As a reminder of the kindness and support that came from the US in the past, here we have an American committee in Balbriggan looking at the destruction there! This Mary has been spending a lot of time in Balbriggan recently and this is the first time that she became aware of this event. She will be looking forward to reading all about it!

 

And there has been plenty to read and learn! This is very likely the remains of the Deeds and Templar Hosiery company near Convent Lane in Balbriggan. Along with nearly 50 houses and several pubs, this factory was completely destroyed in September 1920. During the Sack of Balbriggan. Similar to the better known Burning of Cork, this event was a 'reprisal' by British forces (likey 100+ Black and Tans) for an IRA attack earlier in the day. Several people were killed and many hundreds put out of their homes and out of work. By all accounts those affected were assisted by their neighbours and local businessmen alike. And, clearly, by welcome assistance from much further afield! Compensation was also later paid by the state - covered by the taxpayer of course.....

  

Photographer: W. D. Hogan

 

Collection: Hogan Wilson Collection

 

Date: c. 1921.

 

NLI Ref.: HOGW 51

 

You can also view this image, and many thousands of others, on the NLI’s catalogue at catalogue.nli.ie

 

"There is no better love potion than a coffee. When a man drinks the coffee made by you he will become forever yours."

- Sophia Loren

 

Italian director Carlo Ponti first met Sofia Villani Scicolone in 1950 when she was just 16. He was immediately struck by her presence which went beyond her undeniable beauty.

 

Ponti, a director, and producer of the Italian cinema resolved to make the gawky school girl a star and presented her to the world as the ultimate screen goddess of Hollywood's Golden Era: Sophia Loren.

 

Ponti was 38, 22 years older than the lovely Sophia, and a married man. Ponti had married Giuliana Fiastri in 1946, and the two shared a daughter, Guendalina, born in 1950, and a son, Alex born in 1953.

 

It was in all possible ways an unlikely and unsuitable relationship since Ponti would never be able to obtain a divorce under Italian law, but the attraction between the director and the budding starlet was irresistible.

 

"I knew immediately she was someone remarkable. Something played off her that gave her a kind of illumination," Ponti reportedly once said of the actress.

 

For Sophia, her attraction for Carlo was an ironic reprisal of her own mother's life. Her mother too, had been a beauty, an aspiring actress who caught the eye of a wealthy man of noble Italian families. But even though Riccardo Scicolone fathered two children on Romilda Villani, he refused to marry her, leaving her to raise his daughters in the direst poverty. Sophia was never to forgive her father for that abandonment.

 

Sophia was determined not to repeat her mother's mistakes, but as she worked closely with Ponti, she came to the realization that he was her soulmate.

 

At 19, Sophia became Ponti's lover, following several years viewing him as a mentor and father figure, and their romance grew in secret. The couple were secretly engaged in 1953 but Ponti wouldn't be able to divorce his first wife easily in the religious Italian society of the 1950s.

 

Meanwhile, Loren's beauty and charm had caught the eye of another man; Hollywood heavyweight Cary Grant. Loren and Grant met in 1956 when they starred together in The Pride and the Passion, Grant teasing the Italian star by pretending to mistake her for another actress the first time they met.

 

In 1957, Loren ended her affair with Grant. "You know, I had to make a choice," Sophia told Vanity Fair. "Carlo was Italian; he belonged to my world... I know it was the right thing to do, for me."

 

It was also in 1957 that Ponti decided to marry her. Still married to Giuliana, he had his lawyers conduct a proxy marriage between himself and Sophia in Mexico. The union was not legal in Italy, and in effect, made Ponti a bigamist.

 

It was discovered their Mexico marriage by proxy wasn't legal, so it was annulled and the pair put on a façade in Italy, completely avoiding public outings together.

 

In 1966, Ponti and Sophia were finally free to marry. In order to circumvent the Italian laws which prevented divorce, both became French citizens. Ponti obtained a divorce from Giuliana in France, and married Sophia in April 1966, officially becoming the most envied man in the world.

 

In 1968 Ponti and Sophia welcomed their first child together, Carlo Ponti Jr., and 5 years later they were blessed with a second son, Edoardo.

 

Sophia and Carlo were inseparable. Sadly, in 2007 she lost her husband of 50 years. Ponti past away at the age of 94, who was said to have continually wooed his wife during all those decades by giving her a single rose every day of their marriage.

 

The secret to their marital success was simple. Despite their position as showbiz royalty in their native land, the pair had relished their discrete, low profile lifestyle, with Loren claiming through the years that "show business is what we do, not what we are."

 

Sophia always looked back on her extraordinary life and her extraordinary love story with Ponti with no regrets. Without question Sophia believed she made the right decision: she chose the road that led to her personal happiness and unending love of her life -- Carlo Ponti.

 

“I have done everything for love of Sophia, I have always believed in her.”

—Carlo Ponti

 

Photograph taken at Caffe' Mario, near the Palazzo Vecchio in Florence, Tuscany, Italy

A lorry load of Auxiliaries, covered by rifle bearing colleagues, lead the funeral of Major Holmes of the Royal Irish Constabulary. He had been killed in an ambush at Castleisland in County Kerry. In the background we see files of RIC following the lorry. This was likely a significant event in the lives of those involved, but who was Major Holmes and what were the circumstances of his death?

 

With thanks to Mike Grimes and BeachcomberAustralia we have more detail on the death and funeral of RIC Commissioner Philip Armstrong-Holmes. An entry in UCC's "War of Independence Fataility Register" confirms that he was from Cork and served during the Great War. This part of the War of Independence was particularly brutal, and Holmes was a replacement for the previous Commissioner (killed on Cork's South Mall), and was in the area investigating the death of another District Inspector. Yet more reprisals and killings followed his funeral.

 

Thanks also to Rory_Sherlock for confirmation of location. (After his body was brought from Kerry to Cork, and then from Cork to Dublin by train, the cortege seems to have made its way to Mount Jerome via Ormonde Quay and the city)....

  

Photographer: W. D. Hogan

 

Collection: Hogan Wilson Collection

 

Date: 1 February 1921

 

NLI Ref.: HOG155

 

You can also view this image, and many thousands of others, on the NLI’s catalogue at catalogue.nli.ie

 

Pandora - Return to the Sky 3

Alborz Mountains, Tehran Northwest, Iran

© Vafa Nematzadeh. All rights reserved. Thank you very much for your visits, faves and comments here.

 

Pandora

In Greek mythology, Pandora was the first human woman created by the gods, specifically by Hephaestus and Athena on the instructions of Zeus. As Hesiod related it, each god helped create her by giving her unique gifts. Zeus ordered Hephaestus to mold her out of earth as part of the punishment of humanity for Prometheus' theft of the secret of fire, and all the gods joined in offering her "seductive gifts". Her other name—inscribed against her figure on a white-ground kylix in the British Museum—is Anesidora, "she who sends up gifts"(up implying "from below" within the earth).

 

According to the myth, Pandora opened a jar (pithos), in modern accounts sometimes mistranslated as "Pandora's box" releasing all the evils of humanity—although the particular evils, aside from plagues and diseases, are not specified in detail by Hesiod—leaving only Hope inside once she had closed it again.

 

The Pandora myth is a kind of theodicy, addressing the question of why there is evil in the world.

 

Hesiod, both in his Theogony (briefly, without naming Pandora outright, line 570) and in Works and Days, gives the earliest version of the Pandora story.

 

Theogony

The Pandora myth first appears in lines 560–612 of Hesiod's poem in epic meter, the Theogony (ca. 8th–7th centuries BC), without ever giving the woman a name. After humans received the stolen gift of fire from Prometheus, an angry Zeus decides to give humanity a punishing gift to compensate for the boon they had been given. He commands Hephaestus to mold from earth the first woman, a "beautiful evil" whose descendants would torment the human race. After Hephaestus does so, Athena dresses her in a silvery gown, an embroidered veil, garlands and an ornate crown of silver. This woman goes unnamed in the Theogony, but is presumably Pandora, whose myth Hesiod revisited in Works and Days. When she first appears before gods and mortals, "wonder seized them" as they looked upon her. But she was "sheer guile, not to be withstood by men." Hesiod elaborates (590–93) :

 

From her is the race of women and female kind :

of her is the deadly race and tribe of women who

live amongst mortal men to their great trouble,

no helpmates in hateful poverty, but only in wealth.

 

Hesiod goes on to lament that men who try to avoid the evil of women by avoiding marriage will fare no better (604–7) :

 

He reaches deadly old age without anyone to tend his years,

and though he at least has no lack of livelihood while he lives,

yet, when he is dead, his kinsfolk divide his possessions amongst them.

 

Hesiod concedes that occasionally a man finds a good wife, but still (609) "evil contends with good."

 

Works and Days

The more famous version of the Pandora myth comes from another of Hesiod's poems, Works and Days. In this version of the myth (lines 60–105), Hesiod expands upon her origin, and moreover widens the scope of the misery she inflicts on humanity. As before, she is created by Hephaestus, but now more gods contribute to her completion (63–82): Athena taught her needlework and weaving (63–4); Aphrodite "shed grace upon her head and cruel longing and cares that weary the limbs" (65–6); Hermes gave her "a shameful mind and deceitful nature" (67–8); Hermes also gave her the power of speech, putting in her "lies and crafty words" (77–80) ; Athena then clothed her (72); next she, Persuasion and the Charites adorned her with necklaces and other finery (72–4); the Horae adorned her with a garland crown (75). Finally, Hermes gives this woman a name: Pandora – "All-gifted" – "because all the Olympians gave her a gift" (81). In this retelling of her story, Pandora's deceitful feminine nature becomes the least of humanity's worries. For she brings with her a jar (which, due to textual corruption in the sixteenth century, came to be called a box) containing "burdensome toil and sickness that brings death to men" (91–2), diseases (102) and "a myriad other pains" (100). Prometheus had (fearing further reprisals) warned his brother Epimetheus not to accept any gifts from Zeus. But Epimetheus did not listen; he accepted Pandora, who promptly scattered the contents of her jar. As a result, Hesiod tells us, "the earth and sea are full of evils" (101). One item, however, did not escape the jar (96–9):

 

Only Hope was left within her unbreakable house,

she remained under the lip of the jar, and did not

fly away. Before [she could], Pandora replaced the

lid of the jar. This was the will of aegis-bearing

Zeus the Cloudgatherer.

 

Hesiod does not say why hope (elpis) remained in the jar.

 

Hesiod closes with this moral (105): "Thus it is not possible to escape the mind of Zeus."

 

Hesiod also outlines how the end of man's Golden Age, (an all-male society of immortals who were reverent to the gods, worked hard, and ate from abundant groves of fruit) was brought on by Prometheus, when he stole Fire from Mt. Olympus and gave it to mortal man, Zeus punished the technologically advanced society by creating woman. Thus, Pandora was created as the first woman and given the jar (mistranslated as 'box') which releases all evils upon man. The opening of the jar serves as the beginning of the Silver Age, in which man is now subject to death, and with the introduction of woman to birth as well, giving rise to the cycle of death and rebirth.

 

Homer

There is also a mention of jars or urns containing blessings and evils bestowed upon humanity in Homer's Iliad :

 

The immortals know no care, yet the lot they spin for man is full of sorrow; on the floor of Zeus' palace there stand two urns, the one filled with evil gifts, and the other with good ones. He for whom Zeus the lord of thunder mixes the gifts he sends, will meet now with good and now with evil fortune; but he to whom Zeus sends none but evil gifts will be pointed at by the finger of scorn, the hand of famine will pursue him to the ends of the world, and he will go up and down the face of the earth, respected neither by gods nor men.

 

Later embellishments

Archaic and Classic Greek literature seem to make no further mention of Pandora, though Sophocles wrote a satyr play Pandora, or The Hammerers of which virtually nothing is known. Sappho may have made reference to Pandora in a surviving fragment.

 

Later, mythographers filled in minor details or added postscripts to Hesiod's account. For example, the Bibliotheca and Hyginus each make explicit what might be latent in the Hesiodic text: Epimetheus married Pandora. They each add that they had a daughter, Pyrrha, who married Deucalion and survived the deluge with him. However, the Hesiodic Catalogue of Women, fragment #5, had made a "Pandora" one of the daughters of Deucalion, and the mother of Graecus by Zeus. The 15th-century monk Annio da Viterbo credited a manuscript he claimed to have found to the Chaldean historian of the 3rd century BC, Berossus, where "Pandora" was also named as a daughter-in-law of Noah; this attempt to conjoin pagan and scriptural narrative is recognized as a forgery.

 

In a major departure from Hesiod, the 6th-century BC Greek elegiac poet Theognis of Megara tells us :

 

Hope is the only good god remaining among mankind;

the others have left and gone to Olympus.

Trust, a mighty god has gone, Restraint has gone from men,

and the Graces, my friend, have abandoned the earth.

Men's judicial oaths are no longer to be trusted, nor does anyone

revere the immortal gods; the race of pious men has perished and

men no longer recognize the rules of conduct or acts of piety.

 

Theognis seems to be hinting at a myth in which the jar contained blessings rather than evils. In this, he appears to follow a possibly pre-Hesiodic tradition, preserved by the second-century fabulist Babrius, that the gods sent a jar containing blessings to humans. A "foolish man" (not Pandora) opened the jar, and most of the blessings were lost forever. Only hope remained, "to promise each of us the good things that fled."

 

An independent Pandora tradition that does not square with any of the literary sources is the tradition in the visual repertory of Attic red-figure vase-painters, which sometimes supplements, sometimes ignores, the written testimony; in these representations the upper part of Pandora is visible rising from the earth, "a chthonic goddess like Gaia herself." Sometimes, but not always, she is labeled Pandora.

A monument to the soldiers of the Polish Home Army who died resisting Soviet occupation and later domination between 1945-54 in Augustów, Poland. The monument was completed in 2013.

 

The memorial is dedicated to the “Cursed Soldiers of the Fallen in the Borderlands”, almost entirely forgotten outside Poland. More than 650 soldiers, many of them known only by noms de guerre, presumably to protect their families from reprisals, are commemorated on the monument.

 

The inscription reads: “They survived until the end on the lost posts, they gave their lives for Poland, the faith of their ancestors and human freedom. They well deserved their homeland.”

 

Dominating the monument is the eagle that is the national symbol of Poland.

 

I have so far been unable to find any information about the sculptor.

Vengeance class heavy cruisers UCSS Retribution and UCSS Reprisal rendezvous with the UCSS Ajax, which has just completed repairs in the UCSNS Hephaestus' bay.

Trinchera y boca sur del túnel nº12 “La Garguera” del ferrocarril Directo Madrid-Burgos, excavados en roca viva con dinamita y barreno a maza por condenados a trabajos forzados por la dictadura franquista, en las cercanías de Bustarviejo (Madrid).

 

Los penados, en su mayoría republicanos represaliados junto a algunos presos comunes, trabajaron en la construcción de la línea entre 1944 y 1952 bajo el sistema de “redención de pena por trabajo”, cedidos a empresas contratistas del Ministerio de Obras Públicas.

 

El Destacamento Penal de Bustarviejo se emplazó no muy lejos de las vías, y en una colina cercana, perfectamente a la vista de aquellos presos, las cabañas y chozas donde vivían sus familias. En la provincia de Madrid se establecieron nueve campos de trabajos forzados para la construcción del Directo Madrid-Burgos. El de Bustarviejo es el único que se ha preservado hasta nuestros días.

 

FORCED LABOR (PK 57.3)

 

Trench and south mouth of tunnel No. 12 “La Garguera” of the Madrid-Burgos “direct” railway line, excavated in the rock with dynamite and hammer-drilled by prisoners sentenced to forced labor by the Franco dictatorship, near Bustarviejo (Madrid, Spain).

 

Theese convicts, most of them republicans who had suffered reprisals and also some common prisoners, they worked on the construction of the line between 1944 and 1952 while they were ceded to contractor companies of the Franco regime under a "redemption of sentence for work" law.

 

Not far from the tracks is the Bustarviejo Penal Detachment, and on a nearby hill, within sight of those prisoners, the cottages and shacks where their families lived. For the construction of this railway line, nine forced labor camps were established in the province of Madrid. Bustarviejo´s is the only one that has been preserved to the present day.

Taken on September 2, 2018, during a 3 day photographic trip to the Prefecture of FTHIOTIDA - ΦΘΙΩΤΙΔΑ central Greece with my wife Theresa Jane Brown.

 

THE GORGOPOTAMOS RIVER - ΓΟΡΓΟΠΟΤΑΜΟΣ

The bridge over the river was built in 1905, putting the Gorgopotamos village on the map for the strategic purpose the bridge played during World War II. The name of Gorgopotamos became famous during World War II, when 150 Greek partisans, following plans drawn by E. C. W. "Eddie" Myers and assisted by a group of British SOE officers, which included C.M. Woodhouse, blew up the railroad bridge over the Gorgopotamos river on November 25, 1942 as part of Operation Harling and cut off the enemy-controlled route between Thessaloniki and Athens. The blast ruined two of the six piers of the bridge. In an act of reprisals, the German occupation forces executed 16 Greek locals. The area around the bridge has been designated a national monument.

After World War II and the Greek Civil War, the bridge of Gorgopotamos was partially rebuilt, the piers being replaced with steel pylons.

 

Thanassis Fournarakos - Θανάσης Φουρναράκος

Professional Photographer, Athens, Greece

(retired in 2011, born in 1946).

 

© ALL RIGHTS RESERVED

None of my images may be downloaded, copied, reproduced, manipulated or used on websites, blogs or other media without my explicit written permission. THANK YOU!

Peul herders, Bambara and Dogan farmers, itinerant traders and a colourful multiethnic host of other buyers and sellers converge at this vibrant weekly market every Monday in front of Djenné's ancient grand mosque.

 

They come from the surrounding regions and fertile flood plains of the Niger inland river delta in the Mopti region of central Mali, part of the semi-arid Sahel zone that stretches across northern Africa just south of the Sahara.

 

The iconic calabash bowls on prominent display are used to carry goods, store grains or prepare fresh fermented cow’s milk, popular among Mali's pastoral Peul communities.

 

Digital film scan, Asahi Pentax Spotmatic (SMC Pentax Zoom 45~125mm f/4), mosque rooftop pov, circa 1976.

 

~~~

Postrscript - The enchanting Arabian Nights imagery emanating out of this ancient marketplace at the time if this photo shoot (1976) is reminiscent of a seemingly bygone Sahelian era devoid of smartphones, credit cards and packaged safari tours.

 

Nowadays, nascent tourism is on hold and easy access to markets, pastures and farmlands is hampered as ethnic strife and intercommunal violence continue to erupt under a fragile Malian state.

 

In 2018, Human Rights Watch reported that the Mopti region of central Mali has become an epicentre of interethnic conflict, fuelled by a steady escalation of violence by armed Islamist groups largely allied with Al Qaeda’s advance from the north since 2015.

 

Recruitment to the militant Islamist movement from Peul pastoral herding communities has inflamed tensions within sedentary agrarian communities (Bambara, Dogon, Tellem, Bozo and others) who rely on access to agricultural lands for their livelihood.

 

Predominantly Muslim but opposing ethnic self-defence militias on both sides were formed for the protection of their own respective communities. This has contributed to a continuous cycle of violent attacks and reprisals touching villages and hamlets, pastures and farmlands and some marketplaces.

 

While communal tensions are profoundly connected to a larger ethnopolitical conflict unfolding in northern Mali, chronic insecurities around the ancient town of Djenné and in the broader central regions of Mali are exacerbated by longstanding indigenous concerns over a struggle for access to scarce natural resources - agricultural land for settled farmers versus water and grazing land for semi-nomadic Peul herdsmen.

 

Efforts at mediation in the area around Djenné and the grand mosque include a Humanitarian Agreement specifically among Bambara and Bozo farmers, Dogan "hunters" protecting farmers' interests, and Peul herders - all committed to guaranteeing the freedom of movement of people, goods and livestock in the "Circle of Djenné" situated in the Mopti region of central Mali.

 

© All rights to these photos and descriptions are reserved

 

Photo taken last night of cop car with flashing blue and red lights, parked behind a tree in front of our building. A policeman stands guard. We had a shooting in one of the parking lots in our complex of 4 buildings. Police were stationed everywhere; every indoor and outdoor parking area was blocked; no one could get in our out. Dozens of cops were out front where I could see them. Eventually an injured person was taken away by ambulance. Interviews with witnesses, searching cars, in the entire Complex were carried out until wee hours of the morning. This story is not finished yet as there are no details available other than it was a man threatening to kill himself and hurt anyone who interfered. Eventually the police shot him as he would not drop his gun and threatened them also. May hear more or maybe not on tonight's news. A friend witnessed it but cannot speak about what really took place, due to possibly being a witness and also for fear of possible reprisals. It was a very scary situation indeed. I took many photos while watching from balcony, but most were poor due to darkness and heavy rain and poor location for me to actually take them.

 

Location: The Lougheed Village Complex, Burnaby, BC

www.youtube.com/watch?v=szaelLPDzfc

Gordes is a commune in the Vaucluse département in the Provence-Alpes-Côte d'Azur region in southeastern France.

 

The residents are known as Gordiens. The nearest big city is Avignon, smaller are Cavaillon, L'Isle-sur-la-Sorgue and Apt.

The name "Gordes" derives from the Celtic word "Vordense". Vordense was pronounced Gordenses, then Gordae/Gordone, and finally Gòrda then translated into French "Gordes".[2]

[edit] Early history

 

Occupation by the Roman empire.[3] The area is full of evidence of their occupation especially the Roman road passing through Apt and Carpentras and crossing the valley. Gallo-Roman rests were found in "Bouisses" district (skeletons, amphorae, columns) or Gallo-Roman substructures in the hamlet of "les Gros".

The view from north of the castle is showing the ancient and the Renaissance parts.

[edit] Middle Ages and Renaissance

 

In the 8th century, a Benedictine abbey known as Saint-Chaffret was founded by monks of the Abbey of Saint-Chaffre in Monastier-en-Velay on the site of an ancient cella (roman temple) destroyed during the Arab invasions.[4]

 

In 1031, a castle was built and the Latin word "castrum" was added to what thus became "Castrum Gordone". The castle was re-enforced in 1123 to become a "nobile castrum", the only one known among the many castles nearby.[5]

 

In 1148 the Sénanque Abbey was established under the patronage of Alfant, Bishop of Cavaillon, and Ramon Berenguer II, Count of Barcelona, Count of Provence, by Cistercian monks who came from Mazan Abbey in the Ardèche.

 

After the death of King René of Provence, the territory of Provence was incorporated in 1481 into the kingdom of France as a "province royale française" (French royal province). An insurrection broke out in the former states of Agoult-Simiane and County of Forcalquier. Gordes is distinguished by a strong opposition to French centralism but will pay heavily his claims of independence. A year later, with the wedding of his son, Jacques Raybaud de Simiane takes the title of "Baron de Gordes".

[edit] Post XVIIIth century

 

During World War II , Gordes was an active resistance village and was later awarded a medal, the Croix de guerre 1939–1945.

 

The 21 of august 1944, almost a week after the beginning of the Operation Dragoon on the Provençal coast, a german patrol is attacked by the resistance. The day after, the 22 of august, the village is subject to violent reprisals. The german have forced the inhabitants to enter their home, shooting those we are late or that are not cooperating, and start to shoot from the rock on the other side with a canon and will destroy a dozen houses. On the other side of the village, the rest of the troops did put fire on chariot, wood pieces and houses, blocking potential followers. More than twenty houses had finally been destroyed. The resistance, trying to catch them, will destroy an other part of the village, including the notarial house with all the archive. All these destructions were worth in the municipality the sad privilege to appear among three " stricken cities " of the Vaucluse department. At the end, thirteen persons were killed or executed in Gordes during the Second World War, twenty inhabitants fell under the enemy bullets and five of them were taken out of the country (in extermination camps). source Wikipédia

Trinchera y boca sur del túnel nº12 “La Garguera” del ferrocarril Directo Madrid-Burgos, excavados en roca viva con dinamita y barreno a maza por prisioneros condenados a trabajos forzados por la dictadura franquista, en las cercanías de Bustarviejo (Madrid).

 

Los penados, en su mayoría republicanos represaliados junto a algunos presos comunes, trabajaron en la construcción de la línea entre 1944 y 1952 bajo el sistema de “redención de pena por trabajo”, cedidos a empresas contratistas del Ministerio de Obras Públicas.

 

El Destacamento Penal de Bustarviejo se emplazó no muy lejos de las vías, y en una colina cercana, perfectamente a la vista de aquellos presos, las cabañas y chozas donde vivían sus familias. En la provincia de Madrid se establecieron nueve campos de trabajos forzados para la construcción del Directo Madrid-Burgos. El de Bustarviejo es el único que se ha preservado hasta nuestros días.

 

Ajeno a todo ello, el reciente grafiti de un pulpo en la trinchera.

 

Trench and south mouth of tunnel No. 12 “La Garguera” of the Madrid-Burgos “direct” railway line, excavated in the rock with dynamite and hammer-drilled by prisoners sentenced to forced labor by the Franco dictatorship, near Bustarviejo (Madrid, Spain).

 

Theese convicts, most of them republicans who had suffered reprisals and also some common prisoners, they worked on the construction of the line between 1944 and 1952 while they were ceded to contractor companies of the Franco regime under a "redemption of sentence for work" law.

 

Not far from the tracks is the Bustarviejo Penal Detachment, and on a nearby hill, within sight of those prisoners, the cottages and shacks where their families lived. For the construction of this railway line, nine forced labor camps were established in the province of Madrid. Bustarviejo´s is the only one that has been preserved to this day.

 

Unheeding to all this, the recent graffiti of an octopus on the rock.

Toy Fair 2017, photos taken Sarah Tew/CNET.

 

They look like full scale dolls to me!

 

She is definitely on a modified version of the DC Superhero girl's body! Look at the shoulder joint. I'm not crazy about that. It is a stylised body that suits the DCSHG line, but not a doll that is supposed to be a real person. My only thought is that it is a body designed to withstand heavy play, and that is why they used it.

 

This, of course, means that those shoes will not fit regular Barbie feet, but may fit a 1/6 female action figure foot.

 

I do not expect this to be used on the Barbie Collector WW dolls, however. I expect we will see a reprisal of the New Superhero body we saw on last year's WW doll.

Photograph allegedly showing an unauthorized execution of SS troops in a coal yard in the area of the Dachau concentration camp during its liberation—part of the Dachau liberation reprisals. 29 April 1945 (U.S. Army photograph)

45 years ago. Converted from a 35mm slide that I took as a passenger in my friend's car the morning after rioting had broken out the night before. It was a very tense situation. I had to hide the camera from the rioters' view.

The NJ Historical Society ran an exhibition about the Newark Riots and the video narration contains this photo and few others that I shot during that turbulent time in the city. Visit the NJ Historical webpage to get more information.

www.jerseyhistory.org

Visit my Flickr set called, BACK IN THE DAY for more riot photos.

Puente de Bustarviejo, conocido también como viaducto de La Garguera, levantado sobre el arroyo del mismo nombre para el ferrocarril Directo Madrid-Burgos.

 

El viaducto, de 11 arcos y 170 m. de longitud, fue construido por prisioneros condenados a trabajos forzados por la dictadura franquista en las cercanías de la estación de Bustarviejo - Valdemanco (Madrid). Los penados, en su mayoría republicanos represaliados junto a algunos presos comunes, trabajaron en la construcción de la línea entre 1944 y 1952 bajo el sistema de “redención de pena por trabajo”, cedidos a empresas contratistas del Ministerio de Obras Públicas. No muy lejos del viaducto se emplazó el Destacamento Penal de Bustarviejo, y en una colina cercana, perfectamente visibles para aquellos hombres presos, las cabañas y chozas donde vivían sus familias. En la provincia de Madrid se establecieron nueve campos de trabajos forzados para la construcción del Directo Madrid-Burgos. El de Bustarviejo es el único que se ha preservado hasta nuestros días.

 

Bustarviejo Bridge, also known as Garguera Viaduct, built over a stream of the same name for the Madrid-Burgos "Direct" railway. The viaduct, with 11 arches and 170 m. in length, it was built by prisoners sentenced to forced labor by the Franco dictatorship, near the Bustarviejo - Valdemanco station (Madrid, Spain).

 

Theese convicts, most of them republicans who had suffered reprisals and also some common prisoners, they worked on the construction of the line between 1944 and 1952 while they were ceded to contractor companies of the Franco regime under a "redemption of sentence for work" law. Not far from the tracks is the Bustarviejo Penal Detachment, and on a nearby hill, within sight of those prisoners, the cottages and shacks where their families lived. For the construction of this railway line, nine forced labor camps were established in the province of Madrid. Bustarviejo´s is the only one that has been preserved to the present day.

leiacale.wordpress.com/2015/09/16/military-girl/

 

Visit this location at USS Reprisal rez zone in Second Life

One of the National Gallery of Australia’s most political, controversial and poignant pieces is to be found within its delightful sculpture garden, situated between the main gallery building and Lake Burley Griffin.

Quoting from a blog by Rambling Wombat [ramblingwombat.wordpress.com] describes this artwork and its political context better than anyone else that I have read:

"‘Heads from the North’, a memorial comprising 66 bronze heads bobbing just above the waterline among reeds in a marsh pond. The memorial, by Indonesia artist, Dadang Christanto, is to the hundreds of thousands of Christanto’s compatriots (including his father) who were killed in the brutal suppression following an unsuccessful military coup to remove Sukarno as President of Indonesia in September 1965.

 

"The mass killings occurred between late 1965 and early 1966 – hence the 66 heads.

 

"Christanto was eight years old when he lost his father. Unable to grieve publicly at the time for fear of reprisals he launched his work at the National Gallery, in 2004, with a public expression of his personal grief.

 

"According to The Australian newspaper (24 August 2013), 'After burning joss paper, he smeared ash on his head, then walked clothed into the pond, where he caressed each of the heads in remembrance of his father and other victims of that tragic era'.

 

"While left leaning Surkaro remained President, Major General Suharto (later President) assumed effective control and his violent suppression of basically anyone who had the audacity to oppose or criticise him is one of the worst, and least known, atrocities of the 20th century. Within a few months around 500,000 communists, suspected communists, left-wing sympathisers and ethnic Chinese were dead and countless more tortured or imprisoned.

 

"A survey published by the Jakarta Globe in 2009 showed that over 50% of university respondents had never heard of the 1965-66 mass killings – clear evidence of Suharto’s desire to wipe the event from Indonesian history.

 

"Just prior to seeing this memorial I had visited the Indian Ocean Tsunami Memorial, just across the lake from the National Gallery, and had been saddened to be reminded of the loss of 230,000 innocent lives to the ravages of nature (incidentally just three months after this memorial was dedicated). Being then reminded of the deliberate and needless slaughter of 500,000 made my blood boil. A Hague Tribunal subsequently found the US, the UK and Australia complicit in these deaths."

The Kalkadoon People, also known as the Kalkatungu, Kalkatunga, or Kalkadungu, ruled what is called the Emu Foot Province and have been living on these lands for over 40 thousand years. The Kalkadoon People owned vast tracts of land extending from McKinley’s Gap in the east where they joined the Goa tribe of the Winton district to Gunpowder Creek which was the territory of the Waggaboongas. On the southern side of their territory the Kalkadoons were touched upon by the Pitta-Pitta tribe of the Boulia district, and on the northern side by the Mittakoodi of the Fort Constantine country.

 

The Kalkadoons would mark their territory boundaries with an emu or cranes foot that was either painted onto rocks and trees or carved into the hard granite rock. This was also a warning for other Aboriginal clans not to pass these boundaries.

 

The Kalkadoon (Kalkatungu) are descendants of an Indigenous Australian tribe living in the Mount Isa region of Queensland. Their forefather tribe has been called 'the Elite of the Aboriginal warriors of Queensland'. In 1884 they were massacred at "Battle Mountain" by settlers and police.

 

The first Europeans to visit the area were explorers Burke and Wills who crossed the Cloncurry River in 1861. Though their journals make no mention of the tribe, their passing through is said to have been recorded in Kalkatungu oral history, and in their language they coined the term walpala (from 'white feller') to denote Europeans. Three parties sent out to search for Burke and Wills, led respectively by John McKinlay, William Landsborough, and Frederick Walker, passed through the general area. Walker, a former commander of the Dawson native police, shot 12 natives dead and wounded several more, just to the north east of Kalkatungu territory.

 

Another early European settler, Edward Palmer, who was described by George Phillips as 'one of that brave band of pioneer squatters who in the early sixties swept across North Queensland with their flocks and herds, settling, as if by magic, great tracts of hitherto unoccupied country', settled on the edge of Kalkatungu country in 1864, at Conobie, on the western bank of the Cloncurry River. Decades later, Palmer described the natives as a peculiar people of which little was known. Palmer was critical of the use of native police and interested in indigenous tribes. His station lands did not cover any Kalkatungu sacred sites, he did not object to their presence in the vicinity, and found no problem in his relations with the Kalkatungu. He tried to learn their language. Ernest Henry arrived in 1866, discovering, with the assistance of Kalkatungu guides, copper deposits the following year, and founded the Great Australia Mine. He successfully enlisted some Kalkatungu people to work one of these mines. A short attempt at settlement by W. and T. Brown at Bridgewater in 1874 experienced, like Palmer, no difficulties with the indigenous owners of the land.

 

The Scottish settler Alexander Kennedy then took up land in the area in 1877. He had managed, since his arrival in 1861, to accumulate land holdings of some 4,800 sq. miles, holding 60,000 cattle, and established himself in a residence he built, called Buckingham Downs. Kennedy is thought to have begun the troubles with the native peoples of the area by instigating murderous assaults on the Kalkatungu. Iain Davidson describes him as 'the man who led the destruction of the tribes of North West Central Queensland.'

 

The traditional white heroic narrative version of what then occurred drew on the account provided by Sir Wilmot Hudson Fysh in 1933. According to this version, the Kalkatungu was by nature a hostile and bellicose tribe, exceptionally brave with 'primitive' military cunning and guerilla-like tactics of strategic withdrawals to the mountains to evade reprisals for their savagery. They were eventually vanquished and broken after a last stand against men like Alexander Kennedy.

 

Source: Kalkadoon PBC (www.kalkadoonpbc.com.au)

Corella Valley Geoscience:

 

Rocks typically seen in the creekbeds of the Corella Valley are dark grey calcsilicates of the Corella Formation, often intruded by a pink fine-grained rock composed of pink feldspar and subordinate honrblende, which contain numerous fragments of dark-green to black metadolerite and some calc-silicates. This is a part of the Mount Philp Breccia. Typically mixed in with these creekbeds is pegmatite that seems to intrude the breccia.

 

Pegmatite are intrusive rocks with extreme coarse grained texture that are developed at the final stages of magma crystallization. As huge amount of time has been granted to pegmatite rocks so it has extremely large crystals and sometimes rare minerals are associated with it which are not found in other rocks. Pegmatite contains crystals that are atleast one centimetre long in diameter.

Pegmatite have composition similar to that of granite with abundant quartz, feldspar and mica. These are sometimes also called as granite pegmatites.

 

The mineralogy of a pegmatite is in most cases dominated by some form of feldspar, often with mica and usually with quartz, being altogether "granitic" in character. Beyond that, pegmatite may include most minerals associated with granite and granite-associated hydrothermal systems, granite-associated mineralisation styles, for example greisens, and somewhat with skarn associated mineralisation.

 

The Kalkadoon People:

 

The Kalkadoon People, also known as the Kalkatungu, Kalkatunga, or Kalkadungu, ruled what is called the Emu Foot Province and have been living on these lands for over 40 thousand years. The Kalkadoon People owned vast tracts of land extending from McKinley’s Gap in the east where they joined the Goa tribe of the Winton district to Gunpowder Creek which was the territory of the Waggaboongas. On the southern side of their territory the Kalkadoons were touched upon by the Pitta-Pitta tribe of the Boulia district, and on the northern side by the Mittakoodi of the Fort Constantine country.

 

The Kalkadoons would mark their territory boundaries with an emu or cranes foot that was either painted onto rocks and trees or carved into the hard granite rock. This was also a warning for other Aboriginal clans not to pass these boundaries.

 

The Kalkadoon (Kalkatungu) are descendants of an Indigenous Australian tribe living in the Mount Isa region of Queensland. Their forefather tribe has been called 'the Elite of the Aboriginal warriors of Queensland'. In 1884 they were massacred at "Battle Mountain" by settlers and police.

 

The first Europeans to visit the area were explorers Burke and Wills who crossed the Cloncurry River in 1861. Though their journals make no mention of the tribe, their passing through is said to have been recorded in Kalkatungu oral history, and in their language they coined the term walpala (from 'white feller') to denote Europeans. Three parties sent out to search for Burke and Wills, led respectively by John McKinlay, William Landsborough, and Frederick Walker, passed through the general area. Walker, a former commander of the Dawson native police, shot 12 natives dead and wounded several more, just to the north east of Kalkatungu territory.

 

Another early European settler, Edward Palmer, who was described by George Phillips as 'one of that brave band of pioneer squatters who in the early sixties swept across North Queensland with their flocks and herds, settling, as if by magic, great tracts of hitherto unoccupied country', settled on the edge of Kalkatungu country in 1864, at Conobie, on the western bank of the Cloncurry River. Decades later, Palmer described the natives as a peculiar people of which little was known. Palmer was critical of the use of native police and interested in indigenous tribes. His station lands did not cover any Kalkatungu sacred sites, he did not object to their presence in the vicinity, and found no problem in his relations with the Kalkatungu. He tried to learn their language. Ernest Henry arrived in 1866, discovering, with the assistance of Kalkatungu guides, copper deposits the following year, and founded the Great Australia Mine. He successfully enlisted some Kalkatungu people to work one of these mines. A short attempt at settlement by W. and T. Brown at Bridgewater in 1874 experienced, like Palmer, no difficulties with the indigenous owners of the land.

 

The Scottish settler Alexander Kennedy then took up land in the area in 1877. He had managed, since his arrival in 1861, to accumulate land holdings of some 4,800 sq. miles, holding 60,000 cattle, and established himself in a residence he built, called Buckingham Downs. Kennedy is thought to have begun the troubles with the native peoples of the area by instigating murderous assaults on the Kalkatungu. Iain Davidson describes him as 'the man who led the destruction of the tribes of North West Central Queensland.'

 

The traditional white heroic narrative version of what then occurred drew on the account provided by Sir Wilmot Hudson Fysh in 1933. According to this version, the Kalkatungu was by nature a hostile and bellicose tribe, exceptionally brave with 'primitive' military cunning and guerilla-like tactics of strategic withdrawals to the mountains to evade reprisals for their savagery. They were eventually vanquished and broken after a last stand against men like Alexander Kennedy.

 

Source: Rocks and Landscapes of Northwest Queensland by Laurie Hutton & Ian Withnall, Learning Geology (geologylearn.blogspot.com), &

Kalkadoon PBC (www.kalkadoonpbc.com.au).

Düsseldorf 22.3.25

 

Germany-wide protest for diplomacy, peace and togetherness instead of war, arms deliveries and division.

 

Expressing one's own opinion that deviates from the mainstream is still possible in Germany, but serious reprisals are to be expected.

 

People with views that differ from the government's are currently being vilified as "Nazis" by the media.

 

This photo shows some of these defamed individuals at a rally.

 

Displaying the German flag and any patriotic attitude is frowned upon in Germany.

Gli ultimi 10 anni dell'epoca aragonese, regnante Ferdinando di Trastàmara, sono contrassegnati dalla ricerca del bello e dall'esplosione della corrente artistica definita rinascimento siciliano. In questo fervido contesto si colloca la costruzione del tempio. Attorno al 1506 il giureconsulto palermitano Giacomo Basilicò, promuove la costruzione dell'aggregato monumentale rispettando e ponendo in essere le volontà testamentarie della defunta consorte Eulalia Rosolmini, figura particolarmente devota al dolore (Spasimo) della "Madonna che soffre dinanzi al Cristo che cade sotto il peso della croce sulla via del Calvario", pertanto il mecenate donò del terreno ai religiosi benedettini della Congregazione di Santa Maria di Monte Oliveto per edificare una chiesa e un monastero, opere da lui patrocinate e finanziate.

I lavori iniziarono nel 1509, approvati con bolla pontificia di Papa Giulio II. Concluse le attività riguardanti l'edificazione della chiesa, rimasero incomplete quelle del monastero, causa insufficienza dei fondi. Un'altra ben più temibile difficoltà gravò sul proseguimento dei lavori, infatti sotto la crescente minaccia dell'invasione turca, le continue rappresaglie di bande marinare pirate e corsare, alcuni anni più tardi si rese necessario il consolidamento dei sistemi difensivi della città.

Nel 1518 l'imponente edificio, di grande importanza a quel tempo per l'intera comunità palermitana, sempre per volontà del promotore e patrocinatore si era arricchito, tra gli altri, di un capolavoro d'inestimabile valore denominato Andata al Calvario e universalmente conosciuto come Spasimo di Sicilia, nome che influenzerà il titolo e la denominazione della chiesa. L'opera di Raffaello Sanzio raffigura appunto lo sgomento di Maria dinanzi al Cristo caduto sotto il peso della croce.

Il quadro, dopo il rocambolesco viaggio, è destinato ad abbellire l'altare maggiore per la Settimana Santa della Pasqua del 1517, espressamente commissionato per adornare la cappella gentilizia patrocinata dalla famiglia Basilicò, evento verificatosi dopo l'avvenuta scomparsa del committente. Nella sua collocazione il dipinto su tavola era incorniciato nella sopraelevazione di un altare marmoreo, finemente lavorato, opera dello scultore Antonello Gagini.[3] Giorgio Vasari nelle sue cronache, riferendosi all'artista del marmo lo cita come Antonio da Carrara scultore rarissimo, e documenta il quadro dell'Urbinate come " ... opera maravigliosa ... " e per le vicende " ... cosa divina ... ".[4] Il capolavoro oggi è custodito al Museo del Prado di Madrid. Nella chiesa di San Francesco d'Assisi all'Immacolata di Catania ne esiste una buona copia, realizzata su tavola nel 1541 da Jacopo Vignerio. In tutta la Sicilia si contano almeno venti riproduzioni dello Spasimo, molte delle quali realizzate nel XVI secolo, altre in epoche successive.

Furono costruite nuove cinte murarie in aggiunta alla primitive torri medievali e, attorno alla chiesa, nel 1537 fu scavato un fossato presso il monastero al punto di includere i loghi religiosi entro la cinta dei nuovi baluardi, mentre originariamente era posta al di fuori della cortina difensiva. I lavori fortemente voluti dall'imperatore Carlo V d'Asburgo, furono commissionati dal viceré di Sicilia Ferrante Gonzaga all'ingegnere militare Antonio Ferramolino nel 1536, e realizzati nei decenni successivi per essere continuati nel 1550 da Pedro de Pedro e completati nel 1572.

Nel 1541 fu concessa una cappella a Giacomo de Aversa e l'anno successivo è documentata la sepoltura del pittore Antonello Crescenzio.

Nel 1569, causa l'umidità e i crescenti vapori malsani, il Senato di Palermo acquistò il complesso, i monaci furono trasferiti nella chiesa di Santo Spirito dell'Ordine cistercense ricevendo a titolo di risarcimento la somma di 10.000 scudi, importo riconosciuto solo nel 1597, dopo l'intervento e l'emanazione della bolla pontificia di Papa Gregorio XII. Nel 1573 ha luogo il trasloco della congregazione, identica sorte seguiranno il dipinto e il monumentale aggregato marmoreo. Entrambi i capolavori saranno alloggiati nella Cappella del Santissimo Sacramento dopo l'iniziale ostensione del dipinto sull'altare maggiore della chiesa del Santo Spirito detta «del Vespro» in seguito al trasferimento processionale guidato dall'arcivescovo Giacomo Lomellino Del Canto.

Nel 1661 il quadro è ceduto a Filippo IV di Spagna (Filippo III di Sicilia) grazie alla complice intermediazione del viceré di Sicilia Ferdinando d'Ayala, conte d'Ayala, condotta con l'abate del monastero Clemente Staropoli, comunque un'operazione tacitamente dettata dal reciproco scambio di agevolazioni, di favori e interessi personali.[6] L'originale fu sostituito con una copia, anche se l'intera vicenda ha scatenato e alimentato una fervida letteratura pur presentando molti lati oscuri.

L'interno di notte.

Nel 1582 la chiesa fu adibita a sede di spettacoli pubblici, una specie di primo esempio di "teatro stabile" in Italia, Marcantonio Colonna, vi fece rappresentare l'Aminta di Torquato Tasso divenendo così il primo “teatro pubblico” della città; l'epidemia di peste del 1624 ne rese necessario l'utilizzo come lazzaretto per il ricovero degli ammalati. Terminata l'emergenza infettiva, gli ambienti furono adibiti a granaio e in seguito a magazzini. A metà del settecento crollò la volta della navata centrale che non sarà mai più ricostruita.

Qualche anno dopo il viceré di Sicilia, Francìsco Ruiz de Castro Andrade y Portugal, conte di Castro, VIII conte di Lemos e duca di Taurisano, si prodigò per far concedere ai religiosi la bizantina chiesa di Santa Maria della Pinta, ma anche questo luogo di culto ubicato sul piano reale fu presto inserito nel quadro di demolizioni previste per l'innalzamento dei baluardi posti a protezione del Palazzo Reale.

it.wikipedia.org/wiki/Chiesa_di_Santa_Maria_dello_Spasimo_(Palermo)

  

The last 10 years of the Aragonese era, reigning Ferdinand of Trastàmara, are marked by the search for beauty and by the explosion of the artistic current defined as the Sicilian Renaissance. The construction of the temple is placed in this fervent context. Around 1506 the jurisconsult of Palermo, Giacomo Basilicò, promoted the construction of the monumental aggregate respecting and implementing the testamentary will of the deceased consort Eulalia Rosolmini, a figure particularly devoted to the pain (Spasimo) of the "Madonna who suffers before the Christ who falls under the weight of the cross on the Via del Calvario ", therefore the patron donated land to the Benedictine religious of the Congregation of Santa Maria di Monte Oliveto to build a church and a monastery, works sponsored and financed by him.

Work began in 1509, approved with the papal bull of Pope Julius II. Concluded the activities concerning the building of the church, those of the monastery remained incomplete, due to insufficiency of the funds. Another far more formidable difficulty weighed on the continuation of the works, in fact under the growing threat of the Turkish invasion, the continuous reprisals of pirate and pirate mariner bands, some years later the consolidation of the defensive systems of the city became necessary.

In 1518 the imposing building, of great importance at that time for the entire Palermo community, always by the will of the promoter and patron, had been enriched, among others, by a masterpiece of inestimable value called Andata al Calvario and universally known as Spasimo of Sicily, name that will influence the title and the denomination of the church. The work of Raphael Sanzio depicts precisely the dismay of Mary before the Christ fallen under the weight of the cross.

The picture, after the incredible journey, is destined to embellish the high altar for Easter Holy Week of 1517, expressly commissioned to adorn the noble chapel sponsored by the Basilicò family, an event that occurred after the client's demise. In its placement the painting on panel was framed in the elevation of a finely worked marble altar by the sculptor Antonello Gagini. [3] Giorgio Vasari in his chronicles, referring to the marble artist, cites him as Antonio da Carrara, a very rare sculptor, and documents the picture of Urbino as "... a marvelous work ..." and for events "... a divine thing. .. ". [4] Today the masterpiece is kept at the Prado Museum in Madrid. In the church of San Francesco d'Assisi in the Immaculate of Catania there is a good copy, made on wood in 1541 by Jacopo Vignerio. In all of Sicily there are at least twenty reproductions of the Spasimo, many of which were made in the 16th century, others in later periods.

New city walls were built in addition to the primitive medieval towers and, around the church, in 1537 a ditch was dug near the monastery to the point of including the religious logos within the walls of the new ramparts, while originally it was placed outside the defensive curtain . The works strongly desired by the Emperor Charles V of Habsburg, were commissioned by the viceroy of Sicily Ferrante Gonzaga to the military engineer Antonio Ferramolino in 1536, and built in the following decades to be continued in 1550 by Pedro de Pedro and completed in 1572.

In 1541 a chapel was granted to Giacomo de Aversa and the following year the burial of the painter Antonello Crescenzio is documented.

In 1569, due to the humidity and the growing unhealthy vapors, the Senate of Palermo bought the complex, the monks were transferred to the church of Santo Spirito of the Cistercian Order receiving as compensation the sum of 10,000 scudi, an amount recognized only in 1597, after the intervention and the issuing of the papal bull of Pope Gregory XII. In 1573 the move of the congregation takes place, the same fate will follow the painting and the monumental marble aggregate. Both masterpieces will be housed in the Chapel of the Blessed Sacrament after the initial display of the painting on the high altar of the church of the Holy Spirit known as "del Vespro" following the processional transfer led by Archbishop Giacomo Lomellino Del Canto.

In 1661 the painting was given to Philip IV of Spain (Filippo III of Sicily) thanks to the accomplice intermediation of the Viceroy of Sicily Ferdinando d'Ayala, count of Ayala, conducted with the abbot of the monastery Clemente Staropoli, however an operation tacitly dictated by the mutual exchange of benefits, favors and personal interests. [6] The original was replaced with a copy, although the whole story sparked and fueled a fervent literature while presenting many dark sides.

Inside at night.

In 1582 the church was used as a venue for public performances, a sort of first example of "permanent theater" in Italy, Marcantonio Colonna, who had Torquato Tasso's Aminta represented in it, thus becoming the city's first "public theater"; the plague epidemic of 1624 made it necessary to use it as a hospital for the hospitalization of the sick. Once the infectious emergency was over, the rooms were used as a granary and later as warehouses. In the middle of the eighteenth century the vault of the central nave collapsed and will never be rebuilt.

A few years later the Viceroy of Sicily, Franciscus Ruiz de Castro Andrade y Portugal, Count of Castro, VIII Count of Lemos and Duke of Taurisano, did his best to give the religious the Byzantine church of Santa Maria della Pinta, but also this place of cult located on the royal level was soon included in the framework of demolitions planned for the raising of the bulwarks protecting the Royal Palace.

My mother wrote the following about this photo she took in Colombia in 1952:

 

"1. Side street in Tunja, capital of the state of Boyacá, Colombia, South America. Tunja is 3 hours by car north of Bogotá, the national capital.

 

Here, Bolívar and the 2,000 survivors of the death march over the "impossible" Pisba pass, stopped to rest and recruit new forces before defeating the Spaniards at the Battle of Boyacá in August, 1819.

 

This part of the city has changed very little since the days of Bolívar. The electricity is new.

 

Taken August 1952 en route to fishing trip to Lake Tota."

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When I reviewed the collection of old family slides for the first time recently, I came across a bulging yellow envelope that my sister had marked "Colombia 50s."

 

In it were many glassine envelopes, each of which contained one slide and a numbered card bearing a closely-spaced typewritten text.

 

The text named the subject of the photo and said a bit about it. Below the body of the text was typed my mother's name, the month and year (1952 or 1953), "Argus camera" and my father's business address at the Creole Petroleum Corporation in Caracas.

 

My family moved from Bogotá to Caracas later in 1953, and I was born there a few years later.

 

The existence of this collection of photos and descriptive texts was unknown to me until last month. My guess is that my mother compiled the materials so she could put on a slide show for women's clubs in Caracas or in her home state of Kansas.

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"How Simón Bolívar Crossed the Andes"

 

By Christopher Minster

 

Updated on May 31, 2019

 

In 1819, the War of Independence in Northern South America was locked in a stalemate. Venezuela was exhausted from a decade of war, and patriot and royalist warlords had fought each other to a standstill.

 

Simón Bolívar, the dashing Liberator, conceived of a brilliant yet seemingly suicidal plan: he would take his 2,000 man army, cross the mighty Andes, and hit the Spanish where they were least expecting it: in neighboring New Granada (Colombia), where a small Spanish army held the region unopposed. His epic crossing of the frozen Andes would prove to be the most genius of his many daring actions during the war.

Venezuela in 1819

 

Venezuela had borne the brunt of the War of Independence. Home of the failed First and Second Venezuelan Republics, the nation had suffered greatly from Spanish reprisals. By 1819 Venezuela was in ruins from the constant warring. Simón Bolívar, the Great Liberator, had an army of some 2,000 men, and other patriots like José Antonio Páez also had small armies, but they were scattered and even together lacked the strength to deliver a knockout blow to Spanish General Morillo and his royalist armies. In May, Bolívar's army was camped near the llanos or great plains, and he decided to do what the royalists least expected.

 

Nueva Granada (Colombia) in 1819

 

Unlike war-weary Venezuela, Nueva Granada was ready for revolution. The Spanish were in control but deeply resented by the people. For years, they had been forcing the men into armies, extracting “loans” from the wealthy and oppressing the Creoles, afraid they might revolt. Most of the royalist forces were in Venezuela under the command of General Morillo: in Nueva Granada, there were some 10,000, but they were spread out from the Caribbean to Ecuador. The largest single force was an army of some 3,000 commanded by General José María Barreiro. If Bolívar could get his army there, he could deal the Spanish a mortal blow.

 

The Council of Setenta

 

On May 23, Bolívar called his officers to meet in a ruined hut in the abandoned village of Setenta. Many of his most trusted captains were there, including James Rooke, Carlos Soublette and José Antonio Anzoátegui. There were no seats: the men sat on the bleached skulls of dead cattle. At this meeting, Bolívar told them of his daring plan to attack Nueva Granada, but he lied to them about the route he would take, fearing they would not follow if they knew the truth. Bolívar intended to cross the flooded plains and then cross the Andes at the Páramo de Pisba pass: the highest of three possible entries into New Granada.

 

Crossing the Flooded Plains

 

Bolívar’s army then numbered some 2,400 men, with less than one thousand women and followers. The first obstacle was the Arauca River, upon which they traveled for eight days by raft and canoe, mostly in the pouring rain.

 

Then they reached the plains of Casanare, which were flooded by the rains. Men waded in water up to their waists, as thick fog obscured their vision: torrential rains drenched them daily. Where there was no water there was mud: the men were plagued by parasites and leeches. The only highlight during this time was meeting up with a patriot army of some 1,200 men led by Francisco de Paula Santander.

 

Crossing the Andes

 

As the plains gave way to the hilly jungle, Bolívar’s intentions became clear: the army, drenched, battered and hungry, would have to cross the frigid Andes Mountains. Bolívar had selected the pass at Páramo de Pisba for the simple reason that the Spanish did not have defenders or scouts there: no one thought an army could possibly cross it.

 

The pass peaks at 13,000 feet (almost 4,000 meters). Some deserted: José Antonio Páez, one of Bolívar's top commanders, tried to mutiny and eventually left with most of the cavalry. Bolívar's leadership held, however, because many of his captains swore they would follow him anywhere.

 

Untold Suffering

 

The crossing was brutal. Some of Bolívar’s soldiers were barely-dressed indigenous people who quickly succumbed to exposure.

 

The Albion Legion, a unit of foreign (mostly British and Irish) mercenaries, suffered greatly from altitude sickness and many even died from it.

 

There was no wood in the barren highlands: they were fed raw meat. Before long, all of the horses and pack animals had been slaughtered for food.

 

The wind whipped them, and hail and snow were frequent.

 

By the time they crossed the pass and descended into Nueva Granada, some 2,000 men and women had perished.

 

Arrival in Nueva Granada

 

On July 6, 1819, the withered survivors of the march entered the village of Socha, many of them half-naked and barefoot. They begged food and clothing from the locals. There was no time to waste: Bolívar had paid a high cost for the element of surprise and had no intention of wasting it. He swiftly refitted the army, recruited hundreds of new soldiers and made plans for an invasion of Bogota. His greatest obstacle was General Barreiro, stationed with his 3,000 men at Tunja, between Bolívar and Bogota. On July 25, the forces met at the Battle of Vargas Swamp, which resulted in an indecisive victory for Bolívar.

 

The Battle of Boyacá

 

Bolívar knew that he had to destroy Barreiro's army before it reached Bogota, where reinforcements could reach it. On August 7, the royalist army was divided as it crossed the Boyaca River: the advance guard was in front, across the bridge, and the artillery was far to the rear. Bolivar swiftly ordered an attack. Santander's cavalry cut off the advance guard (which were the best soldiers in the royalist army), trapping them on the other side of the river, while Bolívar and Anzoátegui decimated the main body of the Spanish force.

 

Legacy of Bolívar’s Crossing of the Andes

 

The battle lasted only two hours: at least two hundred royalists were killed and another 1,600 were captured, including Barreiro and his senior officers. On the patriot side, there were only 13 killed and 53 wounded.

 

The Battle of Boyacá was a tremendous, one-sided victory for Bolívar who marched unopposed into Bogota: the Viceroy had fled so swiftly that he left money in the treasury. Nueva Granada was free, and with money, weapons, and recruits, Venezuela soon followed, allowing Bolívar to eventually move south and attack Spanish forces in Ecuador and Peru.

 

The epic crossing of the Andes is Simón Bolívar in a nutshell: he was a brilliant, dedicated, ruthless man who would do whatever it took to free his homeland. Crossing flooded plains and rivers before going over a frigid mountain pass over some of the bleakest terrain on earth was absolute madness. No one thought Bolívar could pull off such a thing, which made it all the more unexpected. Still, it cost him 2,000 loyal lives: many commanders would not have paid that price for victory.

www.thoughtco.com/1819-simon-bolivar-crosses-the-andes-21...

The Channel Islands - off the coast of France - are not part of the United Kingdom but rather are possessions of the British Crown with independent administrations. Their inhabitants are British citizens.

During the Second World War the islands were occupied by Germany, causing considerable suffering to the locals. Some were deported as slave labourers, Jews were sent to concentration camps, reprisals for partisan activities were harsh, and many were reduced to near starvation by the end of the war.

Capturing the Channel Islands - in the English Channel - was the closest the Germany army got to Britain's mainland.

 

 

Norwegen / Nordland / Lofoten / Moskenesøya - Reine

 

Moskenesøya (lit. 'Moskenes Island') is an island at the southern end of the Lofoten archipelago in Nordland county, Norway. The 186-square-kilometre (72 sq mi) island is shared between Moskenes Municipality and Flakstad Municipality. The tidal whirlpool system known as Moskstraumen, one of the strongest in the world, is located between Moskenesøya's Lofoten Point and the island of Mosken.

 

Geography

 

The island consists of an agglomeration of glaciated hills with the highest peak being the 1,029-metre-tall (3,376 ft) Hermannsdalstinden mountain. It is elongated from southwest to northeast and it is about 40 kilometres (25 mi) long and 10 km (6 mi) wide. It also has a very uneven shoreline. The island is connected to the nearby island of Flakstadøya by the Kåkern Bridge which is part of the European route E10 which ends on the Moskenesøya island at the village of Å.

 

Population

 

There are many villages on the island. Flakstad Municipality, on the northern part of the island, has several small villages including Fredvang, Selfjord, and Krystad. Moskenes Municipality, on the southern part of the island, has the villages of Å, Hamnøya, Moskenes, Reine, Sakrisøy, Sørvågen, and Tind, all located on the eastern side of the island. There were settlements on the western coast, but the last ones were abandoned in 1950s owing to severe storms.

 

Attractions

 

Most villages are frequently visited by tourists and have designed small exhibits of local peculiarities. So Sakrisøy has a museum of 2,500 dolls from all over Europe. Sørvågen contains a local department of Norsk Telemuseum (Norwegian Telecom Museum) which reflects the local history of telegraphy. In 1861, the island became part of the 170-kilometre-long (110 mi) Lofoten telegraph line with a station in Sørvågen (which became the Sørvågen museum in 1914), and in 1867 the line was connected with Europe. In 1906, a wireless telegraph system was installed in Sørvågen – the second in Europe after Italy – connecting Sørvågen with Røst island.

 

The village of Å is a traditional fishing place and nearly its entire territory is the 150 years old Norwegian Fishing Village Museum, which includes the Lofoten Stockfish Museum, a forge, a bakery, and a cod liver oil factory.

 

History

 

In the beginning of World War II, the island was occupied by the German Army. In December 1941, it was the venue of the Operation Anklet – a British Commando raid carried out by 300 men from No. 12 Commando and the Norwegian Independent Company 1. The landing party was supported by 22 ships from three navies – British, Norwegian and Polish. As a result, two German radio transmitters were destroyed and several small boats were captured or sunk. Importantly an operational Enigma coding machine was obtained from one of the sunken German patrol ships. Also, about 200 local Norwegians volunteered to serve in the Free Norwegian Forces.

 

(Wikipedia)

 

Reine is the administrative centre of Moskenes Municipality in Nordland county, Norway. The fishing village is located on the island of Moskenesøya in the Lofoten archipelago, above the Arctic Circle, about 300 kilometres (190 mi) southwest of the city of Tromsø. Reine Church is located in the village.

 

The 0.28-square-kilometre (69-acre) village has a population (2023) of 297 and a population density of 1,061 inhabitants per square kilometre (2,750/sq mi). The Lofotposten newspaper is published in Svolvær and it covers news all over Lofoten, including Moskenes Municipality.

 

Overview

 

Reine has been a trading post since 1743. It was also a centre for the local fishing industry with a fleet of boats and facilities for fish processing and marketing. There was also a little light industry. In December 1941, the Germans burnt part of Reine in reprisal for a raid on the Lofoten Islands by British troops. Today, tourism is important, and despite its remote location, many thousands of people visit annually. The village is situated on a promontory just off the European route E10 highway, which passes through the village. Reine is located immediately to the south of Sakrisoya and Hamnøya.

 

Allers, the largest weekly magazine in Norway, selected Reine as the most beautiful village in Norway in the late 1970s. A photograph over Reine from the mountain Reinebringen (altitude 448 metres (1,470 ft)) has been used for the front page of several tourist brochures and books. In 1999, the painter Ingo Kühl set up a temporary studio in a rorbu and painted the view over the harbor to the mountain range.

 

In January 2015, Reine was the site from which Coca-Cola launched Coca-Cola life in Norway, referred to by the company as "our smallest launch yet". More than half the town's residents (around 200 out of 307) attended this open-air event despite being mid-winter.

 

In 2016–2019, a stone staircase was built up to Reinebringen, which made the mountain (previously considered steep, muddy, and difficult to climb) easily accessible.

 

(Wikipedia)

 

Moskenesøy ist eine Insel im südlichen Teil der Lofoten in Norwegen. Der Hauptort ist Reine, weitere Orte auf Moskenesøy sind unter anderem Moskenes, Å, Sørvågen, Sund, Sakrisøy und Hamnøy.

 

Zwischen Moskenesøy und der südlichen Nachbarinsel Værøy gibt es besondere Gezeitenströmungen, genannt Moskenstraumen, die als Vorbild für den mythischen „Mahlstrom“ gelten.

 

Seit 2018 gehört die Westküste von Moskenesøy und vorgelagerte Inseln als Lofotodden-Nationalpark zu den Nationalparks in Norwegen.

 

Wirtschaft und Verkehr

 

Die Fischerei ist auch heute noch der wichtigste Wirtschaftsfaktor. Aber auch der Tourismus und die Zucht von Lachsen gewinnt an Bedeutung.

 

Die Europastraße 10 verbindet die Insel Moskenesøy mit den anderen nördlichen Inseln Lofotens und seit 2007 fährenfrei mit dem Festland. Fährverbindungen gibt es mit dem Festland bei Bodø sowie mit den südlichen Inselkommunen in Lofoten, Værøy und Røst.

 

Es gibt nach Leknes, Svolvær und Stamsund gute Busverbindungen. In Leknes ist ein Flugplatz mit Verbindung nach Bodø, in Svolvær und in Stamsund halten die Schiffe der Hurtigruten.

 

Sehenswürdigkeiten

 

Telekommunikationsmuseum in Sørvågen

Ortsbild in Reine

Museumsdorf Å

Stockfischmuseum in Å

Puppen- und Spielzeugmuseum in Sakrisøy

Kollhellaren, Höhle mit Höhlenmalereien auf der Westseite der Insel

 

(Wikipedia)

 

Reine ist das administrative Zentrum der Gemeinde Moskenes auf den Lofoten in Norwegen. Das Dorf hat 304 Einwohner (Stand: 1. Januar 2023) und existiert seit 1743. Heute ist der Tourismus wichtig. Trotz seiner abgelegenen Lage besuchen Tausende von Menschen jährlich diese Gegend.

 

Die Europastraße 10 verläuft durch Reine. Reine ist für seine landschaftliche Schönheit bekannt. Der Blick vom Berg Reinebringen auf Reine ist ein beliebtes Fotomotiv, das für die Titelseiten vieler touristischer Broschüren und Bücher verwendet wird. 1999 richtete sich der Maler Ingo Kühl in einem Rorbu ein provisorisches Atelier ein und malte den Blick über den Hafen auf das Bergmassiv.

 

(Wikpedia)

“They Came from Infinity to Destroy Man’s Earthly Paradise.”

 

From the back cover:

 

It was a great world in the fortieth century. No economic problems. No work. Robots and androids everywhere. Every girl a princess, every man a king. Pleasure, parties, amusements, art, drama and literature were the ultimate goal of every man, woman and child.

 

When people have too much leisure there is danger. They grow soft and effete. There hadn’t been a standing army on earth for a thousand years. There hadn’t been a single warrior for five hundred. Then the Masked Swordsmen began breaking up the pleasure parties, after the swords came guns, stolen from the museums. Then . . . worse . . . far, far worse.

 

But that wasn’t all. There were rumours of alien ships in the sky. Ships manned by a savage blue skinned humanoid race. Ships landed. Blues were enslaved. More blues came. Earthmen and women were captured in reprisal.

 

Who were the blues? Why did they come? What was their history? What were their plans for the future? Would the human race survive . . .?

 

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

 

Badger Books were published between 1959 and 1967 in a number of genres, predominantly war, westerns, romance, supernatural and science fiction. In common with other “pulp” or mass-market publishers of the time, Badger Books focused on quantity rather than quality. A new title in each of the major genres appeared each month, generally written to tight deadlines by low-paid authors. One of the most remarkable facts about Badger Books is that much of its output was produced by just two authors (using a range of house names and other pseudonyms). John Glasby (over 300 novels and short stories) and Robert Lionel Fanthorpe (over 200 novels and stories). [Wikipedia]

View of Ponte Vecchio, a bridge crossing the Arno River in the city of Florence, from Piazzale Michelangelo, Florence, Tuscany, Italy

 

Some background information:

 

The Ponte Vecchio (in English: "Old Bridge") is a medieval stone closed-spandrel segmental arch bridge over the Arno River, noted for still having shops built along it, as was once common. Butchers initially occupied the shops, while the present tenants are jewellers, art dealers and souvenir sellers. Ponte Vecchio is one of the city of Florence’s landmarks and part of the UNESCO World Heritage Site covering the historic centre of Florence. As the pedestrian bridge spans the Arno at its narrowest point, it is believed that already in Roman times a bridge existed at the same spot.

 

The bridge first appears in a document of 996. After being destroyed by a flood in 1117, it was reconstructed in stone but swept away again in 1333. In 1345, it was rebuilt again. The bridge consists of three segmental arches: the main arch has a span of 30 metres (98 feet), while the two side arches each span 27 metres (89 feet). At the central opening of Ponte Vecchio a little loggia is located, covering the bridge’s weathered dedication stone. It is said that the economic concept of bankruptcy originated here: When a money-changer could not pay his debts, the table on which he sold his wares (the "banco") was physically broken ("rotto") by soldiers, and this practice was called "bancorotto" (in English: "broken table"). Not having a table anymore, the merchant of course was not able to sell anything.

 

With about 400,000 residents in its city centre and more than 1,520,000 in its metropolitan area, Florence is the capital and also the most populous city of the Italian region of Tuscany. The town lies in a basin formed by several hills. The Arno river, three other minor rivers and some streams flow through its metropolitan area. During the Middle Ages the city was a centre of European trade and finance and one of the wealthiest cities of that era. It is also considered the birthplace of the Renaissance, and has been called "the Athens of the Middle Ages". A turbulent political history includes periods of rule by the powerful Medici family and numerous religious and republican revolutions. From 1865 to 1871 Florence was the capital of the recently established Kingdom of Italy.

 

The Florentine dialect forms the base of Standard Italian and it became the language of culture throughout Italy due to the prestige of the masterpieces by Dante Alighieri, Petrarch, Giovanni Boccaccio, Niccolò Machiavelli and Francesco Guicciardini, who were all born in the city. Florence attracts millions of tourists each year, and its historic centre was declared a UNESCO World Heritage Site in 1982. The city is noted for its culture, art, architecture and monuments. It contains numerous museums and art galleries, such as the Uffizi Gallery and the Palazzo Pitti. Due to Florence's artistic and architectural heritage, it has been ranked by Forbes as one of the most beautiful cities in the world. Furthermore, Florence is also an important city in Italian fashion, being ranked in the top 15 fashion capitals of the world.

 

Florence originated as a Roman city. Around 200 BC, the Etruscans initially formed the small settlement of Fiesole, which was destroyed by Lucius Cornelius Sulla in 80 BC in reprisal for supporting the populares faction in Rome. In 59 BC, the present city of Florence was established by Julius Caesar as a settlement for his veteran soldiers. Originally it was named Fluentia, owing to the fact that it was built between two rivers, but its name was later changed to Florentia (in English: "flowering"). Situated along the Via Cassia, the main route between Rome and the north, and within the fertile valley of the Arno, the settlement quickly became an important commercial centre.

 

In centuries to come, the city was often troubled by warfare between the Ostrogoths and the Byzantines, which may have caused the population to fall to as few as 1,000 people. Peace returned under Lombard rule in the 6th century. In 774, Florence was conquered by Charlemagne and became part of the Duchy of Tuscany, with Lucca as its capital. The population began to grow again and commerce prospered.

 

Margrave Hugo chose Florence as his residency instead of Lucca at about 1000 AD. The Golden Age of Florentine art began around this time. The city's primary resource was the Arno river, providing power and access for the industry (mainly textile industry), and access to the Mediterranean Sea for international trade. Another great source of strength was its industrious merchant community. The Florentine merchant banking skills became recognised in Europe after they brought decisive financial innovation to medieval fairs, such as bill of exchange and double-entry bookkeeping system.

 

In 1115, the Republic of Florence originated, when the Florentine people rebelled against the Margraviate of Tuscany upon the death of Matilda of Tuscany, a woman who controlled vast territories that included Florence. The Florentines formed a commune in her successors' place. Subsequently, the early, modern state of the republic was ruled by a council known as the Signoria of Florence. The republic had a checkered history of factions and counter-factions. But in 1434, the Medici faction gained governance of the city under Cosimo de' Medici.

 

During this first Medici governance, in 1469, Cosimo’s grandson Lorenzo de' Medici assumed the reins of government. Lorenzo was a great patron of the arts, commissioning works by Michelangelo, Leonardo da Vinci and Botticelli. As he was also an accomplished poet and musician himself, he brought composers and singers to Florence too. By contemporary Florentines (and since), he was known as "Lorenzo il Magnifico" (in English: "Lorenzo the Magnificent").

 

The Medici kept control of Florence until 1494, when Lorenzo’s son Piero II was expelled by the French king Charles VIII, whose army had invaded northern Italy. In 1498, when the Medici were out of power, Niccolò Machiavelli, a diplomat, politician, historian, philosopher, humanist, writer, playwright and poet of the Renaissance period, became secretary to the Second Chancery of the Republic of Florence. His prescriptions for Florence's regeneration under strong leadership have often been seen as a legitimisation of political expediency and even malpractice. In other words, Machiavelli was a political thinker, perhaps most renowned for his political handbook, titled "The Prince", which is about ruling and the exercise of power. Commissioned by the Medici, Machiavelli also wrote the Florentine Histories, the history of the city.

 

In 1512, Giovanni de' Medici (later Pope Leo X) re-conquered the Republic of Florence. However, Florence repudiated Medici authority for a second time in 1527, during the so-called War of the League of Cognac. But again the Medici re-assumed their rule in 1531 after an 11-month siege of the city. The republican government was disestablished in 1532, when Pope Clement VII appointed Alessandro de' Medici "Duke of the Florentine Republic", making the republic a hereditary monarchy.

 

In 1569, the Medici became Grand Dukes of Tuscany, ruling for another two centuries. In all Tuscany, only the Republic of Lucca and the Principality of Piombino were independent from Florence. The extinction of the Medici dynasty and the accession in 1737 of Francis Stephen, Duke of Lorraine and husband of Maria Theresa of Austria, led to Tuscany's temporary inclusion in the territories of the Austrian crown. From 1801 to 1807 Florence was the capital of the Napoleonic client state Kingdom of Etruria and from 1808 to the fall of Napoleon in 1814, it was the was the prefecture of the French département of Arno. In 1861, Tuscany became a region of the Kingdom of Italy. In 1865, Florence replaced Turin as Italy's capital, but already six years later, it was superseded by Rome.

 

After doubling during the 19th century, Florence's population was to triple in the 20th, resulting from growth in tourism, trade, financial services and industry. During World War II the city experienced a year-long German occupation (1943 to 1944) and was declared an open city in late July 1944 as troops of the British 8th Army closed in. The retreating Germans decided to demolish all the bridges along the Arno, making it difficult for troops of the 8th Army to cross. But at the latest moment, the German general was convinced that Ponte Vecchio was not to be destroyed due to its historical value. In November 1966, the Arno flooded parts of the centre, damaging many art treasures.

 

Today, Florence is known as the "cradle of the Renaissance" for its many Renaissance monuments, churches, and other buildings. 600 years after its completion, the dome, built by Filippo Brunelleschi, is still the largest dome built in brick and mortar in the world. Florence also contains numerous museums and art galleries where some of the world's most important works of art are held. Hence, tourism is, by far, the most important of all industries and most of the Florentine economy relies on the money generated by international arrivals and students studying in the city. The value tourism to the city totalled some 62.5 billion € in 2015 and the number of visitors still increases to the present day.

Jill Lepore

 

Jill Lepore is an American historian and journalist. She is the David Woods Kemper '41 Professor of American History at Harvard University and a staff writer at The New Yorker, where she has contributed since 2005. She writes about American history, law, literature, and politics. Wikipedia:

Born:

August 27, 1966, West Boylston, Massachusetts, U.S.

Institutions:

Harvard University, Boston University, University of California, San Diego

Alma mater:

Tufts University (BA), University of Michigan (MA), Yale University (Ph.D.

_____________________________

scholar.harvard.edu/jlepore/biocv

 

Biography

 

Jill Lepore is the David Woods Kemper ’41 Professor of American History and Affiliate Professor of Law at Harvard University. She is also a staff writer at The New Yorker. Her many books include:

These Truths: A History of the United States (2018), an international bestseller, was named one of Time magazine's top ten non-fiction books of the decade. Her latest book is The Deadline. She is currently working on a long-term research project called Amend, an NEH-funded data collection of attempts to amend the U.S. Constitution.

 

Lepore is on sabbatical during the 2023-2024 academic year.

 

Much of Lepore's scholarship explores absences and asymmetries in the historical record, with a particular emphasis on the histories and technologies of evidence. A prize-winning professor, she teaches classes in evidence, historical methods, the humanities, and American political history. (On teaching the writing of history, see How to Write a Paper for This Class.) Her audio storytelling includes The Last Archive, Elon Musk: The Evening Rocket; the Search for Big Brown and the audiobook, Who Killed Truth?

 

Lepore has been contributing to The New Yorker since 2005, writing about American history, law, literature, and politics. A complete list of Lepore's New Yorker essays is here. Scholarly bibliographies to her New Yorker essays can be found here. Her essays and reviews have also appeared in the New York Times, the Times Literary Supplement, the Journal of American History, Foreign Affairs, the Yale Law Journal, American Scholar, and the American Quarterly; have been translated into German, Spanish, Italian, Portuguese, Latvian, Swedish, French, Chinese, and Japanese; and have been widely anthologized, including in collections of the best legal writing and the best technology writing. Three of her books derive from her New Yorker essays: The Mansion of Happiness: A History of Life and Death (Knopf, 2012), a finalist for the Carnegie Medal for Excellence in Nonfiction; The Story of America: Essays on Origins (Princeton, 2012), shortlisted for the PEN Literary Award for the Art of the Essay; and The Whites of Their Eyes: The Tea Party's Revolution and the Battle for American History (Princeton, 2010), a Times Book Review Editors’ Choice. Her 2019 book This America: The Case for the Nation, is based on an essay written for Foreign Affairs.

 

Her 2020 book, IF THEN: How the Simulmatics Corporation Invented the Future, was longlisted for the National Book Award. The Secret History of Wonder Woman (Knopf, 2014) was a national bestseller and winner of the 2015 American History Book Prize. Lepore's earlier work includes a trilogy of books that together constitute a political history of early America: The Name of War: King Philip's War and the Origins of American Identity (Knopf, 1998), winner of the Bancroft Prize, the Ralph Waldo Emerson Award, and the Berkshire Prize; New York Burning: Liberty, Slavery and Conspiracy in Eighteenth-Century Manhattan (Knopf, 2005), winner of the Anisfield-Wolf Award for the best nonfiction book on race and a finalist for the Pulitzer Prize; and Book of Ages: The Life and Opinions of Jane Franklin (Knopf, 2013), Time magazine's Best Nonfiction Book of the Year, winner of the Mark Lynton History Prize and a finalist for the 2013 National Book Award for Nonfiction.

 

Lepore received a B.A. in English from Tufts University in 1987, an M.A. in American Culture from the University of Michigan in 1990, and a Ph.D. in American Studies from Yale University in 1995. She joined the Harvard History Department in 2003 and was Chair of the History and Literature Program in 2005-10, 2012, and 2014. In 2012, she was named Harvard College Professor, in recognition of distinction in undergraduate teaching.

 

Lepore is the recipient of many honors, awards, and honorary degrees, including from Yale, NYU, and Tufts. She has been a finalist for the National Book Award; the National Magazine Award; and, twice, for the Pulitzer Prize; and winner of the Anisfield-Wolf Award, for the best non-fiction book on race. She has been elected to the American Academy of Arts and Sciences and to the American Philosophical Society. Her research has been funded by the John Simon Guggenheim Foundation, the National Endowment for the Humanities, the Pew Foundation, the Gilder Lehrman Institute, the Charles Warren Center, the Woodrow Wilson Foundation, and the Radcliffe Institute for Advanced Study. In 2021, she was awarded the Hannah Arendt Prize for Political Thought.

 

Lepore is a past president of the Society of American Historians and a former Commissioner of the Smithsonian's National Portrait Gallery. She has been a consultant and contributor to a number of documentary and public history projects. Her three-part story, "The Search for Big Brown," was broadcast on The New Yorker Radio Hour in 2015. S Among her interviews, she has appeared on Fresh Air and on the Colbert Report

_______________________________

Margarett Hoover:

 

From Wikipedia, the free encyclopedia

Margaret Hoover

Margaret Hoover (cropped).jpg

Hoover in 2011

BornMargaret Claire Hoover

December 11, 1977 (age 45)

Colorado, U.S.

EducationBryn Mawr College (BA)

Political partyRepublican

SpouseJohn Avlon ​(m. 2009)​

Children2

Family

Allan Hoover (grandfather)

Herbert Hoover (great-grandfather)

Margaret Claire Hoover (born December 11, 1977) is an American conservative political commentator, political strategist, media personality, author, and great-granddaughter of Herbert Hoover, the 31st U.S. president.[1] She is author of the book American Individualism: How A New Generation of Conservatives Can Save the Republican Party, published by Crown Forum in 2011. Hoover hosts PBS's reboot of the conservative interview show Firing Line.[2]

 

Early life

Hoover was born in Colorado, the daughter of Jean (Williams), a flight attendant, and Andrew Hoover, a mining engineer.[3][4] She received primary education at Graland Country Day School, an independent co-educational day school in Denver.[5] She earned a B.A. in Spanish literature with a minor in political science from Bryn Mawr College in 2001.[6][7] She also attended Davidson College for two years, but did not earn a degree there.[8] Along the way, Hoover studied Spanish-language literature and Mandarin Chinese. She also studied abroad in Bolivia, Mexico and China.[9]

 

After graduating from college, Hoover moved to Taipei where she got her first job as a research assistant and editor in a Taiwanese law firm; she arrived on the day of the September 11 attacks. Quickly realizing she wanted to be back in the U.S., she returned home in 2002.[10][11]

 

Career

Public service

Hoover worked for the George W. Bush administration as associate director of Intergovernmental Affairs.[12] She worked on Bush's 2004 reelection campaign and was Deputy Finance Director for Rudy Giuliani's presidential bid in 2006–07.[13] She also worked as a staffer on Capitol Hill for Congressman Mario Díaz-Balart, and as Advisor to the Deputy Secretary at the Department of Homeland Security.[14] Hoover is on the board of overseers at Stanford University's Hoover Institution, and on the boards of the Herbert Hoover Presidential Library Association and the Belgian American Educational Foundation.[15][16][17] She served on the advisory council of The American Foundation for Equal Rights and GOProud.[18][19]

 

Political beliefs

Hoover is a conservative, with libertarian beliefs on issues of personal morality.[20][21] Hoover is an advocate for gay rights, including gay marriage, arguing that individual freedom and marriage are conservative values.[22] She has been profiled in The Advocate as "exactly the brand of straight ally we need right now".[23] In 2013, Hoover was a signatory to an amicus curiae brief submitted to the Supreme Court in support of same-sex marriage in Hollingsworth v. Perry.[24]

 

Hoover is opposed to Donald Trump.[25] Before the 2020 election, she said, "I can't bring myself to vote for Donald Trump", adding that she would "quite likely" vote for Joe Biden instead, as she found the vote a "binary choice".[26]

 

Political commentator

From 2008 to 2012, Hoover was a Fox News contributor, appearing on Bill O'Reilly's The O'Reilly Factor.[27] In the branded segment "Culture Warrior", she jousted with O'Reilly on a range of topics from entertainment news to popular culture to Hollywood and politics. Since 2012, she has been a political contributor at CNN.[28] In 2014, she hosted the Toyota Solutions Studio at the Women In The World conference held at Lincoln Center, where she interviewed several participants.[29] In April 2018, it was announced she would host Firing Line.[30]

 

Firing Line with Margaret Hoover (PBS TV Series)

Hoover hosts Firing Line with Margaret Hoover, a relaunch of National Review founder William F. Buckley Jr.'s public-affairs television show, Firing Line. The original show aired on PBS for 33 years, the longest-running public affairs show in television history with a single host.[31][32] Hoover's show premiered on June 2, 2018, on WNET, which serves the New York metropolitan area, and is the largest PBS market in the country.[33][34][35] The New York Times wrote, "Under Ms. Hoover's direction, the discourse is civil and substantive".[36] According to the National Review, "the reincarnation of Firing Line comes at an interesting time, and a needful one".[37] In the runup to the show's premiere Politico said, "It seems like a great idea, so let's test drive it and see what happens".[38] In May 2019, The Algemeiner named Hoover its Journalist of the Year for her work on Firing Line.[39]

 

Personal life

Hoover is married to fellow CNN contributor John Avlon, a former Rudy Giuliani speechwriter, senior columnist for Newsweek, and former Editor-in-Chief of The Daily Beast.[40] They have a son, Jack, born in 2013, and a daughter, Toula Lou, born in 2015.[41][42]

 

Selected works

Hoover, Margaret (July 2011). American Individualism: How a New Generation of Conservatives Can Save the Republican Party (Hardbound ed.). New York: Crown Forum. ISBN 978-0307718150.

See also

Journalism portal

New Yorkers in journalism

References

Hoover, Bob (July 24, 2011). "Fox News contributor Margaret Hoover defends her great-grandfather: President Hoover". Pittsburgh Post Gazette. Retrieved November 15, 2018.

Simon, Scott (June 8, 2018). "William F. Buckley's 'Firing Line' Returns With Margaret Hoover". npr.org. National Public Radio. Retrieved November 15, 2018. Almost 20 years since Firing Line ceased production, Margaret Hoover is stepping in to become the next host of the conservative talk show on PBS.

"Weddings: Margaret Hoover, John Avlon". The New York Times. November 6, 2009. pp. ST13. Retrieved November 15, 2018. She is the daughter of Jean W. Hoover and Andrew Hoover of Littleton, Colo. Her father, a mining engineer, retired from Greenfield Engineering in Denver. He is also on the board of the Hoover library association. Her mother retired as a flight attendant for United Airlines.

Allen, Anne Beiser (1 January 2000). An Independent Woman: The Life of Lou Henry Hoover. Greenwood Publishing Group. ISBN 9780313314667. Retrieved 20 April 2017 – via Google Books.

"Grade 7: Celebrity Alumna Returns to Campus". graland.org. Graland Country Day School. 9 November 2018. Retrieved November 15, 2018. When alumna Margaret Hoover '93 was in town last week to receive the Nancy Nye Priest Award from the Alumni Association, she graciously made time to visit campus and speak with seventh graders about her career as a political commentator.

Ginanni, Claudia (September 15, 2011). "In American Individualism, Margaret Hoover '01 Advises Republican Party on Attracting Young Voters". alumnews.blogs.brynmawr.edu. Bryn Mawr College. Retrieved November 15, 2011. As the Republican presidential candidates approach the primary season, considerable media attention has been devoted to Margaret Hoover '01, whose American Individualism: How a New Generation of Conservatives Can Save the Republican Party was published this summer.

"Margaret Hoover–Cherished Legacy". womanaroundtown.com. Woman Around Town. July 26, 2009. Retrieved November 15, 2018. She graduated from Bryn Mawr College with a B.A. in Spanish literature and a minor in political science.

"Famous Davidson College Alumni". ranker.com. Ranker. November 2018. Retrieved November 15, 2018. List of famous alumni from Davidson College, with photos when available. Prominent graduates from Davidson College include celebrities, politicians, business people, athletes and more. This list of distinguished Davidson College alumni is loosely ordered by relevance, so the most recognizable celebrities who attended Davidson College are at the top of the list. This directory is not just composed of graduates of this school, as some of the famous people on this list didn't necessarily earn a degree from Davidson College

Hoover, Margaret (July 26, 2011). Margaret Hoover: A New Generation of Conservatives and the Future of the Republican Party. Interviewed by Joe Tuman. Transcript. Retrieved February 22, 2023.

"Margaret Hoover: A New Generation of Conservatives and the Future of the Republican Party".

Green, Penelope (11 July 2018). "Margaret Hoover and John Avlon on their Post-Partisan Marriage". The New York Times.

"How Abortion, Legitimate Rape, and Mom-in-Chief Will Affect the Election". The New Yorker. September 19, 2011. Retrieved November 15, 2018.

Smith, Chris (March 30, 2007). "Giuliani Loses a Second Bushie". nymag.com. New York Magazine. Retrieved November 15, 2018.

Norfleet, Gregory (December 23, 2008). "Great-granddaughter of Hoover engaged to Giuliani speechwriter". westbranchtimes.com. West Branch Times. Retrieved November 15, 2018.

"Hoover Institution Board of Overseers". hoover.org. Hover Institution. Retrieved November 16, 2018. Overseers: Margaret Hoover, New York, NY

"Weddings: Margaret Hoover, John Avlon". The New York Times. November 6, 2009. pp. ST13. Retrieved November 15, 2018.

"Members of the Board of Directors 2016: Officers". baef.be. Belgian American Educational Foundation. Retrieved November 15, 2018.

American Foundation for Equal Rights. "Advisory Council Board". American Foundation for Equal Rights.

Avlon, John (February 10, 2011). "Gay group in conservatives' gathering splits GOP". cnn.com. CNN. Retrieved November 16, 2018. Avlon's wife, Margaret Hoover, serves on the board of GOProud

"Conservative commentator Margaret Hoover says she will 'quite likely' vote for Biden". 2 September 2020.

Green, Penelope (11 July 2018). "Margaret Hoover and John Avlon on their Post-Partisan Marriage". The New York Times.

Hoover, Margaret (June 15, 2011). "The conservative case for gay marriage: GOP is not the party of intolerance". nydailynews.com. New York Daily News. Retrieved November 15, 2018.

"A New Conservative Agenda". advocate.com. Advocate. July 5, 2011. Retrieved November 24, 2018.

Avlon, John (February 28, 2013). "The Pro-Freedom Republicans Are Coming: 131 Sign Gay Marriage Brief". thedailybeast.com. The Daily Beast.

Retrieved November 25, 2018. Influential party donors such as Cliff Asness, Lew Eisenberg, and Dan Loeb decided to add their names, as did policy leaders such as Doug Holtz-Eakin, Greg Mankiw, and Nancy Pfotenhauer, and strategists and media figures such as Alex Castellanos, Margaret Hoover (full disclosure, my bride), Nicolle Wallace, Steve Schmidt, S.E. Cupp, Ana Navarro, and The Daily Beast's own David Frum and Mark McKinnon. Demographic of one Clint Eastwood even decided to sign on.

Green, Penelope (11 July 2018). "Margaret Hoover and John Avlon on their Post-Partisan Marriage". The New York Times.

"Conservative commentator Margaret Hoover says she will 'quite likely' vote for Biden". 2 September 2020.

Hoover, Margaret (2015-03-12). "CPAC 2012 moves away from gay conservatives and closer to the politics of hate". Fox News. Retrieved 2019-12-30.

Werpin, Alex (May 9, 2012). "Margaret Hoover Joins CNN as Political Contributor". adweek.com. Adweek Network TV Newser. Retrieved November 16, 2018.

Bennett, Jessica (May 16, 2014). "Feminism, One Conference at a Time". The New York Times. Retrieved November 16, 2018.

Pedersen, Erik (April 26, 2018). "'Firing Line': PBS Reloads Public-Affairs Show With Host Margaret Hoover". deadline.com. Deadline Hollywood. Retrieved November 16, 2018.

"Register of the Firing Line (Television Program) broadcast records". oac.cdlib.org. Online Archives of California. Retrieved November 25, 2018.

Simon, Scott (June 8, 2018). "William F. Buckley's 'Firing Line' Returns With Margaret Hoover". npr.org. National Public Radio. Retrieved November 15, 2018.

"Firing Line with Margaret Hoover". tvguide.com. TV Guide. Retrieved November 25, 2018.

"WNET Sponsorship". wnet.org. WNET. Retrieved November 25, 2018.

"WGBH Boston and Thirteen/WNET New York, Two of America's Largest Public Broadcasters, Join Forces to Launch World and Create - Two New Digital Channels Serving Viewers Across the Northeast". businesswire.com. Business Wire. February 24, 2004. Retrieved November 25, 2018.

Green, Penelope (July 11, 2018). "Margaret Hoover and John Avlon on their Post-Partisan Marriage". The New York Times. Retrieved November 15, 2018.

Williamson, Kevin (June 3, 2018). "A Hoover Restoration". nationalreview.com. National Review. Retrieved November 25, 2018. The reincarnation of Firing Line comes at an interesting time, and a needful one.

Hendershot, Heather (June 1, 2018). "Is America Ready for Kinder, Gentler Political TV?". politico.com. Politico. Retrieved November 25, 2018.

Staff, Algemeiner (May 16, 2019). "Journalists Margaret Hoover, Jackson Diehl Honored at Algemeiner Summer Benefit". algemeiner.com. The Algemeiner. Retrieved June 2, 2019.

Green, Penelope (July 11, 2018). "Margaret Hoover and John Avlon on their Post-Partisan Marriage". The New York Times. Retrieved November 15, 2018.

Norfleet, Gregory (August 23, 2013). "Jack joins Hoover lineage". westbranchtimes.com. West Branch Times. Retrieved November 25, 2018. John Avlon and Margaret Hoover welcomed a baby boy, Jack, at 7:23 p.m. Aug. 14, 2013

"Hoovers welcome Toula Lou". westbranchtimes.com. West Branch Times. December 10, 2015. Retrieved November 25, 2018. John Avlon and Margaret Hoover announced the birth of their daughter Toula Lou Hoover Avlon.

______________________________

ABOUT FIRING LINE

Firing Line with Margaret Hoover is a refreshing reprisal of William F. Buckley’s iconic PBS program, a smart, civil and engaging contest of ideas. The series maintains the character of the original, providing a platform that is diligent in its commitment to civility and the rigorous exchange of opinion. Firing Line with Margaret Hoover comes at a time when meaningful discourse is needed more than ever. Interviews and debates will highlight leading lights from the left and right, complemented by archival footage from the original Firing Line to remind viewers of longstanding conservative and liberal arguments, where they’ve been disproved or reinforced over time. It is an opportunity to engage in the debate about the America that we want to create for the 21st century — and summon Americans of every political persuasion to a rigorous examination of the choices we must make together in the challenging years ahead.

 

Tibetan Monastic Education by Georges Dreyfus and THL. Section 4 of 7 Copyright © 2001

 

Procedures and Rules of Debate

 

Tibetan debates involve two parties: a defender (damchawa), who answers, and a questioner (riklampa). The roles of defender and questioner imply very different commitments, as Daniel Perdue explains: “The defender puts forth assertions for which he is held accountable. The challenger raises qualms to the defender’s assertions and is not subject to reprisal for the questions he raises. The responsibility of the defender is to put forth a true thesis and to defend it. Hence, the defender is accountable for the truth of his assertions. The questioner, on the contrary, is responsible only for the questions he puts forth. His questions must be well-articulated, must logically follow from the points already made, and must be relevant to defeating the defender. Their truth content is irrelevant, however, for his task is not to establish a thesis but to oblige the defender to contradict either previous statements or common sense.

Read more: www.thlib.org/#!essay=/dreyfus/drepung/monasticed/s/b4

Willets are large shorebirds that grace our coasts. Like many other shorebirds this time of year, they have begun their migrations to more southerly climates for the winter season. Females depart within weeks of laying their eggs, leaving males to rear the young. These two, likely a male and his juvenile son, graced the beach at Holgate over the course of the weekend. For the most part they share the intertidal zone peacefully with sanderlings and the occasional Oystercatcher. When papa found a succulent mole crab, however, little Willy decided it should be his, and pinched his father’s breast feathers. The action came with quick reprisal and ultimately no one got the meal. It was a test of wills, Willet style. #Willets

 

PP with Flypaper Textures and a Fly Preset from set 2

Lensbaby shot

Inspired by this real WW2 French resistance flier.

Anybody caught with such a flier would have been shot or sent to a concentration camp.

My Chaotic Reprisal Lord. Over 25 hours went into my lord i hope you enjoy i know i did :)

We will never forget him or the thousands of others murdered in Egypt for their passion for freedom and Justice.

 

On 2 February 2018, about fifty people gathered outside the Egyptian Embassy in London for a vigil to mark the second anniversary of the discovery of the horrificly mutilated corpse of Cambridge university student, Giulio Regeni, at the edge of the Cairo-Alexandria desert road in Egypt.

 

Within hours of the discovery of his body, his family knew that he must have been the victim of the most appalling sustained violence. His corpse was so terribly disfigured that his mother explained he was virtually unrecognisable. She could only identiy him from the tip of his nose.

 

But what was equally striking was the location where the body had been dumped, on one of Egypt's busiest highways close to the watchtowers of a security services base.

 

On 25th January 2016, the fifth anniversary of Egypt's 2011 uprising, a thirty year old Italian national Giulio Regeni disappeared from the streets of Cairo.

 

He was a student of one of Britain's most prestigious universities - Cambridge and was researching the crucial role of trade unions in relation to Egyptian political power and workers' rights.

 

During his research he managed to cultivate contacts with numerous key individuals within several Independent trade unions which the Egyptian government planned to make illegal. He often expressed fear to his friends that he might be detained by Egyptian authorities.

 

It was not until 3 February 2016, nine days after his disappearance, that Regeni's half-naked and battered corpse was found dumped by the roadside. His mother remarked that Giulio's disfigured face carried "all the evils of the world."

 

A senior Egyptian police official, who it was later discovered had a prior criminal record for both torture and murder, announced that Regeni had been the victim of a road traffic accident.

 

However an Italian autopsy indicated that he had been tortured to death over a period of approximately one week and had suffered over 24 bone fractures, multiple stab wounds, numerous cigarette burns and sharp razor cuts and that all his finger and toe nails had been yanked out.

 

On 21 April a Reuters correspondent reported that he had received confirmation of Regeni's arrest and detention by Egyptian security services in January from no fewer than six sources in Egypt's police and intelligence services but Egypt's Interior Minister angrily denied the report as having "no basis in truth."

 

The Regeni case is not an isolated incident - every month dozens of Egyptians, from among those who either dare to criticize the government or dare in anyway not to conform, are forcibly disappeared from their homes or from the streets and many of them either die in detention or eventually appear months later in court charged with offences, such as protesting without a license or spreading false information against the state.

 

Recent estimates put the number of political detainees in Egypt's prisons at approximately 60,000.

 

The Italian government have been infuriated by the lack of any honest attempt by the Egyptian authorities to discover and punish those responsible for Regeni's murder. Although some Italians have been disappointed by the very limited scale of Italian diplomatic and economic reprisals - they have at least gone further than the British government - withdrawing their ambassador in April 2016 for consultations and on 30 June the Italian senate voted to halt aviation supplies for Egyptian military aircraft including F-16s.

 

Meanwhile the British government has done virtually nothing - except issue a brief statement after it was embarrassed into action by an online parliamentary petition - prior to which I'm unaware of any statement on the issue by British diplomats who appear to wish to prioritize profit and trade over human rights.

 

More information about the Regeni case and the human rights crisis in Egypt can be found from

 

The Egypt Solidarity Initiative at

 

egyptsolidarityinitiative.org/

 

and also on Facebook or from Amnesty International at

 

www.amnesty.org.uk/blogs/press-release-me-let-me-go/truth...

 

Update April 2020 -. If anyone is interested in the forgotten history of British imperialism and how it impacted the lives of millions of people around the world including Egypt from the 1700s until today - I've posted over 600 short articles on the following website. roguenation.org/ including the following page where you can select from over 600 pages according to country - roguenation.org/choose-by-country

Tibetan Monastic Education by Georges Dreyfus and THL. Section 4 of 7 Copyright © 2001

 

Procedures and Rules of Debate

 

Tibetan debates involve two parties: a defender (damchawa), who answers, and a questioner (riklampa). The roles of defender and questioner imply very different commitments, as Daniel Perdue explains: “The defender puts forth assertions for which he is held accountable. The challenger raises qualms to the defender’s assertions and is not subject to reprisal for the questions he raises. The responsibility of the defender is to put forth a true thesis and to defend it. Hence, the defender is accountable for the truth of his assertions. The questioner, on the contrary, is responsible only for the questions he puts forth. His questions must be well-articulated, must logically follow from the points already made, and must be relevant to defeating the defender. Their truth content is irrelevant, however, for his task is not to establish a thesis but to oblige the defender to contradict either previous statements or common sense.

Read more: www.thlib.org/#!essay=/dreyfus/drepung/monasticed/s/b41#i...

 

Felucia, then—in reprisal for the way the Republic left it."

"Of no significance.

 

- Grand Moff Tarken & Lord Vader discussing targets on the Perlemian trade route.

ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE

 

is the critical run

and other emergency art format

 

CRITICAL RUN / Debate Format

 

Critical Run is an Art Format created by Thierry Geoffroy/Colonel

debate while running .

Debate and Run together,Now,before it is too late.

 

www.emergencyroomscanvas todo .org/criticalrun.html

 

The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates

New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,

Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...

 

CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because

a debate was necessary here and now.

 

In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich

part of Colonel solo show : The Awareness Muscle Training Center

 

----

 

Interesting publication for researches on running and art

 

www.emergencyrooms.org/formats.html

 

14 Performances. Relation Work (1976 - 1980). Filmed by Paolo Cardazzo. Marina Abramović/ Ulay. Neuer Berliner Kunstverein, Berlin, Germany.

 

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Company, 1895.

 

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Muybridge, Eadweard. The Attitudes of Animals in Motion: A Series of Photographs Illustrating the Consecutive Positions assumed by Animals in Performing Various Movements; Executed at Palo Alto, California, in 1878 and 1879 (1881). Albumen, Library of Congress, Washington, D.C., Library of Congress.

 

Muybridge, Eadweard. The Human Figure in Motion. New York: Dover Publications, 1955. Ramsaye, Terry. A Million and One Nights: A History of the Motion Picture. U.K.: Simon and

 

Schuster, Inc., 1926, 1954.

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Sanburn, Frederic. Delsartean Scrap-book: Health, Personality, Beauty, House-Decoration, Dress, etc. New York: United States Book Company, c. 1890.

 

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Schlemmer, Oskar, and Heimo Kuchling. Der Mensch, Unterricht am Bauhaus. Nachgelassene Aufzeichnungen. Mainz: F. Kupferberg, 1969.

 

Schuftan, Werner. Handbuch des Tanzes. Preface by Rudolf von Laban. Mannheim: Verlag Deutscher Chorsänger Verband und Tänzerbund, 1928.

 

Shearman, Sir Montague. Athletics and Football. London: Longmans, Green, and Co., 1888. Smith, Shawn Michelle. At the Edge of Sight: Photography and the Unseen. Durham: Duke

 

University Press, 2013.

 

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Talbot, Frederick A. Practical Cinematography and its Applications. London: William Heinemann, 1913.

 

Wigman, Mary. The Mary Wigman Book: Her Writings. Middletown, CT: Wesleyan University Press, 1975.

 

Abramović, Marina, et al. Marina Abramović: Seven Easy Pieces. New York: Charta 2007. Acconci, Vito. Language to Cover a Page: The Early Writings of Vito Acconci. Edited by Craig

 

Dworkin. Cambridge: MIT Press, 2006.

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Gegenwart. Bonn: Kunstmuseum Bonn, 2007.

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Lepecki. London: MIT Press and WhiteChapel Gallery, 2012.

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Albers, Kate Palmer. “Abundant Images and the Collective Sublime.” Exposure. Volume 46,

 

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Rees, A.L., and Duncan White, Steven Ball, David Curtis, eds. Expanded Cinema: Art, Performance, Film. London: Tate Publishing, 2011.

 

Rempel, Gerhard. Hitler’s Children: The Hitler Youth and the SS. Chapel Hill: University of North Carolina Press, 1989.

 

Richards, Mary. Marina Abramović. New York: Routledge, 2010.

Ricoeur, Paul. Oneself as Another. Translated by Kathleen Blamey. Chicago: University of

 

Chicago Press, 1992.

Rosa, Hartmut. Beschleunigung und Entfremdung: Entwurf einer Kritischen Theorie

 

spätmoderner Zeitlichkeit. Berlin: Suhrkamp, 2013.

Rosa, Hartmut, and William E. Scheuerman. High-Speed: Social Acceleration, Power, and

 

Modernity. University Park, PA: The Pennsylvania State University, 2009.

Rosati, Lauren, and Mary Anne Staniszewski, eds. Alternative Histories: New York Art Spaces,

 

1960-2010. Cambridge: MIT Press, 2012.

 

Rosenstone, Robert A., “History in Images/History in Words: Reflections on the Possibility of Really Putting History onto Film.” The American Historical Review. Volume 93. Number 5 (December 1988).

 

Rossol, Nadine. Performing the Nation in Interwar Germany: Sport, Spectacle, and Political Symbolism, 1926 - 1936. New York: Palgrave Macmillan, 2010.

 

Roxby-Maude, Alice, On Camera: Performance and Photography. Southampton: John Hansard Gallery, 2007.

 

Ruyter, Nancy Lee Chalfa. The Cultivation of Body and Mind in Nineteenth-Century American Delsartism. Westport, CT: Greenwood Press, 1999.

 

Salazar, James B. Bodies of Reform The Rhetoric of Character in Gilded Age America. New York: New York University Press, 2010.

  

Schechner, Richard. Essays on Performance Theory 1970 - 1976. New York: Drama Book Specialists, 1973, 1977.

 

Scheerder, Jeroen, and Koen Breedveld, eds. Running Across Europe: The Rise and Size of One of the Largest Sport Markets. New York: Palgrave Macmillan, 2015.

 

Seckinelgin, H., and Billy Wong, eds. Global Civil Society 2011: Globally and the Absence of Justice. Hampshire: Palgrave Macmillan, 2011.

 

Sekula, Allan. “The Body and the Archive.” October. Volume 39 (Winter, 1986). Semon, Richard. Die mnemischen Empmfindungen in ihren Beziehungen zu den

 

Originalempfindungen. Leipzig: W. Engelmann, 1909.

Shawn, Ted. Every Little Movement: A Book About François Delsarte. Pittsfield, MA: The Eagle

 

Printing and Binding Company, 1954.

Shayt, David H. “Stairway to Redemption: America’s Encounter with the British Prison

 

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Philosophical Perspectives. Aachen: Meyer & Meyer Verlag, 2007.

 

Siegmund, Gerald, and Stefan Hölscher, eds. Dance, Politics, and Co-Immunity: Thinking Resistances, Current Perspectives on Politics and Communities in the Arts. Volume 1. Zürich- Berlin: Diaphanes, 2013.

 

Sileo, Diego, and Eugenio Viola, PAC (Milano), eds. Marina Abramović: The Abramović Method. 2 Volumes. Milan: 24 ORE Cultura, 2012.

 

Silverman, Kaja. The Subject of Semiotics. New York: Oxford University Press, 1983.

Slevin, Tom. Vision of the Human: Art, World War One and the Modernist Subject. London: I.B.

 

Tauris, 2015.

 

Solnit, Rebecca. River of Shadows: Eadweard Muybridge and the Technological Wild West. New York: Viking, 2003.

 

Solnit, Rebecca. Wanderlust: A History of Walking. London: Verso, 2001.

Sontag, Susan. Against Interpretation and Other Essays. New York: Picador, 1966, 2001. Sontag, Susan. “Fascinating Fascism.” The New York Review of Books (6 February 1975). Sontag, Susan. On Photography. New York: Picador, 1977.

  

Spieker, Sven. The Big Archive: Art from Bureaucracy. Cambridge: MIT Press, 2008. Stepišnik, Drago. Oris Zgodovine Telesne Kulture na Slovenskem. Ljubljana: Dražavna založba

 

Slovenija, 1968.

 

Stipančić, Branka. “‘Zame je resničnost umetnost,’ Intervju s Tomislavom Gotovcem.” Vijenac, Number 123/VI (8 Oct. 1998).

 

Stoddart, Tom. Sarajevo. Washington, D.C.: Smithsonian Institution Press, 1998.

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Institute, 2005.

 

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Sutil, Nicolás Salazar. Motion and Representation: The Language of Human Movement. Cambridge: MIT Press, 2015.

 

Swenson, Kirsten. Irrational Judgements: Eva Hesse, Sol Lewitt, and 1960s New York. New Haven: Yale University Press, 2015.

 

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Tagg, John. The Burden of Representation: Essays on Photographies and Histories. Minneapolis: University of Minnesota Press, 1988.

 

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Tumarkin, Maria M. Traumascapes: The Power and Fate of Places Transformed by Tragedies. Victoria, Australia: Melbourne University Press, 2005.

 

Udall, Sharyn R. Dance and American Art: A Long Embrace. Madison: University of Wisconsin Press, 2012.

 

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Vertinsky, Patricia Anne. The Eternally Wounded Woman: Women, Doctors, and Exercise in the Late Nineteenth Century. Manchester: Manchester University Press, 1989.

  

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White, Hayden. “Historiography and Historiophoty.” The American Historical Review. Volume 93. Number 5 (December 1988).

 

White, Hayden V. Metahistory: The Historical Imagination in Nineteenth-Century Europe. Baltimore: Johns Hopkins University Press, 1973.

 

Wiehager, Renate, ed. Moving Pictures: Photography and Film in Contemporary Art. Ostfildern- Ruit, Germany: Hate Cantz Publishers, 2001.

 

Williams, Raymond. Culture and Society, 1780 - 1950. New York: Columbia University Press, 1958/1983.

 

Wood, Catherine. Yvonne Rainer: The Mind is a Muscle. London: Afterall, 2007. Wood, Denis. The Power of Maps. New York: Guilford Press, 2010.

 

Woodward, Susan L. Balkan Tragedy: Chaos and Dissolution after the Cold War. Washington, D.C.: The Brookings Institution, 1995.

 

Young, Kevin. Deviance and Social Control in Sport. Champaign, IL: Human Kinetics, 2008. Youngblood, Gene. Expanded Cinema. New York: E.P. Dutton and Co., 1970.

 

Zelizer, Barbie, ed. Visual Culture and the Holocaust. New Brunswick: Rutgers University Press, 2001.

 

Zidić, Igor, and Ana Dević, Antonio Gotovac Lauer a.k.a. Tomislav Gotovac. Antonio Gotovac Lauer: Čelična mreža. Zagreb: Moderna Galerija and Studio Josip Račič, 2006.

 

Zorn, John W., ed. The Essential Delsarte. Metuchen, NJ: The Scarecrow Press, Inc, 1968.

 

Žižek, Slavoj. The Indivisible Remainder: An Essay on Schelling and Related Matters. London: Verso, 1996.

 

----

  

------------about Venice Biennale history from wikipedia ---------

curators previous

* 1948 – Rodolfo Pallucchini

* 1966 – Gian Alberto Dell'Acqua

* 1968 – Maurizio Calvesi and Guido Ballo

* 1970 – Umbro Apollonio

* 1972 – Mario Penelope

* 1974 – Vittorio Gregotti

* 1978 – Luigi Scarpa

* 1980 – Luigi Carluccio

* 1982 – Sisto Dalla Palma

* 1984 – Maurizio Calvesi

* 1986 – Maurizio Calvesi

* 1988 – Giovanni Carandente

* 1990 – Giovanni Carandente

* 1993 – Achille Bonito Oliva

* 1995 – Jean Clair

* 1997 – Germano Celant

* 1999 – Harald Szeemann

* 2001 – Harald Szeemann

* 2003 – Francesco Bonami

* 2005 – María de Corral and Rosa Martinez

* 2007 – Robert Storr

* 2009 – Daniel Birnbaum

* 2011 – Bice Curiger

* 2013 – Massimiliano Gioni

* 2015 – Okwui Enwezor

* 2017 – Christine Macel[19]

* 2019 – Ralph Rugoff[20]

  

----------

 

#art #artist #artistic #artists #arte #artwork

 

Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal

 

venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya

 

art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist

 

other Biennale :(Biennials ) :

Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS

* Dakar

  

kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער

 

Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya

 

Thierry Geoffroy / Colonel

#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist

 

#artformat #formatart

#emergencyart #urgencyart #urgentart #artofthenow #nowart

emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart

 

#InstitutionalCritique

 

#venicebiennale #venicebiennale2017 #venicebiennale2015

#venicebiennale2019

#venice #biennale #venicebiennale #venezia #italy

#venezia #venice #veniceitaly #venicebiennale

 

#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday

 

#biennalevenice

 

Institutional Critique

 

Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology

 

Racial and Ethnic Identity, Neo-Conceptualism, Diaristic

 

Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,

 

Culture, Collective History, Group of Portraits, Photographic Source

 

, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary

 

War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict

 

Personal Histories, Alter Egos and Avatars

 

Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text

  

Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism

 

Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis

 

—-

 

CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.​

Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.

 

It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...

 

The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...

 

Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...

 

Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .

 

www.emergencyrooms.org/criticalrun.html

 

www.emergencyrooms.org/formats.html

-------

In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center

------

for activating the format or for inviting the installation

please contact 1@colonel.dk

 

www.colonel.dk/

 

-----

 

critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,

 

Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary

,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat

 

,now art,copenhagen,denmark

 

acrylic on canvas 2009

 

THIS IS A REPOST..MY BELOVED ANI PASSED ON A FEW YEARS AGO AT THE RIPE AGE OF 106..SHE WOULD TELL US HER STORY HOW AS A YOUNG GIRL SHE HAD TO FLEE TURKEY WITH HER FAMILY AND WHAT SHE SAW ALONG THE WAY.. SO MANY YEARS LATER THE TEARS WOULD STILL ROLL..

 

ARMENIANS AROUND THE WORLD ( 10 MILLION), MOST OF WHO ARE DESCENDANTS OF THE SURVIVORS WANT CLOSURE THROUGH RECOGNITION OF THIS GENOCIDE AS IT IS STILL DENIED BY THE TURKISH GOVERNMENT.

  

The Armenian Genocide was carried out by the "Young Turk" government of the Ottoman Empire in 1915-1916 (with subsidiaries to 1922-23) for ethnic cleansing reasons. One and a half million Armenians were killed, out of a total of two and a half million Armenians in the Ottoman Empire.

 

Armenians all over the world commemorate this great tragedy on April 24, because it was on that day in 1915 when 300 Armenian leaders, writers, thinkers and professionals in Constantinople (present day Istanbul) were rounded up, deported and killed. Also on that day in Constantinople, 5,000 of the poorest Armenians were butchered in the streets and in their homes.

 

The Armenian Genocide was masterminded by the Central Committee of the Young Turk Party which was dominated by Mehmed Talât , Ismail Enver, and Ahmed Djemal. They were a racist group whose ideology was articulated by Zia Gökalp, Dr. Mehmed Nazim, and Dr. Behaeddin Shakir - THE REASON WAS ETHNIC CLEANSING.

 

Some righteous Ottoman officials such as Celal, governor of Aleppo; Mazhar, governor of Ankara; and Reshid, governor of Kastamonu, were dismissed for not complying with the extermination campaign. Any common Turks who protected Armenians were killed.

 

The Armenian Genocide occurred in a systematic fashion :first the Armenians in the army were disarmed, placed into labor battalions, and then killed. Then the Armenian political and intellectual leaders were rounded up on April 24, 1915, and then killed. Finally, the remaining Armenians were called from their homes, told they would be relocated, and then marched off to concentration camps in the desert between Jerablus and Deir ez-Zor where they would starve and thirst to death in the burning sun. On the march, often they would be denied food and water, and many were brutalized and killed by their "guards" or by "marauders." The authorities in Trebizond, on the Black Sea coast, did vary this routine: they loaded Armenians on barges and sank them out at sea.

 

The Turkish government today denies that there was an Armenian genocide but the proof in documents, photos, interviews of survivors and of neutral witnesses is undeniable.

For example, German ambassador Count von Wolff-Metternich, Turkey's ally in World War I, wrote his government in 1916 saying: "The Committee of Union and Progress demands the annihilation of the last remnants of the Armenians and the Ottoman government must bow to its demands."

 

German consuls stationed in Turkey, including Vice Consul Max Erwin von Scheubner-Richner of Erzerum who was Adolf Hitler's chief political advisor in the 1920s, were eyewitnesses.Years later Hitler said to his generals on the eve of sending his Death's Heads units into Poland, "Go, kill without mercy . . . who today remembers the annihilation of the Armenians."

 

Henry Morgenthau Sr., the neutral American ambassador to the Ottoman Empire, sent a cable to the U.S. State Department in 1915: "Deportation of and excesses against peaceful Armenians is increasing and from harrowing reports of eyewitnesses it appears that a campaign of race extermination is in progress under a pretext of reprisal against rebellion."

Morgenthau's successor as Ambassador to Turkey, Abram Elkus, cabled the U.S. State Department in 1916 that the Young Turks were continuing an ". . . unchecked policy of extermination through starvation, exhaustion, and brutality of treatment hardly surpassed even in Turkish history."

 

Only one Turkish government, that of Damad Ferit Pasha, has ever recognized the Armenian genocide. In fact, that Turkish government held war crimes trials and condemned to death the major leaders responsible.

 

The Turkish court concluded that the leaders of the Young Turk government were guilty of murder. "This fact has been proven and verified." It maintained that the genocidal scheme was carried out with as much secrecy as possible. That a public facade was maintained of "relocating" the Armenians. That they carried out the killing by a secret network. That the decision to eradicate the Armenians was not a hasty decision, but "the result of extensive and profound deliberations."

 

Ismail Enver Pasha, Ahmed Cemal Pasha, Mehmed Talât Bey, and a host of others were convicted by the Turkish court and condemned to death for "the extermination and destruction of the Armenians."

 

The Permanent People's Tribunal recognized the Armenian Genocide on April 16, 1984.

 

The European Parliament voted to recognize the Armenian Genocide on June 18, 1987.

 

President Bush issued a news release in 1990 calling on all Americans to join with Armenians on April 24 in commemorating "the more than a million Armenian people who were victims."

 

President Clinton issued a news release on April 24, 1994, to commemorate the "tragedy" that befell the Armenians in 1915.

 

The Russian Duma (the lower house of the bicameral Russian legislature) voted on April 20, 1994, to recognize the Armenian Genocide.

 

Israel officially condemned the Armenian Genocide as Israeli Deputy Foreign Minister Yossi Beilin proclaimed on the floor of the Knesset (the Israeli legislature), on April 27, 1994, in answer to the claims of the Turkish Ambassador, that "It was not war. It was most certainly massacre and genocide, something the world must remember."

 

Other countries which have recognized the Armenian Genocide: Argentina, Australia, Belgium, Canada, Cyprus, France, Greece, Italy, Lebanon, Sweden, Switzerland, Uruguay, Vatican City.

 

more on the genocide:

 

www.theforgotten.org

 

www.countercurrents.org/roy260108.htm

King Louis snuck out of the palace. The chateau park of Versailles at night has long hidden deepest secrets. Primarily a trysting place for the higher nobility (with occasional intrusions from upstart fringe elements), the park has lately become a gathering place for secret meetings of banished Hugo Naughts. Plotting against the King for some time now, these undesirables have even whispered at court plans to topple his Majesty’s regime. As a consequence, King Louis has remained sequestered being fearful of possible reprisals. Why, he even heard rumors of a German Herzogin who hissed whenever his name was mentioned at court. But, tonight was the long awaited Spring Fashion Preview. He would take the risk of stepping out no matter what. Most of the dukes had been primping all day in anticipation of showing off their latest commissions. The royal fashion designer pool had been shrinking in recent years since a ban from the Queen against them. The dukes it seems had cornered the market in attracting the finest couterières. So much so that many a duchess had had to attend royal evenings in previous season’s gowns. Well! King Louis was certainly not going to be outdone by any little duke no matter how well endowed his duchy....or his wardrobe. So the monarch strode into the gardens wearing his sumptuously rakish new creation.... an over-the-shoulder capelet of sheerest pale henna charmeuse from the workshops of his royal favorite, Monsieur Antoine Watteau. As he approached the royal runway, he could have sworn he heard a hissing sound coming from a rather largish woman in an outlandishly overly laced dirndl!

ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE

 

is the critical run

and other emergency art format

 

CRITICAL RUN / Debate Format

 

Critical Run is an Art Format created by Thierry Geoffroy/Colonel

debate while running .

Debate and Run together,Now,before it is too late.

 

www.emergencyroomscanvas todo .org/criticalrun.html

 

The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates

New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,

Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...

 

CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because

a debate was necessary here and now.

 

In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich

part of Colonel solo show : The Awareness Muscle Training Center

 

----

 

Interesting publication for researches on running and art

 

www.emergencyrooms.org/formats.html

 

14 Performances. Relation Work (1976 - 1980). Filmed by Paolo Cardazzo. Marina Abramović/ Ulay. Neuer Berliner Kunstverein, Berlin, Germany.

 

Abramović, Marina. Student Body: Workshops 1979 - 2003: Performances 1993 - 2003. Milano: ed. Charta, 2003.

 

Bergson, Henri. Creative Evolution. London: Macmillan and Co., 1911.

Bergson, Henri. Key Writings. Edited by Keith Ansell-Pearson and John Mullarkey. New York:

 

Continuum, 2002.

Bergson, Henri. Matter and Memory. New York: Zone Books, 1988.

 

Blaikie, William. “Common Sense Physical Training.” In Athletics and Health: Modern Achievement: Advice and Instruction upon the Conduct of Life, Principles of Business, Care of Health, Duties of Citizenship, etc. Edited by Edward Everett Hale. New York: P.F. Collier & Son, 1902.

 

Blaikie, William. How to Get Strong and How to Stay So. New York: Harper & Brothers Publishers, 1883.

 

Cunningham, Merce. Changes: Notes on Choreography. New York: Something Else Press, 1969.

 

de Balzac, Honoré. The Human Comedy. EBook: Project Gutenberg, 2010. de Balzac, Honoré. Théorie de la démarche. 1833, 1853.

 

de Biran, Maine. “Opposition du principe de Descartes avec celui d’une science de l’homme. Première base d’une division des faits psychologiques et physiologiques. Perception et sensation animale.” In Maine de Biran. Librairie Philosophique J. VRIN, 1990.

 

de Tocqueville, Alexis. The Old Regime and the Revolution. New York: Harper & Brothers, Publishers, 1856.

 

Delaumosne, M. L’Abbe. “The Delsarte System.” Translated by Frances A. Shaw. In Delsarte System of Oratory, 4th Ed. New York: Edgar S. Werner, 1893.

 

Descartes, René. Méditations metaphysiques. 1641.

 

Gropius, Walter, and Arthur S. Wensinger, eds. The Theater of the Bauhaus: Oskar Schlemmer, Laszlo Moholy-Nagy, Farkas Molnár. Translated by Arthur S. Wensinger. Middleton, Conn.: Wesleyan University, 1961.

 

Hahn, Archibald. How to Sprint: The Theory of Spring Racing. New York: American Sports Publishing Company, 1923.

 

Hegel, Georg Wilhelm Friedrich. Phenomenology of Spirit. Translated by A.V. Miller. Oxford: Oxford University Press, 1977.

 

Helmholtz, Hermann. “On the Facts Underlying Geometry.” In Epistemological Writings: Hermann von Helmholtz. Edited by R.S. Cohen and Y. Elkana. Boston: D. Reidel Publishing Company, 1977.

 

Helmholtz, Hermann. Théorie physiologique de la musique fondée sur l’étude des sensations auditives. Paris: Masson, 1868.

 

Helmholtz, Hermann. Treatise of Physiological Optics (Handbuch der physiologischen Optik) 1856. 3 Volumes. Translated by James P.C. Southall. Milwaukee, 1924.

 

Holmes, Oliver Wendall. Soundings from the Atlantic. Boston: Tickknor and Fields, 1864. James, William. The Principles of Psychology. New York: Henry Holt & Co, 1890, 1918.

 

James, William. Writings 1902 - 1910. Edited by Bruce Kuklick. New York: Literary Classics of the United States, 1987.

 

Kandinsky, Vasily. Über Das Geistige in der Kunst. Dritte Auflage. München: R. Piper&Co, 1912.

 

Kant, Immanuel. “Was ist Aufklärung?” 1784.

 

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LaBelle, Brandon. Background Noise: Perspectives on Sound Art. London and New York: Continuum International Publishing Group, 2006.

 

Lakoff, George, and Mark Johnson. Metaphors We Live By. Chicago: University of Chicago Press, 1980.

 

Landsberg, Alison. Prosthetic Memory: The Transformation of American Remembrance in the Age of Mass Culture. New York: Columbia University Press, 2004.

 

Laws, Kenneth, and Francia Russell. Physics and the Art of Dance: Understanding Movement. Oxford: Oxford University Press, 2002.

 

le Blanc, Guillaume. Courir: Méditations Physiques. Paris: Éditions Flammarion, 2012.

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England: Ashgate, 2012.

Lederman, Gail. Manliness and Civilization: A Cultural History of Gender and Race in the

 

United States, 1880 - 1917. Chicago: The University of Chicago Press, 1995. Lefebvre, Henri. The Production of Space. Oxford: Blackwell, 1991.

 

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Lemke, Thomas. Bio-Politics: An Advanced Introduction. Translated by Eric Frederick Trump. New York: New York University Press, 2011.

 

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Lepecki, André, ed. Dance: Documents of Contemporary Art. London: MIT Press and WhiteChapel Gallery, 2012.

 

Leposavić, Radonja. vlasTito iskustvo. Belgrade: Publikum, 2005.

Licht, Alan. Sound Art: Beyond Music, Between Categories. New York: Rizzoli International

 

Publications, 2007.

 

Lippard, Lucy. Six Years: The Dematerialization of the Art Object from 1966 to 1972. Berkley: University of California Press, 1973.

 

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Dance Concepts. Amsterdam: Mouton de Gruyter, 1987.

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New Collectivism, ed. Neue Slowenische Kunst. Translated by Marjan Golobič. Hong Kong: Paramount Printing, 1991.

 

Newman, Michael, and Jon Bird, eds. Rewriting Conceptual Art. London: Reaction Books, 1999. O’Doherty, Brian. Inside the White Cube: The Ideology of the Gallery Space. Berkley:

 

University of California Press, 1986.

 

O’Rourke, Karen. Walking and Mapping: Artists as Cartographers. Cambridge: MIT Press, 2013.

 

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Partsch-Bergsohn, Isa. Modern Dance in Germany and the Untied States: Crosscurrents and Influences. Chur: Harwood Academic Publishers, 1994.

 

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Second Edition. New York: St. Martin’s Press, 2000.

 

Pegrum, Mark A. Challenging Modernity: Dada Between Modern and Postmodern. Oxford: Berghahn Books, 2000.

 

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Writings, 1913 - 1940. New York: The Metropolitan Museum of Art/Aperature, 1990. Phillips, Murray G. Deconstructing Sport History: A Postmodern Analysis. Albany: State

 

University of New York Press, 2006.

 

Pissaro, Joachim, et al. Martin Creed: What’s the Point of It? London: Hayward Publishing, 2014.

 

Piotrowski, Piotr. In the Shadow of Yalta: Art and the Avant-Garde in Eastern Europe, 1945 - 1989. London: Reaktion, 2009.

 

Preston-Dunlop, Valerie. Rudolf Laban: An Extraordinary Life. London, Dance Books, 1998. Preziosi, Donald. Art Religion Amnesia: The Enchantments of Credulity. New York: Routledge,

  

Pursell, Caroll. White Heat: People and Technology. Berkley: University of California Press, 1994.

 

Quercetani, R. L. A World History of Track and Field Athletics 1864-1964. London: Oxford University Press, 1964.

 

Rabinbach, Anson. The Human Motor: Energy, Fatigue, and the Origins of Modernity. New York: Basic Books, 1990.

 

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Radstone, Susannah, and Bill Schwarz, Memory: Histories, Theories, Debates. New York: Fordham University Press, 2010.

 

Rancière, Jacques. Aesthetics and its Discontents. Malden: Polity Press, 2004.

Rancière, Jacques. The Emancipated Spectator. Translated by Gregory Elliot. London: Verso,

 

Rancière, Jacques. The Politics of Aesthetics: The Distribution of the Sensible. London: Continuum, 2006.

 

Rees, A.L., and Duncan White, Steven Ball, David Curtis, eds. Expanded Cinema: Art, Performance, Film. London: Tate Publishing, 2011.

 

Rempel, Gerhard. Hitler’s Children: The Hitler Youth and the SS. Chapel Hill: University of North Carolina Press, 1989.

 

Richards, Mary. Marina Abramović. New York: Routledge, 2010.

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Chicago Press, 1992.

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Modernity. University Park, PA: The Pennsylvania State University, 2009.

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1960-2010. Cambridge: MIT Press, 2012.

 

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Schechner, Richard. Essays on Performance Theory 1970 - 1976. New York: Drama Book Specialists, 1973, 1977.

 

Scheerder, Jeroen, and Koen Breedveld, eds. Running Across Europe: The Rise and Size of One of the Largest Sport Markets. New York: Palgrave Macmillan, 2015.

 

Seckinelgin, H., and Billy Wong, eds. Global Civil Society 2011: Globally and the Absence of Justice. Hampshire: Palgrave Macmillan, 2011.

 

Sekula, Allan. “The Body and the Archive.” October. Volume 39 (Winter, 1986). Semon, Richard. Die mnemischen Empmfindungen in ihren Beziehungen zu den

 

Originalempfindungen. Leipzig: W. Engelmann, 1909.

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Shayt, David H. “Stairway to Redemption: America’s Encounter with the British Prison

 

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Philosophical Perspectives. Aachen: Meyer & Meyer Verlag, 2007.

 

Siegmund, Gerald, and Stefan Hölscher, eds. Dance, Politics, and Co-Immunity: Thinking Resistances, Current Perspectives on Politics and Communities in the Arts. Volume 1. Zürich- Berlin: Diaphanes, 2013.

 

Sileo, Diego, and Eugenio Viola, PAC (Milano), eds. Marina Abramović: The Abramović Method. 2 Volumes. Milan: 24 ORE Cultura, 2012.

 

Silverman, Kaja. The Subject of Semiotics. New York: Oxford University Press, 1983.

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Tauris, 2015.

 

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----

  

------------about Venice Biennale history from wikipedia ---------

curators previous

* 1948 – Rodolfo Pallucchini

* 1966 – Gian Alberto Dell'Acqua

* 1968 – Maurizio Calvesi and Guido Ballo

* 1970 – Umbro Apollonio

* 1972 – Mario Penelope

* 1974 – Vittorio Gregotti

* 1978 – Luigi Scarpa

* 1980 – Luigi Carluccio

* 1982 – Sisto Dalla Palma

* 1984 – Maurizio Calvesi

* 1986 – Maurizio Calvesi

* 1988 – Giovanni Carandente

* 1990 – Giovanni Carandente

* 1993 – Achille Bonito Oliva

* 1995 – Jean Clair

* 1997 – Germano Celant

* 1999 – Harald Szeemann

* 2001 – Harald Szeemann

* 2003 – Francesco Bonami

* 2005 – María de Corral and Rosa Martinez

* 2007 – Robert Storr

* 2009 – Daniel Birnbaum

* 2011 – Bice Curiger

* 2013 – Massimiliano Gioni

* 2015 – Okwui Enwezor

* 2017 – Christine Macel[19]

* 2019 – Ralph Rugoff[20]

  

----------

 

#art #artist #artistic #artists #arte #artwork

 

Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal

 

venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya

 

art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist

 

other Biennale :(Biennials ) :

Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS

* Dakar

  

kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער

 

Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya

 

Thierry Geoffroy / Colonel

#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist

 

#artformat #formatart

#emergencyart #urgencyart #urgentart #artofthenow #nowart

emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart

 

#InstitutionalCritique

 

#venicebiennale #venicebiennale2017 #venicebiennale2015

#venicebiennale2019

#venice #biennale #venicebiennale #venezia #italy

#venezia #venice #veniceitaly #venicebiennale

 

#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday

 

#biennalevenice

 

Institutional Critique

 

Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology

 

Racial and Ethnic Identity, Neo-Conceptualism, Diaristic

 

Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,

 

Culture, Collective History, Group of Portraits, Photographic Source

 

, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary

 

War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict

 

Personal Histories, Alter Egos and Avatars

 

Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text

  

Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism

 

Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis

 

—-

 

CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.​

Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.

 

It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...

 

The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...

 

Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...

 

Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .

 

www.emergencyrooms.org/criticalrun.html

 

www.emergencyrooms.org/formats.html

-------

In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center

------

for activating the format or for inviting the installation

please contact 1@colonel.dk

 

www.colonel.dk/

 

-----

 

critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,

 

Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary

,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat

 

,now art,copenhagen,denmark

 

Frankreich / Provence - Gordes

 

Gordes (French pronunciation: [ɡɔʁd]; Occitan: Gòrda) is a commune in the Vaucluse department in the Provence-Alpes-Côte d'Azur region in southeastern France. The residents are known as Gordiens. The nearest big city is Avignon; smaller cities nearby include Cavaillon, L'Isle-sur-la-Sorgue and Apt.

 

The town is one of the most visited villages in the Luberon Regional Natural Park. It is located on the outskirts of the Park in the Monts de Vaucluse, which faces the northern slope of the Luberon mountain.

 

Perched on a rock, the town is a member of Les Plus Beaux Villages de France (The Most Beautiful Villages of France) Association due to its rich and varied heritage: two abbeys, a castle, many old hamlets, several hundred dry stone huts (bories), several windmills and water-mills, fountains, wash houses, and bories, a type of basin chiseled in rock.

 

According to the ranking of the most beautiful villages in the world published on 12 February 2023 on the website of Travel + Leisure, an American travel magazine, Gordes is considered the "most beautiful village in the world," ahead of the Japanese village of Shirakawa-go and Giethoorn in the Netherlands.

 

Geography

 

The territory of Gordes occupies some of "Les Monts de Vaucluse", a group of mountains and hills, part in the valley of the Calavon (a local river) also called the "Luberon Valley".

 

Neighboring communes

 

Neighboring villages are Venasque and Murs to the north, Joucas and Roussillon to the east, Goult, Saint-Pantaléon, Beaumettes and Oppède to the south and Cabrières-d'Avignon and Saumane-de-Vaucluse to the west.

 

Topography

 

Located between two geographic areas, Gordes is one of the biggest communes of the area with 4,804 hectares. The north is defined by the southern edge of the Vaucluse Mountains. The highest point of the commune (635 meters) is in this area, next to la Pouraque and les Trois Termes. The south of the commune is the Calavon valley, also called the Luberon Valley, and a few hills in the area. The lowest height of the commune, at 111 meters, is in the south in the area called plan de l'Alba.

 

The village itself is located in the center of the commune, on a giant calcareous rock from the Vaucluse Mountains, dominating the valley.

 

Geology

 

With a wide variation of the land, geology of the commune is divided into several distinct zones.

 

In the north, on the Vaucluse Mountains, are soils dating mainly from the Upper Jurassic with Urgonian limestone and calcareous clay. There are also, in very low amounts and primarily localized over the Senanque Abbey, soils dating from the Eocene/Oligocene, composed of limestone, sand, and clay.

 

Geology to the south of the village is more complex. The plain of Gordes (southeast) is composed of soil dating from the Quaternary (fluvial deposits, colluvium and scree) and soils of the Late Jurassic period (calcareous clay and blue marl). The hills area of "les garrigues" (in the south) is composed of soil dating from the Cretaceous – Paleocene period (calcareous sandstone, calcareous lacustrine clay, colorful, white and ocher sands and some ferruginous) and from the Miocene period (molasses limestone, sand and marl). Finally, the soil of the territory down to the plain of Calavon with some slightly higher ground dating from the Miocene and one lower from the Quaternary.

 

Climate

 

Gordes has a Mediterranean climate characterised by relatively dry summers and cool, damp winters. The city is often subject to windy weather; the strongest wind is the mistral.

 

In summer, high temperatures associated with a reduced amount of rain creates a drought of almost one or two months a year according to the Gaussen Index (temperatures in Celsius degrees twice higher than rains in millimeters).

 

History

 

The name "Gordes" derives from the Celtic word "Vordense". Vordense was pronounced Gordenses, then Gordae/Gordone, and finally Gòrda then translated into French "Gordes".

 

Early history

 

Occupation by the Roman empire.[5] The area is full of evidence of their occupation especially the Roman road passing through Apt and Carpentras and crossing the valley. Gallo-Roman remains were found in "Bouisses" district (skeletons, amphorae, columns) or Gallo-Roman substructures in the hamlet of "les Gros".

 

Middle Ages and Renaissance

 

In the 8th century, a Benedictine abbey known as Saint-Chaffret was founded by monks of the Abbey of Saint-Chaffre in Monastier-en-Velay on the site of an ancient cella (Roman temple) destroyed during the Arab invasions.

 

In 1031, a castle was built and the Latin word "castrum" was added to what thus became "Castrum Gordone". The castle was re-enforced in 1123 to become a "nobile castrum", the only one known among the many castles nearby.

 

In 1148, the Sénanque Abbey was established under the patronage of Alfant, Bishop of Cavaillon, and Ramon Berenguer II, Count of Barcelona, Count of Provence, by Cistercian monks who came from Mazan Abbey in the Ardèche.

 

After the death of King René of Provence, the territory of Provence was incorporated in 1481 into the kingdom of France as a "province royale française" (French royal province). An insurrection broke out in the former states of Agoult-Simiane and County of Forcalquier. Gordes is distinguished by a strong opposition to French centralism but will pay heavily for its claims of independence. A year later, with the wedding of his son, Jacques Raybaud de Simiane takes the title of "Baron de Gordes".

 

Second World War

 

During World War II, Gordes was an active resistance village and was later awarded a medal, the Croix de guerre 1939–1945.

 

On 21 August 1944, almost a week after the beginning of the Operation Dragoon on the Provençal coast, a German patrol was attacked by the resistance. The day after, 22 August, the village was subject to violent reprisals. The Germans forced the inhabitants to enter their homes, shooting those who were late or that were not cooperating, and started to shoot from the rock on the other side with a cannon and destroyed a dozen houses. On the other side of the village, the rest of the troops set fire to a chariot, pieces of wood and houses, blocking potential followers. More than twenty houses were destroyed. After the Liberation the resistance destroyed another part of the village, including the notarial house with all the archives. All this destruction brought the municipality the sad privilege to appear amongst three "stricken cities" of the Vaucluse department. By war's end, thirteen persons had been killed or executed in Gordes, twenty inhabitants had been shot by the enemy and five inhabitants were deported.

 

After World War II

 

After a period of reconstruction, the village began to attract artists including Marc Chagall and Jean Deyrolle, who discovered the village in 1947, and who attracted their artist friends including Serge Poliakoff, Victor Vasarely and Jean Dewasne.

 

Other historical language names

 

Occitan: Gòrda in classical norm of provencal, Gordo in Mistralian norm

 

Architecture

 

Sights

 

Located in the middle of the village, the castle, which was partially rebuilt in Renaissance style in 1525, is a major tourist attraction.

 

In the immediate vicinity of Gordes is the Romanesque Sénanque Abbey (Cistercian) and the Village des Bories, a village of dry stone huts that is now a museum.

 

Building regulations

 

All new buildings in Gordes are made of stone with terracotta roof tiles. No fences are allowed, only stone walls. All electrical and telephone cables are underground, except in some pre-existing installations on the borders of the commune. Some streets inside the village are paved with stone and are called calades.

 

The hamlets

 

There are several ancient hamlets around the village, whose names are mostly based on the names of the local families (Gros, Imbert, Martin, Cortasse) or from the activities performed there (les bouillons, les bouilladoires).

 

The largest hamlet is les Imberts, in the valley 5 km to the southwest. Les Imberts church was built between 1785 and 1792; other buildings also have 18th century architectural details. Gordes' two football pitches are in Les Imberts: one for official matches and the other for training. Les Imberts has a nursery and a school and once had several small shops, but in 2011 it only had a petrol station.

 

Les Gros and les Martins are two former hamlets, which are close to each other, between les Imberts and the commune of les Beaumettes.

 

The hamlets of les Sauvestres, les Pourquiers, les Marres and les Cortasses are in the plain to the south-east of Gordes. Some of the buildings in these hamlets date back hundreds of years.

 

Economy

 

Agriculture

 

As in many villages in the Vaucluse department, agriculture is important. Historically, almond trees were the most planted in the area, and though they are still present, olive trees have largely replaced them. Thus olive oil is important to local commerce. You can also find vineyards, with the production of table grapes or wine in AOC Ventoux.

 

Tourism

 

Tourism is a major part of the local economy of Gordes. Accommodating the tourist trade, there are a number of hotels, bed and breakfasts, seasonal rentals, and restaurants.

 

The main sights on the commune are the village itself, the castle, the Saint-Firmin Palace cellars, the Sénanque Abbey and the Village des Bories. In the surrounding towns, other tourist locations may be found, such as the Fontaine de Vaucluse, Roussillon or L'Isle-sur-la-Sorgue, the Luberon area, Avignon or the Mont Ventoux.

 

Gordes also has two centers of relaxation, numerous pools and ponds and miles of hiking trails.

 

Commercial activity and handcraft

 

Commercial activity is also important in the Gordes economy with various shops including several shops dedicated to tourists, selling souvenir and regional products (figurines, textiles, olive oil, honey, etc.). Moreover, a Provençal market is held every Tuesday morning around the castle.

 

Gordes also attracts artisans and traders in the real estate business like agents, architects, builders, landscapers, decorators and masons.

 

Notable people

 

Several important artists have lived or worked in Gordes, including André Lhote, Marc Chagall, Pierre Chapo, Philippe Ragueneau, Victor Vasarely, Victor Spahn, Walter Salles and Willy Ronis. President François Mitterrand had a holiday home in Gordes.

 

Culture

 

Fine arts and festivals

 

The village of Gordes has a few art galleries and festivals. The biggest festival of Gordes is a music festival, but there is also a wine festival.

 

The castle, stone houses, stone paved streets, views, etc. of Gordes have been an important source of inspiration for paintings or photography. for example, the Provençal Nude by Willy Ronis was made in the "fontaine basse" area of Gordes in 1949.

 

Literature

 

Gordes appears in several books including :

 

La vénus de Gordes, Ernest Daudet (1875)

Sa Majesté l'argent III, La Comtesse De Gordes, Xavier de Montépin, (1878)

All the books about the adventure of the Chat Moune, Philippe Ragueneau (from 1981 to 1990)

Les trois Joyaux de Gordes, Marc de Smedt (1988)

A year in Provence, Peter Mayle (1993)

Deliver Us From Evil, David Baldacci (2010)

A photograph of Gordes was used on the cover of the 2017 Gollancz edition of Orsinia, an edition combining Malafrena and Orsinian Tales by Ursula K. Le Guin.

 

Film and television

 

Gordes has served as the setting for several movies or series including:

 

One Deadly Summer, Jean Becker (1983)

Mistral's Daughter, Kevin Connor (1984)

A Year in Provence, David Tucker (1993)

Gazon maudit, Josiane Balasko (1995)

18 ans après, Coline Serreau (2003)

A Good Year, Ridley Scott (2006)

Mr. Bean's Holiday, Steve Bendelack (2006).

 

(Wikpedia)

 

Gordes (provenzalisch: Gòrda) ist eine französische Gemeinde mit 1.664 Einwohnern (Stand 1. Januar 2022) im Département Vaucluse in der Region Provence-Alpes-Côte d’Azur. Die Gemeinde ist als eines der Plus beaux villages de France (Schönste Dörfer Frankreichs) klassifiziert

 

Geografie

 

Die Gemeinde liegt auf einer maximalen Höhe von 635 m in der historischen Region Provence, genauer im Luberon, der den Status eines regionalen Naturparks hat. Dort ist der Ort an der Südflanke der Hügelkette Monts de Vaucluse auf einem Felsvorsprung aufgepfropft und thront über dem Tal des Flusses Coulon (auch Calavon genannt) gegenüber dem Luberon-Gebirge. Das Gemeindegebiet ist Teil des Regionalen Naturparks Luberon.

 

Gordes liegt (auf der Straße) 38 km östlich von Avignon und 19 km nordöstlich von Cavaillon.

 

Geschichte

 

Die Kelto-Ligurer erkannten die strategisch günstige Lage des Orts und errichteten ein wehrhaftes Oppidum, um der Stadt Cavaillon Deckung zu geben. Überreste einer römischen Straße beweisen, dass die Stätte auch nach der Eroberung Galliens von Bedeutung war.

 

Im 8. Jahrhundert wurde auf dem Fundament einer von den Arabern zerstörten Cella die Benediktinerabtei Saint-Chaffret errichtet. Seit dem 11. Jahrhundert wird das Dorfbild von der massiven Burgfestung geprägt. Wilhelm von Agoult, der die Orte der gesamten Umgebung mit Stadtmauern versah, erwähnt die Burg von Gordes in einer Urkunde, datiert auf den 30. November 1031. Seine Nachfolger erweiterten die Burg zu einem Prestigebau. Im 13. Jahrhundert verbündete sich Gordes mit dem Herzogtum Savoyen, um gegen den französischen König bestehen zu können. Mit dem Beginn des Hundertjährigen Kriegs suchten die Bewohner der Region Unterschlupf innerhalb der Stadtmauern der befestigten Orte und noch 1690 beschrieb François Joseph de Rémerville de Saint-Quentin, ein eingeheirateter lothringischer Adelsherr, Gordes als „ein großer Markflecken, der in Mauern eingeschlossen ist“. Nach dem Tod von René d’Anjou fiel die Grafschaft Provence (und somit auch Gordes) 1481 an den französischen König.

 

1544 wurde das im Jahr 1148 nahe Gordes gegründete Zisterzienserkloster Notre-Dame de Sénanque von den Waldensern gebrandschatzt. Als eines der ersten Dörfer Frankreichs wurde Gordes protestantisch, was zu jener Zeit ein sehr gewagter Schritt war. 1615 setzte Ludwig XIII. Guillaume de Gordes Simiane als Markgrafen ein. Der Baron des Adrets belagerte die Stadt während der Hugenottenkriege vergeblich. Letztlich war es Kardinal Richelieu, der – immer noch unter Ludwig XIII. – die protestantische Bewegung niederschlug und damit auch den Einfluss der französischen Krone in Südfrankreich festigte.

 

Ab der zweiten Hälfte des 18. Jahrhunderts entvölkerte sich das in den Stadtmauern eingeschlossene Gebiet der Stadt mehr und mehr und auch der Friedhof wurde ausgegliedert. Am 25. Juni 1793 wurde Gordes per Dekret dem Département Vaucluse zugewiesen. In den folgenden Jahren wuchs die Bevölkerung dank der starken Wirtschaft wieder an.

 

Wirtschaft

 

Ursprünglich dominierte die Landwirtschaft und es wurden Färberröten, Olivenbäume, Feigen und Mandeln kultiviert. Auch die Seidenraupenaufzucht war von Bedeutung. Das lokale Kunsthandwerk war für seine Lederarbeiten und Seidenbändel bekannt. Darüber hinaus wurde Bergbau betrieben, so gab es in der Umgebung mehrere Steinbrüche und es wurde Eisen, Kohle und Schwefel abgebaut.

 

Noch im Jahr 1914 zählte man achtzehn Windmühlen, die nach und nach durch Wassermühlen ersetzt wurden.

 

Später wurden Künstler auf den Ort aufmerksam. Marc Chagall flüchtete schon während des Zweiten Weltkriegs in das von der deutschen Wehrmacht nicht besetzte südfranzösische Dorf. Nach dem Krieg folgte ihm als Erster Jean Deyrolle, der bald auch einige seiner Freunde (Poliakoff, Vasarely und Dewasne) in das schmucke Dorf lockte.

 

Heute lebt die Gegend vorwiegend vom Tourismus. Zahlreiche Arbeitsplätze bieten die Gastronomie, Immobilienagenturen und Kunstgalerien. Gefragte kunsthandwerkliche Erzeugnisse sind die lokal hergestellten Krippenfiguren und gewebte Stoffe. Das Umland gehört zum Weinbaugebiet Côtes du Ventoux. Im Übrigen beliefert die Gegend den lokalen Markt mit Oliven, Kirschen, Mandeln, Trüffeln, Lavendel, Tafeltrauben und Eichenholz für Fassbinder.

 

Sehenswürdigkeiten

 

Hochgelegener Dorfkern

 

Das Château de Gordes, eine massiv befestigte Burg, ursprünglich aus dem 11. Jahrhundert; die augenfälligsten Partien stammen jedoch aus der Renaissance-Zeit. In den Innenräumen der Burg, die seit 1931 unter Denkmalschutz steht, findet der Besucher auch ein Kunstmuseum der Malerei und das örtliche Tourismusbüro. Besonders bemerkenswert bei der Innenausstattung sind die zahlreichen Cheminées; die älteste ist auf das Jahr 1541 datiert.

 

Der Brunnen auf dem südlichen Vorplatz der Burg ist aus dem Jahr 1342. Er war über lange Zeit die einzige Wasserstelle des hochgelegenen Stadtkerns.

 

Die Kirche Saint-Firmin, 1704 fertiggestellt, wurde auf dem Fundament einer älteren Kirche aus dem 13. Jahrhundert errichtet. Neben den Grundmauern wurde auch weitere alte Bausubstanz in die neue Kirche integriert, u. a. der Glockenturm mit quadratischem Grundriss, welcher vermutlich aus dem 14. Jahrhundert stammt. Am Fuß dieses Turms ist ein alter Kerker erhalten geblieben.

 

Das Hôtel Saint-Firmin (früher Hôtel Gaudin-de-Lancier), ein Stadthaus aus dem 15. Jahrhundert – ausgestattet mit einer Parkanlage, imposanten Gewölbekellern, Zisternen und Ölmühlen – steht seit 1998 unter Denkmalschutz und beherbergt heute ein gehobenes Restaurant und einen erstklassigen Weinkeller mit natürlicher Klimatisation.

Die Moulin des Bouillons produzierten Olivenöl.

 

Reizvoll sind auch die engen Gassen mit ihren hohen, schmalen Häusern.

 

Am Fuße des Dorfes

 

Das Hôtel Simiane, welches heute das Bürgermeisteramt (mairie), die Stadtbibliothek und einen Ausstellungsraum beherbergt

 

Mehrere alte Waschhäuser

 

Eine Wassermühle

 

Verschiedene kleine Kapellen (eine davon ist direkt in den Felsen eingegraben) und Eremitagen

 

Private Landhäuser, z. T. mit Swimming Pool

 

Tief beeindruckend ist auch die Landschaft mit ihrer auf Trockenheit spezialisierten Vegetation.

 

Am Dorfrand

 

Das Zisterzienserkloster Notre-Dame de Sénanque aus dem 12. Jahrhundert befindet sich nördlich des Orts im Tal des Flüsschens La Sénancole.

 

Die Ruinen der Benediktinerabtei Saint-Chaffret befinden sich etwa einen Kilometer südlich des Dorfes.

 

Drei Kilometer westlich, aber immer noch auf Gemeindegebiet, erstreckt sich das Village des Bories, ein seit 1977 unter Denkmalschutz stehendes Freiluftmuseum. Dort erwartet den Besucher eine Ballung von alten, igluförmigen Steinhütten, die früher von der lokalen Bevölkerung gebaut (vermutlich vom 16. bis in das 19. Jahrhundert) und saisonal bewohnt wurden. Diese charakteristisch geformten Behausungen nennt man Bories.

 

(Wikipedia)

Distante circa 28 km dal capoluogo Grosseto, Magliano in Toscana è un comune di quasi 4.000 abitanti situato sulle colline davanti al mare Tirreno e circondato da magnifiche mura medievali.

Il territorio comunale è pieno di insediamenti di epoca etrusca, ed ha località di chiara origine medievale come Pereta, Montiano ed il monastero di San Bruzio.

L'elemento etrusco più importante è la necropoli di Heba. Il Disco di Magliano risale al V - Iv secolo a.C. e venne rinvenuto nei paraggi ed è stato fondamentale per la decodifica della lingua etrusca. Nel medioevo la famiglia Aldobrandeschi prese il potere controllando oltre a Magliano in Toscana altri centri della provincia di Grosseto; fino al Trecento il borgo rimase un dominio di questa famiglia, poi passò sotto la dominazione senese con la Repubblica di Siena, periodo che corrisponde alla edificazione delle bellissime mura cittadine. Nel Rinascimento i senesi fecero nuove opere di ristrutturazione alle mura fino al Cinquecento, periodo nel quale la dominazione senese terminò per passare nel Granducato di Toscana sotto la famiglia Medici.

Nella Seconda Guerra Mondiale avvenne nel territorio comunale l'eccidio di Maiano Lavacchio in cui 11 antifascisti vennero uccisi dai Tedeschi.

 

Far about 28 km from the Chief Town Grosseto, Magliano in Toscana is a municipality of almost 4,000 inhabitants situated on the hills in front of the Tyrrhenian Sea and surrounded by magnificent medieval walls.

The municipal territory is full of settlements of Etruscan era, and has villages and settlements of clear medieval origin as Pereta, Montiano and the Monastery of San Bruzio.

The most important element is the Etruscan necropolis of Heba. The Disk of Magliano dates back to the V-IV century B. C. and was found nearby and has been fundamental in decoding the Etruscan language.

In the Middle Ages the Aldobrandeschi family took power by controlling in addition than Magliano in Toscana, other centres of the province of Grosseto; until the 1300s the village remained a domain of this family until the domination of Siena under the Republic of Siena, a period that corresponds to the building of the beautiful city walls.

In the Renaissance the Sienese did new works of restructuring the walls up to the 1500s, the period in which the domination of Siena ended to switch in the Grand Duchy of Tuscany under the Medici family.

In the Second World War occurred in the municipal territory the slaughter of Maiano Lavacchio in which 11 anti-fascists of the area were killed by the Germans for reprisal.

 

© Riccardo Senis, All Rights Reserved

This image may not be copied, reproduced, republished, edited, downloaded, displayed, modified, transmitted, licensed, transferred, sold, distributed or uploaded in any way without my prior written permission.

This gorge is in layered calc-silicate rocks of the Corella Formation; they were originally calcareous sediments (sand and mud) that have been metamorphosed. The quartz, felspar, and clays reacted with the calcite and dolomite to produce calc-silicate minerals like amphibole (hornblende and actinolite) and clinopyroxene (diopside).

 

The Kalkadoon People:

 

The Kalkadoon People, also known as the Kalkatungu, Kalkatunga, or Kalkadungu, ruled what is called the Emu Foot Province and have been living on these lands for over 40 thousand years. The Kalkadoon People owned vast tracts of land extending from McKinley’s Gap in the east where they joined the Goa tribe of the Winton district to Gunpowder Creek which was the territory of the Waggaboongas. On the southern side of their territory the Kalkadoons were touched upon by the Pitta-Pitta tribe of the Boulia district, and on the northern side by the Mittakoodi of the Fort Constantine country.

 

The Kalkadoons would mark their territory boundaries with an emu or cranes foot that was either painted onto rocks and trees or carved into the hard granite rock. This was also a warning for other Aboriginal clans not to pass these boundaries.

 

The Kalkadoon (Kalkatungu) are descendants of an Indigenous Australian tribe living in the Mount Isa region of Queensland. Their forefather tribe has been called 'the Elite of the Aboriginal warriors of Queensland'. In 1884 they were massacred at "Battle Mountain" by settlers and police.

 

The first Europeans to visit the area were explorers Burke and Wills who crossed the Cloncurry River in 1861. Though their journals make no mention of the tribe, their passing through is said to have been recorded in Kalkatungu oral history, and in their language they coined the term walpala (from 'white feller') to denote Europeans. Three parties sent out to search for Burke and Wills, led respectively by John McKinlay, William Landsborough, and Frederick Walker, passed through the general area. Walker, a former commander of the Dawson native police, shot 12 natives dead and wounded several more, just to the north east of Kalkatungu territory.

 

Another early European settler, Edward Palmer, who was described by George Phillips as 'one of that brave band of pioneer squatters who in the early sixties swept across North Queensland with their flocks and herds, settling, as if by magic, great tracts of hitherto unoccupied country', settled on the edge of Kalkatungu country in 1864, at Conobie, on the western bank of the Cloncurry River. Decades later, Palmer described the natives as a peculiar people of which little was known. Palmer was critical of the use of native police and interested in indigenous tribes. His station lands did not cover any Kalkatungu sacred sites, he did not object to their presence in the vicinity, and found no problem in his relations with the Kalkatungu. He tried to learn their language. Ernest Henry arrived in 1866, discovering, with the assistance of Kalkatungu guides, copper deposits the following year, and founded the Great Australia Mine. He successfully enlisted some Kalkatungu people to work one of these mines. A short attempt at settlement by W. and T. Brown at Bridgewater in 1874 experienced, like Palmer, no difficulties with the indigenous owners of the land.

 

The Scottish settler Alexander Kennedy then took up land in the area in 1877. He had managed, since his arrival in 1861, to accumulate land holdings of some 4,800 sq. miles, holding 60,000 cattle, and established himself in a residence he built, called Buckingham Downs. Kennedy is thought to have begun the troubles with the native peoples of the area by instigating murderous assaults on the Kalkatungu. Iain Davidson describes him as 'the man who led the destruction of the tribes of North West Central Queensland.'

 

The traditional white heroic narrative version of what then occurred drew on the account provided by Sir Wilmot Hudson Fysh in 1933. According to this version, the Kalkatungu was by nature a hostile and bellicose tribe, exceptionally brave with 'primitive' military cunning and guerilla-like tactics of strategic withdrawals to the mountains to evade reprisals for their savagery. They were eventually vanquished and broken after a last stand against men like Alexander Kennedy.

 

Source: Ian Withnall, & Kalkadoon PBC (www.kalkadoonpbc.com.au)

Auf Repressalien und Eingriffe in die körperliche Unversehrtheit verstand man sich im Mittelalter noch "besser" als heute, wie das Fragment dieses Freskos aus dem Dom in Wiener Neustadt zeigt.

 

Reprisals and interventions in bodily integrity were even "better" known and done in the Middle Ages than today, as the fragment of this fresco from the cathedral in Wiener Neustadt shows.

Test Mini for my Chaotic Reprisal Chapter

Early years

The foundation date was traditionally 1169, but can only be dated definitely between 1165 and 1174 on the evidence of charters. The dedication is to St. Mary Magdalene; unusual in the region.

 

It would seem the arrangements for founding the Priory were well advanced by the time of the foundation charter, as opposed to the more gradual process at Wetheral and St. Bees. Robert de Vaux gave the land of Lanercost "between the ancient wall and the Irthing and between Burth and Poltros, the vill of Walton by stated bounds, the church of that vill with the chapel of 'Treverman,' the churches of Irthington, Brampton, Carlaton and Farlam The charter of foundation states that the benefaction was made for the sake of Henry II, and for the health of the souls of his father Hubert and his mother Grace.

 

Soon after the foundation of the house, Robert de Vaux granted to the canons the right of free election, so that when the lord prior died the person on whom the choice of the canons or the greater part of them fell should be elected in his place.

 

The bulk of the church building dates from the late 13th century, though there is evidence of earlier work. The Priory buildings were constructed, at least in part, from stones derived from Hadrian's Wall, including a number of Roman inscriptions that were built into its fabric.

 

Visitors and raiders

The proximity to Scotland inevitably had an effect on the fortunes of the priory, and it was a target of Scots attacks in retaliation to English raids. This became acute after the outbreak of the War of Independence. In 1296 the Scottish army encamped at Lanercost after burning Hexham priory and Lambley nunnery. The Scots were interrupted before the damage could become great, and they retreated through Nicolforest, having burnt some houses of the monastery but not the church. Similar depredations under Wallace continued the next year and led to calls for reprisals from the English.

  

Roman inscription, recording the presence of Legio VI Victrix on Hadrian's Wall, now built into the priory wall.

Edward I made several visits to the priory in the latter part of his reign. In the autumn of 1280 he visited in the company of Queen Eleanor on his way to Newcastle. The canons met him at the gate in their copes, and although staying only a few days, he found time to take 200 stags and hinds while hunting in Inglewood forest. In 1300, on his way to the siege of Caerlaverock Castle, Edward stayed at Lanercost for a short while

 

Edward's last visit was in 1306, travelling in a horse litter owing to age and illness, and accompanied by Queen Margaret. He arrived at Michaelmas and his stay extended until the following Easter, a duration of 6 months which put a huge burden upon the resources of the priory. It was while Edward was at Lanercost that the brothers of Robert de Brus and other Scottish captives were sent to Carlisle for execution by his order.

 

This last royal visit depleted the reserves of the priory, and the canons begged him for recompense, but a deal to acquire the church of 'Hautwyselle,' worth about 100 marks a year, fell through. However the king granted the appropriation of the churches of Mitford in Northumberland and Carlatton in Cumberland, for the relief of the Priory. In a letter to the Pope, Edward gave his reasons for generosity being the special devotion he felt to St. Mary Magdalene, his long stay due to illness, and making good the damage of the Scots. Edward died shortly afterwards at Burgh by Sands in July 1307, whilst still campaigning against the Scots.

  

Lanercost Priory from the south. The foundations of the conventual buildings are in the foreground

In August 1311, Robert Bruce, King of Scotland, came with his army and made it his headquarters for three days, "committing infinite evils" and imprisoning some canons; though later letting them free. By contrast in 1328, in fulfilment of the treaty between the Bruce and Edward III, a mutual interchange of good offices took place between the priory of Lanercost and Kelso Abbey in respect of their common revenues out of the church of Lazonby. Later though, in 1346, David II ransacked the conventual buildings and desecrated the church. Fresh from the overthrow of Liddel he "entered the holy place with haughtiness, threw out the vessels of the temple, stole the treasures, broke the doors, took the jewels, and destroyed everything they could lay hands on". As late as 1386, one of the priors was taken prisoner by the Scots and ransomed for a fixed sum of money and four score quarters of corn.

The fortunes of the priory were linked to the state of warfare and raids on the border. The priory was in relatively affluent circumstances before the outbreak of the war of Independence in 1296, and the annual revenue of the house was returned at £74 12s 6d in the 1291 valuation of Pope Nicholas IV. But by the taxation of 1318, the value had fallen almost to nothing.

 

The Parish Church

Lanercost Priory was dissolved in 1538 by Henry VIII, and the conventual buildings were stripped of their roofs, excepting the church building which continued in use as the parish church. In the late 17th century, as the Nave deteriorated, the congregation used just the north aisle which had been re-roofed.

 

In 1747, the nave was re-roofed, but by 1847 the Priory was in a state of disrepair to the extent that the east end roof collapsed. However, by 1849, The church was in use again after a major restoration by Anthony Salvin. In the 1870s, there was further restoration by the Carlisle architect C. J. Ferguson.

At the Dissolution, ownership had passed to the Dacre family, and then in the early 18th century to the Howards. In 1929, The Priory ruins were put into public ownership, and today they are managed by English Heritage.

 

Architectural notes

 

West front with the statue of Mary Magdalene

The nave has an aisle to the north, but a large wall to the south with no aisle, where it abuts the cloister. The impressive ruined chancel and crossing of ca. 1220-1230 are in a good state of preservation; as high as the eaves, and would only require a roof and windows to be restored to the original condition. The oldest masonry is in the south transept, and dates from the late 12th century. The cloister and monastic buildings have been largely dismantled; except for the west range, which was made into a house by Sir Thomas Dacre in the 16th century. The statue of St Mary Magdalene, given by King Edward I, still survives in a niche high up on the west front. A dossal – an embroidered wall hanging – designed by William Morris in 1881, underwent restoration before being replaced behind the priory altar in 2013-14

 

Memorials

The priory has an unusual medieval stone carving called the Lanercost Cross with an inscription dating back to 1214. Originally the cross was set just outside the entrance to the church. Today, the stump of the cross remains, but the main shaft is housed inside the priory. In the churchyard is the tomb of Thomas Addison, scientist and physician. In the nave is a memorial to the Reverend Henry Whitehead, former vicar of Lanercost, best known for his pioneering epidemiological work with John Snow on cholera.

 

Humphrey Dacre, 1st Baron Dacre, and his widow Mabel were both buried at the Priory in the 15th century.

 

This picture was taking from a little train that goes around the city, jumping all the time.

After taking few shots got a good one! The Alcázar of Toledo (pronounced [alˈkaθar]; Spanish: Alcázar de Toledo) is a stone fortification located in the highest part of Toledo, Spain. Once used as a Roman palace in the 3rd century, it was restored under Alfonso VI and Alfonso X and renovated in 1535. During the Spanish Civil War, Colonel José Moscardó Ituarte held the building against overwhelming Spanish Republican forces in the Siege of the Alcázar. The incident became a central piece of Spanish Nationalist lore, especially the story of Moscardó's son Luis. The Republicans took 16-year old Luis hostage, and demanded that the Alcázar be surrendered or they would kill him. Luis told his father, "Surrender or they will shoot me." His father replied, "Then commend your soul to God, shout 'Viva Cristo Rey' and die like a hero."

 

Moscardó refused to surrender. Contemporary reports indicated that the Republicans then murdered Moscardó's son. Other historians have reported that Luis was not in fact shot until a month later "in reprisal for an air raid". The dramatic story also camouflages the fact that the fate of a number of male hostages, mainly from the Guardia Civil, taken into the Alcázar at the beginning of the siege is unclear. Some sources say the men "were never heard of again". However at least one journalist who visited the Alcázar in the immediate aftermath of its liberation saw a number of prisoners chained to a railing in a cellar.

 

The events of the Spanish Civil War at the Alcázar made the structure a symbol for Spanish Nationalism and inspired the naming of El Alcázar, a far-right newspaper that began during the civil war and ended during the Spanish transition to democracy as the mouthpiece for Búnker, a faction of Francoists who opposed reform after Francisco Franco's death.

 

By the end of the siege, the building had been severely damaged. After the war, it was rebuilt and now houses the Castilla-La Mancha Regional Library ("Biblioteca Autonómica") and the Museum of the Army ("Museo del Ejército"), the latter having previously been housed in the Salón de Reinos in Madrid to the Alcázar. Toledo. Spain.

     

The Gorgopotamos bridge, built in 1905, put the Gorgopotamos village on the map for the strategic purpose the bridge played during World War II. The Engineer who originally designed and built the infamous Gorgopotamos bridge was Agostino Tacconi, later Αυγουστίνος Τακωνης (Takonis) who migrated from Palermo Italy to Greece to supply Greece with his Engineering skills. At the time Greece was recruiting from other nations to fill a significant skills shortage. The name of Gorgopotamos became famous during World War II, when 150 Greek partisans, following plans drawn by E. C. W. "Eddie" Myers and assisted by a group of British SOE officers, which included C.M. Woodhouse, blew up the railroad bridge over the Gorgopotamos river on November 25, 1942 as part of Operation Harling and cut off the enemy-controlled route between Thessaloniki and Athens.[4] The blast ruined two of the six piers of the bridge. In an act of reprisals, the German occupation forces executed 16 Greek locals. The area around the bridge has been designated a national monument.[5]

 

After World War II and the Greek Civil War, the bridge of Gorgopotamos was partially rebuilt, the piers being replaced with steel pylons. en.wikipedia.org/wiki/Gorgopotamos

Corella Valley Geoscience:

 

Rocks typically seen in the creekbeds of the Corella Valley are dark grey calcsilicates of the Corella Formation, often intruded by a pink fine-grained rock composed of pink feldspar and subordinate honrblende, which contain numerous fragments of dark-green to black metadolerite and some calc-silicates. This is a part of the Mount Philp Breccia. Typically mixed in with these creekbeds is pegmatite that seems to intrude the breccia.

 

Pegmatite are intrusive rocks with extreme coarse grained texture that are developed at the final stages of magma crystallization. As huge amount of time has been granted to pegmatite rocks so it has extremely large crystals and sometimes rare minerals are associated with it which are not found in other rocks. Pegmatite contains crystals that are atleast one centimetre long in diameter.

Pegmatite have composition similar to that of granite with abundant quartz, feldspar and mica. These are sometimes also called as granite pegmatites.

 

The mineralogy of a pegmatite is in most cases dominated by some form of feldspar, often with mica and usually with quartz, being altogether "granitic" in character. Beyond that, pegmatite may include most minerals associated with granite and granite-associated hydrothermal systems, granite-associated mineralisation styles, for example greisens, and somewhat with skarn associated mineralisation.

 

The Kalkadoon People:

 

The Kalkadoon People, also known as the Kalkatungu, Kalkatunga, or Kalkadungu, ruled what is called the Emu Foot Province and have been living on these lands for over 40 thousand years. The Kalkadoon People owned vast tracts of land extending from McKinley’s Gap in the east where they joined the Goa tribe of the Winton district to Gunpowder Creek which was the territory of the Waggaboongas. On the southern side of their territory the Kalkadoons were touched upon by the Pitta-Pitta tribe of the Boulia district, and on the northern side by the Mittakoodi of the Fort Constantine country.

 

The Kalkadoons would mark their territory boundaries with an emu or cranes foot that was either painted onto rocks and trees or carved into the hard granite rock. This was also a warning for other Aboriginal clans not to pass these boundaries.

 

The Kalkadoon (Kalkatungu) are descendants of an Indigenous Australian tribe living in the Mount Isa region of Queensland. Their forefather tribe has been called 'the Elite of the Aboriginal warriors of Queensland'. In 1884 they were massacred at "Battle Mountain" by settlers and police.

 

The first Europeans to visit the area were explorers Burke and Wills who crossed the Cloncurry River in 1861. Though their journals make no mention of the tribe, their passing through is said to have been recorded in Kalkatungu oral history, and in their language they coined the term walpala (from 'white feller') to denote Europeans. Three parties sent out to search for Burke and Wills, led respectively by John McKinlay, William Landsborough, and Frederick Walker, passed through the general area. Walker, a former commander of the Dawson native police, shot 12 natives dead and wounded several more, just to the north east of Kalkatungu territory.

 

Another early European settler, Edward Palmer, who was described by George Phillips as 'one of that brave band of pioneer squatters who in the early sixties swept across North Queensland with their flocks and herds, settling, as if by magic, great tracts of hitherto unoccupied country', settled on the edge of Kalkatungu country in 1864, at Conobie, on the western bank of the Cloncurry River. Decades later, Palmer described the natives as a peculiar people of which little was known. Palmer was critical of the use of native police and interested in indigenous tribes. His station lands did not cover any Kalkatungu sacred sites, he did not object to their presence in the vicinity, and found no problem in his relations with the Kalkatungu. He tried to learn their language. Ernest Henry arrived in 1866, discovering, with the assistance of Kalkatungu guides, copper deposits the following year, and founded the Great Australia Mine. He successfully enlisted some Kalkatungu people to work one of these mines. A short attempt at settlement by W. and T. Brown at Bridgewater in 1874 experienced, like Palmer, no difficulties with the indigenous owners of the land.

 

The Scottish settler Alexander Kennedy then took up land in the area in 1877. He had managed, since his arrival in 1861, to accumulate land holdings of some 4,800 sq. miles, holding 60,000 cattle, and established himself in a residence he built, called Buckingham Downs. Kennedy is thought to have begun the troubles with the native peoples of the area by instigating murderous assaults on the Kalkatungu. Iain Davidson describes him as 'the man who led the destruction of the tribes of North West Central Queensland.'

 

The traditional white heroic narrative version of what then occurred drew on the account provided by Sir Wilmot Hudson Fysh in 1933. According to this version, the Kalkatungu was by nature a hostile and bellicose tribe, exceptionally brave with 'primitive' military cunning and guerilla-like tactics of strategic withdrawals to the mountains to evade reprisals for their savagery. They were eventually vanquished and broken after a last stand against men like Alexander Kennedy.

 

Source: Rocks and Landscapes of Northwest Queensland by Laurie Hutton & Ian Withnall, Learning Geology (geologylearn.blogspot.com), &

Kalkadoon PBC (www.kalkadoonpbc.com.au).