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Meiner Schwester Marianne Tappen zum 2. Geburtstag von meiner Tante Dora aus Dreba. Die Karte lag im Paket mit Geschenk nach Bottrop.
Text: "Das allerbeste zu Deinem Geburtstag wünscht Dir Dein guter Opilein und Deine liebe andere Mama und komm bald wieder nach Dreba."
The Cause
The “Sounds of Cohabitations” poster is about the coexistence of 3 different cultures in Ioannina city, which is celebrating this year 100 years since its liberation. (On February 21, 1913).
Through history Ioannina city has been gifted with a multicultural identity. Sometimes peacefully but not always, the Christian, Muslim and Hebrew culture coexisted there and that left the city with byzantine churches, mosques and synagogues along with a multicultural legacy, all of which make this city truly unique.
—
The Concept
Ioannina’s multicultural identity is traced through 36 historical buildings, monuments and boroughs. Mosques, synagogues, churches, inns, public bathrooms and slaughterhouses. Schools and libraries, theaters, even private residencies. Some of them are preserved, others are destroyed, others restored and some are simply forgotten. Some of them make up everyday roundabouts used by the locals in order to navigate and move through the city. Some others have been turned in blocks of flats or parks, having their existence documented only in some inscription or a rare book about the city’s history. However, each of them accommodated stories of different people and cultures. From Brosgos’s tavern, the New York Inn and Aslan Pasa’s Mosque up to Papazoglio Weaving School and Kalou Pasa’s Seraglio, Ioannina is a city full of history which can be “heard” and “read” on the roads of the city itself.
In these same roads where generations of people with different history, culture and habits used to walk. In the same buildings which were built by some, were used by others and were abandoned or destroyed by some others. These buildings and places act as regional conjunctions and cultural mirrors between the residents, thus creating and representing the sounds of their coexistence. From the candidate proclamations in the Averof Hotel, the horses’ neigh from the traveling carts outside Dodoni Inn up to the sounds of the Papazoglio Weaving School, the echoes of the buildings reflect the story of Ioannina. Different sounds, all originating from the same source. Same places for different stories.
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Check the whole project here: bit.ly/IrOadu
Document from the Pearl Harbor Dispatch Special Collection which details the attack and the days following it.
Repository: San Diego Air and Space Museum Archive
The materials required for this experiment are simple: a stick of incense, a lump of clay, matches. Any straight, uniform incense stick of the variety consisting of a slender bamboo splint dipped in an aromatic, combustible slurry as commonly manufactured in many parts of the Orient is suitable.
The setting for the experiment is most important. The experiment shall be carried out in a small inner room without windows and free of draughts. The room shall be darkened and provided with subtle illumination such that the visual effects of the smoke will be accentuated. A small table or suitable stand shall be provided upon which the experiment will be conducted. Arrangements should be made beforehand so that the room shall not be disturbed for the duration of the experiment. In lieu of a windowless room, a room with windows and portals sufficiently occluded may be substituted.
The procedure is thusly: The lump of clay is formed into a spherical mass and carefully pressed down upon the center of the tabletop. The stick of incense is inserted into the lump of clay at a thirty-degree angle from the vertical, that is, at a two to one slope. A match is struck, the incense is ignited, and the flame extinguished leaving the incense to glow and smolder on its own.
The results are observed from a comfortable stationary position; horizontally is found to be ideal, however, a traditional lotus position is acceptable.
Once the prevailing room conditions have stabilized somewhat, it will be observed that the smoke arises essentially vertically and appearing to be a parallel streams that are fairly straight, and then changing rather abruptly into less orderly and varying patterns of flow at some distance from the burning incense. Although there appear to be two parallel streams of smoke shooting up from glowing incense end, upon closer examination this effect is illusionary for the smoke arises generally in a cylindrical fashion so that the edges as seen from the side appear to be separate parallel streams that undulate together exactly when a slight amount of air disturbance is present. Even the most gentle wisp of wind will cause the uniformity of the laminar flow to become jumbled into turbulent flow as the smoke first emerges from the incense. The cylinder of smoke move quickly up and away from the hot incense and may widen gradually into a narrow funnel of smoke before breaking up into many continually changing patterns of rippling or the cylindrical smoke may emerge directly and suddenly into swirling and rippling designs. The smoke is forever making an infinite number of changes. At times the cone or funnel of smoke seems to flatten out and undulate quickly back an forth forming smooth waves in midair before fading into the haze which is accumulating in the upper regions of the room. Sometimes the turbulent flow will be fast, confused, and dramatic; at other times it will merely roll off lazily, but at all times moves uninhibited. Traveling in the general direction of the ceiling, the flow of the smoke may occasionally lean from side to side or may slowly rotate around a vertical axis, as well as going straight up. The limitless motions the bluish smoke make freely provides visual fascination in addition to a pleasing aroma.
As the incense burns downward, ash accumulates above the point of combustion. The ash may persist undisturbed for quite some time while the glow moves gradually down the stick emitting smoke and leaving ash in its path. Then without warning the residual ash will suddenly topple and dangle precariously by fragile strands of bamboo fiber. Particles of loose ash fall to the tabletop while the bulk of the ash remains suspended. Unmolested the glow continues its journey down the incense leaving the ash to accumulate until the time it in turn tumbles and thus forming another link of this charred chain. As the burning progresses, the dangling ash grows longer and longer while the sections of ash become shorter and shorter as the links fall more frequently each time. The burning ceases when the last of the incense preparation is encountered and all that remains is the leftover piece of bamboo splint from which ashes clinging to fibers are hanging vertically, enclosing a thirty-degree angle, and a roomful of diffuse smoke.
It can be concluded that the above phenomenon will reliably occur if the splint was taken from an inter-nodal piece of bamboo and the conditions of the experiment are met. Any significance attributed to the smoke in making the various fluid designs is left entirely up to the observer's imagination.
© Phillip Hughes
The Lunario was a popular publication with diverse information for the agriculturists, fishing, gardeners, hunters, etc. It was through these publications, based in the accumulated knowledge and in astronomy, that our ancestors made its meteorological forecasts and thus they guided its agricultural activity, fishing, hunting, etc.
This periodic also contained religious information and other popular events.
This picture that was prepared from an original from 1824, is property of my father-in-law.
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O Lunario foi uma publicação popular com informação diversa para os agricultores, pescadores, jardineiros, caçadores, etc. Era através destas publicações, basedas no conhecimento acumulado e na astronomia, que os nossos antepassados faziam as suas previsões meteorológicas e assim orientavam a sua actividade agrícola, piscícola, de caça, etc.
Este periódico continha também informação sobre festejos e eventos religiosos.
Ainda hoje se publica em Portugal o Borda d'Água, publicação semelhante ao Lunario.
O scanner foi efectuado a partir de um original propriedade do meu sogro.
This Documenting Yes photograph is being made available for publication by news organizations and/or bloggers for online news/editorial purposes only. The photograph may not be manipulated in any way and may not be used for commercial or party political purposes. For print, commercial or other use requests contact info@documentingyes.com
Accreditation must be attached when using this photograph and include:
Photo: Documenting Yes / Peter McNally
Páginas interiores del "Apple II Reference Manual", con listado en ensamblador 6502 de las rutinas del firmware.
Internal pages of the "Apple II Reference Manual", with a listing in 6502 assembly of different firmware routines.
This is an image of 75 from University of Pennsylvania LJS 199: Artis analyticae specimina, a document on paper, by Newton, Isaac, 1642-1727, from Cambridge, England, dated to circa 1710.
LJS 199 is a treatise on calculus and infinite series, in a copy made during Newton's lifetime from Newton's own manuscript, originally written in 1670-1671. This copy, written for William Jones, editor of another of Newton's works on calculus, was the source of the first printed editions in English in 1730 and 1737.
Access this manuscript at openn.library.upenn.edu/Data/LJSchoenbergManuscripts/html....
OPenn is a website that offers easy access to free cultural works from Penn Libraries and other institutions. Access these collections and learn more at openn.library.upenn.edu.
Metadata is copyright ©2015 University of Pennsylvania Libraries and is licensed under a Creative Commons Attribution 4.0 International License.
Fotos Nuevas 2012
www.facebook.com/catedraleseiglesias
© Álbum 0761
By Catedrales e Iglesias
By Cathedrals and Churches
Arquidiócesis Primada de México
5a. Vicaría Episcopal, San Pedro Apóstol
Rectoría San Francisco Javier
Rector Pbro: Lope Ruiz Pérez-Aradros, O.A.R.
Pbro : José A.Quintana Bauitista
Plaza Romita 30
Col. Roma
C.P. 6700
Del. Cuauhtémoc
Tel. 5207-7700
Horario de oficina:
Lunes a sábado de 10.00 a 13.00 hrs. y 16.00 a 19.00
Reseña
El crecimiento implacable de la ciudad de México a lo largo del siglo XX hizo desaparecer, casi, los numerosos escenarios de tipo campirano o rural que la rodeaban en sus inicios, arrasados después por la enorme mancha de asfalto, concreto y vidrio en que se ha convertido esta urbe. Por fortuna, aún podemos sentir o evocar ese ambiente provinciano en algunos rinconcitos que han sobrevivido al paso de los siglos, conservando a toda costa sus características singulares. Tal es el caso de la Plaza de Romita.
¿Dónde?
A una cuadra del Eje Cuauhtémoc (por la calle Real de Romita, pasando la de Puebla) y a tres cuadras de la avenida Chapultepec (calle de Guaymas), se localiza esta pequeña plaza adoquinada, acompañada de árboles frondosos y una sencilla fuente circular al centro. Al entrar en ella quedará fascinado por el ambiente de paz y tranquilidad que se respira ahí, como si llegara al centro de un pueblito, y se preguntará ¿cómo puede existir un lugar así a pocos metros de ese par de avenidas ruidosas y congestionadas por el tráfico?
Breviario
Sentado en una de sus bancas, echará a volar la imaginación al saber que este lugar era un islote muy cercano a Tenochtitlan, y corazón del pueblo prehispánico de Aztacalco vocablo náhuatl que significa “en la casa de las garzas”. Cuenta la tradición que en tiempos de la colonia, los ladrones de Tepito eran ahorcados aquí en uno de los cuatro enormes ahuehuetes que tenía entonces, evento que después se convertiría en una celebración popular a fines del siglo XIX y principios del XX, donde sus pobladores representaban con gran estruendo y algarabía —a manera de farsa— tal acontecimiento que resultaba muy atractivo para la ciudad.
El nombre de Romita se debe a que uno de los caminos más cercanos al pueblo, el de Chapultepec, se parecía por su gran arbolado a otro similar en la ciudad de Roma, Italia, y por asociación le pusieron así, mote que aparece en documentos del Ayuntamiento desde 1752. De forma parecida, al expandirse nuestra ciudad y trazarse en los potreros de Romita un fraccionamiento habitacional (1903), éste tomó por nombre colonia Roma. Más adelante, Romita sirvió de escenario para algunas tomas de la destacada película Los Olvidados, de Luis Buñuel. Cabe mencionar también que su principal comercio de tradición es la famosa pulquería La Hija de los Apaches, situada en avenida Cuauhtémoc 39.
¿Qué ver?
Alrededor de la plaza verá algunas construcciones antiguas de un sólo nivel y tabique aparente, que le aportan un toque nostálgico; y uno que otro edificio de varios pisos construidos a mitad del siglo pasado. El más importante es su pequeño templo con una torre, edificado en los albores del siglo XVII; en un principio se le llamó Santa María de la Natividad Aztacalco, después, de San Cristóbal, del Verbo Encarnado y por último de San Francisco Xavier. Bien vale la pena entrar y convivir con los pobladores del rumbo, y admirar el crucifijo del altar mayor, del cual se dice fue elaborado en el siglo XVI y corresponde a uno de los cinco que envió el rey de España a estas tierras. El santo más venerado es San Judas Tadeo y casi frente a él se puede ver al Señor del Buen Ahorcado, al cual se encomendaban los indígenas antes de morir en la horca.
Los pobladores de Romita se mostraron muy reacios a que sus terrenos fueran modificados por el trazo de las calles de la Roma; le invitamos a caminar detrás del templo y recorrer los únicos callejones que se salvaron, en cuyos muros los artistas actuales del antiguo pueblo exhiben su talento en vistosas pinturas.
Leyendas
En Romita no pueden faltar éstas, como aquella surgida en los años cuarenta del siglo pasado en la que sus habitantes afirman que un bulto blanco de forma humana se desprendía de los viejos árboles y tomaba asiento junto a cualquier parroquiano que comía algunas fritangas en la plaza, provocándole un frío de miedo. El protagonista de la novela Las batallas en el desierto, escrita por José Emilio Pacheco, nos habla del gran robachicos de Romita, y del miedo que sentía al pasar por ese lugar.
A dra. Gisele Truzzi concedeu entrevista para o portal UOL, comentando sobre a validade jurídica dos documentos eletrônicos.
"Saiba como proteger seus investimentos na era da internet"
UOL Economia - 18/02/2013
Na íntegra: economia.uol.com.br/financas-pessoais/noticias/redacao/20...
Title: Deed signed by B.K. Bruce
Date Original: 1890-08-07
Description: Real estate record (deed or release) signed by B.K. Bruce, acting as Washington, D.C. Recorder of Deeds. Bruce was the first African-American to serve a full term in the U.S. Senate. Frederick Douglass was the first of ten African-Americans to serve as D.C. Recorder of Deeds.
Creator: Bruce, Blanche Kelso, 1841-1898; Washington
(D.C.)
Subject(s): Bruce, Blanche Kelso, 1841-1898
Alternative Title: 080502-06
Publisher: Wofford College
Contributor:
Date Digital: 2009-09
Type: Text
Format [medium]: Manuscript
Format [IMT]: image/jpeg
Digitization Specifications: 800ppi 24-bit depth color; Scanned with
an Epson 15000 Photo scanner with Epson Scan software; Archival master is a
TIFF; Original converted to JPEG with Irfan View software.
Resource Identifier: 080502-06
Source: The original, accession number ##, from which this
digital representation is taken is housed in The
Littlejohn Collection at Wofford College,
located in the Sandor Teszler Library.
Language:En-us English
Relation [is part of]:The
Littlejohn Collection
Rights Management: This digital representation has been
licensed under an Attribution
- Noncommercial- No Derivatives Creative Commons license.
Contributing Institution: Wofford College
Web Site: http://www.wofford.edu/library/littlejohn-home.aspx
This Documenting Yes photograph is being made available for publication by news organizations and/or bloggers for online news/editorial purposes only. The photograph may not be manipulated in any way and may not be used for commercial or party political purposes. For print, commercial or other use requests contact info@documentingyes.com
Accreditation must be attached when using this photograph and include:
Photo: Documenting Yes / Peter McNally
Really beautifully designed letterpress wedding invitations and envelopes for RSVP cards. Designed by Miller & Lamb. Printed by Elegantepress.
Last Sunday, the National Gallery of Art hosted a make-your-own-artwork event in the rotunda of the West Building, in conjunction with their current exhibit Dutch Cityscapes of the Golden Age. The museum provided stamps, stamp pads, paper, mats, colored pencils, sharpeners, and even moist towelettes for your hands. Both adults, and kids were welcome, and everything was completely free of charge. My wife and I decided to try one, and I documented the process with my camera.
This is another view of step two, filling in the stamped buildings with colored pencils. This took awhile, and it was late, so we messed up by rushing a bit.
Blogged:
Flott meny fra Christiania Dampkjøkken 3. august 1948. Menyen viser det vi i dag vil kalle et tradisjonelt utvalg og til lave priser. Legg merke til at prisene inkluderer servise.
Christiania Dampkjøkken ("Dampen") ble grunnlagt i 1857 og lå først mellom Møllergata og Torggata (Torggt 8).
"Dampen" ble et sted for de som måtte eller ønsket å spise rimelig.
Både Henrik Ibsen, Arne Garborg, Hans Jæger og Knut Hamsun var besøkende på spisestedet.
På Oslobilder.no er det flere bilder fra "Dampen":
Kø for å komme inn: www.oslobilder.no/OMU/OB.X0343
Kjøkkenet:
www.oslobilder.no/OMU/OB.R11554c
(Kilde: Oslo Byleksikon)
I'm really excited to have been asked to participate in 'Some Cities', hope to see you there!.
Mon 25 Nov, 7pm
Tickets £3 (£2)
Age 16+
Some Cities is creating a range of opportunities for everyone to engage with photography, in order to develop an interactive photographic archive of Birmingham, made by the people who live, work and visit the city.
As part of our program of activities, Some Cities is pleased to announce the first of our talks program at mac birmingham. The talks aim to examine and explore a range of issues central to contemporary photographic practice, through examinations of the work, methodologies and strategies of individual photographers.
The first talk will examine the relationship between the photographer and the communities who allow them to document their lives. The talk will be chaired by Karen Newman, former curator at the Open Eye Gallery and research fellow (digital media) at Coventry University.
John Myers and Jim Mortram are photographers who have chosen to intimately observe and chronicle the lives of people who live in the same communities as themselves.
John Myers photographed people who lived within walking distance of his own home. His work (Middle England 1970-74), becoming an archiving of the common place and the everyday; one that sought to reflect upon how we are as equally shaped by our communities as much as we shape them.
For the past three years, Jim Mortram has intimately photographed the lives of people within the same three-mile radius of his hometown, Dereham in East Anglia for his project, Small Town Inertia.
In 2013 the British Journal of Photography included Mortram in its list of 20 world photographers to watch.
www.macarts.co.uk/event/from-the-inside-john-myers-and-ji...
Rub, smear, splatter your food. Use This Page as a Napkin.
For the little story, I'm working @ Mcdonalds during the Holidays and everyday I have a free dinner after work. Yesterday I was eating alone in the room for the employees at midnight and I was bored and looking at my food and then I had an illumination for my Journal so I did it ! =)
Part of "res noscenda" - "Empty Padded ~ LeerGefüllt - Time at Work" - Left handed drawings and writings on the empty left pages of my prompter`s book: Soufflierbuch "Woyzeck" (Georg Büchner, Bob Wilson, Tom Waits)
Page 3, Page 4
Diptych:
DMC-G2 - P1700984
DMC-G2 - P1700985 - 2013-11-19
#kimono #musterbogen #schnittmuster
©Asier Alcorta Hernández / Médicos del Mundo FOTO 4- FIRMA DEL COMPROMISO PREVENTIVO: los protocolos oficiales (Cataluña, Aragón y Navarra) recogen la firma de este documento, por el que los padres se comprometen a proteger a su hija durante el viaje a sus países de origen y realizarle una revisión sanitaria a la vuelta. La negativa de la familia a firmar tiene consecuencias legales.
1931 Passport Application of Enrico [Nerik] Mizzi
Enrico Mizzi served as the Prime Minister of Malta in 1950
Ref: NAM-MFA-9005-1931
This was the official document with which Allegra left Egypt in 1950. She was stateless (apatride) as were many Egyptian Jews. Note that the document says "valid for one jouney and no return". Jews in Egypt were allowed to leave without the possibility of returning even if they wanted to.
Photo provided by Allegra Mizrahi, uploaded by David Lisbona
Manuscript title: Prayers and liturgical pieces from Orient and Occident
Manuscript summary: A manuscript consistiting of three production units. The first two were copied in Paris, probably around the end of the 15th century, by the famous professor of Greek, Georgius Hermonymus of Sparta (†1511-1516). They contain prayers and liturgical pieces, particularly from the Abbey of Saint Denis in France, including an as yet apparently unpublished translation of a Mass formula for Saints Dionysius, Rusticus and Elutherius into Greek. The last part, an addition to the others, is the work of a single hand, very similar in appearance to that of Hermonymous, perhaps that of one of his pupils. (and)
Origin: Paris (France)
Period: 15th century
Image source: Bern, Burgerbibliothek, Cod. 703: Prayers and liturgical pieces from Orient and Occident
Source: Online database of National Szechenyi Library Budapest
Photographer: Rupprecht Mihály (Michael Rupprecht, 1829-1904), Royal photographer since 1882.
Sopron (Oedenburg), Bécsi út 409. ( Wienergasse 409.)
(later/később Bécsi út 4.)
Hungary
Activity: 1863-1904
The first remarkable photographer of Sopron/Oedenburg
www.flickr.com/photos/37578663@N02/sets/72157639800193264
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Rupprecht Mihály Sopron egyik első fényképésze és képi krónikása, egyúttal festőművész is.
Angerer tanitványa volt.
Részt vett az 1848-as szabadságharcban.
Udvari fényképészi cím: 1882-ben.
Szarvason is volt műterme a századforduló környékén..
Bővebben Rupprechtről (és Angererékről is): egy remek cikk a Fotóművészetből
www.fotomuveszet.net/korabbi_szamok/201103/rupprecht_miha...
Veress Ferenc cikke folyóiratában, a Fényképészeti Lapokban Rupprecht műtermének 25 éves fennállása alkalmából: documente.bcucluj.ro/web/bibdigit/periodice/fenykepeszeti...
Forrás: www.rakovszky.net/D1_DisplRemImg/Rako_DRI_ShowARemoteImag... R19:707