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The Hikawa Maru (named after the Hikawa Jinja shrine) is a Japanese ocean liner that was built for the Nippon Yusen KK line by Yokohama Dock Co. and launched on September 30, 1929 with her maiden voyage from Kobe to Seattle on May 13, 1930. She is one of three sister ships. The other two, both lost in the war, were Heian Maru and Hie Maru.
The service provided on the ship was famous for combining splendid food and beautiful art deco interiors. She was often referred to as the Queen of the Pacific. Charlie Chaplin is amongst the ship's more notable former passengers.
In 1941, before Japan's entry to the War the Hikawa Maru was used by Jewish refugees escaping the Nazis via Japan. Reuben Goossens reports Zorach Warhaftig's experience about the ship. Zorach together with his family left from Yokohama on the Hikawa Maru on the 5th of June 1941 for Vancouver Canada. He describes the trip as "a summer vacation and with the war seeming to be so far away" although, he said "I didn't have a peaceful mind because of the strong responsibility I had to help the Jewish refugees with the troubles they faced." After Japan's entry to the war Hikawa Maru became a hospital ship, and as a result, she ultimately survived the Allied campaign against the Japanese merchant fleet. After the end of the war she was used by the U.S. for troop repatriation until 1947. Afterwards the Hikawa Maru was returned to Japan and carried cargo between Japan and the US.
In 1954 she was taken out of service, but following a refit she returned to carrying passengers across the Pacific. Falling passenger numbers due to the growth of air travel led to the eventual termination of the service in 1960.
In 1961 Hikawa Maru became a floating youth hostel and museum permanently berthed at Yokohama.
In December 2006 the Hikawa Maru museum was closed and doubts about her future were raised. Happily, NYK Line began the restoration of the Hikawa Maru in August 2007, and the ship was reopened to the public on April 25, 2008, the vessel's 78th birthday.
PictionID:38120489 - Catalog:Array - Title:Array - Filename:AL-82 Tat Tatman Album Image _00097.TIF - Images from an Album donated to the Museum by Tat Tatman- ---Please tag these images with any information you know about them so that we can permanently store this information with the original image file in our Digital Asset Management System --- -SOURCE INSTITUTION: <a href="http://www.sandiegoairandspace.org/library/stillimages.
The defunct Cameo Theatre on Broadway. It opened in October 1910 as Clune's Broadway Theatre, one of the first purpose-built 'picture playhouses' in the city, and the oldest surviving movie theatre on Broadway.
The 24-sheet billboard above it probably incorporates part of Clune's original electric rooftop sign, with a working digital clock that advertised 'THE TIME - THE PLACE - CLUNE'S BROADWAY'.
It was also the longest continually operating movie theatre in California, if not the USA. Clune's advertisements promising 'continuous performance' held true until December 1991.
You can see a colour postcard of the original interior halfway down this page.
Yeah, the bit you walk through....
Looking up at one of the permanent couplings of SWR 444040, taken at the Siemens Northam Traincare Facility open day.
A woman holds ingredients, which will be used to cook for children a nutritious porridge made from locally available products. She and other women are learning how to make the porridge during a session led by a health extension worker at the health post in the village of Maderia, in Gemechis, a woreda (district) of Oromia Region. Health extension workers are government-paid health workers, often working in their community of origin, who provide community-based health promotion and disease-prevention services..
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In July/August 2014, Ethiopia is nearing the end of a joint European Union (EU)-UNICEF national nutrition security programme that is building on government-led efforts to permanently reduce the rates of under-five child and maternal under-nutrition. The programme is part of a four-year (2011–2015) UNICEF/EU global initiative, with multiple regional, national and community partners. It focuses on four countries in sub-Saharan Africa and five in Asia but aims to influence nutrition-related policies throughout these regions. The Africa programme – Africa’s Nutrition Security Partnership (ANSP) – focuses on Burkina Faso, Ethiopia, Mali and Uganda. It is intended to benefit directly 1 million children and 600,000 pregnant and lactating women – and to benefit indirectly 25 million children and 5.5 million pregnant or lactating women across the continent over the long term. At the macro level, the programme builds policy capacity for nutrition security; institutional capacity; data and knowledge sharing; and the scale-up of nutrition interventions. At the national and district levels, it promotes government and community ownership of development processes, including training, mapping and the mobilization of intra-community networks, such as women’s groups. And it utilizes a cross-sector approach, combining nutrition, health, water and sanitation, agriculture and social protection interventions to maximize the positive effects on child and maternal nutri
Aly Bear, Vice Chief of Federation of Indigenous Sovereign Nations, attends the press briefing on Canada’s priorities at the Permanent Forum on Indigenous Issues (UNPFII), sponsored by the Permanent Mission of Canada to the United Nations.
UN Photo/Evan Schneider
19 April 2023
New York, United States of America
Photo # UN7981882
Farewell for now, time to move on to another location. But I'll revisit this relic as time goes by. You may remember this truck from an earlier set I did while testing out a Zeiss 6x6 folder.
Exposure correction, cropped.
Talento de Beca Permanencia
Estudia Educación Inicial en la Universidad Nacional de Tumbes - Sede Tumbes
Spain's National Museum located in the former mainline station at Delicias in Madrid. Seen outside in the yard is 333401 and at the time of visiting was not part of the permanent collection.
O Fórum Permanente de Desenvolvimento Estratégico do Estado teve o seu encontro de 28/03 presidido pelo deputado Luiz Paulo, com o tema "Cidades Sustentáveis e Sistemas Inteligentes de Transportes". A programação foi a seguinte:
9h - 11h30min: AÇÕES DO ESTADO, PREFEITURA DO RIO E PROJETOS PARA MELHORIA DOS TRANPORTES / Palestrantes: Secretário Estadual de Transportes, Julio Lopes; Secretário Municipal de Conservação e Serviços Públicos, Carlos Roberto Osório; Presidente da Fetranspo, Lelis Teixeira; Presidente do Metrô Rio, José Gustavo de Souza Costa; Presidente da Supervia, Carlos José Cunha.
11h30min: POTENCIAIS E COMPETÊNCIAS DA DISSEMINAÇÃO DA INFORMAÇÃO AO USUÁRIO / Palestrantes: Presidente da Associação das Empresas Brasileiras de Tecnologia da informação, Software e internet, llan Goldman e o Diretor do Sindicato das Empresasde Informáticas do Estado do Rio de Janeiro, Alberto Blois.
12h: O CONCEITO DE ITS: SOLUÇÕES DESEJÁVEIS PARA A CIDADE DO RIO E O ESTADO / Palestrante: Paulo Cezar Ribeiro, professor da Coppe/UFRJ
12h30: SUSTENTABILIDADENO SETOR DE TRANSPORTES E LEGADO DOS MEGAEVENTOS / Palestrantes: Lia Lombardi, do Conselho Empresarial Brasileiro para o Desenvolvimento Sustentável.
Monique T.G. Van Daalen, Permanent Representative of Netherlands ( Concerned Country ) to the United Nations Office at Geneva after report of Ahmad Shaheed, Special Rapporteur on freedom of religion or belief addressing religion or belief and gender equality, and on his missions to the Netherlands and Sri Lanka present his report during the 43rd Regular Session of the Human Rights Counci. 2 March 2020. UN Photo / Jean Marc Ferré
Why is that this permanent pictures's painted
in my head
of black raindrops
of an empty road
of a lonely side street
of a black leather coat
and you?
Those drops fall
so real like I soaked in the same rain before
but I didn't
There,
I see you walk away again
exchanging good-byes
like a cent for an eternity of remorse
You run slowly through the puddles
You must not go
This musn't be so
but you are slowly devoured
by distance
and the forest of raindrops
I chase you
and you turn on to me
Your face dripping
with water and melancholy
I'd do what I have to
and I hear myself throwing words into the air
hoping that they'd land somewhere in your
heart
We'll stand in this rain together
oblivious of weather
as I try to wrap 11 years into a box
and place it in your soaking hands
I'd do what I have to
And I'll forgive this drenched night
Then we hold on to each other
such a strangely familiar sight
when we couldn't tell the rain from our tears
when we couldn't tell our tears from each
other
I've never stood there
but I remember when time stopped
and we stood still forever
I remember every drop
the night it rained forever
HISTORY UPDATED - Permanently retired...
Named: "Alexandre Herculano".
First flown with the Airbus test registration D-AVWR, this aircraft was delivered to TAP Air Portugal as CS-TTM in Oct-99. It operated for TAP for 22.5 years before being permanently retired at Knock, Ireland in Jan-22. Updated 28-Jan-22.
A mural is any piece of artwork painted or applied directly on a wall, ceiling or other large permanent surface. A distinguishing characteristic of mural painting is that the architectural elements of the given space are harmoniously incorporated into the picture.
Some wall paintings are painted on large canvases, which are then attached to the wall (e.g., with marouflage). Whether these works can be accurately called "murals" is a subject of some controversy in the art world, but the technique has been in common use since the late 19th century.
HISTORY
Murals of sorts date to Upper Paleolithic times such as the paintings in the Chauvet Cave in Ardèche department of southern France (around 30,000 BC). Many ancient murals have survived in Egyptian tombs (around 3150 BC), the Minoan palaces (Middle period III of the Neopalatial period, 1700-1600 BC) and in Pompeii (around 100 BC - AD 79).
During the Middle Ages murals were usually executed on dry plaster (secco). In Italy, circa 1300, the technique of painting of frescos on wet plaster was reintroduced and led to a significant increase in the quality of mural painting.
In modern times, the term became more well-known with the Mexican "muralista" art movement (Diego Rivera, David Siqueiros, or José Orozco). There are many different styles and techniques. The best-known is probably fresco, which uses water-soluble paints with a damp lime wash, a rapid use of the resulting mixture over a large surface, and often in parts (but with a sense of the whole). The colors lighten as they dry. The marouflage method has also been used for millennia.
Murals today are painted in a variety of ways, using oil or water-based media. The styles can vary from abstract to trompe-l'œil (a French term for "fool" or "trick the eye"). Initiated by the works of mural artists like Graham Rust or Rainer Maria Latzke in the 1980s, trompe-l'oeil painting has experienced a renaissance in private and public buildings in Europe. Today, the beauty of a wall mural has become much more widely available with a technique whereby a painting or photographic image is transferred to poster paper or canvas which is then pasted to a wall surface (see wallpaper, Frescography) to give the effect of either a hand-painted mural or realistic scene.
TECHNIQUE
In the history of mural several methods have been used:
A fresco painting, from the Italian word affresco which derives from the adjective fresco ("fresh"), describes a method in which the paint is applied on plaster on walls or ceilings. The buon fresco technique consists of painting in pigment mixed with water on a thin layer of wet, fresh, lime mortar or plaster. The pigment is then absorbed by the wet plaster; after a number of hours, the plaster dries and reacts with the air: it is this chemical reaction which fixes the pigment particles in the plaster. After this the painting stays for a long time up to centuries in fresh and brilliant colors.
Fresco-secco painting is done on dry plaster (secco is "dry" in Italian). The pigments thus require a binding medium, such as egg (tempera), glue or oil to attach the pigment to the wall.
Mezzo-fresco is painted on nearly-dry plaster, and was defined by the sixteenth-century author Ignazio Pozzo as "firm enough not to take a thumb-print" so that the pigment only penetrates slightly into the plaster. By the end of the sixteenth century this had largely displaced the buon fresco method, and was used by painters such as Gianbattista Tiepolo or Michelangelo. This technique had, in reduced form, the advantages of a secco work.
MATERIAL
In Greco-Roman times, mostly encaustic colors applied in a cold state were used.
Tempera painting is one of the oldest known methods in mural painting. In tempera, the pigments are bound in an albuminous medium such as egg yolk or egg white diluted in water.
In 16th-century Europe, oil painting on canvas arose as an easier method for mural painting. The advantage was that the artwork could be completed in the artist’s studio and later transported to its destination and there attached to the wall or ceiling. Oil paint can be said to be the least satisfactory medium for murals because of its lack of brilliance in colour. Also the pigments are yellowed by the binder or are more easily affected by atmospheric conditions. The canvas itself is more subject to rapid deterioration than a plaster ground. Different muralists tend to become experts in their preferred medium and application, whether that be oil paints, emulsion or acrylic paints applied by brush, roller or airbrush/aerosols. Clients will often ask for a particular style and the artist may adjust to the appropriate technique.
A consultation usually leads to a detailed design and layout of the proposed mural with a price quote that the client approves before the muralist starts on the work. The area to be painted can be gridded to match the design allowing the image to be scaled accurately step by step. In some cases the design is projected straight onto the wall and traced with pencil before painting begins. Some muralists will paint directly without any prior sketching, preferring the spontaneous technique.
Once completed the mural can be given coats of varnish or protective acrylic glaze to protect the work from UV rays and surface damage.
As an alternative to a hand-painted or airbrushed mural, digitally printed murals can also be applied to surfaces. Already existing murals can be photographed and then be reproduced in near-to-original quality.
The disadvantages of pre-fabricated murals and decals are that they are often mass-produced and lack the allure and exclusivity of an original artwork. They are often not fitted to the individual wall sizes of the client and their personal ideas or wishes can not be added to the mural as it progresses. The Frescography technique, a digital manufacturing method (CAM) invented by Rainer Maria Latzke addresses some of the personalisation and size restrictions.
Digital techniques are commonly used in advertisements. A "wallscape" is a large advertisement on or attached to the outside wall of a building. Wallscapes can be painted directly on the wall as a mural, or printed on vinyl and securely attached to the wall in the manner of a billboard. Although not strictly classed as murals, large scale printed media are often referred to as such. Advertising murals were traditionally painted onto buildings and shops by sign-writers, later as large scale poster billboards.
SIGNIFICANCE OF MURALS
Murals are important in that they bring art into the public sphere. Due to the size, cost, and work involved in creating a mural, muralists must often be commissioned by a sponsor. Often it is the local government or a business, but many murals have been paid for with grants of patronage. For artists, their work gets a wide audience who otherwise might not set foot in an art gallery. A city benefits by the beauty of a work of art.
Murals can be a relatively effective tool of social emancipation or achieving a political goal. Murals have sometimes been created against the law, or have been commissioned by local bars and coffeeshops. Often, the visual effects are an enticement to attract public attention to social issues. State-sponsored public art expressions, particularly murals, are often used by totalitarian regimes as a tool of mass-control and propaganda. However, despite the propagandist character of that works, some of them still have an artistic value.
Murals can have a dramatic impact whether consciously or subconsciously on the attitudes of passers by, when they are added to areas where people live and work. It can also be argued that the presence of large, public murals can add aesthetic improvement to the daily lives of residents or that of employees at a corporate venue.
Other world-famous murals can be found in Mexico, New York, Philadelphia, Belfast, Derry, Los Angeles, Nicaragua, Cuba and in India. They have functioned as an important means of communication for members of socially, ethnically and racially divided communities in times of conflict. They also proved to be an effective tool in establishing a dialogue and hence solving the cleavage in the long run. The Indian state Kerala has exclusive murals. These Kerala mural painting are on walls of Hindu temples. They can be dated from 9th century AD.
The San Bartolo murals of the Maya civilization in Guatemala, are the oldest example of this art in Mesoamerica and are dated at 300 BC.
Many rural towns have begun using murals to create tourist attractions in order to boost economic income. Colquitt, Georgia is one such town. Colquitt was chosen to host the 2010 Global Mural Conference. The town has more than twelve murals completed, and will host the Conference along with Dothan, Alabama, and Blakely, Georgia. In the summer of 2010, Colquitt will begin work on their Icon Mural.
Eastleigh yard's 'super shunter' 60045 'The Permanent Way Institution' is the focal point of this sweeping view of Eastleigh. In the middle distance, Colas Railfreight's 70807 can be seen stabled in the holding sidings, having earlier arrived at Eastleigh on the 7Y44 0422 Hoo Junction Up Yard to Eastleigh Yard departmental working with classmate 70805. A little further on behind 70807 is the virtual quarry where DB Schenker's 66201 is seen awaiting departure with the 6M26 0850 Eastleigh Yard to Stud Farm ballast. Beyond that, an unidentified class 444 'Desiro' EMU departs the station with the 2T13 0642 London Waterloo to Portsmouth Harbour South West Trains service. In the far distance on the left is Eastleigh Works, whilst on the right, behind the class 444, is the popular photographic vantage point of Campbell Road bridge. 30/06/2014.
PictionID:46827509 - Catalog:14_022583 - Title:GD Astronautics Facilites Details: M-7; Hot Firing at Sycamore Canyon Date: 02/18/1957 - Filename:14_022583.tif - Images from the Convair/General Dynamics Astronautics Atlas Negative Collection. The processing, cataloging and digitization of these images has been made possible by a generous National Historical Publications and Records grant from the National Archives and Records Administration---Please Tag these images so that the information can be permanently stored with the digital file.---Repository: San Diego Air and Space Museum
Se asegura la permanencia de la novena en la entidad para regocijo de la afición local
Agradece el Gobernador del Estado el compromiso del equipo y el interés de los empresarios por asegurar para la entidad un equipo fuerte y de profundo raigambre
El Gobernador del Estado, Carlos Lozano de la Torre, tras conocer por parte de Armando Medina González, Presidente del equipo profesional de beisbol Rieleros de Aguascalientes el anuncio oficial de la adquisición de la franquicia por parte de empresarios locales, sostuvo que la afición de Aguascalientes será la gran ganadora al tener ahora sí de regreso formalmente a la más emblemática novena de la entidad.
En este sentido, el Jefe del Ejecutivo sostuvo que con esto el ofrecimiento hecho en campaña se cumple a cabalidad, concretando de manera oficial el retorno de uno de los equipos con más tradición y raigambre entre los aguascalentenses, fortaleciendo además la oferta deportiva para la ciudadanía.
Lozano de la Torre agradeció el apoyo de la Liga Mexicana de Beisbol para lograr este objetivo, así como el compromiso de los empresarios locales que decidieron imponer su voluntad para que los Rieleros se quedaran en su casa, “que es una plaza segura y beisbolera, con infraestructura y afición que asegura su permanencia y crecimiento. Desde un principio supimos que para que los Rieleros de Aguascalientes pudieran asegurar su corazón y su permanencia en el estado era necesario que los inversionistas fueran de Aguascalientes para asentar con firmeza su regreso oficial. Por eso es un gran orgullo y satisfacción que se haya concretado este anhelo de los ciudadanos”, dijo.
En rueda de prensa, Armando Medina González dio a conocer que tras concretarse la venta de la franquicia del equipo profesional de beisbol Rieleros de Aguascalientes, los nuevos propietarios del equipo, que son Víctor Manuel López López, Julio Díaz Torre Llamas, Jaime Díaz Torre Llamas, Rodolfo Landeros Verdugo, Ricardo Lomelín Ibarra y José Eustacio Álvarez Flores.
Por su parte Plinio Escalante Bolio, Presidente de la Liga Mexicana de Beisbol, reconoció el impulso y la tenacidad de CLT por regresar con suficiencia y calidad a la afición el Rey de los Deportes, logrando finalmente que un distinguido grupo de empresarios aguascalentenses decidiera integrarse plenamente al apoyo y promoción del esta disciplina deportiva.
Victor Manuel López López, a nombre de los inversionistas locales que adquirieron la franquicia del equipo Rieleros de Aguascalientes, sostuvo que la compra de la novena constituye un hito en la historia deportiva de Aguascalientes no sólo por lo que esta propia acción representa para la afición local, sino también por la fuerza y el empuje que el Gobernador Carlos Lozano de la Torre ha dado para consolidar el deporte como un elemento de integración social e identidad local.
"Haremos como empresarios todo lo necesario para que esta franquicia fortalezca todos los elementos necesarios no sólo para ofrecer un gran espectáculo a la afición aguascalentense, sino para que sea un ejemplo de limpieza, pulcritud, espíritu deportivo y competencia que esté acorde a los esfuerzos del estado para hacerse de un nombre que sea conocido y reconocido a nivel nacional”, sostuvo.
Finalmente, el Gobernador del Estado manifestó su plena confianza de que una nueva historia está por escribirse para el deporte de Aguascalientes, y resaltó que la afición local habrá de sumarse sin duda al apoyo, como lo hará su administración, a favor de los Rieleros de Aguascalientes, que con ellos han estado desde el primer día y en todos sus momentos de júbilo y los más difíciles.
“No podemos dejar de reconocer el importante esfuerzo que la directiva ha hecho para que el equipo no sólo se instalara rápidamente en la entidad, sino también para iniciar una escalada meteórica en la Liga Mexicana de Beisbol para regalarnos una temporada memorable. Ahora que los Rieleros son cien por ciento aguascalentenses, pueden tener la plena seguridad de que haremos todo lo necesario para asegurar cobre con más fuerza su vigencia y fortaleza para asegurar su permanencia en la entidad”, concluyó.
Our library building was the original permanent Climax, MI post office. Willis Lawrence was the first rural free delivery driver in Michigan and he gathered field stone from the farms and homes on his route. These stones were used in the construction of the building, which was completed in 1931. The Lawrence family donated the building to the village of Climax in 1964 as long as it is used as a public library. We have expanded the building to accommodate our growing library holdings and to add a historical society room in 1990. The building was certified by the U.S. Department of Interior as listed in the National Register of Historic Places in 1999.
R_1AOeO1KFabwAeuV_library006
Baltic Centre for Contemporary Art (also known simply as (the) Baltic, stylised as BALTIC) is a centre for contemporary art located on the south bank of the River Tyne in Gateshead, Tyne and Wear, England. It hosts a frequently changing variety of exhibitions, events, and educational programmes with no permanent exhibition. The idea to open a centre for contemporary arts in Gateshead was developed in the 1990s, which was a time of regeneration for the local area—the Sage and Gateshead Millennium Bridge was also being conceived of in this period.
Baltic opened in July 2002 in a converted flour mill, which had operated in various capacities from 1950-1984. The architectural design of Baltic was devised by Dominic Williams of Ellis Williams Architects, who won a competition to design the new contemporary arts centre in 1994. The building features exhibition spaces, a visitor centre, a rooftop restaurant and external viewing platforms which offer views of the River Tyne. Baltic's current director, the centre's fifth, is Sarah Munro, who joined in November 2015. As of January 2022, Baltic had welcomed over 8 million visitors.
Baltic Flour Mills was built by Joseph Rank of Rank Hovis to a late-1930s design by Hull-based architects Gelder and Kitchen. The first foundations were laid in the late 1930s, and although construction ceased during the Second World War, the mill was completed and started operating in 1950. Known locally as "the pride of Tyneside", 300 people were employed by the mill at its height. The building was composed of two parallel brick façades running east to west, sandwiched between a foundation of concrete silos. The structure could store 22,000 tons of grain. The design of the building also featured a larger silo in which to store and clean wheat. The site was extended in 1957 by the addition of Blue Cross Mill which processed animal feed. In 1976, a fire forced both mills to close, but the silos remained in operation until 1984 to store a portion of the grain owned by the European Economic Community. Baltic Flour Mills was one of a number of mills located along the banks of the Tyne, all of which, due to their size, were prominent local landmarks. The Spillers mill just downstream from Baltic on the north bank of the river was demolished in 2011. Another large mill was owned by the CWS and was located just upstream of Dunston Staiths.
The opening of Baltic as a designated centre for contemporary art was part of the revitalisation and post-industrial regeneration of Gateshead's riverside. The regeneration began in the early 1990s and transformed the Quayside into a centre of modern architecture, including the Sage and Millennium Bridge. In 1991, Northern Arts (now part of Arts Council England) released a five-year plan in which it stated its intention to create "major new capital facilities for the Contemporary Visual Arts and Music in Central Tyneside". Northern Arts were keen to convert an old building into a centre for art, rather than build a new one, and the Labour-run Gateshead Council expressed interest in converting the old Flour Mills. This was in contrast to the Conservative-run Newcastle City Council's approach to development, which saw private firms develop mainly flats, hotels, and offices. Gateshead Council purchased the Baltic Flour Mills silo building, and in 1994 they invited the Royal Institute of British Architects to open a competition which would find an architect to design the new arts centre.
In 1994, Gateshead Council invited the Royal Institute of British Architects to hold a competition to select a design for the conversion of the Baltic Flour Mills. The objective of the competition was to "provide a national and international Centre for Contemporary visual arts". The brief cited a number of similar examples of old buildings which had been converted into arts centres around the world, including a converted flour mill in Porto, Portugal and the Bankside Power Station in London (now the site of the Tate Modern). After evaluating a total of 140 entries, Dominic Williams – a relatively unknown architect who had only been working for three years – won the competition. He entered the competition with Ellis Williams Architects, his father's firm. Andrew Guest remarks that this "simple, honest, industrial" design was an example of architecture which recognised the designs and context of the past. Williams and Ellis Williams Architects stated their intention to "retain as much of the existing character and fabric of the building as possible" while also clearly presenting the structure's new purpose as an art gallery.
The conversion of the flour mills was a complex and technically challenging task. The grain silos were removed, leaving the brick façades unsupported, and a 1,000 tonne steel frame was required to support the remaining building. Four new main floors were inserted into the building supported by a row of pillars. Intermediary floors made out of steel frames and thin concrete were also inserted. These were designed to be removable as to adapt the building and create variable spaces for art. With 13 separate levels in total, Williams claimed he purposefully wanted to create a sense of disorientation for visitors within the building and allow an element of discovery. A spiral staircase winds up the building towards an open-plan office for staff. An efficient ductwork system was installed within the beams which carries heated or chilled air throughout the building. Such a design, conceived of by environmental engineers Atelier Ten, was uncommon for the time. The north and south elevations of the original building were retained along with the original BALTIC FLOUR MILLS lettering and red and yellow bricks. The east and west sides were fully glazed, capturing natural light and allowing views of the River Tyne. Additionally, service towers in the corners of the building, a rooftop viewing box, and a low-rise visitor centre were completed—these now comprise part of the building's major elements. The building stands at 138 feet (42 m) tall. Glass elevators situated close to the exterior offer views of Newcastle, Gateshead and the River Tyne. A restaurant sits at the top of the building, built in a manner which still allows natural light to reach the top gallery floor. The building's interior largely features glass, concrete, aluminium, Welsh Slate, 'Cor-Ten' steel, and Swedish pine. The furniture, purposely built to be flexible and adaptable, was designed by Swedish designer Åke Axelsson.
Awards
Baltic won a RIBA award in 2003, a Civic Trust Award in 2004, and in 2006 was selected as one of the top 10 most outstanding arts and culture schemes in the UK as part of the Gulbenkian Prize. In 2012, it won the National Lottery Awards prize for Best Arts Project.
The founding director, Sune Nordgren, was appointed in 1997. He oversaw the period prior to Baltic's opening, including the construction of the gallery. After almost six years, Nordgren left to take up a new post as founding director of the National Museum for Art, Architecture and Design, Oslo, Norway. At this time, Baltic was facing financial problems. After Nordgren's departure, a former Baltic chairman accused the centre of overspending on commissions during Nordgren's tenure. Baltic's situation was described by Arts Council England as having "serious inadequacies in financial procedures". Nordgren was briefly succeeded by Stephen Snoddy, who had previously run a new gallery in Milton Keynes. Snoddy only remained with the organisation for 11 months, citing difficulties in leaving his family behind in Manchester while working at Baltic. He was succeeded as director by Peter Doroshenko in 2005. Doroshenko's previous institutions included the Stedelijk Museum voor Actuele Kunst and the Institute of Visual Arts in Milwaukee. He was brought to Baltic to increase visitor numbers and resolve the centre's financial situation, which was criticised by Arts Council England and an insider as being chaotic. Doroshenko organized several exhibitions during his time at Baltic, including Spank the Monkey.
In November 2007, Doroshenko left the gallery to head up the PinchukArtCentre in Kiev, Ukraine. He stated that he believed he had made Baltic a more "approachable and visitor friendly place."[30] However, Design Week reported that there were claims that Doroshenko did not deliver the expected "international programme of artistic excellence." Additionally, staff at the centre had complained about his "intolerable" and "bullying" management style. Godfrey Worsdale, founding director of the Middlesbrough Institute of Modern Art, was appointed as director of Baltic in 2008. Worsdale oversaw the 10 year anniversary of Baltic and the hosting of the Turner Prize in 2011. He was awarded an honorary degree from Northumbria University in 2012 in recognition for his work on contemporary art after being on the judging panel for the Turner Prize. He departed in 2015 to take up a new post as director of the Henry Moore Foundation. Sarah Munro MBE became director in November 2015. She was previously artistic director of Tramway in Glasgow and head of arts for Glasgow Life.
History as arts centre
During the four-year construction of Baltic, the new organisation arranged a series of events, publications, and artists in residence in anticipation of the centre's opening. In 1999, after the silos had been removed and before the new floors were inserted, the shell of the building was used to house an art installation by Anish Kapoor. Taratantara was a trumpet-shaped installation of PVC 50 metres (160 ft) long and was situated within the centre of the mill. This installation drew 16,000 visitors and marked a turning point between the building's old purpose and its new life as a centre for art. In October 2000, Jenny Holzer's Truisms – a series of aphorisms and slogans – were projected onto the side of the building. Kapoor and Holtzer's works were intended to engage casual passers-by in an artistic dialogue. The identity of Baltic was also solidified by the publication of 16 newsletters between October 1998 and July 2002 when the centre opened to the public. A significant part of this branding was the use of the now registered typeface BALTIC Affisch, designed by Swedish designers Ulf Greger Nilsson and Henrik Nygren and based on the BALTIC FLOUR MILLS lettering on the building's brick façade.
Opening
After ten years in the planning and a capital investment of £50m, including £33.4m from the Arts Council Lottery Fund, Baltic opened to the public at midnight on Saturday 13 July 2002. The novelty of opening the new building at midnight was intentional: founding director Sune Nordgren sought a dramatic gesture to herald the beginning of the new centre for arts. The inaugural exhibition, B.OPEN, had work by Chris Burden, Carsten Höller, Julian Opie, Jaume Plensa and Jane and Louise Wilson. Opie, who had previously assisted Dominic Williams with aspects of the building's conversion design, contributed an installation consisting of nude outlines on the walls of floor of the gallery. Plensa's installation featured a room filled with gongs which were available for the audience to play. Plensa also contributed Blake in Gateshead – a beam of light which stretched around 2 kilometres (6,600 ft) into the sky. The installation was placed through the glass doorway of the ground floor. Burden constructed a 1/20th scale replica of the Tyne Bridge out of Meccano. Jane and Louise Wilson created Dreamtime, a video of a rocket launch. An early exhibit by the Japanese artist Yoshitomo Nara was also included. The B.OPEN event attracted over 35,000 visitors in the first week. A live art performance, including Tatsumi Orimito's Bread Man and Anne Bjerge Hansen's Moving Bakery, took place during the opening weekend, in which bread was handed out to passers-by in memory of the Baltic Flour Mill's history. When BALTIC opened, there was a target set for 250,000 visitors a year. It achieved one million visitors in its first year, and by its 10-year anniversary in 2012, 4 million people had visited.
Notable events
On 20 September 2007, Baltic management contacted Northumbria Police for advice regarding whether or not a photograph should be displayed as part of the Thanksgiving installation, a forthcoming exhibition by American photographer Nan Goldin. The photograph, along with the rest of the installation, is part of the Sir Elton John Photography Collection. Entitled Klara and Edda belly-dancing features two naked young girls and had previously been exhibited around the world without objections. The installation, which had been scheduled for a four-month exhibition, opened with the remaining photographs whilst Klara and Edda belly-dancing was in possession of the police. However, it closed after just nine days at the request of Elton John. Although this had a determinantal effect on Baltic's reputation in the short-term, Graham Whitham argues in Understand Contemporary Art that it may have given it a higher profile and greater publicity in the long-run.
Beryl Cook
In 2007, the largest survey of artist Beryl Cook's work to date was featured in an exhibition at Baltic.[9] Cook enjoyed widespread recognition of her art towards the end of her life; the exhibition at Baltic took place one year before her death. Her paintings depict everyday and familiar social situations in a playful, colourful, and "portly" style. Peter Doreshenko, the director of Baltic at the time of the exhibition, was keen for the gallery to reject the seriousness audiences may associate with it. The exhibition of Cook's work was part of this populist effort to attract new audiences to the then financially-struggling gallery, whose visitor numbers had dropped to less than 500,000 and whose reputation was decreasing. Adrian Searle of The Guardian reviewed the exhibition and, whilst acknowledging that fans would enjoy it, commented "look too long and you may feel a bit queasy".
Turner Prize
In 2011, Baltic was the venue for the Turner Prize. This was the first time the event had been held outside of London or Liverpool Tate. The Turner Prize exhibition at Baltic attracted 149,770 visitors to the gallery – almost double the average attendance in London. The event at Baltic was also free, whilst Turner exhibitions at Tate Britain had always previously charged for entry. The winning exhibit was by Martin Boyce with the runners-up being Karla Black, Hilary Lloyd and George Shaw.
Judy Chicago
The first major retrospective of American artist Judy Chicago's work was exhibited in Baltic from November 2019 to April 2020. The exhibition included her abstract paintings, records of performance pieces, and began and ended with a four-metre tapestry which portrayed the creation the world from a woman's perspective. At the time of the exhibition, Chicago was in her 80s. Hannah Clugston of The Guardian noted that the more recent featured works embraced the theme of death, particularly End: A Meditation on Death and Extinction, which is based on the stages of grief.
Baltic Open Submission
In March 2020, Baltic announced it would be closing due to the COVID-19 pandemic until further notice. In May 2021, it reopened to visitors with four exhibitions. Baltic Open Submission featured works created during lockdown by 158 artists from the North East. The 158 artists were chosen from over 540 original submissions and selected by a panel of three North East-based artists. The final pieces included paintings, drawings, and sound and video installations.
Community and cultural impact
At the opening of Baltic, director Sune Nordgren outlined the role of the arts centre within the public sphere. He stated that Baltic should be "a meeting place, a site for connections and confrontation between artists and the public." In an October 2002 lecture at the Power Plant Gallery in Toronto, Nordgren reaffirmed the importance of local outreach and explained his intention for Baltic to regard the local history and culture, comparing his intention to examples of modern art museums where this was not considered, such as the Guggenheim Museum in Bilbao (designed in Los Angeles and placed in Spain). From its inception, Baltic emphasised the importance of artist-public relationships and its role as a community hub. "Participate" initiatives encouraged people in the local community to interact with resident artists. A media learning centre in a local library was set up as an extension of Baltic's community resources.
In a 2016 talk on Baltic's 10-year strategic plan (officially named Untitled), the current director of Baltic – Sarah Munro – emphasised that the North East of England "has always led, not followed" the agenda for contemporary arts, and that Baltic had been a big part of this trend. She argued that the visual arts can be used to further the economic and social growth of the area, even amidst the backdrop of political issues and austerity. Baltic also launched an international award for emerging artists in 2016, which offered a £30,000 commission and an accompanying exhibition to four recipients. It was the first such competition in the UK to be judged entirely by artists: in 2017, they were Monica Bonvicini, Lorna Simpson, Pedro Cabrita Reis and Mike Nelson. Munro commented that the award was to foster "a dialogue with our audiences at a local, national and international level."
Local university partnerships and graduate internships are also important to Baltic's community and cultural influence. In 2011, Baltic and Northumbria University established an artistic partnership through the BxNU Institute of Contemporary Art, a centre for artistic and curatorial research. Christine Borland was appointed as Baltic Professor. A designated gallery space, known as Baltic 39, was established on the top floor of refurbished Edwardian warehouses at 31-39 High Bridge in Newcastle. It was designed by Viennese architects Jabornegg & Palffy and housed artwork from students at the university. Baltic 39 was based at High Bridge from 2012 to 2021.
Their annual Self-Publishing Artists’ Market (aka S.P.A.M.) takes the form of a lively programme exploring print culture and practice through talks and workshops with over 50 stalls selling zines and artists’ books. S.P.A.M. Spreads reimagines the market in printed form and has included contributions by artists, activists, illustrators, zine-makers, writers and curators including Vanessa Murrell, Melody Sproates, Okocha Obasi, Stephanie Francis-Shanahan.
Cerveza 🍻 negra. De cuerpo cremoso y fuerte. Fresca al comienzo y permanente al paladar. Marca Patricia, Porter.
Fotos por Cortesia de José Prieto
Monasterio de la Virgen de Montserrat,Barcelona,España.
El monasterio de Santa María de Montserrat es un monasterio benedictino situado en España. Se encuentra en la montaña de Montserrat, perteneciente a la comarca catalana del Bages, provincia de Barcelona, a una altura de 720 metros sobre el nivel del mar. Es un símbolo para Cataluña y se ha convertido en un punto de peregrinaje para creyentes y de visita obligada para los turistas.
Dentro de las diferentes acciones que se desarrollan en Montserrat destaca la escolanía que es uno de los coros de niños cantores más antiguos de Europa.
El origen del monasterio es incierto. Se sabe que sobre el 1011 un monje procedente del monasterio de Santa María de Ripoll llegó a la montaña para encargarse del monasterio de Santa Cecília, quedando así el cenobio bajo las órdenes del abad Oliva de Ripoll. Santa Cecilia no aceptó esta nueva situación por lo que Oliva decidió fundar el monasterio de Santa María en el lugar en el que se encontraba una antigua ermita del mismo nombre. A partir del 1082, Santa María pasó a tener abad propio y dejó de depender del abad de Ripoll.
Esta ermita se había convertido en la más importante de todas las que existían en la montaña gracias a la imagen de la Virgen que en ella se veneraba desde el 880. El monasterio pronto se convirtió en santuario lo que le benefició, ya que los donativos y las limosnas recibidas le permitieron ir creciendo de forma constante. A finales del siglo XII, el abad regente solicitó que se permitiera ampliar la comunidad de monjes a 12, mínimo requerido para que se considerara abadía . El siguiente siglo fue el del inicio de la lucha de Montserrat para conseguir su independencia del monasterio de Ripoll. Esta independencia no llegó hasta el 10 de marzo de 1410 y fue concedida por el Papa Benedicto XIII.
En 1493, Montserrat perdió de nuevo su independencia. El rey Fernando el Católico envió al monasterio 14 monjes procedentes de Valladolid y Montserrat pasó a depender de la congregación de esta ciudad castellana. Durante los siglos siguientes se sucedieron los abades catalanes y castellanos. Ese mismo año de 1493, el fraile mínimo Bernat Boil, antes ermitaño de Montserrat, acompañó a Cristóbal Colón en uno de sus viajes a América lo que propició la expansión del culto a la virgen de Montserrat en ese continente.
El siglo XIX fue especialmente trágico para Montserrat: fue incendiado dos veces por las tropas napoleónicas, en 1811 y en 1812; y en 1835 sufrió la exclaustración debido a la desamortización de Mendizábal. El monasterio fue saqueado e incendiado y se perdieron muchos de sus tesoros.
La exclaustración duró poco y en 1844 se restableció la vida en el monasterio. La congregación de Valladolid había desaparecido por lo que Montserrat se convirtió de nuevo en independiente. El monasterio entero se tuvo que restaurar ya que no habían quedado más que las paredes. Desde entonces el monasterio de Santa María de Montserrat no ha dejado de crecer, contiene una de las mejores bibliotecas de España. La congregación actual está formada por unos 80 de monjes. Además, en el monasterio residen los niños que componen la Escolanía de Montserrat, considerada la escuela de canto de más antigüedad en Occidente ya que fue fundada en el siglo XIII.
El monasterio [editar]
El conjunto del monasterio está formado por dos bloques de edificios con funciones distintas: por un lado la basílica con las dependencias monacales; y por otro los edificios destinados a atender a peregrinos y visitantes. Estos últimos incluyen diversos restaurantes, tiendas y una zona de alojamiento.
Vida monástica [editar]
Claustro de la Santa Cueva.
El monasterio de Santa María de Montserrat, como cualquier otro conjunto religioso, consta de dos partes diferenciadas que se complementan. La parte arquitectónica y artística y la parte espiritual y religiosa. En Montserrat esta última parte está definida por la Orden de monjes que rige el monasterio, la Orden Benedictina, con una comunidad de unos 80 monjes que se mantiene al frente del monasterio por más de 1.000 años, que se basa su práctica en la Regla de San Benito y en la oración litúrgica, su lema es :"Ora et Labora". Para San Benito, como bien lo define en prólogo de su Regla, un monasterio es una escuela al servicio del Señor. Esto hace que "el monasterio" sea la base fundamental de la existencia de la comunidad cuyos vínculos deben llegar a ser afectivos al grado de familiares. El monasterio debe hacer fácil, natural y flexible la relación con Dios.
Los benedictinos practican la vida contemplativa, que es la que da prioridad y preferencia al ejercicio de la oración y se establece como un ideal puro de vida cristiana. La relación del hombre con Cristo, la que busca el monje de Montserrat, viene señalada en tres ocasiones en la Regla de San Benito;
Nada anteponer al amor de Cristo (Reg. cap. IV).
Los que nada estiman tanto como Cristo (cap. V).
Nada absolutamente prefiera a Cristo (cap. LXXII).
La relación debe ser muy personal, muy directa llegando a la intimidad. Los monjes benedictinos han de ser hombres de fe, disfrutando del gozo de la misma y hombres de oración, que se opongan al activismo y a la agitación, haciendo de la oración el más alto valor religioso. Se cultiva la caridad entendida como el amor a Dios y la convivencia fraternal.
Los monasterios benedictinos solo mantienen lo principal;
* Estabilidad, contra el peregrinar de los monjes andariegos.
* Vida en común, contra el egoísmo del aislamiento.
* Un Abad, como principio activo de autoridad.
* Un orden en la vida.
Junto a la caridad, la disciplina es una de las directrices importantes. La caridad, propiciada por la vida en común, es el amor al prójimo y lucha contra el egoísmo. La disciplina se eleva contra el protagonismo y la originalidad, concretándose en la obediencia y el cumplimiento de la Regla. De estas directrices nacen los tres votos que procesan los monjes benedictinos:
* Estabilidad: Permanencia y perseverancia en un monasterio.
* Conversión de costumbres: Que la entrega a Dios sea real y no una pura fantasía.
* Obediencia según la Regla: Sometiéndose a la autoridad de un jefe.
El voto de Obediencia según la Regla solo puede llevarse a cabo con la figura del abad. El abad debe ser la representación de Cristo en el monasterio. Gobierna el mismo en sus tres vertientes, la espiritual, la docente y la de gestión.
Para que estos objetivos que se persiguen en la vida monástica puedan llevarse a cabo es imprescindible el silencio. El silencio es el que permite, en la oración, oír a Dios.
La oración culmina con el Oficio Divino y la Sagrada Liturgia, donde el Sacrificio Eucarístico es el centro. La oración es el centro de la vida benedictina.
La vida de un monje está basada en la caridad fraterna, sin caridad no se pude mantener la relación fraternal de la vida monástica ni la entrega a Dios. La Regla dice:
Este es el celo que con ferventísimo amor ejercitarán los monjes, es decir: que se prevengan unos a otros con honores; súfranse pacientísimamente los defectos del alma y cuerpo; préstense a porfía obediencia mutua; ninguno busque su propia utilidad, sino más bien la del otro; tribútense una casta caridad fraterna.
La búsqueda de Dios por medio de Cristo pasa por la Pasión, por la mortificación que el monje debe seguir. Mortificación espiritual que significa la renuncia de voluntaria a la propia voluntad.
El rechazo de la riqueza, de los bienes materiales que estorban el camino de hacia Dios da como resultado la pobreza. La consecuencia de esta pobreza es el trabajo necesario para el mantenimiento de la vida. El trabajo es el elemento más contribuyente al equilibrio de la vida benedictina.
La dirección espiritual y la instrucción litúrgica son las formas de apostolado que una comunidad benedictina ejerce. Esto se concreta en la apertura de la iglesia monástica a quien quiera integrase en la oración colectiva y el monasterio a quien busque un ambiente de paz y serenidad.
La basílica de Montserrat [editar]
Fachada principal de la basílica.
La basilica de Montserrat es de una sola nave. Se comenzó a construir en el siglo XVI y fue reconstruida por completo en el siglo XIX (año 1811) después de la destrucción en la guerra de la Independencia. La fachada se realizó en 1901.
Alrededor de la única nave se sitúan diversas capillas. La nave está sostenida por unas columnas centrales, con tallas realizadas en madera por Josep Llimona. En la cabecera está situado el altar mayor y la zona del coro. En 1881 el papa León XIII le otorgó la condición de "basílica".
Justo encima del altar mayor se sitúa el camarín de la Virgen al que se accede después de atravesar una portalada de alabastro en la que aparecen representadas diversas escenas bíblicas.
El órgano [editar]
El órgano de la iglesia de Montserrat data de 1896 y en 1957 se trasladó al presbiterio. Este órgano esta muy deteriorado. El órgano nuevo que esta previsto inaugurar en el año 2007 es una obra importante que busca situar a Montserrat a un nivel musical internacional.
este órgano esta proyectado por Albert Blancafort, construido por Blancafort, orgueners de Montserrat y financiado por subcripción popular y la obra social de la Caixa de Penedes.
El órgano va ubicado en el lateral de la nave, como es tradicional en Cataluña, ofreciendo una muy buena sonoridad en todo el templo.
Las características del instrumento son:
* 63 registros.
* 4.230 tubos.
* 4 teclados manuales de 58 notas.
* 1 teclado de pedal de 32 notas.
* Transmisión mecánica.
* 12,5 m. de altura, 5,5 de anchura y 4 de fondo.
* 12.000 kg de peso.
El claustro [editar]
El claustro del monasterio es obra del arquitecto Josep Puig i Cadafalch. Es de dos pisos sostenidos por columnas de piedra. El piso inferior se comunica con el jardín y dispone de una fuente en su zona central. En las paredes del claustro se pueden ver piezas antiguas, algunas del siglo X.
El refectorio [editar]
El refectorio es del siglo XVII y fue reformado en 1925 por Puig i Cadafalch. La parte central cuenta con un mosaico que representa a Cristo mientras que en la zona opuesta se puede ver un tríptico con escenas de la vida de San Benedicto.
El museo [editar]
Artículo principal: Museo de Montserrat
El monasterio dispone de un importante museo dividido en tres secciones distintas:
* Pintura moderna, con obras de artistas de Cataluña como Rusiñol, Casas, Nonell, Mir, Picasso y Dalí; así como una representación del impresionismo] francés con autores como Renoir, Monet, Sisley y Degas.
* Arqueológia del oriente bíblico, donde se muestran objetos de Egipto, Chipre, Mesopotamia y Tierra Santa.
* Pintura antigua, donde se muestran obras de autores como el Greco, Caravaggio (de esta autor se exhibe un importante "San Jerónimo") y Berruguete.
Además se pueden ver otras colecciones como iconografía de Montserrat, orfrebrería religiosa, etc.
Espacio audiovisual [editar]
Espacio audiovisual con el título de Montserrat portes endins se expone mediante una serie de audiovisuales las actividades diarias de los monjes así como un paseo virtual por los espacios más representativos del complejo monacal.
El exterior [editar]
Plaza de Santa María.
En la parte exterior se distribuyen diversas plazas que sirven para ordenar el conjunto de edificios en la orografía escarpada de la montaña. Este espacio exterior, al que se han añadido diversas obras escultóricas, conforma un "museo al aire libre". Destaca especialmente el Rosario Monumental de Montserrat.
La plaza de Santa María es la plaza principal y la que da acceso al monasterio y es obra también de Puig i Cadafalch. Desde la plaza se puede observar la nueva fachada del monasterio, construida por Francesc Folguera con piedra de la propia montaña. A la izquierda se pueden ver los restos del antiguo claustro gótico.
En la plaza del abad Oliva se encuentran los edificios que dan albergue a los peregrinos. La plaza está presidida por una estatua dedicada al fundador del monasterio, realizada en 1933 en bronce por el escultor Manuel Xuclà.
La última de las plazas de Montserrat es la de la Santa Cruz, dedicada a San Miguel. La plaza recibe su nombre de la cruz que la preside, obra del escultor Josep Maria Subirachs.
La Santa Cueva de Montserrat es el lugar en el que apareció la Virgen. Para acceder a él, y al vía crucis que existe cerca se puede usar un funicular. También hay servicio de funicular para subir hasta Sant Joan desde donde se puede obtener una de las mejores vistas de lugar.
La Virgen de Montserrat [editar]
La moreneta
Según la leyenda, la primera imagen de la Virgen de Montserrat la encontraron unos niños pastores en el 880. Tras ver una luz en la montaña, los niños encontraron la imagen de la Virgen en el interior de una cueva. Al enterarse de la noticia el obispo, intentó trasladar la imagen hasta la ciudad de Manresa pero el traslado fue imposible ya que la estatua pesaba demasiado. El obispo lo interpretó como el deseo de la Virgen de permanecer en el lugar en el que se la había encontrado y ordenó la construcción de la ermita de Santa María, origen del actual monasterio.
La imagen que en la actualidad se venera es una talla románica del siglo XII realizada en madera de álamo. Representa a la Virgen con el niño sentado en su regazo y mide unos 95 centímetros de altura. En su mano derecha sostiene una esfera que simboliza el universo; el niño tiene la mano derecha levantada en señal de bendición mientras que en la mano izquierda sostiene una piña.
Con excepción de la cara y de las manos de María y el niño, la imagen es dorada. La Virgen, sin embargo, es de color negro, lo que le ha dado el apelativo popular de La Moreneta (la morenita). Aunque se ha afirmado en ocasiones que el origen de este ennegrecimiento está en el humo de las velas que durante siglos se han colocado a sus pies para venerarla, lo cierto es que en toda Europa se veneran vírgenes negras (p.e. la Virgen de Guadalupe, o la Virgen de la Peña de Francia, en Salamanca), que habría derivado de la cristianización del culto a las antiguas diosas de la tierra (Isis, Cibeles, Artemisa...)
El 11 de septiembre de 1884, el Papa León XIII declaró oficialmente a la Virgen de Montserrat como patrona de Cataluña. Se le concedió también el privilegio de tener misa y oficios propios. Su festividad se celebra el 27 de abril.
O Conasems lançou nesta quinta-feira (21) o Projeto ImunizaSUS em cerimônia com presença do Ministro da Saúde, Eduardo Pazuello, do Secretário de Vigilância em Saúde (SVS/MS), Arnaldo Medeiros, do Secretário Executivo do Conass, Jurandi Frutuoso e da representante da OPAS/OMS no Brasil, Socorro Gross.
O ImunizaSUS, fruto de uma parceria entre o Conasems e o Ministério da Saúde, vai transformar as Unidades Básicas de Saúde em salas de aula com objetivo de capacitar mais de 94 mil profissionais de saúde que atuam diretamente nas ações de imunização em todos os municípios do país.
Saiba mais em: www.conasems.org.br/lancamento-do-projeto-imunizasus-educ...
Fotos: Mariana Pedroza/Conasems
//What a disaster
William Saunderson-Meyer says the floods just another blow to a province that was already on its knees
KwaZulu-Natal has declared a provincial state of disaster to try to cope with the devastating floods of the past week.
This is normally a temporary mechanism of which the primary purpose is to facilitate speedy national government assistance to hard-pressed provincial and local authorities. It also triggers the release of emergency funds from the National Treasury.
But in KZN’s case, they might as well make it permanent. This is a province that has been on its knees for some time and it ain’t getting up any time soon.
After all, KZN hasn’t even staunched the bloodied nose it suffered nine months ago. That’s when one wing of the African National Congress government — the Radical Economic Transformation followers of former president Jacob Zuma — tried to bury the other — the so-called reformists led by President Cyril Ramaphosa.
KZN hasn’t even properly tallied the body blows it suffered then. The official estimates for the insurrection were 45,000 businesses affected, R50bn in economic damage, 129,000 jobs lost, and 354 killed.
These estimates are probably on the low side. For example, the number of people who were killed in the mayhem doesn’t include the many whose bodies were simply never found and counted.
And the true economic cost is incalculable. There’s been substantially increased emigration of minorities, cancelled investment, and the loss of international confidence in KZN as a safe tourist destination. In at least a dozen small, country towns, all the business infrastructure was destroyed, paradoxically by the very people who worked and shopped in those buildings.
Now the floods. The death toll is over 300 and still rising. Some 6,000 homes have been destroyed and road, water sewage and electrical infrastructure uprooted. As I write this, roaming mobs are opportunistically plundering container depots, stranded trucks, abandoned homes and vulnerable businesses, reportedly unhindered — as was the case during last year’s riots — by the police and army.
Naturally, no disaster is complete without a scapegoat. Ramaphosa, as is his style, was quick off the mark to finger the culprit — climate change.
“This disaster is part of climate change. It is telling us that climate change is serious, it is here,” Ramaphosa told reporters while inspecting a devastated Durban. “We no longer can postpone what we need to do, and the measures we need to take to deal with climate change.”
What balderdash. Whatever role climate change may or may not have played in the larger scheme of things, it’s nonsense to pin on it responsibility for the plight of KZN. That lies with the ANC government.
First, this was not an unforeseeable bolt from the heavens. The forecasters warned months back that this was likely to be an exceptionally wet summer because of the La Niña weather pattern that occurs every few years.
There are also historical precedents for extreme weather in KZN, which a prudent administration would have taken note of.
In 1984, Tropical Storm Domoina wreaked havoc in a swathe from Mozambique, through Swaziland to KZN. Although the current downpour is worse, the scale is nevertheless in the same ballpark.
This latest storm — as yet unnamed — dumped 450mm of rain on Durban in 48 hours. Domoina let loose 615mm in 24 hours on Swaziland and northern KZN.
But the true difference between those events, 38 years apart, lies in the lack of preparedness on the part of today’s authorities. In 1984 the SA Air Force deployed 25 helicopters to airlift people to safety. In the 2000 Mozambique floods, 17 SAAF helicopters rescued more than 14,000 people.
This time, according to a News24 report, the SA Police Service and the SAAF, combined, have been unable to put a single chopper in the air. The erosion of South Africa’s military means that of the SAAF’s 39 Oryx helicopters, only 17 are serviceable.
Durban-based 15 Squadron has not a single helicopter available for search and rescue — they are reportedly primarily used as VIP transport — but two SAAF choppers supposedly have been despatched from Gqeberha to help. The SAPS airwing has only one serviceable helicopter but “the pilot on duty has been booked off sick”.
Second, throughout the province, local government is also in a state of disaster and unable to do its job. The scale of the KZN impairment can be measured in the flood destruction of homes.
Some 4,000 shanties have been destroyed, many because officialdom was too lax to forbid building on the floodplain and against precariously unstable hillsides. Another 2,000 of the homes swept away were so-called RDP houses, shoddily built during the kickback-and-steal bonanza of the government’s Reconstruction and Development Programme of the late 1990s.
In Durban, the eThekwini metro is bloated and inert. It carries a rates and services debt of R17bn, of which R1bn is owed by the national government.
Durban is also infamously corrupt. Former mayor Zandile Gumede — along with 21 co-accused — is facing fraud, corruption and money-laundering charges in connection with a R320m municipal tender.
Yet at the weekend, even as the rain was bucketing down, she won the ANC’s regional leadership contest hands-down, despite the party’s supposed “step-aside when accused” rule.
The ANC-aligned Ahmed Kathrada Foundation has no illusions about the party it supports. It issued a statement calling on the government to ensure that unlike the plundering of Covid-19 emergency relief funds, the KZN disaster funds were not stolen or misused.
Fat chance. The ANC has already announced that its parliamentary constituency offices in KZN would become “hubs for humanitarian support” and appealed for the donation of relief supplies. Watch the trousering by the ANC’s public representatives of anything that the public is dumb enough to leave with them.
It’s in KZN where the ANC’s brazen indifference to the law and antipathy towards the Constitution is at its most obvious and most destructive.
On Monday, Zuma's corruption trial once again failed to take off in the Pietermaritzburg High Court when he successfully blocked the process with another round of delaying legal actions. His lawyers also had some carefully threatening words for the judiciary in a separate Supreme Court of Appeal action.
They urged SCA President Mandisa Maya to reconsider the dismissal of his latest corruption prosecution challenges. They warned that last year’s deadly July unrest was “in part, traceable to a perceived erroneous and unjust judicial outcome” that put Zuma briefly in prison for contempt of court.
“When such conceived mistakes are committed, the citizens (wrongly) feel entitled to resort to self-help…”
Floods, fires and locusts are devastating but at least happen relatively rarely. The ANC, alas, is a seemingly unending plague.
El diálogo permanente entre entidades del sector, la fijación de compromisos institucionales, la adaptación al marco normativo colombiano del Índice de Pobreza Multidimensional (IPM) y la creación de instancias de articulación han permitido que Colombia sea un referente para la región en la implementación de este índice.
Así lo explicó el director encargado de Prosperidad Social, Nemesio Roys Garzón, durante su intervención en el panel de expertos que se realizó en el marco del seminario "Índice de pobreza multidimensional (IPM): su impacto en la política social", que tuvo lugar en la Universidad de los Andes, organizado por la Iniciativa de Pobreza y Desarrollo Humano de Oxford (OPHI), centro de investigación de la Universidad de Oxford.
"La medición del IPM Colombia en 2010 dio como resultado una incidencia del IPM del 30,4% a nivel nacional. A 2015, la proporción disminuyó a 20,2%", aseguró Roys Garzón.
El Director Encargado de Prosperidad Social, agregó que para implementar el IPM se tuvieron en cuenta diferentes aspectos como la revisión de las variables más utilizadas en otros indicadores, el marco normativo a partir de la Constitución Nacional, estudios sobre pobreza, los índices multidimensionales aplicados a Colombia (NBI, ICV, SISBEN III), los umbrales definidos por los Objetivos de Desarrollo del Milenio y la disponibilidad de información en una sola fuente estadística, es decir, la Encuestas de Calidad de Vida del DANE.
Desde que se adoptó el IPM como medida oficial en Colombia se crearon instancias de articulación como la Mesa para la reducción de la Pobreza, el Comité Ejecutivo de Directores, las mesas de trabajo asociadas al IPM y el Comité de expertos para la medición de pobreza. Como consecuencia de esto, se generaron alertas que llevaron al diseño de programas y estrategias para la población más necesitada. En el panel se destacó por ejemplo que en 2010, la Mesa de Pobreza generó alertas por las brechas entre pobres y no pobres multidimensionales en el logro educativo y el acceso a servicios para la primera infancia, lo cual llevó a la formulación de las estrategias de gratuidad escolar y de atención a la primera infancia "De Cero a Siempre".
"Posiblemente, el hito más importante en el proceso de implementación del IPM fue su incorporación en el Plan Nacional de Desarrollo 2014-2018, y la gran apropiación del Gobierno Nacional del lenguaje del IPM. De igual manera, la georreferenciación nos ha permitido mejorar la focalización de nuestros programas sociales, y dirigir la inversión a los lugares donde existen mayores privaciones", concluyó Roys Garzón.
En el panel de expertos que discutieron acerca de diferentes aspectos del IPM, estuvieron además Mauricio Perfetti, director general del DANE; el experto Roberto Angulo, representante OPHI y Luis Fernando Mejía, subdirector sectorial de Planeación Nacional. La moderación estuvo a cargo de Sabina Alkire, directora general OPHI.
El Seminario se adelantó en el marco del curso de verano que adelanta la iniciativa OPHI con funcionarios oficiales de 13 países de Centro América y Suramérica, para analizar el caso colombiano y revisar los indicadores de cada nación según su propia realidad y coyuntura. / Mar. 13, 2017. (Fotografía Oficial Prosperidad Social / Emilio Aparicio Rodríguez).
Esta fotografía oficial del Departamento Administrativo para la Prosperidad Social está disponible sólo para ser publicada por las organizaciones de noticias, medios nacionales e internacionales y/o para uso personal de impresión por el sujeto de la fotografía. La fotografía no puede ser alterada digitalmente o manipularse de ninguna manera, y tampoco puede usarse en materiales comerciales o políticos, anuncios, correos electrónicos, productos o promociones que de cualquier manera sugieran aprobación por parte del Departamento Administrativo para la Prosperidad Social.
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