View allAll Photos Tagged Baltan
Antigüedad (Palencia)
Se dice de la comarca de Antigüedad que posee una especial energía, siendo la ermita de Nuestra Señora del Garón y las de Villella, Valverde, el arroyo Valderrey y las Veredas, los focos donde esta fuerza se nota más y donde hasta los sentidos parecen desvanecerse si abrazamos alguno de sus árboles y nos dejamos llevar.
Además, el pueblo está a la misma distancia de otros que lo rodean, a algo más de diez kilómetros, ya sea Cevico, Tabanera, Baltanás, Cobos o Espinosa. No es fácil encontrar una localización así en España. Curioso…
Y hay más argumentos de que Antigüedad pudo ser cuna del hombre, como por ejemplo esos avistamientos de naves y ovnis que se han producido y que algunos vecinos han corroborado, o como esa extraña pero relajante música coral, que a veces se escucha y parece provenir de las mismas entrañas de la tierra.
www.elespanol.com/castilla-y-leon/cultura/20220508/pueblo...
En la ermita tiene su sede la patrona de Antigüedad. Se dice que el agua de la fuente nace bajo la ermita. El conjunto forma un paraje único en El Cerrato.
Se dice que esta zona, con el Machu Picchu y el Tibet es unna de las zonas del mundo con más energía telúrica.
A new, more detailed digital painting based on an acrylic painting that I lost the high-res files to in 2011.
This is the original bromide card depicting the kaiju now popularly known as "Galtan."
Though a few of the cut and paste "pachimon" (pachi "stolen" + mon "monster") kaiju are named, most cards bear no text except a copyright to the publisher. If I had to guess where the name comes from, I'd suggest "Gaikotsu" (skeleton) + Baltan produced "Galtan."
Commissioned by Tsuburaya Productions for International Sales brochure, 1999. Thanks to Brad Warner! ©1999 Tsuburaya Productions Co., Ltd.
Fine art giclee print on 13" x 19" Ultra Premium Matte finish 100% cotton rag -- a fine archival quality paper guaranteed to be fade-resistant for 150 years. Less than 5 prints were made. Last one in stock! Price: $150.00. Email me through Flickr mail to inquire availability.
Toys from the 1970's. From left to right--a Takara Timanic Space Traveller which is like a large Microman, Ark die-cast Alien Baltan, and a die-cast Ultraman 80.
new cut paper collage .... 9" X 11" .... #collage #papercollage #analogcollage #handmade #handmadecollage #handcutcollage #collageonpaper #collageart #traditional #traditionalcollage #paperscissorsglue #cutnpaste #collageartists #GeorgeWashington #firstpresident #Baltan #kaiju #Ultraman
Something wonderful is about to happy surprise!
Will you except Ultraman challenge?!
Deny that, Baltan!
A-ha, Behold too much pee-pee!
I am invincible to fly! A-ha!
I’m like too much Big In Japan!
We will sincerely wait for coming to Brothers Brick.
A-Ha BrickCon Happy wish!
1957 was the year of 'Bye Bye Love' by the Everly Brothers and 'All Shock up' by Elvis - hardly dates associated with early electronic music. In 1959 - the year of the music in this lens test - Robert Zimmerman first introduced himself as Bob Dylan, John Coltrane made 'Giant steps' in Jazz, and Mingus was at his most 'Mingus' self - 'Ah um' - again not a year associated with early sequence electronics and proto house music stabs. The first '8 elements in 7 group' version of the Takumar 50mm f1.4 was put on sale 5 years after this track was released - a real crash for the words 'vintage' and 'future'.
The Electrosoniks (Raaijmaker and Dissevelt) were the inhouse musicians/technitians of the Dutch Natlab laboratory - a proto silicon valley that would invent the cassette tape and a disc that paved the way for CDs.
Described as "speculative electronic pop music" by MrSifter63 "...built out of layered oscillator tones and acoustic sound sources". The acoustic sound sources he mentions probably involved sampling adapted noises onto analogue tape; sounds often chosen away from the output of traditional musical instruments, and selected for their potential and capacity to be speeded or slowed into new 'units' for music: the principle of the horn of a boat being slowed down into a qualitatively different rumble, or a tap on a tin-lid speeded into a 'tizz', or an oscillator 'phweeet' phased up and down by changing the ohms and then tape-recording: reversed, spliced, slowed, combined and generally explored for limits and potentials. By careful control of tape speed, an input could be generated for distinct musical notes and then recorded and spliced by hand into rhythmic sequences or melodies. Reversing tape and adding other source noises from electronic oscillations, white noise variants and harmonic distortions were also components in the game of sound that rejoiced in the capacities of magnetic tape. It can be argued that the Mellotron keyboard and the magnetic tape 'echo machine' were the last vestiges from this first age of modern popular electronic music.
Keyboards were present, but were not essential triggers for these sonic assemblages, and the music was a final result of a construction and alignment of spliced tapes turning in syncronised loops as multiple machines were switched on together.
With the technique of cut-up, it is easy to produce an amorphous scape that is neither a "sound effects album" or a film score, and too 'eerie' or 'brittle' to be lifestyle ambient music. The genius of Raaijmaker and Dissevelt was in their attempt to apply the new electrosonic techniques to produce sounds within structured musical forms - thus the term 'popular' - and to create original tracks rather than transcribe existing music into glitzy futurist guise. The armatures of their music could become ornamented with every example of new electronic noise their laboratory could generate (the case of this example) which has led to a fad comparison with Tex Avery music. Created in an age of new plastics, rockets, wavelengths and colours, their shock-of-the-new was of their moment and of their late 1950s sense of 'future-today'.
Specialists can become lost in details, and their music is an example where listening to the sonic solutions within each track is as interesting if not more interesting than listening to the track as a piece.
Their output is diverse and tracks include electronic sequences for base and rhythm that would many years later become the backbone of electronic dance music. Chord stabs of the type seen in House music also made an appearance with the duo, as did the atmospheric drift behind a melody typical of ambient house. They welded melody into the rhythm section producing sound textures would become the protohistory for musical trends as diverse as deep house, techno and ambient.
I spent quite a bit of time processing and reprocessing my analogue footage which originated from my base lens, the Takumar 50mm 1.4. I filmed using multiple apertures.
'Vibration' was composed by Tom Dissevelt and produced by himself and Raaijmakers (Kid Baltan) under the name Electrosoniks. Placing their work in a token chronology might pass through this list:
1952 Herbert Eimert www.youtube.com/watch?v=HTSed3Ybzhg
Early electronic sounds applied to Messiaen-esque forms.
1957 Elecrosoniks: www.youtube.com/watch?v=bVl2_MSwmSA
1958 Elecrosoniks: www.youtube.com/watch?v=rlRFwoluP-4&list=RDrlRFwoluP-...
Using electronic sounds for popular rhythms that would unfold with time into much of todays elecronic music.
1963 Delia Derbyshire www.youtube.com/watch?v=CM8uBGANASc
Electronic sounds enter the homes of everyman.
1968 Silver Apples: space race hippy pop - proto Alan Vega and Suicide: www.youtube.com/watch?v=t1xOZyBc2Ck
1968 The Beatles. www.youtube.com/watch?v=GKdl-GCsNJ0
The Moog synthesizer pulled together many of the components of electronic experimentation and had been around for around 12 months when 'Abbey Road' by The Beatles was released as one of the first LPs to integrate the sound of a synthesiser, set in the mix within the whole of the sound.
1970 Kraftwerk - today often 'known' as 'pioneers' of electronic music, here clearly showing that progress over time can regress: www.youtube.com/watch?v=vNoFHdlMrtI
1993 Bernard Parmegiani whose purist approach to electronic sound exploration spanned decades from the early 1960s to the present day. This extraordinary animation by Piotr Kamler provided a perfect setting for his sonic experimentations:
www.youtube.com/watch?v=GQYn_cDkpmo
AJM 7.11.19
Press play and then 'L' and even f11. Escape and f11 a second time to return.
Margate
--
Acid house from 1958 ... Tom Dissevelt & Kid Baltan
(Theme music for 'Bleep and Booster' animations)
Character: Baltan Seijin
Company: M1号
Manufacturer: M1号
Series: Zenmai Tricycle
Made In: Japan
Material: Green Vinyl, Plastic, and Metal
Height: Approximately 14 cm
Number of Parts: 13+
Released: September 5, 2020 - present
Original Price: 6,050 (2020 & 2021) to 6,600 (2022-present) yen
Limitation: Common
Packaging: Box
Additional Info: The Baltan Seijin tricycle made it's debut release for the Tokusatsu DNA Ultraman Genealogy exhibit held at Tokyo Dome City Gallery AaMo from September 5th to October 18, 2020. This color version of the Baltan Seijin on a red tricycle has been released many times since its debut for other events like the Ultraman Pop-Up Store 2020 and as recent as February 12, 2023 Winter Wonder Festival as I write this.
M1 previewed the box art in 2019. Then they previewed the actual tricycle figure in January 2020. The original preview showed Baltan Seijin sitting on a yellow tricycle. But the yellow color tricycle version has not been released. Baltan has only been released on a red color tricycle as I write this.
Original retail price when it debut in 2020 was 6,050 yen. In the first quarter of 2022 their was a very small price increase to 6,600 yen for M1 tricycles.
The Baltan Seijin Tricycle box artwork was by Daiji Kazumine, who passed away November, 27, 2020.
This tricycle is part of M1 Zenmai Tricycle series. Zenmai is Japanese for mainspring. Zenmai Tricycle is written on side of the boxes.
Left foot markings:
バルタン星人
Right foot markings:
©︎ 円谷プロ
JAPAN
M1号
Dr. Light: What a specimen we have today, boys and girls! This slimy, translucent, Homer Simpson faced monstrosity is an actual, living Mucous Mole! The scientific term, because I am all about science, is Snotiloticus Nostrilicus.
You may wonder, "How can a specimen that large get into my nose to feast upon my mucous? Is it a giant Mucous Mole?" Heh. No, friends, this fellow is actually quite small for his species. Mucous Moles are only found in the nostrils of kaiju, such as Baltan Seijin, or Varan or Godzilla.
And they serve a purposeful biological role in the ecosystem. It's why you never see King Kong have to blow his nose.
Esta foto participó en el juego En otro lugar de Flickr.
La villa de Cevico Navero se encuentra situada al sureste de la provincia, a 12 km de Baltanás, actual capital de la comarca cerrateña. La villa está situada en la falda de una empinada cuesta que asciende hasta el páramo, a cuyos pies discurre el arroyo Valdefuentes.
Próxima a una de las puertas de la antigua muralla encontramos la iglesia, rodeada por varias edificaciones. Se eleva ligeramente por encima del caserío por su lado septentrional, donde aparecen trazas de un antiguo campo santo cercado por un murete perimetral.
Pocas noticias existen sobre los orígenes históricos de este pueblo. Consta que hacia las últimas décadas del siglo IX, según iba avanzando el proceso repoblador, se ocupó y fortificó el lugar. Sabemos también que Alfonso VIII donó la villa y el castillo de Cevico Navero a la iglesia y obispo de Palencia (1163). Ya en el siglo XIV, el Libro Becerro de las Behetrías señala esta villa como lugar de abadengo, que pertenecía al monasterio de Santa María de La Vid. A 1 km al nordeste de Cevico Navero se encuentran las ruinas del monasterio benedictino de San Pelayo de Cerrato, fundado en 934, y que fue rector de otros conventos como los de San Miguel de Pedroso y San Juan de Ortega. Hacia 1145 pasó a la orden premonstratense.
----------------------------------
La pila bautismal, de 130 cm de diámetro x 70 cm de altura, está colocada en el ábside del lado del evangelio y presenta abundante decoración. La base tiene escocia decorada con bolas y la copa toscos motivos geométricos. Se aprecian varios óvalos que en su interior mezclan ondas, flores de seis y siete pétalos, una cruz, y un crismón. El fondo se rellena con trama de arquillos apuntados y pequeñas bolitas en una clara concesión al horror vacui. Sus formas delatan un claro mudejarismo que encuentra clara correspondencia con el alfarje y la aguabenditera.
Localización de la Iglesia de Nuestra Señora de la Paz en Cevico Navero (Palencia)