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Arnulf Rainer (1929), Serie "Schleierbilder": Ohne Titel/Series "Veil Paintings": Untitled, 1995-2000
Leimfarbe auf Holz, in Alu gerahmt/Distemper on wood, framed in aluminium (Albertina - Schenkung/Donation, 2016)
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 Operations and Checkout Building, STS-96 Commander Kent V. Rominger dons his launch and entry suit, plus helmet, during final launch preparations. 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.. Space Shuttle Discovery is due to launch today at 6:49 a.m. EDT. 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 North Walsham & Dilham canal is currently only navigable in part. Given that there is some opposition to restoration, whether it will ever be re-opened completely remains to be seen. Here work has started on Ebridge Mill lock. What remained of the top gate had been dammed off with concrete filled bags for over forty years. Now a bund of earth has been established further back and the entrance to the lock cleared. What can be seen now seems in remarkably good condition under the circumstances, particularly the iron work which was produced locally.. The first job will be to rebuild the brick entrance to the lock and establish a slot for "stop" boards so that there is no need for such extensive earthworks in future. The lock sides also need attention as does the duct for the spillway which runs underground close by the North lock wall. For more information www.nwdct.org/
One of the world'smost rare ducks, this bird what photographed in the wetlands at Zealandia, Wellington, New Zealand.
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 was ceased in 200x 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.
7/23/10
Update on Giant Sequoia at Fourth and Olive, July 23
The Seattle Department of Transportation (SDOT) inspected the damaged crown of the Giant Sequoia today, located at Fourth Avenue and Olive/Stewart. During recent years the tree has been declining in health, and the top of the tree was lost in a 2006 wind storm. SDOT Urban Forestry has been working to save the tree.
This morning the Urban Forestry crew reached the top of the tree without damaging the crown by riding in a 125-foot tall telescopic boom provided free of charge by Hertz Equipment Rental.
The crew found the tree putting on a good amount of new growth. There are two new tops forming, both of which they left intact. In one or more years, SDOT Urban Forestry will return to select the stronger of the tops to take over as the leader of the tree by pruning out the other. The SDOT tree crew who managed the work site were Joe Markovich, Zeke Richardson and Mark Malone.
The tree has responded to a soil treatment conducted in June and now is improving in color and is showing new growth.
Urban Forestry will also work closely with the permitee of holiday lighting to ensure that the lighting practices do not damage the tree.
Urban Forestry will continue to monitor sequoia’s condition. They expect to take further steps to care for the tree in future years.
For more information: Shane.DeWald@seattle.gov
Media contact: Marybeth Turner, Marybeth.Turner@seattle.gov
Christiane Baumgartner, 1967 (Transall/Transall), 2002 (Holzschnitt auf Kozopapier/Woodcut on kozo paper), Albertina - Ankauf/Acqusition, 2005
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.
Hans Natge - Faust - eine deutsche Volkssage/Faust, 1926, Regie/Director: Friedrich Wilhelm Murnau, GER, 1926 - Deutsche Kinemathek, Berlin
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.
Ramzan is a special month for Muslims world over, and its even more special at Hajvery University as each year we prepare ourselves to offer Iftar & dinner to more than 1100 people on a daily basis. It’s a sight to experience, to see such a large number of people sitting and breaking fast together. Needless to say, its a daunting task to distribute food among a 1100+ people during iftar - on time. This is where our management, staff, and a whole team of cooks and support staff work very hard to prepare and distribute the iftar and dinner on time.
“It’s an immensely rewarding experience and words simply will not do justice to the feelings which we have after each Roza’s activity.
On any typical Roza, Rozeydars begin to assemble at Hajvery University Main Campus lawns, 30 mins before Iftar time. People break their fast with Roof Afzha & Dates, and Dinner is served after Magrib Prayer, which includes chicken alu, chicken channa, etc, everyday is a meat day here. Rozeydar are also treated to delicious desserts after meal, and the regular entries include: Meethay chawal, Kheer, Halwa etc. To ensure we distribute in a timely fashion, different teams are dedicated to distribute water, roti, salan and desserts.
Corporate Social Responsibility has a central role in HU’s Mission statement and vision, and we undertake programs all year round to serve the communities around us in various ways, such as distributing aid & medicines to hospitals, sending aid to orphanages and madrassas, distribution of ration packets among the needy. In future we hope and pray to Almighty that we can serve the country and communities around us even more. Ameen
Hajvery University (HU) is one of the leading Universities in Pakistan. HU is Chartered by Govt. Of Pakistan, Accredited by Higher Education Commission of Pakistan (HEC) and rated W category. HU is a progressive, Student Centric University, focused on offering rigorous, market driven courses in Business, Fashion, Engineering, Computer sciences, Textile Design, Media Studies, Economics, Commerce, Pharmacy & English For details: Web: www.hup.edu.pk, UAN: 042-111-777-007 Email: info@hup.edu.pk
Sometimes i want to go back in time to make the photo once more. Recognized the cutted leaf? Damn - have to recognize before in future.
Beautifully crafted from a single piece of leather, Caio Torres and Maestro Bespoke offer a beautiful design built upon a leather sole using cemented construction, a beautiful chrome tanned unique hatchgrain leather from an Argentinian Tannery, and a beautiful shine and patina out of box. I would have STRONGLY preferred these shoes to be welted, which was my belief on purchase, but also a mistake to not confirm. Base price is currently $750, with a choice to "upgrade" to goodyear welted design for $500 more...so, while their beauty is evident, let's hope that the shoes will last, because resoling could be a challenge. I have asked Caio to be more up front about his construction in future transactions, and I hope this album stands as a testament to this.
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!
This sphere is the symbol of Epcot (short for Experimental Planned Community of Tomorrow), the second of four theme parks at Walt Disney World which opened in 1982.
With heavy emphasis on technology and world cultures, Epcot always seemed to be the theme park for the likes of me. And a quarter century after opening, I get a chance to find out for real.
Spaceship Earth houses a slow-moving ride inside that showcases the development of communications technologies over human history. Like most other rides in Future World (the "front" portion of Epcot that is dedicated to technology), it has a corporate sponsor - Siemens in this case.
On Tuesday, December 16th 2014, Monckton Coke Works at Royston near Barnsley, the last remaining independent coke works in the UK, closed after 130 years continuous production.
Unable to compete with cheap Chinese imports, the owner of the plant, Hargreaves Services reluctantly decided that the facility was no longer financially viable and another significant part of Britain's industrial heritage vanished for ever.
I was privileged to be on site at 2pm on December 16th to witness 'the last push' as the plant's day shift emptied coke oven number 17, the last ever load of coke to be produced at this historic plant.
Standing in the yard alongside the plant's workers and ex-workers, there was a genuine sense of sadness, mingled with the usual co-worker banter, as they watched an industrial facility that had provided employment for them and their families for generations, consigned to the scrap heap.
Although Hargreaves Services have tried to find alternative employment for the plant's workforce, many of them face an uncertain future, in an area of already high employment and low wage jobs.
The 200,000 tonnes of high grade coke that the plant produced annually for the glass, detergent and steel making industries, will in future, have to be imported, adding to the country's balance of payments deficit.
Gas from the coke ovens was used in a combined heat and power plant that could generate 11 megawatts of electricity. Not only did this supply all the electricity needed on-site but also provided enough electricity to provide power for more than 1000 homes
Blueberry Cheesecake (Almost Syn Free)
After the success with the half syn roulade, I decided to take the recipe one step further and make something else from it. I adore cheesecake and an idea was beginning to take shape..... The secret to the crunchy bottom lies in the buckwheat, which is syn free, unlike crushed up biscuits mixed with butter.
Serves 8 (or two very greedy people)
½ syn for the whole cake
generous ½ cup buckwheat
2 tbsp sweetener
1 tbsp ground ginger
½ tub quark
4 eggs
1 tsp baking powder
4 tbsp sweetener
500g tub fat free fromage frais
1 ½ tubs quark
1 cup sweetener
1 tsp vanilla essence
1 sachet gelatine*
400g fresh or frozen blueberries
* The cake was really quite soft, which was rather nice, but if I was serving it for a dinner party, I would probably use 2 sachets or 1½ in future as it started to droop fairly quickly.
Pre-heat the oven to 180°C. Grease a 23cm spring form cake tin by spraying it with Fry Light. Heat a frying pan to medium-high heat and dry toast the buckwheat until they start to brown, 3-5 minutes. Switch off the pan, add 2 tbsp sweetener, the ginger and ca 1 tbsp water to mix it all in. Stir until all the water has evaporated. Quickly line the bottom of the cake tin with the buckwheat and leave to cool.
Separate the eggs. Whisk the egg whites until stiff peaks form. In another bowl whisk the egg yolks with half of one of the tubs of quark, the baking powder and 4 tbsp sweetener. Carefully fold in to the egg whites. Pour mixture on top of the buckwheat in the tin. Bake for 15-20 minutes until a skewer comes out clean. Allow to cool in the tin. Don't worry if the cake looks very high at this stage, it will settle down when it has cooled.
Using an electric whisk, beat together the fromage frais, the rest of the quark, ½ cup of sweetener and vanilla essence. Dissolve the contents of the gelatine in 120ml boiling water and beat well to ensure it is properly mixed. Allow to cool a little before gently mixing in to the fromage frais mixture. Spread the mixture over the cake and leave for at least two hours to set.
Finally top with blueberries, remove the sleeve and serve.
This is one of the best experiments I have done for a very long time, and I can see me making this often as Husband absolutely loved it too!
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
On Global Open Day on UNSCR 1325, Calls for Greater Women Role in Future of post-Daesh Iraq
Baghdad/Erbil, 24 October 2017 – The United Nations Assistance Mission for Iraq (UNAMI), jointly with UNWOMEN within the context of the observing the Global Open Day and the 17th Anniversary of UN Security Council resolution 1325, held consultative forums with senior political leadership in Baghdad and Erbil on 23 and 24 October, with the focus on strengthening women’s political participation.
In both Baghdad and Erbil, the concerns of women, their participation in society, the political process and decision-making were raised. Participants were categorical in stating that there have been long-standing barriers which have continued to impede women’s participation and representation in the political process. Particularly, participants noted a regression in women’s representation in executive, legislative as well as judiciary branches of government. Further, participants decried that leaderships of political parties have not given sufficient opportunities to women to fully and equally participate in politics. Recommendations were proposed, including a specific request made to the political leaders to give women an opportunity to be part of the solution. Participants also called for legislation to promote and increase women’s participation in politics and governance as well as to promote them to decision-making positions.
In Baghdad, the meeting on 23 October was organized in collaboration with the Implementation and Follow-up Commission for National Reconciliation in the Office of the Prime Minister. The meeting was attended by the Minister of Health and Environment, H.E. Adila Hammoud, Adviser to the Prime Minister on reconciliation, Mr. Mohammed Salman, the Speaker of Parliament’s representative Dr. Ahmed Rushdy, Advisor to the President of the Republic, Juan Masoum, heads of political blocs and other government representatives, parliamentary Committee heads, MPs as well as academics, in addition to representatives of UNAMI and UNWOMEN.
H.E. Ms. Adila Hammoud, the Minister of Health and Environment, stated that to overcome social barriers and challenges impeding women’s participation required a concerted effort and commitment from political leaders and decision-makers, noting “the significant successes of many Iraqi women on the executive and legislative levels and their ability to play an essential role in peace making and societal reconciliation.”
Mr. Mohammad Salman of the reconciliation committee, in his opening remarks, said the meeting is a “golden opportunity for all to benefit from the accumulated experiences of peoples” that the UN holds as it works to support women issues.
Special Representative of the UN Secretary-General (SRSG) for Iraq, Mr. Ján Kubiš, emphasized in his remarks at the meetings in Baghdad and Erbil that women in Iraq are agents of positive change and they must be given the opportunity to act in that critical role in shaping the future of their country in the post-Daesh period.
“Equality and empowerment of women must be central to all peace, justice, reconciliation and reform efforts in the post-Daesh period. Women’s participation is crucial for an effective, successful and sustainable peace processes and reform. Only through their direct and meaningful participation their voices will be heard,” Mr. Kubiš said.
The consultative meeting in Erbil was convened on 24 October by UNAMI in collaboration with UN WOMEN and the Kurdistan Regional Government’s High Council for Women Affairs. It was attended by Interior Minister H.E. Mr. Karim Sinjari, Minister of the Department of Foreign Relations H.E. Mr. Falah Al-Mustafa, Secretary-General of the High Council for Women’s Affairs Ms. Pakhshan Zangana, Spokesperson to Prime Minister Nechirvan Barzani, Safeen Dizayi, and women leaders, in addition to representatives of UNAMI and UN WOMEN.
In remarks at the Erbil meeting, Ms. Pakshan Zangana, the Secretary-General of the High Council for Women’s Affairs in Kurdistan Region of Iraq, said the recent crisis in Kirkuk have seen displacements of civilians including women, the elderly and children. She urged the UN to strengthen its efforts towards addressing the needs to those displaced.
In Erbil, Mr. Kubiš acknowledged the efforts of the Cross-Sector Task Force on the implementation of the Iraq National Action Plan on 1325. “Regardless of all issues between Baghdad and Erbil, the collaboration of women group representatives from both Baghdad and Erbil has been remarkable. It is a good model of constructive cooperation that should inspire also the process of finding solutions to the current crisis between Baghdad and Erbil. Women must play a key role also in these endeavors.”
The SRSG recalled the particularly brutal treatment of women and girls by Daesh terrorists and pointed out to UN Security Council resolution 2379, passed in September to establish an investigative team to support domestic efforts to hold Daesh accountable.
UN WOMEN Representative in Iraq, Ms. Dina Zorba, in both meetings in Baghdad and Erbil, commended the government, civil society, and national and international partners for continued commitment to UNSCR 1325, stating that Iraq is the first country in the Middle East to launch a national plan to implement 1325. She urged the government to work to ensure gender issues are incorporated in all democratization and nation building agendas, and called on the UN, the government, and the International Community to continue to advocate for and protect the rights of women and girls.
Photos by UNAMI PIO.
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.
… Her Majesty's assent; all of which rules and orders shall, by such Council and Assembly respectively, be laid before the Governor, and, being by him approved, shall become binding and of force.
XIV. The provisions of the before-mentioned Act of the fourteenth year of Her Majesty, chapter fifty-nine, and of the Act of the sixth year of Her Majesty, chapter seventy-six, intituled “An Act for the Government of New South Wales and Van Diemen's Land,” which relate to the giving and withholding of Her Majesty's assent to Bills, and the reservation of Bills for the signification of Her Majesty's pleasure thereon, and the instructions to be conveyed to Governors for their guidance in relation to the matters aforesaid, and the disallowance of Bills by Her Majesty, shall apply to Bills to be passed by the Legislative Council and Assembly constituted under the said Act of the Legislature of New South Wales and this Order, and by any other Legislative body or bodies which may at any time hereafter be substituted for the present Legislative Council and Assembly.
XV. The provisions of the said last-mentioned Act respecting the commissions, removal, and salaries of the Judges of the Supreme Court of New Wales, shall apply and be in force in the Colony of Queensland so soon as a Supreme Court shall be established therein.
XVI. Such salaries as are settled upon the Judges for the time being by law, and also such salaries as shall or may be in future granted by commissions. Her Majesty, Her Heirs and Successors, or otherwise, to any future Judge or Judges of the said Supreme Court, shall, in all time coming, be paid and payable to every such Judge and Judges for the time being, so long as the patents or commissions of them, or any of them respectively, shall continue and remain in force.
XVII. Subject to the provisions contained in the said first-recited Act of Parliament, and of an Act of the eighteenth and nineteenth years of Her Majesty entitled “An Act to repeal the Acts of Parliament now in force respecting the disposal of the waste lands of the Crown in Her Majesty's Australian Colonies, and to make other provisions …
Stock Shot
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Info on future stock shots: The plan is to have no watermarks in future shots, which are classed as stock. But if I didn't have any issues with adding any shots taken on the 10th to my feed, then this shot.
Along with a few others would not have a watermark.
6,000 students voice their concerns to elected officials at town hall meetings
Nearly 6,000 students from the Elizabeth School District’s high schools raised their voices and concerns about gun violence to federal, state, county and local officials at town halls held at each of Elizabeth’s schools today.
The district arranged and coordinated the town halls on the one-month anniversary of the mass shooting at Marjory Stoneman Douglas High School in Parkland, Fla. to give students direct contact with the officials who make gun laws and enforce safety. The meetings, coordinated with the student governments of the seven high schools, were an outgrowth of student concerns following the events in Parkland.
“The action taken today by the student government at Elizabeth High School Frank J. Cicarell Academy, in collaboration with the faculty and administration, is the first step in ending a vicious cycle of mass shootings that have plagued our schools for far too long now,” said EHS Sophomore Class President Daniel Cano.
“We have worked over the past couple of weeks to make today the day our voices were finally heard by the officials responsible for our safety. This is just the beginning,” said Cano
Elizabeth Public Schools Superintendent Olga Hugelmeyer and Elizabeth Board of Education President Maria Z. Carvalho expressed their gratitude to the officials that spoke to the district’s high school students and felt the assemblies were very successful in allowing students to voice their perspectives on the issues of gun violence and school safety
“We understand and share the frustration and fear our students have in witnessing these terrible, life-altering events,” said Superintendent of Schools Olga Hugelmeyer. “Students have a unique and important voice in this dialogue and it is imperative that we listen.”
“No one has a greater interest in school safety than the students,” said Elizabeth Board of Education President Maria Carvalho. “Our students are passionate, concerned and thoughtful. Their voices count.”
The officials who took part in the programs were:
•U.S. Senators Cory Booker and Robert Menendez
•State Senators Joseph Cryan and Nicholas Scutari; and former State Senator Raymond Lesniak
•Union County Freeholders Angel Estrada, Angela Garretson, Sergio Granados, and Christopher Hudak
•Union County Undersheriff Amilcar Colon
•Elizabeth Mayor Chris Bollwage
•Elizabeth City Council members Carlos Torres, Kevin Kiniery, Patricia Perkins-Auguste, Manny Grova, Jr. and Carlos Cedeño
•Elizabeth Board of Education President Maria Carvalho and Board Member Stanley Neron
United States Senator Robert Menendez praised Elizabeth students in a video posted on his Facebook page.
“I stand in solidarity with you so that we can turn ‘once again’ into ‘never again,’” said U.S. Senator Robert Menendez. “You’ve turned your mourning into a movement.”
Students from throughout the district felt the day’s events marked a step in the right direction toward students’ voices being heard on the issues of school safety and gun violence and making schools and students safer.
“The event was very educational and an important experience. I was impressed by the speakers in today’s assembly,” said Thomas Jefferson Arts Academy Sophomore Class President Ariana Montoya. “It’s good to know the government is siding with (you) and is willing to listen to you no matter how small you feel you are. I also learned that we can be a generation of change and we can change the story by standing up and making them hear our voice.”
“Today was a success! Everyone united and discussed what was important to them. Students, now, feel that their voices are being heard,” said Thomas A. Edison Career and Technical Academy Student Council Senior President Isis Luna Umanzor.
"I appreciated that as a representative of student government, administration took the opinions and views of the students into consideration when organizing today's events, crafting questions for the guest speaker, and giving the student council government a greater sense of purpose," said Alexander Hamilton Preparatory Academy Student Government Vice President Elisabeth Point Du Jour.
“Today we honored the lives of all of the children and young adults who have been taken away from their families and friends due to a mass shooting. All over the nation students walked out of their schools to pay tribute to them. Along (with) Dwyer Academy, (we) decided to focus on unity and made all the students be part of an assembly where we spoke to our board of education members and (faculty members) on what we, the students, believe should be taking place to prevent another school shooting,” said Admiral William F. Halsey, Jr. Health and Public Safety Academy Senior Student Council President Estrella Rivas.
“I feel that lines of communication are open so that communication can continue and concerns will be heard and addressed in future town hall meetings," said John E. Dwyer Technology Academy Student Council President Fajr Wilson.
“It was nice because it was a safe atmosphere; it was safer than going outside but still allowed us to keep our first amendment rights,” said J. Christian Bollwage Finance Academy Freshman Student Government representative Joseph Espinal.
A short getaway with my dear wife and dear one in her tummy. Reward for you my dear wife for working so hard in the past few months and you finally had a well deserved break! Nice couple we had on this very first cruise on Royal Caribbean was Raymond and Shuyan. Looking for more trips in future with both of ya :)
The Finale to the BARC Club Car Championships Weekender at Brands Hatch and after a Very Thrilling set of both Qualifying Sessions and Races which took place on the Saturday it was Time once again for each Driver to strap in and get ready for some high speed Racing Action thought the Sunday.
In Tribute to the Marshall who was Tragically Killed on the Saturday Some Car and Driver Pairings were Racing with Orange Hearts on their Cars as a Tribute to all of Motorsports Family of Marshalls for who without Racing would not be possible. Thank You!
So Lets get started and see what the days events Haver to Offer and who can Push their Machinery to the Limits and beyond for a Victory.
Britcar Endurance Championship - Trophy Category (Race 1 Results FINAL)
The Britcar Endurance Trophy was the First up and it was time to see who could claim that elusive Pole Position and to see if anyone else could challenge the Top Three Drivers Lets see how things turned out.
In First Place was the Pairing Of (Datum Motorsport's Axel Van Nederveen and Adriano Medeiros) in their Ginetta G55A with a Best Lap Time of 52:193 and an Average Speed of 64.75mph. Congratulations Axel and Adriano a Really Fantastic Drive and A Super Victory.
In Second Place was (SVG's Mark Lee) in his Ginetta G56A with a Best Lap Time of 52.086 and an Average Speed of 64.70mph. Amazing Drive Mark Keeping that Ginetta on the Track and Taking Second Place while Nearly Matching the Speed of Axel and Adriano. Well Done.
In Third Place was (Terry Stephens) in his Peugeot 308 with a Best Lap Time of 53.421 and an Average Speed of 64.50mph. Well Fought Terry a Fantastic Finish in Third Place and Staying Ahead by just over 11 seconds to the Pair of Jasver and Bryan in 4th. Amazing Job.
A Really Enjoyable and Exciting First Race of the Sunday with High Speed Action and Incredible Victories on Track. Congratulations Axel Adriano Mark and Terry. Lets see what Race 2 Brings in terms of the Action.
Britcar Endurance Championship - Trophy Category (Race 2 Results FINAL)
Race 2 For Britcar Next and after a Very Fast and Action Packed First Race Will we see a New Face on the Top Step of the Podium? Lets find out.
In First Place was the Pairing of (Woodrow Motorsport's Simon Baker and Kevin Clarke) in their BMW 1 Series with a Best Lap Time of 51.837 and an Average Speed of 78.22mph. Amazing work Simon and Kevin who have Beaten the Pairing Of (Datum Motorsport's Axel Van Nederveen and Adriano Medeiros) to Victory. An Incredible Drive by Both of them Well Done.
In Second Place was (SVG Mark Lee) in his Ginetta G56A with a Best Lap Time of 52.281 and an Average Speed of 76.89mph. Again a Huge Congratulations to Mark Lee for hanging onto that Second Place Despite Fierce Competition during The Race. Amazing Drive.
In Third Place was (Simon Green Motorsport's Pairing of Jasver Sapra and Brian Branson) in their BMW M3 E46 with a Best Lap Time of 52.718 and an Average Speed of 76.88mph. Congratulations Jasver and Brain Brilliant Drive and well Defended to keep that Third Place in Tact.
Two Incredible Races with Two Very Different Outcomes of Race Winners and Runners Up The Britcar Endurance Trophy is Proving to be Very Competitive this Year.
A Huge Congratulations to Simon Kevin Mark Jasver and Brain for some Amazing Racing and Victories and Good Luck to All Other Drivers. Keep working Hard and Pushing for that All Important Victory.
CTCRC Edmundson Electrical Classic / Historic Thunder Saloons (Race 1 Result FINAL)
Next Up was the CTCRC Electrical and Historic Thunder Saloons and After a Thrilling Qualifying Session Yesterday Lets see what Each Driver has got and who can Push to the Limits for that All Important Victory.
In First Place was (Jason West) in his BMW E46 M3 3200 with a Best Lap Time of 51.907 and an Average Speed of 59.84mph. Congratulations Jason for Another Incredible Drive for First Place and a well Deserved Victory Amongst some Stiff Competition.
In Second Place was (Andrew Wilson) in his Holden Monaro 7000 with a Best Lap Time of 52.418 and an Average Speed of 59.96mph. Well Done Andrew Fantastic Driving and a Super Defensive Drive for Second Place.
In Third Place was (Samuel Wilson) in his Aston Martin V8 Vantage with a Best Lap Time of 52.699 and an Average Speed of 59.50mph. Amazing Work Samuel and a Beautiful Example of the Aston Martin V8 Vantage on Display Showing its Raw Power and Racing Pedigree to Finish in Third Place.
A Fantastic Finish to The Historic and Electrical Thunder Saloons Racing at The Weekend. A Huge Congratulations to Our Top Three Finishers Jason Andrew and Samuel. Fantastic Racing from all Three of you and Good Luck to all other Drivers Keep Tuning and Working Hard and I'm sure Victory Will not be too Far Away from you.
CTCRC JEC Saloon & GT Championship & Burton Power BOSS (Race 2 Results FINAL)
Next Up CTCRC Saloon and GT Championships and with some Fierce Competition on Display during not only Qualifying but also Their First Race on the Saturday Which saw Malcom Harding Storm to an Insane Victory who Will be able to Take him on and Potentially Steal his Crown during the Next Race Today? Lets See.
In First Place was (Malcom Harding) in his Ford Escort MK2 Zakspeed 2500 with a Best Lap Time of 53.888 and an Average Speed of 78.49mph. Another Incredible Victory for Malcom that Highly Modified Zakspeed Escort Really Shows off the Power and Performance of a True Champion and a Fantastic Driver. Congratulations Malcom.
In Second Place was (Steven Goldsmith) in his Ford Anglia 105e 260 with a Best Lap Time of 54.335 and an Average Speed of 78.21mph. Another Storming Drive to Achieve Second Place for Steven. Fantastic Driving and Amazing Car Control through Every Corner. Congratulations Steven.
In Third Place was (Tom Robinson) in his Jaguar XJ6 4000 with a Best Lap Time of 55.481 and an Average Speed of 55.481mph. Congratulations Tom Superb Display of Driving Ability behind the Jag and a Well Deserved Third Place for Him.
Another Incredible Weekend of Racing for the CTCRC Saloon and GT Championships with Some New and Some Old Drivers Stepping onto the Podium. Massive Congratulations to Malcolm Steven and Tom for their First Second And Third Place Finishes. Keep Up the Good Work and Never Stop Trying.
CTCRC Laser Tools Pre 93 & Simply Serviced Pre 03 Touring Cars (Race 1 Results FINAL)
Now Its Time for The Laser Tools Pre 93 and Simply Serviced Pre 03 Touring Cars to make their way back onto The Track for what Looked to be a Spectacular Race. A Whole Range of Different Cars to Race Against and Stiff Competition after Qualifying Proves that This Race will be One not to be Missed. Lets See what Unfolded.
In First Place was (Gary Prebble) in his Honda Civic EG 2000 with a Best Lap Time of 54.100mph and an Average Speed of 78.60mph. Well Done Gary a Really Well Deserved First Place Victory and an Amazing Drive to the Flag.
In Second Place was (David Griffith) in his BMW E36 M3 3058 with a Best Lap Time of 54.558 and an Average of 78.42mph. Incredible Drive their David Pushing that BMW For Everything that it Has got to Achieve Second Place.
In Third Place was (Kam Tunio) in his Honda Civic EK9 1595 with a Best Lap Time of 55.347 and an Average Speed of 77.05mph. Well Driven Kam Super Driving on Display and a Well Deserved Third Place Finish.
Another Amazing Race for The Pre 93 and Pre 03 Touring Cars and a Huge Congratulations to Gary David and Kam for their First Second and Third Place Victories. Keep up the Hard Work and Good Luck to everyone Else wherever your Next Races take you.
CTCRC Poultec Classic Race Engines Pre 66 Touring Cars (Race 1 Results)
Now it was Time for the Fan Favourite to Enter onto the Brands Hatch Circuit with the Pre 66 Touring Cars Championship. With Mini's Lotus Cortina's and Ford Falcons. This was One Race that No One Wanted to Miss. After a Very Fast Paced Qualifying Session on the Saturday Which saw (Alan Greenhalgh) take Pole Position who Will be able to Challenge Him During the Race and Snatch Victory Away from Him.
In First Place was (Alan Greenhalgh) in his Ford Falcon with A Best Lap Time of 58.707 and an Average Speed of 72.63mph. Congratulations Alan A Beautiful Example of the Ford Falcon and Certainly a Very Fast One too. Congratulations on Your Victory.
In Second Place was (Robyn Slater) in his Ford Anglia 1550 with a Best Lap Time of 58.992 and an Average Speed of 72.06mph. Very Good Drive their From Robyn to Secure Second Place in The First Race of the Day for the Pre 66 Touring Cars.
In Third Place was (Barry Sime) in his Morris Mini Cooper S 1293 with a Best Lap Time of 59.116 and an Average Speed of 71.95mph. Fantastic Work their Barry Keeping that Little Rocket on The Track looked to be Very Challenging but A Very Well Deserved Third Place.
What A First Race for The Historic Pre 66 Touring Cars showing The Power and Pride Each Driver takes in Both Racing and Preservation on Their Beloved Racing Machines. Congratulations to Alan Robyn and Barry on their First Second and Third Place Finishes. Lets See what New Challenges Await Them in Race 2 The Final Race of The Day for Them.
CTCRC Poultec Classic Race Engines Pre 66 Touring Cars (Race 2 Results FINAL)
The Epic FINALE To The Pre 66 Touring Cars Race was A Race in Wet Conditions Making it even more Challenging for The Top Three Drivers. Who would Win and be able to Retain if not Take on thease Three Giants of Touring Car Racing in thease Conditions. Lets See How Things Concluded.
In First Place was (Barry Sime) in his Morris Mini Cooper S 1293 with a Best Lap Time of 1:11.482 and an Average Speed of 58.62mph. Amazing Work Barry to take Home a Superb Victory and a Brilliant Bit of Wet Weather Driving in The Mini Well Done.
In Second Place was (John Davies) in his Austin Mini Cooper S 1293 with a Best Lap Time of 1:11.416 and an Average Speed of 58.38mph. Amazing Work John Racing A Mini in thease Conditions is Very Tricky and Yet both You and Barry made it look Easy.
In Third Place was (James Ibbotson) in his Hillman Imp Super 998 with a Best Lap Time of 1:11.518 and an Average Speed of 58.12mph. Well Done James Sliding that Imp around in the Wet for a Magnificent Third Place was Well Deserved.
What A Race to End the Day for the Pre 66 Touring Cars and with So many Old and New Winners Lets Hope we Get to see More Races like This One Thought the Rest of the 2021 Season. A Big Congratulations to Barry John and James on their Respective Victories and Keep Trying Everyone Else The Hard Work will Pay off.
CTCRC Shell Oils Pre 83 Touring Cars (Race 1 FINAL)
Up Next The Pre 83 Touring Cars took to the Track for Their Only Race of The Day and from what We Have Seen Already This Race also looks like its going to be a Very Strong Battle for First Second and Third Place. Lets See who Came First and Took that All Important Victory.
In First Place was (Mark Lucock) in his Ford Escort MK1 RS2000 2040 with a Best Lap Time of 57.687 and an Average Speed of 74.53mph. Amazing work there Mark Pushing All the Power the RS2000 Engine Has and Keeping it on Track to Score an Amazing Victory.
In Second Place was (Stephen Primett) in his Ford Escort MK1 2037 with a Best Lap Time of 57.503 and an Average Speed of 74.52mph. Another Brilliant Drive from the Likes of Stephen Keep the Pace with Mark and Making for some Fierce Competition Thought the Race.
In Third Place was (Mike Luck in his BMW E21 320 1998 with a Best Lap Time of 57.236 and an Average Speed of 74.46mph. Super Driving there Mike to take Third Place and a Very Classic Looking BMW Indeed.
What A Race from the Pre 83 Touring Cars showcasing Speed Power and What a Touring Car was Made to do around a Race Track. A Big Congratulations to Mark Stephen and Mike on their First Second and Third Place Finishes. Keep Racing and Keep Having Fun Out There.
Junior Saloon Car Championship (Race 1 Result FINAL)
The Junior Saloon Car Championship was Up Next and Even Though the Age Range of thease Next Drivers Taking to the Circuit Might Shock you at The Fact that Many of them are as Young as 15 Years of age don't be Fooled Because thease Guys Know how to Race Having been brought up from Carting since the age of 4. They are always a Fan Favourite and After Qualifying on the Saturday its Anyone's Game as to Who Wins and Who Losses in Thease Races.
In First Place was (Ruben Hage) in his Citroen Saxo VTR 1600 with a Best Lap Time of 59.967 and an Average Speed of 65.65mph. Congratulations Ruben What A Drive and an Incredible Run for First Place Fending off the Other On Coming Drivers. Truly a Championship Winning Drive.
In Second Place was (Harvey Caton) in his Citroen Saxo VTR 1600 with a Best Lap Time of 59.629 and an Average Speed of 65.64mph. Very Well Driven there Harvey Staying very Close to Ruben in First Place and Keeping Him on His Toes Thought the Entire Race.
In Third Place was (Charlie Hand) in his Citroen Saxo VTR 1600 with a Lap Time of 1:00.006 and an Average Speed of 65.57mph. Solid Third Place there Charlie Keep Up the Momentum and Never Give Up Chasing Your Dreams.
What a Fantastic Race from the Junior Saloon Car Championship with New Winners on the Podium and Some Close Wheel to Wheel Action Thought the Race Thease Guys will be Fantastic To see in Future Racing Series All Over The World. Congratulations to Ruben Harvey and Charlie for First Second and Third Place and Good Luck to All Other Aspiring Young Drivers Following in the Footsteps of Your Greatest Racing Heroes.
Kumho BMW Championship (Race 1 Results)
Finally it was Time for the Last Two Races of the Day the Kumo BMW Championship. Featuring The Makes and Models of Many BMW'S taking to the Circuit for Race 1. After a Busy Day Qualifying on Saturday Lets See what Each Driver Cando in The Frist of Two Races for their Championship.
In First Place was (Niall Bradley) in his BMW E46 M3 with a Best Lap Time of 50.920 and an Average Speed of 83.60mph. Brilliant Driving There Niall Pushing the Power of the BMW Engine to Max and Putting the Pedal to the Metal the Whole Race. A Superb Victory.
In Second Place was (Michael Vitulli) in his BMW E36 M3 3200 with a Best Lap Time of 51.158 and an Average Speed of 83.45mph. Another Incredible Driver Pushing Hard and Taking Second Place. Well Done Michael.
In Third Place was (James Card) in his BMW E46 M3 3200 with a Best Lap Time of 51.154 and an Average Speed of 83.42mph. Very Well Done their James Keep Pushing.
Three Fantastic Drivers in Niall Michael and James all Fighting for that Victory and Showing The Racer Inside each and Everyone of them. Lets see what Their Final Race of the Day Brings Them.
Kumho BMW Championship (Race 2 Results FINAL)
In First Place was (Niall Bradley) in his BMW E46 M3 with a Best Lap Time of 53.581 and an Average Speed of 77.79mph. Another Well Deserved First Place Finish to Round of The Days Racing. Congratulations Niall Go and Celebrate with The Team In Style.
In Second Place was (Darren Morgan Owen) in his BMW E46 M3 3200 with a Best Lap Time of 53.200 and an Average Speed of 77.43mph. Super Drive There Darren for Second Place and a New Winner onto The Podium.
In Third Place was (Brad Sheean) in his BMW E46 M3 3200 with a Best Lap Time of 53.227 and an Average Speed of 77.13mph. Fantastic Drive there Brad and Some Incredible Car Control thought the Entire Race to Finish Third.
And That Concludes Racing for the Kumho BMW Championship with 4 Different Winners Across two Races and A lot of Really Fast Action you could not Have Asked for a better Finish to The End of The Days Racing. Massive Congratulations to Niall Darren and Brad and Good Luck to all Other Competing Drivers who are still Looking for that almighty Victory.
That Concludes Racing for The BARC Club Car Championships Weekend A Big Congratulations to All of the Drivers of Every Team and a Huge Thank You to Marshalls Far and Wide as Without Your Support Events like This and Champion Drivers May Never Get to Achieve Their Dreams.
See You All At The Next One!
Cafe Miłosz
As part of the Year of Miłosz, dozens of Krakow-based cafes and clubs received napkins and sweets with the Miłosz365 logo, as well as elegant cards with Thoughts to let (Myśli do odstąpienia) by Czesław Miłosz and souvenir postcards from the screening of Jenny Holzer: For Krakow, projected on the walls of Wawel Castle during the recent Art Boom Festival.
We would like to encourage you to visit the cafes participating in the campaign, help yourself to the sweets, but also engage in a dialogue with the short texts published in 1997 by ZNAK in the second part of the Roadside Dog. Playing with the reader, Miłosz meant to invite other potential authors to become creative. The title itself - Thoughts to let - is an idea whereby the poet generously presents his thoughts to other authors. When justifying his decision, he says: "I will not be able to use them myself," and adds: "There is one upside to being on the wrong side of eighty - the spectacle of the world, terrifying as it is, also appears highly comical, so that excessive seriousness is no longer befitting. (...) At the same time, it becomes more important as a spectacle, only because it was going on when we were not here and will continue after we are gone. It is a good deed to increase people's interest in this theatrum mundi, but it is wrong to say that it will all crumble into nothingness as soon as we are dead" (Why do I let my subjects to others). Miłosz's short utterances in prose often take on the form of baffling statements letting one delve into the poet's work and engage in dialogue with the texts or the way of thinking proposed by Miłosz. Subjects to let are also a continuation of the Chronicles, and the poet himself described them as "novels condensed into several or so lines." In this way, the reader can become a writer and meet over a coffee with the poet and his words in a creative way.
Join us on this literary journey and send us your thoughts following Miłosz's own to: Krakowskie Biuro Festiwalowe, ul. Olszańska 7, 31-513 Krakow, quoting "Cafe Miłosz" on the envelope. The authors of the most interesting thoughts will receive great prizes.
The presence of poetry in cafes in future is to become a long-term action, gradually enriched with pieces by other Krakow-based writers and poets printed in Polish and English. The idea is related to Krakow's application for the title of the UNESCO City of Literature and is meant to popularise reading and the presence of poetry in everyday life. Participating cafes include: Cafe Cheder, Cafe Massolit, Cafe Szafe, Cafe Rękawka, Cafe Frania, Cafe Dym, Cafe Camelot, Cafe Jagiellonka, Gazeta Cafe, Famiga, Zazie Bistro, the Tourist Services Centre Cafe, Herbaciarnia Czarka, Iluminati, Bohema and Musso Sushi - places that are especially literature and book-friendly, where you can indulge yourself in a book and a cup of fragrant coffee.
The Cafe Miłosz campaign makes part of the Miłosz Liberated project - Krakow's celebrations of the Year of Czesław Miłosz with the support of the Book Institute. It is organised by the Krakow Festival Office in cooperation with Krakow's cafes and clubs across the city.
The photo report was possible thanks to the courtesy of Cafe Cheder (Józefa 36) and Massolit (Felicjanek 4). Visit the photo gallery.
The project has been co-financed by the Ministry of Culture and National Heritage. For more about the Year of Miłosz events visit: www.milosz365.pl
Photography: Paweł Ulatowski
Akmal is my new colleague in Kuala Lipis,Pahang. He works under the Mechanical and Electrical Engineering for the Consultant. Will be geting his degree by the end of this year, I am sure Akmal will make a good Engineer in future.
Location : Kuala Lipis , Pahang - Malaysia
Kamera: Nikon F3 (1989)
Linse: Nikkor-N Auto 24mm f2.8 (1970)
Film: Rollei P&R 640 @ box speed
Kjemi: Rodinal (1:25 / 13:30 min. @ 20°C)
Sunday 24 March 2024: During the years when I had UN-affiliated assignments in the occupied West Bank (2007-2011), this was a sign that I saw time and time again; spraypainted all over Palestinian shops in Hebron. This is a sign of hate - this is the sign of the US Jewish Defense League and the American-born Kach organization.
So today, I will be presenting some excerpts from ‘The False Prophet’, a book by investigative journalist Robert I. Friedman (1950-2002) published in 1990. In his book, Friedman paints a disturbing portrait of American-born mad 'rabbi' Meir Kahane (1932-1990), his life and deeds, his followers and his religious, racist, fascist ideology - Kahanism.
In today's Israel, Kahane's views and ideology have become mainstream and is represented by several political parties in the Israeli government like Otzma Yehudit (Jewish Power) and the Religious Zionist Party (Tkuma), led by extremist settlers turned politicians like Minister of Security Itamar Ben-Gvir (b. 1976) - the Heinrich Himmler of Israel, Finance Minister Bezalel Smotrich (b. 1980) - the Arthur Seyss-Inquart of Israel; and Minister of Settlements Orit Strook (b. 1960) - truly a real religious nut-job who owes her ministry to her incessant extremism ever since the days of Yamit in Israeli-occupied Egypt and her decades-long jewish supremacist activities in Hebron / Al-Khalil in the occupied West Bank.
[Addendum: After Orit Strook's daughter Shoshana Strook (d. 2026) made a criminal complaint against her parents for sexually abusing her as a child in 2025, Shoshana was found dead in March 2026.]
PROLOGUE - THE FALSE PROPHET
I first met Rabbi Meir Kahane in December 1979, at his Jerusalem headquarters, a cramped, airless office in an upper-class section of the city. He calls it the Museum of the Potential Holocaust. The “museum” was filled with Nazi flags and anti-Semitic literature that he had clipped from American hate-group publications and pasted on display boards. At the time, Kahane was a political pariah. His followers in Israel consisted of no more than a few dozen teenagers who had belonged to the Jewish Defense League (JDL) in America. “Numbers aren’t important,” Kahane told me. “How many Maccabees fought the Greeks?”
While Kahane admitted that his movement in Israel was small, he said that it was growing—especially in Kiryat Arba, the sprawling, ultranationalist Jewish settlement on the West Bank, where he kept a second home, and in the Sephardic slums of Jerusalem and Tel Aviv, where he was fast becoming a folk hero to youth who were attracted to his fiercely-held, anti-establishment views, as well as to his uncompromising hatred of the Arabs.
It struck me on that first encounter that Kahane was a man obsessed with sex and violence. He chattered incessantly about Arab men sleeping with Jewish women. He claimed, for instance, that English-speaking Arab men often tried to pass themselves off as Jews to unsuspecting American Jewish women studying at the Hebrew University in Jerusalem. He had recently spent an entire day, he told me, plastering the university cafeteria and dormitories with flyers that warned coeds to check their dates’ identity cards before jumping into bed with them.
As far as Kahane was concerned, no Jew in Israel, man, woman, or child, was safe as long as there was a single Arab in the country. Just that morning, he told me, he had read a report in the Hebrew press about a Jew who had been pulled from a taxicab and beaten up by a gang of West Bank Arabs. He confided that he would stage a “reprisal mission” on the guilty Arabs’ village the next day. He invited me to come along.
There were ten of Kahane’s followers on the “mission”—three Israelis of Moroccan origin, two recent Russian immigrants, and five Americans; most were in their late teens or early twenties. “We are going to pay the Arabs back for beating up a Jew here yesterday,” said twenty-eight-year-old, Brooklyn-born Chaim Shimon, as Kahane deftly maneuvered his yellow Ford van through Jerusalem traffic. “Arabs often attack Jews in Israel,” he continued, “but Jews are afraid to fight back. The Israeli superman is a media myth. The country needs us to defend them.”
The van stopped in front of an Israeli police roadblock outside Beit Safafa, a prosperous Arab suburb near East Jerusalem. Apparently, the police had been tipped off to Kahane’s plan.
“Go and do what you have to do,” Kahane ordered the young men in the van as he jumped from the driver’s seat. “I’ll deal with this!”
Kahane strode toward the knot of police in riot gear with a clear look of manifest destiny in his eyes. Dressed in a sun-faded green army parka, gray pants, and combat boots, with a yarmulke pinned to his thinning black hair, he was a vision of a modern-day warrior-priest ready for battle. While Kahane engaged the police in a noisy conversation, his “boys” drove through the suburb to look for Arab prey.
After a short drive, the burly young Moroccan driver spotted a lone Arab. The man was perhaps fifty. His face was gnarled and stained copperbrown from years in the sun. The Jews attacked with their fists so swiftly that his black eyes were quiet and unbelieving as he was pummeled to the ground. The group returned quickly to the van.
“It served the bastard right!” Shimon sneered as we drove away. Bearded and wearing a yarmulke, Shimon recalled that he had been riding his bike through Prospect Park in Brooklyn several years earlier when he was jumped by a gang of young Blacks. He was attacked, he said, solely because he was a Jew. A few days later he joined the JDL.
“I wanted to feel proud and unafraid,” he told me. “I had heard of Rabbi Kahane and had read some of his work. I decided to get involved with the JDL—like 'riding shotgun’ in predominantly Black neighborhoods to protect the remaining old Jews. But anti-Semitism in America got too intense. I came to Israel to be with the rabbi and to fulfill the Torah’s commandments.”
The van lurched as it turned the corner. Although it was winter the sun was warm. The driver wound down the window and called out to a group of middle-aged Arab workers lounging against the peeling, whitewashed wall of a cafe.
‘‘Hey, Mohammed,” he barked in Arabic. “I’m horny! Where are all your Arab whores?”
Laughter flickered through the van.
“Arabs try to sleep with Jewish women whenever they can,” Shimon said. “Like Eldridge Cleaver (1935-1998) said in Soul On Ice, ‘Sleeping with a white woman is the ultimate revolutionary act.’ ”
We drove full circle. Kahane was still at the roadblock arguing with the police. We stopped. The rabbi, who was then forty-seven, and small and thin with a darkly handsome face, stepped into the front seat and sat like a stone icon. As we climbed the highway on our way back to Jerusalem, the only sound in the van was the grinding of gears.
I visited Kahane again the next day, curious to discover if he had read a story in the morning’s newspapers that said the Jew who had been pulled from the cab and beaten up, the one they had staged their assault for, had not been attacked by Arabs, as previously reported, but was actually the victim of a Jewish gangland assault.
Kahane’s eyes twitched. He could barely control what was once a serious childhood stutter.
“I told them to stay in the van and to stay out of trouble,” he muttered. “But some of them are a little crazy. It’s important to have crazies in a mass movement, though. They’ll do anything for you, especially when you’re the first to cross the barricades.”
“But the Arabs were innocent,” I pointed out.
The rabbi was not impressed.
“This time the Arabs didn’t do it,’’ he growled. “But there are hundreds of unreported incidents of Arabs attacking and sexually molesting Jews. And who do you think plants bombs here—the American Boy Scouts? I don’t want to live in a state where I have to worry about being blown up in the back of a bus.’’
“I don’t blame the Arabs for hating us,’’ the rabbi continued, warming to his subject. “This was their land—once! And no matter what the Israeli Left says, you can’t buy Arab love with indoor toilets and good health care. Israeli Arabs and West Bank Arabs identify with the PLO. And they multiply like rabbits. At their rate of growth they will take over the Knesset in twenty-five years. I am not prepared to sacrifice Zionism to democracy. There is only one solution: the Arabs must leave Israel!’’
I squirmed in my seat.
“Of course it’s not nice. Did I say it’s nice? Is it nice when Israel bombs the PLO in Lebanon and kills women and children? We have smart bombs, not nice bombs.”
“How would you implement these ideas if you were the prime minister of Israel?” I asked.
“I’d go to the Arabs and tell them to leave,” he replied. “I’d promise generous compensation. If they refused, I’d forcibly move them out.”
“How could you do that?” I asked. “Midnight deportations in cattle cars?”
“Yes!” he declared.
Thus spoke Meir Kahane—the rabbi who took the concept of the nice Jewish boy and turned it on its head.
[…]
CHAPTER NINE - THE JEWISH IDEA
Meir Kahane had been subject to wild mood swings and crippling bouts of depression since childhood. Now, having been simultaneously rejected by the Israeli electorate and by key JDL members in America, he suffered what some of his closest supporters described as a nervous breakdown. But after briefly disappearing from public view, Kahane reemerged more determined than ever to build a viable political party in Israel.
His manic energy combined with his wounded pride never let him rest. He woke each morning at 4 a.m. to study Torah, prayed and studied again. Then he would go to his office at the Museum of the Potential Holocaust in Jerusalem, returning home around 10 p.m. He was seldom in bed before midnight. “I don’t think he even dreamed at night,” recalled Matt Liebowitz, a young American-born Kach supporter. “Everything he did was geared toward achieving his vision. I think he had such total control over his thoughts that he could even control his subconscious. He believed the Apocalypse was coming, so he was willing to do desperate things.”
Kahane was swept up in a kind of Messianic passion. Jewish destiny, he believed more than ever, was in his hands. Words like apocalypse, redemption, and Messiah took over his political vocabulary. He rationalized his Knesset defeat on the grounds that Jews did not yet understand that he was working from a divine plan. While the JDL in America was supposed to be concerned with helping Jews achieve greater temporal power, in Israel it was rapidly evolving into a fundamentalist cult with Kahane—like some medieval kabbalist—twisting and turning the Torah to explain why expelling the Arabs would usher in the Messiah.
Kahane soon discovered that he did not have a monopoly on fundamentalist fervor. As he turned increasingly to Jewish mysticism for salvation, an earthquake on the Israeli Right shattered the political spectrum. The upheaval was set off by Gush Emunim (the Bloc of Faithful)—a mystical-Messianic movement that would not only radically transform Israeli politics, but would have a profound impact on the Arab-Israeli conflict as well.
[Note: The present-day successor to the Gush Emunim settlement movement goes by the name Nahala and was founded by Daniella Weiss (b. 1945) together with Moshe Levinger (1935-2015) in 2005. You can see Daniella Weiss' presentation of the Nahala settler movement from 2015 on YouTube]
Gush Emunim was based on the teachings of Rav Zvi Yehuda Kook (1891-1982), then the eighty-year-old head of Yeshiva Mercaz Harav in Jerusalem. The son of Rav Avraham Isaac Kook (1865-1935), founder of modern Religious Zionism and the first Ashkenazi Chief Rabbi of Israel, he had devoted his life to preserving and expounding his father’s teachings—foremost among them that the Jewish return to Israel and the flowering of the land signify the beginning of the Messianic Age. Contending that the Occupied Territories are part of the “holy inheritance” of lands given by God to the Jews as recorded in the Bible, Kook declared that they must be secured and defended at any cost.
Rav Kook and his religious school became the nucleus of Gush Emunim, which was born in 1974 following the Yom Kippur War. It was organized by seven middle-aged students from Yeshiva Mercaz HaRav who sought to Judaize the West Bank.
Jacob Levine, then a forty-one-year-old, soft-spoken, unemployed Talmud student, and one of the movement’s early leaders, believed Zionism had become sterile and self-destructive during the years of Labor Party rule. Gush Emunim, he said, was created as an antidote.
He explained: “There was a lack of clarity in Israel after the ’73 war. The dominant spirit was one of depression. The Labor Party and the country didn’t know what to do about the Arab territories. We stepped into the breach.”
So Gush Emunim began what it regarded as its holy crusade to settle and build up Judea and Samaria, the land of the ancient Hebrews now known as the West Bank. Infused with a selfless dedication and an almost cosmic awareness of self and mission similar to Israel’s early pioneers, Gush Emunim captured the imagination of many war weary Israelis.
Jaded young Sabras who were born long after the pioneering ethos had died and who had never before identified with political Zionism, émigrés from the corrupt and disintegrating Labor Party who were looking for a more meaningful ideology and lifestyle, and Orthodox Jews who decided to keep the promise flocked to Gush Emunim. A handful of new immigrants, mostly Russian and American, also joined the fold. Though Gush Emunim viewed Arabs as intruders in the land of Israel, it had no systematic program to drive them out. Instead, Gush leaders stated that Arabs who were willing to live without political rights in the Jewish state would enjoy a protected minority status similar to the second-class status that Jews historically held in Islamic countries.
Gush Emunim’s West Bank settlement program grew slowly during the years the Labor Party was in power. Labor’s policy was to build settlements in the Jordan Valley for security purposes, while avoiding the occupied areas largely populated by Arabs—these, according to such leaders as Yigal Allon (1918-1980), were to be held as bargaining chips in future peace talks. But as early as 1970, a bitterly divided Labor government allowed a group of ultranationalist Orthodox Jews led by Rabbi Moshe Levinger (1935-2015) to build Kiryat Arba on a hilltop overlooking Hebron, the site of King David’s first throne, and home to 78,000 fiercely nationalist Palestinian Arabs.
Most of the Gush Emunim’s attempts to settle the West Bank during the Labor government era were stopped by the army. Gush members would arrive at a site in a caravan of trailers in the middle of the night without government permission. When the army came to expel the settlers—which it almost invariably did—the right-wing parties would charge the Labor government with betrayal of Israel and compare it to the British Mandate government before Jewish independence. Either way Gush Emunim bested the Labor government.
But when Labor was voted out of office in 1977, and Likud’s Menachem Begin (1913-1992) became prime minister, he organized a right-wing coalition government that was strongly influenced by Gush Emunim. Immediately after his election, Begin journeyed to Elon Moreh, a settlement near Nablus that Gush Emunim had tried and failed seven times to settle extralegally before the Labor government finally gave in. Holding a Torah scroll aloft, Begin vowed that he would establish “many more Elon Morehs.”
Begin, the former commander of the Irgun, which had called for a Jewish state on both banks of the River Jordan, was true to his word. Between 1977 and 1984, successive Likud governments invested more than $1 billion in Jewish West Bank settlements—a huge sum for an economically hard-pressed nation that depends on more than $3 billion in annual aid from America. Today, Gush Emunim is the spearhead of Israel’s West Bank settlement program, which totals more than 150 settlements comprising some 75,000 settlers.
[Note: Number of illegal Israeli settlers in 2024 is more than 800,000!]
Gush Emunim currently boasts important enclaves of support in the right-wing Likud and Tehiya parties, as well as in several of the religious parties. Among its most potent supporters is Ariel Sharon (1928-2014), who through a Gush Emunim real estate front, purchased an apartment in the Muslim quarter of East Jerusalem’s Old Walled City. Sharon moved into the apartment on the first day of Passover in 1988, sparking an Arab riot.
Gush Emunim had everything that Kahane and his movement lacked, observed Professor Ehud Sprinzak, an expert on extremist groups at Hebrew University. It was a cohesive cultural and social entity; it had a skillful, yet modest, collective leadership, as well as an effective membership. A spiritual movement led by the scion of the founder of religious Zionism, Gush Emunim was fully backed by Israel’s leading rabbinical authorities in addition to being very Israeli in character. In contrast to the rather fringe-like nature of Kahane’s mostly American-born followers, Gush Emunim attracted thousands of well-educated, middle-class supporters and settlers, whose outposts in Judea and Samaria soon obliterated the 1949 armistice line that had separated the modern state of Israel from the core areas of the Biblical Hebrew nation.
“In view of the emergence of Gush Emunim and its prestigious and highly publicized activities, Meir Kahane had to reassess his political strategy,’’ said Sprinzak. But in 1974, Kahane was no more capable of joining Gush Emunim than he was Begin’s party or the National Religious Party. So Kahane staked out a position to the right of Gush Emunim. If Gush’s role was to settle and build the land of Israel, then Kahane would concentrate on driving out the Arabs living there. The JDL leader set about subverting Gush Emunim’s declared goal of coexistence with the local Arabs by instigating conflicts between Jewish settlers and the Palestinian Arab population. He purchased an apartment in Kiryat Arba, which became a base for his goon squad’s increasingly violent forays into the Arab West Bank. “They (Gush Emunim) don’t realize what nonsense it is to put a settlement of fifty people in a sea of Arabs,” Kahane told me in 1979. “What do they think they are going to do with those Arabs?”
Since Gush Emunim’s philosophy was firmly rooted in Halacha and the normative Zionist tradition, Kahane countered with his own selective quotes from the Torah and Vladimir Jabotinsky (1880-1940). In a book he published in 1974 called The Jewish Idea, Kahane challenged Gush Emunim’s view that redemption could come with Arabs living in the land of Israel.
According to Kahane’s view, Arabs are more than just a demographic and physical threat. Their presence pollutes the very essence and spirit of Judaism. Therefore, their expulsion is a necessary precondition for redemption. “Zionism, the establishment of the State of Israel, the return of millions of Jews home, the miraculous victories of the few over the many Arabs, the liberation of Judea-Samaria, Gaza and the Golan, the return of Jewish sovereignty over the Holy City and Temple Mount are all parts of the divine pledge and its fulfillment,” wrote Kahane. He argued that Messianic redemption would have taken place if the Israeli government had expelled the Arabs, destroyed the Dome of the Rock Mosque, which was built on top of the ruins of the Second Temple, and annexed Judea and Samaria. “Had we acted without considering the gentile reaction,” Kahane wrote, “without fear of what he may say or do, the Messiah would have come right through the open door and brought us redemption.”
Kahane insists that redemption is guaranteed simply because God picked Jews as his Chosen People. “We are different,” said an article in a JDL publication also called the Jewish Idea. “We are a Chosen One and a Special One; selected for purity and holiness, and to rise above all others and to teach them the truth for purity and holiness that we have been taught. There is no reason or purpose to being a Jew unless there is something intrinsically different about it. No. We are not equal to the Gentiles. We are different. We are higher.”
Gush Emunim also is disdainful of gentiles. Its leaders maintain that Israel will become “a light unto the nations” only after it has attained complete political and spiritual isolation from the rest of mankind. Then, they prophesy, Israel will build its moral and military strength until it is powerful enough to destroy Arab opposition. “We must overcome the goys and dominate the spiritual world,” said Gush activist Jacob Levine as we sat in his apartment with its spectacular eighth-floor view ofJerusalem’s magical countryside.
But even the mystics of Gush Emunim have hard-headed political priorities. Their primary goal has been to confiscate Arab land a dunam at a time—and to build settlements stone by holy stone. They believed that this “divine process” would be far easier to accomplish without deliberately inflaming the local Arabs (not to mention the Zionist Left), who in any case would never be reconciled to their presence in Judea and Samaria.
In response to Gush Emunim’s more pragmatic brand of Messianism, Kahane stepped up his attacks on Arabs, ignoring government pleas that he was undermining Israel’s democratic image.
“The irrational Jew is the rational one,” Kahane once told me. “Democracy and Western humanistic values are foreign implants, which are meaningless to authentic Judaism. The Jewish people didn’t survive for two thousand years by being rational. Had we been rational we would have been done for. We survive because there is a clear promise that the Jewish people will never be destroyed.” So long as Jews fulfill their covenant with God their destiny is assured, said Kahane. Therefore, it makes no difference if America breaks diplomatic relations with Israel for deporting the Arabs. God, not Uncle Sam, will provide, he declared.
If, as a child, Kahane daydreamed about becoming the saviour of his people, he now openly presented himself as a modern day prophet. He claimed to hold the authentic Jewish spark, which had fractured into a million pieces at the Creation. Like his great grandfather who was a kabbalist from Safed, Kahane preached that it is man’s task to recover these sparks and make the world whole again. Kahane claimed that the divine spark was within him and that he could find it in others.
Kahane’s militant Messianism began to affect his relationship with his followers in America. He warned them that American Jews faced the twin perils of assimilation and annihilation if they did not return to Israel. Those who do not melt in America’s melting pot would ultimately melt in America’s ovens, he predicted. He compared the United States to the Weimar Republic, declaring that American Jewry was as blind to its fate as were the German Jews before Hitler took power.
Much of Kahane’s Messianic fury was aimed at America’s 400,000 Orthodox Jews, who, according to Kahane, are worse than blind—they are hypocrites. “The tragedy is that most observant Jews in America are practitioners of Jewish ritual and folklore,” Kahane once told me. “A religious Jew is one who does the really hard mitzvab (commandment), and that’s settling the land. My purpose in life, therefore, is to say the things that no other Jewish leader is saying—that the fate of the Jewish people in the Galut (exile) and in Israel rests upon their being Jewish again. This can only be done in Israel. Only then will God shine his light on Zion.”
He insisted that, just as there cannot be a Jewish state in the Messianic sense unless the Jews return to the land of Israel, a Messianic Jewish state cannot exist with an Arab minority. Jews must be alone in the land to rebuild their moral fiber—which is another reason for this emphasis on Arab deportation, he says.
“I’m not a racist,” he declared. “A racist is a Jew who says Arabs can be equal citizens in a Jewish state.”
[…]
CHAPTER ELEVEN - PORTRAIT OF A YOUNG FANATIC
On a fog-shrouded road between Jerusalem and Ramallah in the Israeli-occupied West Bank, two young American supporters of Rabbi Meir Kahane put on their prayer shawls to daven (pray), then pulled ski masks over their faces, slipped on black leather gloves, and loaded a U.S.-made M-16 automatic rifle.
Around 5:30 on that chilly March morning in 1984, the men watched an Arab bus wind around a steep curve. As it approached, they jumped from a ditch that ran parallel to the road and opened fire on the driver’s window and the bus’s right side. The volley lasted three to four seconds. While nine Arabs lay wounded inside the blood-spattered vehicle, the Jews ran a quarter of a mile to a prearranged spot, where a friend from New York City waited in a Hertz rental car. When the youths were later arrested by the Israeli police, Kahane told a press conference that his followers were “good Jewish boys” and that the machine-gunning was “sanctified by God.”
Kach supporter Matt Liebowitz, a bearded, disarmingly soft- spoken twenty-four-year-old who served twenty-six months in an Israeli prison for the bus attack, epitomizes the kind of American kids who joined the JDL after Kahane wrested control of the organization from Bonnie Pechter.
Liebowitz’s career in “Jewish activism,” which began in Chicago, where he was raised, and led to New York and later to the West Bank of the River Jordan, is similar to the path taken by many young American Jews who get hooked on Meir Kahane’s sinister vision of ridding Israel of its Arabs. “Violence is a tool,” Liebowitz told me during a 1987 interview at a yeshiva in Far Rockaway, Queens where he sometimes studies. “Kahane says violence is not a nice thing, but that it’s sometimes necessary. For me and for others there was a certain mystical attachment to blood and violence. This was the violence that drew us to the JDL and bonded us together in the struggle. . . . Kahane taught us that what we were doing was true and correct according to the Torah.”
Liebowitz was not always interested in the “Jewish struggle.” He was raised in an assimilated, middle-class Jewish home where Judaism had more ritual than meaning. Like many future JDL members, he was embarrassed by his religion. “I had no connection to Judaism,” Liebowitz told me. “When I was a kid I used to hang out in the inner city and saw old Jews harassed by Black gangs. I had a very bad image ofJews—that they were weak, that they were worms.”
Matt was thirteen when his parents divorced. He moved in with his mother, then later with his father, a family therapist in Chicago. Eventually, he returned to his mother’s house because he did not get along with his stepmother. Matt became, according to his mother, “a street child.” Uninterested in school, he began to hang out with white street gangs, she recalled, until he discovered the JDL and found religion. “He just looked for some authority, someone who would tell him how to live, who would tell him what to do, someone who would decide for him what was good and what was bad,” she told the Israeli publication Koteret Rashit when she was in Jerusalem for her son’s trial.
“He was very restless.”
Matt says that he discovered Kahane and the JDL when he read Kahane’s militant manifesto, Never Again. The book’s title, which became the JDL’s rallying cry, was a warning that Jews will never again be led like sheep to the slaughter. The message was meant as much for passive, liberal-minded Jews as it was for gentiles. “I read Never Again and it hit me right in the heart,” said Matt. “I found what I was looking for.” His first illegal act inspired by Kahane’s philosophy, he said, was to place a home-made bomb under the car of Arthur Butz (b. 1933), an engineering professor at Northwestern University. Butz had written a book in 1978 claiming that the Holocaust was the hoax of the twentieth century. “The bomb never went off,” recalled Liebowitz. “I learned how to make it from a book by Abbie Hoffman (1936-1989).”
Liebowitz was soon studying in a yeshiva and working out with members of the small but violent JDL chapter in Chicago. “I started training with sticks, knives, hand-to-hand combat. We were trained by a guy who was a Navy SEAL. ... It was cool for a fourteen-year-old high-school freshman to see Jews do this stuff. Even though most of the JDL members weren’t religious, they put on kippos (skullcaps) whenever they fought anti-Semites. I hung out in neighborhoods where everyone was fighting, so it took a lot to impress me. The JDL really impressed me!”
But Kahane impressed Liebowitz even more than the street fighting. The Pied Piper of confused Jewish youth, Kahane has a knack for convincing youngsters that violence in the name of Greater Israel or Soviet Jewry is heroic in the tradition of the Bible. “I got to know Kahane when he came to Chicago in 1979. I thought he was it. He had unbelievable charisma. I came to him for advice and guidance, and depending on his answer I would have switched schools or made major changes in my life.”
Shortly after meeting Kahane, Matt moved to Israel to be with the fiery rabbi. At the time, Kahane was a political pariah in Israel with no more than a few dozen young followers from the United States. Like many American Jews who arrived in Israel for the first time, Liebowitz was shocked that Israeli Jews bore so little cultural resemblance to the Jews he had left behind. This fast-paced, chaotic, and intense new world on the Mediterranean was both strange and a little frightening. “I am at an ulpan (an intensive, Hebrew-language training institute),” he wrote to his mother soon after arriving in Israel. “ We sing Chanukah songs. . . . I had to leave the room because the songs reminded me of you and I long for you so much. ... I did not realize it would be so difficult.”
There was little time, however, for reflection when one’s days and nights were devoted to Kahane. There were almost daily vigilante attacks against Arabs, Christian missionaries, Black Hebrews, and U.S. diplomats whose cars were firebombed. Once Matt and a compatriot, laden with satchels of explosives, even scaled a wall that encircled the Dome of the Rock Mosque, intending to “purify” the Temple Mount. But the two scurried away when they heard an approaching Israeli army patrol.
Not surprisingly, Matt gained a reputation inside the JDL as one of Kahane’s most dedicated “crazies.” “Kahane was asked by a reporter why he had so many crazies around him,” Liebowitz recalled. “He replied that he needed crazies because they were the first to cross the barricades. Everybody in the JDL joked that I was the crazy Kahane was talking about.”
In 1980, burned out from the frantic militant activity, Liebowitz borrowed money from his mother and returned to Chicago. He jumped from yeshiva to yeshiva before he moved to New York City, where Kahane had reasserted control of the JDL, after successfully crushing Bonnie Pechter. The JDL, which had claimed as many as ten thousand members in 1970, was now a shell of its former self. Without Kahane’s constant guidance and charismatic presence, it foundered, breaking into small, competing factions. Kahane continued to milk the organization for publicity and money for his affiliated party in Israel. By the time Matt arrived in New York, the JDL had just a few dozen hardcore activists in New York and Los Angeles.
During a brief revival in 1981, however, the JDL began a paramilitary training camp in the Catskills, similar to the one that it had run during its heyday a decade earlier. Matt was one of some fifty youths who spent the summer training with automatic weapons and in martial arts. “Matt was a sweet, good- hearted kid,” recalled Gary Moskowitz, a New York City policeman who was the JDL camp karate instructor. “He loved training. He used to run ten miles a day. But he was easily manipulated and extremely prone to violence.”
Liebowitz rose to become the head of JDL security during a period when the organization was implicated in a number of terrorist attacks, including the bombings of Soviet and Arab diplomatic missions in New York and the firebombing of an Arab-owned restaurant in Brooklyn in which a woman was killed. During the summer of Israel’s 1982 invasion of Lebanon, armed JDL militants raided the Manhattan offices of the November 29th Coalition, a pro-PLO group. A week later, the JDL training loft at the intersection of West 34th Street and Broadway in Manhattan was bombed. A JDL security guard asleep inside narrowly avoided injury. “It was a crazy summer,” Liebowitz recalled.
“The camp produced fifty good, dedicated JDL people who would prowl the streets of New York at night in search of Arab or Russian victims. That summer there were twelve to fifteen bombings. We had an underground bomb lab in a house in Borough Park crammed with explosives, Tommy guns, Uzis. . . . We knew a grand jury was investigating us and that federal indictments were coming down. Then one of our people was arrested in Israel for shooting a West Bank Arab and was convicted and went to prison. We were very bummed out by that.”
As a federal grand jury weighed indictments against a number of JDL militants, about forty suspects, including Liebowitz, suddenly moved to Israel in the winter of 1983. According to a federal law enforcement agent involved in the JDL probe, that effectively stymied the investigation. Weary of police investigations, Liebowitz tried to keep away from Kahane and his followers in Israel. He moved to a military base in the Negev to work as a volunteer. “It is wonderful to be in my country,” he wrote his mother. “There is some poetic justice in this scene of lighting the Chanukah candles in a military base in the Negev. It is a dramatic scene. The sun shines softly and religious soldiers light a large menorah and say prayers. I am home. I have never felt better in my whole life in any other place.”
A few weeks after Liebowitz wrote to his mother, a bomb planted by the PLO in the back of a bus in Jerusalem exploded, killing several passengers, including two young Jewish girls. “I feel as if I had lost my own sister,” he wrote in another letter home. “I can’t stand this. . . . I am very upset. . . .Jews are dying here only because they want to live here. . . . I must see Rabbi Kahane.”
But Liebowitz got mixed signals from Kahane. On one hand, he says, Kahane told him not to do anything illegal and risk going to jail. However, he said Kahane also constantly preached that vengeance is holy. “The bombing of the Jewish bus was like a sign,” Liebowitz told me. “I knew what road I had to take. I swore I was going to avenge Jewish blood.” He says he met four other Kach Party members from the United States who, like him, itched to strike back at the Arabs. Craig Leitner, whose father is a top official with the New York City Board of Education, was responsible for co-planning the attack. Liebowitz went to Kahane for money to finance the operation without telling him what they were planning. “I said, ‘We need money fast,’ ” Liebowitz recalled. “Kahane took $600 from his pocket and gave it to me without asking any questions.”
[Note: These days Craig Leitner goes by the name Aviel Leitner; he is a 'lawyer' and former terrorist member of the JDL and Kach who served 30 months in jail for firebombing the Palestinian newspaper Al-Fajar and being involved in the shooting at an arab bus in Ramallah in 1984, injuring 6-7 Palestinians. Together with his 'lawyer' wife Nitsana Darshan-Leitner (b. 1973) in the Shurat HaDin lawfare organization he is mostly involved with legal matters defending terrorists like for instance Yigal Amir (b. 1970); the assassin of Yitzhak Rabin (1922-1995), and Jonathan Pollard (b. 1954); an American-Israeli civilian-employed US Military intelligence analyst who in 1986 was sentenced to life in imprisonment for spying on the United States of America for the State of Israel.]
Prior to the attack, Leitner wrote to Randy Medoff, the JDL boss in New York, instructing him that when he received a collect phone call from a “Mr. Gray,” it would be a signal to phone the Israeli media with the news that a Jewish terrorist organization had machine-gunned an Arab bus. The Kach kids were arrested minutes after Leitner placed the call to Medoff. Liebowitz claims that he learned during police interrogation that Shin Bet had them under surveillance for twenty-four hours prior to the shooting.
Craig Leitner, who turned state’s witness, not only documented the close links between terrorism, the Kach Party, and Rabbi Kahane, but also told Shin Bet a chilling tale of Ku Klux Klan-style violence. In a signed confession, he told Israeli officials:
One day, toward the end of July 1984, (we) agreed to take some action against the Arabs. About midnight we saw an Arab in his early twenties walking along the Hebron road. . . . I left the car and gave the Arab a blow with my fist and kicked him. . . . He escaped into the night. . . . We drove to Hebron and decided to set fire to Arab cars. We had two plastic bottles filled with gasoline. (We) took the fuel and poured it under a number of cars. We set them on fire, but we didn’t wait to see what happened. There were many dogs around and I was afraid they might wake up the neighbors, or they might bite us and we would get rabies.
Several days later in Jerusalem, according to his confession, ‘‘We took some empty bottles and rags, then we went to the Kach office because I knew that Rabbi Kahane had left his car there and a fuel tank was in the back of the car. We made Molotov cocktails and drove to an Arab neighborhood. We threw two Molotovs at one of the Arab houses chosen at random.”
Leitner then contacted an American friend from Kach who lived in the West Bank settlement Beit El. “I knew he spoke Hebrew (Leitner could not) and could be relied upon not to inform the police. I asked him to phone the news media and inform them that the attack in East Jerusalem was carried out by TNT (the name for the Kach terrorist underground in Israel).”
Kahane hired an attorney for his young machine gunners and occasionally visited them in prison. He appointed one of the youths imprisoned with Liebowitz, Yehuda Richter, from Beverly Hills, to be his chief deputy in Kach. Leitner, who somehow managed to flee from Israel, was later arrested by U.S. marshals at the White Plains, New York campus of Pace University Law School, where he was studying. He returned to Israel after lengthy legal maneuvering, served a year in prison, and is once again a law student at Touro College in Manhattan.
Liebowitz now says the machine-gun bus attack was a cathartic experience and that he is grateful that confinement in prison gave him the personal discipline he lacked. After spending more than two years in prison, he returned to the United States in 1986 to promote aliya (immigration to Israel) as an emissary of the Eretz Yisrael Movement, which is affiliated with Gush Emunim. He is currently working for a Manhattan-based security firm. He told me he helped install a security system for the Albanian Mission to the United Nations.
Matt says as soon as he saves enough money he will move to Israel permanently. His wife, Judy, a twenty-three-year-old nurse, would like to live in a quiet Jerusalem neighborhood and raise a family. Matt wants to move to the fiercely nationalist Palestinian West Bank city of Hebron, where ultranationalist Jews have carved a foothold in the heart of the city’s squalid, fly-blown Casbah.
A young man who still values violence, Liebowitz says Kahane’s radical philosophy continues to guide him. “I think the Arabs should be moved out of Israel,” he said, echoing Kahane. “My parents can’t believe that the bus attack had anything to do with ideology. They still think it happened because they got a divorce,” he said, laughing softly.
Bitter Sweet Harmony - M+M個展
Bitter Sweet Harmony - M+M Solo Exhibition
藝術家：M+M (Marc Weis and Martin De Mattia)
策展人：Lars Koepsel
展 期：2015/08/22 - 2015/09/19
開幕酒會：2015/08/22 (六) 19:00
展覽地點：VT Artsalon 非常廟藝文空間 (台北市新生北路三段56巷17號B1)
藝術家座談會：2015/08/15(六)15:00
座談會地點：實踐大學媒體傳達設計系 演講廳
網 址：http://www.vtartsalon.com
聯絡電話：02-2597-2525
EMAIL：info@vtartsalon.com
本次展覽為非常廟藝文空間(以下簡稱VT)與德國藝術公寓(Apartment Of Art)三年計劃之一。兩年前VT與德國藝術公寓總監-拉斯科樸索(Lars Koepsel)為推廣台灣及德國兩地藝術家與藝術空間之間的交流，締訂為期三年合作計畫。兩地空間每年交換合作藝術家展覽、策展人、藝術家駐村等三階段合作方式。本次展覽檔期為計畫中的第二年，由德國藝術公寓總監-拉斯科樸索推薦新媒體藝術團隊「M+M」首度來台展出。
德國「M+M」為Marc Weis 和 Martin De Mattia 兩人所組成的新媒體科技藝術團隊，M+M多年來持續於國際間進行展演計畫。過去重要展覽節錄：1999年在義大利羅馬的Villa Massimo進行為期一年的駐村計畫，同年於威尼斯雙年展「義大利國家館」展出。2003年於ZKM卡爾斯魯厄藝術與媒體中心展出，2006年參加Lintz科技藝術節以及2015於盧森堡casino個展。
「M+M」兩位藝術家長期關注媒體中所產生的語彙，並分析影像媒體之間的運作，結合大眾社會對於影像媒體的交互機制，透過電影中畫面擷取並使用非線性的敘事方式，將虛構與現實的影像內容混合處理，作品內容帶有強烈情感，如恐懼、仇恨、愛情等，並透過虛實間的差異成為新的敘事方式。
本次將於VT展出系列作品「7 Tage」中兩件新作《Dienstag (Tuesday)》&《Freitag (Friday》，兩位藝術家挑選兩部經典電影-理髮師的男人(The hairdresser’s husband)與黑影(Tenebre)作為本次創作素材，作品影像中運用電影畫面對應一週的七天，並運用電影裡擷取部分畫面拼湊成每一天的生活景象，兩位藝術家各自將自行剪輯的影像運用雙投影同步裝置將兩影像並置，在大多數情況下，觀者將會看到這兩位藝術家都不約而同的就其類似情感內容做出對應畫面，細膩的處理家庭、人際關係以及生活中不確定性及矛盾狀態，擺盪在兩個非線性影像原件和翻拍之間的矛盾對抗。展覽中另外一件作品《kurz vor fünf (shortly before five)》則是將自2001年以來「7 Tage」系列中出現的電影場景運用電腦運算重新將影格輸出成290幀於平面畫面中，透過影像運算將3分多鐘影像畫面獨立，觀眾將可以發現運算過後的場景照片故事都在同一天的同一時間地點，透過運算影像畫面將可以看到不同的時間影像畫面聚落成同一影像，讓觀者重新於平面畫面重新審視影像中孤獨個體的趣味。
「7 Tage」系列作品自2009年來，逐段完成每段錄像影片，並於2015年發表了最新兩部新作《Dienstag (Tuesday)》&《Freitag (Friday》。本系列影像之中，除了相同的其他演員重複出現外，來自奧地利的演員Christoph Luser以精湛的演技表現出憂鬱詭譎的情緒變化，而體現了主角矛盾的異型建構的心理，投射非常輕微情緒以及揭示了人際關係中裂縫和固有的矛盾變化，無論是任何威脅與衝突的情緒反應，將在看似平靜的畫面帶來暗潮洶湧般的相互作用。
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Bitter Sweet Harmony - M+M Solo Exhibition
German Artists duo: M+M (Marc Weis and Martin De Mattia)
Exhibition: 2015/08/22−9/19
Opening：22nd August 19:00 p.m.
Location: VT Artsalon
(B1, No.17, Lane 56, Sec 3, Xinsheng N. Rd, TaipeiCity 104, Taiwan, Taipei)
Curator: Lars Koepsel
Symposium: 2015/08/15(Sat.) 15:00
Symposium location: Auditorium room, Department of Communication Design
(Shih Chien University)
Website: www.vtartsalon.com/
Contact Number: 02-2597-2525
Email: info@vtartsalon.com
___________________________________________________________
This exhibition is from one of the 3-year program between VT Artsalon(VT) and Apartment Of Art from German. VT and the director of Apartment of Art -Lars Koepsel have signed the contract for a “3-year program“ 2 years ago. The program is aim to promote the exchange in artist and art space between Taiwan and German. Each space will corporate in 3 stages every year, from exchanging the artist exhibition, curator to artist residency program. This exhibition is now in the 2nd-year. It was the director of Apartment of Art -Lars Koepsel, who recommended to exhibit the new media art group, named ”M+M” as their very first show in Taiwan.
Marc Weis and Martin De Mattia are a digital artists group named “M+M”, which use the new media in their project, from German. M+M has various international exhibition experience , which includes: the one-year residency program in Villa Massimo, Rome, Italy, back in 1999 and exhibited their work in Venice Biennale in the same year. They have also exhibited at ZKM in 2003 and participated the Ars Electronica Lintz in 2006. Their latest exhibition was at Casino, Luxembourg.
“M+M” have been focusing on the vocabulary produced from the media work, and analyze the operation between image media. They combined the public social consume system, and use non-way to describe things. They used film making skills such as camera movements and cuts to mix-up the fictional and the realistic image content. And also find out the new way to describe things through the difference between the fiction and reality.
”M+M” will be exhibit their new works in “7 Tage” (7 Days)series, which are 《Dienstag (Tuesday)》and《Freitag (Friday) 》. The artists picked two classic movie, includes《The hairdresser’s husband》and《Tenebre》as the elements. They named their works as“7 Tage” (7 Days), and make the image in their works able to correspond in 7 days a week. They have also excerpt some of the classic scenes from the epic movie as the everyday life in their works. From the artists remakes, cuts and the main actor’s view and mind changing from time to time; audience will get the new visual experience to re-conduct with the double projection device. The viewer will also find out the against between two non-linear original videos and conversion with the double channel device. And the other works named《kurz vor fünf (shortly before five)》in this exhibition have combined the movie scene and the computer operations and re-export the file fragmentation into 290 as a 2D picture. With the computer operations, they separated every scene in three minutes, which audience will find out the picture and the story are all at the same place and the same time in everyday. By gathering the video scene into on image, the viewers will discover the fun part in the isolation.
They have been shooting the ”7 Tage” series works for 7 years from 2009, and have also released the latest new works in recent, named 《Dienstag (Tuesday)》&《Freitag (Friday). The audience will get to see some of the actors repeatedly and the actor from Austria -Christoph Luse’s excellent performance skill, which he interpreted and showed the sad and odd emotional changes to incarnate the main character’s inconsistent mind structure. Whether is any threat or conflict emotion response, will all brings the audience the unexpected plot.
This exhibition will start from 22nd August to 19th September , and will be held an artist symposium on 15th August at Shih Chien University. The Artist M+M(Marc Weis, Martin De Mattia), curator Lars Koepsel and the director of the department of communication design- Wen-Chi, Chen will all participate the discussion.
Please feel free to join us!
“VT 3 Year Venture Project” Space
VT Artsalon, Taipei, Taiwan
Apartment of Art, München, German
Part 1:
Date: 2015/05/16-2015/06/13
Exhibition: “An Uncanny Tomorrow－Yuan Goang-Ming Solo Exhibition”
Curator: Wu Dar-Kuen
Location: Apartment of Art, München, Germen
Part 2:
Date: 2015/06/27-2015/07/24 “Peony Pavilion - Isa Ho Solo Exhibition”
Location: Apartment of Art, München, Germen
Part 3:
Date: 2015/08/22-2015/09/19 “M+M Solo Exhibition”
Location: VT Artsalon, Taipei, Taiwan
“VT 3 Year Venture Project” was the first time VT Artsalon and Apartment of Art collaborated with an exchange project as a 3-year program. The program is now in the third stage in the second year, and the exhibition will start from 22nd August, 2015 till 19th September, which is going to exhibit the art groups “M+M”’s works (Marc Weis, Martin De Mattia) from German, recommended by the director of Apartment of Art- Lars Koepselfor for their first exposure in Asia.
Currently it is the second stage of the second year, beginning on June 27th in Apartment of Art, Munich, will be Isa Ho’s solo exhibition, “ Peony Pavilion”, this is also the first solo exhibition of Isa Ho in Germany.
VT has been dedicated to bring the Taiwanese contemporary art into the international art world, connecting with the international community through various art spaces, galleries, exhibitions constantly.
We are hoping to converge the power of arts groups in Taiwan and gather more visions in Taiwan to create the collaboration opportunity. We are looking forward to extend more possibility of Taiwanese art in future with these exchanging programs.
Anonym/Anonymous - Das Fenster zum Hof/Rear Window, 1954 (Regie/Director: Alfred Hitchcock, USA, 1954), BFI National Archive, London
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.
A unique feature of this staircase is that the cantilevered treads are exchangeable, allowing for a completely new look in future years. A true cantilevered staircase is a design where each tread is fixed only at one end. The supporting structure is hidden within each tread and behind the face of the wall. There are no supports between the treads.
The Finale to the BARC Club Car Championships Weekender at Brands Hatch and after a Very Thrilling set of both Qualifying Sessions and Races which took place on the Saturday it was Time once again for each Driver to strap in and get ready for some high speed Racing Action thought the Sunday.
In Tribute to the Marshall who was Tragically Killed on the Saturday Some Car and Driver Pairings were Racing with Orange Hearts on their Cars as a Tribute to all of Motorsports Family of Marshalls for who without Racing would not be possible. Thank You!
So Lets get started and see what the days events Haver to Offer and who can Push their Machinery to the Limits and beyond for a Victory.
Britcar Endurance Championship - Trophy Category (Race 1 Results FINAL)
The Britcar Endurance Trophy was the First up and it was time to see who could claim that elusive Pole Position and to see if anyone else could challenge the Top Three Drivers Lets see how things turned out.
In First Place was the Pairing Of (Datum Motorsport's Axel Van Nederveen and Adriano Medeiros) in their Ginetta G55A with a Best Lap Time of 52:193 and an Average Speed of 64.75mph. Congratulations Axel and Adriano a Really Fantastic Drive and A Super Victory.
In Second Place was (SVG's Mark Lee) in his Ginetta G56A with a Best Lap Time of 52.086 and an Average Speed of 64.70mph. Amazing Drive Mark Keeping that Ginetta on the Track and Taking Second Place while Nearly Matching the Speed of Axel and Adriano. Well Done.
In Third Place was (Terry Stephens) in his Peugeot 308 with a Best Lap Time of 53.421 and an Average Speed of 64.50mph. Well Fought Terry a Fantastic Finish in Third Place and Staying Ahead by just over 11 seconds to the Pair of Jasver and Bryan in 4th. Amazing Job.
A Really Enjoyable and Exciting First Race of the Sunday with High Speed Action and Incredible Victories on Track. Congratulations Axel Adriano Mark and Terry. Lets see what Race 2 Brings in terms of the Action.
Britcar Endurance Championship - Trophy Category (Race 2 Results FINAL)
Race 2 For Britcar Next and after a Very Fast and Action Packed First Race Will we see a New Face on the Top Step of the Podium? Lets find out.
In First Place was the Pairing of (Woodrow Motorsport's Simon Baker and Kevin Clarke) in their BMW 1 Series with a Best Lap Time of 51.837 and an Average Speed of 78.22mph. Amazing work Simon and Kevin who have Beaten the Pairing Of (Datum Motorsport's Axel Van Nederveen and Adriano Medeiros) to Victory. An Incredible Drive by Both of them Well Done.
In Second Place was (SVG Mark Lee) in his Ginetta G56A with a Best Lap Time of 52.281 and an Average Speed of 76.89mph. Again a Huge Congratulations to Mark Lee for hanging onto that Second Place Despite Fierce Competition during The Race. Amazing Drive.
In Third Place was (Simon Green Motorsport's Pairing of Jasver Sapra and Brian Branson) in their BMW M3 E46 with a Best Lap Time of 52.718 and an Average Speed of 76.88mph. Congratulations Jasver and Brain Brilliant Drive and well Defended to keep that Third Place in Tact.
Two Incredible Races with Two Very Different Outcomes of Race Winners and Runners Up The Britcar Endurance Trophy is Proving to be Very Competitive this Year.
A Huge Congratulations to Simon Kevin Mark Jasver and Brain for some Amazing Racing and Victories and Good Luck to All Other Drivers. Keep working Hard and Pushing for that All Important Victory.
CTCRC Edmundson Electrical Classic / Historic Thunder Saloons (Race 1 Result FINAL)
Next Up was the CTCRC Electrical and Historic Thunder Saloons and After a Thrilling Qualifying Session Yesterday Lets see what Each Driver has got and who can Push to the Limits for that All Important Victory.
In First Place was (Jason West) in his BMW E46 M3 3200 with a Best Lap Time of 51.907 and an Average Speed of 59.84mph. Congratulations Jason for Another Incredible Drive for First Place and a well Deserved Victory Amongst some Stiff Competition.
In Second Place was (Andrew Wilson) in his Holden Monaro 7000 with a Best Lap Time of 52.418 and an Average Speed of 59.96mph. Well Done Andrew Fantastic Driving and a Super Defensive Drive for Second Place.
In Third Place was (Samuel Wilson) in his Aston Martin V8 Vantage with a Best Lap Time of 52.699 and an Average Speed of 59.50mph. Amazing Work Samuel and a Beautiful Example of the Aston Martin V8 Vantage on Display Showing its Raw Power and Racing Pedigree to Finish in Third Place.
A Fantastic Finish to The Historic and Electrical Thunder Saloons Racing at The Weekend. A Huge Congratulations to Our Top Three Finishers Jason Andrew and Samuel. Fantastic Racing from all Three of you and Good Luck to all other Drivers Keep Tuning and Working Hard and I'm sure Victory Will not be too Far Away from you.
CTCRC JEC Saloon & GT Championship & Burton Power BOSS (Race 2 Results FINAL)
Next Up CTCRC Saloon and GT Championships and with some Fierce Competition on Display during not only Qualifying but also Their First Race on the Saturday Which saw Malcom Harding Storm to an Insane Victory who Will be able to Take him on and Potentially Steal his Crown during the Next Race Today? Lets See.
In First Place was (Malcom Harding) in his Ford Escort MK2 Zakspeed 2500 with a Best Lap Time of 53.888 and an Average Speed of 78.49mph. Another Incredible Victory for Malcom that Highly Modified Zakspeed Escort Really Shows off the Power and Performance of a True Champion and a Fantastic Driver. Congratulations Malcom.
In Second Place was (Steven Goldsmith) in his Ford Anglia 105e 260 with a Best Lap Time of 54.335 and an Average Speed of 78.21mph. Another Storming Drive to Achieve Second Place for Steven. Fantastic Driving and Amazing Car Control through Every Corner. Congratulations Steven.
In Third Place was (Tom Robinson) in his Jaguar XJ6 4000 with a Best Lap Time of 55.481 and an Average Speed of 55.481mph. Congratulations Tom Superb Display of Driving Ability behind the Jag and a Well Deserved Third Place for Him.
Another Incredible Weekend of Racing for the CTCRC Saloon and GT Championships with Some New and Some Old Drivers Stepping onto the Podium. Massive Congratulations to Malcolm Steven and Tom for their First Second And Third Place Finishes. Keep Up the Good Work and Never Stop Trying.
CTCRC Laser Tools Pre 93 & Simply Serviced Pre 03 Touring Cars (Race 1 Results FINAL)
Now Its Time for The Laser Tools Pre 93 and Simply Serviced Pre 03 Touring Cars to make their way back onto The Track for what Looked to be a Spectacular Race. A Whole Range of Different Cars to Race Against and Stiff Competition after Qualifying Proves that This Race will be One not to be Missed. Lets See what Unfolded.
In First Place was (Gary Prebble) in his Honda Civic EG 2000 with a Best Lap Time of 54.100mph and an Average Speed of 78.60mph. Well Done Gary a Really Well Deserved First Place Victory and an Amazing Drive to the Flag.
In Second Place was (David Griffith) in his BMW E36 M3 3058 with a Best Lap Time of 54.558 and an Average of 78.42mph. Incredible Drive their David Pushing that BMW For Everything that it Has got to Achieve Second Place.
In Third Place was (Kam Tunio) in his Honda Civic EK9 1595 with a Best Lap Time of 55.347 and an Average Speed of 77.05mph. Well Driven Kam Super Driving on Display and a Well Deserved Third Place Finish.
Another Amazing Race for The Pre 93 and Pre 03 Touring Cars and a Huge Congratulations to Gary David and Kam for their First Second and Third Place Victories. Keep up the Hard Work and Good Luck to everyone Else wherever your Next Races take you.
CTCRC Poultec Classic Race Engines Pre 66 Touring Cars (Race 1 Results)
Now it was Time for the Fan Favourite to Enter onto the Brands Hatch Circuit with the Pre 66 Touring Cars Championship. With Mini's Lotus Cortina's and Ford Falcons. This was One Race that No One Wanted to Miss. After a Very Fast Paced Qualifying Session on the Saturday Which saw (Alan Greenhalgh) take Pole Position who Will be able to Challenge Him During the Race and Snatch Victory Away from Him.
In First Place was (Alan Greenhalgh) in his Ford Falcon with A Best Lap Time of 58.707 and an Average Speed of 72.63mph. Congratulations Alan A Beautiful Example of the Ford Falcon and Certainly a Very Fast One too. Congratulations on Your Victory.
In Second Place was (Robyn Slater) in his Ford Anglia 1550 with a Best Lap Time of 58.992 and an Average Speed of 72.06mph. Very Good Drive their From Robyn to Secure Second Place in The First Race of the Day for the Pre 66 Touring Cars.
In Third Place was (Barry Sime) in his Morris Mini Cooper S 1293 with a Best Lap Time of 59.116 and an Average Speed of 71.95mph. Fantastic Work their Barry Keeping that Little Rocket on The Track looked to be Very Challenging but A Very Well Deserved Third Place.
What A First Race for The Historic Pre 66 Touring Cars showing The Power and Pride Each Driver takes in Both Racing and Preservation on Their Beloved Racing Machines. Congratulations to Alan Robyn and Barry on their First Second and Third Place Finishes. Lets See what New Challenges Await Them in Race 2 The Final Race of The Day for Them.
CTCRC Poultec Classic Race Engines Pre 66 Touring Cars (Race 2 Results FINAL)
The Epic FINALE To The Pre 66 Touring Cars Race was A Race in Wet Conditions Making it even more Challenging for The Top Three Drivers. Who would Win and be able to Retain if not Take on thease Three Giants of Touring Car Racing in thease Conditions. Lets See How Things Concluded.
In First Place was (Barry Sime) in his Morris Mini Cooper S 1293 with a Best Lap Time of 1:11.482 and an Average Speed of 58.62mph. Amazing Work Barry to take Home a Superb Victory and a Brilliant Bit of Wet Weather Driving in The Mini Well Done.
In Second Place was (John Davies) in his Austin Mini Cooper S 1293 with a Best Lap Time of 1:11.416 and an Average Speed of 58.38mph. Amazing Work John Racing A Mini in thease Conditions is Very Tricky and Yet both You and Barry made it look Easy.
In Third Place was (James Ibbotson) in his Hillman Imp Super 998 with a Best Lap Time of 1:11.518 and an Average Speed of 58.12mph. Well Done James Sliding that Imp around in the Wet for a Magnificent Third Place was Well Deserved.
What A Race to End the Day for the Pre 66 Touring Cars and with So many Old and New Winners Lets Hope we Get to see More Races like This One Thought the Rest of the 2021 Season. A Big Congratulations to Barry John and James on their Respective Victories and Keep Trying Everyone Else The Hard Work will Pay off.
CTCRC Shell Oils Pre 83 Touring Cars (Race 1 FINAL)
Up Next The Pre 83 Touring Cars took to the Track for Their Only Race of The Day and from what We Have Seen Already This Race also looks like its going to be a Very Strong Battle for First Second and Third Place. Lets See who Came First and Took that All Important Victory.
In First Place was (Mark Lucock) in his Ford Escort MK1 RS2000 2040 with a Best Lap Time of 57.687 and an Average Speed of 74.53mph. Amazing work there Mark Pushing All the Power the RS2000 Engine Has and Keeping it on Track to Score an Amazing Victory.
In Second Place was (Stephen Primett) in his Ford Escort MK1 2037 with a Best Lap Time of 57.503 and an Average Speed of 74.52mph. Another Brilliant Drive from the Likes of Stephen Keep the Pace with Mark and Making for some Fierce Competition Thought the Race.
In Third Place was (Mike Luck in his BMW E21 320 1998 with a Best Lap Time of 57.236 and an Average Speed of 74.46mph. Super Driving there Mike to take Third Place and a Very Classic Looking BMW Indeed.
What A Race from the Pre 83 Touring Cars showcasing Speed Power and What a Touring Car was Made to do around a Race Track. A Big Congratulations to Mark Stephen and Mike on their First Second and Third Place Finishes. Keep Racing and Keep Having Fun Out There.
Junior Saloon Car Championship (Race 1 Result FINAL)
The Junior Saloon Car Championship was Up Next and Even Though the Age Range of thease Next Drivers Taking to the Circuit Might Shock you at The Fact that Many of them are as Young as 15 Years of age don't be Fooled Because thease Guys Know how to Race Having been brought up from Carting since the age of 4. They are always a Fan Favourite and After Qualifying on the Saturday its Anyone's Game as to Who Wins and Who Losses in Thease Races.
In First Place was (Ruben Hage) in his Citroen Saxo VTR 1600 with a Best Lap Time of 59.967 and an Average Speed of 65.65mph. Congratulations Ruben What A Drive and an Incredible Run for First Place Fending off the Other On Coming Drivers. Truly a Championship Winning Drive.
In Second Place was (Harvey Caton) in his Citroen Saxo VTR 1600 with a Best Lap Time of 59.629 and an Average Speed of 65.64mph. Very Well Driven there Harvey Staying very Close to Ruben in First Place and Keeping Him on His Toes Thought the Entire Race.
In Third Place was (Charlie Hand) in his Citroen Saxo VTR 1600 with a Lap Time of 1:00.006 and an Average Speed of 65.57mph. Solid Third Place there Charlie Keep Up the Momentum and Never Give Up Chasing Your Dreams.
What a Fantastic Race from the Junior Saloon Car Championship with New Winners on the Podium and Some Close Wheel to Wheel Action Thought the Race Thease Guys will be Fantastic To see in Future Racing Series All Over The World. Congratulations to Ruben Harvey and Charlie for First Second and Third Place and Good Luck to All Other Aspiring Young Drivers Following in the Footsteps of Your Greatest Racing Heroes.
Kumho BMW Championship (Race 1 Results)
Finally it was Time for the Last Two Races of the Day the Kumo BMW Championship. Featuring The Makes and Models of Many BMW'S taking to the Circuit for Race 1. After a Busy Day Qualifying on Saturday Lets See what Each Driver Cando in The Frist of Two Races for their Championship.
In First Place was (Niall Bradley) in his BMW E46 M3 with a Best Lap Time of 50.920 and an Average Speed of 83.60mph. Brilliant Driving There Niall Pushing the Power of the BMW Engine to Max and Putting the Pedal to the Metal the Whole Race. A Superb Victory.
In Second Place was (Michael Vitulli) in his BMW E36 M3 3200 with a Best Lap Time of 51.158 and an Average Speed of 83.45mph. Another Incredible Driver Pushing Hard and Taking Second Place. Well Done Michael.
In Third Place was (James Card) in his BMW E46 M3 3200 with a Best Lap Time of 51.154 and an Average Speed of 83.42mph. Very Well Done their James Keep Pushing.
Three Fantastic Drivers in Niall Michael and James all Fighting for that Victory and Showing The Racer Inside each and Everyone of them. Lets see what Their Final Race of the Day Brings Them.
Kumho BMW Championship (Race 2 Results FINAL)
In First Place was (Niall Bradley) in his BMW E46 M3 with a Best Lap Time of 53.581 and an Average Speed of 77.79mph. Another Well Deserved First Place Finish to Round of The Days Racing. Congratulations Niall Go and Celebrate with The Team In Style.
In Second Place was (Darren Morgan Owen) in his BMW E46 M3 3200 with a Best Lap Time of 53.200 and an Average Speed of 77.43mph. Super Drive There Darren for Second Place and a New Winner onto The Podium.
In Third Place was (Brad Sheean) in his BMW E46 M3 3200 with a Best Lap Time of 53.227 and an Average Speed of 77.13mph. Fantastic Drive there Brad and Some Incredible Car Control thought the Entire Race to Finish Third.
And That Concludes Racing for the Kumho BMW Championship with 4 Different Winners Across two Races and A lot of Really Fast Action you could not Have Asked for a better Finish to The End of The Days Racing. Massive Congratulations to Niall Darren and Brad and Good Luck to all Other Competing Drivers who are still Looking for that almighty Victory.
That Concludes Racing for The BARC Club Car Championships Weekend A Big Congratulations to All of the Drivers of Every Team and a Huge Thank You to Marshalls Far and Wide as Without Your Support Events like This and Champion Drivers May Never Get to Achieve Their Dreams.
See You All At The Next One!
One of the world'smost rare ducks, this bird what photographed in the wetlands at Zealandia, Wellington, New Zealand.
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 was ceased in 200x 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.
New monastery under construction
Shigatse, Tibet , China, Summer Palace Panchen Lama, Tashilhunpo Monastery, Tibet Autonomous Region, Tibetan Plateau, Tsang province of China,
We are visiting the Tashilhunpo Monastery
Tashilhunpo Monastery , founded in 1447 by the 1st Dalai Lama, is a historic and culturally important monastery in Shigatse, the second-largest city in Tibet.
The monastery was sacked when the Gorkha Kingdom invaded Tibet and captured Shigatse in 1791 before a combined Tibetan and Chinese army drove them back as far as the outskirts of Kathmandu, when they were forced to agree to keep the peace in future, pay tribute every five years, and return what they had looted from Tashilhunpo.
The monastery is the traditional seat of successive Panchen Lamas, the second highest ranking tulku lineage in the Gelug tradition of Tibetan Buddhism. The "Tashi" or Panchen Lama had temporal power over three small districts, though not over the town of Shigatse itself, which was administered by a dzongpön (prefect) appointed from Lhasa.
en.wikipedia.org/wiki/Tashilhunpo_Monastery
Shigatse, officially known as Xigazê, is a prefecture-level city of the Tibet Autonomous Region of China, It is located within the historical Tsang province of Tibet.
This fireplace was built by myself and other SnailLUG members for a month-long display at the America on Wheels museum's Holiday Train Exhibit. The idea came pretty quickly after seeing that I had purchased two of the official LEGO Christmas stockings this past May - the natural way to display stockings is on a fireplace. We built the large red bricks out of red 2x4s at the June SnailLUG meeting (in Mechanicsburg), BrickFair PA (in Exton), and the November SnailLUG meeting (at Little Brick Gallery). This display was installed at the museum on 11/19/2022 and will be dismantled on 1/14/2023. We're already looking at other display opportunities for it and at options for improving it in future years.
We split assembling the large red bricks (4X upsized 2x4s) across all of SnailLUG, and I did the final assembly, grate, mantelpiece, mortar, stocking holders, etc, as well as the design work. Since one of the goals of SnailLUG is inclusivity, I was immediately excited about the idea of a club collaboration where I could provide all of the brick and we could all build simple parts of the build - so it was accessible to SnailLUG members at all skill levels and with no need for anyone to buy or locate any parts to participate. As an unrecognized LUG, we did not have any access to LUG support, project support, LUGBULK, etc, for this build, and we worked exclusively with materials I purchased from Kevin Hinkle's former collection.
The full list of builders (to the best of my knowledge - we lost track of exactly who participated at each meeting and had to reconstruct the list later):
Daniel Pikora
Todd Michels
Heather Attardo
KC Ross
Dean Majorino
Sam Tauser
Vicki Tauser
Kevin Johns
Stephanie Johns
Kelly Hoffman
Rich Schamus
Amanda Rothrock
Bruce Shaw
Ryan Miller
Roy Forbes
Laura Bonebrake
Nicki Toizer
Rob Bender
Mike Tighe
This fireplace was built by myself and other SnailLUG members for a month-long display at the America on Wheels museum's Holiday Train Exhibit. The idea came pretty quickly after seeing that I had purchased two of the official LEGO Christmas stockings this past May - the natural way to display stockings is on a fireplace. We built the large red bricks out of red 2x4s at the June SnailLUG meeting (in Mechanicsburg), BrickFair PA (in Exton), and the November SnailLUG meeting (at Little Brick Gallery). This display was installed at the museum on 11/19/2022 and will be dismantled on 1/14/2023. We're already looking at other display opportunities for it and at options for improving it in future years.
We split assembling the large red bricks (4X upsized 2x4s) across all of SnailLUG, and I did the final assembly, grate, mantelpiece, mortar, stocking holders, etc, as well as the design work. Since one of the goals of SnailLUG is inclusivity, I was immediately excited about the idea of a club collaboration where I could provide all of the brick and we could all build simple parts of the build - so it was accessible to SnailLUG members at all skill levels and with no need for anyone to buy or locate any parts to participate. As an unrecognized LUG, we did not have any access to LUG support, project support, LUGBULK, etc, for this build, and we worked exclusively with materials I purchased from Kevin Hinkle's former collection.
The full list of builders (to the best of my knowledge - we lost track of exactly who participated at each meeting and had to reconstruct the list later):
Daniel Pikora
Todd Michels
Heather Attardo
KC Ross
Dean Majorino
Sam Tauser
Vicki Tauser
Kevin Johns
Stephanie Johns
Kelly Hoffman
Rich Schamus
Amanda Rothrock
Bruce Shaw
Ryan Miller
Roy Forbes
Laura Bonebrake
Nicki Toizer
Rob Bender
Mike Tighe
"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.
This is a photograph from the finish of the 4th Annual Multyfarnham (Multy) 5KM which was held in the village of Multyfarnham about 15KM west of Mullingar, Co. Westmeath, Ireland on Wednesday 3rd June 2015 at 20:00. An incredible and unprecedented crowd of almost 300 participants took to the route including runners, joggers and walkers which was on an out-and-back course on beautiful country roads. The weather was perfect for racing and running. The fast course combined with the good weather conditions provided personal and seasonal bests for many of the participants. The GAA Club and Community Centre provided car-parking and the race headquarters. Overall this was a very well organised race event which on the evidence of tonight's race can grow even further in future years. As this and other photographs in this set shows there is nothing like an evening race in summer time in rural Ireland. Multyfarnham's setting amongst the rolling hills of north county Westmeath and not far from the shores of Lough Derravaragh provides a wonderful race setting. The village of Multy is easily accessible and is just two miles off the N4 Dublin Sligo road.
We have an extensive set of photographs from tonight in the following Flickr Album: www.flickr.com/photos/peterm7/sets/72157653957377992
Timing and event management was provided by Precision Timing. Results are available on their website at www.precisiontiming.net/result.aspx?v=2718 with additional material available on their Facebook page (www.facebook.com/davidprecisiontiming?fref=ts) See their promotional video on YouTube: www.youtube.com/watch?v=c-7_TUVwJ6Q
USING OUR PHOTOGRAPHS - A QUICK GUIDE AND ANSWERS TO YOUR QUESTIONS
Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share directly to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
BUT..... Wait there a minute....
We take these photographs as a hobby and as a contribution to the running community in Ireland. We do not charge for our photographs. Our only "cost" is that we request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, VK.com, Vine, Meetup, Tagged, Ask.fm,etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us or acknowledge us as the original photographers.
This also extends to the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
I want to download these pictures to my computer or device?
You can download this photographic image here directly to your computer or device. This version is the low resolution web-quality image. How to download will vary slight from device to device and from browser to browser. Have a look for a down-arrow symbol or the link to 'View/Download' all sizes. When you click on either of these you will be presented with the option to download the image. Remember just doing a right-click and "save target as" will not work on Flickr.
I want get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting takes a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
Let's get a bit technical: We use Creative Commons Licensing for these photographs
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own. This usually just mean putting a link to our photographs somewhere on your website, blog, or Facebook where other people can see it.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Above all what Creative Commons aims to do is to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets
"Model Shooting"... One of the best things about my gf being here is the impromptu photoshoots that break out at any point in time hahaha... I love how much of a trooper she is and how she puts up with all my demands! :).. While walking through Georgetown (cuz we missed our movie time haha) i decided to pull the Speedlite out and get to taking advantage of all the lights and atmosphere the night was providing... The wind was also working on our favor this nite! :) This was my first time using the speelite in this conditions and i must say this shot along with the others (other will be posted soon) came out really good.. Really proud of this set! :D...
I feel like a should give you guys a strobist info, but im not good at all that detailed information.. soon i'll learn and provide it in future shoots..
Dont forget to follow my journey at twitter.com/DL_Productions
I love Matilda in Winter, but this Winter her fur hasn't fluffed up like it usually does. I don't know why...I know they've had two bouts of ringworm, but not anymore, not sure if it's the result of the poisoning...or another theory I have is that she might be allergic to the flea treatment. I buy the large dog revolution and then use a syringe and needle to extract the right amount for a cat dose and I can do 5 cats with one pippette of flea treatment, works out to be about $3.50 per cat rather than $11.00 per cat when I was using the cat flea treatment. She has a big b bald patch near where I dosed her on her neck....and I know last month one of the cats had something similar but I cant remember which cat, but it was a smaller bald patch...so I'll be using the cat one in future on Matilda....I miss her good looks. I know she looks great here...but usually her head fur is quite thicker and lion like.
A Colombian UH-60 Black Hawk helicopter participates in Feria Aeronautica Internacional—Colombia 2017 at José María Córdova International Airport in Rionegro, Colombia, July 13, 2017. The United States Air Force is participating in the four-day air show with two South Carolina Air National Guard F-16s as static displays, plus static displays of a KC-135, KC-10, along with an F-16 aerial demonstration by the Air Combat Command’s Viper East Demo Team. 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 Senior Airman Megan Floyd)
FORT SILL, Okla. (March 3, 2017) – Soldiers view live-stream full-motion video from unmanned aerial vehicles via a smartphone. They access 3D digital maps to send precision target coordinates. Soldiers are relying on these advanced technologies to improve lethality and maintain battlefield dominance.
These are among the improvements that will be embedded in future fire-support capabilities.
The Army has started testing four upgraded systems for its Field Artillery units to provide more accurate and timely fire support to maneuver formations. Fielding is scheduled to begin in fall 2017.
“These improved capabilities allow us to be lighter, faster and more lethal by optimizing the sensor-to-shooter digital chain,” said Lt. Col. Kevin Taylor, commander of 3rd Battalion, 319th Field Artillery Regiment, 1st Brigade Combat Team, 82nd Airborne Division (Artillery). “They assist us in providing faster, more accurate firing data to our cannon crews, enhancing our effectiveness on the battlefield.”
Nineteen Soldiers from Fort Bragg, North Carolina, recently completed three weeks of classroom and field training and assessments at Fort Sill. They are the first group of Soldiers to place the fire mission systems through rigorous testing.
U.S. Army photo by Dan Lafontaine
Read more: www.army.mil/article/183574
Lewis Baltz (1944 - 2014)
Kelvin zwischen Derian und Jamboree Road, Richtung Newport Center
Kelvin between Derian and Jamboree Road looking towards Newport Center, 1974
Silbergelatinepapier, Gelatin silver print
Albertina
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.
Name: Fengfei
Age:
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Description: By using the image of a old man and elephant to expree the feel likes wild animals when we was being shooting.We human have emotion and they animals do so.The oups is in order to tell human that we make animals lose their family,and in future we do also lose our family if we keep doing like this.
On Global Open Day on UNSCR 1325, Calls for Greater Women Role in Future of post-Daesh Iraq
Baghdad/Erbil, 24 October 2017 – The United Nations Assistance Mission for Iraq (UNAMI), jointly with UNWOMEN within the context of the observing the Global Open Day and the 17th Anniversary of UN Security Council resolution 1325, held consultative forums with senior political leadership in Baghdad and Erbil on 23 and 24 October, with the focus on strengthening women’s political participation.
In both Baghdad and Erbil, the concerns of women, their participation in society, the political process and decision-making were raised. Participants were categorical in stating that there have been long-standing barriers which have continued to impede women’s participation and representation in the political process. Particularly, participants noted a regression in women’s representation in executive, legislative as well as judiciary branches of government. Further, participants decried that leaderships of political parties have not given sufficient opportunities to women to fully and equally participate in politics. Recommendations were proposed, including a specific request made to the political leaders to give women an opportunity to be part of the solution. Participants also called for legislation to promote and increase women’s participation in politics and governance as well as to promote them to decision-making positions.
In Baghdad, the meeting on 23 October was organized in collaboration with the Implementation and Follow-up Commission for National Reconciliation in the Office of the Prime Minister. The meeting was attended by the Minister of Health and Environment, H.E. Adila Hammoud, Adviser to the Prime Minister on reconciliation, Mr. Mohammed Salman, the Speaker of Parliament’s representative Dr. Ahmed Rushdy, Advisor to the President of the Republic, Juan Masoum, heads of political blocs and other government representatives, parliamentary Committee heads, MPs as well as academics, in addition to representatives of UNAMI and UNWOMEN.
H.E. Ms. Adila Hammoud, the Minister of Health and Environment, stated that to overcome social barriers and challenges impeding women’s participation required a concerted effort and commitment from political leaders and decision-makers, noting “the significant successes of many Iraqi women on the executive and legislative levels and their ability to play an essential role in peace making and societal reconciliation.”
Mr. Mohammad Salman of the reconciliation committee, in his opening remarks, said the meeting is a “golden opportunity for all to benefit from the accumulated experiences of peoples” that the UN holds as it works to support women issues.
Special Representative of the UN Secretary-General (SRSG) for Iraq, Mr. Ján Kubiš, emphasized in his remarks at the meetings in Baghdad and Erbil that women in Iraq are agents of positive change and they must be given the opportunity to act in that critical role in shaping the future of their country in the post-Daesh period.
“Equality and empowerment of women must be central to all peace, justice, reconciliation and reform efforts in the post-Daesh period. Women’s participation is crucial for an effective, successful and sustainable peace processes and reform. Only through their direct and meaningful participation their voices will be heard,” Mr. Kubiš said.
The consultative meeting in Erbil was convened on 24 October by UNAMI in collaboration with UN WOMEN and the Kurdistan Regional Government’s High Council for Women Affairs. It was attended by Interior Minister H.E. Mr. Karim Sinjari, Minister of the Department of Foreign Relations H.E. Mr. Falah Al-Mustafa, Secretary-General of the High Council for Women’s Affairs Ms. Pakhshan Zangana, Spokesperson to Prime Minister Nechirvan Barzani, Safeen Dizayi, and women leaders, in addition to representatives of UNAMI and UN WOMEN.
In remarks at the Erbil meeting, Ms. Pakshan Zangana, the Secretary-General of the High Council for Women’s Affairs in Kurdistan Region of Iraq, said the recent crisis in Kirkuk have seen displacements of civilians including women, the elderly and children. She urged the UN to strengthen its efforts towards addressing the needs to those displaced.
In Erbil, Mr. Kubiš acknowledged the efforts of the Cross-Sector Task Force on the implementation of the Iraq National Action Plan on 1325. “Regardless of all issues between Baghdad and Erbil, the collaboration of women group representatives from both Baghdad and Erbil has been remarkable. It is a good model of constructive cooperation that should inspire also the process of finding solutions to the current crisis between Baghdad and Erbil. Women must play a key role also in these endeavors.”
The SRSG recalled the particularly brutal treatment of women and girls by Daesh terrorists and pointed out to UN Security Council resolution 2379, passed in September to establish an investigative team to support domestic efforts to hold Daesh accountable.
UN WOMEN Representative in Iraq, Ms. Dina Zorba, in both meetings in Baghdad and Erbil, commended the government, civil society, and national and international partners for continued commitment to UNSCR 1325, stating that Iraq is the first country in the Middle East to launch a national plan to implement 1325. She urged the government to work to ensure gender issues are incorporated in all democratization and nation building agendas, and called on the UN, the government, and the International Community to continue to advocate for and protect the rights of women and girls.
Photos by UNAMI PIO.
Riot Control Training exercise at UN House in Juba. Participants included the Rwandan Battalion, Nepalese Battalion, Chinese Battalion, Ethiopian Battalion, and Nepalese FPUs. The training was initiated by the Military Training Cell (J7) in collaboration with the UNPOL/FPU Support Office and conducted by Nepalese FPU instructors. The aim of this training is to give the basic crowd control techniques so as to be able to reinforce FPUs in future operations.
My beautiful garden window has developed several cracks. I am so bummed, and I have no idea what caused this, or how to prevent it from happening in future pieces. Any words of advice would be greatly appreciated.
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
If anything, this exhibition raises more questions than answers. Will we make hay while the sun shines, or when the sensors say? Will visionaries and dreamers reinvent farms as on-demand food forests, skyscrapers, or even theme parks? What crops should we be cultivating now for a very different future: bacon-flavoured seaweed, heirloom potatoes, or fly meat steaks? FIELD TEST will bring you into dialogue with a range of artworks, products, farm hacks, robotics and microfarms that are real field tests: experiments at the boundaries of art, design, science and farming. Find out more at dublin.sciencegallery.com/fieldtest.
A glass of Sundbytunet Kjellerpils at Sundbytunet Bryggerikjelleren in Jessheim.
Sundbytunet Kjellerpils is a 4,7% abv unfiltered, Bohemian-style Pilsner. It poured a hazy golden color with a huge, white head. Nice floral hop aroma with a note of dry barley. Nice malt body with a light hop bitterness. As it warmed up I got more yeast, both in the aroma and taste, which hid the hops a bit.
As an early batch, this was a decent pils but I hope the yeast note is reduced in future batches.
This is a photograph from the finish of the 4th Annual Multyfarnham (Multy) 5KM Road Race and Fun Run which was held in the village of Multyfarnham about 15KM west of Mullingar, Co. Westmeath, Ireland on Wednesday 3rd June 2015 at 20:00. An incredible and unprecedented crowd of almost 300 participants took to the route including runners, joggers and walkers which was on an out-and-back course on beautiful country roads. The weather was perfect for racing and running. The fast course combined with the good weather conditions provided personal and seasonal bests for many of the participants. The GAA Club and Community Centre provided car-parking and the race headquarters. Overall this was a very well organised race event which on the evidence of tonight's race can grow even further in future years. As this and other photographs in this set shows there is nothing like an evening race in summer time in rural Ireland. Multyfarnham's setting amongst the rolling hills of north county Westmeath and not far from the shores of Lough Derravaragh provides a wonderful race setting. The village of Multy is easily accessible and is just two miles off the N4 Dublin Sligo road.
We have an extensive set of photographs from tonight in the following Flickr Album: www.flickr.com/photos/peterm7/sets/72157653957377992
Timing and event management was provided by Precision Timing. Results are available on their website at www.precisiontiming.net/result.aspx?v=2718 with additional material available on their Facebook page (www.facebook.com/davidprecisiontiming?fref=ts) See their promotional video on YouTube: www.youtube.com/watch?v=c-7_TUVwJ6Q
USING OUR PHOTOGRAPHS - A QUICK GUIDE AND ANSWERS TO YOUR QUESTIONS
Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share directly to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
BUT..... Wait there a minute....
We take these photographs as a hobby and as a contribution to the running community in Ireland. We do not charge for our photographs. Our only "cost" is that we request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, VK.com, Vine, Meetup, Tagged, Ask.fm,etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us or acknowledge us as the original photographers.
This also extends to the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
I want to download these pictures to my computer or device?
You can download this photographic image here directly to your computer or device. This version is the low resolution web-quality image. How to download will vary slight from device to device and from browser to browser. Have a look for a down-arrow symbol or the link to 'View/Download' all sizes. When you click on either of these you will be presented with the option to download the image. Remember just doing a right-click and "save target as" will not work on Flickr.
I want get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting takes a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
Let's get a bit technical: We use Creative Commons Licensing for these photographs
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own. This usually just mean putting a link to our photographs somewhere on your website, blog, or Facebook where other people can see it.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Above all what Creative Commons aims to do is to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets