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Westfalia unveils new mission statement:
Our Mission... To deliver unparalleled warehousing solutions by earning the trust of our customers, understanding their business needs and honoring the commitments we make.
© Westfalia Technologies Inc. 2013
An independent Commonwealth Observer Group was deployed in Dominica to observe the 2019 General Elections on Friday 6th December.
Led by Group chairperson Zainab Bangura, former Sierra Leone Minister of Foreign Affairs and International Cooperation and former Under-Secretary-General at the United Nations, the group found the election results ‘reflect the collective will of the people who voted.' in the interim statement.
One video still from each "Life is Drag" video portrait (performance documentation).
lifeisdrag.com
ARTIST STATEMENT:
I create bodies of work that explore subjects such as gender, artifice, and spectacle. Utilizing processes ranging from directorial to curatorial to anthropological, I showcase exuberantly irrepressible personalities who revel in challenging clichés associated with constructs such "masculinity" and "femininity". A sampling of subjects include Girls Girls Girls (the world's first and only all-female Mötley Crüe tribute band), Tazzie Colomb (the world's longest competing female bodybuilder), and LACTIC Incorporated (an avant-garde clothing brand that takes the detritus of corporate life and reinterprets it into one-of-a-kind structural garments that challenge the polarization of gender).
With this current and ongoing project "Life is Drag", I am documenting the most innovative and singular performers of the currently exploding international alt-drag and neo-burlesque scenes. I am 3 years into this project, and so far have created 250+ portraits. These are created in my studio as well as during residencies - in New York City (The Cell Theater, Bushwig), Pittsburgh (The Kelly Strayhorn Theater, Blue Moon Bar, Bloomfield Garden Club), and New England (3S Artspace).
This project began in early 2019 in my studio in Brooklyn, when I collaborated with a local visual artist by the name of Untitled Queen - a deeply beloved, highly respected, and uniquely visionary performer and conduit within the NYC drag scene who uses drag as a part and extension of her artistic process. I then worked with selected performers from Ohio and Kentucky in conjunction with a mid-career retrospective in my hometown of Cincinnati in the spring of 2019, and in January and February of 2020, I worked with 20+ New England-based drag artists as part of a residency and exhibition at 3S Artspace in Portsmouth, New Hampshire.
From the autumn of 2020 until the summer of 2021, I was an artist in residence at The Cell Theatre in the Chelsea neighborhood of NYC, where I expanded the project in the midst of the pandemic to also include neo-burlesque performers and performance artists whose work deals specifically with gender performativity. Most recently was a residency in my hometown of Cincinnati, Ohio - which included creating video portraits of performers from the drag haus ODD Presents, members of the neo-burlesque troop Smoke & Queers, and other alt-drag and burlesque artists from the tri-state area. This residency also included an exhibition featuring this ever-growing archive, as well as multiple live performance events.
My long-term goal is to continue to do a series of such residencies nationally and internationally, which will allow me to create a comprehensive archive of video portraits of drag, burlesque and performance artists from a wide range of locations, backgrounds, cultures, and ages. Each portrait includes video of the artist performing (lip-synching, singing, telling stories, reciting monologues, dancing, etc.) in addition to interview documentation, and will live online as well as in galleries and unexpected places in between. "Life is Drag" has so far been exhibited at such venues as the the Carnegie Museum of Art and Bunker Projects (PA), Satellite Art Club, Bushwig and The Cell (NYC), 3S Artspace (NH), and the Weston Art Gallery (OH).
I believe this project is innovative and important in that it is treating and respecting "drag" (defined as broadly and inclusively as possible) as a proper art form – recognizing it as an extremely vital and valid style of performance art, and every bit as deserving of the deference reserved for more traditional classical art forms like painting and sculpture. Drag is painting and sculpture and performance all at once - and quite often also activism, education, protest, therapy, resistance, catharsis, comedy, tragedy, enlightenment, inspiration - or some combination of the above - to those who practice it, and also to those who experience it as an observer. This project is about celebrating this experimental and expansive form of art and its wide range of practitioners and manifestations. It is about creating a record - an archive - of these brilliant but ephemeral performances, from dive bars to art galleries, city streets to grand theater stages. It is about trying to properly document and share these wildly diverse acts and profound stories that will surely open minds and capture hearts.
Statements und Podiumsdiskussion: "Aufstiegsorientierung und soziale Sicherung: Komplementäre Ansätze oder Widerspruch"
v.l.n.r.: Prof. Jörg Althammer, Trevor Phillips, Prof. Barbara John, Armin Laschet, Ralf Fücks
Foto: CC-BY-SA Stephan Röhl / www.boell.de
Media statement:
More than 400 residents from across NSW gathered outside AGL Energy's head office in North Sydney this morning to demand an end to AGL's controversial coal seam gas projects in Gloucester and Camden.
The residents, many who had travelled together by bus from Gloucester, were joined by concerned Sydneysiders and members of GetUp. Today marks the 100th consecutive week of community protests at AGL's head office demanding an end to CSG in NSW.
GetUp’s Better Power Campaign Director Lily Dempster, who is leading the organisation’s call for consumers to turn their backs on energy retailers still investing in dirty energy, said it was disappointing that CEO Andrew Vesey had refused an invitation from Groundswell Gloucester to address the gathering today.
“People from all walks of life have gathered outside of AGL today and over the past 100 weeks to show the community finds the threats of coal seam gas to our agricultural land, our precious water resources and our communities simply unacceptable,” she said.
“It’s risky business for communities such as Gloucester and Camden, and it’s increasingly risky business for investors too.
“The company is currently reviewing its coal seam gas investments and has a prime opportunity to get out of harmful coal seam gas projects for good.
“We know one of the most effective ways of placing pressure is through consumer action. If you are an AGL customer you're in a powerful position to help pressure this company to get out of CSG and start supporting cleaner, safer renewable energy instead," she said.
Professor Rufus Clarke is a former AGL customer who has switched power provider through the Better Power campaign.
“In April this year my wife and I became aware of the influence that companies like AGL have on public policy, for example in Prime Minister Abbott’s reneging on his pre-election promise not to cut the Renewable Energy Target, and his persistent attacks on the renewable energy industry.
“Ecological responsibility cuts no ice with these companies; the only thing they understand is losing market share. So we switched to Powershop for our electricity supply. We are paying no more per kilowatt hour than we were with AGL.
“I urge others to do as we have done, to switch their energy supplies away from those who pollute the atmosphere and the aquifers – it’s the only message that the companies that pollute, and their shareholders, will understand,” Prof Clarke said.
To date the Better Power campaign has switched 12,000 customers from AGL and other big polluting companies including EnergyAustralia and Origin Energy.
Statement by H.E. Ambassador Venu Rajamony, Permanent Representative of the Republic of India to the OPCW at the 24th Session of the Conference of States Parties to the Chemical Weapons Convention.
The Conference is held at the World Forum, The Hague, the Netherlands, from 25-29 November 2019.
East 42nd Street, Midtown Manhattan
The Chrysler Building, a stunning statement in the Art Deco style by architect William Van Alen, embodies the romantic essence of the New York City skyscraper. Built in 1928-30 for Walter P. Chrysler of the Chrysler Corporation, it was "dedicated to world commerce and industry."- The tallest building in the world when completed in 1930, it stood proudly on the New York skyline as a personal symbol of Walter Chrysler and the strength of his corporation.
History of Construction
The Chrysler Building had its beginnings in an office building project for William H. Reynolds, a real-estate developer and promoter and former New York State senator. Reynolds had acquired a long-term lease in 1921 on a parcel of property at Lexington Avenue and 42nd Street owned by the Cooper Union tor the Advancement of Science and Art. In 1927 architect William Van Alen was hired to design an office tower to be called the Reynolds Building for the site. Publicized as embodying new principles in skyscraper design,*' the projected building was to be 67 stories high rising 808 feet, and it was "to be surmounted by a glass dome, which when lighted from within, will give the effect of a great jewelled sphere."-' In October, 1928, however, the office building project and the lease on the site were taken over by Walter P. Chrysler, head of the Chrysler Corporation, who was seeking to expand his interests into the real estate field.
Walter Percy Chrysler (1875-1940), one of America's foremost automobile manufacturers, was a self-made man who worked his way up through the mechanical an; manufacturing aspects of the railroad business before joining the Buick Motor Company as works manager in 1912. Because of his success in introducing new processes and efficiencies into the automobile plant, he rose quickly through the administrative ranks of General Motors (which had absorbed Buick) before personality conflicts with William C. Durant, head of General Motors, forced Chrysler to leave. In 1921 he reorganized Willys-Overland Company, and then took over as chairman of the reorganization and management committee of the Maxwell Motor Company, eventually assuming the presidency. This enabled Chrysler to introduce in 1924 the car bearing his name which presented such innovations as four-wheel hydraulic brakes and high compression motor.
Over 50 million dollars worth of cars were sold the first year, and in 1925, the Maxwell Motor Company became the Chrysler Corporation, Dodge Brothers was acquired in 1928 giving the Chrysler Corporation additional manufacturing facilities, a famous line of cars, and putting it in a position to challenge the leadership of Ford and General Motor By 1935, when Chrysler retired from the presidency of the Chrysler Corporation to become chairman of the board, the company was second in the automobile industry ir. volume of production.
It was while Chrysler was aggressively expanding his corporation in 1928 that he took over the office building project from Reynolds. In his autobiography, Chrysler said that he had the building constructed so that his sons would have something to be responsible for. He could not have been unaware, however, that the building would become a personal symbol and further the image of the Chrysler Corporation — even though no corporate funds were used in its financing or construction. To that end Chrysler worked with architect William Van Alen to make the building a powerful and striking design.
William Van Alen (1882-1954) studied at Pratt Institute before beginning his architectural career in the office or Clarence True, a speculative builder. Severs! years later while continuing his studies at the Beaux-Arts Institute 01 Design in the atelier of Donn Barber, Van Alen entered the office of Clinton * Russell as a designer. In 1908 he won the Paris Prize of the Beaux-Arts Institute and entered the Ecole des Beaux-Arts and the Atelier lLaloux. According to architect Francis S. Swales, "
His work at the Ecole indicated that the training was providing him with the mental freedom necessary to think independently, instead of merely the usual school -cargo of elements of architecture and a technique or competition by rules."0 Returning to New York in 1912 he introduced the concept of "garden11 apartments and also designed the Albemarle Building, a skyscraper without cornices. In the 1920s he became known for his innovative shop-front designs and for a series of restaurants for the Child's chain. With the Chrysler Building, Van Alen was able to apply modern principles of design to the skyscraper but at the same time created such a striking image that critic Kenneth Murchison dubbed him "the Ziegfield of his profession.
'In the 1930s he pioneered in prefabricated housing designs although they were never widely produced. Van Alen served for four years in the 1940s as director of sculpture for the Beaux-Arts Institute of Design, and he was a member of the American Institute of Architects and the National Academy of Design.
Work began on the Chrysler Building on October 15, 1928, when Chrysler acquire the lease, with clearance of the site. Construction proceeded rapidly; foundations to a depth of 69 feet were completed early in 1929, and the steel framework was completed by the end of September of that year.
The design of the building, however, was altered from that for Reynolds. Chrysler, in his autobiography, credits himself for suggesting that it be taller than the 1000-foot Eiffel Tower. The design of the crowning dome was also changed, and the addition of a spire, which the architect called a "vertex," made the Chrysler at 1046 feet the tallest building in the world at the time. Kenneth Murchison fancifully depicts Chrysler urging Van Alen to win the race to construct the world's tallest building.
Van Alen himself had personal reasons for achieving this goal, as a former partner, ii. Craig Severance, was constructing the Bank of Manhattan, 40 Wall Street, at the same time with the aim of making it the world's tallest skyscraper. Thinking that the Chrysler Building would be only 925 feet high, Severance added a 50-foot flagpole to his building making it 927 feet. Meanwhile, Van Alen designed the 185-foot spire which would make the Chrysler Building the tallest. The spire was fabricated, then delivered to the building in five sections, and assembled secret at the 65th floor.
In November, 1929, it was finally raised into position by a 20-ton derrick through a fire tower in the center of the building, then riveted i place, the whole operation taking about 90 minutes. This engineering feat capture the popular imagination as well as that of professionals, and it helped to further the progressive image of the Chrysler Building. However, the Chrysler lost its height distinction two years later with the construction of the Empire State Building.
The first tenants moved into the Chrysler Building in April, 1930, even though construction was not completed. Formal opening ceremonies were held on May 27, 1930 in conjunction with the annual meeting of the 42nd Street Property Owners and Merchants Association. A bronze tablet was placed in the lobby of the building "in recongnition of Mr. Chrysler's contribution to civic advancement." The building was considered finished in August, 1930, but curiously, the completion date recorded in the records of the Manhattan Building Department is February 19, 1932.
The Chrysler Building and Art Deco
Waiter P. Chrysler wanted a progressive image and a personal symbol. Van Alen strove* to create such an image using the tenets of modernism as he interpreted them. In so doing he designed a building which has come to be regarded as one of the outstanding examples of Art Deco architecture.
The term. Art Deco, which is also referred to by several different names such as the Style Moderne and Modernistic, is adopted from the Exposition International: des Arts Decoratifs et Industrie]s Modernes--an important European influence or. the American Art Deco sty!e--held in Paris in 1925.
In the period following the first World War, architects in Europe and the united States had begun to simplify traditional design forms and to use -industrial materials in innovative ways in order to characterize the modern age.
The Art Deco style seemed to lend itself particularly well to skyscraper design because the skyscraper, more than any other building type, epitomized progress, innovation, and a new modern age. Although the Art Deco style was short-lived, it coincided with a great building boom at the end of the 1920s in New York. The many-skyscrapers which were erected in the Art Deco style gave New York and its skyline a characteristic and romantic image, popularized in theater and films, which persisted until the next great building boom of the early 1960s. In the Chrysler Building, Van Alen used a variety of materials, techniques, and design forms which are characteristic of Art Deco.
The Chrysler Building rises 77 stories in a series of setbacks which accord with the regulations of the 1916 New York zoning prdinance. As a freestanding tower occupying about half a block, the building is visible from four sides. Like many Art Deco architects. Van Alen believed strongly in designing steel structures so that they would not be imitative of masonry construction.'- Also unlike many earlier skyscrapers, the design of the Chrysler did not follow the formula of a column with ornamental base, bare shaft, and ornamental capital; rather the design was to be of interest throughout the entire height.13 Both the great height of the building and the mandated setbacks aided Van Alen in making this design decision,
The first four stories of the building cover the entire site arid are faced with polished black Shastone granite at the first story and white Georgian marble above. The most striking features of this portion of the building are the two entrances, on Lexington Avenue and 42nd Street. Each entrance rises for h height of three stories in proscenium fashion and is enframed by Shastone granite. Set back within the deep reveals of the entrances are sets of revolving doors beneath intricately patterned metal and glass screens.
The treatment is such as to heighten the dramatic effect of entering the building --a concern of Art Deco design There is a one-story entrance on 43rd Street. Also at first story level are iarge show windows for shops, framed in metal. Windows for offices may be seen at the second, third, and fourth stories. Ornamental spandrels are set at the bases of the second story windows. The exposed metal frames of the entries and windows art of "Nirosta" steel, a kind of rust-resistant, chromium nickel steel, manufactured for the first time in the United States specifically for the Chrysler Building according to a German formula from Krupp. This use of a new. material is in keeping with Art Deco principles.
Above the fourth story, the building is penetrated on the east and west sides by light courts extending to the face of the tower, while on the north and south the structure gradually rises in a series of setbacks. The facing of the walls through the first setback at the sixteenth story is of white brick with contrast! white marble strips creating a basketweave pattern. The use of a variety of colo and textures is characteristic of Art Deco. Windows are set in a regular grid pattern. An. unusual feature of all windows in the building is that they have no reveals; frames are set flush with the walls. This was seen is another means of indicating modernity and progress.
In the next setback, ending at the twenty-fourth floor, there is a vertical emphasis with piers of white brick alternating with vertical window strips. Aluminum spandrels between the windows aid this effect. Spandrels at the twentieth twenty-first, and twenty-second floors are adorned with polished abstract relief ornament. At the corners of the twenty-fourth floor are placed conventionalized pineapples, about nine feet high, of "Nirosta" steel, which had been fabricated < the site.
The next three stories, through the twenty-seventh, form the third setback. Horizontal banding and zigzag motifs in gray and black brick contrast with the verticality of the setback below. The fourth setback, to the thirty-first story marks the emergence of the tower shaft from the lower masses. At the thirty-first floor the corners of the building are extended outward and crowned by huge ornamental Chrysler radiator caps in "Nirosta" steel, spanning about 15 feet.
The- extension was necessary to overcome the optical effect that would otherwise make the tower appear wider at the top than at the base. Also at this floor is a frieze ir. gra; and white brick of stylized racing automobiles with polished steel hub caps. Th ornamental features are overt symbols of the Chrysler Corporation and characteristic of the types of effects created by Art Deco architects.
The building had a number of innovative and desirable features. THe soundproofed office partitions were of steel made in interchangeable sections so that arranges! of any office suite could be changed quickly and conveniently. Under-floor duct systems carried wiring for telephone and electric outlets.
The elevators, specifically at Chrysler's instruction, were capable of speeds of 1000 feet per minute although city codes in effect in 1930 only allowed 700 feet per minute. The building also had three of the longest continuous elevator shafts in the world To enhance public access to the building, an underground arcade led to the IRT subway system. The connection was strongly opposed by the IRT, but Chrysler prevailed and the passageway was built at his expense. In the dome was the private-Cloud Club, which still exists, and, in the very topmost floor, a public observation deck.
On display was Walter P. Chrysler's box of handmade tools, the emblem of his enterprise and personal success. The observatory has been closed for many years.
Conclusion
Critics such as Lewis Mumford who favored the International Style denigrated the Chrysler Building for its "inane romanticism,... meaningless voluptuousness, ... /and/ void symbolism," " but it was these qualities which captured the popular imagination and helped make it one of the most famous buildings in New York. We can appreciate the comments of the editor of Architectural Porum who wrote:
It stands by itself, something apart and alone. It is simply the realization, the fulfillment in metal and masonry, of a one-man dream, a dream of such ambition and such magnitude as to defy the comprehension and the criticism of ordinary men or by ordinary standards.
The Chrysler Building still stands proudly in the New York skyline, its gleaming spire and soaring tower capturing the eye and imagination of the viewer. While it may no longer symbolize the Chrysler Corporation, it still embodies the romantic essence of the Art Deco skyscraper in New York City, with its dramatic effects, elegant materials, and vivid ornamental details. Built as a monument to progress in commerce and industry, it remains as one of New York's finest office buildings and great examples of the Art Deco style.
- From the 1978 NYCLPC Landmark Designation Report
Tomatoes, Cucumbers and Herb Salad topped with some organic cheese :) )))
It's as good as a bowl of candy. I'm totally serious, here.
I took this picture in Tagaytay, Philippines.
Collection/ Accession: Gay and Lesbian Times/L2010.32
Identifier: P536.120
Date: 1991
Rights Information: This image is provided for education and research purposes by Lambda Archives of San Diego (LASD). The image may not be sold or redistributed, copied or distributed as a photograph, electronic file, or any other media without written permission from LASD.
Rights may be reserved. Responsibility for securing permissions to distribute, publish, reproduce or other use rest with the user. This photo may have had minor color/contrast correction. The original uncorrected file is available from LASD. For additional information on use and obtaining high-resolution images see our Copyright and Use Statement.
LASD has made every effort to determine copyright and credit this photo appropriately. If you believe you hold copyright please contact us or comment below.
If you are incorrectly identified in this photo, or identified and do not wish to be please contact us.
Untitled work by Richard Walker.
Brougham Ave and Olive Way.
Wyndham Vale.
Victoria.
Commissioned in 2007 and funded by Council's Per Cent for Art Scheme, through the redevelopment work along the Lollypop Creek.
Artist's Statement.
"My intentions for this project were to produce a bold sculpture with a strong organic feel, and components that held meaning to the region.
The most symbolis of the 4 components is the backbone, as 'Werribee' means backbone in the local aboriginal dialect. The large forged bones come together and hidhlight the importance of working together to provide support, just as in the community.
The columns and fern represent aspects of the local flora, red gums and the sickle fern respectively which can be found in the Wyndham/Werribee region.
These elements are set into a local basalt rock, which is the main rock in the region."
wall covered with posters of candidates for a local election - afternoon - Bagong Silang, Manila, The Philippines
Statement by H.E. Ambassador José Antonio Zabalgoitia Trejo, Permanent Representative of the United Mexican States to the OPCW at the 24th Session of the Conference of States Parties to the Chemical Weapons Convention.
The Conference is held at the World Forum, The Hague, the Netherlands, from 25-29 November 2019.
Statements und Podiumsdiskussion: "Aufstiegsorientierung und soziale Sicherung: Komplementäre Ansätze oder Widerspruch?"
v.l.n.r.: Prof. Jörg Althammer, Trevor Phillips, Prof. Barbara John, Armin Laschet, Ralf Fücks
Foto: CC-BY-SA Stephan Röhl / www.boell.de
File name: 10_03_001197b
Binder label: Medical
Title: Wheat Bitters prepared by Wheat Bitters Company, New York - a true temperance tonic is found, hurrah! (back)
Date issued: 1870-1900 (approximate)
Physical description: 1 print : lithograph ; 8 x 13 cm.
Subject: People; Bitters
Notes: Title from item.
Statement of responsibility: Wheat Bitters Co.
Collection: 19th Century American Trade Cards
Location: Boston Public Library, Print Department
Rights: No known restrictions.
Image available for purchase from www.ballaratheritage.com.au
Victorian Heritage Register information
Statement of Significance
What is significant?
The Tower Hill State Game Reserve is an area of approximately 6.2 sq km, 3 km inland from the coast between Warrnambool and Port Fairy managed by Parks Victoria since 1997. The Reserve consists of a volcanic crater of nested maar type bounded by the encircling crater rim that forms a highly visible landmark in the surrounding plain. The crater, filled by a lake and series of islands, themselves volcanic cones, was formed at least 30,000 years ago when a hot rising basaltic magma came into contact with the subterranean water table. The violent explosion that followed created the funnel-shaped crater (later filled by a lake) and the islands. Artefacts found in the volcanic ash layers show that Aboriginal people were living in the area at the time of the eruption. The Warrnambool area was a rich source of foods for the Koroitgundidj people, whose descendants retain special links with this country.
The first confirmed European sighting of Tower Hill crater was by French explorers sailing with Captain Baudin aboard the Geographe in 1802 who named the crater 'Peak of Reconnaissance'. Throughout the 19th century sailors used Tower Hill as a landmark for entering the harbours of Port Fairy (Belfast) and Warrnambool. The name Tower Hill came into common usage in the 1840s. The crater formation, noted by early European settlers for the beauty of its vegetation was memorialised in the landscape painting of Eugene von Guerard in 1855.
By the late 1850s substantial amounts of forest had been cleared in and around the crater. In 1866 when the crater and inner rim were temporarily reserved for public recreation, the Acclimatisation Society of Victoria was appointed the Committee of Management (1866-1869). The Society had formed in 1861 with the aim of introducing exotic plants and animals to suitable parts of the colony and accordingly introduced goats, pheasants and rabbits to Tower Hill. In 1873 the area was permanently reserved for public purposes and in 1892 in an attempt to halt the environmental damage to the crater Tower Hill Reserve became the first National Park to be declared in Victoria. It remained under the control of Koroit Council which permitted clearing of native vegetation, grazing and the quarrying of scoria to continue. By the 1930s the landscape was bare and little wildlife remained.
In the mid-20th century lobbying by the local community concerned about environmental degradation at Tower Hill along with general recognition of the declining numbers of game birds in Victoria led to the crater being declared a State Game Reserve in 1961, one of a number established across the State at this time as wildlife refuges. The contained nature of the crater site meant it could be readily adapted to a scientifically designed habitat management program.
In 1962 Robin Boyd was commissioned to design a Natural History Centre on the main island at Tower Hill, completed in 1969. This early example of an interpretive centre was to provide the public with information about the restoration of the Tower Hill environment and the wildlife and habitats of the State's Reserves and to be a centre of study for wildlife management. Boyd, a hero of the conservation movement, designed a simple stone circular structure with sloping roof mirroring the volcanic island hilltops, sitting in harmony with the landscape. The circular glazed pavilion is a timber construction with a cill height stone skirt and wide eaves. At the centre of the open internal space is a central hollow stone column which supports the roof and is crowned by a skylight reminiscent of the core of the volcano that gave rise to the landscape. Laminated timber rafters, arranged radially, span from the hollow stone core to the outer ring of window and project to form deep eaves.
As early as 1958 local community groups established experimental plots of native trees at Tower Hill. Following designation as a State Game Reserve serious efforts began to replicate the original vegetation using von Guerard's (1855) painting as a guide to replanting using botanists to identify the plant species. By 1981 school children,, naturalists and other volunteers had planted 250 000 trees and shrubs at Tower Hill and removed non-native species and weeds and feral animals. Native animal species including koalas, wombats, emus and echidnas have also been successfully reintroduced to Tower Hill through reinstatement of habitat. The replanting program was the first of its kind in Victoria and provided a model for the national Landcare movement, established in Victoria in the 1980s.
How is it significant?
Tower Hill State Game Reserve is of aesthetic, historic, scientific, social and architectural significance to the State of Victoria
Why is it significant?
Tower Hill State Game Reserve is of aesthetic significance, being an inspirational landscape, recognised for the beauty and uniqueness of its geological form and natural vegetation from first European exploration and settlement of the region.
Tower Hill State Game Reserve is a cultural landscape of historical significance in reflecting more than a century of changing attitudes to landscape in its evolving status and the character of its environment.
Tower Hill State Game Reserve is of historical significance as an iconic and inspirational landscape, noted for its geological form and the beauty of its natural vegetation from first European exploration and settlement of the region, memorialised in Eugene von Guerard's 1855 painting of Tower Hill crater and island. It was this iconic beauty that environmentalists sought to reinstate through their replanting of native vegetation, the species having initially been identified initially from the detail of von Guerard's painting.
Tower Hill State Game Reserve is of historical significance as the earliest and an outstanding example of community programs to reinstate native vegetation and re-create native habitat on cleared and degraded land. Skills developed in the course of this work, and subsequently applied in other parts of the country include an understanding of the importance of using species indigenous to the local area, requirements for re-introduction of native fauna, and awareness of the need for re-establishment of understorey species.
Tower Hill State Game Reserve is of social significance for the ongoing role of the local community and community groups in the reinstatement of natural habitats in the Reserve.
Tower Hill State Game Reserve is of scientific (geological) significance as an example of a nested maar, a specific type of volcanic crater that formed at least 30 000 years ago when hot rising basaltic magma came into contact with the subterranean water table resulting in a series of phreatic explosions that created the funnel-shaped crater (later filled by a lake) coupled with late stage scoria cone development of the islands seen today.
Here comes Mavis sporting the hottest fashion look this Spring: peek-a-boo shell with faux fur trim. Work it girl!
Female River Cooter (Pseudemys concinna)
My photos can also be found at kapturedbykala.com
This is a scan of a "Ye Older Post Card" that I bought at an antique shop in Sacramento, California. On the back, it says that it is a "Mayer original historic photo" with the years 1913 and 1916 on either side of that statement.
Also from the back: "Brighton-Mills Co. seen with a freight train steaming by in the foreground and the NEHALEM BAR is seen in the background. Things sure were bustling them days."
This was the Southern Pacific Railroad's Tillamook Branch. It is now owned by the Port of Tillamook Bay Railroad; the Oregon Coast Scenic Railroad runs trains from Garibaldi to Wheeler by way of Brighton.
Cambodian landmine survivor Tun Channereth gave a powerful statement at the conclusion of the preparatory meeting for the Second Review Conference of the Mine Ban Treaty (Cartagena Summit)
Lange ketting gemaakt van 600 knopen in zwart en wit.
Lengte 242 cm, gewicht 750 gram.
------------------------------------------------------------------------------------------------------------------------------------Long statement NECKLACE made from VINTAGE BUTTONS
I made this necklace from 600 black and white buttons and a few beads.
242 cm / 95 inches
750 gr.
Cornel Feruta, IAEA Acting Director General, delivers his introductory statement at the IAEA 1533rd Board of Governors meeting. IAEA, Vienna, Austria. 21 November 2019
Photo Credit: Dean Calma / IAEA
Small cream bead hanging earrings with vintage Czechoslovakian Madeira crystal. Beaded statement tiny dangles - minimalist and stylish evening jewelry. Hypoallergenic.
Click for more details: etsy.me/2JorTS1
Visit me here: www.facebook.com/BeadsFantasies/
The earrings are suitable as for casual wear, as for special occasion.
The back side is closed by beads in order to prevent foil peeling of in time.
Earrings measures are:
Earrings width - 1.8cm (0.71 inch)
Total length - 4cm (1.6 inch)
The hooks are made from hypoallergenic gold-plated surgical steel.
Monitoring your bank statement is the best way of knowing if someone is attempting to use your money.
Brenda Bailey, Minister of Jobs, Economic Development and Innovation, has issued the following statement on the release of Statistics Canada's Labour Force Survey for February 2023:
“At a time of economic uncertainty, B.C. continues to demonstrate resiliency. B.C. added 6,700 new jobs in February, and the unemployment rate is at 5.1%, remaining one of the lowest in the country. B.C. built on the 66,200 new jobs added in 2022 – two months into 2023 and BC has already added 14,400 new jobs.
Learn more: news.gov.bc.ca/28351
This morning, checking my latest bank statement, I opened the file to remove a page but pulled open the bottom ring and not one of the centre rings. That ring closed on my finger, where you see the piece of wood in this re-enactment.
Were I a more dedicated photographer, I would have got my 'phone, lying on the table beside me, and snapped the moment. However, my only thought was to open the file and extract my finger – it was very painful 😟
Doorstep statement by NATO Secretary General Jens Stoltenberg at the start of the meetings of NATO Defence Mninisters in Brussels
Statement by Mr. Terrance Long, International Dialogue on Underwater Munitions, Canada at the 24th Session of the Conference of States Parties to the Chemical Weapons Convention.
The Conference is held at the World Forum, The Hague, the Netherlands, from 25-29 November 2019.
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Statement by Mr Maythong Thammavongsa, Director-General of International Organizations Department, Ministry of Foreign Affairs at the 24th Session of the Conference of States Parties to the Chemical Weapons Convention.
The Conference is held at the World Forum, The Hague, the Netherlands, from 25-29 November 2019.