View allAll Photos Tagged Existence
Happy Founders Day to the women of House of ΣΥΝ. We are celebrating 12 years in existence today, making us one of the oldest active Greek sororities in SecondLife and as us 2021 a real life non-profit organization - established for, and unified by women of different creeds and cultures.
Since its founding on April 9, 2010, Sigma Upsilon Nu’s mission has been and still is to have a tremendous impact in the lives of woman across the grid. Sigma Upsilon Nu takes great care and responsibility to empower and educate the SL community through service and awareness initiatives and cultivate relationships in the real lives of the woman engaged by the mission set forth by the sorority. Throughout its years of existence, the sorority has amassed a membership of over 50 dynamic women who have made incredible achievements in Fashion, Business, and community recognition in SecondLife and which transcends to their personal real life.
Since conception the founders believed that through unity we as women have the ability to achieve excellence; that as women we have the absolute responsibility to uplift, support and encourage each other to shine amongst the greatest stars.
The Sorors of this prestigious organization are encouraged to examine their personal life and practice the values and principles that each have committed to in SecondLife and recognize it as a mission in their real life. As Sigma Upsilon Nu continues to grow, touch and connect with others that are ushered into this great collage of women, Sigma Upsilon Nu will continue to put forth the work it will take to strengthen our Unity and walk together in Excellence on and off the grid. #sigmalife #sisterhood #webleedblue
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.
"The origin of the existence of groups subordinate to groups, is the same with varieties as with species, namely, closeness of descent with various degrees of modification."
Silver Birch (Betula pendula). This species has a form called dalecarlica "Swedish Birch". The only visible difference is that dalecarlica has deeply cut leaves.
In norwegian: Opphavet til at grupper er underordnet andre grupper [hierarki] er lik for varianter og arter, nemlig nærhet i avstamming med varierende grad av modifisering.
Hengebjørk (Betula pendula). Arten har en veldig lik form som heter ornæsbjørk (f. dalecarlica). Eneste forskjell er at bladene er flikete.
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.
I spend forty hours every week of my life at this work station. I consider my work desk as my dog house and the telephone as my leash. My cubical plays a role of my existence. I used window and florescence lighting.
Loretta Quinn
Bronze sculpture on granite plinth, 1993
Cnr Swanston St & Flinders La (Melway ref. 2F, G5)
Born in Hobart, Loretta Quinn studied sculpture at the Tasmanian School of Art and the Victorian College of the Arts. The City of Melbourne commissioned Quinn to create Beyond the Ocean of Existence as part of the Swanston Walk redevelopment in 1992; the sculpture was unveiled the following year. The city also commissioned Quinn’s Within Three Worlds, located in Princes Park.
Beyond the Ocean of Existence demonstrates Quinn’s reflective approach, and it is a work replete with religious references. There is a sense of ‘folk religion’ in much of her art, and whether the symbols derive from the mystery of a Latin mass or the animist universe, a Celtic myth or a Japanese garden, she says they are ‘visual references to which others will relate’.
A patinated bronze sculpture, Beyond the Ocean of Existence comprises a single large ball surrounded by eight bronze coils. A series of smaller balls and lengths of column, both triangular and circular in cross-section, surmount these coils. At the sculpture’s top is a stylised angel. The work is a mounted on a granite plinth of dressed and polished blocks.
Photograph by Louis Porter
157/365 6/8/2015
For some reason the letter "I" was omitted from this embroidered alphabet. If the letter I does not exist then do I exist? An existential question.
iPhone 4S processed with VSCOcam with a5 preset.
The bain of every paddler's existence... safety equipment. But at least they do make nice cushy boat seats once you get out of sight of the boat shack. Obviously children and non-swimmers should always keep em on.
canoes for rent photo essay
The city of Barcelona must have received the light of Christian faith very early on. The martyrdoms of Saint Eulalia and Saint Cucuphas during the Diocletianic Persecution bear witness to the existence of Christians in Barcelona at least by the late 3rd and early 4th centuries.
Unfortunately, we have no historically proven records of the ecclesiastical organization of our dioceses until 343, when Bishop Praetextatus of Barcelona and another five bishops of Hispania attended the Council of Sardica to ratify the provisions set forth in the Ecumenical Council of Nicea (325) as to the divinity of Jesus Christ.
Certain solidly grounded conjectures lead us to believe that Barcelona already had an Episcopal temple or Cathedral at that time, which would be used soon thereafter for pastoral ministry by other key bishops of our diocese: Saint Pacian (390), Lampius (400), Nundinarius (461), Nebridius (540), Ugne (599), Severus (633), Quiricus (656), Idalici (688), Laülf (693), Frodoí (890), etc. In the year 599 our Cathedral appears in a document dedicating it to the Holy Cross (Second Council of Barcelona).
Recent excavations of the substrata of the Carrer dels Comtes of Barcelona (which currently runs along the Eastern wall of the Cathedral) brought to light a building comprising three naves separated by two series of white marble columns. This undoubtedly identifies with the paleo-Christian basilica constructed in the 4th century and ennobled by subsequent bishops over seven centuries despite the difficulties caused by the Arian fight.
That early basilica solemnly housed the relics of Saint Eulalia in one of its chapels, hidden to avoid profanation by the Arab invaders of our peninsula (711). In 877 they were miraculously discovered at the temple of Santa María de les Arenes (or Santa María del Mar).
The primitive Cathedral, profoundly affected when the Arab chieftain Almanzor burned and destroyed the city, remained standing until 1046, when the Count of Barcelona, Ramon Berenguer the Old and his wife Almodis, together with Bishop Guislabert, commenced construction of another Cathedral, called the Romanesque Cathedral. That second Cathedral was consecrated o sn 18 November 1058 by the Archbishop Wilfred of Narbonne.
The Gothic Cathedral we have today was built on the foundations of the primitive paleo-Christian basilica and the subsequent Romanesque Cathedral. Construction commenced on 1 May 1298 during the mandate of Bishop Bernardo Pelegrí and the reign of King James II of Aragon, the Just, and was virtually completed by the mid-15th century, under the mandate of Bishop Francisco Clemente Sapera and the rule of King Alfonso V of Aragon.
Three distinct periods can be defined within the 150 years of construction: in the first, the building was planned and the apse and radial chapels were built, as were the presbytery - with its altar and crypt- and the pseudo transept; afterward, the three naves, with their respective lateral chapels, were extended back to the choir; finally, construction of the basilica continued to the façade, which was later closed with a simple wall (1417). The Cloister was finished in 1448.
At the end of the 19th century, the Barcelona industrialist Manuel Girona Agrafel offered to undertake the work on the façade and on the two side towers, in keeping with the plans drawn up by the architect Josep O. Mestres and inspired by the initial 15th-century project. Mr Girona's children finalized their father's work in 1913 on completion of the cimborio.
This gorgeous little house has ceased to be. Plowed under in the name of progress. We remember.
Process notes:
Three passes during scanning. One produced an image with only highlight information and just a small amount of midtone detail. This image looked very dark. Second image was for midtones. Highlights were completely blown out in this image and also no shadow detail. The third image was made to show only shadow detail. This was a very bright image, with no details in the highlights at all.
Arranged as layers in Photoshop, Highlight image on top, Multiply 50% opacity. Shadow image in the middle, Multiply 75% opacity. Midtone image on bottom, Normal 100% opacity.
I used a Levels layer on top of all of that to make final adjustments to the overall dark levels.
Follow the story of Serge, who stumbles into another world and learns of the connection between his existence and the future of his planet. A classic time-bending tale of adventure and friendship, featuring one of the largest and most diverse casts of playable characters of any RPG.
More PlayStation screenshots, trailers and trophies and everything for PS5, PS4, PSVR, PS3 and Vita: www.psmania.net/
Join us on Facebook: www.facebook.com/psmania.net/
Follow us on Twitter: twitter.com/TeamPSM
Subscribe to our Youtube channel: Youtube
Join our Discord: discord.gg/6VfsWJd
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.
_________________________________
"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."
www.tripadvisor.com/Attraction_Review-g33847-d106105-Revi...
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.
Mariners' Museum Newport News Virginia Va. Chris-Craft wood boat Miss Bell Isle 1923 oldest Chris Craft boat in existence
This place is located in-between Shilong to Shora road, namely Laitryngew of East Khasi Hills district of Meghalaya state, India. This place is well known for small scale mining and Rat Hole mining has been a conventional occupation of the people of the place and Sohra alike since time immemorial, the very mining has now put the lives of the residents of the area in an unprecedented danger.
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.
In summary please remember - all we ask is for you to link back to our Flickr set or Flickr pages. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around, send us an email, leave a comment beside the photographs, send us a Flickr email, etc.
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.
If you want to contribute something for these images?
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.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible.
The record on the existence of Košice dating from 1230 in connected with that on the existence of the rectory church. In the process of the settlement's transformation from a rural community into a town, all its periods of success and failures had been reflected on St. Elizabeth's Cathedral. According to historic data the present-day cathedral was built on the site of an edifice of older date which was consecrated to St. Elisabeth as well. It was referred to in the document of Pope Martin V of the year 1283 and in the letter of 1290, which stated that Eger bishop Andrew II exempted Košice parish from the dean's sphere of jurisdiction.
This medieval monument was built in the High Gothic style between 1378 and 1508 in several stages on the site of a parish church that burned down in 1370, in memory of Saint Elisabeth of Hungary, the patrona of all armed mercenaries and also Portugal.
The cathedral was often damaged by calamities (1556) and underwent numerous restorations. The most extensive restoration works took place in the years 1877-1896 by the drafts of Imre Steindl. The northern tower was completed in 1775, while the southern, Matthias tower in 1904. During the last phase of the restoration a crypt was built under the northern nave of the cathedral. In 1906 the remains of Francis II Rákóczi and his friends from Rodosto were buried there.
Still in existence are two platform mounds ca AD 1500. Between 1799-1814, a fort existed here named after George Washington's secretary of state, James Pickering. When the city fell to the Union army during the Civil War, another Fort Pickering was constructed in this area. At this time, one of the platform mounds was hollowed out, and served as a munitions bunker. At one section of the area, a marine hospital was constructed and opened in 1884. Originally, the hospital consisted of six buildings: a stable, a surgeon's house, an executive building, two wards, and a nurses' building. During the 1930s, several new WPA buildings were added to the site. In order to make room for the new buildings, several building were torn down and the executive and nurses' building were saved and moved three hundred feet from their original site.