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"Completed in 1899, the Dunmore bridge is a representative example of an Allan truss road bridge, and is one of three surviving overhead braced timber truss road bridges in NSW. The bridge also has a lift span to allow river traffic under it, which is a rare feature that also contains much technical significance and information about engineering technology of the late 19th century. Most of its engineering details are intact, and the bridge is in good condition.
As a timber truss road bridge, it has strong associations with the expansion of the road network and economic activity throughout NSW, and Percy Allan, the designer of this type of truss.
Allan trusses were third in the five-stage design evolution of NSW timber truss bridges, and were a major improvement over the McDonald trusses which preceded them. Allan trusses were 20% cheaper to build than Mc Donald trusses, could carry 50% more load, and were easier to maintain.
The people who live in the area around the bridge (Woodville and the Hunter region) value the bridge highly, and as such it has social significance.
Dunmore Bridge is located in the Hunter region, which has 15 historic bridges each constructed before 1905, and it gains heritage significance from its proximity to the high concentration of other historic bridges in the area.
In 1998 there were 38 surviving Allan trusses in NSW of the 105 built, and 82 timber truss road
bridges survive from the over 400 built.
The Dunmore bridge is a rare and representative example of Allan timber truss road bridges, and is assessed as being Nationally significant, primarily on the basis of its technical and historical significance." Read More HERE
Beaurepaire Building first stage designed 1955 as the first major work by architects Egglestone McDonald and Secomb (Roderick McDonald partner in charge) who were to virtually rebuild the university over the next 30 years. Gift of Sir Frank Beaurepaire, Olympic swimmer, and businessman. Italian glass mosaic spandrel tiles designed by Leonard French.
Cher at Ceasar's, Las Vegas 2008 show. Stage design by Jeremy Railton and Entertainment Design Corporation.
We revised the Collide stage design in order to incorporate a 6x22 projected image. The multi-projector display was a test to explore what it would take to employ this technology for our weekly services
VISUAL COMPOSER PERFORMANCE
I perform my music with my interactive stage design.
It is best to experience my performance live.
I use Ableton Live with an M-Audio Microphone & Keyboard, and the keys of my MacBook Pro to make my tracks.
For this video, I am using an instrumental, but I am also a recording artist.
I make my music, write the lyrics, record my vocals, mix and master my albums.
I then create all the visuals.
I create every single aspect of my work to give you a spherical 4 dimensional experience of my Art.
To create the interactive animation, I write code in Processing (Open Source Programming Language based on Java).
In this video, my hands are controlling the visuals. For this, I use the Leap Motion sensor.
I use a Processing Library by onformative (a studio for generative design based in Berlin) called LeapMotionForProcessing to animate my visuals using Leap Motion.
The animation follows my hand movements in real-time and on key with accurate precision.
The visual is an animation within an animation with symmetry, which makes it a bit more challenging to control, making it even more fun.
Some of the visuals are generated by the music's decibel levels.
The main drive behind my work is PLAY. Play leads to fun, which leads to joy. Following our joy is the driving force in my life, and I want to share it with others. This is why I create interactive installations where people and children of different races and religions get to play and have loads of fun in a magical environment.
The VISUAL COMPOSER PERFORMANCE is a emotional piece with a dark track I made to expose the pain I feel everyday trying to survive in society. I perceive that the social system is set up by certain people to their benefit, while it is handicapping many others for whom it does not fit. I also see that many are unhappy with their jobs. Physicians and lawyers have high rates of suicide according to reports I have read. This is a time for us to question everything, and create a new social ecosystem that benefits all. Including the animals going instinct. I understand the Survival of The Fittest approach, but it does not have to be this way. I understand that nature is very violent and brutal, such as humans, but I also see a greater reality than this animalistic self-destroying one. It takes heart and courage to do what you love all day and all night all of the time forever. If you are willing to die for what you perceive as your purpose, then you are a Freedom Fighter… or simply, an Artist.
Thank you for watching this video and possibly sharing it.
Love Universal to All
Unity In Diversity
WillpowerStudios.com
ROSMAN, NC (January 19, 2015): On Monday night, January 19, Rosman High School celebrated its 50th annual Miss Bengal pageant. There couldn't be a better night for celebrating passionate students and future leaders in our schools.
Martin Luther King, Jr. said, “The function of education is to teach one to think intensively and to think critically. Intelligence plus character — that is the goal of true education.”
Rosman High School offers numerous programs targeting character education, both as part the curriculum and through clubs and service opportunities. The 50-year history of the Miss Bengal Pageant is one way Rosman High has reinforced the importance of character. The pageant has long taken place on the Monday night of semester break (with a Saturday snow date) for a variety of reasons.
Participants are evaluated on their talent, poise, future plans, and comportment: many of the things colleges and employers look for in our graduates, and their future students or employees.
This year's participants were:
Abby Buchanan ('18)
Blakely Owen ('16)
Madison Gingrich ('15)
Emma Henderson ('18)
Alexandria Galloway ('16)
Olivia Bishop ('16)
Robin Crowe ('17)
Jacey Voris ('15)
Claire Harris ('15)
Cassidy Knye ('16)
Madison Allen ('18)
Megan Brightwell ('16)
Shaylon Combs ('16)
Carli Batson ('15)
Hayleigh Mann ('15)
These highly-committed students, and many attendees, keep very busy schedules with school and extracurriculars, so the night is kept free for this special event, and tickets sell out weeks in advance.
The opening introduction and crowning were performed by Miss Bengal 2014, senior Hannah Reese. Former “Bengal” winners Loretta Sanders, Emily Reese Jones, Missy West, and Ashley Harris all emceed portions of the evening, from interviews and school dress, to the talent and evening gown competitions. Past winners Ashleigh Jamerson (Bengal ’12) and Hannah Reese performed talent at the intermissions as well.
RHS principal Donivan Edwards noted that, with a teacher workday scheduled before and after, students and staff had the run of the stage and school, setting up the elaborate stage design. Tammy Hall, teacher and pageant organizer, further explained how “Bengal” fits into Rosman High’s vision for character:
“I truly believe that Bengal is a very positive activity for the young women at Rosman High School. Bengal promotes community service, it builds character and confidence, and it allows students to reflect on who they are and what is important to them. The girls get to form relationships with people that they may not normally get to spend time with and they get to share their talent with everyone. Additionally, it provides a scholarship to the winner if they further their education after high school.
“I believe that Bengal does exactly what Mr. King was talking about in the quote mentioned above.”
The panel of judges included Dustin Cox, Jeremy Gibbs, Melody Gorman, Judy Edwards, and Tammy Reeves Duffy.
On the same night, RHS students also led the way during MLK activities centered around Brevard College. Rosman Middle and High chorus teacher Grayson Barton shared that Anna Carrillo (RHS ’16) and Casey Mesaeh (RHS ’15) both sang at Brevard College's MLK Celebration on Monday, January 19, at the Porter Center: “It was a big performance for them, and they both did an outstanding job!”
© 2015, Transylvania County Schools. All rights reserved.
Xica da Silva
JC Serroni (Brazil)
Set Design
Xica da Silva was a production from CPT— Center of Theatre Research at SESC— directed by one of Brazil’s leading directors, Antunes Filho that, despite being staged in a black box, had an exuberant design made
of the actors’ movement, props, costume and light. This production was known for both its extraordinary visual beauty and its symbolic richness.
Images posted with permission by editors
Garrick Theatre Southport, auditorium from stage. Designed by George E Tonge and opened in 1932 with 1,600 seats in stalls, circle and 8 boxes. It was a replacement for the Opera House which had burned down in December 1929, and was in an art deco style. Acquired by Essoldo in 1957, it was converted into a cinema, retaining the stage, but with seating reduced to 1,500. Bingo was introduced part-time in 1963, and quickly became full time as the Lucky 7 Club, later Top Rank and finally Mecca. After the enforced COVID lockdown, the club closed in 2021. Grade 2 listed.
Southport, Lancashire / Merseyside, North West England - Garrick Theatre / Mecca Bingo, Lord Street / Kingsway
A scanned negative from November 1995, image reworked 2021.
Stage design, costume, interactive media design, and print design for the Steinfuß Theatre. The play staged the critical text “Geschichte meiner Einschätzung am Anfang des Dritten Jahrtausends” by German musician and poet PeterLicht. The concept is about three different boxes, through which the audience moves from scenery to scenery. We set up a pool made of styrodur, a cardboard structure, and a site fence with woven paper strips. Then there was a video projection and a remote controlled moon.
With Aline Otte, Yakub Yayla, Bianca Barabas, Duy An Tran, and others.
Director: Adelheid Schulz
17.-24.5. 2012, Stuttgart
A short 3-week series on Prayer. The stage design is not changing from "a mighty wind" series bit.ly/pAR6kJ so I was asked to keep some similar elements (namely the wind swirls).
any suggestions?
What if we do(n't)! was the theme of the event. Stage design by Christophe Constantin.
Photo Fabrice Borgazzi: www.fabriceborgazzi.com/
Maker: Frank Eugene (1865-1936)
Born: USA
Active: USA
Medium: Photogravure
Size: 4 3/4" x 6 1/2"
Location: USA
Object No. 2009.044e
Shelf: C-6
Publication: Camera Work, No 31
Camera Work, The Complete Illustrations 1903-1917, Taschen, 1997, pg 529
Frank Eugene, The Dream of Beauty, Nazraeli Press, Munich, 1995, pl 121
Camera Work, A Pictorial Guide, Dover, 1978, pg
Other Collections:
Notes: Frank Eugene (19 September 1865 – 16 December 1936) was an American-born photographer who was a founding member of the Photo-Secession and one of the first university-level professors of photography in the world. Eugene was born in New York City as Frank Eugene Smith. His father was Frederick Smith, a German baker who changed his last name from Schmid after moving to America in the late 1850s. His mother was Hermine Selinger Smith, a singer who performed in local German beer halls and theaters.
About 1880 Eugene began to photograph for amusement, possibly while he was attending the City College of New York.
In 1886 he moved to Munich in order to attends the Bayrische Akademie der Bildenden Künste (Bavarian Academy of Fine Arts). He studied drawing and stage design. After he graduated he started a career as a theatrical portraitist, drawing portraits of actors and actresses. He continued his interest in photography, although little is known of his teachers or influences. He returned to the United States, and in 1899 he exhibited photographs at the Camera Club in New York under name Frank Eugene. The critic Sadakichi Hartmann wrote a review of the show, saying “It is the first time that a truly artistic temperament, a painter of generally recognized accomplishments and ability asserts itself in American photography.” A year later he was elected to The Linked Ring, and fourteen of his prints were shown that year in a major London exhibition. Already at this stage in his career he had developed a highly distinctive style that was influenced by his training as a painter. He assertively manipulated his negatives with both scratches and brush strokes, creating prints that had the appearance of a blend between painting and photography. When his prints were shown at the Camera Club in New York, one reviewer commented that his work was "unphotographic photography."
In the summer of 1900 an entire issue of Camera Notes was devoted to his art, an honor accorded only a few other photographers. In early 1901 he traveled to Egypt. He returned a few months later and met with photographer F. Holland Day in Narragansett, R.I., during the summer. In late 1902 Eugene becomes a Founder of the Photo-Secession and a member of its governing Council. In 1904 one gravure published in Camera Work, No. 5 (January). In 1906 Eugene moved permanently to Germany. He was recognized there both as a painter and a photographer, but initially he worked primarily with prominent painters such as Fritz von Uhde, Hendrik Heyligers, Willi Geiger, and Franz Roh. He photographed many of these and other artists at the same time. He also designed tapestries that he used as backgrounds in his photographs. A year later he became a lecturer on pictorial photography at Munich’s Lehr-und Versuchs-anstalt fur Photo graphie und Reproduktions-technik (Teaching and Research Institute for Photography and the Reproductive Processes). At this point, photography rather than painting became his primary interest. He experimented with the new color process of Autochromes, and three of his color prints are exhibited at Alfred Stieglitz’s Photo-Secession Galleries in New York. In 1909 two more of his gravures were published in Camera Work, No. 25 (January). In 1910 twenty-seven of his photographs were exhibited at a major exhibition in Buffalo, New York. The catalog for this show described Eugene as the first photographer to make successful platinum prints on Japan tissue. Ten more of his gravures published in Camera Work, No.30 (April), and fourteen additional images appear in No.31 (July). More than any other photographer of the early 20th century, Eugene was recognized as the master of the manipulated image. Photographic historian Weston Naef described his style this way:
"The very boldness with which Eugene manipulated the negative by scratching and painting forced even those with strong sympathy for the purist line of thinking like White, Day and Stieglitz to admire Eugene's particular touch...[he] created a new syntax for the photographic vocabularity, for no one before him had hand-worked negatives with such painterly intentions and a skill unsurpassed by his successors." In 1913 he was appointed Royal Professor of Pictorial Photography by the Royal Academy of the Graphic Arts of Leipzig. This professorship, created especially for Eugene, is the first chair for pictorial photography anywhere in the world. Two years later Eugene gave up his American citizenship and became a citizen of Germany. He continued teaching for many years and was head of the photography department at the Royal Academy until it closed in 1927. Eugene died of heart failure in Munich in 1936.
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