View allAll Photos Tagged in_future
Trevin in “Future Trooper” | Photographer | Nashville | Senior | Model | Actor | Character | Headshot
Glamour, Best, Model, Casting, Cosplay, Boy, Madmax, Star, Apocalypse, Top, Actor, Warhammer 40k , People, Portrait, Senior, Photographer, Fashion, Talent, Tennessee, Nashville, Portfolio, Movie, Audition, Child, Casting Call, Hollywood, Madmax, Headshot, Theater, Reel, Fallout, Children, Apocalypse, Photography, Creative, Fallout
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ABOUT DRIVER’S PHOTOGRAPHY:
Driver’s Photography located in Nashville Tennessee. Our focus is on personal and unique Photography for models, actors, and celebrities.
Contact us for booking and consultation:
Email: info@driversphotography.com
#Creative, #Madmax, #CastingCall, #Apocalypse, #Madmax, #Nashville, #Theater, #Talent, #Hollywood, #Model, #Children, #Reel, #Photography, #Senior, #Cosplay, #Best, #Tennessee, #Glamour, #Fashion, #Boy, #Child, #Portfolio, #Warhammer #40k #, #Fallout, #Photographer, #Star, #Casting, #Headshot, #Movie, #Portrait, #Apocalypse, #Actor, #People, #Audition, #Top, #Fallout
Or putain alors even. This bijou springette has broken loose from the battery housing of the digital scales. I doubt my chances of soldering sprung shiny steel back into place so it looks like in future a bit of wedgery and hope will have to do. Even if I had bothered to register at the time of purchase I guess we've had these for longer than three years. They came via an e-bay reseller that's for sure.
A handy piece of kit nonetheless for the weighing of bicycle parts and the like with an accuracy of plus or minus 5 to ten grams or so depending on how heavy the object is.
I'm alive to the ridicule of measuring such such stuff when the rider weighs in at 85 kilos but hey.
because i wished i could do something about it
i wished you wouldn't have to be so upset
i wished that you could be happy
and though you have one less person to walk by your side in future
there's us
and we'll be there
so please stay strong
for there's us who will stand right beside you and fight alongside with you
we love you
my dear friend
We finally had time to hold space and have a family circle meeting. I can't believe the Summer has almost passed us by! We wanted to have a circle before we leave on vacation next week, because when we get back the schedule picks up. So... today's energy was good... in fact, the focus of our discussion was life cycles and the movement of energy.
We watched the newest Spirit Science YouTube video (Cycles N' Sine Waves) at:
Spirit Science Video - Cycles N’ Sine Waves - www.youtube.com/watch?v=blYX6EhQBys
I was surprised how much this video spoke to my own feelings of being "stuck" with my energy and how to clear the obstructions and get in the flow of things. The video offered some good food for discussion.
We also discussed the “Characteristics of Thriving Children” from “The Celestine Prophecy: An experiential Guide” by James Redfield and Carol Adrienne. We plan to focus on these characteristics in future family circle meetings, as they are worth revisiting.
1. “I am capable.”
2. “I contribute in meaningful ways and I am genuinely needed.”
3. “I can influence what happens to me.”
4. “My feelings are important, and I trust myself to learn from my mistakes. I have self-control and self-discipline.”
5. “I can make friends. I know how to speak out, listen, cooperate, share, and negotiate for what I want.”
6. “I can be counted on, and I tell the truth. Things don’t always go my way, but I can adapt when I need to.”
7. “I try to solve my own problems, but I know that if I need help, I’ll ask for it.
"With such self-perceptions, the child is tremendously advantaged - because he knows that no matter what happens, he has the resources within himself to be a creative problem-solver. These beliefs represent some of the goals of evolved parenting that are touched upon in the Manuscript. By instilling the seven beliefs above in our children we give them the greatest gift possible. When they believe that they can make choices, learn what they need to know and change their lives, they will naturally be able to connect with the flow of energy. As they see how energy responds to their intention, they will attract more coincidences for themselves and make decisions based on being in the flow. Filled with energy and a higher degree of trust in themselves and in the universe, they will be more likely to find and fulfill their purpose."
Our "food for thought" quote today was from the Ringing of the Cedars, Book 7: The Energy of Life by Vladimir Megre
"We have only but to turn away from the obtrusive, monotonous flood of information that does not allow Man to think about what is really going on, and we begin to doubt (to put it mildly) the ‘normality’ of the majority of the population of these so-called ‘civilised societies.’ We begin to look up on these socieities’ chosen lifestyles as indicative of a schizophrenia disorder. Judge for yourselves."
After our discussion, we wrote some of the cycles or themes we notice in our lives in our family journal. Through most of the meeting, Zofia kept asking, "Can we hold hands yet?" We hold hands at the end of our circle meeting to "close the circle" and say a prayer or something to sum up our intentions. Either Zofia really likes that ritual, or really just wanted to be done! I think maybe a little bit of both. :-)
EPCOT.
Walt Disney World Resort in Florida.
April 2011.
Visit our website for loads of Disney Character pictures and information!
Bitter Sweet Harmony - M+M個展
Bitter Sweet Harmony - M+M Solo Exhibition
藝術家：M+M (Marc Weis and Martin De Mattia)
策展人：Lars Koepsel
展 期：2015/08/22 - 2015/09/19
開幕酒會：2015/08/22 (六) 19:00
展覽地點：VT Artsalon 非常廟藝文空間 (台北市新生北路三段56巷17號B1)
藝術家座談會：2015/08/15(六)15:00
座談會地點：實踐大學媒體傳達設計系 演講廳
網 址：http://www.vtartsalon.com
聯絡電話：02-2597-2525
EMAIL：info@vtartsalon.com
本次展覽為非常廟藝文空間(以下簡稱VT)與德國藝術公寓(Apartment Of Art)三年計劃之一。兩年前VT與德國藝術公寓總監-拉斯科樸索(Lars Koepsel)為推廣台灣及德國兩地藝術家與藝術空間之間的交流，締訂為期三年合作計畫。兩地空間每年交換合作藝術家展覽、策展人、藝術家駐村等三階段合作方式。本次展覽檔期為計畫中的第二年，由德國藝術公寓總監-拉斯科樸索推薦新媒體藝術團隊「M+M」首度來台展出。
德國「M+M」為Marc Weis 和 Martin De Mattia 兩人所組成的新媒體科技藝術團隊，M+M多年來持續於國際間進行展演計畫。過去重要展覽節錄：1999年在義大利羅馬的Villa Massimo進行為期一年的駐村計畫，同年於威尼斯雙年展「義大利國家館」展出。2003年於ZKM卡爾斯魯厄藝術與媒體中心展出，2006年參加Lintz科技藝術節以及2015於盧森堡casino個展。
「M+M」兩位藝術家長期關注媒體中所產生的語彙，並分析影像媒體之間的運作，結合大眾社會對於影像媒體的交互機制，透過電影中畫面擷取並使用非線性的敘事方式，將虛構與現實的影像內容混合處理，作品內容帶有強烈情感，如恐懼、仇恨、愛情等，並透過虛實間的差異成為新的敘事方式。
本次將於VT展出系列作品「7 Tage」中兩件新作《Dienstag (Tuesday)》&《Freitag (Friday》，兩位藝術家挑選兩部經典電影-理髮師的男人(The hairdresser’s husband)與黑影(Tenebre)作為本次創作素材，作品影像中運用電影畫面對應一週的七天，並運用電影裡擷取部分畫面拼湊成每一天的生活景象，兩位藝術家各自將自行剪輯的影像運用雙投影同步裝置將兩影像並置，在大多數情況下，觀者將會看到這兩位藝術家都不約而同的就其類似情感內容做出對應畫面，細膩的處理家庭、人際關係以及生活中不確定性及矛盾狀態，擺盪在兩個非線性影像原件和翻拍之間的矛盾對抗。展覽中另外一件作品《kurz vor fünf (shortly before five)》則是將自2001年以來「7 Tage」系列中出現的電影場景運用電腦運算重新將影格輸出成290幀於平面畫面中，透過影像運算將3分多鐘影像畫面獨立，觀眾將可以發現運算過後的場景照片故事都在同一天的同一時間地點，透過運算影像畫面將可以看到不同的時間影像畫面聚落成同一影像，讓觀者重新於平面畫面重新審視影像中孤獨個體的趣味。
「7 Tage」系列作品自2009年來，逐段完成每段錄像影片，並於2015年發表了最新兩部新作《Dienstag (Tuesday)》&《Freitag (Friday》。本系列影像之中，除了相同的其他演員重複出現外，來自奧地利的演員Christoph Luser以精湛的演技表現出憂鬱詭譎的情緒變化，而體現了主角矛盾的異型建構的心理，投射非常輕微情緒以及揭示了人際關係中裂縫和固有的矛盾變化，無論是任何威脅與衝突的情緒反應，將在看似平靜的畫面帶來暗潮洶湧般的相互作用。
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Bitter Sweet Harmony - M+M Solo Exhibition
German Artists duo: M+M (Marc Weis and Martin De Mattia)
Exhibition: 2015/08/22−9/19
Opening：22nd August 19:00 p.m.
Location: VT Artsalon
(B1, No.17, Lane 56, Sec 3, Xinsheng N. Rd, TaipeiCity 104, Taiwan, Taipei)
Curator: Lars Koepsel
Symposium: 2015/08/15(Sat.) 15:00
Symposium location: Auditorium room, Department of Communication Design
(Shih Chien University)
Website: www.vtartsalon.com/
Contact Number: 02-2597-2525
Email: info@vtartsalon.com
___________________________________________________________
This exhibition is from one of the 3-year program between VT Artsalon(VT) and Apartment Of Art from German. VT and the director of Apartment of Art -Lars Koepsel have signed the contract for a “3-year program“ 2 years ago. The program is aim to promote the exchange in artist and art space between Taiwan and German. Each space will corporate in 3 stages every year, from exchanging the artist exhibition, curator to artist residency program. This exhibition is now in the 2nd-year. It was the director of Apartment of Art -Lars Koepsel, who recommended to exhibit the new media art group, named ”M+M” as their very first show in Taiwan.
Marc Weis and Martin De Mattia are a digital artists group named “M+M”, which use the new media in their project, from German. M+M has various international exhibition experience , which includes: the one-year residency program in Villa Massimo, Rome, Italy, back in 1999 and exhibited their work in Venice Biennale in the same year. They have also exhibited at ZKM in 2003 and participated the Ars Electronica Lintz in 2006. Their latest exhibition was at Casino, Luxembourg.
“M+M” have been focusing on the vocabulary produced from the media work, and analyze the operation between image media. They combined the public social consume system, and use non-way to describe things. They used film making skills such as camera movements and cuts to mix-up the fictional and the realistic image content. And also find out the new way to describe things through the difference between the fiction and reality.
”M+M” will be exhibit their new works in “7 Tage” (7 Days)series, which are 《Dienstag (Tuesday)》and《Freitag (Friday) 》. The artists picked two classic movie, includes《The hairdresser’s husband》and《Tenebre》as the elements. They named their works as“7 Tage” (7 Days), and make the image in their works able to correspond in 7 days a week. They have also excerpt some of the classic scenes from the epic movie as the everyday life in their works. From the artists remakes, cuts and the main actor’s view and mind changing from time to time; audience will get the new visual experience to re-conduct with the double projection device. The viewer will also find out the against between two non-linear original videos and conversion with the double channel device. And the other works named《kurz vor fünf (shortly before five)》in this exhibition have combined the movie scene and the computer operations and re-export the file fragmentation into 290 as a 2D picture. With the computer operations, they separated every scene in three minutes, which audience will find out the picture and the story are all at the same place and the same time in everyday. By gathering the video scene into on image, the viewers will discover the fun part in the isolation.
They have been shooting the ”7 Tage” series works for 7 years from 2009, and have also released the latest new works in recent, named 《Dienstag (Tuesday)》&《Freitag (Friday). The audience will get to see some of the actors repeatedly and the actor from Austria -Christoph Luse’s excellent performance skill, which he interpreted and showed the sad and odd emotional changes to incarnate the main character’s inconsistent mind structure. Whether is any threat or conflict emotion response, will all brings the audience the unexpected plot.
This exhibition will start from 22nd August to 19th September , and will be held an artist symposium on 15th August at Shih Chien University. The Artist M+M(Marc Weis, Martin De Mattia), curator Lars Koepsel and the director of the department of communication design- Wen-Chi, Chen will all participate the discussion.
Please feel free to join us!
“VT 3 Year Venture Project” Space
VT Artsalon, Taipei, Taiwan
Apartment of Art, München, German
Part 1:
Date: 2015/05/16-2015/06/13
Exhibition: “An Uncanny Tomorrow－Yuan Goang-Ming Solo Exhibition”
Curator: Wu Dar-Kuen
Location: Apartment of Art, München, Germen
Part 2:
Date: 2015/06/27-2015/07/24 “Peony Pavilion - Isa Ho Solo Exhibition”
Location: Apartment of Art, München, Germen
Part 3:
Date: 2015/08/22-2015/09/19 “M+M Solo Exhibition”
Location: VT Artsalon, Taipei, Taiwan
“VT 3 Year Venture Project” was the first time VT Artsalon and Apartment of Art collaborated with an exchange project as a 3-year program. The program is now in the third stage in the second year, and the exhibition will start from 22nd August, 2015 till 19th September, which is going to exhibit the art groups “M+M”’s works (Marc Weis, Martin De Mattia) from German, recommended by the director of Apartment of Art- Lars Koepselfor for their first exposure in Asia.
Currently it is the second stage of the second year, beginning on June 27th in Apartment of Art, Munich, will be Isa Ho’s solo exhibition, “ Peony Pavilion”, this is also the first solo exhibition of Isa Ho in Germany.
VT has been dedicated to bring the Taiwanese contemporary art into the international art world, connecting with the international community through various art spaces, galleries, exhibitions constantly.
We are hoping to converge the power of arts groups in Taiwan and gather more visions in Taiwan to create the collaboration opportunity. We are looking forward to extend more possibility of Taiwanese art in future with these exchanging programs.
Dear Friends,
The Pune Municipal Corporation is embarking on a very interesting program
of promoting itself as a *Tourism Destination*.
Pune has history, Pune has a glorious past of social and political
reformers, Pune is known as the Oxford of the East and a Cultural Capital,
it is also a modern and vibrant city, a city of Festivals and events and an
IT and Auto Hub, thus making a mark on the National and International
scenario – Pune certainly is a happening place which is on the move.
However till date we had never been able to promote Pune as a Tourism
destination – There is so much to be seen however very few efforts have
been taken for it to be made visible.
Thanks to a presentation made by some of the students from the Dr. Bhanuben
Nanavati College of Architecture that got me thinking that we need to do
something to provide more visibility to our history, architecture and
glorious past – this got me to suggest to the then Standing Committee
Chairman Shri. Karne guruji to make a budgetary provision in that
direction. I am thankful that he alongwith the Hon’ble Mayor of Pune Mr.
Duttatraya Dhankavde, and all office bearers of the Municipal Corporation
supported this move and we have finally embarked on this journey.
Cultural programs at Vishrambaugwada, New light and sound show at
Shaniwarwada, a Light, Sound and Laser Freedom Fighters Show at Nanawada,
new Pune Darshan Buses, theme tours through PMPML, Art Plaza at Bundgarden,
Birdwatching Centers etc are soon going to enrich the knowledge quest and
the leisure activities in Pune and lots more to be done in the coming years.
This journey begins with branding Pune as a Tourism Destination with the
release of it’s Logo, a Coffee Table Book and a new and refreshing Pune
Darshan Bus at the hands of *Hon’ble Shri. Sharad Pawar *and other
dignitaries on *Saturday the 22nd of August 2015, at 5:00pm at the
Balgandharva Rangamandir*, Shivajinagar, Pune with an exciting cultural
program.
*Attached herewith is an invitation from the Hon’ble Mayor of Pune Mr.
Duttatraya Dhankavde. *
This is an exciting moment for me and am sure you too would share the same
feelings as a passionate Punekar – having being involved in this program
from its conceptualization I would like to personally extend this
invitation to you on behalf of the Mayor.
Please do forward this to those who you feel may be interested and also
would like to contribute to this cause in future.
Thanking you and looking forward to seeing you at the event.
Warm Regards,
Vandana
Adv. Ms. Vandana H Chavan
(Member of Parliament, Rajya Sabha)
'Yashodhan', 212/51 Rambaug Colony, Pune 411030
email: vandanahchavan@hotmail.com; alertnet2007@gmail.com
Tele: 09422029000; 020-24333190 (R)
A few years ago I arrived at a press conference in Dublin and many of the professional press photographers were horrified to see that I was using a Sony NEX-5 "mirrorless" point and shoot camera. As I also had a Sony VG10 camcorder [it basically had the same internal components as the NEX-5] a TV cameraman for RTE became very interested in my kit as he was forming the opinion that DSLR were going to be replaced within the not too distant future. The reason that I was using the VG10 was that the body could be paired wit any Sony E-Mount lens and as it had a large sensor it was capable of narrow dept of field not normally seen on digital camcorders.To be honest, the NEX-5 was not the future but the NEX-7 was a very clear indication as to what the future of digital photography might be.
Over the next few weeks I plan to visit a number of cities and towns in Ireland and I have, based on recent experience, decided that it does not make any sense to carry a lot of equipment. As I really like my Sony NEX-7 I have decided that in future this is to only camera that I will use on my city visits [of course I will bring a back-up camera in case of emergency].
I must admit the I would like to upgrade to a Sony A7R and at the same time get rid of my bulky Canon 1Ds [I really like the 1DS but it is not really suitable for street photography and it is too much of a security risk] however while i might be able to raise the cash to purchase the A7R body I certainly am not in a position to pay for a set of Sony full-frame lenses so I decided to consider the possibility of retaining my Canon lenses and using them with the Sony NEX-7 and at a later date with the A7R. In order to explore this idea further I recently obtained a Metabones adapter for the Sony cameras. I am now testing various Sony/Metabones/Canon[lens] configurations.
At this stage while I may be impressed by it I am not at all sure that the Metabones adapter is going to be the best solution but I will continue testing for at least three months.
If you have any advice or thoughts regarding the way forward I certainly would appreciate your comments.
Shigatse, Tibet , China, Summer Palace Panchen Lama, Tashilhunpo Monastery, Tibet Autonomous Region, Tibetan Plateau, Tsang province of China,
We are visiting the Tashilhunpo Monastery
Tashilhunpo Monastery , founded in 1447 by the 1st Dalai Lama, is a historic and culturally important monastery in Shigatse, the second-largest city in Tibet.
The monastery was sacked when the Gorkha Kingdom invaded Tibet and captured Shigatse in 1791 before a combined Tibetan and Chinese army drove them back as far as the outskirts of Kathmandu, when they were forced to agree to keep the peace in future, pay tribute every five years, and return what they had looted from Tashilhunpo.
The monastery is the traditional seat of successive Panchen Lamas, the second highest ranking tulku lineage in the Gelug tradition of Tibetan Buddhism. The "Tashi" or Panchen Lama had temporal power over three small districts, though not over the town of Shigatse itself, which was administered by a dzongpön (prefect) appointed from Lhasa.
en.wikipedia.org/wiki/Tashilhunpo_Monastery
Shigatse, officially known as Xigazê, is a prefecture-level city of the Tibet Autonomous Region of China, It is located within the historical Tsang province of Tibet.
On Tuesday, December 16th 2014, Monckton Coke Works at Royston near Barnsley, the last remaining independent coke works in the UK, closed after 130 years continuous production.
Unable to compete with cheap Chinese imports, the owner of the plant, Hargreaves Services reluctantly decided that the facility was no longer financially viable and another significant part of Britain's industrial heritage vanished for ever.
I was privileged to be on site at 2pm on December 16th to witness 'the last push' as the plant's day shift emptied coke oven number 17, the last ever load of coke to be produced at this historic plant.
Standing in the yard alongside the plant's workers and ex-workers, there was a genuine sense of sadness, mingled with the usual co-worker banter, as they watched an industrial facility that had provided employment for them and their families for generations, consigned to the scrap heap.
Although Hargreaves Services have tried to find alternative employment for the plant's workforce, many of them face an uncertain future, in an area of already high employment and low wage jobs.
The 200,000 tonnes of high grade coke that the plant produced annually for the glass, detergent and steel making industries, will in future, have to be imported, adding to the country's balance of payments deficit.
Gas from the coke ovens was used in a combined heat and power plant that could generate 11 megawatts of electricity. Not only did this supply all the electricity needed on-site but also provided enough electricity to provide power for more than 1000 homes
Bitter Sweet Harmony - M+M個展
Bitter Sweet Harmony - M+M Solo Exhibition
藝術家：M+M (Marc Weis and Martin De Mattia)
策展人：Lars Koepsel
展 期：2015/08/22 - 2015/09/19
開幕酒會：2015/08/22 (六) 19:00
展覽地點：VT Artsalon 非常廟藝文空間 (台北市新生北路三段56巷17號B1)
藝術家座談會：2015/08/15(六)15:00
座談會地點：實踐大學媒體傳達設計系 演講廳
網 址：http://www.vtartsalon.com
聯絡電話：02-2597-2525
EMAIL：info@vtartsalon.com
本次展覽為非常廟藝文空間(以下簡稱VT)與德國藝術公寓(Apartment Of Art)三年計劃之一。兩年前VT與德國藝術公寓總監-拉斯科樸索(Lars Koepsel)為推廣台灣及德國兩地藝術家與藝術空間之間的交流，締訂為期三年合作計畫。兩地空間每年交換合作藝術家展覽、策展人、藝術家駐村等三階段合作方式。本次展覽檔期為計畫中的第二年，由德國藝術公寓總監-拉斯科樸索推薦新媒體藝術團隊「M+M」首度來台展出。
德國「M+M」為Marc Weis 和 Martin De Mattia 兩人所組成的新媒體科技藝術團隊，M+M多年來持續於國際間進行展演計畫。過去重要展覽節錄：1999年在義大利羅馬的Villa Massimo進行為期一年的駐村計畫，同年於威尼斯雙年展「義大利國家館」展出。2003年於ZKM卡爾斯魯厄藝術與媒體中心展出，2006年參加Lintz科技藝術節以及2015於盧森堡casino個展。
「M+M」兩位藝術家長期關注媒體中所產生的語彙，並分析影像媒體之間的運作，結合大眾社會對於影像媒體的交互機制，透過電影中畫面擷取並使用非線性的敘事方式，將虛構與現實的影像內容混合處理，作品內容帶有強烈情感，如恐懼、仇恨、愛情等，並透過虛實間的差異成為新的敘事方式。
本次將於VT展出系列作品「7 Tage」中兩件新作《Dienstag (Tuesday)》&《Freitag (Friday》，兩位藝術家挑選兩部經典電影-理髮師的男人(The hairdresser’s husband)與黑影(Tenebre)作為本次創作素材，作品影像中運用電影畫面對應一週的七天，並運用電影裡擷取部分畫面拼湊成每一天的生活景象，兩位藝術家各自將自行剪輯的影像運用雙投影同步裝置將兩影像並置，在大多數情況下，觀者將會看到這兩位藝術家都不約而同的就其類似情感內容做出對應畫面，細膩的處理家庭、人際關係以及生活中不確定性及矛盾狀態，擺盪在兩個非線性影像原件和翻拍之間的矛盾對抗。展覽中另外一件作品《kurz vor fünf (shortly before five)》則是將自2001年以來「7 Tage」系列中出現的電影場景運用電腦運算重新將影格輸出成290幀於平面畫面中，透過影像運算將3分多鐘影像畫面獨立，觀眾將可以發現運算過後的場景照片故事都在同一天的同一時間地點，透過運算影像畫面將可以看到不同的時間影像畫面聚落成同一影像，讓觀者重新於平面畫面重新審視影像中孤獨個體的趣味。
「7 Tage」系列作品自2009年來，逐段完成每段錄像影片，並於2015年發表了最新兩部新作《Dienstag (Tuesday)》&《Freitag (Friday》。本系列影像之中，除了相同的其他演員重複出現外，來自奧地利的演員Christoph Luser以精湛的演技表現出憂鬱詭譎的情緒變化，而體現了主角矛盾的異型建構的心理，投射非常輕微情緒以及揭示了人際關係中裂縫和固有的矛盾變化，無論是任何威脅與衝突的情緒反應，將在看似平靜的畫面帶來暗潮洶湧般的相互作用。
----------------------------------
Bitter Sweet Harmony - M+M Solo Exhibition
German Artists duo: M+M (Marc Weis and Martin De Mattia)
Exhibition: 2015/08/22−9/19
Opening：22nd August 19:00 p.m.
Location: VT Artsalon
(B1, No.17, Lane 56, Sec 3, Xinsheng N. Rd, TaipeiCity 104, Taiwan, Taipei)
Curator: Lars Koepsel
Symposium: 2015/08/15(Sat.) 15:00
Symposium location: Auditorium room, Department of Communication Design
(Shih Chien University)
Website: www.vtartsalon.com/
Contact Number: 02-2597-2525
Email: info@vtartsalon.com
___________________________________________________________
This exhibition is from one of the 3-year program between VT Artsalon(VT) and Apartment Of Art from German. VT and the director of Apartment of Art -Lars Koepsel have signed the contract for a “3-year program“ 2 years ago. The program is aim to promote the exchange in artist and art space between Taiwan and German. Each space will corporate in 3 stages every year, from exchanging the artist exhibition, curator to artist residency program. This exhibition is now in the 2nd-year. It was the director of Apartment of Art -Lars Koepsel, who recommended to exhibit the new media art group, named ”M+M” as their very first show in Taiwan.
Marc Weis and Martin De Mattia are a digital artists group named “M+M”, which use the new media in their project, from German. M+M has various international exhibition experience , which includes: the one-year residency program in Villa Massimo, Rome, Italy, back in 1999 and exhibited their work in Venice Biennale in the same year. They have also exhibited at ZKM in 2003 and participated the Ars Electronica Lintz in 2006. Their latest exhibition was at Casino, Luxembourg.
“M+M” have been focusing on the vocabulary produced from the media work, and analyze the operation between image media. They combined the public social consume system, and use non-way to describe things. They used film making skills such as camera movements and cuts to mix-up the fictional and the realistic image content. And also find out the new way to describe things through the difference between the fiction and reality.
”M+M” will be exhibit their new works in “7 Tage” (7 Days)series, which are 《Dienstag (Tuesday)》and《Freitag (Friday) 》. The artists picked two classic movie, includes《The hairdresser’s husband》and《Tenebre》as the elements. They named their works as“7 Tage” (7 Days), and make the image in their works able to correspond in 7 days a week. They have also excerpt some of the classic scenes from the epic movie as the everyday life in their works. From the artists remakes, cuts and the main actor’s view and mind changing from time to time; audience will get the new visual experience to re-conduct with the double projection device. The viewer will also find out the against between two non-linear original videos and conversion with the double channel device. And the other works named《kurz vor fünf (shortly before five)》in this exhibition have combined the movie scene and the computer operations and re-export the file fragmentation into 290 as a 2D picture. With the computer operations, they separated every scene in three minutes, which audience will find out the picture and the story are all at the same place and the same time in everyday. By gathering the video scene into on image, the viewers will discover the fun part in the isolation.
They have been shooting the ”7 Tage” series works for 7 years from 2009, and have also released the latest new works in recent, named 《Dienstag (Tuesday)》&《Freitag (Friday). The audience will get to see some of the actors repeatedly and the actor from Austria -Christoph Luse’s excellent performance skill, which he interpreted and showed the sad and odd emotional changes to incarnate the main character’s inconsistent mind structure. Whether is any threat or conflict emotion response, will all brings the audience the unexpected plot.
This exhibition will start from 22nd August to 19th September , and will be held an artist symposium on 15th August at Shih Chien University. The Artist M+M(Marc Weis, Martin De Mattia), curator Lars Koepsel and the director of the department of communication design- Wen-Chi, Chen will all participate the discussion.
Please feel free to join us!
“VT 3 Year Venture Project” Space
VT Artsalon, Taipei, Taiwan
Apartment of Art, München, German
Part 1:
Date: 2015/05/16-2015/06/13
Exhibition: “An Uncanny Tomorrow－Yuan Goang-Ming Solo Exhibition”
Curator: Wu Dar-Kuen
Location: Apartment of Art, München, Germen
Part 2:
Date: 2015/06/27-2015/07/24 “Peony Pavilion - Isa Ho Solo Exhibition”
Location: Apartment of Art, München, Germen
Part 3:
Date: 2015/08/22-2015/09/19 “M+M Solo Exhibition”
Location: VT Artsalon, Taipei, Taiwan
“VT 3 Year Venture Project” was the first time VT Artsalon and Apartment of Art collaborated with an exchange project as a 3-year program. The program is now in the third stage in the second year, and the exhibition will start from 22nd August, 2015 till 19th September, which is going to exhibit the art groups “M+M”’s works (Marc Weis, Martin De Mattia) from German, recommended by the director of Apartment of Art- Lars Koepselfor for their first exposure in Asia.
Currently it is the second stage of the second year, beginning on June 27th in Apartment of Art, Munich, will be Isa Ho’s solo exhibition, “ Peony Pavilion”, this is also the first solo exhibition of Isa Ho in Germany.
VT has been dedicated to bring the Taiwanese contemporary art into the international art world, connecting with the international community through various art spaces, galleries, exhibitions constantly.
We are hoping to converge the power of arts groups in Taiwan and gather more visions in Taiwan to create the collaboration opportunity. We are looking forward to extend more possibility of Taiwanese art in future with these exchanging programs.
Shigatse, Tibet , China, Summer Palace Panchen Lama, Tashilhunpo Monastery, Tibet Autonomous Region, Tibetan Plateau, Tsang province of China,
We are visiting the Tashilhunpo Monastery
Tashilhunpo Monastery , founded in 1447 by the 1st Dalai Lama, is a historic and culturally important monastery in Shigatse, the second-largest city in Tibet.
The monastery was sacked when the Gorkha Kingdom invaded Tibet and captured Shigatse in 1791 before a combined Tibetan and Chinese army drove them back as far as the outskirts of Kathmandu, when they were forced to agree to keep the peace in future, pay tribute every five years, and return what they had looted from Tashilhunpo.
The monastery is the traditional seat of successive Panchen Lamas, the second highest ranking tulku lineage in the Gelug tradition of Tibetan Buddhism. The "Tashi" or Panchen Lama had temporal power over three small districts, though not over the town of Shigatse itself, which was administered by a dzongpön (prefect) appointed from Lhasa.
en.wikipedia.org/wiki/Tashilhunpo_Monastery
Shigatse, officially known as Xigazê, is a prefecture-level city of the Tibet Autonomous Region of China, It is located within the historical Tsang province of Tibet.
Shigatse, Tibet , China, Summer Palace Panchen Lama, Tashilhunpo Monastery, Tibet Autonomous Region, Tibetan Plateau, Tsang province of China,
We are visiting the Tashilhunpo Monastery
Tashilhunpo Monastery , founded in 1447 by the 1st Dalai Lama, is a historic and culturally important monastery in Shigatse, the second-largest city in Tibet.
The monastery was sacked when the Gorkha Kingdom invaded Tibet and captured Shigatse in 1791 before a combined Tibetan and Chinese army drove them back as far as the outskirts of Kathmandu, when they were forced to agree to keep the peace in future, pay tribute every five years, and return what they had looted from Tashilhunpo.
The monastery is the traditional seat of successive Panchen Lamas, the second highest ranking tulku lineage in the Gelug tradition of Tibetan Buddhism. The "Tashi" or Panchen Lama had temporal power over three small districts, though not over the town of Shigatse itself, which was administered by a dzongpön (prefect) appointed from Lhasa.
en.wikipedia.org/wiki/Tashilhunpo_Monastery
Shigatse, officially known as Xigazê, is a prefecture-level city of the Tibet Autonomous Region of China, It is located within the historical Tsang province of Tibet.
Mamiya RB67, TMax 100, XTol 1:1 @21C 8.5min (7 inversions to start, then 4 every 30s). This is the straight scan, since I wanted to show the contrast I'm talking about, and loss of detail in shadows and highlights.
My first roll in XTol, and the contrast has gone too far. I'm hoping to reduce the contrast in future, but not really sure whether I should reduce development time or agitation. Or maybe just gentler agitation?...
2017-10-18: Ms. Haowa Bello, Nigerian Agripreneur, goat herder and leather goods designer speaks during the event for future African farmers and Agripreneurs: Making Farming Cool. In frame, (L-R) Mima Nedelcovych, President & CEO of the Initiative for Global Development (IGD); Dr. Julie Howard, Director of Agrifood Youth Opportunity Lab, Michigan State University; Chiji Ojukwu, Director, Agriculture and Agro-Industry Department, African Development Bank; Mr. Parmesh Shah, Global Lead for Rural Livelihoods and Agricultural Jobs, the World Bank.
What I really like in Indians is their desire to study. Everybody seems to perfectly see education as assurance of good life in future. For me it's a sign of a healthy growing society.
This is a photograph from the finish of the 4th Annual Multyfarnham (Multy) 5KM which was held in the village of Multyfarnham about 15KM west of Mullingar, Co. Westmeath, Ireland on Wednesday 3rd June 2015 at 20:00. An incredible and unprecedented crowd of almost 300 participants took to the route including runners, joggers and walkers which was on an out-and-back course on beautiful country roads. The weather was perfect for racing and running. The fast course combined with the good weather conditions provided personal and seasonal bests for many of the participants. The GAA Club and Community Centre provided car-parking and the race headquarters. Overall this was a very well organised race event which on the evidence of tonight's race can grow even further in future years. As this and other photographs in this set shows there is nothing like an evening race in summer time in rural Ireland. Multyfarnham's setting amongst the rolling hills of north county Westmeath and not far from the shores of Lough Derravaragh provides a wonderful race setting. The village of Multy is easily accessible and is just two miles off the N4 Dublin Sligo road.
We have an extensive set of photographs from tonight in the following Flickr Album: www.flickr.com/photos/peterm7/sets/72157653957377992
Timing and event management was provided by Precision Timing. Results are available on their website at www.precisiontiming.net/result.aspx?v=2718 with additional material available on their Facebook page (www.facebook.com/davidprecisiontiming?fref=ts) See their promotional video on YouTube: www.youtube.com/watch?v=c-7_TUVwJ6Q
USING OUR PHOTOGRAPHS - A QUICK GUIDE AND ANSWERS TO YOUR QUESTIONS
Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share directly to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
BUT..... Wait there a minute....
We take these photographs as a hobby and as a contribution to the running community in Ireland. We do not charge for our photographs. Our only "cost" is that we request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, VK.com, Vine, Meetup, Tagged, Ask.fm,etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us or acknowledge us as the original photographers.
This also extends to the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
I want to download these pictures to my computer or device?
You can download this photographic image here directly to your computer or device. This version is the low resolution web-quality image. How to download will vary slight from device to device and from browser to browser. Have a look for a down-arrow symbol or the link to 'View/Download' all sizes. When you click on either of these you will be presented with the option to download the image. Remember just doing a right-click and "save target as" will not work on Flickr.
I want get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting takes a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
Let's get a bit technical: We use Creative Commons Licensing for these photographs
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own. This usually just mean putting a link to our photographs somewhere on your website, blog, or Facebook where other people can see it.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Above all what Creative Commons aims to do is to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets
This is a photograph from the finish of the 4th Annual Multyfarnham (Multy) 5KM which was held in the village of Multyfarnham about 15KM west of Mullingar, Co. Westmeath, Ireland on Wednesday 3rd June 2015 at 20:00. An incredible and unprecedented crowd of almost 300 participants took to the route including runners, joggers and walkers which was on an out-and-back course on beautiful country roads. The weather was perfect for racing and running. The fast course combined with the good weather conditions provided personal and seasonal bests for many of the participants. The GAA Club and Community Centre provided car-parking and the race headquarters. Overall this was a very well organised race event which on the evidence of tonight's race can grow even further in future years. As this and other photographs in this set shows there is nothing like an evening race in summer time in rural Ireland. Multyfarnham's setting amongst the rolling hills of north county Westmeath and not far from the shores of Lough Derravaragh provides a wonderful race setting. The village of Multy is easily accessible and is just two miles off the N4 Dublin Sligo road.
We have an extensive set of photographs from tonight in the following Flickr Album: www.flickr.com/photos/peterm7/sets/72157653957377992
Timing and event management was provided by Precision Timing. Results are available on their website at www.precisiontiming.net/result.aspx?v=2718 with additional material available on their Facebook page (www.facebook.com/davidprecisiontiming?fref=ts) See their promotional video on YouTube: www.youtube.com/watch?v=c-7_TUVwJ6Q
USING OUR PHOTOGRAPHS - A QUICK GUIDE AND ANSWERS TO YOUR QUESTIONS
Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share directly to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
BUT..... Wait there a minute....
We take these photographs as a hobby and as a contribution to the running community in Ireland. We do not charge for our photographs. Our only "cost" is that we request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, VK.com, Vine, Meetup, Tagged, Ask.fm,etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us or acknowledge us as the original photographers.
This also extends to the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
I want to download these pictures to my computer or device?
You can download this photographic image here directly to your computer or device. This version is the low resolution web-quality image. How to download will vary slight from device to device and from browser to browser. Have a look for a down-arrow symbol or the link to 'View/Download' all sizes. When you click on either of these you will be presented with the option to download the image. Remember just doing a right-click and "save target as" will not work on Flickr.
I want get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting takes a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
Let's get a bit technical: We use Creative Commons Licensing for these photographs
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own. This usually just mean putting a link to our photographs somewhere on your website, blog, or Facebook where other people can see it.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Above all what Creative Commons aims to do is to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets
Albrecht Dürer (1471 - 1528)
Mary among a Multitude of Animals, ca. 1503
Maria mit den vielen Tieren
Feder in Schwarzbraun, Aquarell
Pen and blackish-brown ink, watercolour
Faksimile/Facsimile
The Albertina
The architectural history of the Palais
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
Heading east on the Betuweroute, a 'euro-project-white-elephant' that links the important port at Rotterdam with Germany, 160km away. Built to take double stacked containers in future, with moderate curves, good clearance, no level crossings, 125km/h speeds etc through the Netherlands, it is alas a bit of a 'road to nowhere' as the Germans have yet to complete upgrading their lines beyond the border. Shame NZ can't try intermodel pocket cars for truck trailers like the first three cars.
Iván Duque Márquez, the President of the Republic of Colombia, attends 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, 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 Senior Airman Megan Floyd)
Making Faces marquee inside ImageWorks at Journey into Imagination pavilion in Future World at EPCOT Center.
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?!)
The Evangelical Presbyterian Church of Ghana has sent ARC the first photos of an ambitious programme to plant two million trees around the country and train communities and fire fighters to nurture and protect them.
The programme was first detailed in its seven year plan launched at Windsor Castle in November 2009 and is designed both to help poor communities meet their livelihood needs and to restore degraded savannah. Around 100,000 seedlings are to be planted in community woodlots.
Villagers are harvesting trees planted in sustainable woodlots for fuel - this practice will alleviate the pressure of removing trees from natural forests. The Church also offers training in the manufacture of energy efficient stoves, so in future less wood will be required, and is also training 200 fire-fighter volunteers who will learn how to stop forest fires in replanted areas.
For more information, visit ARC's website: www.arcworld.org/news.asp?pageID=460
An alternative option in fertility preservation is Egg Preservation . Egg freezing is also known as mature oocyte cryopreservation. It is a method used to save women's ability to get pregnant in the future. Egg preservation to use in future in vitro fertilization (IVF) procedures have high odds of implanting and creating a successful pregnancy. In recent years, it is accepted by the medical community that egg freezing as a non-experimental procedure, primarily due to advances in freezing techniques. Once When the woman is ready to conceive, the mature eggs are fertilized with either partner or donor sperm. These embryos remain frozen until the woman is ready to use them. Although egg freezing success rates are improving, we see higher success rates with cryopreservation. Women interested in egg preservation option should discuss it with their gynecologist to understand the medical and social implications of egg freezing.
To develop the UK-India relationship on few strategic themes such as ‘Future Cities’, Science and Innovation Network India organised a ‘UK-India future cities workshop’. The aim of the event was to bring together UK stakeholders in future cities research and innovation to create a network with the Indian side which we would use a basis for our new strategic relationship with India on cities. The workshop took place on 24-25 February 2014 at Taj Palace Hotel, New Delhi. Follow us on twitter @UKinIndia
I am a huge fan of this dress designer and always try to get photos of the kids wearing them. Isla's pretty good at posing now! Excuse the mass of similar photos but I also rely on Flickr as a backup of my photos and would want to have all these in future!
Volvo B9TL / Wright Gemini 2,which in future will be another for route 1,but seen here without its route branding,and working route 7 for today.
The eve of the Australia Day long weekend - kicking back with some bubblegum for the brain and a few glasses of vino. Did this with no flash. Will fiddle with the white balance in future to cut down on the yellow tinge from the incandescent lights but just too darned lazy... ;^ )
T24, a mobile service brand of Tata Teleservices and Future Group, has now expanded its services in Kerala, Madhya Pradesh, Rajasthan and Punjab.
T24 offers free talk time on shopping in Future Bazaar retail outlets such as Big Bazaar, Pantaloons, Food Bazaar, Pantaloons, Central, Brand Factory, Home Town, eZone and Aadhar, among others. It also offers discount vouchers to those buying talktime.
With this, the brand has reached 17 circles including Andhra Pradesh, Karnataka, Gujarat, West Bengal, Jharkhand, Orissa, Punjab, Haryana and Uttar Pradesh. Andhra Pradesh was the first telecom circle to get the services in June 2010.
"T24 has received tremendous response since its launch in Andhra Pradesh, Karnataka, Gujarat, West Bengal, Jharkhand, Orissa, Punjab, Haryana and Uttar Pradesh. Shopping, and talking on our mobile phones are among the two favorite activities for all of us in India," said Mayur Toshniwal, chief executive officer of T24.
"With T24, we have been able to develop a unique customer value proposition that combines these interests of the aspirational Indian. Customers will get shopping benefits on talking and talk-time benefits every time they shop," Toshniwal added.
T24 tariff plans are similar to those that Tata Docomo and Indicom offer. In addition, customers get rewarded free talk time for every purchase above Rs 350 made at any Future Group shopping outlet.
For example, a T24 customer buying products worth Rs 3,001 at Pantaloons or Central gets Rs 150 worth of free talk time. And a customer spending Rs 2,001 at Big Bazaar gets Rs 84 worth of free talk time.
According to the company, "T24 mobile telephony service will be progressively rolled out across the country in next few months, through Future Group's retail networks in over 76 cities and 65 rural destinations."
Customers can recharge their T24 mobile at these stores and also at any Tata Docomo retailer. Future Group retail chains attracted over 250 million customer footfalls in 2009-10.
The service has so far not been started in Delhi where Future Group has a sizeable presence as Tata Docomo doesn't have spectrum for the circle yet, and the company probably doesn't want to start service using its CDMA network.
Paul Kranzler (1979), Ohne Titel (aus der Serie "Tom") - Untitled (from the series "Tom"), 2004 - 2006 (Abzug - printed 2007, C-Print), Albertina
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
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
Electronic Philharmonic inside ImageWorks at Journey into Imagination pavilion in Future World at EPCOT Center.
U.S. Air Force Lt. Col. Jeff Beckham, a fighter pilot assigned to the South Carolina Air National Guard’s 157th Fighter Squadron, is interviewed at Feria Aeronautica Internacional—Colombia 2019 at José María Córdova International Airport in Rionegro, Colombia, July 12, 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)
Eight Forest Bug nymphs found in Kingmoor Sidings (Specimen 1) and Finglandrigg Wood (Specimens 2 - 8) Nature Reserves, 1 May 15.
In order to facilitate the identification of the green-coloured longhorn moth photographed in Finglandrigg Wood last week (26 April), I needed to establish the length of its forewing; however, despite having taken several shots of it perched on a finger for reference purposes, I still found it difficult to work this out to the required degree of accuracy. So I decided that in future I'd use a bit of graph paper instead.
Although I had no problem identifying these nymphs (what else could they be at this time of year?) I thought it might still be useful to record their dimensions in the hope of being able to establish their stage of development.
The eight nymphs were all found on wooden posts or handrails under mature Oak trees (as per usual!) at various locations. Conveniently, they all seem to be either about 3.5mm (Specimens 4, 5 and 8) or 4.5mm in length (Specimens 1, 2, 3, 6 and 7) when measured from "nose to tail". At first glance the only fly in the ointment would appear to be Specimen 8, which clearly falls into the smaller category, but has markings more charcteristic of the larger specimens. For the record, Specimens 7 and 8 were found about 10m apart on the rail of a boardwalk and the size difference was immediately apparent.
I think I'll need to do some more homework on this one!
My intention is to carry out such measurements to the final instar stage - assuming I can find the specimens, that is.
Note added 30 December 15: See my 2015 Forest Bug Overview for more information on the early-instar nymphs:
Our local partner Corambiente in Colombia is installing water pumps for a displaced community which is fighting to get their land back. Access to water is not only their right but also a precious resource that will help them to continue fighting for their land. Water availability puts them in a strong position to remain in this land and fight for it.
The design of the pump was a joint effort between the community, partner and engineer who came up with a design that was appropriate to their needs. The drilling equipment will remain with the community so they can do the work themselves in future.
Find out more about our work in Colombia: www.christianaid.org.uk/whatwedo/the-americas/colombia.aspx
Christian Aid/Corambiente
What is the future of playfulness? How can we work on this future in the present, in the midst of our current societies? At the Panel Discussion FUNGUAGE – the FUN spirit in the future, these questions will be examined, using the example of a shared research project between BANDAI NAMCO Research Inc., Hakuhodo and the Ars Electronica Futurelab – FUNGUAGE. FUNGUAGE is a new form of language that enables humans and non-living material to communicate more effectively, creating a speculative scenario that uses FUN as a universal language, transcending cultural boundaries.
Additionally to the panel discussion, the current research progress and insights are shown at the FUNGUAGE ROOM at the OPEN FUTURELAB.
Credit: Vanessa Graf
New monastery foundation stone 11 Nov 1928 by Archbishop Robert Spence, opened 22 Sep 1929, extensions foundation stone 5 Nov 2000 by Archbishop Leonard Faulkner. A new wing for laymen’s retreats foundation stone 19 May 1957 by Norman Thomas Gilroy, Archbishop of Sydney. First Passionist Monastery opened 1896 in “The Glen”, home built 1849 by Joseph Barrow Montefiore at Glen Osmond, extensions 1900, demolished 1929 when new monastery built.
[Photo of original building: Advertiser 5 Aug 1927, page 14]
“His Grace the Archbishop performed a double ceremony at Glen Osmond . . . blessed and opened the new church recently completed for the Passionist Fathers, and blessed and laid the foundation-stone of the new Monastery, which is so badly needed on account of the dilapidated state of the old building.” [Southern Cross 16 Nov 1928]
“The old place had long since outlived its usefulness, the structure having become positively dangerous as a residence. . . The architectural design is after the Spanish example of such homes, the outer, walls being roughly coated with plaster.” [Southern Cross 27 Sep 1929]
“the Passionist Order . . . to establish a house in this colony. With that end in view the well-known property, ‘The Glen’, situated at Glen Osmond, the residence of the late Mr. Justice Boothby, has been purchased. The block consists of twelve acres, and is beautifully situated.” [Adelaide Observer 9 Nov 1895]
“at this time a beautiful property, known as ‘The Glen’, Glen Osmond, the residence of Judge Boothby, was offered for sale, the price asked being £2,500. As both the Archbishop and the Fathers considered the site most suitable in every way for a Passionist Retreat, it was purchased. His Grace contributing out of his slender means the princely sum of £1,000 towards the required amount. On January 10, 1896, the Passionists took possession of their new home.” [Southern Cross 19 Oct 1934]
“Rev. Father Hillary, on behalf of the order of Passionists, will take possession of ‘The Glen’, the residence of the late Mr. Justice Boothby at Glen Osmond, which will in future be used as the community's monastery. In a few days the lay brothers of the order will arrive, and the cultivation of the grounds will be immediately proceeded with.” [Advertiser 11 Jan 1896]
“One of the principal rooms of the monastery serves as a temporary chapel . . . the blessing of a large oilpainting representing St. Paul of the Cross, the founder of the Passionist Order. The picture is the gift of the Father-General of the Order in Rome, and it was brought out by Fathers John and Frederick, who arrived from England recently.” [Express & Telegraph 19 Jan 1897]
“The buildings were generally in a dilapidated condition and although some repairs were undertaken shortly after occupation, in order that the place might be habitable.” [Advertiser 1 Oct 1900]
“Monastery . . . having been built probably three or four decades, is not up to modern requirements, and was in a state of disrepair when the fathers first entered. The additions have been made sooner than anticipated, as the rear portion of the edifice had become so unsafe that its demolition was urgently advised. . . The additions consist of a staircase, hall, and corridors on the ground floor, with refectory 30 x 18 x 14 ft. high, lit with large triple windows. . . A spacious open promenade partially protected with verandah is provided for the private use of the inhabitants of the monastery for study or recreation purposes.” [Southern Cross 5 Oct 1900]
“St. Paul's Retreat, Glen Osmond, better known as the old Monastery. . . In 1840 the locality was under cultivation. It was owned by the late Mr. Arthur Hardy, who many years cultivated vines. . . In 1847 Mr. Joseph Barrow Montefiore bought 16 acres of land from Mr. Hardy and named this estate The Glen. The new owner built the house in Oriental design, and planted the grounds with trees and plants. . . In 1853 Mr. John Stephen Boldero, a retired Indian judge, bought and occupied the house. The new owner added to the beauty of the mansion, and lived there until 1855, when the late Mr. Justice Boothby, one of South Australia's earliest judges, took over the estate. . . In 1896 the Passionist Fathers took possession of The Glen from Miss Boothby, a sister of the late judge. From that day the mansion has been a monastery, and is known as St. Paul's Retreat, named after the founder of the Order. . . The judge's bedroom and a drawing room were converted into a little chapel. . . The building is now dilapidated. . . as soon as sufficient accommodation is available in the new building the old monastery will be demolished. The new building will take the form of a church and monastery adjoined, and will form three sides of a square.” [The Mail 26 Aug 1926]
THE ORIGINAL HOUSE
“the beautiful parks of Glen Osmond. . . Among other Park residences nearer that which is the Glen, we observed an elegant mansion nearly completed, the property of J. B. Montefiore, Esq.” [Adelaide Observer 18 Aug 1849]
“To be Let or Sold, that splendid Property situate at Glen Osmond, well-known as THE GLEN, late in the occupation of J. B. Montefiore, Esq. The mansion contains in all twenty-four rooms fitted up in the best style with every convenience, and has a beautiful Garden and excellent out-buildings attached. The extent of first-rate land comprises about thirty-four acres, on which there is also a separate and smaller House. The whole Estate commands a view of the Gulf, is most desirable for the healthiness and convenience of the locality.” [Register 18 Jun 1852]
“instructions from J. S. Boldero, Esq., to sell, at his residence. THE GLEN, All his magnificent Drawing-Room, Dining Room, and Bed-Room Furniture and Effects.” [Register 11 Jul 1854]
“instructed by Miss Boothby, the Executrix of the late George Boothby, to sell by auction . . . The Glen, being the former and well-known residence of the late Mr. Justice Boothby, acquired by him in 1855. This is a beautiful Property, comprising about 31 Acres of rich land, and an excellent House of about Twenty Rooms, with very broad Verandah and Balcony on three sides. There is a good Garden and Orchard, including orange and lemon trees and cultivation paddock. Stabling, Coachhouse, Gardener's residence.” [Register 21 Feb 1895]
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.
Shigatse, Tibet , China, Summer Palace Panchen Lama, Tashilhunpo Monastery, Tibet Autonomous Region, Tibetan Plateau, Tsang province of China,
We are visiting the Tashilhunpo Monastery
Tashilhunpo Monastery , founded in 1447 by the 1st Dalai Lama, is a historic and culturally important monastery in Shigatse, the second-largest city in Tibet.
The monastery was sacked when the Gorkha Kingdom invaded Tibet and captured Shigatse in 1791 before a combined Tibetan and Chinese army drove them back as far as the outskirts of Kathmandu, when they were forced to agree to keep the peace in future, pay tribute every five years, and return what they had looted from Tashilhunpo.
The monastery is the traditional seat of successive Panchen Lamas, the second highest ranking tulku lineage in the Gelug tradition of Tibetan Buddhism. The "Tashi" or Panchen Lama had temporal power over three small districts, though not over the town of Shigatse itself, which was administered by a dzongpön (prefect) appointed from Lhasa.
en.wikipedia.org/wiki/Tashilhunpo_Monastery
Shigatse, officially known as Xigazê, is a prefecture-level city of the Tibet Autonomous Region of China, It is located within the historical Tsang province of Tibet.
Wind.
Wind makes waves. Waves run perpendicular on the wind's direction. Windsurfing is always done half wind. Half wind courses lay parallel with the tubes the waves make at open ocean. Perfect. Pythogaros' law is also to be used. Next to Pythagoras, also Isaac Newton laws are used in the windurfformula: action equals with reaction, because there is no arm working between the two forces, or, no capsizing couple between to two forces.
High winds, big waves, big stable sailing spailboats imply energy.
Cars, next part:
Since the arrival of the clutch pedal, we have two types of drivers. One type knows nothing about this so-called double clutching and takes turns always in the wrong gear, while the revolutions of the engine are too low for the lower gear. The difference in revolutions of the engine and the revolutions of the gear box is settled by the clutch plates. This has an evil consequence, because all these ignorant drivers together are wearing out the clutch plates unnecessarily. Frequent replacement of all those worn out clutch plates takes enormous amounts of steel. And the production of steel is bad for the environment. The other type, mostly (old) truckers, rally drivers and racing car drivers, just use only the left pedal to put the gear stick in the neutral position, while they break with their right foot at the same time.
At the moment the the stick is in neutral position, the right foot measures the exact amount of gas, to drive up the revolutions of the engine, in order to equalize it with the revolutions of the gear box in the lower gear. Once this is accomplished, in a split second!, the driver pulls the stick instantly into the lower gear, without pushing the clutch pedal (slipping the clutch). Pushing the clutch pedal is not necessary anymore, because the two coupling plates have the same revolutions. This is actually the technique of motoring.
Procedure during breaking and taking a slow curve:
The clutch plates are disconnected, and for this the driver uses the left foot. At the same time the car is slowed down by the drivers right foot. The driver can not let go of the break, so that the amount of gas in the neutral position has to be realized by also the right foot. The small amount of extra gas in the neutral position drives up the revolutions of the engine, and because there is no traction right now, this amount of gas will leave the cylinders very much unburnt, and by doing so, it lubricates the cylinders. The engine becomes faster, and more efficient and cleaner as a result. As a consequence the engine also gets more power. This is caused by the lubrication between the pistons and the cylinders.
Getting into higher gears, during acceleration, is less complicated, because the revolutions of every next gear are lower. Take for example the changing of the gears during 100 km / hr, from third gear to the fourth gear. Let us assume that at this speed the revolutions of the engine in third gear are 4000 rpm and in fourth gear 3000 rpm. During the period that the gear stick is the neutral position, the revolutions of the engine drop, so that the moment of changing gears is a matter of paying attention. Or a matter of listening, as they did in early days. As soon as the revolutions drop from 4000 rpm to 3000 rpm, the driver pulls the stick instantly to fourth gear. And, once again, without using the clutch pedal.
Operating an engine properly is like loving your engine. Once motorists know that the actual competition is based on the driving skill, especially on curvy roads, then they can more easily hold back on the freeways. Because they will found out that pushing the gas pedal on straight roads is an act of stupidness and a misplaced showing off of supremacy. Let me give an example. In sailing boat races -regattas-, in where all comparators have the same boat, it is the skill and the intelligence of the sailors that matters. And, in a regatta with different sailing boats, each boat has a s-called handicap indicator. So, even when the biggest boat with the most sails has the line honors, the calculation on the hand of the handicap indicators decides who the actual winner is.
Learning this driving skill is to be done by using pen and paper. Note at each speed, in each gear, the rpm of the engine. To be seen at rev-counter the dashboard, next to the speedometer. For example: note in second gear, at 40 km / hr, 2500 rpm. In third, at 40 km / hr, 1500 rpm, etc. One will see that during normal driving the difference in revolutions between two successive gears is approximately 1000 rpm. The amount of gas, in the neutral position of the gear stick, during slowing down is therefor in most of cases is only around the 1000 rpm. When drivers learn to do this, the consequence is that the clutch plates no longer rub unnecessarily. This is good for the environment and for our health. Changing gears with too few, or too many, revolutions of the engine, with respect to the revolutions of the specific gear is an expression of contempt towards the environment and our health, because it shortens the life of the gear box. We therefore need to replace the clutch plates more often, and therefore we need to produce more steel, and this steel production is bad for the environment and our health.
And, when drivers know how to take a turn, they successively will find out the fun of it. They find out that it is not the size of the engine that matters, but the technique that is thrilling. When I speak for myself, I always dare the fast cars at curvy roads in cities at night. Half way cornering, they look perplex to my much smaller car passing them, because where they are always in the wrong gear, I am giving them the sound of the double clutching, which is the racing sound and the sound of the after burning in the exhaust of the amount of fuel given in the neutral position of the gear stick.
In order to master this original art of motoring one must firstly practice the (double) clutching procedure at low speeds during a lot of years. In cities and villages is the average speed of making a turn approximately 30, 40 up to 50 km/hr. Let us now assume that put the environment and our health at the top of our priorities. Then we can say, that only when a driver knows how to change gears without rubbing the clutch plates over each other, he /she is allowed to approach a bend with an higher speed than 40 to 50 km / hr. This way drivers do not need to change gears. And so there is no rubbing of the clutch plates. So, if we hypothetically assume that the environment and our health comes first, then this implies that one cannot drive everywhere faster than 40 to 50 km/hr in cities and villages, because only at these speeds drivers do not need to change gears. The result is then, that all cars just drive at a even speed. In addition, in the future it is then a small and easy step to adjust the traffic lights, so that the main stream keeps on driving. Even the speeds can be coordinated by means of a series satellites, which provide the motorists with exactly the speed to use.
Driving at these regulated / imposed speeds will cause us to pollute much less, than we do now. The motorists loose, as a consequence their freedom. And that is logical, because they have proved not to be able handle that former freedom. I think, that if people know that a large part of the emissions and greenhouse gas is actually not necessary, it is a small step to adopt a law by a majority of votes, which law takes away the freedom of the motorists. This law contains: everywhere in the city a maximum speed of 40 up to 50 km/hr, and everywhere around cities a maximum of 60 a 70km/hr, with the exception of the bottlenecks and merging lanes: where motorist should drive 120 km/hr. The use of cars in this way, becomes equivalent to public transportations. In this way the common people have the same destiny as the rich, with equality as a result and at the foundation of this new traffic law.
A great deal of green house gasses are made by the rich, by the people who do not behave themselves on the roads and by not developed driving skills. We live in democracies. We can now prove that motorists cannot drive properly. Before they can, a learning process is necessary. During the learning process, in which they learn to change gears without wearing out the clutch plates unnecessarily and in which learning period they learn that it makes no sense to precede / approach a traffic-jam at 140km/hr, it is wise to conclude that the driving speed has to be brought down, by law.
It seems clear to me, that every driver in urban traffic has to let go of the gas for making turns. Motorists then can take turns without clutching. This is possible, because of the current overcapacity of the engine contents. Third gear will stand for slow acceleration after each curve. Automatically, the motorists who wants to master the double clutching, do not need to slow down, break with the right foot and are therefore able to give a bit of gas with the right foot, in the neutral position of the gear stick, in order to try to equalize the revolutions with the desired revolutions in second gear. So, with lower speeds, a lot of drivers can master the skill of driving, and those who do not want to learn, just keep on going in third gear, before, during and after the turn. Slow speeds in cities mean less breaking, and less wearing out of the clutch plates. There will be less fine particles coming from breaks.
Over approximately twenty years there will be electric cars and on hydrogen running engines, and as the road network widens, it is possible the raise speed limit again. First of all, we need to know how to drive and that is acquiring knowledge.
It is, with this knowledge in mind, very stupid to approach a curve at high speeds, without knowing what to do during the taking of the curve. Most people still break abruptly, and they forget to give a measured quantity of gas in the neutral position of the gear stick, before they shift to a lower gear. The clutch plates settle the differences between the revolutions of the engine and the revolutions of the lower gear. Not only does this show a lack of inexperience, it wears out the clutch plates. Double clutching is not easy, but doable and very desirable.
Considered scientifically, it is agonizing to observe that the major part of the motorists can not see the simple fact, that it makes no sense to overtake each other during the peak hours, and that they not even know how to make a turn. Both on the freeways as in the city, the present driving behavior show a lack of inexperience and ignorance. In the interest of the environment we must learn. Technique have to be developed, instead of bruit strength. The only solution against wasting fuel and reduction of clogging is judiciously use.
Getting into higher gears, during acceleration, is less complicated, because the revolutions of every next gear are lower. Take for example the changing of the gears during 100 km / hr, from third gear to the fourth gear. Let us assume that at this speed the revolutions of the engine in third gear are 4000 rpm and in fourth gear 3000 rpm. During the period that the gear stick is the neutral position, the revolutions of the engine drop, so that the moment of changing gears is a matter of paying attention. Or a matter of listening, as they did in early days. As soon as the revolutions drop from 4000 rpm to 3000 rpm, the driver pulls the stick instantly to fourth gear. And, once again, without using the clutch pedal.
Operating an engine properly is like loving your engine. Once motorists know that the actual competition is based on the driving skill, especially on curvy roads, then they can more easily hold back on the freeways. Because they will found out that pushing the gas pedal on straight roads is an act of stupidness and a misplaced showing off of supremacy. Let me give an example. In sailing boat races -regattas-, in where all comparators have the same boat, it is the skill and the intelligence of the sailors that matters. And, in a regatta with different sailing boats, each boat has a so-called handicap indicator. So, even when the biggest boat with the most sails has the line honors, the calculation on the hand of the handicap indicators decides who the actual winner is.
Learning this driving skill is to be done by using pen and paper. Note at each speed, in each gear, the rpm of the engine. To be seen at rev-counter the dashboard, next to the speedometer. For example: note in second gear, at 40 km / hr, 2500 rpm. In third, at 40 km / hr, 1500 rpm, etc. One will see that during normal driving the difference in revolutions between two successive gears is approximately 1000 rpm. The amount of gas, in the neutral position of the gear stick, during slowing down is therefor in most of cases is only around the 1000 rpm. When drivers learn to do this, the consequence is that the clutch plates no longer rub unnecessarily. This is well for the environment and for our health. Changing gears with too few, or too many, revolutions of the engine, with respect to the revolutions of the specific gear is an expression of contempt towards the environment and our health, because it shortens the life of the gear box. We therefore need to replace the clutch plates more often, and therefore we need to produce more steel, and this steel production is bad for the environment and our health.
And, when drivers know how to take a turn, they successively will find out the fun of it. They find out that it is not the size of the engine that matters, but the technique that is thrilling. When I speak for myself, I always dare the fast cars at curvy roads in cities at night. Half way cornering, they look perplex to my much smaller car passing them, because where they are always in the wrong gear, I am giving them the sound of the double clutching, which is the racing sound and the sound of the after burning in the exhaust of the amount of fuel given in the neutral position of the gear stick.
In order to master this original art of motoring one must firstly practice the (double) clutching procedure at low speeds during a lot of years. In cities and villages is the average speed of making a turn approximately 30, 40 up to 50 km/hr. Let us now assume that put the environment and our health at the top of our priorities. Then we can say, that only when a driver knows how to change gears without rubbing the clutch plates over each other, he /she is allowed to approach a bend with higher speeds than 40 to 50 km / hr. The drivers do not need to break at low speeds and therefore the right foot is free to give gas in the neutral position of the gear stick. And so there is no rubbing of the clutch plates while they change into a lower gear.
So, if we hypothetically assume that the environment and our health comes first, then this implies that drivers may not drive everywhere faster than 40 to 50 km/hr in cities and villages, because only at these speeds drivers do not need to change gears and can learn the art of double clutching. The result of low speeds speeds in cities is then, that all cars just drive at an even speed. In addition, in the future it is then a small and easy step to adjust the traffic lights, so that the main stream keeps on driving. Even the speeds can be coordinated by means of a series satellites, which provide the motorists with exactly the speed to use.
Measured and from above regulated / imposed speeds pollute much less, than such as we do now. The motorists loose, as a consequence their freedom. And that is logical, because they have proved not to be able handle that former freedom. I think, that if people know that a large part of the emissions and greenhouse gas is actually not necessary, it is a small step to adopt a law by a majority of votes, which law takes away the freedom of the motorists. This law contains: everywhere in the city a maximum speed of 40 up to 50 km/hr, and everywhere around cities a maximum of 60 a 70km/hr, with the exception of the bottlenecks and merging lanes: where motorist should drive 120 km/hr. The usage of cars becomes this way equivalently to public transportations. It is then this way that the common people have the same destiny as the rich, with equality as a result and at the foundation of this new traffic law.
A great deal of green house gasses is made by the rich, by the people who behave themselves a-social on the roads and by not developed driving skills. We live in democracies. We can now prove that motorists cannot drive properly and before they can, a learning process is necessary. During the learning process, in which they learn to change gears without wearing out the clutch plates unnecessarily and in which learning period they learn that it has no sense to precede / approach a traffic-jam with 140km/hr, it is wise to conclude that the driving speed has to be brought down, by law.
You see: the change of one single law / legislation, allowing the introduction of technology to allow retracting and extending, spoilers on cars, which may lead to reform of the major industries.
Read further on next slide.
Conclusion, also printed at end on next page.
I now want to take you all the way. I want (and I know how the subject of this script: turbo windmills and spailboats) to generate energy by using the high winds, both close to the arctic areas and near where we live, spailcrafts and turbo wind mills, in combination the exploitation of the low wind regime by conventional wind turbines and conventional modern sailing boats. So, by combining the use of all sorts of wind converters, the wind is for use everywhere in the world and its operational window covers from 2 bft until 12 bft.
The wind is therefore now a reliable energy source. A reliable energy source was the reason of why the industrial revolution took off. Any wind, up to 12 bft, is to be converted into spinning axles, which produce firstly electricity, and in addition hydrogen, nitrogen and / or presses the ordinary air in pressure tanks. We then bring these gasses to where we live with special tankers,while these tankers are propelled with motors running on these gasses. Back home we use for example the hydrogen to drive hydrogen engines. If we now hypothetically assume that we can work with spoilers on freeways, then we have plastic autos that run on hydrogen, while the spoilers retract and extend with pressurized nitrogen. The oil companies now provide oil as a construction material for the construction of spailboats, turbo wind mills, ordinary wind turbines, ordinary sail boats, tankers, airplanes, cars, trains, buses anything that moves et cetera. The means of transport is particularly hydrogen, which has been generated close the arctic poles and brought to where we live, in plastic tankers and special wheeled carriers.
You must be aware that the energy source is endless, so that the huge motors for the big carriers can be fed with endlessly amounts of clean hydrogen and / pressurized air.
The condition for harvesting the endless energy source is to build turbo windmills and spailboats first. Then we have hydrogen in huge quantities. With endlessly amounts of hydrogen, we do not need oil for the engines, and so we can use it for making plastic cars, with retractable and extendable spoilers.
In my picture of the future, we no longer burn the oil and coals and natural gas. Neither do we need nuclear power.
The End
Or should I say The Beginning!
ODEL TURNED ACTRESS RISHIKAA SHARMA SHOOT WITH SHAAN'S PHOTOGRAPHY
Actress Rishikaa Sharma, who made her Bollywood debut with movie 'TENS', poses for 'FASHION' magazine in a fantastic photoshoot done by excellent photographer Shaan Banerjee.
Rishikaa Sharma who is rated amongst the top Ramp Model down South, failed to impress critics with her first Hindi film Tens, where she was paired with the top actor. Rishikaa Sharma comes all out in a ‘hot and sexy’ avatar as she poses for the Fashion magazine’s cover. Despite a not-so-good response in Bollywood, the actress has managed to bag a second hindi film which is to be officially announce soon, She Also Did Many Ramp Shows, Many Print Cover Magazines, She is One Who Likes To Stay Long In Hoardings Across India.
Rishikaa Sharma Said, It Was very Good Experience with Shaan Banerjee To Be shooted by him for the fashion magazine, Shaan is very Good Photographer, and i would like to love with shaan in future also. Thx To Shaan Photography,
CONTACT ME: 9029-526-526
Up in Orkney we bought this miniature rose - which flourished for weeks and then grew two more buds. Down in London, having saved up many pennies over a long period of time, I bought a Canon EOS 500D.
Here are some of the pictures I tried out on this newly opened rose that currently sits on our kitchen windowsill - using a standard lens (two top and centre) and telephoto (two bottom one using flash). I did very little to the four squared images, but played around a little with the central image.
Must say that I am more than pleased and look forward to many more high quality pictures from this SLR (having missed using my old EOS 620).
There'as still a stock of Canon Powershot G6 pictures to look through, but mostly in future it will be from my new toy.
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!