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Iszkaszentgyörgy - Amadé-Bajzáth-Pappenheim Mansion. About its long name: three families built and developed the buildings of mansion during centuries from 1730 until 1907.
The village is located next to Székesfehérvár, at the foot of Iszka hill belonging to the Bakony. It has 1,880 inhabitants. It has been inhabited for ages and was first mentioned in documents in 1193. There were three villages on its area in the Middle Ages: Iszka, Szentgyörgy and Atya. It has had its present name since 1590. The village is rich in historic relics. Besides agriculture and forestry, handicraft also flourished. The reputation of the wines produced here was equal to the ones of Mór. Its bath was famous before the two world wars. Today it is visited mainly because of the Amadé-Bajzáth-Pappenheim mansion, which was first mentioned in documents in 1735. The visit to the mansion is a journey in the history of art, as it has characteristics of all styles from the Baroque Age to the neo-Baroque of the beginning of 20th century. The events of the village - the St. George Days in April, the Late Summer Merry-making around the national holiday on 20th August and the Vintage procession at the end of September, beginning of October - are organized in the park of the mansion. Other sights of the village are the Calvinist and Roman Catholic churches.
www.turazas.eoldal.hu/cikkek/kastelyok_-varak/iszkaszentg...
the first in my project "developing"
to read a bit about it check out this blog entry :D
this is a film photo that I then scanned and edited in photoshop.
Agfamatic 200 Sensor and Kodak Verichrome Pan.
Developed Microphen 1+1 8.5min at 20c.
Scanned Epson V500.
Developing LP Supercell southwest of the Denver Airport. This photo was taken from the airplane while on final approach.
Denbigh Castle and town walls were built to control the lordship of Denbigh after the Conquest of Wales by Edward I of England in 1282. The lands were granted to Henry de Lacy, Earl of Lincoln, who began to build a new walled town, colonised by immigrants from England, protected by a substantial castle and surrounded by deer parks for hunting. The work had not been completed by 1294, when the Welsh temporarily seized the castle during the Madog ap Llywelyn revolt. The defences continued to be improved, although the castle was not completely finished by the time of Henry's death in 1311.
The castle passed between various owners in the first half of the 14th century, before coming under the control of the Mortimer family. Meanwhile, the walled town had proved impractical to live in, and a newer, much larger, settlement developed outside the defences. In 1400, the walled town was raided during the Glyndŵr Rising, although the castle itself remained secure throughout the rebellion. During the Wars of the Roses, Denbigh was attacked by Lancastrian forces; the walled town was attacked and burnt. In the aftermath, the old town was largely abandoned by its inhabitants, the walled area becoming an extension of the castle's defences.
During the First English Civil War, Denbigh was held by the Royalists until it was captured by Parliamentarian forces in October 1646. The castle was seized by pro-Royalist soldiers in 1659, after which General George Monk ordered it to be slighted, with various parts of the walls and towers being demolished. The site deteriorated further over the years and the old walled town remained almost deserted. In the middle of the 19th century, the town created a committee to manage the ruins and carried out restoration work. The Office of Works assumed responsibility for the fortifications in 1914, with the site ultimately passing into the control of the Welsh Cadw heritage agency.
Denbigh Castle is dominated by a triangle of three octagonal towers that forms its main entrance, considered by the historian John Goodall to be "the most architecturally sophisticated gatehouse of the thirteenth century". Eight mural towers protect the rest of its curtain wall, further protected by barbicans and a mantlet of defensive terraces and walls. The castle connects to the town walls, which remain largely intact and stretch for around 1,100 metres (3,600 ft) around the old town. The town walls were once protected by four towers and two gatehouses, although only one of the gatehouses still survives. The castle and town's gatehouse were constructed of decorative stonework, intended to symbolise royal authority and civic pride.
Denbigh Castle was constructed within what was originally the Welsh patrimony of Perfeddwlad. The patrimony controlled the pastoral farming lands on the Denbigh Moors and formed a royal residence, llys, for the Welsh princes. Perfeddwlad was strategically located along the Welsh border but its ownership was disputed and the territory was fought over by the Normans and Welsh many times during the 11th and 12th centuries.
In 1277, the Welsh prince Dafydd ap Gruffudd was granted Perfeddwlad by the English king, Edward I, who at the time was allied with Dafydd in his struggle against his brother Prince Llywelyn. Dafydd rebuilt the existing residence, creating a substantial castle. It is uncertain what form it took or exactly where on the current castle site it was located, but it included a bakehouse, buttery, chapel and a hall, and it became Dafydd's main stronghold. The Welsh called the settlement Dinbych, an abbreviation of Dinas Fechan, meaning "little fortress".
In 1282, Dafydd and Llywelyn rebelled against the King. Edward invaded North Wales with a huge army; after a month long siege, Dinbych fell to his forces in October 1282. The King created a new lordship to govern the district around Dinbych, which he renamed Denbigh and granted these lands to Henry de Lacy, the Earl of Lincoln.[3] With the help of James of St George, the King's master mason, Edward and Henry made plans for the construction of a new castle to govern the area, symbolically placed on top of the former llys.
Edward continued into Snowdonia, leaving Henry to continue the work at Denbigh, using local labourers and possibly men brought from Henry's estates in England. The western and southern sides of the castle and the new town walls were built first, in order to protect the construction teams and by 1285, Henry gave the new town its first charter. Work on the rest of the defences continued for several years. The castle and town formed part of a wider landscape controlled by de Lacey, including a nearby manor, a dovecote, barn and fishponds, which were all important symbols of lordship during the period. He similarly established three parks around the castle, stocked with deer from England.
The town walls enclosed an area approximately 9.5 acres (3.8 ha) in size and held 63 burgesses in 1285, each of which promised to provide an armed man to help protect the settlement. The townsfolk were English, many from Henry's estates in northern England and were reinforced by further English colonists who acquired large areas of rural land around the region. From the earliest days of the new settlement; the inhabitants began to spread out beyond the walls onto the flatter ground further down the hill, spurred on by the limited space and poor water supply in the inner town. This was unusual compared to the experience of other walled towns established in Wales at the time and within fifty years the external villa mercatoria had come to cover around 57 acres (23 ha).
The building work on Denbigh Castle had not been completed by September 1294, when a Welsh revolt broke out, led by Madog ap Llywelyn. The castle was taken by Welsh forces, despite efforts by Henry to relieve it and the fortification was not recaptured until December. The castle's defences continued to be improved, although it was not completely finished, possibly because the project was disrupted by the death of Henry's eldest son in an accident at the castle.
Henry de Lacy's daughter, Alice, inherited Denbigh Castle on his death in 1311. Alice was the wife of Thomas, the Earl of Lancaster, and the castle continued to be developed until Thomas was executed for treason in 1322. The following years were politically unstable and the castle was passed between several, short-lived, owners - Hugh Despenser, the Earl of Winchester and then Roger Mortimer, the Earl of March - before being held for a period by William Montagu. Work on the castle and the town walls continued throughout this period.
The Mortimer family reacquired the lordship in 1355 and carried out repairs over the next fifty years to the castle's stonework and timber. In 1400, Owain Glyndŵr led a revolt against the Crown and raided the town of Denbigh. Since Edmund Mortimer was only eight years old, King Henry IV placed Henry Percy in charge of Denbigh, until Percy defected to the rebels in 1403. Despite being isolated, Denbigh remained in royal hands through to the end of the rebellion in 1407. Edmund continued to hold the castle until he died, childless, in 1425, when ownership passed to Richard, the Duke of York.
During the Wars of the Roses, Denbigh was fought over by the rival Lancastrian and Yorkist factions. Jasper Tudor, the Earl of Pembroke and a Lancastrian supporter, was declared the constable of the castle by Henry VI in 1457 but the fortification remained in the hands of the Yorkists. After the Lancastrian victory at the Battle of Ludford Bridge, Jasper was able to force the garrison to surrender and finally took possession of the castle in 1460. The war then turned in favour of the Yorkists and despite the castle's new garrison holding out for several months under Roger Puleston, it was recaptured by Sir Richard Herbert in late 1461. The new Yorkist regime made William Herbert, Jasper's rival to the title of Earl of Pembroke, the constable and steward of Denbigh in 1467.
Jasper returned to Denbigh in 1468 and although he could not take the castle, he burnt the interior of the walled town. The attack spurred an exodus from the walled town to the newer suburbs. By the end of 16th century the inner area had been largely abandoned, coming to form part of the external defences of the castle and the Burgess Gate on the town walls became the town gaol. In 1586, the antiquarian William Camden could observe that the "old town is now deserted".
Much of the castle had fallen into decline by 1530 but six years later the castle became the centre for administrating the new county of Denbighshire, with the great gatehouse and nearby towers being used as a courthouse, prison and associated buildings by the county authorities. The remainder of the castle had fallen into ruin by 1561. Robert Dudley, later made the Earl of Leicester, was granted a lease of the castle in 1563, partially because the Crown was trying to reduce the costs of maintaining the dilapidated property.
During Dudley's tenure, Denbigh Castle was used as a place of imprisonment for those considered traitors by the officials of the Crown, including many dissidents towards the Elizabethan religious settlement. The most famous such prisoner was the Welsh poet and underground Catholic schoolmaster Richard Gwyn, who was imprisoned at Denbigh Castle from September 1581 to the Spring of 1582.
After Gwyn's execution on 15 October 1584, his head and one of his quarters were spiked upon Denbigh Castle. The other three quarters were similarly displayed at Wrexham, Ruthin Castle, and Holt Castle.
On 25 October 1970 Pope Paul VI presided over the canonization ceremony in Rome for St. Richard Gwyn, as one of the Forty Martyrs of England and Wales.
The Catholic Church in England commemorates Gwyn with a feast day together with all the 284 canonized and beatified martyrs of the English Reformation on 4 May. The Catholic Church in Wales commemorates him on the feast day of the Six Welsh Martyrs: priests Philip Evans and John Lloyd, John Jones, David Lewis, John Roberts, the layman Richard Gwyn, and their companions, every year on 25 October.
During his rule, Dudley also built a large Anglican parish church in the walled town, possibly intending it to become a cathedral and carried out some minor repairs to the castle but little other work was completed before his death in 1588.
When the First English Civil War broke out in August 1642, North Wales was solidly Royalist, and Denbigh Castle was held by a garrison of 500 under Colonel William Salesbury, who made repairs to the defences. By late 1645, the war had turned against the Royalists, and Charles I spent three days at the castle after his defeat at Rowton Heath in September.
The following month, a Royalist army under the command of Sir William Vaughan gathered at Denbigh Green, close to the ruins of Denbigh Friary, intending to march to Chester to relieve the forces under siege there. Before this, Vaughan was attacked and defeated by a force commanded by Sir Thomas Mytton, and some of the Royalist soldiers retreated into the castle in the aftermath. Mytton took the outer parts of Denbigh but could not break into the walled town or the castle.
Mytton returned the next year with additional equipment and placed the castle and the walled town under a close siege in April 1646, erecting earthwork bastions for his guns along the eastern site of Denbigh. The Goblin Tower along the town walls, which contained the garrison's main well, was bombarded with artillery and Mytton placed more guns on nearby Galch Hill to attack the south-western side of the walls. With only one artillery piece of his own and no Royalist reinforcements likely, Salesbury's position appeared hopeless but he held on, arguing that he had given assurances to the King that he would not surrender the castle. Finally, Charles I sent Salebsury a message, personally ordering him to give up Denbigh; after negotiations, Salesbury agreed to surrender on good terms on 26 October.
After Salesbury departed, Parliament installed a small garrison in the castle, under the command of Colonel George Twistleton, the new governor. It was used as a prison for political prisoners, including David Pennant, the High Sheriff of Flintshire and there was an abortive Royalist attempt in 1648 to break into the castle to rescue the inmates.
In 1659, Sir George Booth led an uprising of Royalist and Presbyterian leaders against the Commonwealth government. A group of Royalist soldiers seized Denbigh Castle in August and took the garrison prisoner. After Booth's defeat at the Battle of Winnington Bridge a few weeks later, the rebels surrendered and the government retook the castle. General George Monck then ordered it to be slighted, put beyond military use. The republican politician John Carter demolished parts of the curtain walls and two towers over the course of six weeks. The site fell further into ruin over the remainder of the century, with its stone being reused to build houses in the town. When granted briefly in 1696 to William Bentinck, the Earl of Portland, complaints were made in Parliament and it reverted to the Crown.
Denbigh Castle remained ruined, although a new grammar school was built in the walled town in 1726 and a bowling green was established around 1769. Castle House, a large private dwelling, was also constructed there in either the second quarter or the middle of the century, using stone taken from the castle ruins and Leicester's church. In the middle of the 19th century, the historian John Williams observed that the walled town remained otherwise deserted, with only three irregular rows of cottages, holding a total of 163 inhabitants; these dwellings attracted complaint from the writer Samuel Lewis, who argued that they "materially diminished the interest excited by the ruins". The western tower of the Burgess Gate was then being used as a private house, as had the eastern tower until a few years before.
In the middle of the 19th century, the town created a "Castle Committee" to maintain the ruins; the Crown leased the committee control of the castle and in 1879 lent them £300 to fund repairs to the ruins. The Crown reclaimed control of the Burgess Gate from its occupants and carried out conservation work, before then leasing the gatehouse to the committee in 1908. In 1914, the central government's Office of Works took over responsibility for the site and during the late 1950s, its successor organisation, the Ministry of Works, first bought and then demolished various later buildings along the walls to clear the area for research and visitors.
In the 21st century, Denbigh Castle and the town walls are maintained by the Welsh heritage agency Cadw. The castle is open to visitors, receiving 10,154 in 2015 and parts of the extant walls are also open to visitors. £600,000 was invested by Cadw in the castle and walls during the mid-2010s, financing the construction of a new visitors' centre. The site is protected under UK law as a scheduled ancient monument and the castle as a grade I listed building.
Denbigh Castle is located on a naturally defensible, rocky outcrop above the Clywd valley, with the walled town just beneath it to the north. The castle comprises a large gatehouse, with a curtain wall and mural towers encircling an inner area approximately 350 by 260 feet (107 by 79 m) across. The historian John Goodall considers the fortification to be "one of the outstanding architectural creations of the Welsh conquest".
The Great Gatehouse is formed by a triangle of octagonal towers around a central octagonal hall, protected by a barbican. The gatehouse was built using decorative bands of masonry in different colours, intended to symbolise Edward I's royal authority and displayed a statue, probably of Edward II, over the main entrance. The complex was defended with a 30-foot (9.1 m) wide ditch, a drawbridge, murder holes and a portcullis. The three towers making up the gatehouse have individual names: the Porter's Lodge and Prison towers face outwards and the Badnes Tower, possibly named after an early constable of the castle, lies to the rear. Goodall considers the building to be "the most architecturally sophisticated gatehouse of the thirteenth century" and notes that the architectural ideas were later "reworked to brilliant effect" at Knaresborough.
To the east of the gatehouse is the site of the Queen's Chapel, since destroyed and the castle well, which is over 50 feet (15 m) deep. The hexagonal, three-storey Great Kitchen Tower and the White Chamber Tower, which was slighted after the English Civil War, flank the foundations of the Great Hall. Further south is the Pitcher House Tower, probably used for storing water during the summer months and the Green Chambers, so called because of the colour of their Gwespyr stonework. The chambers have basements specially designed for the storage of meat and wine and the upper storeys originally contained exceptionally fine accommodation.
At the southern end of the castle, the Postern Tower, originally three storeys high, links the castle to one end of the town walls. The adjacent Upper Gate and the Postern Gate formed a rear entrance to the castle, protected by another barbican, drawbridges and a steep passageway.
A mantlet of defensive terraces and cross-walls stretches around the south and eastern sides of the castle and originally prevented the undermining of the mural towers and thinnest stretches of the curtain wall. This side of the castle was protected by the Treasure House Tower, which held the Treasure House; the Tower-next-Treasure House; the Bishop's Tower, containing a sally port and the octagonal Red Tower, named after the red sandstone used in its construction, which linked to the other end of the town wall circuit. Stables, a blacksmith's workshop and storehouses once ran along the inside of the south-western corner of the castle.
The town walls stretch for around 1,100 metres (3,600 ft) from the north edge of the castle to its southeastern tip and mostly remain intact. The walls were built in the 13th century and originally protected by four mural towers, positioned in a disorderly pattern; the two gatehouses and the defences along the eastern salient were added in the 14th century.
Only the foundations of the Exchequer Gate on the western side of the walls remain but the gatehouse would originally have been protected by two circular towers, with a rectangular glacis base to prevent undermining. The walls between the Exchequer and Burgess Gate at the north-west corner of the circuit are intact. The Burgess Gate has two circular towers protecting a vaulted passage way, again with a distinctive glacis base. The gatehouse is built from white limestone and yellow sandstone, with the stonework forming a chequered design; this was a common decorative approach at the time and would have symbolised local civic pride. Although the top courses have been lost, the gatehouse might originally have stood up to 60 feet (18 m) tall. The section of the walls to the east of the Burgess Gate has been lost.
The walled circuit recommences in the north-east corner of the town, where the walls survive up to 15 feet (4.6 m) high, further protected by the two-storey tall North-Eastern Tower. On the eastern side of the walls, the original defences had been set back from the edge of a rocky salient, protected by the Countess Tower, an angular, two-storey building with two towers. The defences were adapted to follow the outer edge of the salient, with the Goblin Tower built on the outermost point, overlooking the edge of the cliffs. The Goblin Tower is a hexagonal, two-storey tower, protecting a deep well that formed the only reliable source of water for the defences during the summer.
The walled circuit continues south, meeting the Bastion Tower in the south-east corner.[88] The Bastion Tower was originally three storeys tall and was decorated with chequered sandstone and limestone in a similar fashion to the Burgess Gate.
Denbigh is a market town and a community in Denbighshire, Wales. Formerly the county town of the historic county of Denbighshire until 1888, Denbigh's Welsh name (Dinbych) translates to "Little Fortress"; a reference to its historic castle. Denbigh lies near the Clwydian Hills.
Denbigh Castle, together with its town walls, was built in 1282 (742 years ago) by order of King Edward I. The Burgess Gate, whose twin towers adorn the symbol on Denbigh's civic seal, was once the main entrance into the town. The first borough charter was granted to Denbigh in 1290, when the town was still contained within the old town walls. It was the centre of the Marcher Lordship of Denbigh. The town was involved in the revolt of Madog ap Llywelyn in 1294–1295; the castle was captured in the autumn and, on 11 November 1294, a relieving force was defeated by the Welsh rebels. The town was recaptured by Edward I in December. Denbigh was also burnt in 1400 during the revolt of Owain Glyndŵr.
During the Wars of the Roses (1455–1487), the town was largely destroyed, subsequently moving from the hilltop to the area of the present town market.
Leicester's Church is an unfinished church. In 1579, Robert Dudley, 1st Earl of Leicester, who was also Baron of Denbigh, planned for there to be a cathedral. His intention was to move the status of city from neighbouring St Asaph. The project ran out of money and, when Robert Dudley died, it was left as ruins; it is now in the care of Cadw.
In 1643, during the English Civil War, Denbigh became a refuge for a Royalist garrison. Surrendering in 1646, the castle and town walls eventually fell into ruin.
The town grew around the textile industry in the 1600s, hosting specialist glovers, weavers, smiths, shoemakers, saddlers, furriers and tanners. Denbigh has been an important location for the agricultural industry throughout its history.
Denbigh railway station once served the town on the former London and North Western Railway, later part of the London, Midland and Scottish Railway.
It was a junction for the Vale of Clwyd Railway line, which lead north to St Asaph and Rhyl, and the Mold and Denbigh Junction Railway. The former was closed in 1955, leaving Denbigh on a lengthy branch running from Chester to Ruthin, via Mold, which subsequently closed in 1962. A southern continuation beyond Ruthin, linking up with the Great Western Railway at Corwen, had closed in 1952.
The station site has been redeveloped since into a small retail park; however, remains of a platform can still be seen beside the road leading to the Home Bargains store, Aldi Supermarket and two charity shops.
At one time, the majority of the population sought employment at the North Wales Hospital, which, dating back to the 1840s, cared for people with psychiatric illnesses. The hospital closed in 1995 and has since fallen into disrepair. In October 2008, a special series of episodes of Most Haunted, titled Village of the Damned, was broadcast from the North Wales Hospital over 7 days. As of October 2018, the derelict building has passed into the ownership of Denbighshire County Council.
Denbigh had a town cinema on Love Lane. It opened as the Scala in 1928, before being re-branded as the Wedgwood Cinema in the late 1970s. It closed in October 1980, then reopened by Lewis Colwell in 1982 and renamed the Futura Cinema. The cinema closed again in the 1990s, but the building remained open as a video rental store. In 1995, Peter Moore reopened the cinema for a short period before being arrested and convicted of the murder of four men. The video rental store closed and the building is now in ruin awaiting redevelopment. Denbigh has no permanent cinema, though Denbigh Film Club regularly operates in Theatr Twm o'r Nant.
The population at the 2001 Census was 8,783,[10] increasing to 8,986 in the 2011 census., reducing in the 2021 census to 8,669.
Attractions in the town include Denbigh Library, Denbigh Castle and the castle walls, Cae Dai 1950s museum, Theatr Twm o'r Nant, medieval parish church St Marcella's, and a small shopping complex. Denbigh Boxing Club is located on Middle Lane. Denbigh Community Hospital was established in 1807. Denbigh Town Hall is a Grade II* listed building.
Denbigh Cricket Club is one of the oldest cricket clubs in Wales having been established in 1844. The club plays at the Ystrad Road ground and plays in the North Wales Cricket League. The 1st XI play in the Premier Division having won the Division 1 championship in 2010 with the 2nd XI in Division 3.
For over 50 years, a barrel rolling competition has been held on Boxing Day in the town square.
There are a number of places to stay in Denbigh, including Tyn Yr Eithin, a caravan, camping, and glamping site based on the edge of the town which has been hosting tourists since 1986.
There are three secondary schools located in Denbigh. Denbigh High School is the larger of the two, consisting of nearly 600 pupils and approximately 60 staff. The current headmaster is Glen Williams.
St Brigid's is a Catholic voluntary aided school on Mold Road on the outskirts of the town which caters for pupils between the ages of 3 – 19. There is a strict admissions policy and until 2009 the school only accepted girls. The schools current headteacher is Leah Crimes.
Myddleton College is the former Howell's Preparatory School and is an independent co-educational day and boarding school.
All 3 of these High Schools in Denbigh, along with Ysgol Brynhyfryd (Ruthin), Ysgol Glan Clwyd (St Asaph), Denbigh College, and Llysfasi College (Deeside) have joined to offer a combined 6th form under the title 'The Dyffryn Clwyd Consortium'.
Crest Mawr Wood (alt. - Crêst) is a Site of Special Scientific Interest to the north west, adjoining Denbigh Golf Club and the Tarmac Quarry, an historic and ancient deciduous woodland. This woodland is endangered due to environmental pressure and competing land use in the area.
Denbigh hosted the National Eisteddfod of Wales in 1882, 1939, 2001 and 2013.
Notable people
Rhoda Broughton (1840–1920), novelist
Elizabeth Casson (1881–1954) doctor and occupational therapy pioneer.
Shefali Chowdhury (born 1988), actor, notably in the Harry Potter films
CDawgVA (born 1996), YouTuber and podcaster, presenter of Trash Taste
Robert Dudley, 1st Earl of Leicester (1532–1588), also known as Baron of Denbigh
Thomas Gee (1815–1898), a Welsh Nonconformist preacher, journalist and publisher.
David Griffith (1800–1894), known as "Clwydfardd" a Welsh poet and Archdruid of the National Eisteddfod of Wales.
Dr Samuel Johnson (1709–1784), visited friends and relation in Denbigh many times and has an urn memorial in his honour in the woods nearby.
Professor Edward Taylor Jones FRSE (1872–1961), physicist
Eirian Llwyd (1951–2014), printmaker and wife of former Plaid Cymru leader Ieuan Wyn Jones
Humphrey Llwyd (1527–1568), a Welsh cartographer, author, antiquary and MP.
Sir Hugh Myddleton (1560–1631), royal jeweller, goldsmith and entrepreneur.
Thomas Myddelton (1550–1631) a Welsh merchant, Lord Mayor of London & MP
Twm o'r Nant (1739–1810), playwright, real name Thomas Edwards
Beatrix Potter (1866–1943), spent summers with her aunt and uncle at Gwaenynog Hall between 1895 and 1913 and used their large garden as inspiration for The Tale of Peter Rabbit
Susan Reynolds (1929–2021) a medieval historian
Kate Roberts (1891–1985), Welsh language writer.
Several members of the Salusbury Family, who represented Denbigh over the years.
Sir Henry Morton Stanley (1841–1904), a journalist and explorer
Mark Webster (born 1983) Welsh darts international, winner of the BDO World Darts Championship 2008
Bryn Williams (born 1977), TV chef who won the Great British Menu BBC TV programme.
Denbighshire is a county in the north-east of Wales. It borders the Irish Sea to the north, Flintshire to the east, Wrexham to the southeast, Powys to the south, and Gwynedd and Conwy to the west. Rhyl is the largest town, and Ruthin is the administrative centre. Its borders differ from the historic county of the same name.
Denbighshire has an area of 326 square miles (840 km2) and a population of 95,800, making it sparsely populated. The most populous area is the coast, where Rhyl (25,149) and Prestatyn (19,085) form a single built-up area with a population of 46,267. The next-largest towns are Denbigh (8,986), Ruthin (5,461), and Rhuddlan (3,709). St Asaph (3,355) is a city. All of these settlements are in the northern half of the county; the south is even less densely populated, and the only towns are Corwen (2,325) and Llangollen (3,658).
The geography of Denbighshire is defined by the broad valley of the River Clwyd, which is surrounded by rolling hills on all sides except the north, where it reaches the coast. The Vale of Clwyd, the lower valley, is given over to crops, while cattle and sheep graze the uplands. The Clwydian Range in the east is part of the Clwydian Range and Dee Valley Area of Outstanding Natural Beauty.
This part of Wales contains the country's oldest known evidence of habitation – Pontnewydd (Bontnewydd-Llanelwy) Palaeolithic site has Neanderthal remains of some 225,000 years ago. The county is also home to several medieval castles, including Castell Dinas Brân, Denbigh, and Rhuddlan, as well as St Asaph Cathedral. Llangollen International Musical Eisteddfod takes place in the town each July.
The main area was formed on 1 April 1996 under the Local Government (Wales) Act 1994, from various parts of the county of Clwyd. It includes the district of Rhuddlan (formed in 1974 entirely from Flintshire), the communities of Trefnant and Cefn Meiriadog from the district of Colwyn (entirely Denbighshire) and most of the Glyndŵr district. The last includes the former Edeyrnion Rural District, part of the administrative county of Merionethshire before 1974, covering the parishes of Betws Gwerfil Goch, Corwen, Gwyddelwern, Llangar, Llandrillo yn Edeirnion and Llansanffraid.
Other principal areas including part of historical Denbighshire are Conwy, which picked up the remainder of 1974–1996 Colwyn, the Denbighshire parts of 1974–1996 Aberconwy, and Wrexham, which corresponds to the pre-1974 borough of Wrexham along with most of Wrexham Rural District and several parishes of Glyndŵr. Post-1996 Powys includes the historically Denbighshire parishes of Llanrhaeadr-ym-Mochnant, Llansilin and Llangedwyn, which formed part of Glyndŵr district.
Researchers have found signs that Denbighshire was inhabited at least 225,000 years ago. Bontnewydd Palaeolithic site is one of the most significant in Britain. Hominid remains of probable Neanderthals have been found, along with stone tools from the later Middle Pleistocene.
In 2021 February, archaeologists from Aeon Archaeology announced a discovery of over 300 Stone Age tools and artifacts in Rhuddlan. They revealed scrapers, microliths, flakes of chert (a hard, fine-grained, sedimentary rock composed of microcrystalline or cryptocrystalline quartz), flints and other rudimentary tools. An expert, Richard Cooke, believes the lithic remains belonged to ancient peoples, who while passing through the area, made camp by the river more than 9,000 years ago.
The eastern edge of Denbighshire follows the ridge of the Clwydian Range, with a steep escarpment to the west and a high point at Moel Famau (1,820 ft (555 m)), which with the upper Dee Valley forms an Area of Outstanding Natural Beauty, the Clwydian Range and Dee Valley – one of just five in the Wales. The Denbigh Moors (Mynydd Hiraethog) are in the west of the county and the Berwyn Range adjacent to the southern edge. The River Clwyd has a broad fertile Vale running from south–north in the centre of the county. There is a narrow coastal plain in the north which much residential and holiday-trade development. The highest point in the historic county was Cadair Berwyn at 832 m or 2,730 ft), but the boundary changes since 1974 make Cadair Berwyn North Top the highest point. Denbighshire borders the present-day principal areas of Gwynedd, Conwy County Borough, Flintshire, Wrexham County Borough, and Powys.
Rhyl and Prestatyn form a single built-up area in the north of the county, with a population of 46,267. They are immediately adjacent to the Kinmel Bay and Abergele built-up area in neighbouring Conwy, and at the eastern end of series of coastal resorts which that also includes Colwyn Bay and Llandudno further west.
According to the 2021 United Kingdom census, Denbighshire's population was approximately 95,800. According to previous censuses, the population of Denbighshire was 93,734 in 2011 and 93,065 in 2001. The largest towns on the coast are Rhyl (2001 population c. 25,000) and Prestatyn (2001 population c. 18,000). According to the 2011 Census returns, 24.6 per cent stated they could speak Welsh.
Since the 20th-century demise of the coal and steel industries in the Wrexham area, there is no heavy industry in the county. Although most towns have small industrial parks or estates for light industry, the economy is based on agriculture and tourism. Much of the working population is employed in the service sector. The uplands support sheep and beef cattle rearing, while in the Vale of Clwyd dairy farming and wheat and barley crops predominate. Many towns have livestock markets and farming supports farm machinery merchants, vets, feed merchants, contractors and other ancillaries. With their incomes on the decline, farmers have found opportunities in tourism, rural crafts, specialist food shops, farmers' markets and value-added food products.
The upland areas with their sheep farms and small, stone-walled fields are attractive to visitors. Redundant farm buildings are often converted into self-catering accommodation, while many farmhouses supply bed and breakfast. The travel trade began with the arrival of the coast railway in the mid-19th century, opening up the area to Merseyside. This led to a boom in seaside guest houses. More recently, caravan sites and holiday villages have thrived and ownership of holiday homes increased. Initiatives to boost the economy of North Wales continue, including redevelopment of the Rhyl seafront and funfair.
The North Wales Coast Line running from Crewe to Holyhead is served by Transport for Wales and Avanti West Coast services. Trains leaving Crewe to pass through Chester, cross the River Dee into Wales, and continue through Flint, Shotton, Holywell Junction (closed in 1966), Prestatyn, Rhyl, and stations to Bangor and Holyhead, which has a ferry service to Ireland.
There are no motorways in Denbighshire. The A55 dual carriageway runs from Chester through St Asaph to the North Wales coast at Abergele, then parallel to the railway through Conwy and Bangor to Holyhead. The A548 run from Chester to Abergele through Deeside and along the coast, before leaving the coast and terminating at Llanrwst. The main road from London, the A5, passes north-westwards through Llangollen, Corwen and Betws-y-Coed to join the A55 and terminate at Bangor. The A543 crosses the Denbigh Moors from south-east to north-west, and the A525 links Ruthin with St Asaph.
There are local bus services between the main towns. Several services by Arriva Buses Wales run along the main coast road between Chester and Holyhead, linking the coastal resorts. Another route links Rhyl to Denbigh.
Denbighshire is represented in the House of Commons by three MPs. The Welsh Labour Party lost to the Welsh Conservatives in the 2019 general election for the first time.
The following MPs were elected from Denbighshire in 2019:
Simon Baynes (Welsh Conservatives) in Clwyd South, first elected in 2019.
David Jones (Welsh Conservatives) in Clwyd West, first elected in 2005.
James Davies (Welsh Conservatives) in Vale of Clwyd, first elected in 2019.
Denbighshire is also represented in the Senedd by three members elected in 2021:
Ken Skates (Welsh Labour) in Clwyd South, first elected in 2011
Darren Millar (Welsh Conservatives) in Clwyd West, first elected in 2007
Gareth Davies (Welsh Conservatives) in Vale of Clwyd, first elected in 2021.
In 2019, research by UnHerd in association with the pollster FocalData showed that most people across the county support the British monarchy.
St Mary's Church Beverley founded in 1120. in the second quarter of the 13th century the nave was built. The church has been developed over 400 years of almost continuous building from about 1120 to 1530.
“Liesegang banding” developed in sandstone in the Mississippian of Ohio, USA.
Irregular, reddish or brownish or orangish-brown iron banding is commonly seen in many porous rocks, particularly sandstones and pebbly sandstones. These have been almost universally referred to as “Liesegang banding”, representing precipitation lines of iron-rich minerals (e.g., hematite, limonite, goethite, etc.) at & along groundwater chemical interfaces. But, according to Neil Wells of Kent State University, the original concept of Liesegang banding (Liesegang, 1896) does not match up with what is seen in the rock record (see Wells et al., 2003).
True Liesegang banding refers to parallel bands of precipitate formed by diffusion along a single chemical gradient during one event. What's seen in the rock record often consists of sets of irregularly concentric iron bands, with different sets of bands quite frequently oriented in different directions, and showing cross-cutting and dissolution of older sets. Iron banding in the rock record is clearly the result of numerous precipitation events over long periods of time by moving groundwater (Wells et al., 2003). Iron mineralization along these bands appears to be induced by the presence of either a redox interface (change from reducing to oxidizing conditions in the groundwater) or a pH interface (change in acidity).
Because Neil Wells is the first (apparently) to point out that what geologists have been calling Liesegang banding really isn’t, a renaming seems to be in order. It was jokingly suggested in 2003 that the iron banding discussed above be called “Wells Banding”. I’m all for that.
Stratigraphy: float from the Vinton Member, upper Logan Formation, Osagean Series, upper Lower Mississippian
Locality: Trinway West 6 Outcrop - roadcut on the northwestern side of Rt. 16, 1.0 miles northeast of the Rt. 16-Old Riley Road intersection, northeast of the town of Frazeysburg & west of the town of Trinway, northwestern Muskingum County, Ohio, USA (40° 08' 41.54" North latitude, 82° 05' 06.18" West longitude)
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References:
Liesegang, R.E. 1896. Ueber einige Eigenschaften von Gal-lerten [On some properties of gelatin]. Naturwissenschaftliche Wochenschrift 11: 353-362. (see also: Liesegang, R.E. 1945. Geologische Bänderungen durch Diffusion und Kapillarität [Geologic banding by diffusion and capillarity]. Chemie der Erde, Zeitschrift der Chemischen, Mineralogie, Petrographie, Geologie und Bodenkunde 15: 420-423.)
Wells, N.A., D.A. Waugh & A.M. Foos. 2003. Some notes and hypotheses concerning iron and iron remobilization features in the Sharon Formation (Summit County, Ohio). in Pennsylvanian Sharon Formation, past and present: sedimentology, hydrogeology, and historical and environmental significance, a field guide to Gorge Metro Park, Virginia Kendall Ledges in the Cuyahoga Valley National Park, and other sites in northeast Ohio. Ohio Division of Geological Survey Guidebook 18: 33-37.
Video Mapping Philipp Geist_Ano da Alemanha no Brasil - Santa Marta 2014
„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
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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.
All the things I ordered to be able to develop black and white film came in today (February 10th, 2010). Pictured here is the Kodak D-76 developer and Kodak fixer, along with a Patterson Universal tank and a good thermometer. I also got some Ilford Ilfostop stopbath and Kodak Photo-Flo 200 for the other steps. Also, I got some Ilford ID-11 and Ilford fixer so I could try them out and compare the results with the Kodak chemicals. While I was at it, I also added in a generous selection of black and white films, 100 and 400 ISO, in 135 and 120 sizes. Since the Patterson tank can develop both, I have everything I need now.
It's been almost 30 years since I last developed film and I'm anxious to get my hands back into the process. As of midnight, I had my first roll of Fomapan Classic black and white film developed and hanging to dry. Can't wait to scan the negatives and post them here on Flickr.
3903ef
First attempt at developing without bleach aka bleach bypass but I don't think it worked. Camera used Canon BF-10 26mm fixed focus Fujifilm 200 200 ISO developed in Bellini Foto C41 11-5-2023
This storm came oh-so-close to producing a tornado, but in the end it wasn't meant to be. This shot was taken from a dirt road east of Highway 385 about 10-15 miles southeast of Bridgeport.
OLYMPUS OM-D E-M5 Mark II + OLYMPUS M.ZUIKO DIGITAL ED 12-40mm F2.8 PRO
Developed by Adobe Photoshop Lightroom CC 2015.10.1
“ VESPA URBAN NIGHT OUT ”
Nick Goumas, Research & Development Engineer and Gideon Billings, Robotics Ph.D. Student with the DROP Lab (droplab.engin.umich.edu) test out underwater robot on the Great Lakes.
The overall project goal is to develop a proof of concept that autonomous underwater vehicles can conduct image surveys. This image data would then be post-processed with various neural networks to detect and record the numbers of fish and mussels of certain species. This system would then be used to determine the populations of these species across the great lakes.
Photo by Robert Coelius
Multimedia Producer, Communications & Marketing, Michigan Engineering
@UMengineering
On December 8th, 2012 P4K and EPN launched the Farmers of the Future program officially in Gueriguinde. Both the Minister of Education and the Minister of Livestock participated in front of a huge crowd of 400! This program is being piloted in three schools in Libore, with the goal of changing the mindset of children about agriculture -- teaching them that it is a business not merely a way to subsist.
Preparing glutinous rice balls to be cooked in the molasses. Photo of my mom's hands (in the foreground), and I believe my tita's hands. (C) JM Ibanez
The Colonial Spanish Horse developed from animals of various breeds and types first brought from the Iberian peninsula to the Caribbean within the first 30 years of Conquest of the New World. The Spanish Mustang is a descendant of the Spanish horses brought from Cuba, Hispanola, and other islands during the conquest and establishment of the Spanish colony of New Spain in what today is Mexico. They are a direct remnant of the horses of a type that is mostly or wholly extinct now in Spain. As the conquest of Mexico progressed during the 16th century, horse herds spread north and crossed the Rio Grande. Over the next one hundred years, horses in the Americas were stolen and traded by the Apache, Comanche, and later the Utes and Shoshoni to various tribes across the Great Plains and Rocky Mountains. Lewis and Clark received horses, later claimed to be Spanish Mustangs, from the Shoshoni, and said they owed much of the success of their expedition to the horses.
Spanish Mustang developed as a distinct type during the 17th and 18th centuries, prior to the arrival of English-speaking American settlers on the Great Plains. By the late 19th century, the advance of farming onto the Great Plains threatened the existence of the Spanish Mustang, as this horse was deemed too small to be useful for the farm work. Both farmers and ranchers introduced taller and heavier horses into wild herds to create a different type of animal more suitable to the immediate needs of settlers. Thus various draft horse breeds, Morgans, Thoroughbreds, and other animals were crossed into the mustang herds.
On the brink of extinction in the early part of this century, the salvation of the original Spanish type can be attributed primarily, but not exclusively, to Ferdinand L. Brislawn and his brother Robert E. Brislawn of Oshoto, Wyoming, who founded the Spanish Mustang Registry, Inc. in 1957. Two full brothers, Buckshot and Ute, were his first foundation stallions, sired by a buckskin stallion named Monty and out of Ute Reservation blood on the dam's side. Monty, captured in 1927 in Utah, escaped back to the wild in 1944, taking his mares with him. He was never recaptured.
The 2017 Total Solar Eclipse as seen from Stockbridge, Georgia.
The auto-exposure had problems with times if I didn't get the image perfectly centered in the viewfinder, which is hard to do when you are trying to line it up with the focus patch in a dark viewfinder. Towards the maximum coverage it was very hard.
Time: 2:39 PM EDT (1839 UTC).
Camera: Minolta X-9
Lens: Tokina 50mm f8 RMC Schmidt-Cassegrain
Film: Walgreens 200 (frozen)
Developed by: The Darkroom
After a very informative weekend spent learning more about Lightroom, I've decided to start a new catalog.
I see a new style developing.
All the garments in this Gallery are all hand made. I developed a technique of playing with threats and so on in order to create different fabrics and textures (different from crochet and tricot). This clothing section has an "upclying" concept, that is, I use rest of fabrics and threats to make an exclusive garment, respecting the environment.
Todas as peças nessa Galleria são feitas manualmente. Eu desenvolvi uma técnica de trançar fios e linhas com o objetivo de criar tecidos e texturas diferentes (diferentes do crochet e do tricot). As peças levam o conceito "upclying", ou seja, uso resto de tecidos e linhas e crio modelos de roupas totalmente exclusivos, respeitando o meio ambiente.
I was moving around while my aunt was doing her part on the honorary guest part. Tih boy was wanting to be filmed very badly and was trying every means he could think of.
I think he was quite cute with this flower.
Develop Your PR Skills by Lucy Laville and Neil Richardson of Leeds Business School was launched with a celebration event at the Rose Bowl, Leeds Metropolitan University, on 21 July.
This book is designed to maximise a company's potential in public relations, with a view to supporting SMEs and voluntary sector organisations who until now may not have had either the budgets or the skills to have a go at PR. It is full of relevant case studies and helpful tips, each chapter ending with a series of exercises to build the reader's confidence in practicing their own PR. It aims to help the reader to gain a quick understanding of PR concepts and principles and to learn how to use them in real life business situations. Issues covered include strategic PR, PR and the internet, working with the media, dealing with different stakeholders and customers, dealing with a crisis, using internal communications, using research to get a competitive edge, evaluating the success of your PR and ethics and sustainability.
Developed with Kodak D76 & Agfa Agefix B&W - Pinhole diameter = 0.2 mm (about) -Focal length = 30 mm - F number = 150 - Film = Lomography Lady Grey B & W 400 35mm - Exp = 4 sec. Scan : Lomography Film Scanner - Edit : Noise Reduction = 17%
shot using my Mamiya RZ 67on Kodak Tri-X 400, self developed and scanned on a Canoscan 9000F, cropped to a square format.
Sik Sik Yuen Wong Tai Sin Temple, Hong Kong
Agfa Isolette II
6x6 Medium Format
Kodak Pro 160
Home Developed
National American History Museum's Science in American Life exhibit.
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