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We often listen stories from elders live to give but this is true giving, happiness to children an extended arm of dead tree after death.
Countless efforts and pain fully absorbed in waves, as silent as death.
After an extended run, the switching transistors for the induction heater blew up due to excessive power dissipation. Currently working on the design of a water cooled heatsink.
(further pictures or information you can get by clicking on the link at the end of page!)
Danube Park
Danube Park with Danube Tower
Map of the Danube Park
The Danube Park is a park of 800,000 m² in area in the 22nd District of Vienna Danube city (Donaustadt).
Location
The Danube Park is conveniently located between the Wagramerstraße, the settlement Bruckhaufen, the Arbeitertrandbadstraße and the Hubertusdamm. Immediately adjacent to the originally extending to the Wagramerstraße Danube Park are the UN headquarters with the Vienna International Centre and the Austria Center Vienna, more to the south of which the Danube City and to it the Copa Copana with the Danube island to the New Danube terminating. In the north the Danube Park with the beach resorts along the Alte Donau (the old one) finds its borders.
History
Irislake
Butterfly meadow, in the background the "UNO City"
Between 1871 and 1945 existed here the firing range Kagran for target practices of the military. During the Nazi period it was also used for numerous executions. It occupied a large area of today's Danube Park. In the north, near the Chinese restaurant, there is a plaque to the victims, which on 5 November 1984 was unveiled. Every year around 27 October a memorial service takes place.
By 1960, large parts of the territory of present-day Danube Park were used as landfill. To use the area after refurbishment as a recreational area was an obvious choice, since it is only 4 km air- line distance away from the city center and close to the main traffic artery to the Reichsbrücke. The City of Vienna decided in conjunction with an International Garden Show the establishment of the park. With the overall planning the former city garden director Ing. Alfred Auer was commissioned.
On 16 April 1964 the Danube Park together with the Danube Tower at the occasion of the Vienna International Garden Show (WIG 64) was opened. The Danube Park Hall was built, too. A now defunct chairlift served then to transport visitors to the exhibition. In addition, a floating stage was created and there was a own cinema. The area also was referred to as TIG grounds and later old TIG (in contrast to the WIG 74 in the park Oberlaa). Today, only few remains of the elaborate park furniture of the 1960s among the trees can bee seen.
1983 celebrated Pope John Paul II on the occasion of the Catholic Congress on a close to the Danube Tower located part, later called Papstwiese (Pope meadow), with a size of approximately 20 hectares, of the Danube Park a Holy Mass, which was attended by around 300,000 believers. For this purpose, the so-called Papal cross was erected, which remained as a temporary arrangement and in 2011 was renovated
1993 the by an old stock of silver poplars lined Irislake was renatured. During the construction of the Danube City thereby also the much needed further renovation of the areas of former landfill has been made.
Infrastructure
Train of the Donauparkbahn
The Danube Park is easily accessible by public transport, by bicycle and by car. With the U1 line of the stations Alte Donau or Kaisermuehlen/VIC or with the bus routes 20B, 90A, 91A and 92A. The Danube Park is well connected to the Vienna's cycle paths. Over the Reichsbrücke (bridge) and the Brigittenauer Brücke the park can also be reached by car. Directly at the Danube tower there is a small parking area, there are larger parking spaces along the Arbeiterstrandbadstraße, the largest being at the junction with the Danube Tower Road (Donauturmstraße).
The range of recreational activities in the park is diverse. There are playgrounds, skate parks and public tennis courts. With the Danube Park Railway, a miniature railway with 381 mm track gauge, you can take a 3.3-mile round trip through the park. On the stage Danube Park in the summer months concerts are offered with free admission, organized by the cultural association Danube city.
Sights
View to Danube Tower
Danube Tower
Memorial plaque to the victims of Nazi military justice 1938-1945
Monuments to Salvador Allende, José Martí, José de San Martín, Simón Bolívar, Che Guevara, José Gervasio Artigas and to the composer Üzeyir Hacıbəyov
Several sculptures
Memorial stone for Paracelsus
Papal cross
Danube parking orbit
Leherb Mosaic
Korean Cultural Centre
China Sichuan Restaurant with Chinese Garden
Salvador Allende
José Martí
José de San Martín
Simón Bolívar
Che Guevara
Üzeyir Hacıbəyov
Mosaic "In the Café" by Leherb
The papal cross
An abstract sculpture
Sculptural group "The Golden Calf" by Karl Anton Wolf
Korean Cultural Centre at Irislake
Paul Gauguin - French, 1848 - 1903
Breton Girls Dancing, Pont-Aven, 1888
West Building, Main Floor — Gallery 83
Three light-skinned girls hold hands to create a loose ring with their arms extended, in a grassy field in this horizontal painting. All three girls wear white headdresses, ankle-length, long-sleeved dresses, and clogs. Each dress has a wide white collar that extends beyond the shoulders. A ruby-red flower is pinned to the brown apron on the two girls whose fronts we see. Their features and clothing are outlined in cobalt blue and filled in with parallel, often visible strokes. To our left, a girl stands with both arms stretched out, one holding the hand of the girl next to her, to our right. The first girl looks off into the distance to our left with dark eyes. She has a button nose, and her peach-colored lips curve down at the corners. Her auburn-red hair is tucked back under her bonnet. Her dress is navy blue, and her stockings are brick red. She steps forward onto her right foot, to our left. The second girl, holding the first girls’ hand, stands facing our right in profile, looking slightly down. Her features are indistinct, but she also seems to have a snub nose and her pink lips are closed. She has blond hair and an emerald-green dress. Her hazelnut-brown stockings match her apron. She also steps forward, but onto her left foot. The third girl stands with her back to us, seen between the first two, as she looks over her shoulder to our right in profile. Her left arm is also raised but her right arm is hidden behind the second girl. The third girl has brown hair and a pointed nose. Her dress is black, and she steps forward onto her right foot. A small dog with brown and white speckled fur sniffs at the grass to our right of the girls. Piles of long grass or hay dot the lemon-lime green field, which dips down behind the girls and to our left to meet a low, stone gray wall. Buildings in plum purple, ivory white, terracotta orange, and ocean blue span the width of the painting beyond the wall. One narrow spire reaches above the other rooflines. Tall, narrow, dark green trees are interspersed among the buildings, and a hill climbs nearly to the top of the canvas to our left. A few thin slate-gray clouds float across a narrow band of shell-pink sky above. The artist signed and dated the work in lower right corner, “P. Gauguin 88.”
Paul Gauguin's (1848–1903) famous image as the original Western “savage” was his own embellishment upon reality. That persona was, for him, the modern manifestation of the "natural man" constructed by his idol, the philosopher and writer Jean-Jacques Rousseau (1712–1778). Gauguin's rejection of the industrialized West led him to embrace handmade arts and crafts as creative endeavors equivalent to other, more conventionally accepted art forms. In his self-conceived role as ideal artist-artisan, he produced an original and rich body of work in varied media, dissolving the traditional boundaries between high art and decoration.
The artist and his older sister Marie were born in Paris to highly literate upper-middle-class parents from France and Peru. Gauguin's early life was shaped by his family's liberal political activism and their blood ties spanning the Old and New Worlds. His father, Clovis Gauguin, was a journalist; his maternal grandmother, Flora Tristan (Flora Tristán y Moscoso), was a Peruvian Creole and a celebrated socialist active in France.
In 1849 Gauguin’s parents fled France for Peru with their two young children, fearing repercussions from Louis-Napoleon (later emperor Napoleon III), who had not received support from Clovis’ paper as the republic’s presidential candidate. Clovis Gauguin died during the passage; young Paul would spend his childhood in colonial Lima, Peru, and his adolescence in his father's native city of Orléans, France. Though his widowed mother had few means beyond a modest salary as a seamstress in Orléans, the boy was surrounded in both cities by prosperity and culture, thanks to family and friends.
In the late 1860s Gauguin traveled the world with the merchant marines as a third-class military seaman. He started painting and building an art collection when he settled in Paris as a stockbroker in 1872. Having inherited trust funds from his grandparents and earning good money in his new career, he lived well, marrying a middle-class Danish woman, Mette, in 1873, and had five children with her. After learning to paint and model on his own, Gauguin studied with neighboring professional artists. Intellectually restless and independent, he sought and absorbed information from myriad sources, synthesizing them into his own aesthetic. In 1879 Gauguin joined the "indépendants" (impressionists), thanks in part to Camille Pissarro, another New World transplant (from Danish Saint-Thomas) who became a special mentor. Gauguin exhibited regularly with them, earning modest critical attention, until the group disbanded in 1886.
Gauguin lost his job in the brokerage world after the financial crash of 1882. He moved his family to the more affordable town of Rouen and became a sales representative for a canvas manufacturer. However, his focus on art and political activism intensified. He undertook missions to the Spanish border to promote the Spanish republican cause. Alarmed at the dramatic change their life was taking, Mette took the children to her native Copenhagen. Gauguin followed, but soon declared the city to be unsuitable to his career and temperament. He left to pursue an independent life, though he remained in regular contact with his wife and children, largely by correspondence, for the rest of his life.
Surviving on odd jobs and often without cash, Gauguin began his lifelong nomadic existence in 1886, traveling between Paris and various “exotic” regions. In the process he became known as a colorful and controversial avant-garde artist, primarily through works sent from those remote sites for sale and exhibition in Europe. Gauguin’s travels included ill-fated moves to Panama and Martinique.
In 1888 Gauguin began spending extended time in the French provinces. He went first to Pont-Aven, Brittany, where he became familiar with the art of Émile Bernard (1868–1941), who worked in a style of bold and flat forms. Gauguin then went to Arles to join Vincent van Gogh, which proved to be an important, albeit emotionally tumultuous, artistic encounter for both men. He then returned to Brittany, to the village of Le Pouldu.
Gauguin’s final move to the Pacific Islands, with sporadic returns to Paris, occurred in 1891 with his transfer to Tahiti as head of a government-funded artistic mission. He found his dream of an unspoiled earthly paradise there severely compromised. As in Europe, he saw discord and a native culture overcome by Western values—including the need for capital to live. Nonetheless he produced prolifically, amidst quarrels with authorities, scandals, and romantic liaisons.
Various illnesses left Gauguin increasingly immobilized during his last years. He died in 1903 and was laid to rest on Atuona (Marquesas Islands).
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The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
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Radio City Extended-Stay Apartments , 135-foot, 13-story Renaissance-revival hotel completed in 1903. Designed by Neville & Bagge as an apartment building, it opened as the Cambridge Court Apartments. It was later converted to a hotel, and named (in rapid succession) the Cambridge Court Hotel (1905-1907), Hotel Rand (1907-1908), Bayard Hotel (1908-1910), and St. Charles Hotel (1909), and then finally the Van Cortlandt Hotel from 1910. Faded lettering for the Van Cortlandt can still be seen on the west facade. It became the Radio City Apartments in the late 1970s.
Susan and Steven Broderson, Ida Broderson, Pearl Sauerhaft, Alan and Karen Broderson, Steven Nash, Doris and Seymore __, Judi and Harvey Nash at Rachel and Jason's wedding, October 22, 1995.
In 1707, according to Daniel TV Huntoon, “the population of the precinct” had extended so far south that it was decided by the Dorchester Committee to locate a meeting-house on Packeen Plain [now Canton Corner], and it was deemed convenient and desirable to have a burial-place nearby. The Native American people who owned the land supposedly “cheerfully” relinquished all their interest in it, and the spot selected was “that portion of the present cemetery which lies nearly west of Central Avenue, and extends to within a few feet east of the only row of tombs in the cemetery; it is bounded on the north by Prospect Avenue and on the south by the Washington Street wall.” In 1716, Gilbert Endicott became the first person to be interred in the cemetery. Around 1791, George Crosman agreed to grant an addition to the Burying Place, as it was then known, next to his land. In 1816, Abel Wentworth became the first person to be interred in the Meetinghouse lot. The following year, Oliver Downes deeded one acre of land for the cemetery for $50. The “westmost” corner of this was reserved for the burial of foreigners and persons of color.
In 1837, a receiving tomb was built. In 1840, the First Congregational Church gave a quit-claim deed of the Old Meetinghouse Lot to the town for cemetery purposes. In 1848, the town purchased over nine and three-quarters acres of land from Oliver Downes’s heirs; at this time, the Aqueduct Company reserved its rights in the cemetery. The landscaping for the newly-acquired portion of the cemetery was aided by the Honorable Henry A. S. Dearborn, who founded the Forest Hills Cemetery. Dearborn’s expertise did not go un-noticed: according to Huntoon, “the beauty of our cemetery has become renowned throughout the State, and visitors who have traveled far and wide have expressed the opinion that it is the most beautiful rural cemetery in the country. The superintendents of city cemeteries have visited it, praised its natural advantages, and admired the wide view from Prospect Hill. To our own citizens, the cemetery has become a matter of pride. Many expensive and beautiful monuments have been erected within its precincts; the greensward has been carefully attended to; and the whole ground presents' an attractive and beautiful appearance.” In 1870, the town purchased ten acres of land from William Horton for cemetery purposes; this land adjoined the addition of 1848. Fourteen properly-inscribed tablets were erected to the memory of soldiers who died during the Civil War, whose graves had not been previously designated. A lot for these soldiers was also set aside. In 1876, the body of General Richard Gridley was reinterred in the cemetery, having been moved from the Gridley Family Graveyard; the town erected a monument in his honor. In 1882, the receiving tomb was rebuilt from G. Walter Capen’s designs.
History of the Town of Canton, Norfolk County, Massachusetts, by Daniel T. V. Huntoon. 148, 153-165.
Project Team: Daniel Brooks
Project Summary:
Bin Design:
The ‘Extend’ bin has been designed to ensure it remains as compact as possible, and this has been achieved through the inclusion of a front drawer, which, as the bin’s name suggests, extends outwards. This way, larger e-products are able to be fitted into the bin when required. When compacted, the bin has a height of 600mm (23”) with a 500x500mm (20”x20”) base.
Handles fixed to the top of the drawer slot through the lid of the bin, allowing users to secure the bin with a padlock (if required). Wheels at the base allow for easy transportation, while the bin’s plastic construction ensures the product will withstand its day-to-day use.
Incentives:
The successful logo design could be used by electrical manufacturers and appear (e.g. embossed or painted onto) their future products, similar to the currently existing recycling logo. One would imagine that electrical manufacturers are inclined to associate themselves with e-cycling, as consumers are compelled to purchase recyclable products due to increased social awareness of sustainability.
Electronic media-based advertising campaigns (such as via facebook, myspace etc) could promote e-cycling to a younger audience (arguably the generation most dependent on electrical products). Colouring in competitions at a junior school-level, and senior student art installations (perhaps featuring e-waste) are other examples of activities that encourage discussion about e-cycling.
Di Finlandia kalau nempel stiker bertuliskan "EI MAINOKSIA" di kotak surat maka kita ga akan dikirimi kiriman yang bukan surat yang ditujukan buat kita, seperti iklan2 dan koran gratis
Di Belgia ternyata pilihannya banyak, bisa minta koran gratis aja atau minta iklan aja, bikin pusing tukang pos dan tukang kirim iklan
This is our entire family on my dad's side. It is possibly complete, but we're not ruling out any further babies.
Pocahontas Lapbook by JDBoy (age 5)
See my blog for description and sources: Preparation Education >> Pocahontas & John Smith Lapbook
Distribution of Solar LED Lanterns to best performing students of PEP Schools under Pervaiz Lodhie’s Pehli Kiran ( First ray of Light) initiative
Dated: Saturday March 12, 2016
Location: Raichand Meghwar Primary School
Old Mirpur, District Mirpurkhas
&
Sunflower Primary School,
Khawaja District Tando Allahyar
Giving Solar Lanterns as a prize to the best performing students is not a new initiative of Pervaiz Lodhie. In previous years Lodhie Foundation has extended his initiative to various schools in Sindh and Punjab.
Inspiring with the idea, Mr. Jonathan Mitchell PHD President and Founder of Concentric development Inc. invited Pervaiz Lodhie to extend his program of distributing solar lanterns as prizes in PEP schools. Pervaiz Lodhie has immediately offered to gift 249 lanterns, allowing for three prizes per school. His suggestion was to distribute them to 1)Top student of the year 2) Top most improved student of the year 3) Top best attendance student of the year.
Mr. Lodhie also suggested encouraging the prize recipients to teach a short literacy course to family members or relatives.
During his recent visit to Pakistan in March 2016, Pervaiz visited the two schools in Mirpurkas and Tando Allahyar and distributed the solar lanterns to the 7 best students. Remaining 242 lanterns will be distributed in first and second week of April 2016
The Primary Education Project (PEP) is a part of the education work of Diocese of Hyderabad that is working to provide sustainable quality education to the poorest children of Rural Sindh, Pakistan. PEP has been involved in the work of education since 2002 and currently has 83 schools in the five district areas of rural Sindh, which are Badin, Sanghar, Mirpurkhas, Tando Allahyar and Umerkot. At Present 4970 students are enrolled in 83 schools.
Participants from Lodhie Foundation/Shaantech:
Pervaiz Lodhie, President and Founder LEDtronics Inc and Shaan Technologies Pakistan, Founder Lodhie Foundation
Shahid Siddique General Manager Shaan Technologies private Limited
Sohaib Ahmed Sheikh, Business development Executive
Participant from Primary Education project (PEP):
Lilian Charles, Program Manager PEP,
Parkash Peter , Smile Coordinator
Salvin John Aadiyal, Media Manager at Primary Education Project (PEP)
extends right paw:P
That yellow blob in the background is her favourite ball, that jingles whenever she goes for it.