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I tried the best I could to find this exact plane and had no luck..
And on another note, stupid me forgot to set the ISO back to 100 and then I though, "Ohh damn, it's going to be noisy." So I did the best I could to reduce it in LR and this is what I got.. Not happy with it though.
The Holy Thorn Reliquary in the British Museum is a stunning example of medieval craftsmanship and religious devotion. Created in the late 14th century, this reliquary is made of gold, enamel, and precious gems, intricately adorned with scenes from the life of Christ and biblical figures. At its center is a thorn purportedly from the Crown of Thorns worn by Jesus during the crucifixion, symbolizing his sacrifice and redemption. The reliquary's elaborate design reflects the reverence and spiritual significance attached to relics in medieval Christianity, serving as a tangible connection to the sacred and a testament to the fervent piety of the era.
Jacopo Bassano (c. 1510/12-1592), actif dans Bassano
Adoration des Mages, vers 1555-1560
Jacopo Bassano apporte avec ses scènes rurales et leur réalisme tangible un nouveau ton dans la peinture vénitienne. Dans le même temps, il s'avère dans ses meilleures œuvres, auxquelles fait partie cette Adoration des Mages, comme représentant du maniérisme complètement à la hauteur de son temps. Pleine de contrastes de couleurs les plus audacieux et de recherches de forme raffinée, des détails réalistes et de motifs abstraits soudainement sont juxtaposés.
Jacopo Bassano (um 1510/12-1592), tätig in Bassano
Anbetung der Könige, um 1555-1560
Jacopo Bassano bringt mit seinen länglichen Szenen und ihrem handfesten Realismus einen neuen Ton in die venezianische Malerei. Gleichzeitig erweist er sich in seinen besten Werken, zu denen diese Anbetung der Könige gehört, als ein völlig auf der Höhe der Zeit stehender Vertreter des Manierismus. Voll von kühnsten Farbkontrasten und raffinierten Formerfindungen, stehen realistische Details und abstrakte Motive unvermittelt nebeneinander.
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
When my sister went to college, most of her stuff was still here. When my sister moved to NYC, most of her stuff was still here.
We took most of it to her at Thanksgiving, and now it feels real.
An empty room is more tangible than distance.
Tangible Engine is a new visualizer, configurator, and software development kit that allows developers to easily connect real-world objects to applications running on Ideum multitouch tables. Tangible Engine also comes with a starter kit of object markers and instructions for 3D printing them. Tangible Engine works with Ideum multitouch tables that use 3M touch technology, including the 55" and 65" Platform and Pro.
To learn more please visit the website.
¨Think well to the end,consider the end first¨
Leonardo da Vinci
Quantum flux of macrocosm and microcosm,where tangibility is the wholesome of intangibility.
THE CIRCLE AND THE SQUARE
Location: Leonardo museum, Firenzee
TeleAbsence is the title of the Ars Electronica Garden Cambridge / MIT Media Lab hosted by Tangible Media Group / Massachusetts Institute of Technology (MIT) Media Lab (US).
The Portuguese term saudade refers to a nostalgic longing for someone or something one cares for. We propose TeleAbsence as a counter concept to Telepresence. If Telepresence connects people who are separated but still reachable, the ultimate goal of TeleAbsence’s is to soothe saudade by providing the illusory experience of communicating and interacting with people who are no longer among us.
Photo: MIT Media Lab Tangible Media Group
This grand two-storey public building was once home to the London Chartered Bank of Australia. It was built from locally quarried sandstone in 1887 after a tender had been won by T Burnett of Goodwood, South Australia.
The verandah is a particularly fine example of late Victorian architecture, with paired timber posts embellished with delicate cast iron lacework. Views over Wilcannia would have been enjoyed by the bank manager, who lived in a residence upstairs.
The building was purchased by the Central Darling Shire Council in 1972 and the Shire minutes show that it cost $8000. It has strong associations with the growth of banking facilities within the region, and more recently with the administration of the shire.
The solid and ornate door of the original bank safe cost £800 back in 1887, which is equivalent to $115, 000 today.
Aboriginal History of Wilcannia:
Wilcannia is located on the Darling River, about halfway between Bourke and Wentworth. The river is known as Barka by the local Aboriginal people or Barkandji, literally people belonging to the Barka, and it is surrounded on all sides by Barkandji speaking people. The people from along the Barka and varying distances either side from near Bourke down to Wentworth all recognised the Barkandji language as their primary language, but they were divided into subgroups with different dialects of this one language. The Barkandji language is very different from all the neighbouring languages including the adjoining Ngiyampaa/Ngemba to the east, the Kulin, and Murray River languages to the south, and the Yardli and Thura-Yura language groups to the west and north.
Barkandji have a unique culture and depended heavily on the grinding or pounding of seeds on large grinding dishes or mortars and pestles, such as grass, portulaca, and acacia seeds. In the riverine areas, there is a strong emphasis on aquatic plant food tubers and corms, and fish, yabbies, turtles, mussels, and shrimps as well as water birds and their eggs. Insect foods were also important, such as parti or witchetty grubs along the rivers and creeks, and termite larvae in the Mallee country. Large and small canoes were cut out, necessitating ground edge axes, and string manufacture for fish nets, hunting nets, bags, and belts was an important part of the culture. The Wilcannia area still shows tangible evidence of traditional life in the form of canoe trees, coolamon trees, middens, heat retainer ovens, ashy deposits, stone tool quarries and artefacts.
Thomas Mitchell led the first exploring party to reach Wilcannia and gave the Barkandji their first unpleasant taste of what was to come. Mitchell travelled via the Bogan to the Darling River near Bourke and then down the river to Wilcannia then Menindee, reaching it in July 1835. Mitchell was harassed by Barkandji as he did not understand that he had to properly negotiate permission for use of water, grass, land to camp on etc., and in addition his men were abusing women behind his back and breaking all the rules. He gave them names such as the Fire Eaters and the Spitting Tribe as they tried to warn him off. His comments show that the Barkandji groups he met occupied "different portions of the river", and that they owned the resources in their territories including the water in the river. The exclusive possession enjoyed by the Barkandji and the need to obtain permission before using any of their resources is demonstrated by the following comment about the "Spitting Tribe" from the river near Wilcannia:
"The Spitting Tribe desired our men to pour out the water from their buckets, as if it had belonged to them; digging, at the same time a hole in the ground to receive it when poured out; and I have more than once seen a river chief, on receiving a tomahawk, point to the stream and signify that we were then at liberty to take water from it, so strongly were they possessed with the notion that the water was their own"
A hill 15 kilometres north of Wilcannia was named Mount Murchison by Mitchell and this became the name of the very large original station that included the location that was to become Wilcannia township.
In 1862 the area northwest of Mount Murchison Station was still frontier country with continual conflict. Frederic Bonney was based at Mount Murchison homestead and then nearby Momba homestead from 1865 to 1881 and he bluntly states in his notebooks that in this period "natives killed by settlers - shot like dogs"
Bonney recorded extensive detail about the lives, language, culture, and personalities of the Aboriginal people at Mount Murchison/Momba and left us with extremely significant series of photos of Aboriginal people taken in this period. He does not elaborate about the way the station was set up except for his comment above. Frederic Bonney not only respected and looked after the local people but he sympathised with them, worked with them, and respected them. The Bonney papers and photographs are a treasure of information about the Aboriginal people living there between 1865 and 1881. Bonney published a paper in 1884 but long after he had returned to England to live he campaigned for the better treatment of the Aboriginal people, and he tried to educate the public about the complexity of Aboriginal culture.
Bonney names about 44 individual Aboriginal people living at Momba in this period, and one group photo from the same period shows a total of 38 people. Descendants of some of the people Bonney describes still live in Wilcannia and surrounding areas today.
Aboriginal people worked on Moomba and Mount Murchison Station, and from very early times fringe camps grew up around Wilcannia. The land straight across the River from the Wilcannia post office was gazetted as an Aboriginal Reserve, and this became the nucleus of a very large fringe camp that grew into a substantial settlement spaced out along the river bank in the 1930s to the 1970s. By 1953 the Aboriginal Welfare Board had built a series of 14 barrack-like and inappropriately designed houses in an enlarged reserve, now an attractive tree lined settlement known as the Mission (although never a mission it was beside a Catholic School and clinic, thus the name). Today Aboriginal people are the majority of the population of the vibrant, creative, and culturally active town of Wilcannia, and the main users of the post office facilities.
Wilcannia History:
The first secure pastoralists at Mount Murchison were the brothers Hugh and Bushby Jamieson of Mildura Station on the Murray, who in 1856 took up Tallandra and Moorabin blocks, later extended with other blocks and named Mount Murchison Station. Captain Cadell's paddlesteamer Albury was the first to travel up the Darling, landing flour and other stores for the Jamiesons at Mount Murchison in February 1859. The Albury then loaded 100 bales of wool from their woolshed and brought it down to Adelaide. At this time there were no other stations on the Darling between Mt Murchison and Fort Bourke. A little later:
"An enterprising attempt has just been made by Mr. Hugh Jamieson, of Mount Murchison, to bring fat sheep speedily to Adelaide. Mr. Jamieson having chartered Captain Cadell's steamer, Albury, that vessel was prepared, and received on board at Mildura 550 fine fat sheep. These were landed at Moorundee last Tuesday, after a rapid passage of two days, all the sheep being in splendid condition when put ashore"
Jamiesons sold in 1864 to Robert Barr Smith and Ross Reid from Adelaide. The brothers Edward and Frederic Bonney were leasing some adjacent blocks and possibly worked at Mount Murchison for these owners. In 1875 they bought the Mount Murchison/Momba complex, one of the largest stations in New South Wale. In 1865 it was known as Mount Murchison, in 1881 it was all known as Momba, later splitting into smaller stations. The original Mount Murchison Station homestead block was also known as Head Station or Karannia, the Barkandji name for the area just north of the town near where the Paroo River comes into the Barka. The original Mount Murchison woolshed was located on what is now Baker Park, Wilcannia, which is adjacent to the current Post Office.
The site of Wilcannia was selected on Mount Murchison Station in 1864 by John Chadwick Woore, who was appointed Commissioner of Crown Lands of the Albert District in 1863 and was based at Wilcannia. The town was proclaimed in 1866 and in the 1870s it became a coaching centre for prospectors exploiting the region's gold, copper, silver, and opal resources, and the administrative, service, and shipping centre for the pastoral industry. Wilcannia was incorporated as a municipality in 1881, and around this time it became New South Wales biggest inland port and Australia's third largest inland port (after Echuca Victoria and Morgan South Australia). 'The Queen of the River' or 'Queen City of the West'. At the height of its prosperity around 1880, the town boasted a population of 3,000. According to the Register of the National Estate, during 1887 alone, 222 steamers took on 26,550 tonnes of wool and other goods at Wilcannia wharves. The value of goods coming down the Darling River in 1884 was 1,359,786 pounds, and included over 30,000 bales of wool. The customs house, another Wilcannia stone building now demolished, located immediately between the Post office and the river bank and wharfs, took 17,544 pounds in customs duties in 1889. Paddlesteamers gradually declined, particularly after the 1920s, although a few continued to trade up and down the river into the 1940's, still remembered by elderly Wilcannia residents.
Wilcannia in the 1870s and into the 1900s was the centre of the pastoral and mining boom of the far west of New South Wales, and it was the centre of the paddlesteamer river trade from the Upper Darling to the Murray River and outlets such as Adelaide and Melbourne. The frequent dry seasons and lack of water in the river led to other methods of transporting goods being used, such as camel trains, but when the water came down the river trade always returned. The river trade built Wilcannia's fine buildings, but it was also its undoing, as the New South Wales government intervened to reduce the river trade because goods were moving to and from Adelaide and Melbourne, not Sydney.
Plans to improve navigation on the river were suggested in 1859 after Captain Cadell's first successful voyage up the Darling that was followed by other paddlesteamers. Cadell gave evidence at a New South Wales Select Committee that the Darling would be become reliable for boats if a system of locks were built at very reasonable cost that would hold back water during the drier seasons. The plans to build locks along the Darling River to make navigation more consistent were investigated again and again, but were not realised because the New South Wales government believed trade would benefit Victoria and South Australia.
After the opening of the Sydney to Bourke railway line in 1885, Wilcannia lost its status as the major commercial centre of the Darling River. The trade from the far North West New South Wales then tended to go to the railhead at Bourke and straight to Sydney. There were plans in the 1880s for the railway to be run from Cobar to Wilcannia, however this plan was continuously put off. Plans for a railway to Wilcannia continued to be made throughout the 1890's and early 1900's, and including a proposal from Cobar to Broken Hill then linking to South Australia as the Great Western Railway. In 1907 "a large petition was forwarded to Sydney from Wilcannia for presentation to the Premier urging immediate construction of the Cobar-Wilcannia Railway, and subsequent extension to Broken Hill".
The New South Wales government attempt to stop trade leaking out of the state resulted in their refusal to build a railway to Wilcannia (as goods tended to go to Wilcannia and down the river), or to extend the railway to South Australia for the same reasons. The bend in the river on the north side of town celebrates this government intransigence by its name "Iron Pole Bend", the iron pole said to have been placed at the surveyed location of the proposed railway bridge. New South Wales eventually built a railway through the low population Ivanhoe route to the south of Wilcannia reaching Broken Hill in 1927, and even then it stopped at Broken Hill and did not join the South Australian line until 1970. The link between Broken Hill and the South Australian railway was provided from 1884 to 1970 by the narrow gauge private railway 'the Silverton Tramway', which also took trade from Wilcannia.
The combination of missing out on the railway and locking of the river, the severe drought on 1900 - 1901, and the damage to the pastoral economy by drought, rabbits, and over grazing, led to a down turn in Wilcannia's prospects, leaving the fine stone buildings such as the post office languishing as tangible reminders of a time when Wilcannia was known as the "Queen City of the West" and was the largest inland port in New South Wales and the third largest inland port in Australia.
Source: New South Wales Heritage Register & Central Darling Heritage Trail.
In the 1970s business in Mount Isa was booming and the population was steadily growing. The royal visit of Queen Elizabeth and Prince Phillip in 1970 prompted Mount Isa Mines to donate $100,000 towards the establishment of the Civic Centre Complex to include a multipurpose function centre and public library surrounded by a public garden space. The business community supported the project with $1,000 donations.
Mount Isa City Council sponsored an architect’s competition for the design and planning of the complex, inviting six prominent firms to submit their plans. The winning entry was from Lund, Hutton, Newell and Paulsen, a Brisbane firm, and the building was designed by John M. Morton, who also designed the heritage listed Kinkabool building at Surfers Paradise for Lund, Hutton, Newell and Paulsen.
The contract architect for the project was Shane V Ryan. The library opened on the 26th of April 1974 and replaced the first public library building donated by Mount Isa Mines in 1958. Queensland Premier Hon. Joh Bjelke-Petersen officially opened the Civic Centre as a venue for concerts, theatre, conventions, private functions and art exhibitions on the 9th of November of the same year. Members of Mount Isa’s multicultural community attended the ceremony in their national costumes, displaying flags of twenty seven nations.
The Civic Centre includes artwork by Mount Isa Mines resident artist Val Pinsker, consisting of two hand beaten copper wall murals.
The building cost for the entire complex, which was one of the largest of its kind in Outback Queensland, amounted to $2.6 million. Mount Isa had shed its image of a struggling mining town and developed into the business, service, and administrative centre for the region, a fact that was recognised with the town receiving city status in 1968. The financial commitment by the community towards the Civic Centre Complex and the modern design, by a prominent Brisbane architectural firm, of the complex itself are a tangible expression of the confidence in the growth of the city in the 1970s.
The complex is situated in the centre of Mount Isa bordering on to the Leichhardt River, West Street, and Marian Street, as well as the Mount Isa City Council administration building. The
complex consists of the Mount Isa Memorial Civic Centre, an amphitheatre, library, a carpark, and surrounding park and gardens. The buildings display clear straight geometrical lines.
Materials used are predominantly concrete, glass and copper. The facades show exposed aggregate concrete panels, a feature mainly used in the 1970s.
Source: Mount Isa City Council Heritage Register.
My submission for the Tangible Project www.flickr.com/groups/thetangibleproject/
It was supposed to be for September, so i guess i'm quite late.
Water, or rather the lack of it. PX100 First Flush left to dry for some weeks.
150 years ago, the Blessed Virgin Mary first appeared to St Bernadette Soubirous in a cleft of the rock of Massabielle. Above that rock, a great church (actually now two basilicas) was built and millions of faithful flock to the shrine.
Her presence is still tangible, here, in this most sacred place where heaven and earth embraced.
However, all these Heidi Klum plastic surgery rumors might well turn out to be merely Hoaxes as it easier said than done to get real tangible signs that refer to the operation procedures.
Andy works on 3D printing clips to allow different sized wine glasses to fit into conductive bases. This is just one piece of Ideum's work in surface tangibles, in which physical objects placed on one of our multitouch tables can trigger content specific to that object.
To learn more about Ideum's Creative Services projects, visit our website.
High Touch Visuals
Editors: R. Klanten, S. Ehmann, M. Huebner
Language: English
Release: January 2009
Price: € 44,00 / $ 65,00 / £ 40,00
Format: 24 x 28 cm
Features: 208 pages, full colour, hardcover
ISBN: 978-3-89955-232-4
Manifesting creative visions into material objects and spaces is one of the most prominent developments in contemporary design today. Tangible documents how designers are using the stylistic means of graphic design to implement their ideas spatially to create three-dimensional designs, objects and orchestrated spaces. The examples in this book show the unprecedented use of materials and innovative ideas – graphics morph into spatial sculptures, the intangible is made visual through handmade craftsmanship, physical experiences, visual environments and staged spatial installations such as art installations, interiors and architecture as well as urban interventions. Tangible continues the exploration of its trailblazing predecessor Tactile.
Dutch Holocaust Memorial of Names
Seventy years after the Second World War, more than 102,000 victims of the Holocaust finally have their own memorial in Amsterdam. A memorial with the names of all the Dutch Holocaust victims. This has finally provide the Netherlands with a tangible memorial where the 102,000 Jewish victims and 220 Sinti and Roma victims can be commemorated individually and collectively.
Between 1933 and 1945, the Nazi's murdered an estimated 6 million Jews and hundreds of thousands of Sinti and Roma. Of the 140,000 Jews who lived in the Netherlands in 1940, 102,000 did not survive the war. Not all Jews were murdered in the gas chambers of the exterminations camps as Auschwitz-Birkenau. Many were murdered in mass executions or died as a result of sickness, hunger, exhaustion or slave labour. The Dutch Holocaust Memorial of Names commemorates all these victims.
In 2016, the Dutch Auschwitz Committee, together with architect Daniel Libeskind, presented the new design for the Dutch Holocaust Names Memorial. This national memorial is located in the heart of the former Jewish Quarter of Amsterdam, there where it all happened more than seventy years ago. The opening was in 2021.
The memorial consists of four Hebrew letters that make up a word that translates as ‘In memory of’. When visitors enter the memorial, they find themselves in a labyrinth of passageways flanked by two-metre-tall brick walls that convey the message ‘In memory of’. Inscribed on each of the 102,000 bricks is a name, date of birth and age of death, in such a way that the name of each victim can be touched. The walls of names support the four letters in reflective stainless steel.
Brick is a building material used throughout the Netherlands and western Europe. In combination with the highly reflective geometric forms of the steel letters, the brickwork connects Amsterdam's past and present. A narrow void at the point where the brick walls meet the metal forms makes it appear that the steel letters float, symbolizing the interruption in the history and culture of the Dutch people.
Rijnboutt Architects was the coordinating and executive architect for the Names Memorial. With its knowledge of local construction practice, it supported Studio Libeskind by detailing its wonderful design in compliance with Dutch laws and regulations.
Minolta X700 // MC Rokkor 58mm f1.4 // expired fuji YKL 100 24
Assumption Park, Windsor, ON
The City of Windsor's Cultural Affairs Department has just released an interactive map of Windsor's “tangible” cultural resources, a commendable effort to promote a city that truly does have a thriving creative scene in my anecdotal, humble opinion. You can plot a route through the bricks and mortar, the acrylic and watercolour, the ink and coffee beans of Windsor's culture. The things you can stand back and look at and discuss, but not touch. The stuff you can touch and take a picture of your kids riding (think metal elephants). The things you can ingest, or listen to while yelling at your friend over a beer. The different search options of the map, its interactive “living” nature, and the ability to communicate it (by printing it off) to others really is a fantastic concept, and I look forward to see how it evolves.
I think there is some recognition that tangible cannot be separated from intangible, especially when we are discussing culture. It is commendable than that the same department has another initiative, called the “intangible resources,” or “community stories,” of Windsor's culture. Gathering together all the submitted stories they have created a top ten list of the most common narrative themes that come together to make Windsor what it is. The following is the list, and they (and the map) are accessible on the Cultural Affairs Department website:
1. Hiram Walker 2. Underground Railroad 3. Automotive Industry 4. Cultural Diversity 5. Live Music 6. Natural Heritage 7. Performing Arts 8. Border City 9. Settlement and Diversity 10. War of 1812
Each presents some photos and a written narrative of the intangible resource and its relation to Windsor.
Each of these can be tied to a “tangible resource.” You can take a tour and even get married at Hiram Walker. Cultural centres and the North American Black Historical museum in Amherstburg can enlighten you about the Underground Railroad, and how that history has shaped who we are. You can literally sit in the ongoing history of the automotive industry in Windsor and drive around the neighbourhoods that have been tied to the highs and lows of the Big 3. These bricks and mortar would not have achieved the level of importance they have without the wealth of community stories and experiences that have been written and told within and without those spaces. There was a story before the foundation was laid; there was a story of the first day and the trials and tribulations of the formative years; there was a story of every person who walked into that space, or who created a work to hang on its walls, or who learned a song to dance to or perform, or … Well you get the idea.
Those are the stories I am interested in. I appreciate the 250 to 300 words, 4 high resolution photos, and captions for the photos that are involved in submitting to the Cultural Affairs Department. However, this process is just one aspect of the story. There are so, so many stories out there that have not been mashed together to create a general history of the building or the phenomenon. There are the individual stories that really become personal to us, the audience, the members of the community. Maybe it was the owner who, nerves frayed on opening night, had one glass of wine too many and … Or, hands full of used books, you collided with the person who would become everything to you, and … It could have been that story, that poem, that changed your perspective of Windsor – Essex, the filter through which you see the city. Maybe it was stepping on the same tile that your great-grandmother crossed over on her way to …
It is daunting. These stories really are infinite in a loose sense of the word. To collect these stories would be impossible. My interest, however, is in hearing them. Having them touch us for a time, and let them pass on as we hear more stories that will give us a richer relationship with the place we live in. My invitation is for people to share them with me, under the Essex Masque, so that they can be shared with others. Your stories are important, and make for a stronger and healthier community. Contact me via email if you are interested in sharing and we can figure out how you want to tell it. “Like” the page on Facebook, follow on Twitter, and visit at the blog for updates, and hopefully share in the narrative that is Windsor – Essex.
Twitter: @EssexMasque
Also, here is the link to the Cultural Affairs Department for the tangibles and intangibles:
Gang hits on specific individuals are often carried out with military precision. The weapon to be used may be a sniper rifle or a cheap handgun, depending on what's available, and who is to carry it out. Often, the weapon will need to be dug up from its hiding place, cleaned, reassembled and loaded, before it can be placed in the hand of the shooter, just minutes before the hit is carried out.
Once the deed is done, the weapon will be reburied in a matter of minutes, thus removing the most tangible link between the victim and the shooter. Sometimes shooters and vehicles are "borrowed" from other factions of the same gang, thereby reducing the likelihood of being identified by witnesses.
Most shots fired in anger, are not even aimed at any particular individual, but at a group of rival gang-members hanging out on their usual corner. Such hit and run tactics seldom result in fatalities among the opposition. They are more likely to claim the lives of innocent bystanders: they, after all, are not perpetually poised to hit the deck at the first sound of gunfire.
The purpose of such hit-and-run raids is to unnerve and disrespect the enemy by unexpectedly popping up on or near their own turf, fire a few rounds, and make a clean get-away before the enemy can regroup and respond.
Such incidents are a daily occurrence in Pilsen, and help to keep the younger gang-members involved in "the struggle." Participation in various skirmishes will not only cement the bond between them, but will brand each individual participant as a Shooter or Killer. Once labeled as such, there will be no turning back, since they themselves will now be targeted by the enemy, and - in order to stay alive - they now need the round-the-clock protection that only their fellow gang-members can provide. And so the cycle of senseless violence perpetuates itself.
When I first transfer to the 12th District, I am somewhat apprehensive about dealing with Mexican gangbangers, because I neither speak nor understand the Spanish language. I can see myself stopping a carload of bangers, and they can tell each other: "Okay, on the count of three, we're gonna jump him and cut off his nuts," and I wouldn't have a clue.
Much to my surprise, the bangers speak English just fine, it's everybody else that doesn't, or pretend they don't when it's convenient. When you ask to see their license, you'll get the usual: "Que?" When you follow that up with "Deja me ver su licensia de manejar, por favor," then the response is a universal "Oh shit..."
Our dealings with the "Braceros" are limited almost entirely to three areas: Drinking, Driving, and Domesticating.
Working their asses off for subsistence wages, they get that wad of cash in their pocket on Friday, and it's off to the Cantina, where they'll drown their sorrow and frustration over their job, their wife and kids, and their exile in this foreign land.
Once they get a little tanked up, they have a tendency to become boisterous and belligerent. When the fighting starts, it's just a matter of time till someone gets whacked on the head with a bottle, or skewered with a knife. That's usually where we come in, yet most of the time we end up doing nothing at all. The victim usually refuses any and all assistance, fearing that his status as an illegal alien will get him deported.
I remember one guy sitting there on the curb with an ax stuck in his skull. When he pulls the ax-head out, he starts bleeding like a stuck pig, but he's still conscious, and he still refuses to get into the ambulance. Since he'll probably bleed to death before he comes to his senses, we follow him until he passes out, then throw his dumb ass in the ambulance.
The Braceros are always afraid that we'll hand them over to La Migra: Immigration. Actually, back then we couldn't even if we wanted to: the mechanism to facilitate such arrests and transfers simply do not exist (prior to 9/11). But the distrust runs too deep, and is perpetuated by politicians, in the belief that such posturing will assure their place at the public trough for many years to come.
For many first-generation immigrants, legal or not, prior experiences with the police in their home country, often influence the way they react to us here. Getting caught for a relatively minor offense over there, may be a de facto death sentence. Then, as if there isn't enough cross-cultural confusion already, some things that are actually legal over there - like drinking in public - are not permitted here.
Driving creates its own set of problems, and a valid driver's license is almost as rare in Pilsen as a child-restraint seat in a pick-up truck. The macho dudes would rather keep that cash in their pocket for something important... So, you see the family out and about on Saturday morning in their Dodge Durango, with the wife in the passenger-seat, holding their youngest infant on her lap. "Portable air-bags" is what we call them... Add in the belief that driving drunk is some sort of global birth-right, and there are plenty of opportunities for conflict with the police.
1.What time is it?
3:05 pm
2.Do you want to answer these?
yeahh
3.Name?
tegan
4.Name spelled backwards?
naget
5.What is your ... quest?
to do everything i've set out for myself
6.Nickname
tegs, teg-daddies
7.Age?
14
Birthday-17th of january 1996
8.Hometown?
wambi
9.What were you born in?
a hospital
10.Where do you live now?
a house
11.What state?
new south wales
12.Ever going to move?
DEFIANTLY
13.Would you rather live somewhere
MHM
14.Birthdate?
17TH OF JANUARY
15.When do you blow out your candles?
17th of january
16.Day you were born?
17th, wednesday
17.Zodiac sign?
capricorn
18.Do you know what that is?
umm a starsign?
19.Sex?
not yet! lol jks...female
20.Height?
5'7
21.Weight?
one trilllion pounds
22.Eye color?
they change
23.Hair color?
dark brown
24.Any siblings?
3 bros
25.Names and ages?
will,5 beson 9 months mitch 10
26.Do you get along with them?
yes/no
27.Any pets?
mhm
28.Names?
to many
29.Parents?
NAH!!! of course i do
30.Names?
kym&bill
31.Do you get along with them?
yes
32.Married or divorced?
Married.
33.How long?
long time
34.Website?
like myspace?
35.Email?
you wish
36.AOL s/n?
???
37.Yahoo s/n?
???
38.ICQ?
???
39.MSN?
yep:P
40.How many people are on your buddy list?
more then yours
E-mail:
you wish
AIM:dont have
Yahoo!:
nup--
41.Phone number?
1-800-inyourdreams
42.Personality?
tries to strive to get to the top of everything
School:
i wish not
43. Do you want to answer these?
ahah yeahh
44.What school do you go to?
yours :P
45.What year are you?
9th going into 10th
46.What are you?
a person
47.Hardest class?
maths
48.Easiest class?
english/drama
49.Most fun class?
ummm not sure
50.What day did school start?
whenever it sdid
51.Do you have classes with friends?
YEPP
52.Do you have friends?
yep.
53.Do you go to school events?
usually.
54.What was the last event you went to?
sports carnival
55.Do you have school spirit?
i hate school :P
56.Do you go to dances?
not really. we dont have them
57.Stag or with someone?
umm
58. Do you want to answer these?
not anymore :P
59.Have a significant other?
yeah myself
60.What is their name?
tegan lol...(me)
61.How old are they?
exact same age...:P
62.How long have you been going out?
i'm totally dating myself :S
63.Have you been faithful?
really?
64.Do you have a secret crush?
yeahhhhh
65.Who?
your mum
66.Do they know you like them?
go ask for yourself :P
67.You ever going to tell them?
LMAO
68.Do you have an online crush?
noooooo
69.Who?
YOUR MUM! jks
In the Past 24 Hours Have You?
gone shopping.
nupp
70. Do you wonder why I’m asking these questions?
i dont wanna know
71.Had a serious talk?
kinda
72. Hugged someone?
of course
73.Fought with a friend?
no
74.Cried?
possibly
75.Laughed?
no duh
76.Made someone laugh?
like always
77.Bought something?
mhm
78.Cut your hair?
no
79.Felt stupid?
yeahh
80.Talked to someone you love?
always
81.Missed someone?
nope.
Have-you-ever ?
ever WHAT?
82. You want me to tell you?
hmmm.
83.Smoked?
ewwwwwwwww
84.Stolen something?
do peoples hearts count? lol.
85.Done drugs?
i took tic tacs :P
86.Drank?
what drink?
87.Gotten drunk?
ahah NO
88.Eaten an entire box of Oreos?
cause everyone does that
89.Been dumped?
no
90.Had someone be unfaithful to you?
you wanna know?
91.Hiked up a mountain?
i'm to lazy
92. Stayed home on Saturday night, just because?
who hasnt?
93.Been in love?
idkk(:
94.Seen the White House?
pics(:
95.Seen the Eiffel Tower?
in pictures.
96.Try smoking?
no.
97.Played monopoly?
yes.
98.Seen Titanic?
WHO THE HELL HASNT?
99.Kissed someone?
maybe
100.Tried a weight loss program?
no
101.Jumped on a trampoline?
no duh
102.Colored in a coloring book (and had fun)
yesh
103.Had a bubble bath?
yes
104.Been on a plane?
actually no
105.Been on a boat?
yep
106.Been on a train?
yepp
107.Been in a car accident?
yep
108.Ridden an elephant?
nope
109.Made a web page?
yep(:
110.Played with Barbies?
a long time ago.
111.Stay up all night?
yep.
112.Shoved stuff under your bed to make your room look clean?
who doesnt?
113.Called a psychic or sex hotline?
ummmmmm
114.Watched Jerry Springer?
i have
115.Gotten in trouble for talking in class?
ALL THE TIME
116.Been afraid of the dark?
nope.
117.Been in the hospital (not visiting)?
unfortunatly.
118.Had stitches?
No, :D
119.Dumped someone and regretted it?
no.
120.Gone out with more than one person at a time?
um, no.
121.Lied?
yes.
122.Been arrested?
NOOOO.
123.Fallen asleep in class?
ahahhaha YEP
124.Gotten in trouble in class?
yep.
125.Used food for something other than to eat?
possibly
126.Met a celebrity?
nupp not really
127.Broken the law?
maybe
128.Ever loved someone so much it made you cry?
yes.
129.Hated yourself?
ever girl has a bad stage
130.Been brokenhearted?
yes..
131.Broken someone’s heart?
not that i'm aware of.
132.Are you a virgin?
yes(:
133.Done something really stupid?
yeah.
134.Been arrested?
no.
135.Hurt a friend?
yeahh :(
136.Broken a bone?
nope
137.Ever had a crush on a teacher?
no.
Favorites
138. Why do you want to know?
?
139.Guy name?
max/trent
140.Girl name?
i have alot of girls names i wish my parents called me
141.Nationality?
PROUD AUSSIE
142. color?
PURPLE
143.Holiday?
christmas&my birthdayy(:
144.Day of the week?
saturday.
145.Restaurant?
i just love food
146.Fastfood restaurant?
SUBWAY BABY
147.Food?
dont get me started.
148.Animal?
ever animal
149.Pet?
dog.
150.Store?
umm, tempt
151.Mall?
the one with stores in it.
152.Clothes brand?
different ones(:
153.Soda?
umm pub squash
154.Alcohol?
no thanks.
155.Instrument?
guitar,
156.Season?
SUMMER(:
157.Number?
17/2
158.Radio station?
dont worry
159.Song?
anything by demi or taylor
160.Sport?
dancing
161.Vacation spot?
queensland
162.State?
my state
163.Country?
australia/america
164.Flower?
rose
165.Perfume?
with love -hilary duff
166.Thing to do?
write songs, act and just doing what i love.
167.Actor?
TAYLOR LAUTNER!!!!!!!! or zac efron
168.Actress?
selena gomez/leighton meester (before monte carlo as well!!!!!!)
169.Saying?
I HAVE TO MANY!
170.Car?
not suree(:
171.Month?
january
172.Cartoon?
family guy
173.TV Show
gossip girl
174.Website?
alot
175.Book?
................
176.Quality about yourself?
can do a million things at once
177.Your best friend?
alice :D
178.Your best guy friend?
ummm not sure
179.Your best girl friend?
alice
180.Fruit?
MANGOOOO
181.Vegetable?
umm
182.Meat?
ummm
183.Quote?
i have so many
184.Saying?
way to many
185.Type of movie?
romantic comedy and horror
186.Candy?
i dont use the term candy
187.Language?
english.
188.Magazine?
dolly
189.CD?
fearless/taylor swift
here we go again/dont forget
190.Store?
ummmmm not sure
191.Movie?
wow
192.Day of the week?
Saturday
193.Singer?
dont get me started
194.Band?
the script.
195.Why are you so curious?
i'm curious?
196.Like to swim?
yepp(:
197.Like to dance?
ABSOLUTLY
198.Have a pool?
nupp
199.Have a car?
it inst mine but...
200.Going to get a car?
when i can drive.
201.Your motto?
don't let the little pictures stop you keep searching for the big picture
202.What do you look for in a friend?
funny, sweet, caring, easy to talk to, loves to hang out, into music
203.What do you look for in the opposite sex?
to be themselves, funny, caring, nice, gentlemen, respectful
204.Time you get up?
umm depends
205.Time you go to bed?
whenever i feel like it :P
206.What color are the sheets on your bed?
white
207.How many pillows?
6 :P
208.Ever skip school?
um no
209.Have you ever been convicted of a crime?
????? :O.
210.What did you eat for dinner?
cheese pizza(:chicken
211.What are you wearing?
trackies and a jumper
212.What movie makes you cry?
titanic
213.What book makes you cry?
i dont read
214.What song makes you cry?
wow alot!
215.What/Who makes you laugh so hard you cry?
alice
216.What is your favorite possession?
i-pod/paper and pen
217.What physical, tangible possession do you want most?
????????
218.How badly do you want it?
?
219.Have you ever seen The Exorcist?
i will
220.How long did it take you to understand why that question is here?
i still have no clue
221.Does Christmas music played too far away from Christmas annoy you?
not really, it brings good spirit
222.How old do you think you will be before you stop liking getting older?
umm i think getting older is all about a new year and new goals not about 'getting a year older' the year older only signifies what you now know what you learnt and what you still need to do
223.What was the best Halloween costume you ever had?
i was a witch..i'm lame
224.What was the worst Halloween costume you ever had?
when i didnt go
225.What holiday do you think has still managed to retain its original meaning?
christmas...kinda
226.There are currently no federal holidays during August-what should be put there?
i dunno a day to like respect what music does for people
227.How good is your short-term memory?
:D.
228.How good is your short-term memory?
you just asked me
229.(Not very good I see, I repeated that question, did you notice?)
no duh
230.How good is your long-term memory?
great
231.What is your earliest memory?
i was like 2 or 3 and i was getting on a train
232.What is your happiest memory (other than receiving this survey)?
i dont know i could go on and on...this isnt one of my best memories
233.What is your strangest memory?
dont know
234.What is your worst memory?
hmmm id rather not say
235.What song, movie, etc
umm you know...ASK A PROPER QUESTION
236.What song, movie, etc.
shut up or i'll kick you
237.What size are your feet?
6-7
238.If someone you had no interest in dating expressed interest in dating you, how would you feel?
umm really bad
239.Do you prefer getting to know someone first before dating them or going “blind”?
knowing them.!
240.Could you carry on a relationship with someone with the same first name as a family member?
noooooo
241.Have you ever wished it was more “socially acceptable” for a girl to ask a guy out?
kinda yeahh
243.Have you ever been romantically attracted to someone physically unattractive?
not yet
244.Do you think the opposite sex finds you good-looking?
maybe
245. What time is it?
3:43
Pablo Picasso
I INTRODUCTION
Pablo Picasso (1881-1973), Spanish painter, who is widely acknowledged to be the most important artist of the 20th century. A long-lived and highly prolific artist, he experimented with a wide range of styles and themes throughout his career. Among Picasso’s many contributions to the history of art, his most important include pioneering the modern art movement called cubism, inventing collage as an artistic technique, and developing assemblage (constructions of various materials) in sculpture.
Picasso was born Pablo Ruiz in Málaga, Spain. He later adopted his mother’s more distinguished maiden name—Picasso—as his own. Though Spanish by birth, Picasso lived most of his life in France.
II FORMATIVE WORK (1893-1900)
Picasso’s father, who was an art teacher, quickly recognized that his child Pablo was a prodigy. Picasso studied art first privately with his father and then at the Academy of Fine Arts in La Coruña, Spain, where his father taught. Picasso’s early drawings, such as Study of a Torso, After a Plaster Cast (1894-1895, Musée Picasso, Paris, France), demonstrate the high level of technical proficiency he had achieved by 14 years of age. In 1895 his family moved to Barcelona, Spain, after his father obtained a teaching post at that city’s Academy of Fine Arts. Picasso was admitted to advanced classes at the academy after he completed in a single day the entrance examination that applicants traditionally were given a month to finish. In 1897 Picasso left Barcelona to study at the Madrid Academy in the Spanish capital. Dissatisfied with the training, he quit and returned to Barcelona.
After Picasso visited Paris in October 1900, he moved back and forth between France and Spain until 1904, when he settled in the French capital. In Paris he encountered, and experimented with, a number of modern artistic styles. Picasso’s painting Le Moulin de la Galette (1900, Guggenheim Museum, New York City) revealed his interest in the subject matter of Parisian nightlife and in the style of French painter Henri de Toulouse-Lautrec, a style that verged on caricature. In addition to café scenes, Picasso painted landscapes, still lifes, and portraits of friends and performers.
III BLUE PERIOD (1901-1903)
From 1901 to 1903 Picasso initiated his first truly original style, which is known as the blue period. Restricting his color scheme to blue, Picasso depicted emaciated and forlorn figures whose body language and clothing bespeak the lowliness of their social status. In The Old Guitarist (1903, Art Institute of Chicago, Illinois), Picasso emphasized the guitarist’s poverty and position as a social outcast, which he reinforced by surrounding the figure with a black outline, as if to cut him off from his environment. The guitarist is compressed within the canvas (no room is left in the painting for the guitarist to raise his lowered head), suggesting his helplessness: The guitarist is trapped within the frame just as he is trapped by his poverty. Although Picasso underscored the squalor of his figures during this period, neither their clothing nor their environment conveys a specific time or place. This lack of specificity suggests that Picasso intended to make a general statement about human alienation rather than a particular statement about the lower class in Paris.
Why blue dominated Picasso’s paintings during this period remains unexplained. Possible influences include photographs with a bluish tinge popular at the time, poetry that stressed the color blue in its imagery, or the paintings of French artists such as Eugène Carrière or Claude Monet, who based many of their works around this time on variations on a single color. Another explanation is that Picasso found blue particularly appropriate for his subject matter because it is a color associated with melancholy.
IV ROSE PERIOD (1904-1905)
In 1904 Picasso’s style shifted, inaugurating the rose period, sometimes referred to as the circus period. Although Picasso still focused on social outcasts—especially circus performers—his color scheme lightened, featuring warmer, reddish hues, and the thick outlines of the blue period disappeared. Picasso maintained his interest in the theme of alienation, however. In Two Acrobats and a Dog (1905, Museum of Modern Art, New York City), he represented two young acrobats before an undefined, barren landscape. Although the acrobats are physically close, they gaze in different directions and do not interact, and the reason for their presence is not made clear. Differences in the acrobats’ height also exaggerate their disconnection from each other and from the empty landscape. The dog was a frequent presence in Picasso’s work and may have been a reference to death as dogs appear at the feet of figures in many Spanish funerary monuments.
Picasso may have felt an especially deep sympathy for circus performers. Like artists, they were paid to entertain society, but their itinerant lifestyle and status as outsiders prevented them from becoming an integral part of the social fabric. It was this situation that made the sad clown an important figure in the popular imagination: Paid to make people laugh, he must keep hidden his real existence and true feelings. Living a life of financial insecurity himself, Picasso no doubt empathized with these performers. During this period Picasso met Fernande Olivier, the first of several women who shared his life and provided inspiration for his art. Olivier’s features appear in many of the female figures in his paintings over the next several years.
V CLASSICAL PERIOD (1905) AND IBERIAN PERIOD (1906)
Experimentation and rapid style changes mark the years from late 1905 on. Picasso’s paintings from late 1905 are more emotionally detached than those of the blue or rose periods. The color scheme lightens—beiges and light browns predominate—and melancholy and alienation give way to a more reasoned approach. Picasso’s increasing interest in form is apparent in his references to classical sculpture. The figure of a seated boy in Two Youths (1905, National Gallery, Washington, D.C.), for example, recalls an ancient Greek sculpture of a boy removing a thorn from his foot.
By 1906 Picasso had become interested in sculptures from the Iberian peninsula dating from about the 6th to the 3rd century bc. Picasso must have found them of particular interest both because they are native to Spain and because they display remarkable simplification of form. The Iberian influence is immediately visible in Self-Portrait (1906, Philadelphia Museum of Art, Pennsylvania), in which Picasso reduced the image of his head to an oval and his eyes to almond shapes, thus revealing his increasing fascination with geometric simplification of form.
VI AFRICAN PERIOD (1907)
Picasso’s predilection for experimentation and for drawing inspiration from outside the accepted artistic sources led to his most radical and revolutionary painting yet in 1907: Les Demoiselles d'Avignon (1907, Museum of Modern Art). The painting’s theme—the female nude—could not be more traditional, but Picasso’s treatment of it is revolutionary. Picasso took even greater liberties here with human anatomy than in his 1906 Self-Portrait . The figures on the left in the painting look flat, as if they have no skeletal or muscular structure. Faces seen from the front have noses in profile. The eyes are asymmetrical and radically simplified. Contour lines are incomplete. Color juxtapositions—between blue and orange, for instance—are intentionally strident and unharmonious. The representation of space is fragmented and discontinuous.
While the left side of the canvas is largely Iberian-influenced, the right side is inspired by African masks, especially in its striped patterns and oval forms. Such borrowings, which led to great simplification, distortion, and visual incongruities, were considered extremely daring in 1907. The head of the figure at the bottom right, for example, turns in an anatomically impossible way. These discrepancies proved so shocking that even Picasso’s fellow painters reacted negatively to Les Demoiselles d'Avignon. French painter Henri Matisse allegedly told Picasso that he was trying to ridicule the modern movement.
VII CUBISM (1908-1917)
For many scholars, Les Demoiselles d'Avignon—with its fragmented planes, flattened figures, and borrowings from African masks—marks the beginning of the new visual language, known as cubism. Other scholars believe that French painter Paul Cézanne provided the primary catalyst for this change in style. Cézanne’s work of the 1890s and early 1900s was noted both for its simplification and flattening of form and for the introduction of what art historians call passage, the interpenetration of one physical object by another. For example, in Mont Sainte-Victoire (1902-1906, Metropolitan Museum of Art, New York City), Cézanne left the outer edge of the mountain open, allowing the blue area of the sky and the gray area of the mountain to merge. This innovation—air and rock interpenetrating—was a crucial precedent for Picasso’s invention of cubism. First, it defied the laws of our physical experience, and second, it indicated that artists were viewing paintings as having a logic of their own that functioned independently of, or even contrary to, the logic of everyday experience.
Scholars generally divide the cubist innovations of Picasso and French painter Georges Braque into two stages. In the first stage, analytical cubism, the artists fragmented three-dimensional shapes into multiple geometric planes. In the second stage, synthetic cubism, they reversed the process, putting abstract planes together to represent human figures, still lifes, and other recognizable shapes.
A Analytical Cubism (1908-1912)
Profoundly influenced by Cézanne's later work, Picasso and Braque initiated a series of landscape paintings in 1908. These paintings approximated Cézanne’s both in their color scheme (dark greens and light browns) and in their drastic simplification of nature to geometric shapes. Upon seeing these paintings, French critic Louis Vauxelles coined the term cubism. In Picasso’s Houses on the Hill, Horta de Ebro (1909, Museum of Modern Art), he gave architectural structures a three-dimensional, cubic quality, but he abandoned conventional three-dimensional perspective: Instead of being depicted one behind the other, buildings appear one on top of the other. Moreover, he simplified every aspect of the painting according to a vocabulary of cubic shapes—not just the houses but the sky as well. By neutralizing differences between earth and sky, Picasso made the canvas appear more unified, but he also introduced ambiguity by not differentiating solid from void. In addition, Picasso often used inconsistent light sources. In some parts of a painting, light appears to come from the left; in other parts, it comes from the right, the top, or even the bottom. Spatial planes intersect in ways that leave the spectator guessing whether angles are concave or convex. Delight in confusing the viewer is a regular feature of cubism.
By 1910, it had become evident that cubism no longer had any cubes and that the illusion of three-dimensional space, or volume, was gone. Picasso seemed to have dismantled the very idea of solid form, not only by fragmenting the human figure and other shapes, but also by using Cézanne’s concept of passage to merge figure and environment, solid and void, background and foreground. In this way he created a visually consistent painting, yet the consistency does not conform to the physical consistency of the natural world as we experience it. Picasso’s decision to limit his color scheme to dark browns and grays also suggests that his paintings have initiated a radical departure from nature, rather than attempted to copy it.
The year 1912 marks another major development in the cubist language: the invention of collage. In Still Life with Chair Caning (1912, Musée Picasso), Picasso attached a piece of oilcloth (that depicts woven caning) to his work. With this action Picasso not only violated the integrity of the medium—oil painting on canvas—but also included a material that had no previous connection with high art. Art could now be created, Picasso seems to imply, with scissors and glue as well as with paint and canvas. By including pieces of cloth, newspaper, wallpaper, advertising, and other materials in his work, Picasso opened the door for any object or material, however ordinary, to be included in (or even replace) a work of art. This innovation had important consequences for later 20th-century art. Another innovation was including the letters JOU in the painting, possibly referring to the beginning of the word journal (French for “newspaper”) or to the French word jouer, meaning “to play,” as Picasso is playing with forms. These combinations reveal that cubism includes both visual and verbal references, and merges high art with popular culture.
B Synthetic Cubism (1912-1917)
By inventing collage and by introducing elements from the real world in his canvases, Picasso avoided taking cubism to the level of complete abstraction and remained in the domain of tangible objects. Collage also initiated the synthetic phase of cubism. Whereas analytical cubism fragmented figures into geometric planes, synthetic cubism synthesized (combined) near-abstract shapes to create representational forms, such as a human figure or still life. Synthetic cubism also tended toward multiplicity. In Guitar, Sheet Music, and Wine Glass (1912, McNay Art Museum, San Antonio, Texas), for instance, Picasso combined a drawing of a glass, several spots of color, sheet music, newspaper, a wallpaper pattern, and a cloth that has a wood–grain pattern. Synthetic cubism may also combine different textures, such as wood grain, sand, and printed matter. Sometimes Picasso applied these textures as collage, by gluing textured papers on the canvas. In other cases the artist painted an area to look like wood or wallpaper, fooling the spectator by means of visual puns.
VIII CONSTRUCTION AND AFTER (1912-1920)
In 1912 Picasso instigated another important innovation: construction, or assemblage, in sculpture. Before this innovation, sculpture, at least in the West, was primarily created in one of two ways: by carving a block of stone or wood or by modeling—shaping a form in clay and casting that form in a more durable material, such as bronze. In Guitar (1912, Museum of Modern Art), Picasso used a new additive process. He cut various shapes out of sheet metal and wire, and then reassembled those materials into a cubist construction. In other constructions, Picasso used wood, cardboard, string, and other everyday objects, not only inventing a new technique for sculpture but also expanding the definition of art by blurring the distinction between artistic and nonartistic materials.
From World War I (1914-1918) onward, Picasso moved from style to style. In 1915, for instance, Picasso painted the highly abstract Harlequin (Museum of Modern Art) and drew the highly realistic portrait of Ambroise Vollard (Metropolitan Museum of Art). During and after the war he also worked on stage design and costume design for the Ballets Russes, a modern Russian ballet company launched by the impresario Sergey Diaghilev. Inspired by his direct experience of the theater, Picasso also produced representations of performers, such as French clowns called Pierrot and Harlequin, and scenes of ballerinas.
Picasso separated from Olivier in 1912, after meeting Eva Gouel. Gouel died in 1915, and in 1918 Picasso married Olga Koklova, one of the dancers in Diaghilev’s company. Picasso created a number of portraits of her, and their son, Paulo, appears in works such as Paulo as Harlequin (1924, Musée Picasso).
IX CLASSICAL PERIOD (1920-1925)
After World War I, a strain of conservatism spread through a number of art forms. A motto popular among traditionalists was “the return to order.” For Picasso the years 1920 to 1925 were marked by close attention to three-dimensional form and to classical themes: bathers, centaurs (mythical creatures half-man and half horse), and women in classical drapery. He depicted many of these figures as massive, dense, and weighty, an effect intensified by strong contrasts of light and dark. But even as he moved toward greater realism, Picasso continued to play games with the viewer. In the classical and carefully composed The Pipes of Pan (1923, Musée Picasso), for example, he painted an area of the architectural framework in the foreground (which should be grayish) with the same color as the sea in the background, revealing again his pleasure in ambiguity.
X CUBISM AND SURREALISM (1925-1936)
From 1925 to 1936 Picasso again worked in a number of styles. He composed some paintings of tightly structured geometric shapes, limiting his color scheme to primary colors (red, blue, yellow), as in The Studio (1928, Museum of Modern Art). In other paintings, such as Nude in an Armchair (1929, Musée Picasso), he depicted contorted female figures whose open mouths and menacing teeth reveal a more emotional, less reasoned attitude. Picasso’s marriage broke up during this time, and some of the menacing female figures in his art of this period may represent Koklova.
The same diversity is visible in Picasso’s sculpture during this period. Bather (Metamorphosis II) (1928, Musée Picasso) represents the human body as a massive spherical shape with protruding limbs, whereas Wire Construction (1928, Musée Picasso) depicts it as a rigid, geometric configuration of thin wires. Picasso also experimented with welding in sculpture of this period and explored a variety of themes, including the female head, the sleeping woman, and the Crucifixion. The model for many of his sleeping women was Marie Thérèse Walter, a new love who had entered his life. Their daughter, Maia, was born in 1935.
In the early 1930s Picasso had increasing contact with the members of the surrealist movement (see Surrealism) and became fascinated with the classical myth of the Minotaur. This creature, which has the head of a man and the body of a bull, appears in a study by Picasso for the cover of the surrealist journal Minotaure (1933, Museum of Modern Art). Here Picasso affixed a classical drawing of a Minotaur to a collage of abstracted forms and debris. The Minotaur has numerous incarnations in Picasso’s work, both as an aggressor and a victim, as a violent character and a friendly one. It may represent the artist himself and frequently appears in the context of a bullfight, a typically Spanish scene close to Picasso’s heart.
XI GUERNICA (1937)
In 1937 the Spanish government commissioned Picasso to create a mural for Spain’s pavilion at an international exposition in Paris. Unsure about the subject, Picasso procrastinated. But he set to work almost immediately after hearing that the Spanish town of Guernica had been bombed by Nazi warplanes in support of Spanish general Francisco Franco’s plot to overthrow the Spanish republic. Guernica (1937, Prado, Madrid) was Picasso's response to, and condemnation of, that event. He executed the painting in black and white—in keeping with the seriousness of the subject—and transfigured the event according to his fascination with the bullfight theme.
At the extreme left is a bull, which symbolizes brutality and darkness, according to Picasso. At the center, a horse wounded by a spear most likely represents the Spanish people. At the center on top, an exploding light bulb possibly refers to air warfare or to evil coming from above (and putting out the light of reason). Corpses and dying figures fill the foreground: a woman with a dead child at the left, a dead warrior with a broken sword (from which a flower sprouts) at the center, a weeping woman and a figure falling through a burning building at the right. The distortion of these figures expresses the inhumanity of the event. To suggest the screaming of the horse and of the mother with the dead child, Picasso transformed their tongues into daggers. In the upper center, a tormented female figure holds an oil lamp that sheds light upon the scene, possibly symbolizing the light of truth revealing the brutality of the event to the outside world. In 1936 Picasso met Dora Maar, an artist who photographed Guernica as he painted it. She soon became his companion and the subject of his paintings, although he remained involved with Walter.
XII WORLD WAR II (1939-1945)
Picasso, unlike many artists, stayed in Paris during the German occupation of World War II. Some of his paintings from this time reveal the anxiety of the war years, as does the menacing Still Life with Steer's Skull (1942, Kunstsammlung Nordrhein-Westfalen, Düsseldorf, Germany). Other works, such as his sculpture Head of a Bull (1943, Musée Picasso), are more playful and whimsical. In this sculpture Picasso combined a bicycle seat and handlebars to represent the bull’s head. Upon receiving news of the Nazi death camps, Picasso also painted, although he did not finish, an homage to the victims of the Holocaust (mass murder of European Jews during the war). In this painting, called The Charnel House (1945, Museum of Modern Art), he restricted the color scheme to black and white (as in Guernica) and depicted an accumulation of distorted, mangled bodies. During the war Picasso joined the Communist Party, and after the war he attended several peace conferences.
XIII LATE WORK (1945-1973)
Picasso remained a prolific artist until late in his life, although this later period has not received universal acclaim from historians or critics. He made variations on motifs that had fascinated him throughout his career, such as the bullfight and the painter and his model, the latter a theme that celebrated creativity. And he continued to paint portraits and landscapes. Picasso also experimented with ceramics, creating figurines, plates, and jugs, and he thereby blurred an existing distinction between fine art and craft.
Picasso’s emotional life became more complicated after he met French painter Françoise Gilot in the 1940s, while he was still involved with Maar. He and Gilot had a son, Claude, and a daughter, Paloma, and both appear in many of his late works. Picasso and Gilot parted in 1953. Jacqueline Roque, whom Picasso married in 1961, became his next companion. They spent most of their time in the south of France.
Another new direction in Picasso’s work came from variations on well-known works by older artists that he recast in his own style. Among these works are Women on the Banks of the Seine, after Courbet (1950, Kunstmuseum, Basel, Switzerland) and Le Déjeuner sur l’Herbe after Manet (1960, Musée Picasso). What makes these works particularly significant is that they run counter to a basic premise of modern art, Picasso’s included: namely, originality. Although many modern painters were influenced by earlier artists, they rarely made such direct and obvious references to each other’s work because they deemed such references unoriginal. In the postmodern period, which began in the 1970s, artists and critics began to question the modernist directive to be original. In acts of deliberate defiance, many postmodern artists have appropriated (taken for their own use) well-known images from their predecessors or contemporaries. Seen against this context, Picasso’s later variations on paintings by earlier masters hardly seem out of place; on the contrary, they anticipate a key aspect of art in the 1980s.
One of Picasso’s late works, Head of a Woman (1967), was a gift to the city of Chicago. This sculpture of welded steel, 15 m (50 ft) tall, stands in front of Chicago’s Civic Center. Although its semiabstract form proved controversial at first, the sculpture soon became a city landmark.
Because of his many innovations, Picasso is widely considered to be the most influential artist of the 20th century. The cubist movement, which he and Braque inspired, had a number of followers. Its innovations gave rise to a host of other 20th-century art movements, including futurism in Italy, suprematism and constructivism in Russia, de Stijl in the Netherlands, and vorticism in England. Cubism also influenced German expressionism, dada, and other movements as well as early work of the surrealists (see Surrealism) and abstract expressionists (see Abstract Expressionism). In addition, collage and construction became key aspects of 20th-century art.
Contributed By:
Claude Cernuschi
Microsoft ® Encarta ® 2006. © 1993-2005 Microsoft Corporation. All rights reserved.
Assenza tangibile
Tangible absence
Zuiko 50 mm f/2 + Oly E-5
Paolo's Re- styled Blog - Visitez-le Visitatelo - Visit it
Visitez Visitate Visit Accademia di fotografia J.M. Cameron>
I like real, tangible, practical creature effects. I like knowing there's an actor in a rubber suit standing in front of scenery that has been designed and built or possibly hand-painted to create a matte effect. Most of all I love stop motion effects. And all the best were by Ray Harryhausen.
You can see the detail in each creature. The way the fur and hair moved because you know that's where it was held to make that minuscule movement that once pieces together would create a living beastie. But you forget that it's probably only ten inches tall and made out of latex and clay. Therein lies the magic.
CGI does help create fantastical worlds but it feels like it lacks certain artistry. It's like buying from Ikea instead of from a furniture maker who does everything by hand.
Think I might have to watch Clash of the Titans now.
Tangible Engine is a new visualizer, configurator, and software development kit that allows developers to easily connect real-world objects to applications running on Ideum multitouch tables. Tangible Engine also comes with a starter kit of object markers and instructions for 3D printing them. Tangible Engine works with Ideum multitouch tables that use 3M touch technology, including the 49" 55" and 65" Platform and Pro.
To learn more please visit the website.
Tangible representations of the internet:
1. Spam
2. Skype/communication
3. Music, Youtube
4. PORN!
5. Photography, Flickr
6. Socialising, Utata
7. Shopping
8. Researching, Wikipedia
9. Gambling/gaming
OK, so I'm halfway through my project on taking a photo of the internet. The theme throughout the 10 photos is going to be tangible items that look like the net.
These have all been shot with an 8mm fisheye lens giving the appearance (i hope) of a webcam view.
I've still got to convert all these onto medium format film, which will take some more time.
Work in progress....
GOVERNOR TOMBLIN WELCOMES ELK TO WEST VIRGINIA
Twenty elk released at Tomblin Wildlife Management Area
CHARLESTON, W.Va. (December 19, 2016) - Governor Earl Ray Tomblin today joined representatives from the West Virginia Division of Natural Resources, the Rocky Mountain Elk Foundation and The Conservation Fund to welcome elk from Kentucky to West Virginia. Today's welcoming ceremony, held at the Tomblin Wildlife Management Area, included the arrival of 20 elk to Southern West Virginia.
"Today, I was proud to join both state and federal partners to celebrate a historic conservation effort in the Mountain State," Gov. Tomblin said. "Today's reintroduction is the beginning of a wonderful success story, one that has received overwhelming support from sportsmen and women across West Virginia. I look forward to the increased recreational wildlife opportunities and the economic impact this project will have on our state now and for decades to come."
Elk were native to West Virginia more than 140 years ago. Legislation in 2015 authorized the Division of Natural Resources to begin an active elk restoration plan, starting with finding enough suitable land for the elk management area to sustain an elk population.
Through a partnership with The Conservation Fund, more than 32,000 acres of publicly accessible land has been acquired for wildlife management and wildlife recreation. The DNR also recently acquired an additional 10,000 acres under lease agreements. In total, the DNR now manages more than 42,000 acres of land within an 11-mile radius of the initial elk release site.
"The reintroduction of a once-native wildlife species to sustainable populations is part of the mission of the Division of Natural Resources, and all of our staff are proud to be part of this effort to bring elk back to our state," said DNR Director Bob Fala. "With many thanks to one key partner, The Conservation Fund, we have added the largest single land parcel in state history to provide for both our fledgling elk restoration program and for other wildlife as well. We also are deeply appreciative of all the support provided by the Rocky Mountain Elk Foundation, which has provided assistance from the beginning and continues to do so as this project will expand in coming years."
"The Rocky Mountain Elk Foundation applauds Gov. Tomblin, Director Fala and all who have a role in bringing back elk to the Mountain State. It's a tremendous payday for RMEF's volunteers and members in West Virginia and the surrounding area," said Blake Henning, RMEF chief conservation officer. "We are proud to be part of such a successful collaborative partnership that made this happen in a relatively short time but with great leadership shown by the folks in West Virginia state government."
The restoration of elk into West Virginia is a major conservation initiative, involving a number of partners, including: U.S. Forest Service, Land Between the Lakes National Recreation Area; U.S. Fish and Wildlife Service; The Conservation Fund; Rocky Mountain Elk Foundation; West Virginia Department of Agriculture; West Virginia Department of Environmental Protection - Division of Mining and Reclamation; Kentucky Department of Fish and Wildlife Resources; Virginia Department of Game and Inland Fisheries; National Fish and Wildlife Foundation - Walmart Acres for America Program; Knobloch Family Foundation; Richard King Mellon Foundation; Ecosystem Investment Partners; Ark Land Company; Alpha Natural Resources; Arch Coal; West Virginia State Chapter of the National Wild Turkey Federation; West Virginia Bowhunters Association; West Virginia Trophy Hunters Association; the Outdoor Heritage Conservation Fund; and numerous volunteers.
SUPPORTING QUOTES:
Joe Manchin, U.S. Senator, West Virginia
"As a lifelong sportsman I am thrilled to see elk successfully reintroduced into West Virginia. The reintroduction of elk will bring new economic opportunities to southern West Virginia by showcasing our wild and wonderful outdoor heritage. I wish to applaud all those involved with the successful reintroduction of elk into the Mountain State."
Shelley Moore Capito, U.S. Senator, West Virginia
"It has been over 100 years since wild elk freely roamed our state, and I am thrilled the Division of Natural Resources is reintroducing this species to a place they previously called home. I was a strong advocate for this project, signing a letter of support that enabled funding to bring this idea to fruition. This is exciting news for our state, and I hope all West Virginians will have the opportunity to see and appreciate these magnificent animals."
Evan Jenkins, U.S. Representative, West Virginia's 3rd District
"Thanks to public and private efforts to protect elk habitat, we are now able to successfully reintroduce elk to West Virginia. Wild elk have not lived in West Virginia since 1865, but decades of work have paid off as these majestic creatures make their home again in our great state. I congratulate everyone involved in making this ambitious project a reality."
Joe Hankins, West Virginia Director, The Conservation Fund
The Conservation Fund is helping the State conserve 32,396 acres of working forestland in southern West Virginia-the largest single conservation acquisition in State history-to create a large, protected block of prime habitat for elk restoration.
"The Conservation Fund is proud to partner with the West Virginia Division of Natural Resources in establishing a vast protected landscape of sustainably managed land for the new elk population. This historic effort is creating new opportunities on land that once supported the state through it resources, and it is redefining conservation in West Virginia to provide multiple tangible economic and environmental benefits to local communities. We thank Governor Tomblin for his leadership, the DNR for seeing this vision through, and U.S. Senators Manchin and Capito and U.S. Representative Jenkins for their continued support of this project and important conservation programs like the Pittman-Robertson Wildlife Restoration Program."
Jeff Trandahl, Executive Director and CEO, National Fish and Wildlife Foundation
A grant from the Acres for America program, established by Walmart and the National Fish and Wildlife Foundation, supported the transfer of 10,922 acres from The Conservation Fund to the WV DNR in 2016.
"The return of any species to its native range is a reason for celebration. Bringing such a magnificent species as the elk back to the hills of West Virginia is one of the most significant reintroductions in recent years. The National Fish and Wildlife Foundation applauds the work of the State of West Virginia and we are proud to help support this effort."
John Clark, Vice President of Store Planning, Walmart
"Walmart is proud to support the longstanding efforts to bring elk back to West Virginia today. We know they will both thrive and help to inspire future generations of West Virginians to take care of and appreciate the state's incredible wildlife and natural resources."
Photos available for media use. All photos should be attributed “Photo courtesy of Office of the Governor.”
What follows is nothing more than some ramblings from a less than articulate mind. Don't feel that you have to read it. It was inspired by a couple of recent posts from two of my favorite contacts and was meant for yesterday, but yesterday was far too turbulent.
Twelve years ago, the light that I had found comfort and strength in and that had nurtured me for 26 years; was quietly and peacefully extinguished….or so I thought. There was an enormous amount of weight associated with that realization. Tangible weight, like a physical presence, making it difficult to reason and seemingly, even breathe. Of course those feelings are associated with the grieving process, but were so intensified then. I couldn’t imagine life without the light; I mean what would be the point of trying to?
I found that very early in this experience that I had assumed the role of consoler. Everyone meant well, but as we find at times like this, they didn’t know what to do or say. Comforting others has the effect of providing a level of functionality and helps start the healing process. Still, I banged around in the dark for quite a few weeks. Work and volunteer commitments kept me occupied.
Then something amazing happened; when I least expected it, I saw a glimmer of light. I was overwhelmed and surprised. Here was a bit of the spark that I had so wanted to regain. I began to look for it everywhere, but it remained elusive. It teased and taunted me, tapped me on the shoulder, pinched my ear and even flirted with me. I know, it really didn’t do all of that, but it made itself known in other ways. I saw it in the face of the checkers when I bought my meager groceries; no longer was I receiving “that” look. I saw it in the face of a young Leukemia patient at the finish line of a 100 mile ride that friends and I did in her honor. I told a very close friend that I’d never marry again; I saw it in her smile when she responded “that’s ridiculous, of course you will. You love being married.” I felt it in my former mother-in-laws hug when I told her that I had started to date. My sister (an amazing source of strength and support) even mentioned that my eyes were beginning to shine again.
I found that I had been given the gift of a new start. Two years later a new light was lit as Jeanne (remember the very close friend from above?) and I exchanged vows. Now with two beautiful little girls (and one annoying yet adorable dog) it sustains me through the trials of life.
The old light; it’s still there. It keeps the memory of the person that I was from fading away. After all, that was part of the journey that brought me here. I still see it from time to time. It will make itself visible in the light on a child’s face from her birthday candles. I’ll see it in the subdued splendor of a Christmas tree. And on occasion, it will come out to simply dance on the water….
I wish you all peace and light.
D
Design Insights XLIX
Roman architectural history has always been a two-way street. In one lane, there are the tangible pieces of evidence attesting to provenance, like stamped bricks which firmly date a structure to a specific time period and probable patron. In the opposite lane, the breakneck speed of imperial propaganda might well be the only story that survives to this day, just as, I suspect, the patron(s) of any project would have intended.
I specifically chose the example of opposing lanes of traffic for the Thermæ Alexandrinæ as it perfectly describes the friction of evidence versus narrative therein. On the one hand, the vanishingly few excavations carried out on the site have revealed remnants of an elaborate baths complex with building material firmly dating its construction to the third century reign of Alexander Severus. On the other hand, the complex is still interchangeably referred to as the Baths of Alexander [Severus] and as the Baths of Nero. But Nero's claim to the baths on this site are far less certain and much more circumstantial.
The Baths of Nero were built on or near this site, according to multiple sources. Nero's proclivities toward excess, however, resulted in backlash which saw many of his architectural projects either torn down or used as foundations for later overbuilding. Were the Baths of Alexander built on top of Nero's baths? Were Alexander's baths arranged according to the imperial thermæ standard, or did Nero's baths set that standard 150 years earlier? These are just some of the many questions we shall ask - but inevitably fall short of answering - as we explore the Thermæ Alexandrinæ.
Don't miss this all-new DESIGN Insights post highlighting Phase III of my ongoing efforts to build all of Ancient Rome, circa mid-4th century CE!
😎 These insights are EXCLUSIVE to Corinthian patrons, and peel back the curtain months before these designs will be shared publicly. The renderings, on the other hand, are shared with patrons of all tiers.
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"Gypsy Madonna", around 1510
Despite the closed triangle of the group of figures, the "Gypsy Madonna" (probably so called due to her dark complexion) gives the impression of relaxed naturalness. Unlike his teacher Giovanni Bellini, Titian moulds the body not by means of wrapped robes and veils but rather by use of sparing white high-lights and subdued shadows. The painter thereby shows himself to be of a younger generation for whom the world has become more sensual and tangible. This devotional picture is one of the oldest works of the painter still preserved.
Tizian (um 1488-1576), tätig in Venedig
"Zigeunermadonna", um 1510
Trotz der geschlossenen Dreiecksform der Figurengruppen gibt die (wohl nach ihrem dunklen Teint benannte) "Zigeunermadonn" den Eindruck entspannter Natürlichkeit. Anders als sein Lehrer Giovanni Bellini modelliert Tizian die Körper nicht durch rundgeführte Gewänder und Schleier sondern durch sparsame Weisserhöhungen und dezente Schattenpartien, darin erweist er sich als Maler einer jüngeren Generation, deren Welt sinnlicher, konkreter geworden ist. Das Andachtsbild gehört zu den ältesten erhaltenen Werken des Malers.
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
2009-2019: Sabine Haag as general director
2019– : Eike Schmidt (art historian, designated)
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
There has been a shrine at this location since Fatimid times, but tangible architectural documentation does not appear until the 1549, when a series of builders, beginning with Semiz Ali Pasha (in 1549) contributed to it. The current mosque was enlarged in 1942, the 1990s & 2022.
The cenotaph is protected by a magnificent silver screen provided by the Dawoodi Bohras, from the Shiʿa Ismaʿili Mustaʿli Tayyibi branch of Islam who adhere to the faith of the Fatimid Imam-caliphs.
Zaynab bint 'Ali c.626-c.682, the eldest daughter of 'Ali ibn Abi Talib & Fatima bint Muhammad, sister of Husayn. She was with him at the battle of Karbala. The Prophet Muhammad was her maternal grandfather, and thus she is a member of his Ahl al-Bayt (People of the House, the holy family of the Prophet Muhammad). She married ‘Abdullah ibn Ja‘far. Some historians consider that Sayyida Zainab was exiled to Egypt in c.679, and that she was buried at this site. However, many people, primarily Twelver Shias, believe that Sayyida Zainab was buried in Damascus, Syria (see www.flickr.com/photos/gballardice/5081543467 & ff.).
Along with Sayyidas Nafisa & Ruqayya, Zaynab bint 'Ali are traditionally considered the patron saints of Cairo.
Patron: Tewfik Pasha (Muḥammad 'Ali Tawfīq Bāshā) 1852-1892, eldest son of Khedive Ismail, Khedive (Ottoman viceroy) of Egypt & Sudan (r.1879-1892).
Semiz Ali Pasha (Semiz, fat in Turkish) was an Ottoman Serb statesman from the Sanjak of Bosnia who served as Grand Vizier of the Ottoman Empire (r.1561-1565), beylerbey (governor) of Egypt Eyalet (r.1549-1553).
Islamic Monument #620
La serie busca construir historias ficticias basadas en idilios del pasado, esto surge por la falta de pruebas tangibles o vestigios fotográficos con las ex parejas debido a los juicios sociales en los que ellos se verían inmersos si se mostrara afecto homosexual en público.
El discurso tiene dos vías, la producción de puestas en escena donde se muestra la utopía o deseos románticos jamás cumplidos y un diario en el que concibo un amor imaginario que permite llenar el vacío de la memoria fotográfica que valide una inefable relación amorosa.
Fire on Your Finger
Fire on your finger,
Fire in your eye,
Fire in your spirit,
Fire that won’t die.
Fire in the bare bones of being,
Fire to uphold what’s right,
Fire in the heart of darkness,
Fire to fuel Love’s light.
Fire to burn but not consume,
Fire to learn and not assume,
Fire to live and give living room,
Fire to love and sing her tune.
Tony Jolley
A mela (festival) is held in the month of March each year; this mela is associated with spring and Shah Hussain (Madho-Lal Hussain RA), a classic Punjbai poet of 16th century A.D. He was a contemporary of Akber the Great, Mughal Emperor.
(Picture was taken at the Urs (death ceremony) of Hazrat Madho-Lal Husain R.A)
Lahore-Pakistan
www.flickriver.com/photos/kashifthegipsy/popular-interest...
In my digital studio, AI breathes life into scenes and characters, all imagined, never having graced the tangible world.
A vintage gramophone holds a unique appeal for young people, often defying their digital-native instincts. Part of this fascination stems from its tangible, mechanical nature. In an era dominated by intangible digital files and streaming, the physical act of placing a needle on a spinning record, winding the crank, and hearing the raw, unamplified sound emerge from a horn is a deeply satisfying and almost magical experience. It's a stark contrast to the effortless, often taken-for-granted access to music they're accustomed to, offering a glimpse into a time when music consumption was a more deliberate and involved process. This "analog" charm taps into a curiosity about how things worked before the age of microchips, sparking an appreciation for the ingenuity of past technologies.
Beyond the mechanics, the gramophone represents a tangible connection to history and a sense of nostalgia for an era they never experienced. Its antique aesthetic, often featuring ornate woodwork and brass accents, evokes images of a bygone era – perhaps the Roaring Twenties, or elegant Victorian parlors. For young people, who are constantly bombarded with the latest trends and future-oriented technologies, exploring the past through an object like a gramophone offers a unique form of escapism and a chance to connect with cultural heritage. It allows them to imagine life in a different time, fostering a sense of wonder about the evolution of entertainment and technology.
Finally, the very imperfections of a vintage gramophone contribute to its allure. The pops, crackles, and warmer, less pristine sound quality are not flaws but rather character-defining features that stand in stark contrast to the crystal-clear, digitally perfected audio they typically hear. This "authentic" sound, combined with the visible mechanics and the historical narrative embedded in the object, creates a multi-sensory experience that is deeply engaging. It's not just about listening to music; it's about engaging with an artifact that tells a story, offering a unique and memorable interaction that resonates more profoundly than simply pressing "play" on a digital device.
The windmill is the most tangible reminder of an industry along both shores of the Firth of Forth, salt production, the role of the windmill was to provide the power to pump sea water from tidally-fed reservoirs cut into the rocks offshore into the salt pans.
Ref No 2.2011 09 20 027
Copyright © Keith Long - All rights reserved.
There has been a shrine at this location since Fatimid times, but tangible architectural documentation does not appear until the 1549, when a series of builders, beginning with Semiz Ali Pasha (in 1549) contributed to it. The current mosque was enlarged in 1942, the 1990s & 2022.
The cenotaph is protected by a magnificent silver screen provided by the Dawoodi Bohras, from the Shiʿa Ismaʿili Mustaʿli Tayyibi branch of Islam who adhere to the faith of the Fatimid Imam-caliphs.
Zaynab bint 'Ali c.626-c.682, the eldest daughter of 'Ali ibn Abi Talib & Fatima bint Muhammad, sister of Husayn. She was with him at the battle of Karbala. The Prophet Muhammad was her maternal grandfather, and thus she is a member of his Ahl al-Bayt (People of the House, the holy family of the Prophet Muhammad). She married ‘Abdullah ibn Ja‘far. Some historians consider that Sayyida Zainab was exiled to Egypt in c.679, and that she was buried at this site. However, many people, primarily Twelver Shias, believe that Sayyida Zainab was buried in Damascus, Syria (see www.flickr.com/photos/gballardice/5081543467 & ff.).
Along with Sayyidas Nafisa & Ruqayya, Zaynab bint 'Ali are traditionally considered the patron saints of Cairo.
Patron: Tewfik Pasha (Muḥammad 'Ali Tawfīq Bāshā) 1852-1892, eldest son of Khedive Ismail, Khedive (Ottoman viceroy) of Egypt & Sudan (r.1879-1892).
Semiz Ali Pasha (Semiz, fat in Turkish) was an Ottoman Serb statesman from the Sanjak of Bosnia who served as Grand Vizier of the Ottoman Empire (r.1561-1565), beylerbey (governor) of Egypt Eyalet (r.1549-1553).
Islamic Monument #620
Envie: 1. To vie 2. To emulate 3. To strive
To crave for something, tangible or otherwise, belonging to another. Often to the point unleashing that monster lurking within all us, you know, the one with the green eyes?
I shan't go into my usual elaborate descriptions here since most of the verbage's already gone into the matching necklace, L'invidia di una Donna :)
But suffice to say that these curvaceous hoops are miniature manifestations of what E.N.V.Y. means to me. A vortex of tangled knots and coils. Some without end, some with. Some of which curl upward, some spiral downward. All peppered with glorious envy-laden gems namely Mystic Green Topaz, petite Seed Pearls, Mystic Green Quartz and Mystic Citrine. Those scenestealers? Divine Apple Green Peruvian Chrysoprase Briolettes, bedecked with a single Labradorite Rondelle each.
I've said it before but I'll say it again now. Make 'em gape and gawk and go absolutely green with envy!
Envie drops approximately 2.25" and showcases 925 Sterling as well as 999 Fine Silver Wires.
{ COLLECTION }
ENVIE is part of the ATELIER ULTRA LUXE Collection, Eclettica's extremely exclusive range of haute pieces wherein only the most superior of gemstones are combined with wire-wrapping artistry to create Couture Heirlooms.
ENVIE is an exclusive one-of-a-kind design, available only from the studio of Eclettica.
"Theatrics of Interspace" is the title of the Ars Electronica Garden in Bad Ischl hosted by University of Innsbruck, Institute für Gestaltung – Studio 2 (AT), AUF! AUF! Residency (AT).
Theatrics of interspace brings digital competence into dialogue with the heritage Lehar Theatre to stimulate creativity and open up new perspectives for understanding and sharing heritage elements and technology. The garden negotiates the concept of interspace between the actor and performer, subject and object, analog and digital, real and virtual, the past and the present, the old and the new. Technology applied to heritage represents an important field of digital humanities and the garden uses this power to breathe life back into the theatre. The identity of the building is in a time flux. It is to be renovated/conserved in order to hopefully represent Bad Ischl as the European Capital of Culture 2024. The students & researchers of the University of Innsbruck Studio 2 and the artists in residence from AUF AUF respond to this change through technology. The projects ranging from projection mappings to interactive VR environments, to digital sculptures and performances, rejuvenate and enliven the heritage by addressing the elements of dramaturgy and the historical context of the place. The garden aims to call attention to the theatre, its cultural importance, and the need to revive it, thereby celebrating its rich cultural legacy. University of Innsbruck | Studio 2 | Institut für Gestaltung | HAL - Holon Architecture Lab Studio 2 is dedicated to one of the central activities of architecture: the investigation, development and design of tangible spaces for people. The research focuses on the topic of “Man and space”: the perception and effect of space and its material and immaterial qualities. The Lab is situated in Studio2.
Cover Image: Anirudhan Iyengar