View allAll Photos Tagged Compose
A vermicomposting bucket is mixed with food waste and worms. Several different species of worms such as Canadian nightcrawlers, red wigglers or earthworms are excellent at decomposing organic waste products and turn those throwaway food scraps, paper or yard waste into compost as beneficial soil amendments. Compost is the key to organic farming and researchers at MU's Bradford Research Center in Columbia are looking at ways to make this style of food production more efficient and affordable.
Photo by Kyle Spradley | © 2014 - Curators of the University of Missouri
This curve made me crazy. Shot it many times and could not get the exposure and DOF I wanted. So I layered a few shots and "composed" this. Not perfect, but I can live with it...for now.
Souci des champs - Field marigold - Maravilla silvestre
Calendula arvensis M.Bieb. (tige avec feuilles et inflorescences)
Bord de chemin de campagne (alt. 1710 m)
Vilaflor de Chasna (Ténériffe, Canaries, Espagne)
Peut-être indigène (Nord de l'Afrique, Sud-Ouest de l'Asie, Europe)
video - www.youtube.com/watch?v=do81AyTWnNA
"COMPOSED NATURE (2012) - STAALPLAAT SOUNDSYSTEM & LOLA LANSCAPE ARCHITECTS
Twenty-four birches are each fitted with a vibrating motor that can be activated from a distance. The vibration makes it possible to control the shaking of the the leaf canopy and generates noise fields that surround the visitor. The group of motorised trees form a sensit
ive but powerful and interactive instrument that invites visitors to improvise or compose. Trees, apparently passive bystanders in our everyday surroundings, are used to create a natural -- or even supernatural -- experience."
IN: www.musica.be/en/composed-nature-2012-staalplaat-soundsys...
~~~
"In Klankenbos (Sound Forest) contemporary artworks produce sounds. Not only are your ears stimulated, you'd better keep your eyes open as well, for the sound installations are fascinating visual artworks which deserve to be looked at. Thus Klankenbos is a special auditory and artistic open air experience, inviting you along a promenade walk at the Provincial Domain Dommelhof in Neerpelt. With its ten stationary and three mobile sound installations Klankenbos is quite unique in Europe."
IN: www.musica.be/en/unique-collection-sound-art-installations
"Awakening Woods
In the context of Manifesta 9 - Parallel Events, Musica is hosting a summer exhibition with three new acquisitions for the permanent Klankenbos collection and two temporary media installations."
IN: www.musica.be/en/awakening-woods-klankenbos-summer-expo
Catalogue:
www.musica.be/en/klankenbos-catalogue
Neerlpelt, Belgium, 08/2012
Description: A Study of Composing-Room Layout and Equipment for Educational Purposes. With special reference to the requirements of the City of Guilds of Londins Institute's Intermediate Certificate in Compositor's Work by George S Kay. Bound course work for the Moray House College of Education.
Accession Number: SH.2009.288.2
History: George Kay taught typography at Heriot Watt College, Chambers Street, Edinburgh.
Edinburgh City of Print is a joint project between City of Edinburgh Museums and the Scottish Archive of Print and Publishing History Records (SAPPHIRE). The project aims to catalogue and make accessible the wealth of printing collections held by City of Edinburgh Museums. For more information about the project please visit www.edinburghcityofprint.org
composed scenes. Woman pouring perfume on woman lying down.
This stereo is a bit blurry, and without a dedicated photographer.
What a funny idea to pour perfume in the cleavage of his friend...
Everyone does what he likes!
An eye neck passing to the knee, see the beginning of a garter.
But the real star of this scene is obviously the dress!
Cette stéréo est un peu floue, et sans photographe attitré.
Quelle drôle d’idée de déverser du parfum dans le décolleté de son ami…
Chacun fait ce qui lui plaît !
Un cou d’œil en passant jusqu’au genou, voir le début de la jarretière.
Mais la vraie vedette de cette scène est évidemment la robe !
Spent a couple of weeks at my sisters pad in Pontville, Tasmania. Recorded three tracks with Tor and worked on new songs.
Chartwell is a country house near Westerham, Kent, in South East England. For over forty years, it was the home of Sir Winston Churchill. He bought the property in September 1922 and lived there until shortly before his death in January 1965. During the 1930s, when Churchill was out of political office, Chartwell became the centre of his world. At his dining table, he gathered those who could assist his campaign against German re-armament and the British government's response of appeasement; in his study, he composed speeches and wrote books; in his garden, he built walls, constructed lakes — both with his own hands — and painted. During the Second World War, Chartwell was largely unused, the Churchills returning after he lost the 1945 election. In 1953, when again prime minister, the house became Churchill's refuge when he suffered a debilitating stroke. In October 1964, he left for the last time, dying at his London home, 28 Hyde Park Gate, on 24 January 1965.
The origins of the estate reach back to the 14th century; in 1382, the property (then called Well-street) was owned by William-at-Well. It passed through various owners and was auctioned in 1836, as a substantial brick-built manor. In 1848, it was purchased by John Campbell Colquhoun, whose grandson sold it to Churchill. The Campbell Colquhouns greatly enlarged the house and the advertisement for its sale at the time of Churchill's purchase described it as an imposing mansion. Between 1922 and 1924, it was rebuilt and extended by the society architect Philip Tilden. From the garden front, the house has extensive views over the Weald of Kent, "the most beautiful and charming" Churchill had ever seen, and the determining factor in his decision to buy the house.
In 1946, when financial constraints forced Churchill to consider selling Chartwell, it was acquired by the National Trust with funds raised by a consortium of Churchill's friends (led by Lord Camrose), on condition that the Churchills retained a life-tenancy. After Churchill's death, Lady Churchill surrendered her rights to the house, and it was opened to the public by the Trust in 1966 as a historic house museum. A Grade I listed building, for its historical significance rather than its architectural merit, Chartwell has become among the Trust's most popular properties; 232,000 people visited the house in 2016, the fiftieth anniversary of its opening.
Churchill at Chartwell
1922 to 1939
Chartwell – Clementine Churchill's "magnificent aerial bower" to the left
Churchill first saw Chartwell in July 1921, shortly before the house and estate were to be auctioned.[11] He returned the same month with his wife Clementine, who was initially attracted to the property, although her enthusiasm cooled during subsequent visits.[12] In September 1922, when the house had failed to sell at auction, he was offered it for £5,500. He paid £5,000, after his first offer of £4,800, made because "the house will have to be very largely rebuilt, and the presence of dry rot is a very serious adverse factor", was rejected.[13] The seller was Captain Archibald John Campbell Colquhoun, who had inherited the house in June 1922 on the death of his brother.[14] Campbell Colquhoun had been a contemporary of Churchill's at Harrow School in the 1880s. On completion of the sale in September 1922, Churchill wrote to him, "I am very glad indeed to have become the possessor of "Chartwell".[1] I have been searching for two years for a home in the country and the site is the most beautiful and charming I have ever seen".[14] The sale was concluded on 11 November 1922.[15]
The previous 15 months had been personally and professionally calamitous. In June 1921, Churchill's mother had died, followed three months later by his youngest child, Marigold.[15] In late 1922, he fell ill with appendicitis and at the end of the year lost his Scottish parliamentary seat at Dundee.[16]
Philip Tilden, Churchill's architect, began work on the house in 1922 and the Churchills rented a farmhouse near Westerham, with Churchill frequently visiting the site to observe progress.[17] The two-year building programme, the ever-rising costs – which escalated from the initial estimate of £7,000 to over £18,000 – and a series of construction difficulties (particularly relating to damp) soured relations between architect and client;[18] by 1924, Churchill and Tilden were barely on speaking terms.[19][a][b] Legal arguments, conducted through their respective lawyers, continued until 1927.[22] Clementine's anxieties about the costs, both of building and subsequently living at Chartwell, also continued. In September 1923, Churchill wrote to her, "My beloved, I beg you not to worry about money, or to feel insecure. Chartwell is to be our home (and) we must endeavour to live there for many years."[23] Churchill finally moved into the house in April 1924; a letter dated 17 April to Clementine begins, "This is the first letter I have ever written from this place, and it is right that it should be to you".[24]
In February 1926, Churchill's political colleague Sir Samuel Hoare described a visit in a letter to the press baron Lord Beaverbrook; "I have never seen Winston before in the role of landed proprietor, ... the engineering works on which he is engaged consist of making a series of ponds in a valley and Winston appeared to be a great deal more interested in them than in anything else in the world".[25] As Hoare's presence indicated, Churchill's holidays were very rarely pure vacations. Roy Jenkins, in his study, The Chancellors, contrasted Churchill's approach to holidaying with that of his then boss, Stanley Baldwin. "Churchill went to Chartwell or elsewhere to lengthen the stride of his political work, but not greatly to reduce its quantity; far from shutting himself off, he persuaded as many as possible of his colleagues and henchmen to visit him, to receive his ever-generous hospitality."[26] In January 1928, James Lees-Milne stayed as a guest of Churchill's son Randolph. He described an evening after dinner; "We remained at that round table till after midnight. Mr Churchill spent a blissful two hours demonstrating with decanters and wine glasses how the Battle of Jutland was fought. He got worked up like a schoolboy, making barking noises in imitation of gunfire, and blowing cigar smoke across the battle scene in imitation of gun smoke".[27] On 26 September 1927, Churchill composed the first of his Chartwell Bulletins, which were lengthy letters to Clementine, written to her while she was abroad. In the bulletins, Churchill described in great detail the ongoing works on the house and the gardens, and aspects of his life there. The 26 September letter opens with a report of Churchill's deepening interest in painting; "Sickert arrived on Friday night and we worked very hard at various paintings ... I am really thrilled ... I see my way to paint far better pictures than I ever thought possible before".[28]
Churchill described his life at Chartwell during the later 1930s in the first volume of his history of the Second World War, The Gathering Storm. "I had much to amuse me. I built ... two cottages, ... and walls and made ... a large swimming pool which ... could be heated to supplement our fickle sunshine. Thus I ... dwelt at peace within my habitation".[29] Bill Deakin, one of Churchill's research assistants, recalled his working routine. "He would start the day at eight o'clock in bed, reading. Then he started with his mail. His lunchtime conversation was quite magnificent, ...absolutely free for all. After lunch, if he had guests he would take them round the garden. At seven he would bathe and change for dinner. At midnight, when the guests left, then he would start work ... to three or four in the morning. The secret was his phenomenal power to concentrate."[30][c] In his study of Churchill as author, the historian Peter Clarke described Chartwell as "Winston's word factory"
In the opinion of Robin Fedden, a diplomat, and later Deputy General Secretary of the National Trust and author of the Trust's first guidebook for Chartwell, the house became "the most important country house in Europe".[34] The historian Graham Stewart, in his study of Tory Party politics, Burying Caesar, described it as "a sort of Jacobite court of St Germain".[35][e] A stream of friends, colleagues, disgruntled civil servants, concerned military officers and foreign envoys came to the house to provide information to support Churchill's struggle against appeasement.[f] At Chartwell, he developed what Fedden calls, his own "little Foreign Office ... the hub of resistance".[38] The Chartwell visitors' book, meticulously maintained from 1922, records 780 house guests, not all of them friends, but all grist to Churchill's mill.[39] An example of the latter was Sir Maurice Hankey, Clerk of the Privy Council, who was Churchill's guest for dinner in April 1936. Hankey subsequently wrote, "I do not usually make a note of private conversations but some points arose which gave an indication of the line which Mr Churchill is likely to take in forthcoming debates (on munitions and supply) in Parliament".[40] A week later, Reginald Leeper, a senior Foreign Office official and confidant of Robert Vansittart, visited Churchill to convey their views on the need to use the League of Nations to counter German aggression. Vansittart wrote, "there is no time to lose. There is indeed a great danger that we shall be too late".[41]
Churchill also recorded visits to Chartwell by two more of his most important suppliers of confidential governmental information, Desmond Morton and Ralph Wigram, information which he used to "form and fortify my opinion about the Hitler Movement".[g][43] Their sharing of data on German rearmament was at some risk to their careers; the military historian Richard Holmes is clear that Morton's actions breached the Official Secrets Act.[44] Chartwell was also the scene of more direct attempts to prepare Britain for the coming conflict; in October 1939, when reappointed First Lord of the Admiralty on the outbreak of war, Churchill suggested an improvement for anti-aircraft shells; "Such shells could be filled with zinc ethyl which catches fire spontaneously ... A fraction of an ounce was demonstrated at Chartwell last summer".[45][h]
In 1938, Churchill, beset by financial concerns, again considered selling Chartwell,[47] at which time the house was advertised as containing five reception rooms, nineteen bed and dressing rooms, eight bathrooms, set in eighty acres with three cottages on the estate and a heated and floodlit swimming pool.[i] He withdrew the sale after the industrialist Henry Strakosch agreed to take over his share portfolio, which had been hit heavily by losses on Wall Street, for three years and pay off significant associated debts.[49] In September 1938, the Russian Ambassador, Ivan Maisky, made his first visit and recorded his impressions of Chartwell: "A wonderful place! A two-storey house, large and tastefully presented; the terrace affords a breathtaking view of Kent's hilly landscape; ponds with goldfish of varying size; a pavilion-cum-studio with dozens of paintings - his own creations - hanging on the walls; his pride and joy, a small brick cottage which he was building with his own hands".[j] His impression of his host was somewhat less favourable; asked what special occasion would lead Churchill to drink a bottle of wine dating from 1793 from his cellar, Churchill had replied - "We'll drink this together when Great Britain and Russia beat Hitler's Germany". Maisky's unspoken reaction was recorded in his diary, "Churchill's hatred of Berlin really has gone beyond all limits!" Wikipedia
This is me at Pettico Wick a while back. thanks to my dad for letting me use this pic. He is getting very good with my old camera.
I recently started some experiments with integrating 3D rendered elements and 2D images. 3D elements were made in Blender, image processing in GIMP with the use of G´MIC filters.
Six-part work composed of six dioramas – Supper, Accusers, Cleansing, Ritual, Entropy, Doubt – in fibreglass, iron, oxidized metal, wood, polystyrene, sticky tape
This work appears as six shoulder-height iron cuboids, as if a paean to austere Minimalism. But through apertures, one can see dioramas inside each cuboid that stage different situations that Ai had to endure. The artist and his guards are replicated in fibreglass, in miniature.
[Ai of the tiger, RA blog]
On Sunday 3 April 2011, Ai was arrested at Beijing airport as he prepared to travel to Taipei. He was illegally detained at a secret location for 81 days. Initially handcuffed, he was accompanied 24 hours a day by two guards who were forbidden to communicate with him. The only source of ventilation for his windowless room was a small wall fan.
Ai memorised every detail of the cell, whose walls and every piece of whose furniture were wrapped in plastic. On his release on 22 June 2011 he was forbidden to discuss his incarceration and was placed on parole for twelve months; in addition to this his passport was withheld. Despite this restriction Ai re-created six models of his cell, all half actual size, and populated them with figures of himself engaged in different activities under the watchful eyes of his guards. The dioramas of S.A.C.R.ED. reveal how degrading Ai's detntion was and leave little doubt that the intense and claustrophobic experience he underwent was designed to break his spirit and discourage him from publicly challenging the Chinese authorities.
Following Ai's release, his company Fake Design Ltd was formally charged with tax evasion. The authorities fined the company nearly £1.5 million and gave 15 days to pay. The public offered their unsolicited support by giving him money towards settling the tax demand. Some threw donations over the wall of his studio compound while others contributed online. Ai responded with I.O.U., a work in which he wrote promissory notes to each of these 30,000 donors. These notes were in turn scanned and turned into wallpaper.
[Royal Academy]
Composing aus drei Einzelbildern.
Vielen lieben Dank, dass du dir meine Bilder anschaust!
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Im Oktober 2015 hatte ich die Gelegenheit ein lange in meinem Kopf herumschwirrende Idee in die Tat umzusetzen. Gemeinsam mit den Trofaiacher Teufeln entstanden diese Aufnahmen. Mein Dank an die Trofaiacher Teufel für die Unterstützung!
Hoodoos formation:
The Pink Member of the Claron Formation is largely composed of easily eroded and relatively soft limestone. When rain combines with carbon dioxide it forms a weak solution of carbonic acid. This acid helps to slowly dissolve the limestone in the Claron Formation grain by grain. It is this process of chemical weathering that rounds the edges of hoodoos and gives them their lumpy and bulging profiles.
In the winter, melting snow seeps into cracks and joints and freezes at night. The force of the expanding ice helps to erode the rock of the Claron Formation. Over 200 of these freeze/thaw cycles occur each year in Bryce Canyon.[16] Frost wedging exploits and widens the nearly vertical joint planes that divide the Pink Member of the Claron Formation.
Internal layers of mudstone, conglomerate and siltstone interrupt the limestone horizontally. These layers are more resistant to attack by carbonic acid and they can therefore act as protective capstones of fins, windows and hoodoos. Many of the more durable hoodoos are capped with a type of magnesium-rich limestone called dolomite.[16] Dolomite, being fortified by the mineral magnesium, dissolves at a much slower rate, and consequently protects the weaker limestone underneath.
However, the same processes that create hoodoos will also eventually destroy them. In the case of Bryce Canyon, the hoodoos' rate of erosion is 2–4 feet (0.6–1.3 m) every 100 years.[16] As the canyon continues to erode to the west it will eventually capture (in perhaps 3 million years) the watershed of the East Fork of the Sevier River. Once this river flows through Bryce Amphitheater it will dominate the erosional pattern; replacing hoodoos with a V-shaped canyon and steep cliff walls typical of the weathering and erosional patterns created by rivers. A foreshadowing of this can be observed in Water Canyon while hiking the Mossy Cave Trail. A diversion canal has been taking a portion of the East Fork of the Sevier River through this section of the park for over 100 years.[16]
from wikimedia:
Conakry, 2 oct 2020-
1. Dans le cadre des efforts de diplomatie préventive de la CEDEAO, de l'UA et des Nations unies visant à promouvoir la tenue d'une élection présidentielle crédible, transparente et pacifique en République de Guinée le 18 octobre 2020, une mission conjointe de haut niveau a séjourné en République de Guinée du 1er au 2 octobre 2020.
2. La Mission conjointe est consécutive :
- aux diverses consultations virtuelles de pré-dialogue conjointes CEDEAO-UA-NU et de la réunion Ministérielle consultative virtuelle qui se sont tenues avec les parties prenantes guinéennes, respectivement du 2 au 7 juillet et le 15 août 2020 ;
- de la validation de la liste des candidats par la Cour Constitutionnelle ;
- du lancement de la campagne électorale ; et
- de la restitution publique, devant le corps diplomatique, les partis politiques et la presse nationale et internationale, des résultats de l’audit du fichier électoral.
3. L'objectif de la mission conjointe était de rencontrer les parties prenantes au processus électoral afin d’encourager et d'approfondir le dialogue entre les différents acteurs et parties prenantes politiques du pays, en vue de garantir une élection crédible, transparente, inclusive et sans violence.
4. La délégation de la Mission conjointe était composée des personnalités suivantes:
- S.E. Mme Shirley Ayorkor BOTCHWEY, Ministre des Affaires Etrangères et de L'intégration Régionale de la République du Ghana et Présidente du Conseil des Ministres de la CEDEAO ;
- S.E.M. Alpha BARRY, Ministre des Affaires Etrangères et de la Coopération du Burkina Faso ;
- S.E.M. Jean-Claude KASSI BROU, Président de la Commission de la CEDEAO ;
- S.E.M. Mohamed Ibn CHAMBAS, Représentant Spécial du Secrétaire-général des Nations unies pour l'Afrique de l'Ouest et le Sahel (UNOWAS) ;
- S.E. Mme Minata Samate CESSOUMA, Commissaire aux Affaires Politiques de l’Union africaine ;
- Le Général Francis A. BEHANZIN, Commissaire aux Affaires Politiques, Paix et Sécurité de la CEDEAO.
5. Au cours de son séjour à Conakry, la Mission conjointe a été reçu en audience par Son Excellence Pr Alpha Condé, Président de la République. Le Président de la République a souhaité la bienvenue aux membres de la Mission conjointe et leur a exprimé toute sa gratitude pour la solidarité qu’ils apportent à la Guinée. Le Président de la République a réaffirmé à la Mission toute sa détermination à promouvoir la paix en Guinée et dans toute la sous-région. A cet égard, il a assuré à la Mission, qu’il ne ménagera aucun effort pour assurer la tenue d’une élection paisible et transparente en Guinée.
6. La Mission conjointe a tenu des consultations avec plusieurs acteurs et parties prenantes politiques en Guinée, notamment le Ministre des Affaires Etrangères et des Guinéens à l'étranger, le Ministre de la Sécurité et de la Protection Civile, le Groupe des Ambassadeurs des pays membres de la CEDEAO accrédités en Guinée, les membres du Groupe des 5 (G5), les partis politiques membres de la coalition au pouvoir, l'opposition républicaine, la coalition des candidats de l'opposition, les organisations de la société civile sous l'égide du Front national pour la défense de la Constitution (FNDC), les chefs religieux et les associations des femmes et des jeunes.
7. La Mission conjointe a également tenu des consultations avec la Commission électorale nationale indépendante (CENI), la Haute Autorité de la communication (HAC) et la Cour constitutionnelle sur l’état de préparation de l’élection présidentielle du 18 Octobre 2020.
8. La Mission conjointe s’est félicitée de la volonté des autorités à promouvoir une élection crédible et paisible. Elle s’est également félicité des progrès réalisés dans la préparation des différents volets techniques de cette élection. Elle s’est félicité de l’audit du fichier qui devrait permettre des élections fiables.
9. La Mission conjointe a exprimé sa vive préoccupation par rapport au manque de confiance entre les acteurs. La Mission a condamné fermement les violences et les discours de haine a relent ethnique, en particulier, susceptible d’encourager les violences.
10. La Mission conjointe a exprimé ses condoléances aux familles des victimes de ces violences. Elle demande aux autorités de rechercher et d’engager des poursuites contre les auteurs de ces actes.
11. La Mission conjointe a par ailleurs encouragé les autorités à sécuriser le processus électoral tout comme la protection de l’intégrité physique des candidats et de leurs militants avant, pendant et après le scrutin, et plus largement au respect des droits de l’homme.
12. La Mission conjointe appelle à la nécessité du dialogue entre les candidats et acteurs politiques ainsi que la signature urgente d’un code de bonne conduite avant l’élection et de s'abstenir d'annoncer les résultats avant les organes charges de le faire selon la loi.
13. La Mission conjointe appelle les Forces de Defence et de Sécurité à agir avec professionnalisme pour la sécurisation de l’élection et d’éviter l’usage excessif de la force.
14. La Mission conjointe demande aux candidats et tous les acteurs politiques y compris la CENI, à respecter strictement les protocoles sanitaires liés à la Covid-19 tout au long du processus électoral. Elle encourage la CENI a poursuivre les rencontres avec les différents candidats pour trouver des solutions aux points en suspens, notamment la nécessité d'afficher le fichier électoral et de veiller à ce que les procès-verbaux soient mis à la disposition des mandataires des partis.
15. La Mission conjointe a informé du déploiement des observateurs de la CEDEAO et de l’Union africaine dans les prochains jours à Conakry afin de contribuer à une élection crédible et transparente.
16. La délégation remercie les autorités guinéennes pour l’accueil chaleureux et fraternel ainsi que pour toutes les facilités mise a leur disposition pour cette Mission.
unowas.unmissions.org/fr/mission-de-solidarite-conjointe-...
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Joint ECOWAS-African Union-United Nations High-Level solidarity Mission for the promotion of a credible, transparent and peaceful presidential election in the Republic of Guinea
Conakty, 2nd Oct 2020-
1. As part of the preventive diplomacy efforts of ECOWAS, AU and the UN geared towards ensuring the holding of a credible, transparent and peaceful presidential election on 18 October 2020 in the Republic of Guinea, a Joint High-Level Solidarity Mission was undertaken to the Republic of Guinea from 30th September to 4th October 2020.
2. The joint Mission was a follow-up to:
- The joint ECOWAS-AU-UN virtual pre-dialogue consultations and the Virtual Ministerial Consultative meeting held with Guinean stakeholders from 2nd to 7th July and on 15th August 2020, respectively;
- The validation of the list of candidates by the Constitutional Court;
- The commencement of the electoral campaigns; and
- The public presentation of the outcomes of the audit of the voters register in the presence of the Diplomatic Corps, political parties and the national and international media.
3. The objective of the joint Mission was to deepen engagement with various political actors and stakeholders in the electoral process, with a view to ensuring a credible, transparent, inclusive and violence-free election.
4. The joint Mission delegation included the following:
- H.E. Shirley Ayorkor BOTCHWEY, Minister of Foreign Affairs and Regional Integration of the Republic of Ghana and the Chairperson of the ECOWAS Council of Ministers;
- H.E. Alpha BARRY, Minister of Foreign Affairs and Cooperation of Burkina Faso;
- H.E. Jean-Claude KASSI BROU, President of the ECOWAS Commission;
- H.E. Mohamed Ibn CHAMBAS, Special Representative of the United Nations Secretary General for West Africa and the Sahel (UNOWAS);
- H.E. Minata Samate CESSOUMA, Commissioner, Political Affairs, African Union Commission
- General Francis A. BEHANZIN, ECOWAS Commissioner for Political Affairs, Peace and Security.
5. During its stay in Conakry, the joint Mission was received in audience by His Excellency Prof. Alpha Conde, President of the Republic. The President of the Republic welcomed the members of the joint Mission and expressed his gratitude to them for the solidarity they are providing to Guinea. The President of the Republic reaffirmed to the Mission his determination to promote peace in Guinea and the entire sub-region. In this regard, he assured the Mission that he would spare no effort to ensure the holding of a peaceful and transparent election in Guinea.
6. The joint Mission held consultations with several political actors and stakeholders in Guinea, including the Minister of Foreign Affairs and Guineans Abroad, the Minister of Security and Civil Protection, the Group of African Ambassadors accredited to Guinea, members of the Group of 5 (G5), the political party members of the ruling coalition, the republican opposition, coalition of opposition candidates, civil society organizations under the umbrella of the National Front for the Defence of the Constitution (FNDC), religious leaders, women and youth associations.
7. The joint Mission also held consultations with the Independent National Electoral Commission (CENI), the High Authority for Communication (HAC) and the Constitutional Court on the state of preparations for the presidential election of 18th October 2020.
8. The joint Mission welcomed the commitment of the authorities to promote a credible and peaceful election. It also welcomed the progress made in the preparations for the various technical aspects of the election. It welcomed the audit of the register, which should enable the holding of credible elections
9. The joint Mission expressed deep concern about the prevailing mistrust among the stakeholders. The joint Mission strongly condemned the violence and hate speech with a particular ethnic undertone, which could encourage violence.
10. The joint Mission expressed its condolences to the families of the victims of this violence. It calls on the authorities to investigate and prosecute the perpetrators of these acts.
11. The joint Mission also urges the authorities to secure the electoral process as well as the preservation of the physical safety of the candidates and their supporters before, during and after the election, and more broadly, the respect of human rights.
12. The joint Mission reiterates the need for dialogue among the candidates and political actors as well as the urgent signing of the code of good conduct before the election and urges the candidates to refrain from announcing the results before the organs legally mandated to do so.
13. The joint Mission calls on the Defence and Security Forces to act professionally in securing the election and to avoid excessive use of force.
14. The joint Mission calls on the candidates and all political actors, including INEC, to strictly comply with the health protocols related to the Covid-19 throughout the electoral process. It encourages the CENI to continue discussions with the various candidates with a view to finding solutions to the outstanding issues, particularly the need to display the voters list and to ensure that result sheets are made available to party agents.
15. The Joint Mission announced the deployment of ECOWAS and African Union observers in the coming days in Guinea to contribute to a credible and transparent election.
16. The delegation expresses sincere gratitude to the Guinean authorities for the warm and fraternal welcome and for all the facilities put at their disposal for the Mission.
unowas.unmissions.org/joint-ecowas-african-union-united-n...
Remember those sea urchin shells from way back?? This image reminds me of those same creatures, even though the fractal is totally different from my previous work.
--->Experiments:
For experimentation, sometimes I combine self-composed music with visual art. One composition is set in a satirical tone to depict a phenomenon in which teenagers chase parties and become less inhibited from taking drugs. The F# harmonic minor scale music clip starts out with psychedelic music with futuristic sound effects, which symbolize a charm that the sense of mystery brings. However, it ends with suspicious music with heavy dose of stringed music, which symbolizes depression and loss after coming back to reality and leaving the temporary pleasure. The other composition is about the musical and physical representation of the process of adopting cultural diversity and exchanges of multidisciplinary ideas, a cornerstone of university learning. The beauty, texture, and endless possibilities of a singular color shine much brighter when it is mixed with and contrasted against others. The commingling of colors represents acceptance and bonding of cultural and ideological differences.
--->Extended Product:
1-b)
It is a piece I created for a fictitious Electro Party at night club after composing the music, which can be commercial background music. The neon lighting and drug at night club give me the idea of using nail polish to create those fluorescent effects that seem attractive and desirable; however, they also cause dizziness and vertigo when getting too bright and strong. The movement of the colors also reminds me of those party people dancing.
2-b)
It is a piece I created for a fictitious Music Festival, where people from all over the world get bonded together by music, and everyone travels to enjoy and share diversity. It was also based on a self-composed music clip, which can also serve as commercial background music.
While making and listening to this music clip, C major makes me feel peaceful and healing. Various colors symbolize people from different places, and the water symbolizes the festival and music itself. The commingling of colors represents acceptance and bonding of cultural and ideological differences.
Belgian postcard, no. 850. Photo: Real Film.
Glamorous, mysterious diva Zarah Leander (1907-1981) was a Swedish actress and singer, who is now best remembered for her German songs and films from the late 1930s and early 1940s. With her fascinating and deep voice, she sang melancholy and a bit frivolous songs specifically composed for her. Zarah was for a time the best-paid film star of the Third Reich. In her Ufa vehicles, she always played the role of a cool femme fatale, independently minded, beautiful, passionate, self-confident and a bit sad. It gave her the nickname 'the Nazi Garbo', but a recent book claims that she was, in fact, a Soviet spy
Zarah Leander was born Sara Stina Hedberg in Karlstad, Sweden, in 1907. Her parents were Anders Lorentz Sebastian Hedberg and Matilda Ulrika Hedberg. Although she studied piano and violin as a small child and sang on stage for the first time at six, Sara initially had no intention of becoming a professional performer. She led an ordinary life for several years. As a teenager, she lived for two years in Riga (1922–1924), where she learned German and worked as a secretary. She married actor Nils Leander in 1926, and they had two children: Boel (1927) and Göran (1929). In 1929, she had her breakthrough when her counter-alt voice was recognised by revue king Ernst Rolf. In his touring cabaret, she sang for the first time 'Vill ni se en stjärna' (Do you want to see a star?) which soon would become her signature tune. She got a record contract with the Odeon company, for which she recorded 80 songs till 1936. One of the songs she recorded in 1930 was Marlene Dietrich's 'Ich bin von Kopf bis Fuß auf Liebe eingestellt' from Der Blauen Engel/The Blue Angel (Josef von Sternberg, 1930). In the early 1930s, Leander played in several shows and performed in three Swedish films, including Dantes Mysterier/Dante's Mysteries (Paul Merzbach, 1930) and Falska Millionären/The False Millionaire (André Berthomieu, Paul Merzbach, 1931). Her persona in those films was already that of the singing, mundane vamp. She had her definitive breakthrough as Hanna Glavari opposite the legendary Swedish film star Gösta Ekman in Franz Lehár's operetta 'Die lustige Witwe' (The Merry Widow) (1931). In 1932 she divorced Nils Leander. She declined American work offers but she opted for an international career on the European continent because of her two school-age children. In 1936 she went to Vienna to star at the Theater an der Wien in the operetta 'Axel an der Himmelstür', composed by Ralph Benatzky and directed by Max Hansen. This parody of Hollywood and Greta Garbo was a huge success. She also got the role of a successful revue star in the Austrian film Premiere (Geza von Bolvary, 1936) with Karl Martell. Then she was offered a three-film contract by the German Universum Film AG (Ufa) studios, as propaganda minister Joseph Goebbels was looking for a new muse of the cinema of the Third Reich. She would earn approximately 200,000 Reichsmark and 53% of her gage would be paid in Swedish Kronor (crowns). Leander said "yes", despite the political situation.
Zarah Leander's first film at Ufa was Zu neuen Ufern/To New Shores (1936) directed by Detlef Sierck (later known as Douglas Sirk). After the other two films of her contract, La Habanera/Cheated by the Wind (Detlef Sierck, 1937) with Ferdinand Marian, and Heimat/Home (Carl Froelich, 1938) with Heinrich George, she was so popular that Josef Goebbels, who according to his diaries did not like her, had to continue her contract. On renewal, her salary increased even further, and in 1940 the Ufa offered her a contract for six films, to be produced in the following two years, for a total of 1 million Reichsmark. Zu neuen Ufern had launched songs such as 'Ich steh' im Regen' (Standing in the rain) and 'Yes, Sir', that were sold on record in various languages. These songs earned her more money than her films, even if she was the best-paid German female film star in the early 1940s. Her songs 'Davon geht die Welt nicht runter' (It is not the End of the World) and 'Ich weis, es wird einmal ein Wunder gescheh'n' (I Know One Day a Miracle Will Happen) from her film Die grosse Liebe/The Great Love (Rolf Hansen, 1942) received double entendre in the time they were distributed and struck chords with the Germans. Among her other films in those years were the comedy Der Blaufuchs/The Blue Fox (Viktor Tourjansky, 1938) with Paul Hörbiger, a biopic of Pyotr Ilyich Tchaikovsky, Es war eine rauschende Ballnacht/It was a Gay Ball Night (Carl Froelich, 1939) with Marika Rökk, Der Weg ins Freie/The Way to Freedom (Rolf Hansen, 1941) with Hans Stüwe, and the crime film Damals/In the Past (Rolf Hansen, 1942) again opposite Hans Stüwe. In her films, Leander often portrayed independent, fatal women, with strong will-power but haunted by destiny. In real life, she was a 'tough cookie' too, as she demanded that she should select her scripts and composers. At a party, Goebbels once asked her ironically: "Zarah... Isn't this a Jewish name?" "Oh, maybe", she answered him, "but what about Josef?" "Hmmm... yes, yes, a good answer", Goebbels had replied, according to IMDb.
Zarah Leander never became a party member and refused to take German citizenship, but her films and song lyrics were viewed by some as propaganda for the Nazi cause. After her villa in the fashionable Berlin suburb of Grunewald was bombed during an air raid in 1942 and the increasingly desperate Nazis pressured her to apply for German citizenship, she decided to break her contract with Ufa. In 1943, she secretly left Germany and retreated to Sweden, where she bought a mansion at Lönö, not far from Stockholm. Initially, she was shunned by much of the artistic community and public in Sweden (In 1936 the reactions were completely different when she started to work in Nazi Germany. Most of her Ufa films were very popular in Sweden as in the rest of Europe). In November 1944, Swedish radio decided to no longer play her records. But, as Antje Ascheid describes in her in-depth study 'Hitler's Heroines', Zarah's role was complex: "She regularly supported communal fundraisers and appeared in 'request concerts' - live radio shows in which famous star singers performed songs requested mostly by soldiers on the front - that aired all over the Reich. In addition, Leander was frequently depicted attending social functions at the homes of political leaders, which further linked her public persona to Nazi officials in power." After the war, she was severely questioned, but in 1947 she managed to record her songs again in Switzerland, where she also sang for the radio. Concert tours followed, first in Switzerland, then in 1948-1949 in Germany; and in 1949 she performed in Sweden again. Leander tried her luck once more in the film. Gabriela (Geza von Cziffra, 1950) was the third biggest box office hit of that year in Germany. The following films, Cuba Cubana (Fritz Peter Buch, 1952) with the new and younger idol O. W. Fischer, and Ave Maria (Alfred Braun, 1953) with her old partner Hans Stüwe, were both disappointments.
Thus Zarah Leander's film career came to an end, even though she still did four more films till 1966. Her last film was the Italian comedy Come imparai ad amare le donne/Love Parade (Luciano Salce, 1966) with Michèle Mercier, Nadja Tiller, and Anita Ekberg. Leander would continue with musicals and operettas on stage, however, and she also sang her now evergreens in TV shows. She published her memoirs, 'Zarah's minion' (Zarah's Memories), in 1972. In 1975 she played in her last musical, 'Das Lächeln einer Sommernacht' by Stephen Sondheim and Hugh Wheeler based on Ingmar Bergman's film Sommernattens leende/Smiles of a Summer Night (1955). In 1979 Zarah Leander officially retired and in 1981 she died of a stroke in Stockholm and was buried on her estate Lönö. She was married three times. After Nils Leander, she was married to journalist Vidar Forsell (1932-1943). Her third husband was pianist Arne Hülphers from 1956 till his death in 1978. In 2003 a bronze statue was raised in Zarah Leander's hometown of Karlstad at the Opera House of Värmland where she began her career. After years of discussions, the town government, at last, accepted this statue on behalf of the first Swedish local Zarah Leander Society. A year later the book 'The Mystery of Olga Chekhova' (2004) by Anthony Beevor was published, in which the author claimed that both Olga Tschechova and Zarah Leander worked for Soviet intelligence during World War II. According to the author she supplied information about Nazi Germany to a Soviet contact during her visits home to Sweden. In Germany, Zarah Leander is still an icon of the gay community, and her persona has been recreated by many drag queens. Performers like Nina Hagen have covered her songs, and director Quentin Tarantino used her song 'Davon geht die Welt nicht runter' (It is not the End of the World) in his war thriller Inglourious Basterds (2009).
Sources: Antje Ascheid (Hitler's Heroines), Paul Seiler (Das Zarah-Leander-Archiv), Lennart Haglund (Find A Grave), Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
December 29, 2011/ KUALA LUMPUR: Awan Nano, composed by M Nasir , lyrics by Budi Hekayat and sing by Hafiz, was named Song of the Year in the 26th Anugerah Juara Lagu ( AJL 26) . Asmawi Yusof / AY Images 2012
Anugerah Juara Lagu (AJL, Malay for "Champion of Songs Awards") is a popular annual music competition in Malaysia, organized by TV3. It features the best musical and lyrical compositions of each year it is held. Nominees are derived from a list of mostly-Malay songs which have garnered the most public votes in Muzik Muzik throughout the year, and then progress into the semifinals, from which twelve songs — four songs from each of three categories (Pop/Rock, Balada, and Irama Malaysia & Etnik Kreatif) will be nominated by a panel of judges to enter the Juara Lagu.
bir yer var biliyorum.. herseyi sölemek mümküm ,, epeyce yaklasmisim, duyuyorum, anlatamiyorum 'Orhan Veli'
Pentax K-30, SMC Pentax-M 200mm f/4.0. RAW processing in PSE 11.
At Bothwell Lodge, a historical home/nature trail north of Sedalia.
The niqab is composed of a veil to cover their hair and a second that conceals the face. The niqab hides the whole body and leaves only the eyes.
Le niqab est composé d'un voile pour couvrir les cheveux et d'un second qui dissimule le visage.
le niqab cache tout le corps et ne laisse apparaître que les yeux.