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Here's a book in progress. Something as simple as a diary would have equalled several month's wages for a typical Virginian in the Colonial period.
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A small selection of computer binders/manuals, some from the dawn of microcomputers..such as the SOL-20, SWTPc 6800 and 6809 and the MITS Altair 8800.
The image was taken with the Lumix G5 and a 1952 Leitz Summitar 5cm 1:2, wide open, with the G5's onboard flash.
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from mother's binder
I had made a binder for my "daily somethings". I took a box and cut 2 scraps out of it and wrapped it with patterned paper (using mod-podge) and glued in the "logo" I had printed on plain white paper.
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German postcard by Ross Verlag, Berlin, no. 1373/1, 1927-1928. Photo: A. Binder.
Georg Alexander (1888-1945) was a German actor, director, and producer. He belongs to the busiest actors and his career continued smoothly till his death.
Georg Alexander made his film debut in 1915 in Der Schwiegervater seines Leutnants, followed by Sonne und Schatten (1915, Paul von Woringen). In 1917 he married the Norwegian actress Aud Egede Nissen, with whom he founded their own production company. Their first film project was Die Geburt der Venus (1917) and till 1919 he directed and produced circa 30 films. When he founded his company Alexander-Film-GmbH in 1919 he concentrated more on acting again. He often played in detective and other entertainment films like the adventure serial Der Mann ohne Namen (1921, Georg Jacoby), Lady Hamilton (1921, Richard Oswald), Eifersucht (1925, Karl Grune), Die Frau ohne Namen (1927, Georg Jacoby), Venus im Frack (1927, Robert Land) and Schwarzwaldmädel (1929, Victor Janson).
Georg (sometimes: George) Alexander was often engaged in the 1930's too. He appeared as a distinguished bonvivant or a snobbish nobleman in such comedies as Die englische Heirat (1934, Reinhold Schünzel), in which he starred with Adele Sandrock. He also played in Liebeswalzer (1930, Wilhelm Thiele), Der verjüngte Adolar (1931, Georg Jacoby), Mamsell Nitouche (1932, Carl Lamac), Der alte und der junge König (1935, Hans Steinhoff), Heimat (1938, Carl Froelich), Der Kleinstadtpoet (1940, Josef von Baky), Frau Luna (1942, Theo Lingen). His last film was the very funny musical Die Frau meiner Träume (1944, Georg Jacoby) starring Marika Rökk. In total he worked on more than 160 films. Besides his film activity he was also interested in sport. He was a racing driver horseman himself - he even set up a new record with a horse jump over the height of 1.85 meters.
Sources: Cyranos.ch, Filmportal.de, Wikipedia and IMDb.
File name: 10_03_001396b
Binder label: Pianos/Organs
Title: Estey Piano Co., manufacturers, New York. The first music lesson. (back)
Date issued: 1870-1900 (approximate)
Physical description: 1 print : chromolithograph ; 13 x 18 cm.
Genre: Advertising cards
Subject: Adults; Boys; Pianos
Notes: Title from item. Handwriting on verso, possibly of retailers' signatures.
Statement of responsibility: Estey Piano Co.
Collection: 19th Century American Trade Cards
Location: Boston Public Library, Print Department
Rights: No known restrictions.
German postcard by Ross Verlag, Berlin, no. 872/1. Photo: Alex Binder.
Anton Pointner (1890-1949), was an Austrian stage and screen actor.
Anton Pointner was born in 1890 in Salzburg. He got his first engagement in Lahr in 1907. His other theater stations included Pilsen (Plzeň), Düsseldorf (1911) and Brno. He then worked in Vienna and from 1920 in Berlin, for example at the Lessing Theater and the State Theater. His roles included the title character of Hamlet, Melchtal in Wilhelm Tell, and Prince Karl-Heinz in Alt-Heidelberg. While debuting on screen in 1911 in Lebensfreude by Reinhard Bruck, also with Polaire, and produced by Düsseldorfer Film-Manufaktur Ludwig Gottschalk, followed by Bruck's film Halbwelt (1911), Pointner did a few films in Vienna during the First World War. Yet, his film career really set off immediately after the war's end. Pointner became one of the favorite actors of actress Ellen Richter, with whom he acted in the episode films Die Abenteurerin von Monte Carlo (Adolf Gärtner, 1921), Die Frau met den Millionen (Willi Wolff, 1922-23), and Der Flug um den Erdball (Willi Wolff, 1924-25), as well as the single films Kopf hoch, Charly! (Ludwig Wolff, 1926) and Die Frau ohne Nerven (Willi Wolff, 1929). Around 1923 Pointner acted in several films by Friedrich Zelnik, in the mid-1920s also in films of e.g. the Dutch emigré directors Theo Frenkel (Frauenmoral, 1923) and Jaap Speyer (Liebeshandel, 1926). He co-acted with many female stars of Weimar cinema such as Ruth Weyher, Liane and Grit Haid, Magda Sonja, Anita Dorris, Claire Rommer, Maria Jacobini, Carmen Boni, Mary Carr, Lya De Putti, Asta Nielsen, Henny Porten, and many others. The athletic actor embodied powerful, robust characters in mostly supporting roles, as Count Leicester in Maria Stuart (Friedrich Fehér, 1927) and Frederick the Great's son and heir Friedrich Wilhelm in Der alte Fritz (Gerhard Lamprecht 1927-28).
In 1930-1931, Anton Pointner went to Hollywood and starred in German versions of American films, most of which were directed by William/ Wilhelm Dieterle. Pointner thus acted e.g. in Die heilige Flamme (Wilhelm Dieterle, Berthold Viertel, 1931), the German version of The Sacred Flame, and Menschen hinten Gittern (Pál Fejös, 1931), the German-language version of The Big House. Returned to Germany in 1931 he easily started in the new sound film industry, e.g. in Trenck (Heinz Paul, Ernst Neubach, 1932), and Ich bei Tag und Du bei Nacht (Ludwig Berger, 1932). At the time of the Third Reich in Germany, Pointner continued to be used in numerous productions such as the comedy Saison in Kairo (1933) with Renate Müller and Willy Fritsch, and he portrayed e.g. the Austrian Emperor Franz I in the 1936 Fridericus Rex film, starring Otto Gebühr. In 1939 he was briefly at the Cinecittà studios in Rome for the shooting of the German-Italian production Castelli in aria by Augusto Genina, starring Lilian Harvey and Vittorio De Sica. After an intermission at war's end, Pointner continued his film acting from 1948. During a trip to Hintersee near Berchtesgaden, Anton Pointner died of a heart attack in 1949. His body was buried in the Salzburg municipal cemetery. His last three films were released after his death. All in all, he acted in 181 films.
Sources: Filmportal.de, German Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
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from mother's binder
The peachy one is called 'Heartbreaker Notebook'. It has small rings and wider than personal paper. The ivory one is a 9 ring binder. My Kendal in is the middle.
made this image for my article in transguys.com. i'll add a link once i'm done writing it and stuff.
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played with Traveler's notebook binder with acrylic and collage papers, added few lines of writing - Everyday is a journey ! Inside was filled with 3 note books I used since 2007.
PictionID:41553154 - Title:Atlas 66D Liftoff--'Atlas Launches binder; 66D: 8-12-60; launch AMR (Atlantic Missile Range) - Catalog:14_001580 - Filename:14_001580.tif - Image from the Convair/General Dynamics Astronautics Atlas Negative Collection---Please Tag these images so that the information can be permanently stored with the digital file.---Repository: San Diego Air and Space Museum
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from mother's binder
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from mother's binder
File name: 10_03_000923a
Binder label: Laundry
Title: What's the matter you say? Why I want to find where that Mrs. Potts' keeps store. My wife gives me no rest. She even dreams about those what-you-call'em cold handle sad irons. [front]
Date issued: 1870-1900 [approximate]
Physical description: 1 print : chromolithograph ; 8 x 11 cm.
Genre: Advertising cards
Subject: Men; Irons (Pressing)
Notes: Title from item. Retailer: Burditt & Williams, 20 Dock Square, Boston, Mass.
Collection: 19th Century American Trade Cards
Location: Boston Public Library, Print Department
Rights: No known restrictions.
A clarification to this image. This is the kind of binder I used for the cut out articles (mostly about music making and sound engineering).
Vienna Baroque
Doris Binder
The center of Baroque art was undisputable Vienna, as a special promoter appeared the Emperor Charles VI., under whose reign not only the Karlskirche was built, but also numerous buildings have been newly planned or built. The passion for building of the High Baroque is not only founded by the destructions of the Turks, but also has its causes in the backward economic structure and its lack of production plants. Whether nobleman, cleric or commoner, all those with sufficient capital put it rather in construction funds into practice than not make use of it. Responsible for this was a deep distrust to the imperial fiscal policy and concern about the currency and a possible bankruptcy.
The Baroque emerged within the civil peace (*) Burgfrieden) of the city of Vienna, had at the beginning of the High Baroque era still dominated religious buildings, so the cityscape changed in just four decades. Vienna was transformed into a "palace city", by the year 1740, the number of pleasure palaces, gardens and belvederes had doubled. The Baroque style, which by crown, church and nobility was forced upon the citizens, is considered of Felix Czeike as "authority art". The existing social gap should be camouflaged by the rubberneck culture in festivities, receptions and parades.
*) Burgfrieden (The term truce or Castle peace referred to a jurisdiction in the Middle Ages around a castle, in which feuds, so hostilities of private individuals among themselves, under penalty of ostracism were banned. Today the term is mainly used in a figurative sense.
Due to the return of Fischer von Erlach to Vienna in 1686 and a decade later, Lukas von Hildebrandt, the primacy of the Italians in architecture was broken and the victory parade of Austrian Baroque began. The connection between the spiritual and secular powers found its mode of expression in the Baroque, which the appearance of the city of Vienna should characterize in a decisive manner.
Construction of Charles Church
The Karlskirche was built by Emperor Charles VI. commemorating the plague saint, Charles Borromeo. In 1713 the plague raged in Vienna and claimed about 8,000 human lives, in February 1714 the plague disappeared and as a sign of gratitude was began with the construction of the church, this should become the most important religious building of Vienna in the 18th century.
In a contest was decided on the builder - participants were Johann Bernhard Fischer von Erlach, Johann Lukas von Hildebrandt and Ferdinando Galli-Bibienas. As winner emerged the famous architect Johann Bernhard Fischer von Erlach, he died in 1723 and did not live to the achievement of the Church. The supervision was transferred to the imperial court architect Anton Erhard Martinelli, as Fischer von Erlach died, his son, Joseph Emmanuel, finished his work. On 28 October 1737 St. Charles Church was solemnly by the Archbishop of Vienna, Cardinal Sigismund Count Kollowitz, inaugurated. The spiritual care ceded Emperor Karl VI. to the chivalric Order of the Cross with the Red Star, since 1783 is the Karlskirche imperial patronage parish.
The church at that time lay still behind the regulated river Wien (Wienfluss) and in the open field. The directed towards the city face side of the Charles Church, which stood on the edge of the suburb of Wieden, was target point of a line of sight the Hofburg and St. Charles Church in the sense of a "via triumphalis" connecting. On the temple-like front building of the Karlskirche the dedication inscription is clearly visible "Vota mea Reddam in conspectu timentium Deum" - "I will fulfill my vow before those who fear God."
Already during the construction by Fischer von Erlach (senior), there were several project phases, three of which have been preserved:
1. Medaillon by Daniel Warou for the groundbreaking ceremony
2. Fore stitches in Fischer's draft of a historical architecture 1721
3. Viennese view of work by Klein and Pfeffel 1722 (1724)
Due to the death of Fischer von Erlach, occured recent changes made by his son, Joseph Emmanuel most of all being concerned the dome (much higher and steeper), the priest choir (omitted) and the interior (simpler). The entire project took a total of 21 years and the costs amounted to 304 045 guilders and 22 ¼ cruisers. The construction costs were shouldered by all crown lands of the Empire, but also Spain, Milan and the Netherlands had to make a contribution.
The Karlskirche is the most important Baroque building of the city and represents the most convincing the so-called Empire style in which for the last time an empire awareness in the architecture of the capital of the Holy Roman Empire after the victorious ended wars against the Turks and the French was expressed.
Symbolism of the Karlskirche
The Karlskirche consists of a central rotunda with a dome, preceded by a column structure like a Greek temple, of two high pillars illustrated on the model of Trajan's Column in Rome and of two lateral gate pavilions. The illustrated columns represent Charles VI. as a wise and strong secular ruler, the two great pillars were created by Marder and Matielli. The columns are crowned by golden eagles, symbolizing the two virtues of the Emperor - fortitudo (bravery) and constantia (resistance). The two pillars are evocative of the two pillars before the temple in Jerusalem - Jachin and Boaz. However, the illustration of the two columns does not match the model of the Trajan columns in Rome, portraying war deeds, but these tell the life story of St. Borromeo. In the front view of the Karlskirche a wide range of different symbols become one whole - the Roman emperors Trajan and Augustus, the Temple of Solomon, St. Peter's Church in Rome, Hagia Sophia, Charlemagne and the Empire of Charles V. - through the skillfully used symbols should be shown the claim of the house of Habsburg to the European domination.
The plan view of the church is, as in baroque typical, ellipsoid. In the interior of the Karlskirche the great Baroque sculpture is immediately noticeable, representing St. Borromeo. At the base the four Latin Fathers of the Church are depicted. The interior of the Karlskirche is dominated by the tremendous fresco in the oval dome room, it was created by the eminent Baroque painter Johann Michael Rottmayr between 1725-1730. The fresco shows the Mother of God representing the intercession of the patron Saint of the Church to help head off the plague, surrounded is the scene by the cardinal virtues (faith, hope and love). In the left entrance wing is situated the tomb for the Austrian poet Heinrich Joseph von Collin (17771-1811).
Inside the St. Charles Church, there is a museum where the most valuable pieces are exhibited.
These include: the vestments of St. Borromeo, a reliquary of gold and silver - a donation of Emperor Charles VI. and a rococo monstrance (1760) containing a drop of blood of the saint. Thomas Aquinas.
Even the image of the architect Fischer von Erlach, painted by Jacob von Schuppen, is one of the church treasures.
The iconographic program of the Charles Church was written by Carl Gustav Haerus, by this the Saint Charles Borromeo should be connected to the imperial founder.
www.univie.ac.at/hypertextcreator/ferstel/site/browse.php...
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from mother's binder
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Images of BERNINA Single-Fold Binder C22 and BERNINA Double-Fold Binder C21 for BERNINA overlock machines. For more information please visit www.bernina.com
Images of sewing, embroidery and quilting projects made with BERNINA accessories. For more information please visit www.bernina.com
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from mother's binder
as you can see, i utilize a lot of binders. plus another floor-to-ceiling shelf in the hallway between my office & the med onc regulatory people's office. the emptiness on those shelves is temporary -- the missing binders are in an office on the fourth floor being prepped for the NCI audit in three weeks. eight studies, minimum of two binders each (though one weighs in at six), well, shit, it's no wonder filing's a bitch.
now to be fair, only the white binders with colored inserts are mine (& the ones vomited onto the floor, & the ones in the hall, & the ones on the fourth floor) -- the rest belong to my officemates, who both have more studies than me yet somehow fewer binders, mostly owing to the fact that phase I trials seem to generate a metric ton of paperwork in the correspondence & serious adverse event (aka side effect requiring hospitalization) categories.
now, ok. i'm really fine with being a paper-pusher, but i'm damn tired of three-hole-punching every piece of paper that comes my way b/c god forbid we not capture every single solitary event in the life of a study.