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Site specific performances by 3rd year BA dance students, taken place in different locations around the University Campus: John Banks Laboratories, rooftop of the Art & Design building, and science ‘dry’ lab in the MHT building.
date: 3/12/2015
photo by Fenia Kotsopoulou
(HGM 5792 M, Heisey Glass Museum, Newark, Ohio, USA)
-----------------------------------
"4205 Valli" 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.
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.
-----------------------------------
From Bredehoft (2004):
Hawthorne: 1927 only. Replaced by Alexandrite. A light purple or lavender shade. Varies quite a lot in tone. Apparently the company had trouble controlling the color, possibly due to their inability to control the flamingo color base.
-----------------------------------
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.
-----------------------------------
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.
-----------------------------------
Info. at:
en.wikipedia.org/wiki/Heisey_Glass_Company
and
and
this specific whale seems to be a re-occuring visitor in the river she has been named Snow White (because of the fully whilte underside tail)
Site-specific installation at 3216 Eastern Avenue by Lexie Mountain. An ode to the shell. Decades of tenancy rebuilt into a new narrative of promise and decay. Images that no longer exist. Hours of painstaking archaeology to fill in the gaps. See yourself in it. A project of UMBC's Center for Art, Design and Visual Culture in conjunction with Highlandtown Arts & Entertainment District.
Detour around an unexpected hold up or avoid specific sections of your route at the touch of a button.
(HGM 5883 M, Heisey Glass Museum, Newark, Ohio, USA)
-----------------------------------
"4160 Ellen" 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.
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.
-----------------------------------
From Bredehoft (2004):
Hawthorne: 1927 only. Replaced by Alexandrite. A light purple or lavender shade. Varies quite a lot in tone. Apparently the company had trouble controlling the color, possibly due to their inability to control the flamingo color base.
-----------------------------------
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.
-----------------------------------
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.
-----------------------------------
Info. at:
en.wikipedia.org/wiki/Heisey_Glass_Company
and
and
Si è svolta dal 24 al 31 marzo, sotto la sapiente guida del docente Umberto Giovannini, la masterclass dal titolo “Sacralità/Sacro – Installazione collaborativa site specific”. Gli studenti che hanno partecipato alla particolare esperienza formativa hanno lavorato alla realizzazione di un progetto collettivo “site specific”.
L’intento è stato quello di indagare il concetto di sacro, nelle due declinazioni di sacralità/sacro e di rileggerlo attraverso l’esperienza del contemporaneo. L’installazione si trova nel RUFA Space.
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.
(HGM 2014.70.2, Heisey Glass Museum, Newark, Ohio, USA)
-----------------------------------
"1184 Yeoman" 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.
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.
-----------------------------------
From Bredehoft (2004):
Hawthorne: 1927 only. Replaced by Alexandrite. A light purple or lavender shade. Varies quite a lot in tone. Apparently the company had trouble controlling the color, possibly due to their inability to control the flamingo color base.
-----------------------------------
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.
-----------------------------------
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.
-----------------------------------
Info. at:
en.wikipedia.org/wiki/Heisey_Glass_Company
and
and
Pod Plosion; a site-specific community arts event hosted at Castlefields allotment, Shrewsbury, Shropshire by artist Jacky Champ.
The Pod; was a 3metre diametre sphere which was filled with enough helium filled balloons (around 1,000) to raise it into the air before the grand balloon release and race. It was an event for children to introduce them to the allotment and seed growth and seed dispersal. Each of the balloons contained a seed of choice selected by the children. A wish was made by each of the children as they inserted their balloon (and seed) into the giant pod.
The event was a huge success thanks to the Allotment Committee for coming onboard and providing refreshments and homemade cakes.
via
Want to Know More About Radon Fans?
Reductions Since radon can seep through any little opening, the level of radon reduction accomplished by sealing any specific area can’t be predicted. The quantity of radon that’s given off from water rides on the amount in the water initially. Although it is thought by many to be only associated with areas built on granite, it is in fact present in most parts of the UK. Plain and simple, it can increase the risk for developing lung cancer. The very first step to mitigating the radon in your house is to fully grasp where radon levels are high in your house and how high they are.
Fans are the secret to a Radon mitigation system. A radon fan is frequently the most significant part your radon mitigation system. He is designed to mitigate and prevent radon gas from building up in your home. As a consequence, it makes it possible for us to simulate various radon fans ahead of installation so that we know whether the design will work before committing to it.
Removing radon gas is necessary for the wellness of all occupants in the house. It is one of the leading causes of lung cancer. In the environment, it dissipates before it becomes harmful.
Radon Fans and Radon Fans – The Perfect Combination
Often the best technique for getting your radon levels really low, is to make suction below your whole home. Since high radon levels are sometimes a significant threat to the security and well-being of everyone who lives in a house, you should see to the problem with extreme care. Act 1974 to guarantee you are not exposed to elevated levels of radon at work.
The Importance of Radon Fans
In some instances it is possible to modify the manner in which you ventilate your house to help avoid drawing radon up through the ground or walls of the home. Therefore, even after you move out of a house with a high degree of radon, you are able to still develop lung cancer later on down the road, though not everyone who’s exposed will get lung cancer. What works best for your house will be dependent on structure and age of your house, in addition to the look you desire.
When a radon process is installed on on the exterior of a house or building, the pressurized elements of the radon system are outside while the interior components are below suction. As soon as your radon process is installed, you’ll need to live with it for as long as you have the home. After installing the radon system, you have to check whether it works. Radon mitigation systems are fantastic strategies to eliminate radon from your house, but they may be tricky to install.
Get the Scoop on Radon Fans Before You’re Too Late
The fan is normally situated at the cap of the home or system to help push the air from the pipe into the outside air on top of the home. As you know that there are plenty of radon fans out there on the market each claiming to be better than the other. Understanding how to pick the proper radon fan is vital, because it is a large component in how effective your radon mitigation process is at decreasing your family’s risk to lung cancer.
The fan creates suction to direct the stream of radon gas through the piping where it’s safely vented outside on top of your home. To transport the radon from below your house you will require a radon fan. Selecting the most suitable radon fan may be complicated approach.
PrintOclock - Tarifs et dlais de choc
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The Final Day of Racing At Brands Hatch for The Superprix Weekend and After a Really Busy and Scattered Set Of Races The Previous day it was time to see which of the Drivers could Brave the Circuit One Last Time and Take Home Either a Championship Win or a Victory in their Specific Race.
Lets Get Straight to the Results.
Classic Formula Ford/Historic Formula 3 (Race 2 Result)
Classic Formula Ford and Historic Formula 3 Were up First and it was Time to see who could be The one to take the Checkered Flag First when they crossed the Line.
In First Place was (Cameron Jackson) in his Winkelmann WDF2 with a Lap Time of 1:39.257 and a Top Speed of 86.59mph. A Fantastic Victory Cameron Showing Incredible Car Control and Commitment to Win the Race.
In Second Place was (Ben Tinkler) in his Van Diemen RF80 with a Lap Time of 1:39.986 and a Top Speed of 85.77mph. A Really Great Drive from Ben to stay so close to Cameron and Keep Him on his toes the entire Time while Fighting for the Lead of the Race.
In Third Place was (Jordan Harrison) in his Lola T540E with a Lap Time of 1:39.994 and a Top Speed of 85.54mph. A Really Wonderfully Deserved Third Place for Jordan Pushing that Lola for everything it Has got to gain Third Place. Well Done.
Three Fantastically Fast Drivers all with Incredible Speed and Talent Showcasing The Best of what they Bring to Brands Hatch Every Year. An Amazing Last Race to Witness. Congratulations to The Race Winner and Keep Trying Hard Everyone Else.
HGPCA Pre 66 Grand Prix Cars (Race 20)
Next It was The Historic Grand Prix Cars and with a Massive Turn out for them it looks like Another Cracking Race to see from Start till Finish. Lets see who came out on Top.
In First Place was (Sam Wilson) in his Lotus 18 with a Lap Time of 1:39.384 and a Top Speed of 86.55mph. Amazing Work Sam Showing Colin Chapman How it Should be Done. He would have been Proud to Witness that Victory.
In Second Place was (Peter Horsman) in his Lotus 18/21 with a Lap Time of 1:41.296 and A Top Speed of 84.90mph. A Fantastic Drive by Peter to take Second Place in the Race.
In Third Place was (Miles Griffiths) in his Scarab Offenhauser with A Lap Time of 1:41.501 and A Top Speed of 84.38mph A Really Good Job there Miles Almost Matching Lap Times with Peter and Showing Some Incredible Car Control during The Race.
Another Fantastic Race for The Historic Grand Prix Cars and a Huge Congratulations to Sam for Taking Victory in the Last Race. Avery Well Done to Both Peter and Miles as well.
HSCC 70's Road Sports (Race 19)
Historic Road Sports took to the Track next and with some Legendary Cars from the Likes of Lotus Morgan and TVR it was Time to see who Had Stormed to Victory in the Last Race and Taken the Victory.
In First Place was (William Plant) in his Morgan Plus 8 with A Lap Time of 1:45.768 and A Top Speed of 70.67mph. Congratulations William on the Victory it was so Good to See a Morgan Take First Place while Watching this Exciting Race. An Amazing Drive.
In Second Place was (Jim Dean) in his Lotus Europa with A Lap Time of 1:46.411 and A Top Speed of 70.66mph. Another Incredible Drive from Jim to Take Second Place. Well Done
In Third Place was (Richard Plant) in his Morgan Plus 8 with A Lap Time of 1:47.697 and a Top Speed of 70.31mph. A Very Committed Drive from Richard and a Fantastic Third Place Finish that I'm sure the Whole Family will be Proud of.
Fantastic Racing from the 70's Road Sports to Finish the Days Racing for them Congratulations to William, Jim and Richard. Hope to see you Three Battling it out Again Soon.
Aurora Trophy With Geoff Lees Trophy
The Arora Trophy Roared onto the Grand Prix Circuit Next with Powerful V8 Engines thease Racing Cars could make the Ground Shake as they Thunder their way around the Race Track. Lets see who Managed to take that All Important Victory for their Final Race.
In First Place was (Martin Stretton) in his March 712 with a Lap Time of 1:25.976 and A Top Speed of 101mph. A Very Brave and Committed drive from Martin to Take Victory, Really Pushing the March to its Limits and hanging onto the Lead thought the Race.
In Second Place was (Mathew Wrigley) in his March 782 with a Lap Time of 1:25.127 and A Top Speed of 100.96mph. Another Incredible Driver Taking his Machinery to New heights and Keeping the March Name Alive in Historic Racing. Amazing Work Mathew.
In Third Place was (Samuel Harrison) in his Dallara 389 with A Lap Time of 1:29.552 and A Top Speed of 95.04mph. Amazing work Sam showing Insane Car Control even when Racing so Fast and for such A Long Time. Congratulations.
Another Amazing Race to Keep the Day going and showing the Amazing work that Each Team Does to ensure that their Driver and His Car are Ready to go. Well Done to all of the Teams and to the First Second and Third Place Winners as well. Looking Forward To seeing more Action this Year from the Aurora Trophy.
Guards Trophy (Race 21)
Next Up Guards Trophy with Another Range of Racing Machines from the Likes of Brabham Chevron and Lotus Lets see what will Happen and Who will be able to Drive their way to Victory in This Race.
In First Place was (Andy Newall) in his Chevron B6 with A Lap Time of 1:38.258 and A Top Speed of 83.84mph. Very Well Driven and Raced by Andy Showcasing the Power of the Chevron and taking it too its Limits in terms of Raw Speed and Performance.
In Second Place was the Duo of (Jackson S and Jackson C) in their Lenham P70 with A Lap Time of 1:38.008 and A Top Speed of 83.45mph. Fantastic Work to The Two Jacks who Really showed what Working Together Can Achieve during A Race. Well Done
In Third Place was the Duo of (Mitchell W and Mitchell B) in their Chevron B8 with A Lap Time of 1:38.368 and A Top Speed of 82.49mph. Another Amazing Duo who Have Taken Third Place and Kept the Fight Alive in their Respective Championship. Amazing work.
A Fantastic Race for the Guards Trophy Showing the Power of Each Race Car and what they Are Capable of When put into The Hands of the Right Drivers. Congratulations to Andy Mitchell W and Mitchell B as well as Jackson S and Jackson C for putting on One Hell of a Race. Keep up the Good Work Everyone Else and Never Stop Fighting for your Own Victories.
Historic Formula Ford (Race 16)
Next Up was Historic Formula Ford and some very Twitchy and Tricky Cars to be Driven Round the Circuit at Hight Speed. With Light Weight Chassis and Small Cockpits this was going to be a Very Exciting Race to Watch. Lets see who Came out Best of the Rest.
In First Place was (Cameron Jackson) in his Winkelmann WDF2 with A Lap Time of 1:38.596 and A Top Speed of 87.95mph. Another Incredible Drive From Cameron to Take Victory and show what A Truly Committed and Self Determined Driver is. He is an Inspiration to All Up Coming Formula Ford Racers.
In Second Place was (Tom Macarthur) in his Titan MK3 with A Lap Time of 1:38.484 and A Top Speed of 87.94mph. Another Really Brave and Heroic Driver Pushing His Formula Ford to its Limits and Keeping his Eye's on the Race Track. Amazing Work Tom.
In Third Place was (Horatio Fitzsimon) in his Merlin MK20A with A Lap Time of 1:38.513 And A Top Speed of 87.90mph. Very Well Done Horatio Fantastic Driving and A Well Deserved Third Place.
An Amazing Final Heat Race for the Formula Fords with Everyone Pushing As Hard as they Could for Victory. Keep Working Hard Everyone and Congratulations to Cameron Tom and Horatio.
Historic Road Sports (Race 17)
Historic Road Sports Next and it was Time to see what Each Driver could do in their Respective Race Car. Lets see how things Stacked up and who Came out on Top in the Race.
In First Place was (Kevin Kivlochan) in his AC Cobra with a Lap Time of 1:46.891 and A Top Speed of 72.19mph. What A Drive From Kevin to Take Victory Keeping that Cobra Far Ahead of the Rest of the Pack and Taking A Dominant Victory. Carol Shelby would have Loved to See That.
In Second Place was (John Davidson) in his Lotus Elan S1 with A Lap Time of 1:46.052 And A Top Speed of 72.16mph. Amazing Work John Keeping that Lotus on the Tarmac and Putting on One Hell of a Race for Everyone. Amazing Job.
In Third Place was (Rupert Ashdown) in his Lotus Elan S1 with A Lap Time of 1:47.481and A Top Speed of 71.61mph. Another Incredible Drive by Rupert Taking Third Place Very Well Deserved.
Historic Road Sports putting on Another Superb Race for the Season and Congratulations to Kevin John and Rupert on their Victories. Hope to see More of that This Year and Good Luck to Everyone Else Racing too.
Historic Touring Cars (Race 22)
The Final Race of The Day was Here and The Historic Touring Car Club did not Disappoint with Lotus Cortina's Mini Cooper S's and Ford Mustangs This was going to be a Final Battle of Titans. Lets See Who Managed to Take that Last Checkered Flag of the Day.
In First Place was (Steve Soper) in his Ford Mustang with A Lap Time of 1.47.084 and A Top Speed of 71.51mph. Awesome Drive Steve Fantastic to see that He Still has it in him After all The Years of Racing.
In Second Place was (Rob Fen) in his Ford Mustang with A Lap Time of 1:49.031 and A Top Speed of 70.93mph. Amazing Work Rob Pushing that Mustang Far and Wide to Hang onto that Second Place. Excellent Drive.
In Third Place was (Mark Martin in his Ford Lotus Cortina with A Lap Time of 1:49.905 and A Top Speed of 70.70mph. Very Well Done Mark Great Driving and Even a Wheel in the Air on Some Occasions Heading onto the Grand Prix Loop. What A Sight that Was to See.
And With that The Days Events came to an End for another year of Superprix Racing at Brands Hatch Amazing work to all of the Organisers and Race Drivers who took Part and Congratulations once again to all of the Race Winners. Keep Fighting Keep Wining and I'm Sure we will do it All Again Next Year.
The Final Day of Racing At Brands Hatch for The Superprix Weekend and After a Really Busy and Scattered Set Of Races The Previous day it was time to see which of the Drivers could Brave the Circuit One Last Time and Take Home Either a Championship Win or a Victory in their Specific Race.
Lets Get Straight to the Results.
Classic Formula Ford/Historic Formula 3 (Race 2 Result)
Classic Formula Ford and Historic Formula 3 Were up First and it was Time to see who could be The one to take the Checkered Flag First when they crossed the Line.
In First Place was (Cameron Jackson) in his Winkelmann WDF2 with a Lap Time of 1:39.257 and a Top Speed of 86.59mph. A Fantastic Victory Cameron Showing Incredible Car Control and Commitment to Win the Race.
In Second Place was (Ben Tinkler) in his Van Diemen RF80 with a Lap Time of 1:39.986 and a Top Speed of 85.77mph. A Really Great Drive from Ben to stay so close to Cameron and Keep Him on his toes the entire Time while Fighting for the Lead of the Race.
In Third Place was (Jordan Harrison) in his Lola T540E with a Lap Time of 1:39.994 and a Top Speed of 85.54mph. A Really Wonderfully Deserved Third Place for Jordan Pushing that Lola for everything it Has got to gain Third Place. Well Done.
Three Fantastically Fast Drivers all with Incredible Speed and Talent Showcasing The Best of what they Bring to Brands Hatch Every Year. An Amazing Last Race to Witness. Congratulations to The Race Winner and Keep Trying Hard Everyone Else.
HGPCA Pre 66 Grand Prix Cars (Race 20)
Next It was The Historic Grand Prix Cars and with a Massive Turn out for them it looks like Another Cracking Race to see from Start till Finish. Lets see who came out on Top.
In First Place was (Sam Wilson) in his Lotus 18 with a Lap Time of 1:39.384 and a Top Speed of 86.55mph. Amazing Work Sam Showing Colin Chapman How it Should be Done. He would have been Proud to Witness that Victory.
In Second Place was (Peter Horsman) in his Lotus 18/21 with a Lap Time of 1:41.296 and A Top Speed of 84.90mph. A Fantastic Drive by Peter to take Second Place in the Race.
In Third Place was (Miles Griffiths) in his Scarab Offenhauser with A Lap Time of 1:41.501 and A Top Speed of 84.38mph A Really Good Job there Miles Almost Matching Lap Times with Peter and Showing Some Incredible Car Control during The Race.
Another Fantastic Race for The Historic Grand Prix Cars and a Huge Congratulations to Sam for Taking Victory in the Last Race. Avery Well Done to Both Peter and Miles as well.
HSCC 70's Road Sports (Race 19)
Historic Road Sports took to the Track next and with some Legendary Cars from the Likes of Lotus Morgan and TVR it was Time to see who Had Stormed to Victory in the Last Race and Taken the Victory.
In First Place was (William Plant) in his Morgan Plus 8 with A Lap Time of 1:45.768 and A Top Speed of 70.67mph. Congratulations William on the Victory it was so Good to See a Morgan Take First Place while Watching this Exciting Race. An Amazing Drive.
In Second Place was (Jim Dean) in his Lotus Europa with A Lap Time of 1:46.411 and A Top Speed of 70.66mph. Another Incredible Drive from Jim to Take Second Place. Well Done
In Third Place was (Richard Plant) in his Morgan Plus 8 with A Lap Time of 1:47.697 and a Top Speed of 70.31mph. A Very Committed Drive from Richard and a Fantastic Third Place Finish that I'm sure the Whole Family will be Proud of.
Fantastic Racing from the 70's Road Sports to Finish the Days Racing for them Congratulations to William, Jim and Richard. Hope to see you Three Battling it out Again Soon.
Aurora Trophy With Geoff Lees Trophy
The Arora Trophy Roared onto the Grand Prix Circuit Next with Powerful V8 Engines thease Racing Cars could make the Ground Shake as they Thunder their way around the Race Track. Lets see who Managed to take that All Important Victory for their Final Race.
In First Place was (Martin Stretton) in his March 712 with a Lap Time of 1:25.976 and A Top Speed of 101mph. A Very Brave and Committed drive from Martin to Take Victory, Really Pushing the March to its Limits and hanging onto the Lead thought the Race.
In Second Place was (Mathew Wrigley) in his March 782 with a Lap Time of 1:25.127 and A Top Speed of 100.96mph. Another Incredible Driver Taking his Machinery to New heights and Keeping the March Name Alive in Historic Racing. Amazing Work Mathew.
In Third Place was (Samuel Harrison) in his Dallara 389 with A Lap Time of 1:29.552 and A Top Speed of 95.04mph. Amazing work Sam showing Insane Car Control even when Racing so Fast and for such A Long Time. Congratulations.
Another Amazing Race to Keep the Day going and showing the Amazing work that Each Team Does to ensure that their Driver and His Car are Ready to go. Well Done to all of the Teams and to the First Second and Third Place Winners as well. Looking Forward To seeing more Action this Year from the Aurora Trophy.
Guards Trophy (Race 21)
Next Up Guards Trophy with Another Range of Racing Machines from the Likes of Brabham Chevron and Lotus Lets see what will Happen and Who will be able to Drive their way to Victory in This Race.
In First Place was (Andy Newall) in his Chevron B6 with A Lap Time of 1:38.258 and A Top Speed of 83.84mph. Very Well Driven and Raced by Andy Showcasing the Power of the Chevron and taking it too its Limits in terms of Raw Speed and Performance.
In Second Place was the Duo of (Jackson S and Jackson C) in their Lenham P70 with A Lap Time of 1:38.008 and A Top Speed of 83.45mph. Fantastic Work to The Two Jacks who Really showed what Working Together Can Achieve during A Race. Well Done
In Third Place was the Duo of (Mitchell W and Mitchell B) in their Chevron B8 with A Lap Time of 1:38.368 and A Top Speed of 82.49mph. Another Amazing Duo who Have Taken Third Place and Kept the Fight Alive in their Respective Championship. Amazing work.
A Fantastic Race for the Guards Trophy Showing the Power of Each Race Car and what they Are Capable of When put into The Hands of the Right Drivers. Congratulations to Andy Mitchell W and Mitchell B as well as Jackson S and Jackson C for putting on One Hell of a Race. Keep up the Good Work Everyone Else and Never Stop Fighting for your Own Victories.
Historic Formula Ford (Race 16)
Next Up was Historic Formula Ford and some very Twitchy and Tricky Cars to be Driven Round the Circuit at Hight Speed. With Light Weight Chassis and Small Cockpits this was going to be a Very Exciting Race to Watch. Lets see who Came out Best of the Rest.
In First Place was (Cameron Jackson) in his Winkelmann WDF2 with A Lap Time of 1:38.596 and A Top Speed of 87.95mph. Another Incredible Drive From Cameron to Take Victory and show what A Truly Committed and Self Determined Driver is. He is an Inspiration to All Up Coming Formula Ford Racers.
In Second Place was (Tom Macarthur) in his Titan MK3 with A Lap Time of 1:38.484 and A Top Speed of 87.94mph. Another Really Brave and Heroic Driver Pushing His Formula Ford to its Limits and Keeping his Eye's on the Race Track. Amazing Work Tom.
In Third Place was (Horatio Fitzsimon) in his Merlin MK20A with A Lap Time of 1:38.513 And A Top Speed of 87.90mph. Very Well Done Horatio Fantastic Driving and A Well Deserved Third Place.
An Amazing Final Heat Race for the Formula Fords with Everyone Pushing As Hard as they Could for Victory. Keep Working Hard Everyone and Congratulations to Cameron Tom and Horatio.
Historic Road Sports (Race 17)
Historic Road Sports Next and it was Time to see what Each Driver could do in their Respective Race Car. Lets see how things Stacked up and who Came out on Top in the Race.
In First Place was (Kevin Kivlochan) in his AC Cobra with a Lap Time of 1:46.891 and A Top Speed of 72.19mph. What A Drive From Kevin to Take Victory Keeping that Cobra Far Ahead of the Rest of the Pack and Taking A Dominant Victory. Carol Shelby would have Loved to See That.
In Second Place was (John Davidson) in his Lotus Elan S1 with A Lap Time of 1:46.052 And A Top Speed of 72.16mph. Amazing Work John Keeping that Lotus on the Tarmac and Putting on One Hell of a Race for Everyone. Amazing Job.
In Third Place was (Rupert Ashdown) in his Lotus Elan S1 with A Lap Time of 1:47.481and A Top Speed of 71.61mph. Another Incredible Drive by Rupert Taking Third Place Very Well Deserved.
Historic Road Sports putting on Another Superb Race for the Season and Congratulations to Kevin John and Rupert on their Victories. Hope to see More of that This Year and Good Luck to Everyone Else Racing too.
Historic Touring Cars (Race 22)
The Final Race of The Day was Here and The Historic Touring Car Club did not Disappoint with Lotus Cortina's Mini Cooper S's and Ford Mustangs This was going to be a Final Battle of Titans. Lets See Who Managed to Take that Last Checkered Flag of the Day.
In First Place was (Steve Soper) in his Ford Mustang with A Lap Time of 1.47.084 and A Top Speed of 71.51mph. Awesome Drive Steve Fantastic to see that He Still has it in him After all The Years of Racing.
In Second Place was (Rob Fen) in his Ford Mustang with A Lap Time of 1:49.031 and A Top Speed of 70.93mph. Amazing Work Rob Pushing that Mustang Far and Wide to Hang onto that Second Place. Excellent Drive.
In Third Place was (Mark Martin in his Ford Lotus Cortina with A Lap Time of 1:49.905 and A Top Speed of 70.70mph. Very Well Done Mark Great Driving and Even a Wheel in the Air on Some Occasions Heading onto the Grand Prix Loop. What A Sight that Was to See.
And With that The Days Events came to an End for another year of Superprix Racing at Brands Hatch Amazing work to all of the Organisers and Race Drivers who took Part and Congratulations once again to all of the Race Winners. Keep Fighting Keep Wining and I'm Sure we will do it All Again Next Year.
PLEASE CREDIT THESE SPECIFIC IMAGES (of books only) to Michelle Yoder Photography
Jarring is a set of three letterpress printed & hand-bound artists’ books in an edition of 50 that seek to end the silence and stigma surrounding sexual assault and rape by sharing the real narratives of 22 survivors. The goal of this project is to spread awareness, encourage discourse through the sharing of experiences and artwork, create a publicly accessible archive for study & personal use while raising funds for Rape Crisis Centers (RCCs) through book sales and donations. Materials for book production have been secured and the books are slated to debut at the SGC International Conference where they will be available for purchase (sponsored by Mills College Book Arts). Funding is currently being sought for a book tour reaching universities, book stores, and rape crisis centers throughout the country.
Photographic techniques capture electromagnetic wavelengths beyond human vision, revealing features invisible to the naked eye. These signals are processed into interpretable forms using methods like color mapping.
Pink lacks a specific electromagnetic wavelength, while grey poses a limitation due to its representation of only intensity—a blend of light and dark without spectral specificity. Imaging techniques reliant on spectral variation produce identical results for greyscale images unless non-visible data is present. Deviations from this uniformity may indicate errors, misinterpretations, or unknown phenomena.
Contention persists over analytical debates, including dismissible claims like Van Allen belt dangers and contested evidence of lunar mirrors. The precision of laser reflections targeting a moving 3x3-foot marker on the Moon highlights technical skill but often fails to resolve skepticism. For instance, a 0.1° shift moves a laser spot 670 km across the Moon's surface.
Forensic analysis (2022, 2023) of Apollo 11–17 photographs assessed authenticity claims. Images of humans in space, Earth, and the Moon's distant views were validated, but Moon landing visuals showed variations, suggesting diverse techniques may have replicated certain elements.
PEMi (Photoelectromagnetic Image) software enhances forensic analysis by differentiating natural and artificial light sources, revealing hidden features. Each PEMi-ID links to original sources, ensuring traceability and comparison.
Further exploration is available:
Lehti, A. (2024). The Silence of Inquiry: Forensic Reflections Reveal a Crisis of Perception. figshare. doi.org/10.6084/m9.figshare.28078982
Credits
2022-2025 © Andrew Lehti
1961–2023 © NASA, ESA
Software: PEMi (GitHub: andylehti/PEMi.git)
Explore PEM-I: pemimage.streamlit.app
CC BY-SA 4.0 License: creativecommons.org/licenses/by-sa/4.0/
Research:
Lehti, Andrew (2024). Cognitive Psychology and the Education System. figshare. Collection. doi.org/10.6084/m9.figshare.c.7532079
CC BY-SA 4.0
This work is licensed under the Creative Commons Attribution-ShareAlike 4.0 International License. To view a copy of this license, visit creativecommons.org/licenses/by-sa/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA.
(public domain photo provided by the United States Geological Survey)
---------------------------------
In geology, "landslides" are referred to as mass wasting. There are many specific types of mass wasting including mudflows, debris flows, earth flows, rock falls, debris falls, rock slides, debris slides, lahars, avalanches, solifluction, slump, and creep.
Seen here is a large landslide debris deposit along southeastern Alaska's Tracy Arm (also known as the Tracy Fjord). The landslide occurred at 5:26 AM, local time, on 10 August 2025. Much debris entered the water and generated a tsunami.
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Info. from the United States Geological Survey:
A landslide above the toe of the South Sawyer Glacier failed into the waters of Tracy Arm, south of Juneau, Alaska, producing a tsunami on Sunday, August 10th, 2025, at 5:26 AM, Alaska Daylight Time / 13:26 Universal Time. No injuries or fatalities have been reported. This page may be updated as more information about the event is obtained.
Steep, mountainous landslide areas are inherently unstable and will continue to change for years following an initial landslide. Continued rockfall and smaller-scale landslide events from the exposed landslide scar are expected and could impact the water, potentially causing future local tsunami. As such, this area remains hazardous.
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In the early morning of August 10th, 2025, a landslide occurred in Tracy Arm, Alaska, about 80 miles (130 kilometers) south-southeast of Juneau. The landslide generated a tsunami in the fiord. The Alaska Earthquake Center first detected this event, noting seismic waves indicative of a landslide occurring at about 5:30 AM local time. Kayakers camped on Harbor Island, located at the mouth of Tracy Arm, reported their gear being swept away by a wave. Preliminary interpretation of photos taken by kayakers in the area indicates that the landslide generated a tsunami at least 30 meters (approximately 100 feet) high at Sawyer Island, a small island located where the fiords containing South Sawyer and North Sawyer glaciers meet. The tsunami was also recorded far from the landslide on a National Oceanic and Atmospheric Administration coastal tide gauge in Juneau. The National Tsunami Warning Center reported that the maximum tsunami wave height at the gauge was 36 centimeters (approximately 14 inches) above the tide, and that the waves continued for hours.
A satellite image acquired on Wednesday, August 13th clearly shows the landslide location on the north side of the fiord containing South Sawyer Glacier. Some or most of the material appears to have directly entered the water adjacent to the terminus of the glacier. Preliminary estimates indicate a volume of up to ~100 million cubic meters (~130 million cubic yards). On Wednesday, August 13th, United States Geological Survey personnel conducted a helicopter-borne aerial survey of the area, capturing photos. Satellite and digital elevation model analysis indicate a runup height of 470–500 meters (1500–1600 feet) opposite the landslide. Runup heights reported here are preliminary and are subject to change with additional field validation.
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Landslides that form above, and which could fail into water bodies including lakes, fjords, and bays, are relatively common in the steep and glaciated mountains of Alaska. The 1958 Lituya Bay landslide-generated tsunami had a peak runup of 530 meters (~1,740 feet). In 2015, a large landslide in Taan Fjord generated a tsunami with runup directly across from the landslide exceeding 190 meters (620 feet). Most recently, in August 2024 a landslide produced a tsunami 17 meters (56 feet) high in Pedersen Lagoon.
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Site specific performances by 3rd year BA dance students, taken place in different locations around the University Campus: John Banks Laboratories, rooftop of the Art & Design building, and science ‘dry’ lab in the MHT building.
date: 3/12/2015
photo by Fenia Kotsopoulou
Site-specific installation at 3216 Eastern Avenue by Lexie Mountain. An ode to the shell. Decades of tenancy rebuilt into a new narrative of promise and decay. Images that no longer exist. Hours of painstaking archaeology to fill in the gaps. See yourself in it. A project of UMBC's Center for Art, Design and Visual Culture in conjunction with Highlandtown Arts & Entertainment District.
The specific name cynosura is a Greek name for the Pole Star, more frequently called Polaris. Cynosura means tail of the dog. More broadly, cynosure means something that strongly attracts attention or guides. Perhaps something on this dragonfly resembles a dog's tail.
Adults dragonflies are between 36-44 mm. Identification of this species, is tricky. Some individuals have large basal spot on hindwings, like Mantled Baskettail, E. semiaquea, but spot does not extend to hindwing. Clear-winged form of Common Baskettail may be indistinguishable in the field from E. costalis and E. spinigera. With some exceptions, Epitheca can be a difficult genus to work with in the field in terms of identifying species, but given this individuals markings and the range of the various members of the genus, E. cynosura is the most likely identification.
Found throughout eastern North America at lakes, ponds, marshes, and slow-moving rivers. One of the first dragonflies of spring. May fly as early as January in southeastern states. Flight extends to August, but most are about in spring, flight usually lasting about five weeks. May to August in Canada. Additional fall flight in Florida.
Predatory on other insects as all dragonflies are. May feed in swarms on such prey as winged termites.
Males patrol a patch of shoreline, about 3-10 meters long (as this individual did). Peak patrolling is in late afternoon.
(HGM 4845 M, Heisey Glass Museum, Newark, Ohio, USA)
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"1295 Beaded Swag" 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 usually 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.
"Opal" is Heisey's name for milk glass - whitish, opaque glass.
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.
-----------------------------------
From Bredehoft (2004):
Opal: 1898-early 1900s. Commonly called milk glass. An opaque white glass. Heisey's exhibits a large amount of "fire" when held to the light.
-----------------------------------
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.
-----------------------------------
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.
-----------------------------------
Info. at:
en.wikipedia.org/wiki/Heisey_Glass_Company
and
and
FIGHT SPECIFIC ISOLA Mural y documentos. 2014 BERT THEIS + ISOLA ART CENTER Milano, Italia.
No hace mucho tiempo, Isola era un antiguo barrio industrial y "pulmón verde" en una zona céntrica de Milán. Una de esas antiguas áreas donde conviven parques y jardines junto a viejas fábricas y galpones industriales. El barrio está ubicado muy cerca de la estación central de trenes, y con el paso del tiempo la población ha crecido debido a la migración hasta convertirse en un centro de diversidad multicultural donde conviven trabajadores con gente de clase media, artesanos, comerciantes, artistas e intelectuales (y por supuesto, también algunos criminales…). Isola, que significa isla en italiano, ha venido viviendo desde los últimos 20 años un desarrollo urbano basado en intereses comerciales y especulación inmobiliaria, emprendimientos que obviamente tenían poco interés por las necesidades reales del barrio y de la comunidad local.
Buscando dar respuesta al salvaje proceso de gentrificación, artistas, curadores, filósofos y activistas de Milán -y distintas partes el mundo- decidieron crear un espacio para experimentar estrategias innovadoras como una forma de resistencia a la transformación urbana, regenerando el tejido social y promoviendo una cultura alternativa.
Durante los últimos diez años Isola Art Center funcionó como una plataforma experimental abierta para el arte contemporáneo con sede en el barrio. Sus proyectos auto gestionados y "sin presupuesto” se sostuvieron gracias a la energía, el entusiasmo y la solidaridad, de vecinos, activistas y artistas que ensayaron el uso de nuevos términos como ´cubo sucio´ (en oposición al White Cube), “Centro Disperso” y “Fight Specific” (parodiando el site-specific).
Sin embargo la lucha cultural de Isola Art Center no impidió (por desgracia) que el gobierno de la ciudad de Milán realizara la demolición de su centro cultural ubicados en la “Stecca degli Artigiani" para la construcción de un inmenso rascacielos, apropiándose también de toda el área verde y los parques de los alrededores.
En la exposición presentamos “Degradazione, Speculazione, Demolizione” una obra ready-made de un mural un mural pintado los muros del el barrio de Isola durante los años 80, junto a la imagen original y un libro que documemta la experiencia llevad adelante por los artistas intentando responder a la presión constante del desarrollo neoliberal y la gentrificación.
(HGM 2012.31.17 M, Heisey Glass Museum, Newark, Ohio, USA)
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"1488 Kohinoor" 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.
"Zircon" refers to a type of colored glass that Heisey made - in this case, greenish.
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.
-----------------------------------
From Bredehoft (2004):
Zircon: 1936-1939. A turquoise blue-green. The last color introduced before World War II curtailed the use of color. Revamped and reintroduced later as Limelight.
-----------------------------------
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.
-----------------------------------
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.
-----------------------------------
Info. at:
en.wikipedia.org/wiki/Heisey_Glass_Company
and
and