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What does an AML specialist do for the BLM?
Here in BLM Nevada, we inventory abandoned mines and lands, including cultural resources and wildlife in and around sites. We assess sites for value as well as potential public health and safety risks.
What is a typical day like for you?
An AML specialist does more than just “cover up holes.” My work in the office includes project coordination, budget, and other administrative duties. I follow the National Environmental Policy Act and coordinate with an inter-displinary team of biologists, archaeologists, geologists, and more on closure projects. I also coordinate a lot with our partners at Nevada Department of Environmental Protection, Nevada Division of Minerals, and Nevada Division of Wildlife.
What is your favorite part of the job?
The job is dirty, but fun. I see the great parts of the state first hand. Ghost towns, old mining camps, amazing wildlife, and springs and creeks all over the desert. The best days are spent in the field.
Photos: BLM Nevada
To the surprise of nobody who's ever talked to me, I have eclectic tastes when it comes to collectibles. Yeah, I'll get the things that are generally universally liked, but ultimately shock value and general tastelessness (by puritan US standards) are what kind of guide my collecting path.
About a year ago, there was a company with a dream - Big Firebird Toy - and that dream was to make a transforming Arcee figure that was more Senran Kagura than G1 Autobot. Her name would be Nicee, and would share enough characteristics with her licensed namesake so you could help Hot Rod live out his high school fantasies including a familiar alt mode and a very G1 Arcee head.
People complained, of course, but in this day and age, what else is new? At least this wasn't Flametoys where they were selling licensed figures... this was the Wild Wild West of Third Party Transformer figures. I'll admit the window dressing was might attractive, but the Engineer in me also wanted to know.. just how would they pull off such an ambitious design?
At any rate, preorders were placed and all was well for a while.
First it was COVID causing mayhem and delaying production of everything across the board. Then, rumour has it that Hasbro started actually cracking down on Chinese bootlegs of their figures, and so Big Firebird Toy dropped the Arcee head, and just stuck with their own original content. That all passed, and I finally received my copy of the figure.
So just how did they do? Lets look at the Big Firebird Toy EX-01: Nicee figure.
I ordered mine from TF-Direct, who were the lowest price point at the time. Prices have since jumped up from the $95 USD I paid, which included EMS shipping, but a cursory glance at eBay shows you should still be OK. The figure came in it's own brown shipper, with an art box contained within which houses all the fun stuff.
A quick glance at the art box should very quick establish that no... this is not a kids figure. It's not quite Skytube hentai PVC material, but it is at least Teen territory. Also nice is the Pink foiled letters.
I also have to giggle at the security seal and the quality assurance foil sticker because, well... China.
Nicee is packed in robot mode, and comes in a single layered tray with her accessories. By the time things are said and done, the box is gigantic, effectively 12" x 12" x 4", like something out of the old Toys R Us MP boxes. Accessories include an extra Aheago head, a breast plate with soft rubbery breasts, a laser pistol, an energy arrow, a sword, part of her chasis, the handle for her bow, and six additional hands. Naturally, she has a set of instructions, as well as a nifty art card.
Nicee is a gorgeous figure, and I'm not just talking curves. I had two major concerns - crappy paint work, and crappy build. I've done the best I can on my photos, but one of things I couldn't make out on other photos I've seen is the fact that Nicee has a nice pearl finish on all her painted parts. Try as I might, I could not find any areas of overspray or bleeding, with the only bad paint being a fibre or something being embedded into the forehead of my Aheago head. Even the pink on the wheels are pearl finish. Now, I would ADD some colours to a few areas, such as the blade of the sword and maybe to the face to make the lips turn out better, but that's another discussion - what paint work you do get is pretty damn good and is generally resistant to most forms of contact.
I'm not saying you should break out the sand paper, but you can at least be assured you don't have to worry about actually handling the figure without gloves.
Build quality is a bit tougher to explore, but to put aside any immediate worries, overall things are very good. Nicee has rubber tires, which is becoming more and more of a rare thing. There are some die cast metal parts, though these in high stress structural components. The plastics they used feel like the same stuff you'd get on a Takara Tomy MP figure, but perhaps a bit thinner, maybe due to the sheer number of curved parts on this figure.
The finish on these parts is, without a doubt, phenomenal. very few rough surfaces or mould lines found. My mind is blown at how well the pieces fit together, and that truly the finished product matched the CG renders almost perfectly. QC with regards to accuracy of tabs and slots is almost perfect, but isn't quite up to Takara Tomy standards, so it can be a bit of pain to get things aligned correctly but it can be done, at least, and the parts come together with tolerances that wouldn't be out of place on an MP figure.
Joints in general tend to be a bit on the stiff side, especially the neck and head joints, which can make posing Nicee a bit of a headache..
Finally I feel the hands should have used the more popular method of connection, that is having the ball on the wrist joint itself and the socket on the hand, as opposed to the opposite. This would make things connect more securely, as well as improve range of motion here.
Nicee herself is 19 cm tall, which puts here out of MP scale, as she's supposed to be slightly smaller than Hot Rod. On the plus side, she's that much more visually impressive and has that much more shelf presence.
Articulation is impressive, and is in line with what I'd expect from an MP figure. You get full ankles (two separate points of movement), double jointed knees, thigh twist, hips with pull down for greater range of motion, waist, mid torso, shoulders with lateral movement (so arms can come closer together), bicep swivel, single jointed elbows, wrists, neck, and head. Provided you can get the joints to cooperate, you can put the figure into many, many poses, though for next time Big Firebird Toy, double jointed elbows, please.
For all the effort put into the design of this figure, I feel that Big Firebird Toy put their C Team on weapons duty. The sword is a bit bland, but more importantly, there's one hand dedicated to holding both the Sword and the Bow, and neither of them are really held that well. The laser pistol is perhaps the only weapon where they did some homework as there's almost no way that gun will ever get loose from that hand, and I wish that they had given her a second pistol, in addition to more useful hands.
Another thing that might cool your enthusiasm for Nicee is that she is somewhat of a Partsformer, like most of the current mainline Transformers. In order to achieve a certain body shape, designers just made unwanted parts removable and convertible into accessories for the main figure.
In Nicee's case, that piece of the car body turns into a shield that is pegged in a way that you either can move the forearm it's attached to, or you hold it like a gun because there's no proper handle. Then there's the bow.... oh that bow.
It's made up of the front of the vehicle mode, which usually hangs on to her behind her neck, giving Nicee those wing looking things. Conversion to a bow involves plugging in a plastic piece that gives it a handle, then squeezing it into the hand that is meant for the sword. It's very, very awkward to say the least, and the fact there's no real dedicated hand for holding the arrow is also a major pain.
Oh right, in the event you don't fancy a bow, you can convert most of the parts into a skirt for... reasons, which unfortunately leaves you with a completely useless panel as well as reduced articulation.
Finally, coming full circle we have transformations, though before I go on I should probably mention that you swap out the breast plates by popping up the shoulders and head and replacing the part.
Conversion into vehicle mode isn't really that complicated once you decipher the instruction manuals mentions of degrees and misspelt words. To their credit, there is a link to a transformation video, which I didn't watch, but I'll presume is more helpful than the instructions. The overall methodology is kind of like TM2 Blackarachnia where you stretch out the body, wrap the legs around the body and cover the entire thing in a shell. IIRC the Generations version had this method and maybe even the other 3P Arcee I have, the Occular Max Zinnia.
I guess I should also mention there was controversy about how the vehicle mode had the visual making of a Vagina or something. I dunno.. I don't looking for the meaning of life in my cups of coffee, and I don't go looking for Vaginas in my vehicle modes.
So in conclusion, the base figure itself is very good, and I'm impressed with the excellent paint work and overall production values of the figure. Weapons really is where the ball was dropped, and even then things could have been saved if the variety of hands was greater and if the bow/shield had actual proper handles so they could do their job. But all-in-all, this is much better than any novelty figure has the right to be.
So if you're an open minded transforming robot fan, I'd highly recommend you give Nicee a try.
A World Economic Forum‑Water Resources Group meeting in Mongolia, co‑hosted by the Office of the President of Mongolia and the Water Resources Group in June 2011
Core Values Totem Poles
Artist: Terry Beaston
The Core Values Totem Poles celebrate the beautiful landscapes or Port Noarlunga and create a unique sense of place. They reference the local environment by incorporating layers of coloured glass and ceramic sedimentary strata reminiscent of the surrounding cliffs that dramatically change throughout the day and glow with the setting sun.
The sculptures consist of pre-cast cement and include cast and fused glass pieces, clay, polished stones, terrazzo and carved effects, cement oxide colours and stains.
April 2013
A values voter at the Values Voter Summit in Washington, DC.
Please attribute to Gage Skidmore if used elsewhere.
Wireless rfm12b master flash controller.
This controller drive 3 local flashes in TTL mode and 4 external remote flashes via the buildin RFM12B transceiver on 868 Mhz. Multiple values can be adjusted for the local and remote flashes. Every flash can be enabled/disabled separately. Also on every flash channel the type can be changed. Every flash have a powersetting in 1/3 EV steps from 1/256 to full power.
2 extra buttons are foresee to change the global flash EV offset level into 1/3 EV steps, one button for the 3 local flashes and one button for the 4 remote flashes. This value stay separate on the display. This quick adjustment is helpfull to change the global for /background lighting without the need to change the individual flashpower.
For pictures current print see:
www.flickr.com/photos/fotoopa_hs/3916952496/
Shema:
www.flickr.com/photos/fotoopa_hs/3896289984/in/set-721576...
How the flashes works:
www.flickr.com/photos/fotoopa_hs/3778250766/in/set-721576...
And first prototype:
www.flickr.com/photos/fotoopa_hs/3865215828/in/set-721576...
The box have 160mm x 96mm x 60mm. The antenne for the wireless transceiver is assembled inside the box (box is synthetic material). Flash ouput connectors are 3.5mm phone type monted underside the box ( not well to see here on the photo) The connectors drive the X, Q and GND signals to drive the flash in TTL mode.
This version is only a prototype to test multiple use of remote flashes. Later this year all this functions will build into a new setup for flying insects. Because controllers and LCD display are already used, the extra room to mount the new functions will be limited. The newer version need a few more functions. I need also a timekeeper, and a temperature sensor ( I need to know how warm it is for the nightcapture of the moths in-flight).
value on board. You are allowed to use this image on your website. If you do, please link back to my site as the source: creditscoregeek.com/
Example: Photo by Credit Score Geek
Thank you!
Mike Cohen
An exercise for practicing values or different shades of gray. This time the values are obtained by varying the pressure used in holding the pencils. Just two pencils are used (HB and 2B). The exercise is proposed by Brenda Hoddinott at www.drawspace.com.
Ashok Kumar, farmer, in his field at Gabbur, Raichur district, Karnataka, India.
Project Result: Private Enterprises Spice Up India's Rural Incomes
Read more on:
Through The Cocoa Plan, Nestlé aims to help cocoa farmers by training them in good agricultural practices to improve yields and returns, ensuring a reliable and transparent supply chain, and improving social conditions, particularly in terms of water infrastructure in the cocoa farming villages.
“Nowadays people know the price of everything and the value of nothing.”
― Oscar Wilde, The Picture of Dorian Gray
This picture best represents value since it shows the color of the top of the leaves first which is yellow and then it gradually turns into a darker orange color. I edited the levels to make the picture a little bit brighter and used a shutter speed of 1/ 100 and an aperature of F. 6.3.
The history of the Austrian Museum of Applied Arts/Contemporary Art
1863 / After many years of efforts by Rudolf Eitelberger decides Emperor Franz Joseph I on 7 March on the initiative of his uncle Archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London), the establishment of the "k. k. Austrian Museum for Art and Industry" and apponted Rudolf von Eitelberger, the first professor of art history at the University of Vienna, to director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.
1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the kk polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.
1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k. k.) Austrian Museum for Art and Industry .
1866 / Due to the lack of space in the ballroom setting up of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park on the still being under development Rind Road.
1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger Straße 11-13/Schwarzspanierstrasse 17, Vienna 9.
1868 / With the construction of the building at Stubenring is started as soon as it is approved by Emperor Franz Joseph I. the second draft of Heinrich Ferstel.
1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building on the ring. Objects from now on could be placed permanently and arranged according to main materials. / / The Arts School moves into the house on Stubenring. / / Opening of Austrian art and crafts exhibition.
1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum of funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.
1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Applied Arts, adjoining the museum, Stubenring 3 , also designed by Heinrich von Ferstel, is opened.
1878 / participation of the Museum of Art and Industry and the School of Art at the Paris World Exhibition.
1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the arts and crafts school join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and crafts since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.
1885 / After the death of Rudolf von Eitelberger is Jacob von Falke, his longtime deputy, appointed manager. Falke plans all collection areas als well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.
1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high baroque in the history of art and in applied arts in particular.
1895 / end of the Directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.
1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism .
1897 / end of the Directorate of Bruno Bucher. Arthur von Scala, Director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and school of applied arts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagated the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.
1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, Archduke Rainer puts down his function as protector. / / New statutes are written.
1898-1921 / The Museum magazine art and crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.
1900 / The administration of Museum and Arts and Crafts School is disconnected.
1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the " k. k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.
1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .
1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.
1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum receives thereby rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.
1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and crafts.
1914 / Exhibition of works by the Austrian art industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum of arts and crafts in the fifty years of its existence.
1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide .
1920 / As part of the reform of museums of the First Republic, the collection areas are delineated. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.
1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as Josef Hoffmann.
1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.
1925 / After the end of the Directorate of Eduard Leisching Hermann Trenkwald is appointed director.
1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.
1927 / August Schestag succeeds Hermann Trenkwald as director .
1930 / The Werkbund (artists' organization) Exhibition Vienna, A first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.
1931 / August Schestag finishes his Directorate .
1932 / Richard Ernst is the new director .
1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over craft inventories of the collection Albert Figdor and the Kunsthistorisches Museum.
1937 / The Collection of the Museum of Art and Industry is re-established by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.
1938 / After the "Anschluss" of Austria by Nazi Germany, the museum was renamed "National Museum of Decorative Arts in Vienna".
1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Applied Arts in Vienna" is also enlarged in this way.
1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.
1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.
1947 / The "State Museum of Applied Arts in Vienna" is renamed "Austrian Museum of Applied Arts".
1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.
1949 / The Museum is reopened after repair of the war damages.
1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).
1951 / Ignaz Schlosser is appointed manager.
1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.
1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.
1955-1985 / The Museum publishes the periodical ancient and modern art .
1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.
1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.
1958 / End of the Directorate Ignaz Schlosser
1959 / Viktor Griesmaier is appointed as the new director.
1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.
1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.
1964 / The exhibition Vienna 1900 presents Crafts of Art Nouveau for the first time after the Second World War. / / It is started with the systematic processing of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary grantes the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.
1965 / The Geymüllerschlössel is as a branch of the Museum angegliedert (annexed). Gleichzeitig (at the same time) with the building came the important collection of Franz Sobek - old Viennese clocks, emerged between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.
1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are merged.
1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues to today of Austria's most important design project in the 20th Century.
1968 / On Viktor Griesmaier follows Wilhelm Mrazek as director.
1969 / The exhibition Sitting 69 shows on the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.
1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.
1979 / Gerhart Egger is appointed director .
1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the art space in Vienna during the interwar period.
1981 / Herbert Fux follows Gerhart Egger as Director.
1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: Designer. First exhibition of the Italian designer in Austria
1986 / Peter NOEVER is appointed as Director and started building up the collection of contemporary art.
1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.
1989-1993 / General renovation of thee old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for collection and additional exhibit spaces arise.
1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.
1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.
1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.
1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).
1993 / The permanent collection is re-established, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchnerstraße is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.
1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on the MAK terrace plateau).
1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa : Krimania.
1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.
1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive Personale of the work of the designer of Wiener Werkstätte after the Second World War.
1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned .
2000 / Outsourcing the federal museums, transforming the museum into a "scientific institution under public law". / / The exhibition of art and industry. The beginnings of the Austrian Museum of Applied Arts in Vienna are dealing with the founding history of the house and the collection.
2001 / As part of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work the "Four lemurs heads " are placed at the Stubenbrücke located next to the MAK. / / Dennis Hopper: A System of Moments.
2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin in Vienna is presented.
2002 / Exhibition Nodes. symmetrical-asymmetrical. The historic Oriental Carpets of the MAK presents the extensive rug collection.
2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, the exhibition The Price of Beauty. 100 years Wiener Werkstätte takes place. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.
2004 / James Turrell MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.
2005 / Atelier Van Lieshout: The Disziplinatornbsp / / The exhibition Ukiyo-e Reloaded for the first time presents the collection of Japanese woodblock prints of the MAK in large scale.
2006 / Since the beginning of the year the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents special exhibitions annually. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.
2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects .
2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes using a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, the center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property of museums in Vienna.
2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.
2011 / After Peter Noevers resignation Martina Kandeler-Fritsch takes over temporarily the management. / / Since 1 September Christoph Thun-Hohenstein is director of the MAK.
A screen grab of a Dec 1957 episode of The Phil Silvers Show that I watched on You Tube. Note the decorative keystone over the fireplace. I have enjoyed watching this old series although his morals do not represent Masonic values.
Dick Cavett interviews Phil Silvers in Hollywood in 1981: youtu.be/eg5_zgHtXVc
Square and Compasses - This symbolic stone was removed from above the entrance to the Lambton Mills Masonic Temple erected by Mimico Lodge on the north side of Dundas Street in 1882.
Masonic Square and Compasses.
The Square and Compasses (or, more correctly, a square and a set of compasses joined together) is the single most identifiable symbol of Freemasonry. Both the square and compasses are architect's tools and are used in Masonic ritual as emblems to teach symbolic lessons. Some Lodges and rituals explain these symbols as lessons in conduct: for example, Duncan's Masonic Monitor of 1866 explains them as: "The square, to square our actions; The compasses, to circumscribe and keep us within bounds with all mankind".
However, as Freemasonry is non-dogmatic, there is no general interpretation for these symbols (or any Masonic symbol) that is used by Freemasonry as a whole.
Square and Compasses:
Source: Mackey's Encyclopedia of Freemasonry
These two symbols have been so long and so universally combined — to teach us, as says an early instruction, "to square our actions and to keep them within due bounds," they are so seldom seen apart, but are so kept together, either as two Great Lights, or as a jewel worn once by the Master of the Lodge, now by the Past Master—that they have come at last to be recognized as the proper badge of a Master Mason, just as the Triple Tau is of a Royal Arch Mason or the Passion Cross of a Knight Templar.
So universally has this symbol been recognized, even by the profane world, as the peculiar characteristic of Freemasonry, that it has recently been made in the United States the subject of a legal decision. A manufacturer of flour having made, in 1873, an application to the Patent Office for permission to adopt the Square and Compasses as a trade-mark, the Commissioner of Patents, .J. M. Thatcher, refused the permission as the mark was a Masonic symbol.
If this emblem were something other than precisely what it is—either less known", less significant, or fully and universally understood—all this might readily be admitted. But, Considering its peculiar character and relation to the public, an anomalous question is presented. There can be no doubt that this device, so commonly worn and employed by Masons, has an established mystic significance, universally recognized as existing; whether comprehended by all or not, is not material to this issue. In view of the magnitude and extent of the Masonic organization, it is impossible to divest its symbols, or at least this particular symbol—perhaps the best known of all—of its ordinary signification, wherever displaced, either as an arbitrary character or otherwise.
It will be universally understood, or misunderstood, as having a Masonic significance; and, therefore, as a trade-mark, must constantly work deception. Nothing could be more mischievous than to create as a monopoly, and uphold by the poser of lacy anything so calculated. as applied to purposes of trade. to be misinterpreted, to mislead all classes, and to constantly foster suggestions of mystery in affairs of business (see Infringing upon Freemasonry, also Imitative Societies, and Clandestine).
In a religious work by John Davies, entitled Summa Totalis, or All in All and the Same Forever, printed in 1607, we find an allusion to the Square and Compasses by a profane in a really Masonic sense. The author, who proposes to describe mystically the form of the Deity, says in his dedication:
Yet I this forme of formelesse Deity,
Drewe by the Squire and Compasse of our Creed.
In Masonic symbolism the Square and Compasses refer to the Freemason's duty to the Craft and to himself; hence it is properly a symbol of brotherhood, and there significantly adopted as the badge or token of the Fraternity.
Berage, in his work on the higher Degrees, Les plus secrets Mystéres des Hauts Grades, or The Most Secret Mysteries of the High Grades, gives a new interpretation to the symbol. He says: "The Square and the Compasses represent the union of the Old and New Testaments. None of the high Degrees recognize this interpretation, although their symbolism of the two implements differs somewhat from that of Symbolic Freemasonry.
The Square is with them peculiarly appropriated to the lower Degrees, as founded on the Operative Art; while the Compasses, as an implement of higher character and uses, is attributed to the Decrees, which claim to have a more elevated and philosophical foundation. Thus they speak of the initiate, when he passes from the Blue Lodge to the Lodge of Perfection, as 'passing from the Square to the Compasses,' to indicate a progressive elevation in his studies. Yet even in the high Degrees, the square and compasses combined retain their primitive signification as a symbol of brotherhood and as a badge of the Order."
Square and Compass:
Source: The Builder October 1916
By Bro. B. C. Ward, Iowa
Worshipful Master and Brethren: Let us behold the glorious beauty that lies hidden beneath the symbolism of the Square and Compass; and first as to the Square. Geometry, the first and noblest of the sciences, is the basis on which the superstructure of Masonry has been erected. As you know, the word "Geometry" is derived from two Greek words which mean "to measure the earth," so that Geometry originated in measurement; and in those early days, when land first began to be measured, the Square, being a right angle, was the instrument used, so that in time the Square began to symbolize the Earth. And later it began to symbolize, Masonically, the earthly-in man, that is man's lower nature, and still later it began to symbolize man's duty in his earthly relations, or his moral obligations to his Fellowmen. The symbolism of the Square is as ancient as the Pyramids. The Egyptians used it in building the Pyramids. The base of every pyramid is a perfect square, and to the Egyptians the Square was their highest and most sacred emblem. Even the Chinese many, many centuries ago used the Square to represent Good, and Confucius in his writings speaks of the Square to represent a Just man.
As Masons we have adopted the 47th Problem of Euclid as the rule by which to determine or prove a perfect Square. Many of us remember with what interest we solved that problem in our school days. The Square has become our most significant Emblem. It rests upon the open Bible on this altar; it is one of the three great Lights; and it is the chief ornament of the Worshipful Master. There is a good reason why this distinction has been conferred upon the Square. There can be nothing truer than a perfect Square--a right angle. Hence the Square has become an emblem of Perfection.
Now a few words as to the Compass: Astronomy was the second great science promulgated among men. In the process of Man's evolution there came a time when he began to look up to the stars and wonder at the vaulted Heavens above him. When he began to study the stars, he found that the Square was not adapted to the measurement of the Heavens. He must have circular measure; he needed to draw a circle from a central point, and so the Compass was employed. By the use of the Compass man began to study the starry Heavens, and as the Square primarily symbolized the Earth, the Compass began to symbolize the Heavens, the celestial canopy, the study of which has led men to think of God, and adore Him as the Supreme Architect of the Universe. In later times the Compass began to symbolize the spiritual or higher nature of man, and it is a significant fact that the circumference of a circle, which is a line without end, has become an emblem of Eternity and symbolizes Divinity; so the Compass, and the circle drawn by the Compass, both point men Heavenward and Godward.
The Masonic teaching concerning the two points of the Compass is very interesting and instructive. The novitiate in Masonry, as he kneels at this altar, and asks for Light sees the Square, which symbolizes his lower nature, he may well note the position of the Compass. As he takes another step, and asks for more Light, the position of the Compass is changed somewhat, symbolizing that his spiritual nature can, in some measure, overcome his evil tendencies. As he takes another step in Masonry, and asks for further Light, and hears the significant words, "and God said let there be Light, and there was Light," he sees the Compass in new light; and for the first time he sees the meaning, thus unmistakably alluding to the sacred and eternal truth that as the Heavens are higher than the Earth, so the spiritual is higher than the material, and the spiritual in man must have its proper place, and should be above his lower nature, and dominate all his thoughts and actions. That eminent Philosopher, Edmund Burke, once said, "It is ordained that men of intemperate passions cannot be free. Their passions forge the chains which bind them, and make them slaves." Burke was right. Masonry, through the beautiful symbolism of the Compass, tells us how we can be free men, by permitting the spiritual within us to overcome our evil tendencies, and dominate all our thoughts and actions. Brethren, sometimes in the silent quiet hour, as we think of this conflict between our lower and higher natures, we sometimes say in the words of another, "Show me the way and let me bravely climb to where all conflicts with the flesh shall cease. Show me that way. Show me the way up to a higher plane where my body shall be servant of my Soul. Show me that way."
Brethren, if that prayer expresses desire of our hearts, let us take heed to the beautiful teachings of the Compass, which silently and persistently tells each one of us,
"You should not in the valley stay
While the great horizons stretch away
The very cliffs that wall you round
Are ladders up to higher ground.
And Heaven draws near as you ascend,
The Breeze invites, the Stars befriend.
All things are beckoning to the Best,
Then climb toward God and find sweet Rest.”
The secrets of Freemasonry are concerned with its traditional modes of recognition. It is not a secret society, since all members are free to acknowledge their membership and will do so in response to enquiries for respectable reasons. Its constitutions and rules are available to the public. There is no secret about any of its aims and principles. Like many other societies, it regards some of its internal affairs as private matters for its members. In history there have been times and places where promoting equality, freedom of thought or liberty of conscience was dangerous. Most importantly though is a question of perspective. Each aspect of the craft has a meaning. Freemasonry has been described as a system of morality, veiled in allegory and illustrated by symbols. Such characteristics as virtue, honour and mercy, such virtues as temperance, fortitude, prudence and justice are empty clichés and hollow words unless presented within an ordered and closed framework. The lessons are not secret but the presentation is kept private to promote a clearer understanding in good time. It is also possible to view Masonic secrecy not as secrecy in and of itself, but rather as a symbol of privacy and discretion. By not revealing Masonic secrets, or acknowledging the many published exposures, freemasons demonstrate that they are men of discretion, worthy of confidences, and that they place a high value on their word and bond.
Masonic Square and Compasses.
The Square and Compasses (or, more correctly, a square and a set of compasses joined together) is the single most identifiable symbol of Freemasonry. Both the square and compasses are architect's tools and are used in Masonic ritual as emblems to teach symbolic lessons. Some Lodges and rituals explain these symbols as lessons in conduct: for example, Duncan's Masonic Monitor of 1866 explains them as: "The square, to square our actions; The compasses, to circumscribe and keep us within bounds with all mankind".
However, as Freemasonry is non-dogmatic, there is no general interpretation for these symbols (or any Masonic symbol) that is used by Freemasonry as a whole.
Square and Compasses:
Source: Mackey's Encyclopedia of Freemasonry
These two symbols have been so long and so universally combined — to teach us, as says an early instruction, "to square our actions and to keep them within due bounds," they are so seldom seen apart, but are so kept together, either as two Great Lights, or as a jewel worn once by the Master of the Lodge, now by the Past Master—that they have come at last to be recognized as the proper badge of a Master Mason, just as the Triple Tau is of a Royal Arch Mason or the Passion Cross of a Knight Templar.
So universally has this symbol been recognized, even by the profane world, as the peculiar characteristic of Freemasonry, that it has recently been made in the United States the subject of a legal decision. A manufacturer of flour having made, in 1873, an application to the Patent Office for permission to adopt the Square and Compasses as a trade-mark, the Commissioner of Patents, .J. M. Thatcher, refused the permission as the mark was a Masonic symbol.
If this emblem were something other than precisely what it is—either less known", less significant, or fully and universally understood—all this might readily be admitted. But, Considering its peculiar character and relation to the public, an anomalous question is presented. There can be no doubt that this device, so commonly worn and employed by Masons, has an established mystic significance, universally recognized as existing; whether comprehended by all or not, is not material to this issue. In view of the magnitude and extent of the Masonic organization, it is impossible to divest its symbols, or at least this particular symbol—perhaps the best known of all—of its ordinary signification, wherever displaced, either as an arbitrary character or otherwise.
It will be universally understood, or misunderstood, as having a Masonic significance; and, therefore, as a trade-mark, must constantly work deception. Nothing could be more mischievous than to create as a monopoly, and uphold by the poser of lacy anything so calculated. as applied to purposes of trade. to be misinterpreted, to mislead all classes, and to constantly foster suggestions of mystery in affairs of business (see Infringing upon Freemasonry, also Imitative Societies, and Clandestine).
In a religious work by John Davies, entitled Summa Totalis, or All in All and the Same Forever, printed in 1607, we find an allusion to the Square and Compasses by a profane in a really Masonic sense. The author, who proposes to describe mystically the form of the Deity, says in his dedication:
Yet I this forme of formelesse Deity,
Drewe by the Squire and Compasse of our Creed.
In Masonic symbolism the Square and Compasses refer to the Freemason's duty to the Craft and to himself; hence it is properly a symbol of brotherhood, and there significantly adopted as the badge or token of the Fraternity.
Berage, in his work on the higher Degrees, Les plus secrets Mystéres des Hauts Grades, or The Most Secret Mysteries of the High Grades, gives a new interpretation to the symbol. He says: "The Square and the Compasses represent the union of the Old and New Testaments. None of the high Degrees recognize this interpretation, although their symbolism of the two implements differs somewhat from that of Symbolic Freemasonry.
The Square is with them peculiarly appropriated to the lower Degrees, as founded on the Operative Art; while the Compasses, as an implement of higher character and uses, is attributed to the Decrees, which claim to have a more elevated and philosophical foundation. Thus they speak of the initiate, when he passes from the Blue Lodge to the Lodge of Perfection, as 'passing from the Square to the Compasses,' to indicate a progressive elevation in his studies. Yet even in the high Degrees, the square and compasses combined retain their primitive signification as a symbol of brotherhood and as a badge of the Order."
Square and Compass:
Source: The Builder October 1916
By Bro. B. C. Ward, Iowa
Worshipful Master and Brethren: Let us behold the glorious beauty that lies hidden beneath the symbolism of the Square and Compass; and first as to the Square. Geometry, the first and noblest of the sciences, is the basis on which the superstructure of Masonry has been erected. As you know, the word "Geometry" is derived from two Greek words which mean "to measure the earth," so that Geometry originated in measurement; and in those early days, when land first began to be measured, the Square, being a right angle, was the instrument used, so that in time the Square began to symbolize the Earth. And later it began to symbolize, Masonically, the earthly-in man, that is man's lower nature, and still later it began to symbolize man's duty in his earthly relations, or his moral obligations to his Fellowmen. The symbolism of the Square is as ancient as the Pyramids. The Egyptians used it in building the Pyramids. The base of every pyramid is a perfect square, and to the Egyptians the Square was their highest and most sacred emblem. Even the Chinese many, many centuries ago used the Square to represent Good, and Confucius in his writings speaks of the Square to represent a Just man.
As Masons we have adopted the 47th Problem of Euclid as the rule by which to determine or prove a perfect Square. Many of us remember with what interest we solved that problem in our school days. The Square has become our most significant Emblem. It rests upon the open Bible on this altar; it is one of the three great Lights; and it is the chief ornament of the Worshipful Master. There is a good reason why this distinction has been conferred upon the Square. There can be nothing truer than a perfect Square--a right angle. Hence the Square has become an emblem of Perfection.
Now a few words as to the Compass: Astronomy was the second great science promulgated among men. In the process of Man's evolution there came a time when he began to look up to the stars and wonder at the vaulted Heavens above him. When he began to study the stars, he found that the Square was not adapted to the measurement of the Heavens. He must have circular measure; he needed to draw a circle from a central point, and so the Compass was employed. By the use of the Compass man began to study the starry Heavens, and as the Square primarily symbolized the Earth, the Compass began to symbolize the Heavens, the celestial canopy, the study of which has led men to think of God, and adore Him as the Supreme Architect of the Universe. In later times the Compass began to symbolize the spiritual or higher nature of man, and it is a significant fact that the circumference of a circle, which is a line without end, has become an emblem of Eternity and symbolizes Divinity; so the Compass, and the circle drawn by the Compass, both point men Heavenward and Godward.
The Masonic teaching concerning the two points of the Compass is very interesting and instructive. The novitiate in Masonry, as he kneels at this altar, and asks for Light sees the Square, which symbolizes his lower nature, he may well note the position of the Compass. As he takes another step, and asks for more Light, the position of the Compass is changed somewhat, symbolizing that his spiritual nature can, in some measure, overcome his evil tendencies. As he takes another step in Masonry, and asks for further Light, and hears the significant words, "and God said let there be Light, and there was Light," he sees the Compass in new light; and for the first time he sees the meaning, thus unmistakably alluding to the sacred and eternal truth that as the Heavens are higher than the Earth, so the spiritual is higher than the material, and the spiritual in man must have its proper place, and should be above his lower nature, and dominate all his thoughts and actions. That eminent Philosopher, Edmund Burke, once said, "It is ordained that men of intemperate passions cannot be free. Their passions forge the chains which bind them, and make them slaves." Burke was right. Masonry, through the beautiful symbolism of the Compass, tells us how we can be free men, by permitting the spiritual within us to overcome our evil tendencies, and dominate all our thoughts and actions. Brethren, sometimes in the silent quiet hour, as we think of this conflict between our lower and higher natures, we sometimes say in the words of another, "Show me the way and let me bravely climb to where all conflicts with the flesh shall cease. Show me that way. Show me the way up to a higher plane where my body shall be servant of my Soul. Show me that way."
Brethren, if that prayer expresses desire of our hearts, let us take heed to the beautiful teachings of the Compass, which silently and persistently tells each one of us,
"You should not in the valley stay
While the great horizons stretch away
The very cliffs that wall you round
Are ladders up to higher ground.
And Heaven draws near as you ascend,
The Breeze invites, the Stars befriend.
All things are beckoning to the Best,
Then climb toward God and find sweet Rest."
The Valley Fair Mall opened in 1955; supposedly as the first modern enclosed mall in the United States.
Originally, it was little more than a shopping center; with a handful of tenants "anchored" by W.T. Grant and a Krambo (later Kroger) food store. Most of these names were gone by the late 1970s, when the mall underwent a massive expansion and renovation that included the addition of a Kohl's department store/supermarket combo and Marcus cinema.
Due to competition from the newer Northland and Fox River malls and other myriad factors, Valley Fair began to slowly empty out in the 1980s and 1990s. After a brief stint as a "youth mall" under the ownership of Youth Futures (a "faith-based non-profit corporation"), the end came. All that's left now is the "Valley Value Cinema," the empty Kohl's building, and some piles of dirt.
Nestlé helps farmers in the Parma region of Italy to increase their production of tomatoes whilst reducing their water consumption.
Everything I think seems to have a little strain of chaos, that buzzing happening of a brain that won't give itself a break. It keeps me thinking that I've done too much, even if there's not much truth in the matter. I'm the wrong one to ask about how to relax, you'll find me running on a tightrope and talking up the meditative value. Always about what's next, what's now, intensely impatient to reach it. If I ever seem calm, it's because I've found a fever pitch at its greatest, and stood still on a precarious peak before tumbling. Steadily swaying sort of sickly, thoughts that call me craving speaking, nothing I tend to keep inside for long. When I'm about to fall asleep, I know how much I need the rest.
May 14, 2022
Beaconsfield, Nova Scotia
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