View allAll Photos Tagged integration
Beverly Burnett dresses up.
Canon F1n, 50mm f1.4 SSC, Vivitar 282 flash
Kodachrome 64
1981
Taken in 1981 at Beale AFB, California, Physiological Support Division, USAF Hospital Beale.
PSD is the flight integration facility where pressure suits survival kits, parachutes and other flight equipment are maintained, fitted, overhauled or integrated into the aircraft systems. (At this time U2R/TR-1, and SR-71A)
This is a David Clark S1031 suit, a seven layered suit used to unlimited altitude. The suit uses 100% oxygen which enters the suit through a pressure regulator in the rear of the helmet. The helmet has a face curtain to assure that any suit leaks do not decompress the face area, and that pressure is available for breathing. Exhaled gases get passed through the face curtain to the suit environment. The suit pressure is maintained with compressed Oxygen from the aircraft system, through a dual stage suit pressure controller. The regulator is operated by two vacuum aneroids which compress seals, if the ambient cabin pressure is less than required, the vacuum aneroids contract allowing system pressure to enter the suit. The small pulley with the steel cable running through it is the helmet hold-down strap which stops the helmet from rising when the suit is inflated.
In the event of ejection there are 2 auxiliary oxygen bottles in the survival kit which should supply enough oxygen for the crewman to reach the ground.
Integrated into the suit is the parachute harness, connected by the Koch connector on her left shoulder. The parachute is a 35 foot diameter chute ballistically opened by a mortar fired 25 pound steel slug. The chute utilizes a quarter deployment bag, only partially opening at altitude. Once speed has reduced, the chute fully deploys.
The suit also contains automatic life preservers under each arm, equipped with a salt water sensor which immediately inflates the preservers when exposed to sea-water.
There have been successful ejections above 80,000 feet.
The modest bus station in Aberystwyth next to the imposing 1925 train station, now used as a Wetherspoons
PACIFIC OCEAN (May 14, 2020) The Arleigh Burke-class guided-missile destroyer USS Ralph Johnson (DDG 114) conducts a simulated Strait Transit along with the Nimitz Carrier Strike Group as part of a composite training unit exercise (COMPTUEX). COMPTUEX is an intensive exercise designed to fully integrate units of a CSG, while testing a strike group’s ability as a whole to carry out sustained combat operations from the sea. (U.S. Navy photo by Mass Communication Specialist 3rd Class Cheyenne Geletka/Released)
OT Live Upload. First Live Ordnance upload at sea.
PACIFIC OCEAN (Nov. 15, 2016) An F-35B Lightning II short takeoff/vertical landing (STOV maintainers, engineers, logisticians, support staff and test pilots are embarked for the third and fin2016) An F-35B Lightning II short takeoff/vertical landing (STOVL) aircraft conducts test operations on the flight deck of amphibious assault ship USS America (LHA-6). The highly diverse cadre of Pax River Integrated Test Force (ITF) technicians, maintainers, engineers, logisticians, support staff and test pilots are embarked for the third and final developmental test phase (DT-III) of F-35B carrier suitability and integration.
Miami International Airport (IATA Code: MIA) does deserve praise for its integrated transportation facilities, with Tri-Rail, Metrorail, city transit and longer distance bus facilities all close to hand at the modern Transit Center. Tri-Tail EMD GP49 #81
The M64 is a 7.62x54R sniper rifle used by the FRNR. Issued to designated snipers in the FRNR's rifle regiments, it is capable of picking off enemies at ranges up to 900 meters.
The history of the Austrian Museum of Applied Art/Contemporary Art
1863 / After many years of efforts by Rudolf Eitelberger decides emperor Franz Joseph I on 7 March on the initiative of his uncle archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London) the establishment of the "k.u.k. Austrian Museum for Art and Industry" and appoints Rudolf von Eitelberger, the first professor of art history at the University of Vienna director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.
1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the k.u.k. Polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.
1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k.u.k.) Austrian Museum for Art and Industry .
1866 / Due to the lack of space in the ballroom the erection of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park at the still being under development Rind Road.
1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger street 11-13/Schwarzspanier street 17, Vienna 9.
1868 / With the construction of the building at Stubenring is started as soon as it is approved by emperor Franz Joseph I. the second draft of Heinrich Ferstel.
1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building at the Ring. Objects from now on could be placed permanently and arranged according to main materials. / / The School of Arts and Crafts (Kunstgewerbeschule) moves into the house at Stubenring. / / Opening of Austrian arts and crafts exhibition.
1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum from funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.
1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Arts and Crafts, adjoining the museum, Stubenring 3, also designed by Heinrich von Ferstel, is opened.
1878 / participation of the Museum of Art and Industry as well as of the School of Arts and Crafts at the Paris World Exhibition.
1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the School of Arts and Crafts join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and craft since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.
1885 / After the death of Rudolf von Eitelberger, Jacob von Falke, his longtime deputy, is appointed manager. Falke plans all collection areas al well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.
1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high Baroque in the history of art and in applied arts in particular.
1895 / end of directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.
1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism.
1897 / end of the directorate of Bruno Bucher. Arthur von Scala, director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and School of Arts and Crafts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagates the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.
1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, archduke Rainer puts down his function as protector. / / New statutes are written.
1898-1921 / The Museum magazine Art and Crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.
1900 / The administration of Museum and Arts and Crafts School is disconnected.
1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the "k.u.k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.
1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .
1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.
1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum thereby receives rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.
1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and arts and crafts.
1914 / Exhibition of works by the Austrian Art Industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum for arts and crafts in the fifty years of its existence.
1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide.
1920 / As part of the reform of museums of the First Republic, the collection areas are delimited. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.
1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as of Josef Hoffmann.
1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.
1925 / After the end of the directorate of Eduard Leisching, Hermann Trenkwald is appointed director.
1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.
1927 / August Schestag succeeds Hermann Trenkwald as director.
1930 / The Werkbund (artists' organization) Exhibition Vienna, a first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher (German) Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.
1931 / August Schestag concludes his directorate.
1932 / Richard Ernst is new director.
1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over arts and crafts inventories of the collection Albert Figdor and the Kunsthistorisches Museum.
1937 / The Collection of the Museum of Art and Industry is newly set up by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.
1938 / After the "Anschluss" (annexation) of Austria by Nazi Germany, the museum is renamed into "National Museum of Arts and Crafts in Vienna".
1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Arts and Crafts in Vienna" in this way also is enlarged.
1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.
1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.
1947 / The "State Museum of Arts and Crafts in Vienna" is renamed into "Austrian Museum of Applied Arts".
1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.
1949 / The Museum is reopened after repair of the war damages.
1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).
1951 / Ignaz Schlosser is appointed manager.
1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.
1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.
1955-1985 / The Museum publishes the periodical ancient and modern art .
1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.
1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.
1958 / End of the directorate of Ignaz Schlosser
1959 / Viktor Griesmaier is appointed as new director.
1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.
1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.
1964 / The exhibition Vienna around 1900 (organised by the Cultural Department of the City of Vienna) presents for the frist time after the Second World War, inter alia, arts and crafts of Art Nouveau. / / It is started with the systematic work off of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary offers the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.
1965 / The Geymüllerschlössel (small castle) is as a branch of the Museum angegliedert (annexed). Simultaneously with the building came the important collection of Franz Sobek - old Viennese clocks, made between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.
1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are brought together.
1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues until today of Austria's most important design project in the 20th Century.
1968 / To Viktor Griesmaier follows Wilhelm Mrazek as director.
1969 / The exhibition Sitting 69 shows at the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.
1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.
1979 / Gerhart Egger is appointed director.
1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the spatial art in Vienna during the interwar period.
1981 / Herbert Fux follows Gerhart Egger as director.
1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: designer. First exhibition of the Italian designer in Austria
1986 / Peter Noever is appointed director and starts with the building up of the collection contemporary art.
1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.
1989-1993 / General renovation of the old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for the collection and additional exhibit spaces arise.
1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.
1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.
1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.
1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).
1993 / The permanent collection is newly put up, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchner street is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.
1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on MAK terrace plateau).
1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa: Krimania.
1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.
1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive biography of the work of the designer of Wiener Werkstätte after the Second World War.
1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned.
2000 / Outsourcing of Federal Museums, transformation of the museum into a "scientific institution under public law". / / The exhibition Art and Industry. The beginnings of the Austrian Museum of Applied Arts in Vienna is dealing with the founding history of the house and the collection.
2001 / In the course of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work, the "Four lemurs heads" are placed at the bridge Stubenbrücke, located next to the MAK. / / Dennis Hopper: A System of Moments.
2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin is presented in Vienna.
2002 / Exhibition Nodes. symmetrical-asymmetrical. The historical Oriental Carpets of the MAK presents the extensive rug collection.
2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, takes place the exhibition The Price of Beauty. 100 years Wiener Werkstätte. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.
2004 / James Turrell's MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.
2005 / Atelier Van Lieshout: The Disciplinator / / The exhibition Ukiyo-e Reloaded presents for the first time the collection of Japanese woodblock prints of the MAK on a large scale.
2006 / Since the beginning of the year, the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents annually special exhibitions. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.
2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects.
2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes with the aid of a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property from museums in Vienna.
2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.
2011 / After Peter Noever's resignation, Martina Kandeler-Fritsch takes over temporarily the management. / /
Since 1 September Christoph Thun-Hohenstein is director of the MAK and declares "change through applied art" as the new theme of the museum.
2012 / With future-oriented examples of mobility, health, education, communication, work and leisure, shows the exhibition MADE4YOU. Designing for Change, the new commitment to positive change in our society through applied art. // Exhibition series MAK DESIGN SALON opens the MAK branch Geymüllerschlössel for contemporary design positions.
2012/2013 / opening of the newly designed MAK Collection Vienna 1900. Design / Decorative Arts from 1890 to 1938 in two stages as a prelude to the gradual transformation of the permanent collection under director Christoph Thun-Hohenstein
2013 / SIGNS, CAUGHT IN WONDER. Looking for Istanbul today shows a unique, current snapshot of contemporary art production in the context of Istanbul. // The potential of East Asian countries as catalysts for a socially and ecologically oriented, visionary architecture explores the architecture exhibition EASTERN PROMISES. Contemporary Architecture and production of space in East Asia. // With a focus on the field of furniture design NOMADIC FURNITURE 3.0. examines new living without bounds? the between subculture and mainstream to locate "do-it-yourself" (DIY) movement for the first time in a historical context.
2014 / Anniversary year 150 years MAK // opening of the permanent exhibition of the MAK Asia. China - Japan - Korea // Opening of the MAK permanent exhibition rugs // As central anniversary project opens the dynamic MAK DESIGN LABORATORY (redesign of the MAK Study Collection) exactly on the 150th anniversary of the museum on May 12, 2014 // Other major projects for the anniversary: ROLE MODELS. MAK 150 years: from arts and crafts to design // // HOLLEIN WAYS OF MODERN AGE. Josef Hoffmann, Adolf Loos and the consequences.
CAPSTONE spacecraft, built by Terran Orbital and owned and operated by Advanced Space, being prepared for payload integration at Rocket Lab Launch Complex 1
This scaly, orangey-yellow mushroom is Fly Agaric (Amanita muscaria—very likely var. formosa). I found it growing on a partially shaded lawn near the entrance of the park's Lower Falls unit.
A beautiful and iconic species, much beloved by illustrators of old-time children's storybooks, Fly Agaric is also famous or rather infamous for its potential lethality. If you come across it, take a good look, but don't collect and eat it.
Como integrar la naturaleza en la ciudad .
Un verdadero ejemplo el parque de cabecera de Valencia .
Todo un logro .
Visit spotlight.duke.edu/50years/ to learn more about Duke University's yearlong commemoration of the 1963 desegregation of the undergraduate student body.
Integrate solar panels for your home or building and see how much energy power you can save! Visit www.solarcompaniesgoldcoast.com
Akbar Sultan, NASA technical integration manager, Airspace Systems Program (ASP), speaks during a ceremony to deliver new safety and software assurance applications to the Federal Aviation Administration's (FAA) Office of Aviation Safety (AVS) on Tuesday, April 26, 2016 at FAA Headquarters in Washington. NASA and FAA initiated the Research Transition Roadmap (RTR) partnership three years ago to support timely and cost-effective safety assurance of software and digital systems. The ceremony also marked the transition of the RTR into the Research Transition Team (RTT). Photo Credit: (NASA/Aubrey Gemignani)
HPPT! Happy Pretty Pink Tuesday. In a potted pink geranium, there appears this integrated flower:) Blessings to each of you:)
Kasteeltuinen Arcen, located around the historic 17th-century Arcen Castle in the Netherlands near the German border, is renowned as one of Europe's most versatile and beautiful garden complexes. Spanning a large area, the park seamlessly integrates the grandeur of the moated castle with diverse, meticulously maintained themed gardens. This combination of historical architecture and horticultural artistry creates a unique atmosphere, inviting visitors to explore both the castle's rich past and the vibrant, living landscapes that surround it.
The diversity of the gardens is a key feature of Kasteeltuinen Arcen. Visitors can wander through distinct worlds, each offering a unique sensory experience. Highlights include the stunning Rosarium, showcasing thousands of roses in myriad colours and forms, the tranquil Asian Water Garden complete with waterfalls and Japanese influences, and the shady, peaceful Lommerrijk. Other areas feature Mediterranean plants, bamboo forests, and the expansive Valley with its streams and rhododendrons, ensuring a varied journey through different botanical styles and atmospheres.
Overall, Kasteeltuinen Arcen offers a rich and immersive experience for visitors of all ages. Beyond the individual gardens, the park captivates with its scale, the constant interplay of colours and scents, and the beauty that shifts with the changing seasons. It's a place for leisurely strolls, discovering hidden corners, enjoying nature's artistry, and appreciating the thoughtful landscape design. With additional attractions like events, playgrounds, and the adjacent mini-golf course, it provides a full day of enjoyment and relaxation amidst stunning natural and historical beauty.
The flight James Webb Space Telescope NIRSpec instrument, undergoing integration.
Credit: Astrium/NIRSpec
A United Launch Alliance Atlas V rocket rolls out of the Vertical Integration Facility on its way to Space Launch Complex 41 at Cape Canaveral Air Force Station in Florida. The launch vehicle will boost NASA’s Origins, Spectral Interpretation, Resource Identification, Security-Regolith Explorer, or OSIRIS-REx spacecraft. This will be the first U.S. mission to sample an asteroid, retrieve at least two ounces of surface material and return it to Earth for study. The asteroid, Bennu, may hold clues to the origin of the solar system and the source of water and organic molecules found on Earth. Photo credit: NASA/Kim Shiflett
Felipe Larraín Bascuñán, Minister of Finance of Chile at the World Economic Forum on Latin America 2013. Copyright by World Economic Forum / Benedikt von Loebell
CAPE CANAVERAL, Fla. – Two of the three United Launch Alliance Delta IV heavy boosters for NASA’s upcoming Exploration Flight Test-1, or EFT-1, mission with the Orion spacecraft, have been transported to the Horizontal Integration Facility, or HIF, at Space Launch Complex 37 on Cape Canaveral Air Force Station in Florida. The core booster and starboard booster arrived by barge at the U.S. Army Outpost wharf at Port Canaveral. The port booster and the upper stage are planned to be shipped to Cape Canaveral in April. At the HIF, all three boosters will be processed and checked out before being moved to the nearby launch pad and hoisted into position. During the EFT-1 mission, Orion will travel farther into space than any human spacecraft has gone in more than 40 years. The data gathered during the flight will influence design decisions, validate existing computer models and innovative new approaches to space systems development, as well as reduce overall mission risks and costs for later Orion flights. Liftoff of Orion on EFT-1 is planned for fall 2014. Photo credit: NASA/Kim Shiflett
"Echoes of Tomorrow" is a visual ode to a future where artificial intelligence and robotics seamlessly integrate with human aspirations. This series delves into the potentialities of architecture, design, and daily life, transformed by the limitless creativity and precision of AI. It captures a world where physical constraints persist, yet human ingenuity is amplified through the vast possibilities offered by technology. These images offer a glimpse into a plausible future where constructions and landscapes are crafted with a detail and scale currently unimaginable - a tribute to the unforeseen ahead.
Poem:
In the glow of gilded domes agleam,
Where the wheels of time ignite their spark,
She stands, a relic of a bygone dream,
Gazing forth at dawn's impending arc.
She watches robots weave thoughts and steel,
In a choreography of code's own verse,
Where the line betwixt creator and creation
Is blurred in technology's harmonious curse.
We don ourselves in dreams' attire,
Forge bridges from lucid streams of data,
In a world where AI's breath infuses life
Into abodes we cherish, ever fonder.
Haiku:
Golden domes rise high,
Dreams of AI gently bloom,
New dawn, hope descends.
Household objects are blended into the gardens at My Big Backyard to teach kids about how we use plants every day.
Memphis Botanic Gardens
Memphis, Tenn.
Original abstract artwork
24x18 in.
Charcoal & oil pastel on Canson sketch paper
To purchase original please contact ajeffries101958@yahoo.com
Prints, etc. are available at www.redbubble.com/people/atj1958
Thanks for taking the time to look at my work.
Shown here is an image of Case 1 of the "'The Inevitable Present': Integration at William & Mary" Exhibit located in the Marshall Gallery (1st Floor Rotunda) and the Read & Relax area of Swem Library at the College of William & Mary, on display from February 4th 2013 to August 13th 2013
The following is a transcription of the labels in this case:
In late 1950, the Dean of the Department of Jurisprudence, Dudley W. Woodbridge reinforced the statements of the Board of Visitors and the Alumni Gazette when he told a meeting of the Norfolk and Portsmouth Bar Association that William & Mary would accept African American applicants.
Edward Augustus Travis was the first African American law student at William & Mary entering in the 1951 fall semester and graduating in August 1954 with a BCL degree, making him the first African American alumnus of William & Mary. Travis, born in Reed’s Ferry, Virginia, had attended Hampton Institute and graduated from Florida A&M before applying to William & Mary. Travis passed away in Newport News in November 1960.
While William & Mary had cracked open a door to integration, other battles continued throughout the nation, including in Washington, D.C. The Coordinating Committee for the Enforcement of the D.C. Anti-Discrimination Laws sent this flyer to William & Mary president Alvin Duke Chandler asking him to share the group’s boycott of department store Hecht’s with students. There is no indication in the records of the Office of the President if Chandler shared this information with students or others.
Hulon Willis was the first African American student admitted to William & Mary. He began in the summer 1951 term, pursuing his masters of education. At the time of his admision, Willis was already a graduate of Virginia State College (now Virginia State University) and a teacher in the Norfolk school system. He earned his degree from William & Mary in August 1956. The William & Mary Alumni Association’s Hulon Willis Association, a constituent group founded in 1992 by and for African American alumni, was named in honor of Willis, preserving his name and place in the university’s history for the future.
As a graduate student, Willis naturally had a different experience on campus than today’s undergraduate students. During the summers when he was attending classes, Willis lived on Braxton Court in a boarding house operated by Miss Gwen Skinner. When they attended football games at William & Mary, Hulon & Alyce Willis sat in the student section, not in the end zone where other African Americans were seated in the segregated stadium. When Willis was inducted into Kappa Delta Pi, an education honor society, according to Mrs. Willis another member told the group that he would be not be a part of an organization that admitted an African American. The group told this member he could leave and Willis was inducted in August 1956. As an alumnus, Willis joined the Order of the White Jacket, an Alumni Association constituent group for those who worked in campus dining halls, Colonial Williamsburg restaurants, and other dining establishments. After earning his graduate degree, Willis became an assistant professor at Virginia State University and then the director of campus police.
Like all students applying to William & Mary at the time, Willis was required to include a photograph of himself with his application. In a 2005 oral history interview with Jenay Jackson ’05, Hulon Willis’ wife Alyce, who had encouraged her husband to apply to William & Mary, recounted that upon receiving his acceptance letter in March 1951, she wondered if the photograph had fallen off his application. But a few weeks later, William & Mary released a public statement, announcing that Willis was the first African American student admitted to the institution. Willis was accepted not because the institution was opening its doors to all potential African American students, but because of the case brought by Gregory Swanson against the University of Virginia in 1950 after he was denied admission to the university’s School of Law. The U.S. Circuit Court of Appeals ruled that Swanson could not be barred from admission because of his race. Willis was pursuing his master’s degree specializing in physical education and since that program of study was not offered by a state-supported institution accepting African American applicants, William & Mary could not decline to admit Willis based solely on his race. The college established a procedure to confer with Attorney General J. Lindsay Almond, Jr. in Richmond on the admission of African American applicants beginning in the 1950s. William & Mary specifically wished to avoid a court case, while some, like A. W. Bohannan, who wrote to President Pomfret in May 1951 after Hulon Willis’ admission, saw forcing applicants to take the institution to court as the next step in preventing integration.
New Journal and Guide, 28 August 1954
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William & Mary’s first non-white undergraduate student was Art Matsu, ’28. Born to a Scottish mother and Japanese father, Matsu was an exceptional athlete who was successfully recruited from Cleveland by William & Mary to play quarterback and became captain of the football team. He also played basketball, baseball, ran track, became a member of the 13 Club and the Varsity Club, and took part in other student activities. But Matsu's attendance did not open the door widely to Asian American students. William & Mary’s student body would include only a handful of Asian and Asian American students throughout the 1930s-1950s.
The Colonial Echo, William & Mary’s yearbook, has been digitized by Swem Library and all volumes from 1899-1995 are available from the W&M Digital Archive at digitalarchive.wm.edu/colonialecho/.
Searching for a specific yearbook?
Contact Swem Library’s Special Collections Research Center at spcoll@wm.edu or 757-221-3090 to inquire if copies from your William & Mary years are available.
William & Mary admitted its first African American students under President John E. Pomfret. Pomfret would depart William & Mary soon after Willis and Travis were admitted due to the unrelated football scandal of 1951. He was replaced by former admiral Alvin Duke Chandler who was new to academia.
Correspondence, internal memos, and other materials relating to integration were filed by the Office of the President in the 1950s-1960s under the heading “Negro Education.” After being transferred to the University Archives, these folder titles were maintained to document the organization and practices of the office and the era.
You can both listen to and read Alyce Willis’ 2005 oral history interview at hdl.handle.net/10288/600.
The Swem Library and William & Mary’s Lemon Project conduct oral history interviews to document the stories and lives of college alumni, faculty, and staff. To volunteer, contact Swem Library’s Special Collections Research Center at spcoll@wm.edu or 757-221-3090.
Center for Student Diversity Records, UA 260,
Series 1: Office of Minority Student Affairs
Read more of The Black Presence at William and Mary at hdl.handle.net/10288/16118
The Flat Hat, 1 May 1951.
The Flat Hat student newspaper, first published in 1911, was digitized by Swem Library and is available from the W&M Digital Archive at digitalarchive.wm.edu/handle/10288/20
Jacqueline Filzen’s 2012 Charles Center Summer Research paper “African Americans at the College of William and Mary from 1950-1970” offers further information on this subject and provided much useful material for this exhibit. The paper can be read at hdl.handle.net/10288/17049
From the Special Collections Research Center, Earl Gregg Swem Library at the College of William and Mary. See swem.wm.edu/research/special-collections for further information and assistance.