21.B photos on Flickr

IBM machine, City Hall by The Library of Virginia

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Title: IBM machine, City Hall

Creator: Adolph B. Rice Studio

Date: 1961 July 21

Identifier: Rice Collection 3364B

Format: 1 negative, safety film, 4 x 5 in.

Rights Info: No known restrictions on publication.

Repository: Library of Virginia, Visual Studies, 800 E. Broad St., Richmond, VA, 23219, USA, digitool1.lva.lib.va.us:8881/R

Sitges - Major 21 b by Arnim Schulz

4

Casa Gorgas

1907

Architect: Gaietà Miret i Raventós

Rosie Ashforth's Grant's Gromit by Matthew Wells

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Would you like a take a shortcut to a specific Gromit?

3D, San Francisco - California Street Cable Railway - Cable Car #21 in Travel Town, Griffith Park, Los Angeles, California, 2009.07.19 15:35 by Reverend Doctor Wizard ďIsney

1 1

[crosseye stereograph, see 3D with your right eye on the left image, and left on right.]

CABLE CAR.

One of the famed San Francisco Cable Cars. The first cable car operated in 1873, and was developed by Andrew S. Hallidie. Three foot six inch gauge.

==================.

San Fransisco Municipal Railway #21

[A 55.04.04]

Just as it had a subway long ago - Los Angeles of the past boasted cable cars.

The first forms of public transit in Los Angeles were stagecoaches and wagons. Two omnibus-type wagons were set up for operation on a set schedule in 1873, and not too long after that, the first horse-drawn street cars finally made an appearance on the streets of Los Angeles. The next step in the mechanical evolution of mass transit was the cable car. Pulling small railroad cars along with a cable or steel rope had been used in San Francisco for many years before investors tried the technology in Los Angeles. With the most desirable residential subdivisions being laid out atop the rolling hills of the Los Angeles basin, cable car technology was a smart and efficient way to provide commuter access to the hilltops.

Use of cable cars required an up-front investment in the cable and the cars of course, but also in electric power plants that supplied the power to run the cables.

Thereafter, cable cars were cheaper and cleaner to run simply because there were no horses to feed or clean up after. A cable railway could also offer safe group travel up an down steep hills which would have been too hard for horses. Cable cars were limited, however, to the length of a cable (10,000 or 20,000 feet). Even in the short run, this did not work well in the Los Angeles of the 1880s, which kept sprawling out further and further. Cable cars also used a huge amount of the electricity generated in the power plants.

.

This particular car came not from Los Angeles, but from the more famous city known for its cable cars, San Fransisco. In 1952, even before Travel Town formally opened, founder Charley Atkins asked the Mayor of San Francisco for a cable car to display, but was told, with apology, that cable cars could not be sold or given away. Three years later, a solution was found: a cable car was placed on loan as the center piece of the 1955 International Flower Show in Los Angeles. Afterwards, it moved to permanent loan at Travel Town.

.

This car is also a good example of a type of early in-town passenger car called a "California" car, with some interior space. inside a compartment, and other benches open to the weather, this type of exposure was not practical in most areas of the country besides California.

.

BUILT: C. 1880.

LENGTH: 30'.

GAUGE: 3' 6".

PERMANENT LOAN: CITY OF SAN FRANCISCO.

==========.

This car differs from those still in daily service. It has long boards attached to the sides like shelves, for a problem that no longer exists, they are fenders to protect the curved sides of the car from wagon wheels. Wagon wheel fenders are unnecessary today. The bumpers on the end sill are narrow and relatively unprotected, whereas today's Cable Cars are operating in the midst of six and seven thousand pound personal automobiles, as well as much more massive buses and trucks. At the turn of the 20th century, horse drawn carts and carriages were not as likely, in a collision, to reduce a cable car to splinters so there are now tremendous wooden bumpers built up and covered with thick steel straps rolled tight on each end to thicken them. One problem remains from the past, lights. Not only for safety, headlights and tail lights, but lamps inside for general illumination are required, and those are powered by batteries under the seats. Many more batteries were added under the seats for the small fleet of San Francisco Cable Cars that were powered along by electric motors, operated at Knott's Berry Farm, in Buena Park, California, and many more panels covered them. This cable car has those extra wooden panels that most San Francisco cars do not cover the underside of every seat. There is another indicator told me late one night between parking Cable Cars at the Car Barn in San Fransisco by the turntable operator. The Cable Car conversions that had been at Knott's Berry Farm, which had been used for a short time in San Francisco after the great earthquake, came originally from Oakland and ran on roads that were straight from end to end, the support from the trucks reflected that. The trucks in service today must twist very tight curves, the tightest curves are nearest the powerhouse/yard/museum. The bolsters under the frame are flat iron pads cut in a curve that rest on the trucks supporting the frame, and those curves are cut larger on the cars built for the current system. Also the underside of the cars have many points of interference with the trucks on those tight curves. Because the cars were rejected when Knott's offered them back, primarily because the wheel flanges couldn't clear the frame, and knowing that the cars went SOMEWHERE, (one was put on a truck frame) leads me to believe that the discrepancy of the number on the Travel Town sign (#21) doesn't match the number painted on the end which is a number known to have run at Knott's (#28) leads me to believe that this may be a car I rode as a child through the Knott's parking lot to get to the Henry's Auto Livery and drive Tin Lizzie's, from the barn at the North-West corner of Beach Bl. and Crescent.

dsc00007, 2009:07:19 15:35:58, 3D, Los Angeles, Griffith Park, Travel Town, Cable Car, San Francisco Municipal Railway #21

Shadow Play by Joshua Uhl

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Day 21

I ordered myself a not so little christmas present last week and it showed up on my doorstep this evening. I got a great deal on this 5'x3.5' six in one collapsable reflector. It came in a box that was humorously large and it was quite exciting to snap open for the first time. I plan on using this big ol reflector quite a bit in the future, good purchase.

430EX II behind

Cybersyncs

7D + 50mm 1.4

www.joshuauhl.com

Agdabús S.A by procol37

6 10

PPU: DH.64.73

Nº Orden Interna: 17

Tipo de Servicio: Bus Rural Corriente

Estado de Vehículo: Vigente

Año de fabricación: 1991

Antigüedad del Vehículo: 21

Marca: Mercedes Benz

Modelo: LO 812 42.5

Carrocería: Bertone

Modelo: - - - - - -

Una de las rarezas de esta empresa Limachina, de estas quedan pocas, la Carolina del Valle tiene 3, y en La Serena he visto algunas, pero nada más; lo otro, me sorprendió que esta sea 812, pensé que ese modelo era en 809

Exteriormente se ve genial, el corte como siempre ayuda, sus accesorios, suena suave y se ve paradita, las Bertone no son mala carrocería

[13/03/2012]

BGA886/BDM, Slingsby T.21 B (1216), Tibenham 17th July 2021 by Grant Robinson

2

07 Beurspoortje (Amsterdam) by Perry Tak

4 2

AM_21 [10 maybe 20 points?]

A space invader very near to Dam Square and Royal Palace in Amsterdam.

All my photos of AMS_21:

AMS_21 (Close-up, January 2012)

AMS_21 (Wide shot 1, October 2004)

AMS_21 (Wide shot 2, January 2012)

AMS_21 (Close-up 2, -re-activated-, June 2019)

AMS_21 (Wide shot 3, -re-activated-, June 2019)

Year of invasion: 1999

DELETED (Seen January 2013)

RE-ACTIVATED 02/06/2019

PS: All Amsterdam space invaders in this set are numbered in order I found them. Amsterdam has been officially invaded 26 times by Invader in the Summer of 1999 (total score 280 points).

Verification session 2018-09-21 b by Paulette_the_Tart

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No. 74: Harmony by Marie Simpson by Matthew Wells

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2008 Li-NING China Open Super Series - Quarter Finals Results by atang_badm

1

Quarter Finals Results (2008-11-21)

[MS]

LIN Dan [CHN] vs Pengyu DU [CHN]

(21-13 21-16)

Chong Wei LEE [MAS] vs Choong Hann WONG [MAS]

(21-19 19-21 21-10)

WEN Kai [CHN] vs Arvind BHAT [IND]

(21-13 21-10)

Sung Hwan PARK [KOR] vs CHEN Jin

(21-11 13-21 21-18)

[WS]

ZHU Jingjing [CHN] vs ZHOU Mi

(21-11 21-11)

WANG Lin [CHN] vs [MAS] Julia Pei Xian WONG

(21-17 21-14)

JIANG Yanjiao [CHN] vs [CHN] XIE Xingfang

(23-21 21-14)

ZHU Lin [CHN] vs [CHN] LI Xuerui

(21-13 21-15)

[MD]

Tony GUNAWAN [USA] / Candra WIJAYA [INA]

vs

Yun CAI / Haifeng FU [CHN]

(21-17 19-21 21-18)

Mathias BOE / Carsten MOGENSEN [DEN]

vs

Mohd Zakry ABDUL LATIF / Mohd Fairuzizuan MOHD TAZARI [MAS]

(20-22 21-18 24-22)

Jae Sung JUNG / Yong Dae LEE [KOR]

vs

Tan Fook CHOONG / Wan Wah LEE [MAS]

(21-13 21-16)

Kien Keat KOO / Boon Heong TAN [MAS]

vs

Lars PAASKE / Jonas RASMUSSEN [DEN]

(19-21 22-20 21-14)

[WD]

DU Jing / YU Yang [CHN]

vs

CHENG Shu / ZHAO Yunlei

(19-21 21-19 21-9)

Yawen ZHANG / Tingting ZHAO[CHN]

vs

Lena FRIER KRISTIANSEN / [DEN] Kamilla RYTTER JUHL

(21-17 18-21 21-9)

Jung Eun HA / Min Jung KIM [KOR]

vs

Siyun WANG / [CHN] Jinkang ZHANG

(21-14 21-19)

Eei Hui CHIN / Pei Tty WONG[MAS]

vs

Jing XIE / [CHN] Qianxin ZHONG

(21-15 21-13)

[XD]

Yong Dae LEE / Hyo Jung LEE[KOR]

vs

Hanbin HE / [CHN] Yang YU

(21-12 12-21 21-14)

Thomas LAYBOURN / Kamilla RYTTER JUHL [DEN]

vs

Yeon Seong YOO / [KOR] Min Jung KIM

(21-16 20-22 21-13)

Bo ZHENG / Jin MA [CHN]

vs

[ENG] Robert BLAIR / [SCO] Imogen BANKIER

(21-15 21-12)

Chen XU/ Yunlei ZHAO [CHN]

vs

Ye SHEN / [CHN] Qing TIAN

(20-22 21-16 21-18)

See also:

Semi Finals Results

Final Results

No. 39: Stat's The Way to Do It, Lad by Gav Strange by Matthew Wells

Would you like a take a shortcut to a specific Gromit?

outfit 7.12.2013 by Hilde Heyvaert

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Hairband: Veritas

Shirt: Forever 21

Cardigan: Primark

Hip bag: Zara Girls (pocket watch inside is by Fossil)

Bag: Zatchels

Skirt: made it myself

Petticoat: Dear Celine

Leggings: made them myself

Spats: my own design, made them myself

Boots: Kickers

Accessories: Theo, Fossil, Pica Pica Press, Moon Raven Designs, Prague Goldsmith Street, Pandora, Abraxion, Poorman's Gold Label, handmade, vintage

No unauthorized use, reproduction or distribution without prior permission.

No. 45: Being Gromit Malkovich by Thomas Dowdeswell by Matthew Wells

Would you like a take a shortcut to a specific Gromit?

No. 24: Gizmo by Sir Quentin Blake by Matthew Wells

Would you like a take a shortcut to a specific Gromit?

Top 24 of 2007 by vince in paris

63

- - - - -

24 songs that heated me in 2007 :

01 ANE BRUN "to let myself go"

02 BEYRUT "nantes"

03 BLOC PARTY "hunting for witches" (Crystal Castles Remix)

04 BROTHER ALI "truth is"

05 CUT COPY "future"

06 DEVENDRA BANHART "carmencita"

07 DRIVE BY TRUCKERS "two daughters and a beautiful wife"

08 HABANOT NECHAMA "so far lihiot (to be)"

09 HELL BLUES CHOIR "swordfishtrombones"

10 HOLLAND "french grass"

11 LAST DINOSAUR "beat it"

12 LOVE LIKE FIRE "sos"

13 MENEGUAR "bury a flower"

14 METRIC "monster hospital" (Mstrkrft Remix)

15 MICKY GREEN "oh"

16 MODEST MOUSE "king rat vinyl"

17 REGINA SPEKTOR "on the radio"

18 RILO KILEY "cose call"

19 RIVKAH "don't fall"

20 RJD2 "beyond the beyond"

21 SEBASTIEN TELLIER "sexual sportswear"

22 THE BE GOOD TANYAS "when doves cry"

23 VANDAVEER "marianne, you've done it now..."

24 YAEL NAIM "toxic"

enjoy !

red jordan 21 b by juan m. gutierrez

3

2021_03_21_B-18 by Salibandy.fi

1

IMG_0642 by Alec Frazier

The Temple of Dendur

•Period: Roman Period

•Reign: reign of Augustus Caesar

•Date: completed by 10 B.C.

•Geography: From Egypt, Nubia, Dendur, West bank of the Nile River, 50 miles South of Aswan

•Medium: Aeolian sandstone

•Dimensions:

oTemple Proper:

Height: 6.40 m (21 ft.)

Width: 6.40 m (21 ft.)

Length: 12.50 m (41 ft.)

oGate:

Height: 8.08 m (26.5 ft.)

Width: 3.66 m (12 ft.)

Depth: 3.35 m (11 ft.)

•Credit Line: Given to the United States by Egypt in 1965, awarded to The Metropolitan Museum of Art in 1967, and installed in The Sackler Wing in 1978

•Accession Number: 68.154

On view at The Met Fifth Avenue in Gallery 131.

Egyptian temples were not simply houses for a cult image but also represented, in their design and decoration, a variety of religious and mythological concepts. One important symbolic aspect was based on the understanding of the temple as an image of the natural world as the Egyptians knew it. Lining the temple base are carvings of papyrus and lotus plants that seem to grow from water, symbolized by figures of the Nile god Hapy. The two columns on the porch rise toward the sky like tall bundles of papyrus stalks with lotus blossoms bound with them. Above the gate and temple entrance are images of the sun disk flanked by the outspread wings of Horus, the sky god. The sky is also represented by the vultures, wings outspread, that appear on the ceiling of the entrance porch.

On the outer walls between earth and sky are carved scenes of the king making offerings to deities who hold scepters and the ankh, the symbol of life. The figures are carved in sunk relief. In the brilliant Egyptian sunlight, shadows cast along the figures’ edges would have emphasized their outlines. Isis, Osiris, their son Horus, and the other deities are identified by their crowns and the inscriptions beside their figures. These scenes are repeated in two horizontal registers. The king is identified by his regalia and by his names, which appear close to his head in elongated oval shapes called cartouches; many of the cartouches simply read “pharaoh.” This king was actually Caesar Augustus of Rome, who, as ruler of Egypt, had himself depicted in the traditional regalia of the pharaoh. Augustus had many temples erected in Egyptian style, honoring Egyptian deities. This small temple, built about 15 B.C., honored the goddess Isis and, beside her, Pedesi and Pihor, deified sons of a local Nubian chieftain.

In the first room of the temple, reliefs again show the “pharaoh” praying and offering to the gods, but the relief here is raised from the background so that the figures can be seen easily in the more indirect light. From this room one can look into the temple past the middle room used for offering ceremonies and into the sanctuary of the goddess Isis. The only carvings in these two rooms are around the door frame leading into the sanctuary and on the back wall of the sanctuary, where a relief depicts Pihor worshiping Isis, and below—partly destroyed—Pedesi worshiping Osiris.

Curatorial Interpretation

History

After the conquest of Egypt in 31 B.C., Augustus confiscated the property of Egyptian temples and centralized their administration. As a kind of compensation, he commissioned at least 17 building projects for local gods, including the small Isis-temple of Dendur (ancient Tutzis) in Lower Nubia. No date for the temple’s construction is recorded except that the cartouches include the name of the “Autokrator Kaisaros,” that is Augustus. But one assumes reasonably that it was built during the peaceful years following the Roman-Kushite wars of 25-22 B.C., which had ended with the treaty of Samos of the year 21 B.C.

The dates 20 or 15 B.C. are usually given. Since Augustus only died in 14 A.D., a later date can not be ruled out. There is also no evidence for the Roman prefect who may have commissioned the building. The three possible candidates are:

•Gaius Petronius or Publius Petronius: 24 B.C. - 21 B.C. (who destroyed Napata)

•Publius Rubrius Barbarus: to 12 B.C.

•Gaius Turranius: 7 B.C. - 4 B.C.

A detailed Coptic inscription states that in 577 (or 559?) A.D. the temple was converted into a Christian church. Since 1820, the temple has been a favorite travel destination for explorers and artists, who produced numerous depictions and early photographs of the temple. Graffiti on the pronaos walls recall their visits.

The first Aswan dam brought the water 3 m below the doorsill of the temple. In 1908, conservation work was carried out in preparation for a seasonal flooding of the building. The building was completely drowned annually by the two raisings of the first Aswan dam, in 1907-12 and 1929-33. Remains of the wall paint were washed away but the walls remained structurally unharmed. Lake Nasser, created in 1970 by the building of the Aswan High Dam, would have submerged the temple forever. In 1962, the gate and temple were therefore documented and taken down as part of the Nubian salvage campaign. In recognition of the American contribution to the campaign, the gate and temple were presented to the United States in 1965.

Thanks to the initiative of Henry Fischer and Thomas Hoving, the temple was awarded to the Metropolitan Museum and in 1974/75 rebuilt in the newly created Sackler wing designed by Kevin Roche (born 1922) and John Dinkeloo (1918-81). The architects were faced with the problem that the temple was not free standing but built into a sloping rock surface, a landscape that was not desired by the Museum. The temple therefore had to be squeezed into the shape of a freestanding building, presented on a granite stage. The material chosen (red granite and “mason granite”) reflects with its shiny, polished surfaces the architect’s imagination of imperial-style pharaonic architecture. The stepped planes in front and around the temple house are modern creations that do not follow the original arrangement. These alterations, implemented for practical reasons, are quite appealing for the visitor but not hold up against modern conservation standards. The opening was celebrated on September 27, 1978.

Description

a)Cult Terrace

The temple towered impressively over the water of the Nile, visually supported by a 3.5 m high, 15 m broad and 16 m deep terrace (much higher than the reconstruction in the Museum). The front of the terrace had no opening but a front curving inward, probably better to withstand the torrent of the Nile. Similar terraces are known at Elephantine, Philae, Qasr Ibrim, Kalabsha, Ajuala and Dabod (see Jaritz 1980, pls. 48-49). The waterfront and the sides were closed with low parapet walls, which were underpinned by a heavy, protruding ledge. The re-creation in the Museum is made of granite because the original sandstone would not have withstood the museum’s traffic. The granite parapet wall designed by Roche-Dinkeloo consisted originally of two courses of blocks. The upper course was removed in 1995 in order to improve the vista on the temple terrace.

b)Temple Enclosure and Gate

The temple enclosure (temenos) rose on top of a 90 cm high step above the rear (west) side of the terrace. A monumental gate in the center formed the east front of the temenos.

The gate was for unknown reasons not exactly aligned with the temple-house behind. The visible parts of the gate are decorated with relief. The gate is 6.50 m high (including the cavetto), the doorway is 1.60 m wide and 4.35 m (from the court level). A staircase of 5 steps leads from the gate down onto the cult terrace.

The rough outer sidewalls of the gate suggest that it was incorporated in a massive wall or pylon built of brick or stone, closing off the Nile front of the temenos. Apparently no traces of a pylon were noticed at the site and it could well be that it was never built. However, the existence of a pylon is implied in the Museum’s reconstruction by a layer of irregular stones.

One would expect that high walls running east-west from the pylon to the mountain slope behind would have enclosed the sides of the temenos. Blackman’s plan shows the remains of these walls, but they no longer appear on Ashiri’s plan of 1972. In the Museum reconstruction, the parapet walls flanking the front platform suggest a continuation backwards in the direction of the cliffs.

The interior floor of the temenos was never completely level and the rock surface began to slope up beginning at the pronaos. The irregular lower edge of the exterior reliefs of the temple walls indicate the inclination of the slope. The center of the east court was treated differently. There, the gate and temple were connected by a 7 m broad walkway, made of masonry and rising 50 cm above the rough court level. This walkway is clearly visible on an old photo of the site. However, the photo was taken after modern consolidation of the temple and how much of it was modern is not recorded.

A door in the lateral south wall is shown on Blackman’s plan. Perhaps another one opened in the north side. However, there was no processional approach from the riverside because the cult terrace blocked an axial approach.

c)Temple House

The temple was primarily dedicated to Isis, mistress of Philae, who was the patron saint of Lower Nubia, an area known as the Dodekaschoinos. Attached was the cult of two brothers, Pedesi and Pihor, the sons of a local Nubian chieftain Quper. They carry the title hesy, which is normally bestowed on people drowned in the Nile. One assumes that Quper and his sons had earned merit in the Meroitic wars of the Romans.

The actual temple house represents a distyle in antis, with two quatrefoil column capitals in the front opening. This temple type was common in Ptolemaic times (as seen for example in tomb chapels at Tuna el-Gebel and Dakka) with several larger variations that include a wider pronaos with more front columns. The temple house is ca. 13 m long, 6.5 m wide and 5 m high (to the roof) and includes 3 consecutive rooms: entrance hall or pronaos; offering hall; and sanctuary. Depictions from the 19th century suggest that the cavetto cornice of the temple house was still largely in place around 1839. Today, only one block is left.

The entrance hall or pronaos has an open front with two 3.95 m high columns (including the abacus) columns carrying the architraves. The columns have quatrefoil papyrus capitals with a four-story lily decoration. The lateral interspaces were closed with screen walls.

The pronaos has a small side door in the southwest corner. This door was part of the temple structure and is incorporated into the decoration of the walls. Another, smaller side door in the northeast corner was cut through the existing building, damaging the wall reliefs. Both doors suggest that the access from the front of the pronaos was not always possible.

A large room follows behind, assumed to have been the offering hall. Except for the door in the rear wall, the room is undecorated, and was apparently unfinished.

The walls of the sanctuary are also undecorated except for a stela-like panel in the center of the rear wall. Its decoration depicts Pihor worshiping Isis, and below – partly destroyed – Pedesi worshiping Osiris. The floor and lowermost part of the rear and sidewalls are carved from the rock.

All the rest of the interior and exterior is covered with relief, showing the “pharaoh” (“kaisaros autokrator”) praying and offering to the gods.

d)Rock Chamber

In the cliff behind the temple was a small rock chamber with a basin in the floor. In front was a court with a kind of tiny pylon. One assumes that this was the tomb of the two brothers and perhaps the predecessor of the temple. The entrance was behind the stela of Pedesi and Pihor.

The 1.65 m thick rear wall of the temple-house includes a built-in secret chamber accessed from the south end through a door closed with a thin, removable block. This crypt has been explained as the tomb of one of the brothers or as a hiding place for a priest giving oracles through a hole in the wall. The crypt could also have been a hiding place for liturgical equipment.

e)Evaluation

The Dendur temple is comparatively small but impressive and a major example of Roman architecture based on the Ptolemaic building tradition in Egypt. The temple demonstrates an important aspect of Egyptian architecture. The modern viewer is impressed by the monumental gate or pylon forming the front of the temple. However, the gate of temples like that of Dendur cannot be reached by a frontal, axial approach. The access is blocked by a cult terrace (for example the first pylon of Karnak or the pylon of Medinet Habu). These pylons/gates were not intended as entrances but as exits, monumental stages where the god (in the form of a cult figure) emerges from the interior and performs his/her appearance at the “gates of appearances.” From the gate of the Dendur temple, the divinity descended onto the cult terrace, were it reposed and viewed the Nile and the realm. Jaritz (1980, pp. 61-654) has shown that the cult terrace of the Khnum temple on Elephantine also was the gathering place for cult communities who celebrated repasts with the divinity.

Dieter Arnold 2016

Provenance

Given to the United States by the Egyptian Government, 1965. Awarded to the Museum by the U.S. Government, 1967.

Selected References

•Gau, Francois Chretien 1822. Antiquités de la Nubie : ou, Monumens inédits des bords du Nil, situés entre la première et la seconde cataracte, dessinés et mesurés en 1819. Stuttgart, pl. 23-5.

•Rifaud, Jean-Jacques 1830. Voyage en Égypte, en Nubie et lieux circonvoisins depuis 1805 jusqu’en 1827. Paris: Crapelet, pp. 27-8.

•Blackman, Aylward M. 1911. The temple of Dendûr. Cairo: Imprimerie de l’Institut Français d’Archeologie Orientale.

•Monnet-Saleh, Janine 1969. “Observations sur le temple de Dendour.” In Bulletin de l’Institut Français d’Archéologie Orientale, 68, pp. 1–13.

•El-Achiri, Hassan, M. Aly, F.-A. Hamid, and Ch. LeBlanc 1972. Le temple de Dandour, 1-3. Collection scientifique (Markaz Tasjīl al-Āthār al-Miṣrīyah), Cairo.

•Jaritz, Horst 1980. Elephantine III : Die Terrassen vor den Tempeln des Chnum und der Satet : Architektur und Deutung. Mainz am Rhein: Zabern.

•Bagnall, Roger 1985. “Publius Petronius, Augustan Prefect of Egypt.” In Papyrology. Cambridge and New York: Cambridge University Press, pp. 85-93.

•Bianchi, Robert Steven 1998. “The Oracle at the Temple of Dendur.” In Egyptian Religion. The Last Thousand Years. Studies Dedicated to the Memory of Jan Quaegebeur, 85, pp. 773-80.

•Arnold, Dieter 1999. Temples of the Last Pharaohs. New York and Oxford: Oxford University Press, pp. 244-46.

•Hill, Marsha 2000. “Roman Egypt.” In The Year One: Art of the Ancient World East and West, edited by Elizabeth J. Milleker. New Haven: Metropolitan Museum of Art, pp. 84-5, figs. 62-63, p. 207.

•Metropolitan Museum of Art 2012. The Metropolitan Museum of Art Guide. New Haven, CT: Yale University Press, p. 58.

•Metropolitan Museum of Art 2012. The Metropolitan Museum of Art Guide. New York and New Haven, Connecticut: Yale University Press, p. 58.

Timeline of Art History (2000-Present)

Timelines

•Egypt, 1-500A.D.

MetPublications

•The Art of Ancient Egypt: A Resource for Educators

•“Dendur: The Six-Hundred-Forty-Third Stone”: Metropolitan Museum Journal, v. 33 (1998)

•Masterpieces of The Metropolitan Museum of Art

•The Metropolitan Museum of Art Guide

•The Metropolitan Museum of Art Guide (Arabic)

•The Metropolitan Museum of Art Guide (Chinese)

•The Metropolitan Museum of Art Guide (French)

•The Metropolitan Museum of Art Guide (German)

•The Metropolitan Museum of Art Guide (Italian)

•The Metropolitan Museum of Art Guide (Japanese)

•The Metropolitan Museum of Art Guide (Korean)

•The Metropolitan Museum of Art Guide (Portuguese)

•The Metropolitan Museum of Art Guide (Russian)

•The Metropolitan Museum of Art Guide (Spanish)

•The Metropolitan Museum of Art. Vol. 1, Egypt and the Ancient Near East

•One Met. Many Worlds.

•“The Temple of Dendur”: The Metropolitan Museum of Art Bulletin, v. 36, no. 1 (Summer, 1978)

•The Year One: Art of the Ancient World East and West

2016-03-02-21-b.jpg by tomstar3000

2

07 Beurspoortje (Amsterdam) by Perry Tak

2 4

AM_21 [10 maybe 20 points?]

A space invader very near to Dam Square and Royal Palace in Amsterdam.

Revisited to take a zoom-in photo of this one.

All my photos of AMS_21:

AMS_21 (Close-up, January 2012)

AMS_21 (Wide shot 1, October 2004)

AMS_21 (Wide shot 2, January 2012)

AMS_21 (Close-up 2, -re-activated-, June 2019)

AMS_21 (Wide shot 3, -re-activated-, June 2019)

Year of invasion: 1999

DELETED (Seen January 2013)

RE-ACTIVATED 02/06/2019

PS: All Amsterdam space invaders in this set are numbered in order I found them. Amsterdam has been officially invaded 26 times by Invader in the Summer of 1999 (total score 280 points).

3D, San Francisco - California Street Cable Railway - Cable Car #21 in Travel Town, Griffith Park, Los Angeles, California, 2009.07.19 15:44 by Reverend Doctor Wizard ďIsney

1

[crosseye stereograph, see 3D with your right eye on the left image, and left on right.]

CABLE CAR.

One of the famed San Francisco Cable Cars. The first cable car operated in 1873, and was developed by Andrew S. Hallidie. Three foot six inch gauge.

==================.

San Fransisco Municipal Railway #21

[A 55.04.04]

Just as it had a subway long ago - Los Angeles of the past boasted cable cars.

The first forms of public transit in Los Angeles were stagecoaches and wagons. Two omnibus-type wagons were set up for operation on a set schedule in 1873, and not too long after that, the first horse-drawn street cars finally made an appearance on the streets of Los Angeles. The next step in the mechanical evolution of mass transit was the cable car. Pulling small railroad cars along with a cable or steel rope had been used in San Francisco for many years before investors tried the technology in Los Angeles. With the most desirable residential subdivisions being laid out atop the rolling hills of the Los Angeles basin, cable car technology was a smart and efficient way to provide commuter access to the hilltops.

Use of cable cars required an up-front investment in the cable and the cars of course, but also in electric power plants that supplied the power to run the cables.

Thereafter, cable cars were cheaper and cleaner to run simply because there were no horses to feed or clean up after. A cable railway could also offer safe group travel up an down steep hills which would have been too hard for horses. Cable cars were limited, however, to the length of a cable (10,000 or 20,000 feet). Even in the short run, this did not work well in the Los Angeles of the 1880s, which kept sprawling out further and further. Cable cars also used a huge amount of the electricity generated in the power plants.

.

This particular car came not from Los Angeles, but from the more famous city known for its cable cars, San Fransisco. In 1952, even before Travel Town formally opened, founder Charley Atkins asked the Mayor of San Francisco for a cable car to display, but was told, with apology, that cable cars could not be sold or given away. Three years later, a solution was found: a cable car was placed on loan as the center piece of the 1955 International Flower Show in Los Angeles. Afterwards, it moved to permanent loan at Travel Town.

.

This car is also a good example of a type of early in-town passenger car called a "California" car, with some interior space. inside a compartment, and other benches open to the weather, this type of exposure was not practical in most areas of the country besides California.

.

BUILT: C. 1880.

LENGTH: 30'.

GAUGE: 3' 6".

PERMANENT LOAN: CITY OF SAN FRANCISCO.

==========.

This car differs from those still in daily service. It has long boards attached to the sides like shelves, for a problem that no longer exists, they are fenders to protect the curved sides of the car from wagon wheels. Wagon wheel fenders are unnecessary today. The bumpers on the end sill are narrow and relatively unprotected, whereas today's Cable Cars are operating in the midst of six and seven thousand pound personal automobiles, as well as much more massive buses and trucks. At the turn of the 20th century, horse drawn carts and carriages were not as likely, in a collision, to reduce a cable car to splinters so there are now tremendous wooden bumpers built up and covered with thick steel straps rolled tight on each end to thicken them. One problem remains from the past, lights. Not only for safety, headlights and tail lights, but lamps inside for general illumination are required, and those are powered by batteries under the seats. Many more batteries were added under the seats for the small fleet of San Francisco Cable Cars that were powered along by electric motors, operated at Knott's Berry Farm, in Buena Park, California, and many more panels covered them. This cable car has those extra wooden panels that most San Francisco cars do not cover the underside of every seat. There is another indicator told me late one night between parking Cable Cars at the Car Barn in San Fransisco by the turntable operator. The Cable Car conversions that had been at Knott's Berry Farm, which had been used for a short time in San Francisco after the great earthquake, came originally from Oakland and ran on roads that were straight from end to end, the support from the trucks reflected that. The trucks in service today must twist very tight curves, the tightest curves are nearest the powerhouse/yard/museum. The bolsters under the frame are flat iron pads cut in a curve that rest on the trucks supporting the frame, and those curves are cut larger on the cars built for the current system. Also the underside of the cars have many points of interference with the trucks on those tight curves. Because the cars were rejected when Knott's offered them back, primarily because the wheel flanges couldn't clear the frame, and knowing that the cars went SOMEWHERE, (one was put on a truck frame) leads me to believe that the discrepancy of the number on the Travel Town sign (#21) doesn't match the number painted on the end which is a number known to have run at Knott's (#28) leads me to believe that this may be a car I rode as a child through the Knott's parking lot to get to the Henry's Auto Livery and drive Tin Lizzie's, from the barn at the North-West corner of Beach Bl. and Crescent.

On the cars in service today, there is a metal plate protecting the front of this truck assembly from debris which could damage running gear and brakes. The hole in the center of that plate must be to access the nut shown here in the center, to tighten the brake bar.

dsc00013, 2009:07:19 15:44:52, 3D, R, Los Angeles, Griffith Park, Travel Town, Cable Car, San Francisco Municipal Railway #21

A Grand Day Out by Matthew Wells

Would you like a take a shortcut to a specific Gromit?

The Charm of Cinderella by Matthew Wells

Shortcuts to All 45 Sculpture of the 2017 York Ice Trail:-

Other York Ice Trails Include:-

2025 | 2023 | 2022 | 2020 | 2019 | 2016

Sugar Plum by Matthew Wells

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INF 10-41-12 by The National Archives UK

4

Description: Barbados. 'Queen's College, Barbados'. [A singing lesson in the main hall]. Photograph No CMD 118282 Official Barbados photograph compiled by Central Office of Information.

Location: Barbados

Date: 1964 Jun 21

Our Catalogue Reference: INF 10/41/12

This image is part of the Central Office of Information's photographic collection held at The National Archives, uploaded as part of the Caribbean Through a Lens project.

We need your help to fill in the gaps, to unearth the missing stories, the social and cultural memories from this selection of colonial recordings.

Do you recognise anything or anyone in the photographs?

Do they provoke any personal or historical memories?

If so, please leave your comments, tags and stories to enrich our records.

If you would like to get involved in our community project Caribbean through a lens, we would love to hear from you.

For high quality reproductions of any item from our collection please contact our image library

BSAP 21-B class by U.S. Army War College

BSAP students brief Maj. Gen. Stephen Maranian, Commandant of the Army War College on a wargame scenario. 8/13/21

Outfit: 24.5.2015 by Hilde Heyvaert

Hairband: Veritas

Glasses: Theo

Black top: Forever 21

Dapper octopus top: Friendly Oak

Belt: LaRedoute

Shorts:H&M

Crocodile print socks: TopShop

Boots: Sacha

Accessories: Il mezzometro, Fossil, handmade

No unauthorized use, reproduction or distribution without prior permission.

~ Mecánicas Celestes ~ Wheel of Fortune by Miss Aster

6 13

10/21

Proyecto Mecanica Celeste

Aunque los hombres se jacten de sus grandes acciones, muchas veces no son el resultado de un gran designio, sino puro efecto del azar.

François de la Rochefoucauld

¿La quieres ver más grande?

En Fondo Negro

En Fondo Blanco

La versión de Carmen Moreno Aqui

Redcliff Quay & What a Wind Up by Matthew Wells

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Italian myrmecofauna 2025 by Elena Regina

1

[9 sff, 21 tbb, 51 + †3 gg, 72 + †3 sgg, 279 + †14 spp]

[♁: 17 + †6 sff, 38 + †6 tbb, 345 + †166 gg, 14,056 + †764 spp]

Illustration for a comparative ecophylogenetic analysis of local myrmecofaunas, based on r/K selection theory and intra / interspecific parabiosis / lestobiosis, particularly focused on allochthonous and invasive species.

High selective pressure, mainly due to inter / intraspecific competition and saturation of ecological niches by the autochthonous populations in natural, "undisturbed" (biologically differentiated) habitats is a major cause of the invasive and synanthropic drift of allochthonous species towards "disturbed" habitats. Do the allochthonous always tend to avoid and delete biodiversity anyway? Or, at least in some cases, are they able to stimulate the increase of biodiversity in the environments in which they settle, through parabiosis and lestobiosis?

____________________________________________________

Table 1. 250+19 ISO3166-1A2 regions with total # of extant unsplitted ant spp+sspp & gg, spp/gg ratios (s), specific & generic local densities (sd, gd); antweb [1] + antwiki [2] data interpolation.

REFERENCES

E.G.F. Regina 2025: Italian myrmecofauna 2025.

E.G.F. Regina 2019: Global BioGeographic Synoptic Table®.

E.G.F. Regina 2019: Expanded¹ Taxonomic Notation®.

NOTES

1. In this particular context the term expanded implies exclusively an itemized normalization of the contents already present in the current standard taxonomic notation with no additional contents.

OA · antbase · antcat antweb · antwiki · keyants · academia.e · scholar · bio.b · bdlibrary · PLOS1 · RSB · EJE · BGF · MN · b-systems · r-gate · iN · c-cafe · palæos · peerj · d-life · fauna-eu taxonomicon · taxonomicum · biolib · Dominium · Supertree · OToLW · SN2K · fauna-i2K3 · ITIS · ws · moreaulab · semanticscholar · UFBIR 2005 · Evolutionary history of life · Task allocation & partitioning of social insects · Patterns of self-organization in ants · Nature+Life TL · ION · insecta.pro · dipterists.org · MikesInsectKeys

Original entomonet design (f L1600*):

a, Zytel ⌒ ⌀6L860 ab₁-ab₁L15☍. b₁, b₂, Ti ac☌ ⌀7L55 1⌈♀b⌖c⌖L20↑b⌖c⌖W4⟳. c₁, c₂, Ti sh ⌀6L370 ∠c₁ec₂100° r15r9 @c₁⇥-c₂⇥L12-L24 b₁c₁-b₂c₂L40⌈ c₁d☍ c₂dqr; 1 Ti c⊥ bc⌈ ♂π ⌀2L0.8 cπ☍. d, Ti c₁ec₂ ☌ ⌀12L30 d♂e♀ M12×2 c₁⌖-c₂⌖d⇥ L7-L15. e, Ti handle ⌀20L500T2 1♀♂M12×2. NOTES: ⌖, center; ⇥, end; ⟳, clockwise; ☌, connector; π, pin; ☍, permanent ☌; ⌈, bayonet; f, frame; sh, straight hoop.

3D, San Francisco - California Street Cable Railway - Cable Car #21 in Travel Town, Griffith Park, Los Angeles, California, 2009.07.19 15:38 by Reverend Doctor Wizard ďIsney

1

[crosseye stereograph, see 3D with your right eye on the left image, and left on right.]

CABLE CAR.

One of the famed San Francisco Cable Cars. The first cable car operated in 1873, and was developed by Andrew S. Hallidie. Three foot six inch gauge.

==================.

San Fransisco Municipal Railway #21

[A 55.04.04]

Just as it had a subway long ago - Los Angeles of the past boasted cable cars.

The first forms of public transit in Los Angeles were stagecoaches and wagons. Two omnibus-type wagons were set up for operation on a set schedule in 1873, and not too long after that, the first horse-drawn street cars finally made an appearance on the streets of Los Angeles. The next step in the mechanical evolution of mass transit was the cable car. Pulling small railroad cars along with a cable or steel rope had been used in San Francisco for many years before investors tried the technology in Los Angeles. With the most desirable residential subdivisions being laid out atop the rolling hills of the Los Angeles basin, cable car technology was a smart and efficient way to provide commuter access to the hilltops.

Use of cable cars required an up-front investment in the cable and the cars of course, but also in electric power plants that supplied the power to run the cables.

Thereafter, cable cars were cheaper and cleaner to run simply because there were no horses to feed or clean up after. A cable railway could also offer safe group travel up an down steep hills which would have been too hard for horses. Cable cars were limited, however, to the length of a cable (10,000 or 20,000 feet). Even in the short run, this did not work well in the Los Angeles of the 1880s, which kept sprawling out further and further. Cable cars also used a huge amount of the electricity generated in the power plants.

.

This particular car came not from Los Angeles, but from the more famous city known for its cable cars, San Fransisco. In 1952, even before Travel Town formally opened, founder Charley Atkins asked the Mayor of San Francisco for a cable car to display, but was told, with apology, that cable cars could not be sold or given away. Three years later, a solution was found: a cable car was placed on loan as the center piece of the 1955 International Flower Show in Los Angeles. Afterwards, it moved to permanent loan at Travel Town.

.

This car is also a good example of a type of early in-town passenger car called a "California" car, with some interior space. inside a compartment, and other benches open to the weather, this type of exposure was not practical in most areas of the country besides California.

.

BUILT: C. 1880.

LENGTH: 30'.

GAUGE: 3' 6".

PERMANENT LOAN: CITY OF SAN FRANCISCO.

==========.

This car differs from those still in daily service. It has long boards attached to the sides like shelves, for a problem that no longer exists, they are fenders to protect the curved sides of the car from wagon wheels. Wagon wheel fenders are unnecessary today. The bumpers on the end sill are narrow and relatively unprotected, whereas today's Cable Cars are operating in the midst of six and seven thousand pound personal automobiles, as well as much more massive buses and trucks. At the turn of the 20th century, horse drawn carts and carriages were not as likely, in a collision, to reduce a cable car to splinters so there are now tremendous wooden bumpers built up and covered with thick steel straps rolled tight on each end to thicken them. One problem remains from the past, lights. Not only for safety, headlights and tail lights, but lamps inside for general illumination are required, and those are powered by batteries under the seats. Many more batteries were added under the seats for the small fleet of San Francisco Cable Cars that were powered along by electric motors, operated at Knott's Berry Farm, in Buena Park, California, and many more panels covered them. This cable car has those extra wooden panels that most San Francisco cars do not cover the underside of every seat. There is another indicator told me late one night between parking Cable Cars at the Car Barn in San Fransisco by the turntable operator. The Cable Car conversions that had been at Knott's Berry Farm, which had been used for a short time in San Francisco after the great earthquake, came originally from Oakland and ran on roads that were straight from end to end, the support from the trucks reflected that. The trucks in service today must twist very tight curves, the tightest curves are nearest the powerhouse/yard/museum. The bolsters under the frame are flat iron pads cut in a curve that rest on the trucks supporting the frame, and those curves are cut larger on the cars built for the current system. Also the underside of the cars have many points of interference with the trucks on those tight curves. Because the cars were rejected when Knott's offered them back, primarily because the wheel flanges couldn't clear the frame, and knowing that the cars went SOMEWHERE, (one was put on a truck frame) leads me to believe that the discrepancy of the number on the Travel Town sign (#21) doesn't match the number painted on the end which is a number known to have run at Knott's (#28) leads me to believe that this may be a car I rode as a child through the Knott's parking lot to get to the Henry's Auto Livery and drive Tin Lizzie's, from the barn at the North-West corner of Beach Bl. and Crescent.

On the cars in service today, there is a metal plate protecting the front of this truck assembly from debris which could damage running gear and brakes. The hole in the center of that plate must be to access the nut shown here in the center, to tighten the brake bar.

dsc00011, 2009:07:19 15:38:57, 3D, Los Angeles, Griffith Park, Travel Town, Cable Car, San Francisco Municipal Railway #21

today's "going out with a bang!" outfit by Evany Thomas

5 3

Long, stretchy shirt thing: Forever 21.

Skinny black pants: Bought on super-sale from Banana Republic.

My reluctantly worn wool swing coat: The Gap. (It's May! Why am I having to wear wool coats in summer? Why? Curse you, mercurial Bay Area weathers!)

Tuff-nut boots: I got these almost ten years ago at Nine West and I've worn them almost constantly ever since, yet they show bogglingly little wear? I think they're bewitched, maybe.

Same green pockety purse: H&M Japan.

Amazing, amazing articulated fish tie necklace: I got this one perfect day over ten years ago when my friend China took me to her dad's storage space company, where we were given first crack at a unit previously owned by an ex-B-movie actress who'd stopped paying rent on the space years previously. Thinking back on it, I'm sad and curious over that woman...what happened, did she go crazy? Pass away? Time machine mishap? But at the time, I was in no shape to ask questions as I was way too blinded by her collection of costume jewels (I'm ill, now, over all the sets we broke up, taking bracelets but leaving necklaces, taking earrings but leaving bracelets, ugh) and platform purple pumps (which I later sold for big dollars at Buffalo Exchange) and beaded eye-glass cases (still use those) and this amazing fish necklace.

My brand new bangs: Courtesy of the amazing Jules at the Dekko Salon in SF's Dog Patch.

3D, San Francisco Cable Car, Calfornia Street Cable Railway No. #21, Los Angeles, Griffith Park, Travel Town, 2009.07.19 15:55 by Reverend Doctor Wizard ďIsney

[crosseye stereograph, see 3D with your right eye on the left image, and left on right.]

CABLE CAR.

One of the famed San Francisco Cable Cars. The first cable car operated in 1873, and was developed by Andrew S. Hallidie. Three foot six inch gauge.

==================.

San Fransisco Municipal Railway #21

[A 55.04.04]

Just as it had a subway long ago - Los Angeles of the past boasted cable cars.

The first forms of public transit in Los Angeles were stagecoaches and wagons. Two omnibus-type wagons were set up for operation on a set schedule in 1873, and not too long after that, the first horse-drawn street cars finally made an appearance on the streets of Los Angeles. The next step in the mechanical evolution of mass transit was the cable car. Pulling small railroad cars along with a cable or steel rope had been used in San Francisco for many years before investors tried the technology in Los Angeles. With the most desirable residential subdivisions being laid out atop the rolling hills of the Los Angeles basin, cable car technology was a smart and efficient way to provide commuter access to the hilltops.

Use of cable cars required an up-front investment in the cable and the cars of course, but also in electric power plants that supplied the power to run the cables.

Thereafter, cable cars were cheaper and cleaner to run simply because there were no horses to feed or clean up after. A cable railway could also offer safe group travel up an down steep hills which would have been too hard for horses. Cable cars were limited, however, to the length of a cable (10,000 or 20,000 feet). Even in the short run, this did not work well in the Los Angeles of the 1880s, which kept sprawling out further and further. Cable cars also used a huge amount of the electricity generated in the power plants.

.

This particular car came not from Los Angeles, but from the more famous city known for its cable cars, San Fransisco. In 1952, even before Travel Town formally opened, founder Charley Atkins asked the Mayor of San Francisco for a cable car to display, but was told, with apology, that cable cars could not be sold or given away. Three years later, a solution was found: a cable car was placed on loan as the center piece of the 1955 International Flower Show in Los Angeles. Afterwards, it moved to permanent loan at Travel Town.

.

This car is also a good example of a type of early in-town passenger car called a "California" car, with some interior space. inside a compartment, and other benches open to the weather, this type of exposure was not practical in most areas of the country besides California.

.

BUILT: C. 1880.

LENGTH: 30'.

GAUGE: 3' 6".

PERMANENT LOAN: CITY OF SAN FRANCISCO.

==========.

This car differs from those still in daily service. It has long boards attached to the sides like shelves, for a problem that no longer exists, they are fenders to protect the curved sides of the car from wagon wheels. Wagon wheel fenders are unnecessary today. The bumpers on the end sill are narrow and relatively unprotected, whereas today's Cable Cars are operating in the midst of six and seven thousand pound personal automobiles, as well as much more massive buses and trucks. At the turn of the 20th century, horse drawn carts and carriages were not as likely, in a collision, to reduce a cable car to splinters so there are now tremendous wooden bumpers built up and covered with thick steel straps rolled tight on each end to thicken them. One problem remains from the past, lights. Not only for safety, headlights and tail lights, but lamps inside for general illumination are required, and those are powered by batteries under the seats. Many more batteries were added under the seats for the small fleet of San Francisco Cable Cars that were powered along by electric motors, operated at Knott's Berry Farm, in Buena Park, California, and many more panels covered them. This cable car has those extra wooden panels that most San Francisco cars do not cover the underside of every seat. There is another indicator told me late one night between parking Cable Cars at the Car Barn in San Fransisco by the turntable operator. The Cable Car conversions that had been at Knott's Berry Farm, which had been used for a short time in San Francisco after the great earthquake, came originally from Oakland and ran on roads that were straight from end to end, the support from the trucks reflected that. The trucks in service today must twist very tight curves, the tightest curves are nearest the powerhouse/yard/museum. The bolsters under the frame are flat iron pads cut in a curve that rest on the trucks supporting the frame, and those curves are cut larger on the cars built for the current system. Also the underside of the cars have many points of interference with the trucks on those tight curves. Because the cars were rejected when Knott's offered them back, primarily because the wheel flanges couldn't clear the frame, and knowing that the cars went SOMEWHERE, (one was put on a truck frame) leads me to believe that the discrepancy of the number on the Travel Town sign (#21) doesn't match the number painted on the end which is a number known to have run at Knott's (#28) leads me to believe that this may be a car I rode as a child through the Knott's parking lot to get to the Henry's Auto Livery and drive Tin Lizzie's, from the barn at the North-West corner of Beach Bl. and Crescent.

dsc00025, 2009:07:19 15:55:11, 3D, Los Angeles, Griffith Park, Travel Town, Cable Car, San Francisco Municipal Railway #21

ey402-elbise-7342-21-B by Марина Я

Gromit Unleashed: Golden Gromit by Matthew Wells

Would you like a take a shortcut to a specific Gromit?

Nikon F-801 by Süleyman (Deceased 04.2012)

my veteran camera, I used it for 14 years

Manufactured by Nikon Corporation, Japan

Model: c.1990, (produced between 1988-1991)

35mm film SLR camera, Integral-motor autofocus, and fully electronic / manual use

BODY

Lens release: button on the left side of the lens mount

Focus modes: Autofocus and Manual with electronic rangefinder by the ring and scale window on the lens

Autofocus modes: Single servo AF with focus priority and continous servo AF with release priority, selector on the left of the lens mount

AF detection system: TTL phase detection system - Nikon Advanced AM200 module

AF detection range: EV minus 1 to EV 19 at ISO 100.

AF lock: Possible in single servo AF mode once a stationary subject is in focus as long as the shutter button is depressed; in continuous servo AF, button on the right lower side of the lens mount

Electronic rangefinder: Available in manual focus mode with an AF Nikkor and other

AI-type Nikkor lenses with a maximum aperture of f/5.6 or faster

Depth of Field preview button: on the right side of the lens mount

Shutter: Electromagnetically controlled vertical-travel focal-plane metal shutter,

speeds: 30 - 1/8000 +B, speed setting: automatic or manual by the dial on the top plate

Shutter release: By motor trigger, automatic motor drive winding and cocking, knob on the hand-grip (battery chamber) of the camera

Frame counter: Additive type, counts back while film is rewinding, auto-resets

LCD panel information: Shutter speed, aperture, exposure mode, metering system, film speed, DX mark, electronic analogue display, exposure compensation mark, frame counter/self timer/multiple exposure, exposure compensation value, film advance mode, film loading, film rewind, self timer, panel on the right of the top plate

Command input control dial: a thumb wheel, on the right of the top plate

Viewfinder/LCD panel illumination: by pressing button on the back side of the top plate

Viewfinder: Fixed eyelevel SLR pentaprism, high-eyepoint type, w/ Eyepiece hood

Focusing Screen: Fixed Nikon advanced B-type Bright-View screen,

interchangeable with E-type screen

Viewfinder information: Focus indications, exposure mode, shutter speed/ISO, aperture/exposure compensation, electronic analogue display, exposure compensation mark and flash-ready are all shown in LCD readout,

also shows flash recommended/ready light LEDs

Exposure meter: Matrix metering, centre-weighted metering (75/25) and spot metering, selection button on the left of the top plate,

Activates by lightly pressing the shutter release button, stays on for approx. 8 sec. after finger leaves button

Film speed range: 6-6400 ASA, setting: DX code or by manual override, setting by the LCD display and the mode knob on the multi-settings dial on the left of the top plate

Metering range: EV 0 to 21

Exposure modes: Fully Programmed auto-multi, shutter priority auto, aperture priority auto and manual, setting by the LCD display and the mode knob on the multi-settings dial on the left of the top plate

Programmed auto exposure control: Both shutter speed and aperture are set

automatically, 1 EV increments of aperture is possible

Activated by lightly pressing the shutter release button, stays on for approx. 8 sec after finger leaves button

Exposure compensation: within +/- 5 EV range in 1/3 EV steps, button on the front of the LCD display

Auto exposure lock: By sliding the AE-L lever on the back side of the top plate, while the meter is on

Multiple exposure button: the knob on the multi-settings dial on the left of the top plate coupled with rewind release button, up to 9 exposures can be set

Film loading: Film automatically advances to first frame when shutter release button is depressed once

Film advance: In single-frame shooting mode, film automatically advances one frame when shutter is released; in continuous high or continuous low shooting modes, shots are taken as long as shutter release button is depressed; high speed 3.3 fps; low 2.0 fps., setting by the LCD display and the mode knob on the multi-settings dial on the left of the top plate

Film rewind: By simultaneously pressing buttons with red rewind markings in front of the LCD display and the knob on the multi-settings dial on the left of the top plate,

rewind stops auotomatically when film is rewound

Hot-shoe, Flash synch. X, 1/60 to 1/250

Self-timer: Electronically controlled; timer duration selectable from 2 to 30 seconds in one second increments, blinking red LED on the front of the hand grip, indicates self-timer operation, cancellable, button on the left of the top plate

Remote control terminal: on the left-front side of the camera, w/ a lid

Back cover: Hinged, interchangeable with Nikon Multi-Control Back MF-21 or World Time Data Back MF-20, w/ film cartridge confirmation window

Tripod socket: 1/4''

Strap lugs

Body: Weight: 695g, wo/ lens

Battery: 4 AA alkaline batteries, battery chamber opens by a screw on the right bottom side of the camera and the battery holder slides out

On/off switch: on the right of the top plate

Engraving on the bottom plate: Made in Japan and serial no. 2092349

LENS

AF Nikkor 24-50mm f/3.3 - f/4.5, filter thread 62mm, serial no…

Mount: Nikon F bayonet

Zooming: manual, the ring and scale on the lens

Aperture: f/3.3-f/22, setting: auto or manual by the ring and scale on the lens,

w/ a lock button on it, locks at f/22

Focus range: 0.6-10m + inf, with macro

Produced between 1987-95

More info:

20160330_19111701-Edit.jpg by Les Stockton

Christophe Lalancette (22), Kris Lazaruk (35), Teigan Zahn (18), Giffen Nyren (21)

P r i n t Q u a l i t y V e r s i o n s A v a i l a b l e

No. 67: It's Kraken, Gromit! by Filthy Luker by Matthew Wells

Would you like a take a shortcut to a specific Gromit?

NASA HiMAT - thanks nnenn! by peterlmorris

1 25

OK. So I'm watching UFO Hunters on the DVR (the only way to watch TV; no commercials FTW!), and they have this rapid montage of aircraft: SR-71, something that looks like a Kfir, an F-117, an old E-3, this thing above, an F-15, and an F-106.

It's only onscreen for a few seconds, during which it is rolling to port. At the very end another wingtip comes into view, which made me think that it's an X-plane. Turns out it was the moon. But I couldn't find one that matches.

I also thought it looked an awful lot like the MiG 1.44 (and a few other canard aircraft.

But nothing seems to match. It looks like something Burt Rutan would design, if he build jet-powered fighter aircraft.

I really want to know what this is, because I just have never seen it before. Or if I have, not from this angle.

Also, it would make a cool MOC.

EDIT: Oh hey, I found the video of it on the intertubes. On this page you can see it in the third video, at around 3:18-3:21.

EDIT: I replaced the sketch with a screen cap of the stupid thing.

Second Lieutenant James Douglas Herbert Farmer 9th Battery 41st Brigade RFA 1914 by Moominpappa06

1

Farmer, James Douglas Herbert………………………….(RoH)

Second Lieutenant. 9th Bty. 41st Bde., Royal Field Artillery. Killed in action Wednesday 4 November 1914. Age 21. Son of James Herbert and Edith Gertrude Farmer, of "Fairfield," Mundesley, Norfolk. Commemorated: YPRES (MENIN GATE) MEMORIAL, Ieper, West-Vlaanderen, Belgium. Panel 5 and 9.

www.roll-of-honour.com/Norfolk/Mundesley.html

CWGC www.cwgc.org/find-war-dead/casualty/1611982/FARMER,%20JAM...

Medal Index Card for Second Lieutenant James Douglas Herbert Farmer of the Royal Field Artillery.

discovery.nationalarchives.gov.uk/SearchUI/Details?uri=D2...

There is a picture of James on Norlink

norlink.norfolk.gov.uk/02_Catalogue/02_013_PictureTitleIn...

The picture has whats looks like a clipping attached,

“FARMER - Killed in action, on 4th November, Second Lieut. James Douglas Herbert Farmer, Royal Artillery, the dearly loved second son of James Herbert Farmer of “Fairfield”, Mundesley, Norfolk and grandson of the late James Farmer Esq. J P and the late Sir George Harris J.P. L.C.C, aged 21”

Underneath is a hand-written note - “Gazetted July 1913”.

James Douglas Herbert has an entry in De Ruvigny’s

There is a separate memorial in the church.

To the Glory of God

And in Loving Memory Of

James Douglas Herbert Farmer

2nd Lieut. 9th Battery.41st Brigade.

Royal Field Artillery.

Second son of

James Herbert and Edith Gertrude farmer

Fairfield, Mundesley.

Killed in Action near Ypres, Belgium

On 4th November 1914.

Aged 21.

Census

I struggled to find the family on the 1901 census. By the time of the 1911 census I’m still not able to find this man, (probably at boarding school perhaps), but I can find his parents. James Herbert, aged 47 is a Solicitor originally from St Andrews, Fife and Edith Gertrude, aged 46 and from Nassau in the Bahamas. They do have a son living with them, George Adderley Herbert, a 21 year old Chartered Accountants Clerk from Paddington, London.. They were recorded at Faiirfield, Mundesley. . James Herbert and Edith have been married 22 years and have 5 children, all then still alive.

I therefore took another look and found James Douglas Herbert Farmer, aged 18 and born Paddington, who was recorded as a Boarder at The High House School, Brook Green, Hammersmith, London.

There is a picture of James and family, stated to have been taken in the back garden of their house at Mundesley.

www.iwm.org.uk/collections/item/object/205026085

Notes there are Lt Farmer was the second of five service sons of Lieutenant J H Farmer (late attached officer, War Office) and Mrs Farmer (District Representative of the Red Cross Society and member of the War Agricultural Committee).

James was educated at the Royal Military Academy, Woolwich and gazetted as second lieutenant to the Royal Field Artillery in 1913. On the outbreak of war, he was posted to the Western Front with 9th Battery, 41st Brigade.

Lt Farmer was killed in action, aged 21, on 4 November 1914. He is commemorated on the Ypres (Menin Gate) Memorial and buried at Eksternest cemetery.

Photo also shows: Lieutenant F S H Farmer (Special Reserves of Officers, 3rd Attached and 2nd Norfolks); Lieutenant L G H Farmer (Royal Navy, served on HMS Colossus in the North Sea and Flag Lieutenant to Naval Commander in Chief, East Indies); Lieutenant C R H Farmer (18th Hussars, Motor Machine Guns Section) and G A H Farmer (Honourable Artillery Company).

He was born 2 Dec 1892.

Working through the other names above, there are Medal Index Cards for

Frederick Spencer Herbert, initially Second Lieutenant than Lieutenant, 3rd Battalion attached 2nd Battalion, Norfolk Regiment before becoming a Lieutenant with the 17th Special battalion , (which is a new unit on me and doesn’t appear in any of the normal lists).

discovery.nationalarchives.gov.uk/SearchUI/Details?uri=D2...

Charles Robert Herbert, initially Second Lieutenant, 15th Hussars before becoming a Lieutenant in the 18th Hussars and attached to the Motor Machine Gun Section.

discovery.nationalarchives.gov.uk/SearchUI/Details?uri=D2...

No obvious candidate for the Naval Officer either in the normal service or the Volunteer Reserve..

As we have a George Adderley Herbert on the 1911 census, he would be a prime candidate for the Honourable Artillery Company man. There is a George A H Farmer who was Private 12420 Honourable Artillery Company Infantry.

discovery.nationalarchives.gov.uk/SearchUI/Details?uri=D2...

Bun in the Oven, no make that 2! by Decepticreep

1 4

Ok, what I wanna know is this: with all of the super advanced technology they possess in the Star Wars Galaxy, how come nobody could tell she was carrying twins until she's about to give birth? Did Padme miss all her appointments with her 21-B medical droid? Forget technology for a minute, a better question is how come all the Jedi this lady hangs out with couldn't sense this? Especially Anakin who is supposed to be the most powerful of them all and is her HUSBAND? In Episode 2 he tells Obi-Wan he can sense everything going on in Padme's bedroom (sigh, how often have I wished that I could sense everything going on in Natalie Portmans bedroom!) when he's standing in her living room, but the dude can't sense that there are 2 babies growing in there when he's shacking up with her in the same bed every night? Yet it's obvious that Vader doesn't even know he has another kid until he reads it from Luke's mind in Return of the Jedi. And what about Obi-wan and Yoda, also some pretty darned powerful Jedi, who happen to be the ones who bring her to hospital, yet they act all shocked when they're told she has twins? If the force is supposed be a field that connects all living things and Luke and Leia are so strong in it, you'd think the guys whose entire job is to connect with the force all the time ( and can sense someone's death or pain from thousands of light years away) would have more of a clue about the situation with the twins that are inside someone's body a few feet away from them!

Elmdale Public School, St. Thomas- Leave For Expo '67 by Elgin County Archives

1

Title: Thirty-seven students of Elmdale School left by Charterways bus in May 1967 to pay a two-day visit to Expo 67. A Times-Journal reporter-photographer accompanied the group and would photograph and report on the students when he returned.

Creator(s): St. Thomas Times-Journal

Bygone Days Publication Date: May 31, 2012

Original Publication Date: May 3, 1967

Reference No.: C8 Sh5 B2 F13 21

Credit: Elgin County Archives, St. Thomas Times-Journal fonds

Cable Car, San Fransisco Municipal Railway #21 info card, Travel Town, Griffith Park, Los Angeles, California, 2009.07.19 15:42 by Reverend Doctor Wizard ďIsney

1

CABLE CAR.

One of the famed San Francisco Cable Cars. The first cable car operated in 1873, and was developed by Andrew S. Hallidie. Three foot six inch gauge.

==================.

San Fransisco Municipal Railway #21

[A 55.04.04]

Just as it had a subway long ago - Los Angeles of the past boasted cable cars.

The first forms of public transit in Los Angeles were stagecoaches and wagons. Two omnibus-type wagons were set up for operation on a set schedule in 1873, and not too long after that, the first horse-drawn street cars finally made an appearance on the streets of Los Angeles. The next step in the mechanical evolution of mass transit was the cable car. Pulling small railroad cars along with a cable or steel rope had been used in San Francisco for many years before investors tried the technology in Los Angeles. With the most desirable residential subdivisions being laid out atop the rolling hills of the Los Angeles basin, cable car technology was a smart and efficient way to provide commuter access to the hilltops.

Use of cable cars required an up-front investment in the cable and the cars of course, but also in electric power plants that supplied the power to run the cables.

Thereafter, cable cars were cheaper and cleaner to run simply because there were no horses to feed or clean up after. A cable railway could also offer safe group travel up an down steep hills which would have been too hard for horses. Cable cars were limited, however, to the length of a cable (10,000 or 20,000 feet). Even in the short run, this did not work well in the Los Angeles of the 1880s, which kept sprawling out further and further. Cable cars also used a huge amount of the electricity generated in the power plants.

.

This particular car came not from Los Angeles, but from the more famous city known for its cable cars, San Fransisco. In 1952, even before Travel Town formally opened, founder Charley Atkins asked the Mayor of San Francisco for a cable car to display, but was told, with apology, that cable cars could not be sold or given away. Three years later, a solution was found: a cable car was placed on loan as the center piece of the 1955 International Flower Show in Los Angeles. Afterwards, it moved to permanent loan at Travel Town.

.

This car is also a good example of a type of early in-town passenger car called a "California" car, with some interior space. inside a compartment, and other benches open to the weather, this type of exposure was not practical in most areas of the country besides California.

.

BUILT: C. 1880.

LENGTH: 30'.

GAUGE: 3' 6".

PERMANENT LOAN: CITY OF SAN FRANCISCO.

==========.

This car differs from those still in daily service. It has long boards attached to the sides like shelves, for a problem that no longer exists, they are fenders to protect the curved sides of the car from wagon wheels. Wagon wheel fenders are unnecessary today. The bumpers on the end sill are narrow and relatively unprotected, whereas today's Cable Cars are operating in the midst of six and seven thousand pound personal automobiles, as well as much more massive buses and trucks. At the turn of the 20th century, horse drawn carts and carriages were not as likely, in a collision, to reduce a cable car to splinters so there are now tremendous wooden bumpers built up and covered with thick steel straps rolled tight on each end to thicken them. One problem remains from the past, lights. Not only for safety, headlights and tail lights, but lamps inside for general illumination are required, and those are powered by batteries under the seats. Many more batteries were added under the seats for the small fleet of San Francisco Cable Cars that were powered along by electric motors, operated at Knott's Berry Farm, in Buena Park, California, and many more panels covered them. This cable car has those extra wooden panels that most San Francisco cars do not cover the underside of every seat. There is another indicator told me late one night between parking Cable Cars at the Car Barn in San Fransisco by the turntable operator. The Cable Car conversions that had been at Knott's Berry Farm, which had been used for a short time in San Francisco after the great earthquake, came originally from Oakland and ran on roads that were straight from end to end, the support from the trucks reflected that. The trucks in service today must twist very tight curves, the tightest curves are nearest the powerhouse/yard/museum. The bolsters under the frame are flat iron pads cut in a curve that rest on the trucks supporting the frame, and those curves are cut larger on the cars built for the current system. Also the underside of the cars have many points of interference with the trucks on those tight curves. Because the cars were rejected when Knott's offered them back, primarily because the wheel flanges couldn't clear the frame, and knowing that the cars went SOMEWHERE, (one was put on a truck frame) leads me to believe that the discrepancy of the number on the Travel Town sign (#21) doesn't match the number painted on the end which is a number known to have run at Knott's (#28) leads me to believe that this may be a car I rode as a child through the Knott's parking lot to get to the Tin Lizzie's and drive, from the barn at the North-West corner of Beach Bl. and Cresent.CABLE CAR.

One of the famed San Francisco Cable Cars. The first cable car operated in 1873, and was developed by Andrew S. Hallidie. Three foot six inch gauge.

==================.

San Fransisco Municipal Railway #21

[A 55.04.04]

Just as it had a subway long ago - Los Angeles of the past boasted cable cars.

The first forms of public transit in Los Angeles were stagecoaches and wagons. Two omnibus-type wagons were set up for operation on a set schedule in 1873, and not too long after that, the first horse-drawn street cars finally made an appearance on the streets of Los Angeles. The next step in the mechanical evolution of mass transit was the cable car. Pulling small railroad cars along with a cable or steel rope had been used in San Francisco for many years before investors tried the technology in Los Angeles. With the most desirable residential subdivisions being laid out atop the rolling hills of the Los Angeles basin, cable car technology was a smart and efficient way to provide commuter access to the hilltops.

Use of cable cars required an up-front investment in the cable and the cars of course, but also in electric power plants that supplied the power to run the cables.

Thereafter, cable cars were cheaper and cleaner to run simply because there were no horses to feed or clean up after. A cable railway could also offer safe group travel up an down steep hills which would have been too hard for horses. Cable cars were limited, however, to the length of a cable (10,000 or 20,000 feet). Even in the short run, this did not work well in the Los Angeles of the 1880s, which kept sprawling out further and further. Cable cars also used a huge amount of the electricity generated in the power plants.

.

This particular car came not from Los Angeles, but from the more famous city known for its cable cars, San Fransisco. In 1952, even before Travel Town formally opened, founder Charley Atkins asked the Mayor of San Francisco for a cable car to display, but was told, with apology, that cable cars could not be sold or given away. Three years later, a solution was found: a cable car was placed on loan as the center piece of the 1955 International Flower Show in Los Angeles. Afterwards, it moved to permanent loan at Travel Town.

.

This car is also a good example of a type of early in-town passenger car called a "California" car, with some interior space. inside a compartment, and other benches open to the weather, this type of exposure was not practical in most areas of the country besides California.

.

BUILT: C. 1880.

LENGTH: 30'.

GAUGE: 3' 6".

PERMANENT LOAN: CITY OF SAN FRANCISCO.

==========.

This car differs from those still in daily service. It has long boards attached to the sides like shelves, for a problem that no longer exists, they are fenders to protect the curved sides of the car from wagon wheels. Wagon wheel fenders are unnecessary today. The bumpers on the end sill are narrow and relatively unprotected, whereas today's Cable Cars are operating in the midst of six and seven thousand pound personal automobiles, as well as much more massive buses and trucks. At the turn of the 20th century, horse drawn carts and carriages were not as likely, in a collision, to reduce a cable car to splinters so there are now tremendous wooden bumpers built up and covered with thick steel straps rolled tight on each end to thicken them. One problem remains from the past, lights. Not only for safety, headlights and tail lights, but lamps inside for general illumination are required, and those are powered by batteries under the seats. Many more batteries were added under the seats for the small fleet of San Francisco Cable Cars that were powered along by electric motors, operated at Knott's Berry Farm, in Buena Park, California, and many more panels covered them. This cable car has those extra wooden panels that most San Francisco cars do not cover the underside of every seat. There is another indicator told me late one night between parking Cable Cars at the Car Barn in San Fransisco by the turntable operator. The Cable Car conversions that had been at Knott's Berry Farm, which had been used for a short time in San Francisco after the great earthquake, came originally from Oakland and ran on roads that were straight from end to end, the support from the trucks reflected that. The trucks in service today must twist very tight curves, the tightest curves are nearest the powerhouse/yard/museum. The bolsters under the frame are flat iron pads cut in a curve that rest on the trucks supporting the frame, and those curves are cut larger on the cars built for the current system. Also the underside of the cars have many points of interference with the trucks on those tight curves. Because the cars were rejected when Knott's offered them back, primarily because the wheel flanges couldn't clear the frame, and knowing that the cars went SOMEWHERE, (one was put on a truck frame) leads me to believe that the discrepancy of the number on the Travel Town sign (#21) doesn't match the number painted on the end which is a number known to have run at Knott's (#28) leads me to believe that this may be a car I rode as a child through the Knott's parking lot to get to the Tin Lizzie's and drive, from the barn at the North-West corner of Beach Bl. and Crescent.

Los Angeles, Griffith Park, Travel Town, Cable Car, San Fransisco Municipal Railway #21, dsc00003, 2009:07:19 15:42:21

CHOU! - FESTIVAL VECINDARIO 24002 - 22 DE AGOSTO´21 by Juan Luis García

CHOU!

Espectáculo de clown de la compañía Fric à Frac a cargo de la artista portuguesa Catarina Mota que sin palabras habla de la ópera y el mundo artístico, pero también de la vida laboral desde la perspectiva de una mujer sencilla que hace la limpieza del teatro de su vida. ¿No podía ser ella también una de las artistas? Un espectáculo que juega con las perspectivas sociales y los roles jerárquicos de manera cómica y poética.

Tuvo lugar en el Parque Juan Morano, León, la mañana del domingo 22 de agosto´21.

Toda la info sobre el Festival Vecindario 24002 en Tam-Tam Press

FESTIVAL VECINDARIO 24002 - 20 A 22 DE AGOSTO´21

CHOU! - FESTIVAL VECINDARIO 24002 - 22 DE AGOSTO´21

A plain red bus, outside London by Andi North

3

YN17 ONF - 21

Irizar i3 in plain red livery for the Newbury vodafone contracted services.

- - -

Snapshots from the Reading Buses open day (1st July 2018) from their depot in Great Knollys Street. Included are also photos from the journey there & back from Southampton.

-----------------------------

Usage information:

To use these photos please contact @MangopearUK on Twitter or Facebook for permission, which will most likely be granted!

NEG-2022-21-B by ingmar jernberg

4

NEG-2022-21B Mina grannar med kompisar 1984

No. 38: Isambark Kingdog Brunel by Tim Miness by Matthew Wells

Would you like a take a shortcut to a specific Gromit?

Man, Woman, Child, Walking Hand in Hand, Paul Revere Mall by MIT-Libraries

1

Title

Man, Woman, Child, Walking Hand in Hand, Paul Revere Mall

Contributors

researcher: Gyorgy Kepes (American, 1906-2001)

researcher: Kevin Lynch (American, 1918-1984)

photographer: Nishan Bichajian (American, 20th century)

Date

creation date: between 1954-1959

Location

Creation location: Boston (Massachusetts, United States)

Repository: Rotch Visual Collections, Massachusetts Institute of Technology (Cambridge, Massachusetts, United States)

ID: Kepes/Lynch Collection, 57.21

Period

Modern

Materials

gelatin silver prints

Techniques

documentary photography

Type

Photograph

Copyright

(c) Massachusetts Institute of Technology

Access Statement

Creative Commons Attribution-NonCommercial 3.0

creativecommons.org/licenses/by-nc/3.0/

Identifier

KL_001224

DSpace_Handle

hdl.handle.net/1721.3/35033

Am Hof - Köln (Germany) by Perry Tak

5

KLN_21 [20 points]

This orange mutant near the Dom of Köln is missing in the 17 years after installation only 1 pixel in the right upper corner.

Corner Unter Taschenmacher.

Onscreen FlashInvaders message: + +

All my photos of KLN_21:

KLN_21 (Close-up, April 2024)

KLN_21 (Wide shot, April 2024)

Date of invasion: 13/02/2007 (world wide number 1875)

Tags 21.B

View allAll Photos Tagged 21.B