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Last weekend I attended an "Indian relic show" (that's what the managers call it) with my husband. It was quite amazing. George is an archaeologist and knows about this material, but he is not a private collector. He represents scientific archaeology; most material recovered from scientific digs ends up in museums and universities. But the private side continues to flourish. Most of this material has been collected from the surface of the ground, or nearly so. But some of it may have been excavated--many Indian burial mounds were destroyed, sadly, by private persons long ago, before the birth of academic archaeology in the late 19th century.
Many of these guys (and they are almost all guys) know a great deal about the subject and have huge collections, as you can see. This meeting happens just one day a year. Buying and selling does go on, but a big part of it is appreciation and "education", as they like to say.
Whatever one thinks of the politics of such collecting, one can't help but admire the fantastic art and craft of the indigenous peoples who occupied this continent before the coming of Europeans. It was quite a roomful!! This is just a sample of the images I shot. (Ceiling light reflections impossible to avoid!)
Settlement points with population estimates are used in GRUMP as a guide tovreallocation of population from rural areas to urban extents defined by stable night-time lights. The level of detail available in the settlement points database varies by country.
Note: We would love to know how you are re-using our graphics, especially if you are a teacher using them in the classroom. Send us an email: knowablemagazine AT annualreviews DOT org
Most of the antiviral drugs being tested against the SARS-CoV-2 coronavirus attack one of three main steps in the life cycle of the virus. Drugs that block viral binding and entry make the virus less able to invade host cells. Other drugs (including remdesivir, the only antiviral currently approved in the US for treating Covid-19) prevent the virus from making new copies of viral RNA. A third set of drugs interferes with production of the proteins required to form complete, functioning new viruses.
Illustration of the life cycle of a coronavirus, indicating steps in the life cycle where potential antiviral drugs might attack.
Read more: "The challenges of antiviral treatments"
This official Minnesota State Capitol Restoration Project photo is being made available for educational, scholarly, news or personal purposes (not advertising or any other commercial use). When any of these images are used, the photographic credit line should read “Courtesy: MN Dept. of Admin. Cathy Klima photographer.” These images may not be used in any way that would imply endorsement by the Minnesota State Capitol Restoration Project or the State of Minnesota of a product, service or point of view.
President of Star News Publishing, Roger Holmes (second from right), shows PWL Stettler care partner Shauna Lee Carlson, and residents John Scott and Betty Peterson an aluminum template being made to create newspaper pages at the Wainwright Star print shop
©2013 / VG BildKunst
WAGNR RMX - Philipp Geist
WGNR rmx 2013 - PHILIPP GEIST
Light Installation / Video Mapping Installation
New City Hall Bayreuth from July 7th to August 28th On the occasion of Richard Wagner’s 200th birthday the Berlin artist Philipp Geist (1976) develops a comprehensive light and video mapping installation on the external walls of the New City Hall in Bayreuth over a period of 40 nights. The artist dismisses the use of screens and projects his artistic image and light projections directly onto the facade. The projection merges with the location and invites visitors to linger around the New City Hall. The art installation is going to be further developed and enhanced during the mentioned period.
The subject of the artistic installation is Richard Wagner and his works; images, words, quotes, and associations from his operas are artistically interpreted and incorporated into the installation. These terms and quotations from Wagner's operas are projected in a "carpet of words" and abstract verbal images on the facade. With his pictorial language the artist Philipp Geist develops his own artistic interpretation of Wagner's themes. Geist creates a dialog between the location, i.e. the New City Hall, the visitors, and the artistic works of Richard Wagner. In the process, the access to the "Wagner" topic is complex: On a first direct level, concepts and images of his major works will be displayed on the facade by means of the visual language of Philipp Geist. Visitors will be inspired by individual characters and scenes from the rich repertoire of fine arts, from paintings and illustrations, especially from the 19th century. However, the characters and scenes will be alienated and integrated into the abstract structures of Philipp Geist’s worlds of images. Known Wagner themes, such as fire, natural phenomenons, and symbols like the ring, the sword, and the storm as a mirror for the inner turmoil, can be re-experienced and emerge as quotes in the form of images. In this way the installation demonstrates connections in a non-narrative manner and thus admits a different modern and contemporary access to Wagner’s works.
In this manner the radiant face of the hero appears in order to darken and vanish in the next moment. The great void comes into sight through the building bathed in darkness symbolizing the fraud, the vile and the dark side existing in men.
A scenery appears for an instant to dissolve in a flash into a graphic pattern again. Pristine landscapes turn into pixels and remind the viewer of the actual romantic ideal.
The Rheingold shines and sparkles through a hinted blue surface of water to crumble to dust a moment later. Gray and white particles float over the facade; the material transience is almost palpable.
The symbolism of the colors is adopted from the works: white sails become black, and vice versa; for the contemporary video projection technology it is easy to decide instantly on fateful questions. The sails may also turn into colorful triangles and fly away over the facade as a graphic pattern. At the same time, it is the random and ludic character of the installation that lures out the tragic and borne nature of the Wagner pathos and allows viewers of any age to envision uncountable points of contact. The installation celebrates Wagner, but it also uncovers critical voices: polarizations like genius and kitsch clash together and cover the building as one, quotes as Wagner’s "Aber, aber, was sollen die Sentimentalitäten" [But for all that, what’s the point of all these sentimentalities] wander along the facade.
On another level the approaches followed by Wagner matter for Geist’s installation: Wagner crossed the boundaries between the different arts and contents. He allied image and sound, music and stories, symphony and legends. Also Geist’s installation is influenced by Crossover: the multimedia artist creates a synergetic work on the City Hall giving rise to images from texts and mixing the analog with the digital by painting with light and his computer
© 2013 Philipp Geist
Philipp Geist STUDIO | VIDEOGEIST
WAGNR RMX - Philipp Geist
Lichtinstallation / Video-Mapping-Installation
Bayreuth Neues Rathaus 20.07.2013 bis 28.08.2013
KONZEPT PHILIPP GEIST
Anlässlich des 200. Geburtstags von Richard Wagner entwickelt der Berliner Künstler Philipp Geist (1976) über den Zeitraum von 40 Abenden eine flächendeckende Licht- und Video-Mapping-Installation auf das Neue Rathaus in Bayreuth. Dabei verzichtet der Künstler auf den Einsatz von Leinwänden und projiziert seine künstlerischen Bild- und Lichtprojektionen direkt auf die Fassade. Die Projektion verschmilzt mit dem Ort und lädt Besucher zum Verweilen am Neuen Rathaus ein. Über den Zeitraum der Installation wird die künstlerische Installation weiterentwickelt und ergänzt. Inhalt der künstlerischen Installation ist Richard Wagner und sein Werk; Bilder, Begriffe, Zitate und Assoziationen aus seinen Opern werden künstlerisch interpretiert und in die Installation eingebaut. Dabei werden Begriffe und Zitate aus Wagners Opern als Wörterteppich und abstrakten Wort-Bilder auf die Fassade projiziert. Der Künstler Philipp Geist entwickelt mit seiner Bildsprache seine eigene künstlerische Interpretation der Wagner-Themen. Geist entwickelt einen Dialog zwischen dem Ort, also dem Neuen Rathaus, den Besuchern und dem künstlerischen Werk von Richard Wagner. Der Zugang zum Thema „Wagner“ ist dabei vielschichtig. Zum Einen auf einer ersten, direkten Ebene, werden Begriffe und Bilder seiner Hauptwerke in der Bildsprache von Philipp Geist auf der Fassade zu sehen sein. Einzelne Figuren und Szenen aus dem reichen Repertoire der Bildenden Kunst, aus Gemälden und Illustrationen v.a. aus dem 19. Jahrhundert werden dem Besucher begegnen. Sie werden jedoch verfremdet und in die abstrakten Strukturen von Philipp Geists Bilderwelten integriert. Bekannte Wagner-Themen wie das Feuer, Naturereignisse und Symbole wie der Ring, das Schwert, und den Sturm als Spiegel für die innere
Aufruhr werden neu erfahrbar gemacht und tauchen als Bildzitate in der Installation auf. Die Installation zeigt so in nicht narrativer Art Zusammenhänge auf und lässt somit einen anderen modernen und zeitgenössichen Zugang zu dem Werk Wagners zu. So erscheint das strahlende Gesicht des Helden, um sich im nächsten Moment zu verdüstern und zu verschwinden. Die große Leere erscheint durch das in Dunkel getauchte Gebäude und symbol- isiert den Betrug, das Niederträchtige und Düstere im Menschen. Eine Szenerie taucht auf, um gleich wieder in ein grafisches Muster zu zerfließen. Unberührte Landschaften werden zu Pixeln und führen dem Betrachter vor Augen, dass es sich um ein romantisches Ideal handelt. Das Rheingold strahlt und funkelt durch die blaue angedeutete Wasseroberfläche hindurch, um im nächsten Moment zu Staub zu zerfallen. Graue und weiße Partikel schweben über die Fassade, die materielle Vergänglichkeit wird geradezu greifbar. Die Symbolik der Farben wird aus dem Werk übernommen, weiße Segel werden zu schwarzen und umgekehrt, es ist der zeitgenössichen Videoprojektionstechnik ein Leichtes, ganze Schicksalsfragen zu entscheiden. Vielleicht werden die Segel auch zu bunten Dreiecken und fliegen als grafisches Muster über die Fassade davon. So ist auch das Zufällige und Spielerische Merkmal der Installation, die das Tragische und Getragene des Wagner-Pathos herausfordert und eine Vielzahl von Anknüpfungspunkten für das Publikum jeden Alters ermöglicht. Die Installation feiert Wagner, macht aber auch kritische Stimmen sichtbar: Polarisierungen wie „Genie“ und „Kitsch“ treffenen aufeinander und ziehen sich gemeinsam über das Gebäude, Zitate wie Wagners: „Aber, aber, was sollen die Sentimentalitäten“wandern die Fassade entlang. Auf einer weiteren Ebene werden die Ansätze, welche Wagner verfolgte, auch für Geists Installation von Bedeutung sein: Wagner überschritt die Grenzen der verschiedenen Künste und Inhalte. Er brachte Bild und Ton, Musik und Geschichten, Symphonie und Sagen zusammen. Auch die Installation von Geist ist geprägt vom Crossover: Der Multimedia-Künstler erschafft ein synergetisches Werk auf dem Rathaus, lässt aus Texten Bilder entstehen und mischt Analoges mit Digitalem, indem er mit Licht und dem Computer malt.
© 2013 Philipp Geist
Philipp Geist STUDIO | VIDEOGEIST
Studio Philipp Geist
Post Box (Postfach) 080311
10003 Berlin/ Germany
Leipziger Str. 6610117 Berlin Studio PHILIPP GEIST - Leipziger Str. 66 - 10117 Berlin
Dr. Ruth gestures during a speech. She promises that all prospective students who decide to enroll will have "Grrreat SECKS!"
Just something to keep in mind.
Euxton never let go in this match and had their backs against the wall in the 1st half with mounting pressure from a strong Fulwood team. Euxton were down to 10 in the 2nd for an off the ball incident but hanged on for a smash and grab finish with a 94th minute goal to take the points.
My cousin was waving his hands in front of camera to obstruct my shots. So I went ahead to snap a few pics. And then, unexpectedly...
A U.S. Soldier, right, points out the location of enemy forces during a patrol with Marines near Contingency Operating Post Honaker Miracle, Afghanistan, July 29, 2009. The Marines are from 2nd Platoon, Charlie Company, 1st Battalion, 5th Marine Regiment. (DoD photo by Spc. Evan D. Marcy, U.S. Army/Released)
The points are set for 37673 to enter the 'down' loop at Lostwithiel Station at 12.35 on the 19th August 1997 with the china clay empties from Fowey Harbour. Note the signalman is returning to his 'box' after collecting the 'Fowey' token from the driver of 37673.
That's one big beetle! The wound on my hand is a burn from the wire rack in my oven. Cooking is a dangerous hobby.
Strobist info: hotshoe flash mounted in small umbrella left of frame, feathered away from subject. Triggered via radio.
This is a photograph from the 30th Annual AXA Raheny 5 Mile Road Race 2014 took place in Raheny Village, Dublin, Ireland on Sunday January 26th 2014 at 15:00. The 'Raheny 5' has become one of the most famous road races in Ireland. The race has continued to grow year-on-year and this year was no exception on the year of it's 30th Anniversary. Almost 3,000 participants took part in the various events of the day. The incredible voluntary organisational work carried out by Raheny Shamrocks and the local community in staging the race every year must be acknowledged.
The weather was postively wintery today. There was an icy wind blowing into the face of the runners at various points in the course. This made for some very variable mile-splits. Overall the weather was favourable in that the rain stayed away and there was some helpful 'wind at the back' for the runners in places.
The race route starts at All Saints Park and goes into Raheny Village via Watermill Road. The route then turns west and along the Howth Road before turning left onto Sybill Hill Road. The route then turns left again onto Mount Prospect Avenue and continues until you run down to the sea-front and the Clontarf Road. The only real hill in the course is at the left turn from Clontarf Road onto Watermill Road. Finally, at the North East end of St. Anne's Park the race turns left and makes it way to the finish which is positioned at the start area of the race.
We have an extensive set of photographs from today's race at the 1 mile and then 400 meters to go. The full set is available at www.flickr.com/photos/peterm7/sets/72157640185381674/
Some links, related to this race, which you might find useful:
The Raheny Shamrocks Club Internet Homepage: www.rahenyshamrock.ie/ or www.rahenyshamrock.ie/news/axa-raheny-5-2013
Raheny Shamrocks Facebook Page: www.facebook.com/rahenyshamrock?sk=wall&filter=2
A GARMIN GPS Trace of the race route: connect.garmin.com/activity/24632342
Our Flickr Set from the Raheny 5 Mile Road Race 2013: www.flickr.com/photos/peterm7/sets/72157632621783395/
Our Flickr Set from the Raheny 5 Mile Road Race 2012: www.flickr.com/photos/peterm7/sets/72157629086163673/
Our Flickr Set from the Raheny 5 Mile Road Race 2011:http://www.flickr.com/photos/peterm7/sets/72157625939674838/
Our Flickr Set from the Raheny 5 Mile Road Race 2010: www.flickr.com/photos/peterm7/sets/72157623196555201/
The Boards.ie Athletics Discussion Thread for the Race 2013: www.boards.ie/vbulletin/showthread.php?t=2056776031
The Boards.ie Athletics Discussion Thread for the Race 2014: www.boards.ie/vbulletin/showthread.php?t=2057117075
We use Creative Commons Licensing
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Creative Commons aims to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
We take these photographs as a hobby and as a contribution to the running community in Ireland. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us.
This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
How can I get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting does take a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets
The car racing fans of PWL Stettler: (from left) Vi Clark, Ted Carter, Phyllis Fisher, Marion McCarty, Gordon Jacobson, Fran Chatrin, Dorothy and Bill Dawson, Ken Shepherd and Butch Blackmore.
I photographed this relic, on the Down Highland line north of Perth, in 2007.
Few sets of catch points remain today; none in Scotland, as far as I know.
KEENE, N.H. – Sophomore Ryan Martin (Wayne, Me.) scored 25 points on 8-of-9 shooting from the field, 3-of-4 from behind the arc and a perfect six-for-six from the line to lead Keene State College to a 94-85 victory over Plymouth State University in a Little East Conference men’s basketball game at Spaulding Gymnasium.
Keene State, which has won three straight, improves to 13-5 and moves into a tie for second place in the LEC with a 5-3 mark. Plymouth State (8-9, 3-5 LEC) saw its two-game winning streak come to an end.
Juniors Anthony Mariano (Naugatuck, Conn.) and Ollie Hunter (Bedford, N.H.) added double-figures for the winners with 14 and 13 points, respectively, and they both finished with eight rebounds.
The Panthers placed five players in double-figures. Junior Brian Chergey (Bow, N.H.) led the way with 18 points, seniors Ian Dempsey (Andover, Mass.), Ryan Lambert (Derry, N.H.) and Tom Dowd (Portsmouth, N.H.) each finished with 13 points, and senior Matt Feehan (Nashua, N.H.) added 11 points. Lambert had a game-high nine rebounds.
Playing a strong defensive first half, the Owls turned a block by sophomore Rashad Wright (Agawam, Mass.) into a three-pointer by junior Anthony Mariano (Naugatuck, Conn.) at the other end of the court. Junior Derek D’Amours (Agawam, Mass.) followed with another hoop from behind the arc to stake KSC to a 27-13 lead at the 10:22 mark.
The Panthers used a 16-4 run to get back into the game. A conventional three-point play by senior Bill Stowell (Stratham, N.H.) cut the Owls lead to 31-29 with 5:19 to go. The Owls scored the final nine points of the half, capped off by a pair of free throws by sophomore Ryan Bourgeois (Bedford, N.H.) to take a 49-37 at the break. Martin hit all three of his shots from behind the arc on the way to finishing with 13 first half points.
KSC maintained its advantage early in the second half. With KSC up 63-50, PSU strung together seven straight points to close the gap to 63-57 on a corner three-pointer by Chergey. A three-pointer by Feehan made it a 69-66 game at the 8:29 mark. D’Amours, who finished with 19 points, scored five straight points and Martin followed with a scoop shot in the lane to make it 80-70 with 6:06 to go.
The Panthers made one last run at the Owls. A top-of-the-key three-pointer by Chergey cut the deficit to five points (85-80) with 2:40 to play. Lambert converted another three-pointer in PSU’s next possession to make it 85-83 with 2:10 to play. D’Amours answered with a lay-up and a pair of free throws to put KSC up 89-83.
A basket by Dowd made it 89-85 with 54.6 seconds on the clock. Martin was fouled on the Owls next possession. He hit both shots to give KSC a 91-85 lead with 49.2 seconds to go. After a missed Panther shot, Mariano was fouled in the rebound action. He made one of two shots to put KSC up 92-85. Martin, who leads Division III in free throw pct., put the game away with two more free throws to account for the final score.
The overall series between the two in-state rivals is tied at 53-53.
Keene State is at Southern Maine on Saturday (3 p.m.). PSU travels to Johnson State on Thursday (7:30 p.m.).
(Courtesy of Keene State Sports Information)
MSU Junior LB K.J. Wright (#34) points the way for Sophomore DB Charles Mitchell( #4) after Mitchell beat Ole Miss receiver Dexter McCluster (#22) to the ball. Mitchell had two interceptions on the day.
The Pano supports 40+ simultaneous touch points. You can learn more about the Pano multitouch table at: ideum.com/products/multitouch/pano/
A day out on the Bodmin Steam Railway, or the Bodmin and Wenford Railway.
The Great Western Railway opened its branch line from Bodmin Road to Bodmin General 27 May 1887, and on 3 September 1888 a junction line was opened to join with the Bodmin and Wadebridge Railway at which had opened its line from Bodmin North to Wadebridge in 1834.
The line closed on 3 October 1983 following the ending of freight traffic from Wenford.
In 1984 the Bodmin Railway Preservation Society was formed, and they held their first open day at Bodmin general two years later.
1987 saw the Cornish Steam locomotive Society move their equipment from Bugle to Bodmin.
A Light Railway Order was granted in 1989 and the following year passenger services recommenced between Bodmin General and Bodmin Road, although by now that station had been renamed "Bodmin Parkway".
A new intermediate station known as Colesloggett Halt was brought into use.
In 1996 the former junction line was also reopened, with another new station provided as Boscarne Junction.
Bodmin was the most important town in Cornwall when the Cornwall Railway opened on 4 May 1859. Original proposals to build a branch to the town failed as the company could not raise enough capital, so instead they decided to open a station called "Bodmin Road" at a convenient point.
The new station was finally ready to open on 27 June 1859 and was named "Bodmin Road". Because of its remote location the station master was paid five pounds by the Post Office to carry out the duties of post master. He also received a special lodging allowance until a house could be provided for him two years later. A goods shed was built in 1860 at the east end of the station, behind the platform for trains to Plymouth and cattle pens were added the following year. A footbridge across the line was built by Mr Robartes in 1860 to enable visitors to reach Lanhydrock more easily. This was later replaced by a passage beneath the tracks. This path is still used by visitors to this National Trust property who arrive by train.
In 1989 the old station buildings, except for the signal box, were demolished and replaced by modern brick and glass structures. The station had been renamed Bodmin Parkway on 4 November 1983.
There is no booking office for the Bodmin and Wenford trains so passengers buy their tickets from the guard. These use the opposite face of the platform used by mainline trains towards Plymouth. The Bodmin line curves sharply away to the north at the west end of the platform, and between this line and the main line is the exchange siding used for occasional movements between the two railways, and a large modern carriage shed alongside that is used to store rolling stock for the Bodmin and Wenford Railway.
Slide produced by the Province of Ontario Picture Bureau, probably in the 1920s, for use in Ontario schools.
Water-damaged.
Donated to the Community Archives of Belleville and Hastings County by Mike and Sue Mills in October 2015.
Settlement points with population estimates are used in GRUMP as a guide tovreallocation of population from rural areas to urban extents defined by stable night-time lights. The level of detail available in the settlement points database varies by country.
Settlement points with population estimates are used in GRUMP as a guide tovreallocation of population from rural areas to urban extents defined by stable night-time lights. The level of detail available in the settlement points database varies by country.
I actually considered using a small compressor or motorising this with a small 6L pump, but why bother?!? I only need about three squirts to change the points and back! Works a treat and is hidden under the lip of my layout.
Die Zweige stehen in mit Wasser gefüllten Gefäßen an verschiedenen Stellen der Anlage.
Pots filled with water and cherry branches stand at different points of the park on the occasion of the Cherry Blossom Festival. In a March night, vandals had climed over the fence equipped with motor saws and sawed 18 Japanese cherry trees. These blooming branches were retrieved from the sawed trees.
"Grande Progetto Pompei - UNESCO, EU, & MIBAC (02/2013): But, NAPLES' - The Other Forgotten and Neglected Architectural Cultural Heritage: Diocesi di Napoli - CENTRO STORICO di Napoli Patrimonio della Chiesa e dell'Umanità (UNESCO)[2013].
“Il centro antico di ogni città custodisce preziose memorie storiche sulle origini, l’arte, le tradizioni di un popolo. Ciò vale in maniera particolare per Napoli, che può vantare un patrimonio culturale e morale di straordinaria entità; un patrimonio che si snoda spesso attraverso itinerari legati alla fede, come ben sa chiunque abbia ammirato, almeno una volta le chiese, i campanili, le cappelle che adornano le più caratteristiche strade del cuore della città.
Queste ricchezze da tempo corrono il rischio di essere abbandonate e di scomparire dall’orizzonte della cultura cittadina, portando con sé nell’oblio frammenti insostituibili della nostra storia…”.
Così si esprimeva l’Arcivescovo Emerito di Napoli, Card. Michele Giordano, nella presentazione dell’ormai introvabile volume di Maria Caputi “Napoli Rivelata, gli spazi sacri del centro antico”, edito dall’Arcidiocesi di Napoli e dalla Fondazione Napoli Novantanove nel 1994 dalla casa editrice M. D’Auria.
Per recuperare queste ricchezze, almeno alla nostra attenzione, diamo in questa pagina del sito dei Beni Culturali della Diocesi l’elenco completo di tutte le chiese del centro storico di Napoli, aperte o chiuse, in restauro o semplicemente abbandonate o ridotte ad uso profano. Lo facciamo perché le nostre chiese non scompaiano “dall’orizzonte” della nostra cultura. Anche un semplice elenco può rivelarsi un rosario meditato che possiamo recitare richiamando, con il nome delle singole chiese, la fede dei nostri Padri e la nostra storia. Lo faremo seguendo la tradizionale suddivisione in sei quartieri (Pendino, Porto, S. Giuseppe, S. Lorenzo, Vicaria e Mercato), ecc.
_____________
The Art Newspaper (29/01/2013), Corriere Della Sera (21/01/2013 [Video 04:29]), & LA REPUBBLICA (23/11/2012).
- Heritage News Italy: "See Naples before it dies of neglect - Report and protests highlight shoddy state of Unseco World Heritage site'S,"The Art Newspaper (29/01/2013).
The increasingly dire state of conservation of much of Naples’s cultural heritage—its churches, monuments, libraries and palaces—has been highlighted by a damning news report published by one of Italy’s leading papers, the Corriere della Sera, in January [Corriere della Sera > Le Inchieste > > Lo scempio delle chiese di Napoli(21/01/2013)].
The online report revealed an alarming statistic: Naples has around 200 closed and abandoned churches. Some have been stripped of all their furnishings including works of art, some never received the funds they had been promised, while others received them but never embarked on the agreed conservation projects. Others still were closed down, restored and then never opened again.
The report points to years of neglect and mismanagement by the local and national government, as well as by the Church and the regional arm of the ministry of culture.
The city’s historic centre, the largest in Europe, has been listed as a Unesco World Heritage site for the last 17 years, however the city’s residents have long bemoaned the state of their heritage, so much so that a petition, signed by 16 civic committees and 60 leading intellectual figures, was circulated at the end of last year calling for the city to be stripped of its Unesco title.
-- The Art Newspaper (29/01/2013). www.theartnewspaper.com/articles/See-Naples-before-it-die...
- NAPOLI BENI CULTURALI: Lo scempio delle chiese di Napoli: duecento chiuse e abbandonate - Viaggio choc tra gioielli dell'arte dimenticati, depredati, in rovina, a volte addirittura pericolosi. Molte sono diventate negozi, officine o abitazioni. Altre addirittura discariche, Corriere della Sera, (21/01/2013) [Video 04:29].
«So tutt vacant (vuote ndr)... nun c'è rimasto niente. Qua a Napoli nelle chiese hanno fatto stragi». Parola di esperto. E l'esperto, in questo caso è un ex ricettatore di opere d'arte che ha lasciato il carcere da un paio di mesi e che ha promesso di cambiare strada. «Nelle chiese napoletane non c'è più niente perché sono abbandonate ed è stato facile prendersi tutto. Ce ne stanno tantissime chiuse», assicura.
GIOIELLI ABBANDONATI - Duecento chiese chiuse, sprecate. Gioielli spesso abbandonati, dimenticati, depredati, in rovina, a volte addirittura pericolosi. Monumenti al degrado e allo spreco visto che per anni, per il recupero di alcuni di loro, sono stati stanziati milioni di euro. Soldi spesso risultati mai spesi. O castelli di ferro, impalcature ormai definitive il cui affitto non è certo gratuito. Senza contare restauri in corso da oltre 30 anni che non hanno mai consentito l'apertura al pubblico delle chiese, come nel caso di Sant'Agostino alla Zecca o della chiesa di Sant'Aniello a Caponapoli, ristrutturata per decine di anni, inaugurata l'anno scorso ma perennemente chiusa.
Accade a Napoli, nel centro storico, area patrimonio dell'Unesco, cioè patrimonio dell'Umanità. Attraversando i decumani ogni cento metri ci si imbatte in una chiesa e nella metà dei casi di tratta di strutture antiche, ricche e inaccessibili. «Ne trovi anche una difronte all'altra, come nel caso Di San Giovanni Battista delle Monache e di Santa Maria delle Grazie», spiega Antonio Pariante presidente del comitato civico di Santa Maria di Portosalvo e appassionato conoscitore del centro antico napoletano.
-- Corriere della Sera, (21/01/2013) [Video 04:29]. www.corriere.it/inchieste/scempio-chiese-napoli-duecento-...
- NAPOLI BENI CULTURALI: Luce sulle chiese negate il calendario Di Meo 2013 - Basiliche, cappelle, chiostri che i napoletani stessi e pure i turisti conoscono appena. L'album "L'anima del tempo - Chiese napoletane: rovine e recuperi" è stato realizzato dal fotografo Massimo Listri [FOTO 1 di 12], LA REPUBBLICA / NAPOLI (23/11/2012).
Undicesima edizione del Calendario Di Meo, un'avventura estetica che dalle colline irpine - lì dove nasce e agisce l'omonima azienda vitivinicola - ha attraversato prima il golfo napoletano, poi i monumenti di Roma e Palermo. Quindi le strade parigine e i quartieri newyorchesi. Fino ad accarezzare le piazze madrilene, i sobborghi di Marrakech e le architetture di Berlino. Oggi, però, è tempo di ritornare a Napoli e alla sua storia millenaria, specialmente quella custodita dalle chiese chiuse. Magari lasciandosi ispirare dall'articolo "La morte delle cattedrali" che cent'anni fa Marcel Proust firmò per "Le Figaro" in difesa delle chiese francesi.
-- LA REPUBBLICA / NAPOLI (23/11/2012).
napoli.repubblica.it/cronaca/2012/11/23/news/luce_sulle_c...
napoli.repubblica.it/cronaca/2012/11/23/foto/luce_sulle_c...
-- "GRANDE PROGRAMMA CENTRO STORICO UNESCO - NAPOLI / esplora la mappa degli interventi," Comune di Napoli (2009).
www.centrostorico.na.it/index_mappa.htm
-- CHIESA DI NAPOLI (2013): CENTRO STORICO di Napoli Patrimonio della Chiesa e dell'Umanità (UNESCO) = L' atrio dell' insula episcopalis di Napoli: problemi di architettura e topografia paleocristiana e altomedievale di C. Ebanista, in Tardo Antico e Alto Medioevo: filologia, storia, archeologia, arte, a cura di M. ROTILI, Napoli 2009, pp. 307-375 (per gentile concessione dell'autore [PDF pp. 1-13]).
www.chiesadinapoli.it/pls/napoli/v3_s2ew_consultazione.mo...
-- ITALIA | NAPOLI BENI CULTURALI: "VANISHING ACTS - See Naples before it dies." NEWSWEEK (10/04/2006), p.52 [PDF].
www.flickr.com/photos/imperial_fora_of_rome/8449546840/in...
Settlement points with population estimates are used in GRUMP as a guide tovreallocation of population from rural areas to urban extents defined by stable night-time lights. The level of detail available in the settlement points database varies by country.
File name: 10_03_001952a
Binder label: Theater
Title: Oyster Bay! Saddle rocks. Blue points. 'Lively, very very lively.' (front)
Date issued: 1870-1900 (approximate)
Physical description: 1 print : chromolithograph ; 13 x 8 cm.
Genre: Advertising cards
Subject: Men; Actors; Musical revues & comedies
Notes: Title from item. Performance venue: Bijou Theatre
Statement of responsibility: Atkinson's Comedy Company
Collection: 19th Century American Trade Cards
Location: Boston Public Library, Print Department
Rights: No known restrictions.
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