer”, “juggler” or “circus performer” and the bird lives up to its name. Acrobatic displays and rocking inflight are typical of the bateleur. Their movement is so iconic that there’s even a bateleur eagle dance.

 

This behavior becomes even more entertaining during the courtship flight. During this routine, they exaggeratedly beat their wings.

 

The graceful bird is a wonder to watch. Their wings are exceptionally long and their wingspan can grow to be 1,86 meters.

While the top of their wings can be black as the night, their underside is white. This makes for a marvelous sight when viewing them from underneath.

7.

Do you want to know how to tell the difference between male and female eagles? Although the same species, the male and female bateleur eagle are different in appearance, also known as sexual dimorphism.

In most species, the males are larger than females. However female bateleur eagles are larger than males. This difference in size is due to the male taking on the role of the sleek hunter. The female’s body supports her role of sitting on the nest for extended periods and appearing large enough to deter predators.

Another key difference is that male bateleur eagles have black feathers on their upper-wing covers and the females’ feathers are primarily brown. This difference in aesthetics is typical of many other species as the male has to win the attention of females for breeding.

8.

Bateleur eagles are ominously silent birds. This makes a sighting even more awe-inspiring.

Although mostly silent, there are occasions when the bateleur will make sounds. In certain instances, the bateleur will produce a loud bark as a territorial display.

9.

After spending so much time in the air hunting, you’d imagine that the bateleur has very little time for anything else. But that’s not the case.

People will often see bateleurs sunning (or sunbathing). It’s not uncommon for the majestic eagles to dip into various water bodies for a bath. They open their large wings and catch some sun to dry off afterward.

They mostly stand upright and straighten out their wings to catch some rays, but they are also known to lie on the ground with their wings spread out. By exposing their wings to sunlight, the oils in their feathers warm-up and improve its aerodynamics.

10.

The reproduction cycle of the bateleur is long and risky. A male and female will mate for life and will often keep the same nest for several years.

 

The female will lay a single egg at a time and do her best to protect her eaglet once hatched. A typical growth cycle is as follows:

 

The mother incubates the egg for 55-60 days while the father hunts

The parents look after the hatching for 110 days before forcing it out of the nest

Despite leaving the nest, the eaglet still relies on its parents for food for an additional 3-4 months

Sadly, only 2% of chicks ever make it to adulthood. But once they do, the life expectancy is an impressive 20-25 years.

 

Time comes and goes so quickly. The instance of a moment can fleet by and yet we wait for things to happen, then when they happen, they are over too quickly. I know that I need time to take for myself, to gather thoughts in my head. Sometimes a walk on my own, or just watch my children play from a little distance can do that. Time to recharge, to be quiet, to listen, to just observe ...

 

All my pictures are copyright protected. Please do not use without my written permission

 

Website |BLOG |FACEBOOK |society6

 

There is a story behind each picture. For instance, this lady was hiding under a covered area and was waiting for the rain to stop before crossing the road. Then a man with an umbrella approached her and started to chat her up. 2 minutes later, the man and this lady crossed the road together under the man's umbrella.

 

View On Black

 

I also want to take this opportunity to thank my flickr friends who have mentioned my name in their recent uploads.

 

Josephine

edgarleo

Adrian

Wu in Vietnam

 

Be sure to check out their photostream! They're all brilliant photographers!

Four lion cubs of Oshana and Izu, born on June 22,,2014 at Lion Camp.There is one male and three females named: Ernest, Evelyn, Marion and Miss Ellen.

 

An African lion’s life is all about napping, and resting with short bursts of intense activity, play, clawing at trees, followed by more sleeping that can total up to 21 hours a day! Lions are primarily nocturnal, although seem to be most active at twilight.

 

The African lion is the only large cat that is social. Lions live in groups which are called prides. All of a pride’s lionesses are related. At Lion camp, the Male is Izu. the two females are Oshana and Mina, and they are sisters.

 

Lions are the only members of the cat family to display obvious sexual dimorphism – that is, males and females look distinctly different. They also have specialized roles that each gender plays in the pride. For instance, the lioness, is the hunter, while the male Lion stands guard patrolling their territory to defend it from intruders.

 

Africa's lions are considered to be threatened by their environment because of habitat loss, loss of prey and increased human-lion conflicts, according to The U.S. Fish and Wildlife Service.

 

Hope you enjoyed my pics!

 

All rights reserved ©Pix.by.PegiSue

www.flickr.com/photos/pix-by-pegisue/

~Protect animals and wild life habitat around the World‎! ~

 

Taken @ San Diego Zoo Safari Park, Escondido, CA

www.EndExtinction.org

 

Post WWII, the USA was looking to return to normality. People going about there day doing normal things.

 

They looked to the traditional 'Truck' to get their goods to market, for instance.

 

The 1946 Chevrolet COE (Cab Over Engine) is a perfect such example, shown here.

 

This particular Lego model is directly designed to reflect a restoration job on an old COE, recounted in the story below:

 

1946 Chevrolet COE

Year/Make 1946 Chevrolet COE

Owner: Billy Marlow

 

1946 Ownerd by Billy Marlow Dayton, MD

By Billy Marlow

Although my family was in the coal business in Washington,D.C. for many years, and for a brief time I drove a tow truck for a living, my truck passion didn't bloom until after I restored my 1946 Chevrolet Cab-Over (COE) and joined ATHS.

Always a bit of a gear-head and into anything with a motor, I saw the 1946 Cab Over in a truck trader publication in September 2000 and fell in love with its Art Deco grill. The truck reportedly spent much of it's life on a farm in Oklahoma, most likely with a grain body on it. I bought the truck sight unseen and had it shipped to Maryland with the intention of fixing it up a little and having fun with it.

As many of these stories go, the next thing you know the truck was in a million pieces and a complete restoration had begun. I felt that it would be kind of nice to see this truck restored to near original condition. In doing so, however, I knew this would limit travel speed and distance. The chevy has the famous 235 inline stove bolt 6 cylinder engine. It is a 2 ton truck with a two speed vacuum rear, with 6.03 and 7.99 ratios, which means it tops out comfortably around 43 miles an hour.

I'm not exactly sure how I came up with the color combination, but I knew that is what it was going to be before I even took delivery of the truck. The paint scheme is definitely not stock, but folks seem to approve of my choice.

I am a building engineer at a country club near my home in Dayton, MD. and have worked there for 28 years. A lot of what I do from day to day helped in my first attempt at truck restoration. I did a lot of restoration myself, but had a hand with the engine, paint and body work. I spent many hours in front of the sand blast cabinet. Some of my best memories of the restoration were the days like the first time we started the engine, the day we set the cab back on the frame and the best of all, the first time I eased the clutch out and drove the truck out of the barn.

 

Right after the truck came home I realized I was going to need every resource I could to learn about my new project and to locate parts. One of my first tools I bought was a computer, and without the internet I don't think I could have finished the truck. There are some great websites out there and folks who are more than willing to help.

I quickly learned that there are many parts on a cab-over that are shared with a conventional truck. After a little time on the keyboard, I was finding parts and pieces all over the country. Finding the grill bars proved a challenge. It took about two years to find enough to make a fairly straight set.

The truck was almost done around the summer of 2003-and six years later it is still "almost done" - when John Milliman twisted my arm to get me to come to an ATHS Baltimore-Washington Chapter truck show in Waldorf, Maryland. It was my very first time out with the truck and I had a great time. I filled out my ATHS membership application that day and also joined the chapter. I felt a little out of place at first among all the bigger trucks, but all that changed after our chapter hosted the ATHS National Convention in Baltimore in 2006. That was the first really big truck show I ever attended and it left a lasting mark on me.

I have had a wonderful time taking my truck to many shows, and have even brought two more trucks that I am working on now: a 1972 GMC 9500 and a 1964 B-61 Mack. My wife, Jennifer, is a huge supporter of my truck hobby, and I couldn't enjoy all these fun events without her.

Jennifer brought her mother to the convention in 2006, and she was overwhelmed by the passion that the truck owners had for their beautiful vehicles. My mother-in-law is also a big supporter of my little hobby, and is responsible for having the beautiful signs made for the truck. The signs were made from the original Marlow Coal Company logo and letterhead, and its history is very dear to my heart.

People always ask me if my truck is for sale. After all the fun I had restoring it, all the fun I have had taking it to different events, and all the great people I have met becuase of it, I don't think I could ever sell it. I guess there are some things you just can't put a price tag on.

 

You can read this story, along with pictures of the original truck at:

 

www.oldchevytrucks.com/Showcase/1946_COE_Marlow.php

 

And, for a wider range of stories of period Chevrolet Trucks:

 

www.oldchevytrucks.com/blog/index.php/category/technical-...

 

This Lego miniland-scale 1946 Chevrolet COE Farm Truck has been created for Flickr LUGNuts' 103rd Build Challenge, titled - 'The Fabulous Forties!' - a challenge for any vehicle produced through the decade of the 1940s.

The Postcard

 

An Autochrom Peacock Brand postcard that was published by the Pictorial Stationery Co. Ltd. of London. The card was posted in Boscombe, Bournemouth using a ½d. stamp on the 19th. April 1907. It was sent to:

 

Miss Kate Prideaux,

'The Hollies',

East Oakley,

Nr. Basingstoke,

Hants.

 

The message on the divided back of the card was as follows:

 

"Dear Kate,

Just a line or two to tell

you Mother is much

better.

She will write you a long

letter in a few days.

Ciss thanks you for the

postcard.

Put this one in your album.

Give our love to all,

From Marjory".

 

Pokesdown

 

Pokesdown is a suburb of Bournemouth in Dorset. It lies just east of Boscombe and west of Southbourne.

 

Evidence of human occupation in the area dates back to the Bronze Age. In 1909 when Lock's Field was being developed into what is now Hillbrow Road, Herbert Druitt of Christchurch obtained permission from the owner, Mr. F. Elcock, to excavate two barrows on the site, and a notable Bronze Age cremation cemetery was found.

 

A number of urns were recovered, some of which were sent to the British Museum. In 1926 more urns were found around Harewood Avenue, and between Lascelles Road and Kings Park entrance.

 

There is also evidence that people of the Iron Age were present in the locality. For instance an axe head of the period was found near St. James' Church.

 

In Norman times the area was part of the Liberty of Westover. A community formed in the shape of an agricultural settlement, the Pokesdown Farm, together with a small number of cottages for the farm workers situated adjoining the present Herberton Road.

 

The farm was on sloping ground running down from the heathland to the Stour River valley. Most of Pokesdown was on the higher plateau, which formed a tiny pan of the great heath.

 

Life at the edge of the heath was not without benefits. Turf could be cut for fuel for fires, and was free to all local inhabitants under the custom known as Turbary. There were also grazing rights, and honey was an important by-product of the bees which frequented the gorse and heather.

 

During the late eighteenth and early nineteenth centuries, the district began to grow in association with the nearby Stourfield House.

 

Pokesdown railway station was opened in 1886 and quickly became the heart of the area. Many other communal places sprang up around the station, including the laundry and fire station.

 

In 1895 Pokesdown became an urban district. Eventually Pokesdown became more and more influenced by the phenomenal expansion of Bournemouth, so that ultimately in 1901 the district became incorporated into the then newly formed County Borough.

 

Pokesdown Youth Club is undergoing a £3 million redevelopment, which will see new premises built. There will be a youth club meeting and coffee bar area, a multi-purpose hall for sport and performance, a media centre to learn music and radio skills, and a children's centre.

 

The area of Pokesdown is well known for antiques, vintage, and retro clothing.

 

Arthur Llewelyn Davies and his Tragically Short Life

 

So what else happened on the day that Marjory posted the card?

 

Well, the 19th. April 1907 was not a good day for Arthur Llewelyn Davies, because he died on that day.

 

Arthur Llewelyn Davies, who was born on the 20th. February 1863, was an English barrister of Welsh origin, but is best known as the father of the boys who were the inspiration for the stories of Peter Pan by J. M. Barrie.

 

Biography of Arthur Llewelyn Davies

 

Arthur Llewelyn Davies was the second son of Mary Crompton and John Llewelyn Davies, vicar of Kirkby Lonsdale, and fellow of Trinity College, Cambridge. He was an early alpinist who was the first ascendant of the third highest mountain in the Alps, and an outspoken foe of poverty and inequality.

 

Arthur's sister was suffragist Margaret Llewelyn Davies, and his niece was Theodora Llewelyn Davies, the first woman to be admitted to the British legal profession's Inner Temple in 1920.

 

Davies attended Marlborough College and Trinity College, Cambridge. He was briefly a master at Eton College, but left that position to practise law.

 

He met Sylvia du Maurier (daughter of cartoonist George du Maurier and sister of future actor Gerald du Maurier) at a dinner party in 1889, and they became engaged shortly thereafter. He married her in 1892, and they had five children, all boys: George (1893–1915), Jack (1894–1959), Peter (1897–1960), Michael (1900–1921), and Nicholas (1903–1980).

 

In 1897, his pre-school sons George and Jack became friends with J. M. Barrie, whom they met during outings in Kensington Gardens with their nurse Mary Hodgson and their infant brother Peter.

 

Arthur and his wife Sylvia then met Barrie and his wife Mary at a New Year's Eve dinner party later that year, and she took up a close friendship with the writer as well.

 

Although Davies did not encourage the ongoing friendship of his wife and sons with Barrie, and did not share their fondness for him, he did little to stand in the way of it. He permitted Barrie to spend considerable time at the Davies home, and for his family to visit with the Barries – who were childless – at their country cottage.

 

During one of the holidays the families spent together, Barrie took a series of photographs of the boys' adventures, which he compiled into a photo book titled The Boy Castaways; Barrie gave one of the two copies printed to Davies, who misplaced it on a train.

 

Barrie's 1901 novel The Little White Bird features characters inspired by Davies' family – a boy David in George's age range, and the boy's mother who resembles Sylvia – who are befriended by a thinly disguised version of the author.

 

Barrie's play Peter Pan, or the Boy Who Wouldn't Grow Up, inspired by Davies' boys, debuted in December 1904. The chapters of The Little White Bird featuring Peter Pan were republished in 1906 as Peter Pan in Kensington Gardens, with the dedication:

 

"To Sylvia and Arthur Llewelyn

Davies and their boys (my boys)".

 

In 1904, the year when Barrie's play debuted, Davies moved with his family out of London when they purchased Egerton House, an Elizabethan mansion in Berkhamsted, Hertfordshire.

 

In 1906, Arthur discovered a growth in his cheek which turned out to be a malignant sarcoma. He had two operations, which removed much of his upper jaw, palate, and cheekbone, and the tear duct on that side.

 

This left him disfigured and unable to talk, even with an artificial jaw insert, but failed to remove all of the cancer and left him in considerable pain. Barrie, who had become wealthy from his books and plays, paid for his medical care, and became a regular companion at his bedside, especially in his final months.

 

During this time, Davies described Barrie in a letter to his son Peter as "a very good friend to all of us". Family accounts differ on just how close the two actually became. Davies died at Egerton on the 19th. April 1907, at the age of 44.

 

Alan Wheatley

 

The 19th. April 1907 also marked the birth in Tolworth, Surrey of the English actor Alan Wheatley.

 

Alan was a well-known stage actor in the 1930's, 1940's and 1950's. He appeared in forty films between 1931 and 1965, and was a frequent broadcaster on radio from the 1930's to the 1990's, and on television from 1938 to 1964.

 

His most prominent television role was the Sheriff of Nottingham in the 1950's TV series The Adventures of Robin Hood, with Richard Greene as Robin Hood. Wheatley played the sheriff in 54 episodes between 1955 and 1959. Earlier, he had played Sherlock Holmes in the first television series featuring the great detective.

 

In addition to acting, Wheatley was a radio announcer during the Second World War, broadcasting to occupied Europe, where he became a well known voice.

 

Poetry was another of his interests: he translated the poetry of Federico García Lorca, and was a frequent reader of poems on air. In his later years he worked mainly in radio, as a narrator, a verse-reader and an actor.

 

Alan Wheatley's Life and Career

 

Wheatley was the son of William Henry Wheatley and his wife Rose Eva (née Towers). He was educated at Tiffin School, and was then employed in industrial psychology.

 

Alan made his first appearance on stage at the Festival Theatre, Cambridge in October 1928, as Randall Utterword in Heartbreak House, after which he was a member of the repertory company at that theatre, and later in Hull.

 

In 1930 he toured as Sir Roger Fairfax in Sweet Nell of Old Drury with Fred Terry, and in 1931 in The Quaker Girl.

 

In November 1931 Wheatley performed in London at the Embassy and St Martin's theatres, as the Journalist in Britannia of Billingsgate. In other London productions in 1932–33 he played the Guide in Miracle at Verdun, Master Klaus in The Witch and Godfrey Perry in Wild Justice.

 

Alan appeared at the Malvern Festival in August 1933, before returning to the West End, where his roles included Edgar in King Lear to the Lear of William Devlin.

 

For nine months in 1934–35 Wheatley was leading man at the Croydon Repertory Theatre, and in 1936 he made his first appearance with the Old Vic company.

 

Alan made his Broadway debut in the same year, in the Old Vic's production of St. Helena, playing Las Cases to the Bonaparte of Maurice Evans. He subsequently toured in Scandinavia and adjoining countries, as Major Petkoff in Arms and the Man, and as Arnold Champion-Cheney in The Circle.

 

After returning to London, Wheatley's last stage roles of the 1930's were as Disraeli in Mr Gladstone, with Devlin; Mosca in Volpone, with Donald Wolfit,; Frank Harris in Oscar Wilde with Francis L. Sullivan; Sebastian in Walk in the Sun, with Terence de Marney; and Sir Patrick Cullen in The Doctor's Dilemma, with Clifford Evans.

 

Alan appeared in several films in the 1930's, and, already a frequent broadcaster on BBC radio, he made his first television appearance in August 1938, playing Lane in The Importance of Being Earnest.

 

In the same year he played Sam Weller in Bardell against Pickwick, adapted from The Pickwick Papers.

 

Alan Wheatley in World War II and After

 

In September 1939 at the time of the outbreak of the Second World War Wheatley joined the BBC Drama Repertory Company. From May to September 1940 he was an announcer on the BBC Overseas Service, and then until March 1945 he was principal announcer and newsreader for the BBC European Service. The Times said of him:

 

"His clarity of diction and balanced speaking

voice became well known in war-time Europe,

where people in occupied countries turned to

the BBC for information."

 

While serving with the European Service Wheatley met Rafael Nadal, a friend of Federico García Lorca, and developed an interest in the poet's works. He made English translations of several of them; "Lament on the Death of a Bullfighter" was the first to be completed, and was broadcast by the BBC in 1946.

 

Alan recorded nine of his translations for the gramophone in 1953, released in Great Britain on the Argo label and in the US by Westminster Records.

 

When BBC television resumed after its suspension during the war, Wheatley played a wide range of characters, from Sam Weller again (1946), to the humorously cynical schoolmaster Rupert Billings in The Happiest Days of Your Life (1949), and the tragic king in Richard II (1950). The Manchester Guardian called the last:

 

"A brilliant performance:

television acting at its best".

 

Wheatley's film credits in the 1940's include Caesar and Cleopatra (1945), The Rake's Progress (1945), Appointment with Crime (1946), Brighton Rock (1947), and Calling Paul Temple (1948).

 

In 1945 Wheatley re-joined the Old Vic company, touring as Mercutio in Romeo and Juliet. At the end of the year he joined the company at the Mercury Theatre, London, where his roles included the Greek and Tegeus in a double bill of W. B. Yeats's The Resurrection, and Christopher Fry's A Phoenix Too Frequent.

 

He also played Julian in Ronald Duncan's This Way to the Tomb (which the cast also played at the Studio Champs-Elysées in Paris and the Garrick Theatre, London), and Harry in T. S. Eliot's The Family Reunion.

 

In 1949 he played the title role in Hamlet at the Richmond Theatre. The reviewer in The Stage thought Wheatley displayed "a good voice and presence" in the role, but was "rather lightweight".

 

Alan Wheatley in the 1950's

 

In 1951 Wheatley played Sherlock Holmes in a series of six televised dramatisations of Conan Doyle stories. Holmes had been played on television before, in one-off adaptations, but this was the first series to feature him. Wheatley's co-stars were Raymond Francis as Dr Watson and Bill Owen as Inspector Lestrade. The Times commented that:

 

"As Holmes, Wheatley catches the essential

character. He is a figure, not merely of wonder

or of fun, but of romantic possibility".

 

No audio or video recordings of the productions are known to exist.

 

Between 1955 and 1959 Wheatley appeared in 54 episodes of the ABC television series The Adventures of Robin Hood as the Sheriff of Nottingham, the perpetual adversary of Robin (Richard Greene). He played the role "with many a villainous smile", as The Times said, but eventually withdrew from it.

 

Alan's colleague Peter Cotes said that the part made him into a well known "personality", and although he was regarded by colleagues as "the best high comedy actor in Britain", and "daring", "haunting" and "moving" in various roles, nonetheless, after the Robin Hood series he was, in the words of an obituarist, "more inclined to be cast as a suave villain than as a hero".

 

Concurrently with some of the Robin Hood series, Wheatley played Pontius Pilate in a BBC television religious drama series, Jesus of Nazareth first shown in 1956. His other television roles of the 1950's included Rupert Cadell in Rope (1953) and the murderous Jonathan Brewster in the comedy Arsenic and Old Lace (1958).

 

Alan's film roles included Inspector Braddock in The Limping Man (1953) and Inspector MacLennan in The House Across the Lake (1954).

 

In February 1959 he played Edgar Marr in an American thriller, House Without Windows. In December of the same year he played Abanazar in Aladdin, a lavish show at the London Coliseum, with songs by Cole Porter, and co-starring Bob Monkhouse, Ian Wallace and Ronald Shiner.

 

Alan Wheatley - the Later Years

 

In the 1960's Wheatley continued to broadcast frequently on television and radio. He played Richard D'Oyly Carte in a three-part BBC television series Gilbert and Sullivan: The Immortal Jesters (1961), and appeared in episodes of Maigret (1962 and 1963).

 

Alan also featured in Doctor Who and Compact, both in 1964. In the same year he played Prince Rohat, Minister of the Interior, in Victor Canning's six-part drama The Midnight Men. His last cinema role was Major Ronald Grey-Simmons in Clash by Night (1965).

 

In later years Wheatley worked mostly on radio, as narrator and poetry-reader as well as actor. In 1975 he played Judas Iscariot in the 12-part cycle The Man Born to be King by Dorothy L. Sayers. He acted in adaptations of plays by writers including Noël Coward and Somerset Maugham, and of novels by Alexandre Dumas, James Hilton, Anthony Powell and C. P. Snow among others.

 

Alan made his final appearance in 1991 in a BBC Radio 4 adaptation of A Day by the Sea, with Wendy Hiller and Michael Hordern, both old friends of his.

 

Wheatley died of a heart attack in Westminster, London on the 30th. August 1991, aged 84.

Copenhagen ULTRACONTEMPORARY Biennale / periode Venice Biennale 2019

 

www.emergencyrooms.org/

 

www.colonel.dk/

 

www.copenhagenbiennale.org/

 

www.emergencyrooms.org/biennalist.html

 

www.emergencyrooms.org/formats.html

  

more here about the Biennale in Venice :

 

Ralph Rugoff has declared: «May You Live in Interesting Times will no doubt include artworks that reflect upon precarious aspects of existence today, including different threats to key traditions, institutions and relationships of the “post-war order.” But let us acknowledge at the outset that art does not exercise its forces in the domain of politics. Art cannot stem the rise of nationalist movements and authoritarian governments in different parts of the world, for instance, nor can it alleviate the tragic fate of displaced peoples across the globe (whose numbers now represent almost one percent of the world’s entire population).»

 

ALBANIA

Maybe the cosmos is not so extraordinary

Commissioner: Ministry of Culture Republic of Albania. Curator: Alicia Knock.

Exhibitor: Driant Zeneli.

 

ALGERIA***

Time to shine bright

Commissioner/Curator: Hellal Mahmoud Zoubir, National Council of Arts and Letters Ministry of Culture. Exhibitors: Rachida Azdaou, Hamza Bounoua, Amina Zoubir, Mourad Krinah, Oussama Tabti.

Venue: Fondamenta S. Giuseppe, 925

 

ANDORRA

The Future is Now / El futur és ara

Commissioner: Eva Martínez, “Zoe”. Curators: Ivan Sansa, Paolo De Grandis.

Exhibitor: Philippe Shangti.

Venue: Istituto Santa Maria della Pietà, Castello 3701

 

ANTIGUA & BARBUDA

Find Yourself: Carnival and Resistance

Commissioner: Daryll Matthew, Minister of Sports, Culture, National Festivals and the Arts. Curator: Barbara Paca with Nina Khrushcheva. Exhibitors: Timothy Payne, Sir Gerald Price, Joseph Seton, and Frank Walter; Intangible Cultural, Heritage Artisans and Mas Troup.

Venue: Centro Culturale Don Orione Artigianelli, Dorsoduro 919

 

ARGENTINA

El nombre de un país / The name of a country

Commissioner: Sergio Alberto Baur Ambasciatore. Curator: Florencia Battiti. Exhibitor: Mariana Telleria.

Venue: Arsenale

 

ARMENIA (Republic of)

Revolutionary Sensorium

Commissioner: Nazenie Garibian, Deputy Minister. Curator: Susanna Gyulamiryan.

Exhibitors: "ArtlabYerevan" Artistic Group (Gagik Charchyan, Hovhannes Margaryan, Arthur Petrosyan, Vardan Jaloyan) and Narine Arakelian.

Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596

 

AUSTRALIA

ASSEMBLY

Commissioner: Australia Council for the Arts. Curator: Juliana Engberg. Exhibitor: Angelica Mesiti.

Venue: Giardini

 

AUSTRIA

Discordo Ergo Sum

Commissioner: Arts and Culture Division of the Federal Chancellery of Austria.

Curator: Felicitas Thun-Hohenstein. Exhibitor: Renate Bertlmann.

Venue: Giardini

 

AZERBAIJAN (Republic of )

Virtual Reality

Commissioner: Mammad Ahmadzada, Ambassador of the Republic of Azerbaijan.

Curators: Gianni Mercurio, Emin Mammadov. Exhibitors: Zeigam Azizov, Orkhan Mammadov, Zarnishan Yusifova, Kanan Aliyev, Ulviyya Aliyeva.

Venue: Palazzo Lezze, Campo S. Stefano, San Marco 2949

 

BANGLADESH (People’s Republic of)

Thirst

Commissioner: Liaquat Ali Lucky. Curators: Mokhlesur Rahman, Viviana Vannucci.

Exhibitors: Bishwajit Goswami, Dilara Begum Jolly, Heidi Fosli, Nafis Ahmed Gazi, Franco Marrocco, Domenico Pellegrino, Preema Nazia Andaleeb, Ra Kajol, Uttam Kumar karmaker.

Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596

 

BELARUS (Republic of)

Exit / Uscita

Commissioner: Siarhey Kryshtapovich. Curator: Olga Rybchinskaya. Exhibitor: Konstantin Selikhanov.

Venue: Spazio Liquido, Sestiere Castello 103, Salizada Streta

 

BELGIUM

Mondo Cane

Commissioner: Fédération Wallonie-Bruxelles. Curator: Anne-Claire Schmitz.

Exhibitor: Jos de Gruyter & Harald Thys.

Venue: Giardini

 

BOSNIA and HERZEGOVINA

ZENICA-TRILOGY

Commissioner: Senka Ibrišimbegović, Ars Aevi Museum for Contemporary Art Sarajevo.

Curators: Anja Bogojević, Amila Puzić, Claudia Zini. Exhibitor: Danica Dakić.

Venue: Palazzo Francesco Molon Ca’ Bernardo, San Polo 2184/A

 

BRAZIL

Swinguerra

Commissioner: José Olympio da Veiga Pereira, Fundação Bienal de São Paulo.

Curator: Gabriel Pérez-Barreiro. Exhibitor: Bárbara Wagner & Benjamin de Burca.

Venue: Giardini

 

BULGARIA

How We Live

Commissioner: Iaroslava Boubnova, National Gallery in Sofia. Curator: Vera Mlechevska.

Exhibitors: Rada Boukova , Lazar Lyutakov.

Venue: Palazzo Giustinian Lolin, San Marco 2893

 

CANADA

ISUMA

Commissioner: National Gallery of Canada. Curators: Asinnajaq, Catherine Crowston, Josée Drouin-Brisebois, Barbara Fischer, Candice Hopkins. Exhibitors: Isuma (Zacharias Kunuk, Norman Cohn, Paul Apak, Pauloosie Qulitalik).

Venue: Giardini

 

CHILE

Altered Views

Commissioner: Varinia Brodsky, Ministry of Cultures, Arts and Heritage.

Curator: Agustín Pérez. Rubio. Exhibitor: Voluspa Jarpa.

Venue: Arsenale

 

CHINA (People’s Republic of)

Re-睿

Commissioner: China Arts and Entertainment Group Ltd. (CAEG).

Curator: Wu Hongliang. Exhibitors: Chen Qi, Fei Jun, He Xiangyu, Geng Xue.

Venue: Arsenale

 

CROATIA

Traces of Disappearing (In Three Acts)

Commissioner: Ministry of Culture of the Republic of Croatia. Curator: Katerina Gregos.

Exhibitor: Igor Grubić.

Venue: Calle Corner, Santa Croce 2258

 

CUBA

Entorno aleccionador (A Cautionary Environment)

Commissioner: Norma Rodríguez Derivet, Consejo Nacional de Artes Plásticas.

Curator: Margarita Sanchez Prieto. Exhibitors: Alejandro Campins, Alex Hérnandez, Ariamna Contino and Eugenio Tibaldi. Venue: Isola di San Servolo

 

CYPRUS (Republic of)

Christoforos Savva: Untimely, Again

Commissioner: Louli Michaelidou. Curator: Jacopo Crivelli Visconti. Exhibitor: Christoforos Savva.

Venue: Associazione Culturale Spiazzi, Castello 3865

 

CZECH (Republic) and SLOVAK (Republic)

Stanislav Kolíbal. Former Uncertain Indicated

Commissioner: Adam Budak, National Gallery Prague. Curator: Dieter Bogner.

Exhibitor: Stanislav Kolibal.

Venue: Giardini

 

DOMINICAN (Republic) *

Naturaleza y biodiversidad en la República Dominicana

Commissioner: Eduardo Selman, Minister of Culture. Curators: Marianne de Tolentino, Simone Pieralice, Giovanni Verza. Exhibitors: Dario Oleaga, Ezequiel Taveras, Hulda Guzmán, Julio Valdez, Miguel Ramirez, Rita Bertrecchi, Nicola Pica, Marraffa & Casciotti.

Venue: Palazzo Albrizzi Capello, Cannaregio 4118 – Sala della Pace

 

EGYPT

khnum across times witness

Commissioner: Ministry of Culture. Curator: Ahmed Chiha.

Exhibitors: Islam Abdullah, Ahmed Chiha, Ahmed Abdel Karim.

Venue: Giardini

 

ESTONIA

Birth V

Commissioner: Maria Arusoo, Centre of Contemporary Arts of Estonia. Curators: Andrew Berardini, Irene Campolmi, Sarah Lucas, Tamara Luuk. Exhibitor: Kris Lemsalu.

Venue: c/o Legno & Legno, Giudecca 211

 

FINLAND (Alvar Aalto Pavilion)

A Greater Miracle of Perception

Commissioner: Raija Koli, Director Frame Contemporary Art Finland.

Curators: Giovanna Esposito Yussif, Bonaventure Soh Bejeng Ndikung, Christopher Wessels. Exhibitors: Miracle Workers Collective (Maryan Abdulkarim, Khadar Ahmed, Hassan Blasim, Giovanna Esposito Yussif, Sonya Lindfors, Bonaventure Soh Bejeng Ndikung, Outi Pieski, Leena Pukki, Lorenzo Sandoval, Martta Tuomaala, Christopher L. Thomas, Christopher Wessels, Suvi West).

Venue: Giardini

 

FRANCE

Deep see blue surrounding you / Vois ce bleu profond te fondre

Commissioner: Institut français with the Ministry for Europe and Foreign Affairs and the Ministry of Culture. Curator: Martha Kirszenbaum. Exhibitor: Laure Prouvost.

Venue: Giardini

 

GEORGIA

REARMIRRORVIEW, Simulation is Simulation, is Simulation, is Simulation

Commissioner: Ana Riaboshenko. Curator: Margot Norton. Exhibitor: Anna K.E.

Venue: Arsenale

 

GERMANY

Commissioner: ifa (Institut für Auslandsbeziehungen) on behalf of the Federal Foreign Office, Germany. Curator: Franciska Zólyom. Exhibitor: Natascha Süder Happelmann.

Venue: Giardini

 

GHANA ***

Ghana Freedom

Commissioner: Ministry of Tourism, Arts and Culture. Curator: Nana Oforiatta Ayim.

Exhibitors: Felicia Abban, John Akomfrah, El Anatsui, Lynette Yiadom Boakye, Ibrahim Mahama, Selasi Awusi Sosu.

Venue: Arsenale

 

GREAT BRITAIN

Cathy Wilkes

Commissioner: Emma Dexter. Curator: Zoe Whitley. Exhibitor: Cathy Wilkes.

Venue: Giardini

 

GREECE

Mr Stigl

Commissioner: Syrago Tsiara (Deputy Director of the Contemporary Art Museum - Metropolitan Organization of Museums of Visual Arts of Thessaloniki - MOMus).

Curator: Katerina Tselou. Exhibitors: Panos Charalambous, Eva Stefani, Zafos Xagoraris.

Venue: Giardini

 

GRENADA

Epic Memory

Commissioner: Susan Mains. Curator: Daniele Radini Tedeschi.

Exhibitors: Amy Cannestra, Billy Gerard Frank, Dave Lewis, Shervone Neckles, Franco Rota Candiani, Roberto Miniati, CRS avant-garde.

Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118

 

GUATEMALA

Interesting State

Commissioner: Elder de Jesús Súchite Vargas, Minister of Culture and Sports of Guatemala. Curator: Stefania Pieralice. Exhibitors: Elsie Wunderlich, Marco Manzo.

Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118

 

HAITI

THE SPECTACLE OF TRAGEDY

Commissioner: Ministry of Culture and Communication.

Curator: Giscard Bouchotte. Exhibitor: Jean Ulrick Désert.

Venue: Circolo Ufficiali Marina, Calle Seconda de la Fava, Castello 2168

 

HUNGARY

Imaginary Cameras

Commissioner: Julia Fabényi, Museo Ludwig – Museo d’arte contemporanea, Budapest.

Curator: Zsuzsanna Szegedy-Maszák. Exhibitor: Tamás Waliczky.

Venue: Giardini

 

ICELAND

Chromo Sapiens – Hrafnhildur Arnardóttir / Shoplifter

Commissioner: Eiríkur Þorláksson, Icelandic Ministry of Education, Science and Culture.

Curator: Birta Gudjónsdóttir. Exhibitor: Hrafnhildur Arnardóttir / Shoplifter.

Venue: Spazio Punch, Giudecca 800

 

INDIA

Our time for a future caring

Commissioner: Adwaita Gadanayak National Gallery of Modern Art.

Curator: Roobina Karode, Director & Chief Curator, Kiran Nadar Museum of Art. Exhibitors: Atul Dodiya, Ashim Purkayastha, GR Iranna, Jitish Kallat, Nandalal Bose, Rummana Hussain, Shakuntala Kulkarni.

Venue: Arsenale

 

INDONESIA

Lost Verses

Commissioner: Ricky Pesik & Diana Nazir, Indonesian Agency for Creative Economy.

Curator: Asmudjo Jono Irianto. Exhibitors: Handiwirman Saputra and Syagini Ratna Wulan.

Venue: Arsenale

 

IRAN (Islamic Republic of)

of being and singing

Commissioner: Hadi Mozafari, General Manager of Visual Arts Administration of Islamic Republic of Iran. Curator: Ali Bakhtiari.

Exhibitors: Reza Lavassani, Samira Alikhanzadeh, Ali Meer Azimi.

Venue: Fondaco Marcello, San Marco 3415

 

IRAQ

Fatherland

Commissioner: Fondazione Ruya. Curators: Tamara Chalabi, Paolo Colombo.

Exhibitor: Serwan Baran.

Venue: Ca’ del Duca, Corte del Duca Sforza, San Marco 3052

 

IRELAND

The Shrinking Universe

Commissioner: Culture Ireland. Curator: Mary Cremin. Exhibitor: Eva Rothschild.

Venue: Arsenale

 

ISRAEL

Field Hospital X

Commissioner: Michael Gov, Arad Turgeman. Curator: Avi Lubin. Exhibitor: Aya Ben Ron.

Venue: Giardini

 

ITALY

Commissioner: Federica Galloni, Direttore Generale Arte e Architettura Contemporanee e Periferie Urbane, Ministero dei Beni e delle Attività Culturali. Curator: Milovan Farronato.

Exhibitors: Enrico David, Liliana Moro, Chiara Fumai.

Venue: Padiglione Italia, Tese delle Vergini, Arsenale

 

IVORY COAST

The Open Shadows of Memory

Commissioner: Henri Nkoumo. Curator: Massimo Scaringella. Exhibitors: Ernest Dükü, Ananias Leki Dago, Valérie Oka, Tong Yanrunan.

Venue: Castello Gallery, Castello 1636/A

 

JAPAN

Cosmo-Eggs

Commissioner: The Japan Foundation. Curator: Hiroyuki Hattori. Exhibitors: Motoyuki Shitamichi, Taro Yasuno, Toshiaki Ishikura, Fuminori Nousaku.

Venue: Giardini

 

KIRIBATI

Pacific Time - Time Flies

Commissioner: Pelea Tehumu, Ministry of Internal Affairs. Curators: Kautu Tabaka, Nina Tepes. Exhibitors: Kaeka Michael Betero, Daniela Danica Tepes, Kairaken Betio Group; Teroloang Borouea, Neneia Takoikoi, Tineta Timirau, Teeti Aaloa, Kenneth Ioane, Kaumai Kaoma, Runita Rabwaa, Obeta Taia, Tiribo Kobaua, Tamuera Tebebe, Rairauea Rue, Teuea Kabunare, Tokintekai Ekentetake, Katanuti Francis, Mikaere Tebwebwe, Terita Itinikarawa, Kaeua Kobaua, Raatu Tiuteke, Kaeriti Baanga, Ioanna Francis, Temarewe Banaan, Aanamaria Toom, Einako Temewi, Nimei Itinikarawa, Teniteiti Mikaere, Aanibo Bwatanita, Arin Tikiraua.

Venue: European Cultural Centre, Palazzo Mora, Strada Nuova 3659

 

KOREA (Republic of)

History Has Failed Us, but No Matter

Commissioner: Arts Council Korea. Curator: Hyunjin Kim. Exhibitors: Hwayeon Nam, siren eun young jung, Jane Jin Kaisen.

Venue: Giardini

 

KOSOVO (Republic of)

Family Album

Commissioner: Arta Agani. Curator: Vincent Honore. Exhibitor: Alban Muja.

Venue: Arsenale

 

LATVIA

Saules Suns

Commissioner: Dace Vilsone. Curators: Valentinas Klimašauskas, Inga Lāce.

Exhibitor: Daiga Grantiņa.

Venue: Arsenale

 

LITHUANIA

Sun & Sea (Marina)

Commissioner: Rasa Antanavičıūte. Curator: Lucia Pietroiusti.

Exhibitors: Lina Lapelyte, Vaiva Grainyte and Rugile Barzdziukaite.

Venue: Magazzino No. 42, Marina Militare, Arsenale di Venezia, Fondamenta Case Nuove 2738c

 

LUXEMBOURG (Grand Duchy of)

Written by Water

Commissioner: Ministry of Culture of Luxembourg.

Curator: Kevin Muhlen. Exhibitor: Marco Godinho.

Venue: Arsenale

 

NORTH MACEDONIA (Republic of )

Subversion to Red

Commissioner: Mira Gakina. Curator: Jovanka Popova. Exhibitor: Nada Prlja.

Venue: Palazzo Rota Ivancich, Castello 4421

 

MADAGASCAR ***

I have forgotten the night

Commissioner: Ministry of Communication and Culture of the Republic of Madagascar. Curators: Rina Ralay Ranaivo, Emmanuel Daydé.

Exhibitor: Joël Andrianomearisoa.

Venue: Arsenale

 

MALAYSIA ***

Holding Up a Mirror

Commissioner: Professor Dato’ Dr. Mohamed Najib Dawa, Director General of Balai Seni Negara (National Art Gallery of Malaysia), Ministry of Tourism, Arts and Culture of Malaysia. Curator: Lim Wei-Ling. Exhibitors: Anurendra Jegadeva, H.H.Lim, Ivan Lam, Zulkifli Yusoff.

Venue: Palazzo Malipiero, San Marco 3198

 

MALTA

Maleth / Haven / Port - Heterotopias of Evocation

Commissioner: Arts Council Malta. Curator: Hesperia Iliadou Suppiej. Exhibitors: Vince Briffa, Klitsa Antoniou, Trevor Borg.

Venue: Arsenale

 

MEXICO

Actos de Dios / Acts of God

Commissioner: Gabriela Gil Verenzuela. Curator: Magalí Arriola. Exhibitor: Pablo Vargas Lugo.

Venue: Arsenale

 

MONGOLIA

A Temporality

Commissioner: The Ministry of Education, Culture, Science and Sports of Mongolia.

Curator: Gantuya Badamgarav. Exhibitor: Jantsankhorol Erdenebayar with the participation of traditional Mongolian throat singers and Carsten Nicolai (Alva Noto).

Venue: Bruchium Fermentum, Calle del Forno, Castello 2093-2090

 

MONTENEGRO

Odiseja / An Odyssey

Commissioner: Nenad Šoškić. Curator: Petrica Duletić. Exhibitor: Vesko Gagović.

Venue: Palazzo Malipiero (piano terra), San Marco 3078-3079/A, Ramo Malipiero

 

MOZAMBIQUE (Republic of)

The Past, the Present and The in Between

Commissioner: Domingos do Rosário Artur. Curator: Lidija K. Khachatourian.

Exhibitors: Gonçalo Mabunda, Mauro Pinto, Filipe Branquinho.

Venue: Palazzo Mora, Strada Nova, 3659

 

NETHERLANDS (The)

The Measurement of Presence

Commissioner: Mondriaan Fund. Curator: Benno Tempel. Exhibitors: Iris Kensmil, Remy Jungerman. Venue: Giardini

 

NEW ZEALAND

Post hoc

Commissioner: Dame Jenny Gibbs. Curators: Zara Stanhope and Chris Sharp.

Exhibitor: Dane Mitchell.

Venue: Palazzina Canonica, Riva Sette Martiri

 

NORDIC COUNTRIES (FINLAND - NORWAY - SWEDEN)

Weather Report: Forecasting Future

Commissioner: Leevi Haapala / Museum of Contemporary Art Kiasma / Finnish National Gallery, Katya García-Antón / Office for Contemporary Art Norway (OCA), Ann-Sofi Noring / Moderna Museet. Curators: Leevi Haapala, Piia Oksanen. Exhibitors: Ane Graff, Ingela Ihrman, nabbteeri.

Venue: Giardini

 

PAKISTAN ***

Manora Field Notes

Commissioner: Syed Jamal Shah, Pakistan National Council of the Arts, PNCA.

Curator: Zahra Khan. Exhibitor: Naiza Khan.

Venue: Tanarte, Castello 2109/A and Spazio Tana, Castello 2110-2111

 

PERU

“Indios Antropófagos”. A butterfly Garden in the (Urban) Jungle

Commissioner: Armando Andrade de Lucio. Curator: Gustavo Buntinx. Exhibitors: Christian Bendayán, Otto Michael (1859-1934), Manuel Rodríguez Lira (1874-1933), Segundo Candiño Rodríguez, Anonymous popular artificer.

Venue: Arsenale

 

PHILIPPINES

Island Weather

Commissioner: National Commission for Culture and the Arts (NCCA) / Virgilio S. Almario.

Curator: Tessa Maria T. Guazon. Exhibitor: Mark O. Justiniani.

Venue: Arsenale

 

POLAND

Flight

Commissioner: Hanna Wroblewska. Curators: Łukasz Mojsak, Łukasz Ronduda.

Exhibitor: Roman Stańczak.

Venue: Giardini

 

PORTUGAL

a seam, a surface, a hinge or a knot

Commissioner: Directorate-General for the Arts. Curator: João Ribas. Exhibitor: Leonor Antunes.

Venue: Fondazione Ugo e Olga Levi Onlus, Palazzo Giustinian Lolin, San Marco 2893

 

ROMANIA

Unfinished Conversations on the Weight of Absence

Commissioner: Attila Kim. Curator: Cristian Nae. Exhibitor: Belu-Simion Făinaru, Dan Mihălțianu, Miklós Onucsán.

Venues: Giardini and New Gallery of the Romanian Institute for Culture and Humanistic Research (Campo Santa Fosca, Palazzo Correr, Cannaregio 2214)

 

RUSSIA

Lc 15:11-32

Commissioner: Semyon Mikhailovsky. Curator: Mikhail Piotrovsky. Exhibitors: Alexander Sokurov, Alexander Shishkin-Hokusai.

Venue: Giardini

 

SAN MARINO (Republic of)

Friendship Project International

Commissioner: Vito Giuseppe Testaj. Curator: Vincenzo Sanfo. Exhibitors: Gisella Battistini, Martina Conti, Gabriele Gambuti, Giovanna Fra, Thea Tini, Chen Chengwei, Li Geng, Dario Ortiz, Tang Shuangning, Jens W. Beyrich, Xing Junqin, Xu de Qi, Sebastián.

Venue: Palazzo Bollani, Castello 3647; Complesso dell’Ospedaletto, Castello 6691

 

SAUDI ARABIA

After Illusion بعد توهم

Commissioner: Misk Art Insitute. Curator: Eiman Elgibreen. Exhibitor: Zahrah Al Ghamdi.

Venue: Arsenale

 

SERBIA

Regaining Memory Loss

Commissioner: Vladislav Scepanovic. Curator: Nicoletta Lambertucci. Exhibitor: Djordje Ozbolt.

Venue: Giardini

 

SEYCHELLES (Republic of)

Drift

Commissioner: Galen Bresson. Curator: Martin Kennedy.

Exhibitors: George Camille and Daniel Dodin.

Venue: Palazzo Mora, Strada Nova, 3659

 

SINGAPORE

Music For Everyone: Variations on a Theme

Commissioner: Rosa Daniel, Chief Executive Officer, National Arts Council (NAC).

Curator: Michelle Ho. Exhibitor: Song-Ming Ang.

Venue: Arsenale

 

SLOVENIA (Republic of)

Here we go again... SYSTEM 317

A situation of the resolution series

Commissioner: Zdenka Badovinac, Director Moderna galerija / Museum of Modern Art, Ljubljana. Curator: Igor Španjol. Exhibitor: Marko Peljhan.

Venue: Arsenale

 

SOUTH AFRICA (Republic of)

The stronger we become

Commissioner: Titi Nxumalo, Console Generale. Curators: Nkule Mabaso, Nomusa Makhubu. Exhibitors: Dineo Seshee Bopape, Tracey Rose, Mawande Ka Zenzile.

Venue: Arsenale

 

SPAIN

Perforated by Itziar Okariz and Sergio Prego

Commissioner: AECID Agencia Espanola de Cooperacion Internacional Para El Desarrollo. Ministerio de Asuntos Exteriores, Union Europea y Cooperacion. Curator: Peio Aguirre.

Exhibitors: Itziar Okariz, Sergio Prego.

Venue: Giardini

 

SWITZERLAND

Moving Backwards

Commissioner: Swiss Arts Council Pro-Helvetia: Marianne Burki, Sandi Paucic, Rachele Giudici Legittimo. Curator: Charlotte Laubard. Exhibitors: Pauline Boudry/Renate Lorenz.

Venue: Giardini

 

SYRIAN ARAB (Republic)

Syrian Civilization is still alive

Commissioner/Curator: Emad Kashout. Exhibitors: Abdalah Abouassali, Giacomo Braglia, Ibrahim Al Hamid, Chen Huasha, Saed Salloum, Xie Tian, Saad Yagan, Primo Vanadia, Giuseppe Biasio.

Venue: Isola di San Servolo; Chiesetta della Misericordia, Campo dell'Abbazia, Cannaregio

 

THAILAND

The Revolving World

Commissioner: Vimolluck Chuchat, Office of Contemporary Art and Culture, Ministry of Culture, Thailand. Curator: Tawatchai Somkong. Exhibitors: Somsak Chowtadapong, Panya Vijinthanasarn, Krit Ngamsom.

Venue: In Paradiso 1260, Castello

 

TURKEY

We, Elsewhere

Commissioner: IKSV. Curator: Zeynep Öz. Exhibitor: İnci Eviner.

Venue: Arsenale

 

UKRAINE

The Shadow of Dream cast upon Giardini della Biennale

Commissioner: Svitlana Fomenko, First Deputy Minister of Culture. Curators: Open group (Yurii Biley, Pavlo Kovach, Stanislav Turina, Anton Varga). Exhibitors: all artists of Ukraine.

Venue: Arsenale

 

UNITED ARAB EMIRATES

Nujoom Alghanem: Passage

Commissioner: Salama bint Hamdan Al Nahyan Foundation.

Curators: Sam Bardaouil and Till Fellrath. Exhibitor: Nujoom Alghanem.

Venue: Arsenale

 

UNITED STATES OF AMERICA

Martin Puryear: Liberty

Commissioner/Curator: Brooke Kamin Rapaport. Exhibitor: Martin Puryear.

Venue: Giardini

 

URUGUAY

“La casa empática”

Commissioner: Alejandro Denes. Curators: David Armengol, Patricia Bentancur.

Exhibitor: Yamandú Canosa.

Venue: Giardini

 

VENEZUELA (Bolivarian Republic of)

Metaphore of three windows

Venezuela: identity in time and space

Commissioner/Curator: Oscar Sottillo Meneses. Exhibitors: Natalie Rocha Capiello, Ricardo García, Gabriel López, Nelson Rangelosky.

Venue: Giardini

 

ZIMBABWE (Republic of)

Soko Risina Musoro (The Tale without a Head)

Commissioner: Doreen Sibanda, National Gallery of Zimbabwe. Curator: Raphael Chikukwa. Exhibitors: Georgina Maxim, Neville Starling , Cosmas Shiridzinomwa, Kudzanai Violet Hwami.

Venue: Istituto Provinciale per L’infanzia “Santa Maria Della Pietà”. Calle della Pietà Castello n. 3701 (ground floor)

 

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invited artist :

Lawrence Abu Hamdan (Jordan / Beirut)

Njideka Akunyili Crosby (Nigeria / USA),Halil Altındere (Turkey),Michael Armitage (Kenya / UK),Korakrit Arunanondchai (Thailand / USA),Alex Gvojic (USA),Ed Atkins (UK / Germany / Denmark),Tarek Atoui (Lebanon / France),

Darren Bader (USA),Nairy Baghramian (Iran / Germany,

Neïl Beloufa (France),Alexandra Bircken (Germany),Carol Bove (Switzerland / USA,

Christoph Büchel (Switzerland / Iceland,

Ludovica Carbotta (Italy / Barcelona),Antoine Catala (France / USA),Ian Cheng (USA),George Condo (USA

Alex Da Corte (USA),Jesse Darling (UK / Germany),Stan Douglas (Canada),Jimmie Durham (USA / Germany),Nicole Eisenman (France / USA,

Haris Epaminonda (Cyprus / Germany),Lara Favaretto (Italy),Cyprien Gaillard (France / Germany), Gill (India),Dominique Gonzalez-Foerster (France),Shilpa Gupta (India),Soham Gupta (India),Martine Gutierrez (USA),Rula Halawani (Palestine),Anthea Hamilton (UK),Jeppe Hein (Denmark / Germany),Anthony Hernandez (USA),Ryoji Ikeda (Japan / France),Arthur Jafa (USA),Cameron Jamie (USA / France / Germany),Kahlil Joseph (USA),Zhanna Kadyrova (Ukraine),Suki Seokyeong Kang (South Korea),Mari Katayama (Japan),Lee Bul (South Korea),Liu Wei (China),Maria Loboda (Poland / Germany),Andreas Lolis (Albania / Greece),Christian Marclay (USA / London),Teresa Margolles (Mexico / Spain),Julie Mehretu (Ethiopia / USA),Ad Minoliti (Argentina),Jean-Luc Moulène (France),Zanele Muholi (South Africa),Jill Mulleady (Uruguay / USA),Ulrike Müller (Austria / USA),Nabuqi (China),Otobong Nkanga (Nigeria / Belgium),Khyentse Norbu (Bhutan / India),Frida Orupabo (Norway),Jon Rafman (Canada).Gabriel Rico (Mexico),Handiwirman Saputra (Indonesia),Tomás Saraceno (Argentina / Germany),Augustas Serapinas (Lithuania),Avery Singer (USA),Slavs and Tatars (Germany),Michael E. Smith (USA),Hito Steyerl (Germany),Tavares Strachan (Bahamas / USA),Sun Yuan and Peng Yu (China),Henry Taylor (USA),Rosemarie Trockel (Germany),Kaari Upson (USA),Andra Ursuţa (Romania),Danh Vō (Vietnam / Mexico),Kemang Wa Lehulere (South Africa),Apichatpong Weerasethakul (Thailand) and Tsuyoshi Hisakado (Japan),Margaret Wertheim and Christine Wertheim (Australia / USA) ,Anicka Yi (South Korea/ USA),Yin Xiuzhen (China),Yu Ji (China / Austria)

  

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other Biennale :(Biennials ) :Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale

Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art

  

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