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Normally we walk out onto the jetty to look for Surfbirds. Not this day! Storm swells were washing right over the top, which actually made spotting the Surfbirds a little easier!
Rick McIntyre - Yellowstone wolf expert and author using a spotting scope to watch wolves in the valley below
A planetary nebula in constellation Perseus. Distance to M76 is currently estimated as 780 parsecs or 2,500 light years, making the average dimensions about 0.378 pc. (1.23 ly.)
A little small from my scope.
13th October 2023
Celestron RASA 8"
ZWO183mc pro
ZWO EAF
Optolong L-Pro
ZWO air pro
Sky-Watcher HEQ5 Pro
95 * 60s Lights, Flats , Darks and Bias.
Gain 122 at -10C
Processed in Pixinsight
This is a detail for controlling the leds of the distance sensor. Here I have taken the light values for the built-in leds 97, 98, 99 and 100. In the data stream you can see where the position of the leds is. A little further, the sensor displays the distance in the data string. In the Python program, this value is always read as an integer CM. In the data stream, however, you see that a mm resolution is available there. For example, the data gives 76 mm while the Python screen displays 7 cm.
Dit is een detail voor het sturen van de leds van de afstands sensor. Ik heb hier de lichtwaardes voor de ingebouwde leds 97, 98, 99 en 100 genomen. In de data stream zie je waar de positie van de leds is. Iets verder geeft de sensor de afstand weer in de data string. In het Python programma wordt deze waarde altijd als gehele CM gelezen. In de data stream zien je echter dat daar een mm resolutie beschikbaar is. Zo geeft de data 76 mm terwijl het Python scherm 7 cm weergeeft.
All images in this album are renderings.
Select renderings show customs items which would need to be individually quoted by project.
Finish Disclaimer:
No details on finishes can be provided. Finishes on computer screens can appear different than in person. Dealers should order samples through the Dealer Resource Center (DRC) to determine what works best for their needs.
All images in this album are renderings.
Select renderings show customs items which would need to be individually quoted by project.
Finish Disclaimer:
No details on finishes can be provided. Finishes on computer screens can appear different than in person. Dealers should order samples through the Dealer Resource Center (DRC) to determine what works best for their needs.
Just a few sights and a scope i made in bordem, the one in the top right i got from Xan and recolored, credit him for that, not me!!
A last ditch effort to photograph the Trifid nebula (M20) and Lagoon nebula (M8) before the summer constellations surrender to the winter sky. Conditions were horrible with fast moving low clouds, a half full moon, and strong gusty winds, but I set up the scope anyhow. Finally about 8:20 the clouds parted, and I got to work aligning the scope and getting everything ready for the shots. By 10:30 the clouds were back, nebulas below the horizon, and shots of the sky done. This was more a proof of concept and learning exercise, but i think it will work.
canon 7D + CLS-CCD + 100-400mm piggypacked on a 8" Meade LX200 autoguided by SSAG and PHD. Shots captured using backyardeos. These could have been so much better had I not missed the aperture setting of f/11! Need all the light I can get!
28 lights - 180s, iso1600, f/11, 400mm
24 flats - same settings with lens cap on
LA-R15 Raven, AR15 Rifle Chambered in .22LR with LaRue LT-104 QD Mount and Nightforce 2.5-10X32 Scope.
www.flickr.com/photos/neelelora/albums
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bowie has been wearing exclusively pajamas and leggings for about 6 weeks. no jeans, no cords, no button ups...yesterday he told me that he doesn't like cute, normal clothes. he only likes awesome clothes. each outfit is a totally different personallity- owl boy, lightning boy, spider boy, stripey boy, dragon boy. i do laundry often to keep his selections available. i've been struggling a little with accepting this display of his own individually in relationship to my photography. and i've decided to embrace it and chronicle his unique style because it is just so HIM and i love that.
and he asked me to take this photo of him using part of his beloved spy goggles
Year Released: 2016
Studio: 20th Century Fox
Aspect Ratio: 2.40:1 Scope
AUDIO & SUBTITLES:
- English (DTS-HD 7.1)
- Spanish (Dolby 5.1)
- French (Canadian) (Dolby 5.1)
Oregon Trail ruts carved by pioneer wagons are located onsite and are featured in a four mile interpretive hiking trail system. Trails and picnic areas offer scenic vistas of the Blue Mountains, the Wallowa Mountains, and Baker Valley.
Yet another shot from my first birding trip in Québec City.
There were a lot of people on the path next to the wetland, and nearly all of them had scopes. I saw some mighty huge camera lenses too. And hardcore photographers in camo.
As for birds... we saw/heard white-throated sparrows, ruby-crowned kinglets, song sparrows, ring-necked ducks (lifer), nothern pintails (lifer), american wigeon, and black-capped chickadees. I was most excited about the white-throated sparrow & the ruby-crowned kinglet. I think I'll be in love with bird song forever.
U.S.Navy Sailors scan the sea for suspicious vessels aboard the flight-deck of the USS Essex (LHD-2) during Composite Training Unit Exercise (COMPTUEX) March 16, 2015. COMPTUEX is designed to help Marines and Sailors integrate for their upcoming deployment in the spring. (U.S. Marine Corps illustration by Cpl. Elize McKelvey/Released)
THE PROCRUSTES TRILOGY
Procrustes In Situ
Oratorio—Variation On A Theme By Joseph Bor
Martyrs of the Cities of the Plain
PROCRUSTES IN SITU, overall plan
About the entire PROCRUSTES TRILOGY, Robert Cremean wrote the following:
THE PROCRUSTES TRILOGY was initiated in 48 A.H. with PROCRUSTES IN SITU. Throughout the following five years my preoccupation with this monster of the Thesian myth became obsessional. Threading back through the eternal Now of PROCRUSTES IN SITU, two events emerged to illustrate Procrustes at his most extreme…two acts of holocaust: ORATORIO, an event knotted in linear time during the Nazi persecution of the Jews, and MARTYRS OF THE CITIES OF THE PLAIN, dating back to the prehistory of biblical time. Both events live on politically, socially, and psychologically within the Now. By dating the Now from the Third Holocaust, which occurred at Hiroshima on the sixth of August, Nineteen Hundred and Forty Five, the Trilogy becomes a play in four acts. The fourth and final event will be the Fourth Holocaust. There will be no fifth. There will be no other.
Procrustes was first introduced into our lexicon of metaphors through the trials and triumphs of the mythical Greek hero, Theseus, as a robber-innkeeper who haunted the road near Eleusis. When travelers accepted his hospitality, he made them lie on one of two beds: one very long, the other very short. If the guest was too long for the short bed, Procrustes cut off his legs until he was short enough; if he lay on the long bed, Procrustes stretched him until he fitted it. In the legend, Theseus slays Procrustes. Once personified, however, like all enduring metaphors, Procrustes refused to die. Through metaphor, he illustrates a truth and, as a truth, he lives on throughout the evolving triumphs and tragedies of the human condition. His existence is indelible.
At approximately the time the myths were personifying the attributes of Procrustes as villainous, a writer named J, in the kingdom of Judah, was illustrating these same qualities as virtuous in the first chapters of the Old Testament. This clash of metaphors exists today in the war between humanism and theism.
PROCRUSTES IN SITU attempts to illustrate the obvious and redundant visages of Procrustes. He is omnipresent within the human condition: cutting, trimming and stretching each individual to fit the beds of conformity. During this phase of the Trilogy, I came to see how essential he is to everything that we are. Without Procrustes, there is no coherence. Procrustes is the antithesis of chaos. He is also the enemy of Art.
Procrustes thrives on repeat, stasis, and order. His sole purpose is to determine and control. Anything that threatens his authority and the dimensions of his beds is trimmed away or stretched beyond its viable scope of importance. The enforced illusions of Procrustes are in constant conflict with the Artist’s desire for truth, no matter what the cost.
In PROCRUSTES IN SITU, the connection between Procrustes and nature, sexuality and reproduction is considered. The linear extension of the species gives Procrustes great authority within the strictures of society. This is acknowledged in the beds of the mother, the father, the young woman, the young man, the child, and fear. Procrustes controls these beds through instinct. We are born into them. By these he controls us all. Chaos is not a threat to Procrustes in his natural form but rather to the illusions that that form has itself constructed. It is this illusion of identity that centers the drama of Procrustes: Theseus versus Procrustes, Art versus culture, chaos versus illusion.
PROCRUSTES IN SITU sets the stage for the following two acts of the Trilogy: ORATORIO portrays an event that occurred during the Second Holocaust, a performance of the Verdi Requiem at the Terezín concentration camp in 1944, with full orchestra and chorus of Jewish prisoners, for an audience of Nazis. The Procrustean overtones here are so obvious as to be grotesque and hideous in their irony. That this event precedes the Third Holocaust by barely a year increases its tragi-comedic theatricality. The laughter of Procrustes is his most terrifying edge and here, in ORATORIO, it is in full display. The Second Holocaust completes the cycle of biblical time initiated by J in the book of Genesis making possible the fulfillment of prophecies. The significance of ORATORIO is not the tragedy of the Jews but rather the paradox of theism: one man’s God is another man’s Satan.The portrayal of Jews in performance of a doctrinal Catholic requiem in a Nazi concentration camp is irony of such magnitude as to make Procrustes himself blush. The similarities of facial contortions involved with singing, screaming, and lamentation are so obvious as to be banal. The permission and encouragement of the Nazi propagandists for such a grandiose undertaking in the face of appalling circumstances is sadism of procrustean virtue.
MARTYRS OF THE CITIES OF THE PLAIN examines the First Holocaust. Based on the blue triangle that descends the back panel of PROCRUSTES IN SITU, the third section of the Trilogy concerns itself with the destruction of the cities Admah, Gomorrah, Sodom, and Zeboiim which the Old Testament attributes to the wrath of God. It examines the procrustean constrictions of patriarchy and the liberating challenge of feminine entelechy through the songs of Procrustes and the opposing chants of Chance, Being, and Desire. Masculine gestalt versus feminine insurrection.
As the pen of J transported good and evil into biblical time, the following centuries of hermeneutics turned the holocaust of the Cities of the Plain into a simplistic hatred of homosexuality.
Ascribing to a Father-god absolute judgement of good versus evil set the illusion that has dominated the religions of Abraham through the millennia: God destroys bad people and rewards good people. Through this lens, men have assumed their superiority.
J, by transporting the monotheistic Father-god of the Israelite tribes onto the pages of literature, initiated the gestalt of metaphors upon which linear history has based its illusions. By casting one protagonist as the sole arbiter of the human drama, J created a monster of deception and paradox, the sort of creature that Greek myth sends its heroes to defeat. He is Procrustes.
As J concretized monotheism in the Old Testament, a Greek poet named Hesiod was composing his Theogony of polytheism. These two dramatizations of the human condition have traversed the centuries in the hermeneutics of morals and ethics.
When J ascribed to the Father-god the destruction of the Cities of the Plain in terms of good and evil, he placed nature within the paradigm of moral rectitude. God’s will became the supreme wisdom of Patriarchy and all its contingent hermeneutics. The Israelites became god’s chosen people and the saga of the religions of Abraham began. By the time of the Second Holocaust, the Father-god had assumed two additional profiles, Christianity and Islam, and in the Second Holocaust, god turned his wrath against the Jews. A year later, in replication of his annihilation of the Cities of the Plain, he would rain death upon the cities of Hiroshima and Nagasaki. The Fourth Holocaust will be the last and all non-believers will be slaughtered by his wrath. What an ugly and ignorant scenario!
The gestalt of monotheism, with all its attendant metaphors and hermeneutics, is simply bad art. How much richer in imagination and complexity, Hellenic mythology. Comparing the nomadic expediencies of monotheism with Hesiod’s Theogony is like comparing a water jug to the Parthenon.
Compared to the Israelite tribes, the Cities of the Plain were highly civilized societies. To joyously praise their destruction in the worship of a Father-god’s wrath rather than admit to schadenfreude has been the basic theme for centuries of monotheistic history. As long as a Father-god exists, war will never cease. History will remain a drumbeat in constant repeat until the fourth and final holocaust.
THE PROCRUSTES TRILOGY exists for me as an attempt to understand the artist’s plight. (Interestingly, the dictionary gives the word plight two definitions: one is “a condition, state, or situation, especially an unfavorable one.” The other is: “to give in pledge, as one’s word, or to pledge, as one’s honor; danger, risk.”) The artist, as prototype for singularity versus the conforming group, confronts the beds of Procrustes as intrinsic within natural and social Isness.
The grotesqueries of ORATORIO attempt to portray the open hostility that exists between culture and Art. In the faux setting of the Terezín ghetto in Birkenau, Procrustes was operating with deft facility and terrible humor. Verdi’s Requiem was cut short to fit a Nazi time schedule and the musicians who performed this propaganda were shipped off to Auschwitz, their talents of no further value.
If an artist believes that Art is purifying and spiritualizing, what differentiates artists who worked inside Terezín and those who worked outside? Jewish musicians performed Verdi’s Requiem for a Nazi audience and were destroyed because the culture had decided to purify itself. German musicians performed Beethoven’s Ninth Symphony for German audiences and exalted the Nazi culture with the Ode To Joy. It is impossible to imagine any audience not being moved by either work. It is the culture that qualifies the emotion. And what of Wagner? And what of the musicians who performed during the Nazi regime. Were they collaborators because they believed in the power of Art no matter what its audience? No matter what its consequence? What is the moral equivalency here? Wherein lies an artist’s loyalty and honor?
Did the Jewish musicians of Terezín not know that they were collaborating with Nazi propaganda any more than German musicians knew of Nazi atrocities? Can an artist refuse his responsibility to Art?
MARTYRS OF THE CITIES OF THE PLAIN mirrors the artist’s plight set forth in ORATORIO. The eight testimonies of the four voices of Art are inscribed on the four-sexed sails of the Traveler.
By casting the voice of the artist as creator, heretic, healer and slave, an attempt is made to stage individual diversity on the beds of Procrustes.
As the Israelite Father-god rained death on the Cities of the Plain in an attempt to sever the two ancillary sexes from natural selection and societal acceptance, all living things were sacrificed to his dedication. This biblical example of the triumph of good over evil regardless of natural truths and objective ethics persists and continues to martyr the human condition to the plagues of mono-theism. God the Father is now positioned to destroy us all in the Fourth and final holocaust.
Homosexuality is part of Isness. To seek its eradication is to murder one’s children in a conflagration of hate and ignorance and fear. Even the Jews, in the agony of their own holocaust, seek to purify their martyrdom by cutting away the martyrs of the Cities of the Plain. Procrustes is omnipresent. No one eludes his beds. His delight. His laughter. His irony.
By setting a Father-god over the Isness of Being, humankind will always and ever be at war with itself, its nature, its self-recognition and realization.
The four sails of MARTYRS OF THE CITIES OF THE PLAIN are situated between the entelechies of masculine and feminine. The red monologues of War, Religion, and Commerce, with their corresponding heads and drawings of the male body, stand in opposition to the blue essays of Isness with its heads and drawings of the female body.
The blue and red commentaries flowing across either side of the sails relate past and present to the procrustean Now. (These inscriptions relate back to the diatribe that moves across the seven embossed prints of PROCRUSTES INN REGISTER.)*
In opposition to the Songs of Procrustes performed by War, Religion and Commerce, the alcove of feminine entelechy, personified by Chance, Being, and Desire, lies outside the Inn of Procrustes with its beds of conformity. This alcove, formed by the flowing blue inscription across the four sails of the traveler and the two walls of writings and drawings, attempts to define the true face of Theseus, not as a mythical hero, but as any human being who struggles with the destructive forces of dogma. Only truth can slay Procrustes. Only courage can lay waste his beds. Only empathy can destroy the accommodating hatred of his Inn.
Encased in the armor of helmet, miter, and bowler, Procrustes controls the history of men.
*PROCRUSTES INN REGISTER is a suite of engravings and monologues derived from the Preparatory Study that forms one wall of PROCRUSTES IN SITU.
Collection:
Fresno Art Museum
Fresno, California
(Robert Cremean: Metaphor and Process, the video, may be seen at www.youtube.com/watch?v=mgrxW8xSvrA)
Some interesting facts/observations when comparing Sako 85 to Tikka T3 rifles:
1. Sako receivers require more machine work due to more complex contours, and therefore, require more time to finish. Time equals money. The Tikka T3 receiver is geometrically simpler and does not require as many machining operations. For example, Sako 85's have a tapered dovetail on their receivers versus Tikka T3's being simply drilled and tapped for standard Weaver style scope mounts.
Photo of a Sako 85 receiver here: farm9.staticflickr.com/8194/8352503892_3fac9e9d8d_b.jpg
Photo of a Tikka T3 receiver here: farm8.staticflickr.com/7047/6834586702_5023d84ca5_b.jpg
2. Tikka T3's contain plastic parts, and Sako's generally do not (excluding stocks). Plastic is simply a far less expensive medium from which to create parts from. Tikka T3 polymer (fibreglass reinforced composite) parts include: bolt shrouds/knob ends, trigger guards, and magazines. Barrels, receivers, and triggers are of equal quality and made on the same Sako assembly line. Note, plastic (polymer) is not necessarily a negative thing, and in some applications/conditions, is arguably a superior material -- it is strong, flexible, and does not rust or dent. Many firearm manufacturers employ polymer parts to varying degrees, including highly respected names like Glock, Benelli, and even Remington. Regarding Remington, the highly regarded 870 'Police' pump action shotguns are now shipping with polymer trigger guards!
3. Tikka T3 bolts are simpler in design and less expensive to make. Given that Tikka T3's are found chambered in 300 Win Mag, 338 Win Mag, and 270/300 WSM, just to name a few, there should be no concern about the durability and safety of the T3 2-lug design! Tikka T3 bolts are particularly slick feeding, especially in combination with the T3 single-stacked polymer magazines.
Photo of a Sako 85 and Tikka T3 bolt here: farm8.staticflickr.com/7053/6834593516_d42616b629_b.jpg
4. Tikka T3's usually come with a relatively inexpensive molded stock. Sako wood stocks are usually much more expensive, and Sako synthetic stocks are also of higher quality. Note, this does not apply to the Tikka T3 Sporter stocks and Tikka T3 Tactical synthetic stocks, which are amongst the nicest factory stocks on the market -- and reflective in the retail price of these models!
5. Sako is regarded as having a bit better finish quality. Note, this has NOT been my observation when comparing my lovely Sako M85 Bavarian Carbine to my Tikka T3 Sporter.
6. Sako has multiple action lengths scaled to the family of cartridges they are designed for. Tikka (T3) have only one action length. This keeps costs lower for Tikka. Personally, I would not buy a Tikka in a calibre smaller than 308 (eg. 223), and prefer to take advantage of the larger T3 action length.
7. The Sako safety is more sophisticated as it allows you to operate the bolt while on safe.
Some custom scope rings I made for my Mini 14. Showcased here on Davidman's awesome M14. Pastie for rings only
BOX DATE: None
APPROXIMATE RELEASE DATE: 2006
MANUFACTURER: M.G.A.
BODY TYPE: No date; pink painted bow panties; bend & snap legs
HEAD MOLD: No date; pierced ears
***My doll is wearing the 2007 Class!
PERSONAL FUN FACT: This Motor Scooter Yasmin doll was one of the very first Bratz Kidz I ever owned! Granted, I went from having zero Bratz Kidz to owning quite the mini collection in one weekend. It was during the fall of 2011--Dad scoped out a lot of used Bratz dolls on Craigslist. After going to the seller's house and inspecting the dolls, of course we ended up purchasing the lot. It contained about 73 dolls, as well as hoards of clothing and accessories (which was very much needed by my scrappy flea market rescue Bratz at the time). We dubbed this lot "Craigslist #1" and the Bratz Kidz were definitely one of the highlights of the bin. I was very eager to get an up close look at the Bratz Kidz dolls that were included. Motor Scooter Yasmin wasn't one of my favorites originally--but it was easy to be overshadowed by the infamously adorable "1st Edition" Sasha. However she now has a legacy in the years since. I was new to doll identification back then, so admittedly I was very sloppy. Somehow, I ended up making the mistake of believing that this doll was in fact Forever Diamondz Yasmin, all because I got her outfit in said lot. The two dolls look absolutely NOTHING alike...but I think it took me a year to finally realize my blunder. Even though I was a teeny bit disappointed that she was not in fact Forever Diamondz Yasmin, I always found this girly very unique. Her brown and pink eyes make a daring combination, and I love how her hair has beautiful caramel highlights. She's changed outfits many times over the years on my display because I didn't get her factory ensemble with her. But that just meant she got to model all the "fancy" Bratz Kidz fashion packs I ordered on eBay circa 2013. I am deeply fond of this tiny doll--she reminds me of those early days of my adult doll collection, and she's one of the reasons I fell so madly in love with the Bratz Kidz franchise!
Whilst I was in Italy (Sorrento) I was really keen on getting a lovely shot of Mount Vesuvius, maybe at Sunsrise, maybe at sun set, unfortunately the weather was a tad overcast and therefore it was very hazy over mount V - I decided on a different perspective - this is probably about as clear as we could see Mount V even with the shallow DOF haha
Front view of my oscilloscope clock. The row of buttons navigates through the menu system (incomplete). The knobs on the side adjust all the CRT parameters.
epa02398565 Kuwaiti security evidence raises the fingerprints from the window that was shot during a crowd attacked the studio of Kuwaiti local private television station Scope in Kuwait City, 17 October 2010. The owner of the station said she had received threats to her life after the talk show Zain wa Shain ( Good and Bad ) was aired on Saturday. Kuwaiti newspapers have said the Information Ministry has accused Fajr al-Saeed of attempting to overthrow the government with Scope's satirical comedy show Sawtak Wasal ( Your Voice Has Been Heard ). EPA/Raed Qutena
News Release
For Immediate Release
Contact: Walter Gallas, 504-400-3017 or Sandra Stokes, 225-445-3800
41 ORGANIZATIONS CALL ON GOVERNOR AND CITY LEADERS FOR OPEN PROCESS IN DECISION-MAKING FOR MAJOR HOSPITALS
They ask Gov. Jindal for cost-benefit analysis of two competing LSU plans, and ask City Council and Planning Commission to include hospitals in the New Orleans master plan.
New Orleans, La. (Wednesday, March 25, 2009)—With the debate over locating new LSU and VA hospitals in Mid-City continuing, 41 local and national organizations—including a diverse range of community groups, professional organizations and planning associations—are asking state and city leaders to engage the public more directly in the search for a solution.
At a press conference held today, the organizations asked Gov. Jindal to commission an independent, third-party comprehensive cost-benefit analysis of the two LSU hospital plans--proposed new construction in Lower Mid-City and an alternative proposal to gut and rebuild a new 21st century hospital inside the shell of Charity Hospital. The organizations argue that a rigorous, side-by-side financial analysis will both clear up contradictory claims about construction costs of the two plans and will also measure the impact of different timelines on job creation, related economic development and health care delivery to the community.
In addition, the groups called on the City Council and the City Planning Commission to hold public hearings to receive information about the hospital designs and plans for a biomedical research district, and to give members of the public their first City-Hall-sponsored opportunity to respond to the plans. The groups want the hearings to be part of a process in which the council and planning commission take responsibility for making sure that the locations and designs for the huge hospital complex are best for the citizens, neighborhoods and the medical industry.
A third recommendation by the groups is to include the hospitals and the new biosciences economic development district in the city’s new master planning process. Goody Clancy, the city’s planning contractor, has stated that the Planning Commission excluded the hospitals and medical district from the scope of the master plan, which was released Friday in draft form.
“Despite the profound and lasting impact these projects will have on the city of New Orleans, the City Council and the City Planning Commission have been sitting on the sidelines of the debate, doing nothing, and the people of New Orleans have been kept largely in the dark,” said William Borah, New Orleans land use attorney. “This decision is far too important to be made in a backroom deal, without citizen input. This coalition is calling for a more transparent, open decision making process—one that has citizens at the table to help decide which hospital plan is in the best long-term interests of the people of New Orleans.”
Louisiana State University’s proposed $1.2 billion teaching hospital and medical center and a new $600-plus million hospital for the Department of Veterans Affairs constitute the largest single economic-development project in the city’s history. LSU and VA propose to locate the hospitals in a 70-acre section of the Mid-City neighborhood, after removing residents and small businesses from hundreds of buildings, many of them historic structures. The LSU plan for moving the hospitals to Mid-City would also affect the Central Business District, since the university proposes to abandon the landmark Charity Hospital building. A plan by RMJM Hillier proposes reusing the shell of the Charity building to house the state-of-the-art hospital that would serve as the core of LSU’s academic medical center, an approach the nationally-recognized architects say will produce a world-class hospital with savings of hundreds of millions of dollars over new construction and will be completed at least two years sooner.
Last week at the Senate District 9 Health Care Reform Forum, Louisiana Secretary of Health and Hospitals Alan Levine—the state’s point person on the hospital issue—said that no final decisions have been made and that both the LSU and the RMJM Hillier approaches are still on the table.
"Every neighborhood in New Orleans should be concerned that the plans for the replacement of Charity and the VA hospitals are not a part of the city's master planning process which is going on right now," said Charles E. Allen, III, president of the Holy Cross Neighborhood Association. "What is happening in Lower Mid-City could happen in any neighborhood of the city. We need to make sure that City Planning and the City Council insist that the process applies to our entire city. We can't leave anything out."
“Health care is in critical condition here in New Orleans,” said Dr. Sissy Sartor. “I am appealing to Governor Jindal to come forward and show the citizens of New Orleans and of the state that he is serious about returning health care to our city and that he will do it in a fiscally responsible way. The governor has it in his power to order a cost-benefit analysis that would answer the questions about alternative plans for rebuilding the LSU medical center.”
“At this point, what we need is a clear factual basis from which a decision can be reached,” said Sandra Stokes, Executive Vice Chair of the Foundation for Historical Louisiana “We need to move forward, and the best way to do that is for the state to conduct an independent, side-by-side analysis of the two plans. That process would provide answers to fundamental questions of time, efficiency and cost. Which plan would provide 21st century medical care faster? Which would cost less? We need an independent voice to provide answers to these basic questions.”
ORGANIZATIONS IN THE COALITION ARE CALLING FOR:
1.Governor Jindal to order an independent, comprehensive cost-benefit analysis of the two hospital plans.
2.The City Planning Commission and the City Council to hold public hearings on these critical planning issues.
3.The City Planning Commission and the City Council to include the hospitals in the current master-planning process.
●American Planning Association
●Broadmoor Improvement Association
●Charity Hospital School of Nursing Alumni Association
●Foundation for Historical Louisiana
●New Orleans Committee to Reopen Charity Hospital
●Coliseum Square Association
●Doctors for Charity Hospital
●National Trust for Historic Preservation
●Squandered Heritage
●Faubourg Marigny Improvement Association
●Smart Growth for Louisiana
●Preservation Resource Center
●Louisiana ACORN
●Faubourg St. John Neighborhood Association
●Louisiana Landmarks Society
●GNO Affordable Housing Action Center
●Holy Cross Neighborhood Association
●New Creation Christian Church
●Louisiana Trust for Historic Preservation
●Lower Mid-City Residents and Business Owners Affected by the LSU/VA Hospitals
●The Renaissance Project
●Vieux Carré Property Owners, Residents and Associates
●Southern Christian Leadership Conference Louisiana Women’s Division
●French Quarter Citizens, Inc.
●Lantern Light Inc.
●Irish Channel Neighborhood Association
●Louisiana Justice Institute
●Lafayette Square Association
●Lower Ninth Ward Center for Sustainable Engagement and Development
●Mid-City Neighborhood Organization
●New Orleans Pax Christi
●Partners for Livable Communities
●C3/Hands Off Iberville
●Phoenix of New Orleans
●Restaurant Opportunity Center of New Orleans
●Social Justice Committee of the First Unitarian Universalist Church
●The Townscape Institute
●The Urban Conservancy
●United Teachers of New Orleans
●Advocates for Environmental Human Rights
●Historic Faubourg Treme Association