View allAll Photos Tagged exploit
Exploitant : Keolis Versailles
Réseau : Phébus
Ligne : R
Lieu : Gare de Versailles – Chantiers (Versailles, F-78)
Exploitant : Transdev TVO
Réseau : R'Bus (Argenteuil)
Ligne : 8
Lieu : Gare d'Argenteuil (Argenteuil, F-95)
Lien TC Infos : tc-infos.fr/id/27679
Exploitant : RATP
Réseau : RATP
Ligne : 341
Lieu : Charles de Gaulle – Étoile (Paris 8ème, F-75)
Lien TC Infos : tc-infos.fr/id/31427
U.S. Senator Claire McCaskill, the top Democrat on the Senate Aging Committee, used a hearing today to examine the financial exploitation of seniors and the difficulty of prosecuting family members who exploit and defraud their elderly family members.
Some various photos around Santa Rosa, CA., and the railroad depot here. This shows what was, and what is thanks to S.M.A.R.T. and the new construction.
©FranksRails Photography, LLC.
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***** Selected for sale in the GETTY IMAGES COLLECTION on April 11th 2015
CREATIVE RF gty.im/547669387 MOMENT OPEN COLLECTION**
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Photograph taken at an altitude of Seven metres, prior to the magic prior to the Golden hour around sunrise at 05:09am, (sunrise was at precisely 06.15am) on Saturday 6th September 2014 off the Patricia Bay Highway 17, on Lochside Drive close to Frost Avenue and the Lochside Waterfront Park, in beautiful Sidney by the sea on Vancouver Island, British Columbia, Canada.
Here, I am standing beside the wooden decked viewing platform, looking over from beautiful Sidney by the sea on Vancouver Island, British Columbia, Canada.
The Great Blue Heron (Ardea Herodias) is a wading bird in the Heron family Ardeidae and found in North America, Central Ameria, the Caribean and Galapagos Islands. One of the largest of Herons, it has a head to tail length of 01-137 centimtres (36-54 inches) and a wingspan of 187-201 centimtres (66-79 inches). They are found where my family live, and naturally very wary of mankind, flying off as soon as you are within fifty to one hundred yards of them.
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Nikon D800 200mm 1/15s f/2.8 iso100 RAW (14 bit) Manual focus. Manual exposure. Matrix metering. Auto white balance.
Nikkor AF-S 70-200mm f/2.8G ED IF VRII. Jessops 77mm UV filter. Nikon MB-D12 battery grip. Two Nikon EN-EL batteries. Nikon DK-17M Magnifying Eyepiece. Nikon DK-19 soft rubber eyecup. Manfrotto MT057C3 057 Carbon Fiber Tripod 3 Sections (Payload 18kgs). Manfrotto MH057M0-RC4 057 Magnesium Ball Head with RC4 Quick Release (Payload 15kgs). Manfrotto quick release plate 410PL-14.Jessops Tripod bag. Optech Tripod Strap.Digi-Chip 64GB Class 10 UHS-1 SDXC. Lowepro Transporter camera strap. Lowepro Vertex 200 AW camera bag. Nikon MC-DC2 remote shutter release. Nikon GP-1 GPS unit.
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LATITUDE: N 48d 38m 16.26s
LONGITUDE: W 123d 24m 12.34s
ALTITUDE: 7.0m
RAW (TIFF) FILE SIZE: 103.00MB
PROCESSED (JPeg) SIZE: 12.75MB
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PROCESSING POWER:
HP 110-352na Desktop PC with AMD Quad-Core A6-5200 APU processor. AMD Radeon HD8400 graphics. 8 GB DDR3 Memory with 1TB SATA storage. 64-bit Windows 8.1. Verbatim USB 2.0 1TB desktop hard drive. WD My Passport Ultra 1tb USB3 Portable hard drive. Nikon VIEWNX2 Version 2.10.3 64bit. Adobe photoshop Elements 8 Version 8.0 64bit
The National Center for Missing & Exploited Children (NCMEC) honors its 2022 “Heroes” who have gone above and beyond to help protect the nation’s most valuable resource – children. The event was hosted at the Arlington, VA headquarters of Lockheed Martin. Reginald Saunders /NCMEC
IT WAS A FUN APRIL 1ST at the SAINT STUPID DAY'S PARADE in SAN FRANCISCO. There is no other event in the world where folks gather to HAVE FUN and poke fun at the embedded horrid capitalist exploitation of the world.
Everyone came in costume...ADDA came as a REPUBLICAN BURNING IN HELL (which we all know in our deepest of hearts is where all REPUBLICANS and RIGHT WING A-0's will end up) ! i shouted MERRY CHRISTMAS to all the business people in the Financial District who stopped and stared in utter confusion.
Everyone gathered at the EMBARCADERO then proceeded to the WORKERS STATUE. There in honor of CLOWNS WITHOUT BOARDERS they put a 'red clown nose' on one of the statues! ADDA DADA got the crowd cheering 'HERO' for the guy who put the nose on the statue.
then to the PACIFIC STOCK EXCHANGE for the wonderful spoof...SOCK EXCHANGE...everyone exchanged socks & then tossed them in the air! One of ADDA DADA's Christmas SANTAs socks were found and declared a SAINT STUPID HOLY RELIC! (you so know i loved that)
Onward we went to the BANKER's HEART...the big, black marble rock in front of BANK OF AMERICA...where everyone tossed their loose pennies at the banker's black greedy heart! (This is just like the muslims in Mecca who toss rocks at the black stone which represents the devil..)
There was tons of good fun, great signs, good vibes, political statements, and incredible costumes
Good luck that the videos go on JIMMY KIMMEL LIVE tonight
Lumen 2° edizione | Urban Factory
SALERNO
DAL 13 AL 29 MAGGIO
EX FABBRICA SALID
PARCO DELL'IRNO.
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> Link del regolamento e per iscriversi al contest:
www.ziguline.com/2011/03/18/news-lumen-2-lancia-un-nuovo-...
Exploitant : Transdev STRAV
Réseau : Marne et Seine
Ligne : K
Lieu : Créteil – Préfecture du Val-de-Marne (Créteil, F-94)
Lien TC Infos : tc-infos.fr/id/27142
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Gallantry Medal for Sexual Torture Moral Policing and 'Victim Blaming' for Rape Women's Work-Exploited and Unpaid "Disappearing" Girl Child .
Mary E. John .
Noted Scholar Of Gender Studtes .
All India Progrssive Women's Association(AIPWA).
Sentor Fellow and 01rector, .
----Centre for Women m Developmg Societies (CWDS) -13Feb. T11DIUht Kovna Mess 9.00Dm1-.
Public Meeting The ''llaUon"and Its WIIIIII: --Globalisation, Violence and Discrimination .
speakers .
Kavita Krishnan .
Former Jt Secy., JNUSU .
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The 'Nation' and Its Women .
The Indian Government, led by the UPA in Its second term, makes tall claims that two decades of liberalization have 'empowered' women. And as always, images of women are crafted to represent 'Resurgent India' in times of globalization -a woman Speaker, a woman President. a woman leader of the ruling party, smiling village women and girls in sarkari .
ads of social welfare schemes. . .
What lies behind these images of 'empowerment'? .
Let us look at some recent snapshots-social economic, and political: .
~ The latest census f1gures show that the number of girls in the 0-6 age-group has fallen to the lowest since Independence-a mere 914 girls for every.
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1000 boys._MI .
)> The Global Gender Gap Report 2011 shows that when it comes to women's health and survival, India's performance is at rock-bottom (at 134th place among 135 countries). India has one of the worst matemal mortality rates in the world. .
)> Incidents of rape in the country have increased by 791 %since 1971 , whereas murder increased by just 240%, and robbery by 178%. .
,. This Republic Day, Ankit Garg, the Chhattisgarh police officer responsible for the custodial rape and sexual torture of Soni Sori (the tribal school teacher from Chattisgarh), is among those who received a 'gallantry' award !!I .
~ According to India's Census survey, women involved with tlcooking, cleaning of utensils, looking after children, fetching water, collecting firewood" are categorised as unproductive "non-workers'1! .
118 .
~ The Global Gender Gap 2011 ranks India at 131 8 t place among 134 countries, on the question of women's 'economic participation and opportunity.' Only 35% of VvOmen in the country above the age of 15 participate in economic activity (i.e either work or seek work), compared to 85% of men. .
,. Whereas women aged 15 and above comprise only 27% of all employed persons in the country, girl children constitute 42% of all child labour in the country! .
~ The poore$t women have the most insecure and casualised jobs. Among the poorest 20% of urban women workers, 53% are employed with private households as maid servants, cooks, etc, and 91% of jobs are based on verbal contract. Whereas among the richest (top 20%) of urban women workers, 48% have jobsin the governmenUpublic sector and 13% in large private companies..
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' Shivani, Vice-President, AISA, JNU.
--Women are paid less than men for the same .
work-at all levels of employment. A note issued .
by the Government in 201 0 gave the details of NSSO .
findings for 2007-08. According to these findings, the .
average wage rate for regular wage/ salaried .
employees in rural areas was Rs 175.30 for males .
and Rs. 108 14 for females; and in the urban areas, .
the wage rate for males was Rs. 276.04 against Rs. .
212 86 for females. .
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Let's also look at how people in responsible posts view violence on women and women's rights: .
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Dinesh Reddy, the DGP of Andhra Pradesh, in a widely .
televised statement recently, blamed the rise in rape .
cases on women wearing 'fashionable' clothes. .
Reddy's remarks were justified by Kamataka's Women .
s;md Child Welfare Minister C C Patil, and even by the .
head of the committee against sexual harassment in .
Bangalore University, KK Seethamma! .
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The Indian Air Force Vice Chief recently described .
women fighter pilots as a 'bad investment' because .
they m1ght take maternity leave. .
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Similarly, an Army Vice Chief said that appointing .
women as army officerswas undesirable because male .
jawans could not be expected to take orders from a .
'NOman! .
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Congress leaders m Haryana have openly defended .
khap panchayats. Recently, following an incident where .
an upper caste mob stripped and beat up a dalitvvoman .
whose son married a girl from their community, a .
Maharashtra Minister from the NCP said, "The outburst .
of the girl's family was natural." .
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What do we make of the above facts? .
~ Why are violence on women and 'honour crimes rising .
alarmingly? .
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~ Why does sexual violence as a tool ofstate repression, .
and communal and caste violence, go unpunished, .
and even rewarded with political power and awards .
on occasions? .
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~ How can we fight son preference and sex-selective .
abortions? .
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);.> Have globalization and liberalized state policies truly .
'empowered' women? .
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)-How does the corporations and markets, driven by .
profits, see women? .
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To discuss these issues, we invite you to a public meetingTonighton .
"The Nation and Its Women: Globalisation, Violence, and .
Discrimination". Speakers include Prof. Mary John of CWDS (who .
will a/so make a power-point presentation on India's ''Vanishing" .
Girls) and Kavita Krishnan,former Joint Secretary of JNUSU and .
National Secretary ofAIPWA. .
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Praveen P., Jt.Secy., AISA,JNU .
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The skin of the innocent rabbit is then slit along the legs and around the feet. Then the skin is pulled off his or her body, as seen here. The skin is then sold to make "cute bunny fur" clothing and trim for children, whose parents unwittingly condition them to be future fur buyers, instead of teaching them the truth about the horror and suffering that lines each piece of fur.
FORT ROYAL - 1979-2003
Cie Générale Maritimes C.G.M.
Navires conçus pour être exploités sur la ligne des Antilles en remplacement des anciens navires polythermes de la Compagnie Générale Transatlantique. Les commandes de ces navires ont été confirmées aux Chantiers de France Dunkerque. Le FORT ROYAL est le premier des deux PCRP.
1978 le 20 avril : mise sur cale
1978 le 2 décembre : Lancement
1979 du 5 au 9 juin : Essais en mer.
1979 le 15 juin : Navire recetté et pris en charge.
CARACTÉRISTIQUES :
Navire à long gaillard avant s'étendant au-dessus des cales 1 et 2. Ils possèdent une double coque qui s'étend de chaque bord, du peak avant et s'élevant du double fond au pont supérieur. La partie supérieure de chacune de ses doubles coques constitue une galerie technique.
Toutes les cales sont équipées de glissières à conteneurs. Le nombre total de conteneurs en cales est de 616 EVP (cales 1 à 6 contiennent chacune 2 travées pour conteneurs 20 pieds. Les cales 7 à 9 une travée pour conteneurs 40 pieds) Tous les conteneurs peuvent être réfrigérés à partir de gaines de réfrigération)
Longueur hors-tout : 210 m Overall lengh
Longueur entre perpendiculaires : 198 m Lengh between perpendiculars
Longueur pour la classification : 198,630 m Classification length
Largeur hors membres : 32,20 m Moulded width
Creux sur quille au pont supérieur : 18,800 m Moulded depth
Tirant d'eau au franc-bord d'été : 11,020 m Draft at summer waterline
Port en lourd correspondant : 20.508 tonnes Correponding deadwight capacity
Tirant d'eau d'exploitation : 9 m Operaying draft
Vitesse au tirant d'eau d'exploitation : 22,27 noeuds Speed at operating draft
Puissance correspondante : 30.600 cv Corresponding power
Vitesse maxi aux essais sur ballast à 36.000 cv 23,90 noeuds Max speed during tests on ballast at 36,000 h.p.
Rayon d'action : 9.500 milles Range
Jauge brute internationale : 32.184 tonneaux GRT
Jauge nette internationale : 16.238 tonneaux NRT
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PROPULSION :
2 appareils propulsifs entièrement indépendants entrainant deux hélices monoblocs 4 pales Diamètre 6 m
2 moteurs semi-rapides de marque STEM PIELSTICK type 12 PC4 V 570 – 4 temps simple effet réversibles, suralimentés.
Puissance maximale continue par moteur : 18.000 cv
Puissance en service par moteur : 15.300 cv
Vitesse maximale de rotation des moteurs : 400 t/mn
Vitesse de rotation des lignes d'arbres : 122 t/mn
Moteur alimentés en F.O. lourd viscosité 3.500 s/Redwood
Transmission puissance du moteur à la ligne d'arbre par amortisseur de vibration (Damper), et par un G.F.L. destiné à diminuer les efforts en cas de délignage.
Réducteur épicycloïdal à trois satellites MPU70W avec butée incorporée.
Frein à air comprimé de type UNICUM 60 VC 1600
Afin de permettre la marche sur une ligne d'arbre à faible allure, une butée auxiliaire et un tourteau d'accouplement avec un frein manuel.
Production de vapeur par 2 chaudières de récupération 7 bars et 3,5 tonnes de production
1 chaudière de mouillage à 7 bars et 5 tonnes de production
6 diesels alternateurs de 1420 kW - Alternateurs 1.420 kW 440 volts 60 Hz triphasé
Marque AUT du Bureau Veritas
PRODUCTION FROID :
Descente et maintien en froid commandé à la COGER pour 138 conteneurs de 40 pieds et 616 de 20 pieds isolés thermiquement Produits congelés à -25°c – Produits réfrigérés -2° et + 8° Bananes à +12°c
126 gaines associées aux piles de conteneurs alimentent et reprennent l'air de chaque conteneur.
Ventilateurs assurant un taux de brassage de l'air de 80 en grande vitesse (bananes)
Dans un local dédié à la réfrigération des conteneurs:
5 groupes de refroidissement de saumure fonctionnant au fréon R22.
Puissance moteur 750kW 1800 t/mn – 1.750.000 fg/h
5 condenseurs refroidis à l'eau de mer.
5 évaporateurs de saumure.
5 pompes de saumure de chacune 400 m3/heure
5 pompes eau de mer de chacune 272 m3/h
126 régulateurs de température d'air de soufflage avec précision à+ ou – 0,1°c (précision pour transport des bananes)
ITINÉRAIRE:
Le Havre – Montoir- Le Verdon – Fort de France – Le Havre Rotation complète Le Havre – Le Havre 27 à 30 jours
Timothy Kiguti, Chief of Administration AMISOM, presents certificates to officers at the completion of a workshop by AMISOM to sensitize its Officers on sexual exploitation and Abuse held on 30th January 2014. AU UN IST PHOTO/David Mutua
PHOTOS: JOEL C.FILDES
Contact presents
CRYSTAL KISSES
By Avaes Mohammed and Sabrina Mahfouz
Directed by Benji Reid.
‘..in a world where bad things happen – and they do. They always happen to me...’
Toyah — young, vulnerable and in care — protects herself with her spitfire tongue, but her world is rapidly crumbling; Ally is the ‘golden girl’ but behind a perfect façade lies a mess of confusion, sex and loss; young runaway Jay, meanwhile, has finally found the care he craves in the arms of a stranger — but what price will he have to pay?
Stirring movement, music and words combine to confront the difficult and complex realities surrounding child sexual exploitation, exploring the subject with sensitivity, empathy and insight.
Suitable for ages 14+. Contains strong language and mature themes.
Tue 12 October, 7:30pm, £5 Preview
Wed 13 to Sat 16 October, 7:30pm.
Plus Wed 13 & Thu 14, 1:30pm. Tickets: £8/5
(BSL interpreted performance Thu 14 Oct, 7:30pm)
Booking: 0161 274 0600 / www.contact-theatre.org
Contact, Oxford Road, Manchester M15 6JA
Presented in association with:
Partners:
Contact, Barnardos NW, Protect, GMP, Manchester Children’s Services, Brook, NHS FRESH.
Funded by Lankelly Chase, Greater Manchester Sexual Health Network, and Awards for All.
Officers carry out a group excercise during a workshop by AMISOM to sensitize its Officers on sexual exploitation and Abuse held on 30th January 2014. AU UN IST PHOTO/David Mutua
‘Photography is a naturally exploitative and voyeristic medium – rather than trying to hide that fact, I have come to terms with it and accept that is part of what I do’.
-Martin Parr
U.S. Senator Claire McCaskill, the top Democrat on the Senate Aging Committee, used a hearing today to examine the financial exploitation of seniors and the difficulty of prosecuting family members who exploit and defraud their elderly family members.
Not really exploiting the wide angle as much in this one but I knew the sky would have some drama when it was converted to black and white. I wish I'd thought and made a long exposure of this one.
Exploitant : Transdev CSO
Réseau : Poissy Aval – 2 Rives de Seine
Ligne : 24
Lieu : Gare Sud de Poissy (Poissy, F-78)
Lien TC Infos : tc-infos.fr/id/17942
(further pictures and informations 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.
IOM conducts an orientation workshop for local partners in Capiz on Prevention of Sexual Exploitation and Abuse (PSEA) © IOM/Alan Motus 2015
July 20, 2016--New York City-- Governor Andrew M. Cuomo announced that the Task Force to Combat Worker Exploitation has directed 1,547 businesses to pay nearly $4 million in back wages and damages to more than 7,500 workers since its inception in July 2015. The Governor also announced several initiatives to improve worker health and safety, including a multi-agency investigation into the exploitation of dry cleaning workers and a coordinated effort to ban harmful chemicals, such as perchlorethylene (PERC), that are commonly used in the industry. Additionally, the state will launch a new $5 million grant program and RFP for non-profit organizations to expand services to help exploited workers. (Don Pollard/Office of the Governor)
PHOTOS: JOEL C.FILDES
Contact presents
CRYSTAL KISSES
By Avaes Mohammed and Sabrina Mahfouz
Directed by Benji Reid.
‘..in a world where bad things happen – and they do. They always happen to me...’
Toyah — young, vulnerable and in care — protects herself with her spitfire tongue, but her world is rapidly crumbling; Ally is the ‘golden girl’ but behind a perfect façade lies a mess of confusion, sex and loss; young runaway Jay, meanwhile, has finally found the care he craves in the arms of a stranger — but what price will he have to pay?
Stirring movement, music and words combine to confront the difficult and complex realities surrounding child sexual exploitation, exploring the subject with sensitivity, empathy and insight.
Suitable for ages 14+. Contains strong language and mature themes.
Tue 12 October, 7:30pm, £5 Preview
Wed 13 to Sat 16 October, 7:30pm.
Plus Wed 13 & Thu 14, 1:30pm. Tickets: £8/5
(BSL interpreted performance Thu 14 Oct, 7:30pm)
Booking: 0161 274 0600 / www.contact-theatre.org
Contact, Oxford Road, Manchester M15 6JA
Presented in association with:
Partners:
Contact, Barnardos NW, Protect, GMP, Manchester Children’s Services, Brook, NHS FRESH.
Funded by Lankelly Chase, Greater Manchester Sexual Health Network, and Awards for All.
Enrico Caruso’s ascendancy coincided with the dawn of the twentieth century, when the world of opera was moving away from the contrived bel canto (“beautiful singing”) style, with its emphasis on artifice and vibrato, to a verismo (“realism”) approach. The warmth and sincerity of his voice—and personality— shone in this more natural style and set the standard for contemporary greats like Luciano Pavarotti, Placido Domingo, and José Carreras. Through his exploitation of the nascent phonograph industry, Caruso is also largely responsible for the sweeping interest in opera of the 1910s and ’20s. And for this, Stanley Jackson wrote in his book Caruso, he may never be rivaled, for later tenors could not hope to find themselves in a similarly fortuitous position and thus would most certainly “find it more difficult to win such universal affection as the bubbly, warm-hearted little Neapolitan whose voice soared and sobbed from the first wheezy phonographs to bring a new magic into countless lives.”
Born in Naples, Italy, in 1873, the third of seven children (early sources erroneously state that he was the 18th of 21), Caruso was raised in squalor. His birthplace, according to Jackson, was a “two-storeyed house, flaky with peeling stucco, [accommodating] several families, who shared a solitary cold-water tap on the landing, and like every other dwelling in that locality it lacked indoor sanitation.” As a boy, Caruso received very little formal education; his only training in a social setting came from his church choir, where he displayed a pure voice and a keen memory for songs. More often than not, however, he skipped choir practice to sing with street minstrels for café patrons.
At the age of ten Caruso began working a variety of menial jobs—mechanic, jute weaver—but his passion for singing often led him back to the streets. Eight years later, an aspiring baritone named Eduardo Missiano heard Caruso singing by a local swimming pool. Impressed, Missiano took Caruso to his voice teacher, Guglielmo Vergine. Vergine on hearing Caruso, compared the tenor’s voice to “the wind whistling through the chimney,” Michael Scott recounted in The Great Caruso. Although he disliked Caruso’s Neapolitan café style, flashy gestures, and unrefined and unrestrained vocalizing, Vergine finally agreed to accept Caruso as his student. But “the lessons ended after three years,” John Kobler wrote in American Heritage, “and Caruso’s formal musical training thereafter remained almost as meager as his scholastic education. He could read a score only with difficulty. He played no musical instrument. He sang largely by ear.”
On March 15, 1895, Caruso made his professional debut in L’Amico Francesco, a now-forgotten opera by an amateur composer. He was not an immediate sensation.
For the Record…
Bom Errico Caruso (adopted more formal Enrico for stage), February 27 (some sources say 25), 1873, in Naples, Italy; died of pneumonia and peritonitis in 1921 in Naples; son of Marcellino (a mechanic) and Anna (Baldini) Caruso; married Dorothy Park Benjamin, 1918; children: Gloria; (with Ada Giachetti) Rodolfo, Enrico Jr. Education: Studied voice with Guglielmo Vergine, 1891-94, and Vincenzo Lombardi, 1896-97.
Worked as laborer, including jobs as mechanic and jute weaver, beginning c. 1883; debuted in L’Amico Francesco at Teatro Nuovo, Naples, 1894; expanded repertoire to include La Traviata, Rigoletto, Aida, and Faust, among others; first sang Canio in I Pagliacci, 1896, and Rodolfo in La Bohème, 1897; debuted in La Bohème at La Scala, Milan, 1899; performed internationally, including appearances in Moscow, Buenos Aries, Monte Carlo, and London, beginning in 1899; made first recordings, 1902; debuted in U.S. at Metropolitan Opera, New York City, 1903. Appeared in silent films My Cousin and A Splendid Romance, 1918; subject of fictional film biography The Great Caruso, 1950.
Awards: Order of the Commendatore of the Crown of Italy; Grand Officer of the French Legion of Honor; Order of the Crown Eagle of Prussia; honorary captain of the New York City Police Department.
His vocal range was limited; he often had to transpose the musical score down a halftone since he had trouble in the upper register, especially hitting high C. But impresarios who heard Caruso recognized his innate gift and cast him in significant productions such as Faust, Rigoletto, and La Traviata. With stage experience and brief training with another vocal teacher, Vincenzo Lombardo, the singer made steady progress, refining the natural beauty of his voice.
“Who Has Sent You to Me? God?”
In 1897, studying for the part of Rodolpho in Giacomo Puccini’s La Bohème, Caruso went to the composer’s villa to secure Puccini’s consent of his interpretation. As told by author Jackson, after Caruso sang a few measures of the first-act aria, “Che gelida manima,” Puccini “swivelled in his chair and murmured in amazement, ’Who has sent you to me? God?’”
Caruso’s instrument was “a voice of the South, full of warmth, charm, and lusciousness,” described a commentator of the era who was quoted in Howard Greenfeld’s book Caruso. But what truly set Caruso apart—from his predecessors, contemporaries, and successors—was his ability to eliminate the space between singer and listener, to intensify “the emotional effects upon his audience,” testified American Heritage contributor Kobler. “His vocalized feelings, variously spiritual, earthy, carnal, seemed to resonate within the hearer’s body. Rosa Ponselle, the American soprano who made her debut opposite Caruso, called it “a voice that loves you.’”
And his timbre was matched by sheer power; at the height of his career, Caruso gave concerts in venues as large as New York City’s Yankee Stadium without microphones and was clearly heard by all. Still, he reached his greatest audience, across both distance and time, through the small, recorded medium of the phonograph. “Few performers deserve . . . recognition more than Caruso,” David Hamilton proclaimed in the New York Times. “[His] records made him the universal model for later generations of tenors, while his reputation played a major role in establishing the phonograph socially and economically.”
Recording Pioneer
Caruso made his first recording on April 11, 1902, in a hotel suite in Milan, Italy. Over the remaining 19 years of his life he made an additional 488 recordings, almost all for the Victor label. He earned more than two million dollars from recording alone, the company almost twice that. But, most important, his recordings brought grand opera to the uninitiated. Millions cried along with his version of Canio’s sobbing “Vesti la giubba,” from/Pagliacci. The development of the American opera audience from a rarefied community at the turn of the century to a diverse populace in modern times can be directly attributed to Caruso’s recordings.
But Caruso’s allure was not solely the result of his singing. “Quick to laughter and to tears, amorous, buffoonish,... speaking a comically fractured English, round and paunchy, Caruso presented an image that appealed enormously to multitudes of ordinary Americans,” Kobler pointed out. Indeed, his offstage behavior was as interesting to the public as that of his onstage personas. He had numerous affairs with women, which often ended in court. He had an 11-year relationship, beginning in 1897, with soprano Ada Giachetti, who had left her husband and son for the much younger tenor. She bore Caruso two sons, then ran off with the family chauffeur. Three years later, Giachetti sued Caruso for attempting to damage her career and for theft of her jewelry. The suit was eventually dismissed.
Offstage Shenanigans
Caruso was not exonerated, however, in what became known as the “Monkey House Case.” On November 16, 1906, Caruso went to the Monkey House in the Central Park Zoo, one of his favorite retreats in his adopted hometown of New York City. There a young woman accused him of pinching her bottom. A policeman on the scene immediately took Caruso—confused and sobbing—to jail. The woman failed to appear at the consequent trial, and police were unable to produce any witnesses other than the arresting officer, who turned out to have been best man at the accuser’s wedding. The judge found Caruso guilty of disorderly conduct and fined him ten dollars. The public, for its part, though initially unsure of Caruso’s innocence, soon returned to its thunderous approval of his performances.
Despite these episodes, Caruso’s life outside the theater was not entirely tumultuous. His marriage to Dorothy Park Benjamin in 1918 was happy and secure. His celebrated earnings allowed him to collect art, stamps, and coins. His clothing and furnishings were luxurious. He ate with gusto. And he was extremely generous. A gifted caricaturist, Caruso often gave drawings away. He would fill his pockets with gold coins and shower stagehands with them at the end of Christmastime productions. He also supported many family members, gave numerous charity concerts, and helped raise millions of dollars for the Allied cause during World War I. This remarkable man even paid his taxes early. “If I wait, something might happen to me, then it would be hard to collect,” Caruso reasoned, as recounted by Kobler. “Now I pay, then if something happen to me the money belongs to the United States, and that is good.”
Caruso’s expansive approach to life, however, rendered his own short. Constant recording and performance demands and the singer’s unchecked appetites took their toll on his health; he died in Naples, in 1921, from pneumonia and peritonitis. He was 48 years old. “Caruso may have been a greater master of comedy than tragedy,” Great Caruso author Scott wrote, “yet there was no levity in his approach to his art, for as each year passed and he became an ever more celebrated singer, his fame—ably demonstrated by frequent new issues of ever improving records—made increasing demands of him. In those last years he rode a tiger.”
Selected discography
Enrico Caruso: 21 Favorite Arias, RCA, 1987.
Enrico Caruso, Pearl, 1988.
Enrico Caruso in Arias, Duets, and Songs, Supraphon, 1988.
Caruso in Opera, Nimbus, 1989.
Caruso in Song, Nimbus, 1990.
The Compíete Caruso, BMG Classics, 1990.
Enrico Caruso in Opera: Early New York Recordings (1904-06), Conifer, 1990.
The Caruso Edition: Volume 1 (1902-1908), Pearl, 1991.
The Caruso Edition: Volume 2 (1908-1912), Pearl, 1991.
The Caruso Edition: Volume 3 (1912-1916), Pearl, 1991.
The Caruso Edition: Volume 4 (1916-1921),, Pearl, 1991.
Caruso in Ensemble, Nimbus, 1992.
Addio Mia Bella Napoli, Replay/Qualiton, 1993.
Sources
Books
Caruso, Enrico, Jr., and Andrew Farkas, Enrico Caruso: My Father and My Family, Amadeus Press, 1990.
Greenfeld, Howard, Caruso, Putnam, 1983.
Jackson, Stanley, Caruso, Stein & Day, 1972.
Scott, Michael, The Great Caruso, Knopf, 1988.
Periodicals
American Heritage, February/March 1984.
Economist, March 9, 1991.
New Republic, August 8, 1988.
New York Times, January 6, 1991.
—Rob Nagel
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#enrico-picciotto, enrico picciotto
I bough this flower today to exploit, and then we'll have it as a house plant. I like the colors and shapes, and thought that it would make a good subject.
Lighting info: One YN560 in a 24 inch soft box, camera left about 4 inches from the flowers. Fill light came from a small mirror on the right side that bounced a little light back onto that side. I used the reflector instead of another soft box because I didn't want even lighting that would have cancelled out the shadows that show the shapes and textures. The flash, in manual mode, was triggered by a Yongnuo RF-603N.
Other plants, flowers, fruit or thingys that I've photographed using strobes can be seen in my Strobe Lit Plant set. In the description for that set, I list resources that I've used to learn how to light with off camera flash. www.flickr.com/photos/9422
Hanuman, Hindu and Buddhist deity.
Tibetan style base
19c Bronze
Code 2499
Provenance, Treasures of Wisdoms private collection.
Hanuman, in Hindu mythology, the monkey commander of the monkey army. His exploits are included in the great Hindu Sanskrit poem the Ramayana (“Romance of Rama”).
While still a baby, Hanuman, the child of a nymph by the wind god, tried to fly up and grab the Sun, which he mistook for a fruit. Indra, the king of the gods, struck Hanuman with his thunderbolt on the jaw (hanu), thus inspiring the name. When Hanuman continued to misbehave, powerful sages cursed him to forget his magic powers, such as the ability to fly or to become infinitely large, until he was reminded of them. Hanuman led the monkeys to help the god Rama recover Rama’s wife, Sita, from the demon Ravana, king of Lanka (sometimes thought to be Sri Lanka). Having been reminded of his powers by Jambavan, the king of the bears, Hanuman crossed the strait between India and Lanka in one leap, despite the efforts of watery demonesses to stop him by swallowing him or his shadow. He was discovered in Lanka, and his tail was set on fire, but he used that fire to burn down Lanka. Hanuman also flew to the Himalayas and returned with a mountain full of medicinal herbs to restore the wounded in Rama’s army.
Pilote: Bruno DECHELLE, Copilote Technicien Ligne: Jean-Christophe LEDER, Opérateur thermographie infrarouge: Alain BOGNI, Mécanicien: Yves COLLIN, Ingénieur Exploitation: Cédric AUXENFANS
Public reenactment of a speech given by Coretta Scott King at a peace march in Central Park on April 27, 1968, three weeks after her husband, Dr. Martin Luther King, Jr., was assassinated. In this speech, which was based on notes found in the late Dr. King's pockets, King addresses the war in Vietnam, domestic poverty, and the power of women to effect social change. Gina Brown, a New York-based actor and former welfare mother, delivered the speech on location in Central Park on September 16, 2006.
Quotes:
"It is very clear that our policy at home is to try to solve social problems through military means, just as we have done abroad. The interrelatedness of domestic and foreign affairs is no longer questioned. The bombs we drop on the people of Vietnam continue to explode at home with all of their devastating potential."
"There is no reason why a nation as rich as ours should be blighted by poverty, disease and illiteracy. It is plain that we don’t care about our poor people, except to exploit them as cheap labor and victimize them through excessive rents and consumer prices."