View allAll Photos Tagged statement.
The Mayan ruins of Chichen Itza form Mexico's best known ancient site, as well as one of the most extensive. The monuments are hugely impressive and include some of the most iconic architectural statements surviving from Mayan culture, including the Temple of the Warriors, the enormous Ball Court and the great stepped pyramid known as El Castillo, the centrepiece of the first area of the city seen by the visitor from the site entrance.
The chief god worshipped here appears to have been Kukulkan (the Mayan form of Quetzelcoatl) whose open-jawed serpent heads adorn many of the main temple structures.
The city and it's monuments mostly date between 600-1200AD and thus exhibit a variety of styles, making this a kind of architectural open air museum or textbook on Mayan art, with most buildings following a more severe, monumental design (though often adorned with low relief), whilst a few in the southern group feature the lavish ornamentation of the Puuc style as seen at Uxmal.
Chichen Itza receives a far greater influx of visitors than Mexico's other ancient sites (being within easy shot of daytrippers from resorts like Cancun) and thus for their own protection most of the monuments are now roped off to prevent the wear and tear of thousands of feet climbing the pyramid and the many temple platforms. This was something of a disappointment to us having had so much more free reign to explore other sites, though having seen the numbers increase dramatically through the day can readily understand and support such measures.
For complete article please visit:
occupythefarm.org/category/c27-statements/
"On Saturday, May 11th, Occupy the Farm peacefully marched onto the Gill Tract to challenge the UC’s renewed plans for private, commercial development of this public agricultural resource, replacing 5-foot high weeds with thousands of squash, kale, basil, corn, lettuce and tomato plants, and even flowers.
Rather than recognizing this as an opportunity to position itself on the cutting edge of urban agriculture and participatory research, the University raided the farm on Monday, May 13, at 4:30 a.m. and violently arrested four peaceful farmers, three of whom were held for more than 60 hours before being released without charge. The University then ploughed over the farm that morning, destroying thousands of starts that, if nurtured, would have provided sustenance to local communities.
“This land has been vacant for years,” said an Occupy the Farm member, Matthew McHale, “the UC only destroyed the crops because it’s afraid that if the community sees what an amazing asset this would be as a community farm, they would refuse to let it be paved over.”
In protest of the UC’s actions, more than eighty farmers and community members re-converged on Monday afternoon for a rally, then marched back onto the farm to replant the field and recover some of the starts they had planted over the weekend. The University plowed the farm again Tuesday morning.
Since Occupy the Farm first planted on the Gill tract in April 2012, the group has organized at least 10 public forums focused on the Gill Tract as an asset to community-driven participatory research. The UC Berkeley administration has consistently failed to attend, despite being invited repeatedly. Students on campus however, support turning the land into an urban farm; last Spring the Associated Students of the University of California Senate unanimously passed a resolution in support of Occupy the Farm."
Policy Statements - ITU PP-18
Mr Ricardas Degutis, Vice Minister, Ministry of Transport and Communications, Lithuania
©ITU/P.Barrera
The Mission Statement. Words to live by for the year.
For more info on this, please visit www.thehikeguy.com/2011/01/04/500-moleskine-miles/
A new free crochet pattern offered by Stitch Diva Studios in our very own glistening Studio Silk.
Make a statement with some inexpensive flat decorative marbles, basic crochet skills and some pretty yarn.
This project is fast enough for you to make a few of these very trendy statement necklace pieces - explore using more or fewer marbles or varying the configuration of the stones for your very own creation!
The impressive pavilion at Feethams, home to Darlington Cricket Club. The oldest bits of the structure date from 1906. The flat-roofed extension was added in 1992. Captured before a five-wicket defeat by Richmondshire in the Premier Division of the North Yorkshire & South Durham Premier League.
Lacking four regulars (owing to holidays, a stag do and football), Richmondshire cleared a tricky hurdle to extend their lead and plunge Darlington deeper into relegation trouble. The visitors, with four games of the season remaining, have a 19-point lead over title rivals Marton, who could manage only a losing draw at Barnard Castle. With Great Ayton winning at Middlesbrough in a crunch relegation battle, Darlington slip a place, to 10th, 10 points above the drop zone, occupied by Seaton Carew and Middlesbrough.
The departure, to a soft catch, of professional Tom Hewison (63) sparked a costly Darlington collapse. The last five home wickets produced just 17 runs. Callum Lethbridge's 27 was the only other decent score. Sam Wood (3-25), Chris Layfield (2-6) and Steven Reeves (2-29) shared the bulk of the wickets. Reeves, Richmondshire's Australian professional, played a key role as the visitors chased down a modest target. Darlington, boosted by early breakthroughs from pacer Shaun Charlton (2-53), appeared in with a chance when Richmondshire were reduced to 53-3, opener Robert Carr hitting 26. But Reeves, a big fella, steadied the ship with an unbeaten 44. Darren Van Der Vyver (20) and Wood (19) did what was necessary at the other end.
Match statistics
Darlington versus Richmondshire
North Yorkshire & South Durham Premier League, Premier Division (50 over match, 1pm start)
Admission: free. Programme: £1 (eight pages). Attendance: 108. Richmondshire won the toss and elected to field. Darlington 146 off 49.5 overs (Tom Hewison 63, Callum Lethbridge 27, Sam Wood 3-25, Chris Layfield 2-6, Steven Reeves 2-29) 5pts lost by five wickets to Richmondshire 147-5 off 46.4 overs (Steven Reeves 44 not out, Robert Carr 26, Darren Van Der Vyver 20, Shaun Charlton 2-53) 20pts. Umpires: Barbir Noor and Frank Smith.
Location:
GSK World Headquarters
16th and Vine Streets, Philadelphia, PA
Zenos’ statement about his vision of the sculpture
I wanted to create a sculpture almost anyone, regardless of their background, could look at and instantly recognize that it is about the idea of struggling to break free. This sculpture is about the struggle for achievement of freedom through the creative process.
Although for me, this feeling sprang from a particular personal situation, I was conscious that it was a universal desire with almost everyone; that need to escape from some situation – be it an internal struggle or an adversarial circumstance, and to be free from it.
I began this work in a very traditional sculptural manner by creating a small model in clay called a macquette. The purpose of beginning in this manner is to capture the large action and major proportions of the figure within the overall design without any details to detract from the big idea. Another reason for not having details and for working on a small model only a few inches in height is that the small armature within it, holding the clay, is more easily manipulated, allowing for much greater flexibility in developing a concept. For example, an arm, a leg or a head can be pushed around without any concern for obliterating details, such as a nose or a finger.
The macquette is the original mass of clay where a concept is born and from which it grows and develops. This was important later when I enlarged the sculpture from several inches long to 20 feet long, and I retained in the larger work a sense that all the conceptual material, its forms, focus and development sprang from this rough idea. The work metamorphosized, in the way that we do.
Although there are four figures represented, the work is really one figure moving from left to right. The composition develops from left to right beginning with a kind of mummy/death like captive figure locked into its background. In the second frame, the figure, reminiscent of Michaelangelo’s Rebellious Slave, begins to stir and struggle to escape. The figure in the third frame has torn himself from the wall that held him captive and is stepping out, reaching for freedom. In the fourth frame, the figure is entirely free, victorious, arms outstretched, completely away from the wall and from the grave space he left behind. He evokes an escape from his own mortality.
In working on the large scale sculpture, I was satisfied that those who drove by getting a quick look at it would see the big picture: that it was about escape. I was also concerned that those who worked in the building and who passed the sculpture frequently would have something more to see. There was a lot of empty space between the figures on the wall, which I saw as an opportunity to develop further ideas.
It was important to me that the sculpture have more than one theme going on at once. One of the other major ideas incorporated in the work is that the very process of creating the sculpture is clearly revealed in the work itself. The maquette is cast into the sculpture in the lower left hand corner. In the lower right corner is the cast of the sculptor’s hand holding the sculpture tool with two rolls of clay also cast in bronze. Throughout the background of the Wall, I have rolled out the clay and pressed it with my fingers so that my fingerprints are all over the sculpture. I have not hidden how I have made the piece. In fact, the whole idea of the macquette is enlarged so that all the figures in the background look like a giant macquette. And at the same time, as the figures move from left to right, I have shown how figures are developed when you are sculpting from the rough to the more finished product.
Elements of the sculpture trade beside the tools that are cast into the sculpture are calipers both for their use in measuring and their reference to Protagoras’ words “Man is the measure of all things.”
Also cast into the sculpture is an anatomical man, traditionally used as a reference by sculptors. Many of the heads and figures on the wall, some in the round and some in relief, are shown partially sculpted, revealing the process of creation.
Something else I have done with the sculpture is that I have created a one man show of my work. I have always admired Rodin’s Gates of Hell. I similarly thought I would incorporate many sculptures into the wall where it was suitable.
Like T.S. Eliot and other artists, I have put many personal elements in my work. My friend Philip, a sculptor who died of AIDS, created a work that I included in Freedom because he often expressed his wish to have it in a public space. He did not live long enough to accomplish this himself. My cat, who lived with me for 20 years, my mother, father, and my self portrait are in the work. It is obvious which face is mine because there is a ballooned phrase coming from my mouth with the word “freedom”, written backwards, making it clear that the face was sculpted in a mirror. I see the whole Wall sculpture as a kind of illusion akin to Alice’s Through the Looking Glass.
The sculpture contains an original Duane Hanson -- a bronze cast of my own hands that Duane cast for me as a gift.
Much of what I did with this sculpture has to do with taking traditional forms and combining them in non-traditional ways, forming a postmodern sensibility. For example, I dropped a wax cast of my father’s bust from two or three feet in height so that it broke into large pieces. I cast those into the wall in a fractured manner over another face, an old work I found in a vat of clay purchased from a sculptor who had long ago died.
I have hidden many things in the background for people who see the sculpture more than once to discover, such as a cast of coins – a nickel and two pennies, another nickel and two pennies, and two quarters and a penny. These represent not only the relationship between money and art, but the numerals 7-7-51, my birth date.
It is important to me that the public interact with the sculpture, not just intellectually and emotionally but physically. I have created a space in which I have written “stand here” so that people can place themselves inside the sculpture and become part of the composition.
In the end, this sculpture is a statement about the artist’s attempt to free himself from the constraints of mortality through a long lasting creative form.
The closing statements in the case of The Prosecutor v. Bosco Ntaganda at the International Criminal Court (ICC) started on 28 August 2018 before Trial Chamber VI at the seat of the Court in The Hague (Netherlands).
Statements were made by the Office of the Prosecutor, the Defence for Mr Ntaganda and the Legal Representatives of the Victims. Trial Chamber VI is composed of Judge Robert Fremr, Presiding Judge, Judge Chang-ho Chung and Judge Kuniko Ozaki.
Featured Image from Swayam Jyotish Photobook
ARTIST STATEMENT
The light from this container of photographs is non-dual from the innate light within each one of us. So too is physical light reflected in a jar of water or subtle light projected from the Chitta (mind-heart) in dream state. At its best the camera is a simple tool to transfer light through a lens recorded by a censor. At its root, consciousness is all-pervading and who we are. Consciousness, the Light of lights, proceeds from us and lends itself into the moment. The practice of Vichar (self-inquiry) reminds us of that same light appearing as the Jiva (individual-soul) and leads us to the revelation of Atman (universal-soul) and "Who Am I?" With that realization Nkosi Sri Govindaji approaches India with complete adoration and awareness of the Absolute Self in all, Brahman
Leica M11 / Leica 21mm f 3.4 Super Elmar ASPH
Nkosi.artiste@gmail.com
ABOUT THE ARTIST
Chance Nkosi Gomez known initiated by H.H Swami Jyotirmayanda as Sri Govinda walks an integral yogic path in which photography is the primary creative field of expression. The medium was introduced during sophomore year of high school by educator Dr. Devin Marsh of Robert Morgan Educational Center. Coming into alignment with light, its nature and articulating the camera was the focus during that time. Thereafter while completing a Photographic Technology Degree, the realization of what made an image “striking” came to the foreground of the inner dialogue. These college years brought forth major absorption and reflection as an apprentice to photographer and educator Tony A. Chirinos of Miami Dade College. The process of working towards a singular idea of interest and thus building a series became the heading from here on while the camera aided in cultivating an adherence to the present moment. The viewfinder resembles a doorway to the unified field of consciousness in which line, shape, form, color, value, texture all dissolve. It is here that the yogi is reminded of sat-chit-ananda (the supreme reality as all-pervading; pure consciousness). As of May 2024 Govinda has completed his 300hr yoga teacher training program at Sattva Yoga Academy studying from Master Yogi Anand Mehrotra in Rishikesh, India, Himalayas. This has strengthened his personal Sadhana and allows one to carry and share ancient Vedic Technology leading others in ultimately directing their intellect to bloom into intuition. As awareness and self-realization grows so does the imagery that is all at once divine in the mastery of capturing and controlling light. Over the last seven years he has self-published six photographic books, Follow me i’ll be right behind you (2017), Sonata - Minimal Study (2018), Birds Singing Lies (2018), Rwanda (2019), Where does the body begin? (2019) & Swayam Jyotis (2023). Currently, Govinda is employed at the Leica Store Miami as a camera specialist and starting his journey as a practitioner of yoga ॐ
cute & little blog | petite fashion | pink trench springtime layering, navy breton stripes top, white jeans, statement necklace, celine outfit
Doorstep statement by NATO Secretary General Jens Stoltenberg at the start of the extraordinary Summit of NATO Heads of State and Government
From delicate and girly to enormous, heavy, and punitive, spetum rings make a statement. I love it when a girl's septum ring touches her lips where they meet, as though she is kissing her beautifully large ring, It gets in the way when eating, drinking, applying lippy, and cleaning teeth. The wearer is reminded of her ring whenever she talks. How wonderful! :)
Statement by Federal Chancellor Sebastian Kurz during the EP plenary session on 15 January 2019. Copyright BKA/Arno Melicharek
This thrilling statement necklace was created for the Etsy BeadWeavers Team May Challenge "Lord of the Rings". My inspiration for this was the character Éowyn, the lady of Rohan.
At the heart of this pendant is a gorgeous faceted banded agate stone with quartz. I loved how the black and white of the stone spoke to the duality of this character. Éowyn was known for her blond beauty though she carried within her a deep sorrow. The stone is captured with a peyote bezel of dark gold iris and silverlined gold rainbow seed beads and surrounded by dark bronze glass pearls and light gold swarovski pearls. The top of the pendant has a brilliant gold rivoli that creates something of a crown to commemorate her victory in battle. The pendant is accented with a lush fringe and is suspended from a twisted herringbone rope of silverlined gold rainbow and dark gold iris seed beads. A closure featuring a bead bezeled gold rivoli and peyote toggle and loop beautifully finishes this 18.5" necklace. The pendant measures 6" long (inc. fringe) and about 2" wide and is backed with tan ultrasuede.
Osea Naiqamu, Minister of Agriculture, Fisheries, and Forests of Fiji delivery speech during 3rd Asia-Pacific Rainforest Summit in Yogyakarta on April 23, 2018 in Indonesia.
Photo by Ulet Ifansasti/CIFOR
More information on the 3rd Asia-Pacific Rainforest Summit, please visit cifor.org/aprs
If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: cifor-mediainfo@cgiar.org and m.edliadi@cgiar.org
Your "Statement"!!!
Κολιέ | Από €16.90 τώρα €8.45
Κωδικός e-shop: 1454104335
Shop now at: bit.ly/1oKMI4R
Σκουλαρίκια | Από €6.90 τώρα €3.45
Κωδικός e-shop: 1456102635
Shop now at: bit.ly/1s9G23n
a statement image for an art show i entered not too long ago (the show itself ended up being two steps away from f*cking disastrous but i will chalk it up to a learning experience)
H.E. Mrs Regina Maria Cordeiro Dunlop, Permanent Representative of Brazil to the OPCW, speaking at OPCW's Fourth Review Conference.
The Conference is held at the World Forum, The Hague, the Netherlands, from 21-30 November 2018.
U.S. Secretary of State John Kerry alongside Serbian Prime Minister Aleksandar Vucic delivers a statement to the press at the Prime Minister's residence in Belgrade, Serbia, on December 2, 2015. [State Department photo/ Public Domain]
©ITU/R.ManiegoPolicy Statements - ITU PP-18
Ms Julieta Tencheva, Head of Department on International Relations, Ministry of Transport, IT and Communications, Bulgaria
©ITU/R.Maniego
1268 Ellis Street, Kelowna, BC.
Statement of Significance:
Description of Historic Place:
The historic place is the three-storey brick Old Cannery building, built in 1912 in Edwardian Commercial style at 1280-1298 Ellis Street in Kelowna's downtown area. The central three-storey brick portion was later extended with a one-storey wood-frame wing to the south and a two-storey brick wing to the north.
Heritage Value:
The Old Cannery has heritage value for its close association with a number of Kelowna's agricultural industries, including cigar-making, fruit-packing, and canning, and for later non-agricultural industry uses. It also has value as an unusually well-designed industrial building, and for demonstrating (through its additions) the growth of one industry over time. Representative of the area, the building now includes an entertainment use, reflecting Kelowna's shift from an industrial to a service economy.
The three-storey central brick portion was built in 1912 as the handsome premises of the ambitious British North American Tobacco Company (BNATCO). This company had been started in 1910, with a capitalization of $500,000, mostly British investment, with the intention of making cigars from Kelowna-grown tobacco in a large way. The building was close to the Candian Pacific Railway yards. It was constructed for heavy use, with the floors made of 2-by-6 planks laid on edge and spiked together (called 'millwork' construction). The cigar factory was located on the second floor, while the first and third floors were used for storage. The factory had the capacity to turn out 25 million cigars a year. However, it never achieved more than 800,000 at peak production, and by the end of 1913 unwise land contracts, coupled with embezzlement by an officer of the company, combined to bring BNATCO (and the local farmers who had planted five hundred acres to tobacco for the company) crashing down. By May 1914 the company was in liquidation.
The building was then purchased by the newly-established Occidental Fruit Company (the name catering to the anti-Asian prejudices of the time), a fruit shipper that prospered during World War I. In 1918, the Occidental Fruit Company transferred its fruit packing facility to another building, further north on Ellis Street, and began to operate a fruit and vegetable cannery here. The long, single-storey frame building to the south was constructed in 1918, and the two-storey brick building at the north end in 1919, with rear storage warehouses added in 1920. The actual canning was carried on in the southern building, while the other portions were used for storage. Occidental operated the cannery until 1929, when it packed almost 200,000 cases of canned goods, mostly tomatoes and catsup.
In 1929 the cannery was purchased by Canadian Canners Ltd., of Hamilton, Ontario, which continued to operate it until 1960. In 1965, the brick building was bought by Harold Armeneau to expand the Kelowna Machine Shop, located across the street at 1247 Ellis Street. The machine works occupied the second floor, while the lower floor served as office space.
The buildings were sold to the Cannery Group in 1971, which remodeled the old cigar factory and north extension as a night club. The northern extension has gone through numerous name changes: Bernie's Supper Club, the North Forty, Changes, the Casbah, and most recently Flashbacks. The south building was refurbished as a row of small shops, though its original function is still easily seen in the raised front loading level of the old cannery. An antique shop currently occupies the three-storey portion.
Source: City of Kelowna Planning Department
Character-Defining Elements:
The character-defining elements of the Old Cannery include its:
- prominent location, the largest brick building on west side of Ellis Street, three storeys high
- attractively composed and ornamented facade, four bays wide, with the end bays projecting forward slightly, framed by pilasters, and with the brick on the two upper floors arranged to resemble rustication, all somewhat in the manner of the Neoclassical Revival Style
- outer bays with segmental-arched window heads with large keystones on the ground floor, round-arched window heads on the second floor, and flat window heads on the third floor
- two, broader central bays with segmental window heads on the second floor, and flat heads elsewhere
- wood-sash windows with small panes (except on the ground floor) and transoms
- stone sills and pilaster bases and capitals
- brick facade wraps around the two corners
- set-back north wing with two storeys, with prominent repetitive second-floor windows
- south wing with repetitive windows on the two floors
Drive the streets of Paris, Rome, Barcelona or London and you'll see the smart fortwo has become more than just fuel efficient transportation - it has become the "it" car in many countries throughout the world. In fact, we could say that the over 900,000 smart fortwos sold in 36 other countries are now a worldwide statement on innovation, intelligence, functionality and the simple joy of driving.
Now the United States has joined the party. In January 2008 smart arrived to the States leaving its exhibit space at the Museum of Modern Art in New York City (it is one of only six cars in the world to achieve this distinction and the only one still in production and on sale today).
Preparations for the smart fortwo began in the early 1990's with a Joint Venture between Mercedes-Benz and Swatch, the makers of Swatch watches known for their wide array of colorful designs. Nicolas Hayek, the inventor of the Swatch watch brought his ideas for an "ultra-urban" car to Mercedes-Benz.
* smart remains a vital member of Mercedes-Benz Cars, a Daimler AG Company.
* smart USA, a division of Penske Automotive Group, is the exclusive distributor for smart in North America and Puerto Rico. smart USA is headquartered in Bloomfield Hills, Michigan. The smart fortwo is already somewhat of a "star" in the United States. It has the privileged distinctions of being on display as a work of art at the Museum of Modern Art (MOMA) in New York City. It is the only vehicle on display at MOMA which is still in production and on sale today.
Mercedes-Benz took on this engineering challenge with the outcome of one of the most innovative cars ever introduced.
Full development of the concept started in 1994 and the smart fortwo debuted at the Frankfurt Motor Show (IAA) in 1997. The response was fantastic. The smart fortwo garnered more print space and TV coverage than any other car at the show.
Production began in 1998 in Hambach, France. That same year, smart became a 100% owned subsidiary of Daimler-Benz AG.
The challenge of the smart fortwo design started with the approach to safety. The tridion safety cell was Mercedes-Benz's answer for a small car that can meet high safety standards. The tridion safety cell is a "hard shell" that surrounds the smart fortwo's occupants with an energy displacing system of longitudinal and transverse structural members. Then the engineering team added Electronic Stability Control (esp) and ABS brakes to make the smart even more technologically advanced.
Other innovations like the selection of energy efficient and recyclable materials, the removable door panels (you have many options to change color of your smart as you desire) and a high driving position for great visibility and easy entry in a small car combined to make smart a true revolution in driving style.
Since its introduction the smart product range has continued to expand and now includes a sporty cabriolet model. And the innovation continues. We're constantly pushing the envelope of automotive design to keep smart at the leading edge.
This was the first time that Heather and I made it up to Scarborough. It's a good fair - not at big as the Texas Renaissance Festival (we are spoiled) but we had a great time there. Good entertainment and people watching - the only drawbacks were the heat - it was in the 90s, and the bright dappled lighting. We will head back there again - hopefully on a cool cloudy day!
Scarborough is held in Waxahachie, Texas - south of Dallas. It takes place over eight weekends from April to May.
I took these photos on 3 May 2014 - I think it was the 5th weekend.
This template contains 3 tabs: Income Statement, Balance Sheet and Cash Flow. Its flexible design allows you to arrange the lines and columns that you want to display in your Financial Statement using Readme and Data sheets. Its PSW version allows you to publish your Financial Statement online easily.
Download from:
Statements und Podiumsdiskussion: "Soziale Mobilität in den USA und in Europa"
v.l.n.r.: Dr. Isabel Sawhill, Matthias Rumpf, Dr. Mark Speich, Prof. Walter Müller, Prof. Robert Erikson.
Foto: CC-BY-SA Stephan Röhl / www.boell.de