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Por motivos personales cierro mi pagina, ha sido bonito mientras ha durado, saludos a todos y a todas.
Free download under CC Attribution (CC BY 4.0). Please credit the artist and rawpixel.com.
Chromolithographic patterns from La Plante et ses Applications Ornementales (1896) by Maurice Pillard Verneuil (1869–1942), French artist and decorator in the Art Nouveau and Art Deco movement. Verneuil studied and developed his style from Eugène Grasset, a Franco-Swiss pioneer of Art Nouveau design. Inspired by Japanese art, nature and particularly the sea. He is known for his contributions to the Art Deco movement through the use of bold floral designs on ceramic tiles, wallpapers, textiles, and posters. We have digitally enhanced the decorative illustrations from La Plante et ses Applications Ornementales (1896) for you to download for free under the creative commons 0 license.
Higher resolutions with no attribution required can be downloaded: https://www.rawpixel.com/board/1267418/la-plante-et-ses-applications-ornementales-free-cc0-ornamental-designs
"Bliss Dance" is a forty-foot tall sculpture by local artist Marco Cochrane that has graced Treasure Island's Great Lawn since 2011. Displayed under a Use Permit between TIDA, the artist, and the Black Rock Arts Foundation (BRAF), Bliss Dance has inspired countless residents and visitors to the Island alike with it's grace and beauty (www.sftreasureisland.org/index.aspx?page=447).
The sculpture, of a dancing woman, stands 40 feet tall, weighs 7000 pounds and is ingeniously constructed of triangulated geodesic struts. By day, the dancer’s ‘skin’, made of stainless steal mesh, shimmers in the sun. By night, it alights brilliantly with a complex array of 1000 slowly changing l.e.d. colored lights. Viewers may interact with and manipulate the lighting effects with an iphone application. The dancer’s delicate, graceful form precariously balances on one foot, adding to the astonishing impression of imminent movement and lifelike presence (laughingsquid.com/bliss-dance-a-40-foot-tall-steel-sculpt...).
_DSC5098
LIGHT
Three speedlites: 1st in a brollybox (as main), 2nd and 3rd as kickers from left background and right background (one with a fstopperrs flashdisc, one with a piece of paper as some sort of Rogue Flashbender or bouncecard or so)
EXIF
5d3, with 70-200 f/2.8 at f/5.6, 100 mm, 1/125 sec, ISO 100. Raw.
TRICKS
I had no boom arm available, so I mounted a lightweight lightstand on a sturdy one, using a Manfrotto Superclamp. Worked really well :-)
Free download under CC Attribution (CC BY 4.0). Please credit the artist and rawpixel.com.
Chromolithographic patterns from La Plante et ses Applications Ornementales (1896) by Maurice Pillard Verneuil (1869–1942), French artist and decorator in the Art Nouveau and Art Deco movement. Verneuil studied and developed his style from Eugène Grasset, a Franco-Swiss pioneer of Art Nouveau design. Inspired by Japanese art, nature and particularly the sea. He is known for his contributions to the Art Deco movement through the use of bold floral designs on ceramic tiles, wallpapers, textiles, and posters. We have digitally enhanced the decorative illustrations from La Plante et ses Applications Ornementales (1896) for you to download for free under the creative commons 0 license.
Higher resolutions with no attribution required can be downloaded: https://www.rawpixel.com/board/1267418/la-plante-et-ses-applications-ornementales-free-cc0-ornamental-designs
Looking for some bloggers. Application @ mainstore or contact me directly inworld @themescudi . Notecards only please. IMS get lost. Click bloggers needed sign inworld for the notecard. Fill out & drop back into my box.
Flickr, wordpress, tumblr, & or blogspot will be necessary.
Inworld Location:
Hey, so this is my application 253rd. Not sure if this will cut it but hey. This is basically all the lego I own currently besides some other stuff I am using for animation. Soon I am going to be making a couple orders on bricklink to get building parts. Hopefully then my builds will be much improved :D
Et hop, another day, another icon. This time for an application called "Architect".
Both Façade and Architect works together, so I tried to link them both by the shape, while separate them by the color. Hope you'll like :)
The 2th annual kawaii Fair
Date: 12 - 26 April
Price: L$ 2500 Lindens, 100 prims.
Rules: docs.google.com/document/d/1hyg06WpCWqW0sKDXp15zmkS5qLDL4...
Designers Application: docs.google.com/spreadsheet/viewform?formkey=dFV6Ynd2WWxE...
Bloggers Application:
docs.google.com/spreadsheet/viewform?formkey=dG1TdnhHekJF...
More information:
Free download under CC Attribution (CC BY 4.0). Please credit the artist and rawpixel.com.
Chromolithographic patterns from La Plante et ses Applications Ornementales (1896) by Maurice Pillard Verneuil (1869–1942), French artist and decorator in the Art Nouveau and Art Deco movement. Verneuil studied and developed his style from Eugène Grasset, a Franco-Swiss pioneer of Art Nouveau design. Inspired by Japanese art, nature and particularly the sea. He is known for his contributions to the Art Deco movement through the use of bold floral designs on ceramic tiles, wallpapers, textiles, and posters. We have digitally enhanced the decorative illustrations from La Plante et ses Applications Ornementales (1896) for you to download for free under the creative commons 0 license.
Higher resolutions with no attribution required can be downloaded: https://www.rawpixel.com/board/1267418/la-plante-et-ses-applications-ornementales-free-cc0-ornamental-designs
We are looking for talented designers for our 6th Edition in December, the application is still open !
Interested in participating? Read our rules and fill out your form here 👉 forms.gle/p5HVojwcBqFzF1Rv5
I absolutely adore spending time enjoying and experimenting with my feminine transformation. And application of my lipstick is a part of that transformation which I particularly adore.
Apply, blot.. Re-apply, blot.. and repeat, in a carefully choreographed regime of feminine indulgence
Professional, unique, quality bloggers wanted.
Aesthetic: Asian, cyber, futuristic, fantasy.
Items: Accessories, gadgets, clothing, props.
Application -
SEKAI
We once again open our doors for new talented designers to join us for our 2nd round!
Disturbed Event - 8th to 29th
___________________________
After a year or more out of service, CN's three eastern GMD-1's, #1412, 1437, 1444 were sent to LDS in Sarnia for application of remote control equipment and other running repairs necessary for reactivation. Here, #1444 leads GT GP38-2 #6221 and CN GP9Rm #7046 as they switch the west end of CN's Sarnia yard late in the afternoon.
Scrabble with words Occupation, Application, Resume, Hiring
When using this image please provide photo credit (link) to: www.flazingo.com per these terms: www.flazingo.com/creativecommons
I took this photo a while ago and thought I had posted it but I didn't.
Basically it shows how I apply my stickers. Using this technique it allows me to line up the bottom of the sticker with the bottom of the torso. The only issue that i have sometimes is getting it centered but if you only stick the bottom then you can check the alignment before you place it all the way.
I hope that this helps some of you.
Link : goo.gl/forms/W2Dcda5KS0ccYF4C2
You are refused in several great shops, you are fed up! You are serious,& have a beautifull blog, try your luck for my shop :)
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
Clarence L. "Kelly" Johnson, vice president of engineering and research at Lockheed's Skunk Works, visited USAF air bases across South Korea in November 1951 to speak with fighter pilots about what they wanted and needed in a fighter aircraft. At the time, the American pilots were confronting the MiG-15 with North American F-86 Sabres, and many felt that the MiGs were superior to the larger and more complex American design. The pilots requested a small and simple aircraft with excellent performance, especially high speed and altitude capabilities. Armed with this information, Johnson immediately started the design of such an aircraft on his return to the United States.
Work started in March 1952. In order to achieve the desired performance, Lockheed chose a small and simple aircraft, weighing in at 12,000 lb (5,400 kg) with a single powerful engine. The engine chosen was the new General Electric J79 turbojet, an engine of dramatically improved performance in comparison with contemporary designs. The small L-246 design remained essentially identical to the Model 083 Starfighter as eventually delivered.
Johnson presented the design to the Air Force on 5 November 1952, and work progressed quickly, with a mock-up ready for inspection at the end of April, and work starting on two prototypes that summer. The first prototype was completed by early 1954 and first flew on 4 March at Edwards AFB. The total time from contract to first flight was less than one year.
The first YF-104A flew on 17 February 1956 and, with the other 16 trial aircraft, were soon carrying out equipment evaluation and flight tests. Lockheed made several improvements to the aircraft throughout the testing period, including strengthening the airframe, adding a ventral fin to improve directional stability at supersonic speed, and installing a boundary layer control system (BLCS) to reduce landing speed. Problems were encountered with the J79 afterburner; further delays were caused by the need to add AIM-9 Sidewinder air-to-air missiles. On 28 January 1958, the first production F-104A to enter service was delivered.
Even though the F-104 saw only limited use by the USAF, later versions, tailored to a fighter bomber role and intended for overseas sales, were more prolific. This was in particular the F-104G, which became the Starfighter's main version, a total of 1,127 F-104Gs were produced under license by Canadair and a consortium of European companies that included Messerschmitt/MBB, Fiat, Fokker, and SABCA.
The F-104G differed considerably from earlier versions. It featured strengthened fuselage, wing, and empennage structures; a larger vertical fin with fully powered rudder as used on the earlier two-seat versions; fully powered brakes, new anti-skid system, and larger tires; revised flaps for improved combat maneuvering; a larger braking chute. Upgraded avionics included an Autonetics NASARR F15A-41B multi-mode radar with air-to-air, ground-mapping, contour-mapping, and terrain-avoidance modes, as well as the Litton LN-3 Inertial Navigation System, the first on a production fighter.
Germany was among the first foreign operators of the F-104G variant. As a side note, a widespread misconception was and still is that the "G" explicitly stood for "Germany". But that was not the case and pure incidence, it was just the next free letter, even though Germany had a major influence on the aircraft's concept and equipment. The German Air Force and Navy used a large number of F-104G aircraft for interception, reconnaissance and fighter bomber roles. In total, Germany operated 916 Starfighters, becoming the type's biggest operator in the world. Beyond the single seat fighter bombers, Germany also bought and initially 30 F-104F two-seat aircraft and then 137 TF-104G trainers. Most went to the Luftwaffe and a total of 151 Starfighters was allocated to the Marineflieger units.
The introduction of this highly technical aircraft type to a newly reformed German air force was fraught with problems. Many were of technical nature, but there were other sources of problems, too. For instance, after WWII, many pilots and ground crews had settled into civilian jobs and had not kept pace with military and technological developments. Newly recruited/re-activated pilots were just being sent on short "refresher" courses in slow and benign-handling first-generation jet aircraft or trained on piston-driven types. Ground crews were similarly employed with minimal training and experience, which was one consequence of a conscripted military with high turnover of service personnel. Operating in poor northwest European weather conditions (vastly unlike the fair-weather training conditions at Luke AFB in Arizona) and flying low at high speed over hilly terrain, a great many Starfighter accidents were attributed to controlled flight into terrain (CFIT). German Air Force and Navy losses with the type totaled 110 pilots, around half of them naval officers.
One general contributing factor to the high attrition rate was the operational assignment of the F-104 in German service: it was mainly used as a (nuclear strike) fighter-bomber, flying at low altitude underneath enemy radar and using landscape clutter as passive radar defense, as opposed to the original design of a high-speed, high-altitude fighter/interceptor. In addition to the different and demanding mission profiles, the installation of additional avionic equipment in the F-104G version, such as the inertial navigation system, added distraction to the pilot and additional weight that further hampered the flying abilities of the plane. In contemporary German magazine articles highlighting the Starfighter safety problems, the aircraft was portrayed as "overburdened" with technology, which was considered a latent overstrain on the aircrews. Furthermore, many losses in naval service were attributed to the Starfighter’s lack of safety margin through a twin-engine design like the contemporary Blackburn Buccaneer, which had been the German navy air arm’s favored type. But due to political reasons (primarily the outlook to produce the Starfighter in Southern Germany in license), the Marine had to accept and make do with the Starfighter, even if it was totally unsuited for the air arm's mission profile.
Erich Hartmann, the world's top-scoring fighter ace from WWII, commanded one of Germany's first (post-war) jet fighter-equipped squadrons and deemed the F-104 to be an unsafe aircraft with poor handling characteristics for aerial combat. To the dismay of his superiors, Hartmann judged the fighter unfit for Luftwaffe use even before its introduction.
In 1966 Johannes Steinhoff took over command of the Luftwaffe and grounded the entire Luftwaffe and Bundesmarine F-104 fleet until he was satisfied that the persistent problems had been resolved or at least reduced to an acceptable level. One measure to improve the situation was that some Starfighters were modified to carry a flight data recorder or "black box" which could give an indication of the probable cause of an accident. In later years, the German Starfighters’ safety record improved, although a new problem of structural failure of the wings emerged: original fatigue calculations had not taken into account the high number of g-force loading cycles that the German F-104 fleet was experiencing through their mission profiles, and many airframes were returned to the depot for wing replacement or outright retirement.
The German F-104Gs served primarily in the strike role as part of the Western nuclear deterrent strategy, some of these dedicated nuclear strike Starfighters even had their M61 gun replaced by an additional fuel tank for deeper penetration missions. However, some units close to the German borders, e.g. Jagdgeschwader (JG) 71 in Wittmundhafen (East Frisia) as well as JG 74 in Neuburg (Bavaria), operated the Starfighter as a true interceptor on QRA duty. From 1980 onwards, these dedicated F-104Gs received a new air superiority camouflage, consisting of three shades of grey in an integral wraparound scheme, together with smaller, subdued national markings. This livery was officially called “Norm 82” and unofficially “Alberich”, after the secretive guardian of the Nibelung's treasure. A similar wraparound paint scheme, tailored to low-level operations and consisting of two greens and black (called Norm 83), was soon applied to the fighter bombers and the RF-104 fleet, too, as well as to the Luftwaffe’s young Tornado IDS fleet.
However, the Luftwaffe’s F-104Gs were at that time already about to be gradually replaced, esp. in the interceptor role, by the more capable and reliable F-4F Phantom II, a process that lasted well into the mid-Eighties due to a lagging modernization program for the Phantoms. The Luftwaffe’s fighter bombers and recce Starfighters were replaced by the MRCA Tornado and RF-4E Phantoms. In naval service the Starfighters soldiered on for a little longer until they were also replaced by the MRCA Tornado – eventually, the Marineflieger units received a two engine aircraft type that was suitable for their kind of missions.
In the course of the ongoing withdrawal, a lot of German aircraft with sufficiently enough flying hours left were transferred to other NATO partners like Norway, Greece, Turkey and Italy, and two were sold to the NASA. One specific Starfighter was furthermore modified into a CCV (Control-Configured Vehicle) experimental aircraft under control of the German Industry, paving the way to aerodynamically unstable aircraft like the Eurofighter/Typhoon. The last operational German F-104 made its farewell flight on 22. Mai 1991, and the type’s final flight worldwide was in Italy in October 2004.
General characteristics:
Crew: 1
Length: 54 ft 8 in (16.66 m)
Wingspan: 21 ft 9 in (6.63 m)
Height: 13 ft 6 in (4.11 m)
Wing area: 196.1 ft² (18.22 m²)
Airfoil: Biconvex 3.36 % root and tip
Empty weight: 14,000 lb (6,350 kg)
Max takeoff weight: 29,027 lb (13,166 kg)
Powerplant:
1× General Electric J79 afterburning turbojet,
10,000 lbf (44 kN) thrust dry, 15,600 lbf (69 kN) with afterburner
Performance:
Maximum speed: 1,528 mph (2,459 km/h, 1,328 kn)
Maximum speed: Mach 2
Combat range: 420 mi (680 km, 360 nmi)
Ferry range: 1,630 mi (2,620 km, 1,420 nmi)
Service ceiling: 50,000 ft (15,000 m)
Rate of climb: 48,000 ft/min (240 m/s) initially
Lift-to-drag: 9.2
Wing loading: 105 lb/ft² (510 kg/m²)
Thrust/weight: 0.54 with max. takeoff weight (0.76 loaded)
Armament:
1× 20 mm (0.787 in) M61A1 Vulcan six-barreled Gatling cannon, 725 rounds
7× hardpoints with a capacity of 4,000 lb (1,800 kg), including up to four AIM-9 Sidewinder, (nuclear)
bombs, guided and unguided missiles, or other stores like drop tanks or recce pods
The kit and its assembly:
A relatively simple what-if project – based on the question how a German F-104 interceptor might have looked like, had it been operated for a longer time to see the Luftwaffe’s low-viz era from 1981 onwards. In service, the Luftwaffe F-104Gs started in NMF and then carried the Norm 64 scheme, the well-known splinter scheme in grey and olive drab. Towards the end of their career the fighter bombers and recce planes received the Norm 83 wraparound scheme in green and black, but by that time no dedicated interceptors were operational anymore, so I stretched the background story a little.
The model is the very nice Italeri F-104G/S model, which is based on the ESCI molds from the Eighties, but it comes with recessed engravings and an extra sprue that contains additional drop tanks and an Orpheus camera pod. The kit also includes a pair of Sidewinders with launch rails for the wing tips as well as the ventral “catamaran” twin rail, which was frequently used by German Starfighters because the wing tips were almost constantly occupied with tanks.
Fit and detail is good – the kit is IMHO very good value for the money. There are just some light sinkholes on the fuselage behind the locator pins, the fit of the separate tail section is mediocre and calls for PSR, and the thin and very clear canopy is just a single piece – for open display, you have to cut it by yourself.
Since the model would become a standard Luftwaffe F-104G, just with a fictional livery, the kit was built OOB. The only change I made are drooped flaps, and the air brakes were mounted in open position.
The ordnance (wing tip tanks plus the ventral missiles) was taken from the kit, reflecting the typical German interceptor configuration: the wing tips were frequently occupied with tanks, sometimes even together with another pair of drop tanks under the wings, so that any missile had to go under the fuselage. The instructions for the ventral catamaran launch rails are BTW wrong – they tell the builder to mount the launch rails onto the twin carrier upside down! Correctly, the carrier’s curvature should lie flush on the fuselage, with no distance at all. When mounted as proposed, the Sidewinders come very close to the ground and the whole installation looks pretty goofy! I slightly modified the catamaran launch rail with some thin styrene profile strips as spacers, and the missiles themselves, AIM-9Bs, were replaced with more modern and delicate AIM-9Js from a Hasegawa air-to-air weapons set. Around the hull, some small blade antennae, a dorsal rotating warning light and an angle-of-attack sensor were added.
Painting and markings:
The exotic livery is what defined this what-if build, and the paint scheme was actually inspired by a real world benchmark: some Dornier Do-28D Skyservants of the German Marineflieger received, late in their career, a wraparound scheme in three shades of grey, namely RAL 7030 (Steingrau), 7000 (Fehgrau) and 7012 (Basaltgrau). I thought that this would work pretty well for an F-104G interceptor that operates at medium to high altitudes, certainly better than the relatively dark Norm 64 splinter scheme or the Norm 83 low-altitude pattern.
The camouflage pattern was simply adopted from the Starfighter’s Norm 83 scheme, just the colors were exchanged. The kit was painted with acrylic paints from Revell, since the authentic tones were readily available, namely 75, 57 and 77. As a disrupting detail I gave the wing tip tanks the old Norm 64 colors: uniform Gelboliv from above (RAL 6014, Revell 42), Silbergrau underneath (RAL 7001, Humbrol’s 127 comes pretty close), and bright RAL 2005 dayglo orange markings, the latter created with TL Modellbau decal sheet material for clean edges and an even finish.
The cockpit interior was painted in standard medium grey (Humbrol 140, Dark Gull Grey), the landing gear including the wells became aluminum (Humbrol 56), the interior of the air intakes was painted with bright matt aluminum metallizer (Humbrol 27001) with black anti-icing devices in the edges and the shock cones. The radome was painted with very light grey (Humbrol 196, RAL 7035), the dark green anti-glare panel is a decal from the OOB sheet.
The model received a standard black ink washing and some panel post-shading (with Testors 2133 Russian Fulcrum Grey, Humbrol 128 FS 36320 and Humbrol 156 FS 36173) in an attempt to even out the very different shades of grey. The result does not look bad, pretty worn and weathered (like many German Starfighters), even though the paint scheme reminds a lot of the Hellenic "Ghost" scheme from the late F-4Es and the current F-16s?
The decals for the subdued Luftwaffe markings were puzzled together from various sources. The stencils were mostly taken from the kit’s exhaustive and sharply printed sheet. Tactical codes (“26+40” is in the real Starfighter range, but this specific code was AFAIK never allocated), iron crosses and the small JG 71 emblems come from TL Modellbau aftermarket sheets. Finally, after some light soot stains around the gun port, the afterburner and some air outlets along the fuselage with graphite, the model was sealed with matt acrylic varnish.
A simple affair, since the (nice) kit was built OOB and the only really fictional aspect of this model is its livery. But the resulting aircraft looks good, the all-grey wraparound scheme suits the slender F-104 well and makes an interceptor role quite believable. Would probably also look good on a German Eurofighter? Certainly more interesting than the real world all-blue-grey scheme.
In the beauty pics the scheme also appears to be quite effective over open water, too, so that the application to the Marineflieger Do-28Ds made sense. However, for the real-world Starfighter, this idea came a couple of years too late.
Scrabble with keywords on wood able
When using this image please provide photo credit (link) to: www.flazingo.com per these terms: www.flazingo.com/creativecommons
Join the SL Renaissance Festival Blogger Team: Support the Fight Against Breast Cancer!
Are you a passionate blogger who loves to share your adventures in Second Life? Do you have a flair for storytelling and a desire to make a difference? The SL Renaissance Festival invites you to apply for our Blogger Search, running from August 11th to 28th, 2024!
This festival is extra special as it supports the American Cancer Society’s Making Strides Against Breast Cancer campaign. We’re looking for dedicated bloggers who can capture the magic of the Renaissance while raising awareness and funds for this important cause.
As a festival blogger, you will:
Showcase the incredible creations from our talented merchants.
Engage with a community united in the fight against breast cancer.
Promote events and activities that embody the spirit of the Renaissance.
Make a Difference by helping us reach our fundraising goals for the American Cancer Society.
Apply Today!
Don't miss your chance to be part of something truly special. Applications are open until August 28th, 2024. Share your creativity, contribute to a worthy cause, and join a community of like-minded individuals committed to making strides against breast cancer.
Let your voice be the one that echoes across the kingdom in support of the fight against breast cancer. We look forward to seeing your application!
Únete al equipo de blogueros del SL Renaissance Festival: ¡apoya la lucha contra el cáncer de mama!
¿Eres un bloguero apasionado al que le encanta compartir sus aventuras en Second Life? ¿Tienes talento para contar historias y el deseo de marcar la diferencia? El SL Renaissance Festival te invita a postularte para nuestra búsqueda de blogueros, que se realizará del 11 al 28 de agosto de 2024.
Este festival es muy especial, ya que apoya la campaña Making Strides Against Breast Cancer de la Sociedad Estadounidense del Cáncer. Estamos buscando blogueros dedicados que puedan capturar la magia del Renacimiento mientras generan conciencia y recaudan fondos para esta importante causa.
Como bloguero del festival, podrás:
Mostrar las increíbles creaciones de nuestros talentosos comerciantes.
Interactuar con una comunidad unida en la lucha contra el cáncer de mama.
Promocionar eventos y actividades que encarnen el espíritu del Renacimiento.
Marca la diferencia ayudándonos a alcanzar nuestras metas de recaudación de fondos para la Sociedad Estadounidense del Cáncer.
¡Postúlate hoy!
No pierdas la oportunidad de ser parte de algo realmente especial. Las solicitudes están abiertas hasta el 28 de agosto de 2024. Comparte tu creatividad, contribuye a una buena causa y únete a una comunidad de personas con ideas afines comprometidas a hacer avances contra el cáncer de mama.
Deja que tu voz sea la que resuene en todo el reino en apoyo a la lucha contra el cáncer de mama. ¡Esperamos ver tu solicitud!
Application with pen
When using this image please provide photo credit (link) to: www.flazingo.com per these terms: www.flazingo.com/creativecommons
Urban City_UCE NOW HIRING!!!!
Are you looking to find a new place to call home? Well come and join the New Urban City Community today!
If your interested in one of our roles we have going just come on over! you will find the applications on the wall of the info hub at the spawn point.
Roles: (Volunteer)
Urban City Support.
Urban City BW Host's.
Urban City BW DJ'S.
Roles: (Paid)
Urban City BW Manager.
Be part of the Urban City Community / Staff today!
we look forward to seeing you!
Check us out!!
Abnormality's 3rd year anniversary round: Mythos is open for applications until March 14th!
If you want to participate, fill out our application form!
The look of Love
I may have smugged a teeny tiny bit, but mostely its raw. I just thought she looked like she was looking into the eyes of her lover. If he looks back like this, its going to be fun!
Something New is opening up their blogger applications again!
Looking for at least 5 bloggers including a toodledoo!
Deadline is September 30th.
Apply here: lavishcorner.wordpress.com/something-new/blogger-applicat...
An shot - from the upcoming photographer's guide InSight: Singapore, available at: DearSusan
Press L to view on a black background.
You can see more on my Flickr Photostream or on my Web site.
This image is mine. You may not use it anywhere or for any project without my express permission. Rates for commercial applications are available on request.
Please contact me if you would like to buy a print of this photograph.
These are the casting pots(?) at the foundry at Cosanti where the windchimes are started.
I first visited Cosanti in 1968. There was nothing around it in this part of Paradise Valley and it was still being built. Things sure have changed. Paolo Soleri would probably be appalled by what grew up around his vision that is the compete antithesis of his vision.
I live about 2 miles north of here, but I had never made time to photograph it. I made time.
www.arcosanti.org/cosanti-foundation/
Founded in 1965, The Cosanti Foundation is an Arizona-based 501(c)(3) nonprofit organization.
Our mission is to inspire a reimagined urbanism that builds resilient and equitable communities sustainably integrated with the natural world.
Our vision is a world of equitable communities which improve earth/life balance and do better with less.
We pursue this mission and vision at our two flagship locations, Cosanti (in Paradise Valley near Phoenix) and Arcosanti (near Mayer in central Arizona), as well as with projects, programs, and partnerships that hundreds of thousands of people have participated in over the last 57 years.
The word “cosanti” is a combination of the Italians words “cosa” (meaning “things”) and “anti” (meaning “against” or “before”). It signifies The Cosanti Foundation’s commitment to a way of living, working, and building that is oriented away from consumption and materialism, and is respectful of our planet’s natural rhythms and resources. Through ongoing experimentation with and application of the principles of arcology (a combination of the words architecture and ecology), we seek to demonstrate a kind of construction and community that offers an alternative to sprawl development and a solution to modern social and environmental crises.
The Cosanti Foundation also owns and operates the for-profit Cosanti Originals, where we make our world-famous bronze and ceramic windbells and other artisan items.
en.wikipedia.org/wiki/Paolo_Soleri
Paolo Soleri (21 June 1919 – 9 April 2013)[1] was an Italian-born American architect. He established the educational Cosanti Foundation and Arcosanti. Soleri was a lecturer in the College of Architecture at Arizona State University and a National Design Award recipient in 2006. He coined the concept of 'arcology' – a synthesis of architecture and ecology as the philosophy of democratic society.[2] He died at home of natural causes on 9 April 2013 at the age of 93.[3]
Soleri authored several books, including The Bridge Between Matter & Spirit is Matter Becoming Spirit and Arcology – City In the Image of Man.[4]
Soleri was born in Turin, Italy, Europe. He was awarded his "laurea" (master's degree) in architecture from the Politecnico di Torino in 1946. He visited the United States in December 1946 and spent a year and a half in fellowship with Frank Lloyd Wright at Taliesin West in Arizona, and at Taliesin in Spring Green, Wisconsin. During this time, he gained international recognition for a bridge design that was displayed at the Museum of Modern Art.[5]
Paolo and Colly Soleri made a lifelong commitment to research and experimentation in urban planning. They established the Cosanti Foundation, a not-for-profit 501(c)(3) educational non-profit foundation. Soleri's philosophy and works were strongly influenced by the Jesuit paleontologist and philosopher Pierre Teilhard de Chardin.[citation needed]
DSC04083-HDR acd
Downing Street protesters demand "End the Tampon Tax" - London 02.04.2015
Protesters outside Downing Street adorned with fake tampons and bloodied underwear called for an end to what they say is a "skewed" VAT system which sees 5% paid on tampons which are classed as 'luxury items', yet gambling, houseboat mooring and military aircraft sales are exempted. This week the Salvation Army has reported that in many deprived areas up and down the UK increasing numbers of women can no longer afford to buy sanitary towels, and are having to resort to shockingly primitive and dangerous solutions such as newpaper, old socks or hankies, which makes the women prone to urinary tract infections. In response to this public health issue the Salvation Army has started providing tampons to women unable to afford them, including, of course, homeless women living on the streets.
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