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Day 2 of Brands Hatch Brit Car into The Night and after a thrilling set of Qualifying and Racing Yesterday All Drivers were Ready Once again to Challenge the Circuit.
Some Drivers from the Previous Day were Seen Packing Up and Heading Home after a Brilliant Days Racing while Others were Just Arriving and Getting their Machines Prepared for The Race Track.
With an Action Packed Day to look forward to and Lots of Action for Both Qualifying and Racing Lets take a Look and See who is up First and Ready to Challenge This Almighty Indy Circuit.
Avon Tyres Intermarque Silhouettes-(Qualifying Results)
First Up onto the Circuit was The Intermarque Silhouettes and Thease Machines are Very Quick and Built to be as Light Weight as Possible by Using a Space Frame Chassis and a Fibreglass Body.
Lets Find out who Qualified were and Who Managed to Take Pole Position for Race 1.
In First Place Securing Pole Position and The Fastest Lap was (Danny Hun) in his Ford Autoxross Fiesta ST with a Best Lap Time of 1:01.454 and a Top Speed of 70.76mph. Great Lap there Danny Really Keeping that Car on the Track and Taking a Strong Pole Position.
In Second Place was (Pat Kiely) in his Vauxhall Tigra with a Best Lap Time of 1:01.813 and a Top Speed of 70.35mph. Brilliant Drive there Pat Nice Work and Fantastic Second Place on the Grid for Race 1.
In Third Place was (Malcom Blackman) in his Vauxhall Tigra with a Best Lap Time of 1:03.883 and a Top Speed of 68.07mph. Well Done Malcom a Massive Charge to Earn that P3 Spot on the Gird Lets Hope it can be turned into a Race Win Come Race 1.
What an Exciting End to Qualifying with the Likes of Danny Pat and Malcom All Looking Ready to Go for Race 1 but out of The Three Who Will be Able to Turn their Qualifying Position into a Race Win? Lets Find Out.
Avon Tyres Intermarque Silhouettes-(Race 1 Results)
After an Intense Battle During Qualifying which saw the Likes of Danny Hun take a Dominant Pole Position with Pat Kiely Second and Malcom Blackman Third this Grid is Looking to be Very Big and Very Fast. Lets Find Out Who Won and Who took Glory in the First Race of The Day.
In First Place Taking The Victory Was (Malcom Blackman) in his Vauxhall Tigra with a Best Lap Time of 57.507 and an Average Speed of 54.53mph. Congratulations Malcom Fantastic Drive and A Well Deserved Win in that Beautifully Prepared Vauxhall.
In Second Place was (Danny Hun) in his Ford Autoxross Fiesta ST with a Best Lap Time of 57.789 and an Average Speed of 54.49mph. Amazing Work there Danny Brilliant Drive and a Well Deserved P2 Finish over the Line.
In Third Place was (Pat Kiely) in his Vauxhall Tigra with a Best Lap Time of 57.346 and an Average Speed of 54.48mph. Great Work Pat Really Pushing Hard and Almost Catching Danny Hun Just Before The End by 0.157 Seconds there.
What a Fantastic First Race of The Day for The Intermarque Silhouettes with Some Incredible Winners in the Likes of Malcom Danny and Pat All Taking Superb Victories for their Respective Teams.
With Race 2 Coming Up Next Who will be the One to Retain their Crown at the Top of The Standings and Can the Likes of Pat and Danny Possibly Improve and start Putting Pressure on Malcom who Currently Reins Supreme?
Lets Find Out
Avon Tyres Intermarque Silhouettes-(Race 2 Results)
Race 2 and One Last Chance for The Top 3 To Battle it out and See who can Take Either Back to Back Victories at Brands Hatch or Who can Possibly Disrupt the Win Streak Currently Set by Malcom.
In First Place Taking The Last Victory was (Steve Burrows) in his Vauxhall Tigra with a Best Lap Time of 1:01.432 and an Average Speed of 69.99mph. Congratulations Steve What a Brilliant Bit of Driving there in Very Wet and Dark Conditions to Beat Malcom and Take Home a Fantastically Deserved Win.
In Second Place was (Dave York) in his Vauxhall Tigra with a Best Lap Time of 1:01.329 and an Average Speed of 69.59mph. Amazing Work there Dave Really Pushing that Vauxhall for All it was Worth and Doing Very Well to Keep it on the Damp and Slippery Track for a Superb P2 on the Podium.
In Third Place was (Malcom Blackman) in his Vauxhall Tigra with a Best Lap Time of 1:01.343 and an Average Speed of 69.50mph. Well Driven there Malcom Great Drive and A Really Good Finish in P3 from an Amazing Weekend of Racing.
What a Fantastic Weekend for The Intermarque Silhouettes and So many Amazing Winners in the Likes of Danny Pat Malcom Dave and Steve Who All Showed Incredible Wet Weather Skills and Kept there Cars Going to Take some Superb Victories. Well Done to All of the Other Drivers too Who Fought Hard on Track. Keep Pushing for that Victory and Good Luck.
BMR Super Saloons & CMMCS Tin-Tops-(Qualifying Results)
Next Up on to The Race Track was The Super Saloons and Tin Tops and Thease Machines not Only Have Incredible Liveries and Looks but they Also Pack a lot of Power and Variety in the Types of Race Cars and How they Handle.
From the Ford Escort WRC to the Peugeot 306 and even the Mitsubishi Lancer Evo 10 Each Car and Driver Have a Certain Driving Style that can Either Mean the Difference Between a Loss or a Victory on the Race Track.
Lets Get to Qualifying and See Who Took Pole
In First Place Taking Pole Position and The Best Lap Was (Rod Birley) in his Ford Escort WRC with a Best Lap Time of 58.886 and a Top Speed of 73.84mph. Brilliant Drive from Birley as a Home Hero of Brands Hatch He Always Knows How to Take Almost Any Car and Get it onto Pole Position Fantastic Drive.
In Second Place was (Chris Basset) in his Peugeot 306 with a Best Lap Time of 1:00.040 and a Top Speed of 72.42mph. Fantastic Drive there Chris Pushing that Peugeot Hard for a Well Deserved P2 Finish Well Done.
In Third Place was (Nick Sutton) in his Mitsubishi Lancer Evo 10 with a Best Lap Time of 1:01.904 and a Top Speed of 70.24mph. Brilliant Drive there Nick Really Working Hard and Getting that Beautiful Lancer Evo into P3 on the Gird.
A Fantastic Qualifying Session for Tin Tops and Super Saloons with some Very Fast and Experienced Drivers in Rod Chris and Nick all Pushing their Machinery Hard and Gunning for a Victory. With Race 1 Just Around the Corner it will be Interesting to See who can Take the Victory and who can Defend their Position from the other Drivers who will no Doubt Be Ready and Waiting to Attack.
BMR Super Saloons & CMMCS Tin-Tops-(Race 1 Results)
In First Place Taking the Victory and The Fastest Lap was (Rod Birley) in his Ford Escort WRC with a Best Lap Time of 1:02.316 and an Average Speed of 57.41mph. Congratulations Rod a Really Incredible Bit of Driving in those Rain Soaked Conditions to take Home a Victory that the Whole Family will be Really Proud of. Amazing Drive.
In Second Place was (Steve Dann) in his VW Scirocco with a Best Lap Time of 1:02.502 and an Average Speed of 57.35mph. Great Driving there from Steve Taking the Fight Right to Birley at The End and Almost Catching him for the Race Win. Non the Less a Very Well Deserved P2 Finish.
In Third Place was (Nick Wall) in his Renault Clio with a Best Lap Time of 1:04.877 and an Average Speed of 55.89mph. Brilliant work there Nick A Fantastic P3 Finish in Conditions that were Very Challenging Indeed.
What an Incredible Race this was to Witness with the Start Being Behind the Safety Car before All of the Driver put their foot down and Went for it in conditions where at Times the Spray made it Impossible to see Anything.
A Big Congratulations to the likes of Rod Steve and Nick who All Drove Incredibly and Really Showed Everyone who the Rain Masters were around the Indy Circuit. A Big Congratulations to All of the Other Drivers too Who also Showed Incredible Bravery and Skill Navigating their way Around and Claiming some Incredible Victories of their own.
With Race 2 Coming Up Next will Rod be able to Hold onto his 1st Place Finish or Will the Likes of Nick and Steve Try to Take that 1st Place away from Rod? and Who Else May be able to Challenge this Trio of Fast and Capable Drivers.
Lets Find Out
BMR Super Saloons & CMMCS Tin-Tops-(Race 2 Results)
With The Circuit Now Entering Night fall it was Getting Very Difficult for The Drivers to see which will add a New Challenge to this Race. Will the Likes of Rod Birley be Able to Win Once Again?
In First Place Taking the Win and Fastest Lap was (Rod Birley) in his Ford Escort WRC with a Best Lap Time of 1:00.960 and an Average Speed of 60.83mph. Amazing Work there Rod Driven like a True Champion and a Fantastic Home Win to Add to the Already Incredible Win Streak at Brands Hatch.
In Second Place was (Nick Sutton) in his Mitsubishi Lancer Evo 10 with a Best Lap Time of 59.429 and an Average Speed of 60.74mph. Great Drive from Nick Once Again Showing his Brave and Fantastic Skills even at Night When the Lights go Out. Well Done.
In Third Place was (Steve Dann) in his VW Scirocco with a Best Lap Time of 1:02.227 and an Average Speed of 60.48mph. Nice Work Steve Really Good Drive for P3 Showing some Incredible Speed and Commitment Thought the Race.
What an Amazing Race from the Super Saloons and Tin Tops with some Incredible Drives and Victories from the likes of Rod Nick Sutton Nick Wall and Steve All Pushing Hard and Achieving Some Incredible Victories.
Well Done to All of the Other Drivers out there Racing too You All did a Fantastic Job and Looking Forward to seeing you All out there Again Doing what you Love and Sharing a Passion for Motorsport.
Dunlop Mini Winter Challenge supported by Mini Spares (Race 2 Results)
The Mini's were Up Next and After Some Incredible Racing Yesterday which Saw the Likes of Rupert Deeth Take 1st with Scott Kendall 2nd and Colin Peacock 3rd it was Going to be an Intense Battle at the Front of the Field.
The Likes of Endaf Owens was Also Prepared after an Engine Failure During Yesterdays Race Which Many thought would put him out of Contention for Today..........However With Some Incredible Overnight Work by Him and His Fellow Mechanics as well as a Late Night Trip to Wales and Back to Pick Up a Spare Engine, Endaf and His Dedicated Team Have Managed to Get his Car Ready for Race 2. Truly a Phenomenal Achievement. Lets Hope for Better Luck this Time.
Lets Get to the Action
In First Place Taking Victory and The Fastest Lap was (Endaf Owens) in his Mini Miglia 1298 with a Best Lap Time of 55.033 and an Average Speed of 67.78mph. Incredible Drive there Endaf Coming Back from Yesterday with an Engine Failure to Win the First Race of Sunday is Truly The Drive of a Champion. Incredible Work.
In Second Place was (Rupert Deeth) in his Mini Miglia 1293 with a Best Lap Time of 54.925 and an Average Speed of 67.72mph. Another Heroic Drive from Rupert Really Putting Pressure on Endaf the Entire Race and the two of them being in a Class of their Own way out in Front. Amazing Drive there Rupert.
In Third Place was (Scott Kendall) in his Mini Miglia 1293 with a Best Lap Time of 55.618 and an Average Speed of 67.34mph. Great Drive there From Scott Racing Hard and Doing a Fantastic Job of Defending that P3 Spot. A Very Well Deserved Third Place Finish.
What a Race from The Dunlop Mini Winter Challenge and with One More Race to go The Game is on for Anybody to take on the Likes of Scott Endaf and Rupert for Victory. Lets Find Out what Race 3 Brings and if Endaf can Make it 2 out of 3 Wins to Finish what Has Been a Phenomenal Weekend of Racing for the Mini's.
Dunlop Mini Winter Challenge supported by Mini Spares (Race 3 Results)
The Final Race for The Mini's and with Endaf Owens on an Incredible Charge will he be able to Withstand The Pressure coming from Rupert Deeth and Take Victory Once More?
In First Place taking the Final Win and Fastest Lap was (Endaf Owens) in his Mini Miglia 1298 with a Best Lap Time of 1:02.979 and an Average Speed of 60.65mph. Congratulations Endaf Another Superb Victory for Today and What an Incredible Come Back From Yesterday. He and His Family as well as His Race Engineers and Mechanics will be Very Proud of Him This Weekend that's for sure.
In Second Place was (Joe Thompson) in his Mini Miglia 1300 with a Best Lap Time of 1:03.571 and an Average Speed of 60.40mph. Brilliant Driving from Joe and a Really Excellent Performance in Very Dark and Dreary Conditions for a P2 Finish.
In Third Place was (Rupert Deeth) in his Mini Miglia 1293 with a Best Lap Time of 1:03.433 and an Average Speed of 59.93mph. Very Well Done Rupert a Fantastic P3 Finish To End the Weekends Racing and some Incredible Battles thought the Weekend with Endaf too. Well Done.
What a Weekend it has been for The Dunlop Mini Winter Challenge with Some Incredible Drives from the Likes of Endaf Rupert Joe and Scott all Taking Amazing Victories. Well Done to all of the other Competitors too you All did a Fantastic Job and Good Luck for the Next Time Out. Hope to See you All again Next Year for More High Speed and Close Racing Action.
Ginetta Junior Championship-(Qualifying 2 Results)
Now it was Time for the Return of the Ginetta Junior Championship onto the Brands Hatch Indy Circuit and after Some Intense and Close Racing Yesterday Each Driver was Ready to Go for Victory Once Again.
Currently Josh Rowledge Liam Mcneilly and Max Dodds are The Top 3 Finishers from Yesterdays Race and with Another Qualifying Session Ready and Waiting Will they be able to Put themselves Back at the Front of the Grid or Will a New set of Driver work to Challenge them?
In First Place Taking Pole Position and The Fastest Lap was (Tom Edgar) in his GBR R Racing with a Best Lap Time of 1:05.449 and a Top Speed of 66.44mph. Congratulations Tom Taking Pole Position and Ensuring a Front Row Start. Brilliant Lap.
In Second Place was (Aqil Alibhai) in his RSA Elite Motorsport with a Best Lap Time of 1:05.832 and a Top Speed of 66.05mph. Great Work there from Aqil Taking P2 on the Gird and Some Impressive Car Control thought Qualifying. A Well Deserved P2.
In Third Place was (Joe Warhurst) in his GBR Elite Motorsport with a Best Lap Time of 1:05.964 and a Top Speed of 65.92mph. Brilliant Drive there Joe Keeping that Car Nicely Positioned Thought the Lap to ensure a Smooth and Yet Confident P3 Spot on the Gird.
A Great Second Qualifying Session for the Ginetta Junior Drivers with Three New Drivers in the likes of Tom Aqil and Joe All Looking to take that Glory Come The Next Race. But Who will be able to turn that Impressive Qualifying Lap into a Victory?
We Will Have to Wait and See.
Ginetta Junior Championship-(Qualifying 2 Second Fastest Results)
After an Intense Qualifying Session which saw the Likes of Tom Edgar Aqil Alibhai and Joe Warhurst Taking the Top Three Spots it was Time for them to do it One More Time in a Second Heat for Qualifying. Who will be on Top This Time and will the likes of both Joe and Aqil take that P1 Spot away from Tom?
In First Place Taking The Pole was (Tom Edgar) in his GBR R Racing with a Best Lap Time of 1:05.453 and a Top Speed of 66.43mph. Superb Job Once Again from Tom who manages to Hold onto that All Important P1 Position. Brilliant Drive there Tom.
In Second Place was (Joe Warhurst) in his GBR Elite Motorsport with a Best Lap Time of 1:06.089 and a Top Speed of 65.79mph. Fantastic work Joe Pushing Hard and Taking that P2 Spot away from Aqil Alibhai.
In Third Place was (Aqil Alibhai) in his RSA Elite Motorsport with a Best Lap Time of 1:06.284 and a Top Speed of 65.60mph. Nice Work there Aqil P3 and a Really Good Effort Against the Likes of both Joe and Tom.
What Another Intense Qualifying Session with the Top Three In Tom Joe and Aqil All Pushing Hard and Swapping Positions thought Second Qualifying. What Will the First of Two Races Bring Today and Who will be the First to take Victory?
Ginetta Junior Championship-(Race 3 Results)
In First Place Taking The Victory was (Aqil Alibhai) in his RSA Elite Motorsport with a Best Lap Time of 59.381 and an Average Speed of 71.48mph. Congratulations Aqil A Really Well Deserved Win and Some Incredible Driving to take the Race Win. Well and Truly Deserved.
In Second Place was (Max Doods) in his GBR Assetto Motorsport with a Best Lap Time of 59.284 and an Average Speed of 71.21mph. Brilliant Driving from Max Pushing Himself and The Car Thought the Race to take Home a Fantastic P2 Finish.
In Third Place was (Liam Mcneilly) in his GBR Fox Motorsport with a Best Lap Time of 59.426 and an Average Speed of 71.12mph. Brilliant Driving Liam P3 and The Final Spot on The Podium.
A Fantastic Race with Two New Winners in the Likes of Max and Liam and a Huge Congratulations to Aqil for that Incredible Victory after Overtaking both Liam and Max During the Race to take Victory. Good Luck to All other Drivers too and Lets see what the Final Race Brings.
Ginetta Junior Championship-(Race 4 Results)
The Final Race for Ginetta Juniors and One Last Time for One Driver to Stand on the Top Step of the Podium. After Some Fantastic Drives from the likes of Max Aqil Liam Tom and Joe who will be able to take that Last All Important Victory?
In First Place Taking The Final Victory was (Liam Mcneilly) in his GBR Fox Motorsport with a Best Lap Time of 1:07.685 and an Average Speed of 45.65mph. Congratulations Liam Brilliant Final Drive and a Really Great way to End a Perfect Weekend. Your Family and Friends will be Really Proud of you.
In Second Place was (Aqil Alibhai) in his RSA Elite Motorsport with a Best Lap Time of 1:07.749 and an Average Speed of 45.62mph. Awesome work there Aqil Another Very Good Battle at the Front of the Field and a Great P2 Finish to End the Weekend with a Smile.
In Third Place was (Sonny Smith) in his GBR R Racing with a Best Lap Time of 1:07.784 and an Average Speed of 45.59mph. Congratulations Sonny P3 and a Really Superb Job Defending from the Likes of Max Behind thought the Race.
A Brilliant Weekend for The Ginetta Junior Championship With So Many Fantastic Drivers in the likes of Liam Aqil and Sonny as well as Max and Liam These Young Drivers are Going to do Really Well in Future Top Level Motorsport. A big Congratulations to All of you and to the Other Drivers in the Field Keep Pushing and Working Hard Never Stop Trying.
Britcar Endurance Championship-(Race 1 Results)
As The Light Fell away from the Circuit The Britcar Endurance Championship made its way out onto the circuit with Lights a Blaze and a lot of Energy coming from both the Drivers and their Cars This was Going to be a Race of Endurance and Car Management thought the 45 Minutes of the Race.
During Qualifying Yesterday The Team of
Valluga's Carl Cavers/Sean Doyle took Pole with
Valluga's Ian Humphries/Benji Hetherington in Second while
Nial Bradley Took Third.
With a Quick set of Warm Up Laps Over it was Time for The Brit car's to make their way out onto the Track and Get Ready for two Races of Endurance to Decide the Britcar Champion of 2021.
In First Place Taking the Victory was (Valluga's) Ian Humphries and Benji Hetherington in their Porsche 718 GT4 Club sport with a Best Lap Time of 50.023 and an Average Speed of 70.37mph. Congratulations both Ian and Benji a Fantastic Win in Very Tricky and Tiering Circumstances thought the 45 Minutes.
In Second Place was (Nial Bradley) in his BMW M3 E46 with a Best Lap Time of 50.799 and an Average Speed of 70.34mph. Brilliant work there Nial Keeping the Pressure on for both Ian and Benji at the front of the Pack. a Very Committed Drive for P2.
In Third Place was (Valluga's) Carl Cavers and Sean Doyle in their Porsche 718 GT4 Club sport with a Best Lap Time of 50.016 and an Average Speed of 70.34mph. Congratulations Carl and Sean Brilliant Drives from both of you and a Well Deserved P3 Finish after an Intense Battle with Team Hard's Eric Bolton in P4.
What an Intense First Race for the Britcar Endurance Championship with the Likes of Ian Humphries and Benji Hetherington Taking the Spoils while Nial Bradley Finishes Second and Carl Cavers and Sean Doyle Finish Third.
With Only One Race Left who will be the Victor and Take Home Glory? Lets Find Out.
Britcar Endurance Championship-(Race 2 Results FINAL)
In First Place Taking the Final Race Win of the Day and The Fastest Lap was (Steve Rothery) in his Peugeot 308 with a Best Lap Time of 58.289 and an Average Speed of 66.59mph. Congratulations Steve a Really Phenomenal Drive to take The Final Win of the Weekend for Britcar. Brilliantly Driven and Nicely Controlled.
In Second Place was (Valluga's) Ian Humphries and Carl Cavers in their Porsche 718 GT4 Club Sport with a Best Lap Time of 57.414 and an Average Speed of 66.46mph. Great Work there by both the likes of Ian and Carl to Bring there car Home in P2. A Wonderful Way to End the Weekend and the Championship.
In Third Place was (Spires Motorsport's) Anton Spies in his Renault Clio Gen 4 with a Best Lap Time of 1:01.189 and an Average Speed of 64.37mph. A Very Heroic Drive from Anton Pushing His Renault Hard and Ensuring He Defends that All Important Final Spot on the Podium. Great Job.
What a Weekend it has been for the Britcar Endurance Championship with Many Fantastic Teams and Drivers in the Likes of (Valluga's) Ian Humphries Carl Cavers Benji Hetherington and the Likes of (Spire Motorsports) Anton Spires and Steve Rothery.
Brilliant Driving from All of you and a Really Big Congratulations to The Final Race Winner Steve Rothery.
A Fantastic Weekend with Many Talented and Incredible Drivers All Pushing Hard and Doing what they Love on the Race Track. Congratulations to All of the Race Winners.
See You All Again Next Year!
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
Constant – New Babylon
Gemeentemuseum Den Haag, 2016
Een wereld zonder grenzen. Mensen die niet hoeven te werken, maar vrij zijn om te spelen en te reizen. Constant Nieuwenhuys (1920 – 2005) verbeeldde zijn ideeën over een nieuwe wereld in een van de meest visionaire en omvangrijke beeldende kunst projecten uit de naoorlogse kunstgeschiedenis: New Babylon. Tot op de dag van vandaag, en misschien juist wel in de huidige maatschappij, een inspiratiebron voor velen. Het Gemeentemuseum Den Haag beheert het overgrote deel van dit project en deed er uitgebreid onderzoek naar. Naar aanleiding hiervan presenteert het museum deze zomer een van de grootste tentoonstellingen ooit over dit intrigerende project dat centraal staat binnen Constants oeuvre.
Constant Nieuwenhuys, kortweg Constant, was niet alleen een vooraanstaand lid van de CoBrA-groep, maar is minstens even befaamd om New Babylon, een tot de verbeelding sprekend project waar hij bijna twintig jaar aan werkte. Na de Tweede Wereldoorlog ziet hij hoe alles opnieuw moet worden opgebouwd en hoe de samenleving in de jaren 50 verandert door de toenemende automatisering. Hij ontpopt zich tot een waar visionair en toont de buitenwereld aan de hand van maquettes, constructies, geografische kaarten, schilderijen, tekeningen, aquarellen, grafiek, films, teksten, lezingen en tijdelijke ‘omgevingen’ hoe de nieuwe wereld eruit zal zien. De tentoonstelling brengt zowel het project zelf als de ontwikkeling naar New Babylon in beeld.
A world without borders or constraints. People freed from work and able to play and travel at will. Constant Nieuwenhuys (1920 – 2005) expressed his ideas for a new world in one of the largest and most visionary art projects in post-war history. New Babylon remains even now – and perhaps more than ever in the society of today – a source of inspiration for many people. The vast majority of the works associated with the project are in the hands of the Gemeentemuseum Den Haag and, working in close cooperation with Fondation Constant, the museum has carried out extensive research on them. The result is this summer’s show at the museum: one of the largest exhibitions ever held about this intriguing project, which forms a key part of Constant’s oeuvre.
Constant Nieuwenhuys (or Constant for short) was a leading member of the Cobra group but is equally famous for his intriguing New Babylon project, on which he laboured for almost twenty years. He witnessed the reconstruction of Europe in the aftermath of the Second World War and he saw how, by the 1950s, increasing automation was changing society. He revealed himself as a true visionary, producing architectural models, constructions, maps, paintings, drawings, watercolours, prints, films, texts, lectures and temporary ‘environments’ to suggest to the public what their world might in future become. The exhibition will look not only at New Babylon itself, but also at the aspects of Constant’s oeuvre that foreshadow it.
I went to my cousin's bridal shower today and I got to experiment with indoor lighting... It was quite a challenge because I don't normally shoot indoors and getting use to my Big Bertha was a challenge... I shoot manual mode so trying to get the right settings was a challenge. I put down the S90 today so I could get use to using Bertha. I really learned a lot today and I hope that I will be able to apply what I've learned in future photos.
Cut the bottom off of the glass too much :(... always next time. (I was nervous taking pictures.... haha)
All India Martial Arts Talent Search - JKD Seminar in New Delhi on 18th October 2014 by Sifu Harinder Singh Sabharwal ~ www.indiajkd.com
JKD India Athletic Club hereby announces a grand invitation to all the Martial Arts Teachers, Students & Professional Fighters to India’s first International JKD Seminar by Sifu Harinder Singh Sabharwal ~ www.jkdathletics.com
Sifu Singh is under the unbroken lineage of Sijo Bruce Lee and shall be conducting a 3 day seminar in New Delhi, India, in October searching for top Indian Martial Artists to help him spread Bruce Lee’s teachings. Seminar hosted by JKD India's Arun Sharma.
When the situation demands impeccability and zero margin of error,
Sifu Singh is called upon to train America's most elite fighting forces. Sifu Singh has spoken at TED, and he is the only Indian to be featured in Black Belt Magazine and Budo International Magazine.
Sifu Harinder Singh has trained everyone from professional athletes to members of the U.S. Navy SEALS, U.S. Secret Service, FBI, CIA, SWAT, CEOs and executives, elite martial arts academies, and many other elite law enforcement agencies in the most dangerous areas in the United States.
Arun Sharma is JKD, Kali & RAT Instructor under Sifu Harinder Singh & his Official Indian Representative. Along with this Arun is 2 Stripe Purple Belt in Brazilian Jiu Jitsu. He trains some of the most elite Indian law enforcement agencies like NSG & Special Forces.
Enrol Now, Contact Arun Sharma - Call at 8826166516 or Email at – jkdathletic@gmail.com
Seminar Details as follows:
Info - 2 Day Military JKD & Specops Kali Training. Top 10 will be selected for an additional 3rd day - 20th Oct.
Venue – FMA-fitness, E-7/5 Basement, Malviya Nagar, Block E, New Delhi - 110017
Date – 18th & 19th October 2014
Training Fees - Donation of Rs.2000 or Food, Or a Promise to help in future. (Will be donated in honor of Bhagat Puran Singh to the Pingalwada in Amritsar.
Note - Bring Your Personal Boxing & MMA Gloves, Also if possible 1 training knife & 2 kali sticks.
Contact Arun Sharma - Call at 8826166516 or Email at – jkdathletic@gmail.com
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www.indiajkd.com/jkd-india-seminar-sifu-harinder-singh/
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Hubert Scheibl (1951), "... und dahinter die Unendlichkeit"/"... And Infinity Beyond", 2003-2005 (oil on canvas; Albertina - Sammlung Batliner)
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
Faversham’s Magna Carta
Copies of this confirmation of Magna Carta granted in 1300, which includes the whole text of Magna Carta, were sent to many towns throughout the country. At the foot of this copy it is stated in Latin that it is for the barons of the Port of Faversham. Originally granted by King John 1215, Faversham’s version is a confirmation of the re-issue of 1225.
1300 Magna Carta.
Parchment, c. 59 × 44 (+32) cms. Decorated initial ‘E’. Great seal of Edward I on a replaced parchment tag.
Tann, Royal Charters of Faversham, pp. 102-111.
Translation
Edward by the grace of God king of England, Lord of Ireland and Duke of Aquitaine sends greeting to his archbishops, bishops, abbots, priors, earls, barons, sheriffs, reeves, ministers and all bailiffs and faithful people. We have inspected the charter of the lord Henry, our father, king of England (Henry III 1216-1272) about the liberties of England in these words:
Henry by the grace of God king of England, Duke of Normandy, Aquitaine and Count of Anjou sends greeting to his archbishops, bishops, earls, barons, sheriffs, reeves, ministers and all faithful people who will inspect the present charter. You may know that we by the instigation of God and for the salvation of our souls and the souls of our ancestors and descendants by our spontaneous and good will have, for the elevation of the Holy church and the bettering of our kingdom, given and granted to the archbishops, bishops, priors, earls, barons and ministers of our kingdom these liberties as are written below to be observed in our kingdom of England in perpetuity. Firstly we have conceded to God and we, by this our present charter, confirm for ourselves and for our heirs in perpetuity that the English church may be free and may hold all rights freely, fully and its liberties unquestioned; we have also granted and have given to all free men of our kingdom on behalf of ourself and of our heirs in perpetuity that they may have and hold the liberties as written below, by them and their heirs of us and our heirs in perpetuity. If any person of our earls or barons or of any other tenants who hold of us in chief through knight service may die and after his death and his heir shall be of full age and he owes relief, he may receive his inheritance through the old relief, that is to say an heir or the heirs of an earl by a hundred pounds for the entire Earldom, an heir or the heirs of a baron by a hundred marks for the full Barony, the heir or heirs by a hundred shillings for a full knights fee at the most and who has held less may give in accordance with the ancient custom of the fees. If however the heir of anyone of any such status should have been under age, the lord may not have custody of him nor of his land before he has taken his homage and afterwards such an heir who shall have been in custody, shall, when he has come of age, that is at twenty one years, receive his inheritance without relief and without a fine. Moreover that if he should have become a knight while he has been in custody, even so the land may remain in the keeping of his lords to the end of the aforesaid term. The guardian of the land of an heir of this nature, who has been under age, may not take anything from the heir’s land unless reasonable profits of that land. He ought to make report to us and if he, during his time of guardianship shall cause damage or commit waste then we will take it from him to be emended and the land may be committed to two trusted and honest men. And if we have given or sold the guardianship of the land to anyone of such nature and he then has caused damage or waste he shall loose that guardianship and it be handed over to two trusted and honest men of that fee who similarly may answer to us just as is aforesaid. However the guardian of the land has to accept a certain responsibility for the land in this manner: he will maintain the buildings, parks, fish ponds, stanks, mills and all things pertaining to that land out of the profits of the same land and when the heir shall come of full age he shall return his land completely stocked with ploughs and all other things in full just as he received it. All these things are to be observed concerning the custody of the lands of archbishops, bishops, abbots, priors, churches and vacant dignitaries which pertain to us, except when the guardianship in this manner ought to come to us. The heirs shall marry without disparagement, a widow at once after her husband’s death and she may have her marriage allowance and her inheritance without obstacle and may not give anything for her dowry nor for her marriage portion for the inheritance; that is any inheritance which she, the same widow and her husband held on the day of her husband’s death and she may remain in her husband’s capital messuage for forty days after her husband’s death, within which days her dowry may be assigned to her, unless it shall have been already assigned to her or unless that residence should be a castle and if she should depart from such castle, a suitable house may be provided at once for her in which she may honourably remain until her dowry be assigned to her, as it aforesaid and meanwhile she may have a reasonable maintenance grant from the community. However a third part of all her husband’s land may be assigned to her for her dowry which was hers during his life, unless she had been provided with less dowry at the church entrance. No widow may be pressurised to get married while she has wished to live without a husband. Then so that she may give assurance that she will not marry without our assent if she has held from us or without her lord’s assent if she has held from another. Indeed neither we, nor our bailiffs will seize any land or rent for any debt when certain present chattels of the debtor are sufficient to pay the debt and the debtor himself made be prepared to make satisfaction, nor shall the sureties of the same debtor be distrained when the chief debtor himself has sufficient for the payment of his own debt and if the chief debtor should default in payment of the debt, not having the funds to make repayment or being reluctant to make payment when he is able, the sureties for the debt may be responsible and if they should wish they may have the debtor’s lands and rents until he makes satisfaction to them about the debt which they have paid for him previously, unless the chief debtor has shown that he is quit towards his sureties. The city of London may have all is ancient liberties and customs; in addition we wish and concede that all other cities and boroughs and towns and the barons of the Cinque Ports and all ports may have all the liberties as their free customs. No one may be distrained to make more service for a knight’s fee nor for any other free tenement than that which is owing. The common pleas may not follow our court but shall be held in another particular place. Recognizances of Nova Disseisina and of Morte Antecessorum shall not be taken unless in their own counties. We, or if we should be out of the kingdom our chief justiciary, shall send our justiciaries into every county whatsoever once in a year, where, with the knights of the shires they may take the aforesaid assizes and those things which at his coming in the county cannot be terminated through our aforesaid justiciaries at the two assizes which were taken, shall be terminated by the same men elsewhere in their itinerary and those matters which by the same men could not be terminated on account of difficulty of other articles may be referred to the justiciaries of the Bench. The assizes of Ultima Presentacione are always taken before the justiciaries of the Bench and to be terminated there. A free man may not be amerced for a minor offence except according to the manner of the same man’s offence and for a more serious offence according to the extent of his delinquency, saving to the consideration of his status and a merchant in the same way according to his merchandise and a villein of another, rather than of ours, shall be amerced in the same way according to his weregeld should he happen to be placed into our mercy and none of the aforesaid amercements shall be imposed unless through the oath of trusted and law-abiding men of the neighbourhood and knights and barons shall not be amerced except through their peers and not unless according to the manner of the offence. No ecclesiastical person shall be amerced according to the quantity of his benefice but according to the quantity of his lay fee and according to the nature of his offence nor shall any villein or free man be distrained to build bridges at the waterways unless they had been obliged to do so from ancient times and by right. No defences shall be made for any river banks apart from those which had been made as defences in the time of king Henry our grandfather throughout the same places and under the same terms, just as they were accustomed to do in his time. No sheriff, constable, coroner or any other of our bailiffs may hold pleas of our crown. If any person holding a lay free of us shall have died and our sheriff or bailiff shall show our letters patent concerning our summons about the debt which shows what he owes to us, it may then be lawful for the sheriff or our bailiff to impound and evaluate all the deceased person’s goods and chattels found in that lay fee to the extent of that debt assessed by the valuation of trusted men. Thence nothing may be removed from there until the debt to us which was clearly shown shall be paid and the residue may be left to the executors in accordance with the deceased person’s will and if nothing may be owed to us by him and all his chattels shall yield to the deceased, saving to the wife and children of the same in reasonable share. No constable or a bailiff of his may take the corn or other chattels of anyone who is not of the town where the castle is situated unless he immediately pays money for them, or then he can have respite by the wish of the vendor. If however he is of that same town he may pay the price within forty days. No constable may distrain any knight to give him money for castle guard if he shall have been willing to do this in his own person or if for some good reason he is not able to perform this service through another trusted man; in addition, if we have led or sent him into the army, he may be exempt from service in accordance with the time during which through us he was in the army because of the fee for which he has done service in the host. No sheriff or our bailiff or any other person shall take the horses or carts of anyone to make a carriage unless he shall make the payment laid down in ancient statutes, that is to say ten pence per day for one cart with two horses and fourteen pence per day for one cart with three horses. No cart of the demesne of any ecclesiastical person or knight or of any other lord shall be taken by our bailiffs neither shall we, our bailiffs or anyone else take wood belonging to anyone else for our castles or for any other of our works unless by permission of the person to whom the wood belongs. We will not hold the lands of those persons convicted of felony longer than one year and one day and then those lands shall be returned to the lord of the fees. All fish kidells shall forthwith be removed from the Thames and Medway and throughout the whole of England unless upon the sea coast. The writ called Precipe in future shall not be granted to anyone of any free tenement, thence a free man may loose his court. There shall be one measure of wine throughout our whole kingdom and one measure of beer and one measure of corn, that is to say the quarter of London and one width of dyed cloth, of russets and halberjects, that is two ells within the selvedges. Concerning weights, these shall be the same as the measures. In future nothing may be given or taken from him who seeks the writ of the inquisition Concerning life and limbs but it shall be freely conceded and not denied. If anyone may hold of us in fee farm or socage or burgage and shall hold land from another by military service we will not have the custody of either his heir nor lands which he holds of another because of that fee -farm, socage or burgage, unless the fee farm owes that same man military service. We will not have custody of the heir or lands of anyone who holds from any other person lands by military service by reason of petty serjeantry which he holds of us by service of giving daggers or arrows or other similar things to us. Forthwith no bailiff shall place any man to his open law, not to an open oath upon his own simple affirmation without faithful witnesses brought for the purpose. No free man be taken or imprisoned nor dispossessed of his free tenement nor of his liberties or free customs nor outlawed nor exiled nor in any way brought to destruction nor shall we go upon him nor condemn him except through the lawful judgement of his peers or through the law of the land. We will not sell to anyone, nor will we not deny nor delay to anyone either right or justice. All merchants, unless they have received public prohibition, shall have safe and secure conduct to go from and come into England and to remain and to travel throughout England both by land and by water to buy and sell with no unjust exactions, in accordance with the ancient and right customs, except in time of war and if they should be from the country with which we are at war and such merchants are found in our land at the beginning of the war, they shall be apprehended with no loss to their persons or to their goods until it is made known to us or to our chief justiciary how the merchants of our land who may be found in that land which is at war with us are used and if our men were safe there, then those others shall be safe in our land. If anyone has held of another escheat, as of the honour of Wallingford, Boulogne, Nottingham, Lancaster or other escheats which are in our hands and which might be baronies and has died, his heir shall not give any relief nor perform any other service to us other than he may make to a baron, if that might be in a baron’s hands and we will hold it in the same manner by which the baron held it, nor by reason of such a barony or escheat will we have any escheat or custody of any of our men unless he who held the barony or escheat held otherwise of us in chief. In future no free man shall give or sell any more of his land but except that from the residue of his land he may be able to make the service owing to the lord of the fee which pertains to that fee. All the patrons of abbeys which have charters of the kings of England concerning the advowson or the ancient tenure or possessions may hold custody of them while they shall have been vacant just is they ought to have and just as is decreed above. No one shall be arrested or imprisoned by the appeal of a woman for the death of any man other than her husband. Henceforth no county court may be held except from month to month, and where the greater term was accustomed to be it may be greater, neither shall any sheriff or his bailiff make his turn throughout the hundred except on two occasions in a year and not unless in the due and accustomed place, that is to say once after Easter and again after the feast of Michaelmas and the view of frank pledge shall be then made at the same Michaelmas term with no obstacle, thus moreover that everyone may have his liberties which he had or was accustomed to have in the time of king Henry our grandfather or which things he has since acquired. However the view of frank pledge may be so done that our peace may be held and that the tything may be fully kept just as it was accustomed to be and that the sheriff may seek no perquisites and that he may be content with such as the sheriff was accustomed to have when he made his view at the time of king Henry our grandfather, nor in the future may it be lawful for any man to give his land to a religious house and to take that land to hold from the same house nor may it be lawful for a religious house to accept land of any man and to lease that land to him from whom it was received. Forthwith if anyone has so granted land to a religious house and upon this is convicted, his gift shall immediately be curtailed and that land returned to the lord of that fee. Forthwith scutage may be taken [as was customary] in the time of our grandfather king Henry and saving to the archbishops, bishops, abbots, priors, Templars, Hospitallers, earls, barons and all other persons both ecclesiastical and secular all the liberties and free customs which they first had. However all men of our kingdom, both clergy and laity shall observe all the customs and the aforesaid liberties [hole in MS which we have granted] in as much as pertains to us towards them in the way that these pertain towards them. However for this grant and concession of those liberties and other things contained in our charter concerning the liberties of the Forest the archbishops, bishops, abbots, priors, earls, barons and all people of our kingdom have given us a fifteenth part of all their moveable goods. We have granted also to the same people on our behalf and that of our heirs that neither we nor our heirs may request anything through which the liberties as contained in this charter may be violated or questioned and if any persons [may presume to commit such action] such may be worthless and set at nought. These are the witnesses: The lord S archbishop of Canterbury, E bishop of London, the bishops, J. Bath. P Winchester. H, Lincoln. R. Salisbury. W. Rochester, W.Worcester, J. Ely. H. Hereford. R. Chichester. W. Exeter, the abbot of Bury St Edmunds. The abbot of [hole], the abbot of Battle, the abbot of St Augustine’s Canterbury, the abbot of Evesham, the abbot of Westminster, the abbot of Peterborough, the abbot of Reading, the abbot of Abingdon, the abbot of Malmesbury, the abbot of Winchcombe, the abbot of Hythe, the abbot of Chertsey, the abbot of Shirbourne. The abbot of [hole] the abbot of Aylesbury. the abbot of Middleton., the abbot of Selby, the abbot of Cirencester, Hubert de Burgh our justiciar, H. earl of Chester and Lincoln, W. earl of Salisbury. W. earl Warenne. Gilbert de Clare earl of Gloucester and Hereford, W. de Ferrars earl of Derby, W de Mandeville earl of Essex, Hugh de Bigod earl of Norfolk, W. earl of Albermarle, H earl of Hereford. J Constable of Chester, R. de Ros, R son of Walter, R de Veteri Ponte, W. de Bruer. R. de Montfichet. P. fitz Herbert, W. de Aubeny son of Gresly, J de Munmue. J. Fitzalan, H de Mortimer, W de Beauchamp, W. de St John, P. de Malo lacu, Brian de Isham, Thomas de Multon, R. de Argentenn, G de Nevill, W. Manduit, J de Ballivi and others. Given at Westminster on the eleventh day of February in the ninth year of our reign, 1224/5. We however, having ratified the aforesaid grants and concessions freely concede and confirm them on behalf of ourself and of our heirs and renew them by the tenor of the present writings, desiring and granting for ourselves and our heirs that the aforesaid charter may be observed in all and each of its articles firmly and also unquestioned in perpetuity, if any articles contained in the same charter shall not previously have been observed. These are the witnesses: the venerable fathers * Robert archbishop of Canterbury, primate of all England, and bishops Anthony of Durham, Robert of London. Robert of Ely, Thomas of Exeter, Walter of Coventry and Lichfield, Simon of Salisbury, J (sic) Thomas of Rochester, John of Norwich and John of Llandaff, John elect of Lincoln, John de Warenne Earl of Surrey, Thomas Earl of Lancaster, Roger le Bygod Earl of Norfolk and Marshall of England, Henry de Lacy Earl of Lincoln, Ralph de Monte Hermern Earl of Gloucester and Hertford, Humphrey de Bohun Earl of Hereford and Essex, Guy de Beauchamp Earl of Warwick, Richard fitz Alan Earl of Arundel, Reginald de Grey, John de Hastings, Henry de Percy, Hugh le Despenser, Hugh de Veer, Robert de Tateshale, Hugh Bardolp, Hugh de Courteneye, John de Seagrave, Henry de Grey, William de Ros de Helmesleye, Alan la Zusche, Robert de Tony, Robert de Monte Alto, William de Breous, Thomas [hole]nall, John de Engaygne, Peter Corbet, William de Leyburn, William de Latymer, Walter de Beauchamp, steward of our lodgings, Walter de Huntercumbe and others. Given by our hand at Westminster on the twenty eighth day of March in the twenty eighth year of our reign. * Robert Winchelsey archbishop of Canterbury 1293-1313 Anthony Bek bishop of Durham 1283-1311 Robert Gravesend bishop of London 1280-1303 Robert de Walpole bishop of Ely1299-1302 Thomas de Bitton bishop of Exeter 1291-1307 Walter de Langeton bishop of Coventry and Lichfield 1296-1321 Simon of Ghent bishop of Salisbury 1297-1315 Thomas de Wouldham bishop of Rochester 1291-1317 John Salmon bishop of Norwich 1299-1325 John de Dalderby bishop elect of Lincoln 1300-1320. Elected 15th January 1300, consecrated 12 June 1300.
Written on fold of charter: For the Barons of the port of Faversham. Examined through Master Edmund of London
Great Gospel of John & Household of God
Do not in future build houses of prayer for Me but guest houses and refuges for the poor who can not pay you!
In the love of your poor brothers and sisters shall you be My true worshippers, and in such houses of prayer I shall be frequently among you, without you necessarily becoming aware of it; but in temples built for worshipping Me with the lips, as it has been till now, I shall henceforth dwell no more than man's intellect would in his little toe.
If however you have to awaken your hearts towards Me and enter upon the right humility in an exalted temple, then move outside into the temple of My Creations, and sun, moon and all the stars and the sea, the mountains and the trees and the birds of the air, as also the fish in the water and the countless flowers of the fields shall proclaim My glory to you!
Say, is not the tree more glorious than all the splendour of the temple at Jerusalem?! A tree is a pure work of God, it has its life and brings forth nourishing fruit. But what does the temple bring forth? I say unto you: nothing but arrogance, anger, envy, the most blatant jealousy and domineering; because it is not God's, but the vain work of man.
Verily, verily I say unto you all; he who shall honor, love and therewith worship Me by doing good to his brothers and sisters in My name shall have his everlasting reward in heaven; but he who henceforth honors Me with all kinds of ceremonies in a temple built especially for this shall also have his temporal reward from the temple! When however after the death of his flesh he shall come to Me and say: 'Lord, Lord, have mercy on me, your servant', I shall then say unto him: 'I do not know you; hence depart from Me and seek your reward with him who you served!' For this reason you too should henceforth have nothing more to do with any temple!
God also never taught the people to honor Him with lips and keep their hearts cold. But since Samuel prayed audibly in front of the people, equally so several of the prophets, and because David sang to God the Lord his psalms and Salmo his High Song, the people came to empty lip prayer and to cold sacrifices.
However, before God such prayers and sacrifices are repulsive! He who cannot pray in the heart should rather not pray at all, so as to not behave improper before God. God did not give feet, hands, eyes, ears and lips to man to pray vainly and vacuously, but only the heart!
For what use is the senseless bawling in the church, if thousands of poor and hungry brothers outside the church are not considered?!
Go and strengthen first the needy, feed the hungry, quench the thirsty, clothe the naked, comfort the sad, free the imprisoned and preach the gospel to the poor in spirit, then you will do endlessly better than to blare day and night in the churches with your lips, while your hearts were cold and unreceptive to your poor brothers!
Why would you build a separate house while you already have houses in which you live, wherein you also can come together in My name to discuss about My teaching and to tell about the experiences which everyone will certainly have when they live according to God's will?
It is also not necessary to introduce a certain feast day for that which you would call - like for instance the Pharisees call the Sabbath - 'the day of the Lord'. Because every day is a day of the Lord, and so on every day just as many good works can be done, because God does not look at a day and still less at a house that is build to honor and worship Him, but God looks only at the heart and the will of man. If the heart is pure and the will is good, and when these will make the whole man active, then this is already the true, real house of God's Spirit in man, and so his always good and active will according to the known will of God is the true and thus also the always real day of the Lord.
But if in a community you want to build a house out of love for Me, let this then be a school for your children, and give them teachers according to My teaching. You also can build a house for the poor, the sick and the disabled. Provide such a house of everything that is necessary to take care of the people who live there, then you always will be able to rejoice in My pleasure. All the rest and that which is in addition is evil and has, as already said, no value for God.
Do tell My children and all others, no matter of what religion: on earth there is only one church, and this is the love for Me in My Son. This love is the Holy Spirit within you, which reveals itself to you through My living Word. Thus I am in you; and your soul, whose heart is My dwelling place, is the sole Church on earth. In it alone there is eternal life, and it is the sole redeeming one! Or do you think I am present within the walls or in the ceremony or in prayer or veneration? Oh, no, there you are very much mistaken. There I am nowhere to be found, but only where there is love, there I am also!
I missed the actual cleaning as I didn't get the camera out of my pocket quickly enough. To be honest, I didn't expect to take any photographs, hence carrying my very small compact. Must be more prepared in future!
A monastery was founded here by some Everward and his wife Geva around 854 as a house of secular canonesses, unmarried daughters of the saxonian nobility. There are parallels to the abbey in Gandersheim, - only a few years younger - and as well a secular house for noble unmarried ladies.
The abbey existed upto 1812, and during centuries had a very colourful history. After Luther´s reformation the canonesses favoured to be "Lutherians" in future, so that some Anabaptists of the Muenster rebellion could find a secret asylum here for some years. Catholicism returned finally to Freckenhorst during the 17th century.
In 1116 the collegiate and the church burnt down. A new church was built. This new church got consecrated in 1129 by Egbert, bishop in Muenster, a relative of and advisor to Lothair III.
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The most valuable jewel within this great romanesque collegiate church is this baptismal font. Quoting late Georg Dehio, one of the great german art-historians, this is "the most important baptismal of the 12th century" in Germany, "a goldwork in stone".
Over a "greek" base, two carved bands going all around. Inbetween is written:
+ ANNO AB INCARNAT(IONE) D(OMINI) M C XX VIIII EPACT (IS) XXVIII CONCURR(ENTIBUS) I P(OST) B(ISSEXTILEM) INDICT(IONE) VII II NON(AS) IBN(II) A VENERAB(ILI) EP(ISCOP)O MIMIGARDEVORDENSI EGBERTO ORTDINAT(IONIS) SUE ANNO II CONSECRATU(M) E(ST) HOC TEMPLUM
In the year 1129 after the incarnation of the Lord, 28. Epakten, 1. Concurrenten, after a leap year, 7. Indiktion, on the 2. nones of june, the adorable bishop of Muenster Egbert in his second year of ordination this church was consecrated
The inscription gives us the exact date of the consecration
- 04. June 1129 -
Epakten, Concurrenten and Indikations were all used in medieval calenders, Mimigardevordensi is a very old name for Muenster.
Sorry for the bad quality of the photos. To take them on a afternoon in winter was not a really good idea, but I could not wait for better light in spring.
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More interesting details can be found in:
Kirche und Stift Freckenhorst,
Jubilaeumsschrift zur 850. Wiederkehr des Weihetages der Stiftskirche am 04. Juni 1979, Warendorf 1979
My new favorite thing to do, I've decided, with monorails is stretch them. The curves you find in Future World, as well, are perfect ways to play with interesting lines and really stretch out and capture an entire monorail in one frame. I love being so close, but also how this image does capture the entire length of Monorail Teal. Having a beautiful blue sky behind it doesn't hurt much either! And I also really enjoy the reflections in the water. Really nice, still water makes for a more interesting shot.
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Day 2 of Brands Hatch Brit Car into The Night and after a thrilling set of Qualifying and Racing Yesterday All Drivers were Ready Once again to Challenge the Circuit.
Some Drivers from the Previous Day were Seen Packing Up and Heading Home after a Brilliant Days Racing while Others were Just Arriving and Getting their Machines Prepared for The Race Track.
With an Action Packed Day to look forward to and Lots of Action for Both Qualifying and Racing Lets take a Look and See who is up First and Ready to Challenge This Almighty Indy Circuit.
Avon Tyres Intermarque Silhouettes-(Qualifying Results)
First Up onto the Circuit was The Intermarque Silhouettes and Thease Machines are Very Quick and Built to be as Light Weight as Possible by Using a Space Frame Chassis and a Fibreglass Body.
Lets Find out who Qualified were and Who Managed to Take Pole Position for Race 1.
In First Place Securing Pole Position and The Fastest Lap was (Danny Hun) in his Ford Autoxross Fiesta ST with a Best Lap Time of 1:01.454 and a Top Speed of 70.76mph. Great Lap there Danny Really Keeping that Car on the Track and Taking a Strong Pole Position.
In Second Place was (Pat Kiely) in his Vauxhall Tigra with a Best Lap Time of 1:01.813 and a Top Speed of 70.35mph. Brilliant Drive there Pat Nice Work and Fantastic Second Place on the Grid for Race 1.
In Third Place was (Malcom Blackman) in his Vauxhall Tigra with a Best Lap Time of 1:03.883 and a Top Speed of 68.07mph. Well Done Malcom a Massive Charge to Earn that P3 Spot on the Gird Lets Hope it can be turned into a Race Win Come Race 1.
What an Exciting End to Qualifying with the Likes of Danny Pat and Malcom All Looking Ready to Go for Race 1 but out of The Three Who Will be Able to Turn their Qualifying Position into a Race Win? Lets Find Out.
Avon Tyres Intermarque Silhouettes-(Race 1 Results)
After an Intense Battle During Qualifying which saw the Likes of Danny Hun take a Dominant Pole Position with Pat Kiely Second and Malcom Blackman Third this Grid is Looking to be Very Big and Very Fast. Lets Find Out Who Won and Who took Glory in the First Race of The Day.
In First Place Taking The Victory Was (Malcom Blackman) in his Vauxhall Tigra with a Best Lap Time of 57.507 and an Average Speed of 54.53mph. Congratulations Malcom Fantastic Drive and A Well Deserved Win in that Beautifully Prepared Vauxhall.
In Second Place was (Danny Hun) in his Ford Autoxross Fiesta ST with a Best Lap Time of 57.789 and an Average Speed of 54.49mph. Amazing Work there Danny Brilliant Drive and a Well Deserved P2 Finish over the Line.
In Third Place was (Pat Kiely) in his Vauxhall Tigra with a Best Lap Time of 57.346 and an Average Speed of 54.48mph. Great Work Pat Really Pushing Hard and Almost Catching Danny Hun Just Before The End by 0.157 Seconds there.
What a Fantastic First Race of The Day for The Intermarque Silhouettes with Some Incredible Winners in the Likes of Malcom Danny and Pat All Taking Superb Victories for their Respective Teams.
With Race 2 Coming Up Next Who will be the One to Retain their Crown at the Top of The Standings and Can the Likes of Pat and Danny Possibly Improve and start Putting Pressure on Malcom who Currently Reins Supreme?
Lets Find Out
Avon Tyres Intermarque Silhouettes-(Race 2 Results)
Race 2 and One Last Chance for The Top 3 To Battle it out and See who can Take Either Back to Back Victories at Brands Hatch or Who can Possibly Disrupt the Win Streak Currently Set by Malcom.
In First Place Taking The Last Victory was (Steve Burrows) in his Vauxhall Tigra with a Best Lap Time of 1:01.432 and an Average Speed of 69.99mph. Congratulations Steve What a Brilliant Bit of Driving there in Very Wet and Dark Conditions to Beat Malcom and Take Home a Fantastically Deserved Win.
In Second Place was (Dave York) in his Vauxhall Tigra with a Best Lap Time of 1:01.329 and an Average Speed of 69.59mph. Amazing Work there Dave Really Pushing that Vauxhall for All it was Worth and Doing Very Well to Keep it on the Damp and Slippery Track for a Superb P2 on the Podium.
In Third Place was (Malcom Blackman) in his Vauxhall Tigra with a Best Lap Time of 1:01.343 and an Average Speed of 69.50mph. Well Driven there Malcom Great Drive and A Really Good Finish in P3 from an Amazing Weekend of Racing.
What a Fantastic Weekend for The Intermarque Silhouettes and So many Amazing Winners in the Likes of Danny Pat Malcom Dave and Steve Who All Showed Incredible Wet Weather Skills and Kept there Cars Going to Take some Superb Victories. Well Done to All of the Other Drivers too Who Fought Hard on Track. Keep Pushing for that Victory and Good Luck.
BMR Super Saloons & CMMCS Tin-Tops-(Qualifying Results)
Next Up on to The Race Track was The Super Saloons and Tin Tops and Thease Machines not Only Have Incredible Liveries and Looks but they Also Pack a lot of Power and Variety in the Types of Race Cars and How they Handle.
From the Ford Escort WRC to the Peugeot 306 and even the Mitsubishi Lancer Evo 10 Each Car and Driver Have a Certain Driving Style that can Either Mean the Difference Between a Loss or a Victory on the Race Track.
Lets Get to Qualifying and See Who Took Pole
In First Place Taking Pole Position and The Best Lap Was (Rod Birley) in his Ford Escort WRC with a Best Lap Time of 58.886 and a Top Speed of 73.84mph. Brilliant Drive from Birley as a Home Hero of Brands Hatch He Always Knows How to Take Almost Any Car and Get it onto Pole Position Fantastic Drive.
In Second Place was (Chris Basset) in his Peugeot 306 with a Best Lap Time of 1:00.040 and a Top Speed of 72.42mph. Fantastic Drive there Chris Pushing that Peugeot Hard for a Well Deserved P2 Finish Well Done.
In Third Place was (Nick Sutton) in his Mitsubishi Lancer Evo 10 with a Best Lap Time of 1:01.904 and a Top Speed of 70.24mph. Brilliant Drive there Nick Really Working Hard and Getting that Beautiful Lancer Evo into P3 on the Gird.
A Fantastic Qualifying Session for Tin Tops and Super Saloons with some Very Fast and Experienced Drivers in Rod Chris and Nick all Pushing their Machinery Hard and Gunning for a Victory. With Race 1 Just Around the Corner it will be Interesting to See who can Take the Victory and who can Defend their Position from the other Drivers who will no Doubt Be Ready and Waiting to Attack.
BMR Super Saloons & CMMCS Tin-Tops-(Race 1 Results)
In First Place Taking the Victory and The Fastest Lap was (Rod Birley) in his Ford Escort WRC with a Best Lap Time of 1:02.316 and an Average Speed of 57.41mph. Congratulations Rod a Really Incredible Bit of Driving in those Rain Soaked Conditions to take Home a Victory that the Whole Family will be Really Proud of. Amazing Drive.
In Second Place was (Steve Dann) in his VW Scirocco with a Best Lap Time of 1:02.502 and an Average Speed of 57.35mph. Great Driving there from Steve Taking the Fight Right to Birley at The End and Almost Catching him for the Race Win. Non the Less a Very Well Deserved P2 Finish.
In Third Place was (Nick Wall) in his Renault Clio with a Best Lap Time of 1:04.877 and an Average Speed of 55.89mph. Brilliant work there Nick A Fantastic P3 Finish in Conditions that were Very Challenging Indeed.
What an Incredible Race this was to Witness with the Start Being Behind the Safety Car before All of the Driver put their foot down and Went for it in conditions where at Times the Spray made it Impossible to see Anything.
A Big Congratulations to the likes of Rod Steve and Nick who All Drove Incredibly and Really Showed Everyone who the Rain Masters were around the Indy Circuit. A Big Congratulations to All of the Other Drivers too Who also Showed Incredible Bravery and Skill Navigating their way Around and Claiming some Incredible Victories of their own.
With Race 2 Coming Up Next will Rod be able to Hold onto his 1st Place Finish or Will the Likes of Nick and Steve Try to Take that 1st Place away from Rod? and Who Else May be able to Challenge this Trio of Fast and Capable Drivers.
Lets Find Out
BMR Super Saloons & CMMCS Tin-Tops-(Race 2 Results)
With The Circuit Now Entering Night fall it was Getting Very Difficult for The Drivers to see which will add a New Challenge to this Race. Will the Likes of Rod Birley be Able to Win Once Again?
In First Place Taking the Win and Fastest Lap was (Rod Birley) in his Ford Escort WRC with a Best Lap Time of 1:00.960 and an Average Speed of 60.83mph. Amazing Work there Rod Driven like a True Champion and a Fantastic Home Win to Add to the Already Incredible Win Streak at Brands Hatch.
In Second Place was (Nick Sutton) in his Mitsubishi Lancer Evo 10 with a Best Lap Time of 59.429 and an Average Speed of 60.74mph. Great Drive from Nick Once Again Showing his Brave and Fantastic Skills even at Night When the Lights go Out. Well Done.
In Third Place was (Steve Dann) in his VW Scirocco with a Best Lap Time of 1:02.227 and an Average Speed of 60.48mph. Nice Work Steve Really Good Drive for P3 Showing some Incredible Speed and Commitment Thought the Race.
What an Amazing Race from the Super Saloons and Tin Tops with some Incredible Drives and Victories from the likes of Rod Nick Sutton Nick Wall and Steve All Pushing Hard and Achieving Some Incredible Victories.
Well Done to All of the Other Drivers out there Racing too You All did a Fantastic Job and Looking Forward to seeing you All out there Again Doing what you Love and Sharing a Passion for Motorsport.
Dunlop Mini Winter Challenge supported by Mini Spares (Race 2 Results)
The Mini's were Up Next and After Some Incredible Racing Yesterday which Saw the Likes of Rupert Deeth Take 1st with Scott Kendall 2nd and Colin Peacock 3rd it was Going to be an Intense Battle at the Front of the Field.
The Likes of Endaf Owens was Also Prepared after an Engine Failure During Yesterdays Race Which Many thought would put him out of Contention for Today..........However With Some Incredible Overnight Work by Him and His Fellow Mechanics as well as a Late Night Trip to Wales and Back to Pick Up a Spare Engine, Endaf and His Dedicated Team Have Managed to Get his Car Ready for Race 2. Truly a Phenomenal Achievement. Lets Hope for Better Luck this Time.
Lets Get to the Action
In First Place Taking Victory and The Fastest Lap was (Endaf Owens) in his Mini Miglia 1298 with a Best Lap Time of 55.033 and an Average Speed of 67.78mph. Incredible Drive there Endaf Coming Back from Yesterday with an Engine Failure to Win the First Race of Sunday is Truly The Drive of a Champion. Incredible Work.
In Second Place was (Rupert Deeth) in his Mini Miglia 1293 with a Best Lap Time of 54.925 and an Average Speed of 67.72mph. Another Heroic Drive from Rupert Really Putting Pressure on Endaf the Entire Race and the two of them being in a Class of their Own way out in Front. Amazing Drive there Rupert.
In Third Place was (Scott Kendall) in his Mini Miglia 1293 with a Best Lap Time of 55.618 and an Average Speed of 67.34mph. Great Drive there From Scott Racing Hard and Doing a Fantastic Job of Defending that P3 Spot. A Very Well Deserved Third Place Finish.
What a Race from The Dunlop Mini Winter Challenge and with One More Race to go The Game is on for Anybody to take on the Likes of Scott Endaf and Rupert for Victory. Lets Find Out what Race 3 Brings and if Endaf can Make it 2 out of 3 Wins to Finish what Has Been a Phenomenal Weekend of Racing for the Mini's.
Dunlop Mini Winter Challenge supported by Mini Spares (Race 3 Results)
The Final Race for The Mini's and with Endaf Owens on an Incredible Charge will he be able to Withstand The Pressure coming from Rupert Deeth and Take Victory Once More?
In First Place taking the Final Win and Fastest Lap was (Endaf Owens) in his Mini Miglia 1298 with a Best Lap Time of 1:02.979 and an Average Speed of 60.65mph. Congratulations Endaf Another Superb Victory for Today and What an Incredible Come Back From Yesterday. He and His Family as well as His Race Engineers and Mechanics will be Very Proud of Him This Weekend that's for sure.
In Second Place was (Joe Thompson) in his Mini Miglia 1300 with a Best Lap Time of 1:03.571 and an Average Speed of 60.40mph. Brilliant Driving from Joe and a Really Excellent Performance in Very Dark and Dreary Conditions for a P2 Finish.
In Third Place was (Rupert Deeth) in his Mini Miglia 1293 with a Best Lap Time of 1:03.433 and an Average Speed of 59.93mph. Very Well Done Rupert a Fantastic P3 Finish To End the Weekends Racing and some Incredible Battles thought the Weekend with Endaf too. Well Done.
What a Weekend it has been for The Dunlop Mini Winter Challenge with Some Incredible Drives from the Likes of Endaf Rupert Joe and Scott all Taking Amazing Victories. Well Done to all of the other Competitors too you All did a Fantastic Job and Good Luck for the Next Time Out. Hope to See you All again Next Year for More High Speed and Close Racing Action.
Ginetta Junior Championship-(Qualifying 2 Results)
Now it was Time for the Return of the Ginetta Junior Championship onto the Brands Hatch Indy Circuit and after Some Intense and Close Racing Yesterday Each Driver was Ready to Go for Victory Once Again.
Currently Josh Rowledge Liam Mcneilly and Max Dodds are The Top 3 Finishers from Yesterdays Race and with Another Qualifying Session Ready and Waiting Will they be able to Put themselves Back at the Front of the Grid or Will a New set of Driver work to Challenge them?
In First Place Taking Pole Position and The Fastest Lap was (Tom Edgar) in his GBR R Racing with a Best Lap Time of 1:05.449 and a Top Speed of 66.44mph. Congratulations Tom Taking Pole Position and Ensuring a Front Row Start. Brilliant Lap.
In Second Place was (Aqil Alibhai) in his RSA Elite Motorsport with a Best Lap Time of 1:05.832 and a Top Speed of 66.05mph. Great Work there from Aqil Taking P2 on the Gird and Some Impressive Car Control thought Qualifying. A Well Deserved P2.
In Third Place was (Joe Warhurst) in his GBR Elite Motorsport with a Best Lap Time of 1:05.964 and a Top Speed of 65.92mph. Brilliant Drive there Joe Keeping that Car Nicely Positioned Thought the Lap to ensure a Smooth and Yet Confident P3 Spot on the Gird.
A Great Second Qualifying Session for the Ginetta Junior Drivers with Three New Drivers in the likes of Tom Aqil and Joe All Looking to take that Glory Come The Next Race. But Who will be able to turn that Impressive Qualifying Lap into a Victory?
We Will Have to Wait and See.
Ginetta Junior Championship-(Qualifying 2 Second Fastest Results)
After an Intense Qualifying Session which saw the Likes of Tom Edgar Aqil Alibhai and Joe Warhurst Taking the Top Three Spots it was Time for them to do it One More Time in a Second Heat for Qualifying. Who will be on Top This Time and will the likes of both Joe and Aqil take that P1 Spot away from Tom?
In First Place Taking The Pole was (Tom Edgar) in his GBR R Racing with a Best Lap Time of 1:05.453 and a Top Speed of 66.43mph. Superb Job Once Again from Tom who manages to Hold onto that All Important P1 Position. Brilliant Drive there Tom.
In Second Place was (Joe Warhurst) in his GBR Elite Motorsport with a Best Lap Time of 1:06.089 and a Top Speed of 65.79mph. Fantastic work Joe Pushing Hard and Taking that P2 Spot away from Aqil Alibhai.
In Third Place was (Aqil Alibhai) in his RSA Elite Motorsport with a Best Lap Time of 1:06.284 and a Top Speed of 65.60mph. Nice Work there Aqil P3 and a Really Good Effort Against the Likes of both Joe and Tom.
What Another Intense Qualifying Session with the Top Three In Tom Joe and Aqil All Pushing Hard and Swapping Positions thought Second Qualifying. What Will the First of Two Races Bring Today and Who will be the First to take Victory?
Ginetta Junior Championship-(Race 3 Results)
In First Place Taking The Victory was (Aqil Alibhai) in his RSA Elite Motorsport with a Best Lap Time of 59.381 and an Average Speed of 71.48mph. Congratulations Aqil A Really Well Deserved Win and Some Incredible Driving to take the Race Win. Well and Truly Deserved.
In Second Place was (Max Doods) in his GBR Assetto Motorsport with a Best Lap Time of 59.284 and an Average Speed of 71.21mph. Brilliant Driving from Max Pushing Himself and The Car Thought the Race to take Home a Fantastic P2 Finish.
In Third Place was (Liam Mcneilly) in his GBR Fox Motorsport with a Best Lap Time of 59.426 and an Average Speed of 71.12mph. Brilliant Driving Liam P3 and The Final Spot on The Podium.
A Fantastic Race with Two New Winners in the Likes of Max and Liam and a Huge Congratulations to Aqil for that Incredible Victory after Overtaking both Liam and Max During the Race to take Victory. Good Luck to All other Drivers too and Lets see what the Final Race Brings.
Ginetta Junior Championship-(Race 4 Results)
The Final Race for Ginetta Juniors and One Last Time for One Driver to Stand on the Top Step of the Podium. After Some Fantastic Drives from the likes of Max Aqil Liam Tom and Joe who will be able to take that Last All Important Victory?
In First Place Taking The Final Victory was (Liam Mcneilly) in his GBR Fox Motorsport with a Best Lap Time of 1:07.685 and an Average Speed of 45.65mph. Congratulations Liam Brilliant Final Drive and a Really Great way to End a Perfect Weekend. Your Family and Friends will be Really Proud of you.
In Second Place was (Aqil Alibhai) in his RSA Elite Motorsport with a Best Lap Time of 1:07.749 and an Average Speed of 45.62mph. Awesome work there Aqil Another Very Good Battle at the Front of the Field and a Great P2 Finish to End the Weekend with a Smile.
In Third Place was (Sonny Smith) in his GBR R Racing with a Best Lap Time of 1:07.784 and an Average Speed of 45.59mph. Congratulations Sonny P3 and a Really Superb Job Defending from the Likes of Max Behind thought the Race.
A Brilliant Weekend for The Ginetta Junior Championship With So Many Fantastic Drivers in the likes of Liam Aqil and Sonny as well as Max and Liam These Young Drivers are Going to do Really Well in Future Top Level Motorsport. A big Congratulations to All of you and to the Other Drivers in the Field Keep Pushing and Working Hard Never Stop Trying.
Britcar Endurance Championship-(Race 1 Results)
As The Light Fell away from the Circuit The Britcar Endurance Championship made its way out onto the circuit with Lights a Blaze and a lot of Energy coming from both the Drivers and their Cars This was Going to be a Race of Endurance and Car Management thought the 45 Minutes of the Race.
During Qualifying Yesterday The Team of
Valluga's Carl Cavers/Sean Doyle took Pole with
Valluga's Ian Humphries/Benji Hetherington in Second while
Nial Bradley Took Third.
With a Quick set of Warm Up Laps Over it was Time for The Brit car's to make their way out onto the Track and Get Ready for two Races of Endurance to Decide the Britcar Champion of 2021.
In First Place Taking the Victory was (Valluga's) Ian Humphries and Benji Hetherington in their Porsche 718 GT4 Club sport with a Best Lap Time of 50.023 and an Average Speed of 70.37mph. Congratulations both Ian and Benji a Fantastic Win in Very Tricky and Tiering Circumstances thought the 45 Minutes.
In Second Place was (Nial Bradley) in his BMW M3 E46 with a Best Lap Time of 50.799 and an Average Speed of 70.34mph. Brilliant work there Nial Keeping the Pressure on for both Ian and Benji at the front of the Pack. a Very Committed Drive for P2.
In Third Place was (Valluga's) Carl Cavers and Sean Doyle in their Porsche 718 GT4 Club sport with a Best Lap Time of 50.016 and an Average Speed of 70.34mph. Congratulations Carl and Sean Brilliant Drives from both of you and a Well Deserved P3 Finish after an Intense Battle with Team Hard's Eric Bolton in P4.
What an Intense First Race for the Britcar Endurance Championship with the Likes of Ian Humphries and Benji Hetherington Taking the Spoils while Nial Bradley Finishes Second and Carl Cavers and Sean Doyle Finish Third.
With Only One Race Left who will be the Victor and Take Home Glory? Lets Find Out.
Britcar Endurance Championship-(Race 2 Results FINAL)
In First Place Taking the Final Race Win of the Day and The Fastest Lap was (Steve Rothery) in his Peugeot 308 with a Best Lap Time of 58.289 and an Average Speed of 66.59mph. Congratulations Steve a Really Phenomenal Drive to take The Final Win of the Weekend for Britcar. Brilliantly Driven and Nicely Controlled.
In Second Place was (Valluga's) Ian Humphries and Carl Cavers in their Porsche 718 GT4 Club Sport with a Best Lap Time of 57.414 and an Average Speed of 66.46mph. Great Work there by both the likes of Ian and Carl to Bring there car Home in P2. A Wonderful Way to End the Weekend and the Championship.
In Third Place was (Spires Motorsport's) Anton Spies in his Renault Clio Gen 4 with a Best Lap Time of 1:01.189 and an Average Speed of 64.37mph. A Very Heroic Drive from Anton Pushing His Renault Hard and Ensuring He Defends that All Important Final Spot on the Podium. Great Job.
What a Weekend it has been for the Britcar Endurance Championship with Many Fantastic Teams and Drivers in the Likes of (Valluga's) Ian Humphries Carl Cavers Benji Hetherington and the Likes of (Spire Motorsports) Anton Spires and Steve Rothery.
Brilliant Driving from All of you and a Really Big Congratulations to The Final Race Winner Steve Rothery.
A Fantastic Weekend with Many Talented and Incredible Drivers All Pushing Hard and Doing what they Love on the Race Track. Congratulations to All of the Race Winners.
See You All Again Next Year!
vigyanprasar.gov.in/isw/Dr-harsh-vardhan-dedicates-two-ne...
Union Minister for Science and Technology, Earth Sciences and Health and Family Welfare, Dr. Harsh Vardhan, today dedicated to the nation two databases brought out by the Department of Science and Technology on `S&T Awards in India’ and `Indian origin academicians and scholars abroad’.
The database on `S&T Awards in India’ is an attempt to build and manage the information about science and technology awards that have been instituted since 1928 in India. It provides data on various aspects such as discipline, periodicity, categories, awards level, chronology and state wise distribution of awards and their sponsors. It will be useful for planners, policy makers, funding agencies and other stakeholders to chalk out their programmes as per the priorities of R&D activities.
The database on `Indian Origin Academicians’, in turn, has information on 23,472 Indian academicians and research scholars working in various countries. It is of immense relevance/importance in the present-day scenario where international collaborations with knowledge experts are the key factor for S&T led growth and competitiveness. The project team explored around 2,700 academic university websites to gather this information from selected countries (US, UK, Australia and Canada).
The Minister released the databases at a function to mark the National Science Day, which is celebrated every year since 1987 in remembrance of Nobel Laureate Sir C.V.Raman’s path breaking discovery of Raman Effect in 1930.
He also presented the National S&T Communication Awards, AWSAR (Augmenting Writing Skills for Articulating Research) Awards, and SERB (Science and Engineering Research Board)’s Women Excellence Awards on the occasion.
Under the National S&T Communication Awards, Dr. S. Anil Kumar (Anilkumar Vadavathoor), a well known popular science writer in Malayalam has won the Award for Outstanding Efforts in Science & Technology Communication through Print Media including Books and Magazines; Indian Resource and Development Association and Mr. Mihir Kumar Panda the Award for Outstanding Efforts in Science & Technology Popularization among Children; Dr Sheffali Gulati, Delhi and Mr.Rakesh Khatri the Award for Outstanding Efforts in Science & Technology Communication through Innovative and Traditional Methods; and Dr. Krishna Kumari Challa the Award for Outstanding Efforts in Science & Technology Communication in Electronic Media.
National Science Communication Award Winner - Dr. S. Anil Kumar, Mihir Kumar Panda, Dr. Sheffali Gulati, Rakesh Khatri, Dr. Krishna Kumari Challa (top to bottom)
Union Minister for Science and Technology, Earth Sciences and Health and Family Welfare, Dr. Harsh Vardhan, today dedicated to the nation two databases brought out by the Department of Science and Technology on `S&T Awards in India’ and `Indian origin academicians and scholars abroad’.
In the case of AWSAR awards, Dr. Sangeeta Dutta of Jawaharlal Nehru Centre for Advanced Scientific Research (JNCASR) has won the AWSAR Award for Outstanding Story under the Post-doctoral fellow category; Ms. Pooja Maurya of CSIR- Central Drug Research Institute, Lucknow, the AWSAR Award: First Prize (PhD category); Ms. Indu Joshi of Indian Institute of Technology Delhi, the AWSAR Award: Second prize (PhD category); and Ms. Shruti Soni of Indian Institute of Science, Bangalore the AWSAR Award: Third prize (PhD category).
Photo-1: Winners of 'AWSAR' contest- Dr. Sangeeta Dutta (top left), Pooja Maurya (top right), Indu Joshi (bottom left), Shruti Soni (bottom right)
The winners of SERB Women Excellence Award are Dr. Shobhna Kapoor of Indian Institute of Technology Bombay, Dr. Antara Banerjee of National Institute for Research In Reproductive Health, Dr. Sonu Gandhi of National Institute of Animal Biotechnology, and Dr. Ritu Gupta, Indian Institute of Technology Jodhpur, Rajasthan
SERB Women-Excellence Award Winners- Dr. Shobhna Kapoor (top left), Antara Banerjee (top right), Dr. Ritu Gupta (bottom left), Dr. Sonu Gandhi (bottom right)
Speaking on the occasion, the Minister noted that India's global position both in innovations and scientific publications has seen a rising trend over the last six years, with its Global Innovation Index (GII) ranking improving rapidly to 48 (2020) from 81 (2015) and Scientific Publication ranking to 3rd position (2018) from 6th (2014)
Further, he pointed out that India ranked 8th in patents filed by resident scientists/innovators from respective countries as per WIPO Statistics and ranked 3rd in number of PhD degrees awarded (24,474) in Science and Engineering. Besides, women’s participation in R&D has increased to 16.6% (2018) from 13.9% (2016). India has reached 3rd position in the world in terms of number of startups.
He pointed out that compared to last year there has been a 30 per cent increase in the budget of the Ministry of Science & Technology and Earth Sciences put together for the year 2021-22 and said that the Country’s upcoming Science, Technology and Innovation (STI) Policy aspired to position India much higher among globally competitive and innovative economies and the coming policy on Scientific Social Responsibility will seek to provide a big impetus to create the mindset and value systems to recognize, respect, and reward performances which create wealth from S&T derived knowledge.
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Ministry of Science & Technology
Dr Harsh Vardhan gives away awards to science communicators and women scientists on National Science Day
The 30 percent increase in the budget of Ministry of Science & Technology and Earth Sciences put together for the year 2021-22 would provide stimulus to S&T infrastructure resources in the country: Dr Harsh Vardhan
“Fundamental and Translational Research have to be people centric. So on this National Science Day, let each scientist dream of something new to make perceptible difference to the life of people in India”: Dr Harsh Vardhan
Dr. Harsh Vardhan also releases the first-ever National S&T Databases on S&T Awards in India and Indian origin Academicians abroad
Also confers an appreciation shield to National S&T database developers
Posted On: 28 FEB 2021 7:10PM by PIB Delhi
Union Minister for Science & Technology, Earth Sciences and Health & Family Welfare, Dr. Harsh Vardhan today highlighted how science technology and innovation (STI) would impact our future in education, skills and functioning in the post-pandemic world. He was addressing the National Science Day (NSD) funFction through video-conferencing from Imphal, Manipur. Awards to science communicators and women scientists were also conferred by the Science & Technology Minister on the occasion of National Science Day which is celebrated to commemorate the discovery of Raman Effect on this day every year. The NSD celebrations were organized by the National Council for Science Technology Communication (NCSTC), Department of Science &
Dr. Harsh Vardhan said, “The 30 percent increase in the budget of Ministry of Science & Technology and Earth Sciences put together for the year 2021-22 would provide stimulus to S&T infrastructure resources in the country”. The Union Minister said that in view of last year's challenges thrown by the COVID-19 pandemic, the theme of the National Science Day 2021, ‘Future of STI: Impacts on Education, Skills, and Work,’ becomes all the more important.
“World has witnessed how Indian S&T systems rose to this recent unprecedented crisis caused by the pandemic. Scientific awareness and health preparedness shall become even more important in post-COVID 19 times. A comprehensive National programme has already been launched on health and risk communication with a focus on COVID-19, namely, Year of Awareness on Science & Health (YASH). We have brought out an online interactive multimedia bilingual resource for mass awareness on COVID- 19, COVID Katha,” Dr. Harsh Vardhan disclosed.
“The data portals launched today will be game changers. We feel that scientists with legacy from India should be on one platform and contribute to India’s growth story”, the Minister explained. He further said that the Prime Minister has been talking about Scientific Social Responsibility for which the Fundamental and Translational Research have to be people centric. “So on this National Science Day, let each scientist dream of something new to make perceptible difference to the life of people in India”, Dr Harsh Vardhan urged.
He also underlined the importance of sustained efforts of inculcating, nurturing, and unleashing the scientific temper and innovative mindset of projected population of 1.5 billion (+) people in 2050 for sustainable and inclusive growth.
Dr. Harsh Vardhan presented the National S&T Communication Awards, Augmenting Writing Skills for Articulating Research (AWSAR) awards, and SERB Women Excellence Awards and conferred Rajendra Prabhu Memorial Appreciation Shield for outstanding work in science media and journalism.
The Minister also released the first-ever National S&T Databases on S&T Awards in India and Indian origin Academicians abroad. The database on S&T Awards in India is an excellent source of information about S&T awards presented to R&D professionals in India. The database of Indian Origin Academicians is a unique database developed in the country and has a huge information base of about 23,472 Indian academicians and research scholars working in various countries. Dr. Harsh Vardhan also conferred an appreciation shield to National S&T database developers.
Speaking on the efforts of the Department of Science and Technology (DST) in driving STI as a tool for the growth and development of the country, Secretary DST Prof. Ashutosh Sharma said that science and technology has a critical role in creating ‘Atmanirbhar Bharat’, which is ready for the future. “Future of STI is going to impact us in every aspect of life. Recalling our glorious past will show us the light to take us to future. There are huge challenges, like sustainable development, climate change, clean energy, rise of intelligent machines, and so on. The future is multi-disciplinary, and in order to solve problems, one has to approach them in an interdisciplinary manner. The job of scientists is to help reach science to every corner of the country”, he pointed out.
Dr Shekhar C Mande, Secretary, DSIR and DG, CSIR, highlighted the contributions of the Indian scientific community during COVID-19 pandemic. “The pandemic has shown that the Indian S&T community is ready for facing all the challenges like the recent pandemic and those that may come in the future,” he said.
Dr. Gargi B Dasgupta, Director, IBM Research India, and CTO, IBM India and South Asia, Bangalore, India, delivered the special lecture on the theme and said that fourth industrial revolution is creating demand for new skill sets displacing existing jobs as well as giving rise to new ones. She spoke about the future of jobs and the urgency of science, highlighting the recent study by World Economic Forum (WEF) on the new emerging job clusters and the skills required for the economy of tomorrow.
Secretary, SERB Prof Sandeep Verma and Head, NCSTC Dr. Praveen Arora were also present on occasion.
National Science Day is celebrated every year on 28th February to commemorate the announcement of the discovery of the ‘Raman Effect’ by Sir C.V. Raman, for which he was awarded the Nobel Prize in 1930. The government of India designated 28 February as National Science Day (NSD) in 1986. Since then, theme-based science communication activities are carried out all over the country on this occasion.
National Council for Science & Technology Communication (NCSTC), DST acts as a nodal agency to support, catalyze and coordinate the celebration of the National Science Day throughout the country in scientific institutions, research laboratories, and autonomous scientific institutions associated with the Ministry of Science and Technology. NCSTC has supported various programmes countrywide through State S&T Councils & Departments for organization of a range of activities, such as lectures, quizzes, open houses, etc. DST also instituted National Awards for Science Popularization in 1987 to stimulate, encourage and recognize outstanding efforts in the area of science and technology communication and popularization as well as inculcating scientific temper among masses. These awards are presented every year on National Science Day. The awards consist of a memento, citation, and award money.
List of Awardees:
Science and Technology Communication Awardees
National Award for Outstanding Efforts in Science & Technology Communication through Print Media including Books and Magazines. : Dr. S. Anil Kumar, Kerala
National Award for Outstanding Efforts in Science & Technology Popularization among Children: (1) Indian Resource and Development Association, Haryana (2) Dr. Mihir Kumar Panda, Odisha
National Award for Outstanding Efforts in Science & Technology Communication through Innovative and Traditional Methods: (1) Dr. Sheffali Gulati, Delhi (2) Shri Rakesh Khatri, Delhi
National Award for Outstanding Efforts in Science & Technology Communication in the Electronic Medium: Dr. Krishna Kumari Challa, Telangana
Rajendra Prabhu Memorial Appreciation Shield for Outstanding Work in Science Media and Journalism: Dr. S. Anil Kumar, Kerala
Appreciation Shield for National S&T Databases
S&T Awards in India: Dr Lalit Mohan, Society for Environment & Development (SED), Delhi
Indian origin Academicians Abroad: Dr. Rajesh Bhatia & Team, Punjab Engineering College (PEC), Chandigarh
AWSAR Awardees
Outstanding Story (PDF category)
Dr. Sangeeta Dutta, Bengaluru, Karnataka
AWSAR Award: First Prize (Ph.D. category)
Ms. Pooja Maurya, Lucknow, Uttar Pradesh
AWSAR Award: Second prize (Ph.D. category)
Ms. Indu Joshi, New Delhi, Delhi
AWSAR Award: Third prize (Ph.D. category)
Ms. Shruti Soni, Bangalore, Karnataka
SERB Women Excellence Awardees
Dr. Shobhna Kapoor
Assistant Professor
Indian Institute of Technology Bombay
Mumbai, Maharashtra
Dr. Antara Banerjee
Scientist B
National Institute for Research in Reproductive Health
Mumbai, Maharashtra
Dr. Sonu Gandhi
Scientist D
National Institute of Animal Biotechnology
Hyderabad, Telangana
Dr. Ritu Gupta
Assistant Professor
Indian Institute of Technology Jodhpur
Jodhpur, Rajasthan
(PLEASE CLICK HERE FOR DETAILS OF AWARDEES):
1… AWASAR
2….NCSTC
Click here to see Brochure NSD
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Dr Harsh Vardhan Gives Away Awards To Science Communicators And Women Scientists On National Science Day
By India Education Diary Bureau Admin On Feb 28, 2021
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New Delhi: Union Minister for Science & Technology, Earth Sciences and Health & Family Welfare, Dr. Harsh Vardhan today highlighted how science technology and innovation (STI) would impact our future in education, skills and functioning in the post-pandemic world. He was addressing the National Science Day (NSD) funFction through video-conferencing from Imphal, Manipur. Awards to science communicators and women scientists were also conferred by the Science & Technology Minister on the occasion of National Science Day which is celebrated to commemorate the discovery of Raman Effect on this day every year. The NSD celebrations were organized by the National Council for Science Technology Communication (NCSTC), Department of Science &
Dr. Harsh Vardhan said, “The 30 percent increase in the budget of Ministry of Science & Technology and Earth Sciences put together for the year 2021-22 would provide stimulus to S&T infrastructure resources in the country”. The Union Minister said that in view of last year’s challenges thrown by the COVID-19 pandemic, the theme of the National Science Day 2021, ‘Future of STI: Impacts on Education, Skills, and Work,’ becomes all the more important.
“World has witnessed how Indian S&T systems rose to this recent unprecedented crisis caused by the pandemic. Scientific awareness and health preparedness shall become even more important in post-COVID 19 times. A comprehensive National programme has already been launched on health and risk communication with a focus on COVID-19, namely, Year of Awareness on Science & Health (YASH). We have brought out an online interactive multimedia bilingual resource for mass awareness on COVID- 19, COVID Katha,” Dr. Harsh Vardhan disclosed.
“The data portals launched today will be game changers. We feel that scientists with legacy from India should be on one platform and contribute to India’s growth story”, the Minister explained. He further said that the Prime Minister has been talking about Scientific Social Responsibility for which the Fundamental and Translational Research have to be people centric. “So on this National Science Day, let each scientist dream of something new to make perceptible difference to the life of people in India”, Dr Harsh Vardhan urged.
He also underlined the importance of sustained efforts of inculcating, nurturing, and unleashing the scientific temper and innovative mindset of projected population of 1.5 billion (+) people in 2050 for sustainable and inclusive growth.
Dr. Harsh Vardhan presented the National S&T Communication Awards, Augmenting Writing Skills for Articulating Research (AWSAR) awards, and SERB Women Excellence Awards and conferred Rajendra Prabhu Memorial Appreciation Shield for outstanding work in science media and journalism.
The Minister also released the first-ever National S&T Databases on S&T Awards in India and Indian origin Academicians abroad. The database on S&T Awards in India is an excellent source of information about S&T awards presented to R&D professionals in India. The database of Indian Origin Academicians is a unique database developed in the country and has a huge information base of about 23,472 Indian academicians and research scholars working in various countries. Dr. Harsh Vardhan also conferred an appreciation shield to National S&T database developers.
Speaking on the efforts of the Department of Science and Technology (DST) in driving STI as a tool for the growth and development of the country, Secretary DST Prof. Ashutosh Sharma said that science and technology has a critical role in creating ‘Atmanirbhar Bharat’, which is ready for the future. “Future of STI is going to impact us in every aspect of life. Recalling our glorious past will show us the light to take us to future. There are huge challenges, like sustainable development, climate change, clean energy, rise of intelligent machines, and so on. The future is multi-disciplinary, and in order to solve problems, one has to approach them in an interdisciplinary manner. The job of scientists is to help reach science to every corner of the country”, he pointed out.
Dr Shekhar C Mande, Secretary, DSIR and DG, CSIR, highlighted the contributions of the Indian scientific community during COVID-19 pandemic. “The pandemic has shown that the Indian S&T community is ready for facing all the challenges like the recent pandemic and those that may come in the future,” he said.
Dr. Gargi B Dasgupta, Director, IBM Research India, and CTO, IBM India and South Asia, Bangalore, India, delivered the special lecture on the theme and said that fourth industrial revolution is creating demand for new skill sets displacing existing jobs as well as giving rise to new ones. She spoke about the future of jobs and the urgency of science, highlighting the recent study by World Economic Forum (WEF) on the new emerging job clusters and the skills required for the economy of tomorrow.
Secretary, SERB Prof Sandeep Verma and Head, NCSTC Dr. Praveen Arora were also present on occasion.
National Science Day is celebrated every year on 28th February to commemorate the announcement of the discovery of the ‘Raman Effect’ by Sir C.V. Raman, for which he was awarded the Nobel Prize in 1930. The government of India designated 28 February as National Science Day (NSD) in 1986. Since then, theme-based science communication activities are carried out all over the country on this occasion.
National Council for Science & Technology Communication (NCSTC), DST acts as a nodal agency to support, catalyze and coordinate the celebration of the National Science Day throughout the country in scientific institutions, research laboratories, and autonomous scientific institutions associated with the Ministry of Science and Technology. NCSTC has supported various programmes countrywide through State S&T Councils & Departments for organization of a range of activities, such as lectures, quizzes, open houses, etc. DST also instituted National Awards for Science Popularization in 1987 to stimulate, encourage and recognize outstanding efforts in the area of science and technology communication and popularization as well as inculcating scientific temper among masses. These awards are presented every year on National Science Day. The awards consist of a memento, citation, and award money.
List of Awardees:
Science and Technology Communication Awardees
National Award for Outstanding Efforts in Science & Technology Communication through Print Media including Books and Magazines. : Dr. S. Anil Kumar, Kerala
National Award for Outstanding Efforts in Science & Technology Popularization among Children: (1) Indian Resource and Development Association, Haryana (2) Dr. Mihir Kumar Panda, Odisha
National Award for Outstanding Efforts in Science & Technology Communication through Innovative and Traditional Methods: (1) Dr. Sheffali Gulati, Delhi (2) Shri Rakesh Khatri, Delhi
National Award for Outstanding Efforts in Science & Technology Communication in the Electronic Medium: Dr. Krishna Kumari Challa, Telangana
Rajendra Prabhu Memorial Appreciation Shield for Outstanding Work in Science Media and Journalism: Dr. S. Anil Kumar, Kerala
Appreciation Shield for National S&T Databases
S&T Awards in India: Dr Lalit Mohan, Society for Environment & Development (SED), Delhi
Indian origin Academicians Abroad: Dr. Rajesh Bhatia & Team, Punjab Engineering College (PEC), Chandigarh
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राष्ट्रीय विज्ञान दिवस पर पुरस्कृत किए गए विज्ञान संचारक
National Science Day
Last Updated: सोमवार, 1 मार्च 2021 (12:07 IST)नई दिल्ली, समाज में वैज्ञानिक चेतना के प्रचार-प्रसार में जुटे विज्ञान संचारकों को राष्ट्रीय विज्ञान दिवस (28 फरवरी) के अवसर पर राष्ट्रीय पुरस्कार प्रदान किए गए हैं।
राष्ट्रीय विज्ञान एवं प्रौद्योगिकी संचार परिषद (एनसीएसटीसी) की ओर से हर वर्ष विज्ञान एवं प्रौद्योगिकी संचार में उल्लेखनीय योगदान देने वाले संचारकों को ये पुरस्कार प्रदान किए जाते हैं। विज्ञान एवं प्रौद्योगिकी राष्ट्रीय संचार पुरस्कार के साथ-साथ इस मौके पर साइंस ऐंड इंजीनियरिंग रिसर्च बोर्ड (एसईआरबी) वुमन-एक्सिलेंस अवार्ड, और ‘अवसर’ (ऑग्मेंटिंग राइटिंग स्किल्स फॉर आर्टिकुलेटिंग रिसर्च) प्रतियोगिता के विजेताओं को भी पुरस्कृत किया गया है।
विज्ञान एवं प्रौद्योगिकी संचार परिषद (एनसीएसटीसी) द्वारा विज्ञान को लोकप्रिय बनाने और संचार के क्षेत्र में उत्कृष्ट प्रयासों के प्रोत्साहन और वैज्ञानिक अभिरुचि बढ़ाने में योगदान देने वाले लोगों एवं संस्थाओं को छह श्रेणियों में विज्ञान एवं प्रौद्योगिकी राष्ट्रीय संचार पुरस्कार दिया जाता है। वहीं, ‘अवसर’ एक अखिल भारतीय प्रतियोगिता है, जिसमें विज्ञान एवं प्रौद्योगिकी से जुड़े विभिन्न विषयों में डॉक्टोरल या पोस्ट डॉक्टोरल शोधार्थियों से उनके शोध विषय पर आधारित सरल भाषा में आलेख आमंत्रित किए जाते हैं, और चयनित सर्वश्रेष्ठ आलेखों को पुरस्कृत किया जाता है। इसी तरह, विज्ञान एवं इंजीनियरिंग में उत्कृष्ट शोध को प्रोत्साहित करने के लिए युवा महिला वैज्ञानिकों (40 वर्ष से कम आयु) को एसईआरबी वुमन-एक्सिलेंस अवार्ड प्रदान किया जाता है।
केंद्रीय विज्ञान एवं प्रौद्योगिकी, पृथ्वी विज्ञान, स्वास्थ्य तथा परिवार कल्याण मंत्री डॉ हर्षवर्धन ने पुरस्कृत लोगों को बधाई देते हुए कहा है कि “वर्ष 2021 के राष्ट्रीय विज्ञान दिवस की विषयवस्तु “विज्ञान, प्रौद्योगिकी एवं नवाचार का भविष्यः शिक्षा, कौशल एवं कार्य पर प्रभाव” है, जो वर्तमान परिदृश्य के अनुकूल है।
National Science Day
पिछले एक साल में, कोविड-19 की चुनौतियों के बावजूद विज्ञान से संबंधित मंत्रालयों के लिए वर्ष 2021 उपलब्धि भरा रहा है। दुनिया ने देखा कि महामारी से उपजे अप्रत्याशित संकट से उबरने में भारतीय विज्ञान एवं प्रौद्योगिकी तंत्र ने कैसे भूमिका निभायी है।” उन्होंने कहा कि हम तब तक एक स्थायी और समावेशी विकास का सपना नहीं देख सकते, जब तक कि वर्ष 2050 तक 150 करोड़ से अधिक लोगों की अनुमानित आबादी में वैज्ञानिक दृष्टिकोण और नवोन्मेषी मानसिकता के विकास के लिए निरंतर प्रयास न करें।”
इस मौके पर मौजूद विज्ञान एवं प्रौद्योगिकी विभाग के सचिव प्रोफेसर आशुतोष शर्मा ने कहा कि “राष्ट्रीय विज्ञान दिवस एक ऐसा दिन है, जब हम न केवल ‘रामन प्रभाव’ को याद करते हैं, और इसका उत्सव मनाते हैं, बल्कि यह एक ऐसा अवसर है, जब हम आचार्य रामन के वैज्ञानिक कार्यों में निहित दृष्टिकोण से नये सबक भी सीख सकते हैं। उनको आचार्य कहना अधिक उपयुक्त है, क्योंकि इस शब्द का संबंध एक गौरवशाली परंपरा से है। आचार्य का अर्थ, ‘सर’ से बिल्कुल अलग है। ‘सर’ एक टाइटल है, जबकि आचार्य का अर्थ मूल रूप से स्कॉलर से जोड़कर देखा जाता है।”
National Science Day
नयी विज्ञान, प्रौद्योगिकी एवं नवाचार नीति का जिक्र करते हुए प्रोफेसर आशुतोष शर्मा ने कहा कि “इस नीति में कई ऐसे अध्याय शामिल हैं, जो भविष्य की जरूरतों पर आधारित हैं, और विज्ञान को समाज से जोड़ने पर ध्यान केंद्रित करते हैं। भविष्य में हमें दो महत्वपूर्ण तथ्यों पर ध्यान केंद्रित करने की जरूरत होगी। सबसे पहले तो शोध कार्यों की प्रासंगिकता एवं उनकी सही दिशा का निर्धारण जरूरी है। वहीं, दूसरा आयाम शोध कार्यों की गुणवत्ता और गंभीरता से संबंधित है। दूसरों की नकल करके शोध विषयों का चयन करने का औचित्य नहीं है। हमें अपने आइडिया के आधार पर कार्य करना होगा, जो विज्ञान के क्षेत्र में भारत को लीडर के रूप में उभरने में मदद कर सकते हैं। इस तरह हम आचार्य रामन को याद कर सकते हैं।”
इस अवसर पर वैज्ञानिक तथा औद्योगिक अनुसंधान परिषद के महानिदेशक डॉ शेखर सी. मांडे ने ‘रामन प्रभाव’ की खोज से जुड़े महत्वपूर्ण पड़ावों और इससे संबंधित शोध कार्य में एक अन्य प्रमुख वैज्ञानिक के.एस. कृष्णन की भूमिका के बारे में जिक्र किया।
उन्होंने कहा कि “हम भले ही कोविड-19 महामारी से मजबूती से लड़ने में सफल हुए हैं, लेकिन आगे भी इस तरह की चुनौतियां बनी रहेंगी। महामारियों के अलावा, जलवायु परिवर्तन एक अन्य प्रमुख चुनौती है, जिससे निपटने के लिए प्रभावी वैज्ञानिक समाधान खोजने होंगे।”
पुस्तकों एवं पत्रिकाओं सहित प्रिंट मीडिया के माध्यम से विज्ञान एवं प्रौद्योगिकी संचार में योगदान के लिए इस बार कोट्टायम, केरल के डॉ अनिल कुमार को राष्ट्रीय पुरस्कार से सम्मानित किया गया है। इस पुरस्कार के तहत दो लाख रुपये की नकद राशि, स्मृति चिह्न और प्रशस्ति पत्र प्रदान किया गया है। विज्ञान एवं प्रौद्योगिकी संचार में उत्कृष्ट प्रयास के लिए पांच लाख रुपये का राष्ट्रीय पुरस्कार हरियाणा की संस्था इंडियन रिसोर्स ऐंड डेवलपमेंट एसोसिएशन और बालासोर, ओडिशा के वैज्ञानिक एवं नवप्रवर्तनकर्ता मिहिर कुमार पांडा को प्रदान किया गया है।
नवप्रवर्तक एवं पारंपरिक प्रणालियों के माध्यम से विज्ञान एवं प्रौद्योगिकी संचार के लिए दो लाख रुपये का राष्ट्रीय पुरस्कार दिल्ली की डॉ शेफाली गुलाटी और राकेश खत्री को प्रदान किया गया है। इलेक्ट्रॉनिक माध्यम में दो लाख रुपये का विज्ञान एवं प्रौद्योगिकी राष्ट्रीय संचार पुरस्कार तेलंगाना की डॉ कृष्ण कुमारी चल्ला को दिया गया है।
डॉ एस. अनिल कुमार मलयालम के एक प्रसिद्ध लेखक हैं। उन्होंने करीब 1500 नवोदित पत्रकारों को प्रशिक्षण प्रदान किया, कार्यशालाएं आयोजित कीं, और विज्ञान संचार के क्षेत्र में संचारकों के लिए आधा दर्जन पाठ्यपुस्तकें लिखी हैं। डॉ अनिल कुमार के 1500 से अधिक लेख/फीचर प्रकाशित हुए हैं एवं पॉपुलर साइंस पर आधारित 40 पुस्तकें भी उन्होंने लिखी हैं।
इंडियन रिसोर्स ऐंड डेवलपमेंट एसोसिएशन एवं मिहिर कुमार पांडा को अनूठे तरीकों से विज्ञान एवं प्रौद्योगिकी के प्रचार-प्रसार के लिए पुरस्कृत किया गया है। इन तरीकों में कठपुतली शो, फिल्म एवं स्लाइड शो, विज्ञान मेलों का आयोजन, प्रदर्शनी एवं वैज्ञानिक प्रयोगों पर आधारित कार्यशालाएं शामिल हैं। डॉ शेफाली गुलाटी ने व्याख्यान एवं प्रिंट तथा ऑडियो-विजुअल मीडिया द्वारा विज्ञान को लोकप्रिय बनाने में योगदान दिया है। वहीं, डॉ राकेश खत्री करीब तीन दशक से रंगमंच, कार्यशालाओं, मॉडल्स, नेचर टूर जैसे प्रयासों के माध्यम से विज्ञान के प्रति आकर्षण पैदा करने का कार्य करने में जुटे रहे हैं।
डॉ कृष्णा कुमारी चल्ला भी करीब डेढ़ दशक से दृश्य कला, साहित्य, वीडयो, टीवी और इंटरनेट के उपयोग से आम लोगों के लिए विज्ञान संचार कर रही हैं।
एसईआरबी वुमन-एक्सिलेंस अवार्ड इस बार चार महिला वैज्ञानिकों को प्रदान किया गया है। इनमें आईआईटी, बॉम्बे में असिस्टेंट प्रोफेसर शोभना कपूर, मुंबई स्थित नेशनल इंस्टीट्यूट फॉर रिसर्च इन रिप्रोडक्टिव हेल्थ की वैज्ञानिक डॉ अंतरा बैनर्जी, हैदराबाद स्थित नेशनल इंस्टीट्यूट ऑफ बायोटेक्नोलॉजी की वैज्ञानिक डॉ सोनू गांधी, और आईआईटी, जोधपुर में असिस्टेंट प्रोफेसर डॉ रितु गुप्ता शामिल हैं।
‘अवसर’ प्रतियोगिता के अंतर्गत पोस्ट डॉक्टोरल श्रेणी में उत्कृष्ट आलेख के लिए बेंगलुरु स्थित जवाहरलाल नेहरु सेंटर फॉर एडवांस्ड साइंटिफिक रिसर्च की शोधार्थी डॉ संगीता दत्ता को पुरस्कृत किया गया है। इन्मास, डीआरडीओ से पीएचडी डिग्री प्राप्त डॉ संगीता जैव प्रौद्योगिकी विभाग में अपने पोस्ट डॉक्टोरल प्रोजेक्ट के लिए रिसर्च एसोसिएट के तौर पर कार्य कर चुकी हैं। उनके पांच शोध पत्र प्रकाशित हुए हैं, और एक पेटेंट भी उनके नाम दर्ज है। ‘अवसर’ प्रतियोगिता की पीएचडी श्रेणी में प्रथम पुरस्कार सीएसआईआर-सीडीआरआई, लखनऊ की शोधार्थी पूजा मौर्या को मिला है। द्वितीय पुरस्कार आईआईटी, दिल्ली में कंप्यूटर साइंस की शोधार्थी इंदु जोशी, और तृतीय पुरस्कार भारतीय विज्ञान संस्थान, बेंगलुरु की शोधार्थी श्रुति सोनी को दिया गया है।
सभी पुरस्कार विजेताओं को बधाई देते हुए डॉ हर्ष वर्धन ने कहा है कि "विज्ञान संचार एवं लोकप्रियकरण से जुड़े उत्कृष्ट प्रयास, वैज्ञानिक शोध में युवा महिलाओं का योगदान और विज्ञान संचार में अभिनव प्रयोग सराहनीय हैं।"
डॉ हर्ष वर्धन ने इस मौके पर वर्चुअल रूप से विज्ञान एवं प्रौद्योगिकी पुरस्कारों पर आधारित सूचनाओं से लैस एक ऑनलाइन डेटाबेस लॉन्च किया है। साइंस ऐंड टेक्नोलॉजी अवार्ड इन्फॉर्मेशन रिट्रीवल सिस्टम (STAIRS) नामक यह डेटाबेस स्वतंत्रा से पहले से लेकर अब तक विज्ञान एवं प्रौद्योगिकी के क्षेत्र में पुरस्कृत भारतीय पेशेवरों के बारे में जानकारी उपलब्ध कराएगा।
इसी के साथ, विदेशों में कार्यरत भारतीय मूल के शिक्षाविदों एवं शोधकर्ताओं से संबंधित एक अन्य डेटाबेस भी लॉन्च किया गया है। यह डेटाबेस मौजूदा दौर में बढ़ते अंतरराष्ट्रीय सहयोग के संदर्भ में महत्वपूर्ण माना जा रहा है। इस डेटाबेस में, भारतीय मूल के 23,472 शिक्षाविद एवं शोधकर्ता शामिल किए गए हैं। अमेरिका, कनाडा, ब्रिटेन और ऑस्ट्रेलिया जैसे देशों के 2700 से अधिक विश्वविद्यालयों एवंअन्य शैक्षणिक संस्थानों की वेबसाइट्स को खंगालने के बाद यह डेटाबेस तैयार किया गया है।
आईबीएम रिसर्च इंडिया की निदेशक डॉ गार्गी बी. दासगुप्ता का विशेष व्याख्यान इस बार राष्ट्रीय विज्ञान दिवस पर एक अन्य प्रमुख आकर्षण रहा। डॉ गार्गी बी. दासगुप्ता ने “विज्ञान, प्रौद्योगिकी, नवाचार का भविष्यः शिक्षा, कौशल एवं कार्य पर प्रभाव” विषय को केंद्र में रखते हुए अपना व्याख्यान दिया। उन्होंने अपने व्याख्यान में, मुख्य रूप से इस बात को रेखांकित किया कि चौथी औद्योगिक क्रांति किस तरह नये कौशल की माँग करती है। उल्लेखनीय है कि साइबर भौतिक प्रणाली, आर्टिफशियल इंटेलिजेंस, इंटरनेट ऑफ थिंग्स तथा इंटरनेट ऑफ सर्विसेज इत्यादि चौथी औद्योगिक क्रांति के प्रमुख उपकरण बनकर उभरे हैं।
सर सी.वी. रामन को याद करते हुए हर वर्ष 28 फरवरी को राष्ट्रीय विज्ञान दिवस मनाया जाता है। विज्ञान में नोबेल पुरस्कार प्राप्त करने वाले सी.वी. रामन पहले एशियाई थे। उन्हें यह पुरस्कार, वर्ष 1930 में की गई उनकी खोज ‘रामन प्रभाव’ के लिए मिला था।
April 5 2011, Margaret River/WA - Defending ASP Telstra Drug Aware Pro women’s champion Chelsea Hedges (AUS/Gold Coast) survived a very tight round three heat to advance through to the final 12 surfers.
Hedges was in third place in her heat with just a minute remaining but remained cool, caught a good wave in the final 30 seconds and posted the required 6 point wave score to jump to first and advance ahead of local surfer Claire Bevilacqua who advanced in 2nd while South Africa's Sarah Baum was the unlucky one to be eliminated.
”That was a close call,” said Hedges after the heat.
“We were all getting good waves and I knew I needed a good score to advance and fortunately I found the right wave in the end – I don’t want to leave it that close in future heats because the wave generally doesn’t come to you in the final seconds.”
While Hedges managed to survive a close heat, fellow Australian Jessi Miley-Dyer dominated by posting the event’s top scoring heat to date after she attained two excellent scores of an 8.97 and an 8.33 for a tally of 17.30 to comprehensively thrash her opponents.
“It worked out well for me but that’s not how I planned the heat,” said Miley-Dyer.
“I actually paddled out looking to surf the lefts off the break but I caught an early right peeling wave and was surprised just how good that wave was – after that I stuck with the rights and had a great heat.”
Round one of the ASP Prime Rated Men’s Telstra Drug Aware Pro began today with the opening eight heats completed in good 1.5m (4 to 5 feet) surf.
Queensland’s Mitch Crews was the dominant surfer.
Mitch was celebrating his important 21st birthday today and he attacked the waves with his typically renowned aggression scoring an 8.83 excellent ride, backed up with a strong 7.33 to easily win the heat, defeating ASP world ranked number 12 surfer Jadson Andre who was lucky to advance in second place.
"It would have been so bad to get eliminated in the first round on my birthday, but I wasn't thinking about it too much - I don't care who I'm surfing against or anything - I just want to go out there and surf my best," said a fired up Crews after the win.
"The rights looked much better than the lefts and I also noticed that the second wave of the set looked the cleanest, so when I paddled out I just went for those ones - It must have worked because I got the scores."
Fellow Gold Coast youngster Jack Freestone also won through in the heat straight after Crews defeating Nat Young (USA) and highly rated world number 11 surfer Adriano De Souza who was eliminated from the event.
The final heat of the day saw the biggest upset so far with the elimination of world ranked number 7 surfer Owen Wright who’s season this year has not begun how most would have expected for the young, powerful and highly touted Lennox Head goofy footer. He was defeated by internationals Marc Lacomare (France) and Wigolly Dantas (Brazil).
Everyone is awaiting the appearance of 10 time ASP world champion Kelly Slater at this event and the moment is not far away as he is positioned in heat 12 of the first round, just four heats in when the Men’s resume and that is most likely to be tomorrow morning.
All going to plan and Slater should surf around 9:00am tomorrow although this schedule is not official and might alter.
The other element coming into this event is an approaching massive swell, expected to be in the 4m or 15 feet range on Thursday – certain to test even the greatest surfer of all time!
The event will recommence tomorrow morning.
Photo © ASP/Woolicott
This is the first of hopefully many pieces I plan to put out in future. After making my StreetDeck net, I realised quite quickly that I could do much better, and this is the culmination of my efforts, the East Lancs Vyking.
FX53 TXA was new in 2003 to Lincolnshire RoadCar as their 907 for use on service 3 between Grimsby and Grimsby, which is now the 53. It arrived painted in their "Making the Connection" livery with Interconnect branding. Following the sale to Stagecoach, 907 was renumbered as 16907. In 2009, 16907 was repainted in the new purple and gold Interconnect livery.
In 2014, 16907 was repainted again, this time into the company's then-standard "Beachball" livery. From 2016-2017, it was based at Lincoln, transferring in 2017 to Skegness where it would remain until 2020. In 2020, it was transferred yet again to Scunthorpe where it would live out its twilight years until 2022.
In 2022, 16907 was donated to the Trolleybus Museum at Sandtoft, who were eager to run a low-floor shuttle service on their running days, the lack of a pantograph or trolleypole not being a huge issue to them. In 2023, it was taken to the South Yorkshire Transport Trust in Rotherham who repainted it back into its original Lincolnshire RoadCar livery.
Now back as 907, the vehicle carries an advertisement for the Trolleybus Museum on its rear and can be seen operating shuttle services to Doncaster on museum running days, but also appears at events of the SYTT.
My work is not open for reposting or editing.
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
(for English scroll down)
Am 19. Juni 2015 verlegte die Weinkellerei F. W. Langguth Erben aus Traben-Trarbach die Welt der Erben Weine für einen Abend von der Mosel an die Spree und feierte mit „Hot Barbecue“ die erfolgreiche Premiere einer neuen Veranstaltungsreihe. Mit der „Erben Tafelrunde“, einer Serie von Pop-up-Events, möchte das Familienunternehmen Langguth seine Traditionsmarke künftig einem jungen, urbanen Publikum näher bringen. - Ziel von Langguth ist es, den Teilnehmern an den Veranstaltungen ein ungewöhnliches, überraschendes und mit allen Sinnen erfahrbares Markenerlebnis rund um die Erben Weine zu bieten und dadurch die Grundlage für eine emotionale Bindung zu fördern.
Die Premiere fand an einem Ort statt, der selbst in Berlin noch als Geheimtipp gilt - ein direkt an der Spree gelegenes, altes Kranhaus (Kranhaus Café) in Köpenick. Den rund 40 Gästen, darunter Mitglieder der wachsenden Markenbotschafter-Community der „Erben Gemeinschaft“ und Berliner Food- und Genussblogger, wurde die An- und Abreise vom und zum Historischen Hafen auf dem solarbetrieben Katamaran SOLON ermöglicht. Getreu dem Motto des Abends „Hot Barbecue: Chili trifft Erben Wein“ war das Programm als kulinarisches Crowd-Pairing-Experiment angelegt, in dessen Verlauf verschiedene Chili-Saucen, präsentiert vom Chili-Fachmann Felix Eichholtz vom Pfefferhaus Berlin mit diversen Weinen aus dem Erben Sortiment kombiniert wurden. Dazu exquisite Barbecue-Gerichte, authentisch zubereitet im „Smoker“ von BBQ-Master Adam Ramirez aus Texas von „The Pit - Real Texas Barbecue“. Anders als beim klassischen Wine-Pairing wurde den Gästen beim Crowd-Pairing pro Gang eine Auswahl aus drei Erben Weinen serviert. Die Idee hinter dem Crowd-Pairing ist, nicht Weinexperten, sondern den Schwarm per Abstimmung entscheiden zu lassen, welche Food-Wein-Kombination am besten zusammenpasst. Für den Veranstalter und die Teilnehmer war der Auftakt der Pop-up-Eventserie am Ende ein voller Erfolg.
*** ERSTER GANG ***
Truthahnbrust geräuchert an Dreierlei Käse-Dips. Dazu Grim Reaper „Rookie Goblin"
Weinauswahl
2014 Erben Patenschaft-Riesling, Trabener Königsberg Riesling feinherb, Mosel
2014 Erben Grauburgunder trocken, Pfalz
2014 Erben Spätlese feinfruchtig, Rheinhessen
*** ZWEITER GANG ***
Pulled Pork aus dem Smoker an Pariser Blattsalat und Quinoasalat. Dazu „Marie Sharp's „Hot Habanero“ Chili Sauce
Weinauswahl
2013 Erben Spätburgunder lieblich, Rheinhessen
2014 Erben Dornfelder Rosé halbtrocken, Rheinhessen
2014 Erben Exklusiv Cabernet Sauvignon Rosé Réserve trocken, Pfalz
*** DRITTER GANG ***
Rinderbraten aus dem Smoker an Linsensalat und Schwäbischem Kartoffelsalat. Dazu Suicide Sauces "Habanero BBQ“ Chili Sauce
Weinauswahl
2014 Erben Regent fruchtig-süss, Rheinhessen
2013 Erben Exklusiv Dornfelder Barrique trocken, Pfalz
2013 Erben Exklusiv Spätburgunder Réserve trocken, im Eichenholz gereift, Rheinhessen
*** VIERTER GANG ***
Quark-Joghurt mit Trauben Walnuss Dessert. Dazu
Suicide Sauces "Mango Fire“ Chili Sauce
Weinauswahl
2013 Erben Exklusiv Huxelrebe Auslese, fruchtig-süss, Rheinhessen
2014 Erben Müller-Thurgau fruchtig-süss, Rheinhessen
2014 Erben Spätlese feinfruchtig, Rheinhessen
____________________________________________________
HOT BARBECUE: Chili meets Erben wine
On June 19, 2015, the F. W. Langguth Erben winery from Traben-Trarbach moved the world of Erben wines from the Mosel to the Spree for an evening and celebrated the successful premiere of a new series of events with "Hot Barbecue". With the "Erben Tafelrunde", a series of pop-up events, the Langguth family business aims to bring its traditional brand closer to a young, urban audience in future. - Langguth's aim is to offer participants in the events an unusual, surprising brand experience around Erben wines that can be experienced with all the senses, thereby promoting the basis for an emotional bond.
The premiere took place at a location that is still considered an insider tip even in Berlin - an old crane house (Kranhaus Café) in Köpenick, located directly on the River Spree. Around 40 guests, including members of the growing "Erben Gemeinschaft" brand ambassador community and Berlin food and gourmet bloggers, were able to travel to and from the historic harbor on the solar-powered catamaran SOLON. True to the motto of the evening "Hot Barbecue: Chili meets Erben Wine", the program was designed as a culinary crowd-pairing experiment, in the course of which various chili sauces, presented by chili expert Felix Eichholtz from Pfefferhaus Berlin, were combined with various wines from the Erben range. These were accompanied by exquisite barbecue dishes, authentically prepared in the "smoker" by BBQ master Adam Ramirez from Texas from "The Pit - Real Texas Barbecue". In contrast to classic wine pairing, guests were served a selection of three heirloom wines per course at the crowd-pairing event. The idea behind crowd-pairing is not to let wine experts decide which food-wine combination goes best together, but to let the crowd decide by voting. The kick-off of the pop-up event series ended up being a complete success for the organizer and the participants.
*** FIRST COURSE ***
Smoked turkey breast with three kinds of cheese dips.Served with Grim Reaper "Rookie Goblin"
Wine selection
2014 Erben Patenschaft Riesling, Trabener Königsberg Riesling feinherb, Mosel
2014 Erben Pinot Gris dry, Palatinate
2014 Erben Spätlese fine fruity, Rheinhessen
*** SECOND COURSE ***
Pulled pork from the smoker with Parisian leaf salad and quinoa salad. Served with "Marie Sharp's "Hot Habanero" Chili Sauce
Wine selection
2013 Erben Pinot Noir sweet, Rheinhessen
2014 Erben Dornfelder Rosé semi-dry, Rheinhessen
2014 Erben Exklusiv Cabernet Sauvignon Rosé Réserve dry, Palatinate
*** THIRD COURSE ***
Roast beef from the smoker with lentil salad and Swabian potato salad. Served with Suicide Sauces "Habanero BBQ" Chili Sauce
Wine selection
2014 Erben Regent fruity-sweet, Rheinhessen
2013 Erben Exklusiv Dornfelder Barrique dry, Palatinate
2013 Erben Exklusiv Pinot Noir Réserve dry, matured in oak, Rheinhessen
*** FOURTH COURSE ***
Curd yogurt with grape walnut dessert. Served with
Suicide Sauces "Mango Fire" Chili Sauce
Wine selection
2013 Erben Exklusiv Huxelrebe Auslese, fruity-sweet, Rheinhessen
2014 Erben Müller-Thurgau fruity-sweet, Rheinhessen
2014 Erben Spätlese fine fruity, Rheinhessen
Made out of Black PVC
Works great and looks the same as normal lego.
Maybe in future the will be for sell.
2011-10-24师父开示
Messages from Osifu：The Medicine Master Buddha
October 24th, 2011
药师佛梵文Baisajyagurvai duryaprabhasa音译;碑杀杜娄噜。全称为药师琉璃光如来,又有人称谓大医王佛,医王善逝或消灾延寿药师佛。为东方琉璃净土的教主。药师本用以比喻能治众生贪、瞋、痴的医师。在中国佛教一般用以祈求消灾延寿。
The Medicine Master Buddha in Sanskrit is Baisajyagurvai duryaprabhasa and which translated in English by transliteration is Bei Sha Du Lou Lu. His full title is called the Medicine Master Vaidurya Light Tathagata, also the Buddha of Great Medical King, the Medical King Shan Shi or the Medicine Master Buddha of Eliminating One’s Offenses and Prolonging One’s Life. He is the Teaching Host of the Eastern Pure Land of Vaidurya. The medicine master was used as a metaphor to describe one who can cure the diseases such as the greediness, hatred and ignorance of the sentient beings. It was generally used to pray for eliminating one’s offenses and prolong one’s life in the Chinese Buddhism.
药师琉璃光佛也叫“饮光如来”，据佛教传说，药师佛行菩萨道时，发了十二个大愿，每愿都为了满众生愿，拔众生苦，医众生病.成佛后，他始终实践着大愿，一般人都称念他为“消灾延寿药师佛”。
The Medicine Master Vaidurya Light Buddha is also called the Swallowing Light Tathagata. According to the Buddhism legends that the Medicine Master Buddha had pledged twelve great vows when he practiced the Way as a Bodhisattva, and each of his vows is to fulfill the wishes of the living beings, help them out of their sufferings and cure their diseases. When he attained his Buddha hood, he had been always practicing his great vows so that people call him the Medicine Master Buddha of Eliminating One’s Offenses and Prolonging One’s Life.
东方琉璃世界是怎样的一个世界呢？据佛经说，离这里向东，过十亿恒河沙数那么多的佛国，有一个世界就是琉璃世界。那里的一切，都是无比的清净光明，没有杂秽的土地。
What kind of a land is the Eastern Pure Land of Vaidurya? According to the Buddhism Sutra, from here to the east over so many Buddhists Lands as one billion Ganges River sands, there is a place is the Land of Vaidurya, where everything there is ultimate pure and brilliant without defiled earth and soils.
药师琉璃光如来圣诞在农历九月三十
师父定于此日午时举行 拜师赐法号法会
The memorial birthday of the Medicine Master Vaidurya Light Tathagata is September 30th by lunar calendar, and Osifu will schedule to hold an assembly of Master-disciple establishment and granting dharma name at noon time on that day.
请发愿拜师求赐法号者，有所准备：
Those who wish to be acknowledged by Osifu so as to be granted with the titles should prepare for the requirements as follows:
1.清净身语意三业
First, please mind your body, speeches and mind the three karma incubators at any time and purify them.
2.做到心正心诚心善心净，与佛相应。
Second, you have to tune your mind to be righteous, sincere, kindhearted, pure and responsive to the Buddhas.
3.深信〇师父、深信正法大道、尊师重道。
Third, you must have strong and firm faith in Osifu, in the Great Way of Proper Dharma, and honor the master and respect his teachings.
4.严持五戒、勤修十善、广行六度。
Forth, you must keep the Five Precepts strictly, cultivate the Ten Good Deeds diligently and practice the Six noble deeds universally.
5.举行法会时（午时11:00--13:00），准时参加直至结束，不可做与法会无关的事。你的不恭敬会影响你的相应。
Fifth, the assembly will be holding at 11:00 to 13:00, and you must attend the assembly on time till the end of it. You are not allowed to do anything that is not related to the assembly for your disrespect will affect your corresponding to Buddhas and the master.
6.家中若有佛堂当供佛、敬佛、礼佛、念佛。若无佛堂，心香供佛。
Sixth, those who have family halls for worshiping the Buddha should make offerings, pay worships, and chant the title of the Buddha. Those who don’t have family halls for worshiping the Buddha may as well worship the Buddha by heart.
7.赐法号会有“皈敬三问”，请用心回答、同步回答、诚敬回答、如实回答、谨慎回答。因为有佛菩萨、护法神众、众同修见证，更重要的是要对自己的法身慧命负责，不要轻易拜师、不要轻易求赐法号。
Seventh, there will be three conversional questions at the assembly. Careful answers, synchronous answers, sincere and respectful answers, honest answers, and cautious answers are required, because it will be witnessed by the Buddhas and Bodhisattvas, the Protective Deities and your fellow cultivators, what’s more, you have to be responsible to your Dharmakaya wisdom life, don’t acknowledge yourself to a master carelessly and don’t ask for dharma name easily.
8.法号一旦赐予不可更改，若自行更改法号（即使一时糊涂改一次再改回），即时取消其法号，此人不再是师父的弟子。
尔等最终法号为二字或四字。
Eighth, the dharma name cannot be changed for any reason once been given. If you make changes to it (including that losing your head for a moment you change it once then change it back), immediately it will be cancelled automatically, the person would be no longer a disciple of Osifu.
四字法号即：“至心**、清心**、净心**、妙心**”。
The four words Dharma name includes Zhi Xin**, Qing Xin**Jing Xin ** and Miao Xin**.
初步先赐二字法号，透过佛菩萨考验后，机缘成熟，最后得到佛菩萨一致认定后才会赐予四字法号。
Preliminarily, two-word Dharma name will be given, and four-word Dharma name will be given after you pass the tests by the Buddhas and Bodhisattvas till the ripeness of the situations when you are acknowledged by the Buddhas and Bodhisattvas.
9.今后拜师赐法号非常难得稀有，若没有善根、福德、因缘与师父同赴灵山法会的连拜师赐法号的机会都没有。
Ninth, chances to hold this kind of assembly are rare in future. There won’t be chances to be converted to Osifu and be granted Dharma name for those who don’t have enough good foundations, virtues and merits, and good causes to visit the Vulture Peak for pilgrimage with Osifu.
也就是说，若想拜师赐法号必须有灵山赴会的善根、福德、因缘。
这个条件并不苛刻，以后还会越来越严格。
That is to say if you want to be converted to Osifu and be granted Dharma Name, you must have enough good foundations, virtues and merits, and good causes as to be able to visit the Vulture Peak for pilgrimage. The condition is not too harsh at all, and it will be increasingly strict in future.
10.只有在拜师赐法号法会上得到佛菩萨、护法神和师父认定并赐予法号的（二字或四字者）才是〇师父的弟子，余则皆称有缘人。
Tenth, only those who are acknowledged by the Buddhas and Bodhisattvas at the assembly of Master-disciple establishment and granting Dharma name (two words or four words) are disciples of Osifu and the others are predestined friends.
阿弥陀佛
Amitabha!
原来已经赐了四字法号的“至心**、清心**、净心**、妙心**”也在考验淘汰中，有的透不过考验法号已经被取消，依然在用法号，师父是不认可的，无形中早已出名，也不再是师父的弟子。
Those disciples who have been granted with four-word Dharma name after ‘Zhi Xin**, Qing Xin**Jing Xin ** and Miao Xin**’ are also in testing out. Some of them who didn’t pass the tests have been cancelled their Dharma names but they still use the names, which will not be recognized by Osifu. Their Dharma names have been cancelled in the invisible world as early as they were tested out, so they are no longer disciples of Osifu.
四字法号的“至心**、清心**、净心**、妙心**”的弟子总共是108名。
There will be a total of 108 disciples name after ‘Zhi Xin**, Qing Xin**Jing Xin ** and Miao Xin**’.
直到圆满回归这108名才会得到满天神佛最终认定。
The 108 disciples will get final acknowledgement from the Deities and Buddhas till the perfect return.
一切皆在考验中
Everything is in the process of tests!
直至圆满回归
Till the perfect return!
请众弟子有缘人珍惜！
My disciples and predestined friends, please cherish it!
使命越大考验越大
Greater mission, harder tests!
阿弥陀佛
Amitabha!
为你们高兴
Happy for you all!
你们在觉悟
You are awakening!
渐渐找回了自己的本来面目
And you are gradually discovering your original nature!
MSN:chicheng1980@hotmail.com, osifu@hotmail.com
merlinomayo.wordpress.com/2012/02/28/metamorphoses/
Metamorphoses by Merlino Mayo at LEA - Full Sim Project - 1st turn - 2011-2012 Show Open till 15 March 2012.
First of all I want to thank LEA (Linden Endowment for the Arts) and The LEA committee (Bryn Oh, Dancoyote Antonelli, Dekka Raymaker, JayJay Zifanwe, L1 Loire, Sasun Steinbeck, Solo Mornington, Werner Kurosawa, PatriciaAnne Daviau -advisor-) who trusted me and other artists (Artistide Despres, Charlotte Bartlett, comet Morigi, Freewee Ling, Glyph Graves, Harter Fall, Merlino Mayo, Mikati Slade, Misprint Thursday, Oberon Onmura, RAG Randt, Secret Rage, Selavy Oh, Sowa Mai, Ux Hax, Zachh Cale) for the first round LEA Land Grants to give me the opportunity to use a big space as a full sim to express my art.
Taking inspiration from the 1st book and a few of other episodes of the "Metamorphoses", word that from greek means "change of shape", written in latin by Publius Ovidius, this new project aims to build a path of multi levels within an allegorical vision related to the current age of crisis and transformation of human beings and our society.
The way to see the whole work would formally very different but conceptually similar to the fresco dedicated to the "Fall of the Giants" by Giulio Romano in the Palazzo Te in Mantua (Mantova), where the representation becomes a metaphor of the times lived and precarious power and human ambitions; So going on other examples are possible like the trasformations of Aracne, Daphne, Icarus, Heliades sisters, Medusa, ect. The outer and inner change of form and substance of living beings and their natural relationships into something different, new and unexpected, from the creative process naturally with technology through the lens of the symbolism of Myth and the squared glass of Science.
It is very intersting to see the origin of name Palazzo Te: "The famous villa, designed for parties, receptions and "idleness" of the Duke of Mantua, was built on an island in direct contiguity with the city center, known since the Middle Ages Tejeto, or Te. The hypothesis most likely derive from the term 'tilietum' (place of linden trees) or from the Celtic 'tezza' linked with Latin 'atteggia' in english 'attitude', both meaning 'hut'." *from
Obviously the project is not complete about the whole huge Ovid's work, and in start I've done just some main episodes, but my intention is to work on it in future, it will take time for sure. Stay tuned.
Merlino Mayo
Book I: Cosmogony, Ages of Man, Gigantes, Daphne;
0 Metamorphoses - Start point "Palazzo Te, Mantova"
1 Metamorphoses - I - Cosmogony - The Creation of Universe
2 Metamorphoses - II - Cosmogony The Elements - EL MENTUM (2010)
3 Metamorphoses - III - Cosmogony - The Creation of Sea and Sky
4 Metamorphoses - IV - Ages of Man - The Golden Age of Man
5 Metamorphoses - V - Raise of Giants
6 Metamorphoses - VI - Fall of Giants
7 Metamorphoses - VII - Daphne
New tights and new dress and YAY :D
Must remember in future to clear the space around the photo-area.. letters and dressing gowns and bog roll kinda distract from the sexiness of all that pink and black :(
Both books describe the AI revolution and technology’s ability to shift geopolitical power, but draw nearly opposite conclusions.
Suleyman argues for robust AI containment, rife with dystopian fears and surveillance solutions. He is CEO of Microsoft AI, and formerly Google Deep Mind (where at both companies employee protests shut down work on military systems).
Karp, in stark contrast, argues that restraint is misguided, and America should “without delay commit to launching a new Manhattan Project in order to retain exclusive control over the most sophisticated forms of AI for the battlefield.” He is CEO of Palantir.
Here are the excerpts that summarize their AI arguments, starting with similar premises but driving to divergent recommendations:
The Technological Republic
Opening line: “SILICON VALLEY HAS LOST ITS WAY.”
“A generation of founders cloaked themselves in the rhetoric of lofty and ambitious purpose — indeed their rallying cry to change the world has grown lifeless from overuse — but often raised enormous amounts of capital and hired legions of talented engineers merely to build photo-sharing apps and chat interfaces for the modern consumer. A skepticism of government work and national ambition took hold in the Valley. Startup after startup catered to the whims of late capitalist culture without any interest in constructing the technical infrastructure that would address our most significant challenges as a nation.” (9)
Why? “The most capable generation of coders have never experienced a war or genuine social upheaval.” (10) “The current generation of spectacularly talented engineering minds has become unmoored from any sense of national purpose or grander and more meaningful project.” (11)
“The causes of this turn away from defending the American national project, we argue, include the systematic attack and attempt to dismantle any conception of American or Western identity during the 1960s and 1970s. The dismantling of an entire system of privilege was rightly begun. But we failed to resurrect anything substantial, a coherent collective identity or set of communal values, in its place.” (13)
“In this book, we make the case that the technology sector has an affirmative obligation to support the state that made its rise possible.” (11)
The Software Century
“The newest forms of artificial intelligence, known as large language models, have for the first time in history pointed to the possibility of artificial general intelligence (AGI) — that is, a computing intellect that could rival that of the human mind when it comes to abstract reasoning and solving problems. It is not clear however that the companies building these new forms of AI will allow them to be used for military purposes. We make the case that one of the most significant challenges that we face in this country is ensuring that the U.S. Department of Defense turns the corner from an institution designed to fight and win kinetic wars to an organization that can design, build, and acquire AI weaponry — the unmanned drone swarms and robots that will dominate the coming battlefield.” (12)
“The United States since its founding has always been a technologic republic, one whose place in the world has been made possible and advanced by its capacity for innovation.” (15)
“An unwinding of the skepticism of the American project will be necessary to move forward. We must bend the latest and most advanced forms of AI to our will, or risk allowing our adversaries to do so as we examine and debate, sometimes it seems endlessly, the extent and character of our divisions. Our central argument is that—in this new era of advanced AI, which provides our geopolitical opponents the greatest opportunity since the last world war to challenge our global standing—we should return to that tradition of close collaboration between the technology industry and the government. It is that combination in pursuit of innovation with the objectives of the nation that will not only advance our welfare but safeguard the legitimacy of the democratic project itself.” (15)
“We have now, nearly eighty years after the invention of the atomic bomb, arrived at a similar crossroads in the science of computing, a crossroad that connects engineering and ethics, where we will again have to choose whether to proceed with the development of a technology whose power and potential we do not yet fully apprehend.” (18) “It is not at all clear—not even to the scientists and programmers who build them—how or why the generative language and image models work.” (19)
“The risks of proceeding with the development of artificial intelligence have never been more significant. Yet we must not shy away from building sharp tools for fear they might be used against us. The potential integration of weapons systems with increasingly autonomous AI software necessarily brings risks, which are only magnified by the possibility that such programs might develop a form of self-awareness and intent. But the suggestion to halt the development of these technologies is misguided. It is essential that we redirect our attention toward building the next generation of AI weaponry that will determine the balance of power in this century, as the atomic age ends, and the next.” (26)
“This next era of conflict will be won or lost with software. One age of deterrence, the atomic age, is ending, and a new era of deterrence built on AI is set to begin. The risk, however, is that we think we have already won.” (28)
“The decisive wars of the future will be driven by artificial intelligence, whose development is proceeding on a far different, and faster timeline than in the past. A fundamental reversal of the relationship between hardware and software is taking place. For the 20th century, software has been built to maintain and service the needs of hardware, from flight controls to missile avionics, and fueling systems to armored personnel carriers. With the rise of AI and the use of large language models on the battlefield to metabolize data and make targeting recommendations, however the relationship is shifting. Software is now at the helm, with the hardware—the drones on the battlefields of Europe and elsewhere—increasingly serving as the means by which the recommendations of AI are implemented in the world.” (45)
“Yet the level of investment in such technologies, and the software systems that will be required for them to operate, is far from sufficient (at 0.2% of the defense budget). The U.S. government is still focused on developing a legacy infrastructure—the planes, ships, tanks, and missile—that delivered dominance of the battlefield in the last century but will almost certainly not as central in this one.” (45)
“Other nations, including many of our geopolitical adversaries, understand the power of affirming shared cultural traditions, mythologies, and values in organizing the efforts of people. They are far less shy than we are about acknowledging the human need for communal experience.” (217)
“What we need is more cultural specificity—in education, technology and politics—not less. The vacant neutrality of the current moment risks allowing our instinct for discernment to atrophy. We must now take seriously the possibility that it will be the resurrection of a shared culture, not its abandonment, that will make possible our continued survival and cohesion.” (216)
----------------------------
And from The Coming Wave:
“Having been up close to this unfurling revolution over the last decade and a half, I am convinced that we’re on the cusp of the most important transformations of our lifetimes.” (16) “We really are at a turning point in the history of humanity.” (78)
“At the heart of the coming wave lie two general purpose technologies of immense promise, power, and peril: artificial intelligence and synthetic biology.” (17)
“Four key features that explain why this isn’t business as usual: these technologies are inherently general and therefore omni-use, they hyper-evolve, they have asymmetric impacts, and in some respects, they are increasingly autonomous.” (17)
“The foundation of our present political order will be further weakened by a series of shocks amplified by the wave: the potential for new forms of violence, a flood of misinformation, disappearing jobs, and the prospect of catastrophic accidents.” (17)
“The coming wave of technologies threatens to fail faster and on a wider scale than anything witnessed before. Containment is not, on the face of it, possible. And yet, containment must be possible. (19)
“Proliferation of new technology is the default. Civilization’s appetite for useful and cheaper technologies is boundless. This will not change.” (31)
“History tells us that technology diffuses, inevitably, eventually to almost everywhere, from the first campfires to the fires of the Saturn V rocket. Incentives are overwhelming. Capabilities accumulate; efficiencies increase. Waves get faster and more consequential.” (34)
“Technology’s unavoidable challenge is that its makers quickly lose control over the path their inventions take once introduced to the world.” (35) “Thus, technology’s problems have a tendency to escalate in parallel with its capabilities, and so the need for containment grows more acute over time.” (36)
HAVE WE EVER SAID NO?
“Unhappy at the prospect of unregulated mass production of knowledge and culture, the Ottoman empire tried to ban it. Istanbul did not possess a sanctioned printing press until 1727, nearly three centuries after its invention.” (38)
“Technologies are ideas, and ideas cannot be eliminated.” (41) “For most of history, the challenge of technology lay in creating and unleashing its power. That has now flipped; the challenge of technology is about containing its unleashed power, ensuring it continues to serve us and our planet.” (48)
A CAMBRIAN EXPLOSION
“Technology is a set of evolving ideas. New technologies evolve by colliding and combining with other technologies. Invention is a cumulative, compounding process. It feeds on itself.” (56) “General-purpose technologies are accelerants. Invention sparks invention.” (92)
“Of course all programs in the future will ultimately be written by AIs, with humans relegated to, at best, a supervisory role.” (69)
(He then gives a cursory nod to robotics, quantum computing, and fusion energy as amplifiers of the mega wave)
“The coming decades will be defined by the convergence of biology and engineering. At the center of this wave sits the realization that DNA is information, a biologically evolved encoding and storage system.” (79) “Already genetically engineered organisms account for 2% of the U.S. economy through agricultural and pharmaceutical uses.” (88)
ASYMMETRY: A COLOSSAL TRANSFER OF POWER
“Never before have so many had access to such advanced technologies capable of inflicting death and mayhem.” (106)
“Over time, technology tends toward generality. What this means is that weaponizable or harmful uses of the coming wave will be possible regardless of whether this was intended. Simply creating civilian technologies has national security ramifications. What’s different about the coming wave is how quickly it is being embedded, how globally it spreads, how easily it can be componentized into swappable parts, and just how powerful and above all broad its applications could be. It unfurls complex implications for everything from media to mental health, markets to medicine. This is the containment problem supersized.” (112)
“A paradox of the coming wave is that its technologies are largely beyond our ability to comprehend at a granular level yet still within our ability to create and use. In AI, the neural networks moving toward autonomy are, at present, not explainable.” (114)
(I have described this process of creation as more akin to parenting than programming.)
“In China, Go wasn’t just a game. It represented a wider nexus of history, emotion, and strategic calculation. AlphaGo [AI-built with RL, beating a human champion] helped focus government minds even more acutely on AI. Today, China has an explicit national strategy to be the world leader in AI by 2030 ‘making China the world’s primary innovation center’ from defense to smart cities” (120)
“In terms of volume of AI research, Chinese institutions have published a whopping 4.5x more AI papers than U.S. counterparts since 2010, and comfortably more than the U.S., U.K., India and Germany combined.” (121)
“China installs as many robots as the rest of the world combined. It built hypersonic missiles thought years away by the U.S. In 2014, China filed the same number of quantum technology patents as the U.S.; by 2018 it filed twice as many.” (122)
“Shortly after becoming President in 2013, Xi Jinping made a speech with lasting consequences. ‘Advanced technology is the sharp weapon of the nation state,’ he declared. ‘Our technology still generally lags that of developed countries, and we must adopt an asymmetric strategy of catching up and overtaking.’” (123) “Any world leader could make the same point. Technology has become the world’s most important strategic asset” (124)
“In the Manhattan Project, America had conducted an arms race against phantoms, bringing nuclear weapons into the world far earlier than other circumstances." (126)
FRAGILITY AMPLIFIERS:
"Technology is ultimately political because technology is a form of power. Wherever power is today, it will be amplified. Whether it’s commercial, religious, cultural, or military, democratic or authoritarian, every possible motivation you can think of can be dramatically enhanced by having cheaper power at your fingertips. This will be the greatest, most rapid accelerant of wealth and prosperity in human history.” (164)
“The cost of military drones has fallen 1000x over the last decade. AI-enhanced weapons will improve themselves in real time. AI cyberweapons will continuously probe networks, adapting themselves autonomously to find and exploit weaknesses… a worm that improves itself using reinforcement learning, experimentally updating its code with each network interaction” (166)
“Now powerful, asymmetric, omni-use technologies are certain to reach the hands of those who want to damage the state. The nature of the features favors offense: this proliferation of power is just too wide fast and open.”
“A Carnegie Mellon study analyzed more than 200 million tweets discussing COVID-19 at the height of the first lockdown. 82% of influential users advocating for ‘reopening America’ were bots. This was a targeted propaganda machine, most likely Russian, designed to intensify the worst public health crisis in a century.” (172)
“More than half of all jobs could see many of their tasks automated by machines in the next seven years. Automation is unequivocally another fragility amplifier.” (179)
“The history of humanity is, in part, a history of catastrophe. Pandemics feature widely. Two killed up to 30% of the world population” (205) “We know what a lab leak might look like in the context of amplifying fragility… the omnicron variant of COVID infected a quarter of Americans within 100 days of first being identified.” (209)
THE DYSTOPIAN TURN
“Technology has penetrated our civilization so deeply that watching technology means watching everything. With the architecture of monitoring and coercion being built in China and elsewhere, the first steps have arguably been taken. If zombielike states will sleepwalk into catastrophe, their openness and growing chaos a petri dish for uncontained technology, authoritarian states are already gladly charging into this techno-dystopia, setting the stage, technologically if not morally, for massive invasions of privacy and curtailments of liberty. And on the continuum between the two, there is a chance of the worst of all worlds: scattered but repressive surveillance and control apparatuses that still don’t add up to a watertight system. Catastrophe and dystopia.” (217)
“Make no mistake: standstill spells disaster. I think it’s easy to discount how much of our way of life is underwritten by constant technological improvements. A moratorium on technology is not a way out; it’s an invitation to another kinds of dystopia, another kind of catastrophe. Even if it were possible, the idea of stopping the coming wave isn’t a comforting thought. Maintaining, let alone improving, standards of living needs technology. Forestalling a collapse needs technology. The costs of saying no are existential. And yet every path from here brings grave risks and downsides. This is the great dilemma.” (221)
“For progress there is no cure. Any attempt to find automatically safe channels for the present explosive variety of progress must lead to frustration.” — John von Neumann in 1955
CONTAINMENT MUST BE POSSIBLE
“On paper, regulation looks enticing, even obvious and straightforward; suggesting it lets people sound smart, concerned, and even relieved. It’s a simple way to shrug off the problem. It’s also the classic pessimism-averse answer. As we have seen, governments face multiple crises independent of the coming wave—declining trust, entrenched inequality, polarized politics, to name a few.” (226)
After this thoughtful discussion of the problems facing us, the final 40 pages on containment remedies rang hollow to me, more wishful thinking than implementable solutions to the grand dilemma. Rather than quote them all, I will list:
Narrow AI instead of general systems that are harder to contain. An “Apollo program for technical safety.” More safety researchers. Automating alignment research. Resource caps on training compute. Crypto-protecting model weights limiting how widely they could be copied. Bulletproof off switch. “Audits are critical to containment.” “Keeping close tabs on significant data sets that are used to train models.” KYC for AI API access. Scan for harmful code. “Encrypted back doors” (!) Buy time with choke points: “China spends more on importing chips than it does on oil.” (249) “Skills too are a choke point: the number of people working on all the frontier technologies discussed in this book is probably no more than 150,000.” (251) A new generation of corporations. Heavier government involvement: “I think the government needs to get way more involved, back to building real technology, setting standards, and nurturing in-house capability.” (259) but… he then suggests that the government “above all needs to log all the ways technology causes harm—tabulate every lab leak, every cyberattack, every language model bias, every privacy breach—in a publicly transparent way so everyone can learn from failures and improve.” (260) Licensing labs to restrict access. Overhaul taxation “to fund security and welfare as we undergo the largest transition of value creation¬—from labor to capital—in history. If technology creates losers, they need material compensation.” (261) A new tax on robots and autonomous systems. UBI. New world government entities – a “World Bank for biotech or a UN for AI” Precautionary principles: “pause before building, pause before publishing” a “Pandemic Test Ban Treaty to stop working with pathogens or gain-of-function research.
“Technology is not a niche; it is a hyper object dominating human existence.” (236)
“The wave and its central dilemma need containment, need an intensified, unprecedented, all-too-human grip on the entire technosphere. It will require epic determination over decades across the spectrum of human endeavor.” (286)
“Looking at the myriad paths forward, it seems containment fails in many of them. The narrow path must be walked forever from here on out, and all it takes is one misstep to tumble into the abyss. The blunt challenge of containment is not a reason to turn away; it’s a call to action, a generational mission we all need to face.” (278)
The STS-96 crew gathers in the early morning for a snack in the Operations and Checkout Building before suiting up for launch. Space Shuttle Discovery is due to launch today at 6:49 a.m. EDT. Seated from left are Mission Specialists Daniel T. Barry and Ellen Ochoa, Pilot Rick D. Husband, Mission Commander Kent V. Rominger, and Mission Specialists Julie Payette, Valery Ivanovich Tokarev, and Tamara E. Jernigan. Tokarev represents the Russian Space Agency and Payette the Canadian Space Agency. STS-96 is a 10-day logistics and resupply mission for the International Space Station, carrying about 4,000 pounds of supplies to be stored aboard the station for use by future crews, including laptop computers, cameras, tools, spare parts, and clothing. The mission also includes such payloads as a Russian crane, the Strela; a U.S.-built crane; the Spacehab Oceaneering Space System Box (SHOSS), a logistics items carrier; and STARSHINE, a student- involved experiment. It will include a space walk to attach the cranes to the outside of the ISS for use in future construction. Landing is expected at the SLF on June 6 about 1:58 a.m. EDT. Image from NASA, originally appeared on this site: science.ksc.nasa.gov/gallery/photos/ Reposted by San Diego Air and Space Museum
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
One of the most rare ducks in the world, the Pateke is doing well at Zealandia and this male was guarding a nest where the female was covering five eggs.
Family: Anatidae (Dabbling ducks)
Status: endangered endemic
Brown teal is one of three closely related species of teal in New Zealand. The other two being the flightless subantarctic Auckland teal and Campbell Island teal.
Once common throughout New Zealand, habitat destruction, especially swamp drainage and predation, have resulted in brown teal becoming one of our most nationally endangered species of waterfowl. Approximately 1300 birds were surviving nationwide in 1999making it one of the rarest ducks in the world!
Most birds are to be found on Great Barrier Island. There are a few brown teal on Kapiti, Mana, and Tiritiri Matangi Islands, the eastern side of Northland and a new population has recently been established in the Coromandel area. Brown teal are regularly present at the Waikanae Estuary, probably part of the Kapiti Island population.
In the South Island, a few birds survive in Fiordland.
Recognition: About half the size of the common mallard duck, brown teal stand 48cm tall and weigh just over half a kilo as an adult. The male is slightly larger than the female. Brown teal have a warm brown plumage, with dark-brown mottling on the breast. Breeding males have a glossy green head, a narrow white collar, broad green and narrow white bands on the wings and a white flank patch. A distinctive feature of all brown teal is their blue-black bill and the narrow white ring around the eye. Their eyes are brown. Males give a soft whistle, and the female a low quack and growl.
Brown teal are often referred to as bush ducks, since they prefer stream and bushland habitats. They are reluctant flyers and are shallow divers, dabbling just below the surface for food. Their favourite food is invertebrates and they mainly feed in the evening or at night.
Breeding: Most brown teal breed from June to October but are able to breed at almost any time of the year.
They begin breeding at about 2 years of age and can lay clutches of up to 8 eggs. • Brown teal build a bowl-shaped nest near water, under the cover of dense tussocks or ferns, constructed with grasses lined with down. The female incubates the eggs about 30 days while the drake guards the nest - they are strongly territorial during breeding. Chicks fledge at an age of about 2 months. Brown teal pairs generally have stable relationships. The oldest known teal in the wild lived over 6 years.
Brown teal at Karori Sanctuary. 18 brown teal were initially released in 2000 and 2001. Breeding started from late 2002 and good productivity has resulted in increased competition for preferred wetland habitats and, because these habitats are limited in the Sanctuary, losses have occurred as a result.
Supplementary feeding of maize has been largely discontinued since early 2006 to reduce productivity and competition for territories.
Genetic analysis of the population in 2006-2007 should clarify whether or not there has been a loss of genetic diversity and whether additional birds need to be released into the population in future.
Active monitoring over the breeding season has ceased due to the fact that the population is self-sustaining.
Brown teal are readily seen on the lower and upper lakes. Being forest dwellers as well as water dwellers, some are being regularly seen at the kaka feeders below the upper dam at dusk and also at the southern end of the Faultline Track. The brown teal’s omnivorous diet, restricted annual range and mainly terrestrial lifestyle give it a unique ecological niche among waterfowl, somewhat akin to a wetland rodent, and it serves as a classic example of the influence of selective forces that operated on birds in pre-human New Zealand.
A U.S. Air Force B-52 Stratofortress performs a flyover accompanied by four Colombian KFIRs at Feria Aeronautica Internacional—Colombia 2019 at José María Córdova International Airport in Rionegro, Colombia, July 13, 2019. The United States Air Force is participating in the four-day air show with four South Carolina Air National Guard F-16s as static displays, along with an F-16 aerial demonstration by the U.S. Air Force Thunderbirds. United States military participation in the air show provides an opportunity to strengthen our military-to-military relationships with regional partners and provides the opportunity to meet with our Colombian air force counterparts and facilitate interoperability, which can be exercised in future cooperation events such as exercises and training. (U.S. Air National Guard photo by Staff Sgt. Megan Floyd)
Presidio of Monterey, Calif.--Commanders Col. Greg Ford, Presidio of Monterey, and Col. Gary Hausman, Defense Language Institute, welcomed more than 60 community members in a wreath-laying ceremony at the POM cemetery as part of Wreaths Across America Day, December 15.
Volunteers were encouraged to read the names on each grave marker as a way of remembering and honoring the sacrifice of each of the fallen.
Recognizing the many youths who came anxious to show honor to the nearly 400 gravesites, Col. Ford commented, “Our future is here as well as our past.”
Parents took this opportunity in hushed and somber tones to express the solemnity of the event to those too young to appreciate the occasion.
National Wreaths Across America Day, held in December each year, is seen as an opportunity to ‘remember, honor and teach’. Their mission is coordinating wreath-laying ceremonies for veterans at more than 1,400 locations in all 50 U.S. states, at sea and abroad.
Learn more about the program or plan to participate as either a sponsor or a volunteer in future events by going to: www.wreathsacrossamerica.org/pages/42721/Overview/?relate...
Well I am back into castles again. I think this one is my second favorite of all Neuschwanstein images made in puzzles. My favorite was the snowy one I did earlier from MB 3000 piece one. This is my first FX Schmid brand and I am going to say it is a good quality puzzle. Loosed fitting but flat finish and good quality pieces. I have three more FX Schmid castle ones yet to do sometime in future.
I will try my first Trefl one next (1500 pieces also) then go on to a big puzzle project afterwards.
For those that do not know, I do have a group called Jigsaw puzzles of the Neuschwanstein. Hopefully the group will continue to grow and eventually we will be amazed how many of these castle puzzles out there. Other images I will accept is the Ramsau church and any surroundings and the Linderhof castle. I even will take Big Ben tower as well as I do plan to post those in my upcoming puzzles in that group.
www.flickr.com/groups/3893707@N20/
I have switched from camera to phone camera and still learning how to make good pictures off from the phone. I am still behind the times with technology.
Hubert Scheibl (1952), Imbat - D, 1994-1995 (Öl auf Leinwand/Oil on canvas), Albertina - Erwerbung/Acquisition, 2015
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
In the new part of the Ashmoleum Museum, Oxford.
I consider myself very lucky to live within easy travelling distance of many world class museums and galleries, all of which I can use for free.
Several of these are in Oxford, and it was with some trepidation that I went there today to see two such which had recently opened after modernisation.
I went to both the Pitt Rivers Museum and the Ashmolean, and both had been sensitively brought up to date without compromising on their high standards.
The staircase in the Ashmolean was especially striking. It reminded me of the medieval paintings of souls ascending and descending the stairway to heaven and hell. I took many pictures of this and I am sure that I will be using them in future work.
I've never been a big fan of Sepia! This may seem an odd thing to say when I have just posted 3 sepia pictures. On another site I am in a group that is having a sepia challenge. So I tried it. This is a reworking of a picture I took about a year ago. It is a group of buildings in Penshurst called Leicester Square.I must say I was pleased with the result and I now will include sepia in my range of treatments in future.
This is my favorite VOAT cockpit arrangement that I've done and will most likely use this style in future VOATs.
My new apocalyptic city, hard to get a good picture with little lighting, place will be redone in future. Based on zombie apocafest and Crimson Wolf's Outskirts.
When leaving Natanz for Isfahan, I visited a really fabulous and forsaken village- Khafr Village- great in raw mud buildings, the village is just 5 Km to Natanz which is internationally famous for Iran's nuclear file, but in fact Natanz is a very peaceful town with great historical background that in future I'm going to make a set for.
The village consists of two parts, first the castle which the people left there since more than 100 years ago and the second part is existing houses which at the day I visited the village, I found just 14 very old couples, so old that I was feeling I'm a kid over there.
Here you will find few images of this village.
NEW TOWN HALL PORTER IND.
Date: 1913
Source Type: Postcard
Publisher, Printer, Photographer: P. L. Huckins
Postmark: February 28, 1914, Porter, Indiana
Collection: Steven R. Shook
Remark: The house visible behind the Porter Town Hall was built the same time as the town hall by Frank Henry Brockmiller.
The following newspaper item concerning the Porter Town Hall appeared in the May 27, 1909, issue of The Chesterton Tribune:
Porter Department
The Town Board held their regular meeting Tuesday evening and discussed various matters before the Board. The Board is considering buying a lot and erecting a town hall, to be used as a jail and fire engine house on the ground floor and a council chamber on the second floor. The sidewalk question was also discussed, considerable progress is being made in this work. Both sides of Beam street now have fine five foot cement walks and the contractors are now at work on Rankin street. They will used crushed stone crossings at street intersections and brick at the alleys.
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The following newspaper item concerning the construction of the Porter Town Hall appeared in the October 3, 1912, issue of The Chesterton Tribune:
Porter Department
The town board has had several sets of plans for the new town hall submitted to them, and they are considering the same. The expect to let the contract for the construction in the near future.
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The following newspaper item concerning the construction of the Porter Town Hall appeared in the April 24, 1913, issue of The Chesterton Tribune:
Porter Department
Marshal Frank Wannegar has a force of men at work leveling off the site for the new town hall and getting it in readiness for the beginning of construction work.
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The following newspaper item concerning the construction of the Porter Town Hall appeared in the June 19, 1913, issue of The Chesterton Tribune:
CHESTERTON ITEMS
Porter is to have a new town hall. Plans for the structure have been made and adopted, which call for a two story building, the first floor to be used for the fire department, and the second floor for a council chamber and offices for the town officials. The estimated cost is $6,900, and the contract is to be let June 3.
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The following newspaper item concerning the construction of the Porter Town Hall appeared in the June 19, 1913, issue of The Chesterton Tribune:
Porter Department
The contract for the construction of the new city hall was let Tuesday evening by the Town Board, the lucky bidder being Joseph Ameling of Chesterton, whose bid for the completed job was $9,990. The next lowest bid was that of the Moe Construction company of Gary, $10,500. The Hess Construction company of Gary bid $11,000. There were a number of other bids for a portion of the work, but in the aggregate they amounted to more than the Ameling bid. Mr. Ameling has sublet the masonry work to Carlson Bros., and they started on the job Wednesday morning. The work will be rushed as fast as possible and it is hoped to have the building ready for occupancy early in the fall.
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The following newspaper item concerning the construction of the Porter Town Hall appeared in the July 10, 1913, issue of The Chesterton Tribune:
Porter Department
Work on the new town hall is progressing nicely. The foundations are finished and the carpenters have begun the erection of the frame work.
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The following newspaper item concerning the construction of the Porter Town Hall appeared in the July 31, 1913, issue of The Chesterton Tribune:
CORNER-STONE TO BE LAID
PORTER'S NEW TOWN HALL WILL BE THE SCENE OF A SHORT CEREMONY THIRSDAY.
Corner Stone of New Building Will Be Placed in Position Without Pomp or Display. -- Historical Records Will Be Enclosed.
A simple ceremony in the presence of the town officials and any citizens who take enough interest to be present, will take place at the site of Porter's new town hall today when the corner stone of the structure will be placed in position. The even will be marked by no great display and pomp, yet it is nevertheless an important one marking as it does one of the steps in the town's progress.
The town of Porter, or as it was then known, Hageman, was started in 1873 by Henry Hageman; a postoffice was established in this year with A. H. Manhart as postmaster. He served two years and was then succeeded by Henry Dabbert. The town was regularly laid out in 1880 at which time it was named Porter. It was incorporated as a town in 1907 at which time it had a population of about 500. Since that time the town has had a steady growth and its population now numbers six or seven hundred. The taxable valuation of the town is now in the neighborhood of $400,000.00 and its area is one and one-half miles by two miles. Its city limits joins those of Chesterton and the places are practically one except in the matter of city government.
The building whose cornerstone is to be laid today was conceived by the members of the present town board over a year ago, and after an extensive investigation plans were drawn and accepted. The need of a building in which public meetings could be held, the fire apparatus could be cared for and a safe place for the preservation of city records made a new structure necessary. The members of the town board decided that no mere makeshift would do and as a result when the new building is completed and the building turned over to the town, Porter will have one of the best equipped and most modern municipal buildings of any town of its size in the state.
The construction of the building is in the hands of Jos. Ameling, who has the general contract. The cost of $9,950. Work was begun on the building July 1st. The structure will be 42x42 feet is size, two stories high with basement and equipped with modern plumbing, heat and light. The first floor will be used for the fire department, heating apparatus and cells. The second floor will be used for the council chambers and a hall for public purposes.
The architects who drew the plans are Furst & Webler, Chicago.
It is a source of considerable gratification to the members of the town board to know that the town in entirely free from debt, has over $4,000 in the bank, and the board expects to pay for the building of the hall without increasing the tax levy a single cent, notwithstanding the fact that the levy is now only $1.00.
The present board of trustees who have charge of the building of the hall is composed of:
Roscoe Huff, President.
Ezra F. Brody, Trustee.
Frank E. Peterson, Trustee.
Edgar Yost, Clerk and Treasurer.
Frank Wannegar, Marshal.
The first officials of Porter were:
J. P. Carlson, Trustee.
E. F. Brody, Trustee.
Frank E. Peterson, Trustee.
H. L. Ruggles, Treasurer.
Frank Dabbert, Clerk.
Emil Busse, Marshal.
The following is a partial list of articles that will be placed in the copper lined box that will be placed in the corner stone:
Chicago Tribune.
Chesterton Tribune.
Valparaiso papers.
Copy of Ordinance authorizing the building of the hall.
Postcard views of the streets of Porter.
List of officers of the town.
Short sketch of history of the town.
Sample of the Hydraulic-Press Brick Co.'s product.
Collection of coins.
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The following newspaper item concerning the construction of the Porter Town Hall appeared in the July 31, 1913, issue of The Chesterton Tribune:
Porter Department
The following is a copy of the statement of the town, which is to be placed in the corner stone:
Porter, Indiana, July 29, 1913.
BRIEF STATEMENT REGARDING THE TOWNH OF PORTER, INDIANA.
The town of Porter was originally laid out as Hageman, the name of the man who owned much land about the present town of Porter. The name was afterwards changed to Porter and continued an unincorporated town till the year 1907 when it was incorporated after some opposition. At about this time the town also became more progressive, the Porter-Riverside Land Company purchased a considerable tract of land on the east of town and turned the old clay banks into well graded streets and lots, the streets were gradually macadamized, concrete walks were builded [sic], until at this time there are few mud roads and poor walks. Then came electric lights and water supply, and the town is now in a more prosperous condition than at any time heretofore.
Porter has been the scene of the exploitations of a Glass company with a land boom, a featherbone factory, an ecetylene [sic] gas plant factory, and a lock-nut factory, and now enjoys a brick yard, asbestos factory, pickling station, and there are rumors of another asbestos factory, railroad yards by the Pere Marquette railroad company, and improvements by the Elgin, Joliet & Eastern railroad company. The town has also gained notoriety from the Mineral Springs Jockey Club operating a race track west of town, which occasioned the first visit of the state militia in the fall of 1912.
The town has been well and ably governed since its incorporation, by a Board of three trustees, and the town hall, in the corner stone of which these few remarks are to be preserved, in the spring of 1913 was commenced and when completed will be a credit to the town. The town has a volunteer fire department of twelve members, a marshal and one deputy, and usually can boast of a brass band and a base ball team. John H. Busse is still postmaster, though otherwise retired from active business; Busse & Busse and C. E. Jacobson conduct general stores and Hokanson maintains the only meat market; George Lindgren runs the drug store, Frank Wannegar the livery, and Ezra Brody the only shaving parlor, and Henry Dabbert an ice cream parlor, and Dr. J. J. Theorell is the only physician.
It is the intention that these few remarks be preserved so long as the town hall shall supply the wants of the town, now of about 600 people, that the growth and prosperity of the town many be then again measured.
ROSCOE UFF,
EZRA F. BRODY,
FRANK E. PETERSON,
Trustees.
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The following newspaper item concerning the construction of the Porter Town Hall appeared in the August 7, 1913, issue of The Chesterton Tribune:
Corner Stone Laid.
Porter was well represented at the laying of the corner stone of the new town hall on Thursday evening of last week.
The band boys furnished music. Several patriotic songs were sung. John H. Busses made a ten minute speech and the Rev. Osborn offered prayer and gave a short address. The service had to be cut short on account of an approaching storm which threatened to break at any moment, and the people had to hurry to reach home before the rain came. When this building is completed the residents of Porter will be proud of the structure, and of the advancement the town is making.
The following is a list of articles deposited in the receptacle:
A number of old coins, some 1913 nickels, Lincoln pennies, pair of eye glasses that were owned by John Czizek, a piece of brick made in the Hydraulic yards in 1896 and one made in 1913.
Chesterton Tribune.
Chicago Inter-Ocean.
The Menace.
Ezra Brody put in a razor that he had used for 15 years.
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The following newspaper item concerning the construction of the Porter Town Hall appeared in the August 14, 1913, issue of The Chesterton Tribune:
Porter Department
Work on the new town hall is progressing rapidly. The joists for the first floor will be laid today.
Sources:
The Chesterton Tribune, Chesterton, Porter County, Indiana; May 27, 1909; Volume 26, Number 9, Page 3, Column 1. Column titled "Porter Department."
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The following newspaper item concerning the construction of the Porter Town Hall appeared in the August 14, 1913, issue of The Chesterton Tribune:
Porter Department
The town board met Tuesday night and sold the bonds for the town hall. Rev. J. A. Bescherer, or Porter, was the successful bidder, taking the whole issue of $10,000 at par. The bonds bear interest at a rate of five per cent, and are considered a good investment.
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The following newspaper item concerning the construction of the Porter Town Hall appeared in the September 18, 1913, issue of The Chesterton Tribune:
It is rumored that a bank will be started as soon as the new town hall is completed, and that the capital for the same has all been raised. We understand that quarters will be provided in the town hall building. The roof has been put on this structure, and it will soon be ready for occupancy. The town board has been arranging to dedicate the building in grand style, and have engaged the Michigan City band, and the Salisbury Orchestra. Prominent speakers are to be on hand, and everything done to make the event a memorable one in the annals of the town.
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The following newspaper item concerning the construction of the Porter Town Hall appeared in the November 13, 1913, issue of The Chesterton Tribune:
Porter Department
As yet no date has been set for the dedication of the new town hall. It should have been done Oct. 24 last, but the contractor has been delayed, and he cannot say yet just when he can turn over the building to the town. It is hoped to have the affair some time next month. Judge Tuthill of Michigan City, and Attorney H. H. Loring of Valparaiso, have promised to be present and take part in the program. Preparations are being made to have one big time, and a large crowd is expected.
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The following newspaper item concerning the construction of the Porter Town Hall appeared in the November 27, 1913, issue of The Chesterton Tribune:
Porter Department
The town hall is nearing completion and will soon be ready for public use. The hardware for the door etc, were destroyed in the fire of the Chesterton depot, which may delay the work of finishing somewhat.
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The following newspaper item concerning the construction of the Porter Town Hall appeared in the December 4, 1913, issue of The Chesterton Tribune:
Porter Department
On December 11 the beautiful new town hall of Porter will be dedicated. The Tribune had hoped to have had a cut of the building to publish for this issue, but owning to the fact that the work was not completed and will not be until the end of this week, a satisfactory photograph could not be taken. Our next issue will have a fine illustrated article. The program for the occasion has been prepared and is as follows: The affair will be held in the building, and will begin at 7:30 o'clock. It is expected that the largest crowd ever gathered in Porter will be assembled there for the occasion.
Violin and Piano . . . . B. Ruggles and R. Brockmiller
Invocation . . . . Rev. Bescherer
Music . . . . Male Quartet
Introductory Remarks . . . . Ross Huff
Address . . . . H. H. Loring
Music . . . . Male Quartet
General Remarks . . . .
Violin Solo . . . . R. Brockmiller
Address: . . . . H. B. Darling
Vocal . . . . Male Quartet
Benediction . . . . Rev. Smith
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The following newspaper item concerning the construction and dedication of the Porter Town Hall appeared in the December 18, 1913, issue of The Chesterton Tribune:
NEW TOWN HALL IS DEDICATED
PORTER’S FINE NEW BUILDING IS FORMALLY OPENED WITH ELABORATE EXERCISES.
Last Thursday Night Was a Memorable Night in the Municipal History of the Town of Porter. New Building is Greatly Admired.
Thursday December the eleventh, in the year of Our Lord, nineteen hundred and thirteen, is a memorable date in the history of Porter, the occasion for which, being no more and no less than a formal dedication, and opening for public inspection, and incidentally admiration, of the finest municipal building in Porter county, and one of the handsomest in the state of Indiana. It was also the occasion for an almost unanimous gathering of the people of Porter and surrounding territory to attend the exercises that marked the opening of the new building. Long before the hour set for the exercises to begin, the people began coming and when President Huff of the Porter town board, arose to call the assemblage to order, the spacious auditorium of the building was filled to overflowing and many were standing in the corridors, while others stood outside and waited for a chance to get within hearing distance.
The time for the dedication exercises had been set for 7:30 p. m., but it was nearer to eight o’clock when the first number a musical selection by the Buehring Orchestra of Michigan City, was begun. Every visitor had been given an opportunity to inspect the new building and admire the modern conveniences with which the builders have equipped it. The members of the Porter Fire department were present in uniform and acted as ushers for the visitors. Great interest was shown in the various departments, from the steel cells, in which offenders against the law will in the future be safely housed, to the model heating plant which will keep the building at an even temperature in the most inclement weather. Every past of the building was open for inspection and the members of the Fire Department took great interest and pride in showing off the beauties and conveniences of the structure.
Chairman Ross Huff, of the board of town trustees acted as master of ceremonies and called the meeting to order. After the opening overture by the orchestra the first number on the program was an instrumental duet, piano and violin, by Miss Bernice Ruggles and Raymond Brockmiller. They rendered “Cavitana” very prettily and were compelled to respond to an enthusiastic encore. The invocation by the Rev. Berscherer, pastor of the German Lutheran church followed. A selection by the mail quartet came next and after they had responded to an encore, Chairman Huff introduced the first speaker of the evening, Hon. Harry B. Darling of Laporte. In the printed programs that had been distributed, Mr. Darling’s name appeared near the end, but a change was made in order that he might catch a train back to Laporte. His address was a masterful effort and was well received by the audience, who paid him marked attention until the close. His address will be found in full in another part of this issue. Following Mr. Darling, the Hon. Harry B. Tuthill, of Michigan City, and Judge of the Porter-Laporte Superior Court was introduced and aroused much enthusiasm by his remarks. A brief digest of his speech will also be found elsewhere. A vocal solo by Miss Bernice Ruggles came next, she rendering “Creole Love Song” very sweetly. The audience would not be content until she had responded to an encore, which she did in a gracious manner. H. H. Loring, of Valparaiso, was the next speaker of the evening. His intimate knowledge of the history of Porter and or Porter county enabled him to give a talk of especial interest. Music by the male quartet followed Mr. Loring’s address and they were not allowed to resume their seats until they had responded to an encore.
Chairman Huff announced the next number on the program as one of general interest in which everyone could take a part under the head of general remarks. He said that he would first call upon various persons in the audience for a few remarks, after which the audience would be glad to hear from anyone.
Rev. Bescherer was the first man called upon, and in introducing him, the chairman stated that he was the man of the hour, when the time came for securing the finances with which to construct the new building, and that the people of Porter owned much to him for his assistance in securing the finances at a very low rate of interest and upon very favorable terms. Mr. Bescherer responded in a happy manner and his remarks brought forth much applause.
E. T. Funk of Valparaiso was the next man called upon, and in introducing him, Mr. Huff remarked that he was a stranger from the south part of the county. Mr. Fund responded in a happy manner, denying the imputation of being a stranger to Porter.
Others who were called upon were John McNay, trustee of Center township, Dr. Theorell, A. J. Bowser, County Auditor Blachly, H. L. Ruggles, Charles W. Jensen, J. Lowenstine, Mr. Weber, the architect, John P. Carlson, J. G. Graessle, E. F. Brody.
The remarks by each of these gentlemen were well received by the audience and we have in another column, attempted to give a brief digest of the speeches that were made.
Following this feature of the program, Raymond Brockmiller, rendered a violin solo, “Angels Serenade” which was followed by an encore. The male quartet rendered another selection, and the closing of the program came with a benediction by the Rev. Smith, pastor of the Congregational church.
Much credit is due Chairman Huff, the members of both the present and incoming members of the board of trustees, Town Clerk Edgar Yost, Marshall Wannegar, Town Attorney Batteiger and the members of the Fire company for the excellent manner in which the exercises of the evening were carried out.
The Building.
Porter has a municipal building of which the inhabitants of the village can feel proud; it is a building of which the whole of Porter county can well take pride. It is probably the finest structure of its kind in a town of the size of Porter in the state. In fact there are not many communities in the state that have a handsomer or better equipped town hall within their borders. The men who are responsible for its construction are entitled to a full measure of praise for the success that has crowned their efforts. It is a structure where not only the records of the town can be safely housed; the business of the town trustees transacted in a comfortable manner; the apparatus for fire protection safely and conveniently kept; prisoners and other offenders securely confined; but in addition a public meeting place is provided. The large auditorium will accommodate conveniently as many as usually gather at public meetings in a village of this size. The building is large enough to accommodate all the business of the town for many years but should future growth make larger quarters necessary, the architect has wisely designed the structure so that additions can be easily made.
Porter’s town hall was designed by the firm of Furst & Webber, architects of Chicago, and the plans and supervision was in personal charge of Mr. Webber. When completed it will cost about $12,000, although the exact cost cannot be given at this time. The general contract was let to Joseph Ameling, of Chesterton for $9,990. This did not include the electrical work and fixtures, the bell and operating device, the vault, architect’s fees and expenses, and a number of other necessary things that will bring the cost up to the figure named.
Mr. Webber was in town Monday, and furnished The Tribune some data regarding the building. He said:
The outside dimensions of the building are 46x46 feet, two stories. The first floor has fire engine and boiler room, a cell room, with two cages and room for three. Toilet in each cell. The marshal has a room for his office.
There are two entrances to the building, one from the north side, leading to both floors, and one from the east leading to the fire house. All floors on this story are of cement. A fire proof vault is also on this floor.
The second floor has a large assembly hall 24x44, which is so arranged that two rooms can be made of it by the use of a rolling partition that weighs 1600 pounds, making each room 22x44. The design is that when the trustees meet they have a smaller room, and when the public want a hall they can have one by simply opening the rolling partition. In addition there is a clerk and treasurer’s office, a large fire-proof vault for the keeping of records of the towns, and toilet rooms for both men and women. The hallway is in the center of the building and is large and capable of handling large crowds.
A Kewanee boiler furnishes steam for the heating of the building and is the last word in heating. The first floor entrance is mosaic, and the rest is cement. The building is trimmed in oak finish, and the upper floors are all of hardwood.
The building is built of brick, all from the plant of the Chicago Hydraulic plant at Porter. The roof is of slate, non-fadeable [sic], and sea green. The belfry houses a one thousand pound bell, operated from the engine room, with fire alarm and ordinary signal attachments.
The men who did the work are: Joseph Ameling, Chesterton, general contractor; Carlson Brothers, Porter, mason and cement work; plumbing, Charles Nickel, Chesterton; steam fitting, Ed Isbey, Chesterton; plasterer, E. N. Hyde, Chesterton; painter, Nels Miller, Porter; roofing and sheet metal work, L. Gannon, Valparaiso; electrical work and fixtures, C. H. Harvil, Chesterton.
The architect says that he has only words of praise for the men who did the work, and that when it is finally turned over to the town it will be in first class condition. There are still a few things yet to do, but all will be done before he gives his final O. K. to the work.
The New Bell.
One of the marked features of the new building and one that was heralded to the surrounding territory the opening of the evening’s program is the new bell, which is to be used for fire alarm purposes as well as a signal for the opening of meetings that may be held at the new town hall. The bell has an exceptionally clear, pure tone and can be heard miles away. Residents as far away as South Chesterton say they can hear the ringing of the new bell as clearly as though it was but a block or so away. It will serve as an efficient fire alarm throughout the towns of both Porter and Chesterton and is something that has long been needed in this locality.
Out of Town Visitors.
While no formal invitations had been issued by the town board a general invitation to the public had been given, and the importance of the event attracted many out of town guests who came to congratulate the people of Porter on their new municipal home. Among the out of town visitors were the speakers of the evening, Hon. Harry B. Darling of Laporte, Judge H. B. Tuthill of Michigan City, H. H. Loring of Valparaiso. Others from Valparaiso were Superintendent E. T. Funk, County Auditor Blachly, Sheriff Lindall, County Clerk Bornholt, Trustee John McNay, J. Lowenstine, Morris Lowenstine, and Gene Stanton. Several from Gary and Chicago were present.
The Construction.
The buildings of the new hall, including the architects, the various con-
(Continued on Page Five.)
tractors and the men at the head of the town’s business affairs much credit is due for the success that has attended them throughout the designing, planning and construction of the building. The new hall was planned over a year ago. The closing of Seivert’s hall late in 1912 left the town without any place where a public meeting could assemble in comfort that the board of trustees took up the matter and after due deliberation decided that public necessity made the building of a new hall a matter of the utmost importance. A number of visits were made to surrounding towns to inspect public buildings and after several months of investigation the board deemed it best to build a building that would be adequate for the town’s needs for a long time. They decided that there would be no make shift arrangement, but that the various departments of the town’s organizations should be safely housed. They also planned that a large auditorium, suitable for all gatherings of a public nature would be provided. An investigation of the list of taxable property revealed the fact that the burden of building a new hall would be borne in large part by the various railroad corporations that run through Porter. In fact out of every three dollars spent the railroads would have to pay at least two. The made the burden upon the general taxpaying public a very light one. The probable benefits so far exceeded the probable expense that the members of the town board felt they could not do otherwise than go ahead and prepare the plans for the construction of the building. Every move they made was carefully considered; every step taken towards the construction was made only after a careful investigation. Noth only were the taxpayers of the town consulted daily and due deference given in their wishes, but experts on municipal building consulted and the best possible advice sought.
One of the first steps was the condemning of the old building which had served its time and was ready for the wrecking crew. This was done and the building sold and torn down. Then came the question of a site and after long deliberation the board choose [sic] the present site and secured it by an advantageous exchange. Much time was spent in studying the plans and specifications of the new building and the architects were compelled to change their preliminary sketches many times.
Early in the spring of this year the [---?---] was cleared for action and the board adopted the necessary resolutions that are required by law for the letting of public contracts. These went through in their regular course and early in the summer the contract was let to Joseph Ameling on terms that seemed unusually satisfactory. Mr. Ameling, upon being notified that he had been the lucky bidder lost no time in beginning the work, and ground for the new building was broken within forty-eight hours. From that time on until the completion of the building not a moment’s time has been lost by any workmen. During the entire course of construction not the least but of friction arose to hinder the progress of the work. There was no strike of workmen, no signs of even any dissatisfaction among the men at any time, the relations between architect and contractors were always at all times pleasant, and it is doubtful of even an unpleasant word was spoken. Material arrived promptly on time when needed and not a single workman met with an accident.
The citizens of Porter can well feel proud of the new town hall, and they give a vote of thanks to the men who are responsible for its construction, and the trustees, with whom the plan originated, the architects, the contractors and to the workmen, all of whose efforts were combined to the successful finishing of the work there is not the slightest taint of graft; it send forth a monument to honesty and civic government. It is something of which the citizens of the entire community can well feel proud, and of which visitors to the town can [---?---] with pleasure.
Sources:
The Chesterton Tribune, Chesterton, Porter County, Indiana; October 3, 1912; Volume 29, Number 28, Page 5, Column 2. Column titled "Porter Department."
The Chesterton Tribune, Chesterton, Porter County, Indiana; April 24, 1913; Volume 30, Number 5, Page 3, Column 2. Column titled "Porter Department."
The Chesterton Tribune, Chesterton, Porter County, Indiana; May 15, 1913; Volume 30, Number 8, Page 3, Column 3. Column titled "Notice for Bids."
The Chesterton Tribune, Chesterton, Porter County, Indiana; May 15, 1913; Volume 30, Number 8, Page 7, Column 3. Column titled "Chesterton Items."
The Chesterton Tribune, Chesterton, Porter County, Indiana; June 19, 1913; Volume 30, Number 13, Page 3, Column 2. Column titled "Porter Department."
The Chesterton Tribune, Chesterton, Porter County, Indiana; July 10, 1913; Volume 30, Number 16, Page 3, Column 2. Column titled "Porter Department."
The Chesterton Tribune, Chesterton, Porter County, Indiana; July 31, 1913; Volume 30, Number 19, Page 3, Column 1. Column titled "Corner-Stone to be Laid."
The Chesterton Tribune, Chesterton, Porter County, Indiana; July 31, 1913; Volume 30, Number 19, Page 3, Column 2. Column titled "Porter Department."
The Chesterton Tribune, Chesterton, Porter County, Indiana; August 7, 1913; Volume 30, Number 20, Page 3, Column 3. Column titled "Corner Stone Laid."
The Chesterton Tribune, Chesterton, Porter County, Indiana; August 14, 1913; Volume 30, Number 20, Page 3, Column 2. Column titled "Porter Department."
The Chesterton Tribune, Chesterton, Porter County, Indiana; August 14, 1913; Volume 30, Number 20, Page 3, Column 3. Column titled "Porter Department."
The Chesterton Tribune, Chesterton, Porter County, Indiana; September 18, 1913; Volume 30, Number 26, Page 3, Column 1.
The Chesterton Tribune, Chesterton, Porter County, Indiana; November 13, 1913; Volume 30, Number 33, Page 3, Column 2. Column titled "Porter Department."
The Chesterton Tribune, Chesterton, Porter County, Indiana; November 27, 1913; Volume 30, Number 36, Page 3, Column 3. Column titled "Porter Department."
The Chesterton Tribune, Chesterton, Porter County, Indiana; December 4, 1913; Volume 30, Number 37, Page 8, Column 4. Column titled "Porter Department."
The Chesterton Tribune, Chesterton, Porter County, Indiana; December 18, 1913; Volume 30, Number 39, Page 1, Columns 1-4 and Page 5, Column 1. Column titled "New Town Hall is Dedicated."
Copyright 2012. Some rights reserved. The associated text may not be reproduced or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior written permission of Steven R. Shook.
Traditionally, geisha were trained starting from the age of four, when they were sent as indentured servants to okiyas (geisha houses). There they were provided with food, board, kimono and everything needed to start training, which they were expected to pay back with in future earnings. She starts out as a minarai, or observer, watching maiko and geiko interactions with customers in an ozashiki.
Afterwards a geisha-to-be is promoted to a maiko, apprenticing with older maiko and geiko and learning the formal arts, such as serving tea and calligraphy, the entertainment arts, such as playing the shamisen, dancing, and conversation, and the social arts, interacting in the social structure of the hanamachis. After about five years, a maiko is promoted to a full-fledged geisha in a erikae ceremony, where her collar is changed from red to white, and her hairstyle is changed from a Nihongami to a shimada. A geisha works until she retires.
In modern times, things have changed. Young women do not begin training as geishas until after graduating high school. While ochayas still exist and remain popular around Kyoto, the number of geisha are fewer in number, and many are now hired to attend gatherings and parties outside of their cloistered hanamachis. Foreigners are now allowed to become geishas, though still remain rare. Finally, false "geishas", ranging from tourists playing dress-up to modern entertainers to prostitutes, far outnumber the actual geishas.
As addressed below, this is Geiko Fumikazu (章佳司).
Gion, Kyoto, Japan
Matthäus Loder (Wien 1781 - 1828 Vordernberg)
View of Vienna
Blick auf Wien, ca. 1810
Feder in Schwarz, Aquarell, Deckfarben
Pen and black ink, watercolour, body colour
Albertina, Wien
The Art of the Viennese Watercolor
Till 13. May 2018
Transparent lightness, brilliant colours, and a generally atmospheric impression are the special qualities of 19th-century Viennese watercolor painting. Virtuosic city views and landscapes, detail-rich portraits, genre paintings, and floral works comprise the rich motivic repertoire featured in this glorious blossoming of Austrian art.
The Viennese watercolor’s heyday was the Biedermeier era: Jakob Alt, Matthäus Loder, Thomas Ender, and Peter Fendi number among its most important artistic figures.
Likewise outstanding are the exquisite works by Rudolf von Alt from his over 70-year career. His masterful watercolours run from the Biedermeier era all the way to the rise of the Secession movement around 1900.
This exhibition presents a veritable parade of exceptionally beautiful pictures, including the ALBERTINA’s own treasures as well as important loan works, all of which pay impressive tribute to the high standing of the Viennese watercolor in the context of 19th century art.
www.albertina.at/en/exhibitions/viennese_watercolour/
On view from 16 February until 13 May 2018.
The Albertina
The architectural history of the Palais
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
(further pictures and informations you can see by clicking on the link at the end of page!)
Austrian State Archives (ÖStA)
Austrian authority
Oesterreichisches Staatsarchiv.svg
State level Federation
Position of the authority subordinated agency
Supervisor(s)/organs to the Federal Chancellery
Founded in 1749 as the Secret House Archive (Empress Maria Theresia)
Headquarters Vienna Highway (Landstraße, 3rd district of Vienna)
Board of Directors Univ. Doz Dr. Wolfgang Maderthaner
www.oesta.gv.at site
Central Archives building of the Austrian State Archives in Nottendorfergasse 2 in Vienna 3
The Austrian State Archives (ÖStA) in Vienna is the central archive of the Republic of Austria. It keeps on the basis of the Federal Records Act the archives of the Federation. The tasks of the Austrian State Archives are therein described as follows: capturing, taking over, keeping, obtaining, placing, organizing, making accessible, exploiting and utilisation of archived documents of the Federation for the exploration of the history and present, for other research and science, for the legislation, jurisdiction, administration as well as for legitimate concerns of people.
As far as in the public records monuments are concerned, the Austrian State Archives according to Monument Protection Act in place of the Federal Monuments Office is also responsible for the preservation.
History
The origin of the Austrian State Archives goes back to the year 1749 when Empress Maria Theresa in the course of an administrative reform installed a secret Hausarchiv. The establishment was related to the new, centralized administration, which required a separate archive. For other centers of administration such as Prague, Graz and Innsbruck documents were taken to Vienna.
In the historical analysis is important to note that there have been earlier archives and collections of documents, whose contents were incorporated into the new archive.
In the 19th Century the name House, Court and State Archives became then usual.
1951 there was a scandal because Heinz Grill, archivist in the House, Court and State Archives, had stolen gold and silver bulls over the years and sold to metal dealers ("affair Grill").
The archive departments
The modern Austrian State Archives is divided into several sections:
Archives of the Republic
The in 1983 founded archive of the Republic is the youngest archive department. It is the center of contemporary research in Austria and archival responsible for the evaluation, discarding, taking over and custody, safeguarding, maintenance and overhaul, accessing, compilation and exploitation of those written or typed material supply, which in the Austrian central authorities (all ministries, central federal departments and subordinated offices) have been produced since 1918.
Since the introduction of the electronic file (ELAKimBUND) in the Austrian federal administration (nationwide for all federal agencies since 2004), the Archives of the Republic is also responsible for the implementation of the digital archiving of this written material. Since 2007 it has been actively worked on an appropriate solution for long-term preservation of the "born digital" act. The startup of the digital archive Austria took place in 2012.
General Administration Archive
The General Administration Archives preserves the records of the central authorities responsible for internal administration of the Habsburg Monarchy from 16th Century, over 12,700 running meters, a significant collection of maps and plans, and about 5,000 documents. In its origins, the General Administration Archive goes back to the first-time centralisation of the old registries of the court chancelleries in founding the "Directorium in publicis et cameralibus" in 1749. The archive materials of the General Administrative archive were decimated by the Justice Palace fire in July 1927 considerably.
The public records which are kept in this division are divided into 10 thematic groups (= inventory groups), which for their part again contain files of various central services:
Inventory group Internal Affairs: Chancellery, Ministry of Interior, police authorities, Council of Ministers, rights of the Austrian State of Lower Austria, city expansion fund
Inventory group Justice: Supreme Justice office, Ministry of Justice, prosecutors, Linz Regional Court, Imperial Court, Administrative Court
Inventory group Instruction and Cultus: Studienhofkommission (Imperial Commission on Education), Ministry of Education, Old and New Cultus
Inventory group Commerce: Department of Commerce, Post Office, Ministry of Public Works, Navy Department, Patent Office
Inventory group Agriculture: Ministry of Agriculture, Agricultural Operations, Forestry and Dömänendirektion (Domain Directorate) Vienna, Forest Institute Mariabrunn, teacher Audit Commission, Agricultural Society
Inventory group Transport: United Court Chancellery, General Court Chamber, Ministry of Public Works, Ministry of Trade, Commerce and Public buildings, Ministry of Finance, Ministry of Trade and National Economy, Department of Commerce, the General Inspectorate of the Austrian Railways, Ministry of Railways, Railway Construction Department, State railway administrations, private railway companies
Inventory group Family archives and Estates
Inventory group Nobility: imperial nobility files, Hofadelsakten (Court nobility records), pedigrees
Inventory group Audiovisual Collection: Politics and Public life since 1945, Austrian landscapes and buildings, customs, history, science, technology, medicine, business, art, culture and sport
Inventory group Plan and Posters collection: collection of plans comprised of the following funds: Hofbauamt (Court building authorities), chancellery, General Construction Authority, Lower Austrian Civil Construction Authority, Bausektion (construction section) of the Ministry of the Interior, Bausektion of the Ministry of Commerce, Ministry of Public Works, State Baudirektionen (construction directorates), Waterway Construction Authority, Dikasterialgebäudeverwaltung (dicasterila building administration), Ministry of Agriculture, Ministry of Culture and Teaching, Studienhofkommission (Imperial Commission on Education), Stiftungshofbuchhaltung (Foundation Court Bookkeeping), Ministry of Justice, city expansion fund
War Archive
The beginning of a proper Military Archives in the Habsburg monarchy is to fix in the year 1711, when Emperor Joseph I. ordered the creation of an archivist office with the Hofkriegsrat, the highest central authority for the Habsburg warfare. Already in the first half of the 18th Century, this hofkriegsrätliche (Court's warfare council) archives of the chancelleries has gradually evolved into a kind of military central archives, especially since 1776 through the merger of the hofkriegsrätlichen plan collection with the combat engineer the archives of the chancelleries in reference to cartographic material became to a central contact point. In addition, however, the aim was put on experiences in the past, lessons from former campaigns for the present and future. In view of the above, Emperor Joseph II in 1779 ordered the documentary revision of the campaigns since 1740. This access to the history of war intended Archduke Karl to continue, too, by 1801 disposing the creation of the Imperial War archive. This had according to its founding mission to collect documents and maps, but also scientifically and journalistically to evaluate.
The Imperial and Royal (from 1889 kuk) Kriegsarchiv (war archive) initially consisted of a department of scriptures, a card archive, library and a department of military history works. By the end of the 19th Century the war archive had the bulk of the until then elsewhere stored military documentary material taken on. During the First World War, the war archive had with the assumption of mass documentary material from the front considerably more tasks to carry out, for which the number of staff of the archives substantially had to be increased. After the end of war in 1918 the war archive became a civilian institution, to which after the fall of the monarchy have been given masses of new documentary material from previously independent departments and liquidated offices. During the Second World War, the war archive as Army Archives Vienna was a part of the German Army archive organization under the supreme command of the Wehrmacht. After considerable losses as a result of the war, the War Archives in 1945 became a department of the newly created Austrian State Archives. In the years 1991-1993 moved the since 1905 in the Stiftskaserne (barracks) in the 7th District of Vienna housed war archive to the Central Archives building in Vienna III.
The war archive contains about 180,000 document cartons and 60,000 account books on 50 shelf kilometers and is by far the most important military archives in Central Europe. Its map collection with over 600,000 maps and plans is the largest in Austria. There is also a collection of about 400,000 images. The former library of the war archive is one of the most extensive collections of older military historical literature .
The in 22 inventory groups aggregated inventories of the Kriegsarchiv, in their structure these two fundamentally different archiving traditions are reflected to this day, can be broadly divided into five major blocks:
Personnel files of officers, petty officers, crews and officials of the armed forces of about 1740 to 1918; reward acts (1789-1958), so documents on military awards, which the archives of the Military Maria Theresa Order is attached.
Feldakten (combat files) with material on the operations of the imperial or kk Field armies from 16th Century to 1882 (Old Field records and Army files) as well as on 1914-1918 (Army High Command, New field files - Neue Feldakten).
Most High command, main, subordinate and territorial authorities. This group brings together the recordings of major institutions in the entourage of the emperor (especially of the Military Chancellery, the Generaladjutantur (general adjutancy) and the General Staff), the central military services (Hofkriegsrat (Court War Council) 1557-1848, War Office 1848-1918, Ministry of National Defence from 1868 to 1918) and a number of other authorities, institutions and territorial command posts such as the disability Office, the Apostolic field Vicariate, the supreme combat engineer and artillery authorities, the military educational institutions, the military invalids houses and single General and Military command posts in the countries.
Navy and Luftfahrtruppe (air force troup (19th - 20th century)
Collections, which include in particular the maps and plan collection, image collection, the manuscripts and a very important collection of military scripture estates.
The war archive is now a "historical archive". The here kept official written or printed material essentially ends with the collapse of the Austro-Hungarian Empire at the end of the First World War (1918). The collections of the Kriegsarchiv (war archive) on the other hand constantly increase.
Financial and Hofkammerarchiv [ Edit]
The financial and Hofkammerarchiv (Court Chamber archive) arose when in 1945 the previously separately kept inventories of the Hofkammerarchiv and financial archives were merged. The Court Chamber, founded in 1527 was the central financial authority of the Habsburg monarchy. 1848 took over the newly founded Treasury its duties. The archive contains financial records that are especially important for historians. In historical Archive building in the Johannesgasse the Directorate room of Franz Grillparzer is still preserved, working there from 1832 to 1856 as director. With 1st December 2006, the Department of Finance and Court Chamber archive was incorporated into the General Administration Archive. The bulk of the archival material was moved into the central archive building in the Nottendorfergasse.
House, Court and State Archives
The House, Court and State Archives in Minoritenplatz
Board on State Archives
The House, Court and State Archives, Minoritenplatz 1, 1749 by Maria Theresa (1740-1780) was established as a central archive of the Habsburg dynasty. By creating a well-ordered document repository unifiying the hitherto over several sites scattered important House and state documents in Vienna, it should be ensured that the legal titles and rulers' rights of the dynasty in the future were quickly available when required.
Of the today in 11 inventory groups organised inventories of the House, Court and State Archives the following topics have been given priority:
the history of the Habsburg dynasty
the activities of the supreme Court offices and the Imperial Cabinet
Diplomacy and foreign policy of the Danube monarchy
highest Administration and Jurisdiction in the Holy Roman Empire of the German Nation whose imperial dignity the Habsburgs held for centuries almost without interruption until the dissolution of the National Association in 1806.
Worthy of mention furthermore in the House, Court and State Archives deposited ruler and family archives, estates, a manuscript collection, a collection of seal and stamp imprints as well as a plan and map collection.
Showpiece under the "Collections" of the archive department is but unquestionably the document collection formed from different provenances.
Overall, stores the in a 1899-1902 built landmarked Archive functional building at Vienna's Minoritenplatz housed House, Court and State Archives on 16,000 running meters, 130,000 accounting records and document cartons, 75,000 documents, 15,000 maps and plans, and about 3000 manuscripts.
The oldest piece is a document that Emperor Louis the Pious issued in the year 816. The chronological endpoint sets the year 1918. The House, Court and State Archives is among the "historical" departments of the Austrian State Archives, who do no longer grow by receiving documentary material deliveries from the Austrian federal ministries.
The great importance of the House, Court and State Archives for international research is based on the wide geographical catchment area and the variety of its collection. Due to the territorial expansion of the Habsburg rule from the 15th Century and the literally global relations of the dynasty, the here stored archival material encompasses practically all continents.
In addition to the "classical" access of diplomatic and political history, the archive also offers a social and cultural history oriented research rich material.
Restoration workshop
The restoration workshop of the ÖStA belongs alongside those of the National Library and the Federal Monuments Office to the most important restoration facilities for paper, parchment, sealing and bookbindery in Austria.
Significant archivists
Ludwig Bittner (1877-1945), archivist 1904-45
Anna Coreth (1915-2008), Director of the House, Court and State Archives
Walter Goldinger (1910-1990), Director-General in 1973
Lothar Gross (1887-1944), director of the House, Court and State Archives
Joseph Knechtl (1771-1838), archivist 1806-1834, 1834-1838 Director
Hanns Leo Mikoletzky (1907-1978), Director-General 1968-72
Lorenz Mikoletzky (* 1945), Director-General from 1994 to 2011
Rudolf Neck
Kurt Peball (1928-2009), Director-General 1983-89
Gebhard Rath (1902-1979), Director-General 1956-68
Leo Santifaller (1890-1974), Director-General 1945-54
Erika Weinzierl (* 1925), archivist at the House, Court and State Archives 1948-64
Publications
The Austrian State Archives publishes the periodical Communications of the Austrian State Archives (Mösta) appearing in annual volumes since 1948. In addition, archive inventories, supplementary volumes to the communications and exhibition catalogs are published.
Sakura is a special flower for me. When I was in hospital two years ago my wife told me that the cherry trees seen from the wondow of my room were beautiful but I could see them because I had been ordered a complete rest. When I left the hospital the cherry blossoms had dropped. I am glad to see them again this year too. How many times will I be able to see them in future?
"Now that is what I call a Re-enactment!
Bartimaeus the blind beggar
May the Peace of the Risen Christ be with you! Easter is here.
We had a most successful Re-enactment of Our Lord's Passion. After so many months of preparation, sewing machines running hot updating costumes, actors learning lines, sound systems being upgraded and more, there we stood at 11am on Good Friday with microphone in hand: "Welcome to the 2018 Re-enactment of Our Lord's Passion!" And so it began.
How do we measure "success" in regards to our re-enactment?
On one measure you can use crowd numbers, donations, "Likes" and Shares and that would be appropriate if this was just a normal play. Even on that basis our event would certainly be considered a success with somewhere around 5,000 people participating and lots of great feedback and support.
But how do you measure success for a play that tries to be an authentic re-enactment of the Passion of Jesus Christ based on scripture and tradition of the Church? In this case we were told by the Pauline Fathers that many people came back and they were hearing confessions the whole day.
We saw many people following the play and praying along with us.
Crowning with Thorns
Many came up to us after the play thanking us for such an invigorating presentation of our Lord's Passion. Here are some of the early tales we have been told of the day.
One of the biggest challenges with a moving play is the safety of actors, crew and pilgrims as the play moves from scene to scene. We try many methods such as fixed tape and ropes as well as rope held by our marshalls. Enforcement for keeping the crowd back tends to fall towards the soldiers who, like in a theatre restaurant, instruct the crowd to move back for their own safety. Our photographer, eager to get "the photo", allowed a little old lady to sneak past the barriers so she could touch the cloak of Jesus. As the Centurion swung his arm giving orders to his soldiers, this lady who stood upright under his swing moved forward. "What the?" cried the Centurion and firmly moved her back with instructions. I thought she would be concerned at the firm treatment but she was grinning ear to ear and holding her bag telling her family, "I touched his cloak!"
I touched Jesus' Robes!
Some of our Marshalls volunteered to help on the day. Often these had not experienced the fluid intensity of a moving play like this and even though they were holding on to the rope barrier, found themselves sucked into the crowd. When the Centurion or one of the soldiers noticed their lost marshall and we heard the cry, "Get him out of there!" as they reached in and brought him back into line.
Our marshalls and soldiers request people to stay back for their own safety. When the Roman soldiers and Jewish guards broke out into another scuffle we heard the cry, "They're fighting again!" and the crowd suddenly made space. "Please stand back for your own safety," we once more cried as the procession moved on.
When Jesus was being scourged, the process started with one Roman making a few lashes. Then he gets moved back with the cry, "Let someone do it properly!" The primary flogging Roman soldier let fly with the whip dipped in the fake blood. Drops of blood flew in an arc and the soft straps struck Jesus with a satisfying slap and Jesus cried out. The crowd stopped chattering with an audible gasp.
One of our new actors had not actually attended the play in past years so this was all an amazing experience. When Jesus was being scourged and mocked, tears came to her eyes, but the Woman of Jerusalem in charge held her and said, "Don't cry yet. We have to call for his crucifixion in the next scene." So she held back her tears and like a trooper joined the crowd calling for Jesus' crucifixion. As she said afterwards, it won't be the same contemplating the story of Jesus' Passion in future.
At the start of the play we made sure the actors and crew knew that this was a "Live" play. That meant no retakes, no pause to re-do the scene, no stepping in to try again. "The play must go on!" we instructed. "After all, the pilgrims haven't read the script and the story won't be affected if your lines are not exact. So long as we get the important bits in the right order, no-one will know." That was good advice.
When Pontius Pilate was standing majestically on the balcony addressing the crowd, the sign of Roman Superiority detached from the balcony railing and fell to the ground with a crash. Pontius Pliate's eyes opened wide for a brief moment and then he turned his gaze back to the Crowd and Caiaphas and the Jews and continued as if nothing was wrong. The crew quickly removed the sign and all moved on as if this was part of play. We were told afterwards how clever this was, the falling of the sign representing the fall of Roman Justice. The play must go on.
Although we have a script which covers all the main dialogue and actions, the flavour comes from the interactions and improvised dialogue of the actors. Insults between the Jews and Romans provided occasional humour too. At the crucifixion, one of the Jewish Chief Priests called out "How many Romans does it take to Crucify someone?" Being sick of their taunts a Roman Guard approached them and said, "I have room for one more. Are you ready?" The Chief Priest stepped back behind the Jewish Guards and replied, "I have an appointment tomorrow and can't today."
We will report further tales as they come to light, but I want to end this post-play post with some heartfelt thanks. When organising an event like this where there are months of preparation involving over 100 cast, crew and support organisations, the whole thing only works when people do their part. This year worked so well because everyone did their part, no matter how small that part may have appeared. The actors didn't just remember their lines, but they also worked with their fellow actors and added their own ideas for their character. For example, the actor playing the blind beggar Bartimeus had the idea of having a blindfold and sat in his spot near the start of the play, begging for alms for about 20 minutes before the play reached him. Then he improvised with many calls for alms and requests about what the commotion was. It was a great job which really brought out the character of the blind beggar. It may have only been a bit part, but it formed part of the greater whole.
The same applied for each of the roles, from the primary speaking parts through to the behind the scenes actors of the Women of Jerusalem and Apostles before and after the abandonment of Jesus.
So many people have done their parts and done them well I am very proud to have been able to assist in co-ordinating and directing the play. An event like this generates a great camaraderie and fellowship and fosters a deeper understanding of not just this critical point in salvation history, but also the very human element that is the point of the whole Passion. Every actor and member of the crew and supporters must know that all the work and effort has been worthwhile to so many people.
Thank you.
~David Bruggeman"
Copied from goodfridaypassionplay.blogspot.com.au/
For more information please visit www.paulinefathers.org.au
No need to meditate or imagine, this event will take you to Calvary!
Images by Giovanni Portelli Photography © 2018.
Session 5: Managing Capital Flows
This session will focus on the challenges in the region associated with the normalization of U.S. and other advanced economy monetary conditions, including ongoing and possible spillovers to Asia, appropriate policies to be implemented by spillover-receiving countries, and the possible role for international policy coordination in ameliorating the negative impact of volatile capital flows. Key themes to be addressed include: How EM policy makers can prepare for / cope with financial volatility associated with asynchronous AE monetary policy stances. Experience with macroprudential policies and their potential role in managing capital flows. Regional insurance mechanisms, and their role in containing contagion from financial turbulence. Past experience of the IMF in facilitating coordination of macro-financial policies among key economies and possible ways forward.
Moderator:
Maurice Obstfeld, Economic Counsellor and Head of Research Department, IMF
Panelists:
Sukudhew Singh, Deputy Governor, Bank Negara Malaysia
In-chang Song, Deputy Minister of the Ministry of Finance and Strategy, Korea
Yiping Huang, Professor, National School of Development, Peking University
Chatib Basri, Former Minister of Finance of Indonesia and Senior Lecturer Department of Economics University of Indonesia
Eswar Prasad, Professor of Economics, Cornell University
Saturday 6th February 2016 saw a Manchester City play Leicester City at the Etihad Stadium.
The Force’s photographer was on hand to take a series of images to be used in future safety briefings and also captured some images of the build up to the game.
The Manchester weather did its best to dampen the spirits of both sets of supporters and the rain poured constantly. Despite the inclement weather Leicester fans left the ground in good spirits after a win.
Policing the many major football games played in our region is a regular duty for many of our officers.
For more information about Policing in Greater Manchester please visit our website. www.gmp.police.uk
To report crime call police on 101 the national non-emergency number.
You can also call anonymously with information about crime to Crimestoppers on 0800 555 111. Crimestoppers is an independent charity who will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give a statement.
So I bought a big stock of Dark Turquoise at a cheap price... I wanted to test the effect, so here it is ! I'll probably use those parts a lot in future MOCs, especially for my strange interiors. Never had any Dark Turquoise before : very nice color, I must say !
Time for inspiring background music……
Most things went well with this punch cutting; I’m pleased with the results however it was like a Venn diagram of variables that fortunately ended up in the middle of the chart with a useable result. The major issue was that the punch was inspected after the straight wall engraving; in the holder but out of the machine. It was returned to the machine to do the angle cutting however there is some wear in the holder and the punch proved to be slightly out of alignment after that.
The steel material used for the punch was O6 tool steel, which is unique for its ease of machinability. Called "Graph-Mo" by the original developer, the Timken Company, it is classified as an "Ultra high carbon tool steel" with 1.25 to 1.5% Carbon in the recipe. Compared to other available tool steels, they claim it is easier to work in the annealed state as the excess carbon is situated between grains of steel. It can be hardened like other tool steels, 01 for example. Modern punch engraving craftsmen extol the virtues of old steel (read "Counterpunch" by Fred Smeijers, page 103). From books I have on steel by the Sheffield born author Harry Brearley (inventor of stainless steel), the argument about older steel being the better product was discussed even back as far as 1918. In short, 06 tool steel seems to mimic properties of ‘old steel’, which I believe was steel that was produced prior to the introduction of the Bessemer process.
The first commercial production of Bessemer steel was in Sheffield around 1858, with large quantities of production in starting in the late 1860’s and early 1870’s. I believe it was the impurities in old high-carbon steel that had no where to go and settled in grain boundaries as the steel cooled, which allowed better machining and engraving of punches. Older steel-making processes were limited as to the temperatures they could achieve. I believe the Bessemer process ‘cleaned up’ any steel impurities with higher temperatures and improved processes, which changed its engraving properties for the worse. It would be interesting to see some steel analysis of old punches throughout the ages.
The cutter used for creating straight walls in the punch was a 1/8” diameter carbide “D bit” fashioned on my Deckel cutter grinder, more information to follow in future. In general, carbide does not like ‘interrupted cuts’ where it is prone to chipping, and engraving has lots of interrupted cuts. The carbide used was from a scrap import tool bit; the best carbide I see is domestic grades of ‘micro-grain’ material or from Europe. Carbide is basically a sintered (heated and compressed) composite material of tungsten carbide and binders, so I’m not sure where grain comes into play. The 1/8” diameter size of the carbide cutter is at the very limit of this engraver, in terms of spindle bearing run-out (creating vibration), cutter diameter and depth of cut. The one variable we can consistently control is depth of cut, which was limited to 0.005” per pass. In future, we could also reduce the cutter diameter with the Deckel cutter grinder, we are also experimenting with carbide cutters equal to the 0.055” diameter of the original Pierpont engraving tools.
"Now that is what I call a Re-enactment!
Bartimaeus the blind beggar
May the Peace of the Risen Christ be with you! Easter is here.
We had a most successful Re-enactment of Our Lord's Passion. After so many months of preparation, sewing machines running hot updating costumes, actors learning lines, sound systems being upgraded and more, there we stood at 11am on Good Friday with microphone in hand: "Welcome to the 2018 Re-enactment of Our Lord's Passion!" And so it began.
How do we measure "success" in regards to our re-enactment?
On one measure you can use crowd numbers, donations, "Likes" and Shares and that would be appropriate if this was just a normal play. Even on that basis our event would certainly be considered a success with somewhere around 5,000 people participating and lots of great feedback and support.
But how do you measure success for a play that tries to be an authentic re-enactment of the Passion of Jesus Christ based on scripture and tradition of the Church? In this case we were told by the Pauline Fathers that many people came back and they were hearing confessions the whole day.
We saw many people following the play and praying along with us.
Crowning with Thorns
Many came up to us after the play thanking us for such an invigorating presentation of our Lord's Passion. Here are some of the early tales we have been told of the day.
One of the biggest challenges with a moving play is the safety of actors, crew and pilgrims as the play moves from scene to scene. We try many methods such as fixed tape and ropes as well as rope held by our marshalls. Enforcement for keeping the crowd back tends to fall towards the soldiers who, like in a theatre restaurant, instruct the crowd to move back for their own safety. Our photographer, eager to get "the photo", allowed a little old lady to sneak past the barriers so she could touch the cloak of Jesus. As the Centurion swung his arm giving orders to his soldiers, this lady who stood upright under his swing moved forward. "What the?" cried the Centurion and firmly moved her back with instructions. I thought she would be concerned at the firm treatment but she was grinning ear to ear and holding her bag telling her family, "I touched his cloak!"
I touched Jesus' Robes!
Some of our Marshalls volunteered to help on the day. Often these had not experienced the fluid intensity of a moving play like this and even though they were holding on to the rope barrier, found themselves sucked into the crowd. When the Centurion or one of the soldiers noticed their lost marshall and we heard the cry, "Get him out of there!" as they reached in and brought him back into line.
Our marshalls and soldiers request people to stay back for their own safety. When the Roman soldiers and Jewish guards broke out into another scuffle we heard the cry, "They're fighting again!" and the crowd suddenly made space. "Please stand back for your own safety," we once more cried as the procession moved on.
When Jesus was being scourged, the process started with one Roman making a few lashes. Then he gets moved back with the cry, "Let someone do it properly!" The primary flogging Roman soldier let fly with the whip dipped in the fake blood. Drops of blood flew in an arc and the soft straps struck Jesus with a satisfying slap and Jesus cried out. The crowd stopped chattering with an audible gasp.
One of our new actors had not actually attended the play in past years so this was all an amazing experience. When Jesus was being scourged and mocked, tears came to her eyes, but the Woman of Jerusalem in charge held her and said, "Don't cry yet. We have to call for his crucifixion in the next scene." So she held back her tears and like a trooper joined the crowd calling for Jesus' crucifixion. As she said afterwards, it won't be the same contemplating the story of Jesus' Passion in future.
At the start of the play we made sure the actors and crew knew that this was a "Live" play. That meant no retakes, no pause to re-do the scene, no stepping in to try again. "The play must go on!" we instructed. "After all, the pilgrims haven't read the script and the story won't be affected if your lines are not exact. So long as we get the important bits in the right order, no-one will know." That was good advice.
When Pontius Pilate was standing majestically on the balcony addressing the crowd, the sign of Roman Superiority detached from the balcony railing and fell to the ground with a crash. Pontius Pliate's eyes opened wide for a brief moment and then he turned his gaze back to the Crowd and Caiaphas and the Jews and continued as if nothing was wrong. The crew quickly removed the sign and all moved on as if this was part of play. We were told afterwards how clever this was, the falling of the sign representing the fall of Roman Justice. The play must go on.
Although we have a script which covers all the main dialogue and actions, the flavour comes from the interactions and improvised dialogue of the actors. Insults between the Jews and Romans provided occasional humour too. At the crucifixion, one of the Jewish Chief Priests called out "How many Romans does it take to Crucify someone?" Being sick of their taunts a Roman Guard approached them and said, "I have room for one more. Are you ready?" The Chief Priest stepped back behind the Jewish Guards and replied, "I have an appointment tomorrow and can't today."
We will report further tales as they come to light, but I want to end this post-play post with some heartfelt thanks. When organising an event like this where there are months of preparation involving over 100 cast, crew and support organisations, the whole thing only works when people do their part. This year worked so well because everyone did their part, no matter how small that part may have appeared. The actors didn't just remember their lines, but they also worked with their fellow actors and added their own ideas for their character. For example, the actor playing the blind beggar Bartimeus had the idea of having a blindfold and sat in his spot near the start of the play, begging for alms for about 20 minutes before the play reached him. Then he improvised with many calls for alms and requests about what the commotion was. It was a great job which really brought out the character of the blind beggar. It may have only been a bit part, but it formed part of the greater whole.
The same applied for each of the roles, from the primary speaking parts through to the behind the scenes actors of the Women of Jerusalem and Apostles before and after the abandonment of Jesus.
So many people have done their parts and done them well I am very proud to have been able to assist in co-ordinating and directing the play. An event like this generates a great camaraderie and fellowship and fosters a deeper understanding of not just this critical point in salvation history, but also the very human element that is the point of the whole Passion. Every actor and member of the crew and supporters must know that all the work and effort has been worthwhile to so many people.
Thank you.
~David Bruggeman"
Copied from goodfridaypassionplay.blogspot.com.au/
For more information please visit www.paulinefathers.org.au
No need to meditate or imagine, this event will take you to Calvary!
Images by Giovanni Portelli Photography © 2018.