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The HRT Wear and Wensley Dalesman rail tour, 2G20 seen crossing the River Swale on the return from Redmire, 19th October 1985.
The old bridge over River Parvati is so scary that you cannot stand in the centre and watch the river below. The sheer power of the water is overwhelming.The bad condition of the bridge requires only one person crossing at a time.
L to R: Sera-Lys McArthur and Nathalie Standingcloud in Crossing Mnisose at The Armory.
Photo by Patrick Weishampel/blankeye.tv/Courtesy of Portland Center Stage at The Armory
Crossing Mnisose
By Mary Kathryn Nagle
Directed by Molly Smith
Scenic Designer Todd Rosenthal
Costume Designer Alison Heryer
Lighting Designer Sarah Hughey
Composer & Sound Designer Roc Lee
Text Director &
Vocal Coach Anita Maynard-Losh
Assistant Director Devon Roberts
Fight Director Kristen Mun
Dramaturg Benjamin Fainstein
Cultural Consultant,
Yankton Sioux Nation Glenn Drapeau
Cultural Consultant,
Shoshone-Bannock Tribes Lauren Cordova
Stage Manager Susan R. White
Stage Manager Mark Tynan
Production Assistants Lilo Alfaro
Alexis Ellis-Alvarez
April 13 — May 5, 2019
On the U.S. Bank Main Stage
Crossing Mnisose (“minne-show-she”) tells the story of one of America's first feminists, Sacajawea, and draws a line from a completely original view of Lewis and Clark to the present day, as descendants of the Dakota and Lakota Nations continue their fight for the Mnisose (or what Europeans named the “Missouri River”) and the lands that contain the burials of their ancestors. From celebrated playwright, activist, and attorney Mary Kathryn Nagle (Cherokee Nation), whose Manahatta captivated audiences at Oregon Shakespeare Festival.
Commissioned by Portland Center Stage at The Armory | World Premiere
Pella Crossing Waterfowl © Jane Baryames. Photo taken on the Flying Circus Birders Walk on November 5, 2022.
I got this plant with label S. scimitariformis 'Fikizola Crossing'. Definitely not R1881 as the location suggested. Oh well, another unidentified plant
Northbound CSX coal train train No. W345 is about to cross Dayton Street at Hamilton, Ohio, on August 12, 2012. I found the signals here somewhat interesting since they seem to be the original B&O position lights, only mounted on a more modern signal bridge. Surely, they wouldn’t do this in todays “convert everything to a boring standard” railroad world.
One of the fourteen river crossings on the Cambanoora Gorge circuit that follows the Condamine River from The Head to Killarney on the southern edge of Queensland's Scenic Rim.
for 7DoS: I was struggling for a idea for today, when I saw this road sign on my way home and decided a square crop might work. So off back out I went with my camera ... and happily tagbot agrees :)
June 12, 2010
Walking over the Brooklyn Bridge, I always think of Walt Whitman's "Crossing Brooklyn Ferry", perhaps the most poignant thing ever written about the city - It's amazing how it still resonates 160 years later-
1
Flood-tide below me! I watch you face to face;
Clouds of the west! sun there half an hour high! I see you also face to face.
Crowds of men and women attired in the usual costumes! how curious you
are to me!
On the ferry-boats, the hundreds and hundreds that cross, returning home,
are more curious to me than you suppose;
And you that shall cross from shore to shore years hence, are more to me,
and more in my meditations, than you might suppose.
2
The impalpable sustenance of me from all things, at all hours of the day;
The simple, compact, well-join'd scheme—myself disintegrated,
every one disintegrated, yet part of the scheme:
The similitudes of the past, and those of the future;
The glories strung like beads on my smallest sights and hearings—
on the walk in the street, and the passage over the river;
The current rushing so swiftly, and swimming with me far away;
The others that are to follow me, the ties between me and them;
The certainty of others—the life, love, sight, hearing of others.
Others will enter the gates of the ferry, and cross from shore to shore;
Others will watch the run of the flood-tide;
Others will see the shipping of Manhattan north and west, and the heights
of Brooklyn to the south and east;
Others will see the islands large and small;
Fifty years hence, others will see them as they cross, the sun half an
hour high;
A hundred years hence, or ever so many hundred years hence, others will
see them,
Will enjoy the sunset, the pouring in of the flood-tide, the falling back
to the sea of the ebb-tide.
3
It avails not, neither time or place—distance avails not;
I am with you, you men and women of a generation, or ever so
many generations hence;
I project myself—also I return—I am with you, and know how
it is.
Just as you feel when you look on the river and sky, so I felt;
Just as any of you is one of a living crowd, I was one of a crowd;
Just as you are refresh'd by the gladness of the river and the bright flow,
I was refresh'd;
Just as you stand and lean on the rail, yet hurry with the swift current,
I stood, yet was hurried;
Just as you look on the numberless masts of ships, and the thick-stem'd
pipes of steamboats, I look'd.
I too many and many a time cross'd the river, the sun half an hour high;
I watched the Twelfth-month sea-gulls—I saw them high in the air,
floating with motionless wings, oscillating their bodies,
I saw how the glistening yellow lit up parts of their bodies, and left the rest
in strong shadow,
I saw the slow-wheeling circles, and the gradual edging toward the south.
I too saw the reflection of the summer sky in the water,
Had my eyes dazzled by the shimmering track of beams,
Look'd at the fine centrifugal spokes of light around the shape of my head
in the sun-lit water,
Look'd on the haze on the hills southward and southwestward,
Look'd on the vapor as it flew in fleeces tinged with violet,
Look'd toward the lower bay to notice the arriving ships,
Saw their approach, saw aboard those that were near me,
Saw the white sails of schooners and sloops—saw the ships at anchor,
The sailors at work in the rigging, or out astride the spars,
The round masts, the swinging motion of the hulls, the slender serpentine
pennants,
The large and small steamers in motion, the pilots in their pilot-houses,
The white wake left by the passage, the quick tremulous whirl of the wheels,
The flags of all nations, the falling of them at sun-set,
The scallop-edged waves in the twilight, the ladled cups, the frolicsome crests
and glistening,
The stretch afar growing dimmer and dimmer, the gray walls of the granite
store-houses by the docks,
On the river the shadowy group, the big steam-tug closely flank'd on each
side by the barges—the hay-boat, the belated lighter,
On the neighboring shore, the fires from the foundry chimneys burning high
and glaringly into the night,
Casting their flicker of black, contrasted with wild red and yellow light, over
the tops of houses, and down into the clefts of streets.
4
These, and all else, were to me the same as they are to you;
I project myself a moment to tell you—also I return.
I loved well those cities;
I loved well the stately and rapid river;
The men and women I saw were all near to me;
Others the same—others who look back on me, because I look'd
forward to them;
(The time will come, though I stop here to-day and to-night.)
5
What is it, then, between us?
What is the count of the scores or hundreds of years between us?
Whatever it is, it avails not—distance avails not, and place avails not.
6
I too lived—Brooklyn, of ample hills, was mine;
I too walk'd the streets of Manhattan Island, and bathed in the waters
around it;
I too felt the curious abrupt questionings stir within me,
In the day, among crowds of people, sometimes they came upon me,
In my walks home late at night, or as I lay in my bed, they came upon me.
I too had been struck from the float forever held in solution;
I too had receiv'd identity by my Body;
That I was, I knew was of my body—and what I should be,
I knew I should be of my body.
7
It is not upon you alone the dark patches fall,
The dark threw patches down upon me also;
The best I had done seem'd to me blank and suspicious;
My great thoughts, as I supposed them, were they not in reality meagre?
would not people laugh at me?
It is not you alone who know what it is to be evil;
I am he who knew what it was to be evil;
I too knitted the old knot of contrariety,
Blabb'd, blush'd, resented, lied, stole, grudg'd,
Had guile, anger, lust, hot wishes I dared not speak,
Was wayward, vain, greedy, shallow, sly, cowardly, malignant;
The wolf, the snake, the hog, not wanting in me,
The cheating look, the frivolous word, the adulterous wish, not wanting,
Refusals, hates, postponements, meanness, laziness, none of these wanting.
8
But I was Manhattanese, friendly and proud!
I was call'd by my nighest name by clear loud voices of young men
as they saw me approaching or passing,
Felt their arms on my neck as I stood, or the negligent leaning of their flesh
against me as I sat,
Saw many I loved in the street, or ferry-boat, or public assembly, yet never
told them a word,
Lived the same life with the rest, the same old laughing, gnawing, sleeping,
Play'd the part that still looks back on the actor or actress,
The same old role, the role that is what we make it, as great as we like,
Or as small as we like, or both great and small.
9
Closer yet I approach you;
What thought you have of me, I had as much of you—I laid in my stores in advance;
I consider'd long and seriously of you before you were born.
Who was to know what should come home to me?
Who knows but I am enjoying this?
Who knows but I am as good as looking at you now, for all you cannot
see me?
It is not you alone, nor I alone;
Not a few races, nor a few generations, nor a few centuries;
It is that each came, or comes, or shall come, from its due emission,
From the general centre of all, and forming a part of all:
Everything indicates—the smallest does, and the largest does;
A necessary film envelopes all, and envelopes the Soul for a proper time
Spotsylvania Crossing (209,454 square feet)
3501 Plank Road, Fredericksburg, VA
This shopping center was built in 1985.
City of Westminster / London, England
July 1, 2015
©Dale Haussner
"The Abbey Road zebra crossing in north London - made famous after appearing on a Beatles album cover - has been given Grade II listed status. The crossing - the first of its kind to be listed - is being recognised for its "cultural and historical importance" following advice from English Heritage. The Beatles were photographed on Abbey Road in Ian Macmillan's iconic cover shot for the 1969 album Abbey Road.
Sir Paul McCartney said it was the "icing on the cake" in a great year.
'Huge cultural pull' The original zebra crossing, where the photograph was taken, was moved several metres for traffic management reasons more than 30 years ago, and no original features remain. A spokesman for Westminster City Council said: "The detail of exactly when and why the crossing was moved from its original location have been lost in the annals of time. "But by comparing photographs with the Ordnance Survey maps, we believe that the crossing might have been further north nearer 3 Abbey Road, which was the front house of the EMI Studios, because the steps of Neville Court appear to the right of the crossing in original photographs of the crossing, whereas the present crossing is near the junction of Abbey Road and Grove End Road."
But John Penrose, Minister for Tourism and Heritage, said: "This London zebra crossing is no castle or cathedral but, thanks to the Beatles and a 10-minute photo-shoot one August morning in 1969, it has just as strong a claim as any to be seen as part of our heritage." Roger Bowdler, head of designation at English Heritage, said: "This is obviously an unusual case and, although a modest structure, the crossing has international renown and continues to possess huge cultural pull - the temptation to recreate that iconic 1969 album cover remains as strong as ever."Together with the nearby Abbey Road studios, also listed at Grade II on our advice, they remain a Mecca for Beatles fans the world over."
Sir Paul said: "It's been a great year for me and a great year for the Beatles and hearing that the Abbey Road crossing is to be preserved is the icing on the cake." The crossing is outside the Abbey Road studios, where the Beatles recorded much of their output. That building was granted Grade II listed status in February.A Grade II listing, the most common protected status, means that a building or monument is recognised as nationally important and of special interest."
For more info, see:
Ferry crossing from Seattle to Vashon Island across the beautiful Puget Sound (looking west with the Olympic Mountains in the distance).
The HOBC awaits clearance, and the crossover, to the up mainline after the WAG and the 0620 Voyager had passed. Compare the amount of trees visible with recent shots taken from about the same position !
People crossing the dune field at Great Sand Dunes National Park & Preserve, Colorado. I think there are six. Coincidentally, there also are six peaks taller than 13,000 feet in the Great Sand Dunes Preserve, including Mount Herard, seen in this photo.
As Fragonset Railways 31468 and 31601 top and tail a Bedford to Bletchley service on 25th May 1999, the Railtrack crossing keeper opens the gates to road traffic at Stewartby level crossing. The fortunes of this line have had an amazing about turn and it has recently been announced that it will receive 25Kv overhead electrification as a strategic spinal route.
© Copyright Gordon Edgar - No unauthorised use
Queensferry Crossing tower and deck installation...
Another section being lifted into place.
11th March 2016
Talk: Gender Equality & Film Business: A never-ending Story?
Hanne Lassl (director ROSI, KURT & KONI), Maite Garcia Ribot (director LETTER TO MARIA)
Foto: Christoph Thorwartl / www.subtext.at
Crossing Europe 2015 – nightline #4 // Live: Ages; DJ Anna Leiser
Foto: Christoph Thorwartl / www.subtext.at
Much of the world has similar, but distinctively different, signs for road crossings. So, I want to build a collection of them.
I currently have the following taken by myself:
France + France (2),
Hungary + Hungary (2) + Hungary (3),
Kosovo + Kosovo (2),
Plus some unofficial variations:
I also know of the following others on Flickr:
Help me find a complete set. Please comment or message me if you know of others!
Test shots with the Leica 19mm Elmarit lens. Best seen in larger size on black background (click image above). Photos slightly post-processed to add a little fill light and lighten up shadows.
The 19mm focal length makes the bridge much longer than it is. After waffling over whether to take a photo of the walkway or photograph the bridge from the outside, I decided the outside looked more interesting. I was not sure exactly how to compose it, so I came up with a trivial plan: start with the near-end of the bridge at the lower left corner and end with the far-end at the center of the frame, while keeping the railings vertical, and just let everything else fall where it may. The approach seems to work.
Below: view from the other end of the bridge, same composition.
Nikon D700 + Leica Elmarit-R 19mm f/2.8 + Leitax adapter. I think these were shot at f/5.6
_ND10347
L to R: Nathalie Standingcloud and Robert I. Mesa in Crossing Mnisose at The Armory.
Photo by Patrick Weishampel/blankeye.tv/Courtesy of Portland Center Stage at The Armory
Crossing Mnisose
By Mary Kathryn Nagle
Directed by Molly Smith
Scenic Designer Todd Rosenthal
Costume Designer Alison Heryer
Lighting Designer Sarah Hughey
Composer & Sound Designer Roc Lee
Text Director &
Vocal Coach Anita Maynard-Losh
Assistant Director Devon Roberts
Fight Director Kristen Mun
Dramaturg Benjamin Fainstein
Cultural Consultant,
Yankton Sioux Nation Glenn Drapeau
Cultural Consultant,
Shoshone-Bannock Tribes Lauren Cordova
Stage Manager Susan R. White
Stage Manager Mark Tynan
Production Assistants Lilo Alfaro
Alexis Ellis-Alvarez
April 13 — May 5, 2019
On the U.S. Bank Main Stage
Crossing Mnisose (“minne-show-she”) tells the story of one of America's first feminists, Sacajawea, and draws a line from a completely original view of Lewis and Clark to the present day, as descendants of the Dakota and Lakota Nations continue their fight for the Mnisose (or what Europeans named the “Missouri River”) and the lands that contain the burials of their ancestors. From celebrated playwright, activist, and attorney Mary Kathryn Nagle (Cherokee Nation), whose Manahatta captivated audiences at Oregon Shakespeare Festival.
Commissioned by Portland Center Stage at The Armory | World Premiere
Crosfield Crossing ground frame and number 12 protecting signal surrounded by all the trappings of industry.
The gate which gave access to the works through which the trains passed is just visible to the right of the signal post, there is no trace of the lifted track and the points have been completely plain lined but the 2 lever ground frame remains gently rotting in the undergrowth.
Times are a changing at Warrington.
Over a distance of just 68 chains (0.85 of a mile) from Arpley Junction to Monks Sidings four signal boxes controlled trains on the Low Level line from Arpley Junction to Ditton East Junction.
Four absolute block boxes, Arpley Junction, Crosfields Crossing, Littons Mill and Monks Siding provided a taste of railways of old. Leaving Arpley Junction the line passes under the WCML and Warrington Bank Quay station before emerging surrounded by industry in the midst of Lever Brothers massive soap powder works. Crosfields Crossing is just 726 yards from Arpley but then only a further 220 yards, an eighth of a mile no less, is Littons Mill, another crossing box, a further 550 yards beyond that is Monks Crossing, again a crossing box and once access to a former British Steel works site.
This short section of track is to be re-signalled and this is actually happening this week. The new signalling will utilise track circuit block between Arpley Junction and Littons Mill using axle counters.
This is a series of photos aimed at recording the signalling of this section of track which has now passed into history.
Hademore Crossing signal box located by the Up Main line alongside Fisherwick Road level crossing. Friday 21st December 1990
Hademore Crossing signal box was a London & North Western Railway Company type 4 design that opened in 1899 fitted with a 15 lever London & North Western Railway Company Tumbler frame. The level crossing gates were scheduled to be replaced by power operated lifting barriers on 12th December 1965 but the work cancelled and was carried out on 3rd April 1966 and the lever frame was replaced circa 1979 by two British Railways London Midland Region individual function switches. The signal box was scheduled to close and signalling pass to the Trent Valley workstation in Rugby Signalling Control Centre on 2nd January 2007 but due to incomplete cabling work closure was postponed until 18th March 2007 when control of signalling passed to Lichfield Trent Valley signal box. After closure it was planned for the box to be moved to Whittington Cricket Club but it was donated to the Chasewater Railway and the signal box top was moved on 18th April 2007 onto a new brick base at Chasewater Heaths railway station
The signal box carried a London Midland & Scottish Railway Company post-1935 design nameboard but an explanation for the door I cannot provide
Ref no 12160
All Hallows, Landseer Road, Ipswich
Superlative Art Deco church of the 1930s by Munro Cautley. It still retains its original fittings.
Henry Munro Cautley (1876-1959) was an Ipswich-based architect. He designed a number of churches in the Ipswich area, and was also responsible for a number of secular buildings, the most memorable of which is a shopping arcade called The Walk, which he designed with his colleague Leslie Barefoot for Ipswich Borough Council, and which was built 1937-38. Barefoot designed the overall structure, and Cautley designed the exquisite neo-medieval detailing. Cautley's best building in Ipswich is probably Ipswich Central Library in Northgate Street. He was also responsible for several Lloyds Banks, including branches in Cambridge, Colchester, Norwich and Kings Lynn.
Henry Munro Cautley, always known as Munro Cautley or simply Cautley, was born at Bridge in Kent in 1876, but when he was very young his parents moved to Ipswich, for his father to take up the post of the Curate-in-Charge of the new All Saints church in Chevalier Street. His father later became Rector of Westerfield on the outskirts of Ipswich, and Munro Cautley would live in and around Ipswich for the rest of his life.
At the start of the 20th Century, Cautley was still living with his parents in Westerfield rectory, but In 1904 he married the widow Mabel Turner née Flick, and they lived in her house, Swan's Nest, a large 17th Century house in Westerfield. There were considerable extensions to the house in the first decade of the 20th Century, and this may well have been Cautley's first work. After 1911, they moved to the house he designed from scratch, Drumbeg, at 4 Constitution Hill in north Ipswich. Both houses survive today.
Cautley was Diocesan architect for the Anglican Diocese of St Edmundsbury and Ipswich from its formation in 1911 until the early 1950s. This was a time when not many churches were built in Suffolk, and Cautley designed only three for them. These were St Augustine on Felixstowe Road, St Andrew on Britannia Road, and All Hallows on Landseer Road, all on the east side of Ipswich. He also designed the Bishop's Chapel on Park Road in north Ipswich. However, he was also responsible for overseeing all other architects' designs for restorations and new buildings. He was a strong medievalist, and all his work shows his passion for 15th Century art and architecture.
Cautley's best church is All Hallows, Ipswich, which was built in the Art Deco style. But it is very traditional in structure, a Suffolk medieval church translated into jazz modern which still survives with its furnishings intact, an extraordinary survival. He also designed Ipswich County Library in the 1920s, now a Grade 2* listed building, one of the most distinctive buildings in the Borough.
Cautley designed his own typeface. Cautley and Barefoot's practice was based at Cornhill Chambers in the Thoroughfare, and the building survives today with Cautley's lettering above the entrance. The same lettering can be seen on the war memorials he designed, of which about half a dozen can be traced in parish churches in the Ipswich area.
Munro Cautley died at home in Ipswich in 1959. His gravestone is in Westerfield churchyard - he designed it himself. His wife, who died the previous year, is buried in the same grave. There is also a memorial to him inside Westerfield church, which includes a portrait, and a memorial to them both at Mildenhall, where the furnishings, designed by Cautley, were given in Mabel's memory.
But Cautley is best known today not as an architect but as a writer. His two books on Norfolk Churches and Suffolk Churches, published in the 1940s and 1950s, are still standard works on the subject.