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Historical pigeon nests carved inside a huge rock in Cappadocia, Turkey.
Canon AE-1 Program.
KODACHROME
YEAR. 1981
CAPPADOCIA WORLD HERITAGE LIST :
www.whc.unesco.org/en/list/357
In a spectacular landscape, entirely sculpted by erosion, the Göreme valley and its surroundings contain rock-hewn sanctuaries that provide unique evidence of Byzantine art in the post-Iconoclastic period. Dwellings, troglodyte villages and underground towns – the remains of a traditional human habitat dating back to the 4th century – can also be seen there.
Brief synthesis
Located on the central Anatolia plateau within a volcanic landscape sculpted by erosion to form a succession of mountain ridges, valleys and pinnacles known as “fairy chimneys” or hoodoos, Göreme National Park and the Rock Sites of Cappadocia cover the region between the cities of Nevşehir, Ürgüp and Avanos, the sites of Karain, Karlık, Yeşilöz, Soğanlı and the subterranean cities of Kaymaklı and Derinkuyu. The area is bounded on the south and east by ranges of extinct volcanoes with Erciyes Dağ (3916 m) at one end and Hasan Dağ (3253 m) at the other. The density of its rock-hewn cells, churches, troglodyte villages and subterranean cities within the rock formations make it one of the world's most striking and largest cave-dwelling complexes. Though interesting from a geological and ethnological point of view, the incomparable beauty of the decor of the Christian sanctuaries makes Cappadocia one of the leading examples of the post-iconoclastic Byzantine art period.
It is believed that the first signs of monastic activity in Cappadocia date back to the 4th century at which time small anchorite communities, acting on the teachings of Basileios the Great, Bishop of Kayseri, began inhabiting cells hewn in the rock. In later periods, in order to resist Arab invasions, they began banding together into troglodyte villages or subterranean towns such as Kaymakli or Derinkuyu which served as places of refuge.
Cappadocian monasticism was already well established in the iconoclastic period (725-842) as illustrated by the decoration of many sanctuaries which kept a strict minimum of symbols (most often sculpted or tempera painted crosses). However, after 842 many rupestral churches were dug in Cappadocia and richly decorated with brightly coloured figurative painting. Those in the Göreme Valley include Tokalı Kilise and El Nazar Kilise (10th century), St. Barbara Kilise and Saklı Kilise (11th century) and Elmalı Kilise and Karanlık Kilise (end of the 12th – beginning of the 13th century).
Criterion (i): Owing to their quality and density, the rupestral sanctuaries of Cappadocia constitute a unique artistic achievement offering irreplaceable testimony to the post-iconoclastic Byzantine art period.
Criterion (iii): The rupestral dwellings, villages, convents and churches retain the fossilized image of a province of the Byzantine Empire between the 4th century and the arrival of the Seljuk Turks (1071). Thus, they are the essential vestiges of a civilization which has disappeared.
Criterion (v): Cappadocia is an outstanding example of a traditional human settlement which has become vulnerable under the combined effects of natural erosion and, more recently, tourism.
Criterion (vii): In a spectacular landscape dramatically demonstrating erosional forces, the Göreme Valley and its surroundings provide a globally renowned and accessible display of hoodoo landforms and other erosional features, which are of great beauty, and which interact with the cultural elements of the landscape.
Integrity
Göreme National Park and the Rock Sites of Cappadocia, having been extensively used and modified by man for centuries, is a landscape of harmony combining human interaction and settlement with dramatic natural landforms. There has been some earthquake damage to some of the cones and the pillars, but this is seen as a naturally occurring phenomenon. Overuse by tourists and some vandalism have been reported and some incompatible structures have been introduced.
The erosional processes that formed the distinctive conical rock structures will continue to create new fairy chimneys and rock pillars, however due to the rate of this process, the natural values of the property may still be threatened by unsustainable use. The cultural features, including rock-hewn churches and related cultural structures, mainly at risk of being undermined by erosion and other negative natural processes coupled with mass tourism and development pressures, can never be replaced. threats Some of the churches mentioned by early scholars such as C. Texier, H.G. Rott and Guillaume de Jerphanion are no longer extant.
Authenticity
The property meets the conditions of authenticity as its values and their attributes, including its historical setting, form, design, material and workmanship adequately reflect the cultural and natural values recognized in the inscription criteria.
Given the technical difficulties of building in this region, where it is a matter of hewing out structures within the natural rock, creating architecture by the removal of material rather than by putting it together to form the elements of a building, the underlying morphological structure and the difficulties inherent in the handling of the material inhibited the creative impulses of the builders. This conditioning of human effort by natural conditions persisted almost unchanged through successive periods and civilizations, influencing the cultural attitudes and technical skills of each succeeding generation.
Protection and management requirements
The World Heritage property Göreme National Park and the Rock Sites of Cappadocia is subject to legal protection in accordance with both the Protection of Cultural and Natural Resources Act No. 2863 and the National Parks Act No. 2873. The entire territory between the cities of Nevşehir, Ürgüp and Avanos is designated as a National Park under the Act No. 2873. In addition, natural, archaeological, urban, and mixed archaeological and natural conservation areas, two underground towns, five troglodyte villages, and more than 200 individual rock-hewn churches, some of which contain numerous frescoes, have been entered into the register of immovable monuments and sites according to the Act No. 2863.
Legal protection, management and monitoring of the Göreme National Park and the Rock Sites of Cappadocia fall within the scope of national and regional governmental administrations. The Nevşehir and Kayseri Regional Conservation Councils are responsible for keeping the register of monuments and sites, including carrying out all tasks related to the legal protection of monuments and listed buildings and the approval to carry out any restoration-related works. They also evaluate regional and conservation area plans prepared by the responsible national and/or local (i.e. municipal) authorities.
Studies for revision and updating of the existing land use and conservation plan (Göreme National Park Long-term Development Plan) of 1981 were completed in 2003. The major planning decisions proposed were that natural conservation areas are to be protected as they were declared in 1976. Minor adjustments in the peripheral areas of settlements and spatial developments of towns located in the natural conservation sites including Göreme, Ortahisar, Çavuşin, Ürgüp and Mustafapaşa will be strictly controlled. In other words, the Plan proposes to confine the physical growth of these towns to recently established zones. Hotel developments will take into account the set limits for room capacities. Furthermore, the plan also suggested that local authorities should be advised to review land use decisions for areas that have been reserved for tourism developments in the town plans.
Preparation of conservation area plans for the urban and/or mixed urban-archaeological conservation sites within the historic sections of Göreme are in place and provide zoning criteria and the rules and guidelines to be used in the maintenance and restoration of listed buildings and other buildings which are not registered, but which are located within the historic zones. Similar planning studies for the towns of Ortahisar and Uçhisar are in place. Once finalised, a conservation area plan for the urban conservation area in Ürgüp will be in place. All relevant plans are kept up to date on a continuing basis.
Appropriate facilities aimed at improving the understanding of the World Heritage property have been completed for the subterranean towns of Kaymaklı and Derinkuyu, and are required for Göreme and Paşabağı.
Monuments in danger due to erosion, including the El Nazar, Elmalı, and Meryemana (Virgin Mary) churches, have been listed as monuments requiring priority action. Specific measures for their protection, restoration and maintenance are required at the site level.
While conservation plans and protection measures are in place for individual sites, it is recognised by the principal parties responsible for site management that an integrated Regional Plan for the Cappadocia Cultural and Tourism Conservation and Development Area is required to protect the World Heritage values of the property. Adequate financial, political and technical support is also required to secure the management of the propert
whc.unesco.org/en/list/357
www.nationalgeographic.com/travel/world-heritage/cappadocia/
Dave favourite all time record
Itchycoo Park
The Small Faces
Cock Lane City of London
Dave told me how recently he headed to his local pub under a cloud of grief. His Uncle had recently died. Dave's Uncle had played a big role in his life, his family are tight and they all played their part. His Uncle had always been his protector and they were very close. Tragically he was senselessly attacked in a pub, no one knows why. It was quick and devastating and within a few timeless moments he was in the car park fighting for his life after the perpetrators had jumped down from a parked vehicle onto his head.
He died in hospital after being in a coma. Dave was by his bedside when heard the strains of Sweet Caroline being sung by spectators on television, which was his Uncle favourite karaoke tune. Somehow this made Dave realise this was the moment he was going to pass.
As Dave stood by the bar early on that Saturday morning it was obvious that he was suffering. Ultimately, he was missing his Uncle, his mate who he loved was gone and the silence and subsequent loneliness within their relationship was overwhelming at that point. The irreplaceable bond the normality of friendship torn apart by an act of cowardly senseless violence. The aftermath of this the people left behind will carry the weight of for life.
But he was approached by a stranger who basically asked if he was alright. Of course he wasn't and they started talking then had another drink. Someone had basically taken time to find out what was happening. Dave found this man's compassion moving. This man is called Bogdan and he is Romanian. He is in England to work - he is in traffic control - just so he can get enough money to send back to Romanian so his 12-year daughter can get a good education.
This disturbed Dave as he was upset that Bogdan couldn't live with his daughter together as a family. All he wanted to do was to make sure his daughter got an education that would benefit her future and if that meant time apart then that's what they had to do. A common struggle all over the world. Dave really felt a lot of empathy for Bogdan and his wife, this mirrored the empathy Bogdan had felt for Dave a stranger standing at a bar. The result somehow temporarily took Dave's mind away from his grief.
We now live in Brexit Britain and for years we had a sustained campaign to leave the European Union with slogan's like 'Take back control'. And while the EU wasn't perfect and needed reform and no country wants criminal gangs coming in, we were exposed to a Leave campaign that led to divisions intolerance and extremism. A campaign that perpetrated to help the working class against the 'elites' which was actually financed by super rich establishment figures who ticked every box of being 'elites' themselves and have no intention of a more equal society. They want even more control and the vote to leave helped them secure their wealth and power. Their agenda would be to paint Bogdan as a problem for the area he is staying, whereas the real problems are the violence and separation that led to Dave and Bogdan meeting in the first place.
And somehow Dave's interaction with Bogdan shined a light on the fact we are all part of the human race. With more understanding and tolerance, we can have better times finding what bonds us instead of looking for what divides us.
Dave and Bogdan ended up watching Romanian third division football highlights because of the incredible ability/wonders of modern technology.
A day both of them won't forget in a hurry, because it's life. Life to be shared and experienced.
This is a great quote from Dave "We are fortunate to get this chance to live and exist and find love and family. Our sadness at death is only a measure of how deeply we have loved."
www.flickr.com/groups/100strangers/
© All rights reserved please do not use on any other websites or blogs without my explicit permission.
The architecture in Tbilisi is a mixture of local (Georgian), with strong influences of Byzantine, European/Russian (neo-classical), and Middle Eastern architectural styles. The oldest parts of town, including the Abanot-Ubani, Avlabari, and to a certain extent the Sololaki districts clearly have a traditional Georgian architectural look with Middle Eastern influences.
In recent years, however, redevelopment pressures have increasingly threatened and in some cases, caused the destruction of the neighborhood's irreplaceable architectural heritage.
Nur Liebesbriefe - only love letters
The idea of communication is an old one: We want to share our thoughts, wishes or feelings with others. Long distances, unviable efforts and the absence of courage caused us to fall back on traditional mailing in the past.
The world is changing, and therefore letters became an endangered species like public phones whose necessity is questioned more and more. Today, the only mail most of us receive consists of official notices or bills which are delivered by the postman who might become a rarity himself in the nearby future.
Most of the private communication has shifted – in the age of modern communication, messages are easily expressed on time in a pleasant way.
Whereas there is no doubt that contemporary media tremendously simplifies our life, the experience of opening an envelope which has been sent to us by somebody with the intention of showing affection is an irreplaceable moment of excitement.
Sunset above park from my living room
Zonsondergang boven park vanuit mijn woonkamer
The sun sets on the horizon from the distant land,
Where birds chirp and couples lay hand in hand.
I look at the sun to say goodbye,
To the beautiful colours that paint the sky.
Shades of orange, yellow and pink,
Fluffy white clouds, into my heart they sink.
And although I hate to see the sun go,
Its beauty and love has been my show.
I've seen the sunset so many times,
Yet it's still the most favourite sight of mine.
Its exquisiteness strikes warm in the month December,
Its irreplaceable memory I will always remember.
There will be no sadness, nor any sorrow,
Because my sun, you will rise tomorrow.
I won't feel hurt, nor feel any pain,
Because on your way down, your beauty will reign.
Poem: Theo Williams
.
Years Ago.
===GCPD- Interrogation Room===
Gordon- Name?
Drury- Seriously?
Gordon- Name. For the record
Drury- Killer Mot- Drury, it's Drury Walker. I didn't do it.
Gordon- Is that so? Funny, the report says that a man, in your costume-
Drury- Well, anyone can wear a costume
Gordon- The costume you yourself called irreplaceable?
....
Drury- Maybe.
Gordon- So, a man, in your costume robbed two thousands dollars worth in rare moth samples from the Gotham University Biology Lab?
Drury- I would say that that's the action of a very disturbed individual.
Gordon- And another man, clearly not Lynns-
Drury- Clearly.
Gordon- Torched the lab in an attempt to cover your tracks. Is that right?
Drury- See, if it was Gar, not saying it is- The whole university would be torched. He really likes fire.
*Gordon looks at the scorch marks across the walls. The GCPD is still feeling the effects of last year's attack*
Gordon- I noticed.
Drury- Batgirl... Fucken' Batgirl...
Gordon- What was that, Walker?
Drury- Finally be respected if she didn't get in our way.
Gordon- You dress like a disco moth, Walker, I don't think she's the issue.
Drury- The Gala, Bressi, the Precinct... the damn lab. You know I wouldn't have to resort to robbing schools if she hadn't set me back!
Gordon- You're in luck. She's retired. Nobody has seen her in weeks. A good thing too. The last thing we need is a kid getting killed doing what he does.
Drury- What-?
Gordon- Sorry, I'll have to cut this short, Arkham's got a cell prepped for you, and I've a dinner planned with my daughter.
...
Drury- Your daughter? The daughter who-
Gordon- Goodnight Walker.
===Gotham Clocktower. Now===
*It's like nothing I've ever seen before. I've not been in the Cave, but I imagine it's something like this. Computer monitors set up everywhere, a selection of old costumes, newspaper clippings of past glories and even... A Moth mask*
Drury- You kept it?
Babs- You were my first supervillain. It's kinda a thing. Heh. We don't get official superhero trophies or medals you know
Drury- Yeah, I guess I never figured that. Must be weird right, Killer Moth chilling with Bat-People?
Babs- It's funny. It's not even in the top ten. Now, if Scarecrow was hanging out, *that'd* be weird.
Drury- So Robin, Tim I mean, says you're good at computers- better than he is by far. I was wondering, if you could decrypt this?
*I hand her the book from the library, and she rolls on over to the central monitor*
Babs- What is it?
Drury- Found it in a City Lawbook, there's some symbols in here I don't really understand.
Babs- (smiling) You stole it
...
Drury- I stole it.
Babs- I'll see what I can do.
*She types on the keypad, scanning the symbols, doing it so effortlessly. I swallow, then speak*
Drury- Listen, I am really sorry.
Babs- For what?
Drury- Everything. When I put the pieces together... when I realised you were Batgirl... it made me think. It was my fault.
Babs- Fault?
Drury- That you were fighting crime in the first place. That's what happened right? I tried to abduct Bruce and you came to his rescue... God I'm an idiot. It made you official... put a target on you, so that he came and he-
*She turns around*
Babs- That's not what happened.
Drury- Yeah. Yeah it is.
Babs- No, it's not. Do you know what I wanted to be all my life? A cop. Like my dad. Maybe I wouldn't have become Batgirl good and proper, but I would have fought crime with or without you, or Firefly, or even Batman. It's in my blood. Joker didn't shoot me because I was Batgirl. That's not what happened and you need to know that. He did it to prove a point, to drive my dad mad. It was him who did it, and him alone. He would have shot anyone else to get his point across, to send his twisted, screwed up message
*She's right. Probably*
Babs- And, if he hadn't done that, I wouldn't be here. Yes, I've got the chair, but I've also got this job. Oracle. It feels like I've helped so much more people from here than I ever did as Batgirl. Beyond Burnside, beyond Gotham.
*Yeah. She's probably right*
Drury- I have a daughter, few years younger than you. It wasn't until... that, that I realised you were a kid too, that you have a father who loves you just as much as I love her.
Babs- Kitten. I fought her way back when... think I embarrassed her.
Drury- Heh. Really?
Babs- Oh yeah, she was jealous, about me and Dick.
Drury- Ha! That sounds like my kitten.
Babs- I'll send you what I've got on this book later. Take care.
*I walk back to the lift. Then I stop. I don't know why*
Drury- They haven't forgotten, y'know. Gar, heh, he still hates you. I think that this is great- you are great. But y'know what I also think? Gotham needs a Batgirl too, just as much as Oracle. The hope you inspired... It's something that this City needs.
*She nods*
Babs- We're working on it.
Grézieu-la-Varenne is an unremarkable town in the suburbs of Lyon (southeastern France), with an utterly unremarkable church built in the late 1870s.
However, even in the most mundane of environments, wonders can sometimes be found, and in order to do that, truly knowledgeable books, such as those of the Zodiaque publishing house, published between 1950 and 2000 by the Benedictine monks of the abbey of La Pierre-qui-Vire in Burgundy, are irreplaceable.
Thanks to Lyonnais et Savoie romans, I was alerted to the presence in that church of a large sculpted basin, probably a stoup, that was worth seeing. So, I drove over one day and discovered this splendid piece of soft white stone (like a sort of alabaster), coming from the previous church that was razed in 1870 to make way for the ugliness we have to behold today.
Several errors have been made about this piece.
First, it is described locally (and on the web) as “a baptismal font, originally”, which is obviously wrong: because during the Middle Ages, baptism was a major affair that often implied full (or substantial) immersion of the body, and because that sacrament was not generally bestowed upon infants, that sculpted basin wouldn’t have fitted the body of any being but an infant. It is simply too small to have been used for baptism in those distant times. My opinion is that it was designed for the use that’s been its own through the centuries: as a stoup!
Second, it is in general dated from the beginning of the 11th century. However, the manner in which it is sculpted (in particular the shape of the hands and the length of the fingers), as well as the themes developed, lead me to believe it is a lot older than Year 1000, and more typical of Carolingian sculpture. I would vouch it was made around 850.
It is a truly beautiful piece, which is, of course, set in a very dark church where it suffers from ugly, impossible lighting. I should have brought flashes, had I known, because I cannot show all the aspects of the object: one side was decidedly too dark to be photographed. Maybe, one day, I will go back with my two Indra500s and a a couple of speedlights to properly light and photograph this unique piece.
Note: these are the last photos I upload that were taken with my trusty Z7, which I have been using since December 2018. From now on, the photos I will upload will have been taken with the Nikon Z7 II mirrorless camera.
Today is my birthday :) Today Im 21 yo :) 15 is my favorite number and january my favorite moth :) Today I want a lot of likes and favs :) Love you all <3
Her job is huge...to replace the irreplaceable Huck, who was lost to a huge storm and a highway too close to home in November. She is tiny and lovely and snuggly and smart and full of puppy breath kisses and springs in her feet
CAPPADOCIA WORLD HERITAGE LIST :
In a spectacular landscape, entirely sculpted by erosion, the Göreme valley and its surroundings contain rock-hewn sanctuaries that provide unique evidence of Byzantine art in the post-Iconoclastic period. Dwellings, troglodyte villages and underground towns – the remains of a traditional human habitat dating back to the 4th century – can also be seen there.
Brief synthesis
Located on the central Anatolia plateau within a volcanic landscape sculpted by erosion to form a succession of mountain ridges, valleys and pinnacles known as “fairy chimneys” or hoodoos, Göreme National Park and the Rock Sites of Cappadocia cover the region between the cities of Nevşehir, Ürgüp and Avanos, the sites of Karain, Karlık, Yeşilöz, Soğanlı and the subterranean cities of Kaymaklı and Derinkuyu. The area is bounded on the south and east by ranges of extinct volcanoes with Erciyes Dağ (3916 m) at one end and Hasan Dağ (3253 m) at the other. The density of its rock-hewn cells, churches, troglodyte villages and subterranean cities within the rock formations make it one of the world's most striking and largest cave-dwelling complexes. Though interesting from a geological and ethnological point of view, the incomparable beauty of the decor of the Christian sanctuaries makes Cappadocia one of the leading examples of the post-iconoclastic Byzantine art period.
It is believed that the first signs of monastic activity in Cappadocia date back to the 4th century at which time small anchorite communities, acting on the teachings of Basileios the Great, Bishop of Kayseri, began inhabiting cells hewn in the rock. In later periods, in order to resist Arab invasions, they began banding together into troglodyte villages or subterranean towns such as Kaymakli or Derinkuyu which served as places of refuge.
Cappadocian monasticism was already well established in the iconoclastic period (725-842) as illustrated by the decoration of many sanctuaries which kept a strict minimum of symbols (most often sculpted or tempera painted crosses). However, after 842 many rupestral churches were dug in Cappadocia and richly decorated with brightly coloured figurative painting. Those in the Göreme Valley include Tokalı Kilise and El Nazar Kilise (10th century), St. Barbara Kilise and Saklı Kilise (11th century) and Elmalı Kilise and Karanlık Kilise (end of the 12th – beginning of the 13th century).
Criterion (i): Owing to their quality and density, the rupestral sanctuaries of Cappadocia constitute a unique artistic achievement offering irreplaceable testimony to the post-iconoclastic Byzantine art period.
Criterion (iii): The rupestral dwellings, villages, convents and churches retain the fossilized image of a province of the Byzantine Empire between the 4th century and the arrival of the Seljuk Turks (1071). Thus, they are the essential vestiges of a civilization which has disappeared.
Criterion (v): Cappadocia is an outstanding example of a traditional human settlement which has become vulnerable under the combined effects of natural erosion and, more recently, tourism.
Criterion (vii): In a spectacular landscape dramatically demonstrating erosional forces, the Göreme Valley and its surroundings provide a globally renowned and accessible display of hoodoo landforms and other erosional features, which are of great beauty, and which interact with the cultural elements of the landscape.
Integrity
Göreme National Park and the Rock Sites of Cappadocia, having been extensively used and modified by man for centuries, is a landscape of harmony combining human interaction and settlement with dramatic natural landforms. There has been some earthquake damage to some of the cones and the pillars, but this is seen as a naturally occurring phenomenon. Overuse by tourists and some vandalism have been reported and some incompatible structures have been introduced.
The erosional processes that formed the distinctive conical rock structures will continue to create new fairy chimneys and rock pillars, however due to the rate of this process, the natural values of the property may still be threatened by unsustainable use. The cultural features, including rock-hewn churches and related cultural structures, mainly at risk of being undermined by erosion and other negative natural processes coupled with mass tourism and development pressures, can never be replaced. threats Some of the churches mentioned by early scholars such as C. Texier, H.G. Rott and Guillaume de Jerphanion are no longer extant.
Authenticity
The property meets the conditions of authenticity as its values and their attributes, including its historical setting, form, design, material and workmanship adequately reflect the cultural and natural values recognized in the inscription criteria.
Given the technical difficulties of building in this region, where it is a matter of hewing out structures within the natural rock, creating architecture by the removal of material rather than by putting it together to form the elements of a building, the underlying morphological structure and the difficulties inherent in the handling of the material inhibited the creative impulses of the builders. This conditioning of human effort by natural conditions persisted almost unchanged through successive periods and civilizations, influencing the cultural attitudes and technical skills of each succeeding generation.
Protection and management requirements
The World Heritage property Göreme National Park and the Rock Sites of Cappadocia is subject to legal protection in accordance with both the Protection of Cultural and Natural Resources Act No. 2863 and the National Parks Act No. 2873. The entire territory between the cities of Nevşehir, Ürgüp and Avanos is designated as a National Park under the Act No. 2873. In addition, natural, archaeological, urban, and mixed archaeological and natural conservation areas, two underground towns, five troglodyte villages, and more than 200 individual rock-hewn churches, some of which contain numerous frescoes, have been entered into the register of immovable monuments and sites according to the Act No. 2863.
Legal protection, management and monitoring of the Göreme National Park and the Rock Sites of Cappadocia fall within the scope of national and regional governmental administrations. The Nevşehir and Kayseri Regional Conservation Councils are responsible for keeping the register of monuments and sites, including carrying out all tasks related to the legal protection of monuments and listed buildings and the approval to carry out any restoration-related works. They also evaluate regional and conservation area plans prepared by the responsible national and/or local (i.e. municipal) authorities.
Studies for revision and updating of the existing land use and conservation plan (Göreme National Park Long-term Development Plan) of 1981 were completed in 2003. The major planning decisions proposed were that natural conservation areas are to be protected as they were declared in 1976. Minor adjustments in the peripheral areas of settlements and spatial developments of towns located in the natural conservation sites including Göreme, Ortahisar, Çavuşin, Ürgüp and Mustafapaşa will be strictly controlled. In other words, the Plan proposes to confine the physical growth of these towns to recently established zones. Hotel developments will take into account the set limits for room capacities. Furthermore, the plan also suggested that local authorities should be advised to review land use decisions for areas that have been reserved for tourism developments in the town plans.
Preparation of conservation area plans for the urban and/or mixed urban-archaeological conservation sites within the historic sections of Göreme are in place and provide zoning criteria and the rules and guidelines to be used in the maintenance and restoration of listed buildings and other buildings which are not registered, but which are located within the historic zones. Similar planning studies for the towns of Ortahisar and Uçhisar are in place. Once finalised, a conservation area plan for the urban conservation area in Ürgüp will be in place. All relevant plans are kept up to date on a continuing basis.
Appropriate facilities aimed at improving the understanding of the World Heritage property have been completed for the subterranean towns of Kaymaklı and Derinkuyu, and are required for Göreme and Paşabağı.
Monuments in danger due to erosion, including the El Nazar, Elmalı, and Meryemana (Virgin Mary) churches, have been listed as monuments requiring priority action. Specific measures for their protection, restoration and maintenance are required at the site level.
While conservation plans and protection measures are in place for individual sites, it is recognised by the principal parties responsible for site management that an integrated Regional Plan for the Cappadocia Cultural and Tourism Conservation and Development Area is required to protect the World Heritage values of the property. Adequate financial, political and technical support is also required to secure the management of the property.
www.nationalgeographic.com/travel/world-heritage/cappadocia/
Born too late or just in time? I suppose it depends on your perspective. This image kills me in that the quality is so abysmal. I had only taken my first railroad photo about two years prior to this and having not grown up with anyone in my family that was either a railfan or a photographer I was truly on my own. It would be another year before I got my first SLR so at the time was shooting with a little Canon point and shoot and 100 speed print film. To say it produced less than optimal results compared to my digital gear nearly a quarter century later is an understatement. Coupled with the fact that I knew little about composition or sun angles I’m left a bit frustrated looking at these old images.
But, conversely, I look at them with wonder and amazement and an immense level of gratitude for being born just in the nick of time and having a father who indulged my newfound hobby. And I’m grateful for some new friends in the world of railfanning who helped me learn and wanted to tag along on crazy cross-country adventures that left me with crappy photos and priceless irreplaceable memories.
While the images frustrate me, I choose to be eternally grateful to have stood here and witnessed this before like so much of railroading before I know only through the images of others.
In the summer of 1996, I spent three days on that most legendary of mountain railroads, the Denver & Rio Grande Western’s Tennessee Pass line. This was the third week of August 1996 and the line was exceptionally busy seeing 20+ trains a day of all kinds including unit coal, ore, autos, double stacks, and manifests. New ties were laid out and long midday work windows were in effect as the line continued to be maintained and upgraded. But it was all an illusion because in less than three weeks after my visit the Southern Pacific and Rio Grande would be no more when they were merged into the Union Pacific on September 11, 1996. Almost exactly one year to the day after my visit the last thru train would cross the pass on August 23, 1997 and the rest as the say is history…
This view looks railroad west (northeast by compass) toward the Us Route 24 overpass a bit north of the famed mining town of Leadville that is the highest incorporated city in the US. This is Southern Pacific train EUCHM (Eugene to Chicago manifest) curling down the 1.5% grade through the broad alpine meadow amid grazing cattle at MP 275 on SP’s Tennessee Pass Subdivision Mainline. Leading the train is SP 8263 (EMD SD40T-2 blt. May 1980), SP 9756 (EMD GP60 blt. Jul 1991), SP 9309 (EMD SD45T-2 blt. Sep 1973), run through Conrail 6048 (GE C40-8 blt. Mar 1989) and leased CP 5799 (EMD SD40-2 blt. Dec 1978). The lease of the CP Rail units will terminate effective with the UP merger and they will have 20 days to be returned.
This former Rio Grande mainline was first spiked down as 3 ft gauge over the top of the 10,433 ft pass in 1881. Nine years later in conjunction with the standard gauging of the line from Pueblo to Salida and the construction of the new standard gauge Rio Grande Junction (jointly owned with the Colorado Midland) into Grande Junction the D&RG (predecessor of the D&RGW) built a new alignment from 8 miles north of Malta to Redcliff that included a 2,557 ft tunnel about 200 ft below the top of the pass. The line continued in regular use and saw arguably its busiest yeas from 1988 until the end as a key link in the SP’s Central Corridor after that much larger road was bought by Phil Anchutz in 1988 and combined with his Rio Grande.
Leadville, Colorado
Saturday August 24, 1996
Built in 2006 and inspired by Peter Elson artwork from the Galactic Encouters book: Settlers in Space: The Fight for Survival on Distant Worlds.
In order to protect their priceless and irreplaceable Dragonflower crops, the farmers regularly patrol the deserts of New Mars with sophisticated detection equipment in order to prevent intruders.
“Do not let your fire go out, spark by irreplaceable spark in the hopeless swamps of the not-quite, the not-yet, and the not-at-all. Do not let the hero in your soul perish in lonely frustration for the life you deserved and have never been able to reach. The world you desire can be won. It exists.. it is real.. it is possible.. it’s yours.”
Before I headed up to Maine this weekend to spend some time with my darling Sarah Loreth, I had been having a couple of particularly hard weeks dealing with who I was as an artist and where I really wanted to go in life. Coming back and spending some quality time reading Alan Watt's stuff has given me more insight about myself and the person I want to become. I'm still going to go through lots of struggles but at least I know that there's a way out.
Thanks to the wonderful Sarah for her help :D
"He scared me for years"
I confess: I lost so many night sleeping when I were a boy because of the Thriller's video clip.
That was so scary, so creepy for me that I just realize the beauty of that dance (and what that dance would become) many years later. The street dance, the black music, etc... was totally influenced by that.
But he have provoked me so much more admiration than fear. Michael was, still are, and forever will be simply irreplaceable.
Rest in peace.
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Project 365 - A one year daily shot.
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one favor to ask of commenters: please avoid bulky group icons
or awards if you are not going to leave a real comment. the feedback is
the only reason i have pictures up on flickr, and mass-generated
"love your picture" group badges are not what i'm looking for.
thank you for understanding!
to real commenters : i appreciate you. you are the reason i am here.
thank you :)
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ORTAHISAR AND ORTAHISAR CASTLE
Ortahisar is picturesque stone houses, narrow streets and lovely churches as well as the castle-like rock formation after which the town is named. This 90m high natural fortress, a prominent landmark in the region – honeycombed with caves and tunnels, camouflaged by nature without the slightest indication of human presence inside – has partly crumbled away revealing some of its interior. Today it has been restored and the peak is accessible by a staircase. The Ortahisar Castle offers a magnificent panorama over the fairy chimneys of Hallacdere and the snowy peak of Mt. Erciyes.
Cappadocia World Heritage List;
In a spectacular landscape, entirely sculpted by erosion, the Göreme valley and its surroundings contain rock-hewn sanctuaries that provide unique evidence of Byzantine art in the post-Iconoclastic period. Dwellings, troglodyte villages and underground towns – the remains of a traditional human habitat dating back to the 4th century – can also be seen there.
Brief synthesis
Located on the central Anatolia plateau within a volcanic landscape sculpted by erosion to form a succession of mountain ridges, valleys and pinnacles known as “fairy chimneys” or hoodoos, Göreme National Park and the Rock Sites of Cappadocia cover the region between the cities of Nevşehir, Ürgüp and Avanos, the sites of Karain, Karlık, Yeşilöz, Soğanlı and the subterranean cities of Kaymaklı and Derinkuyu. The area is bounded on the south and east by ranges of extinct volcanoes with Erciyes Dağ (3916 m) at one end and Hasan Dağ (3253 m) at the other. The density of its rock-hewn cells, churches, troglodyte villages and subterranean cities within the rock formations make it one of the world's most striking and largest cave-dwelling complexes. Though interesting from a geological and ethnological point of view, the incomparable beauty of the decor of the Christian sanctuaries makes Cappadocia one of the leading examples of the post-iconoclastic Byzantine art period.
It is believed that the first signs of monastic activity in Cappadocia date back to the 4th century at which time small anchorite communities, acting on the teachings of Basileios the Great, Bishop of Kayseri, began inhabiting cells hewn in the rock. In later periods, in order to resist Arab invasions, they began banding together into troglodyte villages or subterranean towns such as Kaymakli or Derinkuyu which served as places of refuge.
Cappadocian monasticism was already well established in the iconoclastic period (725-842) as illustrated by the decoration of many sanctuaries which kept a strict minimum of symbols (most often sculpted or tempera painted crosses). However, after 842 many rupestral churches were dug in Cappadocia and richly decorated with brightly coloured figurative painting. Those in the Göreme Valley include Tokalı Kilise and El Nazar Kilise (10th century), St. Barbara Kilise and Saklı Kilise (11th century) and Elmalı Kilise and Karanlık Kilise (end of the 12th – beginning of the 13th century).
Criterion (i): Owing to their quality and density, the rupestral sanctuaries of Cappadocia constitute a unique artistic achievement offering irreplaceable testimony to the post-iconoclastic Byzantine art period.
Criterion (iii): The rupestral dwellings, villages, convents and churches retain the fossilized image of a province of the Byzantine Empire between the 4th century and the arrival of the Seljuk Turks (1071). Thus, they are the essential vestiges of a civilization which has disappeared.
Criterion (v): Cappadocia is an outstanding example of a traditional human settlement which has become vulnerable under the combined effects of natural erosion and, more recently, tourism.
Criterion (vii): In a spectacular landscape dramatically demonstrating erosional forces, the Göreme Valley and its surroundings provide a globally renowned and accessible display of hoodoo landforms and other erosional features, which are of great beauty, and which interact with the cultural elements of the landscape.
Integrity
Göreme National Park and the Rock Sites of Cappadocia, having been extensively used and modified by man for centuries, is a landscape of harmony combining human interaction and settlement with dramatic natural landforms. There has been some earthquake damage to some of the cones and the pillars, but this is seen as a naturally occurring phenomenon. Overuse by tourists and some vandalism have been reported and some incompatible structures have been introduced.
The erosional processes that formed the distinctive conical rock structures will continue to create new fairy chimneys and rock pillars, however due to the rate of this process, the natural values of the property may still be threatened by unsustainable use. The cultural features, including rock-hewn churches and related cultural structures, mainly at risk of being undermined by erosion and other negative natural processes coupled with mass tourism and development pressures, can never be replaced. threats Some of the churches mentioned by early scholars such as C. Texier, H.G. Rott and Guillaume de Jerphanion are no longer extant.
Authenticity
The property meets the conditions of authenticity as its values and their attributes, including its historical setting, form, design, material and workmanship adequately reflect the cultural and natural values recognized in the inscription criteria.
Given the technical difficulties of building in this region, where it is a matter of hewing out structures within the natural rock, creating architecture by the removal of material rather than by putting it together to form the elements of a building, the underlying morphological structure and the difficulties inherent in the handling of the material inhibited the creative impulses of the builders. This conditioning of human effort by natural conditions persisted almost unchanged through successive periods and civilizations, influencing the cultural attitudes and technical skills of each succeeding generation.
Protection and management requirements
The World Heritage property Göreme National Park and the Rock Sites of Cappadocia is subject to legal protection in accordance with both the Protection of Cultural and Natural Resources Act No. 2863 and the National Parks Act No. 2873. The entire territory between the cities of Nevşehir, Ürgüp and Avanos is designated as a National Park under the Act No. 2873. In addition, natural, archaeological, urban, and mixed archaeological and natural conservation areas, two underground towns, five troglodyte villages, and more than 200 individual rock-hewn churches, some of which contain numerous frescoes, have been entered into the register of immovable monuments and sites according to the Act No. 2863.
Legal protection, management and monitoring of the Göreme National Park and the Rock Sites of Cappadocia fall within the scope of national and regional governmental administrations. The Nevşehir and Kayseri Regional Conservation Councils are responsible for keeping the register of monuments and sites, including carrying out all tasks related to the legal protection of monuments and listed buildings and the approval to carry out any restoration-related works. They also evaluate regional and conservation area plans prepared by the responsible national and/or local (i.e. municipal) authorities.
Studies for revision and updating of the existing land use and conservation plan (Göreme National Park Long-term Development Plan) of 1981 were completed in 2003. The major planning decisions proposed were that natural conservation areas are to be protected as they were declared in 1976. Minor adjustments in the peripheral areas of settlements and spatial developments of towns located in the natural conservation sites including Göreme, Ortahisar, Çavuşin, Ürgüp and Mustafapaşa will be strictly controlled. In other words, the Plan proposes to confine the physical growth of these towns to recently established zones. Hotel developments will take into account the set limits for room capacities. Furthermore, the plan also suggested that local authorities should be advised to review land use decisions for areas that have been reserved for tourism developments in the town plans.
Preparation of conservation area plans for the urban and/or mixed urban-archaeological conservation sites within the historic sections of Göreme are in place and provide zoning criteria and the rules and guidelines to be used in the maintenance and restoration of listed buildings and other buildings which are not registered, but which are located within the historic zones. Similar planning studies for the towns of Ortahisar and Uçhisar are in place. Once finalised, a conservation area plan for the urban conservation area in Ürgüp will be in place. All relevant plans are kept up to date on a continuing basis.
Appropriate facilities aimed at improving the understanding of the World Heritage property have been completed for the subterranean towns of Kaymaklı and Derinkuyu, and are required for Göreme and Paşabağı.
Monuments in danger due to erosion, including the El Nazar, Elmalı, and Meryemana (Virgin Mary) churches, have been listed as monuments requiring priority action. Specific measures for their protection, restoration and maintenance are required at the site level.
While conservation plans and protection measures are in place for individual sites, it is recognised by the principal parties responsible for site management that an integrated Regional Plan for the Cappadocia Cultural and Tourism Conservation and Development Area is required to protect the World Heritage values of the property. Adequate financial, political and technical support is also required to secure the management of the property.
www.nationalgeographic.com/travel/world-heritage/cappadocia/
My bestie. My number one. Excuse me while I get sappy for a moment. I never thought I would meet someone in this world who would have such a profound effect on my heart. I don't use the word brother lightly when I describe you. We share a mind and a heart and a soul. You are irreplaceable. One day we'll be neighbours. With your pugs and my kittens. My Brother bear <3
Schloss Mirow wurde ab etwa 1709 als Witwensitz für Herzogin Christiane Aemilie Anthonie von Mecklenburg-Strelitz errichtet. Baumeister war Joachim Borchmann. Im Herzen des Baus hat sich der hochbarocke Festsaal des italienischen Stuckateurs Giovanni Battista Clerici in seiner ganzen Pracht erhalten. Kaum ein Besucher würde bei der äußeren Bescheidenheit des Schlosses solch einen fulminanten Saal erwarten. Zu den unerwartet prachtvollen Raumkunstwerken gehören auch jene des friderizianischen Rokokos. Der Eintritt Preußens in den Siebenjährigen Krieg verursachte in dem benachbarten Königreich einen fast völligen Stillstand der baulichen Aktivitäten. Die Künstler suchten nun anderswo nach neuen Aufträgen. Dieser historische Umstand führte dazu, dass in Mirow eine zweite Umgestaltungsphase unter Herzogin Elisabeth Albertine begann, die von 1756 bis 1761 ihr Appartement mit originären friderizianischen Innenraumdekorationen von höchster Qualität ausstatten ließ.
Für die Kulturgeschichte ist das Gebäude ein Schatz von unersetzlichem Wert. Die Region des ehemaligen Herzogtums Mecklenburg-Strelitz hat nämlich dramatische Verluste im 20. Jahrhundert erlitten: Das Residenzschloss in Neustrelitz wurde im Jahr 1945 ausradiert. Im selben Jahr fiel auch das Neubrandenburger Palais der Zerstörung anheim. Die ehemalige Sommerresidenz Hohenzieritz hat kriegsbedingt im Inneren bis auf wenige Überbleibsel ihren fürstlichen Glanz verloren. Das Untere Schloss in Mirow brannte schon im 19. Jahrhundert vollständig aus. Somit ist das Obere Schloss das letzte und einzige Denkmal überhaupt, in dem sich die herzogliche Wohnkultur der Mecklenburg-Strelitzer Dynastie erhalten hat.
Trotz der idyllischen Abgeschiedenheit reicht die Bedeutung des Schlosses weit über Mecklenburg-Vorpommern hinaus – bis in die ganze Welt hinein. Die berühmteste Schlossbewohnerin ist Queen Charlotte, die von ihrem Gemahl König Georg III. von Großbritannien „mein Schatz aus Strelitz“ genannt wurde. Nach ihr wurden die Millionenstadt Charlotte in den USA und viele Landmarken weltweit benannt. Aber auch die beliebte Paradiesvogelblume, die Strelitzie, verdankt ihren Namen dem einstigen Mirower Lottchen. Ihr Bruder Adolph Friedrich IV. kam als Fritz Reuters schräger Herzog „Dörchläuchting“ zu zweifelhaftem Ruhm und ihre Nichte Luise sollte die berühmteste aller preußischen Königinnen werden Nach 1761, dem Tod von Herzogin Elisabeth Albertine, kam der Hof nur noch zu Beerdigungen nach Mirow. Nach dem ersten Weltkrieg und der Enteignung der herzoglichen Familie wurde der Bau museal genutzt, später wurde das Schloss Dienststelle der Wehrmacht. Eine erste Renovierung des langsam verfallenden Schlosses gab es 1953, als es zu einem Altersheim umgewandelt wurde, das bis Ende der 1970-er Jahre bestand. Von der Geschichte des Hauses, seiner Bewohners und seiner Rettung nach der Wende von 1989 erzählt eine moderne Ausstellung.im Erdgeschoss
Nach dem Schlossbesuch lockt die Ruhe im Park. Auf geschwungenen Wegen, am Ufer des Sees, in barocken Alleen oder auf der Liebesinsel lässt es sich herrlich lustwandeln. Hier verbindet sich das Naturerlebnis mit den Spuren der Vergangenheit auf idyllische Art und Weise. Schloss und Park Mirow sind Teil eines ganzen Ensembles auf der Schlossinsel. Hier gibt es noch zwei weitere architektonische Höhepunkte: das Renaissancetorhaus und die Johanniterkirche, zu der auch die Familiengruft des Strelitzer Herzogshauses gehört. Im barocken Kavalierhaus gegenüber dem Schloss befinden sich ein Welcome Center und ein Café.
www.mv-schloesser.de/de/willkommen-auf-schloss-mirow/
Mirow Palace was built from around 1709 as a widow's residence for Duchess Christiane Aemilie Anthonie of Mecklenburg-Strelitz. The architect was Joachim Borchmann. At the heart of the building, the Baroque banqueting hall by Italian stucco artist Giovanni Battista Clerici has been preserved in all its splendour. Given the outward modesty of the palace, hardly any visitor would expect such a magnificent hall. The unexpectedly splendid works of interior art include those of the Frederician Rococo period. Prussia's entry into the Seven Years' War brought building activities in the neighbouring kingdom to an almost complete standstill. Artists now looked elsewhere for new commissions. This historical circumstance led to the beginning of a second remodelling phase in Mirow under Duchess Elisabeth Albertine, who had her flat furnished with original Frederician interior decorations of the highest quality from 1756 to 1761.
The building is a treasure of irreplaceable value for cultural history. The region of the former Duchy of Mecklenburg-Strelitz suffered dramatic losses in the 20th century: The residential palace in Neustrelitz was wiped out in 1945. In the same year, the palace in Neubrandenburg was also destroyed. The former summer residence in Hohenzieritz lost all but a few remnants of its princely splendour during the war. The Lower Palace in Mirow burnt down completely in the 19th century. This makes the Upper Palace the last and only monument to the ducal residential culture of the Mecklenburg-Strelitz dynasty.
Despite its idyllic seclusion, the castle's significance extends far beyond todays state of Mecklenburg-Western Pomerania - all over the world. The most famous resident of the castle was Queen Charlotte, who was called "my treasure from Strelitz" by her husband King George III of Great Britain. The metropolis of Charlotte in the USA and many landmarks around the world were named after her. The popular bird of paradise flower, the Strelitzia, also owes its name to the former Charlotte from Mirow. Her brother Adolph Friedrich IV achieved dubious fame as Fritz Reuter's (a 19th century novelist writing in the Low German language) quirky duke "Dörchläuchting " (a half affectionate, half mocking Low German way of saying Serene Highness) and her niece Luise was to become the most famous of all Prussian queens. After 1761, the death of Duchess Elisabeth Albertine, the court only came to Mirow for funerals. After the First World War and the expropriation of the ducal family, the building was used as a museum and later became a Wehrmacht office. The slowly decaying palace underwent its first renovation in 1953 when it was converted into a retirement home, which remained in existence until 1978. A modern exhibition on the ground floor tells the story of the house, its residents and its rescue after the fall of communism in 1989.
After visiting the palace, the tranquillity of the park beckons. Take a leisurely stroll along the winding paths, along the shores of the lake, along Baroque avenues or on the Island of Love. Here, the experience of nature is combined with traces of the past in an idyllic way. Mirow Palace and Park are part of a whole ensemble on Palace Island. There are two other architectural highlights here: the Renaissance gatehouse and the Church of the Order of St. John, which also houses the family crypt of the Mecklenburg-Strelitz ducal family. The Baroque Cavalier house opposite the Palace houses a Welcome Centre and a café.
Historical pigeon nests carved inside a huge rock in Cappadocia, Turkey.
Canon AE-1 Program.
KODACHROME
YEAR. 1981
CAPPADOCIA WORLD HERITAGE LIST :
www.whc.unesco.org/en/list/357
In a spectacular landscape, entirely sculpted by erosion, the Göreme valley and its surroundings contain rock-hewn sanctuaries that provide unique evidence of Byzantine art in the post-Iconoclastic period. Dwellings, troglodyte villages and underground towns – the remains of a traditional human habitat dating back to the 4th century – can also be seen there.
Brief synthesis
Located on the central Anatolia plateau within a volcanic landscape sculpted by erosion to form a succession of mountain ridges, valleys and pinnacles known as “fairy chimneys” or hoodoos, Göreme National Park and the Rock Sites of Cappadocia cover the region between the cities of Nevşehir, Ürgüp and Avanos, the sites of Karain, Karlık, Yeşilöz, Soğanlı and the subterranean cities of Kaymaklı and Derinkuyu. The area is bounded on the south and east by ranges of extinct volcanoes with Erciyes Dağ (3916 m) at one end and Hasan Dağ (3253 m) at the other. The density of its rock-hewn cells, churches, troglodyte villages and subterranean cities within the rock formations make it one of the world's most striking and largest cave-dwelling complexes. Though interesting from a geological and ethnological point of view, the incomparable beauty of the decor of the Christian sanctuaries makes Cappadocia one of the leading examples of the post-iconoclastic Byzantine art period.
It is believed that the first signs of monastic activity in Cappadocia date back to the 4th century at which time small anchorite communities, acting on the teachings of Basileios the Great, Bishop of Kayseri, began inhabiting cells hewn in the rock. In later periods, in order to resist Arab invasions, they began banding together into troglodyte villages or subterranean towns such as Kaymakli or Derinkuyu which served as places of refuge.
Cappadocian monasticism was already well established in the iconoclastic period (725-842) as illustrated by the decoration of many sanctuaries which kept a strict minimum of symbols (most often sculpted or tempera painted crosses). However, after 842 many rupestral churches were dug in Cappadocia and richly decorated with brightly coloured figurative painting. Those in the Göreme Valley include Tokalı Kilise and El Nazar Kilise (10th century), St. Barbara Kilise and Saklı Kilise (11th century) and Elmalı Kilise and Karanlık Kilise (end of the 12th – beginning of the 13th century).
Criterion (i): Owing to their quality and density, the rupestral sanctuaries of Cappadocia constitute a unique artistic achievement offering irreplaceable testimony to the post-iconoclastic Byzantine art period.
Criterion (iii): The rupestral dwellings, villages, convents and churches retain the fossilized image of a province of the Byzantine Empire between the 4th century and the arrival of the Seljuk Turks (1071). Thus, they are the essential vestiges of a civilization which has disappeared.
Criterion (v): Cappadocia is an outstanding example of a traditional human settlement which has become vulnerable under the combined effects of natural erosion and, more recently, tourism.
Criterion (vii): In a spectacular landscape dramatically demonstrating erosional forces, the Göreme Valley and its surroundings provide a globally renowned and accessible display of hoodoo landforms and other erosional features, which are of great beauty, and which interact with the cultural elements of the landscape.
Integrity
Göreme National Park and the Rock Sites of Cappadocia, having been extensively used and modified by man for centuries, is a landscape of harmony combining human interaction and settlement with dramatic natural landforms. There has been some earthquake damage to some of the cones and the pillars, but this is seen as a naturally occurring phenomenon. Overuse by tourists and some vandalism have been reported and some incompatible structures have been introduced.
The erosional processes that formed the distinctive conical rock structures will continue to create new fairy chimneys and rock pillars, however due to the rate of this process, the natural values of the property may still be threatened by unsustainable use. The cultural features, including rock-hewn churches and related cultural structures, mainly at risk of being undermined by erosion and other negative natural processes coupled with mass tourism and development pressures, can never be replaced. threats Some of the churches mentioned by early scholars such as C. Texier, H.G. Rott and Guillaume de Jerphanion are no longer extant.
Authenticity
The property meets the conditions of authenticity as its values and their attributes, including its historical setting, form, design, material and workmanship adequately reflect the cultural and natural values recognized in the inscription criteria.
Given the technical difficulties of building in this region, where it is a matter of hewing out structures within the natural rock, creating architecture by the removal of material rather than by putting it together to form the elements of a building, the underlying morphological structure and the difficulties inherent in the handling of the material inhibited the creative impulses of the builders. This conditioning of human effort by natural conditions persisted almost unchanged through successive periods and civilizations, influencing the cultural attitudes and technical skills of each succeeding generation.
Protection and management requirements
The World Heritage property Göreme National Park and the Rock Sites of Cappadocia is subject to legal protection in accordance with both the Protection of Cultural and Natural Resources Act No. 2863 and the National Parks Act No. 2873. The entire territory between the cities of Nevşehir, Ürgüp and Avanos is designated as a National Park under the Act No. 2873. In addition, natural, archaeological, urban, and mixed archaeological and natural conservation areas, two underground towns, five troglodyte villages, and more than 200 individual rock-hewn churches, some of which contain numerous frescoes, have been entered into the register of immovable monuments and sites according to the Act No. 2863.
Legal protection, management and monitoring of the Göreme National Park and the Rock Sites of Cappadocia fall within the scope of national and regional governmental administrations. The Nevşehir and Kayseri Regional Conservation Councils are responsible for keeping the register of monuments and sites, including carrying out all tasks related to the legal protection of monuments and listed buildings and the approval to carry out any restoration-related works. They also evaluate regional and conservation area plans prepared by the responsible national and/or local (i.e. municipal) authorities.
Studies for revision and updating of the existing land use and conservation plan (Göreme National Park Long-term Development Plan) of 1981 were completed in 2003. The major planning decisions proposed were that natural conservation areas are to be protected as they were declared in 1976. Minor adjustments in the peripheral areas of settlements and spatial developments of towns located in the natural conservation sites including Göreme, Ortahisar, Çavuşin, Ürgüp and Mustafapaşa will be strictly controlled. In other words, the Plan proposes to confine the physical growth of these towns to recently established zones. Hotel developments will take into account the set limits for room capacities. Furthermore, the plan also suggested that local authorities should be advised to review land use decisions for areas that have been reserved for tourism developments in the town plans.
Preparation of conservation area plans for the urban and/or mixed urban-archaeological conservation sites within the historic sections of Göreme are in place and provide zoning criteria and the rules and guidelines to be used in the maintenance and restoration of listed buildings and other buildings which are not registered, but which are located within the historic zones. Similar planning studies for the towns of Ortahisar and Uçhisar are in place. Once finalised, a conservation area plan for the urban conservation area in Ürgüp will be in place. All relevant plans are kept up to date on a continuing basis.
Appropriate facilities aimed at improving the understanding of the World Heritage property have been completed for the subterranean towns of Kaymaklı and Derinkuyu, and are required for Göreme and Paşabağı.
Monuments in danger due to erosion, including the El Nazar, Elmalı, and Meryemana (Virgin Mary) churches, have been listed as monuments requiring priority action. Specific measures for their protection, restoration and maintenance are required at the site level.
While conservation plans and protection measures are in place for individual sites, it is recognised by the principal parties responsible for site management that an integrated Regional Plan for the Cappadocia Cultural and Tourism Conservation and Development Area is required to protect the World Heritage values of the property. Adequate financial, political and technical support is also required to secure the management of the propert
whc.unesco.org/en/list/357
www.nationalgeographic.com/travel/world-heritage/cappadocia/
Huck is all grown up now...he belongs to our horse vet, and is one of my favorite dogs of all time
UPDATE: December 2015: Huck is gone...lost to a huge, loud storm and a highway too close to home. Everyone is devastated. Huck is irreplaceable
Leley Noronha © All rights reserved.
"You must not know 'bout me
You must not know 'bout me
I can have another you by tomorrow
So don't you ever for a second get to thinkin'
You're irreplaceable"
Beyoncé
One day we rode a Sydney ferry from Circular Quay to Parramatta, the furtherest east suburb reachable by the ferry service.
The first stop was in Darling Harbour were there is a massive high-rise condo development underway. The project has its detractors and it sounds very familiar to other cities world wide - public lands going to private developers with little or no public benefit
From the Guardian, an opinion article by Laura Harding, Nov 2013:
In her 2012 book Ground Control, Anna Minton details the insidious privatisation of public space in British cities by multinational development corporations and “acronym-laden quangos”. One of the companies she mentions is immediately recognisable to Sydneysiders.
Lend Lease is currently designing the major part of the 22 hectare waterfront redevelopment at Barangaroo and an additional 20 hectares to its south, at Darling Harbour. The future of the entire western side of the city rests in its hands, and all of it is publicly owned land.
Opened in 1988, Darling Harbour was supposed to be Sydney’s bicentennial legacy project, but lacked a clear structure of public streets and spaces that would fuse it into the surrounding urban fabric. It became a place apart – a retail and tourism folly that lasted just 25 years.
Such a stunning failure in recent memory should have ensured that the renewal of Barangaroo and the second attempt at Darling Harbour were more adeptly handled. Inconceivably, the mistakes of the past have been repeated and compounded.
The guardians of the public interest, state governments of both political stripes, have capitulated. The local authority, the City of Sydney, with its unparalleled expertise in making memorable public places, has been wholly excluded from these projects. The civic fundamentals that these sites should have delivered are subjugated to corporate self-interest at best, and completely absent at worst.
Barangaroo and Darling Harbour are civic failures, and a horde of international and local architects are busy polishing a broken carcass.
What is the cost of exploiting this remarkable public place while failing to secure even modest social benefits such as the City’s desired minimum 10% affordable housing target? How will we reconcile the loss of the irreplaceable social housing at nearby Millers Point – always under pressure, and now surely doomed? How do we audit the decision to give these large development parcels to one developer, rather than leveraging a more competitive and diverse market? What is the price of a breach of public trust?
The major elements in Barangaroo betray a lack of knowledge of our city’s history and lack of faith in its design culture. We have traded the opportunity for meaningful and intelligent architectural responses to our place for the vapidity of corporate internationalism. The headland park, the most important park to be built in the city for decades, eschews the vibrant possibilities for recreation in the heart of a contemporary city and instead limply mimics the abundant natural conditions of the harbour.
Is the city’s western edge destined to become a disposable commercial precinct so pessimistic that it can’t see beyond the financial returns of the next 25 years to the extraordinary cultural potential of our collective civic life?
Fool me once, shame on you; fool me twice, shame on me. What does a third attempt tell us? That the corporations currently managing the largest parts of our city are banking on the fact that Sydney lacks sufficient knowledge and respect to defend and sustain the public framework that supports its rich urban culture. It urgently needs to do better.
La Biblioteca del Parlamento en Ottawa (Canadá) es un hito en su país, tanto así que adorna la parte posterior de un billete de dólar canadiense. El edificio se inspiró en la sala de lectura del Museo Británico. La sala de lectura principal tiene un techo abovedado que complementa las paredes y las columnas de pino blanco con tallas de gran detalle de flores, máscaras, texturas y criaturas míticas. La colección de la Biblioteca se compone de más de 600.000 artículos y está a cargo de 300 empleados.
El 3 de febrero de 1916, hacia las 21 horas, se inició un incendio de poca
envergadura en la sala de lectura del edificio central. Creció rápidamente hasta
convertirse en un fuego devastador que se cobró 7 vidas y no dejó en pie más que una
estructura carbonizada, con excepción del ala
noroeste y la biblioteca, que se salvaron
del incendio. Si uno de los empleados no hubiera cerrado a tiempo las puertas de hierro
de la biblioteca miles de obras irremplazables también se hubieran perdido.
La Bibliothèque du Parlement à Ottawa (Canada) est une étape importante dans votre pays, si bien que orne le dos d'un billet du dollar canadien. Le bâtiment a été inspiré par la salle de lecture du British Museum. La salle de lecture principale a un plafond voûté qui complète les murs et les colonnes de pin blanc, avec des sculptures magnifiquement détaillés de fleurs, des masques et des créatures mythiques textures. La collection de la bibliothèque se compose de plus de 600.000 articles et est en charge de 300 employés.
Le 3 Février, 1916, à 21 h, un feu a commencé à faible
l'échelle dans la salle de lecture du bâtiment principal. Il a rapidement grandi
devenir un incendie dévastateur qui a fait sept morts et laissé debout plus d'une
la structure carbonisée, à l'exception de l'aile
Nord-Ouest et de la bibliothèque, qui ont été sauvés
feu. Si l'un des employés avait pas fermé dans le temps les portes de fer
bibliothèque de milliers d'œuvres irremplaçables ont également été perdus.
The Library of Parliament in Ottawa (Canada) is a milestone in your country, so much so that adorns the back of a Canadian dollar bill. The building was inspired by the reading room of the British Museum. The main reading room has a vaulted ceiling that complements the walls and columns of white pine with beautifully detailed carvings of flowers, masks and mythical creatures textures. The library collection consists of over 600,000 items and is in charge of 300 employees.
On February 3, 1916, at 21 am, a fire started low
scale in the reading room of the main building. It quickly grew
become a devastating fire that claimed seven lives and left standing more than a
charred structure, except for the wing
Northwest and the library, which were saved
fire. If one of the employees had not closed in time the iron gates
library of thousands of irreplaceable works have also been lost.
More than half of England’s medieval stained glass is held in York Minster’s 128 windows, making the cathedral custodian of some of the most important and irreplaceable art from this period.
This Shot Have been Choosed as Official Banner of
Executive Secretariat of the Inter-American commission on Human Rights (“ICHR”)2010/2011"
View On BlackView on Black Large View
The Amazon rainforest (Brazilian Portuguese: Floresta Amazônica or Amazônia; Spanish: Selva Amazónica or Amazonia), also known as Amazonia, or the Amazon jungle, is a moist broadleaf forest that covers most of the Amazon Basin of South America. This basin encompasses seven million square kilometers (1.7 billion acres), of which five and a half million square kilometers (1.4 billion acres) are covered by the rainforest. This region includes territory belonging to nine nations. The majority of the forest is contained within Brazil, with 60% of the rainforest, followed by Peru with 13%, and with minor amounts in Colombia, Venezuela, Ecuador, Bolivia, Guyana, Suriname, and French Guiana. States or departments in four nations bear the name Amazonas after it. The Amazon represents over half of the planet's remaining rainforests, and it comprises the largest and most species-rich tract of tropical rainforest in the world.
The Amazon rainforest was short-listed in 2008 as a candidate to one of the New7Wonders of Nature by the New Seven Wonders of the World Foundation. As of February 2009 the Amazon was ranking first in Group E, the category for forests, national parks and nature reserves.[1]
# There were an estimated ten million Indians living in the Amazonian Rainforest five centuries ago. Today there are less than 200,000.
# In Brazil alone, European colonists have destroyed more than 90 indigenous tribes since the 1900’s. With them have gone centuries of accumulated knowledge of the medicinal value of rainforest species. As their homelands continue to be destroyed by deforestation, rainforest peoples are also disappearing.
# Most medicine men and shamans remaining in the Rainforests today are 70 years old or more. Each time a rainforest medicine man dies, it is as if a library has burned down.
# When a medicine man dies without passing his arts on to the next generation, the tribe and the world loses thousands of years of irreplaceable knowledge about medicinal plants.
.Your favorites - Thanks
In Scotland we have a series of archeological features built between 500-4,000 years before Christ. We treasure these as the irreplaceable historical artifacts they are. Nah, we leave them out in fields where they offer shelter to sheep and cows.
Just to be clear then, anywhere up to 6,000 years ago a bunch of folks, who had way better things to do (finding enough to eat), set about moving around, and erecting, the biggest pieces of stone they could find. It is amazing to stand in the wind and snow and put your hands on something that was put there by other hands, 300 generations or so ago. And they are everywhere. Which doesn't mean they are always easy to get to or easy to find, but well worth the effort - hail, horizontal rain, or snow. I plan to return with these to try a little watercoloring for final.
Once I fell for you… in a moment between two beats of my heart you became a part of me, an irreplaceable part… each of your streets, each of your neon signs, each of your little shops, each of your shrines and temples, each and every stone on the ground, each and every plant… my very blood runs through them, their heart beats inside me: toki-doki, toki-doki…
Even now, being miles away from you, I still feel this rhythm throughout my whole body… it’s something under my skin… something that's always at the back of my mind... something I would never be able to let go, as in that case I would lose myself... every part of me wants to hug you tightly and stay with you… my hometown…
Tokyo, I love you! ♡
In Scotland we have a series of archeological features built between 500-4,000 years before Christ. We treasure these as the irreplaceable historical artifacts they are. Nah, we leave them out in fields offering shelter to sheep and cows. Just to clear then, anywhere up to 6,000 years ago a bunch of folks, who had way better things to do, set about moving around and standing up the biggest pieces of stone they could find. It is amazing to stand in the wind and snow and put your hands on something that was erected by other hands 300 generations or so ago. And they are everywhere. Which doesn't mean they are always easy to get to. I had to bushwhack my way to the Machar stones, arriving about an hour before dark, and the Dunruchan Stones were protected by Highland Cows. I plan to return with these to try a little watercoloring.
BE99 and Caravan cargo turboprops on the morning UPS Manchester, NH ramp, getting ready to launch to destinations across the northeast;
N194&N196WA are still plying the New England skies;
N99TA is still flying in Alaska (I believe)..these are solid and irreplaceable machines!!!
A photo of Sunny from a series I took in the summer of 2008 and never published. I'm revisiting these photos now because I learned that Sunny was murdered while paddleboarding not far from where she lived in Maine(!) I knew Sunny for nearly 30 years, through a great many ups and downs. She was one of the toughest, most intense people I ever met. She is absolutely irreplaceable.
" Do not let your fire go out, spark by irreplaceable spark, in the hopeless swamps of the approximate, the not-quite, the not-yet, the not-at-all.
Do not let the hero in your soul perish, in lonely frustration for the life you deserved, but have never been able to reach. Check your road and the nature of your battle. The world you desired can be won, it exists, it is real, it is possible, it's yours.."
Atlas Shrugged
In Memory of Carol Von Canon, aka Big Grey Mare, a precious Flickr friend who joined her beloved husband Jake in Heaven this week! She was one of my first contacts on Flickr & became a dear friend! You & your amazing photography will be truly forever missed on Flickr & most of all your irreplaceable friendship!! One of her last messages to me:
From: Carol aka Big Grey Mare voncanon
Sent: Sunday, February 11, 2018 10:00 PM
To: Angela Orlando; Angie Tolbert; Anita Von Canon; Bernadette; Bill Snyder; Carolyn Paul; Cindy Boyce; Cousin Lois; Cynthia Conte; Dave Bush; Dave Bush; David Von Canon; Donna Dereskiewicz; Donna Site; Dorothy McBride; Fred; Fred; Harvey Smith; Jeri Wray; Johnnie Boy; Jon Von Canon; Judy King; Julie Craig; Lesley Sisco; Linda Wilcoxen; Maggie; Mary Ellen Stavola; Mike Fairchild; Nora Champlin; Richard & Sally; Ronnie Distefano; Ruth WC; SHANNON SMITH; Sue Wylie; Susan; Sylvia Begley; Willie Mason; Susanna Von Canon; bonesbill113@gmail.com; rosesandbeaches@hotmail.com; Anthony; Rachel Sargent
Subject: A love letter from Jesus
Beautiful!!!!!!!!!!!!
www.youtube.com/watch?v=7phiWTPtLpA&index=62&list=WL
A Love letter from Jesus - YouTube
This video contains a poem that I wrote titled "A Love Letter from Jesus" and some of my testimony.The poem is from the book 'Jesus Reigns Prayers and ...
From Carol's FLICKR bio:
"I've been on Flickr for almost 12 years now, and have enjoyed every minute of it. I knew practically nothing about photography when I first joined, but have gotten a college education in the craft since being here. I learn so much from my contacts. If my pictures have improved at all, it's thanks to them. (If they haven't improved, well...I guess I'm a slow learner.)" See Carol's photostreamon FLICKR here: www.flickr.com/photos/biggreymare/
This year my intention is to continue dedicating my life to protecting nature any way I can. That means to support sustainable agriculture -- small organic family farms, local farmer's markets -- and renewable energy. Love our new solar system and glad to learn that solar is a growing industry. Protecting nature also means to continue to share the beauty of nature through photography! xoxo
These small dunes were formed by north winds pushing sands off the Cadiz Dry Lake. The pristine nature of the dunes and the beautiful spring display of unique dune plants have made the area a favorite for photographers.
On February 12, 2016, President Obama signed a proclamation declaring the Mojave Trails National Monument east of Los Angeles in Southern California.
Mojave Trails National Monument: Spanning 1.6 million acres, more than 350,000 acres of previously congressionally-designated Wilderness, the Mojave Trails National Monument is comprised of a stunning mosaic of rugged mountain ranges, ancient lava flows, and spectacular sand dunes. The monument will protect irreplaceable historic resources including ancient Native American trading routes, World War II-era training camps, and the longest remaining undeveloped stretch of Route 66. Additionally, the area has been a focus of study and research for decades, including geological research and ecological studies on the effects of climate change and land management practices on ecological communities and wildlife.
Photo by Bob Wick, BLM.
conceptual photography- you are made of the sea and the stars and the earth this is the only thing we know, we have to take care of our irreplaceable planet with sustenance and respect for every living thing.
From prehistoric times onwards, and echoing different iconographic codes according to the era, the representation of women is omnipresent in the history of art. Whether in religious or profane contexts, the portrayal of women, their faces or their bodies, has inspired the greatest artists throughout the world.
Portrait of a Lady brings together eighty-five works by major artists around this recurring motif and its variations. Covering artistic creation from the Palaeolithic era to contemporary art, the exhibition invites the public to explore the feelings and universal representations that the female portrait inspires.
The exhibition circuit pursues five themes, entitled respectively Originally, Women in an interior, Nude, model, muse, Portraits and self-portraits and The question of gender.
For centuries, the absence of women on the art scene has meant that the history of art has been devised and constructed by men. Despite a few exceptions like Berthe Morisot and Mary Cassatt, represented in the exhibition, women artists remained marginal for a long time. Thus, the portrait reflects to a very large extent a male way of seeing.
Nevertheless, the twentieth century is that of the emancipation of women in the West. From 1900 onwards, then generally in the 1960s, women have had access to artistic education. Today they outnumber men in art schools.
Responding to aesthetic currents and evolving ideals and criteria of beauty, the portrait questions the extent to which the individual remains a unique and irreplaceable being. The exhibition offers the opportunity to discover a great diversity of works and to shed light on the complexity of artistic thought and practices around this timeless theme.
The exhibition features a dialogue between the portraits produced by modern Belgian artists like James Ensor, Constant Permeke, Paul Delvaux, Léon and Gustave de Smet and Oscar Jespers, and the works of modern European artists such as Henri Matisse, Pablo Picasso and Edgar Degas.
The video of the Brussels artist Ariane Loze and the photography by the Finnish Elina Brotherus were done at the Villa Empain. Finally, the installation ‘A Mile in My Shoes’ invites you to slip into the shoes of sixteen women and listen to their testimonies of life.
Artists
François Aubertin, Balthus, Valérie Belin, Maurice Émile Blieck, Elina Brotherus, Lisetta Carmi, Mary Cassatt, Julie Chaffort, Chaza Charafeddine, Jacques Charlier, Fernand Cormon, Johan Creten, Gustave De Smet, Léon De Smet, Felix De Vigne, Edgar Degas, Paul Delvaux, Margret Eicher, James Ensor, Lalla Essaydi, Hans-Peter Feldmann, Sylvie Fleury, Michel François, Konstanty Gorski, Karin Hanssen, Jean Hélion, Charles Hermans, Hubert Gauthier, Hideko Inoue, Seydou Keïta, William Klein, Ariane Loze, Rania Matar, Henri Matisse, Fatima Mazmouz, Jan Metsys, Henri Meunier, Constantin Meunier, Sandro Miller, Berthe Morisot, Alphonse Mucha, Nashashibi/Skaer, Sofia Pashaei, Constant Permeke, Pablo Picasso, Irina Rasquinet, Walter Herbert Roe, Jan-Albertus Rootius, Ferdinand Roybet, Charles Sandison, Thomas Schütte, Cindy Sherman, Pierre Tal-Coat, Rosemarie Trockel, Albrecht Tübke, Edgar Tytgat, Iris Van Dongen, Joanna Vasconcelos, Eva Verbeeck, Katrien Vermeire, Gustaf Wappers, Jonathan Wateridge.
The exhibition includes A Mile in My Shoes, an installation by Empathy Museum created by Clare Patey.
Curator: Louma Salamé