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“To stimulate creativity one must develop childlike inclination for play and the childlike desire for recognition.” – Albert Einstein
I spend quite a bit of time doing just that. Sure there are a few necessary items on the “to do” list for tomorrow…..not all of which I might choose to do if given absolute freedom of choice, but for the most part , I try to stay focussed on the importance of fueling my creative soul. One of those ways is to carve out a little time every evening that I can to “play” in the digital darkroom.
I love the texture of these crooked branches on the these trees that are part of the scene throughout a lot of Southern Utah. They seem so fragile and thirsty. Almost ready to completely crack apart.
I had a few images in my minds eye that I could have created with these unique caracters that seemed to perform on these open landscaped stages, and this is not one of theme. Funny how you can look at a shot while processing it and say to yourself “Why didn’t I compose this with a little more depth and awareness to levels of detail. Maybe a little more foreground? Perhaps I should have given a little more space for the old tree to act out in the space. Next time I guess :)
For more from MDSimages, please check out the links below....and thanks for stopping by!
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Canon EOS 5D MK III
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en.wikipedia.org/wiki/Little_Egret
The Little Egret (Egretta garzetta) is a small white heron. It is the Old World counterpart to the very similar New World Snowy Egret. In Botswana, it is known as the yellow-footed egret.
Subspecies
Depending on authority, two or three subspecies of Little Egret are currently accepted.[2]
Egretta garzetta garzetta – Europe, Africa, and most of Asia except the southeast
Egretta garzetta nigripes – Indonesia east to New Guinea
Egretta garzetta immaculata – Australia and (non-breeding) New Zealand, often considered synonymous with E. g. nigripes
Three other egret taxa have at times been classified as subspecies of the Little Egret in the past but are now regarded as two separate species. These are the Western Reef Heron Egretta gularis which occurs on the coastline of West Africa (Egretta gularis gularis) and from the Red Sea to India (Egretta gularis schistacea), and the Dimorphic Egret Egretta dimorpha, found in East Africa, Madagascar, the Comoros and the Aldabra Islands.
Description
The adult Little Egret is 55–65 cm long with an 88–106 cm wingspan, and weighs 350–550 grams. Its plumage is all white. The subspecies garzetta has long black legs with yellow feet and a slim black bill. In the breeding season, the adult has two long nape plumes and gauzy plumes on the back and breast, and the bare skin between the bill and eyes becomes red or blue. Juveniles are similar to non-breeding adults but have greenish-black legs and duller yellow feet. Has yellow feet and a bare patch of grey-green skin between the bill and eyes. The subspecies nigripes differs in having yellow skin between the bill and eye, and blackish feet.
Little Egrets are mostly silent but make various croaking and bubbling calls at their breeding colonies and produce a harsh alarm call when disturbed.
Distribution and conservation
Its breeding distribution is in wetlands in warm temperate to tropical parts of Europe, Africa, Asia, and Australia. In warmer locations, most birds are permanent residents; northern populations, including many European birds, migrate to Africa and southern Asia. They may also wander north in late summer after the breeding season, which may have assisted its current range expansion. Globally, the Little Egret is not listed as a threatened species.[3]
Status in northwestern Europe
Historical research has shown that the Little Egret was once present, and probably common, in Great Britain, but became extinct there through a combination of over-hunting in the late mediaeval period and climate change at the start of the Little Ice Age. The inclusion of 1,000 egrets (among numerous other birds) in the banquet to celebrate the enthronement of George Neville as Archbishop of York at Cawood Castle in 1465 indicates the presence of a sizable population in northern England at the time, and they are also listed in the coronation feast of King Henry VI in 1429.[4][5] They had disappeared by the mid 16th century, when William Gowreley, 'yeoman purveyor to the Kinges mowthe', "had to send further south" for egrets.[5]
Further declines occurred throughout Europe as the plumes of the Little Egret and other egrets were in demand for decorating hats. They had been used for this purpose since at least the 17th century but in the 19th century it became a major craze and the number of egret skins passing through dealers reached into the millions. Egret farms were set up where the birds could be plucked without being killed but most of the supply was obtained by hunting, which reduced the population of the species to dangerously low levels and stimulated the establishment of Britain's Royal Society for the Protection of Birds in 1889.
By the 1950s, the Little Egret had become restricted to southern Europe, and conservation laws protecting the species were introduced. This allowed the population to rebounded strongly; over the next few decades it became increasingly common in western France and later on the north coast. It bred in the Netherlands in 1979 with further breeding from the 1990s onward.
In Britain it was a rare vagrant from its 16th century disappearance until the late twentieth century, and did not breed. It has however recently become a regular breeding species and is commonly present, often in large numbers, at favoured coastal sites. The first recent breeding record in England was on Brownsea Island in Dorset in 1996, and the species bred in Wales for the first time in 2002.[6] The population increase has been rapid subsequently, with over 750 pairs breeding in nearly 70 colonies in 2008,[7] and a post-breeding total of 4,540 birds in September 2008.[8] In Ireland the species bred for the first time in 1997 at a site in County Cork and the population has also expanded rapidly since, breeding in most Irish counties by 2010.
Status in Australia
In Australia, its status varies from state to state. It is listed as 'Threatened' on the Victorian Flora and Fauna Guarantee Act (1988).[9] Under this Act, an Action Statement for the recovery and future management of this species has been prepared.[10] On the 2007 advisory list of threatened vertebrate fauna in Victoria, the Little Egret is listed as endangered.[11]
Colonisation of the New World
The Little Egret has now started to colonise the New World. The first record there was on Barbados in April 1954. It began breeding on the island in 1994. Birds are seen with increasing regularity and have occurred from Suriname and Brazil in the south to Newfoundland and Quebec in the north. Birds on the east coast of North America are thought to have moved north with Snowy Egrets from the Caribbean. In June 2011, a little egret was spotted in Maine, in the Scarborough Marsh, near the Audubon Center.
Reproduction
The Little Egret nests in colonies, often with other wading birds, usually on platforms of sticks in trees or shrubs or in a reedbed or bamboo grove. In some locations such as the Cape Verde Islands, they nest on cliffs. Pairs defend a small breeding territory, usually extending around 3–4 m from the nest. The three to five eggs are incubated by both adults for 21–25 days to hatching. They are oval in shape and have a pale, non-glossy, blue-green colour. The young birds are covered in white down feathers, are cared for by both parents and fledge after 40 to 45 days.
Feeding
Little Egrets eat fish, insects, amphibians, crustaceans, and reptiles. They stalk their prey in shallow water, often running with raised wings or shuffling its feet to disturb small fish. They may also stand still and wait to ambush prey.
Sadly not that sharp... But it´s ok, isn´t it? What do you think?
Greetings, Marcus
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There seems to be a downright dark age confusion among people as to what is considered pornography and what is art. There is a very obvious, strong, simple distinction. Pornography is meant to arouse the body, specifically the genital area. Art is meant to arouse the mind, heart, soul. There is no idea or concept behind pornography and its sole purpose is provide instant visual sexual stimulation to the viewer, whereas art serves the sole purpose of making you think, contemplate, use your head in a complex manner that creativity stimulates in us. It would take a lot more effort and imagination to be sexually aroused by a nude work of art, for instance, than a straightforward pornographic image. Art, at its very nature, has no relation to an industry as low as pornography–works of art stand apart from it like a mansion from a mobile home. Only an idiot with an IQ of 20 wouldn’t know the difference. It’s true that art can be as explicit as porn sometimes, but how is that a bad thing if its objective is never to arouse sexually, thus putting an entirely different label on it? If art ever does use porn as a subject, only in an obvious way to make a philosophical point or social statement, to make fun of it or degrade it. Art is creation. Porn is destruction. Polar opposites. Ignorance is the enemy here. www.artlimited.net/image/en/509544
Shinjuku, Tokyo, is a dynamic district that perfectly encapsulates the essence of modern Japan. This image showcases the vibrant energy of Shinjuku, a place where tradition meets innovation. The towering buildings, adorned with a plethora of colorful advertisements and neon lights, create a visually stimulating environment that is both captivating and overwhelming. The architecture in Shinjuku is a testament to Japan's rapid modernization, with sleek skyscrapers standing alongside older, more traditional structures. This juxtaposition highlights the district's historical significance and its role as a hub of contemporary culture.
Shinjuku is not just a commercial center; it is also steeped in history. The area has been a significant part of Tokyo since the Edo period, serving as a post town on the Koshu Kaido, one of the five routes of the Edo period. Today, Shinjuku Station is one of the busiest railway stations in the world, a testament to the district's enduring importance. The streets are lined with a variety of shops, restaurants, and entertainment venues, offering something for everyone. From high-end department stores to quirky boutiques, Shinjuku is a shopper's paradise. Food enthusiasts can indulge in a wide range of culinary delights, from traditional Japanese cuisine to international fare. The district is also home to numerous entertainment options, including theaters, karaoke bars, and nightclubs.
Shinjuku's unique blend of history, culture, and modernity makes it a must-visit destination for anyone exploring Tokyo. Whether you're interested in shopping, dining, or simply soaking in the urban atmosphere, Shinjuku offers an unparalleled experience that captures the essence of modern Japan.
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Montblanc Elizabeth I Patron of Arts 2010 fountain pen.
1/4 You Tube vid: youtu.be/DWN22eyQ64A
Montblanc Elizabeth I writing instrument seriously tempted my pocket book but MAC preferred another holiday trip to a warm climate.
Limited Edition 4810 and Limited Edition 888
Montblanc's Patron of Art Edition has annually honoured a legendary benefactor of the arts and culture since this special writing instrument line was originally conceived in 1992. This year’s edition is dedicated to an all time great cultural force - Elizabeth I. Regarded the most successful monarch to ever ascend an English throne, under Elizabeth's astute and skillful rule, England "came of age" and, witnessing groundbreaking achievements, was transformed from a "remote backwater" to a globally dominant imperial power. Great battles were won. The New World - or the "Americas" - was discovered and the English Renaissance reached its zenith because of Elizabeth's artistic patronage.
Patron of Art Edition Elizabeth I - Limited Edition 888
Patron of Art Edition Elizabeth I - Limited Edition 4810
The "best educated woman of her generation..." Elizabeth was "passionately" interested in the arts and her "luminous" court stimulated some of the greatest artistic achievements of all time. William Shakespeare and Christopher Marlowe flourished during her reign as did the poet Edmund Spenser, the painter Nicholas Hillyard and the English composers William Byrd, John Dowland and Thomas Tallis.
Elizabeth I was also a gifted writer and the 2010 Montblanc Patron of Art Edition is therefore composed of two writing instruments conceived with sumptuously striking and clever adornments celebrating her intellect and inimitable regal flair. Patron of Art Edition Elizabeth I, limited to 4810 pieces and limited to 888 pieces, will debut in April 2010 and May 2010, respectively. And, as their presentation has always been associated with the Montblanc de la Culture Arts Patronage Award - which annually celebrates contemporary arts and cultural patrons - the Patron of Art Edition continues a story linking a historical figure with future talent.
Elizabeth I - A Legend in her Own Lifetime
Centuries after her death, Elizabeth I (1533 - 1603), is still considered as one of England's "most popular and influential rulers". She was born at Greenwich Palace on 7 September 1533 to Anne Boleyn, the second wife of Henry VIII, although her arrival was greeted with "surprise and displeasure", by the Court. The "failure" to produce a son for King Henry jeopardized Queen Anne’s life due to her husband's obsession with conceiving a male heir. Charged with adultery, she was beheaded in May 1536.
A retinue of governesses raised the young princess Elizabeth and though she was shunned by her father, Catherine Parr, the "remarkable" sixth and last wife of Henry VIII, oversaw the education which groomed the future queen for greatness and the Patron of Art Edition Elizabeth I will celebrate their special bond. Under the Cambridge scholar Roger Ascham, Elizabeth studied the classics, read history and theology and became fluent in six languages - Greek, Latin, French, Italian, Spanish and German. Her love of music and, skill as a musician, developed from the 60 instrumentalists who resided at Hatfield House, her childhood residence. From age 11, she composed prayers and poems and, when jailed for suspected treason against Mary I, her cousin in 1554, she etched onto a glass prison window a two-line verse with a diamond.
Upon ascending the throne on 15 January 1559, Elizabeth's writing focussed on government matters. She wrote powerful speeches, such as that which she delivered at Tilbury in Essex where English troops had gathered to prepare for Spanish invasion in 1588. Brandishing a silver breastplate over a flowing white velvet gown she arrived on horseback demonstrating the "courage and leadership the English expected" of a monarch - but had never been displayed by a female - and declared to the troops: “I have the body but of a weak and feeble woman but I have the heart and stomach of a king and of a King of England, too".
Nine days later, the defeat of the Spanish Armada proved England's "finest hour". Elizabeth's popularity reached a level no "English woman had enjoyed as a public figure" and she attained supreme power comparable to a "biblical and mythological figure". Her grand mode of dress overawed her subjects while the flourishing of her Renaissance court stimulated new literary, artistic and musical achievements. "Theatres thrived", and, as Shakespeare elevated the English language to its highest level of development, England’s literacy rate soared. Elizabeth attended the debut of Shakespeare's romantic comedy A Midsummer Night's Dream. Numerous works were dedicated to her including poet Edmund Spenser's masterpiece The Fairie Queen. Composers William Byrd, John Dowland and Thomas Tallis also toiled at her court.
The discoveries of adventurers Sir Francis Drake, who circumnavigated the world in 1580, Walter Raleigh's exploration of eastern Venezuela in 1594 and Humphrey Gilbert’s conquering of Newfoundland for the English throne in 1583, spearheaded a new age expansion by the end of Elizabeth's reign. Upon her passing on 24 March 1604, the pioneering monarch, it is said, "departed this life mildly like a lamb, easily like a ripe apple from the tree".
The Limited Edition Celebrating the Elizabethan Age
Patron of Art Edition Elizabeth I 4810
The design and adornments of the Patron of Art Edition Elizabeth I 4810 reflects the life, reign and heraldic regalia of Elizabeth I. Hand engraved on the 18 K gold nib is a bejewelled gold crown which she brandished ascending the throne in 1559. Lacquer barrel and cap signify the spots which appear on an ermine cape, part of the traditional coronation attire which Elizabeth also flaunted. While an ivory coloured Montblanc emblem tops the cap, the clip descends from gold plated Tudor Rose. This "double rose" motif became England’s floral emblem after Henry VII, Elizabeth's grandfather, commandeered it as the symbol of the Tudor Dynasty upon taking the crown from Richard IIII in 1485. The green cabochon embellishing the gold-plated cross upon the clip also reflects the bejewelled cross upon Elizabeth's crown.
Encircling the gold plate band adorning the cap - as well as the cone - is an elegant interlaced pattern inspired by the pretty needlework sleeve Elizabeth conceived for a prayer book she created especially for her stepmother, Catherine Parr, as a New Year's gift in 1544. Entitled The Mirror of the Sinful Soul, it was Lady Elizabeth's own English translation of the French verse originally composed by Queen Margaret of Navarre. A friend of Anne Boleyn, the French Queen gave the original manuscript to her and the religious poem was also a favourite of Catherine Parr’s. Today, Elizabeth I’s handmade book is owned by the University of Oxford's Bodleian Library. Etched by gold plated cap ring is "Video et Taceo" - or "I see and I keep silent". This maxim of Elizabeth I signified her moderate political views and cautious approach to foreign affairs.
Patron of Art Edition Elizabeth I Limited Edition 888
This 750 solid gold fountain pen features a barrel and cap in precious lacquer. Hand engraved on its 18 K gold nib is a bejewelled gold crown in which Elizabeth I ascended the throne in 1559. Topping the cap is the Montblanc emblem rendered in shimmering mother-of-pearl. The clip descends from a solid gold Tudor Rose while its embellishment - a princess cut green garnet - reflects the bejewelled crown. The intricate interlaced motif, derived from the needlework cover of The Mirror of the Sinful Soul, beautifies the solid gold cap and barrel. Elizabeth I's "Video et Taceo" maxim is embossed upon the cap ring.
Montblanc de la Culture Arts Patronage Award
Celebrating Past and Present
The Montblanc de la Culture Arts Patronage Award is presented in 11 countries and represents an exemplary bond forged between past and present and, since its inception in 1992, this merit has been directly linked with the Patron of the Art Edition. The prize, therefore, combines a tribute to an historic patron of the arts while acknowledging a contemporary one. By recognizing the importance of private patronage, the award conveys to the public its crucial role in fostering the arts and culture.
Each recipient of the Montblanc de la Culture Arts Patronage Award is chosen by an international jury of artists and receives financial support of € 15.000 in each country for a cultural project of their own choice. Montblanc also presents the honoree and the jury members with the precious Patron of Art Edition. Sought after by collectors around the world, Montblanc's Patron of Art Edition are writing instruments that will last a lifetime. And like every Montblanc writing instrument, these exceptionally handcrafted fountain pens have been created with the highest demand of craftsmanship that has made Montblanc the benchmark for writing culture.
Prized by connoisseurs and avid collectors, the Montblanc Patron of the Art Edition is a commemorative keepsake meant to be passed down through generations. Manufacturing tools, specially developed for the making of every Montblanc Limited Edition, are destroyed at the end of each production run. As a consequence, these intricately handcrafted pens are collector’s items. Limited Editions produced between 1992 and 2000, for example, have sold at auction for sums greatly exceeding their original retail price, ranging from (US) $ 2,200 to (US) $35,000. And nine years after its 1992 debut, Montblanc Patron of the Art Lorenzo de Medici sold at Christie’s in New York for more than six times its initial cost of (US) $1,292.00, ultimately fetching (US) $8,225.00.
Mei Boa-Jiu, China:
en.m.wikipedia.org/wiki/Mei_Baojiu
www.flickr.com/photos/gregsu/14914200150/in/photolist-uiq...
Mei Baojiu (Chinese: 梅葆玖; pinyin: Méi Bǎojiǔ) (29 March 1934 – 25 April 2016)[1] was a contemporary Peking opera artist, also a performer of the Dan role type in Peking Opera and Kunqu opera, the leader of Mei Lanfang Peking Opera troupe in Beijing Peking Opera Theatre. Mei's father Mei Lanfang was one of the most famous Peking opera performers. Mei Baojiu was the ninth and youngest child of Mei Lanfang. For this reason, he was called Baojiu, since in Chinese, jiu means nine.[2] Mei Baojiu was the master of the second generation of Méi School descendant, he was also Mei Lanfang's only child who is now a performer of the Dan role of the Peking Opera.[3]
Mei Baojiu: 梅葆玖
Born: 29 March 1934. Shanghai, China
Died: 25 April 2016 (aged 82) Beijing, China
Occupation: Peking opera artist
Parents: Mei Lanfang (father), Fu Zhifang (mother)
From childhood, Mei had learned Peking Opera from many artists. Mei Baojiu's first opera teacher was Wang Youqing (王幼卿), the nephew of Wang Yaoqing (王瑶卿), who had been the teacher of Mei Lanfang. Tao Yuzhi (陶玉芝) was his teacher of martial arts, while Zhu Chuanming (朱传茗), the famous performer of the Dan role type in Kunqu opera, taught him Kunqu. After that Mei learned the Dan role from Zhu Qinxin (朱琴心). Mei's regular performances of traditional opera include The Hegemon-King Bids His Concubine Farewell, Guifei Intoxicated (貴妃醉酒), Lady General Mu Takes Command (穆桂英挂帅), The story of Yang Guifei (太真外传), Luo Shen (洛神), Xi Shi (西施), etc. Mei has made significant contributions to cultural exchanges and promoting Peking Opera culture. Meanwhile, he also trains more than twenty students, such as Li Shengsu (李胜素), Dong Yuanyuan (董圆圆), Zhang Jing (张晶), Zhang Xinyue (张馨月), Hu Wenge (胡文阁) (the only male student),[4] Tian Hui (田慧), Wei Haimin.[5]
Biography:
Mei Baojiu as a child
In the spring of 1934, Mei Baojiu was born at No. 87 Sinan Road, Shanghai.[2] Because of his comely appearance and delicate voice, his father decided to send Baojiu to learn Peking opera and hoped that Baojiu could make contributions to Méi School. Baojiu himself also showed great interest as well as gifts in Peking opera in his early life. In 1942, Mei Lanfang and his wife Fu Zhifang (福芝芳) invited Wang Youqing (王幼卿), the disciple of famous Dan role performer - Wang Yaoqing (王瑶卿), from Beijing to teach Baojiu as his first qingyi teacher while requesting Zhu Chuanming (朱传茗), one of the most prestigious performers of the Dan role type to teach Baojiu Kunqu Opera. When Mei Lanfang was free from work, he also gave directions to his son himself.[6]
When Baojiu was ten years old, he played Xue Yi (薛倚) in San Niang teaches the child (三娘教子) as his first performance in Shanghai. At the age of twelve, together with his sister Mei Baoyue (梅葆玥), Baojiu acted in Yang Silang Visits His Mother (四郎探母). Being a Qingyi (青衣) performer, he started giving performances of the Legend of the White Snake, The Story Of Su San (玉堂春) and some other traditional plays for charity since the age of 13. He also performed in Wu Jiapo Hill (武家坡) with Baoyue (梅葆玥) at the same time. When Baojiu was 16, he took part in the national tour of the Mei Lanfang Troupe, and toured the country with the troupe. Usually, Baojiu performed for the first three days, and Mei Lanfang performed plays in the rest, sometimes they also performed cooperatively, such as in Legend of the White Snake. Baojiu played the part of Xiao Qing the green snake, while his father played Bai Suzhen the white snake.[6]
Mei Lanfang used to make suggestions to Baojiu in order to make the performance of Baojiu perfect when Baojiu was young. Once, after watching the play The Story Of Sue San (玉堂春), in which Baojiu performed, he came to Baojiu and suggested that Baojiu change the way of acting the spoken parts. He mentioned that it was the most exciting time when the heroine, Sue San, got the Senior judge. For this reason, Baojiu should speak infectiously, he should speak faster and faster to create tension.[7]
Baojiu also got a chance to share the stage with some prestigious senior performers, such as Xiao Changhua (萧长华), Jiang Miaoxiang (姜妙香) and Yu Zhenfei (俞振飞).[8]
Due to the guidance of the actors from the earlier generation, Mei Baojiu's acting greatly improved and hemade a great effort to promote Méi School as well.[9]
In 1961, after Mei Lanfang died, Baojiu took over the position of the leader of Mei Lanfang Peking Opera troupe. During this time, he acted in some other well known plays, such as The mulan (木兰从军), Return of the Phoenix (凤还巢) and Lian Jinfeng (廉锦枫). However, after 1964, almost all performance of traditional plays was forbidden, according to central government regulations. For this reason, Baojiu was forced to do recording and stage lighting related work.[10]
Fourteen years later, in 1978, Baojiu returned to the Mei Lanfang Peking Opera troupe and came back to stage. He reformed the troupe and rearranged many traditional plays like Yuzhoufeng the Sword(宇宙锋), The story of Yang Guifei (太真外传), Luo Shen (洛神), Xi Shi (西施) as well as Royal pavilion (御碑亭) at the same time.[11]
From 1981 to 1984, together with his sister Mei Baoyue and descendants of other schools, he participated in the performance of a series memorial activities to commemorate his father. Making the eight-hour long play lasts for only three hours, he also rearranged The story of Yang Guifei in the late 1980s.[12]
In 1993, led by Baojiu, the Mei Lanfang Peking Opera troupe visited Taiwan and gave elaborately prepared performances to the public. He has made significant contributions to cultural exchanges and promoting Peking Opera culture.[13]
Baojiu cultivates more than twenty students, such as Li Shengsu, Dong Yuanyuan (董圆圆), Zhang Jing (张晶), Zhang Xinyue (张馨月), Hu Wenge (the only male student), Tian Hui (田慧), Wei Haimin (魏海敏). In the last twenty years, he mainly focused on training these students.
As a member of the National Committee of the Chinese People's Political Consultative Conference (CPPCC), Mei Baojiu put forward a proposal on introducing Peking Opera into elementary schools in 2009.[14]
In March 2012, at the Chinese People's Political Consultative Conference, Mei put forward a proposal on introducing the form of animation into Peking Opera in order to make more teenagers be interested in Peking Opera.[15]
On 26 March 2012, Mei received his Ph.D. from J. F. Oberlin University in Japan.[16]
On 31 March 2016, Mei was hospitalized because of bronchospasm. He died on 25 April 2016, at the age of 82.[17]
Famous plays:
Like his father, Mei Baojiu acts Dan role in the following classic Peking opera plays. The Hegemon-King Bids His Concubine Farewell tells the sad love story of Xiang Yu and his favourite concubine Consort Yu when he is surrounded by Liu Bang’s forces. Mei plays the role of Consort Yu. Shang Changrong (the 3rd son of Shang Xiaoyun) once played the role of Xiang Yu as Mei's partner.
Guifei Intoxicated, also named Bai Hua Ting (百花亭), is about Yang Guifei. In this play she drinks down her sorrow because she is irritated by Emperor Xuanzong of Tang breaking his promise. Based on Mei Lanfang’s original work, Mei Baojiu adapted this play for The Great Concubine of Tang (大唐贵妃), a contemporary Beijing opera with historical motif in 2002. Mu Guiying Takes Command, a classic Yu opera was adapted by Mei Lanfang in 1959, and he acted the leading role the same year in celebration of the 10th anniversary of PRC.
Cooperating with famous Yu opera master Ma Jinfeng (马金凤), Mei Baojiu performed this play in the Shuang xia guo style (双下锅), which means different forms of opera performed in one play.[3]
Family:
Mei Baojiu's mother, Fu Zhifang (福芝芳), the second wife of Mei Lanfang, bore 9 children, but only 4 of them survived.
Mei Baojiu is the youngest child in his family. His eldest brother, Mei Baochen (梅葆琛) (1925-2008), was a senior engineer in Beijing's Academy of Architecture (北京建筑设计院). His elder brother, Mei Shaowu (梅绍武) (1928-2005), was a researcher of the Chinese academy of social sciences institute of the United States (中国社会科学院美国研究所) and the president of Mei Lanfang Culture-art Seminar (中国梅兰芳文化艺术研究会). His elder sister Mei Baoyue (梅葆玥) (1930-2000) was a performer of the Laosheng role type in Peking Opera, and performed together with Mei Baojiu sometimes. Mei Baojiu is the only heir to the Meipai Qingyi (梅派青衣).[3][18]
Mei Baojiu's wife is named Lin Liyuan (林丽媛), she is the consultant of Mei Lanfang Troupe. They have no children.[19]
References:
^ Mei Shaowu (梅绍武), Mei Weidong (梅卫东), Biography of Mei Lanfang (梅兰芳自述) :Appendix - studies (附录：年谱简表)
^ a b Wu Ying (吴迎), From Mei Lanfang to Mei Baojiu (从梅兰芳到梅葆玖) Page 50
^ a b c "梅氏家族 (May Family)". Archived from the original on 19 January 2012. Retrieved 7 May 2012.
^ "胡文阁被梅葆玖"看"得紧紧的(组图) (Mei Baojiu keeps a close watch on Hu Wenge (photo))". 9 January 2012. Retrieved 7 May 2012.
^ "梅葆玖简介 (About Mei Baojiu)". July 2009. Retrieved 7 May 2012.
^ a b Li Zhongming (李仲明), The Family of Mei Lanfang (梅兰芳家族) Page93
^ Li Zhongming (李仲明), The Family of Mei Lanfang (梅兰芳家族) Page 96
^ "梅兰芳的剧照 Mei Lanfang snapshot". Archived from the original on 17 April 2012. Retrieved 7 May 2012.
^ Li Zhongming (李仲明), The Family of Mei Lanfang (梅兰芳家族) Page92 - 93
^ Li Zhongming (李仲明), The Family of Mei Lanfang (梅兰芳家族) Page110
^ Li Zhongming (李仲明), The Family of Mei Lanfang (梅兰芳家族) Page112-113
^ Xu Beicheng (徐北城), Mei Lanfang and the 20th century (梅兰芳与二十世纪) :chapter 10. the Dance of Mei (第十章：梅之舞)
^ Li Zhongming (李仲明), The Family of Mei Lanfang (梅兰芳家族) Page113-121
^ "Mei Baojiu". 11 March 2009. Retrieved 7 May 2012.
^ "Mei Baojiu". 7 March 2012. Retrieved 29 May 2012.
^ "Mei Baojiu". 29 March 2012. Retrieved 29 May 2012.
^ "京剧大师梅葆玖去世享年82岁 世间从此再无"梅先生"". people.cn. 25 April 2016. Retrieved 31 January 2019.
^ Li Zhongming (李仲明), The Family of Mei Lanfang (梅兰芳家族) Page84 - 90
^ "About Mei Baojiu". 29 March 2012. Archived from the original on 5 December 2012. Retrieved 29 May 2012.
Martine Franck, France:
en.m.wikipedia.org/wiki/Martine_Franck
Martine Franck (2 April 1938 – 16 August 2012) was a British-Belgian documentary and portrait photographer. She was a member of Magnum Photos for over 32 years. Franck was the second wife of Henri Cartier-Bresson and co-founder and president of the Henri Cartier-Bresson Foundation.
Martine Franck
Photo of Martine Franck.jpg
Franck in 1972, by Henri-Cartier Bresson
Born: 2 April 1938 Antwerp, Belgium
Died: 16 August 2012 (aged 74) Paris, France
Occupation
Documentary and portrait photographer
Spouse(s): Henri Cartier-Bresson (m. 1970; died 2004)
Children: 1
Contents:
Early life:
Franck was born in Antwerp[1] to the Belgian banker Louis Franck and his British wife, Evelyn.[2] After her birth the family moved almost immediately to London.[2] A year later, her father joined the British army, and the rest of the family were evacuated to the United States, spending the remainder of the Second World War on Long Island and in Arizona.[3]
Franck's father was an amateur art collector who often took his daughter to galleries and museums. Franck was in boarding school from the age of six onwards, and her mother sent her a postcard every day, frequently of paintings. Ms. Franck, attended Heathfield School, an all-girls boarding school close to Ascot in England, and studied the history of art from the age of 14. "I had a wonderful teacher who really galvanized me," she says. "In those days she took us on outings to London, which was the big excitement of the year for me."[4]
Career:
Franck studied art history at the University of Madrid and at the Ecole du Louvre in Paris. After struggling through her thesis (on French sculptor Henri Gaudier-Brzeska and the influence of cubism on sculpture), she said she realized she had no particular talent for writing, and turned to photography instead.[5]
In 1963, Franck's photography career started following trips to the Far East, having taken pictures with her cousin’s Leica camera. Returning to France in 1964, now possessing a camera of her own, Franck became an assistant to photographers Eliot Elisofon and Gjon Mili at Time-Life. By 1969 she was a busy freelance photographer for magazines such as Vogue, Life and Sports Illustrated, and the official photographer of the Théâtre du Soleil (a position she held for 48 years).[6] From 1970 to 1971 she worked in Paris at the Agence Vu photo agency, and in 1972 she co-founded the Viva agency.[2]
In 1980, Franck joined the Magnum Photos cooperative agency as a "nominee", and in 1983 she became a full member. She was one of a very small number of women to be accepted into the agency.
In 1983, she completed a project for the now-defunct French Ministry of Women's Rights and in 1985 she began collaborating with the non-profit International Federation of Little Brothers of the Poor. In 1993, she first traveled to the Irish island of Tory where she documented the tiny Gaelic community living there. She also traveled to Tibet and Nepal, and with the help of Marilyn Silverstone photographed the education system of the Tibetan Tulkus monks. In 2003 and 2004 she returned to Paris to document the work of theater director Robert Wilson who was staging La Fontaine's fables at the Comédie Française.[7]
Nine books of Franck's photographs have been published, and in 2005 Franck was made a chevalier of the French Légion d'Honneur.[8]
Franck continued working even after she was diagnosed with bone cancer in 2010. Her last exhibition was in October 2011 at the Maison Européenne de la Photographie. The exhibit consisted of 62 portraits of artists "coming from somewhere else” collected from 1965 through 2010. This same year, there were collections of portraits shown at New York's Howard Greenberg Gallery and at the Claude Bernard Gallery, Paris.[9]
Work:
Franck was well known for her documentary-style photographs of important cultural figures such as the painter Marc Chagall, philosopher Michel Foucault and poet Seamus Heaney, and of remote or marginalized communities such as Tibetan Buddhist monks, elderly French people, and isolated Gaelic speakers. Michael Pritchard, the Director-General of the Royal Photographic Society, observed: "Martine was able to work with her subjects and bring out their emotions and record their expressions on film, helping the viewer understand what she had seen in person. Her images were always empathetic with her subject." In 1976, Frank took one of her most iconic photos of bathers beside a pool in Le Brusc, Provence. By her account, she saw them from a distance and rushed to photograph the moment, all the while changing the roll of film in her camera. She quickly closed the lens just at the right moment, when happened to be most intense.[9]
She cited as influences the portraits of British photographer Julia Margaret Cameron, the work of American photojournalist Dorothea Lange and American documentary photographer Margaret Bourke-White.[8] In 2010, she told The New York Times that photography "suits my curiosity about people and human situations." [10]
She worked outside the studio, using a 35 mm Leica camera, and preferring black and white film.[2] The British Royal Photographic Society has described her work as "firmly rooted in the tradition of French humanist documentary photography."[11]
Personal life:
Franck was often described as elegant, dignified and shy.[12][13][14]
In 1966, she met Henri Cartier-Bresson, thirty years her senior, when she was photographing Paris fashion shows for The New York Times. In 2010, she told interviewer Charlie Rose "his opening line was, ‘Martine, I want to come and see your contact sheets.’" They married in 1970, had one child, a daughter named Mélanie, and remained together until his death in 2004.[2]
Throughout her career Franck, who was sometimes described as a feminist, was uncomfortable being in the shadow of her famous husband and wanted to be recognized for her own work. In 1970, the Institute of Contemporary Arts in London planned to stage Franck's first solo exhibition: when she saw that the invitations included her husband's name and said he would be present at the launch, she cancelled the show. Franck once said that she put her husband's career ahead of her own. In 2003 Franck and her daughter launched the Henri Cartier-Bresson Foundation to promote Cartier-Bresson's photojournalism, and in 2004 Franck became its president.[8]
Franck was diagnosed with leukemia in 2010, and died in Paris in 2012 at 74 years old.[2]
Publications:
Martine Franck: Dun jour, l'autre. France: Seuil, 1998. ISBN 978-2-02-034771-6
Tibetan Tulkus, images of continuity. London: Anna Maria Rossi & Fabio Rossi Publications, 2000. ISBN 978-0-9520992-8-4
Tory Island Images. Wolfhound Press, 2000. ISBN 978-0-86327-561-6
Martine Franck Photographe, Musée de la Vie romantique, Paris-Musées/Adam Biro, 2002. ISBN 978-2-87660-346-2
Fables de la Fontaine (production by Robert Wilson), Actes Sud. Paris, 2004
Martine Franck: One Day to the Next. Aperture, 2005. ISBN 978-0-89381-845-6
Martine Franck. Louis Baring. London: Phaidon, 2007. ISBN 978-0-7148-4781-8
Martine Franck: Photo Poche. France: Actes Sud, 2007. ISBN 978-2-7427-6725-0
Women/Femmes, Steidl, 2010. ISBN 978-3-86930-149-5
Venus d'ailleurs, Actes Sud, 2011
ExhibitionsEdit
La vie et la mort, Rencontres d'Arles, Arles, France, 1980[citation needed]
Martine Franck Photographe, Musée de la Vie romantique, Paris, 2004[citation needed]
Les Rencontres, Rencontres d'Arles, Arles, France, 2004[citation needed]
ReferencesEdit
^ Phaidon Editors (2019). Great women artists. Phaidon Press. p. 141. ISBN 0714878774.
^ a b c d e f Leslie Kaufman (22 August 2012). "Martine Franck, Documentary Photographer, Dies at 74". New York Times. Retrieved 25 August 2012.
^ Tori (21 August 2012). "'Magnum has lost a point of reference, a lighthouse, and one of our most influential and beloved members – Martine Franck". Film's Not Dead. Archived from the original on 26 August 2012. Retrieved 25 August 2012.
^ Grey, Tobias (21 October 2011). "Martine Franck's Curious Lens". ProQuest 899273270.
^ Bussell, Mark (8 June 2010). "Martine Franck's Pictures Within Pictures". New York Times. Retrieved 25 August 2012.
^ Wallace, Vaughan (20 August 2012). "Martine Franck: 1938 – 2012". Life magazine. Retrieved 25 August 2012.
^ Magnumphotos
^ a b c Hopkinson, Amanda (19 August 2012). "Martine Franck obituary". Guardian. Retrieved 25 August 2012.
^ a b Childs, Martin (29 August 2012). "The Independent". The Independent. Independent Print Ltd.
^ Bussell, Mark (8 June 2010). "Martine Franck's Pictures Within Pictures". The New York Times. Retrieved 19 September 2016.
^ Laurent, Olivier (17 August 2012). "Magnum Photos member and photographer Martine Franck has died". British Journal of Photography. Archived from the original on 19 August 2012. Retrieved 25 August 2012.
^ Gill, A.A. (2008). Previous convictions: assignments from here and there (1st Simon & Schuster trade pbk. ed.). New York: Simon & Schuster Paperbacks. p. 90. ISBN 978-1416572497.
^ Walker, David (17 August 2012). "Photographer Martine Franck dies". Photo District News. Retrieved 25 August 2012.
^ "Wife of Henri Cartier-Bresson, Martine Franck, dies at 74". Art Media Agency. 20 August 2012. Retrieved 25 August 2012.
External linksEdit
Henri Cartier-Bresson Foundation
New York Times "Martine Franck's Pictures Within Pictures"
Martine Franck 1991 catalogue of Taipei Fine Art Museum, with the pencil painting of Henri Cartier-Bresson.
Dr. rer. pol. Arend Oetker, Germany:
de.m.wikipedia.org/wiki/Arend_Oetker
Arend Oetker was born on March 30, 1939 in Bielefeld, North Rhine-Westphalia, Germany and studied business administration and political science in Hamburg, Berlin and Cologne as well as Marketing at Harvard Business School. He received his doctorate in 1966 from the University of Cologne.
Dr. Arend Oetker, Managing Partner of Dr. Arend Oetker Holding, is Honorary Chairman of the Board and majority shareholder of the food company Hero AG, Deputy Chairman and major shareholder of KWS Saat AG and chairman of the board of Cognos AG.
Furthermore, Dr. Arend Oetker is actively involved as president of the German Council on Foreign Relations (Deutsche Gesellschaft für Auswärtige Politik e. V.), board member of the Confederation of German Employers‘ Associations (Bundesvereinigung der Deutschen Arbeitgeberverbände e. V.) and honorary member of the Federation of German Industries (Bundesverband der Deutschen Industrie e. V.). He has received a number of accolades in the field of visual arts and music.
Dr. Arend Oetker is married and has five children.
Dr. William Mong Man Wai, Hong Kong:
en.m.wikipedia.org/wiki/William_Mong
William Mong Man-wai GBS (Chinese: 蒙民偉, 7 November 1927 – 20 July 2010) was the chairman of the Shun Hing Group, the distributor of Matsushita products (National, Panasonic, Technics) in Hong Kong.
He attended La Salle College in Hong Kong. Mong Man-wai died from cancer on 20 July 2010, aged 82. Many buildings in Hong Kong universities are named after him.[1]
Award received:
Gold Bauhinia Star
honorary doctor of the University of Hong Kong
honorary doctor of the Tsinghua University (2007)
honorary doctor of the Chinese University of Hong Kong.
Giulio Mogol, Italy:
Giulio Rapetti (born 17 August 1936), in art Mogol (Italian pronunciation: [moˈɡɔl]), is an Italian music lyricist. He is best known for his collaborations with Lucio Battisti, Gianni Bella, Adriano Celentano and Mango.
Career:
Mogol was born in Milan. His father, Mariano Rapetti, was an important director of the Ricordi record label, and had been in his own time a successful lyricist of the 1950s. Young Giulio, who was likewise employed by Ricordi as a public relations expert, began his own career as a lyricist against his father's wishes.
His first successes were "Il cielo in una stanza", set to music by Gino Paoli and sung by Mina; "Al di là", a piece that won the 1961 Sanremo Festival, performed by Luciano Tajoli and Betty Curtis; "Una lacrima sul viso", which was a huge hit for Bobby Solo in 1964. Another famous song from 1961 was "Uno dei tanti" (English: "One among many") which was rewritten by Jerry Leiber and Mike Stoller in 1963 for Ben E. King and released under the title "I (Who Have Nothing)".
In addition to writing new lyrics in Italian for a great many singers, Mogol also took it upon himself, in years in which familiarity with the English language in Italy was still sparse, to translate many hits from overseas, especially film soundtracks, but also works of Bob Dylan and David Bowie.
In 1965, he met Lucio Battisti, a young guitarist and composer from the Latium region of central Italy. Mogol's lyrics contributed to Battisti's initial success as an author, in megahits such as "29 settembre", and led him to undertake the role of producer as well, as happened with the song "Sognando la California", which Mogol himself had translated from the signature number of The Mamas & the Papas, "California Dreamin'", and with "Senza luce" ("Without light"), an Italian rendering of "A Whiter Shade of Pale" by Procol Harum.
In 1966, Mogol, overcoming resistance from his record label, convinced Battisti to perform his own songs. The lyricist's intuition would have one of the most rewarding outcomes of the history of Italian music, as Battisti, after a halting start, would explode as a singer, becoming one of the most successful artists in the panorama of Italian music. In the same year, Mogol left the Ricordi label to create his own with Battisti, called Numero Uno, which brought together many celebrated Italian singer-songwriters. The pair wrote songs as well for Bruno Lauzi and Patty Pravo. Their greatest chart success came from the songs written for Mina in 1969–1970.
In 1980, Mogol broke the artistic relationship with Battisti, and successfully continued his independent career as a lyricist with the noted singer-songwriter Riccardo Cocciante, with whom he wrote the texts for some successful albums, first in the series being "Cervo a Primavera".
Mogol (2007)
Lately, he began his collaboration with Mango, co-writing successful songs like "Oro", "Nella mia città", "Come Monna Lisa" and "Mediterraneo".
Mogol has formed a stable partnership with Adriano Celentano; his songs for Celentano are scored by the Sicilian singer-songwriter Gianni Bella. This collaboration has produced the delicate song "L'arcobaleno", included in the CD Io non so parlar d'amore, which is considered dedicated to Battisti, who had recently died. Mogol has also collaborated with singer-songwriter Jack Rubinacci.
Mari Natsuki, Japan:
en.m.wikipedia.org/wiki/Mari_Natsuki
Junko Nakajima (中島 淳子, Nakajima Junko, born 2 May 1952), more commonly known by her stage name Mari Natsuki (夏木 マリ, Natsuki Mari), is a Japanese singer, dancer and actress.[1] Born in Tokyo, she started work as a singer from a young age. In 2007, Natsuki announced her engagement to percussionist Nobu Saitō, with their marriage taking place in Spring 2008.
Mari Natsuki
MJK 08427 Mari Natsuki (Berlinale 2018).jpg
Mari Natsuki (2018)
Born: Mari Natsuki. 夏木 マリ. 2 May 1952 (age 67) Tokyo, Japan
Nationality: Japanese
Other names: Junko Nakajima
Occupation: Singer, dancer, actress
Natsuki has participated in musical theatre, including that of Yukio Ninagawa. She provided the voice of Yubaba in Spirited Away, played the young witch's mother in the Japanese TV remake of Bewitched and has twice been nominated for a Japanese Academy Award. Natsuki played the character Big Mama in the Japanese version of Metal Gear Solid 4: Guns of the Patriots[2] and has also acted in television dramas, such as the 2005 series Nobuta o Produce, playing the Vice Principal, Katharine.
Contents:
Film:
Otoko wa Tsurai yo series:
Tora-san, My Uncle (1989)
Tora-san Takes a Vacation (1990)
Tora-san Confesses (1991)
Tora-San Makes Excuses (1992)
Tora-san to the Rescue (1995)
Tora-san, Wish You Were Here (2019)
Onimasa (1982)
Legend of the Eight Samurai (1983)
Kita no Hotaru (1984)
Jittemai (1986)
Death Powder (1986)
Otoko wa Tsurai yo: Boku no Ojisan (1989)
The Hunted (1995)
Samurai Fiction (1998)
Spirited Away (2001)
Shōjo (2001)
Ping Pong (2002)
Okusama wa Majo (2004)
Sugar and Spice (2006)
Sakuran (2007)
Girl In The Sunny Place (2013)
Isle of Dogs (2018)
Ikiru Machi (2018)
Vision (2018)
Dai Kome Sōdō (2021), Taki
Television: Yoshitsune (2005), Carnation (2011), Montage (2016), Meet Me After School (2018)
Video Games: Metal Gear Solid 4: Guns of the Patriots (Big Mama) (2008), Uncharted 3: Drake's Deception (Katherine Marlowe) (2011)
Japanese dub:
Live-action: Feud (Joan Crawford (Jessica Lange)), The West Wing (C.J. Cregg (Allison Janney))
Animation: Moana (Tala)
References:
^ Mills, Ted. "Apple Music Preview. About Mari Natsuki". music.apple.com. Retrieved 9 November 2019.
^ Metal Gear Solid 4: Guns Of The Patriots: MGS4 Voice Cast Announced Archived 30 September 2007 at the Wayback Machine.
Changjae Shin, South Korea:
en.m.wikipedia.org/wiki/Shin_Chang-jae
Shin Chang-jae (born 1953/54) is a Korean billionaire businessman, Chairman and CEO of Kyobo Life Insurance Company.
Shin Chang-jae
Born: 1953/1954 (age 65–66)[1]
Nationality: Korean
Alma mater: Seoul National University
Occupation: Chairman and CEO, Kyobo Life Insurance Company
Net worth: $2.3 billion (June 2015)[1]
Spouse(s): married
Children: 2 sons
Early life:
He is the son of Shin Yong-ho, who founded Kyobo Life Insurance Company in 1958.[1] he has a doctorate from Seoul National University.[1]
Career: Kyobo Life Insurance Building, Seoul
He trained as an obstetrician and worked as a professor at the Seoul National University medical school.[1]
He has been Chairman and CEO of Kyobo Life Insurance Company since 2000.[1] In June 2015, Forbes estimated his net worth at US$2.3 billion.[1]
Personal life: He is married with two sons and lives in Seoul, South Korea.[1]
References: ^ a b c d e f g h "Shin Chang-Jae". Forbes. Retrieved 9 June 2015.
Patrick Charpenel, Mexico;
Patrick Charpenel will be the new executive director of El Museo del Barrio in New York.
Charpenel is a Mexico City–based curator who has worked extensively in Mexico as well as internationally. He organized a Gabriel Orozco retrospective at the Museo del Palacio de Bellas Artes in Mexico City in 2006 and an exhibition of work by Franz West at the Museo Tamayo Arte Contemporáneo in 2009. He also oversaw the Art Public section for the 2009 and 2010 editions of Art Basel Miami Beach.
Charpenel served as the executive director of Museo Jumex, the private museum in Mexico City of ART news Top 200 collector Eugenio López Alonso. (Charpenel resigned from his post in 2015 amid the controversy over the cancellation of a Hermann Nitsch show.) Charpenel is also a writer and a collector of “a heterogeneous group of works” that focuses on such interests as “the structure of the global economy and the extension of artistic experience into the social sphere.”
Patrick Charpenel is an art historian and collector currently working as an independent curator in Mexico City. He holds a graduate degree in philosophy. Charpenel has curated numerous exhibitions including Franz West, Tamayo Museum, Mexico City, Mexico (2006); Sólo los personajes cambian, Museum of Contemporary Art, Monterrey, Mexico (2004); Inter.play, Moore Space, Miami, Florida (2003); Edén, Jumex Collection, Mexico City, Mexico (2003); and ACNÉ, Museum of Modern Art, Mexico City, Mexico (1995). He has numerous critical texts published in catalogues and magazines.
2018 Bienvenidos a El Museo del Barrio!
We are excited to announce the appointment of our new Executive Director, Patrick Charpenel. El Museo del Barrio is thrilled to have Charpenel join the institution’s leadership and we look forward to seeing what he will bring to the legacy of this museum.
YouTube: youtu.be/l1Amlj49bt8
Laura Garcia-Lorca de los Rios, Spain:
Gloria Giner de los Ríos García (28 March 1886 – 6 February 1970) was a Spanish teacher at the Escuela Normal Superior de Maestras and the Institución Libre de Enseñanza. The author of innovative manuals dedicated to the teaching of history and geography,[1] she, together with Leonor Serrano Pablo [es], developed the educational "recipe" that they called "enthusiastic observation". They also worked to change the androcentric canon of geographical studies to include women.[2]
Gloria Giner de los Ríos García
Born: 28 March 1886 Madrid, Spain
Died: 6 February 1970 (aged 83) Madrid, Spain
Resting place: Civil Cemetery of Madrid [es]
Occupation: Teacher
Spouse(s): Fernando de los Ríos
Children: Laura de los Ríos Giner [es]
Parents: Hermenegildo Giner de los Ríos [es] (father), Laura García Hoppe [es] (mother)
She lived in exile during the Francoist Spain era, forming part of the intellectual elite that carried out educational, philological, literary, legal, and cultural work. Her family had close connections to that of poet Federico García Lorca.
Biography:
Gloria Giner de los Ríos García was born in Madrid on 28 March 1886. The daughter of Laura García Hoppe [es] and Hermenegildo Giner de los Ríos [es], she spent her childhood and adolescence in Madrid, Alicante, and Barcelona, cities where her father held the Chair of Philosophy. After finishing high school in 1906 and teaching in 1908, she completed her training by attending classes at the Institución Libre de Enseñanza and taking courses in art, pedagogy, and philosophy.[3] In 1909, she was promoted to the Escuela de Estudios Superiores de Magisterio [es].[1]
Marriage, family, and social life:
On 1 July 1912, Giner married Fernando de los Ríos, who had obtained the Chair of Law at the University of Granada. It was in this city that the couple took up residence, and in which Gloria was a teacher at the Normal School, by right of consort at first, and later in her own position.[3] A year later, their daughter Laura de los Ríos Giner [es] was born. In Granada, the Ríos Giner family became friends with the García Lorca family, with Manuel de Falla, and with Berta Wilhelmi and her husband Eduardo Domínguez. Wilhelmi had been in contact with the Institución Libre de Enseñanza and had organized some community schools in Almuñécar.[4] With her collaboration, Giner organized the education of her daughter Laura and other children, including Isabel García Lorca [es], in order to separate them from Granada's private education system.[3]
Laura de los Ríos and Isabel García Lorca:
Federico García Lorca was one of the select circle of friends of the Ríos family. He dedicated the poem Romance sonámbulo to Fernando and Gloria,[5] and was the one who introduced their daughters, Laura de los Ríos and Isabel García Lorca. The friendship between the latter was very intense and lasting. They became sisters-in-law when Laura married Federico's younger brother Francisco [es]. In an interview, Isabel Garcia Lorca recalled:
Gloria Giner was an extraordinary being. Well, of character, I think there was a certain similarity in all of them, some high moral tension. People a little demanding with what others did and what they could do. They were like that down deep, including my mother.[6]
Laura, in another interview, told of her mother's life in Granada:
My mother attended her classes every day...in the afternoon she prepared her classes and helped my father. She translated from German, the language my father and a German teacher in Granada had taught her. She also translated from French, which she knew very well, from Greek and Latin...lovingly and intellectually my parents were a very well-matched marriage.[7]
Professional career:
In 1931, the Provisional Government of the Republic appointed her husband Minister of Justice, and in December, Minister of Public Instruction. Giner told her daughter, "I'm not going to give up my career and live as a minister."[8] Nonetheless she performed some ceremonial functions and accompanied her husband on trips through Spain.[3] In 1932 she was on leave as a teacher at the Normal School, but continued teaching at the Institución Libre de Enseñanza. In 1933, after her husband resigned from government office, she rejoined teaching by accepting a position in Zamora. For three courses she lived alone in a hotel room three days a week, returning to Madrid for the rest of the week.[8] In Zamora, as in Granada, society shunned her for being the wife of a socialist and not attending religious services.[7]
Exile:
At the end of September 1936, Fernando de los Ríos was appointed ambassador of Spain to the United States, a position he held until March 1939. Gloria Giner moved to Washington, D.C. with her daughter, her mother, and a nephew of her husband. Fernanda Urruti, Fernando's mother, would later join them. In Washington, Giner was invited to several meetings that Eleanor Roosevelt organized in the White House.[3] During the Civil War, Fernando de los Ríos was separated from his professorship at the University of Madrid. In 1939, the Franco government definitively separated him from his chair and dismissed him.
Fernando de los Ríos taught at The New School for Social Research in New York, an institution founded to welcome European intellectuals who emigrated for political reasons.[5] Giner was a professor at Columbia University.[3][9] The Ríos-Giner family lived in exile in the United States, which did not recognize Spanish Republican exiles and subjected those who wanted to enter to immigration laws. However, university students and artists were exempt from the rigid immigration quota, provided they were endorsed by US citizens or claimed by a university. Gloria was one of the exiled academics who passed through American universities and formed an intellectual elite.[10]
In 1942, her daughter Laura married Francisco García Lorca, younger brother of the poet Federico, in the Mead Chapel of Middlebury College, where both were professors at the Spanish School.[11] The couple had three daughters, and the family lived together in a New York apartment. In addition to preparing classes, writing poems, and working on the publication of her works, Giner took care of her three granddaughters, took them out for walks and, if necessary, took them on the bus and subway in New York.
In 1949, Fernando de los Ríos died. Over 50 personalities of politics and culture attended the funeral. José de los Ríos – the younger brother of Fernando and Francisco García Lorca – presided over the dual family. Fernando's wife, mother, and daughter stayed at the house during the funeral, in accordance with Spanish custom at the time.
Return to Spain:
Gloria Giner returned to Spain with her daughter's family in 1965. She died in Madrid on 6 February 1970.[12] She was buried in the Civil Cemetery of Madrid [es], and her husband's remains were reinterred there alongside hers on 28 June 1980.[13]
Teaching methods:
Gloria Giner and her great friend Leonor Serrano Pablo [es] worked together on the teaching of geography in order to connect with students.[14] Giner defended the formative capacity of the plastic arts "as a real basis for the teaching of history in the first years of the formation of the culture of the child". Her 1935 book Cien lecturas históricas became a prominent text for educational reformers inspired by the work of Rafael Altamira.[1]
With Altamira and Maria Montessori as references, they developed didactic methods that, in Serrano's words, revolved around "enthusiastic observation". This consisted of teaching geography in dialogue with the students, strengthening their physical and emotional relationship with the environment. Another component of enthusiastic observation was emotional. Impositions of rote memorization were eliminated. In Giner's words, "the soul was educated and the spirit strengthened".
Serrano and Giner also advocated for the meaningful inclusion of women in the androcentric canon of studies on geography. The Dictionary of the Royal Spanish Academy had, in 1803, included the meaning of the word hombre (man) to refer to all mankind. Taking the term as inclusive of women, they understood that it forced men to relate to nature as women did. Serrano considered that rendering the androcentric references in geography meaningless would foster a "new creative, loving, anti-destructive, and anti-war humanity".[2] In the opinion of professor Ana I. Simón Alegre, this teaching, in the language of the 21st century, could be called the development of environmental education or the first manifestations of ecofeminism.[15]
Giner's last book, Por tierras de España (1962), also incorporated audio-lingual teaching methods.[9]
Works:
Historia de la pedagogía (1910)
Weimer, Hermann 1872-1942 (translation)
Geografía Primer grado. Aspectos de la naturaleza y vida del hombre en la tierra (1919)
Geografía: Primer grado (1919), with Federico Ribas (1890–1952)
Geografía general. El cielo, la Tierra y el hombre (1935)
Cien lecturas históricas (1935)
Lecturas geográficas. Espectáculos de la naturaleza, paisajes, ciudades y hombres (1936)
Romances de los ríos de España (1943)
Manual de historia de la civilización española (1951)
Cumbres de la civilización española: Interpretación del espíritu español individualizado en diecinueve figuras representativas (1955)
El paisaje de Hispanoamérica a través de su literatura: (antología) (1958)
Introducción a la historia de la civilización española (1959)
Por tierras de España (1962), with Luke Nolfi, ISBN 9780030800238
References:
^ a b c Duarte-Piña, Olga (2015). La enseñanza de la historia en la educación secundaria [Teaching of History in Secondary Education] (Thesis) (in Spanish). University of Seville. pp. 105–108. Retrieved 15 July 2019 – via Dialnet.
^ a b Simón Alegre, Ana I.; Sanz Álvarez, Arancha (January–June 2010). "Prácticas y teorías de descubrir paisajes: Viajeras y cultivadoras del estudio de la geografía en España, desde finales del siglo XIX hasta el primer tercio del XX" [Practices and Theories of Discovering Landscapes: Travelers and Cultivators of the Study of Geography in Spain, from the End of the 19th Century to the First Third of the 20th]. Arenal. Revista de historia de las mujeres (in Spanish). 17 (1): 55–79. ISSN 1134-6396. Retrieved 15 July 2019 – via Dialnet.
^ a b c d e f Ruiz-Manjón, Octavio (2007). "Gloria Giner de los Ríos: noticia biográfica de una madrileña" [Gloria Giner de los Ríos: Biographical Report of a Woman from Madrid]. Cuadernos de historia contemporánea (in Spanish) (Extra 1): 265–272. ISSN 0214-400X. Retrieved 15 July 2019 – via Dialnet.
^ Ruiz-Manjón, Octavio (31 May 2007). "Fernando de los Ríos. Un intelectual en el PSOE". El Cultural (in Spanish). Archived from the original on 10 March 2016. Retrieved 15 July 2019.
^ a b "Ríos Urruti, Fernando de los (1879–1949)" (in Spanish). Charles III University of Madrid. Retrieved 15 July 2019.
^ Méndez, José. "Isabel García Lorca". Revista Residencia (in Spanish). Retrieved 15 July 2019.
^ a b Rodrigo, Antonia (1 May 1982). "Laura de los Ríos". Revista Triunfo (in Spanish). No. 19. p. 64. Retrieved 15 July 2019.
^ a b "La niña que tocaba con Falla" [The Girl Who Played With Falla]. Granada Hoy (in Spanish). 8 March 2009. Retrieved 15 July 2019.
^ a b "Local Pair Co-Author Spanish Text". Democrat and Chronicle. 26 December 1962. p. 15. Retrieved 15 July 2019 – via Newspapers.com.
^ García Cueto, Pedro (30 April 2015). "Dos visiones del exilio cultural español: Vicente Llorens y Jordi Gracia" [Two Visions of Spanish Cultural Exile: Vicente Llorens and Jordi Gracia]. Fronterad (in Spanish). Archived from the original on 25 July 2018. Retrieved 15 July 2019.
^ Seseña, Natacha (26 December 1981). "Laura de los Ríos, un duelo de labores y esperanzas" [Laura de los Ríos, a Duel of Labors and Hopes]. El País (in Spanish). Retrieved 15 July 2019.
^ "Doña Gloria Giner de los Ríos". El Tiempo (in Spanish). 13 February 1970. p. 4. Retrieved 15 July 2019 – via Google News.
^ "Los restos de Fernando de los Ríos recibieron sepultura en el cementerio civil de Madrid" [The Remains of Fernando de los Ríos Buried in the Civil Cemetery of Madrid]. El País (in Spanish). 29 June 1980. Retrieved 15 July 2019.
^ Ortells Roca, Miquel; Artero Broch, Inmaculada (1 December 2013). "¿Para qué sirven las inspectoras? Leonor Serrano: La pedagogía y/contra el poder" [What are Inspectors For? Leonor Serrano: Pedagogy and/Against Power]. Quaderns (in Spanish) (76). Retrieved 15 July 2019.
^ Simón Alegre, Ana I. (1 March 2013). "Los inicios del ecofeminismo en España" [The Beginnings of Ecofeminism in Spain]. El Ecologista (in Spanish) (76). Retrieved 15 July 2019.
Further readingEdit
Fuentes, Víctor (2010). "'Manhattan transfers' personales al trasluz del exilio republicano en Nueva York". In Faber, Sebastiaan (ed.). Contra el olvido: el exilio español en Estados Unidos (in Spanish). Instituto Franklin de Estudios Norteamericanos. pp. 223–241. ISBN 9788481388701.
Zulueta, Carmen (2001). "Los domingos de don Fernando" [Sundays with Don Fernando]. Fundamentos de antropología (in Spanish) (10–11): 130–137.
Candida Gertler & Yana Peel, United Kingdom:
Candida Gertler (born 1966/1967) OBE is a British/German art collector, philanthropist, and former journalist.[2]
Candida Gertler
Born: 1966/1967 (age 52–53)[1]. Frankfurt am Main, Germany
Nationality: British, German
Occupation: Art collector
Net worth: £150 million (2009)
Spouse(s): Zak Gertler
Children: 2
Early life:
She was born in Frankfurt am Main, Germany, to Romanian Jewish immigrant parents.[1] [3] She studied journalism and law.[1]
Career:
In 2003 Gertler and Yana Peel founded the Outset Contemporary Art Fund.[4]
In June 2015, she was given an OBE "for services to Contemporary Visual Arts and Arts Philanthropy".[5]
She is a member of the Tate International Council.[6]
Personal life:
She is married to Zak Gertler.[7] They are Jewish, and have two children.[8]
He has been called "one of London's leading property developers".[7] In 2009, Zak Gertler and family had an estimated net worth of £150 million, down from £250 million in 2008.[9] "The Gertlers developed offices in Germany, moving into the London market in the 1990s."[9]
References:
^ a b c "The Tate's Secret Weapon: Outset". Art Market Monitor. 25 August 2009. Retrieved 12 April 2019.
^ "A missionary for art". Arterritory.com - Baltic, Russian and Scandinaviawn Art Territory. Retrieved 12 April 2019.
^ ""Artfully Dressed: Women in the Art World", Volume IV: Collectors & Patrons". Issuu. Retrieved 12 April 2019.
^ www.arterritory.com/en/art_market/collections/6202-a_miss...
^ "Candida GERTLER". www.thegazette.co.uk. Retrieved 12 April 2019.
^ "Interview with Candida Gertler, OBE". Artkurio Consultancy. Retrieved 12 April 2019.
^ a b "The London Magazine". www.thelondonmagazine.co.uk. Retrieved 12 April 2019.
^ parkeastsynagogue.org/wp-content/uploads/2019/02/Annoucem...
^ a b "Zak Gertler and family". The Sunday Times. 26 April 2009. Retrieved 12 April 2019.
Yana Peel (born June 1974) is a Canadian executive, businesswoman, children's author and philanthropist.[2] She was CEO of the Serpentine Galleries from 2016 to 2019, and was previously a board member.[3][4]
Yana Peel:
Born: Yana Mirkin[1]. June 1974 (age 45). Leningrad, USSR (now Russia)
Nationality: Canadian
Alma mater: McGill University, London School of Economics
Predecessor: Julia Peyton-Jones
Spouse(s): Stephen Peel (m. 1999)
Children: 2
Peel is a co-founder of the Outset Contemporary Art Fund (with Candida Gertler), and Intelligence Squared Asia, and was CEO of Intelligence Squared Group from 2013 to 2016.[5]
Peel has several advisory positions including the Tate International Council, V-A-C Foundation, and the NSPCC therapeutic board.[6][7] She has been an advisor to the British Fashion Council, Asia Art Archive, Lincoln Center, Para Site and the Victoria and Albert Museum, where she founded the design fund.[6][8][9][7]
Early life:
Yana Peel was born in June 1974[10] in Leningrad (now St. Petersburg), Russia. Her family emigrated to Canada via Austria in 1978.[3] She grew up in Toronto, Ontario.[11]
Peel studied Russian studies at McGill University during the 1990s. [12][3][1] In 1996,[13] while being a student she co-organised a fashion show for charity.[1][6][14] After that, Peel undertook a post-graduate degree in economics at the London School of Economics.[3][11] Peel was a member of the 2011 class of the World Economic Forum's Young Global Leaders programme.[15]
Career:
Goldman Sachs:
Peel started her career in the equities division of Goldman Sachs in 1997 in London, and became an executive director before leaving in 2003.[16][6][3][2]
Outset Contemporary Art Fund:
Peel co-founded the charity Outset Contemporary Art Fund in 2003 with Candida Gertler.[17][6][11] Peel and Gertler generated a model whereby artists could be presented to potential donors in order to raise funds to purchase their work, or to fund new commissions with a view to donating them to public institutions.[6] The Fund purchased over 100 pieces for the Tate Modern, and commissioned work by artists including Francis Alys, Yael Bartana, Candice Breitz and Steve McQueen.[6][16]
Intelligence Squared:
In 2009, Peel co-founded Intelligence Squared Asia with Amelie Von Wedel, a not-for-profit platform for hosting live debates in Hong Kong.[18][17][19] In 2012 Peel became CEO of Intelligence Squared Group,[18][20] bringing the live events business out of its financial difficulties.[6] Peel has hosted interviews including: Olafur Eliasson and Shirin Neshat at Davos,[21] Ai Wei Wei at the Cambridge Union.[22]
Serpentine Galleries:
In April 2016, Peel was appointed to the role of CEO of the Serpentine Galleries.[23][3] Peel said it was her "mission to create a safe space for unsafe ideas",[2] and to promote a "socially conscious Serpentine".[11] She indicated that she wanted to give artists a greater say in the development of the Serpentine Galleries, in order to give "artists a voice in the biggest global conversations".[11] Peel worked in tandem with the artistic director, Hans Ulrich Obrist.[6]
Peel furthered the Serpentine Galleries' technological ambitions, introducing digital engagement initiatives including Serpentine Mobile Tours[24] and the translation of the exhibition Zaha Hadid: Early Paintings and Drawings into Virtual Reality.[25][26] Peel stated that she was "committed to maintaining and open-source spirit"[27] at the Serpentine Galleries, and that it was her ambition "to inspire the widest audiences with the urgency of art and architecture".[2] The Financial Times noted that Peel "has been able to lure companies such as Google and Bloomberg as partners to help meet the Serpentine's annual £9.5m target".[24]
Peel and Obrist selected both the first African architect to work on a pavilion,[28] and the youngest architect to do so.[29] In 2018, she broadened the global reach of the Serpentine Pavilion programme by announcing the launch of a pavilion in Beijing designed by Sichuan practice, Jiakun Architects.[30]
Together with Lord Richard Rogers and Sir David Adjaye, Peel and Obrist selected Burkina Faso architect Diébédo Francis Kéré to design the 2017 pavilion.[31] The pavilion was awarded the Civic Trust Award in 2018.[32]
The Serpentine selected Mexican architect Frida Escobedo to design the 2018 pavilion. She will be the youngest architect to have participated in the Pavilion programme since it began in 2000.[29]
She stepped down as CEO in June 2019 as a consequence of the attention paid to her co-ownership of NSO Group, an Israeli cyberweapons company whose software has allegedly been used by authoritarian regimes to spy on dissidents.[4]
Philanthropy:
Peel co-chaired Para Site, a not-for-profit contemporary art space in Hong Kong, from 2010 to 2015.[33] She has been involved with the project since 2009.[17]
Peel founded the Victoria and Albert Museum's design fund in 2011.[9] The fund supported the acquisition of contemporary design objects.[9]
Peel is a member of NSPCC's therapeutic board.[7] Inspired by her children, in 2008 Peel produced a series of toddler-friendly art books published by Templar, including: Art For Baby, Color For Baby and Faces For Baby.[34] These books feature works by artists ranging from Damien Hirst to Keith Haring. Proceeds from the sales of the books go towards the NSPCC.[35]
Personal life:
In 1999, Peel married Stephen Peel,[36] a private equity financier.[37] They have two children and live in Bayswater, London.[37][38]
Awards and honours:
Montblanc Award for Arts Patronage 2011[39]
Debrett's 500 List: Art[40]
Evening Standard Progress 1000 2017[41]
ArtLyst Power 100[42]
Harper's Bazaar Women Of The Year 2017[27]
Harper's Bazaar Working Wardrobe: Best dressed women 2018[43]
Henry Crown Fellow. Appointed by the Aspen Institute in 2018.[44]
References:
^ a b c "McGill Reporter - Volume 28 Number 11". reporter-archive.mcgill.ca. Retrieved 19 February 2018.
^ a b c d Bailey, Sarah. "In Conversation: Art and Fashion Are Both About Desire", Red, London, 1 November 2017. Retrieved on 19 February 2018.
^ a b c d e f McElvoy, Anne. "In The Hot Seat", Porter, London, 1 December 2016.
^ a b Greenfield, Patrick (18 June 2019). "Serpentine Galleries chief resigns in spyware firm row". The Guardian. ISSN 0261-3077. Retrieved 18 June 2019 – via www.theguardian.com.
^ Sloway, Diane. "Meet Yana Peel, the Audacious Canadian Who's Transforming London's Famed Serpentine Galleries", W Magazine, 29 November 2016. Retrieved on 19 February 2018.
^ a b c d e f g h i Bourne, Henry. "L’alchimista", La Repubblica, Rome, 8 May 2017. Retrieved on 19 February 2018.
^ a b c "Serpentine Galleries Announce Appointment of Outset’s Yana Peel As CEO", ArtLys
The Color Purple/Violet Represents:
Inspiration: Original and sound ideas are created with violet - use it when looking for inspiration during brainstorming sessions.
Imagination: Violet inspires creativity with intellect - it is also stimulating to dream activity.
Individuality: Violet is unconventional, individual and original. It hates to copy anyone else and likes to do its own thing.
Spirituality: Violet assists us during prayer and meditation, helping us to get in touch with our deeper subconscious thoughts. Churches often feature violet in their stained glass windows. From a negative perspective it can relate to the cult follower.
Our English word “happiness” comes from the old Norse word “happ” — this is the same word from which we get our word “happen;” thus happiness is based on what happens to us. So the argument goes like this: if something good is happening, we are happy…if something bad is happening, we are sad. Though that is a fairly accurate understanding of the word “happiness,” that alone is not the only meaning of the word. The word “happy” can also be used to subjectively describe the believer’s joy (Prv 3:18; 29:18; Mt 5:3-12), which is not necessarily dependent upon what “happens” to him. Though some believers have insisted on applying “happy feelings” only to circumstances, and have objected to the use of the word “happy” when translating the beatitudes of Matt 5, that is not what Scripture teaches. Just because the derivation of the word “happy” in English has its orientation in “happ,” does not necessarily limit its usage as such, as any modern dictionary will attest. Scripture tells us that we can indeed be “happy” even in the midst of pain and suffering. Thus to insist that “spiritual joy” and “spiritual happiness” are not equivalents is to engage in meaningless contrarieties that only serve to confuse the reader. The Lord has blessed us with ability to feel & emote, and we honor Him when we appropriately exercise those emotions; it is good for believers to rejoice and be exceeding glad and happy at all times in the Lord (Lk 2:10-11; 6:23; Jn 8:56; Rom 10:15; Rev 19:7). Paul sets “rejoicing” and “being anxious” in juxtaposition to each other in order to contrast their differences (Phil 4:4, 6-7; Mt 6:25-34) — to be anxious is to be joyless. The believer can experience a deep abiding peace and joy in his life regardless of circumstances… he can experience elation that transcends his circumstances… and experience that which is highly pleasing and pleasant in the midst of difficulties and trials — all these emotions are “felt” experiences. When the believer experiences a joyful happiness, there is an absence of anxiety, tension and want in his soul; conversely, when the believer is in a “state of want,” that longing produces a disquieting unrest in his soul, so instead of being at peace and satisfied, he is anxious and restless. Happiness is one of the most misunderstood words in our vocabulary, yet we search for this intangible state our whole lives. If I only had this or that, if I met the right partner, have a big house, a new car, the job I’ve always wanted, then I would be happy. The ancient yoga and spiritual teachings stress that happiness is real only when we let go of seeking material and transient things and discover the lasting joy that is within. Every time we see a giggling baby or young child we’re reminded that we are all born with this natural and innate sense of happiness, that it is actually our birthright. We learn about suffering or unhappiness as we grow older, more externalized, and as circumstances change. We taught a workshop where a number of the participants had lost loved ones in the past years: One had lost her son to AIDS, another had lost her husband, son, and mother all within 12 months, and another’s partner had drowned. Others were dealing with specific illnesses or difficult issues in their lives. What really emerged for everyone was the awareness that their real happiness lies within themselves, that it’s not dependent on someone or something outside of them. They had lost what they had thought of as their source of happiness — a loved one or their health — and now had to look more deeply within themselves. It was a weekend of many “aha” moments!
Here are some of the ways our workshop participants discovered how to feel happy again: 1. Don’t take yourself too seriously. At times of hardship, such as loss or illness, it’s easy to lose your humor and even easier to get involved with the negative aspects of what is happening. Remembering not to take yourself too seriously brings a lightness and acceptance to the weight of circumstance around you. Don’t forget, angels can fly because they take themselves lightly! 2. Don’t identify with suffering, loss, or illness as being who you are. Many of our participants realized how they’d been identifying themselves as a cancer survivor/widow/recovering addict, or whatever it may be, but had not asked who they were without that label or identity. When you don’t identify with the negative issues, then who you really are has a chance to shine. 3. It’s OK to be you, just as you are, warts and all. You may think you’re imperfect, a mess, falling apart, hopeless, or unable to cope. But true perfection is really accepting your imperfections. It is accepting yourself, complete with all the things you like as well as the things you don’t like. In this way you’re not struggling with or rejecting yourself. Each one of is unique, a one-time offer, but we can’t know this if we are facing away from ourselves. 4. Make friends with yourself. Your relationship with yourself is the only one you have that lasts for the whole of your life, and you can be the greatest friend or the worst enemy to yourself. So it’s very important not to emotionally put down or beat yourself up. Just be kind.
5. Feel everything, whatever it may be. When you are suffering, it’s easy to want to deny or repress your feelings, as they get huge and overwhelming. But if you can really honor whatever you are feeling then it’ll bring you closer to the inner happiness beneath the suffering or grief. Acknowledging and making friends with your real feelings is the greatest gift. 6. Forgive yourself. Love yourself. Treasure yourself. These are big steps, but each one liberates the heart and sets you free. You need to forgive yourself for feeling angry, for getting upset, for all things you think you’ve done wrong. They are in the past and who you are now is not who you were then. You can take any guilt or shame by the hand, invite it in for tea, and open yourself to self-forgiveness. 7. Meditate. There is an overwhelming amount of research showing how meditation changes the circuits in the part of the brain associated with contentment and happiness and stimulates the “feel-good” factor. Meditating on love and kindness makes you much, much happier! And the only way to know this is to try it, so don’t hesitate. Can you connect with that place of inner happiness within yourself? Do leave us a comment. You can receive notice of our blogs by checking Become a Fan at the top.
www.huffingtonpost.com/ed-and-deb-shapiro/happiness-tips_...
I consider it as a great privilege to start this inspirational conference with a reflection on the Theology of Joy.
What is Joy?Let us begin by asking the question: What is Joy? After all that is the theme of this conference. Give Room for JOY. In other words, Let the Joy Grow – obviously in three
dimensions: towards God, within us and towards others.
Do we all have the same answer to this question: What is Joy?
Is it an idea, emotion, virtue, philosophy, ideal, or something else? There is no commonly agreed definition for it, yet still everyone seems to be selling happiness these days - drug dealers, pharmaceutical companies, Hollywood, Disney, toy
companies, and of course happiness-pedaling gurus.
As a quick survey I asked few of my friends this question: What is Joy? I got different answers – some very tangible and some not so tangible.A Hindu friend defined Joy as something we can sense through our five senses: sight (a
beautiful flower), hearing (a melodious music), taste (a Danish pastry), smell (a special perfume), and feeling (a feather touch).
He further added that Joy can be acquired or achieved through our spiritual discipline or efforts - citing YOGA as an example. In other words, he sees Joy as both sensual and
spiritual. Sri Krishna in a certain discourse in Bhagavad Gita says: Notions of heat and cold, pain and pleasure, are born only of the contact of the senses with their objects. They have a beginning and an end. They are not permanent in their nature. Bear them patiently. (Bhagavad Gita 2.14)
Sri Krishna further says: A person who is the same in pain and pleasure, whom these cannot disturb, he alone is able to attain immortality. (Bhagavad Gita 2.15) 2 A Muslim friend said this: Perfect happiness will only be available to us if we spend life everlasting in Paradise. It is only there that we will find total peace, tranquillity and security. It is only there that we will be free of the fear, anxiety and pain that are part of the human condition. However the guidelines provided by Islam allow us, imperfect humans, to seek happiness in this world. The key to being happy in this world and the next is seeking the pleasure of God, and worshipping Him.A young agnostic friend told me this:If you want happiness for an hour — take a nap.If you want happiness for a day — go fishing.If you want happiness for a year — inherit a fortune.If you want happiness for a lifetime — help someone else.A scholar- friend pointed out: In the fifth century, Boethius – a Roman Senator and
philosopher - could claim that "God is happiness itself". But by the middle of the 19th century, the formula was reversed to read "Happiness is God." Earthly happiness emerged
as the idol of idols, the central meaning in modern life, the source of human aspiration, thepurpose of existence. Materialism relocated God to the shopping mall.A Christian friend replied: I find Joy in Jesus.What do we make out of these responses? I felt that part of one’s joy could be lost if one gets too much into the realms of philosophy or psychology or theology of Joy. I liked that one-line response of my Christian friend: I find Joy in Jesus. This was one such moment when I profoundly thanked God for revealing true wisdom to ordinary folks.However, judging from the variety of answers I received, I felt the need to establish certain
contours of understanding, if at all possible, about what is Joy - before we go forward.Further, my survey-outcome highlighted the need for Christians to be pretty clear of what
they mean by Joy – based on what the Bible says. This is very important in a multi-religious society – to be clear of what one believes – amidst the cacophony of several philosophies,
ideologies, ideas and alternative spiritual movements.
Webster’s dictionary defines Joy as "a condition or feeling of high pleasure or delight;happiness or gladness."Other definitions which I came across include: 3 Joy is an emotion so deep and so lasting. Joy is a source or cause of keen pleasure or delight. Joy is an expression or display of glad feelings or festive gaiety. Joy is a state of extreme happiness. Is JOY different from HAPPINESS? Naturally a question then springs up in our mind: Is JOY different from HAPPINESS - two words we often use interchangeably? The answer is: Yes and No. Joy is something that lasts. Happiness is something that is temporary. Joy springs from within and is an internal experience. Happiness is caused by external circumstances or experiences. Joy brings with it a feeling of contentment and confidence which can take us through a storm in our life-journey. Happiness is not present when we are in the midst of a storm; it just vanishes. Happiness is a blurred emotion. It can mean different things to many people. Joy is a conscious commitment to be happy, to have a sense of gratitude and contentment despite life’s challenges. How does having a Positive Mental Attitude (PMA), pushed by today's motivational speakers, fit into real joy? Too many people try this kind of pop psychology with no foundation under it. It comes across as forced and artificial. A few leading televangelists preaching prosperity gospel come to my mind. To me, they all seem to project Joy as buyable/sellable commodity. Somebody once said that Joy is happiness with a much longer shelf life. But Joy is even more than that. Bible and Joy Let us now turn to the Bible and see: What the Bible says about JOY. 4 A search for the word JOY came up with 155 verses in King James Version. Another source reported that the word JOY appears 88 times in the Old Testament in 22 books; 57 times in the New Testament in 18 books. Certainly there is a lot of JOY in the Bible! There are 15 different Hebrew words and 8 Greek words to describe JOY - both as a noun and as a verb. This shows that Joy constitutes something that is tangible or concrete as well as intangible or abstract. In Hebrew - the original language of the Old Testament - several words for Joy, each with different shades of meaning, appear. Similar is the case in Greek – the original language of the New Testament. In both the Old and New Testaments, the words translated as "Joy" mean much the same as the English word: gladness, cheerfulness, calm delight. In the Old Testament Joy refers to a wide range of human experiences—from erotic love (Song of Solomon 1:4), to marriage (Proverbs 5:18), birth of children (Psalm113:9), gathering of the harvest, military victory (Isaiah 9:3), and drinking wine (Psalm 104:15). The Psalms express the joyous mood of believers as they encounter God. (Psalm 32:11 “Be glad in the Lord, and rejoice, O righteous, and shout for joy, all you upright in heart.”). Joy is a response to God's word (Psalm 119:14 “In the way of thy testimonies I delight as much as in all riches.”) In fact, Joy characterizes Israel's corporate worship life (Deuteronomy; 2 Chronicles 30:21a: “And the people of Israel that were present at Jerusalem kept the feast of unleavened bread seven days with great gladness.”). How joyous our corporate worship is? Basic to the Old Testament understanding of Joy are God's Acts in history. Two such Acts are: Israel's deliverance from Egypt (Exodus 18:9-11) and Israel's return from the Babylonian exile (Jeremiah 31:1-19) to Jerusalem. In the Old Testament spiritual joys are expressed by the metaphors of feasting, marriage, victory in military endeavors, and successful financial undertakings. For example, the joy of the harvest is used to describe the believer's final victory over his adversaries (Psalm 126:5-6 5 “May those who sow in tears reap with shouts of Joy! He that goes forth weeping bearing the seed for sowing shall come home with shouts of Joy bringing his sheaves with him.”) We can hear the echoes of such metaphors in the Danish Hymns contained in Den Danske Salme Bog. In the New Testament Jesus himself joins the Joy of mundane events of daily life – for example the marriage at Cana. Do we picture a happy, laughing Jesus in our thoughts or reflections? Joy is associated with the nativity scene of the angels’ song (Luke 2:10 “For behold, I bring you good news of a great joy which will come to all the people”). The Magi, upon finding the infant Jesus, are overjoyed (Matthew 2:10). The birth of John the Baptist as the forerunner of the Messiah is an occasion of joy for his father and others (Luke 1:14 “And you will have joy and gladness.”). Luke's Gospel-narration is concluded with the disciples returning with great Joy from Bethany after Jesus' ascension. (Luke 24:52 “And they returned to Jerusalem with great joy.”) Heaven and Angels too rejoice in the New Testament at an unbeliever's conversion. Luke places three parables together in which God, in two instances with the angels, rejoices at the redemption - upon finding the lost sheep, the shepherd rejoices (Luke 15:3-7); the woman rejoices upon finding the lost coin (Luke 15:8-10) . The prodigal son's return brings rejoicing (Luke 15:11-32). Interestingly there is a subtle change in the usage of the word Joy from Acts 13 onwards. It gets tied with trials, suffering, persecution and the like. Why?I believe that a change had begun to take place in the church about this time. The first 20 years had passed, and now the apostles were dealing with a more mature body of believers – struggling with the application of Gospel teachings. The believers had started facing stark opposition and challenges – theological, political, economic and what not! But for these believers, trials and persecution are occasions for Joy (James 1:2 “Count it all joy, my brethren, when you meet various trials.”). Suffering brings Joy as believers are united with Christ in his suffering (1 Peter 4:13-14) Paul speaks of his Joy in the midst of affliction (2 Corinthians 7:4-16 “With all our affliction, I am overjoyed.”) 6 Joy becomes part of the faith (Philippians 1:25). God's kingdom is described as: righteousness, peace and Joy (Romans 14:17). Certainty of salvation is a cause for Joy, as the disciples are commanded to "rejoice that your names are written in heaven" (Luke 10:20). Surely the meaning of Joy takes in new dimensions and shades. Also, about this time, Apostle Paul emerges as the dominant figure. Paul mentions Joy as the second fruit of the Holy Spirit in his letter to the Galatians, along with eight other fruits. Galatians 5:22: (“But the fruit of the Spirit is love, joy, peace, patience, kindness, goodness, faithfulness, gentleness, self- control.”) Joy is not something to be pursued; it is rather a result of the Christian life - a product. The church was coming increasingly under fire, and Christians were struggling to grow. We can suppose that Paul began to see and teach Joy in a different light – Joy as a character trait- tempered by fire! Christian Joy often comes tied with challenges and trials. What we have been witnessing in the Middle East and in some other parts of the world in recent times is a stark reminder to this fact. How do those brothers and sisters continue to sing and worship the Lord without losing their Faith and Joy? It clearly shows that Joy in Christian theology is different from superficial, external happiness. Let me narrate a particular case - where the involved persons have literally challenged my own concept of Joy through their life-example. Peter says: “Beloved, do not be surprised at the fiery ordeal which comes upon you to prove you, as though something strange were happening to you. But rejoice in so far as you share Christ's sufferings, that you may also rejoice and be glad when his glory is revealed.” (I Peter4:12-13) Count your trials as joy. James 1:2-3 says, "Knowing that the testing of your faith [through trials] produces patience." God's testing process has the goal or aim of purging us of all impurity, to make us "perfect and complete, lacking nothing" (verse 4). The word Gospel literally means good news. Jesus encouraged us to think of the future as a time of Joy, so that it sustains us now when times are difficult. 7 I see three categories or groups of people gathered here today: those who are natural citizens of Denmark - born and brought up here; those who came to Denmark of their own choice; and those who came here due to circumstances beyond their control. All of us however enjoy the Joy of Christ because of this particular theology: Trials and tribulations are integral part of Christian life! It is part of our Faith. It is part of our DNA. Christian joy is not the seeking of pleasure: quite the opposite. It is a curious paradox of life that the more we seek to be happy the more miserable we become. A famous writer (Eric Hoffer) once said: “The search for happiness is one of the chief sources of unhappiness.” Joy is God’s gift. It is not something to be pursued. As mentioned earlier, Jesus said to his followers: “Rejoice that your names are written in heaven." (Luke 10:20) Joy is about getting this into perspective, not how wide our grin is! The Christian has the promise of Jesus that the best is yet to come. We can be joyful in spite of circumstances. As we read the Bible, we will find this theme again and again. Christian Joy exists in spite of circumstances. Christians should be able to display their inner JOY at all three Houses of Worship: Church, Home and Work-Station.Let us encourage each other to be truly Joyful – driven by our Faith, Hope, Love, Contentment and Gratitude – in spite of circumstances. The five pillars of Joy! We are familiar with the first three pillars coming from what Apostle Paul wrote in 1 Corinthians 13:13, “So faith, hope and love abide.” Regarding the fourth pillar contentment, not everyone is truly content with his or her life. Often we are unsatisfied and seek more for what we don't have and who we are. Through scripture however, we are commanded to be content with all we have in life. As we practice the discipline of gratitude instead of complaining, grumbling, or forgetting God's goodness, we will experience His peace, be filled with His joy, and grow in faith and hope. All these five pillars - Faith, Hope, Love, Contentment and Gratitude – are borne out of God’s grace, and even though we don’t deserve. They are the five gifts of grace.I would encourage you to look at JOY as a fruit - made up of five tastes or colors: Faith,Hope, Love, Contentment and Gratitude 8 Let me now read out two scripture portions for you – one from the OT and the other from the NT – as part of this inspirational talk. Habakkuk 3:17-19. (Explain background.) “Though the fig tree does not bud and there are no grapes on the vines, though the olive crop fails and the fields produce no food, though there are no sheep in the pen and no cattle in the stalls, yet I will rejoice in the LORD, I will be joyful in God my Savior. The Sovereign LORD is my strength; he makes my feet like the feet of a deer, he enables me to go on the heights.”Here is what St. Paul says in 2 Corinthians 6:4 -10 (Explain background). “Rather, as servants of God we commend ourselves in every way: in great endurance; in troubles, hardships and distresses; in beatings, imprisonments and riots; in hard work, sleepless nights and hunger; in purity, understanding, patience and kindness; in the Holy Spirit and in sincere love; in truthful speech and in the power of God; with weapons of righteousness in the right hand and in the left; through glory and dishonor, bad report and good report; genuine, yet regarded as impostors; known, yet regarded as unknown; dying, and yet we live on; beaten, and yet not killed; sorrowful, yet always rejoicing; poor, yet making many rich; having nothing, and yet possessing everything”. Do these two scripture-portions resonate in any manner with our own life-journeys? If yes, REJOICE. Because in these two verses I see the gist of Christian Theology of Joy – a theology that encompasses Faith, Hope, Love, Gratitude and Contentment.When we have the Joy of the Lord, we will know it and so will others. In addition to being joyful, we should let others have their Joy. Christian Joy is contagious. Do we see some role-models - at our homes, communities, cities and villages My wife and I have met quite a few JOYFUL Christians here in Denmark. They have truly inspired us. Where Joy cannot be found? Men have pursued joy in every avenue imaginable. Some have successfully found it while others have not. Perhaps it would be easier to describe where joy cannot be found:Not in Unbelief -- Voltaire was a non-believer of the most pronounced type. He wrote: "Iwish I had never been born."Not in Pleasure -- Lord Byron lived a life of pleasure if anyone did. He wrote: "The worm, the canker, and grief are mine alone." 9 Not in Money -- Jay Gould, the American millionaire, had plenty of that. When dying, he said: "I suppose I am the most miserable man on earth." Not in Position and Fame -- Lord Beaconsfield enjoyed more than his share of both. He wrote: "Youth is a mistake; manhood a struggle; old age a regret."
www.tvaerkulturelt-center.dk/index.php/docman-dokumenter/...
Introduction — The pursuit of happiness has probably reached its peak in our twentieth century world. Americans don’t stand alone in this pursuit, because it is an innate drive found in every man’s nature. Everyone wants to be happy and seeks it in varying ways and with varying degrees of intensity. Some seek it through pleasure, others through enter-tainment, possessions, work, position, education, and success; still others seek it in athletic endeavors, hobbies, travel, fashion, physical beauty, wealth, status, bigger homes, boats, planes, and vacation homes, as well as alcohol, food and drugs. King Solomon conducted a series of experiments in a quest to get the most and best out of life — his experiments not only included most of those things listed above, but also laughter, the finest wines, wisdom, and building projects that were the envy of the world… he built houses for himself, planted vineyard and gardens, built waterpools, acquired male and female servants, male and female singers and musicians, herds and flocks that were unparalleled, silver and gold and valuable treasures… said Solomon, “I became great and excelled more than all who were before me in Jerusalem… whatever my eyes desired I did not keep from them… I did not withhold my heart from any pleasure…. Then I looked on all the works that my hands had done… and found it to be nothing but vanity and a striving after wind” (Ecc 2:1-12). Therefore, said Solomon, “I completely despaired of all the labor in which I had toiled under the sun… it was all vanity” (Ecc 2:20-25). Solomon admitted that his quest rewarded him with a degree of joy, yet he still found that it did not satisfy him. Most people think they would have had an endless amount of joy were they as blessed as Solomon was… but Solomon concluded that it is God who determines whether or not we experience joy (Ecc 2:26). The experiences of men the world over tell us that no matter how secure and wonderful their sources of joy may be, human joy does not last long.
On the other hand, when we follow God’s prescription, He feeds us in such a way that we experience real joy and satisfaction. God makes it very clear in Scripture that real joy lies in the quality of our relationship with Him; therefore, can we actually be so foolish so as to think that we can somehow produce it ourselves? One thing is certain: dwelling on ourselves and our wants will never produce true joy — rather than being obsessed with ourselves we must become obsessed with Christ; if we do, we will immerse ourselves in His Word, and seek to know Him more intimately “and our joy will be made full” (Jn 15:1-11). It is only through God’s Spirit that we can experience true joy (Ps 15:11-12; Gal 5:22; 1 Th 1:6); it cannot be accomplished apart from God (2 Cor 12:10; 13:4). The harder we try to be joyful through our own efforts, the more miserable we will become. Rest in the Lord’s arms (Mt 11:28-30) and seek His face through prayer and Scripture. Writes the apostle Paul: “May the God of hope fill you with all joy and peace as you trust in Him, so that you may overflow with hope by the power of the Holy Spirit” (Rom 15:13).
The psalmist David wrote these encouraging words: “Thou will make known to me the path of life; in Thy presence is fulness of joy; in Thy right hand there are pleasures forever” (Ps 16:11). The Bible is clear that the only place we can find true joy is in God’s presence. Faith is a necessary requisite for experiencing joy and pleasing God (Heb 11:6; Jam1:2-4), and without joy we don’t have the faith to conquer the problems we face in life. The night before Jesus went to the cross He taught His disciples how important it was for them to “abide in Him;” that only when they were experiencing “intimacy with Him” would they be able to bear fruit — “apart from Me you can do nothing.” He went on to tell them that He had spoken these things to them“that His joy might be in them, and that their joy might be made full” (Jn 15:11). Writes David, “Taste and see that the Lord is good; how blessed is the man who takes refuge in Him. For to those who fear Him, there is no want” (Ps 34:8-9). When we lack joy, the heart is discontented, anxious, and unhappy… so a lack of joy leads to a lack of peace; and obviously where there is no peace, there is no joy.There is nothing like knowing that our joy remains full even when we have been rendered empty of all that we had thought we needed to sustain our happiness. Sadly, it is true that most Christians fail to experience joy when times become difficult — generally they get so caught up in the issues of life that they forget to “rejoice in the Lord,” or they question how it is even possible when life gets so discouraging, depressing and frustrating. To experience the secret of joy one must carefully reflect on the path of joy as it is outlined in Scripture. Twice in Philippians 4:4 Paul gives this command: “Rejoice in the Lord always; again, I say rejoice.” Just because God’s Spirit dwells within us does not mean that we will necessarily experience joy— we must make a choice to let Christ be our joy. When we falter in our faith, we try to manufacture our own joy, and that is simply not possible, because God is its author. Only when we find our happiness in the person of Christ can we experience true joy. Jesus said to His disciples, “These things I have spoken to you so that My joy may be in you, and that your joy may be made full” (Jn 15:11). Here Jesus reminds us that we will not have fullness of joy unless we abide in Him, and that involves keeping His commands and putting our full trust and confi-dence in Him. Obedience to God is central to experiencing the joy of God — if we do not follow His will and live according to His Word, we will not experience joy. The darkest times of life for most believers are times of disobedience because there is a lack of joy in their lives even in the midst of positive circumstances. The most joyful times in life can actually be when we triumph in faith during the most difficult and oppressive times. If we want to experience the “supernatural joy life,” then we must walk in obedience, resting in God all the while. When we put our confidence in God and choose to have His joy, we will experience that unspeakably wonderful “gift of the Spirit” – JOY. His joy can be experienced at this very moment in your life – regardless of circumstances – if you will walk in faith and obedience (again, more on that later).
It was the prophet Nehemiah who said, “The joy of the Lord is your strength” (Neh 8:10). To appre-ciate what this means we must understand the context in which these words were stated. The Israelites had just returned from Babylon after having spent seventy years in exile… under the leadership of Ezra and Nehemiah the Jewish people rebuilt Jerusalem’s ruined walls, and now they set their sights on re-establishing the temple and restoring the nation. Though they were no longer being held captive in Babylon, “they were still slaves to those who were governing the land God had given to them” (Neh 9:36). The Jewish remnant who returned to Jerusalem from Babylon, in large part were ignorant of their spirit-ual heritage due to their captivity; furthermore they had forgotten their native language; and above all, they had lived in sin and had forgotten God. Nehemiah called a “special meeting” in the middle of the city — altogether about 50,000 people attended. Ezra the priest was asked to read the book of the Law of Moses to the assembly — he read it aloud from daybreak until noon, and the Word of God spoke in a profound way to the hearts of the people, and for the first time they were made aware of their sinful-ness before God. The people learned that Jeremiah had prophesied the very destruction that they had suffered, yet in the same breath Jeremiah gave them a promise that their mourning would turn to a morning of joy — God would bring them back to their land seventy years later. Ezra read, “Behold,” says the Lord, “I will gather My people from the remote parts of the earth… a great company shall return here… they shall come with weeping, and with supplications will I lead them… for I am a father to Israel” (Jer 31:8-9). The people experienced the relevancy of the message — they were made aware of the connection between the sins of their own hearts and their distressful situation, and they saw that their slavery was the result of their own sin. As they stood there mourning over their sins, they understood the message of salvation… it was not a message of “I told you so” or “you should have known better” or “look what a mess you have made of your lives”… instead they are told to “Go and enjoy choice food and drinks, for this day is sacred to the Lord. Do not grieve, for the joy of the Lord is your strength!” “Then all the people went away to eat and drink and celebrate with great joy, because they now under-stood the words that had been made known to them” (Neh 8:9-12). This day was sacred to the Lord — it was the joy of the Lord that made this such a sacred day… God had deliberately led them to this moment in time… it wasn’t a day of good fortune or good luck… it was the joyful day of the Lord! The people were told “not to grieve” — “God’s anger is but for a moment; whereas His favor lasts a life-time” (Ps 30:4-5). When the Word of God was opened and read to them, the people began to understand themselves and the need to change their minds about the way they were living. And like them, if we listen, it will also bring us to a “mourning of joy.” When we set our hearts to obey God’sWord, the Lord Himself causes us to rejoice — “God had made them rejoice with great joy” (Neh 12:43). On the eighth day according to the Law there was an assembly of all the people… they gathered together for a great day of national confession… with fasting and mourning, they listened to the reading of the Law for three hours… and then for three more hours they confessed their sins and those of their fathers and worshipped the LORD their God (Neh 9:1-3). The people responded to the reading of the Law thus: “Because of our sins… we are in great distress” (Neh 9:37). Their confession was accompanied by great remorse… they understood their terrible condition as they journeyed back to God… but more importantly, they understood God’s joyous message of salvation, and at that they burst out in praise! Then said Nehemiah to the people, “This day is holy to the Lord your God… do not mourn or weep… rather, go eat and drink…. DO NOT GRIEVE, FOR THE JOY OF THE LORD IS YOUR STRENGTH!” (Neh 8:9-10). NOTE CAREFULLY it is “the Lord’s joy” that is our strength… it “the Lord’s joy” that gives us reason to rejoice… it is “the Lord’s joy” that fills us with hope. It is God's happiness that is our strength!!! It is not anything that we have done that is our hope, joy or strength! Furthermore, it is not God’s anger, wrath or holiness that is our strength! IT IS “GOD’S JOY” THAT IS OUR STRENGTH!! NOT OUR JOY!! GOD’S JOY!! IT IS THE “LORD’S JOYOUS WISH” TO SAVE US FROM OUR SINS — AND THAT IS OUR STRENGTH and ENERGY and VITALITY! It is GOD’S JOY to stand us back up on our feet and strengthen our feeble legs & wobbly knees so that we might discover that HIS JOY IS OUR STRENGTH! It is the “joy of the Lord” that remains our strength today! REMEMBER, IT IS “GOD’S JOY” TO SAVE YOU!!! His faithfulness continues throughout all generations! Our response should be to commit our lives to Him for joyfully wanting to save us! It is incredible to realize that no matter how bad things get for us, GOD’S JOY will forever be our hope and strength! James clearly has victory over trials in mind, not mere acceptance of one’s trials. It is “joy” that gives us the strength to fight and overcome our trials. Joy gives us the strength to “fight the good fight of faith” (1 Tim 6:12). Spiritual joy has a way of infusing strength into our being! If you are tired of fighting the battle it is because your problems seem too much for you — you have lost your joy, and have rightly concluded that the fight is too great for you. Paul said, “Rejoice in the Lord always!” (Phil 4:4). You are to always rejoice in the Lord — you can’t live off of the joy you had yesterday or last week — that joy will not give you strength today. Joy can only give you strength in the moment… it can only give you strength when you possess it. The time to rejoice is always “now” — if you don’t rejoice, you will lose the strength to fight. I love this verse in Habakkak — “Though the fig tree does not bud and there are no grapes on the vines, though the olive crops fail and the fields produce no food, though there are no sheep in the pen and no cattle in the stalls, YET I WILL REJOICE IN THE LORD; I will be joyful in God my Savior” (Hab 3:17-18). He is going to REJOICE because “the God of his salvation is his strength; He makes his feet like the feet of a deer, and enables him to walk on high places” (Hab 3:19). Habakkuk had no intention of staying defeated. The difference between the person who is defeated and the person who is victorious is his attitude toward God. An attitude of gratitude is what made the difference in the prophet’s life. Even though nothing good was happening in his life – no fruit, no crops, no sheep, no cattle – yet he rejoiced! Though our lives are filled with trials, we are also to rejoice! Regardless of our circumstances, we can rejoice! Reflect upon the words of the prophetic Isaiah: “Behold, God is my salvation, I will trust and not be afraid; for the Lord God is my strength and song, and He has become my salvation. Therefore I will joyously draw water from the springs of salvation” (Is 12:2-3). Notice what this Scripture says: “with joy you will draw water from the springs of salvation.” It is joy that keeps you strong and enables you to draw from the springs of salvation. Our English word “happiness” comes from the old Norse word “happ” — this is the same word from which we get our word “happen;” thus happiness is based on what happens to us. So the argument goes like this: if something good is happening, we are happy…if something bad is happening, we are sad. Though that is a fairly accurate understanding of the word “happiness,” that alone is not the only meaning of the word. The word “happy” can also be used to subjectively describe the believer’s joy (Prv 3:18; 29:18; Mt 5:3-12), which is not necessarily dependent upon what “happens” to him. Though some believers have insisted on applying “happy feelings” only to circumstances, and have objected to the use of the word “happy” when translating the beatitudes of Matt 5, that is not what Scripture teaches. Just because the derivation of the word “happy” in English has its orientation in “happ,” does not necessarily limit its usage as such, as any modern dictionary will attest. Scripture tells us that we can indeed be “happy” even in the midst of pain and suffering. Thus to insist that “spiritual joy” and “spiritual happiness” are not equivalents is to engage in meaningless contrarieties that only serve to confuse the reader. — to be anxious is to be joyless. The believer can experience a deep abiding peace and joy in his life regardless of circumstances… he can experience elation that transcends his circumstances… and experience that which is highly pleasing and pleasant in the midst of difficulties and trials — all these emotions are “felt” experiences. When the believer experiences a joyful happiness, there is an absence of anxiety, tension and want in his soul; conversely, when the believer is in a “state of want,” that longing produces a disquieting unrest in his soul, so instead of being at peace and satisfied, he is anxious and restless.
www.thetransformedsoul.com/additional-studies/spiritual-l...
I have always believed there is no such thing as a wasted Spring Break, but this year I learned that an Animal Farm truism applies to vacations as well as people. The way I see it now is that all Spring Breaks are essentially equal, but some are more equal than others.
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Tucked into strip malls featuring McDonald's and Subway restaurants, the coffeehouses cater to men toting laptops to take advantage of free wireless access, who are meeting business partners or who are getting together with friends to play cards, watch sports and flirt with waitresses who pour iced drinks.
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... marsmet532a photo ... Florigold Indian River …item 2.. “Look out — nasty new mosquito is invading U.S.” (June 26, 2013) …item 3.. Monster mosquitoes arrive in central Florida (TUESDAY, JUNE 11, 2013) ..
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.....item 1).... New rules target racy Vietnamese cafes in Calif ...
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By AMY TAXIN - Associated Press | AP – 2 hrs 37 mins ago ... Friday July 01, 2011
news.yahoo.com/rules-target-racy-vietnamese-cafes-calif-0...
GARDEN GROVE, Calif. (AP) — At Café Miss Cutie, the windows are tinted but not pitch black. The waitresses are wearing negligees but not naked. And patrons are being urged to smoke outside.
The dimly lit coffeehouse in the heart of Orange County's Little Saigon hopes to get a passing grade when police start enforcing a host of new rules to crack down on illegal gambling and nudity at some cafes starting as soon as this weekend.
Officers plan to make rounds of the 37 Vietnamese cafes in the suburban city of Garden Grove to ensure they don't have arcade games that have been rigged to let patrons bet on blackjack and roulette, and that scantily clad waitresses leave something to the imagination.
The crackdown comes after authorities reported crime was on the rise outside coffeehouses.
"When you're running illegal gaming and further complicating the issue by having a quasi-strip bar ... you're attracting a different crowd than guys just going in there to have a cup of coffee," Garden Grove police spokesman Lt. Jeff Nightengale said.
Orange County is home to the biggest Vietnamese immigrant community in the country, with sizable enclaves in Garden Grove and surrounding cities.
Tucked into strip malls featuring McDonald's and Subway restaurants, the coffeehouses cater to men toting laptops to take advantage of free wireless access, who are meeting business partners or who are getting together with friends to play cards, watch sports and flirt with waitresses who pour iced drinks.
Business has fallen at many of the cafes since police started the crackdown — above all on the arcade games that lured customers off their couches and got them to linger longer at the coffeehouses.
"They say if it's just to drink coffee, then I'll stay home and drink coffee," said Thuy Do, owner of Café Chichi in Garden Grove.
On a recent weekday afternoon, a dozen loyal patrons converged at Café Miss Cutie to play Chinese chess, watch European soccer on flat screen TVs and sip iced coffee served by a waitress in a see-through lavender negligee.
One of them was Mike Nguyen, a 53-year-old day trader who said he doesn't mind the thick stench of cigarette smoke and wishes authorities would ease up on the coffeehouse that has become his virtual office and escape from the cookie-cutter Southern California suburb where he lives.
"It's a stimulating environment," said Nguyen, of nearby Irvine. "Starbucks is boring."
But authorities in Garden Grove — a city of 170,000 people about 30 miles southeast of Los Angeles — said cafes have gotten out of control. What began more than a decade ago with waitresses in skimpy outfits morphed into nudity. Some coffeehouses had six or eight arcade games running, and crime was on the rise, Nightengale said.
Between January 2010 and May 2011, police received reports of three robberies, four assaults with a deadly weapon, and seven drug-related incidents at coffeehouses — a far cry from the tranquility at the city's more traditional cafes, Nightengale said.
In March, authorities arrested 23 people at coffeehouses in Garden Grove and Westminster for investigation of illegal gaming and seized more than 180 machines and more than $145,000 in cash, Garden Grove police said.
The Garden Grove City Council recently passed new rules to ban arcade games, darkly tinted windows and nudity at cafes. Coffeehouses will be fined $1,000 for each violation.
At Café Miss Cutie, sales have been halved since police began making rounds several months ago, manager Tuyen Tran said.
"We just serve coffee, wear bikinis, like Hooters," Tran said. "I don't know how long we can survive like this — with no money and losing customers."
Do, whose small café is brightly lit, said she relies on loyal, older patrons to stay afloat. But with the new restrictions, she fears her customers may venture over to coffeehouses in nearby cities where there are fewer limits.
"Now it is a little boring to just come and drink coffee and read the paper," she said.
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.....item 2).... The spring break cleanse ...
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No matter what you do for spring break, remember, it’s a time to relax, unwind and get a new perspective on things. / Getty Images
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Written by
Adrian Chamberlin
Senior Staff Writer @adchamberlin
FILED UNDER
FSU News
FSU News Adrian Chamberlin
Mar. 19, 2014
www.fsunews.com/article/20140319/FSVIEW0303/140319022/The...
I have always believed there is no such thing as a wasted Spring Break, but this year I learned that an Animal Farm truism applies to vacations as well as people. The way I see it now is that all Spring Breaks are essentially equal, but some are more equal than others.
In my eyes any Spring Break is a productive Spring Break because the goal of the week off is to make use of a brief respite from the rigors of classes. This means, to me, that whether you spend the week at a job, working on extra curricular projects, or partying on some beach, the break did its job. That being said, the different ways to spend a break create different perspectives when you come back to school, and to the world.
I’ll use some personal examples to start. This year, I spent Spring Break in Guatemala with my dad and older brother. During our time there we camped on a volcano for two nights, actually climbed two volcanoes, did a little bit of sight seeing and found time to head down to the Pacific for surf lessons and lounging. Overall, the trip sent me back to Tallahassee and the world with a new way of thinking.
Prior to the trip, I had political science dribbling out my ears, and I was spending hours on Twitter and Tumblr looking to keep up with the latest news. I had essentially wrapped myself in a web of activity between school, life, and news that left my brain with little to no spare space for thoughts.
But after a week off of social media and on an incredible journey, my brain is startlingly clean. And I don’t mean clean as in I forgot everything I learned this semester before the break. I say clean in the sense of looking at the same stuff I saw before, but seeing it differently.
Now I can look at Twitter blowing up over every little maneuver in Ukraine and not even feel the slightest inkling of the rapt attention I had for that news previously. I can read about Florida State’s NFL Pro Day and stop after a paragraph, again feeling no urge to submerge myself in the flood of information, like I did previously.
Or, take the case of one of my best friends. Last year he spent Spring Break on a medical mission trip in Nicaragua, a trip whose organizing he was in charge of. Now, a year later, he’s helped set up a longer trip for a summer session, and his enthusiasm for his studies is higher than I can ever remember it being.
Of course, sitting around watching Netflix all week, or spending the time going to the beach and drinking with friends have their own benefits. I speak from experience when I say that spending a week relaxing at home in Miami is more restful than freezing your ass off while camping on a volcano.
My point though is not that one vacation activity is better than another automatically, but that each sends you back to school with a different perspective. The way I think about international politics, for example, is definitely a little bit different now that I’ve chatted with someone my age who lives in Guatemala and sees the world differently.
In a way, FSU’s study abroad programs try to achieve that perspective shift. I unfortunately haven’t had the chance to find out for myself in person, but I think most of them are able to do so to varying extents depending on where and when you go abroad.
I see travel as being in a class of its own when it comes to giving us different ways of looking at our lives and our studies, and I think the effects are stronger the further away you are from your comfort zone. So to me, studying abroad in London will change your perspective more than sitting on a beach in Miami, and climbing volcanoes in the boonies of Guatemala will change your thought process more than visiting one of the countries most similar to the U.S.
I obviously think a changed perspective is good, but I know for some people a comfort zone is a result of being very good at what you do and wanting things to stay that way. I can understand and empathize. But I also think that progress requires change, and change requires discomfort of some form or level.
As my dad has kept saying, it wasn’t about just coming back from Spring Break to the same old shit; it’s about coming out of vacation by going forward. The easy thing would be for me to slide right back into regurgitating facts in classes and being a news junkie, but that would be an insult to my trip and a disservice to the rest of the student body. Instead, I’m going to do my best to practice what I preach here by looking at old stuff in a new way, and encourage each of you to do the same.
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.....item 3)... Fandango ... www.fandango.com ... Meg Myles Biography ...
www.fandango.com/megmyles/biography/p51634
Biography
Meg Myles is best known as a pin-up model of the 1950s and early '60s, but she also enjoyed a film career as a featured actress, star, and supporting player, and a respected career on the legitimate stage. She was born Billie Jean Jones in Seattle, WA, in 1932 (or 1933 -- some sources disagree) and took dance lessons as a girl. She was determined to have a career in show business, majoring in dance and health education at the College of the Pacific, and was discovered and signed by an agent before she graduated. Her extraordinary physique -- a reputed 42-24-36 -- led to walk-on parts on television shows with Bob Hope, among other stars. Although Myles' early appearances were limited to being a living set decoration, she was determined to develop her acting skills as well as her singing, which led to engagements at various West Coast nightclubs. Her physique made her a favorite of men's magazines of the era, but in 1954 she landed a small comic relief role -- involving singing and her physique -- in the feature film Dragnet, portraying a Cuban singer. The following year, she played a singer in Phil Karlson's feature The Phenix City Story (1955), in which she sang the title song. Myles was also selected to perform on the national tour promoting the movie, and got a major label recording contract out of it.
The late '50s saw her largely absent from the big screen, however, despite the fact that she was one of the top pin-up models in the world at the time. According to some accounts, she was blackballed from the industry because of her insistence on restricting the types of costumes and still photographs in which she would allow herself to appear, and also due to reports of an alleged romance between her and Sammy Davis Jr. (the United States was just entering the era of raised consciousness about its racial problems at the time, and even rumors of such a relationship would have made her too controversial for many producers). Myles' major screen appearance during this period was in Calypso Heat Wave, which also included Joel Grey, the Treniers, the Tarriers, the Hi-Lo's, and Maya Angelou in its cast. Myles was mostly seen on television until 1961, when she got a major role in the movie Satan in High Heels. Considered a campy classic today, the movie was an outrageous piece of exploitation filmmaking in its time and one that did Myles little good in trying for a mainstream Hollywood career. She mostly worked on-stage for the next few years, developing a following in New York City and honing her skills as an actress. She surfaced in Don Siegel's Coogan's Bluff (1968) and Sidney Lumet's The Anderson Tapes (1971), by which time Myles was much better known for her theatrical work, including performances at the New York Shakespeare Festival. Her last film to date was the drama Touched (1982). ~ Bruce Eder, Rovi
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(Former) English, Scottish & Australian Bank:
Historical evidence indicates that this building was constructed around 1882 for Philip Bolger, a grocer, who acquired the land from James Gibbon in that year. Bolger borrowed £3,000 from Gibbon in the same year he bought the land – possibly to finance construction of this two storey masonry building. The building was constructed during a period of growth and economic confidence which stimulated the expansion of Fortitude Valley.
Fortitude Valley was established during the 1850s, spurred by Lang’s Scottish Presbyterian immigrants who were denied land grants by the colonial government. Schools and churches were established during the 1860s with the census of 1861 reporting a population in the district of over 1300. The 1880s was a time of great commercial and residential growth in the Fortitude Valley area as both the population and the economy boomed. The imposing new Holy Trinity Catholic Church replaced the existing one in 1882 and large ornate hotels such as the Empire, the Prince Consort and the Wickham were constructed to cater to the rapidly growing population. New commercial premises were also erected to take advantage of the economic prosperity.
Early photographs show that Bolger’s building was originally more ornate, in keeping with the flamboyant style favoured in the 1880s. It had two triangular pediments, the bases of which are still evident today.
Bolger occupied the building until the 1890s when it was taken over by Jason Yetting and Son, Tea Importers. During the later half of the 1890s the building was used as a boot warehouse then from 1901 until 1920 by Albert Goodall, a bootmaker. Another boot manufacturer, John Charity, gained title to the property in 1920 and he ran his business from these premises until 1926.
In 1927 the building was converted to a bank after the English, Scottish and Australian Bank gained title in that year. This is likely to have been the period in which the alterations to the building’s external features took place. Like the 1880s, the 1920s were a time of economic confidence, particularly in the Valley which now rivalled the CBD as a major shopping precinct.
The English Scottish and Australian Chartered Bank was incorporated in the United Kindgom in 1852. On 21 August 1893 the English Scottish and Australian Bank Limited was established in Australia, based in Melbourne. It went on to have 104 branches spread throughout Victoria, New South Wales, South Australia and Queensland.
In the 1920s, the bank expanded, acquiring the London Bank of Australia, the Commercial Bank of Tasmania and the Royal Bank of Australia. This boom ended with the 1930s depression. Wartime controls limited the bank’s revival and the 1950s witnessed a period of turbulent growth. On 10 December 1968 the English Scottish and Australian Bank merged with ANZ.
The building at 100 Wickham Street was sold to Lanart Pty Ltd in 1973 and changed hands again in 1983. From the 1990s to the present, the building has been occupied by “Monty”, a second hand dealer and pawnbroker.
Muller Brothers Building:
Until the mid-1880s, Wickham Street was a quiet and sparsely populated street. Although the section between Duncan and Brunswick Streets hosted the Roman Catholic chapel from the late 1850s and the Prince Consort hotel from the early 1860s, Anne Street (as it was then spelled) was the main commercial district of Fortitude Valley. The Valley itself was a quiet and sparsely populated town until the 1880s, when an economic boom encouraged the construction of brick and stone buildings, replacing wooden ones. Residents of the Valley also began demanding better services, including improved transport, roads and sewage systems. The boom also assisted the development of Wickham Street, which became an increasingly important retail area from the 1880s.
Phillip Bolger obtained title to the site in April 1882, with the help of a £3,000 mortgage, and ran an oyster saloon on the site. The property was sold in 1885, firstly to Benjamin Waylett in May and then to John Watson in July. The site was located between stores run by drapers Quinn and Moylan and the former Roman Catholic Chapel.
The building was constructed for John Watson in 1886. Watson was a renowned figure in nineteenth century Brisbane, a Scottish immigrant whose varied career included roles as contractor, former lessee of the Bulimba Hotel and ferry and postmaster of the Breakfast Creek area. In the 1880s he began his first forays into his career as politician, elected to the Bulimba Divisional Board. He had become its chairman in 1885, when a financial scandal erupted and caused the resignation of all board members. Watson disclaimed knowledge of the problem (defrauding the Treasury) and was reinstated to the Board. In 1886 he was a member of the Booroodabin Divisional Board and stood for election for the seat of Fortitude Valley, which had been vacated after the sudden death of Francis Beattie.
Tenders were called in March for the construction of two two-storey brick stops for J. Watson, Esquire, by renowned and flamboyant architect Andrea Stombuco, who was also the Catholic Diocesan architect. Stombuco, like Watson, attracted a great deal of notice in nineteenth century Brisbane society, infamous for his fiery temper and his manner of dressing. He was also responsible for the design of several heritage listed buildings, including St Patrick’s Church in the Valley (1882) [600210]; St Francis Xavier Church, Goodna (1881) [600553]; Heckelmann’s Building, Brisbane (1884) [600104]; and a residence, Bertholme (1883) [600263]. Stombuco began practising with son Giovanni in 1886 (Watson’s building being one of its first commissions) and the partnership was responsible for the design of, inter alia, St Joseph’s Catholic Church at Kangaroo Point and St Joseph’s Christian Brothers’ College at Nudgee, before Andrea Stombuco left Brisbane for Perth and Giovanni Stombuco retired.
Watson’s choice of Stombuco to design his new building may have been influenced by his long connection with the architect. In his work as a contractor, Watson had worked with Stombuco on Benjamin Bros’ new warehouse (1884) and ‘Palma Rosa’, Stombuco’s residence (1887) [600219]. He was in attendance at the opening of the latter building in 1887, along with a number of other prominent contractors. Watson had also erected the new belfry for the new St Patrick’s church in 1886, a building which Stombuco had designed. Stombuco had also designed the Brunswick Street drapery of Watson’s father-in-law, John Gillies, in 1880.
The construction of Watson’s new building was preceded by excavation work, carried out by Cornelius Ryan. The presence of porphyry under the site necessitated blasting operations, which were commenced in early April. On 16 April a passer-by, Felix Henry, was killed by a large stone (estimated as weighing between 5-7lb) loosened by a blast. Watson’s name was not mentioned in newspaper reports of the blast, and Watson was not reluctant to mention in May that he was undertaking the construction of two new shops which would cost £3,000 and would help beautify Wickham Street. Despite this dedication to his ward, he lost the election by 26 votes. He later won the seat and represented the Valley in 1888.
The shops were finished and leased to tenants from around 1887. Watson’s father-in-law, Gillies, managed the lease of the building, known as ‘Watson’s buildings’. Although it was a single building, it contained two shops which were considered to be separate ‘buildings’. Each building contained six rooms, including a shop and dwelling and was described as being in the best part of Wickham Street, located next to drapers Quinn and Moylan and the former Catholic chapel. The building could also be accessed by a small laneway running behind the property, which backed onto the Valley rail line, under construction at the time Watson’s building was completed. Watson had been a member of the Valley Railway Committee and an active participant at meetings in the 1880s calling for a railway to be extended to the Valley. Although Watson had favoured a line through Petrie’s Bite and not through Watson’s properties, as the line eventually ran, he continued to support the railway and encourage the extension of the line to Bulimba, or at least to the Bulimba reach of the river. John McMaster, a fellow politician, later credited Watson with being instrumental in the development of the Valley railway.
From the 1890s, the building hosted a succession of Chinese merchant businesses. The presence of Chinese merchants in the Valley was not uncommon; the first Chinese shops had opened in the 1880s, located mainly along Wickham Street, and Chinese market gardeners worked on the edge of the Valley. However, the occupation of Watson’s buildings by Chinese merchants was somewhat unusual, as John Watson was the leader of the Valley branch of the Anti-Chinese League and had stirred up anti-Chinese sentiment in the months leading up to the 1888 elections. The first round of elections had culminated in an anti-Chinese riot on 5 May, in which a large group had run through the city and Valley damaging the shops of Chinese merchants. Watson, who had campaigned on a stance of removing the Chinese from the country, was elected to the seat of Fortitude Valley by a considerable margin a week after the riots. Police were positioned in front of every Chinese shop in the Valley on the evening of the election, discouraging any further damage from the ‘larrikin classes’. The Chinese Immigration Restriction Act 1888 was passed later in the year. Nevertheless, tea importer James Yeteng and merchants Wo Yick Chong and See War and Company ran their businesses in succession from one of the shops for ten years, from 1892-1902.
Watson’s building was occupied by small drapery businesses and Muller Brothers, importers, from 1902. The Muller brothers (Max and Emil) resided upstairs at number 194. A 1913 photograph of Wickham Street shows Watson’s buildings, Maher’s building and the Prince Consort Hotel.
Following the death of John Watson in 1912, the property and the McGeehin building next door were placed in trust. The remarriage of Watson’s wife Christina left her unable to inherit and the five remaining beneficiaries, Watson’s children, intended to divide the properties so that each owned one of the shops on Wickham Street. The new Undue Subdivision of Land Prevention Act 1923 passed by the City Council intended to restrict subdivisions to properties with over 20 foot frontages, but the Watson beneficiaries successfully appealed the Council’s decision in 1924. The Muller Brothers building was passed to Charles Ferrier Watson, who inherited shop 194, on 6.98 perches of land and George Alexander Hilliary Watson, who received shop 196 on 7.43 perches. The properties also carried charges in favour of Mary Murray (another of Watson’s children, who had not inherited a property) and Christina Scott, Watson’s widow.
The Watson brothers leased the properties separately, although to similar tenants who ran tailoring or drapery businesses, and from the 1940s cafes and saloons, which had become increasingly popular in the Valley. Both properties were sold in the late 1940s and alterations were made to the shop-front of 194 in 1950 (owned by M. Andronicos, 1948-1967) and 1956 (leased by G.F. Price); and to the shop-front of 196 in 1952 (owned by D. Mee Sing), to the café in 1953 (owned by Leonard Young) and to the awning in 1965 (owned by Joe Kong).
The shops continue to be owned separately and run as commercial properties (restaurants and cafes).
(Former) McGeehin & Co Building:
The McGeehin & Co building is located on the original site of the Fortitude Valley Roman Catholic Church and School, built in the late 1850s. The Valley had been settled by European immigrants in the late 1840s and the street, named Wickham after magistrate and surveyor Captain Wickham, was in existence as early as 1855, although it was only a dirt track which meandered through a series of private properties and terminated in a swamp. Churches and hotels appeared early in the development of the Valley, and along with small dwellings, the first buildings on Wickham Street included the Catholic Church and the adjacent Prince Consort Hotel, established around 1862. The church, a small wooden building with an attached schoolhouse, was the second Catholic Church and one of only fourteen churches in the Moreton Bay settlement by 1859. The population of Fortitude Valley increased over the ensuing two decades and although it was merely a small town in comparison with the central business district, the Catholic congregation outgrew the Wickham Street building. A new Cathedral designed by diocesan architect Andrea Stombuco was constructed in Morgan Street, near Ann Street. The new building was consecrated in December 1882 and the congregation removed there, while the school was continued by the Sisters of Mercy until 1887, when it moved from the ‘dilapidated buildings’ on busy Wickham Street to a new school house in Ivory Street. The new building, St Patrick’s Roman Catholic Church, is listed on the Queensland Heritage Register [600210]. The old church remained hidden but intact on the Wickham Street site until 1911, when work undertaken for the construction of new premises revealed the old wooden chapel.
With a large new church nearly ready for its parishioners, the Wickham Street land was offered for sale in September 1881. It passed through the hands of the church’s clergy before the property of one rood and 21 perches was sold to contract builder and politician John Watson in 1889.
Scottish-born Watson was a well-known figure in nineteenth and early twentieth century Brisbane. He had arrived in Queensland with his wife Eliza in 1864 and settled near the river on what is now Oxford St in Bulimba. By 1866 he had acquired a license for the Bulimba Ferry Hotel (later the Bulimba Hotel) and was the lessee of the Bulimba ferry. He was a man of many trades, having worked in the shipping and building industries, constructed the Victoria Bridge (1888-9) and several wharves and jetties around Brisbane, provided postal services for Breakfast Creek and Bulimba and served in various political functions, including chairman of the Balmoral and Bulimba Boards and a Member of the Legislative Assembly for the Valley Ward. Watson was politically conservative and a protectionist, claiming at a political meeting that he always bought from the Valley. On the other hand, he was not one to shy away from controversy and publicity: he was the head of the Anti-Chinese League, had been chairman of the Balmoral Board when it was involved in financial scandals, drove the Bulimba steam punt into the oncoming ship Wyandra, and was duped out of £100 on a trip to London in 1909. He also felt strongly that the Brisbane River should be kept clean, protesting the dumping of sewage into the river. Watson was married three times and died in 1912 at his Bulimba residence.
Watson’s connections with the Valley were significant. As its representative from 1888-1896, he was credited with having been instrumental in bringing the railway to the Valley. Watson had been vocal about the location of tramlines in the Valley and was among the deputation of ratepayers who approached the Mayor in 1903 about the possibility of commencing markets in the Valley. As a contractor he had constructed the belfry for the new Valley Catholic Church in 1886. He purchased multiple properties along Wickham Street from 1882 and in 1886 commissioned Andrea Stombuco to design two two-storey brick shops on the premises, now the heritage listed as Muller Brothers’ Buildings. Watson’s second wife Elizabeth Gillies was the daughter of a Brunswick Street draper and his father-in-law, John, managed the lease of the Wickham Street properties throughout the 1880s and 1890s.
The exact date of the construction of this building is unknown, although it was almost certainly between 1898, when the property was classified as vacant land, and 1905, when the Brisbane Courier provided a history of the old Wickham Street church and added that:
[t]he land in question is no longer devoted to religious purposes, for the hand of commerce had been laid upon it, and it is now occupied by business premises owned by Mr John Watson.
The buildings were probably constructed around 1902, coinciding with a flux of development on Wickham Street. Transportation to the Valley had swept away the isolation of the township, and the Valley had emerged as a prime shopping and industrial destination. Investors began to take advantage of the circumstances, with those lucky enough to own land in the street constructing newer, larger buildings on their sites to attract tenants and customers. In addition, many of the timber buildings that had survived the development boom of the 1880s were demolished in the 1900s and replaced by more substantial masonry buildings, as required for a First Class building area.
From 1902, the building was occupied by grocers McGeehin & Co and an oyster saloon. McGeehin was later joined by Tolman, who lived in the residential portion upstairs. The buildings, described after a fire in 1910 (which damaged only goods within the shop), were three two-storey shops with residential quarters upstairs, similar to the Muller Brothers building. It remained a grocery store and oyster bar well into the 1920s. A photograph of this building taken in 1913 from the McWhirters building, looking down Wickham Street, shows the distinctive facades of Watson’s buildings.
Following the death of John Watson in 1912, the property and the Muller building next door were placed in trust. The remarriage of Watson’s wife Christina prevented her from inheriting, so the five remaining beneficiaries intended to divide the properties so that each owned one of the shops on Wickham Street. The Council was reluctant to subdivide properties which were so small (each had a frontage to Wickham Street of less than twenty feet), but Watson’s beneficiaries successfully appealed the Council’s decision and the properties were subdivided in 1924. Joseph Gillies Watson inherited shop 202, Isabella Margaret Dobson (nee Watson) shop 200 and William Francis Watson inherited shop 198, each parcel comprising around 8 perches of land. The properties also carried charges in favour of Mary Murray (another of Watson’s children, who had not inherited a property) and Christina Scott, Watson’s widow.
Each new owner continued to lease the properties, particularly as cafes, restaurants and wine saloons, which became popular in the Valley in the 1930s and 1940s. The shop in the centre (200) was run as a wine saloon for close to forty years (c.1915–c.1954). Alterations to the shops fronts and awnings were undertaken in the 1950s and 1960s, as well as interior changes such as a toilet block added in 1955. The properties continue to be owned separately and are used for commercial and entertainment purposes.
Source: Brisbane City Council Heritage Register.
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An out-of-body experience (OBE or sometimes OOBE) is an experience in which a person seems to perceive the world from a location outside their physical body. An OBE is a form of autoscopy (literally "seeing self"), although the term autoscopy more commonly refers to the pathological condition of seeing a second self, or doppelgänger.Do you want to float around the astral plane without dying first? Are you longing to leave your body at home for a few hours to explore the cosmos? People report out-of-body experiences (OBEs) while dreaming, during near-death experiences, or through relaxation techniques such as meditation. For some people, having an OBE can be like being Alice in your very own Wonderland. Read on to learn how to experience this on purpose.Ready your mind and body. Choose a quiet place you find relaxing. You can be indoors or outdoors, as long as you are comfortable. Make sure you won't be interrupted. OBEs are most common in the morning at 4:00am-6:00am, however trying this at night or when you are tired will probably just make you fall asleep.
Find a comfortable position, either sitting or lying down. Many people choose to lie down on their backs, but be forewarned that temporary sleep paralysis is more likely in this position if you do fall asleep. These may consist of dark figures, ghosts or whatever you fear entering your room. Though this may sound scary, the more you realise they cannot physically harm you for they are your mind's creation, the less scary it is to endure.
Affirm to yourself that you are going to have an out-of-body experience. Say to yourself "Mind awake-Body Asleep" or "I will have a lucid dream." Repeat this several times until it is the only thought left in your mind. Close your eyes and relax. Become less conscious of your external surroundings. Empty your mind of thoughts and ideas. Meditation techniques can be helpful here to maintain an empty mind while still remaining focused and aware. Allow yourself to almost fall asleep. Actually sleeping would defeat the purpose. Instead, let yourself drift close to sleep while concentrating on being conscious of your sensations and mental state. Feel a vibrating sensation in your body. As you relax further, you should become more aware of what's happening inside your mind and body than anything happening in the room around you. Try to feel the vibration of your body, coming from both the larger pulse of your blood and breath to the individual movements of your cells. You may think you hear sounds like a tornado/wind. The urge to move here will be tremendous, especially if it's your first time. Just relax deeper and deeper until the sounds passes, but avoid falling asleep.
Try to slow the vibration. Visualize the movements of your body slowing and the sounds and sensations of vibrations getting fainter. Soon everything will be completely silent and your body will be still. Let your body become paralyzed. Some say it feels like a lead blanket has been placed over you. You may notice all of a sudden that you can't move your arms or legs. Don't panic! If you try to force yourself to move you may wake up. You will, however, be able to move your eyes, mouth, nose, and face, so try moving those slightly instead. Feel your hands grasping an invisible rope. Don't move your actual hands or visualize the rope. The "rope method" relies on the imaginary feeling of the rope, not a mental image. Focus on the texture, thickness and heftiness of the rope. Feel the tension in your arms between the strength of the rope and the pull of your weight. If you have trouble using the rope technique, try imagining a ladder instead. Some people find this easier, especially if they are more accustomed to climbing ladders than ropes.
Use the rope to pull yourself up and start climbing. Feel your muscles contract and your body move upward when you pull. Don't visualize: imagine you are doing this in pure darkness. Keep going up. Soon you will find yourself out of your body, triggering the "projection reflex."
If you experience vibrations in your body as you climb, try to relax more, or else you will only lose more energy and it will become harder.
If you have trouble, try climbing up as you inhale and then resting as you exhale.
The rope method is a more practical variation on the more iconic technique of visualizing yourself floating up. Though floating out of one's body all at once makes for a better image in the movies, it's not as effective in real life.
Open your astral eyes. Once you know you are out of your body, open your eyes. You should be viewing your room from the side of your bed, with your body still lying there still with eyes closed.
If you want, try to open your third eye first, low on the center of your forehead.
Visualize every detail of the space around you. Make sure you get a good look at your surroundings before you lie down. Now try to recall and feel the location and shape of every object in the room, as it looks from where you are resting.
Visualize the space around you as seen from a different point in the room. Once you have the image of the room clear in your mind's eye, shift that perspective to try to see that image as though you were standing over or near your body. In some ways you should already feel like you have left your body.
Rise from your body to the spot you were visualizing from. Stay very relaxed, but be forceful in your will to gently bring yourself to that point. Feel yourself moving up and over to that space, and visualize your perspective changing. Then open your astral eyes.
www.wikihow.com/Have-an-Out-of-Body-Experience
The term out-of-body experience was introduced in 1943 by G. N. M. Tyrrell in his book Apparitions, and was adopted by researchers such as Celia Green and Robert Monroe[3] as an alternative to belief-centric labels such as "astral projection", "soul travel", or "spirit walking". OBEs can be induced by brain traumas, sensory deprivation, near-death experiences, dissociative and psychedelic drugs, dehydration, sleep, and electrical stimulation of the brain, among others. It can also be deliberately induced by some. One in ten people have an OBE once, or more commonly, several times in their life.
Neuroscientists and psychologists regard OBEs as dissociative experiences arising from different psychological and neurological factors.
Those experiencing OBEs sometimes report (among other types of immediate and spontaneous experience) a preceding and initiating lucid-dream state. In many cases, people who claim to have had an OBE report being on the verge of sleep, or being already asleep shortly before the experience. A large percentage of these cases refer to situations where the sleep was not particularly deep (due to illness, noises in other rooms, emotional stress, exhaustion from overworking, frequent re-awakening, etc.). In most of these cases subjects perceive themselves as being awake; about half of them note a feeling of sleep paralysis.
Near-death experiences
Main article: Near-death experience
Another form of spontaneous OBE is the near-death experience (NDE). Some subjects report having had an OBE at times of severe physical trauma such as near-drownings or major surgery. Near-death experiences may include subjective impressions of being outside the physical body, sometimes visions of deceased relatives and religious figures, and transcendence of ego and spatiotemporal boundaries.Typically the experience includes such factors as: a sense of being dead; a feeling of peace and painlessness; hearing of various non-physical sounds, an out-of-body experience; a tunnel experience (the sense of moving up or through a narrow passageway); encountering "beings of light" and a God-like figure or similar entities; being given a "life review", and a reluctance to return to life.
Resulting from extreme physical effort
Along the same lines as an NDE, extreme physical effort during activities such as high-altitude climbing and marathon running can induce OBEs. A sense of bilocation may be experienced, with both ground and air-based perspectives being experienced simultaneously.
Induced
Chemical
OBEs can be induced by hallucinogens (particularly dissociatives) such as psilocybin, ketamine, DMT, MDA, and LSD.
Mental induction
Falling asleep physically without losing awareness. The "Mind Awake, Body Asleep" state is widely suggested as a cause of OBEs, voluntary and otherwise. Thomas Edison used this state to tackle problems while working on his inventions. He would rest a silver dollar on his head while sitting with a metal bucket in a chair. As he drifted off, the coin would noisily fall into the bucket, restoring some of his alertness. OBE pioneer Sylvan Muldoon more simply used a forearm held perpendicular in bed as the falling object. Salvador Dalí was said to use a similar "paranoiac-critical" method to gain odd visions which inspired his paintings. Deliberately teetering between awake and asleep states is known to cause spontaneous trance episodes at the onset of sleep which are ultimately helpful when attempting to induce an OBE. By moving deeper and deeper into relaxation, one eventually encounters a "slipping" feeling if the mind is still alert. This slipping is reported to feel like leaving the physical body. Some consider progressive relaxation a passive form of sensory deprivation.
Deep trance, meditation and visualization. The types of visualizations vary; some common analogies include climbing a rope to "pull out" of one's body, floating out of one's body, getting shot out of a cannon, and other similar approaches. This technique is considered hard to use for people who cannot properly relax. One example of such a technique is the popular Golden Dawn "Body of Light" Technique.
Mechanical induction
Brainwave synchronization via audio/visual stimulation. Binaural beats can be used to induce specific brainwave frequencies,[30] notably those predominant in various mind awake/body asleep states. Binaural induction of a "body asleep" 4 Hertz brainwave frequency was observed as effective by the Monroe Institute, and some authors consider binaural beats to be significantly supportive of OBE initiation when used in conjunction with other techniques. Simultaneous introduction of "mind awake" beta frequencies (detectable in the brains of normal, relaxed awakened individuals) was also observed as constructive. Another popular technology uses sinusoidal wave pulses to achieve similar results, and the drumming accompanying Native American religious ceremonies is also believed to have heightened receptivity to "other worlds" through brainwave entrainment mechanisms.
Magnetic stimulation of the brain, as with the God helmet developed by Michael Persinger.
Direct stimulation of the vestibular cortex.
Electrical stimulation of the brain, particularly the temporoparietal junction (see Blanke study below).
Sensory deprivation. This approach aims to induce intense disorientation by removal of space and time references. Flotation tanks or pink noise played through headphones are often employed for this purpose.
Sensory overload, the opposite of sensory deprivation. The subject can for instance be rocked for a long time in a specially designed cradle, or submitted to light forms of torture, to cause the brain to shut itself off from all sensory input. Both conditions tend to cause confusion and this disorientation often permits the subject to experience vivid, ethereal out-of-body experiences.
Strong g-forces that causes blood to drain from parts of the brain, as experienced for example in high-performance aircraft or high-G training for pilots and astronauts.
An apparatus that uses a head-mounted display and a touch that confuses the sense of proprioception (and which can also create the sensation of additional limbs).
Theories of OBEs
Psychological
In the fields of cognitive science and psychology OBEs are considered dissociative experiences arising from different psychological and neurological factors.Scientists consider the OBE to be an experience from a mental state, like a dream or an altered state of consciousness without recourse to the paranormal.
Charles Richet (1887) held that OBEs are created by the subject's memory and imagination processes and are no different from dreams.James H. Hyslop (1912) wrote that OBEs occur when the activity of the subconscious mind dramatizes certain images to give the impression the subject is in a different physical location. Eugéne Osty (1930) considered OBEs to be nothing more than the product of imagination.Other early researchers (such as Schmeing, 1938) supported psychophysiological theories.[46] G. N. M. Tyrrell interpreted OBEs as hallucinatory constructs relating to subconscious levels of personality.
Donovan Rawcliffe (1959) connected the OBE experience with psychosis and hysteria. Other researchers have discussed the phenomena of the OBE in terms of a distortion of the body image (Horowitz, 1970) and depersonalization (Whitlock, 1978). The psychologists Nandor Fodor (1959) and Jan Ehrenwald (1974) proposed that an OBE is a defense mechanism designed to deal with the threat of death.[51][52] According to (Irin and Watt, 2007) Jan Ehrenwald had described the out-of-body experience (OBE) "as an imaginal confirmation of the question for immortality, a delusory attempt to assure ourselves that we possess a soul that exists independently of the physical body. The psychologists Donald Hebb (1960) and Cyril Burt (1968) wrote on the psychological interpretation of the OBE involving body image and visual imagery. Graham Reed (1974) suggested that the OBE is a stress reaction to a painful situation, such as the loss of love.John Palmer (1978) wrote that the OBE is a response to a body image change causing a threat to personal identity.
Carl Sagan (1977) and Barbara Honegger (1983) wrote that the OBE experience may be based on a rebirth fantasy or reliving of the birth process based on reports of tunnel-like passageways and a cord-like connection by some OBErs which they compared to an umbilical cord.Susan Blackmore (1978) came to the conclusion that the OBE is a hallucinatory fantasy as it has the characteristics of imaginary perceptions, perceptual distortions and fantasy-like perceptions of the self (such as having no body).[60][61] Ronald Siegel (1980) also wrote that OBEs are hallucinatory fantasies.
Harvey Irwin (1985) presented a theory of the OBE involving attentional cognitive processes and somatic sensory activity. His theory involved a cognitive personality construct known as psychological absorption and gave instances of the classification of an OBE as examples of autoscopy, depersonalization and mental dissociation.[38] The psychophysiologist Stephen Laberge (1985) has written that the explanation for OBEs can be found in lucid dreaming. David Hufford (1989) linked the OBE experience with a phenomenon he described as a nightmare waking experience, a type of sleep paralysis.[64] Other scientists have also linked OBEs to cases of hypnagogia and sleep paralysis (cataplexy).
In case studies fantasy proneness has been shown to be higher among OBErs than those who have not had an OBE.[67] The data has shown a link between the OBE experience in some cases to fantasy prone personality (FPP).[68] In a case study involving 167 participants the findings revealed that those who claimed to have experienced the OBE were "more fantasy prone, higher in their belief in the paranormal and displayed greater somatoform dissociation."[69] Research from studies has also suggested that OBEs are related to cognitive-perceptual schizotypy.
Terence Hines (2003) has written that spontaneous out-of-body experiences can be generated by artificial stimulation of the brain and this strongly suggests that the OBE experience is caused from "temporary, minor brain malfunctions, not by the person's spirit (or whatever) actually leaving the body."In a study review of neurological and neurocognitive data (Bünning and Blanke, 2005) wrote that OBEs are due to "functional disintegration of lower-level multisensory processing and abnormal higher-level self-processing at the temporoparietal junction. Some scientists suspect that OBEs are the result of a mismatch between visual and tactile signals.
Richard Wiseman (2011) has noted that OBE research has focused on finding a psychological explanation and "out-of-body experiences are not paranormal and do not provide evidence for the soul. Instead, they reveal something far more remarkable about the everyday workings of your brain and body."[75] A study conducted by Jason Braithwaite and colleagues (2011) linked the OBE to "neural instabilities in the brain's temporal lobes and to errors in the body's sense of itself". Braithwaite et al. (2013) reported that the "current and dominant view is that the OBE occurs due to a temporary disruption in multi-sensory integration processes."
Paranormal
Writers within the fields of parapsychology and occultism have written that OBEs are not psychological and that a soul, spirit or subtle body can detach itself out of the body and visit distant locations. Out-of-the-body experiences were known during the Victorian period in spiritualist literature as "travelling clairvoyance". The psychical researcher Frederic Myers referred to the OBE as a "psychical excursion".[79] An early study which described alleged cases of OBEs was the two volume Phantasms of the Living, published in 1886 by the psychical researchers Edmund Gurney, Myers and Frank Podmore. The book was largely criticized by the scientific community as the anecdotal reports lacked evidential substantiation in nearly every case.
A 19th-century illustration of Robert Blair's poem The Grave, depicting the soul leaving the body
The Theosophist Arthur Powell (1927) was an early author to advocate the subtle body theory of OBEs. Sylvan Muldoon (1936) embraced the concept of an etheric body to explain the OBE experience. The psychical researcher Ernesto Bozzano (1938) had also supported a similar view describing the phenomena of the OBE experience in terms of bilocation in which an "etheric body" can release itself from the physical body in rare circumstances. The subtle body theory was also supported by occult writers such as Ralph Shirley (1938), Benjamin Walker (1977) and Douglas Baker (1979).[85] James Baker (1954) wrote that a mental body enters an "intercosmic region" during the OBE.[86] Marilynn Hughes states that the experiences are the projection of the spiritual body from the physical for the purpose of the soul's purification.[87] Robert Crookall in many publications supported the subtle body theory of OBEs.
The paranormal interpretation of OBEs has not been supported by all researchers within the study of parapsychology. Gardner Murphy (1961) wrote that OBEs are "not very far from the known terrain of general psychology, which we are beginning to understand more and more without recourse to the paranormal".
In the 1970s, Karlis Osis conducted many OBE experiments with the psychic Alex Tanous. For a series of these experiments he was asked whilst in an OBE state to try to identify coloured targets that were placed in remote locations. Osis reported that in 197 trials there were 114 hits. However, the controls to the experiments have been criticized and according to Susan Blackmore, the final result was not particularly significant as 108 hits would be expected by chance. Blackmore noted that the results provide "no evidence for accurate perception in the OBE".
In April 1977, a patient from Harborview Medical Center known as Maria claimed to have experienced an out-of-body experience. During her OBE she claimed to have floated outside her body and outside of the hospital. Maria would later tell her social worker Kimberly Clark that during the OBE she had observed a tennis shoe on the third floor window ledge to the north side of the building. Clark would go to the north wing of the building and by looking out of the window could see a tennis shoe on one of the ledges. Clark published the account in 1985. The story has since been used in many paranormal books as evidence a spirit can leave the body.
In 1996, Hayden Ebbern, Sean Mulligan and Barry Beyerstein visited the Medical Center to investigate the story. They placed a tennis shoe on the same ledge and discovered that the shoe was visible from within the building and could have easily been observed by a patient lying in bed. They also discovered the shoe was easily observable from outside the building and suggested that Maria may have overheard a comment about it during her three days in the hospital and incorporated it into her OBE. They concluded "Maria's story merely reveals the naiveté and the power of wishful thinking" from OBE researchers seeking a paranormal explanation.[93] Clark did not publish the description of the case until seven years after it happened, casting doubt on the story. Richard Wiseman has said that although the story is not evidence for anything paranormal it has been "endlessly repeated by writers who either couldn't be bothered to check the facts, or were unwilling to present their readers with the more skeptical side of the story."
Oneness and One
In 2017, Prince Paul Mamakos summarized the three stages of out of body experience.[94] The first stage being achieving an out-of-body experience and experiencing movement within the environment near the physical body. The second stage being going out and exploring outside ones house, going off planet, going into the planet and meeting other beings. In the third stage of OBEs, a person begins to notice the energy within another being as the same as that which is coming out of their own being. The energy essence of another, is the same as your energy. In the culmination of the third stage, a person experiences a sense of connection with all beings. On a linear range of awareness, if we place personality at a proximal point on a line, a point on the distal end of the line will represent an experience of oneness. Personality and oneness representing opposite extremes of awareness. Further dropping oneness results in the 'it' experience. One.
Studies of OBEs
Early collections of OBE cases had been made by Ernesto Bozzano (Italy) and Robert Crookall (UK). Crookall approached the subject from a spiritualistic position, and collected his cases predominantly from spiritualist newspapers such as the Psychic News, which appears to have biased his results in various ways. For example, the majority of his subjects reported seeing a cord connecting the physical body and its observing counterpart; whereas Green found that less than 4% of her subjects noticed anything of this sort, and some 80% reported feeling they were a "disembodied consciousness", with no external body at all.
The first extensive scientific study of OBEs was made by Celia Green (1968).She collected written, first-hand accounts from a total of 400 subjects, recruited by means of appeals in the mainstream media, and followed up by questionnaires. Her purpose was to provide a taxonomy of the different types of OBE, viewed simply as an anomalous perceptual experience or hallucination, while leaving open the question of whether some of the cases might incorporate information derived by extrasensory perception.
International Academy of Consciousness - Global Survey
In 1999, at the 1st International Forum of Consciousness Research in Barcelona, International Academy of Consciousness research-practitioners Wagner Alegretti and Nanci Trivellato presented preliminary findings of an online survey on the out-of-body experience answered by internet users interested in the subject; therefore, not a sample representative of the general population.
1,007 (85%) of the first 1,185 respondents reported having had an OBE. 37% claimed to have had between two and ten OBEs. 5.5% claimed more than 100 such experiences. 45% of those who reported an OBE said they successfully induced at least one OBE by using a specific technique. 62% of participants claiming to have had an OBE also reported having enjoyed nonphysical flight; 40% reported experiencing the phenomenon of self-bilocation (i.e. seeing one's own physical body whilst outside the body); and 38% claimed having experienced self-permeability (passing through physical objects such as walls). The most commonly reported sensations experienced in connection with the OBE were falling, floating, repercussions e.g. myoclonia (the jerking of limbs, jerking awake), sinking, torpidity (numbness), intracranial sounds, tingling, clairvoyance, oscillation and serenity.
Another reported common sensation related to OBE was temporary or projective catalepsy, a more common feature of sleep paralysis. The sleep paralysis and OBE correlation was later corroborated by the Out-of-Body Experience and Arousal study published in Neurology by Kevin Nelson and his colleagues from the University of Kentucky in 2007. The study discovered that people who have out-of-body experiences are more likely to suffer from sleep paralysis.
Also noteworthy, is the Waterloo Unusual Sleep Experiences Questionnaire that further illustrates the correlation.
Miss Z study
In 1968, Charles Tart conducted an OBE experiment with a subject known as Miss Z for four nights in his sleep laboratory. The subject was attached to an EEG machine and a five-digit code was placed on a shelf above her bed. She did not claim to see the number on the first three nights but on fourth gave the number correctly.The psychologist James Alcock criticized the experiment for inadequate controls and questioned why the subject was not visually monitored by a video camera.Martin Gardner has written the experiment was not evidence for an OBE and suggested that whilst Tart was "snoring behind the window, Miss Z simply stood up in bed, without detaching the electrodes, and peeked." Susan Blackmore wrote "If Miss Z had tried to climb up, the brain-wave record would have showed a pattern of interference. And that was exactly what it did show."
Neurology and OBE-like experiences
There are several possible physiological explanations for parts of the OBE. OBE-like experiences have been induced by stimulation of the brain. OBE-like experience has also been induced through stimulation of the posterior part of the right superior temporal gyrus in a patient.[106] Positron-emission tomography was also used in this study to identify brain regions affected by this stimulation. The term OBE-like is used above because the experiences described in these experiments either lacked some of the clarity or details of normal OBEs, or were described by subjects who had never experienced an OBE before. Such subjects were therefore not qualified to make claims about the authenticity of the experimentally-induced OBE.
British psychologist Susan Blackmore and others suggest that an OBE begins when a person loses contact with sensory input from the body while remaining conscious. The person retains the illusion of having a body, but that perception is no longer derived from the senses. The perceived world may resemble the world he or she generally inhabits while awake, but this perception does not come from the senses either. The vivid body and world is made by our brain's ability to create fully convincing realms, even in the absence of sensory information. This process is witnessed by each of us every night in our dreams, though OBEs are claimed to be far more vivid than even a lucid dream.
Irwin pointed out that OBEs appear to occur under conditions of either very high or very low arousal. For example, Green[109] found that three quarters of a group of 176 subjects reporting a single OBE were lying down at the time of the experience, and of these 12% considered they had been asleep when it started. By contrast, a substantial minority of her cases occurred under conditions of maximum arousal, such as a rock-climbing fall, a traffic accident, or childbirth. McCreery has suggested that this paradox may be explained by reference to the fact that sleep can supervene as a reaction to extreme stress or hyper-arousal. He proposes that OBEs under both conditions, relaxation and hyper-arousal, represent a form of "waking dream", or the intrusion of Stage 1 sleep processes into waking consciousness.
Olaf Blanke studies
Research by Olaf Blanke in Switzerland found that it is possible to reliably elicit experiences somewhat similar to the OBE by stimulating regions of the brain called the right temporal-parietal junction (TPJ; a region where the temporal lobe and parietal lobe of the brain come together). Blanke and his collaborators in Switzerland have explored the neural basis of OBEs by showing that they are reliably associated with lesions in the right TPJ region and that they can be reliably elicited with electrical stimulation of this region in a patient with epilepsy.[114] These elicited experiences may include perceptions of transformations of the patient's arms and legs (complex somatosensory responses) and whole-body displacements (vestibular responses).
In neurologically normal subjects, Blanke and colleagues then showed that the conscious experience of the self and body being in the same location depends on multisensory integration in the TPJ. Using event-related potentials, Blanke and colleagues showed the selective activation of the TPJ 330–400 ms after stimulus onset when healthy volunteers imagined themselves in the position and visual perspective that generally are reported by people experiencing spontaneous OBEs. Transcranial magnetic stimulation in the same subjects impaired mental transformation of the participant's own body. No such effects were found with stimulation of another site or for imagined spatial transformations of external objects, suggesting the selective implication of the TPJ in mental imagery of one's own body.
In a follow up study, Arzy et al. showed that the location and timing of brain activation depended on whether mental imagery is performed with mentally embodied or disembodied self location. When subjects performed mental imagery with an embodied location, there was increased activation of a region called the "extrastriate body area" (EBA), but when subjects performed mental imagery with a disembodied location, as reported in OBEs, there was increased activation in the region of the TPJ. This leads Arzy et al. to argue that "these data show that distributed brain activity at the EBA and TPJ as well as their timing are crucial for the coding of the self as embodied and as spatially situated within the human body."
Blanke and colleagues thus propose that the right temporal-parietal junction is important for the sense of spatial location of the self, and that when these normal processes go awry, an OBE arises.
In August 2007 Blanke's lab published research in Science demonstrating that conflicting visual-somatosensory input in virtual reality could disrupt the spatial unity between the self and the body. During multisensory conflict, participants felt as if a virtual body seen in front of them was their own body and mislocalized themselves toward the virtual body, to a position outside their bodily borders. This indicates that spatial unity and bodily self-consciousness can be studied experimentally and is based on multisensory and cognitive processing of bodily information.
Ehrsson study
In August 2007, Henrik Ehrsson, then at the Institute of Neurology at University College of London (now at the Karolinska Institute in Sweden), published research in Science demonstrating the first experimental method that, according to the scientist's claims in the publication, induced an out-of-body experience in healthy participants. The experiment was conducted in the following way:
The study participant sits in a chair wearing a pair of head-mounted video displays. These have two small screens over each eye, which show a live film recorded by two video cameras placed beside each other two metres behind the participant's head. The image from the left video camera is presented on the left-eye display and the image from the right camera on the right-eye display. The participant sees these as one "stereoscopic" (3D) image, so they see their own back displayed from the perspective of someone sitting behind them.
The researcher then stands just beside the participant (in their view) and uses two plastic rods to simultaneously touch the participant's actual chest out-of-view and the chest of the illusory body, moving this second rod towards where the illusory chest would be located, just below the camera's view.
The participants confirmed that they had experienced sitting behind their physical body and looking at it from that location.
Both critics and the experimenter himself note that the study fell short of replicating "full-blown" OBEs. As with previous experiments which induced sensations of floating outside of the body, Ehrsson's work does not explain how a brain malfunction might cause an OBE. Essentially, Ehrsson created an illusion that fits a definition of an OBE in which "a person who is awake sees his or her body from a location outside the physical body."
Awareness during Resuscitation Study
In 2001, Sam Parnia and colleagues investigated out of body claims by placing figures on suspended boards facing the ceiling, not visible from the floor. Parnia wrote "anybody who claimed to have left their body and be near the ceiling during resuscitation attempts would be expected to identify those targets. If, however, such perceptions are psychological, then one would obviously not expect the targets to be identified." The philosopher Keith Augustine, who examined Parnia's study, has written that all target identification experiments have produced negative results. Psychologist Chris French wrote regarding the study "unfortunately, and somewhat atypically, none of the survivors in this sample experienced an OBE."
In the autumn of 2008, 25 UK and US hospitals began participation in a study, coordinated by Sam Parnia and Southampton University known as the AWARE study (AWAreness during REsuscitation). Following on from the work of Pim van Lommel in the Netherlands, the study aims to examine near-death experiences in 1,500 cardiac arrest survivors and so determine whether people without a heartbeat or brain activity can have documentable out-of-body experiences. As part of the study Parnia and colleagues have investigated out of body claims by using hidden targets placed on shelves that could only be seen from above.Parnia has written "if no one sees the pictures, it shows these experiences are illusions or false memories".
In 2014 Parnia issued a statement indicating that the first phase of the project has been completed and the results are undergoing peer review for publication in a medical journal. No subjects saw the images mounted out of sight according to Parnia's early report of the results of the study at an American Heart Association meeting in November 2013. Only two out of the 152 patients reported any visual experiences, and one of them described events that could be verified. The two NDEs occurred in an area were "no visual targets had been placed".
On October 6, 2014, the results of the study were published in the journal Resuscitation. Among those who reported a perception of awareness and completed further interviews, 46 per cent experienced a broad range of mental recollections in relation to death that were not compatible with the commonly used term of NDEs. These included fearful and persecutory experiences. Only 9 per cent had experiences compatible with NDEs and 2 per cent exhibited full awareness compatible with OBEs with explicit recall of 'seeing' and 'hearing' events. One case was validated and timed using auditory stimuli during cardiac arrest. According to Caroline Watt "The one 'verifiable period of conscious awareness' that Parnia was able to report did not relate to this objective test. Rather, it was a patient giving a supposedly accurate report of events during his resuscitation. He didn't identify the pictures, he described the defibrillator machine noise. But that's not very impressive since many people know what goes on in an emergency room setting from seeing recreations on television."
AWARE Study II
As of May 2016, a posting at the UK Clinical Trials Gateway website describes plans for AWARE II, a two-year multicenter observational study of 900-1500 patients experiencing cardiac arrest, with subjects being recruited as August 1, 2014 and a trial end date of May 31, 2017.
Smith & Messier
A recent functional imaging study reported the case of a woman who could experience out of body experience at will. She reported developing the ability as a child and associated it with difficulties in falling sleep. Her OBEs continued into adulthood but became less frequent. She was able to see herself rotating in the air above her body, lying flat, and rolling in the horizontal plane. She reported sometimes watching herself move from above but remained aware of her unmoving "real" body. The participant reported no particular emotions linked to the experience. "[T]he brain functional changes associated with the reported extra-corporeal experience (ECE) were different than those observed in motor imagery. Activations were mainly left-sided and involved the left supplementary motor area and supramarginal and posterior superior temporal gyri, the last two overlapping with the temporal parietal junction that has been associated with out-of-body experiences. The cerebellum also showed activation that is consistent with the participant's report of the impression of movement during the ECE. There was also left middle and superior orbital frontal gyri activity, regions often associated with action monitoring."
OBE training and research facilities[edit]
The International Academy of Consciousness (IAC) is a global organisation, with training centers in California, New York, London, Lisbon, Madrid, Sao Paolo, Rio de Janeiro, several other cities around the world and a research campus in Portugal. The research campus features specialised laboratories, including a spherical lab dedicated exclusively for the practice and research of out-of-body experiences.The IAC offers courses online and in person, including their signature course the Consciousness Development Programme (a comprehensive 40-hour course covering OBE techniques, with practical classes, as well as many other para-psychic themes related to the practice).
The Monroe Institute's Nancy Penn Center is a facility specializing in or out-of-body experience induction. The Center for Higher Studies of the Consciousness in Brazil is another large OBE training facility. Olaf Blanke's Laboratory of Cognitive Neuroscience has become a well-known laboratory for OBE research.
Astral projection
Main article: Astral projection
Astral projection is a paranormal interpretation of out-of-body experiences that assumes the existence of one or more non-physical planes of existence and an associated body beyond the physical. Commonly such planes are called astral, etheric, or spiritual. Astral projection is often experienced as the spirit or astral body leaving the physical body to travel in the spirit world or astral plane.
Ernest Henry discovered copper in the general vicinity of Mount Cuthbert in 1867, but it was not developed further at that time. John Chapman investigated Mount Cuthbert, Excelsior, and Mighty Atom copper claims in 1900 on behalf of Melbourne investors. Mount Cuthbert assayed the best at 6.5%.
The decision by the Government to extend the Townsville railway beyond Richmond stimulated further exploration in 1905 - 1906. In 1907 the Mount Cuthbert Company had capital of £240,000 and its mines included Mount Cuthbert, Kalkadoon, Mighty Atom, Orphan (near Dobbyn) and Little Wonder. The company had major financial problems from 1909 because of the lack of rail freight and had to reconstruct its capital holdings in 1912.
In 1915, with the price of copper soaring, the company spent £120,000 constructing smelters and had already sent away copper matte by horse teams before the railway reached the mine in September 1916. William H. Corbould, who was appointed Mount Elliott mine manager in 1909 had a grand vision for rationalising the copper industry in the Cloncurry district but, while war delayed its implementation an arrangement was worked out with Mount Cuthbert whereby up to 150 tons of ore per day were to be treated at the Mount Elliott smelter at Selwyn until the Mount Cuthbert plant was completed. Then the situation would be reversed while Mount Elliott increased the capacity of its smelter. Accordingly, the Selwyn smelter ran for five months at the end of 1915 and into 1916 treating both companies' ore, including 13,000 tons railed from Mount Cuthbert.
The Mount Cuthbert smelter was designed by W.H. Corbould, who was also a noted metallurgist and its completion was delayed because of the war. The blast furnaces were eventually fired early in 1917 and the initial operation treated over 25,000 tons of ore which produced 1,804 tons of copper worth £202,350. The Mount Cuthbert Company also invested in a new winding engine and headframe, 200 ton capacity ore bins, extensions to the blacksmith's shop and electricity connected to all the surface buildings. The old equipment was removed and reassembled at the Orphan mine.
Mount Cuthbert township was surveyed by the Mines Department in 1916, but the nearby mines had been worked from 1908 which might explain the close proximity of the settlement to the mines and therefore the smelter.
At its peak Mount Cuthbert township had two hotels, a cordial factory, two stores, three fruiterers, a photographer, butcher, baker, fancy goods/barber, hospital, police station, boarding house, and two railway stations (Mount Cuthbert and Dollubeet). A post office operated from 1908 to 1927. The mining company officers were housed in timber cottages and a barracks, while the majority of residents lived in tents or small corrugated iron shacks with earth floors and stone hearths.
Teamsters supplied logs to the sawmill operating to supply mine timbers from 1913. A school opened in 1917 with 30 pupils taught by Miss E Stapleton. At one point in 1917 the town was reported on the verge of starvation due to problems with railway freight operations.
Today the township area contains about 60 discernible building remains and stone footings, and a commercial area near the railway on the eastern side of the settlement. A cellar, cement floor, and ships tank baking oven indicate the site of the hotel, which reputedly was moved to Kajabbi where it still serves as the Kalkadoon Hotel.
The railway arrived at Mount Cuthbert in October 1915 after taking two years to construct the section north-east from Dugald River. The curving alignment passes through narrow gaps in ridge spurs and follows the Six Mile Creek. Its formation features embankments, cuttings, and bridgeworks. Without the railway, production from the smelters was hampered due to exorbitant freight costs. There were two wayside sidings, Mount Cuthbert and the terminus, Dollubeet, at Kalkadoon.
The Kalkadoon mine is part of the Mount Cuthbert mine group, situated about 2km north along the same geological formation. The earliest mineral lease to be granted in the Mount Cuthbert area was that of the Kalkadoon to Cuthbert Fetherstonhaugh of Cloncurry who took up 4.05 ha from the 1st of August 1899. This mine was mentioned by William Lees in 1906 as the "old mine" and it had already produced 300 tons of high grade ore.
It was further developed by the Mount Cuthbert Company from about 1907. By 1912 temporary pithead gear was in place: a winch and boiler and a headframe from Charters Towers was installed the next year. By 1916 the main shaft was down 107m. Ore mined at the Kalkadoon was smelted at Mount Cuthbert from 1917 and sent to Britain as prime blister copper. It is presumed that the mine closed in 1920 when smelting ceased at Mount Cuthbert. Its manager, J. Delaney, was a well known football player in the district.
In 1918 there was a fatal accident in the Mount Cuthbert mine at the 107m level. By 1919 the main shaft was down to 148m. In 1918 the Mount Cuthbert smelters treated 36,500 tons of ore until November when the crankshaft broke on the blower engine and closed the smelters after a record run. They were not refired until August 1919 and continued smelting copper until the price fell in 1920. The smelters shut down on the 19th of June 1920 after a final run of only 63 days.
The company was forced into raising capital in 1919 and attempted a further financial reconstruction in 1922. However, continued annual losses, low metal prices and pressing debenture commitments forced its liquidation in 1923. In 1925 the Mount Elliott Company purchased the Mount Cuthbert properties and plant for an undisclosed sum, certainly much less than the £500,000 valuation.
The population rose from 50 in 1908, to a peak of 1,000 in 1918, then dropped to 750 in 1920 and to 400 in 1924, but Mount Cuthbert became a ghost town after the Mount Elliott Company bought the mine and plant in 1925.
In 1942 Mount Isa Mines bought the Mount Cuthbert smelters for £900 and plant and other machinery was railed through Cloncurry to Mount Isa's new copper smelter. The Kalkadoon was worked on tribute again in the 1960s before being abandoned.
Source: Queensland Heritage Register.
Once there, egoism becomes stimulated by the subtle forces they have evoked, the emotional nature becomes more sensitive and more fluid, the imaginative power becomes more active and is less restrained. If a person then falls victim to spiritual error regarding this state, the result is swollen vanity, superstitious credulity, emotions run riot, and wild imagination. The astral plane, also called the astral world, is a plane of existence postulated by classical (particularly neo-Platonic), medieval, oriental, and esoteric philosophies and mystery religions.The astral plane, also called the astral world, is a plane of existence postulated by classical (particularly neo-Platonic), medieval, oriental, and esoteric philosophies and mystery religions. It is the world of the celestial spheres, crossed by the soul in its astral body on the way to being born and after death, and is generally believed to be populated by angels, spirits or other immaterial beings. In the late 19th and early 20th century the term was popularised by Theosophy and neo-Rosicrucianism. Another view holds that the astral plane or world, rather than being some kind of boundary area crossed by the soul, is the entirety of spirit existence or spirit worlds to which those who die on Earth go, and where they live out their non-physical lives. Some writers conflate this realm with heaven or paradise or union with God itself, and others do not. P. Yogananda wrote in Autobiography of a Yogi, "The astral universe . . . is hundreds of times larger than the material universe . . .[with] many astral planets, teeming with astral beings." (p.416) When Alice Bailey writes of seeing "Masters . . . upon the inner spiritual planes [who]. . . work with Christ and the planetary hierarchy," she refers to a vision she had of the unseen astral realm that these and countless other beings inhabit. Christ being in that realm, it is hard to construe it as a non-heaven. The Barzakh, olam mithal or intermediate world in Islam, and the "World of Yetzirah" in Lurianic Kabbalah are related concepts., and is generally believed to be populated by angels, spirits or other immaterial beings. In the late 19th and early 20th century the term was popularised by Theosophy and neo-Rosicrucianism. Another view holds that the astral plane or world, rather than being some kind of boundary area crossed by the soul, is the entirety of spirit existence or spirit worlds to which those who die on Earth go, and where they live out their non-physical lives. Some writers conflate this realm with heaven or paradise or union with God itself, and others do not. P. Yogananda wrote in Autobiography of a Yogi, "The astral universe . . . is hundreds of times larger than the material universe . . .[with] many astral planets, teeming with astral beings." (p.416) When Alice Bailey writes of seeing "Masters . . . upon the inner spiritual planes [who]. . . work with Christ and the planetary hierarchy," she refers to a vision she had of the unseen astral realm that these and countless other beings inhabit. Christ being in that realm, it is hard to construe it as a non-heaven.In Islam, the soul and the body are independent of each other. This is significant in Barzakh, because only a person's soul goes to Barzakh and not their physical body.[10] Since one's soul is divorced from their body in Barzakh, the belief is that no progress or improvements to one's past life can be made. If a person experienced a life of sin and worldly pleasures, one cannot try to perform good deeds in order to reach Jannah. Whatever one does in his or her lifetime is final and cannot be changed or altered in Barzakh.the Barzakh or Alam-e-Araf is not only where the human soul resides after death but it is also a place that the soul can visit during sleep and meditation. Ibn 'Arabi, defines Barzakh as the intermediate realm or "isthmus". It is between the World of Corporeal Bodies and the World of Spirits, and is a means of contact between the two worlds. Without it, there would be no contact between the two and both would cease to exist. It is described as simple and luminous, like the World of Spirits, but also able to take on many different forms just like the World of Corporeal Bodies can. In broader terms Barzakh, “is anything that separates two things”. It has been described as the dream world in which the dreamer is in both life and death. . In Tibetan Buddhism, bardo is the central theme of the Bardo Thodol (literally Liberation Through Hearing During the Intermediate State), the Tibetan Book of the Dead.Metaphorically, bardo can describe times when our usual way of life becomes suspended, as, for example, during a period of illness or during a meditation retreat. Such times can prove fruitful for spiritual progress because external constraints diminish. However, they can also present challenges because our less skillful impulses may come to the foreground, just as in the sidpa bardo.The intermediate being who makes the passage in this way from one existence to the next is formed, like every living being, of the five aggregates (skandha). His existence is demonstrated by the fact that it cannot have any discontinuity in time and space between the place and moment of death and those of rebirth, and therefore it must be that the two existences belonging to the same series are linked in time and space by an intermediate stage. The intermediate being is the Gandharva, the presence of which is as necessary at conception as the fecundity and union of the parents. Furthermore, the Antarāparinirvāyin is an Anāgamin who obtains parinirvāṇa during the intermediary existence. As for the heinous criminal guilty of one of the five crimes without interval (ānantarya), he passes in quite the same way by an intermediate existence at the end of which he is reborn necessarily in hell.What is an intermediate being, and an intermediate existence? Intermediate existence, which inserts itself between existence at death and existence at birth, not having arrived at the location where it should go, cannot be said to be born. Between death—that is, the five skandhas of the moment of death—and arising—that is, the five skandhas of the moment of rebirth—there is found an existence—a "body" of five skandhas—that goes to the place of rebirth. This existence between two realms of rebirth (gatī) is called intermediate existence.Originally bardo referred only to the period between one life and the next, and this is still its normal meaning when it is mentioned without any qualification. There was considerable dispute over this theory during the early centuries of Buddhism, with one side arguing that rebirth (or conception) follows immediately after death, and the other saying that there must be an interval between the two. With the rise of mahayana, belief in a transitional period prevailed. Later Buddhism expanded the whole concept to distinguish six or more similar states, covering the whole cycle of life, death, and rebirth. But it can also be interpreted as any transitional experience, any state that lies between two other states. Its original meaning, the experience of being between death and rebirth, is the prototype of the bardo experience, while the six traditional bardos show how the essential qualities of that experience are also present in other transitional periods. By refining even further the understanding of the essence of bardo, it can then be applied to every moment of existence. The present moment, the now, is a continual bardo, always suspended between the past and the future.In Sri Aurobindo's philosophy the Intermediate zone refers to a dangerous and misleading transitional spiritual state between the ordinary consciousness and true spiritual realisation. Similar notions can be found in mystical literature, such as "the astral plane" and "the hall of illusion." The Theosophist W. Q. Judge used the similar notion of "astral intoxication" Barzakh can also refer to a person. Chronologically between Jesus and Mohammad is the contested Prophet Khalid. Ibn 'Arabi considers this man to be a “Barzakh” or the Perfect Human Being. Chittick explains that the Perfect Human acts as the Barzakh or "isthmus" between God and the world. Ibn 'Arabi's story of Prophet Khalid is a story of Perfect Human being.
Khalid's story is of a Prophet whose message never emerged because before he died, he told his sons to open his tomb forty days after his death to receive the message of Barzakh. The sons, however, feared they would be looked down upon for opening their dead father's tomb, therefore they decided not to exhume their father. Thus, his message was never shared. An Ottoman Scholar explained that for Khalid to give the knowledge of Barzakh he would have to travel through the different worlds and then return, but because he was not exhumed, his message was never heard. Ibn 'Arabi explains that because this mission ended in failure, it does not conflict with The Prophet Mohammed’s statement: “ am nearest of men to Jesus son of Mary, for there is no prophet between him and me. The Barzakh, olam mithal or intermediate world in Islam, and the "World of Yetzirah" in Lurianic Kabbalah are related concepts. Plato and Aristotle taught that the stars were composed of a type of matter different from the four earthly elements - a fifth, ethereal element or quintessence. In the "astral mysticism" of the classical world the human psyche was composed of the same material, thus accounting for the influence of the stars upon human affairs. In his commentaries on Plato's Timaeus, Proclus wrote; Man is a little world (mikros cosmos). For, just like the Whole, he possesses both mind and reason, both a divine and a mortal body. He is also divided up according to the universe. It is for this reason, you know, that some are accustomed to say that his consciousness corresponds with the nature of the fixed stars, his reason in its contemplative aspect with Saturn and in its social aspect with Jupiter, (and) as to his irrational part, the passionate nature with Mars, the eloquent with Mercury, the appetitive with Venus, the sensitive with the Sun and the vegetative with the Moon. Such doctrines were commonplace in mystery-schools and Hermetic and gnostic sects throughout the Roman Empire and influenced the early Christian church. Among Muslims the "astral" world-view was soon rendered orthodox by Quranic references to the Prophet's ascent through the seven heavens. Scholars took up the Greek Neoplatonist accounts as well as similar material in Hindu and Zoroastrian texts. The expositions of Ibn Sina (Avicenna), the Brotherhood of Purity and others, when translated into Latin in the Norman era, were to have a profound effect upon European mediaeval alchemy and astrology. By the 14th century Dante was describing his own imaginary journey through the astral spheres of Paradise. Throughout the Renaissance, philosophers, Paracelsians, Rosicrucians and alchemists continued to discuss the nature of the astral world intermediate between earth and the divine. Once the telescope established that no spiritual heaven was visible around the solar system, the idea was superseded in mainstream science.
COPENHAGEN ULTRACONTEMPORARY BIENNALE
COPENHAGEN ULTRACONTEMPORARY BIENNALE is programed to take place in 2017 activating several art institutions, public space and daily media.
The aim of COPENHAGEN ULTRACONTEMPORARY BIENNALE is to introduce internationally the importance of ULTRACONTEMPORARY, EMERGENCY ART and ART FORMAT.
ULTRACONTEMPORARY (artistic capacity to express in sync with time and in closest possible proximity to “now”)
EMERGENCY ART (artistic duty to spot dysfunctions in the society, and act upon them before it is too late)
ART FORMAT (artistic framework created to expend and be activated globally in different contexts)
COPENHAGEN ULTRACONTEMPORARY BIENNALE is designed to stimulate flexibility and self-critique of what we today consider contemporary. Until 2017 there will continuously be organized a line of conferences and research projects as well as visible recruiting initiatives in order to establish a solid working team, train artists, introduce new methods for audience development and public involvement. One of the preparative education initiatives is ACADEMY OF EMERGENCY ART
This biennale format is built by Thierry Geoffroy / COLONEL, funder/ art format owner and Tijana Miskovic, curator/director.
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a presentation of COPENHAGEN ULTRACONTEMPORARY BIENNALE will be done at the Venice Biennale 2015 ---
check date and place here www.facebook.com/CopenhagenBiennale
COPENHAGEN ULTRACONTEMPORARY BIENNALE
main : copenhagenbiennale.org/
www.facebook.com/CopenhagenBiennale
www.emergencyrooms.org/formats.html
meanwhile contemporary art will be shown by
ABBOUD, Jumana Emil .ABDESSEMED, Adel .ABONNENC, Mathieu Kleyebe
ABOUNADDARA.ACHOUR, Boris ADKINS, Terry AFIF, Saâdane
AKERMAN, Chantal AKOMFRAH, John AKPOKIERE, Karo
AL SOLH, Mounira ALGÜN RINGBORG, Meriç ALLORA, Jennifer & CALZADILLA, Guillermo
ATAMAN, Kutlug BAJEVIC, Maja BALLESTEROS, Ernesto
BALOJI, Sammy BARBA, Rosa
BASELITZ, Georg BASUALDO, Eduardo BAUER, Petra
BESHTY, Walead BHABHA, Huma BOLTANSKI, Christian
BONVICINI, Monica BOYCE, Sonia
BOYD, Daniel BREY, Ricardo BROODTHAERS, Marcel BRUGUERA, Tania
BURGA, Teresa CALHOUN, Keith & McCORMICK, Chandra CAO, Fei
CHAMEKH, Nidhal CHERNYSHEVA, Olga CHUNG, Tiffany
COOPERATIVA CRÁTER INVERTIDO CREATIVE TIME SUMMIT
DAMIANI, Elena DELLER, Jeremy DJORDAJDZE, Thea DUMAS, Marlene
E-FLUX JOURNAL EDWARDS, Melvin EFFLATOUN, Inji EHMANN, Antje & FAROCKI, Harun
EICHHORN, Maria EVANS, Walker FAROCKI, Harun FLOYD, Emily
FRIEDL, Peter FUSCO, Coco FUSINATO, Marco
GAINES, Charles GALLAGHER, Ellen GALLARDO, Ana GARCIA, Dora
GATES, Theaster GENZKEN, Isa GLUKLYA GOMES, Sônia GROSSE, Katharina
GULF LABOR GURSKY, Andreas HAACKE, Hans
HADJITHOMAS, Joana & JOREIGE, Khalil HARRY, Newell HASSAN, Kay
HIRSCHHORN, Thomas HÖLLER, Carsten HOLT, Nancy & SMITHSON, Robert
IM, Heung Soon INVISIBLE BORDERS: Trans-African Photographers ISHIDA, Tetsuya
JI, Dachun JULIEN, Isaac K., Hiwa KAMBALU, Samson KIM, Ayoung
KLUGE, Alexander KNGWARREYE, Emily Kame LAGOMARSINO, Runo LEBER, Sonia & CHESWORTH, David
LIGON, Glenn MABUNDA, Gonçalo MADHUSUDHANAN MAHAMA, Ibrahim
MALJKOVIC, David MAN, Victor MANSARAY, Abu Bakarr MARKER, Chris
MARSHALL, Kerry James MARTEN, Helen MAURI, Fabio McQUEEN, Steve
MOHAIEMEN, Naeem MORAN, Jason MÜLLER, Ivana MUNROE, Lavar MURILLO, Oscar
MUTU, Wangechi NAM, Hwayeon NAUMAN, Bruce NDIAYE, Cheikh NICOLAI, Olaf
OFILI, Chris OGBOH, Emeka PARRENO, Philippe PASCALI, Pino PIPER, Adrian
PONIFASIO, Lemi QIU, Zhijie RAISSNIA, Raha RAQS MEDIA COLLECTIVE
(NARULA, Monica; BAGCHI, Jeebesh; SENGUPTA, Shuddhabrata) REYNAUD-DEWAR, Lili
RIDNYI, Mykola ROBERTS, Liisa ROTTENBERG, Mika SCHÖNFELDT, Joachim SELMANI, Massinissa
SENGHOR, Fatou Kand SHETTY, Prasad & GUPTE, Rupal SIBONY, Gedi
SIMMONS, Gary SIMON, Taryn SIMPSON, Lorna SMITHSON, Robert SUBOTZKY, Mikhael
SUHAIL, Mariam SZE, Sarah THE PROPELLER GROUPthe TOMORROW
TIRAVANIJA, Rirkrit TOGUO, Barthélémy XU, Bing YOUNIS, Ala
ALBANIA
Albanian Trilogy: A Series of Devious Stratagems
Armando Lulaj
Commissioner: Ministry of Culture. Curator: Marco Scotini. Deputy Curator: Andris Brinkmanis. Venue: Pavilion at Arsenale
ANDORRA
Inner Landscapes
Roqué, Joan Xandri
Commissioner: Henry Périer. Deputy Commissioner: Joana Baygual, Sebastià Petit, Francesc Rodríguez
Curator: Paolo de Grandis, Josep M. Ubach. Venue: Spiazzi, Castello 3865
ANGOLA
On Ways of Travelling
António Ole, Binelde Hyrcan, Délio Jasse, Francisco Vidal, Nelo Teixeira
Commissioner: Ministry of Culture, Rita Guedes Tavares. Curator: António Ole. Deputy Curator: Antonia Gaeta. Venue: Conservatorio Benedetto Marcello - Palazzo Pisani, San Marco 2810
ARGENTINA
The Uprising of Form
Juan Carlos Diste´fano
Commissioner: Magdalena Faillace. Curator: Mari´a Teresa Constantin. Venue: Pavilion at Arsenale – Sale d’Armi
ARMENIA, Republic of
Armenity / Haiyutioun
Haig Aivazian, Lebanon; Nigol Bezjian, Syria/USA; Anna Boghiguian Egypt/Canada; Hera Büyüktasçiyan, Turkey; Silvina Der-Meguerditchian, Argentina/Germany; Rene Gabri & Ayreen Anastas, Iran/Palestine/USA; Mekhitar Garabedian, Belgium; Aikaterini Gegisian, Greece; Yervant Gianikian & Angela Ricci Lucchi, Italy; Aram Jibilian, USA; Nina Katchadourian, USA/Finland; Melik Ohanian, France; Mikayel Ohanjanyan, Armenia/Italy; Rosana Palazyan, Brazil; Sarkis, Turkey/France; Hrair Sarkissian, Syria/UK
Commissioner: Ministry of Culture of the Republic of Armenia. Deputy Commissioner: Art for the World, Mekhitarist Congregation of San Lazzaro Island, Embassy of the Republic of Armenia in Italy, Vartan Karapetian. Curator: Adelina Cüberyan von Fürstenberg. Venue: Monastery and Island of San Lazzaro degli Armeni
AUSTRALIA
Fiona Hall: Wrong Way Time
Fiona Hall
Commissioner: Simon Mordant AM. Deputy Commissioner: Charles Green. Curator: Linda Michael. Scientific Committee: Simon Mordant AM, Carolyn Christov-Bakargiev, Max Delany, Rachel Kent, Danie Mellor, Suhanya Raffel, Leigh Robb. Venue: Pavilion at Giardini
AUSTRIA
Heimo Zobernig
Commissioner: Yilmaz Dziewior. Curator: Yilmaz Dziewior. Scientific Committee: Friends of the Venice Biennale. Venue: Pavilion at Giardini
AZERBAIJAN, Republic of
Beyond the Line
Ashraf Murad, Javad Mirjavadov, Tofik Javadov, Rasim Babayev, Fazil Najafov, Huseyn Hagverdi, Shamil Najafzada
Commissioner: Heydar Aliyev Foundation. Curators: de Pury de Pury, Emin Mammadov. Venue: Palazzo Lezze, Campo S.Stefano, San Marco 2949
Vita Vitale
Edward Burtynsky, Mircea Cantor, Loris Cecchini, Gordon Cheung, Khalil Chishtee, Tony Cragg, Laura Ford, Noemie Goudal, Siobhán Hapaska, Paul Huxley, IDEA laboratory and Leyla Aliyeva, Chris Jordan with Rebecca Clark and Helena S.Eitel, Tania Kovats, Aida Mahmudova, Sayyora Muin, Jacco Olivier, Julian Opie, Julian Perry, Mike Perry, Bas Princen, Stephanie Quayle, Ugo Rondinone, Graham Stevens, Diana Thater, Andy Warhol, Bill Woodrow, Erwin Wurm, Rose Wylie
Commissioner: Heydar Aliyev Foundation. Curators: Artwise: Susie Allen, Laura Culpan, Dea Vanagan. Venue: Ca’ Garzoni, San Marco 3416
BELARUS, Republic of
War Witness Archive
Konstantin Selikhanov
Commissioner: Natallia Sharanhovich. Deputy Commissioners: Alena Vasileuskaya, Kamilia Yanushkevich. Curators: Aleksei Shinkarenko, Olga Rybchinskaya. Scientific Committee: Dmitry Korol, Daria Amelkovich, Julia Kondratyuk, Sergei Jeihala, Sheena Macfarlane, Yuliya Heisik, Hanna Samarskaya, Taras Kaliahin, Aliaksandr Stasevich. Venue: Riva San Biagio, Castello 2145
BELGIUM
Personnes et les autres
Vincent Meessen and Guests, Mathieu K. Abonnenc, Sammy Baloji, James Beckett, Elisabetta Benassi, Patrick Bernier & Olive Martin, Tamar Guimara~es & Kasper Akhøj, Maryam Jafri, Adam Pendleton
Commissioner: Wallonia-Brussels Federation and Wallonia-Brussels International. Curator: Katerina Gregos. Venue: Pavilion at Giardini
COSTA RICA
"Costa Rica, Paese di pace, invita a un linguaggio universale d'intesa tra i popoli".
Andrea Prandi, Beatrice Gallori, Beth Parin, Biagio Schembari, Carla Castaldo, Celestina Avanzini, Cesare Berlingeri, Erminio Tansini, Fabio Capitanio, Fausto Beretti, Giovan Battista Pedrazzini, Giovanni Lamberti, Giovanni Tenga, Iana Zanoskar, Jim Prescott, Leonardo Beccegato, Liliana Scocco, Lucia Bolzano, Marcela Vicuna, Marco Bellagamba, Marco Lodola, Maria Gioia dell’Aglio, Mario Bernardinello, Massimo Meucci, Nacha Piattini, Omar Ronda, Renzo Eusebi, Tita Patti, Romina Power, Rubens Fogacci, Silvio di Pietro, Stefano Sichel, Tino Stefanoni, Ufemia Ritz, Ugo Borlenghi, Umberto Mariani, Venere Chillemi, Jacqueline Gallicot Madar, Massimo Onnis, Fedora Spinelli
Commissioner: Ileana Ordonez Chacon. Curator: Gregorio Rossi. Venue: Palazzo Bollani
CROATIA
Studies on Shivering: The Third Degree
Damir Ocko
Commissioner: Ministry of Culture. Curator: Marc Bembekoff. Venue: Palazzo Pisani, S. Marina
CUBA
El artista entre la individualidad y el contexto
Lida Abdul, Celia-Yunior, Grethell Rasúa, Giuseppe Stampone, LinYilin, Luis Edgardo Gómez Armenteros, Olga Chernysheva, Susana Pilar Delahante Matienzo
Commissioner: Miria Vicini. Curators: Jorge Fernández Torres, Giacomo Zaza. Venue: San Servolo Island
CYPRUS, Republic of
Two Days After Forever
Christodoulos Panayiotou
Commissioner: Louli Michaelidou. Deputy Commissioner: Angela Skordi. Curator: Omar Kholeif. Deputy Curator: Daniella Rose King. Venue: Palazzo Malipiero, Sestiere San Marco 3079
CZECH Republic and SLOVAK Republic
Apotheosis
Jirí David
Commissioner: Adam Budak. Deputy Commissioner: Barbara Holomkova. Curator: Katarina Rusnakova. Venue: Pavilion at Giardini
ECUADOR
Gold Water: Apocalyptic Black Mirrors
Maria Veronica Leon Veintemilla in collaboration with Lucia Vallarino Peet
Commissioner: Andrea Gonzàlez Sanchez. Deputy Commissioner: PDG Arte Communications. Curator: Ileana Cornea. Deputy Curator: Maria Veronica Leon Veintemilla. Venue: Istituto Santa Maria della Pietà, Castello 3701
ESTONIA
NSFW. From the Abyss of History
Jaanus Samma
Commissioner: Maria Arusoo. Curator: Eugenio Viola. Venue: Palazzo Malipiero, campo San Samuele, San Marco 3199
EGYPT
CAN YOU SEE
Ahmed Abdel Fatah, Gamal Elkheshen, Maher Dawoud
Commissioner: Hany Al Ashkar. Curator: Ministry of Culture. Venue: Pavilion at Giardini
FINLAND (Pavilion Alvar Aalto)
Hours, Years, Aeons
IC-98
Commissioner: Frame Visual Art Finland, Raija Koli. Curator: Taru Elfving. Deputy Curator: Anna Virtanen. Venue: Pavilion at Giardini
FRANCE
revolutions
Céleste Boursier-Mougenot
Commissioner: Institut français, with Ministère de la Culture et de la Communication. Curator: Emma Lavigne. Venue: Pavilion at Giardini
GEORGIA
Crawling Border
Rusudan Gobejishvili Khizanishvili, Irakli Bluishvili, Dimitri Chikvaidze, Joseph Sabia
Commissioner: Ana Riaboshenko. Curator: Nia Mgaloblishvili. Venue: Pavilion at Arsenale – Sale d’Armi
GERMANY
Fabrik
Jasmina Metwaly / Philip Rizk, Olaf Nicolai, Hito Steyerl, Tobias Zielony
Commissioner: ifa (Institut für Auslandsbeziehungen) on behalf of the Federal Foreign Office. Deputy Commissioner: Elke aus dem Moore, Nina Hülsmeier. Curator: Florian Ebner. Deputy Curator: Tanja Milewsky, Ilina Koralova. Venue: Pavilion at Giardini
GREAT BRITAIN
Sarah Lucas
Commissioner: Emma Dexter. Curator: Richard Riley. Deputy Curator: Katrina Schwarz. Venue: Pavilion at Giardini
GRENADA *
Present Nearness
Oliver Benoit, Maria McClafferty, Asher Mains, Francesco Bosso and Carmine Ciccarini, Guiseppe Linardi
Commissioner: Ministry of Culture. Deputy Commissioner: Susan Mains. Curator: Susan Mains. Deputy Curator: Francesco Elisei. Venue: Opera don Orione Artigianelli, Sala Tiziano, Fondamenta delle Zattere ai Gesuati, Dorsoduro 919
GREECE
Why Look at Animals? AGRIMIKÁ.
Maria Papadimitriou
Commissioner: Hellenic Ministry of Culture, Education and Religious Affairs. Curator: Gabi Scardi. Deputy Curator: Alexios Papazacharias. Venue: Pavilion at Giardini
BRAZIL
So much that it doesn't fit here
Antonio Manuel, André Komatsu, Berna Reale
Commissioner: Luis Terepins. Curator: Luiz Camillo Osorio. Deputy Curator: Cauê Alves. Venue: Pavilion at Giardini
CANADA
Canadassimo
BGL
Commissioner: National Gallery of Canada, Marc Mayer. Deputy Commissioner: National Gallery of Canada, Yves Théoret. Curator: Marie Fraser. Venue: Pavilion at Giardini
CHILE
Poéticas de la disidencia | Poetics of dissent: Paz Errázuriz - Lotty Rosenfeld
Paz Errázuriz, Lotty Rosenfeld
Commissioner: Antonio Arèvalo. Deputy Commissioner: Juan Pablo Vergara Undurraga. Curator: Nelly Richard. Venue: Pavilion at Arsenale - Artiglierie
CHINA, People’s Republic of
Other Future
LIU Jiakun, LU Yang, TAN Dun, WEN Hui/Living Dance Studio, WU Wenguang/Caochangdi Work Station
Commissioner: China Arts and Entertainment Group, CAEG. Deputy Commissioners: Zhang Yu, Yan Dong. Curator: Beijing Contemporary Art Foundation. Scientific Committee: Fan Di’an, Zhang Zikang, Zhu Di, Gao Shiming, Zhu Qingsheng, Pu Tong, Shang Hui. Venue: Pavilion at Arsenale – Giardino delle Vergini
GUATEMALA
Sweet Death
Emma Anticoli Borza, Sabrina Bertolelli, Mariadolores Castellanos, Max Leiva, Pier Domenico Magri, Adriana Montalto, Elmar Rojas (Elmar René Rojas Azurdia), Paolo Schmidlin, Mónica Serra, Elsie Wunderlich, Collettivo La Grande Bouffe
Commissioner: Daniele Radini Tedeschi. Curators: Stefania Pieralice, Carlo Marraffa, Elsie Wunderlich. Deputy Curators: Luciano Carini, Simone Pieralice. Venue: Officina delle Zattere, Dorsoduro 947, Fondamenta Nani
HOLY SEE
Commissioner: Em.mo Card. Gianfranco Ravasi, Presidente del Pontificio Consiglio della Cultura. Venue: Pavilion at Arsenale – Sale d’Armi
HUNGARY
Sustainable Identities
Szilárd Cseke
Commissioner: Monika Balatoni. Deputy Commissioner: István Puskás, Sándor Fodor, Anna Karády. Curator: Kinga German. Venue: Pavilion at Giardini
ICELAND
Christoph Büchel
Commissioner: Björg Stefánsdóttir. Curator: Nína Magnúsdóttir. Venue: to be confirmed
INDONESIA, Republic of
Komodo Voyage
Heri Dono
Commissioner: Sapta Nirwandar. Deputy Commissioner: Soedarmadji JH Damais. Curator: Carla Bianpoen, Restu Imansari Kusumaningrum. Scientific Committee: Franco Laera, Asmudjo Jono Irianto, Watie Moerany, Elisabetta di Mambro. Venue: Venue: Arsenale
IRAN
Iranian Highlights
Samira Alikhanzaradeh, Mahmoud Bakhshi Moakhar, Jamshid Bayrami, Mohammed Ehsai
The Great Game
Lida Abdul, Bani Abidi, Adel Abidin, Amin Agheai, Ghodratollah Agheli, Shahriar Ahmadi, Parastou Ahovan, Farhad Ahrarnia, Rashad Alakbarov, Nazgol Ansarinia, Reza Aramesh, Alireza Astaneh, Sonia Balassanian, Mahmoud Bakhshi, Moakhar Wafaa Bilal, Mehdi Farhadian, Monir Farmanfarmaian, Shadi Ghadirian, Babak Golkar, Shilpa Gupta, Ghasem Hajizadeh, Shamsia Hassani, Sahand Hesamiyan, Sitara Ibrahimova, Pouran Jinchi, Amar Kanwar, Babak Kazemi, Ryas Komu, Ahmad Morshedloo, Farhad Moshiri, Mehrdad Mohebali, Huma Mulji, Azad Nanakeli, Jamal Penjweny, Imran Qureshi, Sara Rahbar, Rashid Rana, T.V. Santhosh, Walid Siti, Mohsen Taasha Wahidi, Mitra Tabrizian, Parviz Tanavoli, Newsha Tavakolian, Sadegh Tirafkan, Hema Upadhyay, Saira Wasim
Commissioner: Majid Mollanooruzi. Deputy Commissioners: Marco Meneguzzo, Mazdak Faiznia. Curators: Marco Meneguzzo, Mazdak Faiznia. Venue: Calle San Giovanni 1074/B, Cannaregio
IRAQ
Commissioner: Ruya Foundation for Contemporary Culture in Iraq (RUYA). Deputy Commissioner: Nuova Icona - Associazione Culturale per le Arti. Curator: Philippe Van Cauteren. Venue: Ca' Dandolo, San Polo 2879
IRELAND
Adventure: Capital
Sean Lynch
Commissioner: Mike Fitzpatrick. Curator: Woodrow Kernohan. Venue: Pavilion at Arsenale - Artiglierie
ISRAEL
Tsibi Geva | Archeology of the Present
Tsibi Geva
Commissioner: Arad Turgem, Michael Gov. Curator: Hadas Maor. Venue: Pavilion at Giardini
ITALY
Ministero dei Beni e delle attività culturali e del turismo - Direzione Generale Arte e Architettura Contemporanee e Periferie Urbane. Commissioner: Federica Galloni. Curator: Vincenzo Trione. Venue: Padiglione Italia, Tese delle Vergini at Arsenale
JAPAN
The Key in the Hand
Chiharu Shiota
Commissioner: The Japan Foundation. Deputy Commissioner: Yukihiro Ohira, Manako Kawata and Haruka Nakajima. Curator: Hitoshi Nakano. Venue : Pavilion at Giardini
KENYA
Creating Identities
Yvonne Apiyo Braendle-Amolo, Qin Feng, Shi Jinsong, Armando Tanzini, Li Zhanyang, Lan Zheng Hui, Li Gang, Double Fly Art Center
Commissioner: Paola Poponi. Curator: Sandro Orlandi Stagl. Deputy Curator: Ding Xuefeng. Venue: San Servolo Island
KOREA, Republic of
The Ways of Folding Space & Flying
MOON Kyungwon & JEON Joonho
Commissioner: Sook-Kyung Lee. Curator: Sook-Kyung Lee. Venue: Pavilion at Giardini
KOSOVO, Republic of
Speculating on the blue
Flaka Haliti
Commissioner: Ministry of Culture, Youth and Sports. Curator: Nicolaus Schafhausen. Deputy Curator: Katharina Schendl. Venue: Pavilion at Arsenale - Artiglierie
LATVIA
Armpit
Katrina Neiburga, Andris Eglitis
Commissioner: Solvita Krese (Latvian Centre for Contemporary Art). Deputy Commissioner: Kitija Vasiljeva. Curator: Kaspars Vanags. Venue: Pavilion at Arsenale
LITHUANIA
Museum
Dainius Liškevicius
Commissioner: Vytautas Michelkevicius. Deputy Commissioner: Rasa Antanaviciute. Curator: Vytautas Michelkevicius. Venue: Palazzo Zenobio, Fondamenta del Soccorso 2569, Dorsoduro
LUXEMBOURG, Grand Duchy of
Paradiso Lussemburgo
Filip Markiewicz
Commissioner: Ministry of Culture. Deputy Commissioner: MUDAM Luxembourg. Curator: Paul Ardenne. Venue: Cà Del Duca, Corte del Duca Sforza, San Marco 3052
MACEDONIA, Former Yugoslavian Republic of
We are all in this alone
Hristina Ivanoska and Yane Calovski
Commissioner: Maja Nedelkoska Brzanova, National Gallery of Macedonia. Deputy Commissioner: Olivija Stoilkova. Curator: Basak Senova. Deputy Curator: Maja Cankulovska Mihajlovska. Venue: Pavilion at Arsenale - Sale d’Armi
MAURITIUS *
From One Citizen You Gather an Idea
Sultana Haukim, Nirmal Hurry, Alix Le Juge, Olga Jürgenson, Helge Leiberg, Krishna Luchoomun, Neermala Luckeenarain, Kavinash Thomoo, Bik Van Der Pol, Laure Prouvost, Vitaly Pushnitsky, Römer + Römer
Commissioner: pARTage. Curators: Alfredo Cramerotti, Olga Jürgenson. Venue: Palazzo Flangini - Canareggio 252
MEXICO
Possesing Nature
Tania Candiani, Luis Felipe Ortega
Commissioner: Tomaso Radaelli. Deputy Commissioner: Magdalena Zavala Bonachea. Curator: Karla Jasso. Venue: Pavilion at Arsenale – Sale d’Armi
MONGOLIA *
Other Home
Enkhbold Togmidshiirev, Unen Enkh
Commissioner: Gantuya Badamgarav, MCASA. Curator: Uranchimeg Tsultemin. Scientific Committee: David A Ross, Boldbaatar Chultemin. Venue: European Cultural Centre - Palazzo Mora
MONTENEGRO
,,Ti ricordi Sjecaš li se You Remember "
Aleksandar Duravcevic
Commissioner/Curator: Anastazija Miranovic. Deputy Commissioner: Danica Bogojevic. Venue: Palazzo Malipiero (piano terra), San Marco 3078-3079/A, Ramo Malipiero
MOZAMBIQUE, Republic of *
Theme: Coexistence of Tradition and Modernity in Contemporary Mozambique
Mozambique Artists
Commissioner: Joel Matias Libombo. Deputy Commissioner: Gilberto Paulino Cossa. Curator: Comissariado-Geral para a Expo Milano 2015. Venue: Pavilion at Arsenale
NETHERLANDS, The
herman de vries - to be all ways to be
herman de vries
Commissioner: Mondriaan Fund. Curators: Colin Huizing, Cees de Boer. Venue: Pavilion ar Giardini
NEW ZEALAND
Secret Power
Simon Denny
Commissioner: Heather Galbraith. Curator: Robert Leonard. Venue: Biblioteca Nazionale Marciana, Marco Polo Airport
NORDIC PAVILION (NORWAY)
Camille Norment
Commissioner: OCA, Office for Contemporary Art Norway. Curator: Katya García-Antón. Deputy Curator: Antonio Cataldo. Venue: Pavilion at Giardini
PERU
Misplaced Ruins
Gilda Mantilla and Raimond Chaves
Commissioner: Armando Andrade de Lucio. Curator: Max Hernández-Calvo. Venue: Pavilion at Arsenale – Sale d’Armi
PHILIPPINES
Tie a String Around the World
Manuel Conde, Carlos Francisco, Manny Montelibano, Jose Tence Ruiz
Commissioner: National Commission for Culture and the Arts (NCCA), Felipe M. de Leon Jr. Curator: Patrick D. Flores. Venue: European Cultural Centre - Palazzo Mora
POLAND
Halka/Haiti. 18°48’05”N 72°23’01”W
C.T. Jasper, Joanna Malinowska
Commissioner: Hanna Wróblewska. Deputy Commissioner: Joanna Wasko. Curator: Magdalena Moskalewicz. Venue: Pavilion at Giardini
PORTUGAL
I Will Be Your Mirror / poems and problems
João Louro
Commissioner/Curator: María de Corral. Venue: Palazzo Loredan, campo S. Stefano
ROMANIA
Adrian Ghenie: Darwin’s Room
Adrian Ghenie
Commissioner: Monica Morariu. Deputy Commissioner: Alexandru Damian. Curator: Mihai Pop. Venue: Pavilion at Giardini
Inventing the Truth. On Fiction and Reality
Michele Bressan, Carmen Dobre-Hametner, Alex Mirutziu, Lea Rasovszky, Stefan Sava, Larisa Sitar
Commissioner: Monica Morariu. Deputy Commissioner: Alexandru Damian. Curator: Diana Marincu. Deputy Curators: Ephemair Association (Suzana Dan and Silvia Rogozea). Venue: New Gallery of the Romanian Institute for Culture and Humanistic Research in Venice
RUSSIA
The Green Pavilion
Irina Nakhova
Commissioner: Stella Kesaeva. Curator: Margarita Tupitsyn. Venue: Pavilion at Giardini
SERBIA
United Dead Nations
Ivan Grubanov
Commissioner: Lidija Merenik. Deputy Commissioner: Ana Bogdanovic. Curator: Lidija Merenik. Deputy Curator: Ana Bogdanovic. Scientific Committee: Jovan Despotovic. Venue: Pavilion at Giardini
SAN MARINO
Repubblica di San Marino “ Friendship Project “ China
Xu De Qi, Liu Dawei, Liu Ruo Wang, Ma Yuan, Li Lei, Zhang Hong Mei, Eleonora Mazza, Giuliano Giulianelli, Giancarlo Frisoni, Tony Margiotta, Elisa Monaldi, Valentina Pazzini
Commissioner: Istituti Culturali della Repubblica di San Marino. Curator: Vincenzo Sanfo. Venue: TBC
SEYCHELLES, Republic of *
A Clockwork Sunset
George Camille, Léon Wilma Loïs Radegonde
Commissioner: Seychelles Art Projects Foundation. Curators: Sarah J. McDonald, Victor Schaub Wong. Venue: European Cultural Centre - Palazzo Mora
SINGAPORE
Sea State
Charles Lim Yi Yong
Commissioner: Paul Tan, National Arts Council, Singapore. Curator: Shabbir Hussain Mustafa. Scientific Committee: Eugene Tan, Kathy Lai, Ahmad Bin Mashadi, June Yap, Emi Eu, Susie Lingham, Charles Merewether, Randy Chan. Venue: Pavilion at Arsenale – Sale d’Armi
SLOVENIA, Republic of
UTTER / The violent necessity for the embodied presence of hope
JAŠA
Commissioner: Simona Vidmar. Deputy Commissioner: Jure Kirbiš. Curators: Michele Drascek and Aurora Fonda. Venue: Pavilion at Arsenale - Artiglierie
SPAIN
Los Sujetos (The Subjects)
Pepo Salazar, Cabello/Carceller, Francesc Ruiz, + Salvador Dalí
Commissioner: Ministerio Asuntos Exteriores. Gobierno de España. Curator: Marti Manen. Venue: Pavilion at Giardini
SYRIAN ARAB REPUBLIC
Origini della civiltà
Narine Ali, Ehsan Alar, Felipe Cardeña, Fouad Dahdouh, Aldo Damioli, Svitlana Grebenyuk, Mauro Reggio, Liu Shuishi, Nass ouh Zaghlouleh, Andrea Zucchi, Helidon Xhixha
Commissioner: Christian Maretti. Curator: Duccio Trombadori. Venue: Redentore – Giudecca, San Servolo Island
SWEDEN
Excavation of the Image: Imprint, Shadow, Spectre, Thought
Lina Selander
Commissioner: Ann-Sofi Noring. Curator: Lena Essling. Venue: Pavilion at Arsenale
SWITZERLAND
Our Product
Pamela Rosenkranz
Commissioner: Swiss Arts Council Pro Helvetia, Sandi Paucic and Marianne Burki. Deputy-Commissioner: Swiss Arts Council Pro Helvetia, Rachele Giudici Legittimo. Curator: Susanne Pfeffer. Venue: Pavilion at Giardini
THAILAND
Earth, Air, Fire & Water
Kamol Tassananchalee
Commissioner: Chai Nakhonchai, Office of Contemporary Art and Culture (OCAC), Ministry of Culture. Curator: Richard David Garst. Deputy Curator: Pongdej Chaiyakut. Venue: Paradiso Gallerie, Giardini della Biennale, Castello 1260
TURKEY
Respiro
Sarkis
Commissioner: Istanbul Foundation for Culture and Arts. Curator: Defne Ayas. Deputy Curator: Ozge Ersoy. Venue: Pavilion at Arsenale – Sale d’Armi
TUVALU
Crossing the Tide
Vincent J.F. Huang
Commissioner: Taukelina Finikaso. Deputy Commissioner: Temate Melitiana. Curator: Thomas J. Berghuis. Scientific Committee: Andrea Bonifacio. Venue: Pavilion at Arsenale
UKRAINE
Hope!
Yevgenia Belorusets, Nikita Kadan, Zhanna Kadyrova, Mykola Ridnyi & SerhiyZhadan, Anna Zvyagintseva, Open Group, Artem Volokitin
Commissioner: Ministry of Culture. Curator: Björn Geldhof. Venue: Riva dei Sette Martiri
UNITED ARAB EMIRATES
1980 – Today: Exhibitions in the United Arab Emirates
Abdullah Al Saadi, Abdul Qader Al Rais, Abdulraheem Salim, Abdulrahman Zainal, Ahmed Al Ansari, Ahmed Sharif, Hassan Sharif, Mohamed Yousif, Mohammed Abdullah Bulhiah, Mohammed Al Qassab, Mohammed Kazem, Moosa Al Halyan, Najat Meky, Obaid Suroor, Salem Jawhar
Commissioner: Salama bint Hamdan Al Nahyan Foundation. Curator: Hoor Al Qasimi. Venue: Pavilion at Arsenale – Sale d'Armi
UNITED STATES OF AMERICA
Joan Jonas: They Come to Us Without a Word
Joan Jonas
Commissioner: Paul C. Ha. Deputy Commissioner: MIT List Visual Arts Center. Curators: Ute Meta Bauer, Paul C. Ha. Venue: Pavilion at Giardini
URUGUAY
Global Myopia II (Pencil & Paper)
Marco Maggi
Commissioner: Ricardo Pascale. Curator: Patricia Bentancour. Venue: Pavilion at Giardini
VENEZUELA, Bolivarian Republic of
Te doy mi palabra (I give you my word)
Argelia Bravo, Félix Molina (Flix)
Commissioner: Oscar Sotillo Meneses. Deputy Commissioner: Reinaldo Landaeta Díaz. Curator: Oscar Sotillo Meneses. Deputy Curator: Morella Jurado. Scientific Committee: Carlos Pou Ruan. Venue: Pavilion at Giardini
ZIMBABWE, Republic of
Pixels of Ubuntu/Unhu: - Exploring the social and cultural identities of the 21st century.
Chikonzero Chazunguza, Masimba Hwati, Gareth Nyandoro
Commissioner: Doreen Sibanda. Curator: Raphael Chikukwa. Deputy Curator: Tafadzwa Gwetai. Scientific Committee: Saki Mafundikwa, Biggie Samwanda, Fabian Kangai, Reverend Paul Damasane, Nontsikelelo Mutiti, Stephen Garan'anga, Dominic Benhura. Venue: Santa Maria della Pieta
ITALO-LATIN AMERICAN INSTITUTE
Voces Indígenas
Commissioner: Sylvia Irrazábal. Curator: Alfons Hug. Deputy Curator: Alberto Saraiva. Venue: Pavilion at Arsenale
ARGENTINA
Sofia Medici and Laura Kalauz
PLURINATIONAL STATE OF BOLIVIA
Sonia Falcone and José Laura Yapita
BRAZIL
Adriana Barreto
Paulo Nazareth
CHILE
Rainer Krause
COLOMBIA
León David Cobo,
María Cristina Rincón and Claudia Rodríguez
COSTA RICA
Priscilla Monge
ECUADOR
Fabiano Kueva
EL SALVADOR
Mauricio Kabistan
GUATEMALA
Sandra Monterroso
HAITI
Barbara Prézeau Stephenson
HONDURAS
Leonardo González
PANAMA
Humberto Vélez
NICARAGUA
Raúl Quintanilla
PARAGUAY
Erika Meza
Javier López
PERU
José Huamán Turpo
URUGUAY
Gustavo Tabares
Ellen Slegers
001 Inverso Mundus. AES+F
Magazzino del Sale n. 5, Dorsoduro, 265 (Fondamenta delle Zattere ai Saloni); Palazzo Nani Mocenigo, Dorsoduro, 960
May 9th – October 31st
Organization: VITRARIA Glass + A Museum
Catalonia in Venice: Singularity
Cantieri Navali, Castello, 40 (Calle Quintavalle)
May 9th - November 22nd
Organization: Institut Ramon Llull
Conversion. Recycle Group
Chiesa di Sant’Antonin, Castello (Campo Sant’Antonin)
May 6th - October 31st
Organization: Moscow Museum of Modern Art
Dansaekhwa
Palazzo Contarini-Polignac, Dorsoduro, 874 (Accademia)
May 7th – August 15th
Organization: The Boghossian Foundation
Dispossession
Palazzo Donà Brusa, Campo San Polo, 2177
May 9th - November 22nd
Organization: European Capital of Culture Wroclaw 2016
EM15 presents Doug Fishbone’s Leisure Land Golf
Arsenale Docks, Castello, 40A, 40B, 41C
May 6th - July 26th
Organization: EM15
Eredità e Sperimentazione
Grand Hotel Hungaria & Ausonia, Viale Santa Maria Elisabetta, 28, Lido di Venezia
May 9th - November 22nd
Organization: Istituto Nazionale di BioArchitettura - Sezione di Padova
Frontiers Reimagined
Palazzo Grimani, Castello, 4858 (Ramo Grimani)
May 9th - November 22nd
Organization: Tagore Foundation International; Polo museale del Veneto
Glasstress 2015 Gotika
Istituto Veneto di Scienze Lettere ed Arti, Palazzo Cavalli Franchetti, San Marco, 2847 (Campo Santo Stefano); Chiesa di Santa Maria della Visitazione, Centro Culturale Don Orione Artigianelli, Dorsoduro, 919 (Zattere); Fondazione Berengo, Campiello della Pescheria, 15, Murano;
May 9th — November 22nd
Organization: The State Hermitage Museum
Graham Fagen: Scotland + Venice 2015
Palazzo Fontana, Cannaregio, 3829 (Strada Nova)
May 9th - November 22nd
Organization: Scotland + Venice
Grisha Bruskin. An Archaeologist’s Collection
Former Chiesa di Santa Caterina, Cannaregio, 4941-4942
May 6th – November 22nd
Organization: Centro Studi sulle Arti della Russia (CSAR), Università Ca’ Foscari Venezia
Helen Sear, ... The Rest Is Smoke
Santa Maria Ausiliatrice, Castello, 450 (Fondamenta San Gioacchin)
May 9th - November 22nd
Organization: Cymru yn Fenis/Wales in Venice
Highway to Hell
Palazzo Michiel, Cannaregio, 4391/A (Strada Nova)
May 9th - November 22nd
Organization: Hubei Museum of Art
Humanistic Nature and Society (Shan-Shui) – An Insight into the Future
Palazzo Faccanon, San Marco, 5016 (Mercerie)
May 7th – August 4th
Organization: Shanghai Himalayas Museum
In the Eye of the Thunderstorm: Effervescent Practices from the Arab World & South Asia
Dorsoduro, 417 (Zattere)
May 6th - November 15th
Organization: ArsCulture
Italia Docet | Laboratorium- Artists, Participants, Testimonials and Activated Spectators
Palazzo Barbarigo Minotto, San Marco, 2504 (Fondamenta Duodo o Barbarigo)
May 9th – June 30th; September 11st – October 31st
Organization: Italian Art Motherboard Foundation (i-AM Foundation)
www.venicebiennale-italiadocet.org
Jaume Plensa: Together
Basilica di San Giorgio Maggiore, Isola di San Giorgio Maggiore
May 6th – November 22nd
Organization: Abbazia di San Giorgio Maggiore Benedicti Claustra Onlus
Jenny Holzer "War Paintings"
Museo Correr, San Marco, 52 (Piazza San Marco)
May 6th – November 22nd
Organization: The Written Art Foundation; Museo Correr, Fondazione Musei Civici di Venezia
correr.visitmuve.it
Jump into the Unknown
Palazzo Loredan dell’Ambasciatore, Dorsoduro, 1261-1262
May 9th – June 18th
Organization: Nine Dragon Heads
9dh-venice.com
Learn from Masters
Palazzo Bembo, San Marco, 4793 (Riva del Carbon)
May 9th – November 22nd
Organization: Pan Tianshou Foundation
pantianshou.caa.edu.cn/foundation_en
My East is Your West
Palazzo Benzon, San Marco, 3927
May 6th – October 31st
Organization: The Gujral Foundation
Ornamentalism. The Purvitis Prize
Arsenale Nord, Tesa 99
May 9th – November 22nd
Organization: The Secretariat of the Latvian Presidency of the Council of the European Union in 2015
www.purvisabalva.lv/en/ornamentalism
Path and Adventure
Arsenale, Castello, 2126/A (Campo della Tana)
May 9th – November 22nd
Organization: The Civic and Municipal Affairs Bureau; The Macao Museum of Art; The Cultural Affairs Bureau
Patricia Cronin: Shrine for Girls, Venice
Chiesa di San Gallo, San Marco, 1103 (Campo San Gallo)
May 9th – November 22nd
Organization: Brooklyn Rail Curatorial Projects
curatorialprojects.brooklynrail.org
Roberto Sebastian Matta. Sculture
Giardino di Palazzo Soranzo Cappello, Soprintendenza BAP per le Province di Venezia, Belluno, Padova e Treviso, Santa Croce, 770 (Fondamenta Rio Marin)
May 9th – November 22nd
Organization: Fondazione Echaurren Salaris
www.fondazioneechaurrensalaris.it
www.maggioregam.com/56Biennale_Matta
Salon Suisse: S.O.S. Dada - The World Is A Mess
Palazzo Trevisan degli Ulivi, Dorsoduro, 810 (Campo Sant'Agnese)
May 9th; June 4th - 6th; September 10th - 12th; October 15th - 17th; November 19th – 21st
Organization: Swiss Arts Council Pro Helvetia
Sean Scully: Land Sea
Palazzo Falier, San Marco, 2906
May 9th – November 22nd
Organization: Fondazione Volume!
Sepphoris. Alessandro Valeri
Molino Stucky, interior atrium, Giudecca, 812
May 9th – November 22nd
Organization: Assessorato alla Cultura del Comune di Narni(TR); a Sidereal Space of Art; Satellite Berlin
Tesla Revisited
Palazzo Nani Mocenigo, Dorsoduro, 960
May 9th – October 18th
Organization: VITRARIA Glass + A Museum
The Bridges of Graffiti
Arterminal c/o Terminal San Basilio, Dorsoduro (Fondamenta Zattere al Ponte Lungo)
May 9th - November 22nd
Organization: Associazione Culturale Inossidabile
The Dialogue of Fire. Ceramic and Glass Masters from Barcelona to Venice
Palazzo Tiepolo Passi, San Polo, 2774
May 6th - November 22nd
Organization: Fundaciò Artigas; ArsCulture
The Question of Beings
Istituto Santa Maria della Pietà, Castello, 3701
May 9th - November 22nd
Organization: Museum of Contemporary Art, Taipei (MoCA, Taipei)
The Revenge of the Common Place
Università Ca' Foscari, Ca' Bernardo, Dorsoduro, 3199 (Calle Bernardo)
May 9th – September 30th
Organization: Vrije Universiteit Brussel (Free University Brussels-VUB)
The Silver Lining. Contemporary Art from Liechtenstein and other Microstates
Palazzo Trevisan degli Ulivi, Dorsoduro, 810 (Campo Sant'Agnese)
October 24th – November 1st
Organization: Kunstmuseum Liechtenstein
The Sound of Creation. Paintings + Music by Beezy Bailey and Brian Eno
Conservatorio Benedetto Marcello, Palazzo Pisani, San Marco, 2810 (Campo Santo Stefano)
May 7th - November 22nd
Organization: ArsCulture
The Union of Fire and Water
Palazzo Barbaro, San Marco, 2840
May 9th - November 22nd
Organization: YARAT Contemporary Art Organisation
Thirty Light Years - Theatre of Chinese Art
Palazzo Rossini, San Marco, 4013 (Campo Manin)
May 9th - November 22nd
Organization: GAC Global Art Center Foundation; The Guangdong Museum of Art
Tsang Kin-Wah: The Infinite Nothing, Hong Kong in Venice
Arsenale, Castello, 2126 (Campo della Tana)
May 9th - November 22nd
Organization: M+, West Kowloon Cultural District; Hong Kong Arts Development Council
Under the Surface, Newfoundland and Labrador at Venice
Galleria Ca' Rezzonico, Dorsoduro, 2793
May 9th - November 22nd
Organization: Terra Nova Art Foundation
Ursula von Rydingsvard
Giardino della Marinaressa, Castello (Riva dei Sette Martiri)
May 6th - November 22nd
Organization:Yorkshire Sculpture Park
We Must Risk Delight: Twenty Artists from Los Angeles
Magazzino del Sale n. 3, Dorsoduro, 264 (Zattere)
May 7th - November 22nd
Organization: bardoLA
Wu Tien-Chang: Never Say Goodbye
Palazzo delle Prigioni, Castello, 4209 (San Marco)
May 9th - November 22nd
Organization: Taipei Fine Arts Museum of Taiwan
Xanadu
Istituto Santa Maria della Pietà, Castello, 3701
May 9th - November 22nd
Organization: Dream Amsterdam Foundation
Universities and Associations that have joined the project
Sotheby’s Institute of Art, London / St Lucas University College of Art & Design, Antwerp / University of Washington - College of Arts & Sciences, Seattle / Iowa State University - College of Design, Ames / Universität für angewandte Kunst, Vienna
Venice International University / Università Ca’ Foscari, Venezia / Università Ca’ Foscari, Venezia - Dipartimento di Filosofia e Beni Culturali / Università IUAV di Venezia / Università Commerciale Luigi Bocconi, Milano - Dipartimento di Marketing / Accademia di Belle Arti di Brera, Milano - Ufficio Relazioni Internazionali. Erasmus Office / Politecnico di Milano - Scuola del Design. Laurea in Design degli Interni / Università di Roma Sapienza - Facoltà di Architettura / Associazione Cinemavvenire, Roma / Università per Stranieri di Perugia / Università per Stranieri di Siena
Central Pavilion at the Giardini (3,000 sq.m.) to the Arsenale
Bice Curiger Massimiliano Gioni
A Parliament for a Biennale
Paolo Baratta, President of la Biennale di Venezia
Okwui Enwezor the ARENA Karl Marx’s Das Kapital
Theaster Gates Chris Rehberger Joseph Haydn Cesare Paveset David Adjaye Olaf Nicolai Joana Hadjithomas and Khalil Joreige Marsilio Editori. emergency cinema.” Abounaddara
Mathieu KleyebeCharles Gaines’Jeremy Deller Jason Moran , venedig biennale biennial
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
via New Hotel Travel ift.tt/20uS9bB Helsinki: A Visually Stunning and Culturally Stimulating Destination
Dimensions : 24x24cm (9.5x9.5")
Fabrik, silk fibers, buttons, silk carrier rods, gauze, sewing machine and embellishments
I've reviewed a few of the micro 4/3 system, Panasonic lens offerings, and put together this collection of articles HERE on the blog to celebrate the Valentines sales going on.
strobism: 1ab800 through diffused beauty dish with dragged shutter to bring in a bit of ambient color.
FOV: 5" wide.
Frozen melted salt containing home made phosphors; Jackolite2 on Sunnybluelite.
Shown under UVa light.
Key:
WL = White light (halogen + LED)
FL = Fluoresces
PHOS = Phosphorescent
BL = 450nm,
UVa = 368nm (LW), UVb = 311nm (MW), UVc = 254nm (SW)
'>' = "stimulated by:", '!' = "bright", '~' = "dim"
"Masque"
27Sep2015
Series best viewed in Light Box mode using Right and Left arrows to navigate.
Photostream best viewed in Slideshow or Lightbox mode (in the dark).
18 Watt Triple Output UV lamp from Polman Minerals - Way Too Cool UV lamps
FOV: 4" wide.
CaAl655 phosphor melted into salt.
Shown under UVc light.
Key:
WL = White light (halogen + LED)
FL = Fluoresces
PHOS = Phosphorescent
Blue = 450nm,
UVa = 368nm (LW), UVb = 311nm (MW), UVc = 254nm (SW)
'>' = "stimulated by:", '!' = "bright", '~' = "dim"
CaAl655 in Salt
4Oct2015
Series best viewed in Light Box mode using Right and Left arrows to navigate.
Photostream best viewed in Slideshow or Lightbox mode (in the dark).
18 Watt Triple Output UV lamp from Polman Minerals - Way Too Cool UV lamps
The Holy Trinity Church of England at Woolloongabba was constructed in 1930 to the design of Brisbane architect Eric Ford of the partnership, Chambers and Ford. The building was the third church on the site and replaced a timber church constructed in 1875.
Woolloongabba grew from a small settlement in the early 1860s to a major centre in the late nineteenth century. In the early 1860s Woolloongabba was known as One-Mile Swamp and was developing following diversion of the Toowoomba mail from South Brisbane to Kangaroo Point, the formation of the New Ipswich Road and the opening of Brisbane's first cross river bridge at South Brisbane in June 1865. These developments stimulated land investment at One-mile Swamp, and in 1864 the Clarence Town Estate was offered for sale. This parcel of land was sold to publican Thomas Hayselden in 1863, and the first Clarence Hotel, at the corner of Stanley Street and Boggo Road, was opened by him in January 1864. When Hayselden's Clarence Estate and neighbouring One-mile Swamp or Woolloongabba allotments were being advertised for auction or sale in 1864 - 1865, the potential of the area for both small business and residential purposes was emphasised. Suddenly, in the mid-1860s, an area which previously had been defined by little other than hotels acquired a string of small businesses fronting the new Ipswich Road beyond Boggo Road.
The population of Woolloongabba, which had grown steadily between the 1860s and 1880s, increased rapidly following the expansion of the railway line to Woolloongabba in 1884, and the extension of the electric tramway to Woolloongabba/East Brisbane in 1897. During the 1880s and 1890s Woolloongabba developed as Brisbane's fourth major shopping centre, the others being central Brisbane, Fortitude Valley and Stanley Street at South Brisbane. By the turn of the century, most of the allotments facing Stanley Street, Logan Road and Ipswich Road at the Fiveways were fully developed commercial sites.
As the population grew, a Church of England congregation was formed and a church was constructed on land in Hawthorne Street, Woolloongabba. This land was acquired in March 1864 by Robert Creyke from Mary Ann Peterson who was granted the original Deed in 1861. Robert Creyke was the son of a Church of England Minister and following Robert's death in 1869, Reverend Creyke donated the land to the Diocese for the newly formed Holy Trinity congregation for construction of a church. The congregation was formed in 1869 and meetings and services were held in local buildings. In 1870 a simple church was designed by prolific architect, Richard Gailey and this remained the parish church for about four years before being destroyed in a wind storm in October 1874. Another church was dedicated for service on the 23rd of May 1875 and photographs of this second building indicate that it was a rudimentary timber framed and clad structure with a rectangular plan and a steeply pitched gabled roof clad with shingles.
At the construction of their first church the Holy Trinity congregation were part of the South Brisbane parish, and after 1886 when Reverend HT Molesworth was appointed Curate-in-charge of the church a movement started toward the formation of a separate Holy Trinity parish. The parish was constituted by the Diocesan Council on the 19th of January 1888 and Reverend D Ruddock was appointed as the first Rector. In the following year, Brisbane architect, John Henry Burley designed a substantial church hall for the Parish which remained in use until 1998 when it was demolished. By 1890 a rectory also was constructed on the site to the design of diocesan architect, John Hingestone Buckeridge. This was in use until destroyed by fire in 1956.
In 1915 the rector of Holy Trinity Parish, CH Edwards, temporarily left the parish to serve in World War I and after a brief return in 1916 did not return to the parish until 1920, where he remained until 1925. It is thought that he instigated a movement to construct another church because the timber church, despite the premier hilltop site, remained relatively inconspicuous, particularly compared with those Roman Catholic churches being constructed on elevated Brisbane sites by Archbishop Duhig. In about 1916 a subscription scheme was devised to allow parishioners to donate a sum of money over a lengthy period which finally contributed to the construction of a substantial church in 1930. The 1920s was a period of expansion for the Church of England in Queensland and during this time many older churches were rebuilt and new churches constructed. Typically these new buildings were unpretentious, retaining influence from the nineteenth century Gothic revival but with more awareness of the Queensland sub tropical climate. In the late 1920s experimentation with derivatives of a hybrid of Romanesque and Spanish Mission architecture are apparent in both the Holy Trinity Church at Woolloongabba and at another Holy Trinity Church in Mackay designed by Lange Powell. Earlier in 1924, a Roman Catholic Church at Bowen Hills was constructed using Spanish Mission influences but few other churches display the hybrid style developed by the architect Eric Ford at Woolloongabba.
The architectural firm, Chambers and Ford who designed the Woolloongabba Church of England, was a partnership of Claude William Chambers and Eric Marshall Ford. Chambers and Ford remained in practise in Brisbane from 1920 until 1951, although Chambers was largely not involved and moved permanently to Sydney in about 1935. Chambers was a highly experienced and notable architect, who worked for a number of prominent Brisbane firms during the nineteenth century and formed several partnerships in the twentieth century, including Chambers and Powell (where EM Ford was office manager); Chambers and Ford and Chambers and Hutton. The partnership of Chambers and Ford designed several Brisbane churches notably Saint Margaret's Church of England, Sandgate (1927) and Saint James' Church, Kelvin Grove (1943).
Plans, prepared by Ford, for the erection of a new church at Woolloongabba were ready by the end of the 1920s and it is thought that the design was chosen from a limited competition. The parish was saved the expense of the demolition of the earlier church which was blazed to the ground in a fire on the 11th of December 1929.
The foundation stone was laid on the 3rd of March 1930 by Archbishop Gerald Sharp. A description rendered by the Buildings and Real Estate writer of the Brisbane Courier, talked of the building designed in the Italian Romanesque style of the eleventh century, "slightly modified to suit local conditions". The plan comprised a prominent tower, vestry, entrance porch and nave with side aisles and octagonal chancel. A basement was to provide access for a further two vestries. Finishes throughout the church included face brick internal walls with black tuckpointing, timber panelled ceilings and external roughcast render. A red tiled roof was to provide a contrast with the whitewashed external walls.
Tenders were called by Chambers and Ford for the Holy Trinity Church in the February edition of the Architects and Builder's Journal of Queensland and in the May edition of the journal the tender of JH Davis was accepted. The final cost of the church was about £9800.
The Holy Trinity Church was dedicated on the 4th of October 1930 by the Coadjutor Bishop of Brisbane, the Right Reverend Francis de Witt Batty. Most of the descriptions of the building on the day of its dedication focussed on its extraordinary site which crowned the highest part of Hawthorne Street and commanded a view of the entire parish. The completed building housed an organ by Messrs Whitehouse costing £560, electric lighting installed by Mr Dudley Winterford, plasterwork by James Bain & Son, glazing by Decorative Art Company and leadlights by Exton & Company. The garden and landscaping was set out by Mr H Stokes. Many of the internal fittings were donated by parishioners and much of the fitted and loose furniture, including the altar furniture and pews was designed by the architect, Eric Ford.
The church has remained as it was constructed with very few apparent alterations. The organ pipes have been painted, carpet runners and squares have been laid, commemorative stained glass windows have been added to the side aisles and work appears to have been undertaken on the reredos screen which is now concealed by a heavy curtain. The exterior of the church has been painted but retains a whitewashed appearance.
Alterations to the site include the 1938 renovation of an sub-basement area in the church for a Columbarium, or a place to hold funerary vases and the erection of a freestanding bell tower in 1949 to commemorate those soldiers who were killed during WWII. Landscaping around the building has been continually upgraded and many established trees remain on the site. In 1956 after the original rectory was destroyed the church acquired an adjoining property with an early house from the Sawyer family. This building became the rectory. In 1971 a freestanding crucifix was erected on the southern side of the church commemorating Eric Johnstone. The most substantial changes to the church complex occurred in late 1997 to early 1998 when the church hall and rectory were demolished.
Source: Queensland Heritage Register.
During the spring the frog's pituitary gland is stimulated by changes in external factors, such as rainfall, day length and temperature, to produce hormones which, in turn, stimulate the production of sex cells - eggs in the females and sperm in the male. The male's nuptial pad also swells and becomes more heavily pigmented. Common frogs breed in shallow, still, fresh water such as ponds, with spawning commencing sometime between March and late June, but generally in April over the main part of their range. The adults congregate in the ponds, where the males compete for females. The courtship ritual involves noisy vocalisations, known as "croaking", by large numbers of males. The females are attracted to the males that produce the loudest and longest calls and enter the water where the males mill around and try to grasp them with their front legs — although they may grasp anything of a similar size, such as a piece of wood. The successful male climbs on the back of the female and grasps her under the forelegs with his nuptial pads, in a position known as amplexus, and kicks away any other males that try to grasp her. He then stays attached in this position until she lays her eggs, which he fertilises by spraying sperm over them as they are released from the female's cloaca. The courtship rituals are performed throughout the day and night but spawning typically takes place at night. The females lay between 1,000 and 2,000 eggs which float in large clusters near the surface of the water. After mating the pairs separate, the females will leave the water and the males will try to find another mate. Within three or four days all the females will have laid their eggs and left the water and the males disperse.
Model:
Apparel:
Canon EOS 5D MK III
Sigma 35mm f/1.4 ART
TV 1/2500
AV 1.4
ISO 100
Post - Production with Photoshop
Went to the rather wonderful Olafur Eliasson Tate Modern today. Very crowded but stimulating. Very child friendly.
I like watching them prepare themselves for the ride mentally, (behind the scenes) while they mimic the whole thing physically. Someone walking in off the street would think there's something definitely missing from this picture, most would insert a naked woman into this image but in fact it's all about the bull or bronc. Too bad the average guy doesn't mentally prepare themselves for their bedroom ride, if they thought it all through beforehand I'm sure they could give a better performance.
Picture of different bodies (vehicles) whether or not we’re aware of them on different planes of existence. The light body being a vehicle of energy being able to explore things our human mind can’t even truly begin to perceive.Increasingly science agrees with the poetry of direct human experience: we are more than the atoms and molecules that make up our bodies, but beings of light as well. Biophotons are emitted by the human body, can be released through mental intention, and may modulate fundamental processes within cell-to-cell communication and DNA.
Nothing is more amazing than the highly improbable fact that we exist. We often ignore this fact, oblivious to the reality that instead of something there could be nothing at all, i.e. why is there a universe (poignantly aware of itself through us) and not some void completely unconscious of itself?
Consider that from light, air, water, basic minerals within the crust of the earth, and the at least 3 billion year old information contained within the nucleus of one diploid zygote cell, the human body is formed, and within that body a soul capable of at least trying to comprehend its bodily and spiritual origins.
Given the sheer insanity of our existential condition, and bodily incarnation as a whole, and considering that our earthly existence is partially formed from sunlight and requires the continual consumption of condensed sunlight in the form of food, it may not sound so farfetched that our body emits light.
Indeed, the human body emits biophotons, also known as ultraweak photon emissions (UPE), with a visibility 1,000 times lower than the sensitivity of our naked eye. While not visible to us, these particles of light (or waves, depending on how you are measuring them) are part of the visible electromagnetic spectrum (380-780 nm) and are detectable via sophisticated modern instrumentation.
The Physical and "Mental" Eye Emits Light
The eye itself, which is continually exposed to ambient powerful photons that pass through various ocular tissues, emit spontaneous and visible light-induced ultraweak photon emissions. It has even been hypothesized that visible light induces delayed bioluminescence within the exposed eye tissue, providing an explanation for the origin of the negative afterimage.
These light emissions have also been correlated with cerebral energy metabolism and oxidative stress within the mammalian brain. And yet, biophoton emissions are not necessarily epiphenomenal. Bókkon's hypothesis suggests that photons released from chemical processes within the brain produce biophysical pictures during visual imagery, and a recent study found that when subjects actively imagined light in a very dark environment their intention produced significant increases in ultraweak photo emissions. This is consistent with an emerging view that biophotons are not solely cellular metabolic by-products, but rather, because biophoton intensity can be considerably higher inside cells than outside, it is possible for the mind to access this energy gradient to create intrinsic biophysical pictures during visual perception and imagery.
The Human Eye Emits Light
Our Cells and DNA Use Biophotons To Store and Communicate Information
Apparently biophotons are used by the cells of many living organisms to communicate, which facilitates energy/information transfer that is several orders of magnitude faster than chemical diffusion. According to a 2010 study, "Cell to cell communication by biophotons have been demonstrated in plants, bacteria, animal neutriophil granulocytes and kidney cells." Researchers were able to demonstrate that "...different spectral light stimulation (infrared, red, yellow, blue, green and white) at one end of the spinal sensory or motor nerve roots resulted in a significant increase in the biophotonic activity at the other end." Researchers interpreted their finding to suggest that "...light stimulation can generate biophotons that conduct along the neural fibers, probably as neural communication signals."
Even when we go down to the molecular level of our genome, DNA can be identified to be a source of biophoton emissions as well. One author proposes that DNA is so biophoton dependent that is has excimer laser-like properties, enabling it to exist in a stable state far from thermal equilibrium at threshold.
Technically speaking a biophoton is an elementary particle or quantum of light of non-thermal origin in the visible and ultraviolet spectrum emitted from a biological system. They are generally believed to be produced as a result of energy metabolism within our cells, or more formally as a "...by-product of biochemical reactions in which excited molecules are produced from bioenergetic processes that involves active oxygen species,"
The Body's Circadian Biophoton Output
Because the metabolism of the body changes in a circadian fashion, biophoton emissions also variate along the axis of diurnal time. Research has mapped out distinct anatomical locations within the body where biophoton emissions are stronger and weaker, depending on the time of the day:
Generally, the fluctuation in photon counts over the body was lower in the morning than in the afternoon. The thorax-abdomen region emitted lowest and most constantly. The upper extremities and the head region emitted most and increasingly over the day. Spectral analysis of low, intermediate and high emission from the superior frontal part of the right leg, the forehead and the palms in the sensitivity range of the photomultiplier showed the major spontaneous emission at 470-570 nm. The central palm area of hand emission showed a larger contribution of the 420-470 nm range in the spectrum of spontaneous emission from the hand in autumn/winter. The spectrum of delayed luminescence from the hand showed major emission in the same range as spontaneous emission.
The researchers concluded that "The spectral data suggest that measurements might well provide quantitative data on the individual pattern of peroxidative and anti-oxidative processes in vivo."
Meditation and Herbs Affect Biophoton Output
Research has found an oxidative stress-mediated difference in biophoton emission among mediators versus non-meditators. Those who meditate regularly tend to have lower ultra-weak photon emission (UPE, biophoton emission), which is believed to result from the lower level of free radical reactions occurring in their bodies. In one clinical study involving practitioners of transcendental meditation (TM) researchers found:
The lowest UPE intensities were observed in two subjects who regularly meditate. Spectral analysis of human UPE has suggested that ultra-weak emission is probably, at least in part, a reflection of free radical reactions in a living system. It has been documented that various physiologic and biochemical shifts follow the long-term practice of meditation and it is inferred that meditation may impact free radical activity.
Interestingly, an herb well-known for its use in stress reduction (including inducing measurable declines in cortisol), and associated heightened oxidative stress, has been tested clinically in reducing the level of biophotons emitted in human subjects. Known as rhodiola, a study published in 2009 in the journal Phytotherapeutic Research found that those who took the herb for 1 week has a significant decrease in photon emission in comparison with the placebo group.
Human Skin May Capture Energy and Information from Sunlight
Perhaps most extraordinary of all is the possibility that our bodily surface contains cells capable of efficiently trapping the energy and information from ultraviolet radiation. A study published in the Journal of Photochemistry and Photobiology in 1993, titled, "Artificial sunlight irradiation induces ultraweak photon emission in human skin fibroblasts," discovered that when light from an artificial sunlight source was applied to fibroblasts from either normal subjects or with the condition xeroderma pigmentosum, characterized by deficient DNA repair mechanisms, it induced far higher emissions of ultraweak photons (10-20 times) in the xeroderma pigmentosum group. The researchers concluded from this experiment that "These data suggest that xeroderma pigmentosum cells tend to lose the capacity of efficient storage of ultraweak photons, indicating the existence of an efficient intracellular photon trapping system within human cells."More recent research has also identified measurable differences in biophoton emission between normal and melanoma cells.
Human Skin and Light
In a previous article, Does Skin Pigment Act Like A Natural Solar-Panel, we explored the role of melanin in converting ultraviolet light into metabolic energy:
Melanin is capable of transforming ultraviolet light energy into heat in a process known as "ultrafast internal conversion"; more than 99.9% of the absorbed UV radiation is transformed from potentially genotoxic (DNA-damaging) ultraviolet light into harmless heat.
If melanin can convert light into heat, could it not also transform UV radiation into other biologically/metabolically useful forms of energy? This may not seem so farfetched when one considers that even gamma radiation, which is highly toxic to most forms of life, is a source of sustenance for certain types of fungi and bacteria. More on melanin-mediated energy production here.
Gerald Pollack, PhD, who wrote The 4th Phase of Water has identified water molecules, which constitute 99% of the molecules in our body by number, as capable of storing the energy of sunlight like batteries and driving the majority of processes within our body as a primary, non-ATP-based source of energy. Dr. Pollack wrote a guest article for us on the topic here, Can Humans Harvest The Sun's Energy Directly Like Plants?
The Body's Biophoton Outputs Are Governed by Solar and Lunar Forces
It appears that modern science is only now coming to recognize the ability of the human body to receive and emit energy and information directly from the light given off from the Sun.
There is also a growing realization that the Sun and Moon affect biophoton emissions through gravitational influences. Recently, biophoton emissions from wheat seedlings in Germany and Brazil were found to be synchronized transcontinentally according to rhythms associated with the lunisolar tide.[18] In fact, the lunisolar tidal force, to which the Sun contributes 30 % and the Moon 60 % of the combined gravitational acceleration, has been found to regulate a number of features of plant growth upon Earth.[19]
Intention Is a Living Force of Physiology
Even human intention itself, the so-called ghost in the machine, may have an empirical basis in biophotons.
A recent commentary published in the journal Investigacion clinica titled "Evidence about the power of intention" addressed this connection:
Intention is defined as a directed thought to perform a determined action. Thoughts targeted to an end can affect inanimate objects and practically all living things from unicellular organisms to human beings. The emission of light particles (biophotons) seems to be the mechanism through which an intention produces its effects. All living organisms emit a constant current of photons as a mean to direct instantaneous nonlocal signals from one part of the body to another and to the outside world. Biophotons are stored in the intracellular DNA. When the organism is sick changes in biophotons emissions are produced. Direct intention manifests itself as an electric and magnetic energy producing an ordered flux of photons. Our intentions seem to operate as highly coherent frequencies capable of changing the molecular structure of matter. For the intention to be effective it is necessary to choose the appropriate time. In fact, living beings are mutually synchronized and to the earth and its constant changes of magnetic energy. It has been shown that the energy of thought can also alter the environment. Hypnosis, stigmata phenomena and the placebo effect can also be considered as types of intention, as instructions to the brain during a particular state of consciousness. Cases of spontaneous cures or of remote healing of extremely ill patients represent instances of an exceedingly great intention to control diseases menacing our lives. The intention to heal as well as the beliefs of the sick person on the efficacy of the healing influences promote his healing. In conclusion, studies on thought and consciousness are emerging as fundamental aspects and not as mere epiphenomena that are rapidly leading to a profound change in the paradigms of Biology and Medicine.
So there you have it. Science increasingly agrees with direct human experience: we are more than the atoms and molecules of which we are composed, but beings that emit, communicate with, and are formed from light.
www.greenmedinfo.com/blog/biophotons-human-body-emits-com...
The National Arts Club, 15 Gramercy Park South, NYC
by navema
The mission of the National Arts Club is to stimulate, foster and promote public interest in the arts and educate the American people in the fine arts. The club offers a variety of shows, educational programs, and awards in areas including theater, visual arts, film, literature and music. It is noted for allowing members access to a Gramercy Park key.
The National Arts Club was founded in 1898 by Charles de Kay. Charles de Kay was the literary and art critic for The New York Times for 18 years. He and a group of distinguished artists and patrons conceived of a gathering place for artists, patrons and audiences in all the arts. American art at the turn of the century had begun to look inward for inspiration, rather than to Europe, and the American art world was alive with energy. As The National Arts Club moved into its first home in a townhouse on 34th Street, American art had found a new home.
The National Arts Club is located in the historic Tilden Mansion. 15 Gramercy Park was built in the 1840's and its original flat-front, iron-grilled appearance matched the style of the houses still maintained on the west side of Gramercy Park, a landmark Gothic Revival brownstone, immediately next door and West of the Players Club, with similar interests. Samuel Tilden acquired 15 Gramercy Park in the 1860's, and in the 1870's gave the house a massive overhaul. Tilden hired Calvert Vaux, a famed architect and one of the designers of Central Park to "victorianize" the facade with sandstone, bay windows and Gothic Ornamentation. John LaFarge created stained glass ceilings for the inside of the mansion, and Italian wood carvers made the fireplaces. Glass master Donald MacDonald wrought a unique stained glass dome for the building. All of this prompted architect Philip Johnson to call the mansion, "among the most beautiful in New York." Spencer Trask and the Board of Governors acquired the Tilden Mansion in 1906 as the new home for the National Arts Club.
The Tilden Mansion is both a designated New York Landmark and a National Historic Landmark. In the 1960's, New York declared 15 Gramercy Park South a New York Landmark, and in 1976, the Federal government declared it a National Historic Landmark. The Tilden Mansion continues to inspire artists from around the world. NAC member Albinus Elskus undertook a restoration of the MacDonald dome in the 1970's, and recently, in 2000, Danish sculptor Tycho Flore created a piece inspired by and from the same material as the Calvert Vaux facade.
The National Arts Club admitted women on a full and equal basis from its inception. The National Arts Club has a long history of exclusivity through inclusivity. Charles Spencer Trask, Charles Rollison Lamb, Charles de Kay and the other co-founders recognized the importance of many female artists and saw no reason to treat them differently from male artists. The National Arts Club continues its tradition of inclusivity by welcoming minority artists and fighting for the rights of minority students.
The Club's Membership has included three presidents, and some of the most important artists and arts patrons in America. Three Presidents of the United States were Members: Theodore Roosevelt, Woodrow Wilson and Dwight D. Eisenhower. Among the distinguished painters who have been Members are Robert Henri, Edward Charles Volkert, Frederic Remington, William Merritt Chase and Cecilia Beaux. Sculptors have included Saint-Gaudens, Daniel Chester French, Anna Hyatt Huntington and Paul Manship. Many renowned literary figures have also been members, including W. H. Auden, Mark Twain and Frank McCourt. The National Arts Club is proud of its early recognition of new media artforms, like photography, film and digital media, and counts Alfred Stieglitz as one of its early Members. Musicians Victor Herbert and Walter Damrosch were Members, as were architects Stanford White and George B. Post. The Dramatic Arts are currently represented by Members Martin Scorcese, Ethan Hawke, Dennis Hopper, Robert Redford and Uma Thurman.
The National Arts Club fosters young artists with a number of awards and scholarships. Many of the committees award scholarships to young artists, writers and singers. The National Arts Club Opera Competition attracts international applications. The Club is as committed to nurturing young talent as it is to recognizing established artists.
The National Arts Club is run by volunteers. The National Arts Club hosts some of the most exciting events in New York—art unveilings, award dinners, film screenings, lectures, dances and anything else you can think of. All of these programs, as well as the scholarship competitions, exhibitions and other activities are coordinated by the Membership as volunteers who act out of their love for the arts and the Club, and thus broaden the public's understanding of our broad cultural community.
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DONALD MACDONALD:
Donald MacDonald was an early stained glass artist and craftsman of Boston. He was born in Glasgow and trained as a glass painter in London during the 1860’s. In 1868 he was urged to immigrate to America and join the studio of J. William McPherson & Co. in Boston. His skill and dedication to his craft made him sought after by progressive architects of the day. During the 1870s, he was a leading exponent of the British Design Reform Movement, creating alternatives to the conventional Gothic revival stained glass of the day. MacDonald took over the McPherson studio in 1888 and changed its name to his own.
Donald MacDonald has two windows in Harvard's Memorial Hall, one in the entrance hall and another in the main hall, as well as the unique stained glass dome in the National Arts Club. In addition, he has several windows at windows at Dartmouth College. He made the memorial window for President Bennet Tyler, which depicts the Apostle Paul. He also is responsible to the President Nathan Lord memorial window, depicting Moses, as well as the President Asa Dodge Smith memorial window. He also created and executed the main stained glass window above the chancel in the Arnot Memorial Chapel at Trinity Church in Elmira, New York.
Paan in Hindi: पान is a stimulating, psychoactive preparation of betel leaf combined with areca nut and/or cured tobacco. Paan is chewed and finally spat out or swallowed. Paan has many variations. Slaked lime paste is commonly added to bind the leaves. Some South Asian preparations include katha paste or mukhwas to freshen the breath.
Paan is originally from and native to India. Paan is also consumed in many other Asian countries and elsewhere in the world by some Asian emigrants, with or without tobacco, in an addictive and euphoria-inducing formulation with adverse health effects.[
Photography’s new conscience
Ernest Henry discovered copper in the general vicinity of Mount Cuthbert in 1867, but it was not developed further at that time. John Chapman investigated Mount Cuthbert, Excelsior, and Mighty Atom copper claims in 1900 on behalf of Melbourne investors. Mount Cuthbert assayed the best at 6.5%.
The decision by the Government to extend the Townsville railway beyond Richmond stimulated further exploration in 1905 - 1906. In 1907 the Mount Cuthbert Company had capital of £240,000 and its mines included Mount Cuthbert, Kalkadoon, Mighty Atom, Orphan (near Dobbyn) and Little Wonder. The company had major financial problems from 1909 because of the lack of rail freight and had to reconstruct its capital holdings in 1912.
In 1915, with the price of copper soaring, the company spent £120,000 constructing smelters and had already sent away copper matte by horse teams before the railway reached the mine in September 1916. William H. Corbould, who was appointed Mount Elliott mine manager in 1909 had a grand vision for rationalising the copper industry in the Cloncurry district but, while war delayed its implementation an arrangement was worked out with Mount Cuthbert whereby up to 150 tons of ore per day were to be treated at the Mount Elliott smelter at Selwyn until the Mount Cuthbert plant was completed. Then the situation would be reversed while Mount Elliott increased the capacity of its smelter. Accordingly, the Selwyn smelter ran for five months at the end of 1915 and into 1916 treating both companies' ore, including 13,000 tons railed from Mount Cuthbert.
The Mount Cuthbert smelter was designed by W.H. Corbould, who was also a noted metallurgist and its completion was delayed because of the war. The blast furnaces were eventually fired early in 1917 and the initial operation treated over 25,000 tons of ore which produced 1,804 tons of copper worth £202,350. The Mount Cuthbert Company also invested in a new winding engine and headframe, 200 ton capacity ore bins, extensions to the blacksmith's shop and electricity connected to all the surface buildings. The old equipment was removed and reassembled at the Orphan mine.
Mount Cuthbert township was surveyed by the Mines Department in 1916, but the nearby mines had been worked from 1908 which might explain the close proximity of the settlement to the mines and therefore the smelter.
At its peak Mount Cuthbert township had two hotels, a cordial factory, two stores, three fruiterers, a photographer, butcher, baker, fancy goods/barber, hospital, police station, boarding house, and two railway stations (Mount Cuthbert and Dollubeet). A post office operated from 1908 to 1927. The mining company officers were housed in timber cottages and a barracks, while the majority of residents lived in tents or small corrugated iron shacks with earth floors and stone hearths.
Teamsters supplied logs to the sawmill operating to supply mine timbers from 1913. A school opened in 1917 with 30 pupils taught by Miss E Stapleton. At one point in 1917 the town was reported on the verge of starvation due to problems with railway freight operations.
Today the township area contains about 60 discernible building remains and stone footings, and a commercial area near the railway on the eastern side of the settlement. A cellar, cement floor, and ships tank baking oven indicate the site of the hotel, which reputedly was moved to Kajabbi where it still serves as the Kalkadoon Hotel.
The railway arrived at Mount Cuthbert in October 1915 after taking two years to construct the section north-east from Dugald River. The curving alignment passes through narrow gaps in ridge spurs and follows the Six Mile Creek. Its formation features embankments, cuttings, and bridgeworks. Without the railway, production from the smelters was hampered due to exorbitant freight costs. There were two wayside sidings, Mount Cuthbert and the terminus, Dollubeet, at Kalkadoon.
The Kalkadoon mine is part of the Mount Cuthbert mine group, situated about 2km north along the same geological formation. The earliest mineral lease to be granted in the Mount Cuthbert area was that of the Kalkadoon to Cuthbert Fetherstonhaugh of Cloncurry who took up 4.05 ha from the 1st of August 1899. This mine was mentioned by William Lees in 1906 as the "old mine" and it had already produced 300 tons of high grade ore.
It was further developed by the Mount Cuthbert Company from about 1907. By 1912 temporary pithead gear was in place: a winch and boiler and a headframe from Charters Towers was installed the next year. By 1916 the main shaft was down 107m. Ore mined at the Kalkadoon was smelted at Mount Cuthbert from 1917 and sent to Britain as prime blister copper. It is presumed that the mine closed in 1920 when smelting ceased at Mount Cuthbert. Its manager, J. Delaney, was a well known football player in the district.
In 1918 there was a fatal accident in the Mount Cuthbert mine at the 107m level. By 1919 the main shaft was down to 148m. In 1918 the Mount Cuthbert smelters treated 36,500 tons of ore until November when the crankshaft broke on the blower engine and closed the smelters after a record run. They were not refired until August 1919 and continued smelting copper until the price fell in 1920. The smelters shut down on the 19th of June 1920 after a final run of only 63 days.
The company was forced into raising capital in 1919 and attempted a further financial reconstruction in 1922. However, continued annual losses, low metal prices and pressing debenture commitments forced its liquidation in 1923. In 1925 the Mount Elliott Company purchased the Mount Cuthbert properties and plant for an undisclosed sum, certainly much less than the £500,000 valuation.
The population rose from 50 in 1908, to a peak of 1,000 in 1918, then dropped to 750 in 1920 and to 400 in 1924, but Mount Cuthbert became a ghost town after the Mount Elliott Company bought the mine and plant in 1925.
In 1942 Mount Isa Mines bought the Mount Cuthbert smelters for £900 and plant and other machinery was railed through Cloncurry to Mount Isa's new copper smelter. The Kalkadoon was worked on tribute again in the 1960s before being abandoned.
Source: Queensland Heritage Register.
Laughter can: Stimulate many organs. Laughter enhances your intake of oxygen-rich air, stimulates your heart, lungs and muscles, and increases the endorphins that are released by your brain. Activate and relieve your stress response.
schadenfreude, the emotional experience of pleasure in response to another’s misfortune. Schadenfreude is a German word that combines Schaden, which means “damage,” and Freude, which means “joy.” The concept is common to people across cultures.
Mid Devon show, Tiverton, Devon, UK.
Visual stimulation enhances creative thinking - I think there is a Sedona country song hiding here.
"He rode off to the sunset,
into the gathering gloom of the night.
She awoke the next morning,
alone - beneath Chimney Rock's sunlight."
Vintage postcard. Photo: Warner Bros.
Ronald Reagan (1911-2004) had quite a prolific career. He began in the 1930s as a successful film actor for Warner Bros., later became a television star, served as president of the Screen Actors Guild, became the governor of California (1967-1975), and lastly, served two terms as President of the United States (1981-1989).
Ronald Wilson Reagan was the son of the shoe salesman and storyteller Jack Reagan and Nelle Clyde Wilson Reagan. He was born in 1911 in Tampico, Illinois, but grew up in Dixon. His first job was as a lifeguard at the Rock River in Lowell Park, near Dixon, in 1927. He rescued 77 people in this position. He was then educated at Eureka College, where he earned a degree in economics and sociology. During his studies, he excelled in politics, sports and theatre, and was a member of the football team and captain of the swimming team. During his studies, Reagan led a student revolt against the president of the college. After college, Reagan began his career at a regional radio station as a sportscaster. When he accompanied the Chicago Cubs on a trip to California as a reporter, he came to Hollywood for an audition. The film company Warner Bros offered him a seven-year acting contract in 1937. Reagan spent the next few years in Hollywood as an actor in B-movies. Although his roles were often overshadowed by those of others, he received good reviews for his acting. Reagan's first major role was the lead in the film Love is on the Air (Nick Grinde, 1937). In 1938, Reagan acted alongside actress Jane Wyman in the film Brother Rat (William Keighley, 1938). They married in 1940. By then, he had appeared in 19 films, including Dark Victory (Edmund Goulding, 1939) starring Bette Davis. Reagan often embodied elegant and respectable personalities with firm morals and principles such as the role of George "The Gipper" Gipp in Knute Rockne, All American (Lloyd Bacon, 1940) with Pat O'Brien. This film later earned him the nickname "The Gipper". In 1941, he was voted the fifth most popular actor of the new generation in Hollywood. Reagan's favourite role was in Kings Row (Sam Wood, 1942) with Ann Sheridan. He played a man who had been doubly amputated and who uttered the words 'Where's the rest of me?' He later used these words as the title of his autobiography, which came out in 1965. Although the film was scratched by Bosley Crowther, the New York Times critic at the time, many critics today consider Kings Row to be one of Reagan's best films. The film was nominated for three Oscars.
Although Ronald Reagan called Kings Row the film that made him a star, he was unable to capitalise on its success. He was called into active service with the US Army in San Francisco two months after the film's release and would never regain star status in films in the future. He served nearly four years with the World War II stateside service in the first Motion Picture Unit. In the post-war period, he resumed his film career with The Voice of the Turtle (Irving Rapper, 1947), John loves Mary (David Butler, 1949), and The Hasty Heart (Vincent Sherman, 1949) with Patricia Neal. He earned a reputation as a "poor man's James Stewart" in the early 1950s with starring roles in several small Westerns such as The Last Outpost (Lewis R. Foster, 1951), Law and Order (Nathan Juran, 1953), and Cattle Queen of Montana (Allan Dwan, 1954) with Barbara Stanwyck. He also worked regularly as a voice actor and narrator for films, such as the Oscar-winning short Beyond the Line of Duty. From the 1950s, Reagan was also a regular on increasingly popular television. He appeared from 1954 to 1962 as a host in 260 episodes of the weekly anthology Western series General Electric Theater, named after the electrical corporation General Electric. His last film was the remake of The Killers (1964). From 1947 to 1952 and from 1959 to 1960 he was president of the Screen Actors Guild (SAG), which is seen as the beginning of his political involvement. In the late 1940s, he was an informant for the FBI and named fellow actors whom he assigned to a group with communist ideas. After his career as an actor, Reagan went into politics. As a member of the Republican Party, he was the 33rd Governor of California from 1967 to 1975, before becoming the 40th President of the United States, succeeding Democrat Jimmy Carter, and ruling the country for two terms in office from 1981 to 1989. Reagan's first term as president was mainly characterised by a supply-side economic policy, later called Reaganomics, with an emphasis on tax cuts to stimulate economic growth, restrictions on the supply of money to reduce inflation, deregulation of the economy, a reduction in government spending and a limitation of the power of trade unions. He was re-elected president in 1984. His second term was dominated by foreign events, such as the end of the Cold War, his bombing of Libya in 1986 and the exposure of the Iran-Contra affair, which damaged his government's image: it turned out that arms had been secretly supplied to Iran, the proceeds of which had financed rebels in Nicaragua. Reagan publicly described the Soviet Union as "the empire of evil" and supported anti-communist movements worldwide. At the same time, however, Reagan sought a diplomatic way out of the arms race between the US and the Soviet Union, resulting in the conclusion of the INF Treaty in which both countries agreed to destroy a large number of (nuclear) missiles. After Reagan stepped down as president in 1989, he and his wife moved into a house in Bel Air, Los Angeles; in addition, the couple owned the Reagan Ranch in Santa Barbara. Reagan died of pneumonia, partly caused by his poor condition due to Alzheimer's disease, at his home in Bel Air, Los Angeles, in 2004. He was 93. Ronald Reagan was the first and, until the election of Donald Trump in 2016, the only US president to be divorced. After a dispute over Reagan's political aspirations, his first wife, Jane Wyman filed for divorce in 1948, citing Reagan's activities for the Screen Actors Guild as the reason for the irreconcilable distance. The couple had two children, Maureen (1941-2001) and Christine (1947, died after one day) and adopted a third child, Michael (1945). In 1949, Reagan met actress Nancy Davis, after she approached him in his capacity as president of the Screen Actors Guild to help her with matters concerning her appearance on the Hollywood blacklist (on the list she had been mistaken for another Nancy Davis). They married in 1952 and had two children, Patti (1952) and Ron Jr. (1958).
Sources: Wikipedia (Dutch and German), and IMDb.
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