Biography.

Bruno Kurz spent his childhood in Kressbronn am Bodensee (Lake Constance). He is the oldest son of Rupert Kurz (born 1933), a metal worker, and his late wife Gertrud Kurz (1934–2007). During his secondary education at the Knaben-Realschule (all-boys secondary modern) Lindau, Bruno Kurz was introduced to oil painting by his mathematics teacher. After finishing his Abitur (German university entrance qualification) at the Technisches Gymnasium (comparable to grammar school) Friedrichshafen, he started an engineering degree, which was disrupted by being called up for Zivildienst (compulsory paid community work as alternative to military service). Subsequently, he did a year's travel, going by ship to Israel and Rhodes, where he created his first group of paintings and finally decided to study painting. After his return, Kurz studied at the Freie Kunstschule (Free Art School) Stuttgart under (1980–81) and at the (Karlsruhe Academy of Fine Arts) under Per Kirkeby and (1981–86).  Bruno Kurz has been concerned with particular aspects of light and colour since his youth. While still studying, he undertook extensive travels to Southern Europe and India (1983/84 and 1986/87), later to Mexico and Canada. The experience of nature and new realms of colour and light led to numerous experiments with painting surfaces and colour substances, and major work cycles evolved. A project grant on the theme of "Heimat" enabled his first journey to Northern Europe in 1998, where he visited the Outer Hebrides, the Oakland Islands, the Scottish Highlands and Bergen in Norway. Celtic symbols and their typical merging of circle and cross, Irish-Scottish monasticism and its connections with the Lake Constance region, together with impressions of nature formed the basis for a large project-related exhibition in his home town Kressbronn am Bodensee, featuring expansive installations. From 2000 onwards, such experiences of landscape effected a new series of pictures: Over ten years, he worked on his "Hebrides Cycle", where, for the first time, the horizontal layers of delicate colour fields emerged that characterise his work; they would become a core aspect of his future painting practice. Since 2013, the artist has frequently travelled to Iceland and Greenland.  "What's important is, that an artist just like our 20th century Canadian painters, goes north in search of the light and in search of interesting themes. Everyone knows that the northern artists went south for discovering the light. The best example of that is Provence. But here we have an artist who goes north because the light is just as beautiful, strong and pure. So Bruno Kurz comes along in the depths of winter and goes round the Hebrides in his kayak and is impressed by what he sees. Without any photos, of course, he goes back to his studio, and paints with a good distance, this distance that is so important for painters so they are not overwhelmed by nature, but have had time and space to absorb and process it." Bruno Kurz lives and works in Karlsruhe. He shows his work in one-person and group exhibitions in galleries in Germany, Canada and Switzerland and has solo presentations at international art fairs such as Art Toronto, Art Zuerich or Art Cologne.

Installations.

Bruno Kurz obtained his first studio on the premises of the IWKA (Industriewerke-Karlsruhe-Augsburg) in Karlsruhe in 1986. With Georg Schalla, he founded the artists' group KUNSTRAUM IWKA and campaigned for the preservation of the huge industrial buildings on the premises. He co-organised a series of exhibitions titled "Letzte Arbeitsberichte IWKA I and II", which was vital for saving the building Hallenbau A, now Zentrum für Kunst und Medien, ZKM (Center for Art and Media Karlsruhe). Yet the artists could not ultimately prevent the destruction of the other buildings and the sale of the estate – in December 1986, the Karlsruhe City Council authorised the premises to be demolished, including the enormous art installations in the industrial buildings. For their gesamtkunstwerk (total work of art) KUNSTRAUM IWKA, the artists group were awarded a project grant by the Kunstfond (Arts Fund) Bonn, which entailed a documentary exhibition in Bonn.  Bruno Kurz created large-scale art installations in his first studio on the IWKA premises. He wanted to generate an adequate counterbalance to the colossal industrial building through large-scale art works and installed huge geometric sculptures of plastic sheeting that reflected the sunlight coming through the sawtooth roof (Installation Kunstraum IWKA, 1987): "Rain water puddles caused by the leaking roof cast back vast reflections and gave the artist further stimuli for his work. In 1988, for the first time, he used water as a sculptural material in space. The clarity of the installations he has since created is a result of these early architectural-monumental experiences of space. Further down the line, he created his spectacular installation 'aller Farben bloß' in the baroque halls of the Ettlinger Schloss (Ettlingen Palace)." Taking inspiration from the monikers "Green, Blue and Red Salon" and their corresponding tapestries, he installed coloured plastic film in the windows of the halls and created a sequence of coloured light. Notwithstanding the wide range of artistic possibilities offered by three-dimensional space, the formal, aesthetic and conceptual means of his installations clearly relate to his painting practice.

Teaching.

Apart from working as a freelance painter, Bruno Kurz also took on a variety of teaching posts in Higher Education. From 1993 to 1997, he taught Drawing at the Pädagogische Hochschule (University of Education) Karlsruhe, 2002–2008 Painting at the Europäische Kunstakademie (European Academy of Fine Arts) Trier, and 2002–2007 Experimental Painting at the Landesakademie (State Academy Schloss Rotenfels). He is also concerned with art historic analysis and with conveying the practical application of various approaches to painting to lay-persons. Since 1984 he has been part of the team of tutors at the Staatliche Kunsthalle Karlsruhe.

Abstract landscape painting.

Based on the composition of a classic landscape painting, Bruno Kurz creates delicately structured landscapes of colour, which do not reference an actual place any more but depict moods and atmospheres – floating between stillness and energetic dynamism. "The quietness emanating from his works results from their concentration, from their formal and chromatic restraint and the conscious rejection of the spectacular in his pictorial subject matter: landscape and colour space. Despite their discreet harmonies, the works of Bruno Kurz are actual bundles of energy." Emphatically horizontal lines and areas can visually expand beyond the frameless margins of the picture into infinity, and, in conjunction with vertical colour gradients, form a Perpetual motion, effecting a balance of opposite movements – to the point of apparent stillness.  This impression is emphasised through his choice of the square format. Since Kazimir Malevich, the square is considered the absolute form of abstract painting in the 20th century, and, in Bruno Kurz' work, finds its way into landscape painting. It does not become a theme in itself, but lends an almost archaic force to the imaginary horizons and changes in direction of the colour gradients between sky, water and earth. The square creates an unusual section of these colour-landscapes while, at the same time, focussing the permanent oscillation between states of matter.  Energy fields and directions of movement are geometrically fixated and concentrated as in a cross, the symbol of the union of extremes, of synthesis and proportion. It combines time and space. This primeval formal element of art history serves as the subcutaneous base structure in most of Kurz' paintings. It is subliminally discernible in particular geometric components, vertical and horizontal lines, cross-hatching on metal or in brush strokes and enhances the meditative aura of the paintings. Square and cross double the force that originates here, apparently still, yet always in motion: both in the variations of incidence and reflection of light and in the gaze of the beholder. Through the consistent reduction and abstraction of the forms and elements, an unfathomable, almost sacral depth is created. Or as one of his German galleries points out: "Inspired by the classical composition of the countryside, Bruno Kurz produces nuanced, abstract color landscapes of unbelievable illumination and depth."

Colour.

In addition to his strict formal aesthetics, Kurz also examines the physical qualities of his chosen materials. The painter experiments with diverse dyes and paints, merges synthetic elements, pigments, inks, water colour, acrylic and oil paints or resins and fillers in unconventional combinations and layers of colour. ′′Horizontal layers provide the colours a clear compositional order.(...) At the same time, their colour space appears to pulsate in fields of light. (Several paintings in this series are named after Lucifer, a deity in Roman myth who personified the Morning Star and whose name means 'Light-Bringer'.) Reflective surfaces – consisting of resin, India ink glazes or transparent silk gauzes layered over a vertically delineated metal background – afford the works a striking luminosity and shimmering colour spectrum.′′  The materials are applied in such a way that they keep generating new effects and perplexing visual impressions. The eye of the beholder can immerse itself deeply in these colour landscapes and thereby encounter extreme opposites – from glassy, translucent glazes to relief-like three-dimensional colourstrips. Beneath the seemingly two-dimensional surface, multiple planes and pigment layers shine through, which evolve through a long process of overpainting and modifying extremely subtle textures. "Kurz's surfaces are richly worked, with paint developed in rich layers. His textural surfaces, inscribed with scumbles, swipes, scrapes, and miasmas of color, capture the rich and varied lands through which he travels in search of beauty.(...) Kurz's bright colors and abstract imagery follow in the tradition of Abstract Expressionist color field painters — such as Mark Rothko and Jan Kolata." The transformation of the conventional canvas painting into a colour space floating in front of the wall is the result of years of engagement with the three core themes Colour – Material – Light.

Material and light.

For Bruno Kurz, painting does not start with paint, but with the choice of the painting surface. He utilises very different materials such as wood, canvas, silk or paper. ′′Through layering as well as the combination of unconventional materials – gauze, sheet metal, resin – the artist accomplishes wild optical impressions. Words such as transparency, levity, and dissolution describe the effect best. (...)The thoroughly reflective resin layers and metallic surfaces create light tricks and reflections that define the atmosphere of the works.′′  Over the last few years, the artist has increasingly used sheet metals; in his studio, he prepares and alters their surfaces with grinding machines. Thus, light and colour will later be differently absorbed and reflected. The first horizontal aspects are already generated in the primary material and influence colouring and colour gradients from the outset.  Many titles of his work (e.g. "Lichtfänger" (Light Catcher) or "Translucent Horizons") demonstrate the mindset behind Kurz' oeuvre: navigating the phenomenon of light. The geometric lines of the paint application or the material constitute the basic structure inherent in any new work. Within these lines, Kurz works on the theme of light with always freshly composed and varied arrangements of colour and materials. "There is no such thing as the right light for my paintings", the painter points out: every incidence of light, every change of the beholder's position effects a new situation, new hues and colour fields emerge – his work appears to change constantly. ′′Depending on the incidence of light and position of the viewer, the paintings may be perceived in a variety of ways. The multiple viewpoints offered by the works are the hallmark of their vitality.′′  Yet it radiates an unexpected calm, which is the result of optimised formal reduction and concentration. In Kurz' work, light does not visualise anything representational, but, beyond the interplay of colours, indicates the potential for inwardness and a capacity for knowledge. Thus the painter creates the conditions for meditation. His paintings offer vanishing points and spaces of tranquility: "In our hectic world, stillness is the true spectacle."

Bruno Kurz (born 1957 in Langenargen at Lake Constance) is a German painter. He primarily works on reflective surfaces such as metal, creating paintings of great luminosity and depth – expansive colour fields with vague allusions to landscape. Apart from painting, his work comprises large art installations fashioned through light.

Bruno Kurz (* 1957 in Langenargen am Bodensee) ist ein deutscher Maler. Er arbeitet vorzugsweise auf reflektierendem Untergrund, wie Metall. Dabei kreiert er Gemälde voller Leuchtkraft und Tiefenwirkung ‒ weite Farbfelder mit vagen Landschafts-Assoziationen. Neben der Malerei umfasst sein Werk großdimensionierte, vom Licht geprägte Rauminstallationen.


Early life and career.

Cojocar was born October 23, 1985, in Sibiu, Romania. She began gymnastics at the age of three, though she told her coach she was five because she was afraid that he would not accept such a young gymnast. A few years later, she was accepted into the junior national team in Oneşti. After one year, Cojocar was accepted as a member of the senior national team in Deva, under the direct guidance of head coach Octavian Bellu. She made her international debut at the age of fourteen at the 2000 Junior European Championships in Paris, where she won three gold medals (in the all-around, ahead of teammate Silvia Stroescu, and on vault and balance beam) and two silver medals (on floor exercise and with the team). She was touted as the new leader of the young Romanian team and quickly drew international attention, appearing on the cover of the June/July 2000 edition of "International Gymnast".

Senior career.

In August 2001, Cojocar competed in the Goodwill Games in Brisbane, Australia. She won the all-around title, upsetting more established gymnasts, such as Russia's Svetlana Khorkina, and earned a bronze medal on the floor exercise. Her first major senior event was later in the year at the 2001 World Championships in Ghent, Belgium, where she placed first with the Romanian team, sixth in the all-around, and fourth on beam.  Cojocar underwent shoulder surgery in December 2001. In early 2002, she was one of the gymnasts affected when Bellu decided to send the entire senior national team home from the Deva training center. Cojocar returned to her home club in Sibiu to train and was one of the only gymnasts eventually asked to return to Deva. She competed in the 2002 World Championships, placing fifth on vault and ninth on floor exercise.

Retirement.

In 2003, Cojocar retired from gymnastics because of a chronic liver problem. After leaving Deva, she was outspoken about alleged problems on the national team. She said she had been diagnosed with high cholesterol in 2000 and prescribed Zocor, which was not intended for use by children and had experienced several serious side effects. She claimed the she had complained of weakness and of severe muscle and ligament pain, but Bellu forced her to continue training and take the medication. In addition, Cojocar alleged that Bellu was physically abusive to the gymnasts, and that some girls had suffered "terrible beatings".  In 2004, Cojocar began training again in an effort to make the Olympic team, but proved unsuccessful. Afterward, she enrolled at Lucian Blaga University of Sibiu, from which she graduated in 2008 with a degree in physical education. She went on to work as a coach at her former club in Sibiu and at a club in Norway.  Cojocar is also a jewelry designer and has an online shop.

Music career.

In 2006, Cojocar released the single "Domine", and in September 2007, she released on Myspace a song she had written herself, "I Don't Wanna Lose U".  Cojocar worked with Mihai Trăistariu, Romania's representative in the 2006 Eurovision Song Contest, to enter the 2008 contest, but she did not pass the national song selection.

Skills.

"Vault": Double-twisting Yurchenko; round-off, back handspring with full turn on, piked back salto off.  "Uneven bars": Kip–cast to handstand (KCH), clear hip to handstand, toe-on to high bar, KCH, giant, hop full, full pirouette, 11⁄2 pirouette, Tkatchev, KCH, overshoot, KCH, sole circle, jump to high bar, KCH, giant, giant, full-in dismount.  "Balance beam": Jump to knee mount, back handspring, back handspring, tucked full; switch split leap; Chen; front aerial; full turn; tucked side salto; back handspring, back handspring, triple twist dismount.  "Floor exercise": Front handspring, 21⁄2 twist; round-off, back handspring, double pike; double-twisting cat leap, hitchkick; round-off, back handspring, tucked double salto backward with full twist; switch ring leap, double-twisting tuck jump; full turn with leg horizontal; round-off, whip, triple twist.

Floor exercise music.

2001–2002: "Esperanza/El Conquistador"

Sabina Carolina Cojocar (born October 23, 1985) is a Romanian retired international elite artistic gymnast and singer. She became a world gold medalist with the Romanian women's gymnastics team in 2001 and is also a five-time medalist at the 2000 Junior European Gymnastics Championships.

Sabina Cojocar (* 23. Oktober 1985 in Sibiu) ist eine ehemalige rumänische Kunstturnerin. Cojocar turnte beim CSȘ Sibiu. Im Jahr 2000 gewann sie bei den Junioren-Europameisterschaften in Paris fünf Medaillen. Im Mehrkampf, im Sprung und am Schwebebalken wurde sie Europameisterin und mit der Mannschaft und am Boden gewann sie Silber.


History.

Design Museum Gent originates from a private initiative of a group of industrials and art lovers who united themselves in 1903 in the ‘Union des Arts Industriels et Décoratifs’ and created a ‘Musée des Modèles’. Initially, the collection consisted of some hundred fine examples of furniture, complemented by extensive subcollections of ceramics, copper and bronze, furniture fragments and a large textile collection. These models were housed in the Ghent municipal academy, situated in the Sint-Margrietstraat.  Owing to purchases in the various pavilions during the Ghent 1913 World Exhibition and further extension of the collection, a new accommodation became a necessity. In 1922 the museum moved to Hotel de Coninck on the Jan Breydelstraat, which the city of Ghent had bought a couple of years earlier. In 1951, under the leadership of a new director, Adelbert Van de Walle, three shows called the National Salons for Modern Social Furniture were organised. These took place in 1955, 1956, and 1957. They invited local manufacturers to exhibit their furniture showcased in rooms as fictitious domestic environments and to take orders placed by visitors, thus facilitating the distribution of modern, affordable design. By 1958, the financial burden had become too much for the Association of Industrial and Decorative Arts, and the city of Ghent took over the administration and management of the museum. Between 1958 and 1973, the museum was closed due to renovation works. Its reopening was followed by an expansion plan, ensuing in the inauguration of a new wing in 1992, which accommodates both a selection of the modern and contemporary design collection and temporary exhibitions. The new extension was designed by architect Willy Verstraete and was officially opened in May 1992. In the modern part of the building, a huge hydraulic lift in the central section can be used to make the floors adaptable. The current policy of the museum puts greater focus on Belgian design from 1970.

Collection.

The museum collection has evolved from 17th and 18th century applied arts towards modern and contemporary design from 1860 till now. The objects prior to 1860 provide the historic basis on which modern and contemporary design are engrafted. Design Museum Gent prefers to use a broad definition of design, based on a series of criteria that can - to a more or lesser degree - be found in a design product: contemporaneity, innovation, ergonomics, durability and aesthetic relevance. Both serial products and unique objects can comply with these requirements. Innovation can relate to form, function, material and production techniques. Purchases and exhibitions are focused on 20th century and contemporary creations.

Extension of the collection.

The collection of Design Museum Gent took shape in three phases:

Profile of the collection.

In the period starting from 1975, the collection has been expanded to nearly 22,000 objects. The collection includes applied arts and design dating from 1450 to present, is regionally, nationally and internationally diversified and highly consistent. It is the only collection in Belgium to display an intelligible and coherent image of trend-setting design starting from Art Nouveau. Moreover, it includes several unique top-class objects of national and international design. The historic subcollection (1450-1900) stands out because of its broad range of 18th century furniture. The proto-design from 1860 onwards is the step-up towards the modern design collection, which is initiated by the impressive Art Nouveau collection and continues till today. The collection mainly includes Western European design, with a distinct presence of Belgium, the Netherlands, France, Scandinavia and Italy. The collection focuses especially on interior-oriented design from private residences and offices.

Proto-design.

The museum possesses a small collection of objects designed by Christopher Dresser. The furniture of the Vienna furniture companies Thonet and Kohn are at the dawn of modern design as well.

Art Nouveau.

Design Museum Gent is internationally praised for its excellent collection of Belgian Art Nouveau made by Paul Hankar, Gustave Serrurier-Bovy, Victor Horta, Henry van de Velde, Philippe Wolfers and Alfred William Finch. These Belgian designers are accompanied by foreign top designers such as Louis Majorelle, Emile Gallé, René Lalique, Daum, Richard Riemerschmid, Josef Hoffmann, Otto Wagner and Georg Jensen.

Art Deco.

Next to French glassware by Daum, Lalique, Marcel Goupy, Maurice Marinot, Jean Sala, Charles Schneider, Gabriel Argy-Rousseau and copper vases by Jean Dunand and Claude Linossier, the museum also possesses ceramic vases of Llorens Artigas, Fernand Rumèbe and services by Jean Luc and Georg Jensen. Quite peculiar is the rich furniture collection conceived by the unsurpassed Ghent architect Albert Van huffel, designer of the renowned Koekelberg Basilica. The museum also hold his archives. Another remarkable collection item is the ‘Gioconda’ service designed by Philippe Wolfers in 1925 for the exhibition ‘Exposition des Arts Décoratifs et lndustriels’ in Paris. Services of the companies Wolfers and Delheid belong to the top-class of Belgian Art Deco silverware.

Modernism.

The modernism of Le Corbusier, Alvar Aalto, Marcel Breuer, Christa Ehrlich, Poul Henningsen and Wilhelm Wagenfeld is diametrically opposed to the sumptuous Art Deco. The Flemish architect-designers Gaston Eysselinck and Huib Hoste are worthy companions among this select international party.

Organic Design.

The collection also includes a fine selection of modern design dating from the period 1945 - 1965 with furniture of Belgian designers such as Willy Van der Meeren, Alfred Hendrickx, Emiel Veranneman, Pieter De Bruyne, Jules Wabbes and Christophe Gevers, of American designers Charles and Ray Eames and Florence Knoll and of the Scandinavian designers Arne Jacobsen, Hans Wegner, Verner Panton, Yrjö Kukkapuro and Kristian Vedel. The Netherlands and Scandinavia are well represented by glassware of the companies Royal Leerdam Crystal (Andries Dirk Copier), Orrefors (Sven Palmqvist), Venini and Iittala (Tapio Wirkkala). Henning Koppel (Georg Jensen), Carlo Scarpa (Cleto Munari) and Lino Sabattini (Christofle) put elegant silverware on the table. The Belgian headquarters of Tupperware Europe, with chief designers Bob Daenen and Vic Cautereels, are responsible for countless solid kitchen objects.

Anti-Design.

The museum possesses an extensive ensemble of the Italian Anti-Design collectives Studio Alchimia and Memphis, represented by Ettore Sottsass, Alessandro Mendini, Michele de Lucchi, Matteo Thun, Marco Zanini and Nathalie Du Pasquier.

Postmodernism.

The first postmodern piece of furniture, the 1975 Chantilly cupboard designed by Pieter De Bruyne, is an icon in the Belgian design collection. Reputed foreign designers such as Michael Graves, Bořek Šípek, Richard Meier, Hans Hollein and Aldo Rossi make the picture complete.

International design.

Renowned designers such as Ron Arad, Toyo Ito, Hella Jongerius, Peter Opsvik, Barbara Nanning, Marc Newson, Philippe Starck, Marcel Wanders and Frantisek Vizner give an international allure to the collection.

Modern and contemporary Belgian design.

Design Museum Gent boasts a range of more recent and contemporary Belgian designers such as Maarten Van Severen, Hans De Pelsmacker, Lachaert & d'Hanis, Marc Supply, Xavier Lust, Pol Quadens, Quinze & Milan, Fabiaan Van Severen, Weyers & Borms and Dirk Wynants. Ceramics in the contemporary collection are by Piet Stockmans, Tjok Dessauvage, Arthur Vermeiren, Rik Vandewege and Ann Van Hoey. Glassware is coming from the ovens of the Antwerp collective L'Anverre and Carine Neutjens. Silverware is designed by Jean Lemmens and Siegfried De Buck, Nedda El-Asmar and David Huycke. Samsonite (designer Erik Sijmons), Hedgren and Kipling (designer Xavier Kegels) luggage is also included in the collection. Recent acquisitions of the younger Belgian generation, represented by Muller Van Severen, Maarten De Ceulaer and Ben Storms, cast a glance at the future.

Design Museum Gent is the only museum in Belgium with an international design collection. The museum complex, situated in the heart of the tourist centre of Ghent, comprises an imposing 18th-century mansion and a modern wing. The museum possesses a comprehensive and trend-setting collection of Belgian design, supported by international top-class objects. Its collection includes everything from the Art Nouveau of Henry van de Velde to contemporary avant-garde design.

Das Designmuseum Gent (Eigenschreibweise Design Museum Gent) ist das einzige belgische Museum, das über eine internationale Designsammlung verfügt. Das Museum im Zentrum von Gent besteht aus einem Herrenhaus aus dem 18. Jahrhundert und einem modernen Erweiterungsbau. Im Museum gibt es eine umfangreiche und maßgebende belgische Sammlung und auch internationale Meisterwerke. Das Spektrum der belgischen Sammlung reicht vom Jugendstil von Henry van de Velde bis zur heutigen Avantgarde.


Description.

This is a large black hornbill with a yellow bill, white tail feathers, pale blue skin around eye, blackish feet and bare dark blue throat. The male has rufous/buff face and neck, orange-red eyes, and a high red casque on the top of his bill. The female has a black face and neck, a yellow casque, and brownish eyes.

Distribution and habitat.

An Indonesian endemic, the knobbed hornbill is found in Sulawesi, Buton, Lembeh, Togian and Muna Island. It inhabits evergreen forest at an elevation of up to 1,800 m and also makes use of secondary forest, woodland and plantations for foraging.

Ecology.

As with other hornbills, the knobbed hornbill is believed to be monogamous. Its diet consists mainly of fruits, but it will also take insects and small vertebrates. Breeding season spans 27–30 weeks and appears to be triggered by a dramatic reduction in rainfall. The female seals itself inside a tree hole for egg-laying using its own feces. During this time, the male will provide foods for the female and the young through a slit in the seal.  Knobbed hornbills are important seed dispersers in their habitat and influence the initial fate of seeds of several tropical forest tree species.

Conservation.

The species is currently classified as vulnerable by the IUCN. Despite being locally very common, they are threatened by habitat destruction from logging (since they depend on large and mature trees for breeding) and to some extent by hunting.

The knobbed hornbill ("Rhyticeros cassidix"), also known as Sulawesi wrinkled hornbill, is a colourful hornbill native to Indonesia. The species is sometimes placed in the genus "Aceros". The knobbed hornbill is the faunal symbol of South Sulawesi province.

Der Helmhornvogel ("Rhyticeros cassidix") ist eine Vogelart aus der Familie der Nashornvögel, die ausschließlich auf indonesischen Inseln vorkommt. Wie für Nashornvögel typisch, ist der Helmhornvogel ein Höhlenbrüter. Das Weibchen mauert sich in der Bruthöhle bis auf einen schmalen Spalt ein und verbringt in dieser Bruthöhle gelegentlich über drei Monate. Sie und später der Jungvogel wird von dem Männchen mit Nahrung versorgt.


Geography.

The village of Alcaucín extends its lands to the north of the Axarquía, between the mountains of the Sierra de Alhama and Sierra de Tejeda with the corridor of Periana. It includes the "Boquete de Zafarraya" an important mountain pass in the mountainous region of Axarquía. It adjoins the Sierras of Tejeda, Almijara and Alhama Natural Park to the east.  Being in the Sierra de Tejeda, the end is rather abrupt as it passes from the Maroma 2,066 meters to 200 meters in Puente Don Manuel. The surrounding terrain is predominantly dense forest.

Flora and fauna.

In this environment lies one of the richest areas of flora and fauna of the Axarquía. Within the vegetation, the most characteristic feature is the pine forest, which in this case is of Aleppo and is repopulating.  The most common tree species are poplars, cedars, oaks, and cypress. There are terebinth shrub species such as, gorse, jaguarzos, ivy thickets, and vines. Herbs such as thyme, rosemary, palmitos and torviscos can be found here as well.  Closer to the "Senos de la Tejada", the pines are disappearing to make way for size shrub species such as juniper, savin, hawthorn, and yew, which is currently on the decline, although is teem on some cliffs on the north side of Sierra Tejada.  The mountain goat is the most visible animal. The weasel, bobcat, badger, and genet live in these in the areas with the highest density of trees.  Among the birds there are the linnet, blackbird, warbler, redstart, skylark and nightingale.

History.

Alcaucín is a name of Arabic origin, derived from al-qawsayn (القوسين) meaning "The Arcs." Some authors hypothesize that the name was due to the existence of an aqueduct and others to the abundance of yew trees, whose wood is used for making hunting bows, which have the form of an arc.  The term city of the municipality is from the areas of Málaga that can testify as the first to be inhabited by man, as documented in the "Boquete de Zafarraya" excavations that state that in 1983 human remains appeared including a jaw, which belonged to a Neanderthal man. During the period of Phoenician colonization, they laid the foundations of the fortress of Zalía, but it was the Arabs who built the present castle in 1485 until it was conquered by the Catholic Monarchs.  During the Andalusian earthquake of 25 December 1884, 134 houses in the municipality collapsed, 22 in the nucleus (6 dead and 5 seriously injured) and 112 in the surrounding area. The rest suffered serious or moderate damage, and there were 3 dead.

Alcaucin () is a town and municipality in the province of Málaga, part of the autonomous community of Andalusia in southern Spain. It borders with the province of Granada. The municipality is situated approximately 54 kilometers to the city of Málaga. It is 507 km from the capital of Madrid. The name was derived from "al-kautín", the Arabic of "the arches." It has a population of approximately 1,600 residents, partly living in the hamlet of Puente Don Manuel. Natives of the town are called "Alcaucineños" and have the nickname of "tiznaos".

Das weiße Bergdorf Alcaucín liegt in Andalusien im Bezirk Axarquía der Provinz Málaga in Spanien. Das Dorf liegt etwa 54 Kilometer nordöstlich von Málaga und 24 Kilometer nördlich von Torre del Mar.


Early life.

Anne Day-Helveg was born in Vienna as Anna Lydia Popper. Her Jewish parents, the lawyer Dr. Simon S. C. Popper (1856–1932) and his wife Jenny Popper (née Schiff, 1864–1936), converted to Lutheranism two years after she was born. Thus, she became a Lutheran too. She grew up with her older sister Dora (1893–1930) and her younger brother Karl (1902–1994).

Marriage and writing.

Day-Helveg married three times. She changed her name several times by marriage (Gruner, Helveg, Lothringer) or by taking pen-names. As a dancer and dance teacher she was known as Annie Helveg during her time in Vienna. As a writer of romantic stories she called herself Anne Day-Helveg or Anne Day. In 1938, shortly after her mother's death, she left Austria escaping from the Nazis to France without any money or passport. In 1941, under the name Anna Gruner-Helveg, she was accepted as stateless refugee in Geneva. Her famous brother Karl Popper supported her during war time by sending money through the Red Cross, though he himself lived under financial strains in New Zealand. She became a Swiss citizen after marrying the Swiss writer Fred Lothringer. They lived and worked together in Ascona, the place where she died in 1975.  Anne's only remarkable success was the romance in German language "Liane, das Mädchen aus dem Urwald" (Liane: The Girl from the Jungle), after having been made a German film in 1956 (Liane, Jungle Goddess). It is about a female Tarzan starring the four-star actors Marion Michael, Hardy Krüger, Irène Galter, and Reggie Nalder. In those years the topless young beauty Marion Michael was a sensation. Soon youth protection organizations discussed the case.

Anne Day-Helveg (12 November 1898 – 14 September 1975) was an Austrian dancer, dance teacher, and romance writer. One of her novels was made into a film titled "Liane, das Mädchen aus dem Urwald" (Liane, Jungle Goddess). Her younger brother was the famous philosopher Karl Raimund Popper.

Anne Day-Helveg (* 12. November 1898 in Wien; † 14. September 1975) war eine österreichische Tänzerin, Tanzlehrerin und Romanschriftstellerin. Einer ihrer Romane war "Liane, das Mädchen aus dem Urwald". Er wurde 1956 verfilmt und spielt eine nicht unbedeutende Rolle in der deutschen Filmgeschichte. Day-Helvegs jüngerer Bruder war der Philosoph Karl Raimund Popper.


Algorithm.

To establish TOTP authentication, the authenticated and authenticator must pre-establish both the HOTP parameters and the following TOTP parameters:  Both the authenticator and the authenticatee compute the TOTPvalue, then the authenticator checks if the TOTPvalue supplied by the authenticated matches the locally generated TOTPvalue. Some authenticators allow values that should have been generated before or after the current time in order to account for slight clock skews, network latency and user delays.

TOTP value.

TOTP uses the HOTP algorithm, substituting the counter with a non-decreasing value based on the current time.  The time counter, "C", is an integer counting the number of durations, "T", in the difference between the current Unix time, "T", and some epoch ("T"; cf. Unix epoch); the latter values all being in integer seconds.  Note that Unix time is not strictly increasing. When a leap second is inserted into UTC, Unix time repeats one second. But a single leap second does not cause the integer part of Unix time to decrease, and "C" is non-decreasing as well so long as "T" is a multiple of one second.

Practical considerations.

For subsequent authentications to work, the clocks of the authenticated and the authenticator need to be roughly synchronized (the authenticator will typically accept one-time passwords generated from timestamps that differ by ±1 time interval from the authenticated's timestamp).

Weaknesses and vulnerabilities.

TOTPvalues can be phished like passwords, though this requires attackers to proxy the credentials in real time.  Implementations that don't limit login attempts are vulnerable to brute forcing of values.  An attacker who steals the shared secret can generate new, valid TOTPvalues at will. This can be a particular problem if the attacker breaches a large authentication database.  Because TOTP devices have consumable batteries and clocks that can de-synchronize, and can be lost and/or stolen, all real-world implementations have backup methods to bypass the protection (e.g.: printed recovery codes, SMS/email/phone call delivered recovery code or link), etc.). This can create significant support costs for services with large user-bases, and also provide weak points for attackers to try first.  TOTPvalues are valid for longer than the amount of time they show on the screen (typically twice as long). This is a concession that the authenticating and authenticated sides' clocks can be skewed by a large margin.

History.

A TOTP draft was developed through the collaboration of several OATH members in order to create an industry-backed standard. It complements the event-based one-time standard HOTP and offers end user organizations and enterprises more choice in selecting technologies that best fit their application requirements and security guidelines. In 2008, OATH submitted a draft version of the specification to the IETF. This version incorporates all the feedback and commentary that the authors received from the technical community based on the prior versions submitted to the IETF. In May, 2011, TOTP officially became RFC 6238.

The Time-based One-time Password algorithm (TOTP) is an extension of the HMAC-based One-time Password algorithm (HOTP) generating a one-time password (OTP) by instead taking uniqueness from the current time. It has been adopted as Internet Engineering Task Force (IETF) standard RFC 6238, is the cornerstone of Initiative for Open Authentication (OATH), and is used in a number of two-factor authentication (2FA) systems.

Der Time-based One-time Password Algorithmus (TOTP) ist ein Verfahren zur Erzeugung von zeitlich limitierten Einmalkennwörtern basierend auf dem Keyed-Hash Message Authentication Code (HMAC), welcher im Rahmen der Authentifizierung Anwendung findet. Er wurde von der branchenübergreifenden Initiative For Open Authentication (OATH) entwickelt und im Rahmen der Internet Engineering Task Force (IETF) im Juli 2011 als RFC 6238 veröffentlicht.


Website.

Huang and his wife, Zeng Li, from Chengdu in Sichuan, set up the website www.64tianwang.com in June 1998 to track cases of human trafficking by posting information about missing people. Huang managed the site, helped to decide on its content, and actively investigated cases, ultimately aiding in the rescue of several trafficked girls. He continued to post articles exposing cases of people exploited by government officials until late 2000; this included the custodial death of a 15-year-old boy and another case of a follower of Falun Gong. The police tried to shut down his website, but Huang moved his website to servers in the United States.  Huang was arrested in late 2000 under the charges of "inciting subversion" and sentenced to five years in prison. Soon after his release in 2005, he resumed posting similar content on his website as he did before the arrest, until June 2008, when he was arrested again under the charges of "illegal possession of state secrets" after he posted an article on behalf of parents of school children who had died in the 2008 Sichuan earthquake, demanding an investigation into the schools’ construction.  Reporters Without Borders awarded its Cyber-Freedom Prize to Huang Qi in 2004.

Imprisonment.

Early 2000s.

Huang was arrested on June 3, 2000—the day before the 11th anniversary of the 1989 Tiananmen Square protests of 1989—accused of posting on his website articles about the protests written by dissidents living abroad. The website was used by the independence movement in the Xinjiang Uighur Autonomous Region and the Falun Gong.  He was jailed in July 2000 at the Detention Center No. 1 in Chengdu. Former cellmates said he was beaten regularly and denied medicine he needed. Huang was ultimately tried for "subversion" in August 2001. He was charged under articles 103, 105, 55 and 56 of the Criminal Law and tried in secret by the Chengdu Intermediate Court in August 2001. He was detained without sentencing until May 9, 2003, when he was sentenced to five years in prison. Amnesty International named him a prisoner of conscience "imprisoned for the peaceful exercise of his right to freedom of expression and association" and called for his immediate release.  On June 4, 2005, Huang Qi was released from jail after completing his sentence. He told Radio Free Asia that he wanted to resume his web site dedicated to the memory of the 1989 Tiananmen Square crackdown. "I will do my best to resume the Tianwang Web site. When it was first created it was for very few people. But I now realize that there are many like-minded people," he said.

Sichuan earthquake affair.

After the 2008 Sichuan earthquake, he assisted in relief work and also responded to some parents' requests for assistance in their questions and complaints concerning the collapse of school buildings. Huang posted their demands as an article on his website. A week later, on June 10, plain-clothed policemen arrested him in Chengdu and held him "on suspicion of illegally possessing state secrets", an ill-defined charge often used by the Chinese government to clamp down on dissent. A formal announcement of his arrest was made on July 18, 2008. He was sentenced to three years of imprisonment in November 2009 based on the discovery of two city-level documents in his house. The court was heavily guarded by police with only Huang's wife and mother allowed to enter, Huang's lawyers were unable to attend because of short notice given. Huang is expected to appeal against the verdict and has been refused bail.  Human Rights organizations condemned the verdict and "inhumane treatment" of Huang in prison. Amnesty International alleges that during his detention Huang was interrogated for long periods and subject to sleep deprivation. Huang's family have said that his health has deteriorated rapidly in detention and that he has not received adequate medical care. One of his lawyers has stated that he has been diagnosed with two tumours, one in the stomach and one in the chest, during his period in detention. Earlier on November 7, the U.S. House of Representatives had passed a near-unanimous resolution seeking freedom of activists Huang Qi and Tan Zuoren.  Following Huang's imprisonment, fellow human rights activist and pundit Liu Dan authored a piece on Huang's Tianwang website condemning Chinese President Hu Jintao's Harmonious Society ideology, saying that it was a "sham" in the face of Huang Qi's sentencing. Liu wrote that Hu's administration silences anyone whose opinions differ from the party line, whether that opinion is coming from external elements (censorship of dissidents), foreign elements (deletion of U.S. President Barack Obama's town-hall meeting from news items), or within the Chinese political system itself (removal of Premier Wen Jiabao's calls for greater freedoms in Xinhua publications). Huang was released in 2011 after completing his sentence.

2016–2019.

On November 28, 2016, Huang was detained after police raided his home. On December 7, a petitioner told Radio Free Asia that Huang has been detained at Mianyang City Detention in Sichuan Province but Huang's mother also went missing. Several days later, on December 16, Huang's mother has returned home and Huang has been formally arrested for "leaking state secrets".  In January 2019 Huang was put on trial at the Intermediate People's Court of Mianyang City in Sichuan, accused of leaking state secrets. On July 29, 2019, it was announced that Huang had been found guilty of intentionally leaking state secrets to foreigners, and had been sentenced to twelve years in prison, as well as being deprived of his political rights for four years, and fined 20,000 yuan. Huang has kidney and heart disease, and Christophe Deloire, secretary-general of Reporters Without Borders, noted that "[t]his decision is equivalent to a death sentence, considering Huang Qi's health has already deteriorated from a decade spent in harsh confinement".

Huang Qi (, born 1963) is a Chinese webmaster and human rights activist. He is the co-founder of Tianwang Center for Missing Persons (later renamed the "Tianwang Human Rights Center"), along with his wife Zeng Li. Initially the mission of the organization was to help counter human trafficking that had become a swelling problem in the late 1990s, but later it was expanded to include campaign against human rights abuse. Huang is also the owner and webmaster of 64tianwang.com, a website originally intended to release news about people who had disappeared in the People's Republic of China.

Huang Qi (Chinesisch: 黃琦; Pinyin: Huáng Qí, geboren am 7. April 1963) ist ein chinesischer Webmaster und Menschenrechtler. Er ist zusammen mit seiner Frau Zeng Li der Mitbegründer des "Tianwang-Zentrums für vermisste Personen" (später umbenannt in Tianwang-Menschenrechtszentrum). Anfangs war die Aufgabe der Organisation, dem Menschenhandel entgegenzutreten, der in den späten 1990er Jahren zu einem zunehmenden Problem geworden war, doch später wurde diese zu einer Kampagne gegen Menschenrechtsverletzungen erweitert. Huang ist der Besitzer und Webmaster der Website 64Tianwang, die ursprünglich dazu gedacht war, Nachrichten über Menschen zu veröffentlichen, die in der Volksrepublik China verschwunden waren.


Personal life.

He was born under the name "Hendrikus Bakhuyzen" in the Hague in 1795, the son of prominent publisher Gerrit Bakhuysen (1758–1843) and Jacoba van de Sande (1757–1815). In 1819 he obtained a Royal Decree granting legal permission to add his late mother's surname to his own and became known as "Hendrikus van de Sande Bakhuyzen". His wife was Sophia Wilhelmine Kiehl (1804–1881). He lived principally in The Hague in the Netherlands. He died on December 12, 1860. His son, Julius van de Sande Bakhuyzen (1835–1925), became a well-known landscape painter as well. His daughter, Gerardine Jacoba van de Sande Bakhuyzen (1826–1895), was a painter of still life, flowers, and fruit. His son Henricus Gerardus van de Sande Bakhuyzen (1838–1923) became a prominent astronomer, member of the Royal Netherlands Academy of Arts and Sciences, and director of the Leiden Observatory. His son Ernest-Frederich van de Sande Bakhuyzen was also an astronomer at the Leiden Observatory.

Career.

Hendrik v.d.S. Bakhuyzen learned drawing and painting first from Jan Willem Pieneman and his pupil J. Heymans and then later from at the Hague Academy, recently endowed by Willem I. His fellow students included Andreas Schelfhout and Bart van Hove, each of them significant for the development of the Hague School.  He was successful while still quite young, with his painting "Gelders landschap" acquired by the Rijksmuseum in Amsterdam in 1818. In 1821 he received a medal of honor from the Royal Society for the Encouragement of Fine Arts at an exhibit in Brussels, followed in 1822 by a and 300 guilder prize from the Society of Encouragement of Fine Arts in Antwerp. In the same year he became a member of the Royal Academy of Arts in Amsterdam and a board member of the Art Academy in The Hague. He was later elected Director of the Hague Academy.  He traveled to paint in Belgium in 1824 and in Germany in 1834. In 1840 he became one of the early members of the Arti et Amicitiae artists society in Amsterdam. In 1841 he traveled along the Rhine river in Germany with his pupil Willem Roelofs. He also painted landscape scenes from Noorden and the area around Oosterbeek, an artists' colony that later became known as the Dutch Barbizon. He was an active teacher and continued to take in pupils until shortly before he died. Some of these pupils, notably became pupils of Hendrikus' son Julius upon his death. Even after his death, Hendrik's work continued to be displayed prominently in the family studio where his artist son and daughter painted.

Art.

He is known for his Romantic pastoral scenes (especially paintings of livestock) with detailed landscapes, notably inspired by Golden Age artist Paulus Potter and continuing the Realist tradition of that era. He emphasized drawing as essential to truthful painting, quoting the motto "le dessin est the probite de l'art" ("drawing is the integrity of art") after French painter. He required his students to learn to sketch natural scenes in great detail before permitting them to hold a brush. This emphasis on work en plein air presaged the landscape work of Hague School artists. He has been described as "an honest landscape painter" whose scenes are "entirely free from mannerism and artificiality". His works often emphasized animals on the landscape, driven in part by their commercial success. His son Julius later relayed the story of one of Hendrik's paintings of a landscape near Oosterbeek that featured what was to his father an ordinary brown horse but which so caught the fancy of his customer's neighbors in Philadelphia that Hendrik received at least ten orders for similar pictures with that particular horse, as if the horse itself were somehow special.  Most of van de Sande Bakhuyzen's work was summer landscapes, but he also painted a small number of winter scenes, often of quintessentially Dutch scenes including windmills, ice skaters, and cottages built in traditional Dutch architectural style. In this vein his work closely resembled that of Andreas Schelfhout (1787–1870), a close friend who was famous for his winter landscapes and with whom v.d.S. Bakhuyzen collaborated, including at least one joint canvas that bears both artists' signatures.  His work is displayed in the Rijksmuseum, the British National Trust, Teylers Museum in Haarlem, Museum Fodor, Museum of Fine Arts Bern, and the Royal Museums of Fine Arts of Belgium, among others.

Influence.

Hendrik v.d.S. Bakhuyzen was profoundly influential in 19th Century Dutch art, both through his own landscapes and through his students. His students helped to establish the Dutch art movement the Hague School.

Influence on The Hague School.

The Hague School of artists sought to transition from the romantic realism of the preceding generation to a new style that emphasized mood and movement. For instance, Gerard Bilders wrote to Johannes Kneppelhout that "It is not my aim and object to paint a cow for the cow's sake or a tree for the tree's, but by means of the whole to reproduce an impression which nature sometimes gives." The painters of the Hague School used muted tones and more diffuse brushstrokes to add a sense of weather and often somber moods to their landscapes and genre scenes.

Interactions with the Van Gogh Family.

The van de Sande Bakhuyzens were related to the famed Van Gogh family through Hendrik's grandfather Hendrik Bakhuyzen, who married Jannetje van Gogh (1731–1796). Hendrik taught Vincent van Gogh's mother Anna Carbentus van Gogh to paint, and Vincent van Gogh felt that there was clear thematic convergence among his work and that of the van de Sande Bakhuyzen's. In his Dec. 23, 1889 letter to his mother from the San Remy-de-Provence asylum he wrote:  In his letters, Vincent van Gogh notes that the sketches he observed by Pieter ter Meulen in 1881 were much better than when he had observed Ter Meulen "struggling and swotting" in Bakhuyzen's studio.

Family Recognition.

In 1996 the was entered in the Nederland's Patriciaat or Blue Book, recognizing families who have been leading members of society for 150 years and six generations.

Hendrik (Hendrikus) van de Sande Bakhuyzen (2 January 1795, The Hague – 12 December 1860, The Hague) was a 19th-century Dutch landscape painter and art teacher. He was a prominent contributor to the Romantic period in Dutch art and his students and children founded the art movement known as the Hague School. Like his contemporaries Edward Williams, Jacob Maris, and Jozef Israels, he was part of a family of prominent painters, including son Julius van de Sande Bakhuyzen, daughter Gerardina Jacoba van de Sande Bakhuyzen, and nephew Alexander Hieronymus Bakhuyzen.

Hendrikus van de Sande Bakhuyzen (* 2. Januar 1795 in Den Haag; † 12. Dezember 1860 ebenda) war ein niederländischer Landschafts- und Tiermaler der Romantik. Viele seiner Schüler, darunter sein Sohn Julius van de Sande Bakhuyzen, waren maßgeblich an der Gründung der Haager Schule beteiligt.


Early life and education.

Lynne was born on a Navy base in Jacksonville, Florida. Her father at the time of her birth was in the military for 20 years. Both of her parents were World War II veterans. Lynne is a graduate of the University of New Hampshire, where she received a B. A. in economics and political science. She also attended George Washington University, where she received a Master of Public Administration and obtained a Doctor of Public Health degree from Columbia University.

Career.

Lynne spent 20 years working in New York City government. During that time she served as first deputy commissioner for the office of labor relations, director for the mayor's office of operations, and senior vice president for the New York City health and hospital corps.  After leaving New York City government, Lynne went on to work for Group Health Incorporated (GHI) as the executive vice president before being promoted to president of GHI HMO, a subsidiary of GHI. After leaving GHI, Lynne became the president of Kaiser Permanente for the Colorado Region. Within Kaiser, Lynne also served as executive vice president of Kaiser Foundation Health Plan, Inc and as a group president for Kaiser Foundation Health Plan, Inc. and Kaiser Foundation Hospitals. In her role as group president, she oversaw the Pacific Northwest and Hawaii regions. During her time at Kaiser, Lynne was selected by the Denver Business Journal as one of the city's "Outstanding Women in Business" in 2008, and as one of the Top 25 Women in Healthcare by Modern Healthcare magazine in 2015. Lynne is also an Adjunct Assistant Professor at Columbia University, teaching a course at Mailman School of Public Health on Quality of Care.  Throughout her career, Lynne has served on a number of boards, including the Colorado Education Initiative, the Colorado Regional Health Information Organization, the Denver Museum of Nature and Science and Teach for America-Colorado. Additionally, Lynne is the former chair of the Denver Metro Chamber of Commerce.  Lynne served in a dual role as both the lieutenant governor of Colorado and the state's chief operating officer. She was appointed to the position by governor John Hickenlooper.

Lieutenant governor.

As lieutenant governor of Colorado, Lynne was the second highest-ranking official in Colorado state government. In her position, Lynne acted as part of the senior team working with the Governor on policy, budget, and legislative matters that impact 5.5 million Coloradans. Lynne co-chaired the Colorado Space Coalition, the Early Childhood Leadership Commission, the Governor's Commission on Community Service, and the Colorado Commission on Indian Affairs. The lieutenant governor's office also provides oversight for the office of eHealth Innovation and the Colorado State Innovation Model. At the beginning of her term, Lynne filled in as the interim director of the Colorado Department of Higher Education until Diane Duffy was appointed to the position in October 2016.  Due to her background, one of Lynne's major focuses throughout her term had been on state and federal health care reform. In a guest commentary article in The Denver Post in May 2017, Lynne expressed her dismay with the recently proposed American Health Care Act (AHCA), stating that the republican-sponsored bill would have a damaging impact on all of Colorado, but specifically its rural communities, by cutting critical funding to the state's Medicaid program. Lynne also wrote about the need to preserve Colorado's outdoor recreation spots in a separate Denver Post article written in the beginning of 2017, highlighting the fact that many of Colorado's beloved outdoor landmarks—like the state's rivers, hiking and biking trails, campgrounds, and fourteeners—are in desperate need of improvements. In the article, Lynne expressed that this issue is of particular importance to her because outdoor recreation is one of the major drivers of the Colorado economy, and because she has personally summited all of Colorado's mountains that are over 14,000 feet tall.

Chief operating officer.

As chief operating officer for the state of Colorado, Lynne launched the Governor's Dashboard, an online tool that allows viewers to see a snapshot of state progress with regards to five major priorities that are vital to fulfilling the vision of a Healthy Colorado. Lynne also manages quarterly performance reviews across cabinet departments, helped to launch customer feedback surveys for high-volume state services, and uses information garnered from those surveys to assess the quality of statewide services. In the spring of 2017, Lynne also participated in and oversaw the fourth successful Performance Academy, a program that trains state leaders in how to better serve Coloradans. In April 2017, Lynne concluded a tour of all 64 counties of Colorado where she engaged directly with many community leaders.

Donna Lynne (born October 27, 1953) is an American politician and member of the Democratic Party who served as the 49th Lieutenant Governor of Colorado, from 2016 to 2019. She also served in a dual capacity as the chief operating officer of the State of Colorado. She was appointed to the position by Colorado governor John Hickenlooper on March 23, 2016 and was confirmed by the Colorado House of Representatives and the state Senate on May 4, 2016. Lynne replaced the outgoing lieutenant governor, Joseph A. Garcia. Prior to her appointment, Lynne was an executive with Kaiser Permanente.

Donna Lynne (* 27. Oktober 1953 in Jacksonville, Florida) ist eine US-amerikanische Politikerin. Von 2016 bis 2019 war sie Vizegouverneurin des Bundesstaates Colorado.


Life.

He was born in Santiago, Chile the sixth child of Francisco Javier de Errázuriz y Aldunate and of his second wife, Rosario Fernández de Valdivieso y Zañartu (sister to Archbishop Rafael Valentín Valdivieso.) He studied at the school of the Fernández Díaz sisters and the Justino Fagalde school, in Santiago and from there he attended the Santiago Seminary in 1851. He graduated in Theology and Law. Subsequently, he decided to embrace the ecclesiastical career. He became a priest on December 18, 1863, and was appointed editor of the "La Revista Católica" (Catholic magazine). In 1874 founded a new magazine called "El Estandarte Católico" (Catholic banner) in order to defend the church position and respond to the liberal attacks. One year earlier, he had also become a member of the Faculty of Theology of the University of Chile, teaching canon law, and writing the standard text on the subject.  In 1885, he left the university to seclude himself in the Recoleta Domínica convent, adopting the name of Raimundo. There he was put in charge of the library, which he transformed in the most important private library in Chile. In 1898, he became the convent abbot, position he retained until 1907. During his time in the convent, he published his massive "Los Orígenes de la Iglesia Chilena" (Origins of the Chilean church), which made him the premier church historian. Due to his publications and researches, he was incorporated to the Royal Academy of the Spanish Language. He was also given the gold medal of the Historical and Geographical Society of Chile in 1912, and became the president of the Chilean Academy of History in 1914. In 1916, he returned to his position in the university.  In 1918 he was nominated as Archbishop of the Santiago archdiocese by president Juan Luis Sanfuentes. Monsignor Errázuriz was considered a peace offering in preparation for the heated presidential campaign of 1920, even though he was already 71 years old. Pope Benedict XV named him on December 30, 1918, adopting the motto: "Cruz et Evangelium ecce arma mea".  He promoted a policy to make the Catholic Church independent from the conservative party. In 1920 he proposed the creation of the bishoprics of Valparaíso and Talca. In 1924 he presided over the separation of the church and the state, consecrated in the Constitution of 1925. He was the voice that gave serenity and long term vision to the negotiations. Monsignor Errázuriz died in 1931 at the age of 91.

Monsignor Crescente Errázuriz Valdivieso (November 18, 1839 – July 5, 1931) was a Chilean Dominican friar, Roman Catholic archbishop of Santiago, professor, writer and historian. Crescente Errázuriz was of Basque descent.

Crescente José de los Dolores de María Santísima Errázuriz Valdivieso (* 28. November 1839 in Santiago de Chile; † 5. Juni 1931 ebenda) war ein chilenischer Dominikaner, Kirchenhistoriker und -rechtler, der Erzbischof von Santiago wurde.


History and structure.

The house was built in 1930–1931, and David Ben-Gurion and his family lived there from June 1931 until 1953, when they moved to a small wooden house in Kibbutz Sde-Boker in the Negev desert, after which they returned to the Tel Aviv house only part of each year.  The house was built on Jewish National Fund (JNF) land, when the first "shechunat ha-po'alim" ("lit." workers neighborhood, i.e. a workers housing project) was established there in 1930–31, as Shechunat HaPo'alim Aleph, at the junction of Jewish National Fund Boulevard and Lassalle Street. The Jewish National Fund (Hebrew: Keren Kayemet Le'Israel) Boulevard was renamed to Ben-Gurion Boulevard after the politician's death in 1973.  The house was designed by engineer David Tuvia, and as customary in "workers neighborhoods" in Israel at the time, the house included only one room and was worth 350 British Mandate pounds. The Ben-Gurion family asked for permission to build a second floor, which was granted. The house was expanded in 1946, and renovated in 1960.

First floor.

The first floor included the room of Ben-Gurion's second daughter, Renana. It also served Ben-Gurion during the Suez Crisis ("Mivtza' Kadesh", "Operation Kadesh") as a shelter and a bedroom. From this room Ben-Gurion conducted his communication with Moshe Dayan, then his Chief of Staff, and from there he received front line updates on the progress of the operation.

Second floor.

The second floor houses a four-room library, a toilet and a bedroom, and served only Ben-Gurion himself at the time.  The library holds his personal collection of periodicals and 20,000 books, in ancient Greek, Latin, English, Hebrew, French, Turkish, German, Russian and other languages. The library, known for its unusual size, may give an idea as to Ben-Gurion's fields of interest. The books deal mainly with the subjects of Zionism, history, various cultures and religions, a collections of Hebrew Bible books and more. The many books on IDF's fallen soldiers show the importance given to this subject by Ben-Gurion.  One of the library rooms served as Ben-Gurion's study room, where he had his own study corner, in which he wrote in his diary. It also contained a special phone, that was a direct line to the Defense Ministry's office (compare the Red Phone).  On 13 May 1948, Ben-Gurion hosted the Minhelet ha'am ("People's Administration") body: Aharon Zisling, Yehuda Leib Maimon, and Moshe Sharett, where they formulated and drafted the final version of the Israeli Declaration of Independence ("Megilat HaAtzma'ut"). The next day, they went from this house to Dizengoff House, now known as "Independence Hall", and where the Tel Aviv Museum of Art was located at the time, where Ben-Gurion announced on the establishment of the State of Israel.

The house nowadays.

In his will Ben-Gurion requested to bequest the house to the State of Israel, as is stated: Three years after Ben-Gurion died, the "Ben-Gurion law 1977" was enacted, which stipulates that the house will be open to the public, and will serve as a museum in memory of Ben-Gurion and as a commemoration of his legacy, as well ""as a Reading, Reviewing and Research center"", as Ben-Gurion himself requested.  The house was opened to the public on 29 November 1974, and as of today, guided tours and symposiums are conducted in the house, with the purpose of depicting Ben-Gurion's character and life work as a leader. In addition, memorabilia, historical documents, and Ben-Gurion's titles awarded to him when he was prime minister are exhibited in the house.  The Boulevard in which the house is situated, was called at the time Ben-Gurion lived there, "Keren Kayemet Boulevard" ("Jewish National Fund Boulevard"), and was renamed "Ben-Gurion Boulevard" after Ben-Gurion died. The name "Keren Kayemet Boulevard" was then moved to a central street within a northern Tel Aviv neighborhood, "Ever Ha-Yarkon" suburb, and is still named after the JNF today.

The Ben-Gurion House is a historic house museum in Tel Aviv, which served as the family home of pre-State Zionist leader and then first Defense and Prime Minister of Israel, David Ben-Gurion, between 1931 and 1953. Until his death in 1973 it continued serving as an additional residence, along with two others, one private – "Ben-Gurion's hut" at Kibbutz Sde Boker in the Negev (known as his desert home), and the official residence as Prime Minister of Israel during his multiple terms as head of government. The latter, known as Julius Jacobs House, is located in Rehavia, Jerusalem.

Das Ben-Gurion-Haus () in Tel Aviv-Jaffa ist das ehemalige Wohnhaus David Ben-Gurions, Israels erstem Ministerpräsidenten (1948–1954). Heute wird das Gebäude als Bildungs- und Forschungszentrum genutzt und beherbergt u. a. ein Museum sowie die umfangreiche Bibliothek Ben-Gurions.


Geography and Historical Context of the Treaty.

The Timor Gap refers to the 60,000 square kilometre “coffin-shaped” area between Australia and East Timor. The area contains several oil and gas reserves. The exact value of the resources contained in the Timor Gap is unknown, but three of the largest reserves, Elang-Kakatua, Bayu-Undan and Sunrise-Troubadour are estimated to hold US$17 billion worth of oil.  The Timor Gap does not refer to any geographical landmark but is instead the area of continental shelf that was subject to negotiations between Indonesia, Australia and Portugal in the early 1970s. In 1971-2 Indonesia and Australia delimited their seabed boundaries in the Timor Sea. Australia attempted to negotiate with Portuguese Timor to come to a similar boundary agreement, but these negotiations remained inconclusive when Portugal withdrew from East Timor in 1975. As a result, there was a break in the Australia-Indonesia boundary in the area surrounding East Timor. This break is known as the Timor Gap.  On 7 December 1975, Indonesian forces invaded and annexed East Timor as its twenty-seventh province. This was nine days after East Timor had declared its independence following Portugal withdrawing from the country. The UN did not recognise Indonesia as the ruling force of East Timor and asserted Portugal as the administering authority of the nation. Australia initially refused to acknowledge Indonesian control of East Timor. However, in 1979 it gave de jure recognition of Indonesian occupation of the country, and began negotiations with Indonesia in relation to closing the Timor Gap.

Controversy surrounding Australia’s involvement in the Indonesian invasion in East Timor.

The extent to which Australia knowingly allowed or encouraged Indonesia to invade East Timor has long attracted international debate. Australia was the only western nation to recognise Indonesian rule. It has been contended by commentators such as Noam Chomsky, that Australia was motivated to support Indonesia due to the prospect of an eventual Timor Gap Treaty, which would have significant financial and resource benefits, and enhance the nation’s relationship with Indonesia and its foothold in Asia.  Gareth Evans responded to these criticisms by asserting that Australia did not support the Indonesian invasion of East Timor, but had no power to stop Indonesia’s invasion. He stated that there was “nothing morally offensive” about Australia’s recognition of Indonesian sovereignty in East Timor as it never denied the right of self-determination of the East Timorese population. He also argued that East Timor “was never disadvantaged by the Timor Gap Treaty”, as it was always intended that East Timor would replace Indonesia in the Treaty if they emerged as an independent nation.

Formation and Signing of the Treaty.

Indonesia and Australia held substantially different positions on how the Timor Gap should be delimited. Both positions were supported by conflicting sources of International Law, complicating the treaty making process.  Australia proposed that the boundaries should be determined according to the Convention on the Continental Shelf 1958, which grants sovereignty to a nation over the continental shelf beyond their shores. Australia contended that the Timor Trough marked the edge of its continental shelf, giving the nation sovereignty over a significant share of the Timor Gap pursuant to the Convention. This position was upheld in the North Sea Continental Shelf Cases of 1969, where the International Court of Justice determined a state’s continental shelf to be the “natural prolongation of its land territory”.  Indonesia’s position was based on the UN Convention on the Law of the Sea (UNCLOS) 1982, which gives a state full and exclusive rights over the 200 nautical miles from its territorial sea baseline, even if its continental shelf is geographically much smaller (unless proved that the continental shelf extends beyond this 200 nautical miles).  As neither party would concede, and an agreement on boundary lines could not be made, the parties instead agreed to a provisional arrangement in accordance to UNCLOS Article 83. In 1985, the parties agreed on the ‘Zone of Cooperation’ which would allow them to jointly exploit the resources in the Timor Gap. This arrangement was formalised on 11 December 1989 when the Timor Gap Treaty was signed by the Australian and Indonesian Foreign Ministers, Gareth Evans and Ali Alatas, during a flight over the Timor Gap. The Zone of Cooperation has been “heralded as the most complex, comprehensive and sophisticated maritime joint development zone ever concluded”.

Effect of the Treaty.

The Timor Gap Treaty divided the Zone of Cooperation into three areas – Areas A, B and C. It created a regime for an initial term of 40 years for the exploration of resources in these three areas. Part II of the Treaty set out that Area B, the southern part of the Gap, was to be administered by Australia, with Indonesia entitled to 10 per cent of the Resource Rent Tax from petroleum revenues in the area. Area C, the northern part of the Gap, was to be administered by Indonesia who had to provide 10 per cent of tax revenue from petroleum activities in the area to Australia. Area A, the middle and largest portion of the Gap, was jointly administered by both parties and revenues were divided equally. The rights of both parties to Area A were monitored by the Joint Authority and Ministerial Council created by the Treaty. The Treaty stipulated that this division of the Zone of Cooperation did not affect the ability for Australia and Indonesia to reach a permanent boundary agreement, and both parties should continue efforts to do so.

Area A — Shared Zone.

Area A was administered by a Ministerial Council and a Joint Authority, which were responsible for the activities and allocation of resources in the Area. The Ministerial Council oversaw all matters concerning the Area, including the supervision of the Joint Authority. The Joint Authority performed a practical role in managing the activities of the Area.  Part III of the Treaty outlined the function and structure of the Ministerial Council. Article 6(1) stipulated that the Ministerial Council held "overall responsibility for all matters relating to the exploration for and the exploitation of the petroleum resources in Area A of the Zone of Cooperation", including any policy making. A number of measures were put in place to ensure that the Ministerial Council held equal representation of both parties. An equal number of ministers from each nation were appointed to sit on the Council. Article 5(5) of the Treaty required that all decisions made by the Ministerial Council were achieved by unanimity. The location of the annual meetings that were held by the Council also alternated between Indonesia and Australia. The first annual meeting was held in 1991 in Bali, Indonesia and was attended by two ministers from each nation.  The function and structure of the Joint Authority was found in Part IV of the Treaty. The Joint Authority was directly accountable to the Ministerial Council and was required to perform under its direction. Article 8 outlined that the Joint Authority was responsible for “the management of activities relating to exploration for and exploitation of the petroleum resources in Area A”. One of its largest roles was to enter into Production Sharing Contracts with corporations, under Article 8(b) of the Treaty. These contracts allowed companies to exploit oil resources in the Area. The Joint Authority supervised the behaviour of these companies to ensure all activities were pursuant to the Treaty's Petroleum Mining Code. A sample Production Sharing Contract was provided in Annex C of the Treaty. The Joint Authority was unable to enter into or terminate any contracts without the approval of the Ministerial Council. All activities of the Joint Authority were originally funded by Australia and Indonesia, but were intended to eventually be supported by the revenues generated by any mining in Area A.  These responsibilities of the Joint Authority were equally shared between Australia and Indonesia. The Executive Board consisted of one Executive Director from each nation (which were appointed by the Ministerial Council) and one director of each of the four functions of the Authority: Technical, Financial, Corporate Services and Legal. The directors of the Technical and Financial functions could not be representatives from the same nation, as these were the two most important functions of the Authority. Agreement had to be reached by both parties on every decision. If no agreement could be made, the matter was referred to the Ministerial Council. The Joint Authority had offices in both Darwin, Australia and Jakarta, Indonesia.

International Court of Justice Proceedings.

In 1991, Portugal brought proceedings against Australia in the International Court of Justice (ICJ) in regards to the Timor Gap Treaty. Portugal argued that by being a party to the Treaty, Australia had violated the right to self determination of the East Timorese population, and had disregarded Portugal’s status as the administering authority of East Timor. The ICJ handed down its judgement on 30 June 1995. It ruled that no case was able to be brought against Australia without also considering Indonesia’s role as a Treaty party. To decide whether Indonesia could lawfully enter into treaties on behalf of the East Timorese population, the Court would have been required to determine whether Indonesia’s invasion of East Timor was lawful. The Court ruled 14 to 2 that this decision could not be made without Indonesia’s consent as they were an indispensable third party. Portugal’s claim were dismissed.  Judge Weeramantry and Judge Skubiszewski dissented the decision. Judge Skubiszewski condemned the ruling of the court, stating that "recognition of annexation erodes self-determination", and the court's adherence to legal correctness alone had been to the detriment of justice and was "cause for concern".

Effect of East Timor’s Independence on the Treaty.

East Timor gained independence from Indonesia in 1999. On 25 October 1999, The United Nations Transitional Administration in East Timor (UNTAET) was created by the Security Council Resolution 1272 to help East Timor transfer to a self governing territory. Had East Timor transitioned to independence immediately without UN administration, customary international law dictates that the nation would have “start[ed] with a clean slate in the matter of treaty obligations”. East Timor would not have been required to assume the treaty obligations of Indonesia.  However, Resolution 1272 gave extensive treaty-making power to the UNTAET, allowing the UN (via the UNTAET) to replace Indonesia as Australia’s treaty party, until East Timor transitioned to complete independence. On 5 July 2001, this arrangement was formalised in a Memorandum of Understanding that established the Joint Petroleum Development Area (JPDA). The JPDA covered the same area as the Zone of Cooperation. This agreement was incorporated into Australian law in the "Timor Gap Treaty (Transitional Arrangements) Act 2000 (Cth)."

Current Position.

The Timor Gap Treaty was replaced by the "Timor Sea Treaty between the Government of East Timor and the Government of Australia" (Timor Sea Treaty). On 20 May 2002, The Timor Sea Treaty was signed in Dili by the Australian Prime Minister at the time, John Howard, and the then East Timorese Prime Minister, Mari Alkatiri. This was the same day that East Timor gained independence from UN rule. This new treaty created only one zone. Revenue from that zone was divided 10% to Australia and 90% to East Timor.  In April 2016, East Timor brought conciliation proceedings against Australia under Annex V of the UNCLOS with the intent of establishing permanent maritime boundaries. A UNCLOS Conciliation Commission considered the matter and was able to solve the boundary disputes of each party. Following the proceedings, the "Treaty between Australia and the Democratic Republic of Timor-Leste Establishing their Maritime Boundaries in the Timor Sea" (Maritime Boundaries Treaty) was drafted. The Maritime Boundaries Treaty was signed on 9 March 2018 at the UN Headquarters in New York by the Foreign Ministers of Australia and East Timor. This treaty established permanent maritime boundaries between East Timor and Australia and a framework for resource development.  The Timor Sea Treaty was terminated on 30 August 2019 when the Maritime Boundaries Treaty came into force.

The Timor Gap Treaty was formally known as the "Treaty between Australia and the Republic of Indonesia on the zone of cooperation in an area between the Indonesian province of East Timor and Northern Australia". It was a bilateral treaty between the governments of Australia and Indonesia, which provided for the joint exploitation of petroleum and hydrocarbon resources in a part of the Timor Sea Seabed. The treaty was signed on 11 December 1989 and came into force on 9 February 1991. The signatories to the treaty were then Australian Foreign Affairs Minister Gareth Evans and then Indonesian Foreign Minister Ali Alatas.

Der Timor Gap Treaty () war ein Vertrag zwischen Australien und Indonesien über die Nutzungsrechte eines Seegebietes in der Timorsee, der sogenannten Timor Gap.


Year-wise Fair Details.

2019.

The 27th New Delhi World Book Fair was held at Pragati Maidan, New Delhi January 5–13. The theme of the fair was ‘Books for Readers with Special Needs’ and Sharjah is the ‘guest of honours’ country.

2018.

The 26th New Delhi World Book Fair, January 6–14 at Pragati Maidan, New Delhi, was organised by the National Book Trust (NBT) in association with India Trade Promotion Organisation. The themed was environmental issues such as climate change, global warming, and water pollution. Guest of honor country was 'European Union'.

2017.

The 25th New Delhi World Book Fair was organised between January 7–15 at Pragati Maidan, New Delhi. The organizer of the NDWBF 2017 was National Book Trust- NBT, Ministry of Human resources Development, Government of India in collaboration with ITPO India Trade Promotion Organisation. The theme presentation of the 2017 edition was 'Manushi - Books Written on and by Women'. The focus of the Book Fair was on the 'Culture of Reading'. The Minister of State HRD Dr Mahenra Nsth Pandey inaugurated the fair. The highlights of the fair included 60 years of NBT history in the theme pavilion & children activities in the Children Pavilion including activities to celebrate Swami Vivekananda's birth anniversary as 'National Youth Day' on 12 January 2017. The book fair witnessed author interactions, book releases, national seminars on -"Best practices in Developing Reading skills & Research perspective in Developing Content for Children". The Director of the NDWBF 2017 Dr Rita Chowdhury, Director of NBT, and under chairmanship of Shri Baldeo Bhai Sharma, Chairman of National Book Trust, Ministry of Human Resource Development,Government of India overlooked the functioning of the fair."

2016.

The 24th New Delhi World Book Fair was held during January 9–17, 2016 at Pragati Maidan, New Delhi with China as the Guest of Honour Country. The theme of the 2016 edition was cultural diversity 'Vivid Bharat - Diverse India'. The message of the Sino-Indo partnership for the New Delhi Book Fair 2016 was the connecting rainbow -"Renaissance of Civilizations- Understanding through exchanges".The Union HRD Minister Smriti Irani inaugurated the fair.

2015.

The 23rd edition was held during February 14–22, 2015 at Pragati Maidan. The guest of honour country was Singapore with Korea as the focus country. The theme of the Fair was 'Suryodaya: Emerging voices from North East India'. The slogan of the fair was "Books opening the mind. Doors opening the future." The Union HRD Minister Smriti Irani inaugurated the Fair, while HRD Minister of State Upendra Kushwaha inaugurated the Children's pavilion. National Book Trust under the "Young India Library" series was to put up for sale a new edition of a book on parables covering a new dimension of Swami Vivekananda for developing scientific temper in children.

2014.

The 22nd edition was held during February 15–23, 2014 at Pragati Maidan. The Guest of Honour country was Poland, while the theme was 'Kathasagara: Celebrating Children's Literature'. New Delhi World Book Fair 2014 witnessed journalist Abhigyan Prakash launching a book titled, "Development and Communication Morphosis" written by Gaurav Sharma.

2013.

The 21st edition was scheduled during February 4–10, 2013 at Pragati Maidan. Under an MoU, the annual event was organized jointly by the National Book Trust (NBT) & India Trade Promotion Organization (ITPO) with the theme being 'Indigenous Voices: Mapping India's Folk & Tribal Literature' and France as the guest country.  The then HRD Minister Shashi Tharoor inaugurated the Fair, presided by Dr. Karan Singh, M.P. & Chairman Indian Council for Cultural Relations. Some of the events held for the first time included cosplay, school librarians' meet, artist & illustrators' gallery and the counsellors desk in the Children & Youth pavilion. An annual National Debut Youth Fiction Writers meet was also held to promote greater interest in readership.

2012.

The 20th New Delhi World Book Fair 2012 was held at Pragati Maidan, New Delhi from February 25 to March 4, 2012. The fair was inaugurated by the then HRD Minister Kapil Sibal. A corporate social responsibility initiative was undertaken by the publishing industry to launch the Pink Ribbon Book Tag at the Book Fair to support the Indian Cancer Society for a humanitarian cause. The theme of the 20th World Book Fair was 'Towards 100 years of Indian Cinema'.

The New Delhi World Book Fair, hosted at Pragati Maidan in New Delhi, is India's oldest book fair after the Kolkata Book Fair. The first New Delhi World Book Fair was held from March 18 to April 4, 1972 in roughly 6790 m area with 200 participants. It was inaugurated by V. V. Giri, then President of India.

Die New Delhi World Book Fair (NDWBF) ist Indiens älteste Buchmesse, die seit 1972 in Neu-Delhi abgehalten und 2017 zum 25. Mal stattfinden wird. Sie ist eine Publikumsmesse, die derzeit jährlich über eine Million Besucher anzieht. Nach eigenen Angaben ist die NDWBF. Sie wird seit 2013 von der National Book Trust organisiert, einer autonomen Organisation, die dem Ministry of Human Resource Development der indischen Regierung untersteht.


History.

The house was built for Colonel Harvey Merrick Vaile and his wife, Sophia. Vaile was born in Vermont in 1831; he graduated in law from the University of Louisville and moved to Kansas City, Missouri in 1859, before finally settling in Independence in 1870. A "strong supporter of the abolitionism movement" with a passion for politics, he was among the founders of the Republican Party in Jackson County. Vaile shrewdly built his wealth by investing in several business ventures, primarily interests in the construction of the Erie Canal; he was also part-owner and operator of Star Mail routes, with rights for the route to Santa Fe. Vaile was a prominent figure in Independence business and social circles, and "desired a magnificent residence as an outward expression of his wealth." Construction began around 1871, and the mansion was completed in 1881, at a cost of $150,000 (the equivalent of about $3–4 million in 2020, when adjusted for inflation). The Vaile Mansion quickly became the showplace of Jackson County, and offered "lavish hospitality to notables of the 1880s and 1890s including many U.S. Senators and congressional representatives."  In the early 1880s Vaile was involved in the Star route scandal. Charged with defrauding the government, he faced two trials, in 1882 and 1883: both of them ended in a not guilty verdict, but Vaile had to spend more than $100,000 in trial expenses. In February 1883, while he was in Washington, D.C., his wife Sophia, who had been diagnosed with stomach cancer, was found dead at home from a morphine overdose, in what was a case of suspected suicide. Vaile occupied the mansion until his death in 1895; immediately thereafter, his heirs contested ownership of the estate in a legal battle that lasted five years.  The house changed hands multiple times over the ensuing decades; in 1908 it became a sanatorium, and was subsequently converted by attorney Carey May Carroll into a nursing home and the operating site for "Vaile Pure Water Co.," a spring water bottling company. After Miss Carroll's death, the mansion, which was threatened with demolition, was purchased by Roger and Mary Mildred DeWitt, who started making repairs; in 1983 it was acquired by the City of Independence through a donation by Mrs. DeWitt, and underwent a long-term restoration project. The Harvey M. Vaile Mansion is now a historic house museum operated by the Vaile Victorian Society, a non-profit organization established in 1983 by a group of local residents.

Description.

The Harvey M. Vaile Mansion was designed by Kansas City architect Asa Beebe Cross (1826–1894) in the Second Empire style; its design was reportedly inspired by a large house visited by Vaile and his wife in Normandy. The symmetrical structure consists of a two-and-a-half-story block surmounted by a three-story central tower; constructed of hand-pressed red brick (purchased at a cost of $50,000), it features an elaborate one-story porch, limestone moldings, heavy bracketed cornices, dormered mansard roofs, and multicolor slate shingles. The profusion of applied ornament well exemplifies "the High Victorian taste for leaving no surface areas untouched." The tall, narrow windows, together with the central tower's double mansard roof, emphasize the strong sense of verticality of the façade.  When completed, the Vaile Mansion was, according to an 1882 "Kansas City Times" reporter, "the most princely house and the most comfortable home in the entire west." It features thirty-one rooms with fourteen-feet-high ceilings decorated by French, German, and Italian artists. All of the original furniture was auctioned off when the estate left the Vaile family (the house was refurnished by the Vaile Victorian Society after 1983); however, the interiors still boast the original paintwork, nine marble fireplaces (one of which cost $1500), and two of the three original chandeliers, originally intended for the White House (Harvey Vaile was able to purchase them for $800 while he was in Washington, D.C., because there was some flaw in them). State-of-the-art amenities original to the house include speaking tubes, gasoliers, indoor running hot and cold water, and flush toilets; equipped with a built-in 6,000 gallon water tank, the Vaile Mansion was the first house in Jackson County with indoor plumbing.  The mansion was originally surrounded by a 630-acre estate (now reduced to a mere 5.6 acres), which included a grape vineyard and an apple orchard. Vaile had a wine processing plant on his property, as well as a wine cellar capable of holding 48,000 gallons.

The Harvey M. Vaile Mansion is located at 1500 North Liberty Street in Independence, Missouri. Built in 1881 for businessman Harvey M. Vaile, it is a locally significant example of Second Empire architecture. The house was listed on the National Register of Historic Places in 1969 and designated locally in 2002; it is open to the public as a museum.

Das Harvey M. Vaile Mansion ist ein lokal bedeutendes Beispiel eines Bauwerks der Second-Empire-Architektur in Independence, Missouri. Das 1881 in 1500 North Liberty Street für den Geschäftsmann Harvey M. Vaile gebaute Haus wurde 1969 in das National Register of Historic Places aufgenommen und ist für die Öffentlichkeit als Museum zugänglich.


Background.

Langlet was born in Borås, Sweden. He was educated at Chalmers University of Technology in Gothenburg and at the Royal Institute of Art, Stockholm where he trained under Per Axel Nyström (1793-1868). From 1850, he attended the École des Beaux-arts in Paris where he trained under Guillaume-Abel Blouet (1795–1853).

Career.

He first made his mark when designing the Norwegian Parliament Building, which was built between 1861–1866. He also drew plans the Fredrikstad Town Hall (1861-64) and the Fredrikstad Hospital (1863), several villas and Sagatun, the first folk high school in Norway. After 1866 he returned to Sweden, where he oversaw the construction of twelve churches, including Erska Church in Sollebrunn (1885-1886). He still drew the occasional building in Norway, including Hartvig Nissens Girls' School in Oslo (1859-60) and Drammen Theater (1869–1870). From 1867, he was included in the editorial staff of the engineering publication "Tidskrift för byggkunkonst og ingeniørskennis". He took the position of editor in 1871. He was also an instructor at KTH Royal Institute of Technology. He was later given responsibility for the Stockholm Royal Palace.  From 1884 to 1886 he led the works for the preservation of the medieval Visby City Wall ("Visby ringmur").  From 1886 to 1893 was the building manager for the restoration of the 13th century Uppsala Cathedral ("Uppsala domkyrka").

Personal life.

Emil Victor Langlet was married to author and translator Clara Mathilda Ulrika Clementine Söderén (1832-1904). They were the parents of civil engineer Filip Langlet (1866-1950), chemist Abraham Langlet (1868-1936), painter Alexander Langlet (1870-1953) and author Valdemar Langlet (1872-1960).

Emil Victor Langlet (26 February 1824 – 10 March 1898) was a Swedish architect. He is most commonly associated with his design for the Norwegian Parliament Building in Oslo, Norway.

Emil Victor Langlet (* 28. Februar 1824 in Borås, Schweden; † 10. März 1898 in Spetebyhall in Södermanland) war ein schwedischer Architekt.


Early life and education.

She was born Grete Zimmer on June 5, 1924, to a Jewish family in Wiener Neustadt, Austria. At age 15, Zimmer emigrated to America from Nazi-controlled Austria in 1939 with her younger sisters Josefin (Fini) and Bella; as Americans, Josefin became Josephine (Jo), while Grete and Bella traded the last letter of each name to become Greta and Belle. The eldest Zimmer sister Lily emigrated to Palestine, took the name Tirza, and remained in Israel after fighting in the 1948 War of Independence. Their parents, Max and Ida, unable to leave Europe, died in concentration camps during the Holocaust.  Zimmer attended Queens Vocational High School, the Central High School of Needle Trades and the Harlem Evening High School. Supporting herself as a dental assistant, she then took classes at the Fashion Institute of Technology (FIT) and studied costuming with the New School of Social Research's Dramatic Workshop, led by Erwin Piscator. Later, while living in New York in the 1940s and 1950s, she variously worked in toy design and doll clothing, as well as early television with the Bil Baird puppets, and summer theater at the Camp Tamiment Playhouse.

"V-J Day in Times Square".

On VJ Day, August 14, 1945, Zimmer had left work at the dentists' office dressed in her uniform and was celebrating the end of World War II in Times Square when a stranger dressed in a Navy sailor's uniform grabbed her and kissed her. Photographer Alfred Eisenstaedt, who was in Times Square documenting the celebration, captured the moment with his Leica. The resulting photograph, "V-J Day in Times Square", was first published in "Life" magazine in 1945 with the caption, "In New York's Times Square a white-clad girl clutches her purse and skirt as an uninhibited sailor plants his lips squarely on hers".  When Eisenstaedt took the photo, he failed to get any personal information from his subjects leaving their identities unknown for decades. In the ensuing years, many women claimed to be the woman in the photo. Zimmer, now Greta Friedman, eventually saw the photo again in the 1960s and instantly recognized herself. She wrote to "Life" magazine and provided additional photos to verify her identity. "Life" editors did not contact her until 1980 when, after research and analysis, confirmed that Friedman was the woman in the photograph.  While "V-J Day in Times Square" went on to become an iconic photo that was generally viewed as a celebratory and romantic photograph, Friedman had mixed feelings about it. "I was grabbed by a sailor and it wasn't that much of a kiss, it was more of a jubilant act that he didn't have to go back, I found out later, he was so happy that he did not have to go back to the Pacific where they already had been through the war. And the reason he grabbed someone dressed like a nurse was that he just felt very grateful to nurses who took care of the wounded," Friedman stated in a 2005 interview with the Library of Congress. She went on to say, "I felt he was very strong, he was just holding me tight, and I'm not sure I -- about the kiss because, you know, it was just somebody really celebrating. But it wasn't a romantic event. It was just an event of thank God the war is over kind of thing," adding that "it wasn't my choice to be kissed. The guy just came over and kissed or grabbed." "I did not see him approaching, and before I know it I was in this tight grip," Friedman told CBS News in 2012.

Later years and death.

In 1956, she married Dr. Mischa Friedman, a WWII veteran of the U.S. Army Air Corps and a scientific researcher for the Army at Fort Detrick, moving to Frederick, Maryland. She attended Hood College, studying oil painting, printing, sculpture, and watercolors, but did not graduate until 1981, the same year her two grown children Mara and Joshua also graduated from college. Friedman worked for ten years at Hood restoring books.  Friedman died at age 92 on September 8, 2016, in Richmond, Virginia. She is inurned beside her husband at Arlington National Cemetery.

Greta Zimmer Friedman (born Grete Zimmer; June 5, 1924 – September 8, 2016) was an Austrian-born American who was photographed being grabbed and kissed by Navy sailor, George Mendonsa (1923–2019) in the iconic "V-J Day in Times Square" photograph of 1945 by "Life magazine" photographer Alfred Eisenstaedt. Widely misattributed as being a photograph of a nurse, she was actually a dental assistant with a similar uniform.

Greta Zimmer Friedman geboren als "Margarete Zimmer" (5. Juni 1924 in Wiener Neustadt – 8. September 2016 in Richmond, Virginia) war eine in Österreich geborene US-amerikanische Designerin, bildende Künstlerin und Restaurateurin. Sie wurde bei der Feier des Kriegsendes am 14. August 1945 auf dem New Yorker Times Square von einem Seemann geküsst und ist mit hoher Wahrscheinlichkeit auf den weltberühmt gewordenen Fotografien von Alfred Eisenstaedt und Victor Jorgensen zu sehen.