View allAll Photos Tagged Involvement,
Migo from REDD+ handover firefighting equipment to the district head Supardi at Garantung village, Palangkaraya, Indonesia, Monday, Oct. 8, 2012
Photo by Achmad Ibrahim/CIFOR
If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: cifor-mediainfo@cgiar.org and m.edliadi@cgiar.org
Generic Man (the superhero we deserve) is here for scale. I was going for the most simple, generic minilander possible, and I think it came close.
I like the picture on the front of the Unikitty shirt better with the extra bright pink, but I don't know if I can make it sturdy and give her passable shoulders. This version involves a clip plate, a bar, and two 1x1 rounds in white - the back looks terrible, and the neck is too far back...
After my little accident involving a broken wrist joint out the gate, I restored some functionality to the figure and did a photoshoot. Still waiting for a response from Mondo, though I don't think it should be an issues getting things restored from their end.
So taking away the various Teela specific QC issues, what do we have? A pretty typical Mondo product - I like the overall sculpting job better than She Ran, which to be fair was their first female MOTU release. Definitely a much better shelf presence, and unlike She Ra, Teela actually attended Arm day. Of the three sculpts, the 200X is probably the best, though arguably speaking the only one that's not so great is the angry expression, which still works f you have the right conditions.
Great work out the outfit itself. It's no more or less complicated than She Ra, I'd say, but I think it's probably more accurate to say the complication is all focused on the chest and arms. It's unfortunate that it appears that Teela does, for pretty much all her incarnations she really does wear boots that stop short of the knee, which is unfortunate as a higher boot could have really blocked those knees from view.
Similarly, some beautiful sculpting work was applied to the accessories.
Articulation wise, well, it's not a Hot Toy True Type body. By American figure standards, it's not too bad. Butterfly joints would probably too much of an ask, so I'd settle for at least better than a simple 90 degree elbow bend - this isn't the 1980's anymore. Between the choice of materials and built in articulation, at least I was able to get Teela to sit in a chair.
Paint work is an area that I feel was improved over She Ra. Ever so slightly. For starters, I didn't have any issues with lip stick on the wrong side of her face. Everything sees to be in place, relatively clean work and all. Skin tone matching is still an issue, though. There's the body and the unpainted joints, which is tolerable if you don't stare too hard. But there's a disrepency between the faces and the body, and on the non 200X heads, the red around the eyes is too strong. But again, all things considered and the source, it's not too bad.
Build Quality wise... I'm not even going to start. Widely documented all around. I will just add that the heads are a pain in the ass to get back on the ball joint, and pretty much all her accessories are warped, with the exception of the Sword/Sheath and the Shield - I'll even give credit to the Snake staff, as it's warped by nature and I can't actually tell. The Snake helmet thing is warped to one side, and you see very easily that the Spear is warped.
Stony Brook, NY; Stony Brook University: Student Activities hosted an involvement fair for all student clubs and organizations to promote their group on the Student Activities Center Plaza.
Students got a chance to explore some of Lafayette’s organizations, clubs, and programs during the Involvement Fair on the Quad. The College boasts more than 200 opportunities for students to become involved in campus life, including academic honor societies, cultural and social organizations, community outreach, arts programs, sports clubs, and living groups. The fair is sponsored by Student Government and the Office of Student Leadership and Involvement.
Chuck Zovko/Zovko Photographic LLC
Sept. 3, 2014
RTC involving 1 x Parcelforce box lorry left fly-over and landing upside-down on the roundabout below. Driver suffered minor injuries only. Friday 17.5.2019
Alberto Giacometti (1901-1966)
Amenophis, 1954 (Albertina - Sammlung Batliner)
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
20110224, Dr Fred Caldwell, Auburn Veterinarian magazine, Therapeutic Equine Program at Storybook Farm, involving fourth-year students & our faculty, w/ horses.
Students got a chance to explore some of Lafayette’s organizations, clubs, and programs during the Involvement Fair on the Quad. The College boasts more than 200 opportunities for students to become involved in campus life, including academic honor societies, cultural and social organizations, community outreach, arts programs, sports clubs, and living groups. The fair is sponsored by Student Government and the Office of Student Leadership and Involvement.
Photos by Zachary Hartzell
Sept. 8, 2015
The Office of Student Life recently held this year's awards ceremony. Students enjoyed the Masquerade Ball and received awards and recognitions for their involvement in the College's student clubs and organizations.
This series of photos shows an 'inferior mirage' of a boat on the Mediterranean Sea off the coast of Cyprus. The photos were taken from the beach at Geroskipou, near Paphos on 10th November 2022.
A mirage is an optical phenomenon, involving at least one inverted image, produced when light is refracted, or bent, by passing through layers of air of different temperature / density.
Mirages typically are distant. The background photo here illustrates this - (even although the photo was actually taken through a telephoto lens). The six inset images have been substantially cropped in order to show the detail of the miraged boat. In addition, as the scene was photographed through a slightly hazy atmosphere, the original photos lacked contrast. The image 'levels' of the six inset pictures have therefore been adjusted to increase the contrast.
An 'inferior mirage' occurs when there is a strong vertical temperature gradient near the ground surface, with warmer air at the surface and cooler air above. In this case, at the time of year when these photos were taken - in November - the sea surface temperature (about 24 degrees Celsius) was slightly warmer than the air above.
The 'inferior mirage' is formed when rays of light from distant objects - (in this case, the boat and sky) - are refracted as they pass through the temperature gradient and are bent upwards towards the observer. Thus, to the observer the miraged image is displaced downwards and is lower than the apparent 'real' image. The miraged image is also inverted.
The miraged, inverted image of the lower part of the boat can be seen in the pictures just above the apparent horizon and below the normal upright image of the boat. The level where the upright and inverted images merge is known as the vanishing line, or fold line. Note that the sky below this level is also miraged and this obscures the true horizon. The apparent sea horizon here is, in fact, the lower edge of the miraged sky rather the true geometric horizon.
Jeffrey Robert Donovan, IAEA Communication, Outreach and Stakeholder Involvement Officer, briefs IAEA Director General Rafael Mariano Grossi, a summary of the achievements and outcome on the concluding session of the Workshop on Reimagining Nuclear Energy held at the Agency headquarters in Vienna, Austria. 28 April 2023
Photo Credit: Dean Calma / IAEA
First-runner-up to Miss California America!
Miss Santa Monica; Miss Southern Counties
Miss San Francisco; Crystal also won Preliminary Talent with her amazing Dance routine
Ricky and Anne Surprise Marriage Proposal!
Dance performance by Harbour Dance Company
Photos by Ron Sombilon Gallery
This project involves constructing a new highway bridge carrying Peeler Road over the North Carolina Railroad (NCRR) tracks in Rowan County in order to reduce the risk of automobile/train collisions, improve safety for automobile and rail passengers, and reduce automobile and train traffic congestion.
This project is part of a series of improvements to the NCRR railroad corridor between Salisbury and Kannapolis, one of the busiest sections of railroad in North Carolina. The project is among improvements to the NCRR corridor between Raleigh and Charlotte to increase railroad capacity, efficiency, and safety.
This project was advertised and bid with contract awarded in April 2013.
Project is currently under construction.
Proposed project completion date is July 2015
www.ncdot.gov/projects/peelerRoad/
Miracle King | Communications Officer Divisions 7 & 9
North Carolina Department of Transportation
1584 Yanceyville Street 375 Silas Creek PKWY
Greensboro, NC 27405 Winston-Salem, NC 27127
336.487.0157 | miracleking@ncdot.gov| @NCDOT_Triad
Sacred Heart University hosted the annual "Just SHU It" involvement fair on the Quad on September 30, 2019. Photo by Mark F. Conrad
On Wednesday, August 31, 2022 Ramapo College students interested in getting involved on campus attended the Student Involvement Fair. More than 100 of Ramapo’s clubs and organizations, offices, and campus resources attended the Student Involvement Fair.
On September 5, 2018, the Student Involvement Fair and the Global Opportunities Fair showcased different clubs, Greek Life and international experiences that students could participate in while at Ramapo College. Representatives from more than 100 clubs and organizations were in attendance.
Stony Brook, NY; Stony Brook University: Student Activities hosted an involvement fair for all student clubs and organizations to promote their group on the Student Activities Center Plaza.
Students got a chance to explore some of Lafayette’s organizations, clubs, and programs during the Involvement Fair on the Quad. The College boasts more than 200 opportunities for students to become involved in campus life, including academic honor societies, cultural and social organizations, community outreach, arts programs, sports clubs, and living groups. The fair is sponsored by Student Government and the Office of Student Leadership and Involvement.
Photos by Zachary Hartzell
Sept. 8, 2015
Alfons Walde (1891-1958), La calle de un pueblo/Dorfstraße/Village Street, 1931 (Sammlung Österreichische Nationalbank)
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
Stony Brook, NY; Stony Brook University: Student Activities hosted an involvement fair for all student clubs and organizations to promote their group on the Student Activities Center Plaza.
Source: en.wikipedia.org/wiki/Hoover_Dam
Hoover Dam is a concrete arch-gravity dam in the Black Canyon of the Colorado River, on the border between the U.S. states of Nevada and Arizona. Constructed between 1931 and 1936, during the Great Depression, it was dedicated on September 30, 1935, by President Franklin D. Roosevelt. Its construction was the result of a massive effort involving thousands of workers, and cost over 100 lives. In bills passed by Congress during its construction, it was referred to as the Hoover Dam, after President Herbert Hoover, but was named Boulder Dam by the Roosevelt administration. In 1947, the name Hoover Dam was restored by Congress.
Since about 1900, the Black Canyon and nearby Boulder Canyon had been investigated for their potential to support a dam that would control floods, provide irrigation water, and produce hydroelectric power. In 1928, Congress authorized the project. The winning bid to build the dam was submitted by a consortium named Six Companies, Inc., which began construction in early 1931. Such a large concrete structure had never been built before, and some of the techniques used were unproven. The torrid summer weather and lack of facilities near the site also presented difficulties. Nevertheless, Six Companies turned the dam over to the federal government on March 1, 1936, more than two years ahead of schedule.
Hoover Dam impounds Lake Mead and is located near Boulder City, Nevada, a municipality originally constructed for workers on the construction project, about 30 mi (48 km) southeast of Las Vegas, Nevada. The dam's generators provide power for public and private utilities in Nevada, Arizona, and California. Hoover Dam is a major tourist attraction, with 7 million tourists a year. The heavily traveled U.S. Route 93 (US 93) ran along the dam's crest until October 2010, when the Hoover Dam Bypass opened.
Source: hoover.archives.gov/hoovers/hoover-dam
85 years after its completion, Hoover dam is still considered an engineering marvel. It is named in honor of President Herbert Hoover, who played a crucial role in its creation.
For many years, residents of the American southwest sought to tame the unpredictable Colorado River. Disastrous floods during the early 1900’s led residents of the area to look to the federal government for aid, and experiments with irrigation on a limited scale had shown that this arid region could be transformed into fertile cropland, if only the river could be controlled. The greatest obstacle to the construction of such a dam was the allocation of water rights among the seven states comprising the Colorado River drainage basin. Meetings were held in 1918, 1919 and 1920, but the states could not reach a consensus.
Herbert Hoover had visited the Lower Colorado region in the years before World War I and was familiar with its problems and the potential for development. Upon becoming Secretary of Commerce in 1921, Hoover proposed the construction of a dam on the Colorado River. In addition to flood control and irrigation, it would provide a dependable supply of water for Los Angeles and Southern California. The project would be self-supporting, recovering its cost through the sale of hydroelectric power generated by the dam.
In 1921, the state legislatures of the Colorado River basin authorized commissioners to negotiate an interstate agreement. Congress authorized President Harding to appoint a representative for the federal government to serve as chair of the Colorado River Commission and on December 17, 1921, Harding appointed Hoover to that role.
When the commission assembled in Santa Fe in November 1922, the seven states still disagreed over the fair distribution of water. The upstream states feared that the downstream states, with their rapidly developing agricultural and power demands, would quickly preempt rights to the water by the “first in time, first in right” doctrine. Hoover suggested a compromise that the water be divided between the upper and lower basins without individual state quotas. The resulting Colorado River Compact was signed on November 24, 1922. It split the river basin into upper and lower halves with the states within each region deciding amongst themselves how the water would be allocated.
A series of bills calling for Federal funding to build the dam were introduced by Congressman Phil D. Swing and Senator Hiram W. Johnson between 1922 and 1928, all of which were rejected. The last Swing-Johnson bill, titled the Boulder Canyon Project Act, was largely written by Hoover and Secretary of the Interior Hubert Work. Congress finally agreed, and the bill was signed into law on December 21, 1928 by President Coolidge. The dream was about to become reality.
On June 25, 1929, less than four months after his inauguration, President Herbert Hoover signed a proclamation declaring the Colorado River Compact effective at last. Appropriations were approved and construction began in 1930. The dam was dedicated in 1935 and the hydroelectric generators went online in 1937. In 1947, Congress officially "restored" Hoover's name to the dam, after FDR's Secretary of the Interior tried to remove it. Hoover Dam was built for a cost of $49 million (approximately $1 billion adjusted for inflation). The power plant and generators cost an additional $71 million, more than the cost of the dam itself. The sale of electrical power generated by the dam paid back its construction cost, with interest, by 1987.
Today the Hoover Dam controls the flooding of the Colorado River, irrigates more than 1.5 million acres of land, and provides water to more than 16 million people. Lake Mead supports recreational activities and provides habitats to fish and wildlife. Power generated by the dam provides energy to power over 500,000 homes. The Hoover Compromise still governs how the water is shared.
Additional Foreign Language Tags:
(United States) "الولايات المتحدة" "Vereinigte Staaten" "アメリカ" "美国" "미국" "Estados Unidos" "États-Unis"
(Nevada) "نيفادا" "内华达州" "नेवादा" "ネバダ" "네바다" "Невада"
(Arizona) "أريزونا" "亚利桑那州" "एरिजोना" "アリゾナ州" "애리조나" "Аризона"
(Hoover Dam) "سد هوفر" "胡佛水坝" "हूवर बांध" "フーバーダム" "후버 댐" "Гувера" "Presa Hoover"
Standing NATO Maritime Group One (SNMG1) ships HMCS Halifax, HDMS Absalon, FS Commandant Blaison, HNoMS Storm and HNoMS Gnist participate in a PHOTOEX with RFA Mounts Bay and HMS Albion off the coast of Denmark on June 6th, 2021 during Exercise BALTOPS 50. BALTOPS is an annual joint, multinational maritime-focused defence exercise designed to enhance interoperability, flexibility, and demonstrate resolve among Allied and partner forces to defend the Baltic Sea Region. It involves maritime and air forces, strengthening combined response capabilities necessary to ensure regional security and stability.
Photo taken by: Sailor First Class Bryan Underwood, Imagery Technician, Royal Canadian Navy
Photo: POH
Portraits of Hope's massive public art and civic project – involving more than 20,000 kids, adults and volunteers – that visually transformed Manhattan. By recruiting and utilizing more than 5,400 fully operational NYC taxis to participate in the unprecedented 4-month exhibition, the cabs and city streets of New York were transformed into a giant mobile canvas. The unprecedented event integrated two key characteristics that define the City: the saturation of the iconic taxis; and the vertical physicality of Manhattan. www.portraitsofhope.org
Garden in Transit -- A Portraits of Hope Project
Portraits of Hope's NYC Public Art and Civic Project -- NYC Taxis
Conceived and Developed by Ed Massey and Bernie Massey, Founders of Portraits of Hope
5,400+ New York City Taxis
23,000 Children and Adults
200+ Participating Schools, Hospitals, and NYC institutions
700,000 Sq. ft. of paintings
Youth and Program Sessions in NY, CA, NJ, OH, GA, PA
Project-based learning: interdisciplinary contemporary issues and civic education and leadership sessions for schools, grades 2 -12
Creative therapy sessions for hospitalized children and persons with disabilities; including cancer, orthopedic ailments, burn trauma, brain and neck injuries, and other serious conditions
10-month program and collaborative phase
4-month New York City public art exhibition
Youth sessions and exhibition in Brooklyn, Bronx, Manhattan, Queens, Staten Island
Portraits of Hope rings NASDAQ opening bell
Special thank you to Helen Bing and Peter Bing, Vornado Realty, Hotel Pennsylvania, MACtac, Empire Blue Cross/Blue Shield
Port Authority of New York and New Jersey
Cordelia Corporation, Veriflora, Wooster Paint Company, Jenner & Block, Purdy-Bessemer Holdings, FedEx, Hudson River Park Trust, Susan Kohlmann, Debbie and Hal Jacobs, Nazdar, Abbot & Abbot Box Corp. AAA Flag & Banner, Bruce and Nancy Newberg Family Fund, Pillsbury Sutro Shaw Pittman, Davidow Charitable Fund, Joleen and Mitch Julis, Armstrong Nickoll Family Foundation, Polo Ralph Lauren Foundation, Ore Hill Partners LLC, Time Warner, Building Maintenance Services LLC, PTG Event Services, FedEx, NASDAQ
Stony Brook, NY; Stony Brook University: Student Activities hosted an involvement fair for all student clubs and organizations to promote their group on the Student Activities Center Plaza.
Chemsex involves using one or more (specific) drugs to enhance sex.
Taking drugs to deliberately enhance sex is a different kind of recreational drug use, and has specific sexual health risks.
The three main drugs used for chemsex are GHB, mephedrone and crystal meth. Each one has very different mental and physical effects.
Participating in chemsex is never 100% safe, but there are precautions you can take to stay safe and protect yourself from HIV.
If you’ve had chemsex and are worried you’ve put yourself at risk of HIV, get advice from a sexual health professional as soon as you can.
Chemsex (also known as chemfun, party and play or PNP) involves using one or more drugs to enhance sex; it can last for many hours at a time, and often with multiple sexual partners.
ORDER FREE MATERIAL TO PLAY SAFER ON EXAEQUO’ S ONLINE SHOP!
www.exaequo.be/en/hauptnavigation/your-health/commander-d...
DES QUESTIONNAIRES POUR FAIRE LE POINT !
MONBUZZ.ca : bilan sur ta consommation d’alcool et de drogues et sur les effets possibles sur sa sexualité par le RÉZO, santé et mieux-être des hommes gais et bisexuels, cis et trans, et l’Université de Sherbrooke (Canada)
Plan d’action Chemsex proposé par David Stuart
www.davidstuart.org/care-plan-fr
Life Check Quiz sur le site Friday/Monday du Terrence Higgins Trust (en anglais)
www.fridaymonday.org.uk/is-this-a-problem/drugs-and-you-c...
La seconde étape, c’est de chercher de l’aide. Quoiqu’il t’arrive, que tu considères la situation grave ou pas, il y a une variété d’options à considérer et des gens et des structures pour t’accompagner dans celle que tu choisiras.
Rompre l’isolement et trouver de l’aide.
On peut souhaiter parler avec d’autres consommateurs ou d’autres ex-consommateurs. Avec des professionnels aussi.
Avoir besoin de dénoncer une violence, un viol.
Essayer d’espacer les prises, de réduire les doses tout en continuant de consommer.
Décider d’arrêter net ou petit à petit, de faire une pause.
Peu importe nos choix, des structures peuvent aider.
During our residency at Pilchuck Glass School, we expanded on work started at the Museum of Glass and we developed a series of new works involving sound making objects, printmaking and drawing. We gave two performances during our residency, and some of our printmaking was exhibited during November 2014 at the Pilchuck Glass School Exhibition Space. Additional documentation of our performances and print process are linked below.
Our sound work with glass involves the creation of shapes that can be bowed or struck to produce fundamental pitches and harmonics so that one instrument can sound more than one pitch. Working carefully with our expert gaffers, Manny Krakowski and Netty Blair, we were able to make several variations of vessel shapes that each produced a complex spectrum of tones. We were also able to develop methods of linking two or more objects on a rocking base so that two objects could be played simultaneously by one player and variations on timbre and attack through bowing, striking, rocking were possible.
For our performances we grouped objects in terms of their tunings and timbres making tuning changes (by reshaping, or filling vessels with water) where necessary to create a specific temperament. Once we created a temperament we improvised extensively with it and developed compositions for it. Our compositions are a mix of rehearsed sections/gestures connected by improvisation. While we usually decide how to start and end, the pieces are largely determined during the performance.
In both our sound and print work we used electro-magnet/neodymium magnet setups where the magnets moved in response to changes in the polarities of our electro-magnets that were triggered by fluctuations in the EMF of the space where they were.
As sound, the clinking/tapping of the magnets against glass added a percussive, chaotic element to our compositions; something that fueled our improvisations as the magnets never behaved the same way in each performance.
For the prints, we used the same set of circuitry, vessels and magnets, but as mark making elements. We set the magnets up on inked plates and let them roll until they were covered in ink and had left marks on the plates. We then made several prints with the plates, and then placed the electro-magnet setup on the prints’ surface in the same configuration and let the neodymium magnets deposit the ink they had previously gathered. Freshly inked magnets were also added in the process. As with the sound pieces, the electro-magnet’s polarity oscillates in response to changes in EMF around them.
Our drawings incorporate variations on the shapes of the goblet and the vessel, primary glassblowing forms that suggested to us the physiology of the inner ear. The drawings functioned as non-dimensional starting points for the development of our sculptural and sound making objects.
Our time at Pilchuck was special and we are grateful to the long list of wonderful people who made our experience so memorable including Tina Aufiero, Rebecca Arday, Jim Baker, Ben Wright, our gaffers Manny Krakowski and Netty Blair, our assistants Keunae Song and Anna Masowsky, Alex Gibson in the printshop, Rebekah Birkan, who constructed the amazing frame for the goblets from found metal in the Pilchuck metal shop and Zach Lorenzetti who made music with us and assisted behind the wheel!
Video of our electro-magnetic print process: www.mayarouvelle.com/?p=775
Soundcloud of recent performances on our glass instruments: www.mayarouvelle.com/?p=752
Artist website: www.mayarouvelle.com