#inge de vries
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autumn 2019
#analog photography#film photography#filmisnotdead#film is not dead#analogue#canon ae1 program#canon#kodak portra 400#portra400#35mm#inge de vries#kodak gold 35mm#autumn#nijmegen#netherlands
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I was expecting that I'll be crying and screaming and having terrible heartaches after watching volume 2, but here I am, feeling disappointed (of course), kinda bored yet calm, dancing to Sabaton music.
Something is either wrong with me or the show that I don't even feel sad or destroyed.
#the last stand(ing)#the witcher#the witcher netflix#the witcher season 3#the witcher characters#the witcher spoilers#geralt of rivia#ciri of cintra#yennefer of vengerberg#tissaia de vries#jaskier the bard#netflix
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In the recently published Cass Review (2024), there is consistent mention of the prevalence of autism in the ‘trans and gender-diverse’ population, which is ‘three to six times higher’ than in the cis population ‘according to some studies’, such as Warrier et al., 2020 (Cass 5.41). The report cites concern in de Vries et al. (2011b) about whether autistic trans adolescents are experiencing “a general feeling of being just “different”” or a ““core” cross-gender identity”. A parent is quoted saying that their child, formerly bullied due to ‘ASD’, became a ‘celebrity’ and received ‘social kudos’ upon coming out (Cass p. 160); autistic children, including underdiagnosed “teenage girls”, are noted to have trouble “fitt[ing] in” (Cass 5.43) and “express[ing] how they are feeling about […] their gender identity” (Cass 5.44). There is also a note that a higher % of adolescents who discontinued puberty suppression were autistic (Cass 14.23). (I cannot examine the relevant commissioned study yet, but would note that the raw number here is likely to be very low.)
The obvious subtext here is that autistic trans children are less trustworthy about their articulation of transness than neurotypical trans children, and should therefore face more gatekeeping and vetting. In the report, it is noted that children, who know about this preconception, are routinely refusing to disclose neurodiversity to clinicians for fear of discreditation (Cass 11.11); the report’s response to this is to advocate for mandatory clinical screening for “neurodevelopmental conditions, including autism spectrum disorder” at point of entry for adolescent patients (Recommendation 2). I’m not going to get into the full scope of problems with this; there is no evidence that autistic people are impaired in identifying their own gender, or that the higher incidence of transness/gender diversity in the autistic population is symptomatic of misidentification. But I am going to talk about one study cited in Cass:
“In contrast [to the patients in the original Dutch study of puberty blockers], in a detailed study of young people with ASD and gender dysphoria (de Vries et al., 2010), it was noted that “‘while almost all adolescents with GID [gender identity dysphoria] are sexually attracted to individuals of their birth sex, the majority of the gender dysphoric adolescents with ASD were sexually attracted to partners of the other sex” (Cass 8.29). [highlights my own]
Anyone who is familiar with Blanchardian typology will recognise what is going on here: baseline expected attraction to individuals of one’s ‘birth sex’ (i.e. trans straight attraction) is contrasted with a suspect population who experience attraction to ‘other sex’ individuals (i.e. trans gay attraction). ‘Other sex’ attraction is used to devalue claims to transness in all trans populations, especially trans women, as it marks them both as desirably recuperable to cisheterosexuality and as unable to perform either legible homosexual gender variance or sufficiently authentic — i.e. straight — future transness, rendering them an ideal plausibly deniable target of gendered abuse. Transphobic fantasy fixates on the trans woman who pursues/‘predates on’ women, and trans men who pursue men are also a disproportionate target of anti-effeminate mockery. (This model also obviously erases bisexuality, which Cass itself notes is a high incidence sexuality among all trans groups (Cass 8.3), and uses bioessentialist sex terminology — it appears that if I exclusively dated a trans woman I would be classified here as ‘attracted to males’).
It shouldn’t matter regardless; autism and sexual orientation both shouldn’t impede someone’s right to medical autonomy. However, given this claim is clearly being used to delegitimise autistic trans people — including in the original study, where they claim that ‘adult transsexuals not sexually attracted to their natal sex show in some studies less satisfactory postoperative functioning compared with birth-sex attracted transsexuals’ — it is notable that the claim is false. It is obviously false the second you look at their data. They have a sample of nine adolescents (which would prove nothing even if the majority were ‘non-birth-sex attracted’) and the claim is still wrong about their own data.
De Vries et al (2010) is a nightmare of a study. It’s an analysis of 16 children with ASD who attended a Dutch gender clinic between 2004 and 2007 — specifically 7 children (ages 7–10) and 9 adolescents (ages 12–18). All the patients are misgendered throughout. There are also deeply disturbing comments about the sexual arousal and genital discomfort of children as young as 7, suggesting that the children seen at the clinic were asked deeply inappropriate and traumatising questions from admission. Various aspects of the under-11s’ profiles are immediately provoking, such as what the ‘behavioral program’ that reduced an 8-year-old’s ‘dressing up’ consisted of, or why certain children were referred to the clinic at all (some seem to have presented primarily with cross-gender behaviour rather than cross-gender identification). In any case, the sexual orientation of the under-11s clearly isn’t known, and the Cass Review’s claim is specific to adolescents anyway.
Of the adolescents, all of whom have a stated sexual orientation, we have:
AFAB 12-year-old, attracted to boys
AFAB 16-year-old, attracted to girls
AFAB 18-year-old, attracted to girls
AMAB 13-year-old, attracted to ‘neither boys nor girls’
AMAB 14-year-old, attracted to boys
AMAB 15-year-old, attracted to both girls and boys
AMAB 16-year-old, attracted to boys (specifically ‘homosexual’ boys)
AMAB 16-year-old, attracted to girls
AMAB 17-year-old, attracted to girls
By my count, to use their terminology that’s 3 adolescents with solely ‘other sex’ attraction (and I would note that one of those is 12 years old), 4 with ‘birth sex’, 1 bisexual and 1 with no stated attraction. THAT IS NOT A MAJORITY. EVEN IF YOU INCLUDE THE BISEXUAL IT’S NOT A MAJORITY.
There’s a more salient aspect of this whole thing, though: the outcomes of the adolescents. The only adolescents approved for ‘SR’ — sexual reassignment, i.e. surgery — at this gender clinic were the ones who are ‘birth sex attracted’. The AFAB kid attracted to boys was ‘not eligible for SR’ and ‘happy being a ‘tomboy’ after counselling’; the bisexual AMAB kid was rendered ineligible and ‘referred for cognitive behavioral therapy around disturbing sexual arousal’; of the two AMAB kids attracted solely to girls, one was rendered ineligible but still had a ‘strong wish for SR’ at followup, while the other dropped out of the clinic, was ‘unwilling to assent to a treatment plan’, and got surgery abroad (good for her). ‘Non-birth-sex attracted’ trans adolescents here are obviously systematically gatekept from surgical interventions, and there are murky suggestions of conversion therapy, while most of the ‘birth-sex-attracted’ trans adolescents were awaiting surgery or hormones at followup.
But wait, there’s more. The study itself argues for lower ‘postoperative functioning’ of ‘non-birth-attracted transsexuals’, citing Smith et al. (2005) on ‘Transsexual subtypes: Clinical and theoretical significance’. (This study is straight up Blanchardian; it literally says that trans women attracted to men have a ‘more convincing cross-gender appearance.’) What does ‘postoperative functioning’ mean? It means that gay and bisexual trans people have ‘significantly more psychological problems’ than straight trans people — which would seem evidently explainable by a) less understood etiology of transness in non-homosexual-presenting trans youth, which means later treatment & more gatekept treatment, and b) worse cultural treatment of gay trans people.
So, the Cass Review took a study full of glaring markers of sexual misconduct & conversion therapy being enacted on trans children, quoted a statement about the data that is obviously incorrect if you look at the data for five seconds, used it to make a point intended to discredit autistic youth / paint them as delusional heterosexuals, and ignored blatant evidence of a long and documented history of gay and bi trans people being blocked from necessary healthcare interventions.
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2023 grid as my spotify wrapped, inspired by sai-lec
max verstappen
(1) Lovin’ Me - FIFTY FIFTY
(33) universe - thuy
checo perez
(11) ceilings- Lizzy McAlpine
sir lewis hamilton
(44) Unknown / Nth - Hozier
george russell
(63) Better Not (with Wafia) - Louis the Child
charles leclerc
(16) Yet to Come - bts
carlos sainz
(55) Is it a Crime? - No Guidance
lando norris
(4) Umaasa - Calein
oscar piastri
(81) Wildflower - 5SOS
fernando alonso
(14) Glue Song - beabadoobee
lance stroll
(18) Pasilyo - SunKissed Lola
pierre gasly
(10) on the street (with J. Cole) - j-hope
esteban ocon
(31) Oceans & Engines - NIKI
logan sargeant
(2) So Special - Citizen Queen
alex albon
(23) The Middle - Zedd, Maren Morris, Grey
daniel ricciardo
(3) The Astronaut - JIN
yuki tsunoda
(22) All Day (with Tablo) - RM
nyck de vries
(21) Sa Panaginip Na Lang - Alamat
liam lawson
(40) So Close (From “Enchanted”) - Jon McLaughlin
zhou guanyu
(24) Kill Bill - sza
valtteri bottas
(77) Cupid - FIFTY FIFTY
kevin magnussen
(20) Boy with Luv - bts
nico hulkenberg
(27) Darl+ing - seventeen
#nyck and liam ooh.... that hurts#my heavily repeated songs from the beginning of the year vs now are pretty different tho#i wish there was a way to really boost my songs from the past couple of months into the top 100#f1#formula 1#red bull racing#mercedes amg petronas#mercedes amg f1#ferrari#ferrari f1#mclaren f1#aston martin f1#williams racing#alpha tauri#alpine f1#alfa romeo#haas f1 team#spotify wrapped
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Yennaia ficlet
As long as anyone with hot blood can
A/N - I went to get new tyres this morning. That and @eileniessa are to blame for this.
Also on AO3 if you prefer.
Tissaia shivers and pulls her jacket more tightly around herself. It’s colder than she’d thought it would be when she chose her attire and she’s regretting not bringing a coat of some description. A silk blouse and knee length pencil skirt do nothing against the late October chill. Leaning her back against the boot of her car, she sighs and checks her watch. The sound of a vehicle approaching makes her look up and she spots a transit van in the distance.
“Finally,” she mutters, pushing herself upright, arms still wrapped around her torso, hands rubbing at her biceps.
The van comes to a halt just behind her car, the engine is switched off and the driver gets out. Tissaia’s breath catches. It’s a woman. She’s wearing a set of blue overalls, though what they are ‘over’ is in question, Going by the deep v where the studs are undone to below the point of modesty, it doesn’t look like she’s got anything on underneath. Her long dark hair tumbles impractically over her shoulders. She turns to face Tissaia. There’s a single swipe of oil on one sharp cheekbone. Almost as if it’s been applied with a makeup brush to highlight the perfection of the woman’s face.
“‘Allo there, sweetheart,” the woman says, in a truly unexpected accent. As she draws closer, Tissaia notes that there’s a sticky label on the left pocket of her overalls with a name scrawled on it in black marker; Yennefer.
“Good afternoon,” Tissaia says. “And I prefer Ms De Vries, to ‘sweetheart’, if you don’t mind.”
“Oh, ‘course,” Yennefer says with a wink. “Didn’t realise you were a posh bird.”
Tissaia purses her lips at the audacity, inhaling through her nose. “Are you going to take a look at my car? Or do you plan on merely spouting sexist language at me all afternoon?”
Yennefer nods, moving around to the front of the vehicle. “What seems to be the trouble?”
Tissaia comes to stand beside her. “It started making an odd noise as I was driving along this deserted, country road and I thought it better to stop and have it seen to.”
“You did the right thing, darlin’,” Yennefer says, bending to open the bonnet. Tissaia admires the view, averting her eyes from the pert backside when Yennefer turns to look over her shoulder. “Tell you what your first problem is, this bonnet’s stuck.”
Sighing, Tissaia approaches, bumping the mechanic out of the way with her hip and sliding her fingers beneath the bonnet to find the release, lifting an eyebrow at Yennefer as she opens it up.
“Ah. Knack to it, is there?” Yennefer moves in and bends over again, examining the engine. She touches a few things and then stands, taking a suspiciously clean rag out of her pocket and wiping her hands with it. “Found your soapy bubble, love.” She nods vaguely to the engine. “It’s your twirly bit, innit?”
“Twirly bit?” Tissaia frowns.
“Technical term,” Yennefer says, stuffing the rag back into her pocket and beckoning Tissaia closer. She acquiesces, stepping forward until her knees are against the bumper. Yennefer moves in behind her, inappropriately close. She sweeps a hand generally at the engine. “I’d say it’s buggered.”
“Is that another technical term?” Tissaia asks. “And I’m afraid I don’t have my wallet or credit cards with me. However will I pay for the repairs?”
Yennefer reaches up and closes the bonnet, then her hands land on Tissaia’s hips, roughly turning her around so they’re pressed chest to chest. “Oh, I’m sure I’ll think of some way for you to work off the debt.”
Tissaia gasps, putting a hand on Yennefer’s chest to push her back. “I’m not that kind of woman. And I don’t even think you’re a real mechanic!”
A hand slides to her backside, pulling her more firmly against Yennefer, who raises an eyebrow. “How dare you! I got my degree in mechanic...ing, from a very reputable university.”
Rolling her eyes, Tissaia drapes her arms around Yennefer’s neck. “It’d be a VQ from a technological college, darling. I thought you’d do at least a little research for this.” Although that hope had gone out the window at the utterance of ‘twirly bit’.
Yennefer tuts, her forehead creased. “Research? It’s fucking roleplay, Tissaia, not my debut at the Royal Shakespeare Company.”
Hiding her smile, Tissaia traces her thumb along the oil smudge on Yennefer’s cheek. “You’d never make it past the audition with accent work like that. At no point did I request my fantasy mechanic be from Cornwall.”
“Cornwall? I was doing a bloody cockney accent. And it was outstanding,” Yennefer says. Her hands come back to Tissaia’s hips, urging her to sit on the bonnet. She steps between her legs, pushing her skirt up her thighs and running her hand up under it. Her eyebrows shoot up as her fingertips trace the stockings and suspenders. Her eyes darken. “Oh. Oh..fuck.”
Smirking, Tissaia wraps her legs around Yennefer’s waist. “You see? I did do my preparation for today.”
“And I didn’t?” Yennefer points over her shoulder. “I borrowed Geralt’s van. I bought motor oil. I’m going commando in a set of overalls that I’m scared to ask Sabrina why she owns. All so you could live out your filthy little desire to have a bit of rough feel you up against a car in the middle of nowhere.”
“Shhhh,” Tissaia says, placing a finger over Yennefer’s lips and then replacing it with her mouth, meeting her in a heated kiss. Yennefer moans, pressing harder against her, tightening the grip she has on Tissaia’s thigh.
When they part, they’re both breathing heavily. Their eyes meet, and Yennefer starts to laugh. Tissaia frowns.
“What? What is it?”
Getting herself under control, Yennefer tilts her head and pokes Tissaia on the tip of her nose with her forefinger. “You’ve got oil on your nose. And it’s adorable.”
Tissaia sighs, but she’s smiling too. She takes the rag from Yennefer’s breast pocket and wipes at her nose. “Perhaps we should abandon this idea and just go home and make love the usual way?”
“Oh?” Yennefer steps away and twirls slowly, watching Tissaia over her shoulder. “Is Mechanic Yen not doing it for you as much as you hoped?”
Hopping down from the bonnet, Tissaia straightens her skirt. She steps closer to Yennefer and cups her face with both hands. “I think what today has done is reminded me of the lengths you are willing to go to to make me happy.” She smiles. “And that, my darling, is what does it for me.”
Yennefer’s eyes dip, and her cheeks grow warm beneath Tissaia’s hands. “I’d do anything for you, you know that.” She gives an exaggerated shiver. Even if it is outdoor sex in the middle of Autumn.”
Laughing, Tissaia draws her in for a kiss. “Let’s go home, hmmm?”
“Fine,” Yennefer says, slapping Tissaia’s backside and leaning in close to whisper. “I can’t wait to get you up them apples and pears and give you a right good seein’ to, sweetheart.”
“Please stop,” Tissaia groans.
“Only if you give me a butcher’s at that lovely set of Bristols you got there,” Yennefer says, leering down Tissaia’s top. She smirks. “See? I did do research. Just not on the car stuff.”
“Well, your effort is appreciated,” Tissaia says. She pecks Yennefer’s lips and steps out of her arms, heading around to her car door and opening it. “But if you fancy a bit of how’s your father tonight, I suggest you look lively.”
Yennefer’s eyes widen. “That was...a whole lot sexier than I think you think it was.”
Shaking her head, Tissaia gets into her car and lowers the window. “I’ll see you at home, Yennefer.” She sweeps her eyes over Yennefer’s body. “And keep the outfit on.”
With that, she speeds away, watching Yennefer scramble to get into the van in her rearview mirror. She smiles.
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@rectoress asked for a starter for a young Tissaia de Vries!
When she had offered to take the man’s place in the competition, she had not realised that it would be a formal tournament witnessed by the province’s ruler. She recalled the day as it had begun. She had lowered the helmet’s visor over her face, masking her identity and, more importantly, the sharp bright flare of her golden eyes. Over and over, between bouts of retching, he had thanked her, though he spent more time with his head in a bucket. At the time, she had doubted it was the drink which had made him so ill, but rather his frayed nerves.
Before leaving the tent, he had reminded her to tie his love’s favour around her wrist, a pink silk scarf which his love had asked him to wear on the day, as declaration of his devotion to her, and so she might pick him out from the rest of the men taking part. Of course, fond of romance, she obliged, amused, and when she was ready to face the crowds she had given him a short wave and told him that she would see to it that he bedded the girl. Then she had exited the tent with all the bravado of a well endowed man, chuckling quietly to herself.
Outside, people had flocked to their seats in stands already teeming with bodies. Trumpeters sounded the arrival of important gentry and, of course, royalty. Many of the men taking part in the day’s fights were already lined up and gearing to start. That was when the Witcheress laid eyes on Tissaia de Vries for the first time. The young and beautiful court mage, in some how the most ordinary and yet captivating of ways. The sorceress had seemed disinterested in the festivities, quiet, focused, like her mind was elsewhere. Maybe even a little sullen, knowing that her time could be put to better use than watching filthy, sweaty men fight one another with swords and shields.
Although she had been wearing another woman’s favour on her arm at the time, she remembers deciding, in that moment, to do all that she could to impress the mage who stood rigidly beside her king. Zelda was no stranger to a little peacock-ing, especially when it came to beautiful women who sparked her intrigue like fire to a fuse.
Of course, it hadn’t been a very long competition. She did her best to draw it out, but she got bored of it quickly, and found she wanted to be done with it, and to come out the victor so that she could meet the king and his mage quicker. So one by one, she knocked each competitor out, like shooting bottles off of a wall, until they were all on their backs, some of them groaning, some of them completely silent.
The king himself was in two minds about how he felt over the victory, his hands mid clap as he tried to decide whether he was impressed or disappointed in the fastness with which she had defeated her opponents.
Then someone from the crowds shouted “--look over there--!” and from out of the tent, dragged by two guardsmen, was the fool she was supposed to be impersonating.
Now, several hours later, with the festivities been and gone, the Witcheress is presented on her knees in court, in front of the king, his advisors, and of course his court mage. Only then is the helmet torn from her, and she squints at the sudden change in light, shaking free her blonde tresses with a relieved sigh. Those helmets were not comfortable to wear. Then she smiles, charming and unbothered as ever.
“I won! So what’s my prize?”
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Do you have any recommendations for blogs which post a lot of Witcher content? :)
hi, yes!
source blogs are always good for that! so @thewitchersdaily of course, which i’m also a part of ;)
and gifmakers who make that Quality Content™: @yennefervengerbergs @yocalio @llaracroft @lordasriell @lutavero
and some of my other faves are @jaskierq @thebardjaskier @witcher-ing @tossacointoyourwitcher @geraltoffrivia @yennefer-de-vries
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“Troupe” (2018, i.s.m. de gemeente Sint-Katelijne-Waver)
“Vanavond is het eindelijk zover in het dorp: er wordt een grote bruiloft gevierd!
Iedereen is uitgenodigd en alles staat in rep en roer: het koor oefent nog één keer zijn gezangen, de schilder legt de laatste hand aan zijn cadeau, de wijn wordt geperst, de tafel gedekt, de klokken geluid en het café krijgt nog een laatste opblinkbeurt. Alles staat klaar voor het feest der feesten waarin deze inwoners de liefde, het leven en de bloeiende toekomst van het bruidspaar willen vieren.
Tot een oorlog binnen walst...”
In 2018 vieren en herdenken de inwoners van Sint-Katelijne Waver de honderdste verjaardag van het einde van de Eerste Wereldoorlog. Deze oorlog liet wereldwijd sporen na en ook deze gemeente bleef niet gespaard. Toen de frontlijn voorbijgeraasd was, waren de dorpskernen van Sint-Katelijne-Waver en Onze-Lieve-Vrouw-Waver verwoest en geplunderd. Inwoners trokken op de vlucht en het dorp bestond uit uitgebrande en gesloopte woningen, kerken, scholen en gebouwen. Het vee liep los over de omgewoelde velden. Talloze soldatengraven tekenden het landschap. Er heerste ongerustheid en verdriet over soldaten en niet-teruggekeerde vluchtelingen.
“Troupe” is het resultaat van meer dan 500 inwoners van Sint-Katelijne-Waver die hun overgave, energie en tomeloze inzet hebben gebundeld voor een totaalspektakel. Honderd jaar na het einde van WO I, brengen ze een ode aan de herkansing van de mensheid na een catastrofe. Samen tonen ze wat er mogelijk is wanneer een gemeenschap gelooft in verzoening, jongeren, hoop, vrede, samenwerking en toekomst.
“Troupe” kende veel repetities, vergaderingen, omzwervingen en gedaantes voor het zijn uiteindelijke vorm vond. Samen zijn we vertrokken vanuit de talenten van honderden individuele deelnemers: van decorbouwers tot spelers, van tekstschrijvers tot muzikanten, van vendeliers tot ruiters. Gaandeweg ontstonden er ook kruisbestuivingen: dansers tonen hun kunnen op de muziek van de harmonie, de vendeliers leiden met hun vlaggen het spreekkoor in, muzikanten leerden zingen, acteurs hielpen decors te bouwen, enzovoort. Het maken van “Troupe” is een wilde rit geweest, een tornado, een wave – maar bovenal: een feestelijke smeltkroes.
Productie: Gemeente Sint-Katelijne-Waver & Abattoir Fermé
Regie: Maja Westerveld.
Met medewerking van: Anita Van Bael, Ann Jéhansart, Ann Vandervorst, Caroleine Maks, Christel Pelgrims, Demi Jacobs, Erik Beullens, Elke Maes, Ferry Bottenheft, Geert Eskens, Hilde Cammaer, Jo Vermuyten, Katrien Van Bael, Leonie Lenz, Lieve Janssens, Marthe Vandervorst, Miek De Souter, Nicolas Lenz, Sofie Stroobants, Sylke Pex, Tom Hofman, Tom Hofmans, Veerle van Winkel, Marleen Van Cappellen, Ria Cauwenberg, Olga De Landtsheer, François Jacobs, Dries Van Echelpoel, Jozef Van Loo, Nick van Sprengel, Peter Wery, Tom Van den Wyngaert, Stefan Serneels, Tom De Haes, Jan De Vries, Natasja Mariën, Gitte Mattheus, Christel Peeters, Lieven Pollet, Geert Vanhauwaert, Joke Verreth, Stefanie Verbist, Carina Vertongen, Karlien Belmans, Sofie De Greef, Hendrik De Wilde, Else Jansen, Gert Goossens, Karen Lamoen, Katrien Willems, Lies Baarendse, Lynn Raymenants, Jakob De Wilde, François Crauwels, Maaike Pauwels, Sofie Van den Acker, Wilfried Van den Acker, Pieter Pauwels, Eddy Luytens, Paul Bernaerts, Martine De Winter, Sam Liekens, Bert Vanhauwaert, Veerle Vermeulen, Bernd Bastens, Eva Bastens, Els Devos, Haike Hoozee, Elyana Joris, Eva Van Herbruggen, Ille Le Page, Andy Livens, Marijke Vanroy, Liesbeth Saels, Marc Truyers, Marina Op de Beeck, Helena Neirinck, Daniël Le Page, Hilde De Smet, Maria Van den Eynde, Katleen De Prins, Kristel Donkers, Anja Verhoeven, Leen Eeckhout, Shana Denorme, Erika Franckx, An Macouter, Hanne Kinne, Myriam Franckx, Andy Livens, Kyara Denorme, Ferun Kinne, Rein Voorspoels, Mattia Pujvani, Shana Denorme, Kobe Asselberghs, Ignace Terwage, Yannick De Louker, Geert Schelstraete, Hans De Weerdt, Sofie Lemmens, Robbe Van den Brande, Vincent Verhelst, Emma Van den Brande, Peter Devries, Marc Dockx, Niko Geens, Kristof Ceulemans, Ronny De Munter, Wim D'Hollander, Koen D'Haene, Sven Vervloet, Gie Lamber, Aad Versteden, Jesse Spiessens, Robbe Pluys, Quinten Prinsen, Glenn Dirickx, Ann-Sophie van Capellen, Jan De Kunst, Kristel Ceulemans, Lise Fol, Zoë Verschooten, Patrik Spits, Thibeau Spits, Catherine Spits, Lauranne Spits, Anke van Hoof, Gwen Symons, Lieze Masy, Laure Verstreken, Inge Teughels, Ingrid Vermeiren, Jutta Schroven, Kato Schroven, Julie Frans, Maud Geysels, Laura Van Dyck, Kheara Hendrickx, Jana Van Oosterwyck, Morgan Andries, Paulien Verhaegen, Anouk Briers, Lore Hellemans, Lotte Vervloesem, Fien Craenen, Bo van den Broeck, Marit Kets, Fleur De Vooght, Lynn De Doncker, Janne Vos, Louise Bertens, Laura Van Itterbeeck, Karolien Wauters, Nette Van Oosterwyck, Sytske Vermeulen, Renee Van Itterbeeck, Axelle Deprey, Maud Champagne, Jade Kerstens, Gabriella Van der Veken, Britt Agneesens, Laura Ritondo, Pheadra Van Kogelenberg, Lauke Robberechts, Aurelie Gevers, Evelien Snoeckx, Esther Snoeckx, Elke Snoeckx, Ellen De Reymaeker, Margot De Schoenmaeker, Marit Ramon, Mare Hens, Jozefien Hens, Tine Vermeylen, Amelie Van Camp, Laurien Lemmen, Julie De Wit, Axelle Van der Steen, Jade Quintin, Janne Schelfhout, Juliette Kennis, Femke Cauwenberghs, Jip Van den Zegel, Lene Ceulemans, Annelore Laevers, Louve Van Hoof, Frauke Van Lent, Eline Lemmen, Willemien De Wael, Kaat Schelfhout, Camille De Wit, Floor Bosmans, Ysmin Vanormelingen, Iris Vanormelingen, Julie Wauters, Amelie Vandenbergh, Kiara Bruneel, Amber Stoel, Indra Symons, Ilyas Afras, Maissan Boujida, Jolien Casteels, Selina Cesar Paixao, Beau den Toom, Luciana De Roovere, Naomi De Timmerman, Alizé Dewachter, Caro Frans, Alyssa Goedert, Lore Hellemans, Julie Hinninck, Nélia Lassouli, Lucas Leysen, Kaat-Fee Mathys, Marie Mertens, Jan Panasik, Alexie Pianet, Gitta Pouliart, Fleur Sterckx, Cedric Taveirne, Karlien Torfs, Axelle van der Steen, Marie Vangenechten, Sena Akarca, Femke Cauwenbergh, Olivia Ceunen, Faye Chan, Robine Dehaes, Fien Ingels, Kyante Jacops, Jade Kerstens, Anna Korsch, Janne Laurent, Boukje Lens, Jitse Liekens, Brent Op de Beeck, Frie Pinto Castanheira Lopes, Gitte Rodyns, Janne Schelfhout, Quinten Seymons, Elke Snoeckx, Marie-Anne Tansens, Thijs Van Overloop, Toon Vermeulen, Jarno Verschooten, Femke Versweyveld, Louve van Hoof, Dalia Dirlik, Evelyne Lemmens, Sofie Smekens, Jolien Buelens, Hannah Geerts, Siebe Stevens, Sara Blommaert, Jasmine Johri, Jo Op de Beeck, Jaroslava Sernavska, Lieselotte Beke, Mira Cools, Vic Van Ouytsel, Myrthe Engelen, Caprice Verhaegen, Jarne Droog, Bo Demeulenaere, Alexis Vissenberg, Ward Schoeters, Maurits van Buren, Loes Vercammen, Kara De Bakker, Magnus Tanssens, Nimke Borremans, Nysa Houman, Audrey Biesemans, Loran De Graef, Senne De Graef, Inaya Et-Taïbi, Ella Op De Beeck, Kobe Selders, Eline Viaene, Jakob Andries, Katinka Comyn, Warre De Bakker, Jenna De Ceuster, Janne Elsen, Billy Bob Hellemans, Inaya Rappoort, Kenji Vandekerckhove, Fleur Vertommen, Mats Verschueren, Heidi Van Dievel, Katja Rogiers, Natascha Knegtel, Kristien Pijl, An Mondelaers, Marc Marnef, Katrien Goetelen, Ingebord De Cooman, Kristien Pijl, Anne Belmans, leden Gezinsbond Katelijne-Pasbrug, Gwenny Blondé, Inge De Beuckelaere, Marleen Vekemans, Tina Vanderauwera, Isabelle Fossé, leden Gezinsbond Onze-Lieve-Vrouw-Waver, kindjes Buitenschoolse Kinderopvang, Jacques Wilms, Maria Buelens, Maria Cuykens, Denise De Cat, Hortanse De Wachter, Rita Dewals, Hilda Janssens, Jeanne Peeters, Lucien Pessendorffer, Gertha Portael, Swa De Kunst, Wim Van Engeland, Maria Scholdis, Godelieve Sterckx, Rita Van De Weyer, Maria Van Den Eynde, Maria Van Engeland, José Verrept, leden Okra Centrum, Leen Dries, leden Gezinsbond Sint-Katelijne-Waver, Chris Van Camp, Ghisleine Pelgrims, Bertha Daems, Maria Pluym, José Herckens, Elza Utterhoeven, Anna Herndrickx, Flora Gillis, Jeanne Van Dyck, J. Buelens, Jean Himpe, Simone Marcus, Joanna Verschueren, bewoners WZC Sint-Elisabeth, Paula Hofmans, leden Okra Goede Herder, Yente Belis, René De Munter, Theo De Vos, Ludo Govaerts, Karin Vervliet, Dag Kinne, 't Grom, Gidsen Sint-Katrien, Scouts Jan Breydel, School De Leerexpert, Transport Van Dievel, Wim Verhuur, Ivarem, Katelijne Motors, Fam. Van Den Zegel, Jan Broes, Alfons Hendrickx, College Hagelstein, Basisschool Hagelstein, Ben Andries, Dominique Baeten, Jos en Nicole Uytterhoeven, Luc en Astrid Uytterhoeven, Kerkfabriek Onze-Lieve-Vrouw-Waver, Ben Goossens, Ghislain Vansumere, personeelsleden gemeentebestuur Sint-Katelijne-Waver, politiezone Bodukap, KVLV Hagelstein, Landelijke Gilde Driekoningen, KLJ Hagelstein, BBC SKW, Rode Kruis, Cubic, Delimex, Kees Verwaard, Marc De Pauw, Georges Verschoren, Jan De Smet, Stef Lernous, Sven van Kuijk, Nick Kaldunski, Danny Blommaers, Hanna Scholiers, Seppe Janssens.
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Meppel klassiek
Eratofestival nog 9 dagen te gaan
Met elf muzikanten uit de buurt
Tijdens het klassieke Erato festival van 5-7 november in Meppel komen 35 musici en zangers uit zes landen naar Meppel om de mooiste concerten te spelen. Elf van hen komen uit de buurt en zij verbinden klassieke muziek met hun leerlingen van alle leeftijden uit deze regio. Erato is dus ook van alle klassiek georiënteerde muzikanten onze eigen streek! Hartelijk welkom op de party via www.eratofeswtival.nl Doe mee en kom!
Laat je meenemen door de Beminnelijke, door Erato. Al meer dan 250 bezoekers gaan je voor! In deze brief even het accent op het kwintet van de Meppeler muziekschool Scala en andere regionale talenten. Dat kwintet heet Blaaskwintet 4+1 omdat er vier vrouwen en 1 man in spelen. Het Erato festival brengt Meppel en verre omgeving in direct contact met klassieke muziek van de bovenste plank. Dit kwintet bestaat uit muziek docenten die leerlingen van elke leeftijd uit deze regio lesgeven in klassieke muziek.
Zij spelen op zaterdagmiddag 6 november om 14 uur en om 15 uur hun Verrassingsconcert waar je hier meer over te weten komt. De toegang is 15 euro en 7,50 euro als je jonger dan 26 jaar bent. Hieronder staat informatie over deze musici
Over João Ramos Marta – dwarsfluit
João Ramos Marta is als fluit-, methodiekdocent en coördinator verbonden aan het ArtEZ Conservatorium in Zwolle. Op 6 november valt hij in als fluitist in blaaskwintet 4 + 1. João studeerde fluit aan de conservatoria van Porto (Portugal) en Zwolle. Als performer in kamermuziek en muziektheaterproducties treedt hij regelmatig op met de pianist Frank van de Laar, klavecinist Tineke Steenbrink en regisseur Jeroen Kriek.
João is de initiator van het event Bach in de Subways in Lissabon en treedt dit jaar in de New Yorkse versie op met het brein achter Bach in the Subways, Dale Henderson. Hij verzorgt masterclasses in Eisenstadt, Lissabon en Aveiro. João is als fluitist verbonden aan de orkesten ‘Ensemble Conservatoire’ en ‘Holland Orkest Combinatie’.
Over Inge de Vries - hobo
Inge de Vries begon op 8-jarige leeftijd met hobolessen aan de muziekschool in Emmen. In 2005 startte ze de opleiding Docent Muziek (ODM) met bijvak hobo aan het ArtEZ conservatorium te Zwolle, om na een half jaar de overstap te maken naar de hoofdvakopleiding klassieke muziek.
Ze studeerde bij Frank Mulder, Henri Gouder de Beauregard en Bram Kreeftmeijer. Als hoboïst treedt ze op in verschillende orkesten en ensembles. Als docent geeft ze hobolessen, maar ook lessen muziekoriëntatie aan de allerkleinsten.
Momenteel is ze werkzaam bij Scala Centrum voor de Kunsten en het Scala Muziek Collectief als docent hobo en als medewerkster PR & Communicatie. Wil je weten of hoboles iets voor jou is? Ze is er nu, vraag het haar.
Over Liesbeth Klok – klarinet
Liesbeth Klok volgde haar klarinetstudie aan de conservatoria van Groningen en Rotterdam. Als klarinettist is zij werkzaam bij de Koninklijke Militaire Kapel “Johan Willem Friso”, speelt ze in het klarinetkwartet van dit orkest, en maakte ze regelmatig deel uit van diverse ad hoc ensembles.
Ze is een zeer ervaren klarinetdocente die lesgeeft aan alle mogelijke leeftijden en niveaus. Liesbeth heeft jeugdorkesten gedirigeerd, wordt regelmatig ingezet als examinator voor de landelijke muziekexamens HAFABRA bij de KNFM, coacht een gevorderd klarinetensemble uit Meppel en is als docent klarinet en coördinator Cultuur op School verbonden aan Scala, Centrum voor de Kunsten. Een voorbeeld: https://www.youtube.com/watch?v=jle_YTlPLO4
Over Maarten Gal – hoorn
Maarten Gal studeerde klassieke muziek, lichte muziek en schoolmuziek aan de conservatoria van Zwolle en Hilversum. Met de groep Very Shucking verwierf hij in 1995 de Dordtse Jazzprijs voor uitvoering en bewerking van de Thelonius Monk standard “Well you needn’t”.
Tijdens het Nederlands Jazzconcours won hij met zijn free-funk formatie “Directions” in 1996 de solistenprijs. Met “4 Horns Only”, “Hemelsbreed” en het kersverse “Groove Collective” speelt hij hedendaags geïmproviseerde muziek met eigen composities die gebaseerd zijn op compositietechnieken uit de 20e eeuw.
Naast zijn werk als uitvoerend musicus is hij als docent en workshopleider werkzaam bij Scala Centrum voor de Kunsten en is hij muzikaal leider van verschillende bigbands en orkesten.
Over Thirza Hooijsma - fagot
Thirza Hooijsma startte op 11-jarige leeftijd met fagotspelen. Ze kreeg les van Hans Vos en Ellen Koot en ontwikkelde zich tot een veelgevraagd fagottiste. Orkestervaring deed ze op bij o.a. Harmonieorkest Almelo, het Zwols Symfonieorkest, het HanzeOrkest en blaaskwintet de Drentsche Aa. Naast haar werk als verzorgende runt Thirza een coachingspraktijk en verleent regelmatig haar muzikale medewerking aan uiteenlopende projecten.
Over Scala: Wij houden van kunst en cultuur; ons vak en onze passie
Scala wil kunst en cultuur bereikbaar maken voor iedereen. Met een aanbod van lessen en cursussen muziek, dans, theater, beeldende kunst, media en urban arts voor kinderen, jongeren en volwassenen. Of het nu gaat om cultuureducatie in de vrije tijd, op school of binnen het sociaal domein. Scala is actief in de gemeenten Meppel, Hoogeveen, Steenwijkerland, De Wolden, Westerveld, Staphorst en Weststellingwerf. Bij Scala krijg je les in de dansstudio’s, muzieklokalen, repetitieruimtes en ateliers in Meppel (CCM De Plataan), Hoogeveen (Scala) en Steenwijk (De Meenthe). Daarnaast geven de docenten muziekles op veel kleinere locaties in de dorpskernen en kom je hen tegen op heel veel scholen.
Duo Puur komt ook uit de buurt
Soms zou je denken dat het Erato festival gaat over bekende en soms beroemde nationale en internationale musici, maar niets is minder waar. Hiervoor is al het blaaskwintet van de muziekschool genoemd, maar ook het Duo Puur treedt op. Dat bestaat uit harpiste Annegreet Rouw uit Deventer en dwarsfluitiste Petra van den Dolder uit Meppel.
Zij spelen voornamelijk licht klassieke muziek, maar durven ook het moderne pad te betreden. Zij treden regelmatig op in Nederland en Duitsland, met steeds zorgvuldig gekozen repertoire en geven les aan leerlingen van elke leeftijd die zich in muziek willen ontwikkelen.
Het duo Puur treedt op bij de familie van Maanen op Zuideinde 39 met een programma om 13 uur en een programma om 14.30 uur. Kijk op de website voor wat zij spelen.
Sinje Kiel en David van Ooijen
Sinje Kiel brengt in dit liefdevol samengestelde programma wiegeliedjes en liederen over de nacht uit diverse culturen en muzikale stijlen, van vroegbarok tot jazz. David van Ooijen begeleidt haar soepel en ontspannen op luit en gitaar.
Sinje en David treden op bij de familie Bruil op Zuideinde 64 om 13 uur en om 15 uur. De toegang is 15 euro en 7,50 euro als je jonger dan 26 jaar bent. Deze beide concerten zijn uitverkocht. Sopraan Sinje Kiel geeft zangles in Ruinerwold.
Duo VuurWater met Piazzolla
Dan is er het duo VuurWater dat op zaterdagavond tijdens een after party van 22 tot 23 uur de sterren van de hemel speelt in het bijzonder met inspirerende werken van de Argentijnse tango componist Astor Piazzolla die leefde van 1921-1992 en de ingeslapen tangowereld op zijn kop zette. Smelt weg bij hun toetsen van de snaren, het is heerlijk vóór het slapen gaan.
Optreden op zaterdag 6 november om 22 uur in Zael aan Zuideinde 56. Toegang 18,50 euro en €9,30 als jonger bent dan 26 jaar.
Carolien Fleumer uit Diever geeft les in stembevriding met adem, stem, beweging en expressie. Zij heeft een bloeiende lespraktijk aan huis en organiseert daar ook concerten. Kijk op www.couleurvocale.com. Maaike Gerritsen (viool) speelt in diverse ensembles en (barok) orkesten, heeft haar eigen lespraktijk in Zwolle, Heino en Nieuwleusen, is klankcoach en geeft ook stembevrijding. Kijk op www.maaikegerritsen.nl
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autumn 2021
#film photography#analog photography#canon#filmisnotdead#35mm#analogue#analog#canon ae1 program#film is not dead#inge de vries#kodak portra 400#portra400#kodak gold 35mm#fujifilm#fuji film color 200#fujicolor#netherlands#autumn#forest#nature#autumn forest#the netherlands
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Videos Today: Dutch Meeting Kingdom Relations. Procedurevergadering Commissie Koninkrijks Relaties 14 April 2021 English Dutch
Videos Today: Dutch Meeting Kingdom Relations. Procedurevergadering Commissie Koninkrijks Relaties 14 April 2021 English Dutch
Video todays Dutch meeting Kingdom Relations. Procedurevergadering Vaste Commissie Koninkrijksrelaties. Videos posted below. The first half is just mostly introductions, this is a new committee on Kingdom Relations. Names of attendees below. Attendees: JM Paternotte, A. (Aukje) de Vries, J. Wuite, I. (Inge) van Dijk, RM Leijten, AH Chick, L. Bromet, DGM Cedar, DJ Eppink, T. Kuzu, SH Simons There…
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Recensie: Electric Hollers - Electric Hollers
Recensie: Electric Hollers - Electric Hollers //
Electric Hollers – Electric Hollers
Format: CD – LP – Digital / Label: Eigen Beheer
Release: 2020
Tekst: Peter Marinus
Het 70’s bluesy rockgeluid is gewoon niet uit te roeien! Het blijft maar opduiken! Ook nu weer op het debuutalbum van het Nederlandse bluesrocktrioElectric Hollers. Uit Noord-Nederland om precies te zijn.
De band bestaat uit Tim Birkenholz (zang, gitaar), Inge de Vries(bas, zang)…
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AIA elevates 115 members and nine international architects to the College of Fellows
WASHINGTON– The American Institute of Architects (AIA) is elevating 115 member-architects to its prestigious College of Fellows, an honor awarded to members who have made significant contributions to the architecture profession.
The fellowship program was developed to elevate those architects who have achieved a standard of excellence in the profession and made a significant contribution to architecture and society on a national level. Prospective candidates must have at least 10 years of AIA membership and demonstrated influence in at least one of the following areas:
· Promoted the aesthetic, scientific, and practical efficiency of the profession;
· Promoted the science and art of planning and building by advancing the standards of architectural education, training or practice;
· Coordinated the building industry and the profession of architecture through leadership in the AIA or other related professional organizations; or
· Advanced the living standards of people through an improved environment.
Fellows are selected by a seven-member Jury of Fellows. This year’s jury included Chair Mary P. Cox, FAIA, Virginia Commonwealth University; Peter Bardwell, FAIA, Bardwell + Associates, LLC; Mary A. Burke, FAIA, Burke Design & Architecture PLLC; Philip Castillo, FAIA, Jahn; Mary Johnston, FAIA, Johnston Architects, LLC; Paul Mankins, FAIA, Substancearchitecture; and Nancy Rogo Trainer, FAIA, Drexel University.
The newly elevated members and their AIA component affiliations are listed below. For complete details and images, visit the fellows directory.
Terry Lee Allers, FAIA (AIA Iowa)
Norman R. Alston, FAIA (AIA Texas Society of Architects)
Raya Ani, FAIA (AIA New York State)
Ruth Baleiko, FAIA (AIA Washington Council)
Mara Baum, FAIA (AIA California Council)
Bruce Redman Becker, FAIA (AIA Connecticut)
Raymond Beeler, FAIA (AIA New York State)
Kai-Uwe Bergmann, FAIA (AIA New York State)
Janette S. Blackburn, FAIA (AIA Massachusetts)
Joseph Brancato, FAIA (AIA New York State)
Kim D Bretheim, FAIA (AIA Minnesota)
John H Britton, FAIA (AIA California Council)
Peter Brown, FAIA (AIA Texas Society of Architects)
Robert Bullis, FAIA (AIA Texas Society of Architects)
Michael Burch, FAIA (AIA California Council)
Joseph P. Caprile, FAIA (AIA Illinois)
Stephen Cassell, FAIA (AIA New York State)
Yung Ho Chang, FAIA (AIA Massachusetts)
Jeanne Chen, FAIA (AIA California Council)
Leo Chow, FAIA (AIA California Council)
Lisa M. Chronister, FAIA (AIA Oklahoma)
Robert Condia, FAIA (AIA Kansas)
Robert Cozzarelli, FAIA (AIA New Jersey)
Brandon Dake, FAIA (AIA Missouri)
Manoj Dalaya, FAIA (AIA Virginia)
John R. DaSilva, FAIA (AIA Massachusetts)
Jeffrey L. Day, FAIA (AIA Nebraska)
Timothy E. de Noble, FAIA (AIA Kansas)
Roy T. Decker, FAIA (AIA Mississippi)
Jared Della Valle, FAIA (AIA New York State)
Melissa DelVecchio, FAIA (AIA New York State)
Bruce D. Eisenberg, FAIA (AIA New York State)
Thomas Fowler, IV, FAIA (AIA California Council)
Wyatt J Frantom, FAIA (AIA California Council)
Craig S. Galati, FAIA (AIA Nevada)
Mark Gangi, FAIA (AIA California Council)
Pete Ed Garrett, FAIA (AIA Texas Society of Architects)
Nicholas Garrison, FAIA (AIA New York State)
John P Gering, FAIA (AIA New York State)
Anzilla R. Gilmore, FAIA (AIA Texas Society of Architects)
Martin A. Gold, FAIA (AIA Florida)
Jordan Goldstein, FAIA (AIA Washington, DC)
Jeffrey Gunning, FAIA (AIA Texas Society of Architects)
Tushar Gupta, FAIA (AIA Texas Society of Architects)
Sharon Helene Haar, FAIA (AIA Michigan)
Todd R. Hanson, FAIA (AIA New Hampshire)
John Harrison, FAIA (AIA Washington Council)
Dominique M. Hawkins, FAIA (AIA Pennsylvania)
David B. Hill, FAIA (AIA North Carolina)
Kevin M. Holland, FAIA (AIA California Council)
Thomas L. Hoskens, FAIA (AIA Minnesota)
Aaron Jon Hyland, FAIA (AIA California Council)
Thomas Lee Hysell, FAIA (AIA Minnesota)
Darren L. James, FAIA (AIA Texas Society of Architects)
Thomas C. Jester, FAIA (AIA Maryland)
Michael W. Johns, FAIA (AIA Pennsylvania)
Bill Johnson, FAIA (AIA Missouri)
James Kalvelage, FAIA (AIA Oregon)
Mitra Kanaani, FAIA (AIA California Council)
Brian Kowalchuk, FAIA (AIA New Jersey)
Alison G. Kwok, FAIA (AIA Oregon)
Joseph Dye Lahendro, FAIA (AIA Virginia)
Samuel M. Lasky, FAIA (AIA Massachusetts)
Tracy Lea, AIA, FAIA (AIA Louisiana)
Michael N. Lykoudis, FAIA (AIA Indiana)
William T Mahan, FAIA (AIA California Council)
Michael S. Martin, FAIA (AIA California Council)
Michael McCulloch, FAIA (AIA Oregon)
Debi McDonald, FAIA (AIA Massachusetts)
Sandra McKee, FAIA (AIA New York State)
Louis A. Meilink, Jr., FAIA (AIA Pennsylvania)
Christine Mondor, FAIA (AIA Pennsylvania)
Julia Monk, FAIA (AIA New York State)
Nick Noyes, FAIA (AIA California Council)
Brandon Pace, FAIA (AIA Tennessee)
Jeffrey Paine, FAIA (AIA North Carolina)
Patrick Panetta, FAIA (AIA Arizona)
Richard I. Pigford, FAIA (AIA Alabama)
Burchell Pinnock, FAIA (AIA Virginia)
Jack Poling, FAIA (AIA Minnesota)
Bradford J. Prestbo, FAIA (AIA Massachusetts)
Tina Marie Reames, FAIA (AIA New Mexico)
Richard Renner, FAIA (AIA Maine)
Patricia Rhee, FAIA (AIA California Council)
Lyn Rice, FAIA (AIA New York State)
Francisco Javier Rodrígue, FAIA (AIA International Chapters)
William T Ruhl, FAIA (AIA Massachusetts)
Mary Elizabeth Rusz, FAIA (AIA New York State)
Constantine Nicholas Sak, FAIA (AIA Arizona)
Lee Salin, FAIA (AIA California Council)
Joel Sanders, FAIA (AIA New York State)
Mark Schatz, FAIA (AIA Texas Society of Architects)
Thomas J Schoeman, FAIA (AIA Nevada)
Bart Shaw, FAIA (AIA Texas Society of Architects)
Steven Shinn, FAIA (AIA California Council)
Daniel Simons, FAIA (AIA California Council)
Murat Soygenis, FAIA (AIA International Chapters)
Marc B. Spector, FAIA (AIA New York State)
James G. Spencer, FAIA (AIA California Council)
Karl W. Stumpf, FAIA (AIA Washington, DC)
Janet Tam, FAIA (AIA California Council)
David Thaddeus, FAIA (AIA North Carolina)
Jimmie E. Tucker, FAIA (AIA Tennessee)
Ursula Twombly, FAIA (AIA Wisconsin)
Nicholas E. Vlattas, FAIA (AIA Virginia)
Dennis Wedlick, FAIA (AIA New York State)
Andrew Whalley, FAIA (AIA New York State)
Jim Whitaker, FAIA (AIA North Carolina)
Jan Willemse, FAIA (AIA Oregon)
William K. Wilson, FAIA (AIA Oregon)
Dan Worth, FAIA (AIA Nebraska)
Brian T. Wurst, FAIA (AIA South Carolina)
Gregory A Yager, FAIA (AIA International Chapters)
RIchard C. Yancey, FAIA (AIA New York State)
Robert E. Yohe, FAIA (AIA Florida)
The AIA Honorary Fellowship program honors international architects for their exceptional work and contributions to architecture and society on an international level. Nine honorary fellows are being elevated this year by the 2019 Jury of Honorary Fellows. This year’s honorary fellows are:
Emre Arolat, Hon. FAIA (Istanbul, Turkey)
Sandra Barclay, Hon. FAIA (Lima, Peru)
Alberto Campo Baeza, Hon. FAIA (Madrid, Spain)
Nathalie de Vries, Hon. FAIA (Rotterdam, Netherlands)
Jane Duncan, Hon. FAIA (Little Chalfont, United Kingdom)
Amanda Levete, Hon. FAIA (London, United Kingdom)
Esa Mohamed, Hon. FAIA (Kuala Lumpur, Malaysia)
Pei Ing Tan, Hon. FAIA (Kuala Lumpur, Malaysia)
Jacob van Rijs, Hon. FAIA (Rotterdam, Netherlands)
AIA Honorary Fellows are selected by a nine-member Jury of Honorary Fellows. This year’s jury included Chair Lester Korzilius, FAIA, EllisWilliams Architects; Mary P. Cox, FAIA, Virginia Commonwealth University; Peter Bardwell, FAIA, Bardwell + Associates, LLC; Mary A. Burke, FAIA, Burke Design & Architecture PLLC; Philip Castillo, FAIA, Jahn; Robert Forest, FAIA, Adrian Smith + Gordon Gill Architecture; Mary Johnston, FAIA, Johnston Architects, LLC; Paul Mankins, FAIA, Substancearchitecture; and Nancy Rogo Trainer, FAIA, Drexel University.
New fellows will be honored at a ceremony on June 7 at the AIA Conference on Architecture 2019 in Las Vegas.
from boston condos ford realtor https://bostonrealestatetimes.com/aia-elevates-115-members-and-nine-international-architects-to-the-college-of-fellows/
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Unbordering Central Africa
Reflections on the ‘The Long Term: Tracing Legacies of Violence in Francophone Equatorial Africa’ workshop, 23-27 November 2018, Libreville, Gabon[1]
Hoinathy Remadji presenting during the workshop (Photo Andrea Behrends)
In November 2018 I had the chance to take part in a Point Sud workshop organised at the Université Omar Bongo (UOB) in Libreville, Gabon. The main goal of the Point Sud workshops is to bring together scholars from different countries, disciplines and generations to share knowledge about Africa in Africa. For this occasion, the participants had come to Libreville from different countries in Africa, Europe and the Americas to exchange ideas during a workshop entitled ‘The Long Term: Tracing Legacies of Violence in Francophone Equatorial Africa’.
What makes ‘Francophone Equatorial Africa’ an area of study? Is it a common proto-language substratum? A shared colonial past? The way power is exerted, as well as its (broken) link to the metaphysical ? Its apparent political dysfunctionality? Is it violence[2] that gives meaning to the cohesion of Central Africa? Its different waves and layers? Slavery, (neo-)colonialism and its nefarious and longstanding consequences? Or could it be the modes of communicating, moving and the resilience and vital force of its people? Its kinaesthetic forces, the strength of its colours and the richness of its soils? Is this region of Africa defined ex negativo, just by that which it is not?
The question of how to define the region that falls under ‘Francophone Equatorial Africa’ (for academic purposes) seemed to be a recurrent point of discussion. Which countries were to be counted in and which not. The fact that two scholars working on Equatorial Guinea were part of the group, on the one hand, but also the absence of the Central African giant, Congo-Kinshasa, on the other hand, added fuel to the fire. Regarding the first, Equatorial Guinea had previously been a Spanish colony, throwing the word ‘Francophone’ in the workshop’s title overboard. Regarding the latter, even if Congo-Kinshasa had been obliterated, many of the participants referred to it in their presentations. One could question even further, what about Rwanda and Burundi which are so linked to the political history of DR Congo? Or Angola, which shares a common pre-colonial history with both Congo’s? And why not South-Sudan and Zambia?
At the onset a focus on the dense forest, its waterways and its myths side-lined Chad, where there are no lush forests, but savannahs and deserts. Ironically Chad had been part of the AEF, in its original reading that is, ‘Afrique Equatoriale Française’[3] (French, instead of Francophone, Equatorial Africa). In a layered reading of history, however, this apparent contradiction ceases to exist. Placed one on top of the other, the different layers of history overlap and encompass, among others, the pre-colonial forests and the Sahelian territories colonized by the French at the end of the nineteenth century. A layered reading of history encompasses different religions, an amalgam of languages, different colonial pasts and colonizers. The similarities should not obscure the differences and vice-versa.
Perhaps Equatorial or Central Africa should be defined by those who consider themselves working in it? Not to say, first and foremost, its inhabitants… The Zambian Copperbelt, for instance, has been considered by some as being part of this region.[4] Defining Central Africa might then just be a fallacy. The focus and effort should rather lie in understanding how this region takes shape over time and its changing dynamics.
Some participants argued that borders are there to be crossed. In Central Africa rivers have been turned into (national) borders, separating the right from left riverbanks. However, crossing rivers on pirogues, magical bridges and other extraordinary means connects the riverbanks and separates, in fact, the water, not the land. I concluded my presentation with a short video recorded while crossing the Ubangi River. It triggered another participant to send me a photograph of the place where the water of the Gabon Estuary meets the Atlantic Ocean (see photograph hereunder), his response and enthousiasm were reminiscent of the call-and-response methodolgy.[5]
Notice the slightly different shade of blue between the two waters (Photo Lionel Ikougou-Renamy)
Perhaps the most important lesson to be drawn is not the bordering, but rather the undoing of borders, the continuous contestation and questioning of borders. Perhaps the most important lesson is unbordering. In its present continuous form, unbordering, reminds us, over and over again, of the process that challenges that which is fixed and not transgressive, also in our minds –especially in our minds.
The challenge lies not in limiting ourselves to transgressing thematic, or disciplinary, or geographical borders (all in which this workshop has excelled). The challenge rather lies in looking for new, fascinating, delirious and unthought-of ways of unbordering academia: facilitating African anthropologist to study European societies; brainstorming on how to include the ‘present absences’, i.e. the people we do research with; acknowledging the production of knowledge of our assistants, informants, interlocutors, gatekeepers and friends, without whom we could not call ourselves scholars; creating new connections that are not defined by North-South relationships; opening the doors of the university to other types of (non-academic) knowing[6]; Unbordering knowledge...
I would like to conclude with an anecdote. On the last evening in Gabon, as we awaited our flight back home, I was ‘abducted’ by a jovial and energizing Spanish-speaking Gabonese lady who runs a Spanish language institute in Libreville. She had recently come back from a trip to Colombia, where she attended a conference in Bogotá (the city where I was born). Sharing a last diner (and especially a last Gabonese REGAB beer) she explained how Gabon was too France-centred. How wonderful would it be if her school could teach anthropology in a Spanish-speaking, and even South-American, tradition? How different would the papers and researches be from those written and carried out in the framework of the French academic tradition? Just to have another, complementary view. Feeling the breeze of the estuary on our shoulders, we talked about bridges connecting the two continents, Africa and South-America, music to my ears. I guess unbordering is exactly that, opening up to new ways of knowing, of connecting – creating bridges in order to become wealthy-in-people.
[1] I do not claim authorship for the ideas presented in this blog, even though I am responsible for their interpretation. This blog is the result of the exchanges between all the workshop participants, inside and outside the conference room, in the corridors, during walks and drives, on the beach, while having drinks, and on the dance floor. To acknowlegde this co-creative process I want to thank all for the fruitful exchanges (in the hope that I am not forgetting anyone): Fabert Mensah, Lotje de Vries, Andreas Mehler, Klaas van Walraven, Joseph Mangarella, Moussa Sissoko, Florence Bernault, Karine Ramondy, Meredith Teretta, Andrea Ceriana Mayneri, Sylvain Batianga-Kinzi, Maria Ketzmerick, Enrique Okenve, Hoinathy Remadji, Maixant Mebiame, Lionel Ikougou-Renamy, Enrique Martino, Dimitri Ndombi, Stephanie Rupp, Guy Moussavou, Héloïse Kiriakou, Djanabou Bakary, Andrea Behrends, Arielle Ekang Mve, Célestine Koumba, Amélie Mogoa, Ingrid Jäger, Christian Mayss, Raymond Mayer, doña Véronique Solange, Herve Essono Mezui and Styde Mavioga Mickala.
[2] In the Connecting In Times of Duress research project we work with the concept of duress: i.e. the individual experience and internalization of violence. See the recently published special section on duress.
[3] AEF included today’s Chad, CAR, Congo-Brazzaville and Gabon.
[4] Think for instance of the Oxford-based “Comparing the Copperbelt” project, which subtitle reads Political Culture and Knowledge Production in Central Africa.
[5] A methodology of triggering exchange and collaboration. See: Puwar, Nirmal, and Sanjay Sharma. 2012. “Curating Sociology.” The Sociological Review 60 (1_suppl): 40–63.
[6] I am hereby inspired by the Voice4thought Foundation and its work on co-creation. Co-creation looks beyond the walls of academic savoir and acknowledges the epistemological value of knowledge produced by activists, journalists, artists, etc... .
#central africa#borders#knowledge#violence#Libreville#Gabon#collaboration#colonial history#bridges#post-colonial history
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Botensite Tubbber richt zich op Amerika
Tubbber is eind vorige week uitgeroepen tot één van de winnaars van het Oranje Handelsmissiefonds 2017 en gaat zich met steun van onder meer ING, KLM, MKB Nederland en het Ministerie van Buitenlandse Zaken op de Amerikaanse markt richten. De aandacht voor die specifieke markt vloeit voort uit een expositie waar het Groningse bedrijf onlangs aan meedeed in Annapolis aan de VS-oostkust. Oprichter Anne de Vries: “De reacties waren erg positief en we hielden er zo’n 1200 nieuwe leden aan over. Amerikaanse zeilers kijken steeds vaker voorbij hun horizon. Dat heeft onder meer te maken met de stormen die het Caribisch gebied teisteren. In de Middellandse Zee hoef je niet bang te zijn dat je in een orkaan terechtkomt.” Sinds twee jaar richt Tubbber zich als bemiddelingssite op eigenaren van zeiljachten en luxe motorboten en helpt hen die via internet verhuren. De Vries: “Wij zorgen enkel voor betalingsverkeer, verzekering van boot en schipper en natuurlijk checken we de kwaliteit van de boten en de betrouwbaarheid van hun eigenaren.” Als winnaar van het Oranje Handelsmissiefonds, opgericht door ING, KLM, MKB Nederland en het Ministerie van Buitenlandse Zaken, krijgt de start-up een jaar lang hulp bij het realiseren van zijn exportambities. Er wordt juist voor de Amerikaanse markt gekozen omdat daar, zo klinkt de rekensom, 87 miljoen mensen zijn die in hun vrije tijd op het water te vinden zijn. In Nederland zijn dat er zo’n 1,5 miljoen. Tubbber richtte zich van meet af aan al op de internationale markt en sloot, mede vanwege De Vries’ eerdere zakelijke activiteiten, daarom al meerdere netwerken van buitenlandse booteigenaren aan op de site. Vooral in Zuid-Europa. Foto: Christian Lendl (cc) http://dlvr.it/Q4H5Ck
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