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Gary Spatz is one of the most respected acting teachers for children
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callbacks for feature films and episodic television. Gary's been
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Zack and Cody".In the past, Gary has served as the Children’s acting
coach for many television productions, including the Emmy award
winning CBS sitcom “Everybody Loves Raymond”, “Rosanne”, “Sister,
Sister”, “The Jeff Foxworthy Show”, and “The Smart Guy”
Gary Spatz's "The Playground" is located in the heart of the Century
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The space has been designed to create a comfort zone for the actor
while simultaneously providing a professional atmosphere with studio-
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Gary Spatz has been the acting coach on several Disney productions
including MMC (the New Mickey Mouse Club, where he also served as
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specializes in teaching young performers and has taught young actors
that have gone on to star in such productions as Felicity, Beverly
Hills 90210, Malcolm in the Middle, That 70s Show, Jurassic Park, and
many many more.
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Respect to those who kept our country safe in World War II.
I had a business trip to Virginia. I invited my girlfriend Sher to come out and I would take some vacation time to view some of the sites back east. She had never been on a plane before, so quite the adventure for her, flying alone across country. Here, we visit the Capitol City, Washington D.C.
22 Feb 2005 - Hue, Vietnam - Monks bow during a prayer lead by Venerable Zen Master Thich Nhat Hanh. Hanh, 79, returned to Vietnam after a 40 year ban imposed in 1966 was lifted this year. Hanh is a respected poet, scholar, and peace & human rights activist.
Preah Khan (Khmer: ប្រាសាទព្រះខ័ន; "Royal Sword") is a temple at Angkor, Cambodia, built in the 12th century for King Jayavarman VII. It is located northeast of Angkor Thom and just west of the Jayatataka baray, with which it was associated. It was the centre of a substantial organisation, with almost 100,000 officials and servants. The temple is flat in design, with a basic plan of successive rectangular galleries around a Buddhist sanctuary complicated by Hindu satellite temples and numerous later additions. Like the nearby Ta Prohm, Preah Khan has been left largely unrestored, with numerous trees and other vegetation growing among the ruins.
HISTORY
Preah Khan was built on the site of Jayavarman VII's victory over the invading Chams in 1191. Unusually the modern name, meaning "holy sword", is derived from the meaning of the original - Nagara Jayasri (holy city of victory). The site may previously have been occupied by the royal palaces of Yasovarman II and Tribhuvanadityavarman. The temple's foundation stela has provided considerable information about the history and administration of the site: the main image, of the bodhisattva Avalokiteśvara in the form of the king's father, was dedicated in 1191 (the king's mother had earlier been commemorated in the same way at Ta Prohm). 430 other deities also had shrines on the site, each of which received an allotment of food, clothing, perfume and even mosquito nets; the temple's wealth included gold, silver, gems, 112,300 pearls and a cow with gilded horns. The institution combined the roles of city, temple and Buddhist university: there were 97,840 attendants and servants, including 1000 dancers and 1000 teachers.
The temple is still largely unrestored: the initial clearing was from 1927 to 1932, and partial anastylosis was carried out in 1939. Since then free-standing statues have been removed for safe-keeping, and there has been further consolidation and restoration work. Throughout, the conservators have attempted to balance restoration and maintenance of the wild condition in which the temple was discovered: one of them, Maurice Glaize, wrote that;
The temple was previously overrun with a particularly voracious vegetation and quite ruined, presenting only chaos. Clearing works were undertaken with a constant respect for the large trees which give the composition a pleasing presentation without constituting any immediate danger. At the same time, some partial anastylosis has revived various buildings found in a sufficient state of preservation and presenting some special interest in their architecture or decoration.
Since 1991, the site has been maintained by the World Monuments Fund. It has continued the cautious approach to restoration, believing that to go further would involve too much guesswork, and prefers to respect the ruined nature of the temple. One of its former employees has said, "We're basically running a glorified maintenance program. We're not prepared to falsify history". It has therefore limited itself primarily to stabilisation work on the fourth eastern gopura, the House of Fire and the Hall of Dancers.
THE SITE
The outer wall of Preah Khan is of laterite, and bears 72 garudas holding nagas, at 50 m intervals. Surrounded by a moat, it measures 800 by 700 m and encloses an area of 56 hectares. To the east of Preah Khan is a landing stage on the edge of the Jayatataka baray, now dry, which measured 3.5 by 0.9 km. This also allowed access to the temple of Neak Pean in the centre of the baray. As usual Preah Khan is oriented toward the east, so this was the main entrance, but there are others at each of the cardinal points. Each entrance has a causeway over the moat with nāga-carrying devas and asuras similar to those at Angkor Thom; Glaize considered this an indication that the city element of Preah Khan was more significant than those of Ta Prohm or Banteay Kdei.
Halfway along the path leading to the third enclosure, on the north side, is a House of Fire (or Dharmasala) similar to Ta Prohm's. The remainder of the fourth enclosure, now forested, was originally occupied by the city; as this was built of perishable materials it has not survived. The third enclosure wall is 200 by 175 metres. In front of the third gopura is a cruciform terrace. The gopura itself is on a large scale, with three towers in the centre and two flanking pavilions. Between the southern two towers were two celebrated silk-cotton trees, of which Glaize wrote, "resting on the vault itself of the gallery, [they] frame its openings and brace the stones in substitute for pillars in a caprice of nature that is as fantastic as it is perilous." One of the trees is now dead, although the roots have been left in place. The trees may need to be removed to prevent their damaging the structure. On the far side of the temple, the third western gopura has pediments of a chess game and the Battle of Lanka, and two guardian dvarapalas to the west.
West of the third eastern gopura, on the main axis is a Hall of Dancers. The walls are decorated with apsaras; Buddha images in niches above them were destroyed in the anti-Buddhist reaction under Jayavarman VIII. North of the Hall of Dancers is a two-storeyed structure with round columns. No other examples of this form survive at Angkor, although there are traces of similar buildings at Ta Prohm and Banteay Kdei. Freeman and Jacques speculate that this may have been a granary. Occupying the rest of the third enclosure are ponds (now dry) in each corner, and satellite temples to the north, south and west. While the main temple was Buddhist, these three are dedicated to Shiva, previous kings and queens, and Vishnu respectively. They are notable chiefly for their pediments: on the northern temple, Vishnu reclining to the west and the Hindu trinity of Vishnu, Shiva and Brahma to the east; on the western temple, Krishna raising Mount Govardhana to the west.
Connecting the Hall of Dancers and the wall of the second enclosure is a courtyard containing two libraries. The second eastern gopura projects into this courtyard; it is one of the few Angkorian gopuras with significant internal decoration, with garudas on the corners of the cornices. Buddha images on the columns were changed into hermits under Jayavarman VIII.
Between the second enclosure wall (85 by 76 m) and the first enclosure wall (62 by 55 m) on the eastern side is a row of later additions which impede access and hide some of the original decoration. The first enclosure is, as Glaize said, similarly, "choked with more or less ruined buildings". The enclosure is divided into four parts by a cruciform gallery, each part almost filled by these later irregular additions. The walls of this gallery, and the interior of the central sanctuary, are covered with holes for the fixing of bronze plates which would originally have covered them and the outside of the sanctuary - 1500 tonnes was used to decorate the whole temple. At the centre of the temple, in place of the original statue of Lokesvara, is a stupa built several centuries after the temple's initial construction.
MICROBIAL DEGRADATION
Microbial biofilms have been found degrading sandstone at Angkor Wat, Preah Khan, and the Bayon and West Prasat in Angkor. The dehydration and radiation resistant filamentous cyanobacteria can produce organic acids that degrade the stone. A dark filamentous fungus was found in internal and external Preah Khan samples, while the alga Trentepohlia was found only in samples taken from external, pink-stained stone at Preah Khan.
Rap für Toleranz, Fairplay und RESPECT!
an der EURO 08
Veranstaltung vom 11.6.2008 auf der Bühne am General Guisan Quai, Zürich.
Stiftung Erziehung zur Toleranz (SET)
www.set-toleranz.ch/de/projekte/rap-fuer-fairplay-toleran...
KLARTEGSCHT
During an official visit to the Federal Republic of Ethiopia, WIPO Director General Francis Gurry met on February 6, 2014 with Chairperson of the African Union (AU) Commission Dlamini Zuma for discussions on issues of mutual interest. The AU Commission is headquartered in Addis Ababa.
Photo courtesy of the African Union.
. . . because of the prime importance of those temples on top of the hiill handicapped are carried up and down by porters that they can pay their respect to the deities
_______________________________________________
The Palitana temples of Jainism are located on Shatrunjaya by the city of Palitana in Bhavnagar district, Gujarat, India. The city of the same name, known previously as Padliptapur, has been nicknamed "City of Temples". Along with Shikharji in the state of Jharkhand, the two sites are considered the holiest of all pilgrimage places by the Jain community. As the temple-city was built to be an abode for the divine, no one is allowed to stay overnight, including the priests. Every Jain believes that a visit to this group of temples is essential as a once in a life time chance to achieve nirvana or salvation.
This site on Shatrunjaya hill is considered sacred by Jains and have hundreds of temples. There are approximately 863 marble-carved temples on the hills. It is said that 23 tirthankaras (a human being who helps in achieving liberation and enlightenment), except Neminatha (a liberated soul which has destroyed all of its karma), sanctified the hill by their visits. The main temple is dedicated to Rishabha, the first tirthankara; it is the holiest shrine for the Svetambara Murtipujaka sect. Digambara Jain have only one temple here.
ETYMOLOGY
Jain temples are called as derasaras. Shatrunjaya means a "place of victory" or "which conquers enemies". There are 108 names of Shatrunjaya but only some of them are in common use.
GEOGRAPHY
The Gulf of Cambay is to the south of the Shatrunjaya Hills, and Bhavanagar town is to the north of the hills with the Shetrunji River flowing in between. Palitana, a city in the Bhavnagar district of Gujarat, is 2 kilometres away. The Palitana Temples are situated at the twin summits and the saddle linking them. The temple complex is located 56 kilometres southwest of Bhavnagar, a major pilgrimage centre for Jains. The summit is situated at an elevation of 2,221 m. Reaching it involves climbing over 3,750 stone steps. However, during the monsoon season the temples are closed for devotees.
PATHS
It takes approximately two hours to make the 3.5 kilometres climb. There are multiple routes. The shortest one goes around the outer walls of the temples on the hilltop and passes Angar Pir, the shrine of a Muslim saint who is reported to have protected the temples during Muslim invasions. A second route goes around the foot of the mountain. A large number of pilgrims take part in a third route in the month of Phalguna (February/March), which passes five sacred temple sites over a distance of 45 kilometres. Elderly pilgrims who cannot climb the stairs are carried on a doli (swing chair) carried by porters and charged based on the pilgrim's weight.
GROUNDS
From the top of Shatrunjaya are views of the Gulf of Cambay and the rugged, drought-affected landscape. The narrow streets or lanes in the temple complex are similar to the ones found in the medieval cities of Europe. The high walls surrounding the temples give the appearance of a fort. Important features include the Ashok tree, the Chaitra tree, Jaytaleti, four-mouthed idol of Bhagawan Mahavir, Hingraj Ambikadevi (known as Hinglaj Mata, the presiding deity of the hill), Kumarpal, Vimalshah and Samprati.
HISTORY
Palitana was a princely state of India till it merged with India after independence in August 1947. It was the capital of the Kingdom of Rajpipla and Gohil Rajput clan.
Rishabha sanctified the hill where he delivered his first sermon. It was his grandson Pundarik, grandson of Rishabha who received salvation at Shatrunjay, hence the hill was originally known as "Pundarikgiri". Bharata, the father of Pundarik and half-brother of Bahubali, also came to Shatrunjaya many times. He is also credited with building a temple here.
The Palitana temples were built over a period of 900 years starting in the 11th century. They were destroyed by Turkish Muslims invaders in 1311 AD, when the saint Jinaprabhasuri, who was then 50 years old, presided over the temples. Two years later, the rebuilding began. While some temple building activity took place under Samara Shah, it was only two centuries later that it picked up momentum, when in 1593, Hiravijayasuri (Chief of Tapa Gaccha) organized a major pilgrimage to this location to attend the consecration ceremony of the temple built for Rishabha by Tej Pal Soni, a merchant. Following this, there was proliferation of temples here.
The most important temples are those of Adinath, Kumarpal, Sampratiraja, Vimal Shah, Sahasrakuta, Ashtapada and Chaumukh. Some of them are named after the wealthy patrons who paid for the construction. Most of them which are now present date to the 16th century. In 1656, Shah Jahan's son Murad Baksh (the then Governor of Gujarat) granted Palitana villages to the prominent Jain merchant Shantidas Jhaveri, a Svetambara Jain, in 1656, and subsequently when all taxes were also exempted that the temple town further prospered. It was brought under the control of the Anandji Kalyanji Trust in 1730 to manage not only Palitana temples but also many other temples of Svetambara Jains, since the Mughal period.
It is said that sculptors' skills and capacity to carve with abrasive cords (not tools) the intricate designs was paid on the basis of the marble dust that they had collected every evening after their hard labour. Kumarpal Solanki, a great Jain patron, probably built the earliest temples.
History also makes a mention that Lunia Seth Tilokchand, a merchant from Ajmer led a very large contingent of pilgrims to the Shatrunjaya temples when he heard that there were some disturbances at the Angarshah Pir on the hills. But he continued his pilgrimage and pleased the Pir by his offerings. This tradition is followed to this day by his descendents by offering an expensive cloth to cover the dome of the shrine.
Many of these temples are kept in “mint” condition with large donations provided by the rich Jain merchant community.
RELIGIOUS PRACTICES
It is inferred that the temples are built in clusters known as tunks, as Jains undertake pilgrimage mostly on foot and hence they would like to reduce the distance of travel on foot to the minimum. As a religious practice they cover their mouth while offering puja to the tirthankaras at the temples so that they don't hurt any insects by swallowing them with an open mouth. Also, for this reason they do not offer open lighted lamps but offer aarti with covered lanterns. The religious practice also involves pilgrimage by fasting throughout the journey to and from the shrines. They also build their temples in white marble to demonstrate purity. Silence and prayers are the order of the day when one is climbing up the hills on pilgrimage. Fasting continues until they have returned to the auditorium of Anandji Kalyanji Trust at the foothill. Only the elderly and children can take the curd which can be purchased at the top of the hill.
RENOVATIONS
There have been frequent renovations and many of them are dated to the 16th century. New temples continue to be built here. Renovations occurred at least 16 times during the avasarpinikala (the descending half of the wheel of time)
ARCHITECTURE & FITTINGS
The Palitana temples are considered to be the most sacred tirtha (pilgrimage place) by the Jain community. There are hundreds of temples, with estimates ranging between 863 and 1,008. They are arranged in systematic groupings with variation in height and space. The buildings are carved in marble and are considered to be prayers in stone. They are grouped in nine separate wings or tuks, each wing having a separate central shrine or temple with minor shrines surrounding it. They have the unique features of the Chaumukh temple which is stated to be their creative preoccupation for large halls for holding discourses. This was prompted by their first tirthanakara’s discourse. It is an ensemble involving four sided buildings with doors so that images would be visible from all four sides or directions. The four sides are called the caturbimba (four sided views), which is considered auspicious from all directions. Their religious texts also are oriented towards building "cities of temples" like Palitana and Ranakpur, a particular feature in Jainism.
The larger temples have considerable marble halls with columns and towers, and plenty of openings, unlike Hindu temples. They are situated in separate enclosures, surrounded by high fortified walls. Many of the temples are very small buildings only about 0.28 m2, with Jain emblems, and sacred to Mahavira. The marble floors have tesselated patterns. The interiors are intricately carved, with carved ceilings with geometrical lace designs, clustered together to form a canopy.
The Adinath temple, which venerates Rishabha, is the main temple (in the apex of the northern ridge of the complex) in the complex and is the grandest. It has ornate architectural motifs, though in its overall plan, it is simpler than the Chaumukh temple. The jewellery collection of this temple is large, which can be seen with special permission from the Anandji Kalyanji Trust. The prayer halls of this temple (renovated in 1157 by Vagabhatta) is decorated with ornamental friezes of dragons. There are stairs from the quadrangle surrounding the temple which lead to a balcony from where one gets a scenic view of the temple complex. There are a series of domes with high spires, 1245 pitchers, 21 images of brightly coloured lions, four yoginis, ten digpals (guards), 72 devkulikas, 32 dolls and 32 toranas. There are three pradakshina routes, followed in a clockwise direction, which are associated with this temple. The first is circular and includes the Sahasrakuta temple, the foot-idols under the Rayan tree, the temple of idols of feet of Ganadhar, and the temple of Simandhar Swami. The second passage passes the new Bhagawan Adishwar temple, Mt. Meru, the temple of Samavasaran temple, and Sammet Shikhar temple. The third passage passes the Ashtapada temple, the Chaumukh temple.
The Adishvara Temple, dated to the 16th century, has an ornamented spire; its main image is that of Rishabha. The Chaumukh temple, built in 1616, has a four-faced Adinatha image deified on a white pedestal, each face turned towards the cardinal directions. Vimal Shah temple is a square structure with towers. Saraswatidevi temple, Narsinh Kesharji temple, and the Samavasaran temple, with 108 life-sketches in sculpture, are also notable. A modern temple, Samvatsarana, was built at the base of the hills of the main temple complex.
In the shrines, on a pedestal, are large figures of Mahavira, sitting with feet crossed in front, like those of Buddha, often decorated with gems, gold plates, and silver. The Adinath temple has an image 2.16 metres in height of a white-colored idol in the Padmasana posture. The main iconic image of Adinath, carved in fine piece of marble, has crystal eyes. Devotees offer flowers and sandal paste to the deity as they approach the statue for worship. The quadrangle opposite in front of the temples is elaborately designed. There is another shrine opposite to Adishwara temple where the Hindu saint Pundrick Swamy lived in the 5th century. After visiting Adishwara, a temple similar in design, Dilwara temple, is located to the right of the steps used for descending from the main shrine, which is also very elegantly designed with architectural piece in marble. In this temple, Suparswanatha is carved in the centre of a cube-shaped column; Adinatha and Parswanatha adorn the top and bottom of the column. Carvings on the ceiling, floor and the column are very elegantly sculpted. Parswanatha Temple is located in front of this temple.
CULTURE
BELIEFS
Every devout Jain aspires to climb to the top of the mountain at least once in his lifetime because of its sanctity to attain nirvana. The code for the climbers is stringent, in keeping with the rigours of the Jain faith. Food must neither be eaten nor carried on the way. The descent must begin before it is evening, for no soul can remain atop the sacred mountain during the night. The Shatrunjaya hills are considered by many Jains to be more important than the temple-covered hills of Jharkhand, Mount Abu and Girnar.
FESTIVALS
On one special day (Fagun Sud 13), which commonly falls in February/March, thousands of Jain followers visit the temple complex to attain salvation. Three times as many pilgrims come at this time, which is also called "6 Gaon".
The special festival day is the "Chha Gau Teerth Yatra" at the temple complex held on Purnima day (Full Moon Day) of Kartika month according to the Jain calendar, Vira Nirvana Samvat (October–November as per the Gregorian Calendar). Jains, in very large numbers assemble on this day at the temple complex on the hills as it opens after 4 months of closure during the monsoon season. During this pilgrimage, considered a great event in the life time of devout Jain, pilgrims circumambulate the Shatunitjaya Hills covering a distance of 21.6 km on foot to offer prayers to Lord Adinatha on the Kartik Poornima Day at the top of the hill.
Mahavir Jayanti, the birthday of Mahāvīra, is a notable festival celebrated at the temple complex. A procession carrying images of the tirthankara is made in huge decorated chariots, concurrently accompanied by religious ceremonies in the temples. Rituals include fasting and giving alms to the poor.
WIKIPEDIA
Just because I have a babyface or youthful appearance at age 31
That doesn't mean you can project your inappropriate desires onto me
So treat me with respect and dignity as an adult
If you cannot, then stay away from me
GLSEN Respect Kick-off Party: Gay, Lesbian and Straight Education Network event in Downtown Los Angeles at the EVO pool deck.
Even Rocky Bluewinkle doffed his cap for the National Anthem.
I took Chris and Sarah -- who are visiting us from the UK -- to a Carolina League (minor league) baseball game in Wilmington and our locals the "Wilmington Blue Rocks" played the "Myrtle Beach Pelicans" (from South Carolina).
The Blue Rocks won -- and we introduced Chris to American Baseball which he had never ever seen before. We had a great time and it was a GREAT night for baseball!
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Focșani, ROMÂNIA (26 noiembrie/9 decembrie 1917). Armistițiul de la Focșani - abandon şi de trădare. Delegații români și delegații ”aliaților” ruși sosesc la barajul de sârmă ghimpată... decembrie 1917, ca urmare a dezastrului produs de pacea separată a aliatului rus cu Germania, România s-a văzut silită să semneze la Focşani armistiţiul cu Puterile Centrale.
Cu toate că în vara anului 1917 armata română câştigase marile victorii de la Mărăşti-Mărăşeşti-Oituz, prăbuşirea frontului rus, a pus România într-o situaţie delicată, de a nu se mai putea apăra în Moldova. Acest lucru a făcut ca ţara noastră, ca aliat al Antantei, formată din Franţa, Imperiul Britanic şi cel Rus, să rămână izolată şi singură în faţa Puterilor Centrale, reprezentată de Germania, Austro-Ungaria, Imperiul Otoman şi Bulgaria. Practic, România se afla în imposibilitatea de a mai continua războiul împotriva Puterilor Centrale, iar parafarea la 22 noiembrie la Brest-Litovsk a armistiţiului de încetare a operaţiunilor militare, care angaja într-un mod nepermis statul român, a determinat Guvernul României, refugiat la Iaşi în urma ocupării Bucureştiului de către trupele germane, să propună aliaţilor încheierea unui armistiţiu care reprezenta practic salvarea ţării noastre. I.C. Brătianu, acuzat de laşitate În memoriul trimis de şeful Guvernului, I.C. Brătianu se arătau circumstanţele defavorabile continuării războiului, acesta exprimându-şi speranţa că ”aliaţii îşi vor da consimţământul pentru încheierea unei păci separate, fără să denunţe obligaţiile pe care şi le-au asumat în august 1916”.
Deşi miniştrii din ţările Antantei recunoşteau situaţia gravă, francezii, reprezentaţi de generalul Henri Berthelot, a acuzat autorităţile române de trădare. "Vântul de abandon şi trădare a sunat până aici… În seara zilei de 19 noiembrie, la aflarea veştii asasinării lui Duhonin şi la anunţarea unei posibile sosiri a câtorva bolşevici la Iaşi, Scerbacev (general rus) i-a trimis lui Mackensen (general german) o cerere de armistiţiu, iar fricosul de Brătianu a fost de acord foarte rapid, în ciuda deciziilor luate cu două zile mai înainte într-un consiliu prezidat de Rege şi la care am asistat”, îşi exprima dezacordul generalul francez Berthelot în legătură cu încheierea armistiţiului. În replică, Brătianu susţinea că Berthelot fusese pus la curent cu poziţia adoptată de România. „La 20 noiembrie 1917, gen. D. Scerbaciov, comandantul trupelor ruse din spaţiul românesc, a înaintat oficialilor germani, respectiv austro- ungari,propunerea de încheiere a unui armistiţiu, între armatele «Centralilor» şi cele româno-ruse, la Focşani. Propunerea a fost acceptată de reprezentanţii Puterilor Centrale, care au desemnat o delegaţie mixtă, formată din ofiţeri germani, austrieci, bulgari şi turci, având ca preşedinte pe generalul von Morgen. Interesele româno-ruse urmau să fie reprezentate de o delegaţie comună, alcătuită din 20 membri, grupaţi în două sub-comisii: una rusă (16 membri), condusă de gen. Kelcevski, şi una română (4 membri), condusă de gen. Alexandru Lupescu. În ziua de 22 noiembrie 1917, delegaţii români şi ruşi s-au întâlnit la Tecuci, pentru a stabili normele şi punctele de vedere comune. La 24 noiembrie 1917, s-au reîntâlnit la Mărăşeşti şi de aici au plecat spre Focşani, unde la ora 15,05 începea prima rundă de negocieri cu partea adversă. Negocierile, desfăşurate în Casa Apostoleanu, s-au desfăşurat, cu inevitabile poticneli, până în ziua de 26 noiembrie 1917, când a fost adoptată forma finală a armistiţiului”, se arată în documentele istorice.
Punctele principale ale armistiţiului făceau referire la obligaţia suspendării ostilităţilor, cu condiţia absenţei vreunui demers militar al “Centralilor” pe întregul front răsăritean, dar şi interdicţia dislocării unor efective militare într-un procent mai mare de 10% din totalul armatelor prezente pe acest front. Istoricii spun că semnarea Armistiţiului de la Focşani a avut consecinţe negative pentru statul român, pe multiple planuri. Liberalii şi conservatorii, pe poziţii diferite „În primul rând, în sânul guvernului naţional, între liberali şi conservatorii democraţi au apărut disensiuni privind oportunitatea acestui Armistiţiu, disensiuni care s-au accentuat în special către sfârşitul lunii ianuarie, în contextul în care von Mackensen insista pentru «clarificarea» atitudinii României faţă de război. Semnarea Armistiţiului nu a însemnat si o clarificare a raporturilor militar - diplomatice dintre România şi aliaţii occidentali, mai ales că participarea sa la tratativele de la Focşani s-a făcut în condiţii nu tocmai clare, pe baza semnăturii în alb dată de miniştrii reprezentanţi la Iaşi. În consecinţă, după consumarea acestui act, aliaţii României nu s-au grăbit să-i recunoască dreptul de a rezolva, prin tratative directe cu adversarul, o situaţie pe care o recunoscuseră de altfel foarte dificilă, în condiţiile în care fostul, până mai ieri aliat, dădea şi el multă bătaie de cap autorităţilor române prin incoerenţa deciziilor politice şi incapacitatea a ţine sub control problemele de ordin militar, pericolul unui război civil devenind tot mai evident. Cu toate eforturile întreprinse de premierul Brătianu, Aliaţii şi-au păstrat convingerea că gestul României de a semna Armistiţiul era o abdicare de la angajamentele pe care şi le asumase faţă de Antantă în august 1916”, susţin istoricii Vasile Popa şi Cezar Mâţă. Ulterior, consecinţele armistiţiului de la Focşani au arătat cât de zadarnică a fost jertfa sutelor de mii de soldaţi români care au murit în Primul Război Mondial. România a întrerupt relaţiile diplomatice cu noua putere sovietică, care i-a confiscat tezaurul aflat în păstrare la Moscova. Apoi, în continuarea Armistiţiului de la Focşani, în aprilie 1918 a avut loc Tratatul de Pace de la Bucureşti, dintre România şi ţările Puterii Centrale, prin care ţara noastră a cedat Cadrilaterul, respectiv partea de sud a Dobrogei. Tratatul nu a fost niciodată ratificat de Parlamentul României sau promulgat de Regele României, iar dispoziţiile sale nu au intrat în vigoare decât timp de şase luni. iar când Puterile Centrale au început să dea, la rândul lor, în octombrie 1918, semne de epuizare, înţelegerile au fost anulate de guvernul Marghiloman. Ulterior, România a reluat ostilităţile împotriva Puterilor Centrale, cu ajutorul armatei franceze, condusă de generalul Henri Mathias Berthelot. Aceasta a condus la Marea Unire din decembrie 1918 prin care toate teritoriile cu populaţie majoritară românească au intrat în componenţa României.
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www.danzigerprojects.com/exhibitions/2011_1_big-shots/?vi...
BIG SHOTS
ANDY WARHOL
JANUARY 8 - FEBRUARY 26, 2011
Press Release
As an iconic member of the pop movement of the 1960's, Warhol gained fame and recognition for his depiction of recognizable objects and individuals, from brand names products to faces of the rich, famous, and powerful.
"Big Shots: Andy Warhol Polaroids of Celebrities" provides a look at a lesser-known but seminal body of work by the artist who was dazzled by celebrity and found much of his inspiration in the photographic image. Comprised of over thirty Polaroids of subjects ranging from Debbie Harry to Yves St. Laurent and Giorgio Armani to Yoko Ono, the pictures were taken between 1970 and 1986 on Warhol's favorite camera - the Polaroid Big Shot. Created by Polaroid for practical purposes like the quick creation of I.D. cards and passport pictures, the camera's fixed focal length and point-and-shoot mechanism were perfect for the snapshot-loving artist.
The camera also served as an indispensable tool for Warhol in the production of commissioned portraits. He would take several packs of film at each sitting, and then select his favorite image to be silkscreened onto canvas by his assistants. The resulting image became the ground and basis of each painting. Proving that the simplest tools are no impediment to creativity, Warhol's Polaroids are both a celebration of fame and an intriguing look at the cleverness behind the façade Warhol so often used to disguise the intelligence and innovation of his work.
Within the tight rectangle that the camera dictated, and behind an implement that provided a necessary barrier between himself and his sitter, we see Warhol finding numerous ways to create memorable, varied, and iconic compositions. They may be small in size, but Warhol's Polaroids serve as vivid portraits and artful time capsules of an era.
In recent years, Warhol's Polaroids have gained attention and respect in exhibitions and books, both for their centrality to his portrait practice and as works in their own right. While Warhol is not best known as a photographer, he loved the medium, an apt one for the artist due to its repetitive, mechanical nature and its ability to illuminate the sense of star-power Warhol felt when faced with his famous subjects.
For more information please call 212 629-6778 or e-mail info@danzigerprojects.com
Danziger Projects
534 W 24th St
New York, NY 10001
(212) 629-6778
Day 62 - First 90 Days with My D90**playing catch up again**
A doorway on my street that is often used as a public restroom. It's absolutely horrible and there are no words to describe the smell. In fact, I make it a point to hold my breath every time I turn down my street.
The sign says:
"Please!!! Have respect for where we live!!!!! Stop fucking pissing HERE!!!!"
It doesn't work. Thankfully my apartment is far enough down the street that it doesn't come in through the windows.
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kodak pro 14n
New interchange under construction at Vegastaden in Haninge, on the motorway to Stockholm. All fenced in so I couldn't walk in for a better view. A lot have happened since I snapped a few photos here back in June. If you look at that snap, I shot this photo standing near the worker to the left.
By respected Edinburgh practice James Dunn and James Finlay, 1899-1902. Huge Scots Renaissance block of tenements and shops, including the former printing works and offices of THE SCOTSMAN newspaper. 7 3-bay, 4-storey and attic blocks to North Bridge (covered for maintenance, left), one of 2 3-bay gabled and turreted 7-storey and attic to Market Street (where this is taken from) with a balustraded terrace leading from North Bridge level to a stair tower leading to Market Street. Coursed cream ashlar. Steeply gabled block to left with segmental-pedimented aedicule containing sculpture, flanked by stone-domed octagonal turrets; carved panel with SCOTSMAN masthead flanked by heraldic lions.
Following the widening of North Bridge, and the demolition of Halkerston's Wynd, Kinloch's Close, Carruber's Close, Milne's Square and the Poultry Market, the extensive site to the W of the Bridge was purchased from the City in 1898 by John Ritchie & Co, proprietors of the SCOTSMAN newspaper. Dunn and Findlay were commissioned to design a complex of buildings for the site, including offices and printing works for the newspaper, and commercial premises. The City Art Centre was also part of the complex.
James Leslie Findlay was the son of John Ritchie Findlay, proprietor of the SCOTSMAN. The Scotsman offices and printing works moved to No 20 North Bridge from their 1st purpose-built premises at 26-30 Cockburn Street (Peddie and Kinnear, 1860). The premises for the newspaper were both a prestigious building on a commanding site, opulently decorated both outside and in the public interiors, and a functional one. The building is steel-framed, with concrete-clad floors and brick-lined columns. It was equipped with Lanson pneumatic tubes, electric lighting and electric lifts. The flexible design of the building allowed it to remain in its original use for almost a century. It was converted to hotel use in 2000.
The figure of Peace in the aedicule on the N elevation is by Frederick Schenk, those of Mercury and those based on Michelangelo's Night and Day by Joseph Hayes.
P/D moves toward me at an extremely fast rate of speed. At over 230 mph, peregrine falcons are the fastest animals on the planet. Needless to say, I have great respect for him.
Sept. 12, 2007 - The man seen here is paying his respect to the victims of the September 11th terrorist attacks.
The Sphere is a large metallic sculpture by German sculptor Fritz Koenig, currently displayed in Battery Park, that once stood in the middle of Austin Tobin Plaza, the area between the World Trade Center towers in Manhattan. After being recovered from the rubble of the Twin Towers after the September 11, 2001 attacks, its fate was initially uncertain and it was dismantled into its components. Although it remained structurally intact, it had been visibly damaged by debris from the airliners that were crashed into the buildings and the collapsing skyscrapers themselves.
Six months after the attacks it was relocated to Battery Park on a temporary basis—without any repairs—and formally rededicated with an eternal flame as a memorial to the victims of 9/11. It has become a major tourist attraction, due partly to the fact that it survived the attacks with only dents and holes. It will be returned to its original home once the Freedom Tower project is completed.
Upon recovery from the rubble pile, where an airliner seat, a Bible and papers from the various offices in the World Trade Center were discovered within, it was dismantled and sent to storage near John F. Kennedy International Airport. Its uncovering had been widely covered in local news media in the New York metropolitan area, however, and as it was a memorable feature of the Twin Towers site there was much discussion about using it in a memorial, especially since it seemed to have come through the attacks relatively unscathed.
At first, Koenig opposed reinstalling The Sphere, considering it "a beautiful corpse."
The sculpture was eventually returned to Manhattan, and on March 11, 2002, six months to the day after the attacks, it was re-erected in Battery Park, several blocks away from where it once stood. Koenig himself supervised the work; it took four engineers and 15 ironworkers to create a new base. Mayor Michael Bloomberg, his predecessor Rudolph Giuliani and other local officials spoke at a ceremony rededicating it as a memorial to the victims.
"It was a sculpture, now it's a monument," Koenig said, noting how the thin globe had mostly survived the cataclysm. "It now has a different beauty, one I could never imagine. It has its own life - different from the one I gave to it."
No Fighting - No Drunkenness - No Drugs - No Drink Spiking - No Urinating in Public - No Harassment - No Threatening Behaviour - No Offensive Language - No Vandalism - No Under Age Drinking ... (seems they've covered all bases here) .... At Manly, NSW
React, Respect, Intersect was created by two professional artists and a team of youth artists as part of the Groundswell Community Mural Project’s flagship Summer Leadership Institute (SLI). SLI teams spend seven weeks during working with artists and community-based organizations, learning job skills and creating public art throughout New York City. This mural depicts a utopian environment where vehicular traffic, pedestrians of all ages and abilities, bicyclists, skateboarders, and animals respectfully share the street. It focuses not only on traffic and pedestrian safety education, but also site-specific themes and cultural diversity.
The safety education focus of this mural was informed by workshops lead by NYCDOT Safety Education. The artists and youth artists researched safety issues near the mural site which influenced their final design. Speed of vehicular traffic, high levels of carbon dioxide in the air, and the need for all modes of transportation to respectfully share the streets are just a few of the themes beautifully integrated in to this mural.
NYCDOT Urban Art Program, Special Project
React, Respect, Intersect by Yana Dimitrova and Adam Kidder
Presented with NYCDOT Safety Education and Groundswell Community Mural Project
East 5th Street in Kensington, Brooklyn
En septembre 1346, Edouard met le siège devant la ville de Calais dont la garnison commandée par le chevalier Jean de Vienne résiste héroïquement à l'armée du roi d’Angleterre. Après onze mois de siège, la cité affamée négocie sa reddition. Edouard III, fatigué et énervé par la longue résistance calaisienne, accepte que six bourgeois lui soient livrés afin d'être exécutés. C'est à ce prix qu'il laissera la vie aux habitants toutefois contraints de déserter leur ville une fois les Anglais arrivés. Son épouse Philippa de Hainaut parvient cependant à le persuader d'épargner la vie de ces six malheureux, désespérés, venus devant le souverain en chemise, la corde au cou, les clefs de la ville et du château en mains. Par ce geste d’amour chrétien, Edouard épargne la vie d’Eustache de Saint Pierre et de ses cinq compagnons d'infortune devant une reine en pleurs. Calais devient anglaise le 3 août 1347 et le demeure jusqu’au 6 janvier 1558 lorsque Henri II de France reprend la ville à Marie Tudor.
C’est sur les fondements de ce texte que Rodin trouve l’inspiration pour composer son œuvre une fois que la commande lui a été faite par la ville de Calais.
In September 1346, Edward laid siege to the town of Calais, whose garrison under Sir Jean de Vienne heroically resisted the army of the king of England. After eleven months of siege, starving the city is negotiating its surrender. Edward III, tired and irritated by the long resistance of Calais, agrees that six burghers are delivered to be executed. This is the price that will leave life to the inhabitants, however forced to abandon their city after the British arrived. His wife Philippa of Hainault nevertheless managed to persuade him to spare the lives of six unhappy, desperate, come before the king in their shirt, tie the knot, the keys of the town and castle in their hands. With this act of Christian love, Edward saving the life of Eustache de Saint Pierre and his five companions in misfortune in front of a queen in tears. Calais became English August 3, 1347 and remains in effect until January 6, 1558 when Henry II of France took over the city to Mary Tudor.
It is on the basis of this text that Rodin found the inspiration to compose his work once the order has been made by the city of Calais.
React, Respect, Intersect was created by two professional artists and a team of youth artists as part of the Groundswell Community Mural Project’s flagship Summer Leadership Institute (SLI). SLI teams spend seven weeks during working with artists and community-based organizations, learning job skills and creating public art throughout New York City. This mural depicts a utopian environment where vehicular traffic, pedestrians of all ages and abilities, bicyclists, skateboarders, and animals respectfully share the street. It focuses not only on traffic and pedestrian safety education, but also site-specific themes and cultural diversity.
The safety education focus of this mural was informed by workshops lead by NYCDOT Safety Education. The artists and youth artists researched safety issues near the mural site which influenced their final design. Speed of vehicular traffic, high levels of carbon dioxide in the air, and the need for all modes of transportation to respectfully share the streets are just a few of the themes beautifully integrated in to this mural.
NYCDOT Urban Art Program, Special Project
React, Respect, Intersect by Yana Dimitrova and Adam Kidder
Presented with NYCDOT Safety Education and Groundswell Community Mural Project
East 5th Street in Kensington, Brooklyn
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