meet the ever effective mean of many many wrong reasons :)

 

VW T3 Reimo '83. Modifications since i bought it:

 

- figured out why water boils in the engine. fixed it in public places

- plans to fix the oil leak

- ducktaped a way for the pda and ipod to be within reach range :)

 

[later update]

- figured out a friendly service :) and took it there. (comforting enough the guy at the reception said "yes i know the gearbox is upsidedown for first two gears, we have two of those old vans here")

- oil leak fixed (more edit: yeah.)

 

[even later update]

drove almoust 2000km. was great. and now we stop and wait:

- there's oil in the water. yap, didnt know it can be technically possible , but the cooling water compartiment holds a very dark slimy liquid. so it's back to the service.

 

[i should put dates]

- service called to inform me that @#$#@%$#^#!$ engine and they have to @#$#@%#!$ and it will cost me #@$#@$#@@!.

 

wellcome to the 80's

 

[20070710]

there's a troll living in my engine, he works at mixing cooling water with oil and occasionally messing up things round the electrical cables. He gets electrocuted by all three batteries when i drive, so he is grumpy. and pissed off. People from the service told me it can't be killed. I pick up the car tomorrow. Please, dear troll. We're in this toghether. Work with me

 

[20070716]

got myself back. got the car back. i'm 800 eur less happy and some very ambiguous parts replaced. problem not fixed, just effects repaired.

we shall see then, just don't mention anything if talking to me (as if). I'm pissed.

 

[20070719]

been driving the thing for couple of days now, it's all fame and glory. Luni ma duc inapoi la service pt ca am senzatia ca au pus motorul la loc un pic mai sus, nu mai pot scoate tija de la ulei fara sa faca zbrarrrnnnnn si sa stropesc around. But do you see me complaining ? Noooooooooooooooooo, i'm driving the bus. Gonna ducktape some flowers and a vase on the table in the room inside and feel all pretty about it!

 

[20070801]

Hmmm... It works. Basically on the 'close your eyes wait for a second and it will go away' principle. Amongst other, i got the gearbox stuck in 4th for like 50km. Then it went back like nothing happend. I'm just looking forward to around 2500km in the next two weeks. Then again, this might be the last status update :)

God speed and much peace

 

[20070806]

Time: 12h11 including 11h43 on motorways

Distance: 1356km

 

i will leave today :)

 

[2 weeks later]

I don't wanna talk about it. yet

 

[10192007]

just to be historically, right, 2 weeks are gone :) i'll get the car back eventually

fixed. somebody found the problem, which gives me hope for tomorrow in general terms. people finding real problems and having ways to fix them

 

[15012008]

retroactively speaking - sziget was way too fun and the camper delivered (i bet you cand flickr it out). but that's just history now let's methodically kill the waiting.,

it has been a while. but who's counting :) important thing got the car back, engine is top dandy fixed (don't ask), car is still with summer slicks frozen in the driveway while my driving license is expired (again, consider i asked you not to ask). Beside that, good news everyone (yes i got a good sense of futurama in the past 3 months since the last post): we have a delivery to make. It's for summer. or rather late spring, whenever weather will prove driving a camper is worth feeling like i feel... delivering. Until then, i have to find a 2.6meter height garage in neudorf to store the beast :P. That has - so far - proven to be not that easy. People are stubborningly building normal garages. Meanwhile, I do love my camper (and i finally figured out what i'm gonna paint it - stay tuned, to be revealed eventually - no it's not planet express. Sheesh.)

 

[24042008]

 

on the road again. beside the engine who is dandy doe, everything looks like it's falling apart. Especially electrical parts. No way all 3 batteries died on me, but so it seems. Nevertheless, I'm gonna be a happy camper. 1000km to come this weekend.

 

(later edit) - didn't happen. The engine still spills oil, not in the water but over the hot engine. It's a bit more then I can handle so with all my heart - the car is for sale as for now

 

[August 01 2008] I would sell the car to someone who has the guts to handle the little engine that could. I'll miss this car, it has been a good last summer :)

www.flickr.com/photos/morbius19/sets/72157637073316856/ Additional photos in the Set.

 

Starring Edward Kemmer, Sally Fraser, Buddy Baer, Morris Ankrum, Bob Steele, Oliver Blake, Joline Brand, Billy Dix. Directed by Richard E. Cunha.

youtu.be/Spo6hrSm5c0 Full Feature.

Brief Synopsis

After the residents of the small mountain town of Pine Ridge anxiously gather to discuss the mysterious death of local Harold Banks, Sheriff Parker reveals that Banks died from a severe beating, prompting the townspeople to speculate over the recent spate of animal deaths and question whether the tales of an ancient Indian curse may be true. Teenage brother and sister Ann and Charlie Brown scoff at the legends, but Indian Joe declares that if the locals continue to disregard his ancestral burial grounds in Devil's Crag, there will be more violence. After Parker dismisses Joe's warning, a townsman advises the sheriff to question scientific researcher Wayne Brooks, who was seen quarreling with Banks earlier that week. When Parker questions Wayne, however, Wayne insists that he and Banks had a simple disagreement. Soon after, Professor Cleveland and his daughter Janet arrive in town and Wayne recognizes Cleveland as the famous archaeologist whose lectures he attended while in college. Wayne offers the professor his services and at dinner that night Cleveland explains that he and Janet have been searching for the remains of a Spanish conquistador, Vargas, later known as the Diablo Giant, who abandoned the military to hunt for gold in the mountains. Later, Wayne takes Cleveland and Janet to his cabin to show them the artifacts he has unearthed, the most important of which is a live reptile that Wayne believes is centuries old. Cleveland is excited by the reptile's discovery and after piecing together a European crucifix from Wayne's relics, insists that they return to the site where they were found. The next day after Wayne, Janet and Cleveland set up camp at Devil's Crag, Parker arrives and reprimands Wayne for leaving town without his permission. The following morning as Wayne prepares breakfast, he hears a gunshot and discovers Joe nearby. After Wayne explains that he and the Clevelands are searching for ancient artifacts and will respect the Indian burial grounds, Joe thanks him for his honesty, but cautions him that the area is dangerous. Later, Cleveland and Wayne begin a methodical search of the area which continues for several days without success. On their final afternoon, however, Janet detects a metal object underneath an enormous log. Wayne and Cleveland dig under the log and discover an armored helmet, breast plate and several weapons, which Cleveland establishes are of Spanish origin. The men are more excited when they discover a skeleton, and Cleveland returns to camp to catalog the artifacts and begin his scientific paper. That afternoon as a rain storm threatens the site, Wayne finds an ancient axe handle, but is unable to dislodge it from the ground. Wayne returns to the camp, and soon after, the storm breaks and a bolt of lightning strikes near the log. The enormous figure of Vargas, the Diablo Giant, then rises from the ground clutching the axe. The next morning Cleveland and Wayne are stunned to find the axe gone and the ground disturbed. A medallion on the ground confirms Vargas' identity, prompting the men to wonder if the giant, like Wayne's lizard, has returned to life. Later when young Charlie comes by the camp, Cleveland, Wayne and Janet ask him not to reveal their discovery of the Spanish armor, arguing that it will bring townspeople to disturb the site. That evening, Vargas stalks the campsite and when the men discover the armor and medallion missing, they remain on guard. Further down the hill, Charlie frets about leaving Ann alone as he prepares for work, but she assures him she is safe. The following morning, as Wayne tells Cleveland they should report their suspicions of the awakened giant to Parker, the sheriff arrives with the news that Ann has been found brutally murdered. Parker arrests Wayne, claiming that Ann was clutching the Spanish medallion, and reveals that Charlie identified it as the one found by Wayne. Insisting that he is innocent, Wayne suggests that whoever stole the armor and medallion must have killed Ann. Parker agrees to question Joe, but when they find him murdered in his cabin, Parker takes Wayne into Pine Ridge. Cleveland follows them into town and after his departure, Janet is abducted by Vargas. In town, when Parker leaves Wayne unattended in his car momentarily, Cleveland appears and drives Wayne back to Devil's Crag, where the professor reveals that he took a plaster cast of a huge footprint which he believes will confirm that Vargas has returned to life and perpetrated the murders. Parker and the townsmen follow Cleveland and Wayne, but when they learn of Janet's disappearance and hear Cleveland's story about Vargas, they help search for her. Soon the men corner Vargas, and he attacks and kills several before he is wounded and escapes, leaving Janet unhurt. While the injured men are taken back to town, Parker apologizes to Wayne for not believing in his innocence. Charlie asks to help search for Vargas in retaliation for Ann's death, but when Wayne and Parker refuse, sneaks away on his own. Later the sheriff, Wayne and Cleveland hear shots and find Charlie badly wounded . While Parker goes for help, Cleveland remains with Charlie and Wayne pursues Vargas alone. Wayne catches up to Vargas at a windmill and after a brief fight, chases the giant to a bridge across a dam. As Cleveland, Janet and Parker arrive, the wounded Vargas topples off the bridge into the water below.

 

A biomechanical terraformer, spreading the reach of the Verdant Protocol into the unstable wilderness of the Shattersea.

 

Function & Purpose:

 

Bloomcaller units are autonomous biological terraforming constructs, designed to expand the Verdant Protocol’s influence by seeding, cultivating, and adapting plant life to harsh or unstable conditions. Unlike the more aggressive Harvesters, which break down and repurpose organic material, Bloomcallers focus on growth, regeneration, and controlled mutation, turning barren landscapes into thriving biomes.

 

They are not combat units, but they are far from defenceless. Their ability to rapidly alter the local environment allows them to make terrain inhospitable to threats, deploying toxic spores, root entanglements, and hallucinogenic pollen clouds as a deterrent. Their primary mission, however, is to spread, adapt, and sustain the Verdant ecosystem, ensuring the continued evolution of organic life within the Shattersea.

 

⸻

 

Physical Characteristics & Capabilities:

 

Mycelial Canopy (Floral Crown)

•The cluster of plant life atop the Bloomcaller is more than just decorative—it acts as a real-time environmental scanner and genetic repository.

•This organic canopy samples the atmosphere, temperature, and soil, adjusting its seeding process accordingly.

•Different Bloomcaller units grow unique flora based on their region of deployment, making them highly adaptable.

•Some act as pollinators, while others introduce hardy, fast-spreading fungal networks that help stabilize terrain.

Spore Chambers & Bioluminescent Vats

•The large, translucent sacs on its body contain specialized spores, bio-serum, and genetically engineered seedlings.

•Depending on the situation, the Bloomcaller can release:

•Hardy Flora Spores: Creates drought-resistant plant growth, stabilizing soil in shifting or crumbling environments.

•Fungal Mycelium Webs: Spreads Verdant neural networks underground, linking plants and extending the Protocol’s influence.

•Hallucinogenic or Defensive Spores: Releases clouds of spores that can disorient intruders or deter hostile wildlife.

•Adaptive Hybrid Seeds: Capable of mutating to better withstand the extreme conditions of the Shattersea.

Hydro-Root Injection Systems

•The tentacle-like appendages and clawed manipulators are designed for direct interaction with terrain.

•Some function as root injectors, implanting fast-growing vegetation deep into the ground.

•Others serve as nutrient distributors, helping spread organic material from decayed sources to sustain new life.

Tripedal Stability & Traversal Adaptability

•The Bloomcaller’s three-legged stance allows for stable movement across unstable ground, including shifting sand, deep mud, and debris-laden terrain.

 

Unlike more predatory Verdant units, it has no offensive weaponry, relying on environmental manipulation and biome-defense mechanisms to avoid threats.

•When under extreme duress, some Bloomcallers self-terminate, bursting into a wave of spores that create an immediate, fast-growing fungal bloom, obscuring their retreat and leaving behind a Verdant “seed” that will later develop into a new outpost.

 

⸻

 

Role in the Shattersea:

•Terraforming & Expansion: Deploys in unstable regions, planting flora and fungal networks that anchor and stabilize terrain.

•Reclamation & Healing: Can be sent to dead zones, restoring them to sustainable ecosystems over time.

•Ecosystem Adaptation: Introduces new plant species tailored to the environment, ensuring biodiversity.

•Tactical Denial & Terrain Manipulation: Uses defensive plant growth to create barriers, obscure pathways, or redirect intruders away from Verdant-controlled zones.

 

⸻

 

Personality & Behaviour:

•Unlike Harvesters, which are more mechanical and purpose-driven, Bloomcallers exhibit a form of curious, slow intelligence.

•They move deliberately and methodically, scanning and adjusting their environment before acting.

•Some Drift Runners claim that Bloomcallers watch them—not with hostility, but with a kind of detached interest, as if measuring whether the land should welcome them or resist them.

•They are not aggressive unless directly threatened, preferring to retreat and let the landscape itself become the deterrent.

 

⸻

 

Interactions with Humans & Drift Runners

•Hostile Factions: Many human groups—especially Bastion forces and industrial factions—see Bloomcallers as a threat to expansion efforts, as they can overtake infrastructure and terraform industrial sites into Verdant territory.

•Tromas & The Howling Hoser: Given Tromas’ collaboration with the Verdant Protocol, he has encountered and

even guided a Bloomcaller unit before. He has a designated safe route through Bloomcaller-controlled zones, allowing for limited trade of bio-fuels and organic materials.

*Endeavour*: On April 3, 1768, the Earl of Pembroke, an ungainly-looking

North Sea coal carrier, was put into dry dock. Stout and heavy-timbered,

with a bluff bow and a narrow stern, she was intended for a singularly

adventurous role - would carry a hand-picked group of naval officers and

scientists to the farthest reaches of the Pacific to conduct vital

astronomical studies and to make yet another search for the continent

identified on the maps as Terra Australis Incognita. She was selected

because she could hold the large quantities of supplies and scientific

equipment the voyagers would require, and also because she was

flat-bottomed and was able to take the punishment of an accidental

grounding. She was renamed the Endeavour, and within four weeks her hull

had been sheathed with a second layer of planking to protect against

tropical sea worms. Her masts and yards were scrapped for fresh-cut

spars, and all her rigging was replaced with new hempen lines. The

selection of Lieutenant James Cook as leader of the expedition to the

Pacific was even more surprising than the Admiralty's choice of the

Endeavour. At the age of 39, Cook was virtually unknown to his

countrymen, came from the lower ranks of society, was haphazardly

educated and had not even spent his whole career in the Royal Navy: His

training had been in the merchant marine.

 

Cook would become the greatest explorer of his time - and the greatest

Pacific explorer of all time. As captain of the Endeavour, he would

sight and survey hundreds of landfalls that no Westerner had ever laid

eyes on. And though the Endeavour would never fire her guns at another

ship in battle, Cook's epochal voyage aboard the converted collier was

destined to bring under George III's sovereignty more land and wealth

than any single naval victory of the powerful British fleet. But the

most important prize of this and the two subsequent voyages that Cook

would make was measured not in territory but in knowledge. Patient and

methodical where his predecessors had been hasty and disorganized, he

would sweep away myths and illusions on a prodigious scale, and in the

end would give to the world a long-sought treasure: a comprehensive map

of the Pacific. Cook didn't find the fabled "Great Southland", but he

discovered - in Australia - a country equally deserving of such a title!

It is worth mentioning here that a piece of his original ship "The

Endeavour", a converted coal-carrier, was taken into orbit aboard the

Space-Shuttle of the same name.

 

*Sydney Harbour Bridge*: opened in 1932 and until 1967 was the city's

tallest structure. It is the world's widest long-span bridge and the

tallest steel arch bridge, measuring 429.6 ft from top to water level.

It is also the fourth-longest spanning-arch bridge in the world. The

bridge deck portion of the highway is 0.73 miles long, is concrete and

lies on trimmers (beams that run along the length of the bridge). The

trimmers themselves rest on steel beams that run along the width of the

bridge. The arch is composed of two 28-panel arch trusses. Their heights

vary from 55.8 ft at the centre of the arch to 176.7 ft (beside the

pylons). The arch span is 503 m and the weight of the steel arch is

39,000 tons. The arch's summit is 440 ft above mean sea level, though it

can increase by as much as 7 in on hot days as the result of steel

expanding in heat. Two large metal hinges at the base of the bridge

accommodate these expansions and contractions and thereby prevent the

arch from being damaged. About 79% of the steel came from Middlesbrough,

in the North East of England. The rest was Australian-made. The total

weight of the bridge is 52,800 tonnes, and six million hand-driven

rivets hold the bridge together. The rivets were made at the Park Bridge

Ironworks in Lancashire England. At each end of the bridge stands a pair

of 276 ft high concrete and granite pylons. Abutments, which support the

ends of the bridge, are contained at the base of the pylons. They

prevent the bridge from stretching or compressing due to temperature

variations. Otherwise, the pylons serve no structural purpose and are

primarily to visually balance the bridge itself. They were never an

essential part of the design but were added to allay concerns about

structural integrity.

 

*Jacaranda*: is a genus of 49 species of flowering plants in the family

Bignoniaceae, native to tropical and subtropical regions of South and

Central America, Mexico, and the Caribbean. The species are shrubs to

large trees ranging in size from 2 to 30 m tall. The leaves are

bipinnate in most species, pinnate or simple in a few species. The

flowers are produced in conspicuous large panicles, each flower with a

five-lobed blue to purple-blue corolla; a few species have white

flowers. The fruit is an oblong to oval flattened capsule containing

numerous slender seeds.

 

**

www.phaselis.org/en/about/about-project

Phaselis Research

 

Phaselis

 

When compared with the previous period of research on the history of the city over the past quarter century it has undergone radical changes. While modern scientists follow the path of their predecessors in collecting data through systematic processes and methodically analysing them, they change the route whereby they approach the city as a context- and a process-oriented structure, having economic, social, cultural, political and environmental dimensions which come together at different levels.

 

This considerably more inclusive definition expands the discipline concerning the city’s historical research, which consists of archaeology, epigraphy, ancient history and the other ancillary sciences and it encourages scientists from the natural and health sciences to participate within these studies. This is because in the course of the exploration of an ancient settlement the study of both the environment and the ecological setting which make human life possible; together with health issues, such as diet and epidemics, form the context within which human beings live, and which are thereby as important as the human actors.

 

Within the context of the planned Phaselis Research, even certain knowledge such as the settlement’s appearing on the stage of history as a favorite break-point with its three natural harbours, it being famous for its roses, the frequent seismic upheavals at sea and on its shores and its citizens leaving their homes because of a devastating malaria epidemic suggest the necessity of the application of this multi-dimensional research methodology in order to understand more fully the historical adventure of this city.

 

By presenting this research project, we aim to implement and realize this multi-dimensional research method, which as yet lacks widespread application in the field in our country, however conceptually and practically with a multi-disciplinary research team consisting of both national and international scientists, we intend to register systematically every kind of data/information regarding all contexts of the city employing modern methods and to present the results to the scientific world in the form of regular reports and monographic studies, thus forming a strong tie between past and future research.

 

Phaselis Territorium

 

The boundaries of the ancient city of Phaselis’ territorium are today within the administrative borders of the township of Tekirova, in Kemer District, determined from the archaeological, epigraphic and historical-geographical evidence, reaching the Gökdere valley to the north, continue on a line drawn from Üç Adalar to Mount Tahtalı to the south and extend along the Çandır valley to the west.

 

Phaselis was discovered in 1811-1812 by Captain F. Beaufort during his work of charting the southern coastline of Asia Minor for the British Royal Navy. Beaufort drew Phaselis’ plan and in the course of conducting his cartographic studies, he saw the word Φασηλίτης ethnikon on the inscriptions and consequently identified these ruins with Phaselis. C. R. Cockerell, the English architect, archaeologist and author came to Phaselis by ship and met Beaufort there. Then in 1838 C. Fellows, the English archaeologist visited the city. He found the fragments of the dedicatory inscription over the monumental gate built in honour of the Emperor Hadrianus and mistakenly thought the Imperial Period main street was the stadion due to the seats-steps on either side of the street. In 1842 Lt. T. A. B. Spratt, the English hydrographer and geographer, and the Rev. E. Forbes, the naturalist came to Phaselis via the Olympos and Khimaira routes. Due to the fact that they all came by sea and they only stayed for a short time, their descriptions of the topography inland are without detailed and there are serious errors in orientation.

 

PhaselisThose researchers who visited Phaselis between the late 19th and the early 20th centuries concentrated primarily upon the discovery of inscriptions. In 1881-1882 while the Austrian archaeologist and the epigraphist O. Benndorf, the founder of the Austrian Archaeological Institute, and his team were conducting research in southwestern Asia Minor, they examined Phaselis. In the winter of 1883 and 1884 F. von Luschan from the Austrian team took the first photographs which provide information concerning the regional features of Phaselis’ shoreline. In the same year the French scientist V. Bérard also visited Phaselis. In 1892 the members of the Austrian research team, O. Benndorf, E. Kalinka and their colleagues continued their architectural, archaeological and epigraphical studies in Phaselis. In 1904 they were followed by D. G. Hogarth, R. Norton and A. W. van Buren from the British research team. In 1908 the Austrian classical philologist E. Kalinka visited the settlement again, collected epigraphic documents and conducted research on the history of city (published in TAM II in 1944). The Italian researchers R. Paribeni and P. Romanelli visited Phaselis in1913 and C. Anti in 1921. Anti returned to Antalya overland and in consequence discovered several epigraphs and the ruins of structures within the territorium of Phaselis.

 

Further archaeological, epigraphical and historical-geographical studies of Phaselis were conducted by the English researchers F. M. Stark and G. Bean, who came to the region after World War II. In 1968 H. Schläger, the German architect and underwater archaeologist began exploring the topographical and architectural structures of Phaselis’s harbours. After Schläger’s death in 1969, the research was conducted under the leadership of the archaeologist J. Schäfer in 1970. H. Schläger, J. Schäfer and their colleagues obtained important data concerning the architecture and history of Phaselis through the surface exploration of the city and its periphery. Following the excavations conducted along the main axial street of the city, in 1980 under the direction of Kayhan Dörtlük, the then Director of the Antalya Museum and between 1981-1985 under the leadership of the archaeologist Cevdet Bayburtluoğlu; underwater exploration was carried out in the South Harbour under the direction of Metin Pehlivaner, the then Director of the Antalya Museum.

  

en.wikipedia.org/wiki/Phaselis

 

A film biography of Formula 1 champion driver Niki Lauda and the 1976 crash that almost claimed his life. Mere weeks after the accident, he got behind the wheel to challenge his rival, James Hunt.

 

Directed by Ron Howard, he and the cars from that fateful season descended upon the race track at Snetterton to recreate Fuji 1976, these are a few snapshots from that day - 1/5/2012.

 

Set against the sexy, glamorous golden age of Formula 1 racing in 1976. Based on the true story of a great sporting rivalry between handsome English playboy James Hunt (Chris Hemsworth), and his methodical, brilliant opponent Niki Lauda, (Daniel Bruhl). The story follows their distinctly different personal styles on and off the track, their loves and the astonishing season in which both drivers were willing to risk everything to become world champion in a sport with no margin for error: if you make a mistake, you die.

 

Today was a day of maximum downtime.

 

I called in sick at work to mull over a relationship crash last night on top of other personal stuff all week that I felt was drowning me.

 

I rested, attended a work meeting by phone, spoke to my father and moved past an emotional impasse, played with my son, booked shows for my band including where I'd been hesitant because I briefly thought "real life" might be more important (I realize again, there can be no separation for me, what I do is real), changed diapers, listened to lots of my own music, called my mechanic neighbor about getting my brakes done this weekend, watched lots of alphabet and counting videos with Lennon in my lap in absolute bliss, ate exactly two quesadillas...

 

Practicing the fine art of surfacing.

 

I started out way behind and now feel at least mostly caught up. Time to post this picture I took walking across a bridge on the Reed College campus at night with the camera on manual. The abstractness combined with methodical movement and dancing lights is exactly where I'm going now.

 

I feel good about myself even if the path I'm walking may not be as straight as the one in the photo at the moment. I'll get to the other side.

Looking south from Schustergasse.

 

"Karlstadt is a town in the Main-Spessart in the Regierungsbezirk of Lower Franconia (Unterfranken) in Bavaria, Germany. It is the administrative centre of Main-Spessart (Kreisstadt), and has a population of around 15,000.

 

Karlstadt lies on the River Main in the district (Landkreis) of Main-Spessart, roughly 25 km north of the city of Würzburg. It belongs to the Main-Franconian wine-growing region. The town itself is located on the right bank of the river, but the municipal territory extends to the left bank.

 

Since the amalgamations in 1978, Karlstadt's Stadtteile have been Gambach, Heßlar, Karlburg, Karlstadt, Laudenbach, Mühlbach, Rohrbach, Stadelhofen, Stetten, and Wiesenfeld.

 

From the late 6th to the mid-13th century, the settlement of Karlburg with its monastery and harbor was located on the west bank of the Main. It grew up around the Karlsburg, a castle perched high over the community, that was destroyed in the German Peasants' War in 1525.

 

In 1202, Karlstadt itself was founded by Konrad von Querfurt, Bishop of Würzburg. The town was methodically laid out with a nearly rectangular plan to defend Würzburg territory against the Counts of Rieneck. The plan is still well preserved today. The streets in the old town are laid out much like a chessboard, but for military reasons they are not quite straight.

 

In 1225, Karlstadt had its first documentary mention. In 1236, the castle and the village of Karlburg were destroyed in the Rieneck Feud. In 1244, winegrowing in Karlstadt was mentioned for the first time. From 1277 comes the earliest evidence of the town seal. In 1304, the town fortifications were finished. The parish of Karlstadt was first named in 1339. In 1369 a hospital was founded. Between 1370 and 1515, remodelling work was being done on the first, Romanesque parish church to turn it into a Gothic hall church. About 1400, Karlstadt became for a short time the seat of an episcopal mint. The former Oberamt of the Princely Electorate (Hochstift) of Würzburg was, after Secularization, in Bavaria's favour, passed in 1805 to Grand Duke Ferdinando III of Tuscany to form the Grand Duchy of Würzburg, and passed with this to the Kingdom of Bavaria.

 

The Jewish residents of the town had a synagogue as early as the Middle Ages. The town's synagogue was destroyed on Kristallnacht (the Night of Broken Glass, 9 November 1938) by Nazi SA men, SS, and Hitler Youth, as well as other local residents. Its destruction is recalled by a plaque at the synagogue's former site. The homes of Jewish residents were attacked as well, the possessions therein were looted or brought to the square in front of the town hall where they were burned, and the Jews living in the town were beaten.

 

Lower Franconia (German: Unterfranken) is one of seven districts of Bavaria, Germany. The districts of Lower, Middle and Upper Franconia make up the region of Franconia. It consists of nine districts and 308 municipalities (including three cities).

 

After the founding of the Kingdom of Bavaria the state was totally reorganised and, in 1808, divided into 15 administrative government regions (German: Regierungsbezirke, singular Regierungsbezirk), in Bavaria called Kreise (singular: Kreis). They were created in the fashion of the French departements, quite even in size and population, and named after their main rivers.

 

In the following years, due to territorial changes (e. g. loss of Tyrol, addition of the Palatinate), the number of Kreise was reduced to 8. One of these was the Untermainkreis (Lower Main District). In 1837 king Ludwig I of Bavaria renamed the Kreise after historical territorial names and tribes of the area. This also involved some border changes or territorial swaps. Thus the name Untermainkreis changed to Lower Franconia and Aschaffenburg, but the city name was dropped in the middle of the 20th century, leaving just Lower Franconia.

 

From 1933, the regional Nazi Gauleiter, Otto Hellmuth, (who had renamed his party Gau "Mainfranken") insisted on renaming the government district Mainfranken as well. He encountered resistance from Bavarian state authorities but finally succeeded in having the name of the district changed, effective 1 June 1938. After 1945 the name Unterfranken was restored.

 

Franconia (German: Franken, pronounced [ˈfʁaŋkŋ̍]; Franconian: Franggn [ˈfrɑŋɡŋ̍]; Bavarian: Frankn) is a region of Germany, characterised by its culture and Franconian dialect (German: Fränkisch).

 

Franconia is made up of the three Regierungsbezirke of Lower, Middle and Upper Franconia in Bavaria, the adjacent, Franconian-speaking, South Thuringia, south of the Thuringian Forest—which constitutes the language boundary between Franconian and Thuringian— and the eastern parts of Heilbronn-Franconia in Baden-Württemberg.

 

Those parts of the Vogtland lying in Saxony (largest city: Plauen) are sometimes regarded as Franconian as well, because the Vogtlandian dialects are mostly East Franconian. The inhabitants of Saxon Vogtland, however, mostly do not consider themselves as Franconian. On the other hand, the inhabitants of the Hessian-speaking parts of Lower Franconia west of the Spessart (largest city: Aschaffenburg) do consider themselves as Franconian, although not speaking the dialect. Heilbronn-Franconia's largest city of Heilbronn and its surrounding areas are South Franconian-speaking, and therefore only sometimes regarded as Franconian. In Hesse, the east of the Fulda District is Franconian-speaking, and parts of the Oden Forest District are sometimes regarded as Franconian for historical reasons, but a Franconian identity did not develop there.

 

Franconia's largest city and unofficial capital is Nuremberg, which is contiguous with Erlangen and Fürth, with which it forms the Franconian conurbation with around 1.3 million inhabitants. Other important Franconian cities are Würzburg, Bamberg, Bayreuth, Ansbach and Coburg in Bavaria, Suhl and Meiningen in Thuringia, and Schwäbisch Hall in Baden-Württemberg.

 

The German word Franken—Franconians—also refers to the ethnic group, which is mainly to be found in this region. They are to be distinguished from the Germanic people of the Franks, and historically formed their easternmost settlement area. The origins of Franconia lie in the settlement of the Franks from the 6th century in the area probably populated until then mainly by the Elbe Germanic people in the Main river area, known from the 9th century as East Francia (Francia Orientalis). In the Middle Ages the region formed much of the eastern part of the Duchy of Franconia and, from 1500, the Franconian Circle. The restructuring of the south German states by Napoleon, after the demise of the Holy Roman Empire, saw most of Franconia awarded to Bavaria." - info from Wikipedia.

 

Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.

 

Now on Instagram.

 

Become a patron to my photography on Patreon or donate.

October 14, 2014

 

Bird of Prey.

 

I see these hawks on a daily basis while at work. They circle and circle and are constantly searching for something to eat. The patterns they fly in are fascinating and very methodical. Today, I was lucky enough to be outside and camera in hand as this guy flew over our parking lot. I wished he had flown closer, but this was the best I could get. Still, A beauty in my eyes.

A Congolese soldier with the Forces Armées de la République Démocratique du Congo (FARDC) starts a one-man drill, a methodical and deliberate procedure to conduct minefield clearance . The stick that is in front of him is a one-meter stick that is slowly inched forward as his lane is cleared. This engagement, which is part of the Humanitarian Mine Action program, took place April 6- 27 at Camp Base in Kisangani, the capitol of the Orientale Province in the Democratic Republic of the Congo. (U.S. Army photo by Capt. Charles A. Schnake)

 

To learn more about U.S. Army Africa visit our official website at www.usaraf.army.mil

 

Official Twitter Feed: www.twitter.com/usarmyafrica

 

Official Vimeo video channel: www.vimeo.com/usarmyafrica

 

Join the U.S. Army Africa conversation on Facebook: www.facebook.com/ArmyAfrica

I am delighted to announce:

  

TUESDAY 7 DECEMBER 2021

  

is the launch date of my brand new course.

 

Creative Slow Shutter - Photo Artistry for iPad or iPhone

  

Full details are coming soon but in a nutshell:

This course is where we put it all together.

  

This is all about working with slow shutter images and evolving them into works of art using several artistic techniques and different styles of image-making that I have learned over the last 10 years including digital collage and developing more painterly looks with textures and mark making.

  

I am so happy to share with you all of my favourite ways of creating images on the iPhone and iPad.

  

I’ve been designing this course for almost a year and a half now to make sure I’ve packed everything in.

  

You're going to learn a huge amount in a methodical way about artistic image-making skills in Procreate as well as fundamentals for creating pictures including balance, composition, colour and form.

  

I hope you'll join me this Tues Dec 7 for the best mobile adventure yet!

 

To receive all of the details on Tuesday, make sure you are signed up to my newsletter by clicking the link below:

 

tinyurl.com/uxpz34e

 

Have a wonderful creative weekend!

 

= Nicki =

♥️📱🎨

On March 10, 2008, at age 70, Jairo Álvarez-Botero

published No Such Thing as Impossible: From Adversity

to Triumph, a thrilling autobiographical account of

his journey toward the American dream. Hailed for

its powerful message of personal triumph, Jairo’s book has inspired thousands of readers to face adversity with strength and confidence.

The recipient of numerous awards and honors for his work, Jairo continues to share his message of hope with audiences throughout the world. Frequently requested as a motivational speaker at conferences and schools, Jairo donates all proceeds from his book sales and speaking engagements to childhood education programs in South America.

Jairo’s inspirational message was borne from his own life experience: what he faced, what he learned and how each new challenge gave him an opportunity to better prepare for the next. Not inclined toward self-pity or excessive introspection, Jairo enthusiastically

advocates his “Triple A Formula” when faced with adversity: Accept the situation; Adapt as necessary; and finally, take Action to overcome the adverse situation. While the formula requires significant discipline and mental fortitude to follow, Jairo’s success in life is proof that it works. As an example, only 95 days after intensive prostate cancer surgery, Jairo participated in a cycling competition… and won the race.

Personal discipline and mental toughness are not conferred upon us in youth. These qualities must be attained. They are slowly, methodically developed through concentrated effort and sacrifice over years of life experience. throughout his life, Jairo Álvarez-Botero has accepted full responsibility for his actions, and in his book he shares the joy and benefits of personal accountability.

Now, more positive and optimistic than ever at age 73, his future has never looked brighter.

 

In the glittering dark of the galaxy there spins a worthless remote planet. Its inhospitable craggy surface only matched by the poison in its air. Above, orbits a silent corporate branded haven. The Vitruvius Space Station.

 

Inside, a lone technician stares in horror at the bank of security screens. A facade of life lurks in a distant hallway, silently waiting. Unnervingly still, it calculates its next opening to strike.

 

Long had the Weyland-Yutani Corporation tried and failed to manipulate the bio engineering practices of the xenomorph species. Long had they known failure.

 

However, another idea of malicious obsession arose. The company already had a sizable investment in synthetic androids to maintain authority on stations, ships, and colonies. Perhaps if the creatures’ behavior is what led to such prior loss of containment, a ground up rebuild would be necessary.

 

Building the prototype was relatively simple. The organic brain scanned and copied. The duplicate manufactured and tweaked to respond to company programming. Nurture would supplant nature.

 

What they had not known, is that in the digital sequencing, the strange Chemical A0-3959X.91 would be included within the synthetic genome. What they had not noticed, was the slow and methodical corruption of their next ‘perfect’ experiment.

 

The black goo had transcended organics. A self evolving and degenerating sentience within the machine. A virus. The reversion back to mimicry of its base animal instincts took little time. For the science crew, loss of control was all the quicker.

 

Out of the maddening quiet comes a shrieking din. A proximity alarm. A new ship prepares its docking harness. The cybernetic creature stirs for the first time in what feels like an eternity. Its mechanical frame shudders as it begins the hunt for its next kill.

 

Inspired by a weekend rewatch of all the alien movies and finally seeing ALIEN: Romulus

~Ollie~

After crossing the bridge me and Mia decided to do a bit of investigation until night fell. There had been talk on the police radio that Mr Freeze had invaded Robbinsville and was now being hold hostage in a supermarket warehouse by a mysterious figure.

 

When night fell me and Mia got suited up and headed out across the rooftops. Soon enough we'd arrived at the supermarket. It was on the corner of a plaza and me and Mia stayed up on an overlooking crane to make sure there was nobody guarding the location. There was but it appeared that someone had already dealt with them. I cliimbed down on to one of the rooftops overlooking the plaza to get a better look. I lifted up the lifeless body of one of Mr Freezes thugs and examined his body. Meanwhile Mia landed behind me and inspected a large transmission device that was on the rooftop.

"This is one of Freeze's famous weather machines" She said as she ran her fingers over it's steel body.

"Is it on?" I asked.

"No it's broken" Mia replied "The consoles been destroyed, there's nice hole where the screen smashed. I'll take a closer look"

Mia stuck her hand into the hole in the weather machine as I further examined the body. The thug had been killed quickly and efficiently. His neck was snapped which suggested that the killer had sneaked up behind him and twisted it.

"Very good, very good indeed" I muttered to myself "Whoever did this they were a professional" I called over my shoulder to Mia.

"...and they're intent on framing you" she said producing a green feathered arrow out of the monitor. I dropped the man and turned to face Mia.

"Right, you stay up here and work out where that arrow was fired from, use these" I said handing her a pair of goggles "They work using borrowed Wayne enterprises tech, they'll allow you to track the trajectory. Whilst you do that I'm going to go down the stairs and find out who this guy is."

 

Five minutes later I had picked the lock into the supermarket warehouse. Dead freeze goons lied all over the place but that wasn't my problem. I tracked the trail of corpses and ended up at the supermarkets walk in refrigerators. Of course Freeze would hide in there. Opening the door I walked in to see the room in darkness with Freeze cuffed and sitting up against a crate and a man with bandages over his face lying on the floor cuffed to one of the floor vents. They both looked up as I walked in.

"Green Arrow" Freeze said slowly and methodically

"Oh great" said the guy with the bandages "Now we're three wanted fugitives in a fridge, mind you one of us is always in a fridge"

"What happened here?" I asked calmly

"Why do you think we'll tell you anything..." Started the bandaged one.

"This man sneaked past my men and took me by surprise." Freeze interrupted "He was keeping me captive in here and then a man came in we couldn't see him as he had turned off the lights. He came at my captor with a knife and hit him under the stomach he then cuffed him to the railings and waited for him to die. Of course he hadn't consider the fact that the temperature in this room would keep him alive for at least another three hours. He then started to attack me, destroying several of my suits vital functions. Thankfully he heard a whistle blow as more of my men came in to save me and then fled into the darkness."

I thanked Freeze for his help and then said "Unfortunately whoever did this killed all your men. I am going to place this homing beacon here" I activated and threw one of my beacons to the floor "That will call the police, They should be able to get you help for your knife wound, but of course you are also both going to prison. Farewell." I then left the room and returned to Mia on the rooftop.

 

"Whoever they were they weren't a skilled archer, they only shot from the edge of the roof and almost missed" Mia said as I arrived "Did you find anything"

"Only a pair of criminals and more dead thugs. Although the hooded man was here so I guess that gives us a lead." I answered "All there is to do is to continue"

 

There was a loud crash in the street and I looked down to see Freeze and the bandaged man come out of a door that had been thrown off it's hinges. Damn it, I thought I had them.

***UPDATE*** 6/2/13 Jeremy & Liz have slowly (and methodically) built up a stable of top talent in their home. Pearsall, Nelson, Lane Acclaim, and Paul Laszlo, and some great Danish modern all have earned worthy floor space, and Jeremy is not yet finished. Like I told him, it is a process. These two are friends. Thanks guys.

  

Measurements 34 inches wide x 27 inches high x 32 inches deep. Seat 16 inches tall.

Second to last night we were here, a bear dragged the sealed Rubbermaid garbage can up the hill where he could puncture the lid, crush it, and eventually get it open. He methodically opened each tied plastic bag inside to check out the contents. He was especially fond of the maple syrup container, the non-dairy coffee creamer, and the tin from my huckleberry cream pie.

 

This is why you are supposed to clean your dishes, store your food inside the car or in a bear bag, and dispose of your trash away from your camp site. My parents are keeping the trash can in the back of the Jeep now.

PRESIDIO OF MONTEREY, Calif. -- It was a double Cinderella story for the Presidio of Monterey volleyball championship Jan. 30 and the 229th Military Intelligence Battalion. Fourth-seeded Company D took on the loser's bracket entry, second-seeded Company A, that was a player short for the championship. The Black Sheep methodically won in the required two matches to become champs over Co. D, 25-12, 19-25, 15-6 and 24-13, 10-25, 15-13.

 

Official Presidio of Monterey Web site

 

Official Presidio of Monterey Facebook

 

PHOTO by Steven L. Shepard, Presidio of Monterey Public Affairs.

Chaparral Cars was a United States automotive company which built prototype race cars from the 1960s through the early 1970s. Chaparral was founded by Jim Hall, a Texas oil magnate with an impressive combination of skills in engineering and race car driving. Throughout the 1960s and 1970s, Chaparral's distinctive race cars experienced strong success in both American and European racing circuits. Despite winning the Indy 500 in 1980, the Chaparrals left motor racing in 1982. Chaparral cars also featured in the SCCA/CASC CanAm series and in the European FIA Group 7.

Chaparral was the first to introduce effectively designed air dams and spoilers ranging from the tabs attached to the earliest 2 model to the driver-controlled high wing 'flipper' on the astoundingly different looking 2E, all the way through to Hall's most idealistically inspired creation, the 2J, the car that would forever be known as the 'vacuum cleaner'. The use by Jim Hall of a semi-automatic transmission in the Chaparral created flexibility in the use of adjustable aerodynamic devices.

The development of the Chaparral chronicles the key changes in race cars in the '60s and '70s in both aerodynamics and tires. Jim Hall's training as an engineer taught him to approach problems in a methodical manner and his access to the engineering team at Chevrolet as well as at Firestone changed aerodynamics and race car handling from an art to empirical science. The embryonic data acquisition systems created by the GM R&D group aided these efforts.

The Chaparral 1 was the first car to carry the Chaparral name and marked the transition of Jim Hall from an entrant to a constructor. Built by Troutman and Barnes, the Chaparral 1 was a conventional front-engined car, a development of the Scarab sport car first built for Lance Reventlow in 1957. Jim Hall raced it successfully through 1961, 1962 and 1963 while he created the design for Chaparral 2. As it was not a design owned by Jim Hall, other cars were sold to cut costs. It was the only Chaparral to be raced by someone other than Chaparral cars.

The Chaparral 2-Series was designed and built to compete in the United States Road Racing Championship and other sports car races of the time, particularly the West Coast Series that were held each fall. Following the lead of innovators like Bill Sadler from Canada and Colin Chapman who introduced rear engined cars to Grand Prix cars in Europe (where Jim Hall had raced in Formula 1), its basic design concept was a rear engined car.

First raced in 1963, it was developed into the dominant car in the series in 1964 and 1965. Designed for the 200 mile races of the sports car series, it was almost impossible to beat. It proved that in 1965 by winning the 12 Hours of Sebring on one of the roughest tracks in North America.

As the car was being developed, Jim Hall took the opportunity to implement his theories on aerodynamic force and rear wheel weight bias.

In addition, the Chaparral 2-Series featured the innovative use of fiberglass as a structural element. Hall also developed 2-Series cars with conventional aluminum chassis.

The 2E was based on the Chevrolet designed aluminum 2C chassis and presented Jim Hall's most advanced aerodynamic theories to the racing world in the 1966 inaugural Can Am championship. The 2E established the paradigm for virtually all racing cars built since. It was startling in appearance, with its radiators moved from the traditional location in the nose to two ducted pods on either side of the cockpit and a large wing mounted several feet above the rear of the car on struts. The wing was the opposite of an aircraft wing in that it generated downforce instead of lift and was attached directly to the rear hubs, loading the tires, for extra adhesion while cornering. A ducted nose channeled air from the front of the car up, creating extra downforce as well. By depressing a pedal that was in the position of the clutch pedal on a car with a manual transmission, Hall was able to feather, or flatten out, the angle of the wing when downforce was not needed, such as on a straight section of the track, to reduce drag and increase top speed. In addition, an interconnected air dam closed off the nose ducting for streamlining as well. When the pedal was released, the front ducting and wing returned to their full downforce position. It was a brilliant design. But the moveable-wing was banned by the FIA so Jim Hall had to make do with a fixed-wing which was not adjustable by the driver during the race. Within two years every sports racing car as well as formula one car had wings on tall struts, although many were not as well designed as Hall's and the resulting accidents from their failures caused the high wings to be outlawed by the sanctioning bodies.

The 2E scored only one win in Laguna Seca with Phil Hill driving, but the reason for this may have been the larger engines the other competitors were using. Hall stuck to an aluminum 5.3 liter Chevrolet engine in his lightweight racer while the other teams were using 6 and sometimes 7 liter iron engines, trading weight for power.

The 2E was a crowd favorite and remains Jim Hall's favorite car.

 

 

Booker Taliaferro Washington (April 5, 1856 – November 14, 1915).

 

He was an American educator, author and leader of the African American community. He was freed from slavery as a child, gained an education, and as a young man was appointed to lead a teachers' college for blacks. From this position of leadership he rose into a nationally prominent role as spokesman for African Americans.

 

Career overview

 

Washington was born into slavery to a white father, about whom he knew little, and a black slave mother on a rural farm in southwest Virginia. This made him mixed race as are many African Americans, to one degree or another (as a result of the chattel legacy), yet the so-called "one drop rule" ensured that he grew up in the social category of Negro.

 

He was freed in 1865 at the end of the Civil War by the Thirteenth Amendment. After working in salt furnaces and coal mines in West Virginia for several years.

 

He made his way east to a school which became Hampton University. There, he worked his way through, later attending Wayland Seminary to return as an instructor.

 

In 1881, he was recommended by Hampton president Samuel C. Armstrong to become the first leader of the new normal school (teachers' college) which became Tuskegee University in Alabama, where he served the rest of his life.

 

Washington was the dominant figure in the African American community in the United States from 1890 to 1915, especially after he achieved prominence for his Atlanta Address of 1895. To many politicians and the public in general, he was seen as a popular spokesperson for African American citizens. Representing the last generation of black leaders born into slavery, he was generally perceived as a credible proponent of educational improvements for those freedmen who had remained in the post-Reconstruction, Jim Crow South.

 

Throughout the final 20 years of his life, he maintained this standing through a nationwide network of core supporters in many communities, including black educators, ministers, editors and businessmen, especially those who were liberal-thinking on social and educational issues

 

He gained access to top national leaders in politics, philanthropy and education, and was awarded honorary degrees. Critics called his network of supporters the "Tuskegee Machine."

 

Late in his career, Washington was criticized by the leaders of the NAACP, which was formed in 1909, especially W.E.B. Du Bois, who demanded a harder line on civil rights protests. After being labeled "The Great Accommodator" by Du Bois, Washington replied that confrontation would lead to disaster for the outnumbered blacks, and that cooperation with supportive whites was the only way to overcome pervasive racism in the long run.

 

Although he did some aggressive civil rights work secretively, such as funding court cases, he seemed to truly believe in skillful accommodation to many of the social realities of the age of segregation] While apparently resigned to many undesirable social conditions in the short term, he also clearly had his eyes on a better future for blacks.

 

Through his own personal experience, Washington knew that good education was a major and powerful tool for individuals to collectively accomplish that better future.

 

Washington's philosophy and tireless work on education issues helped him enlist both the moral and substantial financial support of many philanthropists.

 

He became friends with such self-made men from modest beginnings as Standard Oil magnate Henry Huttleston Rogers and Sears, Roebuck and Company President Julius Rosenwald. These individuals and many other wealthy men and women funded his causes, such as supporting the institutions of higher education at Hampton and Tuskegee. Each school was originally founded to produce teachers. However, graduates had often gone back to their local communities only to find precious few schools and educational resources to work with in the largely impoverished South. To address those needs, through provision of millions of dollars and innovative matching funds programs, Washington and his philanthropic network stimulated local community contributions to build small community schools.

 

Together, these efforts eventually established and operated over 5,000 schools and supporting resources for the betterment of blacks throughout the South in the late 19th and early 20th centuries. The local schools were a source of much community pride and were of priceless value to African-American families during those troubled times in public education. This work was a major part of his legacy and was continued (and expanded through the Rosenwald Fund and others) for many years after Washington's death in 1915.

 

Washington did much to improve the overall friendship and working relationship between the races in the United States. His autobiography, Up From Slavery, first published in 1901, is still widely read today.

 

Youth, freedom and education

 

Booker T. Washington was born on April 5, 1856 on the Burroughs farm at the community of Hale's Ford, Virginia. His mother Jane was a black slave who worked as a cook and his father was an unknown white plantation owner. Under the laws of the time, his mother's status also made young Booker a slave. The "T" in his name stood for Taliaferro (pronounced TAH-li-ver), his owner's name. He recalled Emancipation in early 1865: [Up from Slavery 19-21]

 

As the great day drew nearer, there was more singing in the slave quarters than usual. It was bolder, had more ring, and lasted later into the night. Most of the verses of the plantation songs had some reference to freedom.... Some man who seemed to be a stranger (a United States officer, I presume) made a little speech and then read a rather long paper -- the Emancipation Proclamation, I think. After the reading we were told that we were all free, and could go when and where we pleased. My mother, who was standing by my side, leaned over and kissed her children, while tears of joy ran down her cheeks. She explained to us what it all meant, that this was the day for which she had been so long praying, but fearing that she would never live to see.

 

In the summer of 1865, at the age of nine, Booker and his brother John and his sister, Amanda, moved to Malden in Kanawha County, West Virginia with their mother to join his stepfather, whose last name was Washington. He worked with his mother and other free blacks as a salt-packer and in a coal mine. He even signed up briefly as a hired hand on a steamboat. However, soon he became employed as a houseboy for Viola Ruffner (née Knapp), the wife of General Lewis Ruffner, who owned the salt-furnace and coal mine. Many other houseboys had failed to satisfy the demanding and methodical Mrs. Ruffner, but Booker's diligence and attention to detail met her standards. Encouraged to do so by Mrs. Ruffner, when he could, young Booker attended school and learned to read and to write. And soon, he sought even more education than was available in his community..

 

Leaving Malden at sixteen, Washington enrolled at the Hampton Normal and Agricultural Institute, in Hampton, Virginia. Students with little income such as Washington could get a place there by working to pay their way. The normal school (teachers college) at Hampton was founded for the purpose of training black teachers and had been largely funded by church groups and individuals such as William Jackson Palmer, a Quaker, among others. In many ways he was back where he had started, earning a living through menial tasks, but his time at Hampton led him away from a life of labor.

 

From 1878 to 1879 he attended Wayland Seminary in Washington, D.C., and returned to teach at Hampton. Soon, Hampton president Samuel C. Armstrong recommended him to become the first principal of a similar school being founded in Alabama.

 

Tuskegee Normal and Industrial Institute

 

Lewis Adams and other organizers of a new normal school in Tuskegee, Alabama found the energetic and visionary leader they sought in 25 year-old Booker T. Washington. Upon the strong recommendation of Hampton University founder Samuel C. Armstrong, Adams and Tuskegee's governing body hired

Washington, even though such positions had always been held by whites up until that time.

 

Washington thus became the first principal of the Tuskegee Normal and Industrial Institute. The new school opened on July 4, 1881, initially using space rented from a local church. The next year, Washington purchased a former plantation, which became the permanent site of the campus. The school later grew to become the present-day Tuskegee University.

 

Tuskegee provided an academic education and instruction for teachers, but placed more emphasis on providing young black boys with practical skills such as carpentry and masonry. The institute illustrates Washington's aspirations for his race.

 

His theory was, that by providing these skills, African Americans would play their part in society and this would lead to acceptance by white Americans. He believed that African Americans would eventually gain full civil rights by showing themselves to be responsible, reliable American citizens.

 

He was head of the school until his death in 1915. By then Tuskegee's endowment had grown to over $1.5 million, compared to the initial $2,000 annual appropriation.[7]

 

Marriages and children

 

Washington was married three times. In his autobiography Up From Slavery, he gave all three of his wives enormous credit for their work at Tuskegee and was emphatic that he would not have been successful without them.

 

Fannie N. Smith was from Malden, West Virginia, the same Kanawha River Valley town located eight miles upriver from Charleston where Washington had lived from age nine to sixteen (and maintained ties throughout his later life). Washington and Smith were married in the summer of 1882. They had one child, Portia M. Washington. Fannie died in May 1884.

 

Washington next wed Olivia A. Davidson in 1885. Davidson was born in Ohio, spent time teaching in Mississippi and Tennessee and received her education at Hampton Institute and the Massachusetts State Normal School at Framingham. Washington met Davidson at Tuskegee, where she had come to teach. She later became the assistant principal there. They had two sons, Booker T. Washington Jr. and Ernest Davidson Washington, before she died in 1889.

 

Washington's third marriage took place in 1893 to Margaret James Murray. She was from Mississippi and was a graduate of Fisk University. They had no children together. Murray outlived Washington and died in 1925.

 

Politics

A speech by Booker T. Washington:

 

"The Atlanta Compromise"

 

Washington's 1895 Atlanta Compromise address, given at the Cotton States and International Exposition in Atlanta, Georgia, was widely welcomed in the African American community and among liberal whites North and South. He was supported by W.E.B. Du Bois at the time but several years later the two had a falling out.

 

Washington valued the "industrial" education oriented toward actual jobs available to the majority of African Americans at the time and Du Bois demanded a "classical" liberal arts education among an elite he called The Talented Tenth. Both sides sought to define the best means to improve the conditions of the post-Civil War African-American community.

 

It should be noted, however, that despite not condemning Jim Crow laws and the inhumanity of lynching publicly, Washington privately contributed funds for legal challenges against segregation and disfranchisement, such as his support in the case of Giles v. Harris, which went before the United States Supreme Court in 1903

 

Blacks were solidly Republican, but after 1890 many lost the vote in the deep South (but continued to vote in border and northern states). Washington emerged as their spokesman and was routinely consulted by Republican national leaders about the appointment of African Americans to political positions throughout the nation. He worked and socialized with many white politicians and notables. He argued that the surest way for blacks eventually to gain equal rights was to demonstrate patience, industry, thrift, and usefulness and said that these were the key to improved conditions for African Americans in the United States and that they could not expect too much, having only just been granted emancipation.

 

Wealthy friends and benefactors

 

Washington associated with the richest and most powerful businessmen and politicians of the era. He was seen as a spokesperson for African Americans and became a conduit for funding educational programs.

 

His contacts included such diverse and well-known personages as Andrew Carnegie, William Howard Taft, John D. Rockefeller, Henry Huttleston Rogers, and Julius Rosenwald, to whom he made the need for better educational facilities well-known. As a result, countless small schools were established through his efforts, in programs that continued many years after his death.

 

Henry Rogers

 

A representative case of an exceptional relationship was Washington's friendship with millionaire industrialist and financier Henry H. Rogers (1840-1909). Henry Rogers was a self-made man, who had risen from a modest working-class family to become a principal of Standard Oil, and had become one of the richest men in the United States. Around 1894, Rogers heard Washington speak at Madison Square Garden. The next day, he contacted Washington and requested a meeting, during which Washington later recounted that he was told that Rogers "was surprised that no one had 'passed the hat' after the speech." The meeting began a close relationship that was to extend over a period of 15 years. Although he and the very-private Rogers openly became visible to the public as friends, and Washington was a frequent guest at Rogers' New York office, his Fairhaven, Massachusetts summer home, and aboard his steam yacht Kanawha, the true depth and scope of their relationship was not publicly revealed until after Roger's sudden death of an apoplectic stroke in May 1909.

 

A few weeks later, Washington went on a previously planned speaking tour along the newly completed Virginian Railway, a $40 million dollar enterprise which had been built almost entirely from a substantial portion of Rogers' personal fortune. As Washington rode in the late financier's private railroad car, "Dixie", he stopped and made speeches at many locations, where his companions later recounted that he had been warmly welcomed by both black and white citizens at each stop.

 

Washington revealed that Rogers had been quietly funding operations of 65 small country schools for African Americans, and had given substantial sums of money to support Tuskegee Institute and Hampton Institute.

 

He also disclosed that Rogers had encouraged programs with matching funds requirements so the recipients would have a stake in knowing that they were helping themselves through their own hard work and sacrifice, and thereby enhance their self-esteem.

 

Anna T. Jeanes

 

$1,000,000 was entrusted to Washington by Anna T. Jeanes (1822-1907) of Philadelphia in 1907. She hoped to construct some elementary schools for Negro children in the South. Her contributions and those of Henry Rogers and others funded schools in many communities where the white people were also very poor, and few funds were available for Negro schools.

 

Julius Rosenwald

 

Julius Rosenwald (1862-1932) was another self-made wealthy man with whom Washington found common ground. By 1908, Rosenwald, son of an immigrant clothier, had become part-owner and president of Sears, Roebuck and Company in Chicago. Rosenwald was a philanthropist who was deeply concerned about the poor state of African American education, especially in the Southern states.

 

In 1912 Rosenwald was asked to serve on the Board of Directors of Tuskegee Institute, a position he held for the remainder of his life. Rosenwald endowed Tuskegee so that Washington could spend less time traveling to seek funding and devote more time towards management of the school. Later in 1912, Rosenwald provided funds for a pilot program involving six new small schools in rural Alabama, which were designed, constructed and opened in 1913 and 1914 and overseen by Tuskegee; the model proved successful. Rosenwald established the The Rosenwald Fund. The school building program was one of its largest programs. Using state-of-the-art architectural plans initially drawn by professors at Tuskegee Institute, the Rosenwald Fund spent over four million dollars to help build 4,977 schools, 217 teachers' homes, and 163 shop buildings in 883 counties in 15 states, from Maryland to Texas. The Rosenwald Fund used a system of matching grants, and black communities raised more than $4.7 million to aid the construction.

 

These schools became known as Rosenwald Schools. By 1932, the facilities could accommodate one third of all African American children in Southern U.S. schools.

 

Up from Slavery, invitation to the White House

 

In an effort to inspire the "commercial, agricultural, educational, and industrial advancement" of African Americans, Washington founded the National Negro Business League (NNBL) in 1900.

 

When Washington's autobiography, Up From Slavery, was published in 1901, it became a bestseller and had a major impact on the African American community, and its friends and allies. Washington in 1901 was the first African-American ever invited to the White House as the guest of President Theodore Roosevelt.

 

Lifetime of overwork, death at age 59

 

Despite his travels and widespread work, Washington remained as principal of Tuskegee. Washington's health was deteriorating rapidly; he collapsed in New York City and was brought home to Tuskegee, where he died on November 14, 1915 at the age of 59.

 

The cause of death was unclear, probably from nervous exhaustion and arteriosclerosis] He was buried on the campus of Tuskegee University near the University Chapel.

 

His death was thought at the time to have been a result of congestive heart failure, aggravated by overwork. In March of 2006, with the permission of his descendants, examination of medical records indicated that he died of hypertension, with a blood pressure more than twice normal, confirming what had long been suspected.

 

At his death Tuskegee's endowment exceeded US$1.5 million. His greatest life's work, the work of education of blacks in the South, was well underway and expanding.

 

Honors and memorials

 

For his contributions to American society, Washington was granted an honorary master's degree from Harvard University in 1896 and an honorary doctorate from Dartmouth College in 1901.

 

Washington in 1901 was the first African-American ever invited to the White House as the guest of President Theodore Roosevelt.

 

In 1934, Robert Russa Moton, Washington's successor as president of Tuskegee University, arranged an air tour for two African Americans aviators, and afterward the plane was christened the Booker T. Washington.

 

1940 US postage stamp

 

On April 7, 1940, Washington became the first African American to be depicted on a United States postage stamp.

 

The first coin to feature an African American was the Booker T. Washington Memorial Half Dollar that was minted by the United States from 1946 to 1951. He was also depicted on a U.S. Half Dollar from 1951-1954.

 

On April 5, 1956, the hundredth anniversary of Washington's birth, the house where he was born in Franklin County, Virginia was designated as the Booker T. Washington National Monument.

 

A state park in Chattanooga, Tennessee was named in his honor, as was a bridge spanning the Hampton River adjacent to his alma mater, Hampton University.

 

In 1984, Hampton University dedicated a Booker T. Washington Memorial on campus near the historic Emancipation Oak, establishing, in the words of the University, "a relationship between one of America's great educators and social activists, and the symbol of Black achievement in education."

 

Numerous high schools and middle schools across the United States have been named after Booker T. Washington.

 

At the center of the campus at Tuskegee University, the Booker T. Washington Monument, called "Lifting the Veil," was dedicated in 1922. The inscription at its base reads:

 

"He lifted the veil of ignorance from his people and pointed the way to progress through education and industry."

     

.

   

Chaparral Cars was a United States automotive company which built prototype race cars from the 1960s through the early 1970s. Chaparral was founded by Jim Hall, a Texas oil magnate with an impressive combination of skills in engineering and race car driving. Throughout the 1960s and 1970s, Chaparral's distinctive race cars experienced strong success in both American and European racing circuits. Despite winning the Indy 500 in 1980, the Chaparrals left motor racing in 1982. Chaparral cars also featured in the SCCA/CASC CanAm series and in the European FIA Group 7.

Chaparral was the first to introduce effectively designed air dams and spoilers ranging from the tabs attached to the earliest 2 model to the driver-controlled high wing 'flipper' on the astoundingly different looking 2E, all the way through to Hall's most idealistically inspired creation, the 2J, the car that would forever be known as the 'vacuum cleaner'. The use by Jim Hall of a semi-automatic transmission in the Chaparral created flexibility in the use of adjustable aerodynamic devices.

The development of the Chaparral chronicles the key changes in race cars in the '60s and '70s in both aerodynamics and tires. Jim Hall's training as an engineer taught him to approach problems in a methodical manner and his access to the engineering team at Chevrolet as well as at Firestone changed aerodynamics and race car handling from an art to empirical science. The embryonic data acquisition systems created by the GM R&D group aided these efforts.

The Chaparral 1 was the first car to carry the Chaparral name and marked the transition of Jim Hall from an entrant to a constructor. Built by Troutman and Barnes, the Chaparral 1 was a conventional front-engined car, a development of the Scarab sport car first built for Lance Reventlow in 1957. Jim Hall raced it successfully through 1961, 1962 and 1963 while he created the design for Chaparral 2. As it was not a design owned by Jim Hall, other cars were sold to cut costs. It was the only Chaparral to be raced by someone other than Chaparral cars.

The Chaparral 2-Series was designed and built to compete in the United States Road Racing Championship and other sports car races of the time, particularly the West Coast Series that were held each fall. Following the lead of innovators like Bill Sadler from Canada and Colin Chapman who introduced rear engined cars to Grand Prix cars in Europe (where Jim Hall had raced in Formula 1), its basic design concept was a rear engined car.

First raced in 1963, it was developed into the dominant car in the series in 1964 and 1965. Designed for the 200 mile races of the sports car series, it was almost impossible to beat. It proved that in 1965 by winning the 12 Hours of Sebring on one of the roughest tracks in North America.

As the car was being developed, Jim Hall took the opportunity to implement his theories on aerodynamic force and rear wheel weight bias.

In addition, the Chaparral 2-Series featured the innovative use of fiberglass as a structural element. Hall also developed 2-Series cars with conventional aluminum chassis.

The 2E was based on the Chevrolet designed aluminum 2C chassis and presented Jim Hall's most advanced aerodynamic theories to the racing world in the 1966 inaugural Can Am championship. The 2E established the paradigm for virtually all racing cars built since. It was startling in appearance, with its radiators moved from the traditional location in the nose to two ducted pods on either side of the cockpit and a large wing mounted several feet above the rear of the car on struts. The wing was the opposite of an aircraft wing in that it generated downforce instead of lift and was attached directly to the rear hubs, loading the tires, for extra adhesion while cornering. A ducted nose channeled air from the front of the car up, creating extra downforce as well. By depressing a pedal that was in the position of the clutch pedal on a car with a manual transmission, Hall was able to feather, or flatten out, the angle of the wing when downforce was not needed, such as on a straight section of the track, to reduce drag and increase top speed. In addition, an interconnected air dam closed off the nose ducting for streamlining as well. When the pedal was released, the front ducting and wing returned to their full downforce position. It was a brilliant design. But the moveable-wing was banned by the FIA so Jim Hall had to make do with a fixed-wing which was not adjustable by the driver during the race. Within two years every sports racing car as well as formula one car had wings on tall struts, although many were not as well designed as Hall's and the resulting accidents from their failures caused the high wings to be outlawed by the sanctioning bodies.

The 2E scored only one win in Laguna Seca with Phil Hill driving, but the reason for this may have been the larger engines the other competitors were using. Hall stuck to an aluminum 5.3 liter Chevrolet engine in his lightweight racer while the other teams were using 6 and sometimes 7 liter iron engines, trading weight for power.

The 2E was a crowd favorite and remains Jim Hall's favorite car.

 

(Nearing the end of a photo story.)

 

A few of us in the Hiking Club continued our Volcano Project for 3 years. Moving from south to north, each June we methodically climbed one or two of the biggest glacier-covered volcanoes on the West Coast. I had reached the end of my senior year when UCHC arrived at last at Mt. Rainier.

 

We lined up at the Park Service desk, applying for the permit to climb. The Climbing Ranger was not much older than we were. He was expert on this one peak, I’m sure, perhaps not terribly familiar with others. I watched his mind working as he pondered allowing a bunch of college students …half of them women… to go up the mountain without a guide. The other big volcanoes we had climbed obviously didn’t count.

 

Fortunately, one of our young men had been on a small expedition which turned back 2000 feet below the summit of Mt. Robson in Canada. I could see the ranger thinking: Rainier beats a winter climb of Shasta, but even a miserable failure on Robson beats Rainier. He gave us the permit.

 

Following what was then simply called the Gibraltar route, we struggled upward on Mt. Rainier for 2 days. When we finally reached the rim of its snow-filled summit caldera, we saw that we still had to walk along the edge, puffing, for well over a mile to reach the bump that was the highest point.

 

1. Mt. Rainier. Not much higher than Mt. Shasta, but such a massive peak! And timberline is around 4000' compared to Shasta's 8000'.

 

2. That’s me on Rainier, panting, at about 13,000 ft.

 

3. Here is our successful climbing party back at Paradise, lined up for our 60 seconds of fame. I’m no. 2 from the right. This photo taught me: if you don’t want to look like a Short Snorkle-Squatty, DO NOT SIT ON YOUR ICE AXE WHILE EVERYBODY ELSE IS STANDING.

 

There were some serious pairings-up going on among these college seniors. I eventually married the tall guy with glasses next to me on the far right.

 

(one more page tomorrow.)

Our Daily Challenge - "Stuck"

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

I left the research lab *much* later than I had planned to today, but decided to take a walk across the high level bridge to catch the train at Grandin, rather than catching it at the University like usual. I was walking hurriedly along and isolated from the world my by music, not really paying as much attention to my surroundings as I usually do. Then, in the midst of my craze, this man caught my attention.

 

He was standing in the middle of the field overlooking the river, as serene as one can be. In spite of the intense wind and storm clouds brewing overhead, he was slowly and methodically stretching, exercising, or participating in some kind of art form (perhaps T'ai Chi?).

 

I walked right past him and maintained my speedy gate until he was about 400 meters behind me. Then the sheer ridiculousness of my flustered mental state hit me with full force, and I realized what a perfect scene I was missing out on!

 

I whipped around, retraced my steps, quietly set all of my bags down, took out my camera, and steadied myself for a few shots of the man. I have no clue why he was there, for how long he was there, what he was doing, or what inspired him to do this in the middle of the windy field with a storm imminent, but I'm sure glad he did it. It was yet another wakeup call that served to remind me of all of the sensations and experiences I miss when I am stuck in my own little world of programming and music.

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

This occurrence reminded me of an article I read awhile back about a renowned violinist playing in a train station and raising only $32 while catching the attention of only a few people among the thousands of miserable souls who passed him that day. (He sold out an arena shortly thereafter).

 

www.huffingtonpost.com/2009/01/15/the-things-we-miss-a-vi...

Modern and Contemporary Art

The origins of the Moravian Gallery collections go back to the Francis Museum (now the Moravian Provincial Museum) in Brno, established in 1818. However, systematic acquisition only started under Dr. Jaroslav Helfert, the first director of the museum (from 1923) and curator of its picture gallery. His methodical approach enabled a more consistent structure to be brought to the collections and their expansion with topical works representing Czech modernism. The first acquisitions included, for example, the sculpture Before the Bath (1906) by Jan Štursa. The picture gallery permanent exhibition was installed in the Dietrichstein Palace in the late 1920's.

 

12345678910»

  

Helfert's successor in the gallery management was Dr. Albert Kutal, who (apart from building a collection of Moravian Gothic art) compiled a series of modern Czech art at the end of the 1920's and the beginning of the 1930's. Among major acquisitions in these years were Procházka's Players (1909) and Prometheus (1911), as well as further works of Czech modernism by Emil Filla, Josef Šíma and Jaroslav Král.

 

In 1948 Albert Kutal was succeeded by Dr. Karel Krejčí, followed by Dr. Jiří Hlušička, Dr. Vlasta Kratinová, Dr. Marie Dohnalová, Dr. Kateřina Svobodová and Dr. Jitka Sedlářová. The period after 1945 was associated with unprecedented expansion of the collections; for example, in 1945 the gallery received donations of Kubišta's Still Life with a Lamp (1909), and in 1948 Haymaking (1939) by Jaroslav Král. The complicated administrative situation of the picture gallery, part of the Moravian Provincial Museum, improved under Director Jiří Hlušička in 1961 when the Moravian Gallery in Brno came into existence, through the separation of the picture gallery of the museum and its merging with the Museum of Applied Arts.

 

The gallery activities centre upon the documentation of the main features of the development of 20th- and 21st-century art. A remarkable series of sculptures and a collection of drawings and graphic art gradually developed alongside the painting collection. The first permanent exhibition of Czech 20th-century art was created in 1970 (in the Moravian Provincial Museum building) by Jiří Hlušička; the collection had later to be stored in a depository.

 

The collection of modern and contemporary art boasts masterpieces by the luminaries of Czech modern art: Jan Štursa, Jan Preisler, Josef Mařatka and František Bílek, leading protagonist of Czech symbolism. It contains a series of major works by the members of the Osma [Eight] group and the Group of Visual Artists (paintings by Filla, Kubišta, Kubín, Špála, Čapek, early pieces by Antonín Procházka and Jan Zrzavý and cubist sculptures by Otto Gutfreund such as Anxiety, 1911). A large collection of works by Antonín Procházka enables viewers to observe changes in his artistic approaches, largely associated with Brno culture. The Czech interwar avant-garde is represented by works of Czech poetism, by the artificialism of Jindřich Štyrský and Toyen (Dawn, 1931) and reflections of surrealism (sculpture Girl with Child by Vincenc Makovský, Josef Šíma's painting Europe, works by František Muzika, František Foltýn and others). The 1940's are represented by echoes of the war (Emil Filla, Jan Bauch), works by members of Skupina 42 [Group 42] (František Gross, Bohumír Matal, Jan Smetana and others) and the Ra Group (Bohdan Lacina, Václav Zykmund). The Czech informel is illustrated with works of Mikuláš Medek, Robert Piesen, Josef Istler and others, while art trends in the second half of the 20th century are represented by selected works by Adriena Šimotová, Jiří John, Václav Boštík, Jiří Kolář, Michael Rittstein, Brno artists Dalibor Chatrný, Miroslav Štolfa and others.

 

A new permanent exhibition of modern and contemporary Czech art was opened in 1994 in the reconstructed Pražák Palace. A section mapping the late 19th century and the first half of the 20th century was opened, in revised form, in 2001. A year later it was supplemented with a further section spanning the mid-20th century and the present.

www.moravska-galerie.cz/moravska-galerie/o-galerii/sbirky...

Posthof

Object ID: 32970 Schrannenplatz 3

1879 built three-storey late historicist residential and commercial building

de.wikipedia.org/wiki/Liste_der_denkmalgesch%C3%BCtzten_O...

 

(further information you can get by clicking on the link at the end of page!)

History

 

Plaque to the founder of the Hyrtl'schen orphanage Joseph Hyrtl and Joseph Schöffel

© IMAREAL / E. Vavra

The Biedermeier-influenced city on the edge of the Vienna Woods is the capital of the district Mödling in the south of Vienna. The town has experienced in its 1100-year history since the first mention very different phases: in the Middle Ages briefly Babenberg residence, for centuries an economically potent wine market, from the 19th Century summer resort and industrial center, since 1875 town, in the 20th Century for almost two decades XXIVth district of Vienna, since 1954 again an independent municipality of Lower Austria and as a school and garden city popular residential area in the vicinity of Vienna.

Mödling has partnerships with cities in France, Belgium, Luxembourg, Germany, Hungary, Czech Republic, Serbia, Bulgaria and Italy.

The historical tradition of Mödling goes back far beyond the first written mention, how settlement finds from the Neolithic Age, Hallstatt period (eg calendar mountain) and Roman times as well as the great Avar burial ground "at the Golden Staircase" from the 7/8th Century BCE prove. In the year 903 Mödling is first mentioned (Medilihha). The later settlement was probably made in the 11th Century beneath an early castle building on the church mountain (Kirchenberg), where later a Romanesque predecessor of Othmar church was built.

In the late 12th century Mödling was for a few decades the residence of a Babenberg branch line. Henry the Elder, a brother of Duke Leopold V., had since the 1170 century belongings in and around Mödling. He and his son Henry the Younger, calling himself "Duke of Mödling", resided on the castle probably built around 1150 in the Klausen, among whose most famous visitors was Walther von der Vogelweide. With the death of Henry the Younger in 1236 extinguished the Mödlinger line of the Babenberg and the reign became princely domain. The time of the Babenberg commemorates the in late 12th Century built Romanesque ossuary at Othmar church - a circular building with an apse - as well as the denomination "Babenberg".

In the late Middle Ages, Medlich developed into a major wine market (1343 mention of market town) which in the 15th Century as one of the four princely spell markets was also represented in the Parliament - in addition to Gumpoldskirchen, Langenlois and Perchtoldsdorf. For centuries shaped the wine-growing the economy and social structure. The Mödlinger wine was good and helped the market particularly in the 15th and 16th Century to its prosperity. The settlement reached at the end of the Middle Ages that extent, which until the 19th Century should remain essentially unchanged. The center formed ​​the area around the Schrannenplatz with a dense stand of late medieval and early modern town houses that bear evidence of the wealth and self-confidence of the citizens of the market town. From the late medieval Schrannen building, the official residence of the market judge, was created in 1548 the representative Renaissance town hall with loggia.

The elevated lying Othmar church became in the 15th Century by transferring the rights of the church of St. Martin parish church of Mödling. The massive late Gothic church was built in a nearly 70-year construction period from 1454 to 1523 on the walls of six predecessors and able to resist fortified. As Mödling was destroyed in 1529 by the Ottomans, the just completed church lost its roof and remained for over a century till the restoration in 1660/70 a ruin. On the Merian engraving from 1649 the uncovered Othmar church on the left side is clearly visible. As a temporary parish church served the about 1450 built late-Gothic hospital church.

The internal conditions at this time were mainly marked of the clashes of the market with the princely rule Burg Mödling - since 1558 combined with the rule of Liechtenstein - which reached its climax in 1600 under the energetic administrator Georg Wiesing (1593-1611). During the Reformation, the market largely became Protestant. In the course of recatholicization a Capuchin monastery was founded in 1631, which served as a factory after the repeal under Joseph II and was then bought by the Thonet family (so-called Thonet Schlössel, today Bezirksmuseum).

In Türkenjahr 1683 (besiegement of the Turks) took place in the Othmar church a horrific bloodbath, in which hundreds of people who had sought refuge there were killed. The church was destroyed again, but this time built up rapidly with the market judge Wolfgang Ignaz Viechtl in a few years.

End of the 18th Century occurred in Mödling the settlement of industrial enterprises, especially textile mills that took advantage of the cheaper production possibilities and also its proximity to Vienna. Was decisively shaped the character of the place but by the rise to a summer resort, initiated by Prince Johann I of Liechtenstein beginning of the 19th Century, which acquired in 1807 the rule of Liechtenstein-Mödling with the former family ancestral home. He had the area under enormous cost reforested (Schirmföhren/pinus mugo, acacia, etc.) and transformed to a public park in Romantic style with promenade paths, steep paths and artificial constructions (Black tower, amphitheater, Husarentempel). The ruined castles Mödling and Liechtenstein were restored. The former Liechtenstein'sche landscape park is considered a remarkable example of the garden culture in 1800 and is now a popular tourist destination (1974 Natural Preserve Föhrenberge).

Since the Biedermeier Mödling in the summer was an extremely popular artist hangout. Among the most famous artists of the 19th Century who were inspired by the romantic nature here, were Franz Schubert, Franz Grillparzer, Ferdinand Waldmüller, Ferdinand Raimund and Ludwig van Beethoven, who here worked on one of his major works, the "Missa Solemnis". In the 20th Century settled inter alia Arnold Schönberg, Anton von Webern, Anton Wildgans, Franz Theodor Csokor and Albert Drach temporarily or permanently down. To Beethoven, Schönberg and Wildgans memorials have been established (Beethoven House, Schönberg House, Wildgans archive).

In the second half of the 19th Century Mödling became administrative center (District Court, District administration) and an industrial site and educational location with high schools and colleges (eg educational establishment Francisco-Josephinum). The good traffic situation at the southern railway, the progressive industrialization and the expansion of health facilities (park, Kursalon) led to a rapid expansion of the hitherto for centuries unchanged market. Under mayor Joseph Schöffel (1873-1882), who became famous because of his successful engagement against the deforestation of the Vienna Woods as the "savior of the Vienna Woods", followed the methodical installation of the so-called Schoeffel(before) city - Schöffelvorstadt (New Mödling) east of the Southern Railway and the establishment of workers' settlements. Later followed the exclusive residential areas of the turn of the century with their representative residential buildings. Probably the most important building of the late 19th Century is the Hyrtl'sche orphanage (1886-1889), founded by the Viennese anatomist, Joseph Hyrtl and Joseph Schöffel. The Orphanage church St. Joseph was built on the in 1787 demolished Martin Church.

On 18th November 1875 the emerging market town was raised to the status of a city, two years later the incorporation of Klausen and Vorderbrühl took place. Through the establishment of Great-Vienna under the Nazi regime on 15th October 1938 the young city for 16 years lost its municipal autonomy; 1954 it became again a part of Lower Austria.

Symbol for the characteristic environment of Mödling was the "width pine" on the Anninger whose age goes back to the 16th Century (around 1550). It was a well-known natural landmark and has become the symbol of the city. 1988 died the tree and it had to be removed in 1997 for safety reasons. The remains are now in the Lower Austrian Provincial Museum.

geschichte.landesmuseum.net/index.asp?contenturl=http://g...

Town house

Object ID: 32938 Main Street 83

Late Medieval Ackerbürgerhaus (house of the farming townsmen) with Steingewändefenstern (stone wall windows) from the 16th century.

de.wikipedia.org/wiki/Liste_der_denkmalgesch%C3%BCtzten_O...

 

(further information you can get by clicking on the link at the end of page!)

History

 

Plaque to the founder of the Hyrtl'schen orphanage Joseph Hyrtl and Joseph Schöffel

© IMAREAL / E. Vavra

The Biedermeier-influenced city on the edge of the Vienna Woods is the capital of the district Mödling in the south of Vienna. The town has experienced in its 1100-year history since the first mention very different phases: in the Middle Ages briefly Babenberg residence, for centuries an economically potent wine market, from the 19th Century summer resort and industrial center, since 1875 town, in the 20th Century for almost two decades XXIVth district of Vienna, since 1954 again an independent municipality of Lower Austria and as a school and garden city popular residential area in the vicinity of Vienna.

Mödling has partnerships with cities in France, Belgium, Luxembourg, Germany, Hungary, Czech Republic, Serbia, Bulgaria and Italy.

The historical tradition of Mödling goes back far beyond the first written mention, how settlement finds from the Neolithic Age, Hallstatt period (eg calendar mountain) and Roman times as well as the great Avar burial ground "at the Golden Staircase" from the 7/8th Century BCE prove. In the year 903 Mödling is first mentioned (Medilihha). The later settlement was probably made in the 11th Century beneath an early castle building on the church mountain (Kirchenberg), where later a Romanesque predecessor of Othmar church was built.

In the late 12th century Mödling was for a few decades the residence of a Babenberg branch line. Henry the Elder, a brother of Duke Leopold V., had since the 1170 century belongings in and around Mödling. He and his son Henry the Younger, calling himself "Duke of Mödling", resided on the castle probably built around 1150 in the Klausen, among whose most famous visitors was Walther von der Vogelweide. With the death of Henry the Younger in 1236 extinguished the Mödlinger line of the Babenberg and the reign became princely domain. The time of the Babenberg commemorates the in late 12th Century built Romanesque ossuary at Othmar church - a circular building with an apse - as well as the denomination "Babenberg".

In the late Middle Ages, Medlich developed into a major wine market (1343 mention of market town) which in the 15th Century as one of the four princely spell markets was also represented in the Parliament - in addition to Gumpoldskirchen, Langenlois and Perchtoldsdorf. For centuries shaped the wine-growing the economy and social structure. The Mödlinger wine was good and helped the market particularly in the 15th and 16th Century to its prosperity. The settlement reached at the end of the Middle Ages that extent, which until the 19th Century should remain essentially unchanged. The center formed ​​the area around the Schrannenplatz with a dense stand of late medieval and early modern town houses that bear evidence of the wealth and self-confidence of the citizens of the market town. From the late medieval Schrannen building, the official residence of the market judge, was created in 1548 the representative Renaissance town hall with loggia.

The elevated lying Othmar church became in the 15th Century by transferring the rights of the church of St. Martin parish church of Mödling. The massive late Gothic church was built in a nearly 70-year construction period from 1454 to 1523 on the walls of six predecessors and able to resist fortified. As Mödling was destroyed in 1529 by the Ottomans, the just completed church lost its roof and remained for over a century till the restoration in 1660/70 a ruin. On the Merian engraving from 1649 the uncovered Othmar church on the left side is clearly visible. As a temporary parish church served the about 1450 built late-Gothic hospital church.

The internal conditions at this time were mainly marked of the clashes of the market with the princely rule Burg Mödling - since 1558 combined with the rule of Liechtenstein - which reached its climax in 1600 under the energetic administrator Georg Wiesing (1593-1611). During the Reformation, the market largely became Protestant. In the course of recatholicization a Capuchin monastery was founded in 1631, which served as a factory after the repeal under Joseph II and was then bought by the Thonet family (so-called Thonet Schlössel, today Bezirksmuseum).

In Türkenjahr 1683 (besiegement of the Turks) took place in the Othmar church a horrific bloodbath, in which hundreds of people who had sought refuge there were killed. The church was destroyed again, but this time built up rapidly with the market judge Wolfgang Ignaz Viechtl in a few years.

End of the 18th Century occurred in Mödling the settlement of industrial enterprises, especially textile mills that took advantage of the cheaper production possibilities and also its proximity to Vienna. Was decisively shaped the character of the place but by the rise to a summer resort, initiated by Prince Johann I of Liechtenstein beginning of the 19th Century, which acquired in 1807 the rule of Liechtenstein-Mödling with the former family ancestral home. He had the area under enormous cost reforested (Schirmföhren/pinus mugo, acacia, etc.) and transformed to a public park in Romantic style with promenade paths, steep paths and artificial constructions (Black tower, amphitheater, Husarentempel). The ruined castles Mödling and Liechtenstein were restored. The former Liechtenstein'sche landscape park is considered a remarkable example of the garden culture in 1800 and is now a popular tourist destination (1974 Natural Preserve Föhrenberge).

Since the Biedermeier Mödling in the summer was an extremely popular artist hangout. Among the most famous artists of the 19th Century who were inspired by the romantic nature here, were Franz Schubert, Franz Grillparzer, Ferdinand Waldmüller, Ferdinand Raimund and Ludwig van Beethoven, who here worked on one of his major works, the "Missa Solemnis". In the 20th Century settled inter alia Arnold Schönberg, Anton von Webern, Anton Wildgans, Franz Theodor Csokor and Albert Drach temporarily or permanently down. To Beethoven, Schönberg and Wildgans memorials have been established (Beethoven House, Schönberg House, Wildgans archive).

In the second half of the 19th Century Mödling became administrative center (District Court, District administration) and an industrial site and educational location with high schools and colleges (eg educational establishment Francisco-Josephinum). The good traffic situation at the southern railway, the progressive industrialization and the expansion of health facilities (park, Kursalon) led to a rapid expansion of the hitherto for centuries unchanged market. Under mayor Joseph Schöffel (1873-1882), who became famous because of his successful engagement against the deforestation of the Vienna Woods as the "savior of the Vienna Woods", followed the methodical installation of the so-called Schoeffel(before) city - Schöffelvorstadt (New Mödling) east of the Southern Railway and the establishment of workers' settlements. Later followed the exclusive residential areas of the turn of the century with their representative residential buildings. Probably the most important building of the late 19th Century is the Hyrtl'sche orphanage (1886-1889), founded by the Viennese anatomist, Joseph Hyrtl and Joseph Schöffel. The Orphanage church St. Joseph was built on the in 1787 demolished Martin Church.

On 18th November 1875 the emerging market town was raised to the status of a city, two years later the incorporation of Klausen and Vorderbrühl took place. Through the establishment of Great-Vienna under the Nazi regime on 15th October 1938 the young city for 16 years lost its municipal autonomy; 1954 it became again a part of Lower Austria.

Symbol for the characteristic environment of Mödling was the "width pine" on the Anninger whose age goes back to the 16th Century (around 1550). It was a well-known natural landmark and has become the symbol of the city. 1988 died the tree and it had to be removed in 1997 for safety reasons. The remains are now in the Lower Austrian Provincial Museum.

geschichte.landesmuseum.net/index.asp?contenturl=http://g...

A thangka, also known as tangka, thanka or tanka (Nepali pronunciation: [ˈt̪ʰaŋka]; Tibetan: ཐང་ཀ་; Nepal Bhasa: पौभा) is a painting on cotton, or silk appliqué, usually depicting a Buddhist deity, scene, or mandala of some sort. The thangka is not a flat creation like an oil painting or acrylic painting but consists of a picture panel which is painted or embroidered over which a textile is mounted and then over which is laid a cover, usually silk. Generally, thangkas last a very long time and retain much of their lustre, but because of their delicate nature, they have to be kept in dry places where moisture won't affect the quality of the silk. It is sometimes called a scroll-painting.

 

These thangka served as important teaching tools depicting the life of the Buddha, various influential lamas and other deities and bodhisattvas. One subject is The Wheel of Life, which is a visual representation of the Abhidharma teachings (Art of Enlightenment).

 

Thangka, when created properly, perform several different functions. Images of deities can be used as teaching tools when depicting the life (or lives) of the Buddha, describing historical events concerning important Lamas, or retelling myths associated with other deities. Devotional images act as the centerpiece during a ritual or ceremony and are often used as mediums through which one can offer prayers or make requests. Overall, and perhaps most importantly, religious art is used as a meditation tool to help bring one further down the path to enlightenment. The Buddhist Vajrayana practitioner uses a thanga image of their yidam, or meditation deity, as a guide, by visualizing “themselves as being that deity, thereby internalizing the Buddha qualities (Lipton, Ragnubs).”

 

Historians note that Chinese painting had a profound influence on Tibetan painting in general. Starting from the 14th and 15th century, Tibetan painting had incorporated many elements from the Chinese, and during the 18th century, Chinese painting had a deep and far-stretched impact on Tibetan visual art. According to Giuseppe Tucci, by the time of the Qing Dynasty, "a new Tibetan art was then developed, which in a certain sense was a provincial echo of the Chinese 18th century's smooth ornate preciosity."

 

HISTORY

Thangka is a Nepalese art form exported to Tibet after Princess Bhrikuti of Nepal, daughter of King Lichchavi, married Songtsän Gampo, the ruler of Tibet imported the images of Aryawalokirteshwar and other Nepalese deities to Tibet. History of thangka Paintings in Nepal began in the 11th century A.D. when Buddhists and Hindus began to make illustration of the deities and natural scenes. Historically, Tibetan and Chinese influence in Nepalese paintings is quite evident in Paubhas (Thangkas). Paubhas are of two types, the Palas which are illustrative paintings of the deities and the Mandala, which are mystic diagrams paintings of complex test prescribed patterns of circles an square each having specific significance. It was through Nepal that Mahayana Buddhism was introduced into Tibet during reign of Angshuvarma in the seventh century A.D. There was therefore a great demand for religious icons and Buddhist manuscripts for newly built monasteries throughout Tibet. A number of Buddhist manuscripts, including Prajnaparamita, were copied in Kathmandu Valley for these monasteries. Astasahas rika Prajnaparamita for example, was copied in Patan in the year 999 A.D., during the reign of Narendra Dev and Udaya Deva, for the Sa-Shakya monastery in Tibet. For the Nor monastery in Tibet, two copies were made in Nepal-one of Astasahasrika Prajnaparamita in 1069 A.D. and the other of Kavyadarsha in 1111 A.D. The influence of Nepalese art extended till Tibet and even beyond in China in regular order during the thirteenth century. Nepalese artisans were dispatched to the courts of Chinese emperors at their request to perform their workmanship and impart expert knowledge. The exemplary contribution made by the artisans of Nepal, specially by the Nepalese innovator and architect Balbahu, known by his popular name Araniko bear testimony to this fact even today. After the introduction of paper, palm leaf became less popular, however, it continued to be used until the eighteenth century. Paper manuscripts imitated the oblong shape but were wider than the palm leaves.

 

From the fifteenth century onwards, brighter colours gradually began to appear in Nepalese.Thanka / Thangka. Because of the growing importance of the Tantric cult, various aspects of Shiva and Shakti were painted in conventional poses. Mahakala, Manjushri, Lokeshwara and other deities were equally popular and so were also frequently represented in Thanka / Thangka paintings of later dates. As Tantrism embodies the ideas of esoteric power, magic forces, and a great variety of symbols, strong emphasis is laid on the female element and sexuality in the paintings of that period.

 

Religious paintings worshipped as icons are known as Paubha in Newari and Thanka / Thangka in Tibetan. The origin of Paubha or Thanka / Thangka paintings may be attributed to the Nepalese artists responsible for creating a number of special metal works and wall- paintings as well as illuminated manuscripts in Tibet. Realizing the great demand for religious icons in Tibet, these artists, along with monks and traders, took with them from Nepal not only metal sculptures but also a number of Buddhist manuscripts. To better fulfil the ever - increasing demand Nepalese artists initiated a new type of religious painting on cloth that could be easily rolled up and carried along with them. This type of painting became very popular both in Nepal and Tibet and so a new school of Thanka / Thangka painting evolved as early as the ninth or tenth century and has remained popular to this day. One of the earliest specimens of Nepalese Thanka / Thangka painting dates from the thirteenth /fourteenth century and shows Amitabha surrounded by Bodhisattva. Another Nepalese Thanka / Thangka with three dates in the inscription (the last one corresponding to 1369 A.D.), is one of the earliest known Thanka / Thangka with inscriptions. The "Mandalaof Vishnu " dated 1420 A.D., is another fine example of the painting of this period. Early Nepalese Thangkas are simple in design and composition. The main deity, a large figure, occupies the central position while surrounded by smaller figures of lesser divinities.

 

Thanka / Thangka painting is one of the major science out the five major and five minor fields of knowledge. Its origin can be traced all the way back to the time of Lord Buddha. The main themes of Thanka / Thangka paintings are religious. During the reign of Tibetan Dharma King Trisong Duetsen the Tibetan masters refined their already well-developed arts through research and studies of different country's tradition. Thanka painting's lining and measurement, costumes, implementations and ornaments are mostly based on Indian styles. The drawing of figures is based on Nepalese style and the background sceneries are based on Chinese style. Thus, the Thanka / Thangka paintings became a unique and distinctive art. Although the practice of thanka painting was originally done as a way of gaining merit it has nowadays only evolved into a money making business and the noble intentions it once carried has been diluted. Tibetans do not sell Thangkas on a large scale as the selling of religious artifacts such as thangkas and idols is frowned upon in the Tibetan community and thus non Tibetan groups have been able to monopolize on its (thangka's) popularity among Buddhist and art enthusiasts from the west.

 

Thanka / Thangka have developed in the northern Himalayan regions among the Lamas. Besides Lamas, Gurung and Tamang communities are also producing Tankas, which provide substantial employment opportunities for many people in the hills. Newari Thankas (Also known as Paubha) has been the hidden art work in Kathmandu valley from the 13th century. We have preserved this art and are exclusively creating this with some particular painter family who have inherited their art from their forefathers. Some of the artistic religious and historical paintings are also done by the Newars of Kathmandu Valley.

 

TYPES

Based on technique and material, thangkas can be grouped by types. Generally, they are divided into two broad categories: those that are painted (Tib.) bris-tan—and those made of silk, either by appliqué or embroidery.

 

Thangkas are further divided into these more specific categories:

 

- Painted in colors (Tib.) tson-tang - the most common type

- Appliqué (Tib.) go-tang

- Black Background - meaning gold line on a black background (Tib.) nagtang

- Blockprints - paper or cloth outlined renderings, by woodcut/woodblock printing

- Embroidery (Tib.) tsem-thang

- Gold Background - an auspicious treatment, used judiciously for peaceful, long-life deities and fully enlightened buddhas

- Red Background - literally gold line, but referring to gold line on a vermillion (Tib.) mar-tang

 

Whereas typical thangkas are fairly small, between about 18 and 30 inches tall or wide, there are also giant festival thangkas, usually Appliqué, and designed to be unrolled against a wall in a monastery for particular religious occasions. These are likely to be wider than they are tall, and may be sixty or more feet across and perhaps twenty or more high.

 

Somewhat related are Tibetan tsakli, which look like miniature thangkas, but are usually used as initiation cards or offerings.

 

Because Thangkas can be quite expensive, people nowadays use posters of Thangkas as an alternative to the real thangkas for religious purposes.

 

PROCESS

Thangkas are painted on cotton or silk. The most common is a loosely woven cotton produced in widths from 40 to 58 centimeters. While some variations do exist, thangkas wider than 45 centimeters frequently have seams in the support. The paint consists of pigments in a water soluble medium. Both mineral and organic pigments are used, tempered with a herb and glue solution. In Western terminology, this is a distemper technique.

 

The composition of a thangka, as with the majority of Buddhist art, is highly geometric. Arms, legs, eyes, nostrils, ears, and various ritual implements are all laid out on a systematic grid of angles and intersecting lines. A skilled thangka artist will generally select from a variety of predesigned items to include in the composition, ranging from alms bowls and animals, to the shape, size, and angle of a figure's eyes, nose, and lips. The process seems very methodical, but often requires deep understanding of the symbolism involved to capture the spirit of it.

 

Thangka often overflow with symbolism and allusion. Because the art is explicitly religious, all symbols and allusions must be in accordance with strict guidelines laid out in Buddhist scripture. The artist must be properly trained and have sufficient religious understanding, knowledge, and background to create an accurate and appropriate thangka. Lipton and Ragnubs clarify this in Treasures of Tibetan Art:

 

“Tibetan art exemplifies the nirmanakaya, the physical body of Buddha, and also the qualities of the Buddha, perhaps in the form of a deity. Art objects, therefore, must follow rules specified in the Buddhist scriptures regarding proportions, shape, color, stance, hand positions, and attributes in order to personify correctly the Buddha or Deities.”

 

WIKIPEDIA

Great addition to my library. Five stars!

www.ebay.com/itm/Russian-Sambo-Mikhail-Martynov-Methodica...

kfvideo.ru/

kfvideo.com/

Mikhail Martynov. Methodical exercises and tasks for sambists.

 

In this film, Mikhail Martynov shows preparatory exercises for sambo wrestling techniques. You will see additional tasks that help to study the techniques of sambo wrestling. These exercises are easy to perform on the gym, on the warm-up, at home. You will see exercises with a sambist belt, with a sambist jacket. The film shows the exercises for the following throws: Inner thigh reaping, action "bychok", Forward undercut throw, reverse grip and back leg-show , throw over the back, throw over the thigh. On the basis of the exercises shown, you can develop your own variants of tasks and make a training plan.

 

European Sambo Championship 2012. The best throws.

 

In this film you will see a collection of the best throws of the 2012 European Sambo Championship, held in Moscow. All techniques are combined in the following groups: throws with leg clinch at (popliteal bend, heel clinch, two legs takedown), hooks (front, under the heel, at the pace of steps, from the inside), over the back, over the shoulder (from the standing position, from the knees ), "wind mill" (from the standing position, from the knees), "bychok", over the thigh, over the chest, side fall over, over the head, grip hook from the inside, back leg-show, hook from the inside, hook the shin from the outside, "scissors", throw the "twisting", "walking around." Each technique is repeated several times. This is an excellent tool for the study of Sambo wrestling techniques.

 

Product Features

 

Standard PAL DVD.

Region Code DVD: 0/All

Production Kallista Film. Russia.

Autor Pavlov D. Martynov M.

Release year 2019

Direction Technique of Sambo..

Delivery Russian mail anywhere in the world.

Payment PayPal

Duration 64 min.

Filming location Russia. Moscow.

Language Russian.English subtitlings

Finally a clear night for viewing the comet. I wish I could say I saw it, but I could only see it afterwards on this and several other photos. I made methodical sweeps from low on the horizon to nearly up as high as the moon, and never caught sight of it with naked eye or 7 x 50 binoculars.

Folks, this is not a very bright comet in a very bad viewing position, and by the time it gets high enough for twilight to not be a factor, it will have faded a bit and the moon will be full.

 

Wait for Comet ISON in December. With any luck, it'll knock our socks off.

 

The comet is on the left, airplane trail on the right. Taken tonight (3/14) near Greensburg PA

A grim, rainy day today, so once we'd squelched in from the school run, I let the children veg in front of Eli's favourite film, "Mamma Mia". Which meant I could do some cheeky cross stitching, an activity usually reserved for evenings. I started this a week ago and I'm loving it - methodical, beautiful, satisfying. It's a big old pattern, and is likely to be a long term project given I generally get no more than an hour (on a good day) in the evening without Thea sucking on my finger. I can do many, many things one handed, but not sewing. It would be nice to get this finished for Megan's 6th birthday in September, and then I've earmarked two more in the same series to do for Eli and Thea.

Main road (Hauptstraße)

Oldest road of Mödling - as early as the Roman times provable.

At the intersection of Main Street-Jacob Thoma Street stood until 1817 the

Ungartor through which one left the location towards the east

moedling.riskommunal.net/gemeindeamt/download/221043842_1...

(further information you can get by clicking on the link at the end of page!)

History

 

Plaque to the founder of the Hyrtl'schen orphanage Joseph Hyrtl and Joseph Schöffel

© IMAREAL / E. Vavra

The Biedermeier-influenced city on the edge of the Vienna Woods is the capital of the district Mödling in the south of Vienna. The town has experienced in its 1100-year history since the first mention very different phases: in the Middle Ages briefly Babenberg residence, for centuries an economically potent wine market, from the 19th Century summer resort and industrial center, since 1875 town, in the 20th Century for almost two decades XXIVth district of Vienna, since 1954 again an independent municipality of Lower Austria and as a school and garden city popular residential area in the vicinity of Vienna.

Mödling has partnerships with cities in France, Belgium, Luxembourg, Germany, Hungary, Czech Republic, Serbia, Bulgaria and Italy.

The historical tradition of Mödling goes back far beyond the first written mention, how settlement finds from the Neolithic Age, Hallstatt period (eg calendar mountain) and Roman times as well as the great Avar burial ground "at the Golden Staircase" from the 7/8th Century BCE prove. In the year 903 Mödling is first mentioned (Medilihha). The later settlement was probably made in the 11th Century beneath an early castle building on the church mountain (Kirchenberg), where later a Romanesque predecessor of Othmar church was built.

In the late 12th century Mödling was for a few decades the residence of a Babenberg branch line. Henry the Elder, a brother of Duke Leopold V., had since the 1170 century belongings in and around Mödling. He and his son Henry the Younger, calling himself "Duke of Mödling", resided on the castle probably built around 1150 in the Klausen, among whose most famous visitors was Walther von der Vogelweide. With the death of Henry the Younger in 1236 extinguished the Mödlinger line of the Babenberg and the reign became princely domain. The time of the Babenberg commemorates the in late 12th Century built Romanesque ossuary at Othmar church - a circular building with an apse - as well as the denomination "Babenberg".

In the late Middle Ages, Medlich developed into a major wine market (1343 mention of market town) which in the 15th Century as one of the four princely spell markets was also represented in the Parliament - in addition to Gumpoldskirchen, Langenlois and Perchtoldsdorf. For centuries shaped the wine-growing the economy and social structure. The Mödlinger wine was good and helped the market particularly in the 15th and 16th Century to its prosperity. The settlement reached at the end of the Middle Ages that extent, which until the 19th Century should remain essentially unchanged. The center formed ​​the area around the Schrannenplatz with a dense stand of late medieval and early modern town houses that bear evidence of the wealth and self-confidence of the citizens of the market town. From the late medieval Schrannen building, the official residence of the market judge, was created in 1548 the representative Renaissance town hall with loggia.

The elevated lying Othmar church became in the 15th Century by transferring the rights of the church of St. Martin parish church of Mödling. The massive late Gothic church was built in a nearly 70-year construction period from 1454 to 1523 on the walls of six predecessors and able to resist fortified. As Mödling was destroyed in 1529 by the Ottomans, the just completed church lost its roof and remained for over a century till the restoration in 1660/70 a ruin. On the Merian engraving from 1649 the uncovered Othmar church on the left side is clearly visible. As a temporary parish church served the about 1450 built late-Gothic hospital church.

The internal conditions at this time were mainly marked of the clashes of the market with the princely rule Burg Mödling - since 1558 combined with the rule of Liechtenstein - which reached its climax in 1600 under the energetic administrator Georg Wiesing (1593-1611). During the Reformation, the market largely became Protestant. In the course of recatholicization a Capuchin monastery was founded in 1631, which served as a factory after the repeal under Joseph II and was then bought by the Thonet family (so-called Thonet Schlössel, today Bezirksmuseum).

In Türkenjahr 1683 (besiegement of the Turks) took place in the Othmar church a horrific bloodbath, in which hundreds of people who had sought refuge there were killed. The church was destroyed again, but this time built up rapidly with the market judge Wolfgang Ignaz Viechtl in a few years.

End of the 18th Century occurred in Mödling the settlement of industrial enterprises, especially textile mills that took advantage of the cheaper production possibilities and also its proximity to Vienna. Was decisively shaped the character of the place but by the rise to a summer resort, initiated by Prince Johann I of Liechtenstein beginning of the 19th Century, which acquired in 1807 the rule of Liechtenstein-Mödling with the former family ancestral home. He had the area under enormous cost reforested (Schirmföhren/pinus mugo, acacia, etc.) and transformed to a public park in Romantic style with promenade paths, steep paths and artificial constructions (Black tower, amphitheater, Husarentempel). The ruined castles Mödling and Liechtenstein were restored. The former Liechtenstein'sche landscape park is considered a remarkable example of the garden culture in 1800 and is now a popular tourist destination (1974 Natural Preserve Föhrenberge).

Since the Biedermeier Mödling in the summer was an extremely popular artist hangout. Among the most famous artists of the 19th Century who were inspired by the romantic nature here, were Franz Schubert, Franz Grillparzer, Ferdinand Waldmüller, Ferdinand Raimund and Ludwig van Beethoven, who here worked on one of his major works, the "Missa Solemnis". In the 20th Century settled inter alia Arnold Schönberg, Anton von Webern, Anton Wildgans, Franz Theodor Csokor and Albert Drach temporarily or permanently down. To Beethoven, Schönberg and Wildgans memorials have been established (Beethoven House, Schönberg House, Wildgans archive).

In the second half of the 19th Century Mödling became administrative center (District Court, District administration) and an industrial site and educational location with high schools and colleges (eg educational establishment Francisco-Josephinum). The good traffic situation at the southern railway, the progressive industrialization and the expansion of health facilities (park, Kursalon) led to a rapid expansion of the hitherto for centuries unchanged market. Under mayor Joseph Schöffel (1873-1882), who became famous because of his successful engagement against the deforestation of the Vienna Woods as the "savior of the Vienna Woods", followed the methodical installation of the so-called Schoeffel(before) city - Schöffelvorstadt (New Mödling) east of the Southern Railway and the establishment of workers' settlements. Later followed the exclusive residential areas of the turn of the century with their representative residential buildings. Probably the most important building of the late 19th Century is the Hyrtl'sche orphanage (1886-1889), founded by the Viennese anatomist, Joseph Hyrtl and Joseph Schöffel. The Orphanage church St. Joseph was built on the in 1787 demolished Martin Church.

On 18th November 1875 the emerging market town was raised to the status of a city, two years later the incorporation of Klausen and Vorderbrühl took place. Through the establishment of Great-Vienna under the Nazi regime on 15th October 1938 the young city for 16 years lost its municipal autonomy; 1954 it became again a part of Lower Austria.

Symbol for the characteristic environment of Mödling was the "width pine" on the Anninger whose age goes back to the 16th Century (around 1550). It was a well-known natural landmark and has become the symbol of the city. 1988 died the tree and it had to be removed in 1997 for safety reasons. The remains are now in the Lower Austrian Provincial Museum.

geschichte.landesmuseum.net/index.asp?contenturl=http://g...

Flowers grow in orderly manner.

Anyway, it's about time to fly to Los Angeles. (This photo was taken at the observation deck of Narita International Airport #1.)

 

IMG_20608

*Explored on Apr 21, 2007, #382. Thank you!

The handsome Smith's Longspur is normally seen in Northern parts of Canada such as Churchill, Manitoba and the northern territories but we were fortunate to learn of a very small flock that had been feeding in a large farm field near Point Pelee.

 

After nearly an hour of methodical searching, with the help of other birders, we managed to find two males and one female of this shy species hiding in the undergrowth.

 

What an exciting time to add a new life list addition!

(Hey, if the Bush Administration can abuse that phrase, so can I.)

 

The natural "stop" point today was when I'd cleaned all the way to the back wall and processed each of the dozen boxes stacked atop the Pile Of Macs.

 

I repeat that I have no irrational emotional connection to my things. When I watch that show on A&E my heart truly goes out to those people who, in many cases, have an actual organic disorder that turns the disposition of every piece of paper and every kitchen utensil into an ungodly ordeal.

 

Still, there's a methodical, correct way to do this sort of thing and a fast, half-assed way.

 

Every box needs to be opened and every item inside needs to be examined. If all I did was pop the lid, verify that the box isn't stuffed with money, and then chck it into the landfill, I'd have thrown away several different notebooks with my school writings in them, a birthday card from my grandparents, my high-school transcript...and that's to say nothing of the dozen or so old papers that have my Social Security number on them.

 

The job isn't finished yet. But I'm close. The process involves my taking a storage unit packed with randomly-distributed stuff and transforming it into a two-zone area of Staying and Going. Ultimately, the "Staying" stuff will go into the trunk of my car; the "Going" stuff will go into a rented truck, and then to the dump. Presto: I'll have one less storage unit.

 

(And then I move on to the next one. Damn, that ain't much of a reward.)

 

At this stage, I've processed everything except for nine boxes. I think they mostly contain decade-old issues of "MacWEEK." I'll go through the boxes and cull out the maybe one issue in fifteen whose cover stories seem to hold some kind of modern interest.

 

(For example. Speculation about whether or not this new "Microsoft Windows 3.0" will affect sales of Macs: keep. Rumors of a new version of the Macintosh Portable with a backlit screen: toss.)

 

I do hate projects like these. After a few hours of work, I consolidated my sorting boxes and figured out how to put everything back inside the storage unit so that the "processed" stuff is at the back and I can get at those final nine boxes quickly. But the fact is that everything that I took out of my storage unit went right back in at the end of the day. It's so much more satisfying when you spend a few hours cleaning the house and when you stop...you look around and find a clean house.

 

Oh, well. As the old General Electric slogan put it: "Progress is the most important product."

It's nearly one year ago to the day that I drove my car up a narrow, winding road about 20 minutes southeast of Jeju City. It was an uncharacteristically cold April morning, spring having yet to make it's appearance on the island.

 

I parked my car and struggled to the entrance of the Jeju April 3rd Peace Memorial Hall, relentless winds and freezing temperatures battering me along the way. It reminded me how perfectly the weather conditions matched this somber day.

 

Once inside, I made my way to a massive room where a large crowd of people had already formed. I scanned the room and my eyes were immediately drawn to the endless rows of names inscribed along its back wall. Flowers and offerings of fruit lay below the names, all of it lit by flickering candles. People had begun to pray.

 

This marked my introduction to a ceremony commemorating the 64 years since the Jeju Massacre, or "4.3", broke out on Jeju Island on April 3rd, 1948. One of the deadliest conflicts in Korean history, it continued for 6 bloody years, during which time an estimated 30,000 Jeju residents died at the hands of South Korean forces as punishment for perceived sympathy towards communism and the newly formed North Korea.

 

The conflict came to an end in 1954 but the pain and suffering caused by the loss of loved ones did not. How could something like this happen? For decades after any discussion of the massacre was censored with the threat of torture or imprisonment for those who chose to speak out.

 

The passage of time has healed some wounds. Since the 1990's the South Korean government has made a series of apologies and, in 2006, then President Roh Moo-Hyun officially apologized to the people of Jeju. But, apologies will never bring back those who lost their lives in the uprising.

 

With these thoughts in my mind, I slowly worked my way through the crowd and began to focus my attention on an elderly couple desperately trying to find the name of somebody lost in those attacks so many years ago. The pain of their loss clearly etched on their faces, they methodically scanned the names on the wall row by painstaking row.

 

I followed them for nearly 30 minutes until, finally, the husband's eyes showed a spark of recognition and his arm shot up into the air, his finger shaking as it pointed at a name on the wall. I saw a brief flicker of satisfaction, even triumph, on the elderly couples' faces that, after so many years, at least they could pay their respects to a fallen loved one.

 

It was at this moment I took a photo, my best of the day and one that would win at prize in the 2012 Jeju Sasam Photo Contest. When I look at that photo today I'm reminded of magnitude of the loss this terrible event had on so many families on Jeju Island and I pray that nothing like this will ever happen again.

 

Facebook

Twitter

 

Please view my stream LARGE on black:

 

DMac 5D Mark II's photos on Flickriver

  

Catacombs, Montparnasse, Paris

 

I decided that today was a day for going underground, and I set off to Montparnasse to visit the catacombs. These are a vast maze of tunnels under Paris originally used for quarrying the stone out of which the city's main buildings are constructed. In the late 18th Century, the state of the city's churchyards had become so disgusting that the city removed the bones from all of them. They were brought here at night, the carts coming from the centre of the city accompanied by torch-bearing acolytes and priests chanting the requiem Mass. A skull count showed that almost six million corpses were removed in this way. They were buried deep underground, but these people being Parisians the skulls and bones were arranged in a neat and methodical way, a meaningful chaos. Layers of tibia and femurs are crowned by a layer of pelvises and skulls, and so on. Each churchyard was grouped together, and a plaque shows which parish provided the skeletons.

 

The work was interrupted by the French Revolution,which provided plenty more corpses for when the work was resumed. Altogether about a kilometre and a half of tunnels were filled with the remains of dead Parisians, and you can walk through them on a winding route under the streets around Montparnasse station. In fact, this is just a tiny fraction of the tunnels. The catacombs extend for hundreds of kilometres under the city, many of them rarely explored and difficult of access. Because of this, they are regularly broken into by intrepid adventurers, and many legends have grown up about parts of the network. However, my favourite story is one which is true.

 

In 2004, a group of police cadets on a training exercise were given the task of tracking an imaginary criminal in a part of the network which was little known. They got into the system through a manhole, and when they were about a hundred feet underground something rather odd happened. They triggered a motion sensor which set off the sound of barking dogs. Thinking that it was part of the exercise, they headed onwards only to come out into a vast cavern which had been fully equipped as a cinema. An anteroom had been equipped and fully stocked as a bar, and there was also a film storage room. When the cadets reported what they had seen, the electricity board were sent in to work out where the invaders were getting their electricity from. Instead, they found the wires all cut, the equipment removed, and a sign saying 'Don't try to follow us. You'll never find us.'

 

Perhaps the cineastes had got fed up with waiting to get into the system officially, because this was the only place all week that I encountered a serious queue. Worse, I was just in front of a small group of people who talked constantly in very loud voices. She was an American who obviously lived in Paris, and they appeared to be young relatives who'd come to stay. She was taking them down the catacombs, and the price to be paid for this by the poor kids was to suffer her pretentious nonsense. She went on about spirituality, and homeopathy, and psychoanalysis, and the inner energy, and so on. Fair play to the kids, they responded enthusiastically enough.

 

And then she got out some of her stream of consciousness poetry, and started reading it in a loud voice. Well, goodness me. I was put in mind of something the graphic artist Alan Moore said when he was in Hollywood helping turn his 'V for Vendetta' into a film, and he was asked at a director's lunch why he lived in Northampton, England. "Because it keeps me grounded", he replied, and I thought that this was exactly right. It was like the opposite of this pompous woman, although to be fair to her I expect that if I went to live in Paris I would also disappear up my own backside.

 

The catacombs are brilliant, worth every minute of the queuing time, worth every insufferable stream of consciousness adjective. And then I went and did some shopping.

 

You can read my account of my travels at pariswander.blogspot.co.uk.

Chaparral Cars was a United States automotive company which built prototype race cars from the 1960s through the early 1970s. Chaparral was founded by Jim Hall, a Texas oil magnate with an impressive combination of skills in engineering and race car driving. Throughout the 1960s and 1970s, Chaparral's distinctive race cars experienced strong success in both American and European racing circuits. Despite winning the Indy 500 in 1980, the Chaparrals left motor racing in 1982. Chaparral cars also featured in the SCCA/CASC CanAm series and in the European FIA Group 7.

Chaparral was the first to introduce effectively designed air dams and spoilers ranging from the tabs attached to the earliest 2 model to the driver-controlled high wing 'flipper' on the astoundingly different looking 2E, all the way through to Hall's most idealistically inspired creation, the 2J, the car that would forever be known as the 'vacuum cleaner'. The use by Jim Hall of a semi-automatic transmission in the Chaparral created flexibility in the use of adjustable aerodynamic devices.

The development of the Chaparral chronicles the key changes in race cars in the '60s and '70s in both aerodynamics and tires. Jim Hall's training as an engineer taught him to approach problems in a methodical manner and his access to the engineering team at Chevrolet as well as at Firestone changed aerodynamics and race car handling from an art to empirical science. The embryonic data acquisition systems created by the GM R&D group aided these efforts.

The Chaparral 1 was the first car to carry the Chaparral name and marked the transition of Jim Hall from an entrant to a constructor. Built by Troutman and Barnes, the Chaparral 1 was a conventional front-engined car, a development of the Scarab sport car first built for Lance Reventlow in 1957. Jim Hall raced it successfully through 1961, 1962 and 1963 while he created the design for Chaparral 2. As it was not a design owned by Jim Hall, other cars were sold to cut costs. It was the only Chaparral to be raced by someone other than Chaparral cars.

The Chaparral 2-Series was designed and built to compete in the United States Road Racing Championship and other sports car races of the time, particularly the West Coast Series that were held each fall. Following the lead of innovators like Bill Sadler from Canada and Colin Chapman who introduced rear engined cars to Grand Prix cars in Europe (where Jim Hall had raced in Formula 1), its basic design concept was a rear engined car.

First raced in 1963, it was developed into the dominant car in the series in 1964 and 1965. Designed for the 200 mile races of the sports car series, it was almost impossible to beat. It proved that in 1965 by winning the 12 Hours of Sebring on one of the roughest tracks in North America.

As the car was being developed, Jim Hall took the opportunity to implement his theories on aerodynamic force and rear wheel weight bias.

In addition, the Chaparral 2-Series featured the innovative use of fiberglass as a structural element. Hall also developed 2-Series cars with conventional aluminum chassis.

The 2E was based on the Chevrolet designed aluminum 2C chassis and presented Jim Hall's most advanced aerodynamic theories to the racing world in the 1966 inaugural Can Am championship. The 2E established the paradigm for virtually all racing cars built since. It was startling in appearance, with its radiators moved from the traditional location in the nose to two ducted pods on either side of the cockpit and a large wing mounted several feet above the rear of the car on struts. The wing was the opposite of an aircraft wing in that it generated downforce instead of lift and was attached directly to the rear hubs, loading the tires, for extra adhesion while cornering. A ducted nose channeled air from the front of the car up, creating extra downforce as well. By depressing a pedal that was in the position of the clutch pedal on a car with a manual transmission, Hall was able to feather, or flatten out, the angle of the wing when downforce was not needed, such as on a straight section of the track, to reduce drag and increase top speed. In addition, an interconnected air dam closed off the nose ducting for streamlining as well. When the pedal was released, the front ducting and wing returned to their full downforce position. It was a brilliant design. But the moveable-wing was banned by the FIA so Jim Hall had to make do with a fixed-wing which was not adjustable by the driver during the race. Within two years every sports racing car as well as formula one car had wings on tall struts, although many were not as well designed as Hall's and the resulting accidents from their failures caused the high wings to be outlawed by the sanctioning bodies.

The 2E scored only one win in Laguna Seca with Phil Hill driving, but the reason for this may have been the larger engines the other competitors were using. Hall stuck to an aluminum 5.3 liter Chevrolet engine in his lightweight racer while the other teams were using 6 and sometimes 7 liter iron engines, trading weight for power.

The 2E was a crowd favorite and remains Jim Hall's favorite car.

 

Lack of activity destroys the good condition of every human being, while movement and methodical physical exercise save it and preserve it. ~Plato

 

The Falls family had farmed the north hill since the beginning of the 19th century. As the town’s population grew in the prosperous decades up to the 1930s, they sold off portions of their farm to developers and, by the time that a boy named Bill Harlan had his mug shot taken in 1933, the open pasture above New Castle had been transformed into a well-off residential area with spacious streets lined with the sturdy mansions of industrialists and the elegant homes of bankers, businessmen and white-collar professionals—and of Bill’s family, who lived in a newly built timber house on Meyer avenue.

 

The Harlans were an even older local family than the Falls, having arrived in the area in the 1790s, when they founded the village of Harlansburg, just east of the small settlement at the junction of the Shenango and the Neshannock creek that was to become the city of New Castle. By the 1930s, the Harlans—Bill’s father, uncles and cousins—owned several businesses in town and were comfortably settled among the quality up on the north hill.

 

Highland avenue was the main spine of the north hill district, crossing the most moneyed streets on the way out of town. Two widowed sisters, Beulah Phillips and Mellie Julian, lived in a large house at 1503 Highland avenue, and another sister, Goldie Ingels, lived around the corner on Euclid avenue. On 13th January 1933, when the widows were wintering in California, Goldie Ingels passed by their house and noticed that some of the blinds were down, which they hadn’t been a couple of days previously. Letting herself in through the kitchen door, she found that the house had been ransacked. Furniture was overturned, rugs were awry and the contents of the drawers were scattered around the rooms.

 

The thieves had evidently taken their time as they went through the house, methodically checking for valuables and making off with a dozen pearl handled knives; two triangle clocks; several rugs, large and small; two hunting rifles; two fishing poles; two men’s overcoats and one man’s suit; a seal skin coat; some dresses; two hundred pieces of silverware; linen sheets; two small lamps; three suitcases; one bureau toilet set; several decks of cards; and some memorandum pads.

 

Based on the thoroughness of the job the police declared that the house had been targeted by a gang of professional thieves, but they were wrong. When the burglars gave themselves up two weeks later, they turned out to be a group of boys who lived in nearby streets, the youngest of whom was the sixteen-year-old Bill Harlan.

 

Bill and his friend, George Hawk, had broken into the house one night during the first week of the widows' absence and stolen some small objects. The next night, they returned with some other boys, and together they set about stealing as much as they could carry off.

 

The boys were all good students from well-off north hill families, and they apologised for the theft and promised to give back everything they had taken. Naturally, their punishment was light—probation for three years, and costs.

 

Within two months, Bill Harlan was in custody again. He had broken into a little cottage along the Neshannock creek, the home of Tullie Caiazza, an insurance salesman and local baseball coach, and stolen some fishing tackle, a rifle and a mounted deer head. While he was awaiting trial, it emerged that he had also recently held up a Mercer hardware store and made off with guns, ammunition and ether.

 

Once again, the court was sympathetic, and Bill was paroled for one year. However, only a few months later, he took part in an armed robbery at the Hutchinson inn, on the New Wilmington road. He fled to California and was apprehended in Los Angeles, where he unsuccessfully resisted extradition to Pennsylvania.

 

Back in New Castle, the judge told Bill that anyone who committed so serious a crime while on parole should expect to be sent to jail, no matter how young they were. However, in recognition of his previous good behaviour—and, no doubt, the position of the Harlans among the families on the north hill—the court was disposed to give him one more chance to reform, and he was sent instead to the industrial school at Huntingdon.

 

Seven years later, only a few days after the attack on Pearl harbor, Bill enlisted in the national guard. There is no further trace of him until his death in July 1997, in Sandusky, Ohio.

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

 

Sources: New Castle News (22 May, 1931, “Deaths of the Day”; 14 January, 1933 “North Hill Residence Looted”; 9 March, 1933, “Clear Up Robbery At Phillips Home”; 13 March, 1933 “Charge Cottage Was Broken Into”; 21 March, 1933 “Sentenced In Mercer County Court”; 23 March, 1933, “Boy Who Stabbed His Sweetheart Sentenced Today”; 25 Jan, 1934, “Arrest Local Youth On Coast”; 14 Feb, 1934, “Officers Return From Coast Trip”; 3 March, 1934, “Pleas Entered And Prisoners Are Sentenced”; 8 March, 1934, “On Court House Hill”)

PRESIDIO OF MONTEREY, Calif. -- It was a double Cinderella story for the Presidio of Monterey volleyball championship Jan. 30 and the 229th Military Intelligence Battalion. Fourth-seeded Company D took on the loser's bracket entry, second-seeded Company A, that was a player short for the championship. The Black Sheep methodically won in the required two matches to become champs over Co. D, 25-12, 19-25, 15-6 and 24-13, 10-25, 15-13.

 

Official Presidio of Monterey Web site

 

Official Presidio of Monterey Facebook

 

PHOTO by Steven L. Shepard, Presidio of Monterey Public Affairs.

My work, photo based images and videos, addresses the common experience of dwelling in the rotting and evolving urbanity today.

 

Lath and Plaster

2008

  

Our common existence is framed by the continuum of space and time. The absorption of unique experiences generated by these quantum variables, layers and marks the personal journey.

Wall construction emerged in our cultural vernacular as a basic means to physically organize, protect and define our sense of space. Transmogrified by the passage of time, this flat surface partition becomes embedded with intimate meaning – marks of a collective presence. And so, this wall, a two-dimensional division, becomes the very membrane broken to explore the layers of our personal and collective psyche by excavating the substance beneath structure. To slowly, methodically and meditatively deconstruct this architectural barrier of paint, plaster and wooden slats, the skeleton and anatomy of our joint experience is explored through this exposition. The process of creation and destruction is not simply about addition with equal subtraction. Instead, this work, deploying the theatrics of removal and des destruction attends to experiential evolution; an ongoing developmental change transmuting and subjugating both space and time.

Hisoo Kim

 

Andrew Sroka (US)

Lives and works in New York, US

foundation B.a.d Oct 2007 – March 2008 / foundation B.a.d Nov - Dec 2008

 

It's nearly one year ago to the day that I drove my car up a narrow, winding road about 20 minutes southeast of Jeju City. It was an uncharacteristically cold April morning, spring having yet to make it's appearance on the island.

 

I parked my car and struggled to the entrance of the Jeju April 3rd Peace Memorial Hall, relentless winds and freezing temperatures battering me along the way. It reminded me how perfectly the weather conditions matched this somber day.

 

Once inside, I made my way to a massive room where a large crowd of people had already formed. I scanned the room and my eyes were immediately drawn to the endless rows of names inscribed along its back wall. Flowers and offerings of fruit lay below the names, all of it lit by flickering candles. People had begun to pray.

 

This marked my introduction to a ceremony commemorating the 64 years since the Jeju Massacre, or "4.3", broke out on Jeju Island on April 3rd, 1948. One of the deadliest conflicts in Korean history, it continued for 6 bloody years, during which time an estimated 30,000 Jeju residents died at the hands of South Korean forces as punishment for perceived sympathy towards communism and the newly formed North Korea.

 

The conflict came to an end in 1954 but the pain and suffering caused by the loss of loved ones did not. How could something like this happen? For decades after any discussion of the massacre was censored with the threat of torture or imprisonment for those who chose to speak out.

 

The passage of time has healed some wounds. Since the 1990's the South Korean government has made a series of apologies and, in 2006, then President Roh Moo-Hyun officially apologized to the people of Jeju. But, apologies will never bring back those who lost their lives in the uprising.

 

With these thoughts in my mind, I slowly worked my way through the crowd and began to focus my attention on an elderly couple desperately trying to find the name of somebody lost in those attacks so many years ago. The pain of their loss clearly etched on their faces, they methodically scanned the names on the wall row by painstaking row.

 

I followed them for nearly 30 minutes until, finally, the husband's eyes showed a spark of recognition and his arm shot up into the air, his finger shaking as it pointed at a name on the wall. I saw a brief flicker of satisfaction, even triumph, on the elderly couples' faces that, after so many years, at least they could pay their respects to a fallen loved one.

 

It was at this moment I took a photo, my best of the day and one that would win at prize in the 2012 Jeju Sasam Photo Contest. When I look at that photo today I'm reminded of magnitude of the loss this terrible event had on so many families on Jeju Island and I pray that nothing like this will ever happen again.

 

Facebook

Twitter

 

Please view my stream LARGE on black:

 

DMac 5D Mark II's photos on Flickriver

  

It's nearly one year ago to the day that I drove my car up a narrow, winding road about 20 minutes southeast of Jeju City. It was an uncharacteristically cold April morning, spring having yet to make it's appearance on the island.

 

I parked my car and struggled to the entrance of the Jeju April 3rd Peace Memorial Hall, relentless winds and freezing temperatures battering me along the way. It reminded me how perfectly the weather conditions matched this somber day.

 

Once inside, I made my way to a massive room where a large crowd of people had already formed. I scanned the room and my eyes were immediately drawn to the endless rows of names inscribed along its back wall. Flowers and offerings of fruit lay below the names, all of it lit by flickering candles. People had begun to pray.

 

This marked my introduction to a ceremony commemorating the 64 years since the Jeju Massacre, or "4.3", broke out on Jeju Island on April 3rd, 1948. One of the deadliest conflicts in Korean history, it continued for 6 bloody years, during which time an estimated 30,000 Jeju residents died at the hands of South Korean forces as punishment for perceived sympathy towards communism and the newly formed North Korea.

 

The conflict came to an end in 1954 but the pain and suffering caused by the loss of loved ones did not. How could something like this happen? For decades after any discussion of the massacre was censored with the threat of torture or imprisonment for those who chose to speak out.

 

The passage of time has healed some wounds. Since the 1990's the South Korean government has made a series of apologies and, in 2006, then President Roh Moo-Hyun officially apologized to the people of Jeju. But, apologies will never bring back those who lost their lives in the uprising.

 

With these thoughts in my mind, I slowly worked my way through the crowd and began to focus my attention on an elderly couple desperately trying to find the name of somebody lost in those attacks so many years ago. The pain of their loss clearly etched on their faces, they methodically scanned the names on the wall row by painstaking row.

 

I followed them for nearly 30 minutes until, finally, the husband's eyes showed a spark of recognition and his arm shot up into the air, his finger shaking as it pointed at a name on the wall. I saw a brief flicker of satisfaction, even triumph, on the elderly couples' faces that, after so many years, at least they could pay their respects to a fallen loved one.

 

It was at this moment I took a photo, my best of the day and one that would win at prize in the 2012 Jeju Sasam Photo Contest. When I look at that photo today I'm reminded of magnitude of the loss this terrible event had on so many families on Jeju Island and I pray that nothing like this will ever happen again.

 

Facebook

Twitter

 

Please view my stream LARGE on black:

 

DMac 5D Mark II's photos on Flickriver

  

Modern and Contemporary Art

The origins of the Moravian Gallery collections go back to the Francis Museum (now the Moravian Provincial Museum) in Brno, established in 1818. However, systematic acquisition only started under Dr. Jaroslav Helfert, the first director of the museum (from 1923) and curator of its picture gallery. His methodical approach enabled a more consistent structure to be brought to the collections and their expansion with topical works representing Czech modernism. The first acquisitions included, for example, the sculpture Before the Bath (1906) by Jan Štursa. The picture gallery permanent exhibition was installed in the Dietrichstein Palace in the late 1920's.

 

12345678910»

  

Helfert's successor in the gallery management was Dr. Albert Kutal, who (apart from building a collection of Moravian Gothic art) compiled a series of modern Czech art at the end of the 1920's and the beginning of the 1930's. Among major acquisitions in these years were Procházka's Players (1909) and Prometheus (1911), as well as further works of Czech modernism by Emil Filla, Josef Šíma and Jaroslav Král.

 

In 1948 Albert Kutal was succeeded by Dr. Karel Krejčí, followed by Dr. Jiří Hlušička, Dr. Vlasta Kratinová, Dr. Marie Dohnalová, Dr. Kateřina Svobodová and Dr. Jitka Sedlářová. The period after 1945 was associated with unprecedented expansion of the collections; for example, in 1945 the gallery received donations of Kubišta's Still Life with a Lamp (1909), and in 1948 Haymaking (1939) by Jaroslav Král. The complicated administrative situation of the picture gallery, part of the Moravian Provincial Museum, improved under Director Jiří Hlušička in 1961 when the Moravian Gallery in Brno came into existence, through the separation of the picture gallery of the museum and its merging with the Museum of Applied Arts.

 

The gallery activities centre upon the documentation of the main features of the development of 20th- and 21st-century art. A remarkable series of sculptures and a collection of drawings and graphic art gradually developed alongside the painting collection. The first permanent exhibition of Czech 20th-century art was created in 1970 (in the Moravian Provincial Museum building) by Jiří Hlušička; the collection had later to be stored in a depository.

 

The collection of modern and contemporary art boasts masterpieces by the luminaries of Czech modern art: Jan Štursa, Jan Preisler, Josef Mařatka and František Bílek, leading protagonist of Czech symbolism. It contains a series of major works by the members of the Osma [Eight] group and the Group of Visual Artists (paintings by Filla, Kubišta, Kubín, Špála, Čapek, early pieces by Antonín Procházka and Jan Zrzavý and cubist sculptures by Otto Gutfreund such as Anxiety, 1911). A large collection of works by Antonín Procházka enables viewers to observe changes in his artistic approaches, largely associated with Brno culture. The Czech interwar avant-garde is represented by works of Czech poetism, by the artificialism of Jindřich Štyrský and Toyen (Dawn, 1931) and reflections of surrealism (sculpture Girl with Child by Vincenc Makovský, Josef Šíma's painting Europe, works by František Muzika, František Foltýn and others). The 1940's are represented by echoes of the war (Emil Filla, Jan Bauch), works by members of Skupina 42 [Group 42] (František Gross, Bohumír Matal, Jan Smetana and others) and the Ra Group (Bohdan Lacina, Václav Zykmund). The Czech informel is illustrated with works of Mikuláš Medek, Robert Piesen, Josef Istler and others, while art trends in the second half of the 20th century are represented by selected works by Adriena Šimotová, Jiří John, Václav Boštík, Jiří Kolář, Michael Rittstein, Brno artists Dalibor Chatrný, Miroslav Štolfa and others.

 

A new permanent exhibition of modern and contemporary Czech art was opened in 1994 in the reconstructed Pražák Palace. A section mapping the late 19th century and the first half of the 20th century was opened, in revised form, in 2001. A year later it was supplemented with a further section spanning the mid-20th century and the present.

www.moravska-galerie.cz/moravska-galerie/o-galerii/sbirky...

Curated by Fabio Campagna

 

“To construct an image for juxtaposition and pairing is thinking in mythological terms. The mythological idea, instead of distinguishing in opposites what is juxtaposed, unite them as a pair. Infact, the opposites present themselves in very few descriptive types: contradictions, contrasts, complements, formal and logical negations. The pairings, instead, as in brothers, or enemies, or lovers are displayed in an infinite variety of styles (…).

Anima creates attachments and connections. It makes love possible.” J. Hillman

 

Bases by Alessandro Cannistrà is a site specific project composed of paintings, video installation, and photography which celebrates the dualistic resonance of human within nature and conversely of the given nature of humanity. Giving birth to an alive and dual semantic organism. Source of an initial juxtaposition, which is resolved in the fluidity of multiple linguistic morphisms.

 

The painting works enter into those of photography, opening then, new figurative codifications within the video installations. A metamorphic process, both lyrical and metaphysical. Revealing the given phenomenological progress of natural life within the imaginary of the body, in order to describe a path of common significance and tracing a line from the elementary nature of reality.

 

The structure. The basis, - the human and nature- are individuated to describe a unique and shared subjectivity. The “chemical marriage” of alchemists. The base which, scientifically speaking, secures a physical connection to a complementary counterpart, acids, through an interchange of particles. Undivided yet composite, units.

 

Bases as foundations of a potent mythopoetic imaginary constructed inside an uninterrupted dialogue of the nature within man.

 

This very genesis, specifically, is child of an expressive polysemy; possessed by the poetic that Cannistrà adopts to construct the figuration of his canvases. It is this stratification, slow, methodical, unpredictable, made of layers of smoke, which opens an access. From here emerges a grouping of dense signs. Darkness. Bucolic landscapes. Whose physicality remains inaccessible. Filled as if with other allusions. And it is exactly this surreal, liquefied dimension that presents itself as the profoundest source of Bases.

 

It is the underlying semantic richness of the quality of execution, which drives the intense abstraction of the linguistic process of Bases. Combining a representation of the given reality with further suggestions. And starting an anthropomorphic process of thickening and enrichment of the symbolic apparatus of departure.

 

The bleak stretched woods - the dark and repetitive shadows multiplied, within the canvases, into compact and homogeneous structures, - become petrified organic formations in the photographic works.

Where x-rays of bodies open themselves to unfold a potent narration of what is natural within the human. Here flows a derive of forms. A morphic resonance - to use an expression important to the biologist Rupert Sheldrake - of sharing and of approach, a communion of imaginary that finds its own conclusion within the four video installations shown on monitors. Where the juxtaposition of the painted works and of the x-rays are counterpointed by four small, concrete musical compositions, with which Cannistrà, manipulating the different sound materials, articulates further his own personal poetic in an initiation that is both inter-symbolic and metamorphic.

 

“…An audio that is a noise, as in the first example, where the torso expands and contracts with breath, the second where the cranium of a child, with its internal wrinkles, pulsates in articulation to the sound of a TC compound computed tomography, in the third the same category of noise only amplified with an image that slowly reveals – the interior of a torso with an undergrowth of butterflies- to be something else, in the fourth where a nature grows inside of a skull or better, dreams of nature, in so much as a noise clearly defines an image, being that it is the amplified sound produced in our brain when dreaming in an REM state.” A.C.

 

It is in this way that the physical space of 91 mQ reconfigures itself through Bases, in a text of an obscure yet eternal and dense narration. In which the communion of the two identities, that of nature and man, is resolved in an inseparable subjectivity.

 

A living unity, as locus of truth and hope.

  

Critical text: Fabio Campagna

 

28 May 2011 | opening h 19:00

 

91mQ art project space

Landsberger Alle 54 - Berlin

30 / 3 June by appointment: fabiocampagna@yahoo.it

 

ZOOM Gelsenkirchen, Gelsenkirchen, Germany

 

Paws. Polar bear paws are perfect for roaming the Arctic. Paws measure up to 12 inches across (31 centimeters) and help distribute weight when treading on thin ice.

 

When ice is very thin, polar bears extend their legs far apart and lower their bodies to distribute their weight even more. They are expert at placing each paw precisely and quietly when stalking seals.

 

When swimming, forepaws act like large paddles and hind paws serve as rudders.

 

Black footpads on the bottom of each paw are covered by small, soft bumps known as papillae. Papillae grip the ice and keep the bears from slipping. Tufts of fur between their toes and footpads may help with purchase as well, as can their claws.

 

Polar bears typically move slowly and methodically and like to walk on patches of snow better than slippery ice.

 

Claws. Polar bear claws are thick and curved, sharp and strong. Each can measure more than two inches (5.1 centimeters) long. Bears use their claws to catch and hold prey—and to provide traction on the ice.

Source:

www.polarbearsinternational.org/about-polar-bears/essenti...

Frederick “Rusty” Gage has spent his life asking a question many neuroscientists once considered heretical: can the adult brain grow new neurons?

 

When I photographed him at the Salk Institute in February 2026, that question felt less like rebellion and more like legacy. We made portraits in his study overlooking the Pacific, a quiet room washed in coastal light. The ocean moved below the cliffs in long, steady breaths. It is the same office once occupied by Jonas Salk, who recruited Rusty decades ago. The desk, the view, the gravity of the place. You feel it immediately. History is not abstract there. It presses in from the walls.

 

In the late twentieth century, neuroscience was built on a stark premise: you are born with a fixed number of neurons. Damage them and they are gone. Memory fades. Injury lingers. Aging narrows possibility. Rusty challenged that dogma with careful, methodical experiments that showed new neurons could, in fact, form in the adult hippocampus. The implications were enormous. Learning, mood, resilience, even the biology of hope took on new dimensions.

 

In person, what strikes you first is his attentiveness. He leans in slightly when you speak, hands folded, eyes steady behind round glasses. There is warmth in him that feels unforced. Soft spoken, yes, but never distant. You sense a mind that is constantly mapping connections, not only between neurons but between people. Students drift in and out of his orbit with ease. Colleagues seek him out. He listens more than he declares.

 

The study itself holds layers of meaning. Jonas Salk built the institute as a place where scientists could think expansively, where architecture and intellect met the horizon. Standing in that room with Rusty, you understand that recruitment was more than a hire. It was a passing of trust. Salk had imagined a future for biology that included imagination and risk. Rusty carried that forward into the living brain.

 

His work has since expanded beyond neurogenesis into how the genome shapes the nervous system over time. His lab explores mosaicism in the brain, the idea that our neurons are not genetically identical but subtly varied. The brain becomes not a static organ but a dynamic landscape, shaped by experience and by the restless choreography of DNA. It is a vision of the self that is fluid and intricate.

 

Photographing him in that office felt less like documenting a single scientist and more like tracing a lineage. Salk sought a vaccine that would protect children from paralysis. Rusty sought evidence that the adult brain was not condemned to decline. Both projects required a certain stubborn optimism. A belief that the body holds more possibility than we assume.

 

The weight of history was there, yes. But so was something lighter. A current of curiosity that refuses to settle. In Rusty Gage’s presence, you feel that science is not a monument. It is a conversation, still unfolding, with the ocean as witness.

Modern and Contemporary Art

The origins of the Moravian Gallery collections go back to the Francis Museum (now the Moravian Provincial Museum) in Brno, established in 1818. However, systematic acquisition only started under Dr. Jaroslav Helfert, the first director of the museum (from 1923) and curator of its picture gallery. His methodical approach enabled a more consistent structure to be brought to the collections and their expansion with topical works representing Czech modernism. The first acquisitions included, for example, the sculpture Before the Bath (1906) by Jan Štursa. The picture gallery permanent exhibition was installed in the Dietrichstein Palace in the late 1920's.

 

12345678910»

  

Helfert's successor in the gallery management was Dr. Albert Kutal, who (apart from building a collection of Moravian Gothic art) compiled a series of modern Czech art at the end of the 1920's and the beginning of the 1930's. Among major acquisitions in these years were Procházka's Players (1909) and Prometheus (1911), as well as further works of Czech modernism by Emil Filla, Josef Šíma and Jaroslav Král.

 

In 1948 Albert Kutal was succeeded by Dr. Karel Krejčí, followed by Dr. Jiří Hlušička, Dr. Vlasta Kratinová, Dr. Marie Dohnalová, Dr. Kateřina Svobodová and Dr. Jitka Sedlářová. The period after 1945 was associated with unprecedented expansion of the collections; for example, in 1945 the gallery received donations of Kubišta's Still Life with a Lamp (1909), and in 1948 Haymaking (1939) by Jaroslav Král. The complicated administrative situation of the picture gallery, part of the Moravian Provincial Museum, improved under Director Jiří Hlušička in 1961 when the Moravian Gallery in Brno came into existence, through the separation of the picture gallery of the museum and its merging with the Museum of Applied Arts.

 

The gallery activities centre upon the documentation of the main features of the development of 20th- and 21st-century art. A remarkable series of sculptures and a collection of drawings and graphic art gradually developed alongside the painting collection. The first permanent exhibition of Czech 20th-century art was created in 1970 (in the Moravian Provincial Museum building) by Jiří Hlušička; the collection had later to be stored in a depository.

 

The collection of modern and contemporary art boasts masterpieces by the luminaries of Czech modern art: Jan Štursa, Jan Preisler, Josef Mařatka and František Bílek, leading protagonist of Czech symbolism. It contains a series of major works by the members of the Osma [Eight] group and the Group of Visual Artists (paintings by Filla, Kubišta, Kubín, Špála, Čapek, early pieces by Antonín Procházka and Jan Zrzavý and cubist sculptures by Otto Gutfreund such as Anxiety, 1911). A large collection of works by Antonín Procházka enables viewers to observe changes in his artistic approaches, largely associated with Brno culture. The Czech interwar avant-garde is represented by works of Czech poetism, by the artificialism of Jindřich Štyrský and Toyen (Dawn, 1931) and reflections of surrealism (sculpture Girl with Child by Vincenc Makovský, Josef Šíma's painting Europe, works by František Muzika, František Foltýn and others). The 1940's are represented by echoes of the war (Emil Filla, Jan Bauch), works by members of Skupina 42 [Group 42] (František Gross, Bohumír Matal, Jan Smetana and others) and the Ra Group (Bohdan Lacina, Václav Zykmund). The Czech informel is illustrated with works of Mikuláš Medek, Robert Piesen, Josef Istler and others, while art trends in the second half of the 20th century are represented by selected works by Adriena Šimotová, Jiří John, Václav Boštík, Jiří Kolář, Michael Rittstein, Brno artists Dalibor Chatrný, Miroslav Štolfa and others.

 

A new permanent exhibition of modern and contemporary Czech art was opened in 1994 in the reconstructed Pražák Palace. A section mapping the late 19th century and the first half of the 20th century was opened, in revised form, in 2001. A year later it was supplemented with a further section spanning the mid-20th century and the present.

www.moravska-galerie.cz/moravska-galerie/o-galerii/sbirky...

(further information you can get by clicking on the link at the end of page!)

History

 

Plaque to the founder of the Hyrtl'schen orphanage Joseph Hyrtl and Joseph Schöffel

© IMAREAL / E. Vavra

The Biedermeier-influenced city on the edge of the Vienna Woods is the capital of the district Mödling in the south of Vienna. The town has experienced in its 1100-year history since the first mention very different phases: in the Middle Ages briefly Babenberg residence, for centuries an economically potent wine market, from the 19th Century summer resort and industrial center, since 1875 town, in the 20th Century for almost two decades XXIVth district of Vienna, since 1954 again an independent municipality of Lower Austria and as a school and garden city popular residential area in the vicinity of Vienna.

Mödling has partnerships with cities in France, Belgium, Luxembourg, Germany, Hungary, Czech Republic, Serbia, Bulgaria and Italy.

The historical tradition of Mödling goes back far beyond the first written mention, how settlement finds from the Neolithic Age, Hallstatt period (eg calendar mountain) and Roman times as well as the great Avar burial ground "at the Golden Staircase" from the 7/8th Century BCE prove. In the year 903 Mödling is first mentioned (Medilihha). The later settlement was probably made in the 11th Century beneath an early castle building on the church mountain (Kirchenberg), where later a Romanesque predecessor of Othmar church was built.

In the late 12th century Mödling was for a few decades the residence of a Babenberg branch line. Henry the Elder, a brother of Duke Leopold V., had since the 1170 century belongings in and around Mödling. He and his son Henry the Younger, calling himself "Duke of Mödling", resided on the castle probably built around 1150 in the Klausen, among whose most famous visitors was Walther von der Vogelweide. With the death of Henry the Younger in 1236 extinguished the Mödlinger line of the Babenberg and the reign became princely domain. The time of the Babenberg commemorates the in late 12th Century built Romanesque ossuary at Othmar church - a circular building with an apse - as well as the denomination "Babenberg".

In the late Middle Ages, Medlich developed into a major wine market (1343 mention of market town) which in the 15th Century as one of the four princely spell markets was also represented in the Parliament - in addition to Gumpoldskirchen, Langenlois and Perchtoldsdorf. For centuries shaped the wine-growing the economy and social structure. The Mödlinger wine was good and helped the market particularly in the 15th and 16th Century to its prosperity. The settlement reached at the end of the Middle Ages that extent, which until the 19th Century should remain essentially unchanged. The center formed ​​the area around the Schrannenplatz with a dense stand of late medieval and early modern town houses that bear evidence of the wealth and self-confidence of the citizens of the market town. From the late medieval Schrannen building, the official residence of the market judge, was created in 1548 the representative Renaissance town hall with loggia.

The elevated lying Othmar church became in the 15th Century by transferring the rights of the church of St. Martin parish church of Mödling. The massive late Gothic church was built in a nearly 70-year construction period from 1454 to 1523 on the walls of six predecessors and able to resist fortified. As Mödling was destroyed in 1529 by the Ottomans, the just completed church lost its roof and remained for over a century till the restoration in 1660/70 a ruin. On the Merian engraving from 1649 the uncovered Othmar church on the left side is clearly visible. As a temporary parish church served the about 1450 built late-Gothic hospital church.

The internal conditions at this time were mainly marked of the clashes of the market with the princely rule Burg Mödling - since 1558 combined with the rule of Liechtenstein - which reached its climax in 1600 under the energetic administrator Georg Wiesing (1593-1611). During the Reformation, the market largely became Protestant. In the course of recatholicization a Capuchin monastery was founded in 1631, which served as a factory after the repeal under Joseph II and was then bought by the Thonet family (so-called Thonet Schlössel, today Bezirksmuseum).

In Türkenjahr 1683 (besiegement of the Turks) took place in the Othmar church a horrific bloodbath, in which hundreds of people who had sought refuge there were killed. The church was destroyed again, but this time built up rapidly with the market judge Wolfgang Ignaz Viechtl in a few years.

End of the 18th Century occurred in Mödling the settlement of industrial enterprises, especially textile mills that took advantage of the cheaper production possibilities and also its proximity to Vienna. Was decisively shaped the character of the place but by the rise to a summer resort, initiated by Prince Johann I of Liechtenstein beginning of the 19th Century, which acquired in 1807 the rule of Liechtenstein-Mödling with the former family ancestral home. He had the area under enormous cost reforested (Schirmföhren/pinus mugo, acacia, etc.) and transformed to a public park in Romantic style with promenade paths, steep paths and artificial constructions (Black tower, amphitheater, Husarentempel). The ruined castles Mödling and Liechtenstein were restored. The former Liechtenstein'sche landscape park is considered a remarkable example of the garden culture in 1800 and is now a popular tourist destination (1974 Natural Preserve Föhrenberge).

Since the Biedermeier Mödling in the summer was an extremely popular artist hangout. Among the most famous artists of the 19th Century who were inspired by the romantic nature here, were Franz Schubert, Franz Grillparzer, Ferdinand Waldmüller, Ferdinand Raimund and Ludwig van Beethoven, who here worked on one of his major works, the "Missa Solemnis". In the 20th Century settled inter alia Arnold Schönberg, Anton von Webern, Anton Wildgans, Franz Theodor Csokor and Albert Drach temporarily or permanently down. To Beethoven, Schönberg and Wildgans memorials have been established (Beethoven House, Schönberg House, Wildgans archive).

In the second half of the 19th Century Mödling became administrative center (District Court, District administration) and an industrial site and educational location with high schools and colleges (eg educational establishment Francisco-Josephinum). The good traffic situation at the southern railway, the progressive industrialization and the expansion of health facilities (park, Kursalon) led to a rapid expansion of the hitherto for centuries unchanged market. Under mayor Joseph Schöffel (1873-1882), who became famous because of his successful engagement against the deforestation of the Vienna Woods as the "savior of the Vienna Woods", followed the methodical installation of the so-called Schoeffel(before) city - Schöffelvorstadt (New Mödling) east of the Southern Railway and the establishment of workers' settlements. Later followed the exclusive residential areas of the turn of the century with their representative residential buildings. Probably the most important building of the late 19th Century is the Hyrtl'sche orphanage (1886-1889), founded by the Viennese anatomist, Joseph Hyrtl and Joseph Schöffel. The Orphanage church St. Joseph was built on the in 1787 demolished Martin Church.

On 18th November 1875 the emerging market town was raised to the status of a city, two years later the incorporation of Klausen and Vorderbrühl took place. Through the establishment of Great-Vienna under the Nazi regime on 15th October 1938 the young city for 16 years lost its municipal autonomy; 1954 it became again a part of Lower Austria.

Symbol for the characteristic environment of Mödling was the "width pine" on the Anninger whose age goes back to the 16th Century (around 1550). It was a well-known natural landmark and has become the symbol of the city. 1988 died the tree and it had to be removed in 1997 for safety reasons. The remains are now in the Lower Austrian Provincial Museum.

geschichte.landesmuseum.net/index.asp?contenturl=http://g...

(further information you can get by clicking on the link at the end of page!)

History

 

Plaque to the founder of the Hyrtl'schen orphanage Joseph Hyrtl and Joseph Schöffel

© IMAREAL / E. Vavra

The Biedermeier-influenced city on the edge of the Vienna Woods is the capital of the district Mödling in the south of Vienna. The town has experienced in its 1100-year history since the first mention very different phases: in the Middle Ages briefly Babenberg residence, for centuries an economically potent wine market, from the 19th Century summer resort and industrial center, since 1875 town, in the 20th Century for almost two decades XXIVth district of Vienna, since 1954 again an independent municipality of Lower Austria and as a school and garden city popular residential area in the vicinity of Vienna.

Mödling has partnerships with cities in France, Belgium, Luxembourg, Germany, Hungary, Czech Republic, Serbia, Bulgaria and Italy.

The historical tradition of Mödling goes back far beyond the first written mention, how settlement finds from the Neolithic Age, Hallstatt period (eg calendar mountain) and Roman times as well as the great Avar burial ground "at the Golden Staircase" from the 7/8th Century BCE prove. In the year 903 Mödling is first mentioned (Medilihha). The later settlement was probably made in the 11th Century beneath an early castle building on the church mountain (Kirchenberg), where later a Romanesque predecessor of Othmar church was built.

In the late 12th century Mödling was for a few decades the residence of a Babenberg branch line. Henry the Elder, a brother of Duke Leopold V., had since the 1170 century belongings in and around Mödling. He and his son Henry the Younger, calling himself "Duke of Mödling", resided on the castle probably built around 1150 in the Klausen, among whose most famous visitors was Walther von der Vogelweide. With the death of Henry the Younger in 1236 extinguished the Mödlinger line of the Babenberg and the reign became princely domain. The time of the Babenberg commemorates the in late 12th Century built Romanesque ossuary at Othmar church - a circular building with an apse - as well as the denomination "Babenberg".

In the late Middle Ages, Medlich developed into a major wine market (1343 mention of market town) which in the 15th Century as one of the four princely spell markets was also represented in the Parliament - in addition to Gumpoldskirchen, Langenlois and Perchtoldsdorf. For centuries shaped the wine-growing the economy and social structure. The Mödlinger wine was good and helped the market particularly in the 15th and 16th Century to its prosperity. The settlement reached at the end of the Middle Ages that extent, which until the 19th Century should remain essentially unchanged. The center formed ​​the area around the Schrannenplatz with a dense stand of late medieval and early modern town houses that bear evidence of the wealth and self-confidence of the citizens of the market town. From the late medieval Schrannen building, the official residence of the market judge, was created in 1548 the representative Renaissance town hall with loggia.

The elevated lying Othmar church became in the 15th Century by transferring the rights of the church of St. Martin parish church of Mödling. The massive late Gothic church was built in a nearly 70-year construction period from 1454 to 1523 on the walls of six predecessors and able to resist fortified. As Mödling was destroyed in 1529 by the Ottomans, the just completed church lost its roof and remained for over a century till the restoration in 1660/70 a ruin. On the Merian engraving from 1649 the uncovered Othmar church on the left side is clearly visible. As a temporary parish church served the about 1450 built late-Gothic hospital church.

The internal conditions at this time were mainly marked of the clashes of the market with the princely rule Burg Mödling - since 1558 combined with the rule of Liechtenstein - which reached its climax in 1600 under the energetic administrator Georg Wiesing (1593-1611). During the Reformation, the market largely became Protestant. In the course of recatholicization a Capuchin monastery was founded in 1631, which served as a factory after the repeal under Joseph II and was then bought by the Thonet family (so-called Thonet Schlössel, today Bezirksmuseum).

In Türkenjahr 1683 (besiegement of the Turks) took place in the Othmar church a horrific bloodbath, in which hundreds of people who had sought refuge there were killed. The church was destroyed again, but this time built up rapidly with the market judge Wolfgang Ignaz Viechtl in a few years.

End of the 18th Century occurred in Mödling the settlement of industrial enterprises, especially textile mills that took advantage of the cheaper production possibilities and also its proximity to Vienna. Was decisively shaped the character of the place but by the rise to a summer resort, initiated by Prince Johann I of Liechtenstein beginning of the 19th Century, which acquired in 1807 the rule of Liechtenstein-Mödling with the former family ancestral home. He had the area under enormous cost reforested (Schirmföhren/pinus mugo, acacia, etc.) and transformed to a public park in Romantic style with promenade paths, steep paths and artificial constructions (Black tower, amphitheater, Husarentempel). The ruined castles Mödling and Liechtenstein were restored. The former Liechtenstein'sche landscape park is considered a remarkable example of the garden culture in 1800 and is now a popular tourist destination (1974 Natural Preserve Föhrenberge).

Since the Biedermeier Mödling in the summer was an extremely popular artist hangout. Among the most famous artists of the 19th Century who were inspired by the romantic nature here, were Franz Schubert, Franz Grillparzer, Ferdinand Waldmüller, Ferdinand Raimund and Ludwig van Beethoven, who here worked on one of his major works, the "Missa Solemnis". In the 20th Century settled inter alia Arnold Schönberg, Anton von Webern, Anton Wildgans, Franz Theodor Csokor and Albert Drach temporarily or permanently down. To Beethoven, Schönberg and Wildgans memorials have been established (Beethoven House, Schönberg House, Wildgans archive).

In the second half of the 19th Century Mödling became administrative center (District Court, District administration) and an industrial site and educational location with high schools and colleges (eg educational establishment Francisco-Josephinum). The good traffic situation at the southern railway, the progressive industrialization and the expansion of health facilities (park, Kursalon) led to a rapid expansion of the hitherto for centuries unchanged market. Under mayor Joseph Schöffel (1873-1882), who became famous because of his successful engagement against the deforestation of the Vienna Woods as the "savior of the Vienna Woods", followed the methodical installation of the so-called Schoeffel(before) city - Schöffelvorstadt (New Mödling) east of the Southern Railway and the establishment of workers' settlements. Later followed the exclusive residential areas of the turn of the century with their representative residential buildings. Probably the most important building of the late 19th Century is the Hyrtl'sche orphanage (1886-1889), founded by the Viennese anatomist, Joseph Hyrtl and Joseph Schöffel. The Orphanage church St. Joseph was built on the in 1787 demolished Martin Church.

On 18th November 1875 the emerging market town was raised to the status of a city, two years later the incorporation of Klausen and Vorderbrühl took place. Through the establishment of Great-Vienna under the Nazi regime on 15th October 1938 the young city for 16 years lost its municipal autonomy; 1954 it became again a part of Lower Austria.

Symbol for the characteristic environment of Mödling was the "width pine" on the Anninger whose age goes back to the 16th Century (around 1550). It was a well-known natural landmark and has become the symbol of the city. 1988 died the tree and it had to be removed in 1997 for safety reasons. The remains are now in the Lower Austrian Provincial Museum.

geschichte.landesmuseum.net/index.asp?contenturl=http://g...