View allAll Photos Tagged DOMINATION
Lamu is a small town on Lamu Island, in kenya, near the Somalia border.
Lamu town is also a UNESCO World Heritage Site as it was one of the original Swahili settlements along coastal East Africa.
The town's history is marked by a Portuguese invasion then the Omani domination, like in Zanzibar. The streets of Lamu are very narrow, so there are no cars, only donkeys to carry everything!
© Eric Lafforgue
"We ain't happy with petty theft an' extortion; we want to RULE THE WORLD , an' we can do it, too!"
Those dastardly frawgs... looks like they've made a Cthulhukoma.
Using some more of my epic Bionicle loot here. :)
Please C&C! :D
Stagecoach takes over this scene of Romford, taken from the station bridge, with 5/6ths of it comprising its now Enviro-dominated fleet. Closest to the camera are Enviro 400 19753 (LX11BCY) on Route 247 towards Barkingside and Enviro 200 MMC 36607 (YY15OXB) on Route 499. Also identifiable are Enviro 400 19831 on Route 174, Enviro 400 MMC 10345 on Route 294, an Enviro 400 turning out, another Enviro 400 MMC on Route 294, an Enviro 400, Enviro 200 MMC, Go-Ahead's offering with a Wrightbus Gemini 2 on Route 5 towards the Market, a longer Enviro 200 MMC heading towards The Brewery on Route 165, yet another Enviro 400 MMC and a little variety from an Arriva London Gemini 2, presumably on Route 370 towards Mercury Gardens.
Ship graveyard in Bangladesh
One of the most polluted places on earth is considered the “ship graveyard” in Bangladesh. Every year, more than two hundred ships find their last refuge here and provide jobs for local residents. All decommissioned ships understand to the last screw. This is done in appalling conditions and for a ridiculous reward, but due to the lack of alternatives, people agree to such work.
Читтагонг- один из крупнейших в мире центров по слому кораблей. Здесь одновременно работало до 200000 человек.
После Второй мировой войны судостроение стало переживать небывалый подъем, огромное количество металлических кораблей строилось по всему миру и все больше – в развивающихся странах. Однако вскоре возник вопрос по утилизации отработавших свое кораблей. Более экономичней и выгодней оказалось производить разбор старых кораблей на металлолом в бедных развивающихся странах, где десятки тысяч низкооплачиваемых трудящихся демонтировали старые корабли в несколько раз дешевле, чем в Европе.
Плюс ко всему немаловажную роль сыграли такие факторы, как строгие требования охраны здоровья и окружающей среды, дорогостоящие страховки. Все это сделало слом кораблей в развитых европейских странах невыгодным. Здесь такая деятельность ограничивается, в основном, утилизацией военных судов.
Утилизация старых судов в развитых странах в настоящее время чрезвычайно высока также из-за дороговизны: стоимость утилизации токсичных веществ, таких как асбест, ПХБ и содержащих свинец и ртуть — зачастую выше, чем стоимость металлолома.
Одним из самых загрязненных мест на земле считается «кладбище кораблей» в Бангладеше. Ежегодно, более двухсот кораблей находят здесь свое последнее пристанище и обеспечивают работой местных жителей. Все списанные корабли разбираются до последнего винтика. Делается это в ужасающих условиях и за смешное вознаграждение, но из-за отсутствия альтернатив люди соглашаются и на такую работу.
Прежде чем начинается основная работа, корабль доставляют в Читтагонг и сажают на мель. Далее снимают и сливают все, до чего дотянутся: начиная топливом и маслом, заканчивая мебелью и оборудованием. Все материалы отправляются на переработку.
История этого места начинается в 1960 году. Именно в этом году судно Alpine после шторма было выброшено на берег. Попытки снять его с мели не привели к положительным результатам и через пять лет корабль списали. Судно купила местная компания и при помощи дешевой рабочей силы разобрала на металлолом. И уже в 90-х годах здесь образовался один из крупнейших центров по утилизации кораблей.
Iso no kami,
Furuki miyako no,
Hototogisu,
Mukashi narikere
.
.
Древняя столица заброшена...
А голос кукушки, поющей там,
звучит по-прежнему.
The Victor Emmanuel II National Monument, also known as the Mole del Vittoriano or simply Vittoriano, is a large national monument built between 1885 and 1935 to honour Victor Emmanuel II, the first king of a unified Italy, in Rome, Italy. It occupies a site between the Piazza Venezia and the Capitoline Hill. It is currently managed by the Polo Museale del Lazio and is owned by the Ministry of Cultural Heritage and Activities.
From an architectural perspective, it was conceived as a modern forum, an agora on three levels connected by stairways and dominated by a portico characterized by a colonnade. The complex process of national unity and liberation from foreign domination carried out by King Victor Emmanuel II of Savoy, to whom the monument is dedicated, has a great symbolic and representative value, being architecturally and artistically centred on the Italian unification—for this reason the Vittoriano is considered one of the national symbols of Italy.
It also preserves the Altar of the Fatherland (Italian: Altare della Patria), first an altar of the goddess Rome, then also a shrine of the Italian Unknown Soldier, thus adopting the function of a lay temple consecrated to Italy. Because of its great representative value, the entire Vittoriano is often called the Altare della Patria, although the latter constitutes only a part of the monument.
Standing in the centre of ancient Rome, and connected to the modern one by the streets that radiate from Piazza Venezia, it has been consecrated to a wide symbolic value representing a lay temple metaphorically dedicated to a free and united Italy—celebrating by virtue the burial of the Unknown Soldier (the sacrifice for the homeland and for the connected ideals).
The Vittoriano is on the Capitoline Hill, in the symbolic centre of ancient Rome, and is connected to the modern one thanks to roads that radiate from Piazza Venezia.
Its design is a neoclassical interpretation of the Roman Forum. It features stairways, Corinthian columns, fountains, an equestrian sculpture of Victor Emmanuel II, and two statues of the goddess Victoria riding on quadrigas. On its summit there would have been a majestic portico characterized by a long colonnade and two imposing propylaea, one dedicated to the "unity of the homeland", and the other to the "freedom of the citizens", concepts metaphorically linked to the figure of Victor Emmanuel II.
The base houses the museum of Italian unification, and in 2007 a lift was added to the structure, allowing visitors to access the roof for 360-degree views of Rome. This terrace, which is the highest of the monument, can also be reached via 196 steps that start from the portico.
The structure is 135 m (443 ft) wide, 130 m (427 ft) deep, and 70 m (230 ft) high. If the quadrigae and Winged Victorys are included, the height reaches 81 m (266 ft). It has a total area of 17,550 m2 (188,907 sq ft) and possesses, due to the conspicuous development of the interior spaces, a floor area of 717,000 m2 (7,717,724 sq ft).
One of the architecturally predominant elements of the Vittoriano are the external staircases, which constitute in the complex 243 steps, and the portico on the top of the monument, which is inserted between two lateral propylaea. The entrance stairway is 41 m (135 ft) wide and 34 m (112 ft) long, the terrace of the Altar of the Fatherland is 66 m (217 ft) wide. The maximum depth of the Vittoriano underground reaches 17 m (56 ft) below street level. The colonnade is formed by columns 15 m (49 ft) high and the length of the porch is 72 m (236 ft).
The allegories of the monument mostly represent the virtues and feelings, very often rendered as personifications, also according to the canons of the neoclassical style, which animate the Italians during the Italian unification, or from the revolutions of 1820 to the capture of Rome (1870), through which national unity was achieved. Due to the complex process of unification undertaken by Victor Emmanuel II throughout the second half of the 19th century, the Italians gave him the epithet of Father of the Fatherland (Italian: Padre della Patria). The only non-allegorical work is the equestrian statue of Victor Emmanuel II, which is the architectural centre of the Vittoriano.
The monument, as a whole, appears as a sort of marble covering on the northern slope of the Capitoline Hill: it was therefore thought of as a place where it is possible to make an uninterrupted patriotic walk (the path does not in fact have an architectural end, given that the entrances to the highest part are two, one for each propylaeum) among the works present, which almost all have allegorical meanings linked to the history of Italy. Different are the vegetal symbols present, among which the palm, which recalls the "victory", the oak (the "strength"), the laurel (the "victorious peace"), the myrtle (the "sacrifice") and the Olive tree (the "concord").
From a stylistic perspective, the architecture and works of art that embellish the Vittoriano have been conceived with the aim of creating a "national style" to be replicated in other areas. It was designed to communicate the imperial splendours of ancient Rome. Above all, for the realization of the Vittoriano, Giuseppe Sacconi took inspiration from the Neoclassical architecture—the reborn heir of the classical Greek and Roman architecture, on which Italic elements were grafted and eclectic influences added.
The Vittoriano is regarded as a national symbol of Italy and every year it hosts important national celebrations. The largest annual celebrations are Liberation Day (25 April), Republic Day (2 June), and Armed Forces Day (4 November). During these celebrations, the President of Italy and the highest government officials pay tribute to the Italian Unknown Soldier and those who died in the line of duty by laying a laurel wreath.
After the death of Victor Emmanuel II of Savoy on 9 January 1878, many initiatives were destined to raise a permanent monument that celebrated the first king of a united Italy, creator of the process of unification and liberation from foreign domination, which is indicated by historiography as "Father of the Fatherland" also due to the political work of the President of the Council of Ministers of the Kingdom of Sardinia Camillo Benso, Count of Cavour, and to the military contribution of Giuseppe Garibaldi. The goal was therefore to commemorate the entire Italian unification season ("Risorgimento") through one of its protagonists.
For this purpose, the Italian government approved the construction of a monumental complex on the Northern side of Rome's Capitoline Hill. The monument would celebrate the legacy of the first king of a united Italy and would become a symbol of national patriotism. The project was realized by Giuseppe Sacconi in 1885, in an eclectic style.
Sacconi was inspired by the Hellenistic sanctuaries, such as the Pergamon Altar and the Sanctuary of Fortuna Primigenia in Palestrina. The Vittoriano was conceived as a vast and modern forum open to citizens, on a sort of elevated square in the historic centre of Rome organized as an agora on three levels connected by tiers, with conspicuous spaces reserved for strolling visitors.
To erect the Vittoriano it was necessary, between the last months of 1884 and 1899, to proceed with numerous expropriations and extensive demolitions of the buildings that were on site. The place chosen was in the heart of the historic centre of Rome and was therefore occupied by ancient buildings arranged according to urban planning that dated back to the Middle Ages. This was considered necessary because the Vittoriano should have been built in the heart of the historic centre of Rome, in a modern urban context, in front of a new large square (the future Piazza Venezia), which at the time was just a narrow open space in front of Palazzo Venezia.
The general objective was also to make Rome a modern European capital that rivaled Berlin, Vienna, London and Paris overcoming the centuries-old pontifical town planning. In this context, the Vittoriano would have been the equivalent of the Brandenburg Gate of Berlin, the Admiralty Arch of London and the Opéra Garnier of Paris; these buildings are all united by a monumental and classical aspect that metaphorically communicates pride and the power of the nation that erected them.
It would then become one of the symbols of the new Italy, joining the monuments of ancient Rome and those of the popes' Rome. Having then been conceived as a large public square, the Vittoriano, in addition to representing a memorial dedicated to Victor Emmanuel II, was invested with another role—a modern forum dedicated to the new free and united Italy.
Established Italian sculptors, such as Leonardo Bistolfi, Manfredo Manfredi, Giulio Monteverde, Francesco Jerace, Augusto Rivalta, Lodovico Pogliaghi, Pietro Canonica, Ettore Ximenes, Adolfo Apolloni, Mario Rutelli and Angelo Zanelli, made its sculptures nationwide. The partly completed monument was inaugurated on 4 June 1911, on the occasion of the Turin International world's fair and the 50th anniversary of Italian unification. Construction continued throughout the first half of the 20th century; in 1921 the body of the Italian Unknown Soldier was placed in the crypt under the statue of the goddess Roma, and in 1935 the monument was fully completed amidst the inauguration of the Museo Centrale del Risorgimento Italiano.
The decision to include an altar dedicated to the homeland in the Vittoriano was taken by Giuseppe Sacconi only after the planning phase, during the construction of the monument. The place and the dominant subject were immediately chosen, being a large statue of the goddess Rome that would have been placed on the first terrace after the entrance to the monument, just below the equestrian statue of Victor Emmanuel II. Thus, the Altar of the Fatherland, at least initially and before the burial of the body of the Unknown Soldier, was thought of as a chapel of the deity. In this way, the greatness and majesty of Rome was celebrated, elected to the role of legitimate capital of Italy. Within the Vittoriano are numerous artistic works that recall the history of ancient Rome.
Detail of the portico and one of the two propylaea
After the First World War the Vittoriano was chosen to house the tomb of the Unknown Soldier, or the burial of an Italian soldier who died during the First World War whose identity remains unknown due to the serious injuries that made the body unrecognizable, which represents all the Italian soldiers who died during the wars. The reason for his strong symbolism lies in the metaphorical transition from the figure of the soldier to that of the people and finally to that of the nation. This transition between increasingly broader and generic concepts is due to the indistinct traits of the non-identification of the soldier.
The Vittoriano was thus consecrated to a wide symbolic value representing a lay temple metaphorically dedicated to a free and united Italy—celebrating by virtue the burial of the Unknown Soldier (the sacrifice for the homeland and for the connected ideals).
With the rise of Fascism in 1922, the Vittoriano became the setting for the military parades of the authoritarian regime of Benito Mussolini. After World War II, with the institution of the Italian Republic in 1946, the monument was stripped of all its Fascist symbols and reassumed its original function as a secular temple dedicated to the Italian nation and its people. Throughout the second half of the 20th century, however, its significance as a symbol of national identity started to decline as the public opinion started to perceive it as a cumbersome relic. At the turn of the 21st century, Italy's President Carlo Azeglio Ciampi pushed for a revaluation of national symbols of Italy, including the Vittoriano
Edited book cover, An Ugly Truth by Sheera Frenkel and Cecilia Kang.
Book cover has the right half of his face. I flipped the image ...
Sydney
The Shard standing head and shoulders above the rest.
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Demonstrating the popularity of the Volvo 9700 coach on the Volvo B11R chassis is this pair of coaches. Flixbus liveried Volvo 9700 0617 - SJ23HVB is parked in Buchanan Bus Station whilst Parks of Hamilton Caledonian Travel Volvo LSK481 heads to the parking stance.
John Dean's crane barge "Jade Lift' and crane barge Bartholemew, with ex crane/tanker"Dovedale" seen at low tide on the River Hull.
Project Blur
stock- valentinakallias.deviantart.com/ www.sxc.hu/profile/nannajul www.sxc.hu/profile/kinsum
Here is Joshua working on a puzzle of the world.
But it looks a little like he is plotting world domination.
He's been fascinated by puzzles lately and is surrounded by a few others. Taking this shot from directly above makes it seem more interesting.
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