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Mr Philip Kelley, Director, Wireless Broadcast Standards, Alcatel-Lucent
Mr Paul Garnett, Director, Microsoft
ITU/A.Roska
Permission granted for journalism outlets and educational purposes. Not for commercial use. Must be credited. Photo courtesy of South Dakota Public Broadcasting. ©2022 SDPB | Tim Tushla
Mr Peter Siebert, Executive Director, DVB Project
Mr Philip Kelley, Director, Wireless Broadcast Standards, Alcatel-Lucent
ITU/A.Roska
BBC RADIO BABLETOWN (vintage photo, circa 1941): Monitors (listeners-in) studying the broadcasting schedule to see when they would 'go on the air' or when they had to listen to broadcasts from other countries on short and long waves.
Studio 4B and News Editors Cubilcle, July 1932.
Copyright BBC
Read more about the construction of BBC Broadcasting House on the About the BBC blog.
Deputy Minister of Communications Stella Ndabeni-Abrahams engages with women in ICT and broadcasting on empowerment strategies for women in the sector at the Hyatt Regency in Rosebank, Johannesburg. (Photo: GCIS)
Mr Peter Siebert, Executive Director, DVB Project
Mr Philip Kelley, Director, Wireless Broadcast Standards, Alcatel-Lucent
ITU/A.Roska
An Afro-Colombian youth in Cauca, Colombia promotes peace through community radio programs in a region with rampant armed conflict violence.
Credit: ACDI / Katalina Morales
Students in the Broadcasting: Film & Television program at Ohlone College. ONTV Network News - Channel 28 on local cable.
Diversas cintas magnetofónicas usadas para difusión radial de publicidad, inicio y final de la transmisión y noticias importadas, entre otros.
Normalmente se graban a 7 1/2 pps. estéreo o mono, en una sola dirección.
Solían usarse directamente, o se grababa su contenido en otra cinta más larga o en un cartucho de cinta sin fin, a modo de tanda (en especial, la publicidad.)
Speech Broadcasting Building - Building 86 (A/M Drg No: 10786/41)
These buildings were commonly found on the airfields Technical Site, often in the vicinity of the Control Tower (Watch Office) and comprised a small blast-proof building housing the amplifying equipment for the Tannoy System used for operational instructions to be given clearly, rapidly and simultaneously to Personnel at dispersal points and other distant parts of the airfield. Microphones placed in the main operational buildings, the Operations Block, Control Tower or Watch Office and the Battle Headquarters, these were all connected to the Speech Broadcasting Building, from which cables running within pipes were connected to an average of 150 loudspeakers dotted around the airfield.
RAF Snetterton Heath Airfield, was built in 1942 and during the World War Two it was used by the U.S.A.A.F Eighth Air Force, USAAF Station 138 and was the home-base for these American Bombers, the twin-engined B-26 Marauder and the Heavy Boeing B-17 Flying Fortress. In November 1945 the airfield was abandoned by the Americans and in 1948 it was deserted, the former Airfield was converted into Snetterton Motor Racing Circuit. In many instances, much of the airfield will have been demolished in the intervening years, and returned to agriculture, or converted into an industrial estate, eventually to fade from the landscape altogether, but hopefully will remain a little longer in the memory of those who served there. The bases were home to brave young men and women who served the Allied Forces flying Fighters and Bombers from the runways of the Airfield, sometimes never to return.
Sourced from www.ukairfields.org.uk/snetterton-heath.html
Broadcasting Place Leeds voted best tall Building in Europe 2010
www.fcbstudios.com/projects.asp?s=27&ss=&proj=1326
Click here for a walkthrough of the interior: www.leedsmet.ac.uk/news/index_broadcasting_place_190509.htm
Newport Nautical Timbers Company cutting the planking for the two 21-foot Powell Expedition whitehalls at their sawmill in Rhode Island. www.newportnauticaltimbers.com/
The British Broadcasting Corporation (BBC) asked the Boat School to build three traditionally-built Whitehalls as replicas of the boats used by John Wesley Powell and his group of explorers during their first-ever descent of the Colorado River in 1869. The BBC will film a reenactment of the voyage later in 2013.
Students at the School are building one 16-foot Whitehall, the "Scout Boat", and two 21-foot Whitehalls. Though Powell launched four Whitehalls onto the river in 1869, one, the 21-foot "No Name", was lost to the river shortly after the descent began.
The white oak from which the boats are constructed was supplied by Newport Nautical Timbers www.newportnauticaltimbers.com/ . The 16-foot boat will be planked in larch from eastern Washington, which is as close as it is possible to come to the original white pine planking used on that boat.
Whitehalls are the iconic American pulling boat.
They emerged in New York City and, possibly, shortly thereafter in Boston in the 1830's. It is thought the name derives from Whitehall Street in New York City, though no one is sure. By the mid-19th century, they could be found anywhere there was a sizeable body of water - the East Coast, the Great Lakes, and the Pacific Coast at San Francisco all boasted boatbuilders turning out Whitehalls.
The boats were usually used under oars and occasionally sail as fast harbor ferries and the boat used to take harbor pilots out to meet inbound sailing ships. They have a fine reputation as fast, easy-rowing vessels that are capable of carrying a great deal of weight.
Nearly all Whitehalls were carvel-built with white cedar planking on an oak backbone with oak frames. (Carvel planking means that the planks butted up against each other, edge to edge, which results in a smooth hull). The finer boats were highlighted with a bright sheer plank (the top plank) varnished to catch one's eye.
There is surprisingly little known about the boats used by the 1869 Powell Expedition, the first to descend the Grand Canyon of the Colorado River. We do know that the Powell Expedition boats were built in Chicago IL to Powell's specifications.
It's known that the EMMA DEAN, or the "Scout Boat" as Powell called it was 16 feet long and planked in white pine, that the other boats (MAID OF THE CANON, KITTY CLYDE's SISTER and NO NAME) were 21 feet long and planked in white oak with twice the number of frames and doubled stems and stern posts. (NO NAME was lost to the river shortly after Powell began the descent, though her crew survived).
There are no complete descriptions of the boats themselves, no pictures, and only a few scattered references made to the boats in the surviving journals and records of the Expedition.
The three boats we are building for the BBC are being constructed to the best information available, using the general scantlings provided by John Gardner's historical work, extent plans, our significant experience in building Whitehalls over our 32 years, and the historical data available to us.
The boats will be completed by mid-July, 2013.
The Northwest School of Wooden Boatbuilding is located in Port Hadlock WA and is an accredited, non-profit vocational school. You can find us on the web at www.nwboatschool.org .
Our mission is to teach and preserve the fine art of wooden boatbuilding and traditional maritime crafts.
We build both commissioned and speculative boats for sale while teaching students boatbuilding the skills they need to work in the marine trades. If you're interested in our building a boat for you, please feel free to give us a call.
You can reach us via e-mail at info@nwboatschool.org or by calling us at 360-385-4948.
Photograph courtesy Newport Nautical Timbers www.newportnauticaltimbers.com/ .
The BBC is a national institution and provides probably the worlds best public television and radio service. The online services is excellent also. That said, the BBC has come under a lot of criticism lately over variety of issues. The balance between being independent from government whilst providing an appropriate service to the license fee payer has always been difficult and is under even greater scrutiny today.
Broadcasting House is one of the original buildings, but has recently been sold.
1. I am thankful for getting better at respecting my own time. I had a cancelled appointment this morning but already had stuff in my queue with which to do! :) It also makes me limit time I spend on tasks which significantly increases my ability to focus. What tactics do you use to respect your own time? Enquiring minds want to know!! ;)
2. I am thankful for the time I spend by myself. Spending time by myself means not having to explain myself when I blurt out, “It’s a BOOLEAN!” while doing the supper dishes! :) What idiosyncrasies do you have when you are alone? :)
3. I am thankful for finishing, framing, photographing and wrapping a piece on Tuesday.
4. I am thankful for identifying that one thing that holds me back from Biggification and allowing people any opportunity to enjoy my art is that I feel anxious about getting too wrapped up in Biggification that I could/would get sick .. and umm I can’t even say it .. about my transplant. This allowed me to put health in the forefront of my personal manifesto which currently consists of three words ( / Gratitude / make art / health / ) in a circle with two-way arrows. Identifying the elephant in the room has been refreshing. :)
5. I am thankful for reminding myself why I write the thankful lists! To remind myself that I do have (and maybe am much) to be thankful for. Gratitude lists also distract me when I become too enthralled with my own belly button lint.
6. I am thankful that you can never step into the same river twice.
7. I am thankful for finding more excuses to walk and smile - often at the same time! ;)
8. I am really thankful for beautiful writing books with unassuming black covers and smooth unlined paper that I can write and draw on with lovely felt pens that are able to last much longer. Do you have a favourite place and/or way to write? :)
9. I am thankful for Lindsay recommending Eat, Pray, Love: One Woman's Search for Everything Across Italy, India and Indonesia. It has some lovely kernels of wisdom that I identify with AND, like every really good book, it made me laugh, cry and think! :) What really great books have you read? What drew you to the book?
10. I am seriously thankful for the people that blog what they need to communicate (their art) accessibly and are finding sustainable ways to help other people make their own art. Without their help I don’t know that I would have re-started making my own art, continued practising making photos or written anything publicly. They demonstrate that you can make your art, whatever that is, you can find a way. It can take LOT of work but it can be done!! :)
11. I am thankful for people (OK! it was one person!) that sent me stuff like this art making video and this letter to The Kidbecause it made me feel better and inspired me. (They also made me cry dang it.) I am thankful for posting a link to an audio file that helped some people feel better. :) What were you able to do to help someone feel (even) better? Did someone do something that made you feel better (even) better? What was it, did you let the person(s) know?
Thank you for reading. If you don’t feel like leaving a comment to answer any or all of the questions feel free to send a telepathic message, I believe my receptor should be up and running again! ;)
Light painted dishes on Rodel transmitter mast
The lowest two dishes came out really heavily saturated, purely as a result of hitting them with the LED for too long i.e. no Photoshop effects.
Same mast you can see in the background of my previous pic, Rodel Radar.
2 minutes. Full moon. Natural, red, yellow and purple LED.
Part of my Night Photography set
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Live in Studio A, 9.13.17
Photographers: Mary Munshower, Kristal Ho, and Dan Tuozzoli
East-German postcard by VEB Progress Film-Vertrieb, Berlin, no. 1048, 1959. Photo: Friedemann.
On 17 November 2021, German actress Christine Laszar (1931) passed away in Berlin. In East-German crime films and political thrillers of the early 1960s, she embodied elegant, cool, and intelligent women.
Christine Laszar was born Cristine 'Christel' Lazarus in 1931 in Ortelsburg, Weimar Germany (today Szczytno, Poland). She graduated from the West-Berlin Max Reinhardtstageschool and began her theatre career at the Renaissance-Theater in Berlin. She appeared at the cabaret Die Stachelschweine and at the Munich Schaubude. In the GDR she made guest appearances at the Volksbühne Berlin. At the Theater der Zeit in Munich's Goethesaal, Laszar played General Fressy in Rolf Honold's play 'Geschwader Fledermaus', which was directed against the Indochina War. Director Erich Engel gave her the same role in his DEFA film version. In Geschwader Fledermaus/The Bat Squadron (Erich Engel, 1958), she plays the mistress of an American general opposite Wolfgang Heinz, Günther Simon and Norbert Christian. It was Engel's final film. She then got a permanent job at DEFA, moved to the GDR in 1958 and married Karl-Eduard von Schnitzler but the marriage was divorced after a short time.In crime films and political thrillers she embodied cool, intelligent women who have a natural elegance and are not always on the right side in the political battles of the time - whether as a journalist, doctor, artist or simply wife.
In the early 1960s, Christine Lazar was one of the top actors of the DEFA. Initially, she was mainly seen in sympathetic roles. As Dr. Barbara Frei she is convincing in Der Tod hat ein Gesicht (1961) directed by Joachim Hasler. Here, as a young chemist, she fights against the use of a new toxin that destroys all life without destroying material values. In Der Traum des Hauptmann Loy (Kurt Maetzig, 1961) she is killed by an agent in an American military plane as Corporal Doris Graves of the United States Air Force. In Der Arzt von Bothenow (Johannes Kittel, 1961), she embodies Otto Mellies' demanding and strenuous wife alongside him. From 1963 onwards, she was regularly cast as a dangerous criminal. In 1966, Wolfgang Carlé commented in the book 'Schauspieler von Theater, Film und Fernsehen' (Actors of Theatre, Film, and Television): "Let us hope that we will soon see Christine Laszar in a role that will open up new variants of her ability." Laszar, by then a town councillor in Teltow, made guest appearances at the Volksbühne and appeared in television films, including the film biographies Carl von Ossietzky (1964) and Krupp und Krause (1969). At the beginning of the 1970s, she became a television editor at the Deutschen Fernsehfunk (DFF - German Television Broadcasting Company), working on portraits of artists, among other things. After an illness, she withdrew into private life in the 1980s. Her first marriage was to the actor and director Rudolf Schündler. Their daughter Katrin became an editor and presenter at the DFF.
Sources: Ines Walk (Stiftung DEFA Filme - German), Wikipedia (German and English), and IMDb.
And, please check out our blog European Film Star Postcards.
Protesters ensuring air time on foreign TV. Downing Street, London, the day after the 2019 General Election.
Culture Secretary will outline how independence can boost £400 million sector.
Culture Secretary Fiona Hyslop will today set out how the additional powers of an independent Scotland could support increased TV and film production and help the economy.
Radio and TV production currently employs 3,200 people and had a turnover of £400 million in 2011. However, Ms Hyslop is expected to highlight that the sector in Ireland employs over 6,000 individuals, with Ireland’s RTÉ national broadcaster alone employing almost 2,000 people, against 1,200 employed by the BBC in Scotland – demonstrating what more could be achieved with full control of financial powers.
In a speech to the Royal Television Society in Glasgow, Ms Hyslop will highlight the Scottish Government’s commitment to not only continue, but to build upon current tax incentives for the industry in an independent Scotland.
Ms Hyslop will say:
“Our radio and broadcasting sector is a £400 million industry of enormous importance to Scotland and employs 3,200 people – as well as the many self-employed and freelance staff vital to the sector. And in addition to TV and radio, we also know that the film and video sector are enormously valuable.
“The Scottish Government values the contribution that filmmaking, animation and television production make to Scotland’s rich cultural life with public sector investment in support for the screen sector, across production, education, training and exhibition, increasing to £21 million in 2012-13.
“We have consistently championed Scotland as a location for international film and TV productions and we work hard to ensure Scotland is widely recognised for its world-class talent, crews, facilities and breath taking locations. Scottish Ministers are firmly committed to supporting a sustained increase in production.
“Scotland is a creative and dynamic country and we must be ambitious to do more. Our sector lags behind that of nations comparable in size, such as Ireland and Finland.
“Of course, creating a Scottish Broadcasting Service will do much to address this. But we can and must do much more.
“When you examine the support given in other countries, the potential of Governmental support to encourage the sector is clear. For example, it is telling that in the face of the economic difficulties of the last few years, Ireland has not just maintained but progressively strengthened its support for the sector and continues to do so. In fact, next year it will increase its support still further.
“We are already taking the action we can to support the industry under present constitutional arrangements – we are currently considering a number of proposals for developing and operating a Scottish film studio.
“But with the powers of independence we could do much more for this vital industry. Independence would change broadcasting for the better, both for the industry and for the public.”