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From the 1974 TV Guide Fall Preview issue.
Television show based on the movies and starring Roddy McDowell.
An exhibitor guides a visitor at the Pottery stall during the International Animation Day 2008 held at NCPA, Mumbai.
The guided tour around Assisi.
Now in Piazza Santa Chiara outside the Basilica of Santa Chiara.
The views from the Piazza.
The Rocca Maggiore has dominated the citadel of Assisi and the Tescio valley for more than eight hundred years , constituting the most valid fortification for their defence.
You can reach the fortress on foot through the Perlici gate, built in 1316 : you can admire the still intact walls of Assisi which, in their long journey, connect the two fortresses, Maggiore and Minore. The first documented news relating to the fort dates back to 1173 , when the German Catholic diplomat and archbishop Christian of Mainz ( 1130 - 1183 ), chancellor of Germany during the reign of Emperor Frederick I Barbarossa , occupied Assisi on behalf of the sovereign who stayed there for little time .
The little future king of Sicily and emperor Frederick II of Swabia also resided there , entrusted by his mother Costanza d'Altavilla to the duchess of Urslingen , wife of the duke of Spoleto and comes Assisi Corrado , trusted man of the Swabian monarch. The queen empress Constance returned to Sicily and then returned to Assisi with her consort Henry VI : Constantine's baptism was celebrated in the cathedral of San Rufino and he was given the auspicious name (of his two grandparents) Federico Ruggero .
In 1198 the city passed to the Guelph party of Pope Innocent III and the people, causing extensive damage to the fortress, drove out the imperial legate with Federico who was only four years old. In that year Francis of Assisi was sixteen years old . The fortress was rebuilt, respecting the medieval layout, in 1356 , on the initiative of Cardinal Egidio Albornoz ( 1310 - 1367 ), commissioned by Innocent VI , from Avignon , to consolidate the fortifications of the Papal State .
In 1458 , the Perugian mercenary captain and lord of Assisi Jacopo Piccinino ( 1423 - 1465 ) had the north-western polygonal tower built, then completed by Pope Pius II and connected to the rest of the walls by a fortified and strengthened corridor. The fortress complex consists of a circle of walls, built with the pink stone of Mount Subasio , in the shape of a trapezium, with towers at each corner, which includes the quadrangular formwork , restructured, in 1478 , by Sixtus V , on which stands the mighty keep.
The inner part of the fortress (where, in 1972 , some scenes of the film " Brother sun, sister moon ", directed by director Franco Zeffirelli) were shot ) is accessed through the entrance of the round bastion, built in 1535 by Paolo III Farnese : we then reach the vast enclosed courtyard, where once there were the service rooms, and the keep , former residence of the castellan, divided into four rooms reached by a spiral staircase .
The Rocca Maggiore joins, through the fourteenth-century walls, with the Rocca Minore, or rocchetta , or keep of Sant'Antonio , commissioned by Albornoz in 1360 in order to consolidate that part of the fortification towards the mountain.
The fortress has been included in the list of Living Monuments , the first in Umbria together with the Torre del Popolo , because it is used by protected animal species ( common swift , bats and others) as a breeding site or refuge area and therefore an important place for urban biodiversity.
Looking up Via Santa Chiara towards Arco di Corso Giuseppe Mazzini.
Research the history of your house: www.publications.qld.gov.au/dataset/brief-guides-at-qsa/r...
Corinda, an interwar residential suburb, is 9 km south-west of central Brisbane. It was possibly named after a local property owned by Sir Arthur Palmer, which he named after his Corinda pastoral station near Aramac.
Corinda has the Brisbane River as its western boundary and the Oxley Creek on its east. The landscape rises sharply from the river and only a narrow margin of land was flooded in 1893 and 1974. The suburb is slightly more flood prone on the east, mainly near the high school. With hilly ground on the west, it is that part which is generally more favoured in the real estate market.
An early farming family chose the elevated spot now known as Francis Lookout as a cemetery (c1863). The lookout, at the corner of Dewar Terrace and Hilda Street, is listed on the Queensland heritage register. Twelve years later the Brisbane to Ipswich railway line was built through Corinda, and nine years after then a branch line was opened from Corinda to the South Brisbane wharves (Stanley Street). The new line was needed to transport Ipswich coal to the wharves, and Corinda was known as South Brisbane Junction until 1888.
During the 1890s Corinda's social infrastructure took shape with cricket and tennis clubs (1892, 1893) and a school of arts (1895). The Sherwood divisional board met in Corinda. Schools came somewhat later: primary education had been provided in neighbouring Oxley and Sherwood since the 1870s, and it was the Catholic Church which opened the first school in Corinda at Our Lady of Sacred Heart convent in 1917. It is now St Joseph's primary school. The Anglican Church followed with St Aiden's girls' school (1-12) in 1929. State schools were opened in 1927 (Corinda primary) and 1960 (high school). The high school's enrolment peaked at 1590 in 1964.
Most of Corinda was subdivided for housing with recreation areas provided at Dunlop Park on Oxley Road and Nosworthy Park on Oxley Creek. The latter is below flood level, and includes the Corinda bowls club.
A shopping area developed in Oxley Road near the railway station, along with the Corinda Hall and a new Catholic church a short distance north. Housing is a mixture of Queenslanders and early postwar dwellings. The shopping area has maintained its viability with a Coles supermarket and no nearby drive-in to erode its retail catchment. In 2001-02 Corinda recorded the second highest rise for metropolitan house prices, slightly behind Manly. The best locations are west of the railway line with views to Mount Coot-tha.
Corinda history: Queensland Places – Corinda
The guided bus approaching Fen Drayton Lakes on its first day of running - two years late and at least £70 million over budget. Every bus was packed and the timetable went out of the window but everybody seemed to have a great time.
Research the history of your house: www.publications.qld.gov.au/dataset/brief-guides-at-qsa/r...
Goodna, an outer eastern suburb of Ipswich, is on the south side of the Brisbane River (opposite Priors Pockett, Moggill), 13 km from the centre of Ipswich. Its eastern boundary is the Woogaroo Creek, and when the village site for Goodna was proclaimed in 1856 it was known as Woogaroo.
The Brisbane River was explored by John Oxley as far upstream as Goodna in 1824 and again by Edmund Lockyer in 1825. There are extensive beds of sandstone (the Woogaroo Subgroup) at Goodna, and Commandant Patrick Logan had building material quarried there in 1826. Stone was again quarried for the 1880s building boom.
Agricultural settlement moved inland along the Brisbane River valley and the Goodna village was allocated a post office in 1862. It was on the Ipswich – Brisbane telegraph link by late 1864. A Congregational church was opened in 1863 and a primary school in 1870.
When the railway line from Ipswich to Brisbane was opened in stages during 1874-75, Goodna was one of the original stations; in fact, a ceremony for turning the first sod was held in Goodna in 1873.
Apart from the usual farm occupations and tradespeople in a country town, Goodna had the Woogaroo asylum (site reserved 1861), coal mining to the west and quarrying. A quarry in Stuart Street supplied stone for a new Catholic church (1881) designed by Andrea Stombuco. Named St Patrick's, the church was renamed St Francis Xavier in 1924, and it is listed on the Queensland heritage register. A former Sisters of Mercy convent (1911) and a primary school (1910) adjoin it. The church became the nucleus of a new village, up from the flood-prone river bank.
There were also several friendly societies and Goodna Jockey Club. The racecourse was east of the present Gailes railway station, indicating that Goodna extended well beyond its present boundary which runs along Woogaroo Creek. Goodna's main civic precinct is along Church Street, including the Presbyterian church (1915, demolished in controversial circumstances in 2006) at the north end, the Catholic church, the war memorial, several heritage houses and the Police barracks. A school of arts was burnt down.
In 1924 the sporting community formed a local golf club, choosing land next to the railway line in the direction of Brisbane. It is now the Gailes golf course, immediately west of the former racecourse. Postwar urbanisation of the fringe of metropolitan Brisbane, along with urbanisation along the railway east of Ipswich, positioned Goodna as a location for the Westside Christian College (1977), a P-12 school with an enrolment of over 780 by 2002. The Ipswich motorway brought vehicular commuting to Goodna, and a drive-in shopping centre (1987) was built away from it, but close enough to be within earshot. It has a supermarket and 48 shops.
Whilst the Catholic church is the architecturally notable building, there were four Protestant congregations all with their own buildings. Hotels have not survived in their original numbers, only the Royal Mail remaining. The Woogaroo asylum is now the John Oxley Hospital in Wacol.
Goodna has the Woogaroo Creek and smaller streams that pass through its built-up area. When the Brisbane River flooded in January 2011 its waters covered a swathe of the Ipswich Motorway and three tongues of lower-lying land. These included the shopping centres west of Queens Street, the floodway east of the (high and dry) Catholic school, and the floodplain on the Woogaroo Creek (including adjacent houses). About 300 houses were flooded.
Goodna history: Queensland Places – Goodna
I can't remember why i decided to to Ufford; I think it was because it is in Simon's top ten of Suffolk churches. Of course everything is down to taste and perspective and what the day, light, or other factors at play when you visited.
I drove through the village three times looking for the church, but this was Upper Ufford; all golf clubs and easy access to the A12.
I tried to find the church on the sat nav, but that wanted me to go to Ipswich or Woodbridge, I then tried to find Church Lane, and hit the jackpot. Down through a modern housing estate, then down a narrow lane, left at the bottom and there at the end of a lane stood St Mary, or the tower of the church anyway.
In the house opposite, a young man paused doing physical jerks to stare at me as ai parked, but my eyes were on the church. What delights would I find inside?
The south wall of the church inside the porch is lined with some very nice tiles; I take a few pictures. Inside, your eye is taken to the wonderful font cover, several metres high, disappearing into the wooden beams high above. A fine rood beam stretched across the chancel arch, and is still decorated.
-----------------------------------------
Upper Ufford is a pleasant place, and known well enough in Suffolk. Pretty much an extension northwards of Woodbridge and Melton, it is a prosperous community, convenient without being suburban. Ufford Park Hotel is an enjoyable venue in to attend professional courses and conferences, and the former St Audrey's mental hospital grounds across the road are now picturesque with luxury flats and houses. And I am told that the Ufford Park golf course is good, too, for those who like that kind of thing.
But as I say, that Ufford is really just an extension of Melton. In fact, there is another Ufford. It is in the valley below, more than a mile away along narrow lanes and set in deep countryside beside the Deben, sits Lower Ufford. To reach it, you follow ways so rarely used that grass grows up the middle.
You pass old Melton church, redundant since the 19th century, but still in use for occasional exhibitions and performances, and once home to the seven sacrament font that is now in the plain 19th century building up in the main village. Eventually, the lane widens, and you come into the single street of a pretty, tiny hamlet, the church tower hidden from you by old cottages and houses.
In one direction, the lane to Bromeswell takes you past Lower Ufford's delicious little pub, the White Lion. A stalwart survivor among fast disappearing English country pubs, the beer still comes out of barrels and the bar is like a kitchen. I cannot think that a visit to Ufford should be undertaken without at least a pint there. And, at the other end of the street, set back in a close between cottages, sits the Assumption, its 14th century tower facing the street, a classic Suffolk moment.
The dedication was once that of hundreds of East Anglian churches, transformed to 'St Mary' by the Reformation and centuries of disuse before the 19th century revival, but revived both here and at Haughley near Stowmarket. In late medieval times, it coincided with the height of the harvest, and in those days East Anglia was Our Lady's Dowry, intensely Catholic, intimately Marian.
The Assumption was almost certainly not the original dedication of this church. There was a church here for centuries before the late middle ages, and although there are no traces of any pre-Conquest building, the apse of an early-Norman church has been discovered under the floor of the north side of the chancel. The current chancel has a late Norman doorway, although it has been substantially rebuilt since, and in any case the great glories of Ufford are all 15th century. Perhaps the most dramatic is the porch, one of Suffolk's best, covered in flushwork and intriguing carvings.
Ufford's graveyard is beautiful; wild and ancient. I wandered around for a while, spotting the curious blue crucifix to the east of the church, and reading old gravestones. One, to an early 19th century gardener at Ufford Hall, has his gardening equipment carved at the top. The church is secretive, hidden on all sides by venerable trees, difficult to photograph but lovely anyway. I stopped to look at it from the unfamiliar north-east; the Victorian schoolroom, now a vestry, juts out like a small cottage.
I walked back around to the south side, where the gorgeous porch is like a small palace against the body of the church. I knew the church would be open, because it is every day. And then, through the porch, and down into the north aisle, into the cool, dim, creamy light.
On the afternoon of Wednesday, 21st August 1644, Ufford had a famous visitor, a man who entered the church in exactly the same way, a man who recorded the events of that day in his journal. There were several differences between his visit and the one that I was making, one of them crucial; he found the church locked. He was the Commissioner to the Earl of Manchester for the Imposition in the Eastern Association of the Parliamentary Ordinance for the Demolishing of Monuments of Idolatry, and his name was William Dowsing.
Dowsing was a kind of 17th century political commissar, travelling the eastern counties and enforcing government legislation. He was checking that local officials had carried out what they were meant to do, and that they believed in what they were doing. In effect, he was getting them to work and think in the new ways that the central government required. It wasn't really a witch hunt, although God knows such things did exist in abundance at that time. It was more as if an arm of the state extended and worked its fingers into even the tiniest and most remote parishes. Anyone working in the public sector in Britain in the early years of the 21st century will have come across people like Dowsing.
As a part of his job, Dowsing was an iconoclast, charged with ensuring that idolatrous images were excised from the churches of the region. He is a man blamed for a lot. In fact, virtually all the Catholic imagery in English churches had been destroyed by the Anglican reformers almost a hundred years before Dowsing came along. All that survived was that which was difficult to destroy - angels in the roofs, gable crosses, and the like - and that which was inconvenient to replace - primarily, stained glass. Otherwise, in the late 1540s the statues had been burnt, the bench ends smashed, the wallpaintings whitewashed, the roods hauled down and the fonts plastered over. I have lost count of the times I have been told by churchwardens, or read in church guides, that the hatchet job on the bench ends or the font in their church was the work of 'William Dowsing' or 'Oliver Cromwell'. In fact, this destruction was from a century earlier than William Dowsing. Sometimes, I have even been told this at churches which Dowsing demonstrably did not visit.
Dowsing's main targets included stained glass, which the pragmatic Anglican reformers had left alone because of the expense of replacing it, and crosses and angels, and chancel steps. We can deduce from Dowsing's journal which medieval imagery had survived for him to see, and that which had already been hidden - not, I hasten to add, because people wanted to 'save' Catholic images, but rather because this was an expedient way of getting rid of them.
So, for example, Dowsing visited three churches during his progress through Suffolk which today have seven sacrament fonts, but Dowsing does not mention a single one of them in his journal; they had all been plastered over long ago.
In fact, Dowsing was not worried so much about medieval survivals. What concerned him more was overturning the reforms put in place by the ritualist Archbishop Laud in the 1630s. Laud had tried to restore the sacramental nature of the Church, primarily by putting the altar back in the chancel and building it up on raised steps. Laud had since been beheaded thanks to puritan popular opinion, but the evidence of his wickedness still filled the parish churches of England. The single order that Dowsing gave during his progress more than any other was that chancel steps should be levelled.
The 21st of August was a hot day, and Dowsing had much work to do. He had already visited the two Trimley churches, as well as Brightwell and Levington, that morning, and he had plans to reach Baylham on the other side of Ipswich before nightfall. Much to his frustration, he was delayed at Ufford for two hours by a dispute between the church wardens over whether or not to allow him access.
The thing was, he had been here before. Eight months earlier, as part of a routine visit, he had destroyed some Catholic images that were in stained glass, and prayer clauses in brass inscriptions, but had trusted the churchwardens to deal with a multitude of other sins, images that were beyond his reach without a ladder, or which would be too time-consuming. This was common practice - after all, the churchwardens of Suffolk were generally equally as puritan as Dowsing. It was assumed that people in such a position were supporters of the New Puritan project, especially in East Anglia. Dowsing rarely revisited churches. But, for some reason, he felt he had to come back here to make sure that his orders had been carried out.
Why was this? In retrospect, we can see that Ufford was one of less than half a dozen churches where the churchwardens were uncooperative. Elsewhere, at hundreds of other churches, the wardens welcomed Dowsing with open arms. And Dowsing only visited churches in the first place if it was thought there might be a problem, parishes with notorious 'scandalous ministers' - which is to say, theological liberals. Richard Lovekin, the Rector of Ufford, had been turned out of his living the previous year, although he survived to return when the Church of England was restored in 1660. But that was in the future. Something about his January visit told Dowsing that he needed to come back to Ufford.
Standing in the nave of the Assumption today, you can still see something that Dowsing saw, something which he must have seen in January, but which he doesn't mention until his second visit, in the entry in his journal for August 21st, which appears to be written in a passion. This is Ufford's most famous treasure, the great 15th century font cover.
It rises, six metres high, magnificent and stately, into the clerestory, enormous in its scale and presence. In all England, only the font cover at Southwold is taller. The cover is telescopic, and crocketting and arcading dances around it like waterfalls and forests. There are tiny niches, filled today with 19th century statues. At the top is a gilt pelican, plucking its breast.
Dowsing describes the font cover as glorious... like a pope's triple crown... but this is just anti-Catholic innuendo. The word glorious in the 17th century meant about the same as the word 'pretentious' means to us now - Dowsing was scoffing.
But that was no reason for him to be offended by it. The Anglicans had destroyed all the statues in the niches a century before, and all that remained was the pelican at the top, pecking its breast to feed its chicks. Dowsing would have known that this was a Catholic image of the Sacrifice of the Mass, and would have disapproved. But he did not order the font cover to be destroyed. After all, the rest of the cover was harmless enough, apart from being a waste of good firewood, and the awkwardness of the Ufford churchwardens seems to have put him off following through. He never went back.
Certainly, there can have been no theological reason for the churchwardens to protect their font cover. I like to think that they looked after it simply because they knew it to be beautiful, and that they also knew it had been constructed by ordinary workmen of their parish two hundred years before, under the direction of some European master designer. They protected it because of local pride, and amen to that. The contemporary font beneath is of a type more familiar in Norfolk than Suffolk, with quatrefoils alternating with shields, and heads beneath the bowl.
While the font cover is extraordinary, and of national importance, it is one of just several medieval survivals in the nave of the Assumption. All around it are 15th century benches, with superbly characterful and imaginative images on their ends. The best is the bench with St Margaret and St Catherine on it. This was recently on display at the Victoria and Albert Museum as part of the Gothic exhibition. Other bench end figures include a long haired, haloed woman seated on a throne, which may well be a representation of the Mother of God Enthroned, and another which may be the Coronation of the Queen of Heaven. There is also a praying woman in a butterfly headdress, once one of a pair, and a man wearing what appears to be a bowler hat, although I expect it is a helmet of some kind. His beard is magnificent. There are also a number of finely carved animals, both mythical and real.
High up in the chancel arch is an unusual survival, the crocketted rood beam that once supported the crucifix, flanked by the grieving Mary and John, with perhaps a tympanum behind depicting the last judgement. These are now all gone, of course, as is the rood loft that once stood in front of the beam and allowed access to it. But below, the dado of the screen survives, with twelve panels. Figures survive on the south side. They have not worn well. They are six female Saints: St Agnes, St Cecilia, St Agatha, St Faith, St Bridget and, uniquely in England, St Florence. Curiously, the head of this last has been, in recent years, surrounded by stars, in imitation of the later Our Lady of the Immaculate Conception. Presumably this was done in a fit of Anglo-catholic enthusiasm about a century ago. The arrangement is similar to the south side of the screen at Westhall, and it may even be that the artist was the same. While there is no liturgical reason for having the female Saints on one side and, presumably, male Saints on the other, a similar arrangement exists on several Norfolk screens in the Dereham area.
Much of the character of the church today comes from it embracing, in the early years of the 20th century, Anglo-catholicism in full flood. It is true to say that, the later a parish took on the tradition, the more militant and intensely expressed it was, and the more evidence there is likely to be surviving. As at Great Ryburgh in Norfolk, patronage here ensured that this work was carried out to the very highest specification under the eye of the young Ninian Comper. Comper is an enthusiast's enthusiast, but I think he is at his best on a small scale in East Anglia like here and Ryburgh. His is the extraordinary war memorial window and reredos in the south aisle chapel, dedicated to St Leonard.
The window depicts Christ carrying his cross on the via dolorosa, but he is aided by a soldier in WWI uniform and, behind him, a sailor. The use of blues is very striking, as is the grain on the wood of the cross which, incidentally, can also be seen to the same effect on Comper's reredos at Ryburgh. The elegant, gilt reredos here profides a lovely foil to the tremendous window above it.
Comper's other major window here is on the north side of the nave. This is a depiction of the Annunciationextraordinary. from 1901, although it is the figures above which are most They are two of the Ancient Greek sibyls, Erythrea and Cumana, who are associated with the foretelling of Christ. At the top is a stunning Holy Trinity in the East Anglian style. There are angels at the bottom, and all in all this window shows Comper at the height of his powers.
Stepping into the chancel, there is older glass - or, at least, what at first sight appears to be. Certainly, there are some curious roundels which are probably continental 17th century work, ironically from about the same time that Dowsing was here. They were probably acquired by collectors in the 19th century, and installed here by Victorians. The image of a woman seated among goats is curious, as though she might represent the season of spring or be an allegory of fertility, but she is usually identified as St Agnes. It is a pity this roundel has been spoiled by dripping cement or plaster. Another roundel depicts St Sebastian shot with arrows, and a third St Anthony praying to a cross in the desert.
The two angels in the glass on the opposite side of the chancel are perhaps more interesting. They are English, probably early 16th Century, and represent two of the nine Orders of Angels, Dominions and Powers. They carry banners written in English declaring their relationship to eartly kings (Dominions) and priests and religious (Virtues). They would have been just two of a set of nine, but as with the glass opposite it seems likely that they did not come from this church originally.
However, the images in 'medieval' glass in the east window are entirely modern, though done so well you might not know. A clue, of course, is that the main figures, St Mary Salome with the infants St James and St John on the left, and St Anne with the infant Virgin on the right, are wholly un-East Anglian in style. In fact, they are 19th century copies by Clayton & Bell of images at All Souls College, Oxford, installed here in the 1970s. I think that the images of heads below may also be modern, but the angel below St Anne is 15th century, and obviously East Anglian, as is St Stephen to the north.
High above, the ancient roofs with their sacred monograms are the ones that Dowsing saw, the ones that the 15th century builders gilt and painted to be beautiful to the glory of God - and, of course, to the glory of their patrons. Rich patronage survived the Reformation, and at the west end of the south aisle is the massive memorial to Sir Henry Wood, who died in 1671, eleven years after the end of the Commonwealth. It is monumental, the wreathed ox heads a severely classical motif. Wood, Mortlock tells us, was Treasurer to the Household of Queen Henrietta Maria.
There is so much to see in this wonderful church that, even visiting time and time again, there is always something new to see, or something old to see in a new way. It is, above all, a beautiful space, and, still maintaining a reasonably High worship tradition, it is is still kept in High liturgical style. It is at once a beautiful art object and a hallowed space, an organic touchstone, precious and powerful.
Simon Knott, June 2006, updated July 2010 and January 2017
It's amazing how much information one can get on a two hour walking tour ! Naturally, it depends a lot on the guide, and ours was most knowledgeable and very friendly.
This was our tour guide up to White Pass Mountain. Her name is Sunday. Yes, her name really is "Sunday". Interesting bit of history on her: born in California; grew up in Texas; and now works in Alaska. She knew a lot about the surrounding areas and history of Skagway.
Bit of a 'blurry' one this! Probably taken in between a game of cards whilst on a 'spare turn' in my capacity as a Guide Bridge freight guard! A lot of us spent a lot of time staring out of this window pondering the universe and watching the steady stream of enthusiasts walking along the platform!
WOW! The Winnipeg Leisure Guide recognized "Read By Queens". That's like a seal of approval by the city itself! AMAZING!
-- Page 40
DIAS
Destruction In Art
Symposium
9, 10, 11 September
1966
London
DIAS extends an invitation to all
artists who have employed the
element of DESTRUCTION
IN ART Symposium. If unable to
attend, artists are invited to send
documentation and photographs
for the exhibition.
DIAS also invites writers, psy-
chologists, sociologists and
others interested, to attend and
present papers that explore the re-
lations existing between aggres-
sion and destruction in society
and DESTRUCTION IN ART.
DIAS will sponsor a series of
events, Happenings, expendable
environments, films, music and
exhibitions that will take place in
London throughout September.
DIAS Honorary Committee:
Mario Amaya; Roy Ascott;
Enrico Baj (Milan); Bob Cobbing;
Ivor Davies; Jim Haynes; Dom
Sylvester Houedard; Milles; Frank
Popper (Paris); John Sharkey;
Wolf Vostell (Cologne); Hon-
orary Secretary; Gustav Metzger.
I wish to participate in the 3-day
Symposium (fee ï¿¡2.0.0.)
I wish to attend the last (public)
day of the Symposium, Sunday,
11th September.
I wish to present an Event, etc., as
part of the DIAS programme.
Please send me the full pro-
gramme.
Symposium Fee: ï¿¡2 Symposium,
public day, admission 10s.
PAPERS: Maximum length 20
minutes. Please send a summary.
PLEASE WRITE TO: BM/DIAS,
LONDON, WC1.
Art and Artists
Volume One, Number Five
August 1966
Edited by Mario Amaya
London: Hansom Books, 1966
Private Collection of Mikihiko Hori
"Art & Artists", "August, 1966", "Mario Amaya", "Art magazine", "London", "England", "Gallery Guide", "Destruction In Art Symposium", "DIAS", "Gustav Metzger", "Roy Ascott", "Enrico Baj", "Bob Cobbing", "Ivor Davies", "Jim Haynes", "Dom Sylvester Houedard", "Milles", "Frank
Popper", "John Sharkey", "Wolf Vostell"
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
"Destruction In Art Symposium (DIAS)" ad in "Gallery Guide" in "Art and Artists", August, 1966, Volume 1, No. 5 - 1
-- Page 40 & 41
DIAS
Destruction In Art
Symposium
9, 10, 11 September
1966
London
DIAS extends an invitation to all
artists who have employed the
element of DESTRUCTION
IN ART Symposium. If unable to
attend, artists are invited to send
documentation and photographs
for the exhibition.
DIAS also invites writers, psy-
chologists, sociologists and
others interested, to attend and
present papers that explore the re-
lations existing between aggres-
sion and destruction in society
and DESTRUCTION IN ART.
DIAS will sponsor a series of
events, Happenings, expendable
environments, films, music and
exhibitions that will take place in
London throughout September.
DIAS Honorary Committee:
Mario Amaya; Roy Ascott;
Enrico Baj (Milan); Bob Cobbing;
Ivor Davies; Jim Haynes; Dom
Sylvester Houedard; Milles; Frank
Popper (Paris); John Sharkey;
Wolf Vostell (Cologne); Hon-
orary Secretary; Gustav Metzger.
I wish to participate in the 3-day
Symposium (fee ï¿¡2.0.0.)
I wish to attend the last (public)
day of the Symposium, Sunday,
11th September.
I wish to present an Event, etc., as
part of the DIAS programme.
Please send me the full pro-
gramme.
Symposium Fee: ï¿¡2 Symposium,
public day, admission 10s.
PAPERS: Maximum length 20
minutes. Please send a summary.
PLEASE WRITE TO: BM/DIAS,
LONDON, WC1.
Art and Artists
Volume One, Number Five
August 1966
Edited by Mario Amaya
London: Hansom Books, 1966
Private Collection of Mikihiko Hori
Snowmobile tour guide and group at West Gate;
Ralph Anderson;
December 30, 2015;
Catalog #20454d;
Original #PC300021
The Grand Canyon NP & Grand Escalante Staircase! 45Epic Dr. Elliot McGucken ! Point Imperial! Fine Landscape and Nature Photography. Join my new 45EPIC fine art landscapes page on facebook!
facebook.com/mcgucken
Working on a couple photography books! 45EPIC GODDESS PHOTOGRAPHY: A classic guide to exalting the archetypal woman. And 45EPIC Fine Art Landscape Photography!
Fresh snow! More on my golden ratio musings: facebook.com/goldennumberratio
instagram.com/goldennumberratio
Greetings all! I have been busy finishing a few books on photography, while traveling all over--to Zion and the Sierras--shooting fall colors. Please see some here: facebook.com/mcgucken
Let me know in the comments if you would like a free review copy of one of my photography books! :)
Titles include:
The Tao of Epic Landscape Photography: Exalt Fine Art with the Yin-Yang Wisdom of Lao Tzu's Tao Te Ching!
The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography
facebook.com/goldennumberratio
And I am also working on a book on photographing the goddesses! :) More goddesses soon!
Best wishes on your epic hero's odyssey!:)
I love voyaging forth into nature to contemplate poetry, physics, the golden ratio, and the Tao te Ching! What's your favorite epic poetry reflecting epic landscapes? I recently finished a book titled Epic Poetry for Epic Landscape Photographers:
www.facebook.com/Epic-Poetry-for-Epic-Landscape-Photograp...
Did you know that John Muir, Thoreau, and Emerson all loved epic poetry and poets including Shakespeare, Milton, Homer, and Robert Burns?
I recently finished my fourth book on Light Time Dimension Theory, much of which was inspired by an autumn trip to Zion!
www.facebook.com/lightimedimensiontheory/
Via its simple principle of a fourth expanding dimension, LTD Theory provides a unifying, foundational *physical* model underlying relativity, quantum mechanics, time and all its arrows and asymmetries, and the second law of thermodynamics. The detailed diagrams demonstrate that the great mysteries of quantum mechanical nonlocality, entanglement, and probability naturally arise from the very same principle that fosters relativity alongside light's constant velocity, the equivalence of mass and energy, and time dilation.
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DecoStile Guide III - Marbella - Spain
Marbella, Puerto Banús, from Málaga to Sotogrande.
Decorar con Estilo
Decorar un hogar es algo más que dejarse llevar por la intuición. La casa tiene que adaptarse a nuestras necesidades y debemos ser capaces de plasmar en ella nuestros gustos y preferencias de una forma armónica y equilibrada, a fin de construir espacios con personalidad propia.
Deco Stile Guide es la mejor manera de acercarnos a quienes pertenecen al exclusivo mundo de la decoración, ofreciéndoles en sus páginas una completa guÃa de las empresas lÃderes en interiorismo y decoración.
Dirigido principalmente a profesionales y a un público con gusto exquisito, Deco Stile será una herramienta útil e innovadora para guiarse ordenadamente por un sector cada vez más amplio y complejo de proveedores y profesionales.
La estructura de la guÃa, dividida en diferentes secciones, está concebida para que el lector acceda fácil y rápidamente a cualquiera de ellas. Mobiliario y decoración, Iluminación, Cocinas y baños, Arquitectos, promotores y construcción, Servicios especializados y Shopping & News, son las secciones donde hallará cómo lo nuevo y clásico se conjugan, conformando una variada gama de productos impregnados de belleza y funcionalidad.
En definitiva, una guÃa completa que los ayudará a planificar sus proyectos a partir de la excelencia, mostrando cómo la belleza unida la experiencia y al buen gusto son el camino más seguro para hacer realidad la casa de sus sueños.
Decorating with style
To decorate a home is more than just being led by our intuition. The house has to be adapted to our requirements and we must be capable of showing our tastes and preferences within in a harmonic and balanced manner, in order to be able to build areas with personality.
Deco Stile Guide is the best way to come close to those who belong to de exclusive world of decoration, offering a full guide to the companies who are leaders in interior design and decoration.
Directed primarily at professionals and at a public with exquisite taste, de Deco Stile Guide will be a useful and innovative tool to find orderly guidance through a sector with suppliers and professionals that is constantly growing and becoming more complex.
The structure of the guide is divided into different sections and is conceived to give easy access to each of these. Furniture and decoration, Lighting, Kitchens and bathrooms, architects, promoters and construction, specialized services and Shopping & News are the sections where you will find a combination of classic and contemporary items, offering a varied range of products, impregnated with beauty and functionality.
In summary, a complete guide that will help you to plan your projects with style; showing that uniting beauty with experience and good taste is the most secure manner to create your dream house.
En este número:
Contenido:
Mobiliario e Interiorismo | Furniture and Interior Design
Cocinas y Baños | Kitchens and Bathrooms
Iluminación | Lighting
Arte y Antigüedades | Art and Antiques
Arquitectos, Promotores y Construcción | Architects, Promoters and Construction
Servicios Especializados | Specialized Services
Shopping y Noticias | Shopping and News
Directorio | Directory
Ads: La Murrina, Porcelanosa, Frette, Budri Marble Emotions, Snaidero, Sicis, the art mosaic factory, Safer Siematic, Fortuny, Tasstico, Lams by Venetia Studium, Barovier & Tosso, La Murrina, De Majo, Mazzuccato, Marienr, Creaciones Cordon, Schuller, Paolo Lucchetta, Patricia Darch, Leatherwoods, Loft Design, Fratelli Radice, Muebles Picó, Point, VTA3, D&D Design & Decoration, Ocean Club, Domosat, HotSpring, Soher, Visionnaire, Jumbo Collection, Mice Versalles, Silik, Elements Living, Meroni, Elledue, Colombo Stile, Angelo cappellini, Juliette´s Interiors, House interiors, El Estudio, Mobile & Diseño, Beauhouse Interiorismo, Salonia, Metal Design, Abdon & Lucas, Armilux, Bakari, Benedetti Mobili, Canella, Creazioni, Elledue, Gimenez Collection, Visionnaire, Ipe Cavalli, Loani Linen Home, Luxury Homes Design, Meroni, Euvada, Geneva Windows, Piscinas Godo, Deckspain, Cerrajeria artÃstica Lemos, Diseños y Tejados Tropicales, Aralia Jardines, Loft Design, Coleccion Alexandra, Cape Reed, AV Premium, Sun Square, Dairin Decoración, Oriental Design, Kettal, Cabopino Lighting, Tecnopaisajes, Metal Design, Mice, Ofifran, Decoración AndalusÃ, Ofipapel, Silik, Vismara Design, Sierra Blanca Estates, Priemarsol, Estudio Arque, J.A. Flores Interior Designer, Carlos Lama Arquitecto, Sierra Blanca Quality Estates, Construtec, Volubilis, Bulthaup, Berloni, Invita Cocinas, Estepona Kitchen Design, Xey Cocinas, Cocinas Castro, The Singular Kitchen, Joop, Steinberg Home, Marazzi España, Ambientes Karem, Marbelbaths, Glas-Studio, Messeg Design, G. Vega, Windisch, Pardo Stone Design, Marieux, Renzo del Ventisette, Terra Luz, Beby Group, Italamp, Collection World, Portobello Antigüedades, Artisans, Sierra Blanca Estates, Waen Arquitectos, Chelini & Giovannini, Carlos Lamas Arquitecto, MPR Projects, Archinova, Pool Concepts, Tecnopaisajes, The Stone Gallery, Grupo G, Artemasol, Atelier Sedap, Alpujarreña, Metropolitan Closet Company, Cevisama, D´hondt Puertas, Rosendo Navarro, Casa del Mármol, Materiales de Construccion Serrano, Vitromar, Frankmark, Vip Sound, JHK Special Gardens, Barra Fontaines & Cheminees, Velas la Ballena, Talenti, Vismara, Berker, Fuente Decor, Geothermal Concepts, Cortinajes León, Lumasur, Santos y Pestana, CarpinterÃa del RÃo. Casa Pasarella, Fiam, Feria de Valencia, Construmat Barcelona, Abitare il Tempo, ISH Frankfurt
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Guide diagram for: Amsterdam in 1625 / in nine sheets / by Balthasar Florensz. van Berckenrode / published in Amsterdam by Philip Molenvliet in 1625 / Reproduction in actual size in: "Amsterdam in de Zeventiende Eeuw" [1897].
Guide Friday is most commonly associated with open top tour buses but also operated a handful of other vehicles. In February, 2003, former Bostocks of Congleton Leyland Leopard Plaxton Supreme IV WCA 942W was seen at the new operating centre. Guide Friday had been taken over by Ensignbus a year earlier.
Mountain Cabin Sunset! Malibu Canyons Landscape Colorful Clouds! Dr. Elliot McGucken HDR Malibu California Fine Art Landscape & Nature Photography! Malibu's Epic Canyon PAramount Ranch! Enlarged to Nikon D850 resolutions: 8256 x 5504 pixels. Socal Art
My Epic Gear Guide for Epic Landscapes & Portraits!
Everyone is always asking me for this! Here ya go! :)
Epic books, prints, & more!
The Tao of Epic Landscape Photography:
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's . . . !
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
Epic Art & Gear for your Epic Hero's Odyssey:
Follow me my good friends!
Facebook: geni.us/A0Na3
Instagram: geni.us/QD2J
Golden Ratio: geni.us/9EbGK
45SURF: geni.us/Mby4P
Fine Art Ballet: geni.us/C1Adc
Photographing Women Models! geni.us/m90Ms
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic...
Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey
Ralph Waldo Emerson. The happiest man is he who learns from nature the lesson of worship.