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One of my main subway-foaming goals on my last visit to New York (in hindsight, perfectly timed before the COVID-19 outbreak) was to ride and shoot the IRT Times Square/Grand Central Shuttle line. Running a short distance under 42nd Street between two of the busiest and most important spots in all of New York City, the shuttle is a vital part of the subway system, linking the 1, 2, 3, 7, A, C, E, N, R, and Q train services at the enormous 42nd St - Times Square station complex to the 4, 5, 6, and 7 trains at Grand Central- and of course Metro-North's busy Hudson, Harlem and New Haven lines at Grand Central Terminal itself. The shuttle is especially historic, as for the first 14 years of its existence from 1904 to 1918, when services were reconfigured, it was an integral part of New York's "First Subway", the Interborough Rapid Transit line from City Hall to northern Manhattan. As such, there are many remnants of that era, mainly regarding Track 2, which was removed sometime after 1918- hence, for over a century the Shuttle has only, and officially, had Tracks 1, 3, and 4.
At the time of my visit, the shuttle line was about to undergo its greatest change in slightly over a century of existence, (other than a brief but revolutionary experiment with automated operation from 1959-1964) with both endpoint stations being rebuilt to smooth passenger flow, and the line simplified from its current 3-track arrangement to two tracks. This will involve complicated underground construction work that will ultimately improve and streamline service, but will significantly change the look and feel of the Shuttle.
Here at the Grand Central end of the line, a train of R62A equipment waits to depart for Times Square on Track 3. The Bombardier-built R62As have been the shuttle's sole rolling stock since their delivery in the mid 1980s- this could easily change once the reconstruction project is complete. Platform work at Times Square in preparation for the project has already resulted in changes- access to the doors on the last car here is blocked off.
Santa Claus in the 90th annual Macy's Thanksgiving Day Parade New York City USA
The 90th Annual Macy's Thanksgiving Day Parade in New York City, USA
The Macy's Thanksgiving Day Parade is an annual parade presented by the U.S.-based department store chain Macy's. The tradition started in 1924.
The three-hour Macy's event is held in New York City starting at 9:00 a.m. on Thanksgiving Day, and has been televised nationally on NBC since 1952.
The parade starts on the Upper West Side of Manhattan at w77th st and heads 2.5 miles to West 34th Street.
Macy's Herald Square is the largest department store in the world. The flagship store covers almost an entire New York City block, features about 1.1 million square feet of retail space, includes additional space for offices and storage, and serves as the endpoint for Macy's annual Thanksgiving Day parade.
Macy's
Formerly called R. H. Macy & Co.
FoundedOctober 28, 1858
FounderRowland Hussey Macy
Macy's Herald Square
151 W 34th St,
New York, NY 10001
USA
The 90th Annual Macy's Thanksgiving Day Parade performers include:
JOHNNYSWIM
DIAMANTE ELÉCTRICO
SARAH MCLACHLAN
MICHELLE CARTER
MADDIE & TAE
LAURIE HERNANDEZ
KELSEA BALLERINI
JACOB WHITESIDES
FITZ AND THE TANTRUMS
EASTON CORBIN
DE LA SOUL
DAYA
CHLOE AND HALLE
BRETT ELDREDGE
ALOE BLACC
BEN RECTOR
REGINA SPEKTOR
TIMEFLIES
TONY BENNETT
GRACE VANDERWAAL
CLARESSA SHIELDS
THE MUPPETS
TATYANA MCFADDEN
HANNAH MCFADDEN
GIANFRANCO IANNOTTA
MIKEY BRANNIGAN
LUNCHMONEY LEWIS
THE RADIO CITY ROCKETTES
And much more!
The movie Miracle on 34th Street focuses on the impact of a department store Santa Claus who claims to be the real Santa. The film was released June 4, 1947
Hashtag metadata tag
#HappyThanksgiving #Happy #Thanksgiving #ThankYou #Thankful #MacysParade #MacysThanksgivingDayParade #MacysThanksgivingParade #Thanksgiving #ThanksgivingParade #NY #NYC #NYNY #NYS #NewYork #NewYorkCity #NewYorkNewYork #NewYorkState #Macys #W34thSt #Holiday #US #USA #America #American #MacysThanksgiving
HD Video
New York City, Manhattan Island, New York State, The United States of America USA country, North America continent
Thursday, November 24, 2016
UPDATE: somebody at flickr (marissa?) put the notes back on! Now you can mouse over all the details in a photo for more info. Thanks marissa! Now go back to google where you did a great job.
Marissa Mayer ruined Flickr so you can't see all the helpful overlaid transit notes on the photo anymore. petitions.moveon.org/sign/change-flickr-back
Watch your phones. www.infoworld.com/welcome-san-francisco-heres-where-the-c...
Don't pay panhandlers to go away. Most panhandlers aren't homeless, most homeless aren't panhandlers. Homeless people are usually invisible, hiding, in line seeking services and often mentally ill and not in treatment. Panhandlers are usually just career income supplementers and very much housed in subsidized Tenderloin Hotels, not shelters.
On Google Maps desktop or Android (not available on iPhone) click the BLUE BUS STOP ICONS at intersections for a list of bus and train lines at that stop and the scheduled times they arrive!
SAVE THESE LINKS ON YOUR PHONE!
BART is only a regional train to airports.
MUNI is only in the city, their buses are numbers, their trains are letters.
They are separate systems with individual stations mostly, but they share 4 stations on one stretch of Market Street at the following 4 stops: Embarcadero (near Ferry Building where Market starts/ends at the water) Montgomery (financial district) Powell (tourist/shopping/crackhead area) and Civic Center (government, library and crackheads)
The best "how many live, actual, NOT-schedule, GPS based minutes till X bus/train picks up at THIS stop?" MUNI app for ANDROID (don't know about Apple) is:
play.google.com/store/apps/details?id=info.yasskin.droidm...
Click the dots on the maps below. They are bus/train stops. They will tell you when it's coming and in which direction.
Hit the museums along Golden Gate Park and continue to the Ocean restaurants with the 5 bus from Market & Powell
www.nextbus.com/predictor/publicMap.shtml?a=sf-muni&r=5
Italian Town restaurants and nightlife (North Beach) along Columbus (and the Prisidio!) can be accessed by going downtown to Market & Drumm and catching the 41 Union in front of the Hyatt www.nextbus.com/predictor/publicMap.shtml?a=sf-muni&r=41
Go to the Zoo (not advised, it's just ok) on the L train and the Haight Ashbury district (or the ocean or Golden Gate Park) on the N train. Both from Market & Powell
www.nextbus.com/predictor/publicMap.shtml?a=sf-muni&r...
See the naked people at Castro or the tourist traps at Fisherman's Wharf on the F train (aka F line, F and train letters are case sensitive below)
www.nextbus.com/predictor/publicMap.shtml?a=sf-muni&r=F
Or express underground to the Naked People at Castro with any K, L, M train.
Take the T 3rd train to the Ballpark and genetic tech & university campuses renovating the old industrial area but watch your phone south of 16th.
www.nextbus.com/predictor/publicMap.shtml?a=sf-muni&r=KT
Watch a beautiful sunset by hiking to the top of Twin Peaks by taking the 37 bus from Castro to Crestline & Vista Lane then hiking up the hill.
www.nextbus.com/predictor/publicMap.shtml?a=sf-muni&r=37
Take in a relaxing no-hike view of the city and a watch everybody sunning & picnicking on Sunday in Dolores Park by taking the J train from downtown to Church & 20th or continue a few blocks to restaurants and cute homes on 24th in Noe Valley with the J train
www.nextbus.com/predictor/publicMap.shtml?a=sf-muni&r=J
Cable cars are expensive one way. Get unlimited rides with a MUNI 1,3 or 7 day pass at some Walgreens and the silver outdoor kiosk at Market & Powell which also covers MUNI buses and trains. The Powell/Hyde line is the most interesting of the 2 that run on Powell. California Line west of Powell will take you to Huntington Park and the apartment filmed in Vertigo. East of Powell is Chinatown. If you're in a long line at the endpoints, walk up a couple blocks and hop on quicker :) www.sfcablecar.com/routes.html
If you're in line underground at Powell for a clogged south/outbound MUNI train, just go NORTH/inbound a couple stops to Embarcadero and wait for a fresh empty seat train to turn around :) POR stands for Powell Right (outbound/south) and POL stands for Powell Left (inbound/north) Double Train Letters (JJ or LL) mean 2 cars connected. This is the overhead TV display on the platforms: www.sfmunicentral.com/sfmunicentral_Snapshot_Objects/Muni...
The ONLY two MUNI buses that run OUTSIDE the city are the SAT/SUN ONLY 76x to Marin Headlands north of the Golden Gate Bridge (highway 101) and the 7days a week 108 to Treasure Island off the Oakland Bay Bridge (highway I-80) which IS actually part of San Francisco.
76 is easiest caught at Powell & Sutter. On the Marin side lets you see incredible mountains with an incredible view of San Francisco and then a quiet beach at the terminus. Bus runs every hour, last inbound to the city is 6:30pm! Miss that and you're STRANDED. There is a hostel nearby though, but only stay on SATURDAY so you can catch the SUNDAY bus back. www.sfmta.com/getting-around/transit/routes-stops/76x-mar...
108 starts downtown at the Transbay Terminal next to the Dry Cleaners on Beale. The 5, 38 & 71 can get you there from Powell. The 108 lets you see the former military base on a quick 30 minute loop from beginning to end. You can get off at the main gate and take photos of the city, which offers an incredible view. Also at the gate is the original art deco round building in Indiana Jones that was used for the 1939 world expo on Treasure Island before it was all demolished to build the base in WWII. www.nextbus.com/predictor/publicMap.shtml?a=sf-muni&r...
Color footage from the expo!
www.youtube.com/watch?v=RaInmsZe5Fs
Photos from the expo:
www.google.com/search?q=1939+treasure+island+exposition&a...
Amtrak trains don't come directly into city, but their free shuttle buses from Oakland Jack London Square and Emeryville do. Save BART fare and take a shuttle from the Ferry Building, Hyatt/Embarcadero, Powell/Westfield Mall or Caltrain/4th & King dixielandsoftware.net/Amtrak/status/StatusMaps/
Lastly, Caltrain is just a commuter train from SF to Silicon Valley & San Jose. But it connects at SJ to the 17 bus which goes over the mountains to Santa Cruz!
www.caltrain.com/stations/systemmap.html
www.scmtd.com/media/bkg/20143/sched/rte_17.pdf
FOR MUNI: Call 311 free from pay phones or from your cell while in SF. Ask live operator "what bus to I take to get to X?" and "what time is the next outbound Y coming to such and such intersection?"
FOR ALL OTHER TRANSIT AGENCIES: call 511 or use www.511.org
UBER is a terrible company all the way around. Bad to it's riders, drivers and press who tries to investigate it. SideCar and Lyft are much better and cheaper and offer live phone support in emergencies like valuables left in the car. Uber doesn't.
If you MUST drive, get the rentalcars.com app pickup is cheaper at the airport. Never book downtown or at the counter. Or get citycarshare or zipcar app but register weeks in advance. Same with bayareabikeshare.com app.
Support the SFBC Bikes On Board campaign to allow more bikes on Caltrain. It's cheaper than subsidized parking lots and feeder buses or more lanes of concrete.
More tips below! Add your own!
The opposite of a correct statement is a false statement. But the opposite of a profound truth may well be another profound truth. ~ Niels Bohr
We got some decent stuff. We gave the SlipNSlide to Makepeace (which resulted in finding out about a party we didn't know about, which resulted in a lot of shenanigans). We have a lot of extra wireless routers now, which came in handy 6 months later when we had to purchase a new washing machine with wifi support. We gave the SpongeBob Operation game to Sean. The solar light sucks and didn't work well. And we are always looking for extra boomboxes for our central house music.
Operation board game, SlipNSlide, The Alamo magnet, air brush, boombox, hammer, hand Gojo cleaner, level, network adapter USB hardware, paint can, routers wireless hardware, shovel, solar lamp, wireless access point.
cartoon: SpongeBob Squarepants.
upstairs, Clint and Carolyn's house, Alexandria, Virginia.
May 21, 2016.
... Read my blog at ClintJCL at wordpress.com
... Read Carolyn's blog at CarolynCASL at wordpress.com
... Read my yard sale-related blogposts at clintjcl dot wordpress dot com/category/yard-sales/
BACKSTORY: This was another trip where we didn't record the stats. We had 19 addresses in our predetermined route, however 15 of those addresses were all a part of a community sale.
THE TAKE:
* $5.00: Slip N Slide, Wham-O, Triple-Racer, 3x18ft (3x5.4m), barcode 032187620375, 62037 (EV:$22.88)
* $5.00: Router, D-Link, Wireless N 150 Home Router, Model No. DIR-601, S/N QB1O1A4025322, H/W Ver A1, F/W Ver 1.01NA, Barcode 790069332517, MAC 1CAFF7CB61AE, DIR-601, shrink-wrapped (EV:$5.99 price tag)
* $5.00: Router, Linksys, EtherFast Cable/DSL Firewall Router, 4-port switch/VPN Endpoint, Model No BEFSX41, S/N CB900C148080, MAC 000625BE3557 (EV:$4.95)
* $5.00: Router, Linksys, Wireless-G Broadband Router, Model No WRT54G, S/N CDF80E272550, MAC 001310332110, Ownership ID HLV9QWMS, Device ID VCBM2DBE (EV:$6.99 pricetag)
* $5.00: Wireless Network Access Point, Linksys, Model NO WAP11, barcode 745883549573, shrink-wrapped (EV:$19.99 pricetag)
* $5.00: USB Network Adapter with Wi-Fi Finder, Linksys, Wireless-G, All-in-One, 2.4GHz, 802.11G, Model No. WUSBF54G, barcode 745883567270, MAC 0014BFBE8DFB, S/N PKP006203448, shrink-wrapped (EV:$89.99 pricetag from CompUSA)
* $3.00: level, 24", red, metal, Unitek Empire with Double Plumb, 580-24, 497-9310(EV:$16.69)
* $2.00: air brush & propellant system, Testors, ozone safe propellant, used for painting plastic model kits and other craft projects. Contains Propellant, 6ft hose, color mixing pipette, propellant control assembly, 3 .5oz jars, organizing tray, single-action airbrush (EV:$26.99 pricetag from K&K Toys)
* $2.00: hammer (2), wooden handles, 5" head, 13" including handle (EV:$8.68 ($4.34 each))
* $2.00: game, Operation, Sponge Bob (EV:$1.99 price tag)
* $1.00: shovel, metal, square head, 12.5x10" head, 36" including handle (EV:$8.69)
* $0.50: boombox, Jensen, Portable AM/FM Stereo CD player, CD-472, S/N: 20090216793, black, 9x5x8" (EV:$22.99)
* $0.50: lamp, Ikea, blue, solar-powered, Type A0802 Sunnan 19972, flexible arm (EV:$20.00)
* $0.50: paint, Gloss Black, Enterprise Acrylic Latex Gloss Enamel, 3329 48934 barcode 042397550614, 946mL (EV:$7.65)
* $0.50: Gojo, Natural Orange Pumice Hand Cleaner, 1.89L, dispenser bottle, barcode 073852009583 (EV:$5.49)
* $FREE: magnet, San Antonio TX, The Alamo, 3.125x2.125" (EV:$3.49)
Fonte Gaia ("Joyous Fountain") was built in 1419 as an endpoint of the system of conduits bringing water to the city's centre, replacing an earlier fountain completed about 1342 when the water conduits were completed. Under the direction of the Committee of Nine, many miles of tunnels were constructed to bring water in aqueducts to fountains and thence to drain to the surrounding fields. The present fountain, a center of attraction for the many tourists, is in the shape of a rectangular basin that is adorned on three sides with many bas-reliefs with the Madonna surrounded by the Classical and the Christian Virtues, emblematic of Good Government under the patronage of the Madonna. The white marble Fonte Gaia was originally designed and built by Jacopo della Quercia, whose bas-reliefs from the basin's sides are conserved in the Ospedale di St. Maria della Scala in Piazza Duomo. The former sculptures were replaced in 1866 by free copies by Tito Sarrocchi, who omitted Jacopo della Quercia's two nude statues of Rhea Silvia and Acca Larentia, which the nineteenth-century city fathers found too pagan or too nude. When they were set up in 1419, Jacopo della Quercia's nude figures were the first two female nudes, who were neither Eve nor a repentant saint, to stand in a public place since Antiquity.
The lakes inlet is through piped streams (Grøndalsåen, Lygteåen and Ladegårdsåen). These streams jointly provide water from the wet-area Utterslev Mose, the lake Emdrup Sø and to a lesser degree the lake Damhussøen. Ladegårdsåen was converted from an open stream to a piped stream in 1925 and is located below the streets Ågade and Åboulevarden. It provides water for Peblinge Sø and has its endpoint near the pavilion Søpavillonen (English: The Lake Pavilion). From the lakes the water is streamed further on, with an endpoint at the north end of Sortedams Sø, to the lakes in Østre Anlæg, the Fredrikshavn Entrenchment and Øresund. The water has an average time in the lakes of approx. one year.
The water in Utterslev Mose and Emdrup Sø is very high in nutrients. As a result of this, large quantities of algae formed in the lakes and the water became rather unclear as well as hindering animal and plant life. In 1999 the municipality of Copenhagen erected a water treatment plant by Emdrup Sø, to clean the water that was being led to the lakes. This allowed for the re-creation of the water environment. Currently the water is much more clear and animal and plant life are present.
Fontana di Trevi
Um texto, em português, da Wikipédia, a Enciclopédia livre:
A Fontana di Trevi (Fonte dos trevos, em português) é a maior (cerca de 26 metros de altura e 20 metros de largura) e mais ambiciosa construção de fontes barrocas da Itália e está localizada na rione Trevi, em Roma.
A fonte situava-se no cruzamento de três estradas (tre vie), marcando o ponto final do Acqua Vergine, um dos mais antigos aquedutos que abasteciam a cidade de Roma. No ano 19 a.C., supostamente ajudados por uma virgem, técnicos romanos localizaram uma fonte de água pura a pouco mais de 22 quilômetros da cidade (cena representada em escultura na própria fonte, atualmente). A água desta fonte foi levada pelo menor aqueduto de Roma, diretamente para os banheiros de Marcus Vipsanius Agrippa e serviu a cidade por mais de 400 anos.
O "golpe de misericórdia" desferido pelos invasores godos em Roma foi dado com a destruição dos aquedutos, durante as Guerras Góticas. Os romanos durante a Idade Média tinham de abastecer-se da água de poços poluídos, e da pouco límpida água do rio Tibre, que também recebia os esgotos da cidade.
O antigo costume romano de erguer uma bela fonte ao final de um aqueduto que conduzia a água para a cidade foi reavivado no século XV, com a Renascença. Em 1453, o Papa Nicolau V determinou fosse consertado o aqueduto de Acqua Vergine, construindo ao seu final um simples receptáculo para receber a água, num projeto feito pelo arquiteto humanista Leon Battista Alberti.
Em 1629, o Papa Urbano VIII achou que a velha fonte era insuficientemente dramática e encomendou a Bernini alguns desenhos, mas quando o Papa faleceu o projeto foi abandonado. A última contribuição de Bernini foi reposicionar a fonte para o outro lado da praça a fim de que esta ficasse defronte ao Palácio do Quirinal (assim o Papa poderia vê-la e admirá-la de sua janela). Ainda que o projeto de Bernini tenha sido abandonado, existem na fonte muitos detalhes de sua idéia original.
Muitas competições entre artistas e arquitetos tiveram lugar durante o Renascimento e o período Barroco para se redesenhar os edifícios, as fontes, e até mesmo a Scalinata di Piazza di Spagna (as escadarias da Praça de Espanha). Em 1730, o Papa Clemente XII organizou uma nova competição na qual Nicola Salvi foi derrotado, mas efetivamente terminou por realizar seu projeto. Este começou em 1732 e foi concluído em 1762, logo depois da morte de Clemente, quando o Netuno de Pietro Bracci foi afixado no nicho central da fonte.
Salvi morrera alguns anos antes, em 1751, com seu trabalho ainda pela metade, que manteve oculto por um grande biombo. A fonte foi concluída por Giuseppe Pannini, que substituiu as alegorias insossas que eram planejadas, representando Agrippa e Trivia, as virgens romanas, pelas belas esculturas de Netuno e seu séquito.
A fonte foi restaurada em 1998; as esculturas foram limpas e polidas, e a fonte foi provida de bombas para circulação da água e sua oxigenação.
A text, in english, From Wikipedia, the free encyclopedia:
The fountain at the junction of three roads (tre vie) marks the terminal point of the "modern" Acqua Vergine, the revivified Aqua Virgo, one of the ancient aqueducts that supplied water to ancient Rome. In 19 BC, supposedly with the help of a virgin, Roman technicians located a source of pure water some 13 km (8 miles) from the city. (This scene is presented on the present fountain's façade.) However, the eventual indirect route of the aqueduct made its length some 22 km (14 miles). This Aqua Virgo led the water into the Baths of Agrippa. It served Rome for more than four hundred years. The coup de grâce for the urban life of late classical Rome came when the Goth besiegers in 537/38 broke the aqueducts. Medieval Romans were reduced to drawing water from polluted wells and the Tiber River, which was also used as a sewer.
The Roman custom of building a handsome fountain at the endpoint of an aqueduct that brought water to Rome was revived in the 15th century, with the Renaissance. In 1453, Pope Nicholas V finished mending the Acqua Vergine aqueduct and built a simple basin, designed by the humanist architect Leon Battista Alberti, to herald the water's arrival.
In 1629 Pope Urban VIII, finding the earlier fountain insufficiently dramatic, asked Bernini to sketch possible renovations, but when the Pope died, the project was abandoned. Bernini's lasting contribution was to resite the fountain from the other side of the square to face the Quirinal Palace (so the Pope could look down and enjoy it). Though Bernini's project was torn down for Salvi's fountain, there are many Bernini touches in the fountain as it was built. An early, striking and influential model by Pietro da Cortona, preserved in the Albertina, Vienna, also exists, as do various early 18th century sketches, most unsigned, as well as a project attributed to Nicola Michetti, one attributed to Ferdinando Fuga and a French design by Edme Bouchardon.
Competitions had become the rage during the Baroque era to design buildings, fountains, and even the Spanish Steps. In 1730 Pope Clement XII organized a contest in which Nicola Salvi initially lost to Alessandro Galilei — but due to the outcry in Rome over the fact that a Florentine won, Salvi was awarded the commission anyway. Work began in 1732, and the fountain was completed in 1762, long after Clement's death, when Pietro Bracci's Oceanus (god of all water) was set in the central niche.
Salvi died in 1751, with his work half-finished, but before he went he made sure a stubborn barber's unsightly sign would not spoil the ensemble, hiding it behind a sculpted vase, called by Romans the asso di coppe, "the "Ace of Cups".
The Trevi Fountain was finished in 1762 by Giuseppe Pannini, who substituted the present allegories for planned sculptures of Agrippa and "Trivia", the Roman virgin.
The fountain was refurbished in 1998; the stonework was scrubbed and the fountain provided with recirculating pumps.
The backdrop for the fountain is the Palazzo Poli, given a new facade with a giant order of Corinthian pilasters that link the two main stories. Taming of the waters is the theme of the gigantic scheme that tumbles forward, mixing water and rockwork, and filling the small square. Tritons guide Oceanus' shell chariot, taming seahorses (hippocamps).
In the center is superimposed a robustly modelled triumphal arch. The center niche or exedra framing Oceanus has free-standing columns for maximal light-and-shade. In the niches flanking Oceanus, Abundance spills water from her urn and Salubrity holds a cup from which a snake drinks. Above, bas reliefs illustrate the Roman origin of the aqueducts.
The tritons and horses provide symmetrical balance, with the maximum contrast in their mood and poses (by 1730, rococo was already in full bloom in France and Germany).
A traditional legend holds that if visitors throw a coin into the fountain, they are ensured a return to Rome. Among those who are unaware that the "three coins" of Three Coins in the Fountain were thrown by three different individuals, a reported current interpretation is that two coins will lead to a new romance and three will ensure either a marriage or divorce. A reported current version of this legend is that it is lucky to throw three coins with one's right hand over one's left shoulder into the Trevi Fountain.
Approximately 3,000 Euros are thrown into the fountain each day and are collected at night. The money has been used to subsidize a supermarket for Rome's needy. However, there are regular attempts to steal coins from the fountain.
Fontana di Trevi
A seguir, um texto, em português, do Blog do Noblat:
Nenhuma semana sobre fontes poderia ser feita sem falar na Fontana di Trevi, a linda, a inteiramente diferente de todas as outras fontes. Numa pequena praça, formada pelo cruzamento de três vias, em italiano tre vie, e é daí que vem seu nome, a fonte marca o ponto final do aqueduto Acqua Vergine, um dos mais antigos de Roma.
Reza a lenda que em 19 a.C, uma virgem ajudou os Romanos a encontrar uma fonte de água pura. Essa nascente supriu Roma de água por mais de 400 anos, e isso só terminou entre 537 e 538, quando os visigodos sitiaram Roma e destruíram seus aquedutos.
A reconstrução do aqueduto só terminou em 1453, sob o papa Nicolau V que mandou fazer ali uma bacia em mármore para acolher a água.
Em 1629, o papa Urbano VII pediu a Bernini que embelezasse a fonte; o grande arquiteto começou por mudar o local da escultura: seu projeto a colocava do outro lado da praça e ela ficaria de frente para o Palácio Quirinal, de modo que o papa pudesse apreciar a vista. Mas o papa morreu, o projeto foi abandonado. Ainda assim muitos dos detalhes que Bernini criara foram respeitados pelo arquiteto Nicola Salvi, que assina a fonte.
Em 1730, Salvi recebeu do papa Clemente XII a incumbência de reiniciar a decoração da fonte. Os trabalhos começaram em 1732 e terminaram em 1762, depois da morte de Clemente. A estátua principal, do deus Oceano, só foi colocada após a morte do papa.
O pano de fundo da estrutura é o Palazzo Poli que, para compor o cenário perfeito, recebeu uma nova fachada com colunas gregas que unem os dois andares.
O tema principal é “O Domínio das Águas”. A biga de Oceano, em forma de concha, é puxada por cavalos alados dominados por Tritãos. O nicho do deus é um imenso arco do triunfo; nos laterais estão as estátuas da Abundância e da Salubridade.
No alto, em baixo relevo, a origem dos aquedutos romanos e, acima, as armas de Clemente XII. O conjunto mede 25.9m de altura x 19,8m de largura e é a maior fonte barroca dessa cidade com tantas fontes.
Reza a lenda que ao jogar uma moeda na fonte, está assegurada sua volta a Roma. Se jogar três moedas com a mão direita sobre o ombro esquerdo, você garante sua boa sorte. Parece brincadeira? Cerca de 3mil euros são jogados por dia na Fontana di Trevi!
Esse cenário deslumbrante serviu a Federico Fellini para uma das cenas mais famosas de sua obra-prima, o filme La Dolce Vita. Difìcil alguém que não conheça a cena interpretada por Anita Eckberg e Marcello Mastroianni. Pois bem, quando Mastroianni faleceu, desligaram a água e cobriram a fonte de panos negros. Foi o luto de Roma pelo grande ator.
Um texto, em português, da Wikipédia, a Enciclopédia livre:
A Fontana di Trevi (Fonte dos trevos, em português) é a maior (cerca de 26 metros de altura e 20 metros de largura) e mais ambiciosa construção de fontes barrocas da Itália e está localizada na rione Trevi, em Roma.
A fonte situava-se no cruzamento de três estradas (tre vie), marcando o ponto final do Acqua Vergine, um dos mais antigos aquedutos que abasteciam a cidade de Roma. No ano 19 a.C., supostamente ajudados por uma virgem, técnicos romanos localizaram uma fonte de água pura a pouco mais de 22 quilômetros da cidade (cena representada em escultura na própria fonte, atualmente). A água desta fonte foi levada pelo menor aqueduto de Roma, diretamente para os banheiros de Marcus Vipsanius Agrippa e serviu a cidade por mais de 400 anos.
O "golpe de misericórdia" desferido pelos invasores godos em Roma foi dado com a destruição dos aquedutos, durante as Guerras Góticas. Os romanos durante a Idade Média tinham de abastecer-se da água de poços poluídos, e da pouco límpida água do rio Tibre, que também recebia os esgotos da cidade.
O antigo costume romano de erguer uma bela fonte ao final de um aqueduto que conduzia a água para a cidade foi reavivado no século XV, com a Renascença. Em 1453, o Papa Nicolau V determinou fosse consertado o aqueduto de Acqua Vergine, construindo ao seu final um simples receptáculo para receber a água, num projeto feito pelo arquiteto humanista Leon Battista Alberti.
Em 1629, o Papa Urbano VIII achou que a velha fonte era insuficientemente dramática e encomendou a Bernini alguns desenhos, mas quando o Papa faleceu o projeto foi abandonado. A última contribuição de Bernini foi reposicionar a fonte para o outro lado da praça a fim de que esta ficasse defronte ao Palácio do Quirinal (assim o Papa poderia vê-la e admirá-la de sua janela). Ainda que o projeto de Bernini tenha sido abandonado, existem na fonte muitos detalhes de sua idéia original.
Muitas competições entre artistas e arquitetos tiveram lugar durante o Renascimento e o período Barroco para se redesenhar os edifícios, as fontes, e até mesmo a Scalinata di Piazza di Spagna (as escadarias da Praça de Espanha). Em 1730, o Papa Clemente XII organizou uma nova competição na qual Nicola Salvi foi derrotado, mas efetivamente terminou por realizar seu projeto. Este começou em 1732 e foi concluído em 1762, logo depois da morte de Clemente, quando o Netuno de Pietro Bracci foi afixado no nicho central da fonte.
Salvi morrera alguns anos antes, em 1751, com seu trabalho ainda pela metade, que manteve oculto por um grande biombo. A fonte foi concluída por Giuseppe Pannini, que substituiu as alegorias insossas que eram planejadas, representando Agrippa e Trivia, as virgens romanas, pelas belas esculturas de Netuno e seu séquito.
A fonte foi restaurada em 1998; as esculturas foram limpas e polidas, e a fonte foi provida de bombas para circulação da água e sua oxigenação.
A text, in english, From Wikipedia, the free encyclopedia:
The fountain at the junction of three roads (tre vie) marks the terminal point of the "modern" Acqua Vergine, the revivified Aqua Virgo, one of the ancient aqueducts that supplied water to ancient Rome. In 19 BC, supposedly with the help of a virgin, Roman technicians located a source of pure water some 13 km (8 miles) from the city. (This scene is presented on the present fountain's façade.) However, the eventual indirect route of the aqueduct made its length some 22 km (14 miles). This Aqua Virgo led the water into the Baths of Agrippa. It served Rome for more than four hundred years. The coup de grâce for the urban life of late classical Rome came when the Goth besiegers in 537/38 broke the aqueducts. Medieval Romans were reduced to drawing water from polluted wells and the Tiber River, which was also used as a sewer.
The Roman custom of building a handsome fountain at the endpoint of an aqueduct that brought water to Rome was revived in the 15th century, with the Renaissance. In 1453, Pope Nicholas V finished mending the Acqua Vergine aqueduct and built a simple basin, designed by the humanist architect Leon Battista Alberti, to herald the water's arrival.
In 1629 Pope Urban VIII, finding the earlier fountain insufficiently dramatic, asked Bernini to sketch possible renovations, but when the Pope died, the project was abandoned. Bernini's lasting contribution was to resite the fountain from the other side of the square to face the Quirinal Palace (so the Pope could look down and enjoy it). Though Bernini's project was torn down for Salvi's fountain, there are many Bernini touches in the fountain as it was built. An early, striking and influential model by Pietro da Cortona, preserved in the Albertina, Vienna, also exists, as do various early 18th century sketches, most unsigned, as well as a project attributed to Nicola Michetti, one attributed to Ferdinando Fuga and a French design by Edme Bouchardon.
Competitions had become the rage during the Baroque era to design buildings, fountains, and even the Spanish Steps. In 1730 Pope Clement XII organized a contest in which Nicola Salvi initially lost to Alessandro Galilei — but due to the outcry in Rome over the fact that a Florentine won, Salvi was awarded the commission anyway. Work began in 1732, and the fountain was completed in 1762, long after Clement's death, when Pietro Bracci's Oceanus (god of all water) was set in the central niche.
Salvi died in 1751, with his work half-finished, but before he went he made sure a stubborn barber's unsightly sign would not spoil the ensemble, hiding it behind a sculpted vase, called by Romans the asso di coppe, "the "Ace of Cups".
The Trevi Fountain was finished in 1762 by Giuseppe Pannini, who substituted the present allegories for planned sculptures of Agrippa and "Trivia", the Roman virgin.
The fountain was refurbished in 1998; the stonework was scrubbed and the fountain provided with recirculating pumps.
The backdrop for the fountain is the Palazzo Poli, given a new facade with a giant order of Corinthian pilasters that link the two main stories. Taming of the waters is the theme of the gigantic scheme that tumbles forward, mixing water and rockwork, and filling the small square. Tritons guide Oceanus' shell chariot, taming seahorses (hippocamps).
In the center is superimposed a robustly modelled triumphal arch. The center niche or exedra framing Oceanus has free-standing columns for maximal light-and-shade. In the niches flanking Oceanus, Abundance spills water from her urn and Salubrity holds a cup from which a snake drinks. Above, bas reliefs illustrate the Roman origin of the aqueducts.
The tritons and horses provide symmetrical balance, with the maximum contrast in their mood and poses (by 1730, rococo was already in full bloom in France and Germany).
A traditional legend holds that if visitors throw a coin into the fountain, they are ensured a return to Rome. Among those who are unaware that the "three coins" of Three Coins in the Fountain were thrown by three different individuals, a reported current interpretation is that two coins will lead to a new romance and three will ensure either a marriage or divorce. A reported current version of this legend is that it is lucky to throw three coins with one's right hand over one's left shoulder into the Trevi Fountain.
Approximately 3,000 Euros are thrown into the fountain each day and are collected at night. The money has been used to subsidize a supermarket for Rome's needy. However, there are regular attempts to steal coins from the fountain.
Fonte Avatar official FB Page:
A dark, twisted circus sideshow that’s built around bombastically grooving melodic death n’ roll is swinging forward with captivating glee, mesmerizing merriment and the plundering power of lethal pirates toward those brave souls who hand over a ticket to be torn by Avatar and their Black Waltz, the fourth album and first proper American release from the Swedish masters of mayhem.
Within Avatar’s diverse songs, a steady focus on the fluid and organic power of the riff (recalling the thunderous foresight of heavy metal’s original wizards, Black Sabbath) takes flight combined with an adventurous sprit veering off into the astral planes of the psychedelic atmosphere conjured by pioneers like Pink Floyd back in the day.
Avatar has found a footing that combines the best of rock n’ roll, hard rock and heavy metal’s past, present and future into an overall artistic presentation that is thought-provoking, challenging and altogether enchantingly electric. With the grandiose showmanship of American professional wrestling, the snake oil salesmanship of early 20th century vaudevillian troubadours and the kinetically superheroic power of early Kiss, Avatar lays waste to lesser mortals with ease. Whether somebody gets their rocks off listening to Satyricon or System of a Down, they’ll find something suitably deranged here.
“We’re in this weird field, caught in a triangle between extreme metal, rock n’ roll and what can be described as Avant-garde,” confesses Avatar vocalist Johannes Eckerström. The all-enveloping theme park vibe of the band’s music and visual counterpart means that, naturally, “it’s turning into something bigger.”
“I have been in this band for ten years. I grew up in this band,” Eckerström explains. “We’re somewhat veterans on the one hand. But we’re the new kids in the neighborhood in America at the same time.”
Avatar came of age as “little brothers” of sorts of the famed Gothenburg scene that spawned the celebrated New Wave Of Swedish Death Metal. The band’s debut album, 2006’s Thoughts of No Tomorrow, was filled with brutal, technical melodic death metal to be sure but already, “We tried to put our own stamp on it,” the singer assures. While the following year’s Schlacht still contained flourishes of melody, the unrelenting metallic fury reached an extreme peak. “Intensity was very important,” he says, with some degree of understatement.
Where to go for album number three? “We basically rebelled against ourselves,” Eckerström says of 2009’s self-titled collection. “We figured, ‘We can play faster and make even weirder, more technical riffs,’ because Schlacht was cool. But to take that another step would have turned us into something we didn’t want to be.”
Instead Avatar rediscovered their inherent passion for traditional heavy metal and classic rock n’ roll. “We decided to remove some unnecessary ‘look at me, I can play!’ parts and added more groove. We added a whole new kind of melody. It was awesome to be this ‘rock n’ roll band’ for a while. It was refreshing and liberating.”
Black Waltz sees Avatar coming completely full circle, returning to a more aggressive form of heavy metal but incorporating the lessons they learned while jamming on big riffs with album number three. “We finally came to understand what a good groove is all about and what a great fit it was for our sound,” notes Eckerström.
Tracks like the appropriately titled “Ready for the Ride,” the rollicking “Let it Burn” (which dips into some delicious stonerifficness), the anthemic “Smells Like a Freakshow” (a modern day twist of Marilyn Manson and Rob Zombie) and “Torn Apart” are supercharged with a dynamic range of artistic showmanship on a near cinematic scale and it’s all stitched together by a driving bottom end.
While most European metal acts who dare attempt this level of musicianship, showmanship and attention to detail seem content to toil away in the studio and lock themselves away from the crowds, Avatar have excelled beyond their peers thanks in large part to their continued focus on road work. Careening to and fro on tour busses and airplanes around the world like a marauding troupe of circus performers, Eckerström and his mates (guitarists Jonas Jarlsby and Tim Öhrström, bassist Henrik Sandelin and drummer John Alfredsson) have forged the type of musical bond that can only be brought forth from massive amounts of time spent together on the stage, in hotel rooms, in airports and partying at the venue’s bar.
Whether on tour with bands like In Flames, Dark Tranquility or Helloween, playing gigantic festivals like Storsjöyra and Sweden Rock Festival or demolishing South by Southwest, playing live is what it all comes down to for this band. “That is the final manifestation of our art,” Eckerström insists. “Of course an album is a piece of art in itself, but mainly it's a means to reach the higher goal, which is doing these awesome shows. Touring is of the greatest importance.”
“We all just love the pirate’s life,” he admits freely. “Sailing into the city on this tour bus thingy, going to kick some ass, have that party and all the while meeting all of these people, entertaining them, encountering a culture that's not your own. We love that.”
The want for this type of lifestyle goes back to early childhood fascinations for the good-humored singer. Reading about superheroes, watching Hulk Hogan on TV, getting exposed to Kiss – these were the first ingredients for what Eckerström would go on to create with the guys in Avatar and what has culminated now in Black Waltz.
The frontman promises that Avatar will continue to create, to captivate and to experiment. There’s no definitive endpoint in sight. It’s always about the horizon, the journey itself. “As long as you're hungry as an artist, there are higher and higher artistic achievements. I love AC/DC and Motorhead and what they’ve established is amazing, but we don’t want to write albums that are kind of like the album before. We want to travel to a new galaxy, so to speak, every time.”
The goal is always to conquer what came before. “That is what stays with you as a mentally healthy musician. Or maybe a mentally deranged one, I’m not sure,” the singer laughs. And part and parcel to that continued evolution will be the ever broadening expansion of the scope of Avatar’s worldwide presentation: Black Waltz and beyond.
“We have great visions of what we want to do and the things we want to give to people on a stage,” Eckerström promises. “These ideas, these visions, they require a huge audience. They require a lot of legroom to be done, so I want to get into those arenas, basically. I know we would do something really magical if we got the chance. This idea is one of those things that really, really keeps us going.”
At last! The endpoint of a 4 mile hike, with a 4 mile return trip.
Virgin Falls in Tennesee's Pocket Wilderness area is a unique falls. It comes out of a cave and empties into a cave.
We were pretty beat after the hike here, but McMillenD, Wizum, and the wife and kids stopped for some shooting.
Tough day with the sun out and the mist flying, but we managed to get some nice angles here.
This seemingly bucolic November scene belies the fact that we are barely over a mile from Chicago's central business district (known as the "Loop"). The roll sign and twin yellow marker lights indicate that this is a northbound Red Line train heading into the subway portal that will lead to the State Street subway through the Loop.
The open space through which the train is traveling was once occupied almost entirely by railroad tracks. The Santa Fe main line, and the Chicago & Western Indiana main line to Dearborn Station were here, and were used by passenger trains of the C&WI, Santa Fe, Grand Trunk Western, Wabash, Chicago & Eastern Illinois, Monon, and Erie until Dearborn was closed with the coming of Amtrak in 1971.
The old railroad right-of-way laid fallow for a couple decades until CTA pushed through its new Orange Line service in the early Nineties to serve Midway Airport. In a major realignment of services that took place the day the Orange Line opened in 1993, CTA swapped endpoints for a handful of services. The trackage seen here was built as part of that realignment: It serves as the connector for trains to to travel from the route that operated in the median strip of the Dan Ryan Expressway into the State Street subway.
The ramp in the background is the connection was previously used (1969-1993) by Dan Ryan trains to access the South Side elevated tracks and in turn the Loop "L"; it is currently non-revenue trackage. The bridge leading across the frame in the background was new in 1993, and connects the "L" tracks with the then-new Orange Line.
The "DR1/539" sign marks the location of a "phantom signal" – in other words, a trackside block boundary without a wayside signal. Most of CTA's network is equipped with automatic train control and cab signals, and hence wayside signals only exist at interlockings and in their approaches.
One of my main subway-foaming goals on my last visit to New York (in hindsight, perfectly timed before the COVID-19 outbreak) was to ride and shoot the IRT Times Square/Grand Central Shuttle line. Running a short distance under 42nd Street between two of the busiest and most important spots in all of New York City, the shuttle is a vital part of the subway system, linking the 1, 2, 3, 7, A, C, E, N, R, and Q train services at the enormous 42nd St - Times Square station complex to the 4, 5, 6, and 7 trains at Grand Central- and of course Metro-North's busy Hudson, Harlem and New Haven lines at Grand Central Terminal itself. The shuttle is especially historic, as for the first 14 years of its existence from 1904 to 1918, when services were reconfigured, it was an integral part of New York's "First Subway", the Interborough Rapid Transit line from City Hall to northern Manhattan. As such, there are many remnants of that era, mainly regarding Track 2, which was removed sometime after 1918- hence, for over a century the Shuttle has only, and officially, had Tracks 1, 3, and 4.
At the time of my visit, the shuttle line was about to undergo its greatest change in slightly over a century of existence, (other than a brief but revolutionary experiment with automated operation from 1959-1964) with both endpoint stations being rebuilt to smooth passenger flow, and the line simplified from its current 3-track arrangement to two tracks. This will involve complicated underground construction work that will ultimately improve and streamline service, but will significantly change the look and feel of the Shuttle.
Here at the Times Square end of the line, where the platforms curve along the 1904 alignment of the original Interborough main line, a train of R-62A equipment waits to depart for Grand Central on Track 3 while, in the IRT West Side Line tunnel (here under Broadway), a northbound [1] local train blurs by towards 242nd St in The Bronx. As part of the shuttle's reconfiguration, this view into the Broadway tunnel will, unfortunately, no longer be possible.
www.dignitymemorial.com/obituaries/koloa-hi/harlan-amstut...
(My note, photograph from a 2015 follow-up visit, Dr. Amstutz traveling to Seattle) Well here in 2024 I am now 18 and 15 years out after having both my hips resurfaced by orthopedic pioneer Harlan Amstutz; Dr. Amstutz doing "his" resurfacing on my hips as opposed to the more traditional total hip replacement. Both my hips are working perfectly with no endpoint in sight, and they feel and perform as though they were my natural hips; for me a life with no hip related limitations. Thank you once again, Dr. Amstutz.
Emeritus 1991 Harlan Cabot Amstutz M.D. was born in Santa Monica California on July 17, 1931. After graduating from the John Marshall High School, he went on to UCLA, graduating Phi Beta Kappa in 1953 with a B.A. in fine arts. While an undergraduate he played on the UCLA basketball team. He received his M.D. from UCLA in 1956. He did a rotating internship at LA County and a year of general surgery at UCLA before going to HSS for his orthopaedic surgery residency from 1958-1961. That was immediately followed by two years of military service, serving as Captain in the U.S. Air Force, stationed in Minot, N. Dakota, as Chief of Orthopaedics, Consultant Hospital, for the 862nd SAC Division, Area Veterans and local Indian reservations. This was followed by two years in London, England, the first at the Royal National Orthopaedic Hospital as an Honorary Registrar and the next year as Research Assistant at the Institute of Orthopaedic, also in London. Harlan then returned to HSS from 1965-1970, working at various capacities including Chief of Prosthetics and Orthotics, Associate Scientist, Lecturer and Director of Bioengineering. In 1970, he was tapped for the job of Division Chief of Orthopaedic Surgery at UCLA, taking over for the founding Division Chief, Charles Bechtol, who had served since 1959. Harlan served in that capacity from 1970-1989. From 1975 until 1989, he also served as Chief of Section of Orthopaedics at the Wadsworth VA. He became Emeritus in 1990. From 1991- 2007 he was the Medical Director of the Joint Replacement Institute at Orthopaedic Hospital. He then became the Medical Director of the Joint Replacement Institute at St. Vincent Medical Center in downtown LA. He continued to work on the technologies of metal on metal surface replacements until it closed in 2015.
Harlan Amstutz was the epitome of a true academic clinician-scientist. To his credit, he has authored or co-authored 335 refereed journal articles, over 500 abstracts and 75 chapters. He has over 1000 national and international presentations and 76 invited lectureships, as well as holding 13 patents. He is editor of Hip Arthroplasty, was the author and editor of Hip Resurfacing: Principles, Indications, Complications and Results, and is the editor of Current Status of Metal-on-Metal Hip Resurfacing. In 1996, Harlan was elected to the Royal College of Surgeons of England as an Honorary Fellow (one of only seven American orthopaedic surgeons to have been so honored), and elected in 2005 as an Honorary Member of the German Orthopaedic Society. In 2007 he received AOA-Zimmer Award for Distinguished Contribution to Orthopaedics, and in 2010 he was named Distinguished Alumnus of the Hospital of Special Surgery. In addition, Harlan seems to have been president of about everything: the Orthopaedic Research Society in 1973, the North American Hip Society in 1979, the Association of Orthopaedic Chairman in 1983, the Association of Bone and Joint Surgeons in 1984, the American Orthopaedic Association in 1992, and the International Hip Society in 2000. In 1970, he was an ABC Travelling Fellow, and in 1974, Harlan, along with Mark Coventry from the Mayo Clinic, were the NIH Travelling Exchange Fellows to Russia. He is a six time winner of the John Charnley Award in 1977, 1984, 1990, 1994, 2000, 17 and 2006. In 1979, he was the recipient of the Otto Frank Award for cement fixation of the femoral head in canine surface replacements, and in 1987, along with Keith Markolf, PhD, he received the Nicholas André Award for the UCLA knee ligament testing apparatus for ACL insufficiency.
In his 19-year tenure at UCLA, he established this Division as a dominant presence in bioengineering and joint replacement surgery. There, in collaboration with the Department of Engineering, he started the first PhD program in Biomechanical Engineering. He did the first leg lengthening, established the CEU (clinical evaluation unit) in 1973, and performed the first surface replacement in 1975. In those days it was all about joint replacement. Andy Cracchiolo introduced the Poly Centric Knee replacement, Gerry Finerman designed the Anametric Knee replacement, and we all used the Zimmer T-28 hip replacement system designed by Harlan. There were 4 stem sizes and 3 cup sizes and the cups and stems were cemented. The trochanter was removed 100% of the time (except at the VA where it was forbidden). The Tharies hip surface replacement system designed by Harlan was introduced in 1975. As a brand new R2 on July 1, 1975, I picked up that first patient and scrubbed on the second case. Vibrant and exciting describe those early days for the residents and faculty. In the ‘80s, Harlan introduced the DANA shoulder replacement, “Designed After Normal Anatomy,” to round out the complement of joint replacement systems and technologies.
After an illustrious career as an academic orthopaedic surgeon spanning 5½ decades, Harlan is now retired, but rumored to still be working. He and his wife Patty now have time to enjoy their children, Julie, Mark and Catherine and their second home in Maui. All those who have worked with and for Harlan wish him and his family health and happiness in the years to come. We look upon and remember our professional and social experiences Harlan and Patty as privileged.
Jeffrey J. Eckardt M.D. December 2015
Related photograph www.flickr.com/photos/tellytomtelly/7895343866
Route 5 Siblings Q.Ave./Centris Endpoint Convoy
Magicline Express Corp. | 182022 | ZhongTong LCK6125G "Fashion" fleet by ZhongTong Bus Holding Co., Ltd. (China)
🚏 Original / Authorized Franchise Route: Norzagaray / Sapang Palay - NAIA
🚏 Rationalized Route Assigned in Route 5: Quezon Ave. - Angat (under United Mega Manila Bus Consortium / NAT Transport) (until August 21, 2022)
Cameo: Mayamy Trans 312010 in UD PKB212N Santarosa Metrorider
🕚 Date Taken on May 2022
📍 Photo Shot Location @ BIR Rd., Diliman, Quezon City
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This is the endpoint of our latest blog post. Check it out to learn how Frank Morbillo made this elegant stainless steel fountain: matthewsgalleryblog.com/2014/06/07/sculptors-process-fran...
Green-Yellow Metro II Rear Shot. Reached to the endpoint!
De Guia Enterprises, Inc. / G Liner | 5031 | Hino FG Grandmetro II fleet by Hino Motors Philippines, Corp.
🕚 Date Taken on July 19, 2021 - 1:03 PM
📍 Photo Shot Location @ Gilmore Ave. cor 1st St., New Manila, Quezon City
🚏 Rationalized Route Assigned in Route 11: Gilmore - Taytay (under Mega Manila Consortium Corporation)
🚏 Franchise / Original Route: Taytay - Quiapo
#MacBusEnthusiast #BehindTheBusSpottingPhotography @macbusenthusiastph
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15 years ago to the month, I made use of a delay in the Conrail "split" to make a 9-day whirlwind tour of the system. This time, the majority of the DM&E was on the verge of changing hands so it was time to hit the road again. Being a smaller "bite" this time around, four days were used for this last look. Just as in 1999 I had to accept I wouldn't see it all but instead go for a good sampling. Just like 15 years ago, the reward was great weather, railroad action every day, and a nice look at part of the country I don't often visit.
We plotted the trip around our endpoint of Belle Fourche, SD, starting point of an overnight job (B01) that switches mainly bentonite loading facilities here and at the end of the line at Colony, WY. As B02, the train makes a daytime run down to Rapid City and back. On Monday May 26th, B01 finished up before dawn and parked the train in town. At about 9am a crew arrived that had been cabbed up from Rapid City.
Looking south down Highway 85 the power for B02 can be seen heading for the wye. The Black Hills rise in the distance as the Butte County Courthouse and Dakota Mill & Grain elevator dominate the cityscape. The traffic provides a good summary of this interesting crossroads city near the center of the nation, motorcycles, campers and industrial trucks. Full-blown tourist season is still on the way but there was no shortage of activity on this Memorial Day. May 26, 2014.
“Journeys require endpoint, otherwise you’re not Frodo, you’re just some homeless guy wandering around with stolen jewelry.”
-- Matthew Inman, The Oatmeal
Nicholas Party’s Head (2018–2022) stands like a surreal sentinel at the Hirshhorn Museum, where it forms part of the Revolutions: Art from the Hirshhorn Collection 1860–1960 exhibit. Though created well after the exhibit's chronological endpoint, Head was included as a contemporary “intellectual descendant” of the modernist movement. Bold, stylized, and gleaming with a pop-art polish, the sculpture features a towering red head with piercing green eyes, cobalt lips, and a glossed black coiffure. Set against a deep gray wall on a stark white pedestal, the piece exudes both simplicity and psychological intensity.
The Hirshhorn’s curators assembled Revolutions by combing through the museum's archives to identify artworks that capture the shift from traditional to modern art. While the exhibit is arranged roughly by decade, visitors experience it more like "wiggly streams of paint poured beside and atop each other." Party’s Head appears in this context as a visual jolt—a playful yet probing evolution of portraiture that nods to early 20th-century abstraction while anchoring viewers in contemporary materiality and color theory.
The artist’s signature use of large color blocks, dramatic shading, and cartoonish surrealism harmonizes perfectly with recurring themes of the show: abstract features, saturated hues, and experimental form. Though the exhibit predominantly showcases art from 1860–1960, Head cleverly bridges past and present. It’s weird, it’s wonderful, and it exemplifies the Hirshhorn’s mission to highlight “cream-of-the-crop” work from its collection while keeping the dialogue between generations of artists alive.
Revolutions: Art from the Hirshhorn Collection 1860–1960 runs through April 20, 2025. It’s a must-see for fans of art history, modernism, and contemporary commentary.
The endpoint of the 2019 Portsmouth NH Pride parade. Fuji Pro 400H + Kiev-88 + Mir 26B 45mm f/3.5. Straightened & cropped.
Fayetteville, the seat of Cumberland County North Carolina is most widely known as the home of the US Army’s Fort Bragg. The city itself is larger than expected with a population of around 210,000 but has a reputation as kind of a tough town. It is so rough that soldiers stationed on post are advised to avoid downtown “Fayette-nam” as it’s derisively referenced. But to the visiting railfan willing to take a look around the city has a surprisingly lot to offer. And while I wouldn’t call it a particularly inviting place, I in no way felt ill at ease or unsafe photographing in town.
By far the dominant railroad in town is CSXT with their south end subdivision, the former Atlantic Coast Line main, seeing the passage of dozens of daily freight trains and four daily Amtrak trains on an 11 mile stretch of double track through the city.
The city is also served by the Norfolk Southern that arrives tri-weekly on a 43 mile branch from Fuquay-Varina that was an ORIGINAL pre-1974 Norfolk Southern.
And those roads both interchange with the famous and always independent shortline Aberdeen and Rockfish that calls Fayetteville the eastern endpoint of its 47 mile route.
CSXT also operates two branchlines out of the city, both of which are remaining stubs of the one time Cape Fear & Yadkin Valley Railroad dating from the 1880s.
This remarkable street running is made even more special by story behind it, since prior to this trip none of us even knew it existed. One evening while we were hanging out at the Salisbury depot after the big 611 celebration that had brought us to Carolina we ran into a long time regular local fan named John who was an ex original Norfolk Southern (pre-74) engineer. He told us about the street running on a surviving portion of the original NS down in Fayetteville that the modern NS still serves with tri weekly with local out of Varina. Being that Friday was our day that we planned to head off to hunt the Aberdeen and Rockfish anyway we crossed our fingers and headed out. Low and behold luck was with us, as shortly after we arrived in Fayetteville we heard NS E25 (the symbol for the branchline local) crackle on the radio and we knew we were in luck.
We were rewarded with multitude of shots of this train on the half mile long section of street running as well as working the A&R interchange. In this view we see the arriving southbound train curling out into traffic just north of the Cumberland St. intersection to begin more than a half mile run down Hillsboro St. This is about MP VF42 on the East Carolina Business Unit's Varina to Fayetteville District. Since sold off, classic standard cab SD60 6659 blt. for the NS in Nov. 1988 leads the train.
Fayetteville, North Carolina
Friday May 29, 2015.
Mangled Mushrooms.
This is part of project inspired by Sliders Sunday which starts with the same image (I'll link it below) and sees what sorts of different endpoints I can get to.
Usually I create an image and then think of the title. This was the other way around as I couldn't resist the association.
Magic mushrooms are a family also know as psychedelic mushrooms or Psilocybin mushrooms. These aren't they, by the way, but it's an irresistible title :)
To quote Wikipedia, "They are used mainly as an entheogen and recreational drug whose effects can include euphoria, altered thinking processes, closed and open-eye visuals, synesthesia, an altered sense of time and spiritual experiences." So there you go... (quite literally by the sounds :) )
This was created using Topaz Glow starting with the Oil Spill preset, but then adding Depth of Field Blur in Affinity Photo, a vignette and various exposure tweaks.
Well I hope you enjoy it, or at least some of the series. Thanks very much for your patience with my foolery and of course for your visit!
Fil-Korean Trifecta Low Floor to the Endpoint! 🚏🐎
Phil. Touristers, Inc. | 570 | SR Daewoo BS120S 1st Generation fleet by CMANC/Santarosa Motor Works, Inc. (SRWMI - Philippines)
🚏 Original / Authorized Franchise Route: Navotas Terminal - Pacita Complex via EDSA
🚏 Rationalized Route Assigned in Route E: EDSA Carousel (under Mega Manila Consortium Corporation - MMCC)
🚏 Now Re-classified as New Route 1
🕚 Date Taken on June 2022
📍 Photo Shot Location @ Diosdado Macapagal Blvd. cor Panay St., Tambo, Parañaque City
️ Landmark: Near Parañaque Integrated Terminal Exchange (PITX)
#MacBusEnthusiast #BehindTheBusSpottingPhotography #BusesInThePhilippines #BusPhotography #ProudlyPinoyMade #LoveLocals #KoreanStandards #KoreanTechnology #DaewooBus #DaewooLowFloorBus #DaewooBS120S #BS120S #Euro5 #SRDaewooBS120S #CMANC #Santarosa #SantarosaMotorWorksInc #SRWMI #PhilTouristersInc #PTI #EDSACarousel
Old brick house on Sullivan Trail, Forks Twp. north of Easton, Northampton County, Pennsylvania. There is a date stone on this house so one day when I pass it and traffic isn't horrible I'll check out what date it is. Beautifully crafted brick homes like this one are common around here and most are dated 1840s--1860s. This one is currently vacant again but has been used as office space in recent years. 05-02-13
From Wikipedia:
History
Old roads
Most of what became PA 115 from Easton to Wilkes-Barre was originally a pathway made by General John Sullivan and his forces in 1779 during the American Revolutionary War on their expedition from Easton to the Wyoming Valley. George Washington ordered Sullivan to march upstream the Susquehanna River to join General James Clinton's brigade at the Bradford County town of Tioga (now known as Athens). Soon after, Sullivan's army departed to Newtown, New York where they defeated the Iroquois and Cayuga Indians living in Western New York. His campaign was one of the most important military movements in the American Revolution. The southernmost segment of General Sullivan's path which became part of PA 115 centuries later from Knox Avenue in Easton to PA 512 in Wind Gap is currently designated as Sullivan Trail.[3][4][5]
At the turn of the 19th century, the population and economy of Luzerne County continued to grow and there was a necessity for new roads to improve communication between distant settlements. Most of the early merchandise transportation in the area was done by Durham boats on the Lehigh and Susquehanna Rivers. This led Arnold Colt, a Luzerne County clerk, to construct a turnpike directly connecting the Wyoming and Lehigh Valleys on Sullivan's Trail. Colt then obtained a charter to incorporate the Easton and Wilkes-Barre Turnpike on February 11, 1803. The first 46 miles (74 km) of the turnpike from Wilkes-Barre to Wind Gap were finished by 1807. The road was completed by 1815 at a total expense of US$75,000.[3][6]
They are building a plank road to Slocum Hollow (now Scranton) to get to a railroad and they say that a man can get from Wilkes-Barre to New York in a day. It is almost beyond my belief. I wonder what will become of the old turnpike there is no more use for the old man and the old road.
Honorable Joseph Slocum, former president of the Easton and Wilkes-Barre Turnpike[7]
The turnpike was initially used as major thoroughfare for conveying grains and plaster during War of 1812. When Northampton County farmers could not afford shipped plaster from the Eastern seaboard they became interested in New York plaster. The plaster was transported from New York via the Susquehanna River then onto the turnpike on wagons and sleds. Transporting this product became the turnpike's legacy as it transformed the road into an important commercial line.[7]
By the 1850s, the transport industry heavily favored trains over wagons and sleds. In 1851, the Lackawanna and Western Railroad was completed, connecting Scranton to upstate New York. The new railroad shortened the time required to ship goods between the two endpoints from ten days (by way of roads) to just one. The amount of traffic on the turnpike declined as a result. By the 1850s, the turnpike company had folded and the highway was abandoned.[8] From Bear Creek to Tobyhanna Township the name Easton and Wilkes-Barre Road is still marked on PA 115. The former southern extension of PA 115 from Brodheadsville to Wind Gap is marked as the Wilkes-Barre Turnpike.[9][10]
Designation
Former southernmost alignment of PA 115 in Monroe and Northampton Counties.
When Pennsylvania began maintenance over roads by the way of the Sproul Road Bill in May 1911, the Luzerne County portion of present-day PA 115 was adopted as Legislative Route 169, the primary connector between Wilkes-Barre and the Poconos.[11] The former southernmost segment of the route from Saylorsburg to Easton was adopted as Legislative Route 166.[12] The first traffic routes were assigned in 1924 and by 1927, the state had assigned LR 169 as Pennsylvania Route 15 only to be renumbered the following year as PA 115.[1][13]
When PA 115 was commissioned in 1928, the road was mostly aligned east–west and stretched from US 220 in Montoursville to US 611 in Mount Pocono. From Swiftwater to Tobyhanna Township the road followed present-day PA 940 and PA 314. The former routing from Montoursville to Wilkes-Barre became PA 309, PA 118, PA 154, and PA 87.[14] During the Great Depression, the southern branch of PA 115 was lengthened to US 611 in Easton on the Sullivan Trail and the northern terminus was moved to the Montour County municipality of Mausdale along PA 254 and PA 642.[15][16]
After World War II, PA 115 was extended west to PA 14 (currently PA 405) in Milton on modern PA 642.[4] The northern terminus was moved from Milton to US 220 in Hughesville during the 1950s; this segment of the road followed what is now PA 118. By 1960, PA 115 was moved onto a limited-access road (now PA 33) from Saylorsburg to PA 512.[17] By 1962, the northern terminus of PA 115 was moved from Hughesville to US 309 (now PA 309 Business) in Wilkes-Barre Township.[18] In Wilkes-Barre, it used to followed Kidder Street, Butler Street, Main Street, Courtright Street, Carey Avenue, and crossed the Susquehanna River on Pierce Street.[19]
By 1972, the southern terminus was truncated from Easton to its current location.[20] The portion of PA 115's former surface alignment in Northampton County between Center Square in Easton and PA 191 in Stockertown is now designated as State Route 2025, an unsigned quadrant route.[19][21] PA 115 was extended back to its former alignments by 1980 via Kidder, Scott, Butler, and Pierce Streets through Wilkes-Barre and ended at US 11 in Kingston.[22] The route was truncated to PA 309 at the intersection of Kidder and Spring Streets in Wilkes-Barre by 1989. A year later, the northern terminus was moved to its current location when the North Cross-Valley Expressway (PA 309) was completed.[23][24]
RheinBahn AG emr 2508 is aan het driehoeken aan het eindpunt van lijn 708 in Hamm (uitloper van een stadslijn. De bestuurder steekt nu, met bediening op een mini controller, achteruit met zijn tramstel. Zo te zien is "zus", net rechts in beeld, niet zo heel blij dat ze haar (groot)moeder mag helpen met het werken in de tuinderij.
RheinBahn AG emu 2508 is riding through the first section from the triangel to get reversed at the end off line 708. This endpoint off the cityline 708 lies in the small village called Hamm wich is a part off Dusseldorf. It seems to me that the girl to the right is not very pleased that she had to help het (grand)mother with the work in the fields.
Deze tram daarentegen komt van de Lange Vijverberg en draait hier links de Buitenhof op.
Voor deze lijn 17 Wateringen - Centrum worden de nieuwe R-Net trams gebruikt. Deze trams zijn toegankelijk voor iedereen. Een ruime open instap en dus makkelijk reizen voor mensen met een buggy, rollator of rolstoel.
Aangezien ook wij met een buggy onderweg waren, is dit ook het tramtype dat wij gebruikt hebben tijdens onze verplaatsingen. Fraai vormgegeven vind ik ze wel, zowel in interieur als langs de buitenzijde.
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At the same crossing but in the opposite direction this new R-Net tram is heading to its endpoint Centrum.
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Den Haag Buitenhof, 03/04/2017
HTM 5027
Lijn 17 Wateringen - Centrum
Kuneho's Jetliner Endpoint Drop-off & Depature on the way to Tarlac Landscape Scene 🍃🌳🐇
Philippine Rabbit Bus Lines, Inc. | 1179 & 1173 | SR Daewoobus BV115 fleet by CMANC/Santarosa Motor Works, Inc. (SRWMI - Philippines)
🕚 Date Taken on April 2022
📍 Photo Shot Location @ Araneta Cubao Bus Station, Quezon City
️ Landmark: Araneta City, Fiesta Park, Alimall, Gateway Mall, Araneta Coliseum, SM Cubao...
#MacBusEnthusiast #BehindTheBusSpottingPhotography #LandscapeSceneMoments #BusesInThePhilippines #BusPhotography #ProudlyPinoyMade #LoveLocals #KoreanStandards #KoreanTechnology #DaewooBus #DaewooBV115 #BV115 #CMANC #Santarosa #SantarosaMotorWorksInc #SRWMI
#PhilippineRabbit #PhilippineRabbitBusLines #PRBL #OurReliabilityRollsOn
GE Job K ALTALT rolls back south towards the GE Plant with UP and BNSF units for the testing run. With the new UP units the test run has been extended to the Valley View siding although many times traffic requires the job to hold for traffic at its former endpoint at Metro Wye. A short day at work before Thanksgiving bought me time to see this train because it now runs earlier than before to arrive back at the plant before dark. This one wasted most of my sunlight by sitting at Metro for far too long. By the time it got on the move, sunlight was almost gone to the ever present evening clouds. I tried to chase it back a ways but with the train rolling at 60 and the horrible traffic lights at Justin, it was no match until the GE spur.
Opening on Amazon:
All people can create value—but for that to happen, we need to develop a people-centered, rather than a task-centered, economy. Today, we are very far from that. According to Gallup, of the five billion people on this planet aged fifteen or older, three billion work in some way. Most of them want full-time jobs, but only 1.3 billion have them. Of these, only 13 percent are fully engaged in their work, giving and receiving its full value. This terrible waste of human capacity and mismanagement of people’s desire to create value for each other is more than just very bad business. It is an insult to ourselves and to all human beings.
CHAPTER 5. Accelerating Towards a Jobless Future:
The Rise of the Machine and the Human Quest for Meaningful Work by Steve Jurvetson and Mo Islam
A New Paradigm
Let’s go far enough in the future where no one will debate the sweeping transition of time. There are infinite possible paths to this distant future, but we can imagine reasonable endpoints. This future will look like much of human history prior to the industrial and agricultural revolutions, where serfs and slaves did most of the labor-intensive work in the city-state economies. But while we hope the arc of the moral universe continues to bend towards justice, there will be a new paradigm in master and slave relationship between man and machine. The slaves of the future will be our machines.
There won’t be many jobs in the sense that we think of them for most people today. Machines will take over mechanically repetitive tasks. Humans will ever only need to do this type of work if they choose to, but they will not provide the most efficient means to complete these tasks. Even highly skilled workers, such as engineers, doctors, and scientists, will have their professions disrupted by automation and artificial intelligence. We will automate engineering, we will automate diagnosis, and we will automate discovery of scientific principles. In this future, where the marginal cost of labor is zero and where companies have reached new bounds of profit maximization, both the microeconomics of individual companies and the macroeconomics of the global economy will be completely upended. Maslow’s hierarchy of needs—food, shelter, health care, education—will be free for everyone forever. We won’t need to work to achieve the basic building blocks of sustainable civilization. The only important human need that will be amplified in this distant future even more than it is now is the desire for meaning.
Humanity’s Compounding Capacity to Compute
First, we will lay a framework for understanding why we believe this is a possible future. We are already on the trajectory to get us there—we have been since the dawn of the industrial age. Humanity’s capacity to compute has been constantly compounding. Incredibly, it can be explained through a simple and elegant model that, at first glance, may seem narrow in its explanatory power, but that tells a much deeper story. That model to describe this macrotrend begins with Moore’s Law. Moore’s Law is commonly reported as a doubling of transistor density every eighteen months. But unless you work for a chip company and focus on fab-yield optimization, you do not care about the transistor counts that Gordon Moore originally wrote about. When recast as a computational capability, Moore’s Law is no longer a transistor-centric metric.
What Moore observed in the belly of the early integrated circuit industry was a derivative metric, a refraction of a longer-term trend, a trend that begs various philosophical questions and predicts mind-bending futures. Ray Kurzweil’s abstraction of Moore’s Law shows computational power on a logarithmic scale and finds a double exponential curve that holds over 110 years! A straight line would represent a geometrically compounding curve of progress.
Figure 1: Ray Kurzweil’s abstraction of Moore’s Law. Each dot is a computer. (older version)
Through five paradigm shifts—such as electromechanical calculators and vacuum tube computers—the computational power that $1,000 buys has doubled every two years. For the past thirty years, it has been doubling every year.
Each dot is the frontier of computational price performance of the day. One machine was used in the 1890 census; one cracked the Nazi Enigma cipher in World War II; one predicted Eisenhower’s win in the 1956 presidential election. Many of them can be seen in the Computer History Museum. Each dot represents a human drama. Prior to Moore’s seminal paper in 1965, which presented what later became known as Moore’s Law, none of them even knew they were on a predictive curve. Each dot represents an attempt to build the best computer with the tools of the day. Of course, we use these computers to make better design software and manufacturing control algorithms. And so the progress continues.
Notice also that the pace of innovation is exogenous to the economy. The Great Depression and the world wars and various recessions do not introduce a meaningful change in the long-term trajectory of Moore’s Law. Certainly, the adoption rates, revenues, profits, and economic fates of the computer companies behind the various dots on the graph may go through wild oscillations, but the long-term trend emerges nevertheless.
In the modern era of accelerating change in the tech industry, it is hard to find even five-year trends with any predictive value, let alone trends that span the centuries. We would go further and assert that this is the most important graph ever conceived, and this is why it is so important as a foundation for understanding the future. We humans, regardless of external factors such as war, disease, and failing economies, have over vast periods of time doubled our capabilities to produce new technologies to propel us forward.
Accelerating Technological Progress
Moore’s law has set the bar for the accelerating pace of computation and innovation. How can we expect it to keep accelerating to get even faster now to the distant future we describe? All new technologies are combinations of technologies that already exist. Innovation does not occur in a vacuum; it is a combination of ideas from before. In any academic field, the advances today are built on a large edifice of history. This is why major innovations tend to be “ripe” and tend to be discovered at nearly the same time by multiple people. The compounding of ideas is the foundation of progress, something that was not so evident to the casual observer before the age of science. Science tuned the process parameters for innovation and became the best method for a culture to learn.
From this conceptual base comes the origin of economic growth and acceleration of technological change, as the combinatorial explosion of possible idea pairings grows exponentially as new ideas come into the mix, as dictated by Reed’s Law. It explains the innovative power of urbanization and networked globalization. And it explains why interdisciplinary ideas are so powerfully disruptive; it is like the differential immunity of epidemiology, whereby islands of cognitive isolation (e.g., academic disciplines) are vulnerable to disruptive memes hopping across them, in much the same way that South America was vulnerable to smallpox from Cortés and the Conquistadors. If disruption is what you seek, cognitive island hopping is good place to start, mining the interstices between academic disciplines.
It is the combinatorial explosion of possible innovation-pairings that creates economic growth, and it is about to go into overdrive. In recent years, we have begun to see the global innovation effects of a new factor: the Internet. People can exchange ideas as never before. Long ago, people were not communicating across continents; ideas were partitioned, and so the success of nations and regions pivoted on their own innovations. Richard Dawkins states that in biology it is genes which really matter, and we as people are just vessels for the conveyance of genes. It is the same with ideas or “memes.” We are the vessels that hold and communicate ideas, and now that pool of ideas percolates on a global basis more rapidly than ever before.
Rise of the Machines
Moore’s Law provides the model for us to understand humanity’s continuous compounding capacity to compute—with that we have accelerating technological progress driven by the combinatorial explosion of new ideas by ever-increasing sub-groups of cognitively diverse people becoming connected. However, the ramifications of this longer-term trend will start to become apparent in the very short term. We believe the greatest disruptor for job displacement caused by this accelerating innovation is the self-driving car.
In five years, it will be clear that the debate about the rise of the autonomous vehicle will have ended. Everyone will realize its ubiquity, especially as the first city pilots with autonomous vehicles begin rolling out. The Google car has already driven over a million miles without causing an accident. Automotive original equipment manufacturers and new companies are investing massive amounts of capital and engineering manpower to get to market with fully (Level 4) autonomous cars. The commercialization path of these self-driving cars, whether through an Uber-like on-demand service or through direct sales to consumers, is less important than the enormous impact they will have on the global job market. Using global employment data from the International Labour Organization (ILO), we find that by 2019, 5.7 percent of global employment will be in the transport, storage, and communication sector (See Figure 2). Moreover, the distribution of employment status data shows us that globally more than 60 percent of all workers lack any kind of employment contract, with most of them engaged in unpaid or family work in the developing world (See Figure 3). We find that, of workers worldwide who have a paid full-time job (excluding temporary workers), almost 20 percent drive as their form of employment today!
And autonomous vehicles are only the tip of the iceberg. As these systems transcend human comprehension, we will shift from traditional engineering to evolutionary algorithms and iterative learning algorithms such as deep learning and machine learning. While these techniques are powerful, the locus of learning shifts from the artifacts themselves to the process that created them. The beauty of compounding iterative algorithms (evolution, fractals, organic growth, art) derives from their irreducibility. And it empowers us to design complex systems that exceed human understanding, which we increasingly need to do at the cutting edge of software engineering. This process presents a plausible path to general artificial intelligence, or what Ray Kurzweil and others refer to as “strong A.I.” Danny Hillis summarizes succinctly in the conclusion from his programming primer The Pattern on the Stone: “We will not engineer an artificial intelligence; rather we will set up the right conditions under which an intelligence can emerge. The greatest achievement of our technology may well be creation of tools that allow us to go beyond engineering—that allow us to create more than we can understand.” Once we build these systems that surpass human understanding and that may even surpass human intelligence, the number of jobs that will be overhauled is unbounded—leading us to a future where no one will have to work.
Figure 2: Employment growth by sector, in which transport is one of the fasting growing.
Figure 3: Distribution of employment status, showing that only 40 percent of people have full-time jobs
Meaningful Work
Moore’s Law will drive human innovation forward and the collective global intelligence will create new forms of super artificial intelligence that can surpass human capabilities. This will completely disrupt our notion of jobs. Work is now the very thing that powers our global economy. But what happens when it no longer has to? Or at least, when most humans are no longer the aggregate primary drivers of global work, how will we find meaning in our lives? This existential phenomenon is one that will completely turn the current debate about the race against the machine on its head: the debate will no longer be about machines taking human jobs but instead about humans needing meaning in their work, even though it may no longer be for employment. The nature of jobs as we think about them today will dramatically change in the future, but humans will retain their thirst for deriving purpose from their actions. This is already becoming a major focus for employers now, as millennials entering the job market are interested in more than just salary, benefits, and job security to satisfy their work expectations. They want to be a part of something larger, to fulfill a mission that can really change the world. As we look to this distant future where employment isn’t necessary for most humans, finding meaning through non-traditional forms of work, whether hobbies, research, or entertainment will become paramount to sustaining a thriving civilization.
" Deciphering trial outcomes can be a tricky business. As if many measures aren't hard enough to make sense of on their own, they are often combined in a complex maneuver called a composite endpoint (CEP) or composite outcome. The composite is treated as a single outcome. And journalists often phrase these outcomes in ways that give the impression that each of the separate components has improved."
Read: Let's Play Outcome Mash-up - A Clinical Trial Shortcut Classic!, Statistically funny, February 8, 2015, by author and cartoonist Hilda Bastian.
Route 66 | Hackberry 04/12/2009 13h10
A place full of Route 66 memorabilia and vintage cars all over the place. The general store has been turned into a Route 66 museum and no gas is sold at the old pumps in front of it. The store is run by John and Kerry Pritchard.
Route 66 Arizona (recommended site)
Route 66
U.S. Route 66 (also known as the Will Rogers Highway after the humorist, and colloquially known as the "Main Street of America" or the "Mother Road") was a highway in the U.S. Highway System. One of the original U.S. highways, Route 66, US Highway 66, was established on November 11, 1926. However, road signs did not go up until the following year.
The famous highway originally ran from Chicago, Illinois, through Missouri, Kansas, Oklahoma, Texas, New Mexico, Arizona, and California, before ending at Los Angeles, encompassing a total of 2,448 miles (3,940 km). It was recognized in popular culture by both a hit song (written by Bobby Troup and performed by the Nat King Cole Trio and The Rolling Stones, among others) and the Route 66 television show in the 1960s. More recently, the 2006 Disney/Pixar film Cars featured U.S. 66.
Route 66 underwent many improvements and realignments over its lifetime, changing its path and overall length. Many of the realignments gave travelers faster or safer routes, or detoured around city congestion. One realignment moved the western endpoint farther west from downtown Los Angeles to Santa Monica.
Route 66 was a major path of the migrants who went west, especially during the Dust Bowl of the 1930s, and supported the economies of the communities through which the road passed. People doing business along the route became prosperous due to the growing popularity of the highway, and those same people later fought to keep the highway alive even with the growing threat of being bypassed by the new Interstate Highway System.
US 66 was officially removed from the United States Highway System on June 27, 1985 after it was decided the route was no longer relevant and had been replaced by the Interstate Highway System. Portions of the road that passed through Illinois, Missouri, New Mexico, and Arizona have been designated a National Scenic Byway of the name "Historic Route 66". It has begun to return to maps in this form. Some portions of the road in southern California have been redesignated "State Route 66", and others bear "Historic Route 66" signs and relevant historic information.
[ Source and more information: Wikipedia - Route 66 ]
(further pictures and information you can see by clicking on the link at the end of page!)
Austrian State Archives (ÖStA)
Austrian authority
Oesterreichisches Staatsarchiv.svg
State level Federation
Position of the authority subordinated agency
Supervisor(s)/organs to the Federal Chancellery
Founded in 1749 as the Secret House Archive (Empress Maria Theresia)
Headquarters Vienna Highway (Landstraße, 3rd district of Vienna)
Board of Directors Univ. Doz Dr. Wolfgang Maderthaner
www.oesta.gv.at site
Central Archives building of the Austrian State Archives in Nottendorfergasse 2 in Vienna 3
The Austrian State Archives (ÖStA) in Vienna is the central archive of the Republic of Austria. It keeps on the basis of the Federal Records Act the archives of the Federation. The tasks of the Austrian State Archives are therein described as follows: capturing, taking over, keeping, obtaining, placing, organizing, making accessible, exploiting and utilisation of archived documents of the Federation for the exploration of the history and present, for other research and science, for the legislation, jurisdiction, administration as well as for legitimate concerns of people.
As far as in the public records monuments are concerned, the Austrian State Archives according to Monument Protection Act in place of the Federal Monuments Office is also responsible for the preservation.
History
The origin of the Austrian State Archives goes back to the year 1749 when Empress Maria Theresa in the course of an administrative reform installed a secret Hausarchiv. The establishment was related to the new, centralized administration, which required a separate archive. For other centers of administration such as Prague, Graz and Innsbruck documents were taken to Vienna.
In the historical analysis is important to note that there have been earlier archives and collections of documents, whose contents were incorporated into the new archive.
In the 19th Century the name House, Court and State Archives became then usual.
1951 there was a scandal because Heinz Grill, archivist in the House, Court and State Archives, had stolen gold and silver bulls over the years and sold to metal dealers ("affair Grill").
The archive departments
The modern Austrian State Archives is divided into several sections:
Archives of the Republic
The in 1983 founded archive of the Republic is the youngest archive department. It is the center of contemporary research in Austria and archival responsible for the evaluation, discarding, taking over and custody, safeguarding, maintenance and overhaul, accessing, compilation and exploitation of those written or typed material supply, which in the Austrian central authorities (all ministries, central federal departments and subordinated offices) have been produced since 1918.
Since the introduction of the electronic file (ELAKimBUND) in the Austrian federal administration (nationwide for all federal agencies since 2004), the Archives of the Republic is also responsible for the implementation of the digital archiving of this written material. Since 2007 it has been actively worked on an appropriate solution for long-term preservation of the "born digital" act. The startup of the digital archive Austria took place in 2012.
General Administration Archive
The General Administration Archives preserves the records of the central authorities responsible for internal administration of the Habsburg Monarchy from 16th Century, over 12,700 running meters, a significant collection of maps and plans, and about 5,000 documents. In its origins, the General Administration Archive goes back to the first-time centralisation of the old registries of the court chancelleries in founding the "Directorium in publicis et cameralibus" in 1749. The archive materials of the General Administrative archive were decimated by the Justice Palace fire in July 1927 considerably.
The public records which are kept in this division are divided into 10 thematic groups (= inventory groups), which for their part again contain files of various central services:
Inventory group Internal Affairs: Chancellery, Ministry of Interior, police authorities, Council of Ministers, rights of the Austrian State of Lower Austria, city expansion fund
Inventory group Justice: Supreme Justice office, Ministry of Justice, prosecutors, Linz Regional Court, Imperial Court, Administrative Court
Inventory group Instruction and Cultus: Studienhofkommission (Imperial Commission on Education), Ministry of Education, Old and New Cultus
Inventory group Commerce: Department of Commerce, Post Office, Ministry of Public Works, Navy Department, Patent Office
Inventory group Agriculture: Ministry of Agriculture, Agricultural Operations, Forestry and Dömänendirektion (Domain Directorate) Vienna, Forest Institute Mariabrunn, teacher Audit Commission, Agricultural Society
Inventory group Transport: United Court Chancellery, General Court Chamber, Ministry of Public Works, Ministry of Trade, Commerce and Public buildings, Ministry of Finance, Ministry of Trade and National Economy, Department of Commerce, the General Inspectorate of the Austrian Railways, Ministry of Railways, Railway Construction Department, State railway administrations, private railway companies
Inventory group Family archives and Estates
Inventory group Nobility: imperial nobility files, Hofadelsakten (Court nobility records), pedigrees
Inventory group Audiovisual Collection: Politics and Public life since 1945, Austrian landscapes and buildings, customs, history, science, technology, medicine, business, art, culture and sport
Inventory group Plan and Posters collection: collection of plans comprised of the following funds: Hofbauamt (Court building authorities), chancellery, General Construction Authority, Lower Austrian Civil Construction Authority, Bausektion (construction section) of the Ministry of the Interior, Bausektion of the Ministry of Commerce, Ministry of Public Works, State Baudirektionen (construction directorates), Waterway Construction Authority, Dikasterialgebäudeverwaltung (dicasterila building administration), Ministry of Agriculture, Ministry of Culture and Teaching, Studienhofkommission (Imperial Commission on Education), Stiftungshofbuchhaltung (Foundation Court Bookkeeping), Ministry of Justice, city expansion fund
War Archive
The beginning of a proper Military Archives in the Habsburg monarchy is to fix in the year 1711, when Emperor Joseph I. ordered the creation of an archivist office with the Hofkriegsrat, the highest central authority for the Habsburg warfare. Already in the first half of the 18th Century, this hofkriegsrätliche (Court's warfare council) archives of the chancelleries has gradually evolved into a kind of military central archives, especially since 1776 through the merger of the hofkriegsrätlichen plan collection with the combat engineer the archives of the chancelleries in reference to cartographic material became to a central contact point. In addition, however, the aim was put on experiences in the past, lessons from former campaigns for the present and future. In view of the above, Emperor Joseph II in 1779 ordered the documentary revision of the campaigns since 1740. This access to the history of war intended Archduke Karl to continue, too, by 1801 disposing the creation of the Imperial War archive. This had according to its founding mission to collect documents and maps, but also scientifically and journalistically to evaluate.
The Imperial and Royal (from 1889 kuk) Kriegsarchiv (war archive) initially consisted of a department of scriptures, a card archive, library and a department of military history works. By the end of the 19th Century the war archive had the bulk of the until then elsewhere stored military documentary material taken on. During the First World War, the war archive had with the assumption of mass documentary material from the front considerably more tasks to carry out, for which the number of staff of the archives substantially had to be increased. After the end of war in 1918 the war archive became a civilian institution, to which after the fall of the monarchy have been given masses of new documentary material from previously independent departments and liquidated offices. During the Second World War, the war archive as Army Archives Vienna was a part of the German Army archive organization under the supreme command of the Wehrmacht. After considerable losses as a result of the war, the War Archives in 1945 became a department of the newly created Austrian State Archives. In the years 1991-1993 moved the since 1905 in the Stiftskaserne (barracks) in the 7th District of Vienna housed war archive to the Central Archives building in Vienna III.
The war archive contains about 180,000 document cartons and 60,000 account books on 50 shelf kilometers and is by far the most important military archives in Central Europe. Its map collection with over 600,000 maps and plans is the largest in Austria. There is also a collection of about 400,000 images. The former library of the war archive is one of the most extensive collections of older military historical literature .
The in 22 inventory groups aggregated inventories of the Kriegsarchiv, in their structure these two fundamentally different archiving traditions are reflected to this day, can be broadly divided into five major blocks:
Personnel files of officers, petty officers, crews and officials of the armed forces of about 1740 to 1918; reward acts (1789-1958), so documents on military awards, which the archives of the Military Maria Theresa Order is attached.
Feldakten (combat files) with material on the operations of the imperial or kk Field armies from 16th Century to 1882 (Old Field records and Army files) as well as on 1914-1918 (Army High Command, New field files - Neue Feldakten).
Most High command, main, subordinate and territorial authorities. This group brings together the recordings of major institutions in the entourage of the emperor (especially of the Military Chancellery, the Generaladjutantur (general adjutancy) and the General Staff), the central military services (Hofkriegsrat (Court War Council) 1557-1848, War Office 1848-1918, Ministry of National Defence from 1868 to 1918) and a number of other authorities, institutions and territorial command posts such as the disability Office, the Apostolic field Vicariate, the supreme combat engineer and artillery authorities, the military educational institutions, the military invalids houses and single General and Military command posts in the countries.
Navy and Luftfahrtruppe (air force troup (19th - 20th century)
Collections, which include in particular the maps and plan collection, image collection, the manuscripts and a very important collection of military scripture estates.
The war archive is now a "historical archive". The here kept official written or printed material essentially ends with the collapse of the Austro-Hungarian Empire at the end of the First World War (1918). The collections of the Kriegsarchiv (war archive) on the other hand constantly increase.
Financial and Hofkammerarchiv [ Edit]
The financial and Hofkammerarchiv (Court Chamber archive) arose when in 1945 the previously separately kept inventories of the Hofkammerarchiv and financial archives were merged. The Court Chamber, founded in 1527 was the central financial authority of the Habsburg monarchy. 1848 took over the newly founded Treasury its duties. The archive contains financial records that are especially important for historians. In historical Archive building in the Johannesgasse the Directorate room of Franz Grillparzer is still preserved, working there from 1832 to 1856 as director. With 1st December 2006, the Department of Finance and Court Chamber archive was incorporated into the General Administration Archive. The bulk of the archival material was moved into the central archive building in the Nottendorfergasse.
House, Court and State Archives
The House, Court and State Archives in Minoritenplatz
Board on State Archives
The House, Court and State Archives, Minoritenplatz 1, 1749 by Maria Theresa (1740-1780) was established as a central archive of the Habsburg dynasty. By creating a well-ordered document repository unifiying the hitherto over several sites scattered important House and state documents in Vienna, it should be ensured that the legal titles and rulers' rights of the dynasty in the future were quickly available when required.
Of the today in 11 inventory groups organised inventories of the House, Court and State Archives the following topics have been given priority:
the history of the Habsburg dynasty
the activities of the supreme Court offices and the Imperial Cabinet
Diplomacy and foreign policy of the Danube monarchy
highest Administration and Jurisdiction in the Holy Roman Empire of the German Nation whose imperial dignity the Habsburgs held for centuries almost without interruption until the dissolution of the National Association in 1806.
Worthy of mention furthermore in the House, Court and State Archives deposited ruler and family archives, estates, a manuscript collection, a collection of seal and stamp imprints as well as a plan and map collection.
Showpiece under the "Collections" of the archive department is but unquestionably the document collection formed from different provenances.
Overall, stores the in a 1899-1902 built landmarked Archive functional building at Vienna's Minoritenplatz housed House, Court and State Archives on 16,000 running meters, 130,000 accounting records and document cartons, 75,000 documents, 15,000 maps and plans, and about 3000 manuscripts.
The oldest piece is a document that Emperor Louis the Pious issued in the year 816. The chronological endpoint sets the year 1918. The House, Court and State Archives is among the "historical" departments of the Austrian State Archives, who do no longer grow by receiving documentary material deliveries from the Austrian federal ministries.
The great importance of the House, Court and State Archives for international research is based on the wide geographical catchment area and the variety of its collection. Due to the territorial expansion of the Habsburg rule from the 15th Century and the literally global relations of the dynasty, the here stored archival material encompasses practically all continents.
In addition to the "classical" access of diplomatic and political history, the archive also offers a social and cultural history oriented research rich material.
Restoration workshop
The restoration workshop of the ÖStA belongs alongside those of the National Library and the Federal Monuments Office to the most important restoration facilities for paper, parchment, sealing and bookbindery in Austria.
Significant archivists
Ludwig Bittner (1877-1945), archivist 1904-45
Anna Coreth (1915-2008), Director of the House, Court and State Archives
Walter Goldinger (1910-1990), Director-General in 1973
Lothar Gross (1887-1944), director of the House, Court and State Archives
Joseph Knechtl (1771-1838), archivist 1806-1834, 1834-1838 Director
Hanns Leo Mikoletzky (1907-1978), Director-General 1968-72
Lorenz Mikoletzky (* 1945), Director-General from 1994 to 2011
Rudolf Neck
Kurt Peball (1928-2009), Director-General 1983-89
Gebhard Rath (1902-1979), Director-General 1956-68
Leo Santifaller (1890-1974), Director-General 1945-54
Erika Weinzierl (* 1925), archivist at the House, Court and State Archives 1948-64
Publications
The Austrian State Archives publishes the periodical Communications of the Austrian State Archives (Mösta) appearing in annual volumes since 1948. In addition, archive inventories, supplementary volumes to the communications and exhibition catalogs are published.
Dam Square lies in the historical center of Amsterdam, approximately 750 meters south of the main transportation hub, Centraal Station. It is roughly rectangular in shape, stretching about 200 meters from west to east and about 100 meters from north to south. It links the streets Damrak and Rokin, which run along the original course of the Amstel River from Centraal Station to Muntplein (Mint Square) and Munttoren. The Dam also marks the endpoint of other well-traveled streets, Nieuwendijk, Kalverstraat and Damstraat. A short distance beyond the northeast corner lies the main red-light district, de Wallen.
The station of Villefranche-Vernet-les-Bains (in days gone by, its name was even longer: Villefranche-Vernet-les-Bains-Fuilla) is the eastern terminus of the Train Jaune de Cerdagne and the western endpoint of the normal-gauge tracks from Perpignan. After arriving with the "Canari", guests can continue their journey in a Z2 class EMU like this one, Z 7365 in the elegant Languedoc-Roussillon livery. As TER 77660, it will leave Villefranche at 5:43PM, arriving in Perpignan at 6:31PM. The trip, as do certain others in the Languedoc-Roussillon region, costs 1 euro... Villefranche-Vernet-les-Bains, 22-07-2013.
Dagupan Bedbug reached to the endpoint.
Pangasinan Solid North Transit, Inc. | 1605 | Yutong ZK6107HA fleet by Zhengzhou Yutong Bus Co., Ltd. (China)
🚏 Original / Authorized Franchise Route: Cubao (Quezon City) - Dagupan (Pangasinan)
🕚 Date Taken on April 10, 2022 • 2:46 PM
📍 Photo Shot Location @ Denver St. cor. Maryland St., Cubao, Quezon City
#MacBusEnthusiast #BehindTheBusSpottingPhotography @macbusenthusiastph
#BusPhotography #PangasinanSolidNorthTransitInc #PSNTI
Mangled Mushrooms.
This is part of project inspired by Sliders Sunday which starts with the same image (I'll link it below) and sees what sorts of different endpoints I can get to.
This is one of my more favourite endpoints though you need to see it at size to appreciate it I think. Perhaps it's because it's a more painterly effect (are pencil drawings painterly?).
This was created using Topaz Impression starting with the Da Vinci Sketch Preset and quite a lot of tweaking. The paper texture was concrete (!).
Well I hope you enjoy it, or at least some of the series. Thanks very much for your patience with my foolery and of course for your visit!
slideshow | DT | WADM | 365 dagen project
#157/365 - Balijbrug
Standaardkiekje van de Balijbrug. Ik kon niet echt iets anders bedenken om te fotograferen vandaag. Een motivatieloze dag, dat kan ook weleens gebeuren. Om mezelf wat op te beuren tel ik alvast af naar het eindpunt, nog maar 208 dagen te gaan :-)
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Standard Snapshot of the Balijbrug. I could not really think of anything else to photograph today. No motivation today, which can happen sometimes. To cheer myself up I count down to the endpoint, only 208 days to go :-)
Coming up to our endpoint for today. Mt Lipsett summit was still another km to go. We got this summit once before in June 2015.
Mangled Mushrooms.
This is part of project inspired by Sliders Sunday which starts with the same image (I'll link it below) and sees what sorts of different endpoints I can get to.
This one reminded me of phosphorescence in the ocean night and is one of the most abstract endpoints. On a good day I think you could approach this not knowing its provenance and wonder what it was.
This was created using Topaz Glow starting with the Infusion Preset and little tweaking. I have discovered with glow that the filter works best if you have an original image with repeated shapes and contrasty borders (at least if you are going for some of the more abstract effects) which is what we have here. Basically you need to start in the right place otherwise it looks a mess... well more of a mess anyway lol
Well I hope you enjoy it, or at least some of the series. Thanks very much for your patience with my foolery and of course for your visit!