View allAll Photos Tagged contributing
Oh what a night it was in the land of Swirl’n mic Mad-ness this past 1st Wednesday! Mad Swirl featured longtime Contributing Poet Quinten Collier all the way from the Rocky Mountain HIGH state of Colorado. With the help of the interwebs, it felt like he was right there with us at The Underpass. If you were there to toke the poetic smoke he fired up, then you know how deliscious his set was!
Thanks to all who came out to help share in their delicious madness. What a night of the beat-utifullest poetry and music it was! Here’s a shout out to all who graced us with their words, their songs, their divine madnesses…
(photos courtesy of Dan “the man” Rodriguez)
Hosts:
Johnny O
MH Clay
Feature:
Quinten Collier
Mad Cast:
Suza "Hep Kat Mama" Kanon
Sean "TA2" Buttram
Opalina Salas
Roderick Richardson
Vic Victory
Carlos Salas
Paul Sexton
Jen Bochenko
James “Bear the Poet” Rodehaver
Harry McNabb
Jay "Holiday" Gomez
Sean St. Stevens
Nadia Wolnisty
Gabe Mamola
Anthony Harris
Anthony X Haynes
Griff "Warrior Poet"
HUGE thanks to Swirve (Chris & Tamitha Curiel, Gerard Bendiks) for keeping the beat til the wee hours of the night. We got taken to another dimension of time and space on the wings of their jazzy madness!
More HUGE thanks to fantastic photog Dan Rodriguez (he captured these scenes) for sharing his mad eye and giving y’all a taste of the night’s mic madness.
Thanks to Michael David Bacchus & Leo at The Underpass for opening up this fine establishment to us mad ones and making us feel right at home.
And finally we would like to thank ALL of you who freely shared their hand claps, finger-snaps, hoots and howls with all the mad ones who got up on this sacred mad swirlin’ mic.
Contributed by Dr. Ulrich Vogel, Eberhard-Karls-University, Tuebingen, Germany
See topic: www.pathologyoutlines.com/topic/skintumornonmelanocyticpi...
Extensive Intra-alveolar hemosiderin deposition following pulmonary hemorrhage. Prussian blue stain. Pulmonary veno-occlusive disease.
Image contributed by Dr. Yale Rosen - @yro854
Barbara Ray and Herman Crawford. From the 1956 edition of Wilsonian, Alexander Wilson High School's yearbook (p. 29).
View at DigitalNC: Alexander Wilson High School 1956 Yearbook
Digital Collection: North Carolina High School Yearbooks
Contributing Institution: Alamance County Public Libraries
Usage Statement: Copyright Alamance County Public Libraries. The materials in this collection are made available for use in research, teaching and private study. Images and text may not be used for any commercial purposes without prior permission from Alamance County Public Libraries.
Springboard Danse Montreal
springboarddansemontreal.com/
ABOUT
MISSION STATEMENT
Springboard Danse Montréal is a not-for-profit contemporary dance organization that provides career development services and connects professional dancers and emerging choreographers with some of today’s leading Montréal-based and internationally renowned dance companies. It also actively contributes to the Montréal cultural community through various outreach programs.
VISION
Springboard Danse Montréal shall be internationally recognized as the leading career development and job placement resource for emerging dancers and choreographers, bringing together top caliber talent in the international contemporary dance scene.
CORE VALUES
Integrity, Creativity, Mentorship, and Community Development
===
2 June 2015 - OECD Forum 2015
The aim of the IdeaFactory was to explore the deficits in leadership that contributed to the Crisis and in particular to engage participants in a forward-looking discussion on the role of influential educational institutions, and notably business school programmes, in shaping our future leaders. The session delved into how these institutions are adapting their approaches and curricula in view of the insights learned from the crisis. It also looked at their role in overcoming the crisis and charting a new post-crisis course, contributing to a new growth agenda which places inclusiveness, sustainability, well-being and trust at its heart.
Speakers:
- Anthony Gooch, Director of Public Affairs and Communications, OECD;
- Andreas Scheilcher, Director of Education and Skills, OECD
Discussion leaders:
- Maria Teresa Fleury, Dean, Escola de Administração de Empresas de São Paulo, Fundação Getulio Vargas, Brazil
- Anthony Gooch, Director, Public Affairs and Communications, OECD
- Colm Harmon, Head, School of Economics, Faculty of Arts and Social Sciences, The University of Sydney
- Renate Hornung-Draus, Managing Director, Confederation of German Employers’ Association (BDA)
- Santiago Iñiguez de Onzoño, President, IE University; Dean, IE Business School, Spain
- Fred Kiel, Author, Return on Character: The Real Reason Leaders and their Companies Win
- Silvana Koch-Mehrin, Founder & CEO, Women in Parliaments Global Forum (WIP)
- Julie Mercer, Global Industry Lead for Education, Deloitte
- Yumiko Murakami, Head, Tokyo Centre, OECD
- Sergey Myasoedov, Russian Academy of National Economy and Public Administration (RANEPA); Dean, IBS-Moscow; President, Russian Association of Business Education (RABE)
- William Saito, Special Advisor, Cabinet Office, Japan
- Andreas Schleicher, Director, Education and Skills, OECD
- Maria-Pia Victoria-Feser, Dean - Geneva School of Economics and Management, University of Geneva, Switzerland
- Kevyn Yong, Academic Dean, ESSEC Asia Pacific; Associate Professor, Management Department, ESSEC Business School
- Radek Špicar, Executive Director, Aspen Institute, Prague
For more information, visit: www.oecd.org/forum/about/ideafactory.htm
Images and discussion contributed by Pallavi Khattar, M.D. (New York Medical College at Westchester Medical Center), Puneet Bedi, M.D. (Brookdale University Hospital and Medical Center, New York) and John T Fallon, MD, PhD (New York Medical College at Westchester Medical Center).
A 64 year old man presented with a past medical history of hypertension, congestive heart failure (CHF), atrial fibrillation and NSTEMI. He was admitted for CHF exacerbation and acute kidney failure. He continued to have worsening cardiac status and experienced sudden cardiac arrest. Findings at autopsy revealed evidence of myocardial ischemic damage and bulky rubbery lesion on the aortic valve, completely occluding right coronary ostium.
Discussion:
Cardiac papillary fibroelastomas (CPFEs) are rare benign tumors of the endocardium and represent the most common primary valvular tumors of the heart (Am Heart J 2003;146:404). These tumors are also referred to as giant Lambl’s excrescences, fibroelastic hamartomas or papilliferous tumors.
CPFE is sporadically reported with an incidence between 0.002% and 0.33% at autopsy. CPFE can occur in any age group, with the majority occurring in adults, and the highest prevalence in the eighth decade. They occur most frequently on the valvular surfaces (73%), particularly on the aortic (44%) and mitral (35%) valves (Can J Cardiol 2007;23:301).
Grossly, the tumor is characterized by broad-based filiform processes, with or without a central stalk. These lesions are more common near the lines of valvular closure.
Microscopically, CPFEs consists of papillary, pedunculated and avascular tumors, covered by a single layer of endothelium, containing variable amounts of elastic fibrils arranged in whorls in a hyaline stroma. The connective tissue contains a mucopolysaccharide acid matrix, smooth muscle cells, collagen and elastin fibers.
Differential diagnoses to be considered are other cardiac tumors (e.g. myxomas, thrombi and bacterial vegetation’s).
Although many papillary fibroelastomas do not cause symptoms, early diagnosis of CPFE is of prior importance to prevent patients from fatal complications. Nevertheless, this tumor can present with a variety of clinical manifestations, making diagnosis challenging. Transesophageal echocardiography is known to have high sensitivity to detect excrescences and should always be included in the diagnostic assessment. Asymptomatic patients who are found to have evidence of CPFE should be monitored closely (Circulation 1999;99:1919).
CPFEs are benign and can be removed by surgical resection.
Click here to see topic.
Contributed by bbill48
B Altmans was built after tearing down the Station of the NYB&Westchester train station.
Mr. Mark Samuel (CAN), representing FEI Board contributes to the session on improvements and innovations to reshape Endurance at the FEI Sports Forum IMD Lausanne (SUI) (FEI/Richard Juilliart)
Inflammatory exudate within a bronchiole and peribronchiolar alveoli.
Image contributed by Dr. Yale Rosen - @yro854
HUGE honor to have been asked to contribute a recipe to Ken Forkish's "Elements of Pizza" cookbook. Ken's first book, "Flour Water Salt Yeast," helped me make some huge breakthroughs in bread-baking and, more important, the philosophy it espoused of pushing a recipe to its limits in order to learn what you can and can't do, well, that was a HUGE influence on my development of the bar pizza recipe for Margot's Pizza.
This traffic signal box is a part of the Craigieburn Road Legacy Art trail.
As part of the Craigieburn Road Upgrade, Major Road Projects Victoria worked with local artists and the community to reimagine and reinvent public spaces through a signal box art trail.
Local artists were invited to contribute to a vibrant art trail featuring 30 traffic signal cabinets along Craigieburn Road. Each piece of public art tells the story of "What makes Craigieburn unique," serving as the main theme of the art installation. The artwork also celebrates sub-themes such as community, connection, travel, history, culture, diversity, environment, nature, and sustainability.
Kathleen Jessop is an artist who perceives the world through intricate details. Her work, characterised by both surreal and expressionist elements, is deeply inspired by the natural world and the unseen forces that shape it.
Kathleen's playful and distinctive style creates a sense of continuity, inviting viewers to engage with her pieces and reflect on their own interpretations and internal experiences. Her admiration for native Australian flora and fauna is evident across all her mediums, from ink and fine liner to gouache, acrylic, and aerosol.
Through her art, Kathleen invites us to explore the beauty and complexity of nature, encouraging a deeper connection to the world around us.
This piece is titled "Nocturnal Natives".
I grew up alongside two separate creek systems (Aitken Creek and Malcolm Creek), where there were some extraordinary nocturnal animals. If you are out at night in Craigieburn, you should look out for them. This work includes images of the tawny frogmouth, southern brown bandicoot, lesser long-eared bat, southern old lady moth, black field cricket, kangaroo grass and eucalyptus gum nuts. These all help to make up the unique ecosystems in our backyard and must be cherished and protected.
Photograph contributed by The Isle of Arran Heritage Museum
For more information on the Yesterd@ys project, please visit Our Website, or email us at NAHeritage@North-Ayrshire.gov.uk
DISCLAIMER
All archival images on this website have been made available by The North Ayrshire Council in good faith for reference and/or educational purposes only and without intent to breach any proprietary rights which may subsist in the work. Images may not be printed, copied, distributed, published or used for any commercial purposes without the prior written consent of the individual or body which holds such rights. Should any alleged breach of proprietary rights be brought to the attention of The North Ayrshire Council, relevant material will be removed from the website with immediate effect.
The North Ayrshire Council is not responsible for the content, reliability or availability of external websites and cannot be held liable for any loss or damage to the user, of whatever kind, arising either directly or indirectly from use of same. Listing should not be taken as an endorsement of any kind and in particular, of views expressed within any such site.
Knowsley Safari Park is a zoological park and tourist attraction in the Knowsley area of Merseyside, England. Knowsley Safari Park is a member of the British and Irish Association of Zoos and Aquariums (BIAZA) and the European Association of Zoos and Aquaria (EAZA). The safari park contributes to conservation and research through links with conservation projects and its links with universities in Liverpool, Chester and Manchester.
History
The park was opened in July 1971 by Edward Stanley, 18th Earl of Derby and Jimmy Chipperfield[9] using the expertise of general manager Laurence Tennant MBE, formerly the Chief Game Warden of Parks in Uganda and Botswana. Initially the road through the park was 3.5 miles (5.6 km), with visitors driving past lions, cheetahs, monkeys, giraffes, zebra, elephants and various antelope. Due to the popularity of this route, an additional 1.5 miles (2.4 km) of road was added in 1973, and camels, buffalo, white rhino, and tigers were added to the park. Over the years, a few modifications have been made. For instance, tigers are now displayed in enclosures within the reserve, and a bypass around the baboons was built for visitors who are worried about damage to their cars.
The park was also home to a former RAF airfield which closed at the end of World War II. The RAF airbase situated at the safari park was also known as No 49 SLG or RAF Knowsley Park and was in use between 13 May 1942 – November 1944.
The park has hosted several sporting events including the Olympic torch relay, watched by 6,000 children and families in June 2012. The park hosted the finish of Stage Two of the 2012 Tour of Britain cycling event and is scheduled to host Stage Three of the 2013 Tour on Tuesday 17 September.
Most recently it hosted the final leg of Big Learner Relay 2017 which has raised over £300,000 for the BBC Children in Need appeal since 2014. Louise Walsh the inspiration behind the BLR has been awarded the prime minister's points of light award which recognises outstanding individual volunteers.
In 1995 Mr William Middleton, a warden at the park, was crushed and paralysed due to a faulty elephant enclosure. Mr Middleton died 12 years later due to complications caused by his injuries.
Zoological collection
Situated around Knowsley Hall on the ancestral estate of the Earl of Derby, the reserve is home to many different animals including elephants, giraffes, lions, bongos, tigers and baboons. The Derby Estate have a tradition of keeping animals, ever since the famous artist and nonsense-poet Edward Lear was employed there in the 19th century to paint pictures of the Earl's collection.
The park is open to the public and customers drive around the park in their own vehicles. There is a bypass route past the baboons for those who wish to avoid the risk of the baboons damaging their cars. In 2009 the baboons made the news all over the world when a video was released showing how they were intelligent and curious enough to open car roofboxes.
Tiger Trail
Amur Tiger Trail opened 25 May 2018, home to the Amur Tiger otherwise known as the Siberian Tiger. The area is 10,000m2 and includes forested areas, natural streams and ponds.
The Equatorial Trail
This exhibit focuses on animals who thrive in habitats around the Earth's Equator. The exhibit also houses the 'Equatorial Express', a small train which visitors can ride to gain a unique viewpoint of the animals. 4 completely different species of animals are housed in this exhibit, the South American tapir, Sitatunga, Rhea and the Capybara.
African Elephant
Until 2017 the park housed a herd of 4 adult cows named Tana, Ashanti, Nala and Juba. They were transported to Zoo Parc d'Beauval, France to enter the European Breeding Programme and allow for transformations on Knowsley Safari's Foot Safari. Knowsley previously housed a bull named Nissim, who collapsed in June 2014. Knowsley also recently lost their cow named Shaba due to a long battle with elephant arthritis.
Southern White Rhinoceros
Knowsley's crash of 11 adult rhinos is one of the most successful and genetically diverse breeding groups in Europe. The latest calf (as at 4 June 2016), Nomvula (Mother of Rain – a reference to the recent wet weather), born to mum Meru and is the 19th to be born at the facility in the last 40 years. Nomvula is Meru's 6th calf and was born on 2 January 2016.
Safari Drive
The Safari Drive is the park's main attraction and contains over 29 species of animals in 7 zones.
Zone 1+11
This zone contains: Père David's deer, Yak, Kiang and Bactrian camel.
Zone 2+8
This zone contains: Blackbuck, Nilgai, Eld's deer, Chital (Axis Deer) and Barasingha.
Zone 3+4+6
Zone 6 is over 100 acres and contains over a mile of road. It is one of Knowsley's two white rhino paddocks and is one of the largest in the UK. This zone contains: Southern White Rhino, Roan antelope, Eland, Lechwe, Wildebeest, Plains Zebra, African Forest Buffalo, Ostritch and Waterbuck.
Zone 5
This zone contains: Blesbok and Bongo
Zone 7
This zone contains exclusively the Olive baboon, which are famous for removing windscreen wipers and other appendages off vehicles. There is a car-friendly route which totally removes this zone however is still visible from outside the perimeter. This leads directly to zone 6.
Zone 9
This zone contains: European Bison, Fallow Deer and European Moose
Zone 10
This zone contains: Lion, and the Somali wild ass. This zone previously housed African wild dog, Iberian Wolf and Siberian Tiger.
All information correct and sourced from the Knowsley Safari Guide Book 2018 and edited by an editor who loves animals.
Railway and other attractions
The park features a 15 in (381 mm) gauge railway, 'The Lakeside Railway', on which visitors may tour parts of the site. There is also a collection of amusements and fairground rides on site plus paintballing, off-road driving challenges, and aerial extreme ropewalks.
A baboon house was added in 2006, along with African wild dogs that same year, a lion and tiger house in 2007. Red river hogs and marmosets were also added to the walkaround section, as well as an outdoor pool.
Animal care
In January 2011, local animal rights activists held a peaceful demonstration after an inspection by government vets found one instance of a breach of regulations on the disposal of animal ‘by-products’. Pictures in the Daily Mail showed animals lying dead on the ground and in binbags, although the park's directors claim the pictures were staged by the photographer, whose husband the paper claimed had recently lost his job at the park. The park has since installed an enclosure for the storage of animal carcasses before disposal. The British and Irish Association of Zoos and Aquariums (BIAZA) later said it had ‘full confidence’ in Knowsley and praised its ‘excellent standards of animal husbandry and welfare’.
This is a photograph is from a set of photographs from the Castlepollard 5KM Road Race and Fun Run 2017, also known as the Tullynally Challenge, which was held in Castlepollard, Co. Westmeath, Ireland on Wednesday 16th August 2017 at 20:00. The race is hosted by North Westmeath Athletic Club. The weather was reasonably good for road racing. The participants had a very stiff breeze in their faces on the outward stretch and all the way to the 2KM mark within Tullynally. This then became a helpful tailwail for the final KM of the race.
Starting off many years ago the race was very much a local affair drawing runners from the sounding areas of Mullingar, North East Meath, Cavan, and Longford. However, the race has grown in stature and popularity over the years and is now one of the most well attended road races in the midlands and sees participants from all over Ireland. The race offers prizes in all categories. The Castlepollard 5KM Road Race attempts to support young runners and walkers by organising a range of underage races around the town square before the adult race at 20:00. Profits from the race go towards grassroots athletics in the region - North Westmeath Athletics, Schools Cross Country, and local community games. As summer moves into autumn the Castlepollard 5KM can be considered as the unofficial ending of summer evening road racing in the midlands as with the fading light of the late summer evenings comes less opportunities to hold races in the evening time. Castlepollard is a small town located in North County Westmeath amongst the lakes of Lough Lene and Lough Derravagh. One of the show pieces of the race landscape is Tullynally Castle which provides almost 2.5KM of the race route. The name Tullynally is an adaption of 'Tulaigh an Eallaigh' – the Hill of the Swan. The hill overlooks the mythical Lough Derravaragh. Irish folklore legend names the lake as where the Children of Lir, who were turned into swans, were destined to live for 300 years. Tullynally Castle is still a family home to this day.
One of the enduring symbols of the Castlepollard 5KM is the tireless work of Andy MacEoin of North Westmeath AC who has been a visitor to almost every road race in the Midlands and beyond over the past number of months to publicize the event. Many of the participants tonight will have seen Andy's strategically placed advertising signs around other road race routes. Certainly this work, and that of many other members of North Westmeath AC, has paid off well.
The race begins near the center of the town square and proceeds directly out the R395 towards Coole and Edgeworthstown. The first KM is flat and quick allowing the field to spread out. The race then enters the Tullynally Castle estate and proceeds up the tree-lined avenue. The gardens, like the castle are on a grand scale, taking in nearly 12 acres. This allows the race to make a big loop of the gardens with a quick downhill stretch followed by a sharp climb before the race rejoins it's outgoing path for the final 1.5KM of the race. The final 1100M from the gate of the Castle grounds to the finish is as the first - fast and flat and allows for a great finish passing the GAA grounds with finish line just outside the local Fire Station.
This year almost 400 took part in the race. It goes without saying that the Castlepollard 5KM has become one of the "must do" road race events in the midlands. Everything that is good about club road racing in Ireland can be found here.
Electronic Timing and Event Management are provided by MyRunResults and their website is www.myrunresults.com.
We have a full set of photographs from tonight's race which is available on our Flickr photostream: www.flickr.com/photos/peterm7/albums/72157684179507162
We have photographs from six of the previous Castlepollard 5KM road races - 2012 was missed. They are available here on Flickr:
Our Flickr Photographs from Castlepollard 5KM 2016: www.flickr.com/photos/peterm7/albums/72157672157788196
Our Flickr Photographs from Castlepollard 5KM 2015: www.flickr.com/photos/peterm7/sets/72157656750245820
Our Flickr Photographs from Castlepollard 5KM 2014: www.flickr.com/photos/peterm7/sets/72157646408272725
Our Flickr Photographs from Castlepollard 5KM 2013: www.flickr.com/photos/peterm7/sets/72157635070120285
Our Flickr Photographs from Castlepollard 5KM 2011: www.flickr.com/photos/peterm7/sets/72157627404031092
Our Flickr Photographs from Castlepollard 5KM 2010: www.flickr.com/photos/peterm7/sets/72157624655001130
Our Flickr Photographs from Castlepollard 5KM 2009: www.flickr.com/photos/peterm7/sets/72157622023529006
Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share directly to: email, Facebook, Instagram, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
BUT..... Wait there a minute....
We take these photographs as a hobby and as a contribution to the running community in Ireland. We do not charge for our photographs. Our only "cost" is that we request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, VK.com, Vine, Meetup, Tagged, Ask.fm,etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us or acknowledge us as the original photographers.
This also extends to the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
I want to download these pictures to my computer or device?
You can download this photographic image here directly to your computer or device. This version is the low resolution web-quality image. How to download will vary slight from device to device and from browser to browser. Have a look for a down-arrow symbol or the link to 'View/Download' all sizes. When you click on either of these you will be presented with the option to download the image. Remember just doing a right-click and "save target as" will not work on Flickr.
I want get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting takes a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
Let's get a bit technical: We use Creative Commons Licensing for these photographs
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own. This usually just mean putting a link to our photographs somewhere on your website, blog, or Facebook where other people can see it.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Above all what Creative Commons aims to do is to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets
(1856-1928)
George H. Earle, Jr., Surgeon-General of Finance
George H. Earle, Jr., Surgeon-General of Finance (1909)
by Richard Jarvis
Related Authors.related authors: George Howard Earle (1856-1928).
Hampton's Magazine (April 1909) V. 22 No. 4 pp. 557-60.
George H. Earle, Jr., Surgeon-General of Finance
By Richard Jarvis
Illustration from Photograph
ALL the members of the board of directors were present. They had been present for many weary hours, and during that entire period they had been trying to convince themselves that figures do, after all, lie. But at last the stubborn, blue-black columns in the leathern ledgers had conquered; their silence had worsted the clamor of these financiers; the board was still in session, but Ruin was just about to take the chair.
"Gentlemen," said the president, "there is no use any longer in blinking at truth. The company must go into the hands of a receiver, and when it goes there is only one man who can cure it, only one man who can get it on its feet again, preserve our business integrity and save the money of our stockholders."
The company's lawyer looked up from the pad upon which he had been scribbling aimlessly. "I know," he nodded; "of course you mean George H. Earle, Jr."
And of course the president did—not once, but many times. For this anecdote is not fiction; it is so much fact that it has happened on a score of occasions, each and every one of which has contributed to the reputation of Mr. Earle, of Philadelphia, as a Business Doctor and Financial Surgeon.
It is an axiom of medical research that, for every new disease which is discovered, sooner or later a new cure is made known, and much the same law seems to apply to ethics and to business. Thus the bank-wrecker had be-come a too-familiar danger, and the average receiver was generally, though by no means always justly, looked upon as of small assistance—or worse. But now Mr. Earle has, well-nigh against his will, been forced to pass most of his working life in one receivership or another and has elevated the task of financial salvage into a profession.
A novel type, surely. A ray of honest sunlight, you may well call it, in the dark sky of high finance. Mr. Earle is all that; he has evolved, in short, an absolutely new species which seems destined to become the hope of modern finance, and in evolving that species—the species of the sterling professional business man—he has achieved one of the most remarkable business records of our day.
Bear in mind that here is one who, for the most part, has worked only on wrecks. Their variety has been wide, but their condition has been uniform. And yet this reconstructive genius has come through his tasks to success by the unique process of commanding confidence and rebuilding with painful care.
It was the case of the Real Estate Trust Company of Philadelphia which brought Mr. Earle into national prominence. In the late summer of 1906 that institution, theretofore regarded as a local Gibraltar, fell with a crash. By a single shot from his revolver its president ended his own life and, to all appearances, the life of the institution of which he had been the unworthy head.
Investigation revealed seeming ruin. The head of the company had advanced tremendous sums of money on wild-cat securities. Hundreds of poor people with their little all in those vaults swarmed vainly to the doors. Angry depositors engaged counsel and started a legion of suits. Litigation was begun in such complexity that it would have tied up for years whatever money remained and would have crushed the company's credit forever. To meet a seven million dollar failure there did not appear to be assets worth two millions.
George H. Earle, Jr., was made receiver and proceeded to perform the seemingly impossible. First of all he employed what psychologists call "the direct command," and immediately demonstrated that, in financial illness as truly as in physical disease, half the cure is accomplished when the doctor has secured the patient's confidence.
"Stop these suits immediately!" he ordered.
Wonderingly, the contesting depositors obeyed.
Leave everything to me," he continued.
The depositors nodded.
"Now then, I will save your money."
And already it was as good as saved!
Mr. Earle went to the directors—not at them, but to them. He talked with them and found them willing to advance two and a half million dollars in cash. That sounds amazing. It is amazing. People even hinted that Mr. Earle had "put the screws on" those directors. But he denies this. Like most successful men, he is an optimist. "Personally," he said only the other day, "I have always been wholly sure that any litigation against the directors would fail. They had audits made and had reports submitted, but they were deceived by unquestioned frauds. There was not the neglect that the public suspected, and there was no moral delinquency. Not at all. The appeal I made to them was only an appeal to their sense of honor and personal responsibility, and it was responded to in a way that would make anyone's heart glad who likes to respect his fellow-men. One of them, who gave an enormous sum, had all his property in trust and could not possibly have been reached by law."
REJECTS A $250,000 FEE
Once the money was in his hands, Mr. Earle went even farther in his demands upon the confidence of the depositors and stockholders. He called for proxies.
In return," said he, "I promise to pay the depositors one third in cash and give them, for the balance, preferred stock in the reorganized company carrying an accumulative dividend of six per cent."
The response to this was instant. Each mail brought in hundreds of proxies, until the receiver had authority to act for every dollar on deposit. That began the last chapter, which Mr. Earle ended by clever deals with the assets: only two months from the time of its disastrous failure the bank reopened, and it stands to-day as one of Philadelphia's soundest institutions.
The directors suggested a $250,000 fee.
"Why, I'd really feel better if I weren't paid at all," said Mr. Earle.
But it was pointed out that other receivers would have to be paid in future instances and that such a sentiment, if indulged, might establish a precedent that would be hard upon them.
"All right," replied the receiver, "in that case we will make it $50,000."
So $50,000 it was made, but only a small part of even that has yet been called for.
"As a matter of fact," said Mr. Earle recently, "I have not made up my mind what I shall ultimately do with the rest."
Is it any wonder that the fifteen thousand stockholders unanimously chose him for President?
"This is the ninth institution which I have been called upon to help," Mr. Earle said when the task was at last completed, "and looking back over the past weeks, when I was often working twenty hours a day, I fully understand just the sense of supreme peace that must have come to the old lady who, having at last married off her ninth daughter, declared that she felt her life's work was done."
Mr. Earle's life work, however, is by no means completed. We give unstinted praise, we Americans, to one man who succeeds in building up one business under favorable auspices; but here is a man whose success lies in his ability to take over businesses of varied sorts that have been all but ruined and then restoring them to their pristine vitality—a man who has done this for banks, for railroads, for sugar refineries. An expert who rebuilds in these days of the destroyers; a man who believes in this day of doubts; a man who, by his own business insight and his own true worth of character, secures the faith of the thitherto deceived and snatches victory from the fangs of defeat—such a man is worthy of some detailed study.
Springing from sound Quaker stock, George H. Earle, Jr., started life with a golden spoon in his mouth and in his mind the intention of making himself into the same sort of a good lawyer that his father had been. He was admitted to Harvard with the class of 1879; left because of ill-health; regained his strength in the Adirondacks, becoming the enthusiastic outdoor-man he has since remained; and, returning to Philadelphia, entered the law firm of Earle & White which his grandfather had founded.
Almost immediately the young man began to demonstrate his ability to patch up torn rents in the cloak of business. In the Pennsylvania Warehousing & Safe Deposit Company his family owned stock which was selling—when it could get a purchaser—at five dollars a share, and which, bought at fifty dollars, had never brought a dividend. Could not this concern be put on its feet? Mr. Earle thought that it could. He convinced the powers that were, and they made him President.
The best pruned trees bear the best plums, and one of Mr, Earle's specialties has always been pruning. He gathered other young men about him, pruned that warehousing company's tree, and began using fertilizer—which came in the shape of a purchase of certain wharves. Why he wanted wharves nobody then knew, but after the purchase—some time after—the Baltimore & Ohio Railroad, entering the city, began fighting the Philadelphia & Reading for wharf room: that warehousing company's stock now fluctuates between seventy-five and a hundred dollars a share.
This was only the start, but business men at once observed Mr. Earle's peculiar talent. In his own city the Guarantee Trust & Safe Deposit Company had been severely shaken by some free and easy speculation; Mr. Earle was called in and restored it to stability. The cure of the Finance Company of Pennsylvania was next affected, Mr. Earle having now withdrawn from the law firm. Then the stock of the Tradesmen's National Bank of Philadelphia was precisely doubled in genuine value and the Philadelphia Market Street National Bank rescued, whereupon Mr. Earle had his part in the restoration of the Reading Railway and reorganized the Choctaw, Oklahoma and Gulf Railroad.
To give the entire catalogue of all that followed would be but to repeat former instances with new names. Finally, however, came the twin failure of the allied Philadelphia Chestnut Street National Bank and the Chestnut Street Trust Company.
George H. Earle, Jr., Hampton's Magazine, April 1909.jpg
GEORGE H. EARLE, JR.,
The Philadelphian who has attained wonderful success in bringing tottering financial institutions from chaos to order.
The creditors faced the cheerless prospect of getting twelve cents on the dollar, but Mr. Earle and Richard Y. Cook became receivers. The president of both concerns had borrowed heavily on securities of the Philadelphia Record, and when the Comptroller of the Currency refused to permit Mr. Earle to protect these loans with the money remaining in the bank, he got the president of the company to assign to him and Mr. Cook the equity of the paper, so that if the loans were paid the creditors of the institutions could get the value. The next move was to secure control of the newspaper: the two receivers raised the money and ran the business for four years. It prospered; profits increased, and the Record was sold at a great profit.
A fortune had been made. According to an opinion handed down by the courts, the profits belonged to Messrs. Earle and Cook, who had saved the newspaper with money advanced at their own risk. But Mr. Earle's action showed the character of the man. The creditors of the bank received one hundred and thirty cents on the dollar, being principal and interest for five years.
When you go into Mr. Earle's office you enter a high-ceilinged room, green carpeted, and see, sitting at a massive roll-top desk and behind a little wall of methodically arranged papers, a slightly stoop-shouldered man whose age, however, you would be unlikely to set at fifty-two years. This man's clean-shaven face is a picture of strength, eye clear, mouth firm; but the manner is that of business man and gentleman; always courtly, never gruff; and, most of all, impressive in its quietness.
Modest of his achievements, and scrupulous in his regard for the confidences involved in his delicate financial relations, he prefers to talk, in his easy, deliberate way, of his splendid thousand-acre estate, well called "Broad-acres," near Bryn Mawr, Pennsylvania, with twelve miles of drives within its limits and situated only that number of miles from his office door. He enjoys showing the visitor there one of the best private collections of pictures—especially rich in modern French masters—in America. He likes to tell, too, of his enthusiasm for a country, even an athletic, life; and he is fond of exhibiting his rare coins.
Do not suppose, however, that just because he was born to wealth on the one hand, and forced, so to speak, into the profession of financial surgery on the other, Mr. Earle has wholly lost interest in the law. On the contrary, he could not have done what he has done had he not been a lawyer, and when you ask his colleagues what sort of a lawyer he is, there is a single reply:
"One of the four best in the city."
As a matter of fact, Mr. Earle's legal talent is like his financial talent—constructive.
"I still occasionally plead a case in court," he says, "when I think a wrong has been done, or when I am interested personally, or as a matter of principle."
That does not sound very portentous, but it is only Mr. Earle's way of referring to his casual legal battles, one of which practically established the present libel law of Pennsylvania, while in another he developed an interpretation of the Sherman Act which is now accepted in all courts.
And his legal work is like his financial in yet another respect—the manner in which it demonstrates his infinite capacity for taking pains. In one case he looked up every decision regarding restraint of trade ever handed down by an English or American judge. Then, having launched these at the head of an honorable though bewildered court, he took a day's vacation and embodied the results of his researches in a little volume, "The Liberty to Trade as Buttressed by National Law," which in its particular field has come to be regarded as an authority.
Mr. Earle has seen some strange things in his time. In one instance where the president of a banking institution had stolen its entire capital, he was astounded to find that a court after the thefts, had appointed three able lawyers to audit the concern's accounts and that these lawyers had returned a highly complimentary report. This required investigation, and in the end the investigator discovered that, hearing of the approaching audit, the president, who had "used" one hundred thousand dollars, wrapped up and sealed a huge roll of perfectly blank paper, told his officers that it was a special deposit of one hundred thousand dollars to be returned with the seals unbroken if a certain deal did not "go through," and so received the one hundred thousand dollars credit on the books which was necessary to satisfy the auditors!
You would think that such experiences would breed suspicion in any soul, but you must remember that Mr. Earle is an optimist. In his own words:
"The most striking thing in my career has been, to my mind, the quickness with which my little financial rebuildings are forgotten in the interims between disaster, and the certainty with which they are remembered when disaster comes again. Whenever I have been engaged in one of these tasks, I have been magnificently supported and magnificently attacked. It is true, too, that, in the interval, criticism is my chief lot, until I might be tempted to feel that any slight service I may have rendered has quite faded from public memory; but that is sure always to be negatived when something fresh happens, for then I find that people have not, after all, been unmindful of what little I have done."
That is, of course, a far too modest estimate, for Mr. Earle's life is something more than he would have one believe. Many men who have observed the careers of our most conspicuous money-makers have asked: Does it pay to play fair?" George H. Earle, Jr., is the answer, and the answer is "Yes."
[George Howard Earle, Jr. is a sixth-great-grandson of my ninth-great grandfather, our common ancestor immigrant Ralph Earle. Thus we are 7th cousins, 3 times removed.
His son, George H. Earle III, is a seventh-great-grandson of my ninth-great grandfather, our common ancestor immigrant Ralph Earle. Thus we are 8th cousins, 2 times removed.
His father, George H. Earle, Sr., is a fifth-great-grandson of my ninth-great grandfather, our common ancestor immigrant Ralph Earle. Thus we are 6th cousins, 4 times removed.]
Video Mapping Philipp Geist_Germany+Brazil 2013-2014_- Santa Marta 2014_©Fred Pacífico/Porã
„VideoInstallation by Philipp Geist“, "Philipp Geist", „Copyright 2014 Philipp Geist / VG Bildkunst 2014", www.videogeist.de, mail@videogeist.de, „Rio de Janeiro“, "Santa Marta“, „Cristo Redentor“, „Dona Marta“, „Deutschland + Brasilien 2013-2014“, “Alemanha + Brasil 2013-2014”
Photo by Fred Pacífico
©2014 Philipp Geist / VG BIldkunst Bonn
Rio de Janeiro / Brazil 2014
Christ statue (Cristo Redentor) – May 12
Dona Marta favela – May 15 and 16,2014
Light Art-Video-Mapping-Installations Philipp Geist in Rio de Janeiro / Brazil 2014
on the Christ statue (Cristo Redentor) - May 12 and in the Dona Marta favela - May 15 and 16,
2014
Installation Philipp Geist Year of Germany in Brazil 2013/2014
Concept Time Drifts May 2014
At the end of the Year of Germany in Brazil 2013/2014, the artist Philipp Geist (Berlin, 1976)
develops two light installations in Rio this year; the first one on the world-famous Christ statue
(Cristo Redentor) and the other installation in the Santa Marta favela. For the installation the
artist presents artistic-liberal and poetic German and Brazilian themes and develops a building
and floor light installation of colored words and phrases in Portuguese, German, and in other
international languages. The installation deals with cultural characteristics and achievements of
both countries and visualizes the issues of time and space, volatility and presence in a free
artistic style. The two projects are in fact a double project which is combined. The installation
on the symbol of Rio and Brazil, the Christ statue, is recorded and projected onto the small
buildings and huts of the favela. The Christ statue, which has been built to protect the city and
the sailors, is symbolically projected on the shantytown, the favela, in a protective way. The
installation in the favela will be seen not only on a facade as a large cinema projection or as a
static image, but on several winding buildings, the roofs, the floor and on the steps. Thus, the
visitor becomes a part of the installation and can immerse into the projection and the light and
introduce himself. Chalk crayons are put out on the streets in the favela and the young and old
residents and visitors can write and paint words on the street, the ground, the stairs or even on
the house walls. The residents and several institutions should be addressed to submit words and
associations dealing with Rio, Brazil and Germany.
For the installation, which was shown at the Luminale in 2012, the artist Philipp Geist won the
German Lighting Design Award 2013 (Deutscher Lichtdesign-Preis 2013) in the category Light Art.
The series 'Time Drifts' is characterized by the complex and subtle way of visualizing various
currents and voices in cultural contexts and to provide institutions and visitors with the
opportunity of substantive participation: different personalities, visitors and institutions may be
addressed in advance and then contribute words and associations. Current and historico-cultural
topics are researched in advance by the artist and then integrated in a sensitive and subtle way.
The projection dismisses the use of screens, because concepts and associations are projected on
a large area onto the floor surface on several facades and in theater fog. Over the course of two
days, the installation can be seen on-site in the favela on May 15 and 16 and on the Cristo
Redentor on May 12 for a day.
Short, tall, young and old visitors can interactively participate in the installation by tracing and
adding words with colored chalk crayons available on the streets. Thus, over the period of the
installation, a carpet of words is evolved with terms that are contributed locally by the visitors
by means of the temporary and volatile 'medium' of chalk crayons. Philipp Geist develops in this
way a dialogue between the place, the visitors and his artistic work.
The concrete, tangible projection of the architecture and the static terms on the floor area
represents the facts and visible relics that are responsible for our understanding of history. The
transparent and volatile projection in the fog reminds us that part of the history can not be
preserved and that it is created in our individual imagination in a single moment. Words are
briefly visible as a metaphor for transience and then disappear again. This interplay of the
various text and image layers in the space refers to the location and the history/-ies of Brazil
and Germany and the cultural exchange between the two countries. The visitors themselves are
part of the installation: they dive into the large floor projection. In this way, different
perspectives and experiences of space are unified. Abstract passages which are created, then
overlapped and displaced by each other symbolize the constant changes in history, the passage
of time and the transience of existence. Even the understanding of the past is in the flux. The
modern writings and formations created on the computer establish a connection to the present
and the possibilities of today's technology and show that the perception of history and culture
depends always on the possibilities and constraints of the present.
'Time Drifts - Words of Berlin' is part of a series of installations, which has been shown in recent
years by Philipp Geist, and which are always re-developed site-specifically and adapted to the
local conditions: In October 2012, Philipp Geist showed the installation on the entire Potsdamer
Platz (public square) and the Kolhoff Tower and Renzo Piano Tower skyscrapers. In April 2012
the installation was shown at the Luminale in Frankfurt where it was seen by more than 40,000
visitors and thus the main project of the Luminale 2012. In 2011, Philipp Geist presented the
'Time Drifts' installation in Vancouver at the Jack Poole Plaza, as well as in Montreal on the
Place des Arts in 2010. The 'Timing' installation was shown at the 2009 Glow Festival in
Eindhoven. In the end of 2009, on the occasion of the birthday of the King of Thailand, 2-3
million visitors saw his facade installation at the royal throne in Bangkok. Other projects
include: 'Timelines' at the prestigious Pallazzio delle Esposizioni (Rome, 2007), 'Time Fades'
at the Cultural Forum of Berlin and 'Broken Time Lines' at the old spa Kurhaus Ahrenshoop
(Germany, 2008).
Geist's projects are primarily characterized by their complexity concerning the integration of
space, sound and motion images. His video mapping installations waive screens and transform a
wide range of architectures in moving, picturesque light sculptures which challenge the viewer's
perception of two- and three-dimensionality.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Arte de luz - Instalações de Mapeamento de Vídeo por Philipp Geist no Rio de Janeiro / Brasil
2014 no Cristo Redentor no dia 12 de maio e na favela Santa Marta nos dias 15 e 16 de maio de
2014
Instalação Philipp Geist Ano Alemanha + Brasil 2013/2014
Conceito Time Drifts Maio 2014
No final do ano Alemnaha + Brasil 2013/2014, o artista Philipp Geist (1976, Berlim) desenvolverá
duas instalações de luz no Rio; uma delas será exibida na mundialmente famosa estátua do
Cristo Redentor, e a outra na favela Santa Marta. Para a instalação, o artista traz temas teutobrasileiros
de maneira liberal-artística e poética desenvolvendo instalações de luz em edifícios e
no solo a partir de palavras e conceitos coloridos em Português, Alemão e em outros idiomas
internacionais. A instalação lida com as peculiaridades e realizações culturais de ambos os países
e visualiza as questões de tempo e espaço e de volatilidade e presença no estilo liberal-artístico.
Os dois projetos em questão representam um projeto duplo que é combinado. A instalação na
estátua do Cristo Redentor, como um símbolo do Rio e do Brasil, será gravada e projetada nos
pequenos prédios e barracos da favela. A estátua do Cristo Redentor, que foi erguida para
proteger a cidade e os marinheiros, será então projetada como um símbolo de proteção em uma
favela. A instalação na favela é visto não apenas em uma fachada como uma projeção grande de
cinema ou como uma imagem estática, mas em vários prédios sinuosos, em telhados, no solo e
nas escadas. Desta maneira, o visitante conseguirá ser parte da instalação e imergir e mergulhar
na projeção e na luz. Na favela, será distribuído giz para pintura de rua, e os moradores e
visitantes, tanto jovens quanto velhos, podem escrever e pintar conceitos na rua, no solo, nas
escadas ou até mesmo nas paredes das casas. Os moradores e diversas instituições serão
convidados a contribuir com conceitos e associações que representam o Rio, o Brasil e a
Alemanha.
Para as instalações apresentadas na Luminal em 2012, o artista Philipp Geist ganhou o
'Deutscher Lichtdesign-Preis 2013” (Prêmio Alemão de Desenho de Luz de 2013) na categoria
Arte de Luz. A série Time Drifts caracteriza-se pela forma complexa e sutil de visualizar várias
correntes e vozes em contextos culturais e de oferecer a instituições e aos visitantes a
oportunidade de participar: diferentes personalidades, visitantes e instituições podem ser
contatados antecipadamente para contribuir com termos e associações. Temas atuais, históricos
e culturais serão previamente pesquisados pelo artista e, depois, integrados de uma forma
sensível e sutil. A projeção é realizada sem o uso de telas porque conceitos e associações são
projetados, em grande estilo, sobre a superfície do solo, em diversas frentes e envolvidos em
fumaça. Ao longo de dois dias, a instalação estará em exibição em 15 e 16 de maio na favela, e
em 12 de maio, por um dia, no Cristo Redentor.
Visitantes jovens e velhos podem envolver-se na instalação e traçar ou adicionar palavras com
giz colorido, que será distribuído, e assim participar interativamente na instalação. Desta
maneira, durante a duração da instalação, será desenvolvido um tapete de palavras. As palavras
serão fornecidas, no próprio local, pelos visitantes usando o giz, um meio temporário e volátil.
Philipp Geist desenvolve assim um diálogo entre o local, os visitantes e seu trabalho artístico.
A área de projeção concreta e tangível da arquitetura e os termos estáticos sobre a superfície do
solo representam os fatos e as relíquias visíveis que compõem a nossa compreensão da história. A
área de projeção transparente e sumindo por dentro da fumaça lembra que parte da história não
pode ser preservada e que ela é criada na nossa imaginação individual momentaneamente.
Conceitos são brevemente visíveis, como uma metáfora para a transitoriedade e, logo mais,
desaparecem. Esta interação entre as várias camadas de texto e de imagens no espaço refere-se
à localização e a(s) história(s) do Brasil e da Alemanha e o intercâmbio cultural entre os dois
países. Os próprios visitantes tornam-se parte da instalação: eles imergem na grande projeção
do solo. Desta forma, diferentes perspectivas e experiências de espaço são unidas. Passagens
abstratas que são formadas, sobrepostas e suprimidas pela próxima simbolizam as mudanças
contínuas na história, a passagem do tempo e a transitoriedade da existência. A compreensão do
passado também está no fluxo. As fontes e formações modernas criadas no computador
estabelecem uma conexão com o presente e com as possibilidades da tecnologia de hoje: a
percepção da história e da cultura sempre dependende das capacidades e limitações do
presente.
'Time Drifts - Words of Berlin' faz parte de uma série de instalações, que foram apresentadas
durante os últimos anos por Philipp Geist e que são sempre redesenvolvidas para as condições
locais específicas: em outubro de 2012, Philipp Geist exibiu a instalação em toda a praça
Potsdamer Platz (Berlim) e nos dois arranha-céus Kolhoff Tower (Berlim) e Renzo Piano Tower
(Londres). Em abril de 2012, a instalação foi apresentada no evento da Luminal em Frankfurt
onde foi vista por mais de 40.000 visitantes sendo o principal projeto da Luminal de 2012. Em
2011, Philipp Geist mostrou a instalação Time Drifts na praça Jack Poole Plaza em Vancouver
bem como em Montreal, Canadá, no centro de arte Place des Arts, em 2010. A instalação Timing
foi exibida no Glow Festival de 2009 in Eindhoven, Holanda. No final de 2009 e por ocasião do
aniversário do rei tailandês, aprox. 2 a 3 milhões de visitantes viram a instalação de fachada do
artista no trono real em Banguecoque. Seus outros projetos incluem: Time Lines, no prestigiado
museu Palazzio delle Esposizioni (Roma, 2007); Time Fades, no Fórum Cultural de Berlim;
Broken Time Lines, no antigo spa Kurhaus Ahrenshoop (Alemanha, 2008).
Os projetos de Geist são principalmente caracterizados por sua complexidade na integração de
espaço, som e imagens de movimento. Suas instalações de mapeamento de vídeo renunciam
telas e transformam uma ampla gama de arquiteturas em esculturas móveis e pitorescas que
desafiam a percepção do espectador de duas e três dimensões.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Lichtkunst-VideoMappingInstallationen Philipp Geist in Rio de Janeiro / Brasilien 2014
an der Christstatue (Cristo Redender) 12.5 und in der Favela Santa Marta 15./16.5.2014
Installation Philipp Geist Deutsch-Brasilianisches Jahr 2013/2014
Konzept Time Drifts Mai 2014
Zum Abschluss des Deutsch-Brasilianischen-Jahres 2013/2014 entwickelt der Berliner Künstler
Philipp Geist (1976) zwei Lichtinstallation in Rio d.J.; eine an der weltbekannten Christstatue
(Cristo Redender) und in die andere Installation in der Favela Santa Marta. Bei der Installation
greift der Künstler künstlerisch frei und poetisch deutsch brasilianische Themen auf und
entwickelt eine Gebäude- und Boden-Lichtinstallation aus farbigen Wörtern und Begriffen in
portugiesischer, deutscher, und in weiteren internationalen Sprachen. Die Installation thematisiert
kulturelle Besonderheiten und Errungenschaften beider Länder und visualisiert die Themen Zeit
und Raum, Flüchtigkeit und Präsenz in freien künstlerischen Art. Bei den beiden Projekten handelt
es sich um ein Doppelprojekt welches kombiniert wird. Die Installation auf das Wahrzeichen von
Rio und Brasilien die Christstatue, wird aufgenommen und auf die kleinen Gebäude und Hütten
der Favela projiziert. Die Christstatue die errichtet worden ist um die Stadt und Seeleute zu
schützen, wird so symbolisch schützend über ein Armenviertel die Favela projiziert. Dabei ist die
Installation in der Favela nicht nur auf einer Fassade als große Kinoprojektion oder als statisches
Bild zu sehen, sondern auf mehreren verwinkelten Gebäuden, den Dächern, den Boden und auf
den Stufen. Der Besucher wird vielmehr auf diese Weise selbst Teil der Installation und kann in die
Projektion und das Licht eintauchen und sich einbringen. In der Favela werden Strassenmalkreide
ausgelegt und die Bewohner und Besucher ob jung oder alt können Begriffe auf die Strasse, den
Boden, die Treppenstufen oder sogar auf die Hauswände schreiben und malen. Die Bewohner und
verschiedene Institutionen sollen angesprochen werden Assoziationen und Begriffe die für Rio,
Brasilien und Deutschland stehen einzureichen.
Für die 2012 bei der Luminale gezeigten Installation hat der Künstler Philipp Geist den Deutschen
Lichtdesign-Preis 2013 in der der Kategorie Lichtkunst gewonnen. Die Serie 'Time Drifts' zeichnet
sich aus durch die komplexe und die subtile Möglichkeit, verschiedenste Strömungen und
Stimmen in kulturellen Kontexten sichtbar zu machen und Institutionen und Besuchern die
Möglichkeit zur inhaltlichen Partizipation zu geben: Es können verschiedene Persönlichkeiten,
Besucher und Institute im Vorfeld angesprochen werden, die Begriffe und Assoziationen
beisteuern. Aktuelle und kulturhistorische Themen werden im Vorfeld vom Künstler recherchiert
und auf sensible und subtile Weise integriert. Die Projektion verzichtet auf den Einsatz von
Leinwänden, denn Begriffe und Assoziationen werden grossflächig auf die Bodenfläche, auf
mehrere Fassaden und in Theaternebel projiziert. Über den Zeitraum von 2 Tagen wird die
Installation vor Ort in der Favela am 15/16.Mai und die Installation am Cristo Redentor am 12.Mai
für einen Tag zu sehen sein.!
Kleine, große, junge und alte Besucher können sich einbringen in die Installation und mit farbiger
Straßenmalkreide, die ausgelegt wird, Wörter nachzeichnen und hinzufügen und so interaktiv an
der Installation teilnehmen. Über die Installationsdauer entsteht somit ein Wörterteppich aus
Begriffen, die vor Ort von den Besuchern selbst mittels dem temporären und flüchtigen 'Medium'
der Strassenmalkreide beigesteuert werden. Geist entwickelt auf diese Weise einen Dialog
zwischen dem Ort, den Besuchern und seiner künstlerischen Arbeit. ! !
Die konkrete, greifbare Projektionsfläche der Architektur und die statischen Begriffe auf der
Bodenfläche stehen für die Fakten und sichtbaren Relikte, welche unser Geschichtsverständnis
ausmachen. Die transparente, sich verflüchtigende Projektionsfläche im Nebel erinnert daran,
dass ein Teil der Geschichte nicht konserviert werden kann und im Moment in unserer individuellen
Vorstellung entsteht. Begriffe werden als Metapher für die Vergänglichkeit kurzzeitig sichtbar und
verschwinden sofort wieder. Dieses Zusammenspiel der verschiedenen Text- und Bildschichten im
Raum verweist auf den Ort und die Geschichte(n) Brasiliens und Deutschlands und den kulturellen
Austausch beider Länder. Die Besucher selbst werden Teil der Installation: sie tauchen in die
großflächige Bodenprojektion ein. Auf diese Weise vereinen sich unterschiedliche Perspektiven
und Raumerfahrungen. Abstrakte Passagen, die sich aufbauen, überlagern und gegenseitig
verdrängen, symbolisieren die ständigen Veränderungen in der Geschichte, den Lauf der Zeit und
die Flüchtigkeit des Seins. Auch das Verständnis von der Vergangenheit ist im Fluss. Die
modernen Schriften und Formationen, die am Computer entstanden sind, stellen eine Verbindung
zur Gegenwart und den Möglichkeiten der heutigen Technik her und zeigen, dass die Erfahrbarkeit
von Geschichte und Kultur immer von den Möglichkeiten und Rahmenbedingungen der Gegenwart
abhängig ist.
'Time Drifts - Words of Berlin' ist Teil einer Serie von Installationen, die Philipp Geist in den letzten
Jahren gezeigt hat, und die dabei immer wieder neu an die örtlichen Gegebenheiten ortsspezifisch
weiterentwickelt wird: Im Oktober 2012 zeigte Geist die Installation auf dem gesamten Potsdamer
Platz und den beiden Hochhäusern Kolhoff Tower und Renzo Piano Tower. Im April 2012 wurde die
Installation in Frankfurt auf der Luminale gezeigt, wurde von mehr als 40.000 Besuchern gesehen
und war das Hauptprojekt der Luminale 2012. Im Jahr 2011 zeigte Geist die Installation Time Drifts
in Vancouver am Jack-Poole Plaza, ebenso wie in Montreal am Place des Arts in 2010. Die
Installation 'Timing' war 2009 auf dem Glow Festival in Eindhoven zu sehen. Ende 2009 sahen
anlässlich des Geburtstages des thailändischen Königs ca. 2-3 Millionen Besucher seine
Fassadeninstallation am königlichen Thron in Bangkok. Andere Projekte waren u.a.: 'Time Lines'
am renommierten Museum delle Esposizioni (2007), 'Time Fades' am Berliner Kulturforum,
'Broken Time Lines' am alten Kurhaus Ahrenshoop (2008).
Geists Projekte sind in erster Linie gekennzeichnet durch ihre Komplexität in der Integration von
Raum, Ton und Bewegbild. Seine Video-Mapping-Installationen verzichten auf Leinwände und
verwandeln verschiedenste Architekturen in bewegte, malerische Lichtskulpturen, die die
Wahrnehmung der Betrachter von Zwei- und Dreidimensionalität herausfordern.
Video Mapping Philipp Geist_Ano da Alemanha no Brasil - Cristo Redentor 2014
Photo by Fred Pacífico
©2014 Philipp Geist / VG BIldkunst Bonn
Rio de Janeiro / Brazil 2014
Christ statue (Cristo Redentor) – May 12
Dona Marta favela – May 15 and 16,2014
Light Art-Video-Mapping-Installations Philipp Geist in Rio de Janeiro / Brazil 2014
on the Christ statue (Cristo Redentor) - May 12 and in the Dona Marta favela - May 15 and 16,
2014
Installation Philipp Geist Year of Germany in Brazil 2013/2014
Concept Time Drifts May 2014
At the end of the Year of Germany in Brazil 2013/2014, the artist Philipp Geist (Berlin, 1976)
develops two light installations in Rio this year; the first one on the world-famous Christ statue
(Cristo Redentor) and the other installation in the Santa Marta favela. For the installation the
artist presents artistic-liberal and poetic German and Brazilian themes and develops a building
and floor light installation of colored words and phrases in Portuguese, German, and in other
international languages. The installation deals with cultural characteristics and achievements of
both countries and visualizes the issues of time and space, volatility and presence in a free
artistic style. The two projects are in fact a double project which is combined. The installation
on the symbol of Rio and Brazil, the Christ statue, is recorded and projected onto the small
buildings and huts of the favela. The Christ statue, which has been built to protect the city and
the sailors, is symbolically projected on the shantytown, the favela, in a protective way. The
installation in the favela will be seen not only on a facade as a large cinema projection or as a
static image, but on several winding buildings, the roofs, the floor and on the steps. Thus, the
visitor becomes a part of the installation and can immerse into the projection and the light and
introduce himself. Chalk crayons are put out on the streets in the favela and the young and old
residents and visitors can write and paint words on the street, the ground, the stairs or even on
the house walls. The residents and several institutions should be addressed to submit words and
associations dealing with Rio, Brazil and Germany.
For the installation, which was shown at the Luminale in 2012, the artist Philipp Geist won the
German Lighting Design Award 2013 (Deutscher Lichtdesign-Preis 2013) in the category Light Art.
The series 'Time Drifts' is characterized by the complex and subtle way of visualizing various
currents and voices in cultural contexts and to provide institutions and visitors with the
opportunity of substantive participation: different personalities, visitors and institutions may be
addressed in advance and then contribute words and associations. Current and historico-cultural
topics are researched in advance by the artist and then integrated in a sensitive and subtle way.
The projection dismisses the use of screens, because concepts and associations are projected on
a large area onto the floor surface on several facades and in theater fog. Over the course of two
days, the installation can be seen on-site in the favela on May 15 and 16 and on the Cristo
Redentor on May 12 for a day.
Short, tall, young and old visitors can interactively participate in the installation by tracing and
adding words with colored chalk crayons available on the streets. Thus, over the period of the
installation, a carpet of words is evolved with terms that are contributed locally by the visitors
by means of the temporary and volatile 'medium' of chalk crayons. Philipp Geist develops in this
way a dialogue between the place, the visitors and his artistic work.
The concrete, tangible projection of the architecture and the static terms on the floor area
represents the facts and visible relics that are responsible for our understanding of history. The
transparent and volatile projection in the fog reminds us that part of the history can not be
preserved and that it is created in our individual imagination in a single moment. Words are
briefly visible as a metaphor for transience and then disappear again. This interplay of the
various text and image layers in the space refers to the location and the history/-ies of Brazil
and Germany and the cultural exchange between the two countries. The visitors themselves are
part of the installation: they dive into the large floor projection. In this way, different
perspectives and experiences of space are unified. Abstract passages which are created, then
overlapped and displaced by each other symbolize the constant changes in history, the passage
of time and the transience of existence. Even the understanding of the past is in the flux. The
modern writings and formations created on the computer establish a connection to the present
and the possibilities of today's technology and show that the perception of history and culture
depends always on the possibilities and constraints of the present.
'Time Drifts - Words of Berlin' is part of a series of installations, which has been shown in recent
years by Philipp Geist, and which are always re-developed site-specifically and adapted to the
local conditions: In October 2012, Philipp Geist showed the installation on the entire Potsdamer
Platz (public square) and the Kolhoff Tower and Renzo Piano Tower skyscrapers. In April 2012
the installation was shown at the Luminale in Frankfurt where it was seen by more than 40,000
visitors and thus the main project of the Luminale 2012. In 2011, Philipp Geist presented the
'Time Drifts' installation in Vancouver at the Jack Poole Plaza, as well as in Montreal on the
Place des Arts in 2010. The 'Timing' installation was shown at the 2009 Glow Festival in
Eindhoven. In the end of 2009, on the occasion of the birthday of the King of Thailand, 2-3
million visitors saw his facade installation at the royal throne in Bangkok. Other projects
include: 'Timelines' at the prestigious Pallazzio delle Esposizioni (Rome, 2007), 'Time Fades'
at the Cultural Forum of Berlin and 'Broken Time Lines' at the old spa Kurhaus Ahrenshoop
(Germany, 2008).
Geist's projects are primarily characterized by their complexity concerning the integration of
space, sound and motion images. His video mapping installations waive screens and transform a
wide range of architectures in moving, picturesque light sculptures which challenge the viewer's
perception of two- and three-dimensionality.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Arte de luz - Instalações de Mapeamento de Vídeo por Philipp Geist no Rio de Janeiro / Brasil
2014 no Cristo Redentor no dia 12 de maio e na favela Santa Marta nos dias 15 e 16 de maio de
2014
Instalação Philipp Geist Ano Alemanha + Brasil 2013/2014
Conceito Time Drifts Maio 2014
No final do ano Alemnaha + Brasil 2013/2014, o artista Philipp Geist (1976, Berlim) desenvolverá
duas instalações de luz no Rio; uma delas será exibida na mundialmente famosa estátua do
Cristo Redentor, e a outra na favela Santa Marta. Para a instalação, o artista traz temas teutobrasileiros
de maneira liberal-artística e poética desenvolvendo instalações de luz em edifícios e
no solo a partir de palavras e conceitos coloridos em Português, Alemão e em outros idiomas
internacionais. A instalação lida com as peculiaridades e realizações culturais de ambos os países
e visualiza as questões de tempo e espaço e de volatilidade e presença no estilo liberal-artístico.
Os dois projetos em questão representam um projeto duplo que é combinado. A instalação na
estátua do Cristo Redentor, como um símbolo do Rio e do Brasil, será gravada e projetada nos
pequenos prédios e barracos da favela. A estátua do Cristo Redentor, que foi erguida para
proteger a cidade e os marinheiros, será então projetada como um símbolo de proteção em uma
favela. A instalação na favela é visto não apenas em uma fachada como uma projeção grande de
cinema ou como uma imagem estática, mas em vários prédios sinuosos, em telhados, no solo e
nas escadas. Desta maneira, o visitante conseguirá ser parte da instalação e imergir e mergulhar
na projeção e na luz. Na favela, será distribuído giz para pintura de rua, e os moradores e
visitantes, tanto jovens quanto velhos, podem escrever e pintar conceitos na rua, no solo, nas
escadas ou até mesmo nas paredes das casas. Os moradores e diversas instituições serão
convidados a contribuir com conceitos e associações que representam o Rio, o Brasil e a
Alemanha.
Para as instalações apresentadas na Luminal em 2012, o artista Philipp Geist ganhou o
'Deutscher Lichtdesign-Preis 2013” (Prêmio Alemão de Desenho de Luz de 2013) na categoria
Arte de Luz. A série Time Drifts caracteriza-se pela forma complexa e sutil de visualizar várias
correntes e vozes em contextos culturais e de oferecer a instituições e aos visitantes a
oportunidade de participar: diferentes personalidades, visitantes e instituições podem ser
contatados antecipadamente para contribuir com termos e associações. Temas atuais, históricos
e culturais serão previamente pesquisados pelo artista e, depois, integrados de uma forma
sensível e sutil. A projeção é realizada sem o uso de telas porque conceitos e associações são
projetados, em grande estilo, sobre a superfície do solo, em diversas frentes e envolvidos em
fumaça. Ao longo de dois dias, a instalação estará em exibição em 15 e 16 de maio na favela, e
em 12 de maio, por um dia, no Cristo Redentor.
Visitantes jovens e velhos podem envolver-se na instalação e traçar ou adicionar palavras com
giz colorido, que será distribuído, e assim participar interativamente na instalação. Desta
maneira, durante a duração da instalação, será desenvolvido um tapete de palavras. As palavras
serão fornecidas, no próprio local, pelos visitantes usando o giz, um meio temporário e volátil.
Philipp Geist desenvolve assim um diálogo entre o local, os visitantes e seu trabalho artístico.
A área de projeção concreta e tangível da arquitetura e os termos estáticos sobre a superfície do
solo representam os fatos e as relíquias visíveis que compõem a nossa compreensão da história. A
área de projeção transparente e sumindo por dentro da fumaça lembra que parte da história não
pode ser preservada e que ela é criada na nossa imaginação individual momentaneamente.
Conceitos são brevemente visíveis, como uma metáfora para a transitoriedade e, logo mais,
desaparecem. Esta interação entre as várias camadas de texto e de imagens no espaço refere-se
à localização e a(s) história(s) do Brasil e da Alemanha e o intercâmbio cultural entre os dois
países. Os próprios visitantes tornam-se parte da instalação: eles imergem na grande projeção
do solo. Desta forma, diferentes perspectivas e experiências de espaço são unidas. Passagens
abstratas que são formadas, sobrepostas e suprimidas pela próxima simbolizam as mudanças
contínuas na história, a passagem do tempo e a transitoriedade da existência. A compreensão do
passado também está no fluxo. As fontes e formações modernas criadas no computador
estabelecem uma conexão com o presente e com as possibilidades da tecnologia de hoje: a
percepção da história e da cultura sempre dependende das capacidades e limitações do
presente.
'Time Drifts - Words of Berlin' faz parte de uma série de instalações, que foram apresentadas
durante os últimos anos por Philipp Geist e que são sempre redesenvolvidas para as condições
locais específicas: em outubro de 2012, Philipp Geist exibiu a instalação em toda a praça
Potsdamer Platz (Berlim) e nos dois arranha-céus Kolhoff Tower (Berlim) e Renzo Piano Tower
(Londres). Em abril de 2012, a instalação foi apresentada no evento da Luminal em Frankfurt
onde foi vista por mais de 40.000 visitantes sendo o principal projeto da Luminal de 2012. Em
2011, Philipp Geist mostrou a instalação Time Drifts na praça Jack Poole Plaza em Vancouver
bem como em Montreal, Canadá, no centro de arte Place des Arts, em 2010. A instalação Timing
foi exibida no Glow Festival de 2009 in Eindhoven, Holanda. No final de 2009 e por ocasião do
aniversário do rei tailandês, aprox. 2 a 3 milhões de visitantes viram a instalação de fachada do
artista no trono real em Banguecoque. Seus outros projetos incluem: Time Lines, no prestigiado
museu Palazzio delle Esposizioni (Roma, 2007); Time Fades, no Fórum Cultural de Berlim;
Broken Time Lines, no antigo spa Kurhaus Ahrenshoop (Alemanha, 2008).
Os projetos de Geist são principalmente caracterizados por sua complexidade na integração de
espaço, som e imagens de movimento. Suas instalações de mapeamento de vídeo renunciam
telas e transformam uma ampla gama de arquiteturas em esculturas móveis e pitorescas que
desafiam a percepção do espectador de duas e três dimensões.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Lichtkunst-VideoMappingInstallationen Philipp Geist in Rio de Janeiro / Brasilien 2014
an der Christstatue (Cristo Redender) 12.5 und in der Favela Santa Marta 15./16.5.2014
Installation Philipp Geist Deutsch-Brasilianisches Jahr 2013/2014
Konzept Time Drifts Mai 2014
Zum Abschluss des Deutsch-Brasilianischen-Jahres 2013/2014 entwickelt der Berliner Künstler
Philipp Geist (1976) zwei Lichtinstallation in Rio d.J.; eine an der weltbekannten Christstatue
(Cristo Redender) und in die andere Installation in der Favela Santa Marta. Bei der Installation
greift der Künstler künstlerisch frei und poetisch deutsch brasilianische Themen auf und
entwickelt eine Gebäude- und Boden-Lichtinstallation aus farbigen Wörtern und Begriffen in
portugiesischer, deutscher, und in weiteren internationalen Sprachen. Die Installation thematisiert
kulturelle Besonderheiten und Errungenschaften beider Länder und visualisiert die Themen Zeit
und Raum, Flüchtigkeit und Präsenz in freien künstlerischen Art. Bei den beiden Projekten handelt
es sich um ein Doppelprojekt welches kombiniert wird. Die Installation auf das Wahrzeichen von
Rio und Brasilien die Christstatue, wird aufgenommen und auf die kleinen Gebäude und Hütten
der Favela projiziert. Die Christstatue die errichtet worden ist um die Stadt und Seeleute zu
schützen, wird so symbolisch schützend über ein Armenviertel die Favela projiziert. Dabei ist die
Installation in der Favela nicht nur auf einer Fassade als große Kinoprojektion oder als statisches
Bild zu sehen, sondern auf mehreren verwinkelten Gebäuden, den Dächern, den Boden und auf
den Stufen. Der Besucher wird vielmehr auf diese Weise selbst Teil der Installation und kann in die
Projektion und das Licht eintauchen und sich einbringen. In der Favela werden Strassenmalkreide
ausgelegt und die Bewohner und Besucher ob jung oder alt können Begriffe auf die Strasse, den
Boden, die Treppenstufen oder sogar auf die Hauswände schreiben und malen. Die Bewohner und
verschiedene Institutionen sollen angesprochen werden Assoziationen und Begriffe die für Rio,
Brasilien und Deutschland stehen einzureichen.
Für die 2012 bei der Luminale gezeigten Installation hat der Künstler Philipp Geist den Deutschen
Lichtdesign-Preis 2013 in der der Kategorie Lichtkunst gewonnen. Die Serie 'Time Drifts' zeichnet
sich aus durch die komplexe und die subtile Möglichkeit, verschiedenste Strömungen und
Stimmen in kulturellen Kontexten sichtbar zu machen und Institutionen und Besuchern die
Möglichkeit zur inhaltlichen Partizipation zu geben: Es können verschiedene Persönlichkeiten,
Besucher und Institute im Vorfeld angesprochen werden, die Begriffe und Assoziationen
beisteuern. Aktuelle und kulturhistorische Themen werden im Vorfeld vom Künstler recherchiert
und auf sensible und subtile Weise integriert. Die Projektion verzichtet auf den Einsatz von
Leinwänden, denn Begriffe und Assoziationen werden grossflächig auf die Bodenfläche, auf
mehrere Fassaden und in Theaternebel projiziert. Über den Zeitraum von 2 Tagen wird die
Installation vor Ort in der Favela am 15/16.Mai und die Installation am Cristo Redentor am 12.Mai
für einen Tag zu sehen sein.!
Kleine, große, junge und alte Besucher können sich einbringen in die Installation und mit farbiger
Straßenmalkreide, die ausgelegt wird, Wörter nachzeichnen und hinzufügen und so interaktiv an
der Installation teilnehmen. Über die Installationsdauer entsteht somit ein Wörterteppich aus
Begriffen, die vor Ort von den Besuchern selbst mittels dem temporären und flüchtigen 'Medium'
der Strassenmalkreide beigesteuert werden. Geist entwickelt auf diese Weise einen Dialog
zwischen dem Ort, den Besuchern und seiner künstlerischen Arbeit. ! !
Die konkrete, greifbare Projektionsfläche der Architektur und die statischen Begriffe auf der
Bodenfläche stehen für die Fakten und sichtbaren Relikte, welche unser Geschichtsverständnis
ausmachen. Die transparente, sich verflüchtigende Projektionsfläche im Nebel erinnert daran,
dass ein Teil der Geschichte nicht konserviert werden kann und im Moment in unserer individuellen
Vorstellung entsteht. Begriffe werden als Metapher für die Vergänglichkeit kurzzeitig sichtbar und
verschwinden sofort wieder. Dieses Zusammenspiel der verschiedenen Text- und Bildschichten im
Raum verweist auf den Ort und die Geschichte(n) Brasiliens und Deutschlands und den kulturellen
Austausch beider Länder. Die Besucher selbst werden Teil der Installation: sie tauchen in die
großflächige Bodenprojektion ein. Auf diese Weise vereinen sich unterschiedliche Perspektiven
und Raumerfahrungen. Abstrakte Passagen, die sich aufbauen, überlagern und gegenseitig
verdrängen, symbolisieren die ständigen Veränderungen in der Geschichte, den Lauf der Zeit und
die Flüchtigkeit des Seins. Auch das Verständnis von der Vergangenheit ist im Fluss. Die
modernen Schriften und Formationen, die am Computer entstanden sind, stellen eine Verbindung
zur Gegenwart und den Möglichkeiten der heutigen Technik her und zeigen, dass die Erfahrbarkeit
von Geschichte und Kultur immer von den Möglichkeiten und Rahmenbedingungen der Gegenwart
abhängig ist.
'Time Drifts - Words of Berlin' ist Teil einer Serie von Installationen, die Philipp Geist in den letzten
Jahren gezeigt hat, und die dabei immer wieder neu an die örtlichen Gegebenheiten ortsspezifisch
weiterentwickelt wird: Im Oktober 2012 zeigte Geist die Installation auf dem gesamten Potsdamer
Platz und den beiden Hochhäusern Kolhoff Tower und Renzo Piano Tower. Im April 2012 wurde die
Installation in Frankfurt auf der Luminale gezeigt, wurde von mehr als 40.000 Besuchern gesehen
und war das Hauptprojekt der Luminale 2012. Im Jahr 2011 zeigte Geist die Installation Time Drifts
in Vancouver am Jack-Poole Plaza, ebenso wie in Montreal am Place des Arts in 2010. Die
Installation 'Timing' war 2009 auf dem Glow Festival in Eindhoven zu sehen. Ende 2009 sahen
anlässlich des Geburtstages des thailändischen Königs ca. 2-3 Millionen Besucher seine
Fassadeninstallation am königlichen Thron in Bangkok. Andere Projekte waren u.a.: 'Time Lines'
am renommierten Museum delle Esposizioni (2007), 'Time Fades' am Berliner Kulturforum,
'Broken Time Lines' am alten Kurhaus Ahrenshoop (2008).
Geists Projekte sind in erster Linie gekennzeichnet durch ihre Komplexität in der Integration von
Raum, Ton und Bewegbild. Seine Video-Mapping-Installationen verzichten auf Leinwände und
verwandeln verschiedenste Architekturen in bewegte, malerische Lichtskulpturen, die die
Wahrnehmung der Betrachter von Zwei- und Dreidimensionalität herausfordern.
Photo kindly contributed by Alan Davis.
John Morris says that M. Thomas is lighting the candles here.
Julian Williams says that the lower left photo is Mr Kemp teaching 5b.
East window designed by Sir Ninian Comper c1950, also known as 'the Bride's Window' after newly weds at the church following the War were asked to contribute funds towards it's installation.
Holy Trinity would have been the star attraction in any other town or city, it is a majestic cruciform 15th century Perpendicular church with a tapering central tower and spire, the second of Coventry's famous 'Three Spires'. However it has always been overshadowed by larger neighbours, having been encircled by no less than three separate cathedrals through it's history, a unique distinction! Holy Trinity was founded by the monks of the adjoining priory to act as a parish church for it's lay tenants, thus it is ironic that it has long outlived the parent building.
The earliest part is the north porch, which dates from the 13th century, but the majority of the building dates from a more ambitious phase in 15th century Perpendicular style. The 15th century rebuilding has given us the present cruciform arrangement with small transepts and extra chapels on the north side giving an overall roughly rectangular footprint. These chapels were some of many in the church that served the city's separate guilds in medieval times.
The church has gone through much restoration, most notably the rebuilding of it's spire after it was blown down in a storm in 1665. The east end of the chancel was extended in 1786 (in sympathetic style) and much of the exterior was refaced in the early 19th century in then fashionable Bath stone (which clashes with the original red sandstone).
The church luckily escaped major damage during the Coventry Blitz in 1940, largely thanks to the vigilance of Canon Clitheroe and his team of firewatchers who spent a perilous night on the roof tackling incendaries. The main loss was the Victorian stained glass in the east and west windows, which were replaced with much more fetching glass in the postwar restoration.
The most recent restoration involved the uncovering of the 15th century Doom painting over the chancel arch in 2004. Hidden under blackened varnish since it's rediscovery in the early Victorian period, it has now been revealed to be one of the most complete and important medieval Last Judgement murals in the country. There is further painting contemporary with this on the exquisite nave ceiling, painted a beautiful dusty blue with large kneeling angels flanking coats of arms on every rafter.
There are only a handful of monuments and most of the furnishings date from G.G.Scott's 1850s restoration (as does the magnificent vaulted ceiling high above the crossing) but there are some notable medieval survivals in the rare stone pulpit and the brass eagle lectern, both 15th century, along with a fine set of misericords originating from the former Whitefriars monastery church. Just a few fragments of medieval glass survive in the north west chapel.
The church is happily normally open and welcoming to visitors every day.
For more detail on this church see it's entry in the new Warwickshire Churches website below:-
warwickshirechurches.weebly.com/coventry---holy-trinity.html
Contributing Building -- Old Ortega Historic District - National Register of Historic Places
NRIS #04000682
The Don Pratt Hotel, built in 1920, features a three-story façade with a subtle decorative ribbon of brick and concrete above the ground floor. Near the top, the building showcases a more intricate display of brick and concrete work, highlighting a centered nameplate. After the hotel closed, the building was repurposed as a retirement home. By 2025, when the photograph was taken, the building seemed to be mostly vacant. It is located in the Belle Fourche Commercial Historic District listed on the National Register of Historic Places and is a contributing property.
Suggestion box for the next 25 years of Ecsite conferences. 21 May 2014.
2014 Ecsite Annual Conference. Host: Museon, The Hague, Netherlands.
© Ecsite / Julie Becker
Knowsley Safari Park is a zoological park and tourist attraction in the Knowsley area of Merseyside, England. Knowsley Safari Park is a member of the British and Irish Association of Zoos and Aquariums (BIAZA) and the European Association of Zoos and Aquaria (EAZA). The safari park contributes to conservation and research through links with conservation projects and its links with universities in Liverpool, Chester and Manchester.
History
The park was opened in July 1971 by Edward Stanley, 18th Earl of Derby and Jimmy Chipperfield[9] using the expertise of general manager Laurence Tennant MBE, formerly the Chief Game Warden of Parks in Uganda and Botswana. Initially the road through the park was 3.5 miles (5.6 km), with visitors driving past lions, cheetahs, monkeys, giraffes, zebra, elephants and various antelope. Due to the popularity of this route, an additional 1.5 miles (2.4 km) of road was added in 1973, and camels, buffalo, white rhino, and tigers were added to the park. Over the years, a few modifications have been made. For instance, tigers are now displayed in enclosures within the reserve, and a bypass around the baboons was built for visitors who are worried about damage to their cars.
The park was also home to a former RAF airfield which closed at the end of World War II. The RAF airbase situated at the safari park was also known as No 49 SLG or RAF Knowsley Park and was in use between 13 May 1942 – November 1944.
The park has hosted several sporting events including the Olympic torch relay, watched by 6,000 children and families in June 2012. The park hosted the finish of Stage Two of the 2012 Tour of Britain cycling event and is scheduled to host Stage Three of the 2013 Tour on Tuesday 17 September.
Most recently it hosted the final leg of Big Learner Relay 2017 which has raised over £300,000 for the BBC Children in Need appeal since 2014. Louise Walsh the inspiration behind the BLR has been awarded the prime minister's points of light award which recognises outstanding individual volunteers.
In 1995 Mr William Middleton, a warden at the park, was crushed and paralysed due to a faulty elephant enclosure. Mr Middleton died 12 years later due to complications caused by his injuries.
Zoological collection
Situated around Knowsley Hall on the ancestral estate of the Earl of Derby, the reserve is home to many different animals including elephants, giraffes, lions, bongos, tigers and baboons. The Derby Estate have a tradition of keeping animals, ever since the famous artist and nonsense-poet Edward Lear was employed there in the 19th century to paint pictures of the Earl's collection.
The park is open to the public and customers drive around the park in their own vehicles. There is a bypass route past the baboons for those who wish to avoid the risk of the baboons damaging their cars. In 2009 the baboons made the news all over the world when a video was released showing how they were intelligent and curious enough to open car roofboxes.
Tiger Trail
Amur Tiger Trail opened 25 May 2018, home to the Amur Tiger otherwise known as the Siberian Tiger. The area is 10,000m2 and includes forested areas, natural streams and ponds.
The Equatorial Trail
This exhibit focuses on animals who thrive in habitats around the Earth's Equator. The exhibit also houses the 'Equatorial Express', a small train which visitors can ride to gain a unique viewpoint of the animals. 4 completely different species of animals are housed in this exhibit, the South American tapir, Sitatunga, Rhea and the Capybara.
African Elephant
Until 2017 the park housed a herd of 4 adult cows named Tana, Ashanti, Nala and Juba. They were transported to Zoo Parc d'Beauval, France to enter the European Breeding Programme and allow for transformations on Knowsley Safari's Foot Safari. Knowsley previously housed a bull named Nissim, who collapsed in June 2014. Knowsley also recently lost their cow named Shaba due to a long battle with elephant arthritis.
Southern White Rhinoceros
Knowsley's crash of 11 adult rhinos is one of the most successful and genetically diverse breeding groups in Europe. The latest calf (as at 4 June 2016), Nomvula (Mother of Rain – a reference to the recent wet weather), born to mum Meru and is the 19th to be born at the facility in the last 40 years. Nomvula is Meru's 6th calf and was born on 2 January 2016.
Safari Drive
The Safari Drive is the park's main attraction and contains over 29 species of animals in 7 zones.
Zone 1+11
This zone contains: Père David's deer, Yak, Kiang and Bactrian camel.
Zone 2+8
This zone contains: Blackbuck, Nilgai, Eld's deer, Chital (Axis Deer) and Barasingha.
Zone 3+4+6
Zone 6 is over 100 acres and contains over a mile of road. It is one of Knowsley's two white rhino paddocks and is one of the largest in the UK. This zone contains: Southern White Rhino, Roan antelope, Eland, Lechwe, Wildebeest, Plains Zebra, African Forest Buffalo, Ostritch and Waterbuck.
Zone 5
This zone contains: Blesbok and Bongo
Zone 7
This zone contains exclusively the Olive baboon, which are famous for removing windscreen wipers and other appendages off vehicles. There is a car-friendly route which totally removes this zone however is still visible from outside the perimeter. This leads directly to zone 6.
Zone 9
This zone contains: European Bison, Fallow Deer and European Moose
Zone 10
This zone contains: Lion, and the Somali wild ass. This zone previously housed African wild dog, Iberian Wolf and Siberian Tiger.
All information correct and sourced from the Knowsley Safari Guide Book 2018 and edited by an editor who loves animals.
Railway and other attractions
The park features a 15 in (381 mm) gauge railway, 'The Lakeside Railway', on which visitors may tour parts of the site. There is also a collection of amusements and fairground rides on site plus paintballing, off-road driving challenges, and aerial extreme ropewalks.
A baboon house was added in 2006, along with African wild dogs that same year, a lion and tiger house in 2007. Red river hogs and marmosets were also added to the walkaround section, as well as an outdoor pool.
Animal care
In January 2011, local animal rights activists held a peaceful demonstration after an inspection by government vets found one instance of a breach of regulations on the disposal of animal ‘by-products’. Pictures in the Daily Mail showed animals lying dead on the ground and in binbags, although the park's directors claim the pictures were staged by the photographer, whose husband the paper claimed had recently lost his job at the park. The park has since installed an enclosure for the storage of animal carcasses before disposal. The British and Irish Association of Zoos and Aquariums (BIAZA) later said it had ‘full confidence’ in Knowsley and praised its ‘excellent standards of animal husbandry and welfare’.
via Playground Markings UK bit.ly/1k75xn8
"Environmental and lifestyle factors contribute to development of celiac disease"
Photograph contributed by participants of The Ayrshire Community Trust's Activity Agreement.
For more information on the Yesterd@ys project, please visit Our Website, or email us at NAHeritage@North-Ayrshire.gov.uk
DISCLAIMER
All archival images on this website have been made available by The North Ayrshire Council in good faith for reference and/or educational purposes only and without intent to breach any proprietary rights which may subsist in the work. Images may not be printed, copied, distributed, published or used for any commercial purposes without the prior written consent of the individual or body which holds such rights. Should any alleged breach of proprietary rights be brought to the attention of The North Ayrshire Council, relevant material will be removed from the website with immediate effect.
The North Ayrshire Council is not responsible for the content, reliability or availability of external websites and cannot be held liable for any loss or damage to the user, of whatever kind, arising either directly or indirectly from use of same. Listing should not be taken as an endorsement of any kind and in particular, of views expressed within any such site.
Shauna contributes to the Urbane Life blog. She is a lover of vlogs, design, and slurpees. She is energetic and passionate about innovation and technology.
Shauna grew up in Southeast Michigan and attended Ferris State University for her BS. She returned back to Southeast Michigan to work near family and friends and has grown to love the area. You can usually find her anywhere from Novi to Birmingham, Auburn Hills to Royal Oak, dancing, drinking tea, or shooting videos.
Shauna currently is the Marketing Manager at BiznetIS.net, working exclusively online. She also volunteers at HOPE Center in Pontiac, logging stories of the area’s homeless (on Twitter @HOPEcenter); organizes a millennial networking group (MCC Millennials on Facebook); and does speaking engagements for online marketing for LA2M and Automation Alley.
You can connect with Shauna via Twitter, she's @shaunan.
Thanks for stopping by.
The driving force behind EMULSIVE is knowledge transfer, specifically engendering more of it in the film photography community. I do what I can through this website and the @EMULSIVEfilm Twitter account but we need more. This is where you come in.
You’ll soon be...
Large version at: emulsive.org/articles/calling-contributors
Filed under: #Articles #Contribute
Participants attend a workshop on Financial Management for the AMISOM Troop and Police Contributing Countries in Nairobi, Kenya on December 05, 2016. AMISOM Photo
Attitude like this contributes to overpopulation in most Western countries but it seems to go completely unnoticed. Call me a bitter militant homosexual if you want, but for this kind of propaganda to be on the front of a national newspaper (albeit a free one) promoting yet another terrible American 'comedy' movie was just irresponsible of the publisher. Some of my thankfully ex-friends in the United Kingdom got "knocked up" for no other reason other than to prematurely claim social housing - which is technically queue jumping.
The 2030 Agenda calls on all countries to use trade to create a more sustainable, inclusive, and resilient world. We must ensure that the global trading system actively contributes to sustainability. Trade policies offer an opportunity to promote a broad shift in production and consumption that helps consumers to make better choices.
The European Union-Mercosur (Argentina, Brazil, Paraguay and Uruguay) free trade agreement, recently announced after 20 years of negotiations, has not yet been ratified. If ratified, it would represent the largest trade deal struck by both the EU and Mercosur bringing together 779 million of people, 24 trillion dollars of GDP and covering 18 million of square kilometers. Representing a quarter of the global GDP and could also presage a redistribution of agricultural market shares in the EU, the world’s second largest agricultural import market, for US-based exporters.
The agreement may serve as a model for future deals, making it critical to get this one right. This discussion will consider fundamental questions about “greening” of the EU-Mercosur agreement:
How will the agreement impact trade in goods?
How will it protect standards, including environmental standards?
Can it promote sustainable farming in both regions?
How will it contribute to the fight against climate change?
Will commitments on environmental protection be enforceable?
Speakers
Eugenio Diaz-Bonilla, Head, Latin American and Caribbean Program, IFPRI
Ramiro Costa, Deputy Executive Director of the Buenos Aires Grain Exchange, Bolsa de Cereales
David Laborde Debucquet, Senior Research Fellow, IFPRI
Sofia Perini, Economist, INAI Foundation (Institute for International Agricultural Negotiations)
Moderator
Valeria Piñeiro, Senior Research Coordinator, IFPRI
Photo by Jamed Falik/IFPRI
Contributing Building - Central Core Historic District - National Register of Historic Places
NRIS #89002424
Built 1898
Yoko Ono: The Road Of Hope
The prize-giving ceremony for the 8th Hiroshima Art Prize (sponsored by Hiroshima City and Asahi Newspapers), an award for contemporary artists whose work has contributed to peace, was held at the Museum of Contemporary Art in Hiroshima on July 29th. The avant-garde artist (78), wife of the late John Lennon, a former Beatle, was there to accept the prize. Saying that "the whole world recognises how Hiroshima picked itself up and rebuilt itself so remarkably after being totally annihilated," she spoke of her determination to evoke that power her future artistic work.
In the morning of the same day she visited the Hiroshima Peace Park, and laid a wreath at the Memorial Cenotaph for the victims of the atomic bombing. She also toured the Hiroshima Peace Memorial Museum (the atomic bomb archive), and appealed to people to "make sure to look (at the exhibits) and don’t try to avoid them. If you haven't been there yet, please do visit, and look carefully at them all."
To commemorate the award, the museum will host her exhibition "ROAD OF HOPE –YOKO ONO 2011 until October 16th. The exhibition features works inspired by the recent disaster at Fukushima, as well as the victims of Hiroshima and Nagasaki, and embodies a spirit of hope for the future.
more info: imaginepeace.com/archives/13631
Photo: Anne Terada (c) 2011 Yoko Ono
We both are slinging mud. Doug standing in one of the finished rooms. Photo contributed by Fred Benda
Catchy idea, huh? Having worked an entire career in the System Safety field I cannot help but notice things that are wrong, especially if they can contribute to injury or property damage.
While on a meetup with the Flickr Club San Antonio Saturday, I saw this cable connected with clamps. I mentioned to Mark (Copasetic on Flickr) what the problem was and why. He suggested I photo it and post. So, here it is.
The title above is a catchy phrase that helps one remember how to attach clamps to wirerope. There are 3 parts to the clamp: the nuts, the U-bolt, and the saddle. The "live" part of the rope is that part that leads to the load. The "dead" part is just the end and supports nothing. This one is incorrectly attached. If you put much load on this rope, the gripping part (the U-bolt) is on the live wire. The dead end will then just slip through the clamp as if it were a slip-knot; thereby, releasing the load. In this case, though, there was a minimal amount of "load." Otherwise, I would have brought it to the attention of the manager in charge of this facility.
A point of interest (to me at least) is that I have done that many times and I can promise you that every manager I have ever brought problems to their attention has responded VERY Negatively! So, I seldom mention things unless it would result in injury. If it will just result in damage to property or equipment, I let it go and it can become a learning experience for the business, unless I am being paid to do so.
As a side note, notice the end of the cable apparently has been severed by a cutting torch. That could be a signal that other parts of the wire-rope has been heated which can alter the tensile strength of the rope, causing weak segments.
Wow, this description is way more than anyone wants to know. LOL
"Embreeville Historic District is a national historic district located in Newlin Township, Chester County, Pennsylvania. It encompasses 12 contributing buildings along the east and west banks of the West Branch Brandywine Creek in the village of Embreeville. It includes a variety of vernacular, banked, stuccoed stone buildings. They were largely built between about 1822 and 1842, with the earliest house built about 1760. The buildings include a farmhouse, a country store, a storekeeper's house, a blacksmith's house, a wheelwright's house and store, a grist mill known as the Embreeville Mill, a "mansion" (1856), and miller's house.
Embreeville is an historical unincorporated community, little more than a rural stretch of road with a few businesses and homes, in Newlin Township, Chester County, Pennsylvania, inside a bend of Brandywine Creek. It is about 30 miles (48 km) west of Philadelphia, and north of Unionville. The Embreeville Historic District, which covers most of the town, is on the National Register of Historic Places.
During the 19th and 20th centuries Embreeville was best known as the site of the county poor house and the Chester County Asylum for the Insane, renamed Embreeville State Hospital in 1938 and closed in 1980. Embreeville's other landmarks include the Embreeville Dam, Embreeville Mill, Pennsylvania State Police Barracks, Star Gazers' Stone, and Hannah Freeman's grave.
The Star Gazers' Stone marked an important astronomical observation point used by Charles Mason and Jeremiah Dixon in 1764 in surveying the Mason-Dixon line, which lies 15 miles south of the stone.
It is also the location to a Pennsylvania state police station." - info from Wikipedia.
The fall of 2022 I did my 3rd major cycling tour. I began my adventure in Montreal, Canada and finished in Savannah, GA. This tour took me through the oldest parts of Quebec and the 13 original US states. During this adventure I cycled 7,126 km over the course of 2.5 months and took more than 68,000 photos. As with my previous tours, a major focus was to photograph historic architecture.
Now on Instagram.