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A valid statement in Iceland is "not sure if geyser or power plant." My first full day in Iceland, I saw this steam while driving the Golden Circle and was excited about the geothermal activity, even if it did seem like being back in the mountain west with Yellowstone. Nope, not geyser. Power plant. Not as exciting, but still pretty, as is this extremely placid stream at Þingvellir. So calm, so sunny! (That weather didn't last.)
27-XII-2021 Lunes
______
Bueno a lo tonto
pero hoy voy a ir
para empezar a
tomar metadona
y así al menos
quitar - me
el mono malo
y dar el 1er paso
y así empezar
a moverme para
salir de esto.
Cuando acabe el
dolor voy a estar
en otras
condiciones
seguro, voy a
estar bien sin
consumir.
seguro.
voy a hacerlo
voy x ello
(Documento real, reflexión anónima encontrada en el suelo escrita en una etiqueta por alguien)
The Chancellor of the Exchequer Jeremy Hunt leaves 11 Downing Street to deliver his Autumn Statement to parliament
Canon 5D Mark II Photos Tan Blond Swimsuit Bikini Model Goddess! 24-105mm F/4 USM L Lens !
"Beauty will save the world." --Dostoevsky
Hello Flickr fans! Excited for my Los Angeles Landscape gallery show in December! Taking a break from finishing the HDR landscapes and finishing some goddesses for my 45surf surfline instead. :) The gallery artist statement will begin with something like:
"In every photograph you can see both where the photographer was standing and what they were thinking. So it is that this collection tells the story of my epic journey as no words ever could. And more importantly, I hope that it serves to guide and inspire you along a hero's journey of your own making, owning all the glorious rewards of the risks of your own taking." --Johnny Ranger McCoy
Back to the goddesses for the moment:
Canon 5D Mark II Photos of Pretty Blonde Swimsuit Bikini Model Goddess with Blue Eyes! 24-105mm F/4 USM Lens ! She was tall, thin, fit--very, very fit--with amazing rock-hard abs and a toned, tall body! Long, long legs--long as the day! A classic socal California Beach Babe!
Epic video of the epic goddess, shot as the same time as the stills as is Johnny Ranger McCoy's lone-cowboy trademark technique:
www.youtube.com/watch?v=5Y5lQiNQncA
www.youtube.com/watch?v=6OfcQ9KCy1Y
Join Johnny Ranger McCoy's Hero's Journey Mythology Goddesses facebook! www.facebook.com/45surfHerosJourneyMythology
Subscribe to Johnny's youtube for epic goddess videos! www.youtube.com/user/bikiniswimsuitmodels
Twitter: twitter.com/45surf
Follow me on facebook! facebook.com/elliot.mcgucken
All the Best on Your Epic Hero's Journey from Johnny Ranger McCoy & the HJM Goddesses! :)
Premier David Eby; Adrian Dix, Minister of Health; and Jennifer Whiteside, Minister of Mental Health and Addictions, issued a statement about the bilateral agreement in principle with the Government of Canada.
Learn more: news.gov.bc.ca/28298
2nd Lt. Beau Benton of O’Fallon, Ill., assigned to 709th Military Police Battalion, 18th MP Brigade prepares a counseling statement during the Counseling Lane of U.S. Army Europe’s Best Junior Officer Competition at Grafenwoehr Training Area, Germany August 19, 2013. The Best Junior Officer Competition, unique to U.S. Army Europe, is a weeklong training event highlighting the best lieutenants and captains in Army units across Europe. These officers represent the best in their units and exemplify the USAREUR imperatives of teamwork, comprehensive fitness, leader development, training, discipline and standards. Competitors for the title of Best Junior Officer prove themselves in events testing physical stamina, leadership and technical knowledge. (U.S. Army photo by Sgt. Jermaine Baker)
Today when "NS" came in with her shirt matching the bands on her braces we just had to do a photo with her buddies. I asked her if she did it on purpose and she swears she didn't.
Thanks to NS and buddies for being good sports :)
Chancellor of the Exchequer, George Osborne leaves HM Treasury with Chief Secretary to the Treasury, Danny Alexander on 05 December 2012.
Themis is a framed wall art piece based upon minimal lines that comes in 2 versions. Black and White. The inner frame can be retextured since the HUD that comes along with the product offers you 5 options for the metallic lining.
marketplace.secondlife.com/p/STATEMENTT-ID-Themis-wall-ar...
Temple of Zeus
Reconstruction of the Temple of Zeus
The Temple of Zeus, situated upon a hill, was the city's main sanctuary. Ceramic finds indicate local habitation from the first half of the third millennium BC. According to a recent reading of the architrave inscription, construction of the temple began under Domitian.[9] Inscriptions document imperial assistance from Hadrian relating to the recovery of unpaid rents as well as the euergetism of Marcus Apuleius Eurykles. Later the Çavdar Tatars carved equestrian and battle scenes on the temple. The temple is pseudodipteral, with eight columns at the ends and fifteen along the sides (35 m × 53 m (115 ft × 174 ft)). It was damaged by the 1970 Gediz earthquake and has since been restored
Aizanoi Antique City.
UNESCO Tentative Lists
whc.unesco.org/en/tentativelists/5724/
Description
The Aizanoi ancient city is located in the inner Western Anatolia Region, 48 km Southwest of the Kütahya Province, and within the boundaries of the Çavdarhisar district. Today, it is approximately at a 1000-1050 m altitude in the flat treeless plateau which is known as Örencik Plain. The City was located approximately 40 km Southwest of the Cotiaeum, 25 km Northeast of Cadi, 40 km Northwest of Appia, West of Alia and on the edge of the River Rhyndakos.
The city was re-discovered by the European travellers in 1824 and surveyed and identified between the years of 1830 and 1840. The scientific excavations within Aizanoi were launched in 1926 by D. Krencker and M.Schede on behalf of the German Archeological Institute and presently the excavations works are being carried out by the Pamukkale University.
Aizanoi was the capital of Aizanitis, who belonged to Phrigia. There was less information about Pre-Roman period for Aizanoi. It is said that the early settlement in the region dates back to the second millennium BC. During the excavations carried out around the Zeus Temple, settlement layers dated to the third millennium were unearthed. Aizanoi acquired importance in the political sense, during the conflict between the Bithyniaand PergamonKingdoms. During the Hellenistic Period, Aizanoi was alternated between the hegemonies of the Pergamon and Bithynia Kingdoms and then came under Roman control in 133 BC. Phrygia Epictetos which consists of Aizanoi, Nacoleia, Cotiation, Midaion, Doryleion, Cadoi minted their own coins after 133 BC. This case shows that Aizanoi was in metropolis statue in the first century BC. However, big monumental public buildings and urban infrastructure in the city were constructed during the early imperial period. During the Roman Period Aizanoi was not only one of the most important cities in the Phrgyia Region but also had an important status as a commercial road network. Through its production of cereals, wine and sheep's wool the city was to rise to prosperity during the period of the Roman Empire.Since the intensive architectural development activities were realized especially in the 2nd and 3rd centuries AD., the local stone workshops gained importance during that period. Because of the religious and political power of Aizanoi, Rome provided an important relationship with the communities in the region. During the early Byzantine Period, the city was the seat of a bishopric and it had lost its importance after the 7th century. In medieval times the hill upon which the temple stands was transformed into a fortified citadel which subsequently served a group of the Çavdar Tatars as a fort of Seljuk dynasties, thus giving the community its present name, Çavdarhisar.
The visible remains of the city are mostly derived from the period of the Roman Empire. The city has significant remains such as the Zeus Temple, the Complex of Stadium-Theatre, Macellum, Portico Street, the bridges and dam, two necropolises, odeon, the Roman Baths
Justification of Outstanding Universal Value
Aizanoi is one of the most significant cities of the Roman Period with the Zeus Temple, the Complex of Stadium-Theatre and the Macellum.
The structure of the Temple which is one of the best preserved Zeus Temples in the world. The Temple of Zeus, situated upon a hill, was the city's main sanctuary.There is an area covered with vaults under the temple. The temple has an unusual feature in Anatolia with this plan. The temple is composed of pronoas, naos, opisthodomos and a vaulted room under the basement. The distance between the columns and the walls of the inner rooms is twice as much as the distance between the columns; that means the building is a pseudodipteros. Since the space surrounded by the columns in the temple is marble-covered, the Zeus Temple in Aizanoi is unique in the pseudodipteros plan. The other temples in this plan have a wooden roof cover. Covering the ancient inscriptions and ashlar masonry of the temple are simple representations of riders, combat scenes and horses. These engraved images depict episodes from the life of the Çavdar Tatars in the 13th century, who lived within the citadel walls surrounding the temple plateau. The magnificent Temple of Zeus contributed much to the city's prominence in antiquity and it is among the rarest ancient buildings in Anatolia which have survived till today by preserving its original form.
The Complex of Stadium-Theatre is located in the north part of the city and was one of the most intensive development activities in the city during the Roman Period. The stadium with a capacity of 13500 people and the theatre with the capacity of 20.000 people were constructed adjacently and as such it is unique in the ancient world.
One of the first stock exchange markets of the world was established in Aizanoi. The Macellum (Round Building) is dated to the midst of the 2nd century AD., probably serving as a food market. Inscriptions on the walls of this building show the prices of all goods sold in the markets of the Imperial that were controlled by an edict issued in 301 A.D. by the Roman Emperor Diocletianus in order to fight the inflation in that period. The inscriptions survived till today and can be read completely at present. It can be understood that Aizanoi was a cradle of trade with such as the most significant inscription.
Criterion (ii): The Macellum in Aizanoi dated to the midst of 2nd century AD is one of the first exchange stock markets in the world. Inscriptions on the Macellum showing the prices of all goods sold in the markets of the Imperial survived till today and can be read completely. These inscriptions have been used as a reference source for the other similar inscriptions unearthed during the excavations.
Criterion (iv): The Stadium with a capacity of 13500 people and the theatre with a capacity of 20.000 people were constructed adjacently and as such it is unique in the ancient world. The form of the complex erected in Aizanoi is not seen elsewhere in the ancient times.
The structure of the Temple is one of the best preserved Zeus Temples in the world. There is an area covered with vaults under the temple. The temple has an unusual feature in Anatolia with this plan. Since the space surrounded by the columns in the temple is marble-covered, the Zeus Temple in Aizanoi is unique in the pseudodipteros plan. The other temples in this plan have a wooden roof cover. The temple is among the rarest ancient buildings in Anatolia which have survived till today by preserving its original form.
Statements of authenticity and/or integrity
Aizanoi Ancient City was first registered as an archaeological site with the decision of the Superior Council of Immovable Antiquities and Monuments dated 20th December 1975 numbered 8854. By the decision of the related Conservation Council dated 1989 numbered 488, the borders of the 1st and 3rd degree archaeological site were determined. Afterwards, by the decision of the Conservation Council taken in 2011, the rural settlement area located within the first degree archeological site was registered as an urban archeological site.
The conservation plan prepared for the 3rd degree archeological site was approved by the related Conservation Council in 1993. Its revision was approved in 2000. Also, the conservation plan prepared for the 1st archeological site and the urban archeological site was approved by the related conservation council in 2011.
The scientific excavations within Aizanoi were launched in 1926 by D. Krencker and M. Schede on behalf of the German Archeological Institute and today the excavation works are being carried out by the Pamukkale University.
Comparison with other similar properties
When compared to the other Zeus Temples in the World, the Zeus Temple in Aizanoi is one of the best preserved. Since the space surrounded by the columns in the temple is marble-covered, the Zeus Temple in Aizanoi is unique in the pseudodipteros plan. The other temples in this plan have a wooden roof cover. The temple is among the rarest religious buildings in Anatolia which have survived till today by preserving its form.
The Complex of Stadium-Theatre which was constructed adjacently is unique in the ancient world. The Macellum in Aizanoi dated to the midst of 2nd century AD is one of the first exchange stock markets in the world. Inscriptions on the Macellum showing the prices of all goods sold in the markets of the Imperial are survived till today and can be read completely at present.
Penkalas Bridge
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Penkalas Bridge
Penkalas Bridge in 1992
Coordinates
39.200833°N 29.612222°E
Coordinates: 39.200833°N 29.612222°E
Crosses
Penkalas (Kocaçay)
Locale
Aezani, Turkey
Characteristics
Design
Arch bridge
Material
Stone
No. of spans
5
History
Construction end
2nd century AD
Penkalas Bridge
Location in Turkey
The Penkalas Bridge is a Roman bridge over the Penkalas (today Kocaçay), a small tributary of the Rhyndakos (Adırnas Çayı), in Aezani, Asia Minor (Çavdarhisar in present-day Turkey).
The 2nd-century AD structure was once one of four ancient bridges in Aezani and is assumed to have been the most important crossing-point due to its central location in the vicinity of the Zeus temple and the direct access it provided to the Roman road to Cotyaeum (Kütahya).[1] According to reports by European travellers, the ancient parapet remained in use as late as 1829, having been replaced today by an unsightly iron railing.[1]
Around 290 m upstream, another well-preserved, almost identical five-arched Roman bridge leads across the Penkalas.[
The parliament debates recent developments in the Ukraine conflict with EU Foreign Affairs chief Federica Mogherini. On the agenda is the Merkel/Hollande peace initiative, Wednesday’s meeting of the presidents of Germany, France, Ukraine and Russia in Minsk (Belarus), a possible US arms delivery to Ukraine and new EU sanctions against Russia.
www.europarl.europa.eu/ep-live/en/plenary/video?date=10-0...
ec.europa.eu/avservices/ebs/schedule.cfm?page=2&date=...
This photo is free to use under Creative Commons licenses and must be credited: "© European Union 2015 - European Parliament".
(Attribution-NonCommercial-NoDerivatives CreativeCommons licenses creativecommons.org/licenses/by-nc-nd/4.0/).
For bigger HR files please contact: webcom-flickr(AT)europarl.europa.eu
redesign of a drawing i did a few years ago
www.flickr.com/photos/vanessarivera/3439980897/in/set-721...
The Green Building, 450 Union Street, Brooklyn
by navema
Shepard Fairey installed this piece in 2010.
Burmese political prisoner Aung San Suu Kyi, who despite being elected prime minister in 1990 has been kept out of power by Burma’s military junta, and has been placed under house arrest for the better part of the last 20 years. The military regime has also imprisoned over 2,100 other political activists, including artists, poets and musicians who have expressed their dissent through their art.
ABOUT THE ARTIST:
Frank Shepard Fairey, born Frank Shepard Fairey, February 15, 1970, in Charleston, South Carolina.
Fairey is an American contemporary artist, graphic designer, and illustrator who emerged from the skateboarding scene. He first became known for his “André the Giant Has a Posse” sticker campaign, in which he appropriated images from the comedic super market tabloid Weekly World News. His work became more widely known in the 2008 U.S. presidential election, specifically his Barack Obama “HOPE” poster. The Institute of Contemporary Art, Boston calls him one of today's best known and most influential street artists. His work is included in the collections at The Smithsonian, the Los Angeles County Museum of Art, the Museum of Modern Art in New York, and the Victoria and Albert Museum in London.
In 1992, while still an illustration student at RISD, Fairey started his first business venture, Alternate Graphics, to showcase his emerging design and silkscreen printing talents. He created stickers, t-shirts, skateboards, and posters which were all available via black and white mail order catalogs that he distributed. He also did small commercial printing jobs for clients to help cover some of his expenses. In 1994, Helen Stickler created a documentary film, Andre the Giant Has a Posse, that focused on Fairey and the growing phenomenon of his subversive stickers and posters. By 1995, Fairey had two or three full time employees, two of whom were long time friends from Charleston, whom he had known through his many years of skateboarding. During this time, he also created a small sister brand, Subliminal Projects, with Blaize Blouin, and released several skateboard and poster designs using this moniker. Fairey created a skateboard video, ADD (Attention Deficit Disorder), that showcased the small group of skateboarders that he sponsored via Alternate Graphics.
In 1996, Fairey moved from Providence, RI, to San Diego, CA, to partner with Andy Howell in Giant Distribution. Shortly thereafter, Fairey partnered up with Dave Kinsey, Phillip De Wolff, and Howell to form First Bureau of Imagery, FBI, a branding, marketing and design firm targeting the emerging action sports market. In 1999, FBI was dissolved and Fairey, Kinsey, and De Wolff formed BLK/MRKT, another branding, marketing, and design firm. During this time, Fairey met his future wife, Amanda Ayala, who began working with him. In 2001, the BLK/MRKT offices were moved from San Diego to Los Angeles and expanded to include a small art gallery. De Wolff's partnership was purchased by Fairey and Kinsey, who became the sole propietors of the operation, now doing business from an office in the historic Wiltern building located in Koreatown. In 2003, Fairey and Kinsey decided to make a professional split; Fairey kept the location and most of the employees, renamed his agency Studio Number One, and renamed the art gallery Subliminal Projects. Kinsey took the name BLK/MRKT and its gallery, and relocated it to Culver City, CA, where it is still in operation. In 2004, Fairey teamed up with long time friend Roger Gastman to create a quarterly publication, Swindle. The magazine documents pop culture, fashion, and music, and each issue is released in both soft cover and hard cover. In 2006, Fairey released a comprehensive, hard cover monograph, Supply and Demand, that documents much of his personal and professional design work. The entire book was designed in-house at Studio Number One and it is published by Ginko Press. It is currently in its third edition.
Fairey married Amanda Ayala in December of 2001 in Charleston, SC. In June 2005 Amanda gave birth to their first child, daughter Vivienne, named after punk fashion icon, Vivienne Westwood. In January of 2008, their second daughter, Madeline, was born.
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ARTIST STATEMENT:
The OBEY sticker campaign can be explained as an experiment in Phenomenology. Heidegger describes Phenomenology as “the process of letting things manifest themselves.” Phenomenology attempts to enable people to see clearly something that is right before their eyes but obscured; things that are so taken for granted that they are muted by abstract observation.
The FIRST AIM OF PHENOMENOLOGY is to reawaken a sense of wonder about one’s environment. The OBEY sticker attempts to stimulate curiosity and bring people to question both the sticker and their relationship with their surroundings. Because people are not used to seeing advertisements or propaganda for which the product or motive is not obvious, frequent and novel encounters with the sticker provoke thought and possible frustration, nevertheless revitalizing the viewer’s perception and attention to detail. The sticker has no meaning but exists only to cause people to react, to contemplate and search for meaning in the sticker. Because OBEY has no actual meaning, the various reactions and interpretations of those who view it reflect their personality and the nature of their sensibilities.
Many people who are familiar with the sticker find the image itself amusing, recognizing it as nonsensical, and are able to derive straightforward visual pleasure without burdening themselves with an explanation. The PARANOID OR CONSERVATIVE VIEWER however may be confused by the sticker’s persistent presence and condemn it as an underground cult with subversive intentions. Many stickers have been peeled down by people who were annoyed by them, considering them an eye sore and an act of petty vandalism, which is ironic considering the number of commercial graphic images everyone in American society is assaulted with daily.
Another phenomenon the sticker has brought to light is the trendy and CONSPICUOUSLY CONSUMPTIVE nature of many members of society. For those who have been surrounded by the sticker, its familiarity and cultural resonance is comforting and owning a sticker provides a souvenir or keepsake, a memento. People have often demanded the sticker merely because they have seen it everywhere and possessing a sticker provides a sense of belonging. The Giant sticker seems mostly to be embraced by those who are (or at least want to seem to be) rebellious. Even though these people may not know the meaning of the sticker, they enjoy its slightly disruptive underground quality and wish to contribute to the furthering of its humorous and absurd presence which seems to somehow be antiestablishment/societal convention. Giant stickers are both embraced and rejected, the reason behind which, upon examination reflects the psyche of the viewer. Whether the reaction be positive or negative, the stickers existence is worthy as long as it causes people to consider the details and meanings of their surroundings. In the name of fun and observation.
Shepard Fairey, 1990
For more info about the artist, visit: www.thegiant.org
PP22 - Policy Statements
H.E. Dr Ms Emilija Stojmenova Duh
Minister
Government Office for Digital Transformation
Bucharest, Romania
27 September 2022
©ITU/Rowan Farrell
07/07/2022. London, United Kingdom. The Prime Minister Boris Johnson makes his resignation statement outside Number 10 Downing Street. Picture by Tim Hammond / No 10 Downing Street
Ornate memorial
Available for purchase from www.ballaratheritage.com.au
VHR Statement of Significance
What is significant?
Boroondara Cemetery, established in 1858, is within an unusual triangular reserve bounded by High Street, Park Hill Road and Victoria Park, Kew. The caretaker's lodge and administrative office (1860 designed by Charles Vickers, additions, 1866-1899 by Albert Purchas) form a picturesque two-storey brick structure with a slate roof and clock tower. A rotunda or shelter (1890, Albert Purchas) is located in the centre of the cemetery: this has an octagonal hipped roof with fish scale slates and a decorative brick base with a tessellated floor and timber seating. The cemetery is surrounded by a 2.7 metre high ornamental red brick wall (1895-96, Albert Purchas) with some sections of vertical iron palisades between brick pillars. Albert Purchas was a prominent Melbourne architect who was the Secretary of the Melbourne General Cemetery from 1852 to 1907 and Chairman of the Boroondara Cemetery Board of Trustees from 1867 to 1909. He made a significant contribution to the design of the Boroondara Cemetery
Boroondara Cemetery is an outstanding example of the Victorian Garden Cemetery movement in Victoria, retaining key elements of the style, despite overdevelopment which has obscured some of the paths and driveways. Elements of the style represented at Boroondara include an ornamental boundary fence, a system of curving paths which are kerbed and follow the site's natural contours, defined views, recreational facilities such as the rotunda, a landscaped park like setting, sectarian divisions for burials, impressive monuments, wrought and cast iron grave surrounds and exotic symbolic plantings. In the 1850s cemeteries were located on the periphery of populated areas because of concerns about diseases like cholera. They were designed to be attractive places for mourners and visitors to walk and contemplate. Typically cemeteries were arranged to keep religions separated and this tended to maintain links to places of origin, reflecting a migrant society.
Other developments included cast iron entrance gates, built in 1889 to a design by Albert Purchas; a cemetery shelter or rotunda, built in 1890, which is a replica of one constructed in the Melbourne General Cemetery in the same year; an ornamental brick fence erected in 1896-99(?); the construction and operation of a terminus for a horse tram at the cemetery gates during 1887-1915; and the Springthorpe Memorial built between 1897 and 1907. A brick cremation wall and a memorial rose garden were constructed near the entrance in the mid- twentieth century(c.1955-57) and a mausoleum completed in 2001.The maintenance shed/depot close to High Strett was constructed in 1987. The original entrance was altered in 2000 and the original cast iron gates moved to the eastern entrance of the Mausoleum.
The Springthorpe Memorial (VHR 522) set at the entrance to the burial ground commemorates Annie Springthorpe, and was erected between 1897 and 1907 by her husband Dr John Springthorpe. It was the work of the sculptor Bertram Mackennal, architect Harold Desbrowe Annear, landscape designer and Director of the Melbourne Bortanic Gardens, W.R. Guilfoyle, with considerable input from Dr Springthorpe The memorial is in the form of a small temple in a primitive Doric style. It was designed by Harold Desbrowe Annear and includes Bertram Mackennal sculptures in Carrara marble. Twelve columns of deep green granite from Scotland support a Harcourt granite superstructure. The roof by Brooks Robinson is a coloured glass dome, which sits within the rectangular form and behind the pediments. The sculptural group raised on a dais, consists of the deceased woman lying on a sarcophagus with an attending angel and mourner. The figure of Grief crouches at the foot of the bier and an angel places a wreath over Annie's head, symbolising the triumph of immortal life over death. The body of the deceased was placed in a vault below. The bronze work is by Marriots of Melbourne. Professor Tucker of the University of Melbourne composed appropriate inscriptions in English and archaic Greek lettering.. The floor is a geometric mosaic and the glass dome roof is of Tiffany style lead lighting in hues of reds and pinks in a radiating pattern. The memorial originally stood in a landscape triangular garden of about one acre near the entrance to the cemetery. However, after Dr Springthorpe's death in 1933 it was found that transactions for the land had not been fully completed so most of it was regained by the cemetery. A sundial and seat remain. The building is almost completely intact. The only alteration has been the removal of a glass canopy over the statuary and missing chains between posts. The Argus (26 March 1933) considered the memorial to be the most beautiful work of its kind in Australia. No comparable buildings are known.
The Syme Memorial (1908) is a memorial to David Syme, political economist and publisher of the Melbourne Age newspaper. The Egyptian memorial designed by architect Arthur Peck is one of the most finely designed and executed pieces of monumental design in Melbourne. It has a temple like form with each column having a different capital detail. These support a cornice that curves both inwards and outwards. The tomb also has balustradings set between granite piers which create porch spaces leading to the entrance ways. Two variegated Port Jackson Figs are planted at either end.
The Cussen Memorial (VHR 2036) was constructed in 1912-13 by Sir Leo Cussen in memory of his young son Hubert. Sir Leo Finn Bernard Cussen (1859-1933), judge and member of the Victorian Supreme Court in 1906. was buried here. The family memorial is one of the larger and more impressive memorials in the cemetery and is an interesting example of the 1930s Gothic Revival style architecture. It takes the form of a small chapel with carvings, diamond shaped roof tiles and decorated ridge embellishing the exterior.
By the 1890s, the Boroondara Cemetery was a popular destination for visitors and locals admiring the beauty of the grounds and the splendid monuments. The edge of suburban settlement had reached the cemetery in the previous decade. Its Victorian garden design with sweeping curved drives, hill top views and high maintenance made it attractive. In its Victorian Garden Cemetery design, Boroondara was following an international trend. The picturesque Romanticism of the Pere la Chaise garden cemetery established in Paris in 1804 provided a prototype for great metropolitan cemeteries such as Kensal Green (1883) and Highgate (1839) in London and the Glasgow Necropolis (1831). Boroondara Cemetery was important in establishing this trend in Australia.
The cemetery's beauty peaked with the progressive completion of the spectacular Springthorpe Memorial between 1899 and 1907. From about the turn of the century, the trustees encroached on the original design, having repeatedly failed in attempts to gain more land. The wide plantations around road boundaries, grassy verges around clusters of graves in each denomination, and most of the landscaped surround to the Springthorpe memorial are now gone. Some of the original road and path space were resumed for burial purposes. The post war period saw an increased use of the Cemetery by newer migrant groups. The mid- to late- twentieth century monuments were often placed on the grassed edges of the various sections and encroached on the roadways as the cemetery had reached the potential foreseen by its design. These were well tended in comparison with Victorian monuments which have generally been left to fall into a state of neglect.
The Boroondara Cemetery features many plants, mostly conifers and shrubs of funerary symbolism, which line the boundaries, road and pathways, and frame the cemetery monuments or are planted on graves. The major plantings include an impressive row of Bhutan Cypress (Cupressus torulosa), interplanted with Sweet Pittosporum (Pittosporum undulatum), and a few Pittosporum crassifolium, along the High Street and Parkhill Street, where the planting is dominated by Sweet Pittosporum.
Planting within the cemetery includes rows and specimen trees of Bhutan Cypress and Italian Cypress (Cupressus sempervirens), including a row with alternate plantings of both species. The planting includes an unusual "squat" form of an Italian Cypress. More of these trees probably lined the cemetery roads and paths. Also dominating the cemetery landscape near the Rotunda is a stand of 3 Canary Island Pines (Pinus canariensis), a Bunya Bunya Pine (Araucaria bidwillii) and a Weeping Elm (Ulmus glabra 'Camperdownii')
Amongst the planting are the following notable conifers: a towering Bunya Bunya Pine (Araucaria bidwillii), a Coast Redwood (Sequoia sempervirens), a rare Golden Funeral Cypress (Chamaecyparis funebris 'Aurea'), two large Funeral Cypress (Chamaecyparis funebris), and the only known Queensland Kauri (Agathis robusta) in a cemetery in Victoria.
The Cemetery records, including historical plans of the cemetery from 1859, are held by the administration and their retention enhances the historical significance of the Cemetery.
How is it significant?
Boroondara Cemetery is of aesthetic, architectural, scientific (botanical) and historical significance to the State of Victoria.
Why is it significant?
The Boroondara Cemetery is of historical and aesthetic significance as an outstanding example of a Victorian garden cemetery.
The Boroondara Cemetery is of historical significance as a record of Victorian life from the 1850s, and the early settlement of Kew. It is also significant for its ability to demonstrate, through the design and location of the cemetery, attitudes towards burial, health concerns and the importance placed on religion, at the time of its establishment.
The Boroondara Cemetery is of architectural significance for the design of the gatehouse or sexton's lodge and cemetery office (built in stages from 1860 to 1899), the ornamental brick perimeter fence and elegant cemetery shelter to the design of prominent Melbourne architects, Charles Vickers (for the original 1860 cottage) and Albert Purchas, cemetery architect and secretary from 1864 to his death in 1907.
The Boroondara Cemetery has considerable aesthetic significance which is principally derived from its tranquil, picturesque setting; its impressive memorials and monuments; its landmark features such as the prominent clocktower of the sexton's lodge and office, the mature exotic plantings, the decorative brick fence and the entrance gates; its defined views; and its curving paths. The Springthorpe Memorial (VHR 522), the Syme Memorial and the Cussen Memorial (VHR 2036), all contained within the Boroondara Cemetery, are of aesthetic and architectural significance for their creative and artistic achievement.
The Boroondara Cemetery is of scientific (botanical) significance for its collection of rare mature exotic plantings. The Golden Funeral Cypress, (chamaecyparis funebris 'aurea') is the only known example in Victoria.
The Boroondara Cemetery is of historical significance for the graves, monuments and epitaphs of a number of individuals whose activities have played a major part in Australia's history. They include the Henty family, artists Louis Buvelot and Charles Nuttall, businessmen John Halfey and publisher David Syme, artist and diarist Georgiana McCrae, actress Nellie Stewart and architect and designer of the Boroondara and Melbourne General Cemeteries, Albert Purchas.
Almost ready for top drawer trade fair at olympia london! this is one of our new range to be launched in 4 days time!!
Signs of irony, signs with statements that seem confusing, double entendre, or self-contradictory. In the first, bicycles on Nantucket Island, Massachusetts, are parked where it says “Don’t even think of parking here”. In the second, a country road traffic sign disobeys its own message, “No traffic signs”, seen near St. John in the Palouse area of southwest Washington State.
signs of irony 02 _ (palouse) _ (© 2015 megart)
Companion files:
signs of irony 01 _ (nantucket) _ (© 2015 megart)
signs of irony 02 _ (palouse) _ (© 2015 megart)
Journey Museum Mission Statement: "The Journey Museum is the education venue that serves as a forum to preserve and explore the heritage of the cultures of the Black Hills region and the knowledge of its natural environment to understand and value our past, enrich our present, and meet the challenges of the future."
©AVucha 2014
News article obtained from the Chicago Tribune:
Johnsburg, Illinois: A boating trip turned deadly Sunday afternoon for a Melrose Park man taking in Pistakee Lake in northwest suburban Johnsburg, officials said.
Preliminary autopsy results indicate the victim, 49-year-old William L. Trybula, died of drowning, according to a statement from the McHenry County coroner. Toxicology tests are pending, according to the statement.
McHenry Township Fire Protection District Battalion Chief Mike Majercik earlier said the victim was from Stone Park. He was pronounced dead at 5:05 p.m. at Centegra Northern Illinois Medical Center in McHenry, Majercik said.
According to an earlier statement from the coroner, the victim was found submerged in Pistakee Bay.
The victim was aboard a 23-foot Baja power boat with two other men and the friends stopped about 3:45 p.m. to take a swim. Two of them jumped into the water and the third stayed on the boat but turned off the engine. They were about 300 feet out in front of a home in the 4000 block of Pitzen Road in the village of Johnsburg, said Majercik.
One man swam back to bring his wallet to the boat but by that time, his friend was nowhere to be seen.
"They looked for the person in the water and could not find him,"’ Majercik said. "It was very windy."
Someone from the nearby home called 911 and about 10 different departments rushed to the scene with about 20 divers. One of the first responders, from a fire boat from Fox Lake, spotted a body floating in about 4 feet of water and rushed to him. But as they were hoisting him up about 4:30 p.m., their boat took on water and capsized, Majercik said.
Another boat got there quickly and the victim was place into an ambulance and taken to the hospital.
Majercik said the other two friends, one possibly from Chicago and the other from Schiller Park, were not injured. None of them were wearing life jackets.
Mark Adams, of Paradise Financial Partners nearby at 520 Bald Knob Rd., saw rescue workers on boats pull the man's body from the water.
"They took the body away in an ambulance," Adams said. The rescue boat flipped during the recovery, he said.
Adams said multiple towns responded with divers but crews were picking up and leaving about 5:15 p.m.
Lt. James Popovits of the McHenry County Sheriff's Office said Monday morning his agency will conduct an investigation of the incident.
Prod. 1976-
Sn.2005944
Top of the line 1976.
It was the first camera to feature both shutter priority and aperture priority automatic exposure modes.
XD-7 brochure:
"A definitive statement of the camera manufacturer's art. Minolta was the first to offer multi-mode exposure 35mm SLR camera: Minolta XD-7. The XD-7 is a completely professional camera, with an advanced "total information" viewfinder. Its sophisticated electronics combined with its lightweight, compact design make it on of the fastest and easiest SLR's ever built. In short, it's in a class by itself."
mir.com.my says:
"...the XD-7/11 settled the debate over aperture-preferred vs. shutter-speed-preferred automation because it was a both - it gives you a choice between either mode..."
"...it was the Minolta XD-7 that has kicked started the full and sophisticated automation in camera design in 1976..."
From Minolta XD-7 owner's manual:
Type: Compact 35mm single-lens reflex with shutter- or aperture-priority automatic or metered/full-manual exposure control.
Auto-exposure control: Special low-voltage, low-current computer circuit (incorporating large-scale monolithic and hybrid IC's, samarium-cobalt compound impulse-release magnets and linear-resistance inputs) varies aperture and/or shutter speed steplessly for proper exposure according to metering indication at the shutter-speed/aperture, and film speed, and/or exposure adjustment set. Auto-exposure range: EV 1 to EV 18 (e.g., 1 sec at f/1.4 to 1/1000 sec. at f/16) at ASA 100 with f/1.4 lens.
Shutter: Vertical-traverse metal blade focal-plane type, with electromagnetic release, Electronically controlled speeds: 1/1000 to 1 sec. steplessly on automatic modes or in steps on manual mode or at "X" (1/100 sec.) setting. Mechanically controlled settings (no battery power required): "O" (1/100 sec.), "B" (bulb)
Metering: TTL center-weighted type by silicon photo cell mounted at rear of pentaprism; at full aperture for normal display, at taking aperture for exposure (shutter-speed) determination or stop-down display
Film-speed range: ASA 12 to 3200 set by dial (around rewind-crank / back-release knob) with lock.
Auto-exposure adjustment: : Up to +-2 EV continuous adjustment of auto or metered manual with locks at zero position and each EV setting.
Mirror: Oversize quick-return type (PO value: 143mm) with pneumatic damper.
Viewfinder: Eye level fixed pentaprism type showing 94% of 24 x 36mm film-frame area
Magnification: 0.87X with 50mm standard lens focused at infinity.
Power: - D, variable with accessory Snap-On eyepiece correction lenses.
Focusing Screen: Fresnel-field focusing screen having an artificially regular patterned matte field plus central split-image horizontally oriented focusing spot surrounded by microprism band.
Visible around frame: Shutter speed and f-number set on "S" or "M" mode, f-number set with MD or most MC lenses on "A" mode; LED indication of aperture (on "S") or shutter speed (on "A" or "M") for correct exposure by 10 light-emitting diodes; LED over-/under-range indicators, upper of which also blinks as a flash ready signal with X-series Auto Electro-flashes and lights at "X," "O," and "B" shutter settings.
Eyepiece Shutter: Yeas, Built-in eyepiece shutter positioned by lever.
Flash sync.: PC-terminal and hot shoe for X-sync. (disconnected when unit not installed): Electronic flash synchronizes at 1/100 sec. (i.e., electronic "X" or mechanical "O" shutter settings) and slower step or stepless speeds; Class MF, M, and FP flashbulbs synchronize at 1/15 or slower speeds. Extra contact on hot shoe, receives signal from camera~control contact of X-series Auto Electro-flashes whenever capacitor is charged to cause upper LED triangle in finder to blink and then set shutter at fixed 1/100 sec.
Power: Two 1.5v alkaline-manganese or silver-oxide cells power both auto exposure control and shutter's electronically governed operation
Power switch in operating button.
Self-timer: Lever type, operating time variable up to approx. 10 sec. at full stroke; cycle started by pushing operating button.
More reading:
www.mir.com.my/rb/photography/hardwares/classics/minoltax...
A BBC video of the Exhibition from BBC World's 'Impact Asia' can be found here:
Exhibition and Charity Auction in aid of the British veterans of the Korean War.
A positive, dynamic and exciting exhibition of contemporary art by forty Korean Artists, reflecting on the Korean War and its legacy.
This exhibition thanked the men and women of Britain who came to Korea’s defence in the name of liberty in 1950.
Exhibition Dates: 16 June – 17 July 2010
The artworks were subsequently sold at a Charity Auction at the KCC with the kind support of Sotheby’s and The Royal British Legion.
The contributing artists for the exhibition PRESENT FROM THE PAST: The 60th Commemoration of the Korean War:
in alphabetical order:
Je BAAK, Seung Woo BACK, Chan-Hyo BAE, C Gene, Francesca CHO, Young-Jin CHOI, Sen CHUNG, Shan HUR, Yun Kyung JEONG, Eemyun KANG, KANG Yong Suk, Ayoung KIM, Hayoung KIM, Kira KIM, Dae Hun KWON, KWON Kyung-hwan, Changwon LEE, LEE Lee Nam, Sang Youp LEE, Sea Hyun LEE, Suejin LEE, Yongbaek LEE, NA Hyun, NANDA, Jae woo OH, Junggeun OH, Hyung Jin PARK, Jinhee PARK, PARK Jongha, PARK Jongwoo, PARK Sungsil, PARK Young Geun, SEO, Gunwoo SHIN, Meekyoung SHIN, Bada SONG, Yun-Hee TOH, Seungho YOO, YOO Hye-Sook, Jungu YOON
PRESENT FROM THE PAST: the 60th Commemoration of the Korean War
All Rights Reserved: The Korean Cultural Centre UK.
Aerials view of area near St. Patrick's Episcopal Church. Also shows Old Meadows Recreation Center, and water resevoirs on hill. Streaks in the underbrush on either side of the hill are from the failure of the old reservoir in December, 1972. Area of El Monte Rd. at Janss Rd. January 1973. Donated by Mark Williams. CTLwill008
There are no known U.S. copyright restrictions on this image. The Thousand Oaks Library requests that, when possible, the credit statement should read: "Image courtesy of Conejo Through the Lens, Thousand Oaks Library."
Marco Campanini's mastery of fundamental photography was honed in an amateur photo club comprised of retired railway workers based in a small town near Parma, Italy.
He graduated with degrees in Philosophy and Aesthetics. The subject of his thesis focused on the work of Maurice Merleau-Ponty, Italo Calvino and Giulio Paolini.
Campanini's deep level of commitment, customer care, focus and exactitude for a top-caliber product earned him the esteem of and regular cooperation with several clients internationally. These include some of the most important artists-photographers of the last forty years, working in the traditions of Bernd and Hilla Becher and Gerhard Richter.
At Artproof Marco Campanini conceptualizes, designs, optimizes, supervises and delivers superior precision and quality productions worldwide—always at fair and reasonable cost.
At every stage in the working process, each service offered to the client—such as drum scanning, the fine-tuning of a digital capture, postproduction work, printing, mounting, framing, or crating—is delivered according to the highest standards, employing the most premium materials and advanced technologies, and is overseen personally by him.
marco.campanini@artproof.eu
marco.campanini.prod@gmail.com
St Brides - In An Ideal World
image ENDS This Week - 'In An Ideal World' at St Brides, Percy Street
The Toxteth Art Gallery presents local artists from Liverpool city and abroad in a mixed exhibition of various media, curated by Alice Lenkiewicz. Based upon the theme,'In an Ideal World', presenting individual artworks and personal statements around this theme.
Artists:
Richard Gustavo Caroprese Hoyos
Tracy Dunn
Alice Lenkiewicz
George Lund
Arthur Roberts
Joel Bird
Janine Pinion
Sarah Ryan
Mary Fitzpatrick
Stephen Osu
Raymond Watson
Richard Ashworth
Barbara Jones
Danny John
Christine O’Reilly Wilson
Mark Owen
Wendy Williams
Ilsa Parry
Iain Yell
Barbara Harrison
Susan Sharples
Theresa Potter
Lee Donnelly
Carl Fletcher
Ken Bullock
St Brides, Percy St, L8 8LT
07954312390 or 07804511364
Wed-Sun:12.00-17.00