View allAll Photos Tagged scenario
if you do decide to get your eyebrows threaded for 6 bucks a pop, and it does not go according to plan, you can always wear your sunglasses on your forehead until your brows right themselves.
AKIBA scenario
AKIHABARA (秋葉原) also known as Electric Town or AKIBA in short. Its best-known as one of the largest shopping areas on Earth for electronic, computer, anime, and otaku goods. The character of Akihabara has constantly changed over the decades and continues to do so. A recent development is the emergence of Akihabara as a center of Japanese animation culture.
OTAKU culture in Akihabara has become increasingly famous in the recent years. Many people there have unique lifestyles, centered on technological enterprises and a love for Anime/Manga, that have made them outsiders in other sections of Japanese society. Otaku are afforded the chance to gather here and avoid alienation imposed by others who do not share their specific interests. The presence of such prolific "GEEKY" behavior has led to Akihabara being seen as a mecca of sorts for otaku, as well as to the term Akiba-kei, or Akiba-type.
In addition to conventional stores, various other animation related establishments have appeared in the area, such as cosplay ("costume play") cafes, where waitresses are dressed up like anime characters, and manga kissaten ("comics cafes"), where customers can read comics, watch DVDs and surf the internet.
Maid-kissa are coffee shops where the waitresses where fantasy like maid costumes. They dress up to look like characters from famous anime or Japanese comics. Since Akihabara caters not only to electronic enthusiasts but also young Japanese otaku which translates roughly to NERDS in English.
Every Sundays at Chuo-Dori, the main street in Akihabara you can find the "MAIDS" passing out pamphlets to their shops to passers by.
Akihabara is 5 minutes ride from (central) Tokyo Station
SOURCE:
Wikipedia, the free encyclopedia
japan-guide.com
tokyoessentials.com
BEST VIEW LARGE
South Carolina National Guard Soldiers, and fire department/EMS rescuers with the S.C. Helicopter Aquatic Rescue Team (SC-HART) program, S.C. Urban Search and Rescue Task Force 1 (SC-TF1), perform hoist-training operations during the preliminary phases of “Patriot South Exercise 2017” (Patriot South 17), a joint training-exercise focused on natural disaster-response and preparedness, Gulfport and Port Bienville Industrial Complex (PBIC), Mississippi, Jan. 29, 2017. Patriot South 17 is taking place at multiple locations across Mississippi, from January 23 through February 7, 2017, and it offers the National Guard and its local and federal partners a realistic-training opportunity to test response capabilities, procedures, and readiness through a simulated hurricane and Tsunami scenario “hitting the coastal areas of the state.” Specifically, in preparation for future operations, South Carolina’s Headquarters and Headquarters and (-) Company A 2-151st Security and Support Aviation Battalion, 59th Aviation Troop Command, deployed both its current HART-capable platforms, the UH-60L Black Hawk utility helicopter and its LUH-72A Lakota light utility helicopter--the latter being a recent addition to the HART program for South Carolina. (U.S. Army National Guard Photo by Staff Sgt. Roberto Di Giovine)
Je suis heureuse de vous annoncer que j'exposerai
du samedi 7 au samedi 28 mars
à la Galerie de La cité de l'eau
à Amphion. (74500 Publier)
"Anitaa, photographe et plasticienne, crée des collages originaux sur le thème de la diversité du féminin.
Curieuse, drôle et inventive, cette collectionneuse fascinée d’images organise ses montages, assemble ses collages comme on invente une histoire, comme on écrit le scénario, sur fond de nature, d’actualité, dans l’univers bien grand de son imaginaire."
"Blue Flag" 2019
"Blue-Flag” 2019 is a biannual international aerial training exercise hosted by the IAF. Air forces from the United States, Italy, Greece and Germany simulated extreme combat scenarios in realistic settings with the IAF.
The current exercise was the first exercise in which the "Adir" (F-35I) aircraft participated.
Photography: Amit Agronov
״בלו-פלאג״ 2019 הוא תרגיל אווירי בין-לאומי שנערך על ידי חיל האוויר הישראלי. לאורך התרגיל, חילות האוויר של ארה״ב, איטליה, יוון, וגרמניה דימו תרחישי לחימה קיצוניים וטיסה בקואליציה באופן המציאותי ביותר עם חיל-האוויר הישראלי.
התרגיל הנוכחי היה הראשון שבו השתתפו מטוסי ה"אדיר" (F-35I).
צילום: עמית אגרונוב
Finding romance in the office as his feminised office boy , yes I love being her , yes, and he loves me
Dutch Marines with 32nd Raiding Squadron during Exercise Caribbean Urban Warrior on Camp Lejeune, N.C., March 22, 2021.
The Marines participated in a Military Operations on Urbanized Terrain scenario to perfect tactics and skills.
The exercise is a bilateral training evolution designed to increase global interoperability between 2nd Reconnaissance Battalion, 2nd Marine Division and 32nd Raiding Squadron, Netherlands Marine Corps.
Photos : U.S. Marine Corps photo by Cpl. Armando Elizalde
Zachary Palmrueter, foreground, and Nathan Nueman work through a Delta College Police Academy scenario as their evaluator looks on April 25, 2017. The scenarios were inspired by lessons students learn throughout the 17 week-long program and provides hands on experience before graduation. (Delta Collegiate/Josie Norris)
Training emergency scenarios at NASA on the full-size International Space Station mockup. With Expedition 41 crewmates Reid Wiseman and Maxim Surayev.
Credit: NASA-B. Stafford
AKIBA scenario
AKIHABARA (秋葉原) also known as Electric Town or AKIBA in short. Its best-known as one of the largest shopping areas on Earth for electronic, computer, anime, and otaku goods. The character of Akihabara has constantly changed over the decades and continues to do so. A recent development is the emergence of Akihabara as a center of Japanese animation culture.
OTAKU culture in Akihabara has become increasingly famous in the recent years. Many people there have unique lifestyles, centered on technological enterprises and a love for Anime/Manga, that have made them outsiders in other sections of Japanese society. Otaku are afforded the chance to gather here and avoid alienation imposed by others who do not share their specific interests. The presence of such prolific "GEEKY" behavior has led to Akihabara being seen as a mecca of sorts for otaku, as well as to the term Akiba-kei, or Akiba-type.
In addition to conventional stores, various other animation related establishments have appeared in the area, such as cosplay ("costume play") cafes, where waitresses are dressed up like anime characters, and manga kissaten ("comics cafes"), where customers can read comics, watch DVDs and surf the internet.
Maid-kissa are coffee shops where the waitresses where fantasy like maid costumes. They dress up to look like characters from famous anime or Japanese comics. Since Akihabara caters not only to electronic enthusiasts but also young Japanese otaku which translates roughly to NERDS in English.
Every Sundays at Chuo-Dori, the main street in Akihabara you can find the "MAIDS" passing out pamphlets to their shops to passers by.
Akihabara is 5 minutes ride from (central) Tokyo Station
SOURCE:
Wikipedia, the free encyclopedia
japan-guide.com
tokyoessentials.com
BEST VIEW LARGE
The Mobile Emergency Room is a project by Thierry Geoffroy/Colonel, a participating artist of the Maldives Pavilion working with art formats developed around the notion of emergency.
Emergency Room is a format providing space for artists to engage in urgent debates, address societal dysfunctions and express emergencies in the now, today, before it is too late. Geoffroy’s approach allows immediate artistic intervention and displaces the contemporary to the status of delayed comment on yesterday’s world.
Taking as point of departure climate change and the Maldives, Geoffroy developed a scenario of disappearance and translated actual emergencies and hospitality needs into artistic interventions. In this context he activated his penetration format in order to transform “rigid exhibition spaces” into “elastic and generous exhibition spaces”.
An intervention facilitated by curator Christine Eyene, the Mobile Emergency Room was set up at the Zimbabwe Pavilion during the opening week of the biennale with the hospitality of commissioner Doreen Sibanda and curator Raphael Chikukwa. The first pieces presented in this room consisted in Geoffroy’s tent and an installation by Polish artist Christian Costa. Since then it has been animated online and has extended from being a space for artists expressing emergencies about climate change, to encompassing various emergency topics.
From 24 to 28 August, Geoffroy was in Venice collaborating with Danish artists Nadia Plesner, Mads Vind Ludvigsen, who created new work everyday, raising various emergencies and concerns, with a daily change of exhibition (“passage”) at 3.00 pm. For his last day in Venice, Geoffroy addressed the Syrian situation.
The work produced during this intervention is displayed until 30 September. The presentation is based on Geoffroy's concept of "Delay Museum" where art created for past emergencies is exhibited, while new work enters the Mobile Emergency Room.
--------------------------------------------------------------------------------------------------------------------------------------------
the Emergency Room Mobile at the Zimbabwe pavilion / Venice Biennale has now been completed with some work from the The Delay Museum ,Please visit the pavilion when you go the Venice Biennale this is part of the PENETRATIONS formats ( the Zimbabwe pavilion gave hopsitality for a period of several monthes ) the displayed art works in the Delay Museum are still "boiling " as they are from last week . ( Nadia Plesner / Mads Vind Ludvigsen , COLONEL ) ( this project is a convergence with BIENNALIST / Emergency Room ) more on Christine Eyene blog as she facilated and work within ....This penetration was in connection with my participation in the Maldives pavilion " CAN A NATION WELCOME ANOTHER NATION ?"CAN EMERGENCIES BE RANKED " .Thank you also for the work by David Marin , @Guillaume Dimanche and Christian Costa
venice-biennale-biennalists.blogspot.dk/2013/09/recents-w...
--------------------------------------------------------------------------------------------------------------------------------------------
VENICE BIENNALE / VENEZIA BIENNIAL 2013 : BIENNALIST
www.emergencyrooms.org/biennalist.html
Biennalist is an Art Format by Thierry Geoffroy / Colonel debating with artistic tools on Biennales and other cultural managed events . Often those events promote them selves with thematics and press releases faking their aim . Biennalist take the thematics of the Biennales very seriously , and test their pertinance . Artists have questioned for decade the canvas , the pigment , the museum ... since 1989 we question the Biennales .Often Biennalist converge with Emergency Room providing a burning content that cannot wait ( today before it is too late )
please contact before using the images : Thierry Geoffroy / Colonel 1@colonel.dk
--------------------------
Countries( nations ) that participate at the Venice Biennale 55 th ( 2013 Biennale di Venezia ) in Italy ( at Giardini or Arsenale or ? ) , Encyclopedic Palace is curated by Massimiliano Gioni
Albania, Andorra, Argentina, Australia, Austria, Azerbaijan, Bangladesh, Belarus, Belgium, Brazil, Bulgaria,
Costa Rica, Croatia, Cuba, Cyprus, Czech , Slovenia, South Africa, Spain, Canada, Chile, China, Congo,
Slovak Republic, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia,
Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore
Sweden, Switzerland, Syrian Arab Republic, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Zimbabwe
the Bahamas, the Kingdom of Bahrain, the Republic of Kosovo, Kuwait, the Maldives, Côte d'Ivoire, Nigeria and Paraguay
Eight countries will also participate for the first time in next year's biennale: the Bahamas, the Kingdom of Bahrain, the Republic of Kosovo, Kuwait, the Maldives, Côte d'Ivoire, Nigeria and Paraguay. In 2011, 89 international pavilions, the most ever, were accessible in the Giardini and across the city.
please contact before using the images : Thierry Geoffroy / Colonel 1@colonel.dk
--------------------------------------------------------------------------------------------------------------------------------------------
lists of artists participating at the Venice Biennale
Hilma af Klint, Victor Alimpiev, Ellen Altfest, Paweł Althamer, Levi Fisher Ames, Yuri Ancarani, Carl Andre, Uri Aran, Yüksel Arslan, Ed Atkins, Marino Auriti, Enrico Baj, Mirosław Bałka, Phyllida Barlow, Morton Bartlett, Gianfranco Baruchello, Hans Bellmer, Neïl Beloufa, Graphic Works of Southeast Asia and Melanesia, Hugo A. Bernatzik Collection, Ștefan Bertalan, Rossella Biscotti, Arthur Bispo do Rosário, John Bock, Frédéric Bruly Bouabré, Geta Brătescu, KP Brehmer, James Lee Byars, Roger Caillois, Varda Caivano, Vlassis Caniaris, James Castle, Alice Channer, George Condo, Aleister Crowley & Frieda Harris, Robert Crumb, Roberto Cuoghi, Enrico David, Tacita Dean, John De Andrea, Thierry De Cordier, Jos De Gruyter e Harald Thys, Walter De Maria, Simon Denny, Trisha Donnelly, Jimmie Durham, Harun Farocki, Peter Fischli & David Weiss, Linda Fregni Nagler, Peter Fritz, Aurélien Froment, Phyllis Galembo, Norbert Ghisoland, Yervant Gianikian & Angela Ricci Lucchi, Domenico Gnoli, Robert Gober, Tamar Guimarães and Kasper Akhøj, Guo Fengyi, João Maria Gusmão & Pedro Paiva, Wade Guyton, Haitian Vodou Flags, Duane Hanson, Sharon Hayes, Camille Henrot, Daniel Hesidence, Roger Hiorns, Channa Horwitz, Jessica Jackson Hutchins, René Iché, Hans Josephsoh, Kan Xuan, Bouchra Khalili, Ragnar Kjartansson, Eva Kotátková, Evgenij Kozlov, Emma Kunz, Maria Lassnig, Mark Leckey, Augustin Lesage, Lin Xue, Herbert List, José Antonio Suárez Londoño, Sarah Lucas, Helen Marten, Paul McCarthy, Steve McQueen, Prabhavathi Meppayil, Marisa Merz, Pierre Molinier, Matthew Monahan, Laurent Montaron, Melvin Moti, Matt Mullican, Ron Nagle, Bruce Nauman, Albert Oehlen, Shinro Ohtake, J.D. ‘Okhai Ojeikere, Henrik Olesen, John Outterbridg, Paño Drawings, Marco Paolini, Diego Perrone, Walter Pichler, Otto Piene, Eliot Porter, Imran Qureshi, Carol Rama, Charles Ray, James Richards, Achilles G. Rizzoli, Pamela Rosenkranz, Dieter Roth, Viviane Sassen, Shinichi Sawada, Hans Schärer, Karl Schenker, Michael Schmidt, Jean-Frédéric Schnyder, Friedrich Schröder-Sonnenstern, Tino Sehgal, Richard Serra, Shaker Gift Drawings, Jim Shaw, Cindy Sherman, Laurie Simmons e Allan McCollum, Drossos P. Skyllas, Harry Smith, Xul Solar, Christiana Soulou, Eduard Spelterini, Rudolf Steiner, Hito Steyerl, Papa Ibra Tall, Dorothea Tanning, Anonymous Tantric Paintings, Ryan Trecartin, Rosemarie Trockel, Andra Ursuta, Patrick Van Caeckenbergh, Stan VanDerBeek, Erik van Lieshout, Danh Vo, Eugene Von Bruenchenhein, Günter Weseler, Jack Whitten, Cathy Wilkes, Christopher Williams, Lynette Yiadom-Boakye, Kohei YoshiyUKi, Sergey Zarva, Anna Zemánková, Jakub Julian Ziółkowski ,Artur Żmijewski.
--------------------------------------------------------------------------------------------------------------------------------------------
other pavilions at Venice Biennale
Andorra
Artists: Javier Balmaseda, Samantha Bosque, Fiona Morrison
Commissioner: Henry Périer
Deputy Commissioners: Francesc Rodríguez, Ermengol Puig, Ruth Casabella
Curators: Josep M. Ubach, Paolo De Grandis
Venue: Arsenale di Venezia, Nappa 90
Angola
Artist: Edson Chagas
Commissioner: Ministry of Culture
Curators: Beyond Entropy (Paula Nascimento, Stefano Rabolli Pansera), Jorge Gumbe, Feliciano dos Santos
Venue: Palazzo Cini, San Vio, Dorsoduro 864
Argentina
Artist: Nicola Costantino
Commissioner: Magdalena Faillace
Curator: Fernando Farina
Venue: Pavilion at Arsenale
Armenia
Artist: Ararat Sarkissian
Commissioner: Ministry of Culture
Curator: Arman Grogoryan
Venue: Isola di San Lazzaro degli Armeni, everyday from 2:30 p.m. to 5:30 p.m.
Australia
Artist: Simryn Gill
Commissioner: Simon Mordant
Deputy Commissioner: Penelope Seidler
Curator: Catherine de Zegher
Venue: Pavilion at Giardini
Austria
Artist: Mathias Poledna
Commissioner/Curator: Jasper Sharp
Venue: Pavilion at Giardini
Azerbaijan
Artists: Rashad Alakbarov, Sanan Aleskerov, Chingiz Babayev, Butunay Hagverdiyev, Fakhriyya Mammadova, Farid Rasulov
Commissioner: Heydar Aliyev Foundation
Curator: Hervé Mikaeloff
Venue: Palazzo Lezze, Campo S. Stefano, San Marco 2949
Bahamas
Artist: Tavares Strachan
Commissioner: Nalini Bethel, Ministry of Tourism
Curators: Jean Crutchfield, Robert Hobbs
Deputy Curator: Stamatina Gregory
Venue: Arsenale, Tese Cinquecentesche
Bangladesh
Chhakka Artists’ Group: Mokhlesur Rahman, Mahbub Zamal, A. K. M. Zahidul Mustafa, Ashok Karmaker, Lala Rukh Selim, Uttam Kumar Karmaker. Dhali Al Mamoon, Yasmin Jahan Nupur, Gavin Rain, Gianfranco Meggiato, Charupit School
Commissioner/Curator: Francesco Elisei.
Curator: Fabio Anselmi.
Venue: Officina delle Zattere, Dorsoduro 947
Bahrain
Artists: Mariam Haji, Waheeda Malullah, Camille Zakharia
Commissioner: Mai bint Mohammed Al Khalifa, Minister of Culture
Curator: Melissa Enders-Bhatiaa
Venue: Pavilion at Arsenale
Belgium
Artist: Berlinde De Bruyckere
Commissioner: Joke Schauvliege, Flemish Minister for Environment, Nature and Culture
Curator: J. M. Coetzee
Deputy Curator: Philippe Van Cauteren
Venue: Pavilion at Giardini
Bosnia and Herzegovina
Artist: Mladen Miljanovic
Commissioners: Sarita Vujković, Irfan Hošić
Venue: Palazzo Malipiero, San Marco
Brazil
Artists: Hélio Fervenza, Odires Mlászho, Lygia Clark, Max Bill, Bruno Munari
Commissioner: Luis Terepins, Fundação Bienal de São Paulo
Curator: Luis Pérez-Oramas
Deputy Curator: André Severo
Venue: Pavilion at Giardini
Canada
Artist: Shary Boyle
Commissioner: National Gallery of Canada / Musée des beaux-arts du Canada
Curator: Josée Drouin-Brisebois
Venue: Pavilion at Giardini
Central Asia
Artists: Vyacheslav Akhunov, Sergey Chutkov, Saodat Ismailova, Kamilla Kurmanbekova, Ikuru Kuwajima, Anton Rodin, Aza Shade, Erlan Tuyakov
Commissioner: HIVOS (Humanist Institute for Development Cooperation)
Deputy Commissioner: Dean Vanessa Ohlraun (Oslo National Academy of the Arts/The Academy of Fine Art)
Curators: Ayatgali Tuleubek, Tiago Bom
Scientific Committee: Susanne M. Winterling
Venue: Palazzo Malipiero, San Marco 3199-3201
Chile
Artist: Alfredo Jaar
Commissioner: CNCA, National Council of Culture and the Arts
Curator: Madeleine Grynsztejn
Venue: Pavilion at Arsenale
China
Artists: He Yunchang, Hu Yaolin, Miao Xiaochun, Shu Yong, Tong Hongsheng, Wang Qingsong, Zhang Xiaotao
Commissioner: China Arts and Entertainment Group (CAEG)
Curator: Wang Chunchen
Venue: Pavilion at Arsenale
Costa Rica
Artists: Priscilla Monge, Esteban Piedra, Rafael Ottón Solís, Cinthya Soto
Commissioner: Francesco Elisei
Curator: Francisco Córdoba, Museo de Arte y Diseño Contemporáneo (Fiorella Resenterra)
Venue: Ca’ Bonvicini, Santa Croce
Croatia
Artist: Kata Mijatovic
Commissioner/Curator: Branko Franceschi.
Venue: Sala Tiziano, Opera don Orione Artigianelli, Fondamenta delle Zattere ai Gesuati 919
Cuba
Artists: Liudmila and Nelson, Maria Magdalena Campos & Neil Leonard, Sandra Ramos, Glenda León, Lázaro Saavedra, Tonel, Hermann Nitsch, Gilberto Zorio, Wang Du, H.H.Lim, Pedro Costa, Rui Chafes, Francesca Leone
Commissioner: Miria Vicini
Curators: Jorge Fernández Torres, Giacomo Zaza
Venue: Museo Archeologico Nazionale di Venezia, Palazzo Reale, Piazza San Marco 17
Cyprus
Artists: Lia Haraki, Maria Hassabi, Phanos Kyriacou, Constantinos Taliotis, Natalie Yiaxi, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter Sinister
Commissioner: Louli Michaelidou
Deputy Commissioners: Angela Skordi, Marika Ioannou
Curator: Raimundas Malašauskas
Czech Republic & Slovak Republic
Artists: Petra Feriancova, Zbynek Baladran
Commissioner: Monika Palcova
Curator: Marek Pokorny
Venue: Pavilion at Giardini
Denmark
Artist: Jesper Just in collaboration with Project Projects
Commissioners: The Danish Arts Council Committee for International Visual Arts: Jette Gejl Kristensen (chairman), Lise Harlev, Jesper Elg, Mads Gamdrup, Anna Krogh
Curator: Lotte S. Lederballe Pedersen
Venue: Pavilion at Giardini
Egypt
Artists: Mohamed Banawy, Khaled Zaki
Commissioner: Ministry of Culture
Venue: Pavilion at Giardini
Estonia
Artist: Dénes Farkas
Commissioner: Maria Arusoo
Curator: Adam Budak
Venue: Palazzo Malipiero, San Marco 3199, San Samuele
Finland
Artist: Antti Laitinen
Commissioner: Raija Koli
Curators: Marko Karo, Mika Elo, Harri Laakso
Venue: Pavilion at Giardini
France
Artist: Anri Sala
Commissioner: Institut français
Curator: Christine Macel
Venue: Pavilion of Germany at the Giardini
Georgia
Artists: Bouillon Group,Thea Djordjadze, Nikoloz Lutidze, Gela Patashuri with Ei Arakawa and Sergei Tcherepnin, Gio Sumbadze
Commissioner: Marine Mizandari, First Deputy Minister of Culture
Curator: Joanna Warsza
Venue: Pavilion at Arsenale
Germany
Artists: Ai Weiwei, Romuald Karmakar, Santu Mofokeng, Dayanita Singh
Commissioner/Curator: Susanne Gaensheimer
Venue: Pavilion of France at Giardini
Great Britain
Artist: Jeremy Deller
Commissioner: Andrea Rose
Curator: Emma Gifford-Mead
Venue: Pavilion at Giardini
Greece
Artist: Stefanos Tsivopoulos
Commissioner: Hellenic Ministry of Education and Religious Affairs, Culture and Sports
Curator: Syrago Tsiara
Venue: Pavilion at Giardini
Holy See
Artists: Lawrence Carroll, Josef Koudelka, Studio Azzurro
Curator: Antonio Paolucci
Venue: Pavilion at Arsenale
Hungary
Artist: Zsolt Asztalos
Commissioner: Kunstahalle (Art Hall)
Curator: Gabriella Uhl
Venue: Pavilion at Giardini
Iceland
Artist: Katrín Sigurðardóttir
Commissioner: Dorotheé Kirch
Curators: Mary Ceruti , Ilaria Bonacossa
Venue: Lavanderia, Palazzo Zenobio, Collegio Armeno Moorat-Raphael, Fondamenta del Soccorso, Dorsoduro 2596
Indonesia
Artists: Albert Yonathan Setyawan, Eko Nugroho, Entang Wiharso, Rahayu Supanggah, Sri Astari, Titarubi
Commissioner: Soedarmadji JH Damais
Deputy Commissioner: Achille Bonito Oliva
Assistant Commissioner: Mirah M. Sjarif
Curators: Carla Bianpoen, Rifky Effendy
Venue: Pavilion at Arsenale
Iraq
Artists: Abdul Raheem Yassir, Akeel Khreef, Ali Samiaa, Bassim Al-Shaker, Cheeman Ismaeel, Furat al Jamil, Hareth Alhomaam, Jamal Penjweny, Kadhim Nwir, WAMI (Yaseen Wami, Hashim Taeeh)
Commissioner: Tamara Chalabi (Ruya Foundation for Contemporary Culture)
Deputy Commissioner: Vittorio Urbani
Curator: Jonathan Watkins.
Venue: Ca' Dandolo, San Tomà, Venezia
Ireland
Artist: Richard Mosse
Commissioner, Curator: Anna O’Sullivan
Venue: Fondaco Marcello, San Marco 3415
Israel
Artist: Gilad Ratman
Commissioners: Arad Turgeman, Michael Gov
Curator: Sergio Edelstein
Venue: Pavilion at Giardini
Italy
Artists: Francesco Arena, Massimo Bartolini, Gianfranco Baruchello, Elisabetta Benassi, Flavio Favelli, Luigi Ghirri, Piero Golia, Francesca Grilli, Marcello Maloberti, Fabio Mauri, Giulio Paolini, Marco Tirelli, Luca Vitone, Sislej Xhafa
Commissioner: Maddalena Ragni
Curator: Bartolomeo Pietromarchi
Venue: Italian Pavilion, Tese delle Vergini at Arsenale
Ivory Coast
Artists: Frédéric Bruly Bouabré, Tamsir Dia, Jems Koko Bi, Franck Fanny
Commissioner: Paolo De Grandis
Curator: Yacouba Konaté
Venue: Spiazzi, Arsenale, Castello 3865
Japan
Artist: Koki Tanaka
Commissioner: The Japan Foundation
Curator: Mika Kuraya
Venue: Pavilion at Giardini
Kenya
Artists: Kivuthi Mbuno, Armando Tanzini, Chrispus Wangombe Wachira, Fan Bo, Luo Ling & Liu Ke, Lu Peng, Li Wei, He Weiming, Chen Wenling, Feng Zhengjie, César Meneghetti
Commissioner: Paola Poponi
Curators: Sandro Orlandi, Paola Poponi
Venue: Caserma Cornoldi, Castello 4142 and San Servolo island
Korea (Republic of)
Artist: Kimsooja
Commissioner/Curator: Seungduk Kim
Deputy Commissioner: Kyungyun Ho
Venue: Pavilion at Giardini
Kosovo
Artist: Petrit Halilaj
Commissioner: Erzen Shkololli
Curator: Kathrin Rhomberg
Venue: Pavilion at Arsenale
Kuwait
Artists: Sami Mohammad, Tarek Al-Ghoussein
Commissioner: Mohammed Al-Asoussi (National Council of Culture, Arts and Letters)
Curator: Ala Younis
Venue: Palazzo Michiel, Sestriere Cannaregio, Strada Nuova
Latin America
Istituto Italo-Latino Americano
Artists:
Marcos Agudelo, Miguel Alvear & Patricio Andrade, Susana Arwas, François Bucher, Fredi Casco, Colectivo Quintapata (Pascal Meccariello, Raquel Paiewonsky, Jorge Pineda, Belkis Ramírez), Humberto Díaz, Sonia Falcone, León & Cociña, Lucía Madriz, Jhafis Quintero, Martín Sastre, Guillermo Srodek-Hart, Juliana Stein, Simón Vega, Luca Vitone, David Zink Yi.
Harun Farocki & Antje Ehmann. In collaboration with: Cristián Silva-Avária, Anna Azevedo, Paola Barreto, Fred Benevides, Anna Bentes, Hermano Callou, Renata Catharino, Patrick Sonni Cavalier, Lucas Ferraço Nassif, Luiz Garcia, André Herique, Bruna Mastrogiovanni, Cezar Migliorin, Felipe Ribeiro, Roberto Robalinho, Bruno Vianna, Beny Wagner, Christian Jankowski
Commissioner: Sylvia Irrazábal
Curator: Alfons Hug
Deputy Curator: Paz Guevara
Venue: Pavilion at Arsenale
Latvia
Artists: Kaspars Podnieks, Krišs Salmanis
Commissioners: Zane Culkstena, Zane Onckule
Curators: Anne Barlow, Courtenay Finn, Alise Tifentale
Venue: Pavilion at Arsenale
Lebanon
Artist: Akram Zaatari
Commissioner: Association for the Promotion and Exhibition of the Arts in Lebanon (APEAL)
Curators: Sam Bardaouil, Till Fellrath
Venue: Pavilion at Arsenale
Lithuania
Artist: Gintaras Didžiapetris, Elena Narbutaite, Liudvikas Buklys, Kazys Varnelis, Vytaute Žilinskaite, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter Sinister
Commissioners: Jonas Žokaitis, Aurime Aleksandraviciute
Curator: Raimundas Malašauskas
Venue: Palasport Arsenale, Calle San Biagio 2132, Castello
Luxembourg
Artist: Catherine Lorent
Commissioner: Clément Minighetti
Curator: Anna Loporcaro
Venue: Ca’ del Duca, Corte del Duca Sforza, San Marco 3052
Macedonia
Artist: Elpida Hadzi-Vasileva
Commissioner: Halide Paloshi
Curator: Ana Frangovska
Venue: Scuola dei Laneri, Santa Croce 113/A
Maldives
Participants: Paul Miller (aka DJ Spooky), Thierry Geoffrey (aka Colonel), Gregory Niemeyer, Stefano Cagol, Hanna Husberg, Laura McLean & Kalliopi, Tsipni-Kolaza, Khaled Ramadan, Moomin Fouad, Mohamed Ali, Sama Alshaibi, Patrizio Travagli, Achilleas Kentonis & Maria Papacaharalambous, Wooloo, Khaled Hafez in collaboration with Wael Darwesh, Ursula Biemann, Heidrun Holzfeind & Christoph Draeger, Klaus Schafler
Commissioner: Ministry of Tourism, Arts & Culture
Curators: CPS – Chamber of Public Secrets (Alfredo Cramerotti, Aida Eltorie, Khaled
Ramadan)
Deputy Curators: Maren Richter, Camilla Boemio
Venue: Gervasuti Foundation, Via Garibaldi
Mexico
Artist: Ariel Guzik
Commissioner: Gastón Ramírez Feltrín
Curator: Itala Schmelz
Venue: Ex Chiesa di San Lorenzo, Campo San Lorenzo
Montenegro
Artist: Irena Lagator Pejovic
Commissioner/Curator: Nataša Nikcevic
Venue: Palazzo Malipiero, San Marco 3078-3079/A, Ramo Malipiero Venezia – Ground Floor
The Netherlands
Artist: Mark Manders
Commissioner: Mondriaan Fund
Curator: Lorenzo Benedetti
Venue: Pavilion at Giardini
New Zealand
Artist: Bill Culbert
Commissioner: Jenny Harper
Deputy Commissioner: Heather Galbraith
Curator: Justin Paton
Venue: Santa Maria della Pietà, Calle della Pietà, Castello
Nordic Pavilion (Finland, Norway)
Finland:
Artist: Terike Haapoja
Commissioner: Raija Koli
Curators: Marko Karo, Mika Elo, Harri Laakso
Venue: Pavilion at Giardini
Norway:
Artists: Edvard Munch, Lene Berg
Commissioner: Office for Contemporary Art Norway (OCA)
Curators: Marta Kuzma, Pablo Lafuente, Angela Vettese
Venue: Galleria di Piazza San Marco, Fondazione Bevilacqua La Masa
Paraguay
Artists: Pedro Barrail, Felix Toranzos, Diana Rossi, Daniel Milessi
Commissioner: Elisa Victoria Aquino Laterza
Deputy Commissioner: Nori Vaccari Starck
Curator: Osvaldo González Real
Venue: Palazzo Carminati, Santa Croce 1882
Poland
Artist: Konrad Smolenski
Commissioner: Hanna Wróblewska
Curators: Agnieszka Pindera, Daniel Muzyczuk
Venue: Pavilion at Giardini
Portugal
Artist: Joana Vasconcelos
Commissioner: Direção-Geral das Artes/Secretário de Estado da Cultura, Governo de Portugal
Curator: Miguel Amado
Venue: Riva dei Partigiani
Romania
Artists: Maria Alexandra Pirici, Manuel Pelmus
Commissioner: Monica Morariu
Deputy Commissioner: Alexandru Damian
Curator: Raluca Voinea
Venue: Pavilion at Giardini
Artists: Anca Mihulet, Apparatus 22 (Dragos Olea, Maria Farcas,Erika Olea), Irina Botea, Nicu Ilfoveanu, Karolina Bregula, Adi Matei, Olivia Mihaltianu, Sebastian Moldovan
Commissioner: Monica Morariu
Deputy Commissioner: Alexandru Damian
Curator: Anca Mihulet
Venue: Nuova Galleria dell'Istituto Romeno di Venezia, Palazzo Correr, Campo Santa Fosca, Cannaregio 2214
Russia
Artist: Vadim Zakharov
Commissioner: Stella Kasaeva
Curator: Udo Kittelmann
Venue: Pavilion at Giardini
Serbia
Artists: Vladimir Peric, Miloš Tomic
Commissioner: Maja Ciric
Venue: Pavilion at Giardini
Singapore
Cancelled the participation
Slovenia
Artist: Jasmina Cibic
Commissioner: Blaž Peršin
Curator: Tevž Logar
Venue: Galleria A+A, San Marco 3073
South Africa
Contemporary South African Art and the Archive
Commissioner: Saul Molobi
Curator: Brenton Maart
Venue: Pavilion at Arsenale
Spain
Artist: Lara Almarcegui
Commissioner/Curator: Octavio Zaya
Venue: Pavilion at Giardini
Switzerland
Artist: Valentin Carron
Commissioners: Pro Helvetia - Sandi Paucic and Marianne Burki
Deputy Commissioner: Pro Helvetia - Rachele Giudici Legittimo
Curator: Giovanni Carmine
Venue: Pavilion at Giardini
Syrian Arab Republic
Artists: Giorgio De Chirico, Miro George, Makhowl Moffak, Al Samman Nabil, Echtai Shaffik, Giulio Durini, Dario Arcidiacono, Massimiliano Alioto, Felipe Cardena, Roberto Paolini, Concetto Pozzati, Sergio Lombardo, Camilla Ancilotto, Lucio Micheletti, Lidia Bachis, Cracking Art Group, Hannu Palosuo
Commissioner: Christian Maretti
Curator: Duccio Trombadori
Venue: Isola di San Servolo
Taiwan
Artists: Bernd Behr, Chia-Wei Hsu, Kateřina Šedá + BATEŽO MIKILU
Curator: Esther Lu
Organizer: Taipei Fine Arts Museum
Venue: Palazzo delle Prigioni, Castello 4209, San Marco
Thailand
Artists: Wasinburee Supanichvoraparch, Arin Rungjang
Commissioner: Office of Contemporary Art and Culture, Ministry of Culture
Curators: Penwadee Nophaket Manont, Worathep Akkabootara
Venue: Santa Croce 556
Turkey
Artist: Ali Kazma
Commissioner: Istanbul Foundation for Culture and Arts
Curator: Emre Baykal
Venue: Pavilion at Arsenale
Tuvalu
Artist: Vincent J.F.Huang
Commissioners: Apisai Ielemia, Minister of Foreign Affair, Trade, Tourism, Environment & Labour; Tapugao Falefou, Permanent Secretary of Foreign Affairs, Tourism, Environment & Labour
Curators: An-Yi Pan, Szu Hsien Li, Shu Ping Shih
Venue: Forte Marghera, via Forte Marghera, 30
Ukraine
Artists: Ridnyi Mykola, Zinkovskyi Hamlet, Kadyrova Zhanna
Commissioner: Victor Sydorenko
Curators: Soloviov Oleksandr, Burlaka Victoria
Venue: Palazzo Loredan, Istituto Veneto di Scienze, Lettere ed Arti, Campo Santo Stefano
United Arab Emirates
Artist: Mohammed Kazem
Commissioner: Dr. Lamees Hamdan
Curator: Reem Fadda
Venue: Pavilion at Arsenale, Sale d'Armi
Uruguay
Artist: Wifredo Díaz Valdéz
Commissioner: Ricardo Pascale
Curators: Carlos Capelán, Verónica Cordeiro
Venue: Pavilion at Giardini
USA
Artist: Sarah Sze
Commissioners/Curators: Carey Lovelace, Holly Block
Venue: Pavilion at Giardini
Venezuela
Colectivo de Artistas Urbanos Venezolanos
Commissioner: Edgar Ernesto González
Curator: Juan Calzadilla
Venue: Pavilion at Giardini
Zimbabwe
Artists: Portia Zvavahera, Michele Mathison, Rashid Jogee, Voti Thebe, Virginia Chihota
Commissioner: Doreen Sibanda
Curator: Raphael Chikukwa
Venue: Santa Maria della Pietà, Calle della Pietà, Castello 3701
---
Kamera: Nikon F3 (1989)
Linse: Nikkor-S Auto 50mm f1.4 (1970)
Film: Cinestill BWXX (Kodak 5222) @ ISO 200
Kjemi: Xtol (stock / 8 min. @ 21°C)
- Here are some clips clip from Paul Verhoeven´s classic satirical anti-fascist anti-american film Starship Troopers (1997) that these days somehow seems like it could be a contemporary «documentary» from Israel… and USA.
A movie everyone should see again.
«Service guarantees citizenship! Would you like to know more?»
Starship Troopers: Propaganda (1997)
ISRAEL IS NOT A DEMOCRACY [Listen here]
by Chris Hedges (b. 1956), The Real News Network January 5, 2024
Israel's status as a bona fide democracy is often taken to be a self-evident truth, but a more critical look at the history and reality of Zionism calls this into question. After all, how can a democracy exist in a country constitutionally defined as an ethnostate that can only exist through the suppression and gradual elimination of its Others? Israeli historian Ilan Pappé joins The Chris Hedges Report for a discussion on Israel as an inherently colonial, and therefore anti-democratic, project.
Ilan Pappé (b. 1956) is a professor with the College of Social Sciences and International Studies at the University of Exeter in the UK, where he directs the European Centre for Palestine Studies, and co-directs the Exeter Centre for Ethno-Political Studies. Prior to coming to the UK, Pappé was a historian and politician in Israel. He is the author of several books, including The Ethnic Cleansing of Palestine.
Studio Production: Cameron Granadino, Adam Coley
Post-Production: David Hebden
TRANSCRIPT
The following is a rushed transcript and may contain errors. A proofread version will be made available as soon as possible.
Chris Hedges:
The scholar, Yeshayahu Leibowitz (1903-1994), who Isaiah Berlin (1909-1997) called the conscience of Israel, warned that, "If Israel did not separate church and state, it would give rise to a corrupt rabbinate that would warp Judaism into a fascistic cult. Religious nationalism is to religion what National Socialism was to socialism," warned Leibowitz, who died in 1994. He understood that the blind veneration of the military, especially after the 1967 war that captured the West Bank and East Jerusalem was dangerous and would lead to the ultimate destruction of democracy. "Our situation will deteriorate to that of a second Vietnam, to a war and constant escalation without prospect of ultimate resolution," he wrote.
He foresaw that, "The Arabs would be the working people and the Jews, the administrators, inspectors, officials and police; mainly secret police. A state ruling a hostile population of 1.5 million to 2 million foreigners would necessarily become a secret police state. With all that implies for education, free speech and democratic institutions. The corruption characteristic of every colonial regime would also prevail in the state of Israel. The administration would have to suppress Arab insurgency on the one hand and acquire Arab Quislings on the other. There is also good reason to fear that the Israeli Defense Force, which has been until now, a people's army would, as a result of being transformed into an army of occupation to generate and its commanders who will have become military governors, will resemble their colleagues in other nations." He warned that the rise of virulent racism would consume Israeli society. He knew that prolonged occupation of the Palestinians would spawn concentration camps for the occupied, and that in his words, "Israel would not deserve to exist and it will not be worthwhile to preserve it."
The decision to obliterate Gaza has long been the dream of Israeli fanatics, heirs of the fascistic movement led by the extremist Meir Kahane (1932-1990), who was barred from running for office and whose Kach Party was outlawed in 1994 and declared a terrorist organization by Israel and the United States. These Jewish extremists who today make up the ruling coalition government are orchestrating the genocide in Gaza, where hundreds of Palestinians are being killed or wounded a day. They champion the iconography and language of their homegrown fascism. Jewish identity and Jewish nationalism are the Zionist versions of blood and soil. Jewish supremacy is sanctified by God as is the slaughter of the Palestinians who are compared to the biblical Amalekites massacred by the Israelites. Enemies, usually Muslims, slated for extinction are subhuman who embody evil. Violence and the threat of violence are the only forms of communication those outside the magic circle of Jewish nationalism understand. Millions of Muslims and Christians, including those with Israeli citizenship, are to be purged.
Joining me to discuss what the occupation of Palestine has done to Israeli society and what the results of the current murderous campaign in Gaza and the West Bank portends for Israel in the future is Ilan Pappé, Professor of History of the University of Exeter in Great Britain, who has described what Israel does to the Palestinians as incremental genocide. He has written numerous books including The Biggest Prison on Earth: A History of the Occupied Territories and The Ethnic Cleansing of Palestine, which his French publisher has ceased publishing despite a surge in sales since the October 7th attacks, part of the concerted campaign by Zionists and their supporters to discredit and censor narratives that are critical of Israel.
I'd like to begin with a look at post Israel, the Zionist project that begins in the 1920s, and see whether the project itself, even before the creation of the state of Israel had built within it the seeds of its own destruction.
Ilan Pappé:
Yes, I do think it did. And you are right in pointing to the 1920s because of course the Zionist movement existed before, but I think it's in the mid-1920s when it started to purchase land and evict the people who were living on that land. And that happened around 1926. It became a settler colonial project and not just a project for salvaging Jews from anti-Semitism or a national cultural redefinition of Judaism as nationalism instead of as religion.
The moment that happened, it was very clear that it's going to impose itself by force on an indigenous native population. And it was not just the classical settler colonial imposition of settlers from abroad imposing themselves on a native population, it also was kind of creating this idea that they can produce or establish a European state in the midst of the Arab world, very much like the white supremacists in South Africa. And there's two facts, that you are trying to implement a project of displacement and replacement of an indigenous population and that you are trying to create a cultural political entity that would alienate the area it belongs to and the area would alienate you were sold, I think had been sold in the 1920s. And we can see the effect of this to our days, no doubt.
Chris Hedges:
And yet there was always a tension within the Zionist project. I, you may have known him too, I knew Abba Eban (1915-2002), Teddy Kollek (1911-2007). When I was in Israel, they outlawed Meir Kahane's Kach Party. The people around Netanyahu now are of course the heirs to the Kach Party, later assassinated, this very right wing rabbi. And I want you to talk about that tension because it was there. I mean, Teddy Kollek when he was mayor of Jerusalem, when I was there, he was building sewer systems for... it was a different approach to colonization, or perhaps I have that wrong?
Ilan Pappé:
It was a different approach, but it remained colonization. If I'm a bit more abrupt about it, I would say that there was definitely an ideological stream within Zionism that believed that you could be a progressive colonizer or an enlightened colonizer. And yet from the colonized people's point of view, even if you provided some benefits in economic terms, in infrastructural terms, the colonization was still there. And the colonization was translated not only in terms of whether you provide sewages for Jerusalem or not, but by the fact that Teddy Kollek as the mayor of Jerusalem oversaw the ethnic cleansing of quite a large number of Palestinians from East Jerusalem in order to make space for building new Jewish neighborhoods, which should rightly be called Jewish colonies or settlements.
So in the end of the day, the Zionist vision, even in its most liberal version, meant that the Palestinians at best, at best could be tolerated as individuals in limited spaces within Palestine. That would be determined according to the Israeli notions of national security. And at worst, they're an obstacle that has to be removed. And as the time went by, most of the Israeli Jews said, "Why just be content with limiting their presence? Why not get rid of them altogether?"
Chris Hedges:
And yet these figures represented a secular strain of Zionism. And I want you to talk a little bit about Yeshayahu Leibowitz, who you knew, who I quoted it in the introduction, and he talks about this religious strain within Zionism where the land itself becomes sacred as particularly dangerous, I think he even uses the word fascistic. There is that split. And of course those of us, Abba Eban spoke better English than I did, Oxford educated, urbane. And so talk a little bit about that tension between secular and religious Zionism. And of course ultra orthodox religious Zionism has essentially proved triumphant.
Ilan Pappé:
Yes, I call this tension, which you rightly point to, the struggle between the State of Israel and the State of Judea. The State of Judea grows up among the national religious groups and becomes particularly potent after '67 and it's kind of headquarters, it's habitat if you want, the settlements in the West Bank, and before that, even in the Gaza Strip. And they become a force to reckon with and they combine exactly what Leibowitz was talking about, and he saw it in the making. I mean I say it in hindsight, to his credit, he saw it and kind of predicted it happening, but now we have the benefit of time to see that he was absolutely right.
So that State of Judea, what you can call the settler state, is a combination of a messianic kind of Zionism combined with fundamentalist interpretation of Judaism, a wish to create a theocracy in which also secular Jews are the enemy, not just the Palestinians. And they become stronger. They used to be on the margins and we used to think that they are not really relevant, but now they are a central power in Israel. And against them stands the State of Israel. That is the kind of pre '67 Israel that wanted to be a liberal democracy, a pluralist, secular, but is losing it in the struggle against the State of Judea.
But what is so interesting and frustrating about this struggle, it does not concern the Palestinians at all. As you probably know, and we forgot it because of the dramatic events that occurred after 7th of October, but until the 7th of October, we witnessed in Israel a kind of a mini civil war between those two states that I'm talking about, the State of Israel and the State of Judea when hundreds of thousand of secular Israelis demonstrated daily trying to defend the kind of Israel they want. But when Palestinian citizens of Israel ask them, "Can we join you? And can we also include a rejection of the occupation as part of our struggle for a better Israel?" They were chucked out of this movement of protest because it was not against the occupation, it's not against the semi apartheid or full apartheid of Israel, depends where it is. It is what kind of an apartheid Israel should we have? A liberal democratic one for the Jews or a theocratic one for the Jews?
But unfortunately it does not evolve around the main issue, the most important issue that we started our conversation with, that can you impose yourself militarily and violently on millions of people against their will?
Chris Hedges:
I want to talk about 1948, this is the war of independence. All settler colonial projects are implanted by violence as was the one in the United States. The difference is that I think by 1600, over a 100-year period, 56 million indigenous inhabitants in North, Central and South America were obliterated through either diseases or violence so that by 1600 you only had about 10% of the original indigenous population was there. That wholesale extermination essentially allows a settler colonial project to survive because there's physically no opposition. That's not true in Israel. You have about 5.5 million Palestinians living under occupation, 9 million living in the diaspora. This from the establishment of the state of Israel is a huge problem for Israeli leaders. How are they going to cope? The demographic time bomb is real in terms of Arabs having larger families. You have huge flight, a kind of brain drain from Israel. I think there's a million Israelis living in the United States. But let's look at 1948, how they deal with a problem. And then we'll go to 1967 when Israel occupies what is the remaining part of Palestine, the West Bank and Gaza.
Ilan Pappé:
Yes, as you rightly say, settler colonial projects have always these two dimension, geography and demography, or if you want space and population, you want the space without the population. And the more space you take, the more unwanted population you have. So the Zionist leadership exploited the end of the mandate, the circumstances that developed in the region and in the world three years after the Holocaust to implement a massive ethnic cleansing that left half of the Palestinian refugees and expelled half of the Palestinian population, destroyed half of the Palestinian villages, more than 500, and demolished most of the Palestinian towns.
So within the borders that were kind of established after 1948, that is Israel today without the West Bank and the Gaza Strip, Israel was unable to fully complete the ethnic cleansing, but it had a relatively small Palestinian minority that did not endanger the demographic majority of the Jews. So you could even have a demographic state because you always knew that democracy and demography would go hand in hand. Although because of the paranoia of Ben-Gurion until 1966, although the Palestinians in Israel had the right to vote and to be elected, they were under a very harsh military rule as it is.
Now, it's not surprising that David Ben-Gurion (1886-1973), the big architect of the ethnic cleansing of 1948, was trying to pressure the government of Israel. He was out of effective politics already in 1963, but he was trying after June '67 to convince the Israeli government to get out of the West Bank, almost saying to them, "I was able to get rid of about 1 million Palestinians, and now you are incorporating even a larger number of Palestinian under your rule." The kind of leadership that followed him, some of them were young generals during the '48 war and some other politicians like Levi Eshkol (1895-1969) and you mentioned also Abba Eban and Teddy Kollek, they decided there is no need for massive ethnic cleansing in order to keep the demography in such a way that it doesn't endanger the Jewish democracy.
So what did they do? They decided to keep millions of people in the West Bank and the Gaza Strip without the right to take part in the Israeli political system. When some people said to them, "Okay, that's fine, but can you in return give the Palestinian the right to determine their future in a Palestinian state in the West Bank and the Gaza Strip?" They didn't accept that either. So they really believed that they could somehow contain the Palestinian national ambition and resistance within that idea of a West Bank and a Gaza Strip that is our enclave controlled by Israel, maybe with some autonomy for the Palestinian inside, and convince the world that this is the best solution and even call it a kind of a two-state solution. Of course, it had nothing to do with a two-state solution.
So historically speaking, it's the same problem all the time, as you rightly say, Chris, it's having the territory without the people, but because of circumstances and things that changed, '48 is not '67 and '67 is not 2023, and because of that, the methods of maintaining this balance between territory and population changes. But the vision is the same one, and the purpose is the same one, and the failures are the same one. The massive expulsion didn't work. The idea of keeping people without citizenship rights is not working, and even putting them under siege as we have seen on the 7th of October is not working. And whatever the Israelis have in mind for Gaza, I can assure you, without knowing how it would unfold, it's going to be a huge failure, which unfortunately will have an incredible human cost, mainly for the Palestinians.
Chris Hedges:
Leibowitz really takes the 1967 war, which sees Israel seize the remaining land by Palestinians as the dividing point. He defines himself as a Zionist. He seems to argue that the pre 1967 borders known as the Green Line could work. But '67 for him and the refusal on the part of the Israeli leadership to give up the occupation, or after '67, move back to the pre '67 borders, really, he argues quite passionately is in many ways the death now of Israeli democracy, civil society. Can you explain that?
Ilan Pappé:
Yeah. Well, first of all, I would say that I think that as we started our conversation, the seeds for this end or implosion from within had been sold much earlier in the 1920s. But let's go along with this thesis, although I think it was doomed to fail from the very beginning. But there's no doubt that the occupation of 1967 accelerated these processes by which you had a legal system, a political system, and the culture system that justified a daily violation of the human rights and the civil rights of the Palestinians, at least inside Israel. In the pre '67 Israel, there was an attempt all the time to improve the situation of the Palestinian citizens in Israel. And as we said, they had the right to vote, they had the right to be elected, and finally they even were allowed to create their own national parties and so on.
But at the same time, the direction in the West Bank and the Gaza Strip was going towards a different kind of a future, a long and never ending building of two mega prisons, one in the West Bank and one in the Gaza Strip maintained by at least hundreds of thousands of Israeli had to be daily involved in maintaining this mega prison of policing millions of people. And the idea, and I think that's where Leibowitz, which was different from Kollek and Abba, even for instance, Leibowitz warned them that their sense that they might separate, there will be this democratic liberal pluralist Israel within the pre '67 borders, and there will be something less admirable, less fortunate, but hopefully manageable beyond the Green Line, beyond the borders of Israel. And he warned rightly so that you will not be able to contain it, that it would spill over into Israel, and you will not have, in the end of the day, two entities, namely a liberal democratic Israel next to an occupied Palestine.
No, in the end of the day, you will have one apartheid system that may have varieties in the way it controls the lives of Palestinians, but in essence, as indeed Human Rights Watch and Amnesty International eventually understood recently, would have to be ruled through segregation, discrimination, and oppression. And it doesn't matter whether we talk about Tel Aviv and Haifa or we talk about Nablus and Gaza, it became one organic country where the people who are Palestinians are subjected to a variety of legal regimes and military regimes that violate the basic civil and human rights.
Chris Hedges:
And I just want to say that Israeli Arabs, even though pre '67 there were moves to incorporate them in the side, nevertheless did not serve in the army or the intelligence units. That's correct, right?
Ilan Pappé:
Yeah, yeah.
Chris Hedges:
Yeah. So Leibowitz, it's not just that the occupation for him is not sustainable, but it's what it does, how it deforms Israeli society. And I wonder if you could speak to what happened. I'm especially interested in why you believe these Zionist fanatics and bigots and crypto-fascists, these people surrounding Netanyahu, why they became ascendant?
Ilan Pappé:
Well, I think that there are two crises here at work. One crisis is what you can call the Zionist left, this attempt to, if you want, to square the circle to somehow say to yourself, I can be both an occupier and a socialist or a liberal. This failed to work on so many levels. First of all, the Palestinians were not impressed by that. They understood, as I once put it, that when a Zionist has a boot on your face, it doesn't matter whether he holds the Book of Marks or the Bible, what matters is the boot. And I think that's one reason the Zionist left was not working. Secondly, there was a sense among the Israeli Jewish electorate that this is a deception actually. And there was something in it, they said, "You actually think like us, but you would've liked it to be nicer. You would've liked the world not to be fully aware of it. You don't want to lose international legitimacy. It's not because you have different moral approach, but you have a more functional approach to it." And that did not convince the Jewish electorate.
So one crisis was this, what I call the failure to square the circle and take universal values and say that they can coexist with the values of colonialism and oppression. The second and no less important is the failure or the collapse of the idea that you can redefine Judaism as nationalism. There was an attempt to create a Jewish culture, a Jewish identity, which is secular, and it didn't work. There are some successes. There is a Hebrew culture, no doubt. I myself dream in Hebrew. Hebrew is my mother tongue so I'm fully aware of the success of Zionism to create a Hebrew culture. But the Hebrew culture is not a substitute for Judaism. It creates a culture around language, but doesn't have the power that a religious affiliation has.
And what happened was that while the religious Jews had a clear idea what Judaism is, Israeli Jews never knew what does it mean to be an Israeli Jew? As you probably know, in our idea, on our identity cards, our nationality is not Israeli. No, Israeli has an nationality identity that is an Israeli. In my idea, it's written that my nationality is Jewish. And in the idea of my neighbor who is a Palestinian Israeli, it says that his nationality is Muslim, not Palestinian or Christian, which I mean, they try to impose this idea that they can play with religious identities and even impose it on Christians and Muslims. It doesn't work. It doesn't work. And I think anywhere you look at the world and attempt to create a state identity that is equivalent to a religious identity in the modern world is not working. It is not working.
And this crisis has led to the return to Judaism as a religion by many Israeli Jews, including the Arab Jews who were anyway more traditional. And then they asked themselves similar things that are happening in political Islam. Can we translate the Jewish scriptures into political documents of our day? Can we impose the imperatives of the religion on the public domain, on the state policy, both the domestic one and the foreign one? And for secular Israelis, this is something they cannot coexist with. But they don't really have a very good answer. So what does it mean to be a Jew if it's not to be a religious Jew? What is a secular Jew? What is a secular Muslim for that matter? Or secular Christian? And that's a crisis that maybe also exists in other places, but there's no, this pressure cooker that Israel is where these questions become vital and existential.
Chris Hedges:
When Thucydides (c. 460 BC – c. 400 BC) talked about the expansion of the Athenian Empire, he wrote that, "The tyranny Athens imposed on others, it finally imposed on itself." To what extent is the tyranny that Israel has imposed on occupied Palestinians now being imposed on itself?
Ilan Pappé:
Well, we had clear indications, especially... I mean, they were there before, but I think the 7th of October was a pretext for this tyranny to be directed towards freethinking Israeli citizens who are also Jewish by definition. We have a clear case of a history teacher in Petah Tikva who all he did, he shared with his students, pupils rather, some alternative views to the ones they hear in the Israeli media. And he was arrested for few days before he was released. Any attempt by Palestinian citizens of Israel or anti-Zionist Israeli citizens to express doubts or even say that you have to understand the context of the 7th of October is regarded by the police as incitement to terrorism. So inevitable, as any historian would know, this can never be contained towards one group of people, and eventually you use these powers against your own people, and it depends who is the one who uses the power.
There's some very important critical sociologists in Israel, which I am not one of them, but they followed the way that the upper echelons of the Israeli Security Service, the upper echelons of the army, are now populated by what I call the State of Judea, namely settlers, national religious settlers are now occupying very important position. You have, of course, the ultimate example, and this is the terrorist from the Judea state, Itamar Ben-Gvir (b. 1976), as the Minister of Internal Security. So even at the top, you have someone who doesn't hesitate to use the same means against free thinking Israelis, regardless of who they are, Jews or Arabs, as he wants to use them against the Palestinians. But he may be a bit of a joke even in the eyes of his own subordinates, but there are more serious people below him who supposedly are part of the civil service and are not politically elected, but they come from this ideological hotbed that sees people like myself, if you want, as dangerous as any Palestinian, and that is something that is now spreading in Israel.
Chris Hedges:
Let's talk about October 7th, both the micro impact and as a historian, the macro impact?
Ilan Pappé:
Well, the micro impact is a bizarre, really and I'm trying to get my head around it, although I can begin to understand this. Let's start with the Israeli Jewish society. There is this almost impossible mixture of total disbelief in the ability of the Jewish state to defend you or even provide you with the most fundamental services. So it's a total breakdown in the confidence of the State to provide for you, not only defend you because the military failed, but the way the state was not there after the 7th of October. I don't know how much people are aware of it, but the State did not function for about two months in terms of providing social, economical... it was all done by the civil society. The government did not function at all in terms of helping people who were evicted from the north or the south.
So on the one hand, there is this breakdown in believing in the State. On the other hand, there is a total support for the genocidal policies in Gaza. It's a contradiction, but one can understand where it comes from, and that's one of the micro kind of impact you have, that you will have an even more intransigent, inflexible, theocratic, fanatic Israeli Jew society in the post 7 October Israel.
As for the Palestinians, I think some big questions would be asked also by the Palestinian national movement because it's a big responsibility to stage an operation when you probably know beforehand what the Israeli reaction would be. It always reminds me of the two... I had a webinar with some people from Lebanon and we talked about it, and I think there are similarities. People say to me, "But Hamas was kind of building on the legacy of 2000 when Hezbollah bravely succeeded in pushing the Israeli army outside of Lebanon." So there is an example of an Arab paramilitary group being a match to the might of the Israeli Army. But I said, "Yes, but there's another legacy, that's a legacy of 2006 when Hassan Nasrallah (b. 1960), the leader of Hezbollah, said, 'Had I known that Israeli reaction to the abduction of three soldiers would be the destruction of Beirut, I would not have ordered that operation.'"
So he did talk with responsibility of when you strategize, you have responsibility also for your own people. It would be interesting to see in the micro level, first of all how the Palestinians are reacting to the Israeli retaliation, beyond of course their ability. And I think they were able to galvanize public opinion to show that however one condemns or doesn't condemn the service of October, it does not weaken the basic growing solidarity with the Palestinians.
Now let's talk about the macro. The macro is that Israel is not going to defeat the Hamas that easily, and is going to be stuck there. And in order even to maintain some sort of success, victory, they would have to stay there for years in direct occupation. And this could easily escalate into an uprising in the West Bank and attack from the north by Hezbollah, and who knows, even undercurrents in the Arab world that would change the Arab tolerance of Israel that we have seen so far. This can escalate to regional war. On the one hand, that's the bleak scenario.
The more positive scenario in the macro one is that the civil society that is now very much pro-Palestinian and even supports boycott and divestments from Israel, may succeed in convincing some governments in the Global North, and definitely in the Global South, to move beyond actions of civil society into sanctions and pressure on Israel, and maybe have a total new perception about the need to pressure Israel to give up its supremacist policies, its oppression, and so on.
It's too early to judge which of the two processes will unfold. They may even unfold in conjunction, namely, the more violent the region would become, the more willing maybe the international community would be willing to change its basic perceptions of what is the essence of the problem and what is the way out of it.
Chris Hedges:
But isn't the key Washington? I mean Israel, along with the US, is already on this issue, they're pariah states, as we saw with the vote in the UN. As long as there's unconditional support from Washington, Israel can resist any kind of pressure, can't they?
Ilan Pappé:
Well, that's a very big question because I think that the Global South also has power. I taught in a Chinese university recently in September, and it was very clear that China, for instance, is still reluctant to be involved in the question of Palestine because as you know, Chinese foreign policy, contrary to the way it's portrayed in America, is interested in economic gains more than anything else. And rightly so, Palestine is not an economic bonanza these days. So I don't think they're likely to be involved too much in it.
But I do think that there are other powers on the international map that could challenge the American hegemony on the question of Palestine, that's one point. And secondly, yes, America is still a key, but something is happening in the American civil society. Israelis and pro-Israelis in America like to call it the rise of new anti-Semitism, which is a very superficial analysis of the fact that the younger generation of Americans, A, is much more knowledgeable than the previous generation what goes on in Palestine. B, is far more committed, some people would say naively, but they are more committed to moral dimension of foreign and security policies. And that includes large chunks of the young American Jewish community. So I'm not sure that also this determinist view of an American policy is the right approach, either. I do think there's a chance of a different American policy as well.
But I do think Chris, probably the best way to do it is by saying there are two coalitions now when it comes to Palestine. One I call global Israel. Global Israel is still governments in the Global South, multinational corporation, military industries, security industries, communities of Christian Zionists and Jews who more or less continue to provide Israel immunity for almost everything it does, almost automatically, kind of a faith. And against that is global Palestine. And global Palestine is made of civil societies. Some governments in the Global South who are not only pro-Palestinian, but they really believe that the struggle for justice in Palestine connects very well with their own struggles against injustice in their own societies. And this is the younger generation of the world.
And I think that this is a battle that goes beyond a Palestine, connects ecological issues, poverty issues, rights of minorities issues with Palestine, and therefore I don't think the balance of power is just America versus the rest of the world. I think there are much more complex two global coalitions, which are relevant not only to Palestine, but I see the relevance mainly in the case of Palestine because I'm interested in it. But I'm sure they can be also exposed in other places of contention and where conflicts are still raging.
Chris Hedges:
Let's close by looking at Gaza. First I want to talk about intent. The UN says that half of Gazans now face starvation. I was in Sarajevo during the war, that was 300 to 400 shells a day, four to five dead a day, about two dozen wounded a day. This is just by comparison, I don't want to minimize what happened in Sarajevo, I still have nightmares about it. But that's nothing compared to what's happening in Gaza in terms of the level of bombing. What is the intent? Is the intent to create a humanitarian crisis of such extremity that the international community is forced to intervene and become a partner in ethnic cleansing? Well what? You know the mindset of the people around Netanyahu better than I do.
Ilan Pappé:
Well, first of all, I think that there was really here an inertia of revenge to begin with, rather than a very careful planning. And not everything should be attributed to clear and systematic planning. As the days went by, it was clear to at least one group within the policymakers who thought that the war gives a pretext to get rid of Gaza, a more systematic planning. So the end result, as far as they're concerned, is the depopulation of the Gaza Strip from as many Palestinians as possible either to Egypt or to other parts of the world, because Gaza, if it's not sustainable now, it wouldn't even be less sustainable in the future. I think there is one component among the Israeli policy makers who believe that they have the power to do it.
There is a more, I don't know, even call them more moderate, I'll call them more pragmatic people like Benjamin Gantz (b. 1959), Gadi Eizenkot (b. 1960), also depends. I mean, they joined the government in the last moment from the opposition. I don't know how influential they will be for the day after. But if they're still influential on the day after, they would like to see... They have a certain end game in mind, which is to annex part of the Gaza Strip directly to Israel, which what will remain is a very small piece of land with a huge number of people living in it and hoping that someone else would run the domestic affairs of Gaza, whether it's the PA or a multinational force.
However, they don't think that it's even possible to discuss the day after scenarios before they fulfill what they promised to the Israeli public, which is something they cannot fulfill. And that's one of the reasons for the carnage that we are seeing, that they could have this victory photo, kind of triumphant photo that shows that the Hamas is nowhere to be seen in Gaza, or at least nowhere to be seen as a military force. I don't think they can achieve it, but they still believe that they can.
And until that happens, they continue relentlessly doing it by the way, [by that, even endangering more the lives of the still 130 and so Israeli hostages still held by the Hamas in the Gaza Strip]. They claim that the two objectives of what they call the land maneuver is to destroy the Hamas as a military power and to salvage the hostages. It's very clear from the way they're acting, they have given up on the hostages, but they still believe they have the power to get this picture that they want, either a dead Yahya Sinwar (b. 1962) or an expelled Sinwar, the scenario of Lebanon 1982 Arafat leaving to Tunis with the rest of the Palestinian leadership. These are the scenarios they have, and all the means seems to be justified in their eyes to achieve that.
Chris Hedges:
And you are arguing they won't. So what happens when they don't achieve that?
Ilan Pappé:
That's what I meant before that what happens is that they are going to be stuck there for much longer than they think, involved in a guerilla warfare which is much longer than they think, endangering every day an escalation that could bring other factors as other actors into that conflict with dire consequences also for Israel itself. Can you imagine, Chris, what would've happened if in the 7th of October Hezbollah would've coordinated with the Hamas a similar attack on the north? Remember, the main military problem for Israel was that most of its army was in the West Bank helping to defend the settlers and helping them with their ethnic cleansing. So there was not enough soldiers in the North and not enough soldiers on the Gaza border to prevent a operation like the one the Hamas conducted. Imagine what would happen if the Hezbollah would've joined in, how Israel would've got out of that. And somehow this lesson is not being learned by the Israeli policymakers.
So I think that they are going to take Israel into a very dire future, even for the Israelis themselves, in terms of casualties, in terms of international isolation, in terms of economic crisis. And relying all the time on the American Congress, it's not the best and most solid pillar in the world to build a future for a younger generation and tell them that they live in the best place the Jews could be in the world right now. They're sort of digging their own hole here because they don't want to see what the problem is and what price they have to pay if they really want to build a different future.
Chris Hedges:
Great. That was Ilan Pappe, professor of history at the University of Exeter in Great Britain, author of the Biggest Prison on Earth: The History of the Occupied Territories and the Ethnic Cleansing of Palestine. I want to thank the Real News Network and its production team, Cameron Granadino, Adam Coley, David Hebden, and Kayla Rivara. You can find me at ChrisHedges.substack.com.
This article first appeared on The Real News Network and is republished here under a Creative Commons license.
PACIFIC OCEAN (April 5, 2017) Hull Maintenance Technician Fireman Elias Kinsey, from Duquoin, Ill., cuts a piece of stainless steel aboard the Arleigh Burke-class guided-missile destroyer USS Kidd (DDG 100) while underway conducting a composite training unit exercise (COMPTUEX) with the Nimitz Carrier Strike Group in preparation for an upcoming deployment. COMPTUEX tests the mission readiness of the strike group's assets through simulated real-world scenarios and their ability to perform as an integrated unit. (U.S. Navy photo by Mass Communication Specialist 3rd Class Deanna C. Gonzales/Released)
AKIBA scenario
AKIHABARA (秋葉原) also known as Electric Town or AKIBA in short. Its best-known as one of the largest shopping areas on Earth for electronic, computer, anime, and otaku goods. The character of Akihabara has constantly changed over the decades and continues to do so. A recent development is the emergence of Akihabara as a center of Japanese animation culture.
OTAKU culture in Akihabara has become increasingly famous in the recent years. Many people there have unique lifestyles, centered on technological enterprises and a love for Anime/Manga, that have made them outsiders in other sections of Japanese society. Otaku are afforded the chance to gather here and avoid alienation imposed by others who do not share their specific interests. The presence of such prolific "GEEKY" behavior has led to Akihabara being seen as a mecca of sorts for otaku, as well as to the term Akiba-kei, or Akiba-type.
In addition to conventional stores, various other animation related establishments have appeared in the area, such as cosplay ("costume play") cafes, where waitresses are dressed up like anime characters, and manga kissaten ("comics cafes"), where customers can read comics, watch DVDs and surf the internet.
Maid-kissa are coffee shops where the waitresses where fantasy like maid costumes. They dress up to look like characters from famous anime or Japanese comics. Since Akihabara caters not only to electronic enthusiasts but also young Japanese otaku which translates roughly to NERDS in English.
Every Sundays at Chuo-Dori, the main street in Akihabara you can find the "MAIDS" passing out pamphlets to their shops to passers by.
Akihabara is 5 minutes ride from (central) Tokyo Station
SOURCE:
Wikipedia, the free encyclopedia
japan-guide.com
tokyoessentials.com
BEST VIEW LARGE
Staff Sgt. Bryan Zimmerman, an Explosives Ordnance Disposal technician for 788th Ordnance Company, 184th Ordnance Battalion, 52nd Ordnance Group, 20th Chemical, Biological, Radiological, Nuclear, Explosives Command, discusses a mission profile training scenario with Cameroonian soldiers, from Rapid D'Intervention Battalion, during a Basic Improvised Explosive Device awareness course in support of a Cameroon Counter-Narcoterrorism training event Jun. 19 – Oct. 2. (U.S. Army Africa photo)
To learn more about U.S. Army Africa visit our:
Official Website at: www.usaraf.army.mil
Official Twitter Feed: www.twitter.com/usarmyafrica
Official Vimeo Video Channel: www.vimeo.com/usarmyafrica
Official Facebook Page: www.facebook.com/ArmyAfrica
The senior nursing students performed emergency procedures on the College's human simulator, iStan. iStan was placed in a scenario where he was an accidenct victim from texting while driving. High school students came to the Fairhope campus to witness the simulation. Fairhope Campus, John L. Borom Center, April 27, 2011.
Training emergency scenarios at NASA on the full-size International Space Station mockup. With Expedition 41 crewmates Reid Wiseman and Maxim Surayev.
Credit: NASA-B. Stafford
AKIBA scenario
AKIHABARA (秋葉原) also known as Electric Town or AKIBA in short. Its best-known as one of the largest shopping areas on Earth for electronic, computer, anime, and otaku goods. The character of Akihabara has constantly changed over the decades and continues to do so. A recent development is the emergence of Akihabara as a center of Japanese animation culture.
OTAKU culture in Akihabara has become increasingly famous in the recent years. Many people there have unique lifestyles, centered on technological enterprises and a love for Anime/Manga, that have made them outsiders in other sections of Japanese society. Otaku are afforded the chance to gather here and avoid alienation imposed by others who do not share their specific interests. The presence of such prolific "GEEKY" behavior has led to Akihabara being seen as a mecca of sorts for otaku, as well as to the term Akiba-kei, or Akiba-type.
In addition to conventional stores, various other animation related establishments have appeared in the area, such as cosplay ("costume play") cafes, where waitresses are dressed up like anime characters, and manga kissaten ("comics cafes"), where customers can read comics, watch DVDs and surf the internet.
Maid-kissa are coffee shops where the waitresses where fantasy like maid costumes. They dress up to look like characters from famous anime or Japanese comics. Since Akihabara caters not only to electronic enthusiasts but also young Japanese otaku which translates roughly to NERDS in English.
Every Sundays at Chuo-Dori, the main street in Akihabara you can find the "MAIDS" passing out pamphlets to their shops to passers by.
Akihabara is 5 minutes ride from (central) Tokyo Station
SOURCE:
Wikipedia, the free encyclopedia
japan-guide.com
tokyoessentials.com
BEST VIEW LARGE
I am Ella, a 7th grader, and I love photography. I captured a photo of several tired hands cupping together, the image that comes to my head when I think of poverty. There are many different cases that could leave one into poverty, but I decided to focus on any given circumstances with a single parent and a handicapped child. This scenario is one that can’t be controlled, because the parent is unable to leave the child unattended and therefore can not work. Other forms of poverty are by previous actions, but this poverty is strictly hard to move away from. I have not myself experienced with extreme poverty, although I have visited many places and saw in my hometown people in poverty. Over the years it began to notice the beggars on the streets, or the homeless shelters I’ve heard of in the newspapers and felt strongly about this topic. I believe that everything can have a solution, no matter how long it takes. Poverty is a subject that so many people struggle with and all of the power is in the people in their town, city, or country. Spreading the awareness of poverty can make such a big difference. In my photo I positioned the camera directly above the hands so as to not highlight one pair of hands and emphasize the importance of the whole. I filtered the photo in black and white as to show the contrast between the outside world, the grass, and the hands.The dirt on the hands symbolizes how much work and struggles these people in poverty went through. Thinking about poverty made me realize how much I strived to help people in poverty. There are many organizations such as shelters, charities, or a welfare office located throughout many places through Boston. Cradles to Crayons especially favors necessities for children that might be struggling with poverty. This issue of poverty is something that I believe is fully in the power of our people and therefore I wanted to portray this topic.
Firefighters have been heading back to college in Wisbech to take up a unique training opportunity at the College of West Anglia.
The crew from Wisbech Fire Station turned the former C Block at the college site, on Ramnoth Road, into a training ground during the past few months to deliver challenging exercise scenarios to test firefighters from across the county.
The site was chosen as it is due for demolition over the coming months and at the time of proposal was not being used. It was also a large and complicated design with many unusual features that offered the chance to conduct many different training scenarios for Cambridgeshire Fire and Rescue Service staff.
Staff from Wisbech Fire Station and the College of West Anglia health and safety department worked closely together to ensure that guidelines and procedures were put in place to enable the use of the college buildings and to provide extremely valuable training opportunities for firefighters from Wisbech and other stations across Cambridgeshire.
Wisbech Station Commander Brett Mills said: “The day crew identified an excellent training opportunity using their local knowledge and networking. This supported vital critical safety training for both whole-time and on-call firefighters. I would like to thank Firefighter Gary Reach, Crew Commander Clive Griffin from Cambridgeshire Fire and Rescue Service, and Richard Heron and Amanda Marshall from the College Of West Anglia for their hard work in organising this and continuing the excellent partnership working between CFRS and CWA.”
Various different ladder drills were conducted around the buildings as it offered different conditions and opportunities that cannot be replicated in the firefighters’ usual drill yard. Breathing apparatus search and rescue drills were also conducted inside the building during both day and night time sessions.
The buildings were also used to hold an on-call training support day to provide further training for firefighters from across Cambridgeshire. During these sessions firefighters wore obscuration masks to replicate heavy smoke logging of the building without the college fire alarm system being affected.
The College of West Anglia is one of the largest providers of education and training in Norfolk and Cambridgeshire with an exceptional track record of developing the skills and talents of its students.
The Wisbech campus was transformed over the summer of 2015, following extensive investment to improve its facilities in the form of a £6.5million flagship learning building. This adds to the £7.2million technology centre, which opened in April 2013. Older buildings such as the C Block are now set for demolition as they are no longer fit for purpose.
The 1400m2 new teaching centre which opened in September, and 2000 m2 of refurbished space with its state-of-the-art teaching and IT facilities, is host to health & social care, hair & beauty in their brand new salons, foundation studies, computing, and uniformed and public services courses. There are also new facilities for teaching in English, maths and ESOL (English for speakers of other languages). The new main atrium entrance and reception area, teamed with the expansion of the restaurant, social areas and learning resource centre, is now a welcoming hub for students and staff alike.
Mark Reavell, Executive Director Partnerships at CWA, said: “We were pleased to be able offer the old buildings to the fire service for them to use as part of their training. It is understandably difficult for them to get access to facilities to carry out this sort of simulated exercise and it all seemed to work out perfectly prior to the start of demolition. We will however be pleased to see the old buildings disappear forever!"
***********************************************************************************
STOP! Don't take your shifter apart until you have positively identified that the problem is internal and can not be solved or helped by spraying lubrication into the shifter.
Background: My brother in-law brought his bike over and mentioned that the shifting wasn’t working. He had purchased the bike used sometime in the last year but this was the first time I had seen it. Thus I don’t know the full background of the bike but here is a general description. The bike had a full Shimano 105 ((speed 5500 series) buildout, it was a 1999 Raleigh R600 (2) based on some BikePedia research. It had an Ohio bike shop sticker on it and there was some rust on the brake springs and stem. Bare aluminum by the cranks looked slightly corroded. So to me it looked like the bike may have spent some time outside, unprotected or ridden in salty midwest winters.
Diagnosing: On the bike stand I pedaled and tried to shift through the gears in the rear (right shift lever). The downshifting clicks (big paddle) were distinct but a little gummy. The upshift (small paddle) didn’t want to click. As I pushed the small paddle the big paddle wanted to follow. I then unhooked the rear derailleur cable and removed it from the shifter so there was no tension from the rear derailleur. There wasn’t much improvement in how crisp the shifting felt. When pressing the small paddle the large paddle still wanted to follow. The large paddle had to be held in place while the small one was pressed in order to get a click/shift. This pointed towards an internal problem.
Lube First: Since the action felt gummy and there was evidence the bike may have been left outside I suspected the internal lubrication in the shifter was no longer in good shape. At this time I tried spraying some PB blaster (which I bought based on internet recommendations) into the shifter lever and working it the shifter though the range of clicks. In a best case scenario the action would have freed up and the shifter been usable.
I opted to to take a more extreme solvent to the shifter, some aerosol carburetor cleaner. This stuff is nasty. I had gloves and glasses on. I watched some of the clear coat bubble off the aluminum shift/brake lever. I suspect this could also harm plastic or rubber items as well. I regretted using the carb cleaner at this point. I wiped as much off as I could and tried spraying more PB blaster in and the shooting some BikeAid lubricant in. This process was messy. It was hard to tell if the solvent/lube was getting fully into the shifter. I think this process did loosen up some of the gummy grease but as I would later find out there was more to the problem.
Going Deeper: At this point the shifter was still not working and I wanted to see inside of it. I’d found enough pieces of information online to suggest that is was possible to take apart (and reassemble) an STI shifter but it was also possible that I would end up losing parts or never get it put back together. I gave myself a quick pep talk, listened to John Henry and decided to give those Japanese robots a run for their money.
Preparing to Disassemble: I made sure to have a clear and clean work place on my workbench with some fresh paper towels down. For tools I had a small philips, ⅜” punch, allen wrenches, 8mm and 9mm wrenches, dental picks and a roll pin. I had teflon grease for reassembly. I shifted to the highest gear position to release as much initial spring tension as possible. The Front/Back and Top/Bottom of the shifter all refer to the viewpoint of a rider sitting on the bike. The shifter was primarily disassembled facing the front of the shifter though so Left/Right references would be reversed from the riders perspective.
Disassembly: I took the lever off the bike and removed the rubber hood (3485, 3486). I pried off the plastic 105 cap that covered the front of the shifter (3487). I backed out the grub screw (3489) that kept the pivot in place and used the punch to drive it out (3491). There is a coil spring that helps the brake lever return. Take note of its position (3493-95). Remove the brake cable stop pivot (3496). The pivot has a plastic and metal beveled washer on each side (3502-04)
At this point the brake components have been removed from the shifter (3505-06). On the front of the shifter there is a philips head bolt that holds a black plastic bracket that the 105 faceplate was formerly mounted to (3508). Removing this bolt will not release any springs. This reveals an 8mm nut (5510). This nut holds the large shift paddle/brake lever on the center column of the shifter but there is a second screw on the back we will get to in a moment. Remove the metal washer with the cross shaped center and the nylon shim using a pick (3511, 12, 14). Notice the end of the coil spring that will release in a moment (3511).
Turn the shifter over to see the back and there is a philips screw that needs to be removed (3515-17). This will allow the large shift paddle to come fully off and release the first coil spring (3519-21, 24). Some shots of the lever disassembled to this point (3526,28,29,31). Use a 9mm wrench to take off the next gold nut (3532-33). This frees rest of the shifter components to come off the central column (3534). The first pieces to come off are a metal plate, a round grey plastic plate and the large gray plastic housing. As the large housing comes off a small spring will release (3535-36). Photos 3543-53, show the shifter with the housing remove. The pawls and ratchets wheels are all still in place though so this series should be helpful for verifying reassembly too.
I donned the nitril gloves and put on my glasses again so I could use more of the carb cleaner to try to clear out some of the gunk before continuing to remove parts. During this cleaning some of the pieces began to slide further off the central column so not all of the parts are in alignment in these photos (3554-57). The next parts to come off are the ratchet wheel assembly, this is also what holds the shift cable head (3558-59). There is a coil spring sandwiched in this assembly that causes the ratchet wheel to want to return to the high gear position (3562). The silver ratchet wheel has teeth on the right side (NDS) that engage the twin pawls on the top of the shifter. Behind this is a pair of gold ratchets that have a black metal piece in between (3562). These pawls are on the left (DS) of the shifter and engage the pawl on the bottom of the shifter. Photo 3563 shows the last of the ratchet wheel assembly removed, the pawls are still in place. Photo 3569 shows the parts removed at this point.
Photos 3571-72 show the orientation of a few pieces that need to go on in a specific way. Pulling a black metal piece off reveals a thin silver washer (3573). The next few photos show how warped and bent this silver washer was. I suspect that this was the culprit or evidence of the interference that was going on in the shifter. (I accidently changed the name of these photos before I realized the sequential numbers were easier to reference). The last parts on the column are a silver ‘comma’ shaped piece with a cross in the middle, a ‘c’ shaped spring and one more thin silver washer with a tab (3585).
Assembly: First off, Sorry. There are only about ten pictures of the assembly process. It was very iterative. I had to repeat a lot of steps as things fell out of alignment. When I would accomplish a sub step I wouldn’t want to let go if the parts and take a picture since there would be a chance all of my work would come undone.
Starting with the first three pieces, silver washer, c-spring, and comma, make sure they align like shown in 3588-89. I unhooked the springs for the pawl eventually to keep it out of the way. It was easy to reinstall later. I then put the same bent washer back since I know there are no spare parts. I also didn’t want to keep the shifter apart to look for a substitute part and then forget how to put it back together. Added some new clean grease though (3593). Picture 3594 shows another milestone. This took a little while but I figured out to put the 1st gold ratchet wheel and the black spacer on first. Next put the second gold piece already mounted to the silver ratchet wheel with the coil spring and holder in place. These 5 parts go on as one. Keep the spring pinched in place and slide it in the cross column with the cable head holder in the 2 o'clock position. Rotate CCW, you’ll feel the spring tensioning, until you get to 10 o'clock and then things should press together. More shots of this phase are shown in 3595-97.
I missed a photo of the next stage in assembly, that is re-loading the small spring that is hiding behind the silver plastic cover (3535-36 disassembly). I used the roll pin to pull the spring down and then snap the gray plastic cover on. By the time I had it finsihed it was all covered up (3599). The gold plate and nut held everything together at this point. The last step was pretty much to put the large shift lever on. It has one large coil spring that needed to be pre-loaded. This was easy after all the prior steps and because I had a small roll pin. Unloaded, the spring tab rests in the 10 o'clock position but needs to be moved CW to the 2 o'clock position. Once there, pinch the lever in place and it will hold. Put the outer nut on, put the philips screw on in the back, and then the tense part of the shifter assembly is over. After that put the shifter back onto the brake mount and replace the rubber hood. The shifter should be in the highest gear position. Try clicking through the range.
Verdict: The shifter still sucks. I put it back together correctly (which was an accomplishment) but there was too much internal friction still. The clicks are there but the internals are not free to move about without impacting other internals. Unfortunately disassembling, cleaning, and regreasing couldn’t solve the problem in this case. I don’t know is something else was bent or if i tightened the two inner nuts too much. It was still an interesting learning experience though.
AKIBA scenario
AKIHABARA (秋葉原) also known as Electric Town or AKIBA in short. Its best-known as one of the largest shopping areas on Earth for electronic, computer, anime, and otaku goods. The character of Akihabara has constantly changed over the decades and continues to do so. A recent development is the emergence of Akihabara as a center of Japanese animation culture.
OTAKU culture in Akihabara has become increasingly famous in the recent years. Many people there have unique lifestyles, centered on technological enterprises and a love for Anime/Manga, that have made them outsiders in other sections of Japanese society. Otaku are afforded the chance to gather here and avoid alienation imposed by others who do not share their specific interests. The presence of such prolific "GEEKY" behavior has led to Akihabara being seen as a mecca of sorts for otaku, as well as to the term Akiba-kei, or Akiba-type.
In addition to conventional stores, various other animation related establishments have appeared in the area, such as cosplay ("costume play") cafes, where waitresses are dressed up like anime characters, and manga kissaten ("comics cafes"), where customers can read comics, watch DVDs and surf the internet.
Maid-kissa are coffee shops where the waitresses where fantasy like maid costumes. They dress up to look like characters from famous anime or Japanese comics. Since Akihabara caters not only to electronic enthusiasts but also young Japanese otaku which translates roughly to NERDS in English.
Every Sundays at Chuo-Dori, the main street in Akihabara you can find the "MAIDS" passing out pamphlets to their shops to passers by.
Akihabara is 5 minutes ride from (central) Tokyo Station
SOURCE:
Wikipedia, the free encyclopedia
japan-guide.com
tokyoessentials.com
BEST VIEW LARGE
U.S. Army Col. Rob Sheridan, left, and Lt. Col. Michael Yaffe, right, both with the 399th Combat Support Hospital, conduct simulated surgery on Spc. John Tofth, with the 388th Medical Support Company, April 2, 2014, during Warrior Exercise (WAREX) 86-14-02 at Fort McCoy, Wis. WAREX is an annual training exercise that presents realistic and challenging scenario-based training for Reserve component Service members and units preparing for deployment. (DoD photo by Spc. Robert Farrell, U.S. Army/Released)
Using profiles and scenarios to generate the early phases of a service sketch with Interaction Design students
La théorie du cygne noir, développée par l'écrivain Nassim Nicholas Taleb, est une théorie selon laquelle un événement imprévisible a une faible probabilité de se dérouler, mais s'il se réalise, les conséquences ont une portée considérable et exceptionnelle
Secrets revealed of the Abode of Chaos (112 pages, adult only) >>>
"999" English version with English subtitles is available >>>
HD movie - scenario thierry Ehrmann - filmed by Etienne Perrone
----------
voir les secrets de la Demeure du Chaos avec 112 pages très étranges (adult only)
999 : visite initiatique au coeur de la Demeure du Chaos insufflée par l'Esprit de la Salamandre
Film HD d'Etienne PERRONE selon un scénario original de thierry Ehrmann.
courtesy of Organ Museum
©2011 www.AbodeofChaos.org
After messing so much with enbeffect.fx (I should thank Kyo for makind such a work since I'm using his as a base.. I'm starting to understand something lol), restoring my enbseries config for .143 binaries and testing sweetfx filters (in the end I choose Vibrance and Curves, but DPX wasn't so bad either) and this is the result.
I had some difficults with detectors, maybe they still need some tweaking.
Any comment, critic, advice or anything else is welcome.
Comparative vulnerability of national economies to climate impacts on fisheries. Vulnerability of national economies of potential climate change impacts on fisheries (which integrates exposure, sensitivity and adaptive capacity) under IPCC scenario B2 (local development, lower emissions).
For any form of publication, please include the link to this page:
This photo has been graciously provided to be used in the GRID-Arendal resources library by: Giulio Frigieri
JSC2014-E-008285 (17 Jan. 2014) --- Russian cosmonaut Alexander Skvortsov (left), Expedition 39/40 flight engineer; and NASA astronaut Reid Wiseman, Expedition 40/41 flight engineer, participate in an emergency scenario training session in an International Space Station mock-up/trainer in the Space Vehicle Mock-up Facility at NASA's Johnson Space Center. Photo credit: NASA
I’m a naive young man who’s fallen under the influence of my very wealthy , controlling boss , who insists I be his partner at a dinner , the dress feels amazing , I feel overawed by the whole situation , but the more he compliments me the more I find myself under his sensual influence , but where will this relationship take me !
Detail view of asbestos sheet-flooring with grey paper-like backing and chrysotile asbestos fibers sticking out of the torn edge. Homeowner attempted removal by ripping the asbestos flooring apart, then used a sharp-edged scraper, resulting in significantly damaged, friable asbestos debris.
Many do-it-yourself (DIY) residential renovation projects that involve removal of vintage flooring materials could possibly encounter such a scenario: layered sheet flooring (often referred to as "linoleum") which may contain asbestos. If planning a home remodel, it is best recommended practice to have building materials evaluated by a qualified, licensed asbestos inspector before impacting the materials.
If not taken up in a completely intact manner, removal of sheet flooring will inevitably damage the soft, susceptible asbestos paper backing and can potentially contaminate the surroundings causing an airborne exposure hazard, particularly if trying to remove it by manual or mechanical scraping methods.
AKIBA scenario
AKIHABARA (秋葉原) also known as Electric Town or AKIBA in short. Its best-known as one of the largest shopping areas on Earth for electronic, computer, anime, and otaku goods. The character of Akihabara has constantly changed over the decades and continues to do so. A recent development is the emergence of Akihabara as a center of Japanese animation culture.
OTAKU culture in Akihabara has become increasingly famous in the recent years. Many people there have unique lifestyles, centered on technological enterprises and a love for Anime/Manga, that have made them outsiders in other sections of Japanese society. Otaku are afforded the chance to gather here and avoid alienation imposed by others who do not share their specific interests. The presence of such prolific "GEEKY" behavior has led to Akihabara being seen as a mecca of sorts for otaku, as well as to the term Akiba-kei, or Akiba-type.
In addition to conventional stores, various other animation related establishments have appeared in the area, such as cosplay ("costume play") cafes, where waitresses are dressed up like anime characters, and manga kissaten ("comics cafes"), where customers can read comics, watch DVDs and surf the internet.
Maid-kissa are coffee shops where the waitresses where fantasy like maid costumes. They dress up to look like characters from famous anime or Japanese comics. Since Akihabara caters not only to electronic enthusiasts but also young Japanese otaku which translates roughly to NERDS in English.
Every Sundays at Chuo-Dori, the main street in Akihabara you can find the "MAIDS" passing out pamphlets to their shops to passers by.
Akihabara is 5 minutes ride from (central) Tokyo Station
SOURCE:
Wikipedia, the free encyclopedia
japan-guide.com
tokyoessentials.com
BEST VIEW LARGE