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L'amore è l'occasione unica per maturare, per prendere forma, per diventare in se stessi un mondo.
Rainer Maria Rilke
Le triage de Delloye est construit en 1929. En 1950, pour 1100 tonnes de charbon extraites journellement, on obtient 620 tonnes de charbon brut trié. On crible alors deux qualités de charbon et quatre calibres.
Publisher: József Zsebe (2015)
The number of pages: 92 (Each pages are full color.)
This book is thick hard covered and thread-bound.
(It made from high quality materials.)
Language: English and Hungarian
Product dimensions: 21 cm x 30 cm
ISBN 978-963-12-2516-7
It is available for example on Origami-shop:
www.origami-shop.com/en/zsebe-jozsef-m-129.html
or
origamiusa.org/catalog/products/paper-form
and at the AEP-shop, MFPP-shop, CDO-shop
Content:
Esta questão me acompanha faz tempo.
Aqui está um exemplo. Nem só como calçado um tênis ou qualquer outro artefato precisa ou deva ser usado apenas para atender suas funções.
Nas mãos de um vitrinista pode tornar-se matéria prima para a confecção de uma obra de arte!
Hume pipe-workers garden -Living Museum of the West- Maribyrnong. Wonderful mosaics form paths and/or ornament the garden..Hopefully soon to be restored..
Melbourne's Living Museum of the West Inc. is a community museum, with an ecomuseum focus, operating in the western region of Melbourne in the state of Victoria, Australia..
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The Living Museum, as it is more commonly known, was set up in 1984 to address what was then seen as a disadvantaged region, geographically flat and rocky, heavily industrialised with a high migrant population..
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The ecomuseum concept regards the area researched by a museum as part of the museum itself. The western region covers a large geographical area (see map) west of Melbourne which includes industrial suburbs merging into rural areas. Geologically it sits on an extensive basalt plain with low rainfall. Its population is approximately 500,000 people from approximately 70 different countries. More than 30 % of the population were born in another country..
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The mix has created a unique cultural context that might even seem surreal to those who live in a more homogenous culture. It has in fact given rise to a cultural dynamic that challenges more conventional forms of interpretation..
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The Living Museum is best known for its outreach programs and close involvement with the community it serves. Community participation can take the form of involvement as a volunteer, as a participant in the Museum's research and oral history programs or through more informal contact. For example, many local historical researchers regularly come to share information or talk avout their own research. By depositing copies of their research and publications in the Living Museum's Resource Centre they provide help for other people doing connected research. The Living Museum's Committee of Management is made up of community and museum industry representatives. .
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The Living Museum was set up with an experimental brief to use innovative techniques in involving the local community in researching, documenting and presenting the heritage and history of a previously overlooked patchwork of sub-cultures..
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The first projects looked at the history of work, the contribution of women in the region's history and the role of migrants in the culture and heritage of the local region. These first projects focussed on oral history in a bid to involve the local community in the research and presentation of their own history..
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The Museum has since explored the built heritage of the region, the environment, the Aboriginal Heritage and experimented with the involvement of artists in the presentation of culture and heritage. A book titled 'Your History Mate', describes the first decade of the Living Museum's program and outcomes..
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The Living Museum receives a grant from Arts Victoria for core funding and receives grants for other projects. It has also been earning about 30% of its income from a range of consultancies. It is an incorporated body with a Management Committee drawn from the local community..
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Historical Societies.
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Historical Societies are among the most valuable organisations in our society. It is mainly through historical societies that the community memory is maintained. Without historical societies most communities would lose track of their own history..
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These societies are usually made up of a handful of active members who spend days, weeks and years collecting, protecting and preserving local history. Without local history there would be no sense of national history. There is an inescapabe link with local history and all other levels and interpretations of a national history. .
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Where: Pipemakers Park, Van Ness Avenue (entrance opposite Warr's Road), Maribyrnong.
Existing outcrops of rock have been modified into similar form all within a 60km radius. These sites are currently under the category of medieval fruit press or sacrificial stone.
Left: Grandmont "pressoir" near Lodeve.
Centre: "Pierre de Sacrifice" du Causse de Lunas.
Right: Haut-Languedoc "medieval village of monoliths".
I propose to remove elements in inverted commas and group the three sites into a commonality. With granite deposits nearby and the skills to surface menhirs; and with all of the sites being in areas known for megalithic activity - or even with high adjacent megalithic activity - I am going to look at these sites from the chronological optic either side of the first age of metal, so either side of the copper age or Chalcolithic - late Neolithic to early bronze age.
If there is too much flat surface for a fruit-press, and not enough local fruit, and if the opposite edges are not aligned or showing the correct wear marks of a fruit press's weight, and if sacrificial stones might struggle to provide so much local wear and edge detail (grooves, curve wear, cups and short ledges all appearing 'episodic' rather being from repeat ritualised behaviours), the question should be asked: what was the reason behind taking the time to carve so large a surface?
Water for drinking, water for cooking and water for making.
Cisterns tend to be much deeper and in summer months, when water is most required on these mid to upper altitude sites, just such a depth would evaporate at speed. The storms of summer months could be collected in just such a structure, and distributed via the lips into large pots for reserves of fresh water - as seen in the prehistoric village of Cambous for example (a site from a similar time scale and not so far away). But, a well run croft should have leather sheeting or abutting huts with loze and gutter management for water collection - again as alluded to in Cambous, so the question remains, why make a water capture surface in stone when sheets and ground holes and managed roofs can all be repeated and replicated in a third of the time? Carving into hard sandstone (probably close to a millstone grit) is a labour intensive prospect and water collection alone does not explain the 'episodic' edge variations.
Maybe there is a detail missing. Each of the three above sites has at least one output lip, and blocking these outputs would either allow water to collect or water to be added to form a shallow pool. In summer months the stone would expose in the sun and quickly heat the water to an agreeable temperature. Removing encircling trees would allow for a simple test of experimental archaeology. Warm water in winter is simply a matter of adding river stones to a fire and then transferring them into the waiting water. If the water gets dirty then the plug can be removed and the procedure started once more.
A shallow pool of warm water is attractive to mothers and babies, children and even adults, and the ludique side of being clean or bathing aching legs does not need to be explained. Late prehistoric sweat rooms and saunas are suspected in sites from Ireland to Spain. Getting up onto the flat top surface 'basin' would need a simple construction of wooden platform and step, and assuring that this does not 'sheer' and fall may be attained by carving mortise trenches into the heavily used "entrance point". These are clearly visible on two examples, with a platform not required on the above left example which is largely close to the ground.
A young toddler may still find the basin's edge too high from the upper wooden platform, and this may explain the diagonal clearly visible on the far side of the centre example.
Now, just such a shallow pool of water can be created aside a river or with an oiled leather 'sheet' wrapped into an indent, so the great effort to carve the stone is still in need of explanation and gravitas.
Riversides have fish and ease all sorts of craft production, and being near to a river is enjoyed by man (apart from, floods, insects, morning frost and less sunlight). Moving uphill to exploit resources of grazing, pigment, shrub and wood has the disadvantage of moving away from the guaranteed flows of water especially if springs are lower down the valley. Providing an upper valley community with a solid point of water may attract a larger crofting population base. Imagine a shallow pool of water and steps and see people positioned around the edge in their regular spaces, shaping their dissect of the monolith's perimeter with their idiosyncratic style and action.
Imagine now that it is not 'playtime', and although there is a baby splashing in the centre, most of the people assembled around the edge are softening sapling and reed bundles in the warm water and are busy weaving baskets, wicker toy animals, roof forms, chicken pens, masks, fish-traps and rug-wacks to keep the village clean of dust. The water is still getting warmer and was only changed late afternoon. Before that, the same "monolithic water-warmer" was being used to soak acorns that had been pounded in a smaller basin - soaked to take out some of their tannin for a future exchange of finest dried acorn flour at the local barter. Now the assembled group has a 'medium' amount of time, as there are men working aside another monolith and others who will put their goats up for the night and will all want to light an oil flame in a couple of the cups that are found around the edge, and have some quality time relaxing for a chat. Other uses of the tough monolithic space pepper their weeks - cleaning, "winnowing" and softening as the seasons come and go, and the people who took the time to convert the stone often say that it was an effort, but worth it in the long run. Now, rather than being at the end of an explanation, this may be the point of a 'dome' when the last stone of explanation is dropped into place...
Of the three sites, there is one detail that is of great interest. The central site has a 'cross bar' carved over the basin space (just visible here but clear in associated posts). It's difficult to see how this can greatly improve the basin (a shallow half basin to warm in winter sun and a specific rinse side?), and rather than being functional, the cross bar may be an example of representation.
The three sites are within a radius of 60km, but 60km of rolling hills, so far from being neighbours - and yet the function and three above examples of model seems so similar and worn into place. Used and used and used. With a solid scattering of neolithic crofts far higher than the three above sites, surely such a good idea for higher crofts away from riverbanks would be taken up elsewhere? Suitable outcrops of sandstone are not available for all crofts, and the stone carving skills of menhir workers were perhaps also a slight speciality, but more to the point, it is perhaps the case that other crofts had the same facility for pools of warm water but simply not in stone, and that the stone versions are representations of structures common at the time, but long faded from the archaeological record. Now the crossbar of the central example may come into light.
The first migrants into the hill will have been met by a landscape of cold humid winters and hot dry summers. Cold winters and big shepherds cloaks (visible in the statue menhirs) and dry summers with flocks often away from overt water. Sleeping under small semi portable leather covered tents of wood frame. In the summer months, the heavy winter cloaks may have been stuffed around the edge of the inner frame of the tent, almost by accident making a rim so that storm rain could be captured into water pots with a smile of happenstance. At this point you can almost hear the conversations: 'I don't mind you using the 'roof pool' for the babies, but I don't want the kids up there as they are too big and will damage the leather as it rubs against the frame" ... And then the same children playing when the father is out with their flock to a point where he decides to make them a stone 'tent' so that nothing can be damaged, with the cross bar being the cross bar of the tent and the lumpy edges being the cloaks stuffed under the leather tarp. "A lot of work, but when you see the smiles and the productivity it was worth it." Other water collection pools and warm water basins may have been apart from tent/huts and lower to the ground and each croft would not bother that someone in the future may need to think through their day to day.
There is an example in recent history that maps a similar visual story of copycat function-style. The very first cars looked like carts without horses as they directly emulated their adjacent world before moving away to perfect new lines apt for the greater subject.
Perhaps second; third, fourth... generation of new rural crofters made this monolithic innovation, which would take the date right back into the neolithic and prior to ideas of Gaul and Celt and in parallel with adjacent menhir and dolmen culture and cups and canals witnessed on the central example.
Rites associated with the site can sit aside the day to day functionality, in the flexible and yet serious way that a school entrance hall can have a jumble sale, an election booth, an art show, an assembly and an informal meeting of parents. One of the rites may include the sacrifice of an animal to a God (although special stones on overlooking hills may have been more adapted). My own feeling is that this 'potential' sub element would give the wrong impression of a years activity, which is why I prefer to call this idea "warm water forms" (a term wide enough to include projected summer hut design and lower tarp models) rather than "Pierre des Sacrifices".
AJM 14.05.20
(...)
La población dueña en sus silencios de la más rica temática de formas geográficas e históricas de Arosa es sin duda Cambados, simbiosis de las tres singulares villas de Cambados, Fefiñáns y Santo Tomé do Mar, cada una centrada por ilustre pazo, bellas iglesias, jardines profundos... El gran poeta Ramón Cabanillas, nacido en Fefiñáns, dedicó un ramo de sus poemas:
"A ti meu Cambados, probe, fidalgo e soñador
que ó cantareiro son dos teus pinales
e ó amparo de teus pazos lexendarios
durmes deitado ó sol na beira do mar".
El borde meridional desde la desembocadura del Umia se tiende en un prolijo y vago sistema de playales y tómbolos, paisaje cambiante según la marea, cerrada hacia tierra por grandes pinares, pródigo en variaciones litorales.
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Cada día crece el valor sentimental de los bosques de robles. Los de la Beiramar gradúan el viento, el propio verdecer, las cromáticas otoñales con estilo diferente a las robledas, severas, patriarcales de las comarcas altas e interiores. El encanto del verdadero Salnés reposa en el ondulado tapiz de sus viñedos cuidados como jardines. Su verdor es claro, sus hojas claras. Casas en general modernas, variaciones del tipo tradicional de la casa pontevedresa -agudo techo, escalera lateral con patín- surgen a cada paso entre las viñas de este dulce país cantado por Valle Inclán. Sus vinos son el tinto espadeiro fresco, de regular fortaleza y el albariño blanco, ligero, con aguja, un vino rabelesiano, dicen que derivado de plantas francesas traídas por los monjes del Císter de Armenteira y otros monasterios. El buen juglar de los vinos del Salnés -del espadeiro, propio del campesino para beber en cunca-, es Ramón Cabanillas. Pueblos muy bellos -Ribadumia, Padrenda, Meaño- acompañan el río hasta el estuario de Cambados. Cambados es, quizá por ilustrar el fin del valle y del río, la verdadera capital del Salnés.
(...)
El pazo de nobles jardines hace comprender las horas calmas del XVIII. Pero la trilogía más bella de Arosa es la formada por los pazos de Bazán, definido y confirmado en sus grandes magnolios, el de Fefiñáns, de finos esquinales y terrazas y amplitud generosa para las rondas del sol y la luna, y el de grave aspecto, frente al mar, de Santo Tomé que fue de los marqueses de Montesacro. El primero decora el propio Cambados, prestigia el segundo Fefiñáns, la villa natal del gran poeta Ramón Cabanillas, como el tercero Santo Tomé do Mar, al que rodean mansiones marineras.
(...)
Las viñas en parrales siguen madurando los dorados vinos celebrados en el tiempo románico y ojival como son los de Berres, los de Bea y Carcacía. Su país y clima afectuoso se liga con el solar del famoso vino espadeiro de Cambados. La camelia y el cedro, la pradera cuidada como en los Alpes y los rosales como en los jardines de Francia decoran los jardines de los pazos.
(...)
Ramón Otero Pedrayo, "Galicia, una cultura de Occidente", 1975.
MÚSICA: Aldo Ciccolini interpreta a "Gymnopédie Nº 1" de Erik Satie.
Der Blütenstand des Maulbeerbaums erinnert an das von den Römern erfundene Xylospongium, vulgo Klobürste, welchens erstmals im 2. Jahrhundert nach Christi von Claudius Terentianus erwähnt wurde.
The fruit cluster of the mulberry tree looks like a reminiscent of the xylospongium, commonly known as toilet brush, invented by the Romans and mentioned first time by Claudius Terentianus in the 2nd century AD.
Fijate dos formas de un mismo elemento...Una para la derecha y otra para la izquierda...una contra el cielo y otra contra el suelo...una con el personaje en el centro y otra con el personaje en la punta...una con marco y una sin marco...Pero lo mas importante de todo es que son dos fotografias...Saludos fotoamigos...
The Asian Civilisations Museum (ACM) is an institution which forms a part of the four museums in Singapore, the other three being the Peranakan Museum at Old Tao Nan School, the National Museum of Singapore and the Singapore Art Museum.
It is one of the pioneering museums in the region to specialise in pan-Asian cultures and civilisations. The museum specialises in the material history of China, Southeast Asia, South Asia and West Asia, from which the diverse ethnic groups of Singapore trace their ancestry.
The Chinese collection is represented by fine Dehua porcelain figures, Taoist and Buddhistic statuary, export porcelain, calligraphy and other examples of decorative art.
The South Asian Galleries feature statuary from a broad spectrum of periods including some fine Chola bronzes. Of particularly note is the Chola bronze sculpture of Uma, the consort of Shiva and that of Somaskanda. The early Buddhist art of India is also represented by works hailing from the Mathura and Gandhara schools, including a rare sandstone Mathura Buddha dating to the Kanishka era, and the head of a Gandharan Bodhisattva. Other areas of note include South Indian woodwork, Nepali-Tibetan bronzes, textiles, late medieval miniatures and colonial prints.
The Southeast Asian collections are broad in scope and are rich in ethnological material. Representing the aristocratic art of ancient Southeast Asia are Khmer sculptures, Javanese temple sculpture (some on loan from Leiden), later Buddhist art from Burma/Thailand and the Sinicised temple art of Vietnam. Peranakan gold, textiles, tribal ornament and theatrical masks are other strengths of the collection.
The Khoo Teck Puat Gallery is the permanent home for the cargo recovered from the Tang Shipwreck, a sunken 9th century trading ship bound for Iran and Iraq, discovered in 1998 off Belitung Island in the Java Sea. The recovered cargo comprises more than 60,000 well-preserved ceramics produced in China during the Tang dynasty (618–907), as well as objects of gold and silver.
Certain gallery rooms are also used for temporary exhibitions. A recent exhibition included the display of the spectacular Bronze Age masks from Sanxingdui, Sichuan Province, China.
These abandoned warehouses in Briton Ferry, known locally as Wern Works, have been vacant since 2011. The seven-acre site has been home to many businesses since it was first used by High Duty Alloys in the 1950s.
These photographs, taken in June 2016, showcase the building as it stands today.
Inspiration for the framing of the shots came from the 1975 New Topographics exhibition.
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Former Kroger of Elizabethton, TN also featuring the adjacent Auto Zone which was likely a Super X drug store originally
Wooden shoe maker forms
Eliza Frydrych's most interesting photos on Flickriver
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