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Another shot from the same location. This was also taken from my camera phone. I thought I'd try and experiment a bit with some of the settings.
About the Photo:
Shot was taken in Center City Philly. Processing was done on the phone with a photoshop app. Tilt-shift applied.
***All Rights are Reserved***
10.30am Slept well overnight - but battery voltage dropped too much so had to recharge, using generator, despite wind generator putting in quite a good amount with the strong following winds. Probably due to use of electronic autopilot which has been having to work hard with the big seas on passage so far.
I've been trying to get more offshore this morning & fortunately the wind had swung more into the N so that has made it just possible - otherwise I might have had to gybe onto starboard tack again to avoid the sudden shoaling of the seabed we were heading into nearer the coast further south. With the seas already big, that would have meant even bigger waves - something to avoid in strong conditions, if possible.
In fact, the wind is now lessening a touch - force 5, rather than the 5-6 previously. All the more reason to stay well offshore to keep the wind and not get into the coastal 'dead' zone. Boat speed is down to mostly under 7 kn. rather than the mid 7's I'd got use to seeing.
Midday... (Just had a 1 hr nap....no ships around) 24hr run by log: 170 n.ml. - almost as good as yesterday - I'm definitely not complaining at daily runs this good - will cut down passage time nicely! Sun shining, almost no cloud, air temp 16.6C. 65n.ml. due S of Turtle Bay (nr. Punta Eugenia), about halfway to Cabo St Lucas at the S. tip of the Baja. At least 4 days more to go. My course to Bahia de Navidad takes me close to Chamela, so that remains an option for anchoring in a nice big bay when
I get nearer.
1545 Life is never dull out here!! Just before 3pm, spotted 'Cielo di Genova' heading north directly for me, 16miles away - but no name or details, apart from MMSI no., showing on AIS display. Had great difficulty contacting them - didn't know whether they spoke English (may have been a local?) so tried in my bad Spanish as well. Eventually, got a response to lat/long position I gave - and they suddenly switched on their name & other details (but I noticed it all disappeared againlater). They
finally altered course a bit to starboard when I pointed out they would be getting too close (within half mile - too little in my book!) & told them I was sailing in difficult conditions. All ended well, with them passing a mile off my port bow - for which I thanked them & we wished each other 'bon voyage'. I mentioned that I was about to take off around the globe - and was promptly called up by a cruise ship 'Norwegian Star' who had overheard the VHF talk - they wanted to chat and asked me about
my sailing plans - very pleasant guy from the Phillipines who wished me well.
I was about to clean a fifth squid I'd obviously overlooked when I picked up four from on deck earlier ... they were going to make a late lunch - now looks more like early 'tea'..! I've lemon, so I'm about to fry them..... here goes! (Later) I never realized how much work was involved in cleaning off the outside skin of squid...shouldn't have cut them up so soon! (Later still) Sat watching the sunset as I ate those squid - yummeeee...! I had actually found a sixth one as I went to the aft deck
to get some potatoes from the crate there, so it all made a very good-sized dish.(Present from Poseidon? Or maybe from the Nereids..)
Will say goodnight as I head for the SSB to send this and my position report off - seem to have written rather a lot today!
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
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Canon 5d mark 2
Canon 24-105 mm
Magic lantern dual iso 100-800
Developped with CR2HDR-20bit (2014-03-27) by a1ex
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harvestcreative.com | Fully responsive website. Head by there and give it a twirl.
Marketing/Design Firm: Harvest Creative
Owner/Partners : Daniel Brown & Andrew Holliday
Design/Illustration/Concept/Programming : Michael J. Hildebrand
Copy Writing: Andrew Holliday & Hunter Mitchell
Photography: Mike Force & Bob Bayne
Featured on DesignWorkLife: www.designworklife.com/2013/02/12/harvest-creative-website/
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Design for our website. The design centers around the rotating flash banner that flashes several announcements/events that the church has. We feel this is the main function of the home page. The other three buttons funnel visitors into most access information.
The navigation at the top would be drop down to display other links.
Any thoughts or criticisms that you have would be greatly appreciated!
Thanks.
The Luxury of being yourself
We have selected pictures on our website, but can always add more depending on the requests we do get and the current trend in the world of luxury fine art:
We do wedding photography and videography:
We do once in a while have discounted luxury fine art, please do keep checking:
Fine Art Photography Prints & Luxury Wall Art:
We do come up with merchandises over the years, but at the moment we have sold out and will bring them back depending on the demands of our past customers and those we do take on daily across the globe.
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We tend to celebrate light in our pictures. Understanding how light interacts with the camera is paramount to the work we do. The temperature, intensity and source of light can wield different photography effect on the same subject or scene; add ISO, aperture and speed, the camera, the lens type, focal length and filters…the combination is varied ad multi-layered and if you know how to use them all, you will come to appreciate that all lights are useful, even those surrounded by a lot of darkness.
We are guided by three passions, simple but overwhelmingly strong, our longing to capture in print, that which is beautiful, the constant search for the one picture, and constant barrage of new equipment and style of photography. These passions, like great winds, have blown us across the globe in search of the one and we do understand the one we do look for might be this picture right here for someone else out there.
“A concise poem about our work as stated elow
A place without being
a thought without thinking
creatively, two dimensions
suspended animation
possibly a perfect imitation
of what was then to see.
A frozen memory in synthetic colour
or black and white instead,
fantasy dreams in magazines
become imbedded inside my head.
Artistic views
surrealistic hues,
a photographer’s instinctive eye:
for he does as he pleases
up to that point he releases,
then develops a visual high.
- M R Abrahams
Some of the gear we use at William Stone Fine Art are listed here:
Some of our latest work & more!
Embedded galleries within a gallery on various aspects of Photography:
There are other aspects closely related to photography that we do embark on:
All prints though us is put through a rigorous set of quality control standards long before we ever ship it to your front door. We only create gallery-quality images, and you'll receive your print in perfect condition with a lifetime guarantee.
All images on Flickr have been specifically published in a lower grade quality to amber our copyright being infringed. We have 4096x pixel full sized quality on all our photos and any of them could be ordered in high grade museum quality grade and a discount applied if the voucher WS-100 is used. Please contact us:
We do plan future trips and do catalogue our past ones, if you believe there is a beautiful place we have missed, and we are sure there must be many, please do let us know and we will investigate.
In our galleries you will find some amazing fine art photography for sale as limited edition and open edition, gallery quality prints. Only the finest materials and archival methods are used to produce these stunning photographic works of art.
We want to thank you for your interest in our work and thanks for visiting our work on Flickr, we do appreciate you and the contributions you make in furthering our interest in photography and on social media in general, we are mostly out in the field or at an event making people feel luxurious about themselves.
WS-353-49749851-41501972-659702-19122021044921
Co-curated by Sarah Cook and Kathy Rae Huffman, Broadcast Yourself is an international group exhibition that contextualises the current trend of sharing videos online (on websites such as YouTube) through the presentation of works of video art and web-based art from the 1970s to the 1990s. It includes the work of a diverse group of artists who have challenged television culture and questioned what it means to undertake the personal act of putting oneself ‘on-air’.
Works presented ranged from Bill Viola’s Reverse Television — Portraits of Viewers (1984), where he filmed American television viewers and broadcast the footage back out at them as they watched television, to Shaina Anand’s Khirkee Yaan Project (2006) from New Delhi, an exploration of what happens when you connect people via an open circuit TV system.
The exhibition included artists: Active Ingredient (Rachel Jacobs / Matt Watkins), Shaina Anand, Ian Breakwell, Chris Burden, Stan Douglas, Kit Galloway and Sherrie Rabinowitz, Alistair Gentry, Guillermo Gómez-Peña, Doug Hall, Chip Lord and Jody Proctor, Joanie 4 Jackie (Miranda July et al.), Pat Naldi and Wendy Kirkup, TV Swansong (curated by Nina Pope and Karen Guthrie), Bill Viola, Van Gogh TV, 56Ktv Bastard Channel (curated by Reinhard Storz / xcult.org).
The exhibition toured to Cornerhouse, Manchester from 13 June to 10 August 2008.
Biography
Sarah Cook is a curator and writer based in Newcastle upon Tyne, UK. She is a Reader at the University of Sunderland where she co-founded and co-edits CRUMB, the online resource for curators of new media art and teaches on the MA Curating course. Having grown up in Canada, she has a longstanding association with The Banff Center where she has worked as a guest curator and researcher in residence. After completing her PhD in 2004, she worked as adjunct curator of new media at BALTIC Centre for Contemporary Art funded by the AHRC and in 2008 was the inaugural curatorial fellow at Eyebeam Art and Technology Center in New York. Sarah has curated and co-curated international exhibitions including Database Imaginary (2004), The Art Formerly Known As New Media (2005) and Broadcast Yourself (2008).
Kathy Rae Huffman is an independent curator. She has commissioned artists, written about and coordinated events for a variety of international festivals and organisations since the 1980s. Huffman received an MFA in Exhibition Design from California State University Long Beach, where she also completed the post-graduate course in Museum Studies. She has held curatorial posts at the Long Beach Museum of Art (1979-1984) and The ICA Boston (1984-1990). She was professor of electronic art and director of EMAC at RPI, Troy, New York (1998-2000). She was Visual Arts Director at Cornerhouse, Manchester from 2002-2008, where her curatorial work included: Art TV (for The Getty Museum), Nick Crowe: Commemorative Glass, Marcel Odenbach: The Idea of Africa and Zineb Sedira: Telling stories with differences amongst others.
Credit
Co-curated by Sarah Cook and Kathy Rae Huffman. Touring exhibition produced by AV Festival 08 and Cornerhouse in collaboration with Hatton Gallery. Supported by Arts Council England, CRUMB at the University of Sunderland, and The Leverhulme Trust.
Just spent ages trying to make a website - not sure I like it , but at least everything seems to work!
www.wix.com/KathyArchbold/kathy-archbold
Let me know what you think!
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www.wphow2s.com/ for more In this easy to understand WordPress for beginners video tutorial, you'll learn step-by-step, start-to-finish, how to make your own website. I am going to show you how to easily get a website online - in just a couple hours you can start from scratch and have your very own website up and running. WordPress is what we'll be using to build our website. WordPress is easy to use, and it takes care of the coding for you, so you don't have to know any HTML, CSS, and all that complicated looking stuff. So absolute beginners, fear not, if you just follow the steps I will show you in this video guide, you will be on your way to having a great looking, and very useful website that you can use for your business, or personal use, or whatever you want. The first thing we'll do is pick out a domain name, and I'll give some tips on doing that, and I'll also show you how to instantly find out if your desired domain name is available. Then we'll buy our domain and web hosting, and I will show you the web hosting company that I've been using for over 7 years for all my sites, and how to get a nice discount too! After that, all is that will be left to do is to start creating your website. ********************************************** HostGator Discount Coupon Codes: ***HostGator Promo Code 30% Off -- MIKEsave30 ***Paying monthly?--First month for 1 Cent ($0.01) -- MIKEsave10 (**HostGator recently contacted me so that I can now offer you a 30% discount coupon code!) I've used HostGator for all my web hosting for going on 7 years, so when I recommend them, I speak from my own positive experience! I do receive a commission from HostGator if you do use one of my coupon codes, but you won't be charged extra for this...if you do use one of my discount codes, thank you! :) ********************************************** Time Stamps - click on a link to go to the desired section 00:00 Intro 00:22 Overview 02:26 Website preview 05:47 Domain name tips 08:08 Check domain availability 08:36 Get domain & web hosting 13:01 HostGator info - email 13:49 cPanel login 14:20 Installing WordPress 16:17 WP dashboard 17:22 WordPress themes 18:21 Initial settings 20:38 Adding default pages 22:32 Setting Home & Blog pages 23:32 Removing comments 24:47 Custom menu 29:49 Permalinks - search engine friendly page links 31:41 Configuring the Home page 33:17 WP visual editor 37:19 Finding royalty free images 38:45 Adding & editing images 40:35 Making & adding a header 49:07 Using ColorZilla to match colors 50:29 Adding background images 54:13 Front page widgets 58:14 Icons 1:04:24 About me page 1:06:15 WP image editor 1:09:49 Sidebar widgets 1:12:59 Photo gallery 1:16:58 Embedding videos 1:19:55 Making a blog 1:22:22 Featured images 1:24:43 Sticky post 1:25:31 Contact form 1:30:08 AutoResponder function 1:30:55 Inserting a Google map 1:32:33 WP Better Security plugin ***************************************************************************************** youtube.com/watch?v=EGLqGOneeMk
I procure photos and create feature content for the Experiencewa.com website. The latest version with the new state logo just launched last month.
Check it out here: www.experiencewa.com/
pingpingho is a website popular model and we took a trip to a small railroad town called菁硐坑
right at station ,she did her best job
Website :
english
Is a commune in the Nord department in northern France. It lies 10 kilometres (6 miles) from the Belgian border. The population of the city (commune) at the 1999 census was 70,850 inhabitants (71,300 inhabitants as per February 2004 estimates). The population of the metropolitan area was 265,974 inhabitants as per the 1999 census.
The name of Dunkirk derives from West Flemish "dun(e)" (dune) and "kerke" (church – related to the Scots English "kirk"). Until the middle of the 20th century the city was situated in the French Flemish area; today the local Flemish dialect, a variety of the Dutch language, can still be found but has been largely replaced by French.
Middle Ages
Dunkirk was first mentioned in 1067 as Dunkirk (Dutch: “Church of the Dune” or "Dune Church").
The area was much disputed between Spain, the Netherlands, England and France.
At the beginning of the Eighty Years' War, Dunkirk was briefly in the hands of the Dutch rebels, from 1577. Spanish forces under the Duke of Parma re-established Spanish rule in 1583 and it became a base for the notorious Dunkirkers.
The Dunkirkers briefly lost their home port when the city was conquered by the French in 1646 but Spanish forces recaptured the city in 1652.
In 1658, as a result of the long war between France and Spain, it was captured by Franco-English forces. It was awarded to England in the peace the following year as agreed in the Franco-English alliance against Spain.
It came under French rule when Charles II of England sold it to France for £320,000 on 17 October 1662.
During the reign of Louis XIV, a large number of commerce raiders once again made their base at Dunkirk. Jean Bart was the most famous. The Man in the Iron Mask was arrested at Dunkirk.
The 18th century Swedish privateers and pirates Lars Gathenhielm and his wife and partner Ingela Hammar, are known to have sold their ill-gotten gains in Dunkirk.
The 1763 "Treaty of Paris" between France and Great Britain included a clause restricting French rights to fortify Dunkirk, to allay British fears of it being used as an invasion base.
French
est une commune française de 68 292 habitants (2008), sous-préfecture du département du Nord et de la région Nord-Pas-de-Calais. La ville est baignée par la mer du Nord et plusieurs canaux. Ses habitants sont appelés les Dunkerquois et les Dunkerquoises.
La ville et ses alentours ont appartenu au comté de Flandre et ils relèvent de la zone linguistique flamande. L'histoire de la « cité de Jean Bart» est liée à la mer : à l'origine, Dunkerque était un village de pêcheurs construit à l'extrémité ouest d'une île longue et étroite « à la frisonne » comprenant l'abbaye des Dunes de Coxyde (d'où le nom : en ouest-flamand duun-kerke = église des dunes) et allant jusqu'à Oostduinkerke qui était à l'époque au bord d'une anse de l'Yser. Des siècles plus tard, la ville abrita des corsaires dont le célèbre Jean Bart, héros de la bataille du Texel. De par sa position sur la mer du Nord, Dunkerque a souvent suscité les convoitises, elle fut le théâtre de nombreuses opérations militaires. Demeurée aux mains des alliés durant la Première Guerre mondiale, elle fut sévèrement bombardée par les Allemands conscient du rôle primordial du port. Au cours de la Seconde Guerre mondiale elle fut le théâtre de l'opération Dynamo. Sortie anéantie de cette guerre, la ville doit son salut à l'installation dans son port de l'usine sidérurgique Usinor qui accéléra sa reconstruction et son développement.
De nos jours, Dunkerque est le cœur d'une agglomération de 200 000 habitants. C'est la première plate-forme énergétique du Nord-Pas-de-Calais et l'un des pôles économiques de la région notamment grâce à son port, le troisième de France : trafic minéralier et pétrolier, porte-conteneurs, production d'acier.
Elle est aussi connue pour son carnaval, festivités s'étalant sur une période comprise entre janvier et mars, où les habitants se réunissent dans les rues aux rythmes de la fanfare guidée par le « tambour-major ».
Português
Dunquerque (em francês Dunkerque; em neerlandês, Duinkerke; em flamengo ocidental Duynkercke)) é uma cidade portuária no norte de França, no departamento do Nord, região de Nord-Pas-de-Calais, situada a 10 km da fronteira com a Bélgica. Tem cerca de 70.000 habitantes. Está ligada por ferry-boat a Ramsgate e Dover, em Inglaterra.
Dunquerque é o terceiro maior porto francês, depois de Le Havre e Marselha. É também uma cidade industrial, dependente do aço, indústria alimentar, refinação de petróleo, estaleiros navais e indústria química.
Historicamente, a cidade e seus arredores pertenceram ao Condado de Flandres e fazem parte da zona linguística flamenga.
Em Dunquerque fala-se um dialeto muito particular - dunkerquois - com palavras tomadas de empréstimo à linguagem dos marinheiros e ao flamengo ocidental .
O nome de Dunquerque provém do neerlandês Duinkerk, que significa « igreja nas dunas».
Segundo a tradição, a cidade foi fortificada pelo filho de Pepino de Landen, o terrível Allowyn, um franco convertido por Santo Elói. Assim, Dunquerque foi a única cidade da costa, até Saint-Omer, a ser preservada contra os ataques e pilhagens dos normandos. Hoje em dia, Allowyn "reaparece" todos os anos como Reuze (reuze em flamengo significa "gigante"), para presidir a saída do tradicional bando dos pescadores, durante o carnaval de Dunkerque.
Em 960, Balduíno III, dito Balduíno o Jovem, quarto conde de Flandres, faz construir as primeiras muralhas da cidade.
Em 1383 a Dunkerque flamenga é pilhada pelos ingleses e depois, pelos franceses.
A partir do século XVI, Dunquerque passou a ser posessão - juntamente com o território dos Países Baixos espanhóis - dos Habsburgos espanhóis. Em 1520, Carlos V, 31° conde de Flandres, é recebido triunfalmente na cidade.
Dunquerque foi disputada em diferentes ocasiões pelas coroas de Inglaterra, Países Baixos e França. Durante a Guerra de Flandres (1568-1648) e no reinado de Luís XIV, serviu como base de operações de corsários, sendo Jan Bart o mais famoso deles - conhecido por atacar os barcos holandeses.
A cidade foi tomada pelos ingleses sob Filipe II da Espanha, conde de Flandres, e retomada pelos franceses em 1558. Pelo Tratado de Cateau-Cambraisis os franceses a cedem à Espanha em 1559.
Sitiada por Turenne, em 25 de maio de 1658, após a batalha das Dunas, a cidade se rende aos franceses, em 25 de junho. Na mesma noite, Luís XIV a entrega a Oliver Cromwell, segundo o acordado por Inglaterra e França pelo Tratado de Paris do ano anterior.
Dunquerque será definitivamente incorporada ao reino da França em 1662, depois que Carlos II da Inglaterra vende a cidade à França, por 5.000.000 libras - embora o pagamento nunca tenha sido completado.
A construção dos sistemas defensivos da cidade ficou a cargo do engenheiro militar Vauban, que também desenvolve o seu porto. Mais tarde, em 1713, pelo Tratado de Utrecht, a França será obrigada a inundar o porto e a arrasar as fortificações, o que entretanto não foi executado senão em parte, e Luís XV voltou a fortificá-la.
Em 1793, o duque de York tenta inutilmente tomar a cidade. Após a batalha de Hondschoote, a cidade é renomeada Duna Livre.
Durante a Primeira Guerra Mundial, Dunquerque é duramente bombardeada por diversas vezes. A Igreja de Santo Elói (construída em meados do século XV) é parcialmente destruída.
Mas a cidade sofreria especialmente durante a Segunda Guerra Mundial, tendo sido palco da célebre Batalha de Dunquerque, em 1940. Uma pausa na intensidade dos combates permitiu inesperadamente a evacuação de um grande número de soldados franceses e britânicos para Inglaterra. Mais de 300.000 homens foram evacuados apesar do bombardeamento constante ("o milagre de Dunquerque", nas palavras de Winston Churchill). A evacuação britânica de Dunquerque recebeu o nome de código Operação Dínamo
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english
Is one of the parishes of Andorra. The parish is composed of the areas of les Escaldes, Engordany, Els Vilars d'Engordany, Engolasters, and El Fener. As of 2005 it has a population of 16,918. Notable events include the town's annual jazz festival.
Català
Escaldes-Engordany és una ciutat i la setena parròquia d'Andorra, creada el 1978 a partir de l'antic quart homònim de la parròquia d'Andorra la Vella.
Els antics nuclis urbans de les Escaldes i d'Engordany es van unir l'any 1726. Avui formen un continu urbà amb Andorra la Vella, concentrant en l'àrea urbana dues terceres parts de la població del Principat. L'avinguda Carlemany és la continuació, a l'altra banda de la Valira, de l'avinguda Meritxell d'Andorra la Vella, formant una llarga avinguda dedicada al comerç.
El nom de les Escaldes indica que hi ha aigües calentes. El poble es va fundar al voltant d'unes fonts termals sobre una gran falla enfonsada en el subsòl. Avui molts hotels de les Escaldes ofereixen aigües termals entre els seus serveis.
Història
La parròquia d'Escaldes-Engordany, la segona en població després d'Andorra la Vella, està formada per dos nuclis urbans importants, que en els seus orígens es trobaven separats i ben diferenciats. El més antic és el d'Engordany, que fou habitat ja pels voltants del segle II o I a.C.
Tenim molt poques dades fins a l'època medieval, però sabem que diversos punts estratègics de les Valls foren habitats, un d'aquests l'Antuix d'Engordany.
De l'època medieval tenim moltes més dades gràcies a la documentació del monestir de Sant Serni de Tavèrnoles, Aquests textos ens parlen d'uns petits nuclis d'habitat: Engordany, els Vilars d'Engordany, el Fener i Engolasters. Eren comunitats recol•lectores, ramaderes i pageses, caracteritzades per la força de la tradició i funcionaven a través, sobretot, de l'ús i la possessió conjunta de la terra.
En alguns documents, ja al segle XII, apareixen un grup de "bons homes", probablement els caps de casa que es reunien quan calia prendre alguna determinació d'importància. Entre aquests caps de casa, degueren ben aviat destacar uns representants de la comunitat: els prohoms, personatges dotats d'algun tipus de significació social i econòmica, i fins i tot, moral entre els veïns.
Entre els segles XIV i XV, la situació de conflicte i pressió senyorial sobre les comunitats de la zona podrien haver permès l'aparició de grups d'artesans cada cop més desvinculats del treball agrícola i ramader i centrats en activitats que fins aquell moment havien estat només complementàries. Entre elles, a la zona d'Engordany sobresortí el teixit de draps de llana senzills.
L'existència d'aigües termals necessària per rentar i tenyir la llana significà l'aparició i la concentració d'una rudimentària indústria de draps de llana al nucli de Caldes. El desenvolupament d'aquesta manufactura tèxtil culmina l'any 1604 amb la constitució de la Confraria de Paraires i Teixidors de Sant Pere Màrtir i Sant Ivó (L'església d'Escaldes en l'actualitat es troba sota l'advocació de Sant Pere Màrtir).
Al llarg de l'època moderna, la ramaderia i l'agricultura foren les activitats principals a Engordany, mentre que els habitants d'Escaldes comptaren també amb el treball de la llana, activitat que reforçà el creixement del poble d'Escaldes, que d'un petit llogaret passà a mitjans de segle XVIII a experimentar un fort creixement econòmic, gràcies a la manufactura tèxtil i del ferro.
Però el gran canvi es produirà cap als anys 30 del segle XX, amb la construcció de la xarxa viària i la concessió de FHASA, època que marcarà també l'evolució divergent d'Engordany (que mantindrà el seu caràcter agrícola i ramader tradicional, en l'actualitat bàsicament residencial) i Escaldes (orientada al turisme, amb l'explotació de l'aigua termal, i al comerç).
Amb el fort increment demogràfic d'Escaldes-Engordany (amb Mas del Diumenge, Mas del Noguer i els Vilars) i la voluntat d'oferir a tots els habitants els serveis necessaris, el Comú d'Andorra la Vella anirà dotant els Quarts (el d'Escaldes-Engordany i el d'Andorra) d'una major autonomia. Aquest fet, unit a la voluntat del poble d'Escaldes-Engordany d'esdevenir Parròquia, va portar al plantejament davant els Coprínceps de demandes a favor de l'autonomia ja als anys 30.
Aquest procés culminarà el 14 de juny de 1978 quan per decret de les M.M.I.I. Delegacions Permanents de S.S.E.E. els Coprínceps d'Andorra per divisió de la Parròquia d'Andorra es crea la Parròquia de Les Escaldes-Engordany, amb la personalitat i atribucions pròpies d'aquesta institució del Principat, i per tant també la Parròquia d'Andorra la Vella.
L'evolució d'Escaldes-Engordany al llarg del segle XX està íntimament lligada a la utilització de l'aigua calenta i la construcció dels primers hotels balnearis, com Cal Muntanya (1904), l'hotel Paulet, l'hotel Pla o l'hostal Valira (1933).
Entre els anys 30 i 40 del segle passat es va viure el canvi més profund, amb el gran desenvolupament comercial i la substitució d'un turisme minoritari que venia a "prendre les aigües" per la massificació del turisme comercial.
Al llarg de la dècada dels 80 es van anar plantejant alternatives a aquest desenvolupament econòmic centrat, gairebé en exclusiva, en aquest turisme comercial. L'any 1984 es presentà el projecte de creació d'un centre termal i lúdic, que aprofitava el principal recurs natural, l'aigua calenta, i es plantejava com a element identificador i vertebrador d'un desenvolupament contemporani més diversificat. Aquest projecte es materialitzà en la inauguració del Centre Termolúdic Caldea l'any 1994, propietat d'una societat d'economia mixta anomenada SEMTEE.
Un altre dels grans valors naturals d'Escaldes-Engordany és la Vall del Madriu, d'unes 4247 ha. d'extensió, on l'aigua és també un element central.
Aquesta Vall té un gran interès no només pel seu patrimoni natural (vegetació i fauna) sinó pel patrimoni cultural, reflex de la vida de muntanya des de l'època medieval (bordes, cabanes de pastor, construccions de pedra seca, etc.). Aquesta vall isolada, refugi per a la flora i la fauna salvatge d'espècies rares o en perill, el juliol del 2004 va ser inscrita per la UNESCO dins la llista del Patrimoni de la Humanitat en la categoria de béns culturals, amb una petita extensió el 2006; fins al moment, és l'únic bé andorrà que hi figura.
Llocs d'interès
Església de Sant Miquel d'Engolasters.
Llac d'Engolasters.
Església de Sant Romà dels Vilars.
Pont romànic d'Escaldes-Engordany, entre les Escaldes i Engordany sobre la Valira d'Orient.
Pont romànic dels Escalls, on es van firmar els Pariatges del 1278.
Fonts termals, com la font del Metge i el centre lúdic Caldea.
Matrioshka Museum, museu de la nina russa.
Museu de Josep Viladomat
Português
Escaldes-Engordany é uma paróquia (denominação de freguesia en Català) do coprincipado de Andorra.
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