View allAll Photos Tagged Discretization
www.ukbutterflies.co.uk/species.php?species=icarus
Superfamily: Papilionoidea
Family: Lycaenidae
Subfamily: Lycaeninae
Genus: Polyommatus
Subgenus:
Species: icarus (Rottemburg, 1775)
Subspecies: icarus (Rottemburg, 1775)
mariscolore (Kane, 1893)
Wingspan
29 - 36mm
Introduction
Living up to its name, this butterfly is the commonest blue found in the British Isles. While the male has bright blue uppersides, the female is primarily brown, with a highly variable amount of blue. This is the most widespread Lycaenid found in the British Isles and can be found almost anywhere, including Orkney. It is absent, however, from Shetland and the mountainous areas of Wales and Scotland. This butterfly forms reasonably discrete colonies measured in tens or hundreds, with individuals occasionally wandering some distance.
Subspecies: Polyommatus icarus icarus
The nominate subspecies was first defined in Rottemburg (1775) as shown here (type locality: Germany). In the British Isles it is found throughout England, Scotland, Wales, the Isle of Man and the Channel Islands. It may also be found in some parts Ireland, although there is some confusion regarding its status, as discussed under the subspecies mariscolore.
Subspecies: Polyommatus icarus mariscolore
This subspecies was first defined in Kane (1893) as shown here (type locality: Ireland). The distribution of the subspecies mariscolore is a confusing one. Nash (2012) suggests that both mariscolore and icarus are found in Ireland, Riley (2007) suggests that mariscolore is the only subspecies found in Ireland and Thomas & Lewington (2010) suggests that mariscolore is found both in Ireland and in north-western Scotland. It is certainly true that not all Irish Common Blues conform to the description of mariscolore. Specifically, mariscolore is characterised by the amount of blue in the female, but many female Irish Common Blues are brown with a variable amount of blue. The subspecies mariscolore differs from the subspecies icarus as follows:
1. Generally larger in size, especially the female.
2. The upperside of the female has extensive patches of blue, with large and bright orange marginal spots.
Polyommatus icarus mariscolore (Kane, 1893)
The Irish butterfly usually considerably exceeds in size that of England, varying from about 1 inch 2 lines to 1.5 inches in the June emergence; but the individuals of the second emergence are much smaller, and generally conform much more nearly to the usual English type in both sexes. Mr. South notes that the Irish and Scotch icarus are similarly characterised by their large size, and the brilliant blue of the female bordered with bright orange marginal ocelli.
The female offers the most conspicuous divergence from the normal English and Continental type, in which the basal half only is dusted with blue scales, the brown of the upper side being widely replaced by a violet or occasionally wholly by the bright blue of L. bellargus. These forms are not uncommon in Ireland, in Galway, Sligo, Donegal, Antrim, Down, Westmeath, Waterford, &c., and are accompanied by a series (often almost confluent) of very bright orange peacock-eye markings on the outer margins of all wings, so that some specimens (if not too brilliant) would pass muster as the var. ceronus of L. bellargus (fig. 12); another most interesting testimony to the genetic affinities of this species.
It may be that the acquisition of more brilliant colours in the female may be of advantage under less sunny skies, where the sun-loving Rhopalocera have less opportunities of selecting their mates, and cannot afford to indulge in long engagements.
Phenology
This species has 2 broods in the southern counties of England, and 1 brood further north. There may be a 3rd brood in favourable years. Time of emergence is highly variable. In good years, adults may be seen as early as the middle of May on more southerly sites. These peak at the end of May, giving rise to a second generation that emerges in the second half of July, peaking in the middle of August. Colonies in northern England and Scotland typically have a single brood that emerges in June, reaching a peak in July.
Habitat
This species is found in a wide variety of habitats, including unimproved grassland such as roadside verges and waste ground, downland, woodland clearings, heathland and even sand dunes.
Larval Foodplants
The primary larval foodplant is Bird's-foot Trefoil (Lotus corniculatus). Black Medick (Medicago lupulina), Common Restharrow (Ononis repens), Greater Bird's-foot Trefoil (Lotus pedunculatus), Lesser Trefoil (Trifolium dubium) and White Clover (Trifolium repens) are also used.
Nectar Sources
Adults feed primarily on Bird's-foot Trefoil (Lotus corniculatus), Bugle (Ajuga reptans), Carline Thistle (Carlina vulgaris), Fleabane (Pulicaria dysenterica), Kidney Vetch (Anthyllis vulneraria), Knapweeds (Centaurea spp.), Marjoram (Origanum vulgare), Ragwort (Senecio jacobaea), Thistles (Cirsium spp. and Carduus spp.), Thyme (Thymus polytrichus), Vetches (Vicia spp.) and White Clover (Trifolium repens).
Imago
This species is most active in sunshine and is a frequent visitor to flowers. Males are the more active of the two sexes and set up territories which they patrol in search of females. The female is less conspicuous, spending most of her time nectaring, resting and egg-laying. When egg-laying, the female makes slow flights, low over the ground, searching out suitable foodplants on which to lay. When a suitable plant is located, a single egg is laid on the upperside of a young leaf.
In dull weather this species roosts head down on a grass stem. As for similar species, such as the Brown Argus, this species roosts communally at night, with several individuals occasionally found roosting on the same grass stem.
Larva
The larva emerges after a week or two. On emerging from the egg the larva moves to the underside of the leaf, where it feeds, by day, on the lower surface without breaking through the upper leaf surface. This leaves characteristic blotches on the foodplant that can give away the presence of a larva. More mature larvae feed more extensively on the leaves. Those larvae that overwinter do so in leaf litter at the base of the foodplant, changing from green to olive, resuming their green colouring in the spring.
Like many other species of blue, the larva is attractive to ants, although only in its last instar. There are 4 moults in total. If the larva does not overwinter, then this stage lasts around 6 weeks.
Pupa
The pupa is formed on the ground or, occasionally, at the base of the foodplant, under a few silk strands. The pupa is attractive to ants which may bury it in earth. This stage lasts around 2 weeks.
Breathless my heart is building a magic, a discrete tower of love...
Modelo: Gusy Bello
Franco Petrini Photography © 2010
I was shooting some street discrete photos of people wearing masks and socializing in a different world in New York City both in the subways and the city streets. It is necessary to wear masks to lower the chances of spreading the Coronavirus. I was shooting with my Fujifilm XT-10 attached with a Nikon 50mm F1.8 AIS E Series Lens. All of these photos were shot in Black and White JPEG/RAW with a digital Yellow Filter.
All Hallows London Wall, London
Also known as All Hallows on the Wall, this little church sits discretely with its back turned near Liverpool Street station. The medieval church it replaced was actually built into the wall, but was demolished for road-widening. Simon Bradley points out that the 18th Century replacement by George Dance uses part of the wall for its foundation on the north side. As at Dance's other church nearby, St Botolph Aldgate, there is a trim liveliness to the exterior which is confident without being prim. Dance knew what worked best for Wren, what worked best for Hawksmoor, and he was no iconoclast.
All Hallows is somewhat overshadowed by its monstrous neighbours, but nevertheless gives them a run for their money. It sits like a small bastion, a gatehouse if you like, guarding the financial citadels of Bishopsgate - or perhaps, warning you off of them. The interior is said to be lovely, but I have yet to see inside, as like most of the other churches in this group on and around Bishopsgate* it is hardly ever open.
*Don't let this comment put you off of St Botolph Bishopsgate, which is open every day, Monday to Friday. Unfortunately, St Helen Bishopsgate, St Ethelburga Bishopsgate, St Peter Cornhill, St Katherine Cree and St Andrew Undershaft are not.
I'm just making my way home now, and starting to work through a long backlog of images to process. Sorry I've been a bit absent while on the road, but activity should be more regular now. I'm hardly the first person to think this, but isn't Paris incredible?
Umm where do I start, at the beginning I suppose ;-)
For the last two weeks I have been making very discrete enquiries, and having many conversations with the owner of Peelings Coaches, about the prospect of the SWPG (well me!), having one of their coaches which they were due to scrap, and look into it possible preservation.
Thank goodness we still have some lovely family run companies, whose vehicles still mean something to them and the thought of seeing their member of the family scrapped would haunt them forever more. Well that is what was going to happen with UGB even though she still has 10 months MOT on her.
After lengthy and protracted negotiations, we were eventually told yesterday that she was ready to be collected from Tittleshall in Norfolk (Between Kings Lynn and Norwich). Johnathan Peeling even taxed the coach for 6 months and put 100 litres of fuel in it, a jesture that has been noted and won’t go unrewarded. SO after another 4.30am start and another trip on the 06.01 to London from Bristol Parkway, another tube journey on the Cirlce Line and another journey from “The Cross”, we eventually arrived in Norfolk at 11.00am.
The journey back to Bristol took 6 hours, with 4 stops and not wanting to rant her I sat at about 57/8 most of the way back, and traversed many local roads and A roads in Norfolk, before having our first break in Peterborough. We then took the A47, A605, A14, M6, M42 & M5 stopping at Corley and Strensham, before arriving back in the yard for 7pm.
SO why did I want another coach after getting rid of the Tiger a lot of you will ask, and some of you have that right. Well quite simply I have missed having a coach due t its comfort, and I think a group of our size needs it.
A652 UDG (Plaxton paramount 3500 bodied Volvo B10M) started out life with Park’s of Hamilton, in their gaudy Blue, White and Orange livery with the Trafalgar Tours logos attached to the side, before a few years with West Coast Motors in North Scotland. She was then sold to C J Down in Mary Tavy (Devon) where she spent quite a long time before being sold to a dealer in Leicestershire who sold her to Fowlers of Holbeach (Another coach in the group that has been at Fowlers!), before being sold to the Wonderful Peelings of Tittleshall, who have kept her rather immaculate. This coach has been stood for 2 months, and started on the button, and drove like a front line motor!
There are plans, but I won’t be shouting my mouth off about them, you will all just have to wait and see as I also have the Fleetline to get done (Which WILL NEVER BE SOLD!!!!!) ;-).
People were eating. I don't shoot photos of people eating (when I cannot be discrete).
Harford County wandering
www.ukbutterflies.co.uk/species.php?species=sylvanus
Ochlodes sylvanus
Superfamily: Hesperioidea
Family: Hesperiidae
Subfamily: Hesperiinae
Genus: Ochlodes
Subgenus:
Species: sylvanus (Esper, 1779)
Subspecies: sylvanus (Esper, 1779)
Wingspan
Male: 29 - 34mm
Female: 31 - 36mm
Introduction
This is one of the largest of our “golden” skippers and, like these other skippers, the male has a distinctive sex brand on its forewings containing specialised scent scales. Although this species forms discrete colonies, it is widespread and can be found in England and Wales as far north as Ayrshire in the west and North Northumberland in the east. This species is not found in Ireland or the Isle of Man, and is restricted to Jersey in the Channel Islands.
Subspecies: Ochlodes sylvanus sylvanus
The nominate subspecies was first defined in Esper (1779) as shown here and as shown in this plate (type locality: Germany). The population in the British Isles is represented by this subspecies. Verity (1919) considered the north European individuals, including those from the British Isles, to be a separate race due to the level of melanism exhibited. He named this race septentrionalis, although this is not recognised by any authority.
Phenology
The butterfly is on the wing in June and July, with some individuals being seen in August. There is one generation each year.
Subspecies: Ochlodes sylvanus sylvanus
Habitat
This species is found in sheltered areas of grassland, where grasses grow tall. Typical sites include meadows, hedgerows, roadside verges, woodland rides and woodland clearings. It can also be found in urban areas, such as parks and churchyards.
Larval Foodplants
The primary larval foodplant is Cock's-foot (Dactylis glomerata). False Brome (Brachypodium sylvaticum), Purple Moor-grass (Molinia caerulea), Tor-grass (Brachypodium pinnatum) and Wood Small-reed (Calamagrostis epigejoss) are also used.
Nectar Sources
Adults feed primarily on Bird's-foot Trefoil (Lotus corniculatus), Bramble (Rubus fruticosus), Bugle (Ajuga reptans), Dandelion (Taraxacum agg.), Devil's-bit Scabious (Succisa pratensis), Field Scabious (Knautia arvensis), Kidney Vetch (Anthyllis vulneraria), Knapweeds (Centaurea spp.), Privet (Ligustrum vulgare), Ragged Robin (Lychnis flos-cuculi), Thistles (Cirsium spp. and Carduus spp.), Vetches (Vicia spp.) and Yarrow (Achillea millefolium).
Imago
Like many other skippers, the male of this species alternates between perching, patrolling, basking and feeding. Patrolling behaviour is normally exhibited late-morning, with perching behaviour the norm in the early morning and afternoon. When perching, the males will defend their territory vigorously, and see off any butterfly that intrudes. Typical perches are sunlit leaves at a height of around a metre from the ground. Both sexes take nectar, and are particularly fond of Bramble and Thistle. Egg-laying is normally performed during the early afternoon. An egg-laying female makes a short flight in between laying one egg and the next on the underside of a blade of grass.
Subspecies: Ochlodes sylvanus sylvanus
Ovum
Egg-laying sites are normally sheltered spots in sunlight, where the grass grows fairly tall, up to at least 30cm in height. Eggs are white when first laid, gradually becoming orange and then a pearly white just prior to hatching. This stage lasts around 2 weeks.
Larva
The larva eats its eggshell on hatching, before forming a protective tube by spinning together the edges of a leaf blade. In the early instars, the larva feeds on the leaf above the tube. In later instars, several leaves may be spun together when forming a tube and the larva may travel further to seek food. The larva creates new tubes as required, either as a result of the lack of food in the immediate vicinity, or its increasing size. After the 4th moult, the larva forms a stout tube in which to hibernate. In spring, the larvae resume feeding and the larval stage may last a lengthy 330 days in total.
Pupa
The larva moults once more before pupating within a tent that is constructed from several grass blades. The pupal stage lasts approximately 3 weeks.
Sites
Click here to see the distribution of this species overlaid with specific site information. Alternatively, select one of the sites listed below.
Sites
Aberffraw Dunes, Aylesbeare Common, Backside Common, Badbury Rings, Banstead Woods, Beachy Head, Bedfont Lakes Country Park LNR, Bishop Middleham Quarry, Box Hill, Coombe Heath, Durlston NNR, Eakring Meadows Nature Reserve, Epping Forest, Fleam Dyke, Great Orme, Horsenden Hill, Hounslow Heath LNR, Howardian Local Nature Reserve, Iping Common, Latton Woods, Laughton Common Wood, Malling Down, Mansmead wood, Mayford Pond, Meanwood Park, Mill Hill, Millenium Arboretum, Moors Valley Country Park, Moss Field, Mynydd Marian, Nupend Wood, Old Down, Basingstoke, Powerstock Common, Pulborough Brooks (RSPB), Redscar and Tunbrook Woods, Rookery, Ryton Woods Meadows, Sutton Bingham Reservoir, Viking Field/LesleySears
Conservation Status
This status of this butterfly is considered stable and this species is not currently of conservation concern.
BODY
Manufactured by Nippon Kogaku K. K., Tokyo, Japan, (Nikon Corporation since 1988)
Model: 1984 (produced between 1984-1986)
35mm film SLR camera
Lenses: More than 70 Nikkor and Nikon Series E lenses available
Lens release: by button on the left of the lens flange
Focusing: Matte/Fresnel focusing screen with central split-image rangefinder spot and microprism collar (Nikon Type K clear-matte screen), ring and dial on the lens
Shutter: Electronically-controlled vertical-travel, metal focal plane shutter
speeds: automatic exposure mode Stepless speeds 1-1/1000
manual mode discrete speeds 1-1/1000
mechanically controlled 1/90 sec. at M90 setting and B setting
setting : by mode selector and speed dial, ring and dial on the bottom of the winding lever, locks on auto mode, unlocks by a small rectangular knob beside the dial
Shutter release: on the winding lever, w/ cable release socket
Cocking lever: also winds the film, short stroke with 144° winding angle, retractable
Automatic film advance: Possible with optional Motor Drive MD-14 or MD-E auto winder
Frame counter: Additive type, self-resetting, window on the far right of the top plate
Viewfinder: Fixed eyelevel pentaprism type, meter needle and scale, manuel setting's indication M red led and flash ready signals on the left side of the finder
Exposure control system: Aperture-priority automatic exposure with manual override and backup mechanical control; through-the-lens full aperture center-weighted metering
Audible warning: works in Auto mode, when speed dial set on green sound icon, "beep-beep" warning sound activated as soon as shutter release button is depressed halfway when shutter speed is below approx. 1/30 sec. or above 1/1000 sec.
If speed dial is on green A (Auto), warning signal does not work
Metering range: EV 1 to EV 18 at ASA/ISO 100 with f/1.4 lens
Film speed range: ASA/ISO 25 to 3200
setting: dial and ring on the bottom of the re-wind knob, lift and turn
Exposure setting: needle and speed dial in the viewfinder, if necessary turn speed dial or aperture ring to the disared speed, black numbers=hand shot, red=flash shot,
Exposure compensation button: for approx. +2 EV compensation, simply keep pressed when taking picture, on the left of the front cover
Re-wind lever: folding crank type, on the left of the top plate
Re-wind release: by a small knob, on the bottom plate
Flash PC socket: none
Hot-shoe
Flash synchronization: Speeds of 1/90 sec. or slower with electronic flash; with Nikon dedicated flash unit, flash sync automatically set to 1/90 sec. when camera is set at either automatic exposure mode or when shutter speed/mode selector dial is set at 1/125 or higher in manual mode; at slower speeds on manual, shutter fires at speed set
Flash ready-light: Viewfinder thunderbolt mark lights up when Nikon dedicated flash unit is completely recycled
Dedicated flash unit is Nikon SB-19
Memo holder: on the back cover, serial no.is in this holder
Self-timer: Approx. 10-sec. shutter release delay; cancellable after setting, push and turn lever on the right front side of the camera
Back cover: Hinged, opens by lifting re-wind lever
Engraving on the bottom plate : Made In Japan
Tripod socket: 1/4''
Strap lugs
Motor drive couplings on the bottom plate
Meter ON/OFF switch: Exposure meter is turned on when shutter release button is depressed halfway; stays on for approx. 20 sec. after finger is removed from button, then automatically turns off
Battery check: When pressing half way to shutter release, the meter needle in the viewfinder must be above the index scale's bottom red zone, if the battery is insufficient the needle stays in the bottom red zone.
Battery chamber: on the bottom plate
Batteries: One 3V lithium battery or 1.55V silver-oxide batteries (SR44) or two 1.5V alkaline-manganese batteries (LR-44)
Body: metal, Weight: 440g (body only)
serial no.3026452
+Nikon ever eady case, Nikon strap, Nikon L37c UV filter
LENS
Nikon Zoom-Nikkor 35-70mm f/3.5-f/4.8
Mount: Nikon bayonet, filter thread: 52mm , serial no.6088753 (a late Ai-S lens)
Lens coupling: AI
Lens made by Cosina for Nikon FM10
Aperture: f/3.5-f/22, setting: ring and dial on the lens, w/DOF scale
Focus range: 0.5-5m +inf w/ macro facility
Engravings on the lens barrel: Made In Japan (black), and serial no.
Lens info is as to Rolands Nikon Pages
The Nikon FG-20 was released in 1984 by Nippon Kogaku K. K. (now the Nikon Corporation) as the successor to the earlier EM and FG cameras. It is actually a downgrade from its most direct predecessor, the FG, lacking the FG's program auto exposure mode. It uses the same vertical-travel metal focal-plane shutter as the FG, with electronically timed speeds from 1 to 1/1000 second as well as bulb and a mechanically-timed 1/90th second speed. The FG-20 could be considered a variant of the FG, as the only differences between the two is the omission of program mode and TTL (through the lens) flash metering from the FG.
more info: Nikon FG-20
Hidden away in a discrete corner of the museum's Space gallery is this gem of a display cabinet.
Male suction toilet (waste management system) top, was used by the cosmonauts on the Soyuz spacecraft. The orange item is the 'collection bag', it's genuine and looks like it's been used.
The female vacuum toilet, centre, as used by the first woman in space - Valentina Tereshkova on her Vostok-6 flight in 1963.
On the shelf at right is a shaver also with vacuum collection. The stuff at the bottom is the vacuum equipment.
Current space toilets on the Shuttle and ISS work on the same principle but astronauts wear disposable nappies during lift-off, space walks and landing.
Apparently Astronaut food is designed to be 'low residue', so I guess high fibre is out and constipation is good.
Ya sure gotta hand it to the Ruskie engineers - "Eh, comrade I think we really cracked it, no more nappies now!
Check out the info at the Powerhouse Museum:
Valentina Vladimirovna Tereshkova (Russian: Валенти́на Влади́мировна Терешко́ва; Belarusian: Валянціна Уладзіміраўна Церашко́ва) (born March 6, 1937) is a retired Soviet cosmonaut, and was the first woman in space. She was selected out of more than four hundred applicants, and then out of five finalists, to pilot Vostok 6 on the 16 June, 1963, becoming both the first woman and the first civilian to fly in space, as she was only honorarily inducted into the USSR's Air Force as a condition on joining the Cosmonaut Corps. During her three-day mission, she performed various tests on herself to collect data on the female body's reaction to spaceflight.
'Farewell (or about the discrete oversights of the limbic system)!' by Farid Fairuz (Romania), performed by Maria Baroncea, Carmen Cotofana, Alexandra Pirici, Magdalena Dan and Iuliana Stoianescu during the 1st European Festival of Contemporary Dance - Kraków/Bytom. Teatr PWST, Kraków, Poland
Eye Filmmuseum is a film archive, museum, and cinema in Amsterdam that preserves and presents both Dutch and foreign films screened in the Netherlands.
Location and history
Eye Filmmuseum is located in the Overhoeks neighborhood of Amsterdam in the Netherlands. Its predecessor was the Dutch Historical Film Archive, founded in 1946 by David van Staveren, Felix Halverstad, and directors of Filmtheater Kriterion Piet Meerburg and Paul Kijzer. Following the accession of the archives of the Filmtheater de Uitkijk, the archive was renamed the Netherlands Filmmuseum under the leadership of its first director, film collector Jan de Vaal. The Filmmuseum was located in Kriterion and Stedelijk Museum until 1975, when de Vaal succeeded in acquiring a discrete space for the Filmmuseum in the Vondelpark Pavilion. In 2009, Nederlands Filmmuseum merged with Holland Film, the Netherlands Institute for Film Education and the Filmbank and plans were announced for a new home on the north bank of Amsterdam's waterfront. The Filmmuseum was renamed the Eye Film Institute Netherlands and was officially opened on April 4, 2012, by Queen Beatrix.
Buildings
Eye Filmmuseum
The Eye Filmmuseum building is designed by Delugan Meissl Associated Architects, whose other projects include the Porsche Museum in Stuttgart. The building features two gallery exhibition spaces, one 300-seat cinema, two 127-seat cinemas, and a fourth intimate cinema of about 67 seats. One of the gallery spaces is devoted to a permanent exhibition on the technical and aesthetic histories of cinema. The exhibit includes historical equipment drawn from the Museum's collection of approximately 1,500 cinematic apparatuses, as well as an immersive presentation of about one hundred film clips from the Museum's archive, including Dutch and international films dating from the silent era and beyond. The second gallery space is dedicated to experimental cinema or expanded cinema, a commitment which dates back to the Filmmuseum's founding and the weekly screenings it organized at the Stedelijk Museum in the 1950s under the emerging aegis of cinema as a "seventh art."[ Past exhibitions in this space have focused on auteurs and cinematographers, as well as video artists and visual artists like Ryoji Ikeda and Anthony McCall.
Eye Collection Center
In 2016, Eye opened its new Collection Center, designed by cepezed. The collection is made up of analog, digitized, and born-digital materials which are situated beside a sound restoration and digitization studio, a digital image restoration studio, and a grading and scanning suite. The collection includes 210,000 cans of acetate film, 57,000 film titles, 2.5 petabytes of digital data, 82,000 posters, 700,000 photographs, 27,000 books, 2,000 journals, 1,500 pre-cinema and film apparatuses, 4,500 magic lantern slides, 7,000 musical scores, and 250,000 press cuttings.
The collection originally consisted of films from the Uitkijk archive, compiled by members of the Dutch Filmliga (1927–1933).[12] After joining the International Federation of Film archives (FIAF) in 1947, the Filmmuseum started to actively collect and preserve Dutch film productions. Since then, a number of significant collections have been acquired, ranging from Dutch distributors (Desmet, Centra, and UIP); filmmakers (Joris Ivens, Johan van der Keuken, and Louis van Gasteren); and producers (Matthijs van Heijningen and Kees Kasander) to institutions and organizations, such as the Netherlands Film Academy; the Netherlands Film Fund; and the Netherlands Institute for Animation Film (NIAf). The collection also includes many seminal silent film works, Hollywood classics, international arthouse productions, and independent filmmakers of international renown.
Nitrate Bunkers
Eye stores 30,000 cans of flammable nitrate film in bunkers near the coast of North Holland in Overveen, Castricum and Heemskerk. These nitrate films date between 1896 and the mid-1950s and include a unique collection of 68mm film. Two of these bunkers were built during the Second World War to protect Dutch art museum holdings from theft and destruction; Rembrandt's The Night Watch was among a few of the paintings which were stored in the Castricum bunker for part of the war.
Restorations
Recent silent film Eye restorations include the formerly lost film Beyond the Rocks (1922) starring Gloria Swanson, J'accuse! (1919) by Abel Gance, The Seashell and the Clergyman (1928) by Germain Dulac, Raskolnikov (1923) by Robert Wiene, Flower of Evil (1915) by Carmine Gallone, and Shoes (1916) by Lois Weber.
Restorations of Dutch films include Wan Pipel (1976) by Dutch-Surinamese director Pim de la Parra, Zeemansvrouwen (1930) by Henk Kleinmann, Karakter (1997) by Mike van Diem, Spetters (1980) by Paul Verhoeven, and Abel (1986) by Alex van Warmerdam.
Other restorations include Eve (1962) by Joseph Losey, M (1931) by Fritz Lang, and We Can't Go Home Again (1979) by Nicholas Ray.
Projects
Eye is performing a major film digitization and preservation project together with IBM and Thought Equity Motion, a provider of video platform and rights development services. The project involves scanning and storing more than 150 million discrete DPX files on LTO Gen5 Tape in the Linear Tape File System format.
The institute's youth platform is named MovieZone (previously MovieSquad).
Annual events
International Documentary Film Festival Amsterdam (November)
Eye International Conference (May)
(Wikipedia)
Das EYE Filmmuseum (früher Nederlands Filmmuseum) in Amsterdam ist das nationale Filmmuseum der Niederlande.
Geschichte
Das Museum wurde 1946 als Nederlands Historisch Filmarchief gegründet und besteht seit 1952 unter seinem heutigen Namen. Seit 1972 befand sich das Filmmuseum in einem Pavillon im Amsterdamer Vondelpark. Der Vondelparkpaviljoen wurde 1874 bis 1881 nach Plänen von Willem Hamer jr. im Stil der Neorenaissance errichtet.
Das Filmmuseum verfügt über etwa 46.000 Filme (davon 7 Millionen Meter Zelluloidfilm aus der ersten Hälfte des 20. Jahrhunderts), mehr als 35.000 Filmplakate und rund 450.000 Fotografien. Selbstgesetztes Ziel des Museums ist die Bewahrung des filmgeschichtlichen Erbes und ebenso die Erhaltung einer lebendigen Filmkultur in den Niederlanden. Daher handelt es sich beim Bestand vor allem um niederländische Produktionen, aber auch ausländische Filme, die in niederländischen Kinos gelaufen sind. Das Museum hat zwei Filmvorführsäle und wird jährlich von mehr als 150.000 Besuchern frequentiert. Es führt auch Restaurierungen durch. Der Institution angeschlossen ist die größte niederländische Bibliothek für Filmliteratur. Im Keller des Museums ist ein Café-Restaurant untergebracht. 1991 wurde das Gebäude umfassend renoviert.
Am 5. April 2012 zog das Amsterdamer Filmmuseum in einen Neubau auf das Overhoeks genannte, ehemals dem niederländischen Ölkonzerns Shell gehörende Gelände am Nordufer der IJ, zu Füßen des Shell-Towers, um. Als Sieger aus dem ausgeschriebenen internationalen Gestaltungswettbewerb ging 2005 der Entwurf des österreichischen Architekturbüros Delugan Meissl Associated Architects hervor. Nach dem Umzug trägt das Museum den Namen EYE. Filmmuseum.
(Wikipedia)
Jardin des Tuileries (75 - 1er arrondissement de Paris)
Diaporama (slideshow) "Jardin des Tuileries" :
www.flickr.com/photos/pat21/sets/72157637812793553/show/
Website : www.fluidr.com/photos/pat21
picssr.com/photos/pat21?ref=user
"Copyright © – Patrick Bouchenard
The reproduction, publication, modification, transmission or exploitation of any work contained here in for any use, personal or commercial, without my prior written permission is strictly prohibited. All rights reserved."
Despite being all new last year, the cars were revamped in a big way for the 1937 model year. The grille was split, allowing the Buick coat of arms to be mounted front and centre on a slender river of chrome flanked with fine horizontal chrome ribs. New, more graceful, teardrop headlights were mounted on either side of the grille for a stately look. Wipers were no longer mounted from above the windshield, but from the cowl. The radio aerial disappeared, discretely embedded in the running board. Body height was lowered by 1.5 inches and a corresponding 2.5-inch drop in the floor meant the cavernous interior was maintained.
The public met the 1937 McLaughlin-Buicks in November of 1936. In a bid to impress potential buyers, sales personnel were trained to discuss the current crop of automobiles from the ground up. Starting with the famous sealed chassis, they moved on to point out the quieter valve-in-head straight-eight engine, the five-point soft rubber engine mountings, the centre-point controlled steering, the tip-toe hydraulic brakes, knee action wheels, torque-tube drive and ride stabilizers located fore and aft. The car was mighty and magnificent. It came with an impeccable pedigree that reached back to horse and buggy days. It was easy to sing the praises of such a fine motorcar.
Salesmen were instructed to draw attention to the all steel-welded-to-steel body construction that boasted the safety of a solid steel Turret Top on the Special models. “McLaughlin-Buick bodies have in 1937 the same master craftsmanship in their coachwork which they have had for years.” For good measure, folks looking at the gleaming beauties in showrooms were reminded that safety glass was used all around.
As important as any feature built into the vehicle was the possibility of buying a new McLaughlin-Buick through the General Motors Installment Plan. With “payments to suit your purse,” the scheme claimed to have already advanced more than 11 million purchases in North America. In addition, GM had its own insurance company. General Exchange Insurance Corporation, a.k.a. GEIC, offered insurance protection and the capacity to “render claims and make adjustments throughout Canada.”
[The 1937 McLaughlin-Buick Roadmaster four-door Sedan with trunk carried a $1,690 price tag.]
The McLaughlin-Buick was an upscale offering in the world of automobiles, carefully positioned between the mid-range, mid-priced Oldsmobile and just below the luxurious LaSalle by Cadillac. With inspired whispers of elegance, distinction and class, McLaughlin-Buick came in four distinct series for 1937: Special, Century, Roadmaster and the Limited.
The 122-inch wheelbased Special was the entry level car, ideal for the family ready to move into the pampered world of McLaughlin-Buick. A Sport Coupe with “ingeniously positioned” folding opera seats was the lowest priced in the stable with a starting price of $1,055. A five-passenger Coach with trunk, a five-passenger Sedan with trunk and a four-passenger convertible with rumble seat were all equally modestly priced. The Special got around town and country with a 248-cubic inch straight eight that generated 100 horsepower.
[The 1937 McLaughlin-Buick Special four-door Sedan with trunk weighed in at 3,610 pounds and cost $1,110. No GM cars were built in the Regina, Saskatchewan plant that year.]
Century was bigger and better appointed than the Special. Its engine generated 130 horsepower and its displacement was 320 cubic inches. Four inches longer in the wheelbase than last year, Century now rode a 126-inch wheelbase and could be had as a five-passenger Coach or a five-passenger Sedan, both came with trunk. The four-passenger Convertible Coupe boasted a rumble seat. A great deal of attention was drawn to the generously proportioned trunks. “Why embarrass yourself with a trailer for your valises when the jumbo baggage compartment can serve you?”
The spare tire rode in a special space below the trunk floor, making tire changing less of a hassle. Having stated that, these dignified land yachts also could be ordered with optional cost, side-mounted tires, neatly tucked into gracefully elongated front fenders. The classic feature was standard equipment on the Roadmaster four-door convertible and the two Limited models.
Further up the scale was the impressive Roadmaster. This grand automobile stretched lazily over a 131-inch wheelbase and seated six in full comfort. It shared an engine with the Century. The Formal Sedan could be ordered with optional movable glass partition to set passengers apart from the chauffeur. A four-door convertible carried a price tag of $2,050.
[The 1937 McLaughlin-Buick Limited Imperial Sedan seated eight and came with glass to separate the chauffeur from passengers. The most expensive of the McLaughlin-Buick clan, the limousine sold for $2,600.] Gliding majestically on a 138-inch wheelbase, the Limited was the penultimate McLaughlin-Buick. Seating eight passengers, it was offered as a Sedan with trunk or as the Imperial Sedan with trunk. It loafed along the highways and byways of the Dominion with the same engine as Century and Roadmaster. These distinguished vehicles were rarely seen. Shunning Cadillac as ostentatious, Prime Minister William Lyon Mackenzie King made use of a McLaughlin-Buick as his official car.
[The refined and dignified instrument panel for the 1937 McLaughlin-Buick promised a feeling of well being that would make the driver see the world through different eyes.] Options were few and far between on a car as magnificent as a McLaughlin-Buick. There were a few and in keeping with the McLaughlin-Buick tradition they were the epitome of tastefulness. They included white sidewall tires, an in-dash radio with a speaker. A heater—with or without the new windshield defroster—fog lights and the dual sidemount fenders were on the short list.
Production continued to improve as workers at General Motors built 6,880 McLaughlin-Buicks for the 1937 calendar year. The gains would not be continued in 1938 as the economy faltered and sales plunged.
KMS Tools, Coquitlam, Annual, Show & Shine, 2010,
British Columbia, Canada.,
For my video; youtu.be/E07eeaH5PSk
Big ideas “go beyond discrete facts or skills to focus on larger concepts, principles, or processes.”
-Grant Wiggins and Jay McTighe, Understanding by Design (1998), p. 10
The old religious leader of the capital had just passed…
No not Papa Hericus formerly named King Henry, he had passed too, but he was not the one who kicked the wooden bucket…
He was really just discrete humble man not as the other who claimed to be religious leaders like earlier mentioned Henricus, the Mad Monk, the Mage…
This humble man (yes because of medieval pregories, there were no priestesses) he was a man.
He Was the leader of a faction, major in number but peaceful and minute, and when it came to it preaching and he was tolerant of other religions…
The previously mentioned so-called religious leaders didn’t live like they preached, that is why they were more known and noticed by the people…
Henricus was driven by grief and hatred, the Mage-king was driven by greed and selfishness and the Mad Monk was purely driven by evil nastiness and the joy of metally torture what he saw as his minions…
But as I said this quiet man was no big fuzz, he held his mass and helped people in the minor matters in counseling and even gave the poor from the church silver when they were in need…
still almost no-one remembered his name, but it was Irenicus XVII…
…and now this humble man had passed, the people went to the square every day to see the Lady of the gate peek out every and throw a small handkerchief from a window if it was red no new Religious leader had been elected by the locked up clergy…
If the hanky was a whitish pink a new head of the church had been elected…
Today the hanky was red! So the townsfolk would have to gather tomorrow again for the next ceremonial hanky-throw…
During the meanwhilst the masses speculated on whom could be elected…
People said:
I think it will be an old man!?
Or: can a pig be elected or is that only presidents that can be pigs?
Or: Can Queen Esmeralda be elected even if she is a woman and dead and not out of the clergy???
Or: I think it will be that green runt living in that swap, he is short but has a mighty mind he can move rubble without touching it…
But as said before: the people had to wait, sometimes these election processes could take years…
(This text is only inspired by current events and is not in any way intended to mock or ridicule the late pope who recently died… He seems to have been a good pope and I hope the new one too will carry on in his footsteps! May the Argentine pop rest in peace! He was a humble man…)
Component view of the all discrete Flickinger amp modules on top of their box. The one on the left is a single amp and the two on the right are dual amps. These make amazing mic pres! Many engineers consider these to be the best mic pre-amp card in the world!!
And Duane discretely staying out of their way. The last SD40-3 in Illinois Rail Link colors waits while the conductor off frame is throwing the switch. Usually when shooting trains in this area they slide thru the Pingree Grove switch at 25mph This time, the train stopped and I thought I was going to be called in for tresspassing. I kept a discrete distance and after the 272 train led by this locomotive cleared the track I was out of there. The 273 train was also stopped with a few of her crew on the ground giving this train a look over from the opposite side of their train, so I was not wanting to linger in this area.
BTW Clarke, it clearly says SD40-3
Our discrete system can be fitted easily to most types of fence. This fence is 5ft and has extra long brackets to give the required height.
Screen shot of a Mind Mirror design I put together in BioExplorer. Contact me if you would like a copy (free) ( ianmc3 at shaw .. dot .. ca )
Here's a complete seminar by Anna Wise in 1991 demonstrating the real deal:
www.youtube.com/watch?v=l0PbIAqxJKo
As many have noticed, an FFT (Fast Fourier Transform) spectrograph shapes do not always match the classic MindMirror EEG display shapes published by folks such as Maxwell Cade and Anna Wise. Instead of using FFT this design uses 28 discrete bandpass filters in the hopes it will provide a display more closely matching the original MindMirror.
Look closely in the middle (and twist your head!) to see the band's center frequency. The yellow bars show a slower average for that particular filter. The range of each bargraph is 50 uV but that's easily adjustable in the design page.
Note: Monitor display needs rotation 90 deg CW to view. This can be done through free software (www.entechtaiwan.com/util/irotate.shtm) or you can physically rotate your screen...assuming it's not a CRT!
See the original Mind Mirror in action: www.youtube.com/watch?v=LFFMtq5g8N4
Band Labels
In my version of Bioexplorer I don't see the frequency labels on each bargraph when I open the design. To have them display click on Instruments Menu and then 'Edit Layout'
Electrode Placement (from a MM website):
All the early Mind Mirror research was carried out using a two channel EEG, the Mind Mirror, with contacts placed over the occipital areas. Differential pick-ups between contacts placed at T5 - O1 and T6 - O2 are used, rather than the more usual common reference mode. Contacts T5, O1and T6, O2 are more or less equidistant from the powerful neck muscles and from heart voltages and thus cancel these voltages more effectively than the more normal common reference mode.
Sensitivity.
The default range of each bandpass bargraph is 50uV. On the design page you can see each channel go through an evaluator with a multiplier of 1 and it can be adjusted on each channel as needed. ie: change this to 2 to have a range of 25uV for each bargraph or 0.5 for 100uV.
I built this design using technical information provided from this MindMirror website which unfortunately has been shutdown (mindmirroreeg.biomonitors.com/). However as of Mar/07 some of it's pages were still available in google cache.
I did my best guess at the filter types and # of poles for each filter range in order to match what I could glean out of this site. I've tested by sweeping through with the BE signal generator and I think it's fairly close. Any feedback or suggestions appreciated
cheers, Ian
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Here's some interesting bits from the webpages (thanks Google cache!):
The Mind Mirror is an electroencephalograph (EEG) which was originally created in 1976. It performs frequency analysis of signals generated by the brain and displays the results on horizontal barographs. The display panel has two columns of bar graphs which represent the left and right hemispheres (LH, RH) of the brain. Zero signal is displayed by all the indications showing at the middle of the display. Each bargraph represents one filter; if a LH signal is being displayed, the indication moves away from the center of the panel to the left and similarly for the right.
The filters which analyze the brain signals are centered on frequencies chosen to give optimum analysis. These are 0.7Hz, 1.5Hz, 3Hz, 4.5Hz, 6Hz, 7.5Hz, 9Hz, 10.5Hz, 12.5Hz, 15Hz, 19Hz, 24Hz, 30Hz, and 38Hz. These frequencies were chosen by previous experience and needed to be modified only slightly after early work with the Mind Mirror. The bandwidth of each filter is adjusted so that the 3db loss points coincide with the equivalent points in the adjacent filters. This means that a brain rhythm whose frequency lies mid-way between two filters will appear at a reduced level in both. This disadvantage is balanced by the fact that a signal lying between two filters will not be lost.
The performance of analogue filters is excellent, the rejection of unwanted signals is 50db per octave. Translated, this means that the response of the 9Hz filter to a 4.5Hz signal is reduced by a factor of more than 100 times.
Maximum input sensitivity is 3 microvolts. The wideband noise is less than 1 microvolt. The sensitivity may be switched between 3, 5, 10, 30, 50 or 100 microvolts rms. The CMR response is better than 60db.
These machines and filter frequencies were the basis of the early work in "consciousness" research by C Maxwell (Max) Cade and its more recent development by Anna Wise. The analogue filters proved to be uniquely suited to this application because the optimum bandwidth of each one can be easily chosen.
Brain rhythms respond in both amplitude and frequency to changing thought patterns. Indeed if any frequency is very stable, it seems to indicate a rigid thought pattern which can manifest as a seizure. Our work suggests, for example, that the alpha frequency of a well-developed subject (someone who is very good at what they do) may average 9Hz but may be varying between 7 and 10Hz. This seemed to be true of all the subjects who excelled: what they excelled at did not seem to be important. They could be yoga teachers, television presenters or healers.
The original analogue filters in Mind Mirrors 1 and 2 were precise but difficult to construct with individual components and became too expensive to manufacture. An unusual design was adopted for the filters which allowed the center frequency and bandwidth to be set independently. I have never seen this in a filter textbook even though it is very easy to implement. Fortunately digital techniques can precisely imitate analogue filters and even to some extent improve on them so that the Mind Mirror technology has been translated into the digital domain. The cost is of the instrument is reduced and the precision of the resulting filters guaranteed.
FFT Analysis of Brainwaves
We are often asked why we do not use Fast Fourier Transforms (FFT), which are easy to implement in computer software. Due to the way it functions, this method gives a different pattern to that seen on the Mind Mirror and is not very responsive to the grouping of bands of frequencies known as the beta, alpha, theta and delta responses for a variety of reasons.
FFT works by taking a sample of the signal for a precise interval of time and then by calculation delivers an analysis of the signals present during that interval. It is excellent when the signal:
* is a constant frequency
* is repetitive
* is a much higher frequency than the sampling window interval
An example of its use is tone recognition used for telephone dialing.
The signal to be analyzed must be of a higher frequency than the sampling window time, i.e., a delta signal of 1Hz cannot be captured (a change of the signal in 1 second) by a sampling window which lasts one second without gross errors occurring. Any system with 1Hz window will be inaccurate below about 3 or 4 Hz.
Why is this? The sampling window chops into the signal, generating false answers, an effect called leakage. If the window was precisely synchronized with the signal being analyzed, there would be no problem. But we are analyzing the signal because we want to know the frequencies present. This means that at the beginning and end of the sampling interval there must be distortion. Consider a 1Hz wave and a 1 second sampling window. If the beginning of the window was aligned with a peak of the 1Hz wave, then the sample would contain a fast excursion from zero to maximum and this would imply a whole range of frequencies not present on the original. The problem can be minimized by shaping (tapering) the sampling window-switching voltage.
The leakage shows itself in every channel as a false reading. The effect is less when the frequencies are higher, e.g., 10 cycles of alpha during a 1-second window because only the first and last cycles are distorted by the sampling but the effect is still present. A reasonable guess might be that the error has been reduced to 5%. In most cases this does not matter (i.e., in telephone dialing). It can be eliminated by cutting out the low-level spurious signals, a process called application of a Hanning window. Suppose though that the wanted signal is at a low level; it too would be eliminated.
This use of the Hanning window partly explains why it is difficult to recreate an accurate beta response. A typical beta filter bandwidth is from 17 to 22Hz. The beta frequency is responding in both amplitude and frequency to the subject’s thoughts. Any beta signal lying within this range is automatically included in the response of the analogue filter and displayed even though it is varying in frequency. With FFT it would seem possible to obtain the same result by adding together the output of the windows 17, 18, 19, 20, 21 and 22Hz. In practice, the continuously changing beta does not rest within one window for any length of time and is therefore often low
enough in amplitude to be chopped out by the Hanning window.
If the beta amplitude is large enough, FFT can generate beta readings which are approximately accurate, but the method becomes more and more inaccurate as the beta amplitude reduces. This makes it impossible to use to display Mind Mirror patterns.
The FFT can only generate outputs which are distributed linearly in frequency. If for EEG analysis the window is chosen as 1 second, the frequency "bins" are 1Hz wide from 1 to 40Hz. The relative width of each bin falls with frequency, i.e. from 1 to 2 Hz is a whole octave wide whereas from 39 to 40Hz is only a fraction of an octave. This does not matter if the signal consists of a single tone but when the source is an EEG which is varying continuously in frequency, then this unavoidable change in the relative bandwidth provides another explanation why the beta response is very different with FFT. FFT does not respond accurately to rapidly changing or transient signals. This is important when reading alpha frequencies which are rarely very steady in amplitude.
To understand this limitation we have to consider how the FFT analyzer works. Typically in EEG analysis, the sampling window is 1 second long but this does not mean that one has to wait for 1 second before a response is available. Overlapping windows are used; one choice might be 8 per second. After the first second, an eighth of a second of fresh data is added, the oldest eighth second is discarded and the latest 1 second of data is calculated. This speeds up the response after the first second so that low-frequency signals can be displayed within about 0.3 of a second of their occurrence.
Paradoxically this does not improve the transient response. If a 10Hz wave is being sampled by a 1-second window, it cannot display the full amplitude of alpha until the window is full and this takes a second to complete.
Consider what happens when the alpha is fluctuating. Assume the window is 1-second long and that bursts of five alpha waves are arriving every second. The rise time of the analogue filter would allow it to follow this easily, even though the fall time would be extended slightly by the detector time constant. But the FFT would see a half-full bin each time and so display the average - an unvarying output of half the relative amplitude. The relative time position of the sliding window wouldn’t make much difference because the window will still be only half full wherever the burst of 5 cycles is sitting within the window. The representation will look completely different on the two systems, one would be correctly following the peaks whereas the FFT would be showing an unvarying level. These bursts represent useful information in Mind
Mirror technology.
The transient response of the FFT cannot be improved by shortening the window time because it will then become comparable to the frequency and thus leakage will introduce large leakage
errors, especially into the adjacent channels. For example, an FFT with a quarter-second window could respond quickly but as the window will only contain 2.5 cycles of 10Hz alpha, one can see that considerable distortion (leakage) will be generated.
This means that FFT limitations cannot be overcome by using two or three FFT analyzers running
at the same time. To summarize:
* The Delta response is not good with tolerable response times.
* The process is not very responsive to fast-changing signals such as alpha.
* The FFT analysis itself produces spurious signals which are not present in the original. A
correction for this problem causes beta inaccuracy
* The pattern shown by an FFT analyzer is sufficiently different to make it unusable for Mind
Mirror work.
Uniqueness of the Mind Mirror Pattern.
Anna Wise has been contacted by many frustrated users of FFT systems wondering why they could not see the patterns which she described in her book The High Performance Mind. She says: "Twenty years’ work with the Mind Mirror has led me to understand the uniqueness of its pattern display and the complexity of the information I gain from it.
People need to know that they do not gain the same information from FFT systems and not realizing its limitations, could lead them to dismiss their own abilities and/or dismiss my years of research as not being replicable." "Accessing alpha allows the flow of information from the unconscious (delta), through the subconscious (theta), to the conscious (beta) mind. It is this openness or availability of awareness on all levels that constitutes the state Max Cade called an Awakened Mind. Applying and using and manifesting with this open flow of conscious awareness gives us a High Performance Mind. We have to focus on, find, and thoroughly develop the alpha bridge to allow this to happen." All the original studies of healers, swamis and anyone who excelled at their job by Max Cade and myself described in his book The Awakened Mind were performed with the Mind Mirror and will not be replicable with an FFT system.
LE COEUR AU VENTRE
EXTENDED UNTIL 11 OCTOBER 2020
Art et Marges Museum: An outsider art museum, challenges art and its boundaries.
Passionate collectors, talent scouts and big hearted gallerists, Marion and L. Oster live amidst a fascinating torrent of outsider and expressionist art. This exhibition offers an unprecedented immersion into the world of these discrete collectors, by giving new life to this intriguing residence with a thousand inhabitants.
The art et marges musée museum contains a collection, compiled since the 1980s, outside the beaten tracks of the art world, among self-taught artists, art studios for persons with a mental disability or from psychiatric institutions.
The art et marges musée museum mounts exhibitions featuring artists from both sides of the margin.
The art et marges musée museum falls under what is known as outsider art
with a in situ artwork by Caroline Dahyot, and works by A.C.M, Abadne, Adam Sabhan, Aïni Philippe, Albasser Pierre, Amar Paul, Amourette Pierre, Angkasapura Noviadi, Armstrong Zebedee, Avril Armand, Azema Philippe, Babahoum, Badia, Barbarit Béatrice, Barbe-Hatuel Nicole, Barrameda, Baudelere Karl, Bauman Manuel, Beaver Larry, Ben Ali, Berquin Patricia, Birobent Martine, Blot Olivier, Bosco Giovanni, Branciard Jean, Brunet Guy, Burland Francois, Cadoré Delphine, Cahoreau Gustave, Cerredo Fabian, Chanut Danielle-Marie, Chauvet François, Chomette Virginie, Cluzel Nicolas, Comte Robin, Cooper Ronald, Corentin Sylvain, Cumingham Richard, D'antuono Barbara, Dahyot Caroline, De Sagazan Olivier, Dellschau Charles, Demelis Eric, Dereux Philippe, Dominici Véronique, Doñate Pepe, Doué Eric, Dubréus Lhérisson, Duclos Hélène, Dugnoille Myla, Duprilot Hubert, El Syrio Josvedi, Fillaudeau Noël, Finster Howard, Fleury Yves-Jules, Gallieni Jill, Gillet Lionel, Glamocak Zlatko, Golz Michael, Gordon Ted, Gougelin Eric, Goulet Marie-Thérèse, Goux Claudine, Greiner Thierry, Grunenwaldt Martha, Hinojosa Aaron, Hofer Josef, Jaber, Jacqui Danielle, Jagiello George, Jorgensen Hans, Joss, Kapela Paulo, Knopf Solange, Kumar Pradeep, La Pinturitas, Labrie Karine, Lacoste Alain, Lagnieu Hélène, Lambert Thierry, Laure Isabelle, Laurent Henri, Le Carré-Galimard Simone, Lefèvre Pierre, Liberman Cirléne, Lippstreu Alexis, Manca Bonaria, Marie Florence, Mariette, Margot Margot, Marshall Francis, Marte Daldo, Mecalco David, Michaels Damian, Mister Imagination, Monchatre François, Mond Mina, Montpied Bruno, Morel Marie, Mouly Gaston, Mustafa, Nadau Jean-Pierre, Nedjar Michel, Nitkowski Stani, Obata Masao, Oster Marion, Palmer Andrei, Park Chong-Ran, Patba58, Pelligand Bernard, Philippi Jean-Christophe, Pietquin Dimitri, Pietri Josselin, Pignat Armande, Plaza Amadeo, Plny Lubos, Podesta Giovanni Battista, Postic Evelyne, Raâk, Rae Helen, Rieux Jean-Francois, Rigal Antoine, Robert Yvonne, Robertson Royal, Robillard André, Rosset Jean, Saban Ody, Sablon Françoise, Sanders Jim, Schwanse Petra, Sendrey Gérard, Sesow Matt, Sharlhorne Welmon, St John Christopher, Staelens Ghyslaine Et Sylvain, Stroff Denis, Tanjung Ni, Tirilly Jean, Tourlonias Jean, Ughetto Henri, Ursin Catherine, Valois Marie-Françoise, Van Acker Jacqueline, Vigneau Monique, Vinsard Marcel, Vladimir, Webster Dereck, Wilson Ben, Zanon Juliette.
On the first floor, discover a selection of works from the museum's permanent collection, with: Inès Andouche, Jan Bedinsky, Georges Cauchy, Aloïse Corbaz, François De Jonge, Isabelle Denayer, Johan Geenens, Madge Gill, Martha Grunenwaldt, David Houis, Anne N’Dayiziga, Jean-Marie Mortier, André Prues, Nouzha Serroukh, Anny Servais, Jacques Trovic, André Wostijn.
Featured on my Blog at www.brusselspictures.com
Dustin and I were hired to discretely shoot a proposal for an incredibly organized young man. He had two friends drape the Lyon Street staircase with rose petals, request that the mob of runners refrain from going up a portion of the stairs during the duration of the proposal, and even faked a black tie political event so that his fiance to be would be dressed up. Then he gave her a ring that she had been coveting since forever. Dustin was hiding in the bushes below and I got a volunteer to pretend to model for me so I caught the couple as they walked towards the stairs.
This is what I call 'the band shot' of the couple and their friends who helped conspire for love. Check it out large on black. :)
Strobist info: Nikon SB900 on full power with 1/2 CTO gel, bouncing in a 43" convertible umbrella, hand held by Dustin about 5ft to the front camera right of people. One Nikon SB900 on 1/2 power bouncing through a white 43" umbrella behind the pillar.
LE COEUR AU VENTRE
EXTENDED UNTIL 11 OCTOBER 2020
Art et Marges Museum: An outsider art museum, challenges art and its boundaries.
Passionate collectors, talent scouts and big hearted gallerists, Marion and L. Oster live amidst a fascinating torrent of outsider and expressionist art. This exhibition offers an unprecedented immersion into the world of these discrete collectors, by giving new life to this intriguing residence with a thousand inhabitants.
The art et marges musée museum contains a collection, compiled since the 1980s, outside the beaten tracks of the art world, among self-taught artists, art studios for persons with a mental disability or from psychiatric institutions.
The art et marges musée museum mounts exhibitions featuring artists from both sides of the margin.
The art et marges musée museum falls under what is known as outsider art
with a in situ artwork by Caroline Dahyot, and works by A.C.M, Abadne, Adam Sabhan, Aïni Philippe, Albasser Pierre, Amar Paul, Amourette Pierre, Angkasapura Noviadi, Armstrong Zebedee, Avril Armand, Azema Philippe, Babahoum, Badia, Barbarit Béatrice, Barbe-Hatuel Nicole, Barrameda, Baudelere Karl, Bauman Manuel, Beaver Larry, Ben Ali, Berquin Patricia, Birobent Martine, Blot Olivier, Bosco Giovanni, Branciard Jean, Brunet Guy, Burland Francois, Cadoré Delphine, Cahoreau Gustave, Cerredo Fabian, Chanut Danielle-Marie, Chauvet François, Chomette Virginie, Cluzel Nicolas, Comte Robin, Cooper Ronald, Corentin Sylvain, Cumingham Richard, D'antuono Barbara, Dahyot Caroline, De Sagazan Olivier, Dellschau Charles, Demelis Eric, Dereux Philippe, Dominici Véronique, Doñate Pepe, Doué Eric, Dubréus Lhérisson, Duclos Hélène, Dugnoille Myla, Duprilot Hubert, El Syrio Josvedi, Fillaudeau Noël, Finster Howard, Fleury Yves-Jules, Gallieni Jill, Gillet Lionel, Glamocak Zlatko, Golz Michael, Gordon Ted, Gougelin Eric, Goulet Marie-Thérèse, Goux Claudine, Greiner Thierry, Grunenwaldt Martha, Hinojosa Aaron, Hofer Josef, Jaber, Jacqui Danielle, Jagiello George, Jorgensen Hans, Joss, Kapela Paulo, Knopf Solange, Kumar Pradeep, La Pinturitas, Labrie Karine, Lacoste Alain, Lagnieu Hélène, Lambert Thierry, Laure Isabelle, Laurent Henri, Le Carré-Galimard Simone, Lefèvre Pierre, Liberman Cirléne, Lippstreu Alexis, Manca Bonaria, Marie Florence, Mariette, Margot Margot, Marshall Francis, Marte Daldo, Mecalco David, Michaels Damian, Mister Imagination, Monchatre François, Mond Mina, Montpied Bruno, Morel Marie, Mouly Gaston, Mustafa, Nadau Jean-Pierre, Nedjar Michel, Nitkowski Stani, Obata Masao, Oster Marion, Palmer Andrei, Park Chong-Ran, Patba58, Pelligand Bernard, Philippi Jean-Christophe, Pietquin Dimitri, Pietri Josselin, Pignat Armande, Plaza Amadeo, Plny Lubos, Podesta Giovanni Battista, Postic Evelyne, Raâk, Rae Helen, Rieux Jean-Francois, Rigal Antoine, Robert Yvonne, Robertson Royal, Robillard André, Rosset Jean, Saban Ody, Sablon Françoise, Sanders Jim, Schwanse Petra, Sendrey Gérard, Sesow Matt, Sharlhorne Welmon, St John Christopher, Staelens Ghyslaine Et Sylvain, Stroff Denis, Tanjung Ni, Tirilly Jean, Tourlonias Jean, Ughetto Henri, Ursin Catherine, Valois Marie-Françoise, Van Acker Jacqueline, Vigneau Monique, Vinsard Marcel, Vladimir, Webster Dereck, Wilson Ben, Zanon Juliette.
On the first floor, discover a selection of works from the museum's permanent collection, with: Inès Andouche, Jan Bedinsky, Georges Cauchy, Aloïse Corbaz, François De Jonge, Isabelle Denayer, Johan Geenens, Madge Gill, Martha Grunenwaldt, David Houis, Anne N’Dayiziga, Jean-Marie Mortier, André Prues, Nouzha Serroukh, Anny Servais, Jacques Trovic, André Wostijn.
Featured on my Blog at www.brusselspictures.com
'Farewell (or about the discrete oversights of the limbic system)!' by Farid Fairuz (Romania), performed by Maria Baroncea, Carmen Cotofana, Alexandra Pirici, Magdalena Dan and Iuliana Stoianescu during the 1st European Festival of Contemporary Dance - Kraków/Bytom. Teatr PWST, Kraków, Poland
LE COEUR AU VENTRE
EXTENDED UNTIL 11 OCTOBER 2020
Art et Marges Museum: An outsider art museum, challenges art and its boundaries.
Passionate collectors, talent scouts and big hearted gallerists, Marion and L. Oster live amidst a fascinating torrent of outsider and expressionist art. This exhibition offers an unprecedented immersion into the world of these discrete collectors, by giving new life to this intriguing residence with a thousand inhabitants.
The art et marges musée museum contains a collection, compiled since the 1980s, outside the beaten tracks of the art world, among self-taught artists, art studios for persons with a mental disability or from psychiatric institutions.
The art et marges musée museum mounts exhibitions featuring artists from both sides of the margin.
The art et marges musée museum falls under what is known as outsider art
with a in situ artwork by Caroline Dahyot, and works by A.C.M, Abadne, Adam Sabhan, Aïni Philippe, Albasser Pierre, Amar Paul, Amourette Pierre, Angkasapura Noviadi, Armstrong Zebedee, Avril Armand, Azema Philippe, Babahoum, Badia, Barbarit Béatrice, Barbe-Hatuel Nicole, Barrameda, Baudelere Karl, Bauman Manuel, Beaver Larry, Ben Ali, Berquin Patricia, Birobent Martine, Blot Olivier, Bosco Giovanni, Branciard Jean, Brunet Guy, Burland Francois, Cadoré Delphine, Cahoreau Gustave, Cerredo Fabian, Chanut Danielle-Marie, Chauvet François, Chomette Virginie, Cluzel Nicolas, Comte Robin, Cooper Ronald, Corentin Sylvain, Cumingham Richard, D'antuono Barbara, Dahyot Caroline, De Sagazan Olivier, Dellschau Charles, Demelis Eric, Dereux Philippe, Dominici Véronique, Doñate Pepe, Doué Eric, Dubréus Lhérisson, Duclos Hélène, Dugnoille Myla, Duprilot Hubert, El Syrio Josvedi, Fillaudeau Noël, Finster Howard, Fleury Yves-Jules, Gallieni Jill, Gillet Lionel, Glamocak Zlatko, Golz Michael, Gordon Ted, Gougelin Eric, Goulet Marie-Thérèse, Goux Claudine, Greiner Thierry, Grunenwaldt Martha, Hinojosa Aaron, Hofer Josef, Jaber, Jacqui Danielle, Jagiello George, Jorgensen Hans, Joss, Kapela Paulo, Knopf Solange, Kumar Pradeep, La Pinturitas, Labrie Karine, Lacoste Alain, Lagnieu Hélène, Lambert Thierry, Laure Isabelle, Laurent Henri, Le Carré-Galimard Simone, Lefèvre Pierre, Liberman Cirléne, Lippstreu Alexis, Manca Bonaria, Marie Florence, Mariette, Margot Margot, Marshall Francis, Marte Daldo, Mecalco David, Michaels Damian, Mister Imagination, Monchatre François, Mond Mina, Montpied Bruno, Morel Marie, Mouly Gaston, Mustafa, Nadau Jean-Pierre, Nedjar Michel, Nitkowski Stani, Obata Masao, Oster Marion, Palmer Andrei, Park Chong-Ran, Patba58, Pelligand Bernard, Philippi Jean-Christophe, Pietquin Dimitri, Pietri Josselin, Pignat Armande, Plaza Amadeo, Plny Lubos, Podesta Giovanni Battista, Postic Evelyne, Raâk, Rae Helen, Rieux Jean-Francois, Rigal Antoine, Robert Yvonne, Robertson Royal, Robillard André, Rosset Jean, Saban Ody, Sablon Françoise, Sanders Jim, Schwanse Petra, Sendrey Gérard, Sesow Matt, Sharlhorne Welmon, St John Christopher, Staelens Ghyslaine Et Sylvain, Stroff Denis, Tanjung Ni, Tirilly Jean, Tourlonias Jean, Ughetto Henri, Ursin Catherine, Valois Marie-Françoise, Van Acker Jacqueline, Vigneau Monique, Vinsard Marcel, Vladimir, Webster Dereck, Wilson Ben, Zanon Juliette.
On the first floor, discover a selection of works from the museum's permanent collection, with: Inès Andouche, Jan Bedinsky, Georges Cauchy, Aloïse Corbaz, François De Jonge, Isabelle Denayer, Johan Geenens, Madge Gill, Martha Grunenwaldt, David Houis, Anne N’Dayiziga, Jean-Marie Mortier, André Prues, Nouzha Serroukh, Anny Servais, Jacques Trovic, André Wostijn.
Featured on my Blog at www.brusselspictures.com
'Farewell (or about the discrete oversights of the limbic system)!' by Farid Fairuz (Romania), performed by Maria Baroncea, Carmen Cotofana, Alexandra Pirici, Magdalena Dan and Iuliana Stoianescu during the 1st European Festival of Contemporary Dance - Kraków/Bytom. Teatr PWST, Kraków, Poland
'Farewell (or about the discrete oversights of the limbic system)!' by Farid Fairuz (Romania), performed by Maria Baroncea, Carmen Cotofana, Alexandra Pirici, Magdalena Dan and Iuliana Stoianescu during the 1st European Festival of Contemporary Dance - Kraków/Bytom. Teatr PWST, Kraków, Poland
'Farewell (or about the discrete oversights of the limbic system)!' by Farid Fairuz (Romania), performed by Maria Baroncea, Carmen Cotofana, Alexandra Pirici, Magdalena Dan and Iuliana Stoianescu during the 1st European Festival of Contemporary Dance - Kraków/Bytom. Teatr PWST, Kraków, Poland
'Farewell (or about the discrete oversights of the limbic system)!' by Farid Fairuz (Romania), performed by Maria Baroncea, Carmen Cotofana, Alexandra Pirici, Magdalena Dan and Iuliana Stoianescu during the 1st European Festival of Contemporary Dance - Kraków/Bytom. Teatr PWST, Kraków, Poland
'Farewell (or about the discrete oversights of the limbic system)!' by Farid Fairuz (Romania), performed by Maria Baroncea, Carmen Cotofana, Alexandra Pirici, Magdalena Dan and Iuliana Stoianescu during the 1st European Festival of Contemporary Dance - Kraków/Bytom. Teatr PWST, Kraków, Poland
'Farewell (or about the discrete oversights of the limbic system)!' by Farid Fairuz (Romania), performed by Maria Baroncea, Carmen Cotofana, Alexandra Pirici, Magdalena Dan and Iuliana Stoianescu during the 1st European Festival of Contemporary Dance - Kraków/Bytom. Teatr PWST, Kraków, Poland
'Farewell (or about the discrete oversights of the limbic system)!' by Farid Fairuz (Romania), performed by Maria Baroncea, Carmen Cotofana, Alexandra Pirici, Magdalena Dan and Iuliana Stoianescu during the 1st European Festival of Contemporary Dance - Kraków/Bytom. Teatr PWST, Kraków, Poland
ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA: L’ARCHEOLOGIA NEL CENTRO DI ROMA - PROGETTO PER LA NUOVA VIA DEI FORI IMPERIALI - VIA ALESSANDRINA. Beatrice Colombo & Federico Rossetti in Tesi di Laurea | Caliari Academy & Politecnico di Milano (2016-17).
1.1.4). Beatrice Colombo & Federico Rossetti - SISTEMAZIONE ARCHITETTONICA DELLA PIAZZA DEL COLOSSEO E DELL’ANTIQUARIUM DEL CELIO, Tavv. 1-16, in: Tesi di Laurea | Caliari Academy (2016-17).
Italian abstract: I molti turisti che quotidianamente percorrono la via di S. Gregorio dal Colosseo verso il Circo Massimo, giunti di fronte all’attuale ingresso Farnesiano del Palatino, rimangono interdetti, alzando lo sguardo oltre la fontana dei Tritoni, nel notare una lussureggiante vegetazione dal sapore Piranesiano e i ruderi monumentali di una grande archeologia in rovina. Se avranno poi la pazienza di percorrere qualche metro si rivelerà a loro, all’ombra di imponenti pini marittimi, una vista straordinaria della città di Roma, della Valle del Colosseo e delle alture palatine. Questo luogo di desolata bellezza è il Colle Celio. Le sue pendici rivelano prevalentemente uno sviluppo moderno, le permanenze architettoniche puntuali e discrete, si raffrontano con strutture contemporanee la cui vita di breve durata ha prodotto un inevitabile processo di degrado e di isolamento del colle. Emerge la frammentarietà del luogo, inaccessibile in molte sue parti e segnato dai tracciati della linea tranviaria e dalla Via Celio Vibenna la cui nascita ha prodotto un taglio fisico nelle pendici del colle. Il lavoro di tesi qui proposto cerca di esprimere il potenziale del Colle Celio tramite una valorizzazione urbanistica, paesaggistica e museale. Operando a scala urbana si è cercato di mettere a sistema le preesistenze, antiche e moderne, presenti con l’obiettivo ultimo di realizzare una nuova unità nell’Area Archeologica Centrale. Tramite modifiche della viabilità e la pedonalizzazione del sito di progetto la Piazza del Colosseo, ridisegnata in base ai suoi antichi limiti, acquista una nuova centralità sostenuta dalla creazione di un nuovo Urban Center. L’edificio funge da propileo per il nuovo accesso al Parco Celio e su di esso di innestano i nuovi accessi al Colle Celio; si determinano così nuovo relazioni monumentali e paesaggistiche tra il Colosseo e le preesistenze del Colle. Con l’obiettivo di eliminare la frammentarietà dell’area il Celimontium è stato ricostruito nei suoi limiti originari e al suo interno si è stabilita una nuova permeabilità grazie l’organicità dei nuovi percorsi e l’abbattimento dell’Antiquarium Comunale ormai inutilizzabile. Il gran numero di reperti archeologici rinvenuti al suo interno e nelle vicinanze sono stati sfruttati in parte per la realizzazione della pavimentazione del Parco e in parte esposti al suo interno. Si è realizzato così un nuovo Parco Archeologico per la città eterna, concepito come spazio libero, romantico, nel quale si individuano punti di osservazione sulla città. Infine una nuova fruibilità all’area è garantita dalla presenza di un nuovo antiquarium, costruito sui limiti del basamento del Tempio del Divo Claudio e che completa il sistema nella nuova Area Archeologica Centrale di Roma.
English abstract: The many tourists who daily walk through St. Gregory's Street from the Colosseum to the Circus Maximus, which are in front of the current Farnese entrance of the Palatine, remain silent, looking out over the Tritoni fountain, noting a lush vegetation of Piranesian flavor and the monumental ruins of a great archeology in ruins. If they have the patience to travel a few meters, they will reveal to them, in the shade of imposing sea pines, an extraordinary sight of the city of Rome, the Colosseum Valley and the palatine heights. This place of desolate beauty is the Colle Celio. Its slopes predominantly reveal a modern development, the timely and discrete architectural perspectives are compared with contemporary structures whose short lived life has produced an inevitable process of degradation and isolation of the hill. The fragmentation of the site emerges, inaccessible in many parts and marked by the trajectories of the tram line and Via Celio Vibenna, whose birth has produced a physical cut on the slopes of the hill. The thesis proposed here aims to express the potential of Colle Celio through urban, landscape and museum enhancement. By operating on an urban scale, the ancient and modern preexistments were set up, with the ultimate goal of building a new unit in the Central Archaeological Area. Via the modification of the viability and pedestrianization of the project site, Piazza del Colosseo, redesigned according to its ancient limits, acquires a new centrality supported by the creation of a new Urban Center. The building acts as a propile for the new access to the Celio Park and to grab the new access to Colle Celio; so new monumental and landscaping relations between the Colosseum and the pre-existences of the Colle are determined. With the aim of eliminating the fragmentation of the area, Celimontium has been reconstructed within its original limits and within it has been established a new permeability thanks to the organics of the new paths and the abatement of the Untiquarium Comunale now inuseable. The large number of archaeological finds found inside and in the vicinity have been partly exploited for the Park's pavement and partly exposed in the Park. A new Archaeological Park for the Eternal City was conceived, conceived as a free, romantic space, where observation points on the city were identified. Finally, a new usability in the area is guaranteed by the presence of a new antiquarium built on the boundaries of the Divo Claudio Temple stand and completing the system in the new Central Archaeological Area of Rome.
Foto | Fonte | source:
-- Beatrice Colombo & Federico Rossetti, in: Tesi di Laurea | Caliari Academy (2016-17).
www.caliari.academy/project/b-colombo-f-rossetti_sistemaz...
www.politesi.polimi.it/handle/10589/135681
s.v.,
-- ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA: ANNA SARDI, LA VIA-MUSEO. PROGETTO DI UN ANTIQUARIUM IPOGEO PER VIA DEI FORI IMPERIALI. Tesi di Laurea, tavv.: 3-1; 6 & 6-1 (2016/17), in: Pier Federico Caliari | caliari academy & Politecnico di Milano (2017). wp.me/pPRv6-4vK
-- ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA: Fori Imperiali Progetto di recupero e valorizzazione | Progetto Via Alessandrina. Comune di Roma (11/2016)[PDF pp. 1-25] & VIA ALESSANDRINA | ACCADEMIA ADRIANEA (02/2017). wp.me/pPRv6-4l5
-- ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: ARCHITETTURA E ARCHEOLOGIA – La Via dei Fori Imperiali, un’idea di valorizzazione e musealizzazione dell’area archeologica, in: Gianmarco Casoli et alli (2017) & Mattia Bocchi (2014) [s.v., M. G. Conde 2010] (13/06/17).
1). Mattia Bocchi, Centri storici, restauro urbano e archeologia : il caso studio della legge Biasini (1981). Rel. Andrea Longhi. Politecnico di Torino, Corso di laurea magistrale in Pianificazione territoriale, urbanistica e paesaggistico-ambientale (2014).
2). Gianmarco Casoli, Antonio Giaconia, Alessandro Mengacci, Silvia Profita & Arianna Talevi, ARCHITETTURA E ARCHEOLOGIA La Via dei Fori Imperiali, un’idea di valorizzazione e musealizzazione dell’area archeologica.
Tesi in ALMA MATER STUDIORUM – UNIVERSITÀ DI BOLOGNA CAMPUS DI CESENA SCUOLA DI INGEGNERIA E ARCHITETTURA (2017), pp. 1-346 (13/06/17).
-- ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: Antonio Munoz & Italo Gismondi, Così nacque via dell’Impero: “Ipotesi di sistemazione del muro di contenimento di Villa Rivaldi su progetto di Antonio Muñoz (disegno di S. De Angelis). Museo di Roma, MR-42232” [c. 1930?], in: Pier Federico Caliari (2017) (09/11/17). wp.me/pPRv6-4i4
-- ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: Foto = Dott.ssa Arch. Barbara Baldrati (2002-04 [2009]) & Martin G. Conde (2010 [2017]), in: Accademia Adrianea – Premio Piranesi Prix de Rome | FACEBOOK (26/10/2015). (22/06/17). wp.me/pPRv6-44c
-- ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: Prof. Adriano La Regina, Perché la via Alessandrina non deve sparire. L’Osservatore Romano (08/05/2017) & AA.VV., in: L’ASSOCIAZIONE BIANCHI BANDINELLI (05/2017). FOTO: SSCOL [ITALIANO | ENGLISH] (05/2017) (11/05/17). wp.me/pPRv6-3P9
-- ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA: Maria Luisa Gottari, Prende il via il bando-concorso ‘Via dei Fori Imperiali’ a Roma Problemi archeologici con il fascio delle infrastrutture viarie e di trasporto, EDILIA2000 (08|03|2016). Foto: I Fori Imperiali & Via Dell’ Impero (G. Calza [1934] & L. Lenzi [1931]). (09/03/16). wp.me/pPRv6-3xy
-- ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA: Michela Deponti, “Il museo della città di Roma”, Tesi di Laurea | Politecnico di Milano Facoltà di Architettura e Società Corso di Laurea Specialistica in Architettura Anno Accademico 2010-2011 [PDF], pp. 1-137 [07|2011]; & Francesca Salatin, IUAV University Venice (09|2012) ( 18/05/15). wp.me/pPRv6-32I