text:
Spire (, ) est une ville portuaire fluviale située sur le Rhin au sud du Land de Rhénanie-Palatinat et possédant le statut de ville-arrondissement.

Le Conseil de l'Europe lui décerne le prix de l'Europe de 1999.

Géographie

Histoire

Spire est une ancienne ville impériale, dont l'imposante cathédrale romane est l'un des monuments majeurs de l'art du Saint-Empire romain germanique.

Cette cathédrale a été, pendant près de trois cents ans, le lieu de sépulture de huit rois et empereurs allemands.

Celtes, Romains et Germains

Époque pré-romaine
Des traces d'occupation préhistorique ont été trouvées dans la région de Spire. Si ces traces sont très rares (restes de céramiques à Schöneck) pour la période néolithique (6000 ), des restes de sépultures de l'âge de bronze (2000 jusqu'à 800 ) ont été découverts dans la zone du centre-ville. Deux centres d'occupation de l'âge de bronze tardif ont été retrouvés dans la zone de l'Armbrustraße/Johannesstraße (centre-ville) et dans les environs de Vogelgesang/Germansberg (sud de Spire). Il devait s'agir de deux hameaux ou d'un regroupement de quelques fermes.

L'existence d'habitat et d'occupation humains a également pu être prouvée pour la période du bronze (à partir de 800 ). Pour l'âge de fer, ou l'âge de La Tène (environ 450 ), des restes d'habitat ont également été découverts dans les environs des anciens établissements horticoles municipaux (St. Klara-Kloster-Weg) et à l'endroit de l'actuelle Johannesstrasse. Toutefois, on ne peut parler aussi pour la période de l'âge de fer que de petits hameaux ou regroupements de quelques fermes, il n'existait pas à cette époque à Spire de cité ou village à proprement parler.

Période romaine
L'histoire de Spire en tant que cité commence avec la conquête romaine. Un premier poste militaire est mis en place vers l'an 12 et jusqu'en 8  Il s'agit d'un camp militaire romain d'une superficie de deux hectares environ, abritant une garnison de deux cents à trois cents hommes, vite accompagnée, aux alentours, d'une petite agglomération civile.

Afin d'assurer la protection et le ravitaillement en produits agricoles, les Romains favorisent l'implantation de tribus lassées des attaques incessantes de leurs voisins germains, comme les Triboques dans la région de l'Alsace actuelle (Brocomagus : Brumath), des Vangions dans les environs de Worms (Borbetomagus), et d'autres tribus celtiques d'outre Rhin comme les Némètes, précisément autour de Spire dans le Palatinat. À cette époque, la population celte reste cependant relativement peu nombreuse dans la région.

Le petit camp romain d'origine est remplacé entre l'an 10 et 17  par une installation plus importante. Le nouveau camp romain est suffisamment grand pour accueillir une unité auxiliaire, soit cinq cents hommes. À ce camp s'ajoute une agglomération civile importante (vicus) qui dispose d'un bâtiment de marché central, construit vers l'an 30 , ce qui prouve qu'à l'époque de l'empereur Tibère ce vicus possède déjà un droit de marché.

Entre l'an 30 et 35 , ce deuxième campement romain est à son tour remplacé par un nouveau camp, situé entre la Schustergasse et la Heydenreichstrasse. Très peu de preuves concrètes concernent ce camp, supposé avoir existé jusqu'en 72, époque où les troupes militaires romaines quittent la ville. Le camp est alors abandonné, puis rasé.

En l'an 83  la province de Germanie supérieure (Germania superior), et le vicus de Spire, du nom celtique Noviomagus Nemetum, devient siège de l'administration du district. La population de cette colonie peut avoir atteint  lors de sa plus grande expansion. La cité de Noviomagus est plusieurs fois mentionnée, en particulier dans la table de Peutinger (Tabula Peutingeriana), une carte datant du . Noviomagus atteint aux  une surface d'environ 25 hectares, ce qui en fait une ville moyenne d'une certaine importance, disposant d'un amphithéâtre.

Les invasions barbares
À la fin du , la ville est complètement détruite par les invasions des Alamans, et reconstruite au début du  sur un tiers de sa surface primitive. Le Rhin redevient frontière de l'Empire romain, Noviomagus est mentionnée alors comme Nemetæ. En l'an 352 , les attaques des Germains reprennent. Sous Valérien  (365-375), la Spire romaine vit ses heures de gloire, et un mur d'enceinte est construit autour de la ville, dont des vestiges sont encore visibles dans les jardins des archives situées près de la cathédrale.

Vers le milieu du , des colonies franques s'installent autour de Spire, Winternheim sur la zone de l'actuel quartier Vogelgesang, Altspeyer sur l'emplacement des anciens établissements horticoles municipaux (St. Klara Kloster Weg). Vers l'an 800, le nom de Spire commence à faire son apparition, indice d'un métissage entre la population romanisée et les Francs au pouvoir à partir de l'an 506. Dans les documents officiels, la dénomination Nemetæ vel Spira est utilisée jusqu'au .

Moyen Âge

Empereurs et évêques
À partir de l'an 614, la présence de l'évêque Hilderich est prouvée. Des traces de nomination en l'an 343 d'un évêque Jesse ont été retrouvées. Des résultats de fouilles prouvent la présence ancienne d'une communauté chrétienne, mais aucune église épiscopale n'a pas pu être trouvée dans des fouilles archéologiques. Cette église est supposée se trouver dans la zone de l'actuelle cathédrale, à l'emplacement du centre de la cité romaine et du bas Moyen Âge.

C'est à l'abbaye de Spire qu'Agnès d'Aquitaine prend le voile en 1062, après le conflit avec la papauté.

Pendant les , Spire joue un rôle secondaire, et sa fonction économique reste régionale. C'est seulement à partir du  qu'est avérée la présence d'un château impérial, dans les environs du complexe de l'ancienne mairie du haut Moyen Âge.

L'extension de la ville en tant que telle commence avec l'élection du roi salien  en l'an 1024. La période du  est l'une des plus marquantes et la plus brillante de son histoire. C'est aussi la période de son indépendance, bien que Spire n'ait jamais eu les mêmes droits que d'autres cités impériales libres, une période qui commence par le soutien de l'empereur salien aux , et se termine avec le règne de l'empereur Sigismond (1410-1437).

Pendant la période de l'expansion salienne, la cathédrale se construit (commencement des travaux en 1027-1030) et l'attribution des privilèges sous le règne de  en 1111. En 1168, Philippe de Souabe autorise les bourgeois à élire douze des leurs : c'est l'acte de naissance du conseil municipal spirois (un des plus anciens au nord des Alpes).

Le , Bernard de Clairvaux vient à Spire prêcher la deuxième croisade devant l'empereur  qui, séduit par l'homme, « se croise » aussitôt.

C'est à Spire que Richard Cœur de Lion est traduit devant la diète en présence de l'empereur germanique  après son arrestation à Vienne par  au retour de la troisième croisade.

De 1459 à 1462, Spire doit participer à un conflit armé du Palatinat, cette fois dans le cadre de la guerre du Palatinat et le conflit ecclésiastique de Mayence contre Kurmainz.

En 1477, Katherina Hetzeldorfer est noyée dans le Rhin en raison de son homosexualité.

Droit de cité
Au début du , la ville reçoit son premier droit de cité. Au début du , la ville se délivre du pouvoir épiscopal et à partir du milieu du  des corporations.

Au , Speyer est un centre important de fabrication du drap. La garance, plante utilisée en teinturerie, est plantée en grandes quantités autour de Spire, et la garance spiroise, « Speyerer Röte » est alors une référence. Environ 15 % de la population, soit , travaillent pour la fabrication du drap. À partir de la fin du , Spire dispose de nombreuses imprimeries des familles Drach, Hist, Biber et Schmidt. Peter Drach, le Vieux et le Jeune, sont trois générations d'imprimeurs des plus connus, qui vendent leurs livres dans tout l'Empire.

Communauté juive
Les populations juives, depuis 1084, et les Frisons, représentent au Moyen Âge (des ) les principaux marchands (negotiatores manentes), où les deux diaspora bénéficient de l'immunité de la cathédrale. Le bain des Juifs, qui servait aux ablutions rituelles, fut aménagé au  dans la Maison des Juifs (Judenhof), le centre du quartier juif au Moyen Âge, par des ouvriers engagés pour la construction de la cathédrale.

Naissance du protestantisme à Spire
Les bourgeois de Spire adoptent rapidement les idées de la Réforme, même si la ville ne reconnaît pas officiellement la nouvelle croyance. La présence de la cour de justice impériale de 1526 jusqu'à 1689 dans la ville de Spire joue certainement un rôle dans ce domaine. En 1526, la première diète de Spire (voir aussi : Diète de Spire) laisse à chaque prince allemand une certaine liberté religieuse.

Pendant le , une série de diètes impériales (Reichstagen) se tiennent aussi à Spire, en particulier la diète du protestantisme (Protestationsreichstag) en 1529, qui a donné son nom à l'église protestante. Cette seconde diète rend des conclusions moins permissives, qui déplaisent aux disciples de Martin Luther. Ceux-ci protestent et deviennent donc protestants. Entre 838 et 1570, cinquante diètes impériales se tiennent à Spire.

Guerre de Succession

En 1689, lors des guerres de Succession du Palatinat, la cathédrale et la ville sont presque totalement incendiées par Ezéchiel de Mélac et les troupes françaises de Louis XIV, les tombeaux des empereurs étant alors profanés. Dix ans après, les habitants sont autorisés à se réinstaller dans la ville détruite. Tous les bâtiments historiques sont construits lors de cette période, à partir de 1700, comme la mairie, l'église de la Trinité, la maison des marchands sur la place de l'ancien marché et de nombreuses maisons bourgeoises.

Au vu de l'attitude récalcitrante de la population, le prince-évêque et cardinal, Damien de Schönborn-Buchheim, décide de transférer sa résidence à Bruchsal, et ne fait construire à Spire que sa résidence d'été.

L'ancienne mairie de Spire fut érigée par Johann Adam Breunig pendant 1712 et 1726.

Spire sous-préfecture de département français
Le 30 septembre 1792, Spire est prise une première fois par les troupes révolutionnaires françaises (général Custine). Après 1796, la ville reste française jusqu'en 1814, en tant que sous-préfecture du département du Mont-Tonnerre, la préfecture étant à Mayence (Mainz).

Après la chute de l'Empire napoléonien en 1814, Spire se trouve sous la tutelle du royaume bavarois, et reste jusqu'en 1938 siège du district du Palatinat.

Au début du , et même dès le , les restes des fortifications entourant la ville sont enlevés et de nombreuses ruines d'églises définitivement rasées. Lors de la période bavaroise sont construits de nombreux monuments, dont l'église de la Commémoration (Gedächtniskirche) et le musée historique du Palatinat.

Lieux et monuments
 Cathédrale de Spire.
 Église de la Commémoration (Spire).
 Musée des techniques plutôt orienté transports : des trains à vapeur au Boeing 747, au Tupolev en passant par les vespas, les voitures et les sous-marins.
 Musée historique du Palatinat, près de la cathédrale.

Littérature
Victor Hugo l'évoque dans ses lettres fictives de récit de voyage Le Rhin (1842).

Personnalités liées à la ville

 Charlotte Kerner, née le 12 novembre 1950 à Spire autrice de science-fiction féministe et journaliste allemande.

Jumelages
Spire est jumelée avec :
  ;
  ;
  ;
  ;
  ;
  ;
  ;
 .

Notes et références

Voir aussi

Articles connexes

 Diète de Spire
 Institut Saint-Dominique de Spire

Liens externes

 Histoire de la cathédrale
 Informations sur le jumelage entre Spire et Chartres

Ville en Rhénanie-Palatinat
Ville portuaire fluviale en Allemagne
Spire
Shou"m

Lieu d'exécution de la Shoah en Allemagne


sells her art to supplement family income.
When you walk through the front door at Abilities United, take a moment to look at the beautiful painting that hangs on the wall to your left. This will make you one of many who have admired the wonderful art of Judy Wachner.
Based on a 2013 interview. Written by Bob Thomas. Edited by Judy Wachner and Wendy Kuehnl.


text:
Actor, Singer & Dancer
Master Teacher & Choreographer
I'm an American actor with a story that spans from ballet to Broadway. After years as a Soloist at Carolina Ballet, I came to New York and 9-months later, was in rehearsal with Kelsey Grammer building the 3-time Tony award winning revival of La Cage Aux Folles. Straight from there, I joined the cast of Chicago - kicking off the Cellblock Tango as Liz was a total dream! After two National Tours, I made my principal debut as Cassie in A Chorus Line. Then, when Christopher Wheeldon was putting his premiere cast together for Paris, I joined An American in Paris; I also opened the show on Broadway, performed in the Tony's (again!) and was thrilled to go on a number of times for the brilliant Veanne Cox as Madame Baurel.
I have taught for more than 20 years. Currently, I work with the trainees at both Joffrey Ballet and Jazz &Contemporary.
Past students include Ariana De Bose (the original Bullet in Hamilton), Sarah Pippin (2-time NYCDA National Champion), and Ms. Lauryn Hill (the Fugees). I have judged for many organizations, including NYCDA National Finals, taught for a number of conventions and enjoy teaching as a guest or resident artist around the country. I love creating for aspiring artists and my pieces have won Best Choreography. Thanks for your interest :)
TEACHING & CHOREO
For Performance:
214 W. 29th St., Suite 1203
New York, NY 10001
Lic. # 0927158
For Teaching & Choreography:
Please email me directly
caitlinmundth@gmail.com
© 2023 by Actor & Model. Proudly created with Wix.com

redpajama_set_name: RedPajamaCommonCrawl


We know that Business English deserves its own special course because of the amount of expressions, idioms and vocabulary that arise from it. We cannot go through all the idioms available to professionals here, but we will take a look at a few that are popular currently as well as giving an example of how they are used.
Traditionally, you bail out somebody who has been put in jail on suspicion of committing a crime, but now it's been extended to helping out a company which has fallen on hard times.
"The bank had to be bailed out by the Government to the tune of £300m."
This is an idiom that is not heard that frequently any more, and refers to getting more money in your work.
"I managed to get a raise after years of hard work."
This is the act of putting a private company onto the stock exchange and selling shares in it.
"Royal Mail will no doubt go public before the end of the year."
If you are in the loop, it is a good thing because you are being kept up to date with the latest developments.
"I am being kept in the loop about the whole situation."
A bit of a cliche now, as in it is not heard too frequently. It means that a product is selling extremely well.
"The new iPhone is expected to sell like hot cakes."
This is when you look over the accounts of a business to make sure everything is perfect. "With a fine toothcomb" tends to be added to the idiom for extra emphasis.
"They are going over the books with a fine toothcomb to find out where the problem lies."
This list is by no means exhaustive as there are many idioms and expressions in Business English, but I hope that they have helped you to gain a slightly better understanding of English.
If you would like to take a one-to-one Business English course in London with us, please contact 020 3566 0145, e-mail us or fill in the form on this page.
More on Business English training and Business Language Courses, click on these links.


text:
La stagione  dei Dallas Cowboys è stata la 17ª della franchigia nella National Football League.

Roster

Calendario

Stagione regolare

Playoff

Note

Collegamenti esterni

 1976

redpajama_set_name: RedPajamaWikipedia


The activities of the Islamic Cultural Center of Seville, will aim to make Seville an Islamic cultural reference worldwide. Making emphasis in the historical legacy of Seville, seeking the enrichment of the city and giving the due recognition throughout the Muslim world. The activities shall be open to the city, seeking with this clarification and better living. Giving great importance to children and youth activities.
We will organize events and conferences, both of which are internally organized as those fitting the center work line organized by others, opening doors to these events to Islamic institutions and any other organizations worldwide.
With these lectures it is to attract speakers from all around the Islamic world to give lectures at the highest intellectual level about current affairs, cultural, historical, medical, education, etc.
Classes may change according to demand, with a constant and already established base of Quran, Arabic and the basics of Islam, for children and youth. We will also continue the successfully classes for new Muslims and people interested in learning more about Islam. Other classes will be added when the time comes, as they may be history classes, science, literature, etc.
The workshops will be one of the keys to this project of activities. We consider it a basic, because it is a great tool for rapprochement and clarification in a natural and relaxed way. Workshops of all kinds will be made from biological and ethnic cooking, bakery, pottery, calligraphy, childbirth and lactation, reading, Andalusian arts, children education, etc.
Besides regular classes, there will be intensive courses as well as student exchange courses. In the same way, summer courses, where, using Seville as a base, we can travel with students throughout the Al-Andalus legacy.
The market will be in the gardens of the Cultural Centre, starting once a month. A food and craft market, with special attention to quality, making it attractive to both citizens and visitors, and with live music. The market will be open to both visitors and traders, for the entire city.


text:
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redpajama_set_name: RedPajamaGithub


text:
Gold (MCX) (Rs/10g.)48,831.00129.00
MINISTRY OF HUMAN RESOURCE DEVELOPMENT
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During the meeting, the finance minister asked the two ministries/ departments to push infra expenditure by effectively implementing all NI...
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With the advanced version of e-HRMS, employees will be able to not only see all their details with respect to service book, leave, GPF, sal...
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NEW DELHI: The Union Cabinet on Wednesday approved the new National Education Policy (NEP) and renamed the HRD Ministry as Education Minist...
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thought we'd share some pictures of commissions from our trip to Twin Tiers Comic Con last month! we always have a blast at that show and the folks running it are just some of the best in the business. super gracious, super helpful, just super all around. thanks to everyone that came to listen to us during our panel there and to the "ladies and comics" panel that Peng-Peng was a part of. hope to see you all again next year!
Come see us at Hero Bot Con Sept. 21, 2013!
next stop on our comic con tour is HERO BOT CON in Horseheads, NY. it's a one day show on Sept 21, 2013 and they're bringing Flash, Peng-Peng, and theFranchize out there as guests! this will be our first time at this show and we can't be more excited to meet brand new faces. there's rumors that we will have a panel at this show as well so if you're going to be there, be sure to check out the panel.
in the meantime, check out our pics from this past weekend at Anime USA in Washington, DC! it was our first time setting up at this show and our experience with the artist alley staff was nothing short of fantastic. good group of folks! we had some fun Adventure Time commission requests and saw some pretty great cosplayers.
ALSO, are you on Facebook?! SO ARE WE! keep current on the goings-on of the group and head over to facebook.com/IdentityComicsStudio! make sure you LIKE US!!


text:
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  end
end


text:
WH Site Ownership
Page 1 of 2: 1 2 Next »
Solivagant
Partaker #1 | Posted: 21 Mar 2009 04:25 | Edited by: Solivagant
My post about models for operating WHS has led me to consider the issue of who owns them (not always the same).
In particular could I think of any owned by a single "private" individual? The likelihood of this has diminished over the years as sites have tended to get larger and contain more "serial" parts. Also UNESCO (and governments?) are probably not that sympathetic to going to all the bother of inscribing a site which is so owned! Whilst individuals themselves are unlikely to want to face the hassle of UNESCO "compliance" requirements. I suspect that there is even a reluctance by owners to include them as a significant element of a larger inscribed site - I think of a number of examples of modern architecture especially in USA still in the hands of private individuals which i suspect will not get included if/when "their subject" gets inscribed.
There is also the issue of sites owned by Monarchs. In UK at least a fine distinction is maintained between sites owned by the monarch qua monarch and those owned personally. So the Tower of London as a Royal Palace is in theory owned by "The Queen" but I think can reasonably be taken as being owned by "the State".
So - I have only been able to identify Blenheim Palace. This site is owned in total by the Duke of Marlborough. Can this really be the only site of all 878 which is "individually owned"? Are there any other suggestions? If I am correct and such single ownership is quite rare we could perhaps look for 3 to make a Connection?
Other possible ownerhip models I have identified include
a. "The State" - whether National, Provincial or Local - very common
b. "Mixed" - varied individuals, corporations and state bodies - very common and applies to most inscribed towns/cities. Depending on the national approach of the State Party "National Parks" are likely to fit into this or the above category (in UK NPs are not "owned" by the state)
c. Religious bodies - The Catholic Church etc - very common. I am not sure who in practice "owns" Mosques. Can they even be "owned"?
d. Charitable Trusts - These may have been set up specifically to own the site or have a wider "heritage" purpose - e.g. The National Trust in England. I think this is quite common around the world?
d. "Traditional" � e.g sites such as Kuk and Richtersveld which are "owned" by the community rather than by a "recognised" constitutional element. Though such elements can receive quasi governmental status i guess - I think of Uluru?
e. "Commercial Corporation". In theory there should be some (and are of course within e.g "Mixed") but I can't think of any site which is owned by a commercial organisation whose prime purpose lies beyond running the site as a "heritage unit". Certainly some potential sites relating to e.g. Scientific developments are so owned and this presentation
http://www.unesco.org.uk/UserFiles/File/Science%20Heritage%2008/Final%20papers/Physic al%20Sciences%20-%20Ellin.pdf
to a UNESCO working party recognized the disincentives faced by commercial organisations in allowing their properties to go forward for inscription.
Any other models???
EnsignYoshi
Partaker #2 | Posted: 21 Mar 2009 16:46
I could be mistaken, but I believe some of the major townhouses of Victor Horta are in private hands.
Stoclet palace on the tentative list is in hands of the family stoclet.
m_m
i remember that east rennell's inscription on the whs had some issues due to private ownership of some portion of the site.
The East Rennel issue concerned the "Customary Ownership" of the land (What I called, perhaps misleadingly, above :- "Traditional") rather than private ownership issues.
I believe it was the first (1998) site to be inscribed with such ownership because of problems it causes (in some constitutions at least) over what the "State Party" (i.e. the Central government which contracts with UNESCO to abide by the requirements imposed by Inscription) can actually impose upon the site. The Inscription documentation puts the issue succinctly :- "land in Rennell is owned under the traditional customary system. This situation makes it difficult (but not impossible) for national government legislation to be effective in terms of management"
There was indeed a minor revolt in the WHC
"The Delegate of Thailand stated that although he had no doubt about the World Heritage values of the site, he could not support the nomination at this stage, as it did not comply with the requirements of the Operational Guidelines. He noted that customary land tenure does not automatically guarantee effective customary management and that there are no legislative provisions to protect the site from rapid changes such as tourism, which may affect it. He therefore dissociated himself from the Committee's decision."
There was also an associated issue in that ideally the entire island ecosystem would have been inscribed, but the documentation noted that "the local communities in west Rennel are not favourable to being included in the nomination at this time"
Matters were made potentially even worse since "The role of the Provincial Governments within the Solomon islands is unresolved at this time because the Provincial Government Act was repealed by the National Government in 1996".
The documentation pointed out, possibly correctly, that there could actually be good reason to hope that environmental protection of a site might be better ensured by concerned local people than by a far away central government!
This all provides quite a nice insight into the difficulties of pursuing inscription in countries whose constitutions and governmental realities are not those around which UNESCO rules were framed. It also touches on another issue we have recently discussed - the "bullying" of "Western democracies" whilst allowing far more worrying failures in other countries to go unsanctioned. The former is much easier to do!
There have been problems with other Pacific sites re "Customary ownership"
a. Kuk see my review http://www.worldheritagesite.org/sites/kuk.html for some background on this
b. Chief Roi Mata's Domain - ICOMOS wanted this site deferred for (inter alia) legal protection reasons surrounding the customary ownership - but was overruled
Re other ownership matters
a. Horta Town Houses - yes 3 of the 4 are privately owned - only the "Maison and Atelier Horta" is owned by the Commune in which it stands - so Blenheim palace still remains the only fully privately owned site!
b. Berlin Modernism Housing estates - I checked to see if these were in the hands of property companies (my "Commercial Corporation" example). It appears that 2 of the estates are cooperatively owned whilst the others are/were owned by "companies" (One example is "BauBeCon Immobilien GmbH" - Business Week describes this as "a holding company operating nationwide. It offers property management, construction and building, real estate trading, and urban regeneration services...." - so yes it is a "Commercial Corporation") but these are being "privatised" which I take to mean being sold to owner occupiers.
Assif
Partaker #5 | Posted: 20 Aug 2016 21:15
As Nan Madol too is under custromary ownership perhaps it is time for us to establish this long awaiting connection. How about:
Kuk, Roi Mata, Nan Madol, Taos Pueblo and East Rennell? Sgaang Gwaii? Any African sites?
Admin #6 | Posted: 21 Aug 2016 06:01
Assif:
I've started it here: http://www.worldheritagesite.org/tags/tag.php?id=1283
Richtersveld is another one.
Admin #7 | Posted: 21 Aug 2016 06:11 | Edited by: elsslots
Here's an interesting study about the ownership of the Canadian WHS with tribal connections (Sgaang Gwaay & Head-Smashed-In)
http://www.kanada-studien.org/wp-content/uploads/2014/02/03_Susemihl-oe.pdf
Conclusion of this study:
"SGang Gwaay is a remotely located village that is co-managed by the Council of the Haida Nation and the Government of Canada [who is the disputed legal owner] and challenged by access, funding and the decay of the remaining totem poles. Head-Smashed-In Buffalo Jump is a popular tourist attraction along the Cowboy Trail of Southern Alberta, visited by thousands of visitors each year, and owned and managed by the Government of Alberta."
Fagus, Corvey and Van Nelle come to mind re private ownership.
See http://www.worldheritagesite.org/tags/tag.php?id=482 for those we have In Private Ownership.
A few can be moved to Communal Ownership (thinking Fujian Tulou)
Admin #10 | Posted: 21 Aug 2016 08:25
Corvey
This is mostly owned by the church.
"The ownership is mixed. The westwork, the church, the
forecourt and the graveyard to the south of the church is
owned by the Parish of St Stephanus and Vitus. The area
included in the former monastery district and the buffer
zone belong to the Duke of Ratibor and Prince of Corvey.
The harbour and related buildings are owned by the
Federal Republic of Germany, the railway lines belong to
German Rail, whilst the roads belong to the municipality or
the district authorities"
Partaker #11 | Posted: 21 Aug 2016 08:41
Forgot We had a connection. Speicherstadt should be included.
winterkjm
Partaker #12 | Posted: 21 Aug 2016 11:23 | Edited by: winterkjm
Taos Pueblo
I do not think Taos Pueblo qualifies since its owned and managed by tribal government, not a private individual or company. Honestly, I think its really not accurate to include any Native/First Nation sites in this connection.
winterkjm:
We have it under Communal Ownership, I guess that's right?
Individual components of the Pueblo structures may be owned by or assigned to families or individuals but in its entirety, is owned by the community as a whole. ... As such, management is under the Pueblo's governing body that includes the Tribal Council. (see link provided at the connection);
elsslots:
Yes, I think this is accurate. I was partially confused by the discussion.
Partaker #15 | Posted: 24 Aug 2016 15:16 | Edited by: Solivagant
Verla Board Mill is owned by the Finnish forest industry company UPM-Kymmene Corporation. See - https://en.wikipedia.org/wiki/UPM_(company)
I have tried to find a "logic" for splitting out joint stock companies (whether private or public) from true "Private" ownership but, as in the case of Stoclet some of these appear to be created for the purpose of tax or inheritance and the number of companies publicly traded on the stock exchange seems quite small (Only UPM??) so, I guess, we leave them all under "Private ownership" for the moment


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Konami just revealed a new trailer for the Japanese version of PES, Winning Eleven, as well as two new screenshots from that game. The new Winning Eleven 2015 screens and the video are showing scenes from various games, including a first-ever short sequence of the rain feature in PES 2015.
Yesterday was the planned release of the PES 2015 Demo, which was in the end only out for Asian customers, while the European PES 2015 demo release date was not yet officially confirmed by Konami. The PES 2015 PC demo will only be released on November 13.
This is the new WE 2015 trailer released for Tokyo Game Show 2014.
Konami also unveiled two new images from the Winning Eleven 2015 game.


text:
Effective Micro-organisms
EMERGING SCIENCE OF EFFECTIVE MICRO-ORGANISMS
Heralding the Emergence of a true Science of Life
What is EM?
Micro-organisms are the earliest form of life that evolved on earth and have played an essential role in the evolution of higher species and the earth's environment.
Micro-organisms are found everywhere in the world, including inside every body. Every cubic centimeter of soil contains billions of micro-organisms
There is no process of life in Nature in which micro-organisms do not play an essential role.
EM is a micro-biological technology consisting of more than 80 beneficial species of micro-organism including the well-known lacto-bacillus found in yogurt and so essential for human digestion and health.
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EM improves increases resistance to diseases, enhances the self-healing power of the body, de-activates heavy metals in soil and water, removes sludge from canals and sewers, improves the taste and shelf-life of plant and animal products, and reduces dependence on fertilizers and pesticides, and other regenerative processes.
EM is based on the Knowledge that
Living organisms are not merely mechanical assemblies of physical elements
All life depends on a harmonious symbiosis between living things
There is no waste in Nature. Waste is a human concept and a human product.
The consciousness and intention of the scientist has profound impact on the nature of scientific discoveries and the impact of their application.
Phototrophic bacteria produce a strong type of electro-magnetic wave resonance that is very supportive to animal and plant growth.
EM is based on fundamental laws of life
Harmonious symbiosis among living things
Ecological wholeness – nature's innate balancing mechanisms to re-establish equilibrium
Constructive and Regenerative processes
Based on spiritual values of harmony, wholeness, balance.
EM is a living product – not merely material elements
EM is the technology Nature has been using for millions of years.
Microorganisms are the smallest complete units of life which are responsible for synthesis of new forms and disintegration of old forms
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EM ceramics not only improve the efficiency of combustion engines including automobiles, boats, and farm machines, resulting in better fuel mileage and cleaner emission, but also protect them from aging, such as rusting, resulting a longer life.


text:
nograybox
Interview: Bud Scoppa
As the top music executive for BBC Radio 1, the U.K.'s national radio station, which boasts a massive audience of 11 million, 49-year-old George Ergatoudis may well be the most influential radio programmer on the planet. The son of a Cypriot father and a Welsh mother, Ergatoudis grew up in Leeds and was studying architecture at university when he realized his true passion was music. He started a fanzine with a fellow student and after graduation launched a short-lived magazine before getting involved with BBC local radio. He then landed a job as a training producer at Radio 1 and did a year of training before switching to the label side as club promotion manager at 4th & Broadway, Island's urban and dance label. Realizing then that radio was his true calling, Ergatoudis latched on with KISS, a popular dance music station in London, producing the specialty and daytime shows there before jumping back to Radio 1. Following a few years working on mainstream daytime programs, he started 1 Extra, the digital urban music sister station to Radio 1. Ergatoudis was named Radio 1's Head of Music in late 2005.
What was your reaction when The Guardian described you as the most powerful man in the music industry?
Obviously, you can't ever start believing stuff like that or even thinking about it. At Radio 1, we've got a huge responsibility to the public, to music fans and to the music industry—that comes with the territory. At the BBC, we're in a very lucky guaranteed-funding position; therefore, we're in a very powerful and privileged position to make a difference, and we have to make sure we are doing that. It does mean we can take chances, and we're not tied into just supporting a limited number of genres—we're open to anything we believe is relevant to young audiences. We've got a significant amount of money to invest in live events, live recordings, sessions. So whether it's a huge event like The Big Weekend, which we did in Glasgow this year, or the Live Lounge—we spent the whole of September doing a Live Lounge every single day—we're able to generate a great deal of unique content. I'm going to be a music fan till I die, and it's what I've always dreamt of doing, making a living in music, so I'm very fortunate to be in this position, and I don't take it for granted.
Seems like your specialty is R&B and dance.
When I started the fanzine, my interest was very much informed by John Peel on Radio 1. I loved the fact that it wasn't necessary to be pigeonholed into one type of music. And I was buying alternative, punk and post-punk music, dance, electronic music and hip-hop. But my biggest passion was just music you could dance to, and at the time, that was right across the board. To this day I have very eclectic taste, but my taste was formed by The Beatles, who were the first thing that I grabbed onto when I was a young kid. As I matured, I got into club culture. But I've always been open-minded. I was at one of the very first Smiths gigs, cuz I loved The Smiths from the very beginning. Now my personal taste is absolutely all over the place.
There's you and there's Nigel Harding, whose title is Music Policy Executive. What's the difference between your gigs?
Nigel's my deputy; he's my right-hand man. And then, at the end of the day Nigel's got great ears and he's a great sounding board for me as well. And ultimately, he's a brilliant asset on my team. I take the lead on music strategy, and the buck stops with me in terms of anything to do with music both on Radio 1 and 1 Extra. I've got the most senior-level relationships with the music industry, whether it's managers, label CEOs and presidents, people in the live music business, etc., Nigel's got great contacts too—that's a big part of what he does too. But the key part of the overall input on Radio 1 has to be music; we're a music-led station. So there's a Head of Programs, a Head of Music and a Controller driving the overall look, feel and direction of the station. I'm also heavily involved with what we do in technology, whether it's our YouTube channel or the BBC Radio 1 iPlayer that we just launched. I chair the playlist meeting on Wednesday afternoons, which is where we make the crunch decisions about what gets played on daytime.
What happens in those weekly meetings?
Our specific brief, broadly speaking, is to appeal to a young audience, so we're filtering everything through that. Also, we're not specifically chasing one or two genres—we're very diverse. So when we come to the table, we're bringing a combination of gut instinct and as much market intelligence as we can gather. We have amazing specialty music shows from 7 o'clock in the evening. And across that we have a whole range of people, whether it's dance music experts or Zane Lowe, who's looking at absolutely everything from alternative to rock to hip-hop to dance. So these are gatekeepers and curators, and we've got great dialogue going on with them. And then, I've picked people with a broad range of styles, backgrounds and tastes, and it's half men and half women, which I think is important. So we sit down and discuss tracks like an A&R meeting. And what we bring up every time we listen to a track is, where have we been before with that artist, how is it doing on YouTube or Soundcloud, what's going on in the live music space? The Shazam charts are very powerful for us now, and in certain cases iTunes and sales charts—although a lot of U.K. stuff isn't on iTunes until we're well committed to playing it. Largely speaking it's not really data that's available to us, because we're driving sales as opposed to sales driving what we're doing. So it's a combination of factors that build up to our radar system of identifying what's relevant to us, what's exciting, interesting, dynamic and new—and we need to break new U.K. artists in particular. We're guaranteeing that a minimum of 40% of the artists on the playlist every week are from the U.K.
We look at all the data that we can, but again, gut instinct very much still drives what we do—good ears. That's a massively important part of our decision-making process. We're looking for the It Factor—that combination of voice, songwriting ability, lyrics, charisma, the body of work itself in terms of whether they've got multiple strong songs, live performance ability—and if there's a hint of originality, that's a powerful thing as well. And we're always looking for gaps in the market, like Magic! with "Rude" this year. We had been waiting ages for the right song with the right reggae feel to come through, because there's a real gap there, and that song absolutely nailed it. The moment I heard that record for the first time when I was in the States back in April, I told RCA, "That's a hit—that's a smash for us."
Are you looking primarily at artists or songs?
We're looking at both. And obviously, we're living in a world where, probably more than ever, there are artists that are only gonna have one or two hits in them, and we accept that. But we like developing artists, we like to break careers, we want to be doing that—we're in a symbiotic relationship with the music industry. It's important for a number of reasons, including the health of the music industry, but also in order to have content on the station that resonates with the public, you need artists and characters for the public to care about. Whether it's through live performance or guest spots, the stronger the artist brand, the stronger they'll resonate; the more they mean to the public, the more the public will buy the content. So, yeah, we're in the artist development game as well.
Can you specify some acts that you jumped on early?
Mumford & Sons was one, without any shadow of a doubt. I got introduced to them damn early, and I immediately sensed there was something special about the act. They were in a space that hadn't been really in the market for a long time. They had a fresh sound, they were phenomenal live, great musicians and a charismatic act, but ultimately they had had some brilliant songs that really had the potential to resonate. They were resonating for me personally, and other people here got that, and we believed in them. And the truth is, with the first two singles that we put on to maximum rotation on Radio 1, when we looked at the audience research, the audience was saying no—they didn't get it. But we held on, because we believed that we would get there. And on the third single, through a variety of factors, including Radio 1 belief and support, it tipped. And then they were able to go back on the early singles, and the public perception of that band and acceptance of them totally changed.
But, there's countless stories of acts that we've championed from the beginning. Calvin Harris is another interesting one. Radio 1 loved the guy from the beginning and we worked with him all the way along. So we're very pleased we were able to help him have a career. Ed Sheeran was another one. He was getting support on 1 Extra very early on, but I had "The A Team" when nobody else was really looking at it or even knew what was coming. Or Clean Bandit this year. That's one of the most exciting parts of this job. We're getting music early, we're able to help the artist, we're able to help the fans discover their music—and that's a massive privilege.
This seems like a good point to talk about the specialty shows, the gateway in for certain kinds of songs and artists, right?
They're a critical part of what we do, because we're looking for taste-making DJs that can build their own brands as global purveyors. That's difficult to do, but we're making good headway there. Pete Tong is a legend in dance music, Annie Mac is rising and Zane Lowe has got a global reputation. So we've looked for curators that can cut through and attract an audience who believe that the music they are choosing to play is gonna be exciting to listen to. And there's so much media now that for them to choose to listen to the radio, in a lot of cases it's a very specific choice; it's less likely to be passive background listening. More active listeners will track down the rock show, for example, because they want to know what's going on in rock music. They'll put Zane on because they want to find out a whole range of exciting new music. He has exclusives pretty much every night, which is an amazing position for us.
The production teams that work on those shows are monitoring audience responses to the tracks they play. Radio 1 drives an incredible reaction on Shazam. If there's a track that we've played that's gonna resonate at scale, we usually see that on Shazam the following day, alongside texts, emails, Twitter and Facebook. So we're able to gauge some level of public reaction to songs, and these guys have got good ears in the first place. So it's a brilliant system and an important part of what we do to help build a story. It's always a judgment about how early to back a project or how far to go with it so that it's not too much exposure too soon. But we've figured that out over time, and we tend to get it right.
Can you explain the distinctions between the A, B, and C Lists and In New Music We Trust?
Anything that's published on that playlist you will hear any time of day. So from 4am to 7pm, roughly speaking, pretty much every day, you're gonna hear right across the board of what's on those lists. The In New Music We Trust list is an onramp representing exciting new songs or artists that have been championed by our specialty shows. Sometimes things move up the ladder, sometimes it's just the first introduction to an artist or a song that maybe later on we come back to. But from the C-List onward it can be like a step ladder of rotation. So you start on the C; if it's working and we believe it can go further it climbs to the B; if it's working on the B, we climb it up to the A and maximum rotation. B-List records and most of our A-List records get about 26 plays an average a week. That's a very different scenario from commercial radio.
Let's go there. Do you view Capital FM or the other commercial stations as competitors, and vice versa?
Live, linear listening to radio is still enormously successful in the U.K., and around 80% of 15-24 year-olds are listening to radio every week. So radio is still very much working in the U.K.; it's still seen as a powerful medium. Therefore, anybody trying to attract the same kind of audience as we are we see as competition, and they see us as that as well. The BBC has the benefit of not having to generate revenue, and as a result we have a certain level of stability in terms of what content we can create and what budget we have to create our content. Commercial radio has an imperative to attract as large an audience as possible to attract advertising revenue, to generate income. It's just a very different game. For Radio 1, as I've said before but it's absolutely worth repeating, we're trying to offer something very distinctive from commercial radio, in terms of a wide-ranging musical point of view, the fact that we'll take risks, that we will champion artists and songs very early, that we don't have specific genres in mind. It can be any new genre; if we think it's relevant and reaching a point where it should cross out into the potential wider market, then we're going to be representing that. Commercial radio isn't very interested in any of that. And then, again, we're here to champion U.K. artists and U.K. music, which they don't care about. From their point of view, it's whatever works, even if it's 99% U.S. material.
Is there a prioritization of exclusives for either of you?
Broadly speaking, Capital FM is building itself on Top 40 hits that in many cases are hits in many territories around the world. With those tracks, it's really hard to get an exclusive; either they're released simultaneously to the global market, or an American station may have a very strong connection with that project or artist and get it first. And often, those are the kind of records that Capital's playing. So they don't really get very many exclusives, but we're also not getting many either. Where we do tend to get exclusives is in newer, breaking projects and artists, or artists that are a little bit more alternative and their natural home isn't in commercial radio anyway. So we're gonna have artists that'll do phenomenally well but clearly commercial radio isn't make or break for them. And it could have been something like Rudimental or Clean Bandit, where commercial radio will usually sit back and wait and see if it's a hit, whereas we probably would have had first play on those tracks. Zane Lowe is managing to get an exclusive first play every evening Monday to Thursday for his hottest record, and he's getting in some incredible records. And we've got some amazing relationships with artists—you do want to come to us first with new product—so we're in a privileged position for that. Also, it's worth saying that for the very mainstream listeners that Capital has, most of them are not thinking about music in the way a lot of Radio 1 listeners do. I think we have a slightly more enlightened and eclectic mainstream listener.
So you've got at most 25-26 plays a week on your A List. Capital will hammer a song like 75 times, which resembles U.S. Top 40.
If you take a 30-day window and look at what they're rotating, it's roughly around 190 songs between contemporary hits, previous hits and a little bit of catalog. That's it, full stop, 24 hours a day, seven days a week. With Radio 1, it's around 3,400 unique tracks in a month. So there's an inordinate level of difference in our universes. They're very, very focused all day long on their product, which is largely a hit-driven format. We are trying to do something completely distinct and different, and it works—we've been very successful at it. Some people out there don't get it. Their very simplistic approach to it is, why does the BBC need to have a Pop music station? Doesn't commercial radio cover that? Well, if you actually look in any detail at what's really going on in the market, you'll swiftly realize the enormous difference between what we do and what commercial radio does. Let's look at daytime, the playlisted hours. In a typical month on Radio 1, you're gonna hear at least 850 different songs if you're a daytime listener. With Capital it's about 140. So even looking just at playlisted shows, we're massively different again.
What's the nature of your target audience?
The most common age of the listener to Radio 1 is 23. And we are pretty close to a 50/50 male-female split, which is excellent, and we have around 40% of 15-24-year-olds in the U.K. listening to us every week. So, we're asked to reach a young audience, we're still reaching an enormous number of 15-24 year olds and we've still got around 11 million listeners tuning into the station every week, which means a fifth of the U.K. population aged 10 and above. So we still have massive penetration into the market; we skew heavily young—that's what we've got to do.
One last question. Karen Glauber wonders why you didn't play Hozier's "Take Me to Church" after raving about it at Glastonbury.
We have; we playlisted it. We're supporting Hozier. [In fact, Radio 1 played the track 92 times; the station's most-played tracks this year are in the high 300s.]
TAGS: nograybox


text:
Q: Correct use of Past Tense Scenario is I purchased one watch online and I received the delivery today.
I want to tell to my friend that the watch is not the same which I ordered online.
Should I use Past perfect tense?

This is not the watch which I had ordered online.

Or Should I Simply use simple past tense?

This is not the watch which I ordered online.

I think we can use past perfect tense here because it indicate past of past or long past. When I tell this to my friend for me its past of past i.e.
Past of Past is I had ordered it one week back.
Second past is I received the order I checked the order and found that watch is not the same as I ordered.
"I ordered one watch online but it is not the same which I had ordered"
Correct me if I am wrong.

A: As V.V said, "Past Simple is enough to express your idea."
Past Perfect is used when we are stating that one event happened before another. Only use it in that case or when the listener/reader knows that you are referring to the past event before something else happened in the past.
Example:

*

*I wish we had taken more food before we left.

Use Simple Past to state an action started and finished at a specific time in the past
Example:

*

*I washed my car.

*This is not the watch that I ordered online.

From EnglishTenses:

People (especially native speakers) do not use the Past Perfect very often. For example, they will say:

*

*After I washed my car, I went to fill up.

Rather than:

*

*After I had washed my car, I went to fill up.

This is because "after" and "before" tell the listener which action happened first. Still, keep in mind that it is better to use the Past Perfect, especially in written English or when writing exams.

A: A good rule of thumb is to only use perfect past when:

*

*there is some verb already in the past tense

*the aforementioned verb took place more recently

Thus

This is not the watch which I had ordered online.

is awkward, because there is second verb in the past tense. It should be

This is not the watch which I ordered online.

The other sentence

I ordered one watch online but it is not the same which I had ordered

is problematic for a few reasons. Firstly, the "which I had ordered" part is redundant.

I ordered one watch online but it is not the same model

Secondly "it" is referring to two different objects (the ordered watch and the watch that arrived). Your sentence would be understood, but there should be something there to show that "it" changed somewhere along the way.

I ordered one watch online, but when it arrived, it was not the same model.

As a side note, I think you should either drop "which" or replace it with "that"

This is not the watch (that) I ordered online.

"a" is always preferred over "one" unless you wish to really emphasize number for some reason ("I want one shirt for Xmas" sounds like you don't want two.)
"correct" sounds better than "same" because the watch they sent you wasn't the one you wanted.

I ordered a watch online, but when it arrived, it was not the correct model.

A: You should use past tense as it describe an event happened in a specific time point in the past.
Whereas using past perfect tense describes an event happened elasped a period of time in the past.
For example.

My parcel arrived yesterday after 10 days. I had ordered it online.

A: I would just say, "The watch I received today is not the watch I ordered online." When you use which, it sounds a bit formal since its obvious the sentence refers to only one watch.

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