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for Fresh Tangerine Holiday 2011 (www.freshtangerine.com)
Model: Cassie
MU/Hair: Christine Shields
Sarah Giffrow Creative - awesome fashion photography and jewelry photography (Portland, OR)
Statement by H.E. Ambassador Yun-young Lee, Permanent Representative of the Republic of Korea 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.
My desktop. Featured font is Coolvetica. Apologies to those who saw (and were bored by) the previous incarnation. I just like how conky and the desktop icons blend in now. :)
Statement by H.E. Ambassador Jaya Ratnam, Permanent Representative of the Republic of Singapore 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: "Soziale Mobilität in den USA und in Europa"
v.l.n.r.: Dr. Isabel Sawhill, Matthias Rumpf, Dr. Mark Speich, Prof. Walter Müller, Prof. Robert Erikson.
Foto: CC-BY-SA Stephan Röhl / www.boell.de
This template contains 3 tabs: Income Statement, Balance Sheet and Cash Flow. Its flexible design allows you to arrange the lines and columns that you want to display in your Financial Statement using Readme and Data sheets. Its PSW version allows you to publish your Financial Statement online easily.
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occupythefarm.org/category/c27-statements/
"On Saturday, May 11th, Occupy the Farm peacefully marched onto the Gill Tract to challenge the UC’s renewed plans for private, commercial development of this public agricultural resource, replacing 5-foot high weeds with thousands of squash, kale, basil, corn, lettuce and tomato plants, and even flowers.
Rather than recognizing this as an opportunity to position itself on the cutting edge of urban agriculture and participatory research, the University raided the farm on Monday, May 13, at 4:30 a.m. and violently arrested four peaceful farmers, three of whom were held for more than 60 hours before being released without charge. The University then ploughed over the farm that morning, destroying thousands of starts that, if nurtured, would have provided sustenance to local communities.
“This land has been vacant for years,” said an Occupy the Farm member, Matthew McHale, “the UC only destroyed the crops because it’s afraid that if the community sees what an amazing asset this would be as a community farm, they would refuse to let it be paved over.”
In protest of the UC’s actions, more than eighty farmers and community members re-converged on Monday afternoon for a rally, then marched back onto the farm to replant the field and recover some of the starts they had planted over the weekend. The University plowed the farm again Tuesday morning.
Since Occupy the Farm first planted on the Gill tract in April 2012, the group has organized at least 10 public forums focused on the Gill Tract as an asset to community-driven participatory research. The UC Berkeley administration has consistently failed to attend, despite being invited repeatedly. Students on campus however, support turning the land into an urban farm; last Spring the Associated Students of the University of California Senate unanimously passed a resolution in support of Occupy the Farm."
Policy Statements - ITU PP-18
Mr Leonardo Morais. Commissioner
Agência Nacional de Telecomunicações - ANATEL, Brazil
©ITU/R.Maniego
4 tiered statement wedding cake.
Bottom tier is a dummy cake, decorated with diamante
Chocolate mud cake covered in black fondant, with quilting design and cachous
Caramel mud with black and pink stripes
Red velvet top tier with black royal icing stencil
“Stories My Mother Never Told”
Artist Statement
By artist Jenny Ashby
This installation based exhibition is an informed response to my research into the institutionalisation and the forced removal of aboriginal children from their families and their homelands and the often untold truths regarding this accepted practice by government and religious organisations up until the early 1970's. My work responds to my learning of the cruelty and inhumane treatment of these children within institutional care throughout Australia. My work is a personal response to the stories told to me by my children’s aboriginal family, friends, and people that I have interviewed as well as research into these issues. My artwork is a comparative reflection on my own childhood memories, and the freedom that I lived with as a child while growing up in a white Christian, farming family, as opposed to aboriginal children forced to grow up within the same period of the 60's and the 70's, behind the walls of institutions such as the Cootamundra, Parramatta,La Perouse Girls Training Homes, and the Hay Women's Jail and "the stories we were never told".
The drawings and prints act as a visual narrative and are laden with text and marks in the form of graffiti and inscriptions, similar to those found on surfaces within institutions. The text also takes on the appearance of letter writing to my mother as a conversation, a personal reflection of my own childhood and my own responses to this research as a type of diary entry. The text which is layered and often unreadable onto paper which has been embossed and treated to mimic the brick walls of institutions hopefully encourages inquiry on closer examination of the narrative within.
The use of shadows within my work act as a metaphor of presence and absence within the space. The shadows of the little girl on the swing are significant within my work acting as a universal symbol of freedom and at the same time lost freedom when used in context of the cell wall drawings.
The video projections of the little girl’s shadows swinging and laughing were filmed as a site specific installation within the Hay Women’s Jail. This video installation is superimposed with sound of the harsh locking of cell doors which echoe within the confinement of the institution where many girls spent part of their childhood.
By subjecting the viewer to a multi sensory experience within the environment of the gallery, through the incorporation of projected images laden with relative sound, combined with universal icons of objects and image, I hope to encourage memory recall of the viewers own childhood using associated experience as a conduit to the narrative. Hopefully through this association the viewer becomes actively involved within the space and therefore he or she becomes personally involved with the work as the narrator in their own right.
View across an autumnal Princess Street Gardens to the Bank of Scotland Headquarters. Originally designed by Richard Crichton and Robert Reid, 1801-6 it was largely remodelled and enlarged by David Bryce, 1863 in a Roman Baroque style. Bryce added the wings and the linking entrance extension. He replaced the simple saucer dome on cylindrical drum with a Roman Baroque dome. Part of the basement has been arranged as a museum.
Grandfinal morning - all is quiet -West Coast beat Sydney by 1point
NHL
Melbourne Cricket Ground
Source: Go to the National Heritage List for more information.
Identifier: 105885
Location: Brunton Av, Jolimont
Local
Government: Melbourne City
State: VIC
Country: Australia
Statement of
Significance: The Melbourne Cricket Ground (MCG) was established in 1853 when Lieutenant-Governor La Trobe provided 10 acres of land in Yarra Park to the Melbourne Cricket Club. In the intervening 150 years the MCG has developed into one of the largest, most recognisable and modern sports stadiums in the world.
The MCG is the home of the Melbourne Cricket Club, the first cricket club in Victoria and a major contributor to the development of cricket in Victoria and Australia from the middle of the nineteenth century. The Melbourne Cricket Club organised the inaugural inter-colonial first-class cricket match between Victoria and New South Wales on the MCG in 1856. The first test match between Australia and England was also played on the MCG in 1877.
In 1858 Tom Wills and other members of the Melbourne Cricket Club devised the rules of the Melbourne Football Club, which became the codified rules of Australian Rules football. Football was played on the MCG for the first time in 1859 and since the late nineteenth century the MCG has been the symbolic home of football, first in Victoria and, with the establishment of the Australian Football League, in Australia as a whole.
The MCG has become associated with many of the finest sporting achievements of Australia’s, and many of the world’s greatest athletes. It was the site of the 1956 Olympic Games, the first in the southern hemisphere.
There is a continuity of use of the MCG for domestic cricket from 1856, international cricket from 1877, and Australian Rules football since the 1880s. Spectator and playing facilities at the ground have evolved to support on-going use and contemporary standards. Of the little remaining pre-1992 fabric, approximately 30% of the wrought iron fence around the playing arena, dating from 1884, is in situ and is a significant aspect of the place.
The significance of the MCG extends far beyond that of a mere sports stadium. It is an integral part of the fabric of Melbourne and the nation, and has gained an egalitarian image as ‘the people’s ground’.
Description: The Melbourne Cricket Ground (MCG) is the largest sporting arena in the city of Melbourne and has the highest seating capacity of any outdoor stadium in Australia. It is used principally for international and domestic cricket and Australian Rules football. It was the main stadium for the 1956 Olympic Games and in March 2006 will be the centrepiece of the 2006 Commonwealth Games.
The MCG playing surface is an oval, 160 metres long and 138 metres wide at its centre. It is a natural (grass) surface and a turf cricket pitch is prepared and dropped in to the playing arena for international and domestic cricket. The oval is surrounded by a metal railing fence.
A major redevelopment of spectator facilities at the ground commenced in 1990. Current spectator facilities consist of the Great Southern Stand, completed in 1992, and the new Ponsford and Northern Stands which commenced in 2002 and have been progressively opened for public use. The final stage of construction, the Northern Stand, is due for completion in January 2006.
The redevelopment has involved demolition of the Western Stand (Ponsford Stand), the Members’ Stand and the Northern Stand (Olympic) to allow for new stands on the western and northern sides of the ground. When the new Northern Stand is completed in January 2006, the capacity of the stadium will be restored to 100,000 seats. The new grandstands incorporate many of today’s most advanced design features and provide world-class viewing facilities for spectators. The Great Southern Stand won the Royal Australian Institute of Architects (RAIA) Sir Zelman Cowan Award for public buildings and the RAIA Victorian Chapter Award in 1992.
The erection of six lighting towers, first used in February 1985, has enabled both cricket and football to be played at night.
VHR Statement of Significance
What is significant?
The Melbourne Cricket Ground was established in 1853 when 10 acres of land at Yarra Park in Jolimont was set aside for the use of the Melbourne Cricket Club, the purpose of the reserve being 'to promote the recreation and amusement of the people and ... to provide a site or place for the playing of cricket within the City of Melbourne in our said Colony.' Since 1862, the ground has been administered by a government-appointed trust (the MCG Trust) which continues to delegate its day-to-day management to the Melbourne Cricket Club. From its beginnings as a simple paddock-like ground with a modest pavilion and with limited grandstand and other facilities scattered around the perimeter, the Melbourne Cricket Ground has evolved and expanded through a process of phased redevelopment and renewal into a major piece of sporting infrastructure serving the metropolitan area and the State as a whole. Currently, the stadium comprises four principal stands, the MCC Members Pavilion (the third on the site, designed by Stephenson and Meldrum and completed in 1927), the Northern (Olympic) Stand (designed by AW Purnell and completed in 1956), the Western (Ponsford) Stand (designed by Tompkins, Shaw & Evans and completed in 1968) and the Great Southern Stand (designed by Daryl Jackson in association with Tompkins Shaw & Evans and completed in 1992), the oval, light towers (1984) and Australian Gallery of Sport (1986).
How is it significant?
The Melbourne Cricket Ground is of historical, social, aesthetic and architectural significance to the State of Victoria.
Why is it significant?
The MCG is of historical and social significance at a State, national and international level, as one of the oldest and largest capacity contained sporting venues in the world and one of the best-known of international cricket grounds, and as the pre-eminent venue for top-level cricket in Australia since the mid to late nineteenth century. Since the late nineteenth century it has also been the main venue and symbolic home of Australian Rules Football in Melbourne, making it of great historical and social significance in a State and metropolitan context, and - following the expansion of the Australian Football League to include interstate clubs - in a national context. The MCG is also historically and socially significant as the main venue and ceremonial focus for the 1956 Melbourne Olympic Games, and for its associations with numerous other sports and events.
The MCG is also of historical and social significance for its association with the Melbourne Cricket Club, the oldest club in Victoria and a major force in the development of cricket and other sports in Victoria from the nineteenth century. This association is reflected in the Members Pavilion, which is the third such pavilion constructed for the purpose. As well as being the repository of Victoria?s cricketing traditions, the pavilion occupies the prime position for viewing events, particularly cricket, and allows members access to a range of private facilities such as the dining room and the long room.
In the broader context, the MCG is also of historical and social significance for its egalitarian image as the 'people's ground' and its long tradition of serving the people of Victoria. The MCG is socially significant as a living icon, a focus of attention in which importance lies in participating in events as well as experiencing the place itself.
The MCG is of aesthetic significance primarily for its overall form and scale. The MCG is a landmark on the edge of the city, a vast stadium which retains its traditional parkland setting. Whether full or empty, the stadium is of considerable aesthetic power and significance and is a place of energy and great atmosphere.
Within the broader conception of the MCG, there are elements with their own architectural significance. Firstly, the Members Pavilion by Stephenson and Meldrum (1927), is architecturally important as a large and relatively intact grandstand from the interwar period, although an appreciation of its impressive facade is marred by the somewhat intrusive Australian Gallery of Sport of 1986. Secondly, the Great Southern Stand by Daryl Jackson in association with Tompkins Shaw and Evans (1992) has been the recipient of a wide range of design awards and has generally been received with acclaim by architectural critics.
Year Construction Started 1927
Architect / Designer Stephenson & Meldrum
The police officer takes a statement. The man they are speaking to was standing at the bus station when the vehicle collided. Had he chosen to utilize the bench he may very well have been killed or seriously injured. His face suggests confusion. Should he be angry at the carelessness of the driver or relieved that he managed to escape harm? The police officers seem disinterested in the situation. Why aren't we out doing real police work the officers probably wonder. The truth is, this is real police work.
1560 Water Street, Kelowna, BC.
Statement of Significance:
Description of Historic Place:
The historic place is a two-storey brick commercial building constructed around 1913 at 1560 Water Street, mid-way between Bernard Avenue and Leon Avenue in Kelowna's Downtown area.
Heritage Value:
The building at 1560 Water Street has heritage value for having accommodated a range of commercial enterprises since the early 1910s, several of which focused on agricultural activities. It also has value for being representative of downtown commercial buildings in the era preceding World War I.
The exact date of construction is uncertain, but it was before 1914, as it appears on a 1914 fire insurance map, and probably after 1912, since Harry Raymer is listed as owner of the lot from 1906 through 1912, but no improvements are noted. In 1914 the building was described as a warehouse, with dry goods storage in the second-storey rear, presumably for Thomas Lawson's store, which was located in the adjacent Raymer Block on Bernard Avenue.
In 1919, the building was leased by S.T. Elliott for use as an implement store. Simon ('Sam') Tackett Elliott started out in the blacksmith business, first at Benvoulin and later in downtown Kelowna. Elliott was active in the Kelowna community. He was a large man, the stereotypical 'blacksmith' type, and anchored the Kelowna tug-of-war team. He was widely involved in other local enterprises and in roadbuilding. As transport shifted from horses to automobiles, Elliott shifted from shoeing horses to selling horsepower, running the first auto dealership in Kelowna (which sold McLaughlin and Tudhope cars).
The building continued its use as an agricultural machinery store until the 1950s, accommodating the Kelowna Tractor and Sprayer Company in 1956. For four decades it housed significant agricultural services, the principal industry of the area during Kelowna's early formative years.
In recent years the building served as office space for a financial services company. It was recently renovated for use as the Fresco's, an up-scale downtown restaurant, reflecting the increasing number of restaurants, entertainment, and service facilities in the western portion of downtown Kelowna. The building has undergone significant upgrading to accommodate the present use, altering the Water Street facade while retaining its heritage character. The building has value as a good example of sensitive design in the adaptive reuse of a heritage structure in the community.
Source: City of Kelowna Planning Department
Character-Defining Elements:
The character-defining elements of 1560 Water Street include:
- good, representative example of brick two-storey commercial building from the years preceding World War I
- symmetrical facade, with a central recessed entrance flanked by symmetrical (new) commercial windows on the ground floor
- straight second-floor window heads with vertical bricks and prominent projecting keystones
- projecting pilaster-like strips at the corners of the front elevation
- local red and buff brick
- corbelled brick below the parapet
Vegard Kaale, Ambassador of Norway to Indonesia and Timor Leste delivery speech during 3rd Asia-Pacific Rainforest Summit in Yogyakarta on April 23, 2018 in Indonesia.
Photo by Ulet Ifansasti/CIFOR
More information on the 3rd Asia-Pacific Rainforest Summit, please visit cifor.org/aprs
If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: cifor-mediainfo@cgiar.org and m.edliadi@cgiar.org
Statement by Mr Kwamena Essilfie Quaison, Deputy Director of Environment, Ministry of Environment, Science, Technology and Innovation 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.
Council and Commission statements on Preparations for the European Council meeting (23-24 June 2011) during the EP's June session held in Brussels.
www.europarl.europa.eu/en/headlines/
© European Union 2011 PE-EP/Pietro Naj-Oleari.
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This necklace was originally a custom design based off of another piece. The bright pink stones are set with rainbow coated clear aurora borealis rhinestones in order to create an incredible sparkling statement! Pink and clear is one of my favorite combinations, because to me, it screams femininity, glamour and luxury!
Sparkle Beast FB: www.facebook.com/pages/Sparkle-Beast-Designs/246120549854