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Der Morteratschgletscher ist ein Alpen-Gletscher in der Berninagruppe im Kanton Graubünden in der Schweiz. Wie nahezu alle Alpengletscher ist auch der Morteratschgletscher im Rahmen der globalen Erwärmung von umfassendem Schwund betroffen; so verkürzte er sich zwischen 1900 und 2017 um etwa 2500 Meter. (Wikipedia)
Birmingham 2011, near Lancaster Circus. See the website for more details.
Apologise for the photo quality - camera died and I had to use my phone.
Along the main road in a dying town a vine covered house long abandoned still contains its' furnishings behind lace curtains. The kitchen out the back window has fallen into ruin.
As a long-time Sixers fan, I was hoping to finally meet him this weekend—we were both planning to watch a mutual friend’s 10-year-old daughter do a charity swim for juvenile diabetes.
It wasn’t meant to be. Dawkins died unexpectedly of an apparent heart attack on August 27. He was only 58.
Then, this past weekend, the basketball world lost another legend, Moses Malone, also of an apparent heart attack. He was 60.
Two legendary players, two similar deaths. It makes you think, especially because they had another thing in common: They were both nearly 7 feet tall.
And these are just the latest tragedies. Wilt Chamberlin, who was 7-foot-1, died of heart failure at the age of 63. Earlier this year, Jack Haley, a 6-foot-10 center who played for the Bulls, Nets, Spurs, and other teams, died of heart disease at the age of 51. Last April, Kareem Abdul-Jabbar had a quadruple bypass at the age of 68.
This begs the question: Do taller men have a higher risk of heart disease and early death?
* A 1992 study of nearly 1,700 dead guys found that, on average, men shorter than 5’9” hung around till the ripe old age of 71. Men taller than 6’4”, on the other hand, checked out around the age of 64.
* The residents of Okinawa, an island off the coast of Japan, have historically had the longest life expectancy on earth—age 78 for men—and a 40 percent lower risk of heart disease and cancer. They also have the largest number of centenarians per capita. The average height of those who live to blow out 100 candles: is 5 feet even.
www.menshealth.com/health/a19547705/do-tall-guys-die-youn...
Die Spinne / Heft-Reihe
Originalausgabe: The Amazing Spider-Man #26
(The mystery of »The Man in the Crime-Master's mask!«)
cover: Steve Ditko
Klaus Recht GmbH (Hamburg / Deutschland; 1975)
ex libris MTP
Liebe Partnerin,
dies war mein anfänglicher Plan: zwei Blättchenreihen nebeneinander auf der einen Seite und auf der Rückseite ein Überraschungsblock, den ich nicht verraten darf, weil sonst jeder hier wüsste, für wen der Beutel ist. Vielleicht ist das aber etwas zuviel für den kleinen Beutel? Man kann ja die Rückseite auch nur mit dem blauen Stoff machen.
KLIO - Die Rührende, Muse der Geschichtsschreibung
MELPOMENE - Die Singende, Muse der Tragödie
THALIA - Die Blühende, Muse der Komödie
KALLIOPE - die Schönstimmige, Muse der epischen Dichtkunst
TERPSICHORE - Die im Reigen Tanzende, Muse des Tanzes
EUTERPE - Die Erfreuende, Muse der Musik
ERATO - Die Liebevolle, Muse der Liebesdichtung
URANIA - Die Himmliche, Muse der Astronomie
POLYHYMNIA - die Hymnenreiche, Muse der lyrischen Dichtkunst
Apollo und die neun Musen
Der Figurenzyklus hat sein Zentrum und seinen Ausgangspunkt in der Figur von Apollon, den Sohn von Göttervater Zeus und der Titanentochter Leto. Als Gott der Künste, vor allem der Musik und des Gesangs, wird Apollon mit der Lyra dargestellt, die er von dem Götterboten Hermes geschenkt bekommen hatte. In seiner Funktion als Musenführer trägt er den Beinamen Musagetes. Die Musen, Töchter von Zeus und der Titanin Mnemosyne, bewohnen den Parnass und begleiten das Göttermahl mit Musik und Gesang.
Der Musensaal
Der Musensaal ist das repräsentative Zentrum der Habsburgischen Prunkräume. Der prächtig gestaltete Festsaal wurde 1822-1825 im Sinne eines Gesamtkunstwerks von Joseph Kornhäusel 1772-1860 für Erzherzog Carl (1771-1847) hergestellt. Kornhäusels künstlerischer Partner Joseph Klieber (1773-1850) versah ihn mit den namensgebenden Figurenzyklus Apollo und die neun Musen. Die überlebensgroßen, griechisch-mythologischen Gottheiten stellen das umfangreichste Skulpturenensemble des Wiener Klassizismus dar. Joseph Klieber war ein glühender Verehrer von Antonio Canova (1757-1822) und fertigte deshalb die gegenüber Apollon aufgestellte Muse des Tanzes Terpsichore exakt nach dem Entwurf von dessen berühmter Danzatrice. Erzherzog Carl pflegte mit seiner Familie im Musensaal zu speisen, wobei ein verstecktes Panharmonicum, eine Art Musikautomat, die Tafel musikalisch untermalte. In diesem prachtvollen Ambiente fanden auch Soireen und Bälle statt, die durch die fünf mächtigen, feuervergoldeten und bronzierten Kristallluster sowie mehrere freistehende Kandelaber zwischen den Statuen prächtigst illuminiert wurden.
(further information about the world of the Habsburg you can get by clicking on the link at the end of page!)
The Hall of the Muses
The Hall of the Muses, the spatial and ceremonial center of the state apartments, served as a dining room and offered the prestigious setting for glamorous soirees and splendid balls.
Five gorgeous crystal chandeliers enlighted the room in light brightness, 258 additional candles that were additionally anchored in the running rosette frieze, plunged it in a sea of lights.
Hall of the Muses © Albertina, Vienna (Photo: Alexander Ch Wulz)
Musensaal
To the splendid appearance of the hall also contribute the precious stucco marble panelings of the wall panels and pilasters as well as the gilded doors and decorative elements.
The name of the hall is derived from the cycle of figures "Apollo and the Nine Muses". The life-size, with a marble imitating polishing white surface provided sandstone figures come from Joseph Klieber (1773-1859), who drew inspiration for this work from the oeuvres of the sculptor Antonio Canova.
www.albertina.at/das_palais/prunkraeume/musensaal
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
Die Antwoord live @ Rock In Roma.
Roma 21/06/2014
Support my page: Fabrizio Di Ruscio Photography
© Fabrizio Di Ruscio
This stroppy Die Dragon is seen here lairing upon a mountain of his beloved dice. (10,000 of them, which even outweigh him).
The singular of the objects shown is formaly die and the plural is dice.
However in usage the word dice seems to be used for both the singular and the plural.
The word die is used here because the dragon is of such an age that archaic language fits him best.
Die Kaisergewölbe è un font espressivo per titolazioni e logotipi.
Esso esiste nelle due principali famiglie: Violence e Readable.
Realizzato tramite uno script di 2000 righe in robofab/python, è generato secondo parametrizzazioni di curve di bezier modificabili a piacimento che sostituiscono alcune linee di un carattere da me progettato intorno al 2004, ideato per la titolazione di tavole architettoniche di stile costruttivista.
Il font è basato sulla forma dell'arco di cerchio approssimato e segue inoltre una proporzione ideale del corpo di x pari a 24/25 dell'asse y per le correzioni ottiche.
Il font, declinabile nel suo peso dal Bold all'Extra Thin, si presta anche in versione italic a 10°, con un kerning deciso sempre presente e un'ipotetica variabile che crea delle uncinature sulle aste ascendenti.
font: die Kaisergewölbe
versions: Violence b1.0 , Readable b1.0, Bold,SemiBold, Medium, Regular, Light, Thin
designer: Matteo Bonera
software used: FontLab, Python, RoboFab
defunct font: l'Allah
P resence
O f
L imitations
I n
M ilan
I nstitutes
year: 2008
@ Type Design v.1
Benjamin Stein, Die Leinwand (The Canvas)
An Event of the DAAD
Reading
Wed, 29.12.2010, 19:00
Goethe-Institut Jerusalem
in German
Based on the scandal of Benjamin Wilkomirski's falsified Holocaust memoir, this novel deals with the unreliability of memory and the struggle for identity. Two stories are told from both ends of the book. In one of the stories Amnon Zichroni, an Orthodox Jew who grew up in Israel and becomes a psychoanalyst in Zürich, encourages Minsky, a supposed Holocaust survivor, to write down his memories. The other story is about East German journalist Jan Wechsler who tries to expose Minsky's memoirs as false. In the centre of the book a confrontation takes place when the two narrators, Amnon Zichroni and Jan Wechsler, meet one another.
Shortly about me:
It’s my passion to create stories and bring back pictures of events, people and places that are rarely seen. It’s a combination of exploration, exposition and artistry that together create a life of adventure and excitement.
In my work it is imperative for me that information be accurate and the images must be respectful of the subject and viewer. My goal is to combine creativity with practicality to capture the best possible images to document events, tell a story, meet the picture editor's deadlines.
The exhibition “Beautiful Faces of Balata” currently on show at the Church of the Ascension at the “Kaiserin Auguste Victoria Foundation” on the Mount of Olive's can be visited on a virtual tour on my website. Virtual tour of the Exhibition »
The exhibition is a project of Public Culture - Palpics, under the auspices of the Deutsche Gesellschaft für Internationale Zusammenarbeit (GIZ) GmbH and the Yafa Cultural Center (YCC) .
If you would like to know more, or even just pick my brains to discuss your project with me, please visit my homepage documentary photography or send me an Email.
So siehts aus! Lappen in die Hand und putzen statt ständig über die "Lautstärke dieser neumodischen Teschnomusik" meckern! Fotze!
Austrian officers out of an ancient castle-palace. Two of them wear a karlbluse so the picture was taken in 1917 or 18.
Der Regenbogenempfang im Hessischen Landtag hat Tradition. Zum ersten Mal hat die Landratspräsidentin Astrid Wallmann eingeladen.
Die Behörde are Lissie Rettenwander, Mr SelfDestruct aka Bobby Rajesh Malhotra, Trux Protocol7 aka Florian Anich. Graphic design by Bobby Rajesh Malhotra. diebeheorde.tumblr.com
(32) Bürowagen Xs 4085 9535 445-2, Heimatbahnhof Luzern, am 15.7.2001 im Areal der Baudienstwerkstätte ("Gleislager") Hägendorf.
German postcard, no. 6. Photo: CCC / Constantin Film. Publicity still for Die Nibelungen, Teil 1 - Siegfried / Siegfried (Harald Reinl, 1966) with Uwe Beyer as Siegfried and Rolf Henniger as King Gunther.
Caption: "In Worms wird Siegfried von König Gunther willkommen geheissen. Als er Kriemhild, Gunthers Schwester, erblickt, verliebt er sich in sie. Gleichzeitig bringen Boten die nachricht zu König Gunther, dass die Sachsen ins Burgunderland eingefallen seien. Siegfried erklärt sich sofort bereit, mit Hagen und den anderen Recken König Gunthers dem Feind entgegen zu eilen. Im Zweikampf besiegt Siegfried den König der Sachsen, unterwirft ihn und bringt ihn zu König Gunther. In Worms schwört dann der Sachsenkönig dem König von Burgund aufs Schwert ewige Treue."
(In Worms, Siegfried is welcomed by King Gunther. When he sees Kriemhild, Gunther's sister, he falls in love with her. At the same time, messengers bring the message to King Gunther, that the Saxons have invaded the Burgundy country. Siegfried immediately declares his willingness, with Hagen and the other knights to rush against King Gunther's enemy. In a duel Siegfried defeats the King of Saxony, subjects him and brings him to King Gunther. In Worms, the Saxon king then swears on his sword eternal fidelity to the king of Burgundy.)