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Lobar pneumonia with abscess involving the lower lobe.
Image contributed by Dr. Yale Rosen - @yro854
Luxor (Arabic: الأقصر, romanized: al-ʾuqṣur, lit. 'the palaces') is a city in Upper Egypt, which includes the site of the Ancient Egyptian city of Thebes. Luxor had a population of 1,333,309 in 2020, with an area of approximately 417 km2 (161 sq mi) and is the capital of the Luxor Governorate. It is among the oldest inhabited cities in the world.
Luxor has frequently been characterized as the "world's greatest open-air museum", as the ruins of the Egyptian temple complexes at Karnak and Luxor stand within the modern city. Immediately opposite, across the River Nile, lie the monuments, temples and tombs of the west bank Theban Necropolis, which includes the Valley of the Kings and Valley of the Queens. Thousands of tourists from all around the world arrive annually to visit Luxor's monuments, contributing greatly to the economy of the modern city. Yusuf Abu al-Haggag is the patron saint of Luxor.
Etymology
The name Luxor (Arabic: الأقصر, romanized: al-ʾuqṣur, lit. 'the palaces', pronounced /ˈlʌksɔːr, ˈlʊk-/, Egyptian Arabic pronunciation: [ˈloʔsˤoɾ], Upper Egyptian: [ˈloɡsˤor]) derives from the Arabic qasr (قصر), meaning "castle" or "palace". It may be equivalent to the Greek and Coptic toponym τὰ Τρία Κάστρα ta tria kastra and ⲡϣⲟⲙⲧ ⲛ̀ⲕⲁⲥⲧⲣⲟⲛ pshomt enkastron respectively, which both mean "three castles")
The Sahidic Coptic name Pape (Coptic: ⲡⲁⲡⲉ, pronounced Coptic pronunciation: [ˈpapə]), comes from Demotic Ỉp.t "the adyton", which, in turn, is derived from the Egyptian. The Greek forms Ἀπις and Ὠφιεῖον come from the same source. The Egyptian village Aba al-Waqf (Arabic: أبا الوقف, Ancient Greek: Ωφις) shares the same etymology.
The Greek name is Thebes (Ancient Greek: Θῆβαι) or Diospolis. The Egyptian name of the city is Waset, also known as Nut (Coptic: ⲛⲏ)
Luxor was the ancient city of Thebes, the capital of Upper Egypt during the New Kingdom, and the city of Amun, later to become the god Amun-Ra. The city was regarded in the ancient Egyptian texts as wAs.t (approximate pronunciation: "Waset"), which meant "city of the sceptre", and later in Demotic Egyptian as ta jpt (conventionally pronounced as "tA ipt" and meaning "the shrine/temple", referring to the jpt-swt, the temple now known by its Arabic name Karnak, meaning "fortified village"), which the ancient Greeks adapted as Thebai and the Romans after them as Thebae. Thebes was also known as "the city of the 100 gates", sometimes being called "southern Heliopolis" ('Iunu-shemaa' in Ancient Egyptian), to distinguish it from the city of Iunu or Heliopolis, the main place of worship for the god Ra in the north. It was also often referred to as niw.t, which simply means "city", and was one of only three cities in Egypt for which this noun was used (the other two were Memphis and Heliopolis); it was also called niw.t rst, "southern city", as the southernmost of them.
The importance of the city started as early as the 11th Dynasty, when the town grew into a thriving city. Montuhotep II, who united Egypt after the troubles of the First Intermediate Period, brought stability to the lands as the city grew in stature. The Pharaohs of the New Kingdom in their expeditions to Kush, in today's northern Sudan, and to the lands of Canaan, Phoenicia and Syria saw the city accumulate great wealth and rose to prominence, even on a world scale. Thebes played a major role in expelling the invading forces of the Hyksos from Upper Egypt, and from the time of the 18th Dynasty to the 20th Dynasty, the city had risen as the political, religious and military capital of Ancient Egypt.
The city attracted peoples such as the Babylonians, the Mitanni, the Hittites of Anatolia (modern-day Turkey), the Canaanites of Ugarit, the Phoenicians of Byblos and Tyre, the Minoans from the island of Crete. A Hittite prince from Anatolia even came to marry with the widow of Tutankhamun, Ankhesenamun. The political and military importance of the city, however, faded during the Late Period, with Thebes being replaced as political capital by several cities in Northern Egypt, such as Bubastis, Sais and finally Alexandria.
However, as the city of the god Amun-Ra, Thebes remained the religious capital of Egypt until the Greek period. The main god of the city was Amun, who was worshipped together with his wife, the Goddess Mut, and their son Khonsu, the God of the moon. With the rise of Thebes as the foremost city of Egypt, the local god Amun rose in importance as well and became linked to the sun god Ra, thus creating the new 'king of gods' Amun-Ra. His great temple at Karnak, just north of Thebes, was the most important temple of Egypt right until the end of antiquity.
Later, the city was attacked by Assyrian emperor Ashurbanipal who installed a new prince on the throne, Psamtik I. The city of Thebes was in ruins and fell in significance. However, Alexander the Great did arrive at the temple of Amun, where the statue of the god was transferred from Karnak during the Opet Festival, the great religious feast. Thebes remained a site of spirituality up to the Christian era, and attracted numerous Christian monks of the Roman Empire who established monasteries amidst several ancient monuments including the temple of Hatshepsut, now called Deir el-Bahri ("the northern monastery").
Following the Muslim conquest of Egypt, part of the Luxor Temple was converted from a church to a mosque. This mosque is currently known as the Abu Haggag Mosque today.
The 18th century saw an increase of Europeans visiting Luxor, with some publishing their travels and documenting its surroundings, such as Claude Sicard, Granger, Frederick Louis Norden, Richard Pococke, Vivant Denon and others. By the 20th century, Luxor had become a major tourist destination.
Archaeology
In April 2018, the Egyptian Ministry of Antiquities announced the discovery of the shrine of god Osiris- Ptah Neb, dating back to the 25th dynasty in the Temple of Karnak. According to archaeologist Essam Nagy, the material remains from the area contained clay pots, the lower part of a sitting statue and part of a stone panel showing an offering table filled with a sheep and a goose which were the symbols of the god Amun.
On the same day in November 2018, two different discoveries were announced. One was by the Egyptian Supreme Council of Antiquities that had found a 13th-century tomb on the West Bank belonging to Thaw-Irkhet-If, the overseer of the mummification shrine at the temple of Mut, and his wife. Five months of excavation work until this point had revealed colorful scenes of the family and 1,000 funerary statues or ushabti. The other discovery was of 1000 ushabti and two sarcophagi each containing a mummy in the TT33 complex by a joint team from the IFAO (French Institute of Oriental Archaeology, Cairo, Egypt) and the University of Strasbourg. One of the sarcophagi was opened in private by Egyptian antiquities officials, while the other, of a female 18th Dynasty woman named Thuya, was opened in front of international media.
In October 2019, Egyptian archaeologists headed by Zahi Hawass revealed an ancient "industrial area" used to manufacture decorative artefacts, furniture and pottery for royal tombs. The site contained a big kiln to fire ceramics and 30 ateliers. According to Zahi Hawass, each atelier had a different aim – some of them were used to make pottery, others used to produce gold artefacts and others still to churn out furniture. About 75 meters below the valley, several items believed to have adorned wooden royal coffins, such as inlaid beads, silver rings and gold foil were unearthed. Some artefacts depicted the wings of deity Horus.
In October 2019, the Egyptian archaeological mission unearthed thirty well-preserved wooden coffins (3,000 years old) in front of the Mortuary Temple of Hatshepsut in El-Assasif Cemetery. The coffins contained mummies of twenty-three adult males, five adult females and two children, who are believed to be from the middle class. According to Hawass, mummies were decorated with mixed carvings and designs, including scenes from Egyptian gods, hieroglyphs, and the Book of the Dead, a series of spells that allowed the soul to navigate in the afterlife. Some of the coffins had the names of the dead engraved on them.
On the 8th of April 2021, Egyptian archaeologists led by Zahi Hawass found Aten, a 3,400-year-old "lost golden city" near Luxor. It is the largest known city from Ancient Egypt to be unearthed to date. The site was said by Betsy Bryan, professor of Egyptology at Johns Hopkins University to be "the second most important archaeological discovery since the tomb of Tutankhamen". The site is celebrated by the unearthing crew for showing a glimpse into the ordinary lives of living ancient Egyptians whereas past archaeological discoveries were from tombs and other burial sites. Many artefacts are found alongside the buildings such as pottery dated back to the reign of Amenhotep III, rings and everyday working tools. The site is not completely unearthed as of the 10th of April 2021.
Landmarks
West bank
Valley of the Kings
Valley of the Queens
Medinet Habu (Mortuary Temple of Ramesses III, etc.)
The Ramesseum (memorial temple of Ramesses II)
Deir el-Medina (workers' village)
Tombs of the Nobles
Deir el-Bahari (Mortuary Temple of Hatshepsut, etc.)
Malkata (palace of Amenophis III)
Colossi of Memnon (memorial temple of Amenophis III)
Al-Asasif cemetery
East bank
Luxor Temple
Luxor International Airport
Karnak Temple
Luxor Museum
Mummification Museum
Winter Palace Hotel
Climate
Luxor has a hot desert climate (Köppen climate classification BWh) like the rest of Egypt. Aswan and Luxor have the hottest summer days of any other city in Egypt. Aswan and Luxor have nearly the same climate. Luxor is one of the sunniest and driest cities in the world. Average high temperatures are above 40 °C (104 °F) during summer (June, July, August). During the coolest month of the year, average high temperatures remain above 22 °C (71.6 °F) while average low temperatures remain above 5 °C (41 °F).
The climate of Luxor has precipitation levels lower than even most other places in the Sahara, with less than 1 mm (0.04 in) of average annual precipitation. The desert city is one of the driest ones in the world, and rainfall does not occur every year. The air in Luxor is more humid than Aswan but still very dry. There is an average relative humidity of 39.9%, with a maximum mean of 57% during winter and a minimum mean of 27% during summer.
The climate of Luxor is extremely clear, bright and sunny year-round, in all seasons, with a low seasonal variation, with about some 4,000 hours of annual sunshine, very close to the maximum theoretical sunshine duration.
In addition, Luxor, Minya, Sohag, Qena and Asyut have the widest difference of temperatures between days and nights of any city in Egypt, with almost 16 °C (29 °F) difference.
The hottest temperature recorded was on May 15, 1991, which was 50 °C (122 °F) and the coldest temperature was on February 6, 1989, which was −1 °C (30 °F).
Coptic Catholic Eparchy
The Coptic Catholic (Alexandrian Rite) minority established on November 26, 1895 an Eparchy (Eastern Catholic Diocese) of Luqsor (Luxor) alias Thebes, on territory split off from the Apostolic Vicariate of Egypt. Its episcopal see is a St. George cathedral in Luxor.
In turn, it lost territory on August 10, 1947 to establish the Eparchy of Assiut and again on 14 September 1981 to establish Sohag.
Suffragan Eparchs of Luxor
Ignazio Gladès Berzi (March 6, 1896 – died January 29, 1925)
Marc Khouzam (August 6, 1926 – August 10, 1947), also Apostolic Administrator of Alexandria of the Copts (Egypt) (December 30, 1927 – August 10, 1947); later Coptic Catholic Patriarch of Alexandria (10 August 10, 1947 – died February 2, 1958)
Isaac Ghattas (June 21, 1949 – May 8, 1967), later Archbishop-Bishop of Minya of the Copts (Egypt) (May 8, 1967 – died June 8, 1977)
Amba Andraos Ghattas, Lazarists (C.M.) (May 8, 1967 – June 9, 1986), also Apostolic Administrator of Alexandria of the Copts (Egypt) (February 24, 1984 – June 9, 1986), President of Synod of the Catholic Coptic Church (1985 – March 30, 2006), President of Assembly of the Catholic Hierarchy of Egypt (1985 – March 30, 2006), later Coptic Catholic Patriarch of Alexandria (June 23, 1986 – retired March 30, 2006), created Cardinal-Patriarch (February 21, 2001 – died January 20, 2009), also President of Council of Catholic Patriarchs of the East (2003–2006)
Aghnatios Elias Yaacoub, Jesuits (S.J.) (July 15, 1986 – died March 12, 1994), previously Coadjutor Eparch of Assiut of the Copts (Egypt) (May 19, 1983 – July 15, 1986)
Youhannes Ezzat Zakaria Badir (June 24, 1994 – December 27, 2015), previously Eparch (Bishop) of Ismayliah of the Copts (Egypt) (November 23, 1992 – June 23, 1994)
Emmanuel (Khaled Ayad) Bishay (April 16, 2016 -
Economy
The economy of Luxor, like that of many other Egyptian cities, is heavily dependent on tourism. Since 1988, Luxor is the only city that offers hot air balloon rides in Egypt, which is a common activity for tourists. Large numbers of people also work in agriculture, particularly sugarcane. There are also many industries, such as the pottery industry used in eating and many other uses.
The local economy was hit by the Luxor massacre in 1997, in which a total of 64 people (including 59 visiting tourists) were killed, at the time the worst terrorist attack in Egypt (before the Sharm el-Sheikh terrorist attacks). The massacre reduced tourist numbers for several years. Following the 2011 Arab Spring, tourism to Egypt dropped significantly, again affecting local tourist markets. Nineteen Asian and European tourists died when a hot air balloon crashed early on Tuesday, February 26, 2013 near Luxor following a mid-air gas explosion. It was one of the worst accidents involving tourists in Egypt. The casualties included French, British, Hungarian, Japanese nationals and nine tourists from Hong Kong.
To make up for shortfalls of income, many cultivate their own food. Goat's cheese, pigeons, subsidized and home-baked bread and homegrown tomatoes are commonplace among the majority of its residents.
Tourism development
A controversial tourism development plan aims to transform Luxor into the biggest vast open-air museum. The master plan envisions new roads, five-star hotels, glitzy shops, and an IMAX theatre. The main attraction is an 11 million dollar project to unearth and restore the 2.7 kilometres (1.7 miles) long Avenue of Sphinxes that once linked Luxor and Karnak temples. The ancient processional road was built by the pharaoh Amenhotep III and took its final form under Nectanebo I in 400 BCE. Over a thousand sphinx statues lined the road now being excavated which was covered by silt, homes, mosques and churches. Excavation started around 2004.
On 18 April 2019, the Egyptian Government announced the discovery of a previously unopened coffin in Luxor, dated back to 18th dynasty of Upper and Lower Egypt. According to the Minister of Antiquities Khaled al-Anani, it is the biggest rock-cut tomb to be unearthed in the ancient city of Thebes. It is one of the largest, well-preserved tombs ever found near the ancient city of Luxor. On 24 November 2018, this discovery was preceded by the finding of a well-preserved mummy of a woman inside a previously unopened coffin dating back more than 3,000 years.
Infrastructure
A bridge was opened in 1998, a few kilometres upstream of the main town of Luxor, allowing ready land access from the east bank to the west bank. Traditionally river crossings have been the domain of several ferry services. The so-called 'local ferry' (also known as the 'National Ferry') continues to operate from a landing opposite the Temple of Luxor.
Transport to sites on the west bank are serviced by taxi drivers who often approach ferry passengers.[citation needed] There are also local cars that reach some of the monuments for 2 L.E., although tourists rarely use them. Alternatively, motorboats line both banks of the Nile all day providing a quicker, but more expensive (50 L.E.), crossing to the other side.
The city of Luxor on the east bank has several bus routes used mainly by locals. Tourists often rely on horse carriages, called "calèches", for transport or tours around the city. Taxis are plentiful, and reasonably priced, and since the government has decreed that taxis older than 20 years will not be relicensed, there are many modern air-conditioned cabs. Recently, new roads have been built in the city to cope with the growth in traffic.
For domestic travel along the route of the Nile, a rail service operates several times a day. A morning train and sleeping train can be taken from the railway station situated around 400 metres (440 yd) from Luxor Temple. The line runs between several major destinations, including Cairo to the north and Aswan to the south.
Luxor University
Luxor University, founded in 2019, is a non-profit governmental university that provides programs and courses for students.
Twin towns – sister cities
United States Baltimore, United States
Brazil Brasília, Brazil
Georgia (country) Kakheti, Georgia
Bulgaria Kazanlak, Bulgaria
China Shenzhen, China
Italy Viterbo, Italy
China Yangzhou, China
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’.
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...
Bel-Air | Avenue Daumesnil
The Cité Nationale de l'Histoire de l'Immigration is a museum of immigration history housed in the Palais de la Porte Dorée.
The museum was conceived in 1989 by Algerian immigrant Zaïr Kedadouche, supported initially by historians, with a mission to "contribute to the recognition of the integration of immigrants into French society and advance the views and attitudes on immigration in France". It opened without public ceremony in late 2007.
It contains over 1100 m² of exhibition space devoted primarily to the history and culture of immigration in France from the early nineteenth century to the present.
Extensive Intra-alveolar hemosiderin deposition following pulmonary hemorrhage. Prussian blue stain. Pulmonary veno-occlusive disease.
Image contributed by Dr. Yale Rosen - @yro854
Dan Lawson built the original portion of the house in 1856. The brick chimney was unusual for the time and locale- the brick were made at the site. The original portion of the house was constructed of hewn logs. The house was expanded using sawed lumber. One component of the expansion was the "stranger's room," built on the front elevation beside the porch. The so called stranger's room was built to accommodate overnight visitors or passing travelers. The Don Larson house is in the Cades Cove Historic District on the National Register of Historic Places and is a contributing property.
Erected in 1854, this Greek Revival structure was designed by Henry Searl. It is a contributing property to the Lyons Downtown Historic District, which was placed on the National Register of Historic Places in 2018.
Lyons, New York is a lovely shire town located to the southeast of Rochester. It serves as the seat of Wayne County.
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)
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 photograph was taken by Nicholson Museum curator William J Woodhouse in Greece between 1890 and 1935.
Can you help us catalogue the Woodhouse photographic archive? Contribute by adding tags and answering the following questions in the comments below:
•What do you see? Write a brief description for this image.
•Where was this photograph taken?
•Can you find the geo co-ordinates (latitude and longitude) of this exact place? Let us know by linking to the google maps or add the co-ordinates in your comment.
•Do you know what year this photograph was taken?
About the archive:
The Nicholson Museum holds over 1800 glass-plate negatives taken by Woodhouse while in Greece in 1890s and early 1900s. A small portion of the archive also includes photographs of his family in the Blue Mountains, NSW, Australia. The collection documents important archaeological sites, significant landscapes of the Greek mainland, contemporary buildings and the people he met along the way. His archive is a rich resource capturing many sites pre-archaeological excavation and before modern industrial development. Some of the photographs were published by Woodhouse in his book 'Aetolia: its geography, topography, and antiquities' published in 1897. His desire to capture Greece on 'film', was simply put in his introduction: "History only attains its full value by borrowing actuality from geography and topography". The archive shows his love not only for the sites but also for the people and spirit of Greece.
About the project:
We are asking you to contribute to our documentation of this collection and assist us with the identification of the hundreds of different monuments and places in Greece. The title of each photograph will include the museum registration number (NM2007.##.##) and may already include a place name where museum staff or Woodhouse himself have titled the image.
All of our flikr contributors will be acknowledged when the collection is published through our online collections at the completion of the project.
DALKEITH BURNS CLUBS: Some Interesting Connections
The idea of a memorial to Robert Burns in Dalkeith is said to have been to commemorate the centenary of the Bard's death in 1896. After an effort which spanned over four years the memorial fountain and lamp in the High Street was finally erected. The Dalkeith Burns Club responsible for the original fountain campaign and presided over by Andrew Hope had “gone under” by the time the memorial fountain was erected in the last few days of 1898. No official unveiling occurred on the anniversary of Burns’ birth 1899. It is interesting to speculate about whether the fountain, controversial from the outset, in some way contributed to the club disbanding. Whatever the reason, I think it is important that Andrew Hope is remembered as President of the Club who initiated the memorial.
There is an interesting history of interconnections to be thought about in relation to the Burns Clubs that were in existence around Dalkeith for the first few decades of the 20th century. I’ve recorded some details of a few below, picking out some points and names which may be of interest. This account is not a complete record of all Burns Club / Scottish Societies active in and around Dalkeith at that time. If you have any information on local Burns Clubs that you'd like to share, I would be interested to hear from you.
We know, for instance, that Mungo Mackay established Newbattle Burns Club on 24 November 1910. The Club was registered on the list of affiliated Clubs and Societies with the Burns Federation that very year. Mungo was a mining engineer from Ayrshire. His name goes down locally as having become something of a tyrannical manager within the Midlothian mining industry. Nevertheless, the Newbattle Burns Club is also recorded as a having been a very active club, organising various events over the years and also giving financial support to the Newtongrange Gala Day. Women were even admitted as members in 1930 but were not allowed to take part in the Club business initially! The minute book for this Burns Club is available to view at Midlothian Local Studies Centre at Loanhead.
Dalkeith and District Burns Club was registered as an affiliated Club of the Burns Federation in 1925. Its federation number was 338. In 1932 there was a gathering of 50 at the Club’s annual Burns Supper. That year, Mr Donald M'Lean, presided and Councillor Andrew Anderson, J.P., Newtongrange, gave the toast of the Immortal Memory. Denise Noble will be interested to see that James Lean, J.P. from Dalkeith, also spoke at that particular supper. The following year (1933), the Dalkeith and District Burns’ Club Burns supper, took place in the Victoria Rooms and James presided. A great Burns man himself, James was an ardent supporter of the Dalkeith Burns fountain and put over strong and persuasive arguments in the council chambers against the fountain’s removal from its position in the High Street on more than one occasion. Although controversial from the outset, there were calls for the removal of the structure from the High Street on the grounds of its ‘artlessness’ from 1924.
In 1929, Dalkeith Fountain Burns Club was registered as an affiliated Club with the Burns Federation. The Dalkeith Fountain Burns Club's registration number was 414. Appropriately, this Club held their annual supper just opposite the Burns fountain, in the Ship Inn, Dalkeith in 1929. George Steel will be interested to note that his uncle Ex-Bailie James Dalziel presided at that gathering of the Dalkeith Fountain Burns Club that year. Mr James Brown, Newtongrange, proposed the Immortal Memory.
In 1932, Mr James Brown presided at the annual supper of the Dalkeith Fountain Burns Club on 22 January 1932, which there was also an attendance of about 5O. George Humphrey, (then) president of the Newbattle Burns Club proposed the immortal Memory. George was still involved in the Club’s amateur dramatic society for many more years. Indeed the Newbattle Burns Club did much to boost morale during the years of WWII and entertained troops stationed locally.
Dalkeith Merry Boys’ Burns Club held an annual supper in the Volunteer Arms’ Hall in Dalkeith on 7 February 1934. Ex- Provost Murdoch, who presided, made reference to the loss sustained by the Club on the death their president. Mr James Goodfellow. That year, it was headmaster of Dalkeith Burgh School, Mr F. J. Belford who proposed the Immortal Memory.
In 1964, the Burns Federation listed the Dalkeith Wheatsheaf Burns (federation number 856). The club would meet on the last Friday of each month in the Wheatsheaf Inn lounge.
WILLIAM SWORD was the Club's Secretary.
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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’.
(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
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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
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
RUKLA, Lithuania - Lithuania’s top Army leader and members of the public welcomed U.S. Soldiers to the former Soviet-block country Oct. 8 in a small ceremony, briefing and public static display of Lithuanian and U.S. military vehicles and arms.
Soldiers of the Vilseck, Germany-based 2nd Cavalry Regiment and the Fort Hood, Texas-based 1st Brigade Combat Team, 1st Cavalry Division, are in Lithuania for Atlantic Resolve, a multinational combined arms exercise taking place across Estonia, Latvia, Lithuania and Poland to enhance multinational interoperability, to strengthen relationships among allied militaries, to contribute to regional stability and to demonstrate US commitment to NATO. (U.S. Army photo by Staff Sgt. Keith Anderson, 1st BCT, 1st CD Public Affairs)
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.
This photograph was taken by Nicholson Museum curator William J Woodhouse in Greece between 1890 and 1935.
Can you help us catalogue the Woodhouse photographic archive? Contribute by adding tags and answering the following questions in the comments below:
•What do you see? Write a brief description for this image.
•Where was this photograph taken?
•Can you find the geo co-ordinates (latitude and longitude) of this exact place? Let us know by linking to the google maps or add the co-ordinates in your comment.
•Do you know what year this photograph was taken?
About the archive:
The Nicholson Museum holds over 1800 glass-plate negatives taken by Woodhouse while in Greece in 1890s and early 1900s. A small portion of the archive also includes photographs of his family in the Blue Mountains, NSW, Australia. The collection documents important archaeological sites, significant landscapes of the Greek mainland, contemporary buildings and the people he met along the way. His archive is a rich resource capturing many sites pre-archaeological excavation and before modern industrial development. Some of the photographs were published by Woodhouse in his book 'Aetolia: its geography, topography, and antiquities' published in 1897. His desire to capture Greece on 'film', was simply put in his introduction: "History only attains its full value by borrowing actuality from geography and topography". The archive shows his love not only for the sites but also for the people and spirit of Greece.
About the project:
We are asking you to contribute to our documentation of this collection and assist us with the identification of the hundreds of different monuments and places in Greece. The title of each photograph will include the museum registration number (NM2007.##.##) and may already include a place name where museum staff or Woodhouse himself have titled the image.
All of our flikr contributors will be acknowledged when the collection is published through our online collections at the completion of the project.
Irkutsk - Oblast - Russia - Siberia
Monument to Emperor Alexander III
The monument was erected to contribute the construction of the Trans-Siberian Railway - the great Siberian Railway, linking the center of Russia to its eastern territories.
The double - headed eagle is the symbol of power of the Russian Empire.
The monument was erected in 1908 in honor of completed construction of the Siberian Railway. The square around the monument became one of the city’s favored public recreational areas. In 1920, the Emperor’s bronze sculpture was torn down from its pedestal. East-Siberian Railways undertook to restore the monument for 100th anniversary of Trans-Siberian Railway. In 2003, Emperor took place on the pedestal again.
www.irkutsk-baikal.com/irkutsk/
Irkutsk (Russian: Иркутск; IPA: [ɪrˈkutsk]) is a city and the administrative center of Irkutsk Oblast, Russia, and one of the largest cities in Siberia.
Visit Church of the Savior, war memorial, Angara river embankment, Cathedral of our Lady of the Sign, Monument to the Emperor Alexander III on the embankment.
On Siberian map Irkutsk appeared in the middle of the XVII century. Irkutsk has a great number of monuments of wooden architecture. There are about 500 architectural monuments in the city, among which historically constructed ensembles are depicted. The greatest interest has ancient part of the including Church of the Savior and Znameniye Cathedral.
Farther on the day we continue the city tour with the Decembrist's House Museum. It is connected with the family of Sergey Volkonsky, one of the Decembrists leaders. They lived for 30 years in Siberia, 17 of them they had been living in Irkutsk in this house. Original things of the Volkonsky family and other Decembrists are kept in the museum.
Eid ul Fitr often abbreviated to Eid, is a Muslim holiday that marks the end of Ramadan, the Islamic holy month of fasting. Eid is an Arabic word meaning festivity, while Fiṭr means to break the fast and so the holiday symbolizes the breaking of the fasting period. It is celebrated starting on the first day of the Islamic month of Shawwal.
Eid ul Fitr is a three day celebration and is sometimes also known as the Smaller Eid as compared to the Eid ul-Adha that lasts four days and is called the Greater Eid
Muslims are commanded by the Qur'an to complete their fast on the last day of Ramadan and then recite the Takbir all throughout the period of Eid.
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
The devastating impact of flooding last year and the absence of authority in the Jonglei region is emboldening groups to take part in intercommunal clashes, said the UNMISS Chief, David Shearer.
Speaking at a press conference on 9 March 2020, the Special Representative of the Secretary-General told journalists about his recent visit to Pibor where he witnessed first-hand the immense suffering caused by the clashes over recent weeks.
Many civilians have been killed, women and children abducted, and thousands of cattle stolen in the raids on the villages of Likuangole, Waat, Manyabol and Anyidi.
David Shearer described the actions of the armed groups as “unconscionable” and called for the immediate return of those who are being held in captivity.
He said the loss of crops and livestock experienced by people as a result of intense flooding as well as the lack of appointments of governors and other local authorities due to the slow formation of the transitional government may be encouraging the conflict.
UN Photo: Isaac Billy
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
Pontefract Castle
Pontefract (or Pomfret) Castle is a castle ruin in the town of Pontefract, in West Yorkshire, England. King Richard II is thought to have died there. It was the site of a series of famous sieges during the 17th-century English Civil War.
History
Model reconstructing Pontefract Castle
The castle, on a rock to the east of the town above All Saints' Church, was constructed in approximately 1070 by Ilbert de Lacy. on land which had been granted to him by William the Conqueror as a reward for his support during the Norman Conquest. There is, however, evidence of earlier occupation of the site. Initially the castle was a wooden structure which was replaced with stone over time. The Domesday Survey of 1086 recorded "Ilbert's Castle" which probably referred to Pontefract Castle.
Robert de Lacy failed to support King Henry I during his power struggle with his brother, and the King confiscated the castle from the family during the 12th century. Roger de Lacy paid King Richard I 3,000 marks for the Honour of Pontefract, but the King retained possession of the castle. His successor, King John gave Lacy the castle in 1199, the year he ascended the throne. Roger died in 1213 and was succeeded by his eldest son, John. However, the King took possession of Castle Donington and Pontefract Castle. The de Lacys lived in the castle until the early 14th century. It was under the tenure of the de Lacys that the magnificent multilobate donjon was built.
In 1311 the castle passed by marriage to the estates of the House of Lancaster. Thomas, Earl of Lancaster (circa 1278–1322) was beheaded outside the castle walls six days after his defeat at the Battle of Boroughbridge, a sentence placed on him by King Edward II himself in the great hall. This resulted in the earl becoming a martyr with his tomb at Pontefract Priory becoming a shrine.It next went to Henry, Duke of Lancaster and subsequently to John of Gaunt, third son of King Edward III. He made the castle his personal residence, spending vast amounts of money improving it.
Richard II
The ruins of Pontefract Castle's keep
In the closing years of the 14th century, Richard II banished John of Gaunt’s son Henry Bolingbroke, Duke of Hereford, from England. Following the death of John of Gaunt, Duke of Lancaster, in 1399, Richard II seized much of the property due to Bolingbroke. Richard then shared some of the seized property around among his favourites. The castle at Pontefract was among such properties which was under threat. These events aroused Bolingbroke to return to England to claim his rights to the Duchy of Lancaster and the properties of his father. Shakespeare's play Richard II (Act 2, scene 1, 277) relates Bolingbroke’s homecoming in the words of Northumberland in the speech of the eight tall ships:-
Richard III
Richard III had two relatives of Elizabeth Woodville beheaded at Pontefract Castle on 25 June, 1483 - her son, Sir Richard Grey, and her brother, Anthony Woodville, 2nd Earl Rivers.
Tudor Era
In 1536, the castle's guardian, Thomas Darcy, 1st Baron Darcy de Darcy handed over the castle to the leaders of the Pilgrimage of Grace, a Catholic rebellion from northern England against the rule of King Henry VIII. Lord Darcy was executed for this alleged "surrender," which the king viewed as an act of treason.
In 1541, during a royal tour of the provinces, it was alleged that King Henry's fifth wife, Queen Catherine Howard, committed her first act of adultery with Sir Thomas Culpeper at Pontefract Castle, a crime for which she was apprehended and executed without trial. Mary, Queen of Scots was lodged at the castle on 28 January 1569, travelling between Wetherby and Rotherham.
Royalist stronghold
The garrison handed over the castle to John Lambert on 24 March 1649. On his way south to London, King James rode from Grimston Park to view Pontefract Castle on 19 April 1603 and stayed the night at the Bear Inn at Doncaster.
Royalists controlled Pontefract Castle at the start of the English Civil War. The first of three sieges began in December 1644 and continued until the following March when Marmaduke Langdale, 1st Baron Langdale of Holme arrived with Royalist reinforcements and the Parliamentarian army retreated. During the siege, mining and artillery caused damage and the Piper Tower collapsed as a result. The second siege began on 21 March 1645, shortly after the end of the first siege, and the garrison surrendered in July after hearing the news of Charles I's defeat at the Battle of Naseby. Parliament garrisoned the castle until June 1648 when Royalists sneaked into the castle and took control. Pontefract Castle was an important base for the Royalists, and raiding parties harried Parliamentarians in the area.
Oliver Cromwell led the final siege of Pontefract Castle in November 1648. Charles I was executed in January, and Pontefract's garrison came to an agreement and Colonel Morrice handed over the castle to Major General John Lambert on 24 March 1649. Following requests from the townspeople, the grand jury at York, and Major General Lambert, on 27 March Parliament gave orders that Pontefract Castle should be "totally demolished & levelled to the ground" and materials from the castle would be sold off. Piecemeal dismantling after the main organised activity of slighting may have further contributed to the castle's ruined state.
It is still possible to visit the castle's 11th-century cellars, which were used to store military equipment during the civil war.
Preservation
The ruins of St Clement's Chapel within the castle
Little survives of what "must have been one of the most impressive castles in Yorkshire" other than parts of the curtain wall and excavated and tidied inner walls. It had inner and outer baileys. Parts of a 12th-century wall and the Piper Tower's postern gate and the foundations of a chapel are the oldest remains. The ruins of the Round Tower or keep are on the 11th-century mound. The Great Gate flanked by 14th-century semi-circular towers had inner and outer barbicans. Chambers excavated into the rock in the inner bailey possibly indicate the site of the old hall and the North Bailey gate is marked by the remains of a rectangular tower.
The castle has several unusual features. The donjon has a rare Quatrefoil design. Other examples of this type of Keep are Clifford's Tower, York and at the Château d'Étampes in France. Pontefract also has an torre albarrana, a fortification almost unknown outside the Iberian Peninsula. Known as the Swillington Tower, the detached tower was attached to the north wall by a bridge. Its purpose was to increase the defender's range of flanking fire.
Wakefield Council, who own the site, commissioned William Anelay Ltd to begin repairs on the castle in September 2015, but work stopped in November 2016 when Anelay went into administration. The Council then engaged Heritage Building & Conservation (North) Ltd, who began work on the site in March 2017. A new visitor centre and cafe were opened in July 2017; but in April 2018 the council announced that they had terminated the contract with HB&C (North) Ltd, as no work had been done since mid-March, and they had not had any reassurances that the work would restart. On Yorkshire Day 2019, the restoration was completed, and the castle was removed from Historic England's "Heritage At Risk" list.
140214-N-DB801-219
JOINT BASE PEARL HARBOR-HICKAM, Hawaii - (Feb. 14, 2014) - Lt. j.g. Coleman Ward of the Los Angeles-class fast attack submarine USS Houston (SSN 713) hugs his wife Eileen following the submarine's Valentine's Day return, Feb. 14, from a deployment to the Western Pacific Region. While on deployment, Houston conducted a variety of operations and theater security exercises contributing to the nation's strategic posture in the region. (U.S. Navy photo by Mass Communication Specialist 1st Class Steven Khor/Released)
Contributing Building - Central Core Historic District - National Register of Historic Places
NRIS #89002424
Built 1898
This photograph was taken by Nicholson Museum curator William J Woodhouse in Greece between 1890 and 1935.
Can you help us catalogue the Woodhouse photographic archive? Contribute by adding tags and answering the following questions in the comments below:
•What do you see? Write a brief description for this image.
•Where was this photograph taken?
•Can you find the geo co-ordinates (latitude and longitude) of this exact place? Let us know by linking to the google maps or add the co-ordinates in your comment.
•Do you know what year this photograph was taken?
About the archive:
The Nicholson Museum holds over 1800 glass-plate negatives taken by Woodhouse while in Greece in 1890s and early 1900s. A small portion of the archive also includes photographs of his family in the Blue Mountains, NSW, Australia. The collection documents important archaeological sites, significant landscapes of the Greek mainland, contemporary buildings and the people he met along the way. His archive is a rich resource capturing many sites pre-archaeological excavation and before modern industrial development. Some of the photographs were published by Woodhouse in his book 'Aetolia: its geography, topography, and antiquities' published in 1897. His desire to capture Greece on 'film', was simply put in his introduction: "History only attains its full value by borrowing actuality from geography and topography". The archive shows his love not only for the sites but also for the people and spirit of Greece.
About the project:
We are asking you to contribute to our documentation of this collection and assist us with the identification of the hundreds of different monuments and places in Greece. The title of each photograph will include the museum registration number (NM2007.##.##) and may already include a place name where museum staff or Woodhouse himself have titled the image.
All of our flikr contributors will be acknowledged when the collection is published through our online collections at the completion of the project.