View allAll Photos Tagged Problematic
Tokyo Tower (東京タワー Tōkyō tawā?) is a communications and observation tower located in Shiba Park, Minato, Tokyo, Japan. At 333 meters (1,091 ft), it is the tallest self-supporting steel structure in the world and the tallest artificial structure in Japan. The structure is an Eiffel Tower-inspired lattice tower that is painted white and international orange to comply with air safety regulations.
Built in 1958, the tower's main sources of revenue are tourism and antenna leasing. Over 150 million people have visited the tower since its opening. FootTown, a 4-story building located directly under the tower, houses museums, restaurants and shops. Departing from here, guests can visit two observation decks. The 2-story Main Observatory is located at 150 meters (492 ft), while the smaller Special Observatory reaches a height of 250 meters (820 ft).
The tower acts as a support structure for an antenna. Originally intended for television broadcasting, radio antennas were installed in 1961 and the tower is now used to broadcast both signals for Japanese media outlets such as NHK, TBS and Fuji TV. Japan's planned switch from analog to digital for all television broadcasting by July 2011 is problematic, however. Tokyo Tower's current height is not high enough to adequately support complete terrestrial digital broadcasting to the area. A taller digital broadcasting tower known as Tokyo Sky Tree is currently planned to open in 2011.
Tokyo Tower (東京タワー Tōkyō tawā?) is a communications and observation tower located in Shiba Park, Minato, Tokyo, Japan. At 333 meters (1,091 ft), it is the tallest self-supporting steel structure in the world and the tallest artificial structure in Japan. The structure is an Eiffel Tower-inspired lattice tower that is painted white and international orange to comply with air safety regulations.
Built in 1958, the tower's main sources of revenue are tourism and antenna leasing. Over 150 million people have visited the tower since its opening. FootTown, a 4-story building located directly under the tower, houses museums, restaurants and shops. Departing from here, guests can visit two observation decks. The 2-story Main Observatory is located at 150 meters (492 ft), while the smaller Special Observatory reaches a height of 250 meters (820 ft).
The tower acts as a support structure for an antenna. Originally intended for television broadcasting, radio antennas were installed in 1961 and the tower is now used to broadcast both signals for Japanese media outlets such as NHK, TBS and Fuji TV. Japan's planned switch from analog to digital for all television broadcasting by July 2011 is problematic, however. Tokyo Tower's current height is not high enough to adequately support complete terrestrial digital broadcasting to the area. A taller digital broadcasting tower known as Tokyo Sky Tree is currently planned to open in 2011.
The long series of films, videos, engaged interventions in public space, performances, and object installations provide a consistent testimony to the power of the themes reflected. For many years, Vladimír Turner has persistently pointed out problematic, and often strongly cautionary, moments of Anthropocene civilisation in various places around the world. The enchanted mechanism of consumption-production, the deceitfulness of marketing strategies, the extraction of non-renewable resources, the brutal devastation of the landscape, mass tourism, the misconception of the possibility of shackling the organism of a big city to a structure of order, gentrification, homelessness, inhumane methods of political systems. In fact, the theme of the essence of pure humanity, personal and social responsibility towards the landscape, nature, and a sustainable way of life based on local self-sufficiency is recalled again and again. He points out the themes through matter-of-factly simple acts. This makes the awareness of the necessity of individual engagement all the more intense. Although his conceptual works have an activist character, often dealing with the subversion of paradox, the expressive power of the pure artistry cannot be ignored. Through his installation for the Veleslavín station, Vladimír Turner verbalises the sculptural situation with the themes of sustainable mobility, fossil fuels, international trade, the relationship of motoring vs. train transport, and exodus and nomadism as consequences of climate change. He chooses the form of a specifically modified Volvo car, with an appeal to the constant presence of the potential of a natural human resource. The ideas of the installation are directly related to the genesis of the artist’s intended film, in which he finds himself in the role of an aborigine, the last survivor on planet Earth, who begins to build everything necessary to live from the garbage all around him. “System Change! Not Climate Change!”
Jan Rasch
Newchurch is in the middle of a very narrow lane, which barely widens in the village, and so parking here is problematic. I managed to get a pace on the road, though I do think there is a small car park beside the church, but driving along the pavement didn't seem right to me.
All Saints sits on the edge of a cliff, and the road out of the village falls away beside it, making it a very dramatic location.
The tower, half clapboard and half soft sandy-coloured stone looks in poor repair. The clapboard, anyway. And entrance to the church is through the tower with the bellringing ropes hanging overhead.
Inside, it is a well kept church, some nice 19th century glass, a rose window in the west wall, but too high for me to get a good shot. The lectern is a fine golden Pelican in her Piety, one of the best I have seen, and hanging in the rood loft stairs, now leading nowhere, is a fine brass lamp.
As I left just before four, the church was locked, and my crawling for the day was done, so I repaired to the Pointer Inn next door for a fine pint of Hophead.
---------------------------------------------
The church celebrated its 900th anniversary in 1987 and is a fine example of a Norman Church with some remaining evidence of its pre-Norman origins.
It is one of only three English churches with an ancient sanctuary door still in place (Durham and Westminster are the other two). Over the South door there is the crest of William III (of Orange) dated 1700 with the face of the Lion Rampant being an image of King Willliam.
The Dillington Mortuary Chapel has a number tombs whose covering slabs have unusually well preserved and finely engraved crests and lettering
The following is extracted from the Quinquennial Report published in October 2011 by the Church Architect, Mr Ian G Smith.
Standing prominently at the north end of Newchurch village, All Saints Church is visible from many points in the central belt of the Island; being cruciform in plan, with a south porch and tower it dominates the Arreton Valley.
One of six Churches given by William FitzOsbern to Lyra Abbey in Normandy, it was given to the See of Bristol by Henry VIII; All Saints has throughout its life had many additions, in the 15th, 16th and 17th centuries; the Victorian restoration of 1883, by AR Barker, remodelled part of the interior.
The original Church is still quite easily identifiable in the Nave, North and South Aisles, the crossing and the north wall of the Chancel, with the later extensions of the South Transept and the Chancel evident in the treatment of the windows which are wider and of three light style.
Constructed of random stone under a steeply pitched and tiled roof, the modest exterior is off set by the surprisingly grand interior; with a soaring timber-clad Nave roof, and massive stone columns with octagonal piers; with double chamfered arches progressing to the crossing and the Chancel.
The square tower over the stone rendered South Porch, being of timber weather-boarding (around 1800) is unusual on the Island, housing the six bell peal, four of which were founded in 1810, the other two are of 16th and 17th century vintage.
Major benefactors of the Church were the Dillington family who have laid 8 vaults in the north transept and also in the south transept; and of historical interest within the Church are the oak pulpit of 1725, the oak door from the Porch, the Pelican Lectern (l7thC), the wall tablets, the stained glass east window by Kempe (1909), the Creed and Commandments boards in cusped Gothic frames on the west wall; and the panel over the south door with the royal arms of William III, and dated 1700.
Listing; Listed Grade I.
Ref SZ58NE
1352- 0/1/144
18/01/67
High Street (East Side) – Church of All Saints – Listed as Grade I
The listing in the Twenty Ninth List of Buildings of Special Architectural and Historic Interest, dated 14 February 1992, of the Isle of Wight, gives a particularly detailed description of the history of the Church, the windows, and the historic features, relying on much of the information contained in the Buildings of England, David W. Lloyd and Nikolaus Pevsner, Hampshire and the Isle of Wight this has been updated now having a separate volume on the Isle of Wight of 2006.
High Street (East side) -Dillington Sundial in All Saints Churchyard — listed Grade II
Ref: SZS8NE
1352-0/1/145
Sundial, 1678 by Robert Marks of London, Baluster shaped stone base to sundial, about 1.000mm in height on plinth of three square stone steps. The sundial is missing, the sundial originally stood on the bowling green at Knighton Gorges, but following the demolition of the great house, Squire Bisset gave it to the parish in 1826, when it was erected in the Churchyard, historical interest as one of the early relics of Knighton Gorges.
On Tuesday 15 July 2025, officers and partners across the City of Manchester came together to patrol the city’s most problematic areas in a bid to tackle anti-social behaviour (ASB).
As part of the recently launched Home Office Safe4Summer initiative, which seeks to identify hotspot areas for ASB and tackle them with high-visibility and problem-solving policing, GMP officers and partners from Manchester City Council took to Piccadilly Gardens.
The newly formed Piccadilly Gardens Team, made up of eight police constables and Sergeant Jon Wyatt, was formed to front a multi-agency response designed to tackle ASB, and make Piccadilly Gardens hostile to criminality and a safer space for people to live, work and socialise.
During their patrol, specialist officers acted on intelligence and within minutes, uncovered two concealed bladed articles from the area. Police dog Kylo, was also on hand, aiding officers in the search for drugs and weapons.
A total of eight arrests were made within the gardens over the course of the day, for a range of offences including immigration offences, public order, robbery, and breach of Criminal Behaviour Order (CBO). Partners including Manchester City Council, CityCo, TfGM and Travelsafe joined GMP officers and staff on the ground alongside councillors Joan Davies and Pat Karney.
Councillor Garry Bridges, Deputy Leader of Manchester City Council, said: "As a council we work hard to ensure a positive experience for residents, visitors and businesses in Piccadilly Gardens, which is a much used and important gateway at the heart of the city centre.
“Together with our Neighbourhood Team, Licensing and Out of Hours Team, Anti-Social Behaviour Action Team and Cleansing Team we joined our colleagues at GMP to engage with businesses, residents and visitors in Piccadilly Gardens.
“We're really pleased to support these partnership action days with GMP, which demonstrate our joint commitment to making Piccadilly Gardens a safe and welcoming public space."
Chief Inspector Michael Tachauer co-ordinated the operation, deploying specialist officers to conduct sweeps with multiple weapons found hidden on roofs and in planters.
Chief Inspector Tachauer said: “Maintaining a good relationship with local businesses and our partners is key, as they are our eyes and ears on a daily basis. We meet and discuss issues once a week, seeking to problem-solve and focus on where we can make the biggest difference across the city.
“This day of action is just one example of the ongoing work our officers are carrying out every day, as part of our commitment to make Piccadilly Gardens a safer place for everyone who lives, works or visits the area”.
Bee In the Loop is your direct line to your neighbourhood policing team and will keep you in the loop about what is happening on your street and in your local community. Sign up now to receive free text or email alerts – www.beeintheloop.co.uk
To contact Greater Manchester Police for a less urgent matter or make a report online please visit www.gmp.police.uk.
You should call 101, the national non-emergency number, to report crime and other concerns that do not require an emergency response.
Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.
You can also call anonymously with information about crime to Crimestoppers on 0800 555 111. Crimestoppers is an independent charity who will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give evidence.
The exhibition of the "Masterpieces" of the Tervuren. The lighting was very dark so photos were problematic.
The exhibition of the "Masterpieces" of the Tervuren. The lighting was very dark so photos were problematic.
Newchurch is in the middle of a very narrow lane, which barely widens in the village, and so parking here is problematic. I managed to get a pace on the road, though I do think there is a small car park beside the church, but driving along the pavement didn't seem right to me.
All Saints sits on the edge of a cliff, and the road out of the village falls away beside it, making it a very dramatic location.
The tower, half clapboard and half soft sandy-coloured stone looks in poor repair. The clapboard, anyway. And entrance to the church is through the tower with the bellringing ropes hanging overhead.
Inside, it is a well kept church, some nice 19th century glass, a rose window in the west wall, but too high for me to get a good shot. The lectern is a fine golden Pelican in her Piety, one of the best I have seen, and hanging in the rood loft stairs, now leading nowhere, is a fine brass lamp.
As I left just before four, the church was locked, and my crawling for the day was done, so I repaired to the Pointer Inn next door for a fine pint of Hophead.
---------------------------------------------
The church celebrated its 900th anniversary in 1987 and is a fine example of a Norman Church with some remaining evidence of its pre-Norman origins.
It is one of only three English churches with an ancient sanctuary door still in place (Durham and Westminster are the other two). Over the South door there is the crest of William III (of Orange) dated 1700 with the face of the Lion Rampant being an image of King Willliam.
The Dillington Mortuary Chapel has a number tombs whose covering slabs have unusually well preserved and finely engraved crests and lettering
The following is extracted from the Quinquennial Report published in October 2011 by the Church Architect, Mr Ian G Smith.
Standing prominently at the north end of Newchurch village, All Saints Church is visible from many points in the central belt of the Island; being cruciform in plan, with a south porch and tower it dominates the Arreton Valley.
One of six Churches given by William FitzOsbern to Lyra Abbey in Normandy, it was given to the See of Bristol by Henry VIII; All Saints has throughout its life had many additions, in the 15th, 16th and 17th centuries; the Victorian restoration of 1883, by AR Barker, remodelled part of the interior.
The original Church is still quite easily identifiable in the Nave, North and South Aisles, the crossing and the north wall of the Chancel, with the later extensions of the South Transept and the Chancel evident in the treatment of the windows which are wider and of three light style.
Constructed of random stone under a steeply pitched and tiled roof, the modest exterior is off set by the surprisingly grand interior; with a soaring timber-clad Nave roof, and massive stone columns with octagonal piers; with double chamfered arches progressing to the crossing and the Chancel.
The square tower over the stone rendered South Porch, being of timber weather-boarding (around 1800) is unusual on the Island, housing the six bell peal, four of which were founded in 1810, the other two are of 16th and 17th century vintage.
Major benefactors of the Church were the Dillington family who have laid 8 vaults in the north transept and also in the south transept; and of historical interest within the Church are the oak pulpit of 1725, the oak door from the Porch, the Pelican Lectern (l7thC), the wall tablets, the stained glass east window by Kempe (1909), the Creed and Commandments boards in cusped Gothic frames on the west wall; and the panel over the south door with the royal arms of William III, and dated 1700.
Listing; Listed Grade I.
Ref SZ58NE
1352- 0/1/144
18/01/67
High Street (East Side) – Church of All Saints – Listed as Grade I
The listing in the Twenty Ninth List of Buildings of Special Architectural and Historic Interest, dated 14 February 1992, of the Isle of Wight, gives a particularly detailed description of the history of the Church, the windows, and the historic features, relying on much of the information contained in the Buildings of England, David W. Lloyd and Nikolaus Pevsner, Hampshire and the Isle of Wight this has been updated now having a separate volume on the Isle of Wight of 2006.
High Street (East side) -Dillington Sundial in All Saints Churchyard — listed Grade II
Ref: SZS8NE
1352-0/1/145
Sundial, 1678 by Robert Marks of London, Baluster shaped stone base to sundial, about 1.000mm in height on plinth of three square stone steps. The sundial is missing, the sundial originally stood on the bowling green at Knighton Gorges, but following the demolition of the great house, Squire Bisset gave it to the parish in 1826, when it was erected in the Churchyard, historical interest as one of the early relics of Knighton Gorges.
Bill size is problematic but bill size can be very variable.
See LIST in A Guide to Shorebirds.
The wings are longer than the tail ( wing point) and the primary projection is long
ROMA ARCHEOLOGIA e RESTARUO ARCHITETTURA: "The Templum Pacis" & "Galen & Peri Alupias"; s.v., P. L. Tucci & M. Nicholls (2013-14); Roger Pearse, V. Bourdon-Millot & A. Pietrobelli (2005-13); etc.
___
Breve traduzione in italiano: Una nuova ricerca delle Biblioteche del Tempio della Pace e la nuova scoperta del medico romano Galeno antico manoscritto "Peri alupias" (2005-14).
___
Note: When attempting to define the term "Peri alupias" in English, problematically, a number of recent scholarly works briefly discussing the term have had several interpretations of the definition of Galen's term: "Peri alupias (Avoiding Distress)"; "Peri alupias (On the Avoidance of Grief)"; & "Peri Alupias (On Not Being Depressed), "etc.
Fonte | foto | source: Matthew Nicholls, JRS MARCH 2013 (see below).
s.v.,
-- Prof. Arch. Pier Luigi Tucci, The Forma Urbis and the Templum Pacis Work in progress on the Severan Marble Plan of Rome & Nuove osservazioni sull’architettura del Templum Pacis (2009, 2012 & 2014).
Tucci 1): The Templum Pacis and its library
www.classics.upenn.edu/events/2014/clst-colloquium/pier-l...
The Templum Pacis, a monumental building dedicated by Vespasian in AD 75 near the Forum of Augustus, was remodeled under Domitian and eventually restored by Septimius Severus after the fire of AD 192. Taking into consideration the archaeological evidence, my survey sheds new light on the architecture and function of this complex, as opposed to the reconstruction presented in the exhibition ‘La Biblioteca Infinita’, on view at the Colosseum until October 2014. In particular, I will focus on the library of the Templum Pacis and explain why it should be identified with the great hall towards the Via Sacra that before my survey was wrongly regarded as a Severan addition. I will highlight the architectural similarities between the library of Peace and the library of Apollo on the Palatine hill, and reconsider the information on books and libraries provided by Galen in his treatise On the avoidance of grief.
Location: Claudia Cohen Hall, Room 402, 4:30 pm
Event Date: Sep 11, 2014
Organization: Department of Classical Studies at the University of Pennsylvania
Tucci 2). Reconstruction of the Templum Pacis, with comments on the exhibition 'La Biblioteca Infinita' at the Colosseum (Rome, March-October 2014).
PS - Not mentioned in the catalog:
1) www.academia.edu/2013333/New_fragments_of_ancient_plans_o...
2) www.academia.edu/1542016/Red-Painted_Stones_in_Roman_Arch...
3) Galen (cf. page 276; with few exceptions, the authors are unaware of Galen's newly-rediscovered Peri Alupias).
'Sono venuti cosi' formandosi monopoli e oligopoli su gruppi di monumenti da parte di determinate istituzioni o meglio di individui all'interno di esse, che impediscono molte volte a studiosi italiani e stranieri di dispiegare la ricerca, con danno per gli studi. E se qualche outsider rispetto a quei poteri riesce, cio' nonostante, a elaborare una propria proposta, diversa o non coincidente con quella ufficialmente accreditata, essa viene maltrattata in base a un malcelato principio di lesa maestà, evidente segnale della nostra arretratezza, e magari poi riconosciuta senza neppure ricordarla'
(A. Carandini, Atlante di Roma Antica (Milan 2012) vol. 1, p. 39).
Tucci 3). Nuove osservazioni sull’architettura del Templum Pacis
Updating (March 2014). For a desperate attempt to dismiss my observations on the Templum Pacis, cf. R. Meneghini in 'La Biblioteca Infinita.' I confirm that in the rear wall of the SE portico of the Templum Pacis there are no recesses for the wooden trusses envisioned by Meneghini; he simply avoids to mention their absence. Therefore, his comments on the fragments of the attic and on the down spouts are useless. I also confirm that the lowermost courses of bricks in the hall behind the Forma Urbis date to the Flavian age (another detail overlooked by Meneghini).
More Info: in F. Coarelli (ed.), Divus Vespasianus. Il Bimillenario dei Flavi (Milan 2009), catalogue of the exhibition on the Flavian dynasty (Rome, March 2009 - January 2010) 158-167.
Prof. Pier Luigi Tucci, The Forma Urbis and the Templum Pacis Work in progress on the Severan Marble Plan of Rome & Nuove osservazioni sull’architettura del Templum Pacis (2009, 2012 & 2014), in:
Prof. Pier Luigi Tucci, ACADEMIA. EDU (09|2014).
johnshopkins.academia.edu/PierLuigiTucci
-- Dr. Matthew Nicholls, Galen and Libraries in the Peri Alupias, This article examines the implications of Galen’s newly-rediscovered Peri Alupias (On Consolation from Grief) for our understanding of the function and contents of public libraries in late second-century A.D. Rome. As a leading intellectual gure at Rome, Galen’s detailed testimony substantially increases what we know of imperial public libraries in the city. In particular, the article considers Galen’s description of his use of the Palatine libraries and a nearby storage warehouse, his testimony on the contents, organization, and cataloguing of the books he found there, and his use of provincial public libraries for the dissemination of his own works.
More Info: JRS MARCH 2013, pp. 1-20.
Dr. Matthew Nicholls, ACADEMIA. EDU (09|2014).
www.academia.edu/565335/Galen_and_Libraries_in_the_Peri_A...
-- Dr. Antoine PIETROBELLI, Galien agnostique : un texte caviardé par la tradition. The Galen’s manuscript which I rediscovered in Thessaloniki in 2005, is far from having given up all its secrets yet. The Thessalonicensis Vlatadon 14 is the only one to preserve the whole Greek text of Galen’s last treatise : On my Own Opinions. This book starts with Galen’s opinion about the gods. But this passage, which were only known through a latin and a hebrew translation before, had been rewritten by the Nestorian translators from Bagdad. Thus the Greek text gives new evidence on Galen’s religion to better define his agnosticism and assess its significance. Revue des études grecques 126, 2013, p. 103-135.
Dr. Antoine PIETROBELLI, Antoine PIETROBELLI, Université de Reims Champagne-Ardenne, Sciences Humaines, Faculty Member. ACADEMIA.EDU [09|2014].
univ-reims.academia.edu/AntoinePIETROBELLI
-- Dr. Roger Pearse, How the lost “Peri Alupias” by Galen was found, Roger Pearse Blog (11 June 2011): I have received an email from Veronique Bourdon-Millot [& Antione Pietrobelli 2005] (telling the story of how this lost work was found. I have made an English translation of what she says, and, by permission, give the relevant portion here.
Dr. Roger Pearse, How the lost “Peri Alupias” by Galen was found, Roger Pearse Blog (11 June 2011).
www.roger-pearse.com/weblog/2011/06/11/how-the-lost-peri-...
-- Dr. Roger Pearse, Books, libraries, codices and punctuation in Rome in Galen’s “Peri Alupias”; Roger Pearse Blog (11 June 2011): Galen’s Peri Alupias, (On the Avoidance of Grief), contains many interesting statements about the destruction of libraries in the fire. The following excerpts are from the translation by Clare K. Rothschild and Trevor W. Thompson [note1], of the fire and its aftermath.
Dr. Roger Pearse, Books, libraries, codices and punctuation in Rome in Galen’s “Peri Alupias”; Roger Pearse Blog (30 May 2011).
www.roger-pearse.com/weblog/2011/05/30/books-libraries-co...
-- Prof. Véronique BOUDON MILLOT, "The Library and the Workshop of a Greek Scholar in the Roman Empire: New Testimony from the recently discovered Galen's treatise Peri alupias," in Asklepios. Studies on Ancient Medicine, Acta Classica Supplementum II, edited by Louise Cilliers, 2008, p. 7-18.
www.paris-sorbonne.fr/article/boudon-millot-veronique?let...
The exhibition of the "Masterpieces" of the Tervuren. The lighting was very dark so photos were problematic.
A Tameside policing operation has cracked down on ASB with proactive patrols tackling everything from drug use to problematic street drinking.
A proactive policing operation was launched in June, with funding providing extra patrols across Ashton-under-Lyne and surrounding areas identified as having repeat offences, including local transport hubs and shopping spots.
Officers target these areas at peak times and further undertake disruption visits to pre-emptively stop incidents.
The operation has seen a crackdown and multiple actions and positive outcomes. July, August, and September saw a range of results in Ashton town centre, including 12 arrests, 28 stop-searches, 33 public space protection order warnings issued, and 30 logs responded to.
As an example of the reduction in quarter three of this year, August reported 30 incidents of ASB, while September recorded 10 – showing the positive effects of the ongoing work.
The operation has meant more patrols have been targeting the issues that the public care about and ensuring that criminals and anti-social behaviour are stopped in their tracks.
Tameside work.
As part of anti-social behaviour week, on Wednesday, neighbourhood officers in Ashton town centre secured two arrests on suspicion of possession of a Class B drug, which resulted in street cautions.
Further cautions were issued for someone smoking cannabis in public, while other people were provided with words of advice.
Sergeant Rob Froggatt, from GMP’s Tameside district, said: “People want to see officers out and about in the community, engaging with the public, and locking up those who disrupt their lives. Our operation is delivering exactly that.
“We know and appreciate just how much anti-social behaviour can disrupt people’s lives – whether it’s people taking drugs in public or intimidating people in town centres – and our work is designed to crack down on exactly those sort of offences.
“In addition to our own work, we liaise closely with partners in the community, including local charities and services, to ensure we stop ASB from progressing into more serious offences. Likewise, by conducting preventative engagement work, we can stop the offences from ever happening.
“If you are having issues with ASB, I would urge you to get in touch with your local team, who will be best-placed to offer advice and support on the issues you are having.”
You should call 101, the national non-emergency number, to report crime and other concerns that do not require an emergency response.
Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.
You can also call anonymously with information about crime to Crimestoppers on 0800 555 111. Crimestoppers is an independent charity who will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give a statement.
You can access many of our services online at www.gmp.police.uk
Newchurch is in the middle of a very narrow lane, which barely widens in the village, and so parking here is problematic. I managed to get a pace on the road, though I do think there is a small car park beside the church, but driving along the pavement didn't seem right to me.
All Saints sits on the edge of a cliff, and the road out of the village falls away beside it, making it a very dramatic location.
The tower, half clapboard and half soft sandy-coloured stone looks in poor repair. The clapboard, anyway. And entrance to the church is through the tower with the bellringing ropes hanging overhead.
Inside, it is a well kept church, some nice 19th century glass, a rose window in the west wall, but too high for me to get a good shot. The lectern is a fine golden Pelican in her Piety, one of the best I have seen, and hanging in the rood loft stairs, now leading nowhere, is a fine brass lamp.
As I left just before four, the church was locked, and my crawling for the day was done, so I repaired to the Pointer Inn next door for a fine pint of Hophead.
---------------------------------------------
The church celebrated its 900th anniversary in 1987 and is a fine example of a Norman Church with some remaining evidence of its pre-Norman origins.
It is one of only three English churches with an ancient sanctuary door still in place (Durham and Westminster are the other two). Over the South door there is the crest of William III (of Orange) dated 1700 with the face of the Lion Rampant being an image of King Willliam.
The Dillington Mortuary Chapel has a number tombs whose covering slabs have unusually well preserved and finely engraved crests and lettering
The following is extracted from the Quinquennial Report published in October 2011 by the Church Architect, Mr Ian G Smith.
Standing prominently at the north end of Newchurch village, All Saints Church is visible from many points in the central belt of the Island; being cruciform in plan, with a south porch and tower it dominates the Arreton Valley.
One of six Churches given by William FitzOsbern to Lyra Abbey in Normandy, it was given to the See of Bristol by Henry VIII; All Saints has throughout its life had many additions, in the 15th, 16th and 17th centuries; the Victorian restoration of 1883, by AR Barker, remodelled part of the interior.
The original Church is still quite easily identifiable in the Nave, North and South Aisles, the crossing and the north wall of the Chancel, with the later extensions of the South Transept and the Chancel evident in the treatment of the windows which are wider and of three light style.
Constructed of random stone under a steeply pitched and tiled roof, the modest exterior is off set by the surprisingly grand interior; with a soaring timber-clad Nave roof, and massive stone columns with octagonal piers; with double chamfered arches progressing to the crossing and the Chancel.
The square tower over the stone rendered South Porch, being of timber weather-boarding (around 1800) is unusual on the Island, housing the six bell peal, four of which were founded in 1810, the other two are of 16th and 17th century vintage.
Major benefactors of the Church were the Dillington family who have laid 8 vaults in the north transept and also in the south transept; and of historical interest within the Church are the oak pulpit of 1725, the oak door from the Porch, the Pelican Lectern (l7thC), the wall tablets, the stained glass east window by Kempe (1909), the Creed and Commandments boards in cusped Gothic frames on the west wall; and the panel over the south door with the royal arms of William III, and dated 1700.
Listing; Listed Grade I.
Ref SZ58NE
1352- 0/1/144
18/01/67
High Street (East Side) – Church of All Saints – Listed as Grade I
The listing in the Twenty Ninth List of Buildings of Special Architectural and Historic Interest, dated 14 February 1992, of the Isle of Wight, gives a particularly detailed description of the history of the Church, the windows, and the historic features, relying on much of the information contained in the Buildings of England, David W. Lloyd and Nikolaus Pevsner, Hampshire and the Isle of Wight this has been updated now having a separate volume on the Isle of Wight of 2006.
High Street (East side) -Dillington Sundial in All Saints Churchyard — listed Grade II
Ref: SZS8NE
1352-0/1/145
Sundial, 1678 by Robert Marks of London, Baluster shaped stone base to sundial, about 1.000mm in height on plinth of three square stone steps. The sundial is missing, the sundial originally stood on the bowling green at Knighton Gorges, but following the demolition of the great house, Squire Bisset gave it to the parish in 1826, when it was erected in the Churchyard, historical interest as one of the early relics of Knighton Gorges.
Newchurch is in the middle of a very narrow lane, which barely widens in the village, and so parking here is problematic. I managed to get a pace on the road, though I do think there is a small car park beside the church, but driving along the pavement didn't seem right to me.
All Saints sits on the edge of a cliff, and the road out of the village falls away beside it, making it a very dramatic location.
The tower, half clapboard and half soft sandy-coloured stone looks in poor repair. The clapboard, anyway. And entrance to the church is through the tower with the bellringing ropes hanging overhead.
Inside, it is a well kept church, some nice 19th century glass, a rose window in the west wall, but too high for me to get a good shot. The lectern is a fine golden Pelican in her Piety, one of the best I have seen, and hanging in the rood loft stairs, now leading nowhere, is a fine brass lamp.
As I left just before four, the church was locked, and my crawling for the day was done, so I repaired to the Pointer Inn next door for a fine pint of Hophead.
---------------------------------------------
The church celebrated its 900th anniversary in 1987 and is a fine example of a Norman Church with some remaining evidence of its pre-Norman origins.
It is one of only three English churches with an ancient sanctuary door still in place (Durham and Westminster are the other two). Over the South door there is the crest of William III (of Orange) dated 1700 with the face of the Lion Rampant being an image of King Willliam.
The Dillington Mortuary Chapel has a number tombs whose covering slabs have unusually well preserved and finely engraved crests and lettering
The following is extracted from the Quinquennial Report published in October 2011 by the Church Architect, Mr Ian G Smith.
Standing prominently at the north end of Newchurch village, All Saints Church is visible from many points in the central belt of the Island; being cruciform in plan, with a south porch and tower it dominates the Arreton Valley.
One of six Churches given by William FitzOsbern to Lyra Abbey in Normandy, it was given to the See of Bristol by Henry VIII; All Saints has throughout its life had many additions, in the 15th, 16th and 17th centuries; the Victorian restoration of 1883, by AR Barker, remodelled part of the interior.
The original Church is still quite easily identifiable in the Nave, North and South Aisles, the crossing and the north wall of the Chancel, with the later extensions of the South Transept and the Chancel evident in the treatment of the windows which are wider and of three light style.
Constructed of random stone under a steeply pitched and tiled roof, the modest exterior is off set by the surprisingly grand interior; with a soaring timber-clad Nave roof, and massive stone columns with octagonal piers; with double chamfered arches progressing to the crossing and the Chancel.
The square tower over the stone rendered South Porch, being of timber weather-boarding (around 1800) is unusual on the Island, housing the six bell peal, four of which were founded in 1810, the other two are of 16th and 17th century vintage.
Major benefactors of the Church were the Dillington family who have laid 8 vaults in the north transept and also in the south transept; and of historical interest within the Church are the oak pulpit of 1725, the oak door from the Porch, the Pelican Lectern (l7thC), the wall tablets, the stained glass east window by Kempe (1909), the Creed and Commandments boards in cusped Gothic frames on the west wall; and the panel over the south door with the royal arms of William III, and dated 1700.
Listing; Listed Grade I.
Ref SZ58NE
1352- 0/1/144
18/01/67
High Street (East Side) – Church of All Saints – Listed as Grade I
The listing in the Twenty Ninth List of Buildings of Special Architectural and Historic Interest, dated 14 February 1992, of the Isle of Wight, gives a particularly detailed description of the history of the Church, the windows, and the historic features, relying on much of the information contained in the Buildings of England, David W. Lloyd and Nikolaus Pevsner, Hampshire and the Isle of Wight this has been updated now having a separate volume on the Isle of Wight of 2006.
High Street (East side) -Dillington Sundial in All Saints Churchyard — listed Grade II
Ref: SZS8NE
1352-0/1/145
Sundial, 1678 by Robert Marks of London, Baluster shaped stone base to sundial, about 1.000mm in height on plinth of three square stone steps. The sundial is missing, the sundial originally stood on the bowling green at Knighton Gorges, but following the demolition of the great house, Squire Bisset gave it to the parish in 1826, when it was erected in the Churchyard, historical interest as one of the early relics of Knighton Gorges.
"I started thinking about environmenticity/climaticity (fudo) in the early summer of 1947 when I read Heidegger's "Being and Time." It seemed problematic to me that when time was used to grasp the structure of human existence, spatiality was not used as a fundamental structure of existence as well. Of course it is not as if spatiality does not show its face at all. It seems to me that attention to "livable nature" is resurfacing in the form of German romanticism. However, under in the strong light of attention to temporality, it seems a pale attention to nature indeed. That is where I saw the limits of the Heideggerian thesis. Any temporality belonging to spatiality is not a real temporality. The reason why Heidegger stopped at this juncture is because his Dasein is no more that the individual. He perceived human existence to be the existence of the person. But that is no more than simply the symbolic half of the social personal nature of the individual. Thus when human existence is understood in its concrete duality, temporality will be seen to be equivalent to spatiality. Further, not only will the historicity that receives short shrift in Heidigger become apparent, this historicity will be comprehended to be equivalent to climaticity. "
Heidegger seems to have taken Descartes' "I think therefore I am" as starting point. Descartes argued that "res extensa", the spatial, this world that we see, can be doubted; it is a realm of fleeting uncertainty. But the thought, in language, that emerges from that morass of extended images exists. It is. Heidegger asked of the nature of this emergent existent and concluded afaik, the "meaning of being is time". Western, narrative entities, subsequently abstractions or fictions, are made of and in time.
Watsuji argued that there is another side to humans - not only their self speech - and that rather, the time of the narrative is merely the historicity or movement of nature: everything can be subsumed to space in motion. He did not feel trapped at all. From Watsuji's point of view, and I would have to agree, it is the *space* in which even language emerges that cannot be doubted, that is the living here (rather than Husserls "living present"). All our words, after all could be gobbledigook that we feel are meaningful, but it is not possible to be a "philosophical zombie" without this living here, and yet feel that the light is on because to feel the light is to imagine it, and to imagine it, it must be, it is here.
和辻哲郎. (1979). 風土―人間学的考察. 岩波書店.
自分が風土性の問題を考え始めたのは、1927年の初夏、ベルリンにおいてハイディがーの『有と時間』を読んだ時である。人の存在の構造を時間性として把握として活かされたときに、なぜ同時に空間性が同じく根源的な存在構造として、活かされて来ないのか、それが自分には問題であった。もちろんハイデッガーにおいても空間性が全然顔を出さないのではない。人の存在における具体的な空間への注意からして、ドイツ浪漫派の「行ける自然」が新しく蘇生させられるかに見えている。しかしそれは時間性の強い照明のなかでほどんど影をを失い去った。そこに自分はハイデッガーの仕組みの限界を見たのである。空間性に即せざる時間性はいまだ真に時間性ではない。ハイデッガーがそこに留ったのは彼のDaseinがあくまでも個人に過ぎなかったからである。彼は人間存在をただ人の存在として捉えた。それは人間存在の個人的・社会なる2重構造から見れば単に抽象的ななる一面に過ぎぬ。そこで人間存在がその具体的なる二重性において把握せられるとき、時間性は空間性と相即して来るのである。ハイデッガーにおいて充分具体的に現れて来ない歴史性もかくして初めてその深層を露呈する、とともに、その歴史性が風土性と相即するものであることも明らかとなるのである。
TRISTAN AND ISOLDE and Vienna - which was originally a problematic relationship. The KK Hof-Operetta Theatre in 1861 the work for first performance had accepted. 1862 was began with the rehearsal, a year later, however, after allegedly 77 rehearsals, it was as "unplayable" put aside. The premiere took place in 1865 in Munich. An even greater importance now became the Vienna premiere. Wagner himself had in a letter dated from 10 May 1876 the Court Opera Directorate issued the performing rights against seven per cent of the gross receipts. The first performance in Vienna on 4th October 1883, however, he did not live to see. He had died on 13th February. It was a great success. Herrmann Winkelmann excelled as Tristan, Amalie Materna as Isolde.
(further pictures and information you can get by going to the end of page!)
Vienna State Opera
Vienna State Opera, 2012
Vienna State Opera in the evening twilight
The Vienna State Opera was the first major building on the Vienna ring road and was on 25 May 1869 opened with Mozart's "Don Juan" in the presence of Emperor Franz Joseph and Empress Elisabeth. The Vienna State Opera is now considered one of the most important opera houses in the world with the largest repertoire. From the Orchestra of the Vienna State Opera, the Vienna Philharmonic are recruited.
History
The Vienna State Opera was planned by August of Sicardsburg and Eduard van der Nüll. The architects, however, were heavily criticized for the building, so that van der Nüll committed suicide and shortly afterwards died of Sicardsburg of a stroke.
The official opening took place on 25 May 1869 with Mozart's "Don Juan". Gradually, the popularity of the Staatsoper rose, under the director Gustav Mahler it obtained a first climax.
At the time of the Second World War, the State Opera suffered enormously. From 1938 to 1945 many employees were persecuted, expelled and murdered. In addition, many pieces were not allowed to be performed anymore. Finally, shortly before end of war the building was massively destroyed by bombing. On 5 November 1955, the opera was re-opened with a performance of Beethoven's "Fidelio".
Architecture
The historical part of the front at the ring road could be preserved from the original building from 1869. The rear, wider part contains the stage, in the narrow front part the auditorium is housed. Eye-catching are the different roof shapes and the loggia, which should emphasize the public character.
Sideways of the central entrance are the portraits of the two architects. Significant is also the ceiling painting "Fortuna, dispersing her gifts" in the stairwell. The seven statues by Josef Gasser represent the liberal arts (architecture, sculpture, poetry, dance, art of music, drama and painting). In the historic tract is located the tea room, which together with the Hoffestloge (Court Ceremonial Lodge) was reserved the Court.
Directors after the reopening
Karl Böhm
Herbert von Karajan
Herbert von Karajan/Walter Erich Schäfer
Herbert von Karajan/Egon Hilbert
Egon Hilbert
Heinrich Reif-Gintl
Rudolf Gamsjäger
Egon Seefehlner
Lorin Maazel
Egon Seefehlner
Claus Helmut Drese
Eberhard Waechter
Ioan Holender:
Dominique Meyer
Opera Ball
Once a year, the State Opera becomes the most famous and most solemn ballroom in the world. The Opera Ball is the highlight of the ball season in Vienna and has a great international significance. Many celebrities from all over the world travel to Vienna to celebrate the ball of the artists.
Women wear a long evening dress, men are appearing in tails. Tickets are available from € 250, for a seat in the box must be reckoned with over € 10,000. The highlight of the ball is the Marching In of the Jungdamen- and Jungherrenkommitees (female and male debutants' committee).
Staatsopernmuseum (Museum of the Vienna State Opera)
In Staatsopernmuseum the history of the house from 1869 to 2009 is documented. On display are costumes, stage settings, and important events such as premieres and first performances. The exhibition focuses specifically on the singers. At three information terminals casts and stage settings on all performances since 1955 can be retrieved.
Staatsopernmuseum, Hanuschgasse 3, 1010 Vienna
Ely, England
June 15, 2015
©Dale Haussner
Ely Cathedral
"Having a pre-Norman history spanning 400 years and a re-foundation in 970, Ely over the course of the next hundred years had become one of England's most successful Benedictine abbeys, with lands exceeded only by Glastonbury, a famous saint, treasures, library and book production of the highest order. However the imposition of Norman rule was particularly problematic at Ely. Newly arrived Normans such as Picot of Cambridge were taking possession of abbey lands, there was appropriation of daughter monasteries such as Eynesbury by French monks, and interference by the Bishop of Lincoln was undermining its status. All this was exacerbated when, in 1071, Ely became a focus of English resistance, through such people as Hereward the Wake, culminating in the Siege of Ely, for which the abbey suffered substantial fines.
Under the Normans almost every English cathedral and major abbey was rebuilt from the 1070s onwards, If Ely was to maintain its status then it had to initiate its own building work, and the task fell to Abbot Simeon. He was the brother of Walkelin, the then Bishop of Winchester, and had himself been Prior at Winchester when the rebuilding began there in 1079. In 1083, a year after Simeon's appointment as abbot of Ely, and when he was 90 years old, building work began. The years since the conquest had been turbulent for the Abbey, but the unlikely person of an aged Norman outsider effectively took the parts of the Ely monks, reversed the decline in the abbey's fortunes, and found the resources, administrative capacity, identity and purpose to begin a mighty new building.
The design had many similarities to Winchester, a cruciform plan with central crossing tower, aisled transepts, a three storey elevation and a semi-circular apse at the east end. It was one of the largest buildings under construction north of the Alps at the time. The first phase of construction took in the eastern arm of the church, and the north and south transepts. However a significant break in the way the masonry is laid indicates that, with the transepts still unfinished, there was an unplanned halt to construction that lasted several years. It would appear that when Abbott Simeon died in 1193, an extended interregnum caused all work to cease. The administration of Ranulf Flambard may have been to blame. He illegally kept various posts unfilled, including that of Abbot of Ely, so he could appropriate the income. In 1099 he got himself appointed Bishop of Durham, in 1100 Abbot Richard was appointed to Ely and building work resumed. It is Abbot Richard who asserted Ely's independence from the Diocese of Lincoln, and pressed for it to be made a diocese in its own right, with the Abbey Church as its Cathedral. Although Abbot Richard died in 1107, his successor Hervey le Breton was able to achieve this and become the first Bishop of Ely in 1109. This period at the start of the 12th century was when Ely re-affirmed its link with its Anglo-Saxon past. The struggle for independence coincided with the period when resumption of building work required the removal of the shrines from the old building and the translation of the relics into the new church. This appears to have allowed, in the midst of a Norman-French hierarchy, an unexpectedly enthusiastic development of the cult of these pre-Norman saints and benefactors.
The Norman east end and the whole of the central area of the crossing are now entirely gone, but the architecture of the transepts survives in a virtually complete state, to give a good impression of how it would have looked. Massive walls pierced by Romanesque arches would have formed aisles running around all sides of the choir and transepts. Three tiers of archways rise from the arcaded aisles. Galleries with walkways could be used for liturgical processions, and above that is the Clerestory with a passage within the width of the wall.
Construction of the nave was underway from around 1115, and roof timbers dating to 1120 suggest that at least the eastern portion of the nave roof was in place by then. The great length of the nave required that it was tackled in phases and after completing four bays, sufficient to securely buttress the crossing tower and transepts, there was a planned pause in construction. By 1140 the nave had been completed together with the western transepts and west tower up to triforium level, in the fairly plain early Romanesque style of the earlier work. Another pause now occurred, for over 30 years, and when it resumed, the new mason found ways to integrate the earlier architectural elements with the new ideas and richer decorations of early Gothic."
For more info, see: