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Alexander Trachtenberg was a very active supporter of Marxist communism in the early to mid-1900's.....he wrote and edited many essays, pamphlets and other writings supporting workers rights and supporting the communist ideals......
In the middle of the Cold War anti-Communist fervor in the United States......These writings would land Trachtenberg in court as he was charged for attempting to overthrow the United States Government through his various writings.......
He was one of the many people charged via what is known as the Smith Act......Or more appropriately called the Alien Registration Act....Not only did this law require that all non-citizens living in the states register with the government...But, more importantly makes it illegal for a person to advocate the overthrow of the U.S. Government.....Or be a member of an organization that advocates overthrowing the United States Government.....Whether or not this threat is real......
Although not used in enforcement.....This law remains binding in the United States.....It is Surprising that the United States does not just site this law in today's 'terrorist' climate.......When evidence is lacking......
The Hamlyn Centre holds its annual Hamlyn Symposium at the Royal Geographical Society and Imperial College, 25th June 2018
Photography by Fergus Burnett
Accreditation required with all use - 'fergusburnett.com
The Glotel Awards reception and dinner with all the various catergory winners on stage , 21st Novemebr 2024
Photography by Fergus Burnett
Accreditation required with all use - 'fergusburnett.com'
The British Heart Foundation Brighton marathon. Photos from the cheer point at 13.5 miles and then in the charity village tent next to the finish line where runners could relax and recharge. 9th April 2017
Photography by Fergus Burnett
Accreditation required with all use - 'fergusburnett.com'
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Seattle, like many large cities, has a required Design Review process for most large-scale commercial, multifamily and mixed-use projects. This program is run by the Seattle Department of Construction and Inspections (SDCI) and the size thresholds for this program vary by zone and project type. For instance, Design Review is required for a townhouse project in a Low Rise (LR) zone with more than 8 dwelling units. Similarly, Design Review is also required for an apartment building in a Midrise (MR) zone with more than 20 units.
According to the SDCI, there are three principle objectives of this Design Review process:
1. To encourage excellence in site planning and design of projects such that they enhance the character of the City.
2. To provide flexibility in the application of development standards.
3. To improve communication and participation among developers, neighbors and the City early in the process.
This design review process involves a public notice, a presentation by the design team, an evaluation by a Design Review Board for guidance and recommendation, and opportunity for comment by the public. The time, energy, and capital necessary to lead a project through the city’s design review process are substantial. While the requirement of Design Review is controversial in Seattle, for large projects that have a significant impact on the city, context, culture, and people around it, these objectives are, at the very least, admirable.
Earlier this month, the SDCI put Director’s Rule DR 4-2018 into effect which will require all projects going through Design Review to also comply with an Early Community Outreach Rule as part of the permitting process. Each project is now required to include at least 3 different types of outreach including a printed form of outreach, and electronic outreach, and an in-person outreach. According to the SDCI, the purpose of these outreach methods is to establish a dialogue with nearby communities early in the development process in order to share information about the project, better understand the local context, and hear community interests and concerns related to the project. In theory, this sounds great. In practice, it’s an urban planning nightmare that will slow development and threaten the quality of projects that manage to navigate through all the red tape. Here’s why.
Adding more steps to the permitting process will not foster healthy growth in Seattle, it will penalize it. The added time, effort, and cost of the new Design Review process favors large architecture firms with out-of-town financial backing rather than small to medium-sized, local architects and developers. The groups capable of jumping through the new bureaucratic hoops
will more often be less invested in these projects and the quality of work will suffer.
For a city in a homelessness crisis, we need an abundance of housing yesterday. The added red tape will extend the timeline of every multi-family project in the city.
As more effort, time, and funding are required of the permitting process, fewer resources can be allocated to the actual design of the projects. Required outreach will make it more challenging to provide efficient, affordable, equitable, and beautiful housing in Seattle.
It promotes design by committee. Seattle doesn’t need any more big, bland buildings with their imitation facades chopped up to look like a quaint cluster of buildings with paint-by-numbers color schemes. Bloating the Design Review process will reward architects and developers who can navigate the process more so than encourage thoughtful, community-minded designs to be built.
In order to offset the costs of the added layers of permitting, projects will continue to experience diminishing square footages and escalating rents. Apodments and micro-housing will become increasingly prominent. It becomes a numbers game. Quality and diversity of housing (which Seattle desperately needs, as families aren’t looking for 300 sf studios) will fall by the wayside to the goal of adding the most units and collecting the highest rents.
It will scare design and development talent away from Seattle. Mindful architects and developers will choose to work in outlying jurisdictions because their time and effort will be actually utilized in collaboration with a jurisdiction to meet a community’s needs—whether it’s more housing, better housing, or revitalization of a neighborhood, etc. SDCI’s new regulation demonstrates an adversarial rather than a collaborative approach to solving one of our city’s biggest issues.
And last but not least, it’s making housing more expensive in a city already plagued by ridiculously high rents. The addition of steps like this have a cost, and that cost will be felt by the end user.
Seattle, you talk about the immediate need to increase density and affordable housing, yet SDCI’s actions continue to run directly counter to these “commitments”. Even the AIA, the leading advocacy group for architects in the nation, has come out against this new Early Community Outreach Rule, you can read their response letter, inclusive of their own recommendations, here.
Early Community Outreach *sounds* wonderful, but for 95% of projects, is entirely unnecessary as a formalized process. And upon peeling back the layers of this new process at work, it will result in further burdened projects, a likely increase in liability, and leave us with lower quality projects. Please stop with the abstract, idealistic nonsense and listen to the reasoned logic of groups like the AIA and the broader community of design professionals.
The City needs to remove steps and de-regulate. Seriously. Housing has gotten so expensive due to land costs (which is market driven), but more importantly, it has become more expensive because of the insane amount of rules, processes and red tape of all City agencies. It’s time for all of us to acknowledge this issue and to cease all activities that make it worse.
SDCI, please. Stop adding layers. It’s hurting our city.
Why Seattle’s New Early Community Outreach Requirement Will Actually Damage the City syndicated from thegardenresidences.wordpress.com
The Hamlyn Centre holds its annual Hamlyn Symposium at the Royal Geographical Society and Imperial College, 26th June 2018
Photography by Fergus Burnett
Accreditation required with all use - 'fergusburnett.com
Urgent Requirement In FUTURE NDT
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Construction of Line 2 is now underway.Extensive diversions are required to accomodate road traffic during the works.
The 10·5 km line will link the science district in the north of the city with Kuhberg in the southwest via the main line station. There will be 20 stops, of which two on a 1·2 km section in the city centre will be shared with the existing tram route.
Services are to be operated by 12 five-section Avenio M metre-gauge trams ordered from Siemens in May 2015 for €32m. Initial ridership is forecast at 8 300 passengers per day.
Funds from the federal government and the Land of Baden-Württemberg are to cover €85·3m of the cost of construction and depot expansion, with the remaining €106·7m coming from the city.
Current students and alumni from the Sutton Trust programme join staff and guests of the Fulbright Commission to celebrate the graduation of the chorot with a drinks reception at Tate Britain, 4th July 2019
Photography by Fergus Burnett
Accreditation required with all use - 'fergusburnett.com'
The final waterfall of our 6 waterfall tour would require a short amount of hiking up, up, up the hill.
This requires two short and an 80 ft rappel in the narrows, then 180 ft into the open and down to the falls. I lost my nerve on this one and went hiking instead. I feared there would be too much waiting in cold, dark, pools for a moment in the sun.
I did the second part of my motion assignment for the photography class at Dirtwood ramp park. I really enjoyed doing this assignment, the park was very welcoming and laid back, the guys, doing their jumps were serious and cool about what they were doing. It was very easy to photograph them.
I will be happy to provide print resolution files to any of the guys in my pictures. Just contact me. I would love to have my pictures posted on the Dirtwood website as well.
Please tell me where and when I can photograph more of these kinds of activities at an outdoor ramp, during daylight hours. It is very difficult to get good pictures indoors because action photography requires much more light than is available inside of any building.
In the throne room women are required to wear skirts, but since not everyone dresses right for the occasion you can borrow a sarong.
a'driane nieves: A Time for Furious Dancing
September 5, 2025 - January 4, 2026
Past Exhibition
A Time for Furious Dancing includes new and recent work by a’driane nieves, a self-taught, interdisciplinary artist whose practice explores the interior landscape of the self. Born in 1982 in San Antonio, Texas, nieves investigates the physical, epigenetic, psychological, and emotional effects of trauma—ancestral, inherited, historical, and personal—on identity and behavior. Drawing deeply from memory and emotion, her abstract compositions serve as a vessel for confronting pain and reclaiming joy, offering viewers an intimate visual language of transformation. The exhibition’s title is inspired by Hard Times Require Furious Dancing, a collection of poems by Alice Walker, published in 2010. The book explores themes of joy, sorrow, love, loss, and resilience in the face of personal and global challenges. A Time for Furious Dancing marks the artist’s first solo museum exhibition in the United States.
a'driane nieves (b. 1982, San Antonio, Texas) is a visual artist and writer whose interdisciplinary practice explores the interior landscapes of the self. A self-taught painter, she began painting in 2011 as a form of art therapy during recovery from postpartum depression and a bipolar disorder diagnosis. What started as personal healing evolved into a deeper investigation of emotional suppression and memory.
Influenced by artists such as Joan Mitchell, Cy Twombly, Alma Thomas, and Mary Lovelace O’Neal, nieves works with painting, writing, soft sculpture, and text-based media. Her abstract expressionist approach embraces vulnerability, healing, and nonlinear narratives. Text often appears in her work as fragments—sometimes legible and obscured—reflecting the complexity of self-expression.
As a Black, queer, neurodivergent woman, nieves uses her practice to assert her presence and agency, creating space for others to do the same. She is also the founder of an arts nonprofit and magazine focused on creative access and community building.
Her work has been exhibited internationally at venues including Consortium Museum (France), Art Basel (Switzerland, Hong Kong, Miami), Frieze (London, Seoul), Galerie Marguo (Paris), Various Small Fires (Los Angeles), Standing Pine Gallery (Tokyo), and BODE Projects (Berlin). Her work is also held in collections across North America, Europe, and Asia.
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The Harvey B. Gantt Center for African-American Arts + Culture, Charlotte NC - December 27, 2025
Located in the heart of Uptown Charlotte at Levine Center for the Arts, the Gantt is the epicenter for the best in visual, performing and literary arts reflecting the African diaspora.
www.ganttcenter.org/visit-the-gantt/
Sometimes standing up for what’s right means having the courage to blaze your own trail.
Harvey Bernard Gantt grew up in the 1940s and 50s in then-segregated Charleston, South Carolina. As the oldest child of Wilhelmina and Christopher Gantt, he often attended NAACP meetings with his father. It was there, and at the family dinner table with his four sisters, that he began to appreciate the importance of advocacy and the injustice of racial discrimination.
After graduating second in his class from Burke High School in 1960, Gantt left home to study architecture at Iowa State University. In January 1963, after a legal battle that escalated to the U.S. 4th Circuit Court of Appeals, Gantt became the first African-American student accepted at Clemson University. In September 1963, Lucinda Brawley became the first African-American woman to be admitted to Clemson and in October 1964 married Harvey. Harvey Gantt graduated with honors from Clemson in 1965, earning a Bachelor’s degree in Architecture and later a Master of City Planning from Massachusetts Institute of Technology (MIT).
He moved to Charlotte after graduating from MIT, and, in 1971, co-founded Gantt Huberman Architects. A pioneer in blending urban planning with the practice of architecture, Gantt Huberman employed a diverse group of professionals who were charged with designing buildings that encourage community. As a result, the firm has developed some of the city’s most iconic landmarks, including the Charlotte Transportation Center, TransAmerica Square, ImaginOn, Friendship Missionary Baptist Church, and the Johnson C. Smith University Science Center.
While significant, Gantt’s impact on the city extends beyond improving the built environment. He joined Charlotte City Council in 1974 and again broke barriers when he was elected Charlotte’s first African-American mayor in 1983. Remaining in office for two terms, Gantt stood shoulder-to-shoulder with other Charlotte leaders committed to establishing a New South City.
SouthBound Extra: A Preview Of Harvey Gantt Interview
Gantt continues to advocate for equity and equal rights and is often tapped to serve on civic, cultural, and business boards, and to lead philanthropic efforts and community initiatives. In 2009, the former Afro-American Cultural Center opened its doors to a new, award-winning facility and was renamed the Harvey B. Gantt Center for African-American Arts + Culture in honor of Harvey B. Gantt, an American trailblazer.
Naming The Center
When it was first proposed that this building be named after me, I hesitated. Being a man of tradition, I always felt it was more appropriate to name a building or street for someone after their passing, as a way to honor their work. Admittedly, it took some convincing by Board Chair Earl Leake and others. After much processing and discussion with my wife, Cindy, the prevailing factor that led me to say "yes" was that it was for the sake of posterity. I envisioned walking into the building with my grandchildren and had thoughts of others doing the same with future generations. I saw them talking about the sacrifices of many who made Charlotte great, and the enormous history and accomplishments of the African American community. And I remembered my parents and others who served as inspirations to me. I am forever grateful to them for being the driving force and motivation in my life.
I thought about the enormous history of the residents of the historic Second Ward community of "Brooklyn," where the Gantt Center now stands. I hope that those who have already "crossed over" can smile and feel proud knowing that we have not forgotten their sacrifices; how they nurtured, pushed and prodded young minds to strive for excellence. We are forever grateful to them. Brooklyn residents often referred to the old Myers School as the "Jacob's Ladder School." Its skyward stairway was a visible reminder of the importance of aspiring to greater things and a good education. Not just teachers, but an entire community rallied behind the youth, molding bright minds.
That's why I agreed to the naming of the building, and that's why I want you to join me in celebrating our history and the dawning of a new day for all of us. Charlotte is a great community and the Carolinas are a great region. I call this home because the city and community represent all that is symbolic to steadfastness and a "can do" attitude. While our nation and world still struggle with acknowledging and appreciating our differences, the Gantt Center can serve as a vehicle for people to come celebrate African American art, history and culture. Residents and visiting friends alike will have numerous opportunities to enjoy all aspects of Levine Center for the Arts. The Gantt Center will serve as one of the entry points to experience the arts, sporting events and many other amenities that Charlotte has to offer. Thank you for your interest in and support of the Harvey B. Gantt Center for African American Arts + Culture. May this edifice always stand as a symbol that this community and nation are places where we all "belong".
By Harvey B. Gantt
Patients requiring emergency travel for medical care will benefit from a new state-of-the-art fleet of air ambulance airplanes. Learn more: news.gov.bc.ca/31044
The British Heart Foundation Brighton marathon. Photos from the cheer point at 13.5 miles and then in the charity village tent next to the finish line where runners could relax and recharge. 9th April 2017
Photography by Fergus Burnett
Accreditation required with all use - 'fergusburnett.com'
The last five months (May-September 2023) required me to move a lot for a variety of professional and personal reasons. It was the first time in several years that I entered airplanes without carrying my DSLR camera. This resulted in me tinkering and thinking with my mobile phone camera, surpassing my snobbish attitude towards it as means of photographic expression. Visiting an old favourite antique store of mine, I was exposed to wallet-sized black and white pictures, very fashionable in the 1920s-1960s. Phenomenologically, I thought, these little pictures carried significance similar to the one carried by the myriads of photos nowadays stored on mobile phones. I tried to combine the sensory experience of black and white with the ease of mobile phone shooting, itself resembling certain types of pinhole cameras. Themes are the same as in my earlier photography: decayed and rusty patterns of disintegration, emptiness of spaces, outlier figures of the everyday, street signs and letters, nonhuman friends, naturecultures, and psychopolitically haunted scenes. Places include: Canada (Toronto), Greece (Athens, Thessaloniki, Alonnisos, Aghia, Larissa, Eleftheroupoli, Kavala), Scotland (Edinburgh), England (Manchester), France (Paris), Belgium (Brussels).
[Update] I have continued collecting such images throughout 2024. New places visited: Dublin, Rotterdam, Glasgow, Copenhagen, London, Stirling, Peebles, Amsterdam, Dundee, Madrid.
Patients requiring emergency travel for medical care will benefit from a new state-of-the-art fleet of air ambulance airplanes. Learn more: news.gov.bc.ca/31044
Our required tools to start varnishing. We bought about 15 lamb skin applicators and used them all. We used the foam brushes to edge and keep a wet edge to avoid lap marks.
Clay tobacco pipe dated to c.1640-1660 (cf. Oswald (1975) Fig. 3(5) & Fig. 22(4)). It has an impressed makers mark (a rose?) on the base of the heel. Based on the shape and the fact that it has a decorated stem it is likely it was made in the Netherlands. Purchased from a seller in Amsterdam who said it had been excavated in Amsterdam.
The KLEIPIJPEN website has a lot to say about the rose mark.......
Originally, rose marks were placed on the base of the heel of the pipe bowl. The earliest marks were still anonymous and were placed both crowned and uncrowned. The reason for placing an anonymous rose mark was the desire to add a mark indicating quality. A rose mark was placed on 16th century cast pewter utensils on products of higher quality. Sometimes the marks were personalised, with extra initials, as an advertisement for the tinsmith. Something similar happened with clay pipes. The quality clay pipe that required the highest degree of finishing (so-called glass) was given a heel mark. With the first pipe makers, competition was not that important. Only when several pipe makers were active in one city at the same time and started placing rose marks did a personal note become important and letters were first placed next to the rose or they switched to placing their own logo or letter mark.
The type of rose depicted is five petalled (with five petals and sometimes five sepals in between). If you start looking at the rose as a sign, or symbol, you quickly end up in heraldry. The rose and lily are the most commonly used heraldic flowers. Also on the first generation of clay pipes, both flowers can be found as trademarks. The lily evokes the image of the French 'fleur de lis', the rose that of the English Tudor rose. There is a lot of interesting things to say about both symbols, but let me limit myself to the clay pipes. Whether the Tudor rose actually had anything to do with the early English pipe makers who transferred their knowledge here (ie the Netherlands), I wouldn't dare say, but it has been suggested. Early pipes, from the period from 1625, sometimes already have a small rose mark at the bottom of the side of the bowl. The rose was no longer placed only on the base of the heel. They are true-to-nature roses, or at least immediately recognisable as a Tudor rose. Not much later, a less elegant version is created on the sides of the pipe bowl, where five or six dots are simply placed around a center dot. This creates a simple flower. In the first half of the 17th century, this flower was sometimes crowned, or assisted by a lily, but soon only the dotted shape remained. The position has also changed in the meantime from subtly against the heel or against the stem to the middle of the sides of the bowl. This version was used in many variations in the years that followed, even into the 19th century. The number of dots varies, sometimes there are dashes in between, depicting sepals. The dots themselves sometimes become asterisks or they accompany a side mark. The whole idea of a flower shape remains, but is otherwise completely eroded. The simplest pipes get a dotted rose on the sides, to make them just that little bit more interesting.
This requires an explanation.
Larry has lived his whole life near Boston. Nawal has had a little more variety. She is originally from Morocco. The wedding ceremony itself was a combination of American and Christian customs, and Moroccan and Islamic customs. It was fantastic.
The first half of the reception was very Western. American music, American clothes, American customs. About halfway through the evening the Bride and Groom disappeared for a while. When they returned they were wearing traditional Moroccan wedding attire and the entire mood of the night changed to honor Moroccan customs. It was a fantastic experience.