View allAll Photos Tagged Existence
Jonathan Davis of Korn. IZOD Center, NJ. 12.06.14
Feature Gallery on Music Existence: musicexistence.com/blog/2014/12/08/gallery-korn-live-at-i...
Existence de edward bond au théâtre des argonautes à marseille
mise en scène francine eymery, collaboration artistique et scénographique jean-pierre girard
avec lionel barathieu et frédéric josse
States of Existence developed during the winter & spring terms by the 2015 Choreography Workshop students, includes both solo and group work that focus on the idea of the individual in relation to 'other.' The following question is presented: How is individual identity created? To see more about Knox's Dance program: www.knox.edu/academics/majors-and-minors/dance
States of Existence developed during the winter & spring terms by the 2015 Choreography Workshop students, includes both solo and group work that focus on the idea of the individual in relation to 'other.' The following question is presented: How is individual identity created? To see more about Knox's Dance program: www.knox.edu/academics/majors-and-minors/dance
Hunting Eggs - Existence Easter Egg Hunt
Taken at BOOM, miseria, Bodyline, PIDIDDLE, eep, Kozmetika, Existence (214, 139, 22)
States of Existence developed during the winter & spring terms by the 2015 Choreography Workshop students, includes both solo and group work that focus on the idea of the individual in relation to 'other.' The following question is presented: How is individual identity created? To see more about Knox's Dance program: www.knox.edu/academics/majors-and-minors/dance
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.
slowly these highrises will eat up the spaces, where will these people go? who knows? who cares?
other mumbai fotos
Maryland's Backbone Solidarity Brigade and emblazoned buildings throughout Baltimore with a call to action demanding Medicare For All and Single Payer Now. They projected on the CareFirst building- the largest health insurance co. in MD, the University of Maryland School of Medicine, and the Bromo-Seltzer clock tower which was built by a pharma company and is an iconic Baltimore structure. To top off the evening they projected messages "Respect Existence or Expect Resistance" and "Resist, Protect, Create" on a artistic large-scale mural that spelled out LOVE with silhouettes of hands.
Lock arms with Backbone Campaign to be a part of Bold and Creative action! - backbonecampaign.org
The stacks of a Valero oil refinery tower over Aruba's Baby Beach, a pristine location where many islanders swim. The refinery dates back to the Standard Oil days beginning in 1929.
I laid me down upon the shore
And dreamed a little space;
I heard the great waves break and roar;
The sun was on my face.
My idle hands and fingers brown
Played with the pebbles grey;
The waves came up, the waves went down,
Most thundering and gay.
The pebbles, they were smooth and round
And warm upon my hands,
Like little people I had found
Sitting among the sands.
The grains of sands so shining-small
Soft through my fingers ran;
The sun shone down upon it all,
And so my dream began:
How all of this had been before;
How ages far away
I lay on some forgotten shore
As here I lie to-day.
The waves came shining up the sands,
As here to-day they shine;
And in my pre-pelasgian hands
The sand was warm and fine.
I have forgotten whence I came,
Or what my home might be,
Or by what strange and savage name
I called that thundering sea.
I only know the sun shone down
As still it shines to-day,
And in my fingers long and brown
The little pebbles lay.
States of Existence developed during the winter & spring terms by the 2015 Choreography Workshop students, includes both solo and group work that focus on the idea of the individual in relation to 'other.' The following question is presented: How is individual identity created? To see more about Knox's Dance program: www.knox.edu/academics/majors-and-minors/dance
National Museum of Wildlife Art, museum signage:
"The Struggle for Existence, William R. Leigh
(United States, 1866-1955)
The Struggle for Existence, 1947
Oil on Canvas
Leigh is best known for his dramatic images of the American West. In 1883, shortly before his 17th birthday, he sailed to Germany where he studied for 12 years at the Royal Academy in Munich. His use of European techniques in painting the American West earned him the nickname “America’s Sagebrush Rembrandt.”
Pained in 1948, this painting evokes an idea of the Wild West."
Approaching this once pivotal industrial site, one would be forgiven for appreciating the beauty of the diffused light of sunrise, majestic mountains, the awe of the landscape at that time of morning softened by the rolling mountain mists - without realising that this scene would once of been full of unimaginable hardships and toll upon the body, lives cut short through accidents - but I can imagine that just like humanity across all of time that they too would of made the best of their situation, laughter and perseverance driving them on.
This is a 6 image stitched panorama.
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from the book
STRATEGIES d'EXISTENCE"
from the book
STRATEGIES d'EXISTENCE" by Thierry Geoffroy / Colonel
ISBN877245456949
Rhodos Publishing . 1993
from the book
STRATEGIES d'EXISTENCE" by Thierry Geoffroy / Colonel
ISBN877245456949
Rhodos Publishing house 1996
At Sinan Lu (formerly Rue Massenet) in the French Concession, near the residences of Sun Yatsen and Zhou Enlai.
The Bell AH-1 Cobra (also called HueyCobra) owes its existence to the Vietnam War. While the proof of the air cavalry concept was being proven every day, the US Army was also losing huge amounts of helicopters to ground fire. Equipping the troop-carrying “slicks” with door guns helped, and arming the UH-1 Iroquois/Huey with weapons was another interim solution. Clearly, however, the solution lay with a dedicated attack helicopter that could defend the troop carriers.
Bell, the manufacturer of the UH-1, had been also experimenting with a concept of a heavily armed, turreted, and thin fuselaged helicopter. The US Army awarded a proof-of-concept contract to Bell, which replied in a heavily modified Model 47 called the Sioux Scout. It failed to win any orders, but Bell kept at it. This resulted in the Model 209, based on components of the UH-1 and the original conceptual design. With the Vietnam War intensifying, the Army issued a requirement for an interim solution, which the Model 209—built and tested in only eight months—won easily. The Army ordered 110 AH-1Gs in April 1966 and the type was in action in Vietnam a year later.
With the success of the AH-1 in Vietnam, the USMC requested a version as well, but with twin engines (for more safety over water) and bigger armament. This resulted in the AH-1J: besides twin engines, it also carried a 20mm gatling cannon in the turret. Though the AH-1J only saw brief action in the Vietnam War before American involvement ended, the Marines loved it. AH-1Js were also supplied to Iran before the Islamic Revolution of 1979, and these were used against Iraq in the Iran-Iraq War. Marine AH-1s, alongside upgraded Army AH-1S Cobras, have seen action in every American conflict since Vietnam, with considerable success. Though the US Army withdrew their Cobras by 1995 in favor of the AH-64 Apache, the Marines continually upgraded their Cobras, culminating in the current AH-1Z Viper, which is practically a new helicopter. While not as potent as the Apache or the Mi-24 Hind, the Cobra represents the first and classic attack helicopter.
This AH-1W is Bureau Number 165395; this helicopter was probably delivered to the USMC in the late 1980s. It served with HMLA-269 ("Gunrunners"), where 165395 saw combat over Iraq. After returning home, 165395 was transferred to VMX-1 at MCAS Yuma, Arizona as a testbed, and was retired in late 2022. It was then placed on display in the MCAS Yuma airpark.
As the newest arrival in the Yuma airpark, 165395 is in excellent condition, and retains the blue/gray camouflage used by Marine helicopter units. The VMX-1 emblem is carried on the engine covers. I got this picture in June 2023.
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