View allAll Photos Tagged in_future

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!

                                    

2011-10-24师父开示

Messages from Osifu:The Medicine Master Buddha

October 24th, 2011

药师佛梵文Baisajyagurvai duryaprabhasa音译;碑杀杜娄噜。全称为药师琉璃光如来,又有人称谓大医王佛,医王善逝或消灾延寿药师佛。为东方琉璃净土的教主。药师本用以比喻能治众生贪、瞋、痴的医师。在中国佛教一般用以祈求消灾延寿。

The Medicine Master Buddha in Sanskrit is Baisajyagurvai duryaprabhasa and which translated in English by transliteration is Bei Sha Du Lou Lu. His full title is called the Medicine Master Vaidurya Light Tathagata, also the Buddha of Great Medical King, the Medical King Shan Shi or the Medicine Master Buddha of Eliminating One’s Offenses and Prolonging One’s Life. He is the Teaching Host of the Eastern Pure Land of Vaidurya. The medicine master was used as a metaphor to describe one who can cure the diseases such as the greediness, hatred and ignorance of the sentient beings. It was generally used to pray for eliminating one’s offenses and prolong one’s life in the Chinese Buddhism.

药师琉璃光佛也叫“饮光如来”,据佛教传说,药师佛行菩萨道时,发了十二个大愿,每愿都为了满众生愿,拔众生苦,医众生病.成佛后,他始终实践着大愿,一般人都称念他为“消灾延寿药师佛”。

The Medicine Master Vaidurya Light Buddha is also called the Swallowing Light Tathagata. According to the Buddhism legends that the Medicine Master Buddha had pledged twelve great vows when he practiced the Way as a Bodhisattva, and each of his vows is to fulfill the wishes of the living beings, help them out of their sufferings and cure their diseases. When he attained his Buddha hood, he had been always practicing his great vows so that people call him the Medicine Master Buddha of Eliminating One’s Offenses and Prolonging One’s Life.

东方琉璃世界是怎样的一个世界呢?据佛经说,离这里向东,过十亿恒河沙数那么多的佛国,有一个世界就是琉璃世界。那里的一切,都是无比的清净光明,没有杂秽的土地。

What kind of a land is the Eastern Pure Land of Vaidurya? According to the Buddhism Sutra, from here to the east over so many Buddhists Lands as one billion Ganges River sands, there is a place is the Land of Vaidurya, where everything there is ultimate pure and brilliant without defiled earth and soils.

药师琉璃光如来圣诞在农历九月三十

师父定于此日午时举行 拜师赐法号法会

The memorial birthday of the Medicine Master Vaidurya Light Tathagata is September 30th by lunar calendar, and Osifu will schedule to hold an assembly of Master-disciple establishment and granting dharma name at noon time on that day.

请发愿拜师求赐法号者,有所准备:

Those who wish to be acknowledged by Osifu so as to be granted with the titles should prepare for the requirements as follows:

1.清净身语意三业

First, please mind your body, speeches and mind the three karma incubators at any time and purify them.

2.做到心正心诚心善心净,与佛相应。

Second, you have to tune your mind to be righteous, sincere, kindhearted, pure and responsive to the Buddhas.

3.深信〇师父、深信正法大道、尊师重道。

Third, you must have strong and firm faith in Osifu, in the Great Way of Proper Dharma, and honor the master and respect his teachings.

4.严持五戒、勤修十善、广行六度。

Forth, you must keep the Five Precepts strictly, cultivate the Ten Good Deeds diligently and practice the Six noble deeds universally.

5.举行法会时(午时11:00--13:00),准时参加直至结束,不可做与法会无关的事。你的不恭敬会影响你的相应。

Fifth, the assembly will be holding at 11:00 to 13:00, and you must attend the assembly on time till the end of it. You are not allowed to do anything that is not related to the assembly for your disrespect will affect your corresponding to Buddhas and the master.

6.家中若有佛堂当供佛、敬佛、礼佛、念佛。若无佛堂,心香供佛。

Sixth, those who have family halls for worshiping the Buddha should make offerings, pay worships, and chant the title of the Buddha. Those who don’t have family halls for worshiping the Buddha may as well worship the Buddha by heart.

7.赐法号会有“皈敬三问”,请用心回答、同步回答、诚敬回答、如实回答、谨慎回答。因为有佛菩萨、护法神众、众同修见证,更重要的是要对自己的法身慧命负责,不要轻易拜师、不要轻易求赐法号。

Seventh, there will be three conversional questions at the assembly. Careful answers, synchronous answers, sincere and respectful answers, honest answers, and cautious answers are required, because it will be witnessed by the Buddhas and Bodhisattvas, the Protective Deities and your fellow cultivators, what’s more, you have to be responsible to your Dharmakaya wisdom life, don’t acknowledge yourself to a master carelessly and don’t ask for dharma name easily.

8.法号一旦赐予不可更改,若自行更改法号(即使一时糊涂改一次再改回),即时取消其法号,此人不再是师父的弟子。

尔等最终法号为二字或四字。

Eighth, the dharma name cannot be changed for any reason once been given. If you make changes to it (including that losing your head for a moment you change it once then change it back), immediately it will be cancelled automatically, the person would be no longer a disciple of Osifu.

四字法号即:“至心**、清心**、净心**、妙心**”。

The four words Dharma name includes Zhi Xin**, Qing Xin**Jing Xin ** and Miao Xin**.

初步先赐二字法号,透过佛菩萨考验后,机缘成熟,最后得到佛菩萨一致认定后才会赐予四字法号。

Preliminarily, two-word Dharma name will be given, and four-word Dharma name will be given after you pass the tests by the Buddhas and Bodhisattvas till the ripeness of the situations when you are acknowledged by the Buddhas and Bodhisattvas.

9.今后拜师赐法号非常难得稀有,若没有善根、福德、因缘与师父同赴灵山法会的连拜师赐法号的机会都没有。

Ninth, chances to hold this kind of assembly are rare in future. There won’t be chances to be converted to Osifu and be granted Dharma name for those who don’t have enough good foundations, virtues and merits, and good causes to visit the Vulture Peak for pilgrimage with Osifu.

也就是说,若想拜师赐法号必须有灵山赴会的善根、福德、因缘。

这个条件并不苛刻,以后还会越来越严格。

That is to say if you want to be converted to Osifu and be granted Dharma Name, you must have enough good foundations, virtues and merits, and good causes as to be able to visit the Vulture Peak for pilgrimage. The condition is not too harsh at all, and it will be increasingly strict in future.

10.只有在拜师赐法号法会上得到佛菩萨、护法神和师父认定并赐予法号的(二字或四字者)才是〇师父的弟子,余则皆称有缘人。

Tenth, only those who are acknowledged by the Buddhas and Bodhisattvas at the assembly of Master-disciple establishment and granting Dharma name (two words or four words) are disciples of Osifu and the others are predestined friends.

阿弥陀佛

Amitabha!

原来已经赐了四字法号的“至心**、清心**、净心**、妙心**”也在考验淘汰中,有的透不过考验法号已经被取消,依然在用法号,师父是不认可的,无形中早已出名,也不再是师父的弟子。

Those disciples who have been granted with four-word Dharma name after ‘Zhi Xin**, Qing Xin**Jing Xin ** and Miao Xin**’ are also in testing out. Some of them who didn’t pass the tests have been cancelled their Dharma names but they still use the names, which will not be recognized by Osifu. Their Dharma names have been cancelled in the invisible world as early as they were tested out, so they are no longer disciples of Osifu.

四字法号的“至心**、清心**、净心**、妙心**”的弟子总共是108名。

There will be a total of 108 disciples name after ‘Zhi Xin**, Qing Xin**Jing Xin ** and Miao Xin**’.

直到圆满回归这108名才会得到满天神佛最终认定。

The 108 disciples will get final acknowledgement from the Deities and Buddhas till the perfect return.

一切皆在考验中

Everything is in the process of tests!

直至圆满回归

Till the perfect return!

请众弟子有缘人珍惜!

My disciples and predestined friends, please cherish it!

使命越大考验越大

Greater mission, harder tests!

阿弥陀佛

Amitabha!

为你们高兴

Happy for you all!

你们在觉悟

You are awakening!

渐渐找回了自己的本来面目

And you are gradually discovering your original nature!

MSN:chicheng1980@hotmail.com, osifu@hotmail.com

  

Council Chambers opened Jul 1877. Foundation stone Institute 4 Feb 1878 by Charles Mann, designed by C E Anthony, opened mid 1878 adjacent to Council Chambers. Renovations, combining both buildings, opened 18 Jul 1942 by J T Mortlock, further additions opened 22 Jul 1952 by Mrs J T Mortlock, renovations opened 5 Mar 1988.

 

“A meeting of the ratepayers of the District of Stanley was held in the large room of Bayfield's Hotel on Saturday evening March 3, to authorize the District Council to raise a loan to build a Council Chamber. About 60 persons were present. . . the Council had received notice, to quit the premises occupied by them. They had been greatly shifted about during the last few years. The hotelkeepers had obliged them in times past.” [Register 7 Mar 1877]

 

“Mintaro. . . Our new Council Chamber is now ready for the roof.” [Advertiser 12 Jul 1877]

 

“Mintaro. . . The Council Chamber is also making rapid strides towards completion, and will improve the look of our Main-street. The Clerk of the Stanley District Council will not be very sorry to change his quarters, for he is now very cramped for room. There is some talk of building the Institute at once, and I believe the Committee have a considerable sum in hand and promised, which, if collected, together with the Government subsidy, would complete a suitable building. A Committee has also been formed, having for its object an entertainment in aid of its funds. I wish them success, as an Institute is of material service in any community.” [Kapunda Herald 13 Jul 1877]

 

“It is but a short time since our District Council office was completed, and now the Institute is in course of erection. . . folks, no matter how well they do here, are inclined to leave even for worse pastures. We have just lost our medical practitioner, we are now losing our saddler, and also our storekeeper. . . Our mill is not prospering very favorably at present, the farmers not having brought in their wheat yet, being no doubt too busy to do so at present.” [Northern Argus 29 Jan 1878]

 

“The Hon. Charles Mann, QC, Attorney-General, accompanied by Mr. W. Townsend, M.P., visited Mintaro on Monday, February 4, for the purpose of laying the foundation-stone of the new Institute. This building is situated in the main street, within a few yards of the new District Council-chamber. . . the Institute will be 58 feet long by 25 feet wide, containing a large hall. . . with two smaller apartments. . . at the end, to be used as reading-room and library. At the entrance is a spacious porch. . . The material used in its construction is rubble from Bowman's land, some capital freestone from Mr. Kelsh's quarry, and blue flagstone from the famous Mintaro quarry. . . At 5 o'clock a public dinner was held in the new District Council Chamber. About 30 gentlemen sat down to a hot repast provided in first-class style by Host Anthony.” [Express & Telegraph 6 Feb 1878]

 

“the roof is now on the Mintaro Institute, and the internal fittings will soon be completed.” [Northern Argus 4 Jun 1878]

 

“The rules of the Mintaro Institute have been approved by the Minister of Education.” [Express & Telegraph 11 Oct 1878]

 

“The third annual show in connection with the Mintaro Horticultural and Floricultural Society was held at the Mintaro Institute. . . The council chamber, which was used as an annexe for the display of poultry, dairy produce, &c, was filled with a large and excellent collection of exhibits.” [Advertiser 22 Oct 1883]

 

“The fifth annual show under the auspices of the Mintaro Horticultural and Floricultural Society was held on Tuesday, October 27. The only drawback to the exhibition was the insufficiency of room for the flowers, &c., otherwise the show was a decided success. The Institute and Council Chamber, likewise a vacant space between the two buildings were utilised, but even then the room was limited.” [Northern Argus30 Oct 1885]

 

“On Friday evening a concert was given in the Mintaro Institute Hall to celebrate the re-opening of the institute, which has been closed to the public .for some weeks to allow of the improvements to be made. These consisted of two additional rooms and the lengthening of the hall.” [Register 29 Dec 1905]

 

“An interesting and instructive debate took place in the Mintaro Institute Hall on Wednesday evening, between the Mintaro and Clare Literary Societies. The question was, 'The Transfer of the Northern Territory under the proposed agreement of the Price Government'.” [Northern Argus 28 Jun 1907]

 

“Diphtheria Immunisation in the Town and District of Clare. . . of all school children under the age of 12 years in our districts. . . In all nine schools were done in a district of an area of 160 square miles. . . the children of. . . two schools, 11 miles away, at Mintaro, were injected at Mintaro Institute building.” [Northern Argus 10 Aug 1934]

 

“Council is agreeable to transfer the Mintaro Council Chamber and block of land to a responsible body under the following conditions: — 1. Council to be liable for no expenses connected with the transfer. 2. Officers of the Council to have access to the building at all times on Council business. 3. Provision to be made at the rear of building for storage of Council's plant and equipment.” [Northern Argus 14 Nov 1941]

 

“Mintaro Institute. Permanent Alterations and Additions. These were declared open to public use on Saturday night, 18th July, when Mr. M. L. Giles, President of the Mintaro Institute presided, . . He publicly thanked the District Council of Clare and the Councillors for making available to them the old district council chamber.” [Northern Argus 24 Jul 1942]

 

“Mintaro Institute, declared open by Mr. J. T. Mortlock. . .The old Council chamber has been acquired from the Clare District Council and has been renovated and a wooden floor has been laid down over the existing slate floor and suitable supper conveniences provided. The Council chamber will in future be known as the Assembly room and will be available for suppers, also as a room for lodge meetings, sewing circles and similar activities. Our honor rolls, portraits of our pioneers and similar treasures are all housed in the Assembly room, and I should like to point out that we are almost unique amongst South Australian Institutes is possessing a South African War Memorial in addition to one of the Great War 1914-1918.” [Northern Argus 31 Jul 1942]

 

“a most enjoyable dance was held in the Mintaro Institute in aid of the Food for Britain appeal. It was organised by the local Red Cross members and was well attended.” [Northern Argus3 Jan 1946]

 

“work is completed on the alterations to the bio box at the Institute, so it looks as though the Talkies will soon be coming to Mintaro. . . All roads led -to Mintaro Institute last Tuesday — the occasion being the 1st Birthday Party of the local C.W.A. Branch. Over 76 ladies assembled in the Hall.” [Northern Argus 6 Oct 1949]

 

“Mintaro Institute. . . Plans are well in hand now for the Grand Opening of the new additions and' improvements at the Institute on Tuesday, July 22nd. A Social Afternoon is to be held in the Institute when Mrs. J. T. Mortlock will declare the new premises 'open' and a photo of late J. T. Mortlock Esq., whose magnificent bequest made the work possible, will be unveiled.” [Northern Argus 9 Jul 1952]

 

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

 

Praterfahrt, um 1905/On the Way to the Prater, ca. 1905

 

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.

 

www.wien-vienna.at/albertinabaugeschichte.php

 

Full Story >

www.viralberg.com/technology/future-of-lifi-technology-in...

The tungsten lightbulb has offered more than the 100 years or more since it actually was launched, however its days are designated now with the appearance of LED lighting, that take in a 10th of the effectiveness of incandescent bulbs and have a life expectancy 30 times extended. Possible...

www.viralberg.com/technology/future-of-lifi-technology-in...

 

#FutureTechnology, #Lifi, #Tech

With Jeanette Gray at Westhope College Shropshire.

An intensive one day course exploring the creation and manipulation of natural materials.

Very inspiring and providing lots of ideas to explore in future

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.

 

www.wien-vienna.at/albertinabaugeschichte.php

 

The Seas with Nemo & Friends is a Pavilion in Future World in Epcot theme park that features a massive aquarium that holds one of the largest man-made ocean environments in the world. Plunge below the surface and join Characters from the Disney·Pixar film Finding Nemo as they share the secrets of their hidden undersea home.

 

The pavilion features:

 

The Sea Base and Caribbean Coral Reef Aquarium

The Seas with Nemo & Friends ride

The Turtle Talk with Crush show

Coral Reef Restaurant

Special Programs

An ocean-themed gift shop

The Sea Base and Caribbean Coral Reef Aquarium

 

Travel deep below the ocean waves to discover the magic and mysteries of underwater life. The pavilion's signature 5.7 million gallon salt-water tank, named Caribbean Coral Reef, is home to 6,000 inhabitants representing over 60 species—including sea turtles, angelfish, dolphins, rays, sharks and a very special manatee rehabilitation area.

 

The underwater environment is a wonder to behold—walk out onto a unique circular observation platform in the middle of the aquarium, and you'll find yourself almost completely surrounded by water. You could easily spend hours here and never get a chance to see all of the beautiful tropical creatures.

 

In addition to the central tank, there are a variety of informative smaller exhibits where Nemo and his friends share knowledge about their wondrous underwater world. Younger Guests should be sure to check out Bruce's SharkWorld—a fun activity area where you can learn about the fearsome silent predators of the deep.

 

The Seas with Nemo & Friends

Walt Disney World EPCOT Orlando Fl.

A U.S. Air Force B-52 Stratofortress performs a flyover accompanied by four Colombian KFIRs at Feria Aeronautica Internacional—Colombia 2019 at José María Córdova International Airport in Rionegro, Colombia, July 13, 2019. The United States Air Force is participating in the four-day air show with four South Carolina Air National Guard F-16s as static displays, along with an F-16 aerial demonstration by the U.S. Air Force Thunderbirds. United States military participation in the air show provides an opportunity to strengthen our military-to-military relationships with regional partners and provides the opportunity to meet with our Colombian air force counterparts and facilitate interoperability, which can be exercised in future cooperation events such as exercises and training. (U.S. Air National Guard photo by Staff Sgt. Megan Floyd)

Exclusive display around City Hall of innovative transport products & services related to the 2012 Investing in Future Transport Conference - organised by Cleantech Investor & Revolve.

London City Hall is the headquarters of the Greater London Authority, the Mayor of London as well as the London Hydrogen Partnership. Exclusive display around City Hall of innovative transport products & services related to the 2012 Investing in Future Transport Conference - organised by Cleantech Investor & Revolve.

London City Hall is the headquarters of the Greater London Authority, the Mayor of London as well as the London Hydrogen Partnership.

 

www.eco-rally.org/future-transport-display-london-city-hall

Great Gospel of John & Household of God

 

Do not in future build houses of prayer for Me but guest houses and refuges for the poor who can not pay you!

 

In the love of your poor brothers and sisters shall you be My true worshippers, and in such houses of prayer I shall be frequently among you, without you necessarily becoming aware of it; but in temples built for worshipping Me with the lips, as it has been till now, I shall henceforth dwell no more than man's intellect would in his little toe.

 

If however you have to awaken your hearts towards Me and enter upon the right humility in an exalted temple, then move outside into the temple of My Creations, and sun, moon and all the stars and the sea, the mountains and the trees and the birds of the air, as also the fish in the water and the countless flowers of the fields shall proclaim My glory to you!

 

Say, is not the tree more glorious than all the splendour of the temple at Jerusalem?! A tree is a pure work of God, it has its life and brings forth nourishing fruit. But what does the temple bring forth? I say unto you: nothing but arrogance, anger, envy, the most blatant jealousy and domineering; because it is not God's, but the vain work of man.

 

Verily, verily I say unto you all; he who shall honor, love and therewith worship Me by doing good to his brothers and sisters in My name shall have his everlasting reward in heaven; but he who henceforth honors Me with all kinds of ceremonies in a temple built especially for this shall also have his temporal reward from the temple! When however after the death of his flesh he shall come to Me and say: 'Lord, Lord, have mercy on me, your servant', I shall then say unto him: 'I do not know you; hence depart from Me and seek your reward with him who you served!' For this reason you too should henceforth have nothing more to do with any temple!

 

God also never taught the people to honor Him with lips and keep their hearts cold. But since Samuel prayed audibly in front of the people, equally so several of the prophets, and because David sang to God the Lord his psalms and Salmo his High Song, the people came to empty lip prayer and to cold sacrifices.

 

However, before God such prayers and sacrifices are repulsive! He who cannot pray in the heart should rather not pray at all, so as to not behave improper before God. God did not give feet, hands, eyes, ears and lips to man to pray vainly and vacuously, but only the heart!

 

For what use is the senseless bawling in the church, if thousands of poor and hungry brothers outside the church are not considered?!

 

Go and strengthen first the needy, feed the hungry, quench the thirsty, clothe the naked, comfort the sad, free the imprisoned and preach the gospel to the poor in spirit, then you will do endlessly better than to blare day and night in the churches with your lips, while your hearts were cold and unreceptive to your poor brothers!

 

Why would you build a separate house while you already have houses in which you live, wherein you also can come together in My name to discuss about My teaching and to tell about the experiences which everyone will certainly have when they live according to God's will?

 

It is also not necessary to introduce a certain feast day for that which you would call - like for instance the Pharisees call the Sabbath - 'the day of the Lord'. Because every day is a day of the Lord, and so on every day just as many good works can be done, because God does not look at a day and still less at a house that is build to honor and worship Him, but God looks only at the heart and the will of man. If the heart is pure and the will is good, and when these will make the whole man active, then this is already the true, real house of God's Spirit in man, and so his always good and active will according to the known will of God is the true and thus also the always real day of the Lord.

 

But if in a community you want to build a house out of love for Me, let this then be a school for your children, and give them teachers according to My teaching. You also can build a house for the poor, the sick and the disabled. Provide such a house of everything that is necessary to take care of the people who live there, then you always will be able to rejoice in My pleasure. All the rest and that which is in addition is evil and has, as already said, no value for God.

 

Do tell My children and all others, no matter of what religion: on earth there is only one church, and this is the love for Me in My Son. This love is the Holy Spirit within you, which reveals itself to you through My living Word. Thus I am in you; and your soul, whose heart is My dwelling place, is the sole Church on earth. In it alone there is eternal life, and it is the sole redeeming one! Or do you think I am present within the walls or in the ceremony or in prayer or veneration? Oh, no, there you are very much mistaken. There I am nowhere to be found, but only where there is love, there I am also!

… 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 …

  

Queensland State Archives Item ID 1137538

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 most rare ducks in the world, the Pateke is doing well at Zealandia and this male was guarding a nest where the female was covering five eggs.

Family: Anatidae (Dabbling ducks)

Status: endangered endemic

Brown teal is one of three closely related species of teal in New Zealand. The other two being the flightless subantarctic Auckland teal and Campbell Island teal.

Once common throughout New Zealand, habitat destruction, especially swamp drainage and predation, have resulted in brown teal becoming one of our most nationally endangered species of waterfowl. Approximately 1300 birds were surviving nationwide in 1999making it one of the rarest ducks in the world!

Most birds are to be found on Great Barrier Island. There are a few brown teal on Kapiti, Mana, and Tiritiri Matangi Islands, the eastern side of Northland and a new population has recently been established in the Coromandel area. Brown teal are regularly present at the Waikanae Estuary, probably part of the Kapiti Island population.

In the South Island, a few birds survive in Fiordland.

Recognition: About half the size of the common mallard duck, brown teal stand 48cm tall and weigh just over half a kilo as an adult. The male is slightly larger than the female. Brown teal have a warm brown plumage, with dark-brown mottling on the breast. Breeding males have a glossy green head, a narrow white collar, broad green and narrow white bands on the wings and a white flank patch. A distinctive feature of all brown teal is their blue-black bill and the narrow white ring around the eye. Their eyes are brown. Males give a soft whistle, and the female a low quack and growl.

Brown teal are often referred to as bush ducks, since they prefer stream and bushland habitats. They are reluctant flyers and are shallow divers, dabbling just below the surface for food. Their favourite food is invertebrates and they mainly feed in the evening or at night.

Breeding: Most brown teal breed from June to October but are able to breed at almost any time of the year.

They begin breeding at about 2 years of age and can lay clutches of up to 8 eggs. • Brown teal build a bowl-shaped nest near water, under the cover of dense tussocks or ferns, constructed with grasses lined with down. The female incubates the eggs about 30 days while the drake guards the nest - they are strongly territorial during breeding. Chicks fledge at an age of about 2 months. Brown teal pairs generally have stable relationships. The oldest known teal in the wild lived over 6 years.

Brown teal at Karori Sanctuary. 18 brown teal were initially released in 2000 and 2001. Breeding started from late 2002 and good productivity has resulted in increased competition for preferred wetland habitats and, because these habitats are limited in the Sanctuary, losses have occurred as a result.

Supplementary feeding of maize has been largely discontinued since early 2006 to reduce productivity and competition for territories.

Genetic analysis of the population in 2006-2007 should clarify whether or not there has been a loss of genetic diversity and whether additional birds need to be released into the population in future.

Active monitoring over the breeding season has ceased due to the fact that the population is self-sustaining.

Brown teal are readily seen on the lower and upper lakes. Being forest dwellers as well as water dwellers, some are being regularly seen at the kaka feeders below the upper dam at dusk and also at the southern end of the Faultline Track. The brown teal’s omnivorous diet, restricted annual range and mainly terrestrial lifestyle give it a unique ecological niche among waterfowl, somewhat akin to a wetland rodent, and it serves as a classic example of the influence of selective forces that operated on birds in pre-human New Zealand.

Flip the torso beam upside-down here. I wasn't actually consistent about making this a step of its own elsewhere in the instructions, so take this step as a warning that the model might be flipped before attaching parts in future steps. Pay close attention to the pictures and descriptions!

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

 

Nearly ready to move in! Future home office/studio for www.printmarketdirect.com , printing and graphic design.

Florence Cathedral (Italian: Duomo di Firenze), formally the Cathedral of Saint Mary of the Flower (Italian: Cattedrale di Santa Maria del Fiore [katteˈdraːle di ˈsanta maˈriːa del ˈfjoːre]), is the cathedral of the Catholic Archdiocese of Florence in Florence, Italy. Commenced in 1296 in the Gothic style to a design of Arnolfo di Cambio and completed by 1436 with a dome engineered by Filippo Brunelleschi,[1] the basilica's exterior is faced with polychrome marble panels in various shades of green and pink, alternated by white, and features an elaborate 19th-century Gothic Revival western façade by Emilio De Fabris.

 

The cathedral complex, in Piazza del Duomo, includes the Florence Baptistery and Giotto's Campanile. These three buildings are part of the UNESCO World Heritage Site covering the historic centre of Florence and are a major tourist attraction of Tuscany. The basilica is one of world's largest churches and its dome is still the largest masonry dome ever constructed.[2][3] The cathedral is the mother church and seat of the Archdiocese of Florence, whose archbishop is Gherardo Gambelli.[4]

  

The 19th century Neo-Gothic façade

History

Santa Maria del Fiore was built on the site of Florence's second cathedral dedicated to Saint Reparata;[5] the first bishop's seat was the Basilica of San Lorenzo, the initial building of which was consecrated as a church in 393 by St. Ambrose of Milan.[6][7] The ancient structure, founded in the early 5th century and having undergone many repairs, was crumbling with age, according to the 14th-century Nuova Cronica of Giovanni Villani,[8] and was no longer large enough to serve the growing population of the city.[8] Other major Tuscan cities had undertaken ambitious reconstructions of their cathedrals during the Late Medieval period, such as Pisa and particularly Siena where the enormous proposed extensions were never completed.

  

The Cathedral as depicted in the Codex Rustici of 1447

The city council of Florence approved Arnolfo di Cambio's design for the new church in 1294.[9] Di Cambio was also architect of the church of Santa Croce and the Palazzo Vecchio.[10][11] He designed three wide naves ending under an octagonal dome, with the middle nave covering the area of Santa Reparata. The first stone was laid on 9 September 1296, by Cardinal Valeriana, the first papal legate ever sent to Florence. The building of this vast project was to last 140 years; Arnolfo's plan for the eastern end, although maintained in concept, was greatly expanded in size.

  

The Duomo, as if completed, in a fresco by Andrea di Bonaiuto, painted in the 1360s, before the commencement of the dome

After Arnolfo died in 1302, building of the cathedral slowed for almost 50 years. When the relics of Saint Zenobius were discovered in 1330 in Santa Reparata, the project gained a new impetus. In 1331, the Arte della Lana, the guild of wool merchants, took over patronage for the construction of the cathedral and in 1334 appointed Giotto to oversee the work. Assisted by Andrea Pisano, Giotto continued di Cambio's design. His major contribution was to design and begin the construction of the campanile. When Giotto died on 8 January 1337, Andrea Pisano continued the building until work was halted due to the Black Death in 1348.

 

In 1349, action resumed on the cathedral under a series of architects, starting with Francesco Talenti, who finished the campanile and enlarged the overall project to include the apse and the side chapels. In 1359, Talenti was succeeded by Giovanni di Lapo Ghini (1360–1369) who divided the centre nave into four square bays. Other architects were Alberto Arnoldi, Giovanni d'Ambrogio, Neri di Fioravanti and Andrea Orcagna. By 1375, the old church of Santa Reparata was pulled down. The nave was finished by 1380, and only the dome remained incomplete until 1436.

 

On 19 August 1418,[12] the Arte della Lana announced an architectural design competition for erecting Neri's dome. The two main competitors were two master goldsmiths, Lorenzo Ghiberti and Filippo Brunelleschi, the latter of whom was supported by Cosimo de' Medici. Ghiberti had been the winner of a competition for a pair of bronze doors for the Baptistery in 1401 and lifelong competition between the two seem to remain. Brunelleschi won and received the commission.[13]

 

Ghiberti, appointed coadjutor, drew a salary equal to Brunelleschi's and, though neither was awarded the announced prize of 200 florins, was promised equal credit, although he spent most of his time on other projects. When Brunelleschi became ill, or feigned illness, the project was briefly in the hands of Ghiberti, but soon he supposedly had to admit that the whole project was beyond him. In 1423, Brunelleschi was back in charge and took over sole responsibility.[14]

 

Erection of the dome had begun in 1420 and was finished in 1436. The cathedral was consecrated by Pope Eugene IV on 25 March 1436, the first day of the year according to the Florentine calendar. It was the first 'octagonal dome in history to be built without a temporary wooden supporting frame. During the consecration in 1436, Guillaume Dufay's motet Nuper rosarum flores was performed.

 

The decoration of the exterior of the cathedral, begun in the 14th century, was left unfinished after the initial works done by Arnolfo di Cambio, which led Lorenzo de' Medici to initiate a design competition for the façade between 1490 and 1491.[15] The competition went ultimately nowhere, and the façade wasn't installed until the 19th century, in 1887, with the fabrication of Emilio De Fabris' polychrome marble design. The floor of the church had been relaid in marble tiles in the 16th century.

  

The Madonna of the Girdle of the Porta della Mandorla, by Nanni di Banco, 1414–21

The exterior walls are faced in alternate vertical and horizontal bands of polychrome marble from Carrara (white), Prato (green), Siena (red), Lavenza and a few other places. De Fabris had to copy the initially Romanesque cladding style peculiar to Tuscan church architecture such as the earlier baptistery (Battistero di San Giovanni), and Giotto's bell tower. There are two major side doors near the crossing: the Porta dei Canonici on the south side and the Porta di Mandorla to the north. The mandorla with the Madonna of the Girdle surrounded by angels was sculpted by Nanni di Banco. Nanni who worked with his father and others on the door, died way too early before the portal was completed. Nanni and the befriended young Donatello provided two youthful prophet figures for the top of the pinnacles flanking the portal which are now in the Museo dell'Opera del Duomo. The six side windows, notable for their delicate tracery and ornaments, are separated by pilasters. Only the four windows closest to the transept admit light; the other two are merely ornamental. The clerestory windows are round, a common Italian Gothic feature.

 

Exterior

Plan and structure

 

Plan of the church with various extension phases

The cathedral of Florence is built as a basilica, having a wide central nave of four square bays, with an aisle on either side. The chancel and transepts are of identical polygonal plan, separated by two smaller polygonal chapels. The whole plan forms a Latin cross. The nave and aisles are separated by wide pointed Gothic arches resting on composite piers.

 

Its arrangement of trilobate -three lobe- apses in the form of a flower was intended as a homage to Fiorenza, the "city of flowers".[16]

 

The dimensions of the building are enormous: building area 8,300 m2 (89,340 sq ft), length 153 m (502 ft), width 38 m (125 ft), width at the crossing 90 m (300 ft). The height of the arches in the aisles is 23 m (75 ft). The height of the dome is 114.5 m (375.7 ft).[17] It has the fifth tallest dome in the world.

 

Planned sculpture for the exterior

The Overseers of the Office of Works of Florence Cathedral, the Arte della Lana, had plans to commission a series of twelve large Old Testament sculptures for the buttresses of the cathedral.[18] Donatello, then in his early twenties, was commissioned to carve a statue of David in 1408, to top one of the buttresses, though it was never placed there. Nanni di Banco was commissioned to carve a marble statue of Isaiah, at the same scale, in the same year. One of the statues was lifted into place in 1409, but was found to be too small to be easily visible from the ground and was taken down; both statues then languished in the workshop of the opera for several years.[19][20][21] In 1409–1411 Donatello made a statue of a sitting Saint John the Evangelist which until 1588 was in a niche of the old cathedral façade. Between 1415 and 1426, Donatello created five statues for the campanile of Santa Maria del Fiore. These are the Beardless and the Bearded Prophet (both from 1415); the Sacrifice of Isaac (1421); Habbakuk (1423–25); and Jeremiah (1423–26); which follow the classical models for orators and are characterized by strong portrait details. A figure of Hercules, in terracotta, was commissioned from the Florentine sculptor Agostino di Duccio in 1463 and was made perhaps under Donatello's direction.[22] A statue of David by Michelangelo was completed 1501–1504 although it could not be placed on the buttress because of its six-ton weight. In 2010 a fiberglass replica of "David" was placed for one day on a roof-top buttress for a chapel's dome.[23][24]

 

Close view of the dome

After a hundred years of construction and by the beginning of the 15th century, the structure was still missing its dome. The basic features of the dome had been designed by Arnolfo di Cambio in 1296. His brick model, 4.6 m (15.1 ft) high, 9.2 m (30.2 ft) long, was standing in a side aisle of the unfinished building, and had long been sacrosanct.[25] It called for an octagonal dome higher and wider than any that had ever been built, with no external buttresses to keep it from spreading and falling under its own weight. [26]

 

The commitment to reject traditional Gothic buttresses had been made when Neri di Fioravanti's model was chosen over a competing one by Giovanni di Lapo Ghini.[27] That architectural choice, in 1367, was one of the first events of the Italian Renaissance, marking a break with the Medieval Gothic style and a return to the classic Mediterranean dome. Italian architects regarded Gothic flying buttresses as ugly makeshifts. Furthermore, the use of buttresses was forbidden in Florence, as the style was favored by central Italy's traditional enemies to the north.[28] Neri's model depicted a massive inner dome, open at the top to admit light, like Rome's Pantheon, partly supported by the inner dome, but enclosed in a thinner outer shell, to keep out the weather. It was to stand on an unbuttressed octagonal drum. Neri's dome would need an internal defense against spreading (hoop stress), but none had yet been designed.

 

The building of such a masonry dome posed many technical problems. Brunelleschi looked to the great dome of the Pantheon in Rome for solutions. The dome of the Pantheon is a single shell of concrete, the formula for which had long since been forgotten. The Pantheon had employed structural centring to support the concrete dome while it cured.[29] This could not be the solution in the case of a dome this size and would put the church out of use. For the height and breadth of the dome designed by Neri, starting 52 m (171 ft) above the floor and spanning 44 m (144 ft), there was not enough timber in Tuscany to build the scaffolding and forms.[30] Brunelleschi chose to follow such design and employed a double shell (a type of dome construction that was developed under the Seljuk Empire[31]) made of sandstone and marble. Brunelleschi would have to build the dome out of brick, due to its light weight compared to stone and being easier to form, and with nothing under it during construction. To illustrate his proposed structural plan, he constructed a wooden and brick model with the help of Donatello and Nanni di Banco, a model which is still displayed in the Museo dell'Opera del Duomo. The model served as a guide for the craftsmen, but was intentionally incomplete, so as to ensure Brunelleschi's control over the construction.

  

Interior of the dome

Brunelleschi's solutions were ingenious. The spreading problem was solved by a set of four internal horizontal stone and iron chains, serving as barrel hoops, embedded within the inner dome: one at the top, one at the bottom, with the remaining two evenly spaced between them. A fifth chain, made of wood, was placed between the first and second of the stone chains. Since the dome was octagonal rather than round, a simple chain, squeezing the dome like a barrel hoop, would have put all its pressure on the eight corners of the dome. The chains needed to be rigid octagons, stiff enough to hold their shape, so as not to deform the dome as they held it together.[26]

 

Each of Brunelleschi's stone chains was built like an octagonal railroad track with parallel rails and cross ties, all made of sandstone beams 43 cm (17 in) in diameter and no more than 2.3 m (7.5 ft) long. The rails were connected end-to-end with lead-glazed iron splices. The cross ties and rails were notched together and then covered with the bricks and mortar of the inner dome. The cross ties of the bottom chain can be seen protruding from the drum at the base of the dome. The others are hidden. Each stone chain was supposed to be reinforced with a standard iron chain made of interlocking links, but a magnetic survey conducted in the 1970s failed to detect any evidence of iron chains, which if they exist are deeply embedded in the thick masonry walls. Brunelleschi also included vertical "ribs" set on the corners of the octagon, curving towards the center point. The ribs, 4 m (13 ft) deep, are supported by 16 concealed ribs radiating from center.[32] The ribs had slits to take beams that supported platforms, thus allowing the work to progress upward without the need for scaffolding.[33]

 

A circular masonry dome can be built without supports, called centering, because each course of bricks is a horizontal arch that resists compression. In Florence, the octagonal inner dome was thick enough for an imaginary circle to be embedded in it at each level, a feature that would hold the dome up eventually, but could not hold the bricks in place while the mortar was still wet. Brunelleschi used a herringbone brick pattern to transfer the weight of the freshly laid bricks to the nearest vertical ribs of the non-circular dome.[34][35][36][37]

  

Baptistery of St. John next to the cathedral

The outer dome was not thick enough to contain embedded horizontal circles, being only 60 cm (2 ft) thick at the base and 30 cm (1 ft) thick at the top. To create such circles, Brunelleschi thickened the outer dome at the inside of its corners at nine different elevations, creating nine masonry rings, which can be observed today from the space between the two domes. To counteract hoop stress, the outer dome relies entirely on its attachment to the inner dome and has no embedded chains.[38]

 

A modern understanding of physical laws and the mathematical tools for calculating stresses were centuries in the future. Brunelleschi, like all cathedral builders, had to rely on intuition and whatever he could learn from the large scale models he built. To lift 37,000 tons of material, including over 4 million bricks, he invented hoisting machines and lewissons for hoisting large stones. These specially designed machines and his structural innovations were Brunelleschi's chief contribution to architecture. Although he was executing an aesthetic plan made half a century earlier, it is his name, rather than Neri's, that is commonly associated with the dome.

 

Brunelleschi's ability to crown the dome with a lantern was questioned and he had to undergo another competition, even though there had been evidence that Brunelleschi had been working on a design for a lantern for the upper part of the dome. The evidence is shown in the curvature, which was made steeper than the original model.[39] He was declared the winner over his competitors Lorenzo Ghiberti and Antonio Ciaccheri. His design (now on display in the Museum Opera del Duomo) was for an octagonal lantern with eight radiating buttresses and eight high arched windows. Construction of the lantern was begun a few months before his death in 1446. Then, for 15 years, little progress was possible, due to alterations by several architects. The lantern was finally completed by Brunelleschi's friend Michelozzo in 1461. The conical roof was crowned with a gilt copper ball and cross, containing holy relics, by Verrocchio in 1469. This brings the total height of the dome and lantern to 114.5 m (376 ft). This copper ball was struck by lightning on 17 July 1600 and fell down. It was replaced by an even larger one two years later.

  

Cupola of the Dome

The commission for this gilt copper ball [atop the lantern] went to the sculptor Andrea del Verrocchio, in whose workshop there was at this time a young apprentice named Leonardo da Vinci. Fascinated by Filippo's [Brunelleschi's] machines, which Verrocchio used to hoist the ball, Leonardo made a series of sketches of them and, as a result, is often given credit for their invention.[40]

 

Leonardo might have also participated in the design of the bronze ball, as stated in the G manuscript of Paris "Remember the way we soldered the ball of Santa Maria del Fiore".[41]

 

The decorations of the drum gallery by Baccio d'Agnolo were never finished after being disapproved by no one less than Michelangelo.

 

A huge statue of Brunelleschi now sits outside the Palazzo dei Canonici in the Piazza del Duomo, looking thoughtfully up towards his greatest achievement, the dome that would forever dominate the panorama of Florence. It is still the largest masonry dome in the world.[42]

 

The building of the cathedral had started in 1296 with the design of Arnolfo di Cambio and was completed in 1469 with the placing of Verrochio's copper ball atop the lantern. But the façade was still unfinished and would remain so until the 19th century.

 

Façade

The original façade, designed by Arnolfo di Cambio and usually attributed to Giotto, was actually begun twenty years after Giotto's death.[citation needed] A mid-15th-century pen-and-ink drawing of this so-called Giotto's façade is visible in the Codex Rustici, and in the drawing of Bernardino Poccetti in 1587, both on display in the Museum of the Opera del Duomo. This façade was the collective work of several artists, among them Andrea Orcagna and Taddeo Gaddi. This original façade was completed in only its lower portion and then left unfinished. It was dismantled in 1587–1588 by the Medici court architect Bernardo Buontalenti, ordered by Grand Duke Francesco I de' Medici, as it appeared totally outmoded in Renaissance times. Some of the original sculptures are on display in the Museum Opera del Duomo, behind the cathedral. Others are now in the Berlin Museum and in the Louvre.

 

The competition for a new façade turned into a huge corruption scandal.[citation needed] The wooden model for the façade of Buontalenti is on display in the Museum Opera del Duomo. A few new designs had been proposed in later years, but the models (of Giovanni Antonio Dosio, Giovanni de' Medici with Alessandro Pieroni and Giambologna) were not accepted. The façade was then left bare until the 19th century.

 

In 1864, a competition held to design a new façade was won by Emilio De Fabris (1808–1883) in 1871. Work began in 1876 and was completed in 1887. This neo-gothic façade in white, green and red marble forms a harmonious entity with the cathedral, Giotto's bell tower and the Baptistery.

 

Statue of Saint Reparata, to whom the previous cathedral was dedicated, in the main portal

Statue of Saint Reparata, to whom the previous cathedral was dedicated, in the main portal

Main portal

The three huge bronze doors date from 1899 to 1903. They are adorned with scenes from the life of the Madonna. The mosaics in the lunettes above the doors were designed by Niccolò Barabino. They represent (from left to right): Charity among the founders of Florentine philanthropic institutions; Christ enthroned with Mary and John the Baptist; and Florentine artisans, merchants and humanists. The pediment above the central portal contains a half-relief by Tito Sarrocchi of Mary enthroned holding a flowered scepter. Giuseppe Cassioli sculpted the right-hand door.

 

On top of the façade is a series of niches with the twelve Apostles with, in the middle, the Madonna with Child. Between the rose window and the tympanum, there is a gallery with busts of great Florentine artists.

 

Interior

 

Perspective illusion on the floor of the cathedral

The Gothic interior is vast and gives an impression of emptiness. The relative bareness of the church corresponds with the austerity of religious life, as preached by Girolamo Savonarola.

 

Many decorations in the church have been lost in the course of time, or have been transferred to the Museum Opera del Duomo, such as the magnificent cantorial pulpits (the singing galleries for the choristers) of Luca della Robbia and Donatello.

 

As this cathedral was built with funds from the public, some important works of art in this church honour illustrious men and military leaders of Florence:[43]

 

Lorenzo Ghiberti had a large artistic impact on the cathedral. Ghiberti worked with Filippo Brunelleschi on the cathedral for eighteen years and had a large number of projects on almost the whole east end. Some of his works were the stained glass designs, the bronze shrine of Saint Zenobius and marble revetments on the outside of the cathedral.

 

Dante Before the City of Florence by Domenico di Michelino (1465). This painting is especially interesting because it shows us, apart from scenes of the Divine Comedy, a view on Florence in 1465, a Florence such as Dante himself could not have seen in his time.

Funerary Monument to Sir John Hawkwood by Paolo Uccello (1436). This almost monochrome fresco, transferred to canvas in the 19th century, is painted in terra verde, a color closest to the patina of bronze.

Equestrian statue of Niccolò da Tolentino by Andrea del Castagno (1456). This fresco, transferred on canvas in the 19th century, in the same style as the previous one, is painted in a color resembling marble. However, it is more richly decorated and gives more the impression of movement. Both frescoes portray the condottieri as heroic figures riding triumphantly. Both painters had problems when applying in painting the new rules of perspective to foreshortening: they used two unifying points, one for the horse and one for the pedestal, instead a single unifying point.

Busts of Giotto (by Benedetto da Maiano), Brunelleschi (by Buggiano – 1447), Marsilio Ficino, and Antonio Squarcialupi (a most famous organist). These busts all date from the 15th and the 16th centuries.

Above the main door is the colossal clock face with fresco portraits of four Prophets or Evangelists by Paolo Uccello (1443). This one-handed liturgical clock shows the 24 hours of the hora italica (Italian time), a period of time ending with sunset at 24 hours. This timetable was used until the 18th century. This is one of the few clocks from that time that still exist and are in working order.[43]

 

The church is particularly notable for its 44 stained glass windows, the largest undertaking of this kind in Italy in the 14th and 15th century. The windows in the aisles and in the transept depict saints from the Old and the New Testament, while the circular windows in the drum of the dome or above the entrance depict Christ and Mary. They are the work of the greatest Florentine artists of their times, such as Donatello, Lorenzo Ghiberti, Paolo Uccello and Andrea del Castagno.[43]

 

Christ Crowning Mary as Queen, the stained-glass circular window above the clock, with a rich range of coloring, was designed by Gaddo Gaddi in the early 14th century.

 

Donatello designed the stained-glass window (Coronation of the Virgin) in the drum of the dome (the only one that can be seen from the nave).

 

The funeral monument of Antonio d'Orso (1323), bishop of Florence, was made by Tino da Camaino, the most important funeral sculptor of his time.

 

The monumental crucifix, behind the Bishop's Chair at the high altar, is by Benedetto da Maiano (1495–1497). The choir enclosure is the work of the famous Bartolommeo Bandinelli. The ten-paneled bronze doors of the sacristy were made by Luca della Robbia, who has also two glazed terracotta works inside the sacristy: Angel with Candlestick and Resurrection of Christ.[43]

 

In the back of the middle of the three apses is the altar of Saint Zanobius, first bishop of Florence. Its silver shrine, a masterpiece of Ghiberti, contains the urn with his relics. The central compartment shows us one of his miracles, the reviving of a dead child. Above this shrine is the painting Last Supper by the lesser-known Giovanni Balducci. There was also a glass-paste mosaic panel The Bust of Saint Zanobius by the 16th-century miniaturist Monte di Giovanni, but it is now on display in the Museum Opera del Duomo.[43]

 

Many decorations date from the 16th-century patronage of the Grand Dukes, such as the pavement in colored marble, attributed to Baccio d'Agnolo and Francesco da Sangallo (1520–26). Some pieces of marble from the façade were used, topside down, in the flooring (as was shown by the restoration of the floor after the 1966 flooding).[43]

 

The ceiling of the dome is decorated with a representation of The Last Judgment. Originally left whitewashed following its completion it was the Grand Duke Cosimo I de' Medici who decided to have the ceiling of the dome painted. This enormous work, 3,600 metres² (38 750 ft²) of painted surface, was started in 1572 by Giorgio Vasari and would not be completed until 1579.[44] The upper portion, near the lantern, representing The 24 Elders of Apocalypse was finished by Vasari before his death in 1574. Federico Zuccari with the assistance of Bartolomeo Carducci, Domenico Passignano and Stefano Pieri finished the other portions: (from top to bottom) Choirs of Angels; Christ, Mary and Saints; Virtues, Gifts of the Holy Spirit and Beatitudes; and at the bottom of the cupola: Capital Sins and Hell. These frescoes are considered Zuccari's greatest work. But the quality of the work is uneven because of the input of different artists and the different techniques. Vasari had used true fresco, while Zuccari had painted in secco. During the restoration work, which ended in 1995, the entire pictorial cycle of The Last Judgment was photographed with specially designed equipment and all the information collected in a catalogue. All the restoration information along with reconstructed images of the frescos were stored and managed in the Thesaurus Florentinus computer system.[45][46]

 

Astronomical observations

 

Observation of the solstice on 21 June 2012

In 1475 the Italian astronomer Paolo dal Pozzo Toscanelli (who was also a mathematical tutor of Brunelleschi) pierced a hole in the dome at 91.05 metres (298.7 ft) above the pavement to create a meridian line.[47] The height precluded the installation of a complete meridian line on the floor of the cathedral, but allowed a short section of approximately 10 metres (33 ft) to run between the main altar and the north wall of the transept. This allows for observation for around 35 days either side of the summer solstice.

 

Due to settlement in the building and also movements due to the outside temperature changes, the meridian line had limited astronomical value and fell into disuse until it was restored in 1755 by Leonardo Ximenes.[48]

 

The meridian line was covered over by the fabbricieri in 1894 and unveiled again in 1997. A yearly re-enactment of the observation takes place on 21 June each year at 12:00 UT.

 

Crypt

 

Tomb of Filippo Brunelleschi.

The cathedral underwent difficult excavations between 1965 and 1974. The archaeological history of this huge area was reconstructed through the work of Franklin Toker: remains of Roman houses, an early Christian pavement, ruins of the former cathedral of Santa Reparata and successive enlargements of this church. Close to the entrance, in the part of the crypt open to the public, is the tomb of Brunelleschi. While its location is prominent, the actual tomb is simple and humble. That the architect was permitted such a prestigious burial place is proof of the high esteem he was held in by the Florentines.[citation needed]

 

from wikipedia

The STS-96 crew gathers in the early morning for a snack in the Operations and Checkout Building before suiting up for launch. Space Shuttle Discovery is due to launch today at 6:49 a.m. EDT. Seated from left are Mission Specialists Daniel T. Barry and Ellen Ochoa, Pilot Rick D. Husband, Mission Commander Kent V. Rominger, and Mission Specialists Julie Payette, Valery Ivanovich Tokarev, and Tamara E. Jernigan. Tokarev represents the Russian Space Agency and Payette the Canadian Space Agency. STS-96 is a 10-day logistics and resupply mission for the International Space Station, carrying about 4,000 pounds of supplies to be stored aboard the station for use by future crews, including laptop computers, cameras, tools, spare parts, and clothing. The mission also includes such payloads as a Russian crane, the Strela; a U.S.-built crane; the Spacehab Oceaneering Space System Box (SHOSS), a logistics items carrier; and STARSHINE, a student- involved experiment. It will include a space walk to attach the cranes to the outside of the ISS for use in future construction. Landing is expected at the SLF on June 6 about 1:58 a.m. EDT. Image from NASA, originally appeared on this site: science.ksc.nasa.gov/gallery/photos/ Reposted by San Diego Air and Space Museum

Dive into the World of Aynbath:

aynbath.com/stories

 

About the Artwork:

He is the tome sniffing steppenwolf, the dark dweller, curious and critical. He will be the wandering protagonist of the "The Torn" stories and appear in future sequences.

"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.

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!

             

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.

 

www.wien-vienna.at/albertinabaugeschichte.php

 

On 12 June, the UN Fifth Committee (Administrative and Budgetary Issues) completed its review of peacekeeping budgets for July 1, 2012 to June 30, 2013. Overall, the Committee provided the resources necessary for peacekeeping operations to effectively meet their mandates in the coming year while paving the way for sustainable improvements in performance and efficiency in future years. Final approval by the General Assembly will take place later in June.

 

Specific accomplishments:

 

· Appropriated by consensus a budget of $7.32 billion for the operation of 18 peacekeeping operations and supporting activities.

 

· Achieved a net savings of $567 million to Member States. The total appropriation is $517 million below last year’s appropriation of $7.84 billion due to savings realized through downsizing and closing missions, cost efficient purchase of major equipment, good management practices, and scaling down headquarters functions where possible. In addition, a one-time adjustment in the Strategic Deployment Stocks account, resulting from efficient purchasing, will reduce member state assessments by an additional $50 million.

 

· Encouraged continued belt-tightening at the UN. Measured against the projections for actual peacekeeping expenses in the current period ($7.61 billion), the approved budget represents a 3.8% year-over-year decline.

 

· Advanced implementation of the Global Field Support Strategy designed to improve administrative and logistics support to peacekeeping operations by agreeing to relocate certain logistics functions to the UN’s Global Service Center in Brindisi, Italy and consider establishing regional support centers to support West Africa and Middle East missions. These service centers offer economies of scale by consolidating back office functions from several missions in a single location. The UN estimates that the GFSS has so far resulted in savings –upwards of $70 million to member states.

 

· Reaffirmed its unified support for the Secretary-General’s “zero tolerance” policy on sexual exploitation and abuse, and reiterated last year’s historic prohibition on making payments for troops who are sent home for sexual exploitation and abuse violations.

 

· Made the unprecedented acknowledgment of the chronic problem of low deployment of mission-critical equipment by some troop- and police-contributing countries, and explicitly called for countries to provide full unit capabilities, consisting of both personnel and equipment. Without these capabilities, contingents cannot perform the tasks required of them and missions cannot meet their mandates.

 

· Endorsed first-ever Secretary-General comprehensive review of civilian staffing structure to ensure that mission staffing aligns with changing requirements. The lack of such a process has created significant doubts about whether existing staffing structures are properly matched to mission mandates, deployment phases, and the specific situations on the ground.

 

· Recognized the important contribution of troop contributing countries. The budget resolution provided a supplemental payment of approximately $60 million to troop-contributing countries, pending completion of the work of the Senior Advisory Group on Troop Reimbursement and Related Issues.

 

------------------

 

Statement by Ambassador Joseph M. Torsella, U.S. Representative to the United Nations for UN Management and Reform, on the Approval by the UN's Fifth Committee of the 2012/2013 Peacekeeping Budget, June 14, 2012

 

Ambassador Joseph M Torsella

U.S. Representative for UN Management and Reform

New York, NY

June 15, 2012

    

--------------------------------------------------------------------------------

  

The United States welcomes the Fifth Committee’s approval of the UN peacekeeping budgets that provide significant savings to American taxpayers while supporting and strengthening crucial UN peacekeeping operations around the world.

 

Through management innovations, thoughtful downsizing where missions have changed, and shifting resources from overhead to operations, this budget lowers the price tag for UN peacekeeping by $517 million from last year’s level, and provides a one-time adjustment that will reduce member state assessments by an additional $50 million. This represents a reduction for the US taxpayers of more than $150 million compared to last year’s approved budget.

 

We also applaud the important reforms adopted during the session, including continued system-wide management efficiencies and performance improvements, strong support for a “zero tolerance” policy for sexual exploitation and abuse in peacekeeping, and the first-ever comprehensive review of civilian staffing to ensure that staffing levels better align with changing requirements as missions evolve.

 

UN peacekeeping is burden-sharing at its best and, when done right, a good deal for American taxpayers. The United States and our partners have consistently called for providing UN peacekeeping with the resources necessary to do the job, while also stewarding taxpayer resources more responsibly. While final peacekeeping costs will reflect how well the UN manages its budget in the months ahead – and may be updated to reflect new or unforeseen developments – we will continue to be vigilant to ensure that these gains are realized.

 

âª###

    

PRN: 2012/144

vigyanprasar.gov.in/isw/Dr-harsh-vardhan-dedicates-two-ne...

Union Minister for Science and Technology, Earth Sciences and Health and Family Welfare, Dr. Harsh Vardhan, today dedicated to the nation two databases brought out by the Department of Science and Technology on `S&T Awards in India’ and `Indian origin academicians and scholars abroad’.

 

The database on `S&T Awards in India’ is an attempt to build and manage the information about science and technology awards that have been instituted since 1928 in India. It provides data on various aspects such as discipline, periodicity, categories, awards level, chronology and state wise distribution of awards and their sponsors. It will be useful for planners, policy makers, funding agencies and other stakeholders to chalk out their programmes as per the priorities of R&D activities.

 

The database on `Indian Origin Academicians’, in turn, has information on 23,472 Indian academicians and research scholars working in various countries. It is of immense relevance/importance in the present-day scenario where international collaborations with knowledge experts are the key factor for S&T led growth and competitiveness. The project team explored around 2,700 academic university websites to gather this information from selected countries (US, UK, Australia and Canada).

 

The Minister released the databases at a function to mark the National Science Day, which is celebrated every year since 1987 in remembrance of Nobel Laureate Sir C.V.Raman’s path breaking discovery of Raman Effect in 1930.

 

He also presented the National S&T Communication Awards, AWSAR (Augmenting Writing Skills for Articulating Research) Awards, and SERB (Science and Engineering Research Board)’s Women Excellence Awards on the occasion.

 

Under the National S&T Communication Awards, Dr. S. Anil Kumar (Anilkumar Vadavathoor), a well known popular science writer in Malayalam has won the Award for Outstanding Efforts in Science & Technology Communication through Print Media including Books and Magazines; Indian Resource and Development Association and Mr. Mihir Kumar Panda the Award for Outstanding Efforts in Science & Technology Popularization among Children; Dr Sheffali Gulati, Delhi and Mr.Rakesh Khatri the Award for Outstanding Efforts in Science & Technology Communication through Innovative and Traditional Methods; and Dr. Krishna Kumari Challa the Award for Outstanding Efforts in Science & Technology Communication in Electronic Media.

  

National Science Communication Award Winner - Dr. S. Anil Kumar, Mihir Kumar Panda, Dr. Sheffali Gulati, Rakesh Khatri, Dr. Krishna Kumari Challa (top to bottom)

 

Union Minister for Science and Technology, Earth Sciences and Health and Family Welfare, Dr. Harsh Vardhan, today dedicated to the nation two databases brought out by the Department of Science and Technology on `S&T Awards in India’ and `Indian origin academicians and scholars abroad’.

 

In the case of AWSAR awards, Dr. Sangeeta Dutta of Jawaharlal Nehru Centre for Advanced Scientific Research (JNCASR) has won the AWSAR Award for Outstanding Story under the Post-doctoral fellow category; Ms. Pooja Maurya of CSIR- Central Drug Research Institute, Lucknow, the AWSAR Award: First Prize (PhD category); Ms. Indu Joshi of Indian Institute of Technology Delhi, the AWSAR Award: Second prize (PhD category); and Ms. Shruti Soni of Indian Institute of Science, Bangalore the AWSAR Award: Third prize (PhD category).

  

Photo-1: Winners of 'AWSAR' contest- Dr. Sangeeta Dutta (top left), Pooja Maurya (top right), Indu Joshi (bottom left), Shruti Soni (bottom right)

 

The winners of SERB Women Excellence Award are Dr. Shobhna Kapoor of Indian Institute of Technology Bombay, Dr. Antara Banerjee of National Institute for Research In Reproductive Health, Dr. Sonu Gandhi of National Institute of Animal Biotechnology, and Dr. Ritu Gupta, Indian Institute of Technology Jodhpur, Rajasthan

  

SERB Women-Excellence Award Winners- Dr. Shobhna Kapoor (top left), Antara Banerjee (top right), Dr. Ritu Gupta (bottom left), Dr. Sonu Gandhi (bottom right)

 

Speaking on the occasion, the Minister noted that India's global position both in innovations and scientific publications has seen a rising trend over the last six years, with its Global Innovation Index (GII) ranking improving rapidly to 48 (2020) from 81 (2015) and Scientific Publication ranking to 3rd position (2018) from 6th (2014)

 

Further, he pointed out that India ranked 8th in patents filed by resident scientists/innovators from respective countries as per WIPO Statistics and ranked 3rd in number of PhD degrees awarded (24,474) in Science and Engineering. Besides, women’s participation in R&D has increased to 16.6% (2018) from 13.9% (2016). India has reached 3rd position in the world in terms of number of startups.

 

He pointed out that compared to last year there has been a 30 per cent increase in the budget of the Ministry of Science & Technology and Earth Sciences put together for the year 2021-22 and said that the Country’s upcoming Science, Technology and Innovation (STI) Policy aspired to position India much higher among globally competitive and innovative economies and the coming policy on Scientific Social Responsibility will seek to provide a big impetus to create the mindset and value systems to recognize, respect, and reward performances which create wealth from S&T derived knowledge.

affairscloud.com/national-science-day-2021.../

pib.gov.in/PressReleseDetailm.aspx?PRID=1701553&fbcli...

Indian Emblem

Press Information Bureau

Government of India

Search

Press Releases

Gallery

Events

Media Facilitation

About Us

Archive

Fact Check

 

Submit

Ministry of Science & Technology

Dr Harsh Vardhan gives away awards to science communicators and women scientists on National Science Day

 

The 30 percent increase in the budget of Ministry of Science & Technology and Earth Sciences put together for the year 2021-22 would provide stimulus to S&T infrastructure resources in the country: Dr Harsh Vardhan

 

“Fundamental and Translational Research have to be people centric. So on this National Science Day, let each scientist dream of something new to make perceptible difference to the life of people in India”: Dr Harsh Vardhan

 

Dr. Harsh Vardhan also releases the first-ever National S&T Databases on S&T Awards in India and Indian origin Academicians abroad

 

Also confers an appreciation shield to National S&T database developers

Posted On: 28 FEB 2021 7:10PM by PIB Delhi

Union Minister for Science & Technology, Earth Sciences and Health & Family Welfare, Dr. Harsh Vardhan today highlighted how science technology and innovation (STI) would impact our future in education, skills and functioning in the post-pandemic world. He was addressing the National Science Day (NSD) funFction through video-conferencing from Imphal, Manipur. Awards to science communicators and women scientists were also conferred by the Science & Technology Minister on the occasion of National Science Day which is celebrated to commemorate the discovery of Raman Effect on this day every year. The NSD celebrations were organized by the National Council for Science Technology Communication (NCSTC), Department of Science &

   

Dr. Harsh Vardhan said, “The 30 percent increase in the budget of Ministry of Science & Technology and Earth Sciences put together for the year 2021-22 would provide stimulus to S&T infrastructure resources in the country”. The Union Minister said that in view of last year's challenges thrown by the COVID-19 pandemic, the theme of the National Science Day 2021, ‘Future of STI: Impacts on Education, Skills, and Work,’ becomes all the more important.

 

“World has witnessed how Indian S&T systems rose to this recent unprecedented crisis caused by the pandemic. Scientific awareness and health preparedness shall become even more important in post-COVID 19 times. A comprehensive National programme has already been launched on health and risk communication with a focus on COVID-19, namely, Year of Awareness on Science & Health (YASH). We have brought out an online interactive multimedia bilingual resource for mass awareness on COVID- 19, COVID Katha,” Dr. Harsh Vardhan disclosed.

 

“The data portals launched today will be game changers. We feel that scientists with legacy from India should be on one platform and contribute to India’s growth story”, the Minister explained. He further said that the Prime Minister has been talking about Scientific Social Responsibility for which the Fundamental and Translational Research have to be people centric. “So on this National Science Day, let each scientist dream of something new to make perceptible difference to the life of people in India”, Dr Harsh Vardhan urged.

 

He also underlined the importance of sustained efforts of inculcating, nurturing, and unleashing the scientific temper and innovative mindset of projected population of 1.5 billion (+) people in 2050 for sustainable and inclusive growth.

 

Dr. Harsh Vardhan presented the National S&T Communication Awards, Augmenting Writing Skills for Articulating Research (AWSAR) awards, and SERB Women Excellence Awards and conferred Rajendra Prabhu Memorial Appreciation Shield for outstanding work in science media and journalism.

   

The Minister also released the first-ever National S&T Databases on S&T Awards in India and Indian origin Academicians abroad. The database on S&T Awards in India is an excellent source of information about S&T awards presented to R&D professionals in India. The database of Indian Origin Academicians is a unique database developed in the country and has a huge information base of about 23,472 Indian academicians and research scholars working in various countries. Dr. Harsh Vardhan also conferred an appreciation shield to National S&T database developers.

 

Speaking on the efforts of the Department of Science and Technology (DST) in driving STI as a tool for the growth and development of the country, Secretary DST Prof. Ashutosh Sharma said that science and technology has a critical role in creating ‘Atmanirbhar Bharat’, which is ready for the future. “Future of STI is going to impact us in every aspect of life. Recalling our glorious past will show us the light to take us to future. There are huge challenges, like sustainable development, climate change, clean energy, rise of intelligent machines, and so on. The future is multi-disciplinary, and in order to solve problems, one has to approach them in an interdisciplinary manner. The job of scientists is to help reach science to every corner of the country”, he pointed out.

 

Dr Shekhar C Mande, Secretary, DSIR and DG, CSIR, highlighted the contributions of the Indian scientific community during COVID-19 pandemic. “The pandemic has shown that the Indian S&T community is ready for facing all the challenges like the recent pandemic and those that may come in the future,” he said.

 

Dr. Gargi B Dasgupta, Director, IBM Research India, and CTO, IBM India and South Asia, Bangalore, India, delivered the special lecture on the theme and said that fourth industrial revolution is creating demand for new skill sets displacing existing jobs as well as giving rise to new ones. She spoke about the future of jobs and the urgency of science, highlighting the recent study by World Economic Forum (WEF) on the new emerging job clusters and the skills required for the economy of tomorrow.

 

Secretary, SERB Prof Sandeep Verma and Head, NCSTC Dr. Praveen Arora were also present on occasion.

 

National Science Day is celebrated every year on 28th February to commemorate the announcement of the discovery of the ‘Raman Effect’ by Sir C.V. Raman, for which he was awarded the Nobel Prize in 1930. The government of India designated 28 February as National Science Day (NSD) in 1986. Since then, theme-based science communication activities are carried out all over the country on this occasion.

 

National Council for Science & Technology Communication (NCSTC), DST acts as a nodal agency to support, catalyze and coordinate the celebration of the National Science Day throughout the country in scientific institutions, research laboratories, and autonomous scientific institutions associated with the Ministry of Science and Technology. NCSTC has supported various programmes countrywide through State S&T Councils & Departments for organization of a range of activities, such as lectures, quizzes, open houses, etc. DST also instituted National Awards for Science Popularization in 1987 to stimulate, encourage and recognize outstanding efforts in the area of science and technology communication and popularization as well as inculcating scientific temper among masses. These awards are presented every year on National Science Day. The awards consist of a memento, citation, and award money.

   

List of Awardees:

   

Science and Technology Communication Awardees

 

National Award for Outstanding Efforts in Science & Technology Communication through Print Media including Books and Magazines. : Dr. S. Anil Kumar, Kerala

 

National Award for Outstanding Efforts in Science & Technology Popularization among Children: (1) Indian Resource and Development Association, Haryana (2) Dr. Mihir Kumar Panda, Odisha

 

National Award for Outstanding Efforts in Science & Technology Communication through Innovative and Traditional Methods: (1) Dr. Sheffali Gulati, Delhi (2) Shri Rakesh Khatri, Delhi

 

National Award for Outstanding Efforts in Science & Technology Communication in the Electronic Medium: Dr. Krishna Kumari Challa, Telangana

 

Rajendra Prabhu Memorial Appreciation Shield for Outstanding Work in Science Media and Journalism: Dr. S. Anil Kumar, Kerala

 

Appreciation Shield for National S&T Databases

 

S&T Awards in India: Dr Lalit Mohan, Society for Environment & Development (SED), Delhi

 

Indian origin Academicians Abroad: Dr. Rajesh Bhatia & Team, Punjab Engineering College (PEC), Chandigarh

   

AWSAR Awardees

 

Outstanding Story (PDF category)

Dr. Sangeeta Dutta, Bengaluru, Karnataka

 

AWSAR Award: First Prize (Ph.D. category)

Ms. Pooja Maurya, Lucknow, Uttar Pradesh

 

AWSAR Award: Second prize (Ph.D. category)

Ms. Indu Joshi, New Delhi, Delhi

 

AWSAR Award: Third prize (Ph.D. category)

Ms. Shruti Soni, Bangalore, Karnataka

   

SERB Women Excellence Awardees

 

Dr. Shobhna Kapoor

 

Assistant Professor

 

Indian Institute of Technology Bombay

 

Mumbai, Maharashtra

   

Dr. Antara Banerjee

 

Scientist B

 

National Institute for Research in Reproductive Health

 

Mumbai, Maharashtra

   

Dr. Sonu Gandhi

 

Scientist D

 

National Institute of Animal Biotechnology

 

Hyderabad, Telangana

   

Dr. Ritu Gupta

 

Assistant Professor

 

Indian Institute of Technology Jodhpur

 

Jodhpur, Rajasthan

   

(PLEASE CLICK HERE FOR DETAILS OF AWARDEES):

 

1… AWASAR

 

2….NCSTC

 

Click here to see Brochure NSD

 

indiaeducationdiary.in/dr-harsh-vardhan-gives-away-awards...

  

Dr Harsh Vardhan Gives Away Awards To Science Communicators And Women Scientists On National Science Day

By India Education Diary Bureau Admin On Feb 28, 2021

Share

New Delhi: Union Minister for Science & Technology, Earth Sciences and Health & Family Welfare, Dr. Harsh Vardhan today highlighted how science technology and innovation (STI) would impact our future in education, skills and functioning in the post-pandemic world. He was addressing the National Science Day (NSD) funFction through video-conferencing from Imphal, Manipur. Awards to science communicators and women scientists were also conferred by the Science & Technology Minister on the occasion of National Science Day which is celebrated to commemorate the discovery of Raman Effect on this day every year. The NSD celebrations were organized by the National Council for Science Technology Communication (NCSTC), Department of Science &

   

Dr. Harsh Vardhan said, “The 30 percent increase in the budget of Ministry of Science & Technology and Earth Sciences put together for the year 2021-22 would provide stimulus to S&T infrastructure resources in the country”. The Union Minister said that in view of last year’s challenges thrown by the COVID-19 pandemic, the theme of the National Science Day 2021, ‘Future of STI: Impacts on Education, Skills, and Work,’ becomes all the more important.

 

“World has witnessed how Indian S&T systems rose to this recent unprecedented crisis caused by the pandemic. Scientific awareness and health preparedness shall become even more important in post-COVID 19 times. A comprehensive National programme has already been launched on health and risk communication with a focus on COVID-19, namely, Year of Awareness on Science & Health (YASH). We have brought out an online interactive multimedia bilingual resource for mass awareness on COVID- 19, COVID Katha,” Dr. Harsh Vardhan disclosed.

 

“The data portals launched today will be game changers. We feel that scientists with legacy from India should be on one platform and contribute to India’s growth story”, the Minister explained. He further said that the Prime Minister has been talking about Scientific Social Responsibility for which the Fundamental and Translational Research have to be people centric. “So on this National Science Day, let each scientist dream of something new to make perceptible difference to the life of people in India”, Dr Harsh Vardhan urged.

 

He also underlined the importance of sustained efforts of inculcating, nurturing, and unleashing the scientific temper and innovative mindset of projected population of 1.5 billion (+) people in 2050 for sustainable and inclusive growth.

 

Dr. Harsh Vardhan presented the National S&T Communication Awards, Augmenting Writing Skills for Articulating Research (AWSAR) awards, and SERB Women Excellence Awards and conferred Rajendra Prabhu Memorial Appreciation Shield for outstanding work in science media and journalism.

   

The Minister also released the first-ever National S&T Databases on S&T Awards in India and Indian origin Academicians abroad. The database on S&T Awards in India is an excellent source of information about S&T awards presented to R&D professionals in India. The database of Indian Origin Academicians is a unique database developed in the country and has a huge information base of about 23,472 Indian academicians and research scholars working in various countries. Dr. Harsh Vardhan also conferred an appreciation shield to National S&T database developers.

 

Speaking on the efforts of the Department of Science and Technology (DST) in driving STI as a tool for the growth and development of the country, Secretary DST Prof. Ashutosh Sharma said that science and technology has a critical role in creating ‘Atmanirbhar Bharat’, which is ready for the future. “Future of STI is going to impact us in every aspect of life. Recalling our glorious past will show us the light to take us to future. There are huge challenges, like sustainable development, climate change, clean energy, rise of intelligent machines, and so on. The future is multi-disciplinary, and in order to solve problems, one has to approach them in an interdisciplinary manner. The job of scientists is to help reach science to every corner of the country”, he pointed out.

 

Dr Shekhar C Mande, Secretary, DSIR and DG, CSIR, highlighted the contributions of the Indian scientific community during COVID-19 pandemic. “The pandemic has shown that the Indian S&T community is ready for facing all the challenges like the recent pandemic and those that may come in the future,” he said.

 

Dr. Gargi B Dasgupta, Director, IBM Research India, and CTO, IBM India and South Asia, Bangalore, India, delivered the special lecture on the theme and said that fourth industrial revolution is creating demand for new skill sets displacing existing jobs as well as giving rise to new ones. She spoke about the future of jobs and the urgency of science, highlighting the recent study by World Economic Forum (WEF) on the new emerging job clusters and the skills required for the economy of tomorrow.

 

Secretary, SERB Prof Sandeep Verma and Head, NCSTC Dr. Praveen Arora were also present on occasion.

 

National Science Day is celebrated every year on 28th February to commemorate the announcement of the discovery of the ‘Raman Effect’ by Sir C.V. Raman, for which he was awarded the Nobel Prize in 1930. The government of India designated 28 February as National Science Day (NSD) in 1986. Since then, theme-based science communication activities are carried out all over the country on this occasion.

 

National Council for Science & Technology Communication (NCSTC), DST acts as a nodal agency to support, catalyze and coordinate the celebration of the National Science Day throughout the country in scientific institutions, research laboratories, and autonomous scientific institutions associated with the Ministry of Science and Technology. NCSTC has supported various programmes countrywide through State S&T Councils & Departments for organization of a range of activities, such as lectures, quizzes, open houses, etc. DST also instituted National Awards for Science Popularization in 1987 to stimulate, encourage and recognize outstanding efforts in the area of science and technology communication and popularization as well as inculcating scientific temper among masses. These awards are presented every year on National Science Day. The awards consist of a memento, citation, and award money.

   

List of Awardees:

   

Science and Technology Communication Awardees

 

National Award for Outstanding Efforts in Science & Technology Communication through Print Media including Books and Magazines. : Dr. S. Anil Kumar, Kerala

 

National Award for Outstanding Efforts in Science & Technology Popularization among Children: (1) Indian Resource and Development Association, Haryana (2) Dr. Mihir Kumar Panda, Odisha

 

National Award for Outstanding Efforts in Science & Technology Communication through Innovative and Traditional Methods: (1) Dr. Sheffali Gulati, Delhi (2) Shri Rakesh Khatri, Delhi

 

National Award for Outstanding Efforts in Science & Technology Communication in the Electronic Medium: Dr. Krishna Kumari Challa, Telangana

 

Rajendra Prabhu Memorial Appreciation Shield for Outstanding Work in Science Media and Journalism: Dr. S. Anil Kumar, Kerala

 

Appreciation Shield for National S&T Databases

 

S&T Awards in India: Dr Lalit Mohan, Society for Environment & Development (SED), Delhi

 

Indian origin Academicians Abroad: Dr. Rajesh Bhatia & Team, Punjab Engineering College (PEC), Chandigarh

  

hindi.webdunia.com/national-hindi-news/raman-effect-awsar...

 

राष्ट्रीय विज्ञान दिवस पर पुरस्कृत किए गए विज्ञान संचारक

National Science Day

 

Last Updated: सोमवार, 1 मार्च 2021 (12:07 IST)नई दिल्ली, समाज में वैज्ञानिक चेतना के प्रचार-प्रसार में जुटे विज्ञान संचारकों को राष्ट्रीय विज्ञान दिवस (28 फरवरी) के अवसर पर राष्ट्रीय पुरस्कार प्रदान किए गए हैं।

 

राष्ट्रीय विज्ञान एवं प्रौद्योगिकी संचार परिषद (एनसीएसटीसी) की ओर से हर वर्ष विज्ञान एवं प्रौद्योगिकी संचार में उल्लेखनीय योगदान देने वाले संचारकों को ये पुरस्कार प्रदान किए जाते हैं। विज्ञान एवं प्रौद्योगिकी राष्ट्रीय संचार पुरस्कार के साथ-साथ इस मौके पर साइंस ऐंड इंजीनियरिंग रिसर्च बोर्ड (एसईआरबी) वुमन-एक्सिलेंस अवार्ड, और ‘अवसर’ (ऑग्मेंटिंग राइटिंग स्किल्स फॉर आर्टिकुलेटिंग रिसर्च) प्रतियोगिता के विजेताओं को भी पुरस्कृत किया गया है।

 

विज्ञान एवं प्रौद्योगिकी संचार परिषद (एनसीएसटीसी) द्वारा विज्ञान को लोकप्रिय बनाने और संचार के क्षेत्र में उत्कृष्ट प्रयासों के प्रोत्साहन और वैज्ञानिक अभिरुचि बढ़ाने में योगदान देने वाले लोगों एवं संस्थाओं को छह श्रेणियों में विज्ञान एवं प्रौद्योगिकी राष्ट्रीय संचार पुरस्कार दिया जाता है। वहीं, ‘अवसर’ एक अखिल भारतीय प्रतियोगिता है, जिसमें विज्ञान एवं प्रौद्योगिकी से जुड़े विभिन्न विषयों में डॉक्टोरल या पोस्ट डॉक्टोरल शोधार्थियों से उनके शोध विषय पर आधारित सरल भाषा में आलेख आमंत्रित किए जाते हैं, और चयनित सर्वश्रेष्ठ आलेखों को पुरस्कृत किया जाता है। इसी तरह, विज्ञान एवं इंजीनियरिंग में उत्कृष्ट शोध को प्रोत्साहित करने के लिए युवा महिला वैज्ञानिकों (40 वर्ष से कम आयु) को एसईआरबी वुमन-एक्सिलेंस अवार्ड प्रदान किया जाता है।

 

केंद्रीय विज्ञान एवं प्रौद्योगिकी, पृथ्वी विज्ञान, स्वास्थ्य तथा परिवार कल्याण मंत्री डॉ हर्षवर्धन ने पुरस्कृत लोगों को बधाई देते हुए कहा है कि “वर्ष 2021 के राष्ट्रीय विज्ञान दिवस की विषयवस्तु “विज्ञान, प्रौद्योगिकी एवं नवाचार का भविष्यः शिक्षा, कौशल एवं कार्य पर प्रभाव” है, जो वर्तमान परिदृश्य के अनुकूल है।

National Science Day

पिछले एक साल में, कोविड-19 की चुनौतियों के बावजूद विज्ञान से संबंधित मंत्रालयों के लिए वर्ष 2021 उपलब्धि भरा रहा है। दुनिया ने देखा कि महामारी से उपजे अप्रत्याशित संकट से उबरने में भारतीय विज्ञान एवं प्रौद्योगिकी तंत्र ने कैसे भूमिका निभायी है।” उन्होंने कहा कि हम तब तक एक स्थायी और समावेशी विकास का सपना नहीं देख सकते, जब तक कि वर्ष 2050 तक 150 करोड़ से अधिक लोगों की अनुमानित आबादी में वैज्ञानिक दृष्टिकोण और नवोन्मेषी मानसिकता के विकास के लिए निरंतर प्रयास न करें।”

 

इस मौके पर मौजूद विज्ञान एवं प्रौद्योगिकी विभाग के सचिव प्रोफेसर आशुतोष शर्मा ने कहा कि “राष्ट्रीय विज्ञान दिवस एक ऐसा दिन है, जब हम न केवल ‘रामन प्रभाव’ को याद करते हैं, और इसका उत्सव मनाते हैं, बल्कि यह एक ऐसा अवसर है, जब हम आचार्य रामन के वैज्ञानिक कार्यों में निहित दृष्टिकोण से नये सबक भी सीख सकते हैं। उनको आचार्य कहना अधिक उपयुक्त है, क्योंकि इस शब्द का संबंध एक गौरवशाली परंपरा से है। आचार्य का अर्थ, ‘सर’ से बिल्कुल अलग है। ‘सर’ एक टाइटल है, जबकि आचार्य का अर्थ मूल रूप से स्कॉलर से जोड़कर देखा जाता है।”

National Science Day

नयी विज्ञान, प्रौद्योगिकी एवं नवाचार नीति का जिक्र करते हुए प्रोफेसर आशुतोष शर्मा ने कहा कि “इस नीति में कई ऐसे अध्याय शामिल हैं, जो भविष्य की जरूरतों पर आधारित हैं, और विज्ञान को समाज से जोड़ने पर ध्यान केंद्रित करते हैं। भविष्य में हमें दो महत्वपूर्ण तथ्यों पर ध्यान केंद्रित करने की जरूरत होगी। सबसे पहले तो शोध कार्यों की प्रासंगिकता एवं उनकी सही दिशा का निर्धारण जरूरी है। वहीं, दूसरा आयाम शोध कार्यों की गुणवत्ता और गंभीरता से संबंधित है। दूसरों की नकल करके शोध विषयों का चयन करने का औचित्य नहीं है। हमें अपने आइडिया के आधार पर कार्य करना होगा, जो विज्ञान के क्षेत्र में भारत को लीडर के रूप में उभरने में मदद कर सकते हैं। इस तरह हम आचार्य रामन को याद कर सकते हैं।”

 

इस अवसर पर वैज्ञानिक तथा औद्योगिक अनुसंधान परिषद के महानिदेशक डॉ शेखर सी. मांडे ने ‘रामन प्रभाव’ की खोज से जुड़े महत्वपूर्ण पड़ावों और इससे संबंधित शोध कार्य में एक अन्य प्रमुख वैज्ञानिक के.एस. कृष्णन की भूमिका के बारे में जिक्र किया।

 

उन्होंने कहा कि “हम भले ही कोविड-19 महामारी से मजबूती से लड़ने में सफल हुए हैं, लेकिन आगे भी इस तरह की चुनौतियां बनी रहेंगी। महामारियों के अलावा, जलवायु परिवर्तन एक अन्य प्रमुख चुनौती है, जिससे निपटने के लिए प्रभावी वैज्ञानिक समाधान खोजने होंगे।”

 

पुस्तकों एवं पत्रिकाओं सहित प्रिंट मीडिया के माध्यम से विज्ञान एवं प्रौद्योगिकी संचार में योगदान के लिए इस बार कोट्टायम, केरल के डॉ अनिल कुमार को राष्ट्रीय पुरस्कार से सम्मानित किया गया है। इस पुरस्कार के तहत दो लाख रुपये की नकद राशि, स्मृति चिह्न और प्रशस्ति पत्र प्रदान किया गया है। विज्ञान एवं प्रौद्योगिकी संचार में उत्कृष्ट प्रयास के लिए पांच लाख रुपये का राष्ट्रीय पुरस्कार हरियाणा की संस्था इंडियन रिसोर्स ऐंड डेवलपमेंट एसोसिएशन और बालासोर, ओडिशा के वैज्ञानिक एवं नवप्रवर्तनकर्ता मिहिर कुमार पांडा को प्रदान किया गया है।

नवप्रवर्तक एवं पारंपरिक प्रणालियों के माध्यम से विज्ञान एवं प्रौद्योगिकी संचार के लिए दो लाख रुपये का राष्ट्रीय पुरस्कार दिल्ली की डॉ शेफाली गुलाटी और राकेश खत्री को प्रदान किया गया है। इलेक्ट्रॉनिक माध्यम में दो लाख रुपये का विज्ञान एवं प्रौद्योगिकी राष्ट्रीय संचार पुरस्कार तेलंगाना की डॉ कृष्ण कुमारी चल्ला को दिया गया है।

 

डॉ एस. अनिल कुमार मलयालम के एक प्रसिद्ध लेखक हैं। उन्होंने करीब 1500 नवोदित पत्रकारों को प्रशिक्षण प्रदान किया, कार्यशालाएं आयोजित कीं, और विज्ञान संचार के क्षेत्र में संचारकों के लिए आधा दर्जन पाठ्यपुस्तकें लिखी हैं। डॉ अनिल कुमार के 1500 से अधिक लेख/फीचर प्रकाशित हुए हैं एवं पॉपुलर साइंस पर आधारित 40 पुस्तकें भी उन्होंने लिखी हैं।

 

इंडियन रिसोर्स ऐंड डेवलपमेंट एसोसिएशन एवं मिहिर कुमार पांडा को अनूठे तरीकों से विज्ञान एवं प्रौद्योगिकी के प्रचार-प्रसार के लिए पुरस्कृत किया गया है। इन तरीकों में कठपुतली शो, फिल्म एवं स्लाइड शो, विज्ञान मेलों का आयोजन, प्रदर्शनी एवं वैज्ञानिक प्रयोगों पर आधारित कार्यशालाएं शामिल हैं। डॉ शेफाली गुलाटी ने व्याख्यान एवं प्रिंट तथा ऑडियो-विजुअल मीडिया द्वारा विज्ञान को लोकप्रिय बनाने में योगदान दिया है। वहीं, डॉ राकेश खत्री करीब तीन दशक से रंगमंच, कार्यशालाओं, मॉडल्स, नेचर टूर जैसे प्रयासों के माध्यम से विज्ञान के प्रति आकर्षण पैदा करने का कार्य करने में जुटे रहे हैं।

 

डॉ कृष्णा कुमारी चल्ला भी करीब डेढ़ दशक से दृश्य कला, साहित्य, वीडयो, टीवी और इंटरनेट के उपयोग से आम लोगों के लिए विज्ञान संचार कर रही हैं।

 

एसईआरबी वुमन-एक्सिलेंस अवार्ड इस बार चार महिला वैज्ञानिकों को प्रदान किया गया है। इनमें आईआईटी, बॉम्बे में असिस्टेंट प्रोफेसर शोभना कपूर, मुंबई स्थित नेशनल इंस्टीट्यूट फॉर रिसर्च इन रिप्रोडक्टिव हेल्थ की वैज्ञानिक डॉ अंतरा बैनर्जी, हैदराबाद स्थित नेशनल इंस्टीट्यूट ऑफ बायोटेक्नोलॉजी की वैज्ञानिक डॉ सोनू गांधी, और आईआईटी, जोधपुर में असिस्टेंट प्रोफेसर डॉ रितु गुप्ता शामिल हैं।

 

‘अवसर’ प्रतियोगिता के अंतर्गत पोस्ट डॉक्टोरल श्रेणी में उत्कृष्ट आलेख के लिए बेंगलुरु स्थित जवाहरलाल नेहरु सेंटर फॉर एडवांस्ड साइंटिफिक रिसर्च की शोधार्थी डॉ संगीता दत्ता को पुरस्कृत किया गया है। इन्मास, डीआरडीओ से पीएचडी डिग्री प्राप्त डॉ संगीता जैव प्रौद्योगिकी विभाग में अपने पोस्ट डॉक्टोरल प्रोजेक्ट के लिए रिसर्च एसोसिएट के तौर पर कार्य कर चुकी हैं। उनके पांच शोध पत्र प्रकाशित हुए हैं, और एक पेटेंट भी उनके नाम दर्ज है। ‘अवसर’ प्रतियोगिता की पीएचडी श्रेणी में प्रथम पुरस्कार सीएसआईआर-सीडीआरआई, लखनऊ की शोधार्थी पूजा मौर्या को मिला है। द्वितीय पुरस्कार आईआईटी, दिल्ली में कंप्यूटर साइंस की शोधार्थी इंदु जोशी, और तृतीय पुरस्कार भारतीय विज्ञान संस्थान, बेंगलुरु की शोधार्थी श्रुति सोनी को दिया गया है।

 

सभी पुरस्कार विजेताओं को बधाई देते हुए डॉ हर्ष वर्धन ने कहा है कि "विज्ञान संचार एवं लोकप्रियकरण से जुड़े उत्कृष्ट प्रयास, वैज्ञानिक शोध में युवा महिलाओं का योगदान और विज्ञान संचार में अभिनव प्रयोग सराहनीय हैं।"

 

डॉ हर्ष वर्धन ने इस मौके पर वर्चुअल रूप से विज्ञान एवं प्रौद्योगिकी पुरस्कारों पर आधारित सूचनाओं से लैस एक ऑनलाइन डेटाबेस लॉन्च किया है। साइंस ऐंड टेक्नोलॉजी अवार्ड इन्फॉर्मेशन रिट्रीवल सिस्टम (STAIRS) नामक यह डेटाबेस स्वतंत्रा से पहले से लेकर अब तक विज्ञान एवं प्रौद्योगिकी के क्षेत्र में पुरस्कृत भारतीय पेशेवरों के बारे में जानकारी उपलब्ध कराएगा।

 

इसी के साथ, विदेशों में कार्यरत भारतीय मूल के शिक्षाविदों एवं शोधकर्ताओं से संबंधित एक अन्य डेटाबेस भी लॉन्च किया गया है। यह डेटाबेस मौजूदा दौर में बढ़ते अंतरराष्ट्रीय सहयोग के संदर्भ में महत्वपूर्ण माना जा रहा है। इस डेटाबेस में, भारतीय मूल के 23,472 शिक्षाविद एवं शोधकर्ता शामिल किए गए हैं। अमेरिका, कनाडा, ब्रिटेन और ऑस्ट्रेलिया जैसे देशों के 2700 से अधिक विश्वविद्यालयों एवंअन्य शैक्षणिक संस्थानों की वेबसाइट्स को खंगालने के बाद यह डेटाबेस तैयार किया गया है।

 

आईबीएम रिसर्च इंडिया की निदेशक डॉ गार्गी बी. दासगुप्ता का विशेष व्याख्यान इस बार राष्ट्रीय विज्ञान दिवस पर एक अन्य प्रमुख आकर्षण रहा। डॉ गार्गी बी. दासगुप्ता ने “विज्ञान, प्रौद्योगिकी, नवाचार का भविष्यः शिक्षा, कौशल एवं कार्य पर प्रभाव” विषय को केंद्र में रखते हुए अपना व्याख्यान दिया। उन्होंने अपने व्याख्यान में, मुख्य रूप से इस बात को रेखांकित किया कि चौथी औद्योगिक क्रांति किस तरह नये कौशल की माँग करती है। उल्लेखनीय है कि साइबर भौतिक प्रणाली, आर्टिफशियल इंटेलिजेंस, इंटरनेट ऑफ थिंग्स तथा इंटरनेट ऑफ सर्विसेज इत्यादि चौथी औद्योगिक क्रांति के प्रमुख उपकरण बनकर उभरे हैं।

 

सर सी.वी. रामन को याद करते हुए हर वर्ष 28 फरवरी को राष्ट्रीय विज्ञान दिवस मनाया जाता है। विज्ञान में नोबेल पुरस्कार प्राप्त करने वाले सी.वी. रामन पहले एशियाई थे। उन्हें यह पुरस्कार, वर्ष 1930 में की गई उनकी खोज ‘रामन प्रभाव’ के लिए मिला था।

Traditionally, geisha were trained starting from the age of four, when they were sent as indentured servants to okiyas (geisha houses). There they were provided with food, board, kimono and everything needed to start training, which they were expected to pay back with in future earnings. She starts out as a minarai, or observer, watching maiko and geiko interactions with customers in an ozashiki.

 

Afterwards a geisha-to-be is promoted to a maiko, apprenticing with older maiko and geiko and learning the formal arts, such as serving tea and calligraphy, the entertainment arts, such as playing the shamisen, dancing, and conversation, and the social arts, interacting in the social structure of the hanamachis. After about five years, a maiko is promoted to a full-fledged geisha in a erikae ceremony, where her collar is changed from red to white, and her hairstyle is changed from a Nihongami to a shimada. A geisha works until she retires.

 

In modern times, things have changed. Young women do not begin training as geishas until after graduating high school. While ochayas still exist and remain popular around Kyoto, the number of geisha are fewer in number, and many are now hired to attend gatherings and parties outside of their cloistered hanamachis. Foreigners are now allowed to become geishas, though still remain rare. Finally, false "geishas", ranging from tourists playing dress-up to modern entertainers to prostitutes, far outnumber the actual geishas.

 

As addressed below, this is Geiko Fumikazu (章佳司).

Gion, Kyoto, Japan

Made out of Black PVC

 

Works great and looks the same as normal lego.

 

Maybe in future the will be for sell.

 

Sakura is a special flower for me. When I was in hospital two years ago my wife told me that the cherry trees seen from the wondow of my room were beautiful but I could see them because I had been ordered a complete rest. When I left the hospital the cherry blossoms had dropped. I am glad to see them again this year too. How many times will I be able to see them in future?

In the new part of the Ashmoleum Museum, Oxford.

I consider myself very lucky to live within easy travelling distance of many world class museums and galleries, all of which I can use for free.

Several of these are in Oxford, and it was with some trepidation that I went there today to see two such which had recently opened after modernisation.

I went to both the Pitt Rivers Museum and the Ashmolean, and both had been sensitively brought up to date without compromising on their high standards.

The staircase in the Ashmolean was especially striking. It reminded me of the medieval paintings of souls ascending and descending the stairway to heaven and hell. I took many pictures of this and I am sure that I will be using them in future work.

This is a photograph from 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

 

Time for inspiring background music……

 

Most things went well with this punch cutting; I’m pleased with the results however it was like a Venn diagram of variables that fortunately ended up in the middle of the chart with a useable result. The major issue was that the punch was inspected after the straight wall engraving; in the holder but out of the machine. It was returned to the machine to do the angle cutting however there is some wear in the holder and the punch proved to be slightly out of alignment after that.

 

The steel material used for the punch was O6 tool steel, which is unique for its ease of machinability. Called "Graph-Mo" by the original developer, the Timken Company, it is classified as an "Ultra high carbon tool steel" with 1.25 to 1.5% Carbon in the recipe. Compared to other available tool steels, they claim it is easier to work in the annealed state as the excess carbon is situated between grains of steel. It can be hardened like other tool steels, 01 for example. Modern punch engraving craftsmen extol the virtues of old steel (read "Counterpunch" by Fred Smeijers, page 103). From books I have on steel by the Sheffield born author Harry Brearley (inventor of stainless steel), the argument about older steel being the better product was discussed even back as far as 1918. In short, 06 tool steel seems to mimic properties of ‘old steel’, which I believe was steel that was produced prior to the introduction of the Bessemer process.

 

The first commercial production of Bessemer steel was in Sheffield around 1858, with large quantities of production in starting in the late 1860’s and early 1870’s. I believe it was the impurities in old high-carbon steel that had no where to go and settled in grain boundaries as the steel cooled, which allowed better machining and engraving of punches. Older steel-making processes were limited as to the temperatures they could achieve. I believe the Bessemer process ‘cleaned up’ any steel impurities with higher temperatures and improved processes, which changed its engraving properties for the worse. It would be interesting to see some steel analysis of old punches throughout the ages.

 

The cutter used for creating straight walls in the punch was a 1/8” diameter carbide “D bit” fashioned on my Deckel cutter grinder, more information to follow in future. In general, carbide does not like ‘interrupted cuts’ where it is prone to chipping, and engraving has lots of interrupted cuts. The carbide used was from a scrap import tool bit; the best carbide I see is domestic grades of ‘micro-grain’ material. Carbide is basically a sintered (heated and compressed) composite material of tungsten carbide and binders, so I’m not sure where grain comes into play. The 1/8” diameter size of the carbide cutter is at the very limit of this engraver, in terms of spindle bearing run-out (creating vibration), cutter diameter and depth of cut. The one variable we can consistently control is depth of cut, which was limited to 0.005” per pass. In future, we could also reduce the cutter diameter with the Deckel cutter grinder, we are also experimenting with carbide cutters equal to the 0.055” diameter of the original Pierpont engraving tools.

  

Hubert Scheibl (1952), Imbat - D, 1994-1995 (Öl auf Leinwand/Oil on canvas), Albertina - Erwerbung/Acquisition, 2015

 

The Albertina

The architectural history of the Palais

(Pictures you can see by clicking on the link at the end of page!)

Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869

"It is my will that ​​the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".

This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.

Image: The Old Albertina after 1920

It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.

The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.

In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.

Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.

1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.

Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990

The era of stately representation with handing down their cultural values ​​found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:

After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".

Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905

This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.

The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.

Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.

Image: The palace after the demolition of the entrance facade, 1948-52

Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values ​​of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.

Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei

This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.

Image: The restored suburb facade of the Palais Albertina suburb

The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.

Image: The new entrance area of the Albertina

64 meter long shed roof. Hans Hollein.

The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".

 

Christian Benedictine

Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.

 

www.wien-vienna.at/albertinabaugeschichte.php

 

This is a photograph from 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

 

Note to self; dust models before phoographing in future!

“All the earth” is very much emphasized in today’s rendering of Psalm 100 for the “Psalm Everyday” project. I wanted to push one phrase in Psalm 100 to be really big and bold. “all the earth” is quite a bold statement, so it’s fitting to make this shine nice and loud.

 

I was thinking of having an illustration of the earth in the bottom half. But having an illustration under the verses made the layout too busy. Instead, I opted to just have a round horizon line, like it’s the shape of the earth cropped really tight. All the text rides on this round horizon line.

 

The font is Cairo from Google Fonts. For the “all the earth” headline, I wanted something really heavy with some round friendliness. Cairo’s wide open counters and short ascenders and descenders make this a nice compact font.

 

This is the first time in this series where just one phrase is pulled out to be nice and big. I really like this technique. You can expect that I’ll be doing more of this in future renderings.

 

I’ll also look up the original Hebrew for “all the earth” and do a little expository research. I’m certain there are some interesting facts to draw into the rendering that explain the meaning behind the phrase.

 

This time around, I spend a lot more time handwriting the small text. In yesterday’s rendering, I blew through the small text really fast, and the text got a bit messy. For today’s rendering it was nice to slow down and render each word carefully.

 

» Read more on my blog post at christiannotebook.com/all-the-earth-psalm-100

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.

 

www.wien-vienna.at/albertinabaugeschichte.php

 

Das Haus mit dem Lautsprecher/The House with the Loudspeaker, 2012 (Kohle und Rötel auf Papier/Charcoal and sanguine on paper)

 

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.

 

www.wien-vienna.at/albertinabaugeschichte.php

 

rubbish sooc (apart from a slight crop) shot taken on the sun terrace of the swanky boutique hotel we moved to on the sunday night but it's staying because my only other shots featuring me taken this day are hand held end of night party shots that are simply too shameful for 365. the ma be uploaded later but i don't want one in this set. that said, this one features the results of a drunken over excited stumble (graze on my upper thigh plus sprained ankle) which should encourage me to think twice about imbibing so much gin in future. (yeah right)

Saturday 6th February 2016 saw a Manchester City play Leicester City at the Etihad Stadium.

 

The Force’s photographer was on hand to take a series of images to be used in future safety briefings and also captured some images of the build up to the game.

 

The Manchester weather did its best to dampen the spirits of both sets of supporters and the rain poured constantly. Despite the inclement weather Leicester fans left the ground in good spirits after a win.

 

Policing the many major football games played in our region is a regular duty for many of our officers.

 

For more information about Policing in Greater Manchester please visit our website. www.gmp.police.uk

 

To report crime call police on 101 the national non-emergency number.

 

You can also call anonymously with information about crime to Crimestoppers on 0800 555 111. Crimestoppers is an independent charity who will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give a statement.

 

Session 5: Managing Capital Flows

 

This session will focus on the challenges in the region associated with the normalization of U.S. and other advanced economy monetary conditions, including ongoing and possible spillovers to Asia, appropriate policies to be implemented by spillover-receiving countries, and the possible role for international policy coordination in ameliorating the negative impact of volatile capital flows. Key themes to be addressed include: How EM policy makers can prepare for / cope with financial volatility associated with asynchronous AE monetary policy stances. Experience with macroprudential policies and their potential role in managing capital flows. Regional insurance mechanisms, and their role in containing contagion from financial turbulence. Past experience of the IMF in facilitating coordination of macro-financial policies among key economies and possible ways forward.

 

Moderator:

 

Maurice Obstfeld, Economic Counsellor and Head of Research Department, IMF

 

Panelists:

 

Sukudhew Singh, Deputy Governor, Bank Negara Malaysia

 

In-chang Song, Deputy Minister of the Ministry of Finance and Strategy, Korea

Yiping Huang, Professor, National School of Development, Peking University

Chatib Basri, Former Minister of Finance of Indonesia and Senior Lecturer Department of Economics University of Indonesia

Eswar Prasad, Professor of Economics, Cornell University

 

PizzaBuzz is, in a city so full of new restaurant openings, a very good idea indeed. The concept can be summed up (crudely) as âDIY Pizzaâ or "we have the toppings, you do the rest!" or "Subway, but with pizzas!". This doesnât really do it justice however and there is, obviously, much more to it than that - which Iâll now try to elaborate upon:

 

Essentially the idea is semi-self service pizza/food assembly. You take your place at the start of their "DIY pizza assembly lineâ and prepare yourself a pizza entirely of your own devising (though you donât have to do anything really asides from tell them what you want your pizza to be made of - it arrives pre sliced too, woo!).

 

You choose from 5 types of bases (gluten free options are available). These range from a âregularâ Margherita (cheese, tomato etc) to the Bianca (white sauce, mozzarella, parmesan) - plus a pretty fkn extensive range of toppings, divided into vegetables, proteins (i.e meats, fish) and cheese. Said toppings include such gastronomic curiosities such as bacon jam and wild rock shrimp. The recommended number of toppings for a pizza is about 4-5, though apparently one guy came in (drunk) on a Friday night once and ordered a £20+ pizza that contained EVERY SINGLE topping they offered. It ended up looking like a pyramid (hahahahaha!)

 

And, if you donât fancy coming up with your own pizza, their âsignature collectionâ of pre-designed pizzas come in around £10, and have names like Middle Earth and Etna. Once youâve picked your combo of ingredients, it takes them about 1-3 minutes to cook the whole thing in their wood fired ovens - so you might even be able to describe it as fast food. Takeaway is also an option. In the Southern Italian style, you can also get a burrata (and choose what ingredients to have it with, which is the recurring theme...)

 

As for the ambiance - PizzaBuzz lives inside the brand spanking new Alphabeta development on Worship street. On the inside it has a minimal vibe - almost the feel of an industrial space about it. Except theyâve made it more friendly with offcentre animal illustrations drawn onto the walls (pictured) plus their colourful logo and a recurring love of hexagonal things. Plus staff singing along to the music (not sure if this is an actual feature or if I just came in at the right time ^_^)

 

I must also tell you about the dough - which took a yearâs development and is quite something (theyâve got a video called âJane Doughâ in which the dough explains this all to you in a Yorkshire accent, lol). Anyway, it comes from a small mill in Oxfordshire and is, unusually, 50% spelt. I am told that this results in better texture, digestibility and mouthfeel than regular pizza. This is a big claim to make, and Iâm not sure I agree - the pizza I had, however, WAS very good and thatâs all I can say about that.

 

All in all, Pizzabuzz is taking a very good idea from another restaurant (*ahem*) and applying it to pizza very, very well. I wasnât surprised to hear that they have another site opening soon and can see them doing pretty well in future. Inherently, itâs fun, a bit silly, and provides you with a lot more choice than most of the (pizza based) competition. Definitely a place Iâd recommend to everybody (because who the hell doesnât like pizza, really?!)

One of the most rare ducks in the world! Photographed at Zealandia, Karori Sanctuary, 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.

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 and the National Religious Party–Religious Zionism, led by extremist settlers turned politicians like Itamar Ben-Gvir (b. 1976), Bezalel Smotrich (b. 1980) and Orit Strook (b. 1960).

  

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.

 

This was my first visit to Alive & V-Dubbin and I loved it, will definately return in future years!

© Copyright 2014 Dibaday Photography. All Rights Reserved. This image is the exclusive property of Dibaday Photography and is protected by the Copyright, Designs and Patents Act 1988. Images may not be copied, printed or otherwise disseminated without express written permission from Dibaday Photography. No form of reproduction of this image, including copying or saving of the digital image file, or the alteration or manipulation of said image files is authorised unless written permission is given. Use of any image as the basis for another photographic concept or illustration (digital, artist rendering or alike) is a violation of the Copyright, Designs and Patents Act 1988.

Slow shutter speed and a beautiful sea in a background makes for some wonderful launching pad for fishing and for making some environmental portraits.

 

As pollution increases manifolds, as more and more fish is caught by big trawlers combing the sea; as cost of fuel and living goes up, the future for this child in the seas become bleaker by the minute. For now he can enjoy the views. Maybe that would be taxed in future!

 

Shot at Sandspit beach, Karachi, Pakistan.

When leaving Natanz for Isfahan, I visited a really fabulous and forsaken village- Khafr Village- great in raw mud buildings, the village is just 5 Km to Natanz which is internationally famous for Iran's nuclear file, but in fact Natanz is a very peaceful town with great historical background that in future I'm going to make a set for.

The village consists of two parts, first the castle which the people left there since more than 100 years ago and the second part is existing houses which at the day I visited the village, I found just 14 very old couples, so old that I was feeling I'm a kid over there.

Here you will find few images of this village.

 

1 2 ••• 40 41 43 45 46 ••• 79 80