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USS Olympia C6 and Moshulu
Moshulu at Philadelphia,PA on August-14th-2021. USS Olympia is a Protected cruiser and one of the oldest US Navy Ships in Existence today.She was famous as the flagship of Commodore George Dewey at the decisive Battle of Manila Bay which marked the end of the Spanish Colonial Period in the Philippines. Her Keel was laid down at Union Iron Works,San Francisco, on July-17th-1891.She was launched November-5th-1892,Sponsored by Mrs Ann B Dickie and commissioned on February-5th-1895.After Returning from the Philippines,she was decommissioned for a short refit.She was recommissioned January 1902 and became a training Ship in April-2nd-1906.She became the flagship of the US Patrol Force off the eastern seaboard off the US for German Warships During WW1.She also did policing duties off the Adriatic Sea January 21,to October 1919, and she also aid the return of refugees from the balkans.She was decommissioned December 1922 and was stricken from the Navy List on November-1957.She is now a Museum Ship and is one of a handful of protected cruisers left in the World.
The Museum is currently raising funds to Dry Dock Olympia for Restoration .
C-6 was listed on the National Register of Historic Places on 15 October 1966.
Olympia's Awards include
Dewey MedalNavy Expeditionary MedalSpanish Campaign Medal
Philippine Campaign MedalDominican Campaign MedalWorld War I Victory Medal
with "WHITE SEA" clasp.
.Moshulu is a four masted Steel Braque.A Braque Ship has three or more masts having the fore- and mainmasts rigged square and only the mizzen (the aftmost mast) rigged fore and aft. Sometimes, the mizzen is only partly fore-and-aft rigged, bearing a square-rigged sail above.Moshulu is also the largest original Windjammer.
A windjammer is a commercial sailing ship with multiple masts that may be either square rigged or fore-and-aft rigged or a combination of the two. The informal term arose during the transition from the Age of Sail to the Age of Steam.Moshulu's Keel was laid down in 1903 at William Hamilton and Company Port Glasgow,Scotland.
She was Launched 18 April 1904 and Completed June 1904.
Her first master was Captain Christian Schütt, followed by Captain Wolfgang H. G. Tönissen in 1908 who made a fast voyage from Newcastle, Australia, to Valparaíso with a cargo of coal in 31 days.
Between 1904 and 1914, under German ownership, Kurt shipped coal from Wales to South America, nitrate from Chile to Germany, coal from Australia to Chile, and coke and patent fuel from Germany to Santa Rosalía, Mexico.
On the outbreak of World War I in 1914, Kurt was sailed to Oregon under the command of Captain Tönissen, then laid up in Astoria until being seized when the United States entered the war in 1917. She was first renamed Dreadnought ("one who fears nothing"), then, because there was already a sailing ship of that name registered in the US, she was renamed the Moshulu (which had the same meaning in the Seneca language) by the First Lady of the United States and wife of President Woodrow Wilson, Edith Wilson. Between 1917 and 1920, Moshulu was owned by the U.S. Shipping Board and carried wool and chrome between North America, Manila and Australia.
From 1920 to 1935, Moshulu was in various private hands based in San Francisco. From 1920 to 1922, it was owned by the Moshulu Navigation Co. (Charles Nelson & Co.), San Francisco; in 1922, it was sold to James Tyson of San Francisco; and, in 1922, it was repurchased by Charles Nelson. The big four-masted barque ran in the timber trade along the U.S. west coast to Australia and South Africa from 1920 to 1928. After her last timber run to Melbourne and Geelong, Australia, in 1928, she was laid up in Los Angeles; later on, she was kept in places in or near Seattle, Washington: Lake Union, Winslow on (Puget Sound), and Esquimalt in British Columbia, Canada 100 nautical miles (190 km) north west of Seattle.
In 1935, the Moshulu was bought for $12,000 by Gustaf Erikson. On 14 March 1935, when the contract was signed, Captain Gunnar Boman took over the ship and sailed it to Port Victoria. Gustaf Erikson had her operate in the grain trade from Australia to Europe. In 1937, John Albright sailed on her as a young seaman. During the period of Erikson ownership the working language of the ship was Swedish, even though it sailed under the Finnish flag. The ship's home port at the time, Mariehamn, is in the Swedish-speaking Åland Islands of Finland.
At the end of 1938, the ship left Belfast for Port Lincoln and Port Victoria, in South Australia, under the command of Captain Mikael Sjögren and with 18-year-old Eric Newby as an apprentice seaman; Newby later became a famous travel writer. Moshulu arrived in Queenstown (Cobh, Ireland) on June 10, 1939, after 91 days at sea, winning the last race of square-rigged sailing ships between Australia and Europe.
The ship was seized by the Germans in 1940 when she returned to Kristiansand, Norway, again under the command of Captain Mikael Sjögren and with a cargo of wheat from Buenos Aires. She was derigged step-by-step in the 1940s, and, after having capsized in a storm close to shore at a beach in Østervik near Narvik in 1947, she was demasted by a salvaging company to be re-erected, stabilized, and towed to Bergen in July 1948. The ship's hull was sold to Trygve Sommerfeldt of Oslo. A few months later, the ship was transferred to Sweden to be used as a grain store in Stockholm from 1948 to 1952. Then she was sold to the German shipowner Heinz Schliewen, who wanted to put her back to use under the name Oplag as a merchant marine training ship carrying cargo. Schliewen already used the four-masted steel barques Pamir and Passat (both former Flying P-Liners) for that purpose, but before Moshulu was re-rigged, Schliewen went into bankruptcy. In 1953 Moshulu was sold to the Swedish Farmers' State Union (Svenska Lantmännens Riksförbund) of Stockholm, and again it was used as a floating warehouse beginning on 16 November 1953.
In 1961, the Finnish government bought the ship for 3,200 tons of Russian rye; she was towed to Naantali, a town near Turku, and she continued to be used as a grain warehouse.
In 1970, the ship was bought by the Specialty Restaurants Corporation, who rigged her out at Scheveningen in the Netherlands with replica masts, yards, and lines and towed her to South Street Seaport Museum, New York. The United States Coast Guard 3rd District Band rode on the Moshulu as she was towed from Brooklyn to the museum and played for the arrival ceremony on the Manhattan side of the river.She was later towed to the Penns Landing waterfront in center city Philadelphia PA. Since 2003 she is operated by SCC Restaurants LLC.
Tantric massage is basically just a massage. However it was created from the belief that if you are sexually happy and relaxed then your health will benefit. The Hindus describe Tantra as achieving personal growth through pleasurable existence. The massage itself does tend to cause orgasms, but these are described as a bonus rather than the aim.
Although Tantric massage does not involve actual penetrative sex, it does involve full on touching of the organs. For this reason you will not find it offered down your local health centre. You are far more likely to find it on offer in the many massage parlours in London and other major cities.
Sri Yantra Hindu Sacred Symbols: www.sriyantras.com
Where does one find the courage ?
to lean on broken dreams
How does one see more clearly ?
than the things that he has seen
more dark than most of them know
always with non belief
yet knowing all the while
that the valley held
more secrets
behind it's deep dark sheaf
but reddish dawn loomed
and drove the dark away
we thanked the rising sun
for holding back the gloom
smelled the wet grass
clean air and heard the birds
A new day was arriving
and if you were feeling well
it boded happiness.
The mature trees surrounding this property owe their existence to the house that once stood on this site.
A house was built on a plot originally purchased by William and Isabella Cross from Robert Banks, owner of the Howstrake and Ballachurry Farms in 1811 for £10.
The house was built close to the new road (Governors Road) and had its entrance in the side gable.
The garden was extended by further purchases of land in 1835, 1886 and 1888 until it formed a large space with central lawn, a kitchen garden adjoining the side of Skillicorns Cottages (38 – 42 Governors Road) and the Primitive Methodist Chapel.
The boundary wall to Summerhill Road was built in stone with a castlelated top whilst the cast iron entrance gates were set within gate pillars and curved walls that were rendered and painted. One pillar still remains on the downside of the present entrance but it is partially hidden by bushes.
The house was called “Ballacurrie House” and occupied in the late 1890s by Frederick George Callow and his wife the former Miss Travis. He was brought up in Hawthorn Villa, the home of his widowed mother and previously that of his grandmother Mrs Chubb (see Tour No 1). His father was Samuel Shallcross Callow who drowned on a fishing trip one night in August 1871 whilst in a rowing boat with friends setting out from Onchan Harbour and being found the next morning on Groudle beach.
Frederick was to inherit the huge Howstrake Estate but in the meantime it was held by Trustees, one of whom was to become his father-in-law. When he married, in October 1894 the people of Onchan strung a banner across the road at The Butt between the top two houses to wish happiness to the couple. He was educated at King William’s College, trained and qualified as a advocate (1889), became the first chairman of Onchan Parish (1894) and then Onchan Village Commissioners (1895) and was the elected to the House of Keys to represent Middle in 1898.
Such was the jubilation of his success that when he returned from the poll count in Douglas the locals unhitched his horse from his carriage which they pulled through the village and back again to his house. Life however was not to be rosy for much longer. The crash of Dumbell’s Bank in February 1900 affected many but F.G. Callow in a large way because of the involvement of the company developing the Howstrake Farm with the bank and also because of his involvement with other related ventures.
So ashamed was he of the situation that he immediately resigned from the commissioners, the House of Keys and all his other commitments and then left the island.
In England he found employment as the Secretary of a golf club perhaps through his previous involvement as Captain of the Howstrake Golf Club in Onchan.
He returned to the island in 1927 a broken man in ill health. He died on 5th January 1929 in a small terraced house in Dukes Road, Douglas.
Ballacurrie House was demolished in 1989 and this large office block was built to the designs of The Ellis Brown Partnership of Douglas. The rustic brick building being set more or less in the position of the former lawn.
Part of the bluebell woods disappeared to make way for car parking.
The Holiday House Geographic, is among the most desirable vintage travel trailers in the world. One of only two currently known to be in existence, the body of this trailer was designed by world renowned industrial engineer, Chuck Pelly, designer of the Scarab race car and founder of Designworks USA, which is BMW's California Studio.
David Holmes, President of "Harry & David" fruit company, began producing the Holiday House travel trailers in November of 1959, in Medford, Oregon. These were aluminum and wood constructed trailers as many of their counterparts of this era, however, the Holiday House trailers stood out as distinctive due to their highly progressive and futuristic design.
In 1958 David Holmes enlisted Chuck Pelly to design the Geographic model, also known as Model X, as a super limited production model, which he dubbed the "Trailer For The Rich". The styling was unlike any trailer of it's time. There are thought to have only been parts of 7 of these strikingly futuristic fiberglass trailers ever made with a price tag of almost $8,500. The Holiday House factory burned down in 1962, and the molds that survived were discarded years later.
This 1961 Holiday House Geographic has been completely restored from the frame up with no expense spared, by Flyte Camp, in Bend, OR.
This trailer would make a wonderful addition to any collection, and is fully equipped as a modern luxury travel trailer.
The Holiday House Geographic Serial Number 007:
The exterior was tastefully re-finished with Axalta finishing systems and coatings, in a two-toned champagne and moss green with bronze colored pin-stripping. The entire running system was upgraded with new axels, brakes, wheels, and 10-ply Diamond Back white wall trailer tires. The exterior is completed with a vintage style fabric awning.
The interior features Black Walnut wall skin, cabinetry and black walnut hard wood flooring with custom aluminum detailing. The bathroom/dressing room features Marmoleum flooring, Walnut & Marmoleum countertops and a Stainless Steel shower with a Teak hardwood shower floor insert. Through out the coach original vintage light sconces are combined with LED lighting. Warm LED strip lighting accents the cabinetry, with lighting in cabinet, under cabinet and along the floor in the living area. The kitchen is outfitted with a stainless two burner cook top, a two drawer stainless 3-way fridge, and a stainless sink with a built-in drain board. Stainless kitchen countertops, and luxury upholstery fabric, in moss, accented with high end custom pleated and lined drapery complete the interior finishes. Behind the scenes an LP on-demand hot water heater provides a steady flow of limitless hot water. Off grid the water holding system is made up of a 35 gallon fresh water tank, a 35 gallon black water tank and 40 gallon grey water holding. The 2000 watt Go Power! inverter system is powered by 4 Trojan 6-volt AGM batteries, and is solar capable. There are both 110 outlets, and 12 volt ports throughout the trailer. The A/V system includes a 32” TV, surround sound and a DVD/Bluetooth stereo system. The Air-conditioning system has a heat pump and is tastefully concealed under the front couch. The front L shaped sofa, is 30” deep with pillows removed and can comfortably sleep two. The gaucho couch also extends to sleep two. There is ample storage, with full extension drawers. Aluminum trim and detailing has been added to the bottom of the cabinetry. No detail has been overlooked including the stainless steel front door threshold which has been laser etched with "Geographic".
The icing on the cake was having Chuck Pelly attended the Palm Springs Modernism event in February of this year to see the completed Geographic, and he added his personal signature to the trailer both inside and out!
This may be the only opportunity to own this priceless piece of history. Please contact Flyte Camp with any questions, and for additional detail photos if desired. We accept payment by Cashiers Check if the check is drawn off of an Institution with a Branch in Bend, Oregon. Otherwise, we accept wire transfer. Please let us know if you have any questions regarding payment, or to schedule pickup. Buyer is responsible for all shipping arrangements. Trailer should be picked up within 30 days of auction end. Contact us if you are an international buyer.
Media:
This trailer will be featured on the official 2018 Hot August Nights poster. Hot August Nights is the largest collectable car show in the US, being held August 7-12th, 2018 in Reno, NV.
The Geo was featured on the cover of the June 2018 edition of Vintage Camper Trailers Magazine. The Geographic took the trophy for Best of Modernism at the 2018 Palm Springs Modernism Vintage Travel Trailer Show, and Best Mobile Mansion at the Pismo Coast Rally in May of 2018. The trailer has also been filmed for an upcoming episode of Extreme RVs on the Travel Channel. Please check out footage of the build on the Flyte Camp YouTube Channel.
Photos curtesy of Hal Thomas Photography, Tim Cash of Far From Earth Films, and Anna Scribner of Flyte Camp, LLC.
Credit: Flyte Camp
Source: eBay
In 1944, the Truman Senate War Investigating Committee dubbed the P-51, “the most aerodynamically perfect pursuit plane in existence.” Tommy Williams guides the P-51 Mustang to the runway at Culpeper Airport.
To view a hi-res version and for more information visit my website:Culpeper Airfest 2015
Return to Forever is a jazz fusion group founded and led by keyboardist Chick Corea. Through its existence, the band has cycled through a number of different members, with the only consistent band mate of Corea's being bassist Stanley Clarke. However in 1972, after having become a disciple of Scientology, Corea decided that he wanted to better ;communicate; with the audience. This essentially translated into his performing a more popularly accessible style of music, since avant-garde jazz enjoyed a relatively small audience.
First group (1972-1973) The first edition of Return to Forever performed primarily Latin-oriented music. Clarke himself became involved in Scientology through Corea, but eventually left the sect in the early 1980s.
Their first album, titled simply Return to Forever, was recorded for ECM Records in 1972 and was initially released only in Europe. Their second album, Light as a Feather (1973), was released by Polydor and included the song, Spain, which also became quite well-known.
Jazz rock era (1973-1976) guitarist Bill Connors, drummer Steve Gadd and percussionist Mingo Lewis were added.. Lenny White (who had played with Corea in Miles Davis's band) then replaced Gadd and Lewis on drums and percussion, and the group's third album, Hymn of the Seventh Galaxy (1973), was then rerecorded.
The nature of the group's music had by now completely changed into jazz-rock, Their music was still relatively melodic, relying on strong themes, but the traditional jazz element was by this time almost entirely absent- replaced by a more direct, rock oriented approach. Over-driven, distorted guitar had also become prominent in the band's new sound, and Clarke had by then switched almost completely to electric bass guitar. A replacement on vocals was not hired, and all the songs were now instrumentals. This change did not lead to a decrease in the band's commercial fortunes however, Return to Forever's jazz rock albums instead found their way onto US pop album charts.
While their second jazz rock album, Where Have I Known You Before, (1974) was similar in style to its immediate predecessor, Corea now played synthesizers in addition to electric keyboards (including piano), and Clarke's playing had evolved considerably- now using flange and fuzz-tone effects, and with his now signature style beginning to emerge. the then 19-year-old guitar prodigy Al Di Meola, who had also played on the album recording sessions joined.
Their following album, No Mystery (1975), was recorded with the same line-up as "Where Have I Known You Before", but the style of music had become more varied. The first side of the record consisted primarily of jazz-funk, while the second side featured Corea's acoustic title track and a long composition with a strong Spanish influence. On this and the following album, each member of the group composed at least one of the tracks. No Mystery went on to win the Grammy Award for Best Jazz Performance by a Group.
The final album by this longest-lasting lineup of the group was Romantic Warrior (1976), which had by this time left Polydor for Columbia Records. This album would go on to become the best selling of all Return to Forever's efforts, eventually reaching gold disc status. Romantic Warrior continued their experiments in the realms of jazz-rock and related musical genres, and was lauded by critics for both the technically demanding style of its compositions as well as for its accomplished musicianship.
After the release of Romantic Warrior and Return To Forever's subsequent tour in support (as well as having in addition signed a multi-million dollar contract with CBS), Corea shocked Clarke by deciding to change the lineup of the group and to not include either White or Di Meola
Final album (1977)
The final incarnation of Return to Forever featured a four piece horn section and Corea's wife Gayle singing vocals, but recorded only one studio album, Musicmagic (1977).After Musicmagic, Chick Corea officially disbanded the group.
Reunion (2008) The classic Return to Forever line-up of Corea, Clarke, White, and Di Meola reunited for a tour of the United States that began in the summer of 2008. 2011 tour From February 2011, the group commences a world tour in Australia. The line-up, billed as Return to Forever IV, is Chick Corea, Stanley Clarke, Lenny White, Frank Gambale and Jean-Luc Ponty.
First group (1972-1973) The first edition of Return to Forever performed primarily Latin-oriented music. This initial band consisted of singer (and occasional percussionist) Flora Purim, her husband Airto Moreira on drums and percussion, Corea's longtime musical co-worker Joe Farrell on saxophone and flute, and the young Stanley Clarke on bass. Within this first line-up in particular, Clarke played acoustic double bass in addition to electric bass. Corea's electric piano formed the basis of this group's sound, but Clarke and Farrell were given ample solo space themselves. While Purim's vocals lent some commercial appeal to the music, many of their compositions were also instrumental and somewhat experimental in nature. The music was composed by Corea with the exception of the title track of the second album which was written by Stanley Clarke. Lyrics were often written by Corea's friend Neville Potter, and were quite often scientology themed- though this is not readily apparent to those not involved in Scientology itself. Clarke himself became involved in Scientology through Corea, but eventually left the sect in the early 1980s.
Their first album, titled simply Return to Forever, was recorded for ECM Records in 1972 and was initially released only in Europe. Their second album, Light as a Feather (1973), was released by Polydor and included the song, Spain, which also became quite well-known.
Jazz rock era (1973-1976) guitarist Bill Connors, drummer Steve Gadd and percussionist Mingo Lewis were added. However, Gadd was unwilling to tour with the band and risk his job as an in-demand session drummer. Lenny White (who had played with Corea in Miles Davis's band) replaced Gadd and Lewis on drums and percussion, and the group's third album, Hymn of the Seventh Galaxy (1973), was then rerecorded (the first recording, featuring Gadd on drums, was never released and has since disappeared).
The nature of the group's music had by now completely changed into jazz-rock, Their music was still relatively melodic, relying on strong themes, but the traditional jazz element was by this time almost entirely absent- replaced by a more direct, rock oriented approach. Over-driven, distorted guitar had also become prominent in the band's new sound, and Clarke had by then switched almost completely to electric bass guitar. A replacement on vocals was not hired, and all the songs were now instrumentals. This change did not lead to a decrease in the band's commercial fortunes however, Return to Forever's jazz rock albums instead found their way onto US pop album charts.
While their second jazz rock album, Where Have I Known You Before, (1974) was similar in style to its immediate predecessor, Corea now played synthesizers in addition to electric keyboards (including piano), and Clarke's playing had evolved considerably- now using flange and fuzz-tone effects, and with his now signature style beginning to emerge. After Bill Connors left the band to concentrate on his solo career, the group also hired new guitarists. Although Earl Klugh played guitar for some of the group's live performances, he was soon replaced by the then 19-year-old guitar prodigy Al Di Meola, who had also played on the album recording sessions.
Their following album, No Mystery (1975), was recorded with the same line-up as "Where Have I Known You Before", but the style of music had become more varied. The first side of the record consisted primarily of jazz-funk, while the second side featured Corea's acoustic title track and a long composition with a strong Spanish influence. On this and the following album, each member of the group composed at least one of the tracks. No Mystery went on to win the Grammy Award for Best Jazz Performance by a Group.
The final album by this longest-lasting "classic" lineup of the group was Romantic Warrior (1976), which had by this time left Polydor for Columbia Records. This album would go on to become the best selling of all Return to Forever's efforts, eventually reaching gold disc status. "Romantic Warrior" continued their experiments in the realms of jazz-rock and related musical genres, and was lauded by critics for both the technically demanding style of its compositions as well as for its accomplished musicianship.
After the release of Romantic Warrior and Return To Forever's subsequent tour in support (as well as having in addition signed a multi-million dollar contract with CBS), Corea shocked Clarke by deciding to change the lineup of the group and to not include either White or Di Meola
Final album (1977)
The final incarnation of Return to Forever featured a four piece horn section and Corea's wife Gayle singing vocals, but recorded only one studio album, Musicmagic (1977).After Musicmagic, Chick Corea officially disbanded the group.
Reunion (2008)
The classic Return to Forever line-up of Corea, Clarke, White, and Di Meola reunited for a tour of the United States that began in the summer of 2008. 2011 tour
From February 2011, the group commences a world tour in Australia. The line-up, billed as Return to Forever IV, is Chick Corea, Stanley Clarke, Lenny White, Frank Gambale and Jean-Luc Ponty
Existence has been variously defined by sources. In common usage, it is the world one is aware or conscious of through one's senses, and that persists independently in one's absence. Other definitions describe it as everything that 'is', or more simply, everything. Some define it to be everything that most people believe in. Aristotle relates the concept to causality.
inspired by @mariesoaerial shot "plier"
In March 2017, when her 18-year-old son, Tomeu, tragically died from an overdose, Anna Galí made the shocking discovery of a side of his life he had been sharing on social networks but hiding from her. Distraught from this revelation, this Catalan photographer attempted to reconstruct his life story to help her mourn her loss. With the help of computer-savvy friends, she hacked his phone and computer in search of traces of his hidden existence. Tomeu was a biomedical engineering student and tested drugs, then shared his daily activities on Instagram, Snapchat, and Twitter. His double life between reality and virtuality lies at the heart of Time on Quaaludes and Red Wine, awarded the Images Vevey Book Award Special Jury Prize 2023/2024. Anna Galí’s intimate and moving work raises awareness of the fragility of youth caught up in the chaos of today’s digital world.
Flexaret VI Standard / Meopta Belar 80mm f3.5
Fijifilm Pro400H
Rollei Digibase C-41 RTU 25℃ 15min
EPSON GT-X980
“There are patterns which emerge in one's life, circling and returning anew, an endless variation of a theme”
― Jacqueline Carey, Kushiel's Chosen
Quorn.
The first European squatters and pastoralists arrived in the Quorn area in the 1850s but the town did not come into existence until 1875. It was named after Quorn in Leicestershire by Governor Jervois whose private secretary came from there. South Australian Railways chose the site for the town of Quorn and in 1878 the government sold the first blocks of land. In 1879 Quorn became the first terminus of the Great Northern Railway line from Port Augusta. The current station with its charming Dutch gables was built in 1916. However Quorn’s greatest period of importance as a railway centre was between 1917 and 1937 when it was the junction for both the western line to Perth and the northern line to Oodnadatta and Alice Springs. This importance continued during World War II when over 400 people in the town were employed by the railways as it was a major troop stop over point with the Country Women’s Association providing over 1 million meals to the servicemen. The establishment of a new standard gauge railway to Marree and the Leigh Creek coal fields west of the Flinders Ranges in 1956 saw the town decline. The various hotels in the main street located to service the needs of travelling rail passengers then became a movie set for several films including: The Sundowners, Sunday Too Far Away, Robbery under Arms, The Shiralee and more recently Gallipoli.
Quorn’s early development was similar to that of many SA towns. One of the first structures (1878) was a flour mill for the wheat farmers built by Mr Cowan. Mr Dunn the wealthy flour miller of Mt Barker built a second three storied flour mill in 1879. It was converted to a motel in the 1960s and is now a backpacker’s accommodation centre. Other early buildings were the Austral Hotel (1878), where many of us will stay, and the Criterion Hotel built in 1881 and the Transcontinental Hotel in 1878. The first National Bank opened in 1878, along with the Post Office, the Court House (1879) and Matthews Emporium (1886). The first church in town was a Methodist Church in 1880, followed by the Anglican (1880 replaced in 1897), Catholic (1883), the Salvation Army Hall in 1884(now a gallery) and the Lutheran Church in 1890. Three years after its founding, Quorn had a population of 540 and was the 19th largest town north of Adelaide! A reservoir was made for the railways and the town. Other important public town buildings were the Institute (1881) and the Town Hall (1907). A school started soon after the founding of the town and in 1909 it became a Higher Primary School and then in 1914 it became a High School. It was the first high school in the north of SA. Quorn continued to grow in importance once the railway was extended from Quorn through to Oodnadatta in 1891.
Colebrook Home in Quorn was established by the Australian Aborigines Mission. It began as a children’s home for Aboriginals in Oodnadatta in 1926 .In 1927 the home moved to Quorn with 12 children in residence. In 1933 the Mission got a new house, 2 miles outside Quorn and in 1935 the 30 resident children were sent to Magill for the summer holidays. This practice continued until 1940 when the children spent the summer holidays at Eden Hills. Following this, the Mission established Colebrook Children’s Home at Eden Hills. Among the children raised at Colebrook were several prominent Aboriginal leaders in SA including Lowitcha O’Donoghue, Faith Thomas and Ruby Ahchee( Hammond).
(more pictures or information you can receive by going to the end of page!)
House of the Teutonic Order
The House of the Teutonic Order was as a Viennese commandry of the in 1198 in Acre founded Teutonic Order under Duke Leopold VI in the early years of the 13th Century built. The German Order was next to the Hospitallers and the Templars the third major order of knights of the Middle Ages. Duke Leopold gave him the large area between Stephansplatz, Churhausgasse, Singerstraße and blood alley (Blutgasse). Documentarily proven is the existence of the house from 1222. Here resided the Landkomtur (province commanders) of the Bailiwick of Austria, to which the commandries Vienna, Wiener Neustadt, Graz, Friesach and Groß-Sonntag (Krain) belonged. In the great fire of 1258 all the religious buildings except the church tower burned down. In the Middle Ages the complex of the German monastic house was limited to the area along the Singerstraße and Blutgasse. 1309 exchanged the Order part of the land that was needed for the extension of Stephen's cemetery against a neighboring area. The sprawling building had in its, the Stephansplatz adjacent part a large farm yard, which was surrounded by stables. Since 1526 the Head of the Order bore the title "Grand and German master (Hoch- und Deutschmeister)". The famous Viennese house regiment of the same name by the way in 1696 emerged from those Truppenkontigenten (contigent of troops) which the Order for the Turkish war had provided. After the first Turkish siege of Vienna, numerous residents of the suburbs whose houses had been burned were housed here. From 1667 the already dilapidated buildings were torn down with the exception of the church under the Landkomtur (province commander) Gottfried Freiherr von Lambert and provided by Carlo Canevale with three-storey new buildings. As plasterers Jacob Schlag and Simon Alio were mentioned. 1679/82 increased Canevale and Johann Bernhard Ceresola the complex.
Sala terrena. In the years 1720-1725 the German religious house under the Landkomtur Guidobald Starhemberg by Anton Erhard Martinelli was further extended and baroquised. In 1785 it received under Landkomtur Alois Graf Harrach by placing a fourth storey its present shape. In the 18th Century several fires caused major damages. Especially those of 1735 raged for three days, because the urban fighting personnel the entry was denied by the German Order of Knights. Among the prominent residents of the German religious house, which in the 18th and 19th century first also as a guest house of the Order served and then was largely rented, included Wolfgang Amadeus Mozart (1781), Johannes Brahms (1863 - 1865) and the comedy writer Cornelius Hermann Paul von Ayrenhoff. At the beginning of the 19th Century on Stephansplatz the German Order Cellar (Deutschordenskeller) was opened. Was in its place in the second half of the 20th Century the Restaurant "Deutsches Haus". Since 1809 the German religious house is the residence of the Grand Master of the Teutonic Order. Until then, this one resided in Mergentheim (Baden-Württemberg). From 1864 the Landkomtur Eugen Graf von Haugwitz the church by the cathedral architect from Gran, Josef Lippert, partially had re-gothicised. At that time at the gable above the church windows the already damaged pinnacles and figures were removed. Only the Grand Master coat of arms was left. 1929 the community of the German Teutonic Knights was transformed into a purely religious order. It is one of the very few religious institutions whose top management is not located in Rome. First Grand Master living in Vienna was Archduke Anton Viktor (1804 - 1835).
Church - interior. The House of the Teutonic Order is now a sprawling complex of buildings, grouped around two courtyards. The façade at the Blutgasse is the oldest. Those at the Singerstraße stems from the 17th Century. It represents today the face side of the building. The structuring of the façade by high Baroque inonic giant pilasters followed around 1720. The ground floor is grooved. The two early-Baroque round-arched portals are framed with Tuscan pilasters. The simple façades of the courtyards are held in the style of the 17th Century. On the west side of the pentagonal courtyard on the ground floor walled arched arcades as well as glazed Pawlatschen (access galleries) from the 19th Century on the first floor can be seen. In the courts were various, in 1903 discovered grave plates placed. The ground floor rooms are vaulted, early Baroque lunette barrels and groin vaults prevailing. Among them is the Sala terrene, a with a flat dome vaulted central room which is decorated with illusionistic wall paintings of the late 18th Century. The wall and ceiling frescoes depict mythological scenes and figural ornaments. The hall was once opened to the garden through a portal, but this was later reworked into a window. The tract between Stephansplatz and Blutgasse encloses two two-aisled halls. While the cross vault of the first ones is resting on sturdy pillars is those of the other ones supported by Tuscan columns. In the partially with Rococo and Neoclassical stucco ceilings provided rooms of the first floor are located the library and archives of the Order with documents and books dating back to the 12th Century. Some beautifully crafted wood cabinets were personally manufactured by the Grand and Deutschmeister Archduke Eugen. In the treasure chamber on the second floor are in addition to religious insignias and paintings, inter alia, parts of the Kunstkammer (Art chamber) of the Grand Master Archduke Maximilian III of Austria from the time about 1600 exposed.
Church - Empore. Attention getter and center of the tract at the Singerstraße are the three tall lancet windows of the church of the Teutonic Order. The first chapel already in 1258 fell victim to a town fire. From 1326 it was replaced by Jörg von Schiffering by a new building yet today the core of the Church of the Teutonic Order forming. At that time this one was still but free on three sides. In 1375 it was dedicated to St. Elizabeth. Guidobald Starhemberg 1720/22 the Chapel had remodelled in the Baroque style and flanked at both longitudinal sides by newly built religious houses, by which the three stained glass windows became the central projection of the House of the Teutonic Order. Presumably Anton Erhard Martinelli also was involved in the planning. The quite gothical appearing church facade is a beautiful example of the baroque tinge of the time after the Gothic period of 18th Century, unique in Austria. In the neo-Gothic restoration of 1864/68 the Baroque dome of the narrow and high tower was replaced by a pointed Gothic helmet. After the church was severely damaged in 1945 by bomb hits, followed its restoration 1946/47. Its vaults possess Gothic stucco decorations. In the Baroque reconstruction in the corners eight galleries were built-in, which are accessible from the apartments situated behind. The Dutch polyptych (1520) comes from Mechelen, but was until 1864 in the St. Mary's Church of Danzig. The altarpiece was created in 1667 by Tobias Pock. In the four corners of the room Evangelists Statues by Johann Hutter (1864) replace the missing sculptures by Giovanni Giuliani from the year 1721. On the walls hang several grave slabs, including an epitaph of the scholar Johannes Cuspinian (1515) and the by Jacob Schletterer created grave monument of the Landkomtur Josef Philipp Graf Harrach. Most of the more than eighty coats of arms of German knights, covering the upper part of the walls were designed by Johann Andreas Frank 1722.
Location / Address : 1010 Vienna, Singerstraße 7
Viewing: with the exception of the church and the museum allowed only outside
State of the Vatican City, is a landlocked sovereign city-state whose territory consists of a walled enclave within the city of Rome, the capital city of Italy. It has an area of approximately 44 hectares (110 acres) (0.44 km2), and a population of just over 800.[5][12]
Vatican City is a city-state that came into existence in 1929. It is distinct from the Holy See, which dates back to early Christianity and is the main episcopal see of 1.147 billion Latin and Eastern Catholic adherents around the globe. Ordinances of Vatican City are published in Italian; official documents of the Holy See are issued mainly in Latin. The two entities even have distinct passports: the Holy See, not being a country, only issues diplomatic and service passports; the state of Vatican City issues normal passports. In both cases the passports issued are very few.
The Lateran Treaty in 1929, which brought the city-state into existence, spoke of it as a new creation (Preamble and Article III), not as a vestige of the much larger Papal States (756-1870) that had previously encompassed central Italy. Most of this territory was absorbed into the Kingdom of Italy in 1860, and the final portion, namely the city of Rome with a small area close to it, ten years later, in 1870.
Vatican City is an ecclesiastical or sacerdotal-monarchical state, ruled by the bishop of Rome—the Pope. The highest state functionaries are all Catholic clergymen of various nationalities. It is the sovereign territory of the Holy See (Sancta Sedes) and the location of the Pope's residence, referred to as the Apostolic Palace.
The Popes have resided in the area that in 1929 became Vatican City since the return from Avignon in 1377. Previously, they resided in the Lateran Palace on the Caelian Hill on the opposite side of Rome, which site Constantine gave to Pope Miltiades in 313. The signing of the agreements that established the new state took place in the latter building, giving rise to the name of Lateran Pacts, by which they are known.
The name "Vatican" is ancient and predates Christianity, coming from the Latin Mons Vaticanus, meaning Vatican Mount. The territory of Vatican City is part of the Mons Vaticanus, and of the adjacent former Vatican Fields where St. Peter's Basilica, the Apostolic Palace, the Sistine Chapel, and museums were built, along with various other buildings. The area was part of the Roman rione of Borgo until 1929. Being separated from the city, on the west bank of the Tiber river, the area was an outcrop of the city that was protected by being included within the walls of Leo IV (847–55), and later expanded by the current fortification walls, built under Paul III (1534–49), Pius IV (1559–65) and Urban VIII (1623–44). When the Lateran Treaty of 1929 that gave the state its present form was being prepared, the boundaries of the proposed territory were influenced by the fact that much of it was all but enclosed by this loop. For some tracts of the frontier, there was no wall, but the line of certain buildings supplied part of the boundary, and for a small part of the frontier a modern wall was constructed. The territory includes St. Peter's Square, distinguished from the territory of Italy only by a white line along the limit of the square, where it touches Piazza Pio XII. St. Peter's Square is reached through the Via della Conciliazione which runs from the Tiber River to St. Peter's. This grand approach was constructed by Benito Mussolini after the conclusion of the Lateran Treaty.
According to the Lateran Treaty, certain properties of the Holy See that are located in Italian territory, most notably Castel Gandolfo and the major basilicas, enjoy extraterritorial status similar to that of foreign embassies. These properties, scattered all over Rome and Italy, house essential offices and institutions necessary to the character and mission of the Holy See.
Castel Gandolfo and the named basilicas are patrolled internally by police agents of Vatican City State and not by Italian police. St. Peter's Square is ordinarily policed jointly by both.
In this originally uninhabited area (the ager vaticanus) on the opposite side of the Tiber from the city of Rome, Agrippina the Elder (14 BC – 18 October AD 33) drained the hill and environs and built her gardens in the early 1st century AD. Emperor Caligula (37-41) started construction of a circus (AD 40) that was later completed by Nero, the Circus Gaii et Neronis, usually called, simply, the Circus of Nero. The Vatican obelisk was originally taken by Caligula from Heliopolis, Egypt to decorate the spina of his circus and is thus its last visible remnant. This area became the site of martyrdom of many Christians after the Great Fire of Rome in AD 64. Ancient tradition holds that it was in this circus that Saint Peter was crucified upside down. Opposite the circus was a cemetery separated by the Via Cornelia. Funeral monuments and mausoleums and small tombs as well as altars to pagan gods of all kinds of polytheistic religions were constructed lasting until before the construction of the Constantinian Basilica of St. Peter's in the first half of the 4th century. Remains of this ancient necropolis were brought to light sporadically during renovations by various popes throughout the centuries increasing in frequency during the Renaissance until it was systematically excavated by orders of Pope Pius XII from 1939 to 1941.
In 326, the first church, the Constantinian basilica, was built over the site that early Roman Catholic apologists (from the first century on) as well as noted Italian archaeologists argue was the tomb of Saint Peter, buried in a common cemetery on the spot. From then on the area started to become more populated, but mostly only by dwelling houses connected with the activity of St. Peter's. A palace was constructed near the site of the basilica as early as the 5th century during the pontificate of Pope Symmachus (reigned 498–514)
Popes in their secular role gradually came to govern neighbouring regions and, through the Papal States, ruled a large portion of the Italian peninsula for more than a thousand years until the mid 19th century, when all of the territory of the Papal States was seized by the newly created Kingdom of Italy. For much of this time the Vatican was not the habitual residence of the Popes, but rather the Lateran Palace, and in recent centuries, the Quirinal Palace, while the residence from 1309–77 was at Avignon in France.
In 1870, the Pope's holdings were left in an uncertain situation when Rome itself was annexed by the Piedmont-led forces which had united the rest of Italy, after a nominal resistance by the papal forces. Between 1861 and 1929 the status of the Pope was referred to as the "Roman Question". They were undisturbed in their palace, and given certain recognitions by the Law of Guarantees, including the right to send and receive ambassadors. But they did not recognize the Italian king's right to rule in Rome, and they refused to leave the Vatican compound until the dispute was resolved in 1929. Other states continued to maintain international recognition of the Holy See as a sovereign entity. In practice Italy made no attempt to interfere with the Holy See within the Vatican walls. However, they confiscated church property in many other places, including, perhaps most notably, the Quirinal Palace, formerly the pope's official residence. Pope Pius IX (1846–78), the last ruler of the Papal States, claimed that after Rome was annexed he was a "Prisoner in the Vatican". This situation was resolved on 11 February 1929 between the Holy See and the Kingdom of Italy.
The treaty was signed by Benito Mussolini on behalf of King Victor Emmanuel III and by Cardinal Secretary of State Pietro Gasparri for Pope Pius XI. The Lateran Treaty and the Concordat established the independent State of the Vatican City and granted Roman Catholicism special status in Italy. In 1984, a new concordat between the Holy See and Italy modified certain provisions of the earlier treaty, including the position of Roman Catholicism as the Italian state religion.
Worn out I stand,
Resolute but not oblivious to my impending defeat.
Lost, without a trace, like a culture long forgotten, as another brazenly destroys my existence.
"Self-destruction!" I have cried repeatedly, but my shoots no longer crawl up the impervious concrete.
I will wither away hopelessly, an insignificant remnant, no more than a pointless wrinkle in time.
Throughout its nearly five years of existence, High Places has toured extensively and performed in a multitude of environments. Whether playing at the Guggenheim Museum in Manhattan or in an industrial warehouse in Santiago, Chile, the band's enveloping sound and propulsive energy allow the music to translate to a variety of venues. Much to our enjoyment, they recently came by Room 205 to play inside our enormous yarn sculpture.
BIO
High Places began as an experiment in collaboration: two people with diverse artistic backgrounds coming together to merge their skills and aesthetic tastes. Rob Barber grew up listening to punk and hardcore, and Mary Pearson studied bassoon performance, but both gravitated toward a DIY compositional style and a love of layers. High Places' songs contain a fascinating range of aural layers: bells and bird calls over a wash of ocean waves; mallets hitting mixing bowls over treated guitar and glockenspiel; Mary's reflective vocals over Rob's homemade beats. The result is an imaginative and spacious amalgam of sounds that is as immediate as it is refreshing.
COMPONENTS
Video
• YouTube: youtube.com/playlist?list=PLC4EEUwd7e4kYsSY8n8HzG6ixrFpKv40m
• Vimeo: vimeo.com/album/2230432
Photos
• Flickr: flic.kr/s/aHsjtMC5pX
Music
• SoundCloud: soundcloud.com/goincase/sets/high-places-at-room-205
CREDITS
Executive Producer
• Incase: goincase.com
Producer
• Arlie Carstens: disastercasual.typepad.com
Director
• Otto Arsenault: ottoarsenault.com
Set Designer
• Sophia Rubio: nothingisbeautifulanymore.com
Audio Engineer
• Butchy Fuego: twitter.com/butchyfuego
Camera
• Jon Barlow: vimeo.com/jonbarlow
• Sophia Rubio: nothingisbeautifulanymore.com
• Otto Arsenault: ottoarsenault.com
Editor
• Otto Arsenault: ottoarsenault.com
Art Department
• Lauren Barlow
• Melissa Huddleston
Gaffer
• Frits Dejong: imdb.com/name/nm0208997
Photos
• Arlie Carstens: disastercasual.typepad.com
Performing Artist
• High Places: hellohighplaces.blogspot.com
Label
• Thrill Jockey: thrilljockey.com
Room 205 Theme Song
• Cora Foxx: theheapsf.com
National Naval Aviation Museum
Rolling off the Douglas Aircraft Company assembly line in El Segundo, California, in December 1940, SBD-2 Dauntless (Bureau Number 2106) was delivered to Bombing Squadron (VB) 2 at Naval Air Station (NAS) San Diego, California, on the last day of 1940. For the better part of the following year the aircraft flew with that squadron, logging hours flying from the deck of the aircraft carrier Lexington (CV 2) and participating in large-scale military maneuvers in Louisiana.
During the first week of December 1941, with Lexington earmarked to deliver aircraft of a Marine scout bombing squadron to Midway Atoll, the aircraft was off loaded from the carrier to make room for the additional aircraft and left at Pearl Harbor when "Lady Lex" put to sea. Thus, on the morning of 7 December 1941, it was on Ford Island in the middle of Pearl Harbor when the Japanese attacked. Put back aboard Lexington when she returned to Pearl, the aircraft embarked in the carrier to the South Pacific. On 10 March 1942, flown by Lieutenant (junior grade) Mark T. Whittier with Aviation Radioman Second Class Forest G. Stanley as his gunner, the aircraft joined 103 other planes from Lexington and Yorktown (CV 5) in a raid against Japanese shipping at Lae and Salamaua in New Guinea. Credited with pressing home his attack against a Japanese ship, Whittier received the Navy Cross.
When Lexington returned to Pearl Harbor following the raid, the museum's SBD-2 was again put ashore and earmarked for transfer to Marine Scout Bombing Squadron (VMSB) 241 on Midway Atoll, arriving there with eighteen other SBD-2s on 26 May 1942, on board the aircraft transport Kitty Hawk (APV 1).
On the morning of 4 June 1942, with 1st Lieutenant Daniel Iverson as pilot and Private First Class Wallace Reid manning the .30-caliber machine gun in the aft cockpit. the museum's aircraft was one of sixteen SBD-2s of VMSB-241 launched to attack Japanese aircraft carriers to the west of Midway. Approaching the enemy carrier Hiryu, the Marine planes came under fire from antiaircraft gunners and fighters of the enemy combat air patrol. Iverson, with two Japanese Zero fighters following him down in his dive, released his bomb at an altitude of 800 feet. During his egress from the target area, the pair of Zeroes on Iverson's tail were joined by two others, which pursued the Dauntless for miles. Enemy fire holed Iverson's plane 219 times, knocking out his hydraulic system and wounding Reid. One bullet came so close that it clipped Iverson's throat microphone chord. Nevertheless, the pilot managed to return to Midway, making a one-wheel landing on the atoll. His was one of only eight SBD-2s of VMSB-241 to return from the attack against the Japanese fleet. For their actions, Iverson received the Navy Cross and Reid was awarded the Distinguished Flying Cross.
Returned to the United States, the museum's SBD-2 was repaired and eventually assigned to the Carrier Qualification Training Unit (CQTU) at NAS Glenview, Illinois. On the morning of 11 June 1943, with Marine 2nd Lieutenant Donald A. Douglas, Jr., at the controls, the aircraft ditched in the waters of Lake Michigan during an errant approach to the training carrier Sable (IX 81). Douglas was retrieved from the water by a Coast Guard rescue boat, but his aircraft sank to the bottom of the lake.
Recovered in 1994, the aircraft underwent extensive restoration at the museum before being placed on public display in 2001. Elements of its original paint scheme when delivered to the fleet are still visible on its wings and tail surfaces. A survivor of the Pearl Harbor attack and two combat actions, including the famous Battle of Midway, it is one of the most historic aircraft in existence anywhere in the world.
I found this to be a pretty bleak, depressing, and difficult novel to read. It is written from a perpective of 70 years or so in the future, looking back on the lives of two half-brothers through the second half of the 20th century. Both men struggle to establish meaningful relationships with their peers, especially with women, and with each other. Both have been brought up by a different grandmother,having been abandoned by their parents. Houellebecq uses their dysfunctionality to examine the society in which they live - post-religious, sexually liberal, materialist - and finds it greatly wanting. Discussing science and philosophy in this context, with frequent references to French culture, Houellebecq's fictional world was, to me, opaque and obscure. Much of it went right over my head. Houellebecq's futuristic premise is that early 21st century society undergoes a 'metaphysical mutation', entering into a Huxleyan brave new world, but one which, due to the sociological and scientific changes what have taken place since Brave New World was written, offers a genuine utopia, rather then the dystopia that Huxley envisaged. I can't decide whether this is intended to be ironic or not. Is Houellebecq suggesting that humanity will, after all, ignore Huxley's warning and go down the path of genetically manufacturing its future? He spends 350 pages discussing the hopelessness of love, and the destructiveness of desire, finally making both redundant. The novel, on the face of it, celebrates this redundancy, but is Houellebecq actually warning us that the alternative to our painful, emotional lives is a sterile, cloned existence, and inviting us to choose?? Perhaps.
This is a relentlessly masculine novel, and one that, though compelling, I really didn't enjoy.
"The Silence of Gender" is a visual odyssey across the glaciers of Gethen, where the boundaries of form dissolve into threads of snow and fire. Inspired by Ursula K. Le Guin’s alien mythos, this series reimagines identity as a luminous dream—neither fixed nor finite, but woven from whispers and fractured symmetries. Here, androgynous travelers, feminine mystics, and childlike beings traverse a landscape of soft fabric and shattered mirrors, their journeys illuminated by the golden filaments of an unknown sky. Each piece is a collage of ancient ritual and futuristic calligraphy, a testament to the intimate breath of existence itself.
"Glacier Hymn"
We walk the ice with names unspoken,
our shadows cast in ink and flame.
The sky is sewn with golden tokens,
each thread a whisper, none the same.
No mirror holds us, no form confines,
we melt like snow into the fire.
The silence hums in fractured lines,
a hymn to what we dare desire.
1. The fact or state of existing; being.
2. The fact or state of continued being; life: our brief existence on Earth.
3.
a. All that exists: sang the beauty of all existence.
b. A thing that exists; an entity.
4. A mode or manner of existing: scratched out a meager existence.
5. Specific presence; occurrence: The Geiger counter indicated the existence of radioactivity.
Synonyms: existence, actuality, being
These nouns denote the fact or state of existing: laws in existence for centuries; an idea progressing from possibility to actuality; a point of view gradually coming into being.
Antonym: nonexistence
The world class boanical collections in Waimea Valley owe there existence to Mir. Keith Woolliams, a dedicated botanical horticulturist who was trained at the Royal Botanic Garden at Kew, on the outskirts of London.
Keith led a rich life traveling around the globe studying botanical collections in England, Japan, Papua New Guinea and Bermuda. He brought to Hawaii his expertise and knowledge of uncommon horticultural treasures, and he acquired seeds, plants, and cuttings from remote places and botanical gardens all over the world. In pre-internet days dozens of letters and packages were dispatched and received daily.
His theme of "Conservation Through Cultivation" resulted in a balance of rare and useful native and Polynesian-introduced plants among exotic horticultural specimens.
What was once an ungroomed valley, filled with koa haole and ravaged by feral cattle was transformed into what you see today by Keith and the many dedicated people he inspired. They oversaw the design, landscaping and construction of the pathways, stone walls and stairs that frame the gardens. Keith's high standards for record keeping and signage persist to this day. He left us in 1998 with a library full of his propagation knowledge, cultivation practices and plant lore which survives to ensure that the precious life forms brought to this valley will thrive here long into the future.
Keith was an inspiring advocate for Hawatian plant conservation and he influenced many young people across the state. He connected Waimea with state, federal and international agencies such as the Center for Plant Conservation, the International Union for the Conservation of Nature, and the Botanical Gardens Conservation International - partnerships that Waimea Valley continues to uphold today.
Keith was instrumental in bringing in critically endangered plants from Japan's Ogasawara Islands, hibiscus relatives from all over the world, and with international colleagues he tried to assemble wild-source collections of every species of Erythrina in the world. In the periodical, "Notes from Waimea Arboretum and Botanical Garden" published twice a year until 1992 he stated "Waimea is a labeled and documented collection of plants for educational and scientific purposes, a living gene pool for future generations".
It is with great honor and gratitude that we remember Mr. Keith Woolliams and his dedication to Waimea Valley.
In common usage, existence is the world of which we are aware through our senses, but in philosophy the word has a more specialized meaning, and is often contrasted with essence. Philosophers investigate questions such as "What exists?" "How do we know?" "To what extent are the senses a reliable guide to existence?" "What is the meaning, if any, of assertions of the existence of categories, ideas, and abstractions."
The word "existence" comes from the Latin word 'existere', meaning to appear or emerge or stand out.
The word 'exist' is certainly a grammatical predicate, but philosophers have long disputed whether it is also a logical predicate. Some philosophers claim that it predicates something, and has the same meaning as 'is real', 'has being', 'is found in reality', 'is in the real world' and so on. Other philosophers deny that existence is logically a predicate, and claim that it is merely what is asserted by the etymologically distinct verb 'is', and that all statements containing the predicate 'exists' can be reduced to statements that do not use this predicate. For example, 'A Four-leaved clover exists.' can be rephrased as 'There is a clover with four leaves.'
Lucy: Humans consider themselves unique, so they rooted their whole theory of existence on their uniqueness.
in Luc Besson movie: Lucy
The world class boanical collections in Waimea Valley owe there existence to Mir. Keith Woolliams, a dedicated botanical horticulturist who was trained at the Royal Botanic Garden at Kew, on the outskirts of London.
Keith led a rich life traveling around the globe studying botanical collections in England, Japan, Papua New Guinea and Bermuda. He brought to Hawaii his expertise and knowledge of uncommon horticultural treasures, and he acquired seeds, plants, and cuttings from remote places and botanical gardens all over the world. In pre-internet days dozens of letters and packages were dispatched and received daily.
His theme of "Conservation Through Cultivation" resulted in a balance of rare and useful native and Polynesian-introduced plants among exotic horticultural specimens.
What was once an ungroomed valley, filled with koa haole and ravaged by feral cattle was transformed into what you see today by Keith and the many dedicated people he inspired. They oversaw the design, landscaping and construction of the pathways, stone walls and stairs that frame the gardens. Keith's high standards for record keeping and signage persist to this day. He left us in 1998 with a library full of his propagation knowledge, cultivation practices and plant lore which survives to ensure that the precious life forms brought to this valley will thrive here long into the future.
Keith was an inspiring advocate for Hawatian plant conservation and he influenced many young people across the state. He connected Waimea with state, federal and international agencies such as the Center for Plant Conservation, the International Union for the Conservation of Nature, and the Botanical Gardens Conservation International - partnerships that Waimea Valley continues to uphold today.
Keith was instrumental in bringing in critically endangered plants from Japan's Ogasawara Islands, hibiscus relatives from all over the world, and with international colleagues he tried to assemble wild-source collections of every species of Erythrina in the world. In the periodical, "Notes from Waimea Arboretum and Botanical Garden" published twice a year until 1992 he stated "Waimea is a labeled and documented collection of plants for educational and scientific purposes, a living gene pool for future generations".
It is with great honor and gratitude that we remember Mr. Keith Woolliams and his dedication to Waimea Valley.
(more pictures or information you can receive by going to the end of page!)
House of the Teutonic Order
The House of the Teutonic Order was as a Viennese commandry of the in 1198 in Acre founded Teutonic Order under Duke Leopold VI in the early years of the 13th Century built. The German Order was next to the Hospitallers and the Templars the third major order of knights of the Middle Ages. Duke Leopold gave him the large area between Stephansplatz, Churhausgasse, Singerstraße and blood alley (Blutgasse). Documentarily proven is the existence of the house from 1222. Here resided the Landkomtur (province commanders) of the Bailiwick of Austria, to which the commandries Vienna, Wiener Neustadt, Graz, Friesach and Groß-Sonntag (Krain) belonged. In the great fire of 1258 all the religious buildings except the church tower burned down. In the Middle Ages the complex of the German monastic house was limited to the area along the Singerstraße and Blutgasse. 1309 exchanged the Order part of the land that was needed for the extension of Stephen's cemetery against a neighboring area. The sprawling building had in its, the Stephansplatz adjacent part a large farm yard, which was surrounded by stables. Since 1526 the Head of the Order bore the title "Grand and German master (Hoch- und Deutschmeister)". The famous Viennese house regiment of the same name by the way in 1696 emerged from those Truppenkontigenten (contigent of troops) which the Order for the Turkish war had provided. After the first Turkish siege of Vienna, numerous residents of the suburbs whose houses had been burned were housed here. From 1667 the already dilapidated buildings were torn down with the exception of the church under the Landkomtur (province commander) Gottfried Freiherr von Lambert and provided by Carlo Canevale with three-storey new buildings. As plasterers Jacob Schlag and Simon Alio were mentioned. 1679/82 increased Canevale and Johann Bernhard Ceresola the complex.
Sala terrena. In the years 1720-1725 the German religious house under the Landkomtur Guidobald Starhemberg by Anton Erhard Martinelli was further extended and baroquised. In 1785 it received under Landkomtur Alois Graf Harrach by placing a fourth storey its present shape. In the 18th Century several fires caused major damages. Especially those of 1735 raged for three days, because the urban fighting personnel the entry was denied by the German Order of Knights. Among the prominent residents of the German religious house, which in the 18th and 19th century first also as a guest house of the Order served and then was largely rented, included Wolfgang Amadeus Mozart (1781), Johannes Brahms (1863 - 1865) and the comedy writer Cornelius Hermann Paul von Ayrenhoff. At the beginning of the 19th Century on Stephansplatz the German Order Cellar (Deutschordenskeller) was opened. Was in its place in the second half of the 20th Century the Restaurant "Deutsches Haus". Since 1809 the German religious house is the residence of the Grand Master of the Teutonic Order. Until then, this one resided in Mergentheim (Baden-Württemberg). From 1864 the Landkomtur Eugen Graf von Haugwitz the church by the cathedral architect from Gran, Josef Lippert, partially had re-gothicised. At that time at the gable above the church windows the already damaged pinnacles and figures were removed. Only the Grand Master coat of arms was left. 1929 the community of the German Teutonic Knights was transformed into a purely religious order. It is one of the very few religious institutions whose top management is not located in Rome. First Grand Master living in Vienna was Archduke Anton Viktor (1804 - 1835).
Church - interior. The House of the Teutonic Order is now a sprawling complex of buildings, grouped around two courtyards. The façade at the Blutgasse is the oldest. Those at the Singerstraße stems from the 17th Century. It represents today the face side of the building. The structuring of the façade by high Baroque inonic giant pilasters followed around 1720. The ground floor is grooved. The two early-Baroque round-arched portals are framed with Tuscan pilasters. The simple façades of the courtyards are held in the style of the 17th Century. On the west side of the pentagonal courtyard on the ground floor walled arched arcades as well as glazed Pawlatschen (access galleries) from the 19th Century on the first floor can be seen. In the courts were various, in 1903 discovered grave plates placed. The ground floor rooms are vaulted, early Baroque lunette barrels and groin vaults prevailing. Among them is the Sala terrene, a with a flat dome vaulted central room which is decorated with illusionistic wall paintings of the late 18th Century. The wall and ceiling frescoes depict mythological scenes and figural ornaments. The hall was once opened to the garden through a portal, but this was later reworked into a window. The tract between Stephansplatz and Blutgasse encloses two two-aisled halls. While the cross vault of the first ones is resting on sturdy pillars is those of the other ones supported by Tuscan columns. In the partially with Rococo and Neoclassical stucco ceilings provided rooms of the first floor are located the library and archives of the Order with documents and books dating back to the 12th Century. Some beautifully crafted wood cabinets were personally manufactured by the Grand and Deutschmeister Archduke Eugen. In the treasure chamber on the second floor are in addition to religious insignias and paintings, inter alia, parts of the Kunstkammer (Art chamber) of the Grand Master Archduke Maximilian III of Austria from the time about 1600 exposed.
Church - Empore. Attention getter and center of the tract at the Singerstraße are the three tall lancet windows of the church of the Teutonic Order. The first chapel already in 1258 fell victim to a town fire. From 1326 it was replaced by Jörg von Schiffering by a new building yet today the core of the Church of the Teutonic Order forming. At that time this one was still but free on three sides. In 1375 it was dedicated to St. Elizabeth. Guidobald Starhemberg 1720/22 the Chapel had remodelled in the Baroque style and flanked at both longitudinal sides by newly built religious houses, by which the three stained glass windows became the central projection of the House of the Teutonic Order. Presumably Anton Erhard Martinelli also was involved in the planning. The quite gothical appearing church facade is a beautiful example of the baroque tinge of the time after the Gothic period of 18th Century, unique in Austria. In the neo-Gothic restoration of 1864/68 the Baroque dome of the narrow and high tower was replaced by a pointed Gothic helmet. After the church was severely damaged in 1945 by bomb hits, followed its restoration 1946/47. Its vaults possess Gothic stucco decorations. In the Baroque reconstruction in the corners eight galleries were built-in, which are accessible from the apartments situated behind. The Dutch polyptych (1520) comes from Mechelen, but was until 1864 in the St. Mary's Church of Danzig. The altarpiece was created in 1667 by Tobias Pock. In the four corners of the room Evangelists Statues by Johann Hutter (1864) replace the missing sculptures by Giovanni Giuliani from the year 1721. On the walls hang several grave slabs, including an epitaph of the scholar Johannes Cuspinian (1515) and the by Jacob Schletterer created grave monument of the Landkomtur Josef Philipp Graf Harrach. Most of the more than eighty coats of arms of German knights, covering the upper part of the walls were designed by Johann Andreas Frank 1722.
Location / Address : 1010 Vienna, Singerstraße 7
Viewing: with the exception of the church and the museum allowed only outside
Sometimes all it takes is being alone in a field of grass with nature all around to make you feel at peace. We often find our lives consumed with the hustle of daily life and it takes a trip to our happy place to find our center. I don't have to pack too long or travel too far to find my reason for being. My backyard is a wonderland of mystery just waiting to be explored. I may never be anything more than someone you once knew. My only hope is that a piece of me remains to be explored long after I am gone.
I often wonder why I have been placed on this earth. Is it to carry a gun so that you can feel safe and free? I have done that. Is it to change an infinite number of watch batteries so that you can make it to work on time? I have done that too. Or is it to simply capture a moment so that you can experience something you may never see from a side of the planet I have never been? In time the gun will be replaced with something more advanced and the watch battery will be long since expired. My ticket will have been punched, but I hope the life I lived will remain for others to experience for eternity. That is the power of a camera!!!
“We are strange beings, we seem to go free, but we go in chains - chains of training, custom, convention, association, environment - in a word, Circumstance - and against these bonds the strongest of us struggle in vain” - Mark Twain
In another existence, just outside our own, is the forgotten city of Dingir. Its streamlined Art Deco architecture was once filled with bright colors and rich materials, meant to reflect the beginning of a new age of consciousness. Now muted and neglected, it lies somewhere between our dreams and reality.
Dingir served as a crossroads between the human-bound Dreamers and the entities that would become humans. These creatures were known as “Those Who See and Observe”.
They entered Dreamers’ subconscious and helped guide them along on their path. However, there were some Dreamers that became too strong and aware, which gave them the ability to reach through the barrier between worlds, causing chaos and irreparable damage to Dingir, and places like it.
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A lush garden, with shrubs and flowerbeds pruned in very many artistic shapes, surrounds the palace. Quite obviously; the art of topiary has been in existence in Orchha for centuries. The Mahal was built in honor of the ‘Nightingale of Orchha’, Rai Praveen, and the second floor is resplendent with scenes of Nritya Mudra, the poses and postures of Indian dance.
Rai Praveen was as well identified for her charming beauty as for her poetry and music. The paramour of Indrajit Singh, in whose court she performed, her fame inevitably spread far and wide and finally reached the Imperial Court of Akbar. The Mughal emperor was smitten by her, and he arrogantly summoned her to his durbar. Indrajit Singh, Rai Parveen’s paramour, was too weak-kneed a ruler to defy the Imperial summons. Touched by her loyalty, Akbar decided to restore her to Orchha with both her dignity and that of her kingdom intact. The palace is now a fitting memorial to this lady.
The Orchha Fort complex, which houses a large number of ancient monuments consisting of the fort, palaces, temple and other edifices, is located in the Orchha town in the Indian state of Madhya Pradesh. The fort and other structures within it were built by the Bundela Rajputs starting from early 16th century by King Rudra Pratap Singh of the Orchha State and others who followed him.
The fort complex, which is accessed from an arched causeway, leads to a large gateway. This is followed by a large quadrangular open yard surrounded by palaces. These are Raja Mahal or Raja Mandir, Sheesh Mahal, Jahangir Mahal, a temple, gardens and pavilions. The battlements of the fort have ornamentation. Notable architectural features in the fort complex are projected balconies, open flat areas and decorated latticed windows.
LOCATION
The fort complex is located in the Tikamgarh district of Madhya Pradesh in the erstwhile state of Orchha. The fort complex is within an island formed by the confluence of the Betwa River and Jamni River in Orchha town. Approach to the complex from the eastern part of the market in the town is through a multiple arched bridge with 14 arches built in granite stones.
Orchha town is approximately 80 kilometres away from Tikamgarh town, which is the district headquarters of the district of the same name. Jhansi town is 15 kilometres away. Orchha is a railway station of the Central Railway on the Jhansi-Manikpur section.
HISTORY
The fort was built following the founding of the Orchha State in 1501 AD by Rudra Pratap Singh (r. 1501–1531), a Bundela rajput. The palaces and temples within the fort complex were built over a period of time by successive Maharajas of the Orchha State. Of these, the Raja Mandir or Raja Mahal was built by Madhukar Shah who ruled from 1554 to 1591. Jahangir Mahal and Sawan Bhadon Mahal were built during the reign of Vir Singh Deo (r. 1605–1627). The features of "pepper pots and domes" seen in the fort complex are believed to have inspired Lutyens in the architecture of the structures which he built in New Delhi.
MONUMENTS
The fort complex, accessed from an arched causeway, leads to a large gateway followed by a large quadrangular open space which is surrounded by palaces such as Raja Mahal or Raja Mandir, Sheesh Mahal, Jahangir Mahal, a temple, gardens and pavilions. The fort walls have battlements, which have ornamentation. Notable architectural features seen in the fort complex consist of projected balconies, open flat areas and decorated latticed windows.
RAJA MAHAL
The Raja Mahal (King’s Palace), where the kings and the queens had resided till it was abandoned in 1783, was built in the early part of 16th century. Its exterior is simple without any embellishments but the interior chambers of the palace are elaborately royal in its architectural design, decorated with murals of social and religious themes of gods, mythical animals and people. In the upper floor of the palace there are traces of mirrors in the ceilings and walls. Its windows, arcaded passages and layout plan are designed in such a way that the "sunlight and shadow create areas of different moods and temperatures throughout the day". The interior walls of the Mahal have murals of Lord Vishnu. The Mahal has several secret passages.
A part of this Mahal was converted into a temple and named Rama Raja Temple in honour of the god Rama. There is legend associated with naming it as a temple. According to a local legend, the temple was built following Rani Ganeshkuwari, the queen getting a "dream visitation" by Lord Rama directing her to build a temple for Him; while Madhukar Shah was a devotee of Krishna, his wife's dedication was to Rama. Following this a new temple known as the Chaturbuj Temple was approved to be built, and the queen went to Ayodhya to obtain an image of Lord Rama that was to be enshrined in her new temple. When she came back from Ayodhya with the image of Rama, initially she kept the idol in her palace as the Chaturbuj Temple was still under construction. She was, however, unaware of an injunction that the image to be deified in a temple could not be kept in a palace. Once the temple construction was completed and the idol of the lord had to be moved for installation at the Chatrubhuj Temple, it refused to be shifted from the palace. Hence, instead of the Chaturbhuj Temple, the Rama's idol remained in the palace where as the Chaturbhuj Temple remained without an idol in its sanctum. As Rama was worshipped in the palace, part of the palace was converted into the Rama Raja Temple; it is the only shrine in the country where Rama is worshipped as a King. The temple is guarded by a police force and the deity, Lord Rama, is considered as the king and is given a gun salute of honour every day.
SHEESH MAHAL
Sheesh Mahal is flanked on either side by the Raja Mahal and the Jahangir Mahal. This has royal accommodation, which was built for king Udait Singh. It has now been converted into a hotel. The interior of this edifice consists of a huge impressive hall with high ceiling, which is the dining hall. Its recent colour scheme renovations are an eyesore. But staying in two of its royal suites on the upper floor, which provide scenic views of the town, gives the guest a feeling of royalty.
JAHANGIR MAHAL
Jahangir Mahal is a palace that was exclusively built by Bir Singh Deo in 1605 to humor the Mughal emperor Jahangir who was a guest of the Maharaja for one night only. The palace is built in four levels with elegant architectural features of both Muslim and Rajput architecture. Its layout is a symmetrical square built in the inner courtyard of the fort and has eight large domes. It has a plethora of rooms with arcaded openings, projecting platforms and windows with lattice design work. The roof above top floor of this Mahal is accessed through a steep stairway. It provides picture perfect views of the temples and the Betwa River outside the fort complex. The palace also houses a small archaeological museum.
The entrance gate from this palace, which was earlier the main gate and which has carved ornamentation, leads to the royal baths and then to an elegant small dwelling unit built within a garden in typical Mughal architectural style; this had been built exclusively for Rai Parveen, the female escort of the Raja Indramani (1672 – 76); her large-size portrait in a revealing and seductive attire adorns hall in this Mahal. She was a poet and musician. The building is a double storied structure built with bricks, rising to the height of the trees in the well tended garden called Anand Mahal. The garden is laid out with octagonal flower beds and has good network of water supply. There are niches in the Mahal which permit natural light to the main hall and smaller rooms.
It is said that Emperor Akbar (r. 1556 – 1605) who was enamored by Parveen's beauty had taken her to his palace in Agra to be his courtesan. But Parveen, who wanted to get out of the situation, composed a gazal or a couplet which stated her status as an already used woman not fit for an emperor, which enabled her to get release from Akbar's court and return to Orchha.
PHOOL BAGH
Phool Bagh is an elegantly laid out garden in the fort complex which has a line of water fountains that terminates in a "palace-pavilion" which has eight pillars. Below this garden is an underground structure which was used by the royalty as a cool summer retreat. This cooling system consists of water ventilation system that is linked to an underground palace with "Chandan Katora", which is in the shape of a bowl from where fountains of droplets trickle through the roof creating rainfall.
WIKIPEDIA
Bury St Edmunds Cathedral for most of its existence was simply the parish church of St James until the foundation of the new diocese of St Edmundsbury in 1914 when it was raised to cathedral status, one of the many new dioceses formed in the early 20th century that elevated existing parish churches to diocesan rank rather than purpose building a new cathedral. Many of these 'parish church cathedrals' sit slightly awkwardly with their new status, lacking in the scale and grandeur that befits such a title, but of all of them Bury St Edmunds has been adapted to its new role the most successfully, with in my opinion the most beautiful results.
The medieval church consisted of the present nave, built in 1503-51 under master mason John Wastell, with an earlier chancel that was entirely rebuilt in 1711 and again in 1870. Originally it would have seemed a fairly minor building at the entrance to the monastic precinct, overshadowed by the enormous abbey church that once stood immediately behind it. The absence of this magnificent church since the Dissolution and the scant remains of this vast edifice always sully my visits here with a sense of grievous loss, had history been kinder it would have served as the cathedral here instead and likely be celebrated as one of the grandest in the country.
The church never had a tower of its own since the adjacent Norman tower of the Abbey gateway served the role of a detached campanile perfectly. It is an impressive piece of Romanesque architecture and one of the best preserved 12th century towers in the country.
Upon being raised to cathedral status in 1914 the building underwent no immediate structural changes but plans were made to consider how best to transform a fairly ordinary church into a worthy cathedral. This task was appointed to architect Stephen Dykes Bower and work began in 1959 to extend the building dramatically. Between 1963-1970 the entire Victorian chancel was demolished and replaced with a much grander vision of a lofty new choir and shallow transepts, remarkably all executed in traditional Gothic style in order to harmonize with the medieval nave. It is incredible to think that this was done in the 1960s, a period in which church and cathedral buildings were otherwise constructed in the most self consciously modern forms ever seen, with delicate neo-medieval masonry in place of brick and concrete.
The new crossing of transepts and choir however remained crowned by the stump of a tower for the remainder of the century as funds were not available to finish Dykes Bower's complete vision of a lantern tower over the crossing: this was only realised at the beginning of the 21st century, aided by a legacy left in the architect's will and some subtle design changes under his successor as architect Hugh Matthews. The transformation from church to cathedral was finally completed in 2005 with most satisfactory results. A stunning fan-vault was installed within the new tower in 2010, an exquisite finishing touch.
Whilst it isn't a large building by cathedral standards its newer parts do much to give it the shape and dignity of one. This is especially apparent within, where the cruciform eastern limb draws the eye. The interior is enlivened by much colour, with the ceilings of Dykes Bower's choir and transepts adorned with rich displays of stencilling, whilst the nave ceiling (a Victorian replacement for the medieval one) was redecorated in similarly lively colours in the 1980s which helps to unify the old and new parts of the church.
Few fittings or features remain from the medieval period, most of the furnishings being Victorian or more recent, but one window in the south aisle retains a rich display of early 16th century stained glass, very much Renaissance in style. The remaining glass is nearly all Victorian, some of the windows in the new choir having been transferred from the previous chancel.
St Edmundsbury Cathedral is not filled with the monuments and fittings that make other great churches so rewarding to linger in but it is a real architectural delight and cannot fail to uplift the spirit.