View allAll Photos Tagged Culpability,
Fuego, agua, explosiones de confetti, saltos de plataformas, y muchas cosas más hubo durante el rodaje en Banzai Studio de “Culpable” el recién estrenado video clip de David Bisbal dirigido por Dani de la Orden.
“Culpable” contiene un magnífico plano secuencia en el que aparecen unos 10 decorados. En Banzai Studio construimos todos los sets.
Productora: Playtime Movies
Director: Dani de la Orden
1r Ayudante dirección: Dídac Meya
2º Ayudante dirección: Júlia Martín
Auxiliar dirección: Carlota Meya
Directora de producción: Cristina Tapia
Ayudante producción: Armando J. Rios
Auxiliar de producción: Anna Salgado
DoP: Ricard Canyellas Guasch
Foquista: Andrea Leria
Co-Directora de Arte: Carla Moreno Coll
Co-Directora de Arte: Vicki Viñas
Ayudante de Arte: Marta Salazar
Ayudante de Arte: Guille Fernández Santana
Ayudante de arte: Gemma Tagliata Vinyals
Maquillaje y Peluquería: Ana Cano
Vestuario: Núria Sala Huguet
Supervisor MFX: Lluís Rivera
Actriz: Kimberley Tell
www.youtube.com/watch?v=X6FUrfHYRQE
www.vevo.com/watch/david-bisbal/culpable/ES1701400151
Making of:
Several Americans, among the 21 captured GIs who decided to stay behind in North Korea, carry communist flags on a march to Panmunjom January 28, 1954 where they met with news media.
A mascot dog with a “Non-Repat” sign walks along with the marchers.
As the Red Scare of the late 1940s and 1950s continued in the United States, the prisoners who refused repatriation were labeled as “brainwashed” and fear of communists’ ability to shape people’s minds was spread across the country.
However most were African Americans who did not wish to return to face racial discrmination. Others agreed with their hosts that communism represented a better hope for mankind than the capitalism of the United States.
Most, though ultimately had difficulty adapting to the culture and language of the host country and eventually returned to the United States.
Prisoner repatriation was one of the greatest stumbling blocks in the long cease-fire negotiations between the forces of the United Nations and those of China and North Korea.
In June 1953, the two sides agreed that no prisoner who did not wish to be repatriated would be forced to do so (this had long been a sticking point in negotiations, with the Chinese and North Koreans wanting all prisoners returned to their home countries).
Prisoners who did not wish to go back to their home countries would be given 90 days in a neutral compound near Panmunjom to reconsider before being allowed to stay in enemy territory. Following the armistice that was signed on 27 July 1953, effectively ending the Korean War (South Korea never signed), the main prisoner exchange was free to proceed.
One British and 23 American soldiers (along with 327 South Koreans) refused to be returned to their homelands. Two, Corporal Claude Batchelor and Corporal Edward Dickenson, changed their minds before the 90-day window expired. Both were court-martialed and sentenced to prison terms, with Batchelor serving 4½ years and Dickenson 3½.
This left 22 U.N. soldiers who voluntarily stayed with the Communists after the final exchange of prisoners. The 21 Americans were given dishonorable discharges.
This had the unintended consequence of rendering them immune to court-martial when they finally returned to the United States (which the majority eventually did), because they were no longer active-duty military. However, they were still criminally culpable for any acts of collaboration or offenses against fellow prisoners committed while they were POWs.
About 4 a.m. on February 24, 1954, a train carrying the 21 American defectors rumbled across the Yalu River into China. The Chinese soon shipped some of the men off to study language and politics. Others went to mills, factories, and farms across Eastern China.
For more random radicals, see flic.kr/s/aHske413N1
The photographer is unknown. The image is an auction find.
MAURICE GARIN (1871-1957) began his cycling career in 1892 when the secretary of the cycling club in Maubeuge persuaded him to sign up for the regional race Maubeuge-Hirson-Maubeuge pver 200 kilometers. Garin finished fifth in this race and decided to take part in competitions more often. It soon became clear that Garin was a talent. In 1893 he won a race over 800 kilometers in Paris, in 1894 he became first in a 24-hour race in Liège and in 1895 he booked a world record in the 500 km after derny.
Maurice also participated in the first three editions of PARIS-ROUBAIX.
In 1896, HE finished third in the first performance of the Paris-Roubaix cycling classic. A year, 1897, later he wrote the race on his name when he managed to stay ahead of the Dutchman Mathieu Cordang on the cycling track in Roubaix . In 1898, the victory in Paris-Roubaix went back to Garin. After a solo he reached the finish line with a twenty minute lead.
In 1900 Garin managed the finish on a thrird place.
In 1901 Maurice Garin won the second performance of the Paris-Brest Paris trial, which was held once every ten years. Garin put the 1208 kilometers in 52 hours 11 minutes and 1 second and reached the finish almost two hours ahead of the number two.
When Henri Desgrange organized the first TOUR DE FRANCE in 1903, Maurice Garin was the first cyclist to sign up. Although he was already 32 years old by now and in the autumn of his cycling career, he appeared on July 1 as the big favorite at the start in Montgeron, a suburb of Paris.
By winning the first stage, which went to Lyon over 467 kilometers, Garin immediately took the lead in the general classification. He would no longer lose this leading position. With victories in the fifth (Bordeaux-Nantes over 425 kilometers) and the sixth stage (the final stage Nantes-Paris over 471 kilometers) Garin even extended his lead. In the final classification he had almost three hours ahead of the number two, Lucien Pothier. Since then, the time difference between number one and two has never been greater. With his victory Garin earned 6000 francs, which was a considerable amount for that time.
In 1904 Garin also appeared as a big favorite at the start. Again he seemed to be making his favorite role coming true as he won, just like in 1903, the first stage. He kept the conquered lead to Paris. The lead on the number two, Lucien Pothier, was 'only' 3 minutes and 28 seconds, but on the other hand Garin had covered the 2428 kilometers more than an hour faster than in the previous year.
However, nothing happened two weeks after the last stage, when normally the final results would be announced. It was not until 2 December that it became clear why: Garin and the numbers two, three and four of the final classification were removed from the final ranking because they would have covered parts of the course by train.
Garin, who always denied (*) the allegations, was suspended for two years. Although he still participated in a single race in 1905, this suspension actually meant the end of his cycling career.
Garin invested his race winnings in a garage in the city of Lens, which he ran the rest of his working life.
(* by Bill McGann's bikeraceinfo) Garin publicly maintained his innocence, but historian Les Woodland found an old friend of Garin who said that in his old age Garin laughed about the 1904 Tour and acknowledged his culpability.
CAT
El passat dimarts 22 d’octubre, la Coordinadora d’Assemblees de Facultat (CAF) de la Universitat Autònoma de Barcelona (UAB) va okupar un espai en desús que futurament hagués cedit a la representació estudiantil institucional, i en tant que institucional còmplice i culpable de l’espoli i elitització que pateix l’educació pública, al campus de Bellaterra de la UAB. Aquest nous espai serà gestionat per estudiants mobilitzades i pels diferents col·lectius vetats des de les cúpules institucionals, i representa un pas més d’empoderament i de recuperació d’espais que sobirans de l’estudiantat.
CAST
El pasado martes 22 de octubre, la Coordinadora de Asambleas de Facultad (CAF) de la Universidad Autónoma de Barcelona (UAB) okupó un espacio en desuso que futuramente hubiera sido cedido a la representación estudiantil institucional, y en tanto que institucional cómplice y culpable del expolio y la elitización que sufre la educación pública, al campus de Bellaterra de la UAB. Este nuevo espacio será gestionado por las estudiantes movilizadas y por los diferentes colectivos vetados des de cúpulas institucionales, y representa un paso más de empoderamiento y de recuperación de espacios soberanos al estudiantado.
Els cargols a la petarrellada, secs i rematats al forn, són un clàssic d’aquesta casa i venen amb dues bones salses (vinagreta i allioli) per anar-los sucant. Doncs bé, els cargols estaven excessivament ressecs, clarament com si fossin del dia anterior i haguessin estat reescalfats. Ho vam comentar i de seguida ho van reconèixer i es van oferir a portar-nos una altra ració que, efectivament, estaven més al punt. Cal destacar que van reaccionar ràpid i sense qüestionar res (suposem que se sabien culpables) però això no justifica una lletja acció.
Seen here is the construction of a Dollar General store nearing completion at 5800 Buttermilk Hollow Road in Lincoln Place in Pittsburgh. Five years ago this same plot of land held Elks Lodge #11, which in late 2013 was held culpable for allowing a man to inbibe an estimated 17-21 beers at a "gun bash" on September 26, 2009, on its premises, after which he drove head-on into another vehicle while travelling at 70 MPH, killing two people, one directly and one indirectly, and injuring two others. His blood-alcohol level was found to be .226, almost three times the legal limit in Pennsylvania, and the crash occured about .2 miles, or 300 meters, from the parking lot. The family of the passenger who was killed in the crash itself sued the drunken driver and the Elks Lodge, which resulted in a jury award of $28 million in damages to the victims and their families. $10 million of that total were punitive damages against the Elks Lodge.
Imaginen contar con las condiciones perfectas para fotos magníficas: un día soleado, una bellísima chica sin experiencia en modelaje pero con mucha voluntad de posar, un parque muy escénico. Sin embargo las fotos apestan y el único culpable eres tú, el fotógrafo. Pero hay que ser preciso: no es al persona, si no que la técnica, que se puede cultivar. Y esa mejora proviene de ser honesto y volver siempre a analizar los errores.
Los errores que cometí son tantos, que me avergüenza reconocerlos. Pero hay ue dejar de lado la vergüenza para aprender: tomar pocas fotos, dar malas instrucciones para las poses, no saber poner en palabras eso que la modelo no es capaz de ver y que es lo más bello, no chequear el enfoque (ese día estaba obsesionado con manual), no cuidar los fondos y los contrastes de luz.
Algunos podrían decir que el error estuvo en la cámara. Pero mi misión de vida es demostrar que con una cámara ponit and shoot puedes lograr buenas fotos, siempre y cuando conozcas todos sus engranajes. Aún así, a veces, ese conocimiento técnico se tiene, pero las fotos salen mal igual.
A años de ver estas fotos, identifico concretamente lo que haría diferente. No siempre hay que contar los wins.
Mi equipamiento en esta foto: Canon PowerShot SX 240 hackeada con CHDK.
Ediciones: Muchas, para compensar mi ineptitud: Ajuste de blancos, curva de tonos, desaturación de rojo, magenta, violeta y azul. Desde RAW generado por CHDK, con Adobe Lightroom.
Mira más de ella aquí: www.flickr.com/photos/dewutroppa/54244090331/in/dateposte...
Imagine having the perfect conditions for great photos: a sunny day, a gorgeous girl with no modeling experience but a lot of desire to pose, a very scenic park. However, the photos suck and the only one to blame is you, the photographer. But you have to be precise: it's not the person, but the technique, which can be cultivated. And that improvement comes from being honest and always re-analyzing the mistakes.
The mistakes I made are so many that I'm ashamed to admit them. But you have to put shame aside to learn: taking few photos, giving bad instructions for the poses, not knowing how to put into words what the model is not able to see and that is the most beautiful, not checking the focus (that day I was obsessed with manual), not taking care of the backgrounds and light contrasts.
Some might say that the mistake was in the camera. But my mission in life is to show that with a point and shoot camera you can get good photos, as long as you know all its gears. Still, sometimes you have that technical knowledge, but the photos still come out bad.
After years of looking at these photos, I can specifically identify what I would do differently. You don't always have to count the wins.
My gear in this photo: Canon PowerShot SX 240 HS hacked with CHDK.
Edits: Many, to compensate my incomoetence: White balance; tone curve; red, magenta, violet and blue desaturation. From RAW generated by CHDK, with Adobe Lightroom.
Check more of her here: www.flickr.com/photos/dewutroppa/54244090331/in/dateposte...
other visual propaganda.......
UJC : Union de Jovenes Communistas (Young Communist League) . Founded
in 1962, simultaneously with The Communist Party of Cuba. Membership
is voluntary but selective (?) and currently stands at 600,000. But if one is
not "voluntarily" a member many job positions are not available to you !!
Estudio.Trabajo. Fusil....Work. Study. Rifle (Gun) !! Strange combination
of words. Or is there another translation for the word "fusil"? fight?
Corazón, ahora tienes que pedirte perdón
por creerte siempre feo y culpable
y sufrir cada vez que sale el sol.
TITLE: Kings of Dreams
AUTHOR: Robert Silverberg 1935-
TYPE: novel paperback
PUBLISHER: EOS
COVER PRICE: $7.50
ISBN: 0-06-102052-4
PAGES: 480
PUB DATE: May 2002
EDITION: 1st paperback; prior editions
COPYRIGHT: 2001 by author
COVER ARTIST: Jim Burns
ISFDB: yes, RATING:
NOTATION:
Stated 1st printing(per number line) of 2002 Eos ed.
Cover artist is unaccredited but its identical to the hc edition
INDEX: 0253 - Kings of Dreams - 20 - RS - IFB
PART OF TRILOGY:
Prestimion
1 Sorcerers of Majipoor (1997) by Robert Silverberg
2 Lord Prestimion (1998) by Robert Silverberg
3 The King of Dreams (2001) by Robert Silverberg
CULPABILITY: All images posted are from publications owned by RC/\Weazel. RC/\Weazel performed image scanning, editing and the compiling of bibliographic data.
ISFDB: Internet Speculative Fiction Data Base.
RATING: On a scale of 1 to 10 with 10 being great and 1 don’t read.
NO entry indicates specific information not available from book.
QUOTE….“The study of history was oddly congenial to Joseph. There was a kind of poetry in it for him. He had always loved those flamboyant tales of far-off strife, the carefully preserved legends of the fabled kings and kingdoms of Old Earth. But they were just tales to him, gaudy legends, ingenious dramatic fictions. He did not seriously think that men like Agamemnon and Julius Caesar and Alexander the Great and Genghis Khan had ever existed”. Robert Silverberg from The Longest Way Home
12 Angry Men is a play by Reginald Rose. It is about a jury member who persuades the other 11 members to change the verdict (guilty) they have given, on the basis of reasonable doubt.
The story begins after closing arguments have been presented in a homicide case, as the judge is giving his instructions to the jury. As in any American criminal case, the twelve men must unanimously decide on a verdict of 'guilty' or 'not guilty'. (In the American justice system, failure to reach a unanimous verdict, a so-called "hung jury", results in a mistrial.) The case at bar pertains to whether the young man murdered his own father. The jury is further instructed that a guilty verdict will be accompanied by a mandatory death sentence (something that could not happen in the current American legal system). These twelve then move to the jury room, where they begin to become acquainted with the personalities of their peers. Throughout their deliberation, not a single juror calls another by his name because the names are unknown by the jurors.
The story begins after closing arguments have been presented in a murder case, as the judge is giving his instructions to the jury. According to American law at the time, any jury that will decide whether the death penalty is appropriate must be unanimous. The question they are deciding is whether the defendant, an 18-year-old man,[1] murdered his father. The jury is further instructed that a guilty verdict will be accompanied by a mandatory death sentence - the electric chair (something that could not happen in the current American legal system). The jury of twelve move to the jury room, where they begin to become acquainted with each others' personalities and discuss the case.
The plot of the film revolves around their difficulty in reaching a unanimous verdict due, in some cases, to the jurors' prejudices. Juror #8 dissents in the initial voting, stating that the evidence presented is circumstantial and the boy deserves a fair deliberation, upon which he starts questioning the accuracy and reliability of the sole two witnesses to the murder, the fact that the knife used in the murder is not as unique as assumed (he produces an identical one from his pocket) and that the overall circumstances are rather shady.
His most fierce opponents - Jurors 3, 4 and 10 - claim that the boy's alibi is blotched, since he does not remember any detail from the movies he watched at the theatre the night of the murder and he has sufficient motivation to kill his father. His lack of memory, however, is excused by panic attack; also, one of the witnesses is accused of wanting attention whilst the other might have "witnessed" the murder without her glasses on. As the deliberation goes on, the jurors go on to vote not guilty - in order, Jurors 9, 5, 2, 11, 6, 7, 12, 1, 4, 10 and finally 3. Juror 9 makes up his mind at the very beginning, in a secret vote; after hearing his reasons and listening to the complaints of Jurors 7 and 10, Jurors 5 and 2 change their votes. After Jurors 11 and 6 also decide on "not guilty," 7 becomes tired and also votes "not guilty" just so that the deliberation may end. Juror 12 changes his mind after voting "not guilty," but switches back moments after; the jury Foreman, 1, also votes "not guilty". Juror 10 loses all favor or respect after indulging in a bigoted rant, after which he is told to "shut up" by Juror 4 - who in turn is convinced that the witness who "saw" the murder may be inaccurate in her account owing to the fact that she may not have been wearing glasses at the time.
Last of all is the adamant Juror 3, who, after a long confrontation with Juror 8, breaks down after glancing at and furiously tearing up a picture of him and his son, whom he hasn't seen in two years (his angry rage suggesting a probable falling out with the boy). All jurors leave and clear the accused of all charges off-screen. In the epilogue, the friendly Jurors 8 and 9 exchange surnames (all jurors have remained nameless throughout the movie) and the movie ends.
12 Angry Men (titulado en castellano como Doce hombres sin piedad (España) Doce hombres en pugna (Argentina / Venezuela)) es una obra teatral escrita por Reginald Rose. En 1957 se realizó su versión cinematográfica.
La película fue dirigida por Sidney Lumet, obteniendo cuatro nominaciones a los premios Oscar de la Academia. La película trata sobre un juicio de un homicidio en el que doce hombres tienen que deliberar sobre el futuro de un muchacho, dictaminando si el chico es culpable o inocente del asesinato de su padre. Todas las pruebas apuntan a que el chico es el culpable, por ello once de los doce miembros del jurado opinan que es culpable pero el miembro número 8 del jurado tiene en cuenta diferentes argumentos que se han citado en el juicio y hace que surja la duda sobre la culpabilidad del chico. De este modo poco a poco el miembro número 8 hace que los demás vayan cambiando de opinión y de que éstos se den cuenta de otros factores que no habían sido analizados en el juicio.
Aunque en esta foto lucimos sonrientes, la verdad es que en la práctica (de la cucaracha) teníamos otras caras y no necesariamente eran de satisfacción. Pobres cucas.... todo sea por la ciencia (¿?).
Lo que verán en las siguientes cuatro fotografías es la disección de una Cucaracha de Madagascar, esto realizado en una práctica de la materia de Fisiología de Insectos (obligatoria). Mis amiguitos biólogos recordarán viejos tiempos en el que hicimos esta práctica pero para la materia de Zoología de Invertebrados con el maestro Guajardo, solo que aquella ocasión abrimos Periplaneta americana (cucaracha común) ¿se acuerdan del olorcito??, bueno las de Madagascar no lo tienen, aunque el aspecto compensa muchas otras cosas desagradables.
During the Jazz Age:
When Daisy arrived in New York, she was unsettled to see that everything looked the same: the buildings stared at her as if to say, "Of course, we are still here as we were before. No matter if you come or go, this city will not change just for you."
Then Daisy realized: the sad part was that though so many things were different in her life, everything she truly dreaded was tied to this place--and her life with Tom.
Memories of Jay Gatsby's disastrous end; twinges of guilt over her and Tom's culpability in it; her horrible experience with Tom's insane cousin Binx; and the disappearance of her daughter Pammy: these events stood as solidly as the buildings.
"But I must rebuild; I must recreate": This idea gave Daisy not only hope but drive and determination.
Daisy's friend Maude, with whom she was staying, had told her that she could have a golden opportunity to rebuild her public image, which was imperitive.
All it would take, said Maude, was talking to Vespa Salvaggio.
"I'm ready...to recreate myself, my image...to become royal; to be David's future Queen. Yes, I AM the Queen."
'Queen for a day, fool for a lifetime': Avoiding that trap was what Daisy needed to do most.
To Be Continued
***See Holly C's (swaggyWiggums') flickr page for Jan. and Feb. 2014 stories on Vespa Salvaggio and on Grace Garamond****
People who follow orders to harm others often consider that their victims deserve such treatment as a way of reducing their personal culpability in another’s pain.
(Perry, Williard & Perry, 1990)
Captain Scott's ill-fated South Pole 'Terra Nova' Expedition 1910 - 1913.
The Terra Nova Expedition, officially the British Antarctic Expedition, was an expedition to Antarctica which took place between 1910 and 1913. It was led by Robert Falcon Scott and had various scientific and geographical objectives. Scott wished to continue the scientific work that he had begun when leading the Discovery Expedition to the Antarctic in 1901–04. He also wanted to be the first to reach the geographic South Pole. He and four companions attained the pole on 17 January 1912, where they found that the Norwegian team led by Roald Amundsen had preceded them by 34 days. Scott's entire party died on the return journey from the pole; some of their bodies, journals, and photographs were found by a search party eight months later.
The expedition, named after its supply ship, was a private venture, financed by public contributions augmented by a government grant. It had further backing from the Admiralty, which released experienced seamen to the expedition, and from the Royal Geographical Society. The expedition's team of scientists carried out a comprehensive scientific programme, while other parties explored Victoria Land and the Western Mountains. An attempted landing and exploration of King Edward VII Land was unsuccessful. A journey to Cape Crozier in June and July 1911 was the first extended sledging journey in the depths of the Antarctic winter.
For many years after his death, Scott's status as tragic hero was unchallenged, and few questions were asked about the causes of the disaster which overcame his polar party. In the final quarter of the 20th century the expedition came under closer scrutiny, and more critical views were expressed about its organization and management. The degree of Scott's personal culpability, and more recently, the culpability of certain expedition members, remains controversial.
Salman Khan's jail sentence was suspended for 5 years on the Mumbai High Court pending appeal .The bollywood superstar will not go to jail now, and while his appeal against the lower court ruling is heard from the High Court, he will continue to be on bail.
Salman Khan's 2002 Toyota Land Cruiser ran over men sleeping on the pavement in front of the bakery group, killing a man and leaving four injured. May 6, additional sessions judge DW Deshpande took Salman Khan guilty of all the prosecution of seven charges including culpable homicide not equal murder, rash and drunk driving and driving without a valid license that has been sentenced to five years in prison.
Salman Khan's complaints are claimed in the High Court senior lawyer Amit Desai and Shrikant Shivade. Today is the last working day of the High Court, before it starts to an annual summer holidays until 8 June. So for now, until 8 june Salman Khan is at rest and can now concentrate on his upcoming projects.
In 1992 artist Nick Cave sat in a Chicago park, still reeling from news of the Rodney King beating and ensuing Los Angeles riots. Feeling Vulnerable and that he -- like any African American man -- could be targeted, he gathered Sticks from the ground. At the studio, he turned these sticks into his first Soundsuit, a wearable Sculpture and defensive shell. Often seen as a celebration of movement and material, Cave's Soundsuits mask the body, erasing identity. Now, more than twenty years later, Cave takes us inside the belly of one of his iconic sculptures with this immersive installation Until -- a play on the phrase "innocent until proven guilty" or, in this case, "guilty until proven innocent." Cave's work began as a protective response to violence, and, with Until, he tackles the recent deaths of African Americans in the United States -- Trayvon Martin, Eric Garner, Tamir Rice, Oscar Grant... the list goes on -- eulogizing these victims while providing a platform for civil discourse, debate, and, ultimately, hope.
Until began with a question Cave asked himself: Is there racism in heaven? Instead of providing a direct answer, Cave offers us an experience. Across this space, visitors traverse a sculptural forest of metallic lawn ornaments --punctuated by images of guns, bullets, and targets, positioning us all as culpable, vulnerable, and potentially under attack --before arriving at a crystal cloud topped by a garden of found ceramic birds, metal flowers, and black-face lawn jockeys. By removing the lawn jockeys (cast-iron figurines and racist remnants) from circulation, Cave transforms them into agents for change, placing beaded nets in their hands as dream catchers. Our journey through Until continues to a cliff wall constructed of millions of woven plastic beads, an immersive video, and a metaphoric cleansing in a Mylar waterfall.
Until is also a site for performances and community engagement, with the immersive installation becoming a stage for testimonials, music, dance, poetry, and discussion. In the end, Cave takes off the protective mask his Soundsuits. Once provided, offering an environment to discuss important issues in a space that is at Once Seductive, provocative, and -- ultimately -- optimistic.
Era el año de la ola de calor
de las camas improvisadas en el balcón
y del pic-nic en mi alfombra
donde juntos huíamos del sol.
Cada vez que me vuelvo a enamorar
estoy amándote a ti
Cada vez que te quiero olvidar
te amo un poco más.
Hay errores que no se acaban de pagar
y hay pasiones que no se acaban de apagar.
Soy culpable de quererte
soy culpable de lo que quieras tú.
Cada vez que me vuelvo a enamorar
estoy amándote a ti.
Cada vez que te quiero olvidar
te amo un poco más.
letter of candidature to be invited with the BIENNALIST format to expose at the Vatican pavilion at the Venice Biennale 2013
dear Cardinal Gianfranco Ravasi ,
Please take in consideration my canditature to be include in the Vatican pavi
lion .
I am interest to exhibiti the BIENNALIST format activate the GENESIS .
I read you were looking for sponsors and I think it is an interesting issue as sometimes they can be the origin of our misery . I am also interest in the artistic work about Adam and EVE and culpability as well a reflection about power and encyclopedie .
I can come to a meeting at the Vatican and debate further proposition
best regards
Geoffroy
SAD AFFAIR AT THE GAS WORKS.
BURIED BY A FALL OF COAL
A singular accident at the Auckland Gas Works yesterday caused the death of a stoker named Mr James Watts. It appears that the deceased entered one of the rooms the works about 3 o'clock in the afternoon with the intention of moving some coal. From this room a shute leads down into a storage room below, and it is conjectured that while clearing away a pile of coal from the mouth of the shute, he fell into it and was covered by quantities of coal, which slipped down after him, and suffocated him. About an hour later, one of the men passing through the storage-room at the bottom of the shute noticed tho legs of deceased showing among the coal, and at once extricated the body. Dr. Mackellar was summoned, but found that life was extinct. Constable Finnerty, of the Freeman's Bay Station, conveyed the body to the morgue to await an inquest. Deceased was a married man about 30 years old, with a wife and four children, and lived in Brown-street, Ponsonby. The inquest commenced at 3 o'clock this afternoon.
paperspast.natlib.govt.nz/newspapers/AS19020723.2.35
THE FATAL ACCIDENT AT THE GASWORKS.
CORONER'S INQUEST.
A coroner's inquest, touching the death of the man, Jas. Watts, who lost his life on Tuesday afternoon through being suffocated by a fall of coal while working at the Auckland Gas Company's works, Nelson-street, was held before Mr. Gresham (city coroner), at Gleeson's Hotel, Hobson-street, yesterday, afternoon.
Dr. Robert Bedford, the first witness examined, stated that he was called to the works to deceased, and found the man quite dead. His appearance indicated that the cause of death was suffocation. There was nothing in the appearance of the body to suggest that deceased had been struck on the head by a lump of falling coal, the only marks being bruises on the chest, caused by pressure of the weight of coal.
Thomas Matthew Collins, coaler at the Auckland Gas Works, deposed to discovering deceased in the shute into which he had fallen, by noticing his trousers sticking through the shute when he (witness) went into the room below to fill his truck with coal. He and his mates extricated the body, getting it down into the coal tunnel, and carrying it out into the engine yard. Witness last saw deceased, who was always a steady man, alive about twenty minutes past three on Tuesday afternoon. He was then in the tunnel in company with another stoker, named Hyman, breaking coal. It was about five minutes past four when witness found the body in the shute.
James Lawford, shift foreman of the stoke hole, and of the coal shed and tunnel, said that it was part of his ordinary duty to get the coal from the coal shed down through the trap into the tunnel. Deceased had been constantly employed on that work, and knew his duties and responsibilities. He was a very steady man. Witness last saw him alive about three p.m. on Tuesday in the stoke hole. About a quarter of an hour before that time witness saw deceased on the joists of the No. 2 coal shed, where he was at the time engaged knocking stray pieces of coal off the joists. Work of that description might be dangerous. It was the duty of the day shift to see that the coal traps were full for the night. Deceased met his death at the first trap on the left. A man named William McArthur, a coaler, had told witness shortly before noon on Tuesday that there was no coal in the No.1 trap on the left, and that he was "far enough." By that he meant that he had gone as far with his work as he considered safe for himself. Witness told McArthur to work on the right side of the tunnel until he could get coal trimmed to the left. The deceased would not have known of the conversation. Witness knew that deceased was still working at the No 1 trap, on the left. About three o'clock witness had a conversation with the deceased—no one else was present. The deceased then asked witness what he as going to do about the No. 1 trap. Witness said he had not seen it, and asked deceased how it looked. Deceased said he thought he could get the planks up. That meant closing the trap up from below, and witness advised deceased "to take no chances," or words to that effect. Deceased said, "That will be all right. I can fix it." As soon as witness heard what had happened he went to the coal shed above, but from there could see no signs of deceased. The capacity of the big shed was, roughly speaking, about 4000 tons. The shed was where the fatality happened. As far as witness was aware the deceased had not been working at the No. 1 trap, on the left, prior to the conversation between them at three o'clock.
At this stage the coroner adjourned the Court till Monday, the 28th inst., at ten a.m., the jury being bound over in £10 each.
paperspast.natlib.govt.nz/newspapers/NZH19020724.2.78
THE GASWORKS FATALITY.
INQUEST.
The adjourned inquest touching the death of James Watts at the gas works on July 22 was resumed at Gleeson's Hotel this morning. Mr. Martin (of Devore & Martin) represented the widow and relatives of the deceased. Continuing his evidence, James Lawford said in his opinion deceased had gone up into the big shed to turn the coal into the tunnel, and in so doing was carried through the tunnel and into the position found. He considered that work in the shed was dangerous. It would be a safeguard against accident if ropes were placed on beams overhead. It was optional with the deceased to call in his mate to help him in the shed. Had deceased been in the company of another man it was probable that the accident would not have ended fatally. About four years ago a man was entombed by a fall of coal from an open trap. Since then printed orders had been issued instructing the men not to pass under open traps. After a short retirement the jury returned a verdict. "That death resulted from suffocation and pressure of coal." The jury were of opinion that nobody was culpably responsible for the death. They were also of opinion that work in the shed was dangerous, and two men should be employed, and ropes suspended from beams over each trap, and that the attention of the inspector of buildings be called to the case.
paperspast.natlib.govt.nz/newspapers/AS19020728.2.47
Plot 43: Ethel Ann Watts – Convulsions
James Watts – Stoker – Accidental death
Kate Charlton Watts (80) 28/1/1955
Plot 45: Henry Watts (65) 6/8/1928 – Gardener
John Thomas Watts (84) 24/10/1955
In Loving Memory of
JAMES,
dearly beloved husband
of Kate WATTS
accidentally killed at
the Auckland Gas Works
22nd July 1902
aged 35 years
Not gone from memory
Not gone from love
But gone to a Father's
Home above.
ETHEL ANN daughter of the above
died 15th April 1898: aged 1 year & 10 days
R.I.P
Erected by the employees of the
Auckland Gas Co.
DEATHS
WATTS.—Accidentally killed on July 22, 1902, James Watts, aged 35 years. The funeral will leave his late residence Brown-st., Ponsonby, to-morrow (Thursday), at 1.30 p.m., for Waikomiti. Frineds please accept this intimation.
paperspast.natlib.govt.nz/newspapers/AS19020723.2.59
WATTS.—On August 6, at Jellicoe Road, Manurewa, Henry, dearly beloved husband of Sarah Ann Watts; aged 65 years. Funeral will leave the above address to-morrow (Tuesday), at 2 p.m., for Waikumete.
TITLE: Search The Sky
AUTHORS: Frederik Pohl , C. M. Kornbluth
TYPE: paperback novel
PUBLISHER: Ballantine F-738
COVER PRICE: $ .50
ISBN:
PAGES: 165
COPYRIGHT: by authors
PUB DATE: June 1963
EDITION:
·Stated 2nd printing of 1954 Ballantine ed. Cover similar to 1954 ed. minor changes.
COVER ARTIST: Powers
ISFDB: Yes not as primary
RATING:
NOTATION:
INDEX: 0360b - Search The Sky - FP CMK - 003 - IFB
QUOTE….“ “On a dreary winter’s day, with the rain sweeping across Lyonesse, Queen Sollace went into labor”.” Jack Vance, The Green Pearl 1st sentence
CULPABILITY: All images posted are from publications owned by RC/\Weazel. RC/\Weazel performed image scanning, editing and the compiling of bibliographic data.
ISFDB: Internet Speculative Fiction Data Base.
RATING: On a scale of 1 to 10 with 10 being great and 1 don’t read.
NO entry indicates specific information not available from book.
In 1992 artist Nick Cave sat in a Chicago park, still reeling from news of the Rodney King beating and ensuing Los Angeles riots. Feeling Vulnerable and that he -- like any African American man -- could be targeted, he gathered Sticks from the ground. At the studio, he turned these sticks into his first Soundsuit, a wearable Sculpture and defensive shell. Often seen as a celebration of movement and material, Cave's Soundsuits mask the body, erasing identity. Now, more than twenty years later, Cave takes us inside the belly of one of his iconic sculptures with this immersive installation Until -- a play on the phrase "innocent until proven guilty" or, in this case, "guilty until proven innocent." Cave's work began as a protective response to violence, and, with Until, he tackles the recent deaths of African Americans in the United States -- Trayvon Martin, Eric Garner, Tamir Rice, Oscar Grant... the list goes on -- eulogizing these victims while providing a platform for civil discourse, debate, and, ultimately, hope.
Until began with a question Cave asked himself: Is there racism in heaven? Instead of providing a direct answer, Cave offers us an experience. Across this space, visitors traverse a sculptural forest of metallic lawn ornaments --punctuated by images of guns, bullets, and targets, positioning us all as culpable, vulnerable, and potentially under attack --before arriving at a crystal cloud topped by a garden of found ceramic birds, metal flowers, and black-face lawn jockeys. By removing the lawn jockeys (cast-iron figurines and racist remnants) from circulation, Cave transforms them into agents for change, placing beaded nets in their hands as dream catchers. Our journey through Until continues to a cliff wall constructed of millions of woven plastic beads, an immersive video, and a metaphoric cleansing in a Mylar waterfall.
Until is also a site for performances and community engagement, with the immersive installation becoming a stage for testimonials, music, dance, poetry, and discussion. In the end, Cave takes off the protective mask his Soundsuits. Once provided, offering an environment to discuss important issues in a space that is at Once Seductive, provocative, and -- ultimately -- optimistic.
The Postcard
A postally unused briefkaart published by Uitg. Firma F.B. den Boer, Middelburg.
Volendam
Volendam is a small town in North Holland in the Netherlands, in the municipality of Edam-Volendam. The town has about 22,000 inhabitants (November 2007), and is twinned with Coventry in the UK.
Originally, Volendam was the location of the harbour of the nearby Edam. However in 1357, the inhabitants of Edam dug a shorter canal to the Zuiderzee with its own separate harbour.
This removed the need for Volendam's original harbour, which was then dammed and used for land reclamation. Farmers and local fishermen settled there, forming the new community of Volendam, which literally meant 'Filled dam'.
In the early part of the 20th. century Volendam became an artists' retreat, with both Picasso and Renoir spending time there.
The majority of the population belongs to the Roman Catholic Church, which is deeply connected to the village culture. Historically, many missionaries and bishops grew up in Volendam. Today there is the chapel of Our Lady of the Water, which is located in a village park.
The Volendam Café Fire
The Volendam New Year's café fire occurred during the 2000–2001 New Year's night. The fire began early on New Year's Day 2001 and caused the death of 14 young people. 241 people were admitted to hospital, 200 of whom suffered serious burns.
The fire took place in a building that housed three bars. On New Year's Eve it was packed with more than 350 young people between 13 and 22 years of age when a short blaze happened in the café De Hemel ("Heaven") which was located on the top floor after a sparkler hit Christmas decorations that hung from the ceiling. The temperature in the room reached 400 °C (752 °F). Many of the partygoers were wearing highly flammable synthetic fabrics which clung to their flesh as they melted and burned.
There was great panic and the heat, lack of oxygen and people falling over each other made escaping extremely difficult. There also were bars in front of the windows and there were too few emergency exits, all of which contributed to the high number of injuries.
Survivors stated that shortly after the fire began, all the lights went out, contributing to the panic.
The first report reached the Amsterdam ambulance service at 00:38 local time on the 1st. January. The first fire engine arrived at 00:46.
Mayor Frank IJsselmuiden claimed that the crowd had panicked because all but one of the emergency exits were blocked.
Many of those injured were hurt when they smashed windows and leapt from third and second floor windows in an attempt to escape the fire. Others including 53 injured individuals were admitted due to burns, with some being flown to special burns units in Belgium and Germany.
Investigation Into the Fire
The fire was initially investigated intensively by media and politicians. New rules were introduced for decorations in cafés, nightclubs and other venues. The owner and managers of the building were indicted for culpability.
An inquiry showed that the owner Jan Veerman had been negligent in providing escape routes, as well as failing to soak the Christmas decorations with a fire-resistant substance. Also there were too many people in the building at the time of the incident.
The owner was given a conditional prison sentence and community service. As a result of the inquiry Mayor of Edam-Volendam Frank IJsselmuiden and alderman Wim Visscher resigned their positions.
Tourism in Volendam
Volendam is a popular tourist destination. It is well-known for its old fishing boats and the traditional clothing still worn by some residents.
The women's costume of Volendam, with its high, pointed bonnet, is one of the most recognizable of the Dutch traditional costumes, and is often featured on tourist postcards and posters (although there are believed to be fewer than 50 women now wearing the costume as part of their daily lives, most of them elderly).
There is a regular ferry connection to Marken, a peninsula close by.
Volendam also features a small museum about its history and clothing style, and visitors can have their pictures taken in traditional Dutch costumes.
Volendam on Film
Volendam was a shooting location in Vikas Bahl's 2014 Bollywood film, Queen. The actors established an Indian food shop called Rani's Gol Gappa.
The owner was an Italian, Marco Canadea, as Marcello. The role of Queen was played by Indian actress Kangana Ranaut.
The film follows the story of Rani Mehra, a diffident Punjabi girl from New Delhi who embarks on her honeymoon to Paris and Amsterdam by herself after her fiancé calls off their wedding.
Queen is cited as a ground-breaking and an influential feminist film by many scholars. Over the years, the film has built a strong cult following. It was named as one of the best films of the decade (2010's) by multiple publications such as Paste and Film Companion.
Several publications such as O, The Oprah Magazine, and Cosmopolitan have named it as one of the best films of Indian Cinema. Shubhra Gupta from The Indian Express named Queen as one of the 75 finest and most iconic films made in India in the last 70 years.
Music in Volendam
Volendam is well known for its distinctive music, which is called Palingsound (literally "Eel Sound") in reference to Volendam's status as fishing village.
During the 1960's, the local group The Cats was a very popular group in the Netherlands and abroad.
Another band from Volendam was BZN, which became popular in the late 1960's and early 1970's. In 1995 BZN performed a duet with the ten-year-old Jan Smit, who quickly became a celebrity in his own right.
The popular music groups 3JS and Nick & Simon are famously from Volendam; their members have all participated in local musical performances through the years.
Exposición 2019 - Meninas Madrid Gallery
Menina: "Menina ¿Culpable?"
Autor: Antonio Azzato
Patrocinador: Crimen+Investigación
Dirección: Plaza de Colón junto Teatro
TITLE: Riddle of the Wren
AUTHOR: Charles de Lint 1951-
TYPE: paperback novel hardbound Collection Anthology OMNIBUS trade
PUBLISHER: Ace
COVER PRICE: $2.75
ISBN: 0-441-72229-6
PAGES: 295
EDITION: 1st edition
PUB DATE: June 1984
COPYRIGHT: 1984 by author
COVER ARTIST: not credited
ISFDB: Yes
RATING:
CULPABILITY: All images posted are from publications owned by RC/\Weazel. RC/\Weazel performed image scanning, editing and the compiling of bibliographic data.
ISFDB: Internet Speculative Fiction Data Base.
RATING: On a scale of 1 to 10 with 10 being great and 1 don’t read.
NO entry indicates specific information not available from book.
QUOTE….“ There is no such thing as luck. There is only adequate or inadequate preparation to cope with a statistical universe.” Robert Heinlein, Time Enough for Love
TITLE: Planet Run
AUTHOR: Keith Laumer, Gordon R. Dickson
TYPE: paperback novel
PUBLISHER: Berkley Medallion #X1588
COVER PRICE: $.60
ISBN:
PAGES: 143
COPYRIGHT: by authors
PUB DATE: July 1968
EDITION: 1st paperback, prior hardbound- true 1st edition
COVER ARTIST:
ISFDB: Yes verified not as primary
RATING:
NOTATION:
INDEX: 0358b - Planet Run - KL GRD - xx - IFB
CULPABILITY: All images posted are from publications owned by RC/\Weazel. RC/\Weazel performed image scanning, editing and the compiling of bibliographic data.
ISFDB: Internet Speculative Fiction Data Base.
RATING: On a scale of 1 to 10 with 10 being great and 1 don’t read.
NO entry indicates specific information not available from book.
La historia es infinitamente de azares y extrañeses; así como nunca me había pasado.
Y es que el cómo llegué ahí, fue un WOW, weon con suerte.
Y es que no solo fue que pude verla, por tercera vez en mi vida, si no que la tenía AHÍ, como a tres metros, y por dos segundos a dos, si no fuera por el guardia que me echó, pero bueno, su trabajo.
Desde las ohorrocientas entradas que me regalaron en la municipalidad, de nuevo, por suerte y en algo así como premio al ser el único que asistió a la certificación del taller de fotografía de la municipalidad (xd), hasta AQUELLA francisca panchi buena onda que, de nuevo de nuevo, por suerte, se encontro con el hijo de la alcaldesa y le sobraban dos entradas a nada mas ni menos que palco alcaldesa, osea, PRIMERA FILA(L).
Y ahí estaba. Y ella llegó, como quizas nunca la vi. Tenía una sonrisa enooorme; y tocó las mejores canciones de toda la vida. su show es-pec-ta-cu-lar. Y la amé, con todo mi ser... porque ella sonreía. Siempre.
PD: Ese día, lo único que falto para que fuese PERFECTO fue haber llevado mi camara, que no lleve porque nunca pense que iba a estar tan cerca y el riesgo era mucho. Lo mejor que pude hacer con una camra VGA fue esto, pero es lo que hay! Igual las amé :)
Nicole si pasaí por mi flickr eri seca xD Aun no sé si es de verdad Nicole la del flickr o es un fan o algun caballero que se encarga de subirlas fotos, aun asi si vuelves por aqui sólo decirte que excelente artista :)
Claramente las foto la saque yo. Derechos e izquierdos reservados!
Fuego, agua, explosiones de confetti, saltos de plataformas, y muchas cosas más hubo durante el rodaje en Banzai Studio de “Culpable” el recién estrenado video clip de David Bisbal dirigido por Dani de la Orden.
“Culpable” contiene un magnífico plano secuencia en el que aparecen unos 10 decorados. En Banzai Studio construimos todos los sets.
Productora: Playtime Movies
Director: Dani de la Orden
1r Ayudante dirección: Dídac Meya
2º Ayudante dirección: Júlia Martín
Auxiliar dirección: Carlota Meya
Directora de producción: Cristina Tapia
Ayudante producción: Armando J. Rios
Auxiliar de producción: Anna Salgado
DoP: Ricard Canyellas Guasch
Foquista: Andrea Leria
Co-Directora de Arte: Carla Moreno Coll
Co-Directora de Arte: Vicki Viñas
Ayudante de Arte: Marta Salazar
Ayudante de Arte: Guille Fernández Santana
Ayudante de arte: Gemma Tagliata Vinyals
Maquillaje y Peluquería: Ana Cano
Vestuario: Núria Sala Huguet
Supervisor MFX: Lluís Rivera
Actriz: Kimberley Tell
www.youtube.com/watch?v=X6FUrfHYRQE
www.vevo.com/watch/david-bisbal/culpable/ES1701400151
Making of:
Desde el rellano más alto de la firme escalera rosada a la sombra del palacio, Virata administró justicia en nombre del rey, desde la salida a la puesta del Sol. Su mirada clara penetraba en la conciencia del culpable y sus preguntas ahondaban en el delito con la perseverancia de un tejón en la negra madriguera. Severo, pero nunca precipitado, ponía el espacio refrigerante de una noche entre el interrogatorio y el fallo. Oíanle los suyos a menudo, en las largas horas hasta la salida del Sol, andar inquieto en las azoteas, meditando sobre lo justo y lo injusto. Y antes de juzgar metía en el agua las manos y la frente para que su sentencia se purificara del calor de la pasión. Cuando la había formulado, nunca dejaba de preguntar al reo si tal vez había caído en error; pero era raro que alguien le impugnase; mudos, besaban el umbral de su cátedra y aceptaban la pena con la cabeza inclinada, como si saliera de la boca de Dios. Pero la sentencia de Virata nunca era de muerte ni aun para los más culpables, y se guardaba de quienes se lo reprochaban. Porque tenía aversión a la sangre. La fuente redonda de los antepasados de Rajpuna, sobre cuyo borde el verdugo doblaba los cuellos para el golpe mortal, y cuyas piedras se habían oscurecido de la sangre vertida, volvió a quedar blanca bajo la lluvia de los años.
Von der Höhe der rosenfarbenen Treppe, im Schatten des Palastes sprach nun Virata im Namen des Königs Recht von Sonnenaufgang bis Sonnenuntergang. Sein Wort aber war gleich einer Waage, die lange zittert, ehe sie eine Schwere mißt; klar ging sein Blick in die Seele des Schuldigen und seine Fragen drangen in die Tiefe der Verbrechen beharrlich hinab wie ein Dachs in das Dunkel der Erde. Strenge war sein Spruch, doch nie fällte er gleichen Tages das Urteil, immer legte er die kühle Spanne der Nacht zwischen Verhör und Bannung: die langen Stunden bis Sonnenaufgang hörten ihn die Seinen dann auf dem Dache des Hauses oft ruhelos schreiten, nachsinnend über Recht und Unrecht. Ehe er aber ein Urteil sprach, tauchte er die Hände und die Stirne in das Wasser, daß sein Spruch lauter sei von der Hitze der Leidenschaft. Und immer, da er ihn gesprochen, fragte er den Missetäter, ob sein Wort ihm Irrtum dünke; doch selten nur geschah es, daß einer dawider redete; stumm küßten sie die Schwelle seines Sitzes und nahmen gesenkten Hauptes die Strafe wie von Gottes Mund. Niemals aber sprach Viratas Mund Botschaft des Todes auch über den Schuldigsten und wehrte denen, die ihn mahnten. Denn er scheute das Blut. Den runden Brunnen der Urväter Rajputas, über dessen Rand der Henker die Häupter zum Hiebe beugte und dessen Steine schwarz waren von geronnenem Blute, wusch der Regen wieder weiß in den Jahren.
Die Augen des ewigen Bruders. Eine Legende. (Los ojos del hermano eterno. Una leyenda.)* [ Stefan Zweig ]
Model: Chez
Stylist: Pili Arias
Music (in the session): The Roots
Hasselblad 501 C
Carl Zeiss Planar CF 2.8/80 T*
16 E extension tube
Ilford HP5+ [+1 stop]
Sekonic 758 D
Manfrotto 055 CLB
Tetenal Ultrafin Plus
Barcelona - Spain
September - 2008
© Jordi Esteban 2008
All the materials contained in my gallery may not be reproduced, copied, edited, published, transmitted or uploaded in any way without my written permission. My images do not belong to the public domain.
Fuego, agua, explosiones de confetti, saltos de plataformas, y muchas cosas más hubo durante el rodaje en Banzai Studio de “Culpable” el recién estrenado video clip de David Bisbal dirigido por Dani de la Orden.
“Culpable” contiene un magnífico plano secuencia en el que aparecen unos 10 decorados. En Banzai Studio construimos todos los sets.
Productora: Playtime Movies
Director: Dani de la Orden
1r Ayudante dirección: Dídac Meya
2º Ayudante dirección: Júlia Martín
Auxiliar dirección: Carlota Meya
Directora de producción: Cristina Tapia
Ayudante producción: Armando J. Rios
Auxiliar de producción: Anna Salgado
DoP: Ricard Canyellas Guasch
Foquista: Andrea Leria
Co-Directora de Arte: Carla Moreno Coll
Co-Directora de Arte: Vicki Viñas
Ayudante de Arte: Marta Salazar
Ayudante de Arte: Guille Fernández Santana
Ayudante de arte: Gemma Tagliata Vinyals
Maquillaje y Peluquería: Ana Cano
Vestuario: Núria Sala Huguet
Supervisor MFX: Lluís Rivera
Actriz: Kimberley Tell
www.youtube.com/watch?v=X6FUrfHYRQE
www.vevo.com/watch/david-bisbal/culpable/ES1701400151
Making of: