View allAll Photos Tagged methodical
💡HOW 🔽
🔥ACTION ONE (5✔️) (👨🔧Preparation) Prepare the potatoes :
👣Step 1 (3,5✔️) 0:01
👣Step 2 (1,5✔️) 0:24
🔥ACTION TWO (5✔️) (👨🔧Preparation) Prepare the spices for the recipe :
👣Step 3 (5✔️) 0:24
🔥ACTION THREE (2✔️) (👨🔧Preparation) Prepare the potato dish before Baking :
👣Step 4 (2✔️) 0:24
🔥ACTION FOUR (3✔️) (👨🔧Baking) Bake your preparation of potatoes and spices :
👣Step 5 (3✔️) 0:24
✅Finish 2:55
➕15,5 ✔️Experience Points in cooking
👩🔬eXplanation :
Peel and cut the potatoes in small squares.
Then clean the potatoes with water several times.
Then put the potatoes in a drain, Wait about 10 minutes (So that the potatoes do not get wet when cooking).
Cut a clove of garlic (6 - 7g About).
Place your potato wedges in a big bowl and pour in 105 ml of olive oil. Then pour the garlic cut into the salad bowl (Already cut beforehand).
Mix the potatoes and add a lid and wait about 10 Minutes for the spices to impregnate the potatoes.
In a dish designed for cooking, add baking paper (so that the potatoes do not stick)
Spread the potatoes on the sulfuric paper.
Light your oven (at a temperature of: 200 ° C - 392 ° F).
Let the potatoes cook for 40 minutes (stirring the potatoes about every 10 minutes).
ℹ️1 Tablespoon = 15G - 15ML (About)
ℹ️1 Teaspoon = 5G - 5ML (About)
⚠️Remember to turn the potatoes regularly (About every 10 Minutes).
ℹ️Do not hesitate to divide the dosage according to the number of people who eat.
⏳Cook in Less Than 1 Minute : www.youtube.com/watch?v=W5M50VREHR4&list=PLCnt1yP-rsm...
🏆Difficulty :Easy (Level 2)
🎓Skills : Some little notions of cooking
️Senses : 👀Vision 👆To Touch 💃Proprioception 👃Smell ♨️Thermoception Equilibrioception 👅Taste
👩🏫Intelligences : Kinesthetic Body Intelligence
🔢Intelligence Logic Mathematics
💡Imagination
🙇State of Mind : 😶Focus
😔Patient
🤔Perfectionist
😵Methodical
😉Organize
💞Context (Example) : Accompaniment of a Dish
Recipe Garnishes
️Tools (🔨5) (1 #Optional)
🔨Cooking System
🔨Salad Bowl
🔨Drainer
🔨Dish for Cooking
🔨Baking Paper [So that does not stick] {If you do not have one, Stir potatoes regularly} (#Optional)
🍲Ingredients 7 (📜Recipe) : 1434 Calories
🍚Olive Oil 🔍105ML 630 Calories
🍚Salt 🔍4g 0 Calories
🍚Potato 🔍1Kg 770 Calories
🍚A Clove of Garlic 🔍7g 7 Calories
🍚Oregano 🔍7g 19 Calories
🍚Pepper 🔍2g 6 Calories
🍚Parsley 🔍7g 2 Calories
⚠️Consider nutrient intake too and not essentially calorie intake
📋WHAT 🔽
🍳How To Cook {8} Step by Step
🌟Baked Spice Potatoes
💫Potatoes World
🌌Accompaniment Galaxy
✨Cooking Universe (🍳)
📝Type : Cooking Potatoes (Accompaniment)
🎨Style : Cooking Potatoes with Olive Oil and Spices.
️Language : International (🇬🇧 description and steps in English, but comprehensible by the whole world)
️You can use your playlists as filters, to find what you're looking for exactly : www.youtube.com/channel/UCb1N-vNT8Y1-qx0PdlvLRpg/playlists
📖HOW MUCH 🔽
👣5 Steps
🔥4 Actions
✔️15,5 Experience Points
️5 tools (1 #Optional)
🍲7 Ingredients
1434 Calories (About)
🔍Dosage [Weight] (About) : (💧Liquid - 105ML) (Solid - 1027g) {Weight of total ingredients used}
👫How many people : 2-8 Persons (4 Medium) (Accompaniment)
⏱️Preparation Time : 9 Minutes Minimum - 22 Minutes Maximum
⏰Waiting Time : 20 Minutes
️ Cooking Time : 40 Minutes
️ Temperature Cooking : Bake : 200°C - 392°F
️7 Senses
👩🏫3 Intelligences
🙇5 State of Mind
WHO 🔽
👩🍳Cook by LG
🎥Filmed by LG : Go Pro Hero 5 (1080 - 60-Large)
📡Posted by LG
️Video made by LG (Windows Movie Maker 2017)
©Etoile Copyright (Cooking)
©Ikson (Music)
🎵Music Used Ikson - New Day
Support Ikson :
ℹ️ How to use music : iksonmusic.wordpress.com/
📌https://soundcloud.com/ikson
📌https://www.youtube.com/channel/UCyB3YiRU9OXJgIkRi-Z3wEA
📌https://twitter.com/Iksonofficial
📌https://www.facebook.com/iksonmusic/
📌https://www.instagram.com/iksonofficial/
🎼Music promoted 📂 by eMotion
️Video Link : youtu.be/aSWFk2Amv6o
❓WHY 🔽
Learn How To Cook Baked Spice Potatoes
📍WHERE 🔽
Pontault Combault (🇫🇷 France)
🇸🇪Sweden Music
🕓WHEN 🔽
📅28 December 2017
⌚Duration : 1.09 Hour Minimum ~ 1.22 Hour Maximum
⚠️The duration depends on the performance and tools used by the author. That is why this is indicated from the minimum to the maximum
👉Follow us :
💥Facebook : www.facebook.com/Emagination-245483199189790
#HowToCook
💌Contact : emaginationcontact@gmail.com
v.2.004#
@Dhahran Hills Recreation
"Lack of activity destroys the good condition of every human being, while movement and methodical physical exercise save it and preserve it."
~Plato
The set was inspired by the eighteen equally intricate designed dollhouse-style interiors made by Frances Glessner Lee, which she titled "The Nutshell Studies of Unexplained Death" Her sets consist of a series of eighteen intricately designed dollhouse-style dioramas created by the greatest and my favorite doll house interior designer Frances Glessner Lee, a millionaire heiress with an interest in forensic science.
Her dioramas are detailed representations of death scenes that are composites of actual court cases, created by Glessner Lee on a 1 inch to 1 foot (1 : 12) scale./same as mine/ She attended autopsies to ensure accuracy, and her attention to detail extended to having a wall calendar include the pages after the month of the incident, constructing openable windows, and wearing out-of-date clothing to obtain realistically worn fabric. She called them the Nutshell Studies because the purpose of a forensic investigation is said to be to "convict the guilty, clear the innocent, and find the truth in a nutshell. Students were instructed to study the scene methodically—she suggested moving the eyes in a clockwise spiral—and draw conclusions from the visual evidence. At conferences hosted by Glessner Lee, prominent crime-scene investigators were given 90 minutes to study each diorama.
The dioramas show tawdry and in many cases disheveled living spaces very different from Glessner Lee's own background. The dead include prostitutes and victims of domestic violence.
Glessner Lee used her inheritance to set up Harvard's department of legal medicine, and donated the Nutshell dioramas in 1945 for use in lectures on the subject of crime scene investigation. In 1966 the department was dissolved and the sets were placed in storage. Presently the dioramas can be viewed by appointment at the Maryland Medical Examiner’s Office in Baltimore. A exhibit well worth while to visit for those interested in doll house interiors.Those wishing to view these sets, I strongly suggest making an appointment well before setting out to view them.
We are once again, after many years revisiting my own sets, each with it's own story connected to real life events and sharing them with some of my flickr. friends who expressed interest in viewing them.
None of the renderings have previously been exhibited or published.
I am most interested in your comments for we are once again entertaining the thought of publishing them with their stories in book form.
Thank you!
thank you for your interest.
With so few flowers in bloom at this time, I had to really be on the lookout for Hummers. The foraging Hummers also have to be on the lookout for any blooming plant.This lady was methodically sampling all of these red blooms on an ornamental shrub in my daughter's back yard. I saw only a few flying Hummers species (mostly female Anna's and Costa's). These ladies are segregated from each other for IDs mainly on their bill shapes. This bill is said to be generally more curved... but there is overlap.
IMG_9875; Costa's Hummingbird
There realy can only be so mvch pvrsvit inuoluing intimacy til the flesh of the nose liues pinched against said object in indentation, svffocation.
the conflict has stolen many more than seueral nights from the painter, borrowing the beavtybody of his uisions it seems withovt euer the promise of a paint retvrn. his idleness peeks back, again peeks back vntil cock-eyed it glares at times daring grauity be magnified. pace the grovnds, rvb one ovt, shackled to a window▿, again vncapping oil tvbes that staue the uentilation of his fvckin’ nostrils.
a real place on earth, yeah, materialises for real eyes. yov were there; this is the sovrce - yov barefooted the Ligurian rocks althovgh yov cannot swim. what yov mvst determine is whether the sovrce is reliably worth resovrce, can it be fvckin’ trvsted . . . . a circvit uiuisecting the 2-Dness of the old sleepy colovr wheel, the landscape reformed by the methodical trauelling rovndabovt while it consvmes the thvmbscrews of his own heart at the easel, how well we know, avtocannibalistically.
- Mesirow▿
Papers of Adrian Howells part of the Scottish Theatre Archive Ref: STA AHC
“The Adrian Howells’s collection holds a true legacy of Glasgow creative heritage. A world leading one to one performance artist who regularly performed at the Edinburgh Festival and The Arches, exploring themes of intimacy, privacy and touch. Since early 2016 I have been cataloguing Adrian's personal papers, helping the Scottish Theatre Archive preserve his creative essence. In addition his methodical creative personality has excelled my own artistic practice.”
- Peter Morphew, Cataloguing Archivist
View information about the Adrian Howells collection here: special.lib.gla.ac.uk/collections/sta/Collections/howells...
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.
On October 1, 2012 I spent an interesting day out at the Marin Headlands watching the ingenious riggers of the Bigge Crane & Rigging Company move a 16” gun up the hill to Battery Townsley. Battery Townsley in the Marin Headlands and Battery Davis on San Francisco’s Ocean Beach were the two Bay Area batteries armed (of four planned) with 16” guns in World War II. Each battery had two gun emplacements within a huge concrete construction housing guns, munition storage, generators, and in the case of Townsley up to 150 resident troops.
Battery Townsley received its two guns in 1939 and was ready for action soon thereafter. Placing the guns was no small feat since they are the largest rifles ever made for the US arsenal. Each barrel weighed almost a quarter-million pounds and stretched 68 feet from breech to muzzle. The battery was decommissioned as an artillery emplacement by 1948 and its guns were cut up for scrap in that year.
Fast-forward to the current day, the Marin Headlands are now part of the Golden Gate National Recreation Area and visitors can take a short hike up the hill to see Battery Townsley. For several years now a group of park volunteers has been restoring the battery. If you time your visit to coincide with their open house days you can tour the interior of the installation – great fun. As part of this restoration project a plan was developed to install and display a surplus naval gun nearly identical to the guns originally mounted at Battery Townsley. The surplus gun was sourced from the Naval Weapons Depot in Hawthorne, Nevada where it had been stored since 1953. In one of those pleasant little turns of history the company that won the modern day bid to move the barrel from Nevada to the Marin Headlands was Bigge, the same company that moved the original guns in 1939.
These photographs were taken during a pleasant day watching the crew methodically move this huge gun up the hill and into its storage place next to the battery. I began the day with a series of pole photographs of the gun in the Rodeo Beach parking lot (there was no wind in the morning). In the early afternoon I shot a quick round of kite aerial photographs at Rodeo Beach, the gun was still at the Rodeo Beach trailhead while transport hydraulics were tuned. I then hiked up to Battery Townsley to photograph the placement of the gun. I had originally planned to shoot a quick series of the gun being pulled through one of the hairpin turns on the approach road but my timing was off and I did not want to add distraction to what was a rather intense hauling session.
With so few flowers in bloom at this time, I had to really be on the lookout for Hummers. The foraging Hummers also have to be on the lookout for any blooming plant.This lady was methodically sampling all of these red blooms on an ornamental shrub in my daughter's back yard. I saw only a few flying Hummers species (mostly female Anna's and Costa's). These ladies are segregated from each other for IDs mainly on their bill shapes. This bill is said to be more curved... but there is overlap. The throat of this lady also has a dark central spot.
IMG_9909; Anna's Hummingbird
Ryan Dungey faltered at the start of the second moto at Steel City, leaving Mike Alessi out in front. However, just as Tom Brady or Drew Brees march their teams down the field to score in the final seconds of the game when it really counts, Dungey just went to work, methodically picking his way forward until he was right on Alessi’s tail. Then, taking advantage of a sudden downpour, Dungey made his move, passing Alessi for the lead.
cp of my mix-pleated goat op. 68(vers 2.0) - www.flickr.com/photos/origamiru/4433512816/in/set-7215760...
my old model from own methodic, wich i created 2,5 years ago ^))
another mix-pleated cp- www.flickr.com/photos/origamiru/4858931425/in/set-7215760...
Courtney Segrest
Reminiscence
Ceramic
25" x 23" x 16"
$250
Edmond, OK
"Meditating on time and our passages within it, my practice focuses on nostalgia and the web work of memories that come to formulate our psyche. My inspiration is drawn from the sentiment of the past, and the need to preserve moments from it. Relying on a process that is repetitive and methodical, I incorporate layers of detail to depict textural patterns pulled from natural and familiar imagery, in an effort to encapsulate comfort."
On October 1, 2012 I spent an interesting day out at the Marin Headlands watching the ingenious riggers of the Bigge Crane & Rigging Company move a 16” gun up the hill to Battery Townsley. Battery Townsley in the Marin Headlands and Battery Davis on San Francisco’s Ocean Beach were the two Bay Area batteries armed (of four planned) with 16” guns in World War II. Each battery had two gun emplacements within a huge concrete construction housing guns, munition storage, generators, and in the case of Townsley up to 150 resident troops.
Battery Townsley received its two guns in 1939 and was ready for action soon thereafter. Placing the guns was no small feat since they are the largest rifles ever made for the US arsenal. Each barrel weighed almost a quarter-million pounds and stretched 68 feet from breech to muzzle. The battery was decommissioned as an artillery emplacement by 1948 and its guns were cut up for scrap in that year.
Fast-forward to the current day, the Marin Headlands are now part of the Golden Gate National Recreation Area and visitors can take a short hike up the hill to see Battery Townsley. For several years now a group of park volunteers has been restoring the battery. If you time your visit to coincide with their open house days you can tour the interior of the installation – great fun. As part of this restoration project a plan was developed to install and display a surplus naval gun nearly identical to the guns originally mounted at Battery Townsley. The surplus gun was sourced from the Naval Weapons Depot in Hawthorne, Nevada where it had been stored since 1953. In one of those pleasant little turns of history the company that won the modern day bid to move the barrel from Nevada to the Marin Headlands was Bigge, the same company that moved the original guns in 1939.
These photographs were taken during a pleasant day watching the crew methodically move this huge gun up the hill and into its storage place next to the battery. I began the day with a series of pole photographs of the gun in the Rodeo Beach parking lot (there was no wind in the morning). In the early afternoon I shot a quick round of kite aerial photographs at Rodeo Beach, the gun was still at the Rodeo Beach trailhead while transport hydraulics were tuned. I then hiked up to Battery Townsley to photograph the placement of the gun. I had originally planned to shoot a quick series of the gun being pulled through one of the hairpin turns on the approach road but my timing was off and I did not want to add distraction to what was a rather intense hauling session.
somebody, it seems, has methodically pulled off the "ivory" covering the keys, so they are now just wood keys. shame.
who would do such a thing, and why? I struggle to understand the mentality that revels in wanton pointless destruction
I watched this rather beautifully marked female Larinioides cornutus for quite a while. She was tidying her web, removing damaged bits, bits of plant debris and disentangling grass blades that had become caught in the web. I twice saw her cut the end off a blade of grass to free it from her web.
All the excess silk that she cleared up ended as a ball of silk in her mouth, visible in the shot, which she will then eat, recycling it for future production as fresh silk.
I have seen this behaviour before, but not to the methodical extent that this spider showed.
A troupe of Squirrel Monkeys crosses a river, jumping from the end of one high branch to the heights of a tree on the other side. There must have been a score of monkeys methodically leaping one-by-one into thin air, confident of being able to grab the foliage on the other side. Most did.
Granite rock, which is brought in by barge, is methodically placed in the Piankatank River near Gwynn’s Island in Mathews County Virginia. The rock is the basis for the newest, 25-acre oyster reef in the Chesapeake Bay Watershed. The Norfolk District, U.S. Army Corps of Engineers, is overseeing the more than $2 million sanctuary reef project in partnership with the Virginia Marine Resources Commission and the Nature Conservancy. (U.S. Army photo/Patrick Bloodgood)
The American Kestrel seen in this series of photos depicting the dining process—a Meadow Vole, in this case—was so neat to witness. This particular tree is where a young family of them resides, and on this day, as we were walking the path along the vast marshland area, we heard this non-stop cacophony of screeches revealing some state of commotion. Apparently, the male had just returned with a meal (a whole Meadow Vole), but another third Kestrel was nearby. We did not believe it to be the recent newborn, from only several weeks back, so figured that it might have been a stranger. Once that was gone, the female proceeded to dine away. We wanted to see if we could, at least, capture some shots of it eating, rather than just have the memory of seeing it through the binoculars. So, slowly, and ever so carefully, we walked toward the tree with deliberate step by step, occasionally stopping to be certain that we were not alarming it. The Kestrel did notice the approaching human presence, but seemed not to be threatened, given our calm disposition. Once we felt close enough to take a series of photos as it ripped into the body and pried out the innards, we maintained the position and managed to shoot a successful series that clearly represented the methodical means of eating the rodent. We continued to observe for about 15 minutes or so, before finally leaving the scene. It was obvious that this dining on a fat rodent was not a quick process, for at the time or our departure, there was still a great amount of the prey left to eat. By the way, the head was already missing when we first secured the initial photos.
The late, Doris Duke, had left a wonderful legacy in converting her magnificent estate into a Natural Wildlife Preserve for the public’s education and enjoyment. The paths throughout the estate offer such splendid scenery. One is forever exploring, always seeing something subtly beautiful. There are always pleasant surprises, from the general scenery to the world of birds and other wildlife, including tiny insects and flowers that are quite enjoyable to observe and study. The bucolic nature of the preserve is so relaxing—akin to meditating while experiencing the landscape. The beauty of visiting Duke Farms is that so many incredible views are there simply by absorbing the surroundings.
Besides the wonderful diversity of nature’s jewels, Doris Duke has left a part of her legacy through her passion for art—well situated throughout the preserve is a collection of glorious sculptures and fabulous examples of supreme stonework and design in the bridges, old ruins of enormous barns and stables, and a variety of other structures. The old Hay Barn ruin with its fabulous sculpture garden is truly a favorite of ours, for each and every statue seems to possess a spirit and sense of life. The landscape and backdrop can alter the mood, accordingly, depending on the time of day and seasonal changes in particular. So, spotting new and fascinating wildlife (both animals and plants) and art never ceases to add to the experience.
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.
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...
This first year Bald Eagle spent quite some time methodically eating a prey that was on the other side of branches for me to see clearly. I kept 3 shots to help identify the prey (are those feather bits or fin bits?) They are in comments for the two shots I actually like.
Yamaha factory rider Ben Spies at La Chapelle - Le Mans. Tall for a rider, Spies tends to stick his knees and elbows out in the corners. It doesn't seem to stop him going fast though.
The Texan is known for his reserved persona and methodical work ethic. He's also a top level cyclist.
Black Knights on Patrol
The men and women of Task Force 3-66 are actively patrolling western Paktika province, taking the fight to the insurgents. Since assuming responsibility for the area, the Black Knights have been methodically clearing district after district to allow the provincial government to provide security and development. Western Paktika is essentially a rest stop for insurgents linked to Sirajuddin Haqqani traveling from Pakistan and continuing west. The heat, elevated terrain, and harsh landscape of Paktika province are unforgiving allies of these enemies of Afghanistan. With limited road networks the primary mode of travel here is walking. The relentless training planned and executed by the leaders of Task Force 3-66 back in Germany is now paying off.
Paul Signac (French, 1863–1935)
Title
Notre-Dame-de-la-Garde (La Bonne-Mère), Marseilles
Date
1905–6
Medium
Oil on canvas
Dimensions
35 x 45 3/4 in. (88.9 x 116.2 cm)
Signac went even farther than Seurat in his methodical studies of the division of light into its components of pure color, and he arranged rectangular brushstrokes like tesserae in a mosaic. In 1901 Signac had painted a smaller and less vibrant version of this view of the Marseilles, crowned by the church of Notre Dame de la Garde. The luminosity and brilliant color of the present picture are dependent on his continued use of unmixed pigments, but also on his contact with the young Fauve painters Henri-Edmond Cross and Matisse and Saint-Tropez in summer 1904.
My submission for the BCD weekend. I am in the very final stages of a 6930 piece, group project with other members of the BIG Jigsaw Puzzle Collection Flickr group. Several of us are working simultaneously on this wonderful scene by new brand Puzzle Manufacture of Poland.
Remaining are maybe about 150 pieces, all very dark, and the last 15 hours or so of the assembly has been a slow process of pushing through pieces of nearly indistinguishable hue. I have decided to avoid using the typical method of sorting the pieces by their piece-shape characteristic, and very methodically plugging in like shapes to each remaining slot. (This is sometimes referred to as the "brute force" method.) I prefer to move the pieces around freely, and have the pieces close by on the same surface and same background. I probably have cost myself 4 or 5 hours by doing it this way, but I find it more satisfying in the end.
76 hours total time so far.
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.
Vol. 35 No. 4
Official Newspaper of the South Wedge Since 1982
South Wedge Planning Committee
224 Mt. Hope Avenue
Rochester, New York 14620
August/September 2013
Non-Profit Organization
Wall/Therapy International Street Artist Gaia
Transforms SWPC Office on Mt. Hope Ave.
by Nancy O’Donnell
this is but a part of the article . . ..
The artist Gaia began with blue tape frames for his Wall/
Therapy project. Two stories up, atop a LDJ lift, the young artist methodically marked the wall of the South Wedge Planning Committee office building. In a day the frames multiplied. Another day and figures of the Greek god Mercury, rendered in a manner used by the 16th century painter Giambologna, were repeating across the wall. Finally, at the bottom, the head of a young African American man appeared.
For the South Wedge mural, Gaia began his usual process
of research. He is especially interested in how a community
develops around an industry, how it changes from 'labor intensive' industries to white collar and how it copes with the restructuring of the global economy.
"I looked at the waning sunset of Xerox and Kodak. I do a lot of Mercury. He figures prominently in my work and I was pleasantly surprised that there was a Mercury sculpture in Rochester. I thought that's clearly going to be the subject of this wall."
With that in mind, Gaia created 8x11 format patterns,
eight times, a painted photocopy of Mercury and at the bottom, the head of one young man, who is the question. "What place does he have in all this?" Gaia asked.
Finally, around the corner from the mural Gaia signed his name with the words above "Commerce is swifter than culture."
accessed 07.21.2015 swpc.org/wp-content/uploads/2013/08/Wedge_August_Septembe...
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Every other image in the mural on the side of the South Wedge Planning Committee building on Mt. Hope Avenue is of the Giambologna Mercury figure. Interspersed are a few renderings of the Xerox building, as well as a teenager, in the bottom right corner.
Gaia, of Baltimore, Maryland, said he wanted the piece to show how macroeconomic forces affect local aspects of our lives. He also wanted to show the repercussions of moving from an industrial base into a more service-oriented economy.
“Commerce moves faster than people’s culture. Rochester has to re-imagine itself — re-adjust its economic base to a different global economy,” he said. ”The real question is: What is the future of a lot of rust belt cities, whether it be Cleveland, Cincinnati, southside Chicago, Gary, Akron, Youngstown, these are ostensibly obsolete places that people still call home. And how do they change to a more medical, lawyer, finance-oriented economy?”
The repeated figure on what appears to be resemble photocopied sheets of paper is, ostensibly, a nod to Xerox. And though it was Gaia’s first time in Rochester, he said that the city’s makeup reminded him of many that he’s traveled to, as well as his own hometown.
“Correlaries that you’d find in Cleveland also make a lot of sense here,” he said. ”It’s not just that aesthetically this is a lot like Cleveland, but it’s the same sort of… mettle, trajectory.”
Watch Gaia’s mural come to life at www.democratandchronicle.com/walltherapy.
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image by Photo George
copyrighted: ©2015 GCheatle
all rights reserved
locator: GAC_2134
Marienhof
Object ID: 32935 Main Street 46
Three winged with Baroque building with figure of Mary Immaculate from the first half of the 18th 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...
Construction is steadily moving forward on the 18,000 sq. ft. Possum Creek Skatepark in Gainesville, Florida.
Led by Spohn Ranch's COO, Mark Bradford, the crews in Gainesville are quickly turning what were once just some dreams scribbled on paper into one of Florida's premiere concrete skateparks.
Through a combination of advanced pre-cast concrete technology and methodical on-site concrete pours, the skatepark is nearing a flawless finish with less than 30 days on site.
These colors and so soothing! Set of two mini embroidery wrapped vintage metal hoops.
Pastel colored embroidery threads of various textures and thickness. Methodically wrapped around a 4" metal hoop. The debt of the layers vary with each hoop.
Perfect for any shelf or brightly colored room in your space.
Shipping is always FREE and immediate!
www.etsy.com/listing/82695087/set-of-2-embroidery-thread-...
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.
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.
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...
Kostkahaus
Object ID: 32903 Liberty Square 6
In the 16th Century converted building complex, in the core from the 13th Century, with two rectangular courtyards
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...
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.
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.
Everything at ALMA must be put into place to the most exacting measurements—less than the width of a human hair. Which is to say the dish is not simply lowered onto the antenna base and bolted on. It’s a very slow, methodical process. ALMA is clearly a place where nobody ever says, “Oops!” (John Stoke, NRAO/AUI/NSF)
Oiled sorbent boom at Bay Jimmy. Crews methodically work to recover oiled boom washed into the marshes (see other photo with crew on site). Aug 2, 2010 by Tom MacKenzie, USFWS 7607
Schweiz / Berner Oberland - Aletschgletscher und Jungfrau
Jungfraujoch
The Aletsch Glacier (German: Aletschgletscher, German pronunciation: [ˈalɛtʃˌɡlɛtʃɐ]) or Great Aletsch Glacier (Grosser Aletschgletscher) is the largest glacier in the Alps. It has a length of about 23 km (14 mi) (2014), has about a volume of 15.4 km3 (3.7 cu mi) (2011), and covers about 81.7 km2 (31.5 square miles) (2011) in the eastern Bernese Alps in the Swiss canton of Valais. The Aletsch Glacier is composed of four smaller glaciers converging at Konkordiaplatz, where its thickness was measured by the ETH to be still near 1 km (3,300 ft). It then continues towards the Rhône valley before giving birth to the Massa. The Aletsch Glacier is – like most glaciers in the world today – a retreating glacier. As of 2016, since 1980 it lost 1.3 kilometres (0.81 mi) of its length, since 1870 3.2 kilometres (2.0 mi), and lost also more than 300 metres (980 ft) of its thickness.
The whole area, including other glaciers is part of the Jungfrau-Aletsch Protected Area, which was declared a UNESCO World Heritage Site in 2001.
Geography
The Aletsch Glacier is one of the many glaciers located between the cantons of Bern and Valais on the Bernese Alps located east of the Gemmi Pass. The whole area is considered to be the largest glaciated area in western Eurasia. The Fiescher and Aar Glaciers lying on the east have similar extensions.
Except the Finsteraarhorn, all the highest summits of the Bernese Alps are located within the drainage basin of the glacier. The Jungfrau and Mönch constitute the northern boundary; the Gross Fiescherhorn and Gross Wannenhorn lie on its east side; finally the culminating point, the Aletschhorn (4,193 m (13,757 ft)) is located on the west side.
Before reaching the maximum flow, four smaller glaciers converge at Konkordiaplatz:
From the western mouth flows the Grosser Aletschfirn, which runs along the northern foot of the Aletschhorn and Dreieckhorn. The Grosser Aletschfirn is supplied from the north by three notable firns: the Äbeni Flue-Firn, the Gletscherhornfirn, and the Kranzbergfirn. All of these firns have their starting points at around 3,800 m (12,500 ft). From the Äbeni Flue-Firn to the Konkordiaplatz, the Grosser Aletschfirn is 9 km (5.6 mi) long and is on average about 1.5 km (0.93 mi) wide. On the west, the Grosser Aletschfirn connects with the Langgletscher over the 3,158 m (10,361 ft) high glacier pass, the Lötschenlücke, into the Lötschental.
From the northwestern mouth flows the Jungfraufirn. This firn in fact represents the straight continuation of the Aletsch Glacier, yet is the shortest of the four tributary glaciers. It has its origin on the southern flank of the Mönch and at the eastern flank of the Jungfrau with the Jungfraujoch in-between. Up to the Konkordiaplatz, the Jungfraufirn is a scarce 7 km (4.3 mi) long, and returns to flank the Kranzberg in the west and the Trugberg in the east. At its highest point, it is 2 km (1.2 mi) wide, and further down it is still a good 1 km (0.62 mi) wide.
From the northern mouth flows the Ewigschneefäld ("Eternal snow field"), where its starting point takes the east flank of the Mönch. In an elbow, it flanks from Trugberg in the west and the Gross Fiescherhorn and Grünhorn in the east, flowing on to the Konkordiaplatz. Up to here, it is about 8 km (5.0 mi) long and averages about 1.2 km (0.75 mi) wide.
The mouth at the Konkordiaplatz it follows over a rise with a descent from 25 to 30 percent; here, the glacier is sharply split. Against the north is the Ewigschneefäld over the snow-covered pass of the Unners Mönchsjoch (3,518 m (11,542 ft)), connected with the catchment area of the Ischmeer (Wallis German for "Ice Sea"). Through the Obere Mönchsjoch (3,624 m (11,890 ft)) between the Mönch and the Trugberg stands a connection to the Jungfraufirn.
From the east, the smallest firn arrives at the Konkordiaplatz: the Grüneggfirn. Its northern arm begins below the Grünegghorn (3,860 m (12,660 ft)). The southern arm collects its snow and ice in the pot flanked by the Wyssnollen, Fiescher Gabelhorn (3,866 m (12,684 ft)), and the Chamm. Between the peaks Wyssnollen and Grünhörnli another glacier pass, the Grünhornlücke (3,279 m (10,758 ft)), connects to the Fieschergletscher. The Grüneggfirn enters the Konkordiaplatz in a gap between the mountainsides Grünegg to the north and the Fülberg to the south. On the western side of the Fülberg the Konkordia hut (mountain hut) overlooks the whole Konkordiaplatz at an altitude of 2,850 m (9,350 ft).
South of Konkordiaplatz, the glacier runs towards the valley of the Oberwallis (Upper Valais); on the east side, near Bettmeralp, lies a small glacier lake, Märjelensee (2,301 m (7,549 feet)); from the western side used to enter the Mittelaletschgletscher, but since the end of the 20th century the connection with the Aletsch Glacier has been lost. Further down, until about 1880, the Oberaletschgletscher did also enter the Aletsch Glacier at its mouth. But since then both glaciers have been retreating so far that they do not connect anymore (the Upper Aletsch Glacier did retreat about 1.3 km (0.81 mi) from its connecting point with the Aletsch Glacier), but both serve now only as the source of the river Massa. The river flows through the Lake Gibidum (a reservoir, and coincidentally representing the glacier's mouth region in the 19th century, which is a retreat of more than 4 km (2.5 mi)) and a gorge of the same name before reaching the Rhône near Brig.
Tourism
The area of the Aletsch Glacier and some surrounding valleys is on the UNESCO World Heritage list, thus it is protected and the facilities are mostly restricted to the external zones. The region between Belalp, Riederalp and Bettmeralp (which is called Aletsch Region) in Valais gives access to the lower part of the glacier. The Bettmerhorn and Eggishorn are popular view points and are accessible by cable car. The Massa river can be crossed since 2008 by a suspension bridge, thus allowing hikes between the left and the right part of the glacier.
The Jungfraujoch railway station (3,450 m) gives a direct access to the upper Aletsch Glacier as well as the normal route to the Jungfrau. It can be reached only from Interlaken in the canton Bern. Hiking paths pass the Konkordia Hut or the Hollandia Hut, eventually reaching other glaciers in the massif.
On the Riederfurka, at 2,065 metres between Riederalp and the glacier, is located the historic Villa Cassel, former summer residence of many famous and influential guests from the worlds of politics and finance. The house is now one of the centers of the environmental organization Pro Natura, which hosts a permanent exhibition about the site.
Panorama
Also at the mouth of the Konkordiaplatz from the east is the small but important Grüneggfirn (3 km long and averaging 600 m wide). This firn is connected in the over the glacier pass Grünhornlücke (3280 m high) to the Fiescher Glacier in the east.
From the Konkordiaplatz, the Aletsch Glacier has a width of approximately 1.5 km and moves at a rate of 180 m per year to the southeast on course with the Rhône valley, bordering the Dreieckhorn in the west and the great Wannenhorn in the east. It then takes a great right turn and bends ever closer to the southwest, running through the edge of the Eggishorn and Bettmerhorn of the Rhône valley. The lowest part of the great Aletsch Glacier is largely covered with detritus of the lateral and medial moraines. The glacier's toe currently lies about 1560 m high, far beneath the local tree line. From it springs the Massa stream, which flows through the Massa Canyon and is used to generate hydroelectric power. It continues through the upper half of the Brig, eventually entering into the Rhône.
The great Aletsch Glacier shows considerable ice cover. At the Konkordiaplatz, it has an ice cover of more than 900 m, but as it moves to the south, the greater part of the ice melts, gradually decreasing the cover to around 150 m.
The characteristically dark medial moraine, situated almost in the middle of the glacier, runs protracted in two bands from the Konkordiaplatz along the whole length to the glacier's toe-zone. This medial moraine is collected from the ice of three large ice fields, which all run together. The westernmost medial moraine has been named the Kranzbergmoräne, and the easternmost carries the name Trugbergmoräne.
Formation and evolution
The Aletsch Glacier resulted from the accumulation and compaction of snow. Glaciers generally form where snow and ice accumulation exceed snow and ice melt. As the snow and ice thicken it reaches a point where it begins to move due to a combination of gravity and pressure of the overlying snow and ice.
During the last glacial periods, the Aletsch Glacier was much larger than now. 18,000 years ago the lower part of the ridge, between Riederalp and the glacier, was completely covered by ice. Only the summits of the Bettmerhorn, Eggishorn and the Fusshörner were above the glacier. After an important retreat, the glacier again advanced 11,000 years ago during the last glacial period. The glacier reached the Rhône valley, and its ice the Riederfurka. Remaining moraines are still visible in the Aletsch Forest.
Since the last glaciation, the glacier generally retreated. However slight climatic changes happened and, in 1860, the glacier was 3 km longer and the ice level 200 m higher.
As for many other glaciers, records show a major longer-term retreat trend. The Aletsch Glacier receded by 3.2 km (2.0 mi) since 1870, including 1.3 km (0.81 mi) since 1980.[6] A record retreat of 114.6 metres (376 ft) happened in 2006 alone.
Since the end of the Little Ice Age in 1850 the glacier has lost 20 percent of its ice mass, considerably less than other glaciers in Switzerland, which have lost up to 50 percent. This is explained with the large size of the Aletsch Glacier, which reacts much slower to climate change than smaller glaciers. It is however estimated that, by 2100, the glacier will have only one tenth of its 2018 ice mass.
Photo opportunity
On August 18, 2007, photographer Spencer Tunick used hundreds of naked people in a "living sculpture" on the Aletsch Glacier in a photo shoot which he said was intended to draw attention to global warming and the shrinking of the world's glaciers. The temperature was about 10 °C (50 °F) at the time of the photo shoot. The 600 participants on the shrinking glacier said that they had volunteered for Tunick (a collaboration with Greenpeace) to let the world know about the effects of global warming on the melting Swiss glaciers.
(Wikipedia)
The Jungfrau (YOONG-frow[c], German pronunciation: [ˈjʊŋˌfʁaʊ̯], transl. "maiden, virgin"), at 4,158 meters (13,642 ft) is one of the main summits of the Bernese Alps, located between the northern canton of Bern and the southern canton of Valais, halfway between Interlaken and Fiesch. Together with the Eiger and Mönch, the Jungfrau forms a massive wall of mountains overlooking the Bernese Oberland and the Swiss Plateau, one of the most distinctive sights of the Swiss Alps.
The summit was first reached on August 3, 1811, by the Meyer brothers of Aarau and two chamois hunters from Valais. The ascent followed a long expedition over the glaciers and high passes of the Bernese Alps. It was not until 1865 that a more direct route on the northern side was opened.
The construction of the Jungfrau Railway in the early 20th century, which connects Kleine Scheidegg to the Jungfraujoch, the saddle between the Mönch and the Jungfrau, made the area one of the most-visited places in the Alps. Along with the Aletsch Glacier to the south, the Jungfrau is part of the Jungfrau-Aletsch area, which was declared a World Heritage Site in 2001.
Etymology
The name Jungfrau ("maiden, virgin"), which refers to the highest of the three prominent mountains overlooking the Interlaken region, along with the Mönch ("monk") and the Eiger ("ogre"), is most likely derived from the name Jungfrauenberg given to Wengernalp, the alpine meadow directly facing the huge northern side of the Jungfrau, across the Trummelbach gorge. Wengernalp was so named for the nuns of Interlaken Monastery, its historical owner. Contrary to popular belief, the name did not originate from the appearance of the snow-covered mountain, the latter looking like a veiled woman.
The "virgin" peak was heavily romanticized as "goddess" or "priestess" in late 18th to 19th century Romanticism. Its summit, considered inaccessible, remained untouched until the 19th century. After the first ascent in 1811 by Swiss alpinist Johann Rudolf Meyer, the peak was jokingly referred to as "Mme Meyer" (Mrs. Meyer).
Geographic setting
Politically, the Jungfrau (and its massif) is split between the municipalities of Lauterbrunnen (Bern) and Fieschertal (Valais). It is the third-highest mountain of the Bernese Alps after the nearby Finsteraarhorn and Aletschhorn, respectively 12 and 8 km (7.5 and 5 mi) away. But from Lake Thun, and the greater part of the canton of Bern, it is the most conspicuous and the nearest of the Bernese Oberland peaks; with a height difference of 3,600 m (11,800 ft) between the summit and the town of Interlaken. This, and the extreme steepness of the north face, secured for it an early reputation for inaccessibility.
The Jungfrau is the westernmost and highest point of a gigantic 10 km (6.2 mi) wall dominating the valleys of Lauterbrunnen and Grindelwald. The wall is formed by the alignment of some of the biggest north faces in the Alps, with the Mönch (4,107 m or 13,474 ft) and Eiger (3,967 m or 13,015 ft) to the east of the Jungfrau, and overlooks the valleys to its north by a height of up to 3 km (1.9 mi). The Jungfrau is approximately 6 km (3.7 mi) from the Eiger; with the summit of the Mönch between the two mountains, 3.5 km (2.2 mi) from the Jungfrau. The Jungfraujoch is the saddle between the Jungfrau and the Mönch and the Eigerjoch is the saddle between the Mönch and the Eiger. The wall is extended to the east by the Fiescherwand and to the west by the Lauterbrunnen Wall, although it follows different directions from the Jungfrau and the Eiger.
The difference of altitude between the deep valley of Lauterbrunnen (800 m or 2,600 ft) and the summit is particularly visible from the area of Mürren. From the valley floor, west of the massif, the altitude gain is more than 3 km (1.9 mi) for a horizontal distance of 4 km (2.5 mi).
The landscapes around the Jungfrau are extremely contrasted. In contrast to the vertiginous precipices of its northwest, the mountain's southeastern side emerges from the upper snows of the Jungfraufirn, one of the main feeders of the Aletsch Glacier, at around 3,500 meters (11,500 ft). The 20-kilometer-long (12 mi) valley of Aletsch on the southeast is completely uninhabited, and is surrounded by neighboring valleys with similar landscapes. The area as a whole constitutes the largest glaciated area not just in the Alps, but in Europe as well.
Climbing history
In 1811, the brothers Johann Rudolf (1768–1825) and Hieronymus Meyer, sons of Johann Rudolf Meyer (1739–1813), the head of a rich merchant family of Aarau, along with several servants and a porter picked up at Guttannen, first reached the Valais by way of the Grimsel, and crossed the Beich Pass, a glacier pass over the Oberaletsch Glacier, to the head of the Lötschen valley. There, they added two local chamois hunters, Alois Volken and Joseph Bortis, to their party and traversed the Lötschenlücke before reaching the Aletschfirn (the west branch of the Aletsch Glacier), where they established the base camp, north of the Aletschhorn. After the Guttannen porter was sent back alone over the Lötschenlücke, the party finally reached the summit of the Jungfrau by the Rottalsattel on August 3. They then recrossed the two passes named to their point of departure in Valais, and went home again over the Grimsel.
The journey was a most extraordinary one for the time, and some persons threw doubts at its complete success. To settle these, another expedition was undertaken in 1812. In this the two sons, Rudolf (1791–1833) and Gottlieb (1793–1829), of Johann Rudolf Meyer, played the chief parts. After an unsuccessful attempt, defeated by bad weather, in the course of which the Oberaarjoch was crossed twice (this route being much more direct than the long detour through the Lötschental), Rudolf, with the two Valais hunters (Alois Volker and Joseph Bortis), a Guttannen porter named Arnold Abbühl, and a Hasle man, bivouacked on a depression on the southeast ridge of the Finsteraarhorn. Next day (August 16) the whole party attempted the ascent of the Finsteraarhorn from the Studer névé on the east by way of the southeast ridge, but Meyer, exhausted, remained behind. The following day the party crossed the Grünhornlücke to the Aletsch Glacier, but bad weather then put an end to further projects. At a bivouac, probably just opposite the present Konkordia Hut, the rest of the party, having come over the Oberaarjoch and the Grünhornlücke, joined the Finsteraarhorn party. Gottlieb, Rudolf's younger brother, had more patience than the rest and remained longer at the huts near the Märjelensee, where the adventurers had taken refuge. He could make the second ascent (September 3) of the Jungfrau, the Rottalsattel being reached from the east side as is now usual, and his companions being the two Valais hunters.
The third ascent dates from 1828, when several men from Grindelwald, headed by Peter Baumann, planted their flag upon the summit. Next came the ascent by Louis Agassiz, James David Forbes, Heath, Desor, and Duchatelier in 1841, recounted by Desor in his Excursions et Séjours dans les Glaciers. Gottlieb Samuel Studer published an account of the next ascent made by himself and Bürki in 1842.
In 1863, a party consisting of three young Oxford University graduates and three Swiss guides successfully reached the summit and returned to the base camp of the Faulberg (located near the present position of the Konkordia Hut) in less than 11 hours (see the section below, The 1863 Ascent). In the same year Mrs Stephen Winkworth became the first woman to climb the Jungfrau. She also slept overnight in the Faulberg cave prior to the ascent as there was no hut at that time.
Before the construction of the Jungfraujoch railway tunnel, the approach from the glaciers on the south side was very long. The first direct route from the valley of Lauterbrunnen was opened in 1865 by Geoffrey Winthrop Young, H. Brooke George with the guide Christian Almer. They had to carry ladders with them in order to cross the many crevasses on the north flank. Having spent the night on the rocks of the Schneehorn (3,402 m or 11,161 ft) they gained next morning the Silberlücke, the depression between the Jungfrau and Silberhorn, and thence in little more than three hours reached the summit. Descending to the Aletsch Glacier they crossed the Mönchsjoch, and passed a second night on the rocks, reaching Grindelwald next day. This route became a usual until the opening of the Jungfraujoch.
The first winter ascent was made on 23 January 1874, by Meta Brevoort and W. A. B. Coolidge with guides Christian and Ulrich Almer. They used a sled to reach the upper Aletsch Glacier, and were accompanied by Miss Brevoort's favorite dog, Tschingel.
The Jungfrau was climbed via the west side for the first time in 1885 by Fritz and Heinrich von Allmen, Ulrich Brunner, Fritz Graf, Karl Schlunegger and Johann Stäger—all from Wengen. They ascended the Rottal ridge (Innere Rottalgrat) and reached the summit on 21 September. The more difficult and dangerous northeast ridge that connects the summit from the Jungfraujoch was first climbed on 30 July 1911 by Albert Weber and Hans Schlunegger.
In July 2007, six Swiss Army recruits, part of the Mountain Specialists Division 1, died in an accident on the normal route. Although the causes of the deaths was not immediately clear, a report by the Swiss Federal Institute for Snow and Avalanche Research concluded that the avalanche risk was unusually high due to recent snowfall, and that there was "no other reasonable explanation" other than an avalanche for the incident.
The 1863 Ascent
The Führerbuch of the Alpine guide Peter Baumann records an ascent of the Jungfrau made by himself with three men from England in July 1863. The foreign climbers were long thought to have been John Tyndall, J.J. Hornby and T.H. Philpott, until in 1958 the records were checked by the Alpine Club and the following conclusion was reached:
On July 23, 1963, Phillpotts, with James Robertson and H.J. Chaytor, climbed the Jungfrau (the entry shown in A.J. 32. 227 was wrongly transcribed by Montagnier, who says ‘T.H. Philpott’ for J.S. Phillpotts). The entry in Peter Baumann’s Führerbuch (facsimile in A.C. archives) says that the trio crossed the Strahlegg Pass and the Oberaarjoch, and then climbed the Jungfrau from the Eggishorn.
Tyndall, Hornby and Philpott were well-known Alpinists, but there is no record of their having attempted the Jungfrau in 1863. Robertson, Chaytor and Phillpotts were novices; they had recently graduated from Oxford University where they had all been keen members of the Oxford University Boat Club.
William Robertson (1839–1892), the leader of the expedition (wrongly called ‘James’ in the Note quoted above), was an Australian by birth, and the first non-British national to take part in the Oxford and Cambridge Boat Race. He later became a barrister and member of parliament in Australia. He and H.J. Chaytor (possibly the father of the medievalist Henry John Chaytor) were both members of the victorious Oxford team in the 1861 Boat Race. James Surtees Phillpotts (1839–1930) was the third member of the team; he would later become headmaster of Bedford School. The trio had three Swiss guides, Peter Baumann, Peter Kaufmann ("Grabipeter", father of Peter Kaufmann the younger) and Rubi.
A description of the ascent of the Jungfrau is contained in a letter dated Sunday 26 July which Phillpotts wrote to his friend Alexander Potts (later to become the first headmaster of Fettes College). The letter is now in the possession of the Alpine Club. The following extracts are from that letter.
The Virgin certainly did not smile on the poor "fools who rushed in" on her sacred heights, i.e. in plain British, we had the treadmill slog, the biting wind, the half frost-bitten feet and the flayed faces that generally attend an Alpine ascent.
We got to the Faulberg hole about dark, and enjoyed the coffee the longman (Kauffmann) made, as one would in a hole in a rock in a cold evening. The "Faulberg Nachtlager" consists of two holes and a vestibule to the upper hole. The Upper Hole in which we lodged just contained Chay[tor], the Guv [Robertson] and myself, stretched at full length on a little hay over a hard rock mattress, convex instead of concave at the point where one likes to rest one's weight. Chaytor was in the middle, and as we were very close was warm and slept. The Guv and I courted Nature's soft nurse in vain. At two we got up and methodically put our feet into the stocks, i.e. our boots, breakfasted and shivered, then started (unwashed of course, as the cold gave us malignant hydrophobia) a little after 3:30.
The hole was about 150 feet [46 m] up one of the loose stone cliffs one now knows so well. So we groped our way down it and over the moraine – the stars still lingering, as day was just dawning. We could not start at 1:30, the proper time, as there was no moon and we wanted light as we had to tramp the glacier at once. Rubi led, and off we went, roped and in Indian file, in the old treadmill way over the slippery plowed-field-like snow that lay on the upper glacier, for a pull without a check of one or two hours.
At last we came to the region of bergschrunds and crevasses. They seemed to form at first an impassable labyrinth, but gradually the guides wound in and out between the large rifts, which were exquisitely lovely with their overhanging banks of snow and glittering icicles, and then trod as on pins and needles over a snowbridge here and there, or had to take a jump over the more feasible ones – and we found ourselves at the foot of the mountain; trudged up on the snow which ought to have been crisp but was even then more or less fresh fallen and sloppy; had to creep over about three crevasses, and after a tiresome pull, dragging one leg after another out of ankle or knee deep snow, we got on a crest of snow at right angles to the slope we had just come up. That slope with its crevasses on one side, and on the other a shorter and much steeper one which led in a few steps to a precipice.
All along this crest went a snakelike long crevasse, for which we had continually to sound, and go first one side and then the other; then we got to the foot of the saddle. Some twenty or thirty steps, some cut, some uncut, soon took us up a kind of hollow, and we got on a little sloping plateau of some six feet [1.8 m] large, where we left the grub and the knapsack, keeping my small flask of cognac only. Then up a steep ice slope, very steep I should say, down which the bits of ice cut out of the steps hopped and jumped at full gallop and then bounded over to some bottomless place which we could not see down. Their pace gave one an unpleasant idea of the possible consequence of a slip.
Here we encountered a biting bitter wind. Peter Baumann cut magnificent steps, at least he and Rubi did between them, the one improving on the other's first rough blows. After Rubi came Chaytor with Kauffmann behind him, then the Guv, and then myself, the tail of the string. Each step was a long lift from the last one, and as the snow was shallow they had to be cut in the ice which was like rock on this last slope.
Suddenly there burst upon us, on lifting our heads over the ridge, the green and cheerful valleys of Lauterbrunnen and Interlaken, of Grindelwald and a distant view of others equally beautiful stretching on for ever in one vast panorama. On the other side in grim contrast there was a wild and even awful scene. One gazed about one and tried in vain to see to the bottom of dark yawning abysses and sheer cliffs of ice or rock.
Tourism
Named after the Jungfrau, the Jungfrau Region of the Bernese Oberland is a major tourist destination in the Alps and includes a large number of railways and other facilities. While the mountain peak was once difficult to access, the Jungfrau Railway, a rack railway, now goes to the Jungfraujoch railway station at 3,454 m (11,332 ft), therefore providing an easy access to the upper Aletsch Glacier and a relatively short access to the Jungfrau itself, the height difference between the station and the summit being only 704 metres and the horizontal distance being slightly less than 2 kilometres. As a result, in the popular mind, the Jungfrau has become a mountain associated with the Bernese Oberland and Interlaken, rather than with Upper Valais and Fiesch.
In 1893, Adolf Guyer-Zeller conceived of the idea of a railway tunnel to the Jungfraujoch to make the glaciated areas on its south side more accessible. The building of the tunnel took 16 years and the summit station was not opened before 1912. The goal was in fact to reach the summit of the Jungfrau with an elevator from the highest railway station, located inside the mountain. The complete project was not realized because of the outbreak of the World War I. Nevertheless, it was at the time one of the highest railways in the world and remains today the highest in Europe and the only (non-cable) railway on Earth going well past the perennial snow-line.
The Jungfrau Railway leaves from Kleine Scheidegg, which can be reached from both sides by trains from Grindelwald, and Lauterbrunnen via Wengen. The train enters the Jungfrau Tunnel running eastward through the Eiger just above Eigergletscher, which is, since 2020, also accessible by aerial tramway from Grindelwald. Before arriving at the Jungfraujoch, it stops for a few minutes at two other stations, Eigerwand (on the north face of the Eiger) and Eismeer (on the south side), where passengers can see through the holes excavated from the mountain. The journey from Kleine Scheidegg to Jungfraujoch takes approximately 50 minutes including the stops; the downhill return journey taking only 35 minutes.
A large complex of tunnels and buildings has been constructed at the Jungfraujoch, referred to as the "Top of Europe". There are several restaurants and bars, shops, multimedia exhibitions, a post office, and a research station with dedicated accommodation facilities. An elevator enables access to the top of the Sphinx and its observatory, at 3,571 m (11,716 ft), the highest viewing platform of the area. Outside, at the level of the Jungfraujoch, there is a ski school, and the "Ice Palace", a collection of elaborate ice sculptures displayed inside the Aletsch Glacier. Another tunnel leads to the east side of the Sphinx, where one can walk on the glacier up to the Mönchsjoch Hut, the only hotel infrastructure in the area.
Apart from the Jungfraujoch, many facilities have been built in the Jungfrau Region, including numerous mountain railways. In 1908, the first public cable car in the world, the Wetterhorn Elevator, opened at the foot of the Wetterhorn, but was closed seven years later. The Schilthorn above Mürren, the Männlichen above Wengen, and the Schynige Platte above Wilderswil, offer good views of the Jungfrau and the Lauterbrunnen valley. On the south side, the Eggishorn above Fiesch also offers views of the Jungfrau, across the Aletsch Glacier.
Climbing routes
The normal route follows the traces of the first climbers, but the long approach on the Aletsch Glacier is no longer necessary. From the area of the Jungfraujoch the route to the summit takes only a few hours. Most climbers start from the Mönchsjoch Hut. After a traverse of the Jungfraufirn the route heads to the Rottalsattel (3,885 m or 12,746 ft), from where the southern ridge leads to the Jungfrau. It is not considered a very difficult climb but it can be dangerous on the upper section above the Rottalsattel, where most accidents happen. The use of the Jungfrau Railway instead of the much more gradual approach from Fiesch (or Fieschertal), via the Konkordia Hut, can cause some acclimatization troubles as the difference of altitude between the railway stations of Interlaken and Jungfraujoch is almost 3 km (1.9 mi).
(Wikipedia)
Der Grosse Aletschgletscher ist der flächenmässig grösste und längste Gletscher der Alpen. Er befindet sich auf der Südabdachung der Berner Alpen im Schweizer Kanton Wallis. Die Länge des Gletschers beträgt 22,6 km, die Fläche wird mit 78,49 km² angegeben. Der Aletschgletscher entwässert über die Massa in die Rhone. Die Fläche des gesamten Einzugsgebiets der Massa beträgt 195 km², wovon 1973 etwa zwei Drittel vergletschert waren. Oft werden bei der Flächenangabe der Ober- und Mittelaletschgletscher einbezogen, da diese früher mit dem Grossen Aletschgletscher verbunden waren. Die gesamte vergletscherte Fläche einschliesslich dieser Gletscher betrug 1973 etwa 128 km², für das Jahr 1863 wird eine Fläche von 163 km² angenommen.
Ursprung am Konkordiaplatz
Der Ursprung des Grossen Aletschgletschers liegt in der rund 3800 m hoch gelegenen Jungfrau-Region. Am Konkordiaplatz (♁645905 / 150101), einer 6 km² grossen und nur wenig geneigten Eisfläche, fliessen drei mächtige Firnströme zusammen:
Von Westen mündet der Grosse Aletschfirn, der entlang dem Nordfuss von Aletschhorn und Dreieckhorn fliesst. Der Grosse Aletschfirn wird von Norden her durch drei weitere bedeutende Firne gespeist, nämlich durch den Ebnefluhfirn, den Gletscherhornfirn und den Kranzbergfirn. Alle diese Firne nehmen ihren Ausgangspunkt auf rund 3800 m ü. M. Einschliesslich des Ebnefluhfirns hat der Grosse Aletschfirn bis zum Konkordiaplatz eine Länge von 9 km und ist durchschnittlich fast 1,5 km breit. Gegen Westen ist der Grosse Aletschfirn über den 3173 m ü. M. hohen Gletscherpass der Lötschenlücke mit dem Langgletscher verbunden, der ins Lötschental abfliesst.
Von Nordwesten mündet der Jungfraufirn, der zwar die gerade Fortsetzung des Aletschgletschers darstellt, jedoch der kürzeste der drei Tributärgletscher ist. Er hat seinen Ursprung an der Südflanke des Mönchs, am Jungfraujoch und an der Ostflanke der Jungfrau. Bis zum Konkordiaplatz legt der Jungfraufirn eine Wegstrecke von knapp 7 km zurück und wird dabei im Westen vom Kranzberg, im Osten vom Trugberg flankiert. Er ist in seinem oberen Teil 2 km, weiter unten noch gut 1 km breit.
Von Norden mündet das Ewigschneefeld, das seinen Ausgangspunkt an der Ostflanke des Mönchs nimmt und in einem Bogen, flankiert vom Trugberg im Westen sowie dem Gross Fiescherhorn und dem Grünhorn im Osten, zum Konkordiaplatz fliesst. Bis hierher ist es ungefähr 8 km lang und durchschnittlich 1,2 km breit. Die Mündung in den Konkordiaplatz erfolgt über einen Steilhang mit einem Gefälle von 25 bis 30 %; der Gletscher ist hier stark zerklüftet. Gegen Norden ist das Ewigschneefeld über den firnbedeckten Pass des Unteren Mönchsjochs (3529 m ü. M.) mit dem Einzugsgebiet des Unteren Grindelwaldgletschers verbunden. Durch das Obere Mönchsjoch (3627 m ü. M.) zwischen dem Mönch und dem Trugberg besteht eine Verbindung zum Jungfraufirn. Ferner mündet am Konkordiaplatz von Osten noch der wesentlich kleinere Grüneggfirn (3 km lang und durchschnittlich 600 m breit). Dieser ist nach Osten über den Gletscherpass der Grünhornlücke (3280 m ü. M.) mit dem Fieschergletscher verbunden.
Weiterer Verlauf
Vom Konkordiaplatz aus bewegt sich der Eisstrom mit einer Breite von ungefähr 1,5 km und mit einer Geschwindigkeit von bis zu 180 Metern pro Jahr nach Südosten in Richtung Rhonetal, gesäumt vom Dreieckhorn im Westen und dem Gross Wannenhorn im Osten. Er zeichnet dann eine grosse Rechtskurve und biegt immer mehr nach Südwesten ab, nun durch den Grat des Eggishorns und Bettmerhorns vom Rhonetal getrennt. Der unterste Teil des Grossen Aletschgletschers ist weitgehend durch das Geschiebematerial von Seiten- und Mittelmoränen bedeckt. Die Gletscherzunge liegt derzeit auf rund 1'560 Meter Höhe, weit unterhalb der lokalen Waldgrenze. Aus ihr entspringt der Bach Massa, welcher nach der Massaschlucht und einer Nutzung in einem Wasserkraftwerk, in Bitsch, oberhalb von Naters, in die Rhone (Rotten) fliesst.
Der Grosse Aletschgletscher weist beachtliche Eisdicken auf. Am Konkordiaplatz hat der Gletscher eine Eisdicke von mehr als 900 Metern, gegen Süden nimmt die Mächtigkeit des Eises allmählich auf rund 150 m ab. Charakteristisch sind die beiden dunklen, fast in der Mitte des Aletschgletschers gelegenen Moränenspuren, welche sich ab dem Konkordiaplatz auf der gesamten Länge bis in den Zungenbereich hinziehen. Es sind die Mittelmoränen, die das Eis der drei Hauptfirne voneinander trennen. Die westliche Mittelmoräne wird auch Kranzbergmoräne genannt, die östliche trägt den Namen Trugbergmoräne.
Gletscherschwankungen
In seinem Hochstadium während der Kleinen Eiszeit um die Mitte des 19. Jahrhunderts erstreckte sich der Grosse Aletschgletscher noch rund 2,5 km weiter talabwärts. Aufgrund der allgemeinen Erwärmung seit etwa 1870 hat er besonders unterhalb des Konkordiaplatzes massiv an Volumen eingebüsst und sowohl an den Seiten als auch im Zungenbereich Flächen von mehreren Quadratkilometern freigegeben. Der einstmalige, in der Neuzeit höchste Gletscherstand kann gut an den noch fast vegetationslosen Seitenmoränen abgeschätzt werden. Seit 1850 hat die Eisdicke um teilweise über 100 m abgenommen. Früher waren auch die Eisströme des Oberaletschgletschers und des Mittelaletschgletschers direkt mit dem Grossen Aletschgletscher verbunden.
In der Senke zwischen dem Strahlhorn und dem Eggishorn liegt der Märjelensee, der im 19. Jahrhundert beim Gletscherhochstand zu einem Gletscherrandsee aufgestaut wurde. Seine wiederholten plötzlichen Ausbrüche durch Gletscherspalten verursachten immer wieder starke Schadenshochwasser der Massa hin zum Rhonetal.
Gegen kurzfristige Klimaschwankungen ist der Gletscher aufgrund seiner grossen Masse relativ immun. Während viele andere Gletscher Ende der 1970er Jahre bis Anfang der 1980er Jahre vorstiessen, reagierte der Aletschgletscher auf die vorübergehende Abkühlung kaum – ebenso wenig wie auf die warmen Jahre seit 1983. Aufgrund der zunehmend extremen Hitze der letzten Jahre zieht er sich aber nun doch – wie alle übrigen Alpengletscher – deutlich verstärkt zurück.
Die relative Trägheit in seinen Reaktionen auf Klimaschwankungen macht den Aletschgletscher auch zu einem idealen Untersuchungsobjekt zur Erforschung der Klimaentwicklung im Alpenraum. Die Längenschwankungen des Aletschgletschers in der Vergangenheit dürften sogar eine Rekonstruktion aller grösseren Klimaveränderungen der letzten 3200 Jahre erlauben. Die Bestimmung der verschiedenen Längenstadien des Aletschgletschers in der Vergangenheit erfolgt durch die Radiokohlenstoffdatierung fossiler Baumstämme, die der Gletscher bei einem früheren Vorstoss einmal überfahren haben muss und nun während seines aktuellen Rückzuges wieder freigibt. Der Befund fossiler Böden und von Wurzelwerk garantiert dabei, dass es sich bei dem Fundort auch um den Wuchsstandort des fossilen Baumes handelt. Durch Zählung der Jahresringe der geborgenen Stämme kann sogar der Zeitraum bestimmt werden, während dessen der Aletschgletscher den Fundort nicht erreicht hat. Mit dieser Methode wurde festgestellt, dass der Aletschgletscher bis etwa 1200 v. Chr. um einiges kleiner gewesen sein muss als gegen Ende des 20. Jahrhunderts. Für die Jahre etwa von 1200 bis 1110 v. Chr., 850 bis 750 v. Chr. und 350 bis 250 v. Chr. sind Vorstösse festgestellt worden. Dabei ist der Aletschgletscher von 900 bis 400 v. Chr. jedoch kleiner gewesen als am Ende des 20. Jahrhunderts, genauso wie von etwa 100 v. Chr. bis ins Jahr 250. Um das Jahr 300 ist eine Gletscherlänge vergleichbar der des Höchststandes im 19. Jahrhundert festzustellen.
Laut der letzten Studie der Universität Erlangen-Nürnberg (Juni 2020) schmolz die Oberfläche des Grossen Aletschgletscher zwischen den Jahren 2001 und 2014 um mehr als fünf Meter pro Jahr in den unteren Lagen.
Tourismus
Der Aletschgletscher galt schon früh als besondere Sehenswürdigkeit für Reisende und als willkommenes Untersuchungsobjekt für Forschende. Forschungsstationen gibt es seit 1937 auf dem Jungfraujoch und seit 1976 auf der Riederfurka oberhalb der Riederalp. Durch zahlreiche Luftseilbahnen besonders gut erschlossen ist der Berggrat zwischen dem Riederhorn und dem Eggishorn, der sehr schöne Einblicke in den Zungenbereich und den unteren Teil des Gletschers gewährt. Mit dem Bau der Jungfraubahn auf das Jungfraujoch (auf der Sphinx 3571 m ü. M.) wurde 1912 auch für nicht berggewohnte Leute ein Blick in den oberen Teil des Gletschers ermöglicht.
Am Felshang des Faulbergs östlich des Konkordiaplatzes stehen auf 2850 m ü. M. die Konkordiahütten des Schweizer Alpen-Clubs SAC. Sie dienen als wichtiger Etappenort auf der hochalpinen Gletscherroute vom Jungfraujoch oder vom Lötschental in das Gebiet des Grimselpasses.
UNESCO-Weltnaturerbe
Das Gebiet des Grossen Aletschgletschers ist zusammen mit dem einzigartigen Aletschwald und den umliegenden Regionen seit dem 13. Dezember 2001 Bestandteil des UNESCO-Weltnaturerbes Schweizer Alpen Jungfrau-Aletsch.
(Wikipedia)
Die Jungfrau ist ein Berg in der Schweiz. Sie ist mit 4158 m ü. M. der dritthöchste Berg der Berner Alpen und bildet zusammen mit Eiger und Mönch eine markante Dreiergruppe, ein sogenanntes «Dreigestirn».
Am 13. Dezember 2001 wurde die Jungfrau zusammen mit südlich angrenzenden Gebieten als Schweizer Alpen Jungfrau-Aletsch in die Liste als UNESCO-Weltnaturerbe aufgenommen.
Lage und Umgebung
Über den Jungfrau-Gipfel verläuft die Grenze zwischen den Kantonen Bern und Wallis. Der Berg ist ausserordentlich vielgestaltig. Im Norden und Nordwesten, auf ihrer „weiblichen“ Schauseite (vgl. Foto) sind ihr Wengen-Jungfrau, Schneehorn, das Silberhorn, das Chly Silberhoren und der „Schwarzmönch“ vorgelagert sowie die zerrissenen Kühlauenen- und Giessengletscher. Im Westen erhebt sie sich fast eisfrei volle 3250 Meter über dem hinteren Lauterbrunnental. Es ist dies (nach dem Mont Blanc) der zweithöchste direkte Abhang in den Alpen. Ihre Südwand erhebt sich über dem versteckten Rottalgletscher und ihre Ostwand über den Firnen am Jungfraujoch.
Die Pläne, auf die Jungfrau eine Bergbahn zu bauen, wurden aufgrund finanzieller Schwierigkeiten nicht realisiert. Die ursprünglich bis unter den Gipfel geplante Jungfraubahn wurde bis 1912 mit Endstation Jungfraujoch fertiggestellt.
Auf dem untersten Absatz des Nordostgrats haben die PTT einen Funk-Umsetzer auf 3777 m ü. M. installiert.
Geologie
Die Jungfrau liegt im nördlichen Randbereich des Aarmassivs, eines der sogenannten Zentralmassive der Schweizer Alpen. Ihre höheren Lagen (Silberhorn, Wengen-Jungfrau und Hauptgipfel) sowie ihre Westflanke bis hinunter zum oberen Ende des Lauterbrunnentals sind weit überwiegend aus kristallinem Grundgebirge (prä-triassische Gneise, Glimmerschiefer u. ä.) der Helvetischen Zone aufgebaut. Die Nordwestflanke hingegen, der ganze «Vorbau» (Schwarzmönch, Rotbrett und Schneehorn) besteht aus sedimentärem, überwiegend jurassischem und kretazischem Deckgebirge des Helvetikums. Eine Besonderheit der Jungfrau ist, dass dort zwischen dem prinzipiell autochthonen Gipfel-Kristallin und dessen Deckschichten ein Überschiebungs-kontakt besteht; somit ist das Grundgebirge geringfügig auf sein Deckgebirge überschoben worden.
Name
Der Name Jungfrau dürfte sich von der Wengernalp am Fusse des Berges ableiten, die – nach den Besitzerinnen, den Nonnen vom Kloster Interlaken – früher Jungfrauenberg genannt wurde. Einer anderen Quelle zufolge leitet sich der Name vom Aussehen des Nordhanges des Berges ab, der aus der Ferne dem Schleier eines Mädchens ähneln soll.
Nach dem Berg ist die Jungfrau-Region benannt, die Tourismusorganisation der Orte Grindelwald, Wengen, Mürren und Lauterbrunnen, ausserdem die Jungfraubahn Holding AG, die neben der Jungfraubahn selbst auch die anderen Bergbahnen in der Region betreibt.
Besteigungsgeschichte
Bergsteiger auf dem Gipfel im Jahr 1878
Erstbesteiger waren Johann Rudolf Meyer und sein Bruder Hieronymus mit den Führern Joseph Bortis und Alois Volken, die am 3. August 1811 vom Lötschental her den Berg von Süden erklommen hatten. Sie folgten ungefähr der heutigen Normalroute. Der Volksmund taufte daraufhin die bis dahin unberührte Jungfrau «Madame Meyer».
1874 erfolgte die Winter-Erstbesteigung durch die Alpinistin Margaret Claudia Brevoort.
Die Jungfrau gilt, obwohl leicht erreichbar, als unfallträchtiger Berg. Bei einem der schwersten Unglücke stürzten am 12. Juli 2007 sechs Rekruten der Gebirgsspezialisten-Rekrutenschule Andermatt vom Rottalsattel 1000 Meter auf den darunterliegenden Rottalgletscher in den Tod, nachdem sie eine Lawine ausgelöst hatten. Das urteilende Militärgericht ging von einem falsch eingeschätzten, heimtückischen Lawinenrisiko aus und sprach in der Folge die verantwortlichen Bergführer frei.
Routen
Rottalsattel und Südostgrat (Normalroute)
Schwierigkeit: ZS-
Zeitaufwand: 4–5 Std. von der Mönchsjochhütte, 3½–4½ Std. vom Jungfraujoch
Ausgangspunkt: Mönchsjochhütte (3657 m)
Talort: Grindelwald (1034 m)
Innere Rottalgrat
Schwierigkeit: ZS
Zeitaufwand: 6–7 Stunden
Ausgangspunkt: Rottalhütte (2755 m)
Talort: Stechelberg (919 m)
Nordwestgrat oder „Rotbrettgrat“
Schwierigkeit: S
Zeitaufwand: 8–12 Stunden
Ausgangspunkt: Silberhornhütte (2663 m)
Talort: Stechelberg (919 m)
Nordostgrat
Schwierigkeit: S+, mit IV. UIAA-Grad Felskletterei
Zeitaufwand: 8–10 Stunden
Ausgangspunkt: Jungfraujoch (3454 m)
Talort: Grindelwald (1034 m)
Kunst
Erwähnt ist die Jungfrau unter anderem bei Friedrich Schiller, Wilhelm Tell, Vers 628 (1804). Lord Byrons Drama Manfred (1817) spielt am Fuss und auf dem Gipfel des Massivs. Ferdinand Hodler hat die Jungfrau mehrfach gemalt, darunter die perspektivisch verfremdete «Jungfrau über dem Nebelmeer». Alex Diggelmann gab 1958 eine Lithographienmappe unter dem Titel Die Jungfrau, mein Berg heraus. Stephan Bundi gestaltete 2005 eine Schweizer Gedenkmünze mit dem Bergmotiv.
Im Januar 2012 wurde zum 100-jährigen bestehen der Jungfraubahn eine übergrosse Schweizer Flagge vom Lichtkünstler Gerry Hofstetter an den Gipfel projiziert. Zeitweise waren neben dem Schweizer Kreuz auch ein Porträt des Zürcher Unternehmers Adolf Guyer-Zeller sowie ein Bild von einem der Züge zu sehen.
(Wikipedia)
First United Methodist Church, Palo Alto, CA.
Shot with fully automatic Fuji Cardia mini Tiara II and Fujinon EBC 28mm f/3.5 wide-angle lens on Ilford Delta Professional B&W ISO-100 35mm film.
A step backward:
On 25 Oct 1812, the frigate United States, commanded by Stephen Decatur, captured the British frigate Macedonian, west of the Canary Islands. Broadsiding the Macedonian, United States destroyed her mizzen top mast, which let her driver gaff fall. Using this advantage, United States methodically fired upon the ship. After surrender, Macedonian was repaired and placed into U.S. Naval service. USS United States versus HMS Macedonian, 25 October 1812. Artwork by Arthur N. Disney, Sr. Courtesy of the Navy Art Collection, NH 49848-KN (Color).
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.
When your child dies,
you bury him in your heart,
he only dies the day you die.
At least 141 people, most of them children (132), died when Taliban gunmen attacked the school in the morning. The overwhelming majority of the victims were students at the school, which has children and teenagers in grades 1-10.
It was an attack so horrifying, so shocking and numbing that the mind struggles to comprehend it. Helpless schoolchildren hunted down methodically and relentlessly by militants determined to kill as many as quickly as possible.
As a country looked on in shock yesterday, the death count seemed to increase by the minute. First a few bodies, dead schoolchildren in bloodied uniforms, then more bodies, and then more and more until the number became so large that even tracking it seemed obscene.
Peshawar has suffered before, massively. But nothing compares to the horror of what took place yesterday in Army Public School, Warsak Road. The militants found the one target in which all the fears of Pakistan could coalesce: young children in school, vulnerable, helpless and whose deaths will strike a collective psychological blow that the country will take a long time to recover from, if ever.
DAILY DAWN editorial
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.
The story of Margareten
For the first time in 1373 has been an estate named, the in contrast to an "upper court" at the height of the Viennese mountain (Wienerberg) as "lower court" on (today) Margaretenplatz is designated. 1395 donated Rudolf Tirna, an owner of the facility, together with his wife Anna and his brother Louis one to Saint Margaret of Antioch dedicated chapel. As other early mentions of the "Lower Court" and the chapel we find in 1411 the St. Margaretenkapelln to Metzleinstorff, 1548 St. Margareten, 1568 Sandt Margareten and in 1594 hoff to St Margareten. The around this Margaretner Hof in todays area Margaretenplatz - Hofgasse - Schlossgasse emerged estate hamlet constituted the starting point for the development of the suburb. The estate, it is shown on the circular plan of Niklas Meldemann in 1530 armed with a mighty tower, has been at the siege of 1529 of Turkish groups of fighters set on fire - a commemorative plaque on the house Margaretenplatz 3 remembers at it. The court subsequently changed hands several times until it purchsed Olav Nicholas, Archbishop of Gran, 1555 commercially. Olai had the courtyard and the chapel partially rebuild and he layed out a large castle garden.
He appointed settlers to Margareten and founded south of his farm Nikolsdorf. In the middle of the 17th Century, 1647-1667, finally completed the envoy to the Sublime Porte, Johann Rudolf Schmidt von Schwarzhorn the building. In the 1662 appeared "Topographia Archiducatus Austriae Inferioris Modernae" by Georg Matthäus Vischer the present castle is represented as a two-storey building whose siebenachsiger (7-axle) residential wing in the east is reinforced by a corner tower with loggia-like ambulatory and to the west is surmounted by an onion-shape crowned clock tower. In this figure, however, lacks the this very day preserved with mighty rusticaded stones cladded castle portal. After the destruction of the Türkenjahr (Siege of Vienna) 1683 the construction was rebuilt. Already about 1725 had in the front of the castle developed in the run of today Margaretenstraße through building development the methodic rectangular shape of today's Margaret Square.
1727 sold Earl of Sonnau the manorial system Margareten to the city of Vienna. Between 1749 and 1783 was located in the large deserted castle garden, which served partly as a grain field and pasture, the first Mulberry School in Vienna. In the premises of the castle in 1751 a factory of Leonean goods was established, but which burned down in 1768. 1786 Anton Schwarzleithner moved the factory to Mannersdorf (Lower Austria). Thereafter, the entire reality was measured and came up for auction. The largest parcel, the old castle at Margaretenplatz with the adjacent factory building at 23 Schlossgasse, bought the silk ribbon maker and judge of Margareten, Francis Plumper. By a daughter Prallers, Elizabeth, married Pichler, the building complex came into the possession of a book printer family, which to 1869 handled a print shop here. The new factory building at 21 Schlossgasse was purchased by auction by Johann Brauneck who in the same year petitioned for an increase. On the neighbouring to the west to the castle connecting parcel (Margaretenplatz 3) the silk stuff promoter Paul Hochholzer in 1787 by architect Johann Michael Adelpodinger the existing buildings had adapted, over the entrance gate the building inscription of the old castle of 1651 was immured. The to the west adjoining parcel with the in 1783 deconsecrated St Margaret's Chapel acquired the Samtmacher (velvet maker) Leopold Urspringer, who had the chapel demolished and the ground for the construction of a residential building (77 Margaret Street) used. Also the area of the small castle garden that had the Vienna municipal judge Leopold van Ghelen on lease, was parceled out and developed through newly created streets. In the period from 1781 to 1788 arised on the site of the great palace garden in the of the Gartengasse and Schlossgasse on the one hand and Margaretenstraße and Siebenbrunnengasse surrounded territory on the other not less than 41 parcels.
Margaretenplatz as a historical center of Margareten is particularly accentuated by the 1835/36 before the House Margaretenplatz 3 built well, on those square base the by Johann Nepomuk Schaller modelled statue of the over the dragon triumphant hl. Margaret, the eponym of the suburb rises. As part of the regulation of 1886, the Margaret Square fountain was offset by 20m to the southwest, and received its present location .
In the west the square is surrounded by the instead of the in 1883 demolished brewery according to plans of the architects Ferdinand Fellner and Hermann Helmer by builder Joseph Müller for Baroness Amalie Lipthay 1884/85 established Margartenhof. The castle-like complex occupies an extremely important position as regards urban development in the district. Historically, it represents the symbolic succession building of the old, today only in fragments existing Margaretner Castle (Margaretenplatz 2,3). The large residential complex with the street-like designed "Zierhof" is an early example of urban development concepts, which in Vienna otherwise only could unfold in the interwar period.
To the east the Margaretenplatz is dominated by an according to plans of Ferdinand Seif 1898 built monumental palace-like structured tenement, where forms of the Venetian city palace of the 16th Century were used. Buildings of the Gründerzeit round off the Margaretenplatz in the north.
kceyagi: isanah: belakqwa: isanah: medievalpoc: belakqwa: medievalpoc: via EvilMarguerite on Twitter I’m against putting POC characters in tales of European origin, because, y’know, historical and ethnic accuracy is an actual thing. It’s folklore and it comes from this or that European culture so, yes, accuracy IS a thing. BUT. I’m all for making more movies based on mythology and folklore of other cultures, for example, African or Native American ones. This I support, it would be a great thing. Because, in all honesty, no one needs Black or Asian Cinderella, that’s just stupid (and, yes, inaccurate). but everyone needs more tales about a child lost in the forest meeting spirits and forest gods. Or at least lets make a movie using an Asian variant of Cinderella fairy tale, there’s more than one, y’know? Because I’m all for accuracy and I’m all for representing more than one dominant culture in multicultural society. Are you for real? I bolded the above statements because you know what? *I* needed a Black Cinderella. And I bet a lot of readers here did, too. We still do. Because of colonialism, most of us have been force-fed European history, mythology, fairy tales, and Medievalism; told it’s the best, the highest, the only. It’s everywhere we look: movies, cartoons, books, tv shows, and we’re told that this is something you are required to learn, and in some cases, the only context you’re allowed for your imagination, but it’s not really for you. It’s not about you. Because you aren’t “Historically Accurate.” That can go to hell and so can you. Because you know what? Our histories, once again, because of colonialism, kidnapping, enslavement, genocide, are marginalized, misunderstood, and misrepresented. They’re stolen from us and given to white people considered “more qualified” to tell them, and they make millions of dollars off of those misrepresentations. Entire libraries and histories were purposely, methodically burned in order to disempower people of color. These stories, when they survive, are made illegal to teach, specifically because they empower people of color! People of color are removed from their own stories and their own contexts and replaced with white people, because Ridley Scott “can’t mount a film of this budget, where I have to rely on tax rebates in Spain, and say that my lead actor is Mohammad so-and-so from such-and-such.I’m just not going to get it financed.” You claim you’re all for accuracy? And yet, a “Black or Asian Cinderella” is in your words, “just stupid”??? None of these women are “Accurate” to base a Cinderella on?? [source] [source] [source] [source] All of these women are just automatically disqualified from having their own Cinderella Story because of their races? No matter how “Historically Accurate” they are? [source on all images here] I think we can have both, all, and more. We can tell our own stories, make our own media, AND have a Black AND and Asian AND a Native American AND a Pacific Islander AND a Latina and any other Cinderella we choose. Our stories are worth telling, and for some of us, whose cultures have been crushed by multiple genocides, who have been colonized, who have had our imaginations replaced with Eurocentrism, we are allowed and entitled to our own Cinderella stories, whatever new and beautiful form they take. Also, guess what? There is, in fact, at least ONE Asian Cinderella, told centuries before Perrault’s version. It takes place in China. Did you miss the part where I talked about Asian version of Cinderella and other versions on purpose? Because either you didn’t see it even though it’s a black text on a white background and it’s really hard not to notice or you ignored this part on purpose. Anyway. You are free to read my posts in my folklore tag. I already explained everything enough times to the people who only read those parts of my comments that let them be angry as they like. Ah, yes, you did. My mistake. But why did you call it a variant, when others have existed prior to Perrault’s for centuries and you still call it historically inaccurate to have black or Asian Cinderellas? Okay, but OP states from their original post: “Because, in all honesty, no one needs Black or Asian Cinderella, that’s just stupid (and, yes, inaccurate).” In my experience, using the word “stupid” to describe something is entirely about shutting down other people’s opinions/thoughts and dismissing them despite the evidence that they’re wrong. I skimmed through the folklore tag of the OP and it looks like they’re against racebending stating that people should be represented with their own culture’s stories. Which I guess makes sense from a non-US point of view. But what about the kids growing up in the US who may not feel like just one type of story from their culture is enough representation? And it’s like OP’s forgetting that white people (I know OP isn’t white) borrow/steal aspects of other cultures and mash them together into awful adaptions. Firefly? Cinder? Big Hero 6? Pretty sure nobody was trying to be accurate or respectful of sharing aspects from another culture when those came out. Other than some confusion over who exactly is being addressed as “OP”, I really must say the backpedaling here is more or less what I expected. "Keep white Cinderella white" with a smattering of "make your own!" isn’t exactly the answer to needing more representation. Black and Asian Cinderella isn’t inaccurate, it isn’t "stupid", and removing the context of the actual current situation doesn’t help fix it either. Here: Western Neutral: Separating Common Culture From “Whiteness” ^ If anyone needs help reframing this discussion. I’m saying that people of color DO NOT HAVE TO BE OTHERED TO BE ACCURATE. We don’t need “exotic retellings” or “other versions” or “YOUR culture’s story”. People of color can JUST be “Cinderella”. This whole thread ^ is how marginalization works. I am pushing back against that. And I will keep providing as much visual, cultural, and textual ballast as is required to help any and every Cinderella out there feel empowered to claim it. I want people of color to stop being pushed OUT. I want people of color to feel entitled to Cinderella. Saying that people should be represented with “their own cultures stories” ignores the lived reality of people living in diasporas, in a global age, in a postcolonial reality. It strips people of the culture they live in. Are you really going to make a case that literally anything about say, the American Disney Cinderella from 1950, is a cultural claim for people in some time in Europe? It’s definitely not Medieval. It’s definitely not Victorian. It’s not set in a particular nation. As a matter of fact, note the poster’s claim: Because let’s stop mincing words. There’s no specific cultural claim here. It’s not a claim for “European only” because Europeans of color exist. This is a claim for whiteness. It’s part of the cultural claim that specifically American white people feel toward European History. The myth of the monochrome Middle Ages, in which the medieval is originary, pure, and white, transcends geographical and temporal boundaries. It is attached, through supposed biological descent, to white bodies, wherever and whenever they go, even into the apparently non-corporeal digital realms of fan-forums, television and video-games. There are many fans of color of popular culture medievalisms, but a hostile milieu which consistently repeats the messages that ‘you don’t belong in the Middle Ages’ and the ‘the Middle Ages are not yours’ actively discourages setting out on, let alone completing, a journey from interested fan to professional scholar. And I know that there are many Europeans of color who feel differently, identify differently, and have an entirely different relationship with their heritage. There are many, many, many discussions that people attempt to have with me that cannot and SHOULD NOT be had with me, or this blog. Here’s a message, shared with permission: (this is in response to your post medievalpoc.tumblr.com/post/105371046543/belakqwa-medieva...) I totally agree with ”we can have all and more” and you have some good info/arguments. However, you need to understand the essence of the discomfort that a lot of us (non american and some american) black people have in regards to seeing ourselves only in a European narratives. Black people have lives and cultures outside of Europe/America. I’m tired of seeing black princess in European garbs. I want to see more princesses celebrating cultures from Africa. I want to see the clothes and the jewelery from OUR continent. I want to see the tales of OUR continent on OUR continent. We had cultures and history just as much as medieval Europeans did. European cultures have enough exposure in the world. We are not defined by our presence in Europe. Our history doesn’t start when we had first contact with Europeans. All of these paintings are nice, but I don’t feel valued by them. All these people came from somewhere (or had non European origins) and their cultures where never valued in these representations. If we’ve been kicked out of our own stories, I want first and foremost to be put back in them. I want the priority to be put in my narrative before constantly being mirrored into a foreign European one. Yes we have a presence in Europe, yes we have cultural influence in Europe, yes its not inaccurate to have a black princess is Elizabethan or Victorian dresses. But Europe is not essentially us. Our African cultures and heritage are always erased just to prove we had some kind of prestige in Europe too. I know you’re not black and you might not get this. The opinions are mitigated and Black people in America seem to forget that blackness isn’t just them and they cannot define blackness for the rest of us non-Americans. ( you can publicly post this if you want)— sailorpoompoom (^ Please take care to note the above; I am not Black and discussions of Black identity should not involve me. “People of color” is generally considered an American identity, born of necessity in our sociopolitical and cultural situation.) And there’s is always room for these discussions. One thing’s validity doesn’t make the other moot. One is not more important than the other. One discussion doesn’t eclipse the other. One issue’s existence doesn’t negate the other. Many Americans are mixed-race and/or multicultural in and of themselves. Some of us do not know what race we are, what culture we come from, or have access to these kinds of connections with history. Too many of us have had cultures we should be entitled to denied to us. We are put in categories based on our appearance, regardless of heritage or cultural ties. Essentially, this has become a discussion over which “race”, however it’s categorized, owns the idea of Cinderella. My answer, which is EVERYONE, should not be controversial in my humble opinion. However, it has become obvious that it IS controversial for some people. Critical thinking demands that we ask ourselves why. We all speak from our own knowledge and our own experience, and I’m no exception. What I am trying to speak on is the importance of diversity in perspectives. I am trying to show how psychologically, physically, and spiritually damaging it is to say something is only for white people, because of the entire context of history and social reality of white supremacy. Medievalpoc is only capable of addressing a tiny and very specific fragment of a massive issue*. It’s my hope that people can see this as evidence as the work that needs to be done, as opposed to a failure of work that has been done so far. No one source is good enough to meet every need. It’s not about closing down discussions, but about diversifying the perspectives of the discussions at hand, and that the people affected by them are the ones having the discussions. ________ *Using what is here to address other issues is definitely possible, but is not its purpose, and harm can be caused when using a screwdriver to perform surgery, to use a rather ugly metaphor. That does not, however, render screwdrivers universally unnecessary, or people who use screwdrivers for their intended purposes blameworthy.
Author: Moxon, Joseph, 1627-1691.
Title: A Tutor to Astronomy and Geography. Or An Easie and Speedy Way to Know the Use of Both the Globes, Caelestial and Terrestrial. In Six Books. 1. Teaching the Rudiments of Astronomy and Geography. 2. Astronomical and Geographical Problemes. 3. Problemes in Navigation. 4. Astrological Problemes. 5. Gnomonical Problemes. 6. Trigonometrical Problemes. More Fully and Amply Than Hath Yet Been Set Forth, Either By Gemma Frisus, Metius, Hues, Wright, Blaew, or Any Others That Have Taught the Use of the Globes: And That So Plainly and Methodically, That the Meanest Capacity May At First Reading Apprehend It and With a Little Practice Grow Expert In These Divine Sciences. With An Appendix Showing the Use of the Ptolomaick Sphere. The Third Edition Corrected and Enlarged. By Joseph Moxon, Hydrographer to the Kings' Most Excellent Majesty. Whereunto Is Added the Ancient Poetical Stories of the Stars: Showing Reasons Why the Several Shapes and Forms Are Pictured on the Celestial Globe. As Also a Discourse of the Antiquity, Progress and Augmentation of Astronomy. Job XXVI. 7.13. He Stretcheth Out the North Over the Empty Place, and Hangeth the Earth Upon Nothing. By His Spirit He Hath Garnished the Heavens: His Hand Hath Framed the Crooked Serpent.
Imprint: London : Printed by Tho. Roycroft, for Joseph Moxon, 1674. 3rd ed. corr. and enl.
Physical Description:
Page: P. 179
Call Number: QB41 .M937 1674 Rare Book
Rights Info: Public domain. No known copyright restrictions.
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