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Logo for an accounting office in Neos Marmaras of Halkidiki, Greece.
The logo shows the owner's first letters, M and A.
You can check his website at www.apmarinou.gr
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The photograph may not be manipulated in any way and may NOT be used in any form in any commercial or political materials, advertisements, emails, products, and/or promotions that in any way suggests approval or endorsement of the Dallas Habitat for Humanity, the photographer, volunteers, or owners of the house without written consent. This image is not managed or maintained by the Dallas Habitat for Humanity and the photographer / account owner is a volunteer and does not officially represent the organization.
On account of saying thanks for all y'all do - we saddled up and boot scoot 'n' boogied our way through a day full of surprises and honkey tonk fun.
IIAP GHG monitoring tower.
Photo by Junior Raborg/CIFOR-ICRAF
If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: cifor-mediainfo@cgiar.org
I was forced to sign up for a Google Account. However, while going through the typical account creation screen, I was happy to see one of the options they offer for the lost password challege question - "What is your library card number?" Who says Google doesn't need libraries?
Although, this question might not work for its intended purpose - most people who come into the library don't even know their library card number, so I don't know if it would help them prove who they are in the case of them forgetting their password.
Don't use this image without my explicit permission. © All rights reserved
Please follow my Instagram account @amphotography
Many enterprises find it difficult to efficiently manage their #PayrollAccounting. Schedule consultation with us to get the best accounting solutions! goo.gl/GWOc2y
I've had an account with Flickr four years as of today, December 13th, and 2,637 posts -- along with 144,045 page views -- later, I'm still little more than a big kid armed with a cheap camera, running back and forth as time permits, trying to teach myself something about photography and, very simply, different ways of looking at the world. The biggest thing that's happened to me over this time is that I've acquired a rather severe distaste for digital images. As I tried to think of a post for today, I decided to choose sort of a favorite upload from each calendar year, and they're represented in the above mosaic. These picks are very random, however, but a significant commonality is that each post is a double-exposed film image -- and three of the five are examples from my CPP project. Thank you for stopping by, and for all the great comments, Flickr-mails, and in some cases, participation in different projects since I first logged on to use a 3-month Pro account that Caterina gave me in order to conduct research for a magazine piece I was working on. There continues to be more and more very trying moments in my own chaotic life, it seems ("yeah, boo hoo, everybody hurts" ;), but spending time here, posting my crazy shots and checking out your latest stuff, is easily as much fun as it always has been. Cheers! ^_^
M O S A I C
I N G R E D I E N T S :
from 04
CPP Project example - Fall 1997
An older CPP image, shot in Miami with Melina Teresa Borrero. Unfortunately, the presentation here is from a very low quality scan (I can't locate a better copy at the moment -- lost along with quite a few other early examples). For instance, you can barely see the kid in the left side, stepping out of the fountain and into one of the exposures. This was part of the Florida Emerging Artists exhibit at the Arts On the Park Gallery in Lakeland (December, 1998).
from 05
923 First Holga rolls - Boat Parking [multiple exposure mess, scan 009]
This represents the [censored by Flickr] joy of picking up and playing with my first Holga -- the lovely & primitive 120S, purchased for under $20 at Clarks in Cumberland. Shooting with a Holga is something that I want/need to get back to!
from 06
Another CPP piece, this one shot with Denim. I really like this collision of images -- Main Street in the mountains of Western Maryland, and some gorgeous mountains shot in Canada. Some of the collaborative shots with Denim have been uncanny in terms of coincidental -- almost serendipitous -- visual and other connections between subjects randomly fused within the camera.
from 07
Supersampler DE Madness in Blue - And so it begins...
Ah, an illness begins, and grows unchecked into a dangerous obsession! This began as I innocently rewound the last few frames in my test rolls for double exposure work/play. And now? Supersampler Double Exposure Madness!
This example is noteworthy because of that wonderful, freaky blue. I probably had nothing to do with it, however. Rather than xpro, it was pedestrian film and some sort of mishap at the lab! So, cheers to them!
from 08
Speaking of the Supersampler, here is a CPP collaboration between myself and -fiona-! So far, I'm still posting results from the first roll in which we both used a Supersampler -- very cool, fun stuff, and please check out Fi's stream!
There are some other noteworthy collaborations going on, including shooting random doubles with Darlene and 3_little_birds -- along with several others that have been discussed, but haven't really materialized yet for a number of reasons. I promise to give the project more of my attention in the near future.
Final thoughts, as I e-ramble my way to the end here? Well, my picks start and end with examples of CPP, and that probably says quite a bit about my own passion with regard to photography. Also, the fact that each of these images involve glorious, smelly, old-fashioned film, has to be telling. But for now, I'm exhausted.
Again, cheers, & thank you! ^_^
The British Post Office scandal (also known as the Horizon scandal) involved faulty Post Office accounting software, called Horizon, creating false shortfalls in the accounts of many subpostmasters. Between 1999-2015, over 900 subpostmasters were convicted of theft, fraud and false accounting, with 700 of these prosecutions carried out by the Post Office. By January 2024 nearly 100 of these convictions had been overturned in court, and plans for a blanket exoneration were announced by the government. Those wrongfully convicted became eligible for compensation from the Post Office. Other subpostmasters who had been forced to cover Horizon shortfalls with their own money or had their contracts terminated also received compensation from the Post Office; by January 2024 there had been over 2,750 eligible claims. Although many subpostmasters had reported problems with the new software, the Post Office had insisted that Horizon was robust and failed to disclose its knowledge of faults in the system while securing convictions. The court cases, criminal convictions, imprisonments, loss of livelihoods and homes, debts and bankruptcies, took a heavy toll on the victims and their families, leading to stress, illness, divorce and, in at least four cases, suicide. In 2019 the high court ruled that there were bugs, errors and defects in the Horizon software, paving the way for subpostmasters' convictions to be overturned, and for victims to receive compensation. Subsequently, a statutory public inquiry was established.
In May 2009, Computer Weekly broke the story about problems with Horizon, and in September 2009 subpostmaster Alan Bates launched the Justice for Subpostmasters Alliance (JFSA). In 2012, following pressure from campaigners and a few Members of Parliament, led by James Arbuthnot, the Post Office appointed forensic accountants from the firm Second Sight to conduct an investigation into Horizon. Second Sight concluded that Horizon contained faults that could result in accounting discrepancies, but the Post Office nevertheless insisted that there were no systemic problems with the software.
In 2017, a group of 555 subpostmasters led by Bates brought a group action in the High Court against the Post Office. After the judge ruled in 2019 that the subpostmasters' contracts with the Post Office were unfair and that Horizon contained bugs, errors and defects, the case was settled out of court for £58 million, which left the claimants with about £20,000 each after legal costs. The government later agreed to supplement their awards. In February 2020 the prime minister said that the government would establish an independent inquiry into the scandal. The Post Office Horizon IT Inquiry was set up later that year, and was converted into a statutory public inquiry in June 2021. Courts began to quash convictions from December 2020.
As of January 2024, most of those wrongly convicted are still waiting to have their convictions overturned, the public inquiry is ongoing, and the Metropolitan Police is investigating individuals from the Post Office and its software provider, Fujitsu.
A four-part television drama, Mr Bates vs the Post Office, was broadcast on ITV in January 2024, after which the scandal became a major news story and political issue. The same month, prime minister Rishi Sunak announced that the government would introduce legislation to exonerate wrongly convicted subpostmasters, describing the scandal as "one of the greatest miscarriages of justice in our nation's history". [Info: Wikipedia]
Augusto Giacometti (1877-1947), Paz/Friede/Peace, 1915 (Albertina - Sammlung Batliner)
Im Zentrum von Giacomettis Werk steht die menschliche Figur. Ausgehend vom ägyptischen Formenkanon gelangt er mit seinen stilisierten, zumeist langgezogenen, zerklüfteten Gestalten zu seinen ureigensten Schöpfungen. 1950 schreibt er an Matisse, dass ihn vier Frauen in der Pariser Bar Le Sphinx, einem von ihm frequentierten Nachtclub, zu diesen Figuren inspiriert hätten. Er habe sie als attraktiv und abstoßend zugleich empfunden.
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
Photo from the Scaling New Heights Accounting and Training Conference. For additional photos from the event see: Scaling Flickr photo set June 2012.
Picture by Grant Wickes principal of Wickpoint Management Services and VP Businss Development Wasp Barcode Technologies.
Photo (cc). If using photo, please credit: Photo courtesy Grant Wickes.
In picture: Shadi Gholami, Kim Wilson
#snh2011 #scalingnewheights
ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA 2021: Fango - Fango - Fango. Un Colosseo sconosciuto e affascinante scoperto a Volterra, Italia. Notizie e progressi dell'incredibile scoperta e l'eccellente documentazione degli scavi (2015-21). Fonte: Prof.ssa Elena Sorge, L'Anfiteatro Che Non C'era / Fb (Sett. e Ott. 2021) & Dott.ssa Antonia Falcone (2021), e altre notizie e risorse archeologiche in italiano e inglese. [Italiano / English]. wp.me/pbMWvy-22a
Foto: Anfiteatro di Volterra / Video; in: ArchaeoReporter (2020-2021).
www.flickr.com/photos/imperial_fora_of_rome/51571487792
1). VOLTERRA / TUSCANY, ITALY— Colosseum Discovered in Volterra, Italy. Archaeology Magazine, USA (12 Nov. 2015).
Foto: VOLTERRA (Si). Scoperto l’anfiteatro romano. ArcheoMedia (13/11/2015).
www.flickr.com/photos/imperial_fora_of_rome/51572273106
A Roman amphitheater thought to date to the first century A.D. has been discovered in the town of Volterra, once a well-known Etruscan city that fell under Roman rule. “It’s puzzling that no historical account records the existence of such an imposing amphitheater. Possibly it was abandoned at a certain time and gradually covered by vegetation,” archaeologist Elena Sorge of the Tuscan Superintendency told Discovery News.
Foto: VOLTERRA (Si). Scoperto l’anfiteatro romano / Video; in: ArchaeoReporter (2020-21).
www.flickr.com/photos/imperial_fora_of_rome/51572948654
“This amphitheater was quite large. Our survey dig revealed three orders of seats that could accommodate about 10,000 people. They were entertained by gladiator fights and wild beast baiting,” Sorge explained. A survey conducted with ground-penetrating radar by Carlo Battini of the University of Genoa indicates that much of the amphitheater, which was constructed of stone in the same manner as the nearby theater, is under 20 to 32 feet of dirt.
Foto: VOLTERRA (Si). Scoperto l’anfiteatro romano / Video; in: ArcheoMedia & ArchaeoReporter (2020-21).
www.flickr.com/photos/imperial_fora_of_rome/51572275916
Fonte / source:
--- Archaeology Magazine, USA (12 Nov. 2015).
www.archaeology.org/news/3876-151112-italy-volterra-amphi...
www.flickr.com/photos/imperial_fora_of_rome/51573198325
Foto: VOLTERRA (Si). Scoperto l’anfiteatro romano / Video; in: ArchaeoReporter (2020-21).
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L’anfiteatro romano di Volterra (2020-21); in: Facebook & Instagram (10/2021).
Foto: VOLTERRA (Si). Scoperto l’anfiteatro romano / Video; in: ArcheoMedia & ArchaeoReporter (2020-21)
www.flickr.com/photos/imperial_fora_of_rome/51573198430
Foto: Prof.ssa Elena Sorge (a cura di), Volterra, L’Anfiteatro Che Non C’era / Facebook (10/2021).
www.flickr.com/photos/imperial_fora_of_rome/51572276146
--- Prof.ssa Elena Sorge (a cura di), Volterra, L'Anfiteatro Che Non C'era / Facebook (10/2021).
Questa pagina nasce per rimanere in costante aggiornamento sulla scoperta dell'anfiteatro di Volterra.
www.facebook.com/anfiteatro.volterra/
Foto: Prof.ssa Elena Sorge (a cura di), Volterra, L’Anfiteatro Che Non C’era / Facebook (10/2021).
www.flickr.com/photos/imperial_fora_of_rome/51571462882
Foto: Prof.ssa Elena Sorge (a cura di), Volterra, L’Anfiteatro Che Non C’era / Facebook (10/2021).
www.flickr.com/photos/imperial_fora_of_rome/51572511923
--- Prof. Elena Sorge (ed.), Volterra, the lost Roman Amphitheatre. Five years of excavations, 2015-21. Facebook (10/2021).
www.facebook.com/anfiteatro.volterra/
Foto: Prof. Elena Sorge (ed.), Anfiteatro Romano – Profilo ufficiale dell’Anfiteatro di Volterra / Instragram (10/2021).
www.flickr.com/photos/imperial_fora_of_rome/51572276261
--- Prof. Elena Sorge (ed.), Anfiteatro Romano - Profilo ufficiale dell'Anfiteatro di Volterra / Instragram (10/2021).
www.instagram.com/anfiteatrovolterra/
Foto: Dott.ssa Antonia Falcone, Scoperto l’anfiteatro romano (2021). Archeologa e Blogger / Founder @ProfessioneArcheologo / Instagram (10/2021).
www.flickr.com/photos/imperial_fora_of_rome/51573198730
--- Dott.ssa Antonia Falcone, Scoperto l’anfiteatro romano (2021). Archeologa e Blogger / Founder @ProfessioneArcheologo / Instagram (10/2021). www.instagram.com/archeoantonia/
Nota: Un ringraziamento molto speciale alla Dott.ssa Antonia Falcone che ha avuto la gentilezza di segnalarmi i significativi scavi presso il L'anfiteatro Romano Volterra (09/2021).
_____________________________
Foto: SCOPERTE E SCAVI – VOLTERRA (Si). Scoperto l’anfiteatro romano. ArcheoMedia (13/11/2015).
www.flickr.com/photos/imperial_fora_of_rome/51573198440
2). SCOPERTE E SCAVI - VOLTERRA (Si). Scoperto l’anfiteatro romano. ArcheoMedia (13/11/2015).
Un anfiteatro romano è stato scoperto nella città di Volterra, una città etrusca ben nota che cadde sotto il dominio romano nel I secolo a.C.
“E ‘sconcertante che nessun racconto storico registri l’esistenza di una tale imponente anfiteatro. Forse è stato abbandonato in un determinato momento e gradualmente ricoperto dalla vegetazione”, dice l’archeologa Elena Sorge della Soprintendenza toscana a Discovery News.
“Questo anfiteatro era abbastanza grande. La nostra indagine ha rivelato tre ordini di posti che potevano ospitare circa 10.000 persone. Sono stati fatti combattimenti di gladiatori e adescamento di animali selvaggi – dice Sorge. “Un sondaggio condotto con un radar da Carlo Battini dell’Università degli Studi di Genova ha indicato che gran parte dell’anfiteatro, che è stato costruito in pietra nello stesso modo come il vicino teatro, è sotto terra da 20 a 32 piedi di spessore.”
Il Colosseo a Volterra scoperta del secolo?
Stavano scavando per realizzare un’opera di bonifica vicino a Porta Diana, a sud della necropoli etrusca. A un certo punto la pala meccanica, tolto un primo strato di terra, urta una fila di grossi ciottoli ammonticchiati verso la collinetta del cimitero comunale. I lavori si fermano subito e qualcuno tra i responsabili del cantiere si mette a ripulire con le mani il terriccio che ancora copre quello che sembra essere un manufatto antico. Un gesto istintivo e prudente. Da queste parti, a Volterra e dintorni, quando si scava è facile imbattersi in reperti dell’età del ferro, etruschi, romani o medievali, e conviene bloccarsi al minimo sospetto. È così che sono affiorati i primi tratti di un muro, una ventina di metri, che qualche giorno dopo, con l’intervento della Soprintendenza ai beni archeologici della Toscana, appare con nitore in tutta la sua forma facendo sobbalzare il responsabile dell’ufficio, Andrea Pessina e il sindaco Marco Buselli.
Si tratterebbe infatti di una scoperta unica nel suo genere: un arco ellittico lungo ottanta metri che lascia presupporre l’esistenza in quel sito di un edificio pubblico di origini romane adibito, probabilmente, a giochi gladiatori. La struttura, peraltro, assomiglia molto al Teatro di Vallebona, dell’epoca di Augusto, che sorge dall’altra parte della città. Bisogna scavare di più, ora, per fare emergere il resto di questo “piccolo Colosseo”, che si nasconderebbe ancora sotto terra. I finanziamenti sono stati promessi. E il “museo a cielo aperto” di Volterra si arricchirà, speriamo presto, di un altro prezioso gioiello. Una prova di civiltà.
Fonte / source:
--- ArcheoMedia (13/11/2015); S.v., Archaeology Magazine, USA (12 Nov. 2015).
www.archeomedia.net/volterra-si-scoperto-lanfiteatro-romano/
Foto: SCOPERTE E SCAVI – VOLTERRA (Si). Scoperto l’anfiteatro romano. ArcheoMedia (13/11/2015).
www.flickr.com/photos/imperial_fora_of_rome/51572511498
3). SCOPERTE E SCAVI - VOLTERRA (Pi). L’anfiteatro romano. ArcheoMedia (27/11/2020).
L’anfiteatro romano di Volterra nel 2015 era “L’Anfiteatro che non c’era”, una sorta di claim pubblicitario che campeggia ora sulla vivacissima e seguita pagina Facebook dello scavo archeologico. Non c’era perchè nessuno ne sospettava neppure l’esistenza: nessuna fonte antica, nessun reperto riconosciuto, nessun sospetto che un edificio mastodontico giacesse silenzioso da forse oltre 1600 anni, in una vallecola verde di erba, di ortaggi e alberi da frutto a poca distanza dalla necropoli etrusca del Portone, con le cosiddette tombe dei Marmini.
Questa necropoli è, di fatto, la “fornitrice” di una gran parte del materiale conservato al museo Guarnacci, uno dei più antichi d’Europa. Un’area scavata dall’Ottocento in poi e non certo ignorata da generazioni di archeologi, di ricerche, di sopralluoghi.
Benchè poco più a sud del teatro romano di Vallebuona, la cui scoperta risale agli anni ’50 del XX secolo, e poco più a nord della Porta Diana, questo lacerto bucolico nell’area urbana di Volterra sembrava solo un vasto terreno collinare di fianco al cimitero, quello moderno, senza nessuna traccia visibile anche ad occhio esperto. E neppure i simpatici signori che si affacciavano dalla loro casa verso la vallata dell’Era, breve e vivace fiume che si butta in Arno, avevano mai sospettato che la loro scoscesa proprietà potesse nascondere una delle più importanti scoperte dell’archeologia classica recente in Italia.
Eppure, proprio le acque che poi finiscono nell’Era, avevano deciso di fare la loro parte nella scoperta. Il regime torrentizio del fiume è alimentato da quelle che gli arrivano veloci dai poggi soprastanti. Per tenerle sotto controllo da secoli i fossi e i torrenti più o meno regolati, che qui chiamano botri, sono essenziali. Il deflusso idrico dal colle di Volterra si era ridotto troppo a seguito di una serie di frane dovute al maltempo, e il Consorzio Idraulico del Basso Valdarno nell’estate del 2015 aveva iniziato i lavori di ripristino. E qui, per fortuna, scatta il buonsenso dell’archeologia preventiva, sotto il controllo della Soprintendenza Archeologica di Pisa (Sorge, 2016, p.249).
Il botro di Docciola fluiva attraverso un argine malmesso, dove l’acqua aveva scoperto un muro in panchino, la pietra che rappresenza l’essenza stessa della città, la spina dorsale dei suoi edifici. Una decina di metri in tutto, ma non dritti, curvi. E non molto curvi, una cosa appena accennata. Poi altri 7 metri, un po’ curvi. Poi altri 20 metri, ancora curvi. Insomma, un totale di 42 metri, manco a dirlo, tutti curvi.
“Sta a vedere che… Va beh, proviamo sulla parte opposta della vallecola…”. Ed ecco un altro saggio di scavo, e ancora due spezzoni murari. Non vi diciamo che aspetto avevano, avete già indovinato. Insomma, a settembre 2015 era chiaro che la struttura fosse ellittica, gigantesca, e appartenente (per tipologie murarie) a un edificio pubblico di epoca romana. Insomma, se due più due faceva ancora quattro, un edificio con ellittico con un asse di 87 metri ed uno di 68 non poteva che essere un anfiteatro. L’anfiteatro che non c’era. E che ad un lustro di distanza c’è eccome, e non smette di riservare grosse sorprese. Ecco il motivo per cui abbiamo scelto di raccontare i primi cinque anni di questa indagine archeologica nel primo videoreportage di ArchaeoReporter.
La sorpresa arriva in un altro settembre, quello del 2020, alle 15 del primo giorno. Il buco che si apre è quello tipico di una tana di un animale, magari un comune topo. Elena Sorge, l’archeologa della soprintendenza che si culla il suo scavo fin dal primo giorno, sa che bisogna procedere con prudenza comunque, come lo sanno i suoi collaboratori. Infatti il foro si allarga, poi ancora, s’intravvede un arco perfettamente conservato. Arriva una torcia elettrica, e si fa fatica a scrutare il fondo: è una galleria perfettamente conservata, almeno fin dove s’intuiscono possibili crolli più avanti. Serviva per portare gli spettatori da un ordine dell’anfiteatro all’altro.
Foto: VOLTERRA (Si). Scoperto l’anfiteatro romano / Video; in: ArcheoMedia & ArchaeoReporter (2020-21)
www.flickr.com/photos/imperial_fora_of_rome/51572511568
Quando nella prima settimana di settembre 2020 è apparso il sistema di ambulacri sotterranei, ben conservati (che verranno esplorati nel 2021, con l’aiuto dei vigili del fuoco di Pisa), si è aggiunto un altro tassello importante alla compensione del monumento. E questo vale anche per la scoperta del cuniculo circumpodiale, ossia il corridoio provvisto di volta che circondava l’arena. Ancora più recente la scoperta del corridoio voltato che circondava l’arena, con probabili funzioni di servizio per gladiatori, addetti ai servizi e forse anche le belve per gli spettacoli (Sorge, 2020). Da ultimo, appare evidente come sotto l’arena stessa si trovi un altro sistema sotterraneo, che si dovrà valutare con quali funzioni con il proseguimento degli scavi. Ci si può forse aspettare, ma qui mi gioco la carta della scommessa più che dell’ipotesi, un sistema complesso paragonabile ad anfiteatri tipo quello di Capua.
Ce n’è comunque abbastanza ritenere il monumento come un privilegiato campo d’azione da cui ricavare preziosi dati, soprattutto da mettere in confronto con altri edifici analoghi ancora solo parzialmente indagati. Una pietra angolare per la ricerca archeologica legata agli edifici pubblici romani in Italia
Nota tecnica: Lo scavo è diretto da Elena Sorge, funzionario della Soprintendenza Archeologia Belle Arti e Paesaggio di Pisa, con a collaborazione di professionisti, tecnici dell’Istituto di Scienze del Patrimonio Cuturale del CNR (Consiglio Nazionale delle Ricerche), studiosi dell’Università degli Studi di Firenze e di Pisa e della Detroit Foundation. Nel 2020 è eseguito da Cooperativa Archeologia.
Nota sui Finanziamenti: tra i primi a finanziare gli scavi la Fondazione e la Cassa di Risparmio di Volterra; poi la Direzione Generale Archeologia; il Comune di Volterra che ha acquisito e reso di proprietà pubblica il terreno dell’area di scavo; la Regione Toscana e i finanziamenti legati al concorso Art Bonus.
22 novembre 2020: ci segnalano cortesemente che negli ultimi 50 anni in effetti in Italia è stato scavato (e pubblicato) anche l’anfiteatro di Cividate Camuno, scoperto nel 1984 assieme al teatro (e non è l’unico soggetto di ricerca, agggiungiamo). Senz’altro diverso come “impatto”, non paragonabile come stato di conservazione e dimensioni, ma molto importante per gettare luce sui processi della presenza romana nell’arco alpino.
BIBLIOGRAFIA / REFERENCES
– Battini, C. and Sorge, E. (2016). Dynamic Management of Survey Data and Archaeological Excavation. The Case Study of the Amphitheatre of Volterra. Scientific Research and Information Technology Vol. 6, Issue 2 pp. 119-132
– Brothers, A.J. (1989). Buildings for Entertainment. In Barton, J.M, Roman Public Buindings. Exeter: University of Exeter Press, pp.97-125
– Sorge, E. (2016). La scoperta dell’Anfiteatro di Volterra. Notiziario della Soprintendenza per i Beni Archeologici della Toscana 11/2015, Saggi (p. 241-276). Firenze: All’Insegna del Giglio
– Sorge, E. (2020) L’Anfiteatro che non c’era: la scoperta, lo scavo e la valorizzazione dell’anfiteatro romano di Volterra. Internal Report. Unpublished in november 2020.
Fonte / source:
--- SCOPERTE E SCAVI - VOLTERRA (Pi). L’anfiteatro romano. ArcheoMedia (27/11/2020).
www.archeomedia.net/volterra-pi-lanfiteatro-romano/
Foto: Anfiteatro di Volterra / Video (18 Novembre 2020 – 22 Dicembre 2020); In: ArchaeoReporter (10/10/2021).
www.flickr.com/photos/imperial_fora_of_rome/51573195955
--- Anfiteatro di Volterra / Video (18 Novembre 2020 - 22 Dicembre 2020); In: ArchaeoReporter (10/10/2021).
www.archaeoreporter.com/tag/anfiteatro-di-volterra/
Foto: Volterra, the lost Roman Amphitheatre. Five years of excavations, a VIDEO DOCUMENTARY (English subtitles). ArchaeoReporter (18 November 2020). www.flickr.com/photos/imperial_fora_of_rome/51572957294/
4). "Volterra, the lost Roman Amphitheatre. Five years of excavations, a VIDEO DOCUMENTARY (English subtitles). ArchaeoReporter (18 November 2020).
For five years, excavations have been underway in the ‘lost’ Roman amphitheatre of Volterra. ArchaeoReporter could not have chosen a better location for its first story. The report features aerial images taken with a drone, as well as close-ups of the site, which was discovered in 2015 and continuously challenges what is known about classical archaeology. The amphitheatre was once home to fierce gladiators and gruesome battles, but more importantly it is considered to be a symbol of the romanisation of Etruria. Elena Sorge, the scientific director at the Archaeological Superintendence of Pisa and Livorno [Officially: Soprintendenza archeologica di Pisa e Livorno], guides us through the work site, where archaeological investigations and restoration efforts are carried out simultaneously, unearthing new findings month after month. 2020 has marked the discovery of the underground passageways and tunnels, as well as of the vaulted corridor, coins and other finds that are critical for dating the site, which is currently thought to come from the Julio-Claudian era.
--- Volterra, the lost Amphitheatre - (Italian with English subtitles - Audio enhanced) / You-Tube; in: ArchaeoReporter (14 Dec. 2020) [14:25]. www.youtube.com/watch?v=nxaCdXHGA9Y
This discovery was actually made by accident during the maintenance work being carried out on a moat previously excavated in the 1950s. It is a small, rapid stream of water flowing down the Volterra hill, right behind Porta Diana and a little downhill from the Roman theatre. The Superintendence has entrusted the monitoring of the area to professional archaeologists, a typical example of preventive archaeology. It is important to remember that in many excavation sites there is an archaeological risk. It really says a lot that, in Italy, being able to learn about and enhance one’s own land is considered to be a risk, instead of a potential source of valuable research, both in archaeology and in other fields of study. In short, the wall discovered in July, 2015, has a slightly accentuated curve, which is indicative of something unconventional, together with the fact that the construction technique is similar to that of the theatre from the Augustan age.
--- Anfiteatro di Volterra, in "diretta" dallo scavo archeologico 2021 - Prima puntata. ArchaeoReporter (09/10/2021) [15:50].
www.youtube.com/watch?v=TGLrtQsmI3A
Technical note: The archaeological site is supervised by Elena Sorge, a member of Soprintendenza Archeologia Belle Arti e Paesaggio di Pisa, in collaboration with Istituto di Scienze del Patrimonio Culturale – CNR (Consiglio Nazionale delle Ricerche), University of Firenze and University of Pisa, and with Detroit Foundation.
Fonte / source:
--- ArchaeoReporter (18 November 2020).
www.archaeoreporter.com/en/2020/11/18/volterra-roman-amph...
5). L'Anfiteatro di Volterra: le scoperte dello scavo archeologico più sbalorditivo del 2020. Finestre sull'Arte (29/12/2020).
Verrà ricordato come lo scavo archeologico del 2020: l'Anfiteatro di Volterra, scoperto nel 2015, è stato scavato approfonditamente a partire dal 2019 e quest'anno ha rivelato scoperte eccezionali.
Nell’archeologia, il 2020 sarà ricordato probabilmente come l’anno dell’Anfiteatro di Volterra: quest’anno, infatti, la campagna di scavo dell’importantissimo sito archeologico scoperto appena cinque anni fa è ripresa con vigore dando alla luce esiti sorprendenti e inaspettati. Il risultato più eclatante, lo scorso 1° settembre, è stato sicuramente il rinvenimento del sistema di ambulacri sotterranei, finora sepolti nella collina, che in antico gli spettatori utilizzavano, come negli stadi moderni, per raggiungere le gradinate dalle quali assistevano agli spettacoli.
Foto: VOLTERRA (Si). Scoperto l’anfiteatro romano / Video; in: ArchaeoReporter (2020-21)
www.flickr.com/photos/imperial_fora_of_rome/51572275846
Nelle settimane successive è stato scoperto anche il corridoio voltato che circondava l’arena, detto “cuniculo circumpodiale”, e che serviva invece ai gladiatori e in generale a coloro che si esibivano nell’arena (era il punto da cui entravano anche le eventuali belve sfruttate per i giochi: non si trattava però di tigri o leoni, animali che si esibivano nelle strutture più grandi in quanto animali di pregio e difficili da far arrivare oltre che da addestrare alla lotta, bensì, con più probabilità, di orsi, lupi o comunque animali più facilmente reperibili).
Foto: VOLTERRA (Si). Scoperto l’anfiteatro romano / Video; in: ArchaeoReporter (2020-21)
www.flickr.com/photos/imperial_fora_of_rome/51572275861
Lo scavo è seguito dalla Soprintendenza Archeologia, Belle Arti e Paesaggio delle province di Pisa e Livorno ed è diretto dall’archeologa Elena Sorge: dal 2019 (anno in cui sono cominciate le operazioni) ha potuto contare su finanziamenti per poco più di ottocentomila euro, arrivati grazie al concorso Art Bonus e alla partecipazione della Fondazione Cassa di Risparmio di Volterra, della Regione Toscana e del Comune di Volterra. Serviranno altri tre milioni per completare lo scavo: ma sono risorse ben investite, perché a Volterra sta emergendo una struttura di eccezionale rilevanza, peraltro ben conservata.
Fonte / source:
--- Finestre sull'Arte (29/12/2020).
www.finestresullarte.info/archeologia/anfiteatro-di-volte...
Foto: Alla scoperta dell’Anfiteatro di Volterra: tesoro perduto e poi ritrovato. Intoscana / Tv & You-Tube (27/09/2021)
www.flickr.com/photos/imperial_fora_of_rome/51571462782
6). VOLTERRA / CULTURA - Alla scoperta dell’Anfiteatro di Volterra: tesoro perduto e poi ritrovato. Intoscana / Tv & You-Tube (27/10/2021).
Apertura straordinaria degli scavi archeologici. Sparito dalle carte e dalle cronache antiche già dal III secolo dopo Cristo, il Teatro riaffiora per un caso fortuito nel 2015.
A Volterra una delle scoperte archeologiche più importanti della storia: l’anfiteatro romano. Sparito dalle carte e dalle cronache antiche già dal III secolo dopo Cristo riaffiora per un caso fortuito nel 2015.
Da quel momento torna alla luce in tutto il suo splendore “L’Anfiteatro che non c’era” grazie alle ricerche e agli scavi guidati dalla Soprintendenza Archeologia Belle Arti e Paesaggio delle province di Pisa e Livorno. Pietra dopo pietra, l’anfiteatro romano con i suoi tre ordini della grande ampiezza di 32 metri per 64 riscrive la storia della Volterra romana come nuovo importante centro del potere imperiale nell’antichità.
--- VOLTERRA / CULTURA - Intoscana / Tv & You-Tube (27/10/2021).
www.youtube.com/watch?v=5G-_XlKLFxk&t=41s
Le celebrazioni della Giornata degli Etruschi 2021 voluta dal Consiglio regionale della Toscana e dedicata alla ricerca, tutela e promozione della cultura e delle origini del territorio toscano non potevano che svolgersi a Volterra che affonda le proprie radici nella civiltà del rame del III millennio avanti Cristo, e si riscopre grazie alle recenti ricerche nella Necropoli delle Colombaie non più solo città delle urne, ma vera città etrusca e grazie all’Anfiteatro Romano come prestigioso centro della Roma antica.
Foto: Alla scoperta dell’Anfiteatro di Volterra: tesoro perduto e poi ritrovato. Intoscana / Tv & You-Tube (27/09/2021).
www.flickr.com/photos/imperial_fora_of_rome/51572957589
“Volterra Cantiere Aperto” grazie agli investimenti congiunti di Regione Toscana, Ministero della Cultura, Comune di Volterra, Fondazione Cassa di Risparmio di Volterra e privati che superano in totale i 3 milioni di euro. Un cantiere destinato a durare anni, soprattutto se parliamo degli scavi archeologici dell’Anfiteatro romano, che non resterà per molto di solo appannaggio dei ricercatori, ma si trasformerà già dal 2022 in un sito visitabile in sicurezza.
Foto: Alla scoperta dell’Anfiteatro di Volterra: tesoro perduto e poi ritrovato. Intoscana / Tv & You-Tube (27/09/2021).
www.flickr.com/photos/imperial_fora_of_rome/51572957559
Nel servizio le interviste alla professoressa Elena Sorge della Soprintendenza Archeologia Belle Arti e Paesaggio delle province di Pisa e Livorno, responsabile degli scavi all’Anfiteatro romano di Volterra, al presidente del Consiglio regionale della Toscana Antonio Mazzeo, al sindaco di Volterra Giacomo Santi e all’assessore alla cultura del Comune di Volterra Dario Danti.
Fonte / source:
--- Intoscana / Tv & You-Tube (27/10/2021).
www.intoscana.it/it/dettaglio-video/alla-scoperta-dellanf...
Foto: Un viaggio dentro all’anfiteatro che non c’era. QUI NEWS srl / Corriere Della Sera (10/10/2020).
www.flickr.com/photos/imperial_fora_of_rome/51572511653
7). VOLTERRA - Un viaggio dentro all'anfiteatro che non c'era. QUI NEWS srl / Corriere Della Sera (10/10/2021).
Foto: Un viaggio dentro all’anfiteatro che non c’era. QUI NEWS srl / Corriere Della Sera (10/10/2020).
www.flickr.com/photos/imperial_fora_of_rome/51572276006
I responsabili dello scavo, guidati da Elena Sorge, hanno realizzato un video all'interno dell'importante scoperta archeologica
Foto: Un viaggio dentro all’anfiteatro che non c’era. QUI NEWS srl / Corriere Della Sera (10/10/2020).
www.flickr.com/photos/imperial_fora_of_rome/51572957484
VOLTERRA — Ora che lo scavo all'anfiteatro romano è al sicuro, barricato per l'inverno, l'equipe guidata da Elena Sorge ha pubblicato un video delle gallerie (che potete vedere in fondo all'articolo).
--- Il corridoio sotterraneo - l'interno. Immagini dall'interno del corridoio sotterraneo appena scoperto. QUI NEWS srl / Corriere Della Sera (10/10/2021) & Anfiteatro Romano Volterra / You-Tube (10/10/2021) [03:10].
www.youtube.com/watch?v=cJoBr6cQOMY
Foto: Un viaggio dentro all’anfiteatro che non c’era. QUI NEWS srl / Corriere Della Sera (10/10/2020).
www.flickr.com/photos/imperial_fora_of_rome/51572276031
"Immagini forti - hanno scritto su Fb - Questo è il video top secret nelle gallerie all'indomani della scoperta. Finora non ci è sembrato opportuno pubblicarlo, soprattutto per non indurre in tentazione curiosi e sconsiderati. Oggi, con le gallerie off limits, chiuse e barricate per proteggerle dai rigori invernali, possiamo pubblicarlo".
Foto: Un viaggio dentro all’anfiteatro che non c’era. QUI NEWS srl / Corriere Della Sera (10/10/2020).
www.flickr.com/photos/imperial_fora_of_rome/51572511708
La persona protagonista nel video è il topografo Giorgio Pocobelli del CNR. Le riprese e la regia sono dell'ispettore di cantiere Dario Ceppatelli.
Foto: Un viaggio dentro all’anfiteatro che non c’era. QUI NEWS srl / Corriere Della Sera (10/10/2020).
www.flickr.com/photos/imperial_fora_of_rome/51572276056
Fonte / source:
--- QUI NEWS srl / Corriere Della Sera (10/10/2021).
www.quinewsvolterra.it/volterra-viaggio-dentro-anfiteatro...
Foto: Documenting the First Amphitheater Discovered in Europe in 150 Years.
The Journal of American Institute of Architects (03 Sept. 2019).
www.flickr.com/photos/imperial_fora_of_rome/51571462952
8). KATHARINE KEANE, "HISTORIC PRESERVATION - Architecture Researchers Help Document First Amphitheater Discovered in Europe in 150 Years. The Journal of American Institute of Architects (03 Sept. 2019).
Volterra, Italy - A team from the Volterra-Detroit Foundation, Autodesk, and Case Technologies spent two weeks this spring archiving one of the greatest discoveries on the continent in more than a century.
This spring, architecture students, professors, and volunteers associated with the Volterra-Detroit Foundation were offered a once-in-a-lifetime opportunity to travel to Volterra, Italy, to help digitally archive the first ancient amphitheater discovery in Europe in 150 years.
It all began in 2015 when a construction team was working to expand a neighborhood cemetery where they "stumbled across the remains of what appeared to be a Roman wall," Tristan Randall, strategic project executive at Autodesk, one of the program's sponsors, tells ARCHITECT. Accustomed to "sudden surprises like this, the workers contacted the local archaeology supervisor, who was able to determine that, underneath the site they were excavating, there were remains of a Roman amphitheater," Randall continues. This amphitheater would turn out to be the first such discovery in Europe in more than a century. "It's not just a once-in-a-lifetime event," he says. "Think—six or seven generations. So this is a privilege and an incredible opportunity."
Foto: VOLTERRA (Si). Scoperto l’anfiteatro romano / Video; in: ArcheoMedia & ArchaeoReporter (2020-21)
www.flickr.com/photos/imperial_fora_of_rome/51572957464
Over two weeks in April, 13 participants settled into the Etruscan-era town to digitally scan and record the amphitheater, which measures approximately 84 meters (275 feet) long and 66 meters (216 feet) wide, according to Elena Sorge, archaeological superintendent of Tuscany. The structure likely featured three tiers of seating with a 10,000-person capacity, and an access tunnel underneath. This size makes it all the more shocking that the amphitheater was ever lost.
"The majority of amphitheaters known today did not have to be 'discovered,' as their remains were at such scale that they were known centuries ago, like [the] Colosseum," explains University of Detroit Mercy professor of architecture and program lead Wladek Fuchs. "As far as I know, there are no studies of the history of discoveries of the amphitheaters, for exactly that reason—that most of them were never completely lost.”
Fonte / source:
--- The Journal of American Institute of Architects (03 Sept. 2019).
www.architectmagazine.com/technology/architecture-researc...
Morning community activities in Tri Budi Syukur village, West Lampung regency, Lampung province, Indonesia on November 05, 2017.
Photo by Ulet Ifansasti/CIFOR
If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: cifor-mediainfo@cgiar.org and m.edliadi@cgiar.org
Iv ran out of space again.Urgh.If anyone would be so nice to as willing to buy me a pro id love you forever and give you all my rares free untagged.
ANYWAY!
new account for more very rare tradeable miley rares:
inagorillacostume.com/2011/funny-friday-funny-retweets-me...
When we created this website we set up an In A Gorilla Costume Twitter account to retweet our blog posts and our guerrilla marketing initiatives. I also used Yahoo! Pipes to aggregate twitter searches and retweet conversations about "in a gorilla costume". I'm not going to lie, I did it to find and retweet some funny sh!t.
Last night I checked on the account for pretty much the first time since our first test guerrilla marketing blog posts in April. Needless to say, i ended up staying up an hour later sifting through and laughing at all of the funny retweets, @replies and love the @AGorillaCostume has received so far.
Without further ado, here are the best, funniest and our favorites.
Funny Retweets and Mentions from In A Gorilla Costume on Twitter:
[caption id="attachment_2487" align="aligncenter" width="361" caption="Twitter AGorillaCostume - you tease me"] [/caption]
Sorry @gracenjohnson, didn't mean to be a tease!
[caption id="attachment_2486" align="aligncenter" width="354" caption="Twitter AGorillaCostume - unlocked the gorilla bot"] [/caption]
Sweeeet, we're not called a gorillabot thanks to @gubeltrut.
[caption id="attachment_2485" align="aligncenter" width="358" caption="Twitter AGorillaCostume - strange rt by inagorillacostume"] [/caption]
My guess is it's pretty equal, @a_musinghcguy.
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[caption id="attachment_2484" align="aligncenter" width="359" caption="Twitter AGorillaCostume - powerslides and fan dance"] [/caption]
Powerslides and a Fan Dance with KhandieKhisses? I wasn't quite expecting that either!
[caption id="attachment_2482" align="aligncenter" width="368" caption="Twitter AGorillaCostume - my mother in a gorilla costume"] [/caption]
@jen4coffee @studio_gal We want those pictures!! (Maybe. Send pictures first :P)
[caption id="attachment_2481" align="aligncenter" width="356" caption="Twitter AGorillaCostume - meet me in 10"] [/caption]
@i_lve-robsten: ok.@ToRoaminTheRain: I'll confirm that in 20. ;)
[caption id="attachment_2480" align="aligncenter" width="361" caption="Twitter AGorillaCostume - lmao yo really get outta here"] [/caption]
@AndyForeverMacn, @GeorgieOvoxo, @GeorgieBlooper bwahahaha!
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[caption id="attachment_2479" align="aligncenter" width="363" caption="Twitter AGorillaCostume - it was this foo"] [/caption]
@EvanWindfieldIt was me! No wait, just kidding.
[caption id="attachment_2478" align="aligncenter" width="362" caption="Twitter AGorillaCostume - if i had to feed you"] [/caption]
Ha same here, @BobbyBlissXXX, glad you enjoyed it as well.
[caption id="attachment_2477" align="aligncenter" width="355" caption="Twitter AGorillaCostume - I was in there too"] [/caption]
Ha this is super funny THEConnorJamesV - I had to google PMSL. :P
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[caption id="attachment_2476" align="aligncenter" width="352" caption="Twitter AGorillaCostume - funniest spam ever"] [/caption]
I agree with @Mitch1984.
[caption id="attachment_2475" align="aligncenter" width="359" caption="Twitter AGorillaCostume - everyone please follow"] [/caption]
Thanks for the love @iLegitQuotes!
[caption id="attachment_2483" align="aligncenter" width="354" caption="Twitter AGorillaCostume - new best friend"] [/caption]
New best friend right here -> @tazerwp
Which ones are your favorites? Let me know in the comments below!
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Photo taken in Torres del Paine National Park, Chile.
Also known as the Bronze-winged Duck, on account of its conspicuously colored wing speculum, the Spectacled Duck is confined to southern Chile and west-central Argentina, as far south as Tierra del Fuego. Small numbers are speculated to disperse north and east during the non-breeding season, which probably commences late in the austral summer. Spectacled Ducks breed mostly by fast-flowing rivers in forested regions up to 1800 m, but also on wetlands, ponds and lakes. It feeds on seeds, leaves and stems of aquatic plants, and takes some aquatic invertebrates. Readily identified by virtue of its dark brown hood with a white oval patch between the lores and malar, and large white gular crescent, the Spectacled Duck is otherwise dark chocolate brown above and paler grey-buff below. Although relatively few potential threats have been identified to this species, it is currently classified as Near Threatened according to IUCN criteria, principally based on its rather small population size.
This image is excerpted from a U.S. GAO report:
www.gao.gov/products/GAO-23-106117
IT Systems Annual Assessment: DOD Needs to Improve Performance Reporting and Development Planning
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