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CHELTENHAM ART GALLERY AND MUSEUM
DESIGN STATEMENT
The building mass has been organized to strengthen the relationships within the existing and proposed gallery extension. This is to allow a smooth visitor flow through the building and in addition to allow it to fully operate its public service, storage and administration facilities.
We have organised the spaces as follows. Level 1 (storage), Level 2 (gallery) are ‘enclosed boxes’. Gallery and museum now ‘link’ on one floor level. Open areas (public, shop, offices, roof terrace) are at Levels 0, 3 and 4 with plenty of daylight.
The form and space planning was established by applying a strong environmental approach to the project. Vertical ‘light boxes’ puncture the building volume allowing natural light and ventilation to filter through to volumes where necessary. This reduces the need for large mechanical equipment which is intensively energy consuming throughout the year. This outcome of this strategy is to produce a very low carbon producing building.
The Vertical ‘light boxes’ have been used to penetrate the mass volume and serve conceptually in the following ways:
- Physical connection between spaces on different levels.
- Daylight penetration down through building.
- Increase natural ventilation. Reducing deep floor plan.
- Provide structure and an architectural expression.
The entrance is open plan and spacious with the ‘light boxes’ diffusing light to create a ‘welcoming’ space.
Efficient access to the gallery and museum is through one large staircase which goes directly to level 2.
Storage is at level 1 and serves as a structural box platform to the lighter constructed accommodation above. No daylight and ease of connection to loading bay via goods lift makes this logical location for this space.
The ‘cube’ mass of the plot begins to form a distinctive architecture both externally and internally which responds and is respectful to the environment.
The Cheltenham Art Gallery and Museum has the potential by using these design principles to become a flagship project for cultural buildings as well as giving Cheltenham a new contemporary architectural ‘icon’.
NOTE:
SECURITY:
The contained space of each floor level provides a high level of security control. The elimination of split level, balconies and to exterior spaces allows a quality security strategy to be implemented to the scheme.
Sample submission from:
Contemplating the Void: Interventions in the Guggenheim Museum
Learn more about this submission here.
Please be patient while the information loads.
Julien De Smedt Architects (JDS), Brussels
Experiencing the Void, 2009
Digital print, 48.3 x 33 cm
Artwork © Julien De Smedt Architects (JDS)
Stick My Pop - Stelleconfuse Custom
www.flickr.com/photos/stelleconfuse/
[EN]
STICK MY WORD is coming....
We welcome all submissions from all artists that wish to participate in the next International Sticker Show “STICK MY WORLD” (mega combo).
Send your stickers before 2010 august 31st to be part of "STICK MY POP" (STICK MY WORLD # 4) @ ROMA (Italia).
For the address and more info, please send an mail to stickmyworld@gmail.com
DEADLINE: Just send your Stickers before august 31st, We'll use all the stickers for STICK MY POP (STICK MY WORLD #4).
IMPORTANT: Send Your stickers with your name, country, website or social networks.
FORMAT: Any kind of sticker, size, quantity or medium (only stickers). If You want, You may ALSO use this template to customize our sticker:
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PEACE!
OMINO71 - STICK MY WORLD
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[IT]
STICK MY WORD è tornato....
Cerchiamo sticker da tutti gli artisti che vogliono partecipare al prossimo show internazionale di sticker “STICK MY WORLD” (mega combo).
Invia i tuoi sticker entro il 31 agosto 2010 per prendere parte a "STICK MY POP" (STICK MY WORLD # 4) @ ROMA (Italia).
Per l'indirizzo e per maggiori informazioni, invia una mail a stickmyworld@gmail.com
DEADLINE: Invia I tuoi sticker entro il 31 agosto, ti assicuriamo che ogni sticker raccolto sarà impiegato durante STICK MY POP (STICK MY WORLD #4).
IMPORTANTE: Invia i tuoi sticker indicando il tuo nome, paese, sito web o social network.
FORMATO: Accettiamo ogni tipo di sticker, di qualsiasi dimensione, quantità e tipo, purchè siano sticker. Se vuoi, puoi ANCHE usare questo “template” per personalizzare il nostro sticker:
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PACE!
OMINO71 - STICK MY WORLD
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web
www.flickr.com/groups/stick_my_world/
www.facebook.com/stick.myworld
www.youtube.com/user/stickmyworld
www.myspace.com/stick_my_world
[SP]
Llega STICK MY WORD …
Esperamos los trabajos de todos los artistas que queráis participar en el próximo International Sticker Show “STICK MY WORLD” (mega combo).
Enviad vuestros stickers antes del 31 de Agosto del 2010 para formar parte del "STICK MY POP" (STICK MY WORLD # 4) @ ROMA (Italia)
Para la dirección y más informaciones, por favor manda un mail a stickmyworld@gmail.com
DEADLINE: Solo tienes que enviar tus stickers antes del 31 de Agosto. Vamos a mostrar todos los stickers en el STICK MY POP (STICK MY WORLD #4).
IMPORTANTE: Manda tus stickers con tu nombre, país, web o redes sociales.
FORMATO: Cualquier tipo de sticker, tamaño, cantidad o material (only stickers). Si quieres, puedes usar también este template para customizar nuestro sticker. docs.google.com/fileview?id=0BxUc0a59EXj7MGUwMjc2OGEtNmU2...
PAZ!
OMINO71 - STICK MY WORLD
stickmyworld@gmail.com
web
www.flickr.com/groups/stick_my_world/
www.facebook.com/stick.myworld
www.youtube.com/user/stickmyworld
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[FR]
STICK MY WORD revient...
Nous cherchons les stickers de tous les artistes qui veulent participer au prochain show international de stickers “STICK MY WORLD” (mega combo).
Envoie tes stickers avant le 31 août 2010 pour participer à "STICK MY POP" (STICK MY WORLD # 4) @ ROMA (Italia).
Pour l'adresse et plus d'informations, envoie un mail à stickmyworld@gmail.com
DATE LIMITE: Envoie tes stickers avant le 31 août 2010. Tous les stickers envoyés seront utilisés pendant STICK MY POP (STICK MY WORLD #4).
IMPORTANT: Envoie tes stickers avec ton nom, pays, site web, ou réseaux sociaux.
FORMAT: Nous acceptons toutes sortes de stickers, dimensions, quantités ou mediums (mais seulement des stickers). Si tu veux, tu peux AUSSI utiliser le modèle suivant pour personnaliser notre sticker: docs.google.com/fileview?id=0BxUc0a59EXj7MGUwMjc2OGEtNmU2...
PAIX!
OMINO71 - STICK MY WORLD
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web
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www.facebook.com/stick.myworld
www.youtube.com/user/stickmyworld
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[PT]
STICK MY WORD está chegango...
Estamos recendo inscrições de todos os artistas que queiram paraticipar do próximo International Sticker Show “STICK MY WORLD” (mega combo).
Envie seus stickers até 31 de agosto 2010 para fazer parte do "STICK MY POP" (STICK MY WORLD # 4) @ ROMA (Italia).
Para saber o endereço e mais informações, por favor envie e-mail para stickmyworld@gmail.com
Prazo final: envie seu sticker até 31 de agosto. Nós usaremos todos os stickers no STICK MY POP (STICK MY WORLD #4).
IMPORTANTE: envie seus stickers com seu nome, país e website ou redes sociais.
FORMATO: qualquer tipo de sticker, tamanho, quantidade ou mídia (desde que seja apenas em sticker). Se você quiser, pode usar TAMBÉM este tamplate para
personalizar seu sticker: docs.google.com/fileview?id=0BxUc0a59EXj7MGUwMjc2OGEtNmU2...
OMINO71 - STICK MY WORLD
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web
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www.facebook.com/stick.myworld
oil pastel drawing for gallery. 2.5 by 5 ft. from my photo of two guys fighting on granville street.
The vulture on the ground had to bow down in submission to the vulture coming in from the air at this Wildebeest kill.
“You don't make a photograph just with a camera. You bring to the act of photography all the pictures you have seen, the books you have read, the music you have heard, the people you have loved.”
― Ansel Adams
Despite what it looks like, "Herbie" isn't injured. He is just being submissive to an older Magpie sitting in a nearby tree. I won't actually know if Herbie is male or female until s/he gets his full adult colouring. If he is male, he will probably be driven off by the adults in the area.
My submission for ‘Made in Britain’ @ London Miles Gallery - a Themed group exhibition featuring all new 24 x 24 inch artworks from a selection of artists living and working in the UK.
Opening Reception: Friday, September 10th 2010 - 7pm-11pm
One view until October 1st 2010.
For more info:
www.londonmiles.com/Made-in-Britain.html
"Beaten Britain"
Three color hand cut stencil
High gloss enamel and spray paint on aluminum.
24 x 24 inches.
Framed £800
Jennifer Eliogu, Zack Orji, Ramsey Noah, Patience Ozokwor
For more in detailed reviews check out Nollywood Forever Blog
goinfographic.com/ - We can Go infographic have best Ways for InfoGraphics Submission to communicate a complex information for developing extensive logo. You can easily convert your information into amazing visual logo.
CHELTENHAM ART GALLERY AND MUSEUM COMPETITION REPORT September 07
Invitation: An inviting, open, accessible and visually engaging intervention in the streetscape
Journey: Creating a clear, logical and inspiring circulation route
Flexibility: Clear organisational strategy allowing for the flexible use of the building
Urban Strategy/Architectural form/ Invitation:
The new extension respects the general scale of Clarence Street and at the same time gives an expression of the functions contained at the various levels of the building.
The facade is open at the base to draw passers by into the folds of the building and experience glimpses of the exhibition objects signifying the nature of the building. The public facilities including the café and shop are also at this level. The café can spill out onto the street and to the covered loggia. The loggia is contained by the activity of the education suite on the ground floor and the more protected archive and study area on the first floor. These activities benefit from protected glazed walls looking onto the street.
A double height cut into the new facade, in conjunction with a projecting glass display, signifies the location of the main entrance. This entrance route connects through the building from Clarence Street to Chester Walk creating an important link though the site to the centre of town, extending the public domain.
The façade at the second floor level is generally solid as this contains the main exhibition galleries. The façade steps up above the entrance to reflect the location of a double height gallery space.
Roof terraces at the third floor level allow staff and visitors to the meeting room/hospitality area, a view over the city. This articulation of the façade allows for controlled daylighting into the upper level of the gallery.
Journey:
The secondary space of circulation is the event of the building, as important to the overall experience of the building as the primary gallery spaces. This journey gives a sense of the unfolding experience and order of the building. The journey starts on Clarence Street with the signal and invitation proffered by the projecting glass display and continues through to the main reception in the full height foyer.
To aid orientation the vertical circulation revolves around this foyer with an open stair running parallel to the through route and a series of bridge crossings into the small galleries behind no. 51. The visual invitation to these various levels of gallery space is received in the entrance foyer.
Organisation/flexibility:
The activity of the education suite, located on the ground floor, is visible from the protected loggia. This function can be relocated to allow for public access to the ground floor of the existing library when this becomes available in the future.
The publicly accessible archive and storage area is located on the first floor. Further storage is located on the ground floor and in a basement area.
The temporary gallery, including the existing Arts and Crafts Gallery, occupies the whole of the second floor of both the new extension and the existing and revamped 1989 building. This allows for maximum flexibility in the use of the gallery and facilitates a natural connection in to the existing galleries in the library building.
Whilst not part of the competition site, the ground floor of No. 51 is ideal for use as the café and this has been included in the proposals. It is noted that No. 51 is to be used for artist’s studios. In this context it has been considered a possibility, while providing a new staircase for the new gallery that this could also double up as the stair for the artist’s studios. This would allow for the removal of the rather haphazard existing stair to create more useful studio space. This is, of course, subject to listed building approval.
Materials/services/sustainability:
It is important that the whole design contributes to the sustainable agenda. This includes:
street spaces (loggia) to encourage a range of informal activities
an efficient building form to reduce the amount of heat loss from the envelope
controlled daylighting to appropriate areas to reduce energy requirements
solar shading to south facing glazing
use of natural and renewable materials
habitable roof and rainwater harvesting
The façade is to be constructed of Bath stone laid in random ashlar courses. This stone façade turns into the building and forms one wall of the main public staircase culminating in the lift tower. This together with the stone flooring gives the appropriate signals to the public route through the building and up into the gallery. The internal walls will be a natural lime render in the circulation routes. Painted timber panels will be utilised in the exhibition spaces to allow for flexibility of hanging artworks.
To achieve a sustainable design to meet BREEAM excellent rating, it is proposed to use both natural and renewable materials. Prefabricated, cross laminated timber panels are proposed for floors walls and roof structure. These are from a renewable resource, eliminate site wastage and allow for ease of fixing for art works.
An accessible green roof is proposed for part of the new roofscape in conjunction with rainwater harvesting.
Due to the deep plan and the nature of the exhibits, the gallery will require constant artificial illumination. It is proposed to use a combined heat and power plant to replace the existing gas boilers in the roof space of the 1989 building. This will supply the electricity for the lighting system and the waste heat will be used for warm air space heating.
Accommodation:
From our interpretation of the brief and the answers to questions the following accommodation has been provided:
Gallery space (ground, 1st and 2nd floor)
Picture gallery (1st floor)100 m2
Arts and crafts Gallery200 m2
Temporary gallery300 m2
display (ground and 1st) 30 m2
display existing building (gf)35 m2
Education (ground floor)
Education suite69 m2
Education store50 m2
Museum take-away collection45 m2
Education toilets
Open archive/study (1st floor)150 m2
Storage
Basement240 m2
1st floor160 m2
Temporary exhibition store (gf)40 m2
Offices/workshops
Workshop/office (ground floor)50 m2
Conservation workshop(1st floor) 30 m2
Additional offices (3rd floor)2 x 25 m2
Reception (ground floor)
Café (ground floor no 51)70 m2
Shop (ground floor)46 m2
Toilets (ground floor)
Meeting room (3rd or 4th floor)60 m2
Corporate hospitality (3rd or 4th floor)60 m2
Professores e Atletas
Com o apoio da Federação de Jiu-Jitsu do Paraná, será realizada NO PRÓXIMO
DIA 11/03, SÁBADO, a I COPA QUIOSQUE NATUREZA de SUBMISSION.
O local será o Ginásio de Esportes do SEST SENAT, rua Salvador Ferrante
1440, Boqueirão, Curitiba PR. As instalações são de primeira, bem como o
Ginásio de Esportes e os vestiários. O telefone do SEST é 3014-1496.
Sua localização é a seguinte:
> Indo pela Mal Floriano sentido Boqueirão, passe a Loja da CASA CHINA,
> em seguida o Supermercado CONDOR e no 1º. Sinaleiro vire à direita (Black
Burger), depois vire na 1ª à esquerda e a 1ª à direita novamente.
CARD SUJEITO A ALTERAÇÕES
80kg Ocimar Costa (OCS)
Junior (Cia.Athletica)
64kg - Willian Campos Galetinho (Gile Ribeiro)
Imerson Oliveira (Arena Prof. Brito)
80kg - Alisson Leandro (Chute Boxe)
Gabriel Miranda (CM System)
88kg - Marlon Ferrari ( Arena Prof. Marcelo Brito)
Alisson Vicente (Chute Bxe)
84kg - Luan (Gile Ribeiro)
Diego Gaspareto (Thai Brasil)
87kg - Vagner Tiburcio ( Arena - Brito/Noguchi)
Mauri Roque (Gracie)
83kg - Diego Guarapuava (Gracie)
Alcenir Pique (Thai Brasil Guaratuba)
83kg - Cleber Argente ( Thai Boxe Sapo)
Rodrigo Dória ( Thai Brasil Jaba)
87kg - Alessandro Geloco (Strikers House)
João Pedro ( Arena Prof. Brito)
64kg - Larry Vargas (CM System)
Fernando Marrentinho (Arena Prof. Brito)
75kg - Rocha ( Arena Prof. Brito)
Matheus Costa (OCS)
100kg - Cleyton (UDL)
Rafael Monteiro (Arena Prof. Brito)
82kg - Goiti Yamauchi (Arena Prof. Brito)
Bruno Pires (OCS)
80kg - Vitor Guimarães ( R. Puléu - Mato Grosso )
Rafael Amaral (Chute Boxe)
70kg - Fábio Assolari (Combate Absoluto)
Paulão Bueno (Zenedim)
60kg - Andrey Adam (Arena Prof. Brito)
Ranieri Zenedim (Zenedim)
70kg - Henrique Adam Del Colle ( Arena Prof. Brito)
Alessandro Hassen ( Gile Ribeiro)
60kg - Sander Sagui ( Arena Prof. Brito)
Douglas Santos (CheckMatt)
Alessandra Silva (Combate Absoluto)
Luara Beltrame (ChekMatt)
80kg Anderson Moraes (CkeckMatt)
Robson Francisco (Telemaco Boraba)
67kg André Lucessi (CkeckMatt)
A DEFINIR
77kg - Alessandro Martins ( Gile Ribeiro)
A DEFINIR
EM BREVE DIVULGAREMOS O CRONOGRAMA DAS ETAPAS DO PARANAENSE 2012 QUE SERÁ
REALIZADO EM 5 ETAPAS, 3 NO INTERIOR E 2 EM CURITIBA.
Evanri Gurgel
Presidente
Federação de Jiu-Jitsu do PR
(41) 3263-4277
(41) 9193-8989
This half tail tuck along with a partially arched back indicated that a wolf is humbling itself to a more dominant wolf and is a form of submission.
One of the more stomach-churning rides at Alton Towers, which may be why there's no-one on it in this shot. It swings around quite slowly in a complete circle and the car lurches around as it reacts to the forces. (I'm not a physicist - are they G forces or centrifugal forces or what?)
My entry for the September scavenger hunt 'Pendulum' category. My scientist friend Matt assures me that this is a 'compound pendulum', so it counts.
Photos from the Texas Submission Challenge held May 29, 2004 at the University of Dallas Maher Athletic Center
UNESCO Tentativelist.
whc.unesco.org/en/tentativelists/5906/
Ancient City of Kaunos
Turkey
Date of Submission: 15/04/2014
Criteria: (i)(ii)(iii)(iv)
Category: Cultural
Submitted by:
Permanent Delegation of Turkey to UNESCO
State, Province or Region:
City of Mugla, Mediterranean Region
The Secretariat of the United Nations Educational Scientific and Cultural Organization (UNESCO) and the World Heritage Centre do not represent or endorse the accuracy or reliability of any advice, opinion, statement or other information or documentation provided by the States Parties to the World Heritage Convention to the Secretariat of UNESCO or to the World Heritage Centre.
The publication of any such advice, opinion, statement or other information documentation on the World Heritage Centre’s website and/or on working documents also does not imply the expression of any opinion whatsoever on the part of the Secretariat of UNESCO or of the World Heritage Centre concerning the legal status of any country, territory, city or area or of its boundaries.
Property names are listed in the language in which they have been submitted by the State Party
Description
The property within boundaries of District of Koycegiz is located in the face of Dalyan City and on the right shores of Dalyan Stream (Calbis) which connect Koycegiz Lake to Mediterranean. It was the capital of the ‘Kaunos Region’ between the Caria and Lycia until the beginning of the 4th BC.
The existence of Kaunos had known by the scholars but its location was a mystery until English archaeologist Hoskyn discovered it in 1842. Swedish archaeologist P. Roos defined the independent state boundaries of Kaunos as follows: “Starting from the Fethiye Bay at the north and Ancient City of Krya at the north of the bay; extending till Tlos at the 35 km east of Fethiye, Idyma at Gokova Bay at the west and Çamkoy located in the west of Urla which is little forward to north.” In today’s context, the coastal area starting from the south plains of Mugla and extending till the mountains between Mugla and Antalya was under the sovereignty of Kaunos. Kaunos has kept this borders until the 4th century BC but then lost its statue of sovereign state after the Persian invasion. It was one of two cities resisting against Persian invasion (other is Xanthos) such that they paid high taxes to prevailing states many times in order to keep their independency as a port city.
Kaunos was mentioned as Ksibde in Lycian scripts, while as Kbid in the scripts of other surrounding cities. Life style and language of Kaunos people share similarities with Carian people except five letters in their alphabet are not seen in latter which makes Kaunos language is unique to them. Heredot reveals in this respect that “There is Carian influence in their language or their influence in Carian language. This is an issue which I couldn’t clarify.” In fact, epigraphic materials in Carian language are found mostly in Kaunos today. Kaunosian could not be understood until very recently just because Carian language was not decoded. However, by virtue of a stela written in Greek and Carian, it has been possible to unravel Carian language and a little of Kaunosian due to Greek language had already been known.
Kaunos was an important sea port city with two ports; one is in the south at the southeast of Küçük Kale (Small Castle) and the inner port at its northwest, the present Sülüklü Göl (the Lake of the Leeches). The southern port was used from the foundation of the city till roughly the end of the Hellenistic era, after which it became inaccessible due to its drying out. The latter was used till the late days of Kaunos, but due to the silting of the delta and the ports, Kaunos had by then lost its important function as a trade port and started becoming poor. After Caria had been captured by Turkish tribes and the serious malaria epidemic of the 15th century AD, Kaunos was completely abandoned.
The city was constructed on terraces; significant religious structures like Baselius Kaunios Temple, Apollon Sanctuary and Demeter Sacred Rocks on one side and Bath, Theatre and other structures including Palaestra on a large terrace which is called Upper City on the other. The monumental terrace on which the Upper City situated connects Baliklar Mountain with the Acropolis by extending the city into Mediterranean like a tongue and naturally creating a second harbour basin in the east.
In many places in the ancient city, it has been found stone cutlery and arrowheads from Palaeolithic era. The finding and remains in Kaunos reveal the prosperity of the city as a great power of its time and that it was a sovereign state which minted on its behalf. The coins printed in this region especially in the first half of the 5th century BC are of great importance since a winged figure is displayed on the front side while pyramidal formed monoliths on the back. Besides, letters of K and B found on the coins are important due to they are the first two letters of the first name of Kaunos, Kbid.
The oldest find at the Kaunos archaeological site is the neck of a Protogeometric amphora dating back to the 9th century BC, or even earlier. A statue found at the western gate of the city walls, pieces of imported Attic ceramics and the South – Southeast oriented city walls show habitation in the 6th century BC. Although none of the architectural finds at Kaunos itself dates back to earlier than the 4th century BC, history of Kaunos is believed much earlier than that.
Because of the paleogeographic formation of Dalyan Delta and the silting of the former Bay of Dalyan (from approx. 200 BC onwards), Kaunos is now located about 8 km from the coast.
Utilizing our exclusive website services of press release submission
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“If you want to really hurt you parents, and you don't have the nerve to be gay, the least you can do is go into the arts. I'm not kidding. The arts are not a way to make a living. They are a very human way of making life more bearable. Practicing an art, no matter how well or badly, is a way to make your soul grow, for heaven's sake. Sing in the shower. Dance to the radio. Tell stories. Write a poem to a friend, even a lousy poem. Do it as well as you possible can. You will get an enormous reward. You will have created something.”
― Kurt Vonnegut
or if you prefer a simpler approach:
“We don't make mistakes, just happy little accidents.”
― Bob Ross
I am Proud to be a sissy husband because I know that I am an Inferior male and I am happy to live my life as an Inferior Beta male and Cuckold husband.
The following was taken verbatim from the Current.TV website:
For good and valuable consideration (including, without limitation, the possibility of publicity), the receipt and sufficiency of which are hereby acknowledged, the undersigned ("I," "me," or "my" whether such party is an individual or an entity) is submitting certain concepts, ideas, communications and/or materials ("Submission") for the benefit of Current TV, LLC ("Current"), upon the following express understandings and conditions. (If I am submitting materials in connection with a contest or promotion, defined terms will have the meaning set forth in the applicable Official Rules, which are incorporated by reference, unless otherwise noted.)
1. Submission Guidelines. The Guidelines that are posted on www.current.tv (and applicable Official Rules, if I am entering a contest), which I represent and warrant I have read, understand and will follow are incorporated herein by reference.
2. Grant of Internet Rights and Reserved Ownership.
(a) In consideration of Current's evaluation of my Submission, I hereby grant to Current the exclusive, royalty-free perpetual right to exhibit, display and otherwise distribute my Submission via Current's web site for a period of three (3) months from the date on which I upload my Submission to the Current web site (the "Internet Rights").
(b) I further grant to Current an option to acquire the exclusive right to broadcast, exhibit or otherwise distribute my Submission in all media throughout the world in perpetuity (the "Option"). I acknowledge that Current may exercise the Option by notifying me at any time within three (3) months of the date I upload my Submission on Current's web site (the "Option Period") I further acknowledge that during the Option Period, I will not exploit and I will not authorize any other person to exploit my Submission in any commercial medium without Current's prior written consent.
(c) In the event that Current does NOT exercise the Option during the Option Period, then I may elect to remove my Submission from Current's web site, in which case the Internet Rights shall revert to me and Current shall have no right to exhibit my Submission on the Internet. I recognize that if I do not remove my Submission from Current's web site, I shall be deemed to have granted to Current a nonexclusive license to exercise the Internet Rights.
3. Grant of Rights in Other Media; Option Fee.
(a) In the event that Current DOES exercise the Option, then Current will pay me an Option Exercise Fee as follows:
(1)For my first Submission optioned by Current: $250
(2)For my second Submission optioned by Current: $500
(3)For my third Submission optioned by Current: $500
(4)For my fourth Submission optioned by Current: $750
(5)For my fifth Submission optioned by Current: $750
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Executed as of the date the Submission was submitted online.
Submission for the group "52 of Twenty Eleven"
Week #33
Theme: Geometry
Taken on 08/20/2011
I spent all week looking for an item to shoot for the theme, but these darn blocks kept coming back in my mind every time I thought of it. I promise I will put more effort into this next week! Week of He-double hockey sticks at work!
** 3rd place winner for the week! Thanks to everyone who voted in the group!! **
By Janine Holdsworth, Camden Nursing Home, 78 Old Hume Highway
Camden NSW 2570
We are a 104 bed nursing home that is divided into 3 sections. We hold an internal Christmas decoration competition between the 3 sections, the DT department, the GSO’s and Management.
Management invites our Aged Care Support Manager from Head Office to come to the facility where the theme draw is undertaken. He then comes back and judges. There is no prize as such, however the winner gets there sections name engraved on the “perpetual tray”.
It is great to watch the staff become involved and the residents and their families get such a kick out of watching the areas take shape and a very festive feel flows around the Nursing Home.
So now that I have given you a bit of a background to our decoration mania I have been asked by the staff not to select 1 photo but to send in a photo of each section. The most difficult task is which photo’s to send as behind every door and along every corridor is another Christmas related theme. The home itself is well over 150years old and has narrow corridors and very high ceilings, so decorating can be a challenge. The staff have become very creative and the use of fishing line and blu tak are the essential tools they require.
Find attached a small selection of photos for the competition.