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Immer wieder haben mich Lightshow und die Pyroeffekte begeistert. Und später .. als es dann dunkel wurde .. .. ihr werdet es sehen .. 😎👍
I was always amazed by the light show and the pyrotechnic effects. And later... when it got dark... you'll see... 😎👍
© Frank Schacht
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so sind sie, die chinesen, laechelnd und freundlich.
arbeiten sehr hart, halten die familie zusammen, finden immer irgendwie eine loesung fuer herausforderungen und koennen sehr viel ertragen. in china ist es immer bergauf gegeangen mit der wirtschaft und das rasant. wie die zukunft ausieht weiss niemand. ich vermute es wird etwas langsamer voran gehen. kein problem,da chinesen sehr flexibel sind und das finde ich sehr beeindruckend.
wir in deutschland, koennen sehr viel von der mentalitaet lernen , denn sie lernen vom ausland.
ein aufeinander zugehen in der gesamten welt kann berge versetzen und mehr verstaendnis bringen fuer alle seiten
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so they are, the Chinese, smiling and friendly. work very hard, hold together the family, find a solution for every challenge and can bear very much. in China it is went always uphill with the economy and that rapidly. for the future ,nobody knows. I assume it more slowly will somewhat in front go. no problem, Chinese are very flexible and i find it very impressive . we can learn very much in Germany ,of their mentality, because they learn a lot from foreign countries. more understandingcan bring us all more together and the world will be more peaceful. one world , one dream
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expo2010-----SHANGHAI-----expo2010------SHANGHAI
expo2010-----SHANGHAI-----expo2010------SHANGHAI
EXPO 2010年 Weltausstellung 上海世界博览会 Shànghǎi shìjiè bólǎnhuì
我爱中国 / Ich liebe China / I love China
加油中国 /China gebe niemals auf , geh voran /Go go China
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Von mir persoenlich gegruendet, die groessten
EXPO-GRUPPEN auf flickr.
EXPO 2010年 Shanghai shibóhuì上海世界博览会exklusiv #1
www.flickr.com/groups/1253656@N25/
Weltausstellungen / EXPOS-exklusiv-Expositions / World's Fairs
Hier sind Fotos und Videos zu sehen vom Beginn der Idee einer
Weltausstellung 1851 in London bis heute 2010 in Shanghai.
2012 in Suedkorea, 2015 in Italien.....
www.flickr.com/groups/1445322@N21/
balancity Deutscher Pavillion
www.flickr.com/groups/1521855@N21/
information zum logo = die 3 menschen sollen eine familie darstellen
die weltausstellung findet im jahre 2010 in der aufstrebenen metropole shanghai statt .
shanghai hat mittlerweile ueber 18 millionen registrierte einwohner.
Die bedeutung der grossen veranstaltung ist sehr wichtig und alles laeuft auf vollen touren.
Das motto der weltausstellung heisst “bessere stadt, besseres leben” . ein schoeneres leben fuer die in shanghai in einer sauberen umwelt.
Die umgebung von ca. 5,28 quadratkilometern, werden die veranstaltung abdecken
Dauer
01.mai bis zum 31.oktober 2010
erwartete besucherzahl
70.000.000 aus dem aus-und inland
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created the biggest EXPO GROUPS on flickr.
EXPO 2010年 Shanghai shibóhuì上海世界博览会exklusiv #1
www.flickr.com/groups/1253656@N25/
Weltausstellungen / EXPOS-exklusiv-Expositions / World's Fairs
------------------------------------
here you can be seen photographic pictures from all expositions
and world's fairs. from 1851 in london till today 2010 in shanghai.
this unique idea, to show your own country to the whole world and
at the same time you can visit the world on few square kilometers,
that is great and wonderful.
2012 in south korea, 2015 in italy....
www.flickr.com/groups/1445322@N21/
balancity German Pavillion
www.flickr.com/groups/1521855@N21/
information to logo = the three symbolised a family
the world fair takes place in the year 2010 in the ongoing metropolis shanghai. shanghai meanwhile registered inhabitants have over 18 million. The meaning of the large meeting is very important and everything runs on full routes. The slogan of the world fair is called “better city, better lives”. a more beautiful live for in shanghai in a clean environment. The environment of approx. 5.28 square kilometers, the meeting will cover Duration 01. May up to the 31.oktober 2010 expected number of visitors 70.000.000 from foreign coutries and domestics
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我爱中国 / Ich liebe China / I love China
加油中国 /China gebe niemals auf , geh voran /Go go China
EXPO 2010年 Weltausstellung 上海世界博览会 Shànghǎi shìjiè bólǎnhuì
expo2010-----SHANGHAI-----expo2010------SHANGHAI
expo2010-----SHANGHAI-----expo2010------SHANGHAI
Francesco Solimena (1657-1747), active in Naples
Descent from the Cross, c. 1731
During the period of Austrian domination in Naples (1707-34), Prince Eugene of Savoy commissioned the leading Neapolitan painter of the time, Francesco Solimena, among others, with the altarpiece for the chapel in his hunting castle Schloßhof on the edge of the Marchfeld (Lower Austria). Solimena was able to give a solid structure to his compositions, despite their many-dimensional movement: it is based on safely placed colored accents and on an outline of the picture surface in decorative light-dark contrasts which strongly model the bodies.
Francesco Solimena (1657-1747), tätig in Neapel
Kreuzabnahme, um 1731
Während der Zeit der österreichischen Herrschaft in Neapel (1707-34) beauftragte Prinz Eugen von Savoyen den führenden neapolitanischen Maler der Zeit, Francesco Solimena, unter anderem, mit dem Altarbild für die Kapelle in seinem Jagdschloss Schloßhof am Rande des Marchfelds. Solimena verstand es, seinen Kompositionen trotz ihrer vielgestaltigen Bewegtheit immer eine fest Struktur zu geben: Sie beruht auf sicher gesetzten farblichen Akzenten und auf einer Gliederung der Bildfläche in dekorative Hell-Dunkel-Kontraste, die die Körper kräftig modellieren.
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
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Dutch postcard by Gebr. Spanjersberg N.V., Rotterdam, no. 5243. Photo: Corny Collins and Peter Kraus in Immer die Radfahrer/Always the Cyclists (Hans Deppe, 1958).
Delicate German stage and film actress Corny Collins (1933) was a popular teenage star in entertainment films of the late 1950s.
German singer and actor Peter Kraus (1939) was a teen idol in the 1950s and early 1960s. He was nicknamed ‘the German Elvis’.
And, please check out our blog European Film Star Postcards.
Great Northern Diver (Gavia immer) Mull, Scotland. I was trying to get a divers eye view from low down. For no particular reason this was taken with my old 40D which gives great reach with the 800mm.
Common Loon (Gavia immer) swimming by an area reflecting the Fall colors at the Green River Reservoir near Hyde Park, VT.
Immer wieder haben sich die "Fire Fighters" zwischendurch feiern lassen ..
The “Fire Fighters” have always had a party..
Palatino. Eine weitverzweigte Familie mit der sie immer zusammenarbeiten sollten. A specimen for the Palatino typeface family, including all of its extended members available in foundry type and as Linotype matrices. The brochure was probably published around 1960 and has a look to it that makes me think it was probably designed by Hermann Zapf as well.
Immer wieder haben mich Lightshow und die Pyroeffekte begeistert. Und später .. als es dann dunkel wurde .. .. ihr werdet es sehen .. 😎👍
I was always amazed by the light show and the pyrotechnic effects. And later... when it got dark... you'll see... 😎👍
Also die Wettervorhersage war bei drei Anstalten falsch. Es sollte total sonnig sein. Es war überwiegend bewölkt gewesen und ab und zu kam die Sonne. So nach 10 Minuten. Man sollte nur das Nötigste machen lassen, wenn ein Fahrradmonteur besucht wird. Niemals sich etwas gefallen lassen. Man hat sonst nur noch Probleme. Man hat gesehen, dass in Pirna immer mehr Bäume gefällt wurden. An der Kohlbergstraße und Kohlberg. Insgesamt 100 Bäume wurden gefällt. Zufällig bin ich in der Kindergrippe vorbeigefahren, wo ich die kleinen Kinder gesehen habe. Das war am Schlängelbachweg. Das hätten meine sein können. Alle waren blond. Die hörten sich Kindermusik für Sprachlernen an. "Wir können sehen. Wir können laufen..." Dann war ich im Park Kohlbergstraße, am Getränkemarkt. Das dort dieser Park nicht geschlossen wird und die einfach die Wege zur Wiese machen. Als ich von Südwesten zum Kohlberg hinaufgelaufen bin, kamen furchteinflößende Gestalten mit einem Spezialquad an. Es hatte drei Achsen. Man stellt immer mehr totes Holz auf. Problem ist aber, wenn das zu trocken wird, kann es sich entzünden. Ein Rentner kommt hier immer lang gelaufen. Sonst kam noch ein gelangweilter Fahrradfahrer. Dann kommt noch ein Opa als Fahrradfahrer hierher. Sonst gibt es mehr Galloway Rinder als Menschen hier oben. Die Baustelle mit der Brücke ist schnell. Wo ein wunderschönes Idyll war, kommt eine Brücke hin. Der Sinn ist null. Nur der Landrat hat seine Erfolgsgeschichte. Man muss nicht immer gleich weit entfernt arbeiten und Autos fahren. Aber der Zwang durch Staat und Lobby für Öl ist eben da. Mehrere Stellen sind gestaltet, um den Wald in ein Flammenmeer zu verwandeln. Es gab schon Versuche. Entweder direkt die Bäume mit Benzin übergießen und anzünden oder Lagerfeuer an Bäume anzünden. Es hat aber nicht geklappt. Grenzsteine gab es hier. Vermessungspunkte für Brückenservice Anfahrten gab es auch. Es wird ziemlich laut werden. So, dass man hier nicht mehr sich heimisch fühlt, was auch der Plan ist. Der Einfluss der USA und GB. Hoffentlich wird das mal enden. Die sind ohne Geburten hier. Haben keine Hochhäuser und Leerstand, kommen aber mit Autobahnen an. Die Industrieanlagen stehen auf Amateurniveau. Eine billige Halle nach der anderen soll kommen. Der ganze Ausblick wird hier verschandelt, ohne Sinn. Und im Industriegebiet sind die Flächen leer. Die wurden abgerissen, obwohl man die hätte sanieren können. Wäre billiger gewesen und sozialverträglicher. Dann fahre ich zum Bahnhof Pirna und werde wiederholt von einem Araber verfolgt. Er folgt mir in Richtung Bahnhof. Auf der Königsteiner Straße, Siegfried Rädel Straße, patrollieren ständig Araber mit oder ohne Fahrrad. Diese fangen an mich gleich zu filmen, belästigen mich oder provozieren. Die trauen sich nur mit Messer oder anderen Leuten. Dann steige ich in den Zug ein, der genau in diesem Moment ankommt. Dann kommt der Mächtige vorbei. Der Zug ist ziemlich gut gefüllt. Die meisten Leute nutzen den Zug, weil die den für den Alltag brauchen. Also nur für Schule oder Arbeit. Würden nur Normalreisende gezählt werden, wäre der Zug fast leer. Kontrolliert wurde ich nie. Dann steige ich wieder in Dresden HBF am Gleis 19 aus. Dem Bahnsteig, den ich zuletzt gebaut hatte. Gleis 17 und 18 auch. Während des Rekordsommers 2003.
Entonces, el pronóstico del tiempo fue incorrecto en tres instituciones. Debería ser totalmente soleado. Estaba nublado y de vez en cuando salía el sol. Entonces después de 10 minutos. Uno solo debe hacer las necesidades básicas cuando se visita a un instalador de bicicletas. Nunca toleres algo De lo contrario, solo tienes problemas. Se ha visto que cada vez más árboles fueron talados en Pirna. En Kohlbergstraße y Kohlberg. Un total de 100 árboles fueron talados. Por casualidad, conduje más allá de la gripe infantil, donde vi a los niños pequeños. Eso fue en Schlängelbachweg. Eso podría haber sido mío. Todos eran rubios. Escucharon la música de los niños para el aprendizaje de idiomas. "Podemos ver, podemos caminar ..." Luego estuve en el parque Kohlbergstraße, en el mercado de bebidas. Que allí este parque no está cerrado y simplemente hace los caminos hacia el prado. Mientras caminaba del sudoeste al Kohlberg, llegaron figuras aterradoras con un quad especial. Tenía tres hachas. Pones cada vez más madera muerta. El problema es que si se seca demasiado, puede encenderse. Un pensionista viene aquí siempre corre mucho. De lo contrario, había un ciclista aburrido. Luego viene un abuelo como ciclista aquí. De lo contrario, hay más ganado Galloway que personas aquí. El sitio de construcción con el puente es rápido. Donde estaba un hermoso idilio, un puente baja. El significado es cero. Solo el administrador del distrito tiene su historia de éxito. No siempre tienes que trabajar lejos y conducir autos. Pero la coacción del estado y el cabildeo por el petróleo están ahí. Varios lugares están diseñados para convertir el bosque en un mar de llamas. Ha habido intentos. Ya sea directamente moje los árboles con gasolina y enciéndalos o prende fuego a los árboles. No funcionó. Había puntos de referencia aquí. Los puntos de reconocimiento para el servicio de puente también existían. Va a ser bastante ruidoso. Entonces uno ya no se siente como en casa, que es el plan. La influencia de EE. UU. Y GB. Espero que termine esta vez. Ellos están aquí sin nacimientos. No tiene rascacielos ni vacantes, pero llega con autopistas. Las instalaciones industriales están en el nivel amateur. Una sala barata tras otra debería venir. Toda la vista está mimada aquí, sin significado. Y en el área industrial, las áreas están vacías. Fueron demolidos, aunque podrían haber sido renovados. Hubiera sido más barato y más socialmente aceptable. Luego conduzco hasta la estación de Pirna y soy perseguido repetidamente por un árabe. Él me sigue en la dirección de la estación de tren. En Königsteiner Strasse, Siegfried Rädel Street, los árabes patrullan constantemente con o sin bicicleta. Comienzan a filmar, molestar o provocarme. Se atreven solo con cuchillos u otras personas. Luego me subo al tren, que llega exactamente en este momento. Entonces viene el hombre poderoso. El tren está bastante lleno. La mayoría de las personas usa el tren porque lo necesitan para la vida cotidiana. Entonces solo para la escuela o el trabajo. Si solo se contaran los viajeros normales, el tren estaría casi vacío. Nunca fui revisado. Luego baje de nuevo en Dresden HBF en la pista 19. La plataforma que construí por última vez. Pista 17 y 18 también. Durante el registro verano de 2003.
So the weather forecast was wrong at three institutions. It should be totally sunny. It was mostly cloudy and from time to time the sun came. So after 10 minutes. One should only do the bare necessities when a bicycle fitter is visited. Never put up with something. Otherwise you only have problems. It has been seen that more and more trees were felled in Pirna. At Kohlbergstraße and Kohlberg. A total of 100 trees were felled. By chance, I drove past the children's flu, where I saw the little children. That was on Schlängelbachweg. That could have been mine. Everyone was blond. They listened to children's music for language learning. "We can see, we can walk ..." Then I was in the park Kohlbergstraße, at the beverage market. That there this park is not closed and simply make the paths to the meadow. As I walked up from the southwest to the Kohlberg, scary figures arrived with a special quad. It had three axes. You put up more and more dead wood. Problem is, if that gets too dry, it can ignite. A pensioner comes here always run long. Otherwise there was a bored cyclist. Then comes a grandpa as a cyclist here. Otherwise there are more Galloway cattle than people up here. The construction site with the bridge is fast. Where a beautiful idyll was, a bridge comes down. The meaning is zero. Only the district administrator has his success story. You do not always have to work far away and drive cars. But the coercion by the state and lobby for oil is there. Several places are designed to turn the forest into a sea of flames. There have been attempts. Either directly douse the trees with gasoline and set alight or set fire to trees. It did not work. There were landmarks here. Survey points for bridge service Approaches also existed. It's going to be pretty loud. So that one no longer feels at home, which is the plan. The influence of the USA and GB. I hope that will end this time. They are here without births. Have no skyscrapers and vacancy, but arrive with highways. The industrial facilities are at the amateur level. A cheap hall after another should come. The whole view is spoiled here, without meaning. And in the industrial area the areas are empty. They were demolished, although they could have been renovated. Would have been cheaper and more socially acceptable. Then I drive to Pirna station and are repeatedly persecuted by an Arab. He follows me in the direction of the train station. On Königsteiner Strasse, Siegfried Rädel Street, Arabs are constantly patrolling with or without a bicycle. They start filming, annoying or provoking me. They dare only with knives or other people. Then I get on the train, which arrives at exactly this moment. Then the powerful man comes by. The train is pretty well filled. Most people use the train because they need it for everyday life. So only for school or work. If only normal travelers were counted, the train would be almost empty. I was never checked. Then I get off again at Dresden HBF on track 19. The platform I had last built. Track 17 and 18 too. During the record summer 2003.