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Kig ned i butikken i Holte - eller shop i den nemme webshop....
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**
god fornøjelse
. . . kniv-per . . . ... FIL ...
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
Evi Chantzi in conversation with Berlin based architects Allison Dring and Daniel Schwaag of Elegant Embellishments: Biomimicry in Architecture
KAM WORKSHOPS 2015
ARTIFICIAL NATURES
Chania, 18.8.2014
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.
This fellow charged at me from the river where it was dringing. I could hastily take 2 shots before retreating to a safe distance
Scuola San Lino. Classe _ Elementare.
Soggetti: prof.ssa Ariella Nesi Del Colombo. _ (la Lula), _ (il Dringhe), _ (il Ciacche), Giulio Isolani, Saverio Sederini, Eugenio _ (Gengi), _ Mariottini
Archivio: Gianna Bertini
Autore: ---
Data: ---
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
datum: 01 januari 2004
auteur: onbekend
tekst: Swingen en Dringen deel XVII vanaf 00.30 in café Mets Grotestraat 7 Nijmegen. Lees meer over café Mets.
formaat (bxh): 30 x 42 cm
druk: offset
digitalisering: Fotografica Nijmegen voor LANijmegen.
Creative Commons: Auteursvermelding [indien bekend] en/of bronvermelding [LANijmegen] verplicht. Commercieel gebruik ALTIJD in overleg. Je mag dit bestand alleen doorgeven in de oorspronkelijke vorm. Neem bij twijfel contact op.
Creative Commons: Attribution mandatory. Also take into account portrait rights. Modifying this work is NOT allowed. No commercial use. If in doubt, please contact.
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Heb je iets op te merken over dit bestand of de beschrijving? Schrijf hier je commentaar of mail rrn@regenboogroutes.nl o.v.v. de bestandsnaam. Je bijdrage wordt zeer op prijs gesteld.
Deze professionele scan wordt je aangeboden door LANijmegen. Graag gedaan. Vind jij het belangrijk dat de [Nijmeegse] vrouwen- en regenbooggeschiedenis bewaard blijft en zonder betaalmuur online staat? Steun LANijmegen word Vriendin [M t/m V]!
Upgrade your monkey bars or overhead climber with age appropriate accessories like the trackline and d-rings. I think there might be a little monkey in all of us.
100% California Redwood
backyardfunfactory.com/wooden-swing-sets/
For more information
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.
Literary Director Jen Kays, Company Member Suzy Hunt, and Communications Director Lisa Dring are all dressed up with somewhere to go: The Atwater Village Theatre!
On June 12, 2010, Circle X held a fundraiser/party for Casey Smith's Violators Will Be Violated. The one-man show is going to the New York Fringe Festival in August.
www.violatorswillbeviolated.com
Actor Joel McHale (Community, The Soup) hosted the evening.
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
. . . kniv-per . . . ... FIL ...
All the DL TIF files from the CD of Dave's Nullarbor Caves & Geol 1962-68 filed in the CD drawer.
Several were edited and loaded years ago..
We shared film during the GSWA mapping expedition dring 1965.
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....
www.thegoodstuffshop.dk/group.asp?group=8
**
god fornøjelse
. . . kniv-per . . . ... FIL ...
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
. . . kniv-per . . . ... FIL ...
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
. . . kniv-per . . . ... FIL ...
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.
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...
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
. . . kniv-per . . . ... FIL ...
Tegneklubben (Bjørn Bjarre, Ulf Verner Carlsson, Paul Dring, Terje Nicolaisen, Martin Skauen): "Uten tittel (Klubbhuset)." Høstutstillingen 2010, Kunstnernes Hus, Oslo, Norway. September 9, 2010.
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