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This specific Native American bag is used to be put under your pillow. *PIC #2*
Crystals shown around this specific bag have been added inside this Spirit Bag as well for "crystal healing" with also the added use of certain stones to be worn on the body or placed under pillows of a loved one or, yourself. To help ward off sickness, shed negative energy or absorb positive energy.
Crystals have been used since the beginnings of humankind.
#PhotographyArt
#Arts&Crafts
(HGM 5610 M, Heisey Glass Museum, Newark, Ohio, USA)
-----------------------------------
"1469 Ridgeleigh" 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
Few moments in life are as steeped in tradition as weddings. From the ceremony to the reception, even down to the dress, the list of historical and cultural conventions seems never-ending. But in recent years, more modern couples are choosing to break with tradition and make their wedding...
www.ourstyle.life/heres-why-we-have-a-specific-finger-des...
(HGM 198 M, Heisey Glass Museum, Newark, Ohio, USA)
-----------------------------------
"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
[A] The distributions of true outcomes are given by the two Gaussian curves with positive cases on the right side and negative cases on the left. Due to the overlap of the two curves, by changing the decision threshold, the success of prediction for both classes, is also changed. [B] ROC curve example. The sensitivity and specificity values depend on the decision threshold. For the ideal classifier the decision threshold can be placed on (0,1).
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.
Dancers in a freight elevator? Acrobats in the boiler room? Actors on a rooftop?!
Welcome to the Site-Specific Spectacular, a mini-festival that features performances in the most bizarre locations imaginable. In four distinct tours, more than 50 local artists will climb the heights of the Calgary Tower and explore the depths of the EPCOR CENTRE for the Performing Arts.
Needle in the Sky takes you on a quest throughout the Calgary Tower for five elements and ends with a journey through the depths of HELL!
For more information, see:
www.hprodeo.ca/2012/site-specific-spectacular
Photo Credit: Benjamin Laird
(HGM 911 M, Heisey Glass Museum, Newark, Ohio, USA)
-----------------------------------
"150 Banded Flute" 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.
"Moongleam" refers to a type of colored glass that Heisey produced - in this case, light green.
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 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.
-----------------------------------
Info. at:
en.wikipedia.org/wiki/Heisey_Glass_Company
and
and
There is a specific risk related to the use on the field of collection vintage camera's that is the condition of old leather of ever-ready bag and the neck strap. The aged leather may not support the weight of the camera, especially for medium-format ones. If they crack, the camera would be inevitably dropped and severely damaged.
My Rolleiflex 3.5F (see below for the details) came with a nice set of original accessories. The neck strap is the original one, almost 70-year old. The connectors are fully specific to the Rolleiflex (sometime called "crocodile" connectors) and of a remarkable engineering.
I ordered from China, a brand-new remake (Cam-in), nicely constructed in exactly the same size and concept made of plain solid leather.and accurate reproduction of the "crocodile" connectors that fit, as easy as the original ones, to the Rolleiflex body or the ever-ready bag.
I received as well the small E10 light bulbs (6V, 0.05A) for the Rolleiflash to replace the control light. I sourced too the 22.5V carbon-zinc battery for energizing the flash.
March 24, 2025
69004 Lyon
France
Pictures were done using a smartphone Vivio Y76 and were edited in the latest version of Adobe Lightroom Classic 14.2 befor being produced either as frames printing JPEG files or classical normal JPEG’s.
About the camera :
I got this stunning Rolleiflex 3.5F from a French artist near Paris, France. The camera came in it original box and leather bag with accessories and a reference book year 1955. The whole kit is in an exceptional state of conservation.
The Rolleiflex 3.5F is the model-3, or "K4F",that Rollei-Werke Franke & Heidecke produced in 50.000 units in Germany from Nov.1960 to Dec. 1964. The Rolleiflex originates from 1928 for the very first model and was produced still in a limited number until the years 2000’s. The 3.5F model 3 was available etheir with a Schneider-Kreuznak Xenotar taking lens or the Call Zeiss Planar 1:3.5 f=75mm as this camera. The Rolleiflex, that was a quality reference for many professional photographers in the 50’s for the medium-format 6X6 camera’s. Many worked both with the Leica M3 (starting from 1954) as small-format 24x36mm camera and the Rolleiflex for other appliances. The Rolleiflex remained one of the most iconic and trusted camera of all the times.
This specific 3.5F is labelled on the right side with nice badge made of enameled brass « T » « Telos » that was the exclusive first French importer of Rollei to France until 1972.
The Rolleiflex 3,5 F model 3 is equipped with the Synchro-Compur central shutter MXV CR00 with cone-wheel differential. The distance scale is only in meters here with automatic DOF indication.
Serial number with ‘3,5F’ prefix on of top name shield.
I detailed the camera and accessories and studied carefully the user manual and the book to before familiar this beauty before waiting for a quiet moment to prepare for a test film. I will not trust the old leather original neck strap to carry this precious machine on the field to avoid the real risk to drop the camera. I ordered a new one from a manufacturer in China. While waiting I will use my modern Peak-Design Leach safe strap .
The funny decorating boxes used for storing my kit were purchased from a local department store Monoprix.
(HGM 817, Heisey Glass Museum, Newark, Ohio, USA)
-----------------------------------
"1189 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.
"Moongleam" refers to a type of colored glass that Heisey produced - in this case, light green.
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 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.
-----------------------------------
Info. at:
en.wikipedia.org/wiki/Heisey_Glass_Company
and
and
ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA 2024. ROMA - I lavori in corso alla Metro C - Piazza Venezia / Colosseo e l'area archeologica dei Fori Imperiali - i nuovi lavori di restauro della Chiesa di Santa Maria di Loreto (02/10/2024). Fonte - Video [04:02] & Foto di: Francesco Campanini / Fb (10/02/2024). S.v., IL MINISTRO SANGIULIANO: “I Fori Romani, la memoria, la storia, il futuro" & «Via dei Fori non si tocca, racchiude storia e futuro». Il convegno sulla Capitale; in: Il Messaggero (07/02/2024) [nel testo completo]. wp.me/pbMWvy-4GZ
*** Note: All the photographs listed in the blog posting here is cited from the following source, useless specified as other sources. ***
*** Nota: tutte le fotografie elencate nel post del blog qui sono citate dalla seguente fonte, inutile specificarle come altre fonti. ***
1). ROMA - "PARK LIFE: le future archeostazioni Fori Imperiali e Venezia nel cuore della città antica"; in: Francesco Campanini / Fb (02/10/2024).
Fonte / source / video = foto:
--- Francesco Campanini / Fb (10/02/2024).
www.facebook.com/francescocampanini76/videos/761095828851...
2). ROMA - IL MINISTRO SANGIULIANO: «Via dei Fori non si tocca, racchiude storia e futuro». Il convegno sulla Capitale; in: IL Messaggero (07/02/2024) [nel testo completo].
IL MINISTRO SANGIULIANO: «QUELLA È L’AREA PIÙ PREZIOSA DEL PIANETA, C’È UN PROGETTO DI RILANCIO». GASPARRI: «SI VOLEVA FARNE UNA GARDALAND, VA SALVAGUARDATA»
Sala strapiena. A riprova che Roma - nonostante certa indifferenza irresponsabile e addirittura la tendenza a svalutarla - e il suo passato e il suo futuro sono al centro dell’interesse pubblico. Rappresentano il cuore della questione nazionale che è anzitutto un fatto storico e culturale. Al circolo del ministero degli Esteri, con il ministro Sangiuliano, Maurizio Gasparri il decano dei parlamentari romani, Alfonsina Russo direttore del Parco archeologico del Colosseo, il giornalista Roberto Giacobbo e Renato Manzini presidente della fondazione Italia Protagonista, si parla del progetto del Foro Romano su cui si sono avute nei mesi scorsi forzature in senso iper-ambientalista - e favorevoli al turismo discount delle patatine, dei chioschi e di improbabili archeo-tram - e si respira un clima di soddisfazione perché il progetto capitolino di una Disneyland al centro di Roma, in cui il gioco della storia diventava passatempo per smemorati di passaggio e non fulcro di un’operazione di divulgazione seria e di conoscenza profondo della nostra identità, ha avuto le sue giuste correzioni. E adesso il protocollo d’intesa tra Comune e ministero della Cultura ha rimesso nei giusti binari la riqualificazione di questo tesoro dell’umanità, patrimonio Unesco, rappresentato dal Colosseo e da tutta l’area circostante. Altro che cedernismo. Altro che ideologia della venerazione stantia e in fondo sminuente della storia a scapito delle esigenze di movimento dei romani, dell’attivismo della città contemporanea, della crescita consapevole e non dottrinaria della Capitale. Finalmente si è capito che la storia di Roma deve interagire in maniera pragmatica e virtuosa con lo sviluppo della Capitale proiettata in avanti e certo iper-conservatorismo avulso dalla realtà non fa l’interesse di una metropoli proiettata in avanti ma consapevolissima delle sue radici. Il dibattito al circolo del ministero degli Esteri racconta insomma un senso di sollievo.
E la soddisfazione che la battaglia delle associazioni civiche, delle forze sociali e politiche, della cittadinanza e del giornale di Roma - che è il nostro, Il Messaggero - in favore della dignità di una Capitale che non può arrendersi a una deriva di turismo discount e di ideologismo d’antan, ha colto nel segno.
Spiega Sangiuliano: «I Fori Romani, l’area archeologica più preziosa del pianeta in competizione forse solo con Pompei e su cui abbiamo un interesse strategico, non solo di Roma ma della nazione intera, è al centro di un progetto equilibrato di rilancio. A cui collaborano tutti. Abbiamo avuto un tavolo intenso con il Comune su questa area che è vincolata: si può riqualificare ma non può esser toccato il suo assetto prospettico, risultante di una lunga e intensa storia». Ovvero: sbagliatissima, ma ormai finalmente archiviata, l’idea di smantellare via dei Forti Imperiali soltanto perché richiama il passato del Ventennio. Il ministro della Cultura, premesso che quell’arteria che appartiene alla storia di Roma e i apre alla prospettiva universalistica che l’Urbe ha avuto nell’antichità ma ha conservato anche nei secoli dell’età moderna e contemporanea, racconta - revisionismo storico? Evviva! - come la via identificata con l’idea imperiale di Mussolini in realtà preceda gli anni 20, 30 e 40 del secolo scorso. Insomma, se certa sinistra vuole smantellarla - cancel culture - perché collegata al Duce, si sbaglia di grosso, argomenta Sangiuliano. «I Fori Imperiali - così spiega - costituiscono uno dei luoghi più straordinari al mondo, un luogo denso di storia e valori archeologici. Noi stiamo lavorando con l’amministrazione comunale per la riqualificazione di questo luogo, sia ben inteso che va mantenuta la visione prospettica di via dei Fori Imperiali, quella che consente di guardare il Colosseo che rappresenta una delle specificità».
I PROGETTI
Non fu per primo Mussolini a pensare a questa arteria di congiunzione tra passato e futuro. Dice il ministro: «Al tempo napoleonico, e poi nell’Ottocento dopo l’Unità d’Italia e all’epoca del grande sindaco Nathan, si progettò la strada tra piazza Venezia e il Colosseo e il suo progressivo allargamento». Rientrava, nel secolo XIX, questa idea modernizzante dello spazio monumentale nell’urbanistica che da Parigi a Bruxelles, da Londra a Berlino, le grandi capitali si stavano dando. E Roma si sentiva partecipe di questa visione ambiziosa delle metropoli. «Quella via - conferma il direttore Alfonsina Russo - venne ideata agli inizi del’800, non nasce all’improvviso con Mussolini. E comunque quella via è storicizzata, fa parte del nostro tessuto urbano e non può essere cancellata con leggerezza». E’ su questa lunghezza d’onda Gasparri. Abituato a una città che si divide su tutto, sottolinea come la coincidenza virtuosa tra forze politiche e imprenditoriali, tra opinione pubblica e associazioni civiche, stavolta ha funzionato per il bene di Roma. «Si voleva fare dei Fori una Gardaland e invece quell’area va salvaguardata, non per fare la retorica fascista della parata dell’impero, ma perché è patrimonio dell’umanità e uno tra i luoghi più belli del pianeta». Evviva, verrebbe da dire, ma guai a distrarsi.
Fonte / source:
--- Il Messaggero (07/02/2024) [nel testo completo].
www.ilmessaggero.it/roma/centro_storico/via_dei_fori_impe...
Fonte / source / foto:
--- ROMA - “I Fori Romani, la memoria, la storia, il futuro", al circolo degli Esteri, con il Ministro
@g_sangiuliano ed il direttore @alfonsinarusso_ . Il progetto definito tutela al meglio questo bene che non ha eguali nel mondo. Difendiamo le bellezze della #Capitale e valorizziamole.
Maurizio Gasparri; in: @gasparripdl X o Twitter (06/02/2024).
FOTO: ROMA - “I Fori Romani, la memoria, la storia, il futuro - Il progetto definito tutela al meglio questo bene che non ha eguali nel mondo"; in: Maurizio Gasparri / @gasparripdl X o Twitter (06/02/2024).
@algonquinoutfit : Boxing Day Sale: 20% off all paddlesports; kayaks, paddleboards, PFD's, paddling gloves, dry bags, and yes paddles too! One day only! Great brands like Badger, Werner, Dagger, Perception, Kahuna, Akona, Salus, Stholquist and more! t.co/ZGdMSrlelt (via Twitter twitter.com/algonquinoutfit/status/945728461125181440)
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
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.
(HGM 4474 M, Heisey Glass Museum, Newark, Ohio, USA)
-----------------------------------
"1220 Punty Band" 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 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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Info. at:
en.wikipedia.org/wiki/Heisey_Glass_Company
and
(HGM 4839 M, Heisey Glass Museum, Newark, Ohio, USA)
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"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.
"Marigold" refers to a type of colored glass that Heisey made - in this case, yellowish. One of the ingredients in Heisey's Marigold glass was "sodium uranite", a radioactive sodium-uranium oxide compound.
"Cruet" refers to a small, stoppered bottle.
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):
Marigold: 1927-1928. A brassy, greenish yellow color, very like the marigold flower. A rather unstable glass that sometimes deteriorates. Because of production problems, it was eventually replaced by Sahara.
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From museum signage:
Marigold
1929-1930
Crazing and breakage is common in pieces of Marigold because of deterioration due to an unstable glass compound.
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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
Specific Design Element Assessment
-Public seating is available and easily identified
-Lights are located at a pedestrian scale that provide illumination as well as a sense of familiarity and enclosure
Relevant Land Use Code Sections
20.25A.160.D.4.c - Incorporate design elements of the adjacent right-of-way, such as paving, lighting, landscaping, and signage to identify the through-block pedestrian connection as a public space
20.25A.160.D.4.f - Provide lighting that is pedestrian-scaled, compatible with the landscape design, and improves safety
20.25A.160.D.4.n - Incorporate decorative lighting and seating areas
With dogs up for adoption nearby, Governor John Carney signed a bill June 2 prohibiting municipalities from enacting breed-specific dangerous dog ordinances or regulations and the unlawful discrimination of specific dog breeds. “Dangerous dogs can’t be identified by breed,” the Governor said during the ceremony at the Delaware Humane Association. He said as a young newspaper carrier he was bitten several times by dogs. He said the worst bite came from a poodle.
Rep. Charles Potter, the sponsor of House Bill 13, said “each dog should be evaluated on its behavior, not its breed.” The legislation was based on a City of Wilmington ordinance championed by now Council President Hanifa Shabazz. DHSS Secretary Dr. Kara Odom Walker attended the signing to support DHSS’ Office of Animal Welfare, which backed the legislation.
Lee Greenwood, an attorney and lobbyist with Best Friends Animal Society, said the signing makes Delaware the 21st state to reject breed-specific discrimination. “This is a great day for Delaware dogs and the people of Delaware,” he said.
Read House Bill 13:
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.
20. - 22. September 2013
Jesuit College, Jicin.
Starting workshop of continuous program was focus on a source of light and the lighting source in Site-specific space.
Decided to add a control to the transition links to provide me with a drop-down list containing all the IDs of the buttons in the source screen. This way I dont have to be constantly going back to the screen to find the right ID, or make any typos while assigning it to the transition.
Outside of that, I cleaned up some of the code generator's code. Ended up delegating the creation of the Field code to each independent field. This way, I removed some of the logic from the code generator.
Aus der Serie „Sommerfrische“
Site-specific Performance und Intervention
Josefsberg – Ötscher 2014
Fotografie und Installation
Performance: Andrea Nagl
Fotografie: Markus Wintersberger
Nagl ~ Wintersberger 2014 / 2015
Aus der Serie „Sommerfrische“. 2015
Site-specific Performance und Intervention
Italien - Kanaltal
Performance, Fotografie und Installation
Performance: Andrea Nagl & Markus Wintersberger
Fotografie: Andrea Nagl & Markus Wintersberger
Nagl ~ Wintersberger 2015
Aus der Serie „Sommerfrische“. 2015
Site-specific Performance und Intervention
Italien - Kanaltal
Performance, Fotografie und Installation
Performance: Andrea Nagl & Markus Wintersberger
Fotografie: Andrea Nagl & Markus Wintersberger
Nagl ~ Wintersberger 2015
Aus der Serie „Sommerfrische“
Site-specific Performance und Intervention
St. Corona - Wechsel 2015
Fotografie und Installation
Performance: Andrea Nagl
Fotografie: Markus Wintersberger
Nagl ~ Wintersberger 2014 / 2015
For this project I did not choose anywhere specific to go and shoot. I was looking for anything that popped up. It did not have to be something famous that everyone knows. In class I heard everyone talking about famous architectural spots in Downtown, Hollywood, or Pasadena. I did not want to have the same pictures as everyone in the class because i wanted it to be unique. I was driving in Malibu with Sierra because we were going out to lunch and we drove by this house on Pacific Coast Highway. We saw it from the street side and we pulled over and walked through the houses to get to the beach. I had to take the picture from the ocean side on the sand because there was a fence in front of the house. This side of the house was a cleaner look for a picture. I really like how modern this house is, especially since it is on the beach I like the big glass window that goes all the way around the house. I had to crop out a big seagull in the picture so I clone stamped it because it was really distracting and it took away from the actual subject in the picture. I really liked this project because it made us have to think outside the box.
Dancers in a freight elevator? Acrobats in the boiler room? Actors on a rooftop?!
Welcome to the Site-Specific Spectacular, a mini-festival that features performances in the most bizarre locations imaginable. In four distinct tours, more than 50 local artists will climb the heights of the Calgary Tower and explore the depths of the EPCOR CENTRE for the Performing Arts.
Needle in the Sky takes you on a quest throughout the Calgary Tower for five elements and ends with a journey through the depths of HELL!
For more information, see:
www.hprodeo.ca/2012/site-specific-spectacular
Photo Credit: Benjamin Laird