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In specific, Holy Week is the week just before Easter that extends from Palm Sunday until Holy Saturday and marks the last week of Lent. It has earned the name 'Holy', according to the Orthodox Church, due to the significant events that take place for Christianity in regard to the sufferings of Jesus Christ.
Saturday evening is filled with the anticipation of celebrating Easter Sunday. In some areas, people begin to gather in the churches and squares in cities, towns and villages by 11pm for the Easter liturgies. A few minutes before midnight, all the lights are turned off and the priest exits the altar holding candles lit by the Holy Light, which is distributed to everyone inside and outside the church. At midnight, the priest exits the church and announces the resurrection of Jesus. Many people carry large white candles called lambada, and the church bells toll as the priests announce “Christ is Risen!” at midnight.
Each person in the crowd replies with a similarly joyous response.
The capital of the Republic of Cyprus is also its cultural heartbeat.
Nicosia is the capital and largest city on the island of Cyprus, as well as its main business centre.
There is one thing the photograph must contain, the humanity of the moment.
We are making photographs to understand what our lives mean to us.
The best thing about a picture is that it never changes, even when the people in it do.
The camera is an instrument that teaches people how to see without a camera.
I really believe there are things nobody would see if I didn’t photograph them.
In specific types of industries, it is a requirement to wear steel toe work boots for Safety. Construction and Engineering industries along with some outdoor occupations where you work with heavy machinery and objects and where there is a risk of falling objects or compression deem for you to...
Site-Specific Series, presented by Guelph Contemporary Dance Festival
Photo by Dawn Owen, for the Ontario Arts Council and the Ministry of Culture at the spOtlight festival, June 2009. www.spOtlightfestival.ca
______
Série propre au site, présenté par Guelph Contemporary Dance Festival
Photo de Dawn Owen, prise au festival En vedette en juin 2009, pour le Conseil des arts de l’Ontario et le ministère de la Culture. www.festivalenvedette.ca
Pretty sure the specific epithet is viridis, anyways, based on location. It's obviously not in bloom and I didn't have a key on me, so I kind of had to guess.
Also known as Mormon Tea. The leaves can be boiled down to make an herbal tea that has some medicinal properties.
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Photo: Vienna City Park plan - Flower - Lake
City Park Plan - Flower - Lake Ltd. © Vienna - specific
The Viennese City Park stretches from the park ring in the first district of Vienna up to the Haymarket in the third district of Vienna and is a of both tourists and local citizens well-visited park in Vienna. Its area is 65,000 m².
History
Yet in the Biedermeier the Water Glacis was a popular entertainment venue before the Karolinenstadttor (city gate). As part of the by the demolition of the city wall happened remodeling in the Ringstrasse, the project of a public park has been promoted on that site by the then Mayor of Vienna, Andreas Zelinka. This park was designed in the style of English gardens by the landscape painter Josef Selleny, the plannings were carried out by the city gardener Rudolf Siebeck. On 21th August 1862 the city park was opened as the first public park in Vienna.
Vienna River flows through the city park
The Wien River flows through the city park, Vienna © concrete
"Wien" (Vienna River) in the city park
On the right bank of the river Wien (Wienfluss) was 1863 the so-called children's park, today mainly characterized by paved playgrounds and sports facilities, which over the Karoline bridge (Karolinenbrücke) (since 1918 Stadtparkbrücke), built in 1857, with the on the left bank situated town park is connected.
In the years 1903-1907 was in the parking area after the regulation a by Friedrich Ohmann and Josef Hackhofer planned Vienna river engineering structure with the river gate, pavilions and river banks built, which is one of the sights in the park.
In earlier times visitors of the park for the stay in placed chairs had to pay fees that were collected by the chair women (the so-called Sesselweiber).
Attractions in the park
Kursalon
The Kursalon
The water Glacis was a spa pavilion in which healing waters for drinking cures were served. To that affect, in the years 1865 to 1867 for the city park also the Kursalon was built according to plans of Johann Garben. This historicist imposing home in the style of the Italian Renaissanceg is located at the John street (Johannesgasse) and has a large terrace in the park:
After the opening on 8th May 1867 were originally forbidden pleasures. As this concept was not adopted, yet on 15th October in 1868 was taking place the first concert of Johann Strauss (son) whereupon became the Kursalon a popular dance and concert venue in particular at the time of the Strauss brothers. Today, the Kursalon after a renovation phase is again venue for balls, concerts, clubbings and conferences and houses a café-restaurant.
Photo: Johann Strauss monument in the city park; © RM
Monuments
With the gilded bronze statue of Johann Strauss (son) stands in the city park one of the best known and most frequently photographed monuments in Vienna. It was on 26th June 1921 unveiled and is framed of a marble relief by Edmund Hellmer. The gilding was removed in 1935 and in 1991 applied again. Other monuments there are, for example, of Franz Schubert, Franz Lehar and Robert Stolz and Hans Makart, the City Park is in monuments and sculptures the richest park in Vienna.
The dairy (Meierei)
The former milk bar was built as part of the Wienflußverbauung (Vienna river engineering structure) according to plans by Friedrich Ohmann and Josef Hackhofer from 1901 until 1903. After suffering heavy damages during the Second World War the building was extended in the reconstruction. Today is in the dairy after another annex a restaurant.
Planting
The planting of the city park is characterized by a great diversity of species and is, as possible, focused on a year-round flowering. Through an avenue to the ring road noise and exhaust gases are filtered. Some trees are protected, such as a ginkgo, a crown of thorns (Honeylocust, Christusdorn), cottonwood tree and Caucasian wingnut.
Specific shoot for Rock Shop packaging
© 2014 Nick Edwards, All Rights Reserved
This image is not available for use on websites, blogs or other media without the explicit written permission of the photographer.
SARS-COV-2 pcr diagnostics kit. Epidemiologist in protective suit, mask and glasses works with patient swabs to detect specific region of 2019-nCoV virus causing Covid-19 viral pneumonia.
Specific classes and learning objectives for the proposed Music Therapy Degree program
Department of Music and Dance; Box 1 / Folder 26
The GAZ M21 Volga is an automobile produced in the Soviet Union by GAZ (Gorkovsky Avtomobilniy Zavod, in English "Gorky automobile factory") from 1956 to 1970. The first car to carry the Volga name, it was developed in the early 1950s. Volgas were built with high ground clearance (which gives it a specific "high" look, contrary to "low-long-sleek" look of Western cars of similar design), rugged suspension, strong and forgiving engine, and rustproofing on a scale unheard of in the 1950s.
The Volga was stylistically in line with the major American manufacturers of the period in which it was introduced, and incorporated such then-luxury features as the reclining front seat, cigarette lighter, heater, windshield washer and three-wave radio.
The GAZ M-21 Volga became the biggest and most luxurious car officially sold to individual owners in the USSR in large quantities; though its very high price made it unavailable for most car buyers, 639,478 cars were produced in total.
The three series of GAZ-21
Three series GAZ-21 were released, most easily distinguished by the grille. The first series (1956–58), known as the Star, featured a lattice of three large horizontal bars in the centre of which was a medallion with a star. Vehicles of the second series (1958–1962), known as the Shark, featured a grille with 16 vertical slits. Finally, the third series (1962–1970), known as the Baleen, featured a grille with 34 thin vertical rods.
The design process leading to the GAZ-21 began in November 1953. Alexander Nevzorov, head of the design team, was given a free hand to develop whatever he wanted to reach the objective of competing with American automobiles. Designer Lev Eremeyev decided to follow the fashion set by the Chevrolet Bel Air, Plymouth Savoy, and Ford Mainline; the finished product bears a resemblance to the 1955 Mainline, although according to archive documents, the latter was purchased for comparison and on-road testing by GAZ only in mid-1954, after the first prototypes of the GAZ-21 had already been built and tested. The prototype appeared in the first quarter of 1954, powered by an inline four with overhead camshaft (driven by chain) and cross-flow hemispherical head. Since the OHV engine was not ready in time, production M21s had a 65 PS (48 kW; 64 hp) 2,432 cc (148.4 cu in) sidevalve four, based on the GAZ-20's. The Volga was offered with a three-speed transmission, either manual (with synchronized second and third gears) or automatic. Front suspension was independent, while the rear was a live axle with semielliptical springs; lever shock absorbers were on all four corners. Lubrication was by a central oiling system, from a drum and foot-operated pump; the oil lines were prone to puncturing, and not all of the 19 lubricated points were supplied equally. The Volga offered front seats able to fold flat (not unlike a contemporary Nash option) and came standard with cigarette lighter and a radio (still optional on most U.S. cars). The three variants were the standard M21G, an M21B taxi (with a taximeter in place of the radio and bucket seats in front instead of a bench), and a tropical model, the M21GYU, all with the GAZ leaping deer hood ornament. Drag coefficient was a surprisingly good 0.42. The only thing that the Volga and Mainline had in common was the Ford-O-Matic automatic transmission, which the GAZ plant liecensed for use in their vehicles, and even then only a few early Volgas had this transmission, before the design adopted a manual transmission.
The Volga made its public debut in 1955, with a three cars on a demonstration drive from Moscow to the Crimea, two automatic models and a manual. It was, however, still far from production-ready; in the first year, 1956, only five cars were assembled, the first on 10 October 1956. Full-scale production began in 1957, with a list price of 5,400 rubles. The new 1957 production cars, known as Series Ones, had a brand-new 2,445 cc (149.2 cu in) OHV engine, the first model produced by Zavolzhskiy Motorniy Zavod (Zavolzhye Engine Factory, ZMZ). Unusual for the era, it had aluminum block and head, with gear-driven camshaft and compression ratio of 6.6:1; it produced 70 PS (51 kW; 69 hp) at 4,000 rpm and 123 lb⋅ft (167 N⋅m) at 2,200 rpm.
The automatic transmission model was soon discontinued, with only 700 built: it was widely criticized as being too difficult for Soviet drivers to maintain, few service stations were available to do the work and few private mechanics were qualified, and a shortage of transmission oil existed. From 1958, a three-speed manual, with synchromesh on the top two gears, was the only transmission available; this was the M21V, while the taxi became the M21A. The automatic did go on to be used in the low-production GAZ-13 Chaika, which was also maintained by professionals. Standard equipment on all models included spare parts and two tool kits, with spanners, wrenches, screwdrivers, a tire pump, and a can of paint to fix minor dings.
Also, export models were built, M21D with the manual transmission and M21E with the automatic, both with a higher 7.2:1 compression engine, producing 80 PS (59 kW; 79 hp).
Cars produced in the fall of 1958 combined features of the first and second series.
Second-series Volgas were introduced in 1959, with a new grille painted the body color or in chrome. Halfway through the 1959 production run (model year 19591⁄2), a vinyl cover was added to the dash. Added were windscreen washers and tubeless tires. Just before the second-series production concluded, telescopic shocks replaced the lever type. The 1961 Volgas were priced at 5,100 rubles.
Variants of this series included the M21I and M21A taxi with the 70 PS (51 kW; 69 hp) inline four, and the M21K and right-hand drive M21H (for export) with the 80 PS (59 kW; 79 hp) engine.
The Volga was shown at the 1958 Brussels World's Fair and together with the GAZ-52 truck and the GAZ-13 Chaika, it won the award. In the same year, production for export began. The second-series Volgas became known for having no frills, but outstanding durability, helped by the 230 mm (9.1 in) ground clearance. In 1959, a Volga took a class win at the Thousand Lakes Rally in Finland, and third at the Acropolis Rally. That year, the central lubrication system was deleted, in favor of a more traditional local grease-application nipple.
In early 1962, a small number of cars were built that combined features of the second and third series.
The third series was produced from 1962 to 1970. The 1962 models dropped the leaping-deer hood ornament, and had a new grille. It used a 6.7:1 compression engine of 75 PS (55 kW; 74 hp) with an optional 7.65:1 compression of 80 PS (59 kW; 79 hp) (usually reserved for the export models). The headliner changed from cloth to vinyl, and the radio became optional. It was offered as the standard M21L, M21T taxi, and right-hand drive M21N export model.
Also in 1962, GAZ advertised a station wagon/estate model, the M22; most of these were exported or reserved for official use. The first station wagons/estates were delivered in 1963, and were designated M22 (75 PS (55 kW; 74 hp)), M22G (export, 75 hp (56 kW; 76 PS)), M22T (export, 85 PS (63 kW; 84 hp)); ambulances were M22B (75 PS (55 kW; 74 hp)) and M22BK (85 PS (63 kW; 84 hp)). An M22 prototype four-wheel drive station wagon/estate was also built, as was an M22A van.
Belgian importer Sobimpex N.V. assembled Volgas locally for sale in Western Europe. These were often fitted with diesel engines; the cars arrived in Antwerp without an engine and with the gearbox in the trunk. Originally (beginning in 1960) Sobimpex fitted a 1.6-liter Perkins 4.99 unit, a larger Rover engine supplanted that in 1963, and the more modern Indenor four-cylinder units replaced the Rover engine in 1964. Belgian-built cars were marketed as "Scaldia-Volgas", named after the Latin name for the river Scheldt. While the diesel models cost considerably more than ones with the original engine, they were quite popular for their economy and reliability, and outsold the petrol models in both Belgium and the Netherlands.
Models
The car's large size and tough construction made it popular in the police and taxi trades, and V8-powered versions (designated GAZ M23) were produced for the KGB. An automatic transmission was briefly offered in the late 1950s, but later discontinued due to lack of service stations, and then, through the 1960s, on the KGB's V8 version only, with the driver's controls being very similar to the discontinued "civil" automatic.
The M21 Volga was produced in sedan form from 1956 to 1970 and station wagon form (GAZ M22 Universal) from 1962 to 1970. This left the design quite outdated by the 1960s. GAZ developed a boxier, more modern replacement, and in 1970, the M21 platform was discontinued by GAZ. Until the late 1970s, however, spare parts were produced by different plants all over the USSR, and some plants were rebuilding M21s using spare parts, wrecked, and junked cars. In 1988, about 80,000 M21 Volgas were registered in the USSR. Based on the GAZ-21, a number of pick-up trucks were also built on its basis by various autonomous auto repair plants from all around the country. As these plants worked separately, there was no single design for these vehicles.
The Deluxe variant has additional chrome trim around the windows and spanning the front and rear headlights, with the rear ones being fin-shaped. They also usually included the 79 hp (59 kW) engines instead of the standard 69 hp (51 kW) ones.
One M21 was given to Yuri Gagarin after his orbital flight; Gagarin was very fond of his Volga.
The UAZ-469 all-terrain vehicle uses a GAZ-21A engine, and the RAF-977 minibus used the GAZ-21 engine and drivetrain.
A special-variant GAZ-23 Volga was produced for Soviet special services only, with a 160 PS (120 kW; 160 hp) 5.53-litre V8 engine from the Chaika. These were also equipped with the Chaika's automatic transmission. This allowed the M23 to reach 170 km/h (110 mph). Only 603 of the M23s were built between 1962 and 1970.
Chapada Diamantina - Vale do Capão
Bahia - Brasil
*site specific
*Plic*
gabrieow@gmail.com
verão 2011
Site specific performances by BA Drama students at "The Collection" and "Usher Gallery".
Date: 9 May 2015
Time: 11am -3pm
photo by Fenia Kotsopoulou
Images from a the project 'La Legend de le mort' (The tale of death) a site specific piece performed at Buckland Abbey in collaboration with a French theatre group based in Brest.
by Gemma Ward
The nene (Branta sandvicensis), also known as nēnē and Hawaiian goose, is a species of goose endemic to the Hawaiian Islands. The official bird of the state of Hawaiʻi, the nene is exclusively found in the wild on the islands of Oahu, Maui, Kauaʻi, Molokai, and Hawaiʻi.
The Hawaiian name nēnē comes from its soft call. The specific name sandvicensis refers to the Sandwich Islands, a former name for the Hawaiian Islands.
It is thought that the nene evolved from the Canada goose (Branta canadensis), which most likely arrived on the Hawaiian islands about 500,000 years ago, shortly after the island of Hawaiʻi was formed. This ancestor is the progenitor of the nene as well as the prehistoric Giant Hawaiʻi goose and nēnē-nui (Branta hylobadistes). The nēnē-nui was larger than the nene, varied from flightless to flighted depending on the individual, and inhabited the island of Maui. Similar fossil geese found on Oʻahu and Kauaʻi may be of the same species. The Giant Hawaiʻi goose was restricted to the island of Hawaiʻi and measured 1.2 m (3.9 ft) in length with a mass of 8.6 kg (19 lb), making it more than four times larger than the nene. It is believed that the herbivorous Giant Hawaiʻi goose occupied the same ecological niche as the goose-like ducks known as moa-nalo, which were not present on the Big Island. Based on mitochondrial DNA found in fossils, all Hawaiian geese, living and dead, are closely related to the giant Canada goose (B. c. maxima) and dusky Canada goose (B. c. occidentalis).
Description:
The nene is a medium-sized goose at 41 cm (16 in) tall. Although they spend most of their time on the ground, they are capable of flight, with some individuals flying daily between nesting and feeding areas. Some are born without the ability to fly. Females have a mass of 1.525–2.56 kg (3.36–5.64 lb), while males average 1.695–3.05 kg (3.74–6.72 lb), 11% larger than females.[7] Adult males have a black head and hindneck, buff cheeks and heavily furrowed neck.[8] The neck has black and white diagonal stripes.[8] Aside from being smaller, the female Nene is similar to the male in colouration. The adult's bill, legs and feet are black. It has soft feathers under its chin. Goslings resemble the male, but are a duller brown and with less demarcation between the colours of the head and neck, and striping and barring effects are much reduced.
The nene is an inhabitant of shrubland, grassland, coastal dunes, and lava plains, and related anthropogenic habitats such as pasture and golf courses from sea level to as much as 2,400 m (7,900 ft). Some populations migrated between lowland breeding grounds and montane foraging areas.
The nene could at one time be found on the islands of Hawaiʻi, Maui, Kahoʻolawe, Lānaʻi, Molokaʻi, and Kauaʻi. Today, its range is restricted to Hawaiʻi, Maui, Molokaʻi, and Kauaʻi. A pair arrived at the James Campbell National Wildlife Refuge on Oʻahu in January 2014; two of their offspring survived and are seen regularly on the nearby golf courses at Turtle Bay Resort.
The breeding season of the nene, from August to April, is longer than that of any other goose;[11] most eggs are laid between November and January.[7] Unlike most other waterfowl, the nene mates on land.[8] Nests are built by females on a site of her choosing, in which one to five eggs are laid (average is three on Maui and Hawaiʻi, four on Kauaʻi). Females incubate the eggs for 29 to 32 days, while the male acts as a sentry. Goslings are precocial, able to feed on their own; they remain with their parents until the following breeding season.
(From Wikipedia)
ハワイガン（Branta sandvicensis、ハワイ語:Nene＝ネネ）は、鳥綱カモ目カモ科コクガン属に分類される鳥類。
ハワイ州の州鳥に指定されている[3]。生息地では食用とされることもあった[2]。
食用の乱獲、人為的に移入されたイヌ、ブタ、ネズミによる被害などにより生息数は激減した[2]。1960年に国際鳥類保護会議で国際保護鳥に指定された[2]。1960年から人口孵化させた個体を国立公園などに再導入する試み（1960-1973年にハワイ島に804羽、マウイ島に391羽を放鳥[2]。1990年までに計2,100羽を放鳥[1]）が進められている[1][2]。18-19世紀における生息数は25,000羽[2]、1951年における生息数は30羽、1999年における生息数は925羽と推定されている[1]。
1823年にはヨーロッパで飼育されるようになり飼育下繁殖も成功していたが、その血統は1900年までにほぼ絶えたとされる[2]。生息数が減少した後は1949年にハワイで、1952年にイギリスで飼育下繁殖に成功した[2]。1953年における飼育個体数は35羽（イギリス16羽、ハワイ19羽）、1977年における飼育個体数は585羽以上（飼育施設数82）
The specific name, arboreus, refers to the tree-like appearance of a mature plant.Its flowers do not open fully and help attract butterflies and hummingbirds.
English common name: goes by many English names including Turkcap, Turk's turban, wax mallow, ladies teardrop and Scotchman's purse.
Spanish common name:
Origin: (native to the Southeastern United States, Mexico, Central America, and South America. )
Family: Malvaceae
Jardín Botánico de la Universidad de Valencia
Jardí Botànic de la Universitat de València
Valencia, Spain
23 November 2017
DSC01982
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Specific classes and learning objectives for the proposed Music Therapy Degree program
Department of Music and Dance; Box 1 / Folder 26
dSatellite is a site-specific architectural structure that extends the mission of DFLUX (www.dflux.org), a Detroit-based research studio and residency program, further into its community. DFLUX engages its local neighborhood and the general public with creative actions, research, and workshops. In so doing, they hope to reveal and create emergent and sustainable cottage industries. dSatellite was created with the intention of providing future DFLUX participants and local residents with an outpost to engage in various field research. Constructed with foraged building materials, dSatellite merges both the physical and conceptual characteristics of the DFLUX Residency site and a typical nature blind used by naturalists, scientists, photographers and hunters. dSatellite is currently deployed in a completely razed residential neighborhood of Detroit currently referred to as the "field" by local residents and "Renaissance Zone" by real estate developers. A dense urban forest, rich with wildlife, has grown there, only crumbling roads and alleys, debris piles, and public utilities remain as signs of past use.
dSatellite was created during a research residency at DFLUX in Detroit, MI in collaboration with Joseph G. Cruz (http://josephgcruz.com)
Perang Pandan
Again Perang Pandan is specific to Tenganan village only. The word “ perang pandan “ is a two words noun in Indonesian language, while in Tenganan this war dance is called “ makare-karean “ This event is carried out during the ceremony of the temple called “ Ngusaba “ It is strange because this kind of ceremony is also known by the rest of Balinese, especially those living on lowland with rice irrigation system called “ Ngusaba Nini “ Perang Pandan originally was a war dance or practice of self-defense which is also introduced by the rest of the world's ethnics in its different form and fashion. The only thing in Bali is that almost all dances are considered as the requirement of a ritual.
For makare-karean war dance there is no rule of fighting, except the dance is given more to younger generation. The term “ fighters “ may more appropriate name to designate perang pandan instead of a dancer. The fighters bring in hand sharp edged pandanus leaves, while the other hand holds bamboo or rattan woven body shield to protect the body from the provocation of opponent. One person acts only as a referee. The fight resulted the scratch on the skin by thorny pandanus leaves and caused the bleeding. No one is safe from the scratch of the pandanus leaves after the fighting, the only smaller or wider scratches. After the fighting the ritual leader gives the scratch an oil made from herbal medicine, and spread holy water to the fighters. No heart feeling among fighters, and they all sit together to have meals on banana leaves.
Specific classes and learning objectives for the proposed Music Therapy Degree program
Department of Music and Dance; Box 1 / Folder 26
Artist Konrad Wyrebek, Communication - Live, performance, site specific installation, Saatchi Gallery London, Konrad Wyrebek
Within the range of items I make are two specific ‘lines’ of items: “Give Me Thorns” and “Crown of Gears”, the former catering to a spiky, high-fantasy aesthetic of gothic jewellery and dramatic lines, whilst the latter caters to the steampunk aesthetic and is far more suited to airships, ‘legitimate mercenaries’ and other such personages.
This collar/choker is part of the "Give Me Thorns" range, as glossed above. This collar is decorative, and features a small brass moon as the centrepiece. Despite the pointy appearance, these chokers are very comfy and are shaped to fit the contours of the neck.
The leather of the upper was hand dyed in a light tan, giving a rich, warm tone to offset the brass rivets, which is further complimented by the soft, scarlet pigskin suede leather cutaway. This choker fasten via 1/2" buckles and straps.
ROIL, Christine Sciulli, site specific installation at Smack Mellon photo by Etienne Frossard courtesy of Smack Mellon.
ROIL is an 8 channel video projection of expanding and contracting circles of white light onto a 2000 yard white mesh installation (35'Hx55'Lx28'W) at Smack Mellon (92 Plymouth Street, Brooklyn, NY) on view through 21 February 2016.
Christine Sciulli
Artist Statement
ROIL
December 2016
My most recent explorations have focused on the projection of plane geometries through various three dimensional networks to generate a dynamic mapping of solid geometries of light through space. In this installation, projected circles of white light expand and collapse through Smack Mellon’s cavernous space in a frenzy which harkons back to the roiling steam that powered surrounding factories.
Smack Mellon’s current home once belonged to Robert Gair, who patented his revolutionary design for a structurally sound three-dimensional lidded box folded from a single two-dimensional sheet of paper without adhesives in 1900. Industrialist Gair housed his widely varied paper product operations in several buildings concentrated in DUMBO. “Gairville” was fueled by tons of coal dropped through chutes carved out of the 4th and 5th floors of this former mill. Boilers in this vast hall superheated, churned and compressed water into hissing steam that pulsed through pipes and coursed into adjacent buildings supplying heat and energy. Racing progress and rapidly expanding industrialization, made possible by the relatively simple kinetic expansion of water into a vapor that could provide so many uses, was the starting point for my immersive, site-specific installation, ROIL. My installation stretches through the industrial hall offering opportunities to inhabit it’s passages, caves, nooks, hubs and low overhangs which become clear to the viewer as dark adaptation takes place.
Specific suggestions for luxury bathroom furniture, six of inventive and luxury wooden bathtub styles UK photographs for who adore special pieces in the residence, luxury wooden bathtub types pictures.
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Page 53
When Robert Cremean walked through the seemingly
endless corridors of the Vatican Museum in Rome, he was
struck not only by the vastness of the place but by the
number of sculptures it contains, many of which are
neutered by a fig leaf. To him, the sculptures in the museum
represented an enormous collection of mixed metaphors and
only a rare few met his definition of “transparency.” On the
fourth page of his Preparatory Study for VATICAN
CORRIDOR, A Non-Specific Autobiography he wrote:
The enclosure of one metaphor by another—one culture by
another—one time segment by another. “Paganism” is preserved
through forfeit of genitalia—neutered by a fig leaf. Miles of
historical artifacts enclosed within an historical artifact. And yet
there are a few presences that are not dead—not neutered. A few
glimpses— Man existing without metaphor. A few Transparencies.
Are these not worth the endless walk?
Within the concept “One man=all men,” VATICAN
CORRIDOR, A Non-Specific Autobiography was conceived as
an actual and metaphorical record of the journey through
the life of the artist and, by extension, a projection of the
possibilities we all share and may attain. Within both of the
facing walls are ten carved life-sized figures symbolically
conjoined by arches to form a “corridor of the self. ” As Robert
Cremean wrote:
Each arch represents three years and the Corridor of Self-Analysis
begins with my seventeenth year.
It was within the time span of the First Arch he declared
himself a sculptor.
Prior to acquiring the materials necessary for the actualizing
of the sculpture in wood, he spent two months creating
the detailed preparatory study for the entire work, a process
he had followed on only two prior occasions, one for
DONOR WITH CRUCIFIXION and the other, although more
suggestive than detailed, for HOMAGE TO PAUL APOSTLE.
From the first three pages of searching to the final pages of
resolution, the artist’s graphic description of the threedimensional
work provides us with the opportunity to read
the artist’s philosophical concepts for that specific work of
art and to understand how these concepts are interpreted
symbolically through the human figure. Since this is an
actual and a metaphorical autobiography, the Preparatory
Study for VATICAN CORRIDOR, A Non-Specific Autobiography
literarily addresses both.
Because each of the ten arches in the Preparatory Study
and in the completed sculpture spans a period of three years
in the artist’s life, the Tenth Arch was a projection five years
into the future and was at last updated twenty-two years
later in the writing in 1995, and with the publication by
Manuscript Press in 1996, of THE TENTH ARCH, the sculptural
Tenth Arch realized in the form of a book.
As the name implies, the sculpture is in the form of an
actual corridor. It measures eight feet tall, forty feet in length,
and with a width of ten feet. The facing walls of the corridor
are each formed by ten carved blocks of laminated sugar pine
planks for an overall measurement each of 8' x 24½" x 16".
The first figure of the Outer Wall, the “who,”is nearly fully
revealed in the round. But by the Tenth Arch, it has been transposed
into a negative, much like a waste-mold, only the egg
shape of the final transposition still in place. Block by block
and transposition after transposition, the three-dimensional
figure is displaced by a concavity as the wall that contained it
grows thicker and thicker. The reverse is true in each of the
corresponding figures and blocks of the Inner Wall. Each part
of the human figure is symbolic of a particular sense and/or
concept and with its transference the figure of the Inner Wall,
the “what,” becomes more complete.
Shown here is the final page of the manuscript which
lists the actual parts of the Anatomy of Transposition. It is
followed by the first four pages which serve both as an
explanation of the Preparatory Study and of the concept of
the entire sculpture. Each page of the original manuscript
measures 17" x 14".
Site-specific sculptuur van op locatie gevonden materialen. Beeldenpark Zonnestraal, Hilversum. Opening 5 april 2009.
Ian Chan's Library Leaves. Laser cut leaves (from newspaper) installed in the Art Library reading room
(HGM 6032 L 355, Heisey Glass Museum, Newark, Ohio, USA)
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"3389 Duquesne" is the designation for a specific glass product design made in Newark, Ohio by the Heisey Glass Company (1896 to 1957). Heisey glass designs are called "patterns". Pattern designations include a number (not necessarily consecutively numbered during the history of the glass factory) and a name. Some pattern names were given by the Heisey company, while others were given by Heisey glass researchers.
"Tangerine" refers to a type of colored glass that Heisey made - in this case, orangish to orangish-red.
The source of silica for Heisey glass is apparently undocumented, but was possibly a sandstone deposit in the Glassrock area (Glenford & Chalfants area) of Perry County, Ohio (if anyone can provide verfication of this, please inform me). Quarries in the area targeted the Pennsylvanian-aged Massillon Sandstone (Pottsville Group) and processed it into glass sand suitable for glass making.
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From Bredehoft (2004):
Tangerine: 1932-1935. An orange glass. The glass was struck (reheated) to produce deepening color. Because of this, tangerine can look orange and sometimes almost red. Pressed pieces can exhibit an amberina-type coloration. While oral history indicates this was developed by Olson himself, his records indicate he did get some help!
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From museum signage:
Augustus H. Heisey (1842-1922) emigrated from Germany with his family in 1843. They settled in Merrittown, Pennsylvania and after graduation from the Merrittown Academy, he worked for a short time in the printing business.
In 1861, he began his life-long career in the glass industry by taking a job as a clerk with the King Glass Company of Pittsburgh. After a stint in the Union Army, Heisey joined the Ripley Glass Company as a salesman. It was there that he earned his reputation of "the best glass salesman on the road".
In 1870, Heisey married Susan Duncan, daughter of George Duncan, then part-owner of the Ripley Company and later full owner, at which time he changed its name to George Duncan & Sons. A year later, he deeded a quarter interest to each of his two children. A few years after his death, A.H. Heisey and James Duncan became sole owners. In 1891, the company joined the U.S. Glass Company to escape its financial difficulties. Heisey was the commercial manager.
Heisey began to formulate plans for his own glass company in 1893. He chose Newark, Ohio because there was an abundance of natural gas nearby and, due to the efforts of the Newark Board of Trade, there was plenty of low cost labor available. Construction of the factory at 301 Oakwood Avenue began in 1895 and it opened in April of 1896 with one sixteen-pot furnace. In its heyday, the factory had three furnaces and employed nearly seven hundred people. There was a great demand for the fine glass and Heisey sold it all over the world.
The production in the early years was confined to pressed ware, in the style of imitation cut glass. The company also dealt extensively with hotel barware. By the late 1890s, Heisey revived the colonial patterns with flutes, scallops, and panels which had been so popular decades earlier. These were so well accepted that from that time on, at least one colonial line was made continuously until the factory closed.
A.H. Heisey's name appears on many different design patents including some when he was with George Duncan & Sons. Heisey patterns that he was named the designer include 1225 Plain Band, 305 Punty and Diamond Point, and 1776 Kalonyal.
Other innovations instituted by A.H. Heisey were the pioneering in advertising glassware in magazines nationally, starting as early as 1910 and the first glass company to make fancy pressed stems. That idea caught on quickly and most hand-wrought stemware is made in this manner, even now.
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Reference cited:
Bredehoft, N. (ed.) (2004) - Heisey glass formulas - and more, from the papers of Emmet E. Olson, Heisey chemist. The West Virginia Museum of American Glass. Ltd.'s Monograph 38.
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Info. at:
en.wikipedia.org/wiki/Heisey_Glass_Company
and
and
Once upon a time there was a colorful country. They had culture, knowledge and happiness. They had four beautiful seasons. People sang and danced all the time. They lived based on good reflection, good deeds and good words. People were thankful of their God. Rivers were full of water. Love covered the land.
Flowers were growing, trees were green. Birds were singing, clouds were cheered.
Suddenly darkness came from the bridge. It covered the entire country and everything green.
People got frighten, people were crying.
Little by little everything changed. Colors were poisoned, boots were banned. Darkness forced people to cover their hands. Dancing was forbidden.
Three decades passed and people were crushed. Clouds turned to ashes and women were fade.
People were fighting with all their hearts, darkness got powered time after time.
San Francisco,CA
2013
The author of this article wanted quite a specific illustration. They wanted to represent the side of the Social Network that was perhaps not the sunshine and rainbows that others parts are. While the author did not want it site to be seen as wrong, they wished to highlight the misinformation that could be spread. This is why an actual the conversation within the image was one actually taken from Tumblr. It was important that nothing was made up, so not to smear the good name of the site in general. The rest of the image was specifically hand drawn in order to give the image a homely look, appealing, much like Tumblr in general.
travelling
site-specific-dance gala on modern chinsese lifestyles from Dressing, Eating, Living to Travelling in Shanghai Times Square.
Photographic documentation of "The Fear of Loss", a site-specific performance piece choreographed by Nadine Joseph with score by Daniel Nubian. The piece was performed by Nadine Joseph and Daniel Nubian in the men's toilet at Wits Theatre, University of the Witwatersrand, Johannesburg, South Africa. 14 May 2015. Shot on Nikon D800 with a single Nikkor 24mmf1.4 lens.
Specific Guidance: 6 interviews in 4 days, with at least 3 strong interests received afterward (so far), this has definitely been a time of reflection, and weighing my options...
Today I'm posting another photo I took while I was in Drammen this spring. As the final lines in the poem, Invictus, go, "I am the master of my fate, I am the captain of my soul."
Feels like my life has been spent working on my navigation skills.
Oil on panel, 3 feet square.
Technically this one sold. And then the person backed out. Their loss -- it's one of my favorites.