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In-tangible. Ritual frío-cálido
15 de mayo - 26 de julio, 2003
Salas I, II, III, IV y Pila de la Melaza
Artistas: Regina Aguilar, Brooke Alfaro, Finn Thybo Andersen, Patricia Belli, Rosan Bosch, Donna Conlon, sila Chanto, Isabel de Obaldía, Kirsten Dufour, Dario Escobar, Ida F. Ferdinand, Anja Franke, Luis González Palma, Cristina Gozzini, Gillion Grantsaan, José Alberto Hernández, Federico Herrero, Thyra Hilden, Frans Jacobi, Marisel Jiménez, Marianne Jørgensen, Tiina Ketara, Bodil Nielsen, Luis Paredes, Jesper Rasmussen, Joaquín Rodríguez del Paso, Lisa Rosenmeier, Isabel Ruíz, Åsa Sonjasdotter, Cinthya Soto, Jaime David Tischler, Charlotte von Poehl, Emilia Villegas.
Curaduría y coordinación general: Rolando Barahona-Sotela
Asesoría de investigación: Sanne Kofod Olsen
Asistencia de coordinación en Escandinavia: Ida Ferdinand . Asistencia de curaduría: María José Monge.
Patrocinadores: Danish Center for Culture and Development, Danish Contemporary Art Foundation, Danish Secretariat for International Cultural Relations: MADC, Costa Rica, NISSAN-Agencia DATSUN.
Video Mapping Philipp Geist_Ano da Alemanha no Brasil - Cristo Redentor 2014
„VideoInstallation by Philipp Geist“, "Philipp Geist", „Copyright 2014 Philipp Geist / VG Bildkunst 2014", www.videogeist.de, mail@videogeist.de, „Rio de Janeiro“, "Santa Marta“, „Cristo Redentor“, „Dona Marta“, „Deutschland + Brasilien 2013-2014“, “Alemanha + Brasil 2013-2014”
Photo by Fred Pacífico
©2014 Philipp Geist / VG BIldkunst Bonn
Rio de Janeiro / Brazil 2014
Christ statue (Cristo Redentor) – May 12
Dona Marta favela – May 15 and 16,2014
Light Art-Video-Mapping-Installations Philipp Geist in Rio de Janeiro / Brazil 2014
on the Christ statue (Cristo Redentor) - May 12 and in the Dona Marta favela - May 15 and 16,
2014
Installation Philipp Geist Year of Germany in Brazil 2013/2014
Concept Time Drifts May 2014
At the end of the Year of Germany in Brazil 2013/2014, the artist Philipp Geist (Berlin, 1976)
develops two light installations in Rio this year; the first one on the world-famous Christ statue
(Cristo Redentor) and the other installation in the Santa Marta favela. For the installation the
artist presents artistic-liberal and poetic German and Brazilian themes and develops a building
and floor light installation of colored words and phrases in Portuguese, German, and in other
international languages. The installation deals with cultural characteristics and achievements of
both countries and visualizes the issues of time and space, volatility and presence in a free
artistic style. The two projects are in fact a double project which is combined. The installation
on the symbol of Rio and Brazil, the Christ statue, is recorded and projected onto the small
buildings and huts of the favela. The Christ statue, which has been built to protect the city and
the sailors, is symbolically projected on the shantytown, the favela, in a protective way. The
installation in the favela will be seen not only on a facade as a large cinema projection or as a
static image, but on several winding buildings, the roofs, the floor and on the steps. Thus, the
visitor becomes a part of the installation and can immerse into the projection and the light and
introduce himself. Chalk crayons are put out on the streets in the favela and the young and old
residents and visitors can write and paint words on the street, the ground, the stairs or even on
the house walls. The residents and several institutions should be addressed to submit words and
associations dealing with Rio, Brazil and Germany.
For the installation, which was shown at the Luminale in 2012, the artist Philipp Geist won the
German Lighting Design Award 2013 (Deutscher Lichtdesign-Preis 2013) in the category Light Art.
The series 'Time Drifts' is characterized by the complex and subtle way of visualizing various
currents and voices in cultural contexts and to provide institutions and visitors with the
opportunity of substantive participation: different personalities, visitors and institutions may be
addressed in advance and then contribute words and associations. Current and historico-cultural
topics are researched in advance by the artist and then integrated in a sensitive and subtle way.
The projection dismisses the use of screens, because concepts and associations are projected on
a large area onto the floor surface on several facades and in theater fog. Over the course of two
days, the installation can be seen on-site in the favela on May 15 and 16 and on the Cristo
Redentor on May 12 for a day.
Short, tall, young and old visitors can interactively participate in the installation by tracing and
adding words with colored chalk crayons available on the streets. Thus, over the period of the
installation, a carpet of words is evolved with terms that are contributed locally by the visitors
by means of the temporary and volatile 'medium' of chalk crayons. Philipp Geist develops in this
way a dialogue between the place, the visitors and his artistic work.
The concrete, tangible projection of the architecture and the static terms on the floor area
represents the facts and visible relics that are responsible for our understanding of history. The
transparent and volatile projection in the fog reminds us that part of the history can not be
preserved and that it is created in our individual imagination in a single moment. Words are
briefly visible as a metaphor for transience and then disappear again. This interplay of the
various text and image layers in the space refers to the location and the history/-ies of Brazil
and Germany and the cultural exchange between the two countries. The visitors themselves are
part of the installation: they dive into the large floor projection. In this way, different
perspectives and experiences of space are unified. Abstract passages which are created, then
overlapped and displaced by each other symbolize the constant changes in history, the passage
of time and the transience of existence. Even the understanding of the past is in the flux. The
modern writings and formations created on the computer establish a connection to the present
and the possibilities of today's technology and show that the perception of history and culture
depends always on the possibilities and constraints of the present.
'Time Drifts - Words of Berlin' is part of a series of installations, which has been shown in recent
years by Philipp Geist, and which are always re-developed site-specifically and adapted to the
local conditions: In October 2012, Philipp Geist showed the installation on the entire Potsdamer
Platz (public square) and the Kolhoff Tower and Renzo Piano Tower skyscrapers. In April 2012
the installation was shown at the Luminale in Frankfurt where it was seen by more than 40,000
visitors and thus the main project of the Luminale 2012. In 2011, Philipp Geist presented the
'Time Drifts' installation in Vancouver at the Jack Poole Plaza, as well as in Montreal on the
Place des Arts in 2010. The 'Timing' installation was shown at the 2009 Glow Festival in
Eindhoven. In the end of 2009, on the occasion of the birthday of the King of Thailand, 2-3
million visitors saw his facade installation at the royal throne in Bangkok. Other projects
include: 'Timelines' at the prestigious Pallazzio delle Esposizioni (Rome, 2007), 'Time Fades'
at the Cultural Forum of Berlin and 'Broken Time Lines' at the old spa Kurhaus Ahrenshoop
(Germany, 2008).
Geist's projects are primarily characterized by their complexity concerning the integration of
space, sound and motion images. His video mapping installations waive screens and transform a
wide range of architectures in moving, picturesque light sculptures which challenge the viewer's
perception of two- and three-dimensionality.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Arte de luz - Instalações de Mapeamento de Vídeo por Philipp Geist no Rio de Janeiro / Brasil
2014 no Cristo Redentor no dia 12 de maio e na favela Santa Marta nos dias 15 e 16 de maio de
2014
Instalação Philipp Geist Ano Alemanha + Brasil 2013/2014
Conceito Time Drifts Maio 2014
No final do ano Alemnaha + Brasil 2013/2014, o artista Philipp Geist (1976, Berlim) desenvolverá
duas instalações de luz no Rio; uma delas será exibida na mundialmente famosa estátua do
Cristo Redentor, e a outra na favela Santa Marta. Para a instalação, o artista traz temas teutobrasileiros
de maneira liberal-artística e poética desenvolvendo instalações de luz em edifícios e
no solo a partir de palavras e conceitos coloridos em Português, Alemão e em outros idiomas
internacionais. A instalação lida com as peculiaridades e realizações culturais de ambos os países
e visualiza as questões de tempo e espaço e de volatilidade e presença no estilo liberal-artístico.
Os dois projetos em questão representam um projeto duplo que é combinado. A instalação na
estátua do Cristo Redentor, como um símbolo do Rio e do Brasil, será gravada e projetada nos
pequenos prédios e barracos da favela. A estátua do Cristo Redentor, que foi erguida para
proteger a cidade e os marinheiros, será então projetada como um símbolo de proteção em uma
favela. A instalação na favela é visto não apenas em uma fachada como uma projeção grande de
cinema ou como uma imagem estática, mas em vários prédios sinuosos, em telhados, no solo e
nas escadas. Desta maneira, o visitante conseguirá ser parte da instalação e imergir e mergulhar
na projeção e na luz. Na favela, será distribuído giz para pintura de rua, e os moradores e
visitantes, tanto jovens quanto velhos, podem escrever e pintar conceitos na rua, no solo, nas
escadas ou até mesmo nas paredes das casas. Os moradores e diversas instituições serão
convidados a contribuir com conceitos e associações que representam o Rio, o Brasil e a
Alemanha.
Para as instalações apresentadas na Luminal em 2012, o artista Philipp Geist ganhou o
'Deutscher Lichtdesign-Preis 2013” (Prêmio Alemão de Desenho de Luz de 2013) na categoria
Arte de Luz. A série Time Drifts caracteriza-se pela forma complexa e sutil de visualizar várias
correntes e vozes em contextos culturais e de oferecer a instituições e aos visitantes a
oportunidade de participar: diferentes personalidades, visitantes e instituições podem ser
contatados antecipadamente para contribuir com termos e associações. Temas atuais, históricos
e culturais serão previamente pesquisados pelo artista e, depois, integrados de uma forma
sensível e sutil. A projeção é realizada sem o uso de telas porque conceitos e associações são
projetados, em grande estilo, sobre a superfície do solo, em diversas frentes e envolvidos em
fumaça. Ao longo de dois dias, a instalação estará em exibição em 15 e 16 de maio na favela, e
em 12 de maio, por um dia, no Cristo Redentor.
Visitantes jovens e velhos podem envolver-se na instalação e traçar ou adicionar palavras com
giz colorido, que será distribuído, e assim participar interativamente na instalação. Desta
maneira, durante a duração da instalação, será desenvolvido um tapete de palavras. As palavras
serão fornecidas, no próprio local, pelos visitantes usando o giz, um meio temporário e volátil.
Philipp Geist desenvolve assim um diálogo entre o local, os visitantes e seu trabalho artístico.
A área de projeção concreta e tangível da arquitetura e os termos estáticos sobre a superfície do
solo representam os fatos e as relíquias visíveis que compõem a nossa compreensão da história. A
área de projeção transparente e sumindo por dentro da fumaça lembra que parte da história não
pode ser preservada e que ela é criada na nossa imaginação individual momentaneamente.
Conceitos são brevemente visíveis, como uma metáfora para a transitoriedade e, logo mais,
desaparecem. Esta interação entre as várias camadas de texto e de imagens no espaço refere-se
à localização e a(s) história(s) do Brasil e da Alemanha e o intercâmbio cultural entre os dois
países. Os próprios visitantes tornam-se parte da instalação: eles imergem na grande projeção
do solo. Desta forma, diferentes perspectivas e experiências de espaço são unidas. Passagens
abstratas que são formadas, sobrepostas e suprimidas pela próxima simbolizam as mudanças
contínuas na história, a passagem do tempo e a transitoriedade da existência. A compreensão do
passado também está no fluxo. As fontes e formações modernas criadas no computador
estabelecem uma conexão com o presente e com as possibilidades da tecnologia de hoje: a
percepção da história e da cultura sempre dependende das capacidades e limitações do
presente.
'Time Drifts - Words of Berlin' faz parte de uma série de instalações, que foram apresentadas
durante os últimos anos por Philipp Geist e que são sempre redesenvolvidas para as condições
locais específicas: em outubro de 2012, Philipp Geist exibiu a instalação em toda a praça
Potsdamer Platz (Berlim) e nos dois arranha-céus Kolhoff Tower (Berlim) e Renzo Piano Tower
(Londres). Em abril de 2012, a instalação foi apresentada no evento da Luminal em Frankfurt
onde foi vista por mais de 40.000 visitantes sendo o principal projeto da Luminal de 2012. Em
2011, Philipp Geist mostrou a instalação Time Drifts na praça Jack Poole Plaza em Vancouver
bem como em Montreal, Canadá, no centro de arte Place des Arts, em 2010. A instalação Timing
foi exibida no Glow Festival de 2009 in Eindhoven, Holanda. No final de 2009 e por ocasião do
aniversário do rei tailandês, aprox. 2 a 3 milhões de visitantes viram a instalação de fachada do
artista no trono real em Banguecoque. Seus outros projetos incluem: Time Lines, no prestigiado
museu Palazzio delle Esposizioni (Roma, 2007); Time Fades, no Fórum Cultural de Berlim;
Broken Time Lines, no antigo spa Kurhaus Ahrenshoop (Alemanha, 2008).
Os projetos de Geist são principalmente caracterizados por sua complexidade na integração de
espaço, som e imagens de movimento. Suas instalações de mapeamento de vídeo renunciam
telas e transformam uma ampla gama de arquiteturas em esculturas móveis e pitorescas que
desafiam a percepção do espectador de duas e três dimensões.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Lichtkunst-VideoMappingInstallationen Philipp Geist in Rio de Janeiro / Brasilien 2014
an der Christstatue (Cristo Redender) 12.5 und in der Favela Santa Marta 15./16.5.2014
Installation Philipp Geist Deutsch-Brasilianisches Jahr 2013/2014
Konzept Time Drifts Mai 2014
Zum Abschluss des Deutsch-Brasilianischen-Jahres 2013/2014 entwickelt der Berliner Künstler
Philipp Geist (1976) zwei Lichtinstallation in Rio d.J.; eine an der weltbekannten Christstatue
(Cristo Redender) und in die andere Installation in der Favela Santa Marta. Bei der Installation
greift der Künstler künstlerisch frei und poetisch deutsch brasilianische Themen auf und
entwickelt eine Gebäude- und Boden-Lichtinstallation aus farbigen Wörtern und Begriffen in
portugiesischer, deutscher, und in weiteren internationalen Sprachen. Die Installation thematisiert
kulturelle Besonderheiten und Errungenschaften beider Länder und visualisiert die Themen Zeit
und Raum, Flüchtigkeit und Präsenz in freien künstlerischen Art. Bei den beiden Projekten handelt
es sich um ein Doppelprojekt welches kombiniert wird. Die Installation auf das Wahrzeichen von
Rio und Brasilien die Christstatue, wird aufgenommen und auf die kleinen Gebäude und Hütten
der Favela projiziert. Die Christstatue die errichtet worden ist um die Stadt und Seeleute zu
schützen, wird so symbolisch schützend über ein Armenviertel die Favela projiziert. Dabei ist die
Installation in der Favela nicht nur auf einer Fassade als große Kinoprojektion oder als statisches
Bild zu sehen, sondern auf mehreren verwinkelten Gebäuden, den Dächern, den Boden und auf
den Stufen. Der Besucher wird vielmehr auf diese Weise selbst Teil der Installation und kann in die
Projektion und das Licht eintauchen und sich einbringen. In der Favela werden Strassenmalkreide
ausgelegt und die Bewohner und Besucher ob jung oder alt können Begriffe auf die Strasse, den
Boden, die Treppenstufen oder sogar auf die Hauswände schreiben und malen. Die Bewohner und
verschiedene Institutionen sollen angesprochen werden Assoziationen und Begriffe die für Rio,
Brasilien und Deutschland stehen einzureichen.
Für die 2012 bei der Luminale gezeigten Installation hat der Künstler Philipp Geist den Deutschen
Lichtdesign-Preis 2013 in der der Kategorie Lichtkunst gewonnen. Die Serie 'Time Drifts' zeichnet
sich aus durch die komplexe und die subtile Möglichkeit, verschiedenste Strömungen und
Stimmen in kulturellen Kontexten sichtbar zu machen und Institutionen und Besuchern die
Möglichkeit zur inhaltlichen Partizipation zu geben: Es können verschiedene Persönlichkeiten,
Besucher und Institute im Vorfeld angesprochen werden, die Begriffe und Assoziationen
beisteuern. Aktuelle und kulturhistorische Themen werden im Vorfeld vom Künstler recherchiert
und auf sensible und subtile Weise integriert. Die Projektion verzichtet auf den Einsatz von
Leinwänden, denn Begriffe und Assoziationen werden grossflächig auf die Bodenfläche, auf
mehrere Fassaden und in Theaternebel projiziert. Über den Zeitraum von 2 Tagen wird die
Installation vor Ort in der Favela am 15/16.Mai und die Installation am Cristo Redentor am 12.Mai
für einen Tag zu sehen sein.!
Kleine, große, junge und alte Besucher können sich einbringen in die Installation und mit farbiger
Straßenmalkreide, die ausgelegt wird, Wörter nachzeichnen und hinzufügen und so interaktiv an
der Installation teilnehmen. Über die Installationsdauer entsteht somit ein Wörterteppich aus
Begriffen, die vor Ort von den Besuchern selbst mittels dem temporären und flüchtigen 'Medium'
der Strassenmalkreide beigesteuert werden. Geist entwickelt auf diese Weise einen Dialog
zwischen dem Ort, den Besuchern und seiner künstlerischen Arbeit. ! !
Die konkrete, greifbare Projektionsfläche der Architektur und die statischen Begriffe auf der
Bodenfläche stehen für die Fakten und sichtbaren Relikte, welche unser Geschichtsverständnis
ausmachen. Die transparente, sich verflüchtigende Projektionsfläche im Nebel erinnert daran,
dass ein Teil der Geschichte nicht konserviert werden kann und im Moment in unserer individuellen
Vorstellung entsteht. Begriffe werden als Metapher für die Vergänglichkeit kurzzeitig sichtbar und
verschwinden sofort wieder. Dieses Zusammenspiel der verschiedenen Text- und Bildschichten im
Raum verweist auf den Ort und die Geschichte(n) Brasiliens und Deutschlands und den kulturellen
Austausch beider Länder. Die Besucher selbst werden Teil der Installation: sie tauchen in die
großflächige Bodenprojektion ein. Auf diese Weise vereinen sich unterschiedliche Perspektiven
und Raumerfahrungen. Abstrakte Passagen, die sich aufbauen, überlagern und gegenseitig
verdrängen, symbolisieren die ständigen Veränderungen in der Geschichte, den Lauf der Zeit und
die Flüchtigkeit des Seins. Auch das Verständnis von der Vergangenheit ist im Fluss. Die
modernen Schriften und Formationen, die am Computer entstanden sind, stellen eine Verbindung
zur Gegenwart und den Möglichkeiten der heutigen Technik her und zeigen, dass die Erfahrbarkeit
von Geschichte und Kultur immer von den Möglichkeiten und Rahmenbedingungen der Gegenwart
abhängig ist.
'Time Drifts - Words of Berlin' ist Teil einer Serie von Installationen, die Philipp Geist in den letzten
Jahren gezeigt hat, und die dabei immer wieder neu an die örtlichen Gegebenheiten ortsspezifisch
weiterentwickelt wird: Im Oktober 2012 zeigte Geist die Installation auf dem gesamten Potsdamer
Platz und den beiden Hochhäusern Kolhoff Tower und Renzo Piano Tower. Im April 2012 wurde die
Installation in Frankfurt auf der Luminale gezeigt, wurde von mehr als 40.000 Besuchern gesehen
und war das Hauptprojekt der Luminale 2012. Im Jahr 2011 zeigte Geist die Installation Time Drifts
in Vancouver am Jack-Poole Plaza, ebenso wie in Montreal am Place des Arts in 2010. Die
Installation 'Timing' war 2009 auf dem Glow Festival in Eindhoven zu sehen. Ende 2009 sahen
anlässlich des Geburtstages des thailändischen Königs ca. 2-3 Millionen Besucher seine
Fassadeninstallation am königlichen Thron in Bangkok. Andere Projekte waren u.a.: 'Time Lines'
am renommierten Museum delle Esposizioni (2007), 'Time Fades' am Berliner Kulturforum,
'Broken Time Lines' am alten Kurhaus Ahrenshoop (2008).
Geists Projekte sind in erster Linie gekennzeichnet durch ihre Komplexität in der Integration von
Raum, Ton und Bewegbild. Seine Video-Mapping-Installationen verzichten auf Leinwände und
verwandeln verschiedenste Architekturen in bewegte, malerische Lichtskulpturen, die die
Wahrnehmung der Betrachter von Zwei- und Dreidimensionalität herausfordern.
Holding a forgotten dream in my hand that is suddenly tangible, has been more then just slightly overwhelming. It’s bittersweet. And disturbing. We’d recorded A.N.R. during some of the darkest days of my life, and looking back I honestly think the project was about the only thing keeping me going at the time. I was feeding off a single emotion then. Rage. It was about all I was feeling. Simple fundamental necessities like food, sleep, and social interaction had become nugatory. The ex had just pulled her little Houdini act, and vanished off into oblivion with her new boy candy. I on the other hand was standing alone, nothing more then a boy myself, holding a broken heart in one hand and an eight month old little girl in the other. She’d walked out on us, and I’d never felt so lost, aimless, and inundated. Before or since. It was actually something she had said the last time we ever talked face to face that had kept me going. We were standing on the steps of the court house, and she’d insisted that if “he” and I were both drowning, and she could only save one of us, she would save me. I found that rather profound. I had to giggle. Like in that moment I finally snapped. The proverbial straw that had broken the camels back, as it were. She said she would save me, and yet there I was. Drowning. And she didn’t jump in and save me. Instead she made me take a paternity test. Not to prove I was Dezi’s father, but to prove that I wasn’t. How’s that for hypocrisy?
As eager as she was in what I have to assume was her conquest of breaking me, she only fueled the fire more. The test came back 99.999999. And that is when she vanished. Bailed without her daughter, without me, without even a goodbye or even reconciling the four digit debt I had cosigned on. I don’t even think she paid her lawyer. She just walked away. Nearly two years passed before she popped up again in Meeker, Colorado. I can at least say that by then I’d woken up. The days in between….
As much as I liked being a part of that band, and as much as I wish I could say that when Dezi’s mom had bailed out, I did the right thing. I can’t. I do not miss nor admire who I was or how I dealt with the situation. I was young, selfish, and I was hurt. It was an ignorant stand point. One I’m not the least bit proud of. Rather then doing what I should have, focusing on my little girl, I instead went into self destruction mod. In my head, my daughters mom had just walked out on us, and all I cared about was how badly she’d hurt me. How fucking selfish is that? I was an ignorant little prick. I didn’t center myself on my daughter. I didn’t focus on the one thing that made my life amount to a damn. Instead, to keep my mind off of her and all her hallow lies, cheating, empty promises, and tommyrot, I instead buried myself in work.
Super dad? Hardly. Between the two jobs I was holding down at the time, I was pulling in about 60 hours a week. After she bailed, it jumped up to about 90 hours, give or take twenty. Add the band putting on shows nearly every weekend, after hours shindigs, and me tipping cans left and right, like they were the answer to fuzzing clarity, and recording the album to top it off. It all boiled down to me bailing out on my daughter as much as her mom had. I didn’t sleep. I didn’t eat. And I didn’t care.
So why would I say finishing the album has been bittersweet and disturbing? A.N.R. is a vision made real. It is something I invested countless dollars and hours into. It will also always be a pronounced reminder of the worst hours of my life. My most selfish. My most self destructive. And my most cowardly. I am very proud of the envisage we produced. But I am equally ashamed of the journey I coursed to accomplish it.
www.youtube.com/watch?v=rg3glZaWqTY
Friday, March 12th. 2010
In-tangible. Ritual frío-cálido
15 de mayo - 26 de julio, 2003
Salas I, II, III, IV y Pila de la Melaza
Artistas: Regina Aguilar, Brooke Alfaro, Finn Thybo Andersen, Patricia Belli, Rosan Bosch, Donna Conlon, sila Chanto, Isabel de Obaldía, Kirsten Dufour, Dario Escobar, Ida F. Ferdinand, Anja Franke, Luis González Palma, Cristina Gozzini, Gillion Grantsaan, José Alberto Hernández, Federico Herrero, Thyra Hilden, Frans Jacobi, Marisel Jiménez, Marianne Jørgensen, Tiina Ketara, Bodil Nielsen, Luis Paredes, Jesper Rasmussen, Joaquín Rodríguez del Paso, Lisa Rosenmeier, Isabel Ruíz, Åsa Sonjasdotter, Cinthya Soto, Jaime David Tischler, Charlotte von Poehl, Emilia Villegas.
Curaduría y coordinación general: Rolando Barahona-Sotela
Asesoría de investigación: Sanne Kofod Olsen
Asistencia de coordinación en Escandinavia: Ida Ferdinand . Asistencia de curaduría: María José Monge.
Patrocinadores: Danish Center for Culture and Development, Danish Contemporary Art Foundation, Danish Secretariat for International Cultural Relations: MADC, Costa Rica, NISSAN-Agencia DATSUN.
The Can It Kill You? application lets you explore various pathogens, including their potentially deadly effects on humans. Built with Tangible Engine Media Creator, which makes it easy to create engaging object-recognition applications without coding. Learn more at: ideum.com/portfolio/can-it-kill-you
Strategy Maps: Converting Intangible Assets into Tangible Outcomes
Authors: Robert S. Kaplan and David P. Norton
Publication Date: December 16, 2003
Description: Nearly 2 decades ago, Robert S. Kaplan and David P. Norton introduced the Balanced Scorecard, a revolutionary performance measurement system that allowed organizations to quantify intangible assets such as people, information, and customer relationships. Then, in The Strategy-Focused Organization, Kaplan and Norton showed how organizations achieved breakthrough performance with a management system that put the Balanced Scorecard into action. Now, using their ongoing research with hundreds of Balanced Scorecard adopters across the globe, the authors have created a powerful new tool--the "strategy map"--that enables companies to describe the links between intangible assets and value creation with a clarity and precision never before possible.
Kaplan and Norton argue that the most critical aspect of strategy--implementing it in a way that ensures sustained value creation--depends on managing four key internal processes: operations, customer relationships, innovation, and regulatory and social processes.
The authors show how companies can use strategy maps to link those processes to desired outcomes; evaluate, measure, and improve the processes most critical to success; and target investments in human, informational, and organizational capital.
Providing a visual "aha!" for executives everywhere who can't figure out why their strategy isn't working, Strategy Maps is a blueprint any organization can follow to align processes, people, and information technology for superior performance.
Author Bios: Robert S. Kaplan is the Marvin Bower Professor of Leadership Development at Harvard Business School and chairman of the Balanced Scorecard Collaborative.
Other works by these authors:
The Balanced Scorecard
The Strategy-Focused Organization
Alignment
Time-Driven Activity-Based Costing
Execution Premium
Cost & Effect
Relevance Lost
Contact: publicity@hbr.org
I couldn't resist trying one right away. It's so cool to see my design in tangible form like this.
Some of these temporary tattoos are now available in my new etsy shop.
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A specialist is the first and the lone individual that comes as a main priority when somebody isn't well and is wiped out. In any sort of ailment and in the event of health-related crises specialists are the lone individuals that could help us. Specialists in Gurgaon are the best specialists one can discover in Delhi NCR
The History of Physicians/Doctors
Ancient "specialists": 25,000 BC +
The principal "healers" were chronicled in cave artworks in what is presently France. The works of art were radiocarbon-dated as far back as 27,000 years prior and portrayed individuals utilizing plants for therapeutic purposes. This is the principal recorded case of what in the end formed into the main clinical information base, gone down through clans. Trepanation – penetrating the skull to assuage torment, was done millennia prior with patchy achievement
Deal with like an Egyptian: Surgery 5,000 years prior
Not exclusively were the antiquated Egyptians probably the best individuals on Earth (Homer – of Odyssey popularity, not the one in the old Egypt Simpsons scene – credited their general medical care framework, just as the dry environment) however Egyptians likewise played out a portion of the primary recorded a medical procedure: root trench (some proof recommends teeth might have been penetrated as ahead of schedule as 9,000 years prior in India.) Back then, at that point, being a specialist included authority of heavenly texts just as later being prepared in life structures and conclusion.
Greece and the origination of clinical morals
Affected by Egyptian and Babylonian medication, the acclaimed Greek "doctor" Hippocrates composed the Hippocratic Corpus which is an assortment of around seventy early clinical works from antiquated Greece unequivocally connected with Hippocrates and his understudies. Most broadly, Hippocrates concocted the Hippocratic Oath for doctors, which is as yet significant and being used today.
Middle age Europe and the principal prescription schools
Twelfth-century Italy saw the development of colleges and the principal clinical schools. Now, being a specialist relied less upon the "gospel" of prior clinical texts and more on applying those texts and others to a specialist's individual encounters in the field. The capacity to dependably influence a patient's wellbeing was as yet hit and miss.
The cutting edge specialist
Certainly, current medication is every one of the things individuals expect when they visit a clinic, yet an advanced specialist in the created world is as a very remarkable hero or sci-fi character as agreeable sawbones. The "tool belt" of instruments at an advanced specialist's removal incorporates careful lasers and robots, powerful attractive imagers, and arranged information streams.
Specialists in Gurgaon are profoundly prepared proficient who have devoted their life towards the improvement of way of life of ordinary individuals.
Significance of Doctors in Society
Prior to the revelation of current medication, life was transitory for people. The climate was loaded with concealed risks as illness and ailments. Then, at that point, clinical practice changed into a coordinated calling, and people encountered a critical improvement in the personal satisfaction. Helped by present-day logical development, the limits of clinical innovation reached out as far as possible. In any case, even with this load of mechanical advancements, the situation of specialists in the public arena hasn't reduced; specialists stay vital.
•Saving Lives
•Broadening Life
•Compassionate Work
Controlling Epidemics and Conducting Research
Doctors in Gurgaon are exceptionally prepared experts who have finished their examinations from great colleges and do their work with most extreme polished methodology.
Top 15 kinds of Doctors one should know
1. Cardiologist: A cardiologist is a specialist that arrangements with the cardiovascular framework. This implies the individual treats any anomaly in our veins and heart. This can incorporate coronary illness or condition which requires conclusion and treatment.
2. Audiologist: As the name recommends, an audiologist treats and assesses everything under the sun to do with sound or hearing capacities of an individual. Since hearing is a vital sense, it requires a specialist to treat something similar.
3. Dental specialist: According to American Dental Association, a dental specialist is a specialist of oral wellbeing. Oral wellbeing incorporates teeth, tongue, and gums. A dental specialist is known to analyze and treat issues of these three regions.
4. ENT subject matter expert: ENT represents ear, nose, and throat. An expert who treats and determinations the issues and inconveniences of these three regions. Otherwise called an otolaryngologist, an ENT expert is a doctor to prepared to treat the issues of ENT.
5. Gynecologist: A gynecologist is prepared to treat the female conceptive framework which incorporates the vagina, uterus, ovaries, and bosoms.
6. Muscular specialist: A muscular specialist is known to manage issues identifying with the musculoskeletal framework. This implies muscles and bones. Any break, agony, or irregularity of these spaces should be counseled about with a muscular specialist.
7. Pediatrician: Pediatricians are specialists who treat kids. Since a kid's body capacities in an alternate way from our own, because of many components like age and developing stages, their sickness and medical problems are not quite the same as a grown-up. A pediatrician helps in mental conduct issues and actual medical conditions.
8. Specialists: Mental wellbeing is an immense field which requires our furthest consideration. Consequently, to treat what goes inside a human mind is troublesome, because of its vulnerability. A therapist helps treat and analyze issues of psychological wellness.
9. Veterinarian: After the uniqueness of psychological wellness, comes the issue of our furr mates: creatures. Treatment and analysis of issues in creatures is finished by a veterinarian. This incorporates mental and physical both too.
10. Radiologist: A radiologist for diagnosing illnesses and inward and outer wounds with the assistance of imaging procedures like x-beams, CT sweep, MRI and ultrasound, and so forth They are the initial move towards the analysis of any kind, which is impossible without a machine.
11. Pulmonologist: Pulmonary means lungs, henceforth a specialist who treats lungs. Since the rundown of irregularities and issues identifying with lungs is long in current occasions, pulmonologist findings and deal with normal issues like a cellular breakdown in the lungs.
12. Endocrinologist: An endocrinologist is liable for treating the endocrine framework which incorporates the pituitary organ, pancreas, ovaries, thyroid, nerve center and so forth they help in treating diabetes, hyperthyroidism, and so on.
13. Oncologist: Oncology includes the investigation of a wide range of diseases. This includes the radiation, clinical and careful. Oncologists can represent considerable authority in one sort of malignant growth just as the field is immense.
14. Nervous system specialist: As the name proposes, a nervous system specialist is answerable for treating and diagnosing issues of the sensory system. Our sensory system incorporates our cerebrum, spinal line, tangible organs, and every one of the nerves.
15. Cardiothoracic specialist: Thorax implies the chest. A cardiothoracic specialist treats states of the heart, lungs, throat, and different organs in the chest.
Doctors in Gurgaon have every one of the kinds of specialists who are expertly prepared. Doctors in Gurgaon are exceptionally prepared experts who have acquired their polished methodology with long periods of training and treating various patients.
A tangible history of 20th century American aviation, all within a few hundred yards of each other, including an Alaska DC-3 (NC91008) and B-17F. Paine Field.
All of 'em together, outdoors, in the daylight where they belong, imo. Not to mention the tactile connection with their line builders - I revere those folks, past and present - when you could press your hand against the aircraft underbellies. Yeppers, almost a religious experience.
HKFP: Thousands gathered at Edinburgh Place on Wednesday evening calling on G20 countries to raise concerns about Hong Kong at the leaders’ summit on Friday, hours after staging a mass march to foreign consulates to lobby country representatives directly.
Crowds wearing all-black spilt out of the public square, many holding signs that read “Free Hong Kong” and “Democracy Now.”
Organisers, the Civil Human Rights Front (CHRF), issued a statement urging a withdrawal of the government’s suspended extradition bill.
“If you believe in values like democracy, freedom, human rights and the rule of law like we do, please, we urge all of you to voice out during the G20 summit, and defend our rights together with Hong Kong people,” it read.
The pro-democracy coalition have led millions on marches over recent weeks against the bill, as demands have evolved into calling for universal suffrage ahead of the July 1 pro-democracy rally.
CHRF manifesto :
"Withdraw the Extradition Bill! Free Hong Kong!
A time when democracy and freedom are universal values that are inviolable.
Hong Kong people had urged for democratisation for over 30 years. When Hong Kong was handed over to China since 1997, as written in the Sino-British Joint Declaration, China promised that Hong Kong can enjoy One Country Two Systems and a high degree of autonomy. The Basic Law also promised universal suffrage to be implemented in the year of 2007 to 2008. But China broke these promises, and gradually intervened deeply in Hong Kong’s internal affairs.
Hong Kong people have always insisted on having universal suffrage – to let Hong Kong people rule Hong Kong. Unfortunately, we seem to be further and further away from genuine democracy. In merely 22 years after the hand-over, the One Country Two Systems principle barely survives. During the [legislative] process of the “Extradition Bill”, the Hong Kong Liaison Office blatantly intervened in Hong Kong’s internal affairs and scrapped the promises of [a] high degree of autonomy.
This year, the government decided to put the Extradition Bill through Legislative Council, in order to make all people in Hong Kong, including local citizens and expats, to be potentially extradited to China, or to countries which have less protection on human rights and the rule of law. This will destroy existing protection on human rights and the rule of law in Hong Kong and will crack down the last defence to freedom and safety.
In our current political system, Hong Kong does not have genuine democracy. To stop this evil law from passing, 1.03 million followed by 2 million Hongkongers courageously took to the streets in the past two weeks. Some were even cracked down by the police with excessive, disproportionate force and lethal weapons. But the government only gave a shallow apology, without making any tangible changes.
As world leaders meet at the G20 summit, Hong Kong citizens now sincerely urge all of you, including Xi Jinping, to answer our humble questions: Does Hong Kong deserve democracy? Should Hong Kong people enjoy democracy? Can [a] democratic system be implemented in Hong Kong now?
Dear friends from around the world. I believe you have seen through media and the Internet, that Hongkongers spared no efforts to safeguard our freedom. Please bear in mind: if the Extradition Bill passes, when you come to Hong Kong to travel, study or for business, you may face unfair trials. If you believe in values like democracy, freedom, human rights and the rule of law like we do, please, we urge all of you to voice out, during the G20 summit and defend our rights together with Hong Kong people."
www.hongkongfp.com/2019/06/26/democracy-now-hundreds-gath...
民陣昨晚在中環愛丁堡廣場舉行集會，有數以千計市民出席，大會以英語、普通話、日語等，呼籲包括國家主席習近平等各國領袖關注香港情况，集會人群擠滿愛丁堡廣場，更擠出大會堂對出的龍和道，警員需封閉東西行車線。
Theophany (Ancient Greek: θεοφάνεια, romanized: theopháneia, lit. 'appearance of a deity'[1]) is an encounter with a deity that manifests in an observable and tangible form.[2][3][4] It is often confused with other types of encounters with a deity, but these interactions are not considered theophanies unless the deity reveals itself in a visible form. Traditionally, the term "theophany" was used to refer to appearances of the gods in ancient Greek and Near Eastern religions. While the Iliad is the earliest source for descriptions of theophanies in classical antiquity, the first description appears in the Epic of Gilgamesh.[5]
Ancient Greek religion
See also: Epiphany (Ancient Greece)
In Greek religion, there are a few instances of theophany. In historic times, theophanies were rare, but divine or heroic epiphanies were experienced either through dreams or waking visions. Theophanies were reenacted at a number of Greek sites and festivals. At Delphi, the Theophania (Θεοφάνια) was an annual festival in spring celebrating the return of Apollo from his winter quarters in Hyperborea. The culmination of the festival was a display of an image of the gods, usually hidden in the sanctuary, to worshippers.
Hinduism
The most well-known theophany is in the Bhagavad Gita, one chapter of the larger epic of Mahabharata. On the battlefield of Kurukshetra, the god Krishna gives the famed warrior Arjuna a series of teachings. Arjuna begs for Krishna to reveal his "universal form." Krishna complies and gives Arjuna the spiritual vision, enabling him to see Krishna in the universal form.
A number of other theophanies are described in the Mahabharata.[6] First, the god Indra's appearance to Kunti, with the subsequent birth of the hero Arjuna.[7][8] Near the end of the epic, the god Yama takes the form of a dog to test the compassion of Yudhishthira. Even though Yudhishthira is told he may not enter paradise with such an animal, he refuses to abandon his companion, earning him praise from Dharma.[9]
Christianity
See also: Christophany
Christians generally recognize the same Old Testament theophanies as the Jews.[10][11] In addition, there are at least two events seen as theophanies mentioned in the New Testament, the baptism and transfiguration of Jesus (epiphanies).[12][3][13] While some Eastern Orthodox Churches refer to the baptism of Jesus by John the Baptist as "theophany",[14] some theologians discourage such usage, arguing that the entire life of Jesus must be seen as a prolonged theophany.[3]
Traditional analysis of the Biblical passages led Christian scholars to understand theophany as an unambiguous manifestation of God to man.[15] Otherwise, the more general term hierophany is used.[16]
Evangelical Christianity
Some modern evangelical Christian Bible commentators, such as Ron Rhodes, interpret "the angel of the Lord", who appears in several places throughout the Old Testament, to be the pre-incarnate Christ, which is Jesus before his manifestation into human form, as described in the New Testament. Adaptions to his hypothesis in current evangelical research and intercollegiate debate describe these manifestations as the post-incarnate Christ (yet to be published), as though in being a divine human capable of time travel He could foretell his later incarnation as having already lived it.[17] The term Christophany has also been coined to identify post-incarnate appearances of Christ in both the Old and New Testaments. 1 Peter 4 (v.6) allows for the interpretation that on the Son's Father-Spirit (as the third member of the trinity fulfilling the unity of various persons as Christ is crowned King of Kings) and being conferred from the cross with the words, "Eloi, Eloi! Lama Sabachtani", was thereby born or separated as the timeless Word (or angel) of God (John 1 and 5) with the character and memory of Christ, even giving permission for creation "Let there be.." (Genesis 1) . This also has been the traditional interpretation of the earliest Church Fathers as well as the apostle Paul himself, who identifies the rock that was with Moses in the desert, and the speaking burning bush, as being Christ. For a more thorough list of "God Sightings", or Theophanies, see the examples above under "Judaism, Hebrew Bible."
Latter Day Saint movement
Main article: First Vision
Joseph Smith, the prophet and founder of the Latter Day Saint movement, said that when he was 14 years old he was visited by God the Father and Jesus Christ in a grove of trees near his house, a Theophany in answer to his spoken prayer. [18] This "First Vision" is considered to be the founding event of the Latter Day Saint movement.[19] The Book of Mormon describes other hierophanies and Theophanies that occurred in the new world.[20]
For example, Blake Ostler analysed the Throne-Theophany of Lehi in the First Book of Nephi and concluded that the Theophanies in the Bible and the Book of Mormon have much in common.[21]
And being thus overcome with the Spirit, he was carried away in a Vision, even that he saw the Heavens open, and he thought he saw God sitting upon his Throne, surrounded with numberless concourses of angels in the attitude of singing and praising their God. And it came to pass that he saw One descending out of the midst of Heaven, and he beheld that his luster was above that of the sun at noon-day. And he also saw twelve others following him, and their brightness did exceed that of the stars in the firmament. And they came down and went forth upon the face of the earth; and the first came and stood before my father, and gave unto him a book, and bade him that he should read.[22]
Islam
The most important theophany in Islam is the Mi'raj, the Prophet's ascent into Heaven. He speaks to the Holy Spirit (Gabriel), sometimes called "a night journey from Mecca through Jerusalem."[23][24]
Druze Faith
Hamza ibn Ali ibn Ahmad is considered the founder of the Druze and the primary author of the Druze manuscripts,[25] he proclaimed that God had become human and taken the form of man, al-Hakim bi-Amr Allah.[26][27][28][29][30] al-Hakim bi-Amr Allah is an important figure in the Druze faith whose eponymous founder ad-Darazi proclaimed him as the incarnation of God in 1018.[26][27]
Baháʼí Faith
Main article: Manifestation of God (Baháʼí Faith)
The Baháʼí Faith believes that God is manifest in the prophets. The "Manifestation of God" is a concept that refers to prophets like Zoroaster, Gautama Buddha, Abraham, Moses, Jesus, Muhammad, the Báb, and Baháʼu'lláh.[31] The Manifestations of God are a series of personages who reflect the attributes of the divine in the human world, for the progress and advancement of human morals and civilization.[32]
In the 1914 publication titled The Reconciliation of Races and Religions, Thomas Kelly Cheyne, FBA (1841–1915), an ordained minister in the Church of England and Oxford University scholar, described Theophany within the context of the Baháʼí Faith.[33][34] Cheyne wrote, "...one feels that a Theology without a Theophany is both dry and difficult to defend. We want an avatar, i.e. a 'descent' of God in human form".[34]
A 1991 article in the Journal of Bahá’í Studies (JBS), described "Bahá’í theophanology" as "acceptance of the Prophet, or 'Manifestation of God,' who speaks on behalf of God."[35] The author explained that Bahá’u’lláh wrote a series of epistles in the 1860s to kings and rulers, including Pope Pius IX, Napoleon III, Tsar Alexander II of Russia, Queen Victoria, and Naser al-Din Shah Qajar, in a "forceful, theophanic voice" calling them to undertake reforms.[35] These letters were published in a compilation entitled Summons of the Lord of Hosts in 2002.[36] The JBS article described Bahá’u’lláh's "Theophanology" as "progressivist". He claimed "spiritual Authority" in these letters in which he warned western leaders of the dangers facing humanity should they choose to not act on His Guidance.[35]
Divine appearances to animals
Human religious lore includes ancient literary recordings of deities appearing to animals. Usually, the animals relay the experience to humans using human speech:
In numerous creation stories, a deity or deities speak with many kinds of animals, often prior to the formation of dry land on earth.[37]
In the Hindu Ramayana, the monkey leader Hanuman is informed by deities, and usually consciously addressed by them.[38]
In Chinese mythology, the Monkey King speaks with bodhisattvas, buddhas, and a host of Heavenly characters.[39]
Modern
Teofanía by Mexican artist Antonio García Vega
More recently, science fiction author Philip K. Dick reportedly had a Theophany on 3 February 1974,[40] which would become the basis for his semi-biographic works VALIS (1981) and Radio Free Albemuth (1985).[41][42]
In 1977, Michel Potay testified he witnessed five Theophanies. He published the text he says he received from God in "The Book", the second part of The Revelation of Ares.[citation needed]
There are a large number of modern cases which have been rendered into print, film, and otherwise conveyed to broad publics. Some cases have become popular books and media, including:
A Course in Miracles which is attested as divinely channeled[43]
The Attentive Heart: Conversations with Trees, in which the spirits contacted are resident in species that do not usually speak in the ordinary sense of human speech[44]
These instances are distinguished from cases in which divine encounters are explicitly considered fictional by the author, a frequent motif in speculative fiction such as in Julian May's Galactic Milieu Series.[45]
en.wikipedia.org/wiki/Theophany
Lent (Latin: Quadragesima,[1] 'Fortieth') is the solemn Christian religious observance in the liturgical year in preparation for Easter. It echoes the 40 days Jesus spent fasting in the desert and enduring temptation by Satan, according to the Gospels of Matthew, Mark and Luke, before beginning his public ministry.[2][3] Lent is usually observed in the Catholic, Lutheran, Moravian, Anglican, United Protestant and Orthodox Christian traditions, among others.[4][5][6][7] A number of Anabaptist, Baptist, Methodist, Reformed (including certain Continental Reformed, Presbyterian and Congregationalist churches), and nondenominational Christian churches also observe Lent, although many churches in these traditions do not.[8][9][10][11][12][13]
Which days are enumerated as being part of Lent differs between denominations (see below), although in all of them Lent is described as lasting for a total duration of 40 days, the number of days Jesus, as well as Moses and Elijah, went without food in their respective fasts.[14][15][16] In Lent-observing Western Christian denominations, Lent begins on Ash Wednesday and ends approximately six weeks later; depending on the Christian denomination and local custom, Lent concludes either on the evening of Maundy Thursday (Holy Thursday),[17] or at sundown on Holy Saturday, when the Easter Vigil is celebrated,[18] though in either case, Lenten fasting observances are maintained until the evening of Holy Saturday.[19] Sundays may or may not be excluded, depending on the denomination.[20] In Eastern Christianity – including Eastern Orthodox, Eastern Catholics, Eastern Lutherans, and Oriental Orthodox – Great Lent is observed continuously without interruption for 40 days starting on Clean Monday and ending on Lazarus Saturday before Holy Week.[21][6]
Lent is a period of repentance that necessarily ends with a great celebration of Easter. Thus, it is known in Eastern Orthodox circles as the season of "bright sadness" (Greek: χαρμολύπη, romanized: charmolypê).[22] The purpose of Lent is the preparation of the believer for Easter through prayer, fasting, and almsgiving (the three pillars of Lent),[23] as well as mortifying the flesh, repentance of sins, simple living, and self-denial.[24] In Lent, many Christians commit to fasting, as well as giving up certain luxuries in imitation of Christ's sacrifice during his journey into the desert for 40 days;[25][26][27] this is known as one's Lenten sacrifice.[28] Prior to the 6th century, Lent was normatively observed through the practice of the Black Fast, which enjoins fasting from food and liquids, with the allowance of one vegetarian meal after sunset.[29][30][31] This form of fasting continues in certain denominations, such as the Coptic Orthodox Church.[32]
Many Lent-observing Christians also add a Lenten spiritual discipline, such as reading a daily devotional or praying through a Lenten calendar, to draw themselves near to God.[33][34] Often observed (especially on Fridays) are the Stations of the Cross, a devotional commemoration of Christ's carrying the Cross and crucifixion. Many churches remove flowers from their altars and veil crucifixes, religious statues that show the triumphant Christ, and other elaborate religious symbols in violet fabrics in solemn observance of the event. The custom of veiling is typically practiced the last two weeks, beginning on the fifth Sunday of Lent (known as Judica Sunday or Passion Sunday) until Good Friday, when the cross is unveiled solemnly in the liturgy.
In most Lent-observing denominations, the last week of Lent is known as Holy Week, which begins with Palm Sunday. Following the New Testament narrative, Jesus' crucifixion is commemorated on Good Friday, and at the beginning of the next week the joyful celebration of Easter, the start of the Easter season, which recalls the Resurrection of Jesus. In some Christian denominations, Maundy Thursday, Good Friday, and Holy Saturday form the Easter Triduum.[35]
Etymology
Lent observers, including a confraternity of penitents, carrying out a street procession during Holy Week, in Granada, Nicaragua. The violet color is often associated with penance and detachment. Similar Christian penitential practice is seen in other Christian countries, sometimes associated with fasting.[36]
The English word Lent is a shortened form of the Old English word lencten, meaning "spring season", as its Dutch language cognate lente (Old Dutch lentin)[37] still does today. A dated term in German, Lenz (Old High German lenzo), is also related. According to the Oxford English Dictionary, 'the shorter form (? Old Germanic type *laŋgito- , *laŋgiton-) seems to be a derivative of *laŋgo- long […] and may possibly have reference to the lengthening of the days as characterizing the season of spring'. The origin of the -en element is less clear: it may simply be a suffix, or lencten may originally have been a compound of *laŋgo- 'long' and an otherwise little-attested word *-tino, meaning "day".[26]
In languages spoken where Christianity was earlier established, such as Greek and Latin, the term signifies the period dating from the 40th weekday before Easter. In modern Greek the term is Σαρακοστή (Sarakostí), derived from the earlier Τεσσαρακοστή (Tessarakostí), meaning "fortieth". The corresponding word in Latin, quadragesima ("fortieth"), is the origin of the terms used in Latin-derived languages and in some others.
Examples in the Romance language group are: Catalan quaresma, French carême, Galician coresma, Italian quaresima, Occitan quaresma, Portuguese quaresma, Romanian păresimi, Sardinian caresima, Spanish cuaresma, and Walloon cwareme.[1] Examples in non-Latin-based languages are: Albanian kreshma, Basque garizuma, Croatian korizma, Irish and Scottish Gaelic carghas, Swahili kwaresima, Filipino kuwaresma, and Welsh c(a)rawys.[citation needed]
In other languages, the name used refers to the activity associated with the season. Thus it is called "fasting period" in Czech (postní doba), German (Fastenzeit), and Norwegian (fasten/fastetid), and it is called "The Great Fast" in Arabic (الصوم الكبير – al-ṣawm al-kabīr), Syriac (ܨܘܡܐ ܪܒܐ ṣawmā rabbā), Polish (wielki post), Russian (великий пост – vieliki post), Ukrainian (великий піст – velyky pist), and Hungarian (nagyböjt). Romanian, apart from a version based on the Latin term referring to the 40 days (see above), also has a "great fast" version: postul mare. Dutch has three options, one of which means fasting period, and the other two referring to the 40-day period indicated in the Latin term: vastentijd, veertigdagentijd and quadragesima, respectively.[1] In India, it is called चरम चालीसा (Charam Chalisa - meaning, "climax forty"). In Maltese, despite being a descendant of Arabic, the term Randan is used, which is distinctive when compared to the dialects of Arabic. Despite the centuries of Catholic influences, the term remains unchanged since the Arab occupation of Malta.
Origin
The pattern of fasting and praying for 40 days is seen in the Christian Bible, on which basis the liturgical season of Lent was established.[14][38] In the Old Testament, the prophet Moses went into the mountains for 40 days and 40 nights to pray and fast "without eating bread or drinking water" before receiving the Ten Commandments (cf. Exodus 34:28).[38] Likewise, the prophet Elijah went into the mountains for 40 days and nights to fast and pray "until he reached Horeb, the mountain of God" when "the word of the Lord came to him" (cf. 1 Kings 19:8–9).[38] The early Christian bishop Maximus of Turin wrote that as Elijah by "fasting continuously for a period of forty days and forty nights...merited to extinguish the prolonged and severe dryness of the whole world, doing so with a stream of rain and steeping the earth's dryness with the bounty of water from heaven", in the Christian tradition, this is interpreted as being "a figure of ourselves so that we, also fasting a total of forty days, might merit the spiritual rain of baptism...[and] a shower from heaven might pour down upon the dry earth of the whole world, and the abundant waters of the saving bath might saturate the lengthy drought of the Gentiles."[15] In the New Testament, Jesus went into the desert to fast and pray for 40 days and 40 nights; it was during this time that Satan tried to tempt him (cf. Matthew 4:1–3).[38] The 40-day and night fasts of Moses, Elijah, and Jesus prepared them for their work.[14]
Early Christianity records the tradition of fasting before Easter.[39] For the meal of the day consumed after sunset (when the fast is broken), the Apostolic Constitutions permit the consumption of "bread, vegetables, salt and water, in Lent" with "flesh and wine being forbidden."[39] The Canons of Hippolytus authorize only bread and salt to be consumed during Holy Week.[39] The practice of fasting and abstaining from alcohol, meat and lacticinia during Lent thus became established in the Church.[39]
In AD 339, Athanasius of Alexandria wrote that the Lenten fast was a 40-day fast that "the entire world" observed.[40] Saint Augustine of Hippo (AD 354–AD 430) wrote that: "Our fast at any other time is voluntary; but during Lent, we sin if we do not fast."[41] Church Father John Chrysostom (A.D. 347–407) stated that the early Christians did not consume meat for the whole duration of Lent.[39]
Three main prevailing theories exist on the finalization of Lent as a 40-day fast prior to the arrival of Easter Sunday: First, that it was created at the Council of Nicea in 325 and there is no earlier incarnation. Second, that it is based on an Egyptian Christian post-theophany fast. Third, a combination of origins syncretized around the Council of Nicea.[42] There are early references to periods of fasting prior to baptism. For instance, the Didache, a 1st or 2nd-century Christian text, commends "the baptizer, the one to be baptized, and any others that are able" to fast to prepare for the sacrament.[43]
For centuries it has been common practice for baptisms to take place on Easter, and so such references were formerly taken to be references to a pre-Easter fast. Tertullian, in his 3rd-century work On Baptism, indicates that Easter was a "most solemn day for baptism." However, he is one of only a handful of writers in the ante-Nicene period who indicates this preference, and even he says that Easter was by no means the only favored day for baptisms in his locale.[44]
Since the 20th century, scholars have acknowledged that Easter was not the standard day for baptisms in the early church, and references to pre-baptismal periods of fasting were not necessarily connected with Easter. There were shorter periods of fasting observed in the pre-Nicene church (Athanasius noted that the 4th-century Alexandrian church observed a period of fasting before Pascha [Easter]).[42] However it is known that the 40-day period of fasting – the season later named Lent – before Eastertide was clarified at the Nicene Council.[45] In 363-64 AD, the Council of Laodicea prescribed the Lenten fast as "of strict necessity".[40]
Date and duration
Some named days and day ranges around Lent and Easter in Western Christianity, with the fasting days of Lent numbered
The 40 days of Lent are calculated differently among the various Christian denominations that observe it, depending on how the date of Easter is calculated, but also on which days Lent is understood to begin and end, and on whether all the days of Lent are counted consecutively. Additionally, the date of Lent may depend on the calendar used by the particular church, such as the (revised) Julian or Gregorian calendars typically used by Catholic, Eastern Orthodox, and Protestant churches, or the Ethiopian and Coptic calendars traditionally used by some Oriental Orthodox churches.
Roman Catholic Church
Since 1970, in the Roman Rite Lent starts on Ash Wednesday and ends on the evening of Holy Thursday with the Mass of the Lord's Supper. This comprises a period of 44 days. Historically, the fasting and abstinence were enjoined during the weekdays of Lent and with Sundays being days of abstinence;[20] the obligations of the Lenten fast continue through Good Friday and Holy Saturday, totaling 40 days (with the Eucharistic Fast applying as well).[46][47] Although Lent formally ends on Holy Thursday, Lenten fasting practices continue until the Easter Vigil and additionally, the celebration of Easter is preceded by the Paschal fast.[19][48]
In the Ambrosian Rite, Lent begins on the Sunday that follows what is celebrated as Ash Wednesday in the rest of the Latin Catholic Church, and ends as in the Roman Rite, thus being of 40 days, counting the Sundays but not Holy Thursday. The day for beginning the Lenten fast in the Ambrosian Rite is the Monday after Ash Wednesday. The special Ash Wednesday fast is transferred to the first Friday of the Ambrosian Lent. Until this rite was revised by Saint Charles Borromeo, the liturgy of the First Sunday of Lent was festive, celebrated in white vestments with chanting of the Gloria in Excelsis and Alleluia, in line with the recommendation in Matthew 6:16, "When you fast, do not look gloomy."[49][50][51]
During Lent, the Church discourages marriages, but couples may marry if they forgo the special blessings of the Nuptial Mass and limit social celebrations.[52]
The period of Lent observed in the Eastern Catholic Churches corresponds to that in other churches of Eastern Christianity that have similar traditions.
Protestantism and Western Orthodoxy
In Western traditions, the liturgical colour of the season of Lent is violet. Altar crosses and religious statuary which show Christ in his glory are traditionally veiled during this period in the Christian year.
In Protestant and Western Orthodox Churches that celebrate it, the season of Lent lasts from Ash Wednesday to the evening of Holy Saturday.[6][53] This calculation makes Lent last 46 days if the 6 Sundays are included, but only 40 days if they are excluded.[54] This definition is still that of the Moravian Church,[55] Lutheran Church,[56] Anglican Church,[57] Methodist Church,[18] Western Rite Orthodox Church,[58] United Protestant Churches,[59] and those of the Reformed Churches (i.e., Continental Reformed, Presbyterian, and Congregationalist) that observe Lent.[60][61] (In the Episcopal Church, the main U.S. branch of the Anglican Communion, the 1979 Book of Common Prayer identifies Holy Week--comprising Palm/Passion Sunday through Holy Saturday--as a separate season after Lent;[62] but the Days of Special Devotion, to be observed by special acts of discipline and self-denial, include the weekdays of, but not the Sundays in, both Lent and Holy Week,[63] so the practical effect is the same as the traditional 40-day calculation.)
Eastern Orthodoxy and Byzantine Rite
Main article: Great Lent
In the Byzantine Rite, i.e., the Eastern Orthodox Great Lent (Greek: Μεγάλη Τεσσαρακοστή or Μεγάλη Νηστεία, meaning "Great 40 Days" and "Great Fast" respectively) is the most important fasting season in the church year.[64]
The 40 days of Great Lent include Sundays, and begin on Clean Monday. The 40 days are immediately followed by what are considered distinct periods of fasting, Lazarus Saturday and Palm Sunday, which in turn are followed straightway by Holy Week. Great Lent is broken only after the Paschal (Easter) Divine Liturgy.
The Eastern Orthodox Church maintains the traditional Church's teaching on fasting. The rules for lenten fasting are the monastic rules. Fasting in the Orthodox Church is more than simply abstaining from certain foods. During the Great Lent Orthodox Faithful intensify their prayers and spiritual exercises, go to church services more often, study the Scriptures and the works of the Church Fathers in depth, limit their entertainment and spendings and focus on charity and good works.
Some other churches that follow the Byzantine Rite, including certain Eastern Catholic and Eastern Lutheran denominations have similar practices as those of Eastern Orthodoxy.
Oriental Orthodoxy
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Further information: Fasting in the Coptic Orthodox Church
Among the Oriental Orthodox, there are various local traditions regarding Lent. Those using the Alexandrian Rite, i.e., the Coptic Orthodox, Coptic Catholic, Ethiopian Orthodox, Ethiopian Catholic, Eritrean Orthodox, and Eritrean Catholic Churches, observe eight continuous weeks of fasting constituting three distinct consecutive fasting periods:
a Pre-Lenten fast in preparation for Great Lent
Great Lent itself
the Paschal fast during Holy Week which immediately follows Lent
As in the Eastern Orthodox Churches, the date of Easter is typically reckoned according to the Julian calendar, and usually occurs later than Easter according to Gregorian calendar used by Catholic and Protestant Churches.
Ethiopian Orthodoxy
Further information: Fasting in the Ethiopian Orthodox Church
In Ethiopian Orthodoxy, fasting (tsome) lasts for 55 continuous days before Easter (Fasika), although the fast is divided into three separate periods: Tsome Hirkal, the eight-day Fast of Heraclius, commemorating the fast requested by the Byzantine Emperor Heraclius before he reputedly set out to fight the Sassanian Empire and recover the True Cross which had been seized and taken from Jerusalem; Tsome Arba, 40 days of Lent; and Tsome Himamat, seven days commemorating Holy Week.[65][66][67] Fasting involves abstention from animal products (meat, dairy, and eggs), and refraining from eating or drinking before 3:00 pm.[65] Ethiopian devotees may also abstain from sexual activity and the consumption of alcohol.[65]
Quartodecimanism
Quartodeciman Christians end the fast of Lent on the Paschal full moon of the Hebrew calendar, in order to celebrate the Feast of Unleavened Bread beginning on the 14th of Nisan, whence the name derives. For this practice, they were excommunicated in the Easter controversy of the 2nd century A.D.
Associated customs
In many Christian countries, religious processions during the season of Lent are often accompanied by a military escort both for security and parade. Ceuta, Spain
Three traditional practices to be taken up with renewed vigour during Lent; these are known as the three pillars of Lent:[68]
prayer (justice toward God)
fasting (justice toward self)
almsgiving (justice toward neighbours)
Self-reflection, simplicity, and sincerity (honesty) are emphasised during the Lenten season.[24]
Pre-Lenten observances
Main articles: Pre-Lent and Carnival
During pre-Lent, it is customary for Christians to ponder what Lenten sacrifices they will make for Lent.[69]
The pre-Lenten period concludes with the opportunity for a last round of merrymaking, known as Carnival, Shrovetide, or Fastelavn, before the start of the sombre Lenten season. The traditions of carrying Shrovetide rods and consuming Shrovetide buns after attending church is celebrated.[70][71]
On the final day of the season, Shrove Tuesday or Mardi Gras, many traditional Christians, such as Catholics, Lutherans, Anglicans, and Methodists "make a special point of self-examination, of considering what wrongs they need to repent, and what amendments of life or areas of spiritual growth they especially need to ask God's help in dealing with."[72][73] During Shrovetide, many churches place a basket in the narthex to collect the previous year's Holy Week palm branches that were blessed and distributed during the Palm Sunday liturgies; on Shrove Tuesday, churches burn these palms to make the ashes used during the services held on the very next day, Ash Wednesday.[74]
In historically Lutheran nations, Shrovetide is known as Fastelavn. After attending the Mass on Shrove Sunday, congregants enjoy Shrovetide buns (fastelavnsboller), "round sweet buns that are covered with icing and filled with cream and/or jam."[70] Children often dress up and collect money from people while singing.[70] They also practice the tradition of hitting a barrel, which represents fighting Satan; after doing this, children enjoy the sweets inside the barrel.[70] Lutheran Christians in these nations carry Shrovetide rods (fastelavnsris), which "branches decorated with sweets, little presents, etc., that are used to decorate the home or give to children."[70]
In English-speaking countries such as the United Kingdom and Canada, the day before Lent is known as Shrove Tuesday, which is derived from the word shrive, meaning "to administer the sacrament of confession to; to absolve."[75] In these countries, pancakes are associated with Shrove Tuesday because they are a way to use up rich foods such as eggs, milk, and sugar – rich foods which are not eaten during the season.[76]
The Carnival celebrations which in many cultures traditionally precede Lent are seen as a last opportunity for excess before Lent begins. Some of the most famous are the Carnival of Barranquilla, the Carnival of Santa Cruz de Tenerife, the Carnival of Venice, Cologne Carnival, the New Orleans Mardi Gras, the Rio de Janeiro carnival, and the Trinidad and Tobago Carnival.[citation needed]
In stark contrast to traditions of merrymaking and feasting, Oriental Orthodox Churches practice a pre-Lenten fast in preparation for Lent which is immediately followed by the fast of Great Lent without interruption.
Fasting and Lenten sacrifice
Jesus Tempted in the Wilderness (Jésus tenté dans le désert), James Tissot, Brooklyn Museum
Main article: Lenten sacrifice
See also: Christian dietary laws
There are traditionally 40 days in Lent; these are marked by fasting, both from foods and festivities, and by other acts of penance. Fasting is maintained for all 40 days of Lent (regardless of how they are enumerated; see above). Historically, fasting and abstinence have been maintained continuously for the weekdays of the whole Lenten season, with Sundays being days of abstinence only.[20] The making of a Lenten sacrifice, in which Christians give up a personal pleasure for the duration of 40 days, is a traditional practice during Lent.[77]
During Shrovetide and especially on Shrove Tuesday, the day before the start of the Lenten season, many Christians finalize their decision with respect to what Lenten sacrifices they will make for Lent.[69] Examples include practicing vegetarianism and teetotalism during Lent as a Lenten sacrifice.[78][79] While making a Lenten sacrifice, it is customary to pray for strength to keep it; many often wish others for doing so as well, e.g. "May God bless your Lenten sacrifice."[80] In addition, some believers add a regular spiritual discipline, to bring them closer to God, such as reading a Lenten daily devotional.[33]
For Catholics, Lutherans, Moravians, Anglicans, United Protestants, and Lent-observing Methodists and Reformed Christians, the Lenten penitential season ends after the Easter Vigil Mass or Sunrise service. Orthodox Christians also break their fast after the Paschal Vigil, a service which starts around 11:00 pm on Holy Saturday, and which includes the Paschal celebration of the Divine Liturgy of St. John Chrysostom. At the end of the service, the priest blesses cheese, eggs, flesh meats, and other items that the faithful have been abstaining from for the duration of Great Lent.
Lenten traditions and liturgical practices are less common, less binding, and sometimes non-existent among some liberal and progressive Christians.[81] A greater emphasis on anticipation of Easter Sunday is often encouraged more than the penitence of Lent or Holy Week.[82]
Some Christians as well as secular groups also interpret the Lenten fast in a positive tone, not as renunciation but as contributing to causes such as environmental stewardship and improvement of health.[83][84] Even some atheists find value in the Christian tradition and observe Lent.[85]
Lenten Black Fast
Historically, using the early Christian form known as the Black Fast, the observant does not consume food for a whole day until the evening, and at sunset, Christians traditionally break the Lenten fast of that day with a vegetarian supper (no food or drink is consumed in a day apart from that in the Lenten supper).[31][86][29][30] In India and Pakistan, many Christians continue this practice of fasting until sunset on Ash Wednesday and Good Friday, with many fasting in this manner throughout the whole season of Lent.[87][88]
Daniel Fast
Christians of various traditions, including Catholics and Methodists, have voluntarily undertaken the Daniel Fast during the season of Lent, in which one abstains from "meat, fish, egg, dairy products, chocolates, ice creams, sugar, sweets, wine or any alcoholic beverages" (cf. Daniel 10:3).[89][90][91]
Lenten supper
After attending a worship service (often on Wednesday and Friday evenings), it is common for Christians of various denominations to conclude that day's Lenten fast together through a communal Lenten supper, which may be held in the church's parish hall. Lenten suppers ordinarily take place in the home setting during the 40 days of Lent during which a family (or individual) concludes that day's fast after a mealtime prayer.[92]
Abstinence from meat and animal products
Lenten suppers often consist of a vegetarian soup, bread, and water in order to maintain the season's focus on abstinence, sacrifice, and simplicity.
Fasting has historically included abstinence from alcohol, meat, lacticinia (dairy products), and other edible produce derived from animals (such as eggs), which has been enjoined continuously for the whole duration of the season including Sundays.[93][39] Church Father John Chrysostom stated that the early Christians did not consume meat for the whole duration of Lent.[39] Throughout Christendom, some adherents continue to mark the season with a traditional abstention from the consumption of meat (vegetarianism), most notably among Catholics, Lutherans, and Anglicans.[94][95] The form of abstention may vary depending on what is customary; some abstain from meat for 40 days, some do so only on Fridays, or some only on Good Friday itself.[94][32]
In Catholicism, lacticinia may be consumed by penitents in Spain and its colonised territories, per a pontifical decree of Pope Alexander VI. Until 1741, meat and lacticinia were otherwise forbidden for the whole season of Lent, including Sundays. In that year, Pope Benedict XIV allowed for the consumption of meat and lacticinia during certain fasting days of Lent.[96]
Abstinence from alcohol during the season of Lent has traditionally been enjoined "in remembrance of the Sacred Thirst of Our Lord on the Cross."[39][97][98]
Dispensations for the allowance of certain foods have been given throughout history, depending on the climate in that part of the world. For example, Giraldus Cambrensis, in his Itinerary of Archbishop Baldwin through Wales, reports that "in Germany and the arctic regions", "great and religious persons" eat the tail of beavers as "fish" because of its superficial resemblance to "both the taste and colour of fish." The animal was very abundant in Wales at the time.[99] Saint Thomas Aquinas allowed for the consumption of sweetened foods during Lent, because "sugared spices", such as comfits, were, in his opinion, digestive aids on par with medicine rather than food.[100]
Fasting practices are considerably relaxed in Western societies today, though in the Eastern Orthodox, Oriental Orthodox, Eastern Catholic, and Eastern Lutheran Churches abstinence from all animal products including eggs, fish, fowl, and milk is still commonly practiced, so that, where this is observed, only vegetarian (or vegan) meals are consumed for the whole of Lent, 48 days in the Byzantine Rite. The Ethiopian Orthodox Church's practices require a fasting period that is a great deal longer, and there is some dispute over whether fish consumption is permissible.
In the traditions of Lent-observing Western Christian churches, abstinence from eating some form of food (generally meat, but not dairy or fish products) is distinguished from fasting. In principle, abstinence is to be observed in Western Christianity on Ash Wednesday and on every Friday of the year that is not a solemnity (a liturgical feast day of the highest rank); but in each country the episcopal conference can determine the form it is to take, perhaps replacing abstinence with other forms of penance.[101][102][103]
Sexual abstinence
The Coptic Orthodox Church, a denomination of Oriental Orthodox Christianity, teaches that during Lent believers "should refrain from physical relations to give themselves time for fasting and prayer (1 Corinthians 7:5)."[32] Also, the Eastern Orthodox Church enjoins abstinence from sexual relations during Lent.[104]
In Western Christianity, through the Middle Ages, Christians abstained from sexual relations during the whole of Lent.[105] In view of this, nine months after Lent, birth records were drastically low.[106] In Spain, according to researchers from the University of Valencia and the University of Alcalà, the custom of abstaining from sexual relations was widely practiced until the end of the Franco régime, though some Western Christians voluntarily continue this practice today.[107]
Specific fasting traditions by Christian denomination
Catholicism
Further information: Fasting in the Catholic Church
Prior to 1966, the Catholic Church allowed Catholics of fasting age to eat only one full meal a day throughout all forty days of Lent, except on the Lord's Day. Catholics were allowed to take a smaller meal, called a collation, which was introduced after the 14th century A.D., and a cup of some beverage, accompanied by a little bread, in the morning.[108] The 1917 Code of Canon Law allowed the full meal on a fasting day to be taken at any hour and to be supplemented by two collations, with the quantity and the quality of the food to be determined by local custom. Abstinence from meat was to be observed on Ash Wednesday and on Fridays and Saturdays in Lent.[109]
The Lenten fast ended on Holy Saturday at noon. Only those aged 21 to 59 were obliged to fast. As with all ecclesiastical laws, particular difficulties, such as strenuous work or illness, excused one from observance, and a dispensation from the law could be granted by a bishop or parish priest.[110] A rule of thumb is that the two collations should not add up to the equivalent of another full meal. Rather portions were to be: "sufficient to sustain strength, but not sufficient to satisfy hunger."[111]
In 1966, Pope Paul VI reduced the obligatory fasting days from all forty days of Lent to Ash Wednesday and Good Friday, abstinence days to Fridays and Ash Wednesday, and allowed episcopal conferences to replace abstinence and fasting with other forms of penitence such as charity and piety, as declared and established in his apostolic constitution Paenitemini; fasting on all forty days of Lent is still "strongly recommended", though not under pain of mortal sin.[112] This was done so that those in countries where the standard of living is lower can replace fasting with prayer, but "…where economic well-being is greater, so much more will the witness of asceticism have to be given…"[113]
This was made part of the 1983 Code of Canon Law, which made obligatory fasting for those aged between 18 and 59, and abstinence for those aged 14 and upward.[101] The Irish Catholic Bishops' Conference decided to allow other forms of Friday penance to replace that of abstinence from meat, whether in Lent or outside Lent, suggesting alternatives such as abstaining from some other food, or from alcohol or smoking; making a special effort at participating in family prayer or in Mass; making the Stations of the Cross; or helping the poor, sick, old, or lonely.[114]
The Catholic Bishops' Conference of England and Wales made a similar ruling in 1985[115] but decided in 2011 to restore the traditional year-round Friday abstinence from meat.[116] The United States Conference of Catholic Bishops has maintained the rule of abstention from meat on Friday only during Lent and considers poultry to be a type of meat but not fish or shellfish.[117][118]
The Congregation of Mary Immaculate Queen (CMRI), a Sedevacantist Catholic congregation, requires fasting for its members on all of the forty days of the Christian season of repentance, Lent (except on the Lord's Day). The CMRI mandates under the pain of grave sin, abstinence from meat on Ash Wednesday, Good Friday, Holy Saturday and all Fridays of the year in general.[119]
Even during Lent, the rule about solemnities holds, so that the obligation of Friday abstinence does not apply on 19 and 25 March when, as usually happens, the solemnities of Saint Joseph and the Annunciation are celebrated on those dates. The same applies to Saint Patrick's Day, which is a solemnity in the whole of Ireland as well as in dioceses that have Saint Patrick as their principal patron saint. In some other places, too, where there are strong Irish traditions within the Catholic community, a dispensation is granted for that day.[120] In Hong Kong, where Ash Wednesday often coincides with Chinese New Year celebrations, a dispensation is then granted from the laws of fast and abstinence, and the faithful are exhorted to use some other form of penance.[121]
Lutheranism
Following the birth of Lutheranism in the Protestant Reformation, Lutheran church orders in the 16th century "retained the observation of the Lenten fast, and Lutherans have observed this season with a serene, earnest attitude."[122] Many Lutheran churches advocate fasting during Lent,[27][123] especially on Ash Wednesday and Good Friday.[124][27][125][126] A Handbook for the Discipline of Lent published by the Evangelical Lutheran Church in America, a mainline Lutheran denomination, offers a number of guidelines for fasting, abstinence, and other forms of self-denial during Lent:[94]
Fast on Ash Wednesday and Good Friday with only one simple meal during the day, usually without meat.
Refrain from eating meat (bloody foods) on all Fridays in Lent, substituting fish for example.
Eliminate a food or food group for the entire season. Especially consider saving rich and fatty foods for Easter.
Consider not eating before receiving Communion in Lent.
Abstain from or limit a favorite activity (television, movies etc.) for the entire season, and spend more time in prayer, Bible study, and reading devotional material.
Don't just give up something that you have to give up for your doctor or diet anyway. Make your fast a voluntary self-denial (i.e. discipline) that you offer to God in prayer.[94]
The Lutheran Church–Missouri Synod, a confessional Lutheran denomination, likewise encourages (but does not require) members to give things up for Lent, while emphasizing that the purpose of Lent is repentance from sin rather than minor acts of self-denial in themselves.[127][128]
Moravianism
Members of the Moravian Church voluntarily fast during the season of Lent, along with making a Lenten sacrifice for the season as a form of penitence.[129]
Reformed
John Calvin, the principal figure in the development of Reformed theology, critiqued the practice of Lent in his Institutes of the Christian Religion as a "superstitious observance," and observed that "Christ did not fast repeatedly (which he must have done had he meant to lay down a law for an anniversary fast), but once only, when preparing for the promulgation of the gospel."[130] Similarly, leading Reformed divines such as Samuel Rutherford rejected the obligation of Lent.[131]
The Directory for Public Worship produced by the Westminster Assembly in 1644 and approved by the Scottish Parliament in 1645 takes the position that "[t]here is no day commanded in scripture to be kept holy under the gospel but the Lord's day, which is the Christian Sabbath," and approves of fasting specifically "upon special emergent occasions" (cf. days of humiliation and thanksgiving).[132] Accordingly, and in keeping with the Reformed regulative principle of worship, the Reformed churches have historically not observed Lent.[133]
Some churches in the Reformed tradition observe Lent today.[26] For example, the Reformed Church in America, a Mainline Protestant denomination, describes the first day of Lent, Ash Wednesday, as a day "focused on prayer, fasting, and repentance," encouraging members to "observe a Holy Lent, by self-examination and penitence, by prayer and fasting, by practicing works of love, and by reading and reflecting on God's Holy Word."[134] Among Reformed Christians who do observe Lent, Good Friday, which is towards the end of the Lenten season, is an important day of communal fasting, as it is for many Episcopalians, Lutherans, and Methodists.[135]
Anglicanism
The Book of Common Prayer (1662) of the Church of England designates "All the Fridays in the Year, except Christmas Day" as days of fasting and abstinence, alongside the forty days of Lent, the Ember Days, the Rogation Days, and the vigils of feast days.[136] Saint Augustine's Prayer Book, a companion to the Book of Common Prayer, states that fasting is "usually meaning not more than a light breakfast, one full meal, and one half meal, on the forty days of Lent."[95] It further states that "the major Fast Days of Ash Wednesday and Good Friday, as the American Prayer-Book indicates, are stricter in obligation, though not in observance, than the other Fast Days, and therefore should not be neglected except in cases of serious illness or other necessity of an absolute character."[137]
Methodism
The historic Methodist homilies regarding the Sermon on the Mount stress the importance of the Lenten fast, which begins on Ash Wednesday.[138] The United Methodist Church therefore states that:
There is a strong biblical base for fasting, particularly during the 40 days of Lent leading to the celebration of Easter. Jesus, as part of his spiritual preparation, went into the wilderness and fasted 40 days and 40 nights, according to the Gospels.[139]
Good Friday, which is towards the end of the Lenten season, is traditionally an important day of communal fasting for Methodists.[135] Rev. Jacqui King, the minister of Nu Faith Community United Methodist Church in Houston explained the philosophy of fasting during Lent as "I'm not skipping a meal because in place of that meal I'm actually dining with God."[140]
The United Methodist Church teaches, in reference to one's Lenten sacrifice, that "On each Lord's Day in Lent, while Lenten fasts continue, the reverent spirit of Lent is tempered with joyful anticipation of the Resurrection."[141]
The liturgical book The Sunday Service of the Methodists (put together by John Wesley), as well as the Directions Given to Band Societies (25 December 1744), mandate fasting and abstinence from meat on all Fridays of the year (except Christmas Day, if it falls on a Friday).[142][143]
Other related fasting periods
The season of Lent begins on Ash Wednesday, most notably by the public imposition of ashes. In this photograph, a woman receives a cross of ashes on Ash Wednesday outside an Anglican church.
A Lutheran pastor distributes ashes during the Divine Service on Ash Wednesday.
The number 40 has many Biblical references:
Moses spent 40 days on Mount Sinai with God[144]
Elijah spent 40 days and nights walking to Mount Horeb[145]
God sent 40 days and nights of rain in the great flood of Noah[146]
The Hebrew people wandered 40 years in the desert while traveling to the Promised Land[147]
Jonah's prophecy of judgment gave 40 days to the city of Nineveh in which to repent or be destroyed[148]
Jesus retreated into the wilderness, where He fasted for 40 days, and was tempted by the devil.[149] He overcame all three of Satan's temptations by citing scripture to the devil, at which point the devil left him, angels ministered to Jesus, and He began His ministry. Jesus further said that His disciples should fast "when the bridegroom shall be taken from them",[150] a reference to his Passion.
It is the traditional belief that Jesus lay for 40 hours in the tomb,[50] which led to the 40 hours of total fasting that preceded the Easter celebration in the early Church[151] (the biblical reference to 'three days in the tomb' is understood by them as spanning three days, from Friday afternoon to early Sunday morning, rather than three 24-hour periods of time). Some Christian denominations, such as The Way International and Logos Apostolic Church of God,[152] as well as Anglican scholar E. W. Bullinger in The Companion Bible, believe Christ was in the grave for a total of 72 hours, reflecting the type of Jonah in the belly of the whale.[153]
One of the most important ceremonies at Easter is the baptism of the initiates on Easter Eve. The fast was initially undertaken by the catechumens to prepare them for the reception of this sacrament. Later, the period of fasting from Good Friday until Easter Day was extended to six days, to correspond with the six weeks of training necessary to give the final instruction to those converts who were to be baptized.[citation needed]
Converts to Christianity followed a strict catechumenate or period of instruction and discipline prior to receiving the sacrament of baptism, sometimes lasting up to three years.[154] In Jerusalem near the close of the fourth century, classes were held throughout Lent for three hours each day. With the legalization of Christianity (by the Edict of Milan) and its later imposition as the state religion of the Roman Empire, its character was endangered by the great influx of new members. In response, the Lenten fast and practices of self-renunciation were required annually of all Christians, both to show solidarity with the catechumens, and for their own spiritual benefit.[citation needed]
Almsgiving
Almsgiving is one of the three pillars of Lent.[23] The money that would normally go towards a luxury (given up as a Lenten sacrifice during Lent), is donated at church as an offering towards helping the poor.[155]
Prayer and devotion
A common practice is the singing of the Stabat Mater hymn in designated groups. Among Filipino Catholics, the recitation of the epic of Christ' passion, called Pasiong Mahal, is also observed. In many Christian countries, grand religious processions and cultural customs are observed,[156] such as the Stations of the Cross.[157] A custom of visiting seven churches during Holy Week to pray the Stations of the Cross and praying at each church, exists and has been done in an ecumenical context, involving Christians of the Catholic, Methodist, Episcopal and Salvationist traditions, among others.[158]
Omission of Gloria and Alleluia
The Gloria in excelsis Deo, which is usually said or sung on Sundays at Mass (or Communion) of the Roman, Lutheran, Methodist, and Anglican rites, is omitted on the Sundays of Lent (as well as Sundays of Advent), but continues in use on solemnities and feasts and on special celebrations of a more solemn kind.[159][160] Some Mass compositions were written especially for Lent, such as Michael Haydn's Missa tempore Quadragesimae, without Gloria, in D minor, and for modest forces, only choir and organ. The Gloria is used on Maundy Thursday, to the accompaniment of bells, which then fall silent until the Gloria in excelsis of the Easter Vigil.[161]
The Lutheran Divine Service, the Roman Rite of the Catholic Church, the Anglican Churches, and the Presbyterian service of worship associate the Alleluia with joy and omit it entirely throughout Lent,[162][163] not only at Mass but also in the canonical hours and outside the liturgy. The word "Alleluia" at the beginning and end of the Acclamation Before the Gospel at Mass is replaced by another phrase.
Before 1970, the omission began with Septuagesima, and the whole Acclamation was omitted and was replaced by a Tract; and in the Liturgy of the Hours the word "Alleluia", normally added to the Gloria Patri at the beginning of each Hour – now simply omitted during Lent – was replaced by the phrase Laus tibi, Domine, rex aeternae gloriae (Praise to you, O Lord, king of eternal glory).
Until the Ambrosian Rite was revised by Saint Charles Borromeo the liturgy of the First Sunday of Lent was festive, celebrated with chanting of the Gloria and Alleluia, in line with the recommendation in Matthew 6:16, "When you fast, do not look gloomy."[49][50][51]
In the Byzantine Rite, the Gloria (Great Doxology) continues to be used in its normal place in the Matins service, and the Alleluia appears all the more frequently, replacing "God is the Lord" at Matins.
THE HISTORY OF PENA ADOBE
Lagoon Valley was settled by two friends, from New Mexico, along with their families. The only tangible reminder of their efforts is the adobe built by Juan Felipe Pena. The two Juans,
Juan Manuel Vaca and Juan Felipe Pena gathered their families and struck out for California in 1841. They left New Mexico, seeking the land of milk and honey. Juan Felipe brought his wife, Isabella Gonsalves and their six children. Juan Manuel had lost his wife in 1839.
The widower was accompanied by their eight children. The intrepid families followed the Old Spanish Trail that terminated at Pueblo de Los Angeles. Their arrival coincided with the visit to the area by Mariano Vallejo. Admiring of Pena’s and Vaca’s pluck, Vallejo told them of the fertile Lagoon Valley. He convinced them to trek a little further, where he would agree to grant them a vast amount of land if they fulfilled his requirement to build homes, plant trees and pasture livestock.
When the two Juans had satisfied Vallejo’s requirements, they were granted ten square leagues of the Rancho de Los Putos. Ten square leagues amounted to 44,384 acres. This huge territory encompassed all of Lagoon Valley and stretched into what is now, Yolo County. During the 1840s, both families engaged in cattle ranching. Hides and tallow were the principal source of trade and income. It has been speculated that they hauled the hides and tallow by ox-cart to landings along the sloughs of Suisun Bay. The families also engaged the few remaining Native Americans to serve as ranch hands, cowboys and servants. The Vaca’s and Pena’s cultivated orchards and gardens near their homes.
Those were tumultuous times in California history. In just five short years, after their arrival, the Bear Flag revolt occurred, in which Vallejo, his brother and their families were taken to Sutter’s Fort from Sonoma, as captives care of General Charles Fremont and Kit Carson. Many of the “Bear Flaggers” objected to the treatment by Fremont of the captives and made sure that the Vallejo families were accorded some protection on their way to John Sutter’s fort. One of the stops along the way was at Pena’s adobe, where they were treated with respect, “quantities of food and liquid refreshment.”
In 1847, Americans Albert Lyon, John Patton Sr. and Jr., along with J.P.Willis and Clay Long arrived in the Vaca Valley. In April 1849, Vaca agreed to sell a half league of land between Alamo and Ulatis creeks for eight thousand dollars to Albert Lyon and the Pattons. On August 21, 1850, Vaca deeded nine square miles to another new arrival, William McDaniel for three thousand dollars to establish the town of Vacaville.
The Vaca adobe “melted” away in the elements long ago. Pena and his family are believed to have hauled, by oxen or mule teams, from Napa, the redwood that was hand hewn for the joists that support the thatched roof and make up the
window and door lintels. The two feet thick adobe blocks were formed on site from our “famous” local clay soil, straw and water. Sometime around the 1880s, the adobe was modernized and enlarged by encasing the entire building in wood sheathing and frame extension.
The restored home and grounds are now a county park located just off of I-80 west of Vacaville, California.
An offering is something tangible, presented to appease the Gods in times of prayer. Philosophically, an offering is a sort of self sacrifice. One spends a significant amount of time and money in making an offering, putting something of oneself into it.
The most common form of offering that is seen everywhere in Bali on a daily basis is known as canang. It placed in temples, shrines and strategic locations of importance with a waft from a stick of incense and sprinkle of holy water. Shop keepers place this kind of flower offering in front of their stall upon opening up for trade and taxi drivers invariably have one on the dashboard of their vehicle.
As all offerings in Bali are made from natural things, canang is formed from a coconut palm leaf square basket filled with a slice of banana or sugar cane, a few grains of rice, a betel quid, vibrant hues of flowers and shredded leaf on top.
Taken at the Garrison district of Gdańsk-Wrzeszcz, Poland.
History:
The preserved and restored historic buildings are a tangible proof of the hundred years of the mysterious history of the area, at which the Garnizon district is located. This, covering almost 30 hectares in Gdansk Wrzeszcz, area for over a century was encircled with a wall hiding objects and military secrets. At the end of the nineteenth century began the implementation of the first barracks for the formation of the 1 and 2 Hussar Regiment of the Privy Guard of the Emperor William II, also known as the Black Hussars. The artistry of the old-time architects and builders can be admired today in the restored buildings at Grunwaldzka Avenue and ul. Słowackiego.
Establishment of the Free City of Gdansk with the Treaty of Versailles had a significant impact on the fate of this land. A demobilized Free Gdansk parted ways in 1925 with the military, and the place of colourful hussars in the barracks was taken by the Schutzpolizei (Protection Police) units of the Free City of Gdansk, which in the vicissitudes of history functioned here until the end of the World War II.
After 1945 the area was nationalized and taken over by the Polish People's Army stationed in various formations for more than 50 years. At the end of the twentieth century, it was decided to liquidate the military units and the garrison in Gdansk Wrzeszcz and the sale of the land. Thus, the objects hosting once the imperial family, princes, dignitaries and important persons of the twentieth century Europe passed into the history of the military and the City of Gdansk.
The new owner of the land in 2005 became the Hossa Investment Group SA, which recognizing the historical and traditional importance of the acquired area has prepared the concept of land for a new multi-functional district under the name of GARNIZON.
In creating this courageous urban vision, thanks to which the previously unavailable areas turn into a modern district, is evidently seen a desire to preserve the characteristic, referring to the former purpose, specific features and items that give the GARNIZON project a unique atmosphere of continuity of tradition and modernity.
Source: www.garnizon.pl/garrison/history.html
Polska wersja: www.garnizon.pl/garnizon/historia.html
Video Mapping Philipp Geist_Ano da Alemanha no Brasil - Cristo Redentor 2014
„VideoInstallation by Philipp Geist“, "Philipp Geist", „Copyright 2014 Philipp Geist / VG Bildkunst 2014", www.videogeist.de, mail@videogeist.de, „Rio de Janeiro“, "Santa Marta“, „Cristo Redentor“, „Dona Marta“, „Deutschland + Brasilien 2013-2014“, “Alemanha + Brasil 2013-2014”
Photo by Fred Pacífico
©2014 Philipp Geist / VG BIldkunst Bonn
Rio de Janeiro / Brazil 2014
Christ statue (Cristo Redentor) – May 12
Dona Marta favela – May 15 and 16,2014
Light Art-Video-Mapping-Installations Philipp Geist in Rio de Janeiro / Brazil 2014
on the Christ statue (Cristo Redentor) - May 12 and in the Dona Marta favela - May 15 and 16,
2014
Installation Philipp Geist Year of Germany in Brazil 2013/2014
Concept Time Drifts May 2014
At the end of the Year of Germany in Brazil 2013/2014, the artist Philipp Geist (Berlin, 1976)
develops two light installations in Rio this year; the first one on the world-famous Christ statue
(Cristo Redentor) and the other installation in the Santa Marta favela. For the installation the
artist presents artistic-liberal and poetic German and Brazilian themes and develops a building
and floor light installation of colored words and phrases in Portuguese, German, and in other
international languages. The installation deals with cultural characteristics and achievements of
both countries and visualizes the issues of time and space, volatility and presence in a free
artistic style. The two projects are in fact a double project which is combined. The installation
on the symbol of Rio and Brazil, the Christ statue, is recorded and projected onto the small
buildings and huts of the favela. The Christ statue, which has been built to protect the city and
the sailors, is symbolically projected on the shantytown, the favela, in a protective way. The
installation in the favela will be seen not only on a facade as a large cinema projection or as a
static image, but on several winding buildings, the roofs, the floor and on the steps. Thus, the
visitor becomes a part of the installation and can immerse into the projection and the light and
introduce himself. Chalk crayons are put out on the streets in the favela and the young and old
residents and visitors can write and paint words on the street, the ground, the stairs or even on
the house walls. The residents and several institutions should be addressed to submit words and
associations dealing with Rio, Brazil and Germany.
For the installation, which was shown at the Luminale in 2012, the artist Philipp Geist won the
German Lighting Design Award 2013 (Deutscher Lichtdesign-Preis 2013) in the category Light Art.
The series 'Time Drifts' is characterized by the complex and subtle way of visualizing various
currents and voices in cultural contexts and to provide institutions and visitors with the
opportunity of substantive participation: different personalities, visitors and institutions may be
addressed in advance and then contribute words and associations. Current and historico-cultural
topics are researched in advance by the artist and then integrated in a sensitive and subtle way.
The projection dismisses the use of screens, because concepts and associations are projected on
a large area onto the floor surface on several facades and in theater fog. Over the course of two
days, the installation can be seen on-site in the favela on May 15 and 16 and on the Cristo
Redentor on May 12 for a day.
Short, tall, young and old visitors can interactively participate in the installation by tracing and
adding words with colored chalk crayons available on the streets. Thus, over the period of the
installation, a carpet of words is evolved with terms that are contributed locally by the visitors
by means of the temporary and volatile 'medium' of chalk crayons. Philipp Geist develops in this
way a dialogue between the place, the visitors and his artistic work.
The concrete, tangible projection of the architecture and the static terms on the floor area
represents the facts and visible relics that are responsible for our understanding of history. The
transparent and volatile projection in the fog reminds us that part of the history can not be
preserved and that it is created in our individual imagination in a single moment. Words are
briefly visible as a metaphor for transience and then disappear again. This interplay of the
various text and image layers in the space refers to the location and the history/-ies of Brazil
and Germany and the cultural exchange between the two countries. The visitors themselves are
part of the installation: they dive into the large floor projection. In this way, different
perspectives and experiences of space are unified. Abstract passages which are created, then
overlapped and displaced by each other symbolize the constant changes in history, the passage
of time and the transience of existence. Even the understanding of the past is in the flux. The
modern writings and formations created on the computer establish a connection to the present
and the possibilities of today's technology and show that the perception of history and culture
depends always on the possibilities and constraints of the present.
'Time Drifts - Words of Berlin' is part of a series of installations, which has been shown in recent
years by Philipp Geist, and which are always re-developed site-specifically and adapted to the
local conditions: In October 2012, Philipp Geist showed the installation on the entire Potsdamer
Platz (public square) and the Kolhoff Tower and Renzo Piano Tower skyscrapers. In April 2012
the installation was shown at the Luminale in Frankfurt where it was seen by more than 40,000
visitors and thus the main project of the Luminale 2012. In 2011, Philipp Geist presented the
'Time Drifts' installation in Vancouver at the Jack Poole Plaza, as well as in Montreal on the
Place des Arts in 2010. The 'Timing' installation was shown at the 2009 Glow Festival in
Eindhoven. In the end of 2009, on the occasion of the birthday of the King of Thailand, 2-3
million visitors saw his facade installation at the royal throne in Bangkok. Other projects
include: 'Timelines' at the prestigious Pallazzio delle Esposizioni (Rome, 2007), 'Time Fades'
at the Cultural Forum of Berlin and 'Broken Time Lines' at the old spa Kurhaus Ahrenshoop
(Germany, 2008).
Geist's projects are primarily characterized by their complexity concerning the integration of
space, sound and motion images. His video mapping installations waive screens and transform a
wide range of architectures in moving, picturesque light sculptures which challenge the viewer's
perception of two- and three-dimensionality.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Arte de luz - Instalações de Mapeamento de Vídeo por Philipp Geist no Rio de Janeiro / Brasil
2014 no Cristo Redentor no dia 12 de maio e na favela Santa Marta nos dias 15 e 16 de maio de
2014
Instalação Philipp Geist Ano Alemanha + Brasil 2013/2014
Conceito Time Drifts Maio 2014
No final do ano Alemnaha + Brasil 2013/2014, o artista Philipp Geist (1976, Berlim) desenvolverá
duas instalações de luz no Rio; uma delas será exibida na mundialmente famosa estátua do
Cristo Redentor, e a outra na favela Santa Marta. Para a instalação, o artista traz temas teutobrasileiros
de maneira liberal-artística e poética desenvolvendo instalações de luz em edifícios e
no solo a partir de palavras e conceitos coloridos em Português, Alemão e em outros idiomas
internacionais. A instalação lida com as peculiaridades e realizações culturais de ambos os países
e visualiza as questões de tempo e espaço e de volatilidade e presença no estilo liberal-artístico.
Os dois projetos em questão representam um projeto duplo que é combinado. A instalação na
estátua do Cristo Redentor, como um símbolo do Rio e do Brasil, será gravada e projetada nos
pequenos prédios e barracos da favela. A estátua do Cristo Redentor, que foi erguida para
proteger a cidade e os marinheiros, será então projetada como um símbolo de proteção em uma
favela. A instalação na favela é visto não apenas em uma fachada como uma projeção grande de
cinema ou como uma imagem estática, mas em vários prédios sinuosos, em telhados, no solo e
nas escadas. Desta maneira, o visitante conseguirá ser parte da instalação e imergir e mergulhar
na projeção e na luz. Na favela, será distribuído giz para pintura de rua, e os moradores e
visitantes, tanto jovens quanto velhos, podem escrever e pintar conceitos na rua, no solo, nas
escadas ou até mesmo nas paredes das casas. Os moradores e diversas instituições serão
convidados a contribuir com conceitos e associações que representam o Rio, o Brasil e a
Alemanha.
Para as instalações apresentadas na Luminal em 2012, o artista Philipp Geist ganhou o
'Deutscher Lichtdesign-Preis 2013” (Prêmio Alemão de Desenho de Luz de 2013) na categoria
Arte de Luz. A série Time Drifts caracteriza-se pela forma complexa e sutil de visualizar várias
correntes e vozes em contextos culturais e de oferecer a instituições e aos visitantes a
oportunidade de participar: diferentes personalidades, visitantes e instituições podem ser
contatados antecipadamente para contribuir com termos e associações. Temas atuais, históricos
e culturais serão previamente pesquisados pelo artista e, depois, integrados de uma forma
sensível e sutil. A projeção é realizada sem o uso de telas porque conceitos e associações são
projetados, em grande estilo, sobre a superfície do solo, em diversas frentes e envolvidos em
fumaça. Ao longo de dois dias, a instalação estará em exibição em 15 e 16 de maio na favela, e
em 12 de maio, por um dia, no Cristo Redentor.
Visitantes jovens e velhos podem envolver-se na instalação e traçar ou adicionar palavras com
giz colorido, que será distribuído, e assim participar interativamente na instalação. Desta
maneira, durante a duração da instalação, será desenvolvido um tapete de palavras. As palavras
serão fornecidas, no próprio local, pelos visitantes usando o giz, um meio temporário e volátil.
Philipp Geist desenvolve assim um diálogo entre o local, os visitantes e seu trabalho artístico.
A área de projeção concreta e tangível da arquitetura e os termos estáticos sobre a superfície do
solo representam os fatos e as relíquias visíveis que compõem a nossa compreensão da história. A
área de projeção transparente e sumindo por dentro da fumaça lembra que parte da história não
pode ser preservada e que ela é criada na nossa imaginação individual momentaneamente.
Conceitos são brevemente visíveis, como uma metáfora para a transitoriedade e, logo mais,
desaparecem. Esta interação entre as várias camadas de texto e de imagens no espaço refere-se
à localização e a(s) história(s) do Brasil e da Alemanha e o intercâmbio cultural entre os dois
países. Os próprios visitantes tornam-se parte da instalação: eles imergem na grande projeção
do solo. Desta forma, diferentes perspectivas e experiências de espaço são unidas. Passagens
abstratas que são formadas, sobrepostas e suprimidas pela próxima simbolizam as mudanças
contínuas na história, a passagem do tempo e a transitoriedade da existência. A compreensão do
passado também está no fluxo. As fontes e formações modernas criadas no computador
estabelecem uma conexão com o presente e com as possibilidades da tecnologia de hoje: a
percepção da história e da cultura sempre dependende das capacidades e limitações do
presente.
'Time Drifts - Words of Berlin' faz parte de uma série de instalações, que foram apresentadas
durante os últimos anos por Philipp Geist e que são sempre redesenvolvidas para as condições
locais específicas: em outubro de 2012, Philipp Geist exibiu a instalação em toda a praça
Potsdamer Platz (Berlim) e nos dois arranha-céus Kolhoff Tower (Berlim) e Renzo Piano Tower
(Londres). Em abril de 2012, a instalação foi apresentada no evento da Luminal em Frankfurt
onde foi vista por mais de 40.000 visitantes sendo o principal projeto da Luminal de 2012. Em
2011, Philipp Geist mostrou a instalação Time Drifts na praça Jack Poole Plaza em Vancouver
bem como em Montreal, Canadá, no centro de arte Place des Arts, em 2010. A instalação Timing
foi exibida no Glow Festival de 2009 in Eindhoven, Holanda. No final de 2009 e por ocasião do
aniversário do rei tailandês, aprox. 2 a 3 milhões de visitantes viram a instalação de fachada do
artista no trono real em Banguecoque. Seus outros projetos incluem: Time Lines, no prestigiado
museu Palazzio delle Esposizioni (Roma, 2007); Time Fades, no Fórum Cultural de Berlim;
Broken Time Lines, no antigo spa Kurhaus Ahrenshoop (Alemanha, 2008).
Os projetos de Geist são principalmente caracterizados por sua complexidade na integração de
espaço, som e imagens de movimento. Suas instalações de mapeamento de vídeo renunciam
telas e transformam uma ampla gama de arquiteturas em esculturas móveis e pitorescas que
desafiam a percepção do espectador de duas e três dimensões.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Lichtkunst-VideoMappingInstallationen Philipp Geist in Rio de Janeiro / Brasilien 2014
an der Christstatue (Cristo Redender) 12.5 und in der Favela Santa Marta 15./16.5.2014
Installation Philipp Geist Deutsch-Brasilianisches Jahr 2013/2014
Konzept Time Drifts Mai 2014
Zum Abschluss des Deutsch-Brasilianischen-Jahres 2013/2014 entwickelt der Berliner Künstler
Philipp Geist (1976) zwei Lichtinstallation in Rio d.J.; eine an der weltbekannten Christstatue
(Cristo Redender) und in die andere Installation in der Favela Santa Marta. Bei der Installation
greift der Künstler künstlerisch frei und poetisch deutsch brasilianische Themen auf und
entwickelt eine Gebäude- und Boden-Lichtinstallation aus farbigen Wörtern und Begriffen in
portugiesischer, deutscher, und in weiteren internationalen Sprachen. Die Installation thematisiert
kulturelle Besonderheiten und Errungenschaften beider Länder und visualisiert die Themen Zeit
und Raum, Flüchtigkeit und Präsenz in freien künstlerischen Art. Bei den beiden Projekten handelt
es sich um ein Doppelprojekt welches kombiniert wird. Die Installation auf das Wahrzeichen von
Rio und Brasilien die Christstatue, wird aufgenommen und auf die kleinen Gebäude und Hütten
der Favela projiziert. Die Christstatue die errichtet worden ist um die Stadt und Seeleute zu
schützen, wird so symbolisch schützend über ein Armenviertel die Favela projiziert. Dabei ist die
Installation in der Favela nicht nur auf einer Fassade als große Kinoprojektion oder als statisches
Bild zu sehen, sondern auf mehreren verwinkelten Gebäuden, den Dächern, den Boden und auf
den Stufen. Der Besucher wird vielmehr auf diese Weise selbst Teil der Installation und kann in die
Projektion und das Licht eintauchen und sich einbringen. In der Favela werden Strassenmalkreide
ausgelegt und die Bewohner und Besucher ob jung oder alt können Begriffe auf die Strasse, den
Boden, die Treppenstufen oder sogar auf die Hauswände schreiben und malen. Die Bewohner und
verschiedene Institutionen sollen angesprochen werden Assoziationen und Begriffe die für Rio,
Brasilien und Deutschland stehen einzureichen.
Für die 2012 bei der Luminale gezeigten Installation hat der Künstler Philipp Geist den Deutschen
Lichtdesign-Preis 2013 in der der Kategorie Lichtkunst gewonnen. Die Serie 'Time Drifts' zeichnet
sich aus durch die komplexe und die subtile Möglichkeit, verschiedenste Strömungen und
Stimmen in kulturellen Kontexten sichtbar zu machen und Institutionen und Besuchern die
Möglichkeit zur inhaltlichen Partizipation zu geben: Es können verschiedene Persönlichkeiten,
Besucher und Institute im Vorfeld angesprochen werden, die Begriffe und Assoziationen
beisteuern. Aktuelle und kulturhistorische Themen werden im Vorfeld vom Künstler recherchiert
und auf sensible und subtile Weise integriert. Die Projektion verzichtet auf den Einsatz von
Leinwänden, denn Begriffe und Assoziationen werden grossflächig auf die Bodenfläche, auf
mehrere Fassaden und in Theaternebel projiziert. Über den Zeitraum von 2 Tagen wird die
Installation vor Ort in der Favela am 15/16.Mai und die Installation am Cristo Redentor am 12.Mai
für einen Tag zu sehen sein.!
Kleine, große, junge und alte Besucher können sich einbringen in die Installation und mit farbiger
Straßenmalkreide, die ausgelegt wird, Wörter nachzeichnen und hinzufügen und so interaktiv an
der Installation teilnehmen. Über die Installationsdauer entsteht somit ein Wörterteppich aus
Begriffen, die vor Ort von den Besuchern selbst mittels dem temporären und flüchtigen 'Medium'
der Strassenmalkreide beigesteuert werden. Geist entwickelt auf diese Weise einen Dialog
zwischen dem Ort, den Besuchern und seiner künstlerischen Arbeit. ! !
Die konkrete, greifbare Projektionsfläche der Architektur und die statischen Begriffe auf der
Bodenfläche stehen für die Fakten und sichtbaren Relikte, welche unser Geschichtsverständnis
ausmachen. Die transparente, sich verflüchtigende Projektionsfläche im Nebel erinnert daran,
dass ein Teil der Geschichte nicht konserviert werden kann und im Moment in unserer individuellen
Vorstellung entsteht. Begriffe werden als Metapher für die Vergänglichkeit kurzzeitig sichtbar und
verschwinden sofort wieder. Dieses Zusammenspiel der verschiedenen Text- und Bildschichten im
Raum verweist auf den Ort und die Geschichte(n) Brasiliens und Deutschlands und den kulturellen
Austausch beider Länder. Die Besucher selbst werden Teil der Installation: sie tauchen in die
großflächige Bodenprojektion ein. Auf diese Weise vereinen sich unterschiedliche Perspektiven
und Raumerfahrungen. Abstrakte Passagen, die sich aufbauen, überlagern und gegenseitig
verdrängen, symbolisieren die ständigen Veränderungen in der Geschichte, den Lauf der Zeit und
die Flüchtigkeit des Seins. Auch das Verständnis von der Vergangenheit ist im Fluss. Die
modernen Schriften und Formationen, die am Computer entstanden sind, stellen eine Verbindung
zur Gegenwart und den Möglichkeiten der heutigen Technik her und zeigen, dass die Erfahrbarkeit
von Geschichte und Kultur immer von den Möglichkeiten und Rahmenbedingungen der Gegenwart
abhängig ist.
'Time Drifts - Words of Berlin' ist Teil einer Serie von Installationen, die Philipp Geist in den letzten
Jahren gezeigt hat, und die dabei immer wieder neu an die örtlichen Gegebenheiten ortsspezifisch
weiterentwickelt wird: Im Oktober 2012 zeigte Geist die Installation auf dem gesamten Potsdamer
Platz und den beiden Hochhäusern Kolhoff Tower und Renzo Piano Tower. Im April 2012 wurde die
Installation in Frankfurt auf der Luminale gezeigt, wurde von mehr als 40.000 Besuchern gesehen
und war das Hauptprojekt der Luminale 2012. Im Jahr 2011 zeigte Geist die Installation Time Drifts
in Vancouver am Jack-Poole Plaza, ebenso wie in Montreal am Place des Arts in 2010. Die
Installation 'Timing' war 2009 auf dem Glow Festival in Eindhoven zu sehen. Ende 2009 sahen
anlässlich des Geburtstages des thailändischen Königs ca. 2-3 Millionen Besucher seine
Fassadeninstallation am königlichen Thron in Bangkok. Andere Projekte waren u.a.: 'Time Lines'
am renommierten Museum delle Esposizioni (2007), 'Time Fades' am Berliner Kulturforum,
'Broken Time Lines' am alten Kurhaus Ahrenshoop (2008).
Geists Projekte sind in erster Linie gekennzeichnet durch ihre Komplexität in der Integration von
Raum, Ton und Bewegbild. Seine Video-Mapping-Installationen verzichten auf Leinwände und
verwandeln verschiedenste Architekturen in bewegte, malerische Lichtskulpturen, die die
Wahrnehmung der Betrachter von Zwei- und Dreidimensionalität herausfordern.
4016. In the first glimmer of tangible official support for the maintenance of the historic 1868 HMVS CERBERUS relic, in early 2009 Federal Environment Minister Peter Garrett handed over a $1.5m grant for stabilisation of the sinking hulk.
It resulted in the ship's four huge guns being removed from their two turrets, and being placed on the seabed beside her as a stabilisation measure.
We had diagrams of the gun turrets from the SAVE THE CERBERUS.com website starting at pic NO. 1370
here:
www.flickr.com/photos/41311545@N05/4445829354/in/photostr...
In her operation years, these rifled 10-inch [254mm] guns, each weighing 18 tons, were fired electronically. Fired on one occasion at Point Nepean, their blast effect produced what were thought to be earth tremors in the bayside Melbourne suburb of St Kilda, 20 miles away.
Photo: Graeme Andrews, RAN 1955-1968, RANR 1980. From a private disc, with permission.
A COMPENDIUM of links to 35+ HMVS CERBERUS images on the Photostream can be found under entry NO. 5848, here:
www.flickr.com/photos/41311545@N05/7253528494/in/photostream
Stadsdriehoek | Wijnhaven/Posthoornstraat
This bridge is the only tangible evidence of Wijnhaven's pre-war grandeur. Inspired by 19th-century bridges in Paris, it is named after Queen Emma, who was then Queen Regent. It has a cast-iron structure and a concrete deck. The three arches and the balustrades are of stone, with four sculpted lions standing guard at the corners. Decorated brass lamps and carved fish provide further embellishment.
Arch. Dirk Burghard(t) Logemann
1897-99.
Three days of ceremonies marked the inauguration of the Shree Peetha Nilaya Panduranga Mandir. The early spring days even featured snow one morning, but the devotees stood patiently outside anyway and the musicians did a fabulous job of singing for hours on end.
Paramahamsa Vishwananda presided over the Prana Pratistha ceremonies and gave short Satsangs each day to help everyone learn about the new deities, Panduranga and His wife, Rukmini. Gurudev described the dedicated faith of people throughout the centuries that resulted in personal relationships with the Divine, just as tangible as the relationships we have with friends and family, and in a touching moment remarked, 'If you only knew how much He loves you.'
In addition, this year, Lord Rama's appearance day (Ram Navami) coincided with the last day of Spring Navaratri, making it an especially rich experience to have all three festive events taking place on one day. Together with Paramahamsa Sri Swami Vishwananda and devotees from around the world, we celebrated Lord Rama and His life of compassion, virtue, and commitment to dharmic living.
bhaktimarga.org
paramahamsavishwananda.com
Christian art is art produced in an attempt to illustrate, supplement and portray in tangible form the principles of Christianity. Virtually all Christian groupings use or have used art to some extent. The prominence of art and the media, style, and representations change; however, the unifying theme is ultimately the representation of the life and times of Jesus and in some cases the Old Testament. Depictions of saints are also common, especially in Anglicanism, Roman Catholicism, and Eastern Orthodoxy.
Christian art is art produced in an attempt to illustrate, supplement and portray in tangible form the principles of Christianity. Virtually all Christian groupings use or have used art to some extent. The prominence of art and the media, style, and representations change; however, the unifying theme is ultimately the representation of the life and times of Jesus and in some cases the Old Testament. Depictions of saints are also common, especially in Anglicanism, Roman Catholicism, and Eastern Orthodoxy.
www.sriyantras.com/christian-symbols.html
Hundreds Of High Resolution Christian Symbols in Mandala Form. The Symbols Of The Cross and The Star Of Bethlehem Drawn In Mandala Formation With Influence From Tibetan BUddhist Concepts.
Jeff, Dror, Tal, Ayelet and Zvi played a role of real tangible objects. Controlling a musical part on Ableton Live.
Ideum released a significant update to their innovative Tangible Engine software development kit. Bundled as an upgrade option for Ideum multitouch tables, Tangible Engine is the first object recognition package designed for projected capacitive touch displays. www.tangibleengine.com
I'm starting to play with basic functions of an iPod and iPhone
There 30 pins total on the standard iPod connection.
Here are the important ones for basic manipulation of music:
1, 11, 15 - Ground
3 - Right audio out
4 - Left audio out
5 - Right audio in
6 - Left audio in
12 - Tx (transmit over serial)
13 - Rx (read over serial)
18 - 3.3V Power
23 - 5V Power
V = iR is basic Ohm's law. Love you EE220 at Purdue. Damn I struggled in that course..
Arduino provides 5V from the USB, standard.
Arduino outputs at 0.5 amps.
iPod charges at 5V, maximum 1 amp so no resistors are needed.
Hooked up all grounds and 5V from the arduino - iPod is charging.
Hooked up Tx on iPod (pin 12) to Rx on Arduino (digital pin 0), and Rx on iPod (pin 13) to Tx on Arduino (digital pin 1).
Contact me at tullrich at gmail.com for the arduino code.
here are the references I used to piece together code.
www.arduino.cc/cgi-bin/yabb2/YaBB.pl?num=1207058161
Christian art is art produced in an attempt to illustrate, supplement and portray in tangible form the principles of Christianity. Virtually all Christian groupings use or have used art to some extent. The prominence of art and the media, style, and representations change; however, the unifying theme is ultimately the representation of the life and times of Jesus and in some cases the Old Testament. Depictions of saints are also common, especially in Anglicanism, Roman Catholicism, and Eastern Orthodoxy.
Christian art is art produced in an attempt to illustrate, supplement and portray in tangible form the principles of Christianity. Virtually all Christian groupings use or have used art to some extent. The prominence of art and the media, style, and representations change; however, the unifying theme is ultimately the representation of the life and times of Jesus and in some cases the Old Testament. Depictions of saints are also common, especially in Anglicanism, Roman Catholicism, and Eastern Orthodoxy.
www.sriyantras.com/christian-symbols.html
Hundreds Of High Resolution Christian Symbols in Mandala Form. The Symbols Of The Cross and The Star Of Bethlehem Drawn In Mandala Formation With Influence From Tibetan BUddhist Concepts.
Tangible Engine is now available on Ideum's largest touch table, the 86" Colossus.
Tangible Engine is the first object recognition software package for projected capacitive touch displays. The Tangible Engine software development kit allows developers to connect events within applications to physical objects placed on the surface of a touch table.
To learn more: tangibleengine.com
Waiting Room II
If the tangibility of the illusionary world in traditional oil painting represented a social and cultural superiority, it could make sense to create spaces where the perspectives do not align properly and the images are distorted with no stable point of focus.
I have wished to create imagery that jars at a modernist perspective of purity and a traditional dogma for order and reason; but which also attempts to consider what painting can be in postmodernity.
erkhafaji@gmail.com
Part of a Set / Slideshow documenting an installation by Claire Simpson.
There is also a YouTube video.
Claire Simpson's Performance & Visual Art (Dance) Degree Show 2012 - Tangible Light - at the University of Brighton. The piece is an installation using the materials of light, colour and theatrical smoke / mist to create the physical and tangible illusion of light. Video projectors were used to project relatively simple geometric moving shapes. This created the illusion of solid cones and planes of light.
This image / video is available under the indicated creative commons licence - subject to the approval of the artist(s) featured - and also subject to any additional conditions that the artist(s) may wish to apply.
Since 2007, the LUX Prize has been a tangible expression of Parliament's belief in the creativity and talent in Europe's film industry, in its ability to reflect the wealth and diversity of European culture, and its capacity to stimulate reflection and debate on Europe, its values and its future.
It is awarded annually based on voting by MEPs. In the end three films are shortlisted for the award. The winner will receive financial support from the Parliament to subtitle the film into the 23 European Union official languages, including an adaptation for visually or hearing-impaired people and to produce a 35 mm print or a digital cinema package for each Member State.
Previous winners were "Auf der anderen Seite" in 2007, "Le silence de Lorna" in 2008, "Welcome" in 2009, "Die Fremde" in 2010.
This year the three finalists for the 2011 LUX prize were: Greece's "Attenberg" by Athina Rachel Tsangari. France's "Les neiges du Kilimandjaro" by Robert Guédiguian and "Play" by Ruben Östlund - a Swedish, French, Danish production.
Today it has been announced by the European Parliament president Jerzy Buzek the name of the winner: the French director Robert Guédiguian with "Les neiges du Kilimandjaro".
www.europarl.europa.eu/en/headlines/content/20111006FCS28...
© European Union 2011 PE-EP/Pietro Naj-Oleari
Dr. Shroyer called today to tell me what the lab results were for Tigger. It appears that he has hyperthyroidism, which is accounting for his weight loss. After he finishes the course of antibiotics he's on now, I'll have to bring him back in to be weighed, and we will proceed from there as to what kind of treatment we'll do.
With thyroid problems, the condition can be treated with diet or pills, and since he will be really hard to give pills to, diet might be the best way to go, except for how I'll be able to keep his two brothers out of his food, and him out of theirs! Pills would probably be easier, that is, if I could get him used to taking them, which doesn't seem like it's going to happen! I will try Joan's suggestion of pill pockets as soon as I can get to the pet store. That might help, hopefully.
Thanks to everyone who has been praying for us! This weekend was the best I've seen in my store since I've worked there, and I will be hitting commission this week! Please continue to pray that sales are steadily better, as I still have two years of property tax to catch up on, and no homeowner's insurance, and the extra vet bills have been killing me financially! God has been providing, but I sure could use a few months of prosperity to pull out of the hole I'm in, and regardless of whether I do or not, I want to be able to take care of my pets to the best of my ability. They are good boys, and all getting older with issues, but they have given me a lot of joy and companionship through the years, and I want them cared for and happy!
I'll keep everyone informed as to Tigger's progress as we go along. For anyone who doesn't know, Tigger has his own group here on Flickr, which is where I found out about him before I adopted him! Check out "Tigger The Gatekeeper's Garden Clubhouse" to learn about his very interesting life, and to share your own kitty pics! This cat is quite a character, with a personality that is just fantastic. He's known all over the world, and I keep running into people who've encountered him in his days at Sugar Mill Gardens, where he was a fixture for years before he came to live with me. One girl even told me about him being in her wedding pictures when she was wed in the outdoor chapel area! No one seems to know exactly how old Tigger is, but we do know that he started his life out being called "Jack", by his first person. Somewhere along the line, he became Tigger, and has endeared himself to thousands of people, who have become his fans, of which I am one, also!
It was such good news to hear that there was a tangible reason for his weight loss, because if thyroid was ruled out, cancer was the most likely thing left. Hopefully we will be able to get Tigger healthy again, and he'll be able to live with me for many years to come!
This pic was taken years ago in Sugar Mill Gardens. Below is the original, first edit. I readjusted a few things, and also used the Advanced HDR filter on iPiccy to give a little more detail. The changes aren't blatant, but I think it's better.
made with foil and flotsam. it is a gift for my best bud/brother of different parents/life long love-Steven.
The EU must come together and deliver tangible results, with clear benefits for its citizens, to regain their confidence and fight growing populism and nationalism across the continent, agreed Slovak Prime Minister Róbert Fico and most MEPs in Wednesday morning’s debate on the priorities of the incoming Slovak Presidency in the EU Council of Ministers.
Read more on the Slovak Presidency: www.europarl.europa.eu/news/en/news-room/20160701IPR34486...
This photo is copyright free, but must be credited: © European Union 2016 - European Parliament. (Attribution-NonCommercial-NoDerivs Creative Commons license). If you need high resolution files do not hesitate to contact us. Please do not forget to send the link or a copy of the publication to us: photobookings(AT)europarl.europa.eu
I wish I could write something that accurately would describe the way I felt when I first looked at this photograph.
It shows us some facts ; a boy or young man on a motorcycle making a wheelie somewhere in a desertlike environment on a dirtroad, some hills in the background, a sunny day.Could be America.
I could tell you that there's words on the back of the photo. In blue ballpen ink.
Slightly fading.
I could tell you that I did not take it ;-)
I could tell you that it is also about time, about the tangibility of time.
Liz Clevenger (far right) gives Professors Michael Ashley (far left), intern Connor Rowe, Professor Ruth Tringham (foreground), and the rest of the class a glimpse of the Re:discovery Proficio project that creates a database archive for managing collections at the Presidio (for example, what areas are bring researched, what is being conserved, what is on shelves, on loan, etc.). It is a way to make an inventory of artifacts and standardize methodologies for future protocols. It utilizes various media to digitize photos of excavations (not including historic photos and maps), scan documents, etcetera.
Photo by: Erica Pallo
Image name: RET_SFPresidio_071211_EPiPhone4_1513_JPG
Original filename: IMG_1513
Photographs in this collection have been produced by Erica Pallo and Connor Rowe in order to chronicle the course activities of the students of UC Berkeley Summer 2011 Anthropology 136E class, under the direction of professors Ruth Tringham and Michael Ashley, as they digitally document and interpret the cultural heritage of El Presidio de San Francisco (the Presidio of San Francisco) from the 18th to the early 19th Centuries.
The purpose of the course is to focus on the real world challenge of documenting archaeological places through the creation of interpretive walks and non-invasive site installations, specifically at the Presidio of San Francisco. The course focuses on the tangible remains and documents of the past, but also the intangible heritage in the form of memories, knowledge, performance, and skills of the past of the San Francisco Presidio and El Polin Spring (Tennessee Hollow Watershed).
The course involves the design, field trial, and documentation of these different formats of representation of cultural heritage places, with an emphasis on practical digital field recording combined with geo-temporal databases. The aim is to seek alternatives to permanent markers of information about places, and their tangible and intangible heritage, especially in sensitive sites, such as national or regional parks. The course takes advantage of the many specialists in these technologies in the Bay Area, especially the Presidio Archaeology Lab of the Presidio Trust, with whom the class has contact and who have offered to contribute their help to the course.
The San Francisco Presidio (37°47'N, 122°27'W) and surrounding areas (like the Mission Dolores) was a military-occupied fortification controlled by various empires/governments throughout history including Spain (1776-1821), Mexico (1822-1846), and the United States of America (1846-1994 as an Army post, with the ownership of the park to be fully transitioned to the National Park Service by 2013). Archaeological excavations began on the site in 1993 after development expansion projects unearthed parts of the original stone foundation of El Presidio's Spanish fort beneath the Funston Avenue Officers’ Quarters by archaeological consultants working for the the U.S. Army.
Photographs in this collection were shot between July 5-August 12, 2011 during the hours of 9am-4pm Pacific Time under a multitude of atmospheric conditions. Photos were captured on the following cameras: Apple iPhone 4 with an external lens device attached called the OWLE Bubo, Canon DSLR XSi/T2i, S95, Sony Cybershot, Canon Powershot. Lenses used include: Macro 60mm, Telephoto 70-200, Canon 18-55mm, Canon 17-85mm. A tripod was used for Gigapan, telephoto, and HDR shots. Various types of mobile phones were also used for documentation shots and Geo-tagging. The photos were post-processed in Apple iPhoto and Adobe Photoshop Lightroom 3.
Description written by Erica Pallo with excerpts originally prepared by Ruth Tringham.
All photos Copyright ©2011 Center for Digital Archaeology, Berkeley CA, licensed under Creative Commons BY-NC 3.0 For more information, contact Center for Digital Archaeology, Berkeley, CA, 94720 or visit: www.codifi.info
For more information about El Presidio de San Francisco, visit: www.presidio.gov, or the Presidio Archaeology Lab of the Presidio Trust at: www.presidio.gov/history/archaeology.
Video Mapping Philipp Geist_Germany+Brazil 2013-2014_- Santa Marta 2014_©Fred Pacífico/Porã
„VideoInstallation by Philipp Geist“, "Philipp Geist", „Copyright 2014 Philipp Geist / VG Bildkunst 2014", www.videogeist.de, mail@videogeist.de, „Rio de Janeiro“, "Santa Marta“, „Cristo Redentor“, „Dona Marta“, „Deutschland + Brasilien 2013-2014“, “Alemanha + Brasil 2013-2014”
Photo by Fred Pacífico
©2014 Philipp Geist / VG BIldkunst Bonn
Rio de Janeiro / Brazil 2014
Christ statue (Cristo Redentor) – May 12
Dona Marta favela – May 15 and 16,2014
Light Art-Video-Mapping-Installations Philipp Geist in Rio de Janeiro / Brazil 2014
on the Christ statue (Cristo Redentor) - May 12 and in the Dona Marta favela - May 15 and 16,
2014
Installation Philipp Geist Year of Germany in Brazil 2013/2014
Concept Time Drifts May 2014
At the end of the Year of Germany in Brazil 2013/2014, the artist Philipp Geist (Berlin, 1976)
develops two light installations in Rio this year; the first one on the world-famous Christ statue
(Cristo Redentor) and the other installation in the Santa Marta favela. For the installation the
artist presents artistic-liberal and poetic German and Brazilian themes and develops a building
and floor light installation of colored words and phrases in Portuguese, German, and in other
international languages. The installation deals with cultural characteristics and achievements of
both countries and visualizes the issues of time and space, volatility and presence in a free
artistic style. The two projects are in fact a double project which is combined. The installation
on the symbol of Rio and Brazil, the Christ statue, is recorded and projected onto the small
buildings and huts of the favela. The Christ statue, which has been built to protect the city and
the sailors, is symbolically projected on the shantytown, the favela, in a protective way. The
installation in the favela will be seen not only on a facade as a large cinema projection or as a
static image, but on several winding buildings, the roofs, the floor and on the steps. Thus, the
visitor becomes a part of the installation and can immerse into the projection and the light and
introduce himself. Chalk crayons are put out on the streets in the favela and the young and old
residents and visitors can write and paint words on the street, the ground, the stairs or even on
the house walls. The residents and several institutions should be addressed to submit words and
associations dealing with Rio, Brazil and Germany.
For the installation, which was shown at the Luminale in 2012, the artist Philipp Geist won the
German Lighting Design Award 2013 (Deutscher Lichtdesign-Preis 2013) in the category Light Art.
The series 'Time Drifts' is characterized by the complex and subtle way of visualizing various
currents and voices in cultural contexts and to provide institutions and visitors with the
opportunity of substantive participation: different personalities, visitors and institutions may be
addressed in advance and then contribute words and associations. Current and historico-cultural
topics are researched in advance by the artist and then integrated in a sensitive and subtle way.
The projection dismisses the use of screens, because concepts and associations are projected on
a large area onto the floor surface on several facades and in theater fog. Over the course of two
days, the installation can be seen on-site in the favela on May 15 and 16 and on the Cristo
Redentor on May 12 for a day.
Short, tall, young and old visitors can interactively participate in the installation by tracing and
adding words with colored chalk crayons available on the streets. Thus, over the period of the
installation, a carpet of words is evolved with terms that are contributed locally by the visitors
by means of the temporary and volatile 'medium' of chalk crayons. Philipp Geist develops in this
way a dialogue between the place, the visitors and his artistic work.
The concrete, tangible projection of the architecture and the static terms on the floor area
represents the facts and visible relics that are responsible for our understanding of history. The
transparent and volatile projection in the fog reminds us that part of the history can not be
preserved and that it is created in our individual imagination in a single moment. Words are
briefly visible as a metaphor for transience and then disappear again. This interplay of the
various text and image layers in the space refers to the location and the history/-ies of Brazil
and Germany and the cultural exchange between the two countries. The visitors themselves are
part of the installation: they dive into the large floor projection. In this way, different
perspectives and experiences of space are unified. Abstract passages which are created, then
overlapped and displaced by each other symbolize the constant changes in history, the passage
of time and the transience of existence. Even the understanding of the past is in the flux. The
modern writings and formations created on the computer establish a connection to the present
and the possibilities of today's technology and show that the perception of history and culture
depends always on the possibilities and constraints of the present.
'Time Drifts - Words of Berlin' is part of a series of installations, which has been shown in recent
years by Philipp Geist, and which are always re-developed site-specifically and adapted to the
local conditions: In October 2012, Philipp Geist showed the installation on the entire Potsdamer
Platz (public square) and the Kolhoff Tower and Renzo Piano Tower skyscrapers. In April 2012
the installation was shown at the Luminale in Frankfurt where it was seen by more than 40,000
visitors and thus the main project of the Luminale 2012. In 2011, Philipp Geist presented the
'Time Drifts' installation in Vancouver at the Jack Poole Plaza, as well as in Montreal on the
Place des Arts in 2010. The 'Timing' installation was shown at the 2009 Glow Festival in
Eindhoven. In the end of 2009, on the occasion of the birthday of the King of Thailand, 2-3
million visitors saw his facade installation at the royal throne in Bangkok. Other projects
include: 'Timelines' at the prestigious Pallazzio delle Esposizioni (Rome, 2007), 'Time Fades'
at the Cultural Forum of Berlin and 'Broken Time Lines' at the old spa Kurhaus Ahrenshoop
(Germany, 2008).
Geist's projects are primarily characterized by their complexity concerning the integration of
space, sound and motion images. His video mapping installations waive screens and transform a
wide range of architectures in moving, picturesque light sculptures which challenge the viewer's
perception of two- and three-dimensionality.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Arte de luz - Instalações de Mapeamento de Vídeo por Philipp Geist no Rio de Janeiro / Brasil
2014 no Cristo Redentor no dia 12 de maio e na favela Santa Marta nos dias 15 e 16 de maio de
2014
Instalação Philipp Geist Ano Alemanha + Brasil 2013/2014
Conceito Time Drifts Maio 2014
No final do ano Alemnaha + Brasil 2013/2014, o artista Philipp Geist (1976, Berlim) desenvolverá
duas instalações de luz no Rio; uma delas será exibida na mundialmente famosa estátua do
Cristo Redentor, e a outra na favela Santa Marta. Para a instalação, o artista traz temas teutobrasileiros
de maneira liberal-artística e poética desenvolvendo instalações de luz em edifícios e
no solo a partir de palavras e conceitos coloridos em Português, Alemão e em outros idiomas
internacionais. A instalação lida com as peculiaridades e realizações culturais de ambos os países
e visualiza as questões de tempo e espaço e de volatilidade e presença no estilo liberal-artístico.
Os dois projetos em questão representam um projeto duplo que é combinado. A instalação na
estátua do Cristo Redentor, como um símbolo do Rio e do Brasil, será gravada e projetada nos
pequenos prédios e barracos da favela. A estátua do Cristo Redentor, que foi erguida para
proteger a cidade e os marinheiros, será então projetada como um símbolo de proteção em uma
favela. A instalação na favela é visto não apenas em uma fachada como uma projeção grande de
cinema ou como uma imagem estática, mas em vários prédios sinuosos, em telhados, no solo e
nas escadas. Desta maneira, o visitante conseguirá ser parte da instalação e imergir e mergulhar
na projeção e na luz. Na favela, será distribuído giz para pintura de rua, e os moradores e
visitantes, tanto jovens quanto velhos, podem escrever e pintar conceitos na rua, no solo, nas
escadas ou até mesmo nas paredes das casas. Os moradores e diversas instituições serão
convidados a contribuir com conceitos e associações que representam o Rio, o Brasil e a
Alemanha.
Para as instalações apresentadas na Luminal em 2012, o artista Philipp Geist ganhou o
'Deutscher Lichtdesign-Preis 2013” (Prêmio Alemão de Desenho de Luz de 2013) na categoria
Arte de Luz. A série Time Drifts caracteriza-se pela forma complexa e sutil de visualizar várias
correntes e vozes em contextos culturais e de oferecer a instituições e aos visitantes a
oportunidade de participar: diferentes personalidades, visitantes e instituições podem ser
contatados antecipadamente para contribuir com termos e associações. Temas atuais, históricos
e culturais serão previamente pesquisados pelo artista e, depois, integrados de uma forma
sensível e sutil. A projeção é realizada sem o uso de telas porque conceitos e associações são
projetados, em grande estilo, sobre a superfície do solo, em diversas frentes e envolvidos em
fumaça. Ao longo de dois dias, a instalação estará em exibição em 15 e 16 de maio na favela, e
em 12 de maio, por um dia, no Cristo Redentor.
Visitantes jovens e velhos podem envolver-se na instalação e traçar ou adicionar palavras com
giz colorido, que será distribuído, e assim participar interativamente na instalação. Desta
maneira, durante a duração da instalação, será desenvolvido um tapete de palavras. As palavras
serão fornecidas, no próprio local, pelos visitantes usando o giz, um meio temporário e volátil.
Philipp Geist desenvolve assim um diálogo entre o local, os visitantes e seu trabalho artístico.
A área de projeção concreta e tangível da arquitetura e os termos estáticos sobre a superfície do
solo representam os fatos e as relíquias visíveis que compõem a nossa compreensão da história. A
área de projeção transparente e sumindo por dentro da fumaça lembra que parte da história não
pode ser preservada e que ela é criada na nossa imaginação individual momentaneamente.
Conceitos são brevemente visíveis, como uma metáfora para a transitoriedade e, logo mais,
desaparecem. Esta interação entre as várias camadas de texto e de imagens no espaço refere-se
à localização e a(s) história(s) do Brasil e da Alemanha e o intercâmbio cultural entre os dois
países. Os próprios visitantes tornam-se parte da instalação: eles imergem na grande projeção
do solo. Desta forma, diferentes perspectivas e experiências de espaço são unidas. Passagens
abstratas que são formadas, sobrepostas e suprimidas pela próxima simbolizam as mudanças
contínuas na história, a passagem do tempo e a transitoriedade da existência. A compreensão do
passado também está no fluxo. As fontes e formações modernas criadas no computador
estabelecem uma conexão com o presente e com as possibilidades da tecnologia de hoje: a
percepção da história e da cultura sempre dependende das capacidades e limitações do
presente.
'Time Drifts - Words of Berlin' faz parte de uma série de instalações, que foram apresentadas
durante os últimos anos por Philipp Geist e que são sempre redesenvolvidas para as condições
locais específicas: em outubro de 2012, Philipp Geist exibiu a instalação em toda a praça
Potsdamer Platz (Berlim) e nos dois arranha-céus Kolhoff Tower (Berlim) e Renzo Piano Tower
(Londres). Em abril de 2012, a instalação foi apresentada no evento da Luminal em Frankfurt
onde foi vista por mais de 40.000 visitantes sendo o principal projeto da Luminal de 2012. Em
2011, Philipp Geist mostrou a instalação Time Drifts na praça Jack Poole Plaza em Vancouver
bem como em Montreal, Canadá, no centro de arte Place des Arts, em 2010. A instalação Timing
foi exibida no Glow Festival de 2009 in Eindhoven, Holanda. No final de 2009 e por ocasião do
aniversário do rei tailandês, aprox. 2 a 3 milhões de visitantes viram a instalação de fachada do
artista no trono real em Banguecoque. Seus outros projetos incluem: Time Lines, no prestigiado
museu Palazzio delle Esposizioni (Roma, 2007); Time Fades, no Fórum Cultural de Berlim;
Broken Time Lines, no antigo spa Kurhaus Ahrenshoop (Alemanha, 2008).
Os projetos de Geist são principalmente caracterizados por sua complexidade na integração de
espaço, som e imagens de movimento. Suas instalações de mapeamento de vídeo renunciam
telas e transformam uma ampla gama de arquiteturas em esculturas móveis e pitorescas que
desafiam a percepção do espectador de duas e três dimensões.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Lichtkunst-VideoMappingInstallationen Philipp Geist in Rio de Janeiro / Brasilien 2014
an der Christstatue (Cristo Redender) 12.5 und in der Favela Santa Marta 15./16.5.2014
Installation Philipp Geist Deutsch-Brasilianisches Jahr 2013/2014
Konzept Time Drifts Mai 2014
Zum Abschluss des Deutsch-Brasilianischen-Jahres 2013/2014 entwickelt der Berliner Künstler
Philipp Geist (1976) zwei Lichtinstallation in Rio d.J.; eine an der weltbekannten Christstatue
(Cristo Redender) und in die andere Installation in der Favela Santa Marta. Bei der Installation
greift der Künstler künstlerisch frei und poetisch deutsch brasilianische Themen auf und
entwickelt eine Gebäude- und Boden-Lichtinstallation aus farbigen Wörtern und Begriffen in
portugiesischer, deutscher, und in weiteren internationalen Sprachen. Die Installation thematisiert
kulturelle Besonderheiten und Errungenschaften beider Länder und visualisiert die Themen Zeit
und Raum, Flüchtigkeit und Präsenz in freien künstlerischen Art. Bei den beiden Projekten handelt
es sich um ein Doppelprojekt welches kombiniert wird. Die Installation auf das Wahrzeichen von
Rio und Brasilien die Christstatue, wird aufgenommen und auf die kleinen Gebäude und Hütten
der Favela projiziert. Die Christstatue die errichtet worden ist um die Stadt und Seeleute zu
schützen, wird so symbolisch schützend über ein Armenviertel die Favela projiziert. Dabei ist die
Installation in der Favela nicht nur auf einer Fassade als große Kinoprojektion oder als statisches
Bild zu sehen, sondern auf mehreren verwinkelten Gebäuden, den Dächern, den Boden und auf
den Stufen. Der Besucher wird vielmehr auf diese Weise selbst Teil der Installation und kann in die
Projektion und das Licht eintauchen und sich einbringen. In der Favela werden Strassenmalkreide
ausgelegt und die Bewohner und Besucher ob jung oder alt können Begriffe auf die Strasse, den
Boden, die Treppenstufen oder sogar auf die Hauswände schreiben und malen. Die Bewohner und
verschiedene Institutionen sollen angesprochen werden Assoziationen und Begriffe die für Rio,
Brasilien und Deutschland stehen einzureichen.
Für die 2012 bei der Luminale gezeigten Installation hat der Künstler Philipp Geist den Deutschen
Lichtdesign-Preis 2013 in der der Kategorie Lichtkunst gewonnen. Die Serie 'Time Drifts' zeichnet
sich aus durch die komplexe und die subtile Möglichkeit, verschiedenste Strömungen und
Stimmen in kulturellen Kontexten sichtbar zu machen und Institutionen und Besuchern die
Möglichkeit zur inhaltlichen Partizipation zu geben: Es können verschiedene Persönlichkeiten,
Besucher und Institute im Vorfeld angesprochen werden, die Begriffe und Assoziationen
beisteuern. Aktuelle und kulturhistorische Themen werden im Vorfeld vom Künstler recherchiert
und auf sensible und subtile Weise integriert. Die Projektion verzichtet auf den Einsatz von
Leinwänden, denn Begriffe und Assoziationen werden grossflächig auf die Bodenfläche, auf
mehrere Fassaden und in Theaternebel projiziert. Über den Zeitraum von 2 Tagen wird die
Installation vor Ort in der Favela am 15/16.Mai und die Installation am Cristo Redentor am 12.Mai
für einen Tag zu sehen sein.!
Kleine, große, junge und alte Besucher können sich einbringen in die Installation und mit farbiger
Straßenmalkreide, die ausgelegt wird, Wörter nachzeichnen und hinzufügen und so interaktiv an
der Installation teilnehmen. Über die Installationsdauer entsteht somit ein Wörterteppich aus
Begriffen, die vor Ort von den Besuchern selbst mittels dem temporären und flüchtigen 'Medium'
der Strassenmalkreide beigesteuert werden. Geist entwickelt auf diese Weise einen Dialog
zwischen dem Ort, den Besuchern und seiner künstlerischen Arbeit. ! !
Die konkrete, greifbare Projektionsfläche der Architektur und die statischen Begriffe auf der
Bodenfläche stehen für die Fakten und sichtbaren Relikte, welche unser Geschichtsverständnis
ausmachen. Die transparente, sich verflüchtigende Projektionsfläche im Nebel erinnert daran,
dass ein Teil der Geschichte nicht konserviert werden kann und im Moment in unserer individuellen
Vorstellung entsteht. Begriffe werden als Metapher für die Vergänglichkeit kurzzeitig sichtbar und
verschwinden sofort wieder. Dieses Zusammenspiel der verschiedenen Text- und Bildschichten im
Raum verweist auf den Ort und die Geschichte(n) Brasiliens und Deutschlands und den kulturellen
Austausch beider Länder. Die Besucher selbst werden Teil der Installation: sie tauchen in die
großflächige Bodenprojektion ein. Auf diese Weise vereinen sich unterschiedliche Perspektiven
und Raumerfahrungen. Abstrakte Passagen, die sich aufbauen, überlagern und gegenseitig
verdrängen, symbolisieren die ständigen Veränderungen in der Geschichte, den Lauf der Zeit und
die Flüchtigkeit des Seins. Auch das Verständnis von der Vergangenheit ist im Fluss. Die
modernen Schriften und Formationen, die am Computer entstanden sind, stellen eine Verbindung
zur Gegenwart und den Möglichkeiten der heutigen Technik her und zeigen, dass die Erfahrbarkeit
von Geschichte und Kultur immer von den Möglichkeiten und Rahmenbedingungen der Gegenwart
abhängig ist.
'Time Drifts - Words of Berlin' ist Teil einer Serie von Installationen, die Philipp Geist in den letzten
Jahren gezeigt hat, und die dabei immer wieder neu an die örtlichen Gegebenheiten ortsspezifisch
weiterentwickelt wird: Im Oktober 2012 zeigte Geist die Installation auf dem gesamten Potsdamer
Platz und den beiden Hochhäusern Kolhoff Tower und Renzo Piano Tower. Im April 2012 wurde die
Installation in Frankfurt auf der Luminale gezeigt, wurde von mehr als 40.000 Besuchern gesehen
und war das Hauptprojekt der Luminale 2012. Im Jahr 2011 zeigte Geist die Installation Time Drifts
in Vancouver am Jack-Poole Plaza, ebenso wie in Montreal am Place des Arts in 2010. Die
Installation 'Timing' war 2009 auf dem Glow Festival in Eindhoven zu sehen. Ende 2009 sahen
anlässlich des Geburtstages des thailändischen Königs ca. 2-3 Millionen Besucher seine
Fassadeninstallation am königlichen Thron in Bangkok. Andere Projekte waren u.a.: 'Time Lines'
am renommierten Museum delle Esposizioni (2007), 'Time Fades' am Berliner Kulturforum,
'Broken Time Lines' am alten Kurhaus Ahrenshoop (2008).
Geists Projekte sind in erster Linie gekennzeichnet durch ihre Komplexität in der Integration von
Raum, Ton und Bewegbild. Seine Video-Mapping-Installationen verzichten auf Leinwände und
verwandeln verschiedenste Architekturen in bewegte, malerische Lichtskulpturen, die die
Wahrnehmung der Betrachter von Zwei- und Dreidimensionalität herausfordern.
Christian art is art produced in an attempt to illustrate, supplement and portray in tangible form the principles of Christianity. Virtually all Christian groupings use or have used art to some extent. The prominence of art and the media, style, and representations change; however, the unifying theme is ultimately the representation of the life and times of Jesus and in some cases the Old Testament. Depictions of saints are also common, especially in Anglicanism, Roman Catholicism, and Eastern Orthodoxy.
Christian art is art produced in an attempt to illustrate, supplement and portray in tangible form the principles of Christianity. Virtually all Christian groupings use or have used art to some extent. The prominence of art and the media, style, and representations change; however, the unifying theme is ultimately the representation of the life and times of Jesus and in some cases the Old Testament. Depictions of saints are also common, especially in Anglicanism, Roman Catholicism, and Eastern Orthodoxy.
www.sriyantras.com/christian-symbols.html
Hundreds Of High Resolution Christian Symbols in Mandala Form. The Symbols Of The Cross and The Star Of Bethlehem Drawn In Mandala Formation With Influence From Tibetan BUddhist Concepts.
Christian art is art produced in an attempt to illustrate, supplement and portray in tangible form the principles of Christianity. Virtually all Christian groupings use or have used art to some extent. The prominence of art and the media, style, and representations change; however, the unifying theme is ultimately the representation of the life and times of Jesus and in some cases the Old Testament. Depictions of saints are also common, especially in Anglicanism, Roman Catholicism, and Eastern Orthodoxy.
Christian art is art produced in an attempt to illustrate, supplement and portray in tangible form the principles of Christianity. Virtually all Christian groupings use or have used art to some extent. The prominence of art and the media, style, and representations change; however, the unifying theme is ultimately the representation of the life and times of Jesus and in some cases the Old Testament. Depictions of saints are also common, especially in Anglicanism, Roman Catholicism, and Eastern Orthodoxy.
www.sriyantras.com/christian-symbols.html
Hundreds Of High Resolution Christian Symbols in Mandala Form. The Symbols Of The Cross and The Star Of Bethlehem Drawn In Mandala Formation With Influence From Tibetan BUddhist Concepts.
bioLogic is growing living actuators and synthesizing responsive bio-skin in the era where bio is the new interface. Natto bacteria are harvested in a bio lab, assembled by a micron-resolution bio-printing system, and transformed into responsive fashion, a “Second Skin”. The synthetic bio-skin reacts to body heat and sweat, causing flaps around heat zones to open, enabling sweat to evaporate and cool down the body through an organic material flux.
credit: Rob Chron
Since 2007, the LUX Prize has been a tangible expression of Parliament's belief in the creativity and talent in Europe's film industry, in its ability to reflect the wealth and diversity of European culture, and its capacity to stimulate reflection and debate on Europe, its values and its future.
It is awarded annually based on voting by MEPs. In the end three films are shortlisted for the award. The winner will receive financial support from the Parliament to subtitle the film into the 23 European Union official languages, including an adaptation for visually or hearing-impaired people and to produce a 35 mm print or a digital cinema package for each Member State.
Previous winners were "Auf der anderen Seite" in 2007, "Le silence de Lorna" in 2008, "Welcome" in 2009, "Die Fremde" in 2010.
This year the three finalists for the 2011 LUX prize were: Greece's "Attenberg" by Athina Rachel Tsangari. France's "Les neiges du Kilimandjaro" by Robert Guédiguian and "Play" by Ruben Östlund - a Swedish, French, Danish production.
Today it has been announced by the European Parliament president Jerzy Buzek the name of the winner: the French director Robert Guédiguian with "Les neiges du Kilimandjaro".
www.europarl.europa.eu/en/headlines/content/20111006FCS28...
© European Union 2011 PE-EP/Pietro Naj-Oleari
Zo: Tangible AI is a tangible interface that enhances physical engagement in digital communication between the audiences and a social chatbot. Zo can rhyme and move with people. The compact, pneumatically shape-changing hardware is designed with a rich set of physical gestures that brings her to life during conversations.
credit: Florian Voggeneder
Since 2007, the LUX Prize has been a tangible expression of Parliament's belief in the creativity and talent in Europe's film industry, in its ability to reflect the wealth and diversity of European culture, and its capacity to stimulate reflection and debate on Europe, its values and its future.
It is awarded annually based on voting by MEPs. In the end three films are shortlisted for the award. The winner will receive financial support from the Parliament to subtitle the film into the 23 European Union official languages, including an adaptation for visually or hearing-impaired people and to produce a 35 mm print or a digital cinema package for each Member State.
Previous winners were "Auf der anderen Seite" in 2007, "Le silence de Lorna" in 2008, "Welcome" in 2009, "Die Fremde" in 2010.
This year the three finalists for the 2011 LUX prize were: Greece's "Attenberg" by Athina Rachel Tsangari. France's "Les neiges du Kilimandjaro" by Robert Guédiguian and "Play" by Ruben Östlund - a Swedish, French, Danish production.
Today it has been announced by the European Parliament president Jerzy Buzek the name of the winner: the French director Robert Guédiguian with "Les neiges du Kilimandjaro".
www.europarl.europa.eu/en/headlines/content/20111006FCS28...
© European Union 2011 PE-EP/Pietro Naj-Oleari