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Story behind: My boyfriend and I have always been in a long distance relationship, writing letters, sending postcards is our thing. But recently due to the global pandemic, our letters never arrive. This inspires me to the glitch art technique used.
Intoxicated by the sight of you, eager to be with you, savouring every moment. So much to say and experience. Anxious to see how it develops further!
A nearly perfect ring of hot, blue stars pinwheels about the yellow nucleus of an unusual galaxy known as Hoag's Object in this image by Hubble's Wide Field and Planetary Camera 2.
The blue ring, which is dominated by clusters of young, massive stars, contrasts sharply with the yellow nucleus of mostly older stars. What appears to be a "gap" separating the two stellar populations may actually contain some star clusters that are almost too faint to see. Curiously, an object that bears an uncanny resemblance to Hoag's Object can be seen in the gap at the one o'clock position. The object is probably a background ring galaxy.
Ring-shaped galaxies can form in several different ways. One possible scenario is through a collision with another galaxy. The blue ring of stars may be the shredded remains of a galaxy that passed nearby. Some astronomers estimate that the encounter occurred about 2 to 3 billion years ago.
For more information, please visit: hubblesite.org/image/1241/news_release/2002-21
Credit: NASA and the Hubble Heritage Team (STScI/AURA);
Acknowledgment: Ray A. Lucas (STScI/AURA)
City main parish church of Saint Giles
Object ID: 49309, Parish square 7
Cadastral Community: Klagenfurt
The Roman Catholic parish church Klagenfurt-Saint Giles stands in the town of Klagenfurt at the lake Wörthersee in Carinthia. The parish church Heiliger Ägidius belongs to the deanery Klagenfurt-Stadt in the diocese Gurk-Klagenfurt. The former city main parish church is under monument protection.
History
On the site of today's St. Egid Church was an older church building, which was mentioned as a vicariate of Maria Saal in 1255 for the first time in a document and 1303 was endowed with parochial rights. 1347 was the first documentary mention of a church "sand Gilgen" (St. Egid). 1519 followed the nomination of three priests at the church of St. Egid in the Schematism and 1540 was a restoration of the church.
The architectural form of the original church is evident from existing maps of the years 1605 and 1649. The church had a Gothic high choir, seven altars, a protruding transept and two spiers with pointed helmets connected by a covered wooden corridor.
From 1563 until the recatholicization in 1600, Protestant services were celebrated in the church. 1571 began with the keeping of baptismal books. From 1593 Johannes Herold was cantor. In 1603 the parish became independent.
Fires destroyed the rectory in 1535 and 1636. The Romanesque charnel house fell victim to the fire in 1636. Earthquakes affected the church in 1571, 1680 and 1688. The damage required in 1690 the demolition of the Romanesque church.
The consecration of the new church was carried out by Bishop Kaspar von Lavant on September 8, 1697. The laying of the foundation stone for the new tower was carried out by the Klagenfurt burgrave J. F. Count Orsini-Rosenberg on July 30, 1692. In 1706 the new ringing sounded for the first time and in 1709 the tower was completed. In 1723 there were renewed fire damages to church and tower. Thereafter, the tower was equipped with a Baroque onion helmet. With a height of 91.7 meters, it is after the parish tower in Villach, the second highest church tower in Carinthia and is considered one of the two landmarks of Klagenfurt. As part of guided tours, the 50-meter-high viewing platform of the watchman gallery can be climbed.
The new church was designed as a four-aisled gallery church with a two-bay square choir. Several barrel vaults with lunette caps rest on stucco-lustro pilasters with richly ornamented capitals. The triumphal arch is indicated by a transverse arch on wall pillars. Four side chapels with cross vaults and Baroque windows complete the building. The galleries feature lunette windows, also from the Baroque period.
Four artistically valuable side altars complete the interior design:
Nepomuk Altar (1822): The altar is made of imitation marble and contains as an image the motif of John the Baptist (1728) by Josef Ferdinand Fromiller and laterally figures of the Holy Family. The altar was donated by Egger-Lodron.
Crucifixion altar (1702). The central picture Crucifixion of Christ was painted in 1607 by Adam Imhof.
Barbara Altar (1702). Main image: Saint Barbara with tower and goblet.
Josef's altar (1699) donated by the Orsini-Rosenberg family. Main picture: Saint Joseph. Main painting: Marriage of Mary (both attributed to the Klagenfurt painter Adam Claus).
1729 followed the construction of the new high altar, which was first replaced in 1742 and 1780 by the until now existing high altar.
Around 1740 Benedikt Bläß created a Baroque pulpit, which may be considered one of the most beautiful in Carinthia; its main theme is the aspect of penance. In 1749, the introduction of the Holy-Head-Devotion was under Lorenz Klein. 1760/61 it came to the attachment of the ceiling frescoes by Fromiller and Mölckh.
The parish had in this time the branch churches Holy Spirit (consecrated in 1639) and Kreuzbergl (consecrated in 1742). 1772 was the abandonment of the cemetery in front of the church, having been the burial place for the whole city. 1780 belonged to St. Egid 9689 people, of which 8344 'communicants'. In 1784, it came to the regulation of the now three city parishes under Emperor Joseph II.
The storm damages from 1817 to 1827 after two hurricanes made a ceiling renovation necessary. In this context, it came in 1827 to the consecration of a new bell. 1832 was the separation of the legal connection from the parish of Gurk cathedral chapter. From 1859 to 1861 the church was restored inside. 1877 was again a renovation of the church tower.
Architect Franz Schachner redesigned the façade in 1893 and since 1895 there is a statue of Maria Lourdes in the northeast of the church. In 1906, Novak built a new organ for the church. In 1909, followed the demolition of the row of houses on the old Ring wall (including the organist's house) towards the hay square.
During the First World War, the bells of the church were removed and transported away. In 1924, the consecration of a new ringing took place, which consisted of the Poor soul, Floriani, Mary, Heroes- and Homeland bell. 1942, the bells were removed except for the Homeland bell again for war purposes. During National Socialism there were severe restrictions on the church, during the heavy bombings in Klagenfurt church and rectory remained largely spared.
In 1932, the church music association was founded at St. Egid. Also in 1932 followed the consecration of the church Christ the King and the new priest's house on the Lend Canal. In 1972, the parish of St. Hemma was created by separating an area in the northwest of St. Egid.
From 1964 to 1965, the new vicarage was built. From 1969 to 1974 the church was renovated inside and from 1982 to 1984 outside including the tower. From 1989 Ernst Fuchs designed the south sacristy as a chapel.
In 1990, the church received a new ringing, in 1992 an organ by the Czech organ builder Rieger-Kloss and in 2006 a total restoration was made. The vicarage was extended from 2006 to 2007 and an underground car park was built.
personalities
The writer Julien Green was buried at his own request in 1998 in the city's main parish church of St. Egid in a chapel designed for him. The tomb adorns a text from his diary of November 1954.
From 1991 to 2010, the Austrian painter Ernst Fuchs created an apocalyptic series of scenes for the south chapel ("Fuchs Chapel").
Stadthauptpfarrkirche Heiliger Egid
Objekt ID: 49309, Pfarrplatz 7
Katastralgemeinde: Klagenfurt
Die römisch-katholische Pfarrkirche Klagenfurt-St. Egid steht in der Stadtgemeinde Klagenfurt am Wörthersee in Kärnten. Die Pfarrkirche Heiliger Ägidius gehört zum Dekanat Klagenfurt-Stadt in der Diözese Gurk-Klagenfurt. Die ehemalige Stadthauptpfarrkirche steht unter Denkmalschutz.
Geschichte
An der Stelle der heutigen St. Egid-Kirche befand sich ein älteres Kirchengebäude, das als Vikariat von Maria Saal 1255 erstmals urkundlich erwähnt und 1303 mit pfarrlichen Rechten ausgestattet wurde. 1347 war die erste urkundliche Erwähnung eines Gotteshauses “sand Gilgen” (St. Egid). 1519 folgte die Nennung von drei Priestern an der Kirche St. Egid im Schematismus und 1540 erfolgte eine Restaurierung der Kirche.
Die Baugestalt der ursprünglichen Kirche ist aus vorhandenen Stadtplänen der Jahre 1605 und 1649 ersichtlich. Die Kirche verfügte über einen gotischen Hochchor, sieben Altäre, ein vorspringendes Querschiff und zwei Türme mit Spitzhelmen, die durch einen überdachten hölzerner Gang miteinander verbunden waren.
Von 1563 bis zur Rekatholisierung im Jahr 1600 wurden in der Kirche evangelische Gottesdienste gefeiert. 1571 begann man mit der Führung von Taufbüchern. Ab 1593 war Johannes Herold Kantor. 1603 wurde die Pfarre selbständig.
Brände zerstörten das Pfarrhaus 1535 und 1636. Der romanische Karner fiel dem Brand im Jahr 1636 zum Opfer. Erdbeben betrafen die Kirche 1571, 1680 und 1688. Die Schäden machten 1690 den Abbruch der romanischen Kirche erforderlich.
Die Einweihung der neuen Kirche erfolgte durch Bischof Kaspar von Lavant am 8. September 1697. Die Grundsteinlegung für den neuen Turm nahm der Klagenfurter Burggraf J. F. Graf Orsini-Rosenberg am 30. Juli 1692 vor. 1706 erklang erstmals das neue Geläute und 1709 erfolgte die Fertigstellung des Turms. 1723 kam es zu neuerlichen Brandschäden an Kirche und Turm. Danach wurde der Turm mit einem barocken Zwiebelhelm ausgestattet. Mit einer Höhe von 91,7 Metern ist er nach dem Stadtpfarrturm in Villach der zweithöchste Kirchturm Kärntens und gilt als eines der beiden Wahrzeichen von Klagenfurt. Im Rahmen von Führungen kann die 50 Meter hohe Aussichtsplattform der Türmergalerie bestiegen werden.
Die neue Kirche wurde als vierjochige Emporenkirche mit einem zweijochigen quadratischen Chor ausgeführt. Mehrere Tonnengewölbe mit Stichkappen ruhen auf Stucco-lustro-Pilastern mit reich verzierten Kapitellen. Der Triumphbogen wird durch einen Gurtbogen auf Wandpfeilern angedeutet. Je vier Seitenkapellen mit Kreuzgewölben und barocken Fenstern schließen den Bau ab. Die Emporen verfügen über Lünettenfenster, die ebenfalls aus der Barockzeit stammen.
Vier künstlerisch wertvolle Seitenaltäre runden die Innenausstattung ab:
Nepomuk-Altar (1822): Der Altar ist aus Kunstmarmor und enthält als Aufsatzbild das Motiv Johannes der Täufer (1728) von Josef Ferdinand Fromiller und seitlich Figuren der Heiligen Familie. Der Altar wurde von Egger-Lodron gestiftet.
Kreuz-Altar (1702). Das Mittelbild Kreuzigung Christi wurde 1607 von Adam Imhof gemalt.
Barbara-Altar (1702). Hauptbild: Heilige Barbara mit Turm und Kelch.
Josefs-Altar (1699) gestiftet von der Familie Orsini-Rosenberg. Hauptbild: Heiliger Josef. Aufsatzbild: Vermählung Mariens (beide dem Klagenfurter Maler Adam Claus zugeordnet).
1729 erfolgte die Errichtung des neuen Hochaltars, der bereits 1742 erstmals und 1780 durch den seither bestehenden Hochaltar ersetzt wurde.
Um 1740 schuf Benedikt Bläß eine Barockkanzel, die als eine der schönsten in Kärnten angesehen werden darf; ihr Hauptthema ist der Aspekt der Buße. 1749 war die Einführung der Heilig-Haupt-Andacht unter Lorenz Klein. 1760/61 kam es zur Anbringung der Deckenfresken von Fromiller und Mölckh.
Die Pfarre verfügte in dieser Zeit über die Filialkirchen Heiliger Geist (geweiht 1639) und Kreuzbergl (geweiht 1742). 1772 erfolgte die Auflassung des Friedhofs vor der Kirche, der Begräbnisstätte für die ganze Stadt war. 1780 gehörten zu St. Egid 9689 Personen, davon 8344 ‘Kommunikanten’. 1784 kam es zur Regulierung der inzwischen drei Stadtpfarren unter Kaiser Joseph II.
Die von 1817 bis 1827 entstandenen Sturmschäden nach zwei Orkanen machten eine Deckenrenovierung notwendig. In diesem Zusammenhang kam es 1827 zur Einweihung einer neuen Glocke. 1832 erfolgte die Lösung der rechtlichen Verbindung der Pfarre vom Gurker Domkapitel. Von 1859 bis 1861 wurde die Kirche innen restauriert. 1877 erfolgte neuerlich eine Renovierung des Kirchturms.
Architekt Franz Schachner gestaltete 1893 die Fassade neu und seit 1895 steht im Nordosten der Kirche eine Maria-Lourdes-Statue. 1906 baute Novak eine neue Orgel für die Kirche. 1909 folgte die Schleifung der Häuserreihe an der alten Ringmauer (u. a. das Organistenhaus) zum Heuplatz.
Im Ersten Weltkrieg wurden die Glocken der Kirche abgenommen und abtransportiert. 1924 fand die Einweihung eines neuen Geläutes statt, das aus der Armenseelen-, Floriani-, Marien-, Helden- und Heimatglocke bestand. 1942 wurden die Glocken mit Ausnahme der Heimatglocke wieder für Kriegszwecke abtransportiert. Während des Nationalsozialismus gab es starke Beschränkungen für die Kirche, bei den schweren Bombardements in Klagenfurt blieben Kirche und Pfarrhof weitgehend verschont.
1932 kam es zur Gründung des Kirchenmusikvereins zu St. Egid. Ebenfalls 1932 erfolgte die Weihe der Christkönigskirche und des neuen Priesterhauses am Lendkanal. 1972 entstand die Pfarre St. Hemma durch Abtrennung eines Gebiets im Nordwesten von St. Egid.
Von 1964 bis 1965 wurde der neue Pfarrhof errichtet. Von 1969 bis 1974 die Kirche innen und von 1982 bis 1984 außen einschließlich des Turms renoviert. Ab 1989 gestaltete Ernst Fuchs die Südsakristei als Kapelle.
1990 erhielt die Kirche ein neues Geläut, 1992 eine Orgel von der tschechischen Orgelbaufirma Rieger-Kloss und im Jahre 2006 wurde eine Gesamtrestaurierung vorgenommen. Der Pfarrhof wurde 2006 bis 2007 erweitert und eine Tiefgarage errichtet.
Persönlichkeiten
Der Schriftsteller Julien Green wurde 1998 auf eigenen Wunsch in der Stadthauptpfarrkirche St. Egid in einer für ihn gestalteten Kapelle beigesetzt. Das Grab ziert ein Text aus seinem Tagebuch vom November 1954.
Der österreichische Maler Ernst Fuchs gestaltete 1991 bis 2010 eine apokalyptische Szenenfolge für die Südkapelle („Fuchs-Kapelle“).
In 1996, Southern Water began work on a reservoir at Testwood to store water for people living in and around Southampton. Excavations on site revealed a significant amount of prehistoric activity. This bone object was found near a section of Iron Age revetment.
Learn more about the site at: www.wessexarch.co.uk/our-work/testwood-lakes
ID: 003655
This picture is (c) Copyright Frank Titze, all rights reserved.
It may NOT be reproduced, copied, edited, published, transmitted or uploaded in any way without my permission.
See more pictures on frank-titze.art.
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here's the His + Hers show that is currently part of "binding constant" at rare device
embroidery on canvas, vintage embroidery hoops, approx. 10" x 6" each
this is the statement for the show:
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
His + Hers
a show about my grandparents
My grandfather passed away in July 2006. My grandmother in October of 2008. Apart from my parents no 2 people had a more profound influence on me growing up. Their personalities, quirks, likes, dislikes were woven into my life in such a seamless way. In many ways I owe my artwork to them. My grandmother as she taught me how to crochet and knit and was an avid embroiderer. My grandfather as he taught me to love tools and how to take things part. Both of them taught me to be curious and work hard [traits that serve artmaking well].
One of the functions of making art for me is acknowledging the past – connecting with and seeking to understand the nostalgic. I also often look to the “mundane” and the “domestic” - searching for small moments and objects that ultimately signify something greater than what they appear to be. I am also keenly interested in gender – what signifies and constitutes something as masculine or feminine? In rendering objects that may be seen as “male” or “female” can I alter or emphasize the perception, or can I create some sort of hybrid take on them as objects?
In my work I often leave long threads dangling – to me these threads emphasize the physicality and “drawing” nature of the work [they also pull the work away from “straight” embroidery]. The threads elude to time passing. In some instances they begin to hint at decay, things fraying and pulling at the seams. In my mind our memories start to have dangling threads as time passes – things are not as clear – they become fuzzy... The threads become longer. In other instances the thread highlights connections – moments where similarities are shared. And for me ultimately thread is a drawing device – like a pencil or pen – the thread simply has a different historical reference point than charcoal or ink. [The connotations of “women’s work” and “craft” are also things that intrigue me].
These pieces are about what I remember as a child with my grandparents. What they wore, what they drove, what they played, where cancer invaded their lungs. Although they are in essence highly personal there is, I hope, intrinsically a universality to them as well. I’m sure there are people who have their own memories or associations with whisks, pliers, track suits, and American Matzo. These are just pieces of his and her story.
An unknown object buzzes the ISRO PSLV rocket Carrying Aditya L1 into space, 02.09.2023. It's extremely fast. Watch closely in this video, bottom right of the rocket it appears as a dot and grows in size as it comes closer to the rocket
Here is my analysis of this event astronomymagic.wordpress.com/about/ufo-inspects-rocket/
Salvador Domingo Felipe Jacinto Dalí i Domènech, Rostre [Boca] de Mae West utilitzat com apartament [sofà] (Face [Mouth] of Mae West Which Can Be Used as an Apartment [Sofa]), c. 1974, Instal·lació (Installation), 502 x 760 x 587 cm, Teatre-Museu Dalí, © Salvador Dalí, Fundació Gala-Salvador Dalí, Figueres, 2014
"Your mouth is like a dream that i will turn into a red sofa."
Altro titolo - Another title: The woman-object
Oil on canvas
11" x 14"
June 2015
None of This Was Real is a series of oil paintings that portrays fictional scenes of objects randomly generated by a computer program. These objects are a product of code written by the artist and rendered using a global illumination ray tracing engine. They are effectively subjects for still life. But there was never any life – any reality – in the subjects. Everything was virtual and simulated.
The software for creating the reference images was written in Processing (processing.org), with the additional help of toxiclibs (toxiclibs.org) for geometry creation and Sunflow (sunflow.sourceforge.net) for the global illumination rendering engine.