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1917 (branches opened 1976, 1978, 1984 and 2002)
IWM London: Lambeth Road, London
IWM Duxford: Duxford, Cambridgeshire
HMS Belfast: The Queen's Walk, London
Churchill War Rooms: Clive Steps, King Charles Street, London
IWM North: The Quays, Trafford Wharf Road, Manchester
10,700,000 items or collections of items.[1]
All branches: 2,271,013
IWM London: 973,445
IWM Duxford: 387,508
HMS Belfast: 243,179
Churchill War Rooms: 364,583
IWM North: 302,298
Diane Lees
Prince Edward, Duke of Kent
Chairman: Sir Francis Richards
www.iwm.org.uk
Imperial War Museums (IWM) is a British national museum organisation with branches at five locations in England, three of which are in London. Founded as the Imperial War Museum in 1917, the museum was intended to record the civil and military war effort and sacrifice of Britain and its Empire during the First World War. The museum's remit has since expanded to include all conflicts in which British or Commonwealth forces have been involved since 1914. As of 2012, the museum aims "to provide for, and to encourage, the study and understanding of the history of modern war and 'wartime experience'."[2]
Originally housed in the Crystal Palace at Sydenham Hill, the museum opened to the public in 1920. In 1924, the museum moved to space in the Imperial Institute in South Kensington, and finally in 1936, the museum acquired a permanent home that was previously the Bethlem Royal Hospital in Southwark. The outbreak of the Second World War saw the museum expand both its collections and its terms of reference, but in the post-war period, the museum entered a period of decline. The 1960s saw the museum redevelop its Southwark building, now referred to as Imperial War Museum London, which serves as the organisation's corporate headquarters. During the 1970s, the museum began to expand onto other sites. The first, in 1976, was a historic airfield in Cambridgeshire now referred to as IWM Duxford. In 1978, the Royal Navy cruiser HMS Belfast became a branch of the museum, having previously been preserved for the nation by a private trust. In 1984, the Cabinet War Rooms, an underground wartime command centre, was opened to the public. From the 1980s onwards, the museum's Bethlem building underwent a series of multimillion-pound redevelopments, completed in 2000. Finally, 2002 saw the opening of IWM North in Trafford, Greater Manchester, the fifth branch of the museum and the first in the north of England. In 2011, the museum rebranded itself as IWM, standing for "Imperial War Museums".
The museum's collections include archives of personal and official documents, photographs, film and video material, and oral history recordings, an extensive library, a large art collection, and examples of military vehicles and aircraft, equipment, and other artefacts.
The museum is funded by government grants, charitable donations, and revenue generation through commercial activity such as retailing, licensing, and publishing. General admission is free to IWM London (although specific exhibitions require the purchase of a ticket) and IWM North, but an admission fee is levied at the other branches. The museum is an exempt charity under the Charities Act 1993 and a non-departmental public body under the Department for Digital, Culture, Media and Sport. As of January 2012, the Chairman of the Trustees is Sir Francis Richards. Since October 2008, the museum's director general has been Diane Lees.[3]
Establishment: 1917-1924
Sir Alfred Mond, photographed between 1910 and 1920.
On 27 February 1917 Sir Alfred Mond, a Liberal MP and First Commissioner of Works, wrote to the Prime Minister David Lloyd George to propose the establishment of a National War Museum. This proposal was accepted by the War Cabinet on 5 March 1917 and the decision announced in The Times on 26 March. A committee was established, chaired by Mond, to oversee the collection of material to be exhibited in the new museum.[4][5]
This National War Museum Committee set about collecting material to illustrate Britain's war effort by dividing into subcommittees examining such subjects as the Army, the Navy, the production of munitions, and women's war work.[6] There was an early appreciation of the need for exhibits to reflect personal experience in order to prevent the collections becoming dead relics. Sir Martin Conway, the museum's first director general, said that exhibits must 'be vitalised by contributions expressive of the action, the experiences, the valour and the endurance of individuals'.[7] The museum's first curator and secretary was Charles ffoulkes, who had previously been curator of the Royal Armouries at the Tower of London.[8] In July 1917 Mond made a visit to the Western Front in order to study how best to organise the museum's growing collection. While in France he met French government ministers, and Field Marshal Haig, who reportedly took great interest in his work.[9] In December 1917 the name was changed to the Imperial War Museum after a resolution from the India and Dominions Committee of the museum.[10]
The museum was opened by King George V at the Crystal Palace on 9 June 1920. During the opening ceremony, Sir Alfred Mond addressed the King on behalf of the committee, saying that 'it was hoped to make the museum so complete that every one who took part in the war, however obscurely, would find therein an example or illustration of the sacrifice he or she made' and that the museum 'was not a monument of military glory, but a record of toil and sacrifice'.[11] Shortly afterwards the Imperial War Museum Act 1920 was passed and established a Board of Trustees to oversee the governance of the museum. To reflect the museum's Imperial remit the board included appointees of the governments of India, South Africa, Canada, Australia and New Zealand.[12] While the Act was being debated, some Parliamentarians felt that the museum would perpetuate an undesirable war spirit and Commander Joseph Kenworthy MP said that he would 'refuse to vote a penny of public money to commemorate such suicidal madness of civilisation as that which was shown in the late War'.[13] On the August Bank Holiday 1920, the first public holiday since the museum's opening, 94,179 visitors were received,[14] and by November 1921, 2,290,719 had visited the museum.[15]
Relocation 1924-1936
In 1924 the museum moved to the Imperial Institute building (demolished in the 1950s and 1960s to make way for Imperial College) in South Kensington. While this location was more central and in a prestigious area for museums, the accommodation itself proved cramped and inadequate[16] and in 1936 a new permanent location was found south of the River Thames in Southwark.
The Imperial Institute, South Kensington, where the museum was located from 1924-1936
The building, designed by James Lewis[17] was the former Bethlem Royal Hospital which had been vacated following the hospital's relocation to Beckenham in Kent. The site was owned by Lord Rothermere, who had originally intended to demolish the building entirely in order to provide a public park in what was a severely overcrowded area of London. Eventually the central portion of the hospital building was retained while its two extensive wings were removed and the resulting space named Geraldine Mary Harmsworth Park, after Lord Rothermere's mother. Sir Martin Conway described the building as '...a fine building, really quite noble building, with a great portico, a distinguishing dome, and two great wings added to it for the accommodation of lunatics no longer required. This particular building can be made to contain our collection admirably, and we shall preserve from destruction quite a fine building which otherwise will disappear'.[18] The 'distinguishing dome' was added by Sydney Smirke in 1846 and housed the hospital's chapel.[19] The museum was reopened by the Duke of York (later King George VI) in its new accommodation on 7 July 1936.
Second World War and after: 1939-1966
With the outbreak of the Second World War in 1939, the museum began to collect material documenting the conflict.[20] In November 1939, during the so-called 'Phoney War', the museum appeared in the opening sequence of the GPO Film Unit production The First Days, in which children are seen playing on some of the museum's German artillery pieces captured during the First World War.[21] With the evacuation of British forces from Dunkirk in May/June 1940, however, the British Army's shortage of equipment saw eighteen of the museum's artillery pieces return to military service.[22] The museum's trench clubs were used by the Home Guard, while other items such as sights and optical instruments were returned to the Ministry of Supply. The museum refused, however, to return some historic items such as a naval gun from HMS Lance (which had fired Britain's first shot of the First World War) or a gun served by Victoria Cross-winning boy seaman Jack Cornwell.[22] The museum initially remained open but was closed for the duration of the war in September 1940 with the onset of the Blitz. On 31 January 1941 the museum was struck by a Luftwaffe bomb which fell on the naval gallery. A number of ship models were damaged by the blast and a Short Seaplane, which had flown at the Battle of Jutland, was destroyed.[23] While closed to the public the museum's building was used for a variety of purposes connected to the war effort, such as a repair garage for government motor vehicles, a centre for Air Raid Precautions civil defence lectures and a fire fighting training school.[24] In October 1945 the museum mounted a temporary exhibition, the first since the end of the war in August, which showcased technologies developed by the Petroleum Warfare Department. These included the submarine fuel pipeline PLUTO, the fog dispersal method FIDO, and flame weapons such as the Churchill Crocodile and Wasp Universal Carrier.[25] However, due to bomb damage to both the building and exhibits, the museum was obliged to reopen its galleries piecemeal. The museum reopened a portion of its galleries in November 1946.[23][26] A third of the galleries were opened in 1948 and a further wing opened in 1949.[27][28]
In 1953, with Commonwealth forces engaged in Korea and Malaya the museum began its current policy of collecting material from all modern conflicts in which British or Commonwealth forces were involved.[23] However, despite this expansion of remit, the early postwar period was a period of decline for the museum. Dr Noble Frankland, the museum's director from 1960 to 1982, described the museum's galleries in 1955 as appearing 'dingy and neglected [and in a] dismal state of decay' the museum's 'numerous stunning exhibits' notwithstanding.[29]
Redevelopment and expansion: 1966-2012
15-inch guns outside the museum; the nearer gun from HMS Ramillies, the other from HMS Resolution.
15-inch guns, closeup and front view
In 1966 the museum's Southwark building was extended to provide collections storage and other facilities, the first major expansion since the museum had moved to the site. The development also included a purpose-built cinema.[30] In 1967 the museum acquired a pair of 15-inch naval guns. One had been mounted on the Royal Navy's HMS Ramillies and the other on both HMS Resolution and HMS Roberts. Both had been fired in action during the Second World War. They went on permanent display outside the museum in May 1968.[31] The acquisition of these guns, representative of the dreadnought era of British battleships, led the museum to seek to acquire a 6-inch triple turret that would be representative of a number of classes of British cruisers.[32] This would eventually lead to the preservation of the Royal Navy light cruiser HMS Belfast, which became a branch of the museum in 1978.[33] Later in 1968 on 13 October the museum was attacked by an arsonist, Timothy John Daly, who claimed he was acting in protest against the exhibition of militarism to children. He caused damage valued at approximately £200,000, not counting the loss of irreplaceable books and documents. On his conviction in 1969 he was sentenced to four years in prison.[34][35]
V-1 flying bomb on display
In 1969 RAF Duxford, a Royal Air Force fighter airfield in Cambridgeshire was declared surplus to requirements by the Ministry of Defence. Needing further space, the museum duly requested permission to use part of the site as temporary storage. The entire site was later transferred to the museum in February 1976 and Duxford, now referred to as Imperial War Museum Duxford became the museum's first branch.[36] Also during the 1970s the government raised the possibility of the museum taking over the historic Cabinet War Rooms in Whitehall. The museum was reluctant due to its new commitments related to Duxford and HMS Belfast, but agreed in 1982.[37]
By 1983 the museum was again looking to redevelop the Southwark site and approached engineering firm Arup to plan a phased programme of works that would expand the building's exhibition space, provide appropriate environmental controls to protect collections, and improve facilities for visitors. The following year, in April 1984, the Cabinet War Rooms were opened to the public as a branch of the museum.
The first phase of the works to the Southwark building started in 1986 and were completed in 1989, during which time the museum was closed to the public. The work included the conversion of what was previously the hospital's courtyard into a centrepiece Large Exhibits Gallery. This gallery featured a strengthened ground floor (to support the weight of very heavy exhibits), a first floor mezzanine and second storey viewing balcony. Into this space were placed tanks, artillery pieces, vehicles, ordnance and aircraft from the First World War to the Falklands War.[38] For some years the museum was marketed as "The new Imperial War Museum".[39] This atrium, with its concentration of military hardware, has been described as "the biggest boys' bedroom in London".[40] This first phase cost £16.7 million (of which £12 million was provided by the government) and the museum was reopened by The Queen on 29 June 1989.[41]
The atrium in August 2009. Ground floor exhibits include: "Devil" a Mark V tank; "Ole Bill" an LGOC B-type bus, V-2 and Polaris missiles, 800 mm shell from Schwerer Gustav, and (sand-coloured, extreme right) a Grant tank used by Bernard Montgomery. Suspended aircraft include a Sopwith Camel, Heinkel He 162 and (partially obscured) Supermarine Spitfire number R/6915, which flew in the Battle of Britain and shot down three aircraft.[42]
In September 1992 the museum was the target of a Provisional Irish Republican Army attack against London tourist attractions. Two incendiary devices were found in a basement gallery, but were extinguished by staff before the arrival of the fire brigade, and caused only minor damage.[43][44]
The second stage of the redevelopment of the Southwark building, during which the museum remained open to the public, was completed in 1994.[38] During the 1990s, while these works were going on, the museum was also seeking to open a branch in the north of England. 71 sites were offered for consideration by 36 local councils and in January 1999 the then Culture Secretary Chris Smith formally launched a project to construct a new branch of the museum, Imperial War Museum North, in Trafford, Greater Manchester.[45]
The following year, 2000, the final phase of the Southwark redevelopment was completed. The development included the installation of the museum's Holocaust Exhibition which was opened by the Queen on 6 June 2000. This was the first permanent exhibition dedicated to the Holocaust in a UK museum; its development had taken five years at a cost of £5 million.[46] Two years later, in July 2002, Imperial War Museum North was opened.
Between 2004 and 2010 the museum was a partner in a national learning project entitled "Their Past Your Future" (TPYF), part of the Big Lottery Fund's Veterans Reunited programme to commemorate the 60th anniversary of the end of the Second World War.[47] A partnership between the IWM, the Museums, Libraries and Archives Council, and Scottish, Northern Irish and Welsh museum authorities, phase one included a touring exhibition seen by more than two million people,[48] overseas educational visits[49] and further activities run by local authorities. A second phase took a wider 20th century historical remit; it comprised a learning programme using overseas visits and social media, and a professional development scheme for educators.[50] A digital archive of the project,[51] online exhibitions and learning resources were also produced.[52]
In October 2011 the museum rebranded itself as Imperial War Museums, the initials IWM forming the basis of a new corporate logo.[53]
In September 2011 the museum secured funding from NESTA, the Arts and Humanities Research Council and Arts Council England to develop "social interpretation" systems to allow visitors to comment on, collect, and share museum objects via social media.[54] These systems were incorporated in "A Family in Wartime", an exhibition at IWM London depicting British family life during the Second World War, which opened in April 2012.[55]
First World War centenary: 2014
In August 2009 the museum announced the creation of the Imperial War Museum Foundation. Chaired by Jonathon Harmsworth the foundation was charged with raising funds to support the redevelopment of Imperial War Museum London's permanent galleries.[56] In December 2010 plans were announced to redevelop IWM London's First World War gallery in time for the conflict's centenary in 2014,[57] and Prince William, Duke of Cambridge became the foundation's patron.[58] In a speech at IWM London on 11 October 2012, Prime Minister David Cameron announced an additional £5 million of government funding to support the museum's redevelopment, as part of funding arrangements to facilitate national centenary commemorations.[59] The £40 million redevelopment, designed by Foster and Partners, provides new gallery spaces dedicated to the history of the First World War, a new central hall, easier navigation and improved visitor facilities, access and circulation.[60][61] In preparation for building work, a number of galleries were closed during September 2012,[62] and by December 2012 over sixty large objects had been removed from the IWM London atrium for conservation at Duxford.[63] To allow building work to go ahead, IWM London closed to the public on 2 January 2013. The museum partially reopened on 29 July 2013.[64]
IWM London was formally reopened on 17 July 2014 by Prince William, Duke of Cambridge.[65]
The new atrium, July 2014. The exhibits include a Supermarine Spitfire, a V-1 flying bomb, a V-2 rocket, a Harrier Jump Jet, and Jeremy Deller's Baghdad, 5 March 2007, the wreckage of a car destroyed by a bomb during the Iraq War.
From the 1970s onwards the Imperial War Museum began to expand onto other sites. The first branch, Imperial War Museum Duxford opened to the public on a regular basis in June 1976.[66]HMS Belfast became a branch of the museum in 1978.[67] The Cabinet War Rooms opened in 1984,[68] and Imperial War Museum North in 2002.[69]
Imperial War Museum London
Supermarine Spitfire MK.IA on display
Bottom view of the Supermarine Spitfire
T-34-85 tank on display
Architecture and layout
A view of Bethlem Royal Hospital in 1828
The museum has occupied the former Bethlem Royal Hospital on Lambeth Road since 1936. The hospital building was designed by the hospital surveyor, James Lewis, from plans submitted by John Gandy and other architects, and construction completed in October 1814. The hospital consisted of a range of buildings 580 feet long with a basement and three storeys, parallel to Lambeth Road, with a central entrance under a portico.[70]
The building was substantially altered in 1835 by architect Sydney Smirke. In order to provide more space, he added blocks at either end of the frontage, and galleried wings on either side of the central portion. He also added a small single-storey lodge, still in existence, at the Lambeth Road gate. Later, between 1844-46, the central cupola was replaced with a copper-clad dome in order to expand the chapel beneath. The building also featured a theatre in a building to the rear of the site.[70]
The building remained substantially unchanged until vacated by the hospital in 1930. After the freehold was purchased by Lord Rothermere, the wings were demolished to leave the original central portion (with the dome now appearing disproportionately tall) and Smirke's later wings. When the museum moved into the building in 1936 the ground floor of the central portion was occupied by the principal art gallery, with the east wing housing the Naval gallery and the west wing the Army gallery. The Air Force gallery was housed in the former theatre. The first floor comprised further art galleries (including rooms dedicated to Sir William Orpen and Sir John Lavery), a gallery on women's war work, and exhibits relating to transport and signals. The first floor also housed the museum's photograph collection. The second floor housed the museum's library in its west wing, and in the east wing the map collection and stored pictures and drawings.[71] This division of exhibits by service, and by civil or military activity, persisted until a wide-ranging redisplay of the galleries from the 1960s onwards. In September 1972 the building received Grade II listed building status.[72]
The original hospital building is now largely occupied by corporate offices. The 1966 extension houses the library, art store, and document archives while the 1980s redevelopments created exhibition space over five floors. The first stage created 8,000 m2 of gallery space of which 4,600 m2 was new, and the second provided a further 1,600 m2.[38] The final phase, the Southwest Infill, was partly funded by a £12.6 million grant from the Heritage Lottery Fund[73] and provided 5,860m2 of gallery space and educational facilities over six floors.[74] Before the 2013-14 redevelopment, the basement was occupied by permanent galleries on the First and Second World Wars, and of conflicts after 1945. The ground floor comprised the atrium, cinema, temporary exhibition spaces, and visitor facilities. The first floor included the atrium mezzanine, education facilities, and a permanent gallery, Secret War, exploring special forces, espionage and covert operations. The second floor included the atrium viewing balcony, two art galleries, a temporary exhibition area and the permanent Crimes against Humanity exhibition. The third floor housed the permanent Holocaust Exhibition, and the fourth floor, a vaulted roof space, accommodated the Lord Ashcroft Gallery. Opened in November 2010 the gallery exhibits the museum's Victoria Cross (VC) and George Cross collection, alongside the private VC collection amassed by Michael Ashcroft, 241 medals in total.[38][75][76]
In August 2019, the Museum announced plans to spend over £30m on a new set of galleries over two floors at its London site covering the Holocaust and its importance in World War II. The galleries are set to open in 2021 and will replace the existing permanent exhibition.[77]
All Saints Annexe
In 1989 the museum acquired the All Saints Annexe, a former hospital building in Austral Street off West Square. The 1867 building, which backs onto Geraldine Mary Harmsworth Park, was originally an orphanage opened by local philanthropist Charlotte Sharman, then later used as a hospital. It houses the museum's photographic, film and sound archives, and offices.[78][79]
Imperial War Museum Duxford
AirSpace at IWM Duxford.
Imperial War Museum Duxford, near the village of Duxford in Cambridgeshire, is Britain's largest aviation museum.[80] Duxford houses the museum's large exhibits, including nearly 200 aircraft, military vehicles, artillery and minor naval vessels in seven main exhibitions buildings.[81] The site also provides storage space for the museum's collections of film, photographs, documents, books and artefacts. The site accommodates a number of British Army regimental museums, including those of the Parachute Regiment and the Royal Anglian Regiment.
Based on the historic Duxford Aerodrome, the site was originally operated by the Royal Air Force (RAF) during the First World War. During the Second World War Duxford played a prominent role during the Battle of Britain and was later used by United States Army Air Forces fighter units in support of the daylight bombing of Germany. Duxford remained an active RAF airfield until 1961. Many of Duxford's original buildings, such as hangars used during the Battle of Britain, are still in use. A number of these buildings are of architectural or historic significance and over thirty have listed building status.[82] The site also features a number of purpose-built exhibition buildings, such as the Stirling Prize-winning American Air Museum, designed by Sir Norman Foster. The site remains an active airfield and is used by a number of civilian flying companies, and hosts regular air shows. The site is operated in partnership with Cambridgeshire County Council and the Duxford Aviation Society, a charity formed in 1975 to preserve civil aircraft and promote appreciation of British civil aviation history.
HMS Belfast (1938)
HMS Belfast at her berth in the Pool of London
HMS Belfast, a Town class cruiser, was launched in 1938 and served throughout the Second World War, participating in the December 1943 Battle of North Cape and firing some of the first shots of Operation Overlord, the Allied invasion of Normandy in June 1944. She saw further combat in the Korean War. Expected to be disposed of as scrap after she was decommissioned in 1963, in 1967 efforts were initiated to preserve Belfast as a museum ship. A joint committee of the Imperial War Museum, the National Maritime Museum and the Ministry of Defence was established, and reported in June 1968 that preservation was practical. In 1971 the government decided against preservation, prompting the formation of the private HMS Belfast Trust to campaign for her to be saved for the nation. The Trust was successful in its efforts, and the government transferred the ship to the Trust in July 1971. Brought to London, she was moored on the River Thames near Tower Bridge in the Pool of London. Opened to the public in October 1971 Belfast became a branch of the Imperial War Museum on 1 March 1978, being acknowledged by the then Secretary of State for Education and Science, Shirley Williams, as "a unique demonstration of an important phase of our history and technology".[83] In service for 24 years HMS Belfast was in Frankland's opinion, capable of representing "a whole generation of [historical evidence]".[84]
In 2017, the name of the exhibit was changed to "HMS Belfast 1938" to reflect that one of the Royal Navy's new Type 26 frigates had been given the name HMS Belfast.[85]
The Map Room of the Cabinet War Rooms
The Cabinet War Rooms is an underground complex that served as a British government command centre throughout the Second World War. Located beneath the Treasury building in the Whitehall area of Westminster, the facilities became operational in 1939 and were in constant use until their abandonment in August 1945 after the surrender of Japan. Their historical value was recognised early on, and the public were able to visit by appointment. However, the practicalities of allowing public access to a site beneath a working government office meant that only 4,500 of 30-40,000 annual applicants to visit the War Rooms could be admitted.[37] The museum agreed to take over the administration of the site in 1982,[37] a development keenly supported by the then Prime Minister Margaret Thatcher, an admirer of Britain's wartime Prime Minister Winston Churchill. Thatcher opened the War Rooms in April 1984. In 2003 a further suite of rooms, used as accommodation by Churchill, his wife and close associates, were added to the museum. The restoration of these rooms, which since the war had been stripped out and used for storage, cost £7.5 million.[86] In 2005 the War Rooms were rebranded as the Churchill Museum and Cabinet War Rooms, with 850 m2 of the site redeveloped as a biographical museum exploring Churchill's life. The development of the Churchill Museum cost a further £6 million. The centrepiece is a 15m interactive table which enables visitors to access digitised material, particularly from the Churchill Archives Centre, via an "electronic filing cabinet".[87] The museum was renamed the Churchill War Rooms in 2010.
Imperial War Museum North
Entrance of Imperial War Museum North in Manchester
The Imperial War Museum North was opened in Trafford, Greater Manchester, in 2002. It was the first branch of the museum outside southeast England, and the first to be purpose-built as a museum. Designed by architect Daniel Libeskind, Imperial War Museum North was his first building in Britain. Libeskind's building, overlooking the Manchester Ship Canal at Salford Quays, was based on the concept of a globe shattered by conflict into shards and reassembled. These shards, representing earth, air and water, give the building its shape.[88] Originally budgeted at £40 million, the museum was eventually completed for £28.5 million after anticipated funding was not forthcoming. The museum was funded by local, national and European development agencies, by private donations and by Peel Holdings, a local transport and property company which contributed £12.5 million.[89][90]
The museum's first floor main gallery space houses the permanent exhibitions. These consist of a chronological display which runs around the gallery's 200m perimeter and six thematic displays in "silos" within the space. The walls of the gallery space are used as screens for the projection of an hourly audiovisual presentation, the Big Picture. The main gallery, described as cavernous and dramatic,[91][92] includes objects such as a Russian T-34 tank, a United States Marine Corps AV-8A Harrier jet, and a British 13-pounder field gun which fired the British Army's first shot of the First World War.[93] The museum also hosts a programme of temporary exhibitions, mounted in a separate gallery.[94]
The museum's collection includes this photograph of Montgomery in his tank along with the tank itself, his command caravans and staff car,[95] and his papers.[96][97]
The Imperial War Museum's original collections date back to the material amassed by the National War Museum Committee. The present departmental organisation came into being during the 1960s as part of Frankland's reorganisation of the museum. The 1970s saw oral history gain increasing prominence and in 1972 the museum created the Department of Sound Records (now the Sound Archive) to record interviews with individuals who had experienced the First World War. The museum maintains an online database of its collections.[98]
The museum's documents archive seeks to collect and preserve the private papers of individuals who have experienced modern warfare. The archive's holdings range from the papers of senior British and Commonwealth army, navy and air officers, to the letters, diaries and memoirs of lower-ranked servicemen and of civilians. The collection includes the papers of Field Marshals Bernard Montgomery,[97] and Sir John French.[99] The archive also includes large collections of foreign documents, such as captured German Second World War documents previously held by the Cabinet Office Historical Section, Air Historical Branch and other British government bodies. The foreign collection also includes captured Japanese material transferred from the Cabinet Office. The collection also includes files on Victoria and George Cross recipients, and correspondence relating to the BBC documentary The Great War.[100] The documents collection also includes the UK National Inventory of War Memorials.[101] In 2012 the museum reported its documents collection to contain 24,800 collections of papers.[102]
The museum's art collection includes paintings, prints, drawings, sculpture, and works in film, photography and sound.[103] The collection originated during the First World War, when the museum acquired works that it had itself commissioned, as well as works commissioned by the Ministry of Information's British War Memorials Committee. As early as 1920 the art collection held over 3,000 works[104] and included pieces by John Singer Sargent, Wyndham Lewis, John Nash and Christopher Nevinson. Notable First World War works include Sargent's Gassed[105] and other works commissioned for an, unbuilt, Hall of Remembrance.[106] The collection expanded again after the Second World War, receiving thousands of works sponsored by the Ministry of Information's War Artists' Advisory Committee.[107] In 1972 the museum established the Artistic Records Committee (since renamed the Art Commissions Committee) to commission artists to cover contemporary conflicts.[108] Commissioned artists include Ken Howard, Linda Kitson, John Keane, Peter Howson, Steve McQueen (see Queen and Country) and Langlands & Bell, responding to conflicts in Northern Ireland, the Falklands, the Persian Gulf, Bosnia, Iraq and Afghanistan.[109][110][111][112][113] The collection also includes over twenty thousand items of publicity material such as posters, postcards, and proclamations from both world wars, and more recent material such as posters issued by anti-war organisations such as the Campaign for Nuclear Disarmament and the Stop the War Coalition.[103] The museum's collection is represented in digital resources such as the Visual Arts Data Service (VADS),[114] and Google Art Project.[115] In 2012 the museum reported the total size of its art collection as 84,980 items.[102]
A still from The Battle of the Somme, preserved by the museum's film archive.
The museum's Film and Video Archive is one of the oldest film archives in the world.[116][117][118] The archive preserves a range of historically significant film and video material, including the official British film record of the First World War. Notable among the archive's First World War holdings is The Battle of the Somme, a pioneering 1916 documentary film (which was inscribed on the UNESCO Memory of the World register in 2005), and Der Magische Gürtel, a German 1917 propaganda film about the submarine U-35.[119] The archive's Second World War holdings include unedited film shot by British military cameramen, which document combat actions such as the British landings on D-Day in June 1944,[120] and the liberation of the Bergen-Belsen concentration camp in April 1945.[121] The archive also holds government information films and propaganda features such as Target for Tonight and Desert Victory. The archive's post-Second World War collections include material from the Korean War, Cold War material, the former film library of NATO, and material produced by the United Nations UNTV service in Bosnia. As an official repository under the 1958 Public Records Act, the archive continues to receive material from the Ministry of Defence. The archive also seeks to acquire amateur film taken by both service personnel and civilian cameramen.[122] Material from the collection was used in the production of TV documentary series such as The Great War and The World at War. In 2012 the museum reported the size of its film archive as being in excess of 23,000 hours of film, video and digital footage.[102]
The museum's Photograph Archive preserves photographs by official, amateur and professional photographers. The collection includes the official British photographic record of the two world wars; the First World War collection includes the work of photographers such as Ernest Brooks and John Warwick Brooke.[123][124] The archive also holds 150,000 British aerial photographs from the First World War,[125] the largest collection of its kind.[126] The Second World War collection includes the work of photographers such as Bill Brandt, Cecil Beaton[127] and Bert Hardy.[128] Like the Film Archive, the Photograph Archive is an official repository under the 1958 Public Records Act, and as such continues to receive material from the Ministry of Defence. In 2012 the museum reported the size of its photographic holdings as approximately 11 million images in 17,263 collections.[102]
The museum's exhibits collection includes a wide range of objects, organised into numerous smaller collections such as uniforms, badges, insignia and flags (including a Canadian Red Ensign carried at Vimy Ridge in 1917,[129] a Union flag from the 1942 British surrender of Singapore,[130] and another found among the wreckage of the World Trade Center following the September 11 attacks), as well a piece of the towers;[131] personal mementoes, souvenirs and miscellanea such as trench art;[132][133] orders, medals and decorations (including collections of Victoria and George Crosses); military equipment; firearms and ammunition, ordnance, edged weapons, clubs (such as trench clubs)[134] and other weapons, and vehicles, aircraft and ships. The museum holds the national collection of modern firearms.[102] The firearms collection includes a rifle used by T. E. Lawrence,[135] and an automatic pistol owned by Winston Churchill.[136] The ordnance collection includes artillery pieces that participated in notable battles, such as the Néry gun, a field gun that was used during the 1914 action at Néry,[137] and equipment captured from enemy forces. The museum's vehicles collection includes Ole Bill, a bus used by British forces in the First World War,[138] and a number of vehicles used by Field Marshal Montgomery during the Second World War.[139] The museum's aircraft collection includes aircraft that are notable for their rarity, such as the only complete and original Royal Aircraft Factory R.E.8 in existence and one of only two surviving TSR-2 strike aircraft,[140][141] and aircraft associated with particular actions, such as a Supermarine Spitfire flown during the Battle of Britain. The museum's naval collection includes HM Coastal Motor Boat 4 and a midget submarine HMS XE8.[142][143] In 2012 the museum reported its exhibits collection to contain 155,000 objects and a further 357 vehicles and aircraft.[102]
The museum's library is a national reference collection on modern conflict, and holds works on all aspects of warfare, including regimental or unit histories (such as 789 rare German unit histories from the First World War),[144] technical manuals, biographical material and works on war's social, cultural, economic, political and military aspects. The library also holds printed ephemera such as the Imperial War Museum Stamp Collection,[145] leaflets and ration books, printed proclamations, newspapers, trench magazines (such the Wipers Times) and trench maps.[144] In 2012 the museum reported its library collection to contain over 80,000 items of historic importance (such as maps, proclamations and rare books) and a further 254,000 items of reference material.[102]
The museum's Sound Archive holds 33,000 sound recordings, including a large collection of oral history recordings of witnesses to conflicts since 1914.[146] The museum's sound collection originated in 1972 with the creation of the Department of Sound Records and the instigation of an oral history recording programme. The sound collection opened to the public in July 1977.[147] The collection also includes recordings made by the BBC during the Second World War, actuality sound effects, broadcasts, speeches and poetry. As part of the museum's First World War centenary programme, the museum is producing Voices of the First World War, a podcast series drawing upon the museum's oral history recordings.[148] In 2012 the museum reported the size of its sound collection as 37,000 hours.[102]
The IWM has an online database, listing the various items which make up the IWM Collections. In some cases, there are images of the item, or contemporary photos, which can be shared and reused under a Creative Commons Licence.
The War Memorials Register is a database of known war memorials in the United Kingdom. Information material used in composition, the condition of the memorial, its address and coordinates with a satellite map plot are recorded for each of the memorials. There are over 70,000 memorials on the register.[149] Whilst many memorials are commemorated to those who died in the First World War,[150] the scope of the project is all conflicts.
In 2014, IWM and online genealogy service provider Findmypast entered into a collaboration to launch the "Lives of the First World War" platform.[151] During the centenary period, anyone could sign up for an account. Those who paid for a subscription had the ability to add records from Findmypast's collections.[152]
A number of sources (War Office medal index cards, Canadian Expeditionary Force attestations, Royal Navy service records etc.) had been used as seeding documents to create individual entries in the database. Each person's profile in the database could have been further built up, so as to document when that person was born, when they died, family members etc. If a person needed to be added, or a duplicate existed that needed to be merged, such activity was requested via a support forum manned by IWM volunteers. A user with a subscription had the ability to group person profiles together into a "Community". This could be a grouping based around a ship's crew, a unit in the army, or the names of men and women buried in a given war cemetery.[153]
The goal had been to encourage crowdsourcing to build up as many details as possible in the database, and to tap into the popularity of online genealogy as a pastime. One selling point of the platform had been that the data captured thus would be used in a "permanent digital memorial[154] [that] will be saved for future generations."[155] The IWM had declared that the data from the platform will become part of its archive when the platform ceased to be interactive in 2019, 'and will be free to access online for research.' [156]
Size of collection
Imperial War Museum holds around a half of petabyte, digitised data (as of 2017). Hold in Duxford (Cambridgeshire) thera on two SpectraLogic T950 tape libraries, with the distance of 500m between. One is LTO-5 (Linear Tape-Open) tape library, second is IBM TS1150.[157]
The Imperial War Museum is an executive non-departmental public body under the Department for Digital, Culture, Media and Sport, from which it receives financial support in the form of a grant-in-aid. The governance of the museum is the responsibility of a Board of Trustees, originally established by the Imperial War Museum Act 1920,[12] later amended by the Imperial War Museum Act 1955[158] and the Museums and Galleries Act 1992 and other relevant legislation. The board comprises a president (currently Prince Edward, Duke of Kent) who is appointed by the sovereign, and fourteen members appointed in varying proportions by the Prime Minister, and the Foreign, Defence, and Culture Secretaries. Seven further members are Commonwealth High Commissioners appointed ex officio by their respective governments. As of January 2012 the Chairman of the Trustees is Sir Francis Richards and his deputy is Lieutenant-General Sir John Kiszely.[159][160][161] Past chairmen have included Admiral Sir Deric Holland-Martin (1967-77),[162]Admiral of the Fleet Sir Algernon Willis[163] and Marshal of the Royal Air Force Sir John Grandy (trustee 1971-78, Chairman 1978-89). During the Second World War Grandy had commanded RAF Duxford, and was chairman during the planning of Duxford's American Air Museum, which opened in 1997.[164][165]
The museum's director-general is answerable to the trustees and acts as accounting officer. Since 1917 the museum has had six directors. The first was Sir Martin Conway, a noted art historian, mountaineer and explorer. He was knighted in 1895 for his efforts to map the Karakoram mountain range of the Himalayas, and was Slade Professor of Fine Arts at the University of Cambridge from 1901 to 1904. Conway held the post of director until his death in 1937, when he was succeeded by Leslie Bradley. Bradley had served in the First World War in the Middlesex Regiment before being invalided out in 1917. He later became acquainted with Charles ffoulkes, who invited him to join the museum where he was initially engaged in assembling the museum's poster collection.[166] Bradley retired in 1960 and was succeeded by Dr Noble Frankland. Frankland had served as a navigator in RAF Bomber Command, winning a Distinguished Flying Cross. While a Cabinet Office official historian he co-authored a controversial official history of the RAF strategic air campaign against Germany. Frankland retired in 1982 and was succeeded by Dr Alan Borg who had previously been at the Sainsbury Centre for Visual Arts. In 1995 Borg moved to the Victoria and Albert Museum and was succeeded by Sir Robert Crawford, who had originally been recruited by Frankland as a research assistant in 1968. Upon Crawford's retirement in 2008 he was succeeded by Diane Lees, previously director of the V&A Museum of Childhood. She was noted in the media as the first woman appointed to lead a British national museum.[167]
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^ '...perhaps the strongest claimant to being the first authentic, authorized film archive is Britain's Imperial War Museum' in Jeavons, Clyde (April 2007). Daudelin, Robert (ed.). "The Moving Image: Subject or Object?" (PDF). Journal of Film Preservation. Fédération Internationale des Archives du Film - FIAF. 66: 25. ISSN 1609-2694. Archived from the original (PDF) on 25 July 2011. Retrieved 2010.
^ For the early history of the Imperial War Museum film archive, see Smither, Roger; Walsh, David (2000). "Unknown Pioneer: Edward Foxen Cooper and the Imperial War Museum Film Archive 1919-1934". Film History. Indiana University Press. 12 (2): 187-203. ISSN 0892-2160. JSTOR 3815371.
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^ "Lives of the First World War". Imperial War Museum. Retrieved 2019.
^ "How long will the site be available for?". support.livesofthefirstworldwar.org. Archived from the original on 18 August 2015. Retrieved 2018. IWM has made a commitment that Lives of the First World War will be an interactive platform available to the public throughout the four years of the centenary, and that the permanent digital memorial will be saved for future generations.
^ "How long will the site be available for?". support.livesofthefirstworldwar.org. Retrieved 2017. From early 2019 the memorial will become part of IWM's archive, and will be free to access [online] for research.
^ https://www.computerweekly.com/news/450413621/IWM-digitises-vast-collection-in-SpectraLogic-tape-archive
^ Office of Public Sector Information Revised Statute from The UK Statute Law Database: Imperial War Museum Act 1955 (c.14). Retrieved 14 April 2010.
^ Imperial War Museum (2012) Current Trustees. Retrieved 6 January 2012
^ Imperial War Museum (2012) Our Trustees: Trustee Profiles. Retrieved 6 January 2012.
^ Imperial War Museum (September 2006) Imperial War Museum Corporate Governance Code. Retrieved 14 April 2010.
^ Perowne, B C. "Martin, Sir Douglas Eric Holland- (1906-1977)". Oxford Dictionary of National Biography. Oxford University Press. Retrieved 2010.
^ Brock, P W. "Sir Algernon Usborne Willis (1889-1976)". Oxford Dictionary of National Biography. Oxford University Press. Retrieved 2010.
^ Probert, Henry A. "Grandy, Sir John (1913-2004)". Oxford Dictionary of National Biography. Oxford University Press. Retrieved 2010.
^ Barrass, M B (2001-2008). "Marshal of the RAF Sir John Grandy (32078)". Air of Authority - A History of RAF Organisation. Retrieved 2010.
^ 'Mr L. R. Bradley: Former Director of Imperial War Museum' (obituary) The Times 30 January 1968 p. 8
^ Heal, Sharon (January 2008) 'New chief at IWM revealed' Museums Journal 108/1 p. 8
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text:
Time Syed Ali Shah Geelani showed independent leadership
Posted on November 6, 2017 by Editor-Online
Share the post "Time Syed Ali Shah Geelani showed independent leadership"
The top separatist leader Syed Ali Shah Geelani inspires awe. Such is the impact of his personality cult that some are ever-willing to bare their chests to face bullets for him. Others hate him for his relentless pro-Pakistan campaign and wonder why he is not being stopped from his "anti-national activities" on the country's soil. But in the recent months some changes have taken place in which he is seen more of a Pakistani than a Kashmiri.
A very strong feeling is running among many Kashmiris that this is the time for him to break open the Pakistani cage to engender legacy as a leader who can save Kashmir. That his heart beats for Pakistan has made many Kashmiris have a rethink about him and his qualities as a leader of Kashmiris.
Since he split the Hurriyat Conference in August 2003, he has seen many ups and downs. Today he faces the big challenge of steering people out of the dark alleys of frustration and uncertainty to the sunlight of promise.
There are some who see his role during the 2008, 2010 and 2016 street agitations as "accidental." The Kashmir-centric parties stirred controversial issues during the Amarnath land row agitation in 2008, killing of teenager Tufail Mattoo in 2010 and through the 2016 unrest in the Valley. Geelani rode on street sentiment and guided the protests. The late Mufti Mohammad Sayeed used to call him an "accidental politician".
Geelani, however, showed his own leadership by standing up against the high and mighty. He refused to visit Pakistan in June 2005 by the Srinagar-Muzaffarabad route when Mirwaiz Umar Farooq, Yasin Malik and other separatists undertook the journey to the other side of the LoC.
By opting out of this cross-LoC journey, Geelani snubbed the then Pakistan's military ruler Pervez Musharraf over latter's "overtures" to India. Later in 2006-2007, he called Musharraf's four-point formula — which proposes making borders irrelevant, demilitarisation at both sides of the LoC, self-governance and the joint mechanism for Jammu and Kashmir between India and Pakistan — a sign of insanity.
Geelani has always looked at the Kashmir issue from the two-nation premise of Pakistan founder Mohammad Ali Jinnah in which the "Muslim-majority Kashmir should have been part of Pakistan."
He was swimming against the tide as that time India and Pakistan were moving to address the J&K issue in a positive fashion. Then Prime Minister Manmohan Singh in his speech in Akhnoor on April 25, 2008, had observed that "we have had a friendly dialogue with Pakistan on all issues that affect the lives of the people of J&K. We were making progress but internal developments in Pakistan (a reference to turmoil in Pakistan following the removal of Chief Justice of Pakistan Supreme Court Iftikhar Chaudhary) over the last one year have prevented us from moving forward".
The 2016 agitation took away a bit of sheen from his image of invincibility. The protests were not only consuming precious lives of young boys but also killing the economy. But he did not halt the protests because he was under some pressure.
The situation turned worse when militant Zakir Musa challenged the separatist leadership and warned it of executing leaders at Lal Chowk – the main crossing in Srinagar. Further when Pakistan-based Hizbul Mujahideen chief Syed Salahuddin announced his own plan to observe the first death anniversary of iconic militant Burhan Wani, who was killed last year, further damaged his reputation. Later, the Hizb withdrew its programme, but the damage had been done.
A fact is that the view of ordinary Kashmiris towards Pakistan has changed. They know that three generations of Kashmir have been lost because of Pakistan's proxy war.
Now it is for Geelani to read the pulse of the people and save Kashmir for Kashmiris as his legacy. This is the best time for him to rise above his traditional script-reading and stand as a tall leader who can honour his word on "dialogue as the only option to resolve the Kashmir issue".
It is incumbent upon Geelani to convince Delhi how the matters can be addressed in a dignified manner. He has to show that he has the capacity and will to do so before people ask him why he didn't stand as a leader when it was time to do so.
Posted in CommunityTagged Time Syed Ali Shah Geelani showed independent leadership
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redpajama_set_name: RedPajamaCommonCrawl


text:
Latest Sony Xperia P2 Images Leaked With Rumors Pointing Towards a Compact Device with Great Camera, And More Information
Recently, a lot of few photos of Sony Xperia P2 leaked online and gave rise to speculations that the new device will be Sony's upcoming flagship model. The Sony Xperia Z4 was introduced in quietly in Japan last week and the company also announced that it was going to unveil another variant for the rest of the world.
Meanwhile, photos of what seems like to be the Sony Xperia P2 has leaked and surfaced online. Earlier, there was news that Sony was planning to release a second flagship model and the recently leaked images might be the device that Sony was referring to.
The leaked schematics were posted on Chinese Website known as cnBeta. The second smartphone's images were posted along with name, design and device specs and also featured a blueprint different from Sony's other Xperia Flagship Handset devices. According to the website, the new device has been dubbed the Xperia P2 and is all set for a complete International release.
According to the latest rumors, the Sony Xperia P2 features a Triluminos 1080×1920 pixels Full-HD IPS display. The device is said to be 5.2-inch 8.9mm to 10.9mm-wide along with a 64-bit octa-core processor under the hood, with 32GB of internal storage capacity and 3GB of RAM.
The same mystery handset has been rumored to feature a 12MP rear camera with Sony 25mm F2 G OSS ISO 64-25600 lens, a 5.1 MP secondary camera, 4K video recording support and powered by a 4240mAh battery. The Sony Xperia P2 has the same specs as that of the Xperia Z4 and speculations suggest that the P2 is the device destined to be released worldwide in May. The Sony Xperia Z4 will remain exclusive to the Japanese market.
In the meantime, another batch of rumors has predicted that the decent update to Sony Xperia Z flagship series might land in the long forgotten mid-range series of devices. The rumors suggest that the Sony Xperia P2 will come with the transparent strip of its 2012 predecessors and spice up the looks with highly-thin bezels.
Samsung Galaxy Note 4 Lollipop Update Rumors, Official Hardware Specifications, And More Details
2015 Mazda MX-5 Pre-Order Opens Soon While Makers Reveal the Fun-To-Drive Attributes Of the Car, And More Details


For Christmas this year, we came up with a very special 12 Days of Girl's Guide to Guns Christmas song.
We've made our list and have checked it twice. Take a look at our favorite gun gifts to throw a little humor in to your holidays.


text:
class CallbacksController < ApplicationController
  layout false

  def github
    warden.set_user(OauthClients::Github.perform(params[:code]), store: false)
    render 'message'
  end
end

redpajama_set_name: RedPajamaGithub


The surface of the key chain can be screen printed pattern, лого, serial number or QR Code.
өнгө: улаан, ногоон, хөх, шар, цагаан, гэх мэт.
The access control deviate frequency keychain is a low frequency 125KHz, 250кГц, 375кГц, 500KHz deviate frequency ID copy keychain, can prevent copying clone, which is also known as the ID encryption card copy card on the market.


We make a pizza with a wood oven, imported directly from Naples. Our pizza was awarded in 2011 the 6th place in the world ranking.
The pizza smallest costs 780 yen.
3 Once a week they get there from Naples, airborne, fresh buffalo mozzarella we use for our pizzas.
We propose the real Neapolitan pizza, authentic Italian cuisine and a great multitude of wines.
Our local "Allegro", in which we also serve alcohol, was born in the Ohatsutenjin Osaka.


The article in the Wall St. Journal doesn't come right out and call it "G-Drive" but that's pretty much what this latest project of Google's is.
It's a service where people will be able to store files on Google's computers so that they're accessible from any PC with an internet connection. While I can see a certain amount of benefit in something like that, I would also strongly recommend that NOTHING be uploaded to something like that unless it were first encrypted.
The reason for this is simple... Google's penchant for indexing everything it comes in contact with and for analyzing any text it can find to help them customize context sensitive advertising... The same reason I would never ever ever use a gmail account for un-encrypted emails. When search engines (or any third party really) have access to documents you must consider the content of those documents to be compromised unless you've encrypted them.
My preference would be to either PGP encrypt individual files or to put collections of related files in Truecrypt containers and then upload the containers.


text:
Q: Visits per day for sites in private beta are bugged The visits of Fitness & Nutrition, Skeptics, and of Drupal Answers are all set to zero on Area51.

A: Visits per day is not supported until the site is in public beta. The site is private, so visits will be quite low anyway.

redpajama_set_name: RedPajamaStackExchange


Items where Author is "Collard, Fabrice"
Collard, Fabrice, Habib, Michel and Rochet, Jean-Charles (2015) Sovereign Debt Sustainability In Advanced Economies. Journal of the European Economic Association, 13 (3). pp. 381-420.
Bedo, J.-S., Ciriani, S., Collard, Fabrice, Fève, Patrick and Portier, Franck (2008) The Transition Toward Intensive Network Technologies: A Macroeconomic Perspective. Communications & Strategies. pp. 51-71.
Collard, Fabrice and Fève, Patrick (2007) Les modèles VAR ou DGSE : que choisir ? Économie et Prévision (183). pp. 153-174.
Collard, Fabrice, Fève, Patrick and Langot, François (2002) Structural Inference and the Lucas Critique. The Annals of Economics and Statistics (67). pp. 183-206.
Auray, Stéphane, Collard, Fabrice and Fève, Patrick (2002) Money and External Habit Persistence : A Tale for Chaos. Economics Letters, 76 (1). pp. 121-127.
This list was generated on Tue Apr 23 07:09:11 2019 CEST.


The agricultural capacities of the soil vary greatly in different localities. On the lower lands, especially in the Vale of Aylesbury, about the headwaters of the Thame, it is extremely fertile; while on the hills it is usually poor and thin. The proportion of cultivated land is high, being about 83% of the whole. Of this a large and growing portion is in permanent pasture; cattle and sheep being reared in great numbers for the London markets, to which also are sent quantities of ducks, for which the district round Aylesbury is famous. Wheat and oats are the principal grain crops, though both decrease in importance. Turnips and swedes for the cattle are the chief green crops; and dairy-farming is largely practised. There is no general manufacturing industry, but a considerable amount of lace-making and straw-plaiting is carried on locally; and at High Wycombe and in its neighbourhood there is a thriving trade in various articles of turnery, such as chairs and bowls, from beech and other hard woods.
The introduction of lace-making in this and neighbouring counties is attributed to Flemish, and later to French immigrants, but also to Catharine of Aragon during her residence (c. 1532) at Ampthill. Down to the later part of the 19th century a general holiday celebrated by lace-makers on the 25th of November was known as "Cattarn's Day."
The main line of the London & North-Western railway crosses the north-east part of the county. Bletchley is an important junction on this system, branches diverging east to Fenny Stratford, Bedford and Cambridge, and west to Oxford and Banbury, Buckingham being served by the western branch. There is also a branch from Cheddington to Aylesbury. The Metropolitan-Great Central joint line serves Amersham, Chesham (by a branch), and Aylesbury, joining the North-Western Oxford branch at Verney Junction; this line is used by the Great Central railway, the main line of which continues north-westward from Quainton Road. A light railway connects this station with the large village of Brill to the south-west. The Great Central and the Great Western companies jointly own a line passing through Beaconsfield, High Wycombe, and Prince's Risborough, which is connected northward with the Great Central system. Before the opening of this line in 1906 the Great Western branch from Maidenhead to Oxford was the only line serving High Wycombe and Prince's Risborough, from which there are branches to Watlington and Aylesbury. The main line of this company crosses the extreme south of the county by Slough and Taplow. The Grand Junction Canal, reaching the valley of the Ouse by way of the Ouzel valley from the south, has branches to Aylesbury and to Buckingham. Except the Thames none of the rivers in the county is continuously navigable.
Bletchley is an important junction on this system, branches diverging east to Fenny Stratford, Bedford and Cambridge, and west to Oxford and Banbury, Buckingham being served by the western branch. There is also a branch from Cheddington to Aylesbury. The Metropolitan-Great Central joint line serves Amersham, Chesham (by a branch), and Aylesbury, joining the North-Western Oxford branch at Verney Junction; this line is used by the Great Central railway, the main line of which continues north-westward from Quainton Road. A light railway connects this station with the large village of Brill to the south-west. The Great Central and the Great Western companies jointly own a line passing through Beaconsfield, High Wycombe. and Prince's Risborough, which is connected northward with the Great Central system. Before the opening of this line in 1906 the Great Western branch from Maidenhead to Oxford was the only line serving High Wycombe and Prince's Risborough, from which there are branches to Watlington and Aylesbury. The main line of this company crosses the extreme south of the county by Slough and Taplow. The Grand Junction Canal, reaching the valley of the Ouse by way of the Ouzel valley from the south, has branches to Aylesbury and to Buckingham. Except the Thames none of the rivers in the county is continuously navigable.


Internship Deadlines Approaching - Apply Now!
Are you ready to Grow, to be challenged? If so, then serving as an intern with AIA might be the right opportunity for you. Summer and Year-Round Internships are available in athletic training and strength & conditioning.
A summer internship with AIA Sports Performance is part of AIA's X Project. It is a nine week internship designed to develop and grow students professionally and spiritually. There is a February 1st application deadline so go to one of the links above and complete yours!
A Year-Round internship with AIA Sports Performance is developing young professionals into lifelong laborers and leaders for Christ. Opportunities are available for strength and conditioning coaches and athletic trainers to assist with AIA's efforts in these fields while growing and learning about ministry and their profession. Come make a difference in the lives of a variety of athletes of all ages. There is a March 1st application deadline so go to the link above to complete yours!


An unabridged MP3 recording of the Kenwood TS-590SG operating manual has been added to the Active Elements site. You can find the manual in the Recordings/Manuals section or at the foot of the TS-590 accessibility review under the Related Documents Heading. The recording has been narrated and produced by Ian DJ0HF, and each chapter has its own individual MP3 track. Just download the Zipped archive and listen to the tracks using your favourite MP3 player.
Thanks to Curtis Delzer K6VFO, we have recently added a fully indexed version of the Kenwood TM-V71A/E manual. The DAISY conversion has added over 600 index markers, and allows easy navigation at 3 levels, Section, Sub Section, and Steps.
The above DAISY recording can be found on the TM-V71E Evaluation page, and from the Manuals page, accessed from Recordings.
You can also use the Search field at the top of each page to find items of interest!
Thanks to the recording skills of Ian DJ0HF and Bill Laurie, we have recently added MP3 manuals for both the Kenwood R5000 and MFJ-998 auto tuner. We have also added the TS-440S manual in Word document format.
The above MP3 audio and TS-440 document can be found on the Manuals page, accessed from Recordings.
Thanks to the recording skills of Ian DJ0HF we have recently added MP3 manuals for both the original and SDA 100 SteppIR antenna controllers.
Tim GI4OPH sent us the RNIB cassettes for the TR-751 and TR851 Manual, and Chris M5AGG converted these to MP3.
The above MP3 audio can be found on the Manuals page, accessed from Recordings.
Rob K6DQ sent us the files he produced for the TM-V71A and E. He converted the complete manual into HTML format and it opens as a fully indexed web page. He also sent us an HTML table of the menu system, and a mike keyboard and front panel description. These are on the Kenwood TM-V71E page under the Related Downloads section.
A recording of the Yaesu G800 G1000 and G2800 rotator handbook has been added to the Manuals section.
We've had the great news, the Royal National Institute of Blind People, the RNIB, has given permission for the Active Elements website to host their recordings of Amateur Radio manuals!
Unfortunately, many older recordings were not transcribed from cassette when the RNIB library moved to digital output, and many recordings were made for an individual and not archived.
Amateur radio equipment can be fully serviceable for decades, and can be heard on the air for years. We would ask anyone with recordings of manuals, to please not assume there are copies available elsewhere, and to please contact us. You never know, the fact there is a manual available might just keep someone in the hobby.


text:
Q: How do I get a word to appear when I hover over each of these images? I'm new to HTML and CSS and have tried researching this problem but can't find anything works. I just want a simple word to appear when the mouse hover's over each individual picture. For example the first photo will have the word 'travel' appear either on the photo or just below it.
Here is the HTML:
div class="section group">

And this is the CSS
    /*  SECTIONS  */
.section {
    clear: both;
    padding-left:7px;
}

/*  COLUMN SETUP  */
.col {
    display: block;
    float:left;
    margin: 1% 0 1% 1.6%;
}
.col:first-child { margin-left: 0; }

/*  GROUPING  */
.group:before,
.group:after { content:""; display:table; }
.group:after { clear:both;}
.group { zoom:1; /* For IE 6/7 */ }
/*  GRID OF FOUR  */
.span_4_of_4 {
    width: 100%;
}
.span_3_of_4 {
    width: 74.6%;
}
.span_2_of_4 {
    width: 49.2%;
}
.span_1_of_4 {
    width: 23.8%;
}

/*  GO FULL WIDTH BELOW 480 PIXELS */
@media only screen and (max-width: 480px) {
    .col {  margin: 1% 0 1% 0%; }
    .span_1_of_4, .span_2_of_4, .span_3_of_4, .span_4_of_4 { width: 100%; }
}

A: Adding
title="travel"

will use the browser's default tooltip display. For example,

If you want more control, check out jQueryUI's tooltip widget

A: Managed to figure it out with the help of @Ixe. By using the div class category, I was able to separate the 'a' attribute from other parts on my page. This effect for me made the text appear above the photo and make the photo push down. You can obviously adjust this effect to be more slick looking.
Html:

Wedding

CSS:
.category {
    font-family:Segoe, "Segoe UI", "DejaVu Sans", "Trebuchet MS", Verdana, sans-serif;
    font-weight: bold;
    font-size: 1.75em;
    color: #FADBC8;
    position:relative;

}
.category a {
  display: block;
  position: relative;
  float: left;

}

a div {
  position: absolute;
  top: 0;
  display: none;
}

a:hover div {
  display:block;
}

A: You can use the :hover pseudo-class to show/hide an element:

Travel

CSS:
a {
  display: block;
  position: relative;
  float: left;
}

a div {
  position: absolute;
  top: 0;
  display: none;
}

a:hover div {
  display: block;
}

http://jsfiddle.net/cnyxqc41/


Hop over to our ballroom for a delicious brunch buffet with sweet and savory holiday favorites including an Omelet Station, Nutella French Toast, Stuffed Braised Pork Shoulder and Ginger Roasted Striploin carving stations, and a decadent dessert station. The brunch also features a special appearance from the Easter Bunny.
Plus tax and gratuity. Menu subject to change. Member discount applies.


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· Perform month-end related activities.
· Process all received requirements in a timely and accurate manner (per the SLA and KPI).
· Assure that all requests to be processed have the right approvals and follow the procedure and polices.
· Proactive and constant communication with Team Lead to ensure process stability and requirements compliance.
· Knowing and following the escalation path when needed (dispute or resolution).
· Actively support the implementation of best practices within the department.
· Assist with ad hoc projects assigned from time to time.
· Handle customer service queries internally.
· The person in this position must maintain a positive working relationship between the internal customers and the requestors.
· English level 75% both written and verbal.
· Flexible to work per the business need.
· Able to document and communicate issues, identify own limitations and validates own output against objectives.
· Able to deliver a message through proper communication vehicle and communication is concise, clear and to the point, adapting per feedback of supervisors.
· Able to perform basis research and analysis, collaborating with stakeholders and documenting results and audit trail.
· Recognize the issues that need to be raised and take the initiative to raise those issues.
· Research and identify areas of improvement within client's business processes and offerings and understand how innovation adds value.
· Able organize priorities and raise challenges and risks.
· Collaborates with team members to complete required tasks.
· Contribute actively in team discussions and is able to facilitate internal team meetings with guidance.
· Able to present to peers with respect, adequate voice projection and clear point of view.
· Influence others to learn new skills by sharing useful recommendations.
· Seek and is responsive to developmental feedback.
· Set individual goals with guidance and work towards meeting these goals.
· Approach change with a willingness to learn.
· 1 year of experience working in a Shared Service Center in the OTC cycle are required for this position.
· Experience dealing with customers over the phone.
· Should have basic knowledge of ERP.


the type of device requesting access. If you are the one requesting access, just tap the Yes button. If it isn't you, tap the No, it isn't me button and access to your account will be denied. All of this is aimed to give you more information about access requests, especially if you get some from across the country. It is designed to give you more details and better clues should someone try to hack your account.
The update is rolling out now so it may be a few days before you get it. Oh, and for those of you who haven't enabled 2-Factor, please do so for your own online account safety. Not just your Google account but every account you have online.


/Huawei / H12-224 / Which of the following statements about link aggregation are true?
aggregation in manual load balancing mode, active interfaces in static LACP mode are selected by sending LACP Data Units (LACPDUs).
Which of the following statements about the Smart Link group is false?