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Avebury is a Neolithic henge monument containing three stone circles, around the village of Avebury in Wiltshire, in southwest England. One of the best known prehistoric sites in Britain, it contains the largest megalithic stone circle in the world. It is both a tourist attraction and a place of religious importance to contemporary pagans.
Constructed over several hundred years in the third millennium BC, during the Neolithic, or New Stone Age, the monument comprises a large henge (a bank and a ditch) with a large outer stone circle and two separate smaller stone circles situated inside the centre of the monument. Its original purpose is unknown, although archaeologists believe that it was most likely used for some form of ritual or ceremony. The Avebury monument is a part of a larger prehistoric landscape containing several older monuments nearby, including West Kennet Long Barrow, Windmill Hill and Silbury Hill.
By the Iron Age, the site had been effectively abandoned, with some evidence of human activity on the site during the Roman period. During the Early Middle Ages, a village first began to be built around the monument, eventually extending into it. In the Late Medieval and Early Modern periods, local people destroyed many of the standing stones around the henge, both for religious and practical reasons. The antiquarians John Aubrey and William Stukeley took an interest in Avebury during the 17th century, and recorded much of the site before its destruction. Archaeological investigation followed in the 20th century, led primarily by Alexander Keiller, who oversaw a project which reconstructed much of the monument.
Avebury is owned and managed by the National Trust. It has been designated a Scheduled Ancient Monument, as well as a World Heritage Site, in the latter capacity being seen as a part of the wider prehistoric landscape of Wiltshire known as Stonehenge, Avebury and Associated Sites.
- Wikipedia
Two photos used in latest Practical Photography (March 2009) issue - one further on as well, to publicise a B&W photo competition - wonder if I can enter...:D
Blythe Physical Challenge - BPC #128 - April Foolishness 3
Cerise: Oh look, a Pied Wagtail!
Edna: Tee hee hee!!!
Hopefully of interest to at least one of my Flickr contacts :-)
Generally seems to be a positive review, although it is perhaps to be expected that a magazine such as Practical Motorist would be less harsh than something like Car.
DVLA say that G892RKP only lasted to November 1995, perhaps written-off in an accident?
First of two collages from front cover of old Practical Householder mags I bought recently at the auto jumble at Astle Park Steam Fair. Aug. 2017
Sorry for all the uploads, but I forgot about this shot and it makes me giggle :P Cherry just being the usual 'drama queen' because the attention isn't all hers, Rusty being the big thick head wondering whats happening, and Biscuit who acts like he has ADHD slowly trying to edge away from the other two since he doesn't like to sit still!
Quoting Smithsonian National Air and Space Museum | Concorde, Fox Alpha, Air France:
The first supersonic airliner to enter service, the Concorde flew thousands of passengers across the Atlantic at twice the speed of sound for over 25 years. Designed and built by Aérospatiale of France and the British Aviation Corporation, the graceful Concorde was a stunning technological achievement that could not overcome serious economic problems.
In 1976 Air France and British Airways jointly inaugurated Concorde service to destinations around the globe. Carrying up to 100 passengers in great comfort, the Concorde catered to first class passengers for whom speed was critical. It could cross the Atlantic in fewer than four hours - half the time of a conventional jet airliner. However its high operating costs resulted in very high fares that limited the number of passengers who could afford to fly it. These problems and a shrinking market eventually forced the reduction of service until all Concordes were retired in 2003.
In 1989, Air France signed a letter of agreement to donate a Concorde to the National Air and Space Museum upon the aircraft's retirement. On June 12, 2003, Air France honored that agreement, donating Concorde F-BVFA to the Museum upon the completion of its last flight. This aircraft was the first Air France Concorde to open service to Rio de Janeiro, Washington, D.C., and New York and had flown 17,824 hours.
Gift of Air France.
Manufacturer:
Societe Nationale Industrielle Aerospatiale
Dimensions:
Wingspan: 25.56 m (83 ft 10 in)
Length: 61.66 m (202 ft 3 in)
Height: 11.3 m (37 ft 1 in)
Weight, empty: 79,265 kg (174,750 lb)
Weight, gross: 181,435 kg (400,000 lb)
Top speed: 2,179 km/h (1350 mph)
Engine: Four Rolls-Royce/SNECMA Olympus 593 Mk 602, 17,259 kg (38,050 lb) thrust each
Manufacturer: Société Nationale Industrielle Aérospatiale, Paris, France, and British Aircraft Corporation, London, United Kingdom
Physical Description:
Aircaft Serial Number: 205. Including four (4) engines, bearing respectively the serial number: CBE066, CBE062, CBE086 and CBE085.
Also included, aircraft plaque: "AIR FRANCE Lorsque viendra le jour d'exposer Concorde dans un musee, la Smithsonian Institution a dores et deja choisi, pour le Musee de l'Air et de l'Espace de Washington, un appariel portant le couleurs d'Air France."
Concept up for voting at Glennz Tees
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A weekend track possession has allowed some of BR's new trainees to get some hands on practical experience. Mobile classroom and training vehicle, Series 1 Bristol VR BNU679G is on hand whilst the track gang have arrived in their Commer PB van.
St Albans Cathedral, also known as the Cathedral and Abbey Church of St Alban, is a Church of England cathedral church within St Albans, England. At 84 metres (276 ft), its nave is the longest of any cathedral in England. With much of its present architecture dating from Norman times, it was formerly known as St Albans Abbey before it became a cathedral in 1877. It is the second longest cathedral in the United Kingdom (after Winchester). Local residents often call it "the abbey", although the present cathedral represents only the church of the old Benedictine abbey.
The abbey church, although legally a cathedral church, differs in certain particulars from most of the other cathedrals in England: it is also used as a parish church, of which the dean is rector. He has the same powers, responsibilities and duties as the rector of any other parish.
Alban was a pagan living in the Roman city of Verulamium, now Verulamium Park, in St Albans, in Hertfordshire, England, about 22 miles (35 km) north of London along Watling Street. Before Christianity became the official religion of the Roman Empire, local Christians were being persecuted by the Romans. Alban sheltered their priest, Saint Amphibalus, in his home and was converted to the Christian faith by him. When the soldiers came to Alban's house looking for the priest, Alban exchanged cloaks with the priest and let himself be arrested in his place. Alban was taken before the magistrate, where he avowed his new Christian faith and was condemned for it. He was beheaded, according to legend, on the spot where the cathedral named after him now stands. The site is on a steep hill and legend has it that his head rolled down the hill after being cut off and that a well sprang up at the point where it stopped.
A well certainly exists today and the road up to the cathedral is named Holywell Hill. However the current well structure is no older than the late 19th century and it is thought that the name of the street derives from the "Halywell" river and "Halywell Bridge", not from the well.
The date of Alban's execution is a matter of some debate and is generally given as "circa 250"—scholars generally suggest dates of 209, 254 or 304.
History of the abbey and cathedral
A memoria over the execution point and holding the remains of Alban existed at the site from the mid-4th century (possibly earlier); Bedementions a church and Gildas a shrine. Bishop Germanus of Auxerre visited in 429 and took a portion of the apparently still bloody earth away. The style of this structure is unknown; the 13th century chronicler Matthew Paris (see below) claimed that the Saxons destroyed the building in 586.
Saxon buildings
Offa II of Mercia, who ruled in the 8th century, is said to have founded the Benedictine abbey and monastery at St Albans. All later religious structures are dated from the foundation of Offa's abbey in 793. The abbey was built on Holmhurst Hill—now Holywell Hill—across the River Ver from the ruins of Verulamium. Again there is no information to the form of the first abbey. The abbey was probably sacked by the Danes around 890 and, despite Paris's claims, the office of abbot remained empty from around 920 until the 970s when the efforts of Dunstanreached the town.
There was an intention to rebuild the abbey in 1005 when Abbot Ealdred was licensed to remove building material from Verulamium. With the town resting on clay and chalk the only tough stone is flint. This was used with a lime mortar and then either plastered over or left bare. With the great quantities of brick, tile and other stone in Verulamium the Roman site became a prime source of building material for the abbeys, and other projects in the area, up to the 18th century. Sections demanding worked stone used Lincolnshire limestone (Barnack stone) from Verulamium, later worked stones include Totternhoe freestone from Bedfordshire, Purbeck marble, and different limestones (Ancaster, Chilmark, Clipsham, etc.).
Renewed Viking raids from 1016 stalled the Saxon efforts and very little from the Saxon abbey was incorporated in the later forms.
The nave. The north wall (left) features a mix of Norman arches dating back to 1077 and arches in the Early English style of 1200.
Norman abbey
Much of the current layout and proportions of the structure date from the first Norman abbot, Paul of Caen (1077–1093). The 14th abbot, he was appointed by the new Archbishop of Canterbury, Lanfranc.
Building work started in the year of Abbot Paul's arrival. The design and construction was overseen by the Norman Robert the Mason. The plan has very limited Anglo-Saxon elements and is clearly influenced by the French work at Cluny, Bernay, and Caen and shares a similar floor plan to Saint-Étienne and Lanfranc's Canterbury—although the poorer quality building material was a new challenge for Robert and he clearly borrowed some Roman techniques, learned while gathering material in Verulamium. To take maximum use of the hilltop the abbey was oriented to the south-east. The cruciform abbey was the largest built in England at that time, it had a chancel of four bays, a transept containing seven apses, and a nave of ten bays—fifteen bays long overall. Robert gave particular attention to solid foundations, running a continuous wall of layered bricks, flints and mortar below and pushing the foundations down to twelve feet to hit bedrock. Below the crossing tower special large stones were used.
The tower was a particular triumph—it is the only 11th century great crossing tower still standing in England. Robert began with special thick supporting walls and four massive brick piers. The four-level tower tapers at each stage with clasping buttresses on the three lower levels and circular buttresses on the fourth stage. The entire structure masses 5,000 tons and is 144 feet high. The tower was probably topped with a Norman pyramidal roof; the current roof is flat. The original ringing chamber had five bells—two paid for by the Abbot, two by a wealthy townsman, and one donated by the rector of Hoddesdon. None of these bells has survived.
There was a widespread belief that the abbey had two additional, smaller towers at the west end. No remains have been found.
The monastic abbey was completed in 1089 but not consecrated until Holy Innocents' Day, 1115, (28 Dec) by the Archbishop of Rouen. King Henry I attended as did many bishops and nobles.
A nunnery (Sopwell Priory) was founded nearby in 1140.
Internally the abbey was bare of sculpture, almost stark. The plaster walls were coloured and patterned in parts, with extensive tapestries adding colour. Sculptural decoration was added, mainly ornaments, as it became more fashionable in the 12th century—especially after the Gothic style arrived in England around 1170.
In the current structure the original Norman arches survive principally under the central tower and on the north side of the nave. The arches in the rest of the building are Gothic, following medieval rebuilding and extensions, and Victorian era restoration.
The abbey was extended in the 1190s by Abbot John de Cella (also known as John of Wallingford) (1195–1214); as the number of monks grew from fifty to over a hundred, the abbey was extended westwards with three bays added to the nave. The severe Norman west front was also rebuilt by Hugh de Goldclif—although how is uncertain, it was very costly but its 'rapid' weathering and later alterations have erased all but fragments. A more prominent shrine and altar to Saint Amphibalus were also added. The work was very slow under de Cella and was not completed until the time of Abbot William de Trumpington (1214–35). The low Norman tower roof was demolished and a new, much higher, broached spire was raised, sheathed in lead.
The St Albans Psalter (ca. 1130–45) is the best known of a number of important Romanesque illuminated manuscripts produced in the Abbey scriptorium. Later, Matthew Paris, a monk at St Albans from 1217 until his death in 1259, was important both as a chronicler and an artist. Eighteen of his manuscripts survive and are a rich source of contemporary information for historians.
Nicholas Breakspear was born near St Albans and applied to be admitted to the abbey as a novice, but he was turned down. He eventually managed to be accepted into an abbey in France. In 1154 he was elected Pope Adrian IV, the only English Pope there has ever been. The head of the abbey was confirmed as the premier abbot in England also in 1154.
13th to 15th centuries
An earthquake shook the abbey in 1250 and damaged the eastern end of the church. In 1257 the dangerously cracked sections were knocked down—three apses and two bays. The thick Presbytery wall supporting the tower was left. The rebuilding and updating was completed during the rule of Abbot Roger de Norton (1263–90).
On 10 October 1323 two piers on the south side of the nave collapsed dragging down much of the roof and wrecking five bays. Mason Henry Wy undertook the rebuilding, matching the Early English style of the rest of the bays but adding distinctly 14th century detailing and ornaments. The shrine to St Amphibalus had also been damaged and was remade.
Abbey Gateway, now part of St. Albans School.
Richard of Wallingford, abbot from 1297 to 1336 and a mathematician and astronomer, designed a celebrated clock, which was completed by William of Walsham after his death, but apparently destroyed during the reformation.
A new gateway, now called the Abbey Gateway, was built to the abbey grounds in 1365, which was the only part of the monastery buildings (besides the church) to survive the dissolution, later being used as a prison and now part of St Albans School. The other monastic buildings were located to the south of the gateway and church.
In the 15th century a large west window of nine main lights and a deep traced head was commissioned by John of Wheathampstead. The spire was reduced to a 'Hertfordshire spike', the roof pitch greatly reduced and battlements liberally added. Further new windows, at £50 each, were put in the transept by Abbot Wallingford (also known as William of Wallingford), who also had a new high altar screen made.
Dissolution and after
After the death of Abbot Ramryge in 1521 the abbey fell into debt and slow decay under three weak abbots. At the time of the Dissolution of the Monasteries and its surrender on 5 December 1539 the income was £2,100 annually. The abbot and remaining forty monks were pensioned off and then the buildings were looted. All gold, silver and gilt objects were carted away with all other valuables; stonework was broken and defaced and graves opened to burn the contents.
The abbey became part of the diocese of Lincoln in 1542 and was moved to the diocese of London in 1550. The buildings suffered—neglect, second-rate repairs, even active damage. Richard Lee purchased all the buildings, except the church and chapel and some other Crown premises, in 1550. Lee then began the systematic demolition for building material to improve Lee Hall at Sopwell. In 1551, with the stone removed, Lee returned the land to the abbot. The area was named Abbey Ruins for the next 200 years or so.
In 1553 the Lady chapel became a school, the Great Gatehouse a town jail, some other buildings passed to the Crown, and the Abbey Church was sold to the town for £400 in 1553 by King Edward VI to be the church of the parish.
The cost of upkeep fell upon the town, although in 1596 and at irregular intervals later the Archdeacon was allowed to collect money for repairs by Brief in the diocese. After James I visited in 1612 he authorised another Brief, which collected around £2,000—most of which went on roof repairs. The English Civil War slashed the monies spent on repairs, while the abbey was used to hold prisoners of war and suffered from their vandalism, as well as that of their guards. Most of the metal objects that had survived the Dissolution were also removed and other ornamental parts were damaged in Puritan sternness. Another round of fund-raising in 1681–84 was again spent on the roof, repairing the Presbytery vault. A royal grant from William and Mary in 1689 went on general maintenance, 'repairs' to conceal some of the unfashionable Gothic features, and on new internal fittings. There was a second royal grant from William in 1698.
By the end of the 17th century the dilapidation was sufficient for a number of writers to comment upon it.
In 1703, from 26 November to 1 December, the Great Storm raged across southern England; the abbey lost the south transept window which was replaced in wood at a cost of £40. The window was clear glass with five lights and three transoms in an early Gothic Revival style by John Hawgood. Other windows, although not damaged in the storm, were a constant drain on the abbey budget in the 18th century.
A brief in 1723–24, seeking £5,775, notes a great crack in the south wall, that the north wall was eighteen inches from vertical, and that the roof timbers were decayed to the point of danger. The money raised was spent on the nave roof over ten bays.
Another brief was not issued until 1764. Again the roof was rotting, as was the south transept window, walls were cracked or shattered in part and the south wall had subsided and now leant outwards. Despite a target of £2,500 a mere £600 was raised.
In the 1770s the abbey came close to demolition; the expense of repairs meant a scheme to destroy the abbey and erect a smaller church almost succeeded.
A storm in 1797 caused some subsidence, cracking open graves, scattering pavement tiles, flooding the church interior and leaving a few more arches off-vertical.
19th century
The Wallingford Screen of c. 1480—the statues are Victorian replacements (1884–89) of the originals, destroyed in the Dissolution of the Monasteries, when the screen itself was also damaged. Statues of St Alban and St Amphibalus stand on either side of the altar.
This century was marked with a number of repair schemes. The abbey received some money from the 1818 "Million Act", and in 1820 £450 was raised to buy an organ—a second-hand example made in 1670.
The major efforts to revive the abbey church came under four men—L. N. Cottingham, Rector H. J. B. Nicholson, and, especially, George Gilbert Scott and Edmund Beckett, first Baron Grimthorpe.
In February 1832 a portion of the clerestory wall fell through the roof of the south aisle, leaving a hole almost thirty feet long. With the need for serious repair work evident the architect Lewis Nockalls Cottingham was called in to survey the building. His Survey was presented in 1832 and was worrying reading: everywhere mortar was in a wretched condition and wooden beams were rotting and twisting. Cottingham recommended new beams throughout the roof and a new steeper pitch, removal of the spire and new timbers in the tower, new paving, ironwork to hold the west transept wall up, a new stone south transept window, new buttresses, a new drainage system for the roof, new ironwork on almost all the windows, and on and on. He estimated a cost of £14,000. A public subscription of £4,000 was raised, of which £1,700 vanished in expenses. With the limited funds the clerestory wall was rebuilt, the nave roof re-leaded, the tower spike removed, some forty blocked windows reopened and glazed, and the south window remade in stone.
Henry Nicholson, rector from 1835 to 1866, was also active in repairing the abbey church—as far as he could, and in uncovering lost or neglected Gothic features.
In 1856 repair efforts began again; £4,000 was raised and slow moves started to gain the abbey the status of cathedral. George Gilbert Scottwas appointed the project architect and oversaw a number of works from 1860 until his death in 1878.
Scott began by having the medieval floor restored, necessitating the removal of tons of earth, and fixing the north aisle roof. From 1872–77 the restored floors were re-tiled in matching stone and copies of old tile designs. A further 2,000 tons of earth were shifted in 1863 during work on the foundation and a new drainage system. In 1870 the tower piers were found to be badly weakened with many cracks and cavities. Huge timbers were inserted and the arches filled with brick as an emergency measure. Repair work took until May 1871 and cost over £2,000. The south wall of the nave was now far from straight; Scott reinforced the north wall and put in scaffolding to take the weight of the roof off the wall, then had it jacked straight in under three hours. The wall was then buttressed with five huge new masses and set right. Scott was lauded as "saviour of the Abbey." From 1870–75 around £20,000 was spent on the abbey.
In 1845 St Albans was transferred from the Diocese of Lincoln to the Diocese of Rochester. Then, in 1875, the Bishopric of St Albans Act was passed and on 30 April 1877 the See of St Albans was created, which comprises about 300 churches in the counties of Hertfordshire and Bedfordshire. The then Bishop of Rochester, the Right Revd Dr Thomas Legh Claughton, elected to take the northern division of his old diocese and on 12 June 1877 was enthroned first Bishop of St Albans, a position he held until 1890. He is buried in the churchyard on the north side of the nave.
George Gilbert Scott was working on the nave roof, vaulting and west bay when he died on 27 March 1878. His plans were partially completed by his son, John Oldrid Scott, but the remaining work fell into the hands of Lord Grimthorpe, whose efforts have attracted much controversy—Nikolaus Pevsner calling him a "pompous, righteous bully." However, he donated much of the immense sum of £130,000 the work cost.
Whereas Scott's work had clearly been in sympathy with the existing building, Grimthorpe's plans reflected the Victorian ideal. Indeed, he spent considerable time dismissing and criticising the work of Scott and the efforts of his son.
Grimthorpe first reinstated the original pitch of the roof, although the battlements added for the lower roof were retained. Completed in 1879, the roof was leaded, following on Scott's desires.
1805 engraving of the west front of the abbey showing the lost Wheathampstead window.
His second major project was the most controversial. The west front, with the great Wheathampstead window, was cracked and leaning, and Grimthorpe, never more than an amateur architect, designed the new front himself—attacked as dense, misproportioned and unsympathetic: "His impoverishment as a designer ... [is] evident"; "this man, so practical and ingenious, was utterly devoid of taste ... his great qualities were marred by arrogance ... and a lack of historic sense". Counter proposals were deliberately substituted by Grimthorpe for poorly drawn versions and Grimthorpe's design was accepted?. During building it was considerably reworked in order to fit the actual frontage and is not improved by the poor quality sculpture. Work began in 1880 and was completed in April 1883, having cost £20,000.
The Lady Chapel at the east end of the cathedral.
Grimthorpe was noted for his aversion to the Perpendicular—to the extent that he would have sections he disliked demolished as "too rotten" rather than remade. In his reconstruction, especially of windows, he commonly mixed architectural styles carelessly (see the south aisle, the south choir screen and vaulting). He spent £50,000 remaking the nave. Elsewhere he completely rebuilt the south wall cloisters, with new heavy buttresses, and removed the arcading of the east cloisters during rebuilding the south transept walls. In the south transept he completely remade the south face, completed in 1885, including the huge lancet window group—his proudest achievement—and the flanking turrets; a weighty new tiled roof was also made. In the north transept Grimthorpe had the Perpendicular window demolished and his design inserted—a rose window of circles, cusped circles and lozenges arrayed in five rings around the central light, sixty-four lights in total, each circle with a different glazing pattern.
Grimthorpe continued through the Presbytery in his own style, adapting the antechapel for Consistory Courts, and into the Lady Chapel. After a pointed lawsuit with Henry Hucks Gibbs, first Baron Aldenham over who should direct the restoration, Grimthorpe had the vault remade and reproportioned in stone, made the floor in black and white marble (1893), and had new Victorian arcading and sculpture put below the canopy work. Externally the buttresses were expanded to support the new roof, and the walls were refaced.
As early as 1897, Grimthorpe was having to return to previously renovated sections to make repairs. His use of over-strong cement led to cracking, while his fondness for ironwork in windows led to corrosion and damage to the surrounding stone.
Grimthorpe died in 1905 and was interred in the churchyard. He left a bequest for continuing work on the buildings.
During this century the name St Albans Abbey was given to one of the town's railway stations.
20th century
John Oldrid Scott (died 1913) (George Gilbert Scott's son), despite frequent clashes with Grimthorpe, had continued working within the cathedral. Scott was a steadfast supporter of the Gothic revival and designed the tomb of the first bishop; he had a new bishop's throne built (1903), together with commemorative stalls for Bishop Festing and two Archdeacons, and new choir stalls. He also repositioned and rebuilt the organ (1907). Further work was interrupted by the war.
A number of memorials to the war were added to the cathedral, notably the painting The Passing of Eleanor by Frank Salisbury (stolen 1973) and the reglazing of the main west window, dedicated in 1925.
Following the Enabling Act of 1919 control of the buildings passed to a Parochial Church Council (replaced by the Cathedral Council in 1968), who appointed the woodwork specialist John Rogers as Architect and Surveyor of the Fabric. He uncovered extensive death watch beetledamage in the presbytery vault and oversaw the repair (1930–31). He had four tons of rubbish removed from the crossing tower and the main timbers reinforced (1931–32), and invested in the extensive use of insecticide throughout the wood structures. In 1934, the eight bells were overhauled and four new bells added to be used in the celebration of George V's jubilee.
Cecil Brown was architect and surveyor from 1939 to 1962. At first he merely oversaw the lowering of the bells for the war and established a fire watch, with the pump in the slype. After the war, in the 1950s, the organ was removed, rebuilt and reinstalled and new pews added. His major work was on the crossing tower. Grimthorpe's cement was found to be damaging the Roman bricks: every brick in the tower was replaced as needed and reset in proper mortar by one man, Walter Barrett. The tower ceiling was renovated as were the nave murals. Brown established the Muniments Room to gather and hold all the church documents.
In 1972, to encourage a closer link between celebrant and congregation, the massive nine-ton pulpit along with the choir stalls and permanent pews was dismantled and removed. The altar space was enlarged and improved. New 'lighter' wood (limed oak) choir stalls were put in, and chairs replaced the pews. A new wooden pulpit was acquired from a Norfolk church and installed in 1974. External floodlighting was added in 1975.
A major survey in 1974 revealed new leaks, decay and other deterioration, and a ten-year restoration plan was agreed. Again the roofing required much work. The nave and clerestory roofs were repaired in four stages with new leading. The nave project was completed in 1984 at a total cost of £1.75 million. The clerestory windows were repaired with the corroded iron replaced with delta bronze and other Grimthorpe work on the clerestory was replaced. Seventy-two new heads for the corbel table were made. Grimthorpe's west front was cracking, again due to the use originally of too strong a mortar, and was repaired.
A new visitors' centre was proposed in 1970. Planning permission was sought in 1973; there was a public inquiry and approval was granted in 1977. Constructed to the south side of the cathedral close to the site of the original chapter house of the abbey, the new 'Chapter House' cost around £1 million and was officially opened on 8 June 1982 by Queen Elizabeth. The main building material was 500,000 replica Roman bricks.
Other late 20th-century works include the restoration of Alban's shrine, with a new embroidered canopy, and the stained glass designed by Alan Younger for Grimthorpe's north transept rose window, unveiled in 1989 by Diana, Princess of Wales.
Modern times
The Bishop is the Right Reverend Alan Smith, installed in September 2009. The Venerable Jonathan Smith is Archdeacon of St Albans, installed in October 2008. On 2 July 2004, the Very Reverend Canon Dr Jeffrey John became the ninth Dean of the Cathedral.
Robert Runcie, later Archbishop of Canterbury, was bishop of St Albans from 1970 to 1980 and returned to live in the city after his retirement; he is commemorated by a gargoyle on the Cathedral as well as being buried in the graveyard. Colin Slee, former Dean of Southwark Cathedral, was sub-dean at St Albans under Runcie and then Dean, Peter Moore. The bishop's house is in Abbey Mill Lane, St Albans, as is the house of the Bishop of Hertford. The Reverend Canon Eric James, Chaplain Extraordinary to HM the Queen, was Canon at St Albans for many years.
The Roland 303 is often described as hypnotic or transcendent.
For me, it’s something more practical than mystical.
When patterns lock in, something becomes coherent.
Not higher. Not better. Just aligned.
It’s a state where rhythm, repetition and intuition synchronize —
extremely effective for creation, but not something to live in constantly.
The machine doesn’t elevate consciousness.
It focuses processing.
And when the body signals it’s enough, I step out of it.
I’m not chasing a state.
I’m using a tool.
--- old post---
There was a time when the the Roland TB-303 Bass Synthesizer was considered a failure.
Too strange. Too unstable. Too different from what it was supposed to be.
It ended up cheap, ignored, misunderstood.
Until people realized it wasn’t broken —
it was operating on multiple frequencies at once.
Nothing about the machine changed.
Only the understanding did.
Some minds work the same way.
Fast. Layered. Intense.
Not because they want to — but because that’s how they are wired.
Note from myself: Powerful in bursts — costly without boundaries.
Sometimes we need anchors.
Not to slow down, but to stay grounded while everything moves.
If this resonates with you, you’re not malfunctioning.
You might just be operating differently —
and waiting to be understood.
--- end old post---
- Amon the Purple
"The secret of the magic of life consists in using action in order to attain non-action. One must not wish to leap over everything and penetrate directly." - Lu Yen
"The power of Thought, the magic of the Mind!"- Lord Byron
French postcard by Imp. Georges Lang, Paris, offered by Chocolats Tobler. Image: Walt Disney.
Practical Pig is one of the three little pigs of the classic Silly Symphonies short Three Little Pigs (Burt Gillett, 1933) and its three follow-up shorts, The Big Bad Wolf (Burt Gillett, 1934), Three Little Wolves (Burt Gillett, David Hand, 1936), and The Practical Pig (Dick Rickard, 1939). The three pigs are constantly targeted by the Big Bad Wolf, who wants to eat them for dinner.
The Three Little Pigs (1933) was phenomenally successful with audiences of the day, so much that theatres ran the cartoon for months after its debut, to a great financial response. A number of theatres added hand-drawn "beards" to the movie posters for the cartoon as a way of indicating how long its theatrical run lasted. The cartoon is still considered to be the most successful animated short ever made and remained on top of animation until Disney was able to boost Mickey's popularity further by making him a top merchandise icon by the end of 1934. The Three Little Pigs won the Oscar for Best Animated Short Film in 1934. In 1994, it was voted #11 of the 50 Greatest Cartoons of all time by members of the animation field. In 2007, The Three Little Pigs was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".
The Practical Pig (1939) was the only Silly Symphony to be billed as a 'Three Little Pigs' cartoon. It's also the final Silly Symphony to feature the Three Little Pigs, Big Bad Wolf, and the Three Little Wolves. Fiddler and Fifer are caught by the Big Bad Wolf while swimming. But things backfire when the wolf tries to get Practical Pig; he is caught instead. Practical Pig uses his new lie detector to get the information about his two brothers from the wolf.
Source: Disney Wiki and IMDb.
And, please check out our blog European Film Star Postcards.
Ron Kosakowski's annual IN-TENTS Kuntao Camp, Practical Self Defense Training Center, Sunday, July 31, 2016, Southbury, Connecticut, US.
This photo beautifully captures a joyful wedding moment under the rain. The bride and groom are walking together on a lush green lawn, sharing a laugh. The bride, wearing a white wedding dress and jacket, stands out with her practical yet playful choice of white sneakers. The groom, dressed in a sharp blue suit with a pink bow tie and boutonniere, holds an umbrella over them, adding a touch of charm to the rainy scene. The raindrops and the couple's smiles emphasize a sense of happiness and carefree celebration, turning the rainy day into a memorable part of their special occasion.
Shirt available at Glennz Tees www.glennz.com
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the absence of evidence for extraterrestrial intelligence. For the type ofestimation problem, see Fermi problem. For the music album, see Fermi Paradox (album). For the short story, see The Fermi Paradox Is Our Business Model.A graphical representation of the Arecibo message – Humanity's first
attempt to use radio waves to actively communicate its existence to alien civilizations. The Fermi paradox (or Fermi's paradox) is the apparent contradiction between high estimates of the probability of the existence of extraterrestrial civilization and humanity's lack of contact with, or evidence for, such civilizations.[1] The basic points of the argument,
made by physicists Enrico Fermi and Michael H. Hart, are:
• The Sun is a young star. There are billions of stars in the galaxy that are billions of years older;• Some of these stars likely have Earth-like planets[2] which, if the Earth is typical, may develop intelligent life;• Presumably some of these civilizations will develop interstellar travel, as Earth seems likely to do;• At any practical pace of interstellar travel, the galaxy can be completely colonized in just a few tens of millions of years.According to this line of thinking, the Earth should have already been colonized, or at least visited. But no convincing evidence of this exists.Furthermore, no confirmed signs of intelligence elsewhere have been spotted, either in our galaxy or the more than 80 billion other galaxies of
the observable universe. Hence Fermi's question "Where is everybody?"
brainu.org/files/wikipedia_fermi_paradox_information.pdf
Frank Drake in 1961 in an attempt to find a systematic means to evaluate the numerous probabilities involved in the existence of alien life. The speculative equation considers the rate of star formation in the galaxy; the fraction of stars with planets and the number per star that are habitable; the fraction of those planets that develop life; the fraction that develop intelligent life; the fraction that have detectable, technological intelligent life; and finally the length of time such communicable civilizations are detectable. The fundamental problem is that the last four terms are completely unknown, rendering statistical estimates impossible.There are two parts of the Fermi paradox that rely on empirical evidence—that there are many potential habitable planets, and that we see no evidence of life. The first point, that many suitable planets exist, was an assumption in Fermi's time that is gaining ground with the discovery of many exoplanets, and models predicting billions of habitable worlds in our galaxy..The second part of the paradox, that we see no evidence of extraterrestrial life, is also an active field of scientific research. This includes both efforts to find any indication of life,[36] and efforts specifically directed to finding intelligent life. These searches have been made since 1960, and several are ongoing?Those who think that intelligent extraterrestrial life is (nearly) impossible argue that the conditions needed for the evolution of life—or at least the evolution of biological complexity—are rare or even unique to Earth. Under this assumption, called the rare Earth hypothesis, a rejection of the mediocrity principle, complex multicellular life is regarded as exceedingly unusual.The Rare Earth hypothesis argues that the evolution of biological complexity requires a host of fortuitous circumstances, such as a galactic habitable zone, a central star and planetary system having the requisite character, the circumstellar habitable zone, a right sized terrestrial planet, the advantage of a giant guardian like Jupiter and a large natural satellite, conditions needed to ensure the planet has a magnetosphere and plate tectonics, the chemistry of the lithosphere, atmosphere, and oceans, the role of "evolutionary pumps" such as massive glaciation and rare bolide impacts, and whatever led to the appearance of the eukaryote cell, sexual reproduction and the Cambrian explosion.This is the argument that technological civilizations may usually or invariably destroy themselves before or shortly after developing radio or spaceflight technology. Possible means of annihilation are many,[68] including war, accidental environmental contamination, or poorly designed artificial intelligence. This general theme is explored both in fiction and in scientific hypothesizing. In 1966, Sagan and Shklovskii speculated that technological civilizations will either tend to destroy themselves within a century of developing interstellar communicative capability or master their self-destructive tendencies and survive for billion-year timescales.Self-annihilation may also be viewed in terms of thermodynamics: insofar as life is an ordered system that can sustain itself against the tendency to disorder, the "external transmission" or interstellar communicative phase may be the point at which the system becomes unstable and self-destructs.Another hypothesis is that an intelligent species beyond a certain point of technological capability will destroy other intelligent species as they appear. The idea that something, or someone, might be destroying intelligent life in the universe has been explored in the scientific literature. A species might undertake such extermination out of expansionist motives, paranoia, or aggression. In 1981, cosmologist Edward Harrison argued that such behavior would be an act of prudence: an intelligent species that has overcome its own self-destructive tendencies might view any other species bent on galactic expansion as a threat It has also been suggested that a successful alien species would be a superpredator, as are humans.New life might commonly die out due to runaway heating or cooling on their fledgling planets.On Earth, there have been numerous major extinction events that destroyed the majority of complex species alive at the time; the extinction of the dinosaurs is the best known example. These are thought to have been caused by events such as impact from a large meteorite, massive volcanic eruptions, or astronomical events such as gamma-ray bursts.[76] It may be the case that such extinction events are common throughout the universe and periodically destroy intelligent life, or at least its civilizations, before the species is able to develop the technology to communicate with other species.
Walking towards Brighton station along the backstreets this garden grabbed my attention. Firstly because of the dappled light and shapes but then I noticed the astroturf simply laid out across the garden in lines to fill the space. Fascinating!
NB: I recently found out that Apple run free workshops on every aspect of Apple products. Having attended 'Taking Photo's with your iPhone Camera' and learnt all its uses I booked on a one and a half hour 'Street Photography' photowalk. I found it quite difficult using such a tiny camera and maybe not having my SRi to hide behind, but it was a fun photowalk in good company.
Originally conceived by British Leyland, the Metro was built to similar principals as those of the Mini it was intended to replace, with a small, practical platform with as much use available to the passenger as was possible. The car came under various initial guises, including the Austin Metro, the Austin miniMetro, the Morris Metro van and the MG Metro, a version of the car with a 1.3L A-Series Turbo Engine.
Although the car was launched in 1980, development of a Mini replacement had dated back to the beginning of the 70's. Dubbed ADO88 (Amalgamated Drawing Office project number 88), the Metro was eventually given the go ahead in 1977, but wanted to have the appeal of some of the larger 'Supermini' (what a contradiction in terms) cars on the market, including cars such as the Ford Fiesta and the Renault 5. Designed by Harris Mann (the same guy who gave us the Princess and the Allegro), the car was given a much more angular body for the time, but despite its futuristic looks did share many features of the earlier Mini, including the 675cc BMC-A Series engine that dated back to 1959, and the gearbox. Initial cars also included the Hydragas Suspension system originally used on the Allegro and the Princess, though with no front/rear connection. The car was also built as a hatchback, which would eventually be a key part of its success as the Mini instead utilised only a small boot.
The Metro was originally meant for an earlier 1978 launch, but a lack of funds and near bankruptcy of British Leyland resulted in the car's launch being pushed back. This delay however did allow the folks at Longbridge to construct a £200m robotic assembly plant for the new Metro line, with the hope of building 100,000 cars per year. Finally the car entered sales 3 years late and got off to quite promising initial sales, often being credited for being the saviour of British Leyland. The Metro was in fact the company's first truly new model in nearly 5 years, with the 9 year old Allegro still in production, the 1980 Morris Ital being nothing more than a 7 year old Marina with a new face, and the 5 year old Princess not going anywhere!
As mentioned, an entire myriad of versions came with the Metro, including the luxury Vanden Plas version and the sporty MG with its top speed of 105mph and 0-60mph of 10.1 seconds. Eventually the original incarnation of the car, the Austin Metro, went on to sell 1 million units in it's initial 10 year run, making it the second highest selling car of the decade behind the Ford Escort. However, like most other British Leyland products, earlier cars got a bad reputation for poor build quality and unreliability, combined with the lack of rustproofing that was notorious on many BL cars of the time.
The show was not over however, as in 1990 the car was given a facelift and dubbed the Rover Metro. The 1950's A-Series engine was replaced by a 1.1L K-Series, and the angular bodyshell was rounded to similar principals as those by acclaimed styling house Ital to create a more pleasing look for the 90's. This facelift, combined with an improvement in reliability and build quality, meant that the car went on to win the 'What Car?' of the Year Award in 1991.
In 1994 the car was given yet another facelift, with once again a more rounded design and removal of the Metro name, the car being sold as the Rover 100. Engines were once again changed, this time to a 1.5L Peugeot engine and more audacious colour schemes were available for the even more rounded design of the new car. However, the car was very much starting to look and feel its age. Aside from the fact that the design dated back to 1977, the new car was not well equipped, lacking electric windows, anti-lock brakes, power steering, or even a rev counter! In terms of safety, it was very basic, with most features such as airbags, an alarm, an immobiliser and central locking being optional extras.
Eventually the curtain had to fall on the Metro, and in 1997, twenty years after the initial design left the drawing board, it was announced that the car would be discontinued. Spurred on by dwindling sales due to lack of safety and equipment, as well as losing out to comparative cars such as the ever popular Ford Fiesta, VW Polo and Vauxhall Corsa, with only fuel economy keeping the car afloat, Rover axed the Metro in 1998 with no direct replacement, although many cite the downsized Rover 200 a possible contender. Stumbling blindly on, the next car to fill the gap in Rover's market was the 2003 CityRover, based on the TATA Indica, which flopped abysmally and pretty much totalled the company (but that's another story).
In the end only 2,078,000 Metro's were built in comparison to the 5.3 million examples of the Mini that it was meant to replace. The main failings of the Metro were down to the fact that the car was too big compared to the Mini, and the rounded old-world charm of the Coopers and Clubmans was replaced by the angular corners. Because of this the car simply didn't have the novelty that the Mini continued to claim even 20 years after the first ones left the factory, and the Mini would even go on to outlive the Metro by another 2 years, ending production in 2000, then going on to have a revival in the form of BMW's New Mini Cooper that's still being built today. Unlike the Mini, the Metro also failed to conquer the international market in the same way, scoring its 2 million units pretty much in Britain alone, although some cars were sold in France and Spain, but only to the total of a few hundred.
The Metro however survived only on fuel economy and its spacious interior, but by the early 1990's, whilst other car manufacturers had moved on leaps and bounds, Rover continued to be stuck in the past with not the money or the enthusiasm to change what was a terribly outdated and extremely basic car. Towards the end the Metro, which had only a few years earlier won awards for its practical nature, was ending up on lists for Worst car on the market.
Today however you can still see Metro's, later editions are especially common on the roads of Britain. Earlier models built under British Leyland have mostly rusted away and are apparently only down to about a thousand nowadays, but the Rover 100's and Rover Metros continue to ply their trade, a lonely reminder of how here in Britain, we can never ever seem to move on!
The history of the Austrian Museum of Applied Arts/Contemporary Art
1863 / After many years of efforts by Rudolf Eitelberger decides Emperor Franz Joseph I on 7 March on the initiative of his uncle Archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London), the establishment of the "k. k. Austrian Museum for Art and Industry" and apponted Rudolf von Eitelberger, the first professor of art history at the University of Vienna, to director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.
1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the kk polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.
1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k. k.) Austrian Museum for Art and Industry .
1866 / Due to the lack of space in the ballroom setting up of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park on the still being under development Rind Road.
1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger Straße 11-13/Schwarzspanierstrasse 17, Vienna 9.
1868 / With the construction of the building at Stubenring is started as soon as it is approved by Emperor Franz Joseph I. the second draft of Heinrich Ferstel.
1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building on the ring. Objects from now on could be placed permanently and arranged according to main materials. / / The Arts School moves into the house on Stubenring. / / Opening of Austrian art and crafts exhibition.
1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum of funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.
1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Applied Arts, adjoining the museum, Stubenring 3 , also designed by Heinrich von Ferstel, is opened.
1878 / participation of the Museum of Art and Industry and the School of Art at the Paris World Exhibition.
1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the arts and crafts school join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and crafts since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.
1885 / After the death of Rudolf von Eitelberger is Jacob von Falke, his longtime deputy, appointed manager. Falke plans all collection areas als well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.
1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high baroque in the history of art and in applied arts in particular.
1895 / end of the Directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.
1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism .
1897 / end of the Directorate of Bruno Bucher. Arthur von Scala, Director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and school of applied arts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagated the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.
1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, Archduke Rainer puts down his function as protector. / / New statutes are written.
1898-1921 / The Museum magazine art and crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.
1900 / The administration of Museum and Arts and Crafts School is disconnected.
1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the " k. k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.
1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .
1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.
1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum receives thereby rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.
1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and crafts.
1914 / Exhibition of works by the Austrian art industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum of arts and crafts in the fifty years of its existence.
1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide .
1920 / As part of the reform of museums of the First Republic, the collection areas are delineated. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.
1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as Josef Hoffmann.
1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.
1925 / After the end of the Directorate of Eduard Leisching Hermann Trenkwald is appointed director.
1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.
1927 / August Schestag succeeds Hermann Trenkwald as director .
1930 / The Werkbund (artists' organization) Exhibition Vienna, A first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.
1931 / August Schestag finishes his Directorate .
1932 / Richard Ernst is the new director .
1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over craft inventories of the collection Albert Figdor and the Kunsthistorisches Museum.
1937 / The Collection of the Museum of Art and Industry is re-established by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.
1938 / After the "Anschluss" of Austria by Nazi Germany, the museum was renamed "National Museum of Decorative Arts in Vienna".
1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Applied Arts in Vienna" is also enlarged in this way.
1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.
1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.
1947 / The "State Museum of Applied Arts in Vienna" is renamed "Austrian Museum of Applied Arts".
1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.
1949 / The Museum is reopened after repair of the war damages.
1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).
1951 / Ignaz Schlosser is appointed manager.
1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.
1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.
1955-1985 / The Museum publishes the periodical ancient and modern art .
1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.
1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.
1958 / End of the Directorate Ignaz Schlosser
1959 / Viktor Griesmaier is appointed as the new director.
1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.
1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.
1964 / The exhibition Vienna 1900 presents Crafts of Art Nouveau for the first time after the Second World War. / / It is started with the systematic processing of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary grantes the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.
1965 / The Geymüllerschlössel is as a branch of the Museum angegliedert (annexed). Gleichzeitig (at the same time) with the building came the important collection of Franz Sobek - old Viennese clocks, emerged between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.
1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are merged.
1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues to today of Austria's most important design project in the 20th Century.
1968 / On Viktor Griesmaier follows Wilhelm Mrazek as director.
1969 / The exhibition Sitting 69 shows on the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.
1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.
1979 / Gerhart Egger is appointed director .
1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the art space in Vienna during the interwar period.
1981 / Herbert Fux follows Gerhart Egger as Director.
1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: Designer. First exhibition of the Italian designer in Austria
1986 / Peter NOEVER is appointed as Director and started building up the collection of contemporary art.
1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.
1989-1993 / General renovation of thee old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for collection and additional exhibit spaces arise.
1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.
1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.
1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.
1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).
1993 / The permanent collection is re-established, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchnerstraße is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.
1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on the MAK terrace plateau).
1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa : Krimania.
1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.
1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive Personale of the work of the designer of Wiener Werkstätte after the Second World War.
1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned .
2000 / Outsourcing the federal museums, transforming the museum into a "scientific institution under public law". / / The exhibition of art and industry. The beginnings of the Austrian Museum of Applied Arts in Vienna are dealing with the founding history of the house and the collection.
2001 / As part of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work the "Four lemurs heads " are placed at the Stubenbrücke located next to the MAK. / / Dennis Hopper: A System of Moments.
2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin in Vienna is presented.
2002 / Exhibition Nodes. symmetrical-asymmetrical. The historic Oriental Carpets of the MAK presents the extensive rug collection.
2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, the exhibition The Price of Beauty. 100 years Wiener Werkstätte takes place. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.
2004 / James Turrell MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.
2005 / Atelier Van Lieshout: The Disziplinatornbsp / / The exhibition Ukiyo-e Reloaded for the first time presents the collection of Japanese woodblock prints of the MAK in large scale.
2006 / Since the beginning of the year the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents special exhibitions annually. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.
2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects .
2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes using a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, the center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property of museums in Vienna.
2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.
2011 / After Peter Noevers resignation Martina Kandeler-Fritsch takes over temporarily the management. / / Since 1 September Christoph Thun-Hohenstein is director of the MAK.
Ford Zephyr 6 Mk.IV 3010E (1966-72) Engine 2495cc V6 OHV Production 102417 (Zephyr 4/6)
Registration Number BNN 546 H (Nottinghamshire)
FORD UK SET
www.flickr.com/photos/45676495@N05/sets/72157623665118181...
The Mark IV was the result of a complete redesign of the Zephyr, Zodiac range under the title Project Panda with both 4 and six cylinder having Vee engines, independent rear suspension and all round disc brakes with a servo option on the fours, standard on the six. four speed column shift is standard but floor change, overdrive and automatic are all options, and for the first time power steering.
The size of the bonnet was emphasized by square cut styling of the wings. A practical use was found for some of the extra space in front of the driver: the spare wheel was stored, ahead of the engine, under the bonnet, freeing up space at the other end of the car for more luggage.
The Zephyr 4 and six have a different grille, the 4 being plain with a single central horizontal chrome strip, while the 6 has a full width chrome grille, the Zodiac and Executive which share the body shell have twin headlamps and a larger (3 litre) engine
Many thanks for a fantabulous
44,200,742 views (adjusted and readjusted during FLICKR re-engineering, reduced by around 650,000)
Shot 23.08.2015 at Lupin Farm, Classic Vehicle Gathering, Orgreave, Alrewas, Staffordshire - Ref 109-905
Camera plus lens weigh in at 650 g. This is far heavier than any of my usual combinations of cameras and lenses. It's also much bigger than I would have liked, projecting itself almost 4.5 cm in front of the camera body. Both the size and weight of this lens make using it on the diminutive GM1 not very practical, but it looks good on the GX80. By some accounts, the optics may also show a weird distortion pattern near the edges, though I have noticed nothing but the almost expected (at this price range, paid US$ 93 for it in January '22), mild amount of barrel distortion. Perhaps the 2x crop factor of Micro 4/3 helps a little in this regard, compared to the 1.5x crop of APS-C cameras. For critical sharpness, it should be stopped down to at least 5.6 or even 8.0. But... I rather like it! It has lots of "character", is easy to focus, has good colours, an interesting "bokeh" at f/1.4, and a very useful and enjoyable 46mm "equivalent" field of view.
This shot was featured on Flickr's Explore. You can find if your photos have been there via a search on Scout, such as these:
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Copyright © 2008 Jeff Sullivan. All Rights Reserved.
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A large part of our population growth in the United States comes from the over 1 million legal immigrants that join us every year. To accomodate growth we must build more roads, schools, water supplies (dams), sewage treatment plants, trash disposal (landfills) and we expand police, fire and other government services to accomodate them. We pay for this through higher taxes and utility rate hikes.
Environmentally, we increase our traffic congestion and air pollution. Open areas decline, and access to many our remaining wild areas often requires permit reservations obtained months in advance (they can go within minutes of becoming available). Congress is poised to have us pay to offset their additional carbon emissions. We'll get no adjustment for the added population under treaties like Kyoto; we still have to deliver a net reduction (the United States has delivered a reduction in the carbon intensity of our population per person, but our CO2 reductions haven't kept up with our population growth). I advocate global CO2 emission reductions, but when we join the follow-on treaty to Kyoto, we'll have to pay billions of dollars in penalties if we don't adequately anticipate and offset the added emissions due to population growth. Population growth is a key factor in global greenhouse gas emission growth, but it's a subject too taboo for politicians to discuss.
The population of the United States is quickly heading past 400 million. The competition for drives up housing prices, and in many states our children can no longer afford to buy a home. Many metropolitan areas are becoming endless strip malls. Neither political party has the courage to even discuss the phenomenon or its effects, so as a country we have no plan to devise a thoughtful, deliberate immigration policy.
Here's a visual demonstration of how the numbers work, projecting where our population is headed over the next few years: video.
I have no problem whatsoever with immigrants or immigration. The problem is one of population growth, not immigration per se. As we clearly see gas prices heading past $6 by the end of this year and while food prices are doubling as well, and while the U.S. dollar has fallen 60% in value and buying power because our politicians fail to balance the federal budget, I simply suggest that we develop a practical policy so we plan how cover the costs.
One last tidbit. In 2004 the Pentagon developed a scenario for possible global food riots due to the effects of global warming as soon as 2020. Riots actually started in 5 countries 2007 with 33 more countries moat at risk next (including countries we think of as peaceful vacation destinations such as Thailand). The government of Haiti already fell as a result. Food prices are directly linked to gas prices, so the current price trajectory is far higher than anticipated. The scenario also anticipated food riots in the U.S.. Given recent trends a treaty was quietly signed with Canada to enable their quick military deployment in U.S. cities as needed. For the past 130 years the Posse Comitatus Act of 1878 banned U.S. military deployment on our own soil. It a response to and a preemptive strike against the repetition of the then immediate past experience of the Confederate States to their military occupation by US Army troops during the ten-year period of post-Civil War Reconstruction, 1867–1877. It was set aside recently in preparation for the military occupation of U.S. cities. War games will be conducted in July 2008 to simulate and practice for these scenarios. Knowing that this is all a predictable outcome of rising global food prices, but could be coming much sooner than expected, do we still want to add 1 million hungry mouths (or 2 million soon-to-be rioting hands) to the population each year?
This shot was taken from Morro Strand State Beach in California.