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www.flickr.com/photos/signalcycles/
Just a great looking bike all around. Please note the georgous curves on the rack and how the curve of the TT/SS integrate perfectly.
Hollinwood Station signal box on the Manchester bound (Up direction) platform at Hollinwood railway station. Saturday 23rd April 1988
Hollinwood Station signal box was a Lancashire & Yorkshire Railway Company standard design which opened in 1913 fitted with a 48 lever Lancashire & Yorkshire Railway Company Tappet frame, replacing an 1880-built signal box located by the Down Main line a short distance to the north. The signal box was out of use from 23rd June 1994 and officially closed on 26th June 1994 when the absolute block section was extended to between Thorpes Bridge Junction and Oldham signal boxes. The signal box was demolished soon after closure
The signal box carried a British Rail corporate identity printed design nameplate
Ref no 08339
The former signal cabin at Peterborough which was built as part of the standardistation project in the late 1960's, now unused. January 2008
you know the way that things go
when what you fight for starts to fall
and in that fuzzy picture
the writing stands out on the wall
so clearly on the wall
send out the signals deep and loud
and in this place, can you reassure me
with a touch, a smile - while the cradle's burning
all the while the world is turning to noise
oh the more that it's surrounding us
the more that it destroys
turn up the signal
wipe out the noise
send out the signal deep and loud
man i'm losing sound and sight
of all those who can tell me wrong from right
when all things beautiful and bright
sink in the night
yet there's still something in my heart
that can find a way
to make a start
to turn up the signal
wipe out the noise
wipe out the noise
wipe out the noise
you know that's it
you know that's it
you know that's it
receive and transmit
receive and transmit
receive and transmit
Lyrics & Song: Peter Gabriel
The Album: Up
Bradkirk signal box. Saturday 08 September 1962.
This signal box was located between Kirkham and Weeton on the Preston to Fleetwood railway line. The fast lines from Kirkham to Blkackpool South passed at the rear of the signal box. It was demolished in November 1972.
Photograph: Frank Dean.
Close-up of the base of the signal pole. I looked for markings relating to CGW, but short of the number on the base (which looks like 14880), I found none that I could see. Notice, however, the upper right of the base. The metal has been broken off, so whatever knocked this pole down did it with significant force.
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45144 'Royal Signals' at London St. Pancras at 09:00hrs on the 3rd of November 1987
With the original nameplate removed, staff at Tinsley TMD painted it back on
Awre signal box (SO691072), disused since 1973 (when signalling was centralised at Gloucester) at the junction of the South Wales line and the Forest of Dean Central Railway, a 'pointless' line running from Awre Jn to Howbeach Colliery literally in the middle of nowhere (SO639088). Between here and Gloucester, signals are controlled by Gloucester box; westwards to Lydney and beyond is controlled from Newport, bar a small area still controlled by Lydney box for the level crossing there. The box, altho' not looking its best, is kept in reserve for use in an emergency should the box at Lydney fail. Said box at Lydney is, I understand, due for closure sometime soon? Awre box opened in 1909, replacing an earlier one originally sited opposite.
Around two hundred activists from Disabled People Against Cuts (DPAC), Disabled Activists Network (DAN), WinVisible and anti-corporate tax-avoidance campaigners UK Uncut joined forces on 28.01.2012 to carry out a demonstration and acts of civil disobedience to protest against the ongoing savage cuts being made to disability benefits by the Coalition Government led by Old Etonian, ex-Bullingdon Club member and ex-PR man, prime minister David Cameron, who has overseen a concerted public attack on the weakest, most vulnerable members of British society - the sick, the disabled and the dying - who are seeing the welfare benefits they depend on to survive slashed at the same time as they have been publicly demonised and branded work-shy scroungers by a compliant right-wing press, in order to slash the welfare budget, which is the Cameron government's only solution to the economic shockwaves caused by the banking crisis of 2008.
Congregating first in Holborn Circus by organizers, the activists (many of whom were in wheelchairs, had guide dogs, or were accompanied by their Carers and Buddies), who had earlier been instructed to arrive with a valid Oyster travel card - were entertained by a samba drum troupe. Suddenly the signal was ,given, and everyone (except the wheelchair-users, who had to find other transport because of the woefully abysmal provision for the disabled on 90% of the Victorian rail system) entered Holborn Underground Station en-masse to reappear at their top-secret destination two short stops away - the large, busy junction of Oxford Street and Regent Street, where they proceeded to spill onto the new Tokyo-style pedestrian crossing before completely blocking all traffic from the North by chaining their wheelchairs together across the road, anchored at each end to the wrought-iron railings at the entrances to the Underground station.
Police looked on, almost powerless to act without being seen to physically manhandle many severely disabled people, and it's very doubtful if they have provision to load electric wheelchairs into police carriers and hold them in custody suites without a huge public relations disaster, so instead they sensibly adopted a pastoral role, doing what they could to keep the peaceful-but-very-vocal protesters safe for the three hours their act of civil disobedience lasted, after which they all calmly dissapated, vanishing back into the underground system and home for a well-earned rest after a triumphant protest.
This is the first time that Disabled People Against Cuts (DPAC) have had any significant support on one of their direct actions, and being joined by the extremely effective corporate tax-avoidance protesters from UK Uncut was a fantastic morale boost for the battle-hardened disabled activists. For well over a year DPAC has been fighting back against David Cameron's swingeing "austerity" cuts to the welfare budget, especially to provision for the disabled, which are only hurting the most vulnerable in our society. It seems as if the message is finally getting through to other single-issue protest groups that everything is related to everything else. Taking Disability Living Allowance from half a million disabled people, making them homeless and destitue with their considerable physical and/or mental health complications may save the Department of Work and Pensions' annual budget, but the burden of caring for all these people will now fall to local councils, already chronically stretched by huge government cuts to their budgets - and it is widely understood by everyone that it is much, much cheaper to keep a disabled person living independently with State help than it is to reinstate the Victorian Institutions and Hospitals, which past campaigners fought so hard for so long to abolish because of the inherent cruelty in institutionalising the disabled who previously had independent lives and employment but can no longer get to work because the Conservative government has taken away their mobility allowances...
All photos © 2012 Pete Riches
Do not reproduce, alter or reblog my images without my written permission.
Hi-Res versions of these files are available for license on application. NUJ rates apply.
Taken 28/02/18 and some notes found on the internet:
"Portsmouth Harbour signal box with its Westinghouse Brake & Saxby Signal Co. Ltd. Style 'L' Power Lever Frame was opened by the Southern Railway on the 1st June 1946. It was built to the Southern Railway Type 13 design and was fitted with a 47 lever Westinghouse 'L' frame (which was part of a 143 lever frame (frame number 93) purchased by the Southern Railway as a standby frame in case of war damage). 47 of the 143 Standby frame levers were utilised in 1946 after the station and layout were rebuilt due to war damage.
It replaced two boxes, Portsmouth Harbour signal box which was destroyed by aerial bombing in 1941 but was not officially closed and Portsmouth Harbour signal box, a temporary box opened on 21st August 1941 to replace the bomb damaged box.
Portsmouth Harbour signal box was closed on 21st April 1968 and was used an office and a relay room for Portsmouth power signal box. After closure the lever frame was moved to the school of signalling at Clapham Junction. The building was retained as a relay room for the 1968 Portsmouth NX signalling scheme which was operational until December 2006"
www.wbsframe.mste.co.uk/public/Portsmouth_Harbour.html
The signal box briefly re-opened with hand signalling following serious problems with the 2006 Portsmouth re-signalling scheme. The Signal box closed for the second time at the end of 2007 when Havant ASC was eventually commissioned.
HUNTER ARMY AIRFIELD, Savannah, Ga. Jan. 22, 2014 - U.S. Air Force Tech. Sgt. Eric Mercer, Aircrew Flight Equipment Technician from the 165th Airlift Wing, Georgia Air National Guard signals Master Sgt. Jorge Chavez using a signaling mirror. Mercer and Chavez refresh their combat survival training prior to evaluating the proficiency of aircrew.
(U.S. Air National Guard photo by Master Sgt. Charles Delano/Released)
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Taken 25/02/15; The signal box is still standing, but I understand it was taken out of use on the weekend of 14th/15th February 2015.
Der Signal Iduna Park, bis 2005 Westfalenstadion wurde zwischen 1971 und 1974 für die Fußball-Weltmeisterschaft errichtet. Seitdem wurde es in insgesamt vier Ausbaustadien von ursprünglich 54.000 auf über 80.000 Plätze ausgebaut. Die Architekten waren: 1971–1974: Hochbauamt Dortmund; 1. und 2. Ausbaustufe: Ulrich Drahtler/GSP Dortmund; 3. Ausbaustufe: Architekten Schröder Schulte-Ladbeck;
4. Ausbaustufe WM 2006/weitere Umbauten und Erweiterungen: Planungsgruppe Drahtler GmbH, Dortmund.
de.wikipedia.org/wiki/Signal_Iduna_Park
Signal Iduna Park was built in 1971-74 for the Football World Championship in 1974. Until 2005 named Westfalenstadion it was extended in four steps from 54.000 to more than 84.000 guests. Architects were 1971–1974: Hochbauamt Dortmund;
1st und 2nd extension: Ulrich Drahtler/GSP Dortmund; 3rd extension : Architects Schröder Schulte-Ladbeck;
4extension WM 2006 Drahtler GmbH, Dortmund.
Der Signal Iduna Park, bis 2005 Westfalenstadion wurde zwischen 1971 und 1974 für die Fußball-Weltmeisterschaft errichtet. Seitdem wurde es in insgesamt vier Ausbaustadien von ursprünglich 54.000 auf über 80.000 Plätze ausgebaut. Die Architekten waren: 1971–1974: Hochbauamt Dortmund; 1. und 2. Ausbaustufe: Ulrich Drahtler/GSP Dortmund; 3. Ausbaustufe: Architekten Schröder Schulte-Ladbeck;
4. Ausbaustufe WM 2006/weitere Umbauten und Erweiterungen: Planungsgruppe Drahtler GmbH, Dortmund.
de.wikipedia.org/wiki/Signal_Iduna_Park
Signal Iduna Park was built in 1971-74 for the Football World Championship in 1974. Until 2005 named Westfalenstadion it was extended in four steps from 54.000 to more than 84.000 guests. Architects were 1971–1974: Hochbauamt Dortmund;
1st und 2nd extension: Ulrich Drahtler/GSP Dortmund; 3rd extension : Architects Schröder Schulte-Ladbeck;
4extension WM 2006 Drahtler GmbH, Dortmund.
Some distance from the nearest junction is this charming cover with 'Traffic Signals' cast into it, Edgbaston, birmingham
Wansford Signal Box is just outside Wansford Station. It was built in 1907 by the London & North Western Railway and is one of the largest preserved signal box in its original location.
The signal box and the railway are part of the Nene Valley Railway who where hosting their Annual Autumn Steam Gala while I was there. In my photograph you may have noticed LNER A4 Gresley Pacific 4-6-2 No.60009 Union Of South Africa running tender first around the loop before the locomotive begins her duties for the day.
I captured this image with my Panasonic G7 on the 16th September 2017.
Der Signal Iduna Park, bis 2005 Westfalenstadion wurde zwischen 1971 und 1974 für die Fußball-Weltmeisterschaft errichtet. Seitdem wurde es in insgesamt vier Ausbaustadien von ursprünglich 54.000 auf über 80.000 Plätze ausgebaut. Die Architekten waren: 1971–1974: Hochbauamt Dortmund; 1. und 2. Ausbaustufe: Ulrich Drahtler/GSP Dortmund; 3. Ausbaustufe: Architekten Schröder Schulte-Ladbeck;
4. Ausbaustufe WM 2006/weitere Umbauten und Erweiterungen: Planungsgruppe Drahtler GmbH, Dortmund.
de.wikipedia.org/wiki/Signal_Iduna_Park
Signal Iduna Park was built in 1971-74 for the Football World Championship in 1974. Until 2005 named Westfalenstadion it was extended in four steps from 54.000 to more than 84.000 guests. Architects were 1971–1974: Hochbauamt Dortmund;
1st und 2nd extension: Ulrich Drahtler/GSP Dortmund; 3rd extension : Architects Schröder Schulte-Ladbeck;
4extension WM 2006 Drahtler GmbH, Dortmund.
This is a collection of signal mirrors that either have retroreflective aimers (blue text), or an aimer that looks like the others, but doesn't produce the aiming guide "fireball" the others do when trying to signal at a rescue plane. This photo is in sunlight - for a matching indoor photo taken by flash (to highlight the retroreflective material) see the photo: Flash Photo of signal mirrors .
For more on this issue, read Doug Ritter's article: "WARNING: Phony Glass Signal Mirrors" at Equipped to Survive: www.equipped.com/phony_signal_mirrors.htm
This is train 643 splitting the signal bridge just east of Park Ridge, IL.
I spent many an afternoon at this spot, beginning as a youngster who was captivated by C&NW's E8 and F7 fleet pulling long trains of yellow and green bi-level coaches filled with homeward-bound commuters.
The E and F units are long gone. The C&NW is gone. And so are most of the C&NW bi-level coaches that were part of the revolution in C&NW's commuter service in the late Fifties.
Under new management led by Ben Heineman, C&NW dieselized its suburban service virtually overnight simply by rearranging its existing diesel fleet. Before Heineman, a trip on the C&NW's commuter service meant a ride on elderly and decrepit heavyweight coaches that were either too hot or too cold, and which were filthy from the cinders spewed from the stacks of the cantankerous old steam engines that pulled the trains.
Under Heineman, C&NW invested heavily in its commuter service by purchasing a fleet of electrically heated and cooled bi-level coaches with seats for some 160 commuters and set up for push-pull operation. Dubbed by C&NW as "Commuter Streamliners", a commuter service that had been an embarrassment became a point of pride for the railroad and was considered among the best commuter operations in the nation.
Some 40 years later, the service operates under the Metra name. C&NW is gone, but its successor Union Pacific maintains the infrastructure and mans the trains on this line. Only the hallmark pink C&NW ballast and iron gantry signal bridges with their unique-to-C&NW sideway signal heads remain as they did in days past.
I can't imagine how many times I stood at this same spot waiting for signal C724 to drop to yellow and then red to herald the approach of yet another express commuter train. Today's service runs on virtually the same timetable as it did 30 years ago, so in my mind's eye, it is easy to see this same train – the 5:20 departure from Chicago – as it was in my teenaged years when the sight was of an E unit wearing C&NW's English stagecoach yellow and apple green colors, sweeping beneath this same signal bridge at 50 mph and – if I was lucky – blowing its single-note horn for the crossing.
"Yellow Signal: New Media in China" Opening Reception.
Photographer: Michael R. Barrick, Morris and Helen Belkin Art Gallery
Date Shot: April 26, 2012
Processing: Michael R. Barrick, Morris and Helen Belkin Art Gallery
Location: Morris and Helen Belkin Art Gallery
University of British Columbia
1825 Main Mall
Vancouver, British Columbia
Show Info:
Yellow Signal: New Media in China
Geng Jianyi, Huang Ran, Zhang Peili
April 27 – August 19, 2012
Opening reception: Thursday, April 26, 2012, 8 – 10 pm
Artist's talk: Artist Zhang Peili with Curator Zheng Shengtian
Saturday, April 28, 2012, 1:30 - 3 pm
Works of art in this exhibition are also presented at:
Walter C. Koerner Library
May 11 - August 19, 2012
The Morris and Helen Belkin Art Gallery is pleased to present the work of Geng Jianyi, Huang Ran, and Zhang Peili as part of the city-wide project, Yellow Signal: New Media in China. Initiated by Centre A: Vancouver International Centre for Contemporary Asian Art, this series of exhibitions and programs is the first comprehensive presentation of contemporary Chinese new media and video art in Canada. It showcases a selection of leading new media works by internationally acclaimed Chinese artists.
This project is compelling for its portrayal of current political circumstances faced by many artists in China. “Yellow Signal is a metaphor for the communal state of ambiguity in Asian countries,” explains Zheng Shengtian, BC-based artist, curator, and internationally recognized scholar and expert on contemporary Chinese art. He further explains, “Yellow Signal is about limitation and possibility, choice and chance, confusion and self-confidence. Feelings that many Asian artists experience, but that artists everywhere may also relate to in their creative practice.”
Huang Ran
This exhibition features a video by Huang Ran titled Blithe Tragedy (2010), a work that questions the relationship between beauty and horror and the power of images. The video presents scenes of intense struggle, emotion, and violence. At the same time, the attention to detail in the costumes, the slowly tracked footage, and the editing of the scenes create highly aesthetic, beautiful imagery that draw the viewer into complex, open-ended narratives. The viewer is prompted to wonder about the power of the visual, despite its obvious fantastical or beautiful elements, to obscure the underlying realities of the narratives and of contemporary society.
Huang Ran (b. 1982) is one of the most interesting young artists to emerge in China. Since graduating from Goldsmiths College, University of London (2007), he has participated in many international group and solo exhibitions. In 2011, Huang received the Credit Suisse Today Art Award from the Today Art Museum in Beijing. Huang Ran lives and works in London and Beijing.
Geng Jianyi
Presented at the Belkin Art Gallery and Walter C. Koerner Library, Excessive Transition (2008) by Geng Jianyi is a series of large and small black-and-white photographs of everyday objects from the artist’s life. Geng uses techniques to create semi-transparent, abstract, and eerie subtle effects that have been equated with ideas about the withdrawal of the individual. He also employs methods such as mark-making and frottage to manipulate the idea of what is evidenced in photographs. Though Geng’s work is not easily defined, Excessive Transition follows his concerns of self-effacement and the dissolution and disappearance of identity in a culture that is undergoing change.
Geng Jianyi (b. 1962) is a foundational figure in contemporary Chinese art and was part of the artistic collective known as Chi She (Pool Association) and a major participant in the ’85 New Wave Movement. Using a wide range of media, his work is often known for its stark simplicity and concerns about personal identity and individuality in the context of a larger collective.
Zhang Peili
Zhang Peili’s large-scale, multimedia installation A Gust of Wind (2008) is a meditation on the unpredictable forces that threaten ideas of the stability of middle-class domestic life. We see a living room in ruin and the process of its destruction is seen from multiple perspectives on large video screens. It starts with a curtain that flutters in a breeze that steadily swells into a crescendo and tears apart the interior, toppling the shelves and upending the furniture until eventually the roof collapses. A Gust of Wind brings up ideas about the life cycle of disaster and renewal and the fickle nature of economic progress.
Considered the most important video artist in China, Zhang Peili (b. 1957) was a member of the ’85 New Wave Movement and his work has been concerned with prompting emotional responses from the viewer as a way to generate many interpretations. He is known for the use of lengthy stationary shots that focus on acts that are seemingly devoid of any particular significance and on repetitive human gestures that are often taken for granted. Recently, Zhang’s interest has been to distort the messages of war and propaganda film by editing found footage of dying communist heroes and celebration ceremonies.
—-
Yellow Signal: New Media in China is initiated by Centre A: Vancouver International Centre for Contemporary Asian Art and Zheng Shengtian, in collaboration with Charles H. Scott Gallery at Emily Carr University, Morris and Helen Belkin Art Gallery, Pacific Cinémathèque, Republic Gallery, Surrey Art Gallery, and the Vancouver Art Gallery.
We thank Walter C. Koerner Library at the University of British Columbia for participating in this exhibition.
A special issue of Yishu: Journal of Contemporary Asian Art will accompany the project Yellow Signal: New Media in China. It will include images of the works in the exhibitions, essays, and interviews by Daina Augaitus, Britta Erickson, Diana Frendl, Gao Shiming, Alice Ming Wai Jim, Barbara London, Karen Smith, and Zheng Shengtian.
We gratefully acknowledge the generous support of JNBY Art Projects, the Canada Council for the Arts, and our Belkin Curator’s Forum members.