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Is hollywood really that desperate as to create a movie that is based off of a terrible book?
How many amazing books are out there that would make beautiful films? Thousands upon thousands, and they choose a 'novel' that reads like a bad fanfiction.
Whatever happened to knowledge in books? Values? Anything that you can learn from?
So here it is, it isn't much, but this is for all of the authors that wrote for a purpose. Goethe, Sartre, Nietzsche, Kant...
thanks.
I love this photo! I felt like a real photographer whilst doing this! I really enjoyed confusing all my friends and getting them all involved (everyone was throwing paper XD.)
Got tomorrow of school cus teachers are striking for some reason -probably some pension reason -.- - but me, ruth and angel are meeting up to take photos... SO EXCITED! were planning it as we speek and I have a few ideas :3 (anyone got a bed sheet) *chuckle emoticon
House of Knowledge, by Jaume Plensa, at the Yorkshire Sculpture Park, in the process of being packed up to be (one assumes) shipped off to wherever it's on show next.
For photos of it while the exhibition was open see here:
... there was so much knowledge and I didn't have a dictionary...!!
This is a picture taken on the steps to the "100 pillar Marriage Hall", in the more than 1000 year old Varadaraja Temple in Kanchipuram, Tamil Nadu India.
Bad weather is here again and the car has been sitting since just before Christmas. So I figured it to be as good a time as any to fix something that was really irking the crap out of me…the sun visors.
All of the 79-85 Eldorado’s with light up mirrors (which most had) unfortunately have a problem with visorus saginitus. The visor is held up by a small winged plastic bushing-it wraps around the chrome visor arm, and locks into the plastic visor body with the winged part. This little plastic thing gets brittle over time and starts to crack, losing its grip on the stationary rod. This starts as an issue where they droop a little bit when the car has been sitting in the sun on a summers day but eventually gets bad enough that it happens at all temperatures and will just flop down with bumps in the road.
To my knowledge there’s no replacements for this winged bushing and even if there were I don’t know how you would go about replacing it with the way it’s installed on the visor arm. GM evidently saw the problem as the arm and bushing were revised in 1984 to be bigger but evidently to no avail-the passenger visor on my car sagged from the time I had bought the car and I had held it in place with a nail wedged into the metal trim surrounding the window that had to be removed when you wanted to use it…this didn’t compute with the fairer sex, so it’s safe to say eventually I’m going to find all of those finishing nails that have gone missing over the past couple of years the hard way…
My driver’s side visor was free of this problem but I just didn’t use it as I was afraid it would start doing the same thing. So I set to work finding a real fix
These popped up for sale on ebay, red visors from an ’87 DeVille. They looked like a winner, same general shape, same color and in good condition. After a couple of messages to get an idea on size, I ordered them. However, when they arrived, they were neither the bright red shown in the pictures, nor in as good of repair. They definitely needed to be reupholstered to be used. I gave them a dry run before wasting any more money, and they had a couple of other issues. The first was a different electrical connector which was no biggie. The second was much bigger, that they could only be used to block sun going forward. Trying to move it to the side caused them to either drop or raise at a 45 degree angle.
I figured this was caused by the design of the mount which is heavily angled. So there wasn’t much I could do about it. Until my ebay suggestions came up with visors from a Buick Reatta for sale-the same general style as the DeVille, but with a flat type of mount similar to the OEM Eldorado!
Now the guy wanted over 100 dollars for these and after my blunder with the DeVille visors I wasn’t about to sink that type of change in a maybe. So I headed over to the Reatta AACA message board to see if anyone had a dogged set of visors with good mounts that they wanted to sell, and the first post in the for sale section happened to be by a fella who was parting out a complete Reatta! Score!
I emailed the guy and he explained that the car was in a junkyard local to his house. A real gentleman, he was able to get the visor arms for free and didn’t even charge me the ride up from Florida. Thanks Mike! The car in question had a burgundy interior so the arms would need to be sprayed dark carmine to work for me. After cleaning and priming, SEM aerosol made quick work of that.
Unfortunately when they were removed from the Reatta, this condom thing that wraps around a metal bushing shredded, but I was able to basically replicate it with heat shrink tubing
The arms are easily removed from the visors when uninstalled from the car. Simply rotate the arm into the mirror side of the visor (as if you were pushing the visor back up into the roof) until it clicks and then yank it out. Install it into the new visor in the same position. I did some tests for proof of concept and when it seemed like I was on the right track, I got to work. Or at least to spending money. I ordered carmine foam-backed headliner material (Sunbrite 1872 for those interested, it was a great match) and headliner adhesive (which I ended up not needing for this job)
The visors themselves are like a clamshell and probably harder to crack open than a turnip. After enough brute force, a hammer, and a screwdriver, I was able to get them open (see the color difference as compared to the ebay picture above)
The material around the visor ended up not being glued to the face of it, only tucked tight and hot glued from the factory. I decided to do the same thing (So I have to write off the spray adhesive until I do a new headliner). I carefully removed the old fabric and made a template out of the new material
(should anyone do this in the future, it’s much more simple and less risky to only cut the general shape of the template out, you can cut the hole for the mirror and sun shade later)
The visors themselves also needed some help. The “ears” at the ends were super fatigued and loose, so I mixed up some resin and fiberglass to shore them up.
Once the visor bodies were sound, I had to come up with a way of re-joining the clamshell. I have no idea how GM did this in the first place but super glue doesn’t work. After a lot of searching I found out that these are likely made of Polyethylene. I bought this 3M DP8005 adhesive which claimed to bond it and tested it on a junk visor-seemed to do the trick. You need a special mixing tip in addition to this and I also had to get a gun that it fits into.
With that solved, I started hot gluing the material onto the visors. I had never done anything with headliner material before aside from stapling them up when they started sagging and I was really surprised with how compliant it was. In that, it basically looked factory with no runs or wrinkles despite not having a clue what I was doing.
Then, I bonded the two halves back together. Each one had to sit like this for a day, and early signs seem like it worked. Hopefully the adhesive will hold, time and temperature will tell.
Here’s a comparison of the original visors with the DeVille replacements. Mirrors swapped without issue. I also had to swap the power connector, meaning I had to cut the crimped on connector at the mirror end from the old visors and install in the new ones. Delphi 12020347 is the connector part, there’s no room inside the assembly for a butt connector (and I hate using them unless I have to)
And here they are installed!
The only complication on the install is that the plastic visor arms bolt in a slightly smaller bolt pattern than the originals. You can take any 2 of the 3 holes but not all 3 at once. Fortunately there’s plenty of meat to drill into to make another hole.
I’m sure a lot of people are reading this right now and saying I should have just stuck with the nail but in reality it wasn’t that bad. It might seem like a mess but everything above is a “worse possible scenario” in that I got fleeced on the visors I bought and had to change color, structurally repair them, rehab the Reatta visor arms, then bond them back together. If you’re fortunate enough to have a 79-85 E body with an interior color the same as an 85-88 Deville, and can get the visors from it, the only thing you need do is get a set of Reatta visor arms and swap them out (and obviously your electrical connector from your 79-85). They’re really close in size as far as fit, and look factory with the exception of the sunshade. You could delete that when reupholstering, but I always liked them.
It seems like GM changed all their lighted visor designs to basically the same thing in the late 80’s downsized cars. So there might very well be more vehicles than just Reattas that have the flat plastic visor arm. As far as longevity, I’ll definitely keep everyone posted but I will say that I’ve never really seen any of the “newer” Cadillacs or Buicks experiencing visor problems. The whole metal bushing with condom setup also feels much more sturdy then the OEM 79-85 stuff.
Oh, and on the bright side, I’ll only have to wear these puppies at night now.
A global train-the-trainer workshop on energy efficiency has been delivered in China (23-27 May), preparing the personnel needed to cascade knowledge on energy efficiency for ships and related efforts for mitigation of greenhouse gases (GHG) from national and international shipping.
The five-day intensive course was organized by the International Maritime Organization (IMO), within the framework of the Global Maritime Energy Efficiency Partnerships (GloMEEP) Project. The workshop was co-hosted by the China Maritime Safety Administration (China MSA) and Dalian Maritime University (DMU). The GloMEEP Project, aims to support increased uptake and implementation of energy-efficiency measures for shipping. China is one of the ten lead partner countries implementing the GloMEEP project.
The 30 participants on the course (including two from each GloMEEP lead partner country and ten further national participants from China) have undergone training in the art and techniques of knowledge transfer in a class room environment, particularly aimed at adult learners, alongside comprehensive technical training on energy efficient ship operation and the regulatory requirements,
Welcoming the trainers on the course, Dr. Jose Matheickal, Head of Integrated Technical Cooperation Programme Implementation and Major Projects, Marine Environment Division, IMO, referred to the challenges set by the Paris Climate Change Agreement to reduce greenhouse gas emissions and recalled that IMO has adopted mandatory energy-efficiency measures under the International Convention for the Prevention of Pollution (MARPOL) Annex VI. These regulations made mandatory the Energy Efficiency Design Index (EEDI) for certain types of new ships, and the Ship Energy Efficiency Management Plan (SEEMP) for all ships.
“We have a long way to go and the road ahead is challenging for many developing countries who may not have the necessary capacity to implement and enforce these measures. To increase the impact of these measures and to ensure that no one is left behind, we need to enhance the capacity in all countries in all aspects of implementation of MARPOL Annex VI. We need the capable trainers, such as you, who have been handpicked by your Governments to be the trainers of the future; we need universities such as Dalian Maritime University to sustain the momentum created through such activities by incorporating such training in their regular curriculum; we need students such as you who will get trained and use this information in your future maritime careers and to contribute to the efforts by sharing the knowledge to make informed choices and the right decisions. Collectively we can train the world so that collectively we can ensure the future of our planet,” Dr Matheickal said.
“I consider this activity to be a milestone event for IMO where we continue to build and strengthen the foundation for capacity building by growing the pool of trainers around the world. It shows the commitment of IMO to respond to the needs of our member States to support effective implementation of the international regulations on energy efficiency for ships,” commented Dr Stefan Micallef, Director of IMO’s Marine Environment Division.
The workshop was facilitated by international and national experts on ships’ energy efficiency and was coordinated by the Programme Coordination Unit of GloMEEP, led by Ms Astrid Dispert, Technical Advisor to the GloMEEP Project.
Photos can be downloaded here.
GloMEEP
GloMEEP is a GEF-UNDP-IMO project aimed at supporting the uptake and implementation of energy efficiency measures for shipping, thereby reducing greenhouse gas emissions from shipping. It supports ten Lead Pilot Countries of the project to implement the IMO-adopted measures, through:
1.Legal, policy and institutional reforms;
2.Awareness raising and capacity-building activities; and
3.Establishment of public-private partnerships to encourage technology transfer.
The Lead Pilot Countries (LPCs) of the GloMEEP Project are: Argentina, China, Georgia, India, Jamaica, Malaysia, Morocco, Panama, Philippines and South Africa.
Further information on GloMEEP can be found here.
The IMO Train the Trainer Course on Energy Efficient Ship Operation can be downloaded here. The six modules cover:
•Module 1: Climate change and the shipping response
•Module 2: IMO energy efficiency regulations and related guidelines
•Module 3: From management to operation
•Module 4: Ship board energy management
•Module 5: Ship port interface and energy efficiency
•Module 6: Energy management plans and systems
___________
IMO – the International Maritime Organization – is the United Nations specialized agency with responsibility for the safety and security of shipping and the prevention of pollution by ships.
Web site: www.imo.org
"Praying is what has brought us old people through life. We've all gone through hard times. We've all done our share of bad things. But through our prayers and faith in the Creator we get together again and we try hard to live right." --Paula Weasel Head, BLOOD
As we go through life we find ourselves on track one day and off track the next day. We gain consistency through prayer. Prayer is our connection to the Great Spirit. Prayer is our channel for knowledge and wisdom. Prayer is how we keep our sanity. The Elders say we should walk in prayer.
Great Spirit, teach me to walk in prayer. Help keep my faith string.
Huế (Vietnamese: [hwě] is a city in central Vietnam that was the seat of Nguyen Dynasty emperors and the national capital from 1802–1945. A major attraction is its vast, 19th-century Citadel, surrounded by a moat and thick stone walls. It encompasses the Imperial City, with palaces and shrines; the Forbidden Purple City, once the emperor's home; and a replica of the Royal Theater.
HISTORY
Huế originally rose to prominence as the capital of the Nguyễn lords, a feudal dynasty that dominated much of southern Vietnam from the 17th to the 19th century. In 1775 when Trịnh lord Trịnh Sâm captured it, it was known as Phú Xuân.
In 1802, Nguyễn Phúc Ánh (later Emperor Gia Long) succeeded in establishing his control over the whole of Vietnam, thereby making Huế the national capital.
Minh Mạng (r. 1820-40) was the second emperor of the Nguyễn Dynasty, reigning from 14 February 1820 (his 29th birthday) until his death, on 20 January 1841. He was a younger son of Emperor Gia Long, whose eldest son, Crown Prince Cảnh, had died in 1801. Minh was well known for his opposition to French involvement in Vietnam, and for his rigid Confucian orthodoxy.
During the French colonial period, Huế was located in the protectorate of Annam. It remained the seat of the Imperial Palace until 1945, when Emperor Bảo Đại abdicated and a communist DRV government was established with its capital at Hà Nội (Hanoi), in the north.
While Bảo Đại was proclaimed "Head of the State of Vietnam" with the help of the returning French colonialists in 1949 (although not with recognition from the communists or the full acceptance of the Vietnamese people), his new capital was Sài Gòn (Saigon), in the south.
During the Republic of Vietnam, Huế's central location very near the border between the North and South put it in a vulnerable position in the Vietnam War. In the Tết Offensive of 1968, during the Battle of Huế, the city suffered considerable damage not only to its physical features, but its reputation as well, due to a combination of the American military bombing of historic buildings held by the North Vietnamese, and the massacre at Huế committed by the communist forces.
After the war's conclusion, many of the historic features of Huế were neglected because they were seen by the victorious communist regime and some other Vietnamese as "relics from the feudal regime"; the Vietnamese Communist Party doctrine officially described the Nguyễn Dynasty as "feudal" and "reactionary." There has since been a change of policy, however, and many historical areas of the city are currently being restored.
GEOGRAPHY
The city is located in central Vietnam on the banks of the Perfume River, just a few miles inland from the East Sea. It is about 700 km south of Hanoi and about 1,100 km north of Hồ Chí Minh City.
CLIMATE
Huế features a Tropical monsoon climate under the Köppen climate classification. The dry season is from March to August, with high temperatures of 35 to 40 °C. The rainy season is from August to January, with a flood season from October, onwards. The average rainy season temperature is 20 °C, sometimes as low as 9 °C. Spring lasts from January to late February.
CULTURE
Located in the center of Vietnam, Huế was the capital city of Vietnam for approximately 150 years during feudal time (1802–1945), and the royal lifestyle and customs have had a significant impact on the characteristics of the people of Huế. That impact can still be felt today.
NAME GIVING
Historically, the qualities valued by the royal family were reflected in its name-giving customs, which came to be adopted by society at large. As a rule, royal family members were named after a poem written by Minh Mạng, the second king of Nguyễn Dynasty. The poem, Đế hệ thi", has been set as a standard frame to name every generation of the royal family, through which people can know the family order as well as the relationship between royal members. More importantly, the names reflect the essential personality traits that the royal regime would like their offspring to uphold. This name-giving tradition is proudly kept alive and nowadays people from Huế royal family branches (normally considered 'pure' Huế) still have their names taken from the words in the poem.
CLOTHING
The design of the modern-day áo dài, a Vietnamese national costume, evolved from an outfit worn at the court of the Nguyễn Lords at Huế in the 18th century. A court historian of the time described the rules of dress as follows:
Thường phục thì đàn ông, đàn bà dùng áo cổ đứng ngắn tay, cửa ống tay rộng hoặc hẹp tùy tiện. Áo thì hai bên nách trở xuống phải khâu kín liền, không được xẻ mở. Duy đàn ông không muốn mặc áo cổ tròn ống tay hẹp cho tiện khi làm việc thì được phép.
Outside court, men and women wear gowns with straight collars and short sleeves. The sleeves are large or small depending on the weather. There are seams on both sides running down from the sleeve, so the gown is not open anywhere. Men may wear a round collar and a short sleeve for more convenience.
— Đại Nam thực lục
This outfit evolved into the áo ngũ thân, a five-paneled aristocratic gown worn in the 19th and early 20th centuries. Inspired by Paris fashions, Nguyễn Cát Tường and other artists associated with Hanoi University redesigned the ngũ thân as a modern dress in the 1920s and 1930s. While the áo dài and nón lá are generally seen as a symbol of Vietnam as a whole, the combination is seen by Vietnamese as being particularly evocative of Huế. Violet-coloured áo dài are especially common in Huế, the color having a special connection to the city's heritage as a former capital.
CUISINE
The cuisine of Huế forms the heart of Central Vietnamese cuisine, but one of the most striking differences is the prominence of vegetarianism in the city. Several all-vegetarian restaurants are scattered in various corners of the city to serve the locals who have a strong tradition of eating vegetarian twice a month, as part of their Buddhist beliefs. Another feature of Huế dishes that sets them apart from other regional cuisines in Vietnam is the relatively small serving size with refined presentation, a vestige of its royal cuisine. Finally, another feature of Huế cuisine is that it is often very spicy.
In Hue cuisine, it has both luxurious and rustic popular dishes. All are cooked with talent skills of the Hue people, creating special flavor of Hue food. With such a rich history, Hue's royal cuisine (foods served for the King) is the combination between taste and aesthetic. It consists of several distinctive dishes from small and delicated creations which originally created to please the appetites of Nguyen feudal lords, emperors and their hundreds of concubines and wives. Furthermore, there is another thing making "amazing cuisine" of Hue is traditional foods. Hue's traditional cuisine is so distinctive from other regions in the country, which is considered as the best in Vietnam.
RELIGION
The imperial court practiced various religions such as Buddhism, Taoism and Confucianism. The most important altar was the Esplanade of Sacrifice to the Heaven and Earth, where the monarch would offer each year prayers to the Heaven and Earth.
In Huế, Buddhism enjoyed stronger support than elsewhere in Vietnam, with more monasteries than anywhere else and the nation's most famous monks.
Famously in 1963, Thích Quảng Đức drove to Saigon to protest anti-Buddhist policies of the South Vietnamese government and set himself on fire on a Saigon street.
Thich Nhat Hanh, world-famous Zen master now living in France, originates from Huế.
TOURISM
Huế is well known for its historic monuments, which have earned it a place in UNESCO's World Heritage Sites. The seat of the Nguyễn emperors was the Imperial City, which occupies a large, walled area on the north side of the Perfume River. Inside the citadel was a forbidden city where only the emperors, concubines, and those close enough to them were granted access; the punishment for trespassing was death. Today, little of the forbidden city remains, though reconstruction efforts are in progress to maintain it as a historic tourist attraction.
Roughly along the Perfume River from Huế lie myriad other monuments, including the tombs of several emperors, including Minh Mạng, Khải Định, and Tự Đức. Also notable is the Thiên Mụ Pagoda, the largest pagoda in Huế and the official symbol of the city.
A number of French-style buildings lie along the south bank of the Perfume River. Among them are Quốc Học High School, the oldest high school in Vietnam, and Hai Ba Trung High School.
The Huế Museum of Royal Fine Arts on 3 Le Truc Street also maintains a collection of various artifacts from the city.
In addition to the various touristic attractions in Hué itself, the city also offers day-trips to the Demilitarized Zone lying approximately 70 km north, showing various war settings like The Rockpile, Khe Sanh Combat Base or the Vinh Moc tunnels.
The first 11 months of 2012, Huế received 2.4 million visitors, an increase of 24.6% from the same period of 2011. 803,000 of those 2.4 million visitors were foreign guests, an increase of 25.7%.
Although tourism plays a key role in the city's socioeconomic development, it also has negative impacts on the environment and natural resource base. For example, services associated with tourism, such as travel, the development of infrastructure and its operation, and the production and consumption of goods, are all energy-intensive.
Research by the Climate and Development Knowledge Network has identified traditional ‘garden houses’ as having the potential to increase tourist traffic and revenue. Apart from the environmental, economic and cultural benefits provided by garden houses, their promotion could pave the way for other low carbon development initiatives.
IN POPULAR CULTURE
The second half of Stanley Kubrick's Full Metal Jacket takes place primarily in and around the bombed-out ruins of the city of Huế. The scenes were filmed in the disused Beckton Gas Works a few miles from central London.
The 6th Campaign mission in Call of Duty: Black Ops, takes place in Hue City.
vietcong 2 from 2005 is set in hue. The player assumes the role of an American MACV soldier and young Vietcong recruit fighting before and during the Tet Offensive.
INFRASTRUCTURE
HEALTH
The Huế Central Hospital, established in 1894, was the first Western hospital in Vietnam. The hospital, providing 2078 beds and occupying 120,000 square meters, is one of three largest in the country along with Bạch Mai Hospital in Hanoi and Chợ Rẫy Hospital in Ho Chi Minh City, and is managed by the Ministry of Health.
TRANSPORTATION
Huế has a railway station with connections to all major Vietnamese cities. Phu Bai International Airport is located just south of the city centre.
WIKIPEDIA
Forbidden Knowledge / Heft-Reihe
cover: Pete Von Sholly
Last Gasp Eco-Funnies
(Berkeley / USA; 1978)
ex libris MTP
Scientia Potentia Est (Francis Bacon)
Knowledge is power. Library Arnhem, Rozet building.
You go, girls!
The only facts known in relation to British merchant Charles Thompson are the ones he records in his travel account, about which some scholars have hypothesized that it is a fictional narrative. In any case, the work knew huge editorial success; first published in 1744, it was republished in 1752, 1754, 1767, and 1798. From the introduction, one learns that, following his father's death, Thompson inherited a large fortune and, from love of knowledge, in order to appease his sorrow and to satisfy his own natural curiosity, he started out on a long voyage, in the company of a freind who spoke several languages.
The travellers set out from London in March 1730. They crossed over from Dover to Calais, and travelled to Rouen, Paris and Marseille. They went on to Genoa, Milan, Parma, Modena, Bologna, Florence, Pisa and Sienna, to end up in Rome. In October 1731 they visited Naples, and then Ancona, Ravenna, Ferrara and Padua. They sailed to Malta from Venice in May 1732 and reached Chania in early June.
The two travellers left Crete a month later, and, after staying in Milos for a month, they visited Naxos, Paros, Antiparos, Delos, Syros, Kea, Kythnos, and reached Athens. They toured the monuments of the city and several locations in Attica, Boeotia and Phocis (Eleusis, Megara, Corinth, Livadeia, Arachova, Delphi and Thebes). In November 1732 they left for Istanbul, where they stayed for several months. In September 1733, they left the Dardanelles to visit Izmir, Chios, Samos, Patmos, Ephesus, Kos and Rhodes. They ended up in Cyprus in February 1734, from where they crossed over to the lands of the Middle East (Tripolis, Baalbek, Damascus, Beirut, Sidon, Jerusalem). In May 1734 they travelled to Egypt and toured Kairo, Alexandria and Mount Sinai. They returned to England in April 1735.
Thompson includes several details on travelling conditions as well as the history and the monuments of each country in his travel account. However, he is mostly interested in space, modern life, the human factor, social life, economy, production and commerce, and thus achieves to render an comprehensive and to a certain extent objective picture of the lands he visited in the early 18th century.
Written by Ioli Vingopoulou
İngiliz asıllı tüccar Charles Thompson hakkında bildiğimiz şeyler sadece vakayınamesinden aldığımız bilgilerdir. Ancak bu vakayınamenin hayal ürünü bir anlatı olduğu ileri sürülmüştür. Gene de eser büyük başarı görmüş, yayınlandığı 1744 yılından sonra, 1752, 1754, 1767 ve 1798 yıllarında yeniden basılmıştı. Kitabın önsözünde okuduğumuza göre, Thompson, babasının ölümünden sonra büyük bir mirasa sahip olmuş ve "bir yandan bilgilerini çoğaltma arzusu öte yandan baba ölümünün kendisinde yaratmış olduğu üzüntüyü unutmak, son olarak da merağını tatmin etmek için" uzun bir yolculuğa çıkmaya karar verir, yanına ise yoldaş olarak birçok dil bilen bir arkadaşını alır.
1730 yılı Mart ayında Londra'dan yola çıkarlar, Dover'den Calais'ye (okunuş: Kale) geçtikten sonra Rouen, Paris ve Marsilya'yı ziyaret ederler. Yolun devamında Cenova, Milano, Parma, Modena, Bologna, Floransa, Piza ve Sienna'dan geçip Roma'ya varırlar. 1731'in Ekim ayında Napoli'yi ziyaret ederler, arkasından Ancona, Ravenna, Ferrara ve Padova'ya geçerler. 1732 Mayıs ayında Venedik'ten vapura binip Haziran başlarında Hanya'ya varırlar. Bir ay sonra yeniden yola çıkıp Milos adasında bir hafta kaldıktan sonra Naksos, Paros, Antiparos, Dilos, Siros, Kea, Kithnos adalarını ziyaret ederler ve nihayet Atina'ya varırlar. Atina'daki tarihi anıtları, Attika, Viotia (Boeotia), Fokida yörelerini (Eleusis, Megara, Korint, Livadia, Arahova, Delfi, Thiva sitlerini) ziyaret ederler ve 1732 Kasım ayında İstanbul'a gitmek üzere yola çıkarlar. İstanbul'da birkaç ay kalırlar. Yolculuklarının devamında 1733 Eylül ayında Çanakkale'den yola çıkıp İzmir, Hios (Sakız), Samos, Patmos, Efes, Kos (İstanköy) ve Rodos'u ziyaret ederler. 1734 Şubat ayında Kıbrıs'tan geçtikten sonra Orta Doğu'ya devam ederler ve Trablus, Baalbek, Şam (Damascus), Beyrut, Sayda (Sidon), Kudüs'ü ziyaret ederler. 1734 Mayıs ayında Mısır'a seyahat edip Kahire, İskenderiye ve Sina'yı ziyaret ederler. 1735 Nisan ayında ise İngiltere'ye dönerler.
Thompson vakayınamesinde yolculuğun koşulları ve ziyaret ettikleri her yerin tarihi ve anıtları hakkında ayrıntılı bilgiler vermektedir. İlgisinin odaklandığı noktalar doğal mekân, çağdaş yaşam, insan unsuru, toplumsal yaşam, ekonomi, üretim, ticaret gibi konulardır. Thompson bu eseriyle 18. yüzyılın ilk yarısında sözkonusu yerlerle ilgili çok yönlü ve nesnel bir bakış aktarmaktadır.
Yazan: İoli Vingopoulou
by Tech. Sgt. Benjamin Rojek
Defense Media Activity
5/4/2012 - FORT GEORGE G. MEADE, Md. -- Walking almost 90 miles, 36 Airmen completed the Air Advisor Memorial Ruck March from New York City to Joint Base McGuire-Dix-Lakehurst, N.J., April 26-27.
The march, which started at One World Trade Center and ended at the Air Advisor Academy, was in remembrance of the deaths of nine U.S. air advisors in Afghanistan.
On the morning of April 27, 2011, an Afghan Air Force lieutenant colonel walked into the Afghan Air Command and Control Center at the Kabul Air Command Headquarters and, without warning or provocation, opened fire, killing eight active-duty U.S. Airmen and a retired U.S. Army lieutenant colonel. Those nine service members came from various bases and specialties, but were working together for a common mission: advising the Afghan military.
"It was a unique situation," said Lt. Col. J.D. Scott II, the march coordinator and chief of core knowledge at the Air Advisor Academy. "It didn't happen for a particular base. It didn't happen for a particular squadron or base or even for a particular (Air Force Specialty Code).
"Because of that, remembering their sacrifice may not have been captured as a whole," Scott continued. "The individual would have been honored at their base, but the mission of the entire of the team would not have been recognized."
Since all of the nine went through the Air Advisor Academy, Col. John Holm, the academy's commandant, decided that would be the place to honor their sacrifice as a team, Scott said. Holm made plans to create a physical memorial, but a plethora of obstacles made it impossible to complete the memorial by the one year anniversary of the tragic event. One of the obstacles was funding.
Holm and his team came up with idea of a ruck march to both honor the fallen air advisors and act as a fundraiser to help build the physical memorial. Scott was put in charge of organizing the march and, in just two weeks, succeeded in gathering people from Dover AFB, Del., to Eielson AFB, Alaska, for the march. Each marcher knew at least one of the nine fallen air advisors in some way.
"Master Sgt. Tara Brown and Maj. Phil Ambard both lived three and four doors down from me in the dorms," said Tech. Sgt. Brian Christiansen, a photographer with the 145th Airlift Wing in Charlotte, N.C., who was deployed to Kabul, Afghanistan at the same time as the air advisors. "Both were incredibly friendly people. And I met several of them (the morning of the shooting) as I walked into my building and opened the door and they walked out."
Those personal connections to the fallen service members and their families drew the 36 marchers together, Scott said.
"They were coming in from all over," he said. "That's kind of representative of the nine that we lost. They came from all over the Air Force to serve a single mission as an air advisor. So the marchers that were honoring them came from all over the Air Force to remember them."
Each paid their own way to New York City to honor their fallen friends and show their families that they haven't forgotten their loved one's sacrifice. The event also drew in another 14 volunteers to help with everything from transportation to food to health and care coverage.
The marchers were broken up into four teams, each set to march three legs of 7.3 miles. During their leg, each marcher carried a ruck sack with a paver stone inside, each stone engraved with the name of a fallen air advisor and to be laid at the memorial on JB MDL.
Holm and his nine-person team kicked off the march at 9:11 a.m. April 26. However, rather than just start off near ground zero, the colonel wanted to do something more for his fallen comrades.
"We wanted to honor them by doing something significant, and to me starting at the top of the World Trade Center was it," Holm said. "We had those ruck sacks on the entire tour. It was all symbolic and important to us in our own personal, different ways. For me, it was probably the biggest single gesture we could do short of opening up (the academy's) memorial ourselves."
The significance of the march touched a lot of people along the way, starting with the One World Trade Center steel workers, who gave the Airmen a standing ovation as they marched through the structure. Other people along their route also showed their appreciation by stopping to give hugs, encouragement, thanks and even money toward the memorial.
As they traveled by foot from New York to New Jersey, state and local police departments provided escort, each district calling the next to inform them of what the Airmen were doing, Holm said. The marchers were even given a chance to rest and eat at the fire departments in both Elizabeth, N.J., and Jersey City, N.J. It was a sign of support of both the Airmen marching and the fallen air advisors, he said.
When the fourth team finished their last leg, the marchers were 1.1 miles from the construction site of the Air Advisor Memorial on JB MDL. All 36 marchers gathered together in formation and made their way through the base gate. What met them there was surprise to all.
"Security forces closed down the road and gave us police escort in," Scott said. "There were numerous amounts of people from the front gate to the memorial lining the street on both sides, just cheering us on in.
"The fact that the base community just embraces us and cheered us in on those final steps, it's very inspiring," he added.
It was an emotional moment for Christiansen as well. He was present at the base when the air advisors were killed and attended their dignified transfer ceremony. However, each person was laid to rest in different locations around the U.S., so he never got to have closure.
Christiansen said the real impact came when he saw the road signs leading to the installation. "That's when it really started to hit in not that we're all going to do this, but this is for real. We've done this for the families, we've done this for our fallen brothers and sister. It was pretty easy to get caught up in the emotion there.
"The ceremony of laying the bricks down was really powerful," he added. "It brought some serious closure."
For Chaplain Maj. Eric Boyer, who said the opening prayer for the stone laying ceremony, it was a bittersweet chance to pay tribute to two of the officers that he had a connection to.
"It makes me proud to know that their sacrifice will be honored and will be remembered," he said. "Every Air Advisor who comes through the academy here is going to recognize the price that has been paid by their predecessors."
Prior to entering military service, Boyer knew Lt. Col. Frank Bryant from their hometown of Knoxville, Tenn., where he served as Bryant's wrestling coach.
Boyer also served as squadron chaplain for Maj. Jeffery Ausborn while at Joint Base San Antonio in 2011, but had already changed duty station's to JB MDL when he got the word about Ausborn's death. His biggest regret was not being able to preside over his funeral service.
"It meant a lot to me to be able to say something to honor his memory here, since I wasn't able to speak at his memorial ceremony back at his home station," he said.
While the ruck march and stone-laying ceremony brought some closure for Christiansen and others, the construction of the memorial itself is still ongoing. However, between the pledges for the marchers, donations received during the march as well as T-shirt and brick sales, Holm estimated that the team has raised almost $10,000 toward the memorial just through this one event.
"We have that feeling that we did the right thing just by honoring our comrades, regardless of what money we raised," Holm said. "That was a tremendous feeling."
The Air Advisor Memorial is scheduled to be unveiled July 27. For more information on the memorial, visit www.airadvisormemorial.org
The Thirty-Second Session Session of WIPO's Intergovernmental Committee on Intellectual Property and Genetic Resources, Traditional Knowledge and Folklore (IGC) took place in Geneva, Switzerland from November 28 to December 2, 2016.
Copyright: WIPO. Photo: Emmanuel Berrod. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
My Grandfathers tools and one of his books. He was a very intelligent man who worked as a engineer and had many hobbies. There are many times I have wished I could have asked him more about the very interesting life he led.
DLECTRICITY 2012 Installation
Artists: NewD Media: Gabe Hall, Daniel Land,Audra Kubat, Gabe Rice
Projection-mapped 3D animation, dynamic optical illusions, and dimensional cinema tell the human story of knowledge by bringing the face of our Library to life in mythic scale. From Cave Painting to Ancient Greece; the tragic destruction of the Library of Alexandria to the invention of books, the dawn of electricity, and the rise of the Internet.
www.dlectricity.com/the-exhibition/projects/7-knowledge-i...
SOOC
Archeon Museum Park is a theme park and open-air museum in the south of Alphen aan den Rijn, Netherlands, which focuses on Dutch history by means of Living History..
The park is divided into three spheres: prehistory, Roman times and the Middle Ages. In those parts are buildings that are either literally built to an archaeological model or in the style of the era in question. Workers in the park dressed according to the fashion of the relevant period, play typical activities for their period, such as weaving, landing and baking pots and highlighting the visitors. Visitors can also try to do these past activities, such as archery in the Middle Ages or stone mosaics in Roman times. Hereby the workers give the necessary instructions. They also lead the various tours and special activities.
Throughout the season several different events are organized in Archeon. Filling up nearly every weekend, these events cover a broad range of topics to guarantee a worthwhile experience for all visitors, disregarding age, experience, historical knowledge or origin. All of these events will focus on Archeon’s main goal, Living History. Theme events such as gladiator fights are organized according to the principles of living history. For schools there is an educational program and group outings can be organized. During the high season there is a gladiator battle almost every day. Other major events include the Roman festival, which often takes the first half of August, the Viking Market and the Midwinterfair, an annual fantasy event taking place in December.
Archaeologist and painter Edward Dodwell (1767-1832), who came from a noble and rich Irish family, was born in Dublin (recitation: Eduard Doduel) and studied literature and archeology at Trinity College in Cambridge. Thanks to the economic comfort provided by his great fortune, he is completely away from the need to acquire a profession and gives himself to the researches about the Mediterranean civilizations.
In 1801, he traveled with Ionian islands (Corfu, Zante etc.) and the region of Troy together with Atkins and well-known traveler W. Gell. In 1805-06, he traveled to Central Greece with his traveling companion, Simone Pomardi. He then settled in Naples and Rome and marries a woman thirty years younger from him. He was an honorary member of many European cultural foundations. He died of sickness while exploring in the mountains of Italy. The large archaeological collection (coins, 115 copper items, 143 amphoras) he created was sold to the Munich Sculpture Museum after being housed in his home in Rome for a while.
Being a prolific writer and visual artist at the same time, Dodwell reveals his multi-faceted talent, consisting of a sense of curiosity, critical gaze and artistic sensitivity as an archaeologist in his works that are unique for his age. For the first time in his work, we witness the real discovery of a "place": While the phenomenon of walking becomes a form of discovering and recognizing (reading) the view, on the other hand, information based on monuments, history, contemporary people and documents all join together in this phenomenon.
The journey, which is described in these two volumes of publications and offers rich data in archeology and topography, constitutes a valuable treasure of information about the public and private lives of the Greeks before the rebellion (before 1821). Dodwell sets off from Venice by taking an intelligent and well-read Greek from Santorini, whom he had met in Italy in late April 1801, as an interpreter. He crosses the Adriatic sea and arrives in Corfu under Russian-Ottoman occupation with his travel companions within a month. Their journey continues towards Paksos islands, Parga, Lefkada (Santa Mavra). Dodwell writes about the nose of Lefkata, where ancient Greek poet Saffo, according to ancient ruins, products, villages and legend, fell into the sea because of his desperate love for Faon. From here go to Preveza and go to Nikopolis. He travels to the archeological site at the village, continues to Ithaka island and writes about the geography and economic situation there and about the search for ancient ruins. Finally, he came to Kefalonia and completed his first trip to Greece with William Gell.
In 1805, Dodwell, along with the artist Simone Pomardi, arrived in Zakinthos (Zante) from the city of Messina in Sicily, where he writes about the villages, population, products; he then goes to Mesolongi. Tepedelenli Ali Pasha writes about the persecution of local people, local products, the Akheloos river and the Echinades archipelago.
After the journey, he reached Patra and became the guest of the consul Nikolaos Stranis. Stranis's mansion had been the meeting place of many European guests for years. Dodwell's trip to Patra confirms his theoretical knowledge about them. Speaking of Contemporary Patra, he writes in an easy-to-understand manner both about the architectural order of the city ("The houses of the Greeks are lime and the houses of the Turks are painted in red") and its economic condition (including products exported from the region). In Patra, he visits the castle, the famous big-bodied cypress tree, the church of Saint Andrea and the holy spring (blessed water source / fountain). He adds the pattern that his travel companion Pomardi has drawn and displays the sacred source. Patra ' Noting that many black slaves were found in Dodwell, Dodwell also made efforts to obtain some archaeological artifacts. As he writes about Patra, he especially portrays the city's historical memory. On the Dodwell route, it documents scientifically its own knowledge as well as the old sources it used to showcase the contemporary reality of Greece and previous travel testimonies.
Due to an epidemic in Dodwell Peloponnese, he chose to go to Athens in another way, passing through Nafpaktos (Inebahtı), Galaksidi (watching the carnival shows here) and passing through Amfisa (here he is a guest at the house of a Kefalonian doctor and visits the voivodeship), climbs to Parnasos mountain, Hriso and stops in Kastri and tour the Kastalya fountain and few ancient ruins that can be seen in Delfi. The road passes through the villages of Arahova and Distomo and takes him to the ancient site of the Trophonius priests in Livadia, from there he continues to other Viotia (Boeotia) villages (Orchomenos, Aliartos, Thespiae). Passing through the Eleutherae road and the Eleusis plain, on March 26, lord Elgin's work teams arrive in Athens when the relief of the Acropolis relief (relief) marbles.
Dodwell will stay here until September and visit almost all of Attica (Pendeli mountain, Fili, Acharnai, Kifisia, Vrauron, Porto Rafti, Thorikos, Lavrion, Sunion, Piraeus) and the Egina and Salamis islands. In addition to archaeological issues, he writes about the folk dances, music and games of the Greeks, even about baths, even insects and birds.
After Athens, it passes through Thiva (Thebai), Kopais lake, Thermopylae and Lamia, Stylis and Almyros to Volos and Pelion; in his article he mentions all the ancient city ruins he met along the way. After that, Larissa and Ambelakia come and are highly affected by the high level of living, cultured people and the cotton yarn dyeing industry. Thessaly plain returns to Athens after passing through Lilaia, Amfikleia, Fokida, Viotia (Boeotia) and stops by Chalkida and Marathon.
He stays in Athens all summer. In December of 1805, we find him touring the Argos-Corinth region: Dafni monastery, Eleusis and its religious mysteries, Megara, Corinthian isthmus, Corinthian fortress, Kechries, Nemea and its vineyards, Acropolis and ancient theater in Argos, the treasure of Mikene and Atreus, The ruins of Tiryns and Nauplion, Epidaurus and Asclepius temple, Troizina, Methana, Poros are the places he traveled and wrote. Then, on the road of Aegion, Sikyon passes through Xylokastron and stops in the local inns, and after Patra, he reaches Olympia on January 24, 1806 by describing all villages of Achaia and Ileia.
In the continuation of the trip, Messini visits Sparta in late February after visiting the ruins in Megalopolis and Vassai. After crossing Arkadiya and Achaia (by stopping at Tegea, Tripoliçe, Mantineia, Orchomenos, Stymphalia, Feneos, Kalavrita, Mega Spilaion), it reaches Patra in the spring and finally reaches Rome on September 18, 1806.
Dodwell (who has drafted about 400 places and monuments) has been aiming to combine the scientific look with art by adding the engravings to them after using the camera obscura technique and documenting the archaeological ruins he has visited recently. The four volumes of his work, published after Dodwell, are a basic handbook for all travelers traveling around Greece and are still considered a very useful resource for archaeological research today.
The work was published 2 years after Dodwell's death in 1834. Publishers received the material to create the book and detailed instructions about the publication from Dodwell himself. Paintings with stone prints and based on Dodwell's own drawings show magnificent relic images from Greece and Italy. These include, in particular, wall forms, acropolis (city hills or endpoints), fortifications, and domed tombs. Engravings showing monuments in Greece are accompanied by descriptive and explanatory texts; the same is not true for monuments in Italy, however, because Dodwell was unable to write his explanations about them. Publishers have not been able to fill this gap. The embroidery of the paintings on stone was made by the well-known engraver C. Hullmandel.
Despite the misrepresentation of naming and identification in some of the architectural remains, Dodwell's work remains a pioneer in terms of both its subject and less-known archaeological sites. The aim of the author was to add this book to his two volume volume "Classical and Topographical Tour in Greece", published in 1819.
Written By: İoli Vingopoulou
Hislop's Psychological contract model is useful in understanding how to persuade employees to share knowledge
Landfill is in aquifer recharge zone
Pictures by for Lowndes Area Knowledge Exchange (LAKE),
Valdosta, Lowndes County, Georgia, .
www.l-a-k-e.org/blog/2013/09/landfill-is-in-aquifer-recha...
The Haier Building, 1352-1362 Broadway, Tenderloin District, Manhattan, New York City, New York, United States
Haier America acquired the building in 2002.
The Greenwich Savings Bank building, constructed in 1922-24 as the imposing new headquarters to mark this institution's progress from its modest Greenwich Village origins to a prominent Midtown location, is one of the most refined examples in the impressive corpus of bank buildings from the firm of York & Sawyer.
Both architects, initially employed by McKim, Mead & White, carried the senior firm's monumental classicism into a more academic classical architecture. Philip Sawyer's knowledge of ancient Roman prototypes, and his appreciation for the organization which characterizes eighteenth- and nineteenth-century French design and planning is demonstrated in the adaptation of the bank's three facades to the irregular site.
The projecting and recessed planes of the colonnades, raised high on the rusticated ground story, unify the bank's three facades while belying the building's skeletal steel frame. In the Greenwich Savings Bank building Sawyer displayed his versatility in manipulating the classical architectural canon to create a veritable temple to thrift and to make the Greenwich Savings Bank one of the finest examples of the academic classical architectural tradition in this country.
Brief History of the Greenwich Savings Bank
The growth of the Greenwich Savings Bank was linked inextricably to the expansion of the city of New York. In 1832 the population of Greenwich Village suddenly increased when a cholera epidemic sent many residents of the city at Manhattan's tip to the healthier climate of the Milage. To prepare for what must have been seen as inevitable growth, the bank's founding trustees, a group of far-sighted local businessmen, met in 1833 at the Northern Dispensary to found the Greenwich Savings Bank. Housed in the first floor of a row house at 10 Carmine Street, just off Sixth Avenue, the bank expanded into No. 12 a year later. At this time it was the only savings institution in Greenwich Village.
The state legislature authorized the bank to receive deposits and invest these in bonds or stocks issued by the United States Treasury or by the States of Pennsylvania, New Jersey, Ohio, or New York. Following the fires that swept the city in 1835, Greenwich Village again found itself serving an expanded population. In 1836 the state legislature authorized the bank to make loans on unencumbered real estate in New York City. Exemplary management carried the bank through the national financial crises of 1837, 1857, 1873, 1893, and 1907.
In 1839 the trustees moved the bank around the corner to quarters at 11 Sixth Avenue, the avenue on which the Greenwich Savings Bank would do business for nearly a century and a half-Keeping pace with the northward surge of the city's population up Manhattan Island, the bank's addresses rose steadily up Sixth Avenue. In 1846 the bank leased space on the northwest corner of 4th Street at 41 Sixth Avenue where it remained until 1853 when the trustees acquired two lots on the southwest comer of Sixth Avenue and Waverly Place.
The new building opened in 1854. When the bank outgrew that site, the southeast corner of West 16th Street and Sixth Avenue, adjacent to Saint Francis Xavier Roman Catholic Church, was purchased in 1889-90, with the bank's fifth home opening in 1892. Now demolished, it was designed by Robert W. Gibson, well-known as an ecclesiastical architect. With this commission the bank's trustees demonstrated that they understood the associational advantage implicit in a well-designed building in a good location. They repeated this practice thirty years later when they retained York & Sawder to design a new building to be constructed at 985 Sixth Avenue, on the lot between Sixth and Broadway at 36th Street
Banks and Architectural Imagery
The freestanding bank building, although not a new building type, became more prevalent at the end of the last century when the savings bank industry made itself more accessible to the individual depositor A convenient location was one way this accessibility was achieved; an impressive and distinguished building was another. Gibson's building for the Greenwich Savings Bank at Sixth Avenue and 16th Street was one of these. Other examples include the Bank for Savings -(1892) at 22nd Street and Fourth Avenue, designed by Cyrus L. W. Eidlitz; McKim, Mead & White's Bowery Savings Bank (1893-95, a designated New York City Landmark) at Grand Street and the Bowery; and R. H. Robertson's New York Bank for Savings (1896-97, a designated New York City Landmark) at Eighth Avenue and 14th Street.
Throughout western civilization, historic associations with the civic pride that gave rise to the treasuries and temples built in ancient Greece have prompted architects to return to this classical prototype. The architects of ancient Rome introduced a spatial factor to the prototype, linking the idea of civic pride with their designs for large public structures, law courts and baths. This traditional source, in a multitude of variations, was the model for the new banking temples cited above; this model was strongly endorsed by York & Sawyer for the firm's subsequent bank building commissions, expressed with an academic refinement until then unseen in this country.
York & Sawyer
Edward Palmer York (1863-1928) was born in Wellsville, New York, the son of a banker. Studying architecture at Cornell from 1887 to 1889, he then entered the office of McKim, Mead & White in 1890 where he became Stanford White's assistant and supervised the construction of the Governor Levi P. Morton house (1896-1898) at 681 Fifth Avenue (demolished). In 1898 he established his own practice in partnership with Philip Sawyer. Sawyer (1868-1949) was born in New London, Connecticut, but grew up in Washington, D.C. Sawyer first studied engineering and then architecture at Columbia University. In 1889 he worked as an engineer for the Fort Payne Coal and Iron Co., near Birmingham, Alabama, and the following year for the United States Geological Survey in the Sangre de Cristo mountain range of New Mexico and in Yellowstone. In 1891 he entered the office of McKim, Mead & White, only to leave a year later for the Ecole des Beaux-Arts in Paris where he was in Odilon Redon's atelier.
His sketchbooks reflect not only his itinerary on the continent but his enthusiasm for recording the details and component profiles of the architectural monuments he visited, especially the examples of classical antiquity. He returned to the McKim, Mead & White office in 1894.
The individual strengths of the future partners were complementary. Sawyer's recollection of their days at McKim, Mead & White was that York had a desk while he, himself, worked at a drafting table. York was occupied with overall management, organizing programs and winning good clients.
He was also counselor and critic. Sawyer's greatest pleasure was "rounding out" a building on paper to its last details. At the York & Sawyer firm, as at McKim, Mead & White after 1890, any one of the partners might be responsible for a commission. For example, the Bowery Savings Bank (1924) at 42nd Street and Park Avenue was York's commission (the designer was partner Lewis Ayres); the Greenwich Savings Bank (1924) was Sawyer's. Between York's critical judgment and Sawyer's eye for details, a very high standard was maintained.
Four of the five partners in the York & Sawyer firm had received their earliest professional training in the office of McKim, Mead & White where the spirit of the Italian Renaissance was adapted to the requirements of modern commercial and public buildings and the monumental tradition in American architecture was born."
Sawyer asserted that in the 1890s the McKim, Mead & White office had offered the best opportunity for experience, the most diverse criticism, the best ideas of planning, design and construction, and a setting of architectural professionalism.
York & Sawyer designed many hospital, collegiate and federal buildings, and won a number of ecclesiastic and residential commissions, but the firm is best known for its bank buildings. After a decade of practice a whole sequence of the work of the York & Sawyer firm- including several banks - was discussed and illustrated in The Architectural Review.
The Franklin Savings Bank, 42nd Street and Eighth Avenue (1901, demolished) appears to have been the firm's first bank commission. It went on to design other major banks in New York and elsewhere including the Provident Savings Bank, Baltimore (1902); the National Commercial Bank, Albany (1903); the American Security & Trust Company, Washington (1904); the Rochester Trust & Safe Deposit Company, Rochester, New York (1905); the Guaranty Trust Company, Broadway and Liberty (1912, demolished); the Federal Reserve Bank, 33 Liberty (1919-24); the Bowery Savings Bank, 110-116 East 42nd Street (1923); the Greenwich Savings Bank, 1352-1362 Broadway, (1922-24); and the Central Savings Bank, 2100-2108 Broadway (1926-28, a designated New York City Landmark). These bank buildings illustrate the evolution of York & Sawyer's work into an ever more distinguished representation of academic classicism during the first quarter of this century.
The value of the partners' network of acquaintances in the banking profession cannot be underestimated. Edward York, as Stanford White's representative, had worked closely with Governor Levi P. Morton on his Fifth Avenue mansion. Morton recommended York & Sawyer to the president of the Franklin Savings Bank for its new bank building, completed in 1901.
York would have become acquainted with the officers of the Bowery Savings Bank when, again as White's assistant, he supervised the bank's building at Grand Street and the Bowery in 1893-95. When, thirty years later, the Bowery Savings Bank wanted a building designed for its new site on 42nd Street, York & Sawyer was chosen. From 1909 to 1913 Philip Sawyer was an architectural consultant to the United States Treasury Department.
By 1911 he had supervised the rebuilding of the Treasury building in Washington as well as the building of sub-treasuries in other cities. In that same year Sawyer was sent abroad by the department with letters of introduction to the principal officers of the Bank of England, the Bank of Italy, and the Reichsbank in Berlin to study their methods of handling and storing money. There can be little doubt that this experience strengthened York & Sawyer's candidacy in the New York Federal Reserve Bank competition held in 1919. In 1902 Charles Sabin, then vice-president at the National
Commercial Bank in Albany, worked with York & Sawyer on this bank's new Albany headquarters. In 1912, as President of the Guaranty Trust, he retained York & Sawyer to design the bank's new building.
In 1921 the Greenwich Savings Bank trustees, eager to follow the commercial district's move up Sixth Avenue, bought the block-wide lot along West 36th Street between Sixth Avenue and Broadway.
It is likely that previous acquaintance, as well as a solid reputation as bank designers, brought York & Sawyer the commission for the Greenwich Savings Bank in 1922, although in this instance the connection may not have been solely a banking one. In 1909 York & Sawyer had been commissioned to design a new choir house on Fourth Avenue, north of 10th Street, for Grace Church -- it was finished in 1911. Eleven years later the firm designed the addition to the church's parish house. William Rhinelander Stewart, a Grace Church warden in 1909, was a trustee of the Greenwich Savings Bank and a member of the bank's new building committee in 1922-24.
The rector of Grace Church, Walter Russell Bowie, D.D., may well have furnished all the encomiums to the merits of saving, which are inscribed throughout the bank's interior as well as on the exterior attic face, high above the bank's Broadway entrance.
Design and Construction
The site of the Greenwich Savings Bank was formerly occupied by a two-story structure known as the Sheridan Building. As a consequence of Broadway's diagonal axis, the lot is irregularly quadrilateral. There is a difference in grade as well; the site gently slopes downward from Sixth Avenue toward Broadway. Two blocks south — at Herald Square — Broadway's diagonal path intersects the city's grid pattern at Sixth Avenue and West 34th Street. A busy commercial district, the area reached its present density just after World War I as a center for publishing, the garment industry, retail department stores, transportation, and hotels.
The two-story, Italian Renaissance Revival Herald Building (demolished), built in 1890-95 to the plans of McKim, Mead & White for James Gordon Bennett, Jr., occupied the triangular block immediately south of the Greenwich Savings Bank site, a factor which influenced the bank's design. There is no entrance
on West 36th Street because of the congestion caused by the Herald's delivery trucks. As a result there is one entrance on Broadway and another, at the insistence of the building committee, on Sixth Avenue.
Sawyer demonstrated his considerable knowledge of ancient Roman architecture on the bank's three facades, each articulated with a rusticated podium, monumental Corinthian colonnade, and a high attic. (The podium height was comparable to the height of the Herald Building's ground-story colonnades.) These facades are skillfully composed; the repetition of their projecting and receding planes creates a remarkable homogeneity obscuring their unequal width (necessitated by the irregular quadrilateral site).
The emphatic verticality of the colonnade is balanced by horizontals above and below, the podium cornice, the continuous columnar plinth, and the entablature. Two secondary horizontal elements within the colonnade - the dado with its double-key fret and the paneled frieze below the architrave — subtly define the building's mass exclusive of the columniation. Royal Cortissoz described York & Sawyer's design as "pure and scholarly" and "spiritually classical."
Another contemporary critic, well aware of Sawyer's preference for elemental classicism, thought he recognized a prototype for the column capitals of the Greenwich Savings Bank - those of the temple of Vesta and Sybil at Tivoli. The limestone cyma reversa molding above the bank's granite base reminded him of a similar molding at the base of the Temple of Vesta in Rome.
Indeed, the rusticated podium supporting a colonnade is characteristic of monumental Roman architecture in the first through the fourth centuries, AD. The spare use of secondary architectural elements — the Greek key fret and paneled frieze - and the rusticated wall surfaces (in contrast to the major order), defining the building's volume, suggests that Sawyer also looked at the French mid-eighteenth century work of Soufflot, J.-A Gabriel, de Wanly, and Ledoux, also inspired by classical antiquity. Using such prototypes, Sawyer was able to create inthe Greenwich Savings Bank one of the finest examples of the academic classical architectural tradition in the country.
Description
Belying its academic classical design, the Greenwich Savings Bank building is of fireproof, steel-frame construction. Photographs taken of the building under construction, and on view in the banking room, show both the steel columns at the building's corners as well as those forming the central ellipse of the banking room.
The exterior is clad with Indiana limestone above a polished pink granite base. The treatment of the facade in the classically-inspired arrangement of podium, major order, and attic, conceals the fact that between the elliptical banking room and the exterior walls the building contains six stories and a basement These are office floors housing banking functions supplemental to the activity in the banking room.
The Broadway Facade. A projecting podium of smooth-faced, rusticated ashlar, eight-columned portico, and attic dominate the Broadway facade. An eared surround, containing both astragal and cable moldings, frames the Broadway entrance and the four pink granite steps which lead up to the heavy bronze double doors cast in classical, alternating, low relief motifs. The soffits are articulated with alternating square and rectangular panels with bead moldings. The square panels contain rosette bosses.
The stone ceiling just beyond the bronze doors - visible when the doors are open — is articulated with two panels flanking a rosette boss incorporating a simple electric light fixture. A sheet-metal (electric) light box sign with the current name of the bank has been inserted within the top of this entrance. The building's address, "1356 BROADWAY," is inscribed on the eared tablet flanked by griffins above the door. On either side of the entrance are placed lead-colored metal plaques bearing the bank's name and its corporate symbol.
Three window openings on either side of the entrance are cut deep into the podium's rusticated surface. Four of these are covered with iron grilles cast in a lattice of entwined cable and set flush with the podium's wall.
The monumental Roman Corinthian order of eight fluted columns, an octastyle, rises from its continuous plinth above the podium. The portico entablature soffits and beams are en guiIloches; between beams the portico ceiling is coffered; each coffer contains a rosette boss. Like the podium below, the greater part of the wall surface between the key fret and the paneled frieze is rusticated, though these channeled blocks are slightly smaller. The wall behind the octastyle is recessed and in it three identical arched windows light the banking room within. Denticulated imposts support the windows' archivolts.
The antae and corner pilasters flanking the octastyle are unfluted; their capitals are an abbreviated variation of the full Corinthian capitals. Within the dado and below the fret, single windows flank the octastyle; these repeat the configuration of those within the portico.
The continuous entablature, like the podium cornice and columnar plinth below, is a major component in uniting all three of these facades. The well-proportioned architrave and frieze support a modillioned cornice and cymatium articulated with lionheads.
The limestone of the attic is smooth faced. The attic inscription is covered with beige sheet metal panels bearing the bank's current name and its corporate symbol. Raised panels, corresponding to the extreme portico columns and corner pilasters below, and a denticulated cornice complete the attic's architectural arrangement.
The West 36th Street Facade. Like the Broadway and Sixth Avenue facades the West 36th Street facade is tripartite - podium, colonnade with entablature, and attic. The rusticated podium is pierced by ten windows, grouped five and five toward the corners of the facade.
Dominating this facade are the nine engaged columns on the continuous plinth atop the podium. There are eight windows in the dado below the fret molding, one between each of the corner and antae pilasters and three between the outermost columns of the colonnade.
As on the Broadway facade, the attic is articulated with raised panels corresponding with the pilasters below. The denticulated cornice supports the attic's coping. There is no signage. Three new windows have been cut through the attic's limestone surface.
The Sixth Avenue Facade. The Sixth Avenue facade is almost a twin of the building's Broadway elevation except that it is the building's narrowest As a result of this reduced width, the design of the facade has been compressed.
Consequently there is no northernmost pilaster and corresponding attic panel above. The projecting podium and portico are narrower, as is the width of the setback at the building's southeast corner.
An employees' entrance is tucked between the podium and the northern lot line behind a high iron picket fence. Bronze double doors in the main entrance have four panels each. The difference in grades between Broadway and Sixth Avenue eliminated the need for steps at the Sixth Avenue entrance; there is just a pink granite sill. Inscribed within the eared tablet above is the address: "985 SIXTH AVENUE." The small window to the south of the podium's projection, a mate to the small window in the Broadway facade, has been included. It, too, is a one-by-one bronze casement and is protected by an iron grille.
The same changes made to the Broadway entrance have been made here: a sheet-metal electric light sign has been inserted within the top of the Sixth Avenue entrance; the lead-colored plaques carrying the banks current name and symbol have been installed on either side of the entrance; and the two windows immediately flanking the entrance have become glazed vitrines.
The window arrangement within the portico is different from that within the Broadway portico. A broad, arched window is flanked by two straight headed windows — a Palladian motif without the customary aediculation, instead of three round-headed windows. This broad window and its sidelights illuminate the eastern portion of the banking room within. The portico columns and flanking pilasters support the entablature.
The Sixth Avenue attic inscription has been covered with beige sheet-metal panels bearing the current name of the bank and its symbol.
Subsequent History
The Greenwich Savings Bank building has seen minimal changes to its physical fabric since the day when it opened nearly seventy years ago. The refitting of certain of the podium windows as vitrines occurred soon after the building opened. The three new aluminum sash windows were inserted into the limestone of the attic on the West 36th Street elevation in 1971 when the computer room was installed on the sixth floor.
The exterior was cleaned in 1979. In 1981 the bank became Metropolitan Savings Bank and the signage was changed. The frieze inscription was removed and the attic inscriptions were covered. Two years later Metropolitan became Crossland Savings Bank and the signage was altered once more. The logos were changed on both the Broadway and Sixth Avenue attic elevations. Lead colored metal plaques, superimposed over the inscriptions flanking the entrances on Broadway and Sixth Avenue, bear the bank's current name. Sheet-metal light boxes have been inserted into the heads of these entrances, again bearing the bank's current name.
- From the 1992 NYCLPC Landmark Designation Report
WEEK 41: B&W – WEALTH
This is the Rundel Memorial Building located in Rochester, NY. This incredible building came into being because a man named Morton W. Rundel left the city $400,000, upon his death in 1911, for the construction of a Library and Fine Arts building.
22 years later, after much deliberation as to how to go about this (and legal battles with Rundel's family) construction began - providing hundreds of much needed jobs to local workers. The building was dedicated in 1935 and is still in use today.
There are many inscriptions carved into the building itself.
My 2 favorites are:
*LITERATURE*
THE STOREHOUSE OF KNOWLEDGE THE RECORD OF CIVILIZATION
THE FULCRUM FOR THE
LEVEL OF PROGRESS
*ART*
INTERPRETER OF NATURE
SOURCE OF EXULTATION
INEXHAUSTIBLE SPRING
FROM WHICH IMAGINATION
DRAWS ITS LIFE
A plaque above the entrance reads:
"BOOKS MINISTER TO MAN
IN SEARCH FOR
THE ENLIGHTENMENT THAT
REVEALS THE MEANING OF LIFE"
Nikon D50, ISO 400, f/10, 1/250, 18-55mm lens @ 19mm
Converted to B&W in PaintSHop Pro X8
#photochallenge.org #photochallenge2016
hey look, a typical anna day. lol
feeling a rush today, i lost my ferret kit today and then the lil beast was behind a book shelf. anyways i found him and im running a bit close to being late for work. so i didnt try very hard with this photo. hope you guys like it, im starting to think this photo sucks but i dont care.
anyways i started a group called : I Think My Photos Suck
please join because you know... we all have those days... :)
FGR: Proverbs
ABC: K is for Knowledge
365: Day 39
This is a detail from the mosaic, "River of Knowledge," at the Cass Avenue Entrance of the Main Library. The creator is Millard Sheets, who designed several mosaics in the Los Angeles area.
HISTORIC AVATAR DECLARATION DAY - 20th October, 1940
The year 1940 was very significant. Satyanarayana Raju - Sathyam, Raju, Sathya, as he was affectionately called by his play mates, classmates, villagers, members of his family and even his teachers revealed his identity, his reality in three phases The first one was in 8th March 1940; the second one on May 23rd and the final Declaration on 20th October, the same year, which brought a total change in the entire town of Uravakonda. Sathya from that day onwards gave up his studies – declared that he was Sai Baba and that his devotees are calling him and that he would carry on his task and left the house and family.
On the twentieth day of October, 1940, Sathya started for school as usual at Uravakonda. The Excise Inspector of the place, Sri Anjaneyulu, who was very much attached to the young Baba, accompanied Him as far as the school gate and reluctantly went home. He seemed to see a superb halo around the face of Baba that day, and he could not take his eyes away from that enchantment. Within a few minutes Baba also turned back to the house. Standing on the outer doorstep, He cast aside the books He was carrying and called out, "I am no longer your Sathya. I am Sai." The sister-in-law came from the kitchen and peeped out; she was almost blinded by the splendour of the halo which she saw around Sai Baba's Head! She closed her eyes and shrieked. Baba addressed her, "I am going. I don't belong to you; Maya (illusion) has gone; My devotees are calling Me; I have My Work. I cannot stay any longer." So saying, He turned and left in spite of her pleadings. The brother hurried home on hearing of this, but Sai Baba only told him, "Give up all your efforts to 'cure' Me. I am Sai. I do not consider Myself related to you." Neighbour Sri Narayana Sastri heard the noise; he listened and realized that it was something serious. He ran in. Seeing the splendour of the halo, he fell at Sai Baba's Feet. He too heard the historic declaration: "Maya has left; I am going; My Work is waiting."
Seshama Raju was non-plussed. He could hardly collect his wits to meet the new situation. A boy, just fourteen, talking of devotees, work, illusion, and the philosophy of "belonging"! He could think of only one plan. Sathya was entrusted to him by his parents, and it was therefore his task to inform them and keep Sathya in the house until they came to Uravakonda for Him.
But Sathya would not step into the house again. He moved out into the garden of Sri Anjaneyulu's bungalow and sat on a rock in the midst of the trees. People came into the garden from all directions bringing flowers and fruits. The very first song which He taught the astonished mass of humanity was an invitation to surrender to the Feet of the Guru who had so mercifully appeared. It also contained a lesson that Baba has always emphasized since then that Bhajan or reverential adoration must be a mental upsurge, not an oral exercise. It ran thus:
Manasa Bhajare Guru Charanam,
Dustara Bhava Sagara Taranam
Guru Maharaj Guru Jai Jai
Sai Natha Sad Guru Jai Jai
"Meditate in thy mind on the Feet of the Guru.
This can take you across the difficult sea of existence in birth after birth." (Sathyam Sivam Sundaram Part I)
I held the hand of Narayana Raju, the then Municipal Commissioner of Bellary and asked, “What is this?” He said, “It is my hand.” I took out the pen from his pocket and asked, “What is this?” “It is my pen”, he said. “You say, it is my hand, my pen, my body, my mind, my senses, etc. The word ‘my’ indicates that you are different from all this. Then who are you? I asked him. Then everyone started thinking, “Yes, what Raju says is correct. We say, this mine and that is mine, but we do not know who we are.” Everybody was silent. They accepted that they did not know their true identity. I told them that I had come down in human form only to make people realise their true identity.
It is the eye that sees and the mind that thinks. (Showing the ring and handkerchief. On what basis can you say that it is a handkerchief? You say, my mind is the basis for all this. What is mind? Whom does it belong to? You do not know. What you think you know, in reality, you do not know, that is your true Self. Make efforts to realise it.
From that day (20th October 1940) onwards, many seekers of Truth started visiting Me. They used to say,”Raju, What You are saying is correct. But how are we to realise our true identity?” People quote from scriptures and talk high philosophy but do not know their real meaning. “You say, this is my ring, my body, my handkerchief, so on and so forth. Then who are you?” I questioned them. They had no answer. Then I started explaining thus: “There are two important aspects that you have to consider, one is Drishyam (seen) and the other is Drastha (seer). Yad Drishyam Thannasyam (all that is seen is bound to perish). So, whatever you is only an illusion. You are Drashta that is your true identity.”
The English lecturer, H.S. Ramana was a noble person. His house was on the way to My school. He used to sit in the front verandah of his house. As soon as he saw Me, he used to call 'Raju!’, take Me into his house and offer Me coffee and snacks. But, I was not interested in these worldly things. Earlier I used to address him as 'Sir’. But, from that day onwards, the worldly relationship of teacher-student had ceased between us. I used to tell him that all that was seen by the eye is merely Drishyam, which was perishable and that one day one had to go beyond and search for the Drastha. From that day onwards wherever I went and whomever I met, I used to teach these higher principles.
The, one day Ramana called Seshama Raju and told him. ”Seshama Raju! Do not trouble yourself much in trying to understand the behaviour of Sathyam. This boy is delving deeper and deeper into the mysteries of life. It is not possible for anybody to fathom His true nature. Let us wait for some time and see”, saying thus, he took Me into his house and offered snacks, coffee, meals, etc., with great love. Poor man! He did not realise that I was never interested in those worldly maters. I did not touch any of those food stuffs. In My view, they were all worldly things which underwent constant change. They were never permanent. I explained to him, “you brought this Upma for Me. How real is this stuff? Only till one consumes it. What happens o it after eating? Nobody can see its shape thereafter. It just disappears. You are all considering these unreal worldly things as real.” Thus, I started teaching them higher Vedantic concepts. H.S.Ramana was astonished at MY knowledge of these higher principles. Till then, he was addressing Me as Raju! Raju!” But, from then on he started addressing Me as ‘Guruji’! Holding My feet, he pleaded with Me “Guruji! Please come to my house.” Those who were witnessing the scene were amazed that this elderly gentleman was holding the feet of this young boy, his student. Then Ramana declared in front of all those people, “Not only me; a day will come when the entire world will fall at His Feet.” The people gathered there on that occasion were all powerful, holding high positions in society. There was a neighbour by name Ramnarayana Sastri, who was an astrologer. He was called in and appraised of all those higher truths of life which I was explaining to them. Sri Sastri was amazed at My knowledge of Vedantic concepts at such a young age and shed tears of joy. One or two drops of tears fell at MY feet. From then onwards, everybody in Uravakonda started addressing Me as Sathya Sai Baba. I told them that I had come only for the purpose of revealing this truth. Unable to comprehend the full truth about My revelations, some of them questioned Me, “How can You declare Yourself to be Sai Baba?’ I just took some flowers in My hand and threw them on the floor. Lo and behold! The flowers arranged themselves as Sathya Sai Baba in Telugu letters. On witnessing this miracle, they were wonderstruck and dumbfounded! Then, everybody started chanting in chorus “Sathya Sai Baba Ki Jai”, “Sathya Sai Baba Ki jai”!
I emphatically told them that this was a name which they themselves had ascribed to Me and, in fact, I had no name at all! I declared thus on the occasion thus:
Know that I am Sai in reality,
Cast off your worldly relationships.
Give up your efforts to restrain Me,
The worldly attachments can no longer bind me,
None, however great he may be, can hold Me. (Telugu Poem)
I got up and started walking away. In the meanwhile, all those assembled there including Ramana and Sastri tried to follow Mw, but to strive for self- introspection and mental transformation. Since I am not the body, none can hold Me. Therefore, I advised them to follow My ideals. Only then can they realise My true nature.
In this vast expanse of the universe, right from the minutest atom to the mightiest, everything is permeated by the Atmic reality. It appears as minutest of the minute and mightiest of the mighty. In fact, the principles of microcosm and macrocosm is the fundamental reality which You have to enquire into. That is why Ramana Maharshi used to say, “Enquire, who you really are?’
You are not a single entity.
You are. In fact, three in one,
The one you think you are, (body)
The one others think you are (mind) and
The one you really are (Atma).
The Atma is known as conscience and the body which consists of the senses is called conscious. The Chaitanya (consciousness) which is present in all, transcends the senses. There is yet another principle that is beyond consciousness. It is called Super consciousness.
In the earlier days, not many people knew who Sai Baba was. He was considered a Muslim saint. When I first returned to Puttaparthi declaring Myself as Sai Baba, people thought that I had taken a Muslim name. But, no one can bind Me to a particular religion like Hinduism or Islam.
The Vaishnavites say that the Lord Vishnu is the greatest
While the Saivaites declare that Lord Siva is the greatest of all. Ganapatyas (the worshippers of Ganapati) declare that Ganapati is the greatest.
The educated say Goddess Sarada is the greatest.
Shaaktas (worshippers of Shakti) proclaim that Goddess Shakthi is the greatest.
My devotees say I am the greatest. Some others say all are one.
People may speak on the basis of their feelings but in truth,
There is only one GOD and that the rest are names. (Telugu Poem)
Different people may ascribe different names to the Atmic Reality and try to define it in different ways. But The underlying Atma Tattwa is one and the same. This truth has to be explained to the people in an understandable language. You can see that thee some houses beyond. In the front portion of the house, you will find a verandah; then a living room and then kitchen. Thereafter, you will find a bathroom and a toilet. Thus, there are different names for different utilities. How did they acquire these names? It is only because they are so divided by walls, for different purposes. But, the truth is they are all parts of the same house. Similarly, different people have different relationships with people like mother, brother, etc. From where did you acquire these relationships? Everything is your making. Remove these barriers. What remains is a vast expanse of oneness. One person refers to Divinity as Atma, another refers it as Brahman and the third one calls it as Vishnu. These are only names ascribed by human beings in the nameless, formless, attributeless Divinty. The Brahma Tattwa is one that has no names ascribed to it.
Where did this Brahma come from? The Atmic consciousness that permeates every living being is referred as Brahman. When it is individualised, it is called conscience. It is also referred to as Jiva. When the Atma Tattwa is encased in a body, it becomes an individual. The individual, the Atma and consciousness – ALL THE THREE ARE ONE AND THE SAME. People think they are different because they are given different names. Remove the names. There is only one Atma Tattwa in every individual. It has no form. It assumes different forms by joining different individuals. Supposing you name this object (showing handkerchief) as Atma. It is a handkerchief in common parlance. But, when you look at it from a spiritual angle, it is an object. I call it a thread. Again, after some time I refer to it as cotton; whether we call it as hand kerchief or thread or cotton, it refers to only one object. Only different names are given to the object. Take for instance the names of Rama and Krishna. Rama was not born with particular name. He was christened Rama only after His birth. Similarly, the name of Krishna. Since He was an embodiment of bliss, He was referred to as Krishna. Akarshana sakkti Iti Krishna( because He attracts, He is Krishna). But, His real nature is Ananda. He is Ananda Swarupa (embodiment of bliss) The same principle has taken different names. This one single principle Ananda is:
Brahmanandam, Parama Sukhadam, Kevalam Jnanamurtim,
Dwandwateetam, Gagana Sadrisham, Tattwamasyadi Lakshyam,
Ekam, Nityam, Vimalam, Achalam, Sarvadhee Sakshibhutam,
Bhavateetam Trigunarahitim
(God is the embodiment of Supreme bliss, He is wisdom absolute, the One without a second, beyond the pair of opposites, expansive and pervasive like the sky, the goal indicated by the Mahavakya Tattwamasi, the eternal, pure, unchanging, the witness of all functions of the intellect, beyond al mental conditions and the three Gunas of Sathwa, Rajas, and Thamas).
Divinity has no attributes. How can one give a name to it? Since it is not possible to assign any particular name to this principle, they named it as Atma. This Atma Tattwa is permeating every individual. It has no specific form. Explaining thus, I told those people that it is only for making them realise this principle that I have come. Then, Seshama Raju put a big question. He was a Telugu Pandit. Whatever question he put, had a certain value. He questioned, “Who are You?’ I answered. “Since you are calling Me as Sathya, I am Sathya. Since you are referring to Me as your brother, I am your brother, Since you call Me as a student, I am a student. By whatever name and form you refer to Me, I assume that name and form. In fact, no one is able to realise the truth, No one has any relationship whatsoever with Me. Call Me by any name, I will answer. If you call Me “Sai”, I will answer. If you call Me, “Baba”, I will respond. By whatever name you call Me, it is the same for Me. All these names are only names ascribed to Me. I have, in fact, come to make you realise thus truth” (DD 20th & 21st October 2003 p 7/12)
Bhagawan Baba Assures us: "Call Me whenever you need Me; I shall be with you". All belong to Me and I belong to all. My only wealth is love. Do not entertain any doubt or weakness. I am ready to give whatever you require. Be courageous. Why fear when I am here? "
Pela distância a que me foi possível captar esta magnífica ave, necessariamente a qualidade fotográfica não é a melhor. Ainda assim não quis deixar de prestar o meu tributo a esta soberba ave de grande porte, actualmente muito ameaçada devido à perseguição humana directa (por ser tida como uma espécie destruidora da caça), bem como pela rarefacção das suas presas principais em zonas desabitadas e inóspitas de que necessita para sobreviver.
Aqui deixo o link da wikipedia para ampliar algo mais o conhecimento sobre esta espécie:
pt.wikipedia.org/wiki/Bufo-real
By the distance at which I was able to capture this fantastic bird, unfortunately the photographic quality is not the best. Even so, I did not want to leave without to pay my tribute to this superb large bird.
Currently this bird is very threatened due to direct human persecution (because it is seen as a destructive species of hunting), as well as by the depletion of their main prey in uninhabited and inhospitable areas that it needs to survive.
Here is the link from wikipedia where you can read something to broaden your knowledge on this species.
A Special Update to the KOM League Flash Report
of
June 22, 2018
In most cases the obituary I’m sharing would have been held over until the publishing of the next Flash Report. However, in the one released yesterday there was a photo of some of the early season pitchers for the 1951 Miami, Oklahoma Eagles. A comment was made that to the “best of my knowledge” that only George Garrison and Roger Fulton remained from that team. To show how knowledge changes, very rapidly, I’m submitting this update.
Shortly after releasing that report I looked on the Internet for information on the surviving members of that Miami team and was shocked to learn that just eight days following the death of Kenneth Campbell his former teammate, Roger Fulton, passed away.
For those who might have an interest I refer you to this site: www.shoshonefuneralservice.com/notices/Roger-Fulton/
Upon pulling up the site you will see a photo of Fulton along with his obituary. On that site is a photo gallery containing 49 images, at least. After seeing those photos of the different stages of his life I sent along the photo that was contained in yesterday’s Flash Report for there were none of him in a baseball uniform among the 49 listed. I found those photos to be very moving and I trust some of you will go there to witness the life of Roger Lloyd Fulton from near the beginning, to the end.
Roger Lloyd Fulton
Beloved father, grandfather, great-grandfather, brother and former Mayor Roger Lloyd Fulton, 86, of Kellogg, Idaho, passed away April 23, 2018 at Mountain Valley of Cascadia of Kellogg. He was born August 28, 1931 in Lead, South Dakota; Roger was the son of Earl and Leone (Orr) Fulton.
Roger attended and graduated from the Rose Lake High School; he also attended the Lewis/Clark State College.
Roger moved to the Silver Valley in 1950 from the Rose Lake area. He married Maxine Fuhriman in 1950 in Rose Lake; they later divorced. Roger moved to Lewiston, Idaho in 1969; he married Alma Knapp on August 6, 1979 in Lewiston; Alma passed away March 14, 2002. In 2010, Roger moved back to the Silver Valley to be near his family.
In earlier years, Roger played professional baseball in Oklahoma City. He had also served as Mayor of the City of Kellogg for twelve years. While residing in Lewiston, Roger had served as Green Superintendent for the Lewiston Country Club.
Roger was a member of the Moose Lodge of Clarkston, Washington and a member of the Kellogg Elks Lodge #1841.
Roger loved and enjoyed his family, golfing, fishing and hunting.
Roger is survived by two children Allen (Debbie) Fulton of Pinehurst, Idaho, Carol (Ron) Jacobs of Rose lake, Idaho; four step-children Judy (Don) Hanks of St. Maries, Idaho, Julie Nelson of Lewiston, Idaho, Jerry (Cathy) Nelson of St. Maries, Idaho and Diana (Lyle) Perry of Oregon; his grandchildren Stacy (Jeff) Kendrick, Travis (Amber) Fulton, Marc (Alma) Edwards, Christa (Jeremy) Gray, Tanna (Craig) Wicks, McKayla Perry, Tyler Perry, Chad (Reva) Nelson and Bret (Kelsie) Nelson; numerous great-grandchildren; one sister Lillian Ackenbach of Spokane, Washington; he is also survived by several nieces and nephews. Roger was preceded in death by his parents, one son Arthur James Fulton, his second wife Alma, one sister Carolyn Sullivan and one brother Bud Fulton.
A Celebration of Roger’s Life will be held on Saturday, May 12, 2018 at 11:00 A.M. at the Kellogg Funeral Chapel of Kellogg. A reception/luncheon will be held at the Kellogg Elks following services.
The family suggests that memorials may be made to Mountain Valley of Cascadia, 601 W. Cameron Ave. Kellogg, Idaho 83837.
One may sign Roger’s online guest book at www.shoshonefuneralservice.com
SHOSHONE FUNERAL SERVICES & CREMATORY KELLOGG, IDAHO is entrusted with service arrangements.