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Epcot is the second of four theme parks built at Walt Disney World in Bay Lake, Florida, near the city of Orlando. It opened as EPCOT Center on October 1, 1982, and spans 300 acres (120 ha), more than twice the size of the Magic Kingdom park. It is dedicated to the celebration of human achievement, namely technological innovation and international culture, and is often referred to as a "Permanent World's Fair." In 2013, the park hosted approximately 11.22 million guests, making it the fifth most visited theme park in the world. The park is represented by Spaceship Earth, a geodesic sphere that also serves as an attraction. Epcot was known as EPCOT Center until 1994, when it was later renamed Epcot '94, then Epcot '95 the following year.
EPCOT is an acronym for Experimental Prototype Community of Tomorrow; a Utopian city of the future planned by Walt Disney, often interchanging "city" and "community." In Walt Disney's words: "EPCOT will take its cue from the new ideas and new technologies that are now emerging from the creative centers of American industry. It will be a community of tomorrow that will never be completed, but will always be introducing, and testing, and demonstrating new materials and new systems. And EPCOT will always be a showcase to the world of the ingenuity and imagination of American free enterprise." His original vision was for a model community which would have been home to twenty thousand residents and a test bed for city planning as well as organization. It was to have been built in the shape of a circle with businesses and commercial areas at its center with community buildings, schools, and recreational complexes around it while residential neighborhoods would line the perimeter. This radial plan concept is strongly influenced by British planner Ebenezer Howard and his Garden Cities of To-morrow. Transportation would have been provided by monorails and PeopleMovers (like that in Magic Kingdom's Tomorrowland.) Automobile traffic would be kept underground, leaving pedestrians safe above ground. The original model of EPCOT can still be seen by passengers riding the Tomorrowland Transit Authority attraction in the Magic Kingdom park; when the PeopleMover enters the showhouse for Stitch's Great Escape!, the remaining portion of the model is visible on the left (when facing forward) behind glass. Walt Disney was not able to obtain funding and permission to start work on his Florida property until he agreed to first build Magic Kingdom. He died nearly five years before Magic Kingdom opened.
After Disney's death, The Walt Disney Company decided that it did not want to be in the business of running a city without Walt's guidance. The model community of Celebration, Florida has been mentioned as a realization of Disney's original vision, but Celebration is based on concepts of new urbanism which is radically different from Disney's modernist and futurist visions. However, the idea of EPCOT was instrumental in prompting the state of Florida to create the Reedy Creek Improvement District (RCID) and the Cities of Bay Lake and Reedy Creek (now Lake Buena Vista), a legislative mechanism allowing the Walt Disney Company to exercise governmental powers over Walt Disney World. Control over the RCID is vested in the landowners of the district, and the promise of an actual city in the district would have meant that the powers of the RCID would have been distributed among the landowners in EPCOT. Because the idea of EPCOT was never implemented, the Disney Corporation remained almost the sole landowner in the district allowing it to maintain control of the RCID and the cities of Bay Lake and Lake Buena Vista; Disney further cemented this control by deannexing Celebration from the RCID.
The original plans for the park showed indecision over the park's purpose. Some Imagineers wanted it to represent the cutting edge of technology, while others wanted it to showcase international cultures and customs. At one point, a model of the futuristic park was pushed together against a model of a World's Fair international theme, and the two were combined. The park was originally named EPCOT Center to reflect the ideals and values of the city. It was constructed for an estimated $800 million to $1.4 billion and took three years to build, at the time the largest construction project on Earth. The parking lot serving the park is 141 acres (57 ha) (including bus area) and can accommodate 11,211 vehicles (grass areas hold additional 500+ vehicles). Before it opened on October 1, 1982, Walt Disney World Ambassador Genie Field introduced E. Cardon Walker, Disney's chairman and CEO, who dedicated EPCOT Center. Walker also presented a family with lifetime passes for the two Walt Disney World theme parks. His remarks were followed by Florida Governor Bob Graham and William Ellinghouse, president of AT&T.
As part of the opening-day ceremony, dancers and band members performed We've Just Begun to Dream. The Sherman Brothers wrote a song especially for the occasion entitled "The World Showcase March". During the finale, doves and many sets of balloons were released. Performing groups representing countries from all over the world performed in World Showcase. Water was gathered from major rivers across the globe and emptied into the park's fountain of nations ceremonial containers to mark the opening. Located at the front of the park is a plaque bearing Walker's opening-day dedication, as seen above.
Future World consists of a variety of pavilions that explore innovative aspects and applications including technology and science. Future World also serves as the park's main entrance and features the park's iconic landmark, Spaceship Earth, a large geodesic sphere structure which houses a themed attraction inside. Originally, each pavilion of Future World featured a unique circular logo which was featured on park signage and the attractions themselves. The logos, including that of Epcot itself, have been phased out over recent years, but some remnants are still scattered throughout the park; the pavilions are now instead identified by name and recognized by the main attraction(s) housed inside. The various pavilions located in Future World include the following:
Spaceship Earth
Universe of Energy
Mission: Space
Test Track
Innoventions East
Innoventions West
The Seas with Nemo & Friends
The Land
Imagination!
Wonders of Life/Festival Center (Seasonal Operation)
Corporate sponsorships
Each pavilion was initially sponsored by a corporation which helped fund its construction and maintenance in return for the corporation's logos and some marketing elements appearing throughout the pavilion. For example, Universe of Energy was sponsored by Exxon from 1982 to 2004, and The Land was sponsored by Kraft from 1982 to 1993, then Nestlé from 1993 to 2009. Each pavilion contains a private "VIP area" for its sponsor with offices, lounges, and reception areas hidden away from regular park guests. While some pavilions still retain active sponsorships, in recent years several pavilions have lost sponsorships due to lack of interest from partner companies in renewing expiring agreements. After General Electric left Horizons in 1993, it closed for a couple of years, then reopened temporarily while neighboring attractions Universe of Energy and World of Motion were renovated. Horizons closed permanently on January 9, 1999 and was demolished in the summer of 2000 to make room for the opening of Mission: SPACE on October 9, 2003. Metlife sponsored Wonders of Life from 1989 to 2001, until that area was closed. However, the Wonders Of Life pavilion is still mostly intact and is used for both the Flower and Garden Festival and the Food and Wine Festival. Current active sponsorships include the following:
Test Track opened in the former World of Motion pavilion and is currently sponsored by Chevrolet
Mission: SPACE is currently sponsored by Hewlett-Packard
Spaceship Earth is currently sponsored by Siemens which also sponsors the park's nighttime show IllumiNations: Reflections of Earth.
Living with the Land is currently sponsored by Chiquita.
Individual small attractions and exhibits within or nearby the Innoventions pavilions are sponsored by various companies such as THINK presented by IBM, Where's the Fire? and Play It Safe presented by Liberty Mutual, Club Cool presented by Coca-Cola, The Great Piggy Bank Adventure presented by T. Rowe Price, Habit Heroes presented by Florida Blue Cross and The Sum Of All Thrills presented by Raytheon.
from Wikipedia
These rings represent marriage, the one and only true unity of love.
In a world with high divorce rates, the result of failed marriage
With right advice I state, of marriage as a whole do not disparage
So lets get down to basics be nice to your man or wife
And realise that your marriage is a commitment that will last all your life
Above all recognise your blessings and never mistreat your spouse
Love them like no other and make sure that love fills your house
Marriage is sacred, it should not be taken lightly
It is more than a relationship or years of talking politely
It is a life long union, design for us to share
The ultimate place to show your love and care
It will not always be easy, you will have ups and downs
But choose your spouse carefully and there'll be more smiles than there is frowns"
I am celebrating 5 years of marriage with my beautiful wife
but I realise marriage isn't for everyone, live your own life.
Lore and History
of the
South Island Maori
by
W. A. Taylor 1952
Leaving Old Waikouaiti or modern Karitane we pass south. Okai hau is the outlet to the sea of the Omimi Greek. The full name of the site of the Omimi railway station is Te Mimi e te haki. The location of the Seacliff Mental Hospital is Turau aruhe. Waikoko is the Seacliff Creek. Potaerua represents the bush at Seacliff and the bight on the coastline towards Omimi is Rau-one. Warrington, the aristocratic weekend resort, bears the name of a famous greenstone weapon Aka hau. Whaitiri-paku was the name of an old native village at what we now call Evansdale. The Evansdale Stream below its Kilmog branch, was an eeling place called Wai moi (sour water). The streams entering Blueskin Bay travelling south were the Totara, Waiputi and Waitete (the latter erroneously spelt Waitati). Waitete means "bubbling water", and no one who has lived alongside its course would question the translation as being truly descriptive.
The Orokonui Stream drains the northern slopes of Mount Mopariui entering the mouth of the Waitete not far away from the Orokonui Mental Hospital. Blueskin was the name of Waitete in the early days. The early settlers named it such after a well-tattooed Maori called Te Hikututu, whose nickname was Blueskin.
A Ngai Tahu chief named Tutakahikura visiting Southland, coveted the wives of a Ngati Mamoe chief named Tutemakeho when the latter chief was away foraging, and abducted the women. A chase from Southland resulted, and Tutemakeho fortunately caught up with the abductor at Pae Kohu (place of frogs) or Green Hill on the divide between the Silverstream and the coastal valleys. It was decided by the warriors to fight the matter out in gladiator fashion at Waitete. Tu te makaho won back his wives, taking them back to Otaupiri. A leaderless hapu of the Ngai Tahu returned to Canterbury.
Approximately 12 miles from Dunedin is Purakaunui page 120wrongly spelt Purakanui, which boasts a large native reserve, and its native inhabitants, who originally hailed from Kaiapoi, are proud of the fact that they are descendants of Ngai Tahu, who were there long before the fall of Kaiapohia, and are not begotten of refugee stock. Away back about the year 1750A.D. the War God Tu controlled the lives of the inhabitants of Purakaunui. Three cousins of chief rank but with no trace of family affection kept the Ngai Tahu Tribe in almost an unbroken state of strife. Their names were Moki II, Taoka and Te Wera. Te Wera of Huriawa Pa at Old Waikouaiti dwelt for a time at Pukekura Pa at Otakou Heads. When there the paramount chief Tu ki taha rangi died, also Moki II's son. Te Wera was accused of practising makutu (wizardry) on his kinsfolk and killing them. Te Wera fled away to Purakaunui where Te Rehu, his sister's husband held sway. Moki II was not to be outmatched; so he sent a surprise war party to Purakaunui kainga under the chief Kapo. The house of the chiefs was surrounded and most of the inmates slain, including a chief named Patuki. Te Rehu and Te Wera made a miraculous escape, indeed a wailing for their decease had commenced at Huriawa when they arrived. Safe back in his fortress Te Wera waited and gathered together his warriors. He then set out for Pukekura on which he exacted full vengeance.
Taoka took up the Pukekura cause and besieged Te Wera at Huriawa. He failed to capture that pa, so he turned his attention later to Mapou tahi on Goat Island Peninsula where the railway skirts the Blueskin Cliffs near the tunnel. When Taoha arrived at Mapoutahi in mid-winter, his scouts found the narrow neck of land which gave access to the pa well guarded. One exceptionally wild night, however, the sentries were withdrawn, and dummies put in their place. The ruse worked until Taoka went forth and did scouting for himself. He discovered the true position and Mapou tohi Pa was stormed. Only a few persons escaped by swimming and scaling the vine ladders on the Blueskin Cliffs which had been used for bird nesting.
The name for Goat Island is Mata awhe awhe (dead gathered in a heap), and its isthmus is called after Pakihaukea, its unfortunate defender. The portion of the Blueskin Cliffs nearest to Waitati is Wata awa awa (edge of the valley). The bay east of the peninsula is Paua nui (large ear shell fish). On October 22nd, 1930, Goat Island Peninsula, area 4 acres, was vested as a scenic reserve under the control of the Otago University. Why the Maori people were not favoured with possession is not clear.
Near Mapou tahi the canoe of Waiti named Tau a Tara-whata was wrecked a few centuries ago. Mihiwaka (lament for a canoe) is the hill which separates the Purakaunui Valley page break
Otakou
Maori Place Names
page break
Mrs Mere Harper—Old Waikouaiti
page 121 from Otago Harbour. Aorangi (light of heaven) is the hill across Purakaunui Bay near the site of the old whaling station. Opeke is the foot of Foote's Greek. Ko te wai a pukuraku is a small watercourse near the sand drift to the railway line. Haereoa, Teoti Wahie and Noah were the leading men at Purakaunui in the forties. The present native inhabitants of the reserve are half-castes, being descendants of the old whalers. The Purakaunui Reserve was set aside in pursuance of the infamous Kemp Deed.
Near Purakaunui is Long Beach, known as Whare wera wera, which contains a native reserve of a few hundred acres. The original trustees of this poor quality reserve were Tamati Tiko, Te Ati Poroki, Hipa Porekaha, Riki Tuete and Haereroa. The land is of sandy nature, with, however, miniature lagoons through which a very wandering stream passes, and in the days when the Piorakaunui district once held a large native population, provided good eeling places. There is no doubt that the Maoris living between Purakaunui and Otago Heads suffered severely from European diseases during the period sealing ships were frequenting the coast. The cold-water treatment by the tohungas of influenza and measles could only result in one way—death.
South of Longbeach is Murdering Beach which should be known by its Maori name of Whare ake ake. On December 24th, 1817, a Tasmanian brig named the Sophia, commanded by Captain Kelly, anchored there to trade with the Maoris. However a man named Tucker was recognised as a person who at Riverton traded in dried Maori heads. Such sacrilege quite rightly brought down on the pakahas the anger of the Maoris. Tucker fell to the blow of a mere wielded by Te Matahaere, as did two or three others. The remaining boatsmen returned to the ship for reinforcements, and in the skirmish the Maoris were defeated, and prisoners taken back to the Sophia, including the chief Korako, a progenitor of the Taiaroa family. The Maoris rallied under the chief Tukarekare, and in canoes attacked the ship, but without success. Korako rejoined his friends by jumping overboard to the canoes. The Europeans then killed their other prisoners, and sailed away to Otakou Heads where they destroyed the native village.
The bay south of Whare ake ake is called Kaikai after a Ngati Mamoe man dwelling there in a cave in the early days. The proper name is Takeratawhai. The cave belonging to Kaikai is now used as a sheep pen. A heavy "tapu" rested on Murdering Beach until it was lifted by a North Island tohunga at the request of the Purakaunui Maoris. The three bays south of Purakaunui have been the happy hunting-grounds of curio collectors, alas many not venerating the burial-places. It has been estimated that 3½ tons of worked greenstone has been page 122recovered. In 1912 a large part of this collection passed to British and American museums.
In 1926 a curious adze hogbacked with a very narrow cutting edge was found. Mr Washbourne Hunter was the land owner in the early days, and during his time 400 curios were discovered. Two dozen greenstone tikis have been found at Whare ake ake. The late Mr Murray Thomson, who had a weekend house at Murdering Beach, was an enthusiastic collector, and he assisted greatly the archaeological section of the Otago Institute during a fortnight of March 1935, in cross trenching, digging and searching every nook and corner of Kaikai, Murdering and Longbeach, and the chance of finding a good cache of curios is now very remote. Though a "green-stone workers' factory" the meres found have invariably been executed in slaty stone.
When Edward Shortland visited Purakaunui in October 1843, the Maori population had dwindled to 32 persons. Pukai-a-te-ao and Kaitipu of the Huirapa hapu had succeeded Urukino in the leadership. When Mantell made his census of Purakaunui in connection with the sale of the Ngai Tahu Block the inhabitants numbered 46. The majority of the people belonged to the Ngai tuna hapu. The Huirapa hapu (mostly females) counted 8 and the Ngati Tuahuriri 2 persons. The few Maoris who now occupy Purakaunui are half-caste descendants of whalers. The settlement is now a popular Dunedin weekend resort. The little fenced-in cemetery on the Purakaunui Spit alone reminds the visitor of the Maori backgroundOld Waikouaiti and Purakaunui are usually by-passed by motorists journeying to Dunedin who travel on the Main Road. The Main Road from modern Waikouaiti to Waitati crosses over the well-known Kilmog Hill, Kilmog being a corruption of the Maori name of the plant Kirimoko known to botanists as Septospermum ericoides, which grows profusely in the locality.
Romanian postcard by Casa Filmului Acin, no. 16. Photo: publicity still for Cuando tú no estás//When you are not here (Mario Camus, 1966).
Raphael (1943) is one of the most important singers in the Spanish language of the second half of the 20th century. Twice, he represented Spain at the Eurovision Song Contest. He opened the door and paved the way to the flood of Spanish singers that followed on the wake of his enormous success. Raphael is also a television, film and theater actor, who appeared in a popular series of Spanish film musicals during the late 1960s.
Raphael was born Miguel Rafael Martos Sánchez in Linares, Spain, in 1943. He is nicknamed both ‘El Ruiseñor de Linares’ (The Nightingale of Linares) and ‘El Divo de Linares’ (The Divo from Linares) but is also known as ‘El Niño’. His family moved to Madrid when he was nine months old, and he started singing when he was just three years-old. He joined a children's choir at age four. When he was 9, he was recognized as the best child voice in Europe at a contest in Salzburg, Austria. Raphael began his professional career by signing with the Dutch record label Philips. To distinguish himself, he adopted the ‘ph’ of the company's name and christened himself 'Raphael'. His first singles were Te voy a contar mi vida and A pesar de todo’. Raphael adopted his own peculiar singing style from the beginning; he is known for acting each one of his songs while on stage, emphasizing his gestures with high dramatic effect. It is not unusual for Raphael to ad lib lyrics as to localize a song depending on the venue he's singing at, wear Latin American peasant costumes and dance folk dances within a song, kicking and demolishing a mirror, or doing the moves of a flamenco dancer or a bullfighter onstage. He also possesses a wide vocal range, which he often used in the beginning of his career as to evoke a choirboy approach to some songs. When he was nineteen, he won first, second and third awards at the Benidorm International Song Festival, Spain, 1962. He signed contract with Hispavox recording company, and began a long artistic relationship with the musical director of this label, the orchestrator Waldo de los Ríos and intensify the partnership with songwriter Manuel Alejandro. In 1966 and 1967 he represented Spain at the Eurovision Song Contest, singing Yo soy aquél and Hablemos del amor and placing both 7th and 6th position. This served as a turning point in Raphael's career, making him an international star. He traveled and performed worldwide in Europe, Latin America, the United States, Russia and Japan.
Raphael also had a lucrative film career. He made his film debut as a singer in Las gemelas/The Twins (Antonio del Amo, 1963). As an actor he had his breakthrough in the musical Cuando tú no estás/When you are not here (Mario Camus, 1966). In the film's first half Raphael plays himself, trying to find fame and fortune as a popular singer in Spain until he teams up with an up and coming Spanish composer (based on Raphael's real life composer Manuel Alejandro) and becomes a popular singer. Alan Bobet at IMDb: “This is the first and best in my opinion of the Spanish musical films starring Spanish singing sensation, Raphael in his first starring role and the first of 3 Raphael film musicals directed by Mario Camus, who would be one of Spain's top film directors in the 1970's.” The other two were Al ponerse el Sol/At Sunset (Mario Camus, 1967) and Digan lo que digan/Let Them Talk (Mario Camus, 1968), which was filmed in Argentina. Other popular films were El golfo/The Gulf (Vicente Escrivá, 1969), with Shirley Jones, El ángel/The Angel (Vicente Escrivá, 1969) with Anna Gaël, Sin Un Adiós/Without a goodbye (Vicente Escrivá, 1970), with Lesley-Anne Down and partially filmed in England, and Volveré a nacer/I will be born (Javier Aguirre, 1972) with Héctor Suárez. In 1975, Raphael began his own successful program on Spanish Television called El Mundo de Raphael (The World of Raphael), where he sang with international stars. He also had a radio program, where he and his wife spoke with and interviewed outstanding personalities, and he starred in soap operas, starting with the Mexican production Donde termina el camino (1978). Raphael succeeded in the early 1980s with songs such as ¿Qué tal te va sin mí? and Como yo te amo. During 1984 and 1985 he recorded two albums with songs written by José Luis Perales. In 1987 he left Hispavox and signed a contract with Columbia (now Sony Music). In 1991 he had a hit with Escándalo in Spain, Latin America, and in Japan, where it reached number one. At the end of the 1990s, after ending a contract with PolyGram, he went back to EMI. In 1998 the artist published the first part of his memoirs titled ¿Y mañana qué?, from his childhood until his marriage in 1972. In 2000, Raphael took the title role in the Spanish version of the stage musical Jekyll & Hyde, with great success. Recently, he returned to the screen in the dark comedy Mi gran noche/My Great Night (Álex de la Iglesia, 2015). Since 1972, Raphael is married to aristocrat, journalist and writer Natalia Figueroa. They have three children: Jacobo, Alejandra and Manuel.
Sources: Alan Bobet (IMDb), Wikipedia and IMDb.
Alves, Piqué, Mascherano, Rakitic, Iniesta, Suárez, Neymar y Messi son los representantes azulgrana de una lista de 40 futbolistas de diferentes clubes europeos Las votaciones, que son abiertas para todos, se cerrarán el próximo martes 5 de enero
Por quincena vez, ya se puede votar para elegir a los once futbolistas que, en esta edición de 2015, formarán parte del Equipo del Año. Unas votaciones que se pueden realizar a través de la web en.toty.uefa.com i en las que todos los usuarios que lo deseen podrán elegir a su equipo ideal hasta el próximo martes 5 de enero, a las 13.00 horas.
El once, que habrá sido elegido por los usuarios de entre un total de 40 jugadores propuestos por redactores de UEFA.com, será anunciado el viernes 8 de enero, en el web oficial de la UEFA.
El FC Barcelona, vigente campeón de la Liga de Campeones, está representado por ocho jugadores. Son Dani Alves, Gerard Piqué, Javier Mascherano, Ivan Rakitic, Andrés Iniesta, Luis Suárez, Neymar Jr. y Leo Messi, actual ganador del premio al Mejor Jugador del Año de la UEFA.
Los nominados
Los integrantes finales del Equipo del Año recibirán un cheque para causas solidarias. Los 40 jugadores que pueden optar a este premio han sido elegidos por sus actuaciones personales en este 2015, tanto con sus clubes europeos como con la selección nacional. De éstos, 10 nunca antes habían sido nominados, mientras que 12 ya han formado parte de un Equipo del Año en alguna otra ocasión. El jugador de la Juventus Paul Pogba (22) es el más joven, mientras que el portero del equipo italiano Gianluigi Buffon (37) es el más mayor.
Los nominados pertenecen a 13 clubes europeos de seis ligas diferentes, con un total de 19 nacionalidades representadas. Esta es la lista completa:
Cuatro porteros: Hart (Manchester City), Buffon (Juventus), Neuer (Bayern de Múnich), Boyko (Dnipro).
Doce defensas: Dani Alves, Gerard Piqué y Javier Mascherano (FC Barcelona), Alaba y Boateng (Bayern de Múnich), David Luiz y Thiago Silva (PSG), Godín (Atlético de Madrid), Ricardo Rodríguez (Wolfsburgo), Sergio Ramos (Real Madrid), Bonucci y Chiellini (Juventus).
Doce centrocampistas: Rakitic y Andrés Iniesta (FC Barcelona), De Bruyne (Manchester City), Hazard (Chelsea), James (Real Madrid), Konoplyanka y Krychowiak (Sevilla), Çalhanoglu (Bayer Leverkusen), Arturo Vidal (Bayern de Múnich), Pogba y Marchisio (Juventus), Verratti (PSG).
Doce delanteros: Neymar, Luis Suárez y Messi (FC Barcelona), Cristiano Ronaldo y Bale (Real Madrid), Lewandowski y Müller (Bayern de Múnich), Ibrahimovic (PSG), Agüero (Manchester City), Griezmann (Atlético de Madrid), Alexis Sánchez (Arsenal), Morata (Juventus).
VOTA POR TU EQUIPO DEL AÑO
Javier Fernandez Auditor
via: ift.tt/1Tc31rg
his painting represents the deep connection with our soul, our inner sun, and the journey of transformation we experience through significant life changes. Inspired by a newborn photo of myself and enhanced with a piece of lace that wrapped me as a baby, this artwork celebrates the inner light that shines within each of us.
📖 Discover the story behind this painting and its meaning in my latest blog post: ilariaberenice.com/en/birth-and-rebirth-blog/
🎨 This unique piece is available in my online shop, with free shipping and a certificate of authenticity.
This photo represents a bit of changing of the guard. GO Transit relied on F units such as No. 905, which has no prime mover only an HEP generator, to lead its trains, before moving to cab cars such as No. 200 its first double decker cab car.
- sent from - / PEMBROKE / AM / SP 14 / 12 / ONT. / - duplex cancel - this hammer was proofed - 15 April 1912 - (DON-1268).
- arrived at - / BISCOTASING / SP 15 / 12 / ONT. / - cds arrival stamp.
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Message on postcard reads - Pembroke - Sept. 13 / 1912
Dear Mrs. Mackie, We are back again after a very pleasant summer at Petawawa as seen on the other side of the card. This is a picture of the cottage I took myself and as we do our own developing we have made the cards. I got some pretty views this summer. I hope you are as well as when I saw your mother in town. Have you made plans for the winter? J. Snedden
The sender of this postcard - Jessie (nee Rattray) Snedden
(b. July 1879 – d. 5 May 1916 at age 36 in Pembroke, Ontario) - LINK to her newspaper obituary - www.newspapers.com/article/the-kingston-whig-standard-obi...
Jessie Rattray was born about July 1879, in Whitewater Region Township, Renfrew, Ontario, Canada, her father, James Charles Rattray, was 28 and her mother, Elizabeth Ann Coulter, was 20. She married Sylvester Mansfield Snedden on 14 January 1903, in Pembroke Township, Renfrew, Ontario, Canada. They were the parents of 2 sons. She lived in Ross Township, Renfrew, Ontario, Canada in 1881. She died on 5 May 1916, in Pembroke Township, Renfrew, Ontario, Canada, at the age of 36 after a long illness, and was buried in Whitewater Region Township, Renfrew, Ontario, Canada.
Her husband - Dr. Sylvester Mansfield Snedden
(b. 24 July 1874 in Pembroke, Renfrew County, Ontario, Canada – d. 12 May 1949 at age 74 in Grand Rapids, Itasca County, Minnesota, USA) - occupation - dentist - LINK to his Find a Grave site - www.findagrave.com/memorial/168964830/sylvester_mansfield...
His second wife was - Lilla May (nee Boomer) Snedden
(b. 1880 - d. 1945) - they were married in 1919.
Sylvester Mansfield Snedden was born on 24 July 1874, in Pakenham Township, Lanark, Ontario, Canada, his father, William Snedden, was 45 and his mother, Eliza Ann Dickson, was 42. He married Jessie Rattray on - 14 January 1903, in Pembroke Township, Renfrew, Ontario, Canada. They were the parents of 2 sons. He immigrated to Sweet Grass, Montana, United States in 1946 and lived in Pembroke, Renfrew County, Ontario, Canada in 1911 and Edmonton, Alberta, Canada for about 12 years.
Retired Dentist Dies On Way Here - Dr. Sylvester M. Snedden, 77, well known retired Edmonton dentist, died at Grand Rapids, Minnesota, Thursday night while en route here. Born in Pembroke, Ont., Dr. Snedden practiced in Edmonton until his retirement three years ago. He was on the staff of the Ponoka Mental Hospital for 12 years and during the last war was associated with Dr. M. A. and Dr. D. F. McIntyre. Prominent in Masonic circles, he was: a past grand master of the Masonic Lodge of Alberta, He is survived by two sons, Charles of Halifax and Alex of London, Ontario. His second wife died three years ago. Funeral services will be held here. LINK - www.newspapers.com/article/edmonton-journal-obituary-for-...
Addressed to: Mrs. H. J. Mackie / Biscotasing / Ontario
Delia Elizabeth (nee Shannon) Mackie
(b. 4 May 1882 in Renfrew County, Ontario, Canada - d.
1969 aged 86–87) LINK to her Find a Grave site - www.findagrave.com/memorial/237630034/delia_elizabeth-mackie
Her father: Patrick Shannon b. 1847 Quebec Canada - d. 1923 Pembroke, Ontario Canada
Her mother: Julie Ann McKay b. 1847 - d. 1928 Renfrew County, Ontario Canada
Her husband - Lieutenant Colonel Herbert John Mackie MPP
(b. 8 January 1876 in Pembroke, Ontario – d. 9 January 1947 at age 72 in Ottawa, Ontario) - they were married in 1908. LINK to his Find a Grave site - www.findagrave.com/memorial/237629971/herbert_john-mackie
Lt. Col. Mackie represented Renfrew North in the Canadian House of Commons from 1917 to 1921 as a Unionist Party member. He served in the Boer War and was Lieutenant-Colonel for the local militia from 1906 to 1908.
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His father: Thomas Mackie M.P. b. 1837 - 1d. 905 Renfrew County, Ontario
His mother: Jessie Shaw b. 1847 Merrickville Ontario - d. 1929 Renfrew County, Ontario
Cronología abreviada de la imposición y la entrega (Por. C. Fazio)
I
El pasado 22 de noviembre, la 51 reunión interparlamentaria México-Estados Unidos concluyó con la difusión de un comunicado conjunto, en el que la delegación estadunidense manifestó su interés "por una mayor interdependencia y seguridad energética de Norteamérica". En la reunión, Michael McCaul, presidente de la delegación visitante y del Comité de Seguridad Interior de la Cámara de Representantes de Estados Unidos, elogió el paquete de contrarreformas neoliberales impulsado por Enrique Peña y el Pacto por México y, tras mencionar los acuerdos transfronterizos de hidrocarburos de su país con México, abogó por una profundización de la "alianza energética" entre ambos y Canadá.
En el marco de las privatizaciones en curso de Petróleos Mexicanos (Pemex) y la Comisión Federal de Electricidad (CFE) en el Congreso mexicano, las "aspiraciones" de McCaul y los parlamentarios estadunidenses no fueron para nada inocentes. Abrevan en la histórica ambición anexionista y de clase que desde los tiempos del secretario de Estado William H. Seward, en la segunda mitad del siglo XIX, se expresó en un proyecto de control infraestructural y económico de dimensiones continentales que incluía la absorción de México y Canadá; proyecto revitalizado en documentos oficiales del gobierno de Franklyn Delano Roosevelt en 1941, cuando se diseñó la Doctrina de Áreas Ampliadas (Grand Area Doctrine), plan geopolítico de integración vertical imperial para la competencia comercial entre bloques, con eje en la noción de "seguridad nacional" estadunidense.
En su última fase, dicho proceso arranca a finales de los años 70 del siglo pasado, cuando el lobby petrolero texano logró colocar en la Oficina Oval a Ronald Reagan y George Bush padre. Veamos:
1973. El embargo de la Organización de Países Exportadores de Petróleo (OPEP) a Estados Unidos, a raíz de su apoyo a Israel en la guerra de Yom Kippur, exhibió su vulnerabilidad energética y generó un trauma geoestratégico. Desde entonces, de cara a cualquier interrupción futura del flujo de hidrocarburos (petróleo y gas natural) del golfo Pérsico, Washington priorizó por razones de "seguridad nacional" sus políticas hacia "fuentes amigables, estables y seguras" como Inglaterra, Canadá, México y Venezuela.
1979. La vinculación entre la seguridad, la dependencia estratégica y las iniciativas para la inclusión de Canadá y México en esquemas de "integración" de América del Norte ingresa como tema central de la seguridad nacional de Estados Unidos. Para dejar de ser "rehenes" de la OPEP y de cara a la pugna interimperialista con los megabloques económicos de la Unión Europea y el Asia/Pacífico (Japón y los tigres asiáticos) que desafían la hegemonía de Estados Unidos, ese año, cuando el tema del petróleo y el gas era casi un tabú en las relaciones bilateral y regional, Ronald Reagan promueve en su campaña por la Casa Blanca la "desvinculación" del petróleo mexicano y el gas natural canadiense del mercado mundial y la "regionalización" de los recursos hidrocarburíficos de ambos países bajo la idea de un "mercado común energético" de América del Norte.
Años 80. En el caso de México, los mayores obstáculos para la conformación de un mercomún energético en el área espacial y territorial de Norteamérica eran el nacionalismo revolucionario, con su artículo 27 constitucional, y la noción misma de la soberanía nacional mexicana. Para librar esos escollos, Washington optó por instrumentos "no militares" (es decir, financieros y monetarios derivados de las líneas de condicionalidad del Banco Mundial, el FMI y el BID atadas a la deuda externa) y de "inteligencia política" (cooptación-corrupción de gobernantes, políticos y empresarios y las presiones derivadas de sus eventuales vínculos con el tráfico de drogas y otros ilícitos).
Históricamente, al aparato militar y diplomático estadunidense no le ha sido difícil detectar esas vulnerabilidades, porque, como dijo el ex secretario de Estado de Woodrow Wilson, Robert Lansing, "dominar a México es extremadamente fácil porque basta con controlar a un solo hombre: el presidente". Labor que han venido desarrollando los emisarios de Washington desde el primer gobierno neoliberal de Miguel de la Madrid hasta el presente, con Enrique Peña, pasando por Carlos Salinas (líder de la facción santannista de lo que Manuel Buendía llamó "neopolkos"), Ernesto Zedillo, Vicente Fox y Felipe Calderón. En abono de lo anterior, y como señaló hace más de dos lustros John Saxe-Fernández en La compra-venta de México, desde 1982 se ha venido generalizando en México el "quintacolumnismo", es decir, una quinta columna integrada por un grupo de poder local colaboracionista, antinacional y entreguista, afín a un anexionismo vertical, subordinado y dependiente de Estados Unidos.
1991. Durante el gobierno salinista, en el marco de la primera guerra del golfo Pérsico, Timothy O’Leary dio a conocer que en una reunión celebrada en Toronto, el 12 de junio de ese año, Los Pinos y la Casa Blanca pactaron que "sin modificar la Constitución mexicana", el petróleo y las operaciones nacionales e internacionales de Pemex entraran en las negociaciones del Tratado de Libre Comercio de América del Norte (TLCAN o NAFTA, por sus siglas en inglés).
1994. Con la entrada en vigor del TLCAN, definido por el ex director de la CIA William Colby como un instrumento importante para "desvanecer" la soberanía mexicana y "reorientar" la función y la existencia misma de México como Estado nación, se profundizó el proceso de "constitucionalización del neoliberalismo disciplinario". Esto es, el ajuste del aparato normativo mexicano con el fin de garantizar "seguridad jurídica" a los inversionistas privados extranjeros, con especial fruición, la desde entonces furtiva, larvada e ilegal contrarreforma a los artículos 27 y 28 de la Constitución en materia energética: electricidad, agua, petróleo, gas natural y otros minerales considerados "críticos y estratégicos" por el Pentágono.
II
Con la entrada en vigor del Tratado de Libre Comercio de América del Norte (TLCAN) en 1994, Estados Unidos y los organismos financieros "internacionales" (BM, FMI, BID, verdaderos perros guardianes al servicio del Departamento del Tesoro y las compañías multinacionales), han venido avanzando sin límite de continuidad en el "cogobierno" o "manejo conjunto" del territorio nacional y sus recursos geoestratégicos. Incluida la privatización "multimodal" de la infraestructura (carreteras, puertos, aeropuertos, vías de ferrocarril, redes de fibra óptica, de electricidad e hidrocarburos), propósito principal del Plan Puebla Panamá (PPP), diseñado durante la administración de Ernesto Zedillo y profundizado con Vicente Fox.
2000-2001. Tras la elección de Fox en julio de 2000, Washington arreció en sus propósitos de transformar el espacio territorial mexicano, de adecuarlo con las nuevas mercancías, a los nuevos negocios y tecnologías. De cuadricularlo, ordenarlo y hacerlo funcional y "productivo".
Durante su campaña electoral, en un debate televisado con Al Gore en octubre de 2000, el entonces gobernador de Texas, George W. Bush, recuperó la idea de Reagan y su padre (George Walker Bush, ex director de la CIA y vicepresidente de los dos mandatos de Reagan, a quien sucedió en 1988) de formar un "mercomún energético de América del Norte". Dijo: "Le hablé (a Fox) de cómo sería mejor apresurar la exploración de gas natural en México y transportarlo a Estados Unidos para que seamos menos dependientes de fuentes externas de petróleo crudo". En febrero de 2001, el experto George Baker, directivo de Mexico Energy Intelligence, planteó que Bush podía ofrecer fondos para convertir a Pemex en la mejor empresa petrolera del mundo. "Por supuesto, tendría que ser una propuesta del presidente Fox, que no corresponde plantear al presidente Bush", dijo Baker. En marzo, Bush no tuvo empacho en afirmar que el gas encontrado en México era "hemisférico" y debía beneficiar a Estados Unidos. Afirmó entonces: "Una buena política energética es aquella que entiende que tenemos energía en nuestro hemisferio y cómo explotarlo mejor y transportarlo a los mercados". Poco antes, con Fox de anfitrión, el secretario de Energía de EU, Spencer Abraham, había logrado introducir en la Declaración de México −suscrita por los ministros de Energía del hemisferio− una frase que abogaba por la "integración energética" del continente. Allí quedó formado un grupo de trabajo trilateral (integrado por Abraham y los ministros del ramo de Canadá y México). "Encontramos que hay dependencia mutua, sin socios minoritarios ni socios mayoritarios", dijo entonces Abraham desafiando la ley que rige la fábula del tiburón y las sardinas.
La idea de crear "redes" o "corredores energéticos" a través de ductos transfronterizos para el intercambio de hidrocarburos, así como la integración eléctrica entre Estados Unidos, Canadá y México, fue retomada en la Cumbre de Quebec (abril de 2001), donde participaron 34 jefes de Estado y de gobierno de América. Uno de los compromisos de la cumbre fue "norteamericanizar los mercados de energía" −ante la deficiencia de Estados Unidos en la materia esgrimida por Bush−, para lo cual se requería "cambiar el marco legislativo y regulatorio" de los países involucrados.
En mayo de 2001, el presidente Bush −principal operativo del cártel petrolero-gasero texano conformado por las trasnacionales Exxon-Mobil, Halliburton, Enron y El Paso Corporation− dio a conocer su plan energético nacional (conocido como Plan Cheney), donde el combustible extranjero pasó a ser el eje del proyecto. En ese esquema, México fue definido como una "fuente primordial" para garantizar la "seguridad energética" de Estados Unidos.
Varios meses antes de los atentados contra las Torres Gemelas, el Grupo para el Desarrollo de una Política Energética Nacional, que elaboró el Plan Cheney, había mostrado un mapa de la República Mexicana que identificaba las cuencas de Burgos, Sabinas y Pedregosas, en el norte de México, frente a Texas (dominios del clan Bush), como las principales reservas de gas no explotado. En esa región, sugería el documento, podría darse una interrelación energética "natural". El grupo recomendó a Bush que instruyera a sus secretarios de Estado y de Energía para que, en consulta con la Comisión Reguladora de Energía, se revisaran los "permisos presidenciales" para la construcción de infraestructura que permita el cruce de petróleo, gas natural y electricidad, y se propongan las reformas a las regulaciones que sean necesarias para hacerlas compatibles con el comercio intrafronterizo.
Cuando en septiembre de 2001 Fox visitó a Bush en Washington, ambos recibieron la propuesta del Consejo Binacional México-Estados Unidos de llevar a cabo, cuanto antes, la integración energética de Norteamérica. El principal destinatario de la solicitud fue Fox: a él le recomendaron aumentar la inversión privada en Pemex; abrir el sector de refinación de crudo al capital extranjero; dividir en varias compañías la red de oleoductos mexicanos y acceder a una pronta integración eléctrica con Estados Unidos. Para todo ello, señalaron, hay opciones: "liberalizando los marcos regulatorios y legales". Es decir, modificando la Constitución mexicana.
2002. El 20 de septiembre de ese año Bush presentó su Estrategia de Seguridad Nacional en la Casa Blanca. Entre las nociones básicas del documento, una decía: "Debe mejorar la seguridad energética (de Estados Unidos). Fortaleceremos nuestra propia seguridad energética y la prosperidad compartida de la economía mundial, colaborando con nuestros aliados, socios comerciales y productores de energía". En buen romance, fue el anuncio estratégico de la Alianza para la Seguridad y la Prosperidad de América del Norte (Aspan), suscrita en Waco, Texas, el 23 de marzo de 2005.
III
Año 2005. Según lo definió entonces la llamada Fuerza de Tarea Independiente (sic) sobre el Futuro de Norteamérica −cuyos copresidentes eran el ex viceprimer ministro de Canadá, John Manley; el ex gobernador de Massachusetts, William Weld y el ex secretario mexicano de Hacienda, Pedro Aspe−, el nuevo "paradigma" en las relaciones de México con Estados Unidos y Canadá ha sido la Alianza para la Seguridad y la Prosperidad de América del Norte (ASPAN).
El "menú" del pacto trilateral, definido entonces por la Casa Blanca con el colaboracionismo de tecnoburócratas gubernamentales, asociaciones empresariales y círculos intelectuales conservadores y entreguistas de Canadá y México, incluyó seis puntos básicos de seguridad: militar, interna, energética, global, social y de acceso al agua dulce. No fue casual que los puntos de la agenda definían los intereses geoestratégicos de Washington; subordinaban el comercio a los asuntos de seguridad definidos en la doctrina Bush de guerra preventiva y lucha contra el "terrorismo", y perseguían una dirección única: la dominación imperial estadunidense en el siglo XXI.
Los objetivos claves del "nuevo acuerdo" −en cuya elaboración participó de manera activa Andrés Rozental Gutman, medio hermano del ex canciller del foxismo Jorge G. Castañeda− fueron desarrollar mecanismos de seguridad marítima, aérea y terrestre que permitieran hacer frente a cualquier "amenaza" en América del Norte; una estrategia energética basada en el incremento de la oferta para satisfacer las "necesidades" de la región (léase Estados Unidos), y facilitar inversiones en infraestructura energética, para las mejoras tecnológicas, la producción y el suministro confiable de energéticos, mejorando la "cooperación" en la materia.
En forma complementaria, un objetivo estratégico de la política petrolera del dúo Bush-Cheney fue persuadir u obligar a México y países productores del golfo Pérsico a que abrieran sus empresas estatales a la inversión multinacional privada. En ese sentido, en Waco, Bush aprovechó la extrema debilidad del presidente Fox y definió la nueva agenda, que los tecnoburócratas locales tratarían de rellenar después con regulaciones, estándares y modificaciones graduales, pequeñas pero sustanciales, de modo de ir "armonizando" la legislación mexicana con los intereses de Washington y las trasnacionales del sector energético.
A su vez, para garantizar "la producción y el suministro confiable de energéticos" en Norteamérica −que comenzaba ya a tomar forma como nuevo espacio geopolítico y geoeconómico−, los estrategas castrenses de Washington impulsaron la idea de un "perímetro exterior de seguridad", lo que colocó a Canadá y México bajo el manto militar nuclear del Comando Estadunidense de Defensa Aeroespacial (conocido como NORAD, por sus siglas en inglés), y su extensión al Comando Norte (creado en 2002), ambos bajo el mando del Pentágono, encargados de proteger de facto los suelos, mares y cielos trinacionales. La anuencia tácita de Fox al plan de seguridad de Bush, colocó desde entonces al territorio mexicano como blanco de cualquier contingencia bélica interimperialista. Pero, además, ese proyecto estadunidense que asumió a México como problema doméstico, incluyó el sellamiento militar del Golfo de México, desde los cabos de la Florida hasta la península de Yucatán, y el corrimiento de la frontera norte al istmo de Tehuantepec para controlar el tránsito de indocumentados mexicanos, centro y sudamericanos, según el diseño original del Plan Puebla-Panamá.
La ASPAN (el TLCAN militarizado), que desde su concreción ha venido funcionando con un "gobierno sombra" de las élites empresariales y militares de Estados Unidos y sus socios menores en Canadá y México, incluyó una integración energética transfronteriza (petróleo, gas natural, electricidad) subordinada a Washington y megaproyectos del capital trasnacional que subsumieron los criterios económicos a los de seguridad, justificando así acciones que de otro modo no podrían ser admitidas por ser violatorias de la soberanía nacional, y una normativa supranacional que hizo a un lado el control legislativo (según la Constitución, el Senado es el encargado de vigilar los acuerdos internacionales suscritos por el Poder Ejecutivo), mientras se impusieron leyes contrainsurgentes que criminalizaron la protesta y la pobreza y globalizaron el disciplinamiento social.
Año 2007. Ya bajo el mandato espurio de Felipe Calderón, la Iniciativa Mérida, anunciada por George W. Bush en Washington el 22 de octubre de 2007, fue diseñada como un paquete de asistencia militar en especie a México por un monto de mil 400 millones de dólares para el trienio 2008-2010. El "nuevo paradigma de cooperación" entre Estados Unidos y México en materia de seguridad estuvo dirigido a hacer frente a "amenazas comunes" asimétricas, mismas que fueron identificadas como organizaciones trasnacionales del crimen organizado, en particular las dedicadas al narcotráfico, el tráfico de armas, las actividades financieras ilícitas, el tráfico de divisas y la trata de personas. Con un dato adicional: la virtual equiparación desde la óptica punitiva estadunidense de tres términos y sus manifestaciones concretas: terroristas, narcotraficantes y migrantes sin documentación válida (indocumentados).
Símil del Plan Colombia, en su parte sustantiva, el millonario paquete de asistencia militar incluyó aviones y helicópteros de combate, barcos, lanchas; armamento y equipo bélico, radares y sofisticados instrumentos para monitoreo aéreo e intervención de comunicaciones; software para análisis de datos asociados a inteligencia financiera, y recursos para sufragar cursos de entrenamiento y asesorías del Pentágono, la CIA, el FBI, la DEA y otros organismos de seguridad estadunidenses a sus contrapartes mexicanas. También incluyó recursos para la instrumentación de reformas judiciales, penales y de procuración de justicia, áreas que de manera paulatina serían homologadas a las de Estados Unidos.
IV
Integrado de facto desde 2002 al "perímetro de seguridad" de Estados Unidos, el territorio de México quedó incluido en la zona bajo control del Comando Norte del Pentágono. A su vez, en el marco de la ASPAN (el TLCAN militarizado, 2005), la Iniciativa Mérida (2007) llevaría a una desnacionalización acelerada del sistema de seguridad interna. Desde entonces, Estados Unidos sería codiseñador de la estrategia de "seguridad nacional" mexicana, lo que, más allá de juegos semánticos, significó una cesión de soberanía.
Definida por el entonces embajador de EE.UU. en México, Antonio Garza, como el "proyecto más agresivo" jamás impulsado por la Casa Blanca en el hemisferio occidental, la Iniciativa Mérida fue diseñada en función de la agenda de seguridad de Washington. Las prioridades de la administración Bush fueron: guerra a las drogas (en el territorio mexicano); guerra al terrorismo (ídem); seguridad fronteriza (en los confines norte y sur de México); control sobre la seguridad pública y las distintas policías de México; penetración de las fuerzas armadas locales (Ejército y Marina de Guerra); construcción de instituciones y reglas de ley similares a las de Estados Unidos (homologación de leyes como parte de la integración silenciosa y subordinada de México).
En ese sentido, las contrarreformas calderonistas fueron parte de la agenda policial-militar-judicial-penal de EE.UU., ya que se encaminaron no sólo a la adopción de facto de medidas similares a las del "Estado de excepción" de la era Bush (Ley Patriota, Comisiones Militares, Ley Marcial), sino que también, vía la pretendida modificación o derogación de la Ley para Conservar la Neutralidad del País, buscaba permitir la proyección del poder militar del Pentágono (aéreo, naval y terrestre, incluyendo las fuerzas especiales), en el territorio nacional y los espacios marítimo y aéreo (lo que luego ocurrió de manera no tan encubierta, drones incluidos), y la creación de bases militares, a la postre denominadas Oficinas Bilaterales de Inteligencia o centros de fusión.
2008. La energía y la política irían de la mano desde comienzos de ese año. En los círculos financieros se afirmó entonces que la privatización de Petróleos Mexicanos (Pemex) estaba próxima. Pero para ello se requerían reformas constitucionales y el presidente Felipe Calderón necesitaba conseguir los votos en el Congreso del Partido Revolucionario Institucional (PRI).
En ese contexto se reveló que Pemex, la mayor empresa paraestatal y principal contribuyente fiscal de México, había establecido convenios de cooperación con cinco multinacionales: la angloholandesa Royal Dutch Shell; Petrobras, de Brasil; Statoil de Holanda; la canadiense Nexen y el gigante petrolero estadunidense Chevron-Texaco. Según autoridades de Pemex, se trataban de convenios "sin carácter comercial" en materia de investigación científica y tecnológica, apegados a los ordenamientos constitucionales y legales vigentes entonces en el país.
Sin embargo, en diciembre anterior La Jornada había denunciado que existía un convenio de carácter confidencial con la Shell, para realizar actividades de exploración en el campo petrolero de Chicontepec, Veracruz, lo que estaba vedado por la Constitución. Entonces se especuló que el llamado Proyecto Margarita permitiría posicionar a la empresa angloholandesa en el país, ante una eventual eliminación de las restricciones constitucionales a la inversión privada en el sector energético.
Pemex clasificó como "información confidencial" los resultados derivados de los acuerdos suscritos con esas cinco compañías, y asumió el compromiso de ocultar los datos al Instituto Federal de Acceso a la Información y Protección de Datos (Ifai). Si Pemex rompía la reserva de los convenios debería pagar una indemnización de 500 mil dólares por evento. Y en caso de una controversia entre ambas partes, ésta se tendría que dirimir en las cortes internacionales de conformidad con el reglamento de arbitraje de la Cámara Internacional de Comercio, con sede en París, Francia.
Calderón dijo que Pemex no se privatizaría, lo que a todas luces fue una actitud demagógica, ya que en 2003, siendo ministro de Energía en el gabinete de Vicente Fox, había abogado por la apertura al capital privado de la Compañía Federal de Electricidad (CFE), mediante adecuaciones al texto de los artículos 27 y 28 constitucionales, con el fin de otorgar "certidumbre jurídica" a los inversionistas extranjeros. Ahora sólo era cuestión de cambiar sector "eléctrico" por "energético".
No era secreto que los distintos gobiernos neoliberales habían venido suscribiendo acuerdos inconfesables con empresas internacionales como el firmado con Shell. Entre los trucos semánticos que intentaban ocultar la privatización por partes de Pemex al margen de la Constitución, se había llegado a hablar de "acuerdos verbales", alianzas "sin documento alguno", convenios de "colaboración" y "pactos sin carácter comercial."
El 4 de marzo, en horario estelar, el gobierno de Calderón puso en marcha una millonaria estrategia propagandística televisiva dirigida a convencer a la población sobre la necesidad de que Pemex se asociara con empresas privadas, nacionales y extranjeras, para explorar "un tesoro escondido" a 3 mil metros de profundidad en el golfo de México. En lo que fue descrito como un doble juego gubernamental para abrir el sector de los energéticos al capital privado, se reveló la existencia de dos versiones del espot oficial: en el portal de YouTube, el promocional, que incluía gráficas satelitales e imágenes en tercera dimensión, hablaba de "alianzas" estratégicas con empresas privadas para la exploración en aguas profundas; pero esa palabra fue mutilada en la televisión abierta, lo que constituyó una manipulación intencional para ocultar que la iniciativa era en pro de una "alianza estratégica" o de "cuates", de la administración Calderón con los tiburones del sector energético trasnacional.
www.jornada.unam.mx/2013/11/25/opinion/021a1pol
www.jornada.unam.mx/2013/12/09/opinion/027a1pol
Sculpture showing boat designs, four large steel chains and silhouettes of faces to represent the town's fishing fleet and blast furnace. It is the first of two of Randall's sculptures celebrating the history of fishing and steelmaking in Redcar, the first is Lifelines, standing 1 km to the east. The name Sinterlation, comes from sinter, a granulated material applied to the top of a blast furnace
Redcar is a seaside town on the Yorkshire Coast in the Redcar and Cleveland unitary authority in the ceremonial county of North Yorkshire, England. It is located 7 miles (11 km) east of Middlesbrough.
The Teesside built-up area's Redcar subdivision had a population of 37,073 at the 2011 Census. The town is made up of Coatham, Dormanstown, Kirkleatham, Newcomen, West Dyke, Wheatlands and Zetland.
It gained a town charter in 1922, from then until 1968 it was governed by the municipal borough of Redcar. Since the abolition of County Borough of Teesside, which existed from 1968 until 1974, the town has been unparished.
Redcar occupies a low-lying site by the sea; the second element of its name is from Old Norse kjarr, meaning 'marsh', and the first may be either Old English (Anglo-Saxon) rēad meaning 'red' or OE hrēod 'reed'. The town originated as a fishing hamlet in the 14th century, trading with the larger adjacent hamlet of Coatham. Until the mid-19th century it was within the parish of Marske-by-the-Sea – mentioned in the Domesday Book of 1086.
Numerous ships have foundered off the Redcar coastline and many of their wrecks still exist. The Zetland is the world's oldest surviving lifeboat. It was built by Henry Greathead of South Shields and is housed in a volunteer-led sea-front museum. The lifeboat was first stationed at Redcar in 1802.
As seaside holidays became fashionable in the early 19th century, Redcar's facilities expanded. By 1841, Redcar had 794 inhabitants. In 1846, work was completed on the Middlesbrough and Redcar Railway and the presently named Redcar Central station, created to attract tourism and trade.
Redcar's population expansion corresponded with Middlesbrough's, with the discovery in 1850 of iron ore in the Eston area of Cleveland Hills. Redcar prospered as a seaside town drawing tourists attracted by eight miles of sands stretching from South Gare to Saltburn-by-the-Sea.
Plans for a pier were drawn up in 1866, but lay dormant until prompted by the announcement of plans to build a pier at Coatham in 1871. Coatham Pier was wrecked before it was completed when two sailing ships were driven through it in a storm. It had to be shortened because of the cost of repairs and was re-opened with an entrance with two kiosks and a roller-skating rink on the Redcar side, and a bandstand halfway along its length.
Redcar Racecourse was created in 1875. Redcar Pier, another pier as well as Coatham Pier, was built in the late 1870s. In October 1880 the brig Luna caused £1,000 worth of damage to this pier. In New Year's Eve 1885 SS Cochrane demolished the landing stage. and in 1897 the schooner Amarant went through the pier. A year later, its head and bandstand burned down.
In October 1898 the Coatham Pier was almost wrecked when the barque Birger struck it and the pier was thereafter allowed to disintegrate. An anchor from the Birger can be seen on the sea front pavement close to the Zetland Lifeboat Museum.
In 1907 a pavilion ballroom was built on Redcar Pier behind the entrance kiosks and in 1928 it was extended. A glass house for concerts was added to the remains of Coatham Pier's entrance. The presently named Redcar East railway station was built in 1929.
In 1929 Coatham Pier's glasshouse was replaced by the New Pavilion theatre. After the war, comedian and entertainer Larry Grayson coined his catchphrase "Shut that Door!" while performing there, since the stage door was open to the cold North Sea breeze.
Redcar Pier was deliberately breached (sectioned) in 1940 to prevent its use by enemy invasion forces. As a result of sectioning, damage by a mine explosion and deterioration it was never reconnected and instead allowed to become even more dilapidated.
In 1964 the New Pavilion Theatre was transformed into the Regent Cinema. The Redcar Pier pavilion continued in use after the war but storm damage led to it being declared unsafe and it was demolished in 1980–1981.
The town's main employers in the post-war era were the nearby Teesside Steelworks at Warrenby, founded by Dorman Long in 1917, and the ICI Wilton chemical works. The steel produced at Dorman Long was used to build the Sydney Harbour Bridge, Tyne Bridge, Auckland Harbour Bridge and many others. Both the Warrenby and Lackenby sites became part of Tata Steel when Corus was taken over in 2007, but continued to trade under the Corus name until at least February 2008. SSI bought the plant from Tata Steel in February 2011, for £320 million.
After a two-year hiatus following the mothballing of the plant in February 2010, steel was once again being made at Redcar. The Thai owners of the former Corus Plant at Lackenby, Sahaviriya Steel Industries (SSI), re-ignited the blast furnace, one of the largest in Europe, on 15 April 2012.
On 18 September 2015, production was paused due to the decline in steel prices. On 28 September 2015, the plant was "mothballed" amid poor steel trading conditions across the world and a drop in steel prices. On 2 October, the owner of the site, SSI UK, entered liquidation. On 12 October 2015 the administrator announced that there was no realistic prospect of finding a buyer and the ovens would be extinguished.
Wards periodically change, as of 2018 the town is made up of Coatham, Dormanstown, Kirkleatham, Newcomen, West Dyke, Wheatlands and Zetland. Redcar is made up of areas that do not lend their name to a ward: Warrenby, Lakes Estate, Redcar East, The Ings, Ings Farm, Mickledales and Westfield.
On 5 May 2011 Redcar elected its councillors to Redcar & Cleveland Borough Council. There was a by-election on 18 November 2011 for two vacant seats in the Zetland ward, held onto by the Liberal Democrats, and on 19 January 2012 there was a by-election for a vacant seat in Newcomen ward subsequently gained by Labour from the Liberal Democrats.
Redcar was formerly a township and chapelry in the parishes of Marske and Upleatham, in 1866 Redcar became a separate civil parish. A district in Redcar's name formed in 1885. Three years after the district was formed, the centuries-old Yorkshire authority was replaced by the North Riding of Yorkshire county council. The district became an urban district in 1894.
The settlement's town charter occurred in 1922, the district was able to be styled as a municipal borough and the settlement as a town. On 1 April 1974 the parish was abolished and merged with Teesside and Marske. On 1 April 1968 the municipal borough was abolished merged into the County Borough of Teesside, part also went to Saltburn and Marske by the Sea Urban District. This removed it from the administrative county however still ceremonially in the area. In 1961 the parish had a population of 31,460.
The 1974 reform created the non-metropolitan County of Cleveland, under the Langbaurgh non-metropolitan district. The county was also inserted into the North East England region. After further changes in 1996, the district became a unitary authority called Redcar & Cleveland in the ceremonial county of North Yorkshire, the county straddling two regions of England.
The North East England region was sub-divided into combined authorities, in May 2017 the Tees Valley area voted for their first mayor. The Conservative candidate, Ben Houchen, won the election and is now in his second term.
From 1987 to 2001, the local Member of Parliament (MP) was Mo Mowlam. From 2001 to 2010 the MP was Vera Baird. In the 2010 general election there was a swing to the Liberal Democrats with Ian Swales being elected. But, in the 2015 general election, Anna Turley, a Labour MP, won back Redcar. In the snap 2017 general election, Anna Turley held onto that seat. In the general election on 12 December 2019, Anna Turley lost her seat to Conservative candidate Jacob Young with a majority of 3,527 votes. Young becomes the third conservative MP to represent Redcar, the first being Royal Naval Commander Robert Tatton Bower 1931 to 1945 and Scarborough businessman Wilfred Proudfoot between 1959 and 1964 when Redcar was part of the Cleveland constituency.
The Palace Hub, on the beach front, was built by Redcar and Cleveland Council for the creative and cultural sector of the town. An art gallery and business start up centre are located in the building. The main library is in the Redcar Heart building in the centre of the town and there is a long-standing Redcar Literary Institute, which was founded in 1896.
Redcar is home to the Tuned In! Centre, which opened in 2011 and overlooks the sea front. The multi purpose venue hosts live music as well as creative workshops for young people. The annual event Clubland on the Beach, which showcases dance acts attracting visitors from across the country, has been held at Majuba Road in Redcar for the past three years.
The town has had several parks built for tourism: Coatham Enclosure, Locke Park, Zetland Park, Lily Park, an Amusement Park with a roller coaster, and a small sea front park known locally as Titty Bottle Park. The Amusement Park near the railway closed decades ago, and Titty Bottle Park was absorbed into the redeveloped sea front around Redcar Beacon.
At the west end of High Street is a Grade II listed clock tower, a memorial to King Edward VII who was a regular visitor to Redcar. The tower has now been refurbished.
Construction of the Redcar Beacon started in 2011. In 2013, when the building had been completed, it was nominated for the Building Design Carbuncle Cup for worst new building. It came third in the whole of the UK. In December 2015, the Beacon was damaged by winds from Storm Desmond, with several large pieces of panelling falling onto the beach below. It was also damaged in winter 2016, where a panel from the top fell off in a storm.
There are 23 listed buildings in Redcar. The Grade I Listed Sir William Turner's Hospital in Kirkleatham was built between 1674–1676 and listed on the 14 June 1952.
On the Esplanade is the Grade II-Listed Zetland Lifeboat Museum housing the world's oldest lifeboat Zetland Lifeboat.
The Victorian, former Coatham Hotel stands on Newcomen Terrace sea front.[36][37] The ballroom of the hotel was home to the Redcar Jazz Club, a venue for the up-and-coming bands of the late 1960s and early 1970s.
In the south-east of Redcar is an aircraft listening post built in 1916 during the First World War as part of a regional defence system to detect approaching aircraft, principally Zeppelins, and give early warning.It is an example of an acoustic mirror, of which other examples can be found along the east coast of Britain. The mirror was used up until the invention of radar and although it was built on open fields today a modern housing estate now surrounds it. Only the concrete sound mirror remains and is now a Grade II listed building.
To the east of Redcar is the grade II* listed Church of St Peter, designed by Ignatius Bonomi and built 1822–29. In 1818, Lord Dundas gave land for a church, St Peters. The foundation stone was laid by Lady Turner of Kirkleatham in 1823. Initially it was a daughter church of Marske, but became an independent parish in 1867. It has a window commemorating local benefactor Sir William Turner.
Redcar has two railway stations, on the Tees Valley line, with trains operated by Northern and TransPennine Express, namely Redcar Central and Redcar East. A third station Redcar British Steel, which closed in December 2019, served the steelworks.
The main roads through the town are the A1085 and the A1042, with the A174 bypassing. Redcar is served primarily by Arriva North East buses, connecting Redcar with the surrounding towns and villages.
The Pangea North and CANTAT-3 submarine telecommunication cables both come ashore between Redcar and Marske-by-the-Sea.
See also: List of schools in Redcar and Cleveland
The town's further education college is Redcar & Cleveland College.
The town's secondary schools are: Outwood Academy Redcar, Sacred Heart Catholic Secondary and Rye Hills Academy.
There are eleven primary schools in Redcar: Coatham, Dormanstown, Green Gates, Ings Farm, John E Batty, Lakes, Newcomen, Riverdale, St Benedict's, Wheatlands and Zetland.
Local news and television programmes are provided by BBC North East and Cumbria and ITV Tyne Tees, the local television station TalkTeesside also broadcasts to the area. Television signals are received from the Bilsdale TV transmitter.
Local radio stations are BBC Radio Tees, Heart North East, Capital North East, Smooth North East, Greatest Hits Radio Teesside, and Zetland FM, a community based radio station which broadcast from its studios on Newcomen Terrace in the town.
The town is served by the local newspapers, East Cleveland Herald & Post which is published by the TeessideLive. The Northern Echo also covers the area.
In Coatham is Cleveland Golf Club, the first golf club to be formed in Yorkshire. It was established in 1887 and is a links course. Also in Coatham is Redcar Cricket Club, which play in the NYSD league, and Redcar Running Club.
In association football, Redcar Athletic currently compete in the Northern League Division One while Redcar Town play in Northern League Division Two. Redcar Rugby Union Football club play at Mackinlay Park.
Redcar Racecourse is one of nine thoroughbred horse racecourses in Yorkshire. There is also a motorcycle speedway racing team, the Redcar Bears racing in the SGB Championship. The race track is at the South Tees Motorsport Park in Southbank Street, South Bank and is unusual in that one bend is more highly banked than the other. The team was formerly captained by 1992 World Champion Gary Havelock and was formerly managed by his father Brian.
The town is set to host the 2022 Tour of Britain stage four, UCI Europe Tour cycling race. The town was previously set to host a stage of the Tour de Yorkshire, the event was affected by the COVID-19 pandemic.
Notable people
Gertrude Bell, colonial administrator and contemporary of Lawrence of Arabia spent her youthful years at Red Barns House in Coatham,[ which became, for a time, the Red Barns Hotel and a listed building.
The surviving negatives of Redcar photographer Alfred Edward Graham (1882–1945) were acquired by Redcar Urban District Council's Library and Museum Committee and are now held by the Redcar and Cleveland Museum Service.
Rex Hunt, governor of the Falkland Islands during the 1982 invasion by Argentina, attended Coatham School.
The former Secretary of State for Northern Ireland, Mo Mowlam, represented Redcar parliamentary constituency in the House of Commons.
Film and television actors Pip Donaghy June Laverick, and Wendy Hall, and actor/director/producer Robert Porter were all born in Redcar.
Actor and radio actor Felicity Finch, famous for her part in the Archers BBC Radio 4 drama series, playing Ruth Archer, was also born and grew up in Redcar.
Singer David Coverdale, lead singer with Deep Purple and Whitesnake lived in Redcar as a youth and worked in the Gentry clothes shop on Coatham Road.
Chris Norman, founder member and former lead singer of Smokie was born in Redcar.
Pete York, drummer with the Spencer Davis Group and session drummer was born in Redcar.
Paralympian, Baroness Tanni Grey-Thompson, originally from Wales, lived in Redcar for a number of years with her husband and daughter.
2011 and 2016 UCI Downhill World Champion Danny Hart was born in and currently lives in Redcar, he is frequently nicknamed "The Redcar Rocket" by commentators.
David Wheater, Bolton Wanderers and England national football team central defender, grew up and still lives in Redcar.
Snooker player Mike Dunn was born in Middlesbrough but lives in Redcar.[citation needed]
Jordan Jones, Rangers FC and Northern Ireland national football team midfielder was born in Redcar
Hayden Hackney, Middlesbrough F.C. midfielder was born in Redcar
Dylan Cartlidge, singer and multi-instrumentalist grew up in Redcar
Film and television
A location from the film Atonement
In 2006, Redcar was used as a location for the film adaptation of the Ian McEwan novel Atonement. The Coatham Hotel, Regent Cinema, a section of Newcomen Terrace and part of the beach were dressed as 1940s Dunkirk. Filming took place across three days in August 2006, with local men playing the soldiers.
In 2010, Redcar was featured on the Channel 4 television programme The Secret Millionaire. David Jamilly a humanitarian, philanthropist and self-made millionaire, visited the Redcar community and gave £25,000 to Zoë's Place for a sensory room, £25,000 to Redcar Amateur Boxing Club to start an Olympic fund, and £25,000 to Sid's Place for special counselling.
There was a subsequent visit on 14 May to a screening at Redcar's cinema, attended by the mayor and mayoress along with all the charities and people involved. The feature of the documentary involved the closure of the nearby Corus steelworks as well as the charities. On 9 December 2011, Jamilly opened the new Redcar Education Development centre in Park Avenue, Redcar. The centre provides day care for adults with learning difficulties. He also opened the Redcar Primary Care Hospital on 9 December 2011 and the new Sid's Place on 15 December 2011.
The town was filmed for the 2018 BBC television documentary The Mighty Redcar. The four-part series followed young people from Redcar and surrounding towns as they completed their studies and looked for work.
North Yorkshire is a ceremonial county in the Yorkshire and the Humber and North East regions of England. It borders County Durham to the north, the North Sea to the east, the East Riding of Yorkshire to the south-east, South Yorkshire to the south, West Yorkshire to the south-west, and Cumbria and Lancashire to the west. Northallerton is the county town.
The county is the largest in England by land area, at 9,020 km2 (3,480 sq mi), and has a population of 1,158,816. The largest settlements are Middlesbrough (174,700) in the north-east and the city of York (152,841) in the south. Middlesbrough is part of the Teesside built-up area, which extends into County Durham and has a total population of 376,663. The remainder of the county is rural, and the largest towns are Harrogate (73,576) and Scarborough (61,749). For local government purposes the county comprises four unitary authority areas — York, Middlesbrough, Redcar and Cleveland, and North Yorkshire — and part of a fifth, Stockton-on-Tees.
The centre of the county contains a wide plain, called the Vale of Mowbray in the north and Vale of York in the south. The North York Moors lie to the east, and south of them the Vale of Pickering is separated from the main plain by the Howardian Hills. The west of the county contains the Yorkshire Dales, an extensive upland area which contains the source of the River Ouse/Ure and many of its tributaries, which together drain most of the county. The Dales also contain the county's highest point, Whernside, at 2,415 feet (736 m).
North Yorkshire non-metropolitan and ceremonial county was formed on 1 April 1974 as a result of the Local Government Act 1972. It covered most of the North Riding of Yorkshire, as well as northern parts of the West Riding of Yorkshire, northern and eastern East Riding of Yorkshire and the former county borough of York. Northallerton, as the former county town for the North Riding, became North Yorkshire's county town. In 1993 the county was placed wholly within the Yorkshire and the Humber region.
Some areas which were part of the former North Riding were in the county of Cleveland for twenty-two years (from 1974 to 1996) and were placed in the North East region from 1993. On 1 April 1996, these areas (Middlesbrough, Redcar and Cleveland and Stockton borough south of the River Tees) became part of the ceremonial county as separate unitary authorities. These areas remain within the North East England region.
Also on 1 April 1996, the City of York non-metropolitan district and parts of the non-metropolitan county (Haxby and nearby rural areas) became the City of York unitary authority.
On 1 April 2023, the non-metropolitan county became a unitary authority. This abolished eight councils and extended the powers of the county council to act as a district council.
The York and North Yorkshire Combined Authority held its first meeting on 22 January 2024, assumed its powers on 1 February 2024 and the first mayor is to be elected in May 2024.
The geology of North Yorkshire is closely reflected in its landscape. Within the county are the North York Moors and most of the Yorkshire Dales, two of eleven areas in England and Wales to be designated national parks. Between the North York Moors in the east and the Pennine Hills. The highest point is Whernside, on the Cumbrian border, at 2,415 feet (736 m). A distinctive hill to the far north east of the county is Roseberry Topping.
North Yorkshire contains several major rivers. The River Tees is the most northerly, forming part of the border between North Yorkshire and County Durham in its lower reaches and flowing east through Teesdale before reaching the North Sea near Redcar. The Yorkshire Dales are the source of many of the county's major rivers, including the Aire, Lune, Ribble, Swale, Ure, and Wharfe.[10] The Aire, Swale, and Wharfe are tributaries of the Ure/Ouse, which at 208 km (129 mi) long is the sixth-longest river in the United Kingdom. The river is called the Ure until it meets Ouse Gill beck just below the village of Great Ouseburn, where it becomes the Ouse and flows south before exiting the county near Goole and entering the Humber estuary. The North York Moors are the catchment for a number of rivers: the Leven which flows north into the Tees between Yarm and Ingleby Barwick; the Esk flows east directly into the North Sea at Whitby as well as the Rye (which later becomes the Derwent at Malton) flows south into the River Ouse at Goole.
North Yorkshire contains a small section of green belt in the south of the county, which surrounds the neighbouring metropolitan area of Leeds along the North and West Yorkshire borders. It extends to the east to cover small communities such as Huby, Kirkby Overblow, and Follifoot before covering the gap between the towns of Harrogate and Knaresborough, helping to keep those towns separate.
The belt adjoins the southernmost part of the Yorkshire Dales National Park, and the Nidderdale AONB. It extends into the western area of Selby district, reaching as far as Tadcaster and Balne. The belt was first drawn up from the 1950s.
The city of York has an independent surrounding belt area affording protections to several outlying settlements such as Haxby and Dunnington, and it too extends into the surrounding districts.
North Yorkshire has a temperate oceanic climate, like most of the UK. There are large climate variations within the county. The upper Pennines border on a Subarctic climate. The Vale of Mowbray has an almost Semi-arid climate. Overall, with the county being situated in the east, it receives below-average rainfall for the UK. Inside North Yorkshire, the upper Dales of the Pennines are one of the wettest parts of England, where in contrast the driest parts of the Vale of Mowbray are some of the driest areas in the UK.
Summer temperatures are above average, at 22 °C. Highs can regularly reach up to 28 °C, with over 30 °C reached in heat waves. Winter temperatures are below average, with average lows of 1 °C. Snow and Fog can be expected depending on location. The North York Moors and Pennines have snow lying for an average of between 45 and 75 days per year. Sunshine is most plentiful on the coast, receiving an average of 1,650 hours a year. It reduces further west in the county, with the Pennines receiving 1,250 hours a year.
The county borders multiple counties and districts:
County Durham's County Durham, Darlington, Stockton (north Tees) and Hartlepool;
East Riding of Yorkshire's East Riding of Yorkshire;
South Yorkshire's City of Doncaster;
West Yorkshire's City of Wakefield, City of Leeds and City of Bradford;
Lancashire's City of Lancaster, Ribble Valley and Pendle
Cumbria's Westmorland and Furness.
The City of York Council and North Yorkshire Council formed the York and North Yorkshire Combined Authority in February 2024. The elections for the first directly-elected mayor will take place in May 2024. Both North Yorkshire Council and the combined authority are governed from County Hall, Northallerton.
The Tees Valley Combined Authority was formed in 2016 by five unitary authorities; Middlesbrough, Redcar and Cleveland Borough both of North Yorkshire, Stockton-on-Tees Borough (Uniquely for England, split between North Yorkshire and County Durham), Hartlepool Borough and Darlington Borough of County Durham.
In large areas of North Yorkshire, agriculture is the primary source of employment. Approximately 85% of the county is considered to be "rural or super sparse".
Other sectors in 2019 included some manufacturing, the provision of accommodation and meals (primarily for tourists) which accounted for 19 per cent of all jobs. Food manufacturing employed 11 per cent of workers. A few people are involved in forestry and fishing in 2019. The average weekly earnings in 2018 were £531. Some 15% of workers declared themselves as self-employed. One report in late 2020 stated that "North Yorkshire has a relatively healthy and diverse economy which largely mirrors the national picture in terms of productivity and jobs.
Mineral extraction and power generation are also sectors of the economy, as is high technology.
Tourism is a significant contributor to the economy. A study of visitors between 2013 and 2015 indicated that the Borough of Scarborough, including Filey, Whitby and parts of the North York Moors National Park, received 1.4m trips per year on average. A 2016 report by the National Park, states the park area gets 7.93 million visitors annually, generating £647 million and supporting 10,900 full-time equivalent jobs.
The Yorkshire Dales have also attracted many visitors. In 2016, there were 3.8 million visits to the National Park including 0.48 million who stayed at least one night. The parks service estimates that this contributed £252 million to the economy and provided 3,583 full-time equivalent jobs. The wider Yorkshire Dales area received 9.7 million visitors who contributed £644 million to the economy. The North York Moors and Yorkshire Dales are among England's best known destinations.
York is a popular tourist destination. A 2014 report, based on 2012 data, stated that York alone receives 6.9 million visitors annually; they contribute £564 million to the economy and support over 19,000 jobs. In the 2017 Condé Nast Traveller survey of readers, York rated 12th among The 15 Best Cities in the UK for visitors. In a 2020 Condé Nast Traveller report, York rated as the sixth best among ten "urban destinations [in the UK] that scored the highest marks when it comes to ... nightlife, restaurants and friendliness".
During February 2020 to January 2021, the average property in North Yorkshire county sold for £240,000, up by £8100 over the previous 12 months. By comparison, the average for England and Wales was £314,000. In certain communities of North Yorkshire, however, house prices were higher than average for the county, as of early 2021: Harrogate (average value: £376,195), Knaresborough (£375,625), Tadcaster (£314,278), Leyburn (£309,165) and Ripon (£299,998), for example.
This is a chart of trend of regional gross value added for North Yorkshire at current basic prices with figures in millions of British pounds sterling.
Unemployment in the county was traditionally low in recent years, but the lockdowns and travel restrictions necessitated by the COVID-19 pandemic had a negative effect on the economy during much of 2020 and into 2021. The UK government said in early February 2021 that it was planning "unprecedented levels of support to help businesses [in the UK] survive the crisis". A report published on 1 March 2021 stated that the unemployment rate in North Yorkshire had "risen to the highest level in nearly 5 years – with under 25s often bearing the worst of job losses".
York experienced high unemployment during lockdown periods. One analysis (by the York and North Yorkshire Local Enterprise Partnership) predicted in August 2020 that "as many as 13,835 jobs in York will be lost in the scenario considered most likely, taking the city's unemployment rate to 14.5%". Some critics claimed that part of the problem was caused by "over-reliance on the booming tourism industry at the expense of a long-term economic plan". A report in mid June 2020 stated that unemployment had risen 114 per cent over the previous year because of restrictions imposed as a result of the pandemic.
Tourism in the county was expected to increase after the restrictions imposed due the pandemic are relaxed. One reason for the expected increase is the airing of All Creatures Great and Small, a TV series about the vet James Herriot, based on a successful series of books; it was largely filmed within the Yorkshire Dales National Park. The show aired in the UK in September 2020 and in the US in early 2021. One source stated that visits to Yorkshire websites had increased significantly by late September 2020.
The East Coast Main Line (ECML) bisects the county stopping at Northallerton,Thirsk and York. Passenger service companies in the area are London North Eastern Railway, Northern Rail, TransPennine Express and Grand Central.
LNER and Grand Central operate services to the capital on the ECML, Leeds Branch Line and the Northallerton–Eaglescliffe Line. LNER stop at York, Northallerton and on to County Durham or spur over to the Tees Valley Line for Thornaby and Middlesbrough. The operator also branch before the county for Leeds and run to Harrogate and Skipton. Grand Central stop at York, Thirsk Northallerton and Eaglescliffe then over to the Durham Coast Line in County Durham.
Northern operates the remaining lines in the county, including commuter services on the Harrogate Line, Airedale Line and York & Selby Lines, of which the former two are covered by the Metro ticketing area. Remaining branch lines operated by Northern include the Yorkshire Coast Line from Scarborough to Hull, York–Scarborough line via Malton, the Hull to York Line via Selby, the Tees Valley Line from Darlington to Saltburn via Middlesbrough and the Esk Valley Line from Middlesbrough to Whitby. Last but certainly not least, the Settle-Carlisle Line runs through the west of the county, with services again operated by Northern.
The county suffered badly under the Beeching cuts of the 1960s. Places such as Richmond, Ripon, Tadcaster, Helmsley, Pickering and the Wensleydale communities lost their passenger services. Notable lines closed were the Scarborough and Whitby Railway, Malton and Driffield Railway and the secondary main line between Northallerton and Harrogate via Ripon.
Heritage railways within North Yorkshire include: the North Yorkshire Moors Railway, between Pickering and Grosmont, which opened in 1973; the Derwent Valley Light Railway near York; and the Embsay and Bolton Abbey Steam Railway. The Wensleydale Railway, which started operating in 2003, runs services between Leeming Bar and Redmire along a former freight-only line. The medium-term aim is to operate into Northallerton station on the ECML, once an agreement can be reached with Network Rail. In the longer term, the aim is to reinstate the full line west via Hawes to Garsdale on the Settle-Carlisle line.
York railway station is the largest station in the county, with 11 platforms and is a major tourist attraction in its own right. The station is immediately adjacent to the National Railway Museum.
The main road through the county is the north–south A1(M), which has gradually been upgraded in sections to motorway status since the early 1990s. The only other motorways within the county are the short A66(M) near Darlington and a small stretch of the M62 motorway close to Eggborough. The other nationally maintained trunk routes are the A168/A19, A64, A66 and A174.
Long-distance coach services are operated by National Express and Megabus. Local bus service operators include Arriva Yorkshire, Stagecoach, Harrogate Bus Company, The Keighley Bus Company, Scarborough & District (East Yorkshire), Yorkshire Coastliner, First York and the local Dales & District.
There are no major airports in the county itself, but nearby airports include Teesside International (Darlington), Newcastle and Leeds Bradford.
The main campus of Teesside University is in Middlesbrough, while York contains the main campuses of the University of York and York St John University. There are also two secondary campuses in the county: CU Scarborough, a campus of Coventry University, and Queen's Campus, Durham University in Thornaby-on-Tees.
Colleges
Middlesbrough College's sixth-form
Askham Bryan College of agriculture, Askham Bryan and Middlesbrough
Craven College, Skipton
Middlesbrough College
The Northern School of Art, Middlesbrough
Prior Pursglove College
Redcar & Cleveland College
Scarborough Sixth Form College
Scarborough TEC
Selby College
Stockton Riverside College, Thornaby
York College
Places of interest
Ampleforth College
Beningbrough Hall –
Black Sheep Brewery
Bolton Castle –
Brimham Rocks –
Castle Howard and the Howardian Hills –
Catterick Garrison
Cleveland Hills
Drax Power Station
Duncombe Park – stately home
Eden Camp Museum –
Embsay & Bolton Abbey Steam Railway –
Eston Nab
Flamingo Land Theme Park and Zoo –
Helmsley Castle –
Ingleborough Cave – show cave
John Smith's Brewery
Jorvik Viking Centre –
Lightwater Valley –
Lund's Tower
Malham Cove
Middleham Castle –
Mother Shipton's Cave –
National Railway Museum –
North Yorkshire Moors Railway –
Ormesby Hall – Palladian Mansion
Richmond Castle –
Ripley Castle – Stately home and historic village
Riverside Stadium
Samuel Smith's Brewery
Shandy Hall – stately home
Skipton Castle –
Stanwick Iron Age Fortifications –
Studley Royal Park –
Stump Cross Caverns – show cave
Tees Transporter Bridge
Theakston Brewery
Thornborough Henges
Wainman's Pinnacle
Wharram Percy
York Castle Museum –
Yorkshire Air Museum –
The Yorkshire Arboretum
Greg Mitchell Photography and Tactile Photo are exclusively represented by Hammond Art Consuting Services: for consultation, design, delivery and installation on commercial, healthcare and hospitality projects, please contact Alan Hammond at (916) 205-3925 or visit their website at www.hammondartconsulting.com
"The Gothic tower of the Holy Gate, also called Mikulovická, represents one of the most important parts of the historical fortifications of the city of Kadana. It was the main gate, separating the Old Town of Kadaňské from the New Town on the west side.
The Holy Gate was built at the end of the 13th century as part of the massive city fortifications, which surrounded the entire royal city in two to three belts. During visits to Kadana, many Czech monarchs passed through the gate, such as Wenceslas II. (1287, 1295, 1297), Charles IV. (1367, 1374), Wenceslas IV. (1374), Ferdinand I. (1534, 1562), Maximilian II. (1562) and Joseph II. (1779). From the Holy Gate, the merchant route continued towards Přísečnica in the Ore Mountains and to Saxony, or Poohřím to Cheb and Nuremberg.
Around the year 1500, at the instigation of Jan Hasištejnský of Lobkowicz, a leading Czech aristocrat and humanist, the suburban district of Nové Město Kadaňské began to emerge right in front of the Holy Gate. At that time, the gate was still called Mikulovická, because the road leading from it led to Mikulovice . The name was changed to the Holy Gate only in 1532, because from there it was possible to reach the pilgrimage church of the Fourteen Saints. Helpers under the Holy Mountain in Kadani. On June 14, 1639, at two o'clock in the morning, the city of Kadaň was attacked by about 300 Swedish horsemen, who conquered the suburbs and began to attack the Holy Gate, setting fire to the straw in front of it and shelling it. After several attacks, the Swedes gave up the siege due to the large number of dead and wounded. However, the city later succumbed to the Swedes, even on March 25, 1641, General Johan Banér personally passed through the Holy Gate.
In the passage there is a latticed baroque niche. It originally housed a late-Gothic statue of the Black Mother of God (today in the Chomutov museum), which was installed here at his own expense in 1738 by the Kadanz burgher of arms, Franz Max Köllisch from Köllischsheim.
The Holy Gate used to have a complexly structured forecourt, popularly called Šance. This consisted of the first gate, which used to be decorated with a relief with a now unknown biblical motif. This gate was also covered by a circular bastion with eight embrasures. Between the first gate and the Holy Gate in the tower there was a second gate. The bastion was demolished together with the circular bastion in 1842. The Holy Gate got its present form between 1877 and 1878, when it was also supplemented with a new clockwork. A statue of Emperor Joseph II was erected in 1882 in the forecourt of the gate. and this public space has been called Josefské náměstí ever since.
Kadaň (Czech pronunciation: [ˈkadaɲ]; German: Kaaden) is a town in Chomutov District in the Ústí nad Labem Region of the Czech Republic. It has about 18,000 inhabitants. It lies on the banks of the Ohře river. Kadaň is a tourist centre with highlights being the Franciscan Monastery and the historical square with late Gothic Town Hall Tower. The historic town centre is well preserved and is protected by law as an urban monument reservation.
The name is most likely derived from the personal name Kadan, meaning "Kadan's (court)".
Kadaň is located about 13 kilometres (8 mi) southwest of Chomutov and 31 km (19 mi) northeast of Karlovy Vary. It lies on the border between the Most Basin and Doupov Mountains. The northern tip of the municipal territory extends into the Ore Mountains. The highest point is the hill Dubový vrch at 691 m (2,267 ft) above sea level, located on the southern border of the territory. A notable feature is also the Úhošť hill, which is together with its surroundings protected as a national nature reserve.
Kadaň is situated on the banks of the Ohře river. On the Ohře, there is Kadaň Reservoir with an area of 67.2 ha (166 acres). It was completed in 1972. Its main purpose is to ensure a minimum flow under the reservoir, but it also serves for the energy use and for recreation and water sports.
In the Bronze Age, the plateau on the Úhošť hill was inhabited, on which there was a Celtic hillfort. According to some theories, the Wogastisburg Castle stood here, which was the scene of the Battle of Wogastisburg between Franks and Slavs in 631.
The first written mention of Kadaň is from 1183. it was probably founded as a market settlement during the colonization of the area at the turn of the 11th and 12th centuries. In 1186, Duke Frederick donated the settlement to the Knights Hospitaller. Around 1260, Kadaň was promoted to a free royal town and the castle was built. An extensive fire in 1362 destroyed the town and the castle, but everything was restored and supplemented with better fortifications. However, King Charles IV granted it several municipal rights (a vineyard, and an annual market) that made it flourish again.
In 1421, during the Hussite Wars, the town was conquered by the Hussites, who controlled it until the end of the wars. From the mid-15th century, the town was pledged to various creditors of the royal chamber. The most notable of them was the Lobkowicz family, who held the town from 1469 to 1519. Jan Hasištejnský of Lobkowicz founded the Franciscan Monastery and the Church of the Fourteen Holy Helpers.
In 1534, "Kadaň religious peace" was negotiated here between Württemberg Protestants and Emperor Ferdinand I for the Catholic side. After the Battle of White Mountain in 1620, violent re-Catholicization began in Kadaň. During the Thirty Years' War, in 1631, 1635 and 1648, Kadaň suffered from fires and plundering by various armies. The Kadaň Castle remained a ruin until the second half of the 18th century, when it was rebuilt into barracks by Empress Maria Theresa.
The last great fire damaged the town in 1811. After the Revolution of 1848, the town became a district centre. The institute of the district town lasted in Kadaň for 110 years when it was affiliated with Chomutov District.
After Czechoslovakia was established in 1918 and Kadaň became its part, most of the Sudeten German disagreed with this decision. On 4 March 1919, they demonstrated for self determination and joining Austria. The Czechoslovak military forces were sent in and tried to control the crowd by shooting. The result of the so-called Kadaň massacre was at least 25 dead and dozens injured.
After the Munich Agreement in 1938, Kadaň was annexed by Nazi Germany and administered as part of Reichsgau Sudetenland. The local Czechs were forced to move to central Czechoslovakia and the Jewish community was sent to concentration camps in Germany. The synagogue was burned down during the Kristallnacht of 9 November 1939. According to Beneš decrees, after World War II, the German population was expelled and the area was re-settled by Czechs.
Bohemia (Latin Bohemia, German Böhmen, Polish Czechy) is a region in the west of the Czech Republic. Previously, as a kingdom, they were the center of the Czech Crown. The root of the word Czech probably corresponds to the meaning of man. The Latin equivalent of Bohemia, originally Boiohaemum (literally "land of Battles"), which over time also influenced the names in other languages, is derived from the Celtic tribe of the Boios, who lived in this area from the 4th to the 1st century BC Bohemia on it borders Germany in the west, Austria in the south, Moravia in the east and Poland in the north. Geographically, they are bounded from the north, west and south by a chain of mountains, the highest of which are the Krkonoše Mountains, in which the highest mountain of Bohemia, Sněžka, is also located. The most important rivers are the Elbe and the Vltava, with the fertile Polabean Plain extending around the Elbe. The capital and largest city of Bohemia is Prague, other important cities include, for example, Pilsen, Karlovy Vary, Kladno, Ústí nad Labem, Liberec, Hradec Králové, Pardubice and České Budějovice, Jihlava also lies partly on the historical territory of Bohemia." - 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.
Vis. Comm. Project #009 - Postcard
Yet another photograph starring Sarah. And if I remember nothing else about her, I will always remember the Vans and the socks. The socks were mystery gifts from a Secret Santa. (Awesome, are they not?) And the Vans... Oh my gosh, the Vans. The Vans represent all things great and wonderful about our sophomore year.
I originally took this for a visual communications art class in high school, but have continued to fall in love with it. The assignment was to take an "evocative" photograph to use as a postcard for our hometown. (Note: I come from more or less the worst place on the face of the earth. Nothing about it is "evocative." Except the cows and the corn fields.) As a (then) aspiring photography major, you would think I'd be brilliant enough to come up with something a little more... Uhm. Well. Not this. But no.
I wasted the entire week we had to work on this playing with cigarette lighters on the sidewalk, outside the art classrooms. My teacher was well aware. Flame igniters are not permitted on school property. (Neither are dogs, weapons, or illegal drugs. Ha.) Then, with ten minutes left to go before the bell rang, I shot this on the same steps outside the door where we'd spent all the previous week playing with lighters. It's pretty awesome, I think.
A Base Aérea N.º4 (BA4) – nas Lajes, Ilha Terceira, Açores - comemorou no dia 15 de junho de 2016 o seu 75.º aniversário.
A cerimónia foi presidida por Sua Excelência o Representante da República para a Região Autónoma dos Açores, Embaixador Pedro Manuel dos Reis Alves Catarino.
Para além da rendição do Porta-Estandarte Nacional e do Porta-Estandarte da Unidade, houve também um momento de homenagem aos mortos da Força Aérea Portuguesa, a imposição de condecorações a militares e entrega do pergaminho comemorativo dos 25 anos ao serviço na Força Aérea aos funcionários civis, terminando com o desfile das Tropas em parada.
#3750 and #1361 both represent the K4s class late in their careers. Both engines are virtually identical with the exception of their tenders. #3750 is equiped with a PRR 110P75a class tender while #1361 is equiped with a PRR 130P75 class.
These two LEGO models of Pennsylvania RR class K4s #3750 and #1361 are perhaps my most ambitious project to date. I've spent months researching and studying the K4s in order to make the most accurate and detailed engine I've built. The boiler design was inspired by my friend and fellow train builder in PennLUG, Nate Brill. What has turned out to be the most difficult part of building these models is the working Walschaerts Valve Gear. My goal was to try and build working valve gear with out modifying any parts, and to keep it as small and proportionate to the rest of the locomotive as possible. This required several weeks of trial and error but I'm reasonably happy with the final result.
Video of my K4s #1361 running at BrickMagic 2012 taken by Bob Hayes
The Pennsylvania RR's K4 class Pacifics were one of the cornerstones of their passenger service for 41 years from when the first engine entered service in 1916 through the final active K4's retirement 1957. The K4's performed their duties with a superb combination of speed, power and grace. K4's pulled the fastest and most prestigious trains of the Pennsylvania Railroad for many decades, with 425 being built between 1914 and 1928 by both Baldwin Locomotive Works and through Pennsy's own Juniata Shops in Altoona. In the mid 1930s, as the passenger consists grew longer and heavier, Pennsy would double and even triple head the K4s. The K4s class has become an icon of the Pennsylvania RR.
There are only two surviving K4s class locomotives, #1361 and #3750. Number 3750 is on display at the Railroad Museum of Pennsylvania in Strasburg. # 3750 was a typical workhorse, with only two unusual events in its long and productive life.The first came early in its lifewhen it pulled President Harding's funeral train.
The second was more unusual. After its retirement from active service in 1957, it remained in storage, first at West Philadelphia enginehouse, then at Northumberland, along with other historic equipment that was destined to become the core of the Museum's holdings. However, the Pennsylvania Railroad, apparently chagrined that the first K4 ever built, #1737, had been scrapped because it was worn out, and decided to "undo" history by placing #1737's number plates onto #3750. #3750 in its masquerade avoided being sent to the scrapper's torch along with hundreds of other K4 locomotives.
Upon the PRR's historic collection being acquired by the newly commissioned Railroad Museum of Pennsylvania it arrived at the Museum along with other historic equipment in 1968 as a "ringer" for No. 1737. This was rectified when the newly formed Friends of the Railroad Museum performed the first of several laborious restorations of this beloved locomotive in the 1980s. Subsequently, the true No. 3750 plates were obtained, and this wonderful locomotive is now secure for future generations to admire.
Number 1361's fame came after her retirement in 1957. For nearly 30 years, #1361 stood on display at the top of the world-famous Horseshoe Curve In Altoona PA. In 1985, the City of Altoona, Conrail, and the Railroaders Memorial Museum made arrangements to move the locomotive from the Horseshoe Curve to the Museum. The engine was moved to Altoona on September 5, 1985, and work to restore the locomotive began in April of 1986. With the help of teams of volunteers, #1361 was restored to working order in just one year's time. In April 1987, #1361 pulled its first passenger train in over thirty years. In May 1987, Altoona City and Conrail named the steam locomotive the "Spirit of Altoona". The engine later encountered extensive problems of age and wear, requiring major rebuilding. #1361 is under ownership of the Railroaders Memorial Museum at Altoona who is currently working to restore the engine to operation once more.
Governor Robert Casey signed a bill proclaiming the K-4 to be Pennsylvania's Official State Steam Locomotive in March of 1988.
#3750 at the Railroad Museum of Pennsylvania in Strasburg PA
La baie représente de droite à gauche le donateur, Louis de Bourbon, comte de Vendôme, sa sœur, son père et son frère, agenouillés avec leurs conjoints. Le tympan représente une scène de jugement dernier.
Date : 1417.
C'est une verrière composée de quatre lancettes trilobées et d'un tympan à quatorze ajours.
La verrière se décompose en quatre niveaux :
Un niveau inférieur porte les armes des membres de la famille représentés au-dessus ;
Un niveau intermédiaire représente les membres de la famille de Louis de Vendôme avec leurs saints patrons ;
Un niveau supérieur représente le Christ couronnant sa Mère, entouré de saint Jean-Baptiste et saint Jean l'Évangéliste ;
Le tympan représente le jugement dernier.
Ces vitraux étaient déjà endommagés avant le XVIIIe siècle, ils furent partiellement restaurés en 1592. Ils ont ensuite disparu en grande partie au moment de la Révolution, en particulier les membres de la famille de Louis de Vendôme. Les personnages ont été refaits en 1920 par le peintre-verrier Albert-Louis Bonnot en s'inspirant des dessins de la collection Gaignières.
Author's Note: The contents of this chapter include very sensitive subject matter and may be triggering to some individuals. Scenes of abuse of various forms are represented as not only for storytelling, but to raise awareness of what this behavior looks like. Abusive behavior in this story includes, but is not limited to: physical abuse, mental abuse, verbal abuse, gaslighting, manipulation, intentional triggering of another's PTSD, and trauma. In no way are these scenes intended to purposely trigger or harm anyone.
~~~
The following morning after Aiden's moonlit flight with Vincent, he'd woken up late just as Vincent was emerging from his quarters. His captain was already fully dressed and ready to run errands. As Vincent explained it to the yawning Aiden, now that he was going to the masquerade, there was much to be done! A short while later, Vincent departed in a determined but cheerful mood to get everything set in motion. And when he returned that evening he had an official invitation to the ball for Aiden in hand! He sat Aiden down and explained in greater detail what preparations would need to be done. While Vincent had informed him that there would be fittings, dancing and etiquette lessons, and even promenades for social practice, the days following were unexpectedly much busier for Aiden than he'd anticipated.
The first order of business was a visit to the tailor! The shop they went to belonged to a highly skilled older man who knew Vincent by sight and greeted the captain enthusiastically. As it turned out, this was where Vincent and the other men in his family frequented as regular customers! After Aiden's nervous last attempt to get himself to visit a shop like this, he was grateful to have Vincent there to guide him through the process. As soon as Vincent explained that they were here for a suit for Aiden for the upcoming ball, the tailor got straight to work! Vincent helped Aiden sort through different fabrics and finally settle on a nice dark teal and gold lining which, as Vincent put it, brought out the color in his eyes. The comment had made Aiden blush slightly; something Vincent noticed which made him feel a little pleased with himself.
When the topic of how much everything was going to cost came up, Aiden felt panic rearing up inside him. He knew it would be expensive but to actually spend the money? Aside from the tiny piece of Fulgora's Eye that he'd gotten for Pete, this was the most expensive purchase he'd ever made for himself! However, with a few quiet, carefully chosen words of reassurance from Vincent, Aiden remembered that he was, in fact, wealthy. He could afford this suit hundreds of times over and then some! With Vincent's encouragement, Aiden went ahead and made the down payment purchase for his suit! Once measurements had been taken some time later and they were free to go, they went next door to the cordwainer. There Aiden got measured again; this time for boots to go specifically for his ballroom attire! This time, Aiden didn't hesitate to pay for his boots which Vincent felt proud of him for.
The lessons Vincent promised began just two days later. While Vincent didn't really care much for all the niceties and politeness of upper class society, he was still a part of it and therefore educated thus. During these lessons, Aiden began to learn the basics of gentlemanly ballroom etiquette. He'd be learning how to dance very soon but first Aiden would need to learn how to properly walk, stand, and even how to talk. While Vincent stressed the importance of these lessons, most of the time the two men were just laughing and enjoying each other's company. Vincent was having such a grand time with his friend that he was often smiling and full of spirit. Vincent suggested Aiden put to practice what he'd learned while they were out and about. Aiden remembered that this was just a part of the facade; the mask that must be put on for society. So, that's what he did. Following Vincent's example, he began to learn. He would gladly play the part. Aiden knew deep down that Vincent liked Aiden just as he was now... but a big part of him wanted to fit into Vincent's world more. He wanted to show Vincent that he was capable of being a part of ALL aspects of his life; not just on the ship.
When it came time for Aiden to learn to dance, Vincent knew that Charlotte would be the most logical choice to be Aiden's dance partner. When the young lady learned to dance a few years ago, it had been Vincent, himself, who was her dance partner as she learned the art. He knew she was a lovely dancer for her age; a talented one, at that. She'd also proven herself to be a patient teacher. Besides all that, Aiden and she got along well and clearly there was chemistry between them. Vincent knew that this would be a perfect opportunity for the two of them to get to know each other and spend time together. There was every reason for him to allow them to practice together! Yet, Vincent knew without a doubt that Charlotte would be all over Aiden...which was why when Aiden arrived for his first day of dance lessons it was not Charlotte there to greet him alongside Vincent....it was Abigail!
Abigail was happy to join Vincent in teaching Aiden how to dance! Of course, she knew the real reason he was asking her even if he didn't want to admit it, and the alternative would have been Bernadette. While Bernie excelled in many other things, Abigail knew just how skilled her sister was on the dance floor....and something told her Aiden would prefer to keep his toes intact.
And so, practice began! Aiden discovered that he liked dancing and the chemistry between the three of them was very pleasant and enjoyable. Abigail was fond of Aiden already and the more she learned and saw of him, the more she found him a pleasure to be around. He was a fun student who made the task of teaching him an enjoyable experience. When the cousins demonstrated to Aiden the various popular dances that he'd see at the ball, the young man was in awe. They appeared to move flawlessly to the music coming out of the phonograph. As it turned out, Abigail had a small passion for dance, and Vincent, while he didn't like to show off, was quite skilled as well. Despite the intricate dances he was shown, Aiden was told he'd be learning the easiest of the dances first: the waltz.
The days passed and things were starting to come together quickly! Aiden's confidence with the waltz was starting to build. Soon, he was guiding Abigail with less mistakes and even felt brave enough to add in a small flourish in his step! Not only was his dancing skills improving, his suit for the masquerade was coming along nicely.
On the topic of his suit one afternoon, Vincent pointed out that dancing in full formal attire was different than practicing in comfortable clothes. It would be heavier and warmer than what they were doing now. He mused that Aiden should be more dressed up while practicing to get used to it; much the way Vincent dressed when out as a member of high society. It got Aiden thinking that maybe it was time he finally got something a little nicer to wear after all.
Normally, these things took time to make so when Aiden went back to the tailor's the next day, he was not expecting to be able to walk out with a brand new outfit in hand. The tailor happened to have a complete set on display that he sold to Aiden at a discounted price. Apparently, it had been made for another customer some time ago who had changed their mind at the very last minute. Amazingly, the entire ensemble fit Aiden like a glove! There were only a couple quick adjustments needed for the pants but that was it!
Finally Aiden stepped up to the mirror. He almost didn't recognize himself! The young man staring back at him looked older and more mature. There was a growing confidence which showed in how he stood tall and smiled with approval.
The next time Aiden was due to meet Abigail and Vincent marked two weeks until the masquerade! While it also meant Damien was officially back in town as well, Aiden had other things on his mind. This was the day he would be arriving dressed like a gentleman; not some commoner who worked aboard a ship.
Aiden was feeling nervous! His hands kept fidgeting and tugging at his fitted blue waistcoat as he stepped off the lift. Just ahead of him was the open door that invitingly led into Vincent's office. What would Vincent think? Would he approve of him? Aiden peeked into the room and took a cursory glance around to see who was all here. His eyes appreciatively settled on the slender yet curvy shape standing by one of the bookshelves beside the tea station.
It was Vincent, of course! He hadn't realized he had company yet. He was standing in front of a small mirror up on one of the bookshelves and was actually humming softly to himself. Intent upon his task, he deftly pinned the last strands of hair into his updo. It was a more effeminate style than Aiden had ever seen on him. It wasn't just his hair but also the way he was dressed that gave him such an androgynous appearance. He was a little more dressed up and the way his corset and trousers flattered and hugged his figure? There was just something different about him today. Whatever it was, Aiden found it attractive.
Just as Vincent finished with his hair and gave a satisfied smile at his appearance there was a soft knock at the door. Ah, that had to be Aiden. He was right on time! As he turned to greet Aiden, he saw Aiden's smile which bemused him. And while he'd never admit it aloud, it made him feel shy. His mind tried to reason why Aiden would be smiling at him as if...as if he were the loveliest creature in the world.
No, his mind reasoned, that couldn't be right! And as if to prove him right, Aiden suddenly began to grin. That's right...he must be amused by his appearance! However, he was completely unaware that, in truth, Aiden was actually grinning at the sight of Vincent's deepening blush that had blossomed across his cheeks at the sight of his friend staring at him...
But now, Vincent was feeling awkward and second-guessing his decision to dress up. He nibbled his lower lip and glanced off to the side. As he reached up with one hand and toyed with his bangs, he said just loud enough for Aiden to hear, "I know, I know. I look silly."
"What? No, you don't!" Aiden chuckled as he stepped into the room. "I think the whole look is very flattering on you."
"You really think so? It's not too much?"
"I really think so. You look great!"
Vincent saw that sweet, reassuring smile and suddenly he felt much better as he found himself suddenly smiling as well. Once upon a time, he would have not believed it so quickly, if at all. But Aiden had a way about him that made him feel safe to be himself. And it seemed that was turning into confidence that was taking hold more firmly in Vincent's life. And though Vincent didn't realize it, he was finally starting to come into himself and blossom; something those closest to him 'had' started to notice.
As it turned out, Abigail had come down with a small cold and wouldn't be joining them today...but Vincent didn't want to cancel Aiden's lesson. After all, Vincent knew how to be led in a dance just as well as he could lead! So, when he offered himself as Aiden's dance partner, he was pleased with Aiden's enthusiastic response.
Once Vincent turned the phonograph on, he turned to face his friend and saw Aiden offering out his hand towards him with a grin. It was much like he'd done the night he'd asked Vincent to join him on their moonlit flight. Vincent grinned back and placed his hand in Aiden's before allowing himself to be guided to the middle of the room.
Aiden slid his hand around Vincent's waist and stepped close, his gaze shifting down to gaze into Vincent's as Vincent's hand came to sit upon his upper arm and gently took his hand. Then after what felt like several quiet, wonderful minutes of suspended time (but was really only a couple of breaths), Aiden began to lead on the next beat of melody that was playing for them.
Aiden had proven by now that he had a pretty good handle on the waltz. So after a couple of dances together, Vincent decided how to show him the first steps of another type of dance he'd demonstrated the first day: the quadrille!
A couple of hours had passed and Aiden was finally ready to give leading a real try! So after a quick break, the men got back to it! It was about halfway through the first dance when Aiden first accidentally treaded on Vincent's toes and bumped into him. At first, Aiden was apologetic, but Vincent laughed it off.
And as they continued to dance, he told Aiden about a few collisions on the dance floor that he'd witnessed. Vincent was no longer keeping an eye on Aiden's dance moves because he was too preoccupied talking and laughing all while still dancing! As natural as can be, Aiden still led Vincent around the small space while listening and tossing in his own laughter and commentary. They were no longer dancing the quadrille, exactly, but instead just dancing for fun while they interacted. In fact, they were so engrossed with each other, their dance, and the music that they were unaware that they were no longer alone.
As seconds turned to nearly a minute, Damien's composure was starting to crack. So this was why Vincent couldn't spend time with him earlier today! Of course, it was because of fucking Aiden! What the bloody Hell was going on? Finally deciding to just get their attention before he completely lost himself, Damien forced another smile upon his face and knocked loudly on the door.
"Damien! Is it three o'clock already?!" Vincent exclaimed before quickly glancing towards the clock. With a small chuckle he added, "Oh, you're early!" He gently detached himself from Aiden's embrace so he could go turn off the music. And as he moved, he glanced out the window and was made aware that it was suddenly getting dark outside as if it were going to pour any moment. And indeed, there was the gentle sound of thunder in the distance.
"Well, you said to just come in when I got here so here I am!"
"I meant at three, but it's fine. It looks like it's going to rain anyways."
It wasn't fine, Vincent felt, but he moved onto the next topic as he joined Aiden and Damien in the center of the room. Vincent realized how nicely Damien was dressed and he complimented him, "Well, don't you look extra sharp today? What's the occasion?"
Damien beamed as Vincent praised his outfit. He'd dressed up just for him for this very reason! He'd even let his hair grow out which he thought gave him a more roguish appearance. He felt handsome and confident; especially now that he knew Vincent approved (just as he already knew he would)!
"Well, thank you! I think I appear rather dashing."
Vincent gave a nod of approval then smiled and gestured over at Aiden. "Aiden's gotten a new outfit, too. Well, two. He's been practicing his dancing for the ball! Didn't you see? He's doing great! He's only just started learning a couple of weeks ago!"
At Vincent's proud grin and praise, Aiden felt himself blush deeply and smile bashfully. He glanced towards Vincent who stood beside him and nudged Aiden's arm with a chuckle. But across the way, Damien wasn't as pleased.
"Wait, wait, wait. The ball?" Damien wondered aloud condescendingly. "Since when is Aiden coming to the ball?"
"Since I invited him!" Vincent retorted more defensively than he'd intended. Damien blinked in surprise and even Aiden felt a little surprised...though also a bit pleased. Mysteriously, a shade of red appeared on Vincent's cheeks as he cleared his throat. He'd invited Aiden there so that he'd not dread the event so much. And...and he wanted him there. Aiden always made things better when he was there!
Unaware that he was still blushing, he quickly glanced up at Aiden then looked back at Damien before explaining a little timidly, "I just thought it would be fun, you know? I wanted to have my best friends with me." And suddenly there was a weight on Vincent's shoulders as Aiden daringly slid his arm over them and leaned towards him with a handsome smile.
"And it's going to be absolutely fantastic. I'm looking forward to it. And...thanks again for teaching me how to dance. These past couple weeks have been...wonderful. You're wonderful."
"Well, gosh! I've been enjoying your company, too. Practice is just a good excuse to see you! It...it HAS been wonderful."
And as Vincent and Aiden teased the boundaries of flirting, the realization of how good they looked side by side was more obvious than ever! Damien suddenly realized that they were even dressed to match in similar colors! It made them look even more like a couple! And with how had Vincent turned to look up at Aiden and seemed to lean into his touch? It took everything in Damien not to punch Aiden in his cocky, smiling face!
'...These past couple of weeks...' Aiden had said. What else had happened during this past month while he was gone?! Maybe he should have come home sooner, after all.
"So, tell us about your trip!" Vincent exclaimed as he was suddenly approaching Damien and tugged him further into the room towards the armchairs. "Would you like some tea? I was just thinking about making some! Aiden?" With both his friends acknowledging his offer, Vincent left Damien to sit and started up the kettle. Meanwhile, Aiden went to lean against the desk as he watched and listened silently.
Damien took his seat and groaned softly as he settled in. His eyes remained focused on Vincent (ignoring Aiden's existence as much as possible) and responded enthusiastically, "It was a lot of fun! I saw lots of family and some old friends..."
Damien began to elaborate on his visit, to which Aiden found a bit dull. However, Vincent seemed to know who Damien was talking about and was much more invested in this conversation. Even as Vincent finished serving their teas, Damien was still talking. It was as Damien's tea finally cooled enough for him to drink some that Aiden finally had a chance to speak.
"After this cup, I think I am going to let you two finish catching up and head out, myself," Aiden informed them. "When you decide when you want to take Leon's Claw up in the air, let me know."
"Mm, that's right. You and I need to decide on that!" Damien replied with a pleased grin to which Vincent smiled and nodded before sipping contently at his tea. Good, Damien thought to himself. Aiden was leaving! As soon as Aiden was gone, he'd get to the bottom of all this.
Aiden finished his tea fairly quickly, and it didn't take long before he reluctantly bid Vincent and Damien farewell. He'd be seeing Vincent the day after tomorrow for sure but that already felt like too far away. And there was something in the way Vincent hesitantly gave Aiden an umbrella to borrow and how he looked at him with a touch of longing that convinced Aiden that Vincent may, in fact, be feeling the exact same way.
Damien watched silently from where he leaned against the desk, arms rising and folding across his chest as the door finally closed behind Aiden. He watched as Vincent turned to face him with a smile. However, Vincent's smile immediately faded as he caught sight of Damien's slight frown and how his brows creased with irritation.
"What's-?" Vincent started but was cut off by Damien's abrupt, "What the fuck is going on?" Vincent drew in a deep breath and defensively responded, "What are you talking about exactly?"
"You know what I mean, Vincent!"
Vincent's lips parted but no words came out. He was flabbergasted! Where was all this coming from?! He really had no idea what Damien was so upset over so quickly! Yet as seconds passed and Vincent couldn't come up with an answer, Damien finally huffed and took a step away and ran his fingers through his hair frustratedly. Though a moment later he took a deep breath and glanced over his shoulders. He let out another sigh and asked Vincent, "I'm your best friend right?"
"Of course you are!"
"You know you can tell me anything."
"I know that."
"So, then what has he done to you?"
"What are you talking about?!"
"Aiden!" Damien placed his hands on Vincent's shoulders and squeezed tightly. Vincent winced and felt a headache take immediate siege as Aiden was being blamed yet again. "Come on, Vincent! This isn't you! I told you: you look silly when you dress like this. What's with the hair?"
Vincent felt his confidence start to sink as he glanced off to the side towards his mirror. Earlier, he'd felt pride in his appearance. He found he liked dressing more androgynously sometimes for personal reasons. Secretly, honestly... Vincent liked pretty things and had always wanted to dress more like this. It wasn't that he wanted to do it all the time but just on those rare occasions...but thanks to Damien, he was starting to question himself again and already wanted to unpin his hair. But then he remembered how Aiden had told him that it was flattering on him and that he looked great!
Remembering that, Vincent shifted his gaze up to look at Damien and placed his hands atop of his and pulled them off before stating a little sharply, "I'm trying something new. It's MY decision, Damien. No one makes that for me. No. One."
Drawing his hands back as if struck, Damien's brow furrowed as if hurt as Vincent walked past him with a sigh. Vincent placed his hands on his prized orrery and stared down at the planets as they rotated around. It was a moment later when Damien's voice appeared right behind him in his ear in a way that sent uncomfortable shivers down his spine.
"You're not the same anymore," Damien murmured. "It's like you're becoming a different person. I just miss my best friend. Is that such a bad thing?"
"No. It's-"
Vincent had turned around and found himself practically sandwiched between the orrery and Damien who was standing very, very close. Vincent wet his lips nervously and glanced off to the side uncomfortably.
"It's not a bad thing. I get it," Vincent relented as he maneuvered away towards his desk. Now feeling much less confident about himself, Vincent folded his arms over his abdomen and hunched slightly. This whole conversation had knocked the wind out of his sails.
Sensing Vincent's drop in mood, Damien reached out to touch his shoulder and explained, "It's just...not you. That's all. But I suppose I can get used to it. I just like good old Vincent, you know? I like how things used to be when it's just us...like now! It's okay, though. So..." And with that, Damien walked past Vincent towards the chair and went to plop down and folded his arms across his chest as he demanded, "...so, what's been going on with you this past month? What brought you to giving 'dancing' lessons?"
Vincent took a deep breath and then let it out and forced a smile on his face. He may as well try to keep the mood light. However, he decided to tread a little more carefully as he shrugged and went to the mirror across the way. He began to unpin the pins in his hair as he explained, "It's not just me. Abby's been helping as his dance partner but she's got a cold so I just stepped in for today."
"Oh! Well why didn't you say SHE was his dance partner?"
And though Vincent's back was turned and he couldn't see it, he could hear and feel Damien's demeanor easing down and becoming less tense. Thank God! He replied, "Because I didn't think it mattered? Anyway, I invited him to come to the ball because I thought it would be fun to have him there. Besides, there will be people he knows and it's a good opportunity. Plus, I was bored! You took TWO extra weeks to come back!"
"Yeah, but it was worth it. At least I had fun! I'm back now. That's what matters and things can go back to as they should be! Tell you what, why don't I come help out with Aiden's lessons? It would be fun! It would be easier to practice with another couple and you and I can dance together! How's that sound? We can practice for the ball!"
Vincent unwound his hair and let it fall across his shoulders; his hair falling forward across his brow and he stared at himself unhappily. And as he did, Damien suddenly appeared behind him, blocking his light and placing his hands around Vincent's upper arms. Vincent glanced off to the side though he felt Damien looming over him and pressing right up against his back and making him shrink and feel very small. Damien's eyes pierced the side of his head and his fingers dug in just the tiniest bit into his arms as he asked, "Don't you think that's a grand idea?"
"I do!" Vincent quickly lied as he plastered a smile on his face and glanced up at him up over his shoulder. Though, honestly, he wanted to crawl and hide for a while. While Damien was right that Aiden could practice better with another couple present for the quadrille, he didn't want to put them together right now. It seemed 4 weeks apart hadn't helped matters at all. "But he's already gotten so good that he won't need much more practice, I think. But if we do, I'll definitely be letting you know first."
Quickly, Vincent turned in place and pushed his long hair over his shoulder, "I'm tired of all this ball talk! Let's decide when we want to go flying!" He hoped Damien would allow himself to be distracted with plans and leave the rest of it alone. He just wanted to enjoy the rest of the day. And thankfully it seemed he was in luck!
Damien grinned and went to take his seat again all while going on a tangent about how eager he was for that. For now, it was best to let Damien enjoy that while he, Vincent, came down from whatever the fuck that argument had been about.
Vincent still wasn't sure what the core of Damien's actual problem was. It always felt like he was running in circles and never directly clarifying what upset him so much. Sometimes, Vincent wondered if even Damien knew. But it was as they parted ways much later in the evening, hours after the whole incident had even happened...that Damien finally started to hint what was really wrong.
"Tell me that you're not going to fall for Aiden."
"That's preposterous! Ha! What in the Hell has you thinking I'm going to fall for Aiden?!"
Vincent actually laughed at the idea! He shook his head as he leaned against the door jamb and folded his arms over his chest. And, if Damien was being honest with himself, Vincent sure did look surprised by this idea. Damien was standing before him in the hallway, peering back at Vincent with slightly narrowed eyes. He didn't want to go until he got that promise.
"Just....promise me you won't!"
"Pfft. Now you're just being ridiculous! Aiden? And 'me?' We're just friends! And crewmates...like you and me. Nothing's going to change, okay? Besides, I am absolutely sure Aiden doesn't see me as anything like that. Don't be a worry wart! You'll see! As soon as this damned masquerade is over with and we're back in the air, everything will be back to normal as it should be."
Vincent smirked and pushed on Damien's shoulder to nudge him to go home. The sooner Damien was gone, the sooner he could lock up and depart, himself. Thankfully, they were heading in opposite directions so he could finally get some peace and quiet.
It took a long moment, but Damien finally gave a satisfied nod and chuckle before responding, "I'm not a worry wart! Just call me a concerned best friend. I care about you. You know that."
"I do know. Be off with you! Get some rest! I'll see you in two days. Five o'clock at Leon's Claw. I'll make sure to get everything arranged ahead of time."
"See you then!"
And as soon as Damien's back was turned, Vincent ducked back into his office and slumped back against the door. Why the Hell was Damien so worried? Sure, Damien was never a person who enjoyed change but who ever truly did? Usually, the two worked very well together and got on well enough. They just needed to work through these few rough patches!
And besides, he was certain that whatever had Damien paranoid would soon pass because sooner or later he'd see that there was only friendship between Aiden and Vincent. It was absurd to think otherwise!
Absolutely...absurd.
---
NEXT PART:
www.flickr.com/photos/153660805@N05/53826223464/in/datepo...
To select another chapter (or even start from the beginning), here's the album link:
www.flickr.com/photos/153660805@N05/albums/72157717075565127
***Please note this is a BOY LOVE (LGBTQ+) series. It is a slow burn and is rated YOUNG ADULT!***
Special thank you to my husband Vin (Be My Mannequin? Pose Store) for collaborating with me on this series and co-starring as The Captain!
DISCORD SERVER: That's right! The Captain and the Engineer has a Discord Server! If you would like to join and chat with other crewmates and see what's new and happening before it gets posted to Flickr, click the link!
***NEW!!!!***
The Captain and the Engineer now has a FACEBOOK PAGE! Please come Like, Follow, and join the crew! Thank you so much for all your support!
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119 Pictures in 2019 ... #85. Represent a well known advertising slogan
Sony α7 II
Minolta 100-200m lens
The assistant vicar Carl Lampert, murdered by the Nazis, was beatified on November 13, 2011.
Exactly 67 years after his execution by the National Socialists, the Catholic Church on November 13, 2011 beatified the Austrian priest Carl Lampert.
The beatification service took place at 15.30 in the parish church of St. Martin in Dornbirn. Representing Pope Benedict XVI, the Prefect of the Vatican Congregation for the Causes of Saints, Cardinal Angelo Amato, led the celebration. The sermon was given by Innsbruck bishop Manfred Scheuer. At the Mass were more than 20 bishops and abbots from home and abroad in Dornbirn.
In memory of Carl Lampert, the church bells in Vorarlberg and at his place of death in the German Halle on the Saale rang for 15 minutes from 4 pm onwards.
Assistant vicar Carl Lampert - "Most dangerous man in the clergy"
Carl Lampert was born on 9 January 1894 in Göfis and ordained a priest in 1918 in Brixen (Bressanone). After several years as a chaplain in Dornbirn and years of study in Rome, assistant vicar Lampert became the then Apostolic Administrator of Innsbruck-Feldkirch and thus deputy to Bishop Paulus Rusch. With the seizure of power by the National Socialists, the Catholic Church in Tyrol and Vorarlberg also faced repressive measures.
Protests against expropriations
Assistant vicar Lampert protested with the Gestapo when priests and religious were imprisoned and tried to get them released. Nazi Gauleiter Franz Hofer wanted to see Tyrol as the first "monastery-free district". When the Innsbruck Monastery of Eternal Worship was to be expropriated on March 5, 1940, the religious women resisted. Assistant vicar Lampert handed a protest letter to the Gestapo, after which he was arrested for the first time for ten days. About a week later, "Vatican Radio" reported measures of the Gestapo against the Catholic Church in Tyrol. Gestapo boss Hilliges blamed Lampert for the reports and the assistant vicar was imprisoned again for two weeks.
Commitment to Otto Neururer
(Blessed Otto Neururer (25 March 1882 – 30 May 1940) was an Austrian Roman Catholic priest and martyr. He was the first priest to die in a Nazi concentration camp and was beatified by Pope John Paul II in 1996 on account of his martyrdom)
Decisive for the fate of Lampert was finally his commitment to Otto Neururer. The pastor of Götzens, blessed in 1996, was murdered in the Buchenwald concentration camp - under cruel torture and hung on his feet. In the obituary, for which Lampert took responsibility, it was noted that Neururer had died "after much suffering" (an allusion to the torture) and "far from his pastoral community, in Weimar / Buchenwald" (an indication of the concentration camp as the place of death).
Because the National Socialists had identified him as the "most dangerous man within the clergy", Lampert then began a martyrdom through two concentration camps (Dachau and Sachsenhausen) and three prisons of Gestapo and Wehrmacht. After a year of concentration camp, Lampert, "emaciated and marked by heavy work", as the Tyrolean old bishop Reinhold Stecher recalls, was released, but "expelled from his Gau" and banished to Szczecin. The Berlin bishop Konrad von Preysing housed him in the local monastery Carolstift, where Lampert preached and held hours of faith for young people.
Beatification since 1998
Lampert is the highest ranking Austrian priest who was murdered by the National Socialists. Through a Gestapo spy he was involved in an alleged "spy affair" and arrested together with members of the "Szczecin Priest Circle" in February 1943.
On November 13, 1944, the assistant vicar was beheaded in Halle an der Saale together with the chaplain Herbert Simoneit and the Oblate father Friedrich Lorenz. At the same time, another three civilians and five soldiers were executed.
In the case of beatification or canonization, the Catholic Church, through the judgment of the Pope, states that a deceased person lived exemplary from faith and that this one has followed Christ a special way.
The result is the official recommendation to accept this person as a role model and as an advocate with God.
The beatification allows the blessed one to be publicly worshiped in a particular region. The beatification can be followed by a canonization. Only then may the person officially be worshiped worldwide.
Without putting the time and the victims of National Socialism on the same level as the present, the memory of the assistant vicar is a reminder and a challenge for today, emphasized Innsbruck Bishop Manfred Scheuer. Carl Lampert died "for justice."
Der von den Nazis ermordete Provikar Carl Lampert wurde am 13. November 2011 selig gesprochen.
Genau 67 Jahre nach seiner Hinrichtung durch die Nationalsozialisten spricht die katholische Kirche am 13. November 2011 den österreichischen Priester Carl Lampert selig.
Der Seligsprechungsgottesdienst famd um 15.30 Uhr in der Pfarrkirche St. Martin in Dornbirn statt. In Vertretung von Papst Benedikt XVI. hat der Präfekt der vatikanischen Selig- und Heiligsprechungskongregation, Kardinal Angelo Amato, die Feier geleitet. Die Predigt hielt der Innsbrucker Bischof Manfred Scheuer. Bei der Messe waren mehr als 20 Bischöfe und Äbte aus dem In- und Ausland in Dornbirn.
Im Gedenken an Carl Lampert läuteten ab 16 Uhr die Kirchenglocken in ganz Vorarlberg und an seinem Todesort im deutschen Halle an der Saale 15 Minuten lang.
Provikar Carl Lampert - "Gefährlichster Mann im Klerus"
Carl Lampert wurde am 9. Jänner 1894 in Göfis geboren und 1918 in Brixen zum Priester geweiht. Nach einigen Jahren als Kaplan in Dornbirn und Studienjahren in Rom wurde Lampert Provikar der damaligen Apostolischen Administratur Innsbruck-Feldkirch und damit Stellvertreter von Bischof Paulus Rusch. Mit der Machtergreifung der Nationalsozialisten sah sich auch die katholische Kirche in Tirol und Vorarlberg repressiven Maßnahmen ausgesetzt.
Proteste gegen Enteignungen
Provikar Lampert protestierte bei der Gestapo, wenn Priester und Ordensleute eingesperrt wurden, und versuchte sie wieder frei zu bekommen. NS-Gauleiter Franz Hofer wollte Tirol als ersten "klosterfreien Gau" sehen. Als am 5. März 1940 das Innsbrucker Kloster der Ewigen Anbetung enteignet werden sollte, wehrten sich die Ordensfrauen. Provikar Lampert übergab der Gestapo ein Protestschreiben, woraufhin er zum ersten Mal für zehn Tage in Haft genommen wurde. Rund eine Woche danach berichtete "Radio Vatikan" von Maßnahmen der Gestapo gegen die katholische Kirche in Tirol. Gestapo-Chef Hilliges machte Lampert für die Berichte verantwortlich und der Provikar wurde erneut zwei Wochen lang inhaftiert.
Einsatz für Otto Neururer
Entscheidend für das Schicksal Lamperts war schließlich sein Eintreten für Otto Neururer. Der 1996 selig gesprochene Pfarrer von Götzens wurde im KZ Buchenwald - unter grausamsten Folterungen und an den Füßen aufgehängt - ermordet. In der Todesanzeige, für die Lampert die Verantwortung übernahm, war vermerkt, dass Neururer "nach großem Leid" (eine Anspielung auf die Folterungen) sowie "fern seiner Seelsorgegemeinde, in Weimar/Buchenwald" (ein Hinweis auf das KZ als Todesort) gestorben sei.
Weil ihn die Nationalsozialisten als "gefährlichsten Mann innerhalb des Klerus" identifiziert hatten, begann für Lampert daraufhin ein Martyrium durch zwei Konzentrationslager (Dachau und Sachsenhausen) und drei Gefängnisse von Gestapo und Wehrmacht. Nach einem Jahr Konzentrationslager wurde Lampert, "abgemagert und von Schwerstarbeit gekennzeichnet", wie sich der Tiroler Altbischof Reinhold Stecher erinnert, zwar freigelassen, aber "gauverwiesen" und nach Stettin verbannt. Der Berliner Bischof Konrad von Preysing brachte ihn im dortigen Carolusstift unter, wo Lampert predigte und Glaubensstunden für Jugendliche abhielt.
Seligsprechungsverfahren seit 1998
Lampert ist der ranghöchste österreichische Priester, der von den Nationalsozialisten ermordet wurde. Durch einen Gestapo-Spitzel wurde er in eine angebliche "Spionage-Affäre" verwickelt und gemeinsam mit Mitgliedern des "Stettiner Priesterkreises" im Februar 1943 verhaftet.
Am 13. November 1944 wurde der Provikar in Halle an der Saale gemeinsam mit dem Kaplan Herbert Simoneit und dem Oblatenpater Friedrich Lorenz enthauptet. Zeitgleich wurden weitere drei Zivilisten und fünf Soldaten hingerichtet.
Bei der Seligsprechung oder Beatifikation stellt die katholische Kirche durch das Urteil des Papstes fest, dass eine verstorbene Person vorbildlich aus dem Glauben gelebt hat und Christus in besonderer Weise nachgefolgt ist.
Daraus ergibt sich die offizielle Empfehlung, diesen Menschen als Vorbild und als Fürsprecher bei Gott anzunehmen.
Mit der Seligsprechung wird erlaubt, dass der Seliggesprochene in einer bestimmten Region öffentlich verehrt werden darf. Der Seligsprechung kann eine Heiligsprechung folgen. Erst dann darf die betreffende Person offiziell weltweit verehrt werden.
Ohne die Zeit und die Opfer des Nationalsozialismus mit der Gegenwart auf eine Ebene zu stellen, sei das Gedächtnis an den Provikar eine mahnende Erinnerung und Herausforderung für heute, betonte der Innsbrucker Bischof Manfred Scheuer. Carl Lampert sei „für die Gerechtigkeit gestorben.“
July was a busy, colorful month.
Pictures represent many different places - Redwood City, Newport Beach, Morro Bay, San Francisco, Palo Alto, Menlo Park, Mt. Shasta, Klamath Falls, Crater Lake, Tule Lake, Monte Sereno, Calaveras County, Alpine County and Arnold. Looks like my travels are over for a while as I start a new job on Monday.
1. Arnold Rim Trail, 2. The Mountains of Alpine County, 3. Calaveras State Park - The Big Tree & Me, 4. Cornsilk, 5. The Ring of Fire, 6. A Bevy of Blonde Beauties at Crater Lake, 7. Ripples & Reflections, 8. Night Photography #2 - Blues on Friday Night, 9. All the Lights On, 10. Welcome to Oregon - Prepare to Be Bugged !, 11. Mt. Shasta - East Side, 12. Blue Damselfly, 13. Crater Lake - The Bluest Blue, 14. Shasta Lake - Drought Year !, 15. Commitment #6 - Love Never Fails, 16. Commitment #5 - Healthy Eating, 17. Commitment #4 - Gardening, 18. Commitment #3 - Save the Bay, 19. Commitment #2 - Waiting to Ripen, 20. Tenderness - A Study of Rodin's "The Kiss", 21. Texture #7 - Agapanthus Blooms, 22. Texture #6 - Swagger, 23. Dusk at Morro Bay, 24. Texture #5 - Spinach Salad, 25. Texture #4 - Day at the Ballpark, 26. Texture #3 - Bison Burger, It's What's For Dinner, 27. Texture #2 - Field of Lavender, 28. Texture #1 - Corn on the Cob, 29. Cormorant in Morro Bay, 30. Golden Sunset - Morro Bay, 31. Red, White & Blue, 32. Newport Beach Back Bay Hazy Afternoon, 33. God Bless America, 34. Center #3 - Just the Nose, 35. Center #2 - Just a Fig
flickriver.com/photos/javier1949/popular-interesting/
Plaza Mayor de la Universidad Autónoma de Madrid
Edificio de Servicios “Plaza Mayor”. C/ Einstein s/n Campus de Cantoblanco. Universidad Autónoma de Madrid.
MTM Arquitectos “Madrid Territorio Mutante” Javier Fresneda & Javier Sanjuán.
Coordinador del Proyecto: Miguel García-Redondo Villar. Arquitectos MTM: Carmen Antón, Laura Casas, Ana Arriero, Jesús Barranco, Álvaro Maestro. Concurso, Proyectos Básico y de Ejecución 2007. Obras 2009-2012
MTM Arquitectos describe el proyecto desde la Memoria del mismo:
Objetivo de la obra: Plaza Mayor. La ciudad donde construimos esta Plaza Mayor tiene un apellido específico, es una Ciudad Universitaria. La Universidad Autónoma de Madrid ha crecido alrededor de un espacio central de encuentro y circulación, un bulevar verde convertido en su espina dorsal. En uno de sus extremos la estación de cercanías que comunica con la madrileña Puerta del Sol; en el otro, la “Plaza Mayor”.
La “Plaza Mayor” es el nuevo centro de servicios de la Universidad por lo que debe manifestar su carácter simbólico y representativo, sirviendo de referencia dentro de la estructura del Campus. La Plaza se soluciona en continuidad con el lugar, proponiendo un nuevo paisaje, soporte de las actividades existentes e incitador de nuevas situaciones. Apoyándonos en el desnivel existente en la parcela y la potencia del bulevar verde que conforma el acceso a las facultades históricas, se construye una plataforma plegada. El bulevar se prolonga así a través de una calle jardín equipada, girando alrededor de una plaza.
Sobre el nivel del terreno natural, por debajo de la rasante, se implanta el aparcamiento, reduciendo al máximo el volumen de excavación, facilitando su ventilación natural a través de los taludes vegetados perimetrales existentes. Respetando estos “amortiguadores naturales” y sobre el nivel inferior, se construyen dos plataformas intermedias donde se produce la agrupación de programas y la variedad de accesos peatonales a nivel de las calles. Las torres de comunicación se elevan funcionando como hitos urbanos dentro del conjunto, creando un punto de inflexión perimetral que anuncian los 7 puentes. Torres y puentes son entradas, conexiones y acontecimientos que incitan a descubrir el vacío interior: la “Plaza Mayor”. Dentro, a su alrededor, los grandes vuelos construyen calles cubiertas que incrementan la versatilidad del espacio protegiendo de sol y la lluvia.
Hay cinco elementos materiales que refuerzan la continuidad bulevar, calle y plaza: El pavimento público: hormigón desactivado in situ y prefabricado, plantación vegetal, césped artificial y pavimentos de caucho. El final del bulevar existente es el comienzo del proyecto y desde ahí una lengua continua de hormigón recorre todo el sistema, rampas, plataformas y escaleras. Sobre esta se recorta la huella de otras actividades y otros materiales.
El cerramiento al exterior de la plaza: policarbonato gris atérmico cargado de resinas metalizadas, piel homogénea y cambiante, desde sus tratamientos específicos y los matices introducidos por las condiciones atmosféricas. El cerramiento al interior: Vidrios en cámara incoloros que abren la actividad al interior como un mercado contemporáneo de servicios. Las compartimentaciones interiores: vidrios laminados, ligeros, y casi imperceptibles, que intentan desaparecer, reforzando la percepción unitaria de cada isla sobre las plataformas; compartimentaciones que no llegan físicamente a tocar la piel exterior de vidrio y policarbonato. Los puntos de color que forman los vidrios templados, en azules, verdes y oros, agrupados formando gemas, puntúan los volúmenes uniformes alrededor de la paleta de grises y tostados utilizados en toda la obra.
Las plataformas, son la infraestructura a la espera de incorporar un programa. La solución estructural facilita la coexistencia de una geometría irregular y quebrada, diferente en cada nivel, los distintos usos programáticos inicialmente requeridos y la continuidad de movimientos entre ellos. Ante un problema complejo la solución estructural es sencilla: un básico sistema de retícula de pilares portantes y losas postesadas de hormigón. La retícula de 5x5 m se mostró la más eficiente y la que mejor se adaptaba a las singularidades de las diferentes plataformas, desde el nivel inferior con la distribución funcional de los aparcamientos, hasta las superiores, más liberadas, permiten reducir la presencia de pilares y adoptar luces de hasta 12,00 m o voladizos de 5,00 m, al compensar los esfuerzos y variar sus diámetros.
La prolongación del paisaje natural que identifica al Campus Universitario se consigue a través de la última plataforma-cubierta. La cubierta ya no lo es, adopta un nuevo carácter más urbano, artificial y equipado. Las situaciones y relaciones que se dan en el bulevar del Campus se reinterpretan y transforman, proponiendo ahora nuevas áreas de oportunidad e intercambio para estudiantes, profesores y visitantes, dotándolo de nuevos soportes e instalaciones para que el espacio sea vivido, valorado y usado de forma continua. Los materiales sobre la nueva calle se adaptarán a las nuevas topografías configurando dunas, pliegues, playas o recortes; con texturas diversas, blandas, rugosas, peludas y colores acentuados, verdes, naranjas, negros, o arena, con líneas de iluminación, báculos elevados conectados al reloj solar, terrazas y kioscos. Y como con la soltura del primer croquis, se dibuja una línea naranja que con su geometría no lineal desmaterializa el borde convirtiéndolo en una línea de conexión con el paisaje del campus y con la lejana presencia de la sierra madrileña.
La ONCE y el Colegio Oficial de Arquitectos de Madrid (COAM) han otorgado a esta Plaza Mayor el primer premio del “Concurso para la selección de actuaciones de Arquitectura e Ingeniería con una Accesibilidad ejemplar” por ser un ejemplo de máxima calidad en el campo de la arquitectura y la ingeniería a nivel nacional, dando prioridad al acceso de personas con discapacidad.
Además de su fácil accesibilidad, otro de los criterios fundamentales de la construcción del edificio es la máxima funcionalidad, eficiencia energética y singularidad de sus dependencias. 26 paneles térmicos y 92 paneles fotovoltaicos permiten el ahorro energético y la optimización de los recursos medioambientales del edificio y se destinan al abastecimiento parcial de las instalaciones.
Las características arquitectónicas del edificio contemplan un diseño que alberga 4.000 m2 distribuidos en cuatro plantas, de las cuales la mitad están cubiertas por soportales y en cuyo sótano se ubican cerca de 200 plazas de aparcamiento. Los servicios disponibles en las instalaciones son la Oficina de Orientación y Atención al Estudiante, la Sección de Acceso, Admisión y Traslados, la Sección de Becas y Ayudas al Estudio, la Oficina de Relaciones Internacionales y Movilidad, la Oficina de Acogidas Internacionales, la Oficina de Acción Solidaria y Cooperación, la Oficina de Prácticas Externas y Orientación para el Empleo, el Centro de Atención a Usuarios y la Oficina de Ecocampus. Además se encuentran operativos un auditorio y una sala de exposiciones, Cafeterías/Restaurantes, Farmacia/Óptica, Librería/Papelería, Agencia de Viajes, entidad bancaria y Centro de Servicios Documentales.
En palabras de Alberto Campo Baeza, miembro del jurado del concurso "Los arquitectos en un tour de force nada fácil, han planteado y han resuelto con rigor y con brillantez un problema crucial en la arquitectura contemporánea, en la siempre debatida relación entre arquitectura y naturaleza. Les pedían unos edificios para alojar diferentes servicios de la Universidad y ellos les han dado una Plaza Mayor. ...han inclinado y plegado y girado y torcido, siempre con criterio, y han construido, insisto, un trozo de Naturaleza en continuidad con lo existente. Han construido su propio paisaje..."
mtmarquitectos-blog-curriculum.blogspot.com.es/
www.metalocus.es/content/es/blog/edificio-de-servicios-pl...
212.145.146.10/ejercicio/concursos/concursos_ocam/120517_...
Disney villains, represent!
The characters: Mother Gothel (Tangled); Jafar (Aladdin), and Ursula (The Little Mermaid). Anyone know who the cosplayers are? Or could someone forward a copy of this to them? Thanks.
Edit: Mother Gothel is Desiree (Fushicho Cosplay)
UPDATE: These Disney villains were used in a Hubpage article on photography genres you may not know about. It's an interesting article.
One week today and the exhibition will be open to the public!
To commemorate the 50-year anniversary of the partial decriminalisation of homosexuality in England I have been blessed with the task of representing Bournemouth’s LGBT+ community.
There will be a series of 24 images taken by me and displayed in the Café Gallery within the Russell-Cotes Art Gallery & Museum.
Detail of the Golden Window, one of the final pair of nave windows representing the soul's final journey into Heaven. This window was designed by Lawrence Lee and represents the Heavenly City, studded with gemstones and with a large figure of Archangel Michael at the centre. At the base a shadowy Christ-like figure appears to welcome us.
Coventry's Cathedral is a unique synthesis of old a new, born of wartime suffering and forged in the spirit of postwar optimism, famous for it's history and for being the most radically modern of Anglican cathedrals. Two cathedral's stand side by side, the ruins of the medieval building, destroyed by incendiary bombs in 1940 and the bold new building designed by Basil Spence and opened in 1962.
It is a common misconception that Coventry lost it's first cathedral in the wartime blitz, but the bombs actually destroyed it's second; the original medieval cathedral was the monastic St Mary's, a large cruciform building believed to have been similar in appearance to Lichfield Cathedral (whose diocese it shared). Tragically it became the only English cathedral to be destroyed during the Reformation, after which it was quickly quarried away, leaving only scant fragments, but enough evidence survives to indicate it's rich decoration (some pieces were displayed nearby in the Priory Visitors Centre, sadly since closed). Foundations of it's apse were found during the building of the new cathedral in the 1950s, thus technically three cathedrals share the same site.
The mainly 15th century St Michael's parish church became the seat of the new diocese of Coventry in 1918, and being one of the largest parish churches in the country it was upgraded to cathedral status without structural changes (unlike most 'parish church' cathedrals created in the early 20th century). It lasted in this role a mere 22 years before being burned to the ground in the 1940 Coventry Blitz, leaving only the outer walls and the magnificent tapering tower and spire (the extensive arcades and clerestoreys collapsed completely in the fire, precipitated by the roof reinforcement girders, installed in the Victorian restoration, that buckled in the intense heat).
The determination to rebuild the cathedral in some form was born on the day of the bombing, however it wasn't until the mid 1950s that a competition was held and Sir Basil Spence's design was chosen. Spence had been so moved by experiencing the ruined church he resolved to retain it entirely to serve as a forecourt to the new church. He envisaged the two being linked by a glass screen wall so that the old church would be visible from within the new.
Built between 1957-62 at a right-angle to the ruins, the new cathedral attracted controversy for it's modern form, and yet some modernists argued that it didn't go far enough, after all there are echoes of the Gothic style in the great stone-mullioned windows of the nave and the net vaulting (actually a free-standing canopy) within. What is exceptional is the way art has been used as such an integral part of the building, a watershed moment, revolutionising the concept of religious art in Britain.
Spence employed some of the biggest names in contemporary art to contribute their vision to his; the exterior is adorned with Jacob Epstein's triumphant bronze figures of Archangel Michael (patron of the cathedral) vanquishing the Devil. At the entrance is the remarkable glass wall, engraved by John Hutton with strikingly stylised figures of saints and angels, and allowing the interior of the new to communicate with the ruin. Inside, the great tapestry of Christ in majesty surrounded by the evangelistic creatures, draws the eye beyond the high altar; it was designed by Graham Sutherland and was the largest tapestry ever made.
However one of the greatest features of Coventry is it's wealth of modern stained glass, something Spence resolved to include having witnessed the bleakness of Chartres Cathedral in wartime, all it's stained glass having been removed. The first window encountered on entering is the enormous 'chess-board' baptistry window filled with stunning abstract glass by John Piper & Patrick Reyntiens, a symphony of glowing colour. The staggered nave walls are illuminated by ten narrow floor to ceiling windows filled with semi-abstract symbolic designs arranged in pairs of dominant colours (green, red, multi-coloured, purple/blue and gold) representing the souls journey to maturity, and revealed gradually as one approaches the altar. This amazing project was the work of three designers lead by master glass artist Lawrence Lee of the Royal College of Art along with Keith New and Geoffrey Clarke (each artist designed three of the windows individually and all collaborated on the last).
The cathedral still dazzles the visitor with the boldness of it's vision, but alas, half a century on, it was not a vision to be repeated and few of the churches and cathedrals built since can claim to have embraced the synthesis of art and architecture in the way Basil Spence did at Coventry.
The cathedral is generally open to visitors most days. For more see below:-
This piece represents an interesting confluence of ideas. On one hand, it's an extenstion of my previous piece, and includes Christine's ideas and radial corrugations, isolated into a tessellable form. On the other hand, it's a sort of protruding tower kind of model, along the lines of the boxpleating models I was doing earlier... I'm trying to bring that idea into these geometric pieces as well; that is, I'm trying to bring things up out of the 2d tessellation plane, while still keeping them attatched to said plane.
La ofrenda suele ser una gran tradición en México. Dependiendo de su tamaño se utiliza una repisa, consola, mesa o inclusive una habitación; utilizando como base cajas de madera, sillas, mesas, pacas, ladrillos, etc.
Los niveles
Representan los estratos de la existencia, variando en cada región y la idiosincrasia
•Altares de dos niveles: representan el cielo, y la tierra.
•Altares de tres niveles: representan el cielo, el purgatorio y la tierra. también puede representar el cielo, la tierra y el inframundo, según la tradición azteca; y las tres divinas personas según la tradicion católica. También representan el cielo, el purgatorio y el infierno
•Altares de siete niveles: representan los siete niveles para llegar al cielo, al purgatorio o al infierno según la tradición católica..
la ofrenda depende del estado en que se coloque y/o municipio ya que cada uno tiene sus costumbres y modos o formas en la que se puede colocar. los altares de 7 niveles representan los pasos que hay que dar para dar a los 7 cielos en el entonces en que se creia que existe
La imagen del difunto
Se coloca una imagen, pintura o fotografía del difunto al que se honra en la parte más alta y destacada del altar. Según la religión o idiosincrasia, también se colocan los retratos de espalda y frente a ellos un espejo, para que así el difunto sólo pueda ver el reflejo de su deudo y el deudo vea el reflejo de su difunto, simbolizando la pertenecía de ambos los dos.
La cruz
En todo el altar se colocan simbolismos referentes a la cruz, la cual es elemento agregado por los evangelizadores españoles con el fin de incorporar el catolicismo entre los naturales y en tradición tan arraigada como era la veneración de los muertos. Una cruz se coloca en la parte superior del altar a un lado de la imagen del difunto. Se coloca una cruz pequeña de sal en el altar que sirve como medio de purificación de los espíritus, y una cruz de ceniza que le ayudará al espíritu a salir del purgatorio. También se usan
Imagen de las ánimas del purgatorio
La Imagen de las ánimas del purgatorio se coloca para facilitar la salida del espíritu, en caso de que se encontrara en el purgatorio. Según la teología católica quienes han muerto habiendo cometido pecados veniales sin confesar, pero sin haber cometido pecado mortal, deberá expiar sus culpas en el purgatorio.
Copal e incienso
El copal es un elemento prehispánico que limpia y purifica las energías de un lugar y de las personas que lo utilizan, se coloca en un brasero y purifica el ambiente para los espíritus esperados. El incienso es un elemento colombino que al igual que el copal purifica y santifica el ambiente, quemándose en un incensario. se pone en el ultimo nivel del altar para guiar al difunto en su regreso a la tierra.
Arco
El arco o marco adornado que se ubica en la cúspide del altar simbolizando la entrada al mundo de los muertos. Adornados también con limonarias y flores de cempasuchil.
Papel picado
El papel picado es una representación de la alegría festiva del día de muertos y del viento.
Velas, veladoras y cirios del altar
Las velas, veladoras y cirios sirven como luz guía a este mundo. Por tradición se colocan velas, veladoras y cirios de color morado (símbolo de duelo) y blancas (símbolo de pureza). Cuatro cirios se colocan en alusión de los puntos cardinales. Las veladoras se extienden a modo de sendero para llegar al altar. Las velas y demás veladoras se colocan sobre candeleros morados repartidas en todo el altar siempre en un número par. Las velas, veladoras y cirios con luz son la clara representación del fuego.
El agua
El agua es de suma importancia y tiene múltiples significados. Refleja la pureza de las almas, es reflejo del ciclo continuo de la regeneración de la vida y la muerte y promesa de fertilidad en la vida y en la siembra. Se coloca un vaso de agua fresca para que el espíritu refresque sus labios y mitigue su sed después del viaje desde el mundo de los muertos. A la vez se coloca un aguamanil o jícara con agua, junto a un jabón, una toalla y un espejo para el aseo personal de los muertos.
Las flores
Las flores fungen como ornato en todo altar y sepulcro. La flor de cempasuchil es uno de los elementos más importantes de los altares, además de ornato la tradición indica que su aroma sirve de guía a los espíritus en este mundo.
Las calaveras
Las calaveras son alusiones a la muerte que siempre esta presente. Son coloridas calaveras de azúcar, barro, chocolate y yeso con adornos de colores, de fuerte influencia barroca, les gusta por su rico sabor y olor.
Comida
Se prepara puro chocolate oscuro en la mesa principal y se coloca comida al agrado de los fallecidos, se cocinan desde días antes los platillos tradicionales como: tamales, mole, arroz, calabaza en tacha, etc. para que los muertos puedan disfrutar de su esencia. La comida no es únicamente para el alma visitante, sino para los deudos, quienes festejaran con ella y algun visitante ireconosible.
El pan
El pan representa la generosidad del anfitrión, y el regalo de la tierra misma. Existen múltiples variantes en su elaboración, como lo son los panes en forma de “muertitos” de Pátzcuaro y de la selva potosina y en el centro de México se acostumbra el pan de anís en forma de domo redondo, adornado con forma de huesos en alusión a la cruz y espolvoreado de azúcar.
Bebidas alcohólicas
Algunos altares contienen bebidas alcohólicas como jarritos con tequila, vasos con trago o agua que le gustaban al difunto.
Objetos personales
Los objetos personales son artículos pertenecientes en vida a los difuntos y se colocan en el altar para que el espíritu pueda recordar momentos de su vida. En el caso de que el difunto sea el espíritu de un niño suelen colocarse juguetes en el altar.
Los adornos
Infinidad de adornos alusivos a la muerte han surgido del arte popular mexicano y se han agregado al altar de muertos. Figuras con cuadros de entierros, velorios o cementerios, o representando escenas de la vida cotidiana con esqueletos como personajes realizados en figuras de alfeñique, cartonería, madera, barro o yeso, son típicos de la fecha, así mismo como hermosos arreglos frutales o florales.
También en muchos altares se incluyen cadenas elaboradas con papel crepé, de color morado y amarillo, un eslabón de cada color, alternandos. El morado representa la muerte y el amarillo la vida, por lo que con este adorno queda representada la delgada línea existente entre la vida y la muerte.
Festejo
Comienza cuando una persona de la casa enciende las velas del altar susurrando los nombres de los difuntos, se reza pidiendo el favor de Dios para que lleguen con bien, los familiares se sientan a la mesa y comparten la comida preparada para el festín, escuchando música del agrado, se habla sobre las novedades de la familia, se recuerdan anécdotas del difunto y se pide por la intercesión del difunto a Dios.
El festejo es un reencuentro, aunque breve, feliz, con la promesa de alcanzarlos en el más allá, llegado el momento.
Al termino se apagan las veladoras y se despide al los espíritus, deseándoles buen viaje de regreso al más allá y pidiéndoles que retornen el próximo año
The Ajanta Caves (Ajiṇṭhā leni; Marathi: अजिंठा लेणी) in Aurangabad district of Maharashtra, India are about 30 rock-cut Buddhist cave monuments which date from the 2nd century BCE to about 480 or 650 CE. The caves include paintings and sculptures described by the government Archaeological Survey of India as "the finest surviving examples of Indian art, particularly painting", which are masterpieces of Buddhist religious art, with figures of the Buddha and depictions of the Jataka tales. The caves were built in two phases starting around the 2nd century BCE, with the second group of caves built around 400–650 CE according to older accounts, or all in a brief period of 460 to 480 according to the recent proposals of Walter M. Spink. The site is a protected monument in the care of the Archaeological Survey of India, and since 1983, the Ajanta Caves have been a UNESCO World Heritage Site.
The caves are located in the Indian state of Maharashtra, near Jalgaon and just outside the village of Ajinṭhā 20°31′56″N 75°44′44″E), about 59 kilometres from Jalgaon railway station on the Delhi – Mumbai line and Howrah-Nagpur-Mumbai line of the Central Railway zone, and 104 kilometres from the city of Aurangabad. They are 100 kilometres from the Ellora Caves, which contain Hindu and Jain temples as well as Buddhist caves, the last dating from a period similar to Ajanta. The Ajanta caves are cut into the side of a cliff that is on the south side of a U-shaped gorge on the small river Waghur, and although they are now along and above a modern pathway running across the cliff they were originally reached by individual stairs or ladders from the side of the river 35 to 110 feet below.
The area was previously heavily forested, and after the site ceased to be used the caves were covered by jungle until accidentally rediscovered in 1819 by a British officer on a hunting party. They are Buddhist monastic buildings, apparently representing a number of distinct "monasteries" or colleges. The caves are numbered 1 to 28 according to their place along the path, beginning at the entrance. Several are unfinished and some barely begun and others are small shrines, included in the traditional numbering as e.g. "9A"; "Cave 15A" was still hidden under rubble when the numbering was done. Further round the gorge are a number of waterfalls, which when the river is high are audible from outside the caves.
The caves form the largest corpus of early Indian wall-painting; other survivals from the area of modern India are very few, though they are related to 5th-century paintings at Sigiriya in Sri Lanka. The elaborate architectural carving in many caves is also very rare, and the style of the many figure sculptures is highly local, found only at a few nearby contemporary sites, although the Ajanta tradition can be related to the later Hindu Ellora Caves and other sites.
HISTORY
Like the other ancient Buddhist monasteries, Ajanta had a large emphasis on teaching, and was divided into several different caves for living, education and worship, under a central direction. Monks were probably assigned to specific caves for living. The layout reflects this organizational structure, with most of the caves only connected through the exterior. The 7th-century travelling Chinese scholar Xuanzang informs us that Dignaga, a celebrated Buddhist philosopher and controversialist, author of well-known books on logic, lived at Ajanta in the 5th century. In its prime the settlement would have accommodated several hundred teachers and pupils. Many monks who had finished their first training may have returned to Ajanta during the monsoon season from an itinerant lifestyle.
The caves are generally agreed to have been made in two distinct periods, separated by several centuries.
CAVES OF THE FIRST (SATAVAHANA) PERIOD
The earliest group of caves consists of caves 9, 10, 12, 13 and 15A. According to Walter Spink, they were made during the period 100 BCE to 100 CE, probably under the patronage of the Satavahana dynasty (230 BCE – c. 220 CE) who ruled the region. Other datings prefer the period 300 BCE to 100 BCE, though the grouping of the earlier caves is generally agreed. More early caves may have vanished through later excavations. Of these, caves 9 and 10 are stupa halls of chaitya-griha form, and caves 12, 13, and 15A are vihāras (see the architecture section below for descriptions of these types). The first phase is still often called the Hinayāna phase, as it originated when, using traditional terminology, the Hinayāna or Lesser Vehicle tradition of Buddhism was dominant, when the Buddha was revered symbolically. However the use of the term Hinayana for this period of Buddhism is now deprecated by historians; equally the caves of the second period are now mostly dated too early to be properly called Mahayana, and do not yet show the full expanded cast of supernatural beings characteristic of that phase of Buddhist art. The first Satavahana period caves lacked figurative sculpture, emphasizing the stupa instead, and in the caves of the second period the overwhelming majority of images represent the Buddha alone, or narrative scenes of his lives.
Spink believes that some time after the Satavahana period caves were made the site was abandoned for a considerable period until the mid-5th century, probably because the region had turned mainly Hindu
CAVES OF THE LATER OR VAKATAKA PERIOD
The second phase began in the 5th century. For a long time it was thought that the later caves were made over a long period from the 4th to the 7th centuries CE, but in recent decades a series of studies by the leading expert on the caves, Walter M. Spink, have argued that most of the work took place over the very brief period from 460 to 480 CE, during the reign of Emperor Harishena of the Vakataka dynasty. This view has been criticized by some scholars, but is now broadly accepted by most authors of general books on Indian art, for example Huntington and Harle.
The second phase is still often called the Mahāyāna or Greater Vehicle phase, but scholars now tend to avoid this nomenclature because of the problems that have surfaced regarding our understanding of Mahāyāna.
Some 20 cave temples were simultaneously created, for the most part viharas with a sanctuary at the back. The most elaborate caves were produced in this period, which included some "modernization" of earlier caves. Spink claims that it is possible to establish dating for this period with a very high level of precision; a fuller account of his chronology is given below. Although debate continues, Spink's ideas are increasingly widely accepted, at least in their broad conclusions. The Archaeological Survey of India website still presents the traditional dating: "The second phase of paintings started around 5th – 6th centuries A.D. and continued for the next two centuries". Caves of the second period are 1–8, 11, 14–29, some possibly extensions of earlier caves. Caves 19, 26, and 29 are chaitya-grihas, the rest viharas.
According to Spink, the Ajanta Caves appear to have been abandoned by wealthy patrons shortly after the fall of Harishena, in about 480 CE. They were then gradually abandoned and forgotten. During the intervening centuries, the jungle grew back and the caves were hidden, unvisited and undisturbed, although the local population were aware of at least some of them.
REDISCOVERY
On 28 April 1819, a British officer for the Madras Presidency, John Smith, of the 28th Cavalry, while hunting tiger, accidentally discovered the entrance to Cave No. 10 deep within the tangled undergrowth. There were local people already using the caves for prayers with a small fire, when he arrived. Exploring that first cave, long since a home to nothing more than birds and bats and a lair for other larger animals, Captain Smith vandalized the wall by scratching his name and the date, April 1819. Since he stood on a five-foot high pile of rubble collected over the years, the inscription is well above the eye-level gaze of an adult today. A paper on the caves by William Erskine was read to the Bombay Literary Society in 1822. Within a few decades, the caves became famous for their exotic setting, impressive architecture, and above all their exceptional, all but unique paintings. A number of large projects to copy the paintings were made in the century after rediscovery, covered below. In 1848 the Royal Asiatic Society established the "Bombay Cave Temple Commission" to clear, tidy and record the most important rock-cut sites in the Bombay Presidency, with John Wilson, as president. In 1861 this became the nucleus of the new Archaeological Survey of India. Until the Nizam of Hyderabad built the modern path between the caves, among other efforts to make the site easy to visit, a trip to Ajanta was a considerable adventure, and contemporary accounts dwell with relish on the dangers from falls off narrow ledges, animals and the Bhil people, who were armed with bows and arrows and had a fearsome reputation.
Today, fairly easily combined with Ellora in a single trip, the caves are the most popular tourist destination in Mahrashtra, and are often crowded at holiday times, increasing the threat to the caves, especially the paintings. In 2012, the Maharashtra Tourism Development Corporation announced plans to add to the ASI visitor centre at the entrance complete replicas of caves 1, 2, 16 & 17 to reduce crowding in the originals, and enable visitors to receive a better visual idea of the paintings, which are dimly-lit and hard to read in the caves. Figures for the year to March 2010 showed a total of 390,000 visitors to the site, divided into 362,000 domestic and 27,000 foreign. The trends over the previous few years show a considerable growth in domestic visitors, but a decline in foreign ones; the year to 2010 was the first in which foreign visitors to Ellora exceeded those to Ajanta.
PAINTINGS
Mural paintings survive from both the earlier and later groups of caves. Several fragments of murals preserved from the earlier caves (Caves 9 and 11) are effectively unique survivals of court-led painting in India from this period, and "show that by Sātavāhana times, if not earlier, the Indian painter had mastered an easy and fluent naturalistic style, dealing with large groups of people in a manner comparable to the reliefs of the Sāñcī toraņa crossbars".
Four of the later caves have large and relatively well-preserved mural paintings which "have come to represent Indian mural painting to the non-specialist", and fall into two stylistic groups, with the most famous in Caves 16 and 17, and apparently later paintings in Caves 1 and 2. The latter group were thought to be a century or more later than the others, but the revised chronology proposed by Spink would place them much closer to the earlier group, perhaps contemporary with it in a more progressive style, or one reflecting a team from a different region. The paintings are in "dry fresco", painted on top of a dry plaster surface rather than into wet plaster.
All the paintings appear to be the work of painters at least as used to decorating palaces as temples, and show a familiarity with and interest in details of the life of a wealthy court. We know from literary sources that painting was widely practised and appreciated in the courts of the Gupta period. Unlike much Indian painting, compositions are not laid out in horizontal compartments like a frieze, but show large scenes spreading in all directions from a single figure or group at the centre. The ceilings are also painted with sophisticated and elaborate decorative motifs, many derived from sculpture. The paintings in cave 1, which according to Spink was commissioned by Harisena himself, concentrate on those Jataka tales which show previous lives of the Buddha as a king, rather than as an animal or human commoner, and so show settings from contemporary palace life.
In general the later caves seem to have been painted on finished areas as excavating work continued elsewhere in the cave, as shown in caves 2 and 16 in particular. According to Spink's account of the chronology of the caves, the abandonment of work in 478 after a brief busy period accounts for the absence of painting in caves such as 4 and 17, the later being plastered in preparation for paintings that were never done.
COPIES
The paintings have deteriorated significantly since they were rediscovered, and a number of 19th-century copies and drawings are important for a complete understanding of the works. However, the earliest projects to copy the paintings were plagued by bad fortune. In 1846, Major Robert Gill, an Army officer from Madras presidency and a painter, was appointed by the Royal Asiatic Society to replicate the frescoes on the cave walls to exhibit these paintings in England. Gill worked on his painting at the site from 1844 to 1863 (though he continued to be based there until his death in 1875, writing books and photographing) and made 27 copies of large sections of murals, but all but four were destroyed in a fire at the Crystal Palace in London in 1866, where they were on display.
Another attempt was made in 1872 when the Bombay Presidency commissioned John Griffiths, then principal of the Bombay School of Art, to work with his students to make new copies, again for shipping to England. They worked on this for thirteen years and some 300 canvases were produced, many of which were displayed at the Imperial Institute on Exhibition Road in London, one of the forerunners of the Victoria and Albert Museum. But in 1885 another fire destroyed over a hundred paintings that were in storage. The V&A still has 166 paintings surviving from both sets, though none have been on permanent display since 1955. The largest are some 3 × 6 metres. A conservation project was undertaken on about half of them in 2006, also involving the University of Northumbria. Griffith and his students had unfortunately painted many of the paintings with "cheap varnish" in order to make them easier to see, which has added to the deterioration of the originals, as has, according to Spink and others, recent cleaning by the ASI.
A further set of copies were made between 1909 and 1911 by Christiana Herringham (Lady Herringham) and a group of students from the Calcutta School of Art that included the future Indian Modernist painter Nandalal Bose. The copies were published in full colour as the first publication of London's fledgling India Society. More than the earlier copies, these aimed to fill in holes and damage to recreate the original condition rather than record the state of the paintings as she was seeing them. According to one writer, unlike the paintings created by her predecessors Griffiths and Gill, whose copies were influenced by British Victorian styles of painting, those of the Herringham expedition preferred an 'Indian Renascence' aesthetic of the type pioneered by Abanindranath Tagore.
Early photographic surveys were made by Robert Gill, who learnt to use a camera from about 1856, and whose photos, including some using stereoscopy, were used in books by him and Fergusson (many are available online from the British Library), then Victor Goloubew in 1911 and E.L. Vassey, who took the photos in the four volume study of the caves by Ghulam Yazdani (published 1930–1955).
ARCHITECTURE
The monasteries mostly consist of vihara halls for prayer and living, which are typically rectangular with small square dormitory cells cut into the walls, and by the second period a shrine or sanctuary at the rear centred on a large statue of the Buddha, also carved from the living rock. This change reflects the movement from Hinayana to Mahāyāna Buddhism. The other type of main hall is the narrower and higher chaitya hall with a stupa as the focus at the far end, and a narrow aisle around the walls, behind a range of pillars placed close together. Other plainer rooms were for sleeping and other activities. Some of the caves have elaborate carved entrances, some with large windows over the door to admit light. There is often a colonnaded porch or verandah, with another space inside the doors running the width of the cave.
The central square space of the interior of the viharas is defined by square columns forming a more or less square open area. Outside this are long rectangular aisles on each side, forming a kind of cloister. Along the side and rear walls are a number of small cells entered by a narrow doorway; these are roughly square, and have small niches on their back walls. Originally they had wooden doors. The centre of the rear wall has a larger shrine-room behind, containing a large Buddha statue. The viharas of the earlier period are much simpler, and lack shrines. Spink in fact places the change to a design with a shrine to the middle of the second period, with many caves being adapted to add a shrine in mid-excavation, or after the original phase.
The plan of Cave 1 shows one of the largest viharas, but is fairly typical of the later group. Many others, such as Cave 16, lack the vestibule to the shrine, which leads straight off the main hall. Cave 6 is two viharas, one above the other, connected by internal stairs, with sanctuaries on both levels.
The four completed chaitya halls are caves 9 and 10 from the early period, and caves 19 and 26 from the later period of construction. All follow the typical form found elsewhere, with high ceilings and a central "nave" leading to the stupa, which is near the back, but allows walking behind it, as walking around stupas was (and remains) a common element of Buddhist worship (pradakshina). The later two have high ribbed roofs, which reflect timber forms, and the earlier two are thought to have used actual timber ribs, which have now perished. The two later halls have a rather unusual arrangement (also found in Cave 10 at Ellora) where the stupa is fronted by a large relief sculpture of the Buddha, standing in Cave 19 and seated in Cave 26. Cave 29 is a late and very incomplete chaitya hall.
The form of columns in the work of the first period is very plain and un-embellished, with both chaitya halls using simple octagonal columns, which were painted with figures. In the second period columns were far more varied and inventive, often changing profile over their height, and with elaborate carved capitals, often spreading wide. Many columns are carved over all their surface, some fluted and others carved with decoration all over, as in cave 1.
The flood basalt rock of the cliff, part of the Deccan Traps formed by successive volcanic eruptions at the end of the Cretaceous, is layered horizontally, and somewhat variable in quality, so the excavators had to amend their plans in places, and in places there have been collapses in the intervening centuries, as with the lost portico to cave 1. Excavation began by cutting a narrow tunnel at roof level, which was expanded downwards and outwards; the half-built vihara cave 24 shows the method. Spink believes that for the first caves of the second period the excavators had to relearn skills and techniques that had been lost in the centuries since the first period, which were then transmitted to be used at later rock-cut sites in the region, such as Ellora, and the Elephanta, Bagh, Badami and Aurangabad Caves.
The caves from the first period seem to have been paid for by a number of different patrons, with several inscriptions recording the donation of particular portions of a single cave, but according to Spink the later caves were each commissioned as a complete unit by a single patron from the local rulers or their court elites. After the death of Harisena smaller donors got their chance to add small "shrinelets" between the caves or add statues to existing caves, and some two hundred of these "intrusive" additions were made in sculpture, with a further number of intrusive paintings, up to three hundred in cave 10 alone.
A grand gateway to the site, at the apex of the gorge's horsehoe between caves 15 and 16, was approached from the river, and is decorated with elephants on either side and a nāga, or protective snake deity.
ICONOGRAPHY OF THE CAVES
In the pre-Christian era, the Buddha was represented symbolically, in the form of the stupa. Thus, halls were made with stupas to venerate the Buddha. In later periods the images of the Buddha started to be made in coins, relic caskets, relief or loose sculptural forms, etc. However, it took a while for the human representation of the Buddha to appear in Buddhist art. One of the earliest evidences of the Buddha's human representations are found at Buddhist archaeological sites, such as Goli, Nagarjunakonda, and Amaravati. The monasteries of those sites were built in less durable media, such as wood, brick, and stone. As far as the genre of rock-cut architecture is concerned it took many centuries for the Buddha image to be depicted. Nobody knows for sure at which rock-cut cave site the first image of the Buddha was depicted. Current research indicates that Buddha images in a portable form, made of wood or stone, were introduced, for the first time, at Kanheri, to be followed soon at Ajanta Cave 8 (Dhavalikar, Jadhav, Spink, Singh). While the Kanheri example dates to 4th or 5th century CE, the Ajanta example has been dated to c. 462–478 CE (Spink). None of the rock-cut monasteries prior to these dates, and other than these examples, show any Buddha image although hundreds of rock-cut caves were made throughout India during the first few centuries CE. And, in those caves, it is the stupa that is the object of veneration, not the image. Images of the Buddha are not found in Buddhist sailagrhas (rock-cut complexes) until the times of the Kanheri (4th–5th century CE) and Ajanta examples (c. 462–478 CE).
The caves of the second period, now all dated to the 5th century, were typically described as "Mahayana", but do not show the features associated with later Mahayana Buddhism. Although the beginnings of Mahāyāna teachings go back to the 1st century there is little art and archaeological evidence to suggest that it became a mainstream cult for several centuries. In Mahayana it is not Gautama Buddha but the Bodhisattva who is important, including "deity" Bodhisattva like Manjushri and Tara, as well as aspects of the Buddha such as Aksobhya, and Amitabha. Except for a few Bodhisattva, these are not depicted at Ajanta, where the Buddha remains the dominant figure. Even the Bodhisattva images of Ajanta are never central objects of worship, but are always shown as attendants of the Buddha in the shrine. If a Bodhisattva is shown in isolation, as in the Astabhaya scenes, these were done in the very last years of activities at Ajanta, and are mostly 'intrusive' in nature, meaning that they were not planned by the original patrons, and were added by new donors after the original patrons had suddenly abandoned the region in the wake of Emperor Harisena's death.
The contrast between iconic and aniconic representations, that is, the stupa on one hand and the image of the Buddha on the other, is now being seen as a construct of the modern scholar rather than a reality of the past. The second phase of Ajanta shows that the stupa and image coincided together. If the entire corpus of the art of Ajanta including sculpture, iconography, architecture, epigraphy, and painting are analysed afresh it will become clear that there was no duality between the symbolic and human forms of the Buddha, as far as the 5th-century phase of Ajanta is concerned. That is why most current scholars tend to avoid the terms 'Hinayana' and 'Mahayana' in the context of Ajanta. They now prefer to call the second phase by the ruling dynasty, as the Vākāţaka phase.
CAVES
CAVE 1
Cave 1 was built on the eastern end of the horse-shoe shaped scarp, and is now the first cave the visitor encounters. This would when first made have been a less prominent position, right at the end of the row. According to Spink, it is one of the latest caves to have been excavated, when the best sites had been taken, and was never fully inaugurated for worship by the dedication of the Buddha image in the central shrine. This is shown by the absence of sooty deposits from butter lamps on the base of the shrine image, and the lack of damage to the paintings that would have been happened if the garland-hooks around the shrine had been in use for any period of time. Although there is no epigraphic evidence, Spink believes that the Vākāţaka Emperor Harishena was the benefactor of the work, and this is reflected in the emphasis on imagery of royalty in the cave, with those Jakata tales being selected that tell of those previous lives of the Buddha in which he was royal.
The cliff has a more steep slope here than at other caves, so to achieve a tall grand facade it was necessary to cut far back into the slope, giving a large courtyard in front of the facade. There was originally a columned portico in front of the present facade, which can be seen "half-intact in the 1880s" in pictures of the site, but this fell down completely and the remains, despite containing fine carving, were carelessly thrown down the slope into the river, from where they have been lost, presumably carried away in monsoon torrents.
This cave has one of the most elaborate carved façades, with relief sculptures on entablature and ridges, and most surfaces embellished with decorative carving. There are scenes carved from the life of the Buddha as well as a number of decorative motifs. A two pillared portico, visible in the 19th-century photographs, has since perished. The cave has a front-court with cells fronted by pillared vestibules on either side. These have a high plinth level. The cave has a porch with simple cells on both ends. The absence of pillared vestibules on the ends suggest that the porch was not excavated in the latest phase of Ajanta when pillared vestibules had become a necessity and norm. Most areas of the porch were once covered with murals, of which many fragments remain, especially on the ceiling. There are three doorways: a central doorway and two side doorways. Two square windows were carved between the doorways to brighten the interiors.
Each wall of the hall inside is nearly 12 m long and 6.1 m high. Twelve pillars make a square colonnade inside supporting the ceiling, and creating spacious aisles along the walls. There is a shrine carved on the rear wall to house an impressive seated image of the Buddha, his hands being in the dharmachakrapravartana mudra. There are four cells on each of the left, rear, and the right walls, though due to rock fault there are none at the ends of the rear aisle. The walls are covered with paintings in a fair state of preservation, though the full scheme was never completed. The scenes depicted are mostly didactic, devotional, and ornamental, with scenes from the Jataka stories of the Buddha's former existences as a bodhisattva), the life of the Gautama Buddha, and those of his veneration. The two most famous individual painted images at Ajanta are the two over-life size figures of the protective bodhisattvas Padmapani and Vajrapani on either side of the entrance to the Buddha shrine on the wall of the rear aisle (see illustrations above). According to Spink, the original dating of the paintings to about 625 arose largely or entirely because James Fegusson, a 19th-century architectural historian, had decided that a scene showing an ambassador being received, with figures in Persian dress, represented a recorded embassy to Persia (from a Hindu monarch at that) around that date.
CAVE 2
Cave 2, adjacent to Cave 1, is known for the paintings that have been preserved on its walls, ceilings, and pillars. It looks similar to Cave 1 and is in a better state of preservation.
Cave 2 has a porch quite different from Cave one. Even the façade carvings seem to be different. The cave is supported by robust pillars, ornamented with designs. The front porch consists of cells supported by pillared vestibules on both ends. The cells on the previously "wasted areas" were needed to meet the greater housing requirements in later years. Porch-end cells became a trend in all later Vakataka excavations. The simple single cells on porch-ends were converted into CPVs or were planned to provide more room, symmetry, and beauty.
The paintings on the ceilings and walls of this porch have been widely published. They depict the Jataka tales that are stories of the Buddha's life in former existences as Bodhisattva. Just as the stories illustrated in cave 1 emphasize kingship, those in cave 2 show many "noble and powerful" women in prominent roles, leading to suggestions that the patron was an unknown woman. The porch's rear wall has a doorway in the center, which allows entrance to the hall. On either side of the door is a square-shaped window to brighten the interior.
The hall has four colonnades which are supporting the ceiling and surrounding a square in the center of the hall. Each arm or colonnade of the square is parallel to the respective walls of the hall, making an aisle in between. The colonnades have rock-beams above and below them. The capitals are carved and painted with various decorative themes that include ornamental, human, animal, vegetative, and semi-divine forms.
Paintings appear on almost every surface of the cave except for the floor. At various places the art work has become eroded due to decay and human interference. Therefore, many areas of the painted walls, ceilings, and pillars are fragmentary. The painted narratives of the Jataka tales are depicted only on the walls, which demanded the special attention of the devotee. They are didactic in nature, meant to inform the community about the Buddha's teachings and life through successive rebirths. Their placement on the walls required the devotee to walk through the aisles and 'read' the narratives depicted in various episodes. The narrative episodes are depicted one after another although not in a linear order. Their identification has been a core area of research since the site's rediscovery in 1819. Dieter Schlingloff's identifications have updated our knowledge on the subject.
CAVE 4
The Archeological Survey of India board outside the caves gives the following detail about cave 4: "This is the largest monastery planned on a grandiose scale but was never finished. An inscription on the pedestal of the buddha's image mentions that it was a gift from a person named Mathura and paleographically belongs to 6th century A.D. It consists of a verandah, a hypostylar hall, sanctum with an antechamber and a series of unfinished cells. The rear wall of the verandah contains the panel of Litany of Avalokiteśvara".
The sanctuary houses a colossal image of the Buddha in preaching pose flanked by bodhisattvas and celestial nymphs hovering above.
CAVES 9-10
Caves 9 and 10 are the two chaitya halls from the first period of construction, though both were also undergoing an uncompleted reworking at the end of the second period. Cave 10 was perhaps originally of the 1st century BCE, and cave 9 about a hundred years later. The small "shrinelets" called caves 9A to 9D and 10A also date from the second period, and were commissioned by individuals.
The paintings in cave 10 include some surviving from the early period, many from an incomplete programme of modernization in the second period, and a very large number of smaller late intrusive images, nearly all Buddhas and many with donor inscriptions from individuals. These mostly avoided over-painting the "official" programme and after the best positions were used up are tucked away in less prominent positions not yet painted; the total of these (including those now lost) was probably over 300, and the hands of many different artists are visible.
OTHER CAVES
Cave 3 is merely a start of an excavation; according to Spink it was begun right at the end of the final period of work and soon abandoned. Caves 5 and 6 are viharas, the latter on two floors, that were late works of which only the lower floor of cave 6 was ever finished. The upper floor of cave 6 has many private votive sculptures, and a shrine Buddha, but is otherwise unfinished. Cave 7 has a grand facade with two porticos but, perhaps because of faults in the rock, which posed problems in many caves, was never taken very deep into the cliff, and consists only of the two porticos and a shrine room with antechamber, with no central hall. Some cells were fitted in.
Cave 8 was long thought to date to the first period of construction, but Spink sees it as perhaps the earliest cave from the second period, its shrine an "afterthought". The statue may have been loose rather than carved from the living rock, as it has now vanished. The cave was painted, but only traces remain.
SPINK´S DETAILED CHRONOLOGY
Walter M. Spink has over recent decades developed a very precise and circumstantial chronology for the second period of work on the site, which unlike earlier scholars, he places entirely in the 5th century. This is based on evidence such as the inscriptions and artistic style, combined with the many uncompleted elements of the caves. He believes the earlier group of caves, which like other scholars he dates only approximately, to the period "between 100 BCE – 100 CE", were at some later point completely abandoned and remained so "for over three centuries", as the local population had turned mainly Hindu. This changed with the accession of the Emperor Harishena of the Vakataka Dynasty, who reigned from 460 to his death in 477. Harisena extended the Central Indian Vakataka Empire to include a stretch of the east coast of India; the Gupta Empire ruled northern India at the same period, and the Pallava dynasty much of the south.
According to Spink, Harisena encouraged a group of associates, including his prime minister Varahadeva and Upendragupta, the sub-king in whose territory Ajanta was, to dig out new caves, which were individually commissioned, some containing inscriptions recording the donation. This activity began in 462 but was mostly suspended in 468 because of threats from the neighbouring Asmaka kings. Work continued on only caves 1, Harisena's own commission, and 17–20, commissioned by Upendragupta. In 472 the situation was such that work was suspended completely, in a period that Spink calls "the Hiatus", which lasted until about 475, by which time the Asmakas had replaced Upendragupta as the local rulers.
Work was then resumed, but again disrupted by Harisena's death in 477, soon after which major excavation ceased, except at cave 26, which the Asmakas were sponsoring themselves. The Asmakas launched a revolt against Harisena's son, which brought about the end of the Vakataka Dynasty. In the years 478–480 major excavation by important patrons was replaced by a rash of "intrusions" – statues added to existing caves, and small shrines dotted about where there was space between them. These were commissioned by less powerful individuals, some monks, who had not previously been able to make additions to the large excavations of the rulers and courtiers. They were added to the facades, the return sides of the entrances, and to walls inside the caves. According to Spink, "After 480, not a single image was ever made again at the site", and as Hinduism again dominated the region, the site was again abandoned, this time for over a millennium.
Spink does not use "circa" in his dates, but says that "one should allow a margin of error of one year or perhaps even two in all cases".
IMPACT ON MODERN INDIAN PAINTINGS
The Ajanta paintings, or more likely the general style they come from, influenced painting in Tibet and Sri Lanka.
The rediscovery of ancient Indian paintings at Ajanta provided Indian artists examples from ancient India to follow. Nandlal Bose experimented with techniques to follow the ancient style which allowed him to develop his unique style. Abanindranath Tagore also used the Ajanta paintings for inspiration.
WIKIPEDIA
www.twitter.com/Memoire2cite le Logement Collectif* 50,60,70's dans tous ses états..Histoire & Mémoire de l'Habitat / Rétro-Villes / HLM / Banlieue / Renouvellement Urbain / Urbanisme URBANISME S’imaginer Paris et le Grand Paris @ Les 50ans d'Apur (link: 50ans.apur.org/#intro) 50ans.apur.org/#intro @ Où en est l'histoire urbaine des sociétés contemporaines ? Cet ouvrage, inspiré par Annie Fourcaut, qui contribua de manière décisive à son développement, propose un état des lieux de ce champ et explore des pistes de recherche ouvrant l'histoire urbaine à une variété de " genres ".
Où en est l'histoire urbaine des sociétés contemporaines ? Cet ouvrage, inspiré par Annie Fourcaut, qui contribua de manière décisive à son développement, propose un état des lieux de ce champ. De Femmes à l'usine (1981), Bobigny, banlieue rouge (1986), à La banlieue en morceaux (2000), en passant par les publications collectives qu'elle a coordonnées et les travaux qu'elle a encadrés, la trajectoire de cette historienne a conduit l'histoire sociale et politique – telle qu'on la pratiquait dans les années 1970 – vers une histoire urbaine renouvelée.
Le livre revient sur cette évolution et explore des pistes de recherche ouvrant l'histoire urbaine à une variété de " genres ". Les auteurs, historiennes et historiens, sociologues, politistes, géographes, architectes, urbanistes et décideurs politiques proposent une histoire urbaine à la fois interdisciplinaire et ancrée dans la fabrique de la ville et ses représentations, portant la marque de sa dédicataire.
Les quatre sections de l'ouvrage dessinent les chantiers qu'Annie Fourcaut a investis : " Du social à l'urbain " met en avant la conviction qu'étudier l'histoire des villes, c'est toujours faire de l'histoire sociale ; " Qu'elle était belle la banlieue " est centré sur les banlieues, son territoire d'étude de prédilection ; " Les habits neufs des politiques de la ville " interroge les politiques urbaines successives et leur transformation ; enfin, " Banc d'essai des modernités " propose une analyse historique de l'urbanisme, comme discipline et comme pratique.
www.twitter.com/Memoire2cite Les 30 Glorieuses . com et la carte postale.. Il existe de nos jours, de nombreux photographes qui privilégient la qualité artistique de leurs travaux cartophiles. A vous de découvrir ces artistes inconnus aujourd’hui, mais qui seront peut-être les grands noms de demain. Jérôme (Mémoire2Ville) #chercheur #archiviste #maquettiste dans l #histoire des #logementssociaux #logement #HLM #logementsocial #Patrimoine @ Les films du MRU -Industrialiser la construction, par le biais de la préfabrication.Cette industrialisation a abouti, dans les années 1950, à un choix politique de l'Etat, la construction massive de G.E. pour résoudre la très forte crise du logement dont souffrait la France www.youtube.com/watch?v=zR_jxCANYac&fbclid=IwAR2IzWlM... … Le temps de l'urbanisme, 1962, Réalisation : Philippe Brunet www.dailymotion.com/video/xgj2zz?playlist=x34ije … … … … -Les grands ensembles en images Les ministères en charge du logement et leur production audiovisuelle (1944-1966) MASSY - Les films du MRU - La Cité des hommes, 1966, Réalisation : Fréderic Rossif, Albert Knobler www.dailymotion.com/video/xgiqzr?playlist=x34i - Les films du MRU @ les AUTOROUTES - Les liaisons moins dangereuses 1972 la construction des autoroutes en France - Le réseau autoroutier 1960 Histoire de France Transports et Communications - www.dailymotion.com/video/xxi0ae?playlist=x34ije … - A quoi servaient les films produits par le MRU ministère de la Reconstruction et de l'Urbanisme ? la réponse de Danielle Voldman historienne spécialiste de la reconstruction www.dailymotion.com/video/x148qu4?playlist=x34ije … -les films du MRU - Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : la préfabrication en usine, le coffrage glissant... www.dailymotion.com/video/xyjudq?playlist=x34ije … - TOUT SUR LA CONSTRUCTION DE NOTRE DAME LA CATHEDRALE DE PARIS Içi www.notredamedeparis.fr/la-cathedrale/histoire/historique... -MRU Les films - Le Bonheur est dans le béton - 2015 Documentaire réalisé par Lorenz Findeisen produit par Les Films du Tambour de Soie içi www.dailymotion.com/video/x413amo?playlist=x34ije Noisy-le-Sec le laboratoire de la reconstruction, 1948 L'album cinématographique de la reconstruction maison préfabriquée production ministère de la Reconstruction et de l'Urbanisme, 1948 L'album cinématographique içi www.dailymotion.com/video/xwytke archipostcard.blogspot.com/search?updated-max=2009-02-13T... -Créteil.un couple à la niaiserie béate exalte les multiples bonheurs de la vie dans les new G.E. www.youtube.com/watch?v=FT1_abIteFE … La Ville bidon était un téléfilm d'1 heure intitulé La Décharge.Mais la censure de ces temps de présidence Pompidou en a interdit la diffusion télévisuelle - museedelacartepostale.fr/periode-semi-moderne/ - archipostalecarte.blogspot.com/ - Hansjörg Schneider BAUNETZWOCHE 87 über Papiermoderne www.baunetz.de/meldungen/Meldungen_BAUNETZWOCHE_87_ueber_... … - ARCHITECTURE le blog de Claude LOTHIER içi leblogdeclaudelothier.blogspot.com/2006/ - - Le balnéaire en cartes postales autour de la collection de David Liaudet, et ses excellents commentaires.. www.dailymotion.com/video/x57d3b8 -Restaurants Jacques BOREL, Autoroute A 6, 1972 Canton d'AUXERRE youtu.be/LRNhNzgkUcY munchies.vice.com/fr/article/43a4kp/jacques-borel-lhomme-... … Celui qu'on appellera le « Napoléon du prêt-à-manger » se détourne d'ailleurs peu à peu des Wimpy, s'engueule avec la maison mère et fait péricliter la franchise ... museedelacartepostale.fr/blog/ -'être agent de gestion locative pour une office H.L.M. en 1958' , les Cités du soleil 1958 de Jean-Claude Sée- les films du MRU içi www.dailymotion.com/video/xgj74q présente les réalisations des HLM en France et la lutte contre l'habitat indigne insalubre museedelacartepostale.fr/exposition-permanente/ - www.queenslandplaces.com.au/category/headwords/brisbane-c... - collection-jfm.fr/t/cartes-postales-anciennes/france#.XGe... - www.cparama.com/forum/la-collection-de-cpa-f1.html - www.dauphinomaniac.org/Cartespostales/Francaises/Cartes_F... - furtho.tumblr.com/archive
sig.ville.gouv.fr/atlas/ZUS/ - media/InaEdu01827/la-creatio" rel="noreferrer nofollow">fresques.ina.fr/jalons/fiche-media/InaEdu01827/la-creatio Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,
www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije : mécanisation, rationalisation et élaboration industrielle de la production. Des exemples concrets sont présentés afin d'illustrer l'utilisation des différentes innovations : les coffrages outils, coffrage glissant, le tunnel, des procédés pour accélérer le durcissement du béton. Le procédé dit de coffrage glissant est illustré sur le chantier des tours Pablo Picasso à Nanterre. Le principe est de s'affranchir des échafaudages : le coffrage épouse le contour du bâtiment, il s'élève avec la construction et permet de réaliser simultanément l'ensemble des murs verticaux. Au centre du plancher de travail, une grue distribue en continu le ferraillage et le béton. Sur un tel chantier les ouvriers se relaient 24h / 24 , www.dailymotion.com/video/xwytke?playlist=x34ije , www.dailymotion.com/video/x1bci6m?playlist=x34ije
Le reportage se penche ensuite sur la préfabrication en usine. Ces procédés de préfabrication en usine selon le commentaire sont bien adaptés aux pays en voie de développement, cela est illustré dans le reportage par une réalisation en Libye à Benghazi. Dans la course à l'allégement des matériaux un procédé l'isola béton est présenté. Un chapitre sur la construction métallique explique les avantage de ce procédé. La fabrication de composants ouvre de nouvelles perspectives à l'industrie du bâtiment.
Lieux géographiques : la Grande Borne 91, le Vaudreuil 27, Avoriaz, Avenue de Flandres à Paris, tours Picasso à Nanterre, vues de la défense, Benghazi Libye www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije : mécanisation, rationalisation et élaboration industrielle de la production. Des exemples concrets sont présentés afin d'illustrer l'utilisation des différentes innovations : les coffrages outils, coffrage glissant, le tunnel, des procédés pour accélérer le durcissement du béton. Le procédé dit de coffrage glissant est illustré sur le chantier des tours Pablo Picasso à Nanterre. Le principe est de s'affranchir des échafaudages : le coffrage épouse le contour du bâtiment, il s'élève avec la construction et permet de réaliser simultanément l'ensemble des murs verticaux. Au centre du plancher de travail, une grue distribue en continu le ferraillage et le béton. Sur un tel chantier les ouvriers se relaient 24h / 24 , www.dailymotion.com/video/xwytke?playlist=x34ije , www.dailymotion.com/video/x1bci6m?playlist=x34ije
Le reportage se penche ensuite sur la préfabrication en usine. Ces procédés de préfabrication en usine selon le commentaire sont bien adaptés aux pays en voie de développement, cela est illustré dans le reportage par une réalisation en Libye à Benghazi. Dans la course à l'allégement des matériaux un procédé l'isola béton est présenté. Un chapitre sur la construction métallique explique les avantage de ce procédé. La fabrication de composants ouvre de nouvelles perspectives à l'industrie du bâtiment.www.dailymotion.com/playlist/x34ije_territoiresgouv_cinem... - mémoire2cité - le monde de l'Architecture locative collective et bien plus encore - mémoire2cité - Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,www.dailymotion.com/playlist/x34ije_territoiresgouv_cinem... - mémoire2cité - le monde de l'Architecture locative collective et bien plus encore - mémoire2cité - Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,
Le Joli Mai (Restauré) - Les grands ensembles BOBIGNY l Abreuvoir www.youtube.com/watch?v=eUY9XzjvWHE … et la www.youtube.com/watch?v=hK26k72xIkU … www.youtube.com/watch?v=xCKF0HEsWWo …
Genève Le Grand Saconnex & la Bulle Pirate - architecte Marçel Lachat -
Un film de Julien Donada içi www.youtube.com/watch?time_continue=1&v=4E723uQcpnU … … .Genève en 1970. pic.twitter.com/1dbtkAooLM è St-Etienne - La muraille de Chine, en 1973 ce grand immeuble du quartier de Montchovet, existait encore photos la Tribune/Progres.
www.youtube.com/watch?v=AJAylpe8G48 …, - la tour 80 HLM située au 1 rue Proudhon à Valentigney dans le quartier des Buis Cette tour emblématique du quartier avec ces 15 étages a été abattu par FERRARI DEMOLITION (68). VALENTIGNEY (25700) 1961 - Ville nouvelle-les Buis 3,11 mn www.youtube.com/watch?v=C_GvwSpQUMY … - Au nord-Est de St-Etienne, aux confins de la ville, se dresse une colline Montreynaud la ZUP de Raymond Martin l'architecte & Alexandre Chemetoff pour les paysages de St-Saens.. la vidéo içi * Réalisation : Dominique Bauguil www.youtube.com/watch?v=Sqfb27hXMDo … … - www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije , www.dailymotion.com/video/xwytke?playlist=x34ije , www.dailymotion.com/video/x1bci6m?playlist=x34ije l'industrie dla Grande Borne 91, le Vaudreuil 27, Avoriaz, Avenue de Flandres à Paris, tours Picasso à Nanterre, vues de la défense, Benghazi Libye 1975 Réalisateur : Sydney Jézéquel, Karenty la construction des Autoroutes en France - Les liaisons moins dangereuses 1972 www.dailymotion.com/video/xxi0ae?playlist=x34ije Cardem les 60 ans de l'entreprise de démolition française tres prisée des bailleurs pour les 80, 90's (1956 - 2019) toute l'Histoire de l'entreprise içi www.youtube.com/watch?v=Yyf1XGvTZYs - 69 LYON & la Cardem pour la démolition de la barre 230 Quartier la Duchère le 2 juillet 2015, youtu.be/BSwidwLw0NA pic.twitter.com/5XgR8LY7At -34 Béziers - C'était Capendeguy le 27 janv 2008 En quelques secondes, 450 kg d'explosifs ont soufflé la barre HLM de 492 lgts, de 480 m, qui laissera derrière elle 65.000 tonnes de gravas. www.youtube.com/watch?v=rydT54QYX50 … … Les usines Peugeot - Sochaux Montbéliard. 100 ans d'histoire en video www.youtube.com/watch?v=X4w3CxXVAyY … - 42 LOIRE SAINT-ETIENNE MONTREYNAUD LA ZUP Souvenirs avec Mascovich & son clip "la tour de Montreynaud" www.youtube.com/watch?v=p7Zmwn224XE …
Villeneuve-la-Garenne, La Caravelle est à mettre au crédit de Jean Dubuisson, l’un des architectes les plus en vue des années 1960, www.dailymotion.com/video/x1re3h5 via @Dailymotion - AMIENS les HLM C'était le 29 juillet 2010, à 11h02. En quelques secondes, cette tour d'habitation s'est effondrée, détruite par implosion. Construite en 1961, la tour avait été vidée de ses habitants quelques années auparavant. www.youtube.com/watch?v=ajz2xk5KBNo … … - Les habitants de Montreynaud parlent de leur quartier et de cette destruction entre nostalgie et soulagement içi en video www.dailymotion.com/video/xmiwfk - Les bâtiments de la région parisienne - Vidéo Ina.fr www.ina.fr/video/CAF96034508/les-batiments-de-la-region-p... … via @Inafr_officiel - Daprinski - George Michael (Plaisir de France remix) www.youtube.com/watch?v=sJeH-nzlj3I
Ministère de l'Équipement et de l'Aménagement du Territoire - Dotation par la France d'autoroutes modernes "nécessité vitale" pour palier à l'inadaptation du réseau routier de l'époque voué à la paralysie : le reportage nous montre des images d'embouteillages. Le ministre de l'Équipement et de l'Aménagement du Territoire dans les deux gouvernements de Pierre Messmer, de 1972 à 1974, Olivier Guichard explique les ambitions du programme de construction qui doit atteindre 800 km par ans en 1978. L'ouverture de section nouvelles va bon train : Nancy / Metz par exemple. Le reportage nous montre l'intérieur des bureaux d'études qui conçoivent ces autoroute dont la conception est assistée par ordinateurs dont le projet d'ensemble en 3D est visualisé sur un écran. La voix off nous informe sur le financement de ces équipements. Puis on peut voir des images de la construction du pont sur la Seine à Saint Cloud reliant l'autoroute de Normandie au périphérique, de l'échangeur de Palaiseau sur 4 niveau : record d'Europe précise le commentaire. Le reportage nous informe que des sociétés d'économies mixtes ont étés crées pour les tronçons : Paris / Lille, Paris / Marseille, Paris / Normandie. Pour accélérer la construction l’État a eu recours à des concessions privées par exemple pour le tronçon Paris / Chartres. "Les autoroutes changent le visage de la France : artères économiques favorisant le développement industriel elles permettent de revitaliser des régions en perte de vitesse et de l'intégrer dans le mouvement général de l'expansion" Sur le plan européen elles vont combler le retard de la France et réaliser son insertion. Images de l'inauguration de l'autoroute entre Paris et Bruxelles par le président Georges Pompidou. Le reportage rappel que l'autre fonction capitale des autoroute est de favoriser la sécurité. La question de la limitation de vitesse est posée au ministre de l’Équipement, qui n'y est favorable que sur certains tronçons. Un des facteur de sécurité selon le commentaire est l'humanisation des autoroutes : aires de repos, restaurants, signalisation touristiques... "Rien n'est impossible aux techniques modernes" nous apprend la voix off qui prend comme exemple le déplacement sur rail de 65 mètres d'un château classé afin de faire passer l'autoroute Lille / Dunkerque.Durée : 4 minutes 30 secondes Sur les routes de France les ponts renaissent 1945 reconstruction de la France après la Seconde Guerre mondiale www.dailymotion.com/video/xuxrii?playlist=x34ije Lyon, Tournon, Caen - Le Bosquel, un village renait 1947 l'album cinématographique de la reconstruction, réalisation Paul de Roubaix production ministère de la Reconstruction et de l'Urbanisme, village prototype, architecte Paul Dufournet, www.dailymotion.com/video/xx5tx8?playlist=x34ije - Demain Paris 1959 dessin animé présentant l'aménagement de la capitale dans les années 60, Animation, dessin animé à vocation pédagogique visant à promouvoir la politique d’aménagement suivie dans les années 60 à Paris. Un raccourci historique sur l’extension de Paris du Moyen Âge au XIXe siècle (Lutèce, œuvres de Turgot, Napoléon, Haussmann), ce dessin animé retrace la naissance de la banlieue et de ses avatars au XXe siècle. Il annonce les grands principes d’aménagement des villes nouvelles et la restructuration du centre de Paris (référence implicite à la charte d’Athènes). Le texte est travaillé en rimes et vers. Une chanson du vieux Paris conclut poétiquement cette vision du futur. Thèmes principaux : Aménagement urbain / planification-aménagement régional Mots-clés : Banlieue, extension spatiale, histoire, quartier, ville, ville nouvelle Lieu géographique : Paris 75 Architectes ou personnalités : Eugène Haussmann, Napoléon, Turgot Réalisateurs : André Martin, Michel Boschet Production : les films Roger Leenhardt
www.dailymotion.com/video/xw6lak?playlist=x34ije - Rue neuve 1956 la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, villes, villages, grands ensembles réalisation : Jack Pinoteau , Panorama de la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, ce film de commande évoque les villes et villages français détruits puis reconstruits dans un style respectant la tradition : Saint-Malo, Gien, Thionville, Ammerschwihr, etc. ainsi que la reconstruction en rupture avec l'architecture traditionnelle à Châtenay-Malabry, Arles, Saint Étienne, Évreux, Chambéry, Villeneuve-Saint-Georges, Abbeville, Le Havre, Marseille, Boulogne-sur-Mer, Dunkerque. Le documentaire explique par exemple la manière dont a été réalisée la reconstruction de Saint-Malo à l'intérieur des rempart de la vieille ville : "c'est la fidélité à l'histoire et la force du souvenir qui a guidé l'architecte". Dans le même esprit à Gien, au trois quart détruite en 1940, seul le château construit en 1494 pour Anne de Beaujeu, fille aînée de Louis XI, fut épargné par les bombardements. La ville fut reconstruite dans le style des rares immeubles restant. Gien est relevé de ses ruines et le nouvel ensemble harmonieux est appelé « Joyau de la Reconstruction française ». Dans un deuxième temps est abordé le chapitre de la construction des cités et des grands ensembles, de l’architecture du renouveau qualifiée de "grandiose incontestablement". S’il est précisé "on peut aimer ou de ne pas aimer ce style", l’emporte au final l’argument suivant : les grands ensembles, c'est la campagne à la ville, un urbanisme plus aéré, plus vert." les films caravelles 1956, Réalisateur : Jack Pinoteau (connu pour être le metteur en scène du film Le Triporteur 1957 qui fit découvrir Darry Cowl) www.dailymotion.com/video/xuz3o8?playlist=x34ije - www.dailymotion.com/video/xk1g5j?playlist=x34ije Brigitte Gros - Urbanisme - Filmer les grands ensembles 2016 - par Camille Canteux chercheuse au CHS -Centre d'Histoire Sociale - Jeanne Menjoulet - Ce film du CHS daté de 2014 www.youtube.com/watch?v=VDUBwVPNh0s … L'UNION SOCIALE POUR L'HABITAT le Musée des H.L.M. musee-hlm.fr/ union-habitat.org/ - EXPOSITION :LES 50 ANS DE LA RESIDENCe SALMSON POINT-Du JOUR www.salmsonlepointdujour.fr/pdf/Exposition_50_ans.pdf - Sotteville Construction de l’Anjou, le premier immeuble de la Zone Verte sottevilleaufildutemps.fr/2017/05/04/construction-de-limm... - www.20minutes.fr/paris/diaporama-7346-photo-854066-100-an... - www.ladepeche.fr/article/2010/11/02/940025-140-ans-en-arc... dreux-par-pierlouim.over-blog.com/article-chamards-1962-9... missionphoto.datar.gouv.fr/fr/photographe/7639/serie/7695...
www.youtube.com/watch?v=g7RwwkNzF68 - la dérive des continents youtu.be/kEeo8muZYJU Et la disparition des Mammouths - RILLIEUX LA PAPE & Dynacité - Le 23 février 2017, à 11h30, les tours Lyautey étaient foudroyées. www.youtube.com/watch?v=W---rnYoiQc 1956 en FRANCE - "Un jour on te demanda de servir de guide, à un architecte en voyage d etudes, ensemble vous parcourez la Françe visitant cité jardins, gratte ciel & pavillons d'HLM..." @ les archives filmées du MRU www.youtube.com/watch?v=zR_jxCANYac&fbclid=IwAR2IzWlM... … Villages de la Françe cité du Soleil
Ginger CEBTP Démolition, filiale déconstruction du Groupe Ginger, a réalisé la maîtrise d'oeuvre de l'opération et produit les études d'exécution. L'emblématique ZUP Pruitt Igoe. vaste quartier HLM (33 barres de 11 étages) de Saint-Louis (Missouri) USA. démoli en 1972 www.youtube.com/watch?v=nq_SpRBXRmE … "Life is complicated, i killed people, smuggled people, sold people, but perhaps in here.. things will be different." ~ Niko Bellic - cité Balzac, à Vitry-sur-Seine (23 juin 2010).13H & Boom, quelques secondes plus tard, la barre «GHJ», 14 étages et 168 lgts, s’effondrait comme un château de cartes sous les applaudissements et les sifflets, bientôt enveloppés dans un nuage de poussière. www.youtube.com/watch?v=d9nBMHS7mzY … - "La Chapelle" Réhabilitation thermique de 667 logements à Andrézieux-Bou... youtu.be/0tswIPdoVCE - 11 octobre 1984 www.youtube.com/watch?v=Xk-Je1eQ5po DESTRUCTION par explosifs de 10 tours du QUARTIER DES MINGUETTES, à LYON. les tours des Minguettes ; VG des tours explosant et s'affaissant sur le côté dans un nuage de fumée blanche ; à 13H15, nous assistons à l'explosion de 4 autres tours - St-Etienne Métropole & Montchovet - la célèbre Muraille de Chine ( 540 lgts 270m de long 15 allees) qui était à l'époque en 1964 la plus grande barre HLM jamais construit en Europe. Après des phases de rénovation, cet immeuble a été dynamité en mai 2000 www.youtube.com/watch?v=YB3z_Z6DTdc … - PRESQU'ILE DE GENNEVILLIERS...AUJOURD'HUI...DEMAIN... (LA video içi parcours.cinearchives.org/Les-films-PRESQU-ILE-DE-GENNEVI... … ) Ce film de la municipalité de Gennevilliers explique la démarche et les objectifs de l’exposition communale consacrée à la presqu’île, exposition qui se tint en déc 1972 et janvier 1973 - le mythe de Pruitt-Igoe en video içi nextcity.org/daily/entry/watch-the-trailer-for-the-pruitt... … - 1964, quand les loisirs n’avaient (deja) pas le droit de cité poke @Memoire2cite youtu.be/Oj64jFKIcAE - Devenir de la ZUP de La Paillade youtu.be/1qxAhsqsV8M v - Regard sur les barres Zum' youtu.be/Eow6sODGct8 v - MONTCHOVET EN CONSTRUCTION Saint Etienne, ses travaux - Vidéo Ina.fr www.ina.fr/video/LXF99004401 … via - La construction de la Grande Borne à Grigny en 1969 Archive INA www.youtube.com/watch?time_continue=12&v=t843Ny2p7Ww (discours excellent en seconde partie) -David Liaudet : l'image absolue, c'est la carte postale" phothistory.wordpress.com/2016/04/27/david-liaudet-limage... … l'architecture sanatoriale Histoire des sanatoriums en France (1915-1945). Une architecture en quête de rendement thérapeutique..
passy-culture.com/wp-content/uploads/2009/10/Les-15-Glori... … … & hal.archives-ouvertes.fr/tel-01935993/document Gwenaëlle Le Goullon (LAHRA), auteur du livre "la genèse des grands ensembles",& Danièle Voldman (CHS, Centre d'Histoire Sociale), expliquent le processus qui a conduit l'Etat, et le ministère de l'urbanisme &de la reconstruction à mener des chantiers exp www.youtube.com/watch?v=zR_jxCANYac&fbclid=IwAR2IzWlM... mémoire2cité & l'A.U.A. - Jacques Simon (1929 - 26 septembre 2015) est un architecte paysagiste formé à l'École des beaux-arts de Montréal et à l'École nationale supérieure du paysage de Versailles. Fasciné par la campagne qui témoigne d'une histoire de labeur, celle des agriculteurs "ses amis", "les génies de la terre", Jacques SIMON, paysagiste dplg, Premier Grand Prix du Paysage en 1990*, réalise avec eux des installations paysagères éphémères principalement dans des champs et visibles du ciel. Avec sa palette d'artiste, Jacques SIMON réinvente des paysages comme les agriculteurs eux-aussi à leur façon les créent et les entretiennent. Le CAUE du Rhône vous invite à venir découvrir ses travaux au travers d'un kaléidoscope de photographies empreintes de spontanéité, de fraîcheur et d'humour. Cette exposition nous interpelle sur le caractère essentiel d'une nature changeante, fragile, sur l'importance d'une activité agricole diversifiée et sur la nécessaire évolution du métier de paysan. Elle nous amène aussi à voir et à interpréter ce que l'on voit, elle éveille en nous le sens de la beauté du paysage en conjuguant les différentes échelles de perception et de lecture; à pied et à vol d'oiseau, à la fois l'échelle humaine, terrestre, géologique, forestière, hydrologique, biologique mais aussi esthétique et symbolique. Jacques Simon, paysagiste cosmopolite est l'un des principaux acteurs du renouveau de la pensée paysagère en France dans les années 60 et 70 conjuguant avec cohérence sa pratique de paysagiste, de voyageur, d'éditeur, d'enseignant avec son approche plus artistique du paysage, subtile, sensible et humaine de la nature avec la réalisation de "performances". Ses projets paysagers comme ses interventions paysagères éphémères sont marqués par la mobilité, la fragilité, une empathie avec le lieu, par la dualité même du voyage : découverte / évanouissement, création / disparition. Jacques Simon dessine, écrit sur le paysage, "une surface", un peu à la manière du land'art avec les techniques et les outils du jardinier, du cultivateur. Il ne s'agit plus de représenter la nature mais de l'utiliser en créant avec et dans le paysage. L'intention de Jacques Simon n'est pas d'apposer sa marque sur le paysage mais de travailler instinctivement avec lui afin que ses travaux-installations manifestent même brièvement un contact en harmonie avec le monde naturel. "On dit qu'il a bouleversé l'esprit du paysage, il a remis les choses essentielles à leur place. Il rit de l'importance qu'on veut bien lui donner, fils de l'air, il ne veut rien de plus que passer dans les cerveaux pour les ventiler, les rafraîchir et non pour les modeler; son "importance", il l'a ailleurs et autrement; il est historique parce que dans son temps, dans celui qui s'écoule et non dans celui qui passe". Extrait de "Jacques Simon, tous azimuts", Jeanne-Marie Sens et Hubert Tonka, Pandora Editions, 1991. Il a introduit une nouvelle conception de l'art du paysage proche du Land art, Jacques Simon est l'auteur d'une série d'ouvrages sur différents aspects du paysage et abordés d'un point de vue technique. Il a travaillé de 1964 à 1966 en collaboration avec Michel Corajoud. Il a conçu le Parc de la Deûle (qui lui a valu le Grand Prix national du Paysage en 2006, après l'avoir reçu une première fois en 19901).
Il est mort le 29 septembre 20151 et a été incinéré à Auxerre Le paysagiste Jacques Simon s'est éteint le 26 septembre dernier à l'âge de 86 ans. Diplômé de Versailles en 1959, il fut sans doute l'une des figures les plus emblématiques, les plus géniales et les plus originales du paysagisme contemporain. Premier grand prix du paysage et prix du Conseil de l'Europe pour le parc de la Deule, on lui doit des principes de compositions très forts, autour du nivellement, du traitement du végétal ou de la place laissée au vide. Ses intuitions comme ses travaux ont inspiré tous les paysagistes avec lesquels il a travaillé, à commencer par Michel Corajoud ou Gilles Vexlard. On lui doit un profond renouvellement dans la composition des grands ensembles, ses réalisations -comme le parc Saint-John Perse à Reims- restant des modèles pour tous les professionnels. Jacques Simon développa également une production d'œuvres plus éphémères, attentif aux mouvements et aux transformations. Pédagogue talentueux et généreux, il le fut autant par les documents techniques et la revue qu'il publia, que par ses interventions en atelier devant plusieurs générations d'étudiants de l'école. Les paysagistes perdent un de leurs plus féconds inspirateurs. L'ENSP s'associe au deuil de sa famille et de ses proches. Témoignages à la mémoire de Jacques Simon
Dans les années 1990 à l'école du Paysage de Versailles, lorsque nous entrions en première année, la première satisfaction était d'acquérir du nouveau matériel d'expression plastique. Encre, feutres, supports en grand format et sur papier calque...mais aussi découvrir des livres de notre professeur Jacques Simon : des carnets de dessins et de croquis, des photomontages découpés aux ciseaux.
En amphithéâtre lors de conférences et séances de projections de diapositives, Jacques Simon évoquait surtout sa capacité à piloter un hélicoptère. Je viens de retrouver un extrait d'un article à ce sujet..« (...) Car depuis une dizaine d'années, le Bourguignon a trouvé une solution à son imagination en bourgeonnement permanent. Jacques Simon crée ‘pour lui tout seul'. Ni commande ni concours. Mais des messages géants écrits dans les champs et seulement visibles d'avion ou d'hélicoptère. Un art éphémère et privé dont il s'amuse, les veilles de moissons, tout autour de sa ferme de Turny, dans l'Yonne.Et là, plus rien ne l'arrête. Les agriculteurs du coin ont pris l'habitude de le voir faucher des allées entières de luzerne. De l'apercevoir écraser d'interminables chemins de phacelia, un graminé californien qui existe en trois couleurs (blanc, bleu, rouge). De l'observer dans son hélicoptère photographiant le résultat. Ses messages sont des hommages ou des avertissements. L'un prévient : ‘Hé, si tu n'as plus de forêt t'es foutu.' Un autre : 'Sans les paysans, je m'emmerde. Signé : la Terre.' Même l'hiver, Jacques Simon s'adonne à cette calligraphie paysagère. (...) ».
Extrait paru dans La Croix l'événement du dimanche 11 et lundi 12 juin 1995, par Frédéric Potet, rubrique Culture.
son site simonpaysage.free.fr/
file:///C:/Users/user/Downloads/B_Blanchon_AUA.pdf Interview to Jacques Simon incleded on the dvd that accompanies book "Metropoles en Europe", from the exhibition "Lille - Metropoles en Europe". The French landscape architect Jacques Simon's love for nature first developed on his father's tree farm and then deepened when he traveled as a young man to Sweden and then Canada, where he attended art school in Montreal while working as a lumberjack. Between 1957 and 1959, Simon studied at the École Nationale de Horticulture. He has since become an important link in the renewal of French landscape architecture, combining the Anglo-Saxon and Scandinavian garden cultures he absorbed in his travels with classic Latin structures. He works as often as possible in situ, and does not shy away from driving the tractor himself.
www.youtube.com/watch?v=OyBnqrUlK9U turny.chez.com/A0archives/jSIMMON.htm Jacques Simon, Il crée la revue Espaces verts en 1968, l’anime jusqu’en 1982, publie des cahiers spéciaux dédiés à « l’Aménagement des espaces libres ». Même l'hiver, il s'adonne à cette calligraphie paysagère».La Croix dimanche 11 et lundi 12 juin 1995, simonpaysage.free.fr/ Jacques Simon écrit ses premiers articles dès la fin des années 1950 pour des revues comme Maison et Jardin et Urbanisme. En 1965, il signe l’un de ses premiers livres, L’Art de connaître les arbres. strabic.fr/Jacques-Simon-Gilles-Vexlard … jacques simon & Le parc des Coudrays - Élancourt-Maurepas, 1970 strabic.fr/Jacques-Simon-Gilles-Vexlard … simonpaysage.free.fr/ Jacques Simon - Espaces verts n° 27, avril-mai-juin 1971, p. 44-45 Fasciné par la campagne qui témoigne d'une histoire de labeur, celle des agriculteurs "ses amis", "les génies de la terre" paysagiste dplg, Premier Grand Prix du Paysage en 1990*, www.youtube.com/watch?v=OyBnqrUlK9U …ici es EDITIONS DU CABRI PRESENTE PARIS LA BANLIEUE 1960-1980 -La video Içi www.youtube.com/watch?v=lDEQOsdGjsg ,
A partir des années 1950, le trafic de la banlieue parisienne suit l’urbanisation galopante et les dessertes ferroviaires doivent s’adapter et se moderniser.Quelques amateurs ont su immortaliser un monde ferroviaire qui était alors en voie de disparition. Dans ce film, nous retrouvons les dessertes 750 volts par troisième rail en rames « Standard » sur les lignes de Versailles-RD, sur la ligne d’Auteuil et entre Puteaux et Issy-Plaine mais aussi les derniers trains à vapeur à St Lazare, à La Bastille et sur le Nord et quelques ultimes voyages sur les lignes de Ceinture.
By:- Ma'3RoOor..
It says that there are thirteen large segments which represent the thirteen moons which make up the lunar year. By counting the smaller segments around the lower edge of the shell, you will find there are 28, which represents the 28 days between new moons.
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”
Homenaje al Siglo de Oro Español: cada libro representa una obra maestra del Renacimiento o el Barroco español (Tribute to the Spanish Golden Age: each book represents a Renaissance or Baroque spanish masterpiece):
1. EL QUIJOTE DE LA MANCHA (Miguel de Cervantes)
2. EL LAZARILLO DE TORMES (Anónimo)
3. EL CRITICÓN (Baltasar Gracián)
4. VIDA DEL PÍCARO GUZMÁN DE ALFARACHE (Mateo Alemán)
5. ÉGLOGAS (Garcilaso de la Vega)
6. SUEÑOS Y DISCURSOS (Francisco de Quevedo)
7. EL PERRO DEL HORTELANO (Lope de Vega)
8. TRAGICOMEDIA DE CALISTO Y MELIBEA (Fernando de Rojas)
9. LA VIDA ES SUEÑO (Calderón de la Barca)
10. LAS MORADAS (Santa Teresa de Jesús)
11. FUENTEOVEJUNA (Lope de Vega)
12. EL BURLADOR DE SEVILLA (Tirso de Molina)
13. LA GALATEA (Miguel de Cervantes)
14. SOLEDADES (Luis de Góngora)
15. HISTORIA DEL BUSCÓN LLAMADO DON PABLOS (Francisco de Quevedo)
How to represent the human face--especially with all the options available with today's digital technology? There are some pretty awful portrait retouching packages available that turn faces into fake looking Barbie dolls. With the right kind of studio lighting photographers can create beautiful portraits that do more than capture surface detail.
My background is in painting and as much as I love photography I occasionally miss the liveliness of the brush stroke. Painters can "cheat" in ways to emphasize the planes of the face, suggest with a stroke of the brush some minor detail, things not the product of a good camera or lens. With this image I’ve tried to capture the best of both worlds.
This is still very much an exploration, but I’m trying to find a way of using Corel Painter to create painterly textures and Photoshop to adjust hue and values.
Manufactura Musica @ Represent Festival Balingen 2018
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n 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
www.emergencyrooms.org/biennalist.html
Meanwhile Thierry Geoffroy is in Copenhagen the work about todays emergencies continue at the gallery Marianne Friis on the
ULTRACONTEMPOARY WARM UP Wall established for this occasion since 6sept 2013
thierrygeoffroy.blogspot.dk/2013/09/colonel-s-warm-up-wal...
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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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