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Kom hurtigere til den rette ting du skal bruge på din hobby.
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The high visibility of the self in the 21st Century every-day, at times masked with fabrication, at others genuinely exposed, willfully sheds boundaries between what is submitted for public approval and reserved for personal reflection. On a mass scale, average citizens are compelled toward the digital strip-tease of their private selves or others – all the more comfortable with surveillance, the mass marketing of the photo op, the public defamation of rivals, the fierce cultural cling to childhood obsessions, the landscape portrait of a vacation experience, self personalization in all its forms – true or false. And during days of such exposition, what is concealed? Unspoken? Implied? How does this align with competing impulses within the artist practice? Self portraiture, windows into the intimate lives of self or others, the evolution of the ‘photo bomb’, digital spectatorship, jealous landscape photography, public confessional, criminal intent? Or does art subsist always on Wilde’s ethos of ultimately concealing the artist no matter what? Exposing only ‘beautiful things’ – concept, process, form. And then what are these pretenses at self-exposure, and where do artist’s hide, so to speak, in plain view? Under what false legacies, muddled academicisms, hall-of-mirrors conceits.
Der Trägerkreis des Bündnisses „Reichtum umverteilen – ein gerechtes Land für alle!“ veranstaltet am Freitag, den 15.09. vor dem Deutschen Bundestag eine Aktion. Unter dem Motto „Wir fangen schon mal an: Superheld*innen verteilen um!“, sind alle Superheld*innen in Berlin und Umgebung um 12:30 Uhr vor den Deutschen Bundestag eingeladen, um von dort symbolisch das Geld dahin umzuverteilen, wo es dringen benötigt wird – in die Kitas, Krankenhäuser, Jugendeinrichtungen, Schulen, bezahlbaren Wohnraum, für ein ökologisches Verkehrssystem... und vieles mehr.
PUBLICPRIVATE
The high visibility of the self in the 21st Century every-day, at times masked with fabrication, at others genuinely exposed, willfully sheds boundaries between what is submitted for public approval and reserved for personal reflection. On a mass scale, average citizens are compelled toward the digital strip-tease of their private selves or others – all the more comfortable with surveillance, the mass marketing of the photo op, the public defamation of rivals, the fierce cultural cling to childhood obsessions, the landscape portrait of a vacation experience, self personalization in all its forms – true or false. And during days of such exposition, what is concealed? Unspoken? Implied? How does this align with competing impulses within the artist practice? Self portraiture, windows into the intimate lives of self or others, the evolution of the ‘photo bomb’, digital spectatorship, jealous landscape photography, public confessional, criminal intent? Or does art subsist always on Wilde’s ethos of ultimately concealing the artist no matter what? Exposing only ‘beautiful things’ – concept, process, form. And then what are these pretenses at self-exposure, and where do artist’s hide, so to speak, in plain view? Under what false legacies, muddled academicisms, hall-of-mirrors conceits.
PUBLICPRIVATE
The high visibility of the self in the 21st Century every-day, at times masked with fabrication, at others genuinely exposed, willfully sheds boundaries between what is submitted for public approval and reserved for personal reflection. On a mass scale, average citizens are compelled toward the digital strip-tease of their private selves or others – all the more comfortable with surveillance, the mass marketing of the photo op, the public defamation of rivals, the fierce cultural cling to childhood obsessions, the landscape portrait of a vacation experience, self personalization in all its forms – true or false. And during days of such exposition, what is concealed? Unspoken? Implied? How does this align with competing impulses within the artist practice? Self portraiture, windows into the intimate lives of self or others, the evolution of the ‘photo bomb’, digital spectatorship, jealous landscape photography, public confessional, criminal intent? Or does art subsist always on Wilde’s ethos of ultimately concealing the artist no matter what? Exposing only ‘beautiful things’ – concept, process, form. And then what are these pretenses at self-exposure, and where do artist’s hide, so to speak, in plain view? Under what false legacies, muddled academicisms, hall-of-mirrors conceits.
East facing view from Ft. McHenry. A lot has changed since Francis Scott Key wrote that poem to the tune of a famous dringing song...
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Tegneklubben (Bjørn Bjarre, Ulf Verner Carlsson, Paul Dring, Terje Nicolaisen, Martin Skauen): "Uten tittel (Klubbhuset)." Høstutstillingen 2010, Kunstnernes Hus, Oslo, Norway. September 9, 2010.
3FM Serious Request draait dit jaar om diarree. Jaarlijks overlijden er wereldwijd 800.000 kinderen aan de gevolgen van diarree en om dat aantal terug te dringen, zetten 3FM en het Rode Kruis zich van 18 t/m 24 december vanuit Leeuwarden in om zoveel mogelijk geld in te zamelen voor deze stille ramp. Details: www.3fm.nl
Het bloemhoofdje van de paardenbloem lijkt op een bloem, maar is feitelijk samengesteld uit een groot aantal kleine bloemetjes. Het bestaat uit alleen gele lintbloemen. De pappus bestaat uit haren en kan beschouwd worden als een gereduceerde kelk. Zie voor verdere uitleg composietenfamilie. De stengel is altijd hol en heeft nooit bladeren. De bladeren staan in een bladrozet bij elkaar. Ze zijn diep ingesneden tot bochtig getand. Bij kneuzing vloeit uit de plant een witte, melkachtige vloeistof, die paardenbloemenmelk wordt genoemd. Deze laat bruine vlekken achter.
De wortel is een penwortel die decimeters diep de grond in kan dringen. Wanneer hij afbreekt op behoorlijke diepte kan deze zich herstellen en meerdere rozetten geven.
De voortplanting van paardenbloemen vindt voor een groot deel plaats door middel van apomixie, dat wil zeggen dat het vruchtbeginsel kan uitgroeien tot een zaad zonder dat de eicel bevrucht is geweest. De paardenbloem kloont zichzelf op deze manier. Daardoor zijn er grote groepen paardenbloemen die genetisch en morfologisch weinig van elkaar verschillen en deze worden microsoorten genoemd. In Nederland zijn er minimaal 250 microsoorten gevonden. Deze microsoorten worden samengevoegd tot secties. Deze worden in diverse flora's beschreven in plaats van de soorten. De paardenbloem kan zich echter ook voortplanten door middel van bevruchting.
De vrucht is een nootje (vaak zegt men ten onrechte "zaad"). Aan het nootje zit het gesteelde vruchtpluis (pappus). De nootjes worden door de wind verspreid (anemochorie). De pappus is in feite de bloemkelk. Het vruchtpluis zit vast op een steeltje (het rostrum), daaronder zit de piramide en het vruchtlichaam. Dit laatste heeft ribben en heeft veelal stekels aan de bovenkant. De kleur van het vruchtlichaam is een determinatiekenmerk.
De paardenbloem is in het noorden bekend als hondstong (Drenthe) en als hondenbloem (Groningen) en hynsteblom in Friesland. In het Nederlands is hondstong ook de benaming voor een andere plantensoort. In het zuiden (Limburg) en in Vlaanderen (België) wordt de paardenbloem ook wel pisbloem of pissebloem genoemd. In West-Vlaanderen spreekt men vaak van beddepissers of iets vulgairder beddezeekers. In verschillende delen van (Zeeland) kan de naam variëren van pissebed, pissebaede tot pisseblomme. De naam pisbloem of pissebed slaat op het kennelijk urine-afdrijvend effect van de plant wanneer de bladeren gegeten worden.[5] Ook de naam melkwiet komt veel voor in de provincie Zeeland. In delen van Gelderland wordt de wortelrozet kettingspol genoemd. Andere namen zijn konijnenbladeren (bijvoorbeeld op Texel) of brievenbesteller (in West-Friesland). De laatste naam slaat op het vruchtpluis dat wanneer ertegen aangeblazen wordt, wegdrijft om als het ware de zaden die er aan hangen als brieven te bestellen.[6]
Tot het begin van de twintigste eeuw was er geen officiële Nederlandse naam voor de paardenbloem. Dat was lastig bij onderwijs en educatie omdat de plant in verschillende streken een andere naam had. Een commissie van de KNNV onder leiding van Hendrik Heukels stelde in 1906 het boekje "Nederlandse plantenamen" samen, waarin een lijst van plantennamen is opgenomen om meer eenheid te brengen in het gebruik van Nederlandse namen voor planten. Er werd daarbij een keuze gemaakt uit de veelheid aan regionale namen voor planten. Sindsdien heet de plant in het Nederlands officieel paardenbloem.[7] De betekenis is vermoedelijk nutteloze of waardeloze bloem. Een vergelijkbaar gebruik van het woord 'paard' is te vinden in paardenkastanje, die, in tegenstelling tot de tamme kastanje, niet eetbaar is.[8] Waarom het woord 'paard' deze betekenis kan hebben is onduidelijk.
bron Wikipedia
Dring, John William, Private, 2639, 1st/5th Battalion, Nottinghamshire & Derbyshire Regiment,
Enlisted: Belper, Derbyshire
Killed in action 30th May 1916 Aged 34
Son of Mr & Mrs John Dring, of Belper, Derbyshire
Buried in Foncquevillers Military Cemetery, Grave Reference: I E 6
Service Records
Resided 5, The Scotches, Belper
Enlisted 16th October 1914
5 feet 4 inches in height
Served in France from 13th March 1916
Personal effects returned to his next of kin: envelope with photos, disc, purse, cigarette case, a farthing
1911 Census
Born Fritchley, Derbyshire
A railway labourer
Stepson of Margaret Dring, of 25, Long Row, Belper, Derbyshire
Kom hurtigere til den rette ting du skal bruge på din hobby.
Hvis du bladre i billederne, kan de se hvor mange forskellige materialer vi har til knivbygning og andre hobbies.
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Kom hurtigere til den rette ting du skal bruge på din hobby.
Hvis du bladre i billederne, kan de se hvor mange forskellige materialer vi har til knivbygning og andre hobbies.
Kig ned i butikken i Holte - eller shop i den nemme webshop....
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Rowena Dring - Barker Dam Joshua Tree, 2008 - Stitched Fabric over Canvas - 120 x 200 cm. Courtesy of Artist and Rubicon Gallery in Dublin, Ireland
Courtesy of Art Knowledge News.
See the story behind this art at: Rubicon Gallery Dublin highlights "Rowena Dring ~ Josua Tree & Other Stories "
Sanctified Endless Falls Keychain w/HK style snaphook and D-ring. Colors of 550 cords are Honeycomb, Mountaineer, and Graphite. Accent 4strand micro cord braid in colors Grey, Graphite, Air Force Gold, and Royal Blue. Total length 5.875" long, braid about 1.375" wide.
Grotten van Han, lastig te fotograferen want erg donker, veel mensen staan te dringen, geen statief en iso 1600 en een klein beetje verboden te fotograferen. Hier zie je duidelijk de waterdamp van de ondergrondse rivier.
De ruis van iso 1600 is hier ook goed zichtbaar.
This water bottle is designed by my friend who he is an web art director. His name is Hideyuki Matsuda. I am drinking this water everyday. you will be more healthier if you dring the mineral water everyday!
PUBLICPRIVATE
The high visibility of the self in the 21st Century every-day, at times masked with fabrication, at others genuinely exposed, willfully sheds boundaries between what is submitted for public approval and reserved for personal reflection. On a mass scale, average citizens are compelled toward the digital strip-tease of their private selves or others – all the more comfortable with surveillance, the mass marketing of the photo op, the public defamation of rivals, the fierce cultural cling to childhood obsessions, the landscape portrait of a vacation experience, self personalization in all its forms – true or false. And during days of such exposition, what is concealed? Unspoken? Implied? How does this align with competing impulses within the artist practice? Self portraiture, windows into the intimate lives of self or others, the evolution of the ‘photo bomb’, digital spectatorship, jealous landscape photography, public confessional, criminal intent? Or does art subsist always on Wilde’s ethos of ultimately concealing the artist no matter what? Exposing only ‘beautiful things’ – concept, process, form. And then what are these pretenses at self-exposure, and where do artist’s hide, so to speak, in plain view? Under what false legacies, muddled academicisms, hall-of-mirrors conceits.
Kom hurtigere til den rette ting du skal bruge på din hobby.
Hvis du bladre i billederne, kan de se hvor mange forskellige materialer vi har til knivbygning og andre hobbies.
Kig ned i butikken i Holte - eller shop i den nemme webshop....
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it was a tour trip to the beautiful city of Sydney,
The air are clear and fresh,we visited many wonderful place, and did have a good
Time during our vocation
3FM Serious Request vraagt dit jaar aandacht voor de allerkleinsten. Elk jaar sterven er namelijk 5,5 miljoen baby's. Met jouw donatie hopen we dit cijfer terug te dringen!
Het 3FM Serious Request Glazen Huis staat dit jaar op de Oude Markt in Enschede.
Wil jij ook een donatie doen? www.3fm.nl/doneren
PUBLICPRIVATE
The high visibility of the self in the 21st Century every-day, at times masked with fabrication, at others genuinely exposed, willfully sheds boundaries between what is submitted for public approval and reserved for personal reflection. On a mass scale, average citizens are compelled toward the digital strip-tease of their private selves or others – all the more comfortable with surveillance, the mass marketing of the photo op, the public defamation of rivals, the fierce cultural cling to childhood obsessions, the landscape portrait of a vacation experience, self personalization in all its forms – true or false. And during days of such exposition, what is concealed? Unspoken? Implied? How does this align with competing impulses within the artist practice? Self portraiture, windows into the intimate lives of self or others, the evolution of the ‘photo bomb’, digital spectatorship, jealous landscape photography, public confessional, criminal intent? Or does art subsist always on Wilde’s ethos of ultimately concealing the artist no matter what? Exposing only ‘beautiful things’ – concept, process, form. And then what are these pretenses at self-exposure, and where do artist’s hide, so to speak, in plain view? Under what false legacies, muddled academicisms, hall-of-mirrors conceits.
PUBLICPRIVATE
The high visibility of the self in the 21st Century every-day, at times masked with fabrication, at others genuinely exposed, willfully sheds boundaries between what is submitted for public approval and reserved for personal reflection. On a mass scale, average citizens are compelled toward the digital strip-tease of their private selves or others – all the more comfortable with surveillance, the mass marketing of the photo op, the public defamation of rivals, the fierce cultural cling to childhood obsessions, the landscape portrait of a vacation experience, self personalization in all its forms – true or false. And during days of such exposition, what is concealed? Unspoken? Implied? How does this align with competing impulses within the artist practice? Self portraiture, windows into the intimate lives of self or others, the evolution of the ‘photo bomb’, digital spectatorship, jealous landscape photography, public confessional, criminal intent? Or does art subsist always on Wilde’s ethos of ultimately concealing the artist no matter what? Exposing only ‘beautiful things’ – concept, process, form. And then what are these pretenses at self-exposure, and where do artist’s hide, so to speak, in plain view? Under what false legacies, muddled academicisms, hall-of-mirrors conceits.
PUBLICPRIVATE
The high visibility of the self in the 21st Century every-day, at times masked with fabrication, at others genuinely exposed, willfully sheds boundaries between what is submitted for public approval and reserved for personal reflection. On a mass scale, average citizens are compelled toward the digital strip-tease of their private selves or others – all the more comfortable with surveillance, the mass marketing of the photo op, the public defamation of rivals, the fierce cultural cling to childhood obsessions, the landscape portrait of a vacation experience, self personalization in all its forms – true or false. And during days of such exposition, what is concealed? Unspoken? Implied? How does this align with competing impulses within the artist practice? Self portraiture, windows into the intimate lives of self or others, the evolution of the ‘photo bomb’, digital spectatorship, jealous landscape photography, public confessional, criminal intent? Or does art subsist always on Wilde’s ethos of ultimately concealing the artist no matter what? Exposing only ‘beautiful things’ – concept, process, form. And then what are these pretenses at self-exposure, and where do artist’s hide, so to speak, in plain view? Under what false legacies, muddled academicisms, hall-of-mirrors conceits.
Su 30MKM, M52-11, of the RMAF, performing dring the afternoon display at LIMA 2011, 10 December 2011.
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Becourt is 2 kilometres on the east side of Albert. The Military Cemetery is on the south side of the road from Becourt to Albert. The Military Cemetery was begun in August, 1915, by the 51st (Highland) Division, and carried on by the 18th and other Divisions in the line until the Battles of the Somme, 1916. It continued in use, chiefly by Field Ambulances, until April, 1917; and Plot II was made by the 18th Division at the end of August, 1918.
There are now 713 casualties of the 1914-1918 war commemorated in this site. Of these, 8 are unidentified and a special memorial is erected to a soldier from the United Kingdom buried among them. Three German graves have been removed.
The cemetery covers an area of 4,327 square metres and is enclosed by a rubble wall.
Kom hurtigere til den rette ting du skal bruge på din hobby.
Hvis du bladre i billederne, kan de se hvor mange forskellige materialer vi har til knivbygning og andre hobbies.
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Kom hurtigere til den rette ting du skal bruge på din hobby.
Hvis du bladre i billederne, kan de se hvor mange forskellige materialer vi har til knivbygning og andre hobbies.
Kig ned i butikken i Holte - eller shop i den nemme webshop....
www.thegoodstuffshop.dk/group.asp?group=8
**
god fornøjelse
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