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The Alexander Hamilton Custom House is one of New York's finest examples of Beaux Arts architecture, incorporating City Beautiful Movement planning principles with architecture, engineering, and fine arts. The seven story structure with 450,000 square feet sits on three city block in Bowling Green.
It is here, at the southern terminus of the old Algonquin trade route, Wiechquaekeck Trail, that Peter Minuet purchased the island of Manhattes for trinkets valued at 60 guilders, or about $24, from the Lenape Indians in 1626. Soon thereafter the Dutch West India Company built Fort Amsterdam on this site, which came to be the nucleus for the New Amsterdam settlement. After the American Revolution the fort was replaced by the brick Government House, which was intended to be but never used as a residence for the President. Instead it became the residence of New York Governors DeWitt Clinton and John Jay. The building served briefly as the Custom House from 1799 and 1815 before being torn down and replaced with rowhouses.
Before a federal income tax was imposed in 1916, a primary source of revenue for the federal government was custom duty. New York City, as the country's most active port, has had a Custom House since the country's founding in in 1781. In 1899, the United States Department of the Treasury acquired the Bowling Green property and sponsored a competition to build a new U.S. Custom House. Minnesotan Cass Gilbert, who later designed the Woolworth Building, won the competition by designing a building that was not just a functional building for commerce, but exuded a palatial grandeur. Construction began in 1900 and completed in 1907.
The interior of the building is dominated by the huge rotunda, which survives as one of the largest public spaces in New York. Commissioned In 1936 as part of the Treasury Relief Art Project, Reginald Marsh was commissioned to paint the elliptical space around the 140-ton skylight with sixteen frescoes. The larger sections portray eight successive stages of the arrival of an ocean liner in the harbor. Eight smaller panels, painted in grisaille to simulate statuary, depict famous explorers like Amerigo Vespucci, Christopher Columbus, Giovanni da Verrazano and Henry Hudson.
Above the main cornice on the sixth story are standing sculptures representing the great commercial sea-faring nations, from the Phoenicians to the Americans.
Central to Gilbert's design of the Custom House were four separate sculptures to be placed at the front entrance of the Custom House, representing four continents (from left to right) - Asia, America, Europe and Africa. Gilbert asked both Daniel Chester French and August Saint-Gaudens both to submit designs for the sculptures. Saint-Gaudens declined the invitation, citing other work he was occupied with, so French received the commission. French began designing the sculptures of "Continents" in 1903 and they were completed and installed in 1907. Art scholars consider French's "Continents" to be perhaps the best examples of architecture sculpture in the United States. Each of the four "Continents" represent a view of the continents through French's early 20th century lens: Asia and Africa are still cloaked in mystery, Europe is in the waning years of its colonial conquests, and America is emerging as a new, vibrant society.
The building was subsequently abandoned in the 1970's and was scheduled for demolition before being saved and restored in the early 1980's. In 1987, the United States Bankruptcy Court for the Southern District of New York occupied the building and in 1994, the Smithsonian Institution's National Museum of the American Indian took over two floors of the Old Custom House.
The United States Custom House was designated a landmark by the New York Landmarks Preservation Commission in 1965. Its interior was designated separately in 1979.
National Historic Register #72000889
New book! Epic Landscape Photography: The Principles of Fine Art Nature Photography!
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Working on a couple photography books! 45EPIC GODDESS PHOTOGRAPHY: A classic guide to exalting the archetypal woman. And 45EPIC Fine Art Landscape Photography!
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Greetings all! I have been busy finishing a few books on photography, while traveling all over--to Zion and the Sierras--shooting fall colors. Please see some here: facebook.com/mcgucken
Let me know in the comments if you would like a free review copy of one of my photography books! :)
Titles include:
The Tao of Epic Landscape Photography: Exalt Fine Art with the Yin-Yang Wisdom of Lao Tzu's Tao Te Ching!
The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography
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And I am also working on a book on photographing the goddesses! :) More goddesses soon!
Best wishes on your epic hero's odyssey!:)
I love voyaging forth into nature to contemplate poetry, physics, the golden ratio, and the Tao te Ching! What's your favorite epic poetry reflecting epic landscapes? I recently finished a book titled Epic Poetry for Epic Landscape Photographers:
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Did you know that John Muir, Thoreau, and Emerson all loved epic poetry and poets including Shakespeare, Milton, Homer, and Robert Burns?
I recently finished my fourth book on Light Time Dimension Theory, much of which was inspired by an autumn trip to Zion!
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Via its simple principle of a fourth expanding dimension, LTD Theory provides a unifying, foundational *physical* model underlying relativity, quantum mechanics, time and all its arrows and asymmetries, and the second law of thermodynamics. The detailed diagrams demonstrate that the great mysteries of quantum mechanical nonlocality, entanglement, and probability naturally arise from the very same principle that fosters relativity alongside light's constant velocity, the equivalence of mass and energy, and time dilation.
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South Canyonlands National Park Utah Winter Snow Fine Art Landscape Nature Photography Fuji GFX100 Luxury American West Arts! Elliot McGucken 45EPIC Master Medium Format Photographer Fujifilm GFX 100 & Fuji Fujinon GF Lens!
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All my photography celebrates the physics of light! The McGucken Principle of the fourth expanding dimension: The fourth dimension is expanding at the rate of c relative to the three spatial dimensions: dx4/dt=ic .
Lao Tzu--The Tao: Nature does not hurry, yet everything is accomplished.
Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Unifying Physical Reality of the Fourth Expanding Dimensionsion dx4/dt=ic !: geni.us/Fa1Q
"Between every two pine trees there is a door leading to a new way of life." --John Muir
Epic Stoicism guides my fine art odyssey and photography: geni.us/epicstoicism
“The clearest way into the Universe is through a forest wilderness.” --John Muir
Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey
“The mountains are calling and I must go.” --John Muir
Epic Art & 45EPIC Gear exalting golden ratio designs for your Hero's Odyssey:
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Exalt the goddess archetype in the fine art of photography! My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ... Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
Some of my epic books, prints, & more!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
All art is but imitation of nature.-- Seneca (Letters from a Stoic - Letter LXV: On the First Cause)
The universe itself is God and the universal outpouring of its soul. --Chrysippus (Quoted by Cicero in De Natura Deorum)
Best wishes on your Epic Odyssey!
Homer: Tell me, O muse, of that ingenious hero who traveled far and wide after he had sacked the famous town of Troy. Many cities did he visit, and many were the nations with whose manners and customs he was acquainted; moreover he suffered much by sea while trying to save his own life and bring his men safely home. . . --Homer's Odyssey, Book I
Listed 9/3/2019
Millbrook, New York
Reference number: 100004333
Innisfree is a public garden of approximately 200 acres, blending Japanese, Chinese, Modern, and ecological design principles in Millbrook, a rural area roughly in the center of Dutchess County, New York. Innisfree’s distinctive sloping, rocky landscape, which forms the literal and visual foundation for the garden, is set within a natural bowl wrapping around the 40-acre Tyrrel Lake. This bowl, with no other signs of human intervention visible beyond the garden, creates a profound sense of intimacy and privacy at Innisfree that is one of its defining characteristics. A product of postwar ideas in American landscape architecture, Innisfree merges the essence of Modernist and Romantic ideas with traditional Chinese and Japanese garden design principles in a form that evolved through subtle, sculptural handling of the site and slow, science-based manipulation of its ecology. The result is a distinctly American stroll garden organized around placemaking techniques used in ancient Chinese villa gardens and described as “cup gardens.”
Innisfree, one of the largest intact modern designed landscapes in America, is the masterwork of Lester Collins (1914-1993), a seminal figure in American twentieth century landscape architecture. Lester Collins, fellow of the American Society of Landscape Architects, was one of the most sought-after designers and influential educators of his generation. Innisfree’s design reflects the philosophies and practices that guided Collins’s approach throughout his career, integrates innovative, sometimes truly groundbreaking horticultural and environmental engineering practices, and embodies the distinctive characteristics of postwar Modernist landscape architecture.
Innisfree began as the private estate of Walter and Marion Beck, who started initial work on the garden during the early 1930s. Starting in 1938, they continued its development in collaboration with and under the direction of Lester Collins. In 1960, following the deaths of the Becks and pursuant to their wishes, Collins transformed Innisfree from a private estate garden into a substantially larger, more nuanced public garden. He ran the public
garden while continuing to gradually develop and transform the landscape until his death in 1993.
Innisfree demonstrates Collins’s focus on the experience of people in the landscape; his ability to respond adroitly to the particularities of site and program; his approach and aesthetics as a Modernist; his scholarly understanding of landscape history, particularly of Romantic, Chinese, and Japanese gardens; and his innovative use of scientific and engineering principles to develop an environmentally and economically sustainable landscape. Innisfree has long been a mecca for designers from all over the world and it is now attracting similar attention from the global horticultural
community.
The primary features of Innisfree’s design are its principal cup gardens (loosely understood as garden rooms), Tyrrel Lake, and the Lake Path. Collins used the unifying features of the lake and lake path to integrate the many cup gardens into one dynamic experience in the natural landscape. The cup gardens vary in form, scale, and materials. One is an organically shaped meadow bisected by a wildly meandering stream and dotted with sculptural rocks and specimen trees. Another is a bog garden that has been carefully but lightly managed so that a new plant community emerged to play a particular aesthetic role. One more still is an elaborate complex of rock terraces stepping down a slope, each with its own vocabulary of design, materials, and mood.
Throughout the garden, there are themes and motifs that recur in varied forms. There is a dynamic tension between what appears to be natural and what appears to be cultivated. At a macro scale, this is evidenced by the entirety of the garden itself emerging from apparent wooded wilderness. Undulating, almost surreal natural topography is echoed in the rounded forms of clipped trees and constructed berms. Tall, straight pine trunks are mirrored in a 60’ high fountain jet. Naturalistic bogs are discreetly cultivated while areas that look like traditional planted beds are allowed to evolve and change like native plant communities.
While there are some exceptional horticultural specimens at Innisfree, the vast majority of the plants are native or naturalized. Instead of labor-intensive maintenance to strictly adhere to a fixed planting plan, plants are encouraged to find locations where they thrive just as they do in the wild and then gently edited for aesthetics. Sometimes this is achieved simply by allowing plants to self-sow; sometimes by sowing seed or moving plants in from elsewhere on site to increase a successful population; sometimes by limited hybridization to develop strains that are more ideally suited to specific local conditions. As a result, the overall plantings at Innisfree have an unstudied visual character punctuated by a handful of carefully placed, carefully sculpted trees.
There is also a deliberate choreographing of human perceptual experiences throughout Innisfree. Collins paid particular attention to these ideas. Scale ranges from massive to intimate. Spaces are open and bright, or tight and shadowy. Surfaces vary in material, texture, slope, and sound. Water changes form, scale, and sound. Design and planting details are dense or spare.
Another important motif at Innisfree is sculptural landforms. Collins began to clear trees to reveal the undulating glacial landforms. Collins felt that “land shapes, both natural and man-made…separate but also knit together sequences of cup gardens. Just like the sculptural rocks, these land forms are permanent design features in the garden, for they do not grow and their health is not subject to vagaries.” In the 1970s and early 1980s, Collins created dramatic berms in the garden to echo and emphasize the natural landforms.
In the nearly 70 years since Innisfree opened to the public, the garden has delighted and captured the imagination of experts and non-experts alike. Garden lovers, landscape writers and critics have sought to capture the unique aesthetic qualities and unusual design sophistication of Innisfree in various descriptive terms.
National Register of Historic Places Homepage
Committee for fundamental principles and rights at work. 106th Session of the International Labour Conference. Geneva, June 2017.
Commission pour les principes et droits fondamentaux au travail. 106e session de la Conférence internationale du Travail. Genève, juin 2017.
Comisión para los principios y derechos fundamentales en el trabajo. 106.a reunión de la Conferencia Internacional del Trabajo. Ginebra, junio de 2017.
Photo © Crozet / Pouteau
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The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
I took this same pic an year back but lost it before uploading. So, went there to the Gandhi Bhavan and took it again... to share with you all. It is in Kannada, as quoted by MK Gandhi in "Young India", 1925 and translates to:
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The Seven Social Sins:
1. politics without principles; తత్వ రహిత రాజకీయము
2. wealth without work; పనిలేని సంపద
3. commerce without morality; నీతి విహీన వాణిజ్యము
4. knowledge without character; శీలం లేని జ్ఞానము?
5. pleasure without conscience; ఆత్మసాక్షి రహిత భోగము
6. science without humanity; మానవత లేని శాస్త్రజ్ఞ్యానము
7. worship without sacrifice; త్యాగం లేని పూజ
<--
Now you know what the 'sss' means in my username.. ;) and am such a huge fan of him.
Deshamanya Dr. Radhika Coomaraswamy’s brother describes her as a woman of strong conviction with an unflinching sense of justice, a clear mind and a soft manner when dealing with people. “Whenever I travel the world and meet people who know Radhika, they tell me how much they admire her,” says Indrajit Coomaraswamy. “They also tell me that she’s a tough lady, and I laugh incredulously. She’s not tough at all. She stands for her principles, but she’s soft with people,” he elaborates.
A humanist and an ardent believer in nonviolence, Coo-maraswamy often goes the extra mile to propound her beliefs. In October 2004, while delivering the Mahatma Gan-dhi Memorial Oration, she declared unwaveringly: “As a Sri Lankan Tamil, I am now even more convinced that we lost our way when we made armed struggle the dominant means of fighting discrimina-tion and oppression. In Tamil circles, it is often said in whispers: ‘The LTTE and the armed struggle have brought us self-respect; we can walk on the streets without fear of Sinhalese mobs; if it was not for armed struggle, the Sinhalese would not have given us anything.’ I must disagree.” She elaborated: “I firmly believe that if we had stuck to nonviolence, if we had imagined new and more innovative forms of nonviolent protest and participatory politics, we would have been better off today as an ethnic group, as a country and as citizens of the world.”
She was born in Colombo on 17 September 1953 to Raju and Wijeyamani Coomaraswamy. Her initial education was at Ladies College. Her father was a respected member of the Sri Lanka Civil Service and worked at the Ministry Of Finance during which time he helped to establish economic relations with a large number of countries. When Coomaraswamy was eight, her father accepted the position of Assistant Secretary-General of the United Nations Development Programme – and the family moved to New York.
After graduating from the United Nations International School, Coomaraswamy received her Bachelor Of Arts degree from Yale University, with a major in political science and a minor in economics. She also has a Doctor Of Jurisprudence from Columbia University, a Master Of Laws from Harvard University and boasts an honorary Ph.D. from Amherst College. She later received honorary doctorates from the University Of Edinburgh and the University Of Essex.
“She was always keen on studying,” reflects her mother. “I suggested that she return to Sri Lanka after her first degree. My own mother wanted her sent back so that she could get married. She cautioned me at the time that if Radhika qualified too much, she would never have a husband!”
Coomaraswamy first gained prominence as an international figure when, in 1994, she was made UN Special Rapporteur On Violence Against Women. She held the position on a voluntary basis until 2003 and is widely known for her tireless, outstanding work. During the course of her term, she travelled to Japan and South Korea to report on comfort women; to Brazil, on domestic violence; to Poland, on trafficking; to South Africa, on rape in the community; and to the US, on women in prisons. She also visited Rwanda and East Timor to investigate violence against women during armed conflict; Afghanistan to look at issues of religious extremism; and India, Nepal and Bangladesh to probe the trafficking of young girls. After each visit, Coomaraswamy wrote a report to the UN Commission On Human Rights.
Today, Coomaraswamy is at the zenith of her career. But on being asked what her most cherished accomplishment is, she replies that there isn’t one. “I don’t quite know what I have achieved,” she claims, modestly. “I have been lucky in life. My immediate family is such a blessing. In my work, I see so many dysfunctional families and I realise how fortunate I have been,” she affirms.
Most people assume that feminists are against marriage and family, she notes, stressing: “I am not. I think marriage and family are wonderful if they are centres of nurture and care. Feminists are only against pathological families where there is violence and abuse. I did not marry because I never found the right person. My work has kept me busy, so I did not have much time to search for one. I always felt that, given the pressure on my time, no marriage is better than the risk of a bad marriage.”
Any regrets? “Well, I always regretted not having a child,” she admits. “But, perhaps, that has been answered. The children in armed conflict are now my children,” she adds.
In April 2006, Coomaraswamy was appointed Special Representative of the United Nations Secretary-General for Children and Armed Conflict. It is a prestigious post, but only one of many offers that she had previously let pass. “They sounded her out to be head of the UN Commission On Human Rights and also of Amnesty International,” her brother reveals.
Despite considerable demand for her expertise abroad, Coomaraswamy had always wanted to – and liked to – work in Sri Lanka. That was one reason she returned to the country in 1977. She was at the Marga Institute until 1982, when the International Centre For Ethnic Studies was formed and Dr. Neelan Tiruchelvam invited her to be its director.
“I think it’s fair to say that Tiruchelvam and my father were the two strongest influences in Radhika’s life, in terms of her values and professional interests,” Coomaraswamy’s brother reflects. “Her friends Suriya Wickremasinghe and Kumari Jayawardena also had an impact,” he discloses. “My father’s career inspired her interest in human development. She comes to human rights, empowerment and gender from that perspective. Radhika is essentially a humanist. She is also a good fusion of East and West. While subscribing strongly to the Western concept of individual rights, she is equally rooted in the more collectivist Eastern values related to family, community and society,” he elaborates.
In May 2003, Coomaraswamy was made Chairperson of the Sri Lanka Human Rights Commission. It was a post she held until her recent departure to New York. For her groundbreaking work as UN Special Rapporteur and for her numerous other achievements, Coomaraswamy received widespread recognition. Among the many awards with which she has been bestowed are the International Law Award from the American Bar Association, the Human Rights Award from the International Human Rights Law Group, the Bruno Kreisky Award for 2000, the Leo Ettinger Human Rights Prize from the University Of Oslo, the Cesar Romero Award from the University Of Dayton, the William J. Butler Award from the University Of Cincinnati and the Robert S. Litvack Award from McGill University.
In November 2005, in recognition of her service to the country and the world, former President Chandrika Kumaratunga conferred on her the title of ‘Deshamanya’. She is the only woman to have received the honour.
Coomaraswamy has today become a woman with immense lobbying power. “She has very good access to decision makers. She is able to use quiet diplomacy and advocacy to influence people in positions of power,” her brother asserts.
In 2004, when the University Of Essex conferred an honorary doctorate on Coomaraswamy, Prof. Kevin Boyle delivered a glowing oration in which he called her a tireless campaigner for human rights and a voice for the voiceless. “She has made a real difference – not just in the way that violence against women is now regarded in global public opinion, but also in how women’s rights and human rights are seen today,” he said.
It was a fitting tribute for a woman who has truly done Sri Lanka proud.
New book! Epic Landscape Photography: The Principles of Fine Art Nature Photography!
www.facebook.com/epiclandscapephotography/
Join my new 45EPIC fine art landscapes page on facebook!
facebook.com/mcgucken
Working on a couple photography books! 45EPIC GODDESS PHOTOGRAPHY: A classic guide to exalting the archetypal woman. And 45EPIC Fine Art Landscape Photography!
More on my golden ratio musings: facebook.com/goldennumberratio
instagram.com/goldennumberratio
Greetings all! I have been busy finishing a few books on photography, while traveling all over--to Zion and the Sierras--shooting fall colors. Please see some here: facebook.com/mcgucken
Let me know in the comments if you would like a free review copy of one of my photography books! :)
Titles include:
The Tao of Epic Landscape Photography: Exalt Fine Art with the Yin-Yang Wisdom of Lao Tzu's Tao Te Ching!
The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography
facebook.com/goldennumberratio
And I am also working on a book on photographing the goddesses! :) More goddesses soon!
Best wishes on your epic hero's odyssey!:)
I love voyaging forth into nature to contemplate poetry, physics, the golden ratio, and the Tao te Ching! What's your favorite epic poetry reflecting epic landscapes? I recently finished a book titled Epic Poetry for Epic Landscape Photographers:
www.facebook.com/Epic-Poetry-for-Epic-Landscape-Photograp...
Did you know that John Muir, Thoreau, and Emerson all loved epic poetry and poets including Shakespeare, Milton, Homer, and Robert Burns?
I recently finished my fourth book on Light Time Dimension Theory, much of which was inspired by an autumn trip to Zion!
www.facebook.com/lightimedimensiontheory/
Via its simple principle of a fourth expanding dimension, LTD Theory provides a unifying, foundational *physical* model underlying relativity, quantum mechanics, time and all its arrows and asymmetries, and the second law of thermodynamics. The detailed diagrams demonstrate that the great mysteries of quantum mechanical nonlocality, entanglement, and probability naturally arise from the very same principle that fosters relativity alongside light's constant velocity, the equivalence of mass and energy, and time dilation.
Follow me on instagram!
Join my new 45EPIC fine art landscapes page on facebook!
New book! Epic Landscape Photography: The Principles of Fine Art Nature Photography!
www.facebook.com/epiclandscapephotography/
Join my new 45EPIC fine art landscapes page on facebook!
facebook.com/mcgucken
Working on a couple photography books! 45EPIC GODDESS PHOTOGRAPHY: A classic guide to exalting the archetypal woman. And 45EPIC Fine Art Landscape Photography!
More on my golden ratio musings: facebook.com/goldennumberratio
instagram.com/goldennumberratio
Greetings all! I have been busy finishing a few books on photography, while traveling all over--to Zion and the Sierras--shooting fall colors. Please see some here: facebook.com/mcgucken
Let me know in the comments if you would like a free review copy of one of my photography books! :)
Titles include:
The Tao of Epic Landscape Photography: Exalt Fine Art with the Yin-Yang Wisdom of Lao Tzu's Tao Te Ching!
The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography
facebook.com/goldennumberratio
And I am also working on a book on photographing the goddesses! :) More goddesses soon!
Best wishes on your epic hero's odyssey!:)
I love voyaging forth into nature to contemplate poetry, physics, the golden ratio, and the Tao te Ching! What's your favorite epic poetry reflecting epic landscapes? I recently finished a book titled Epic Poetry for Epic Landscape Photographers:
www.facebook.com/Epic-Poetry-for-Epic-Landscape-Photograp...
Did you know that John Muir, Thoreau, and Emerson all loved epic poetry and poets including Shakespeare, Milton, Homer, and Robert Burns?
I recently finished my fourth book on Light Time Dimension Theory, much of which was inspired by an autumn trip to Zion!
www.facebook.com/lightimedimensiontheory/
Via its simple principle of a fourth expanding dimension, LTD Theory provides a unifying, foundational *physical* model underlying relativity, quantum mechanics, time and all its arrows and asymmetries, and the second law of thermodynamics. The detailed diagrams demonstrate that the great mysteries of quantum mechanical nonlocality, entanglement, and probability naturally arise from the very same principle that fosters relativity alongside light's constant velocity, the equivalence of mass and energy, and time dilation.
Follow me on instagram!
Join my new 45EPIC fine art landscapes page on facebook!
Lombard style bell tower illuminated.
The church of Our Lady of the Assumption is one of the most beautiful Romanesque churches Brionnais and one of the most interesting of Romanesque Burgundy by the quality of its carved decoration and its harmonious proportions.
The building, with its height two-story relates to the ancient architectural tradition of Burgundy. It is the antithesis of architectural principles illustrated in Cluny III.
The church plan
The church of Our Lady of the Assumption is, classically, facing east, toward Jerusalem.
Its floor plan replicates that of the church of Charlieu and recalled the ties between the two monasteries founded in the Carolingian period. The main vessel is a three-nave of five bays under edges. The transept, salient, is to arm with oriented apses. The whole forms a Latin cross. The choir and transepts are crowned by a series of five apses behind. This plan offers a picture perfect in its simplicity and in the rightness of its proportions.
Construction is medium blond limestone unit, uneven and grouted. Unlike the masonry of the apse and transept, compared to that of the nave, recalls that the church of Anzy-le-Duc was conducted in two campaigns, from the mid / late eleventh and early twelfth.
Outdoor Architecture
South side of the church, the corbels that support the entablature cornices are almost carved.
The transept and the main facade is highlighted by their stilted gables.
The bell tower
The church of Our Lady of the Assumption has a remarkable octagonal tower novel.
The elegance of this tower makes it one of the most beautiful Romanesque bell towers of Brionnais. Its high silhouette give slenderness to the entire building. Its octagonal building decorated with three floors of Lombard arches recalls the Romanesque bell towers of northern Italy.
It is decorated with the three upper floors of twin arched windows separated by pillars and topped with Lombard bands.
The western façade has a remarkable portal whose lintel, the eardrum and the archivolt double arch have a very rich sculptural decoration.
The eardrum dated twelfth. The church of Our Lady of the Assumption in three had originally. Today, one of them is located in Hiero Museum Paray-le-Monial. The eardrum visible on the building face Christ in glory in a mandorla. He sits on his throne. The mandorla is a symbol of rebirth, is supported by two angels with wings and whose feet are anchored to the ground. This iconography symbolizes the return of Christ on earth, to the end of time to judge the living and the dead.
The lintel is the scene of the Ascension.
The badly damaged lower arch as well as the four capitals, the 24 elders of the Apocalypse, crowned head, holding in his hand a cup and harp, celebrating the glory of the risen Christ. The 24 elders represent the 12 prophets and patriarchs and the 12 Apostles. They symbolize the meeting of the Old and New Testaments. This image is from a vision of St. John described in the Apocalypse.
The moldings were restored.
The sculptures were hammered during the period of the French Revolution.
The south facade
The south portal of the priory tells the story of the salvation of mankind. Tympanum represents the Adoration of the Magi and the Original Sin. The architrave shows the punishments imposed on the damned in hell, and its left end, a brief allusion to the heavenly Jerusalem. Figures could include the influence of the workshop Gislebertus Autun, although their flexibility departs somewhat from the impetuosity which characterizes the sculptures of the Saint-Lazare Cathedral of Autun. The style is much cruder. Perhaps we there see the hand of an artist who spoke at the Church of Neuilly-en-Donjon, located on the other side of the Loire.
The bedside
Like the second abbey of Cluny, the church of Anzy-le-Duc has a bedside level with five apsidal chapels.
interior architecture
The nave [change | modify the code]
The church of Anzy-le-Duc is regularly oriented.
The architecture of the nave is two stories with large arcades surmounted by tall windows.
The bays of the nave bear groin vaults separated by arches that give rise to simple architectural lines and great harmony. The quality of vaulting demonstrates the skills mastered craftsmen and architects. This bias construction is found in other Romanesque churches of Burgundy, including Vezelay. However, there is not here this momentum verticality that will characterize the buildings have adopted the principles of Cluny III. The vertical and horizontal lines are balanced to generate a feeling of peaceful serenity.
The capitals of the nave date from the eleventh. They are among the earliest examples of this form of typically Romanesque art.
They are carved mostly from plant or animal motifs are of great aesthetic value. There are approximately forty of which a head of cattle, Daniel and the lions, an acrobat, an angel fighting a demon, Samson controlling a lion ...
Saint Michael fighting the devil. He guards the entrance of Paradise. In its shield, the monstrous devil planted his trident, the handle and the right arm holding the were broken (3rd pillar to the left, entering the nave).
This scene could be the man, attached to the right, however, must fight against physical forces or the forces of evil. Nu (nudity in Roman art can represent the innocence of origins), he clings with both hands in the ring that forms the basis of capital. The ring is a symbol of a branch of the tree of life in Genesis. Two monstrous snakes to interlaced rings are preparing to bite his torso and heel. (2nd pillar to the left, entering the nave)
This capital, located on the 5th pillar to the left, entering the nave could illustrate the theme of the quarrel. Two figures evil their tongues, classic iconography in Roman art of lying, slander or insults. The lie is generating conflicts and wars. In the left corner of the tent, two characters kiss: a reconciliation? a hypocritical gesture as might suggest the two heads like monkeys. The monkey wants to imitate the man as the devil tries to imitate God. The monkey is a symbol of heresy, paganism, of all that is false, anything that distracts man from his likeness to God.
Here, in contrast, the most recent works it is possible to see in Autun and Saulieu, the block formed by the marquee itself is not entirely hidden: include seem like stone applied on their support. Yet we already discern a principle of composition which will remain true Burgundian sculpture submitted to the architectural structure of the capital, the figures of angles resume the role of ancient scrolls. They announce the development of the Cluny sculpture twelfth.
The choir
The choir is composed of a span with aisles that end in the apses. It extends an axial central apse and chapels.
The choir, vaulted cul-de-four with frescoes, and the transepts are crowned by a series of five apses behind. The octagonal cupola on tubes.
Two capitals, almost symmetrical, represent two majestic eagles with outspread wings. They open your eyes wide and yet set the rising sun. At the top of the wings, is carved a swastika, ancient Hindu symbol of the sun spinning. The eagle symbolizes the soul that rises above the vicissitudes of earthly experience. That is the spiritual equivalent of the temporal power of the lion. The eagle is the opposite of the snake, chthonic animal. It symbolizes the soul that rises to the Light, to Knowledge as the eagle, king of birds can fly in / from the sun. It is the oldest capitals of the church (circa 1050).
The murals are of medieval origin but were heavily restored in 1850 by a painter of Drill, Jean-François Maurice. The vault in this cul-de-four Ascension. The risen Christ joined his Father in heaven. Standing, surrounded by an oval glory, he blessed the people of believers. Two angels are for 12 Apostles and three holy women remained low. They say, "Men of Galilee, why do you stand looking into heaven? This Jesus who comes to you be taken to heaven, will come in the same way that you saw up there. " Under this Ascension in four areas bounded by pilasters, are represented the symbols of the four evangelists: the angel, emblem of St Matthew, the bull for Luke, the lion of St. Mark and the eagle for John. These four figures were the haloed head and holding the holy book, ie the Bible. Under the angel symbolizing St Matthew Letbald is shown. It was the lord of Anzy-le-Duc, who, in 876, donated his land to the Benedictine monks of Autun. Opposite, under the eagle of St. John, was his wife slope, Altasie.
The crypt
Recent excavations have rediscovered the crypt, clearing a passage of stairs from the north transept. This crypt dated eleventh century served as a burial place to Hugues de Poitiers. It is one of the Christian shrines preserved among the oldest of all the brionnais country. MM. of Canat and Surigny, made the plan of the crypt and worked in the study of sculptures and murals, the date is not earlier than the twelfth century.
It communicated with the church by two staircases that had come together in a single release in front of the choir. The vault is supported by pillars, two gray breccia from the broken barrel of an ancient column, whose base was still visible.
In 1576, the tomb of Hugues de Poitiers is desecrated by Huguenots. The body is thrown into the fire and the ashes scattered to the winds.
The crypt was decorated with frescoes of which only a fragment.
wp
ISTANBUL, TURKEY - 24 MAY 2016: General view of the Special Session on “Humanitarian Principles” within the World Humanitarian Summit. OCHA / Berk Ozkan
In the spirit of advancing the crucial role of the private sector to achieve Goal 5 "Gender Equality", UN Women, United Nations Global Compact (UNGC) and United Nations Office for Partnerships (UNOP) joined forces to to organize the Annual Women’s Empowerment Principles Forum. The Forum took place in New York on 15 March 2018 and provided a platform for presenting ongoing, successful business initiatives that aim at women’s empowerment, economic inclusion and entrepreneurship globally.
Speakers included:
Ms. Amina J. Mohammed, Deputy Secretary-General, United Nations
H.E Mrs. Geraldine Byrne Nason, CSW62 Chair, Permanent Representative of Ireland to the United Nations
Ambassador Mara Marinaki, Principal Advisor on Gender and on the Implementation of UNSCR 1325 on Women, Peace and Security, European Union
Ms. Laura Trevelyan, BBC Anchor/Correspondent
Ms. Phumzile Mlambo-Ngcuka, United Nations Under-Secretary-General and Executive Director of UN Women
Ms. Lise Kingo, CEO and Executive Director, United Nations Global Compact
Ms. Laura Stachel, Co-Founder and Executive Director,We Care Solar
Ms. Michèle Sabban, Honorary President of R20 and President of the Green Fund for Women
Mr. Eduardo Martinez, President, The UPS Foundation and Chief Diversity & Inclusion Officer, UPS
Mr. Scott N. Mitchell, President & CEO, Sumitomo Chemical America
Ms. Katherine Lucey, Founder and CEO, Solar Sister
Ms. Luz Maria Jaramillo, President, Pavimentos Colombia
Ms. Joanne Farrell, Managing Director, Rio Tinto
Keynote Remarks
Ms. Padma Lakshmi, Author, actress, model, television host, executive producer
Photo: UN Women/Ryan Brown
Note the shapes formed by the divided "2013" in the middle of the skull shape. Their black negative space contrasts with the thin lines of the rest of the skull, forming the illusion of eyes. The word "Villains" also achieves an appearance of teeth on the mouth portion of this abstract skull.
This poster was part of a 2013 calendar collection from the Disneyland Resort. Photograph by me.
The concrete arch straddles the multi-laned Reunification Highway leading from Pyongyang to the DMZ. It consists of two Korean women in traditional dress (chosŏn-ot), symbolizing the North and the South,[2] leaning forward to jointly uphold a sphere bearing a map of a reunified Korea. The sphere is the emblem of the Three Charters; the Three Principles of National Reunification; the Plan of Establishing the Democratic Federal Republic of Koryo and the Ten Point Program of the Great Unity of the Whole Nation.
Developed using the principles of New Urbanism, CLC worked with its private sector partners to create a compact, pedestrian-friendly community. Our shared goal was to build a space where residents are never more than a few minutes away from parks, schools, green space and access to public transit. With 1,600 housing units ranging from single-family homes to townhouses and apartments, as well as retail shops and services located on the property, the development offers something for everyone.
Garrison Woods also celebrates its association with its military past, by retaining existing street names from the former Canadian Forces Base. As a gesture of respect to the Base’s history, Garrison Woods also incorporates memorials to pay tribute to the men and women of Canada’s military.
Garrison Woods was completed in 2004, and has since become one of Calgary’s most desirable neighbourhoods.
_______
La SIC et ses partenaires du secteur privé ont utilisé les principes du nouvel urbanisme pour créer un quartier compact et invitant pour la marche. Le but consistait à construire un secteur où les gens sont à quelques minutes à pied des parcs, écoles, espaces verts et transport en commun. Le quartier compte 1 600 résidences de toutes sortes, des maisons individuelles aux maisons en rangée et aux appartments, de même que des commerces et services qui répondent aux besoins des résidents.
Garrison Woods est un endroit qui commémore l’histoire militaire des lieux, en conservant les noms des rues de l’ancienne base des Forces canadiennes. En guise de respect pour l’histoire de la base, des monuments ont aussi été érigés à Garrison pour rendre hommage aux hommes et aux femmes qui ont servi dans les Forces canadiennes.
Garrison Woods a été terminé en 2004 et, depuis, est devenu un des quartiers les plus recherchés de Calgary.
Against the grim backdrop of the COVID-19 pandemic, chief executives of 110 companies in Thailand have pledged to advance gender equality in business by implementing the Women’s Empowerment Principles (WEPs). The event was hosted by WeEmpowerAsia, a UN Women programme funded by and in partnership with the European Union. Read the full press release: unwo.men/tGyn50BFura
Date: September 30, 2020
Location: Bangkok, Thailand
Photo: UN Women/Siraphob Werakijpanich & Tanasin Pheankusol
I picked this dress up in the Debenhams sale a few weeks ago and this was the first chance to wear it. I'm really pleased with it and how it hangs (it is a fluid silky jersey type fabric with mesh sleeves) and also was a bargain (just £16.50 from £55!)
The Alexander Hamilton Custom House is one of New York's finest examples of Beaux Arts architecture, incorporating City Beautiful Movement planning principles with architecture, engineering, and fine arts. The seven story structure with 450,000 square feet sits on three city block in Bowling Green.
It is here, at the southern terminus of the old Algonquin trade route, Wiechquaekeck Trail, that Peter Minuet purchased the island of Manhattes for trinkets valued at 60 guilders, or about $24, from the Lenape Indians in 1626. Soon thereafter the Dutch West India Company built Fort Amsterdam on this site, which came to be the nucleus for the New Amsterdam settlement. After the American Revolution the fort was replaced by the brick Government House, which was intended to be but never used as a residence for the President. Instead it became the residence of New York Governors DeWitt Clinton and John Jay. The building served briefly as the Custom House from 1799 and 1815 before being torn down and replaced with rowhouses.
Before a federal income tax was imposed in 1916, a primary source of revenue for the federal government was custom duty. New York City, as the country's most active port, has had a Custom House since the country's founding in in 1781. In 1899, the United States Department of the Treasury acquired the Bowling Green property and sponsored a competition to build a new U.S. Custom House. Minnesotan Cass Gilbert, who later designed the Woolworth Building, won the competition by designing a building that was not just a functional building for commerce, but exuded a palatial grandeur. Construction began in 1900 and completed in 1907.
The interior of the building is dominated by the huge rotunda, which survives as one of the largest public spaces in New York. Commissioned In 1936 as part of the Treasury Relief Art Project, Reginald Marsh was commissioned to paint the elliptical space around the 140-ton skylight with sixteen frescoes. The larger sections portray eight successive stages of the arrival of an ocean liner in the harbor. Eight smaller panels, painted in grisaille to simulate statuary, depict famous explorers like Amerigo Vespucci, Christopher Columbus, Giovanni da Verrazano and Henry Hudson.
Above the main cornice on the sixth story are standing sculptures representing the great commercial sea-faring nations, from the Phoenicians to the Americans.
Central to Gilbert's design of the Custom House were four separate sculptures to be placed at the front entrance of the Custom House, representing four continents (from left to right) - Asia, America, Europe and Africa. Gilbert asked both Daniel Chester French and August Saint-Gaudens both to submit designs for the sculptures. Saint-Gaudens declined the invitation, citing other work he was occupied with, so French received the commission. French began designing the sculptures of "Continents" in 1903 and they were completed and installed in 1907. Art scholars consider French's "Continents" to be perhaps the best examples of architecture sculpture in the United States. Each of the four "Continents" represent a view of the continents through French's early 20th century lens: Asia and Africa are still cloaked in mystery, Europe is in the waning years of its colonial conquests, and America is emerging as a new, vibrant society.
The building was subsequently abandoned in the 1970's and was scheduled for demolition before being saved and restored in the early 1980's. In 1987, the United States Bankruptcy Court for the Southern District of New York occupied the building and in 1994, the Smithsonian Institution's National Museum of the American Indian took over two floors of the Old Custom House.
The United States Custom House was designated a landmark by the New York Landmarks Preservation Commission in 1965. Its interior was designated separately in 1979.
National Historic Register #72000889
Ajay Devgn & Jaey Gajera together to Promote Gulshan Kumar & T Series Presentation a Panorama Studios Production RAID. Honest, strict and a man of principles Amay Patnaik is ready to meet you all today.
Twitter.com/JaeyGajeraIndia
Instagram.com/JaeyGajera
#AjayDevgn #JaeyGajera #RAID #RaidInCinemas #Bollywood #RajKumarGupta #AbhishekPathak #KumarMangatPathak
#BhushanKumar #KrishanKumar #IleanaDCruz #SaurabhShukla #AlphonseRoy
#BodhadityaBanerjee
#PanoramaStudios #TSeries
New book! Epic Landscape Photography: The Principles of Fine Art Nature Photography!
www.facebook.com/epiclandscapephotography/
Join my new 45EPIC fine art landscapes page on facebook!
facebook.com/mcgucken
Working on a couple photography books! 45EPIC GODDESS PHOTOGRAPHY: A classic guide to exalting the archetypal woman. And 45EPIC Fine Art Landscape Photography!
More on my golden ratio musings: facebook.com/goldennumberratio
instagram.com/goldennumberratio
Greetings all! I have been busy finishing a few books on photography, while traveling all over--to Zion and the Sierras--shooting fall colors. Please see some here: facebook.com/mcgucken
Let me know in the comments if you would like a free review copy of one of my photography books! :)
Titles include:
The Tao of Epic Landscape Photography: Exalt Fine Art with the Yin-Yang Wisdom of Lao Tzu's Tao Te Ching!
The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography
facebook.com/goldennumberratio
And I am also working on a book on photographing the goddesses! :) More goddesses soon!
Best wishes on your epic hero's odyssey!:)
I love voyaging forth into nature to contemplate poetry, physics, the golden ratio, and the Tao te Ching! What's your favorite epic poetry reflecting epic landscapes? I recently finished a book titled Epic Poetry for Epic Landscape Photographers:
www.facebook.com/Epic-Poetry-for-Epic-Landscape-Photograp...
Did you know that John Muir, Thoreau, and Emerson all loved epic poetry and poets including Shakespeare, Milton, Homer, and Robert Burns?
I recently finished my fourth book on Light Time Dimension Theory, much of which was inspired by an autumn trip to Zion!
www.facebook.com/lightimedimensiontheory/
Via its simple principle of a fourth expanding dimension, LTD Theory provides a unifying, foundational *physical* model underlying relativity, quantum mechanics, time and all its arrows and asymmetries, and the second law of thermodynamics. The detailed diagrams demonstrate that the great mysteries of quantum mechanical nonlocality, entanglement, and probability naturally arise from the very same principle that fosters relativity alongside light's constant velocity, the equivalence of mass and energy, and time dilation.
Follow me on instagram!
Join my new 45EPIC fine art landscapes page on facebook!
fs.blog/2018/04/first-principles/
Eerste principes: de bouwstenen van ware kennis
LEESTIJD: 19 MINUTEN
Denken op de eerste beginselen is een van de beste manieren om gecompliceerde problemen te reverse-engineeren en creatieve mogelijkheden te ontketenen. Ook wel 'redeneren vanuit de eerste principes' genoemd, het idee is om gecompliceerde problemen op te splitsen in basiselementen en ze vervolgens van de grond af aan samen te voegen. Het is een van de beste manieren om voor jezelf te leren denken, je creatieve potentieel te ontsluiten en van lineaire naar niet-lineaire resultaten te gaan.
Deze benadering werd gebruikt door de filosoof Aristoteles en wordt nu gebruikt door Elon Musk en Charlie Munger. Het stelt hen in staat door de mist van slordige redeneringen en inadequate analogieën te snijden om kansen te zien die anderen missen.
“Ik weet niet wat er met mensen aan de hand is: ze leren niet door te begrijpen; ze leren op een andere manier - uit het hoofd of zoiets. Hun kennis is zo kwetsbaar! "
- Richard Feynman
De basis
Een eerste principe is een fundamentele propositie of aanname die op zichzelf staat. We kunnen de eerste principes niet afleiden uit enige andere propositie of veronderstelling.
Aristoteles schreef [1] over de eerste principes en zei:
Bij elk systematisch onderzoek (methodos) waar er eerste principes, of oorzaken, of elementen zijn, komen kennis en wetenschap voort uit het verwerven van kennis hiervan; want we denken dat we iets weten voor het geval we kennis verwerven over de primaire oorzaken, de primaire eerste principes, helemaal tot aan de elementen.
Later verbond hij het idee met kennis, waarbij hij de eerste principes definieerde als 'de eerste basis waaruit iets bekend is'. [2]
De zoektocht naar de eerste principes is niet uniek voor de filosofie. Alle grote denkers doen het.
Redeneren op basis van eerste principes verwijdert de onzuiverheid van aannames en conventies. Wat overblijft zijn de essentie. Het is een van de beste mentale modellen die u kunt gebruiken om uw denken te verbeteren, omdat u aan de hand van de essentie kunt zien waar analoog redeneren u op een dwaalspoor kan brengen.
De Coach en de Play Stealer
Mijn vriend Mike Lombardi (een voormalig NFL-manager) en ik zaten op een avond in LA te eten en hij zei: 'Niet iedereen die coach is, is ook echt een coach. Sommigen van hen zijn gewoon spel-stealers. "
Elk spel dat we in de NFL zien, is ooit gemaakt door iemand die dacht: "Wat zou er gebeuren als de spelers dit zouden doen?" en ging naar buiten en testte het idee. Sindsdien zijn er duizenden, zo niet miljoenen toneelstukken gemaakt. Dat is een onderdeel van wat coaches doen. Ze beoordelen wat fysiek mogelijk is, samen met de zwakke punten van de andere teams en de capaciteiten van hun eigen spelers, en creëren plays die zijn ontworpen om hun teams een voordeel te geven.
De coach redeneert vanuit de eerste principes. De voetbalregels zijn de eerste principes: ze bepalen wat je wel en niet kunt doen. Alles is mogelijk zolang het niet tegen de regels is.
De play stealer werkt af wat al is gedaan. Natuurlijk, misschien voegt hij hier of daar een tweak toe, maar over het algemeen kopieert hij gewoon iets dat iemand anders heeft gemaakt.
Hoewel zowel de coach als de play stealer uitgaan van iets dat al bestaat, hebben ze over het algemeen verschillende resultaten. Deze twee mensen zien er voor de meesten van ons hetzelfde uit aan de zijlijn of kijken naar de wedstrijd op de tv. Inderdaad, ze zien er meestal hetzelfde uit, maar als er iets misgaat, is het verschil te zien. Zowel de coach als de play-stealer noemen succesvolle plays en niet-succesvolle plays. Alleen de coach kan echter bepalen waarom een toneelstuk al dan niet succesvol was, en kan uitzoeken hoe dit kan worden aangepast. De coach begrijpt, in tegenstelling tot de play stealer, waarvoor het spel bedoeld is en waar het fout is gegaan, zodat hij gemakkelijk zijn koers kan corrigeren. De play-stealer heeft geen idee wat er aan de hand is. Hij begrijpt het verschil niet tussen iets dat niet werkte en iets dat in de sterke punten van het andere team speelde.
Musk zou de spelstoker identificeren als de persoon die naar analogie redeneert, en de coach als iemand die redeneert volgens de eerste principes. Als je een team leidt, wil je een coach die de leiding heeft en niet een spelstoker. (Als je een sportfan bent, hoef je alleen maar te kijken naar het verschil tussen de Cleveland Browns en de New England Patriots.)
We bevinden ons allemaal ergens op het spectrum tussen coach en play stealer. We redeneren op basis van eerste principes, naar analogie, of een combinatie van beide.
Een andere manier om over dit onderscheid na te denken, komt van een andere vriend, Tim Urban. Hij zegt [3] het is net het verschil tussen de kok en de chef. Hoewel deze termen vaak door elkaar worden gebruikt, is er een belangrijke nuance. De chef is een pionier, de persoon die recepten bedenkt. Hij kent de rauwe ingrediënten en weet hoe hij ze moet combineren. De kok, die naar analogie redeneert, gebruikt een recept. Hij creëert iets, misschien met kleine variaties, dat al is gemaakt.
Het verschil tussen redeneren volgens de eerste principes en redeneren naar analogie is als het verschil tussen chef-kok zijn en kok zijn. Als de kok het recept zou kwijtraken, zou hij genaaid zijn. De chef daarentegen begrijpt de smaakprofielen en -combinaties zo fundamenteel dat hij niet eens een recept gebruikt. Hij heeft echte kennis in tegenstelling tot knowhow.
Gezag
Veel van wat we geloven, is gebaseerd op een autoriteitsfiguur die ons vertelt dat iets waar is. Als kinderen leren we om te stoppen met vragen te stellen als ons wordt verteld "Omdat ik het zei." (Hierover later meer.) Als volwassenen leren we om te stoppen met vragen te stellen als mensen zeggen "Omdat het zo werkt." De impliciete boodschap is "begrip is verdoemd - hou je mond en val me niet lastig." Het is niet opzettelijk of persoonlijk. OK, soms is het persoonlijk, maar meestal niet.
Als je dogma's ronduit afwijst, word je vaak een probleem: een student die de leraar altijd lastig valt. Een kind dat altijd vragen stelt en je nooit in vrede laat koken. Een medewerker die altijd dingen vertraagt door te vragen waarom.
Maar als je niet van gedachten kunt veranderen, ga je dood. Sears werd ooit onverwoestbaar geacht voordat Wal-Mart het overnam. Sears zag de wereld niet veranderen. Je aanpassen aan verandering is ongelooflijk moeilijk om te doen als het in conflict komt met datgene dat zoveel succes heeft veroorzaakt. Zoals Upton Sinclair treffend opmerkte: "Het is moeilijk om een man iets te laten begrijpen, terwijl zijn salaris ervan afhangt dat hij het niet begrijpt." Wal-Mart zag de wereld niet veranderen en wordt nu aangevallen door Amazon.
Als we nooit leren iets uit elkaar te halen, de aannames te testen en het te reconstrueren, komen we vast te zitten in wat andere mensen ons vertellen - gevangen in de manier waarop dingen altijd zijn gedaan. Als de omgeving verandert, gaan we gewoon door alsof de dingen hetzelfde zijn.
Redenering uit de eerste beginselen doorbreekt dogma's en verwijdert de oogkleppen. We kunnen de wereld zien zoals hij is en zien wat er mogelijk is.
Als het erop aankomt, is alles wat geen natuurwet is, slechts een gedeelde overtuiging. Geld is een gedeelde overtuiging. Dus is een grens. Bitcoins ook. De lijst gaat verder.
Sommigen van ons zijn van nature sceptisch over wat ons wordt verteld. Misschien komt het niet overeen met onze ervaringen. Misschien is het iets dat vroeger waar was, maar niet meer waar is. En misschien denken we gewoon heel anders over iets.
"Begrijpen is weten wat je moet doen."
- Wittgenstein
Technieken voor het vaststellen van de eerste principes
Er zijn veel manieren om de eerste principes vast te stellen. Laten we er een paar bekijken.
Socratisch vragen
Socratisch vragen stellen kan worden gebruikt om de eerste principes vast te stellen door middel van een stringente analyse. Dit is een gedisciplineerd proces van vragen, dat wordt gebruikt om waarheden vast te stellen, onderliggende aannames te onthullen en kennis van onwetendheid te scheiden. Het belangrijkste onderscheid tussen socratische vragen en normale discussies is dat de eerste de eerste principes op een systematische manier probeert naar voren te brengen. Socratische ondervraging volgt over het algemeen dit proces:
Uw denken verduidelijken en de oorsprong van uw ideeën uitleggen (waarom denk ik dit, wat denk ik precies?)
Uitdagende aannames (hoe weet ik of dit waar is, wat als ik het tegenovergestelde dacht?)
Op zoek naar bewijs (hoe kan ik dit staven? Wat zijn de bronnen?)
Alternatieve perspectieven overwegen (wat kunnen anderen denken, hoe weet ik of ik gelijk heb?)
Consequenties en implicaties onderzoeken (wat als ik het mis heb? Wat zijn de gevolgen als ik het heb?)
De oorspronkelijke vragen in twijfel trekken (waarom dacht ik dat? Had ik gelijk? Welke conclusies kan ik trekken uit het redeneerproces?)
Dit proces zorgt ervoor dat u niet meer op uw onderbuik vertrouwt en beperkt sterke emotionele reacties. Dit proces helpt je iets te bouwen dat blijvend is.
"Omdat ik het zei" of "The Five Whys"
Kinderen denken instinctief in eerste principes. Net als wij willen ze begrijpen wat er in de wereld gebeurt. Om dit te doen, doorbreken ze intuïtief de mist met een spel dat sommige ouders zijn gaan haten.
"Waarom?"
"Waarom?"
"Waarom?"
Hier is een voorbeeld dat zich meerdere keren bij mij thuis heeft afgespeeld:
"Het is tijd om onze tanden te poetsen en je klaar te maken om naar bed te gaan."
"Waarom?"
"Omdat we voor ons lichaam moeten zorgen, en dat betekent dat we slaap nodig hebben."
"Waarom hebben we slaap nodig?"
"Omdat we zouden sterven als we nooit sliepen."
"Waarom zouden we daardoor sterven?"
"Ik weet het niet; laten we het opzoeken. "
Kinderen proberen gewoon te begrijpen waarom volwassenen iets zeggen of waarom ze willen dat ze iets doen.
De eerste keer dat je kind dit spel speelt, is het schattig, maar voor de meeste leraren en ouders wordt het uiteindelijk vervelend. Dan wordt het antwoord wat mijn moeder me altijd vertelde: "Omdat ik het zei!" (Hou van je mam.)
Natuurlijk ben ik niet altijd zo geduldig met de kinderen. Ik word bijvoorbeeld prikkelbaar als we te laat zijn op school, of als we al 12 uur op reis zijn, of ik probeer teveel in de tijd die we hebben in te passen. Toch probeer ik nooit te zeggen "Omdat ik het zei."
Mensen haten de 'omdat ik het zei'-reactie om twee redenen, die beide ook in de zakenwereld spelen. De eerste reden waarom we het spel haten, is dat we het gevoel hebben dat het ons vertraagt. We weten wat we willen bereiken, en die reactie zorgt voor onnodige weerstand. De tweede reden waarom we dit spel haten, is dat we na een of twee vragen vaak de weg kwijt zijn. We weten eigenlijk niet waarom. Geconfronteerd met onze eigen onwetendheid, nemen we onze toevlucht tot zelfverdediging.
Ik herinner me dat ik in vergaderingen was en mensen vroeg waarom we iets op deze manier deden of waarom ze dachten dat iets waar was. Aanvankelijk was er een milde tolerantie voor deze benadering. Na drie "waarom" sta je echter vaak aan de andere kant van een versie van "we kunnen dit offline halen".
Kun je je voorstellen hoe dat zou aflopen met Elon Musk? Richard Feynman ? Charlie Munger ? Musk zou een miljardenbedrijf opbouwen om te bewijzen dat je ongelijk hebt, Feynman zou denken dat je een idioot bent, en Munger zou profiteren van je onvermogen om een probleem te overdenken.
"Wetenschap is veel meer een manier van denken dan een verzameling kennis."
- Carl sagan
Voorbeelden van eerste beginselen in actie
Laten we eens kijken naar vier voorbeelden, zodat we beter kunnen begrijpen hoe redeneren uit de eerste beginselen werkt.
Elon Musk en SpaceX
Misschien belichaamt niemand het denken over de eerste principes meer dan Elon Musk. Hij is een van de meest gedurfde ondernemers die de wereld ooit heeft gezien. Mijn kinderen (groep 3 en 2) noemen hem een echte Tony Stark, wat me een goed moment bezorgde om hen eraan te herinneren dat Musk in de vierde klas de Encyclopedia Britannica las en niet Pokemon.
Het meest interessante aan Musk is niet wat hij denkt, maar hoe hij denkt:
Ik denk dat het denkproces van mensen te gebonden is aan conventie of analogie met eerdere ervaringen. Het komt zelden voor dat mensen iets proberen te bedenken vanuit de eerste principes. Ze zullen zeggen: "We zullen dat doen omdat het altijd zo is gedaan." Of ze zullen het niet doen omdat “Nou, niemand heeft dat ooit gedaan, dus het moet niet goed zijn. Maar dat is gewoon een belachelijke manier van denken. Je moet de redenering van de grond af opbouwen - 'vanuit de eerste principes' is de uitdrukking die in de natuurkunde wordt gebruikt. Je kijkt naar de grondbeginselen en construeert daaruit je redenering, en dan kijk je of je een conclusie hebt die wel of niet werkt, en die wel of niet anders kan zijn dan wat mensen in het verleden hebben gedaan. [4]
Zijn benadering van het begrijpen van de werkelijkheid is om te beginnen met wat waar is - niet met zijn intuïtie. Het probleem is dat we niet zoveel weten als we denken, dus onze intuïtie is niet erg goed. We bedriegen onszelf door te denken dat we weten wat mogelijk is en wat niet. De manier waarop Musk denkt, is heel anders.
Musk begint met iets dat hij wil bereiken, zoals het bouwen van een raket. Dan begint hij met de eerste principes van het probleem. Terwijl hij doornam hoe Musk zou denken, zei Larry Page in een
interview: “Wat is de fysica ervan? Hoe lang zal het duren? Hoeveel kost het? Hoeveel goedkoper kan ik het maken? Er is dit niveau van techniek en fysica dat je nodig hebt om te oordelen over wat mogelijk en interessant is. Elon is ongebruikelijk omdat hij dat weet, en hij kent ook zaken en organisatie en leiderschap en regeringskwesties. " [5]
Raketten zijn absurd duur, wat een probleem is omdat Musk mensen naar Mars wil sturen. En om mensen naar Mars te sturen, heb je goedkopere raketten nodig. Dus vroeg hij zich af: 'Waar is een raket van gemaakt? Aluminiumlegeringen van ruimtevaartkwaliteit, plus wat titanium, koper en koolstofvezel. En ... wat is de waarde van die materialen op de commodity-markt? Het bleek dat de materiaalkosten van een raket ongeveer twee procent van de normale prijs waren. " [6]
Waarom is het dan zo duur om een raket de ruimte in te krijgen? Musk, een beruchte zelfleraar met diploma's in zowel economie als natuurkunde, leerde zichzelf letterlijk rocket science. Hij dacht dat de enige reden waarom het krijgen van een raket de ruimte in zo duur is, is dat mensen vastzitten in een mentaliteit die niet past bij de eerste principes. Daarmee besloot Musk SpaceX te creëren en te kijken of hij zelf raketten kon bouwen.
In een interview met Kevin Rose vatte Musk zijn aanpak samen:
Ik denk dat het belangrijk is om vanuit de eerste principes te redeneren in plaats van naar analogie. Dus de normale manier waarop we ons leven leiden, is dat we naar analogie redeneren. We doen dit omdat het net iets anders is dat is gedaan, of het is zoals wat andere mensen doen ... met kleine iteraties op een thema. En het is ... mentaal gemakkelijker te redeneren naar analogie in plaats van vanuit de eerste principes. Eerste principes is een soort natuurkundige manier om naar de wereld te kijken, en wat dat echt betekent, is dat je ... de dingen neerzet tot de meest fundamentele waarheden en zegt: "Oké, wat zijn we zeker dat waar is?" … En dan van daaruit beredeneren. Dat kost veel meer mentale energie. [7]
Musk gaf vervolgens een voorbeeld van hoe Space X de eerste principes gebruikt om tegen lage prijzen te innoveren:
Iemand zou kunnen zeggen - en dat doen mensen ook - dat accu's erg duur zijn en dat is precies zoals ze altijd zullen zijn, want zo zijn ze in het verleden geweest. … Nou, nee, dat is nogal dom… Want als je die redenering toepast op iets nieuws, dan zou je nooit tot dat nieuwe ding kunnen komen…. je kunt niet zeggen, ... "oh, niemand wil een auto omdat paarden geweldig zijn, en we zijn eraan gewend en ze kunnen gras eten en er is overal veel gras en ... er is geen benzine die mensen kunnen kopen ... . "
Vervolgens geeft hij een fascinerend voorbeeld over batterijpakketten:
… Zouden ze zeggen: “historisch gezien kost het $ 600 per kilowattuur. En dus zal het in de toekomst niet veel beter worden dan dat. ... Dus de eerste principes zouden zijn, ... wat zijn de materiële bestanddelen van de batterijen? Wat is de spotmarktwaarde van de materiële bestanddelen? … Het heeft kobalt, nikkel, aluminium, koolstof en wat polymeren om te scheiden, en een stalen blik. Dus breek dat op een materiële basis; als we dat zouden kopen op een London Metal Exchange, wat zouden deze dingen dan kosten? Oh, jeetje, het is ... $ 80 per kilowattuur. U hoeft dus duidelijk slimme manieren te bedenken om die materialen te nemen en ze te combineren in de vorm van een batterijcel, en u kunt batterijen hebben die veel, veel goedkoper zijn dan iemand zich realiseert.
BuzzFeed
Na het bestuderen van de psychologie van viraliteit, richtte Jonah Peretti BuzzFeed op in 2006. De site groeide al snel uit tot een van de meest populaire op internet, met honderden medewerkers en aanzienlijke inkomsten.
Peretti bedacht al vroeg het eerste principe van een succesvolle website: brede distributie. In plaats van artikelen te publiceren die mensen zouden moeten lezen, richt BuzzFeed zich op het publiceren van artikelen die mensen willen lezen. Dit betekent dat we streven naar maximale sociale aandelen om de distributie in handen van de lezers te krijgen.
Peretti herkende de eerste principes van online populariteit en gebruikte ze om journalistiek op een nieuwe manier te benaderen. Hij negeerde ook SEO en zei: "In plaats van contentrobots te maken, gaf hij meer voldoening om content te maken die mensen willen delen." [8] Helaas voor ons delen we veel kattenvideo's.
Een veelvoorkomend aforisme op het gebied van virale marketing is: "inhoud is misschien koning, maar distributie is koningin, en ze draagt de broek" (of "en zij heeft de draken"; kies je metafoor). De op distributie gebaseerde benadering van BuzzFeed is gebaseerd op obsessieve metingen, met behulp van A / B-testen en analyses.
Jon Steinberg, president van BuzzFeed, legt de eerste principes van viraliteit uit:
Hou het kort. Zorg ervoor dat het verhaal een menselijk aspect heeft. Geef mensen de kans om mee te doen. En laat ze reageren. Mensen moeten zich niet ongemakkelijk voelen om het te delen. Het moet authentiek aanvoelen. Afbeeldingen en lijsten werken. De kop moet overtuigend en direct zijn.
Derek Sivers en CD Baby
Toen Sivers zijn bedrijf CD Baby oprichtte, reduceerde hij het concept tot de eerste principes. Sivers vroeg: wat heeft een succesvol bedrijf nodig? Zijn antwoord was: blije klanten.
In plaats van zich te concentreren op het werven van investeerders of het hebben van grote kantoren, luxe systemen of enorme aantallen personeel, concentreerde Sivers zich op het tevreden maken van al zijn klanten. Een voorbeeld hiervan is zijn beroemde e-mail met orderbevestiging, waarvan een deel luidt:
Uw cd is voorzichtig met gesteriliseerde, besmettingsvrije handschoenen uit onze cd-babyrekken gehaald en op een satijnen kussen gelegd. Een team van 50 medewerkers heeft uw cd geïnspecteerd en gepolijst om er zeker van te zijn dat deze in de best mogelijke staat was voordat deze werd verzonden. Onze verpakkingsspecialist uit Japan stak een kaars aan en er viel een stilte over de menigte toen hij je cd in de beste met goud omzoomde doos stopte die er te koop is.
Door onnodige details te negeren die ertoe leiden dat veel bedrijven grote hoeveelheden geld en tijd besteden, kon Sivers het bedrijf snel laten groeien tot $ 4 miljoen aan maandelijkse inkomsten. In alles wat je wilt , Sivers schreef:
Geen financiering hebben was een enorm voordeel voor mij.
Een jaar nadat ik met CD Baby begon, vond de dotcom-boom plaats. Iedereen met een beetje hete lucht en een vaag plan kreeg miljoenen dollars van investeerders. Het was belachelijk. …
Zelfs jaren later waren de bureaus nog maar planken van hout op sintelblokken uit de ijzerhandel. Ik heb de kantoorcomputers zelf gemaakt van onderdelen. Mijn goed gefinancierde vrienden zouden $ 100.000 uitgeven om iets te kopen dat ik zelf had gemaakt voor $ 1.000. Ze zeiden: "We hebben het allerbeste nodig", maar het verbeterde niets voor hun klanten. …
Het is contra-intuïtief, maar de manier om uw bedrijf te laten groeien, is door u volledig te concentreren op uw bestaande klanten. Maak ze gewoon enthousiast, en ze zullen het iedereen vertellen.
Om als bedrijf te overleven, moet u uw klanten goed behandelen. En toch beheersen zo weinigen van ons dit principe.
Eerste beginselen toepassen in uw dagelijks leven
De meesten van ons hebben er geen probleem mee om na te denken over wat we in het leven willen bereiken, tenminste als we jong zijn. We zitten vol grote dromen, grote ideeën en grenzeloze energie. Het probleem is dat we anderen ons laten vertellen wat er mogelijk is, niet alleen als het om onze dromen gaat, maar ook als het gaat om hoe we die najagen. En als we andere mensen ons laten vertellen wat mogelijk is of wat de beste manier is om iets te doen, besteden we ons denken uit aan iemand anders.
De echte kracht van het denken op de eerste beginselen is het weggaan van incrementele verbetering naar mogelijkheden. Anderen voor ons laten denken betekent dat we hun analogieën, hun conventies en hun mogelijkheden gebruiken. Het betekent dat we een wereld hebben geërfd die overeenkomt met wat ze denken. Dit is incrementeel denken.
Als we nemen wat al bestaat en het verbeteren, staan we in de schaduw van anderen. Pas als we een stap terug doen, onszelf afvragen wat mogelijk is en de gebrekkige analogieën doorsnijden, zien we wat mogelijk is. Analogieën zijn gunstig; ze maken complexe problemen gemakkelijker te communiceren en vergroten het begrip. Het gebruik ervan is echter niet zonder kosten. Ze beperken onze overtuigingen over wat mogelijk is en laten mensen discussiëren zonder ooit ons (verkeerde) denken bloot te leggen. Analogieën bewegen ons ertoe het probleem op dezelfde manier te zien als iemand anders het probleem ziet.
De kloof tussen wat mensen momenteel zien, omdat hun denken wordt omkaderd door iemand anders en wat fysiek mogelijk is, wordt gevuld door de mensen die de eerste principes gebruiken om over problemen na te denken.
Het denken op basis van de eerste principes maakt de warboel vrij van wat we onszelf hebben verteld en stelt ons in staat om vanaf de grond af te bouwen. Natuurlijk is het veel werk, maar daarom zijn zo weinig mensen bereid om het te doen. Het is ook waarom de beloningen voor het vullen van de kloof tussen mogelijke en incrementele verbetering niet-lineair zijn.
Laten we eens kijken naar enkele van de beperkende overtuigingen die we onszelf voorhouden.
"Ik heb geen goed geheugen." [10]
Mensen hebben veel betere herinneringen dan ze denken. Zeggen dat je geen goed geheugen hebt, is gewoon een handig excuus om je te laten vergeten. Een benadering van de eerste principes volgen, betekent dat we vragen hoeveel informatie we fysiek in onze geest kunnen opslaan. Het antwoord is "veel meer dan je denkt". Nu we weten dat het mogelijk is om meer in onze hersenen te stoppen, kunnen we het probleem herformuleren om de meest optimale manier te vinden om informatie in onze hersenen op te slaan.
"Er is te veel informatie beschikbaar."
Veel professionele investeerders lezen Farnam Street. Als ik deze mensen ontmoet en vraag hoe ze informatie consumeren, vallen ze meestal in een van de twee categorieën. De verschillen tussen de twee gelden voor ons allemaal. Het eerste type investeerder zegt dat er te veel informatie is om te consumeren. Ze brengen hun dagen door met het lezen van elk persbericht, artikel en blogger die commentaar geeft op een standpunt dat ze bekleden. Ze vragen zich af wat ze missen. Het tweede type belegger realiseert zich dat het lezen van alles onhoudbaar en stressvol is, en dat het hen vatbaar maakt voor overwaardering van informatie die ze veel tijd hebben besteed. Deze investeerders proberen in plaats daarvan de variabelen te begrijpen die hun investeringen zullen beïnvloeden. Hoewel er honderden kunnen zijn, zijn er meestal drie tot vijf variabelen die de naald echt zullen bewegen.De investeerders hoeven niet alles te lezen; ze letten alleen op deze variabelen.
"Alle goede ideeën zijn overgenomen."
Een veel voorkomende manier waarop mensen beperken wat mogelijk is, is zichzelf te vertellen dat alle goede ideeën zijn overgenomen. Toch zeggen mensen dit al honderden jaren - letterlijk - en bedrijven blijven beginnen en concurreren met verschillende ideeën, variaties en strategieën.
"We moeten eerst verhuizen."
Ik hoor dit al jaren in directiekamers. Het antwoord is niet zo zwart-wit als deze stelling. De iPhone was niet de eerste, hij was beter. Microsoft was niet de eerste die besturingssystemen verkocht; het had gewoon een beter bedrijfsmodel. Er is veel bewijs dat aantoont dat first-movers in het bedrijfsleven vaker falen dan laatkomers. Toch blijft deze mythe over de noodzaak om eerst te verhuizen bestaan.
Soms krijgt de vroege vogel de worm en soms wordt de eerste muis gedood. Je moet elke situatie opsplitsen in zijn samenstellende delen en kijken wat er mogelijk is. Dat is het werk van het eerste principe-denken.
'Ik kan dat niet; het is nog nooit eerder gedaan. "
Mensen zoals Elon Musk doen constant dingen die nog nooit eerder zijn gedaan. Dit soort denken is analoog aan het terugkijken op de geschiedenis en het bouwen van bijvoorbeeld vloedwallen, gebaseerd op de ergste overstroming die eerder heeft plaatsgevonden. Het is beter om te kijken naar wat er kan gebeuren en daar plannen voor te maken.
“Wat de methoden betreft, er kunnen er een miljoen zijn en nog wat, maar er zijn weinig principes. De man die principes begrijpt, kan met succes zijn eigen methoden kiezen. De man die methoden probeert en principes negeert, zal zeker problemen hebben. "
- Harrington Emerson
Conclusie
De gedachten van anderen houden ons gevangen als we niet voor onszelf denken.
Door te redeneren vanuit de eerste principes, kunnen we buiten de geschiedenis en conventionele wijsheid stappen en zien wat mogelijk is. Als u de principes op het werk echt begrijpt, kunt u beslissen of de bestaande methoden zinvol zijn. Vaak niet.
Redeneren op basis van de eerste principes is handig als u (1) iets voor de eerste keer doet, (2) met complexiteit omgaat en (3) probeert een situatie te begrijpen waarmee u problemen ondervindt. Op al deze gebieden wordt uw denken beter als u stopt met het maken van aannames en u niet langer anderen het probleem voor u laat bedenken.
Analogieën kunnen begrip niet vervangen. Hoewel het voor uw hersenen gemakkelijker is om naar analogie te redeneren, is de kans groter dat u betere antwoorden krijgt als u redeneert volgens de eerste principes. Dit maakt het tot een van de beste bronnen van creatief denken. Door in eerste beginselen te denken, kunt u zich aanpassen aan een veranderende omgeving, omgaan met de realiteit en kansen grijpen die anderen niet kunnen zien.
Veel mensen geloven ten onrechte dat creativiteit iets is waarmee slechts enkelen van ons zijn geboren, en we hebben het of niet. Gelukkig lijkt er voldoende bewijs te zijn dat dit niet waar is. [11] We zijn allemaal nogal creatief geboren, maar tijdens onze vormende jaren kan het uit ons worden geslagen door drukke ouders en leraren. Als volwassenen vertrouwen we op conventies en wat ons wordt verteld, omdat dat gemakkelijker is dan dingen op te splitsen in eerste principes en voor onszelf te denken. Het doordenken van de eerste principes is een manier om de oogkleppen uit te doen. De meeste dingen lijken ineens meer mogelijk.
"Ik denk dat de meeste mensen veel meer kunnen leren dan ze denken," zegt Musk. “Ze verkopen zichzelf tekort zonder te proberen. Een beetje advies: het is belangrijk om kennis te zien als een soort semantische boom - zorg ervoor dat je de fundamentele principes begrijpt, dwz de stam en grote takken, voordat je in de bladeren / details komt, anders is er niets om ze op te hangen op naar. "
In the spirit of advancing the crucial role of the private sector to achieve Goal 5 "Gender Equality", UN Women, United Nations Global Compact (UNGC) and United Nations Office for Partnerships (UNOP) joined forces to to organize the Annual Women’s Empowerment Principles Forum. The Forum took place in New York on 15 March 2018 and provided a platform for presenting ongoing, successful business initiatives that aim at women’s empowerment, economic inclusion and entrepreneurship globally.
Speakers included:
Ms. Amina J. Mohammed, Deputy Secretary-General, United Nations
H.E Mrs. Geraldine Byrne Nason, CSW62 Chair, Permanent Representative of Ireland to the United Nations
Ambassador Mara Marinaki, Principal Advisor on Gender and on the Implementation of UNSCR 1325 on Women, Peace and Security, European Union
Ms. Laura Trevelyan, BBC Anchor/Correspondent
Ms. Phumzile Mlambo-Ngcuka, United Nations Under-Secretary-General and Executive Director of UN Women
Ms. Lise Kingo, CEO and Executive Director, United Nations Global Compact
Ms. Laura Stachel, Co-Founder and Executive Director,We Care Solar
Ms. Michèle Sabban, Honorary President of R20 and President of the Green Fund for Women
Mr. Eduardo Martinez, President, The UPS Foundation and Chief Diversity & Inclusion Officer, UPS
Mr. Scott N. Mitchell, President & CEO, Sumitomo Chemical America
Ms. Katherine Lucey, Founder and CEO, Solar Sister
Ms. Luz Maria Jaramillo, President, Pavimentos Colombia
Ms. Joanne Farrell, Managing Director, Rio Tinto
Keynote Remarks
Ms. Padma Lakshmi, Author, actress, model, television host, executive producer
Photo: UN Women/Ryan Brown
New book! Epic Landscape Photography: The Principles of Fine Art Nature Photography!
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Join my new 45EPIC fine art landscapes page on facebook!
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Working on a couple photography books! 45EPIC GODDESS PHOTOGRAPHY: A classic guide to exalting the archetypal woman. And 45EPIC Fine Art Landscape Photography!
More on my golden ratio musings: facebook.com/goldennumberratio
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Greetings all! I have been busy finishing a few books on photography, while traveling all over--to Zion and the Sierras--shooting fall colors. Please see some here: facebook.com/mcgucken
Let me know in the comments if you would like a free review copy of one of my photography books! :)
Titles include:
The Tao of Epic Landscape Photography: Exalt Fine Art with the Yin-Yang Wisdom of Lao Tzu's Tao Te Ching!
The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography
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And I am also working on a book on photographing the goddesses! :) More goddesses soon!
Best wishes on your epic hero's odyssey!:)
I love voyaging forth into nature to contemplate poetry, physics, the golden ratio, and the Tao te Ching! What's your favorite epic poetry reflecting epic landscapes? I recently finished a book titled Epic Poetry for Epic Landscape Photographers:
www.facebook.com/Epic-Poetry-for-Epic-Landscape-Photograp...
Did you know that John Muir, Thoreau, and Emerson all loved epic poetry and poets including Shakespeare, Milton, Homer, and Robert Burns?
I recently finished my fourth book on Light Time Dimension Theory, much of which was inspired by an autumn trip to Zion!
www.facebook.com/lightimedimensiontheory/
Via its simple principle of a fourth expanding dimension, LTD Theory provides a unifying, foundational *physical* model underlying relativity, quantum mechanics, time and all its arrows and asymmetries, and the second law of thermodynamics. The detailed diagrams demonstrate that the great mysteries of quantum mechanical nonlocality, entanglement, and probability naturally arise from the very same principle that fosters relativity alongside light's constant velocity, the equivalence of mass and energy, and time dilation.
Follow me on instagram!
Join my new 45EPIC fine art landscapes page on facebook!
Pretty Cowgirl Model Goddess with Cowboy Hat, Cowboy Boots, and a Gold 45 Revolver Gun! Short Shorts Denim Daisy Dukes Jeans Shorts! Tall, Thin, Fit, and Beautiful! Sexy Cowgirl Athena Black Hat & Black Boots!
My Epic Camera & Photography Gear Guide for Fine Art Landscapes & Portraits!
Everyone is always asking me for this! Here ya go! :)
Support epic fine art! 45surf! Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz
My Epic Book Exalting the Venus Archetype: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ...
Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
Follow me friends!
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Epic books, prints, & more!
Pretty Portraits & Headshots! Beautiful Surf Goddesses! Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite! Fitness Model! Pretty Woman! Sexy hot women!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
Epic Art & Gear for your Epic Hero's Odyssey:
Enjoy my physics!! Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Physical
Pretty Cowgirl Model Goddess with Cowboy Hat, Cowboy Boots, and a Gold 45 Revolver Gun! Short Shorts Denim Daisy Dukes Jeans Shorts! Tall, Thin, Fit, and Beautiful! Sexy Cowgirl Athena Black Hat & Black Boots
So, I spent a lot of time coming up with these, how am I going to use them in my work?
For real this time.
Read more here: thesustainabilitist.com/
and see more sustainable-graphic-design-as-sculpture here: www.flickr.com/photos/bjornmeansbear/sets/72157616632905413/
3.2.2010