View allAll Photos Tagged Reduce
This glass reduces rather than magnifies. Cartographers often produced a final map at 50-75 percent of its draft size, and this tool allowed them to visualize how their draft line work would appear at the final size.
M104 Sombrero Galaxy
en.wikipedia.org/wiki/Sombrero_Galaxy
This is pretty borderline because of it low position in the sky from NYC and the number of telephone line that get in the way at my site. Nothing ventured, nothing gained I always say, but not much was gained :)
Equipment:
Mount-Paramount ME
Image Train:- SBIG STL 6303 -> Astrodon MOAG -> FLI PDF Focuser -> OTA
OTA: - Celestron HD14 0x7X reducer -> Cestrond C14HD
Filtration: Heutech LPS, Astrodon 3nm NB
Plate solve:
RA 12h 39m 22s, Dec -11° 35' 39"
Pos Angle +180° 07', FL 2686.0 mm, 0.69"/Pixel
Exposure: Heutech LPS prefilter, Astrodon NB
Data collection April 11,,14,16,17 2012
15 X 10 minutes bin 1 Red ( 150 minutes)
10 X 10 minutes bin 1 Grn ( 100 minutes)
10 X 10 minutes bin 1 Blue( 100 minutes)
Total time on target: ( 350 minutes) 5.84 hours
CCD AutoPilot controlling SkyX,Maxim DL,Robofolcus Imaging and guiding thru Maxim DL, Guided thru MOAG 0.2 hrz
Process: Calibration/Assembly Maxim DL, post processing PixInsite/Photohop
For me to even consider subjecting myself to this dietary horror there would need to be another reducing diet before the principal reducing diet. The purpose would be to slowly reduce my intake from the then present level over the span of a week or so in order to reduce the physical and mental shock of going cold grapefruit-and-melba toast overnight.
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From "Recipes From the Peninsula"
Compiled by
The Women's Group of the Ocean Park Community Church
Ocean Park Washington
THIS BOOK includes the finest plastic ring binders available, BUT, like most plastics, the BINDERS CAN BE DAMAGED BY EXCESSIVE HEAT, so AVOID exposing them to the direct rays of the SUN, or to excessive heat such as IN A CAR on a hot day, or on top of the kitchen STOVE. If not exposed to heat, the binders will last indefinitely.
Copyright 1966
Bev-Ron Publishing Company
2556 McGee Trafficway
Kansas City, Missouri
1st Printing Nov. 1962 200 Books
2nd Printing June 1963 100 Books
3rd Printing Aug. 1963 100 Books
4th Printing Feb. 1964 100 Books
5th Printing Feb. 1966 100 Books
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
The North American FJ-4 Fury was a swept-wing carrier-capable fighter-bomber for the United States Navy and Marine Corps. The final development in a lineage that included the Air Force's F-86 Sabre, the FJ-4 shared its general layout and engine with the earlier FJ-3, but, compared to that of the FJ-3, the FJ-4's new wing was much thinner, with a six percent thickness-to-chord ratio, and featured skin panels milled from solid alloy plates. It also had an increased area and tapered more sharply towards the tips. Slight camber behind the leading edge improved low speed characteristics. The main landing gear design had to be considerably modified to fold wheel and strut within the contours of the new wing. The track of the main wheels was increased, and because they were closer to the center of gravity, there was less weight on the nosewheel. Wing folding was limited to the outer wing panels.
The FJ-4 was intended as an all-weather interceptor, a role that required considerable range on internal fuel. The FJ-4 had 50% more fuel capacity than the FJ-3 and was lightened by omitting armor and reducing ammunition capacity. The new wing was "wet"; that is, it provided for integral fuel tankage. The fuselage was deepened to add more fuel and had a distinctive "razorback" rear deck. A modified cockpit made the pilot more comfortable during the longer missions. The tail surfaces were also extensively modified, had a thinner profile and featured an extended, taller fin. The overall changes resulted in an aircraft that had little in common with the earlier models, although a family resemblance was still present.
The FJ-4 was developed into a family of aircraft. Of the original order for 221 FJ-4 day fighters, the last 71 were modified into the FJ-4B fighter-bomber version. This had a stronger wing with six instead of four underwing stations and stronger landing gear. Additional aerodynamic brakes under the aft fuselage made landing safer by allowing pilots to use higher thrust settings and were also useful for dive attacks. External load was doubled. The most important characteristic of the FJ-4B was, since the Navy was eager to maintain a nuclear role in its rivalry with the Air Force, that it was capable of carrying a nuclear weapon on the inboard port station. For the delivery of nuclear weapons, the FJ-4B was equipped with the Low-Altitude Bombing System (LABS), and with this capability it replaced the carrier-based A-3 Skywarrior bombers, which were not suited well for the new low-level approach tactics.
In April 1956, the Navy ordered 151 more FJ-4Bs, 10 US Navy squadrons became equipped with the FJ-4B, and the type was also flown by three Marine squadrons. At the same time, the Navy requested a carrier-borne fighter with all-weather capability, radar-guided missiles and a higher performance. This new type was to replace several 1st generation US Navy jets, including the ponderous and heavy Douglas F3D Skyknight, the lackluster Vought F7U as well as the Grumman F9F-8 Cougar. This requirement led to the Douglas F4D Skyray and North American’s FJ-5, another thorough modification of the Fury’s basic design and its eventual final evolution stage.
North American’s FJ-5 was designed with compact dimensions in mind, so that the type could be operated on older Essex Class carriers, which offered rather limited storage and lift space. At the time of the FJ-5’s conception, several of these carriers were still in service – and this argument led to an order for the FJ-5 in addition to the F4D.
For the FJ-5, the FJ-4’s aerodynamic surfaces were retained, but the fuselage had to be modified considerably in order to accept an APQ-50A radar with a parabolic 24 inches diameter antenna in the nose. The radome was placed above the air intake, similar to the F-86D, and coupled with an Aero 13F fire-control system, which together provided full all-weather capability and information on automatic firing of rockets.
A deeper rear fuselage became necessary, too, because the FJ-5 was powered by a reheated J65-W-18 engine (a development of the Armstrong Siddeley Sapphire turbojet, optimized for a naval environment), which delivered up to 10,500 lbf (47 kN) at full power instead of the FJ-4’s original 7,700 lbf (34 kN). This upgrade had, limited by the airframe’s aerodynamics, only marginal impact on the aircraft’s top speed, but the extra power almost doubled its initial rate of climb, slightly raised the service ceiling and markedly improved acceleration and carrier operations handling through a better response to throttle input and a higher margin of power reserves.
Internal armament still consisted of four 20mm cannon. These had to be placed lower in the nose now, flanking the air intake underneath the radome. The FJ-4B’s six underwing hardpoints were retained and could carry AIM-9 Sidewinders (both the IR-guided AIM-9B as well as the Semi-Active Radar Homing (SARH) AIM-9C) as well as the new radar-guided medium-range AIM-7C Sparrow, even though the latter only on the outer pylons, limiting their number to four. Up to six pods with nineteen unguided 70 mm/2.75” unguided Mk 4/Mk 40 Folding-Fin Aerial Rocket (Mighty Mouse FFARs) were another armament option.
Beyond these air-to-air weapons, a wide range of other ordnance could be carried. This included the AGM-12 “Bullpup” guided missile (which necessitated a guidance pod on the right inner wing hardpoint), bombs or napalm tanks of up to 1.000 lb caliber, missile pods, drop tanks and ECM pods. The FJ-4B’s strike capabilities were mostly retained, even though the dedicated fighter lost the ability to carry and deliver nuclear weapons in order to save weight and internal space for the radar equipment.
The first FJ-5, a converted early FJ-4, made its maiden flight in April 1958. After a short and successful test phase, the type was quickly put into production and introduced to service with US Navy and US Marine Corps units. The new fighter was quickly nicknamed “Fury Dog” by its crews, a reminiscence of the USAF’s F-86D “Sabre Dog” and its characteristic nose section, even though the FJ-5 was officially still just called “Fury”, like its many quite different predecessors.
With the new unified designation system adopted in 1962, the FJ-4 became the F-1E, the FJ-4B the AF-1E and the FJ-5 the F-1F. From the prolific Fury family, only the FJ-5/F-1F became involved in a hot conflict: in late 1966, the USMC deployed F-1Fs to Vietnam, where they primarily flew escort and top cover missions for fighter bombers (esp. A-4 Skyhawks) from Da Nang AB, South Vietnam, plus occasional close air support missions (CAS) on their own. The Marines’ F-1Fs remained in Vietnam until 1970, with a single air-to-air victory (a North-Vietnamese MiG-17 was shot down with a Sidewinder missile), no losses and only one aircraft seriously damaged by anti-aircraft artillery (AAA) fire.
After this frontline experience, a radar upgrade with an AN/APQ-124 was briefly considered but never carried out, since the F-1F showed the age of the original Fifties design – the type already lacked overall performance for an all-weather fighter that could effectively engage supersonic bomber targets or low flying attack aircraft. However, the aircraft was still popular because of its ruggedness, good handling characteristics and compact dimensions.
Other upgrades that would improve the F-1F’s strike capability, e. g. additional avionics to deploy the AGM-62 Walleye glide bomb or the new AGM-65 Maverick, esp. the USMC’s laser-guided AGM-65E variant, were also rejected, because more capable types for both interceptor and attack roles, namely the Mach 2 Douglas F-4 Phantom II and the LTV A-7 Corsair II, had been introduced in the meantime.
Another factor that denied any updates were military budget cuts. Furthermore, the contemporary F-8 Crusader offered a better performance and was therefore selected in favor of the F-1F to be updated to the H-L variants. In the wake of this decision, all F-1Fs still in Navy service were, together with the decommission of the last Essex Class carriers, in 1975 handed over to the USMC in order to purge the Navy’s inventory and simplify maintenance and logistics.
FJ-4 and FJ-4B Fury fighter bombers served with United States Naval Reserve units until the late 1960s, while the F-1F soldiered on with the USMC until the early Eighties, even though only in reserve units. A considerable number had the heavy radar equipment removed and replaced by ballast in the late Seventies, and they were used as fighter-bombers, for dissimilar air combat training (simulating Soviet fighter types like the MiG-17 and -19), as high-speed target tugs or as in-flight refueling tankers, since the FJ-5 inherited this capability from the FJ-4, with up to two buddy packs under the wings. A few machines survived long enough to receive a new low-visibility livery.
However, even in the USMC reserve units, the FJ-5 was soon replaced by A-4 Skyhawks, due to the age of the airframes and further fleet reduction measures. The last F-1F was retired in 1982, ending the long career of North American’s F-86 design in US service.
A total of 1,196 Furies of all variants were received by the Navy and Marine Corps over the course of its production life, including 152 FJ-4s, 222 FJ-4Bs and 102 FJ-5s.
General characteristics:
Crew: 1
Length: 40 ft 3 in (12.27 m)
Wingspan: 39 ft 1 in (11.9 m)
Height: 13 ft 11 in (4.2 m)
Wing area: 338.66 ft² (31.46 m²)
Empty weight: 13,518 lb (6,132 kg)
Gross weight: 19,975 lb (9,060 kg)
Max. takeoff weight: 25,880 lb (11,750 kg)
Powerplant:
1× Wright J65-W-18 turbojet with 7,400 lbf (32.9 kN) dry thrust
and 10,500 lbf (46.7 kN) with afterburner
Performance:
Maximum speed: 708 mph (1,139 km/h, 615 kn) at sea level,
737 mph (1,188 km/h/Mach 0.96) at height
Range: 2,020 mi (3,250 km) with 2× 200 gal (760 l) drop tanks and 2× AIM-9 missiles
Service ceiling: 49,750 ft (15,163 m)
Rate of climb: 12,150 ft/min (61.7 m/s)
Wing loading: 69.9 lb/ft² (341.7 kg/m²)
Armament:
4× 20 mm (0.787 in) Colt Mk 12 cannon (144 RPG, 578 rounds in total)
6× underwing hardpoints for 3,000 lb (1,400 kg) of ordnance, including AIM-9 and AIM-7 missiles
The kit and its assembly:
A project I had on the agenda for a long time. But, due to the major surgeries involved, I have been pushing it away – until the “In the navy” group build at whatifmolders.com came along in early 2020. So I collected my courage, dusted off the donor kits that had already been stashed away for years, and eventually started work.
The original inspiration was the F-8 Crusader’s career: I really like the look of the late RF-8s, which were kept long enough in service to receive the Eighties’ Low-Viz USN “Compass Ghost” livery. This looks cool, but also a little wrong. And what if the FJ-4B had been kept in service long enough to receive a similar treatment…?
In order to justify a career extension, I made up an all-weather development of the FJ-4B with a radar and a more powerful engine, a kind of light alternative to the Vought A-7. A plausible solution was a mix of FJ-4B and F-86D parts – this sounds easy, but both aircraft and their respective model kits actually have only VERY little in common.
At its core, the FJ-5 model is a kitbashing of parts from an Emhar FJ-4B (Revell re-boxing) and an Airfix F-86D. The FJ-4B provided the raised cockpit section with the canopy, spine and fin in the form of a complete transplant, which furthermore had to be extended by about 1cm/0.5” because the F-86D is longer than the Fury. The FJ-4B also provided its wings, stabilizers and the landing gear. The Fury’s ventral arrester hook section, a separate part, was also transferred into the F-86D’s lower rear fuselage, under the openings for the air brakes.
For a more lively look, the (thick!) Fury canopy was sawed into two pieces for open display and the flaps were lowered, too.
The cockpit was taken from the Airfix kit, since it would fit well into the lower fuselage and it looked much better than their respective counterparts from the relatively basic Emhar kit, which just comes with a narrow board with a strange, bulky seat-thing. As an extra, the cockpit received side consoles, a scratched gunsight and a different ejection seat that raised the pilot’s position into the Fury’s higher canopy.
Since the F-1F was supposed to be a fighter, still equipped with the radar set, I retained the OOB pylons from the Fury with its four launch rails. For an aircraft late in the career, I gave it a reduced ordnance, though, just a pair of drop tanks (left over from a Matchbox F3D Skyknight; I wanted something more slender than the stubby OOB drop tanks from the Emhar Fury kit), plus a better Sidewinder training round (hence its blue body) and a single red ACMI data pod on the outer pylons, as an aerial combat training outfit and nice color highlights on the otherwise dull/grey aircraft.
Painting and markings:
As mentioned above, the idea for livery was a vintage aircraft in modern, subdued markings. So I adapted the early USN Compass Ghost scheme, and the F-1F received a two-tone livery in FS 36320 and 36375 (Dark and Light Compass Ghost Grey, Humbrol 128 and 127, respectively) with a high, wavy waterline and a light fin. In front of the cockpit, a slightly darker anti-glare panel in Humbrol 145 (FS 35237) was added, inspired by early USN F-14s in Compass Ghost camouflage.
The radome was painted with Humbrol 156, for a slightly darker/different shade of grey than the aircraft’s upper surfaces – I considered a black or a beige (unpainted glass fiber) radome first, but that would have been a very harsh contrast to the rest.
The landing gear as well as the air intake duct were painted glossy white (Humbrol 22), the cockpit became medium grey (Humbrol 140, Dark Gull Gray). The inside of the air brakes as well es the edges of the flaps, normally concealed when they are retracted, were painted in bright red (Humbrol 174). The same tone was also used to highlight the edges of the land gear covers.
The grey leading edges on the wings the stabilizers were created with decal sheet strips (generic material from TL Modellbau), the gun blast plates were made with silver decal material.
In order to give the model a worn look, I applied a black ink wash, an overall, light treatment with graphite and some post shading. Some extra graphite was applied around the exhaust and the gun nozzles.
The markings were taken for an USMC A-4E/F from a Revell kit (which turned out to be a bit bluish). I wanted a consequent dull/toned-down look, typical for early Compass Ghost aircraft. Later, colored highlights, roundels and squadron markings crept back onto the aircraft, but in the early Eighties many USN/USMC machines were consequently finished in a grey-in-grey livery.
Finally, the model was sealed with matt acrylic varnish (Italeri) and the ordnance added.
Well, the end result looks simple, but creating this kitbashed Fury all-weather fighter was pretty demanding. Even though both the Fury and the F-86D are based on the same aircraft, they are completely different, and the same is also true for the model kits. It took major surgeries and body sculpting to weld the parts together. But I am quite happy with the outcome, the fictional F-1F looks pretty conclusive and natural, also in the (for this aircraft) unusual low-viz livery.
Chhattisgarh is a very young state, only 19 years old, and is currently on a growing trajectory. Its education system is catching up with the other states. The lack of proper educational infrastructure is definitely a problem but the government has joined hands with private players in the state and together they are uplifting higher education in the state. Among these private players is one of the Best University in Chhattisgarh, Dr CV Raman University, Bilaspur.
The 21st century is rightly named as the digital era and the internet has clearly taken over every aspect of our life, including education. Technology is the biggest driver of the education sector of any country and this college has definitely leveraged the use of the internet. From providing full-fledged computer labs to fully functional digitized libraries, the college has taken care of everything.
Technological evolutions like AI, ML, Data Science have had a resounding impact on the education sector and this college has included all these topics in their management courses Chhattisgarh. They are making sure that the state is at par with the changing scenario of the world around. Their curriculum also focuses on technology, innovation, general skills and business management which other colleges generally overlook.
According to the world economic forum, by 2025, demand for critical thinking and computer skills would increase by 20% which in turn would create 2.1 million jobs by 2020 in all related domains. Incorporation of digitized courses by the university helps its students learn critical thinking, innovation, problem solving and collaboration.
Exams from pen and paper have now moved to online portals, powerpoint presentations have taken the place of projects and the computer is taking over everything. This college has signed up for many online portals such as LMS, MOOC, KConnect and many more. Students directly get quizzes to solve, submit projects, divide into groups through online platforms are now getting the gist of technology.
CV Raman University is emerging as the Top Private College in Chhattisgarh and it is making sure that its students walk that path with them. They have clearly understood the outcomes of digitized education and have taken up the challenge to ensure that everyone gets to reap the benefits of it. The students of this college are involved in a more research-oriented and thought based learning process. The business world is rapidly moving towards newer technologies like IOT and Block Chain and the college organizes regular guest lectures from experts in the industry to keep the students up-to-date with the latest trends. The students, while graduating, are industry ready and take upon new challenges.
With the pace technology is moving at, the future of jobs will be defined by speed, scale and digitization. In order to embrace this change, India needs to skill their youth to ensure that we excel in it. This will help us raise the living standards of people in our country. All these transformational changes are bound to take higher education of the country to another level.
To Know More: cvru.ac.in/
St. Helena Prison Buildings.
Year after year the Comptroller-General of Prisons calls attention to the danger of having wooden buildings in the prison at St. Helena. In his annual report, just issued, he says:- "I must also draw attention to the fact that the buildings at St. Helena, which are mostly of wood, are very old, and that as the years pass by the risk of fire increases. At present each cell is opened by a separate key, and in the event of a fire taking good hold of the buildings, it might be impossible to let all the prisoners out. To minimise this risk, I would strongly urge that automatic machinery be obtained for the purpose of closing and opening all the cells at one time. I understand that such apparatus is in use in the prisons of the United States."
Description source:
Over 4 weeks, a low-fat, plant-based vegan diet was found to be more effective in reducing risk factors for heart disease in obese children than the diet recommended by the AHA.
healthnews.juicyworldnews.com/uncategorized/medical-news-...
adolescents, children, diet, disease, risk
Jose Rojas, North American Division Volunteer Ministries director, presents Check Him Out at the Lane County Fairgrounds in Eugene, Ore.
Six Smart Ways to Negotiate your Medical Bill
Medical bills are never fun but unfortunately they’re a part of life. When you’re healthy, they’re not something most people want to think about.
But whether it’s a nagging cough that won’t go away and requires a trip to the doctor, or an accident that requires going to the emergency room - sooner or later we all have medical issues which will require treatment, and money.
Medical bills can be unexpectedly high (and rising), and vary depending on a variety of factors.
You might get a surprise amount due because insurance didn’t cover something and it might never occur to ask, “Can I negotiate hospital bills?”, the answer is, yes it’s actually possible to reduce the amount in your medical bills through the art of negotiation because medical fees aren’t always set in stone and bills can be argued in your favor.
There are also ways to dispute the bill which can bring down the amount of what you owe, as well as some very valuable resources that can help make it more affordable.
So before a collection agency starts coming after you and you start selling off prized possessions or considering bankruptcy, master these six effective strategies that are proven to lower your medical bills.
Want to lower your medical bills? Guard your bank account and your credit with these six steps
1. Learn how medical billing works
Regardless of whether you have health insurance, in order to get your bill lowered, it’s important to know what actually belongs on it. Your bill is a series of medical billing codes. Your insurance company uses these to decide how much they will pay so don’t hesitate to ask what the codes mean.
2. Get an Itemized Breakdown
It’s hard to know whether the bill is correct if you don’t know what you’re paying for. You have a right to know what you’re paying for, so always request an “itemized breakdown” of the services from the medical office. If you have questions about certain items, always ask for clarification from the medical office and/or insurance company.
3. Check For Errors In Your Bill
Medical Billing is complicated, and mistakes can be made. Upon further investigation of the paperwork, it’s possible that you won’t have to pay for certain services or fees since it may have been a medical billing error. Check for duplicate items, or services that don’t sound familiar. If you find an error (or have questions), contact your insurance company as soon as possible. Request an audit of anything in the bill you want to dispute.
4. Master the Art of Negotiation
There is room to negotiate. After taking the time to learn how medical billing works and receiving an itemized bill, you can look into which items are prime for negotiation. If you’re being charged higher than what you see from other medical facilities in your town, this is a perfect opportunity to negotiate a better price.
Do not get upset or raise your voice throughout the process. Calmly explain your situation and how the bill would affect your life. Ask for a reduced rate, to be charged what CMS defines as the “usual customary charge”, this is often far less than the amount providers initially charge on a bill. Also ask for a payment plan.
5. Ask About Discounts
There are discounts that may be applied so be sure to ask about “income based pricing.”
6. Find Outside Resources
If you are facing major health issues, you may be able to get relief through the government. Check to see if you qualify for Medicaid in your state.
Hopefully, those tips will give you some ammunition when negotiating your medical bill lower. Good luck!
Please visit www.agilehealthinsurance.com/... to learn more and www.agilehealthinsurance.com/ for more information on your health insurance options.
Follow us on social!
Facebook: www.facebook.com/AgileHealthIns
Twitter: twitter.com/AgileHealthIns
LinkedIn: www.linkedin.com/company/agil...
GENERAL DISCLAIMERS
These Short Term Medical plans do not provide coverage for preexisting conditions nor the mandated coverage necessary to avoid a penalty under the Affordable Care Act.
Each state has specific mandates for coverage so your plan may include additional benefits. Please consult your state-specific insurance certificate for more information.
Short Term Health Insurance products underwritten by their respective companies. Product prices, benefits and availability may vary by state.
ACA DISCLAIMER
AFFORDABLE CARE ACT TAX (ELIMINATED UNDER CONGRESSIONAL TAX REFORM ACT STARTING IN 2019). SHORT TERM HEALTH INSURANCE IS HEALTH INSURANCE OUTSIDE OF THE AFFORDABLE CARE ACT ("OBAMACARE"). IT DOES NOT INCLUDE ALL TEN OF THE MINIMUM ESSENTIAL BENEFITS OF OBAMACARE AND IT DOES NOT COVER PRE-EXISTING CONDITIONS. TO LEARN MORE ABOUT THE TAX AND ITS EXEMPTIONS, SEE HERE. TO LEARN MORE ABOUT THE DIFFERENCES BETWEEN SHORT TERM HEALTH INSURANCE AND OBAMACARE, www.agilehealthinsurance.com/...
Jose Rojas, North American Division Volunteer Ministries director, visits with audience members following a Check Him Out program.
NOTE: Flickr makes a .jpg of uploaded files. The Jpeg process reduces actuance. The original scan has more detail than the .jpg file and in turn the original scan has less detail than is on the film. The film probably has 4 to 9 times (2 squared to 3 squared) the detail as you can see if made with a cracker jack lens and top rated film.
1. The bus was about 185 meters away from the camera.
2. The film does not have the reddish/maroon look that you see here. Scanning with the Kodachrome film type selection instead of the proper Color Positive selection miscolored the scan, my fault
Photos taken in this set were to test various stock lenses on some of my cameras. I started out with old 120/620 folders then added some modern 120 filmed examples. There will also be a few 35mm and 127 tests. You will need to open these up to their original size to see how good or bad the lens is. Also please see the type of scanner that was used because not all the scanners were able to scan at the same resolution.
Unless specifically noted, over time I used several films for these lens tests. Various Kodak and Fuji 100 speed reversal films and Fuji Velvia 50 speed were used. The difference in sharpness of the film was far less than the difference in the lenses.
Please take into consideration that when Flickr jpegs the uploaded tiff file some of the detail is lost so the original is sharper than what you can see.
Gentlepersons:
The Pictures...
These recently uploaded pictures have no artistic value. They were just uploaded to be representative of color picture recording during about 85+ years that I was able to take color pictures, mostly slides at first. Unlike in today’s digital world it took time, money and effort to make a color slide. We took fewer pictures back then, trying to stretch resources, but some sere still frivolous.
I'm 97 (2016). I'm about at the end of my ability to continue posting. The ratio of today’s digital pictures that are kept for any length of time and/or printed is much less than the film photos taken in days past. History will be lost. Meanwhile you get to be bored by some old Kodachromes, Anscochromes, a Dufaycolor and perhaps an old black & white or so.
These recently uploaded pictures have no artistic value. They were just uploaded to be representative of color picture recording during about 85+ years that I was able to take pictures, mostly slides at first. Unlike in today’s digital world it took time, money and effort to make a color slide. We took fewer pictures back then, trying to stretch resources, but some sere still frivolous. The first picture I remember taking was in the mid-1920s when my mother's sailor boyfriend brought an overseas camera to San Pedro.
The Camera: Rolleicord V, ca. 1954
I used a used but good condition Rolleicord V ca 1954. It has a single coated Schneider Kreuznach 75mm F:3.5 Xenar four element lens. I bought a second one so I could make medium format 3D (Stereo) slides. The two like cameras are less than 100 serial numbers apart but the second lens is not up to the quality of this one. Using the USAF1951 chart this lens gives over 60 lp/mm at F: 11.
The film: Fuji Provia 100 or Kodak E100:
This was shot on Provia 100 or Kodak E100 in 120 size. To scan with a 35mm dedicated film scanner I first used a Mamiya Super Slide punch. The film center was then mounted in 127 sized slide mounts which have the same external dimensions as 35mm slides. The surrounding mount has thinner sides than 35mm. This does give a 35mm scanner a chance to scan all film instead of having some mount blocking and reducing the amount of picture taken.
The Scanner, Minolta 5400 II:
The Minolta 5400 was advertised at 5400 PPI and actually gave out not only a scan of that size but also of that resolution. Testing was done using a 1951USAF glass microscope resolution bought from Edmond Scientific. When scanning a chart at maximum resolution one has to be concerned with registration between the lines on the chart and the pixel placement of the sensor. Exact registration is a hit and miss, re-trial exercise. With film the scanned bits of silver and dye clumps are randomly scattered without the need to have perfect alignment.
A Morsbag I made a little while ago from an old sheet. I have a lot more of this fabric, and I hope each one will each have a stencilled picture to distract people from the pattern!
www.jenmeister.com/2010/06/birds-and-bears-on-bags-oh-my....
even when it's polka-dotty bananas.
My wonderful sister-in-law found this truly amazing banana bread recipe a few years ago and was sweet enough to share it. It's made using sour cream and is baked in a Bundt pan. In our house, it never lasts more than a day.
For my friends (you know who you are) who need a chunk of this today.
Yay, the banana bread made explore!! LOL!! How hilarious! #490...woot.
I dropped off our recycling today and grabbed this shot.
One man's trash is another's treasure. Make a photo of something discarded or abandoned today.
Update: 23Dec2023 - An image of this object using this and additional data, including that in Sulfur II wavelengths, and rendered in a combination of alternate palettes to produce the type of surreal imagery I tend to have an affinity for can be found at the link attached here: www.flickr.com/photos/homcavobservatory/53416452946/
Object Details: The Eagle Nebula (Messier 16 / NGC 6611) is a diffuse emission nebula in the constellation of Serpens. A star forming region located about 7000 light-years from Earth, it spans approximately 70 light-years in diameter along it's longest dimension. Visible in binoculars and a spectacular sight in larger telescopes. Although the extensive nebulosity is obvious in images, visually the embedded star cluster is dominate and the nebula can be greatly enhanced via the use of a proper filter. The center of the nebula contains huge columns of interstellar hydrogen gas and dust which were made famous in the Hubble 'Pillars of Creation' image (visible near the center of the attached image). Recent evidence indicates these pillars may actually have been destroyed by a supernova 8 to 9 thousand years ago, however the light confirming the event (i.e. the supernova's shock-wave destroying the columns) is not scheduled to reach Earth for another 1000 years (keep watching ;) ).
Image Details: Taken by Jay Edwards from the scope field of Cherry Springs State Park in PA during both CSSP's 2023 summer star party in June & the Black Forest SAtar Party held there in September. The image utilized an Orion ED80T CF (i.e. an 80mm, f/6 carbon-fiber, triplet apochromatic refractor) connected to a Televue 0.8x field flattener / focal reducer with a dual band IDAS Hydrogen-alpha / Oxygen III filter and an ASI2600MC Pro camera running at -10 degrees centigrade and controlled by an ASIair running on an IPad Air. Guided by an ASI290MC autoguider / planetary camera in an Orion 60mm, f/4 guidescope; they ride on a Losmandy G-11 mount running a Gemini 2 control system.
This is one of two Losmandy G-11's in my observatory and in June it was the first time this G-11 mount was away from the observatory I built at my home here in upstate, NY in the past 20 or so years. Since I have two G-11's I am leaving the newer one in my observatory while using this one as a new portable / transportable system for on-the-road events like this summer's trips to CSSP.
Due to the large brightness difference between the inner portions of the Eagle Nebula and the fainter nebulosity in the image I would normally use an HDR approach varying the exposure, but since I was also testing out a second IDAS dual-band (Sulfur II / Oxygen III) filter I recently purchased, I kept it somewhat simple and the data is just from two separate nights (months apart) using just the H-a / OIII filter and a stack of sixty, three minute exposures for a total integration time of three hours (not including applicable flat, dark, and flat dark calibration frames of course). I did manage to capture an hour of data on this object with the SII / OIII filter when there for BFSP in September but have not yet processed or incorporated it yet. Therefore the attached was processed in a more 'natural' palette mapping Hydrogen-alpha to the red channel and Oxygen III to green and blue channels. Using a combination PixInsight and PaintShopPro, as shown here the filed-of-0view has been cropped to emphasize the nebula itself and the entire composite has been re-sized down to HD resolution and the bit depth lowered to 8 bits per channel.
Having been going to Cherry Springs with many of my best friends for over 20 years now, for those not familiar it is a wonderful state park under Bortle 2 skies which also caters to amateur astronomers. In addition to viewing and imaging a plethora of objects there over the decades, I have also been fortunate to be there during some wonderful transient events
(e.g. As can be seen in the aurora images at the attached links that I took there back in 2002 - in that case using film of course -
www.flickr.com/photos/homcavobservatory/32749047085/in/al...
www.flickr.com/photos/homcavobservatory/32113365204/in/al...
while a shot from the 2023 CSSAP of the Lagoon & Trifid nebulae can be found at the link attached here :
www.flickr.com/photos/homcavobservatory/53012789409/
and a shot of the same area from 2019 that I also took at CSSP with the same scope but using a slightly different framing and utilizing an unmodded (and uncooled) Canon 700D DSLR on a SkyView Pro mount can be found here -
www.flickr.com/photos/homcavobservatory/48274270732/in/al...
During my trips to Cherry Springs this summer I also managed to capture Ha/OIII and SII/OIII data on a variety of other objects and am looking forward to seeing what details I can pull out of the data once processed as well as trying to process this and the other objects in alternate palettes.
Wishing clear, dark & calm skies to all !
Ikat, or ikkat, is a dyeing technique used to pattern textiles that employs resist dyeing on the yarns prior to dyeing and weaving the fabric.
In ikat the resist is formed by binding individual yarns or bundles of yarns with a tight wrapping applied in the desired pattern. The yarns are then dyed. The bindings may then be altered to create a new pattern and the yarns dyed again with another colour. This process may be repeated multiple times to produce elaborate, multicolored patterns. When the dyeing is finished all the bindings are removed and the yarns are woven into cloth. In other resist-dyeing techniques such as tie-dye and batik the resist is applied to the woven cloth, whereas in ikat the resist is applied to the yarns before they are woven into cloth. Because the surface design is created in the yarns rather than on the finished cloth, in ikat both fabric faces are patterned.
A characteristic of ikat textiles is an apparent "blurriness" to the design. The blurriness is a result of the extreme difficulty the weaver has lining up the dyed yarns so that the pattern comes out perfectly in the finished cloth. The blurriness can be reduced by using finer yarns or by the skill of the craftsperson. Ikats with little blurriness, multiple colours and complicated patterns are more difficult to create and therefore often more expensive. However, the blurriness that is so characteristic of ikat is often prized by textile collectors.
Ikat is produced in many traditional textile centres around the world, from India to Central Asia, Southeast Asia, Japan (where it is called "kasuri"), Africa and Latin America. Double ikats - in which both the warp and weft yarns are tied and dyed before being woven into a single textile - are relatively rare because of the intensive skilled labour required to produce them. They are produced in Okinawa islands of Japan, the village of Tenganan in Indonesia, and the villages of Puttapaka and Bhoodan Pochampally in Telangana and Gujarat in India.
TYPES
In warp ikat it is only the warp yarns that are dyed using the ikat technique. The weft yarns are dyed a solid colour. The ikat pattern is clearly visible in the warp yarns wound onto the loom even before the weft is woven in. Warp ikat is, amongst others, produced in Indonesia; more specifically in Kalimantan, Sulawesi, and Sumatra by respectively the Dayaks, Torajans and Bataks.
In weft ikat it is the weaving or weft yarn that carries the dyed patterns. Therefore, the pattern only appears as the weaving proceeds. Weft ikats are much slower to weave than warp ikat because the weft yarns must be carefully adjusted after each passing of the shuttle to maintain the clarity of the design.
Double Ikat is a technique in which both warp and the weft are resist-dyed prior to weaving. Obviously it is the most difficult to make and the most expensive. ouble ikat is only produced in three countries: India, Japan and Indonesia. The double ikat made in Patan, Gujarat in India is the most complicated. Called "patola," it is made using fine silk yarns and many colours. It may be patterned with a small motif that is repeated many times across the length of a six-meter sari. Sometimes the Patan double ikat is pictorial with no repeats across its length. That is, each small design element in each colour was individually tied in the warp and weft yarns. It's an extraordinary achievement in the textile arts. These much sought after textiles were traded by the Dutch East Indies company for exclusive spice trading rights with the sultanates of Indonesia. The double ikat woven in the small Bali Aga village, Tenganan in east Bali in Indonesia reflects the influence of these prized textiles. Some of the Tenganan double ikat motifs are taken directly from the patola tradition. In India double ikat is also woven in Puttapaka, Nalgonda District and is called Puttapaka Saree. In Japan, double ikat is woven in the Okinawa islands where it is called tate-yoko gasuri.
ETYMOLOGY
Ikat is an Indonesian language word, which depending on context, can be the nouns: cord, thread, knot and the finished ikat fabric as well as the verbs "to tie" or "to bind". It has a direct etymological relation to Javanese language of the same word. Thus, the name of the finished ikat woven fabric originates from the tali (threads, ropes) being ikat (tied, bound, knotted) before they are being put in celupan (dyed by way of dipping), then berjalin (woven, intertwined) resulting in a berjalin ikat- reduced to ikat.
The introduction of the term ikat into European language is attributed to Rouffaer. Ikat is now a generic English loanword used to describe the process and the cloth itself regardless of where the fabric was produced or how it is patterned.
In Indonesian the plural of ikat remains ikat. However, in English a suffix plural 's' is commonly added, as in ikats. This is true in other some other languages. All are correct.
DISTRIBUTION
Ikat is a weaving style common to many world cultures. It is probably one of the oldest forms of textile decoration. However, it is most prevalent in Indonesia, India and Japan. In Central and South America, ikat is still common in Argentina, Bolivia, Ecuador, Guatemala and Mexico.
In the 19th century, the Silk Road desert oases of Bukhara, Samarkand, Hotan and Kashgar (in what is now Uzbekistan and Xinjiang in Central Asia) were famous for their fine silk Uzbek/Uyghur ikat.
India, Japan, Indonesia and many other Southeast Asian nations including Cambodia, Myanmar, Philippines and Thailand have weaving cultures with long histories of ikat production.
Double ikat weaving is still found in India, Japan and Indonesia. In Indonesia, it is still woven in Bali, Java, Kalimantan or Borneo and Sumatra.
HISTORY
As textiles do not last well through history, scholars have so far been unable to determine where the technique of ikat originated. Nevertheless, some parts of Asia demonstrates strong ikat traditions which suggest its possible origin; they are Maritime Southeast Asia, Indian subcontinent and Central Asia. However, it probably developed in several different locations independently, since ikat was known to be produced in several pre-Columbian Central and South American cultures.
The term "ikat" has Indonesian origin, and it was introduced into European textile vocabulary back in early 20th century, when the Dutch scholars begin to study the rich textile traditions of East Indies archipelago (today Indonesia).
Uyghurs call it atlas (in IPA [ɛtlɛs]) and use it only for woman's clothing. The historical record indicates that there were 27 types of atlas during Qing occupation. Now there are only four types of Uyghur atlas remaining: Qara-atlas (Darayi, black ikat used for older women's clothing), Khoja'e-atlas (yellow, blue, purple ikat used for married women), Qizil-atlas (red ikat used for girls) and Yarkant-atlas (Khan-atlas). Yarkant-atlas has more diverse styles; during Yarkant Khanate (16th century), there ten different styles of Yarkant-atlas.
PRODUCTION
WARP IKAT
Ikat created by dyeing the warp are simpler to make than either weft ikat or double ikat. First the yarns - cotton, silk, wool or other fibres - are wound onto a frame. Then they are tied into bundles. The bundles may be covered with wax, as in batik. (However, in making batik, the craftsperson applies the resist to the finished cloth rather than to the yarns to be woven.) The warp yarns are then wrapped tightly with thread or some other dye-resistant material to prevent unwanted dye permeation. The procedure is repeated, depending on the number of colours required to complete the design. Multiple coloration is common, requiring multiple rounds of tying and dyeing. The newly dyed and thoroughly washed bundles are wound onto the loom to produce the warp (longitudinal yarns). Warp threads are adjusted for the desired alignment for precise motifs.
Some ikat traditions, such as Central Asia's, embrace a blurred aesthetic in the design. Other traditions favour a more precise and more difficult to achieve refinement in the placement of the ikat yarns. South American and Indonesian ikat are known for a high degree of warp alignment. Weavers must adjust the warp repeatedly to maintain pattern alignment.
Patterns result from a combination of the warp dye and the weft thread colour. Some warp ikat traditions are designed with vertical-axis symmetry or have a "mirror-image" running along their long centre line. That is, whatever pattern or design is woven on the right is duplicated on the left in reverse order about a central warp thread group. Patterns can be created in the vertical, horizontal or diagonal.
WEFT IKAT
Weft ikat uses resist-dyeing for the weft yarns. The movement of the weft yarns in the weaving process means precisely delineated patterns are more difficult to weave. The weft yarn must be adjusted after each passing of the shuttle to preserve the pattern.
Nevertheless, highly skilled artisans can produce precise weft ikat. Japanese weavers produce very accurate indigo and white weft ikat with small scale motifs in cotton. Weavers in Odisha, India have replicated fine Urdu script in weft ikat. In Thailand, weavers make very fine silk sarongs depicting birds and complex geometrical designs in seven colour weft ikat.
In some precise weft ikat traditions (Gujarat, India), two artisans weave the cloth: one passes the shuttle and the other adjusts the way the yarn lies in the shed.
As the weft is commonly a continuous strand, aberrations or variation in coloration are cumulative. Some weft ikat traditions incorporate this affect into their aesthetic. Patterns become transformed by the weaving process into irregular and erratic designs. Guatemalan ikat is well-noted for its beautiful "blurs."
DOUBLE IKAT
Double Ikat is created by resist-dyeing both the warp and weft prior to weaving.This form of weaving requires the most skill for precise patterns to be woven and is considered the premiere form of ikat. The amount of labour and skill required also make it the most expensive, and many poor quality cloths flood the tourist markets. Indian and Indonesian examples typify highly precise double ikat. Especially prized are the double ikats woven in silk known in India as patola (singular: patolu). These are from Gujarat (Cambay). During the colonial era, Dutch merchants used patola as prestigious trade cloths during the peak of the spice trade.
In Indonesia double ikat is only woven in the Bali Aga village of Tenganan. These cloths have high spiritual significance. In Tenganan they are still worn for specific ceremonies. Outside Tenganan, geringsing are treasured as they are purported to have magical powers.
The double ikat of Japan is woven in the Okinawa islands and is called tate-yoko gasuri.
Pochampally Sari, a variety from a small village in Nalgonda district, Andhra Pradesh, India is known for silk saris woven in the double Ikat.
The Puttapaka Saree is made in Puttapaka village, Samsthan Narayanpuram mandal in Nalgonda district, India. It is known for its unique style of silk saris. The symmetric design is over 200 years old. The Ikat is warp-based. The Puttapaka Saree is a double ikat.
Before the weaving is done, a manual winding of yarn, called Asu, needs to be performed. This process takes up to 5 hours per sari and is usually done by the womenfolk, who suffer physical strain through constantly moving their hands back and forth over 9000 times for each sari. In 1999, a young weaver C Mallesham developed a machine which automated Asu, thus developing a technological solution for a decades-old unsolved problem.
OSHIMA
Oshima ikat is a uniquely Japanese ikat. In Oshima, the warp and weft threads are both used as warp to weave stiff fabric, upon which the thread for the ikat weaving is spot-dyed. Then the mats are unravelled and the dyed thread is woven into oshima cloth.
The Oshima process is duplicated in Java and Bali, and is reserved for ruling royalty, notably Klungkung and Ubud: most especially the dodot cloth semi-cummerbund of Javanese court attire.
OTHER COUNTRIES
CAMBODIA
The Cambodian ikat is a weft ikat woven of silk on a multi-shaft loom with an uneven twill weave, which results in the weft threads showing more prominently on the front of the fabric than the back.
By the 19th century, Cambodian ikat was considered among the finest textiles of the world. When the King of Thailand came to the US in 1856, he brought as a gift for President Franklin Pierce fine Cambodian ikat cloth. The most intricately patterned of the Cambodian fabrics are the sampot hol - skirts worn by the women - and the pidans - wall hangings used to decorate the pagoda or the home for special ceremonies.
Unfortunately, Cambodian culture suffered massive disruption and destruction during the mid-20th century Indochina wars but most especially during the Khmer Rouge regime. Most weavers were killed and the whole art of Cambodian ikat was in danger of disappearing.
Kikuo Morimoto is a prominent pioneer in re-introducing ikat to Cambodia. In 1995, he moved from Japan and located one or two old lady weavers and Khmer Rouge survivors who knew the art and have taught it to a new generation.
THAILAND
In Thailand, the local weft ikat type of woven cloth is known as Matmi (also spelled 'Mudmee' or 'Mudmi'). Traditional Mudmi cloth was woven for daily use among the nobility. Other uses included ceremonial costumes. Warp ikat in cotton is also produced by the Karen and Lawa tribal peoples in northern Thailand.
This type of cloth is the favourite silk item woven by ethnic Khmer people living in southern Isaan, mainly in Surin, Sisaket and Buriram.
LATIN AMERICA
Ikat patterns are common among the Andes peoples, and native people of Argentina, Bolivia, Brazil, Chile, Colombia, Ecuador, Guatemala, Mexico, Peru, and Venezuela. The Mapuche shawl or poncho of the Huaso cowboys of Chile is perhaps the item best known in the West. Wool and cabuya fibre are the most commonly used.
The Mexican rebozos can be made from silk, wool or cotton and are frequently ikat dyed. These shawls are seen as a part of the Mexican national identity and most women own at least one.
Latin American ikat (Jaspe, as it is known to Maya weavers) textiles are commonly woven on a back-strap loom. Pre-dyed warp threads are a common item in traditional markets- saving the weaver much mess, expense, time and labour. A Latin American innovation which may also be employed elsewhere is to employ a round stick around which warp threads are wrapped in groups, thus allowing more precise control of the desired design. The "corte" is the typical wrap skirt used worn by Guatemalan women.
ACCREDITATION
As of 2010, the government of the Republic of Indonesia announced it would pursue UNESCO Intangible Cultural Heritage accreditation for its ikat weaving, along with songket, and gamelan having successfully attained this UNESCO recognition for its wayang, batik and the kris.
WIKIPEDIA
An interesting set of photographers with similar grand styles and a somewhat common theme. I managed to find the subjects I wanted for the assignment but did not have any opportunity for higher vantage points. Instead I opted for a closer view that spanned the entire frame in an effort to follow a few of the examples by Burtynsky. I also integrated the order and repeating pattern of Gursky. So in essence I blended their styles to get my product.
I also used this assignment to show my young daughters what grand things humans can make and what the cost is beyond money. Perhaps a bit like showing someone how a yummy sausage is made.
View on black
All the precautions you need to take for the journey ahead!
Going Bush!
A description of the journey across..
with notes courtesy of research by..
On the Indian Pacific train you depart Adelaide 6:40 pm reaching Port August at 11pm; then Tarcoola 4:20 am; the siding of Bates at 7:40am. We have a brief stop at the former township of Cook at 9:45 am. We should reach Forrest in Western Australia about 1:54 pm; Rawlinna at 2:26 pm and Kalgoorlie at 7:10 pm.
As a condition of entering the federation of Australia WA Premier Sir John Forrest insisted on a transcontinental rail link with the eastern states via Port Augusta. Work began in 1912 and was completed in 1917. Water for the steam engines was obtained from bores across the Nullarbor but the high salt content meant steam engines rusted out very quickly. Coal was shipped from NSW and transported across the Nullarbor to tiny rail sidings and left in stockpiles to fuel the steam furnaces. It was a costly and relatively slow way of crossing from SA to Perth. The journey involved several changes of gauges from Adelaide with the first at Terowie where the 5’3” rail gauge line ended. The 3’6” gauge from Terowie meandered north through Quorn and down through the Pichi Richi Pass to Port August. Here was another change of gauge to the new standard line across to Kalgoorlie.
At Kalgoorlie a further change of gauge occurred back to 3’6” the main gauge used in WA. The first train to cross from Sydney to Perth without a change of gauge was in 1970. The first air-conditioned train to cross to Perth from Port Pirie was in 1951. The original trip from Port Augusta to Kalgoorlie took 42 hours but was later reduced to 29 hours by 1936 when the new direct line from Adelaide to Port Pirie opened. Today we travel the same section in 19 hours from Port Augusta to Kalgoorlie.
Nullarbor.
This flat limestone plain is the largest area of karst landscape, with numerous subsurface caves, in the world. It stretches 1,200 kms from near Ceduna to near Norseman in WA. On it southern border high limestone cliffs face the Great Australian Bight; to the north the limestone plain becomes the Great Victoria Desert, a typical sandy desert. Nullarbor comes for the Latin “nullus” meaning not any and “arbor” meaning trees- hence no trees. However, this does not mean the Nullarbor lacks vegetation (or interest). Around 800 species of plants including saltbush and blue bush grow across the Nullarbor or its edges. Wildlife is plentiful but water is not. Somehow Edward John Eyre and his overseer John Baxter, managed to cross the inhospitable landscape with the help of his Aboriginal friend Wylie in 1841. The pair was saved by a French whaling ship on the coast near Esperance. After receiving food and water Eyre and Wylie continued overland to Albany to complete the crossing from Streaky Bay.
Eyre was award the gold medal of the Royal Geographical Society in London for this incredible journey. After the journey Eyre took up land in SA and became Protector of Aborigines near Blanchetown (Moorundie).
The Characters of the Crossing.
The stations/sidings which you will probably not even see as they whizz by include a list of many of Australian
Prime Ministers and the eccentric Daisy Bates. In order, after Tarcoola which we pass through during the night, the sidings are: Barton; Bates; Ooldea; Watson; Fisher and Cook where we stop for a short time. Beyond Cook where the line is straight for a very long distance the sidings are: Denman; Hughes; Forrest (which has the major airport); Rawlinna, Chifley; Curtin and finally Kalgoorlie.
Barton. Sir Edmund Barton, 1829-1920, was an Australian born NSW scholar and politician. A staunch federalist he became the first Australian Prime Minister in 1901. He was the driving fore behind the writing of the Australian Constitution. He pushed for the White Australia Policy and got an act to repatriate Kanaka workers from Queensland. He resigned in 1903 to become a judge of the High Court of Australia.
Bates. Daisy Bates, 1863-1951, was an eccentric Irishwoman who migrated to Australia in 1884. She married in 1885 but seldom lived with her husband. After a five year trip to England she returned to Australia and took up living with remote Aboriginal communities, firstly in the Kimberlies and then at Ooldea in SA. She lived at Yalata or Ooldea from 1915 to 1934. She favoured segregation of full blood Aboriginal people, maintained they practised cannibalism and was unpopular with academic anthropologists but she had many articles written in newspapers to popularise her ideas and her work. She died at Prospect and was buried in North Road Anglican cemetery.
Ooldea. Ooldea has been an Aboriginal camping place for aeons as it has permanent water. Ernest Giles the explorer was the first white person to discover the water here in 1875. Ooldea became the rail siding for the Maralinga nuclear testing site and it was the home of Daisy Bates for many years.
Watson. John Christian Watson, 1867 -1941, was the third Prime Minister but served for only four months in 1904. He was Australia’s first Labor Prime Minister and he favoured protective tariffs. He retired from federal politics in 1910. He was known for his “Viking style” beard!
Fisher. Andrew Fisher, 1862-1928, was Prime Minister three times, 1908-9; 1910-13; and 1914-15. He was a founding Labor politician. Whilst PM he oversaw the establishment of the Australian Navy, the founding of the Commonwealth Bank, the founding of Canberra and the splitting of the Northern Territory from SA. He was also PM when a start was made on the Transcontinental rail line from Port Augusta to Kalgoorlie in 1912. Not surprisingly the first few rail sidings across the Nullarbor are named after Labor Prime Ministers, except for Barton, our first Prime Minister. The conservative/national/free trade Prime Minsters generally have sidings in WA towards Kalgoorlie!
Cook. This station and tiny township was not named after Captain James Cook but Prime Minister Sir Joseph Cook, 1860-1947. Cook was the sixth PM in 1913-14. He began as a Labor politician but in the federal sphere switched away from protectionism to free trade. He served as a Liberal free trade Prime Minister. Cook agreed to the British request for troops to support them in World War One in France and Turkey.
Denman. Sir Thomas Denman, 1874-1954, was a British military man. He was appointed as Governor General of Australia in 1911. He conducted the founding ceremony for the establishment of Canberra in 1913. Denman interfered in federal politics and supported the PM who wanted complete Australian control and autonomy for the Australian Navy. Denman publically supported this. He was recalled to England in May 1914. Throughout the 1920s he supported Australia’s point of view in debates in the British House of Lords.
Hughes. William (Billy) Hughes was the first long surviving Australian Prime Minister as he was in power from 1915-1923. This record was not beaten until 1957 by Sir Robert Menzies. Billy Hughes lived from 1862- 1952. Hughes’ other record, being the longest serving member of parliament has not yet been surpassed. He was a politician for almost 52 years! Hughes served in earlier Labor ministries but split the Labor Party in 1917 by proposing conscription for the World War One war effort. He was expelled from the Labor Party! But he won the next election in alliance with the National Party. In 1923 he had insufficient parliamentarians to form government but he remained in parliament as a member of the United Australia Party which later became the Liberal Party. He died whilst still a parliamentarian aged 90 years.
Deakin. This siding is right on the WA/SA border. Alfred Deakin, 1856-1919, served as Prime Minister three times in the first few years of federation from 1903-4; 1905-8; and 1909-10. Alfred Deakin was a protectionists and finally Liberal in parliament. He was a great leader in the federation moment, a former Victorian Premier and is credited with starting the nation building process for Australia when he was Prime Minister. He was a scholar and a lawyer.
Reid. Sir George Reid, 1845-1918, was Prime Minister in 1904-5. He was a devout exponent of free trade and a Liberal but the other Liberal Alfred Deakin would not support him and his free trade policies. He went on to be leader of the Opposition against the Labor governments that followed him.
Forrest. Sir John Forest, 1847-1918, the first Baron Forrest of Bunbury, was an explorer, surveyor and politician extraordinaire. He was born at Bunbury in WA and became the founding Premier of WA when partial self-government was granted by Britain in 1890. Forrest led the explorers who did the first west to east crossing of the Nullarbor from Perth to Adelaide in 1870.
He was the first Western Australian knighted in 1891. He served as Premier of WA from 1890 to 1901 during the decade when the population exploded with the gold discoveries at Kalgoorlie. He acted for the establishment of a water pipeline to Kalgoorlie; he unilaterally rejected Britain’s control of WA Aboriginal Affairs and summarily ended it; he took government control of the Great Southern Railway to Albany; he repealed a section of the state Constitution which stated 1% of all tax royalties must be spent on Aboriginal people. From 1901 to his death in 1918 he was a member of the federal parliament aligned with non-Labor politicians. Although he supported federation he fought hard for rights for WA including the building of a transcontinental railway from Port Augusta.
Forrest’s reluctance to join federation until concessions were promised for WA led politicians and others in the goldfields to propose a new state called Auralia to enter the federation, even if the rest of WA did not. The capital of that state would have been Kalgoorlie. Once Forrest finally committed WA to join the federation this proposal for a separate state of Auralia was dropped.
The Forrest siding or settlement with only a couple for residents is known for its airport. It has the largest runway outside of a capital city in case it is needed for emergency or military use. Light aircraft use the airport as a refuelling stop across the Nullarbor.
Rawlinna. This siding is named after the local sheep station, the largest in the world, with an historical homestead. Up to 80,000 sheep have been shorn in one year on Rawlinna Station.
Chifley. Joseph Benedict Chifley, 1885-1951, was a Labor Prime Minister for Australia after the Second World War from 1945- 1949. Ben Chifley introduced the Snowy Mountains irrigation scheme and founded the Australian National University in Canberra. He was no longer PM in 1951 but still a parliamentarian when he died in office in Canberra. He lost the 1949 elections on his proposal to nationalise the banks of Australia.
Curtin. John Curtin, 1884-1945 was the Labor Prime Minister for Australia during most of World War Two from 1941-45. He died in office in July 1945 just six weeks before the end of the War. His great contribution was to reject British proposals for the deployment of Australian troops to protect their interests and to put them under the command of General Douglas MacArthur from America who used our troops in South East Asia and New Guinea to protect Australia from invasion by the Japanese.
Kalgoorlie.
Gold was discovered here by Patrick Hannan and the city emerged overnight in 1893. The finds were so rich that it is still known as the richest mile on the planet. Thousands swarmed to the gold fields but deep shaft mining meant casual prospectors were soon just mine employees and most left the goldfields. By 1898 the town had a population of around 2,000 but only 500 were women. Once a railway line from Perth reached the town the population grew. The water pipeline reached the city in 1903 offering coastal amenities to outback residents! It was this small population of about 5,000 in 1900 that were in favour of joining the federation of Australia and creating a new state called Auralia. The port for this new colony would have been Esperance. The mine continued giving its riches to the mining companies. When it began in 1893 gold worth £421,000 was produced in WA. By 1900 the value of gold found in WA was worth £6,000,000! And the boom still continues in WA with nickel, oil, gas and iron and Kalgoorlie has the largest open cut mine in the world.
But relations on the gold fields have not always been cordial. Kalgoorlie is known for the 1934 Race Riots as mobs against Greek, Italian and Slavic mobs rioted, attacked and burned Greek and Slavic owned properties. Extra police were sent from Perth to quell the riots. The riot broke out on a Saturday night, a traditional night for drinking and violence. Foreign owned hotels were burned and residences lived in by foreigners had their windows smashed in both Kalgoorlie and Coolgardie. This was and still is the Wild West! Unlike the eastern states WA has always had more land than people and even into the 1970s virgin farmland was being granted or sold to new comers for little money. One of the last large cereal farming areas developed, which would have been in the state of Auralia, was at Esperance in the 1970s.
PA110232
PA110231
Address to the American Newspaper Publishers [delivered 27 April 1961, Waldorf Astoria Hotel, New York]
"My topic tonight is a more sober one -- of concern to publishers as well as editors.
I want to talk about our common responsibilities in the face of a common danger. The events of recent weeks may have helped to illuminate that challenge for some; but the dimensions of its threat have loomed large on the horizon for many years. Whatever our hopes may be for the future -- for reducing this threat or living with it -- there is no escaping either the gravity or the totality of its challenge to our survival and to our security -- a challenge that confronts us in unaccustomed ways in every sphere of human activity.
This deadly challenge imposes upon our society two requirements of direct concern both to the press and to the President -- two requirements that may seem almost contradictory in tone, but which must be reconciled and fulfilled if we are to meet this national peril. I refer, first, to the need for far greater public information; and, second, to the need for far greater official secrecy.
The very word "secrecy" is repugnant in a free and open society; and we are as a people inherently and historically opposed to secret societies, to secret oaths, and to secret proceedings. We decided long ago that the dangers of excessive and unwarranted concealment of pertinent facts far outweighed the dangers which are cited to justify it. Even today, there is little value in opposing the threat of a closed society by imitating its arbitrary restrictions. Even today, there is little value in insuring the survival of our nation if our traditions do not survive with it. And there is very grave danger that an announced need for increased security will be seized upon by those anxious to expand its meaning to the very limits of official censorship and concealment. That I do not intend to permit to the extent that it's in my control. And no official of my Administration, whether his rank is high or low, civilian or military, should interpret my words here tonight as an excuse to censor the news, to stifle dissent, to cover up our mistakes, or to withhold from the press and the public the facts they deserve to know.
But I do ask -- But I do ask every publisher, every editor, and every newsman in the nation to reexamine his own standards, and to recognize the nature of our country's peril. In time of war, the government and the press have customarily joined in an effort, based largely on self-discipline, to prevent unauthorized disclosures to the enemy. In times of "clear and present danger," the courts have held that even the privileged rights of the First Amendment must yield to the public's need for national security.
Today no war has been declared, and however fierce the struggle may be, it may never be declared in the traditional fashion. Our way of life is under attack. Those who make themselves our enemy are advancing around the globe. The survival of our friends is in danger. And yet no war has been declared, no borders have been crossed by marching troops, no missiles have been fired.
If the press is awaiting a declaration of war before it imposes the self-discipline of combat conditions, then I can only say that no war ever posed a greater threat to our security. If you are awaiting a finding of "clear and present danger," then I can only say that the danger has never been more clear and its presence has never been more imminent.
It requires a change in outlook, a change in tactics, a change in missions -- by the government, by the people, by every businessman or labor leader, and by every newspaper. For we are opposed around the world by a monolithic and ruthless conspiracy that relies primarily on covert means for expanding its sphere of influence -- on infiltration instead of invasion, on subversion instead of elections, on intimidation instead of free choice, on guerrillas by night instead of armies by day. It is a system which has conscripted vast human and material resources into the building of a tightly knit, highly efficient machine that combines military, diplomatic, intelligence, economic, scientific, and political operations.
Its preparations are concealed, not published. Its mistakes are buried, not headlined. Its dissenters are silenced, not praised. No expenditure is questioned, no rumor is printed, no secret is revealed. It conducts the Cold War, in short, with a war-time discipline no democracy would ever hope or wish to match.
Nevertheless, every democracy recognizes the necessary restraints of national security -- and the question remains whether those restraints need to be more strictly observed if we are to oppose this kind of attack as well as outright invasion.
For the facts of the matter are that this nation's foes have openly boasted of acquiring through our newspapers information they would otherwise hire agents to acquire through theft, bribery, or espionage; that details of this nation's covert preparations to counter the enemy's covert operations have been available to every newspaper reader, friend and foe alike; that the size, the strength, the location and the nature of our forces and weapons, and our plans and strategy for their use, have all been pinpointed in the press and other news media to a degree sufficient to satisfy any foreign power; and that, in at least in one case, the publication of details concerning a secret mechanism whereby satellites were followed required its alteration at the expense of considerable time and money.
The newspapers which printed these stories were loyal, patriotic, responsible, and well-meaning. Had we been engaged in open warfare, they undoubtedly would not have published such items. But in the absence of open warfare, they recognized only the tests of journalism and not the tests of national security. And my question tonight is whether additional tests should not now be adopted.
That question is for you alone to answer. No public official should answer it for you. No governmental plan should impose its restraints against your will. But I would be failing in my duty to the nation, in considering all of the responsibilities that we now bear and all of the means at hand to meet those responsibilities, if I did not commend this problem to your attention, and urge its thoughtful consideration.
On many earlier occasions, I have said -- and your newspapers have constantly said -- that these are times that appeal to every citizen's sense of sacrifice and self-discipline. They call out to every citizen to weigh his rights and comforts against his obligations to the common good. I cannot now believe that those citizens who serve in the newspaper business consider themselves exempt from that appeal.
I have no intention of establishing a new Office of War Information to govern the flow of news. I am not suggesting any new forms of censorship or new types of security classifications. I have no easy answer to the dilemma that I have posed, and would not seek to impose it if I had one. But I am asking the members of the newspaper profession and the industry in this country to reexamine their own responsibilities, to consider the degree and the nature of the present danger, and to heed the duty of self-restraint which that danger imposes upon us all.
Every newspaper now asks itself, with respect to every story: "Is it news?" All I suggest is that you add the question: "Is it in the interest of national security?" And I hope that every group in America -- unions and businessmen and public officials at every level -- will ask the same question of their endeavors, and subject their actions to the same exacting tests. And should the press of America consider and recommend the voluntary assumption of specific new steps or machinery, I can assure you that we will cooperate whole-heartedly with those recommendations.
Perhaps there will be no recommendations. Perhaps there is no answer to the dilemma faced by a free and open society in a cold and secret war. In times of peace, any discussion of this subject, and any action that results, are both painful and without precedent. But this is a time of peace and peril which knows no precedent in history.
It is the unprecedented nature of this challenge that also gives rise to your second obligation -- an obligation which I share. And that is our obligation to inform and alert the American people -- to make certain that they possess all the facts that they need, and understand them as well -- the perils, the prospects, the purposes of our program and the choices that we face.
No President should fear public scrutiny of his program. For from that scrutiny comes understanding; and from that understanding comes support or opposition. And both are necessary. I am not asking your newspapers to support an Administration, but I am asking your help in the tremendous task of informing and alerting the American people. For I have complete confidence in the response and dedication of our citizens whenever they are fully informed.
I not only could not stifle controversy among your readers -- I welcome it. This Administration intends to be candid about its errors; for as a wise man once said: "An error doesn't not become a mistake until you refuse to correct it." We intend to accept full responsibility for our errors; and we expect you to point them out when we miss them.
Without debate, without criticism, no Administration and no country can succeed -- and no republic can survive. That is why the Athenian lawmaker Solon decreed it a crime for any citizen to shrink from controversy. And that is why our press was protected by the First Amendment -- the only business in America specifically protected by the Constitution -- not primarily to amuse and entertain, not to emphasize the trivial and the sentimental, not to simply "give the public what it wants" -- but to inform, to arouse, to reflect, to state our dangers and our opportunities, to indicate our crises and our choices, to lead, mold, educate, and sometimes even anger public opinion.
This means greater coverage and analysis of international news -- for it is no longer far away and foreign but close at hand and local. It means greater attention to improved understanding of the news as well as improved transmission. And it means, finally, that government at all levels, must meet its obligation to provide you with the fullest possible information outside the narrowest limits of national security -- and we intend to do it.
It was early in the 17th Century that Francis Bacon remarked on three recent inventions already transforming the world: the compass, gunpowder, and the printing press. Now the links between the nations first forged by the compass have made us all citizens of the world, the hopes and threats of one becoming the hopes and threats of us all. In that one world's efforts to live together, the evolution of gunpowder to its ultimate limit has warned mankind of the terrible consequences of failure.
And so it is to the printing press -- to the recorder of man's deeds, the keeper of his conscience, the courier of his news -- that we look for strength and assistance, confident that with your help man will be what he was born to be: free and independent."[1]
View a highlight clip on YouTube -> www.youtube.com/watch?v=xhZk8ronces
1. www.americanrhetoric.com/speeches/jfknewspaperpublishers.htm
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
The DISNEY MAGIC Leaving Liverpool Cruise Terminal,
for a very short Cruise.
With the Mananan Ferry following it,
Also the Floating Platform Crain LARA 1
which is dismantling the Seacombe ferry terminal
and replacing it with a new one.
This video is taken at 1 frame per second,
and it has been reduced in size to 720p.
Created using Linux and WinFF.
© Kevin A Urquhart Photography.
Former Anchor Hocking building in Clarksburg, WV. See the attached photo of what it used to look like.
Ireland Green Campus - Trinity College Dublin Raise their Green Flag April 2013
PRESS RELEASE (issued by An Taisce)
Trinity reduces water consumption by 25%
The programme is very strongly student led and many achievements have taken place at Trinity College including:
• A 25% reduction in water consumption (due to leakage elimination, behaviour changes and rainwater harvesting)
•Stable energy efficiency despite large building projects and increasing student numbers
•1,200 trees on campus with increasing numbers planted each year
•Green roofs to promote ecology and water retention
•‘Green Week’ has become one of the College’s largest events
•Green-Campus included in staff and student induction
•Reviews of waste, energy, water, travel patterns and biodiversity have been undertaken and are being monitored
Trinity joins a number of pioneering Irish third level institutions: University College Cork, GMIT Castlebar, Coláiste Dhúlaigh, Coolock, Dundalk IT and Ballsbridge College of Further Education that have been awarded the Green Flag.
Speaking at the Flag Raising Ceremony the Director of An Taisce’s Environmental Education Unit Patricia Oliver, said: “It will be great to see the Green Flag flying at Trinity particularly as it attracts a footfall of around one million people per year due to its city centre location and heritage attractions such as the Book of Kells.
“This in itself can create challenges as regards litter management and maintenance. Trinity College Dublin has made great strides with the Green Campus programme. However, the award today is only a milestone on a continuous journey. The award will have to be renewed and updated on a regular basis.”
Trinity College Dublin Provost, Dr. Patrick Prendergast said: “We are delighted to be awarded the Green Flag for Trinity’s green campus. The environmental and recreational benefits provided by our campus in its city-centre location are of immense importance for our students, staff and the general public, and we hope to preserve and develop it.”
The Green-Campus award is overseen internationally by the Foundation for Environmental Education (FEE). FEE President Jan Eriksen said: "We are delighted that Trinity College Dublin has achieved the Green Flag. We have been following its progress and are aware of the challenges the college overcame to achieve this result.
“Now the challenge is to maintain, augment and build on its Green-Campus status. We are more than confident that Trinity College will be able to meet this challenge, continue to gain from it, and indeed inspire others."
Further Information
Ronan Cavanagh, Cavanagh Communications: (086) 317 9731
Deirdre O’Carroll, Green-Campus Office, An Taisce: (01) 400 2211
Caoimhe Ní Lochlainn, TCD Press Officer, Communications Office Trinity College Dublin, (087) 995 8014.
Note for Editors
Green-Campus is an international environmental education programme, environmental management system and award scheme that promotes long term, whole college action for the environment. It is broadly similar to the Green-Schools programme and available to all third level institutions (colleges, universities etc.). Both programmes are initiatives of FEE (The Foundation for Environmental Education) and in both cases successful applicants receive the Green-Flag award. Green-Campus has been developed by An Taisce in Ireland for the FEE international network. Green-Schools began as a pilot project in 1994. Currently, over 40,000 schools from 47 countries in Europe, Africa, North America, South America, Asia and Oceania are participating in the programme and almost 14,000 have been awarded the Green Flag.
In Ireland, Green Schools is operated by An Taisce in partnership with Local Authorities and is supported by the Department of Transport, Tourism & Sport, the Department of Environment, Community & Local Government and sponsored by Repak, Trócaire and the Wrigley Company Ltd. Currently, over 3,650 primary, secondary and special schools in Ireland are participating in the programme and over 2,500 schools have been awarded the Green-Flag.
Taken I think somewhere on the Queensbury lines or perhaps on some other WestRiding branches toured by this Class 110 and class 101 DMU's in the early 60's.
Thought to be in the Great Horton Area
More info apprieciated
Kev
GB Railfreight Class 92, 92043 powers south through the early morning fog at Acton Bridge with the Caledonian Sleeper Up Highlander (1M16) bound for London Euston.
A revised timetable was in operation due to the Covid-19 pandemic, with only the Inverness and Glasgow portions running and splitting/joining at Edinburgh to form one train in each direction on the WCML. 92043 had also worked the Glasgow-Edinburgh portion (1C16) prior to working 1M16 from Waverley.
Object Details: Messier 38 (aka The Starfish Cluster) is an open star cluster consisting of about 100 young stars approximately 220 million years old. Located roughly 4200 light-years from Earth, it spans nearly 25 light-years in diameter. The wide-field image on left also shows the smaller nearby cluster NGC 1907, which lies approximately 4500 light-years away and contains about 30 stars estimated to be 500 million years old. Although they formed in different parts of our Milky Way galaxy, simulations of their three-dimensional movement through space indicate the possibility of a relatively recent close encounter (i.e. a 'fast fly-by') of these two open star clusters. Located in the constellation of Auriga and glowing at magnitude 7.4, M38 spans 21 arc-minutes in our sky (i.e. 2/3's the diameter of the full moon) and is easily visible in binoculars. It's young bright stars can appear dazzling in a telescope from a dark site on a cold, crisp and clear winter's night!
Image Details: The attached were taken by Jay Edwards at the HomCav Observatory as test images (of simultaneous imaging) early on the morning of Oct. 19, 2018 as I awaited the rise of a comet. It is a composite of two images taken through (left) an 80mm f/6 apochromatic refractor (Orion ED80T CF) with a 0.85X field flatterner / focal reducer; and (right) a vintage 1970 8-in, f/7 Criterion newtonian reflector, connected simultaneously to twin Canon 700D (t5i) DSLRs. Each image is a stack of short exposures consisting of slightly less than an hour of total exposure time (not accounting for darks, flats & bias frames). The scopes were tracked on a Losmandy G-11 mount running a Gemini 2 control system, and guided using a ZWO ASI290MC planetary camera / auto-guider in a Celestron 80mm short-tube refractor, controlled by PHD2. The overall composite has been resized down to HD resolution and the bit depth lowered to 8 bits per channel to reduce the file size.
This reduced-resolution photo has been released under the Creative Commons cc-by-sa 2.0 (generic) licence. Please credit this photo Michele Ahin and specify the licence that this photo is licenced under.
If you would like to use this photo under a different licence, or at a higher resolution please contact me for additional information.
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Vincent van Gogh 1853 - 1890
Zelfportret als schilder, 1888
Self-portrait as an artist
olieverf op doek / oil on canvas
Vincent van Gogh Stichting
Omzich te bekwamen in het figuurschilderen maakte Van Gogh in zijn Parijse tijd een groot aantal zelfportretten. Dit is het enige waarin hij zichzelf weergaf als schilder met een palet, penselen en een doek op een ezel. Daarnaast is dit een van de weinige zelfportretten die hij tot in de details uitwerkte en - op een vrij opvallende plaats - van zijn handtekening voorzag.
During his time in Paris, Van Gogh wished to develop his skills as a portrait painter. For this reason he made a number of self-portraits. This is the only one in which he depicted himself as an artist with palette, brushes and a canvas on a wooden frame. It is also one of the few self-portraits that he elaborated in great detail and then signed.
inv. S22
This photo was taken on 23 june 2009 during a one-time exclusive photo session at the Van Gogh Museum in Amsterdam for the Wiki Loves Art /NL project.