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Nuclear Harmonization Standardization Initiative (NHSI) Kick-off meeting reception hosted by Rafael Mariano Grossi, IAEA Director-General at the Agency headquarters in Vienna, Austria. 23 June 2022
Photo Credit: Dean Calma / IAEA
Thanks to a double voice box, this thrush can self harmonize to produce beautiful, haunting songs. Seen at Summerhaven. Mt. Lemmon.
Elmer Schock holds a DMA in the Literature and Performance of Choral Music from the University of Colorado, Boulder, an M. Ed. From the University of North Dakota, Grand Forks, and a B.S. degree from Dickinson State University, Dickinson North Dakota.
Schock was born in Elgin, North Dakota in 1943. His mother taught he and his older sister to harmonize so that she could add her own harmonies; he was 5 years of age. Schock’s elementary and high school years were animated by the musical training of Leo Froelich and subsequently by Duane Emch, who coached him to his first of countless performances of Every Valley shall be Exalted from the Messiah. After high school, at Dickinson State, he encountered Dwaine Nelson’s inspirational teaching and that of Loran Eckroth. Nelson was a singular influence, foundational in defining Schock’s philosophy and approach to his own teaching.
In the course of his 40 year career, Schock held Director of Choral Music positions at Colorado Christian University, Lakewood; Hastings College, Hastings, Nebraska; University of Mary, Bismarck, North Dakota, and Bismarck Junior College, Bismarck, North Dakota.
His choirs performed at leading choral conventions and international music festivals, among them an English language premiere of Three Sacred Motets by Zoltan Gardonyi for the College Music Society Convention in Boulder, Colorado.
As a tenor soloist, Schock appeared in performances of Schubert’s Mass in G, Carl Orff’s Carmina Burana, Mendelssohn’s Elijah, Honneger’s Le Roi David, as well as the Bach Magnificat and Gustav Holst’s Christmas Day. He also was a member of the French Horn section of a number of orchestras, including as Principal in the Hastings Symphony Orchestra, Hastings, Nebraska.
Schock received grants from the Nebraska Endowment for the Humanities and the Nebraska Arts Council for performances of J. S. Bach’s Cantatas with noted Bach scholar Elinore Barber; a program of Music in the Medieval Church featuring Chartres Cathedral with leading stained glass scholar, Malcolm Miller; and a performance of Duruflé’s Requiem with the Nebraska Chamber Orchestra.
Among Schock’s research activities are publications on Polychoral Music of the 16th Century and The Polychoral Marian Antiphon’s of Sebastian Ertel. The later project also resulted in performing editions of the Marian Antiphons from Ertel’s Sacrosantum magnae et intemerat Virginis canticum 8v.cum intonationibus psalmorum.
Most recently, Schock served as Adjunct Professor of Voice at the University of Northern Colorado, Greeley, Colorado. At that time, he was also Director of Music at First Congregational Church and the Founder / Director of the Union Colony Singers in Greeley. In his twenty-one years at First Congregational, he conducted major works, produced Arts in the Church festivals, prepared innovative Lessons and Carols services, organized Jazz Sunday, and administered the music program.
Schock retired at the beginning of 2014. He and his wife, the noted soprano June Schock, now maintain organic vegetable and flower gardens, bushes, trees, horses, chickens and other assorted critters on their Renaissance Farm in West Greeley, Colorado.
Two primary school buildings by Herman. Hertzberger, 1980-1983, Amsterdam
Grouped around a communal courtyard are three schools, the so-called Apollo schools, which harmonize with their surroundings because of their villa-like appearance. The Montessori School and Willemspark School were designed by Herman Hertzberger, the third school was designed by Liesbeth van der Pol. The two schools by Hertzberger are based on an identical basic scheme: a square, in the four corners of which are classrooms grouped around a central hall. By introducing variation in the detailing and through the positioning of the windows, the architect has given each school its own identity. The schools have been positioned so that the schoolyard is divided into a semi-public section and a more sheltered section; this latter area has been specially designed for small children. The infants have an entrance on the ground floor, beneath the exterior stairway. The entrances for the older children are situated above, on either side of a spacious hall which also functions as an auditorium. This space is used not only for performances, but also as a place where children can work individually or in groups. The plan functions in such a way that users and visitors are led via subtle transitions from the public street to the compact enclosed space in the school.
Nuclear Harmonization Standardization Initiative (NHSI) Kick-off meeting reception hosted by Rafael Mariano Grossi, IAEA Director-General at the Agency headquarters in Vienna, Austria. 23 June 2022
Photo Credit: Dean Calma / IAEA
I don’t know why you would use this title for an album.
I will admit, Wale and I only have this in common. We love Seinfeld. That is my absolute favorite sitcom. Wale cleverly puts "The" in front of each title track, just like how each episode title of Seinfeld was structured. So, the first song, is titled "The Intro About Nothing". And at the start of every track on here, Jerry Seinfeld is featured talking about something related to the song. Ultimately, Wale made songs about things he and Seinfeld were discussing. This song does feature some pretty interesting production, it's a bit uplifting and soulful, and during the hook it does pick up - loud percussion and the vocal harmonizing in the background adds a lot. I like it. This is an intro that reminds me of something like J. Cole's and Logic's intro to their albums.
Music:
He explains the overall concept behind this Album About Nothing on the bridge, saying:
I figure they don’t care nothing about albums
So why not give them an album about nothing
"The Helium Balloon" - Wale is the Helium Balloon. When the listener listens to and absorbs his music they are “lifted” just as a helium balloon elevates in air. Again, with some pretty cool production. Produced By DJ Dahi & Sonny Digital.
[Verse 1]
I used to put my faith in the yarn, and now communication is gone
I agree we've gone distant, my new location the charts
Naw, mm, can't count the days, but let's just say five
Years, coming of age, it make you blow by your day job
So cry for me, wild for me
It's a horror story, eyes 20/20s that I-M-E your normal C
And I'd be different gettin' diplomas in peace
But gettin' applause and across, I'm hittin' Diplo for a beat
Slight work to Dahi, it's a purpose y'all see
In a world of dopplegangers, niggas ain't worth the copy
You capiche? You got me cold
Niggas'll fly you up this high, won't let you fly to the moon
Goin' up!
And right after this, the beat flips. It's cool, it sounds atmospheric with some trap elements.
I suppose the next track "The White Shoes" is taking a critical look at consumer culture.
[Verse 1]
Gucci S. Dots, whole hood had 'em
Ice cream 'fore the hypebeasts that's into fashion
Being forreal, yo try being Pharrell
When your black ass in a back class, the fronting was real
No Lauren London, we was on a budget
You know, sharin' Old Navy so the army could be fresh in public
But this nigga really needs to stop singing the hooks, because he cannot sing. Other than that, it's nice to see Wale talking about something and actually have some clever wordplay and whatnot.
I wasn't able to get into "The Pessimist", a song featuring J. Cole - at first. But while reading the lyrics, it made`it easier for me to enjoy. He touches on “black” reality shows, family unity and social disruptions leading to incarceration. And it's clear at this point that, like a lot of rappers, Wale knows how to pick dope beats, so you like that about his projects, but his public persona/personality is not so likeable. He's not a terrible lyricist either, he's putting out content with substance here. J. Cole is only on the hook, and I wound up feeling indifferent towards him.
"The Middle Finger" is probably the most promising song on here, with the intro and first verse. Dope ass beat (DJ Dahi), and Wale employs a great flow. Until he fucks it up with the hook. He. Cannot. Sing. Something else I noticed, he seems to only have two verses on each song instead of the usual three. This song is about Wale’s problems and how everybody is trying to tell him what to do. You know Wale ain't no stranger to feeling butthurt.
Sampling New Edition’s classic song “If It Isn’t Love,” Wale tells us about "The One Time in Houston", a city known for having beautiful, thick women / strippers that make men fall in love, though they are only focused on getting their money. Production is going for a more seductive, slow tempo. However, that keeps me from holding a strong interest in the song. And it was at this point in the album where I started to feel more and more bored with each song. Perhaps this is the whole theme of the album, not working in the albums favor. Wale's voice begins to lose any charisma that it once had earlier in the project, it becomes more consistently monotone. The production on "The Bloom" is noteworthy, its soulful. During "The Matrimony", Wale does mention the unfortunate experience his family had with the miscarriage, the song also deals with marriage in general, Usher singing on the hook. It's a nice effort, didn't really hit me emotionally. Last song ends the whole project on a meh note.
Definitely an album about nothing.
Related articles across the webWale "White Shoes" VideoWale's new album, 'The Album About Nothing,' inspired by 'Seinfeld'Wale Reveals 'The Album About Nothing' Tracklist, Cover And Release DateReview: Wale Puts Out His Most Personal Project to Date With 'The Album About Nothing'Stream Wale's 'The Album About Nothing'Wale Says He Was Depressed While Making 'The Album About Nothing' smj12.com/?p=1388
A cult classic turned commercial - fresh green apples perfectly harmonized with refreshing melons and juicy pears.
Unisex.
$3.75 ea.
Elvis impersonator Bill Cherry harmonizes with his backup singers. Picture taken at the Rialto Theatre in Joliet Illinois.
Free Image of Everybody let’s try and harmonize via the internet!!! By drfriedlanderdvm.com media.tumblr.com
Resolution cake image: 500 x 281 · 307 kB · animatedgif
Soft harmonizing colors of the walls of these Palaces painted with light of delicate tints, and reflected in the pools, gloq in a sea of iridescence.
The gleaming Spire to the Sun, as mirrored in the shimmering waters in the Court of Reflections, completes the "Glory of Night" at the Fair.
Mailed from San Rafael, California to Mr. Henry Dunckley of Centralia, Washington on May 11, 1939:
Left Centralia Saturday 12 o'clock arrived at Marshfield about 8 o'clock. Left Marshfield Monday morning 5 o'clock A.M. Arrived at San Rafael at Mr. Culps about 8 o'clock PM. Went to the fair yesterday, Fine Day. Ada.
Pictorial Wonderland Art-Tone Series
Stanley A. Piltz Co.
186
CAPA-024516
State Historical Museum
The huge red brick building that closes Red Square makes it truly "red". Two elongated towers harmonize with the Kremlin and GUM, and the abundance of kokoshniks, architraves, shirinkas, and tents give the building the appearance of a terem.
However, it is not as ancient as it seems.
The northern part of Red Square has been home to the Zemsky Prikaz since the 16th century, for which a two-story stone building with a tower and architraves in the Naryshkin Baroque style was built in 1699. Later, part of the premises came under the jurisdiction of the Main Pharmacy, and in 1755, Moscow University opened here, moving to the building on Mokhovaya only in 1793. Then, the city government offices were located in the old building of the Zemsky Prikaz. In 1874, the Moscow Duma allocated this site for the construction of the Historical Museum; this idea was put forward in 1872 during the Polytechnic Exhibition dedicated to the 200th anniversary of the birth of Peter I. Its historical exposition, dedicated to the Crimean War, became the core around which the museum collection began to form.
I don’t know why you would use this title for an album.
I will admit, Wale and I only have this in common. We love Seinfeld. That is my absolute favorite sitcom. Wale cleverly puts "The" in front of each title track, just like how each episode title of Seinfeld was structured. So, the first song, is titled "The Intro About Nothing". And at the start of every track on here, Jerry Seinfeld is featured talking about something related to the song. Ultimately, Wale made songs about things he and Seinfeld were discussing. This song does feature some pretty interesting production, it's a bit uplifting and soulful, and during the hook it does pick up - loud percussion and the vocal harmonizing in the background adds a lot. I like it. This is an intro that reminds me of something like J. Cole's and Logic's intro to their albums.
Music:
He explains the overall concept behind this Album About Nothing on the bridge, saying:
I figure they don’t care nothing about albums
So why not give them an album about nothing
"The Helium Balloon" - Wale is the Helium Balloon. When the listener listens to and absorbs his music they are “lifted” just as a helium balloon elevates in air. Again, with some pretty cool production. Produced By DJ Dahi & Sonny Digital.
[Verse 1]
I used to put my faith in the yarn, and now communication is gone
I agree we've gone distant, my new location the charts
Naw, mm, can't count the days, but let's just say five
Years, coming of age, it make you blow by your day job
So cry for me, wild for me
It's a horror story, eyes 20/20s that I-M-E your normal C
And I'd be different gettin' diplomas in peace
But gettin' applause and across, I'm hittin' Diplo for a beat
Slight work to Dahi, it's a purpose y'all see
In a world of dopplegangers, niggas ain't worth the copy
You capiche? You got me cold
Niggas'll fly you up this high, won't let you fly to the moon
Goin' up!
And right after this, the beat flips. It's cool, it sounds atmospheric with some trap elements.
I suppose the next track "The White Shoes" is taking a critical look at consumer culture.
[Verse 1]
Gucci S. Dots, whole hood had 'em
Ice cream 'fore the hypebeasts that's into fashion
Being forreal, yo try being Pharrell
When your black ass in a back class, the fronting was real
No Lauren London, we was on a budget
You know, sharin' Old Navy so the army could be fresh in public
But this nigga really needs to stop singing the hooks, because he cannot sing. Other than that, it's nice to see Wale talking about something and actually have some clever wordplay and whatnot.
I wasn't able to get into "The Pessimist", a song featuring J. Cole - at first. But while reading the lyrics, it made`it easier for me to enjoy. He touches on “black” reality shows, family unity and social disruptions leading to incarceration. And it's clear at this point that, like a lot of rappers, Wale knows how to pick dope beats, so you like that about his projects, but his public persona/personality is not so likeable. He's not a terrible lyricist either, he's putting out content with substance here. J. Cole is only on the hook, and I wound up feeling indifferent towards him.
"The Middle Finger" is probably the most promising song on here, with the intro and first verse. Dope ass beat (DJ Dahi), and Wale employs a great flow. Until he fucks it up with the hook. He. Cannot. Sing. Something else I noticed, he seems to only have two verses on each song instead of the usual three. This song is about Wale’s problems and how everybody is trying to tell him what to do. You know Wale ain't no stranger to feeling butthurt.
Sampling New Edition’s classic song “If It Isn’t Love,” Wale tells us about "The One Time in Houston", a city known for having beautiful, thick women / strippers that make men fall in love, though they are only focused on getting their money. Production is going for a more seductive, slow tempo. However, that keeps me from holding a strong interest in the song. And it was at this point in the album where I started to feel more and more bored with each song. Perhaps this is the whole theme of the album, not working in the albums favor. Wale's voice begins to lose any charisma that it once had earlier in the project, it becomes more consistently monotone. The production on "The Bloom" is noteworthy, its soulful. During "The Matrimony", Wale does mention the unfortunate experience his family had with the miscarriage, the song also deals with marriage in general, Usher singing on the hook. It's a nice effort, didn't really hit me emotionally. Last song ends the whole project on a meh note.
Definitely an album about nothing.
Related articles across the webWale "White Shoes" VideoWale's new album, 'The Album About Nothing,' inspired by 'Seinfeld'Wale Reveals 'The Album About Nothing' Tracklist, Cover And Release DateReview: Wale Puts Out His Most Personal Project to Date With 'The Album About Nothing'Stream Wale's 'The Album About Nothing'Wale Says He Was Depressed While Making 'The Album About Nothing' smj12.com/?p=1388
1. Just Call Him Gangster, 2. nyc discokeh, 3. sunrise flare, 4. hbm~cross my hearth, 5. 11:100 Strangers::Rick, 6. mini g r o o m, 7. in my pocket today..., 8. Untitled, 9. 269/365: be-bop!, 10. 9 TRUTHS and 1 LIE ~ BAM, too! (17:52), 11. Day 251 of 365, 12. bokeh love, 13. Charles {+1}, 14. reflection , 15. type & writing, 16. the captain, 17. happy fence (try to be in balance) friday! (explore), 18. Bench Monday, Study in opposites, 19. brit pop., 20. flickr.com/photos/38890273@N08/4993103393/, 21. Untitled, 22. yes you!, 23. C R O S S I N G, 24. Yellow cars, 25. Memories Seller
Created with fd's Flickr Toys
Art Nouveau it was inspired by natural forms and structures, not only in flowers and plants, but also in curved lines. Architects tried to harmonize with the natural environment.
To visualise this philosophy I took pictures of art nouveau architecture as well as plants and combined them in one picture.
This picture is double exposure done on analogue film. The film is exposed taking architecture pictures and once all pictures are taken the film is wind back to be exposed a second time. This time pictures of natural and floral objects are taken. Since one hardly remembers what picture was taken when in the first round, it is a lot of random process how the objects overlay in the final picture. But surprise is part of the fun.
What does it take to harmonize data across many diverse economies? Hear the experience of how countries in the EAC worked with the IMF’s regional capacity development center, East AFRITAC, to produce fiscal statistics based on the latest international methodology.
This was my favorite of all the birds we saw in China. Each bird in the small flock has a particular distinct sequence of notes; when they all sing together they harmonize beautifully in a way I've never heard birds sing before.
Multiply humanity,
Harmonize insanity.
Shedding light of remedy,
Pulling tight of clarity.
Shattered glass,
In flower beds.
Humanize,
Inhuman ends.
It's all the same for the Dreamers,
It's all the same,
For us.
www.youtube.com/watch?v=JGDSWFkLOKc
LOOK AT THAT RAINBOW :D
Project Architect : Sunil Yadav - ARB (UK) - Msc Advanced Architecture, Bsc (Hons) Architecture,
(Main Designer) PG Dip International Planning & Sustainable Development
Design Team Manager : Anil Yadav - COA (INDIA) - B.Arch
Design Team : Sahil Batra, Sanjay Kumar
lIlustration : Tikendrajeet Wahengbam Singh, Potsangbam Anandibala
3d Rendering : Rahul Kumar - B.Arch , Josue Romero
National Museum of World Writing
The proposed Museum of World Writing is located at Central park of Songdo International Business District known as 'ubiquitous city'. Since this city of 1500 acres is build from the scratch on reclaimed land from Sea, the proposed form respect and consider this aspect as well as the actual site within which the building will sit.
The site is of odd geometry where essentially three geometrical shapes fuse together to form a shape with eight edges.
The proposed building form reciprocate these aspects and harmonize not only to the site within the site (Central Park) but the whole built environment at vicinity, the new Songdo City, its port (second busiest in Korea) and to the countries' busiest airport as the site is situated parallel to the city's main access to the airport.
The museum is sitting on a podium shape which is influenced by site's geometry as well as waterfront and the various direct and secondary access routes to the central park.
Since public spaces are most essential element of any city, which not only influence the lives of individual but society as a whole. This museum is intended to be belonged to everyone and design incorporates these essential and practical aspects delivering a truly functional pragmatic museum.
Design Concept - in Continuation
A museum is the symbol of regeneration, preservation and continuation and this has been the essence of our proposed design process.
The design for the National Museum of World Writing is based on intuitive and sympathetic approach to the context, nature of site and Songdo city as a whole. The vast scale of site , the central park , the reclaimed land from sea, the location of Songdo within Incheon City, the high rise office towers in surrounding and the purpose of museum itself assists to provide the clues for design concept.
The design is intended to enhance , create, reinvent the missing or existing key pedestrian link, built mass and other open spaces of the central park and its immediate built urban environment. The idea is to have a museum building which is welcoming and friendly to public and appropriately embraces site surrounding and context without dominating it.
The museum building is sitting on an elevated plinth / podium. The plinth consists of basement which is housing the parking, services, the storage , special exhibition gallery, and a central atrium with cafe. Two connecting entries are introduced for visitors to improve the connectivity at this level and eventually to the building as whole.
Design Concept - Abstract
The discovery of first metal by man becomes his first step towards modernization and arguably the invention of script is 'first step to the path leading to civilization'. The invention of written script is what may have distinguished and established human's superiority over animals. Therefore it won't be an over statement to make that 'Written script invention is probably the greatest invention of human's during Bronze-age to Iron- age.''
The first discovery of metal was Copper followed by bronze and ultimately Iron. The continuity of this period is displayed by using and exhibiting the COR-TEN Steel as main cladding material. These facade's cladding will have ancient language symbols and scripted and cut-through them. The similar pattern of Language Scripts engraved in concrete and also displayed on the translucent glass - the emitting light in night will exhibit and remind the city of relevance of this invaluable treasure.
The building also consists of eight Large columns which are intentionally designed as little disproportionate to the form. The idea behind is to represent the 'known eight direction' across the globe - of which this museum belongs to. The columns are inclined to have an origin beneath the earth - somewhere below the museum itself - The torch light from them to the sky - will be represent the infinity - a tribute to all the lost and undocumented world scripts - which took centuries to evolve and then lost forever - without a trace..
Building layout and form
The proposed building layout is simple and symmetrical, the architecture in center is open and raw resulting in a public building which is clean, efficient and visually and functionally legible. The building is non imposing in terms of shape and size - giving freedom to the visitors as how to use it.
The museum building by its compact 'Zero' inverted shape and variation in height helps to retain the integrity of the central park and surrounding by respecting the open character of park and area around. Main public functions are easily accessed with a clear separation of private and service functional spaces. The building shapes doesn't have any sharp edges thus retaining the continuity on the external skin of building - avoiding essentially any rear or front and thus keeping the balance of visitors moment from all side .
The museum makes best use of its ellipse shape with continuous ring of translucent glass & clear glass - which in day time create an atmosphere of transparency and of welcoming feeling and at night the multi-layer facade of translucent and clear glass diffuse and reflects the internal light making the museum as a lamp / lantern of the central park.
The corridors and the projected balconies around the central atrium will encourages people to flow within this public building uninterruptedly. The delicately assembled fragmented volumes will create logical passages in between, which will allow the visitors to break from long corridors and also offers the flexibility about use of space. The proposed design promotes openness and boost public engagement. Visitors will be able to enjoy and appreciate the exhibits and the building itself while walking through these simple magnificent but generous corridors.
The lavish passage in-between the exhibition galleries will be a complementary open space. The comfortable atmosphere creating an contradictory feeling of being social and familiar.
Gracing the Park and waterfront
The distinctive yet elegantly 'sculptured -like' appearance sitting majestically on podium provides a charismatic addition to the park and city skyline. Clearly visible by its distinctive yet fitting shape and size in cluster of akin high rise buildings. The museum building taking advantage of spectacular setting of park and waterfront will leave a remarkable imprint on the visitors arriving either by land , sea (part) or air (airport).
The Museum Building - with circulation Strategy
Once in Museum the central staircase is the primary vertical circulation. It is split on either side of exhibition galleries and public spaces. A linear straight stair reaches directly to the second floor's Education area and Library.
The functional spaces are also connected through two ramps - parallel to each other. The internal ramp and the roof of internal ramp is denoted as external ramp - The internal ramps connects the Ground floor to First and Second floor and ascends within the void along with longitudinal southern side of the building offering a majestic view of the park. The external ramp (roof of the internal ramp will have uninterrupted access to top terrace to the public from outside the museum. On the North East side. The external stairs takes visitors to the lower terrace and there will be provision for the Museum staff to access the First floor office from these stairs.
Materials
COR-TEN Steel
The use of Cor-ten Steel as facade cladding pay homage to 'Copper to Iron Age" during which the various language scripture were evolved and developed from Copper-age to Bronze-age and then throughout Iron Age. The material as a facade skin will also be easy to maintain and with adequate paint coating protection will face the Sea's salt wind in desired and natural process - as the World's language scripts have been through.
Translucent Glass
The museum will makes best use of its ellipse shape with continuous ring of translucent glass & clear glass - which in day time create an atmosphere of transparency and of welcoming feeling and at night the multi-layer facade of translucent and clear glass diffuse and reflects the internal light making the museum as a lamp / lantern of this park.
Conclusion
The proposed 'National Museum of World Writing' will ultimately be a unique, conveniently accessible and a very public building. It will be effectively a new addition to destination's of Songdo city along with waterfront and Central park.
This monumental yet elegant and imposing building will not only be an addition to Incheon but a tribute to the "all known and undiscovered , documented and unrecorded, prevailing and forgotten' World Scripts.
This timeless and priceless treasured collection of humanity which continuously and constantly evolved from 'Stone-Age' through Iron-age to present 21st Century needs equally commensurate building - if not less.
The proposed building is designed to meet most of these aspects and design requirements - if not all.
Miami est. 1896, pop. 2.6MM • Coral Gables est. 1925, pop. 50K
• villa-like houses with walled gardens • patterned after 18th c. French architecture • Italian Renaissance inspired houses on N side of block designed by NY architect Mott B. Schmidt (1889–1977), designer of notable homes such as Morgan & Vanderbilt houses at Sutton Place, NYC -The Architecture of Mott B. Schmidt
• rustic houses on S side designed by Philip L. Goodwin (1885-1958), author of "French Provincial Architecture" (1924), co-designer of Museum of Modern Art, NYC • 11 lots in French City Village original plan • anticipated townhouse developments of 70s • additional homes with sympathetic designs added in recent decades
• city of Coral Gables (1925) created by Duxbury, MA transplant George E. Merrick (1886–1942) on family's 3K acre plantation • Merrick's vision of a "Riviera of the Tropics" influenced by City Beautiful Movement • $100MM one of the 1st planned communities in US
• unifying theme was "castles in Spain made real," expressed in "Mediterranean Revival" architecture, a term said to have been coined by Merrick cousin, architect H. George Fink (1891-1975) • the French/Italian inspired architecture was, “a combination of what seemed best in each, with an added touch of gaiety to suit
the Florida mood.” -George Merrick
• Merrick's team: architects, landscape planner, artistic advisor, real estate officer, engineers • Supervisor of Color Phineas Paist (1873-1937) became supervising architect, responsible for ensuring aethetic consistency through codes, established Board of Architects Review Panel that still functions • Paist bio • Phineas Paist & the Architecture of Coral Gables (pdf)
• opened with strong sales, Merrick invested profits in expansion, founded U. of Miami • for unknown reasons, Merrick decided to diverge from consistent Mediterranean aesthetic at peak of land boom in 1925 • sold former OH governor Meyers Y. Cooper (1873-1958) hundreds of acres for express purpose of building houses/villages in traditional designs of other states, nations • goal was authenticity, not imitation, each of 14 planned villages to be designed by architect familiar with chosen style
• "Seven Miami architects and five New York architects are uniting in working out the details of the great planning of house construction. Thirteen styles are being used, drawn from various regions and nations which harmonize with the Mediterranean style now in use." -Meyers Y. Cooper • before 1926 Great Miami Hurricane & land bust ended construction, 7 villages completed: Dutch South African, Chinese, French Normandy, Florida Pioneer/Colonial, French Country, French City, Italian • fewer than 80 of the 1000 planned residences built
• Florida Land Bust broke Merrick, removed from Coral Gables commission, moved to Matacumbe Key, to run wife's resort • returned to Gables to be county postmaster 2 yrs. before death
• 1926 photo • Villages of Coral Gables -The Devoted Classicist • Remnants of a Dream in Coral Gables -Global Site Plans • George Merrick Villages -Bittrex
British Gun Camera Harmonising Unit
Unit Harmonising
Ref nº 14A/1443
A[ir] [Crown Logo] M[inistry]
Serial nº 2324
W.M.C Ltd
This harmonising unit belongs to Type G45 gun camera (12 volts Ref. No. 14A/1389 or 24 volts, ref nº 14A/1340) made by Williamson Mfg. Co. Ltd. London & Reading.
A harmonisiing unit is a plug-in mirror unit used to align the G45 gun camera (which was mounted in the wing next to a machine gun) with the gun alignment of a Spitfire (and other fighters). The harmonising unit fitted into a circular access hatch on the top of the camera body, and projected outside the wing surface allowing the field of view to be checked. The camera mounting could then be adjusted to aim the camera lens, covering the point at which the bullet streams from the guns converged in front of the aircraft
The G45 gun camera was used throughout WWII by British fighter units and armament schools from 1939 onwards.
Note the Americanised spelling of 'harmoniZing' which was used by the RAAF during WWII. Note that the black wooden box has its own part number (14A/1439).
© Dirk HR Spennemann 2010, All Rights Reserved
The Mighty Wurlitzer
The Beginning
The Wurlitzer Organ to be installed in the new Theatre, Opus 1524 was shipped from the Wurlitzer Factory on November 19, 1926. Listed as a Model 235 Special, the organ differed from a standard 3 manual 11 rank Model 235, by substituting an Oboe Horn rank of pipes from the standard Salicional pipes usually found on this model. Other differences included the omission of the standard remote Piano, and a 5 H.P. blower instead of the 7½ H.P. The console was painted and decorated to harmonize with the Theater’s interior, by Wurlitzer’s Band Organ Artist.
In the early 1930’s use of the organ was discontinued as a regular program feature, and heard thereafter only on special occasions. Time and lack of maintenance took its toll on the instrument. When Mr. Carlton Finch and his father Harry obtained an OK from the theater’s management to restore the organ in 1944, only part of the great manual would play.
There followed months of hard labor, cleaning magnets, removing fallen plaster from organ pipes, replacing missing and damaged pipes, and cleaning of electrical contacts. On D-Day 1944 the organ was in good enough shape for organist Carlton to celebrate the event by giving the first public concert at the Riviera in at least 10 years.
Sustained Silence
Although the Finchs continued restoration and maintenance on the organ, the public did not hear the organ again until the Riviera’s management introduced “teenage dance parties” on the Theater’s stage with dance music supplied by Carlton at the Mighty Wurlitzer. The dance parties did not last for long, and upon their departure in the early 1950’s, the organ again became silent, except for weekly “off hour” practice sessions by Carlton.
It was not heard again until March 18, 1962, when the Niagara Frontier Theater Organ Enthusiasts sponsored a concert featuring Carlton on the Mighty Wurlitzer. The theater organ club thereafter held one or two annual concerts at the Riviera, usually on Sunday morning right up to regular matinee show time. The theater admission was charged at the box office for these concerts, which also entitled the members to stay and see the regular show.
Progress
June 26, 1967 saw a drastic departure from the usual “Sunday Morning” club organ concerts at the “Riv”. For this concert, the theater was rented on a weekday evening, a name artist from out-of-town was hired to play, and the Riviera’s doors were opened to the public for the event. The club was barely able to meet expenses-plus, but this concert set the pattern for the many successful monthly concerts, as we know them today. By 1969 these public concerts were heard at the Riviera 12 to 14 times yearly, with frequent use of the organ for special events as well.
During this time the organ itself saw improvements, as well as expansion. The dormant elevator was repaired and once again the console rose in splendor from its pit. Various instruments, and pipes within the organ began to sound forth. A sheet of board found blocking the sound from the pipe loft was removed; why it was placed there, and by whom, remained a mystery.
During the one-year closure of the theater, however, the monthly organ concerts continued as usual, the theater being opened for one night a month. Work on the organ also continued. The Wurlitzer organ from the Kensington Theater in Buffalo was donated to the Riviera Theater project in 1970, and although that organ had been badly damaged by flood and vandalism, many of the parts of this organ were eventually incorporated into the “Riv” organ. The club purchased a brand new set of Post Horn pipes for the organ, which were playing by the autumn of 1971. New modern electrical relays and switches were purchased by the club to compliment the old existing equipment. This would allow planned expansion of the organ’s original eleven ranks of pipes.
To help finance the Riviera’s secure future, the club made an offer to purchase the Wurlitzer for a substantial amount, along with a provision to have the instrument remain in the theater. This offer was eventually accepted, the N.F.T.O.S. now owned the organ and at least could assure its future.
Meanwhile, the enlargement and restoration of the Wurlitzer by club members continued. As mentioned, a player piano was acquired and converted to play remotely, from the organ’s console. Additional organ parts and pipes were donated to the Riviera project from Buffalo’s Century Theater and installed by the work crew. The console itself received a facelift all of the artwork and paint was professionally done by an artist. The stop tablets were rearranged, and many new one were added. Most of this work was done in 1974. By 1975 the organ had grown to 16 ranks of pipes.
An Organ for the Future
By the late 1990’s, the organ, while playing, was starting to show its age. The relay, which was located in two separate rooms in the basement consisting of electropneumatic relays much like an old telephone system were becoming unreliable. Consisting of literally miles of wiring and thousands of individual contacts it was simply wearing out after many years of continuous use causing dead notes and other undesirable problems. Along with the relay the combination action in the console, which allows an organist to save and activate groups of stops using buttons called pistons located between the keyboards was also having issues. The original system required an organist to set each piston and stop using wire springs about the size of a paperclip arranged on a large board in the orchestra pit. The system was both cumbersome and limited as each organist had to use the same set of saved settings if there was not time to change it before a show. The decision was made to undertake the huge task of replacing both the combination action and relay. A modern, computer based system by Artisan was selected to handle both functions that would provide several advantages over the original 1920’s relays. Volunteers labored for over a year to essentially disassemble the console and replace the guts with modern technology. The chambers were also completely rewired with modern color coded wiring to provide ease of maintenance and to meet modern electrical code. As a result, the console which originally required a 3” thick cable with thousands of wires is now replaced with a single, tiny cable with only eight wires inside. The new relay has a record and playback feature that allows an organist’s actions to be captured and played back using the actual pipes and percussions. The new combination action now allows up to 11 organists to each program and save their own piston settings all from the comfort of the bench. The system also has the ability to load piston settings for visiting artists from a computer which saves many hours of preparation before a concert. Tuning of the organ can now be accomplished by one person using a small hand held switchbox up in the chamber that can “hold virtual keys” while the technician adjusts each pipe.
A New Voice
With the “brains” of the organ updated and working well, attention was turned to the sound of the organ. The theater organ trend in the 1970’s was to make larger, louder “Pizza Parlor” style organs. While the Riviera followed this trend it was apparent that the organ was not up to the expectations of contemporary organists and audiences where there is a renewed focus on the original Wurlitzer ensemble sound. Wurlitzer touted its instruments as “Unit Orchestras” originally with the sounds of strings, flutes, reeds and percussions all represented. To help restore the sound of the Mighty Wurlitzer respected organist and tonal finisher Clark Wilson was engaged in 2010 to make the delicate adjustments needed to make the organ “sing” again. What was originally scheduled to take five days extended into almost two months of work by Riviera volunteers and professional technicians. The solo chamber, on the right side of the house, was almost completely emptied of pipework. Components that were not Wurlitzer were removed and replaced. Many of the wind lines were reworked to make the pipe sound “shake” as desired in a theater organ. Some pipes and percussions that were in the auditorium were relocated to the stage to help them blend with the rest of the instrument. Damaged pipes were repaired. The trumpet rank was replaced with a more appropriate sounding set and installed in the solo chamber. The original oboe horn rank was moved from the solo chamber to the main chamber to provide balance and contrast. The organ was actually downsized with the removal of the second tibia and vox from the main chamber and the wooden diaphone pipes from the back stage wall. This was all done to provide a good ensemble while maintaining appropriate space in the chambers for maintenance, tuning and proper speech. The resulting sound has been widely acclaimed for its dynamic range, clarity and power.
The Riviera’s Mighty Wurlitzer has provided more entertainment consistently in its original setting than most other theater organs, nationwide. Many top name artists, in this country, have performed here in hundreds of concerts over the past 35 years. The Riviera’s organ has even been acclaimed internationally by artist appearances from Europe, Australia, Britain and South America. Several popular organists played their “first” public concert at the Riviera Theater. The organ has been televised on several occasions, and several commercial recordings have been made on it. Indeed the Riviera organ is well known here and abroad.
Khat–La / Basic Pulse Harmonizer
The artifact is intended for the treatment of profound disorders and disharmonies at the base frequency level. He dresses on a hand with three, five or six fingers.
HB 503CW / Portra 160
Planar 100 CFi - Zwischenring 21+55
PME 90 Integralmessung | integral measurement
Bl 22 / 1/15 S
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Post seen here: www.torontolife.com/daily/daily-dish/food-porn/2009/12/14...
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20 July 2018, Rome Italy – Towards a harmonized global approach for managing Forest Invasive Species (insect pests, diseases and plants) - a side event meeting during the 24th Committee on Forestry (COFO) and the 6th World Forest Week at the headquarters of the Food and Agriculture Organization of the United Nations.
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Photo credit must be given: ©FAO/Roberto Cenciarelli
Harmonize form and function with the Signo stainless steel house numbers and letters. These house numbers and letters are constructed of 18-8 stainless steel to give a smooth look while still being secure and corrosion resistant.