View allAll Photos Tagged entry
This is one of my entries to the Abduzeedo and MediaMilitia contest hosted at abduzeedo.com/frontpage
Check out the tutorial I wrote for it: 10steps.sg/photoshop/create-smoke-effect-on-grungy-wallpa...
"[Mrs. Everdee] is wearing her everyday work clothes, (sorta) and still is trying to look good as she works all day with her hair in a bun, black white, and gray faded shirt with a tan skirt, apron splattered with water, and flat black shoes."
Entry in category 1. Object of study; Copyright CC-BY-NC-ND: Melanie Boehi
I study plants as historical witnesses. In December 2022, I was doing some follow-up research for my forthcoming book about a South African botanical garden at Kew, the Royal Botanic Gardens in London. The plant on the picture is an Eastern Cape giant cycad (Encephalartos altensteinii). Francis Masson had collected and sent it to England in 1775. It has been growing at Kew since the botanical garden was established, and some people think that it is the world's oldest pot plant. I am interested in the plant as a historical witness: before its encounter with Masson, it was integrated into a social world of people, plants and spirits which was violently interrupted by colonialism. It survived a strenuous sea voyage to Europe. At Kew, it became a celebrated object representing the British Empire's territory. With recent developments to critically revisit colonial history, its meaning likely will change once more. I spent a few hours sitting with the plant, taking it all in.
Edited Hubble Space Telescope image of the galaxy NGC 4424.
Original caption: Some astronomical objects have endearing or quirky nicknames, inspired by mythology or their own appearance. Take, for example, the constellation of Orion (The Hunter), the Sombrero Galaxy, the Horsehead Nebula, or even the Milky Way. However, the vast majority of cosmic objects appear in astronomical catalogues, and are given rather less poetic names based on the order of their discovery. Two galaxies are clearly visible in this Hubble image, the larger of which is NGC 4424. This galaxy is catalogued in the New General Catalogue of Nebulae and lusters of Stars (NGC), which was compiled in 1888. The NGC is one of the largest astronomical catalogues, which is why so many Hubble Pictures of the Week feature NGC objects. In total there are 7840 entries in the catalogue and they are also generally the larger, brighter, and more eye-catching objects in the night sky, and hence the ones more easily spotted by early stargazers. The smaller, flatter, bright galaxy sitting just below NGC 4424 is named LEDA 213994. The Lyon-Meudon Extragalactic Database (LEDA) is far more modern than the NGC. Created in 1983 at the Lyon Observatory it contains millions of objects. However, many NGC objects still go by their initial names simply because they were christened within the NGC first. No astronomer can resist a good acronym, and “LEDA” is more appealing than “the LMED”, perhaps thanks to the old astronomical affinity with mythology when it comes to naming things: Leda was a princess in Ancient Greek mythology.
Los Angeles County Museum of Art
Entry Way from Wilshire Boulevard
Installation 'Urban Light' by 'Chris Burden' (2008)
P1140056
24/52 Fonts and Text
I was at an international Futsal competition today and got this stamped on the back of my hand to show I had a ticket. First time I've seen Futsal, it was good. Fast paced 5 a side football with different rules to normal football and very reliant on footwork, passing skill and speed. Thought it fits nicely with the theme for this week.
The hallway there (heading left off the picture) is 10' - the entry is 12'. Am I the only one that sees how it's framed to come down to 9' before going up to 12' ? Maybe I just see things the builder doesn't...
Digitised image from the Town Hall Photographer's Collection - GB127.M850.
The Town Hall Photographer’s Collection is a large photographic collection held in Manchester City Council’s Central Library archives, ranging in date from 1956 to 2007.
The collection consists of tens of thousands of images, covering the varied areas of work of Manchester Corporation and latterly, Manchester City Council.
The photographs were taken by staff photographers, who were tasked to document the work of Corporation/Council departments and, in doing so, captured many aspects of Manchester life and history, including significant changes to the Manchester landscape.
The collection includes many different formats from glass negatives, to slides, prints, CDs and even a couple of cine films.
What is especially exciting is that the majority of these images have never before been available in a digital format and therefore have only ever been seen by a handful of people.
A team of dedicated Staff and Volunteers are currently working on the systematic digitisation of the negatives held within the collection.
This album represents the result of their work to date.
Music in the Nazi state
Waltz for Nazis
The Vienna and Berlin Philharmonic served the Nazi state as well as the rival musicians could.
By Fritz Trümpi
In return, the renowned orchestra performed the main work of the musical representation of the Nazi state. In order to be able to continue this work in wartime without compromise, Goebbels gave the musicians the status of being indispensable until the end of the war, thus, he prevented them collectively from the entry into the Wehrmacht.
With the beginning of the war, travel activity of the Berlin ones increased rapidly. Between 1940 and 1944, the number of foreign concerts was up to three times as high as in pre-war times. Depending on the occasion, the orchestra provided the backing music for the German cannon thunder in the conquered territories, or appeased it in neutral states with its shawm sounds.
The Viennese were the tour monopoly of their Berlin colleagues a thorn in the eye. "If the Berliner Philharmoniker had left, the Propaganda Ministry would have paid for it, but we should pay for it ourselves," notes the protocol in April 1943, three months after the catastrophe of Stalingrad, when it came to financing a concert tour to Sweden.
As a rule, the budget was missing for long trips. Gauleiter Schirach did not have the financial means of Goebbels. Nevertheless, he protected his Philharmonic on the model of the Propaganda Minister. He also obtained an indispensable position for the orchestra until the end of the war. For the 100th birthday of the orchestra, without further he had renamed a part of the Vienna Augustinians street into Philharmoniker street. During the philharmonic's jubilee concerts, all other orchestral events were banned. The musicians thanked him by awarding the protector the honorary ring of the orchestra or striking up free of charge at Schirach's private receptions.
The different instrumentalization of the two rival orchestras can be explained by their different political references: here the Viennese are dealing privately with the highest Nazi representative in Vienna, there the interdependence between the Berliners and the minister responsible for propaganda across the Reich. This was accompanied by differences in the music-aesthetic attributions. Wilhelm Furtwängler, the central figure in both orchestras, stressed in 1942 on the occasion of the 100th anniversary of the Vienna Philharmonic: »The reason for your exceptional position is that the Philharmonic Orchestra is exclusively a Vienna orchestra.«
In Berlin, on the other hand, you do not make music in Berlin style, but »German«, according to Furtwängler. Wilhelm Jerger, who was then head of the orchestra, also saw the specific sound of the Vienna Philharmonic rooted on the Danube: "It is an outgrowth of Vienna, of old ground surface, whose musicality is proverbial!" In contrast, the influential Berlin music writer Oswald Schrenk put the Berliner Philharmoniker in 1943 expressly in the context of the state: they were the "most important musical bearers of culture in the Greater German Reich" and had rendered "immeasurable services to the German cause".
However, the politicization of the Vienna and Berlin Philharmonic in National Socialism have similarities. The high proportion of NSDAP members in both orchestras shows great loyalty to the regime. Especially among the Viennese, the proportion was exorbitantly high: Counting the memberships in affiliated organizations, party members accounted for 47 percent almost half of the entire orchestra staff. 25 musicians, just under a quarter, were also so-called illegals, who had been loyal to the Nazis during the ban of the NSDAP in the Corporate state. In contrast, the proportion of the Berliner Philharmoniker with about 20 percent of NSDAP members was significantly lower.
However, the most momentous aspect of their politicization in both orchestras is the exclusion of Jewish orchestra members. To prevent the orchestra from collapsing, the authorities occasionally resorted to special authorizations for both orchestras that were issued to musicians if they were only partially of Jewish origin or married to Jewish women. For the orchestra members of Jewish origin, however, there was no room left in both orchestras. The four Jewish members of the Berliner Philharmoniker had to leave the orchestra until the season of 1935/36 and were forced to emigrate - but the Berlin management revealed at least a delaying tactic in enforcing the exclusions.
By contrast, 15 orchestral musicians were expelled from the ranks of the Vienna Philharmonic in 1938, largely for "racial" reasons, but in a few cases also because of their political past. The Jewish members of the Vienna Philharmonic were only partially able to escape: seven were murdered in the concentration camps or died on arrest or deportation. After hints at a sympathy for the fate of the Jewish colleagues, let alone at rescue attempts on the part of the orchestra, one searches however in vain in the log books of the Vienna Philharmonic.
The author was born in Switzerland and lives as a historian and journalist in Vienna. This week his study "Politicized Orchestras. The Vienna Philharmonic and the Berlin Philharmonic Orchestra under National Socialism. "(376 pages, 39 euros) by Böhlau-Verlag.
Musik im NS-Staat
Walzer für Nazis
Die Wiener und die Berliner Philharmoniker dienten dem NS-Staat, so gut es die rivalisierenden Musiker jeweils konnten.
Von Fritz Trümpi
Im Gegenzug leistete das Renommierorchester die Hauptarbeit der musikalischen Außenrepräsentation des NS-Staates. Um diese Arbeit auch in Kriegszeiten ohne Abstriche weiterführen zu können, bewahrte Goebbels die Musiker mittels Unabkömmlichstellung bis Kriegsende kollektiv vor dem Einzug in die Wehrmacht.
Mit Kriegsbeginn nahm die Reisetätigkeit der Berliner rasant zu. Zwischen 1940 und 1944 war die Zahl der Auslandskonzerte bis zu dreimal so hoch wie in Vorkriegszeiten. Das Orchester lieferte je nach Anlass die Begleitmusik zum deutschen Kanonendonner in den eroberten Gebieten oder es beschwichtigte in neutralen Staaten mit seinen Schalmeienklängen.
Den Wienern war das Tournee-Monopol ihrer Berliner Kollegen ein Dorn im Auge. »Wären die Berliner Philharmoniker gefahren, hätte es das Propagandaministerium gezahlt, wir sollen es aber selber zahlen«, vermerkt etwa das Protokoll im April 1943, drei Monate nach der Katastrophe von Stalingrad, als es darum ging, einen Finanzier für eine Konzertreise nach Schweden zu finden.
In der Regel fehlte für ausgedehnte Reisen das Budget. Gauleiter Schirach verfügte nicht über die finanziellen Mittel von Goebbels. Dennoch beschützte er seine Philharmoniker nach dem Vorbild des Propagandaministers. Er erlangte für das Orchester ebenfalls eine bis Kriegsende geltende Unabkömmlichstellung. Zum 100. Geburtstag des Orchesters ließ er kurzerhand einen Teil der Wiener Augustinerstraße in Philharmonikerstraße umbenennen. Während der Jubiläumskonzerte der Philharmoniker waren alle anderen Orchesterveranstaltungen verboten. Die Musiker dankten es ihm, indem sie ihrem Protektor den Ehrenring des Orchesters verliehen oder auf Schirachs privaten Empfängen unentgeltlich aufspielten.
Die unterschiedliche Instrumentalisierung der beiden rivalisierenden Orchester erklärt sich aus ihren unterschiedlichen politischen Referenzen: hier der private Umgang der Wiener mit dem höchsten NS-Repräsentanten in Wien, dort das gegenseitige Abhängigkeitsverhältnis zwischen den Berlinern und dem für die reichsweite Propaganda zuständigen Minister. Damit gingen auch Unterschiede in den musikästhetischen Zuschreibungen einher. Wilhelm Furtwängler, dirigierende Zentralgestalt beider Orchester, betonte 1942 anlässlich des 100-jährigen Jubiläums der Wiener Philharmoniker: »Den Grund zu Ihrer Ausnahmestellung sehe ich darin, dass die Philharmoniker ausschließlich ein Wiener Orchester sind.«
In Berlin hingegen musiziere man nicht berlinerisch, sondern »deutsch«, so Furtwängler. Auch der damalige Orchestervorstand Wilhelm Jerger sah den spezifischen Klang der Wiener Philharmoniker an der Donau verwurzelt: »Es ist ein Herauswachsen aus dem Boden Wiens, aus altem Erbboden, dessen Musikalität ja sprichwörtlich ist!« Demgegenüber stellte der einflussreiche Berliner Musikschriftsteller Oswald Schrenk die Berliner Philharmoniker 1943 ausdrücklich in den Kontext des Staates: Sie seien die »bedeutendsten musikalischen Kulturträger des Großdeutschen Reiches« und hätten »der deutschen Sache unermessliche Dienste« geleistet.
Die Politisierung der Wiener und Berliner Philharmoniker im Nationalsozialismus weisen jedoch Gemeinsamkeiten auf. An dem hohen Anteil an NSDAP-Mitgliedern lässt sich bei beiden Orchestern große Loyalität mit dem Regime ablesen. Vor allem bei den Wienern war der Anteil exorbitant hoch: Zählt man die Mitgliedschaften bei parteinahen Organisationen dazu, machten Parteiangehörige mit 47 Prozent fast die Hälfte des gesamten Orchesterpersonals aus. 25 Musiker, ein knappes Viertel, waren überdies sogenannte Illegale, die den Nazis schon während des Verbots der NSDAP im Ständestaat die Treue gehalten hatten. Demgegenüber war der Anteil bei den Berliner Philharmonikern mit rund 20 Prozent NSDAP-Mitgliedern deutlich geringer.
Der folgenschwerste Aspekt ihrer Politisierung liegt bei beiden Orchestern jedoch in den Ausschlüssen der jüdischen Orchestermitglieder. Um ein Kollabieren des Orchesterbetriebs zu verhindern, griffen die Behörden mitunter zwar bei beiden Orchestern auf Sondergenehmigungen zurück, die Musikern ausgestellt wurden, wenn sie nur teilweise jüdischer Herkunft oder aber mit jüdischen Frauen verheiratet waren. Für die Orchestermitglieder jüdischer Herkunft gab es jedoch in beiden Orchestern keinen Platz mehr. Bei den Berliner Philharmonikern mussten die vier jüdischen Mitglieder das Orchester bis zur Spielzeit 1935/36 verlassen und wurden in die Emigration gezwungen – doch die Geschäftsführung der Berliner ließ bei der Durchsetzung der Ausschlüsse zumindest eine Verzögerungstaktik erkennen.
Aus den Reihen der Wiener Philharmoniker wurden 1938 hingegen gleich 15 Orchestermusiker vertrieben, großteils aus »rassischen« Gründen, in wenigen Fällen aber auch aufgrund ihrer politischen Vergangenheit. Die Flucht gelang den jüdischen Mitgliedern der Wiener Philharmoniker nur teilweise: Sieben wurden in den Konzentrationslagern ermordet oder starben bei Verhaftung oder Deportation. Nach Hinweisen auf eine Anteilnahme am Schicksal der jüdischen Kollegen, geschweige denn auf Rettungsversuche seitens des Orchesters, sucht man in den Protokollbüchern der Wiener Philharmoniker allerdings vergeblich.
Der Autor wurde in der Schweiz geboren und lebt als Historiker und Journalist in Wien. Diese Woche erscheint seine Studie «Politisierte Orchester. Die Wiener Philharmoniker und das Berliner Philharmonische Orchester im Nationalsozialismus.« (376 Seiten, 39 Euro) im Böhlau-Verlag.
Last batch of uploads now. Meant to do all these a while ago, and they just sorta...piled up. Entry for forced perspective contest over at LCN, I'll add it when I write the backstory.
EDIT: Backstory added.
Log entry.//< 1354.
0200 hours, 3rd may, 2555.
Cpl Alex Davidson.-/::/
"My squad was dropped over the Covenant installation yesterday. We were test subjects for some new ONI prototype armour, meant for snipers. Comfortin' to know your life's in the hands of untested equipment, ain't it? Anyway, we had to blow the installation. Seems like a tall order for one squad, but we are ODSTS. Sergeant Hall spread us out along the ridge, assigning each of us a target to detonate in sync. As I lined my scope up on my target, some kind of fuel battery, I think, I began to get scared. Who wouldn't? It was just ten of us, versus a whole installation of Covenant! Pushing such thoughts out of my head, I tried to steady my breathing. Now, the target was all that mattered."
.-/<
End Log:
-/../
Folleto de venta de IBM Argentina para sistemas AS/Entry y Model Y10 (principios de los '90). Estas computadoras eran una transición entre AS/360 y AS/400 (un AS/400 con menos cosas).
Mas info: en.wikipedia.org/wiki/IBM_System/36#The_AS.2FEntry_.28940...