View allAll Photos Tagged Existence
The Athlone 10KM and 5KM road races were held in Clonown Village, Co. Roscommon, Ireland on Sunday 28th of April 2013 at 14:30 and 15:00. Clonown is a small townland on the west bank of the River Shannon and is situated about 3 miles south of the town of Athlone. Whilst the townland is almost completely rural it is accessed easily from major routes and towns by the M6 motorway.
This race completely defied the fact that it is only the second year of it's existence. Every aspect of the organisation was professional: from stewarting, registration, start of races exactly on time, car-parking, and post race refreshments. The 10KM route followed an anti-clockwise loop. The race started on the L2035 Togher Road (about 100m from Clonown Centre) and heads towards the old Ballinasloe Rd and back via Creggan with the finish at the Clonown Community Centre. The 5KM run was added this year to provide a managable challenge for people who are following programmes such as Operation Transformation. The 5KM race route follows a meandering around the townland. The race starts at the church in Clonown and head clockwise around the Ballinaculla townland which offers lovely views of the River Shannon. The route then goes to the Drumlosh road and runs for 1.5 km before the roundabout which is the 3km mark. The race then turns around and returns back to the village and finish at Clonown Community Centre. Both races share some of the race route for the Flatline Athlone Half held in September (www.athlonehalfmarathon.com/) which makes the race routes very fast and flat.
Overall Race Summary
Participants: Approximately 400 people took part in both events with runners, joggers, walkers, and families involved.
Weather: This was a wonderfully bright dry afternoon but a very strong wind made difficult running conditions in places.
Course: Very flat accurately measured course on rural roads and bog roadway. There were waterstops provided at various points and by locals along the route. Very well stewarded.
Refreshments: There were lots of refreshments served in the community center aftwards.
Location Map: This is the start/finish area on Google StreetView [goo.gl/maps/W0Hxc]
Some Useful Links
The Clonown area on Google Streetview [goo.gl/maps/W0Hxc]
Facebook Page for the Athlone 10KM Race 2013 www.facebook.com/Athlone10krun?fref=ts
How can I get a full resolution copy of these photographs?
All of the photographs here on this Flickr set have a visible watermark embedded in them. All of the photographs posted here on this Flickr set are available, free, at no cost, at full resolution WITHOUT watermark. We take these photographs as a hobby and as a contribution to the running community in Ireland. We do not know of any other photographers who operate such a policy. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, Google Orkut etc or (2) other websites, web multimedia, commercial/promotional material that you provide a link back to our Flickr page to attribute us. This also means the use of these images for Facebook profile pictures. In these cases please make a wall post with a link to our Flickr page. If you do not know how this should be done for Facebook or other media please email us and we will be happy to help suggest how to link to us.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
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I ran the race - but my photograph doesn't appear here in your Flickr set!
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
You were hidden behind another participant as you passed our camera
Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
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We do not charge for these images. We take these photographs as our contribution to the running community in Ireland. If you feel that the image(s) you request are good enough that you would ordinarily pay for their purchase we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
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The existence of a wooden church on the current site can be dated as far back as 675.
Robert de Brus I gained control of the area in around 1119. In the late 1100s the de Brus family build the manor house and chapel. The chapel remains as the basis of the St Mary Magdalene Church, which has undergone significant modification since it was built,.
In 1596 Ellen Thompson was condemned as a witch and buried under the stile of St Mary Magdalene church at the east entrance to the churchyard. Another woman, known as Old Mother Midnight of Elwick, may have been buried in the same place in 1641.
St Georg fighting the dragon
Bad Segeberg owes its existence to the "Kalkberg", a gypsum rock, that was about 120m high in the middle ages. This was the borderland between Saxons and Slavs, so Knud Lavard, Danish prince and Jarl (Earl) of Schleswig, unsuccessfully tried to build a castle here. Vizelin, the missionary of the Varrians and Abotrites, drew the attention of Emperor Lothair III to the strategic importance of the Kalkberg, whereupon the first castle was built on it in 1134. This was named "Siegesburg" (hence Segeberg).
After Emperor Lothar III had died, Slavic chief Pribislav of Wagria rebelled against the Holy Roman Empire by destroying the new castle of Segeberg.
Vicelin had founded a monastery around 1134 what was given destroyed together with the castle during Slavic raids. The monks had fled, but they did return and the foundation stone of a huge three-nave cruciform basilica with an adjoining monastery was laid around 1156/57. In 1199, the monastery church was named "eccl. S. Maria" in a Papal document, indicating that it had been consecrated in the meantime.
The later addition of a tower and a portal to the west of the church is dated to the 13th century.
The Reformation found early acceptance in Segeberg. As early as the 1520s, the first Lutheran pastors preached here. Until the dissolution of the canonry in 1564/66 the interior of the church was divided into two separate areas - for the remaining canons (in the Gothic east choir) and the Lutheran parish (in the west nave). The east choir, unused since 1564, was no longer maintained and was left to decay.
The entire nave was under renovation and closed off with large wooden panels. We could only enter the transept. A photo of the folding altar was stuck on the wall behind the temporary altar. On the right, under tarpaulins, the stairway to the pulpit.
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.
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
Arbroath owes its existence to its abbey, established by King William the Lion in 1178 and dedicated to the memory of St Thomas a Beckett. St Thomas was the patron saint of the town, and today the tomb of King William the Lion can be seen in the abbey. Arbroath Abbey consisted of 40 monks of the Tironesian order whose purpose was to perform divine service. A burgh of regality was established along with the abbey, giving the monks the right to hold a weekly market, dispense basic justice and to create a harbour, which they did in 1394. A village grew up surrounding the abbey to supply its needs and a fishing hamlet developed around the harbour.
The existence of the estate in its current form goes back over 230 years to its creator Thomas Harley. But since then only two other families have owned the property; the Rodneys and the Cawleys.
Berrington was essentially created by one man, Thomas Harley, who bought the estate around 1775. He made his fortune as a banker and government contractor in London, but had long family links with Herefordshire, to which, in his mid-40s, he was keen to retire from the hurly-burly of City politics.
Harley commissioned ‘Capability’ Brown to lay out the park, which has spectacular views west towards Wales and the Black Mountains. Around 1778 he also called in Brown’s son-in-law, Henry Holland, to design him a new house in the latest French influenced Neo-classical style, using the finest London craftsman.
Harley had no male heir, but was delighted when in 1781 his daughter Anne married the son of Admiral Lord Rodney, a great naval commander.
On Harley’s death in 1804, Berrington passed to the Rodney family, who lived there for the next 95 years. Unfortunately George, the 7th Lord Rodney lost the family wealth in the late 19th century; first selling off furniture and paintings. He was finally forced to sell the house in 1901.
The house was purchased in 1901 by Frederick Cawley MP (later to become Lord Cawley), a wealthy Lancashire cotton finisher who bought a new lease of life to Berrington. He redecorated the house with considerable sympathy and many of his schemes still survive. He replaced ugly Victorian fire grates with more appropriate Georgian models but otherwise did little to disturb Holland’s beautiful original design.
It was in this cherished state that the house came to the National Trust in 1957 in part payment for death duties for the second Lord Cawley.
HMS Drake is the naval designation for HMNB Devonport, still in existence today. Prior to 1934, it was HMS Vivid. Ordinary Seaman Manchip may well have been a victim of the Plymouth Blitz.
Plans were made to create a joint stock cemetery for the then separate towns of Stonehouse, Devonport and Plymouth, in 1842. Eventually, the cemetery was open for burials on 1 December 1848, the first interment taking place on the 22 December. Interest at first was low and the company nearly folded, but in 1854, the General Board of Health closed all churchyards and other burial grounds in Plymouth to safeguard public health, making the cemetery's fortune until the early 20th Century. Decline started in 1904 with the opening of the Weston Mill and Efford cemeteries, compounded by an interest in cremation. Although not too serious a threat at that time, cremation grew in popularity during the 20th Century, and by 1980 this means of disposal was used by 80% of the population.
By the 1980s, the company was in terminal decline with a vicious circle created; poor maintenance made the cemetery less attractive to families as a last resting place for their loved ones leading to worse conditions. In 1999, after 153 years, the company went into voluntary liquidation. The cemetery was taken over in 2000 by the Ford Park Cemetery Trust, with charitable status. With grants and donations they are bringing the cemetery back to its former glory, a long and difficult task.
There are two chapels, one built as a Dissenters' chapel, the other Church of England. The former was destroyed during the Plymouth Blitz when at least three bombs fell on the cemetery. This was rebuilt and is now the visitor centre and offices of the complex. The Church of England chapel will eventually be restored when funding becomes available. There are two Victoria Cross graves, one of which is the second Victoria Cross to be issued.
For the first time in six years of existence, the P1 AquaX was hosting a World Championship event sanctioned by IJSBA and it happened in Key West, Florida December 9th and 10th 2017. Since the Thailand King's Cup was being held at the same time, only 18 of the 25 pilots that made the selection were racing this week end. Nevertheless, Key West was a beautiful destination to race, every morning brought a different colour of sunrise and the ever changing blue hues of the water made this race memorable. After marine and storm delays, day one was hard for David Chassier after experiencing mechanical problems. Day two was a little better even if the Yamaha FX SVHO was barely taking 7000 rpm, the French pilot from Blois managed to finish 12 and 13, which placed him 15 overall. A big thank you to Barefoot Billy's Jet Ski Rental that helped us train the first days in Key West as well as Redler's family that gave us assistance and support during the race. Congratulation to our friend Nicolas Rius on landing a 3rd place overall despite a bad shoulder injury and we wish him the best recovery so he can be back a the top for 2018. This was the last race of the season, see you next year :)
A few months ago I read a post about this ancient monument, I was unaware of its existence.
I logged into my Google Maps and recorded it as one of my desired places to visit.
Today Thursday 15th November 2018 Scotland basked in a beautiful Autumn sunshine, my favoured shooting conditions, I packed my Nikon and drove the 25 miles to the site.
Historic Environment Scotland maintain the monument , thankfully they have done a magnificent job, I truly believe it is important to preserve history for the generations to come.
I had a magnificent two hours recording my experience, I never fail to feel overwhelmed by the wealth of history that surrounds Aberdeen and the shire.
Thank's to Historic Environment Scotland for their detailed information on this site.
Ancient Monument - Kinkell Church - Inverurie Aberdeen Scotland.
Kinkell Church, built in the 1200s, is a classic medieval Highland church: simply designed and rectangular in shape. But the liturgical features installed in the 1520s are anything but plain. The stone sacrament house in the north of the church is an especially fine fixture.
Kinkell was refitted for Presbyterian worship following the Protestant Reformation of 1560, and declared redundant in 1771. Much of the building was dismantled and building materials recycled for use in a new kirk.
KINKELL CHURCH
• Kinkell Church, dedicated to St Michael, consist of the remains of a simple rectangular medieval parish church, of which only the N, W and part of the E
wall are upstanding.
The church was partly remodelled, perhaps on more than one occasion,
including in the early 16th century, when an elaborately carved Sacrament
House was built into the E end of the N wall.
Within the church is the monument of Gilbert de Greenlaw, killed at the battle
of Harlaw in 1411; the stone was re-used for a Forbes burial in 1592
CHARACTER OF THE MONUMENT
The church appears to have come on record in the early 13th century. Kinkell
was a mother church, or plebanus, and had dependent chapels at Dyce,
Drumblade, Kemnay, Kinnellar, Kintore and Skene.
This connection, which
was of long standing, may have arisen if Kinkell’s origins was that of an ecclesiastical foundation, rather like a minster, with an extensive parochia.
This would push back its origins considerably.
From the 14th century, certain revenues of the church evidently pertained to the Knights Hospitallers, although it is also recorded as an independent parsonage during the 14th century.
Any connection with the Hospitallers came to an end in 1420, when the church
and its annexes were erected into a prebend of Aberdeen Cathedral.
From a date and a set of initials on the sacrament house, it is apparent that in 1524 Alexander Galloway, rector of Kinkell and canon of Aberdeen Cathedral,
paid for the splendid sacrament house built into the E end of the N wall.
He appears to have been paying for further work the following year as a carved stone panel depicting the crucifixion, dated 1525, and with Alexander’s initials (three times), is built into the N wall (only a bronze replica survives; the original
was removed to Aberdeen Museum in 1934 and subsequently lost).
The church was abandoned in 1771 when the parish was amalgamated with
Keithhall. It was partially demolished to provide building materials for the new
parish church.
Archaeological Overview
There have been no recorded archaeological investigations at Kinkell.
The archaeological potential of the monument is extremely high and any excavation is very like to come across human remains, and perhaps also earlier church
buildings on the site.
Artistic/Architectural Overview
The church is fragmentary and devoid of features apart for the sacrament
house, the crucifixion panel and a single jamb of what must have been a large,
traceried E window. The simple oblong plan of the church suggests that the
basic form of the church dates from the early 13th century, with much late
medieval remodelling.
2/3
• The sacrament house is a particularly fine, and unique, example of this type of
medieval church fixture. It was an aumbry, or wall cupboard, designed to
reserve the host in appropriate reverential surroundings.
• The sacrament house at Kinkell shares several features with others found in
the NE, associated with Galloway, but is unique due to its cross shape. The
aumbry is flanked by two buttresses with crocketed finials. Between these is a
panel, which although badly defaced, appears to have been ornamented with a
monstrance supported by two angels (a very common motif found on other
sacrament houses associated with Alexander Galloway). Above this panel is a
corbelled and battlemented cornice, and above this is an oblong panel, which
probably contained a crucifixion scene, but is now empty. Flanking the
pinnacles are two panels, each filled with scrolls, which are of different forms
although the inscriptions on the scrolls were meant to be read as one and
state: ‘Here is preserved that body which was born of a virgin’.
• The crucifixion panel has a representation of St Michael, the archangel (to
whom the church was dedicated) to the right of the crucified, the Virgin on the
left and under her a priest, perhaps representing Galloway himself as donor,
standing beside an altar on which are Galloway’s initials.
• The sacrament house and the Crucifixion panel appear to have been part of a
liturgical revival in the diocese of Aberdeen during the early decade on the 16th
century. Alexander Galloway appear to have been a central figure in the move
to ensure parish churches had the fittings for the proper worship of God, and in
particular devotion to the Blessed Sacrament. He erected several sacrament
houses in churches he was involved in; Kinkell and its dependents at Dyce and
Kintore, and at King College, Aberdeen and may have been influential in the
decision of his colleagues, Alexander Spittal of Auchindoir and Alexander Lyon
of Turiff, to erect those in their respective churches. Galloway also donated a
font to Kinkell, which now is now in St John’s Episcopal Church, Aberdeen.
• The construction of the sacrament house may have been part of a wider
reorganisation of the chancel area of the church, and it is tempting to suggest
that the great E window may have been a part of this re-organisation, although
details of this moulding may be more consistent with a 14th or 15th century
date.
Social Overview
• The church is currently used as a recreational attraction. It receives little other
community use.
Spiritual Overview
• As a parish church in use for some six centuries, the site has the potential to
inform our understanding of medieval Christianity, the aspirations of the
rectors, vicars and ministers who served the church and the congregations
who worshipped in it.
• The burial ground was in use until fairly recently, and may still be in use for
occasional burials. People still visit family graves and memorials.
Aesthetic Overview
• The church and burial ground are located in the haughs of the River Don,
amongst arable farmland which adds to the appreciation of this monument.
The church has been pointed with a hard cement mortar that give the walls the impression of crazy paving.
The sacrament house, the replica crucifixion panel,
3/3 the window jamb are fine architectural details which are aesthetically very striking, and provide some idea of the glories of this once very fine church.
• The graveslab of Gilbert de Greenlaw, killed at the Battle of Harlaw, which would originally have been a ledger slab, is a particularly detailed carving of an armed knight.
What are the major gaps in understanding of the property?
• Do further historical sources or references survive.
• Nothing is known about the archaeology and earlier history of this site.
The church is an example, although much ruined, of a church which was remodelled in the 16th century.
The sacrament house is a particularly fine example of this type of church
furnishing, and the only example which takes the form of a cross.
Sacrament houses are physical manifestation of an important aspect of late medieval
Christianity; the veneration and adoration of the Body of Christ in the form of the consecrated host.
The church is closely associated with Canon Alexander Galloway, who encouraged a liturgical revival in the diocese in the early 16th century.
The site has high archaeological potential, but as a place of burial over centuries so the scope for research-led invasive excavation is not high.
Associated Properties
St Fergus’, Dyce, Auchindoir Church, St Machars Cathedral, Kintore Church,
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
In its 40 years of existence, Ars Electronica has built up a vast network of partners and friends all around the world. In this session, the focus will be on the Ars Electronica Australia Initiative; presenting partners & friends from this growing ecosystem. The session will offer insights, through artistic projects, research, programs and experiments, into the cultural landscape, and activities of this Australian network.
Credit: Vanessa Graf
December 13, 2019 - St. Philip’s College conferred degrees and certificates to over 350 students during the Fall 2019 Commencement Ceremony at the Freeman Colosseum on Friday, December 13, 2019. The ceremony welcomed U.S. District Judge, Jason Kenneth Pulliam as the keynote speaker. During his speech, he announced he will be paying SPC’s student, Terrance Johnson’s, fall outstanding tuition balance. The evening reflected on SPC’s 121 years of existence. The institution has evolved into a comprehensive institution offering over 100 degrees and certificates. Last year was monumental as the institution received the Governor’s Award for Performance Excellence and the National Baldrige Award. Additionally, the college was listed as one of the top 10 most admired colleges and universities and cited as one of the fasted growing Historically Black Colleges and Universities. Most recently, the college received the Online Learner Support Certification from Quality Matters. St. Philip’s College will continue to experience growth in 2020, as the college looks forward to the renovation and new construction projects for the MLK and Southwest Campuses. The projects include the new construction of the Bowden Building and Norris Technical Building.
From left, Vice President for Academic Success Randall Dawson, Vice President for College Services Lacy Hampton, Dr. Loston, U.S. District Judge Jason Kenneth Pulliam, VP for Student Success Dr. Mordecai I. Brownlee.
slowly these highrises will eat up the spaces, where will these people go? who knows? who cares?
other mumbai fotos
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.
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
@sad161 @tonydegrazia @lifebypixels Your sleepless existence will not be forgotten. Your blood and sweat coat the gates of our temple.
165 Likes on Instagram
14 Comments on Instagram:
phil_geck_dis: @joerandolphtattoo
tonydegrazia: Something this cool & of this scale is gonna be worth it,,
jmdg: My brother is so cool.
karlmarc_handmade: I can't wait to see this all together. The clips you've posted of it look amazing.
Happy New Year 2015
The British Library London
The very existence of Libraries
affords the best evidence
that we may yet have hope
for the future of man
T. S. Eliot
(C) Chris Phutully | PreciousBytes.com
- Do NOT copy, download or repost image somewhere else.
Co-Existence
Chatswood
www.vividsydney.com/event/light/co-existence
Artists:
Limelight: Istvan David (Hungary) / Viktor Vicsek (Hungary) / Andras Nagy XYZ (Hungary) / Alex Riczko (Hungary) / Soma Sarffi (Hungary) / Kevin Campean (Hungary) / Andras Weil (Hungary) / Fine Cut Bodies (Hungary)
The Concourse architecture is transformed by a surreal deconstruction of the building. The 3D mapped projection illuminates visual and metaphorical connections between the building façade and the theme of human coexistence in love, peace and harmony. Hungarian artist collective Limelight were inspired by Chatswood’s diverse culture and history to create Co-existence.
The artwork transforms the façade of The Concourse into a 3-dimensional space, exploring the relationships between individuals and communities and the presence of love and peace in our society.
With an unusual dramaturgy, the piece is divided into different acts similar to a theatre play. Each act presents different scenarios in which individuals and communities meet, exploring the contrasts of exclusion and integration or acceptance and isolation by four different artists from the Limelight team.
The stories are told in various visual languages from black and white geometrical shapes to colourful abstract characters, always integrating the physical structure of the building and augmenting it into a new metaphorical world of existence.
Country represented by installation: Hungary
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.