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A History of the Puerto Rican People, in Three Panels
As Elizabeth Garcia Gonzalez, the Executive Director of Centro de la Comunidad conducted me on the grand tour, she showed me this triptych (a work of art which is divided into three sections) currently in the area of the former altar. Painted in the late 1970s, it depicts some of the history of the Puerto Rican people. It is a little problematic, now, as it relates almost exclusively to the Borincano people of that one island, showing the subjugation of the Taino/Arawakan people by the Spanishconquistadores, and the later development of their culture. Today, the Centro de la Comunidad provides support to all the Spanish-speaking people of the Americas, so perhaps some additional art might be appropriate.
Unfortunately, the full name of the artist is lost, with only what appears to be a surname in the signature. It looks like 'Marple' or 'Maaple', the latter a little less likely, since it is a Hindi surname, and we should probably be looking for someone closer to the West Indian area. The painting dates to 1978, so it's quite possible the artist is still active. Any help would be appreciated.
On unimproved bridges, like Victoria's (BC), Pt. Ellice bridge on busy Bay St., the lack of space or purposely dedicated cycling facilities, people may often choose equally problematic options, like the sidewalk, to connect their routes.
Bay St. serves a busy industrial neighbourhood and nearby residential pockets in Victoria West. While there are bike lanes on either side of the bridge, some of them still incomplete, the bridge is a major impediment to local and regional cycling trips. Heavier use is found below on the Galloping Goose trail, alongside the Upper Harbour this bridge spans. A few hundred metres distant is the iconic Johnson St. Bridge, where counts show many times the number of cyclists crossing into downtown, as much connected to the magnet of the Goose, though some modest improvements and supports, as well as traffic mix and speeds, draws more cycling traffic to that major crossing.
City engineers have planned for more than a decade a set of works to improve levels of service for cyclists by cantilevering sidewalks off of the structure and giving the road space over to bikes. Other elements may include pull outs where pedestrians can watch the comings and goings on the harbour and safer turn options for vehicles on the east end of the bridge (behind me).
Bridge projects, including retrofits, are a costly challenge for local governments and more generous provincial programs are needed to help fund major capital projects that serve particularly regional needs.
Bay St. needs bike facilities to help make it a beter choice for hard working commuters, improve safety for pedestrians, and sort out some of the other traffic safety issues embedded in the aging facility. Ideally, bike lane retrofits would provide a raised lane design to support some level of separation and more clarity for separate modes.
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.
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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.
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!” (VT)
Tadaaa!!! Introducing... Mang Ramon Esguerra!
See, he's problematic about this requirement I just assigned to him. The PBA is celebrating their 30th anniversary on April 9 and Mang Ramon is as old and legendary as the country's number one basketball league. He's been a news photographer way before I was even born and has been covering the PBA games at the same time.
Check out his mini light table. I just had to browse through all his super old pictures of Jaworski still wearing super short shorts, El Presidente Ramon Fernandez, Crispa-Toyota games, Alvin Patrimonio when he was still a rookie and tons, tons more! It was so much fun especially for a basketball fanatic like me. Displayed at their house were his countless plaques, trophies and various awards from politicians for his award winning pictures. he had lots of Samboy pictures too! Samboy is a photographer's perfect subject because he always takes acrobatic, "skywalkin" shots. Amazing! And I should commend Mang Ramon for his valiant effort to archieve everything. Unfortunately, according to him, some inconsiderate people who borrowed some of his negatives did not have the decency to return it to him. Before I even came to his house, he said he tried to clean his bodega full of pictures. Lo and behold, some boxes were filled with cockroaches! Yikes! Thank God everything was in order when I
got there.
The most important recognition from his Wall of Fame I guess, would be his beautiful pictures of his wonderful family. He has pictures of his wife, children, grandchildren in places I have never been to. He seems like a hardworking, responsible father. He is a great character!
I'll see him again next week when we finally get the final list of the 30 Exemplary Player Milestones, 30 Best PBA games and 30 Most Outstanding PBA Moments. We have a lot of digging and researching to do. I can't wait!!!
D.O. on the left who holds the world record for the longest freestyle ever, showing love to the come up show movement with the Street A&R problematic on the right.
DJ CHEDO- THE COME UP SHOW (D.O. INTERVIEW)
www.thecomeupshow.com/interviews/do.mp3
Check out his myspace page www.myspace.com/ddoto
OFFICIAL HOMEPAGE
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!” (VT)
Painter: Girolamo Tessari (dates)
Date: 1511
Original location: in situ Scuola di Sant' Antonio, Padua
Medium and size:
Literature: John Mills note 5 in Pinner and Denny 1986, p. 120
Notes:
Source: thanks to P. Berioli of Venice for this image
The Carpet Index
Lauren Arnold, last update 9/23/09
laurenarnold@cs.com
After a chaotic and problematic week with work I decided to have saturday off.
Leaving the hotel early in Delft I stepped on a train, off the train and onto another and found myself in Alkmaar. When I last visited in was under ice and snow.
In 2015 the station was expanded to cope with traffic growth (Alkmaar is an expansion city within the national plan). Between 2014 and 2016 the north side of the station area was altered significantly. A 3,000 space multi-level bike park was added. A new bridge utilising large expanses of glass plate has been built over the tracks and it is from this that I took these photos helped by a wonderfully clear spring sky. The bridge gives great views of the Victorian parts of the town and the newer parts.
Alkmaar Station opened on 20 December 1865 when the railway opened between Alkmaar and Den Helder. This was the second railway opened by the Hollandsche IJzeren Spoorweg-Maatschappij after the Amsterdam–Rotterdam railway. The line through Alkmaar was on the Staatslijn K railway, built by the Dutch state between 1865 and 1878, designed by Karel Hendrik van Brederode.
"Scruffy" was the most problematical of the Littlest Pet Shops. The girls couldn't keep their hands off of her and whenever she had an entrance or exit they had to have a lot of dialogue convincing her to do what she needed to do.
-- Peter Pevensie is the oldest of the Pevensie siblings that left London during WWII. At first, Peter disbelieves Lucy's stories about Narnia, but changes his mind when he sees it for himself. Peter is hailed as a hero for his part in the overthrow of the White Witch. He is eventually crowned as High King of Narnia, and becomes known as King Peter the Magnificent.
-- Susan Pevensie is the second oldest of the Pevensie children. She also does not believe in Narnia until she is actually there. She is crowned Queen Susan, and becomes known as Queen Susan the Gentle.
-- Edmund Pevensie is the third of the Pevensie children. When he is in Narnia, he meets the White Witch who plies him with enchanted Turkish Delight. Tempted by the White Witch's promise of power and seemingly unending supplies of Turkish Delight, Edmund betrays his siblings, but eventually regrets his actions and repents. After he helps Aslan and the citizens of Narnia defeat the White Witch, he is crowned King of Narnia with his brother, and becomes known as King Edmund the Just.
-- Lucy Pevensie is the youngest Pevensie child. She discovers the land of Narnia in the back of Professor Kirke's wardrobe. When Lucy tells her siblings, they refuse to believe her, particularly Edmund, who teases her mercilessly. After the restoration of Narnia, Lucy is crowned as Queen with her sister, Susan, and becomes known as Queen Lucy the Valiant.