specific photos on Flickr

at the 2016 Teen Choice Awards Backstage Creations Gifting Suite #TeenChoice - DSC_0340 by Red Carpet Report on Mingle Media TV

www.redcarpetreporttv.com

Mingle Media TV and Red Carpet Report host Denise Salcedo were invited to stop by the Backstage Creations Retreat at Teen Choice 2016 where the stars were thanked for their support of the awards show backstage during the show. The celebs were also given the opportunity to select specific gifts they wished to receive from participating donor companies.

Check out the brands that were in this year’s Celebrity Retreat™

· ACTON Blink Board – Teen Wolf star, Tyler Posey, was thrilled to receive an ACTON Blink Board. He said, “This is so awesome! I love skateboarding, so I’ll definitely be taking this for a ride.” www.ACTONglobal.com

· Anki OVERDRIVE – Black-ish star, Marsai Martin, loved the Anki OVERDRIVE so much, she said, “I am playing this at home. Round 2 is so happening.” Keegan Michael Key commented on how amazing the technology was and Girl Meets World’s August Maturo turned to his mom and said, “I want to play this all night, Mom!” www.anki.com

· HaulsTV – Fuller House’s Michael Campion checked out the HaulsTV app and said, “That’s an awesome idea. I’m liking it.” Actor, Clayne Crawford, also liked the app, stating, “That’s the future.” www.hauls.com

· Healthy Craft Services – Jane the Virgin star, Gina Rodriguez, thought the snacks & drinks by Healthy Craft Services were delicious and said, “Oh my gosh, I want you guys on our show!” Anthony Anderson also enjoyed the healthy treats, claiming, “I’m ready to go vegan again thanks to Healthy Craft Services!” He took a bunch of snacks and other goodies with him and said, “I’m taking these to set tomorrow!” www.healthycraftservices.com

· JCPenney – The Fosters’ Sherri Saum loved her camouflage Arizona Women’s Twill Anorak jacket, stating “I love the camouflage pattern! This is so comfortable!” Fuller House’s Michael Campion freaked out when he was given an Xersion Lightweight Full-Zip Tricot jacket and said, “I love jackets!” www.JCPenney.com

· MCFADIN – Modern Family’s Sarah Hyland was so excited to see MCFADIN in the retreat. She mentioned that she has a MCFADIN leather shave kit and uses it all the time when she travels! Jane the Virgin star, Gina Rodriguez, also loved the leather goods and said, “I love fringe!” www.MCFADIN.com

· Merge VR Goggles - After trying the Merge VR Goggles, The Fosters’ Sherri Saum exclaimed, “Where were these when I was a kid?! Amazing!” Teen Choice host, Victoria Justice, also loved the virtual reality goggles and commented on how comfortable they are. www.MergeVR.com

· Segway miniPRO – When Modern Family star, Sarah Hyland, won a new Segway miniPRO, she was shocked. She said, “Oh my gosh, I never win anything! Are you sure this is a W and not an L?!” Actress, Gina Rodriguez, also won a Segway miniPRO and was equally as surprised. She exclaimed, “I can’t believe I won!” www.SegwayminiPRO.com

· ThinkGeek Star Wars R2-D2 Bluetooth Speakerphone – Fuller House’s Michael Campion saw the R2-D2 speaker by ThinkGeek and was so excited. He said, “You don’t understand. I love ThinkGeek!” www.thinkgeek.com/product/ilro/

Celebrities also walked away with a gift bag filled with the following:

· Abella Skin Care, Inc – ColorShade SPF 35 is the perfect combination of broad spectrum sunscreen, color and moisture available in 4 different tints to accommodate any skin type. www.abellaskincare.com

· Hasbro - Standing nine inches tall, these DREAMWORKS TROLLS dolls feature fluffy, fabulous TROLLS hair and removable outfits for oodles of hairstyling and high fashion fun! Collect six characters including POPPY, BRANCH, HARPER, GUY DIAMOND, MADDY, and DJ, each sold separately. www.hasbrotoyshop.com

· Hempz – NEW! Hempz Daily Herbal Body Moisturizer and Dry Oil Body Spray with Broad Spectrum SPF 30 are lightly scented, weightless daily moisturizers that help hydrate, protect and improve skin’s overall health and appearance. Enriched with 100% Pure Natural Hemp Seed Oil and our Signature Citrus Fruit Complex, these perfectly-balanced formulas not only moisturize the skin, but also help protect against the effects of daily elements and sun exposure. www.hempz.com

· Iceland Glacial – Natural spring water from Iceland. www.icelandicglacial.com

· Kathryn Orford’s Become your #1 Fan: How to Silence your Inner Critic and Live the Life of your Dreams – Finally after all the buzz on “The Law of Attraction”, Kathryn Orford gives us the missing link; the real “secret” to manifesting all of our dreams. This book is a game changer - Dr. Sugar Singleton Marcy, Cellular Memory Expert, Author and International Speaker www.kathrynorford.com

· Lipault – 30” wheeled duffle. Lightweight and foldable, the Lipault wheeled duffle folds flat for easy storage. www.lipault-usa.com

· Pixels – Pixels has revolutionized the way that artwork, home décor and apparel are bought and sold around the world. With a few clicks, artists and photographers can upload their images to Pixels, set their prices for all of our available products and instantly sell to a global audience of online buyers. www.Pixels.com

· Red Coat PR - Featuring best-selling Young Adult authors in multiple genres including; romance, fantasy, steam punk, paranormal and horror. Available in print and at all major e-book platforms. www.redcoatpr.com/teenchoice2016/

· Thera Cane MAX Trigger Point Massager – Treat yourself to deep relief from painful, knotted, spasmed muscles. This amazingly simple yet effective self-massager makes it easy to apply pain-relieving deep compression directly to hard, knotted "trigger points" anywhere they occur - breaking up tension even in the hardest-to-reach muscles between your shoulder blades! www.theracane.com

· The Zeitgeist – The Zeitgeist is a contemporary brand that celebrates everything of the now. The first line of graphic tees includes exercise, humor, and definition collections. www.thezeitgeist.com

This year’s Celebrity Retreat™ was created and styled by Josh Johnson Home. Josh provided a luxurious and stylish backdrop for celebrity guests to mingle while they perused the products and lounge within his custom designed vignette. Based both in West Hollywood and Nashville, Josh’s lovable personality earned him the nickname “Sparkle Josh” and the title of Fan Favorite during the second season of HGTV's Design Star, and he also appeared in the Design Star “All Stars” series. Additionally, Josh is thrilled to announce the recent release of his premier line of signature home decor products nationwide. www.facebook.com/SparkleJoshJohnson

For video interviews and other Red Carpet Report coverage, please visit www.redcarpetreporttv.com and follow us on Twitter and Facebook at:

• twitter.com/TheRedCarpetTV

• www.facebook.com/RedCarpetReportTV

• www.youtube.com/MingleMediaTVNetwork

About BACKSTAGE CREATIONS:

Created in 2000 by Karen Wood; formerly a talent coordinator on over 50 award shows, to give major corporations as well as up-and-coming designers the exclusive opportunity to personally introduce their products and services to celebrities. BACKSTAGE CREATIONS originated the gifting Retreat™ concept and has created Celebrity Retreats™ at various industry honors including the Emmy Awards®, Screen Actors Guild Awards®, Teen Choice Awards, MTV Awards, People’s Choice Awards, BET Awards and Billboard Music Awards. BACKSTAGE CREATIONS puts an emphasis on charitable donation at each of our Retreats™ giving our celebrity attendees the opportunity to both give and receive through unique partnerships at our events. Backstage Creations Retreats™ and gift bags have been featured on Entertainment Tonight, Extra, E!, TV Guide and our clients appear in OK Magazine, People.com, Us Weekly, HollywoodLife.com, Just Jared and many other print and online publications. For more information, go to www.backstagecreations.com

About TEEN CHOICE 2016:

TEEN CHOICE 2016 is executive-produced by Bob Bain and Michael Burg. Paul Flattery and Kelly Brock serve as producers and Greg Sills serves as supervising producer. “Like” TEEN CHOICE 2016 on Facebook at facebook.com/TeenChoiceAwards. Follow the action on Twitter @TeenChoiceFox and join the discussion at #teenchoice. See photos and videos on Instagram by following @teenchoicefox.

For more of Mingle Media TV’s Red Carpet Report coverage, please visit our website and follow us on Twitter and Facebook here:

• www.facebook.com/minglemediatvnetwork

• www.flickr.com/MingleMediaTVNetwork

• www.twitter.com/minglemediatv

Follow our host Denise on Twitter at twitter.com/_DeniseSalcedo

Architecture: Wireless Web Enabled Camera Monitoring Systems by Brian Sinclair

Wireless Web Enabled Camera Monitoring Systems.

www.monitor-systems-engineering.com/wireless_web_enabled_...

Monitor Systems Engineering (Pixavi) are major players in the field of high definition wireless camera based communication, conferencing and monitoring systems. Monitor Systems Engineering SUPPLY, INSTALL and COMMISSION Wireless Web Enabled Camera Monitoring Systems for all key industries; (1) oil and gas, (2) manufacturing, (3) energy, (4) shipping and yards, (5) surveillance, (6) teli-medicine, (7) police, (8) fire fighting, (9) peacekeeping, (10) journalism and (11) architecture.

By limiting the need for long and costly cabling and wiring, Monitor Systems Engineering provides a high quality, cost effective wireless solution. Monitor Systems Engineering are able to deliver various wireless camera configurations and solutions for your industry and specific application.

Industry Scenarios

Wireless Web Enabled Camera Monitoring Systems.

(1) oil and gas: The complexity of the offshore oil rigs, often required very dedicated service persons that can quickly determine faults should they arise. However, on some occasions, the call for even greater knowledge resources are required to help recommend a proper service action, in order to prevent a shut down. The Xcaster EX-5000, Ex certified, wireless video conferencing system, is able to combat the toughest of elements and situations.

With real-time video and audio, the offshore service persons can seek assistance from onshore knowledge banks, to determine the best and most safest routine to complete the service job.

(2) manufacturing: A car manufacturer has a team of 20 crash test experts located all around the world. The manufacturer has built a brand new crash test center at a certain location. Traditionally the experts would travel to this site once a month to perform crash tests and evaluate the results. Today, this crash test center is using Monitor Systems wireless video conferencing products to communicate, document and analyze crash tests. The experts can stay at their fixed location and do not have to spend valuable time and resources on travel.

Cut your costs with a system from Monitor Systems Engineering, contact us today for more details about what we can offer your key industry.

(3) energy: A power company has several power plants in operation. Often times, service personnel are required to assist in a resource heavy maintenance routine, but due to logistical complications, it just is not possible to travel to the site when the problem arises.

Enter the Xcaster ST-5000 and its real-time, video and audio capabilities. Service personnel on site, can send images and audio to other knowledgeable centers for help in order to make critical repair recommendations, so that the equipment and the power plant can continue to operate.

(4) shipping and yards: A shipyard in Korea is building a ship for a Norwegian company. The complexity of ship building puts complex demands on communication between the vendor and the customer. By utilizing wireless video conferencing and advanced unified communication, the two parties are able to solve complex problems without having to travel to the site and thereby saves both time and cost.

The Xcaster series of products allows for quick and reliable remote collaboration from the field, in order to help make solid and exact build recommendations.

(5) surveillance: A large sporting event is planned in one of the world’s biggest countries. The event is a possible target for terrorists and unwarranted activists. To ensure that both safety and intelligence is managed, a comprehensive HD CCTV camera network is installed on the site. The introduction of wireless, battery operated cameras clearly poses benefits in such situations. The Monitor Systems Engineering Xcaster and Xcam products, along with the wireless infrastructure products, provides a very credible ad hoc and temporary surveillance capability. This capability gives event organizers, police and security official a great weapon to combat potential infiltrators.

(6) teli-medicine: An emergency vehicle comes to a large accident site which, in turn, puts high demands on the emergency personnel.

Luckily, the personnel are equipped with the Xcaster ST-5000 wireless video conferencing devices and can thereby consult with physicians and medical experts virtually anywhere in the world.

With high quality (High-Definition) images and video, plus two-way audio, life saving information can quickly be transmitted, in order to provide the field personnel with better information that will help the patient.

(7) police: Special Weapons and Tactics (SWAT) teams must analyze large quantities of information in order to make critical tactical determinations. Often, the large amount of information cannot be processed quickly enough to translate in proper reconnaissance information. However, with the use of live video and real time communication, like with the Xcaster ST-5000, SWAT officers, in conjunction with an operation center, can often be supportive in determining a proper course of action.

Live, in-the-field video and audio becomes the best tool to combat the situation!

(8) fire fighting: A firefighter is facing considerable risk when entering critical situations.

The more information that is available to the fireman, before his/her arrives at a scene, can ultimately mean life and death in some very specific cases.

With the rugged Xcaster technology in hand, on-scene fire officials can quickly report, in real-time video and audio, back to command posts, that can quickly offer tactical recommendations, which can translate into a more effective and efficient handling at the incident.

(9) peacekeeping: There exists, unfortunately, problematic areas of the world that require dedicated peacekeeping missions. In one example, a new peacekeeping representative runs into a potentially troubling situation while on a basic mission to check on a remote refugee center. As the representative is somewhat inexperienced, he / she can utilize the Xcaster series of products, in order to record or send live video and images from the incident. Officials in regional support centers, can quickly get a full view of the event, and offer the in the field representative, good advice and information on how to handle a potentially very complex situation. Solid and reliable information is a key factor in helping to solve problems and make decisions.

(10) journalism: The use of live, in the field correspondence has become increasingly popular in the media business. Traditional broadcasting equipment is becoming outdated, and the faster, more effective Xcaster technology is gaining footing in a very demanding arena of usage. With the Xcaster ST-5000, reporters can quickly access a wireless network to transmit a full, High-Definition quality, live, wireless video conferencing report from the field, when a developing story is unfolding.

The video feed can be transferred using Internet access or satellite links and stand ready to go live within seconds.

(11) architecture: It is often critical that architects work through problems and issues during the building phase in close coordination with the construction builders themselves. Irregardless of where the building is being built, the architect can use the Xcaster wearable video conferencing technology to connect parties directly in-real time to any situation requiring advanced collaboration. Through efficient and effective wireless video conferencing technology and wireless networking, architects, construction contractors and property developers can now start increasing efficiency, competitiveness and profit margins.

Further Reading

Oil and Gas Industry:

Applications within the oil and gas industry: Monitor Systems Engineering is proving its worthiness in some of the world’s toughest environments. The oil and gas offshore installations have long been deemed a very brutal and unforgiving place of business. With the introduction of Monitor Systems Engineering technology to these areas, large oil and gas companies have gained cost saving attributes and a safer working environment.

Over the past eight years, many of the world leading Oil & Gas companies along with Oil & Gas service companies have utilized the Monitor Systems Engineering intrinsically safe video cameras to communicate and collaborate within these harsh conditions. The ATEX Camera with its two way audio and video allows workers in the field to address issues, problems and situations with colleagues anywhere in the world. With its dynamic and revolutionary technology, the new Xcaster EX-5000 high definition wireless video conferencing system enables fast, secure and effective information flow from point to point allowing for discussions or effective multiparty collaboration all in real time.

To shut down or not to shut down: The decision to order a shut down is costly. Both time, money and safety elements are on the line. During these situations the Monitor Systems Engineering technology has time and again proven itself as an invaluable tool essential to critical information flow. On many occasions, the live video streams have helped managers, engineers and roughnecks alike to illustrate problems, and to determine quick and responsible paths to corrective measure to quickly have the shut down minimized. On many occasions, shut-downs have all together been completely averted, simply by establishing a video collaboration between parties onshore and offshore, to which colleagues could quickly conclude that issues could otherwise be handled without shutting down production!

Refineries: The Xcaster EX-5000 mobile video conferencing system is able to deploy at a moments notice when time is critical. With the ability to operate in hazardous areas both onshore and offshore, this Wi-Fi camera is able to maneuver quickly to various parts of the oil rig or production plant. By using the Monitor Systems Engineering EX-AP-A explosive proof, ATEX certified access points in these ATEX required areas, the Xcaster EX-5000 equipment can immediately begin to send High Definition (HD) quality video via the wireless network to virtually any point in the world. The Xcaster EX5000 is also able to help in cases of E-learning and safety inspection. Essentially: Maximize your resources and minimize travel needs.

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Manufacturing Industry:

Applications within the manufacturing industry: The manufacturing industry is a very demanding and competitive industry. On occasion, large machinery breaks down and consequently requires immediate servicing in order to keep the production facility operating. However, sometimes key service personnel are not able to respond quickly, due to logistical distances, thereby keeping the machinery at full stop and not producing.

The Xcaster ST-5000 has been designed with just such situations in mind. By utilizing the Monitor Systems Engineering wireless video conferencing technology, company officials and service agents can quickly via two-way audio and video, determine what the problem is by being able to actually see the faulty equipment directly from the site, back to wherever in the world the service agents are.

Through an established wireless network at the site, the Xcaster ST-5000 can quickly and effectively communicate utilizing IP video streaming to establish a true, in field and live mobile video conferencing collaboration session. The key service agents can thus maintain help to trouble-shoot the faulty machinery and in most cases get the machinery rolling again, so that manufacturing routines are not halted, and profits not lost. In this situation, discussion, diagnoses, and error checking can all be done in real-time!

In order to allocate more and dedicated service personnel, management and consultants to various operations, the wireless video conferencing systems by Monitor Systems Engineering, can help create a better forum of resources in which to pool from. In the case of heavy machinery, service companies can outfit a designated service person with the ST-5000 wireless video conferencing system, in order to collaborate and discuss a repair with other company service members that might be located anywhere in the world, in order to discuss a proper course of action for a repair.

Safety is also a major concern during repair operations. Service personnel can quickly and efficiently, utilize the real-time audio and video features of the Monitor Systems Engineering ST-5000, discuss an effective service routine with managers far away, to ensure that a safe work routine will done.

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Energy Industry:

Applications within the energy industry: The commercial energy industry is a very important segment of our global community. Large electrical and generating plants play a large role in our everyday lives. And with today’s focus on the environment, new and reusable energy sources are creating the need for technical and communications equipment and solutions that are environmentally friendly as well. The demands for more and simplistic methods to share work is increasing. The requirement for more information from the field is also on the rise.

On many occasions, researchers and scientists alike, require technology tools that allow them to discuss and be present in conferences, meetings and industry seminars to share their opinions and findings. The Monitor Systems Engineering line of wireless video conferencing equipment, including the Xcaster ST-5000 and EX-5000 model, allows these individuals to quickly and effective report directly from distant locations. They are able to share visual images of progresses, send high quality images of various findings, as well as discuss solutions and opinions with other scientists and participants around the world.

Monitor Systems Engineering with it solid knowledge regarding products designed to operate and function in demanding environments, has created a line of products that include the very latest wireless 802.11n technology and HD video. We have implemented them into a tough and durable package, that offers live mobile video conferencing capabilities, all in High-Definition (HD) quality images.

Large power plants rely on a high level of safety and predictability. The increasing number of power plants puts high demand on expertise and skillful understanding on how to address continual concerns on maintaining the optimal running conditions in these large facilities. With the Monitor Systems Engineering line of wireless, mobile video conferencing solutions, technicians, plant project managers and experts can maintain stabile communications from the field to any location in the world.

The Monitor Systems Engineering technology bridges distance, creates efficiencies and allows for real-time collaboration, so that knowledge can reach those areas of need.

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Shipping and Yard Industry:

Applications within Shipping and the Yard Industry: The commercial shipping industry requires precise and dedicated information to insure that cargo and ships adhere to logistical conditions and time requirements. The Xcaster ST5000 and EX5000 mobile video conferencing systems provide a stabile communication platform to provide shipping companies a method to review and check the status of loading and off loading operations and cargo registration in remote ports of the world. Featuring Wi-Fi based technology, crews are able to stream live video, while discussing specific load shipping with agents and customer alike, sometimes located continents away.

Ship Yards: are increasing utilizing parts and services from various locations around the world. Actual ship construction can take place in Norway, ship design in the United Kingdom and hull manufacturing in Poland. The key to a successful building platform is to ensure that all these parties are continual updated on work progress and that eventual delays and construction circumstances are reported promptly.

Introduction of the Monitor Systems Engineering Xcaster line of wireless video conferring cameras, has brought about a revolution in information gathering and information allocation to this industry If managers in Norway, require visual inspection of hull assembly in Poland, the Xcaster mobile video equipment can quickly be engaged to walk inside and outside the hull sections in Poland, to provide a real-time, IP video conference to any and all people in the organization, that need this information. By utilizing network video in this regard, all parties save travel time, and can otherwise gain useful knowledge from the comfort of their respected place of work, all without having to leave their office.

Transportation and storage: In locating items for transport or discussing load operations on ships in harbors, the Monitor Systems Engineering Xcaster series of wireless video conferencing technologies, helps transportation agencies by being able communicate with other staff members on or off location. Transport personnel can access files, talk with other crew members and discuss loading operations by way of high quality audio, IP video and data to an array of different groups.

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Surveillance Industry:

Application within the Surveillance Industry: Dependable surveillance equipment is a critical element of the total security efforts each company or organization puts forward to protect life and property. The ability to view, survey and detect an activity before a crime or intrusion is committed, saves costs towards theft and large scale property damage.

As a CCTV manufacturer, Monitor Systems Engineering can afford a company or organization at any level affordable and high-quality wireless CCTV solutions. Monitor Systems Engineering can custom design our security cameras to fit many types of physical and environmental settings. Monitor Systems Engineering designs its security camera systems to comply and interact with all types and standards of company network parameters.

As a leader in developing products associated with wireless technologies, Monitor Systems Engineering has many years of experience which is reflected in its line products and solutions. Monitor Systems Engineering has delivered its wireless CCTV solutions to military organizations, the oil & gas industry, security agencies, and energy industry to name a few. The Monitor Systems Engineering wireless security camera solution has been proven in many challenging circumstances, and continues to prevail as a high performance and reliable system for CCTV needs.

Rugged, corrosive resistant material and proven High Definition camera technology create a solid wireless CCTV security camera solution that is effective to combat the very toughest of environmental circumstances. By limiting the need for long and costly cabling and wiring, Monitor Systems Engineering can position a high quality security camera system to fit the needs of many different conditions.

Monitor Systems Engineering is able to deliver various wireless security camera configurations and solutions, dependent on the breadth and scope of what each individual customer requires. Additionally, Monitor Systems Engineering has the capability to apply solar panel driven wireless technology, should this be of interest.

Today’s world is becoming increasingly dependant on solid and well functioning surveillance technology. The increasing threats of terrorist groups and criminal activity are putting high demands on video quality. Monitor Systems Engineering has the skill and knowledge to present a full and dedicated wireless CCTV security camera solution for your organization today.

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Tele-medicine Industry:

Applications within Telemedicine Industry: Emergencies are critical periods, when seconds count. Quick, decisive action is required to save lives. Unfortunately, some accidents do happen in very remote locations, allowing only critical first aid to victims before extrication to a medical facility sometimes hours away. With the Monitor Systems Engineering Xcaster ST-5000 series of High Definition wireless video conferencing cameras, medics treating wounded person have an innovative tool at their disposal to help in their efforts.

By utilizing IP video, audio and data communication, the remote medical assistance groups are offered a way in which doctors, nurses and other medical personnel can be readily available to help at any time, regardless of location or time zone.

With the essential video collaboration link between field and hospital established, the Xcaster ST-5000 operating on SIP, H323 protocols, provides doctors at the hospital quality still images, and high quality High Definition (HD) video streaming to ascertain the nature of injuries, thus allowing them to prescribe a course of treatment to the medics in the field.

Real-time, Wi-Fi capable, the Monitor Systems Engineering Xcaster ST-5000 wireless video conferencing system allows for a visual and audio window between the remote location and the medical staff far away. Ultimately, the medics in the remote location, actually become “doctors in the field” as they can quickly gain strategic treatment recommendations by using the powerful visual medium and discussion, so that the wounded patient can receive the very best treatment for their injuries before arriving at the central hospital.

Quick, effective and reliable information can save lives. The Monitor Systems Engineering Xcaster ST5000 can help bridge the gap that time and distance often brings to critical situations.

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Law Enforcement / Security Industry:

Applications within Law Enforcement / Security Industry: Police, intelligence officers, Law enforcement officers and security personnel are often times presented with many hazardous circumstances and situations which challenge their training and skill on a daily bases. Monitor Systems Engineering video collaboration technology can help give officers at every level an advantage, by utilizing real-time audio and IP based, live video streams during emergency situations to attain more insightful information to ensure that a proper course of action is taken.

In the event of a crisis situation, officers in the field utilizing the Xcaster ST-5000 are able to report, in real-time, back to command central, so that quick and precise planning and action can be taken. Through a dedicated Wi-Fi network, the Monitor Systems Engineering Xcaster wireless video collaboration tool can bring the situation to virtually anyone, anywhere in the world. The video streams are encrypted with highly advanced algorithms like AES.

With a greater visual and audio overview of the situation, officers stand a much greater chance of successfully ending a potentially tragic situation. Trough both a dedicated audio and visual medium, officers can quickly communicate back to commanders that can, in turn respond with tactical recommendations, thus creating a safer, more well prepared operation.

Monitor Systems Engineering can also help during training sessions. Officers allocated with the Xcaster ST-5000 wearable video conferencing system, can be educated on tactical methods from instructors that might otherwise be sitting in central locations somewhere else in the city, country or world.

Utilizing the stabile 802.11 abgn network standards, the Monitor Systems Engineering Xcaster wireless video conferencing technology brings reconnaissance routines, anti-terror training and skillful insights to a new level. Via powerful live video stream, over IP, the Xcaster technology delivers secure and tactical information to the sources that can help!

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Fire Fighting Industry:

Applications within Fire Fighting Industry: Firefighters often times arrive at a critical emergency scene with little actual knowledge of the situation they have been requested to respond to. A reported small contained structure fire at the time they leave the firehouse can quite easily escalate to a full, very complex, multi structural building fire by the time they arrive at the scene.

In order to help determine the best logistical approach to battle the fire, firefighters and on scene fire officials can quickly transmit live IP video and images from the scene, back to commanders ready to assist with instructions, guidance or suggestions on how to best combat the fire. The revolutionary Monitor Systems Engineering Xcaster EX-5000 wireless video conferencing technology creates a running forum of up-to-date, real-time information for all the fire fighting personnel to join. Time is critical, and the more accurate and secure the information is, the better organized the firefighters will be when they engage the fire itself.

The explosive proof, Monitor Systems Engineering Xcaster EX5000, is designed and certified to tackle harsh and unforgiving environments. And as the level of on-scene activity grows, and as temperatures rise, the Xcaster is able to deliver High Definition (HD) live and still images to fire command. In return, command officials can afford firefighters crucial tactical recommendations that otherwise create an advantage in how best to contain and resolve the emergency.

The Xcaster technology can also be recommended for use at fire training academies. Individual fire cadets, equipped with the Xcaster mobile video conferencing unit, allow training officials to monitor step by step maneuvers by the cadets and thus be able to quickly afford them insightful knowledge during the training exercise, which will ultimately serve them well once they are in the field in real operations.

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Military Industry:

Wireless Video Streaming within Military Industry: With the increased demand for peacekeeping missions, so is the demand for knowledge resources to help control, inform and delegate materials and mission critical information to those troubled areas.

Monitor Systems Engineering has a wide variety of products and solutions, that can help facilitate even the most troubling of situations, within the most demanding of environments. Should the need call for high-quality, mobile, wireless video conferencing, or durable weather proof antennas that confirm to toughest criteria, Monitor Systems Engineering has the solution to help the cause.

With the Xcaster ST-5000 mil spec. wireless video conferencing system, peacekeeping forces and aid workers can freely move within difficult terrain, maneuver through brush and obstacles, to report in real-time to operation centers, quickly and efficiently. With High-Definition image quality, the Monitor Systems Engineering Xcaster ST-5000, transfers the detailed images straight from the field, thought a dedicated network, back to the operations centers.

Should a dedicated wireless network not be readily available, the Monitor Systems Engineering Xcaster ST-5000 has a built-in flash memory allowing it to function as a rugged mobile video camera, as well as a still image camera, producing high quality video and pictures. Once the mission reporting in the field is complete, the mission worker can bring the Xcaster back the operations center, and upload all the video and images, and stream this information directly back to those decision makers, responsible for managing the mission. With the image information in hand, clear and decisive measures can then be taken as to how to handle a particular situation.

Should the demand require real-time, video streaming from the field, Monitor Systems Engineering can create custom wireless network infrastructures for very demanding customers, in demanding environmental conditions. The Monitor Systems Engineering EX-ANT-B antenna is one of a handful of wireless infrastructure products that are constructed to handle extreme conditions, poor weather and demanding environments. Designed principally for the Oil and Gas industry, the explosive proof, intrinsically safe, EX-ANT-B antenna has proven that it is very much able to work in other harsh and demanding environments, outside the bounds of this particular industry in order to help create a dedicated wireless network. The EX-ANT-B antenna can be affixed to a number of standard access points available on the market. Connected, the rugged EX-ANT-B antenna and access point deliver a dedicated wireless environment to which the Xcaster ST-5000 or EX-5000 can freely operate in order to report live and wirelessly from field.

As the situation in a troubled area intensifies, so does the need for constructive and meaningful information. Monitor Systems Engineering presents several levels of equipment and technology that can significantly help to keep workers, officials and commanders abreast of the situation, in real-time, in full HD image quality and in constant dialog. Anytime, anywhere the situation may call.

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Journalism / Media News Industry:

Applications within Journalism / Media News Industry: News organizations associated with print and visual media reporting depend on quick and reliable facts to ensure that their reports generate the clearest and most concise information possible. The Monitor Systems Engineering Xcaster technology allows local, nation and global news agencies to report directly from the field, in real time, through both real-time video and audio streaming directly to network television or internet portals on their respected websites.

The Monitor Systems Engineering Xcaster ST-5000, with its ability to operate as both a Wi-Fi still image camera or powerful video recorder, can otherwise quickly engage the wireless network (802.11 abgn) transferring into a real-time video streaming system to be able to report all the stored images or video segments directly to the network.

Should the reporters find themselves in the field covering an important news story, the Xcaster offers dependable, proven technology to help transfer images and dialog directly from the area or event. Sporting events, weather reports and critical news updates, can all benefit from using the revolutionary Xcaster technology.

Generating interest and opinion are critical factors in news content. The Xcaster gives the journalist a significantly greater opportunity to process these facts, allowing for more complete and accurate reporting.

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Architecture / Building Industry:

Applications within Architecture / Building Industry: Architects and civil construction engineers require a solid understanding of their work sites in order to correctly place, build and detail structures. In coordination with its customers and third party contractors, the architect or property developer can hold live, in the field, video conference meetings in order to gain insightful knowledge on the project. Quick, efficient and useful feedback from the customer, construction manager and project official are essential in order that the optimal building criterion is realized.

In today’s modern communications world, wireless networks are becoming more common and prominent, even on building construction sites. By engaging the wireless 802.11 abgn network at the construction site, the architect can deploy a Monitor Systems Engineering Xcaster ST-5000, wireless video conferencing system to communicate with live IP video, real-time video steaming and full duplex audio to his/her clients virtually anywhere in the world. The Xcaster ST-5000 mobile video conferencing technology, can also allow architects to take high quality still images, as well as High Definition (HD) quality mobile video for archiving and storage on the Monitor Systems Engineering Xdrive.

It is often critical that architects work through problems and issues during the building process phases in close coordination with the builders themselves. Through efficient and effective wireless video conferencing, architects can establish solutions and criteria that are critical to the construction progress.

In essence, as buildings and construction routines become more complex, architects on location take advantage of the using a mobile video system by having the ability to send and receive, high quality HD video, high resolution still images and collaborate on specific project tasks from remote locations to central facilities or other locations situated elsewhere in the world.

The increasing presence in the construction industry of third party contractors with very narrow and specialized fields of know-how, requires a common, clear and thorough understanding of the work site.

Building construction: It is often critical that architects work through problems and issues during the building process phases in close coordination with the builders themselves. Regardless of where the building is being built, the architect can utilize the Monitor Systems Engineering Xcaster wearable video conferencing technology, to connect parties directly in real time at any situation requiring advanced collaboration dud ring the building process. Through efficient and effective wireless video conferencing technology and wireless networking, construction contractors and property developers can now start increasing efficiency, competitiveness and profit margins.

Black Oak Site 27 by Virginia State Parks

Site 27 in the Black Oak Campground located at Bear Creek Lake State Park

Barry McGee loft installation (animated TV) by TRUE2DEATH

6 7

Animated TV

Project Room

Barry McGee (TWIST)

Site-Specific Loft Installation

Esthel by Ben C.K.

16 9

My hairstylist friend Weena wanted some specific pictures to add to her portfolio.

So we set up this photoshoot back in Januray with 3 models, A Stylist & 2 MUA.

Here is Esthel.

--

Mon amie coiffeuse Weena voulait quelques images particulières à ajouter à son portfolio.

Nous avons donc organisé un photoshoot avec 3 modèles, une styliste et 2 maquilleuses.

Je vous présente Esthel.

Model Esthel Racine

Styling Darragh Kílkenny-Mondoux

Makeup Louanna Rosset

Hair Weena Jérôme

Lighting info

Left image

Key Light PCB E640, in a 120cm eBay Octabox, 1/4 power lighting model from the top 12:00

Kick Light 430EX with pink gel @24mm 1/2 Power, camera right behind model @2:00

Right image
Key Light PCB E640, in a 120cm eBay Octabox, 1/4 power lighting model from the top 12:00
Kick Light AB800 1/4 Power, camera right behind model @2:00

Canon 5D MKII + EF 85MM F1.8 USM | F9 | 1/160 | Iso 100

facebook | twitter | bencks

Your comments and favs are always appreciated!

19940603 - Grandad - Alexandria Journal next page - (public version) - by Claire CJS

Grandad on the cover of The Alexandria Journal, in honor of 50th Anniversary of D-Day. About halfway down the article text you can read some very personal stuff about his specific actions on D-Day, including his chilling quote, "In war, they don't scream like they normally would. They scream for their mothers."

PHOTO CAPTION: "Former United Press correspondent Doug Werner, left, dodged heavy fire while unarmed and carrying a typewriter. James L[REDACTED], below, swam to shore after more than a third of his unit was killed leaving the boat."

FULL ARTICLE TEXT:

"Fifty Years Ago, on June 6, 1944, the allies attacked a continent enchained by a forced of evil that historians today still struggle to understand. Nazi Germany had plundered civilized Europe and murdered millions of its peoples for nearly five yeras. The invasion launched early on that June day sought to put an end toall that and restore peace to what was left of a continent. From sites in southern England the Allies crossed the English Channel in the greatest amphibious invasion in history. On D-Day, soldiers--supported by air and naval forces--begin the long, bloody fight to free Europe and the world from the Nazis. The war in Europe did not end on D-Day, far from it. But it marked the beginning of the closing chapter of the most destructive war in history.

[COLUMN CUT OFF, SO THIS PART IS FRAGMENTS]

future wife, Ronni [sic; my grandma], from a

camp.

,000 others like them endured

es the rough English Channel

so lethal that even the most

surprised.

rt, we were oversold," said

from his [my grandad] home in Alexandria.

were members of the 16th

1st Infantry Division, which

Sicily in 1943 and in Algeria

were prepared to meet the

ere.

and the 29th Infantry divi-

irst wave onto Omaha Beach

ia National Guard, were met

resistance than anyone had

had been on tactical drills in

ng days were already along the

beach, positions to fire on the

rs and prevent reconnaissance

s came to U.S. Army Rangers

ross the beach and climb the

o big guns positioned to the fire

t the beach,they got the evil

[Grandad] said.

Casualties, the Rangers eventu-

f the cliffs only to find that the

aken the guns down.

they and other units encoun-

re trapped among defensive

to have been cleared from the

[DONE WITH CUT OFF COLUMN, BACK TO NORMAL]

it," said Finke, whose father had come to the United States to learn the cotton business, was born in Mississippi but grew up in Germany. He returned to the United States in his teens and joined the U.S. Army.

Although his cousin was a major general in the German army, Finke said there was no question of loyalty to the Allies.

"As far as I was concerned, I was fighting for the U.S. and their cause. I hated Hitler. I detested him. I just kept quiet how I felt. There was no sense in starting a family feud," Finke said.

Although his father never left Germany and died be3fore his son fought in World War II, Fike said he would have been pleased that he fought for the Allies.

As commander of the 16th Infantry's F Company, Finke hid the fact that he had fractured his ankle days before the invasion, and he boarded the ship with his troops.

At 33, Finke was at least 10 years older than most of the soldiers, who saw him more as a father figure than a commanding officer.

For Finke, that underscored his responsibility to his troops on D-Day -- the day they would need him most.

"We just kept quiet about it," he said of his ankle. "nNo one wanted me to not be there. If I hadn't come, that company wouldn't have functioned very well. If I hadn't have gone, they would have felt betrayed."

Sitting in his home recently at The Fairfax retirement community at Fort Belvoir, Finke recalled with emotion a major who avoided D-Day with claims of a back injury.

[BACK TO STUFF ABOUT MY GRANDAD, NEXT COLUMN]

"to avoid the gunfire, the navy r____ and mistakenly dropped the ramp into the ocean. Thirty-five of the 102 men on board were killed just getting off the boat, [Grandad] said.

"People went in all directions," he said. "They were jumping in water clear up to their necks with 109 pounds on their backs, going this way and thatt to avoid fire."

When he saw what was happening, [Grandad] and three others jumped off the side of the boat into the ocean.

All around them the water turned red from the dead soldiers, some of whom served as cover for the living. The wounded, some with limbs torn off, lay next to them, screaming for help.

In war, [Grandad] said, "They don't scream like they normally would. They scream for their mothers."

Looking back out to sea, the soldiers could see other disasters. A battalion with 16 Double Dry tanks struggled with floatation devices and padded propellers that wouldn't hold up in the choppy water.

"Look at the tanks out there! Look at what the 735th is doing!" [Grandad] recalled the soldiers yelling. "All 16 sunk to the bottom. We knew all of them."

With fire spitting all around them, [Grandad] and the other three made their way to the beach, taking cover behind sand dunes to catch their breath.

From behind a dune being battered on both ends, [Grandad] directed the men to go single-file over the top. After several minutes, [Grandad] made his way over the dune. When he got to the other side, he found the three men lying dead in front of him.

As he climbed the dune, machine gun fire tore ... [Please see D-DAY, A9]

Damn I want to know what happened next!

James.

Alexandria Journal, newspaper article.

from Dad.

Normandy, Nanny and Grandad's house, Alexandria, Virginia, France.

June 3, 1994.

... Read my blog at ClintJCL.wordpress.com

James Bernard L, my grandfather (dad's dad). Born 2/18/1922 in Fairmont, WV. Died 12/18/2001 in Arlington, VA.

Son of James and Minnie

Husband of Maria Clara ("Ronnie")

Father of Victor (dad)

Brother of Arnold Ray, Lena May and Charles

James Bernard L was a long-serving member of the 16th Infantry Regiment, 1st Division, and its Association. He joined the National Guard in 1936, then the 16th Infantry in 1940 at Fort Jay, New York. In the Allied landings in Africa in November, 1942, he was the Regimental Sergeant Major. He fought in Sicily and later, in the Normandy Invasion, as a Warrant Officer under General Omar Bradley. He continued with the 16th Infantry through France, the Battle of the Bulge, Germany and Czechoslovakia, earning a Silver Star.

After the war, he served at Fort Knox, Kentucky, the Joint Chiefs of Staff in the Pentagon, Fort Shafter, Hawaii, Ft. Sam Houstin in San Antonio, TX, and the Adjutant Generals School, Fort Benjamin Harrison, Indiana, where he retired in 1960 as a CWO-4.

James then became one of the strongest supporters of the Regimental Association, writing many articles and booklets produced by the Association, and was a contributor, editor, and participant in the production of the recent volume of the regiment's history, "Blood and Sacrifice."

James was also an avid flag collector and member of NAVA, and a longtime philatelist.

Ronnie L, born Maria Clara Rechen, is Clint's grandmother (dad's mom). Born 10/25/1918 in Lvov, Poland. Died 11/13/2003 in Alexandria, VA.

Daughter of Jozefa and Jacob, she was the only survivor of the holocaust in her family. She was liberated from a work camp by Clint's grandfather (James Bernard L.), who stormed Normandy 20 minutes into the D-Day invasion.

Trio of Friendship Cards by prospurring (Anne)

3 19

Hi there! I made this trio of friendship cards with three, specific, online blogging friends in mind. Just wanted to make something cheerful to celebrate our friendships. It will be fun to send them snail mail for a change! :-)

Friends: This card is for a special blogging friend. We visit each other's blogs often and she always brightens my day!

You're Special: This card is for another blogging friend who has become very special to me!

You Made My Day: This card is for a third blogging friend. She really made my day the other day ... and I want to celebrate and recognize that!

Views:

* Trio of Friendship Cards

* Friends card

* You're Special card

* You Made My Day card

Materials used:

* Basic Grey Two Scoops 6"x6" paper pad

* Bazzill Basics 8.5"x11" cardstock: Ocean Breeze

cardstock: aqua (slightly darker than Bazzill), dark turquoise, and white

* Clearsnap/ColorBox Cat's Eye pigment ink: Peacock

* EK Success 3D-Dots: 1/8" squares and 1/16" squares

* eyelets, silver

* Heidi Grace double-sided cardstock: Frost Blvd./Stitch Stripe (discontinued)

* Hero Arts CL130 Frames and Messages

* Hero Arts CL129 Anytime Messages ("you made my day" sentiment)

* Hero Arts CL151 Share Laughter ("friends" sentiment)

* Ranger Archival Ink (waterproof): jet black

* ribbon, white and pale green

Also for Deloris' NIFTS Challenge (Need Ideas For This Stamp).

Thanks for looking!

Prohibido cantar / No Singing. Jordi Colomer by Matadero Madrid

JORDI COLOMER

Prohibido Cantar / No Singing. Obra didáctica sobre la fundación de una ciudad paradisíaca.

Desde el 14 de septiembre

Precio: Entrada libre

Institución:

Abierto x Obras

Inauguración: Viernes 14 de septiembre a las 20 h.

Jordi Colomer es el encargado de esta nueva creación site specific en la antigua cámara frigorífica de Matadero. La obra de Colomer explora una singular visión de la escultura incorporando dispositivos escénicos, fotografía y videoinstalación.

'Os será más fácil sacarles el oro a los hombres que a los ríos'1

"La fundación de una ciudad no es forzosamente un acto heroico. Para las ciudades antiguas, la arqueología tantea un orden cronológico, desempolva las pruebas del suceso, mientras la Historia y la leyenda proponen sus relatos. Dice Jorge-Luis Borges: 'A mí se me hace cuento que empezó Buenos Aires: La juzgo tan eterna como el agua y como el aire'2.

Pero cada día, empiezan nuevas ciudades, construidas de agua, de hormigón, de sudor y de dinero. Algunas son -casi- pura idea. En su programa electoral el presidente Kubitschek prometió la creación de una moderna capital para Brasil y, en tres años, Brasilia se levantó entre las malezas del plano alto central, siguiendo fielmente los planes de Lucio Costa. A su vez los obreros que la pusieron en pie, venidos de todas las regiones del país, plantaron sus chamizos trémulos donde dormir y fundaron -sin saberlo- su propia ciudad. Hay ciudades de cristal que crecen en los despachos, y otras de lata y cartón que bailan al ritmo de sus propios habitantes. En una ocasión, a un grupo de forajidos a los que la policía les pisaba los talones se les estropeó el camión en pleno desierto. No podían seguir, ni ir hacia atrás. Fundaron entonces allí mismo una ciudad paradisíaca, la ciudad dorada, donde el mayor de los crímenes era no tener dinero. Esa ciudad se llama Mahagonny y Bertolt Brecht la imaginó al tiempo que Las Vegas brotaba con la forma de ciudad que hoy conocemos.

En Prohibido cantar / No Singing unos pocos personajes plantan un garito donde se ofrecen juegos de entretenimiento, trucos, amor y comida a bajo precio. La acción transcurre cerca de un camino polvoriento, en los mismos solares en los que hace un tiempo se proyectó una gran ciudad privada, con 32 casinos, llamada Gran Escala, que debía atraer a 25 millones de visitantes, pero que nunca vió la luz. Las imágenes que presentamos (en 7 pantallas) muestran cómo prospera la ciudad de Eurofarlete, bajo un sol inclemente y el cierzo soplando. Están compuestas de fragmentos de lo que allí sucedió durante dos días, y quizás ayuden a discernir una singular forma de organización por la supervivencia, donde todo está en venta, a precio de ganga y también a cualquier precio".

Jordi Colomer

1 Bertolt Brecht. Ascenso y caída de la ciudad de Mahagonny.1927-30.

2 Jorge Luis Borges. Fundación mítica de Buenos Aires in Fervor de Buenos Aires, 1923

BIOGRAFÍA

Jordi Colomer (1962) nació en Barcelona, ciudad en la que estudió Arte en EINA, Historia del Arte en la Universidad Autónoma y Arquitectura en la ETSAB. Vive y trabaja entre Barcelona y París.

Desde sus inicios el trabajo de Jordi Colomer ha ido incorporando a una singular visión de la escultura elementos de los dispositivos escénicos. Desde 1997 ha privilegiado el uso de la fotografía y la video-instalación. Sus primeros vídeos tomaban forma de micro-narraciones de raíz beckettiana, en los que los habitantes se debaten con objetos, decorados y espacios artificiales. En un segundo período estos personajes recorren la calle y el desierto con gestos y derivas que - (no exentos de cierto humor absurdo) - contagian un marcado espíritu crítico. Las obras de Colomer exploran las posibilidades de supervivencia poética que ofrece la urbe contemporánea. Así surgen obras como Anarchitekton (2002-2004), proyecto itinerante a través de cuatro ciudades (Barcelona, Bucarest, Brasilia, Osaka), No? Future! (rodada en Le Havre, 2004), Arabian stars (Yemen, 2005), Cinecito (La Habana, 2006), En la Pampa (realizada en el desierto de Atacama, Chile, 2008), Avenida Ixtapaluca (houses for México, 2009), The Istanbul Map (Istanbul, 2010), o más recientemente la trilogía What will come (Nueva York, 2010-11) donde los propios habitantes escriben el guión con sus desplazamientos en la suburbia americana ; o el proyecto Crier sur les toits (gritar a los cuatro vientos, 2011) donde se propone utilizar las azoteas como un pedestal a escala urbana, instituyendo una fiesta mundial. En l’Avenir (2011), inspirada en el Falansterio de Charles Fourier, las imágenes dan rostro a los habitantes de un proyecto utópico y son a la vez un comentario sobre sus posibilidades de materializarse. La instalación Prohibido cantar que aquí se presenta, investiga una vez más esa tensión entre proyecto y realidad, dibujando un espacio híbrido, a la vez totalmente físico y puramente mental; los proyectos de construcción de una ciudad de oro y casinos, que los medios anuncian tiene visos de precisarse y un lugar con mucho viento, contaminado por proyectos imaginarios del pasado y ahora ocupado por personas jugando a la ficción. Nótese que el propio espacio de Abierto x Obras ha quedado transformado por efecto de todas estas visitas.

Ha trabajado también como escenógrafo para el teatro en obras de Joan Brossa, Samuel Beckett, Valère Novarina así como en una ópera de Robert Ashley.

PROHIBIDO CANTAR / NO SINGING. JORDI COLOMER

(Didactic work on the foundation of a paradise city)

From 14 of september

to 09 of december

Price: Free

Institution:

Abierto x Obras

GALERÍA DE FOTOS

[ver + fotos]

'It's easier getting gold out of men than from rivers'. Bertolt Brecht,

The Rise and Fall of the City of Mahagonny, 1927-30

The foundation of a city is not necessarily a heroic act. Everyday a new city begins to be built on water, concrete, sweat and money. Some are -almost- a pure idea. In his election manifesto president Juscelino Kubitschek promised the creation of a modern capital for Brazil in three years, Brasilia was built amongst the weeds of the high central plane, faithfully following the plans of Lucio Costa. At the same time the builders, who came on foot from all parts of the country, pitched their trembling huts where they slept and founded– without knowing it- their own city.

There are glass cities that grow out of offices and others made from tin and card that dance to the rhythm of their own inhabitants. On one occasion, a group of outlaws were being tailed by the police, when their truck broke down in the middle of the desert. They couldn't keep going or turn back. So they ended up founding a paradise city, the golden city, where the worst crime was not to have any money. That city was called Mahagonny and Bertolt Brecht envisioned it at the time when Las Vegas came about shaping the image of the city that we recognise today.

In Prohibido cantar / No Singing a few characters make a gambling den where they offer entertainment games, tricks, love and food at low prices. The action takes place close to a dusty road, on the same plot of land and during the time in which a great private city was planned, with 32 casinos, called Gran Escala, which was to attract 25 million visitors, and yet never saw the light of day. These images reveal how the city of Eurofarlete thrives, under a blazing sun and strong blowing winds. Fragments of what passed there over two days may help to discern the particular form of organisation needed for survival, where everything is on sale at a bargain price or indeed at any price.

Jordi Colomer (Barcelona, 1962) His work explores the possibility of poetic survival that is offered by the contemporary metropolis through a unique vision of sculpture incorporating scenic devices, photography and video installation. Prohibido Cantar / No Singing returns to investigate the tension between project and fiction and creates a hybrid space, on both a physical and mental plane. He has been educated in art, art history and architecture, among his latest solo shows are l'Avenir in the Palais de Beaux Arts (Brussels), What will come in the Argos Centre for Art and Media (Brussels), Co Op City at the Bronx Museum of the Arts (New York), Fuegogratis in the Laboratorio Arte Alameda (México D.F.), La Panera (Lleida) and Galerie du Jeu de Paume (Paris).

Gromit Leads the Way to Bristol by Matthew Wells

Would you like a take a shortcut to a specific Gromit?

Germany - Lüneburg Heath - 37 by Manfred Sommer

Lüneburg Heath (German: Lüneburger Heide) is a large area of heath, geest and woodland in the northeastern part of the state of Lower Saxony in northern Germany. It forms part of the hinterland for the cities of Hamburg, Hanover and Bremen and is named after the town of Lüneburg. Most of the area is a nature reserve. Northern Low Saxon is still widely spoken in the region.

Lüneburg Heath has extensive areas of heathland, typical of those that covered most of the North German countryside until about 1800, but which have almost completely disappeared in other areas. The heaths were formed after the Neolithic period by overgrazing of the once widespread forests on the poor sandy soils of the geest, as this slightly hilly and sandy terrain in northern Europe is called. The Lüneburg Heath is therefore a historic cultural landscape. The remaining areas of heath are kept clear mainly through grazing, especially by a North German breed of moorland sheep called the Heidschnucke. Due to its unique landscape, Lüneburg Heath is a popular tourist destination in North Germany.

GEOGRAPHY

LOCATION

From a geographical point of view, Lüneburg Heath is a specific natural region, that is an area distinguished by a specific combination of abiotic factors (climate, relief, water resources, soil, geology) and biotic factors (flora and fauna). Lüneburg Heath is a sub-division of the North European Plain. In the list of the major natural regions of Germany issued by the Federal Office for Nature Conservation (Bundesamt für Naturschutz) it is region number D28.

Lüneburg Heath covers an area which includes the districts (Landkreise) of Celle, Gifhorn, Heidekreis, Uelzen, Lüneburg, Lüchow-Dannenberg, southeast Rotenburg (the town of Visselhövede, Fintel, part of the municipality of Scheeßel and the eastern half of Bothel) and the rural district of Harburg. The easternmost fringes of the Stade Geest belonging to Landkreis Verden are called the Linteln Geest (Lintelner Geest) or Verden Heath (Verdener Heide) and form part of the municipality of Kirchlinteln. This region has no sharply defined boundary with the Lüneburg Heath.

Lüneburg Heath lies between the rivers Elbe to the north, the Drawehn to the east, the Aller to the south and southwest, the middle course of the Wümme to the west and the Harburg Hills (Harburger Berge) to the northwest.

On the northwestern edge of Lüneburg Heath are the Harburg Hills and south of Schneverdingen there are bogs, such as the Pietzmoor. Also of note are other smaller bogs in sinkholes, like the Grundloses Moor ("bottomless bog") near Walsrode or the Bullenkuhle near Bokel (part of Sprakensehl). The eastern boundary to the Wendland is formed by the Göhrde-Drawehn Hills (the Ostheide natural region). Parts of Lüneburg Heath are in the Südheide Nature Park, others in the Lüneburg Heath Nature Park.

HILLS

The highest elevation on Lüneburg Heath is the Wilseder Berg (169.2 metres) above NN). Other hills over 100 metres high are: Falkenberg (150 metres), near Bergen, Ahrberg (145 metres), Hakenberg (143 metres), Hoher Mechtin (142 metres), Pampower Berg (140 metres), Lüßberg (130 metres), Brunsberg, near Sprötze (129 metres), Goldbockenberg (129 metres), Hingstberg (126 metres), Staffelberg (126 metres), Hengstberg (121 metres), Höpenberg near Schneverdingen (120 metres), Haußelberg (119.1 metres), Breithorn (118 metres), Mützenberg (115 metres ), Tellmer Berg (113 metres), Wümmeberg (107.9 metres), Schiffberg (107 metres), Hummelsberg and Wulfsberg (each 106 metres), Drullberg and Thonhopsberg (each 104 metres), Kruckberg and Wietzer Berg (each 102 metres) and Höllenberg (101 metres).

Several of these hills - the Wilseder Berg, the Falkenberg, the Haußelberg and the Breithorn - were used by the mathematician, Carl Friedrich Gauss, as triangulation stations in his topographical surveys of the Kingdom of Hanover from 1821–1825.

RIVERS AND STREAMS

Rivers in the area, beside the numerous small heathland streams, include the Wümme, which rises on the western slopes of the Wilseder Berg, in the south the Lachte with its tributary the Lutter, and the Aller, the Vissel, the Böhme, the Grindau, the Meiße and the Örtze. They all belong to the Weser river system. Those flowing into the Elbe are the Aue, the Ilmenau, the Luhe and the Seeve.

GEOLOGY

The immediate subsurface layers on Lüneburg Heath are almost exclusively made up of deposits from the quaternary ice age. The landscape consists of flat plains of ground moraines, ridges of hilly terminal moraines and also of sandar - glacial outwash plains deposited at the edge of the ice sheet.

During the Saalian Stage (230,000–130,000 years ago) the area of the present-day Lüneburg Heath was covered three times by a continental ice sheet. In the last glacial period (110,000–10,000 years ago) the ice sheet no longer covered the Lüneburg Heath area; it reached only as far as the River Elbe. Due to the lack of vegetation, the much more rugged terrain at that time was heavily eroded by water, wind and by soil fluction; this resulted in valleys like the Totengrund. The material displaced by erosion, referred to as sediment (Geschiebedecksand), has a depth of 0.4 to 0.8 metres (on slopes up to 1.5 metres).

The region is mostly covered by a heathland landscape consisting of big heather and juniper areas, forests and some smaller swamps. In contrast to the areas in the north of Lüneburg Heath, the landscape is very hilly, as it is placed on a terminal moraine.

NATURAL DIVISIONS

Lüneburg Heath is divided into the following natural sub-divisions:

HIGH HEATH

The Hohe Heide ("High Heath") consists of a series of end moraines from the glaciers of the Saalian glaciation (230,000–130,000 years ago) with the Wilseder Berg at its heart. Unlike the other natural divisions of Lüneburg Heath, the terrain is quite rugged. Characteristic of the area are dry hilltops, periglacial dry valleys and hollows like the Totengrund. Heathland dominates the landscape. They are part of the Lüneburg Heath Nature Park and of great importance for tourism. In addition there are also extensive pine forests.

SOUTH HEATH

The South Heath (Südheide) is dominated by expanses of gently undulating, hilly Sander plains, and sheets of ground moraine and the remains of end moraines from earlier ice ages. There are still large areas of heath on the military training areas near Bad Fallingbostel and Munster (Örtze); these are out-of-bounds to visitors however. The Osterheide near Schneverdingen also belongs to this natural subdivision. It is part of the Lüneburg Heath Nature Reserve. Near Schneverdingen and south of Soltau there are several bogs. A large area of the Südheide is covered by pine forests.

EAST HEATH

Numerous end moraines run through the Ostheide ("East Heath") which stretches on the eastern edge of Lüneburg Heath from Lüneburg to north of Wolfsburg. In parts of this region the land is intensively cultivated. The northern area, the so-called Göhrde and the Drawehn, are by contrast mostly wooded like the southern ridge of end moraine.

UELZEN BASIN AND ILLMENAU DEPRESSION

The ground moraine landscape of the Uelzen Basin is predominantly used for agriculture. On the surrounding ridges there are also a few pine forests however. There are still large areas of heath here as well, for example the Ellerndorfer Heide ("Ellerndorf Heath") in western Uelzen district or the Klein Bünstorfer Heide ("Klein Bünstorf Heath").

LUHEHEIDE

The ridges of end moraine on the Luheheide have clearly defined slopes that fall away sharply to the Elbe Valley. The heath is deeply incised by all the rivers that drain northwards to the Elbe; rivers such as the Seeve, Aue, Luhe (Ilmenau). The ridges between them are wooded and sparsely populated. Settlements are crowded together in the valleys. There is hardly any heathland left in this area, it has been largely reforested by pines.

CLIMATE

Lüneburg Heath lies in a temperate maritime climatic region moderated by the Atlantic, with mild winters, cool summers and precipitation all-year round. The Hohe Heide, however, has a "low mountain climate" with lower temperatures and higher precipitation than in the surrounding area.

NATURE

NATURE PARKS AND NATURE RESERVES

In the northwestern part of Lüneburg Heath is the Lüneburg Heath Nature Park which covers an area of 1,130 square kilometres. At its heart, around the Wilseder Berg, is the Lüneburg Heath Nature Reserve (Naturschutzgebiet or NSG) founded as long ago as 1921 with 234 square kilometres of land which is roughly 58% woods and 20% heathland. Other nature parks in the Lüneburg Heath region are the Südheide Nature Park and Elbufer-Drawehn Nature Park. Right in the north of the area is the Harburg Hills Nature Park. The Lüneburg Heath NSG, together with the open heathland of the huge Munster Nord and Süd training areas and the Bergen-Hohne Training Area, is the largest single area of heathland in Central Europe. And within the former province (Regierungsbezirk) of Lüneburg there are no less than 212 individual nature reserves (as at 31 December 2006).

FORMATION OF THE HEATH LANDSCAPE

After the end of the Weichselian Ice Age (115,000 to 10,000 years ago) the first woods appeared in the area that now forms Lüneburg Heath which, following the natural ecological succession and encouraged by a gradual improvement in the climate, progressed from birch and pine forest through hazel woods to light woods of sessile oaks.

The heath and its surrounding area belong to those regions of the North German Plain in which the hunter culture of the Mesolithic era was superseded quite early on by Neolithic farmers. By about 3000 BC, during the Neolithic, large open areas appeared on the lightly undulating, sandy stretches of geest on Lüneburg Heath. This was a result of the intensive grazing of the sessile oak woods and the associated destruction of successive new stands of trees. These open areas became dominated by the common heather (Calluna vulgaris), a largely grazing-resistant species of plant. Nevertheless, oak and beech woods succeeded time and again in establishing themselves wherever man left areas of heath untended. Over a long period of time the region of Lüneburg Heath alternated between periods when the heathlands spread and dominated the scene and times when it was largely covered with forest and only small areas of heath existed. Finally, after the migration period, the wooded areas of the region increased considerably.

Not until after 1000 AD does the pollen analysis show a continuous reduction in the woodlands and a considerable increase in heather. This was brought about by a change from nomadic farming to settled farming with permanent settlements. The typical heath farming economy emerged: due to the poor soils the few available nutrients from a large area were concentrated on relatively small fields, from which grain, in particular, could be produced. This was achieved by the regular removal of the turf (a method known as Plaggen), which was used as hay for the pens of the moorland sheep, the Heidschnucken. This was then enriched with the manure and urine of the sheep – and spread over the fields as fertiliser.

By cutting the turf the regenerative capacity of the soils was exhausted. The regular removal of the top layer of soil contributed to the spreading of heathland. As heather decomposes, the pH value of the soil falls drastically, as far as the iron buffer-region at pH 3, which initiates the process of podsolisation. Soil life is severely damaged, which results in a hard layer of earth underneath the root zone on the heath at a depth of about 40 centimetres. The iron and humus particles released by the topsoil precipitate onto this impervious hardpan. The subsoil thus separates itself from the topsoil. The nutrients are largely washed out of the topsoil which leads to leaching and causes the typical grey-white coloration of the paths on the heath.

The oft-expressed view in the literature that the heath arose in the Middle Ages as a result of the demand for wood by the Lüneburg salt pans is incorrect. The Lüneburg salt ponds certainly needed firewood for the production of salt, but they did not appear until around 1000 AD, by which time the heath had already been around for 4,000 years. The amount required, even in the heyday of production, could have been continuously supplied by an area of woodland about 50 km2 in area, yet the heath covers over 7000 km2. In any case the wood certainly did not come from the heath, but via the waterways, especially from Mecklenburg up the Elbe and from the area of the Schaalsee. Transportation overland would have been far too expensive (apart from the River Ilmenau which was navigable at the time, no rivers flow from the main areas of heathland to Lüneburg), as can be seen not only from some of the delivery notes which still survive, but also from the fact that there are still large woods around Lüneburg itself, such as the Göhrde. Finally heathland has frequentely developed in areas where there are no salt pans, such as the sheep-grazing regions on the coasts of Norway to Portugal and in Scotland and Ireland.

The heath is not therefore a natural landscape, but a cultural landscape created by the intervention of man. In order to prevent its semi-open heathland from being repopulated by trees, especially pines and, to a lesser extent, silver birches, which would cause the loss of this millennia-old environment and its many inhabitants, including often very rare animal and plant species, sheep are allowed to graze it regularly; these are almost exclusively the local German moorland sheep, the Heidschnucke.

PLANT POPULATION/PHYTOCENOSIS

In the 20th century, numerous conservation measures were implemented on Lüneburg Heath; as a result, it is one of the best researched regions of central Europe.

- Heathland

Sand heaths form about 20% of the Lüneburg Heath Nature Reserve and may be broken down into further sub-divisions, the most important being:

- Ordinary sand heath (Typische Sandheide, Genisto-Callunetum)

In addition to the common heather (Calluna vulgaris) only a few taller plants occur here, none of which can be classed as characteristic species. Amongst them are the wavy hair-grass (Deschampsia flexuosa) and common juniper (Juniperus communis). Ordinary sand heath is the most widespread of the heathland types. Its proportion has increased in recent decades at the expense of other heath habitats. This reduction in the variety of heathland types may be due to increasing nitrogen levels from the air, the increase in plant litter (Rohhumusauflagen) and the natural ageing of the heathland.

- Lichen-rich sand heath (Flechtenreiche Sandheide, Genisto-Callunetum cladonietosum)

The lichen-rich sand heaths can be told apart from the other types of heathland by the presence of various cup lichens (Cladonia), ciliated fringewort (Ptilidium ciliare) and juniper haircap (Polytrichum juniperinum). They occur frequently on dry, south-facing slopes. This type of heath is found west of Niederhaverbeck and near Sundermühlen.

- Clay heath (Lehmheide, Genisto-callunetum danthonietusum)

This can be identified by the presence of heath grass (Danthonia decumbens), pill sedge (Carex pilulifera), mat grass (Nardus stricta), fine-leaved sheep's-fescue (Festuca filiformis), mouse-ear hawkweed (Hieracium pilosella) and field wood-rush (Luzula campestris). Clay heaths have become very rare within the Lüneburg Heath. They are found on the Wilseder Berg and south of Niederhaverbeck.

- Blueberry sand heath (Heidelbeer-Sandheide, Genisto-Callunetum, Vaccinium myrtillus Rasse)

Blueberries (Vaccinium myrtillus) are the signature species of this type of heath and, more rarely, cranberries (Vaccinium vitis-idaea). Blueberry heath is the second most common type of vegetation on the heathlands and occurs especially on northern slopes, the edges of woods and thick juniper hedges. This type of heath is particularly characteristic of the northern slopes of the Wilseder Berg, as well as the Steingrund and Totengrund. In those places, cranberries have even ousted the common heather (Calluna vulgaris) in places.

- Wet sand heath (Feuchte Sandheide, Genisto-Callunetum, Molinia-Variante)

Wet sand heath is the ideal habitat for purple moor grass (Molinia caerulea), cross-leaved heath (Erica tetralix) and scirpus (Scirpus cespitosus). It occurs in places close to the water table and in the transition zone around bogs. Its primary locations are areas north of Wilsede and near the Hörpel Ponds (Hörpeler Teichen).

WOODS

The greater part (about 58%) of the Lüneburg Heath Nature Reserve consists of woods, primarily pine forests, which were planted in the second half of the 19th century on former heathland and drifting sand. In some cases the dunes simply became naturally overgrown, again with pines. There are only a very few old stands of sessile oaks, which stem from the logging industry during the time of the Kingdom of Hanover. In many parts of the nature reserve there are so-called Stühbüsche (a form of coppice), trees that were coppiced by repeatedly being cut short. In the meantime they have grown wild again and have a characteristic and unusual appearance with their multiple trunks. Near Wilsede there is the remnant of a Hutewald, a wood pasture with giant, multi-stemmed beech trees.

BOGS

The largest bog on Lüneburg Heath is the Pietzmoor, which lies east of Schneverdingen. It was drained however and peat was cut there until the 1960s. The Nature Park Association carried out work in the 1980s to try and turn it back to its natural waterlogged state. For example, some of the drainage ditches were filled which led to a considerable rise in the water levels of the former peat cuts. However typical bog vegetation has not yet re-established itself.[8]

ANIMALS

Many species of animal live on Lüneburg Heath, particularly birds that are at home in the wide, open landscape, some of which are seriously threatened by the intensive-farming techniques in other areas. These include the: black grouse (Tetrao tetrix), the nightjar (Caprimulgus europaeus), the woodlark (Lullula arborea), the great grey shrike (Lanius excubitor), the red-backed shrike (Lanius collurio), the northern wheatear (Oenanthe oenanthe), the wryneck (Jynx torquilla), the European green woodpecker (Picus viridis), the stonechat (Saxicola torquata), the Eurasian curlew (Numenius arquata), the common quail (Coturnix coturnix) and the black stork (Ciconia nigra). In the Lüneburg Heath the population of the very rare black grouse is rising continually. In 2007 78 were counted, 13 more than in the previous year. Since 2003 the number of grouse has doubled.

Wolves, although once extinct in the area, have returned to the Lüneburg Heath.

Numerous species including European bison, moose and brown bear which once inhabited the region may be seen in the Lüneburg Heath Wildlife Park alongside more exotic animals like snow leopards and Arctic wolves.

CULTURE AND HISTORY

EARLY HISTORY

Pollen analyses show that the dry geest soils of North Germany have been cultivated since about 3000 BC. Clearance by fire and the cultivation of crops on the Pleistocene sandy soils quickly led however to soil degradation. So the land cleared by fire could only be used for a short time. The settlements moved frequently and woods elsewhere were cleared. Even at that time the first Calluna (heather) heaths appeared (see above). Evidence of relatively dense settlement is found especially in Uelzen district. On Lüneburg Heath there are numerous Megalithic sites and tumuli from the Neolithic and the early Bronze Age. The most famous are the Oldendorfer Totenstatt (Oldendorf Gravesite) and the Sieben Steinhäuser (Seven Stone Houses). But even in the Lüneburg Heath Nature Reserve there are more than a thousand tumuli, especially near Nieder- and Oberhaverbeck. The largest of these tumuli is the so-called Prince's Grave (Fürstengrab). Also near Wilsede there is the well-known stone and juniper group known as Hannibal's Grave (Hannibals Grab).

TRANSITION TO SETTLEMENT CULTURE

After the withdrawal of the Lombards in the migration period, from about 700 AD Lüneburg Heath belonged to the Duchy of Saxony, which was conquered by Charlemagne in the 9th century and became part of the Frankish Empire. The resulting close control of the population and the Christianization meant that the rural settlements had to stay in one place and could no longer move about freely. The land had to be farmed more intensively which led to the heathland spreading.

SETTLEMENTS

Lüneburg Heath was always relatively sparsely populated due to the poor soils in the area. The region was dominated by heath farming which was a less intensive form of land usage necessary for its large areas of barren terrain and heathland. An important economic sideline of past centuries was heathland beekeeping. The villages were usually encircled by small tracts of woodland, sometimes interrupted by fields or meadows, and merged without clear boundaries into the surrounding landscape. The farmsteads were arranged relatively arbitrarily, many stood very close to one another; others were spread out at some distance from each other. They were loose cluster villages (lockere Haufendörfer). In order to prevent cattle trampling flat the gardens attached to the houses, village roads were enclosed with wooden fences and, later, with characteristic stone walls. The typical design of farmhouse was the Fachhallenhaus, a large timber-framed single building, in which people and animals lived under a single roof. Each village had relatively few complete farms; in Wilsede there were only four, in the church village (Kirchdorf) of Undeloh there were eleven, but that was an exception. In addition there were Koten (small, single houses), sheep pens and shared bakehouses. The farms themselves, however, were very large. In Wilsede all the features of a heath village described here may still be seen. Wilsede Heath Museum (Heidemuseum Wilsede) was established in a Fachhallenhaus and it gives an insight into the working and living conditions of a heathland farm around 1850. Walsrode Heath Museum was one of the first German open air museums and also portrays the life of heathland folk. In rural parts of the region they still sometimes use today a Low German dialect called Heidjerisch. This word derives from the name given to inhabitants of the Lüneburg Heath – the Heidjer.

HEATH CONVENTS

In the Lüneburg Heath region, six nunneries from the Middle Ages survived, which became Protestant convents after the Reformation. These establishments are the abbeys of: Ebstorf, Isenhagen, Lüne, Medingen, Wienhausen and Walsrode.

THE END OF THE HEATHLAND FARMING IN THE 19TH CENTURY

From 1831 feudalism was abolished in the Kingdom of Hanover and those heathland areas that were common land for the villages were divided amongst the individual farmers. Heathland farming died out at the end of the 19th century. Many farmers sold their land to the Prussian treasury or the Hanover monastic chamber, who afforested the land with pines. As a result, the area of heath was drastically reduced.

In 1800, large parts of Northwest Germany had been covered with heaths and bog. Today, by contrast the only large, continuous areas of heath remaining are in the Lüneburg Heath Nature Reserve and on a few military training areas.

The changing perception of the heath

As late as the turn of the 18th to the 19th century, the barren and almost treeless heathlands were still perceived as hostile and threatening environments, as evinced by two travel logs of journeys between 1799 and 1804:

As I had traversed the Hanoverian dominions in so many directions, I did not expect to find nature clothed in charms, or a high degree of population, fertility, and cultivation. Next to Lauenburg, I think it is the worst tract of an equal extent that I ever met with. The soil is one vast sandy desert, which is either naturally bare, or covered with patches of heath or grass.

- Charles Gottlob Küttner: Travels through Denmark, Sweden, Austria and part of Italy, in 1798 & 1799. London 1805.

On leaving Zell we passed through a dark wood, of at least two leagues in extent; and from that city to Harburgh, in a line of nearly twenty German miles, we travelled over sandy plains and extensive heaths. At a great distance, geese, ducks and sheep of a very poor appearance, never failed to indicate the vicinity of some wretched hamlet. What habitations! Whole families, of the most wretched appearance, and covered with tattered garments, associate together, eat and sleep with their cattle. Near these real catacombs we observed growing a few stalks of rye and barley, and here and there a few tufu of buck-wheat. The straw is short and stunted, and the ears of a diminutive size. Population and agriculture must ever be dependant on each other.

- Michel Ange Mangourit: Travels in Hanover, during the years 1803 and 1804. London 1806.

The poem Der Heideknabe ("The Heath Lad") from the year 1844 by Friedrich Hebbel stresses the unearthly atmosphere and the bleak solitude of the heaths:

:(...) Out, out of the town! And there it stretches,

The heath, misty, ghostly,

The wind swishing over it,

Oh, every step here is like a thousand others!

And all so still, and all so quiet,

You look around for signs of life,

Only hungry birds dart by

Out of the clouds, to spear worms (...).

Towards the middle of the 19th century the first positive descriptions of the heath emerged, initially inspired by the romantic movement. With the Industrial Revolution in Germany, unspoilt nature became more important for people, providing a welcome contrast with the rapidly burgeoning cities. Because the heathlands of North Germany were being increasingly decimated by cultivation and reforestation, they now appeared to be worth protecting. Numerous writers and painters portrayed the beauty of the heath, particularly when it was in bloom in August and September. One important heathland artist was Eugen Bracht. The most famous heath poet was the local writer Hermann Löns (1866–1914), who spent some time living in a hunting lodge near Westenholz. He worked the heath countryside into his books and promoted the foundation of the first German nature reserve on Lüneburg Heath. His purported remains were buried in a juniper copse at Tietlingen near Walsrode in 1935. His works were a source for Heimatfilme that were shot on Lüneburg Heath, such as Grün ist die Heide ("The Heath Is Green") from 1932 and remade in 1951 and 1972, as well as Rot ist die Liebe ("Red is Love") from 1956.

HISTORY OF CONSERVATION ON LÜNEBURG HEATH

Around 1900, there were growing demands to save the heathland and bogs of northwest Germany, which were threatened by reforestation and drainage. On Lüneburg Heath, Wilhelm Bode, then the pastor at Egestorf, was particularly active in pressing for the preservation of the endangered countryside. He had learned in 1905 of plans for building weekend houses on the Totengrund. In order to prevent this, he persuaded Andreas Thomsen, a professor from Münster, to acquire the area as a nature reserve. In 1909, Pastor Bode and district administrator (Landrat) Fritz Ecker prevented the planned reforestation of the Wilseder Berg.

In the same year, an appeal by Curt Floerike appeared in Kosmos magazine, citing the establishment of national parks in the United States and calling for them in Germany. In order to realise this goal, the Nature Park Society or Verein Naturschutzpark (VNP) was founded in Munich on 23 October 1909. They planned to create national parks in the Alps, the Central Uplands and in the north German geest region. By 1913, the society had 13,000 members.

The area of Lüneburg Heath near Wilsede was selected as the location for the north German national park. Using the VNP's funds, more than 30 km² of heathland were purchased or rented by 1913. In 1921, a police ordinance placed more than 200 km² of Lüneburg Heath under protection, the first time this had been achieved in Germany. One problem that arose as early as the 1920s was the steadily increasing number of visitors. In 1924, in order to keep visitors away from sensitive areas of heathland, a volunteer Heath Guard (Heidewacht) was founded.

The Reich conservation law was passed in 1933 and Lüneburg Heath was designated as an official nature reserve. Although plans to build a motorway through the park and for the heath to be used as a military training area were stopped, in 1933 the Heidewacht was disbanded, mainly because it was made up of members of social democratic youth organisations. In 1939, a new law that granted the chairman of the VNP – now called Führer – wide-ranging powers. Jews could no longer be members of the society.

Between 1891 and the Second World War, large military training areas were established on Lüneburg Heath, including the largest one in Europe, the Bergen-Hohne Training Area on the Südheide. Here the heathland has largely been preserved, albeit no longer accessible to the general public.

A large area of the nature park belonging to the society near Schneverdingen was taken over by the British Army of the Rhine in 1945 for use as a tank training area. In the 1950s, during military exercises, British tanks even pushed forward as far as the Wilseder Berg. Not until the Soltau-Lüneburg Agreement, was signed in 1959 between the Federal Republic of Germany, the United Kingdom and Canada, were the boundaries of the tank training area fixed. Continual exercising over the area by armoured vehicles completely destroyed the vegetation on the Osterheide near Schneverdingen, forming large areas of sand dunes. In 1994, the British returned the so-called "Red Areas" of the Soltau-Lüneburg Training Area to the Nature Park Society who, with the help of money from the federal government, set about the work of renaturation. Nowadays hardly any traces of the tank training area are left. The base camp for military exercises, Reinsehlen Camp, has been turned into a nature reserve.

FOREST FIRE

In August 1975, fire broke out on the Südheide which turned out to be the biggest forest fire in West Germany to that date. Serious forest fires broke out in the southern part of the area near Stüde, Neudorf-Platendorf, Meinersen and then by Eschede near Celle, with devastating effects and fatalities.

TOURISM

Today the area is a popular tourist destination. Contributing to this are the theme park, Heidepark Soltau, the Walsrode Bird Park, the Serengeti Safari Park at Hodenhagen, Snow Dome Bispingen, and a Center Parc as well as the many farms offering holiday stays, making the Lüneburg Heath especially popular for families. Another group of tourists are the elderly on free guided bus tours (Kaffeefahrten), stopping for coffee and wool plaids at a farm before touring Lüneburg for an hour.

Kunststätte Bossard in the Nordheide near Jesteburg is an expressionist Gesamtkunstwerk open to the public.

The memorial/exhibition at the former Bergen-Belsen concentration camp near the town of Bergen is also located in the Lüneburg Heath.

WIKIPEDIA

Prohibido cantar / No Singing. Jordi Colomer by Matadero Madrid

JORDI COLOMER

Prohibido Cantar / No Singing. Obra didáctica sobre la fundación de una ciudad paradisíaca.

Desde el 14 de septiembre

Precio: Entrada libre

Institución:

Abierto x Obras

Inauguración: Viernes 14 de septiembre a las 20 h.

Jordi Colomer es el encargado de esta nueva creación site specific en la antigua cámara frigorífica de Matadero. La obra de Colomer explora una singular visión de la escultura incorporando dispositivos escénicos, fotografía y videoinstalación.

'Os será más fácil sacarles el oro a los hombres que a los ríos'1

"La fundación de una ciudad no es forzosamente un acto heroico. Para las ciudades antiguas, la arqueología tantea un orden cronológico, desempolva las pruebas del suceso, mientras la Historia y la leyenda proponen sus relatos. Dice Jorge-Luis Borges: 'A mí se me hace cuento que empezó Buenos Aires: La juzgo tan eterna como el agua y como el aire'2.

Pero cada día, empiezan nuevas ciudades, construidas de agua, de hormigón, de sudor y de dinero. Algunas son -casi- pura idea. En su programa electoral el presidente Kubitschek prometió la creación de una moderna capital para Brasil y, en tres años, Brasilia se levantó entre las malezas del plano alto central, siguiendo fielmente los planes de Lucio Costa. A su vez los obreros que la pusieron en pie, venidos de todas las regiones del país, plantaron sus chamizos trémulos donde dormir y fundaron -sin saberlo- su propia ciudad. Hay ciudades de cristal que crecen en los despachos, y otras de lata y cartón que bailan al ritmo de sus propios habitantes. En una ocasión, a un grupo de forajidos a los que la policía les pisaba los talones se les estropeó el camión en pleno desierto. No podían seguir, ni ir hacia atrás. Fundaron entonces allí mismo una ciudad paradisíaca, la ciudad dorada, donde el mayor de los crímenes era no tener dinero. Esa ciudad se llama Mahagonny y Bertolt Brecht la imaginó al tiempo que Las Vegas brotaba con la forma de ciudad que hoy conocemos.

En Prohibido cantar / No Singing unos pocos personajes plantan un garito donde se ofrecen juegos de entretenimiento, trucos, amor y comida a bajo precio. La acción transcurre cerca de un camino polvoriento, en los mismos solares en los que hace un tiempo se proyectó una gran ciudad privada, con 32 casinos, llamada Gran Escala, que debía atraer a 25 millones de visitantes, pero que nunca vió la luz. Las imágenes que presentamos (en 7 pantallas) muestran cómo prospera la ciudad de Eurofarlete, bajo un sol inclemente y el cierzo soplando. Están compuestas de fragmentos de lo que allí sucedió durante dos días, y quizás ayuden a discernir una singular forma de organización por la supervivencia, donde todo está en venta, a precio de ganga y también a cualquier precio".

Jordi Colomer

1 Bertolt Brecht. Ascenso y caída de la ciudad de Mahagonny.1927-30.

2 Jorge Luis Borges. Fundación mítica de Buenos Aires in Fervor de Buenos Aires, 1923

BIOGRAFÍA

Jordi Colomer (1962) nació en Barcelona, ciudad en la que estudió Arte en EINA, Historia del Arte en la Universidad Autónoma y Arquitectura en la ETSAB. Vive y trabaja entre Barcelona y París.

Desde sus inicios el trabajo de Jordi Colomer ha ido incorporando a una singular visión de la escultura elementos de los dispositivos escénicos. Desde 1997 ha privilegiado el uso de la fotografía y la video-instalación. Sus primeros vídeos tomaban forma de micro-narraciones de raíz beckettiana, en los que los habitantes se debaten con objetos, decorados y espacios artificiales. En un segundo período estos personajes recorren la calle y el desierto con gestos y derivas que - (no exentos de cierto humor absurdo) - contagian un marcado espíritu crítico. Las obras de Colomer exploran las posibilidades de supervivencia poética que ofrece la urbe contemporánea. Así surgen obras como Anarchitekton (2002-2004), proyecto itinerante a través de cuatro ciudades (Barcelona, Bucarest, Brasilia, Osaka), No? Future! (rodada en Le Havre, 2004), Arabian stars (Yemen, 2005), Cinecito (La Habana, 2006), En la Pampa (realizada en el desierto de Atacama, Chile, 2008), Avenida Ixtapaluca (houses for México, 2009), The Istanbul Map (Istanbul, 2010), o más recientemente la trilogía What will come (Nueva York, 2010-11) donde los propios habitantes escriben el guión con sus desplazamientos en la suburbia americana ; o el proyecto Crier sur les toits (gritar a los cuatro vientos, 2011) donde se propone utilizar las azoteas como un pedestal a escala urbana, instituyendo una fiesta mundial. En l’Avenir (2011), inspirada en el Falansterio de Charles Fourier, las imágenes dan rostro a los habitantes de un proyecto utópico y son a la vez un comentario sobre sus posibilidades de materializarse. La instalación Prohibido cantar que aquí se presenta, investiga una vez más esa tensión entre proyecto y realidad, dibujando un espacio híbrido, a la vez totalmente físico y puramente mental; los proyectos de construcción de una ciudad de oro y casinos, que los medios anuncian tiene visos de precisarse y un lugar con mucho viento, contaminado por proyectos imaginarios del pasado y ahora ocupado por personas jugando a la ficción. Nótese que el propio espacio de Abierto x Obras ha quedado transformado por efecto de todas estas visitas.

Ha trabajado también como escenógrafo para el teatro en obras de Joan Brossa, Samuel Beckett, Valère Novarina así como en una ópera de Robert Ashley.

PROHIBIDO CANTAR / NO SINGING. JORDI COLOMER

(Didactic work on the foundation of a paradise city)

From 14 of september

to 09 of december

Price: Free

Institution:

Abierto x Obras

GALERÍA DE FOTOS

[ver + fotos]

'It's easier getting gold out of men than from rivers'. Bertolt Brecht,

The Rise and Fall of the City of Mahagonny, 1927-30

The foundation of a city is not necessarily a heroic act. Everyday a new city begins to be built on water, concrete, sweat and money. Some are -almost- a pure idea. In his election manifesto president Juscelino Kubitschek promised the creation of a modern capital for Brazil in three years, Brasilia was built amongst the weeds of the high central plane, faithfully following the plans of Lucio Costa. At the same time the builders, who came on foot from all parts of the country, pitched their trembling huts where they slept and founded– without knowing it- their own city.

There are glass cities that grow out of offices and others made from tin and card that dance to the rhythm of their own inhabitants. On one occasion, a group of outlaws were being tailed by the police, when their truck broke down in the middle of the desert. They couldn't keep going or turn back. So they ended up founding a paradise city, the golden city, where the worst crime was not to have any money. That city was called Mahagonny and Bertolt Brecht envisioned it at the time when Las Vegas came about shaping the image of the city that we recognise today.

In Prohibido cantar / No Singing a few characters make a gambling den where they offer entertainment games, tricks, love and food at low prices. The action takes place close to a dusty road, on the same plot of land and during the time in which a great private city was planned, with 32 casinos, called Gran Escala, which was to attract 25 million visitors, and yet never saw the light of day. These images reveal how the city of Eurofarlete thrives, under a blazing sun and strong blowing winds. Fragments of what passed there over two days may help to discern the particular form of organisation needed for survival, where everything is on sale at a bargain price or indeed at any price.

Jordi Colomer (Barcelona, 1962) His work explores the possibility of poetic survival that is offered by the contemporary metropolis through a unique vision of sculpture incorporating scenic devices, photography and video installation. Prohibido Cantar / No Singing returns to investigate the tension between project and fiction and creates a hybrid space, on both a physical and mental plane. He has been educated in art, art history and architecture, among his latest solo shows are l'Avenir in the Palais de Beaux Arts (Brussels), What will come in the Argos Centre for Art and Media (Brussels), Co Op City at the Bronx Museum of the Arts (New York), Fuegogratis in the Laboratorio Arte Alameda (México D.F.), La Panera (Lleida) and Galerie du Jeu de Paume (Paris).

Bronx - NYBG: KUSAMA: Cosmic Nature - Flower Obsession by Wally Gobetz

2

Flower Obsession, a site specific interactive installation, was designed by Yayao Kusama in 2020. First developed for children as part of the Queensland Art Gallery's APT 2002: Asia Pacific Triennial of Contemporary Art in 2002, Kusama's obliteration rooms are simple in design--every visitor is given sheet of stickers that they are asked to place wherever they want in the room. The rooms have been part of her repertoire ever since, but this is the first time she extended the idea to a greenhouse.

KUSAMA: Cosmic Nature, on display from April through October 2021 following a Covid-related postponement, showcases contemporary Japanese artist Yayoi Kusama's lifelong fascination with the natural world beginning with her childhood spent in the greenhouses and fields of her family’s seed nursery.

The New York Botanical Garden, spanning some 250 acres of Bronx Park, was founded in 1891 on part of the grounds of the Belmont Estate, formerly owned by the tobacco magnate Pierre Lorillard, after a fund-raising campaign led by Columbia University botanist Nathaniel Lord Britton, who was inspired to emulate the Royal Botanic Gardens in London. It contains 48 different gardens and plant collections.

Pabst’s Okay Specific by The U.S. Food and Drug Administration

Pabst’s Okay Specific, a 60 proof elixir, boldly proclaimed to “cure positively and without fail … when all other medications have failed” gonorrhea and gleet discharge. Pabst’s promotional materials, such as this matchbox cover, coyly skirted social taboos about sexually transmitted diseases that likely increased consumers’ attraction to self-medicate, rather than visit a physician. But because it was therapeutically inert, their conditions likely festered or worsened. From 1917-1934 the FDA took action against Pabst’s for misbranding 23 times!

Visit the "American Chamber of Horrors" web page and watch the video to learn more!

For more information about FDA history visit www.fda.gov/history

Bristol Bulldog at Bristol Airport by Matthew Wells

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Sir Gromit of Bristol by Matthew Wells

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Miss Sarie is Very Sick by DonnitaMae

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This photo was taken on our way to Miss Sarie's Pre-Op appointment the day after I found out how sick she was. We stopped by our favorite park and I took what I feared would be our last pictures.

UPDATE 5:45 PM 12 April

Miss Sarie had her follow up appointment today to have her stitches removed. Everyone was happy to see her. She has a clean bill of health for right now. I will be taking in a urine sample so that her Urine Specific Gravity can be checked for any signs of kidney damage. Pyometra can damage the kidneys.

UPDATE 5:15 AM 9 April

Miss Sarie had a quiet Easter Sunday. She napped most of the day. When she wasn't napping she wanted to be held.

Last night we moved back to my bed. She nestled down and slept peacefully through the night.

This will be her first day alone. I will be leaving for work in about 1/2 hour. She will go through withdrawal. All the attention has made her into quite a spoiled baby!

She goes back to the Vet to have her stitches out on the 12th of April. I probably won't update again until then.

UPDATE 8:15 PM 7 April

Miss Sarie and I went to visit a few folks today. We stopped by the adoption event so everyone could see her. They have been quite concerned about Miss Sarie. They all love her. Miss Sarie is the mascot for the rescue.

Today Miss Sarie was very happy to be held by others. Normally she gets anxious if I am not holding her. She will only stay in someone elses arms for a very short time. But today she was very content and quite a showoff!

UPDATE 10:30 AM 7 April

4 Days since her surgery and she is thriving!

Miss Sarie and I woke up to a light coat of snow on the ground this morning. I took one of her little beds out and laid it on the ground so she could enjoy the fresh smell of the newly fallen snow. She didn't move off of the little bed but she perked up and sniffed all around.

She then came in and decided she would eat her breakfast that she had been ignoring all morning. And is now toddling around checking out all her special places in the dining room.

She woke me up several times last night. She has decided that enough is enough. She wants back in bed with me. Since the surgery I have had her in an extra large laundry basket with bedding on the floor next to me. I have slept on the couch so if she wakes I can easily lay my hand on her. Well last night the hand laying went on all night!

UPDATE 11:45 AM 6 April

Miss Sarie is continuing to recover like she was a puppy! This morning she gave me a little bit of a scare. A few minutes after she was up she vomited the contents of her stomach. It was a very quick non-violent episode. I think she was overheated because she slept nestled into a snuggly donut bed and had a little blanket with her. She got over it quickly and ate her breakfast and drank water with no further episodes. She is resting comfortably now.

Yesterday late afternoon she went to visit Auntie Betty. Auntie Betty adores Miss Sarie. When Miss Sarie first came to me and Betty met her she said that she wanted to take care of Sarie's medical care. For the first 1 3/4 years she paid every bill but then I felt to awkward to let her know about anything that I was doing for Miss Sarie.

We go visit Betty several times a year but we hadn't been to visit since last Fall. On Monday, 2 April, I called Betty because I feared Miss Sarie was not going to make it through this. I wanted to give her a chance to see Miss Sarie before this terrible disease took her away from all of us. Her phone went to her answering machine and I left her a message telling her that Sarie was very sick.

When I didn't hear back from her I assumed she was out of town for Easter vacation. She is retired and travels a lot. On Wednesday evening she called me. I was able to happily tell her that Miss Sarie had been though surgery and was thriving!

She immediately insisted that she wanted to pay for all of the costs. She told me she fully realizes that Miss Sarie is an old dog and that medical costs can be high with an old baby. She said when she made the offer that she meant it no matter how long Miss Sarie is with us. I was amazed at her generosity when she first offered 2.5 years ago but am overwhelmed that she is still committed to this sweet little girl.

Thank you Betty for taking much of the worry off of taking care of Miss Sarie. And for your dedication to this sweet little rescue girl! I will be forever grateful for your selfless act.

UPDATE 11:00 AM 5 April

Miss Sarie had a wonderful night last night. She slept soundly and never woke up once. This morning she ate her breakfast, did her potty duties, took her medicine....and promptly decided she wanted to sleep some more. At the moment she is basking in the sun by the sliding glass door in her donut bed!

UPDATE 8:30 PM 4 April

At about 5 today Miss Sarie and I took a ride to Bob Evans to pick up dinner. We drove to Auntie Teresa's. (Sarie has many Aunties and Uncles!) She toddled around Auntie Teresa's kitchen and rested in a donut bed. When I opened the food I had picked up for Auntie Teresa and me she started whining... YES.. She wanted more food!

When we came home she had her first BM since the surgery. So another Post-Op milestone has been met!

Auntie Teresa sat with me yesterday morning while I waited for Miss Sarie to go into surgery. I didn't want to leave Miss Sarie because I knew she would be upset. That wouldn't have been good for her before surgery. She had her catheter put in about 4 hours before her surgery, so it was a long wait. Auntie Teresa sat with us for about 3 hours waiting! She was shocked tonight to see how amazing Sarie is doing..

We are tuckered out now and are going to bed. Sarie slept most of the day but was active for a few hours this evening. She wanted to be held most of the time.

UPDATE 3:00 PM 4 April

The little darling is doing amazing! She woke me up from a nap at 12:30. She was whining and I could hear her even though I was sleeping deeply.

I picked her up and took her to her puppy pad. She used it again and then ate some more of her Breakfast. I gave her once a day pain meds orally with a syringe. She took it just fine.

A few minutes ago she got restless so I gave her some more food. To my surprise she ate again!

She is making a miraculous recovery!

UPDATE 10:30 AM 4 April

Miss Sarie had a wonderful visit at the Vet this morning. They are amazed at how well she is doing. Her heart is strong, her surgical wound looks good.... There was nothing negative about her at all! Her catheter was removed and she was sent home with me to continue her recovery.

She is an amazing little old gal! Thanks everyone for all your emails, kind words, and prayers. They were a great help to both Miss Sarie and me...

UPDATE 7:15 AM 4 April

Miss Sarie slept well last night. She woke up a couple of times crying. I rubbed her and she fell back to sleep. This morning she used the puppy pad for the first time since the surgery. She also ate a very good breakfast of FROMM's Shredded Duck Entree. She wasn't interested in water so I syringed Pedialyte slowly into her mouth. She accepted it fine. We will be leaving for the Vet's office in about a 1/2 hour.

UPDATE 8:00 PM 3 April

Miss Sarie and I arrived home about 15 minutes ago. She ate almost her normal dinner portion. She is sitting on my lap resting very comfortably. I think sleep will be very light for me tonight!

In the morning at 8:00 we will go back up to the Vet's so she can be checked out. Depending on how she is doing, she may stay for a day of fluids. Her IV catheter is still in so it will easy to set up her drip bag.

UPDATE 4:00 PM 3 April

Miss Sarie survived the surgery. They almost lost her on the table. Her oxygen levels dropped dangerously low. Her uterus was ruptured. Dr. Kawasaki worked fast. He was in and out very quickly. She came to and stabilized fast. She started kicking up a fuss very soon after the surgery. They came out to get me because they knew she wanted me. They are going to let her come home with me tonight because they realize that she is better off with me than at a closed Vet office tonight. I will update more later. I have many pictures to load.

UPDATE 6:00 AM 3 April

Miss Sarie made it through the night comfortably. As soon as we came downstairs she went potty on her pad, drank some water, and started her usual whining at me to pick her up. I woke up several times through the night and laid my hand on her to check her breathing. I am very frightened but hopeful. We will be leaving the house in about 2 hours to go the Old Bridge Veterinary Hospital where Dr. Putts will put in her IV. Dr. Kawasaki will come in at noon and start the surgery. She has not deteriotated over the last 36 hours. I believe she is stronger.

UPDATE 6:30 PM 2 April

Miss Sarie and I stopped at the park on the way to her Vet appointment. Given her grave condition she is actually doing quite well. The two Vet's I spoke with today are not sugar coating her condition. The bottom line is without surgery she will not survive. And she may not survive the surgery or postoperative recovery period. She goes into surgery midday tomorrow. She has to be at the Vet's by 8:30 for IV fluids. They want to make sure she is well hydrated before surgery. They are going to allow me to stay with her while she waits for surgery. I feel much better about that. She does not like me to leave her. Leaving her at home is one thing but in a scary strange place she would be distraught. She ate a wonderful dinner tonight and is resting comfortably on my lap as I type this.

FYI-Pyometra is a disease of the uterus. It is compared to acute appendicitis in humans because both are essentially empyemas within an abdominal organ. It involves the Uterus in unspayed female dogs. Treatment of choice is an emergency spay.

Original Comment

Miss Sarie is very sick. She needs everyone's thoughts and prayers. Yesterday I noticed that she had a pus discharge from her vulva. Given that she has been diagnosed with early kidney disease, I didn't dare wait until this morning to take her to the Vet. They believe she has Pyometra. It is unknown if Sarie was ever spayed. She has never gone into heat in the 2.5 years she has been with me. Even given that they wanted to take her into emergency surgery. They gave me 3 choices, give her antibiotics, emergency surgery, or euthanize. Several of my rescue friends dropped everything and came to the hospital. They reminded me that I have always said no heroics, that I just want to keep her happy and comfortable for whatever time she has left. The odds of her making it through the surgery were not good. Not to mention Woodbridge Animal Hospital's estimate was 1700 dollars. I opted for the antibiotics. Her white blood cell count was 59,000 with 16,000 being the high end of normal. This morning there is no pus and she is eating and drinking. She is also being her demanding primadonna self.

All of my favorite vets are unavailable today. The rescue vet (Dr. Cunningham) van is in the shop today. She can see Miss Sarie tonight. I took a clean catch urine into Old Bridge Vet this morning. I just received a call from them and they said there are a lot of white blood cells in the urine. They also believe she needs surgery because of the white blood cell count. I feel like I am going to just die...

Please keep us in your thoughts and prayers as I try to do what is best for Miss Sarie. Dr. Kawasaki is willing to come in tomorrow on his day off to do the surgery. Dr. Cunningham may be able to do it tonight. I don't want to do this but it is the only chance she has. My heart is breaking.

Antique Rose Gromit Outside of The Mall at Cribbs Causeway by Matthew Wells

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Prasat Banteay Kdei - Citadel Of Chambers, Cambodia. by PHOTOGRAPHY by DM & DBM.

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Banteay Kdei, meaning "A Citadel of Chambers", also known as "Citadel of Monks' cells", is a Buddhist temple in Angkor, Cambodia. It is located southeast of Ta Prohm and east of Angkor Thom. Built in the mid-12th to early 13th centuries AD during the reign of Jayavarman VII (who was posthumously given the title "Maha paramasangata pada"), it is in the Bayon architectural style, similar in plan to Ta Prohm and Preah Khan, but less complex and smaller. Its structures are contained within two successive enclosure walls, and consist of two concentric galleries from which emerge towers, preceded to the east by a cloister.

This Buddhist monastic complex is currently dilapidated due to faulty construction and poor quality of sandstone used in its buildings, and is now undergoing renovation. Banteay Kdei had been occupied by monks at various intervals over the centuries until the 1960s

The Banteay Kdei, one of the many Angkor temples, is located in the Angkor Archaeological Park of 400 square kilometres (150 sq mi) area. The ancient city of Angkor during the Khmer Empire extended from Tonle Sap to the Kulen hills covering a vast area of 1,000 square kilometres (390 sq mi). The temple is approached from the east gopura of Ta Prohm along a 600 metres (2,000 ft) path. This path leads to the west gate entrance gopura of Banteay Kdei. It is 3 kilometres (1.9 mi) east of Angkor Thom.

The name Banteay Kdei originates from an earlier name, Kuti, which is mentioned in the Sdok Kak Thom. This stele describes the arrival of Jayavarman II to the area, "When they arrived at the eastern district, the king bestowed an estate and a village called Kuti upon the family of the royal chaplain." This royal chaplain was the Brahman scholar Sivakaivalya, his chief priest for the Devaraja cult.: 98

The Khmer Empire lasted from 802 to 1431, initially under Hindu religious beliefs up to the end of the 12th century and later under Buddhist religious practices. It was a time when temples of grandeur came to be built and reached a crescendo during the reign of Suryavarman II until 1145/1150, and later in the 12th–13th centuries, under Jayavarman VII. Many Buddhist temples were built, including the Banteay Kdei, from middle of the 12th century to early 13th century. Though Jayavarman VII was credited with building many temples, he was also accused of squandering money on extravagant temple building projects at the expense of society and other duties. He built Buddhist temples in which Bodhisattva Avalokitesvara was the main deity. This temple built, conforming to the style of the Ta Prohm and Preah Khan temples in the vicinity during the same period by Jayavarman VII, but of a smaller size, was built as a Buddhist monastic complex on the site of a 10th-century temple built by Rajendravarman. Some small inscriptions attest to the building of this temple by Jayavarman VII and the royal architect, Kavindrarimathana.

Jayavarman VII had come to power at the age of 55 after defeating Chams who had invaded Angkor and subjected it to devastation. His "prodigious activity" resulted in the restoration of Cambodia from its ruins. He was chiefly the architect of the rebuilt capital at Angkor Thom and was called a "Great Builder". He was responsible for building many temples, which apart from Banteay Kdei, included the central temple of the Bayon, Prah Khan, Ta Prohm and many others, and also many rest houses for pilgrims. The reasons for building this temple at its present site is not known. However, it is established that the temple is a contemporary of the Angkor Wat as many similarities have been identified between the two, and also with Phimai temple in Thailand. It is reported to be the first temple built by Jayavarman VII in 1181 AD, opposite to the Srah Srang reservoir.

In the 13th century, most of the temples built by Jayavarman were vandalised. However, some of the Mahayana Buddhist frontons and lintels are still seen in good condition. It is also the view of some archaeologists that the temple was built by Jayavarman II in honour of his religious teacher.

The temple, which for several centuries after the Khmer reign ended, remained neglected and covered with vegetation. It was exposed after clearing the surrounding overgrowth of vegetation in 1920–1922. This work was carried out under the guidance of Henri Marchal (then Conservator of Angkor) and Ch. Battuer, by adopting a conservation principle which was known as "the principle of anastylosis, which was being employed very effectively by the Dutch authorities in Indonesia". It was partially occupied by Buddhist monks till the 1960s.

For ten years till March 2002, Sophia University Mission or the Sophia Mission of Japan carried out several Archaeological research at the Banteay Kdei temple. During these investigations, a cache of fragments of 274 Buddhist statues made in sandstone, along with a few metal art pieces, were unearthed, in 2001. Plans to build a storage room to house the statues was also planned.

The sacred temple complex is cloistered and packed in a space of 65 m × 50 m (213 ft × 164 ft) with three enclosures within a large compound wall of size 700 m × 300 m (2,300 ft × 980 ft), made of laterite stones. The entry is from the east facing gopura, which is in a cruciform embellished with Lokesvara images. The temple is a treasure house of sculptures in the architectural styles of the Bayon and also of the Angkor Wat. The complex is on a single level.

The external enclosure with four concentric walls, has four gopuras similar to the Ta Prohm temple, and all are in some degree of preserved status. At the four corners, the gopuras have a fascia of Lokesvara (Buddhist deity, Avalokitesvara) mounted over Garuda images (it is also mentioned that the smiling faces are of King Jayavarman II, similar to those seen in the Beyan temple). The east facing gopura, in particular, has well-preserved garuda images on its corners. Two hundred meters from the west entrance of this enclosure leads to a moat, which is decorated with statues of lions and naga-balustrades mounted on garudas. The moat itself has in its precincts the third enclosure which measures 320 m × 300 m (1,050 ft × 980 ft), also enclosed with laterite walls. The Buddha image at the entrance to the moat, near the second interior gate, is well preserved, considering the fact that most of the other statues have been destroyed or stolen.

The third enclosure has a gopura which has a cruciform plan. It has pillars which are crossed by vaults. There are three passages in this enclosure, two on either side are independent, with laterite walls. The niches here have small figurines, and large apsara devatas in single poses or in pairs of dancing poses. Large Buddha images, in an internal courtyard of this enclosure, have been defaced by vandals. A paved access from here leads to the main shrine, which comprises two galleried enclosures. At the entrance to these enclosures, from the eastern end, is the "Hall of Dancers", which has four open courtyards and the pillars have fine carvings of apsaras.

The second enclosure, which is part of the main temple, measures 58 m × 50 m (190 ft × 164 ft). It has a gopura on its eastern side and also subsidiary gopura on the west. Entrance doors are at the northern and southern ends. The gopura is built like a gallery with one exterior wall and double row of pillars which open into a courtyard and which has mostly shored up walls with small openings at the bottom to allow air circulation. The niches here are decorated with images of apsaras, and a Buddha statue in the central hall has been defaced by vandals. Bayon style architectural features built-in are the "balustered false windows with lowered blinds and devatas with headdresses in the form of small flaming discs set in a triangle." The vaults built in sandstone and laterite have collapsed at several locations of the gallery. The inner enclosures contain library building to its north and south and also a central sanctuary.

The inner enclosure of the main temple is built on a 36 m × 30 m (118 ft × 98 ft) layout plan. This enclosure has four corner towers abutted by small gopuras. Galleries running along an axis link these towers to the main sanctuary. The towers at the north-east and south-east are linked with the second gallery where a Buddha statue in a sitting posture is seen, in the backdrop of an open sky line. The sanctum which is 2.75 m (9.0 ft) square enclosure has some traces of statues of deities. This entire enclosure, however, is not built in Bayon style and hence conjectured to be of an earlier period. Remnants of wooden ceiling are also seen here. The entrance to the sanctum is flanked by dvarapalas surrounded by apsaras.

Srah Srang or "The royal bathing pool" or "pool of ablutions" to the east of Banteay Kdei, which was dug to dimensions of 700 metres (2,300 ft)x300 metres (980 ft) during the reign of Rajendraverman in the 10th century, was beautified by Jayavarman VII with well laid out steps of laterite stones with external margin of sandstone, on the banks of the pond facing the Sun. It is set amidst large trees and has turquoise blue waters all the year round. The approaching steps to the water edge are flanked by two stone statues of lions with ornamented Nāga-balustrades. The pond was reserved for use by the king and his wives. A stone base seen at an island in the centre of the pond once housed a wooden temple where the king did meditation. At the lily filled lake, watching sunset reflections in the lake is quite an experience. The water from the lake is now used for rice cultivation by farmers of the area.

Some specific architectural features which evolved with the Bayon style are clearly discerned in this temple. The roof is supported on free-standing pillars in the eastern and western pavilions in the third enclosure, built in a cruciform plan with the inner row of pillars supporting the roof. The pillars are also tied to the wall by a tie beam using a "mortise–and–tenon join" patterned on wooden structures. Other features noted are of the four central pillars in the western pavilion which have been strengthened with temporary supports of laterite stone block pillars. Carvings of Buddha are seen on all these pillars but mostly defaced. The temporary support system provided to the roof built on free standing pillars is indicative of problems of design seen in the temples built during this period.

1:144 Lockheed L300-1100 "StarLifter”; aircraft "OY-GRI", operated by Air Greenland; 2004 (Whif/modified Roden kit) by Dizzyfugu

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!

Some background:

The Lockheed L300 was originally conceived as a military strategic airlifter that served under the designation C-141 Starlifter with the Military Air Transport Service (MATS), its successor organization the Military Airlift Command (MAC), and finally the Air Mobility Command (AMC) of the United States Air Force (USAF).

In the early 1960s, the United States Air Force's Military Air Transport Service (MATS) relied on a substantial number of propeller-driven aircraft for strategic airlift, such as the C-124 Globemaster II and C-133 Cargomaster. As these aircraft were mostly obsolescent designs and the Air Force needed the benefits of jet power, the USAF ordered 48 Boeing C-135 Stratolifters as an interim step. The C-135 was a useful stop-gap, but only had side-loading doors and much of the bulky and oversize equipment employed by the U.S. Army would not fit.

In the spring of 1960, the Air Force released Specific Operational Requirement 182, calling for a new aircraft that would be capable of performing both strategic and tactical airlift missions. The strategic role demanded that the aircraft be capable of missions with a radius of at least 3,500 nautical miles (6,500 km) with a 60,000 pounds (27,000 kg) load. The tactical role required it to be able to perform low-altitude air drops of supplies, as well as carry and drop combat paratroops. Several companies responded to SOR 182, including Boeing, Lockheed, and General Dynamics.

Lockheed responded to the requirement with a unique design: the Lockheed Model 300, the first large jet designed from the start to carry freight. The Model 300 had a swept high-mounted wing with four 21,000 pounds-force (93 kN) thrust TF33 turbofan engines pod-mounted below the wings. An important aspect was the cabin's floor height of only 50 inches (130 cm) above the ground, allowing easy access to the cabin through the rear doors. The two rear side doors were designed to allow the aircraft to drop paratroops (in August 1965 the aircraft performed the first paratroop drop from a jet-powered aircraft). The rear cargo doors could be opened in flight for airborne cargo drops. The high-mounted wings gave internal clearance in the cargo compartment of 10 feet (3.0 m) wide, 9 ft (2.7 m) high and 70 ft (21 m) long. The size enabled the Starlifter to carry, for example, a complete LGM-30 Minuteman intercontinental ballistic missile in its container. The aircraft was capable of carrying a maximum of 70,847 pounds (32,136 kg) over short distances, and up to 92,000 pounds (42,000 kg) in the version configured to carry the Minuteman, which lacked other equipment. The aircraft could also carry up to 154 troops, 123 paratroops or 80 litter patients.

President John F. Kennedy's first official act after his inauguration was to order the development of the Lockheed 300 on 13 March 1961, with a contract for five aircraft for test and evaluation to be designated the C-141. One unusual aspect of the aircraft was that it was designed to meet both military and civil airworthiness standards, since Lockheed hoped to sell the aircraft, much like the C-130 Hercules, to airlines, too. The prototype C-141A (s/n 61-2775) was manufactured and assembled in record time. The prototype was rolled out of the Lockheed factory at Marietta, Georgia on 22 August 1963 and first flew on 17 December, the 60th anniversary of the Wright brothers' first flight. The company and the Air Force then started an operational testing program and the delivery of 284 C-141 aircraft.

The effort to sell the aircraft on the civilian market included some detail changes like a different yoke and cockpit equipment. Two versions were offered: the original aircraft (designated L300-100 StarLifter), based on the C-141’s hull, and a strongly stretched version, 37 feet (11 m) longer than the L300-100, and marketed as the L300-200 SuperstarLifter. Specialized versions like an aerial firefighting water bomber were proposed, too, and an initial L300-100 prototype made a global sales tour (which was later donated to NASA).
Response from the civil market was rather lukewarm, though, and resulted only in orders from Flying Tiger Line and Slick Airways for four aircraft each. Nevertheless, production of the civil StarLifter was launched in 1966, since the differences to the military aircraft were only minimal and Lockheed considered the financial risks to be acceptable. However, only twelve aircraft were initially ordered when production was greenlighted, but there was the expectation to attract more sales once the aircraft proved itself in daily business.

Despite a very good service record, this did not happen. To make matters worse, unexpected legal problems seriously threatened the newly introduced transport aircraft: In the early 1970s, strict noise limits for civil aircraft threatened operations, esp. in the USA. Several American L300 operators approached Lockheed for suitable noise reduction modifications, but the company did not react. However, third parties that had developed aftermarket hush kits for other airliners like the Boeing 707 or the Douglas DC-8 chimed in and saw their opportunity, and in 1975 General Electric began discussions with the major L300 operators with a view to fitting the new and considerably quieter Franco-American CFM56 engine to the transport aircraft. Lockheed still remained reluctant, but eventually came on board in the late 1970s and supported the conversion kit with new nacelles and pylons. This engine kit was unofficially baptized the “StarSilencer” program, which was offered as a retrofit kit and as an option for newly built aircraft, which were designated L300-1100 and -1200, respectively.

The kit was well received and all operational private L300s were upgraded with the fuel-efficient 22,000 lb (98.5 kN) CFM56-2 high-bypass turbofans until 1984, preventing a premature legal end of operations in wide parts of the world. The benefits of the upgrade were remarkable: The new engines were markedly quieter than the original Pratt & Whitney TF33-P-7 turbofans, and fuel efficiency was improved by 20%, resulting in a higher range. The CFM56s also offered 10% more thrust than the TF33-P-7s’ 20,250 lbf (90.1 kN each) output, and this extra thrust improved the aircraft’s take-off performance, too.
The USAF did not adopt the “StarSilencer” upgrade and rather focused on the fuselage extension program that converted all existing C-141As into C-141Bs from 1979 onwards, so that the aircraft’s payload potential could be better exploited. However, the new CFM56 engines made the L300 more attractive to civil operators, and, beyond the upgrade program for existing airframes, a second wave of orders was placed for both the L300-1100 and -1200: until 1981, when civil L300 production was stopped, eighteen more aircraft had been ordered, primarily for operators in North America and Canada, bringing total production to 40 machines, plus the initial demonstrator prototype.

One of these late buyers outside of the American continent was Air Greenland. Founded in 1960 as Grønlandsfly, the airline started its first services with Catalina water planes and within the decade expanded to include DHC-3 Otters as well as Sikorsky S-61 helicopters, some of which remain in active service. Grønlandsfly also picked up a Danish government contract to fly reconnaissance missions regarding the sea ice around Greenland.
During the 1970s, Grønlandsfly upgraded its airliner fleet, and mining in the Uummannaq Fjord opened new business opportunities beyond passenger services. To enter the bulk cargo business for mining companies with routes to Canada, North America and Europe as well as civil freight flights for the U.S. Army in Greenland (e. g. for the USAF’s Sondrestrom and Thule Air Bases), the purchase of a dedicated transport aircraft was considered. This eventually led to the procurement of a single, new L300-1100 StarLifter with CFM56-2 engines in 1980 – at the time, the biggest aircraft operated by Grønlandsfly. Domestic as well as international passenger service flourished, too: By the end of 1979, the number of Grønlandsfly passengers served annually exceeded 60,000 – this was more than the population of Greenland itself! However, the airline’s first true jet airliner, a Boeing 757-200, began operation in May 1998. Before, only propeller-driven aircraft like vintage Douglas DC-4 and DC-6 or the DHC Twin Otter and Dash 7 turboprop aircraft had been the main passenger types. In 1999, the airline already served 282,000 passengers, nearly triple the number at the end of the previous decade.
In 2002 the company rebranded itself, anglicizing its name to Air Greenland and adopting a new logo and livery. The L300-1100 was kept in service and remained, until the introduction of a single Airbus A330 in 2003 (purchased after SAS abandoned its Greenland service and Air Greenland took these over), Air Greenland’s biggest aircraft, with frequent cargo flights for the Maarmorilik zinc and iron mines.

StarLifters remained in military duty for over 40 years until the USAF withdrew the last C-141s from service in 2006, after replacing the airlifter with the C-17 Globemaster III. In civil service, however, the L300, despite its small production number, outlasted the C-141. After the military aircraft’s retirement, more than twenty StarLifters were still in private service, most of them operating under harsh climatic conditions and in remote parts of the world.

General characteristics:

Crew: 4 - 6 (2 pilots, 2 flight engineers, 1 navigator, 1 loadmaster)

Length: 145 ft (44.27 m)

Wingspan: 160 ft 0 in (48.8 m)

Height: 39 ft 3 in (12 m)

Wing area: 3,228 ft² (300 m²)

Empty weight: 136,900 lbs (62,153 kg)

Loaded weight: 323,100 lbs (146,688 kg)

Max Payload, 2.25g: 94,508 lb (42.906 kg)

Max Takeoff Weight, 2.25g: 343,000 lb (155,722 kg)

Powerplant:

4× CFM International CFM56-2 high-bypass turbofans, delivering 22,000 lb (98.5 kN) each

Performance:

Maximum speed: 567 mph (493 kn, 912 km/h)

Cruise speed: 495 mph (430 kn, 800 km/h)

Range: 4,320 mi (2,350 nmi, 6,955 km)

Ferry range: 7,245 mi (6,305 nmi, 11,660 km)

Service ceiling: 41,000 ft (12,500 m)

Rate of climb: 2,600 ft/min (13.2 m/s)

Wing loading: 100.1 lb/ft2 (490 kg/m²)

Thrust/weight: 0.25

The kit and its assembly:

This is another project I had on my agenda for a long time, it was inspired by a picture of the civilian L300 demonstrator and the question what a StarLifter in civil service could look like? Such a type (like the C-130) would only make sense for bulk cargo transport business, and probably only for rather remote locations, so I went up North with my thoughts and initially considered Air Canada or Buffalo Airways as an operator, but then remembered Air Greenland – a very good fit, and the current livery would make the L300 a colorful bird, too.

The basis is Roden’s C-141B kit, AFAIK the only affordable IP kit of this aircraft when I had the idea for this build a while ago; A&A Models released in the meantime a C-141A in June 2021, but it is prohibitively expensive, and Anigrand does a C-141A resin kit. The Roden kit is a sound offering. The parts fit well, even though the seams along the long fuselage and the wing roots need attention and PSR, and at the small 1:144 scale the (engraved) surface details are just fine. It’s not a stellar model, but a sturdy representation with surprisingly massive parts, esp. the fuselage: its walls are almost 3mm thick!

However, I did not want to build the stretched USAF version. The original civil L300 had the same fuselage as the C-141A, and I found this option to be more plausible for the haul of singular heavy equipment than the stretched version, and the decision to shorten the C-141B also had logistic reasons, because I’d have to store the model somewhere once finished… And, finally, I think that the original, short C-141 is just looking good. ;-)

So, I simply “de-plugged” the fuselage. In real life, the C-141B had two extensions: a 160” plug in front and another 120” insert behind its wings. This translated into 2.8 and 2.1 cm long sections on the model that were simply sawed off from the completed fuselage. Thanks to the massive fuselage walls, gluing the parts back together was an easy task, resulting in a very stable connection. The seams were hidden under some PSR, as well as two windows. The C-141B’s fairing for the refueling receptive was also sanded away. The front plug was easily hidden, but the rear plug called for some body sculpting, because the fuselage has a subtle bulge around the cargo door and its ramp – the shapes in front and behind it don’t differ much, though.

Another change for a more fictional civil variant: the engines. This was a lucky coincidence, because I had a complete set of four CFM56 turbofan nacelles left over from my shortened Minicraft DC-8 build a while ago, and the StarLifter lent itself to take these different/more modern engines, esp. for the civilian market. The swap was not as easy as expected, though, because the C-141’s nacelles are much different, have longer pylons and their attachment points in the wings were OOB not compatible at all with the CFM56 pods. I eventually filled the attachment slots in the wings and glued the complete CFM56 nacelles with their short DC-8 pylons directly under the wings, blending these areas with PRS. The engines’ position is now markedly different (higher/closer to the wings and further forward), but the engines’ bigger diameter IMHO justifies this change – and it turned out well.

The rest of the Roden model was left OOB, I just added a ventral display adapter for the flight scenes.

Painting and markings:

As mentioned above, I was looking for a “bush pilot” operator of suitable size in the Northern hemisphere, and Greenland Air was chosen because of its exoticism and the airline’s distinctive and simple livery. Does anyone know this rather small airline at all? Potential freight for the US Army as well as for private mining companies with lots of heavy equipment made the StarLifter’s operation plausible.

To make the plan work I was lucky that Draw Decal does an 1:144 sheet for the airline‘s (sole) Boeing 757, and its simple post-2002 all-red paint scheme was easily adapted to the StarLifter. The fuselage and the nacelles were painted with brushes in Humbrol 19 (Gloss Red, it comes IMHO close to the rich real-world tone), while the wings and the engine pylons became Humbrol 40 (Glossy Light Gull Grey). For some variety I added a medium grey (Humbrol 126, FS 36270) Corroguard panel to the wings’ upper surface, later framed with OOB decals. The white door markings came from a generic PAS decals sheet. All decals were very thin, esp. the Draw Decals sheet, which had to be handled with much care, but they also dried up perfectly and the white print inks turned out to have very good opacity. Adapting the Boeing 757 decals to the very different C-141 hull was also easier than expected, even though the "Air Greenland" tag on the nose ended up quite far forward and the emblem on the fin lots its uppermost white circle.

The cockpit, which comes with no interior, was painted in black, while the landing gear wells and struts were painted in a very light grey (Humbrol 196, RAL 7035) with white rims.

Panel lines were emphasized with a little black ink, and the cockpit glazing turned out to be a bit foggy - which became only apparent after I added the red around it. In order to hide this flaw I just laid out the window panels with Tamiya "Smoke".

Finally the model finally received an overall coat of gloss acrylic varnish from a rattle can.

A colorful result, even though the bright red C-141 looks unusual, if not odd. The different engines work well; with the shorter fuselage, the new, wider nacelles change the StarLifter’s look considerably. It looks more modern (at least to me), like a juiced-up Bae 146 or a C-17 on a diet?

Bayview Chapter OES No. 105 by antefixus21

1

They meet at the Barrie Masonic Temple, Barrie, 0ntario, Canada.

Unfortunately this photo was hung upside down. The white point should point down.

Members of the Order are aged 18 and older; men must be Master Masons and women must have specific relationships with Masons. Originally, a woman would have to be the daughter, widow, wife, sister, or mother of a master Mason, but the Order now allows other relatives[2] as well as allowing Job's Daughters, Rainbow Girls, Members of the Organization of Triangles (NY only) and members of the Constellation of Junior Stars (NY only) to become members when of age.

The Order was created by Rob Morris in 1850 when he was teaching at the Eureka Masonic College in Richland, Mississippi. While confined by illness, he set down the principles of the order in his Rosary of the Eastern Star. By 1855, he had organized a "Supreme Constellation" in New York, which chartered chapters throughout the United States.

In 1866, Dr. Morris started working with Robert Macoy, and handed the Order over to him while Morris was traveling in the Holy Land. Macoy organized the current system of Chapters, and modified Dr. Morris' Rosary into a Ritual.

On December 1, 1874, Queen Esther Chapter No. 1 became the first Prince Hall Affiliatechapter of the Order of the Eastern Star when it was established in Washington, D.C. by Thornton Andrew Jackson.[3]

The "General Grand Chapter" was formed in Indianapolis, Indiana on November 6, 1876. Committees formed at that time created the Ritual of the Order of the Eastern Star in more or less its current form.[4]

The emblem of the Order is a five-pointed star with the white ray of the star pointing downwards towards the manger. In the Chapter room, the downward-pointing white ray points to the West. The character-building lessons taught in the Order are stories inspired by Biblical figures:

Adah (Jephthah's daughter, from the Book of Judges)

Ruth, the widow from the Book of Ruth

Esther, the wife from the Book of Esther

Martha, sister of Mary and Lazarus, from the Gospel of Luke and the Gospel of John

Electa (the "elect lady" from II John), the mother

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Order of the Eastern Star

General Grand Chapter logo

The Order of the Eastern Star is a Freemasonicappendant body open to both men and women. It was established in 1850 by lawyer and educator Rob Morris, a noted Freemason. The order is based on teachings from the Bible,[1] but is open to people of all religious beliefs. It has approximately 10,000 chapters in twenty countries and approximately 500,000 members under its General Grand Chapter.

Members of the Order are aged 18 and older; men must be Master Masons and women must have specific relationships with Masons. Originally, a woman would have to be the daughter, widow, wife, sister, or mother of a master Mason, but the Order now allows other relatives[2] as well as allowing Job's Daughters, Rainbow Girls, Members of the Organization of Triangles (NY only) and members of the Constellation of Junior Stars (NY only) to become members when of age.

Contents

HistoryEdit

The Order was created by Rob Morris in 1850 when he was teaching at the Eureka Masonic College in Richland, Mississippi. While confined by illness, he set down the principles of the order in his Rosary of the Eastern Star. By 1855, he had organized a "Supreme Constellation" in New York, which chartered chapters throughout the United States.

In 1866, Dr. Morris started working with Robert Macoy, and handed the Order over to him while Morris was traveling in the Holy Land. Macoy organized the current system of Chapters, and modified Dr. Morris' Rosary into a Ritual.

On December 1, 1874, Queen Esther Chapter No. 1 became the first Prince Hall Affiliatechapter of the Order of the Eastern Star when it was established in Washington, D.C. by Thornton Andrew Jackson.[3]

The "General Grand Chapter" was formed in Indianapolis, Indiana on November 6, 1876. Committees formed at that time created the Ritual of the Order of the Eastern Star in more or less its current form.[4]

Emblem and heroinesEdit

The emblem of the Order is a five-pointed star with the white ray of the star pointing downwards towards the manger. In the Chapter room, the downward-pointing white ray points to the West. The character-building lessons taught in the Order are stories inspired by Biblical figures:

Adah (Jephthah's daughter, from the Book of Judges)

Ruth, the widow from the Book of Ruth

Esther, the wife from the Book of Esther

Martha, sister of Mary and Lazarus, from the Gospel of Luke and the Gospel of John

Electa (the "elect lady" from II John), the mother

OfficersEdit

Officers representing the heroines of the order sit around the altar in the center of the chapter room.

Eastern Star meeting room

There are 18 main officers in a full chapter:

Worthy Matron – presiding officer

Worthy Patron – a Master Mason who provides general supervision

Associate Matron – assumes the duties of the Worthy Matron in the absence of that officer

Associate Patron – assumes the duties of the Worthy Patron in the absence of that officer

Secretary – takes care of all correspondence and minutes

Treasurer – takes care of monies of the Chapter

Conductress – Leads visitors and initiations.

Associate Conductress – Prepares candidates for initiation, assists the conductress with introductions and handles the ballot box.

Chaplain – leads the Chapter in prayer

Marshal – presents the Flag and leads in all ceremonies

Organist – provides music for the meetings

Adah – Shares the lesson of Duty of Obedience to the will of God

Ruth – Shares the lesson of Honor and Justice

Esther – Shares the lesson of Loyalty to Family and Friends

Martha – Shares the lesson of Faith and Trust in God and Everlasting Life

Electa – Shares the lesson of Charity and Hospitality

Warder – Sits next to the door inside the meeting room, to make sure those that enter the chapter room are members of the Order.

Sentinel – Sits next to the door outside the chapter room, to make sure those that wish to enter are members of the Order.

Traditionally, a woman who is elected Associate Conductress will be elected to Conductress the following year, then the next year Associate Matron, and then next year as Worthy Matron. A man elected Associate Patron will usually be elected Worthy Patron the following year. Usually the woman who is elected to become Associate Matron will let it be known who she wishes to be her Associate Patron, so the next year they will both go to the East together as Worthy Matron and Worthy Patron. There is no male counterpart to the Conductress and Associate Conductress. Only women are allowed to be Matrons, Conductresses, and the Star Points (Adah, Ruth, etc.) and only men can be Patrons.

Once a member has served a term as Worthy Matron or Worthy Patron, they may use the post-nominal letters, PM or PP respectively.

HeadquartersEdit

The International Temple in Washington, D.C.

Main article: International Temple

The General Grand Chapter headquarters, the International Temple, is located in the Dupont Circleneighborhood of Washington, D.C., in the former Perry Belmont Mansion. The mansion was built in 1909 for the purpose of entertaining the guests of Perry Belmont. This included Britain's Prince of Wales in 1919. General Grand Chapter purchased the building in 1935. The secretary of General Grand Chapter lives there while serving his or her term of office. The mansion features works of art from around the world, most of which were given as gifts from various international Eastern Star chapters.

CharitiesEdit

The Order has a charitable foundation[5] and from 1986-2001 contributed $513,147 to Alzheimer's disease research, juvenile diabetes research, and juvenile asthma research. It also provides bursaries to students of theology and religious music, as well as other scholarships that differ by jurisdiction. In 2000 over $83,000 was donated. Many jurisdictions support a Masonic and/or Eastern Star retirement center or nursing home for older members; some homes are also open to the public. The Elizabeth Bentley OES Scholarship Fund was started in 1947.[6][7]

Eureka Masonic College, also known as The Little Red Schoolhouse, birthplace of the Order of the Eastern Star

Signage at the Order of the Eastern Star birthplace, the Little Red Schoolhouse

Notable membersEdit

Clara Barton[8]

J. Howell Flournoy[9]

Eva McGown[10]

James Peyton Smith[11]

Lee Emmett Thomas[12]

Laura Ingalls Wilder[13]

H. L. Willis[14]

See alsoEdit

Achoth

Omega Epsilon Sigma

ReferencesEdit

^ "Installation Ceremony". Ritual of the Order of the Eastern Star. Washington, DC: General Grand Chapter, Order of the Eastern Star. 1995 [1889]. pp. 120–121.

^ "Eastern Star Membership". General Grand Chapter. Retrieved 2010-06-03. These affiliations include: * Affiliated Master Masons in good standing, * the wives * daughters * legally adopted daughters * mothers * widows * sisters * half sisters * granddaughters * stepmothers * stepdaughters * stepsisters * daughters-in-law * grandmothers * great granddaughters * nieces * great nieces * mothers-in-law * sisters-in-law and daughters of sisters or brothers of affiliated Master Masons in good standing, or if deceased were in good standing at the time of their death

^ Ayers, Jessie Mae (1992). "Origin and History of the Adoptive Rite Among Black Women". Prince Hall Masonic Directory. Conference of Grand Masters, Prince Hall Masons. Retrieved 2007-10-25.

^ "Rob Morris". Grand Chapter of California. Archived from the original on 2007-09-28. Retrieved 2007-10-01.

^ "OES Charities". Retrieved 2016-04-15.

^ "Elizabeth Bentley Order Of The Eastern Star Scholarship Award". Yukon, Canada. Retrieved 2009-11-05.

^ "Eastern Star has enjoyed long history". Black Press. Retrieved 2009-11-05. The Eastern Star Bursary, later named the Elizabeth Bentley OES Scholarship Fund, was started in 1947.[dead link]

^ Clara Barton, U.S. Nurse Masonic First Day Cover

^ "Sheriff 26 Years – J. H. Flournoy Dies," Shreveport Journal, December 14, 1966, p. 1

^ by Helen L. Atkinson at ALASKA INTERNET PUBLISHERS, INC

^ "James P. Smith". The Bernice Banner, Bernice, Louisiana. Retrieved September 13,2013.

^ "Thomas, Lee Emmett". Louisiana Historical Association, A Directory of Louisiana Biography (lahistory.org). Retrieved December 29, 2010.

^ Big Muddy online publications

^ "Horace Luther Willis". The Alexandria Daily Town Talk on findagrave.com. Retrieved July 25, 2015.

External linksEdit

Official website

Eastern Star Organizations at DMOZ

Pride of the North Chapter Number 61, Order of the Eastern Star Archival Collection, located at Shorefront Legacy Center, Evanston, Illinois

1:144 Lockheed L300-1100 "StarLifter”; aircraft "OY-GRI", operated by Air Greenland; 2004 (Whif/modified Roden kit) by Dizzyfugu

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!

Some background:

The Lockheed L300 was originally conceived as a military strategic airlifter that served under the designation C-141 Starlifter with the Military Air Transport Service (MATS), its successor organization the Military Airlift Command (MAC), and finally the Air Mobility Command (AMC) of the United States Air Force (USAF).

In the early 1960s, the United States Air Force's Military Air Transport Service (MATS) relied on a substantial number of propeller-driven aircraft for strategic airlift, such as the C-124 Globemaster II and C-133 Cargomaster. As these aircraft were mostly obsolescent designs and the Air Force needed the benefits of jet power, the USAF ordered 48 Boeing C-135 Stratolifters as an interim step. The C-135 was a useful stop-gap, but only had side-loading doors and much of the bulky and oversize equipment employed by the U.S. Army would not fit.

In the spring of 1960, the Air Force released Specific Operational Requirement 182, calling for a new aircraft that would be capable of performing both strategic and tactical airlift missions. The strategic role demanded that the aircraft be capable of missions with a radius of at least 3,500 nautical miles (6,500 km) with a 60,000 pounds (27,000 kg) load. The tactical role required it to be able to perform low-altitude air drops of supplies, as well as carry and drop combat paratroops. Several companies responded to SOR 182, including Boeing, Lockheed, and General Dynamics.

Lockheed responded to the requirement with a unique design: the Lockheed Model 300, the first large jet designed from the start to carry freight. The Model 300 had a swept high-mounted wing with four 21,000 pounds-force (93 kN) thrust TF33 turbofan engines pod-mounted below the wings. An important aspect was the cabin's floor height of only 50 inches (130 cm) above the ground, allowing easy access to the cabin through the rear doors. The two rear side doors were designed to allow the aircraft to drop paratroops (in August 1965 the aircraft performed the first paratroop drop from a jet-powered aircraft). The rear cargo doors could be opened in flight for airborne cargo drops. The high-mounted wings gave internal clearance in the cargo compartment of 10 feet (3.0 m) wide, 9 ft (2.7 m) high and 70 ft (21 m) long. The size enabled the Starlifter to carry, for example, a complete LGM-30 Minuteman intercontinental ballistic missile in its container. The aircraft was capable of carrying a maximum of 70,847 pounds (32,136 kg) over short distances, and up to 92,000 pounds (42,000 kg) in the version configured to carry the Minuteman, which lacked other equipment. The aircraft could also carry up to 154 troops, 123 paratroops or 80 litter patients.

President John F. Kennedy's first official act after his inauguration was to order the development of the Lockheed 300 on 13 March 1961, with a contract for five aircraft for test and evaluation to be designated the C-141. One unusual aspect of the aircraft was that it was designed to meet both military and civil airworthiness standards, since Lockheed hoped to sell the aircraft, much like the C-130 Hercules, to airlines, too. The prototype C-141A (s/n 61-2775) was manufactured and assembled in record time. The prototype was rolled out of the Lockheed factory at Marietta, Georgia on 22 August 1963 and first flew on 17 December, the 60th anniversary of the Wright brothers' first flight. The company and the Air Force then started an operational testing program and the delivery of 284 C-141 aircraft.

The effort to sell the aircraft on the civilian market included some detail changes like a different yoke and cockpit equipment. Two versions were offered: the original aircraft (designated L300-100 StarLifter), based on the C-141’s hull, and a strongly stretched version, 37 feet (11 m) longer than the L300-100, and marketed as the L300-200 SuperstarLifter. Specialized versions like an aerial firefighting water bomber were proposed, too, and an initial L300-100 prototype made a global sales tour (which was later donated to NASA).
Response from the civil market was rather lukewarm, though, and resulted only in orders from Flying Tiger Line and Slick Airways for four aircraft each. Nevertheless, production of the civil StarLifter was launched in 1966, since the differences to the military aircraft were only minimal and Lockheed considered the financial risks to be acceptable. However, only twelve aircraft were initially ordered when production was greenlighted, but there was the expectation to attract more sales once the aircraft proved itself in daily business.

Despite a very good service record, this did not happen. To make matters worse, unexpected legal problems seriously threatened the newly introduced transport aircraft: In the early 1970s, strict noise limits for civil aircraft threatened operations, esp. in the USA. Several American L300 operators approached Lockheed for suitable noise reduction modifications, but the company did not react. However, third parties that had developed aftermarket hush kits for other airliners like the Boeing 707 or the Douglas DC-8 chimed in and saw their opportunity, and in 1975 General Electric began discussions with the major L300 operators with a view to fitting the new and considerably quieter Franco-American CFM56 engine to the transport aircraft. Lockheed still remained reluctant, but eventually came on board in the late 1970s and supported the conversion kit with new nacelles and pylons. This engine kit was unofficially baptized the “StarSilencer” program, which was offered as a retrofit kit and as an option for newly built aircraft, which were designated L300-1100 and -1200, respectively.

The kit was well received and all operational private L300s were upgraded with the fuel-efficient 22,000 lb (98.5 kN) CFM56-2 high-bypass turbofans until 1984, preventing a premature legal end of operations in wide parts of the world. The benefits of the upgrade were remarkable: The new engines were markedly quieter than the original Pratt & Whitney TF33-P-7 turbofans, and fuel efficiency was improved by 20%, resulting in a higher range. The CFM56s also offered 10% more thrust than the TF33-P-7s’ 20,250 lbf (90.1 kN each) output, and this extra thrust improved the aircraft’s take-off performance, too.
The USAF did not adopt the “StarSilencer” upgrade and rather focused on the fuselage extension program that converted all existing C-141As into C-141Bs from 1979 onwards, so that the aircraft’s payload potential could be better exploited. However, the new CFM56 engines made the L300 more attractive to civil operators, and, beyond the upgrade program for existing airframes, a second wave of orders was placed for both the L300-1100 and -1200: until 1981, when civil L300 production was stopped, eighteen more aircraft had been ordered, primarily for operators in North America and Canada, bringing total production to 40 machines, plus the initial demonstrator prototype.

One of these late buyers outside of the American continent was Air Greenland. Founded in 1960 as Grønlandsfly, the airline started its first services with Catalina water planes and within the decade expanded to include DHC-3 Otters as well as Sikorsky S-61 helicopters, some of which remain in active service. Grønlandsfly also picked up a Danish government contract to fly reconnaissance missions regarding the sea ice around Greenland.
During the 1970s, Grønlandsfly upgraded its airliner fleet, and mining in the Uummannaq Fjord opened new business opportunities beyond passenger services. To enter the bulk cargo business for mining companies with routes to Canada, North America and Europe as well as civil freight flights for the U.S. Army in Greenland (e. g. for the USAF’s Sondrestrom and Thule Air Bases), the purchase of a dedicated transport aircraft was considered. This eventually led to the procurement of a single, new L300-1100 StarLifter with CFM56-2 engines in 1980 – at the time, the biggest aircraft operated by Grønlandsfly. Domestic as well as international passenger service flourished, too: By the end of 1979, the number of Grønlandsfly passengers served annually exceeded 60,000 – this was more than the population of Greenland itself! However, the airline’s first true jet airliner, a Boeing 757-200, began operation in May 1998. Before, only propeller-driven aircraft like vintage Douglas DC-4 and DC-6 or the DHC Twin Otter and Dash 7 turboprop aircraft had been the main passenger types. In 1999, the airline already served 282,000 passengers, nearly triple the number at the end of the previous decade.
In 2002 the company rebranded itself, anglicizing its name to Air Greenland and adopting a new logo and livery. The L300-1100 was kept in service and remained, until the introduction of a single Airbus A330 in 2003 (purchased after SAS abandoned its Greenland service and Air Greenland took these over), Air Greenland’s biggest aircraft, with frequent cargo flights for the Maarmorilik zinc and iron mines.

StarLifters remained in military duty for over 40 years until the USAF withdrew the last C-141s from service in 2006, after replacing the airlifter with the C-17 Globemaster III. In civil service, however, the L300, despite its small production number, outlasted the C-141. After the military aircraft’s retirement, more than twenty StarLifters were still in private service, most of them operating under harsh climatic conditions and in remote parts of the world.

General characteristics:

Crew: 4 - 6 (2 pilots, 2 flight engineers, 1 navigator, 1 loadmaster)

Length: 145 ft (44.27 m)

Wingspan: 160 ft 0 in (48.8 m)

Height: 39 ft 3 in (12 m)

Wing area: 3,228 ft² (300 m²)

Empty weight: 136,900 lbs (62,153 kg)

Loaded weight: 323,100 lbs (146,688 kg)

Max Payload, 2.25g: 94,508 lb (42.906 kg)

Max Takeoff Weight, 2.25g: 343,000 lb (155,722 kg)

Powerplant:

4× CFM International CFM56-2 high-bypass turbofans, delivering 22,000 lb (98.5 kN) each

Performance:

Maximum speed: 567 mph (493 kn, 912 km/h)

Cruise speed: 495 mph (430 kn, 800 km/h)

Range: 4,320 mi (2,350 nmi, 6,955 km)

Ferry range: 7,245 mi (6,305 nmi, 11,660 km)

Service ceiling: 41,000 ft (12,500 m)

Rate of climb: 2,600 ft/min (13.2 m/s)

Wing loading: 100.1 lb/ft2 (490 kg/m²)

Thrust/weight: 0.25

The kit and its assembly:

This is another project I had on my agenda for a long time, it was inspired by a picture of the civilian L300 demonstrator and the question what a StarLifter in civil service could look like? Such a type (like the C-130) would only make sense for bulk cargo transport business, and probably only for rather remote locations, so I went up North with my thoughts and initially considered Air Canada or Buffalo Airways as an operator, but then remembered Air Greenland – a very good fit, and the current livery would make the L300 a colorful bird, too.

The basis is Roden’s C-141B kit, AFAIK the only affordable IP kit of this aircraft when I had the idea for this build a while ago; A&A Models released in the meantime a C-141A in June 2021, but it is prohibitively expensive, and Anigrand does a C-141A resin kit. The Roden kit is a sound offering. The parts fit well, even though the seams along the long fuselage and the wing roots need attention and PSR, and at the small 1:144 scale the (engraved) surface details are just fine. It’s not a stellar model, but a sturdy representation with surprisingly massive parts, esp. the fuselage: its walls are almost 3mm thick!

However, I did not want to build the stretched USAF version. The original civil L300 had the same fuselage as the C-141A, and I found this option to be more plausible for the haul of singular heavy equipment than the stretched version, and the decision to shorten the C-141B also had logistic reasons, because I’d have to store the model somewhere once finished… And, finally, I think that the original, short C-141 is just looking good. ;-)

So, I simply “de-plugged” the fuselage. In real life, the C-141B had two extensions: a 160” plug in front and another 120” insert behind its wings. This translated into 2.8 and 2.1 cm long sections on the model that were simply sawed off from the completed fuselage. Thanks to the massive fuselage walls, gluing the parts back together was an easy task, resulting in a very stable connection. The seams were hidden under some PSR, as well as two windows. The C-141B’s fairing for the refueling receptive was also sanded away. The front plug was easily hidden, but the rear plug called for some body sculpting, because the fuselage has a subtle bulge around the cargo door and its ramp – the shapes in front and behind it don’t differ much, though.

Another change for a more fictional civil variant: the engines. This was a lucky coincidence, because I had a complete set of four CFM56 turbofan nacelles left over from my shortened Minicraft DC-8 build a while ago, and the StarLifter lent itself to take these different/more modern engines, esp. for the civilian market. The swap was not as easy as expected, though, because the C-141’s nacelles are much different, have longer pylons and their attachment points in the wings were OOB not compatible at all with the CFM56 pods. I eventually filled the attachment slots in the wings and glued the complete CFM56 nacelles with their short DC-8 pylons directly under the wings, blending these areas with PRS. The engines’ position is now markedly different (higher/closer to the wings and further forward), but the engines’ bigger diameter IMHO justifies this change – and it turned out well.

The rest of the Roden model was left OOB, I just added a ventral display adapter for the flight scenes.

Painting and markings:

As mentioned above, I was looking for a “bush pilot” operator of suitable size in the Northern hemisphere, and Greenland Air was chosen because of its exoticism and the airline’s distinctive and simple livery. Does anyone know this rather small airline at all? Potential freight for the US Army as well as for private mining companies with lots of heavy equipment made the StarLifter’s operation plausible.

To make the plan work I was lucky that Draw Decal does an 1:144 sheet for the airline‘s (sole) Boeing 757, and its simple post-2002 all-red paint scheme was easily adapted to the StarLifter. The fuselage and the nacelles were painted with brushes in Humbrol 19 (Gloss Red, it comes IMHO close to the rich real-world tone), while the wings and the engine pylons became Humbrol 40 (Glossy Light Gull Grey). For some variety I added a medium grey (Humbrol 126, FS 36270) Corroguard panel to the wings’ upper surface, later framed with OOB decals. The white door markings came from a generic PAS decals sheet. All decals were very thin, esp. the Draw Decals sheet, which had to be handled with much care, but they also dried up perfectly and the white print inks turned out to have very good opacity. Adapting the Boeing 757 decals to the very different C-141 hull was also easier than expected, even though the "Air Greenland" tag on the nose ended up quite far forward and the emblem on the fin lots its uppermost white circle.

The cockpit, which comes with no interior, was painted in black, while the landing gear wells and struts were painted in a very light grey (Humbrol 196, RAL 7035) with white rims.

Panel lines were emphasized with a little black ink, and the cockpit glazing turned out to be a bit foggy - which became only apparent after I added the red around it. In order to hide this flaw I just laid out the window panels with Tamiya "Smoke".

Finally the model finally received an overall coat of gloss acrylic varnish from a rattle can.

A colorful result, even though the bright red C-141 looks unusual, if not odd. The different engines work well; with the shorter fuselage, the new, wider nacelles change the StarLifter’s look considerably. It looks more modern (at least to me), like a juiced-up Bae 146 or a C-17 on a diet?

GARY ASHCRAFT? JESUS IS GOD by Gary Ashcraft

Oneness Pentecostalism (doctrine)

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It has been suggested that Oneness vs Trinity be merged into this article or section. (Discuss)

This list of basic Oneness Pentecostal doctrine is an overview. These doctrines are UPCI specific, and can be interpreted more conservatively or liberally with respect to individual and church specific views. These doctrines are accompanied by references to most, but not all, scriptures officially used by Oneness Pentecostal churches in defense of their doctrines. [1]

Oneness Pentecostal theology is essentially rooted in the following fundamentalist beliefs:

* God exists and is perfect.

* The Holy Bible is the inspired Word of God.

* The absolute inerrancy of the Holy Bible (not necessarily including any or all translations).

* Sola Scriptura (Scripture interprets Scripture), which also leads to the following assertions by Oneness Pentecostalism in framing its theology:

o The Bible is the final authority on all doctrine.

o Doctrine and Theology must take the entire Bible into consideration, using Scripture to interpret other Scripture.

o Any apparent contradictions between Scriptures is a result of faulty interpretation of one or both Scriptures.

o Any doctrine, theology, or person that contradicts the Bible is in error.

Contents

[hide]

* 1 God

o 1.1 Father, Son, and Holy Ghost

o 1.2 The Deity of Jesus Christ

o 1.3 The Name of Jesus (Emmanuel, God with us as Savior)

* 2 Salvation

o 2.1 Salvation Is through Faith

o 2.2 Obeying (Applying) the Gospel

o 2.3 Repentance

o 2.4 Water Baptism

o 2.5 The Baptism of the Holy Ghost

* 3 References

[edit] God

Oneness Doctrine Churches hold to a conservative monotheistic view of God and stress Jesus Christ as the self revelation of God in the New Testament, who was known as Jehovah in the Old Testament. The Christian Monotheist Oneness doctrine rejects all concepts of a duality, trinity, pantheon, or other doctrines they see as representing multiple personalities of God. It rejects all concepts of Jesus Christ as anything different than being both fully God and fully man. This rejection includes views that would place the Son as only part of God, views that the Son is only a high priest and not God, or that the Son was not fully human. It declares that Jesus Christ is the only begotten Son of God. Oneness also rejects the view that any person can "obtain" the status of God either by works or by grace, maintaining that Jesus Christ did not "obtain" His status, but rather that he is God manifested in the flesh (1st Timothy 3:16).

Oneness specifically maintains:

God is One

God is absolutely and indivisibly One. [2]

God is an Invisible Spirit

God is not made of a physical body, but is an invisible spirit that can only be seen in Theophanies (eg. the burning bush) that God creates or manifests or as the incarnate Jesus Christ. [3]

[edit] Father, Son, and Holy Ghost

The Father

The title of God in Parental Relationship [4]

The Son of God

The only begotten Son of God and the One God incarnate in man. The title "Son" refers to both the man and the deity of Jesus Christ with specific emphasis on the man, but never God or the man only. [5]

The Holy Spirit

The title of God in activity as Spirit. [6]

The Father Is the Holy Ghost

Oneness maintains that the titles Father and Holy Ghost refer to the same being. [7]

[edit] The Deity of Jesus Christ

Jesus is God Incarnate

Oneness maintains that Jesus is fully God. [8]

From the Beginning of His Human Life

Oneness maintains that Jesus is fully man, and had birth, death, and resurrection. Oneness denies doctrines that state that the Son was eternally begotten, maintaining that the man was begotten on a specific day.[9]

The Divine Nature of Jesus Is the Father

Oneness maintains that the deity of Jesus is the Father. [10]

The Divine Nature of Jesus Is the Holy Spirit

Oneness maintains that the deity of Jesus is the Holy Ghost. [11]

Jesus is LORD (the LORD in the KJV)

Oneness maintains that LORD and Jesus refer to the same God who is also known as the Jehovah to "some" modern day Christians. [12]. Some believe Jehovah to be a false guess name with "hovah" in Hebrew meaning ruin or destruction, hence Je-hovah meaning God of ruin or destruction [13]

[edit] The Name of Jesus (Emmanuel, God with us as Savior)

Supreme Revelation of God in the New Testament

Oneness maintains that God revealed Himself as Jesus Christ. [14]

The Saving Name

Oneness Pentecostal theology is based primarily on "the saving Name" of Jesus Christ and recognition of Jesus as the revealed, supreme, and One True Name of God. [15]

[edit] Salvation

Oneness Pentecostal doctrine and theology maintains that salvation comes by a specific set of commands and requirements in the New Testament. It maintains that each set of requirements, as summarized by faith in Jesus Christ, repentance, water baptism by immersion in the name of Jesus Christ, and the gift of the Holy Ghost baptism, are all necessary for salvation. Each that is deemed a requirement, or necessary, is noted by their doctrine with Scripture that maintains that each was commanded for salvation and/or explained that the lack of them would result in not having salvation. Individual church interpretation can impact how these are carried out. Most Oneness Pentecostal churches maintain that the use of Jesus, Lord Jesus, Jesus Christ, Jesus Christ of Nazareth all refer to the same name, and reference the variety used in the Book of Acts. This allows room in their doctrine for personal preference of the specific utterance of the name of Jesus Christ, though officially the full name "Jesus Christ" is advocated.

Universal Need for Salvation

Oneness Pentecostals believe that all men are sinners and lost without salvation. [16]

The Atoning Work of Jesus Christ

Oneness Pentecostals maintain that the man Christ Jesus made atonement, or payment, for the sins of all people. [17]

Salvation Is by Grace

Oneness Pentecostal theology holds that salvation is impossible to obtain without God's grace. [18]

[edit] Salvation Is through Faith

Only Through Faith in Jesus Christ

Faith must be in Jesus Christ. This theology holds that there is no salvation in faith in any name, god, being, or work other than Jesus Christ. This contradicts liberal interpretations of scripture that salvation was given automatically by the atonement of Jesus Christ. Oneness Pentecostals maintain that those without faith in Jesus Christ have not received salvation. That salvation is a gift and must be received. [19]

Saving Faith Includes Obedience

Oneness Pentecostals maintain that true faith is followed by obedience and a willingness to do the Will of God.[20]

Examples of Insufficient, Mental Faith

Oneness Pentecostals reject that salvation is obtainable by what they refer to as "mental faith". Mental faith is best described as faith that has no accompanying actions other than the barest definition of believing. Mental faith is often characterized by Oneness Pentecostals as faith without any life changing repentance or obedience. This doctrine is often used to refute groups who practice salvation by the "Sinner's Prayer". Oneness Pentecostals have no issue with the "Sinner's Prayer" itself, but would dispute that it alone is sufficient saving faith. They often argue that upon questioning, a significant portion of the US population might say they believe in Jesus Christ, but that "belief" and "faith" are not necessarily synonymous, pointing out in James 2:19 that even "the devils also believe, and tremble". [21]

Saving Faith Includes the Acts 2:38 Experience

Oneness Pentecostals affirm a position that "true faith" includes acts of faith and obedience to faith. They specifically point out Acts 2:38 which says, "Then Peter said unto them, Repent, and be baptized every one of you in the name of Jesus Christ for the remission of sins, and ye shall receive the gift of the Holy Ghost." They maintain that if a person has true faith, they will act on it.[22]

[edit] Obeying (Applying) the Gospel

New Testament Teaching

To obtain salvation, a person must meet the requirements set forth in the New Testament. [23]

Old Testament Typology (Blood, Water, Fire or Oil)

The requirements set forth in the New Testament are based on the teachings of the Old Testament, and that the New Testament teachings fulfill the teachings of the Old Testament. [24]

[edit] Repentance

Necessity of Repentance

Oneness Pentecostals maintain that salvation is not possible without repentance. [25]

Elements of Repentance

Oneness Pentecostals define repentance generally as confession and forsaking of sin. Confession is the admittance of sin and asking of forgiveness. Forsaking of sin is the conscious decision to abstain from sinning again.[26]

[edit] Water Baptism

Significance and Necessity

The majority of Oneness Pentecostals believe that baptism is absolutely essential to salvation. A small minority believe that baptism is symbolic in nature.(Reference Global Network of Christian Ministries) [27]

For Repentant Believers

Oneness Pentecostals believe that one must have faith and repent before being baptized. This would contradict a view that salvation could come through a baptism by force.[28]

The Baptismal Mode - Immersion in Water

Oneness Pentecostal theology maintains the literal definition of baptism, being full immersion in water. They often point out that other methods have either no biblical basis, or are based inexact Old Testament rituals, and that their mode is the only one described in the New Testament. This view contradicts the use of any other substance other than water for baptism. This view contradicts any reduced amount of water in baptism, such as sprinkling or head-only immersion. [29]

The Baptismal Formula - In the Name of Jesus

Oneness Pentecostal theology in the use of "the name of Jesus" as the baptismal formula is universal among its believers by definition of Oneness Pentecostalism. [30]

The One Name in Matthew 28:19

Many Oneness Pentecostals recognize "the name of the Father, and of the Son, and of the Holy Ghost" in Matthew 28:19 as being that of Lord Jesus Christ. Oneness itself is often explained (in simplistic terms) as the recognition of the three titles as the singular name of Lord Jesus Christ (Father=Lord, Son=Jesus, and Holy Ghost=Christ). Some Oneness reject the triune Lord Jesus Christ representing the Father, Son, and Holy Ghost and baptize in the name of Jesus Christ only. These are called "Jesus Only". They note that in their own 20th century history, the baptismal name recognition and Oneness theology go hand in hand. Similarly, they note a universal use in the Book of Acts, and with the support of other historical texts of the time, maintain that proof of Oneness theology by the early Christian church was widespread and universal among the leading members. Also of note is that by their doctrinal basis that no Scripture contradicts, that Matthew 28:19, and all of the Acts accounts, including Acts 2:38, must be in full agreement with each other. They state that the only two explanations would be that the Apostles all disobeyed the command in Matthew 28:19 or that they correctly interpreted and fulfilled it, when they used the name Lord Jesus Christ. [31]

[edit] The Baptism of the Holy Ghost

Promise and Command

Pentecostals maintain that the baptism of the Holy Ghost is both a free gift and is commanded to be accepted. The Holy Ghost is explained by Pentecostal doctrine as the Spirit of God (also known as the Spirit of Christ) dwelling within a person. It is further explained as the power of God to edify (build up) the person, help them abstain from sin, and to anoint them with power to exercise the gifts of the Spirit for edification of the church in the Will of God. This differs from the incarnation of God in Jesus Christ, in that the incarnation is explained as "the fullness of the Godhead" in the body of Jesus Christ inseparably linking the deity and man, that is Jesus. Believers, according to this doctrine, can only receive a portion of the Spirit and are not permanently bonded with God as Jesus is. This doctrine explained most simply, it is God dwelling within an individual, communing with the individual, and working through that individual. Oneness doctrine maintains the Holy Ghost is the title of God in action, so they also maintain that the Holy Ghost in an individual is God in action in and through that individual. [32]

An Experience for the Church Founded on Pentecost

Pentecostals, both Oneness and Trinitarian, maintain that the Holy Ghost experience marks the formation of the Christian Church. [33]

Significance and Necessity

Pentecostal churches maintain that the Holy Ghost is necessary for salvation, and that he carries with him power for the believer to accomplish the Will of God. [34]

Speaking in Tongues Is the Initial Sign

The majority of Oneness Pentecostals maintain that the initial sign of the Holy Ghost is speaking in tongues. They recognize that reception of the Holy Ghost was evidenced, when documented in the New Testament, by the minimal requirement of speaking in tongues. They also recognize a biblical basis that the gift of tongues is a sign to unbelievers of the power of the Holy Ghost and is actively to be prayed for and practiced, especially in prayer. [35]

[edit] References

1. ^ A shortened version compiled from “An Overview of Basic Doctrines”, an overview compiled the book ‘’A Handbook of Basic Doctrines’’ by David K. Bernard. Also included are excerpts, as marked, from “Essential Doctrines of the Bible.” “Essential Doctrines of the Bible” and “An Overview of Basic Doctrines”, Thompson Chain-Reference Study Bible, Word Aflame Press, 1999, 1-12, 13-25, respectively

2. ^ Deuteronomy 6:4, Isaiah 37:16, 42:8, 43:10-11, 44:6, 8, 24, 45:5-6, 14, 18, 21-22, 46:5, 9, 48:11-12, Zechariah 14:9, Malachi 2:10, Mark 12:29, John 17:3, Romans 3:30, Galatians 3:20, I Timothy 2:5, James 2:19, Revelation 4:2

3. ^ Exodus 33:20, Luke 24:39, John 1:18, 4:24, Colossians 1:15, I Timothy 6:15-16, Hebrews 12:9, I John 4:12

4. ^ Deuteronomy 32:6, Malachi 2:10, Psalm 89:26, Isaiah 63:16, 64:8, Jeremiah 31:9, Romans 8:14-19, Galatians 1:1-4, Ephesians 4:6, Hebrews 12:9

5. ^ Psalm 2:7, Isaiah 7:14, 9:6, Matthew 1:18-23, Mark 13:32, Luke 1:35, John 14:10-11, 28, Acts 13:33, Romans 5:10, Galatians 4:4, Colossians 1:13-15, Hebrews 1:1-9

6. ^ Genesis 1:2, Ephesians 4:4, 6, Leviticus 11:44, John 4:24, Acts 5:3, 4, 9, I Corinthians 12:11, I Peter 1:16, II Peter 1:21

7. ^ Matthew 1:18, 20, Isaiah 40:13, Joel 2:27-28, Luke 1:35, Romans 8:15-16, Compare Matthew 10:20 and Mark 13:11, Compare John 14:17 and 14:23, Compare John 14:26 and II Corinthians 1:3-4, Compare I Corinthians 3:16-17 and 6:19, Compare Ephesians 1:17-20 and Romans 8:11, Compare I Timothy 6:13 and Romans 8:11, Compare II Timothy 3:16 and II Peter 1:21 Compare I Peter 1:2 and Jude 1

8. ^ Isaiah 9:6, 11:1, 10, 40:9, John 1:1, 14, Colossians 2:9-10, Micah 5:2, Matthew 1:23, John 1:1-18, John 20:28, II Corinthians 5:19, Ephesians 5:5, Colossians 1:15, 19, I Timothy 3:16, Titus 2:13, Hebrews 1:1-3, I John 5:20, Jude 4, 25, Revelation 1:7-18, 22:3-4, Compare Exodus 20:1-5 and Luke 24:52, Compare Deuteronomy 33:27 and Revelation 1:8, 18, Compare Psalm 139:7-13 and Matthew 18:20, 28:20, Compare Isaiah 35:3-6 and Matthew 11:2-6, Compare Isaiah 43:25 and Mark 2:5-12, Compare Malachi 3:6 and Hebrews 13:8, Compare I John 1:5 and John 1:4-9, Compare Revelation 19:6 and Colossians 1:16-18

9. ^ Galatians 4:4, Micah 5:2, Matthew 1:23, 2:11, Isaiah 7:14, 9:6, Luke 1:35, 2:38, Hebrews 1:6

10. ^ Isaiah 9:6, 63:16, John 8:19-27, 10:30, 10:38, 12:45, 14:8-11, Revelation 21:6-7, Colossians 2:9, I John 3:1-5, Compare John 2:19-21 and Acts 2:24, Compare John 6:40 and I Corinthians 6:14, Compare John 6:44 and John 12:32, Compare John 14:14 and John 16:23, Compare John 16:7 and John 14:26, Compare Ephesians 5:26 and Jude 1

11. ^ John 14:16-18, 16:7, Acts 16:6-7 (NIV), II Corinthians 3:17, Galatians 4:6, Ephesians 3:16-17, Philippians 1:19, Compare Matthew 28:20 and John 14:16, Compare Luke 21:15 and Mark 13:11, Compare John 2:19-21 and Romans 8:9-11, Compare Ephesians 5:26 and I Peter 1:2, Compare Colossians 1:27 and Acts 2:4, 38

12. ^ Jeremiah 23:5-6, 33:15-16, John 8:58, Acts 9:5, Isaiah 40:10, 53:1-2, Zechariah 11:3, 12, 12:1, 10, 14:3-5, Compare Genesis 17:1 and Revelation 1:8, 18, Compare Exodus 3:14 and John 8:56-59, Compare Psalm 27:1 and Acts 4:10-12, Compare Psalm 136:3 and Revelation 19:16, Compare Isaiah 33:22 and Acts 10:42, Compare Isaiah 40:3 and Matthew 3:3, Compare Isaiah 40:5 and I Corinthians 2:8 and Isaiah 42:8, 48:11, Compare Isaiah 45:21 and Acts 7:52, Compare Isaiah 45:23 and Philippians 2:10

13. ^ Strongs #1943

14. ^ Zecharaiah 14:9, John 14:13-14, Colossians 3:17, Isaiah 52:6, Acts 3:6, 16, 4:7-12 17-18, 30, Philippians 2:9-11, James 5:14

15. ^ Matthew 1:21, Acts 3:16, 4:12, 10:43, 15:14-17, 22:16, Romans 10:13, I John 2:12

16. ^ Romans 3:9-12, 23, 5:12, 19, 6:23, Psalm 53:1-3, 130:3, Ecclesiastes 7:20, Jeremiah 17:9, Galatians 3:22, Ephesians 2:1-3, I John 1:8-10

17. ^ Isaiah 53:5-6, Matthew 20:28, 26:28, Romans 3:24-25, 5:8-11, John 1:29, I Corinthians 15:1-4, II Corinthians 5:14-21, Ephesians 2:13-19, Colossians 1:19-22, 2,:13-15, I Timothy 2:5, 6, Hebrews 2:9, 9:22, 28, 10:4, 10-20, Revelation 5:8-10

18. ^ Ephesians 2:4-10, Titus 2:11-12, 3:4-7, Romans 3:24, 6:1-2, 15, 23, I corinthians 15:10, II Corinthians 12:9, Galatians 5:4, Philippians 2:13, Hebrews 12:15, I Peter 5:5, 10

19. ^ John 3:16, 8:24, 20:31, Acts 13:38-39, 16:31, Hebrews 11:6, Romans 1:16-17, 3:21-31, 10:8-11, Galatians 2:16, Ephesians 2:8

20. ^ Romans 1:5, 6:17, 10:16, 16:26, Hebrews 5:9, 11:6-10, 11:28, John 8:30-32, Acts 6:7, James 1:21-25, I Peter 1:21-23, I John 2:3-6, 5:1-8, Compare Romans 4:3 and Genesis 15:6, 22:16-18, 26:5, Compare Romans 10:6-10 and Deuteronomy 30:10-14 and Luke 6:46

21. ^ John 2:23-25, 12:42-43, James 2:14-19, Acts 8:12-23

22. ^ Mark 1:15, 16:16, Acts 2:38, 41, 8:36-39, 11:15, 17, 19:1-6, Galatians 3:14, Ephesians 1:13

23. ^ John 3:5, Acts 1:4-8, 2:38, 8:15-17, 9:17-18, 10:43-48, 16:30-34, 19:1-6, 22:16, Titus 3:5, Matthew 3:11, Luke 24:46-49, Romans 6:1-7, I Corinthians 6:11, 15:1-4, Hebrews 6:1-2, 10:15-23, I John 5:8-10

24. ^ I Corinthians 10:1-2, Exodus 12:13, 14:19-31, 19:10-11, 29:1-7, Leviticus 14:1-20, Numbers 19:1-10, 31:1-18, I Kings 18:33-39, Hebrews 9:18-20, Compare Exodus 40:6-7 and Hebrews 9:1-9, Compare Matthew 3:11 and Acts 2:3-4, Compare John 14:16-17, 26 and I John 2:20, 27, I Peter 3:20-21 and II Peter 3:5-7

25. ^ Luke 3:3-9, 13:1-5, Acts 2:38, 3:19, 17:30, 26:18, 20, Ezekiel 18:30-32, Matthew 3:1-11, Mark 1:15, Hebrews 6:1, II Peter 3:9

26. ^ Psalm 51:17, Proverbs 28:13, Matthew 5:23-24, Mark 1:4-5, Luke 3:7-9, 19:8, Acts 26:18, 20, II Corinthians 7:10

27. ^ Mark 16:16, John 3:5, Acts 2:38, 10:48, 22:16, Galatians 3:27, Numbers 19:1-5, 9, Romans 6:3-4, I Corinthians 6:11, Colossians 2:11-13, Titus 3:5, I Peter 3:20-21, I John 5:6, 8

28. ^ Luke 3:7-8, Acts 2:38, 41, 8:12, 36-37, 10:47-48, 16:14-15, 18:8, 19:5, Matthew 3:6-8, Mark 1:5, 16:16

29. ^ Matthew 3:16, John 3:23, Romans 6:4, Mark 1:5, 9-10, Acts 8:36-39, Colossians 2:12

30. ^ Acts 2:38, 8:12, 16, 10:48, 15:17, 19:3-5, 22:16, I Corinthians 1:13, Galatians 3:27, Philippians 3:27, Colossians 2:9-10, 3:17, James 2:7

31. ^ Matthew 1:21, 28:18-20, Luke 24:47, Isaiah 52:6, Zechariah 14:9, John 5:43, 14:26, Acts 2:38, 8:16, 10:48, 19:3-5, Colossians 3:17, Revelation 22:3-4

32. ^ Matthew 3:11, Acts 1:4-8, 2:38-39, Joel 2:28-29, Mark 15:17-18, Luke 11:13, 24:49, John 3:5, 7:38-39, 14:16-18, 20:22, 16:7, 13

33. ^ Matthew 16:18, John 7:39, 16:17, Acts 1:4-8, 2:1-4, 19:1-6, Hebrews 8:6-13, 9:15-17, 11:39-40, I Peter 10-12

34. ^ John 3:1-8, Acts 1:4-8, 2:1-4, 2:37-39, 3:19, 8:15-17, 9:17, 10:44-47, 11:15-18, 19:1-6, Romans 8:1-16, 23-27, 14:17, I Corinthians 6:11, 12:3, Ephesians 1:13-14, Titus 3:5, I John 3:24

35. ^ Acts 2:1-4, 33, 8:6-8, 12-20, 10:44-46, 11:15, 19:6, Isaiah 28:11-12, Mark 16:17, John 3:8, Romans 8:16, I Corinthians 14:18, 21-22

ashcraftministry.blogspot.com/

Slow Dance Debate @Venice Biennale 2011 . Art Format debating on Emergencies, by Biennalist by Thierry Geoffroy / Colonel : Artist

Biennalist :

Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.

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

links about Biennalist :

Thierry Geoffroy/Colonel:

en.wikipedia.org/wiki/Thierry_Geoffroy

en.wikipedia.org/wiki/Emergency_Room_(art)

www.emergencyrooms.org/formats.html

www.colonel.dk/

—--Biennale from wikipedia —--

The Venice International Film Festival is part of the Venice Biennale. The famous Golden Lion is awarded to the best film screening at the competition.

Biennale (Italian: [bi.enˈnaːle]), Italian for "biennial" or "every other year", is any event that happens every two years. It is most commonly used within the art world to describe large-scale international contemporary art exhibitions. As such the term was popularised by Venice Biennale, which was first held in 1895. Since the 1990s, the terms "biennale" and "biennial" have been interchangeably used in a more generic way - to signify a large-scale international survey show of contemporary art that recurs at regular intervals but not necessarily biannual (such as triennials, Documenta, Skulptur Projekte Münster).[1] The phrase has also been used for other artistic events, such as the "Biennale de Paris", "Kochi-Muziris Biennale", Berlinale (for the Berlin International Film Festival) and Viennale (for Vienna's international film festival).

Characteristics[edit]

According to author Federica Martini, what is at stake in contemporary biennales is the diplomatic/international relations potential as well as urban regeneration plans. Besides being mainly focused on the present (the “here and now” where the cultural event takes place and their effect of "spectacularisation of the everyday"), because of their site-specificity cultural events may refer back to,[who?] produce or frame the history of the site and communities' collective memory.[2]

The Great Exhibition in The Crystal Palace in Hyde Park, London, in 1851, the first attempt to condense the representation of the world within a unitary exhibition space.

A strong and influent symbol of biennales and of large-scale international exhibitions in general is the Crystal Palace, the gigantic and futuristic London architecture that hosted the Great Exhibition in 1851. According to philosopher Peter Sloterdijk,[3][page needed] the Crystal Palace is the first attempt to condense the representation of the world in a unitary exhibition space, where the main exhibit is society itself in an a-historical, spectacular condition. The Crystal Palace main motives were the affirmation of British economic and national leadership and the creation of moments of spectacle. In this respect, 19th century World fairs provided a visual crystallization of colonial culture and were, at the same time, forerunners of contemporary theme parks.

The Venice Biennale as an archetype[edit]

The structure of the Venice Biennale in 2005 with an international exhibition and the national pavilions.

The Venice Biennale, a periodical large-scale cultural event founded in 1895, served as an archetype of the biennales. Meant to become a World Fair focused on contemporary art, the Venice Biennale used as a pretext the wedding anniversary of the Italian king and followed up to several national exhibitions organised after Italy unification in 1861. The Biennale immediately put forth issues of city marketing, cultural tourism and urban regeneration, as it was meant to reposition Venice on the international cultural map after the crisis due to the end of the Grand Tour model and the weakening of the Venetian school of painting. Furthermore, the Gardens where the Biennale takes place were an abandoned city area that needed to be re-functionalised. In cultural terms, the Biennale was meant to provide on a biennial basis a platform for discussing contemporary art practices that were not represented in fine arts museums at the time. The early Biennale model already included some key points that are still constitutive of large-scale international art exhibitions today: a mix of city marketing, internationalism, gentrification issues and destination culture, and the spectacular, large scale of the event.

Biennials after the 1990s[edit]

The situation of biennials has changed in the contemporary context: while at its origin in 1895 Venice was a unique cultural event, but since the 1990s hundreds of biennials have been organized across the globe. Given the ephemeral and irregular nature of some biennials, there is little consensus on the exact number of biennials in existence at any given time.[citation needed] Furthermore, while Venice was a unique agent in the presentation of contemporary art, since the 1960s several museums devoted to contemporary art are exhibiting the contemporary scene on a regular basis. Another point of difference concerns 19th century internationalism in the arts, that was brought into question by post-colonial debates and criticism of the contemporary art “ethnic marketing”, and also challenged the Venetian and World Fair’s national representation system. As a consequence of this, Eurocentric tendency to implode the whole word in an exhibition space, which characterises both the Crystal Palace and the Venice Biennale, is affected by the expansion of the artistic geographical map to scenes traditionally considered as marginal. The birth of the Havana Biennial in 1984 is widely considered an important counterpoint to the Venetian model for its prioritization of artists working in the Global South and curatorial rejection of the national pavilion model.

International biennales[edit]

In the term's most commonly used context of major recurrent art exhibitions:

Adelaide Biennial of Australian Art, South Australia

Asian Art Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)

Athens Biennale, in Athens, Greece

Bienal de Arte Paiz, in Guatemala City, Guatemala[4]

Arts in Marrakech (AiM) International Biennale (Arts in Marrakech Festival)

Bamako Encounters, a biennale of photography in Mali

Bat-Yam International Biennale of Landscape Urbanism

Beijing Biennale

Berlin Biennale (contemporary art biennale, to be distinguished from Berlinale, which is a film festival)

Bergen Assembly (triennial for contemporary art in Bergen, Norway)www.bergenassembly.no

Bi-City Biennale of Urbanism\Architecture, in Shenzhen and Hong Kong, China

Bienal de Arte de Ponce in Ponce, Puerto Rico

Biënnale van België, Biennial of Belgium, Belgium

BiennaleOnline Online biennial exhibition of contemporary art from the most promising emerging artists.

Biennial of Hawaii Artists

Biennale de la Biche, the smallest biennale in the world held at deserted island near Guadeloupe, French overseas region[5][6]

Biwako Biennale [ja], in Shiga, Japan

La Biennale de Montreal

Biennale of Luanda : Pan-African Forum for the Culture of Peace,[7] Angola

Boom Festival, international music and culture festival in Idanha-a-Nova, Portugal

Bucharest Biennale in Bucharest, Romania

Bushwick Biennial, in Bushwick, Brooklyn, New York

Canakkale Biennial, in Canakkale, Turkey

Cerveira International Art Biennial, Vila Nova de Cerveira, Portugal [8]

Changwon Sculpture Biennale in Changwon, South Korea

Dakar Biennale, also called Dak'Art, biennale in Dakar, Senegal

Documenta, contemporary art exhibition held every five years in Kassel, Germany

Estuaire (biennale), biennale in Nantes and Saint-Nazaire, France

EVA International, biennial in Limerick, Republic of Ireland

Göteborg International Biennial for Contemporary Art, in Gothenburg, Sweden[9]

Greater Taipei Contemporary Art Biennial, in Taipei, Taiwan

Gwangju Biennale, Asia's first and most prestigious contemporary art biennale

Havana biennial, in Havana, Cuba

Helsinki Biennial, in Helsinki, Finland

Herzliya Biennial For Contemporary Art, in Herzliya, Israel

Incheon Women Artists' Biennale, in Incheon, South Korea

Iowa Biennial, in Iowa, USA

Istanbul Biennial, in Istanbul, Turkey

International Roaming Biennial of Tehran, in Tehran and Istanbul

Jakarta Biennale, in Jakarta, Indonesia

Jerusalem Biennale, in Jerusalem, Israel

Jogja Biennale, in Yogyakarta, Indonesia

Karachi Biennale, in Karachi, Pakistan

Keelung Harbor Biennale, in Keelung, Taiwan

Kochi-Muziris Biennale, largest art exhibition in India, in Kochi, Kerala, India

Kortrijk Design Biennale Interieur, in Kortrijk, Belgium

Kobe Biennale, in Japan

Kuandu Biennale, in Taipei, Taiwan

Lagos Biennial, in Lagos, Nigeria[10]

Light Art Biennale Austria, in Austria

Liverpool Biennial, in Liverpool, UK

Lofoten International Art Festival [no] (LIAF), on the Lofoten archipelago, Norway[11]

Manifesta, European Biennale of contemporary art in different European cities

Mediations Biennale, in Poznań, Poland

Melbourne International Biennial 1999

Mediterranean Biennale in Sakhnin 2013

MOMENTA Biennale de l'image [fr] (formerly known as Le Mois de la Photo à Montréal), in Montreal, Canada

MOMENTUM [no], in Moss, Norway[12]

Moscow Biennale, in Moscow, Russia

Munich Biennale, new opera and music-theatre in even-numbered years

Mykonos Biennale

Nakanojo Biennale[13]

NGV Triennial, contemporary art exhibition held every three years at the National Gallery of Victoria, Melbourne, Australia

October Salon – Belgrade Biennale [sr], organised by the Cultural Center of Belgrade [sr], in Belgrade, Serbia[14]

OSTEN Biennial of Drawing Skopje, North Macedonia[15]

Biennale de Paris

Riga International Biennial of Contemporary Art (RIBOCA), in Riga, Latvia[16]

São Paulo Art Biennial, in São Paulo, Brazil

SCAPE Public Art Christchurch Biennial in Christchurch, New Zealand[17]

Prospect New Orleans

Seoul Biennale of Architecture and Urbanism

Sequences, in Reykjavík, Iceland[18]

Shanghai Biennale

Sharjah Biennale, in Sharjah, UAE

Singapore Biennale, held in various locations across the city-state island of Singapore

Screen City Biennial, in Stavanger, Norway

Biennale of Sydney

Taipei Biennale, in Taipei, Taiwan

Taiwan Arts Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)

Taiwan Film Biennale, in Hammer Museum, Los Angeles, U.S.A.

Thessaloniki Biennale of Contemporary Art [el], in Thessaloniki, Greece[19]

Dream city, produced by ART Rue Association in Tunisia

Vancouver Biennale

Visayas Islands Visual Arts Exhibition and Conference (VIVA ExCon) in the Philippines [20]

Venice Biennale, in Venice, Italy, which includes:

Venice Biennale of Contemporary Art

Venice Biennale of Architecture

Venice Film Festival

Vladivostok biennale of Visual Arts, in Vladivostok, Russia

Whitney Biennial, hosted by the Whitney Museum of American Art, in New York City, NY, USA

Web Biennial, produced with teams from Athens, Berlin and Istanbul.

West Africa Architecture Biennale,[21] Virtual in Lagos, Nigeria.

WRO Biennale, in Wrocław, Poland[22]

Music Biennale Zagreb

[SHIFT:ibpcpa] The International Biennale of Performance, Collaborative and Participatory Arts, Nomadic, International, Scotland, UK.

—---Venice Biennale from wikipedia —

The Venice Biennale (/ˌbiːɛˈnɑːleɪ, -li/; Italian: La Biennale di Venezia) is an international cultural exhibition hosted annually in Venice, Italy by the Biennale Foundation.[2][3][4] The biennale has been organised every year since 1895, which makes it the oldest of its kind. The main exhibition held in Castello, in the halls of the Arsenale and Biennale Gardens, alternates between art and architecture (hence the name biennale; biennial).[5][6][7] The other events hosted by the Foundation—spanning theatre, music, and dance—are held annually in various parts of Venice, whereas the Venice Film Festival takes place at the Lido.[8]

Organization[edit]

Art Biennale

International Art Exhibition

1895

Even-numbered years (since 2022)

Venice Biennale of Architecture

International Architecture Exhibition

1980

Odd-numbered years (since 2021)

Biennale Musica

International Festival of Contemporary Music

1930

Annually (Sep/Oct)

Biennale Teatro

International Theatre Festival

1934

Annually (Jul/Aug)

Venice Film Festival

Venice International Film Festival

1932

Annually (Aug/Sep)

Venice Dance Biennale

International Festival of Contemporary Dance

1999

Annually (June; biennially 2010–16)

International Kids' Carnival

2009

Annually (during Carnevale)

History

1895–1947

On April 19, 1893, the Venetian City Council passed a resolution to set up an biennial exhibition of Italian Art ("Esposizione biennale artistica nazionale") to celebrate the silver anniversary of King Umberto I and Margherita of Savoy.[11]

A year later, the council decreed "to adopt a 'by invitation' system; to reserve a section of the Exhibition for foreign artists too; to admit works by uninvited Italian artists, as selected by a jury."[12]

The first Biennale, "I Esposizione Internazionale d'Arte della Città di Venezia (1st International Art Exhibition of the City of Venice)" (although originally scheduled for April 22, 1894) was opened on April 30, 1895, by the Italian King and Queen, Umberto I and Margherita di Savoia. The first exhibition was seen by 224,000 visitors.

The event became increasingly international in the first decades of the 20th century: from 1907 on, several countries installed national pavilions at the exhibition, with the first being from Belgium. In 1910 the first internationally well-known artists were displayed: a room dedicated to Gustav Klimt, a one-man show for Renoir, a retrospective of Courbet. A work by Picasso "Family of Saltimbanques" was removed from the Spanish salon in the central Palazzo because it was feared that its novelty might shock the public. By 1914 seven pavilions had been established: Belgium (1907), Hungary (1909), Germany (1909), Great Britain (1909), France (1912), and Russia (1914).

During World War I, the 1916 and 1918 events were cancelled.[13] In 1920 the post of mayor of Venice and president of the Biennale was split. The new secretary general, Vittorio Pica brought about the first presence of avant-garde art, notably Impressionists and Post-Impressionists.

1922 saw an exhibition of sculpture by African artists. Between the two World Wars, many important modern artists had their work exhibited there. In 1928 the Istituto Storico d'Arte Contemporanea (Historical Institute of Contemporary Art) opened, which was the first nucleus of archival collections of the Biennale. In 1930 its name was changed into Historical Archive of Contemporary Art.

In 1930, the Biennale was transformed into an Ente Autonomo (Autonomous Board) by Royal Decree with law no. 33 of 13-1-1930. Subsequently, the control of the Biennale passed from the Venice city council to the national Fascist government under Benito Mussolini. This brought on a restructuring, an associated financial boost, as well as a new president, Count Giuseppe Volpi di Misurata. Three entirely new events were established, including the Biennale Musica in 1930, also referred to as International Festival of Contemporary Music; the Venice Film Festival in 1932, which they claim as the first film festival in history,[14] also referred to as Venice International Film Festival; and the Biennale Theatro in 1934, also referred to as International Theatre Festival.

In 1933 the Biennale organized an exhibition of Italian art abroad. From 1938, Grand Prizes were awarded in the art exhibition section.

During World War II, the activities of the Biennale were interrupted: 1942 saw the last edition of the events. The Film Festival restarted in 1946, the Music and Theatre festivals were resumed in 1947, and the Art Exhibition in 1948.[15]

1948–1973[edit]

The Art Biennale was resumed in 1948 with a major exhibition of a recapitulatory nature. The Secretary General, art historian Rodolfo Pallucchini, started with the Impressionists and many protagonists of contemporary art including Chagall, Klee, Braque, Delvaux, Ensor, and Magritte, as well as a retrospective of Picasso's work. Peggy Guggenheim was invited to exhibit her collection, later to be permanently housed at Ca' Venier dei Leoni.

1949 saw the beginning of renewed attention to avant-garde movements in European—and later worldwide—movements in contemporary art. Abstract expressionism was introduced in the 1950s, and the Biennale is credited with importing Pop Art into the canon of art history by awarding the top prize to Robert Rauschenberg in 1964.[16] From 1948 to 1972, Italian architect Carlo Scarpa did a series of remarkable interventions in the Biennale's exhibition spaces.

In 1954 the island San Giorgio Maggiore provided the venue for the first Japanese Noh theatre shows in Europe. 1956 saw the selection of films following an artistic selection and no longer based upon the designation of the participating country. The 1957 Golden Lion went to Satyajit Ray's Aparajito which introduced Indian cinema to the West.

1962 included Arte Informale at the Art Exhibition with Jean Fautrier, Hans Hartung, Emilio Vedova, and Pietro Consagra. The 1964 Art Exhibition introduced continental Europe to Pop Art (The Independent Group had been founded in Britain in 1952). The American Robert Rauschenberg was the first American artist to win the Gran Premio, and the youngest to date.

The student protests of 1968 also marked a crisis for the Biennale. Student protests hindered the opening of the Biennale. A resulting period of institutional changes opened and ending with a new Statute in 1973. In 1969, following the protests, the Grand Prizes were abandoned. These resumed in 1980 for the Mostra del Cinema and in 1986 for the Art Exhibition.[17]

In 1972, for the first time, a theme was adopted by the Biennale, called "Opera o comportamento" ("Work or Behaviour").

Starting from 1973 the Music Festival was no longer held annually. During the year in which the Mostra del Cinema was not held, there was a series of "Giornate del cinema italiano" (Days of Italian Cinema) promoted by sectorial bodies in campo Santa Margherita, in Venice.[18]

1974–1998[edit]

1974 saw the start of the four-year presidency of Carlo Ripa di Meana. The International Art Exhibition was not held (until it was resumed in 1976). Theatre and cinema events were held in October 1974 and 1975 under the title Libertà per il Cile (Freedom for Chile)—a major cultural protest against the dictatorship of Augusto Pinochet.

On 15 November 1977, the so-called Dissident Biennale (in reference to the dissident movement in the USSR) opened. Because of the ensuing controversies within the Italian left wing parties, president Ripa di Meana resigned at the end of the year.[19]

In 1979 the new presidency of Giuseppe Galasso (1979-1982) began. The principle was laid down whereby each of the artistic sectors was to have a permanent director to organise its activity.

In 1980, the Architecture section of the Biennale was set up. The director, Paolo Portoghesi, opened the Corderie dell'Arsenale to the public for the first time. At the Mostra del Cinema, the awards were brought back into being (between 1969 and 1979, the editions were non-competitive). In 1980, Achille Bonito Oliva and Harald Szeemann introduced "Aperto", a section of the exhibition designed to explore emerging art. Italian art historian Giovanni Carandente directed the 1988 and 1990 editions. A three-year gap was left afterwards to make sure that the 1995 edition would coincide with the 100th anniversary of the Biennale.[13]

The 1993 edition was directed by Achille Bonito Oliva. In 1995, Jean Clair was appointed to be the Biennale's first non-Italian director of visual arts[20] while Germano Celant served as director in 1997.

For the Centenary in 1995, the Biennale promoted events in every sector of its activity: the 34th Festival del Teatro, the 46th art exhibition, the 46th Festival di Musica, the 52nd Mostra del Cinema.[21]

1999–present[edit]

In 1999 and 2001, Harald Szeemann directed two editions in a row (48th & 49th) bringing in a larger representation of artists from Asia and Eastern Europe and more young artists than usual and expanded the show into several newly restored spaces of the Arsenale.

In 1999 a new sector was created for live shows: DMT (Dance Music Theatre).

The 50th edition, 2003, directed by Francesco Bonami, had a record number of seven co-curators involved, including Hans Ulrich Obrist, Catherine David, Igor Zabel, Hou Hanru and Massimiliano Gioni.

The 51st edition of the Biennale opened in June 2005, curated, for the first time by two women, Maria de Corral and Rosa Martinez. De Corral organized "The Experience of Art" which included 41 artists, from past masters to younger figures. Rosa Martinez took over the Arsenale with "Always a Little Further." Drawing on "the myth of the romantic traveler" her exhibition involved 49 artists, ranging from the elegant to the profane.

In 2007, Robert Storr became the first director from the United States to curate the Biennale (the 52nd), with a show entitled Think with the Senses – Feel with the Mind. Art in the Present Tense.

Swedish curator Daniel Birnbaum was artistic director of the 2009 edition entitled "Fare Mondi // Making Worlds".

The 2011 edition was curated by Swiss curator Bice Curiger entitled "ILLUMInazioni – ILLUMInations".

The Biennale in 2013 was curated by the Italian Massimiliano Gioni. His title and theme, Il Palazzo Enciclopedico / The Encyclopedic Palace, was adopted from an architectural model by the self-taught Italian-American artist Marino Auriti. Auriti's work, The Encyclopedic Palace of the World was lent by the American Folk Art Museum and exhibited in the first room of the Arsenale for the duration of the biennale. For Gioni, Auriti's work, "meant to house all worldly knowledge, bringing together the greatest discoveries of the human race, from the wheel to the satellite," provided an analogous figure for the "biennale model itself...based on the impossible desire to concentrate the infinite worlds of contemporary art in a single place: a task that now seems as dizzyingly absurd as Auriti's dream."[22]

Curator Okwui Enwezor was responsible for the 2015 edition.[23] He was the first African-born curator of the biennial. As a catalyst for imagining different ways of imagining multiple desires and futures Enwezor commissioned special projects and programs throughout the Biennale in the Giardini. This included a Creative Time Summit, e-flux journal's SUPERCOMMUNITY, Gulf Labor Coalition, The Invisible Borders Trans-African Project and Abounaddara.[24][25]

The 2017 Biennale, titled Viva Arte Viva, was directed by French curator Christine Macel who called it an "exhibition inspired by humanism".[26] German artist Franz Erhard Walter won the Golden Lion for best artist, while Carolee Schneemann was awarded a posthumous Golden Lion for Lifetime Achievement.[27]

The 2019 Biennale, titled May You Live In Interesting Times, was directed by American-born curator Ralph Rugoff.[28]

The 2022 edition was curated by Italian curator Cecilia Alemani entitled "The Milk of Dreams" after a book by British-born Mexican surrealist painter Leonora Carrington.[29]

The Biennale has an attendance today of over 500,000 visitors.[30][31][32]

Role in the art market[edit]

When the Venice Biennale was founded in 1895, one of its main goals was to establish a new market for contemporary art. Between 1942 and 1968 a sales office assisted artists in finding clients and selling their work,[33] a service for which it charged 10% commission. Sales remained an intrinsic part of the biennale until 1968, when a sales ban was enacted. An important practical reason why the focus on non-commodities has failed to decouple Venice from the market is that the biennale itself lacks the funds to produce, ship and install these large-scale works. Therefore, the financial involvement of dealers is widely regarded as indispensable;[16] as they regularly front the funding for production of ambitious projects.[34] Furthermore, every other year the Venice Biennale coincides with nearby Art Basel, the world's prime commercial fair for modern and contemporary art. Numerous galleries with artists on show in Venice usually bring work by the same artists to Basel.[35]

Central Pavilion and Arsenale[edit]

The formal Biennale is based at a park, the Giardini. The Giardini includes a large exhibition hall that houses a themed exhibition curated by the Biennale's director.

Initiated in 1980, the Aperto began as a fringe event for younger artists and artists of a national origin not represented by the permanent national pavilions. This is usually staged in the Arsenale and has become part of the formal biennale programme. In 1995 there was no Aperto so a number of participating countries hired venues to show exhibitions of emerging artists. From 1999, both the international exhibition and the Aperto were held as one exhibition, held both at the Central Pavilion and the Arsenale. Also in 1999, a $1 million renovation transformed the Arsenale area into a cluster of renovated shipyards, sheds and warehouses, more than doubling the Arsenale's exhibition space of previous years.[36]

A special edition of the 54th Biennale was held at Padiglione Italia of Torino Esposizioni – Sala Nervi (December 2011 – February 2012) for the 150th Anniversary of Italian Unification. The event was directed by Vittorio Sgarbi.[37]

National pavilions[edit]

Main article: National pavilions at the Venice Biennale

The Giardini houses 30 permanent national pavilions.[13] Alongside the Central Pavilion, built in 1894 and later restructured and extended several times, the Giardini are occupied by a further 29 pavilions built at different periods by the various countries participating in the Biennale. The first nation to build a pavilion was Belgium in 1907, followed by Germany, Britain and Hungary in 1909.[13] The pavilions are the property of the individual countries and are managed by their ministries of culture.[38]

Countries not owning a pavilion in the Giardini are exhibited in other venues across Venice. The number of countries represented is still growing. In 2005, China was showing for the first time, followed by the African Pavilion and Mexico (2007), the United Arab Emirates (2009), and India (2011).[39]

The assignment of the permanent pavilions was largely dictated by the international politics of the 1930s and the Cold War. There is no single format to how each country manages their pavilion, established and emerging countries represented at the biennial maintain and fund their pavilions in different ways.[38] While pavilions are usually government-funded, private money plays an increasingly large role; in 2015, the pavilions of Iraq, Ukraine and Syria were completely privately funded.[40] The pavilion for Great Britain is always managed by the British Council[41] while the United States assigns the responsibility to a public gallery chosen by the Department of State which, since 1985, has been the Peggy Guggenheim Collection.[42] The countries at the Arsenale that request a temporary exhibition space pay a hire fee per square meter.[38]

In 2011, the countries were Albania, Andorra, Argentina, Australia, Austria, Bangladesh, Belarus, Belgium, Brazil, Bulgaria, Canada, Chile, China, Congo, Costa Rica, Croatia, Cuba, Cyprus, Czechia and Slovakia, Denmark, 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, Slovenia, South Africa, Spain, Sweden, Switzerland, Syrian Arab Republic, Taiwan, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Wales and Zimbabwe. In addition to this there are two collective pavilions: Central Asia Pavilion and Istituto Italo-Latino Americano. In 2013, eleven new participant countries developed national pavilions for the Biennale: Angola, Bosnia and Herzegowina, the Bahamas, Bahrain, the Ivory Coast, Kosovo, Kuwait, the Maldives, Paraguay, Tuvalu, and the Holy See. In 2015, five new participant countries developed pavilions for the Biennale: Grenada,[43] Republic of Mozambique, Republic of Seychelles, Mauritius and Mongolia. In 2017, three countries participated in the Art Biennale for the first time: Antigua & Barbuda, Kiribati, and Nigeria.[44] In 2019, four countries participated in the Art Biennale for the first time: Ghana, Madagascar, Malaysia, and Pakistan.[45]

As well as the national pavilions there are countless "unofficial pavilions"[46] that spring up every year. In 2009 there were pavilions such as the Gabon Pavilion and a Peckham pavilion. In 2017 The Diaspora Pavilion bought together 19 artists from complex, multinational backgrounds to challenge the prevalence of the nation state at the Biennale.[47]

The Internet Pavilion (Italian: Padiglione Internet) was founded in 2009 as a platform for activists and artists working in new media.[48][49][50] Subsequent editions were held since,[51] 2013,[51] in conjunction with the biennale.[52]

-----

وینسVenetsiya

art umjetnost umění kunst taideτέχνη művészetList ealaínarte māksla menasartiKunst sztuka artăumenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist

venice biennale Venezia Venedig biennalen Bienal_de_Venecia Venise Venecia Bienalo Bienal Biënnale Venetië Veneza Μπιενάλε της Βενετίας ヴェネツィア・ビエンナーレ威尼斯双年展 Venedik Bienali Venetsian biennaali Wenecji biennial #venicebiennale #venicebiennial biennalism

Veneziako Venecija Venècia Venetië Veneetsia Venetsia VenedigΒ ενετία Velence Feneyjar Venice Venēcija Venezja Venezia Wenecja VenezaVeneția Venetsiya Benátky Benetke Fenisוועניס Վենետիկ ভেনি স威尼斯威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya Italy italia

--------key words

headband protest fashion protestfashion artistic intervention performance artformat action installation critical critic critique institutional critic choregraphy scenography

#venicebiennale #biennalist #artformat #biennale #artbiennale #biennial

#BiennaleArte2024 #artformat

No. 44: NewFoundLand by One Red Shoe by Matthew Wells

Would you like a take a shortcut to a specific Gromit?

Slow Dance Debate @Venice Biennale 2011 . Art Format debating on Emergencies by Biennalist Emergency topic by Thierry Geoffroy / Colonel : Artist