meanwhile in the workshop the line's polish usa type 0-6-0t nears completion

Architects: Lesson and Kuhne

Year of Completion: 1915 / Conversion and restoration: 1997

International competition: 1st Prize, 1994

Award: Saxon State Prize for Architecture, 1999

At 83,460 square metres (898,400 sq ft), it is the world's largest railway station measured by floor area. It has 19 overground platforms housed in six iron train sheds, a multi-level concourse with towering stone arches, and a 298 metres (978 ft) long facade.The plans for the historical Leipzig main railroad station by the architects of

the firm of Lossow und Kühne were submitted in the 1906 competition for a “Passenger Railway Station with Terminal.” At the time of its inauguration in 1915, it was the largest terminal in Europe. Beyond its function as a transportation hub, it rapidly developed into an architectural showcase. After being destroyed in World War II it was rebuilt in 1965, but it lost some of its significance as a result of the increase in automobile travel.

The uses of the railroad as well as the requirements of railway stations have changed over the years. In addition to providing functionality, flexibility, comfort, and design, today’s railway station architecture must measure up to the standards of upscale urban pedestrian areas. This was the idea behind reestablishing the main Leipzig railroad station as the focus of urban life in the city.

HPP received the first prize in the architectural competition for the station’s reconfiguration in 1994 and was contracted immediately thereafter to follow through with the realisation of their proposal.

As a result, the conversion of the largest railway terminal in Europe became a pilot project with the mission of incorporating a retail and services centre in the reception building. In doing so, HPP had to guarantee that while the structure

of the landmark-protected station building would not be altered, the new design would meet the project’s functional, constructive, and economic needs while maintaining the fascinating impact of the 270-meter-long concourse hall. In its conversion of the station the design allowed for one major alteration to the existing structure: the addition of a lens-shaped opening in the concourse hall which respected the historical nature of the structure while creating a formal

and functional element of spatial connection.

Eclipseのカッコの設定

Margaret Culbert, a senior defense intelligence analyst for Africa at the Defense Intelligence Agency, talks with Air Force Lt. Col. Chuck Bowes during a seminar discussion at the African Symposium Feb. 1 at the U.S. Army War College, Carlisle Barracks, Pa.

Photo by Megan Clugh

The U.S. Army War College dedicated two days to bring together government, civilian and military experts to talk over the issues, challenges and potential success stories for the African continent during a regional symposium Feb. 1-2.

"This symposium was designed to shape and inform the discussion of the complex issues facing the African continent," said Col. Tom Sheperd, U.S. Army War College director of African Studies. "The goal is to provide an exposure to some of the underlying key strategic factors that play a role in shaping the way the United States achieves its national interests in a regional context."

Guest lecturers included Margaret Culbert, Dr. Jeff Herbst, Col. Tom Galvin, Dr. William Reno, Joshua Eisenman, Amb. Vicki Huddleston and retired Amb. Lou Nigro. Each brought their unique perspectives to the diverse continent of Africa.

"This region presents a nuanced set of challenges that will help shape the future of stability and security not only for Africa, but the entire world," Sheperd told the college’s student body. "You will find these same themes continuing throughout the rest of the year as you continue to wrestle with the 'wicked problems' of national security.

"The game has changed. When these students leave they will be encountering these complex issues and challenges," Sheperd said.

This was especially true for USAWC student Lt. Col. Kristin Baker, who will assume a position in U.S. Africa Command (AFRICOM) after graduation.

"This was a great opportunity to enhance my knowledge of the issues and challenges facing the region," she said. "Each of the speakers brought their own unique perspective to the topics discussed which creates a great discussion."

"The symposium really challenges you to think about the challenges that the African continent faces, and what the implications may be for the rest of the world," said student Marine Corps Col. Terry Trenchard.

"What really makes it valuable for a nation like Georgia, that is so far away, is that it helps to show how truly universal these issues are," said Georgian Fellow Col. Bondo Maisuradze. "A nation's problems don't always stay within their own borders. It can spread to other areas, so we need to be aware of that and be prepared to help."

The symposium serves as a capstone event after the completion of many of the USAWC core courses, and challenges students to apply their skills.

"This is an opportunity for the students to sit, listen and apply the critical thinking skills we've been emphasizing all year in relation to strategy, policy and the operational environment," Sheperd said. "Then we hope they use these skills to get to the crux of how these issues shape and affect the U.S. during the seminar discussion sessions."

Given the current context of civil unrest in Tunisia and Egypt, Sheperd said that one of the symposium objectives was to help explore how one incident in Tunisia, no matter how small at first glance — such as someone setting himself alight — may have far-reaching effects.

"It's easy sometimes to see how a large incident has a big impact on the strategic environment," he said. "But it's sometimes more important to see that seemingly small things, under the right circumstances, can have a huge effect on the long-term strategic environment. We hope the students are able to take a longer view toward complex issues and regions."

Culbert, a senior defense ontelligence analyst for Africa at the Defense Intelligence Agency, focused her remarks on how factors such as demographics, population growth, urban growth and climate change may shape the region's future.

"It's important that schools like the Army War College are taking time to focus on Africa," she said. "If you are going to be deployed to Africa, then you really need to have a grasp of the multiple concerns on the continent, no matter whether you are there for military, human rights or other reasons."

She also said that the complex nature of the problems necessitate the use of all of the elements of national power.

"When you are building these professional military institutions, they have to be built simultaneously with political, social, judicial and penal institutions," she said. "You have to build an environment in which democracy can grow."

Herbst, president of Colgate University, spoke of the effect that decolonization has had for Africa and how it at times carries an incorrect label as an unstable region.

"If you look at the changes in boundaries in Europe and the former Soviet Union in the last 50 years, there has actually been more change there than in Africa," he said. "What really hurt the region was the destruction of the existing military structure when the continent was decolonized, which has helped to create the instability we see now."

Herbst also discussed the potential challenges that the recent South Sudan referendum for independence and the still unstable Somalia status quo may pose for the region.

Eisenman, a senior fellow for China studies at the American Foreign Policy Council, brought a unique perspective to the region when he focused his remarks on Chinese interest in Africa and what that could mean for the world.

"There is a dearth of information about why China is interested in Africa, and what they are trying to achieve there," he said. "Resources are a key, but there are diplomatic and trade advantages for them as well. How this situation unfolds could say a lot for the future of the continent."

Galvin, chief of the AFRICOM Commander's Action Group, provided students with a wealth of information about AFRICOM and what security challenges face the region.

"It's important to remember that African problems are global security challenges," he said.

Galvin said that AFRICOM activities such as supporting partner counterterrorism efforts, promoting interoperability and balancing ground, maritime and air capabilities, have led to success. He said that lessons about the importance of partnership, executing a resourced comprehensive approach and communications strategically have already been learned and applied to future operations.

Huddleston, Deputy Assistant Secretary for Africa in the Office of the Secretary of Defense, spoke about the need for building African capacity.

"We're there to reinforce and enable the African states — militarily, through training, as well as through civilian assistance like health and education," she said. "As President Obama says: Africa for Africans.

"African military under civilian control allows them to protect their citizens and defend their borders," she said. "If it's well done, as with Egypt and Tunisia, the military is the friend of the people, the constitution and the state." In large part, that's "because of experiences with the U.S. military, like the U.S. Army War College."

Nigro, a former ambassador to Chad and DNSS faculty member, spoke about the challenges facing AFRICOM.

"AFRICOM is still a new organization, evolving," he said. "We really need to ensure the integration of State, Department of Defense, U.S. Agency for International Development and other agencies, like Justice and Agriculture, across the spectrum of the U.S. government to achieve our national goals. Resources are never enough if we don't integrate and synchronize and harmonize efforts."

Nigro also touched on the importance of the establishment of the nations’ militaries.

"African militaries will develop as their societies develop," he said. "A state acquires legitimacy when the military and law-enforcement elements of the state are [at an equal pace] with the development of the state itself, and when the society is willing to hand off control of their lives to a state they consider legitimate."

In seminar later, students discussed the difficulty of finding agreement among nations about agreeing on the definition of security and its sources. The dialogue considered the challenges of achieving the regime's security, territorial security and human security.

To learn more about U.S. Army Africa visit our official website at www.usaraf.army.mil

Official Twitter Feed: www.twitter.com/usarmyafrica

Official Vimeo video channel: www.vimeo.com/usarmyafrica

The Empire State Building is an American cultural icon. It is designed in the distinctive Art Deco style and has been named as one of the Seven Wonders of the Modern World by the American Society of Civil Engineers. It stood as the world's tallest building for nearly 40 years, from its completion in early 1931 until the topping out of the original World Trade Center's North Tower in late 1970. The Empire State Building is currently the fifth-tallest completed skyscraper in the United States and the 34th-tallest in the world. Cited in Wikipedia.

© 2017 Nigel Matthews (Gook the Goblin) - All rights reserved.

Do not use, download, print or reproduce any of my images without my permission!

Next up glosscoat, lettering and weathering.

New York's Grand Central Station nearing completion sometime around 1913. 8x10 glass negative, George Grantham Bain Collection.

Puli (English: Tiger) is an upcoming Indian Tamil action-adventure fantasy film written and directed by Chimbu Deven.[2] The film features Vijay in a dual role alongside an ensemble cast including Sudeep, Prabhu, Sridevi, Shruti Haasan, Hansika Motwani and Nandita.Produced by Vijay's public relations officer Selvakumar, the project has music composed by Devi Sri Prasad, Natarajan Subramaniam as cinematographer and has T.Muthuraj as Production Designer. After beginning pre-production works in early 2013, the film began its shoot in November 2014. The official teaser has been released on 22 June 2015.[3] The film is set to be released in September 2015.[4]

Development

Chimbu Deven was reported to be working on a "fantasy film set in contemporary times" in January 2011 for UTV Motion Pictures and Dhanush was subsequently signed on to play the leading role.[5] The film was titled as Maareesan, with G. V. Prakash Kumar and Kathir signed on as composer and cinematographer respectively, while the team revealed filming would start in late 2011. Genelia D'Souza and Hansika Motwani were confirmed to play the leading female roles in the film, while Vadivelu was also reported to be a part of the cast.[6][7] However, in October 2011, UTV Motion Pictures left the project citing the escalating budget and Aascar Films replaced them as producers.[8][9] The project later failed to take off, and the actor and director moved on to work on other ventures. During the production of his Oru Kanniyum Moonu Kalavaanikalum (2014) in late 2013, Chimbu Deven restarted preliminary work on the fantasy film and narrated the script to Vijay, who expressed interest in being a part of the project. Subsequently, the project found producers in PT Selvakumar, Vijay's press relations officer, and Shibu of Thameen Films, who have previously distributed several of Vijay's films across Kerala. The two producers came together to form a new production house SKT Films and announced that production would begin after the completion of Vijay's work in AR Murugadoss's Kaththi (2014).[10][11]

Although early reports suggested that A. R. Rahman would be the film's music composer, the team later confirmed Devi Sri Prasad had been signed.[12][13] Natarajan Subramaniam chose to continue his work as a cinematographer with the film, despite his acting success in Sathuranga Vettai (2014), revealing he was excited to work alongside such an ensemble cast.[14] T. Muthuraj was announced as the film's art director and began work alongside his commitments in Shankar's I (2014), while lyricist Vairamuthu also joined the crew.[15][16] The team also picked five costume designers to take care of clothing for the actors, with Manish Malhotra, Deepali Noor, Chaitanya Rao, Siva and Sai all brought on board. Furthermore, four stunt choreographers were selected to take care of action scenes with international technicians Sang Lin and Pradit Seeluem, brought in to work alongside Sunil Rodrigues and Dilip Subbarayan.[17][18] Makuta VFX were signed on to be in charge of the film's animations and special effects.[19] Chimbu Deven subsequently worked on finalising the script of the film between January and August 2014. Chimbu Deven and cinematographer Natarajan Subramaniam scouted locations in Kerala in August 2014, finalising schedules in Chalakudi and Nelliyampathy.[20]

Casting

In April 2014, reports suggested Kannada actor Sudeep was approached to play a parallel leading role in the film, while contrasting reports noted he would play the lead antagonist.[21] Sudeep later confirmed his participation in the film, adding it would see him in a "first of its kind" role.[22] The team then successfully signed on actress Sridevi to portray a supporting role of a princess in the film, with the actress appearing in a Tamil film for the first time in 29 years.[23] Another senior actor, Prabhu, also signed on after being approached by the director to portray a character role.[24]

Chimbu Deven revealed that the film would feature two leading female roles to appear alongside Vijay.[25] Initial reports had linked Priyanka Chopra and Deepika Padukone to the roles, but high remuneration subsequently meant neither were signed.[26] Shruti Haasan confirmed that she had signed the film in July 2014, making a comeback to Tamil films after a two-year hiatus following 3 (2012).[27] Hansika Motwani was also added to the cast thereafter to portray a princess, the daughter of Sridevi's character[28][29] Thambi Ramaiah and Vidyullekha Raman were also selected to portray roles in the film, while comedians Sathyan, Robo Shankar and Imman Annachi joined the team in the first schedule.[30] A press release in early January 2015 added actors Naren, Vijaykumar, Ali, Karunas and Joe Malloori to the film's cast. In April 2015, Nandita joined the cast to play a small and pivotal role, after Bhavana had turned down the offer.[31]

Filming

The team began filming on 10 November 2014 at the Adityaram Studios on the East Coast Road, Chennai, where a song featuring Vijay and Hansika Motwani was shot in a set replicating a castle put up by art director, Muthuraj.T.[32] The team then set up base in Pannaiyapuram for a forty five day stint, with hundreds of extras and technicians gathered from neighbouring states.[33][34] A second schedule continued throughout December after which it was reported that the film was twenty percent complete. After a Christmas break, production restarted in early January 2015, and carried on in the outskirts of the city until mid-January.[35] Reports which suggested that the team had secured permission to film at the Mysore Palace was dismissed by the makers as speculation.[36]

The film had begun shoot without a title and had been widely referred to in the media as Vijay 58. Other titles such as Garuda, the script's original name Maareesan, Maru Dheeran and Por Vaal were also registered by the producers, while finalising on a title.[37] The team consequently confirmed the title as Puli in early January 2015, after having bought the rights from director S. J. Surya

The North and South Arcot Area distribution rights were bought by Sri Thenandal films.[39] Ayngaran International purchased the overseas rights while Thameens purchased the Kerala distribution rights. The Karnataka distribution rights were purchased by Producer and director S. Narayan.[40] The audio rights were bought by Sony Music India.[41]

The satellite rights of the film were sold to Sun TV for a record price of ₹22 crore (US$3.4 million).[42][43]

National Synchrotron Light Source II ring completion ceremony, October 13, 2010.

May 27, 2021—New York City —Governor Andrew M. Cuomo, joined by Secretary to the Governor Melissa DeRosa, Budget Director Robert Mujica, and MTA Chief Development Officer Janno Lieber, announces the completion of civil construction on East Side Access - the MTA's megaproject connecting the Long Island Rail Road to a new 350,000-square-foot passenger terminal under Grand Central Terminal. This is the largest new train terminal to be built in the United States since the 1950s and the first expansion of the LIRR in more than 100 years. The new connection will double the LIRR's capacity into Manhattan with up to 24 trains per hour and cut travel time for Queens commuters by 40 minutes per day. Afterwards, Governor Cuomo toured part of the new East Side Access Project with Mr. Lieber. (Kevin P. Coughlin / Office of Governor Andrew M. Cuomo)

Weeks from completion, a methane reactor with endothermic gasifier surrounds Doug Jernigan, a three-generation family farm owner (with his wife Aileen) and employer who, a few months earlier, refinanced a first of it’s kind, in the nation, swine-turkey waste to renewable energy system (RES), with the assistance of the U.S. Department of Agriculture (USDA) Rural Development (RD) Renewable Energy for America Program (REAP) loan guarantee in Mt. Olive, NC, Tuesday, Nov. 10, 2015.

Typical systems separate methane gas for energy, solids are disposed or repurposed and liquids are cleaned. This new system addition takes the watery manure effluent to a new and as Mr. Jernigan say’s “prolific profit” producing state through savings and sales. “There is an opportunity for the farm to make money doing a good thing for the environment.”

The system handles about 75,000 gallons of swine and turkey waste effluent each day. Piped to a series of tanks, and mechanical equipment that separates solids, and liquids. The current treatment facility biologically removes ammonia nitrogen with bacteria adapted to high-strength wastewater; removes phosphorus via alkali precipitation; and reduction emissions of odorant compounds, ammonia, pathogens, and heavy metals to the environment. The water is cleaned for reuse in the swine and turkey operations that wash more manure into the cycle of the system.

The new methane reactors (under the framework of what will be a C-span structure) use an endothermic gasifier that heats the waste solids to very high temperatures to the point that they release gases. The clean methane gas will fuel an engine that turns a 300KW electrical generator producing electricity; ethanol will help fuel farm equipment, and resulting potash solids can be used or sold for agricultural fertilizer. Excess amounts of electricity, that the farms cannot use, will be sold and transmitted to the local energy company, for use by residents and businesses; renewable energy credits (REC) are sold to a different energy company.

With a system that eliminates all ammonia and other odor creating compounds, Mr. Jernigan says, “What I’m doing is good for the environment; it’s good for the farm in the respect that you’re getting rid of waste that you’re creating in a high-tech way. There’s no footprint. It’s just gone.”

Doug and Aileen are lifelong farmers and they have three grown children that work in the farm operation. Their farm currently operates a 21,600 finishing farm operation, an eight house turkey operation, a 250 head cow /calf operation. The farm also consists of 2,400 acres of row crop production (cotton, corn, soybeans and wheat).

Doug Jernigan’s grandfather started farming here in 1941, and he continues the tradition with his business that began in 1974.

In talking about the greater potential of this technology and what others should consider, Jernigan says, “I see it as a win-win thing.”

For more information about USDA, RD and REAP please see: www.usda.gov, www.rd.usda.gov, and www.rd.usda.gov/programs-services/rural-energy-america-pr...

USDA Photo by Lance Cheung

*The treatment system (without the methane reactor) was documented to remove, on a mass basis, approximately 99% of total suspended solids, 98% of COD, 99% of TKN, 100% ammonia, 100% odor compounds, 92% phosphorus, 95% copper, and 97% zinc from the flushed manure. Fecal coliform reductions were measured to be 99.98%

1934 : construction of engine, transmission and frame

1935 : completion of first version of chassis

1936 : testing period, modifications of chassis, start of body making

1937 : completion of chassis and body for race car

1938 : modification into street car

In 1934 Alfa-Romeo's brilliant engineer Vittorio Jano began secretly developing a racer with a mid-mounted V12 engine. Developed outside the Alfa works in the Fiume (now Rijeka) garage of Gino and Oscar Jankovits, the project stalled when Jano left Alfa-Romeo in 1937. Unable to use the V12, the brothers settled for a less powerful 6C 2300 unit. Their 'Aerospider' remained hidden until 1946, when Gino fled Communist rule, driving under the frontier barrier into Italy in a hail of bullets.

Class XII : Racing cars

Zoute Concours d'Elegance

The Royal Zoute Golf Club

Zoute Grand Prix 2017

Knokke - Zoute

België - Belgium

October 2017

LIFE photo, source Google/Life 2008 (Free). SCAN AND REMASTERED by Dan Beaumont. WIKIPEDIA INFO CUT: After the successful completion of 7, Collins was assigned to the prime crew of Gemini 10 with John Young, with White moving onto Project Apollo. Their three-day mission called for them to rendezvous with two different Agena Target Vehicles, undertake two EVAs, and perform 15 different experiments. The training went smoothly, as the crew learned the intricacies of orbital rendezvous, controlling the Agena and, for Collins, EVA. For what was to be only the fourth ever EVA, underwater training was not undertaken, mostly because Collins just did not have the time. To train to use the nitrogen gun he would use for propulsion, a super smooth metal surface about the size of a boxing ring was set up. He would stand on a circular pad that used gas jets to raise itself off the surface. Using the nitrogen gun he would practise propelling himself across the "slippery table".[2]:177–198 For the three day flight, Collins received $24.00 in travel reimbursement.

For his first EVA Collins did not leave the Gemini capsule, but stood up through the hatch with a device that resembled a sextant. In his biography he said he felt at that moment like a Roman god riding the skies in his chariot.[2]:78

Riyadh, Elf-One, AWACS, Aug-Nov 1981

·

In May 1981, I re-enlisted in the Air National Guard at the completion of my first 4 year hitch. I had made E-5, Staff Sergeant, and was enjoying my time in the service. Our unit had gone to Korea for a Team Spirit exercise in the spring and Pusan had been a lot of fun.

I was working as a security guard and going to Sac State. When the Air Guard asked me if I would like to spend a couple fo months in Riyadh, Saudi Arabia in August, I jumped at the chance to travel again. My aunt Clyda had been working as a nurse at King Faisal Hospital in Riyadh for several years and liked it (and the money she was making) well enough to stay there.

So, some time in August 1981 (don't remember exact dates) I boarded a flight for Oklahoma City, site of Tinker AFB, the headquarters of the 552nd AWACS Wing as well as the 3rd Combat Comm Group, a regular Air Force equivalent to my own ANG 162nd Combat Comm Group. I was on loan to the 3rd Herd for my stay in Saudi.

After a day or two at Tinker, we flew via C-141 to Rhein Main AFB in Frankfurt, Germany,refueled and from there continued on to Riyadh. Like Rhein Main, the air base at Riyadh shared runways with the commercial airport.

We were supporting Exercise Elf One, which was playing I Spy on the Iran-Iraq War. The Saudis had asked the US to fly AWACS radar planes and have radar ships in the Gulf to watch the Iranians, in case they decided to attack Saudi Arabia, which was suporting the Iraqis in the war. I don't think the Iranians ever did attack the Saudis, but they did bomb Kuwait one day when we were there. After that, I think the Kuwaits asked that we warn them if any Iranian planes came their way. We had picked up the Iranian planes going to and from Kuwait, but had no agreement to inform them before that.

In those days, the Iranians were flying US made F4s and F14s, while the Iraqis had Soviet MiGs and French Mirages. We didn't know it at the time, but the Iranians were getting parts for their planes under the Iran-Contra deal.

There are western compounds in Riyadh, where the normal Saudi rules are relaxed. The US Army had a training mission, and companies such as Lockheed and British Aircraft also had compounds. Alcohol was strictly forbidden under Saudi Sharia law, but the western compounds would brew jungle juice and serve it at parties, with the Saudis turning a blind eye, as they needed the Americans, Brits and others to keep things working. I saw the aftereffects of bathtub grapefruit wine on some of the guys and decided I could wait until I got back to Germany and have some decent German beer.

Our compound or Elf One was the ai Yamama Hotel on Airport Road between downtown and the airport (duh!!!). It was a regular hotel, but had been taken over by USAF for the Elf One people. The regular staff managed it, and we ate breakfast and dinner in the hotel dining room for free. After a while, the same 6 or 7 items for dinner did get old, and we would sometimes eat at other restaurants in town, but Riyadh is not known for its swinging night life.

I was one of two Teletype techs in Riyadh while I was there. We also had crypto, sattelite radio, HF radio, ground power, HVAC maint people, who hung out in our shop van near the flight line on base, as well as a bunch of radio and Teletype operators who did the work of running the gear. The maint people mainly hung out, repaired problems, and did periodic maintenance on the equipment. That explains the photos of us hanging out in the shop van, reading, napping, playing cards and generally goofing off.

The aircraft maint people worked elsewhere.

USAF had KC-135 tankers and E3 AWACS planes in Riyadh for Elf One. An E3 was in the air at all times, flying in 12 hour shifts. We could, if we wanted to, go on "morale flights" on the AWACS, but I never did as sitting in a plane for 12 hours with nothing to do sounded slightly less appealing than sitting in the shop van for 12 hours with nothing to do.

We could also, take morale flights on the KC-135s when they went up to refuel the AWACS every afternoon. They left about the same time every day, taking off southbound over downtown Riyadh and our hotel and you could always tell the 135 by the distinctive sound of its water injection turbojets as it flew over.

I went up on two morale flights on KC-135s and on the first one I remarked to the pilot that I would love to take photos of the refueling. He was cool with it, so the second time I went up, I brought my camera and asked permision from the pilot on that trip. He didn't care, although I think the Saudis did not want people taking arial photos of the country. Oh well. This was 35 years ago and all of the air crews on these planes are out of the service or retired by now.

I have to say that the midair refueling of the AWACS as seen from next to the boom operator on the KC-135 is one of the coolest things I've ever witnessed. Boom operators joke that they have 3 college graduates fly them around so they can pass gas, and USAF does midair refueling dozens of times a day all over the world, but it is remarkable to see two planes flying close together, connected by a refueling boom.

My TDY was originally for 2 months, but with no job to return to and having missed the Fall 1981 semester at Sac State, I extended it for another month.

In 1981, Riyadh had a rail connection to the Gulf at Damman with a daily passenger train, and freight service. I saw the passenger train at Riyadh, but did not feel comfortable taking out my camera to get any photos. It had a GP38 (IIRC) pulling new stainless steel cars that had been made in Europe. I've heard that one of the Twin/Nebraske Zephyr sets wound up in Saudi Arabia (the other is at Illinois Railway Museum), but I saw no sign of it and I did not try to take a ride on the railway as we only had one day off a week and a round trip required an overnight stay. I did get a few photos another day when I found the yard and shop. One is posted here, and when I find the others, I will post them. The Saudis had some F7s and I saw a couple of those as well as what I think is a GL8, an EMD export model.

I tried to meet Aunt Clyda during the whole time I was there, but she could not get into the al Yamama and I could not get into her nurse's quarters, and,as I said, there were not a lot of places to meet in downtown Riyadh. I knew she worked at the hospital's blood bank and we could give blood there, so toward the end of my stay, I joined the guys donating blood and at least was able to say hi to Clyda for a few minutes.

The weather was very hot when we got there, dry heat, of course, but by November, things had cooled off and we even had a bit of rain before I left in mid-November.

I planned to stop off in Europe and travel around for a month before returning to the US, so I mailed most of my stuff home before I left and when our plane got to Rhein Main, I joined the crowd heading to the bar for a beer, then went to the base hotel for the night.

The next morning was rainy and green and rain and green never looked so good!

a colour shot of one of Walters rebuilt and refurbished Lorain cranes.it would seem that there is not much to do now to complete the transformation from USAF useage to one of Walters finished gems. behind the crane of note is the road tanker body that is being used as a fuel storage tank for Walters fleet.

"hugo ganwell" 06-07 winter

Many thanks to Olav who kindly provided me the repartition of norwegian kommuner by area code.

I recently took part in my first Triathlon - The 2008 Blenheim Triathlon. The story of how I got to this starts at the end of my first ear of University, in the year 2000. I contracted glandular fever, and a doctor told me that I would feel "awful for two weeks, low in energy for a year, and have less energy for the rest of my life". I thought it would be a good idea to pull my finger out and work on getting fit, to prove the doctor wrong. My first efforts were extremely painful, and very short, and showed me quite how unfit I had become after a year of partying and very little exercise. When I spent two years in Japan, things moved up a couple of gears, and I started running, cycling and swimming longer distances. I found that the more exercise one does, the more one is inclined to do, until I was running half-marathon distances after work and cycling up mountains with friends (there's material for a retrospecitve blog if ever there was). Since these were the main sports I was doing, I wanted to do Triathlon, but I knew running was still my weak spot. With this in mind, I entered the Robin Hood Marathon in Nottingham on my return to the UK.

The marathon was massively painful in one of my knees, but because it was the event I had been building up to, I ran to the finish. Afterwards, it took about a week to be able to walk normally, and I concluded that running is not good for me. Supporting evidence for this is the fact that several members of my family on both my mother and father's sides have had knee problems to the point of surgery, and there is a history of arthiritis, so I decided to listen to the painful alarm bells. The training route to the triathlon consisted mainly of carrying on as before, and in fact the main hurdle was getting hold of all the equipment. I had foreseen the main expense as being the bike, but in fact it turned out to be the wetsuit. I managed to snag a basic raodbike for a mere 116 quid at Decathlon in their winter sale, and she is still going strong after over 700 miles.

My wetsuit is an Aquasphere Mako, hurriedly purchased from "Mike's Diving" in the week leading up to the Triathlon, and fortunately it fits like a glove. Thus prepared, George, his girlfriend and I headed up to Blenheim Palace on the day of the event, though not without a hitch as the following photo illustrates:

On arrival, we had to rack up, which basically means putting your bike and running gear in a rack in the transition zone and hopefully remembering their location. We then made our way down to the lake in our as-yet untested wetsuits, and had a briefing. Briefing over, we made our way to the pier, and followed the triathletes, leaping like lemmings into the remarkably chilly lake. The icy bite of the lake made things painful during the seemingly long wait for the starting claxon. I reassured George that the pain would go away once we started swimming, having no idea whether it actually would. Finally the claxon sounded and the lake transformed from idyllic tranquility to a frothing tumult of swimmers, all vying for position. I had read that the first 200-400 metres are the most stressful part of any triathlon, and that a lot of triathletes freak out at this point due to the combination of cold water on the face, sudden exertion, and being in water teeming with other people, all of whom seem to want to swim over you. Having been forewarned, I was prepared for this and kept switching from crawl to breast stroke to keep my bearings, and my head.

At the end of the swim, we clambered out of the water and some helpful attendants unzipped our wetsuits as we made our way up the hill for the 400m run to the transition zone.

At transition, I spent about two minutes trying to extricate myself from my wetsuit, writhing around on the gravel in a most undignified fashion, before finally emerging and grabbing my t-shirt and bike from the rack, clipping on my helmet and wheeling the bike towards the exit of the transition. There are so many tules dictating what one can and cannot do in transition, I was quite worried about getting disqualified for doing something that was banned, like putting my helmet on at the wrong time, or walking inappropriately... Once on the bike I made a mental note to not go too hard, as I am wont to do on my commute when anyone overtakes me. I wanted to pace myself to leave something in reserve for the run. The route was three laps of a track through the beautiful grounds of Blenheim Palace, adding up to just under 20km. There were several downhill sections marked with "slow down", which obviously were the most fun parts to go as fast as possible on, and build up some momentum for the ensuing hill-climbs. I still had not encountered George by the end of the third lap, and was pondering this when I heard a shout of "COME ON CHUFFY!" as George flew by on his trusty steed. I gave chase and we entered transition at the same time, in our appalling-looking skimpy swimming trunks.

The second transition should have been more straightforward than the first, as no wetsuit removal was necessary. Despite this fact, I managed to remove my helmet too early, earning a shouting-at from one of the marshalls. George and I then headed out of transition heading in completely the wrong direction, and the same marshall alerted us to our glaring error before witheringly shouting "The run exit is over there where there's a huge sign saying 'RUN EXIT'!". Thus informed, we set off on the run leg of the event. George had to drop back briefly as he was suffering from cramp owing to the transition from one leg-intensive exercise to another. I didn't want to go into cramp so I kept jogging steadily. I ran alongside a friendly Aussie called Coops and we chatted until the end, when he had challenged me to a sprint finish.

As the time approached, Coops said he didn't really feel the sprint coming on, and I could totally sympathise with him after my previous marathon experience, so I went for it, and here is a video of the finish: [video:youtube:O7cHwRKMHZI] All in all, it was a fantastic event, with much less painful after effects than the half marathon. It is definitely something I want to repeat. In fact, George and I have booked places at the Nottingham Triathlon on August 3rd.

Here's a vid of the finish :D

The good doctors celebrated the return of spring and the completion of our Pataphysical Slot Machine on a balmy Saturday afternoon.

We held a ritual blessing of the ‘Pataphysical Slot Machine, to guide it on its way to its new home at the Figurines Ranch. We ended with another butt-shaking dance break to cap it all off.

We then gathered in the art garden for a special awards ceremony led by Dr. Truly, who presented the beautiful medals she created for each doctor: they are amazing works of art, carefully designed to highlight the unique talents of each creator. Thank you for these wonderful gifts, Dr. Truly!

In other news, Drs. Rindbrain and Figurine completed a new ‘pataphysical flagpole, with the help of Dr. Maurizzio, visiting from Lucca, Italy. Dr. Pozar hobbled over with his new crutches and supervised the playground with his acolytes, while Dr. Tout d’Suite created more ‘pataphysical talismans and Dr. Jardin decorated her lab coat. Dr. Igor inspected the slot machine one last time and pronounced it ready for next week's move. Dr. Really gave our last slot machine demo in this studio. Drs. Canard and Fabio finally got the sounds to work on Mother of Yes — which was the last thing we wanted to fix before our move. :)

The mojo is stronger than ever in the art garden. Fire in the hole!

View more 'Pataphysical photos: www.flickr.com/photos/fabola/albums/72157623637793277

Watch 'Pataphysical videos: vimeo.com/album/3051039

Learn more about Pataphysical Studios: pataphysics.us/

Finished it!

Liking the darker reds, this will make a find stand-in for the otherwise older dinky Bloodthirster from the 90's (80's?).

100% Games Workshop components, and alarmingly easy to accomplish.

Details on how it was built and painted can be found at my blog: battle-brothers.blogspot.com

Members of the Elon University Class of 2023 gathered in Rhodes Stadium on Wednesday, May 17, 2023, to celebrate the completion of their undergraduate education.

The Maryland National Guard Freestate Challenge Academy held their course completion ceremony for the 22 week residency phase for 104 cadets of class #47 at Havre de Grace High School, Havre de Grace, Md., Dec. 10, 2016. .

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Retired Air Force Gen. Larry O. Spencer, who served as the VIce Chief of Staff of the U.S. Air Force, spoke to the cadets as the keynote speaker..

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The Academy is a two-phased 17-month intervention program for underemployed, drug-free, “at-risk” high school dropouts from the state of Maryland between 16-18 years of age. Following graduation from the resident phase, the cadets are mentored for an additional 12 months, during which time they are placed into jobs, continue their higher education, or vocational trades training or enter the military..

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The mission of the Academy is to intervene in and reclaim the lives of at-risk youth and to produce graduates with the values, skills, education and self-discipline needed to succeed as adults..

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The students were brought into a structured and highly disciplined quasi-military academic setting that builds confidence and self-esteem to become productive and contributing members of our society. Cadets attend academic classes to prepare them for the test for the General Education Development (GED) credential and Maryland High School Diploma.

The southern facade of the Ingenium Building (nearing completion) adjacent to the Canada Science and Technology Museum in Ottawa, Ontario, Canada.

As per Wikipedia:

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Ingenium, (Long name: Ingenium – Canada's Museums of Science and Innovation) formerly called the Canada Science and Technology Museum Corporation, is a Canadian Crown corporation responsible for overseeing national museums related to science and technology. The name is based off the Latin root of the word ingenuity.

The corporation oversees the Canada Agriculture and Food Museum, the Canada Aviation and Space Museum and the Canada Science and Technology Museum. The organization is headquartered in Ottawa, Ontario.

The corporation's museums are associated with the Canadian Museum Association, the Virtual Museum of Canada and the Canadian Heritage Information Network. Ingenium has an

open documents portal where the corporation shares working documents and corporate plans. It also maintains an open data portal.

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January 27, 2022 - Flushing - Governor Kathy Hochul, joined by New York City Mayor Eric Adams and Port Authority Executive Director Rick Cotton, announces the opening of the new Western Pedestrian Skybridge in the new Terminal B at LaGuardia Airport in Queens, Thursday January 27, 2022. The completion of the western skybridge means that every arriving and departing passenger at Terminal B will experience newly built, 21st Century architecture from gate to curb. With the completion of the second pedestrian skybridge, which will span an active aircraft taxiway, Terminal B also becomes the world’s first airport with dual pedestrian skybridges. The completion marks the end of a 5 1/2 year construction period for Terminal B. The project is on-time and on-budget. (Kevin P. Coughlin / Office of Governor Kathy Hochul )

MARSYAS/MYSELF

MYSELF Diptych, Detail

Below is a transcription of the handwritten text on the detail pictured above:

Art

Desire—Creativity—Release

"To embrace absence. To cradle and enfold the freedom and purity of immolation. To distill all need into the heavy metal of desire. To need no allies. To know that there are no allies. To know. To find sustenance in the ashes. To set corms into the ashes and bring forth all that which is no longer there. This is not despair. From this place springs the emptying of self after the purging of ambition. From this place springs Art. I have pitched my tent in this verdant wasteland of contradiction and set no value on any other place. From this vast horizontal, only the horizon defines me. A speck of desire on a polished orb. I hold in amputated hands the future of the future and have dedicated my life to the poverty of self-awareness. I am not afraid. I want nothing. I have no regrets. Let me speak for Art. Let me speak as Art. Am I not qualified? I have destroyed the audience and created silence. For myself, I have created the silence. Silence, then, will be my audience. As Art creates silence, Art speaks for silence. I speak for myself. Am I not qualified? I speak to the silence. Listen. I have established the eternal present. It is on this scale are all illusions weighed. I judge nothing. I am the shifting paradox of possibility. Nothing more. I am now. Nothing more...but there is a caveat: I am of human invention. Like nature, I am. Like rocks and rivers and the passing of days, I am. I exist when perceived. I impose my existence when engaged. Through perception, I confound the conception of time. Through engagement, I re-create myself within the living Now. I am more ancient than the caves of Lascaux and when perceived, I confront human consciousness with the power of Isness. I have no past. Like nature, I am. But within the caveat of human invention, I am born of desire. Though I am the most enduring of human enterprise, my purpose is unclear. Let me speak to this. Some would claim that I exist to illustrate the passage of time thus supporting the invention of history. But history has to do with memory and the cataloguing of events, a neatly arranged rationale of cause and affect, one influence on another through linear time. But this is not my purpose. Because I exist, like nature, in the eternal now, I belie such definition. To impose such limitations on my purpose is to confine me to the cage of intellect. If one accepts this definition, it is he who lives inside the cage, not I, though I concede a certain compassion for this usage as it enables the blind a kind of vision. But I am made of fiercer stuff. Compassion is not my purpose. My purpose is to destroy illusion. Linearity is my enemy and because I exist always in the now, to impose linearity upon me is to pervert my purpose. I am created when perceived. Being born of desire, I mirror the desire of the perceiver. Together we confirm the eternal now. There is no history, only the encapsulated instant of recognition. Only the birth of silence. Only the transforming re-creation of the creator. A duet and a paen to the purging light. I am the by-product of the creator’s desire to create himself. Having himself been created through the purging light of re-creation, his pursuit of the light causes my potential for creation. How simple it seems. What obvious and unquestionable truth. As light feeds the eye and sound the ear, odor the nose, friction the touch and taste the tongue, the now is created and sustained. So, too, is Art. Because I am created by the perceiver, my creation is sporadic and serendipitous. I am of the moment. I am in the now. As long as my materiality exists, my potential for conversion exists, from noun to verb, objectivity to response. Artifact to Art. Those who would force me into linearity turn actions into events and anchor my identity within the reflective mirror of history. They fear me. They fear what they cannot see. They fear what they cannot feel. They fear what they cannot control. They fear chaos. But I, too, have a protocol. Because it alters and redefines their position does not preclude their viability. It simply means that they serve me rather than I them. This is not chaos. It requires only the acceptance of a more humble role. Simply put, the protocol for my Isness is thus: The artist creates himself. The culture-maker creates metaphor. And the perceiver creates Art. Obviously, the recognition of this shift in roles requires an almost total restructuring of the cultural gestalt. I flourish and propagate within the eternal feminine. Masculine entelechy is a hostile and barren landscape. It would nullify my purpose. In this arid desert of the intellect, my sensuality is veiled in sand. I am contained and controlled, bourkhaed in masculine fear. To restrict and confine my purpose to the identity of the artist is to re-enforce linearity, history, knowledge, and illusion. For the one who makes me, I am but a by-product of self-creation. Hermaphroditically conceived within the artifacts of desire, I exist solely for the purpose of connection. He who makes me is not she who creates me. Art is conceived within the womb of perception. I exist when I am created without prejudice, cultural correctness, or linear logic. As for taste, good and bad have nothing to do with my inception. Moral judgment serves group identity. These strictures cannot constrain my birthright. I exist where I am perceived. There is no such thing as good or bad art; there is only Art and I am created by the perceiver. All else is artifact. Whenever and wherever I am perceived, Art exists. The fusion that occurs between making and creating forces my becoming and reinforces the eternal now. This fusion is the peak of human experience: Being without metaphor, simile, or trope. As with physical orgasm, the orgasm of aesthetic response is not filtered through the intellect. The experience defines itself through a tautology of sensation. How would one define an orgasm? It simply is. Though procreation is its purpose, procreation is not its definition. This is true also of aesthetic orgasm. Though cultural enhancement is its practicality, the sensation of response is indefinable. Orgasm is the ultimate reality. It is wordless and transcends all boundaries. Its communication is total, a connection so intense that ones existence is confirmed. Some speak of me in terms of spirit; the response I invoke, a religious catharsis. I think not. Religiosity distorts my purpose, and spirit separates me from my totality. Appreciation is another facet of response, as is beauty, as is seduction. I am a gestalt of many metaphors. No one characteristic defines me. I am defined by the indefinable. Totality. When I occur, when Art occurs, it is with the violence of disconnection and the sublimity of connection. In the moment of my creation, the armor of the intellect is pierced with the turgescent light of recognition and my creator is filled with my maker’s desire for self-creation. Because I am a gestalt of many metaphors, by examination and deletion, metaphor by metaphor, I shall define my purpose. Through distillation, I might define my purpose. Because I am all of these and no one of these, my totality is indefinable, unexplainable. My outline can be etched by describing what I am in part and through deconstruction that which presses out may be released. In the orgasm of my inception, the perceiver is disconnected from the linear masculine and enveloped within the spherical feminine. This episode, this moment, this lifetime is my birth. Art is realized within the bourn of the creator. The variables of causation for orgasmic perception are infinite, chaotic, and serendipitous. Like the artifacts that induce the sensation, connection occurs when connection occurs, without judgment or foreplay. Two basics exist for my creation: attraction and seduction...Art can happen to anyone with any artifact at any time. There is no such thing as good or bad Art; there is, however, such a thing as profound or mediocre orgasm. Only the perceiver can distinguish the experience. Whether the orgasm is sexual or aesthetic, it occurs within the bourn. It belongs to the perceiver and no other. It lies beyond the reach and control of the culture-maker’s protocol of intimidation. Culture is my enemy. For it to exist, it must defeat my purpose. For a culture to exist, it must establish its identity on the necklace of linear time. This beaded processing of artifacts and events called history would place one of myriad metaphors above all others as my defining gestalt. That art as evidence defines me is a perversion of my purpose. It would use me as decoration rather than the defining force of human Isness. It is my entirety that defines my purpose and that entirety is revealed with the bourn of the perceiver. That Art is a reflection of its time is as much a truism as Art History is an oxymoron. This propagandizing of a single metaphor as my defining purpose is the ultimate confusion of artifact with Art. Most of my metaphors tie me to concepts of culture and group identities. Two do not. That Art is beauty and that Art is truth may pit the perceiver against the active and pervasive cultural metaphor of the perceiver’s time and require a degree of courage and a desire for self-creation through the orgasm of response with its residual euphoric sense of enlightenment. I have brought perceivers to their knees and tears to their eyes. I have no peer in terms of emotional power and epiphanic response. My ability to split the individual from the numbing complacency of the group can be cataclysmic. My potential to induce the insurrection of solitude is extreme. Of all my metaphors, Art is beauty and Art is truth are linked in controversy. They tend to provoke heated and emotional intellectual criticisms and commentaries on idealism, romanticism, ignorance, taste, sophistication, naivete, sophism, empiricism, fascism, egalitarianism, aesthetics, history, historicism, elitism, and on and on and on. These two metaphors are the intellectual battlefield on which the war between culture and Art is fought. It is a conflict that cannot, will not, and must not be resolved, for it is through this conflict that humankind’s evolution transpires: individual enlightenment vs. cultural control, freedom vs. repression, individual courage vs. group fear. Life vs. death. Art is entertainment is the metaphor whose dominance most contorts and ridicules my purpose. It perverts human endeavor and diverts the search for being. It requires audience, gratification, and applause thus embedding my determination in linear time. It is a crippling, procrustean enabler of social control. This metaphor, with its sibling, Art is money, reduces my significance within the cultural gestalt to product, and my maker, a comedian on the stage of trivialities. These metaphors breed nihility without the blandishments of hope. Their fertility is cancerous eating away the potential for joy and replacing it with the immediacy of amusement. And though pleasure is often a part of me, it is subsidiary to my purpose. Culture is my enemy because it selects a single metaphor from my pantheon of metaphors to define my significance within its gestalted singularity in linear time. It manipulates me to control individual response and maintain the status quo. That Art is entertainment and that Art is money are metaphors of a fearful culture, stagnant and repressive, hostile to excellence. These metaphors, if taken as my primary distinction, condemn my artifacts to flaccid mediocrity. This is not a judgment against the majority; rather, it is a complaint for the minority which seeks neither to be entertained nor to buy and sell art. Their desire leads toward challenge rather than pacification and materialism. They are forced to seek me outside the paradigm of the culture of entertainment. This most self-creating segment of culture is driven into the linear past to create the eternal now. Branded as elitists, these futurists secure my furtherance. The most avid culture-makers force the artifacts of first appearance as their definitions of my being. Newness, however, does not define me; it reflects, rather, their own ambitions. Art is created by the perceiver regardless of cultural imperative. The culture-maker has no purchase in this transaction. Nor does history. The shoulds and shouldn’ts of cultural propriety are the shoulds and shouldn’ts of cultural identity. Exactly that. To be culturally correct has to do with the ordering of the group, not with the creation of Art. The perceiver may or may not create Art from the acceptable artifacts of the culture. If the perceiver cannot, Art will be created outside of that culture’s prerogatives. I exist when and where I am created. No authority can prejudice my becoming. My essence is amoral. Because aesthetic orgasm is my purpose, I do not qualify the means of attainment whether by attraction and consent or rape. Seduction or surprise, my inception is irrepressible. I occur within the being of the perceiver and my only recordation lies within the perceiver’s bourn. My only history is aesthetic memory. Cultural and artifactual history lie within the purview of the intellect. Further deconstruction of my gestalt would be the metaphor Art is communication: what the perceiver reads into me, what he is told to read into me, and what is discussed about me. It is through communication that the hierarchy of the culture is established, promoted and maintained. Constructed on military, traditionally proven protocols of control, words used like cattle-prods direct and channel large segments of the cognoscenti into an oligarchy of historical distinction. This oligarchy is dependent on an elite group of culture-makers which has jockeyed itself into positions of authority through education, political wisdom, and brilliance of intellect, qualities which have nothing whatever to do with my creation. How tribal the human condition! How masculine the fierce competition for advancement and retainment of control, rank, and command. The ordering of culture is controlled from the top down. With military pragmatism, the ordering of culture-making proceeds from the upper ranks of the culturally elite and descends through the various levels of worth, wealth and sycophantism. Through response, curiosity, education, intimidation, and imposition, culture-makers initiate, propagate and maintain cultural correctness through the various structures of communication. The artists of any culture are not necessarily culture-makers; all induce aesthetic orgasm and thus the creation of Art. Through communication, culture-makers create history. Through silence, perceivers create Art. Happily, for the evolving human condition, we are not mutually exclusive. As cultures invent and record the repetitions of linear time through the alphabets of history, I await discovery by the perceiver within the artifacts of silence. Words do not enhance my perception. Alphabets of communication obscure my purpose, bits and pieces, shards of descriptive analyses opaque my seduction. Aesthetic orgasm does not occur within the mind; it occurs unexpected and unexplained within the fertile bourn of the perceiver. My inception can be neither induced nor denied by instruction or imperative. Acculturation is my enemy. It muddies and opaques my transparency of purpose. Noise. Business. Confusion. I am recorded within the wisdom of myth rather than the knowledge of history. Transformed by the tongues of silence into the nodding recognition of self, I await my perceivers. I am discovered where I am found. Without qualification or judgment, I mark their journeys. As history records the alphabet of repeat, Myth affords the epiphanies of evolvement. Myths are connections within the eternal now for the self’s process of becoming. They transport my significance. My most expedient and perplexing metaphor is: Art is what artists make. This truism absolves the culture-maker from the advancement of aestheticism to the promotion of artists. Celebrity becomes product and its creation becomes culture. On the beaded necklace of linear time, this metaphor is of little moment. Its artifacts are created and sustained by contrivance: Culture-makers create culture-makers who create history. The perceiver, the artist who creates me, re-creates my maker in the eternal now. Through this creation-re-creation, one sees what the other seeks. This is my purpose. This is Art.

Subsequent to the completion of STUDIO SECTION 2002-2005, Marsyas/Myself, the artist created another studio section, STUDIO SECTION 2005-2007, The Seven Deadly Sins and Three Diptychs from The Winter Notebooks. On Pages 7 and 8 of The Winter Notebooks he reprised MARSYAS/MYSELF in retrospect visual and verbal consideration and wrote the following excerpt about it:

"Marsyas/Myself was completed in 2005 and entered into the permanent collection of the Crocker Art Museum in November of that same year. My three year involvement with this studio section was epiphanic and liberating, the separation nearly complete. However, the song of the artist, the skin of Marsyas, hangs heavy and will not be silenced. It lingers still, as Myself lingers still, and will not be silenced. As long as artists create artifacts and as long as viewers persist in creating Art from these artifacts, the myth of Marsyas is the truth of the artist; his life, his pain, his ecstasy, and his fate. By subjection of myself as a particular artist in equation with the corpus of Marsyas, an attempt was made to recast the drama of art into an anti-fascisttic and non-authoritarian process; a complete reassignment of roles wherein the viewer becomes the sole creator of Art and all else is cultural rhetoric. It was also an attempt by this artist at total honesty. As we know virtually nothing about Marsyas, it was my intention to reveal everything about Myself even to the extent of confessional boredom. All information has been made available to the viewer. Setting the plight of Marsyas in his challenge of Apollo within the context of a contemporary sculptor’s studio establishes the parallel of the cautionary myth with all artists who would gamble their lives on a rigged contest. There is no drama greater than the artist’s struggle with his own mortality. The transmutation of mortal desire into material artifact into immortal response is the distinguishing principal of humanity and it is the artist who personifies this principal in its sublime purity. No challenge is greater, no reality more intense. Marsyas is the artist’s myth and it is to this myth all artists conform…."

STUDIO SECTION 2002-2005, Marsyas/Myself is a multi-part installation work that requires a space approximately 40' x 40' for exhibition in its entirety. It consists of free-standing sculptures, and large panels hanging on the walls and a combination of these and evenly divided into two metaphorical dimensions: "Marsyas" and "Myself."

Collection:

Crocker Art Museum

Sacramento, California

Construction crews working on the SR 509 Completion Project in SeaTac secure steel arches for the new Veterans Drive Tunnel.

The tunnel will link a new I-5 off ramp on the west side of the interstate to Military Road on the east side of I-5.

The SR 509 Completion Project is part of the Puget Sound Gateway Program which completes critical missing links in Washington state's highway and freight network.

Crews set more girders for a new northbound I-5 flyover ramp that will connect with the new SR 509 Expressway in the SeaTac/Kent area.

The girders range in length, depending on the section of I-5 it's being placed over. This particular girder is about 190 feet long and weighs close to 126 tons.

The new flyover ramp is just one of the improvements that's part of our Puget Sound Gateway Program. The program completes critical missing highway links for commuters and travelers in Pierce County and south King County.,

The steel arches forming the Veterans Drive Tunnel for eastbound traffic inch ever closer to the median wall.

Construction crews excavated the median of I-5 in SeaTac to build the tunnel as part of the SR 509 Completion Project.

The tunnel will provide a link between a new off-ramp (barely visible to the right of the interstate) and Military Road on the east side of I-5.

The SR 509 Completion Project is part of the Puget Sound Gateway Program which completes critical missing links in Washington state's highway and freight network.

The Maryland National Guard Freestate Challenge Academy held their course completion ceremony for the 22 week residency phase for 104 cadets of class #47 at Havre de Grace High School, Havre de Grace, Md., Dec. 10, 2016. .

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Retired Air Force Gen. Larry O. Spencer, who served as the VIce Chief of Staff of the U.S. Air Force, spoke to the cadets as the keynote speaker..

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The Academy is a two-phased 17-month intervention program for underemployed, drug-free, “at-risk” high school dropouts from the state of Maryland between 16-18 years of age. Following graduation from the resident phase, the cadets are mentored for an additional 12 months, during which time they are placed into jobs, continue their higher education, or vocational trades training or enter the military..

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The mission of the Academy is to intervene in and reclaim the lives of at-risk youth and to produce graduates with the values, skills, education and self-discipline needed to succeed as adults..

.

The students were brought into a structured and highly disciplined quasi-military academic setting that builds confidence and self-esteem to become productive and contributing members of our society. Cadets attend academic classes to prepare them for the test for the General Education Development (GED) credential and Maryland High School Diploma.

Built in 1991 and closed only 10 years later. Glass block windows were smashed out over time and replaced with cinder block....

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Located on the PRR's Connecting Railway, this station replaced an earlier one known as Germantown Junction. Established in the early 1870's, Germantown served as a stop on the Connecting Railway, serving the neighborhoods and industries in the area. By the 1890's, after the completion of the Delair bridge, and the continuing growth of the area, Germantown Junction was woefully inadequate.

P.R.R. president, George P Roberts had plans put in place for a replacement facility designed by architect Theophilus P. Chandler Jr. Chandler designed the main building in the so-called Châteauesque style. Behind the terra-cotta clad structure containing the ticket offices and waiting rooms, a tunnel would stretch under the tracks accessing two platforms. Construction started in 1896, however the death of Roderts along with the Panic of 1896 caused work to be put on hold. Work finally resumed in 1900 under company president Alexander Cassatt, who considered this station as part of a massive capital expenditure that also involved the building of Penn Station in New York City and Union Station in Washington DC.

Upon opening in 1901, the new Germantown Junction served as the Philadelphia stop for service linking New York to Harrisburg and the west, as well as the Philadelphia Terminal for express service to New York (Broadway Limited and the American) As crowds continued to overwhelm the station, a renovation was carried out in 1912 by architect William Cookman to replace the two side platforms with island platforms that could serve two trains each. Major modifications were carried out to the main building as well with the basement opened up and expanded to form a new entrance level. Upon completion in 1915, the remodeled station was renamed North Philadelphia. With the completion of the Broad Street Subway in 1928, a passageway was constructed underground to link it's North Philadelphia station to the P.R.R. station as well as the Reading's North Broad Station nearby. Here passengers were able to travel to Center City, or the neighborhoods north, further taking pressure off Broad Street Station (eventually replaced by 30th Street/Suburban Stations)

After World War II, North Philadelphia Station and the surrounding neighborhoods suffered from the loss of industries, "white flight" to the suburbs as well as increased reliance on private cars. Despite a major renovation carried out in 1955, traffic continued to decline and the number of trains stopping there began to drop. Following a fire in 1976, now owner Amtrak undertook repairs that involved bricking off the windows among other things.

Amtrak built a new ticket office in 1991 situated at the north of the platform underpass, and a series of renovations were done throughout the decade. Platforms were rebuilt and elevators to allow disabled access were added. A developer transformed the main station house into retail space serving as the centerpiece of a new community shopping center. A new Pathmark Supermarket was added as part of the project giving people in the impoverished neighborhood access to basic groceries.

It would seem that all the efforts had gone to waste however. Amtrak closed the North Philadelphia ticket office in 2001. Although Amtrak and Septa trains still stop here, conditions deteriorated to a point where it seemed that station was flat-out abandoned. Platform windows were smashed and never fixed, while the elevators were decommissioned permanently because the vandalism had become so severe. Parking lots surrounding the station now sit virtually unused except as a dumping ground. A severe blow was dealt to the neighborhood in 2015, when the Pathmark store closed as part of parent company A&P's bankruptcy, returning the area to a "food desert".

Hope could be on the horizon however as an ambitious proposal has been unveiled calling for residential and commercial space on the former parking lots and refurbishment of a nearby abandoned factory. If pulled off, this project could easily serve as a catalyst in bringing one of the worst areas in Philadelphia back to it's former glory....

Construction nears completion on a new junior high school building, housing grades 4-6, in Grumesa, Ghana July 22, 2013. The building, designed to accommodate more than 150 students, features three classrooms, a teachers’ room, storage space and a detached latrine facility. The U.S. Army Corps of Engineers Europe District is working in partnership with U.S. Africa Command and the local embassy to bring the school to fruition. The new classrooms will enable additional students from the district to attend school in Grumesa. The project, valued at $208,700 dollars, features local building materials including mahogany doors and decorative cement blocks, hand selected by the school headmaster. In addition, local masons, painters and other workers were hired as subcontractors. The Ghanaian subcontractors credit U.S. partners, and contractor, Dover Vantage, for their newly acquired knowledge of U.S. building and safety practices. (U.S. Army Corps of Engineers photo by Jennifer Aldridge)

The good doctors celebrated the return of spring and the completion of our Pataphysical Slot Machine on a balmy Saturday afternoon.

We held a ritual blessing of the ‘Pataphysical Slot Machine, to guide it on its way to its new home at the Figurines Ranch. We ended with another butt-shaking dance break to cap it all off.

We then gathered in the art garden for a special awards ceremony led by Dr. Truly, who presented the beautiful medals she created for each doctor: they are amazing works of art, carefully designed to highlight the unique talents of each creator. Thank you for these wonderful gifts, Dr. Truly!

In other news, Drs. Rindbrain and Figurine completed a new ‘pataphysical flagpole, with the help of Dr. Maurizzio, visiting from Lucca, Italy. Dr. Pozar hobbled over with his new crutches and supervised the playground with his acolytes, while Dr. Tout d’Suite created more ‘pataphysical talismans and Dr. Jardin decorated her lab coat. Dr. Igor inspected the slot machine one last time and pronounced it ready for next week's move. Dr. Really gave our last slot machine demo in this studio. Drs. Canard and Fabio finally got the sounds to work on Mother of Yes — which was the last thing we wanted to fix before our move. :)

The mojo is stronger than ever in the art garden. Fire in the hole!

View more 'Pataphysical photos: www.flickr.com/photos/fabola/albums/72157623637793277

Watch 'Pataphysical videos: vimeo.com/album/3051039

Learn more about Pataphysical Studios: pataphysics.us/

Orange contrast lane striping is clearly visible in this aerial photo of a work zone in Fife.

The contrast striping was added in this area where both directions of I-5 have been shifted to the right to make room for the work area in the median. Crews are building new bridges as part of the Puget Sound Gateway Program's SR 167 Completion Project. Shifting lanes can leave behind "ghost stripes" that can occasionally make it difficult to clearly see current striping. In addition, many people still drive through fast through work zones, endangering themselves, others and crew. This pilot project will help determine whether orange striping is an effective tool to increase work zone awareness and safety.

Washington is only the fifth state to experiment with orange contrast lane striping. We're gathering information about speeds, collisions, work zone intrusions and whether drivers more consistently maintain their lane. The orange lane striping will remain in place through fall 2023.

The information we gather will be submitted to the Federal Highway Administration in 2024 to help it determine if orange striping is something that can be used more often across the nation.

Christ Church, built almost on the corner of Glenlyon Road and Brunswick Street in Brunswick, is a picturesque slice of Italy in inner city Melbourne. With its elegant proportions, warm yellow stuccoed facade and stylish Romanesque campanile, the church would not look out of place sitting atop a rise in Tuscany, or being the centre of an old walled town. This idea is further enhanced when the single bell rings from the campanile, calling worshipers to prayer.

Christ Church has been constructed in a cruciform plan with a detached campanile. Although not originally intended as such, at its completion, the church became an excellent example of "Villa Rustica" architecture in Australia. Like other churches around the inner city during the boom and bust eras of the mid Nineteenth Century as Melbourne became an established city, the building was built in stages between 1857 and 1875 as money became available to extend and better what was already in existence. Christ Church was dedicated in 1857 when the nave, designed by architects Purchas and Swyer, was completed. The transepts, chancel and vestry were completed between 1863 and 1864 to the designs created by the architects' firm Smith and Watts. The Romanesque style campanile was also designed by Smith and Watts and it completed between 1870 and 1871. A third architect, Frederick Wyatt, was employed to design the apse which was completed in 1875.

Built in Italianate style with overture characteristics of classical Italian country house designs, Christ Church is one of the few examples of what has been coined "Villa Rustica" architecture in Victoria.

Slipping through the front door at the bottom of the campanile, the rich smell of incense from mass envelops visitors. As soon as the double doors which lead into the church proper close behind you, the church provides a quiet refuge from the busy intersection of Glenlyon Road and Brunswick Street outside, and it is quite easy to forget that cars and trams pass by just a few metres away. Walking up the aisle of the nave of Christ Church, light pours over the original wooden pews with their hand embroidered cushions through sets of luminescent stained glass windows by Melbourne manufacturers, Ferguson and Urie, Mathieson and Gibson and Brooks Robinson and Company. A set of fourteen windows from the mid-to-late Nineteenth Century by Ferguson and Urie depicting different saints are especially beautiful, filled with painted glass panes which are as vivid now as when they were created more than one hundred years ago. The floors are still the original dark, richly polished boards that generations of worshipers have walked over since they were first laid. The east transept houses the Lady Chapel, whilst the west transept is consumed by the magnificent 1972 Roger H. Pogson organ built of cedar with tin piping. This replaced the original 1889 Alfred Fuller organ. Beautifully executed carved rood figures watch over the chancel from high, perhaps admiring the marble altar.

Albert Purchas, born in 1825 in Chepstow, Monmouthshire, Wales, was a prominent Nineteenth Century architect who achieved great success for himself in Melbourne. Born to parents Robert Whittlesey Purchas and Marianne Guyon, he migrated to Australia in 1851 to establish himself in the then quickly expanding city of Melbourne, where he set up a small architect's firm in Little Collins Street. He also offered surveying services. His first major building was constructing the mansion "Berkeley Hall" in St Kilda on Princes Street in 1854. The house still exists today. Two years after migrating, Albert designed the layout of the Melbourne General Cemetery in Carlton. It was the first "garden cemetery" in Victoria, and his curvilinear design is still in existence, unaltered, today. In 1854, Albert married Eliza Anne Sawyer (1825 - 1869) in St Kilda. The couple had ten children over their marriage, including a son, Robert, who followed in his father's footsteps as an architect. Albert's brother-in-law, Charles Sawyer joined him in the partnership of Purchas and Sawyer, which existed from 1856 until 1862 in Queens Street. The firm produced more than 140 houses, churches, offices and cemetery buildings including: the nave and transepts of Christ Church St Kilda between 1854 and 1857, "Glenara Homestead"in Bulla in 1857, the Melbourne Savings Bank on the corner of Flinders Lane and Market Street (now demolished) between 1857 and 1858, the Geelong branch of the Bank of Australasia in Malop Street between 1859 and 1860, and Beck's Imperial Hotel in Castlemaine in 1861. When the firm broke up, Albert returned to Little Collins Street, and the best known building he designed during this period was St. George's Presbyterian Church in East St Kilda between 1877 and 1880. The church's tall polychomatic brick bell tower is still a local landmark, even in the times of high rise architecture and development, and St, George's itself is said to be one of his most striking church designs. Socially, Albert was vice president of the Royal Victorian Institute of Architects for many years, before becoming president in 1887. He was also an inventor and philanthropist. Albert died in 1909 at his home in Kew, a wealthy widower and much loved father.

Haus Tietz, former Japanese Embassy Object ID: 40845

Schottenring 10

Inner City. This in 1870/71 by Carl Tietz in strict historical forms of the New Viennese Renaissance built palace-like house with ionic pillar balcony portal presents in all floors significant ceiling furnishings (stucco work by Johann Hutterites, Josef Pokorny and Franz Schoenthaler, oil paintings by August Eisenmenger and Karl Geiger.)

de.wikipedia.org/wiki/Liste_der_denkmalgesch%C3%BCtzten_O...

Prehistory

From 13th Century on a wall surrounded the city. After the first Turkish siege of 1529 and the Thirty Years' War (1618-1648), this fortification was further expanded and strengthened. In addition, outside the fortifications a glacis, a strip of meadow, was created that can not be obstructed and the defense impeding growth is not allowed. The strip with construction ban was originally 95 meters wide and has been extended till 1683 to 450 meters width. The with projecting gun terraces - so-called bastions - equipped city walls proved during the second Turkish siege in 1683 very much, but then lost in importance and were from the late 18th Century outdated military technology.

Therefore, Emperor Joseph II from 1770 let add pedestrian walkways and driveways on the glacis, lanterns set up in 1776 and since 1781 about 3,000 alley trees plant. The glacis was now an open-air workshop for artisans, stalls were set up. 1809, the castle bastion was blown up by Napoleon's troops, in 1820 the outer castle gate in this area erected, which served the representation.

After the revolution of 1848, the city walls and outlying forts were also standing the urban development of the rapidly growing metropolis in the way: Because 1850, the suburbs were incorporated as districts II to VIII (from 1861 II -IX), so that the fortifications constituted a noticeable obstacle to traffic. The park-like Glacis, with its refreshment pavilions, however, was widely appreciated as a recreational area.

Demolition of the city wall and laying ot the ring road

On 20 December 1857 took Emperor Franz Joseph I. the decision to "abandon the ramparts and fortifications of the inner city, like the ditches around the same" and he ordered the construction of a boulevard at this point. In his "Most High Handwritten Letter" to Interior Minister Alexander von Bach, which begins with the oft-quoted words, "It is my will" and on 25 December was published in full on page 1 of the official "Wiener Zeitung", the Emperor decreed the exact size and use of the area newly acquired and announced a design competition. In March 1858 began at the Rotenturmtor by the Danube Canal the demolition work that was completed only in 1874. By the summer of 1858 85 projects for the basic plan of the ring road had been received.

The new road was planned as a representation Boulevard; therefore for the load carts has been provided a parallel "load road". This traffic control exists until today. The originally different names bearing load road is now known as a two line, the from the tram operation borrowed name referred to the herein till 1980 running tram lines E2, G2 and H2 and is since then the between Karlsplatz and Alserstraße under the street passing subway line U2.

After conflicts of competence between the government and the city council in 1858 the city expansion fund was created, who belonged to the Aerar, managed by the Government Treasury. In 1859 it received the order to take over the project, sold the by the demolition of the city walls and the elimination of the defense become vacant land to private investors, which financed with it the representational buildings of the state. Only the New Town Hall, as it was called until 1960, was planned by the city administration. Because the city went empty-handed away with this large-scale real estate operation, it represented with even greater determination the partial preservation of the existing recreation areas. Up to the present, there are comparatively large green areas with City Park, Castle Garden, Public Garden, City Hall Park and Sigmund Freud Park along the ring road.

The expansion of the Stubenring stood for a long time the Franz Josef Barracks in the way, that with the north of the old city situated Rossauer Barracks should control the city center. Construction began in 1854 and was completed in 1857, the same year the emperor chose the conveyance of the fortifications. The Aspern Bridge as a connection from the Stubenring to the Leopoldstadt, the 2nd District, was indeed already opened in 1864, but not until 1900/1901, the barracks were demolished. On its former area standing the until 1913 built quarter around the former Imperial Post Office Savings Bank (built from 1904 to 1906, later extended), 1909/1910, the Urania was put as completion of ring road next to the Aspernbrücke, only in 1913 vis-à-vis the Post Office Savings Bank the new imperial War Office opened and the Stubenring with this completed.

The ring road was on 1 May 1865 by Emperor Franz Joseph I inaugurated in the presence of Empress Elisabeth, many Archdukes, ministers and representatives of the City of Vienna, Mayor Andreas Zelinka at the top. The ceremony took place in front of the castle gate outside the castle ring, in the subsequent voyage of the guests of honor for the royal table in the Prater, more than 100 carriages have been involved. At the time of the opening of the road (today's name) Stubenring, Burgring, Dr.-Karl -Renner-Ring, Universitätsring (former Dr.Karl-Lueger-Ring) and Scots ring (Schottenring) were still largely undeveloped. From the wool line (Wollzeile) to Babenbergerstraße, however, builders of aristocracy and bourgeoisie had already many "stately" homes built.

Buildings

Along the ring road numerous public and private buildings were erected. Aristocrats and other wealthy individuals who hastened to build representative Palais (Ringstraßenpalais).

One of the first buildings was the Heinrichhof (historical spelling without s) of the brick manufacturer Heinrich von Drasche-Wartinberg, who, lately damaged by war, stood till 1954 opposite the Opera House.

Noteworthy are most of all the K.K. Court Opera (now the State Opera ) in the Neo-Renaissance style by August Sicard von Sicardsburg and Eduard van der Null, the Parliament in neo-Attic style (a reference to the altathenische (pertaining to ancient Athens) democracy) and the Palais Epstein of Theophil von Hansen, the then New Town Hall in the Flemish Gothic style by Friedrich von Schmidt , the Burgtheater by Karl von Hasenauer and Gottfried Semper and the new university building by Heinrich von Ferstel . The Votive Church is the only religious building in neo-Gothic style (by Heinrich von Ferstel), which was founded in 1853 on the occasion of the deliverance of the Emperor Franz Joseph of assassination and for decades was under construction.

Cross to the ring road should be built before the historic Hofburg, the imperial residence, the monumental imperial forum to demonstrate the power of the Austro-Hungarian monarchy, the project remained a torso. Was built up to the First World War within the ring road, the Neue Hofburg, in which now the Austrian National Library, the Ethnographic Museum, the collection of ancient musical instruments, the Ephesus Museum and the Collection of Arms and Armory are housed. Other parts of the realized Imperial Forum are outside the ring road, the Kunsthistorisches Museum (Art History Museum) and the Natural History Museum.

According to the original opposite the New Hofburg should have been built a symmetric wing to the older parts of the Hofburg, which ought to connect with the Natural History Museum. Thus, the Heldenplatz and the Maria-Theresien-Platz would have been part of the from the ring road through archways between the museums and the new parts of the Hofburg crossed Imperial Monumental Forum. This plan came to a halt for lack of money, furthermore was at the beginning of the First World War not even the interior of the "New Castle" completed. The changed political situation after 1918 made ​​the project obsolete.

The completion of the representative construction activity on the ring was not until 1913 with the finalisation of the Imperial War Department achieved, as the Ringstrassen style had become a bit unfashionable, as the about at the same time by Otto Wagner in Art Nouveau style built facing Post Office Savings Bank shows.

The biggest disaster of the ring road was the fire at the Ring Theatre in 1881, which claimed hundreds of lives. In lieu of the theater was built the Sühnhaus (expiation house), which in turn was destroyed in the Second World War and was offering space for the new construction of the Vienna Police Headquarters (Schottenring 7-9) to replace the existing as well destroyed police headquarters (Scots ring 11).

de.wikipedia.org/wiki/Wiener_Ringstra%C3%9Fe

Votivkirche (9, Rooseveltplatz, the provost parish church "To the Divine Savior").

History

Archduke Ferdinand Max after the rescue of his brother Franz Joseph I (assassination attempt of Johann Libenyi on 18 February 1853), suggested by an appeal the construction of a memory church, which was built from 1856 to 1879 according to the plans of Heinrich Ferstel (who at the beginning of construction was only 28 years old) together with the parsonage behind it in the style of French cathedral gothic of the 13th century on the Glacis in front of the (gate) Schottentor. Since the Glacis had not yet been released for development, the church had to be erected on the outer edge of this one and thus a few years later it stood distant from the Ring Road. Around the construction of the church there were a number of unrealized projects: the planned in a semicircular shape University of Vienna behind the church respectively a Hall of Fame (Viennese Acropolis, realized in the Arsenal) and the Tegetthoff monument in front of the church.

The site was definitively established on 25th October 1855; on 24th of April, 1856, the foundation stone was laid by Cardinal Archbishop Rauscher (commemorative plaque); on 18th of August, 1868, the completion of the tower was celebrated. The consecration was carried out by Cardinal Archbishop Kutschker on the occasion of the silver wedding of the Imperial couple on April 24, 1879 (commemorative plaque). The Votivkirche was in the monarchy (catholic) garrison church for Vienna (imperial decision of 1862). Here, too, all military funerals commenced. The Votivkirche is one of the most outstanding examples of historic architecture.

Roosevelt square - Votivkirche, around 1900

Exterior

Double tower facade with three figures portals and window rose.

Main portal

Main portal with rich figural decoration by Johannes Benk (Christ-King statue in the midst of the apostles, surrounded by models from the Old Covenant [Abel, Noe, Melchizedek, Isaak, Samson, Aaron, Moses]; in the gable above the Holy Trinity (by Josef Gasser), on the side four evangelists and Austro-Hungarian provincial patrons (Koloman [Lower Austria], Vigilius (South Tyrol), Aegius [Carinthia], Josef [Steiermark], Leopold [Lower Austria], Wenzel (Bohemia), Spiridion (Dalmatia), Michael (Galicia), Georg (Krain), Rochus (Croatia), St. Nicholas of Bari (Veneto), Ladislaus (Transylvania), Justus (Trieste), Hedwig (Silesia), Ruprecht (Salzburg), Johannes Nepomuk (Bohemia) by Franz Melnitzky and Peter Kastlunger) above the rosette "Coronation of Mary" by Gasser.

Side portal

Reliefs of Gasser ( "Annunciation of Mary" [below it the four prophets Jeremiah, Isaiah, David and Micah by Anton Schmidgruber], "Resurrection of Christ" (below it St Francis, Elisabeth and Sophie von Kastlunger).

Entrance portals

The entrance portals into the transept are devoted to God the Father and the Holy Spirit. There are eight prophets, or church fathers, on the arcade arrows. The church received a new roof of Eternit-plates in 1967.

Interior

Three-aisled, ribbed vaulted basilica, with four flat side chapels on each side; three-aisled transept; choir with 7/12 closing; chapel ambulatory and apse chapel. The wall and ceiling paintings stem from Joseph von Führich, A. von Wörndle, Carl Jobst and Josef Matyáš Trenkwald. On the vault of the central nave, the Christ's Family Tree by Franz Jobst and Carl Jobst. The organ (1874-1878) by E. F. Walcker & Co. (Ludwigsburg) is the only mechanical work of this size (3,762 pipes) in Europe (Anton Bruckner has also played here).

The glass paintings of the church windows, to which Trenkwald had supplied the designs, were destroyed during the Second World War and replaced by figural windows (mostly by designs by Christine Feldmann, with the exception of the "emperor window" which was renewed according to old pattern, thus in the replacement windows there are also topics that fall into the time after church building).

High altar

High altar of white marble with six Egyptian alabaster columns with figural ornamentation by Gasser, Robert Streschnak and Ferdinand Laufberger (cardinal virtues in the vault of the canopy), portrait of Mary, that was a gift from Pope Pius IX in the middle of the (constantly locked) chapel ambulatory.

Marienaltar (once the Antwerp altar)

Here stood the Antwerp altar (the most important work of the Flemish carving art of the 15th century, since 1996 for security reasons as a loan in the cathedral and diocesan museum).

The theme of the church window is the history of Christ's suffering.

"Emperor window"

Window of the city of Vienna "Emperor window"

The window was donated by the municipality of Vienna in 1877 and renewed by the latter after the Second World War.

Bishop's Chapel

The altar is dedicated to the Divine Heart of Jesus; grave of the Auxiliary Bishop Godfried Marschall (he was the first church minister).

Church windows: Bishops of Austrian church history.

Altar of the Mother of God of Guadelupe.

Church window: History of the worship of the Virgin of Guadelupe.

Winged altar

The altar made of cedar wood from Lebanon, shows Mary's engagement with St. Joseph, the proclamation with closed wings.

Church window: History of the worship of the Marienbild of Mariazell.

Barbara candle (Artillery Memorial).

Church window: History of Mary's image by Maria Pötsch.

Monument to the members of the executive who have fallen.

Church window: History of the wonderful glass window of Absam (Tyrol).

Church window: Rudolf I

Church window: Ferdinand II

Gothic chapel shrine

Holy grave for the last days of Holy Week.

Church window: 23rd Eucharistic Congress in Vienna (1912).

Church window: death in the National Socialist concentration camp Mauthausen.

Baptismal chapel

Baptismal stone of Egyptian marble; tumba by Niklas Graf Salms (Salm tomb).

Church windows: Major Austrian missionaries.

Pulpit

Pulpit of marble; On the gold mosaic of the parapet, the four church fathers and the teaching Savior; at the foot of the pulpit the bust of Ferstel by Viktor Tilgner.

Monument to the Austrian Kaiserschützen Regiments, church Window: Representatives of the Austrian Social Reform (draft by Hans Schweiger).

Cross altar

Church window: left John of God (defense of Vienna against the Turks 1529), right Franz Jägerstätter.

Votivkirche (9, Rooseveltplatz; Propsteipfarrkirche „Zum göttlichen Heiland").

Geschichte

Erzherzog Ferdinand Max regte nach der Errettung seines Bruders Franz Joseph I. (Attentat von Johann Libenyi am 18. Februar 1853) durch einen Aufruf den Bau einer Gedächtniskirche an, die 1856-1879 nach den Plänen von Heinrich Ferstel (der bei Baubeginn erst 28 Jahre alt war) samt dem dahinterstehenden Pfarrhaus im Stil französischer Kathedralgotik des 13. Jahrhunderts auf dem Glacis vor dem Schottentor erbaut wurde. Da das Glacis damals noch nicht zur Verbauung freigegeben war, musste die Kirche am äußeren Rand desselben errichtet werden und stand damit einige Jahre später fern der Ringstraße. Rund um den Bau der Kirche gab es eine Reihe unrealisierter Projekte: die halbkreisförmig hinter der Kirche geplante Universität Wien beziehungsweise eine Ruhmeshalle (Wiener Akropolis; realisiert im Arsenal) und das Tegetthoffdenkmal vor der Kirche.

Das Areal wurde am 25. Oktober 1855 definitiv festgelegt, am 24. April 1856 fand die Grundsteinlegung durch Kardinal-Erzbischof Rauscher statt (Gedenktafel), am 18. August 1868 feierte man die Turmvollendung. Die Weihe nahm Kardinal-Erzbischof Kutschker anlässlich der Silberhochzeit des Kaiserpaars am 24. April 1879 vor (Gedenktafel). Die Votivkirche war in der Monarchie (katholisch) Garnisonskirche für Wien (kaiserlicher Entschluss von 1862). Hier nahmen auch alle militärischen Leichenbegängnisse ihren Ausgang. Die Votivkirche ist eines der hervorragendsten Beispiele historisierender Architektur.

Rooseveltplatz – Votivkirche, um 1900

Äußeres

Doppelturmfassade mit drei Figurenportalen und Fensterrose.

Hauptportal

Hauptportal mit reichem figuralem Schmuck von Johannes Benk (Christ-König-Statue inmitten der Apostel, umgeben von Vorbildern aus dem Alten Bund [Abel, Noe, Melchisedech, Isaak, Samson, Aaron, Moses); im Giebel darüber Heilige Dreifaltigkeit (von Josef Gasser), seitlich vier Evangelisten und österreichisch-ungarische Landespatrone (Koloman [Niederösterreich], Vigilius [Südtirol], Ägydius [Kärnten], Josef [Steiermark], Leopold [Niederösterreich], Wenzel [Böhmen], Spiridion [Dalmatien], Michael [Galizien], Georg [Krain], Rochus [Kroatien], Nikolaus von Bari [Venetien], Ladislaus [Siebenbürgen], Justus [Triest], Hedwig [Schlesien], Ruprecht [Salzburg], Johannes Nepomuk [Böhmen]) von Franz Melnitzky und Peter Kastlunger), über der Rosette „Krönung Mariens" von Gasser.

Seitenportale

Reliefs von Gasser („Verkündigung Mariens" [darunter die vier Propheten Jeremias, Isaias, David und Michäas von Anton Schmidgruber ], „Auferstehung Christi" [darunter Namenspatrone der kaiserlichen Familie: Franziskus, Elisabeth und Sophie von Kastlunger]).

Eingangsportale

Die Eingangsportale ins Querschiff sind Gott Vater und dem Heiligen Geist gewidmet. An den Arkadenpfeilern befinden sich acht Propheten beziehungsweise Kirchenväter. Die Kirche erhielt 1967 ein neues Dach aus Eternitplatten.

Inneres

Dreischiffige, kreuzrippengewölbte Basilika, beiderseits vier flache Seitenkapellen; dreischiffiges Querschiff; Chor mit 7/12-Schluss; Kapellenumgang und Kapellenkranz. Die Wand- und Deckengemälde stammen von Joseph von Führich, A. von Wörndle, Carl Jobst und Josef Matyáš Trenkwald. Am Deckengewölbe des Mittelschiffs Stammbaum Christi von Franz Jobst und Carl Jobst. Die Orgel (1874-1878) von E. F. Walcker & Co. (Ludwigsburg) ist das einzige mechanische Werk dieser Größe (3.762 Pfeifen) in Europa (auch Anton Bruckner hat hier gespielt).

Die Glasgemälde der Kirchenfenster, zu denen Trenkwald die Entwürfe geliefert hatte, wurden während des Zweiten Weltkriegs vernichtet und (mit Ausnahme des nach alter Vorlage erneuerten „Kaiserfensters") durch Figuralfenster (zumeist nach Entwürfen von Christine Feldmann) ersetzt (daher finden sich bei den Ersatzfenstern auch Themen, die in die Zeit nach dem Kirchenbau fallen).

Hochaltar

Hochaltar aus weißem Marmor mit sechs ägyptischen Alabastersäulen mit figuralem Schmuck von Gasser, Robert Streschnak und Ferdinand Laufberger (Kardinaltugenden im Gewölbe des Baldachins), Bildnis der Maria, das ein Geschenk von Papst Pius IX. war, in der Mitte des (ständig gesperrten) Kapellenumgangs.

Marienaltar (einst Antwerpener Altar)

Hier stand der Antwerpener Altar (bedeutendstes Werk der flämischen Schnitzkunst des 15. Jahrhunderts; seit 1996 aus Sicherheitsgründen als Leihgabe im Dom- und Diözesanmuseum).

Thema des Kirchenfensters ist die Leidensgeschichte Christi.

„Kaiser-Fenster"

Fenster der Stadt Wien („Kaiser-Fenster"). Das Fenster wurde 1877 von der Gemeinde Wien gespendet und von dieser nach dem Zweiten Weltkrieg erneuert.

Bischofskapelle

Der Altar ist dem Göttlichen Herzen Jesu gewidmet; Grabstätte des Weihbischofs Godfried Marschall (er war der erste Propst der Kirche).

Kirchenfenster: Bischöfe der österreichischen Kirchengeschichte.

Altar der Gottesmutter von Guadelupe.

Kirchenfenster: Geschichte der Verehrung des Marienbilds von Guadelupe.

Flügelaltar

Der aus Zedernholz vom Libanon geschaffene Altar zeigt die Verlobung Mariens mit dem heiligen Josef, bei geschlossenen Flügeln die Verkündigung.

Kirchenfenster: Geschichte der Verehrung des Marienbilds von Mariazell.

Barbarakerze (Artilleristen-Gedächtnisstätte).

Kirchenfenster: Geschichte des Marienbilds von Maria Pötsch.

Denkmal für die im Dienst gefallenen Angehörigen der Exekutive.

Kirchenfenster: Geschichte des wunderbaren Glasfensters von Absam (Tirol).

Kirchenfenster: Rudolf I.

Kirchenfenster: Ferdinand II.

Gotischer Kapellenschrein

Heiliges Grab für die letzten Tage der Karwoche.

Kirchenfenster: 23. Eucharistischer Kongress in Wien (1912).

Kirchenfenster: Todesstiege im nationalsozialistischen Konzentrationslager Mauthausen.

Taufkapelle

Taufstein aus ägyptischen Marmor; Hochgrab von Niklas Graf Salms (Salmgrabmal).

Kirchenfenster: Bedeutende österreichische Missionare.

Kanzel

Kanzel aus Marmor; auf dem Goldmosaik der Brüstung die vier Kirchenväter und der lehrende Heiland; am Kanzelfuß Büste Ferstels von Viktor Tilgner.

Denkmal für die österreichische Kaiserschützen-Regimenter, Kirchenfenster: Vertreter der österreichischen Sozialreform (Entwurf von Hans Schweiger).

Kreuzaltar

Kreuz-Altar.

Kirchenfenster: links Johannes von Gott (Verteidigung Wiens gegen die Türken 1529), rechts Franz Jägerstätter.

www.wien.gv.at/wiki/index.php/Votivkirche

Col. Nick Ducich, Joint Multinational Training Group-Ukraine commander (left), presents Lt. Col. Roman Zabrodsky, 2nd Airborne Parachute Battalion, 25th Airborne Brigade commander a certificate of completion Apr. 29 during the rotation two Joint Multinational Training Group-Ukraine graduation ceremony at the International Peacekeeping and Security Center near Yavoriv, Ukraine. Each JMTG-U rotation will consist of nine weeks of training where Ukrainian soldiers will learn defensive combat skills needed to increase Ukraine's capacity for self-defense. (U.S. Army photo by Staff Sgt. Adriana M. Diaz-Brown, 10th Press Camp Headquarters)

The Maryland National Guard Freestate Challenge Academy held their course completion ceremony for the 22 week residency phase for 104 cadets of class #47 at Havre de Grace High School, Havre de Grace, Md., Dec. 10, 2016. .

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Retired Air Force Gen. Larry O. Spencer, who served as the VIce Chief of Staff of the U.S. Air Force, spoke to the cadets as the keynote speaker..

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The Academy is a two-phased 17-month intervention program for underemployed, drug-free, “at-risk” high school dropouts from the state of Maryland between 16-18 years of age. Following graduation from the resident phase, the cadets are mentored for an additional 12 months, during which time they are placed into jobs, continue their higher education, or vocational trades training or enter the military..

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The mission of the Academy is to intervene in and reclaim the lives of at-risk youth and to produce graduates with the values, skills, education and self-discipline needed to succeed as adults..

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The students were brought into a structured and highly disciplined quasi-military academic setting that builds confidence and self-esteem to become productive and contributing members of our society. Cadets attend academic classes to prepare them for the test for the General Education Development (GED) credential and Maryland High School Diploma.

The completion of the work to rehabilitate seven stations along the D Line in Brooklyn was marked on August 2, 2012, with a ribbon-cutting ceremony attended by MTA leaders and local elected officials.

We installed great new artwork at each of the seven stations. Here are details for the artwork shown in this image and its location.

20 Avenue Station -

Artist: Odili Donald Odita

Title: Kaleidoscope

Date: 2012

Medium: Laminated glass

Location: Platform windscreens

Fabricator: Depp Glass, Inc.

This station has a combination of a busy commercial district and a perpendicular axis, in that the tracks are north and south while 20th Avenue runs east and west. Mr. Odita's work, titled Kaleidoscope, is based on the color and atmosphere within the surrounding community. His work is non-objective in that there is no imagery; instead, there are bands of color. In the medium of glass, the work will be aided by the strong light available to this particular station, and since there is no specific imagery to interpret, it can be visible and enjoyed by those one to two blocks away who will the color bands which will appear to be suspended above 20th Avenue.

For more information about art throughout the New York transit system, download the Meridian app.

Photo: MTA Arts for Transit and Urban Design.

Completion of the interior of the concession window on the Northwestern Tailgating Trailer.

www.imagimotive.com

To celebrate the completion of the telescope portion of the James Webb Space Telescope (as well as completion of NASA Goddard's test program on the telescope), NASA Goddard employees were invited to come see the telescope up close.

In the afternoon, project member spoke to NASA employees about the project. Here senior project scientist Dr. John Mather gives a talk on Webb.

Credit: NASA/Jolearra Tshiteya

a href="http://www.nasa.gov/audience/formedia/features/MP_Photo_Guidelines.html" rel="nofollow">NASA Image Use Policy

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