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International Monetary Fund Division Mission Chief Nigel Chalk holds a joint press conference on the conclusion of the 2017 US Article IV consultation June 27, 2017 at the IMF Headquarters In Washington, DC. IMF Photo/Samantha Jaffe
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From the Wikipedia article:
"At the south-western side of the Circus, moved from its original position in the centre, stands the Shaftesbury Monument memorial fountain, erected in 1892-1893 to commemorate the philanthropic works of Lord Shaftesbury. It is topped by Alfred Gilbert's winged nude statue, sometimes known as The Angel of Christian Charity. It is popularly known as Eros after the mythical Greek God of Love, although he is intended to be Eros' twin Anteros. The statue has become a London icon, and a graphical illustration of the statue is used as the symbol of the Evening Standard newspaper and appears on its masthead.
The use of a nude figure on a public monument was controversial at the time of its construction, but it was generally well-received by the public. The Magazine of Art described it as, "...a striking contrast to the dull ugliness of the generality of our street sculpture, ... a work which, while beautifying one of our hitherto desolate open spaces, should do much towards the elevation of public taste in the direction of decorative sculpture, and serve freedom for the metropolis from any further additions of the old order of monumental monstrosities."'
Technologically ground-breaking at the time, this statue was the first in the world to be cast in aluminium. The statue originally pointed its bow to the north, up Shaftesbury Avenue. However, during the Second World War the statue was removed for safe keeping, and when it was returned its bow was fixed pointing in to the south, towards Lower Regent Street.
The winged figure on the fountain is generally called Eros, is often supposed to be The Angel of Christian Charity, but was intended to be Anteros, a brother of Eros, and is recorded as such in the records of Westminster City Council. The sculptor Alfred Gilbert had already sculpted a statue of Anteros, when commissioned for the Shaftesbury Memorial Fountain, and chose to reproduce the same subject, who as 'The God of Selfless Love' was deemed to suitably represent the philanthropic 7th Earl of Shaftesbury. Gilbert described Anteros as portraying 'reflective and mature love, as opposed to Eros or Cupid, the frivolous tyrant.' The model for the sculpture was a 16-year-old Italian, whose name appears to have vanished from history. The fountain, when originally placed, was meant to have Anteros pointing his bow towards Wimborne Saint Giles in Dorset, which was the Earl's country seat.
When the memorial was unveiled, there were numerous complaints. Some felt it was sited in a vulgar part of town (the theatre district) and others felt that it was too sensual as a memorial for a famously sober and respectable Earl. Some of the objections were tempered by renaming the statue as The Angel of Christian Charity, which was the nearest approximation that could be invented in the Christian pantheon for the role of Anteros in the Greek. But the name never became widely known, and the original name came back, under the shortened form Eros, signifying the God of Sensual Love; quite inappropriate to commemorate the Earl, but just right to signify the carnal neighbourhood of London, into which Soho had developed.
The iconography deteriorated to the level where the memorial came to be seen as the lustful, half-naked Eros burying his shaft up Shaftesbury Avenue, absolutely typifying degenerate Soho. During his life-time Gilbert had already said of his sculpture 'There is more than £3,000 worth of copper. take it down, melt it, and turn it into pence and give it to the unfortunate people who nightly find a resting place on the Thames Embankment, to the everlasting shame and disgrace of the greatest metropolis in the world'."
International Monetary Fund Division Chief Stephan Danninger (L), Director Alejandro Werner (2nd L), Mission Chief Nigel Chalk (2nd R) and Communications Director Gerry Rice (R) hold a joint press conference on the conclusion of the 2017 US Article IV consultation June 27, 2017 at the IMF Headquarters In Washington, DC. IMF Photo/Samantha Jaffe
diningwithdana: Black Royalty in the Now Next Wednesday Dining with Dana will be covering “Rococoa”, discussing black royalty in the niche subculture and the importance it holds today. Join in on Wednesday 14th in The Scene! First picture by Fabiola Jean-Louis, Rewriting History Rococoa and the Frivolous Fro (article) 2nd photo is fashion photography afaik, ‘Black and White’ by Robert Flammier (German, I believe, so perhaps I’m limited by language on this one) The 3rd photo is also one of Fabiola Jean-Louis’s paper dresses, although I don’t recognize the specific photograph. Fourth photo is hard to find source for because I think it’s possibly been cropped at some point, but ended up in some odd places Fifth Photo is from Kehinde Wiley’s Economy of Grace: www.thecut.com/2015/02/kehinde-wiley-spring-portfolio.html 6th photo I believe may have been someone’s personal Halloween or reenactment costume based of of the character Calypso from Pirates of the Caribbean (and ended up posted on Pinterest at some point) 7th photo is Jimmy Jean-Louis & Aïssa Maïga in ‘Toussaint Louverture’ (2012) The last photo is “Elegance” by PorcelainPoet on DeviantArt if anyone knows more accurate sources for #2, #4, and #6, feel free to add them!
International Monetary Fund Division Chief Stephan Danninger (L), Director Alejandro Werner (2nd L), Mission Chief Nigel Chalk (2nd R) and Communications Director Gerry Rice (R) hold a joint press conference on the conclusion of the 2017 US Article IV consultation June 27, 2017 at the IMF Headquarters In Washington, DC. IMF Photo/Samantha Jaffe
Spread for my Solar Cell/Grid Electricity article i found. I wanted to imitate the shape of solar panels within the article, so i took my columns and changed the shape; the headline matches as well. I was really fighting this one because i just plain ran out of inspiration. I had to drop the other spreads i was working on to focus on this one. Ping suggested i put large text in the background. I think it worked out fairly well. I went through countless color combinations and settled on yellow for the 'solar' and blue for the 'grid'. I put in the forward slashes to compliment the slanted columns and the style of the table of contents page.
Well there you are!!! I think now I have earned the right to call myself an artist. At age 39, year 2006, I enrolled into an Art & Design course at Banff & Buchan College. I didn’t know how to draw, and no one asked if I could, I laugh now, but at time I was so anxious about being caught out and being asked to leave course. Check list for my 1st materials pack was harder than written exam the following year :-) I remember saying "what is pastels, what is a tortillon, putty rubber most of pack what is that? Anyway in that 1st year I did learn and worked hard, to end up winning over all best exhibit award, 2nd year achieved a 'B' Higher and won most improved student award, 3rd and last year achieved 'A' Higher National Certificate, won Best student award and SQA award at graduation ceremony. The icing on the cake was to be recognized in newspaper for my hard work and achievements.
Demel
The title of this article is ambiguous. Other uses, see Demel (disambiguation).
K.u.K. Hofzuckerbäcker Ch Demel 's Söhne GmbH
Founded in 1786
Coffee and pastry industry
Products Coffee, tea, cakes
website www.Demel.at
Interior furnishings from Komptoir Demel in Vienna, from Portois Fix
When decorating goods Visitors may watch.
Demel is one of the most famous Viennese pastry at the carbon (cabbage) market (Kohlmarkt) 14 in the first Viennese district Innere Stadt. Demel was a k.u.k. Hofzuckerbäcker and runs this item today in public.
History
1778 came the of Wurttemberg stemming confectioner Ludwig Dehne to Vienna. 1786, he founded his pastry shop at the place of St. Michael. Dehne died in 1799 of tuberculosis. His widow then married the confectioner Gottlieb Wohlfahrt. In 1813 they bought the house in St. Michael's Square 14. Despite numerous innovations such as frozen the company's finances could not be rehabilitated. After the death of Gottlieb Wohlfahrt in 1826 the widow and her son from her first marriage August Dehne succeeded but the economic boom. August Dehne managed to great wealth, he invested in land. As the son of August Dehne struck another career as a lawyer, Dehne sold the confectionery in 1857 to his first mate Christoph Demel.
Demel also had success in the continuation of the company and established it to a Viennese institution. After the death of Christoph Demel in 1867 his sons Joseph and Charles took over the business, which is why it since "Christoph Demel 's Söhne" means. On request Demel received 1874 the Hoflieferantentitel (the titel as purveyor to the court). The proximity to the Imperial Palace directly opposite made business more profitable. The Hofburg borrowed from Demel occasionally staff and tableware for special occasions such as proms and parties. Recent developments in the art of confectionery were brought from Paris. Trained at Demel, professionals quickly found employment.
1888 Old Burgtheater was demolished at Michael's place and transformed the place. Demel had to move out of the house and he moved to the Kohlmarkt 14. The new store inside was equipped inside with high costs by purveyor to the court Portois & Fix. The interior is decorated in the style of Neo-Rococo with mahogany wood and mirrors. Regulars were members of the Viennese court as Empress Elisabeth, and other prominent members of the Vienna society of the time, the actress Katharina Schratt and Princess Pauline von Metternich. A peculiarity of Demel from the time of the monarchy is that the always female attendance, which originally was recruited from monastic students, is dressed in a black costume with a white apron. They are called Demelinerinnen and address the guest traditionally in a special "Demel German", which is a polite form of the third person plural, omitting the personal salutation and with questions such as "elected Have you?" or "want to eat?" was known.
After the death of Joseph and Carl Demel took over Carl's widow Maria in 1891 the management. She also received the k.u.k. Hoflieferantentitel. From 1911 to 1917 led Carl Demel (junior) the business and then his sister Anna Demel (4 March 1872 in Vienna - November 8, 1956 ibid ; born Siding). Under her leadership, the boxes and packaging were developed by the Wiener Werkstätte. Josef Hoffmann established in 1932 because of a contract the connection of the artist Friedrich Ludwig Berzeviczy-Pallavicini to Anna Demel. The design of the shop windows at that time was an important means of expression of the shops and there were discussions to whether they should be called visual or storefront (Seh- or Schaufenster - display window or look window). While under the Sehfenster (shop window) an informative presentation of goods was understood, the goods should be enhanced by staging the showcase. From 1933 until his emigration in 1938 took over Berzeviczy-Pallavicini the window dressing of Demel and married in 1936 Klara Demel, the adopted niece of Anna Demel.
During the Nazi regime in Austria the confectioner Demel got privileges from the district leadership because of its reputation. Baldur von Schirach and his wife took the confectioner under their personal protection, there were special allocations of gastronomic specialties from abroad in order to continue to survive. But while the two sat in the guest room and consumed cakes, provided the Demelinerinnen in a hallway between the kitchen and toilet political persecutws, so-called U-Boats. Those here were also hearing illegal radio stations and they discussed the latest news.
1952 Anna Demel was the first woman after the war to be awarded the title Kommerzialrat. She died in 1956. Klara Demel took over the management of the bakery. Berzeviczy-Pallavicini, who lived in the United States until then returned to Vienna. After Clara's death on 19 April 1965, he carried on the pastry. During his time at Demel he established the tradition to make from showpieces of the sugar and chocolate craft extravagant neo-baroque productions. Baron Berzeviczy sold the business in 1972 for economic reasons to the concealed appearing Udo Proksch, who established in 1973 in the first floor rooms for the Club 45; also Defence Minister Karl Lütgendorf had his own salon. After Proksch was arrested in 1989 in connection with the Lucona scandal, he sold Demel to the non-industry German entrepreneur Günter Wichmann. 1993 it came to insolvency. Raiffeisen Bank Vienna as principal creditor, acquired the property in 1994 from the bankrupt company to initially continue itself the traditional Viennese company through a subsidiary. In the process of the renovation in March 1995 on the fourth floor were mura painting from the 18th century exposed and the baroque courtyard covered by a glass construction which since the re-opening on 18 April 1996 can be used as Schanigarten (pavement café) or conservatory.
In 2002 the catering company Do & Co took over the Demel. The company was awarded with the "Golden Coffee Bean " of Jacobs coffee in 1999. Demel now has additional locations in Salzburg and New York.
Products
Demel chocolate products
One of the most famous specialty of the house is " Demel's Sachertorte" . The world-famous Sachertorte was invented by Franz Sacher, but completed only in its today known form by his son Eduard Sacher while training in Demel. After a 1938 out of court enclosed process occurred after the Second World War a till 1965 during dispute between Demel and the Sacher Hotel: The hotel insisted on its naming rights, Demel, however, could pointing out already since the invention of the "Original Sacher" called pie "having used the denomination". Demel had after the death of Anna Sacher in 1930, under defined conditions, the generation and distribution rights for "Eduard-Sacher-Torte" received. The dispute was settled in favor of the Hotel Sacher and the Demelsche cake is today, "Demel 's Sachertorte" and is still made by hand. While a layer of apricot jam under the chocolate icing and another in the center of the cake can be found in the "Original Sacher-Torte", is in "Demel 's Sachertorte " the layer in the middle omitted.
Besides the Sachertorte helped another specialty the pastry to world fame: the original gingerbread figures whose modeling came from the collection of Count Johann Nepomuk Graf Wilczek on Castle Kreuzenstein. Then there are the Demel cake (almond-orange mass with blackcurrant jam, marzipan and chocolate coating), Anna Torte, Dobos cake, cake trays, Russian Punch Cake, Esterházy cake, apple strudel and other confectionary specialties. Popular with many tourists are the candied violets with which Demel earlier supplied the imperial court and they allegedly have been the Lieblingsnaschereien (favorite candies) of Empress Elisabeth ("Sisi"). Rooms in the upper floors as the Pictures Room, Gold Room and the Silver rooms are rented for events. In addition to the pastry shop Demel operates, as it did at the time of the monarchy, a catering service, after the re-opening in 1996 as well as storage, shipping and packaging was desettled in the 22nd District of Vienna. Demel is also responsible for the catering at Niki Aviation.
Knitting a New Landscape: Cincinnati BombShells aim to soften an otherwise harsh environment
BY KATHY SCHWARTZ · DECEMBER 7TH, 2011 ·
When does an age-old craft like knitting become hip fiber art, street art and performance art? When it’s practiced by the Cincinnati BombShells yarn bombers, approximately 15 women ages 25-65 with sassy alter egos, Jackie O sunglasses and platinum wigs. The mostly secretive BombShells, led by Pinky Shears (fiber artist Pam Kravetz), knotted their status when they and about 100 sidekicks decorated Central Parkway in September. Eight city blocks, 105 trees, a Metro bus, a bicycle and a Big Pig Gig sculpture were covered in felt and yarn in a project sponsored by ArtWorks. It became one of the city’s most talked-about public-art projects in years.
The BombShells’ buzz had grown during summer as they stealthily adorned statues in Piatt and Eden parks and Sawyer Point with knitwear. Invitations followed to put red stockings on the bronze ballplayers outside Great American Ball Park, and to decorate the CAC facade for a gala.
It’s formally called “craft activism.” A paperback with that title came out this fall. It’s a new name for an old-fashioned concept — weaving a community together through crafts (think quilting bees) and celebrating the handmade.
The BombShell Manifesto reads: “We anonymously promote fiber craft as adventure. We aim to soften the edges of an otherwise cruel, harsh environment. We juxtapose vandalism with the non-threatening nature of fibers. ... We are actively contributing to a more positive type of global warming. Although the voice we have is cheerful and fun, it’s also purposeful,” Pinky says.
At the square, the BombShells will donate hats and mittens to the Freestore Foodbank and encourage others to give.
Articles trace the phenomenon’s start to 2005 and a Texas woman who placed a hand-knit cozy on the doorknob of her boutique. A chapter of “Craft Activism” is devoted to the JafaGirls of Yellow Springs, who introduced yarn bombing there in 2007.
Pinky shared her discovery with the Weavers Guild of Greater Cincinnati. Ideas for costumes and bombing targets flowed. Other artists and teachers joined, as well as an architect, an entrepreneur, a yarn shop owner, a volunteer and retirees.
“The first thing we did was parking meters in Hyde Park,” Pinky says. The bombing was a secret even to her. She stepped out of a Spinning class, saw a cozy around a meter and thought, “Oh my God, someone did it!” Though Crochet Galore’s work was down within 24 hours, “we were setting the stage for ourselves to become public,” WIP says.
Meanwhile, Pinky approached Tamara Harkavy at ArtWorks, which has helped with funding, permits and establishing contacts. (Yarn and other fibers are taken down by the BombShells after each project and reused.) The BombShells also rounded up sidekicks, ranging in age from 5 to 97 and including men. Pinky’s students created flowers for Central Parkway. But they and other sidekicks didn’t know the purpose of their handiwork until just before the bombing.
In addition to building community, the BombShells celebrate individualism. Tags attached to knitted and crocheted pieces identify the BombShell artists. “We want to make sure everyone has a voice,” Pinky says.
Even after all the material for a bombing comes down and sits in heaps at her house, “I love to look at it,” Pinky says, and think about “the process and the progress. We’re feeding each other’s souls.”
For a complete how-to for this project, see my "Olde-School Bookbinding" article in Make magazine, Volume 5.
Article on the street gang "The L.A.D.S. - who protected the old punk scene and kept out alot of undesirables and pranksters who were just there to cause it all to fall apart.Cheers!
An engine section structural qualification test article for NASA's new rocket, the Space Launch System, is loaded onto the barge Pegasus at the agency's Michoud Assembly Facility in New Orleans. The test article now will make its way from Michoud to NASA's Marshall Space Flight Center in Huntsville, Alabama, for structural loads testing. For the test series, hydraulic cylinders will be electronically controlled to push, pull, twist and bend the test article with millions of pounds of force to ensure the hardware can withstand the extreme forces of launch and ascent. The engine section, located at the bottom of the rocket's core stage, will house the four RS-25 engines and be an attachment point for the two solid rocket boosters. The engine section test article is the first of four core stage test articles manufactured at Michoud and is designed to the same specifications as the engine section that will fly on the first SLS mission with the Orion spacecraft.
Image credit: NASA/MSFC/Michoud
#NASAMichoud, #NASAMarshall
For more Space Launch System images
For more Michoud Assembly Facility images
Walkway Over The Hudson pedestrian bridge Poughkeepsie, NY
Brief History
* 1868 - An article in the Poughkeepsie Journal introduced the idea of building a railroad bridge across the Hudson.
* 1871 - The Poughkeepsie railroad bridge was chartered.
* 1873 - The first cornerstone of the bridge was laid.
* 1888 - The bridge opened in December and was considered a technological wonder.
* 1889 - Trains started crossing and at that time it was the longest bridge in the world.
* World War II - through the war, the bridge carried troops to be shipped overseas. At its height, 3,500 train cars crossed the bridge on a daily basis.
* 1974 - Fire severely damaged the tracks, ending almost a century of continuous use.
* 1992 - Walkway Over the Hudson began its efforts to provide public access to the bridge and link rail trails on both sides of the Hudson.
* 1998 - Walkway Over the Hudson assumed ownership of the bridge.
* 2007 - Walkway Over the Hudson partnered with the Dyson Foundation to access public and private funding in order to transform the bridge into the world's largest pedestrian park.
* 2008 - After a groundbreaking held in May, construction work began to transform the bridge into a pedestrian park.
* 2009 - Walkway Over the Hudson State Historic Park opens to the public, October 3, 2009.
I saw this article in my Bean's magazine and I thought the wonder frog peeps might like to see the pics of them being made.
Article: All You Need To Know About Visaranai – India’s Official Entry To The Oscars 2017
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www.newscientist.com/article/mg21028126.400-sailbots-head...
Sailbots head for the high seas
17 May 2011 by Jacob Aron
Magazine issue 2812. Subscribe and save
PEOPLE have been sailing the world for centuries, but ask a robot to do the same and it quickly falls down.
Last year Mark Neal, a computer scientist at the University of Aberystwyth, UK, oversaw the launch of Pinta, a robotic sailing boat that set off from the west coast of Ireland in an attempt to be the first automaton to cross the Atlantic Ocean. His team lost communication with the boat just over two days later. The voyage was still an achievement: "Forty-nine hours is the longest period of unattended autonomous sailing that has happened," says Neal.
When uncrewed aircraft can master flight so readily, it might seem strange that it is so hard for a robot to sail a boat. In fact, the challenges are very different. "Some of the longest unmanned aerial vehicle (UAV) flights are a day or two. If something stays up for 24 hours, that's a pretty outstanding achievement," says Neal. In contrast, a useful robo-boat needs to run for months using only sails and solar power (see "Why build a robot sailor?"). During that time the solar panels could get caked with salt, the craft could be damaged, and barnacles and weed could grow on the rudder.
What's more, while UAVs have to cope with weather changes, the conditions they operate in are fairly stable compared with those of the ocean, Neal says. "The boat needs to deal flexibly with an unpredictable environment," says Roland Stelzer of the Austrian Society for Innovative Computer Sciences in Vienna. Stelzer is in charge of Roboat, an automated 3.75-metre-long boat that has won the World Robotic Sailing Championship for the past three years by successfully completing tasks including a 24-hour endurance race and navigation between tightly spaced buoys.
Stelzer puts Roboat's success down to its computer "brain", which mimics two human sailing abilities. One system plots the best route by calculating the heading that takes best advantage of wind speed and direction in relation to the destination.
The other keeps the boat on the desired course. It does this by considering factors like how far the boat is heeling and whether waves have pushed it off course, and then adjusting the rudder position to make both small corrections and sudden turns.
However, each competition took place within 4 kilometres of the shore. "We had to monitor the boat all the time either from shore or on a chasing boat," Stelzer says.
The Pinta is smaller and less sophisticated, in case the boat is lost at sea. Stelzer's craft might be robust enough to cross the Atlantic, but he is reluctant to try - losing such an expensive rig would be a huge setback.
Instead, the first robotic sailors to spend long periods at sea may come from the Protei project, which aims to build autonomous craft for cleaning up oil spills. Conceived by designer Cesar Harada, who also leads the project, the boats have a unique articulated design that allows the hull to flex in order to best use the wind while turning.
The hardware is open source, meaning that anyone can work on or modify the design and help solve problems. "It's a collaboration with people worldwide contributing their best knowledge and enthusiasm," says Peim Wirtz, who manages the project from the V2 centre in Rotterdam, the Netherlands. The concepts behind Protei have undergone small-scale tests, and the team will now build a full-scale prototype after raising nearly $35,000 on the crowd-funding website Kickstarter last month. "We have over 300 backers that thought the initiative was worth sponsoring," says Wirtz.
So will we see robots sail the seas any time soon? Wirtz hopes to complete the Protei prototype by September and Pinta will be making another transatlantic attempt at the same time. "If we didn't think it was possible, we wouldn't be trying," Neal says. "Someone will do it, and I'd like that to be us."
Why build a robot sailor?
A boat that sails itself would be a nice bit of tech, but what are the practical benefits? A craft using only sails and solar power would be ideal for long-term missions, says Roland Stelzer of the Austrian Society for Innovative Computer Sciences.
"In the future, autonomous sailing boats will be used for tasks such as maritime monitoring, reconnaissance and surveillance, and carbon dioxide-neutral transportation of goods," he says. Robotic sailboats could also operate in swarms, allowing them to tackle large-scale problems like gathering meteorological data in remote stretches of ocean or measuring water pollution. They could even be used to rescue refugees.
Today's article from Horse & Hound accompanied by a glamorous photo of me mixing different shades of mud!
..and no, I wasn't interviewed by Hugh Grant!
(And I actually said 'aesthetics versus accuracy' and didn't say 'as an artist' at all (as that wouldn't make any sense) but I guess you have to let these things go. I'm sure people got the gist of it!)
On Friday, September 5th, Vale Craft Gallery will host an opening reception from 5:00 until 8:00 PM for the exhibition Strata: Sculptural Fiber by Michelle Sales. The artist will be present for the opening. The show will continue through November 15th.
The exhibition will feature Chicago artist Michelle Sales’ innovative wall pieces and sculptural objects made from hand-dyed and stitched synthetic fabric. The artist recycles spun-bonded materials used in the construction and garment industries, sometimes combining the fabric with small found objects, such as stones or beads.
The show will include textured wall pieces from the artist’s “Imprint” series that are built up horizontally with layers of hand-dyed materials, denoting erosion and the passage of time. Also on view will be sculptures referencing articles of clothing and footwear that are made from natural and synthetic materials combined with found objects, suggesting the accumulation and preservation of memories.
Michelle Sales received a BFA from the School of the Art Institute of Chicago, and has had work shown in numerous exhibitions including SOFA Chicago. The exhibition at Vale Craft Gallery is part of Chicago Artists Month, the thirteenth annual celebration of Chicago’s vibrant visual art community organized by the Chicago Department of Cultural Affairs.
Vale Craft Gallery is located at 230 West Superior Street (building entrance on Franklin) in Chicago’s River North gallery district. Regular gallery hours are Tuesday through Friday from 10:30 AM to 5:30 PM and Saturday from 11:00 AM to 5:00 PM. For additional information, please contact gallery owner Peter Vale at (312) 337-3525.
sfgate.com/cgi-bin/article.cgi?f=/c/a/2007/02/23/MNGD7O9U...
No, this isn't an upside-down rainbow, and the photographer hasn't faked the picture. It's an unusual phenomenon caused by sunlight shining through a thin, invisible screen of tiny ice crystals high in the sky and has nothing at all to do with the rain.
Andrew G. Saffas, a Concord artist and photographer, saw the colorful arc at 3:51 p.m. on a beautiful day recently when a slight rain had fallen in the morning. He thought it was a rainbow, created by raindrops refracting sunlight the way glass prisms refract any bright beam of light.
Instead, what Saffas saw was what scientists call a circumzenithal arc, according to physicist Joe Jordan, a former NASA space scientist at the Ames Research Center in Mountain View, who is now director of the Sky Power Institute in Santa Cruz, which promotes solar power and other alternative fuels.
The flat, six-sided ice crystals that cause the arcs are no larger than salt grains and usually form in the cold haze of wispy cirrus clouds about 5 miles up, said Jordan, who viewed the image shot by Saffas. In the far north, zenithal arcs are more common than rainbows, but here in the Bay Area's more moderate climate they are rare, even in winter.
When the sun is low in the afternoon sky on a hazy day -- even though the sky appears bright blue -- sunlight can hit the flat face of the ice particles at a slant. Then the rays bend within each crystal and emerge with the colors appearing separated into all the rainbow colors of red, orange, yellow, green, blue, indigo and violet.
But, said Jordan, the colors in those arcs appear in the opposite position from the colors in rainbows: In zenithal arcs, as in Saffas' image, the red hues are on the bottom and the blue and violet are on the top. The arcs appear to terminate where the millions of ice crystals end, he said.
"The arcs are like a Cheshire cat grin," Jordan said, "and they vanish just the same way."
But the one Saffas saw Jan. 13 lasted at least an hour, he said -- plenty of time for him grab his Nikon D70 camera and shoot away.
"We were having a huge family party, and everyone had stepped out on our deck," Saffas said, "when I saw this strange arc right overhead in the sky. It was a beautiful day, the sun was sinking behind the two tall redwoods in our yard, and the colors in what I thought was a rainbow upside down were absolutely brilliant."
Alexandre Andronikos of Portland, who was at the party, vividly recalled "the fantastic sight."
"Oh, my God, look up at the sky!" she remembers calling to everyone. "I never saw anything like it in my life, and we all ran into the house to grab our cameras. Mine is a Sony digital, and I got some wonderful pictures, too."
Saffas, who is 85 and a retired bank loan officer, has always been devoted to his painting and sculpture. More than 50 years ago, he said, he was hired to paint murals during the renovation of the fabled Egyptian Theatre in Hollywood, now the home of the American Cinematheque. He still paints and sculpts, he said, but he's also an avid photographer.
Les Cowley, a retired physicist in England, maintains a Web site on atmospheric optics filled with incredible images and explanations of displays in the sky that most of us have never seen: supernumerary arcs, halos, sundogs, fogbows, glories, holy lights, green flashes and more. The Web site is www.atoptics.co.uk/
E-mail David Perlman at dperlman@sfchronicle.com.
This article appeared on page A - 1 of the San Francisco Chronicle
Ronacher
This article deals with the Ronacher theater in Vienna. For other uses, see Ronacher (disambiguation).
Ronacher Theater
The Ronacher, earlier Etablissement Ronacher, is a theater in the first Viennese district Innere Stadt, located between Himmelpfortgasse, Seilerstättee and Schellinggasse. It forms together with the Raimund Theater and the Theater an der Wien the venues of the United Stages of Vienna and via the Vienna Holding to nearly 100 per cent owned by the City of Vienna (Rudolf Klausnitzer holds a minority interest ).
History
(Pictures can be seen by clicking on the link at the end of the page!)
The Vienna City Theatre shortly after the construction
Facade of the Ronacher (2008)
It was initially as Vienna municipal theater from 1871 to 1872 by the architects Ferdinand Fellner the Elder and Ferdinand Fellner the Younger for a private Ltd. of journalist Max Friedlander and theater playwright and conductor Heinrich Laube built. The two with it wanted to establish that a bourgeois theater which - without censorship - should compete against the imperial court theaters. The house was opened on 15 September 1872 with Schiller's Demetrius in a revion of Laube. Twelve years after the opening the house burned on 16 May 1884 down. Since the building is not free on all four sides, a reconstruction as a playhouse was not admitted because of the fire protection regulations valid in the meantime. 1886 Anton Ronacher bought the burnt-out ruins and had in turn by Ferdinand Fellner the Younger (who had meanwhile founded the office Fellner & Helmer) 1887-1888 on it build a concert hall and ballroom. The wall paintings were pictured by Eduard Veith. The main staircase was built with steps from Kaisersteinbruch. The new variety theater was attached a large ballroom and a hotel, in addition, it could already use electric light, contained promenades and a conservatory.
The new Ronacher was no playhouse but equipped with tables and chairs. During the performance was allowed to drink, to eat and to smoke. Due to the poor economic situation, however, Ronacher had to give up the house later. From 1890 appeared more often artists what increasingly attracted suburban population and was frighten away the aristocracy. Later, the program was supplemented by revues, operettas, dance and vocal performances. The house was in the process again and again rebuilt and adapted to the needs of modern vaudeville operation (1901, 1906 and ongoing 1907-1916; always by Ferdinand Fellner the Younger).
After the Anschluss in 1938, the theater by linearization (Aryanisation) passed over from its previous owner Samuel Schöngut, who then died in a concentration camp, to Bernhard Labriola.
After the Second World War was the Ronacher to 1955 alternative stage for the by bombs damaged Burgtheater. Then appeared again vaudeville artists before 1960 Austrian television used the premises for TV productions. After a ten-year vacancy, in 1986 for the first time the performance of an operetta took place, this time Cagliostro in Vienna of Johann Strauss (son). 1987 bought the United Stages of Vienna the house and performed the musical Cats and two operas. An architectural competition resulted in 1987 as a winning project a "deconstructivistic" increase. The project of Coop Himmelblau was however target of fierce public criticism and was in August 1991 sidelined. 2003, 2004 and 2008 was the Ronacher host of the gala ceremony of the Nestroy Theatre Prize.
After several years as a guest house for international productions and festival events the Ronacher was expanded by 46.9 million euros to a musical stage. By mid-2008 stage technology has been modernized and lowered the floor of the stage to two meters, which means the view to the stage has been improved. The increase of the building by architect Günther Domenig was carried out despite massive political and townscape preserving concerns.
The Ronacher currently disposes of 1,001 seats and 40 standing places. The exact number of seats and standing places varies depending on the production.
Performances
Ronacher logo
Ronacher Interior
Detailed view of the Ronacher
Cats, musical by Andrew Lloyd Webber (1988-1990)
Chicago, musical by John Kander and Fred Ebb (1999 )
Falco - A Cyber Show, by Joshua Sobol and Manker (2000 )
The Producers, musical by Mel Brooks, German-language premiere (30 June 2008 to 22 February 2009)
Spring Awakening , musical by Michael Mayer and Bill T. Jones, German-language premiere ( 21 March-30 May 2009)
Dance of the Vampires, musical by Michael Kunze and Jim Steinman (16 September 2009 to 25 June 2011)
Sister Act, A heavenly musical based on the eponymous film starring with Whoopi Goldberg (15 September 2011 to 31 December 2012)
Legally Blonde, musical by Laurence O'Keefe and Nell Benjamin (February 21, 2013 to December 20, 2013)
Der Besuch der alten Dame, Musical von Christian Struppeck und Moritz Schneider (19. Februar bis 29. Juni 2014, 120 Vorstellungen (+5 Previews))
Mary Poppins, Musical von Cameron Mackintosh und Disney (1. Oktober 2014 bis 31. Januar 2016, 371 Vorstellungen (+10 Previews))
Evita (Musical), Musical von Andrew Lloyd Webber (Musik) und Tim Rice (Libretto), (seit 9. März 2016)
JOLIE CAPTURED BREASTFEEDING ON MAGAZINE COVER
ANGELINA JOLIE maternal spirit comes shining through on the cover of the November issue of W magazine - she's captured breastfeeding.
W bosses chose a shot of the actress suckling one of her new-born twins to highlight a series of intimate photos taken by her partner Brad Pitt, which all appear in the issue.
A smiling and tired-looking Jolie, wearing only a maternity dress, poses for her man, her left nipple covered by a baby's tiny hand.
Inside the magazine, there are another 21 candid shots of the movie star.
As well as more breastfeeding shots, Pitt also shows off a series of tasteful, near-nude portraits as well as playful ones of Jolie playing with their children and pulling faces for the camera.
Pitt shot the photos in mid-August (08) at Chateau Miraval, the family's home in the South of France. (KL/W)
USA - October 2008
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