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This head representing a man of regular features has been discovered on 1901, August. It must have come from a statue about 2 m tall.
The forehead of the portrayed man is low; his hair is arranged in a raw of short locks regularly arched from a “pincers” motif at the inner corner of the right eye. This detail is present on the portraits of Augustus, and was adopted, with some variations, by his successors.
Some small locks turned in the direction of the center of the face are reminiscent of representations of Gaius Caesar (20 BCE - 4 CE), the adopted son of Augustus and his intended heir, and other private portraits from the same period.
This hairstyle and the classical features of the portrait suggest its assignment to the years 25 BC – 35 AD during the reigns of Augustus and Tiberius. It resembles their portraits, but the face is not theirs.
One may suppose that the subject was a member of the local aristocracy whose loyalty to the values of the “Principatus” was equally proclaimed by deliberate imitation of the appearance and coiffure of the men of the imperial family.
Source: Museum information note
Roman bronze portrait
About 25 BC – 35 AD
From Torino
Torino, “Museo di antichità”
Blue and natural tones....simple basics reminding of the sky, the sea and the earth...representing three of my favorite elements - among the other two:
1. air
2. water
3. wood
Nature is wonderfully coloured by herself and even her simplest tones carrry a charm...
According to Chinese Philosophy ( en.wikipedia.org/wiki/Wu_Xing ) there are five elements interacting in our world: air - water - wood - metal & fire....harmony lies in aquiring a perfect balance between them and my opinion is that this also refers to us as beings and personalities, expressed by our moods and emotions...one should know when to be more soft and when more hard....when to relax and enjoy and when to concentrate....when to be cool as fresh water and when to be passionate like fire...
1. Mystery, 2. Three chimneys up in the sky, 3. Spiders and a lock..., 4. Domestic goddess, 5. Dive into the blue..., 6. Golden 60's feel..., 7. Happy - simple - bench Monday!, 8. Seemingly uninhabited..., 9. Aqua dream
Created with fd's Flickr Toys
The Green Guard and the Black Brigade scatter and take cover as helicopters from the Mech Hunter Squadron appear on the horizon. The last time I built a robot army was several years ago. I've got my foot soldiers, now to design a couple of unit leaders.
This represents my first attempt to post a photo taken with my new camera. I have been struggling off and on since January to learn how to link my EOS Rebel 3 to my Apple MiniMac and to learn to use the camera. (It's maual is 485+ pages of largely gibberish and cross references.) Up until now, I haven't been able to get anything to show up on my computer. At least this is a beginning. Now if I can just get the dioptic feature and focusing to work. What I need is a tutor. I'm surprised that there's not an amateur photographers' tutoring service. Maybe after the pandemic is over . . . . .
I have enjoyed seeing some of your postings both because of their quality and because they help me know you are okay.
This is the second of a 6-image series called “The Collections”. Each image represents a city in which I have lived or visited many times
The next four years I spent at university in Hamilton, living in residence at McMaster, working on my BSc in Honours Chemistry. The proudly standing centrepiece of “The Hamilton Collection” is my bowling pin trophy. It was a special request (instead of the usual shiny metallic column with the little gold-coloured bowler on top), for winning the high average in a mixed league at Skyway Lanes. Our team was a family affair including my step-father, mother and my future wife (we met on campus, lived on different floors in the same co-ed residence and later married in the University Chapel). Draped around the pin are a couple of bead necklaces which I made to go with my embroidered bell-bottom jeans – the “in” look of the early seventies.
On the left is a 1000 mL Erlenmeyer flask (a gift, not stolen) which is a reminder of my many long, but enjoyable hours spent in the organic chemistry lab. On the right is a collection of my pens from the day; I actually used to look forward to taking copious, detailed notes – a typical math/science nerd to be sure, but with a love of art and photography as well. The cup that they are perched in is very special too; part of a set that I bought especially for my room to go with my mini-fridge and two-burner hot plate. Since I was on the residence meal plan, the hot plate was used more often for melting wax than actual cooking. I used to make three types of candles for gifts and sale: regular tapers, long-lasting, multi-coloured columns made in one quart milk cartons, and egg-shaped (made in actual egg shells after blowing out the egg-white and yolk while making scrambled eggs), which were very popular!
To strike a reasonable balance between work and play, I had a rule that I would not work past 8 pm. This was my time for relaxing, visiting, or just lying on my bed with the headphones on, listening to music on my Phillips reel-to-reel tape deck. I had a selection of over a dozen tapes including The Beatles, Rolling Stones, Led Zeppelin, Chicago, James Taylor, Carole King and my favourites, Simon and Garfunkel. I included a couple of my LP albums in the background, but by far, I much preferred going to live concerts to see the likes of Neil Diamond, the Guess Who and Pink Floyd.
Of course photography was still the biggest part of my life. I spent countless hours in the campus darkroom with my good buddy Derek, making 8 x 10 black and white prints documenting the complete life of the university as I saw it. Top left is a picture of my long-time lab partner John, with his new girlfriend; at center is a shot of Carolyn and I getting back into my super-cool Mini 1000 (with the hand-painted rally stripes that I carefully sprayed on) after one of our many trips to Montreal. On the top right is what I looked like at age 22, with no beard and a striped shirt, after getting caught in the rain with my 4th year roommate and his girlfriend.
The foreground includes a picture at an opening week picnic/folk concert at Princess Point Park behind the campus, then comes a special “frozen moment” (captured in the residence common-room) of fans cheering as Paul Henderson scored the winning goal of the final 1972 Canada-Russia hockey match. Finally I put in a few of the hundreds of colour slides; the 35 mm Kodachromes shot with my trusty Canon FTb and the square “superslides” cropped from the medium format Rollei slides. When they say “these are the best years of your life”, it certainly rang true for me – many wonderful memories.
Installed in 1898, the A. E. Woolley Memorial stained glass window looks out onto the small south garden of St. Mark the Evangelist Church of England in Fitzroy.
The window is very tall, almost reaching the apex of the church. Possibly designed by British born, German trained, Melbourne stained glass artist William Montgomery, it is full of beautiful examples of brightly coloured and hand-painted stained glass panels. There are also several lozenges embedded throughout the window, representing flowers in bloom. In addition to very stylised Art Nouveau flowers, the window depicts a crown at the top, the nails and crown of thorns worn by Jesus in a quadrofoil of blue, a stylised cross and the letters IHS intertwined in a monogram half way down the lancet window. These letters are a contraction for "Iesus Hominum Salvator"; "Jesus, Savior of Men".
Built amid workers' cottages and terrace houses of shopkeepers, St. Mark the Evangelist Church of England sits atop an undulating rise in the inner Melbourne suburb of Fitzroy. Nestled behind a thick bank of agapanthus beyond its original cast-iron palisade fence, it would not look out of place in an English country village with its neat buttresses, bluestone masonry and simple, unadorned belfry.
St. Mark the Evangelist was the first church to be built outside of the original Melbourne grid as Fitzroy developed into the city's first suburb. A working-class suburb, the majority of its residents were Church of England and from 1849 a Mission Church and school served as a centre for religious, educational and recreational facilities. The school was one of a number of denominational schools established by the Church of England and was partly funded by the Denominational School Board.
St. Mark the Evangelist Church of England was designed by architect James Blackburn and built in Early English Gothic style. Richard Grice, Victorian pastoralist and philanthropist, generously contributed almost all the cost of its construction. Work commenced in 1853 to accommodate the growing Church of England congregation of Fitzroy. On July 1st, 1853, the first stone of St. Mark the Evangelist was laid by the first Bishop of Melbourne, The Right Rev. Charles Perry.
Unfortunately, Blackburn did not live to see its completion, dying the following year in 1854 of typhoid. This left St. Mark the Evangelist without an architect to oversee the project, and a series of other notable Melbourne architects helped finish the church including Lloyd Tayler, Leonard Terry and Charles Webb. Even then when St. Mark the Evangelist opened its doors on Sunday, January 21st, 1855, the church was never fully completed with an east tower and spire never realised. The exterior of the church is very plain, constructed of largely unadorned bluestone, with simple buttresses marking structural bays and tall lancet windows. The church's belfry is similarly unadorned, yet features beautiful masonry work. It has a square tower and broach spire.
Inside St. Mark the Evangelist Church of England it is peaceful and serves as a quiet sanctuary from the noisy world outside. I visited it on a hot day, and its enveloping coolness was a welcome relief. Walking across the old, highly polished hardwood floors you cannot help but note the gentle scent of the incense used during mass. The church has an ornately carved timber Gothic narthex screen which you walk through to enter the nave. Once there you can see the unusual two storey arcaded gallery designed by Leonard Terry that runs the entire length of the east side of building. Often spoken of as “The Architect’s Folly” Terry's gallery was a divisive point in the Fritzroy congregation. Some thought it added much beauty to the interior with its massive square pillars and seven arches supporting the principals of the roof. Yet it was generally agreed that the gallery was of little effective use, and came with a costly price tag of £3,000.00! To this day, it has never been fully utlised by the church. St. Mark the Evangelist has been fortunate to have a series of organs installed over its history; in 1854 a modest organ of unknown origin: in 1855 an 1853 Foster and Andrews, Hull, organ which was taken from the Athenaeum Theatre in Melbourne's Collins Street: in 1877 an organ built by Melbourne organ maker William Anderson: and finally in 1999 as part of major renovation works a 1938 Harrison and Harrison, Durham, organ taken from St. Luke's Church of England in Cowley, Oxfordshire. The church has gone through many renovations over the ensuing years, yet the original marble font and pews have survived these changes and remain in situ to this day. Blackwood reredos in the chancel, dating from 1939, feature a mosaic of the last supper by stained glass and church outfitters Brooks, Robinson and Company. A similar one can be found at St. Matthew's Church of England in High Street in Prahran. The fine lancet stained glass windows on the west side of St. Mark the Evangelist feature the work of the stained glass firms Brooks, Robinson and Company. and William Montgomery. Many of the windows were installed in the late Nineteenth Century.
The St. Mark the Evangelist Parish Hall and verger's cottage were added in 1889 to designs by architects Hyndman and Bates. The hall is arranged as a nave with clerestorey windows and side aisles with buttresses. In 1891 the same architects designed the Choir Vestry and Infants Sunday School on Hodgson Street, to replace the earlier school of 1849 which had been located in the forecourt of the church.
The present St. Mark the Evangelist's vicarage, a two-storey brick structure with cast-iron lacework verandahs, was erected in 1910.
I am very grateful to the staff of Anglicare who run the busy adjoining St. Mark's Community Centre for allowing me to have free range of the inside of St. Mark the Evangelist for a few hours to photograph it so extensively.
James Blackburn (1803 - 1854) was an English civil engineer, surveyor and architect. Born in Upton, West Ham, Essex, James was the third of four sons and one daughter born to his parents. His father was a scalemaker, a trade all his brothers took. At the age of 23, James was employed by the Commissioners of Sewers for Holborn and Finsbury and later became an inspector of sewers. However, his life took a dramatic turn in 1833, when suffering economic hardship, he forged a cheque. He was caught and his penalty was transportation to Van Diemen’s Land (modern day Tasmania). As a convicted prisoner, yet also listed as a civil engineer, James was assigned to the Roads Department under the management of Roderic O’Connor, a wealthy Irishman who was the Inspector of Roads and Bridges at the time. On 3 May 1841 James was pardoned, whereupon he entered private practice with James Thomson, another a former convict. In April 1849, James sailed from Tasmania aboard the "Shamrock" with his wife and ten children to start a new life in Melbourne. Once there he formed a company to sell filtered and purified water to the public, and carried out some minor architectural commissions including St. Mark the Evangelist in Fitzroy. On 24 October he was appointed city surveyor, and between 1850 and 1851 he produced his greatest non-architectural work, the basic design and fundamental conception of the Melbourne water supply from the Yan Yean reservoir via the Plenty River. He was injured in a fall from a horse in January 1852 and died on 3 March 1854 at Brunswick Street, Collingwood, of typhoid. He was buried as a member of St. Mark The Evangelist Church of England. James is best known in Tasmania for his ecclesiastical architectural work including; St Mark's Church of England, Pontville, Tasmania (1839-1841), Holy Trinity Church, Hobart, Tasmania (1841-1848): St. George's Church of England, Battery Point, Tasmania, (1841-1847).
Leonard Terry (1825 - 1884) was an architect born at Scarborough, Yorkshire, England. Son of Leonard Terry, a timber merchant, and his wife Margaret, he arrived in Melbourne in 1853 and after six months was employed by architect C. Laing. By the end of 1856 he had his own practice in Collins Street West (Terry and Oakden). After Mr. Laing's death next year Leonard succeeded him as the principal designer of banks in Victoria and of buildings for the Anglican Church, of which he was appointed diocesan architect in 1860. In addition to the many banks and churches that he designed, Leonard is also known for his design of The Melbourne Club on Collins Street (1858 - 1859) "Braemar" in East Melbourne (1865), "Greenwich House" Toorak (1869) and the Campbell residence on the corner of Collins and Spring Streets (1877). Leonard was first married, at 30, on 26 June 1855 to Theodosia Mary Welch (d.1861), by whom he had six children including Marmaduke, who trained as a surveyor and entered his father's firm in 1880. Terry's second marriage, at 41, on 29 December 1866 was to Esther Hardwick Aspinall, who bore him three children and survived him when on 23 June 1884, at the age of 59, he died of a thoracic tumor in his last home, Campbellfield Lodge, Alexandra Parade, in Collingwood.
Lloyd Tayler (1830 - 1900) was an architect born on 26 October 1830 in London, youngest son of tailor William Tayler, and his wife Priscilla. Educated at Mill Hill Grammar School, Hendon, and King's College, London, he is said to have been a student at the Sorbonne. In June 1851 he left England to join his brother on the land near Albury, New South Wales. He ended up on the Mount Alexander goldfields before setting up an architectural practice with Lewis Vieusseux, a civil engineer in 1854. By 1856 he had his own architectural practice where he designed premises for the Colonial Bank of Australasia. In the 1860s and 1870s he was lauded for his designs for the National Bank of Australasia, including those in the Melbourne suburbs of Richmond and North Fitzroy, and further afield in country Victoria at Warrnambool and Coleraine. His major design for the bank was the Melbourne head office in 1867. With Edmund Wright in 1874 William won the competition for the design of the South Australian Houses of Parliament, which began construction in 1881. The pair also designed the Bank of Australia in Adelaide in 1875. He also designed the Australian Club in Melbourne's William Street and the Melbourne Exchange in Collins Street in 1878. Lloyd's examples of domestic architecture include the mansion "Kamesburgh", Brighton, commissioned by W. K. Thomson in 1872. Other houses include: "Thyra", Brighton (1883): "Leighswood", Toorak, for C. E. Bright: "Roxcraddock", Caulfield: "Cherry Chase", Brighton: and "Blair Athol", Brighton. In addition to his work on St. Mark the Evangelist in Fitzroy, Lloyd also designed St. Mary's Church of England, Hotham (1860); St Philip's, Collingwood, and the Presbyterian Church, Punt Road, South Yarra (1865); and Trinity Church, Bacchus Marsh (1869). The high point of Lloyd's career was the design for the Melbourne head office of the Commercial Bank of Australia. His last important design was the Metropolitan Fire Brigade Headquarters Station, Eastern Hill in 1892. Lloyd was also a judge in 1900 of the competition plans for the new Flinders Street railway station. Lloyd was married to Sarah Toller, daughter of a Congregational minister. They established a comfortable residence, Pen-y-Bryn, in Brighton, and it was from here that he died of cancer of the liver on the 17th of August 1900 survived by his wife, four daughters and a son.
Charles Webb (1821 - 1898) was an architect. Born on 26 November 1821 at Sudbury, Suffolk, England, he was the youngest of nine children of builder William Webb and his wife Elizabeth. He attended Sudbury Academy and was later apprenticed to a London architect. His brother James had migrated to Van Diemen's Land in 1830, married in 1833, gone to Melbourne in 1839 where he set up as a builder in and in 1848 he bought Brighton Park, Brighton. Charles decided to join James and lived with James at Brighton. They went into partnership as architects and surveyors. The commission that established them was in 1850 for St Paul's Church, Swanston Street. It was here that Charles married Emma Bridges, daughter of the chief cashier at the Bank of England. Charles and James built many warehouses, shops and private homes and even a synagogue in the city. After his borther's return to England, Charles designed St. Andrew's Church, Brighton, and receiving an important commission for Melbourne Church of England Grammar School in 1855. In 1857 he added a tower and a slender spire to Scots Church, which James had built in 1841. He designed Wesley College in 1864, the Alfred Hospital and the Royal Arcade in 1869, the South Melbourne Town Hall and the Melbourne Orphan Asylum in 1878 and the Grand Hotel (now the Windsor) in 1884. In 1865 he had designed his own home, "Farleigh", in Park Street, Brighton, where he died on 23 January 1898 of heat exhaustion. Predeceased by Emma in 1893 and survived by five sons and three daughters, he was buried in Brighton cemetery.
William Montgomery (1850 - 1927) was an artist who specialised in stained glass painting and design. He was born in England in 1850, and studied at the School of Art in Newcastle-on-Tyne. In his final year William was awarded one of only three National Art Scholarships that year to study at South Kensington School of Art (now the Royal College of Art). He was employed by the leading London stained glass firm, Clayton and Bell, before joining Franz Mayer and Company in Munich, Germany. Over the next seven years he not only designed windows he also trained others in the English style of glass painting. William arrived in Melbourne, Australia, in 1886 during the Boom Period provided by the Gold Rush. Melbourne was at the time one of the wealthiest cities in the world, and was in the throes of a building boom. He quickly set up his studio at 164 Flinders Street in the heart of Melbourne, bringing with him the latest in European style and design and achieving instant success amongst wealthy patrons. He worked equally for Catholic and Protestant denominations, his windows being found in many churches as well as in mansions, houses and other commercial buildings around the city. This extended to the country beyond as his reputation grew. A painter as well as stained glass window designer William was a founding member of the Victorian Art Society in Albert Street, Eastern Hill. William became President of its Council in 1912, a position he held until 1916. He was a trustee of the National Gallery of Victoria. His commissions included; stained glass windows at Christ Church, Hawthorn: St. John's, Heidelberg, St. Ignatius', Richmond: Christ Church, St Kilda: Geelong Grammar School: the Bathurst Cathedral and private houses "Tay Creggan", Hawthorn (now Strathcona Baptist Girls Grammar), and "Earlsbrae Hall", Essendon (now Lowther Hall Anglican Grammar School). The success of William Montgomery made Melbourne the leading centre of stained glass in the Southern Hemisphere. William Montgomery died in 1927.
Cette photo représente un pavillon, maintenant agrandi, situé dans le quartier de Voisins à Louveciennes (celui de gauche appartenant au parc du château de Voisins). A sa gauche, le petit pont qui y conduit avec sa rampe de pierre surplombe les canalisations souterraines conduisant l'eau de la Seine de la Machine de Marly à l'aqueduc voisin.
Cette vue a fait l'objet de deux tableaux, l'un de Pissarro (PDRS 227, cf. ci-dessous), peint en 1872 à partir du chemin de la Machine, en direction de la place de la Fonderie (actuelle place Ernest Dreux), où une silhouette de femme s'avance vers le peintre depuis un petit pont, avec une maison à la couleur orangée, contrastant sur un fond de ciel bleu. L'autre, assez proche, fut composé par Sisley (D 104, cf. ci-dessous), l'année suivante et sous la neige (cf. wikipédia, merci à Patrice pour la photo) :
www.flickr.com/photos/7208148@N02/45743255525/in/datepost...
www.flickr.com/photos/7208148@N02/31699625717/in/datepost...
10th Mountain Division Commanding General Maj. Gen. Milford H. Beagle Jr. recognizes Soldiers from 1st Brigade Combat Team and 10th Combat Aviation Brigade for representing the division during the 2021 Noble Skywave Competition in which they won “The Best High-Frequency Radio Operators in The World for the 0 Watts- 150 Watts” category, on Nov. 29, 2021, on Fort Drum, NY. The Soldiers were each awarded The Army Achievement Medal for their accomplishment during the Canadian communications competition.
(U.S. Army photos by Spc. Josue Patricio)
Long Legged Liars @ Represent Festival Balingen 2018
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Sanjiv represents the third generation of his family to run a dairy business and provide agribusiness services (forage seed, cattle feed) for 230 farmers in Nagla Roran village, on the outskirts of Karnal, in India's northern Haryana State. Dairy enterprises are 'value-added' opportunities for small-scale farmers here and are helping to close the gap between urban and rural livelihoods. Dairy businesses have raised living standards in the village, which has paved roads. All the adults now have cell phones and most households have more than one television set. Three years ago, at the birth of his daughter Mishti, Sanjiv considered starting a non-dairy business but his mother refused to stop keeping her herd of milk cows and buffaloes, and so he undertook training at the Business Planning & Development Unit of the National Dairy Research Institute (NDRI), India's premier dairy institution, in nearby Karnal, and began building up businesses that add value to the milk his mother's cows produce (photo credit: ILRI/Jules Mateo).
Seprowling & Julo @ Represent Festival Balingen 2018
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#36 - Represent the title of a song in your image (I Wonder by Bobby Bazini) - in 112 pictures in 2012 Group
Oh sometimes
I wonder
Will you be my shoulder?
If I cry, would you comfort me … yeah
Will you love me forever?
And will you take me like no other?
Cause no I can’t say
What’s in your heart, Yeah!
And I wonder Baby
Will you stay with me?
Yes I wonder now
What we used to be
Cause I wonder
Will you always love me, Yeah
Chanson/ Song : I Wonder by Bobby Bazini
Ma version préférée est la suivante diffusée aux Perles du Net :
My favourite version is this one live at Les Perles du Net :
www.youtube.com/watch?v=oX0se-iWYA8
Je suis émue chaque fois que je l'entends.
I get choked up every time I hear it.
Je vous remercie chaleureusement de vos commentaires.
I thank you for your kind comments.
Priyanka Chopra proud to represent Girl Up campaign at the UN Global Leadership Dinner! - www.bolegaindia.com/gossips/Priyanka_Chopra_proud_to_repr...
Nos encontramos ante una escultura exenta, en concreto una figura completa en posición erguida. Representa a un joven desnudo que flexiona su brazo izquierdo mientras despliega el brazo opuesto. Se trata de una obra antigua, que presenta algunos deterioros, pero que se halla en buen estado de conservación.
El material con la que está realizada la obra es mármol. Probablemente, el artista modeló primero la escultura en barro o yeso y después la copió en piedra con la técnica de la talla, esto es trabajando la piedra con cincel y martillo. Hay que señalar que la obra traslada al mármol una escultura que originalmente fue realizada en bronce, como lo demuestra la presencia de un tronco que sirve de apoyo. El original o prototipo debió ser realizado según la técnica de la cera perdida. Al pasar del metal a la piedra el peso de la obra aumentó y su equilibrio se alteró, por lo que se hizo preciso añadir el tronco.
En la copia que analizamos una vez concluido el proceso de talla, el escultor se esmeró en el acabado. El artista quería transmitir con este tratamiento de la superficie es la impresión de suavidad, y así los músculos se encuentran más sugeridos que resaltados. También trabajó los cabellos, cortos y ensortijados, que contrastan con el resto de la cabeza.
Posteriormente debió policromar la pieza, aplicando primero una capa de yeso y después superpuso los pigmentos. En la Antigüedad y en la Edad Media se aplicaban colores a las estatuas y relieves en piedra. Todo esto se ha perdido en el ejemplar que ha llegado hasta nosotros.
Respecto a la composición, señalaremos que la pieza guarda la corrección anatómica, bien que idealizada, buscandoen esta idealización la regularidad y la armonía. Los tendones del cuello y el pliegue inguinal se hallan bien marcados, pero en el resto del cuerpo el artista ha preferido trazar una transición suave entre las partes de su anatomía. Así la musculatura se halla muy desarrollada, pero sólo se revela mediante la iluminación. Es lo que se conoce como la técnica del claroscuro. El canon empleado es el de ocho cabezas.
La escultura está concebida para verse desde todos los puntos de vista, de tal forma que su composición varía por completo a medida que giramos en torno a ella. El cuerpo está representado en una posición conocida como «quiasmo» o «contraposto»: la pierna derecha permanece recta, sosteniendo el peso del cuerpo, mientras que la pierna izquierda se alza y se flexiona. En consecuencia el torso y la cadera se giran levemente y el hombro izquierdo aparece más alto.
Respecto a la expresión, el artista ha querido representar la serenidad, con la mirada perdida típica de la estatuaria clásica. Al rehundir los ojos, el escultor ha conseguido otorgar una intensidad especial a la expresión de su rostro. En los rasgos el escultor plasma unas facciones ideales, no las del individuo que le sirvió de modelo o las de una persona concreta.
Con esta obra el artista ha tratado de buscar la expresión de la armonía y de la belleza. También ha querido demostrar su virtuosismo, o sea su capacidad de superar retos técnicos
La imagen representa a un joven atleta que se limpia el polvo, el sudor y el aceite con el que se ungía tras el ejercicio o prueba. En la mano izquierda debía portar una instrumento (hoy perdido) llamado estrígilo o rascadera, que era un objeto de metal con forma de hoz. Hay que señalar que los artistas de la Antigüedad solían representar a los deportistas en los momentos que anteceden a la competición o en los posteriores a la misma, prefiriendo los estados de concentración o de reposo a la acción propiamente dicha. Su desnudez nos recuerda que los griegos practicaban el deporte sin llevar ningún tipo de vestimenta, pero también que el atleta, por sus triunfos, ha ascendido al nivel de héroes y de dioses.
Sabemos que las ciudades de la Grecia Antigua erigían estatuas a sus atletas victoriosos y, de hecho, esta escultura se interpreta como la de un campeón que descansa después de realizar el ejercicio. Su temática sería, por tanto, conmemorativa. Algunos estudiosos creen, no obstante, que el propio artista decidió realizar la obra por razones estéticas, para plasmar su ideal de belleza o para demostrar su pericia como buen escultor.
Según la primera interpretación, la pieza original o prototipo sería una obra de encargo destinado a ser emplazada en un lugar público, como un foro o ágora, un templo (o sus pórticos), una palestra, un gimnasio o unas termas. Las copias, como la que analizamos, podían ubicarse en los mismos lugares, bien que normalmente se destinaban a adornar palacios, mansiones y quintas o villas campestres.
Respecto a la clasificación, señalaremos que por la corrección anatómica, el uso del contraposto y la temática del atleta, la obra se encuadra dentro del arte griego. Este estilo tuvo dos fases principales: la clásica y la helenística. La pieza que analizamos es una obra de transición entre ambas. Así la temática y el equilibrio entre realismo e idealización la sitúan dentro del arte clásico, mientras que el uso del claroscuro, el canon de ocho cabezas y la multiplicidad de puntos de vista anuncian ya el arte helenístico. Esta etapa de transición, conocida como post-clásica, se desarrolla a lo largo del siglo IV a. C.
En este periodo la civilización griega se desarrolla en la Hélade (ámbito que abarcaba el extremo sur de los Balcanes, las islas adyacentes y las costas de Asia Menor) y la Magna Grecia (Sicilia y Sur de Italia). Fue una etapa de crisis, marcada por continuas guerras civiles entre las distintas polis griegas, que concluirán con el predominio del reino de Macedonia, considerado bárbaro por los helenos. El progresivo distanciamiento del ideal de belleza y armonía marcado por Fidias se entiende como un reflejo de esta difícil situación política.
En esta etapa las polis con regímenes democráticos decayeron y se impusieron la oligarquía y otros sistemas autoritarios. Se comprende que en este momento no se inicien grandes empresas arquitectónicas en el mundo griego, aunque se continúan las emprendidas en el siglo anterior. Por otra parte aparece una nueva clientela formada por mercaderes y latifundistas que encarga sobre todo tumbas y esculturas.
En la Grecia post-clásica los artistas logran mejorar su consideración social y algunos maestros se convierten en verdaderas celebridades, logrando que sus nombres pasen a la posteridad como el autor de esta obra. Se trata de Lisipo, natural de la ciudad de Sición, en el Peloponeso. Sición, y la vecina ciudad Argos, destacaban por sus talleres de broncistas, y en ellos debió formarse Lisipo. Este escultor fue considerado el principal representante de estas escuelas, siendo reconocido como el sucesor de Policleto, de quién recibió una considerable influencia. Lisipo desarrolló su obra entre los año 360 y 305 a. C., llegando a ser el escultor personal de Alejandro Magno, honor que compartió con Leocares. Lisipo fue un artista muy longevo y extraordinariamente prolífico y así Plinio señala que realizó mil quinientas obras, bien que ninguna se ha conservado, y se conocen sólo por copias y algunas descripciones literarias.
La obra que comentamos se trata del Apoxiómeno, nombre que proviene del participio griego Αποξυόμενος, (Apoxyiomenos), «el que se restriega». Se data entre el 330 y el 320 a. C. Algunos autores lo identifican con un retrato ideal de Agias, príncipe de Tesalia famoso por sus victorias deportivas y que vivió a principios del siglo V. Pero se trata de una atribución errónea, pues la estatua de Agias es conocida por una copia romana descubierta en Delfos y la única relación que mantiene con la escultura que comentamos es que se trata de otra obra de Lisipo. Con más fundamento, se cree que esta pieza pudiera representar al campeón olímpico Quelón de Elis. Hay que señalar que el tema del atleta que se limpia con el estrígilo fue escogido igualmente por otros escultores de las escuelas de Argos y Sición. Incluso el propio Lisipo pudo realizar otras versiones de este tema. Así se considera que el Atleta de Croacia, que apareció en el fondo del mar Adriático en 1999, es una copia de otro Apoxiómeno realizado por Lisipo con anterioridad al que comentamos.
El Apoxiómeno que analizamos fue una obra de arte muy apreciada en la Antigüedad, como lo demuestra que se hayan conservado varias copias de esta pieza. Plinio la menciona y señala que en su época (siglo I) el original se exhibía en las termas de Agripa, en Roma.
Lamentablemente la obra original no se conserva, ignorándose cuándo y cómo desapareció. Pudo ser destruida en el saqueo de Roma por los visigodos (410), en el saqueo de los vándalos (455), en los sucesivos asedios y asaltos de la urbe por bizantinos y ostrogodos (entre el 536 y el 551) o, finalmente, en el expolio de algunas obras de arte realizado por el emperador bizantino Constante II en el 663. Tampoco se puede olvidar la destrucción intencionada de restos considerados paganos por los cristianos más exaltados. Hay que señalar que la estimación por estas esculturas se perdió, y las que eran de bronce se fundían para aprovechar el metal para otros usos.
La copia considerada más próxima al original, que es la que aparece en la ilustración, fue hallada en una excavación en el barrio romano del Trastévere en el año 1849, siendo trasladada a los Museos Vaticanos, donde se conserva, en concreto en el Museo Pío-Clementino. Se trata de una obra realizada en mármol pentélico y que se data en la era claudia (siglo I). La pieza mide 2,05 m. de altura.
Procedencia de la imagen:
Norton Simon Museum
The Ragpicker represents one of the practitioners of a now-obsolete profession that involved sifting through the detritus of daily life—not only rags, which were sold to paper manufacturers—but also kitchen scraps, soap and other castoffs that were left out for trash collectors. Sorting garbage might sound like work for the truly destitute, but these scavengers were regulated, semiprofessional recyclers of city waste, and they were seen as a discrete social type, one that was free from the restrictions and inhibitions of a traditional bourgeois lifestyle.
Manet, who was experiencing his own sense of alienation and rejection from established art circles, may have identified with his embattled subject. Both artist and ragpicker could be seen as bohemians who operated on the margins and earned a living by making use of the stuff of everyday life. The small still-life element in the lower foreground of this painting, a pile of opened oyster shells, coupled with a broken champagne bottle and lemon peels, may symbolize this shared creative act.
Fotografía de Selk'nams (Onas) con máscaras usadas para representar espíritus durante ceremonia de Hain (iniciación a la adultez masculina). En el museo municipal Virginia Choquintel.
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Lugar: Río Grande, Tierra del Fuego
Just a quick bit of photoshop. the model is stock photography by Dazzle-stock on deviant art.
you will know who this girl is if you have read The House of Night series by P.c and Kristen Cast.
i have zoey standing on water, because she has an affinity for it. because she is a vampyre, it is at night and the moon is out, representing spirit. she also has affinities for fire, earth and air, but im not sure ho i'd represent that in one photo. oh well :)
what do you think?
this was done on photoshop.
"'Port-Mahon sculptures' - Models representing the Port-Mahon palace in the main city on Minorca [Maó-Mahón, sometimes written in English as Mahon] in the Balearic Islands. Made from 1777 - 1782, they were sculpted by memory by one of the first workers in the quarry inspections, Decure ['dit Beausejour'], who was imprisoned in the fort opposite the palace for a long time. He was killed from a cave-in while trying to build an access stairway at this location." (plaque). Wow.
- This harbour was "one of the most strategically important in the western Mediterranean... Menorca was captured in 1708 by a joint British-Dutch force on behalf of Holy Roman Emperor Charles VI, during the War of the Spanish Succession. The British saw the island's potential as a naval base and sought to take full control. Its status as a British possession was confirmed by the Treaty of Utrecht in 1713. During the island's years as a British dependency, the capital was moved from Ciutadella de Menorca to Maó-Mahón, which then served as residence for the governor...
The island was lost to the French in 1756 following the naval Battle of Minorca and the final Siege of Fort St Philip, which took place several miles from the town. After their defeat in the 7 years' war, France returned the island to the British in 1763." (Wikipedia). The islands have belonged to Spain since 1802.
- Could this be the site of that palace today? www.cruiseportatlas.com/Ports/MHN-Images/MHN-Altstadt_Hen... (From a site advertising cruises: "Mahon [sometimes called Port Mahon] is a city with a strong 18th cent. British character, including many Georgian buildings in its old center, a Gin distillery, and an impressive English fortress.")
- So this quarry worker had been a prisoner of the Brits, trapped for years with a view of this scene through the bars of his cell-window, and was trapped forever near this, his creation, when he died in that cave-in.
- maps.app.goo.gl/3rLB6TRBJVYFPQ9P6
- maps.app.goo.gl/6P3wNJpqa8rxBfY6A
- maps.app.goo.gl/WJJXf9t9AjYQQKLh9
- maps.app.goo.gl/Zk295Fr4cg2NYnAc9
Representing Denmark, Sweden, and Norway, parts of the SAS fleet are registered in each country. "Adalstein Viking" carries a Danish registration, and was delivered new to SAS in November 2001.
Fotos por cortesia de José Prieto
1583 Parroquia de Purisima Concepción (Las Navas de la Concepción) Sevilla,Andalucia,España
La Iglesia de la Purísima Concepción de Las Navas de la Concepción se encuentra en todo el centro de la localidad, concretamente en la plaza de España, se trata de su edificio más representativo.
Historia
A diferencia de otros arquitectos como Leonardo de Figueroa, que gozaron de celebridad entre sus contemporáneos y prestigio hasta nuestros días, el caso de Diego Antonio Díaz es singular, pues ha sido un gran desconocido no sólo a niveles populares, sino en la historiografía artística. Y ello a pesar de que su obra se desarrolló durante medio siglo por la Baja Andalucía, ejerciendo los cargos de maestro Mayor de Obras del Arzobispado de Sevilla y del Cabildo de la Catedral. Y a pesar de que fue tan importante como para que el Cabildo de la Catedral de Málaga le llamase para emitir dictamen junto a importantes arquitectos del momento como Vicente Acero y Hurtado Izquierdo, su nombre quedó algo olvidado en las publicaciones artísticas.
Diego Antonio Díaz representa un eslabón en la evolución del barroco sevillano, a caballo entre el arte de gran riqueza ornamental y plantas movidas de Leonardo de Figueroa y el rigor academicista cuyo influjo percibió ya, en el tercer cuarto del siglo XVIII, Pedro de Silva.
La primera noticia profesional que se tiene de él aparece en el Libro de Cuentas de las obras de la Iglesia de la O, de Sevilla, donde se registran los jornales que se le abonaron. En 1705 ya era “maestro mayor de fábricas de esta ciudad” y en 1711 se le encargó la dirección de las obras de la Iglesia del Salvador, uno de los edificios de más prestigio de cuantos se construían en ese momento en esta ciudad. Tras el fallecimiento de José Tirado, el Cabildo sevillano lo eligió para cubrir su maestría mayor, el 24 de octubre de 1714. Así obtiene los cargos de “maestro mayor de obras de la Santa Iglesia (Catedral) y de fábricas de este Arzobispado”.
De su intensa e importante actividad profesional destacamos las siguientes obras: Iglesia Conventual de Santa Rosalía, Iglesia del Divino Salvador, Iglesia de San Antonio Abad y Capilla de Jesús Nazareno de la Hermandad del Silencio, Iglesia de la Purísima Concepción de Las Navas de la Concepción, fachada de la Iglesia de San Miguel de Morón de la Frontera, Ermita de Jesús Nazareno de Lora del Río, Iglesia de San Blas, la Iglesia de San Pedro y la del Convento de las Agustinas Descalzas de Carmona, la Iglesia de Santa María de Écija…
Las Navas se había constituido a principios del siglo XVIII en una entidad suficientemente importante como para que sus vecinos reclamasen su emancipación espiritual, primera necesidad en la época, antesala de la independencia administrativa de la villa de Constantina, que Las Navas alcanzó en 1856.
En el primer cuarto del siglo XVIII, los vecinos de la aldea de Las Navas, apodada antiguamente de “Los Puercos”, solicitaron del Cabildo catedralicio la edificación de una Iglesia en la localidad a causa de la “mucha incomodidad espiritual” que padecían por carecer de templo propio donde recibir los sacramentos y participar de los oficios divinos, teniendo que desplazarse por senderos peligrosos, cruzando montes y profundos arroyos, bien a la villa de Constantina, distante tres leguas, bien al convento de San Antonio de la orden de San Basilio, ubicado a media legua de poblado.
Al margen de la voluntad del vecindario de obtener su libertad espiritual y su administración propia, se conoce el nombre de cuarenta y tres vecinos (dos de ellos eran mujeres) que encabezaron la iniciativa y sus posibilidades económicas: uno ofrece aceite para iluminar el Santísimo Sacramento, otro madera de castaño para la cubierta, el sacristán su trabajo sin salario, el maestro tejero y un calero sus productos, siete vecinos, sus carretas (muchos de ellos serían transportistas de profesión) y otros 32, distintas cantidades de peonadas (entre quince y cuatro días). Todos los contribuyentes ofrecen pagar temporalmente el valor doble de la primicia a la que estaban obligados.
A la vista de esta petición, los eclesiásticos hispalenses enviaron, en 1717, a su Maestro Mayor de obras, Diego Antonio Díaz, para que confirmase la necesidad de construir un oratorio y, en su caso, precisase el emplazamiento, las dimensiones, los materiales necesarios, las obligaciones que pensaban contraer los habitantes de la aldea y presentara un diseño de la planta. Díaz entregó su primer informe el 18 de octubre de ese año, señalando como lugar más apropiado para la elevación del edificio que, a su juicio, debía tener veinticinco varas de largo por nueve de ancho, la plaza ubicada en el centro del pueblo. Tres días después confeccionó una memoria de los materiales que se requerían para comenzar las obras y cómo debían conservarse éstos para obtener el mejor resultado posible.
Estudiados estos informes, se solicitaron otros de diversa índole cuya confección demoró hasta el 1 de julio de 1726. D. Cristóbal Rodríguez Chaparro, cura de Constantina, se hizo cargo de la administración de las rentas. A él dirigió Diego Díaz, el 20 de julio de 1727, una carta excusándose por no poder desplazarse hasta allí para comenzar las obras, amparándose en el encarecimiento que esto supondría para la fábrica y en las múltiples obligaciones que le retenían en Sevilla, detallando también los pasos que los alarifes debían seguir en la cimentación.
El templo se comenzó en 1727 siguiendo sus directrices, encontrándose dos años después, según informe de Silvestre Tirado fechado el 24 de septiembre de 1729, elevado en todo su perímetro hasta una altura de siete varas, es decir casi seis metros. A partir de este momento existe en los archivos consultados una laguna documental que nos ha impedido reconstruir los avatares sufridos en la conclusión del templo. Sabemos que fue bendecido por D. Antonio Nicolás de Ocaña, cura de Constantina, el día de San Matías, 25 de febrero, de 1764, año en el que al parecer se finalizaron las obras, ignorando hasta el presente el por qué de esta demora.
Templo parroquial de la Purísima Concepción, que como su nombre indica tiene como titular a la Purísima Concepción. Su origen data de la segunda mitad del siglo XVIII; presenta planta basilical con una sola nave de cinco tramos, con capillas-hornacinas entre los contrafuertes, crucero y capilla mayor plana.
El cuerpo de la nave y la capilla mayor se cubren con bóvedas de cañón con arcos fajones y lunetos y el crucero con bóveda semiesférica.
El coro se situaba en alto a los pies de la nave, ocupando el primer tramo, no existe en la actualidad.
La Iglesia presenta similitud con otras obras de Díaz. Su planta, de una sola nave de cinco tramos cubiertos de bóveda de cañón con lunetos y capillas-hornacinas laterales, con crucero no acusado al exterior y cerrado por una media naranja, evoca lo realizado en la Capilla de Jesús Nazareno de la sevillana hermandad del Silencio, donde, al igual que aquí, los últimos tramos fueron añadidos en épocas posteriores. En el proyecto primitivo diseñado por él, la nave debía constar de tres tramos, en el último de los cuales se situarían la portada principal y la torre que hoy en día se halla absorbida por el cuerpo de la Iglesia debido a la ampliación de la misma llevada a cabo, en 1785, por Antonio Matías de Figueroa, quien añadió, posiblemente, dos tramos a los pies, en el último de los cuales se sitúa el coro, además de cerrar el crucero y el presbiterio que todavía se hallaban en alberca.
Exterior
La portada de los pies, labrada en ladrillo limpio y producto de la reforma citada, está formada por un vano adintelado con remates laterales y la del muro derecho, del mismo material, por un arco de medio punto flanqueado por pilastras dóricas sobre las que descansa un sencillo entablamento. La torre, de estructura sencilla, se sitúa a la izquierda de la portada lateral, presentando dos cuerpos. El bajo muestra un rehundimiento rectangular en su frente y dentro del mismo se sitúan dos pequeños vanos que iluminan la escalera de acceso al cuerpo superior. Este rehundimiento, hoy encalado, recuerda la solución empleada por Díaz en las torres de las parroquiales de Gines y Umbrete, donde ese espacio se destinó a la ubicación de balconajes. El campanario propiamente dicho, está recorrido por sobrias pilastras dóricas que enmarcan vanos de medio punto donde se sitúan las campanas, todo ello rematado por el típico antepecho coronado por un chapitel ochavado forrado de azulejos. A un lado de la torre se colocó hace algunos años un manchón que sirve de alojamiento a un reloj.
La portada de los pies, labrada en ladrillo visto, está formada por un vano adintelado con remates laterales; y la del muro derecho, del mismo material, por un arco de medio punto entre pilastras toscanas rematado por un entablamento.
La torre se sitúa a la izquierda de la portada lateral. Consta de dos cuerpos y un remate piramidal, y es de la misma época que el resto de la edificación. Con veinte metros de altura y restaurada en 1953, tiene recubierta la aguja con azulejos de reflejos metálicos. Posee cuatro campanas: la “Jesús, María y José”, fundida en 1620 y una altura de 0,60 metros, la “San Antonio”, fundida en 1800 y 0,75 metros, incluido el cabezal, la “San José”, fundida en 1890 y 0,55 y la “Santa Matilde”, fundida en 1920 con 0,60 metros de altura.
Interior
En el interior del templo, a pesar de los añadidos posteriores - el zócalo de azulejos, la solería,...-, se observa la sobria distribución de volúmenes constructivos tan característica de Diego Antonio Díaz. La nave, flanqueada por capillas laterales, aparece compartimentada mediante pilastras dóricas de fuste liso sobre las que descansa un entablamento de pronunciada cornisa.
En el templo, los elementos arquitectónicos- pilastras y arcos perpiaños- carecen de esa ornamentación a base de molduras que, sin duda, constituían un rasgo peculiar del quehacer del Maestro Mayor diocesano que, en este caso, ha sido suprimido acaso por tratarse del oratorio de una aldea humilde, con escasos recursos económicos, acaso por estar realizado por operarios inexpertos.
Retablo del Altar Mayor.
Retablo del Altar Mayor.
El Retablo Mayor es de tipo neogótico de 1953, figurando en él imágenes también modernas, restaurado y dorado en el 2003.
En el muro izquierdo del crucero aparece un retablo moderno con imagen de candelero, actual, de la Dolorosa, y un púlpito de hierro de forja artística, con tornavoz y baranda de madera policromada del tercer tercio del siglo XVIII, original del templo.
En la primera capilla-hornacina del muro se sitúa un grupo escultórico de Santa Ana y la Virgen Niña de la mano, del último tercio del siglo XVII, de la primitiva “Iglesia de los Monjes Basilios”, de madera estofada y policromada, de buena ejecución. La imagen de Santa Ana se diferencia mucho de las que hizo Juan Martínez Montañés, pues el escultor presenta una Santa Ana de rostro joven, y quizás puede proceder del taller de Juan de Mesa, su discípulo. También encontramos de los Monjes Basilios una escultura del Crucificado, de tamaño mediano, del tercer tercio del siglo XVI.
En la capilla de los pies hay una Pila Bautismal de piedra granítica del siglo XV, original de la “Iglesia de los Monjes Basilios”.
En el muro derecho del crucero se encuentra el retablo con hornacina entre columnas corintias y frontón curvo de hacia 1970. En el banco figura una pequeña escultura del Crucificado del siglo XVIII. A continuación se dispone de un retablo de azulejos modernos, con escultura de candelero de Cristo con la Cruz a cuestas, de moderna realización.
En la sacristía se conserva un armario con puertas talladas, del segundo tercio del siglo XVIII, y una pequeña pintura sobre tabla de la Virgen de Belén de la segunda mitad de dicho siglo. Entre los objetos de orfebrería destacan un cáliz de plata repujada fechado en 1745; un copón de plata dorada con la base decorada con estrías helicoidales, de la segunda mitad del siglo XVIII con punzones de Córdoba y del platero Cárdenas, y un ostensorio de plata dorada decorado con medallones en forma de rocalla con relieves de motivos eucarísticos, del tercer cuarto del siglo XVIII, con el punzón del platero Sánchez.
21 representantes estudiantiles y 17 de los profesores a los Comités Curriculares, así como el representante estudiantil y de los profesores al Consejo Directivo, con sus respectivos suplentes, recibieron dicha acreditación de manos de la rectora de Utadeo, Cecilia María Vélez White, la vicerrectora académica, Margarita Peña, y la vicerrectora administrativa, Nohemy Arias.
Fotografía Laura Vega - Oficina de Comunicación
Más información aquí goo.gl/cfnma2
Adobe's Lightroom 2.0, which launched today represents a major breakthrough in the field of digital photo processing. I've only just begun to play with the software today, but it is clear that Lightroom 2.0 will be my new imaging software of choice. Prior to using Lightroom 2.0 I did my photo processing using Adobe's Bridge and Photoshop. Lightroom represents a significant leap forward in the power of processing digital photographs. I thought I'd write up a post documenting my 10 new favorite processing tools that Lightroom 2.0 brings to the table.
1. Selective area processing of RAW files. When using Adobe's Camera RAW to process in the past, an image was an all or none, take it or leave it, proposition. Yes, you could increase the exposure and contrast on a shot, but you had to increase the exposure and contrast for *the entire* shot. Frequently when processing photos you want more control than that. For example, sometimes you might have a shot perfectly exposed except for the eyes in a portrait which are too dark. With Lightroom 2.0 you can now control all of the basic RAW tools (exposure, brightness, contrast, saturation, clarity, sharpening and custom toning) using brushes or masks to highlight specific areas of a photo.
2. Vignette Cropped Photos. I'm a vignette junkie. Vignette is the area around the edge of your photos that is sometimes dark, sometimes light. A lot of vignetting occurs naturally in my Canon 5D -- especially with the large sensor. Sometimes I like to process a photo perfectly and take this vignette out of my photograph. Other times though I like to add a varying amount of vignetting in or even reverse it out creating a more over exposed edge to my photograph. In the past Adobe Camera RAW could control vignette, but only for the image loaded. If you wanted to crop that image there was no way to control vignette for that specific crop. Now with Lightroom 2.0 you can apply a crop to an image and then adjust your vignetting control after the fact on the new crop.
There is also a new "roundness" slider for vignetting control which enables the ability to give your photos a more rough vignette look vs. a more even or controlled vignette alignment.
3. Keyword recommendations. One of the ways to make your photos more discoverable on sites like Flickr and Zooomr is to add tags or keywords to your photos. You might tag a photo of the Golden Gate Bridge for instance "Golden Gate Bridge" and "bridge" and "San Francisco" and "night" and "California" etc. But frequently there are tags that you don't immediately think of. For instance, if you tag a photo of your dog "dog," maybe the tag "black labrador" would be another good tag. And maybe another one might just be "black lab." With Lightroom 2.0 Lightroom analyzes other tags that you have used with your photos to offer up suggested or recommended tags that you might use. Especially if you hope to offer your photos for sale through stock photography agencies, these descriptive keywords are very important meta data. By learning about your past tags, Lightroom is smarter and suggests tags that you might want to add to your photos as you tag and process them.
4. Better Photo Sharpening Tools. One of the nice things in Lightroom 2.0 is that you have much better tools for sharpening your photos than you did previously. I especially like the way that as you sharpen your photos (or parts of your photos) you can see a fine detail view of the sharpening work. This helps ensure that you don't overdo your sharpening for high resolution views.
5. Healing Brush tools. One of the things that I hated about my old processing system was that I could not use a healing brush inside of Adobe Camera RAW. A healing brush is used to take out little imperfections in a photo. Large sensor digital cameras are notorious for getting dust spots on their sensors. You see these spots most visibly in your photographers when you are shooting at small (high number) aperture settings. These annoying little dust spots have ruined many a great photo. In the past I would need to manually bring these photos into Photoshop to use the healing brush to clean up these spots. Now this can be done within Lightroom itself. The healing brush approximates an area of the photo immediately near the spot that you'd like to heal and blends that area into the spot. This also works great when you have that perfect photograph of your kid with just a dab of peanut butter on his face.
6. Enhanced Printing Tools. I love how Lightroom 2.0 handles printing your photos. With Lightroom 2.0 you can easily arrange multiple photos on a page with preset sizes. You can adjust the layout of the page into multiple columns or custom sizes for different photos. By providing enhanced layout options for printing, Lightroom allows you to use your printable photo paper space more intelligently and makes printing your photos at home easier than ever. I've got some large printing projects that I'm working on for a couple of collage pieces I've been meaning to do for a while and this tool will be very helpful when it comes time to print out a bunch of custom sized prints.
7. Support for custom camera color profiles and improved color photo processing from Adobe. One of the complaints that people have made about Adobe color processing in the past has to do with how it handles some colors. Specifically reds in photographs processed on Adobe's software have sometimes lacked the big vibrancy that reds should have coming out a tad more orangish in some cases than reds. With Lightroom 2.0 Adobe has improved both their own color processing technology, but they have also added support for specific camera profiles. When you look at a photo on your camera's LCD you are actually looking at a JPG interpretation of the photo that you just took. Frequently people will tell me that the colors that they see on their camera LCD are different than what they get when they take the photo home and try to process it.
With Lightroom 2.0 you can use either Adobe's new and improved color profiling system (which does a much better job at interpreting vivid reds) or you can tell Adobe to bypass their own color profiling system and use the actual color profiling system that is inside your camera.
8. Smart Collections. Smart collections (like SmartSets on Zooomr and the SmartSetr application for Flickr) make sense. Frequently you will find yourself wanting to organize batches of your photos for various reasons. Lets say you want to see all photos of your daughter taken this year, or all photos of your daughter tagged with birthday, or a photo of all of your neon photographs taken in 2008. Whatever the case may be, you can build Smart Collections with Lightroom 2.0 to easily analyze and arrange your photos and allow you to better find and sort your work.
9. Smarter cropping and angling tools that show you a rotated view as you work. In the previous version of Bridge/Camera RAW that I used to process my photos, when you cropped an image and then rotated the crop you had to kind of turn your head sideways to visualize what you get. Now Lightroom 2.0 rotates the underlying image showing you a straightened version of what your new rotated and cropped photo will look like directly as you do this work.
10. Metadata SDK for custom metadata. The Metadata SDK that is being released with Lightroom is interesting. I'm not sure on any actual application for the SDK today but it is promising that by opening up this SDK to developers that there may be fantastic ways that we can use the metadata on our photographs in the future.
One of the things personally that I'd like to see develop over time would be a way that the social metadata that is added to your photographs can be reapplied to local copies. One of the nice things about online photo communities is that they encourage engagement with your photos. Many people on Flickr, for instance, have added additional tags and keywords to my photos online. At present there is no easy way to apply these added social tags to my existing photos. I'm hopeful that with Adobe's new Metadata SDK that we might see some of these types of applications develop in the future.
I also think one of the first metadata enhancements that this SDK might make available would be some sort of geotagging add on.
There are lots of other enhancements to Lightroom 2.0 that I did not mention in this article. Probably the two biggest are that Lightroom can now support dual monitors and it can run natively in 64 bit on both Macs and PCs for added performance.
Adobe Lightroom retails for $299. Existing Lightroom users can upgrade for $99. You can download a free 30 day trial version of Lightroom 2.0 here.
21 representantes estudiantiles y 17 de los profesores a los Comités Curriculares, así como el representante estudiantil y de los profesores al Consejo Directivo, con sus respectivos suplentes, recibieron dicha acreditación de manos de la rectora de Utadeo, Cecilia María Vélez White, la vicerrectora académica, Margarita Peña, y la vicerrectora administrativa, Nohemy Arias.
Fotografía Laura Vega - Oficina de Comunicación
Más información aquí goo.gl/cfnma2
“Quiero darle las gracias al Gobernador, al Secretario de Seguridad Pública, todo el municipio de Sáric, la población, se los vamos a agradecer”.
Noé Varela Castillo.
Presidente Municipal de Sáric.
Ver boletín en:
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Instala Gobernador Padrés Mando Único Policial en la Región del Gran Desierto y Río Altar
· El Presidente Enrique Peña Nieto, a través de su representante personal, extendió un reconocimiento al trabajo de Sonora en materia de seguridad.
TUBUTAMA, SONORA, ENERO 09 DE 2014.- Con el reconocimiento del Presidente de la República y el Gobierno Federal por el buen trabajo realizado en materia de seguridad, el Gobernador Guillermo Padrés encabezó la instalación del Mando Único Policial en la Región del Gran Desierto y Río Altar, que abarca a 7 municipios del Estado.
De esta manera, los ciudadanos que habitan en esta región ven cumplida su petición de contar con más seguridad para ellos y sus familias con elementos bien entrenados, que aprobaron las pruebas de control de confianza.
“El día de hoy quedará establecido aquí el Mando Único Policial en los siete municipios que históricamente han sido parte de la cultura del desierto de Sonora, en Altar, Átil, Oquitoa, Pitiquito, Sáric, Trincheras y Tubutama, estos siete municipios ya tienen un Mando Único y lo vamos a poner en marcha y lo vamos a aprovechar a favor de toda la gente”, enfatizó.
Monte Alejandro Rubido García, Secretario Ejecutivo del Sistema Nacional de Seguridad Pública, afirmó en nombre del Presidente Enrique Peña Nieto que el Gobernador Padrés está trabajando de la mejor manera posible en materia de seguridad y prueba de ello es que, precisamente por los buenos resultados, en 2013 Sonora fue beneficiado con las dos bolsas concursables de recursos federales extraordinarios para la seguridad pública.
“Reitero, es una prueba fehaciente de que el Gobierno del Gobernador Padrés está haciendo las cosas de la mejor manera”, aseveró.
Rubido García calificó la instalación del Mando Único Policial en Sonora como un hecho sin precedentes en la historia de Sonora, toda vez que la suma de esfuerzos entre Federación, Estado y Municipios en materia de seguridad ayudará a que la región y por supuesto sus ciudadanos estén mejor protegidos.
Durante su mensaje, el Gobernador recordó que el 21 de julio de 2011 el Congreso del Estado de Sonora se trasladó al municipio de Tubutama para aprobar la Ley de Seguridad Pública del Estado de Sonora y desde 2012 se comenzó a trabajar para llevar el Mando Único a esta región.
“Vamos a protegerlos, vamos a garantizarles su derecho constitucional a la seguridad, a la paz y al desarrollo armónico de esta región y lo vamos a hacer apegados a la ley, a esa ley de seguridad pública que se aprobó el 21 de julio de 2011 en este municipio”, aseveró el mandatario estatal.
Frente a presidentes municipales, elementos de seguridad y funcionarios de los tres niveles de Gobierno, entre ellos los representantes personales del Presidente Enrique Peña Nieto y el Secretario Miguel Ángel Osorio Chong, el Gobernador entregó la Bandera de México al Jefe de Grupo Alejandro Coronado Miranda, Comandante Regional del Río Altar.
Bajo el Mando Único Policial, elementos de la Policía Estatal Acreditable, Ejército Mexicano, Marina de México y Fuerzas Especiales, tendrán la responsabilidad de vigilar la seguridad de los habitantes de Altar, Átil, Oquitoa, Pitiquito, Sáric, Trincheras y Tubutama.
La base desde donde operarán tiene la característica de ser móvil, para un mayor dinamismo; y cuenta con dormitorios, sanitarios, regaderas, comedor, área de entrenamiento y centro de control.
En la instalación del Mando Único Policial, el Gobernador Padrés también estuvo acompañado por Ernesto Munro Palacio, Secretario Ejecutivo de Seguridad Pública; Enrique Francisco Galindo Ceballos, Comisionado General de la Policía Federal; Fernando Schutte Elguero, Secretario Técnico de la Conferencia Nacional de Secretarios de Seguridad Pública; Gonzalo de la Fuente Escobar, Coordinador Regional del Noroeste de la Comisión Nacional de Seguridad; Juan Sebastián Soto Mayor Tovar, Presidente del Supremo Tribunal de Justicia del Estado; Karina García Gutiérrez, Representante de la Mesa Directiva del Congreso del Estado; Perla Zuzuki Aguilar Lugo, Presidenta de la Comisión de Seguridad del Congreso del Estado; Raúl Ramírez Ramírez, Presidente de la Comisión Estatal de los Derechos Humanos; Hilario Mata Tinoco, Comandante de la 45 Zona Militar y Adrián Arriaga Artiaga, Comandante del Sector Naval de Puerto Peñasco.
Así como los presidentes municipales Jesús Rivera Celaya, de Tubutama; Martha Elsa Vidrio Federico, de Altar; Carla Enett Celaya Gortari, de Átil; José Aurelio Ortiz Gortari, de Oquitoa; Andrés Lara Velásquez, de Pitiquito; Luz María Portillo Trejo, de Trincheras y Noé Varela Castillo, de Sáric.
Opinan los alcaldes:
“Con este establecimiento en nuestra región estamos seguros de que vamos a recuperar nuestros territorios, nuestros caminos, y lo más importante, la seguridad y tranquilidad de nuestras familias”
Jesús Rivera Celaya
Presidente Municipal de Tubutama
“Vienen a dar más seguridad, esperemos que con esto venga a fortalecer más la seguridad de nuestros ciudadanos, la población. Le estamos apostando los tres niveles de Gobierno a que vuelva la seguridad, el turismo a esta zona”
José Aurelio Ortiz Gortari
Presidente Municipal de Oquitoa
“Esto representa tranquilidad y estamos viendo adelante, es un privilegio para nosotros que este municipio, esta región, sea la primera en el Estado”
Martha Elsa Vidrio Federico
Presidenta Municipal de Altar
“Representa seguridad, lo más importante, que las personas que tengamos fuera sigan viniendo con la confianza. Ahora con las fiestas decembrinas y las fiestas de fin de año ya la gente vimos que están volviendo otra vez, les di la bienvenida, les expliqué el Mando Único y están súper interesados y muy contentos, que felicitará al señor Gobernador por esto tan importante que va a hacer por nuestra región”
Carla Enett Celaya Gortari
Presidenta Municipal de Átil
“Pues es un gran avance, para nosotros la seguridad de nuestros ciudadanos es lo principal. Le voy a dar las gracias al Gobernador y felicitarlo por este nuevo avance”
Luz María Portillo Trejo
Presidenta Municipal de Trincheras
“Quiero darle las gracias al Gobernador, al Secretario de Seguridad Pública, todo el municipio de Sáric, la población, se los vamos a agradecer”
Noé Varela Castillo
Presidente Municipal de Sáric
“Una gran seguridad, una seguridad que la hemos buscado de muchos años anteriores y que va a ser un pleno éxito. Le doy las gracias por estas decisiones de que está haciendo las cosas, mirando las necesidades de los municipios”
Andrés Lara Velásquez
Presidente Municipal de Pitiquito
Buffalo Fighting During Funeral Ceremony
______________________________________
The water buffalo or domestic Asian water buffalo (Bubalus bubalis) is a large bovid originating in South Asia, Southeast Asia, and China. Today, it is also found in Europe, Australia, and some American countries. The wild water buffalo (Bubalus arnee) native to Southeast Asia is considered a different species, but most likely represents the ancestor of the domestic water buffalo.
Two extant types of water buffalo are recognized based on morphological and behavioural criteria – the river buffalo of South Asia and further west to the Balkans, Egypt, and Italy, and the swamp buffalo, found from Assam in the west through Southeast Asia to the Yangtze valley of China in the east. The origins of the domestic water buffalo types are debated, although results of a phylogenetic study indicate that the swamp type may have originated in China and was domesticated about 4,000 years ago, while the river type may have originated from India and was domesticated about 5,000 years ago. Water buffalo were traded from the Indus Valley Civilisation to Mesopotamia, in modern Iraq, 2500 BC by the Meluhhas. The seal of a scribe employed by an Akkadian king shows the sacrifice of water buffalo.
At least 130 million domestic water buffalo exist, and more human beings depend on them than on any other domestic animal. They are especially suitable for tilling rice fields, and their milk is richer in fat and protein than that of dairy cattle. The large feral population of northern Australia became established in the late 19th century, and smaller feral herds are in New Guinea, Tunisia, and northeastern Argentina. Feral herds are also present in New Britain, New Ireland, Irian Jaya, Papua New Guinea, Colombia, Guyana, Suriname, Brazil, and Uruguay.
CHARACTERISTICS
The skin of river buffalo is black, but some specimens may have dark, slate-coloured skin. Swamp buffalo have a grey skin at birth, but become slate blue later. Albinoids are present in some populations. River buffalo have comparatively longer faces, smaller girths, and bigger limbs than swamp buffalo. Their dorsal ridges extend further back and taper off more gradually. Their horns grow downward and backward, then curve upward in a spiral. Swamp buffalo are heavy-bodied and stockily built; the body is short and the belly large. The forehead is flat, the eyes prominent, the face short, and the muzzle wide. The neck is comparatively long, and the withers and croup are prominent. A dorsal ridge extends backward and ends abruptly just before the end of the chest. Their horns grow outward, and curve in a semicircle, but always remain more or less on the plane of the forehead. The tail is short, reaching only to the hocks. Height at withers is 129–133 cm for males, and 120–127 cm for females. They range in weight from 300–550 kg, but weights of over 1,000 kg have also been observed.
Tedong bonga is a black pied buffalo featuring a unique black and white colouration that is favoured by the Toraja of Sulawesi.
The swamp buffalo has 48 chromosomes; the river buffalo has 50 chromosomes. The two types do not readily interbreed, but fertile offspring can occur. Buffalo-cattle hybrids have not been observed to occur, and the embryos of such hybrids do not reach maturity in laboratory experiments.
The rumen of the water buffalo has important differences from that of other ruminants. It contains a larger population of bacteria, particularly the cellulolytic bacteria, lower protozoa, and higher fungi zoospores. In addition, higher rumen ammonia nitrogen (NH4-N) and higher pH have been found as compared to those in cattle
ECOLOGY AND BEHAVIOR
River buffalo prefer deep water. Swamp buffalo prefer to wallow in mudholes which they make with their horns. During wallowing, they acquire a thick coating of mud. Both are well adapted to a hot and humid climate with temperatures ranging from 0 °C in the winter to 30 °C and greater in the summer. Water availability is important in hot climates, since they need wallows, rivers, or splashing water to assist in thermoregulation. Some breeds are adapted to saline seaside shores and saline sandy terrain.
DIET
Water buffalo thrive on many aquatic plants and during floods, will graze submerged, raising their heads above the water and carrying quantities of edible plants. They eat reeds (quassab), a giant reed (birdi), a kind of bulrush (kaulan), water hyacinth, and marsh grasses. Some of these plants are of great value to local peoples. Others, such as water hyacinth, are a major problem in some tropical valleys, and water buffalo may help to keep waterways clear.
Green fodders are used widely for intensive milk production and for fattening. Many fodder crops are conserved as hay, chaffed, or pulped. Fodders include alfalfa, berseem and bancheri, the leaves, stems or trimmings of banana, cassava, fodder beet, halfa, ipil-ipil and kenaf, maize, oats, pandarus, peanut, sorghum, soybean, sugarcane, bagasse, and turnips. Citrus pulp and pineapple wastes have been fed safely to buffalo. In Egypt, whole sun-dried dates are fed to milk-buffalo up to 25% of the standard feed mixture.
REPRODUCTION
Swamp buffalo generally become reproductive at an older age than river breeds. Young males in Egypt, India, and Pakistan are first mated at about 3.0–3.5 years of age, but in Italy
they may be used as early as 2 years of age. Successful mating behaviour may continue until the animal is 12 years or even older. A good river male can impregnate 100 females in a year. A strong seasonal influence on mating occurs. Heat stress reduces libido
Although buffalo are polyoestrous, their reproductive efficiency shows wide variation throughout the year. Buffalo cows exhibit a distinct seasonal change in displaying oestrus, conception rate, and calving rate. The age at first oestrus of heifers varies between breeds from 13–33 months, but mating at the first oestrus is often infertile and usually deferred until they are 3 years old. Gestation lasts from 281–334 days, but most reports give a range between 300 and 320 days. Swamp buffalo carry their calves for one or two weeks longer than river buffalo. It is not rare to find buffalo that continue to work well at the age of 30, and instances of a working life of 40 years are recorded.
TAXONOMIC HISTORY
Carl Linnaeus first described the genus Bos and the water buffalo under the binomial Bubalis bubalus in 1758; the latter was known to occur in Asia and as a domestic form in Italy. Ellerman and Morrison-Scott treated the wild and domestic forms of the water buffalo as conspecifics whereas others treated them as different species. The nomenclatorial treatment of wild and domestic forms has been inconsistent and varies between authors and even within the works of single authors.
In March 2003, the International Commission on Zoological Nomenclature achieved consistency in the naming of wild and domestic water buffalo by ruling that the scientific name Bubalus arnee is valid for the wild form. B. bubalis continues to be valid for the domestic form and applies also to feral populations.
DOMESTICATION AND BREEDING
Water buffalo were domesticated in India about 5000 years ago, and in China about 4000 years ago. Two types are recognized, based on morphological and behavioural criteria – the river buffalo of the Indian subcontinent and further west to the Balkans and Italy, and the swamp buffalo, found from Assam in the west through Southeast Asia to the Yangtze valley of China in the east. The present-day river buffalo is the result of complex domestication processes involving more than one maternal lineage and a significant maternal gene flow from wild populations after the initial domestication events. Twenty-two breeds of the river type water buffalo are known, including Murrah, Nili-Ravi, Surti, Jafarabadi, Anatolian, Mediterranean, and Egyptian buffalo. China has a huge variety of buffalo genetic resources, comprising 16 local swamp buffalo breeds in various regions.
Results of mitochondrial DNA analyses indicate that the two types were domesticated independently. Sequencing of cytochrome b genes of Bubalus species implies that the domestic buffalo originated from at least two populations, and that the river and the swamp types have differentiated at the full species level. The genetic distance between the two types is so large that a divergence time of about 1.7 million years has been suggested. The swamp type was noticed to have the closest relationship with the tamaraw.
DISTRIBUTION OF POPULATIONS
The water buffalo population in the world is about 172 million.
IN ASIA
More than 95.8% of the world population of water buffalo are found in Asia including both river and swamp types. The water buffalo population in India numbered over 97.9 million head in 2003, representing 56.5% of the world population. They are primarily of the river type, with 10 well-defined breeds comprising Badhawari, Murrah, Nili-Ravi, Jafarabadi, Marathwada, Mehsana, Nagpuri, Pandharpuri, Toda, and Surti. Swamp buffalo occur only in small areas in the north-eastern part of the country and are not distinguished into breeds.
In 2003, the second-largest population lived in China, with 22.759 million head, all of the swamp type with breeds kept only in the lowlands, and other breeds kept only in the mountains; as of 2003, 3.2 million swamp-type carabao buffalo were in the Philippines, nearly three million swamp buffalo were in Vietnam, and 772,764 buffalo were in Bangladesh. About 750,000 head were estimated in Sri Lanka in 1997.
The water buffalo is the main dairy animal in Pakistan, with 23.47 million head in 2010. Of these, 76% are kept in the Punjab. The rest of them are mostly in the province of Sindh. Breeds used are Nili-Ravi, Kundi, and Azi Kheli. Karachi has the largest population of water buffalos for an area where fodder is not grown, consisting of 350,000 head kept mainly for milking.
In Thailand, the number of water buffalo dropped from more than 3 million head in 1996 to less than 1.24 million head in 2011. Slightly over 75% of them are kept in the country's northeastern region. The statistics also indicate that by the beginning of 2012, less than one million were in the country, partly as a result of illegal shipments to neighboring countries where sales prices are higher than in Thailand.
Water buffalo are also present in the southern region of Iraq, in the marshes. These marshes were drained by Saddam Hussein in 1991 in an attempt to punish the south for the uprisings of 1991. Following 2003, and the fall of the Saddam regime, these lands were reflooded and a 2007 report in the provinces of Maysan and Thi Qar shows a steady increase in the number of water buffalo. The report puts the number at 40,008 head in those two provinces.
IN EUROPE AND THE MEDITERRANEAN
Water buffalo likely were introduced to Europe from India or other Oriental countries. To Italy they were introduced about the year 600 in the reign of the Longobard King Agilulf. As they appear in the company of wild horses, they probably were a present from the Khan of the Avars, a Turkic nomadic tribe that dwelt near the Danube River at the time. Sir H. Johnston knew of a herd of water buffalo presented by a King of Naples to the Bey of Tunis in the mid-19th century that had resumed the feral state in northern Tunis.
European buffalo are all of the river type and considered to be of the same breed named Mediterranean buffalo. In Italy, the Mediterranean type was particularly selected and is called Mediterranean Italian breed to distinguish it from other European breeds, which differ genetically. Mediterranean buffalo are also found in Romania, Bulgaria, Greece, Albania, Kosovo, and the Republic of Macedonia, with a few hundred in the United Kingdom, Germany, the Netherlands, Switzerland, and Hungary. Little exchange of breeding buffalo has occurred among countries, so each population has its own phenotypic features and performances. In Bulgaria, they were crossbred with the Indian Murrah breed, and in Romania, some were crossbred with Bulgarian Murrah. Populations in Turkey are of the Anatolian buffalo breed.
IN AUSTRALIA
Between 1824 and 1849, water buffalo were introduced into the Northern Territory from Timor, Kisar, and probably other islands in the Indonesian archipelago. In 1886, a few milking types were brought from India to Darwin. They have been the main grazing animals on the subcoastal plains and river basins between Darwin and Arnhem Land since the 1880s. In the early 1960s, an estimated population of 150,000 to 200,000 buffalo were living in the plains and nearby areas.
They became feral and are causing significant environmental damage. Buffalo are also found in the Top End. As a result, they were hunted in the Top End from 1885 until 1980. The commencement of the brucellosis and tuberculosis campaign (BTEC) resulted in a huge culling program to reduce buffalo herds to a fraction of the numbers that were reached in the 1980s. The BTEC was finished when the Northern Territory was declared free of the disease in 1997. Numbers dropped dramatically as a result of the campaign, but have since recovered to an estimated 150,000 animals across northern Australia in 2008.
During the 1950s, buffalo were hunted for their skins and meat, which was exported and used in the local trade. In the late 1970s, live exports were made to Cuba and continued later into other countries. Buffalo are now crossed with riverine buffalo in artificial insemination programs, and may be found in many areas of Australia. Some of these crossbreds are used for milk production. Melville Island is a popular hunting location, where a steady population up to 4,000 individuals exists. Safari outfits are run from Darwin to Melville Island and other locations in the Top End, often with the use of bush pilots. The horns, which can measure up to a record of 3.1 m tip-to-tip, are prized hunting trophies.
The buffalo have developed a different appearance from the Indonesian buffalo from which they descend. They live mainly in freshwater marshes and billabongs, and their territory range can be quite expansive during the wet season. Their only natural predators in Australia are adult saltwater crocodiles, with whom they share the billabongs, and dingoes, which have been known to prey on buffalo calves and occasionally adult buffalo when the dingoes are in large packs.
Buffalo were exported live to Indonesia until 2011, at a rate of about 3000 per year. After the live export ban that year, the exports dropped to zero, and had not resumed as of June 2013.
IN SOUTH AMERICA
Water buffalo were introduced into the Amazon River basin in 1895. They are now extensively used there for meat and dairy production. In 2005, the buffalo herd in the Brazilian Amazon stood at roughly 1.6 million head, of which 460,000 were located in the lower Amazon floodplain. Breeds used include Mediterranean from Italy, Murrah and Jafarabadi from India, and Carabao from the Philippines.
During the 1970s, small herds were imported to Costa Rica, Ecuador, Cayenne, Panama, Surinam, Guyana, and Venezuela.
In Argentina, many game ranches raise water buffalo for commercial hunting
IN NORTH AMERICA
In 1974, four water buffalo were imported to the United States from Guam to be studied at the University of Florida. In February 1978, the first herd arrived for commercial farming. Until 2002, only one commercial breeder was in the United States. Water buffalo meat is imported from Australia. Until 2011, water buffalo were raised in Gainesville, Florida, from young obtained from zoo overflow. They were used primarily for meat production, frequently sold as hamburger.[38] Other US ranchers use them for production of high-quality mozzarella cheese.
HUSBANDRY
The husbandry system of water buffalo depends on the purpose for which they are bred and maintained. Most of them are kept by people who work on small farms in family units. Their buffalo live in very close association with them, and are often their greatest capital asset. The women and girls in India generally look after the milking buffalo while the men and boys are concerned with the working animals. Throughout Asia, they are commonly tended by children who are often seen leading or riding their charges to wallowing places. Water buffalo are the ideal animals for work in the deep mud of paddy fields because of their large hooves and flexible foot joints. They are often referred to as "the living tractor of the East". It probably is possible to plough deeper with buffalo than with either oxen or horses. They are the most efficient and economical means of cultivation of small fields. In most rice-producing countries, they are used for threshing and for transporting the sheaves during the rice harvest. They provide power for oilseed mills, sugarcane presses, and devices for raising water. They are widely used as pack animals, and in India and Pakistan also for heavy haulage. In their invasions of Europe, the Turks used buffalo for hauling heavy battering rams. Their dung is used as a fertilizer, and as a fuel when dried.
Buffalo contribute 72 million tones of milk and three million tones of meat annually to world food, much of it in areas that are prone to nutritional imbalances. In India, river-type buffalo are kept mainly for milk production and for transport, whereas swamp-type buffalo are kept mainly for work and a small amount of milk.
DAIRY PRODUCTS
Water buffalo milk presents physicochemical features different from that of other ruminant species, such as a higher content of fatty acids and proteins. The physical and chemical parameters of swamp and river type water buffalo milk differ. Water buffalo milk contains higher levels of total solids, crude protein, fat, calcium, and phosphorus, and slightly higher content of lactose compared with those of cow milk. The high level of total solids makes water buffalo milk ideal for processing into value-added dairy products such as cheese. The conjugated linoleic acid (CLA) content in milk ranged from 4.4 mg/g fat in September to 7.6 mg/g fat in June. Seasons and genetics may play a role in variation of CLA level and changes in gross composition of the water buffalo milk.
Water buffalo milk is processed into a large variety of dairy products:
- Cream churns much faster at higher fat levels and gives higher overrun than cow cream.
- Butter from water buffalo cream displays more stability than that from cow cream.
- Ghee from water buffalo milk has a different texture with a bigger grain size than ghee from cow milk.
- Heat-concentrated milk products in the Indian subcontinent include paneer, khoa, rabri, kheer and basundi.
- Fermented milk products include dahi, yogurt, and chakka.
- Whey is used for making ricotta and mascarpone in Italy, and alkarish in Syria and Egypt.
- Soft cheeses made include mozzarella in Italy, karish, mish, and domiati in Egypt, madhfor in Iraq, alghab in Syria, kesong puti in the Philippines, and vladeasa in Romania.
- The semihard cheese beyaz peynir is made in Turkey.
- Hard cheeses include braila in Romania, rahss in Egypt, white brine in Bulgaria, and akkawi in Syria.
- Watered-down buffalo milk is used as a cheaper alternative to regular milk.
MEAT AND SKIN PRODUCTS
Water buffalo meat, sometimes called "carabeef", is often passed off as beef in certain regions, and is also a major source of export revenue for India. In many Asian regions, buffalo meat is less preferred due to its toughness; however, recipes have evolved (rendang, for example) where the slow cooking process and spices not only make the meat palatable, but also preserve it, an important factor in hot climates where refrigeration is not always available.Their hides provide tough and useful leather, often used for shoes.
BONE AND HORN PRODUCTS
The bones and horns are often made into jewellery, especially earrings. Horns are used for the embouchure of musical instruments, such as ney and kaval.
ENVIRONMENTAL EFFECTS
Wildlife conservation scientists have started to recommend and use introduced populations of feral domestic water buffalo in far-away lands to manage uncontrolled vegetation growth in and around natural wetlands. Introduced water buffalo at home in such environs provide cheap service by regularly grazing the uncontrolled vegetation and opening up clogged water bodies for waterfowl, wetland birds, and other wildlife. Grazing water buffalo are sometimes used in Great Britain for conservation grazing, such as in Chippenham Fen National Nature Reserve. The buffalo can better adapt to wet conditions and poor-quality vegetation than cattle.
Currently, research is being conducted at the Lyle Center for Regenerative Studies to determine the levels of nutrients removed and returned to wetlands when water buffalo are used for wetland vegetation management.
However, in uncontrolled circumstances, water buffalo can cause environmental damage, such as trampling vegetation, disturbing bird and reptile nesting sites, and spreading exotic weeds.
RESEARCH
The world's first cloned buffalo was developed by Indian scientists from National Dairy Research Institute, Karnal. The buffalo calf was named Samrupa. The calf did not survive more than a week, and died due to some genetic disorders. So, the scientists created another cloned buffalo a few months later, and named it Garima.
On 15 September 2007, the Philippines announced its development of Southeast Asia's first cloned buffalo. The Philippine Council for Agriculture, Forestry and Natural Resources Research and Development (PCARRD), under the Department of Science and Technology in Los Baños, Laguna, approved this project. The Department of Agriculture's Philippine Carabao Center (PCC) will implement cloning through somatic cell nuclear transfer as a tool for genetic improvement in water buffalo. "Super buffalo calves" will be produced. There will be no modification or alteration of the genetic materials, as in genetically modified organisms.
On 1 January 2008, the Philippine Carabao Center in Nueva Ecija, per Filipino scientists, initiated a study to breed a super water buffalo that could produce 4 to 18 litres of milk per day using gene-based technology. Also, the first in vitro river buffalo was born there in 2004 from an in vitro-produced, vitrified embryo, named "Glory" after President Gloria Macapagal-Arroyo. Joseph Estrada's most successful project as an opposition senator, the PCC was created through Republic Act 3707, the Carabao Act of 1992.
IN CULTURE
Some ethnic groups, such as Batak and Toraja in Indonesia and the Derung in China, use water buffalo or kerbau (called horbo in Batak or tedong in Toraja) as sacrificial animals at several festivals.
- Legend has it that the Chinese philosophical sage Laozi left China through the Han Gu Pass riding a water buffalo.
- According to Hindu lore, the god of death Yama, rides on a male water buffalo.
- The carabao subspecies is considered a national symbol in the Philippines.
- In Vietnam, water buffalo are often the most valuable possession of poor farmers: "Con trâu là đầu cơ nghiệp". They are treated as a member of the family: "Chồng cày, vợ cấy, con trâu đi bừa" ("The husband ploughs, the wife sows, water buffalo draws the rake") and are friends of the children. Children talk to their water buffalo, "Bao giờ cây lúa còn bông. Thì còn ngọn cỏ ngoài đồng trâu ăn." (Vietnamese children are responsible for grazing water buffalo. They feed them grass if they work laboriously for men.) In the old days, West Lake, Hà Nội, was named Kim Ngưu - Golden Water Buffalo.
- The Yoruban Orisha Oya (goddess of change) takes the form of a water buffalo.
FIGHTING FESTIVALS
- Pasungay Festival is held annually in the town of San Joaquin, Iloilo in the Philippines.
- Moh juj Water Buffalo fighting, is held every year in Bhogali Bihu in Assam. Ahotguri in Nagaon is famous for it.
- Do Son Water Buffalo Fighting Festival of Vietnam, held each year on the ninth day of the eighth month of the lunar calendar at Do Son Township, Haiphong City in Vietnam, is one of the most popular Vietnam festivals and events in Haiphong City. The preparations for this buffalo fighting festival begin from the two to three months earlier. The competing buffalo are selected and methodically trained months in advance. It is a traditional festival of Vietnam attached to a Water God worshipping ceremony and the Hien Sinh custom to show martial spirit of the local people of Do Son, Haiphong.
- "Hai Luu" Water Buffalo Fighting Festival of Vietnam, According to ancient records, the buffalo fighting in Hai Luu Commune has existed from the 2nd century B.C. General Lu Gia at that time, had the buffalo slaughtered to give a feast to the local people and the warriors, and organized buffalo fighting for amusement. Eventually, all the fighting buffalo will be slaughtered as tributes to the deities.
- "Ko Samui" Water Buffalo Fighting Festival of Thailand, is a very popular event held on special occasions such as New Year's Day in January, and Songkran in mid-April, this festival features head-wrestling bouts in which two male Asian water buffalo are pitted against one another. Unlike in Spanish Bullfighting, wherein bulls get killed while fighting sword-wielding men, Buffalo Fighting Festival held at Ko Samui, Thailand is fairly harmless contest. The fighting season varies according to ancient customs & ceremonies. The first Buffalo to turn and run away is considered the loser, the winning buffalo becomes worth several million baht. Ko Samui is an island in the Gulf of Thailand in the South China Sea, it is 700 km from Bangkok and is connected to it by regular flights.
- "Ma'Pasilaga Tedong" Water Buffalo Fighting Festival, in Tana Toraja Regency of Sulawesi Island, Indonesia, is a very popular event where the Rambu Solo' or a Burial Festival took place in Tana Toraja.
RACING FESTIVALS
Carabao Carroza Festival is being held annually every May in the town of Pavia, Iloilo, Philippines.
Kambala races of Karnataka, India, take place between December and March. The races are conducted by having the water buffalo (he buffalo) run in long parallel slushy ditches, where they are driven by men standing on wooden planks drawn by the buffalo. The objectives of the race are to finish first and to raise the water to the greatest height and also a rural sport. Kambala races are arranged with competition, as well as without competition and as a part of thanks giving (to god) in about 50 villages of coastal Karnataka.
In the Chonburi Province of Thailand, and in Pakistan, there are annual water buffalo races.
Chon Buri Water buffalo racing festival, Thailand In downtown Chonburi, 70 km south of Bangkok, at the annual water buffalo festival held in mid-October. About 300 buffalo race in groups of five or six, spurred on by bareback jockeys wielding wooden sticks, as hundreds of spectators cheer. The water buffalo has always played an important role in agriculture in Thailand. For farmers of Chon Buri Province, near Bangkok, it is an important annual festival, beginning in mid-October. It is also a celebration among rice farmers before the rice harvest. At dawn, farmers walk their buffalo through surrounding rice fields, splashing them with water to keep them cool before leading them to the race field. This amazing festival started over a hundred years ago when two men arguing about whose buffalo was the fastest ended up having a race between them. That’s how it became a tradition and gradually a social event for farmers who gathered from around the country in Chonburi to trade their goods. The festival also helps a great deal in preserving the number of buffalo, which have been dwindling at quite an alarming rate in other regions. Modern machinery is rapidly replacing buffalo in Thai agriculture. With most of the farm work mechanized, the buffalo-racing tradition has continued. Racing buffalo are now raised just to race; they do not work at all. The few farm buffalo which still do work are much bigger than the racers because of the strenuous work they perform. Farm buffalo are in the "Buffalo Beauty Pageant", a Miss Farmer beauty contest and a comic buffalo costume contest etc.. This festival perfectly exemplifies a favored Thai attitude to life — "sanuk," meaning fun.
Babulang Water buffalo racing festival, Sarawak, Malaysia, is the largest or grandest of the many rituals, ceremonies and festivals of the traditional Bisaya (Borneo) community of Limbang, Sarawak. Highlights are the Ratu Babulang competition and the Water buffalo races which can only be found in this town in Sarawak, Malaysia.
Vihear Suor village Water buffalo racing festival, in Cambodia, each year, people visit Buddhist temples across the country to honor their deceased loved ones during a 15-day period commonly known as the Festival of the Dead but in Vihear Suor village, about 35 km northeast of Cambodia, citizens each year wrap up the festival with a water buffalo race to entertain visitors and honour a pledge made hundreds of years ago. There was a time when many village cattle which provide rural Cambodians with muscle power to plough their fields and transport agricultural products died from an unknown disease. The villagers prayed to a spirit to help save their animals from the disease and promised to show their gratitude by holding a buffalo race each year on the last day of "P'chum Ben" festival as it is known in Cambodian. The race draws hundreds of spectators who come to see riders and their animals charge down the racing field, the racers bouncing up and down on the backs of their buffalo, whose horns were draped with colorful cloth.
Pothu puttu matsaram, Kerala, South India, is similar to Kambala races.
WIKIPEDIA
In 2013 Thierry Geoffroy / Colonel is represented at the Malives pavilion at the Venice Biennale and then went further and received hospitality at the Zimbabwe pavilion with the Emergency Room Mobile .
He ask in his installationmade of different steps : "IS CLIMATE CHANGE STILL AN EMERGENCY ? "
www.emergencyrooms.org/biennalist.html .
He also converge with his work on emergencies : www.emergencyrooms.org
The exhibition update is from the 25/9/2013( please ask permission for use of photos =1@colonel.dk )
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lists of artists participating at the Venice Biennale :
Hilma af Klint, Victor Alimpiev, Ellen Altfest, Paweł Althamer, Levi Fisher Ames, Yuri Ancarani, Carl Andre, Uri Aran, Yüksel Arslan, Ed Atkins, Marino Auriti, Enrico Baj, Mirosław Bałka, Phyllida Barlow, Morton Bartlett, Gianfranco Baruchello, Hans Bellmer, Neïl Beloufa, Graphic Works of Southeast Asia and Melanesia, Hugo A. Bernatzik Collection, Ștefan Bertalan, Rossella Biscotti, Arthur Bispo do Rosário, John Bock, Frédéric Bruly Bouabré, Geta Brătescu, KP Brehmer, James Lee Byars, Roger Caillois, Varda Caivano, Vlassis Caniaris, James Castle, Alice Channer, George Condo, Aleister Crowley & Frieda Harris, Robert Crumb, Roberto Cuoghi, Enrico David, Tacita Dean, John De Andrea, Thierry De Cordier, Jos De Gruyter e Harald Thys, Walter De Maria, Simon Denny, Trisha Donnelly, Jimmie Durham, Harun Farocki, Peter Fischli & David Weiss, Linda Fregni Nagler, Peter Fritz, Aurélien Froment, Phyllis Galembo, Norbert Ghisoland, Yervant Gianikian & Angela Ricci Lucchi, Domenico Gnoli, Robert Gober, Tamar Guimarães and Kasper Akhøj, Guo Fengyi, João Maria Gusmão & Pedro Paiva, Wade Guyton, Haitian Vodou Flags, Duane Hanson, Sharon Hayes, Camille Henrot, Daniel Hesidence, Roger Hiorns, Channa Horwitz, Jessica Jackson Hutchins, René Iché, Hans Josephsoh, Kan Xuan, Bouchra Khalili, Ragnar Kjartansson, Eva Kotátková, Evgenij Kozlov, Emma Kunz, Maria Lassnig, Mark Leckey, Augustin Lesage, Lin Xue, Herbert List, José Antonio Suárez Londoño, Sarah Lucas, Helen Marten, Paul McCarthy, Steve McQueen, Prabhavathi Meppayil, Marisa Merz, Pierre Molinier, Matthew Monahan, Laurent Montaron, Melvin Moti, Matt Mullican, Ron Nagle, Bruce Nauman, Albert Oehlen, Shinro Ohtake, J.D. ‘Okhai Ojeikere, Henrik Olesen, John Outterbridg, Paño Drawings, Marco Paolini, Diego Perrone, Walter Pichler, Otto Piene, Eliot Porter, Imran Qureshi, Carol Rama, Charles Ray, James Richards, Achilles G. Rizzoli, Pamela Rosenkranz, Dieter Roth, Viviane Sassen, Shinichi Sawada, Hans Schärer, Karl Schenker, Michael Schmidt, Jean-Frédéric Schnyder, Friedrich Schröder-Sonnenstern, Tino Sehgal, Richard Serra, Shaker Gift Drawings, Jim Shaw, Cindy Sherman, Laurie Simmons e Allan McCollum, Drossos P. Skyllas, Harry Smith, Xul Solar, Christiana Soulou, Eduard Spelterini, Rudolf Steiner, Hito Steyerl, Papa Ibra Tall, Dorothea Tanning, Anonymous Tantric Paintings, Ryan Trecartin, Rosemarie Trockel, Andra Ursuta, Patrick Van Caeckenbergh, Stan VanDerBeek, Erik van Lieshout, Danh Vo, Eugene Von Bruenchenhein, Günter Weseler, Jack Whitten, Cathy Wilkes, Christopher Williams, Lynette Yiadom-Boakye, Kohei YoshiyUKi, Sergey Zarva, Anna Zemánková, Jakub Julian Ziółkowski ,Artur Żmijewski.
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other pavilions at Venice Biennale
Andorra Artists: Javier Balmaseda, Samantha Bosque, Fiona Morrison
Commissioner: Henry Périer Deputy Commissioners: Francesc Rodríguez, Ermengol Puig, Ruth Casabella
Curators: Josep M. Ubach, Paolo De GrandisAngola Artist: Edson Chagas Commissioner: Ministry of Culture
Curators: Beyond Entropy (Paula Nascimento, Stefano Rabolli Pansera), Jorge Gumbe, Feliciano dos Santos
Argentina Artist: Nicola Costantino Commissioner: Magdalena Faillace Curator: Fernando Farina
Armenia Artist: Ararat SarkissianCurator: Arman Grogoryan /AustraliaArtist: Simryn Gill Commissioner: Simon Mordant Deputy Commissioner: Penelope Seidler Curator: Catherine de Zegher /AustriaArtist: Mathias Poledna ,Curator: Jasper Sharp /AzerbaijanArtists: Rashad Alakbarov, Sanan Aleskerov, Chingiz Babayev, Butunay Hagverdiyev, Fakhriyya Mammadova, Farid Rasulov /Commissioner: Heydar Aliyev FoundationCurator: Hervé Mikaeloff
Bahamas Artist: Tavares Strachan Commissioner: Nalini Bethel, Ministry of Tourism Curators: Jean Crutchfield, Robert HobbsDeputy Curator: Stamatina Gregory/BangladeshChhakka Artists’ Group: Mokhlesur Rahman, Mahbub Zamal, A. K. M. Zahidul Mustafa, Ashok Karmaker, Lala Rukh Selim, Uttam Kumar Karmaker. Dhali Al Mamoon, Yasmin Jahan Nupur, Gavin Rain, Gianfranco Meggiato, Charupit School/Commissioner/Curator: Francesco Elisei. , Curator: Fabio Anselmi./BahrainArtists: Mariam Haji, Waheeda Malullah, Camille Zakharia /Commissioner: Mai bint Mohammed Al Khalifa, Minister of Culture /Curator: Melissa Enders-Bhatiaa/BelgiumArtist: Berlinde De Bruyckere
Commissioner: Joke Schauvliege, Flemish Minister for Environment, Nature and Culture .Curator: J. M. Coetzee ,Deputy Curator: Philippe Van Cauteren /Bosnia and Herzegovina
Artist: Mladen Miljanovic .Commissioners: Sarita Vujković, Irfan Hošić
Brazil Artists: Hélio Fervenza, Odires Mlászho, Lygia Clark, Max Bill, Bruno Munari
Commissioner: Luis Terepins, Fundação Bienal de São Paulo,Curator: Luis Pérez-Oramas ,Deputy Curator: André Severo
CanadaArtist: Shary Boyle /Commissioner: National Gallery of Canada / Musée des beaux-arts du Canada ,Curator: Josée Drouin-Brisebois/Central AsiaArtists: Vyacheslav Akhunov, Sergey Chutkov, Saodat Ismailova, Kamilla Kurmanbekova, Ikuru Kuwajima, Anton Rodin, Aza Shade, Erlan Tuyakov
Commissioner: HIVOS (Humanist Institute for Development Cooperation)
Deputy Commissioner: Dean Vanessa Ohlraun (Oslo National Academy of the Arts/The Academy of Fine Art)
Curators: Ayatgali Tuleubek, Tiago Bom
Scientific Committee: Susanne M. Winterling
ChileArtist: Alfredo JaarCommissioner: CNCA, National Council of Culture and the Arts Curator: Madeleine Grynsztejn
ChinaArtists: He Yunchang, Hu Yaolin, Miao Xiaochun, Shu Yong, Tong Hongsheng, Wang Qingsong, Zhang Xiaotao
Commissioner: China Arts and Entertainment Group (CAEG) ,Curator: Wang Chunchen
Costa Rica Artists: Priscilla Monge, Esteban Piedra, Rafael Ottón Solís, Cinthya Soto
Commissioner: Francesco EliseiCurator: Francisco Córdoba, Museo de Arte y Diseño Contemporáneo (Fiorella Resenterra)
Croatia Artist: Kata Mijatovic ,Commissioner/Curator: Branko Franceschi.
CubaArtists: Liudmila and Nelson, Maria Magdalena Campos & Neil Leonard, Sandra Ramos, Glenda León, Lázaro Saavedra, Tonel, Hermann Nitsch, Gilberto Zorio, Wang Du, H.H.Lim, Pedro Costa, Rui Chafes, Francesca Leone ,Commissioner: Miria ViciniCurators: Jorge Fernández Torres, Giacomo Zaza
CyprusArtists: Lia Haraki, Maria Hassabi, Phanos Kyriacou, Constantinos Taliotis, Natalie Yiaxi, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter Sinister /Louli Michaelidou
Deputy Commissioners: Angela Skordi, Marika Ioannou/Curator: Raimundas Malašauskas
Czech Republic & Slovak RepublicArtists: Petra Feriancova, Zbynek Baladran ,Commissioner: Monika Palcova, Curator: Marek Pokorny /DenmarkArtist: Jesper Just in collaboration with Project ProjectsEgypt
Artists: Mohamed Banawy, Khaled Zaki
EstoniaArtist: Dénes Farkas ,Commissioner: Maria Arusoo ,Curator: Adam Budak
FinlandArtist: Antti Laitinen , Commissioner: Raija Koli , Curators: Marko Karo, Mika Elo, Harri Laakso
FranceArtist: Anri Sala ,Curator: Christine Macel
GeorgiaArtists: Bouillon Group,Thea Djordjadze, Nikoloz Lutidze, Gela Patashuri with Ei Arakawa and Sergei Tcherepnin, Gio Sumbadze/Commissioner: Marine Mizandari, First Deputy Minister of Culture Curator: Joanna Warsza
GermanyArtists: Ai Weiwei, Romuald Karmakar, Santu Mofokeng, Dayanita Singh Commissioner/Curator: Susanne Gaensheimer /Great BritainArtist: Jeremy Deller ,Commissioner: Andrea Rose , Curator: Emma Gifford-Mead
Holy SeeArtists: Lawrence Carroll, Josef Koudelka, Studio Azzurro ,Curator: Antonio Paolucci
Hungary , Artist: Zsolt Asztalos , Curator: Gabriella Uhl
Iceland , Artist: Katrín Sigurðardóttir ,Commissioner: Dorotheé Kirch
Curators: Mary Ceruti , Ilaria Bonacossa/IndonesiaArtists: Albert Yonathan Setyawan, Eko Nugroho, Entang Wiharso, Rahayu Supanggah, Sri Astari, Titarubi
Deputy Commissioner: Achille Bonito Oliva , Assistant Commissioner: Mirah M. Sjarif
Curators: Carla Bianpoen, Rifky Effendy
IraqArtists: Abdul Raheem Yassir, Akeel Khreef, Ali Samiaa, Bassim Al-Shaker, Cheeman Ismaeel, Furat al Jamil, Hareth Alhomaam, Jamal Penjweny, Kadhim Nwir, WAMI (Yaseen Wami, Hashim Taeeh)
Commissioner: Tamara Chalabi (Ruya Foundation for Contemporary Culture)Curator: Jonathan Watkins.
IrelandArtist: Richard MosseCommissioner, Curator: Anna O’Sullivan
Israel , Artist: Gilad Ratman , Commissioners: Arad Turgeman, Michael GovCurator: Sergio Edelstein
ItalyArtists: Francesco Arena, Massimo Bartolini, Gianfranco Baruchello, Elisabetta Benassi, Flavio Favelli, Luigi Ghirri, Piero Golia, Francesca Grilli, Marcello Maloberti, Fabio Mauri, Giulio Paolini, Marco Tirelli, Luca Vitone, Sislej Xhafa ,Commissioner: Maddalena Ragni
Curator: Bartolomeo Pietromarchi /Ivory Coast Artists: Frédéric Bruly Bouabré, Tamsir Dia, Jems Koko Bi, Franck Fanny
Commissioner: Paolo De Grandis , Curator: Yacouba Konaté
Japan ,Artist: Koki Tanaka ,Curator: Mika Kuraya
KenyaArtists: Kivuthi Mbuno, Armando Tanzini, Chrispus Wangombe Wachira, Fan Bo, Luo Ling & Liu Ke, Lu Peng, Li Wei, He Weiming, Chen Wenling, Feng Zhengjie, César MeneghettiCommissioner: Paola Poponi ,Curators: Sandro Orlandi, Paola Poponi /Korea (Republic of)Artist: Kimsooja
KosovoArtist: Petrit Halilaj ,Commissioner: Erzen Shkololli ,Curator: Kathrin Rhomberg
KuwaitArtists: Sami Mohammad, Tarek Al-Ghoussein
Commissioner: Mohammed Al-Asoussi ,Curator: Ala Younis /Latin AmericaIstituto Italo-Latino Americano
Artists:Marcos Agudelo, Miguel Alvear & Patricio Andrade, Susana Arwas, François Bucher, Fredi Casco, Colectivo Quintapata (Pascal Meccariello, Raquel Paiewonsky, Jorge Pineda, Belkis Ramírez), Humberto Díaz, Sonia Falcone, León & Cociña, Lucía Madriz, Jhafis Quintero, Martín Sastre, Guillermo Srodek-Hart, Juliana Stein, Simón Vega, Luca Vitone, David Zink Yi. /Harun Farocki & Antje Ehmann. In collaboration with: Cristián Silva-Avária, Anna Azevedo, Paola Barreto, Fred Benevides, Anna Bentes, Hermano Callou, Renata Catharino, Patrick Sonni Cavalier, Lucas Ferraço Nassif, Luiz Garcia, André Herique, Bruna Mastrogiovanni, Cezar Migliorin, Felipe Ribeiro, Roberto Robalinho, Bruno Vianna, Beny Wagner, Christian Jankowski ,Commissioner: Sylvia Irrazábal ,Curator: Alfons Hug
Deputy Curator: Paz Guevara /Latvia Artists: Kaspars Podnieks, Krišs Salmanis ,Commissioners: Zane Culkstena, Zane Onckule ,Curators: Anne Barlow, Courtenay Finn, Alise Tifentale
LithuaniaArtist: Gintaras Didžiapetris, Elena Narbutaite, Liudvikas Buklys, Kazys Varnelis, Vytaute Žilinskaite, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter SinisterCommissioners: Jonas Žokaitis, Aurime Aleksandraviciute Curator: Raimundas Malašauskas /LuxembourgArtist: Catherine LorentCommissioner: Clément Minighetti Curator: Anna Loporcaro /MexicoArtist: Ariel Guzik ,Commissioner: Gastón Ramírez Feltrín ,Curator: Itala Schmelz
Montenegro ,Artist: Irena Lagator Pejovic .Commissioner/Curator: Nataša Nikcevic
The Netherlands ,Artist: Mark Manders
Commissioner: Mondriaan Fund ,Curator: Lorenzo Benedetti
New Zealand Artist: Bill Culbert ,Commissioner: Jenny Harper ,Deputy Commissioner: Heather Galbraith ,Curator: Justin Paton /Finland: ,Artist: Terike Haapoja ,Commissioner: Raija Koli ,Curators: Marko Karo, Mika Elo, Harri Laakso
Norway:Artists: Edvard Munch, Lene Berg
Curators: Marta Kuzma, Pablo Lafuente, Angela Vettese
Paraguay Artists: Pedro Barrail, Felix Toranzos, Diana Rossi, Daniel Milessi ,Commissioner: Elisa Victoria Aquino Laterza
Deputy Commissioner: Nori Vaccari Starck , Curator: Osvaldo González Real
Poland Artist: Konrad Smolenski Commissioner: Hanna Wróblewska Curators: Agnieszka Pindera, Daniel Muzyczuk
Portugal Artist: Joana Vasconcelos Curator: Miguel Amado
RomaniaArtists: Maria Alexandra Pirici, Manuel Pelmus Commissioner: Monica Morariu Deputy Commissioner: Alexandru Damia Curator: Raluca VoineaArtists: Anca Mihulet, Apparatus 22 (Dragos Olea, Maria Farcas,Erika Olea), Irina Botea, Nicu Ilfoveanu, Karolina Bregula, Adi Matei, Olivia Mihaltianu, Sebastian MoldovanCommissioner: Monica Morariu ,Deputy Commissioner: Alexandru Damian ,Curator: Anca Mihulet
Russia Artist: Vadim Zakharov ,Commissioner: Stella Kasaeva ,Curator: Udo Kittelmann
Serbia Artists: Vladimir Peric, Miloš Tomic .Commissioner: Maja Ciric
SloveniaArtist: Jasmina CibicCommissioner: Blaž Peršin ,Curator: Tevž Logar
South Africa Commissioner: Saul Molobi ,Curator: Brenton Maart
Spain Artist: Lara Almarcegui , Commissioner/Curator: Octavio Zaya
Switzerland Artist: Valentin Carron Commissioners: Pro Helvetia - Sandi Paucic and Marianne Burki
Curator: Giovanni CarmineVenue: Pavilion at Giardini
Syrian Arab RepublicArtists: Giorgio De Chirico, Miro George, Makhowl Moffak, Al Samman Nabil, Echtai Shaffik, Giulio Durini, Dario Arcidiacono, Massimiliano Alioto, Felipe Cardena, Roberto Paolini, Concetto Pozzati, Sergio Lombardo, Camilla Ancilotto, Lucio Micheletti, Lidia Bachis, Cracking Art Group, Hannu Palosuo
Commissioner: Christian Maretti Curator: Duccio Trombadori
Taiwan Artists: Bernd Behr, Chia-Wei Hsu, Kateřina Šedá + BATEŽO MIKILU Curator: Esther Lu
Thailand Artists: Wasinburee Supanichvoraparch, Arin Rungjang
Curators: Penwadee Nophaket Manont, Worathep Akkabootara
Turkey Artist: Ali Kazma Commissioner: Istanbul Foundation for Culture and Arts Curator: Emre Baykal
Ukraine Artists: Ridnyi Mykola, Zinkovskyi Hamlet, Kadyrova Zhanna Commissioner: Victor Sydorenko
Curators: Soloviov Oleksandr, Burlaka Victoria
United Arab Emirates Artist: Mohammed Kazem /Commissioner: Dr. Lamees Hamdan Curator: Reem Fadda
Uruguay Artist: Wifredo Díaz Valdéz
Commissioner: Ricardo Pascale Curators: Carlos Capelán, Verónica Cordeiro
USA Artist: Sarah Sze Commissioners/Curators: Carey Lovelace, Holly Block
Venezuela Colectivo de Artistas Urbanos Venezolanos , Commissioner: Edgar Ernesto González Curator: Juan Calzadilla
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Encyclopedic Palace is curated by Massimiliano Gioni
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Other Biennales (Biennials ) : Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
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in preparation of the COP 19 to be held in Warsaw Poland 2013 ( climate change conference on global warming ) . Can artist performa and activate a debate ?
In 2013 Thierry Geoffroy / Colonel is represented at the Malives pavilion at the Venice Biennale and then went further and received hospitality at the Zimbabwe pavilion with the Emergency Room Mobile .
He ask in his installationmade of different steps : "IS CLIMATE CHANGE STILL AN EMERGENCY ? "
www.emergencyrooms.org/biennalist.html .
He also converge with his work on emergencies : www.emergencyrooms.org
The exhibition update is from the 25/9/2013( please ask permission for use of photos =1@colonel.dk )
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lists of artists participating at the Venice Biennale :
Hilma af Klint, Victor Alimpiev, Ellen Altfest, Paweł Althamer, Levi Fisher Ames, Yuri Ancarani, Carl Andre, Uri Aran, Yüksel Arslan, Ed Atkins, Marino Auriti, Enrico Baj, Mirosław Bałka, Phyllida Barlow, Morton Bartlett, Gianfranco Baruchello, Hans Bellmer, Neïl Beloufa, Graphic Works of Southeast Asia and Melanesia, Hugo A. Bernatzik Collection, Ștefan Bertalan, Rossella Biscotti, Arthur Bispo do Rosário, John Bock, Frédéric Bruly Bouabré, Geta Brătescu, KP Brehmer, James Lee Byars, Roger Caillois, Varda Caivano, Vlassis Caniaris, James Castle, Alice Channer, George Condo, Aleister Crowley & Frieda Harris, Robert Crumb, Roberto Cuoghi, Enrico David, Tacita Dean, John De Andrea, Thierry De Cordier, Jos De Gruyter e Harald Thys, Walter De Maria, Simon Denny, Trisha Donnelly, Jimmie Durham, Harun Farocki, Peter Fischli & David Weiss, Linda Fregni Nagler, Peter Fritz, Aurélien Froment, Phyllis Galembo, Norbert Ghisoland, Yervant Gianikian & Angela Ricci Lucchi, Domenico Gnoli, Robert Gober, Tamar Guimarães and Kasper Akhøj, Guo Fengyi, João Maria Gusmão & Pedro Paiva, Wade Guyton, Haitian Vodou Flags, Duane Hanson, Sharon Hayes, Camille Henrot, Daniel Hesidence, Roger Hiorns, Channa Horwitz, Jessica Jackson Hutchins, René Iché, Hans Josephsoh, Kan Xuan, Bouchra Khalili, Ragnar Kjartansson, Eva Kotátková, Evgenij Kozlov, Emma Kunz, Maria Lassnig, Mark Leckey, Augustin Lesage, Lin Xue, Herbert List, José Antonio Suárez Londoño, Sarah Lucas, Helen Marten, Paul McCarthy, Steve McQueen, Prabhavathi Meppayil, Marisa Merz, Pierre Molinier, Matthew Monahan, Laurent Montaron, Melvin Moti, Matt Mullican, Ron Nagle, Bruce Nauman, Albert Oehlen, Shinro Ohtake, J.D. ‘Okhai Ojeikere, Henrik Olesen, John Outterbridg, Paño Drawings, Marco Paolini, Diego Perrone, Walter Pichler, Otto Piene, Eliot Porter, Imran Qureshi, Carol Rama, Charles Ray, James Richards, Achilles G. Rizzoli, Pamela Rosenkranz, Dieter Roth, Viviane Sassen, Shinichi Sawada, Hans Schärer, Karl Schenker, Michael Schmidt, Jean-Frédéric Schnyder, Friedrich Schröder-Sonnenstern, Tino Sehgal, Richard Serra, Shaker Gift Drawings, Jim Shaw, Cindy Sherman, Laurie Simmons e Allan McCollum, Drossos P. Skyllas, Harry Smith, Xul Solar, Christiana Soulou, Eduard Spelterini, Rudolf Steiner, Hito Steyerl, Papa Ibra Tall, Dorothea Tanning, Anonymous Tantric Paintings, Ryan Trecartin, Rosemarie Trockel, Andra Ursuta, Patrick Van Caeckenbergh, Stan VanDerBeek, Erik van Lieshout, Danh Vo, Eugene Von Bruenchenhein, Günter Weseler, Jack Whitten, Cathy Wilkes, Christopher Williams, Lynette Yiadom-Boakye, Kohei YoshiyUKi, Sergey Zarva, Anna Zemánková, Jakub Julian Ziółkowski ,Artur Żmijewski.
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other pavilions at Venice Biennale
Andorra Artists: Javier Balmaseda, Samantha Bosque, Fiona Morrison
Commissioner: Henry Périer Deputy Commissioners: Francesc Rodríguez, Ermengol Puig, Ruth Casabella
Curators: Josep M. Ubach, Paolo De GrandisAngola Artist: Edson Chagas Commissioner: Ministry of Culture
Curators: Beyond Entropy (Paula Nascimento, Stefano Rabolli Pansera), Jorge Gumbe, Feliciano dos Santos
Argentina Artist: Nicola Costantino Commissioner: Magdalena Faillace Curator: Fernando Farina
Armenia Artist: Ararat SarkissianCurator: Arman Grogoryan /AustraliaArtist: Simryn Gill Commissioner: Simon Mordant Deputy Commissioner: Penelope Seidler Curator: Catherine de Zegher /AustriaArtist: Mathias Poledna ,Curator: Jasper Sharp /AzerbaijanArtists: Rashad Alakbarov, Sanan Aleskerov, Chingiz Babayev, Butunay Hagverdiyev, Fakhriyya Mammadova, Farid Rasulov /Commissioner: Heydar Aliyev FoundationCurator: Hervé Mikaeloff
Bahamas Artist: Tavares Strachan Commissioner: Nalini Bethel, Ministry of Tourism Curators: Jean Crutchfield, Robert HobbsDeputy Curator: Stamatina Gregory/BangladeshChhakka Artists’ Group: Mokhlesur Rahman, Mahbub Zamal, A. K. M. Zahidul Mustafa, Ashok Karmaker, Lala Rukh Selim, Uttam Kumar Karmaker. Dhali Al Mamoon, Yasmin Jahan Nupur, Gavin Rain, Gianfranco Meggiato, Charupit School/Commissioner/Curator: Francesco Elisei. , Curator: Fabio Anselmi./BahrainArtists: Mariam Haji, Waheeda Malullah, Camille Zakharia /Commissioner: Mai bint Mohammed Al Khalifa, Minister of Culture /Curator: Melissa Enders-Bhatiaa/BelgiumArtist: Berlinde De Bruyckere
Commissioner: Joke Schauvliege, Flemish Minister for Environment, Nature and Culture .Curator: J. M. Coetzee ,Deputy Curator: Philippe Van Cauteren /Bosnia and Herzegovina
Artist: Mladen Miljanovic .Commissioners: Sarita Vujković, Irfan Hošić
Brazil Artists: Hélio Fervenza, Odires Mlászho, Lygia Clark, Max Bill, Bruno Munari
Commissioner: Luis Terepins, Fundação Bienal de São Paulo,Curator: Luis Pérez-Oramas ,Deputy Curator: André Severo
CanadaArtist: Shary Boyle /Commissioner: National Gallery of Canada / Musée des beaux-arts du Canada ,Curator: Josée Drouin-Brisebois/Central AsiaArtists: Vyacheslav Akhunov, Sergey Chutkov, Saodat Ismailova, Kamilla Kurmanbekova, Ikuru Kuwajima, Anton Rodin, Aza Shade, Erlan Tuyakov
Commissioner: HIVOS (Humanist Institute for Development Cooperation)
Deputy Commissioner: Dean Vanessa Ohlraun (Oslo National Academy of the Arts/The Academy of Fine Art)
Curators: Ayatgali Tuleubek, Tiago Bom
Scientific Committee: Susanne M. Winterling
ChileArtist: Alfredo JaarCommissioner: CNCA, National Council of Culture and the Arts Curator: Madeleine Grynsztejn
ChinaArtists: He Yunchang, Hu Yaolin, Miao Xiaochun, Shu Yong, Tong Hongsheng, Wang Qingsong, Zhang Xiaotao
Commissioner: China Arts and Entertainment Group (CAEG) ,Curator: Wang Chunchen
Costa Rica Artists: Priscilla Monge, Esteban Piedra, Rafael Ottón Solís, Cinthya Soto
Commissioner: Francesco EliseiCurator: Francisco Córdoba, Museo de Arte y Diseño Contemporáneo (Fiorella Resenterra)
Croatia Artist: Kata Mijatovic ,Commissioner/Curator: Branko Franceschi.
CubaArtists: Liudmila and Nelson, Maria Magdalena Campos & Neil Leonard, Sandra Ramos, Glenda León, Lázaro Saavedra, Tonel, Hermann Nitsch, Gilberto Zorio, Wang Du, H.H.Lim, Pedro Costa, Rui Chafes, Francesca Leone ,Commissioner: Miria ViciniCurators: Jorge Fernández Torres, Giacomo Zaza
CyprusArtists: Lia Haraki, Maria Hassabi, Phanos Kyriacou, Constantinos Taliotis, Natalie Yiaxi, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter Sinister /Louli Michaelidou
Deputy Commissioners: Angela Skordi, Marika Ioannou/Curator: Raimundas Malašauskas
Czech Republic & Slovak RepublicArtists: Petra Feriancova, Zbynek Baladran ,Commissioner: Monika Palcova, Curator: Marek Pokorny /DenmarkArtist: Jesper Just in collaboration with Project ProjectsEgypt
Artists: Mohamed Banawy, Khaled Zaki
EstoniaArtist: Dénes Farkas ,Commissioner: Maria Arusoo ,Curator: Adam Budak
FinlandArtist: Antti Laitinen , Commissioner: Raija Koli , Curators: Marko Karo, Mika Elo, Harri Laakso
FranceArtist: Anri Sala ,Curator: Christine Macel
GeorgiaArtists: Bouillon Group,Thea Djordjadze, Nikoloz Lutidze, Gela Patashuri with Ei Arakawa and Sergei Tcherepnin, Gio Sumbadze/Commissioner: Marine Mizandari, First Deputy Minister of Culture Curator: Joanna Warsza
GermanyArtists: Ai Weiwei, Romuald Karmakar, Santu Mofokeng, Dayanita Singh Commissioner/Curator: Susanne Gaensheimer /Great BritainArtist: Jeremy Deller ,Commissioner: Andrea Rose , Curator: Emma Gifford-Mead
Holy SeeArtists: Lawrence Carroll, Josef Koudelka, Studio Azzurro ,Curator: Antonio Paolucci
Hungary , Artist: Zsolt Asztalos , Curator: Gabriella Uhl
Iceland , Artist: Katrín Sigurðardóttir ,Commissioner: Dorotheé Kirch
Curators: Mary Ceruti , Ilaria Bonacossa/IndonesiaArtists: Albert Yonathan Setyawan, Eko Nugroho, Entang Wiharso, Rahayu Supanggah, Sri Astari, Titarubi
Deputy Commissioner: Achille Bonito Oliva , Assistant Commissioner: Mirah M. Sjarif
Curators: Carla Bianpoen, Rifky Effendy
IraqArtists: Abdul Raheem Yassir, Akeel Khreef, Ali Samiaa, Bassim Al-Shaker, Cheeman Ismaeel, Furat al Jamil, Hareth Alhomaam, Jamal Penjweny, Kadhim Nwir, WAMI (Yaseen Wami, Hashim Taeeh)
Commissioner: Tamara Chalabi (Ruya Foundation for Contemporary Culture)Curator: Jonathan Watkins.
IrelandArtist: Richard MosseCommissioner, Curator: Anna O’Sullivan
Israel , Artist: Gilad Ratman , Commissioners: Arad Turgeman, Michael GovCurator: Sergio Edelstein
ItalyArtists: Francesco Arena, Massimo Bartolini, Gianfranco Baruchello, Elisabetta Benassi, Flavio Favelli, Luigi Ghirri, Piero Golia, Francesca Grilli, Marcello Maloberti, Fabio Mauri, Giulio Paolini, Marco Tirelli, Luca Vitone, Sislej Xhafa ,Commissioner: Maddalena Ragni
Curator: Bartolomeo Pietromarchi /Ivory Coast Artists: Frédéric Bruly Bouabré, Tamsir Dia, Jems Koko Bi, Franck Fanny
Commissioner: Paolo De Grandis , Curator: Yacouba Konaté
Japan ,Artist: Koki Tanaka ,Curator: Mika Kuraya
KenyaArtists: Kivuthi Mbuno, Armando Tanzini, Chrispus Wangombe Wachira, Fan Bo, Luo Ling & Liu Ke, Lu Peng, Li Wei, He Weiming, Chen Wenling, Feng Zhengjie, César MeneghettiCommissioner: Paola Poponi ,Curators: Sandro Orlandi, Paola Poponi /Korea (Republic of)Artist: Kimsooja
KosovoArtist: Petrit Halilaj ,Commissioner: Erzen Shkololli ,Curator: Kathrin Rhomberg
KuwaitArtists: Sami Mohammad, Tarek Al-Ghoussein
Commissioner: Mohammed Al-Asoussi ,Curator: Ala Younis /Latin AmericaIstituto Italo-Latino Americano
Artists:Marcos Agudelo, Miguel Alvear & Patricio Andrade, Susana Arwas, François Bucher, Fredi Casco, Colectivo Quintapata (Pascal Meccariello, Raquel Paiewonsky, Jorge Pineda, Belkis Ramírez), Humberto Díaz, Sonia Falcone, León & Cociña, Lucía Madriz, Jhafis Quintero, Martín Sastre, Guillermo Srodek-Hart, Juliana Stein, Simón Vega, Luca Vitone, David Zink Yi. /Harun Farocki & Antje Ehmann. In collaboration with: Cristián Silva-Avária, Anna Azevedo, Paola Barreto, Fred Benevides, Anna Bentes, Hermano Callou, Renata Catharino, Patrick Sonni Cavalier, Lucas Ferraço Nassif, Luiz Garcia, André Herique, Bruna Mastrogiovanni, Cezar Migliorin, Felipe Ribeiro, Roberto Robalinho, Bruno Vianna, Beny Wagner, Christian Jankowski ,Commissioner: Sylvia Irrazábal ,Curator: Alfons Hug
Deputy Curator: Paz Guevara /Latvia Artists: Kaspars Podnieks, Krišs Salmanis ,Commissioners: Zane Culkstena, Zane Onckule ,Curators: Anne Barlow, Courtenay Finn, Alise Tifentale
LithuaniaArtist: Gintaras Didžiapetris, Elena Narbutaite, Liudvikas Buklys, Kazys Varnelis, Vytaute Žilinskaite, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter SinisterCommissioners: Jonas Žokaitis, Aurime Aleksandraviciute Curator: Raimundas Malašauskas /LuxembourgArtist: Catherine LorentCommissioner: Clément Minighetti Curator: Anna Loporcaro /MexicoArtist: Ariel Guzik ,Commissioner: Gastón Ramírez Feltrín ,Curator: Itala Schmelz
Montenegro ,Artist: Irena Lagator Pejovic .Commissioner/Curator: Nataša Nikcevic
The Netherlands ,Artist: Mark Manders
Commissioner: Mondriaan Fund ,Curator: Lorenzo Benedetti
New Zealand Artist: Bill Culbert ,Commissioner: Jenny Harper ,Deputy Commissioner: Heather Galbraith ,Curator: Justin Paton /Finland: ,Artist: Terike Haapoja ,Commissioner: Raija Koli ,Curators: Marko Karo, Mika Elo, Harri Laakso
Norway:Artists: Edvard Munch, Lene Berg
Curators: Marta Kuzma, Pablo Lafuente, Angela Vettese
Paraguay Artists: Pedro Barrail, Felix Toranzos, Diana Rossi, Daniel Milessi ,Commissioner: Elisa Victoria Aquino Laterza
Deputy Commissioner: Nori Vaccari Starck , Curator: Osvaldo González Real
Poland Artist: Konrad Smolenski Commissioner: Hanna Wróblewska Curators: Agnieszka Pindera, Daniel Muzyczuk
Portugal Artist: Joana Vasconcelos Curator: Miguel Amado
RomaniaArtists: Maria Alexandra Pirici, Manuel Pelmus Commissioner: Monica Morariu Deputy Commissioner: Alexandru Damia Curator: Raluca VoineaArtists: Anca Mihulet, Apparatus 22 (Dragos Olea, Maria Farcas,Erika Olea), Irina Botea, Nicu Ilfoveanu, Karolina Bregula, Adi Matei, Olivia Mihaltianu, Sebastian MoldovanCommissioner: Monica Morariu ,Deputy Commissioner: Alexandru Damian ,Curator: Anca Mihulet
Russia Artist: Vadim Zakharov ,Commissioner: Stella Kasaeva ,Curator: Udo Kittelmann
Serbia Artists: Vladimir Peric, Miloš Tomic .Commissioner: Maja Ciric
SloveniaArtist: Jasmina CibicCommissioner: Blaž Peršin ,Curator: Tevž Logar
South Africa Commissioner: Saul Molobi ,Curator: Brenton Maart
Spain Artist: Lara Almarcegui , Commissioner/Curator: Octavio Zaya
Switzerland Artist: Valentin Carron Commissioners: Pro Helvetia - Sandi Paucic and Marianne Burki
Curator: Giovanni CarmineVenue: Pavilion at Giardini
Syrian Arab RepublicArtists: Giorgio De Chirico, Miro George, Makhowl Moffak, Al Samman Nabil, Echtai Shaffik, Giulio Durini, Dario Arcidiacono, Massimiliano Alioto, Felipe Cardena, Roberto Paolini, Concetto Pozzati, Sergio Lombardo, Camilla Ancilotto, Lucio Micheletti, Lidia Bachis, Cracking Art Group, Hannu Palosuo
Commissioner: Christian Maretti Curator: Duccio Trombadori
Taiwan Artists: Bernd Behr, Chia-Wei Hsu, Kateřina Šedá + BATEŽO MIKILU Curator: Esther Lu
Thailand Artists: Wasinburee Supanichvoraparch, Arin Rungjang
Curators: Penwadee Nophaket Manont, Worathep Akkabootara
Turkey Artist: Ali Kazma Commissioner: Istanbul Foundation for Culture and Arts Curator: Emre Baykal
Ukraine Artists: Ridnyi Mykola, Zinkovskyi Hamlet, Kadyrova Zhanna Commissioner: Victor Sydorenko
Curators: Soloviov Oleksandr, Burlaka Victoria
United Arab Emirates Artist: Mohammed Kazem /Commissioner: Dr. Lamees Hamdan Curator: Reem Fadda
Uruguay Artist: Wifredo Díaz Valdéz
Commissioner: Ricardo Pascale Curators: Carlos Capelán, Verónica Cordeiro
USA Artist: Sarah Sze Commissioners/Curators: Carey Lovelace, Holly Block
Venezuela Colectivo de Artistas Urbanos Venezolanos , Commissioner: Edgar Ernesto González Curator: Juan Calzadilla
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Encyclopedic Palace is curated by Massimiliano Gioni
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Other Biennales (Biennials ) : Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
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in preparation of the COP 19 to be held in Warsaw Poland 2013 ( climate change conference on global warming ) . Can artist performa and activate a debate ?
Représentant le char "Thunderbolt V" du Général Creighton Abrams.
Construit par Chrysler Corporation à Warren (Michigan) en aout 1943
Serial number 22169 ou 3022475.
Transféré à l'Armée Française, son moteur A57 multibank a été remplacé par un Wright Continental R975 radial.
Char confié par le Musée des Blindés de Saumur
"The corner apartment building (Rooseveltova 15, Dvořákova 11) with a valuable historic facade represents a significant architectural monument and an important urban component of the city's heritage reserve." - info from the National Heritage Institute.
"Brno (/ˈbɜːrnoʊ/ BUR-noh, Czech pronunciation: [ˈbr̩no]; German: Brünn [bʁʏn]) is a city in the South Moravian Region of the Czech Republic. Located at the confluence of the Svitava and Svratka rivers, Brno has about 403,000 inhabitants, making it the second-largest city in the Czech Republic after the capital, Prague, and one of the 100 largest cities in the European Union. The Brno metropolitan area has approximately 730,000 inhabitants.
Brno served as the capital of Moravia from the Middle Ages until 1948, and remains the political and cultural hub of the South Moravian Region. Brno is an important centre of the Czech judiciary. The Constitutional Court, the Supreme Court, the Supreme Administrative Court, the Supreme Public Prosecutor's Office, as well as state authorities, such as the Ombudsman and the Office for the Protection of Competition, are all located here. Brno is also an important centre of learning and higher education, with 10 universities, 29 faculties and a student population of over 65,000, as well as more than 60 secondary schools throughout the city.
The Brno Exhibition Centre is one of the largest in Europe. The complex opened in 1928 and has a long history of hosting international trade fairs and expositions. The Masaryk Circuit has been hosting motorsport events since 1930, including the Road Racing World Championship Grand Prix. Another local tradition is the international fireworks competition and drone show Ignis Brunensis, which attracts over a million visitors annually.
Two medieval landmarks, the historic Špilberk Castle and its fortifications, as well as the Cathedral of Saints Peter and Paul on Petrov Hill, dominate the cityscape and are seen as Brno's traditional symbols. Another historic landmark is the Veveří Castle near the Brno Reservoir. The Villa Tugendhat, a seminal example of functionalist architecture, was added to the UNESCO World Heritage Sites List in 2001. One of the natural sights outside the city is the Moravian Karst. Brno is a member of the UNESCO Creative Cities Network and was designated a "City of Music" in 2017.
Moravia (Czech: Morava [ˈmorava]; German: Mähren) is a historical region in the east of the Czech Republic and one of three historical Czech lands, with Bohemia and Czech Silesia.
The medieval and early modern Margraviate of Moravia was a crown land of the Lands of the Bohemian Crown from 1348 to 1918, an imperial state of the Holy Roman Empire from 1004 to 1806, a crown land of the Austrian Empire from 1804 to 1867, and a part of Austria-Hungary from 1867 to 1918. Moravia was one of the five lands of Czechoslovakia founded in 1918. In 1928 it was merged with Czech Silesia, and then dissolved in 1948 during the abolition of the land system following the communist coup d'état.
Its area of 22,623.41 km2 is home to about 3.2 million of the Czech Republic's 10.8 million inhabitants. The people are historically named Moravians, a subgroup of Czechs, the other group being called Bohemians. The land takes its name from the Morava river, which runs from its north to south, being its principal watercourse. Moravia's largest city and historical capital is Brno. Before being sacked by the Swedish army during the Thirty Years' War, Olomouc served as the Moravian capital, and it is still the seat of the Archdiocese of Olomouc. Until the expulsions after 1945, significant parts of Moravia were German speaking." - info from Wikipedia.
Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.
Now on Instagram.
representing eddie izzard quotes in hand-drawn typography. for a dvd booklet as part of a box set i designed for my college final major project
In 2013 Thierry Geoffroy / Colonel is represented at the Malives pavilion at the Venice Biennale and then went further and received hospitality at the Zimbabwe pavilion with the Emergency Room Mobile .
He ask in his installationmade of different steps : "IS CLIMATE CHANGE STILL AN EMERGENCY ? "
www.emergencyrooms.org/biennalist.html .
He also converge with his work on emergencies : www.emergencyrooms.org
The exhibition update is from the 25/9/2013( please ask permission for use of photos =1@colonel.dk )
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lists of artists participating at the Venice Biennale :
Hilma af Klint, Victor Alimpiev, Ellen Altfest, Paweł Althamer, Levi Fisher Ames, Yuri Ancarani, Carl Andre, Uri Aran, Yüksel Arslan, Ed Atkins, Marino Auriti, Enrico Baj, Mirosław Bałka, Phyllida Barlow, Morton Bartlett, Gianfranco Baruchello, Hans Bellmer, Neïl Beloufa, Graphic Works of Southeast Asia and Melanesia, Hugo A. Bernatzik Collection, Ștefan Bertalan, Rossella Biscotti, Arthur Bispo do Rosário, John Bock, Frédéric Bruly Bouabré, Geta Brătescu, KP Brehmer, James Lee Byars, Roger Caillois, Varda Caivano, Vlassis Caniaris, James Castle, Alice Channer, George Condo, Aleister Crowley & Frieda Harris, Robert Crumb, Roberto Cuoghi, Enrico David, Tacita Dean, John De Andrea, Thierry De Cordier, Jos De Gruyter e Harald Thys, Walter De Maria, Simon Denny, Trisha Donnelly, Jimmie Durham, Harun Farocki, Peter Fischli & David Weiss, Linda Fregni Nagler, Peter Fritz, Aurélien Froment, Phyllis Galembo, Norbert Ghisoland, Yervant Gianikian & Angela Ricci Lucchi, Domenico Gnoli, Robert Gober, Tamar Guimarães and Kasper Akhøj, Guo Fengyi, João Maria Gusmão & Pedro Paiva, Wade Guyton, Haitian Vodou Flags, Duane Hanson, Sharon Hayes, Camille Henrot, Daniel Hesidence, Roger Hiorns, Channa Horwitz, Jessica Jackson Hutchins, René Iché, Hans Josephsoh, Kan Xuan, Bouchra Khalili, Ragnar Kjartansson, Eva Kotátková, Evgenij Kozlov, Emma Kunz, Maria Lassnig, Mark Leckey, Augustin Lesage, Lin Xue, Herbert List, José Antonio Suárez Londoño, Sarah Lucas, Helen Marten, Paul McCarthy, Steve McQueen, Prabhavathi Meppayil, Marisa Merz, Pierre Molinier, Matthew Monahan, Laurent Montaron, Melvin Moti, Matt Mullican, Ron Nagle, Bruce Nauman, Albert Oehlen, Shinro Ohtake, J.D. ‘Okhai Ojeikere, Henrik Olesen, John Outterbridg, Paño Drawings, Marco Paolini, Diego Perrone, Walter Pichler, Otto Piene, Eliot Porter, Imran Qureshi, Carol Rama, Charles Ray, James Richards, Achilles G. Rizzoli, Pamela Rosenkranz, Dieter Roth, Viviane Sassen, Shinichi Sawada, Hans Schärer, Karl Schenker, Michael Schmidt, Jean-Frédéric Schnyder, Friedrich Schröder-Sonnenstern, Tino Sehgal, Richard Serra, Shaker Gift Drawings, Jim Shaw, Cindy Sherman, Laurie Simmons e Allan McCollum, Drossos P. Skyllas, Harry Smith, Xul Solar, Christiana Soulou, Eduard Spelterini, Rudolf Steiner, Hito Steyerl, Papa Ibra Tall, Dorothea Tanning, Anonymous Tantric Paintings, Ryan Trecartin, Rosemarie Trockel, Andra Ursuta, Patrick Van Caeckenbergh, Stan VanDerBeek, Erik van Lieshout, Danh Vo, Eugene Von Bruenchenhein, Günter Weseler, Jack Whitten, Cathy Wilkes, Christopher Williams, Lynette Yiadom-Boakye, Kohei YoshiyUKi, Sergey Zarva, Anna Zemánková, Jakub Julian Ziółkowski ,Artur Żmijewski.
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other pavilions at Venice Biennale
Andorra Artists: Javier Balmaseda, Samantha Bosque, Fiona Morrison
Commissioner: Henry Périer Deputy Commissioners: Francesc Rodríguez, Ermengol Puig, Ruth Casabella
Curators: Josep M. Ubach, Paolo De GrandisAngola Artist: Edson Chagas Commissioner: Ministry of Culture
Curators: Beyond Entropy (Paula Nascimento, Stefano Rabolli Pansera), Jorge Gumbe, Feliciano dos Santos
Argentina Artist: Nicola Costantino Commissioner: Magdalena Faillace Curator: Fernando Farina
Armenia Artist: Ararat SarkissianCurator: Arman Grogoryan /AustraliaArtist: Simryn Gill Commissioner: Simon Mordant Deputy Commissioner: Penelope Seidler Curator: Catherine de Zegher /AustriaArtist: Mathias Poledna ,Curator: Jasper Sharp /AzerbaijanArtists: Rashad Alakbarov, Sanan Aleskerov, Chingiz Babayev, Butunay Hagverdiyev, Fakhriyya Mammadova, Farid Rasulov /Commissioner: Heydar Aliyev FoundationCurator: Hervé Mikaeloff
Bahamas Artist: Tavares Strachan Commissioner: Nalini Bethel, Ministry of Tourism Curators: Jean Crutchfield, Robert HobbsDeputy Curator: Stamatina Gregory/BangladeshChhakka Artists’ Group: Mokhlesur Rahman, Mahbub Zamal, A. K. M. Zahidul Mustafa, Ashok Karmaker, Lala Rukh Selim, Uttam Kumar Karmaker. Dhali Al Mamoon, Yasmin Jahan Nupur, Gavin Rain, Gianfranco Meggiato, Charupit School/Commissioner/Curator: Francesco Elisei. , Curator: Fabio Anselmi./BahrainArtists: Mariam Haji, Waheeda Malullah, Camille Zakharia /Commissioner: Mai bint Mohammed Al Khalifa, Minister of Culture /Curator: Melissa Enders-Bhatiaa/BelgiumArtist: Berlinde De Bruyckere
Commissioner: Joke Schauvliege, Flemish Minister for Environment, Nature and Culture .Curator: J. M. Coetzee ,Deputy Curator: Philippe Van Cauteren /Bosnia and Herzegovina
Artist: Mladen Miljanovic .Commissioners: Sarita Vujković, Irfan Hošić
Brazil Artists: Hélio Fervenza, Odires Mlászho, Lygia Clark, Max Bill, Bruno Munari
Commissioner: Luis Terepins, Fundação Bienal de São Paulo,Curator: Luis Pérez-Oramas ,Deputy Curator: André Severo
CanadaArtist: Shary Boyle /Commissioner: National Gallery of Canada / Musée des beaux-arts du Canada ,Curator: Josée Drouin-Brisebois/Central AsiaArtists: Vyacheslav Akhunov, Sergey Chutkov, Saodat Ismailova, Kamilla Kurmanbekova, Ikuru Kuwajima, Anton Rodin, Aza Shade, Erlan Tuyakov
Commissioner: HIVOS (Humanist Institute for Development Cooperation)
Deputy Commissioner: Dean Vanessa Ohlraun (Oslo National Academy of the Arts/The Academy of Fine Art)
Curators: Ayatgali Tuleubek, Tiago Bom
Scientific Committee: Susanne M. Winterling
ChileArtist: Alfredo JaarCommissioner: CNCA, National Council of Culture and the Arts Curator: Madeleine Grynsztejn
ChinaArtists: He Yunchang, Hu Yaolin, Miao Xiaochun, Shu Yong, Tong Hongsheng, Wang Qingsong, Zhang Xiaotao
Commissioner: China Arts and Entertainment Group (CAEG) ,Curator: Wang Chunchen
Costa Rica Artists: Priscilla Monge, Esteban Piedra, Rafael Ottón Solís, Cinthya Soto
Commissioner: Francesco EliseiCurator: Francisco Córdoba, Museo de Arte y Diseño Contemporáneo (Fiorella Resenterra)
Croatia Artist: Kata Mijatovic ,Commissioner/Curator: Branko Franceschi.
CubaArtists: Liudmila and Nelson, Maria Magdalena Campos & Neil Leonard, Sandra Ramos, Glenda León, Lázaro Saavedra, Tonel, Hermann Nitsch, Gilberto Zorio, Wang Du, H.H.Lim, Pedro Costa, Rui Chafes, Francesca Leone ,Commissioner: Miria ViciniCurators: Jorge Fernández Torres, Giacomo Zaza
CyprusArtists: Lia Haraki, Maria Hassabi, Phanos Kyriacou, Constantinos Taliotis, Natalie Yiaxi, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter Sinister /Louli Michaelidou
Deputy Commissioners: Angela Skordi, Marika Ioannou/Curator: Raimundas Malašauskas
Czech Republic & Slovak RepublicArtists: Petra Feriancova, Zbynek Baladran ,Commissioner: Monika Palcova, Curator: Marek Pokorny /DenmarkArtist: Jesper Just in collaboration with Project ProjectsEgypt
Artists: Mohamed Banawy, Khaled Zaki
EstoniaArtist: Dénes Farkas ,Commissioner: Maria Arusoo ,Curator: Adam Budak
FinlandArtist: Antti Laitinen , Commissioner: Raija Koli , Curators: Marko Karo, Mika Elo, Harri Laakso
FranceArtist: Anri Sala ,Curator: Christine Macel
GeorgiaArtists: Bouillon Group,Thea Djordjadze, Nikoloz Lutidze, Gela Patashuri with Ei Arakawa and Sergei Tcherepnin, Gio Sumbadze/Commissioner: Marine Mizandari, First Deputy Minister of Culture Curator: Joanna Warsza
GermanyArtists: Ai Weiwei, Romuald Karmakar, Santu Mofokeng, Dayanita Singh Commissioner/Curator: Susanne Gaensheimer /Great BritainArtist: Jeremy Deller ,Commissioner: Andrea Rose , Curator: Emma Gifford-Mead
Holy SeeArtists: Lawrence Carroll, Josef Koudelka, Studio Azzurro ,Curator: Antonio Paolucci
Hungary , Artist: Zsolt Asztalos , Curator: Gabriella Uhl
Iceland , Artist: Katrín Sigurðardóttir ,Commissioner: Dorotheé Kirch
Curators: Mary Ceruti , Ilaria Bonacossa/IndonesiaArtists: Albert Yonathan Setyawan, Eko Nugroho, Entang Wiharso, Rahayu Supanggah, Sri Astari, Titarubi
Deputy Commissioner: Achille Bonito Oliva , Assistant Commissioner: Mirah M. Sjarif
Curators: Carla Bianpoen, Rifky Effendy
IraqArtists: Abdul Raheem Yassir, Akeel Khreef, Ali Samiaa, Bassim Al-Shaker, Cheeman Ismaeel, Furat al Jamil, Hareth Alhomaam, Jamal Penjweny, Kadhim Nwir, WAMI (Yaseen Wami, Hashim Taeeh)
Commissioner: Tamara Chalabi (Ruya Foundation for Contemporary Culture)Curator: Jonathan Watkins.
IrelandArtist: Richard MosseCommissioner, Curator: Anna O’Sullivan
Israel , Artist: Gilad Ratman , Commissioners: Arad Turgeman, Michael GovCurator: Sergio Edelstein
ItalyArtists: Francesco Arena, Massimo Bartolini, Gianfranco Baruchello, Elisabetta Benassi, Flavio Favelli, Luigi Ghirri, Piero Golia, Francesca Grilli, Marcello Maloberti, Fabio Mauri, Giulio Paolini, Marco Tirelli, Luca Vitone, Sislej Xhafa ,Commissioner: Maddalena Ragni
Curator: Bartolomeo Pietromarchi /Ivory Coast Artists: Frédéric Bruly Bouabré, Tamsir Dia, Jems Koko Bi, Franck Fanny
Commissioner: Paolo De Grandis , Curator: Yacouba Konaté
Japan ,Artist: Koki Tanaka ,Curator: Mika Kuraya
KenyaArtists: Kivuthi Mbuno, Armando Tanzini, Chrispus Wangombe Wachira, Fan Bo, Luo Ling & Liu Ke, Lu Peng, Li Wei, He Weiming, Chen Wenling, Feng Zhengjie, César MeneghettiCommissioner: Paola Poponi ,Curators: Sandro Orlandi, Paola Poponi /Korea (Republic of)Artist: Kimsooja
KosovoArtist: Petrit Halilaj ,Commissioner: Erzen Shkololli ,Curator: Kathrin Rhomberg
KuwaitArtists: Sami Mohammad, Tarek Al-Ghoussein
Commissioner: Mohammed Al-Asoussi ,Curator: Ala Younis /Latin AmericaIstituto Italo-Latino Americano
Artists:Marcos Agudelo, Miguel Alvear & Patricio Andrade, Susana Arwas, François Bucher, Fredi Casco, Colectivo Quintapata (Pascal Meccariello, Raquel Paiewonsky, Jorge Pineda, Belkis Ramírez), Humberto Díaz, Sonia Falcone, León & Cociña, Lucía Madriz, Jhafis Quintero, Martín Sastre, Guillermo Srodek-Hart, Juliana Stein, Simón Vega, Luca Vitone, David Zink Yi. /Harun Farocki & Antje Ehmann. In collaboration with: Cristián Silva-Avária, Anna Azevedo, Paola Barreto, Fred Benevides, Anna Bentes, Hermano Callou, Renata Catharino, Patrick Sonni Cavalier, Lucas Ferraço Nassif, Luiz Garcia, André Herique, Bruna Mastrogiovanni, Cezar Migliorin, Felipe Ribeiro, Roberto Robalinho, Bruno Vianna, Beny Wagner, Christian Jankowski ,Commissioner: Sylvia Irrazábal ,Curator: Alfons Hug
Deputy Curator: Paz Guevara /Latvia Artists: Kaspars Podnieks, Krišs Salmanis ,Commissioners: Zane Culkstena, Zane Onckule ,Curators: Anne Barlow, Courtenay Finn, Alise Tifentale
LithuaniaArtist: Gintaras Didžiapetris, Elena Narbutaite, Liudvikas Buklys, Kazys Varnelis, Vytaute Žilinskaite, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter SinisterCommissioners: Jonas Žokaitis, Aurime Aleksandraviciute Curator: Raimundas Malašauskas /LuxembourgArtist: Catherine LorentCommissioner: Clément Minighetti Curator: Anna Loporcaro /MexicoArtist: Ariel Guzik ,Commissioner: Gastón Ramírez Feltrín ,Curator: Itala Schmelz
Montenegro ,Artist: Irena Lagator Pejovic .Commissioner/Curator: Nataša Nikcevic
The Netherlands ,Artist: Mark Manders
Commissioner: Mondriaan Fund ,Curator: Lorenzo Benedetti
New Zealand Artist: Bill Culbert ,Commissioner: Jenny Harper ,Deputy Commissioner: Heather Galbraith ,Curator: Justin Paton /Finland: ,Artist: Terike Haapoja ,Commissioner: Raija Koli ,Curators: Marko Karo, Mika Elo, Harri Laakso
Norway:Artists: Edvard Munch, Lene Berg
Curators: Marta Kuzma, Pablo Lafuente, Angela Vettese
Paraguay Artists: Pedro Barrail, Felix Toranzos, Diana Rossi, Daniel Milessi ,Commissioner: Elisa Victoria Aquino Laterza
Deputy Commissioner: Nori Vaccari Starck , Curator: Osvaldo González Real
Poland Artist: Konrad Smolenski Commissioner: Hanna Wróblewska Curators: Agnieszka Pindera, Daniel Muzyczuk
Portugal Artist: Joana Vasconcelos Curator: Miguel Amado
RomaniaArtists: Maria Alexandra Pirici, Manuel Pelmus Commissioner: Monica Morariu Deputy Commissioner: Alexandru Damia Curator: Raluca VoineaArtists: Anca Mihulet, Apparatus 22 (Dragos Olea, Maria Farcas,Erika Olea), Irina Botea, Nicu Ilfoveanu, Karolina Bregula, Adi Matei, Olivia Mihaltianu, Sebastian MoldovanCommissioner: Monica Morariu ,Deputy Commissioner: Alexandru Damian ,Curator: Anca Mihulet
Russia Artist: Vadim Zakharov ,Commissioner: Stella Kasaeva ,Curator: Udo Kittelmann
Serbia Artists: Vladimir Peric, Miloš Tomic .Commissioner: Maja Ciric
SloveniaArtist: Jasmina CibicCommissioner: Blaž Peršin ,Curator: Tevž Logar
South Africa Commissioner: Saul Molobi ,Curator: Brenton Maart
Spain Artist: Lara Almarcegui , Commissioner/Curator: Octavio Zaya
Switzerland Artist: Valentin Carron Commissioners: Pro Helvetia - Sandi Paucic and Marianne Burki
Curator: Giovanni CarmineVenue: Pavilion at Giardini
Syrian Arab RepublicArtists: Giorgio De Chirico, Miro George, Makhowl Moffak, Al Samman Nabil, Echtai Shaffik, Giulio Durini, Dario Arcidiacono, Massimiliano Alioto, Felipe Cardena, Roberto Paolini, Concetto Pozzati, Sergio Lombardo, Camilla Ancilotto, Lucio Micheletti, Lidia Bachis, Cracking Art Group, Hannu Palosuo
Commissioner: Christian Maretti Curator: Duccio Trombadori
Taiwan Artists: Bernd Behr, Chia-Wei Hsu, Kateřina Šedá + BATEŽO MIKILU Curator: Esther Lu
Thailand Artists: Wasinburee Supanichvoraparch, Arin Rungjang
Curators: Penwadee Nophaket Manont, Worathep Akkabootara
Turkey Artist: Ali Kazma Commissioner: Istanbul Foundation for Culture and Arts Curator: Emre Baykal
Ukraine Artists: Ridnyi Mykola, Zinkovskyi Hamlet, Kadyrova Zhanna Commissioner: Victor Sydorenko
Curators: Soloviov Oleksandr, Burlaka Victoria
United Arab Emirates Artist: Mohammed Kazem /Commissioner: Dr. Lamees Hamdan Curator: Reem Fadda
Uruguay Artist: Wifredo Díaz Valdéz
Commissioner: Ricardo Pascale Curators: Carlos Capelán, Verónica Cordeiro
USA Artist: Sarah Sze Commissioners/Curators: Carey Lovelace, Holly Block
Venezuela Colectivo de Artistas Urbanos Venezolanos , Commissioner: Edgar Ernesto González Curator: Juan Calzadilla
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Encyclopedic Palace is curated by Massimiliano Gioni
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Other Biennales (Biennials ) : Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
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in preparation of the COP 19 to be held in Warsaw Poland 2013 ( climate change conference on global warming ) . Can artist performa and activate a debate ?
In 2013 Thierry Geoffroy / Colonel is represented at the Malives pavilion at the Venice Biennale and then went further and received hospitality at the Zimbabwe pavilion with the Emergency Room Mobile .
He ask in his installationmade of different steps : "IS CLIMATE CHANGE STILL AN EMERGENCY ? "
www.emergencyrooms.org/biennalist.html .
He also converge with his work on emergencies : www.emergencyrooms.org
The exhibition update is from the 25/9/2013( please ask permission for use of photos =1@colonel.dk )
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lists of artists participating at the Venice Biennale :
Hilma af Klint, Victor Alimpiev, Ellen Altfest, Paweł Althamer, Levi Fisher Ames, Yuri Ancarani, Carl Andre, Uri Aran, Yüksel Arslan, Ed Atkins, Marino Auriti, Enrico Baj, Mirosław Bałka, Phyllida Barlow, Morton Bartlett, Gianfranco Baruchello, Hans Bellmer, Neïl Beloufa, Graphic Works of Southeast Asia and Melanesia, Hugo A. Bernatzik Collection, Ștefan Bertalan, Rossella Biscotti, Arthur Bispo do Rosário, John Bock, Frédéric Bruly Bouabré, Geta Brătescu, KP Brehmer, James Lee Byars, Roger Caillois, Varda Caivano, Vlassis Caniaris, James Castle, Alice Channer, George Condo, Aleister Crowley & Frieda Harris, Robert Crumb, Roberto Cuoghi, Enrico David, Tacita Dean, John De Andrea, Thierry De Cordier, Jos De Gruyter e Harald Thys, Walter De Maria, Simon Denny, Trisha Donnelly, Jimmie Durham, Harun Farocki, Peter Fischli & David Weiss, Linda Fregni Nagler, Peter Fritz, Aurélien Froment, Phyllis Galembo, Norbert Ghisoland, Yervant Gianikian & Angela Ricci Lucchi, Domenico Gnoli, Robert Gober, Tamar Guimarães and Kasper Akhøj, Guo Fengyi, João Maria Gusmão & Pedro Paiva, Wade Guyton, Haitian Vodou Flags, Duane Hanson, Sharon Hayes, Camille Henrot, Daniel Hesidence, Roger Hiorns, Channa Horwitz, Jessica Jackson Hutchins, René Iché, Hans Josephsoh, Kan Xuan, Bouchra Khalili, Ragnar Kjartansson, Eva Kotátková, Evgenij Kozlov, Emma Kunz, Maria Lassnig, Mark Leckey, Augustin Lesage, Lin Xue, Herbert List, José Antonio Suárez Londoño, Sarah Lucas, Helen Marten, Paul McCarthy, Steve McQueen, Prabhavathi Meppayil, Marisa Merz, Pierre Molinier, Matthew Monahan, Laurent Montaron, Melvin Moti, Matt Mullican, Ron Nagle, Bruce Nauman, Albert Oehlen, Shinro Ohtake, J.D. ‘Okhai Ojeikere, Henrik Olesen, John Outterbridg, Paño Drawings, Marco Paolini, Diego Perrone, Walter Pichler, Otto Piene, Eliot Porter, Imran Qureshi, Carol Rama, Charles Ray, James Richards, Achilles G. Rizzoli, Pamela Rosenkranz, Dieter Roth, Viviane Sassen, Shinichi Sawada, Hans Schärer, Karl Schenker, Michael Schmidt, Jean-Frédéric Schnyder, Friedrich Schröder-Sonnenstern, Tino Sehgal, Richard Serra, Shaker Gift Drawings, Jim Shaw, Cindy Sherman, Laurie Simmons e Allan McCollum, Drossos P. Skyllas, Harry Smith, Xul Solar, Christiana Soulou, Eduard Spelterini, Rudolf Steiner, Hito Steyerl, Papa Ibra Tall, Dorothea Tanning, Anonymous Tantric Paintings, Ryan Trecartin, Rosemarie Trockel, Andra Ursuta, Patrick Van Caeckenbergh, Stan VanDerBeek, Erik van Lieshout, Danh Vo, Eugene Von Bruenchenhein, Günter Weseler, Jack Whitten, Cathy Wilkes, Christopher Williams, Lynette Yiadom-Boakye, Kohei YoshiyUKi, Sergey Zarva, Anna Zemánková, Jakub Julian Ziółkowski ,Artur Żmijewski.
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other pavilions at Venice Biennale
Andorra Artists: Javier Balmaseda, Samantha Bosque, Fiona Morrison
Commissioner: Henry Périer Deputy Commissioners: Francesc Rodríguez, Ermengol Puig, Ruth Casabella
Curators: Josep M. Ubach, Paolo De GrandisAngola Artist: Edson Chagas Commissioner: Ministry of Culture
Curators: Beyond Entropy (Paula Nascimento, Stefano Rabolli Pansera), Jorge Gumbe, Feliciano dos Santos
Argentina Artist: Nicola Costantino Commissioner: Magdalena Faillace Curator: Fernando Farina
Armenia Artist: Ararat SarkissianCurator: Arman Grogoryan /AustraliaArtist: Simryn Gill Commissioner: Simon Mordant Deputy Commissioner: Penelope Seidler Curator: Catherine de Zegher /AustriaArtist: Mathias Poledna ,Curator: Jasper Sharp /AzerbaijanArtists: Rashad Alakbarov, Sanan Aleskerov, Chingiz Babayev, Butunay Hagverdiyev, Fakhriyya Mammadova, Farid Rasulov /Commissioner: Heydar Aliyev FoundationCurator: Hervé Mikaeloff
Bahamas Artist: Tavares Strachan Commissioner: Nalini Bethel, Ministry of Tourism Curators: Jean Crutchfield, Robert HobbsDeputy Curator: Stamatina Gregory/BangladeshChhakka Artists’ Group: Mokhlesur Rahman, Mahbub Zamal, A. K. M. Zahidul Mustafa, Ashok Karmaker, Lala Rukh Selim, Uttam Kumar Karmaker. Dhali Al Mamoon, Yasmin Jahan Nupur, Gavin Rain, Gianfranco Meggiato, Charupit School/Commissioner/Curator: Francesco Elisei. , Curator: Fabio Anselmi./BahrainArtists: Mariam Haji, Waheeda Malullah, Camille Zakharia /Commissioner: Mai bint Mohammed Al Khalifa, Minister of Culture /Curator: Melissa Enders-Bhatiaa/BelgiumArtist: Berlinde De Bruyckere
Commissioner: Joke Schauvliege, Flemish Minister for Environment, Nature and Culture .Curator: J. M. Coetzee ,Deputy Curator: Philippe Van Cauteren /Bosnia and Herzegovina
Artist: Mladen Miljanovic .Commissioners: Sarita Vujković, Irfan Hošić
Brazil Artists: Hélio Fervenza, Odires Mlászho, Lygia Clark, Max Bill, Bruno Munari
Commissioner: Luis Terepins, Fundação Bienal de São Paulo,Curator: Luis Pérez-Oramas ,Deputy Curator: André Severo
CanadaArtist: Shary Boyle /Commissioner: National Gallery of Canada / Musée des beaux-arts du Canada ,Curator: Josée Drouin-Brisebois/Central AsiaArtists: Vyacheslav Akhunov, Sergey Chutkov, Saodat Ismailova, Kamilla Kurmanbekova, Ikuru Kuwajima, Anton Rodin, Aza Shade, Erlan Tuyakov
Commissioner: HIVOS (Humanist Institute for Development Cooperation)
Deputy Commissioner: Dean Vanessa Ohlraun (Oslo National Academy of the Arts/The Academy of Fine Art)
Curators: Ayatgali Tuleubek, Tiago Bom
Scientific Committee: Susanne M. Winterling
ChileArtist: Alfredo JaarCommissioner: CNCA, National Council of Culture and the Arts Curator: Madeleine Grynsztejn
ChinaArtists: He Yunchang, Hu Yaolin, Miao Xiaochun, Shu Yong, Tong Hongsheng, Wang Qingsong, Zhang Xiaotao
Commissioner: China Arts and Entertainment Group (CAEG) ,Curator: Wang Chunchen
Costa Rica Artists: Priscilla Monge, Esteban Piedra, Rafael Ottón Solís, Cinthya Soto
Commissioner: Francesco EliseiCurator: Francisco Córdoba, Museo de Arte y Diseño Contemporáneo (Fiorella Resenterra)
Croatia Artist: Kata Mijatovic ,Commissioner/Curator: Branko Franceschi.
CubaArtists: Liudmila and Nelson, Maria Magdalena Campos & Neil Leonard, Sandra Ramos, Glenda León, Lázaro Saavedra, Tonel, Hermann Nitsch, Gilberto Zorio, Wang Du, H.H.Lim, Pedro Costa, Rui Chafes, Francesca Leone ,Commissioner: Miria ViciniCurators: Jorge Fernández Torres, Giacomo Zaza
CyprusArtists: Lia Haraki, Maria Hassabi, Phanos Kyriacou, Constantinos Taliotis, Natalie Yiaxi, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter Sinister /Louli Michaelidou
Deputy Commissioners: Angela Skordi, Marika Ioannou/Curator: Raimundas Malašauskas
Czech Republic & Slovak RepublicArtists: Petra Feriancova, Zbynek Baladran ,Commissioner: Monika Palcova, Curator: Marek Pokorny /DenmarkArtist: Jesper Just in collaboration with Project ProjectsEgypt
Artists: Mohamed Banawy, Khaled Zaki
EstoniaArtist: Dénes Farkas ,Commissioner: Maria Arusoo ,Curator: Adam Budak
FinlandArtist: Antti Laitinen , Commissioner: Raija Koli , Curators: Marko Karo, Mika Elo, Harri Laakso
FranceArtist: Anri Sala ,Curator: Christine Macel
GeorgiaArtists: Bouillon Group,Thea Djordjadze, Nikoloz Lutidze, Gela Patashuri with Ei Arakawa and Sergei Tcherepnin, Gio Sumbadze/Commissioner: Marine Mizandari, First Deputy Minister of Culture Curator: Joanna Warsza
GermanyArtists: Ai Weiwei, Romuald Karmakar, Santu Mofokeng, Dayanita Singh Commissioner/Curator: Susanne Gaensheimer /Great BritainArtist: Jeremy Deller ,Commissioner: Andrea Rose , Curator: Emma Gifford-Mead
Holy SeeArtists: Lawrence Carroll, Josef Koudelka, Studio Azzurro ,Curator: Antonio Paolucci
Hungary , Artist: Zsolt Asztalos , Curator: Gabriella Uhl
Iceland , Artist: Katrín Sigurðardóttir ,Commissioner: Dorotheé Kirch
Curators: Mary Ceruti , Ilaria Bonacossa/IndonesiaArtists: Albert Yonathan Setyawan, Eko Nugroho, Entang Wiharso, Rahayu Supanggah, Sri Astari, Titarubi
Deputy Commissioner: Achille Bonito Oliva , Assistant Commissioner: Mirah M. Sjarif
Curators: Carla Bianpoen, Rifky Effendy
IraqArtists: Abdul Raheem Yassir, Akeel Khreef, Ali Samiaa, Bassim Al-Shaker, Cheeman Ismaeel, Furat al Jamil, Hareth Alhomaam, Jamal Penjweny, Kadhim Nwir, WAMI (Yaseen Wami, Hashim Taeeh)
Commissioner: Tamara Chalabi (Ruya Foundation for Contemporary Culture)Curator: Jonathan Watkins.
IrelandArtist: Richard MosseCommissioner, Curator: Anna O’Sullivan
Israel , Artist: Gilad Ratman , Commissioners: Arad Turgeman, Michael GovCurator: Sergio Edelstein
ItalyArtists: Francesco Arena, Massimo Bartolini, Gianfranco Baruchello, Elisabetta Benassi, Flavio Favelli, Luigi Ghirri, Piero Golia, Francesca Grilli, Marcello Maloberti, Fabio Mauri, Giulio Paolini, Marco Tirelli, Luca Vitone, Sislej Xhafa ,Commissioner: Maddalena Ragni
Curator: Bartolomeo Pietromarchi /Ivory Coast Artists: Frédéric Bruly Bouabré, Tamsir Dia, Jems Koko Bi, Franck Fanny
Commissioner: Paolo De Grandis , Curator: Yacouba Konaté
Japan ,Artist: Koki Tanaka ,Curator: Mika Kuraya
KenyaArtists: Kivuthi Mbuno, Armando Tanzini, Chrispus Wangombe Wachira, Fan Bo, Luo Ling & Liu Ke, Lu Peng, Li Wei, He Weiming, Chen Wenling, Feng Zhengjie, César MeneghettiCommissioner: Paola Poponi ,Curators: Sandro Orlandi, Paola Poponi /Korea (Republic of)Artist: Kimsooja
KosovoArtist: Petrit Halilaj ,Commissioner: Erzen Shkololli ,Curator: Kathrin Rhomberg
KuwaitArtists: Sami Mohammad, Tarek Al-Ghoussein
Commissioner: Mohammed Al-Asoussi ,Curator: Ala Younis /Latin AmericaIstituto Italo-Latino Americano
Artists:Marcos Agudelo, Miguel Alvear & Patricio Andrade, Susana Arwas, François Bucher, Fredi Casco, Colectivo Quintapata (Pascal Meccariello, Raquel Paiewonsky, Jorge Pineda, Belkis Ramírez), Humberto Díaz, Sonia Falcone, León & Cociña, Lucía Madriz, Jhafis Quintero, Martín Sastre, Guillermo Srodek-Hart, Juliana Stein, Simón Vega, Luca Vitone, David Zink Yi. /Harun Farocki & Antje Ehmann. In collaboration with: Cristián Silva-Avária, Anna Azevedo, Paola Barreto, Fred Benevides, Anna Bentes, Hermano Callou, Renata Catharino, Patrick Sonni Cavalier, Lucas Ferraço Nassif, Luiz Garcia, André Herique, Bruna Mastrogiovanni, Cezar Migliorin, Felipe Ribeiro, Roberto Robalinho, Bruno Vianna, Beny Wagner, Christian Jankowski ,Commissioner: Sylvia Irrazábal ,Curator: Alfons Hug
Deputy Curator: Paz Guevara /Latvia Artists: Kaspars Podnieks, Krišs Salmanis ,Commissioners: Zane Culkstena, Zane Onckule ,Curators: Anne Barlow, Courtenay Finn, Alise Tifentale
LithuaniaArtist: Gintaras Didžiapetris, Elena Narbutaite, Liudvikas Buklys, Kazys Varnelis, Vytaute Žilinskaite, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter SinisterCommissioners: Jonas Žokaitis, Aurime Aleksandraviciute Curator: Raimundas Malašauskas /LuxembourgArtist: Catherine LorentCommissioner: Clément Minighetti Curator: Anna Loporcaro /MexicoArtist: Ariel Guzik ,Commissioner: Gastón Ramírez Feltrín ,Curator: Itala Schmelz
Montenegro ,Artist: Irena Lagator Pejovic .Commissioner/Curator: Nataša Nikcevic
The Netherlands ,Artist: Mark Manders
Commissioner: Mondriaan Fund ,Curator: Lorenzo Benedetti
New Zealand Artist: Bill Culbert ,Commissioner: Jenny Harper ,Deputy Commissioner: Heather Galbraith ,Curator: Justin Paton /Finland: ,Artist: Terike Haapoja ,Commissioner: Raija Koli ,Curators: Marko Karo, Mika Elo, Harri Laakso
Norway:Artists: Edvard Munch, Lene Berg
Curators: Marta Kuzma, Pablo Lafuente, Angela Vettese
Paraguay Artists: Pedro Barrail, Felix Toranzos, Diana Rossi, Daniel Milessi ,Commissioner: Elisa Victoria Aquino Laterza
Deputy Commissioner: Nori Vaccari Starck , Curator: Osvaldo González Real
Poland Artist: Konrad Smolenski Commissioner: Hanna Wróblewska Curators: Agnieszka Pindera, Daniel Muzyczuk
Portugal Artist: Joana Vasconcelos Curator: Miguel Amado
RomaniaArtists: Maria Alexandra Pirici, Manuel Pelmus Commissioner: Monica Morariu Deputy Commissioner: Alexandru Damia Curator: Raluca VoineaArtists: Anca Mihulet, Apparatus 22 (Dragos Olea, Maria Farcas,Erika Olea), Irina Botea, Nicu Ilfoveanu, Karolina Bregula, Adi Matei, Olivia Mihaltianu, Sebastian MoldovanCommissioner: Monica Morariu ,Deputy Commissioner: Alexandru Damian ,Curator: Anca Mihulet
Russia Artist: Vadim Zakharov ,Commissioner: Stella Kasaeva ,Curator: Udo Kittelmann
Serbia Artists: Vladimir Peric, Miloš Tomic .Commissioner: Maja Ciric
SloveniaArtist: Jasmina CibicCommissioner: Blaž Peršin ,Curator: Tevž Logar
South Africa Commissioner: Saul Molobi ,Curator: Brenton Maart
Spain Artist: Lara Almarcegui , Commissioner/Curator: Octavio Zaya
Switzerland Artist: Valentin Carron Commissioners: Pro Helvetia - Sandi Paucic and Marianne Burki
Curator: Giovanni CarmineVenue: Pavilion at Giardini
Syrian Arab RepublicArtists: Giorgio De Chirico, Miro George, Makhowl Moffak, Al Samman Nabil, Echtai Shaffik, Giulio Durini, Dario Arcidiacono, Massimiliano Alioto, Felipe Cardena, Roberto Paolini, Concetto Pozzati, Sergio Lombardo, Camilla Ancilotto, Lucio Micheletti, Lidia Bachis, Cracking Art Group, Hannu Palosuo
Commissioner: Christian Maretti Curator: Duccio Trombadori
Taiwan Artists: Bernd Behr, Chia-Wei Hsu, Kateřina Šedá + BATEŽO MIKILU Curator: Esther Lu
Thailand Artists: Wasinburee Supanichvoraparch, Arin Rungjang
Curators: Penwadee Nophaket Manont, Worathep Akkabootara
Turkey Artist: Ali Kazma Commissioner: Istanbul Foundation for Culture and Arts Curator: Emre Baykal
Ukraine Artists: Ridnyi Mykola, Zinkovskyi Hamlet, Kadyrova Zhanna Commissioner: Victor Sydorenko
Curators: Soloviov Oleksandr, Burlaka Victoria
United Arab Emirates Artist: Mohammed Kazem /Commissioner: Dr. Lamees Hamdan Curator: Reem Fadda
Uruguay Artist: Wifredo Díaz Valdéz
Commissioner: Ricardo Pascale Curators: Carlos Capelán, Verónica Cordeiro
USA Artist: Sarah Sze Commissioners/Curators: Carey Lovelace, Holly Block
Venezuela Colectivo de Artistas Urbanos Venezolanos , Commissioner: Edgar Ernesto González Curator: Juan Calzadilla
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Encyclopedic Palace is curated by Massimiliano Gioni
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Other Biennales (Biennials ) : Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
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in preparation of the COP 19 to be held in Warsaw Poland 2013 ( climate change conference on global warming ) . Can artist performa and activate a debate ?
Experiment with converted IR camera using a polarizing filter and HDR software. AEB +/-2 total 3 exposures processed with Photomatix.
High Dynamic Range (HDR)
High-dynamic-range imaging (HDRI) is a high dynamic range (HDR) technique used in imaging and photography to reproduce a greater dynamic range of luminosity than is possible with standard digital imaging or photographic techniques. The aim is to present a similar range of luminance to that experienced through the human visual system. The human eye, through adaptation of the iris and other methods, adjusts constantly to adapt to a broad range of luminance present in the environment. The brain continuously interprets this information so that a viewer can see in a wide range of light conditions.
HDR images can represent a greater range of luminance levels than can be achieved using more 'traditional' methods, such as many real-world scenes containing very bright, direct sunlight to extreme shade, or very faint nebulae. This is often achieved by capturing and then combining several different, narrower range, exposures of the same subject matter. Non-HDR cameras take photographs with a limited exposure range, referred to as LDR, resulting in the loss of detail in highlights or shadows.
The two primary types of HDR images are computer renderings and images resulting from merging multiple low-dynamic-range (LDR) or standard-dynamic-range (SDR) photographs. HDR images can also be acquired using special image sensors, such as an oversampled binary image sensor.
Due to the limitations of printing and display contrast, the extended luminosity range of an HDR image has to be compressed to be made visible. The method of rendering an HDR image to a standard monitor or printing device is called tone mapping. This method reduces the overall contrast of an HDR image to facilitate display on devices or printouts with lower dynamic range, and can be applied to produce images with preserved local contrast (or exaggerated for artistic effect).
In photography, dynamic range is measured in exposure value (EV) differences (known as stops). An increase of one EV, or 'one stop', represents a doubling of the amount of light. Conversely, a decrease of one EV represents a halving of the amount of light. Therefore, revealing detail in the darkest of shadows requires high exposures, while preserving detail in very bright situations requires very low exposures. Most cameras cannot provide this range of exposure values within a single exposure, due to their low dynamic range. High-dynamic-range photographs are generally achieved by capturing multiple standard-exposure images, often using exposure bracketing, and then later merging them into a single HDR image, usually within a photo manipulation program). Digital images are often encoded in a camera's raw image format, because 8-bit JPEG encoding does not offer a wide enough range of values to allow fine transitions (and regarding HDR, later introduces undesirable effects due to lossy compression).
Any camera that allows manual exposure control can make images for HDR work, although one equipped with auto exposure bracketing (AEB) is far better suited. Images from film cameras are less suitable as they often must first be digitized, so that they can later be processed using software HDR methods.
In most imaging devices, the degree of exposure to light applied to the active element (be it film or CCD) can be altered in one of two ways: by either increasing/decreasing the size of the aperture or by increasing/decreasing the time of each exposure. Exposure variation in an HDR set is only done by altering the exposure time and not the aperture size; this is because altering the aperture size also affects the depth of field and so the resultant multiple images would be quite different, preventing their final combination into a single HDR image.
An important limitation for HDR photography is that any movement between successive images will impede or prevent success in combining them afterwards. Also, as one must create several images (often three or five and sometimes more) to obtain the desired luminance range, such a full 'set' of images takes extra time. HDR photographers have developed calculation methods and techniques to partially overcome these problems, but the use of a sturdy tripod is, at least, advised.
Some cameras have an auto exposure bracketing (AEB) feature with a far greater dynamic range than others, from the 3 EV of the Canon EOS 40D, to the 18 EV of the Canon EOS-1D Mark II. As the popularity of this imaging method grows, several camera manufactures are now offering built-in HDR features. For example, the Pentax K-7 DSLR has an HDR mode that captures an HDR image and outputs (only) a tone mapped JPEG file. The Canon PowerShot G12, Canon PowerShot S95 and Canon PowerShot S100 offer similar features in a smaller format.. Nikon's approach is called 'Active D-Lighting' which applies exposure compensation and tone mapping to the image as it comes from the sensor, with the accent being on retaing a realistic effect . Some smartphones provide HDR modes, and most mobile platforms have apps that provide HDR picture taking.
Camera characteristics such as gamma curves, sensor resolution, noise, photometric calibration and color calibration affect resulting high-dynamic-range images.
Color film negatives and slides consist of multiple film layers that respond to light differently. As a consequence, transparent originals (especially positive slides) feature a very high dynamic range
Tone mapping
Tone mapping reduces the dynamic range, or contrast ratio, of an entire image while retaining localized contrast. Although it is a distinct operation, tone mapping is often applied to HDRI files by the same software package.
Several software applications are available on the PC, Mac and Linux platforms for producing HDR files and tone mapped images. Notable titles include
Adobe Photoshop
Aurora HDR
Dynamic Photo HDR
HDR Efex Pro
HDR PhotoStudio
Luminance HDR
MagicRaw
Oloneo PhotoEngine
Photomatix Pro
PTGui
Information stored in high-dynamic-range images typically corresponds to the physical values of luminance or radiance that can be observed in the real world. This is different from traditional digital images, which represent colors as they should appear on a monitor or a paper print. Therefore, HDR image formats are often called scene-referred, in contrast to traditional digital images, which are device-referred or output-referred. Furthermore, traditional images are usually encoded for the human visual system (maximizing the visual information stored in the fixed number of bits), which is usually called gamma encoding or gamma correction. The values stored for HDR images are often gamma compressed (power law) or logarithmically encoded, or floating-point linear values, since fixed-point linear encodings are increasingly inefficient over higher dynamic ranges.
HDR images often don't use fixed ranges per color channel—other than traditional images—to represent many more colors over a much wider dynamic range. For that purpose, they don't use integer values to represent the single color channels (e.g., 0-255 in an 8 bit per pixel interval for red, green and blue) but instead use a floating point representation. Common are 16-bit (half precision) or 32-bit floating point numbers to represent HDR pixels. However, when the appropriate transfer function is used, HDR pixels for some applications can be represented with a color depth that has as few as 10–12 bits for luminance and 8 bits for chrominance without introducing any visible quantization artifacts.
History of HDR photography
The idea of using several exposures to adequately reproduce a too-extreme range of luminance was pioneered as early as the 1850s by Gustave Le Gray to render seascapes showing both the sky and the sea. Such rendering was impossible at the time using standard methods, as the luminosity range was too extreme. Le Gray used one negative for the sky, and another one with a longer exposure for the sea, and combined the two into one picture in positive.
Mid 20th century
Manual tone mapping was accomplished by dodging and burning – selectively increasing or decreasing the exposure of regions of the photograph to yield better tonality reproduction. This was effective because the dynamic range of the negative is significantly higher than would be available on the finished positive paper print when that is exposed via the negative in a uniform manner. An excellent example is the photograph Schweitzer at the Lamp by W. Eugene Smith, from his 1954 photo essay A Man of Mercy on Dr. Albert Schweitzer and his humanitarian work in French Equatorial Africa. The image took 5 days to reproduce the tonal range of the scene, which ranges from a bright lamp (relative to the scene) to a dark shadow.
Ansel Adams elevated dodging and burning to an art form. Many of his famous prints were manipulated in the darkroom with these two methods. Adams wrote a comprehensive book on producing prints called The Print, which prominently features dodging and burning, in the context of his Zone System.
With the advent of color photography, tone mapping in the darkroom was no longer possible due to the specific timing needed during the developing process of color film. Photographers looked to film manufacturers to design new film stocks with improved response, or continued to shoot in black and white to use tone mapping methods.
Color film capable of directly recording high-dynamic-range images was developed by Charles Wyckoff and EG&G "in the course of a contract with the Department of the Air Force". This XR film had three emulsion layers, an upper layer having an ASA speed rating of 400, a middle layer with an intermediate rating, and a lower layer with an ASA rating of 0.004. The film was processed in a manner similar to color films, and each layer produced a different color. The dynamic range of this extended range film has been estimated as 1:108. It has been used to photograph nuclear explosions, for astronomical photography, for spectrographic research, and for medical imaging. Wyckoff's detailed pictures of nuclear explosions appeared on the cover of Life magazine in the mid-1950s.
Late 20th century
Georges Cornuéjols and licensees of his patents (Brdi, Hymatom) introduced the principle of HDR video image, in 1986, by interposing a matricial LCD screen in front of the camera's image sensor, increasing the sensors dynamic by five stops. The concept of neighborhood tone mapping was applied to video cameras by a group from the Technion in Israel led by Dr. Oliver Hilsenrath and Prof. Y.Y.Zeevi who filed for a patent on this concept in 1988.
In February and April 1990, Georges Cornuéjols introduced the first real-time HDR camera that combined two images captured by a sensor3435 or simultaneously3637 by two sensors of the camera. This process is known as bracketing used for a video stream.
In 1991, the first commercial video camera was introduced that performed real-time capturing of multiple images with different exposures, and producing an HDR video image, by Hymatom, licensee of Georges Cornuéjols.
Also in 1991, Georges Cornuéjols introduced the HDR+ image principle by non-linear accumulation of images to increase the sensitivity of the camera: for low-light environments, several successive images are accumulated, thus increasing the signal to noise ratio.
In 1993, another commercial medical camera producing an HDR video image, by the Technion.
Modern HDR imaging uses a completely different approach, based on making a high-dynamic-range luminance or light map using only global image operations (across the entire image), and then tone mapping the result. Global HDR was first introduced in 19931 resulting in a mathematical theory of differently exposed pictures of the same subject matter that was published in 1995 by Steve Mann and Rosalind Picard.
On October 28, 1998, Ben Sarao created one of the first nighttime HDR+G (High Dynamic Range + Graphic image)of STS-95 on the launch pad at NASA's Kennedy Space Center. It consisted of four film images of the shuttle at night that were digitally composited with additional digital graphic elements. The image was first exhibited at NASA Headquarters Great Hall, Washington DC in 1999 and then published in Hasselblad Forum, Issue 3 1993, Volume 35 ISSN 0282-5449.
The advent of consumer digital cameras produced a new demand for HDR imaging to improve the light response of digital camera sensors, which had a much smaller dynamic range than film. Steve Mann developed and patented the global-HDR method for producing digital images having extended dynamic range at the MIT Media Laboratory. Mann's method involved a two-step procedure: (1) generate one floating point image array by global-only image operations (operations that affect all pixels identically, without regard to their local neighborhoods); and then (2) convert this image array, using local neighborhood processing (tone-remapping, etc.), into an HDR image. The image array generated by the first step of Mann's process is called a lightspace image, lightspace picture, or radiance map. Another benefit of global-HDR imaging is that it provides access to the intermediate light or radiance map, which has been used for computer vision, and other image processing operations.
21st century
In 2005, Adobe Systems introduced several new features in Photoshop CS2 including Merge to HDR, 32 bit floating point image support, and HDR tone mapping.
On June 30, 2016, Microsoft added support for the digital compositing of HDR images to Windows 10 using the Universal Windows Platform.
HDR sensors
Modern CMOS image sensors can often capture a high dynamic range from a single exposure. The wide dynamic range of the captured image is non-linearly compressed into a smaller dynamic range electronic representation. However, with proper processing, the information from a single exposure can be used to create an HDR image.
Such HDR imaging is used in extreme dynamic range applications like welding or automotive work. Some other cameras designed for use in security applications can automatically provide two or more images for each frame, with changing exposure. For example, a sensor for 30fps video will give out 60fps with the odd frames at a short exposure time and the even frames at a longer exposure time. Some of the sensor may even combine the two images on-chip so that a wider dynamic range without in-pixel compression is directly available to the user for display or processing.
en.wikipedia.org/wiki/High-dynamic-range_imaging
Infrared Photography
In infrared photography, the film or image sensor used is sensitive to infrared light. The part of the spectrum used is referred to as near-infrared to distinguish it from far-infrared, which is the domain of thermal imaging. Wavelengths used for photography range from about 700 nm to about 900 nm. Film is usually sensitive to visible light too, so an infrared-passing filter is used; this lets infrared (IR) light pass through to the camera, but blocks all or most of the visible light spectrum (the filter thus looks black or deep red). ("Infrared filter" may refer either to this type of filter or to one that blocks infrared but passes other wavelengths.)
When these filters are used together with infrared-sensitive film or sensors, "in-camera effects" can be obtained; false-color or black-and-white images with a dreamlike or sometimes lurid appearance known as the "Wood Effect," an effect mainly caused by foliage (such as tree leaves and grass) strongly reflecting in the same way visible light is reflected from snow. There is a small contribution from chlorophyll fluorescence, but this is marginal and is not the real cause of the brightness seen in infrared photographs. The effect is named after the infrared photography pioneer Robert W. Wood, and not after the material wood, which does not strongly reflect infrared.
The other attributes of infrared photographs include very dark skies and penetration of atmospheric haze, caused by reduced Rayleigh scattering and Mie scattering, respectively, compared to visible light. The dark skies, in turn, result in less infrared light in shadows and dark reflections of those skies from water, and clouds will stand out strongly. These wavelengths also penetrate a few millimeters into skin and give a milky look to portraits, although eyes often look black.
Until the early 20th century, infrared photography was not possible because silver halide emulsions are not sensitive to longer wavelengths than that of blue light (and to a lesser extent, green light) without the addition of a dye to act as a color sensitizer. The first infrared photographs (as distinct from spectrographs) to be published appeared in the February 1910 edition of The Century Magazine and in the October 1910 edition of the Royal Photographic Society Journal to illustrate papers by Robert W. Wood, who discovered the unusual effects that now bear his name. The RPS co-ordinated events to celebrate the centenary of this event in 2010. Wood's photographs were taken on experimental film that required very long exposures; thus, most of his work focused on landscapes. A further set of infrared landscapes taken by Wood in Italy in 1911 used plates provided for him by CEK Mees at Wratten & Wainwright. Mees also took a few infrared photographs in Portugal in 1910, which are now in the Kodak archives.
Infrared-sensitive photographic plates were developed in the United States during World War I for spectroscopic analysis, and infrared sensitizing dyes were investigated for improved haze penetration in aerial photography. After 1930, new emulsions from Kodak and other manufacturers became useful to infrared astronomy.
Infrared photography became popular with photography enthusiasts in the 1930s when suitable film was introduced commercially. The Times regularly published landscape and aerial photographs taken by their staff photographers using Ilford infrared film. By 1937 33 kinds of infrared film were available from five manufacturers including Agfa, Kodak and Ilford. Infrared movie film was also available and was used to create day-for-night effects in motion pictures, a notable example being the pseudo-night aerial sequences in the James Cagney/Bette Davis movie The Bride Came COD.
False-color infrared photography became widely practiced with the introduction of Kodak Ektachrome Infrared Aero Film and Ektachrome Infrared EIR. The first version of this, known as Kodacolor Aero-Reversal-Film, was developed by Clark and others at the Kodak for camouflage detection in the 1940s. The film became more widely available in 35mm form in the 1960s but KODAK AEROCHROME III Infrared Film 1443 has been discontinued.
Infrared photography became popular with a number of 1960s recording artists, because of the unusual results; Jimi Hendrix, Donovan, Frank and a slow shutter speed without focus compensation, however wider apertures like f/2.0 can produce sharp photos only if the lens is meticulously refocused to the infrared index mark, and only if this index mark is the correct one for the filter and film in use. However, it should be noted that diffraction effects inside a camera are greater at infrared wavelengths so that stopping down the lens too far may actually reduce sharpness.
Most apochromatic ('APO') lenses do not have an Infrared index mark and do not need to be refocused for the infrared spectrum because they are already optically corrected into the near-infrared spectrum. Catadioptric lenses do not often require this adjustment because their mirror containing elements do not suffer from chromatic aberration and so the overall aberration is comparably less. Catadioptric lenses do, of course, still contain lenses, and these lenses do still have a dispersive property.
Infrared black-and-white films require special development times but development is usually achieved with standard black-and-white film developers and chemicals (like D-76). Kodak HIE film has a polyester film base that is very stable but extremely easy to scratch, therefore special care must be used in the handling of Kodak HIE throughout the development and printing/scanning process to avoid damage to the film. The Kodak HIE film was sensitive to 900 nm.
As of November 2, 2007, "KODAK is preannouncing the discontinuance" of HIE Infrared 35 mm film stating the reasons that, "Demand for these products has been declining significantly in recent years, and it is no longer practical to continue to manufacture given the low volume, the age of the product formulations and the complexity of the processes involved." At the time of this notice, HIE Infrared 135-36 was available at a street price of around $12.00 a roll at US mail order outlets.
Arguably the greatest obstacle to infrared film photography has been the increasing difficulty of obtaining infrared-sensitive film. However, despite the discontinuance of HIE, other newer infrared sensitive emulsions from EFKE, ROLLEI, and ILFORD are still available, but these formulations have differing sensitivity and specifications from the venerable KODAK HIE that has been around for at least two decades. Some of these infrared films are available in 120 and larger formats as well as 35 mm, which adds flexibility to their application. With the discontinuance of Kodak HIE, Efke's IR820 film has become the only IR film on the marketneeds update with good sensitivity beyond 750 nm, the Rollei film does extend beyond 750 nm but IR sensitivity falls off very rapidly.
Color infrared transparency films have three sensitized layers that, because of the way the dyes are coupled to these layers, reproduce infrared as red, red as green, and green as blue. All three layers are sensitive to blue so the film must be used with a yellow filter, since this will block blue light but allow the remaining colors to reach the film. The health of foliage can be determined from the relative strengths of green and infrared light reflected; this shows in color infrared as a shift from red (healthy) towards magenta (unhealthy). Early color infrared films were developed in the older E-4 process, but Kodak later manufactured a color transparency film that could be developed in standard E-6 chemistry, although more accurate results were obtained by developing using the AR-5 process. In general, color infrared does not need to be refocused to the infrared index mark on the lens.
In 2007 Kodak announced that production of the 35 mm version of their color infrared film (Ektachrome Professional Infrared/EIR) would cease as there was insufficient demand. Since 2011, all formats of color infrared film have been discontinued. Specifically, Aerochrome 1443 and SO-734.
There is no currently available digital camera that will produce the same results as Kodak color infrared film although the equivalent images can be produced by taking two exposures, one infrared and the other full-color, and combining in post-production. The color images produced by digital still cameras using infrared-pass filters are not equivalent to those produced on color infrared film. The colors result from varying amounts of infrared passing through the color filters on the photo sites, further amended by the Bayer filtering. While this makes such images unsuitable for the kind of applications for which the film was used, such as remote sensing of plant health, the resulting color tonality has proved popular artistically.
Color digital infrared, as part of full spectrum photography is gaining popularity. The ease of creating a softly colored photo with infrared characteristics has found interest among hobbyists and professionals.
In 2008, Los Angeles photographer, Dean Bennici started cutting and hand rolling Aerochrome color Infrared film. All Aerochrome medium and large format which exists today came directly from his lab. The trend in infrared photography continues to gain momentum with the success of photographer Richard Mosse and multiple users all around the world.
Digital camera sensors are inherently sensitive to infrared light, which would interfere with the normal photography by confusing the autofocus calculations or softening the image (because infrared light is focused differently from visible light), or oversaturating the red channel. Also, some clothing is transparent in the infrared, leading to unintended (at least to the manufacturer) uses of video cameras. Thus, to improve image quality and protect privacy, many digital cameras employ infrared blockers. Depending on the subject matter, infrared photography may not be practical with these cameras because the exposure times become overly long, often in the range of 30 seconds, creating noise and motion blur in the final image. However, for some subject matter the long exposure does not matter or the motion blur effects actually add to the image. Some lenses will also show a 'hot spot' in the centre of the image as their coatings are optimised for visible light and not for IR.
An alternative method of DSLR infrared photography is to remove the infrared blocker in front of the sensor and replace it with a filter that removes visible light. This filter is behind the mirror, so the camera can be used normally - handheld, normal shutter speeds, normal composition through the viewfinder, and focus, all work like a normal camera. Metering works but is not always accurate because of the difference between visible and infrared refraction. When the IR blocker is removed, many lenses which did display a hotspot cease to do so, and become perfectly usable for infrared photography. Additionally, because the red, green and blue micro-filters remain and have transmissions not only in their respective color but also in the infrared, enhanced infrared color may be recorded.
Since the Bayer filters in most digital cameras absorb a significant fraction of the infrared light, these cameras are sometimes not very sensitive as infrared cameras and can sometimes produce false colors in the images. An alternative approach is to use a Foveon X3 sensor, which does not have absorptive filters on it; the Sigma SD10 DSLR has a removable IR blocking filter and dust protector, which can be simply omitted or replaced by a deep red or complete visible light blocking filter. The Sigma SD14 has an IR/UV blocking filter that can be removed/installed without tools. The result is a very sensitive digital IR camera.
While it is common to use a filter that blocks almost all visible light, the wavelength sensitivity of a digital camera without internal infrared blocking is such that a variety of artistic results can be obtained with more conventional filtration. For example, a very dark neutral density filter can be used (such as the Hoya ND400) which passes a very small amount of visible light compared to the near-infrared it allows through. Wider filtration permits an SLR viewfinder to be used and also passes more varied color information to the sensor without necessarily reducing the Wood effect. Wider filtration is however likely to reduce other infrared artefacts such as haze penetration and darkened skies. This technique mirrors the methods used by infrared film photographers where black-and-white infrared film was often used with a deep red filter rather than a visually opaque one.
Another common technique with near-infrared filters is to swap blue and red channels in software (e.g. photoshop) which retains much of the characteristic 'white foliage' while rendering skies a glorious blue.
Several Sony cameras had the so-called Night Shot facility, which physically moves the blocking filter away from the light path, which makes the cameras very sensitive to infrared light. Soon after its development, this facility was 'restricted' by Sony to make it difficult for people to take photos that saw through clothing. To do this the iris is opened fully and exposure duration is limited to long times of more than 1/30 second or so. It is possible to shoot infrared but neutral density filters must be used to reduce the camera's sensitivity and the long exposure times mean that care must be taken to avoid camera-shake artifacts.
Fuji have produced digital cameras for use in forensic criminology and medicine which have no infrared blocking filter. The first camera, designated the S3 PRO UVIR, also had extended ultraviolet sensitivity (digital sensors are usually less sensitive to UV than to IR). Optimum UV sensitivity requires special lenses, but ordinary lenses usually work well for IR. In 2007, FujiFilm introduced a new version of this camera, based on the Nikon D200/ FujiFilm S5 called the IS Pro, also able to take Nikon lenses. Fuji had earlier introduced a non-SLR infrared camera, the IS-1, a modified version of the FujiFilm FinePix S9100. Unlike the S3 PRO UVIR, the IS-1 does not offer UV sensitivity. FujiFilm restricts the sale of these cameras to professional users with their EULA specifically prohibiting "unethical photographic conduct".
Phase One digital camera backs can be ordered in an infrared modified form.
Remote sensing and thermographic cameras are sensitive to longer wavelengths of infrared (see Infrared spectrum#Commonly used sub-division scheme). They may be multispectral and use a variety of technologies which may not resemble common camera or filter designs. Cameras sensitive to longer infrared wavelengths including those used in infrared astronomy often require cooling to reduce thermally induced dark currents in the sensor (see Dark current (physics)). Lower cost uncooled thermographic digital cameras operate in the Long Wave infrared band (see Thermographic camera#Uncooled infrared detectors). These cameras are generally used for building inspection or preventative maintenance but can be used for artistic pursuits as well.
Artifacts representing Michael Anderson, who served as payload commander on space shuttle mission STS-107, are displayed in a new, permanent memorial, "Forever Remembered," opening June 27 in the Space Shuttle Atlantis exhibit at the Kennedy Space Center Visitor Complex in Florida. NASA and astronaut families collaborated on the memorial designed to honor the crews lost on missions STS-51L and STS-107, pay tribute to shuttle vehicles Challenger and Columbia, and emphasize the importance of learning from the past. Encompassing nearly 2,000 square feet, the memorial contains the largest collection of memorabilia and personal items of both flight crews. It also includes recovered hardware from both Challenger and Columbia, never before displayed for the public. Photo credit: NASA/Kim Shiflett
Universalis Cosmographia Secundum Ptholomaei Traditionem et Americi Vespucii Alioru[m]que Lustrationes, St. Dié, 1507
Recognizing and Naming America
Martin Waldseemüller’s 1507 world map grew out of an ambitious project in St. Dié, near Strasbourg, France, during the first decade of the sixteenth century, to document and update new geographic knowledge derived from the discoveries of the late fifteenth and the first years of the sixteenth centuries. Waldseemüller’s large world map was the most exciting product of that research effort, and included data gathered during Amerigo Vespucci’s voyages of 1501-1502 to the New World. Waldseemüller christened the new lands “America” in recognition of Vespucci ’s understanding that a new continent had been uncovered as a result of the voyages of Columbus and other explorers in the late fifteenth century. This is the only known surviving copy of the first printed edition of the map, which, it is believed, consisted of 1,000 copies.
Waldseemüller’s map supported Vespucci’s revolutionary concept by portraying the New World as a separate continent, which until then was unknown to the Europeans. It was the first map, printed or manuscript, to depict clearly a separate Western Hemisphere, with the Pacific as a separate ocean. The map represented a huge leap forward in knowledge, recognizing the newly found American landmass and forever changing the European understanding of a world divided into only three parts—Europe, Asia, and Africa.
•Martin Waldseemüller (1470-1521)
•Universalis Cosmographia Secundum Ptholomaei Traditionem et Americi Vespucii Alioru[m]que Lustrationes, [St. Dié], 1507
•One map on 12 sheets, made from original woodcut
•Geography and Map Division, Library of Congress
Exploring the Early Americas
Waldseemüller Maps
For more than three hundred years the only surviving copies of what are arguably two of the most important maps in the history of cartography, the 1507 and 1516 World Maps by Martin Waldseemüller (ca. 1470-ca. 1522), sat unknown on the shelves of a library in the castle of a prince. The owner was Prince Johannes Waldburg-Wolfegg, of Württenberg, Germany. The maps were rediscovered there in 1901 by the Jesuit historian Josef Fischer (1858-1944), who found them bound into a single portfolio, now known as the “Schöner Sammelband,” by the Nuremburg globe-maker and mathematician Johannes Schöner (1477–1547).
1507 World Map: Recognizing and Naming a New Continent
Martin Waldseemüller’s 1507 world map grew out of an ambitious project in St. Dié, France, during the first decade of the sixteenth century. The objective was to document and update new geographic knowledge derived from the discoveries of the late fifteenth and the first years of the sixteenth centuries. Waldseemüller’s large world map was the most exciting product of that research effort and included data gathered during Amerigo Vespucci’s voyages of 1501-1502 to the New World. Waldseemüller christened the new lands “America” in recognition of Vespucci’s understanding that a new continent had been uncovered as a result of the voyages of Columbus and other explorers in the late fifteenth century. This is the only known surviving copy of the 1,000 maps that are believed to have been printed.
Waldseemüller’s map represented a revolutionary new geography: it was the first map, printed or manuscript, to depict clearly a separate Western Hemisphere, separated from Asia, with the Pacific as a separate ocean. The map represented a huge leap forward in knowledge, recognizing the newly found American landmass and forever changing the European understanding of a world that was previously divided into only three parts—Europe, Asia, and Africa.
The existence of the Pacific Ocean and a western coastline for South America on the 1507 Waldseemüller map remains an unsolved mystery for scholars. In 1507 neither Balboa nor Magellan had reached the Pacific Ocean. How then did Waldseemüller know of the ocean’s existence and depict a continent whose coastline on the west borders the ocean?
The Impact
After the printing of the map it appears to have received little attention in cartographic circles even though it presented a radically new understanding of world geography based on the discoveries of Columbus and Vespucci. Waldseemüller himself recognized that the map was an important departure from previous cartographic views of the world and asked for the reader’s patience when looking at the map. In the large text block found in the lower right-hand corner of the map we find him saying: “This one request we have to make, that those who are inexperienced and unacquainted with cosmography shall not condemn all this before they have learned what will surely be clearer to them later on, when they have come to understand it.” Sadly, his radical new view of the world was noted by few references in contemporary geographic literature and, having been copied by only a few minor cartographers, it slipped into obscurity and disappeared.
Based on their reading of the Cosmographiae Introductio in the early and mid-nineteenth century, later scholars, such as Alexander von Humboldt and Marie d’Avezac-Macaya, speculated on the map’s existence, on its importance to the early history of the New World, and on its crucial role in the naming of America, all without ever having laid eyes on a copy of the map itself.
The map, which displays the name America for the first time on any map, also represents the continents of North and South America with a shape that is geometrically similar in form to the outlines of the continents as we recognize them today. The two aspects of the shape and the location of the New World on the map, separated as it is from Asia, are chronologically and chronometrically problematic in that in 1507, the map’s supposed creation date, neither Vasco Núñez de Balboa nor Ferdinand Magellan had reached the Pacific Ocean.
Waldseemüller Map
The Waldseemüller map or Universalis Cosmographia (“Universal Cosmography”) is a printed wall map of the world by German cartographer Martin Waldseemüller, originally published in April 1507. It is known as the first map to use the name “America”. The name America is placed on what is now called South America on the main map. As explained in Cosmographiae Introductio, the name was bestowed in honor of the Italian Amerigo Vespucci.
The map is drafted on a modification of Ptolemy’s second projection, expanded to accommodate the Americas and the high latitudes. A single copy of the map survives, presently housed at the Library of Congress in Washington, D.C.
Waldseemüller also created globe gores, printed maps designed to be cut out and pasted onto spheres to form globes of the Earth. The wall map, and his globe gores of the same date, depict the American continents in two pieces. These depictions differ from the small inset map in the top border of the wall map, which shows the two American continents joined by an isthmus.
Wall Map
Description
The wall map consists of twelve sections printed from woodcuts measuring 18 by 24.5 inches (46 cm × 62 cm). Each section is one of four horizontally and three vertically, when assembled. The map uses a modified Ptolemaic map projection with curved meridians to depict the entire surface of the Earth. In the upper-mid part of the main map there is inset another, miniature world map representing to some extent an alternative view of the world.
Longitudes, which were difficult to determine at the time, are given in terms of degrees east from the Fortunate Islands (considered by Claudius Ptolemy as the westernmost known land) which Waldseemüller locates at the Canary Islands. The longitudes of eastern Asian places are too great. Latitudes, which were easy to determine, are also quite far off. For example, “Serraleona” (Sierra Leone, true latitude about 9°N) is placed south of the equator, and the Cape of Good Hope (true latitude 35°S) is placed at 50°S.
The full title of the map is Universalis cosmographia secundum Ptholomaei traditionem et Americi Vespucii aliorumque lustrationes (The Universal Cosmography according to the Tradition of Ptolemy and the Discoveries of Amerigo Vespucci and others). One of the “others” was Christopher Columbus. The title signaled his intention to combine or harmonize in a unified cosmographic depiction the traditional Ptolemaic geography of Europe, Asia and Africa with the new geographical information provided by Amerigo Vespucci and his fellow discoverers of lands in the western hemisphere. He explained: “In designing the sheets of our world-map we have not followed Ptolemy in every respect, particularly as regards the new lands … We have therefore followed, on the flat map, Ptolemy, except for the new lands and some other things, but on the solid globe, which accompanies the flat map, the description of Amerigo that is appended hereto.”
Several earlier maps are believed to be sources, chiefly those based on the Geography (Ptolemy) and the Caveri planisphere and others similar to those of Henricus Martellus or Martin Behaim. The Caribbean and what appear to be Florida were depicted on two earlier charts, the Cantino map, smuggled from Portugal to Italy in 1502 showing details known in 1500, and the Caverio map, drawn circa 1503-1504 and showing the Gulf of Mexico.
While some maps after 1500 show, with ambiguity, an eastern coastline for Asia distinct from the Americas, the Waldseemüller map apparently indicates the existence of a new ocean between the trans-Atlantic regions of the Spanish discoveries and the Asia of Ptolemy and Marco Polo as exhibited on the 1492 Behaim globe. The first historical records of Europeans to set eyes on this ocean, the Pacific, are recorded as Vasco Núñez de Balboa in 1513. That is five to six years after Waldseemüller made his map. In addition, the map apparently predicts the width of South America at certain latitudes to within 70 miles. However, as pointed out by E.G. Ravenstein, this is an illusory effect of the cordiform projection used by Waldseemüller, for when the map is laid out on a more familiar equirectangular projection and compared with others of the period also set out on that same projection there is little difference between them: this is particularly evident when the comparison is made with Johannes Schöner’s 1515 globe.
Apparently among most map-makers until that time, it was still erroneously believed that the lands discovered by Christopher Columbus, Vespucci, and others formed part of the Indies of Asia. Thus, some believe that it is impossible that Waldseemüller could have known about the Pacific, which is depicted on his map. The historian Peter Whitfield has theorized that Waldseemüller incorporated the ocean into his map because Vespucci’s accounts of the Americas, with their so-called “savage” peoples, could not be reconciled with contemporary knowledge of India, China, and the islands of Indies. Thus, in the view of Whitfield, Waldseemüller reasoned that the newly discovered lands could not be part of Asia, but must be separate from it, a leap of intuition that was later proved uncannily precise. An alternative explanation is that of George E. Nunn (see below).
Mundus Novus, a book attributed to Vespucci (who had himself explored the extensive eastern coast of South America), was widely published throughout Europe after 1504, including by Waldseemüller’s group in 1507. It had first introduced to Europeans the idea that this was a new continent and not Asia. It is theorized that this led to Waldseemüller’s separating the Americas from Asia, depicting the Pacific Ocean, and the use of the first name of Vespucci on his map.
An explanatory text, the Cosmographiae Introductio, widely believed to have been written by Waldseemüller’s colleague Matthias Ringmann, accompanied the map. It was said in Chapter IX of that text that the earth was now known to be divided into four parts, of which Europe, Asia and Africa, being contiguous with each other, were continents, while the fourth part, America, was “an island, inasmuch as it is found to be surrounded on all sides by the seas”.
The inscription on the top left corner of the map proclaims that the discovery of America by Columbus and Vespucci fulfilled a prophecy of the Roman poet, Virgil, made in the Aeneid (VI. 795-797), of a land to be found in the southern hemisphere, to the south of the Tropic of Capricorn:
Many have thought to be an invention what the famous Poet said, that “a land lies beyond the stars, beyond the paths of the year and the sun, where Atlas the heaven-bearer turns on his shoulder the axis of the world set with blazing stars”; but now, at last, it proves clearly to have been true. It is, in fact, the land discovered by the King of Castile’s captain, Columbus, and by Americus Vesputius, men of great and excellent talent, of which the greater part lies under the path of the year and sun, and between the tropics but extending nonetheless to about nineteen degrees beyond Capricorn toward the Antarctic pole beyond the paths of the year and the sun. Wherein, indeed, a greater amount of gold is to be found than of any other metal.
The “path” referred to is the ecliptic, which marks the sun’s yearly movement along the constellations of the zodiac, so that to go beyond it meant crossing the southernmost extent of the ecliptic, the Tropic of Capricorn. 19° beyond Capricorn is latitude 42° South, the southernmost extent of America shown on Waldseemüller’s map. The map legend shows how Waldseemüller strove to reconcile the new geographic information with the knowledge inherited from antiquity.
The most southerly feature named on the coast of America on the Waldseemüller map is Rio decananorum, the “River of the Cananoreans”. This was taken from Vespucci, who in 1501 during his voyage along this coast reached the port which he called Cananor (now Cananéia). Cananor was the port of Kannur in southern India, the farthest port reached in India during the 1500-1501 voyage of the Portuguese Pedro Álvares Cabral, the discoverer of Brazil, two of whose ships were encountered returning from India by Vespucci. This may be an indication Waldseemüller thought that the “River of the Cananoreans” could have actually been in the territory of Cananor in India and that America was, therefore, part of India.
The name for the northern land mass, Parias, is derived from a passage in the Four Voyages of Amerigo Vespucci, in which, after several stops, the expedition arrives at a region that was “situated in the torrid zone directly under the parallel which describes the Tropic of Cancer. And this province is called by them [the inhabitants] Parias.” Parias was described by Waldseemüller’s follower, Johannes Schöner as: “The island of Parias, which is not a part or portion of the foregoing [America] but a large, special part of the fourth part of the world”, indicating uncertainty as to its situation.
PARIAS and AMERICA, corresponding to North and South America, are separated by a strait in the region of the present Panama on the main map but on the miniature map inset into the upper-mid part of the main map the isthmus joining the two is unbroken, apparently demonstrating Waldseemüller’s willingness to represent alternative solutions to a question yet unanswered.
The map shows the cities of Catigara (near longitude 180° and latitude 10°S) and Mallaqua (Malacca, near longitude 170° and latitude 20°S) on the western coast of the great peninsula that projects from the southeastern part of Asia, or INDIA MERIDIONALIS (Southern India) as Waldseemüller called it. This peninsula forms the eastern side of the SINUS MAGNUS (“Great Gulf”), the Gulf of Thailand. Amerigo Vespucci, writing of his 1499 voyage, said he had hoped to sail westward from Spain across the Western Ocean (the Atlantic) around the Cape of Cattigara mentioned by Ptolemy into the Sinus Magnus. Ptolemy understood Cattigara, or Kattigara, to be the most eastern port reached by shipping trading from the Graeco-Roman world to the lands of the Far East. Vespucci failed to find the Cape of Cattigara on his 1499 voyage: he sailed along the coast of Venezuela but not far enough to resolve the question of whether there was a sea passage beyond leading to Ptolemy’s Sinus Magnus. The object of his voyage of 1503-1504 was to reach the fabulous spice emporium of “Melaccha in India” (that is, Malacca, or Melaka, on the Malay Peninsula). He had learned of Malacca from one Guaspare (or Gaspard), a pilot with Pedro Álvares Cabral’s fleet on its voyage to India in 1500-1501, whom Vespucci had encountered in the Atlantic on his return from India in May 1501. Christopher Columbus, in his fourth and last voyage of 1502-1503, planned to follow the coast of Champa southward around the Cape of Cattigara and sail through the strait separating Cattigara from the New World, into the Sinus Magnus to Malacca. This was the route he understood Marco Polo to have gone from China to India in 1292 (although Malacca had not yet been founded in Polo’s time). Columbus anticipated that he would meet up with the expedition sent at the same time from Portugal to Malacca around the Cape of Good Hope under Vasco da Gama, and carried letters of credence from the Spanish monarchs to present to da Gama. The map therefore shows the two cities that were the initial destinations of Amerigo Vespucci and Christopher Columbus in their voyages that led to the unexpected discovery of a New World.
Just to the south of Mallaqua (Malacca) is the inscription: hic occisus est S. thomas (Here St. Thomas was killed), referring to the legend that Saint Thomas the Apostle went to India in 52 AD and was killed there in 72 AD. Waldseemüller had confused Malacca (Melaka) with Mylapore in India. The contemporary understanding of the nature of Columbus’ discoveries is demonstrated in the letter written to him by the Aragonese cosmographer and Royal counsellor, Jaume Ferrer, dated August 5, 1495, saying: “Divine and infallible Providence sent the great Thomas from the Occident into the Orient in order to declare in India our Holy and Catholic Law; and you, Sir, it has sent to this opposite part of the Orient by way of the Ponient [West] so that by the Divine Will you might arrive in the Orient, and in the farthest parts of India Superior in order that the descendants might hear that which their ancestors neglected concerning the teaching of Thomas … and very soon you will be by the Divine Grace in the Sinus Magnus, near which the glorious Thomas left his sacred body”.
History
At the time this wall map was drawn, Waldseemüller was working as part of the group of scholars of the Vosgean Gymnasium at Saint-Dié-des-Vosges in Lorraine, which in that time belonged to the Holy Roman Empire. The maps were accompanied by the book Cosmographiae Introductio produced by the Vosgean Gymnasium.
Of the one thousand copies that were printed, only one complete original copy is known to exist today. It was originally owned by Johannes Schöner (1477-1547), a Nuremberg astronomer, geographer, and cartographer. Its existence was unknown for a long time until its rediscovery in 1901 in the library of Prince Johannes zu Waldburg-Wolfegg in Schloss Wolfegg in Württemberg, Germany by the Jesuit historian and cartographer Joseph Fischer. It remained there until 2001 when the United States Library of Congress purchased it from Waldburg-Wolfegg-Waldsee for ten million dollars.
Chancellor Angela Merkel of the Federal Republic of Germany symbolically turned over the Waldseemüller map on April 30, 2007, within the context of a formal ceremony at the Library of Congress, in Washington, DC. In her remarks, the chancellor stressed that the US contributions to the development of Germany in the postwar period tipped the scales in the decision to turn over the Waldseemüller map to the Library of Congress as a sign of transatlantic affinity and as an indication of the numerous German roots to the United States. Today another facsimile of the map is exhibited for the public by the House of Waldburg in their museum on Waldburg Castle in Upper Swabia.
Since 2007, to the celebration of the 500-year jubilee of the first edition, the original map has been permanently displayed in the Library of Congress, within a specially-designed microclimate case. An argon atmosphere fills the case to give an anoxic environment. Prior to display, the entire map was the subject of a scientific analysis project using hyperspectral imaging with an advanced LED camera and illumination system to address preservation storage and display issues.
In 2005 the Waldseemüller map was nominated by Librarian of Congress James H. Billington for inscription on UNESCO’s Memory of the World Register and was inscribed on the register that same year.
Nunn’s Analysis
The geographers of Italy and Germany, like Martin Waldseemüller and his colleagues, were exponents of a theoretical geography, or cosmography. This means they appealed to theory where their knowledge of the American and Asiatic geography was lacking. That practice differed from the official Portuguese and Spanish cartographers, who omitted from their maps all unexplored coastlines.
The second century Alexandrian geographer Claudius Ptolemy had believed that the known world extended over 180 degrees of longitude from the prime meridian of the Fortunate Isles (possibly the Canary Islands) to the city of Cattigara in southeastern Asia. (In fact, the difference in longitude between the Canaries, at 16°W, and Cattigara, at 105°E, is just 121°.) He had also thought that the Indian Ocean was completely surrounded by land. Marco Polo demonstrated that an ocean lay east of Asia and was connected with the Indian Ocean. Hence, on the globe made by Martin Behaim in 1492, which combined the geography of Ptolemy with that of Marco Polo, the Indian Ocean was shown as merging with the Western Ocean to the east. Ptolemy’s lands to the east of the Indian Ocean, however, were retained in the form of a great promontory projecting far south from the southeastern corner of Asia—the peninsula of Upper India (India Superior) upon which the city of Cattigara was situated.
Another result of Marco Polo’s travels was also shown on Behaim’s globe—the addition of 60 degrees to the longitude of Asia. Columbus had not actually seen Behaim’s globe in 1492 (which apparently owed much to the ideas of Paolo dal Pozzo Toscanelli); but the globe, except for one important point, reflects the geographical theory on which he apparently based his plan for his first voyage. The exception is that Columbus shortened the length of the degree, thus reducing the distance from the Canaries to Zipangu (Japan), to about 62 degrees or only 775 leagues. Consequently, it seemed to Columbus a relatively simple matter to reach Asia by sailing west.
In the early 16th century, two theories prevailed with regard to America (the present South America). According to one theory, that continent was identified with the southeastern promontory of Asia that figures on Behaim’s globe, India Superior or the Cape of Cattigara. The other view was that America (South America) was a huge island wholly unconnected with Asia.
Balboa called the Pacific the Mar del Sur and referred to it as “la otra mar”, the other sea, by contrast with the Atlantic, evidently with Behaim’s concept of only two oceans in mind. The Mar del Sur, the South Sea, was the part of the Indian Ocean to the south of Asia: the Indian Ocean was the Oceanus Orientalis, the Eastern Ocean, as opposed to the Atlantic or Western Ocean, the Oceanus Occidentalis in Behaim’s two ocean world.
According to George E. Nunn, the key to Waldseemüller’s apparent new ocean is found on the three sketch maps made by Bartolomé Colon (that is, Bartholomew Columbus, Christopher’s brother) and Alessandro Zorzi in 1504 to demonstrate the geographical concepts of Christopher Columbus. One of the Columbus/Zorzi sketch maps bears an inscription saying that: “According to Marinus of Tyre and Columbus, from Cape St. Vincent to Cattigara is 225 degrees, which is 15 hours; according to Ptolemy as far as Cattigara 180 degrees, which is 12 hours”. This shows that Christopher Columbus overestimated the distance eastward between Portugal and Cattigara as being 225 degrees instead of Ptolemy’s estimate of 180 degrees, permitting him to believe the distance westward was only 135 degrees and therefore that the land he found was the East Indies. As noted by Nunn, in accordance with this calculation, the Colon/Zorzi maps employ the longitude estimate of Claudius Ptolemy from Cape St. Vincent eastward to Cattigara, but the longitude calculation of Marinus and Columbus is employed for the space between Cape St. Vincent westward to Cattigara.
Nunn pointed out that Martin Waldseemüller devised a scheme that showed both the Columbus and the Ptolemy-Behaim concept on the same map. On the right-hand side of the Waldseemüller 1507 map is shown the Ptolemy-Behaim concept with the Ptolemy longitudes: this shows the huge peninsula of India Superior extending to the south of the Tropic of Capricorn. On the left side of the Waldseemüller map the discoveries of Columbus, Vespucci and others are represented as a long strip of land extending from about latitude 50 degrees North to latitude 40 degrees South. The western coasts of these trans-Atlantic lands discovered under the Spanish crown are simply described by Waldseemüller as Terra Incognita (Unknown Land) or Terra Ulterior Incognita (Unknown Land Beyond), with a conjectural sea to the west, making these lands apparently a distinct continent. America’s (that is, South America’s) status as a separate island or a part of Asia, specifically, the peninsula of India Superior upon which Cattigara was situated, is left unresolved. As the question of which of the two alternative concepts was correct had not been resolved at the time, both were represented on the same map. Both extremities of the map represent the eastern extremity of Asia, according to the two alternative theories. As Nunn said, “This was a very plausible way of presenting a problem at the time insoluble.”
As noted by Nunn, the distance between the meridians on the map is different going eastward and westward from the prime meridian which passes through the Fortunate Isles (Canary Islands). This has the effect of representing the eastern coast of Asia twice: once in accordance with Ptolemy’s longitudes to show it as Martin Behaim had done on his 1492 globe; and again in accordance with Columbus’ calculation of longitudes to show his and the other Spanish navigators’ discoveries across the Western Ocean, which Columbus and his followers considered to be part of India Superior.
On his 1516 world map, the Carta Marina, Waldseemüller identified the land he had called Parias on his 1507 map as Terra de Cuba and said it was part of Asia (Asie partis), that is, he explicitly identified the land discovered by Columbus as the eastern part of Asia.
Globe Gores
Besides Universalis Cosmographia, Waldseemüller published a set of gores for constructing globes. The gores, also containing the inscription America, are believed to have been printed in the same year as the wall map, since Waldseemüller mentions them in the introduction to his Cosmographiæ Introductio. On the globe gores, the sea to the west of the notional American west coast is named the Occeanus Occidentalis, that is, the Western or Atlantic Ocean, and where it merges with the Oceanus Orientalis (the Eastern, or Indian Ocean) is hidden by the latitude staff. This appears to indicate uncertainty as to America’s location, whether it was an island continent in the Atlantic (Western Ocean) or in fact the great peninsula of India Superior shown on earlier maps, such as the 1489 map of the world by Martellus or the 1492 globe of Behaim.
Only few copies of the globe gores are extant. The first to be rediscovered was found in 1871 and is now in the James Ford Bell Library of the University of Minnesota. Another copy was found inside a Ptolemy atlas and had been in the Bavarian State Library in Munich since 1990. The Library recognized in February 2018, after reviewing its authenticity, that this map is not an original copy—it was printed in the 20th century. A third copy was discovered in 1992 bound into an edition of Aristotle in the Stadtbücherei Offenburg, a public library in Germany. A fourth copy came to light in 2003 when its European owner read a newspaper article about the Waldseemüller map. It was sold at auction to Charles Frodsham & Co. for $1,002,267, a world record price for a single sheet map. In July 2012, a statement was released from Ludwig Maximilian University of Munich that a fifth copy of the gore had been found in the LMU Library’s collection which is somewhat different from the other copies, perhaps because of a later date of printing. LMU Library has made an electronic version of their copy of the map available online.
Universalis cosmographia secundum Ptholomaei traditionem et Americi Vespucii alioru[m]que lustrationes.
Universalis cosmographia secundum Ptholomaei traditionem et Americi Vespucii aliorū que lustrationes
•Title: Universalis cosmographia secundum Ptholomaei traditionem et Americi Vespucii alioru[m]que lustrationes.
•Other Title: Universalis cosmographia secundum Ptholomaei traditionem et Americi Vespucii aliorū que lustrationes
•Contributor Names: Waldseemüller, Martin, 1470-1519.
•Created/Published: [Strasbourg, France? : s.n., 1507]
•Subject Headings: Earth
•Genre: World maps; Early maps
•Notes:
oRelief shown pictorially.
oFirst document known to name America.
oRed ink grid on 2 sheets. Text applied over blank areas on 2 sheets. Manuscript annotations in the margin of 1 sheet.
oAll sheets bear a watermark of a triple pointed crown.
oTwo stamps on verso of upper left hand sheet: Fürstl. Waldburg Wolfegg’sches Kupferstichkabinett – Furstl. Waldbg. Wolf. Bibliothek.
oExhibited: Rivers, edens, empires: Lewis & Clark and the revealing of America, Library of Congress, Washington, D.C., July 24-Nov. 29, 2003.
oAvailable also through the Library of Congress Web site as a raster image.
oIncludes text and ill.
oPrinted surrogate in vault available for reference.
oLC digital image is a composite map from the twelve separate sheets.
oOriginally bound with Waldseemüller’s 1516 Carta marina in the Schöner Sammelband.
•Medium: 1 map on 12 sheets; 128 × 233 cm., sheets 46 × 63 cm. or smaller.
•Call Number/Physical Location: G3200 1507 .W3
•Repository: Library of Congress Geography and Map Division Washington, D.C. 20540-4650 USA dcu
•Digital Id: hdl.loc.gov/loc.gmd/g3200.ct000725C; hdl.loc.gov/loc.gmd/g3200.ct000725
•Library of Congress Control Number: 2003626426
•Online Format: image
•LCCN Permalink: lccn.loc.gov/2003626426
•Additional Metadata Formats: MARCXML Record; MODS Record; Dublin Core Record
•Part of…
oDiscovery and Exploration (174)
oGeography and Map Division (15,333)
oAmerican Memory (504,438)
oLibrary of Congress Online Catalog (623,348)
•Format: Maps
•Contributors: Waldseemüller, Martin
•Dates: 1507
•Location: Earth
•Language: Latin
•Subjects: Early Maps; Earth; World Maps
•Articles and Essays with this item:
oEvaluation—Waldseemüller’s Map: World 1507—Lesson Plan
oOverview—Waldseemüller’s Map: World 1507—Lesson Plan
oPreparation—Waldseemüller’s Map: World 1507—Lesson Plan
oProcedure—Waldseemüller’s Map: World 1507—Lesson Plan
oMr. Dürer Comes to Washington
oExploring the Early Americas—2010—Past Events—News and Events
oSpanish Exploration in America—Primary Source Set
oIntroducing Primary Source Analysis to Students: Lessons from the Library of Congress Summer Teacher Institute
oLearning Activity—Secondary Level—Technology Integration, Spring 2009- Teaching with Primary Sources
oDocumenting New Knowledge—Exploring the Early Americas
oExhibitions and Presentations—Geography and Maps—Themed Resources
oPrologue - Lewis & Clark and the Revealing of America
oExploration and Discovery—Zoom Into Maps—Classroom Presentation
•Credit Line: Library of Congress, Geography and Map Division.
Cite This Item
Citations are generated automatically from bibliographic data as a convenience, and may not be complete or accurate.
Chicago citation style:
Waldseemüller, Martin. [Universalis cosmographia secundum Ptholomaei traditionem et Americi Vespucii aliorumque lustrationes]. [Strasbourg, France?: s.n, 1507] Map. Retrieved from the Library of Congress, www.loc.gov/item/2003626426/. (Accessed February 26, 2017.)
APA citation style:
Waldseemüller, M. (1507) [Universalis cosmographia secundum Ptholomaei traditionem et Americi Vespucii aliorumque lustrationes]. [Strasbourg, France?: s.n] [Map] Retrieved from the Library of Congress, www.loc.gov/item/2003626426/.
MLA citation style:
Waldseemüller, Martin. [Universalis cosmographia secundum Ptholomaei traditionem et Americi Vespucii aliorumque lustrationes]. [Strasbourg, France?: s.n, 1507] Map. Retrieved from the Library of Congress, www.loc.gov/item/2003626426/.
The Map That Named America
Library Acquires 1507 Waldseemüller Map of the World
By JOHN R. HÉBERT
In late May 2003 the Library of Congress completed the purchase of the only surviving copy of the first image of the outline of the continents of the world as we know them today— Martin Waldseemüller’s monumental 1507 world map.
The map has been referred to in various circles as America’s birth certificate and for good reason; it is the first document on which the name “America” appears. It is also the first map to depict a separate and full Western Hemisphere and the first map to represent the Pacific Ocean as a separate body of water. The purchase of the map concluded a nearly century-long effort to secure for the Library of Congress that very special cartographic document which revealed new European thinking about the world nearly 500 years ago.
The Waldseemüller world map is currently on display in the Library’s Thomas Jefferson Building in the exhibition honoring the Lewis and Clark expedition, “Rivers, Edens, Empires: Lewis & Clark and the Revealing of America.” It will remain on display, either in the original or with an exact facsimile, until Nov. 29. A permanent site for the display of this historical treasure will be prepared in the Thomas Jefferson Building within the next year.
Martin Waldseemüller, the primary author of the 1507 world map, was a 16th-century scholar, humanist, cleric and cartographer who was part of the small intellectual circle, the Gymnasium Vosagense, in Saint-Dié, France. He was born near Freiburg, Germany, sometime in the 1470s and died in the canon house at Saint-Dié in 1522. During his lifetime he devoted much of his time to cartographic ventures, including, in the spring 1507, the famous world map, a set of globe gores (for a globe with a three-inch diameter), and the “Cosmographiae Introductio” (a book to accompany the map). He also prepared the 1513 edition of the Ptolemy “Geographiae”; the “Carta Marina,” a large world map, in 1516; and a smaller world map in the 1515 edition of “Margarita Philosophica Nova.”
Thus, in a remote part of northeast France, was born the famous 1507 world map, whose full title is “Universalis cosmographia secunda Ptholemei traditionem et Americi Vespucci aliorum que lustrationes” (“A drawing of the whole earth following the tradition of Ptolemy and the travels of Amerigo Vespucci and others”). That map, printed on 12 separate sheets, each 18-by-24-inches, from wood block plates, measured more than 4 feet by 8 feet in dimension when assembled.
The large map is an early 16th-century masterpiece, containing a full map of the world, two inset maps showing separately the Western and Eastern Hemispheres, illustrations of Ptolemy and Vespucci, images of the various winds, and extensive explanatory notes about selected regions of the world. Waldseemüller’s map represented a bold statement that rationalized the modern world in light of the exciting news arriving in Europe as a result of explorations across the Atlantic Ocean or down the African coast, which were sponsored by Spain, Portugal and others.
The map must have created quite a stir in Europe, since its findings departed considerably from the accepted knowledge of the world at that time, which was based on the second century A.D. work of the Greek geographer, Claudius Ptolemy. To today’s eye, the 1507 map appears remarkably accurate; but to the world of the early 16th century it must have represented a considerable departure from accepted views of the composition of the world. Its appearance undoubtedly ignited considerable debate in Europe regarding its conclusions that an unknown continent (unknown, at least, to Europeans and others in the Eastern Hemisphere) existed between two huge bodies of water, the Atlantic and Pacific oceans, and was separated from the classical world of Ptolemy, which had been confined to the continents of Europe, Africa and Asia.
While it has been suggested that Waldseemüller incorrectly dismissed Christopher Columbus’ great achievement in history by the selection of the name “America” for the Western Hemisphere, it is evident that the information that Waldseemüller and his colleagues had at their disposal recognized Columbus’ previous voyages of exploration and discovery. However, the group also had acquired a recent French translation of the important work “Mundus Novus,” Amerigo Vespucci’s letter detailing his purported four voyages across the Atlantic Ocean to America between 1497 and 1504. In that work, Vespucci concluded that the lands reached by Columbus in 1492 and explored by Columbus and others over the ensuing two decades were indeed a segment of the world, a new continent, unknown to Europe. Because of Vespucci’s recognition of that startling revelation, he was honored with the use of his name for the newly discovered continent.
It is remarkable that the entire Western Hemisphere was named for a living person; Vespucci did not die until 1512. With regard to Columbus’ exploits after 1492, i.e., his various explorations between 1492 and 1504, the 1507 map clearly denotes Columbus’ explorations in the West Indies as well as the Spanish monarchs’ sponsorship of those and subsequent voyages of exploration.
By 1513, when Waldseemüller and the Saint-Dié scholars published the new edition of Ptolemy’s “Geographiae,” and by 1516, when Waldseemüller’s famous “Carta Marina” was printed, he had removed the name “America” from his maps, perhaps suggesting that even he had second thoughts about honoring Vespucci exclusively for his understanding of the New World. Instead, in the 1513 atlas, the area named “America” on the 1507 map is now referred to as Terra Incognita (Unknown Land). In the1516 “Carta Marina,” South America is called Terra Nova (New World) and North America is named Cuba and is shown to be part of Asia. No reference in either work is made to the name “America.”
The only surviving copy of the 1507 world map by Martin Waldseemüller, purchased by the Library of Congress and now on display in its Thomas Jefferson Building in Washington, D.C. The term “America” can be seen in continent on the lower leftmost panel. Vespuci is pictured on the top panel of the third column.
The only surviving copy of the 1507 world map by Martin Waldseemüller, purchased by the Library of Congress and now on display in its Thomas Jefferson Building in Washington, D.C. The term “America” can be seen in continent on the lower leftmost panel. Vespuci is pictured on the top panel of the third column.
Cartographic contributions by Johannes Schöner in 1515 and by Peter Apian in 1520, however, adopted the name “America” for the Western Hemisphere, and that name then became part of accepted usage.
A reported 1,000 copies of the 1507 map were printed, which was a sizeable print run in those days. This single surviving copy of the map exists because it was kept in a portfolio by Schöner (1477-1547), a German globe maker, who probably had acquired a copy of the map for his own cartographic work . That portfolio contained not only the unique copy of the 1507 world map but also a unique copy of Waldseemüller’s 1516 large wall map (the “Carta Marina”) and copies of Schöner’s terrestrial (1515) and celestial (1517) globe gores.
At some later time, the family of Prince Waldburg-Wolfegg acquired and retained Schöner’s portfolio of maps in their castle in Baden-Württemberg, Germany, where it remained unknown to scholars until the beginning of the 20th century when its extraordinary contents were revealed. The uncovering of the 1507 map in the Wolfegg Castle early last century is thought by many to have been one of the most extraordinary episodes in the history of cartographic scholarship.
The map sheets have been maintained separated—not joined, with each of the large maps composed of 12 separate sheets—and that is probably why they survived. The portfolio with its great treasure was uncovered and revealed to the world in 1901 by the Jesuit priest Josef Fischer, who was conducting research in the Waldburg collection.
The Library of Congress’ Geography and Map Division acquired the facsimiles of the 1507 and 1516 maps in 1903. Throughout the 20th century the Library continued to express interest in and a desire to acquire the 1507 map, if it were ever made available for sale. That time came in 1992 when Prince Johannes Waldberg-Wolfegg, the owner of the map, revealed to Librarian of Congress James H. Billington, the Associate Librarian for Library Services Winston Tabb, and the chief of the Geography and Map Division Ralph Ehrenberg in a conversation in Washington that he was willing to negotiate the sale of the map. Ehrenberg and Margrit Krewson, the Library’s German and Dutch area specialist, were encouraged to investigate the opportunity.
In 1999 Prince Waldburg-Wolfegg notified the Library that the German national government and the Baden-Württemberg state government had granted permission for a limited export license, which Krewson was instrumental in negotiating. Having obtained the license, which allowed this German national treasure to come to the Library of Congress, the Prince pursued an agreement to sell the 1507 map to the Library. In late June 2001 Prince Waldburg-Wolfegg and the Library of Congress reached a final agreement on the sale of the map for the price of $10 million. In late May 2003 the Library completed a successful campaign to raise the necessary funds to purchase Waldseemüller’s 1507 world map, after receiving substantial congressional and private support to achieve the terms of the contract. The Congress of the United States appropriated $5 million for the purchase of the map; Discovery Communications, Jerry Lenfest and David Koch provided substantial contributions; and other individuals (George Tobolowsky and Virginia Gray) gave matching funds for the purchase and additional support for its preservation, exhibition and study.
Through the combined efforts of Billington, Tabb and members of the Library’s staff over the past 11 years, the map was able to leave Germany and come to the Library of Congress.
The 1507 world map is now the centerpiece of the outstanding cartographic collections of the Geography and Map Division in the Library of Congress. The map serves as a departure point for the development of the division’s American cartographic collection in addition to its revered position in early modern cartographic history. The map provides a meaningful link between the Library’s treasured late medieval-early Renaissance cartographic collection (which includes one of the richest holdings of Ptolemy atlases in the world) and the modern cartographic age that unfolded as a result of the explorations of Columbus and other discoverers in the late 15th and early 16th centuries. It represents the point of departure from the geographical understanding of the world based on Ptolemy’s “Cosmographiae” and “Geographiae” (editions from 1475-) to that emerging in the minds of scholars and practical navigators as reports of the “new worlds” of America, southern Africa and other regions of Asia and Oceania reached Europe’s shores. Waldseemüller recognized the transition taking place, as the title of his map notes and as his prominent placement of images of Ptolemy and Vespucci next to their worlds at the top portion of the 1507 world map denotes.
The Waldseemüller map joins the rich cartographic holdings of the Library’s Geography and Map Division, which include some 4.8 million maps, 65,000 atlases, more than 500 globes and globe gores, and thousands of maps in digital form. And from that fragile first glimpse of the world, so adequately described by Waldseemüller in 1507, the Library of Congress’ cartographic resources provide the historical breadth and cartographic depth to fill in the geographic blanks left by those early cosmographers.
The Library’s acquisition of the Waldseemüller map represents an important moment to renew serious research into this exceptional map, to determine the sources which made possible its creation, and to investigate its contemporary impact and acceptance. The map’s well-announced acquisition provides scholars with an extraordinary opportunity to appreciate the earliest of early depictions of our modern world. Major portions of this 1507 world map have not received the same concentrated scrutiny as the American segments. The very detailed depiction of sub-Saharan Africa, the south coast of Asia, and even the areas surrounding the Black and Caspian seas merit further study and discussion in response to obvious questions regarding the cartographic and geographic sources that were available and used by the Saint-Dié scholars to reach the conclusions that they embodied in the 1507 world map.
Through agreement with Prince Waldburg-Wolfegg and the government of Germany, the 1507 Waldseemüller world map is to be placed on permanent display in the Library of Congress’ Thomas Jefferson Building. A second floor gallery, the Pavilion of the Discoverers, has been chosen as an appropriate location to house the map, where it will be exhibited with supporting materials from the Library’s collections that will assist in describing the rich history surrounding the map and its relation to its creators and the sources used to prepare it in the 16th century.
The Library of Congress is extremely proud to have obtained this unique treasure and is hopeful that this great cartographic document will receive the public acclaim and the critical scholarly inspection that it so rightly merits.
John R. Hébert is the chief of the Geography and Map Division of the Library of Congress.
This View
This is a composite view of Waldseemüller’s 1507 World Map displayed as a wall map much in the way it might have been by Waldseemüller’s patrons. Few wall maps survived from this. And perhaps the best evidence for how they were treated in the early 16th century comes from Lorenz Fries’ booklet Uslegung der Mercathen oder Carta Marina. Fries’ text reads:
If you want to mount the map sheets as one map for your own use and glue it in place securely, take some linen or some piece of clean cloth and place a firm board on a table or chest and stretch the sheet firmly by hammering nails all around the border. Next cut the pages of the map along the left or right side so that they fit next to each other without spaces. The middle sheets must also be cut lengthwise along the top and bottom. You should first definitely try to fit the sheets together before you begin to glue. After you have checked the positioning put some glue, but not too strong, into a small pan or pot. Warm it up, but not too hot. Then take a brush, one that is not too small but one that has soft hairs. Brush the back of the first sheet with glue and place it on the upper left. Employ an assistant so you can move fast and place the pages down so that they fit immediately. After the sheet is down put a clean paper over it and rub it with a piece of cloth until it is smooth.
This map represents a vast eco-tour project ongoing in Ikaria island Greece since 1996. The project is "self-financed". The sales of the map provide the means to design and make *good trails* ( = leading through interesting places). It works as good as it looks. Just try and make an early morning start.
More about the making of the paths in my friend and supporter Eleni's blog, entries:
and
For discussions: