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A gynaecologist uses a robot. Photograph: Jean-Paul Chasse/Alamy
New life-saving surgical techniques are not being adopted quickly enough in British hospitals. That is the stark conclusion of a report by the Royal College of Surgeons (RCS) which warns this week that patients are...
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L'existence de réfugiés est consubstantielle à l'histoire du Liban, dont la
population actuelle a été constituée par les différentes vagues migratoires. Les
territoires de l’actuel Liban sont depuis 1918 une terre d'accueil des Arméniens
déportés de l'Empire ottoman. Au niveau administratif, devenus apatrides par
déchéance de nationalité ordonnée par les autorités turques, ils acquièrent
d’abord pour certains le statut de "réfugié Nansen" délivré par la Société des
Nations, puis font partie des premiers libanais avec la loi sur la nationalité libanaise
du 30 août 1924.
La deuxième vague de réfugiés est constituée par les Palestiniens acculés à
l'exil après la fondation de l'État d'Israël en 1948. La majorité a toujours le statut
de réfugié de l’UNRWA spécifique aux Palestiniens, mais l’État libanais leur délivre
des permis de voyage et ils bénéficient d’un statut d’exception dans la loi du
travail sur la préférence nationale, leur donnant ainsi accès à certains métiers.
L’arrivée d’irakiens après les deux guerres de 1991 et 2003 a conduit à une
évolution de la législation libanaise en matière de droit des réfugiés. Bien que non
signataire de la Convention de Genève de 1951, le Liban accueille depuis 1991 un
bureau du Haut-Commissariat pour les Réfugiés, et est signataire d’un mémorandum
d'accord sur le non-refoulement des réfugiés dans leur pays d'origine.
Ce cadre législatif s'applique, depuis, aux réfugiés syriens, arrivés après
2011. L’État ne reconnait pas le statut de réfugié, mais autorise cependant l’entrée
de syriens comme “déplacés (nâziḥûn)”. Un permis de séjour de six mois leur est
délivré par la Sûreté Générale, avec la tutelle du HCR (kafâlat al-umam). Après
2015, cette tutelle n’est plus reconnue par l’État libanais. Beaucoup résident alors
comme étrangers enregistrés sous la tutelle d’un citoyen libanais. Les situations
varient cependant selon les municipalités qui où ils résident.
إن وجود اللاجئين في لبنان ليس أمرًا وليد اليوم، بل يكاد يكون جزءًا لا يتجزأ من تكوين الدولة اللبنانية. حيث تأثر لبنان في تكوينه بموجات وفود اللاجئين في المراحل التاريخية المختلفة.
لجأ في البداية إلى لبنان الأرمن المُهجّرون من أراضي الإمبراطورية العثمانية عام 1918. وكان يطلق عليهم حينئذ لاجئي نانسي - نسبة إلى جواز سفر نانسن لعديمي الجنسية -. ثم حازوا على الجنسية اللبنانية مع صدور القانون اللبناني للجنسية في 30 آب لعام 1924.
يمثل اللجوء الفلسطيني الموجة الثانية من موجات اللجوء في لبنان، حيث وصل الفلسطينيون عام 1948 مع النكبة، والأغلبية العظمى من هؤلاء اللاجئين يتبعون قانون "وكالة الأمم المتحدة لإغاثة وتشغيل اللاجئين الفلسطينيين"، وتقدم لهم الدولة اللبنانية وثيقة سفر ثم إنهم يتمتعون باستثناءات محددة فيما يخص قانون العمل مما يمكنهم من الوصول إلى بعض الوظائف المقصورة على اللبنانيين.
أسهم وصول العراقيين إلى لبنان بعد حربي 1991 و2003 في إحداث تغييرات تشريعية فيما يخص شئون اللاجئين. حيث استقبل البلد عام 1991 مكتبًا للمفوضية العليا لشئون اللاجئين، رغم عدم توقيعه على معاهدة جنيف لعام 1951. ثم وقع على اتفاقية عدم ترحيل اللاجئين لبلادهم.
طِبَّق المعايير السابقة على اللاجئين السوريين الذين بعد وصلوا بعد عام 2011، ورغم عدم اعتراف الدولة اللبنانية بوضع اللجوء إلى أنها سمحت بدخول السوريين إلى أراضيها تحت اسم "نازحين". وأصد الأمن العام لهم تصاريح إقامة لمدة ستة أشهر تحت كفالة الأمم المتحدة. إلا أنه بعد عام 2015 لم تعد الدولة اللبنانية تعترف بهذه الكفالة، وأصبح النازحون السوريون يحصلون على تصاريح الإقامة كأي أجنبي آخر، تحت كفالة مواطن لبنان. وجدير الذكر أن الأوضاع الإدارية قد تختلف أحيانا باختلاف البلديات.
Time is an invisible entity that passes by, silently, quickly, and inconspicuiously. Treasure the tides of change, for many moments change, in minutes, seconds, days or years.
@Chiba station
Camera : Ernst Leitz "IIf" with Summaron f=3.5cm 1:3.5
Film : Fujifilm Neopan SS (ISO100)
"God is a hypothesis constructed by man to help him understand what existence is all about."
— Julian Huxley (1887-1975) "Religion Without God," The Observer (March 31, 1963)
Image: [42] The Ancient of Days, frontispiece to Europe a Prophecy by William Blake (1794)
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This North Eastern Life: Quote of the Day for 2016-07-25
#god #existence #JulianHuxley #quoteoftheday
Royal Oak Garage
one of 3 in existence
Canada Cycle & Motor Co (CCM)
2 hp
30mph
130mpg
$225
"The gentleman's Motor Cycle"
CCM produced bicycles for many years in the area of Weston, Toronto, Ontario. They also briefly produced the Russell automobile.
quotidie
063 : 3.04
my art exam project has finally made a dent in my cluttered mind. thanks to miss bennett who spent a lot of time looking for the photographer she wanted to show me but couldn't remember the name of, i met Thomas Struth.
deserted streets, quasi-theatrical crowds in museums - i was, very plainly, captivated. he had completely transformed the idea i had of art upholding the mundane, the quotidian. after i had collected and prepared the photos i wanted to print out of my sketchbook, i logged off and looked round the empty BB1 art room. everything was a photograph. the sight that i lost in my period of un-inspiration (haha) was back.
i had quite a few to choose from today. even this photo has a partner, which i tried diptych-ing... in vain. it was a photo of two bananas that were also on the floor. all this overlooked existence. screaming discord. but overlooked.
Hollyhocks - 1876
Eastman Johnson (American, 1824 - 1906)
“Hollyhocks” depicts nine young women enjoying a summer afternoon in a garden. They quietly tend the blooming hollyhock plants or casually converse beneath a vine-laden arbor. Their elegant attire and their pretty unlined faces attest to an existence free from the trials of hard work. Refined outdoor activities became an accepted form of leisure after the Civil War, and with the increased industrialization of the late nineteenth century such paintings of pastoral bliss became popular among the newly urbanized elite.
Johnson executed “Hollyhocks” following extensive training in Europe, and the influence of his teacher Thomas Couture is especially evident in the fluid application of color and in the academic method of building up the composition from a series of individual studies. Johnson exhibited one of these studies, “Catching the Bee” (1872; Newark Museum, N.J.) at the National Academy of Design in New York in 1872. This highly finished work shows young woman plucking a single blossom from the tall stem of a hollyhock plant. Four years later Johnson incorporated this figure into the left side of “Hollyhocks”. “Catching the Bee” and “Hollyhocks” display a brighter palette and stronger contrasts of light and shadow than Johnson’s paintings of the previous decade, revealing the artist’s exploration of natural light in the 1870s.
The subject of women in an enclosed garden has a long tradition in art history. The enclosed garden, or hortus conclusus, was traditionally associated with the Garden of Eden, a theme with potent implications for artists of the New World. It was also identified with the purity of the Virgin Mary, and many late-nineteenth-century artists extended this analogy to women in general. An evocative floral language developed to suggest the fertility and beauty of the female sex. In “Hollyhocks” the flowers stand as tall as the women, their lyrical swaying attitudes mirroring the grace of their human counterparts.(1) The women, like the hollyhocks, are arranged decoratively along the periphery of the compound, and the red, pink, and white of their gowns are the colors of hollyhock blooms. Enclosing the hollyhocks--and, by extension, the nineteenth-century women--within the confines of a walled garden allowed them the benefits of air and light without exposing them to the dangers of the rapidly modernizing world. From this sheltered position, both the women and the flowers in “Hollyhocks” become beautiful, but passive, objects of contemplation.
Eastman Johnson was born in Lovell, Maine, and began his career in Boston in 1840 as an apprentice in Bufford’s Lithographic Shop, designing title pages for books and sheet music. He became an itinerant portrait painter in 1842, and for the next seven years he worked in Newport; Portland, Maine; Washington, D.C.; and Boston. In 1849 Johnson traveled to Germany, where he studied at the Düsseldorf Academy, and joined the studio of Emanuel Leutze, who was then working on the second version of his “Washington Crossing the Delaware” (1851; Metropolitan Museum of Art, New York). Johnson continued his studies in The Hague, where he spent three and a half years studying the painterly brushwork of the seventeenth-century Dutch and Flemish masters, and in 1855 he enrolled in the Paris studio of Thomas Couture.
Settling in New York in 1858, Johnson opened a studio in the University Building and began work on “Negro Life at the South” (1859; New-York Historical Society), which he exhibited at the National Academy of Design to the acclaim of abolitionists and slaveholders alike. The following years were devoted to Civil War subjects and to the traditional American genre scenes for which he became best known. During the 1860s he began a series of maple-sugaring scenes in Maine and bought his first property on Nantucket in 1871. He was elected an associate of the National Academy of Design in 1859 and became a full member in 1860. Johnson became prominent in New York art circles, joining the Century Association and the Union League Club and becoming a founding trustee of the Metropolitan Museum of Art. In the 1880s Johnson began to refocus his attention on portraiture, dedicating the last two decades of his career to the depiction of the nineteenth century’s wealthy industrialist class.
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"Acknowledged as the first museum in the world dedicated solely to collecting American art, the NBMAA is renowned for its preeminent collection spanning three centuries of American history. The award-winning Chase Family Building, which opened in 2006 to critical and public acclaim, features 15 spacious galleries which showcase the permanent collection and upwards of 25 special exhibitions a year featuring American masters, emerging artists and private collections. Education and community outreach programs for all ages include docent-led school and adult tours, teacher services, studio classes and vacation programs, Art Happy Hour gallery talks, lectures, symposia, concerts, film, monthly First Friday jazz evenings, quarterly Museum After Dark parties for young professionals, and the annual Juneteenth celebration. Enjoy Café on the Park for a light lunch prepared by “Best Caterer in Connecticut” Jordan Caterers. Visit the Museum Shop for unique gifts. Drop by the “ArtLab” learning gallery with your little ones. Gems not to be missed include Thomas Hart Benton’s murals “The Arts of Life in America,” “The Cycle of Terror and Tragedy, September 11, 2001” by Graydon Parrish,” and Dale Chihuly’s “Blue and Beyond Blue” spectacular chandelier. Called “a destination for art lovers everywhere,” “first-class,” “a full-size, transparent temple of art, mixing New York ambience with Yankee ingenuity and all-American beauty,” the NBMAA is not to be missed."
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www.nbmaa.org/permanent-collection
The NBMAA collection represents the major artists and movements of American art. Today it numbers about 8,274 paintings, works on paper, sculptures, and photographs, including the Sanford B.D. Low Illustration Collection, which features important works by illustrators such as Norman Rockwell, Howard Pyle, and Maxfield Parrish.
Among collection highlights are colonial and federal portraits, with examples by John Smibert, John Trumbull, John Singleton Copley, Gilbert Stuart, and the Peale family. The Hudson River School features landscapes by Thomas Cole, Asher B. Durand, Martin Johnson Heade, John Kensett, Albert Bierstadt, and Frederic Church. Still life painters range from Raphaelle Peale, Severin Roesen, William Harnett, John Peto, John Haberle, and John La Farge. American genre painting is represented by John Quidor, William Sidney Mount, and Lilly Martin Spencer. Post-Civil War examples include works by Winslow Homer, Thomas Eakins, John Singer Sargent, George de Forest Brush, and William Paxton, and 19 plasters and bronzes by Solon Borglum. American Impressionists include Mary Cassatt, Theodore Robinson, John Henry Twachtman, J. Alden Weir, Willard Metcalf, and Childe Hassam, the last represented by eleven oils. Later Impressionist paintings include those by Ernest Lawson, Frederck Frieseke, Louis Ritman, Robert Miller, and Maurice Prendergast.
Other strengths of the twentieth-century collection include: sixty works by members of the Ash Can School; significant representation by early modernists such as Alfred Maurer, Marsden Hartley, John Marin, Georgia O’Keeffe, and Max Weber; important examples by the Precisionists Charles Demuth, Charles Sheeler, Preston Dickinson, and Ralston Crawford; a broad spectrum of work by the Social Realists Ben Shahn, Romare Bearden, Jacob Lawrence, and Jack Levine; and ambitious examples of Regionalist painting by Grant Wood, John Steuart Curry, and Thomas Hart Benton, notably the latter’s celebrated five-panel mural, The Arts of Life in America (1932).
Works by the American Abstract Artist group (Stuart Davis, Ilya Bolotowsky, Esphyr Slobodkina, Balcomb Greene, and Milton Avery) give twentieth-century abstraction its place in the collection, as do later examples of Surrealism by artists Kay Sage and George Tooker; Abstract Expressionism (Lee Krasner, Giorgio Cavallon, Morris Graves, Robert Motherwell, Sam Francis, Cleve Gray), Pop and Op art (Andy Warhol, Larry Rivers, Robert Indiana, Tom Wesselman, Jim Dine), Conceptual (Christo, Sol LeWitt), and Photo-Realism (Robert Cottingham). Examples of twentieth-century sculpture include Harriet Frishmuth, Paul Manship, Isamu Noguchi, George Segal, and Stephen DeStaebler. We continue to acquire contemporary works by notable artists, in order to best represent the dynamic and evolving narrative of American art.
A previous existence as a military parachutist helped Patrick Baty on this project. The 185ft bridge had to be scaled at night, when the trains had stopped running, in order for paint samples to be taken.
See the BBC clip here.
He was able to establish that this famous bridge by Isambard Kingdom Brunel had originally been painted with a white “anti-corrosive” paint containing ground glass. The bridge had been painted twenty times and with a combination of physical and documentary analysis Patrick was able to work out how it looked since it was built in 1859.
This shows the initial off-white scheme, which included ground glass in the undercoat.
Strandfontein Sewage Works
Although the uninitiated will often turn up their noses at the idea of voluntarily visiting a sewage farm, such places are often exceptionally rich in birdlife. This is especially true of the extensive Strandfontein sewage works, arguably the best waterbird locality close to Cape Town, whose existence is under threat from a new motorway. The abundant and diverse birdlife makes it an ideal destination for the beginner and serious twitcher alike, and it is possible to see more than 80 species on a summer morning. A major advantage is the opportunity to bird from the comfort and security of your car, which can be used as a moving hide. The vast network of reed-fringed pans which radiate out from the sewage plant buildings is connected by good gravel roads, but beware of occasionally treacherous sandy patches, especially along the southern coastal road.
To enter the Strandfontein sewage works from the Cape Town side, take the M5 free-way southwards from Cape Town and turn left into Ottery Road at the Ottery turn-off; continue for 4.5 km until the junction with Strandfontein Road (M17); turn right here, and continue (southwards) along Strandfontein Road for 4 km; turn right again at the ‘Zeekoeivlei’ sign (1 on site map, opposite) within a stand of gum trees just after a petrol station and opposite Fifteenth Avenue. To enter the works from the False Bay side, turn north onto Strandfontein Road from Baden Powell Drive, 6.8 km east of the Muizenberg traffic circle, and you’ll reach the Zeekoeivlei turn-off after 4.1 km.
Baden Powell Drive (R310) follows the False Bay coast westwards to Muizenberg and Simon’s Town, and eastwards to the N2 highway near Somerset West. Strandfontein can thus conveniently be visited after Sir Lowry’s Pass (p.60).
The poorly marked entrance to the works is adjacent to a derelict building at the south end of Zeekoeivlei (2), where African Fish Eagles are often seen roosting in the trees to the west. Bird numbers and water levels at Strandfontein vary widely depending on the year and season, and the route suggested below is intended as a general guide to the most productive areas.
Continue along the tar road towards the plant buildings, and check the deep pans on both sides of the road (3 and 4) for Black-necked Grebe, Maccoa Duck, Southern Pochard, and Cape Teal. Here too you will see the first of various other waterfowl species that are common throughout the sewage works, such as Cape Shoveller, Yellow-billed Duck and Red-billed Teal, while Purple Gallinule stalk along the reed-lined edges. Levaillant’s Cisticola is very common in long grass fringing the pans, and agitated birds draw attention to themselves with their characteristically frenetic calls. White-throated and European Swallows (summer) and Brown-throated Martin dart low overhead.
Where the road meets the sewage plant itself, continue to the left of the buildings, and scan pan 5 for a good variety of waterfowl. The adjacent small, muddy pan at 6 often host somewhat scarcer species such as Southern Pochard and Wood Sandpiper. The road between the two pans is regularly used in summer as a roost by large numbers of White-winged Terns, which can be seen flying over pans throughout the area.
At this point, retrace your route and continue to the pan at 7. This pan, and the small, reed-enclosed pond at its northern end, are usually also productive. At the ‘hub’ of the wheel of large pans, turn left. Pan 8, on your right, invariably holds good numbers of birds, notably Black-necked Grebe, White Pelican, Greater Flamingo and Maccoa Duck.
The western and northern corners of pan 9 are always worth investigating. The former often has an exposed beach frequented by waders (including Avocet); the latter is good for scarcer ducks such as Cape Teal and South African Shelduck, and occasionally Hottentot Teal. Continue around the northern apex of pan 9 and head south past pan 0. The reeds in this vicinity are particularly good for African Sedge Warbler, Cape Reed Warbler and, in summer, African Marsh Warbler. Very much more evident in the alien thicket are Cape Francolin and Cape Bulbul. Pan 0 itself usually offers great birding, providing a good selection of waterfowl and wading birds in its northern reaches.
Options are now limited by sandy roads, so we suggest that you retrace your route and turn left along the southern border of pan 9. This is an especially good area for African Marsh Harrier, which is virtually guaranteed to be seen flying low over the alien thicket and adjacent reedbeds. Head south again, and cast a glance over pan A for African Black Oystercatcher. Turn right where the road meets the coastal dunes, where Swift and Sandwich Terns and Little Stint (summer) often roost. Spare a moment to look up from your telescope and enjoy the splendid view over False Bay and its embracing mountains!
Good numbers of waterbirds can reliably be found on pan B. Cape and White-breasted Cormorants, White Pelicans and miscellaneous waterfowl roost on the large, sandy island and on the pan edge (C on map), while rafts of assorted ducks bob on the usually choppy water. A pair of South African Shelduck often frequents this pan, as do flocks of Greater Flamingo.
Having absorbed all pan B has to offer, continue past a series of relatively unexceptional pans before re-entering the central wheel at E. The small pan at D is often productive, as is E. Before leaving, you might find it worthwhile to check pan F for Great Crested Grebe.
A good example of peaceful co-existence with the Church and a Buddhist temple situated side by side.
The parish came into existence following the decision of the Diocesan Council, in the fall of 1998, following the repeated insistence of the faithful from the Drumul Taberei neighborhood, who were disappointed by the lack of places of worship in this neighborhood.
Thus, at the initiative of the priest Nicolae Burlan, a disassembled wooden church was brought from the Vicovul de Jos commune in Suceava county and reassembled on a plot of land belonging to the Ministry of National Defense located in Brașov Street, no. 21C, sector 6.
Later, interventions were made at the City Hall of the Capital, which ceded a 3000 square meter plot of land for the purpose of building a church and which was given in exchange to the Ministry of National Defense for the equivalent area on which the wooden church is already located.
The wooden church was consecrated by His Holiness Teodosie Snagoveanul, Vicar Bishop of the Archdiocese of Bucharest at that time, on July 26, 1998.
The shrine of the church is Saint Pious Parascheva, (in Greek "paraschevi" means "Friday") whom Orthodox Christianity celebrates on October 14 and whose Holy Relics are in the Metropolitan Cathedral of Iași.
Since the wooden church proved inadequate for the more than 1,000 believers from various neighborhoods who regularly participate in the Holy services, the decision was made to build a brick church, of larger dimensions absolutely necessary for a neighborhood like Drumul Taberei.
The plan of the new church belonging to the architect Florin Bucur Crăciun is in the form of an inscribed Greek cross.
From an architectural point of view, it fits into the style prefigured by the churches "Sfânta Sofia" in Constantinople and "Sfântul Nicolae Domnesc" in Curtea de Argeș.
A large central hemispherical dome dominates the spatial composition of the edifice.
A wide porch with six free and two engaged columns precedes the entrance.
Access to the church is through a portal with an arched frame, made of finely carved stone.
The vault is made up of 25 semi-arches, resting at the ends on two metal caisson rings, with other intermediate rings unfolding between them.
The covering of the altar, similar to the apses of the proscomidiary and the diaconicon, is made by a cone connected to a semi-cylinder.
On the opposite side, on the first floor, there is the cage which is accessed by stairs placed inside, in the northwest and southwest corners of the building, which also lead to the two balconies.