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Long Wharf in Boston, Massachusetts, USA, ca. 1874, jutting into Boston Harbor

The Barbours Cut Terminal of the Port of Houston, USA. This cargo shipping terminal has a single large wharf with multiple berths.

A wharf or quay ( /ˈkiː/, US also /ˈkeɪ/ or /ˈkweɪ/)^[1] is a structure on the shore of a harbor where ships may dock to load and unload cargo or passengers.^[2] Such a structure includes one or more berths (mooring locations), and may also include piers, warehouses, or other facilities necessary for handling the ships.

A wharf commonly comprises a fixed platform, often on pilings. Commercial ports may have warehouses that serve as interim storage areas, since the typical objective is to unload and reload vessels as quickly as possible. Where capacity is sufficient a single wharf with a single berth constructed along the land adjacent to the water is normally used; where there is a need for more capacity multiple wharves, or perhaps a single large wharf with multiple berths, will instead be constructed, sometimes projecting into the water. A pier, raised over the water rather than within it, is commonly used for cases where the weight or volume of cargos will be low.

Smaller and more modern wharves are sometimes built on flotation devices (pontoons) to keep them at the same level to the ship even during changing tides.

In everyday parlance the term quay is common in the United Kingdom and many other Commonwealth countries, and the Republic of Ireland, whereas the term wharf is more common in North America. In commercial/industrial usage wharf is typically avoided with quay being used to refer to the berthing areas, and port and terminal being used to refer to the overall structures and locations. Merriam-Webster's Dictionary of Synonyms quotes the New York Times as saying "a quay is a docking facility at which vessels lie parallel to the shoreline."^[3] In some contexts wharf and quay may be used to mean pier, berth, or jetty, though these uses are not addressed here.^[3]

In old ports such as London (which once had around 1700 wharves ^[4]) many old wharves have been converted to residential or office use.

• 

  King Henry's Wharves, typical London wharves converted to apartments

• 

  Wharf by Marriott/Pacquereau Bay on St. Thomas

• 

  Tourist boat loading passengers at a small quay, Sa Calobra, Majorca, Spain

Etymology[link]

The word comes from the Old English hwearf, meaning "bank" or "shore", and its plural is either wharfs or wharves; collectively a group of these is referred to as a wharfing or wharfage. "Wharfage" also refers to a fee ports impose on ships against the amount of cargo handled there.

In the northeast and east of England the term staithe or staith (from the Norse for landing stage) is also used. For example Dunston Staiths in Gateshead and Brancaster Staithe in Norfolk. However, the term staithe may also be used to refer only to loading chutes or ramps used for bulk commodities like coal in loading ships and barges. It has been suggested that wharf actually is an acronym for ware-house at river front,^[5][6][7] but it is actually a backronym created by Thames river boat guides.

Another explanation may be that the word wharf comes from the Dutch word "werf" which means "yard", an outdoor place where work is done, like a shipyard or a lumberyard.

See also[link]

• Canal basin
• Dock
• Jetty
• Pier
• Safeguarded wharf
• Port

References[link]

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The Brothers Quay
The Brothers Quay – Wrocław (Poland), July 24, 2010
Born	(1947-06-17) June 17, 1947 (age 65) (identical twins) Norristown, Pennsylvania, U.S.
Occupation	film director animators

Wikimedia Commons has media related to: Brothers Quay

Stephen and Timothy Quay ( /ˈkweɪ/ KWAY) (born June 17, 1947 in Norristown, Pennsylvania) are American identical twin brothers better known as the Brothers Quay or Quay Brothers. They are influential stop-motion animators. They are also the recipients of the 1998 Drama Desk Award for Outstanding Set Design for their work on the play The Chairs.

Careers[link]

The Quay Brothers reside and work in England, having moved there in 1969 to study at the Royal College of Art, London ^[1] after studying illustration at the Philadelphia College of Art, now the University of the Arts in Philadelphia. In England they made their first short films, which no longer exist after the only print was irreparably damaged.^{[citation needed]} They spent some time in the Netherlands in the 1970s and then returned to England where they teamed up with another Royal College student, Keith Griffiths, who produced all of their films. The trio formed Koninck Studios in 1980, which is currently based in Southwark, south London.

The Quay Brothers' works (1979–present) show a wide range of often esoteric influences, starting with the Polish animators Walerian Borowczyk and Jan Lenica and continuing with the writers Franz Kafka, Bruno Schulz, Robert Walser and Michel de Ghelderode, puppeteers Wladyslaw Starewicz and Richard Teschner and composers Leoš Janáček, Zdeněk Liška and Leszek Jankowski, the last of whom has created many original scores for their work. Czech animator Jan Švankmajer, for whom they named one of their films (The Cabinet of Jan Švankmajer), is also frequently cited as a major influence, but they actually discovered his work relatively late, in 1983, by which time their characteristic style and preoccupations had been fully formed.^[2] At a panel discussion with Daniel Bird and Andrzej Klimowski at the Aurora festival Norwich they emphasized the more significant influence on their work was Walerian Borowczyk, who made both animation shorts and live-action features.

Most of their animation films feature puppets made of doll parts and other organic and inorganic materials, often partially disassembled, in a dark, moody atmosphere. Perhaps their best known work is Street of Crocodiles, based on the short novel of the same name by the Polish author and artist Bruno Schulz. This short film was selected by director and animator Terry Gilliam as one of the ten best animated films of all time,^[3] and critic Jonathan Romney included it on his list of the ten best films in any medium (for Sight and Sound's 2002 critics' poll).^[4] They have made two feature-length live action films: Institute Benjamenta, or This Dream People Call Human Life and The Piano Tuner Of Earthquakes. They also directed an animated sequence in the film Frida.

With very few exceptions, their films have no meaningful spoken dialogue—most have no spoken content at all, while some, like The Comb (From the Museums of Sleep) (1990) include multilingual background gibberish that is not supposed to be coherently understood. Accordingly, their films are highly reliant on their music scores, many of which have been written especially for them by the Polish composer Leszek Jankowski. In 2000, they contributed a short film to the BBC's Sound On Film series in which they visualised a 20-minute piece by the avant-garde composer Karlheinz Stockhausen. Whenever possible, the Quays prefer to work with pre-recorded music, though Gary Tarn's score for The Phantom Museum had to be added afterwards when it proved impossible to licence music by the Czech composer Zdeněk Liška.

They have created music videos for His Name Is Alive ("Are We Still Married", "Can't Go Wrong Without You"), Michael Penn ("Long Way Down (Look What the Cat Drug In)") and 16 Horsepower ("Black Soul Choir"). Some people mistakenly believe that the Quays are responsible for several music videos for Tool, but those videos were created by Fred Stuhr and member Adam Jones, whose work is influenced by the Quays. Although they worked on Peter Gabriel's seminal video "Sledgehammer" (1986) as animators, this was directed by Stephen R. Johnson and the Quays were unhappy with their contribution, believing it to be more imitative of Švankmajer's work than truly distinctive in its own right.

Before turning to film, the Quays worked as professional illustrators. The first edition of Anthony Burgess' novel The Clockwork Testament, or Enderby's End, feature their drawings before the start of each chapter. Nearly three decades before directly collaborating with Stockhausen, they designed the cover of the book Stockhausen: Conversations with the Composer (ed. Jonathan Cott, Simon & Schuster, 1973). After designing book covers for Gothic and science fiction book cover commissions they did while in Philadelphia, the Quays have created suggestive designs for a variety of publications that seem to reflect not only their own interests in particular authors, covers for Italo Calvino, Louis-Ferdinand Céline or Mark le Fanu's study of the films of Andrei Tarkovsky, but also in themes and motifs that these authors develop. Literary texts are inspirational sources for almost all of their film projects, whether they serve as a point of departure for their own ideas or as a textual basis for filmic scenarios, and not as scripts or screenplays. The prowess in illustration and calligraphy seeps increasingly into many formal elements in their later films, evident as graphic embellishment in the set decoration, or their particular use of patterns in the puppets' costume design. Titles, intertitles and credits appear in a variety of handwritten styles.

The critical success of Street of Crocodiles gave the Quay Brothers artistic freedom to explore a shift in subject matter, in part originating in literary and poetic sources that led to exploration of new aesthetic forms, but also because they were able to make extensive experiments in technique, both with cameras and on large stage sets. The Quays are best known for their puppet and feature length films. Less known, but no less incisive in their creative development is their intense engagement in stage design for opera, ballet and theatre: since 1988, the Quays have created sets and projections for performing arts productions on international stages. Their work at miniature scale has translated into large-scale decors for the theatre and opera productions of director Richard Jones: Prokofiev's The Love for Three Oranges; Feydeau's "A Flea in Her Ear"; Tchaikovsky's Mazeppa; and Molière's "Le Bourgeois Gentilhomme". Their set design for a revival of Ionesco's "The Chairs" was nominated for a Tony Award in 1998. The Quays' excursion into feature films and live-action dance films are by no means an indication of a move away from animation and the literature that inspires them—on the contrary, this next film explores the potential which slumbers in the combination of these cinematic techniques. Their puppet animation set designs have been curated as an internationally touring exhibition called "Dormitorium" and most recently on display in 2010 at Parsons School of Design, New York.^[5]

The Quay Brothers are regular guests at film festivals, art colleges and universities, most recently at The European Graduate School in Saas-Fee, Switzerland.^[6]

In June, 2010, The College of Physicians of Philadelphia received a grant from the Philadelphia Exhibitions Initiative of the Pew Charitable Trusts for $287,000. The Quays were commissioned to produce a new film entitled Anatomica Asthetica. The film is their first produced in the United States, and focuses on the history and collections of the College's famed Mütter Museum. It is expected to be released in Fall 2011 with symposia at The College of Physicians of Philadelphia in Pennsylvania; New York City's Museum of Modern Art; and the Museum of Jurassic Technology in Los Angeles.

The interdisciplinary performance artist, dancer, and multiple amputee Lisa Bufano lists the animation of the Quay Brothers as an influence in her artist's statement.^[7]

The Brothers Quay have been commissioned by Leeds Canvas, a group of eight cultural organisations in Leeds, UK, to create a major city-wide art installation, OverWorlds & UnderWorlds in May 2012. The commission is one of twelve Artists Taking the Lead projects around the UK, Arts Council England's flagship contribution to the London 2012 Cultural Olympiad.

Filmography[link]

Feature films

• Institute Benjamenta, or This Dream People Call Human Life (1995)
• The Piano Tuner of Earthquakes (2005)

Short films

• Nocturna Artificialia (1979)
• Punch And Judy (Tragical Comedy or Comical Tragedy) (1980)
• Ein Brudermord (1981)
• The Eternal Day Of Michel de Ghelderode (1981)
• Stravinsky – The Paris Years (1983)
• Leoš Janáček: Intimate Excursions (1983)
• The Cabinet of Jan Švankmajer (1984)
• The Epic of Gilgamesh, or This Unnameable Little Broom (1985) aka Little Songs of the Chief Officer of Hunar Louse
• Street of Crocodiles (1986)
• Stille Nacht I: Dramolet (1988)
• Rehearsals For Extinct Anatomies (1988)
• Old Piano (1988) – an ident for MTV
• Ex-Voto/The Pond (1989)
• The Comb (From The Museums Of Sleep) (1990)
• Rain Dance (1990) – a short film for Sesame Street
• De Artificiali Perspectiva, or Anamorphosis (1991)
• The Calligrapher (1991) – an ident commissioned for the BBC2 television channel, but never broadcast
• Stille Nacht II: Are We Still Married? (1991)
• Long Way Down (Look What The Cat Drug In) (1992)
• Stille Nacht III: Tales From Vienna Woods (1992)
• Stille Nacht IV: Can't Go Wrong Without You (1993)
• The Summit (1995)
• In Absentia (2000)
• Duet (2000)
• Stille Nacht V: Dog Door (2001)
• The Phantom Museum: Random Forays Into the Vaults of Sir Henry Wellcome's Medical Collection (2003)
• Inwentorium śladów (2009) Poland (23')
• Maska (2010)^[8]
• Through the Weeping Glass (2011)^[9]

Appearances

• The Falls (1980)

References[link]

Further reading[link]

Journal articles on the Quay Brothers

• • Buchan, Suzanne, "Liberation of the Mistake: A Glimpse into the Quay Brothers" Research Process', in: Proof, Vol 3 No 1 (2008): 16-20
  • Costatini, Gustavo. "De Artificali Perspectiva: The Brothers Quay's Use of Sound and Music." Filmwaves Magazine, Issue 32 (2007): 43-47
  • Buchan, Suzanne H. 'Choreographed Chiaroscuro, Enigmatic and Sublime.' Film Quarterly, Spring (1998): 2–15.
  • Nichols Goodeve, Thyrza. "Dream Team: Thyrza Nichols Goodeve Talks with the Brothers Quay." Artforum, April (1996)

Hammond, Paul. "In Mystery, Shrouded: On the Quays' New Film." Vertigo Magazine, Vol. 1 No.5 (1995): 18-20

• • Atkinson, Michael. "The night countries of the Brothers Quay." Film Comment, September/October (1994): 36-44
  • Atkinson, Michael. "Unsilent night: The Brothers Quay." Film Comment, Vol. 30 No. 5, September/October (1995): 25-38
  • Romney, Jonathan. "The Same Dark Drift." Sight and Sound, Vol. 1, No. 11 (1992): 24-27
  • Romney, Jonathan. "Brothers in Armature." City Limits. No. 446 (1990): 16-17
  • Atkinson, Michael. "Stirrings in the Dust." Afterimage, No. 13 (1987): 4-9
  • Wadley, Nick. "Masks, Music, and Dances of Dream". PIX, no. 2, January 1997, 126-134; + Interview with Brothers Quay, 135-143

Hammond, Paul. "In Quay Animation." Afterimage 13, Autumn 1987: 54-67

Academic essays on the Quay Brothers

• • Buchan, Suzanne. "The Animated Spectator: Watching the Quay Brothers' 'Worlds'". In Suzanne Buchan (Ed) Animated Worlds, pp 15–38. Eastleigh: John Libbey Publishing, 2006. ISBN 0-86196-661-9

• • Weiner, Steve. "The Quay Brothers' The Epic of Gilgamesh and the 'Metaphysics of Obscenity'" in J. Pilling (Ed.), A Reader in Animation Studies London, John Libbey & Company, 1997.

Books on the Quay Brothers

• • Mikurda, Kuba and Prodeus, Adriana (Eds). Trzynasty miesiąc. Kino Braci Quay. Cracow-Warsaw: Korporacja Ha!art & IFF Era New Horizons, 2010. ISBN 978-83-61407-62-1. (in Polish)
  • Buchan, Suzanne. The Quay Brothers. Into a Metaphysical Playroom. University of Minnesota Press, 2010. ISBN 0-8166-4659-7
  • Pilling, Jayne and Fabrizio Liberti (Eds). Stephen e Timothy Quay. Bergamo: Stamperia Stefanoni, 1999.

Catalogues

• • Costa, Jordi. (Ed) "Quay Brothers". Sitges: Sitges Festival Internacionale de Cinema de Cataluna, 2001.

DVD

• • Brooke, Michael (Ed), Quay Brothers—The Short Films 1979–2003. London: BFI, 2006. ISBN/EAN: 5035673006535
  • The Brothers Quay Collection: Ten Astonishing Short Films 1984–1993. DVD Region 1 / NTSC. Kino Video. Release date 2000. 120 minutes. ISBN 6305957681
  • Institute Benjamenta, or This Dream People Call Human Life (1995) DVD Region 1 / NTSC. Kino. Release date 2000. B/w, 104 minutes. ISBN 630595769X
  • Institute Benjamenta, or This Dream People Call Human Life (1995) VHS PAL. ICA Projects Ltd. Release date 1996. B/w, 104 min.
  • The PianoTuner of EarthQuakes (2005) Zeitgeist Films. Region 1 /NTSC. Release date 2007. Colour and b/w, 99 minutes.
  • The PianoTuner of EarthQuakes (2005). DVD Region 2 / PAL. Artificial Eye. release date 2006. Colour and b/w, 99 minutes.
  • L'Accordeur de tremblements de terre DVD Region 2 / PAL. E.D. distribution. Release date 2007. Colour and b/w, 99 minutes.

External links[link]

• Quay Brothers profile at European Graduate School, biography, bibliography and video lectures
• Senses of Cinema. Great Directors Critical Database
• Senses of Cinema. Through a Glass Darkly Interview with the Quay Brothers
• Timothy Quay at the Internet Movie Database
• Stephen Quay at the Internet Movie Database
• The Short Films of The Quay Brothers at Zeitgeist Films
• Videos by Brothers Quay

Alina Ibragimova
Background information
Born	(1985-09-28) September 28, 1985 (age 26) Polevskoy, Russia
Genres	Baroque, classical
Occupations	Violinist
Instruments	Violin
Years active	1998-
Labels	Hyperion
Notable instruments
Violin: 1738 Pietro Guarneri of Venice

Alina Ibragimova (born 28 September 1985) is a Russian-born violinist residing in the UK.

Early life and education[link]

Ibragimova was born in Polevskoy, Russia, to a Tatar family. Her family was musical, and she began playing the violin at the age of four. At five she started at the Gnessin State Musical College in Moscow, studying under Valentina Korolkova, and by the age of six had started her career by playing with various orchestras, including the Bolshoi Theatre Orchestra. She was aged ten in 1996 when her father, Rinat Ibragimov, took up the post of principal double bass with the London Symphony Orchestra, and the family moved to live in England. In the following year Ibragimova began her studies at the Yehudi Menuhin School (where her mother is professor of violin) under Natasha Boyarskaya.

In December 1998 Ibragimova performed with Nicola Benedetti at the opening ceremony of the 50th Anniversary of the Universal Declaration of Human Rights at UNESCO in Paris; they played Bach's double violin concerto under the baton of Yehudi Menuhin. Menuhin died three months later, and Ibragimova performed the slow movement of the same concerto at his funeral in Westminster Abbey.

After finishing her studies at the Yehudi Menuhin School, Ibragimova went on to the Guildhall School of Music and Drama for a year, and then to the Royal College of Music, studying under Gordan Nikolitch. Ibragimova has also studied with Christian Tetzlaff since 2000, most recently under the auspices of the Kronberg Academy Masters programme.

Together with other students from the Royal College, she formed the period-instrument string quartet Chiaroscuro, specialising in music from the classical period.

Career[link]

After winning several international competitions, in 2002 Ibragimova won the London Symphony Orchestra Music Scholarship (formerly the Shell Prize), which was an important boost to her solo career. The next breakthrough came in 2005 when Ibragimova played and directed Mozart's second violin concerto with the Kremerata Baltica in Mozartwoche at the Salzburg Mozarteum.

Ibragimova was a member of the BBC Radio 3 New Generation Artists scheme 2005-7. She has performed concertos with the London Symphony Ochestra, Deutsche Kammerphilharmonie Bremen, the Philharmonia Orchestra, City of Birmingham Symphony Orchestra, BBC Symphony Orchestra, Radio-Sinfonie-Orchester Frankfurt, and the Seattle Symphony, working with conductors including Sir Charles Mackerras, Valery Gergiev, Sir John Eliot Gardiner, Paavo Järvi, Richard Hickox and Osmo Vänskä. In 2012 Ibragimova directed a period-instrument orchestra, The Academy of Ancient Music, for the first time. ^[1]

In recital and chamber music in chamber music Ibragimova has appeared at venues including the Wigmore Hall London, Concertgebouw Amsterdam, Salzburg Mozarteum, Musikverein Vienna, Carnegie Hall New York, Palais des Beaux Arts Brussels, Vancouver Recital Series, and at festivals including Salzburg, Verbier, MDR Musiksommer, Lockenhaus, Manchester International, and Aldeburgh. With her regular recital partner Alina performed the complete Beethoven violin sonatas at the Wigmore Hall London in 2009/10 (the recordings of which were released on the Wigmore Hall Live label).

Her first CD for Hyperion Records was the complete violin works of Karl Amadeus Hartmann in 2007, which was followed by the two violin concertos of Nikolai Roslavets in 2008, a disc of the complete violin and piano works by Karol Szymanowski, and the JS Bach Sonatas and Partitas for solo violin in 2009.

Ibragimova has been the recipient of a number of awards including the Royal Philharmonic Society Young Artist Award 2010, and Emily Anderson Prize (the youngest-ever winner), Borletti-Buitoni Trust, and a Classical BRIT. She performs on a 1738 violin by Pietro Guarneri of Venice.

Sources and external links[link]

• Ibragimova's Website
• "Class of 2007" (BBC Music Magazine 15:7, March 2007; p. 29)

• Alina Ibragimova at Zaha Hadid Pavilion in Manchester performing Bach

References[link]

1. ^ http://www.aam.co.uk/#/who-we-are/reviews/reviews-of-aam-concerts.aspx