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Do you need a copy of a tax form? If so, the library can help.
The Birmingham Public Library provides copies of tax forms, instructions, and publications. Basic forms are available at most library locations; a more extensive collection of forms is available in the Government Documents Department in the Linn-Henley Building.
BTW Birmingham Public Library is hosting EITC Awareness Day 2010 at the Five Points West Branch. FREE tax return preparation for those with income under $49,000 will be available at this event.
>> Download https://dl.dropboxusercontent.com/u/3202151/Resource Downloads/Transfer_of_Copyright_Form.zip
The link will download a ZIP archive of an: InDesign file CC7 & CS4 (without fonts), and a PDF (with embedded fonts) for the updated: Logo Design Copyright Transfer Form Template, all ready for you and your client.
Feel free to use this as is, or change the layout/contents as you see fit (obviously remove all instance of my name and details). Hope you find it useful. The download includes an InDesign file (without fonts), and a PDF (with embedded fonts)
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Logo Design Copyright
Copyright is quite a different beast to that of a Trademark and Registered Trademark, so it’s very important to know the difference between them. So with that said, this Transfer of Copyright form is simply a means for you to pass over your ownership of a logo to your client, which should be as simple a process as possible for the client.
All it really requires is a dated signature, but it’s nice to pad it out a little to make it feel a little more substantial.
As many countries, Ecuador is a country rich in culture, legends and folklore. Folklore in Ecuador takes on many forms and there is different folklore connected to individual areas, cities and even buildings. Some folklore in Ecuador has inspired festivals, big partys and holidays, while others are dedicated to legends and cultural beliefs, specially concerning to religious behaivors.
Legends as from the Cantuña indian, who was a builder. Once he make a contract with the priest to build San Francisco church,While time passes he noticed he will not be able to finish the church, So he deal with the devils to help him finish. They help him but the price for this job was to get his soul when he died. This didnt happen because the devils didnt put the last stone in the plaza before the expiring hour. As a result the church was finished and he safe his soul.
Many scary legends of the priest without head horsebackriding a fast and black horse in the darkness of the night. Finally, the legend end when the priest was discovered that he hide his head in the chest of a muppet and use to horseride to visit his girlfriend....
The wakaisike , quechua name for the devils baby other scary history, etc , etc
The expression of every dance is so intense and diferent in each region.
Many times the real native aborigin expressions hides behind the catholic european tradition.
Each story ,believing and legend is part of the intense folkloric sense of Ecuador. Each town and region has its own folklore expresion represented by the legends, the diverse stories transmitted many times before the writing, This is a father to son information by mouth and not by writing. All this expressions that have survived the past of thime produce proud , a unique personality and an authenthic cultural richness to each village or province. Its fascinating to learn about this. San Jorge Eco-lodges during this last 25 years keeps on trying to express and show the world what are our traditions. Ecuador has a enormous amount of traditions , stories and floklore derivated from the diversity of its people. Quito, specially after experiencing the strong art expression named the Quitenian School of Art druing the 16,17,18 and 19 centuries can provide in the churches and strrets and houses of the old town a remarkable cultural background. Each city , including small ecuadorian villages have in their souls an incredible rich folkloric past.
Lets observe and learn what its possible to return to experience in this magical Ecuador.
Use of these images in any form without permission is illegal. If you wish to use or license any images please contact mel@mudkissphotography.co.uk
All work copyright Melanie Smith/ Mudkiss Photography All Rights Reserved
It's Lovely!
HDR photo of the clouds forming outside my house. It gives this chill orgasmic feeling. Sorry for the term, but I think orgasmic is the word that best describes the photo. Cloud Nine indeed!
In this photo I made sure to use blue-purple coloring in order to hide or utilize purple fringing that forms everytime I capture landscape photos.
Enjoy!
Karl Postl (1769-1818), Michaelerplatz, Vienna - Der Michaelerplatz in Wien, ca. 1790 (Aquarell/Watercolor)
The Albertina
The architectural history of the Palais
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
¥052. enduser. form without function. 2x12" vinyl lp. hymen records
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Los cuentos, mitos y leyendas son una forma de transmisión de la cultura popular a lo largo de los años. La profesora titular del área de Didáctica de la lengua y literatura de la Facultad de Ciencias de la Educación de la Universidad de Almería, Nieves Gómez, en uno de sus trabajos etnográficos, llevó esta semana a las aulas de los futuros graduados de Educación Primaria el entusiasmo por la transmisión de estas historias tradicionales con una actividad perfectamente combinada con las nuevas tecnologías. Con la colaboración de Juan Díaz Sánchez, responsable del portal de podcasting Sin Guion, donde se alberga el programa dirigido por la propia Nieves Gómez, Leyendeando, realizó una actividad en la que los alumnos participaron contando de forma espontánea los mitos, leyendas y supersticiones que conocían sobre sus diferentes lugares de procedencia o por herencia popular. Gracias al equipo de Sin Guion estas historias se grabaron en el mismo aula y se divulgarán en forma de podcast dentro del programa Leyendeando en su portal web.
Muchos estudiantes mostraron su interés y gran conocimiento en esta materia y colaborarán en próximas ediciones del podcast Leyendeando, con temáticas como los mitos dentro del fútbol o centradas en localizaciones como Mojácar o Granada. Nieves destacó a sus alumnos la importancia de estas historias transmitidas mediante el boca a boca, llenas de tradición y coloquialismos propios de cada pueblo, como forma de llamar la atención de los más pequeños y cómo a través de puntos clave de estos cuentos se pueden extrapolar otras ideas para desarrollar originales actividades educativas en el aula.
Sin Guion es una iniciativa almeriense que busca promover el podcasting, forma digital de transmisión de datos, generalmente asociada a la radio digital. Este portal web alberga canales con diferentes temáticas. Además de Leyendeando, se encuentra el canal La Tercera Fase, sobre videojuegos; For Dummies, de ciencia y biología; Los Danko, de tono cómico; Noches insomnes y Expreso, ambos a cargo del responsable del portal, Juan Díaz, sobre música y reflexiones respectivamente, y que surgieron tras el germen del magazine Café y noche, podcast que Juan Díaz realiza desde 2008 y que es la piedra angular del emprendedor portal SinGuion.es, que también tiene su versión en texto escrito en su fanzine descargable del mismo nombre.
Escrito por Celia S. Cañabate
L'abbaye de Beauport est située dans la commune de Paimpol, dans la partie du village de Kérity, dans le département des Côtes-d'Armor, en Bretagne.
Elle est fondée à Beauport dans la paroisse de Kérity au début du xiiie siècle par le comte Alain Ier d’Avaugour, qui lui transfère en 1202 les biens de l'abbaye de Saint-Riom. Cette dernière avait été établie à la fin du renouveau monastique des xie et xiie siècles vers 1170-1180 par le comte Henri de Trégor, un parent du duc de Bretagne. L'abbaye de Beauport est une abbaye de chanoines prémontrés venus de l'abbaye de La Lucerne en Normandie. Ses fonctions pastorales, de justice et économiques s'étendent de l'île-de-Bréhat à Saint-Brieuc et sur une quinzaine de paroisses. C'est aussi une seigneurie maritime avec des droits sur la mer de l'île Saint-Riom à la pointe de Guilben.
Avebury (/ˈeɪvbri/) is a Neolithic henge monument containing three stone circles, around the village of Avebury in Wiltshire, in southwest England. One of the best known prehistoric sites in Britain, it contains the largest stone circle in Europe. It is both a tourist attraction and a place of religious importance to contemporary Pagans.
Constructed around 2600 BCE, during the Neolithic, or 'New Stone Age', the monument comprises a large henge (a bank and a ditch) with a large outer stone circle and two separate smaller stone circles situated inside the centre of the monument. Its original purpose is unknown, although archaeologists believe that it was most likely used for some form of ritual or ceremony. The Avebury monument was a part of a larger prehistoric landscape containing several older monuments nearby, including West Kennet Long Barrow and Silbury Hill.
By the Iron Age, the site had been effectively abandoned, with some evidence of human activity on the site during the Roman occupation. During the Early Middle Ages, a village first began to be built around the monument, which eventually extended into it. In the Late Medieval and Early Modern periods, locals destroyed many of the standing stones around the henge, both for religious and practical reasons. The antiquarians John Aubrey and William Stukeley however took an interest in Avebury during the 17th century, and recorded much of the site before its destruction. Archaeological investigation followed in the 20th century, led primarily by Alexander Keiller, who oversaw a project of reconstructing much of the monument.
Avebury is owned and managed by the National Trust, a charitable organisation who keep it open to the public. It has been designated a Scheduled Ancient Monument, as well as a World Heritage Site, in the latter capacity being seen as a part of the wider prehistoric landscape of Wiltshire known as Stonehenge, Avebury and Associated Sites.
At grid reference SU10266996,[5] Avebury is respectively about 6 and 7 miles (10 and 11 km) from the modern towns of Marlborough and Calne. Avebury lies in an area of chalkland in the Upper Kennet Valley which forms the catchment for the River Kennet and supports local springs and seasonal watercourses. The monument stands slightly above the local landscape, sitting on a low chalk ridge 160 m (520 ft) above sea level; to the east are the Marlborough Downs, an area of lowland hills. The site lies at the centre of a collection of Neolithic and early Bronze Age monuments and was inscribed as a World Heritage Site in a co-listing with the monuments at Stonehenge, 17 miles (27 km) to the south, in 1986. It is now listed as part of the Stonehenge, Avebury and Associated Sites World Heritage Site.[2] The monuments are preserved as part of a Neolithic and Bronze Age landscape for the information they provide regarding prehistoric people's relationship with the landscape.[6]
Radiocarbon dating and analysis of pollen in buried soils have shown that the environment of lowland Britain changed around 4,250–4,000 BCE. The change to a grassland environment from damp, heavy soils and expanses of dense forest was mostly brought about by farmers, probably through the use of slash and burn techniques. Environmental factors may also have made a contribution. Pollen is poorly preserved in the chalky soils found around Avebury, so the best evidence for the state of local environment at any time in the past comes from the study of the deposition of snail shells. Different species of snail live in specific habitats, so the presence of a certain species indicates what the area was like at a particular point in time.[7] The available evidence suggests that in the early Neolithic, Avebury and the surrounding hills were covered in dense oak woodland, and as the Neolithic progressed, the woodland around Avebury and the nearby monuments receded and was replaced by grassland.
Background
The history of the site before the construction of the henge is uncertain, because little datable evidence has emerged from modern archaeological excavations.[9] Evidence of activity in the region before the 4th millennium BCE is limited, suggesting that there was little human occupation.
Mesolithic
What is now termed the Mesolithic period in Britain lasted from circa 11,600 to 7800 BP, at a time when the island was heavily forested and when there was still a land mass, called Doggerland, which connected Britain to continental Europe.[10] During this era, those humans living in Britain were hunter-gatherers, often moving around the landscape in small familial or tribal groups in search of food and other resources. Archaeologists have unearthed evidence that there were some of these hunter-gatherers active in the vicinity of Avebury during the Late Mesolithic, with stray finds of flint tools, dated between 7,000 and 4,000 BCE, having been found in the area.[11] The most notable of these discoveries is a densely scattered collection of worked flints found 300 m (980 ft) to the west of Avebury, which has led archaeologists to believe that that particular spot was a flint working site occupied over a period of several weeks by a group of nomadic hunter-gatherers who had set up camp there.[12]
The archaeologists Mark Gillings and Joshua Pollard suggested the possibility that Avebury first gained some sort of ceremonial significance during the Late Mesolithic period. As evidence, they highlighted the existence of a posthole near to the monument's southern entrance that would have once supported a large wooden post. Although this posthole was never dated when it was excavated in the early 20th century, and so cannot definitely be ascribed to the Mesolithic, Gillings and Pollard noted that its positioning had no relation to the rest of the henge, and that it may therefore have been erected centuries or even millennia before the henge was actually built.[13] They compared this with similar wooden posts that had been erected in southern Britain during the Mesolithic at Stonehenge and Hambledon Hill, both of which were sites that like Avebury saw the construction of large monuments in the Neolithic.[14]
Early Neolithic
The two monuments of West Kennet Long Barrow and Silbury Hill were constructed in the nearby vicinity of Avebury several centuries before the henge was built.
In the 4th millennium BCE, around the start of the Neolithic period in Britain, British society underwent radical changes. These coincided with the introduction to the island of domesticated species of animals and plants, as well as a changing material culture that included pottery. These developments allowed hunter-gatherers to settle down and produce their own food. As agriculture spread, people cleared land. At the same time, they also erected the first monuments to be seen in the local landscape, an activity interpreted as evidence of a change in the way people viewed their place in the world.[13]
Based on anthropological studies of recent and contemporary societies, Gillings and Pollard suggest that forests, clearings, and stones were important in Neolithic culture, not only as resources but as symbols; the site of Avebury occupied a convergence of these three elements.[15] Neolithic activity at Avebury is evidenced by flint, animal bones, and pottery such as Peterborough ware dating from the early 4th and 3rd millennia BCE. Five distinct areas of Neolithic activity have been identified within 500 m (1,600 ft) of Avebury; they include a scatter of flints along the line of the West Kennet Avenue – an avenue that connects Avebury with the Neolithic site of The Sanctuary. Pollard suggests that areas of activity in the Neolithic became important markers in the landscape.[16]
Late Neolithic
During the Late Neolithic, British society underwent another series of major changes. Between 3500 and 3300 BCE, these prehistoric Britons ceased their continual expansion and cultivation of wilderness and instead focused on settling and farming the most agriculturally productive areas of the island: Orkney, eastern Scotland, Anglesey, the upper Thames, Wessex, Essex, Yorkshire and the river valleys of the Wash.[18]
Late Neolithic Britons also appeared to have changed their religious beliefs, ceasing to construct the large chambered tombs that are widely thought by archaeologists to have been connected with ancestor veneration. Instead, they began the construction of large wooden or stone circles, with many hundreds being built across Britain and Ireland over a period of a thousand years.[19]
Forms in Transit was created by the modernist sculptor Theodore Roszak for the 1964-1965 New York World’s Fair.
The 43-foot long sculpture of aluminum and steel tubes and sheet metal suggests an aircraft, with fuselage and wings, but it is also meant to embody the concept of motion and change.
The sculpture reflected one of the central themes of the fair, space exploration, and complemented several other significant features in the park, such as the Rocket Thrower statue, Court of Astronauts, Fountain of the Planets, Space Park and the Unisphere.
It can be found in its original location in Corona Park in the Flushing Meadows section of Queens, NY.
The clubhouse at Rakehill Road, home to Scarcroft Cricket Club. Captured during the final of the Leeds & Wetherby Cricket League's Senior Evening 100 Ball Cup Final. Leeds Caribbean pipped First Division championship rivals Scarcroft by eight runs.
Scholes's original clubhouse was destroyed in August 2016 by teenage arsonists. Its replacement, paid for partly by fundraising activities in the village, was unveiled in September 2017.
Captain Mubtada Akhtar led by example for Leeds Caribbean. He struck 60 in a fine fourth wicket partnership with wicketkeeper Haseen Bashir (47). It transformed the Potternewton men's innings, advancing them to 123-4 from 29-3. Akhtar then took 2-17 from his 20 balls.
Leeds Caribbean reached 94-3 at halfway. Over the second 50 balls, Scarcroft did well to apply the brakes, restricting the opposition to 147-8. Sebastian Joseph (2-28), Dilip Sarathy (2-34) and South African James Van Der Merwe (2-40) shared the bulk of the wickets.
Scarcroft's reply had a sound start. They were 52-0 after 25 balls. Van Der Merwe (51), dropped during the early stages, and Chris Page (35) put on 81 for the first wicket. Scarcroft then slumped to 104-4 after 75 balls. They required 39 off 20 and 32 from 10. Despite some big hitting (including two sixes) from Dhilin Goven (26 not out), Scarcroft fell agonisingly short, at 139-6. Bashir took 2-28.
Match statistics
Leeds Caribbean versus Scarcroft
Leeds & Wetherby Cricket League, 100 Ball Senior Evening Cup, final tie @ Scholes Cricket Club (3pm start)
Admission: Free. Programme: none. Attendance: 48. Leeds Caribbean won the toss and elected to bat. Leeds Caribbean 147-8 off 100 balls (Mubtada Akhtar 60, Haseen Bashir 47, Sebastian Joseph 2-28) beat by eight runs Scarcroft 139-6 off 100 balls (James Van Der Merwe 51, Chris Page 35, Haseen Basher 2-28).
Le lac Pavin est un lac d'origine volcanique situé dans les monts Dore, en Auvergne, sur le territoire de la commune de Besse-et-Saint-Anastaise. Formé par phréatomagmatisme il y a 6 900 ans, ce lac de cratère est le plus jeune volcan de France métropolitaine.
This series comes from the Texas A&M football game against the Nebraska Cornhuskers. The Aggies upset Nebraska 9-6 in Kyle Field and the students afterwards rushed the field.
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Serie di 4 stampe celebrative formato A4 in occasione dell'inaugurazione del nuovo spazio di UN ALTRO STUDIO, via Capodilucca a Bologna, progettate e composte con il carattere tipografico FORMA, interessante progetto della fine degli anni '60 finalizzato alla creazione di un carattere bastone moderno direttamente ispirato al dominante HELVETICA. Vennero coinvolti dalla fonderia Nebiolo di Torino, produttrice del carattere per mano di Aldo Novarese un nutrito team di designer consulenti fra cui lo stesso Bruno Munari. Tiratura limitata, stampa due colori (rosso fluo e blue reflex) su carta usomano lisciata da 300g. La trovate presso UN ALTRO STUDIO, via Capodilucca, Bologna oppure mail a info@anonimaimpressori.it. Progetto grafico Massimo Pastore / MEAT, stampa ANONIMA IMPRESSORI, Bologna.
NARMADA PARIKRAMA
The Narmada also called the Rewa, is a river in central India and the fifth longest river in the Indian subcontinent. It is the third longest river that flows entirely within India, after the Godavari and the Krishna. It is also known as "Life Line of Madhya Pradesh" for its huge contribution to the state of Madhya Pradesh in many ways. It forms the traditional boundary between North India and South India and flows westwards over a length of 1,312 km (815.2 mi) before draining through theGulf of Khambhat into the Arabian Sea, 30 km (18.6 mi) west of Bharuch city of Gujarat. It is one of only three major rivers in peninsular India that run from east to west (longest west flowing river), along with the Tapti River and the Mahi River. It is the one of the rivers in India that flows in a rift valley, flowing west between the Satpura and Vindhya ranges. The other rivers which flows through rift valley include Damodar River in Chota Nagpur Plateau and Tapti. The Tapti River and Mahi River also flow through rift valleys, but between different ranges. It flows through the states of Madhya Pradesh(1,077 km (669.2 mi)), and Maharashtra, (74 km (46.0 mi))– (35 km (21.7 mi)) then along the border between Madhya Pradesh and Maharashtra (39 km (24.2 mi) and the border between Madhya Pradesh and Gujarat and in Gujarat (161 km (100.0 mi)).
The Periplus Maris Erythraei (c. 80 AD) calls it the Nammadus, and theBritish Raj called it the Nerbudda or Narbada. Narmadā is a Sanskrit word meaning "the Giver of Pleasure".
To Hindus the Narmada is one of the five holy rivers of India; the other four beingGanges, Yamuna, Godavari and Kaveri. It is believed that a dip in any of these five rivers washes one's sins away. According to a legend, the river Ganges, polluted by millions of people bathing in it, assumes the form of a black cow and comes to the Narmada to bathe and cleanse itself in its holy waters. Legends also claim that the Narmada River is older than the river Ganges.
The river was mentioned by Ptolemy in the second century AD as Namade and by the author of the Periplus. The Ramayana, the Mahabharat, and thePuranas refer to it frequently. The Rewa Khand of Vayu Purana and the Rewa Khand of Skanda Purana are entirely devoted to the story of the birth and the importance of the river, and hence Narmada is also called the Rewa.
There are many fables about the origin of the Narmada. According to one of them, once Lord Shiva, the Destroyer of the Universe, meditated so hard that he started perspiring. Shiva's sweat accumulated in a tank and started flowing in the form of a river – the Narmada. Another legend has it that two teardrops that fell from the eyes of Lord Brahma, the creator of the universe, yielded two rivers – the Narmada and the Son.
Legends also say that for Lord Shiva, the Hindu God, the river is especially sacred on account of its origin, and it is often called Shankari, i.e., daughter of Shankar (Lord Shiva). All the pebbles rolling on its bed are said to take the shape of his emblem with the saying, "Narmada Ke Kanker utte Sankar" (a popular saying in the Hindi belt of India), which means that 'pebble stones of Narmada get a personified form of Shiva'. These lingam shaped stones (cryptocrytalline quartz), calledBanalinga also called (Banashivalingas) are much sought after for daily worship by the Hindus. The Brihadeeswara Temple in Thanjavur, Tamil Nadu, constructed by Rajaraja Chola, has one of the biggest Banalingas. Adi Shankara met his guru Govinda Bhagavatpada on the banks of the river Narmada.
Narmada is also said to have been in love with the Sonbhadra, another river flowing on the Chota Nagpur Plateau. According to the Puranas, the Narmada is also called the Rewa, from its leaping motion (from the root 'rev') through its rocky bed.
Important religious places and Ghats along the course of the river, starting from its origin at Narmadakhund at Amarkantakhill, are a) the Amarkantak (in Sanskrit: Neck of Shiva) or Teertharaj (the King of Pilgrimages), b) Omkareshwar, Maheshwar, and Mahadeo temples, Nemawar Siddeshwar Mandir in the middle reach of the river – all named after Shiva, c) Chausath Yogini (sixty four yoginis) temple, d) Chaubis Avatar temple, e) Bhojpur Shiva temple and Bhrigu Rishi temple in Bharuch. The Narmada River is also worshipped as mother goddess by Narmadeeya Brahmins.
The importance of the Narmada River as sacred is testified by the fact that the pilgrims perform a holy pilgrimage of aparikrama or circumambulation of the river.[17] The Narmada Parikrama, as it is called, is considered to be a meritorious act that a pilgrim can undertake. Many sadhus and pilgrims walk on foot from the Arabian Sea at Bharuch in Gujarat, along the river, to the source in Maikal Mountains (Amarkantak hills) in Madhya Pradesh and back along the opposite bank of the river. It is a 2,600-kilometre (1,600 mi) walk.[18] Important towns of interest in the valley are Jabalpur, Barwani, Hoshangabad, Harda, Narmada Nagar, Omkareshwar, Dewas (Nemavar, Kity, Pipri), Mandla and Maheshwar in Madhya Pradesh, andRajpipla and Bharuch in Gujarat. Some places of historical interest are Joga Ka Quilla, Chhatri of Baji Rao Peshwa andBhimbetka, and among the falls are the Dugdhdhara, Dhardi falls, Bheraghat, Dhuandhara, Kapiladhara and Sahastradhara. By Kailash Mansarovar Foundation Swami Bikash Giri www.sumeruparvat.com , www.naturalitem.com
We formed part of #crucialcrew over the past two weeks educating the Year 6s of NPT all about #HomeFireSafety They were even given the chance to crawl through a (simulated) smoke logged house to experience first hand how difficult is it to get out when there is a fire!
Teaching young people about fire safety in the home is a key part of our prevention approach to reducing the risk of fire in the home.
In the event of a fire get out,stay out and phone the Fire Service!
Free-form Pool at night
Pool
Le Meridien Phuket Beach Resort
29 Soi Karon Nui, Tambon Karon
Amphur Muang
Phuket, 83100
Thailand
www.starwoodhotels.com/lemeridien/property/overview/index...
reservations.phuketbeach@lemeridien.com
76-370-100
CON ME STESSA
Fuori stava nevicando. Mi ero avvicinata alla finestra per vedere ed ero stata costretta a passare una mano sul vetro per togliere l’appannamento che si era formato. Il vetro era freddo e bagnato. In casa il camino scoppiettava allegro, la legna che avevo messo nel pomeriggio bruciava bene e riempiva la stanza di un odore di resina. Guardai il cielo. I fiocchi di neve sembravano galleggiare trasportati dal vento…alcuni sembrava non avessero proprio voglia di arrivare a terra e mi giravano davanti agli occhi.
Ci sarà stato già più di mezzo metro sul terreno. Il paesaggio sembrava immacolato, silenzioso, sperso nel tempo, i rumori ovattati. Chissà se sarebbero riusciti a salire alla baita i miei amici il giorno successivo. Girai lo sguardo verso il camino. Che bello che era, tutto in legno con delle panche che ci giravano intorno. Sopra erano appesi dei campanacci, dei corni di cervo e dei rami con vari nodi che avevo trovato l’estate scorsa, mentre andavo a funghi. Sulle panche c’erano già i sacchi a pelo che avevo preparato per gli amici e che avevo messo davanti al fuoco in modo da togliere l’umidità che si era formata dentro in questi mesi di casa chiusa.
Avevo anticipato tutti partendo il giorno prima perché dovevo sistemare la baita e portare i primi generi di conforto per il week-end di capodanno. Era iniziato a nevicare, quando ero ancora in paese poi, mentre salivo con la jeep verso la vetta l’intensità era aumentata col passare dei minuti. Arrivata all’ultima curva prima della baita mi ero subito resa conto che entrare in casa sarebbe stato di certo un po’ faticoso. La neve aveva già superato i venti cm e sicuramente avrei dovuto spalare davanti alla porta di legno della baita. Meno male che mio padre sulla jeep aveva sempre il kit di pronto intervento: pale e ascia…male che vada avrei dato un’asciata alla porta di legno e sarei entrata…sì e mio padre me ne avrebbe data una in testa a me dopo!
Parcheggiai la jeep nell’ingresso posteriore dove c’era una piccola tettoia che la riparava e cambiatami le scarpe da tennis, che per guidare sono comode anche se avevo i piedi gelati, mi infilai le pedule. Aprii il portellone del bagagliaio che, aprendosi in altezza andò ad urtare contro un pino carico di neve che mi cadde addosso. Mi misi a ridere…ero intenzionata a fare un bel pupazzo di neve dopo, ma non pensavo di certo di farlo con la mia persona! Frugai per cercare una delle pale che ricordavo aver visto a mio padre. Eccola! Ma dove l’aveva presa all’Ikea, era da montare. Mio padre e la mania delle cose che occupano poco spazio! Ogni passo che facevo lasciavo dietro di me un’orma.
Beh a pensarci bene io che ho sempre paura a stare da sola poteva essere la mia “salvezza”, la neve. Avrei visto di certo le orme di qualcuno se si fosse avvicinato alla casa. Decisi che sarei tornata alla jeep dopo facendo il percorso inverso, come i gamberi. Spalai il primo mezzo metro davanti alla porta d’ingresso e iniziai così a preparare la base con la neve che avevo accumulato per l’eventuale pupazzo di benvenuto davanti a casa. Finalmente dentro. Ero congelata anche perché i lavori manuali non riesco a farli con i guanti ed allora le mani erano diventate rosse dal freddo. Accesi la luce, il gas aprii l’acqua e decisi che prima di fare una doccia per scaldarmi tanto valeva finire il pupazzo lasciato a metà.
Feci allora una palla di neve e come si vede fare da tutti i professionisti…iniziai a farla rotolare per ingrandirla. Peccato che dopo non riuscissi più ad alzarla! Ma che capoccione gli avevo fatto era più grande del corpo… ah ah ah. Lo smussai un poco e riuscii a sollevarlo. Lo appoggiai alla base con tale violenza che a momenti mi si ruppe tutto. Riuscii a ricucire i pezzi. Mi allontanai per guardare le proporzioni, era perfetto. Mancava il tocco finale. La vestizione. Con una pigna gli feci il naso. Dei rami corti di pino li usai per la bocca bella allegra in segno di benvenuto. Trovai per terra dei legnetti che usai per fare le dita delle mani…beh sembrava fossero un po’ rachitiche, ma non stiamo a guardare il particolare. Mancava ancora qualcosa.
Sembrava spento, senza vita. Certo gli occhi. Gli feci due buchi con le dita e gli infilai dentro due sassi che avevo spostato con la pala, mentre pulivo l’ingresso. Ecco adesso era perfetto, dovevo solo trovargli un nome appropriato, beh appropriato un nome che mi piacesse, diciamo. Poldo era perfetto. A guardarlo meglio, infatti, assomigliava al personaggio amico di Braccio di Ferro che mangiava gli hamburger…aveva sicuramente la stessa pancia gonfia! Finalmente potevo andare a farmi una bella doccia calda, anche perché se stavo fuori ancora pochi minuti senza guanti potevo dare le mie di mani a Poldo perché si sarebbero staccate da me. Mi tolsi gli scarponcini all’ingresso e li misi vicino alla stufetta e mi infilai gli zoccoli di pelo che mi piacevano tanto.
Erano gli unici zoccoli che mettevo solo per il fatto che mi facevano ridere e pensare alle zampe di un fauno, perchè non sono capace di camminare con gli zoccoli, arriccio il piede per paura di perderli ad ogni passo e così alla fine della giornata mi fa male tutta la gamba che è stata in tensione. Andai al piano di sopra dove c’era il bagno facendo un rumore a salire le scale con gli zoccoli insopportabile. Mi fermai a guardare di sotto. Che bella che era questa baita. Tutta in legno intarsiato, foto di animali ovunque accogliente calda, calda di un calore umano, perché arredata di buon gusto da mia mamma che amava la montagna e quindi era piena di ricordi montanari.
Un vecchio scarpone trovato in una passeggiata sul monte Scorluzzo in mezzo a trincee ottimamente conservate della Prima Guerra Mondiale, la testa del rastrello che aveva imboscato mia mamma dopo averlo trovato vicino ad una fattoria, perché le piaceva. Ricordo ancora la faccia di mio padre che la guardò come se avesse rubato un lingotto d’oro. Sulle mensole vicino al camino c’era la collezione di boccali di birra presi nei vari viaggi in Germania e Austria, quelli con il tappo di peltro. Da piccola ne avevo rotto una accidentalmente, ero intenzionata a ricomprarne uno simile ma quando mi dissero cosa costava a momenti svenivo.
Andai allora da mio padre che mi diede i soldi e rimisi il boccale al suo posto senza dire niente a mia madre. La doccia mi fece bene, avevo ritrovato le energie. Ritornai al piano di sotto, facendo un tale baccano che decisi di camminare a piedi nudi con due paia di calzettoni. Guardai fuori, stava imbrunendo e non smetteva di nevicare. Avevo anche un leggero appetito e mi preparai un panino con speck e formaggio. Svuotai i sacchetti della spesa del week-end e sistemai le vettovaglie negli scaffali: piatti, bicchieri, tovaglioli, posate, tutto era di plastica così nessuno di noi avrebbe lavato e sistemato dopo aver fatto baldoria.
Un rumore in casa mi fece andare il cuore in gola. Cosa poteva essere stato! Ero indecisa sul da farsi, andare di là a controllare o restare immobile in cucina senza respirare. Andai a controllare, anche perché se veramente ci fosse stato qualcuno sapeva che in casa c’era gente…anzi io. Era un ciocco di legno che era caduto dal camino…tirai un sospiro di sollievo! Ma chi me lo aveva fatto fare di venire su da sola in baita a sistemare, io che non sopportavo la solitudine e paurosa come sono. Mi sedetti vicino al camino e sistemai la legna. C’era troppo silenzio per i miei gusti. Accesi della musica a volume basso per creare un piacevole sottofondo e per rilassarmi un po’.
Rimasi seduta a guardare il fuoco. Sembrava che le fiamme volessero trovare una propria strada per liberarsi, l’una dall’altra, giocavano ad allontanarsi e subito dopo si riunivano in una grande lingua. I colori cambiavano dal rosso, blu, bianco, arancio, a secondo della prospettiva da cui lo osservavo. Mi assopii. Quando mi svegliai mi resi conto che fuori ormai era buio, e mi avvicinai alla finestra per controllare che tempo c’era. La mia prima giornata da sola stava per terminare. Silenzio e neve ovunque guardassi. Poldo ormai era diventato il doppio di come lo avevo lasciato dalla neve che gli era caduta su. Se fosse continuato a nevicare tutta la notte, l’indomani avrei trovato un gigante al suo posto. Mi asciugai la mano che si era bagnata nel pulire il vetro e rimasi ad osservare il paesaggio che mi si parava davanti.
I rami dei pini erano piegati per il troppo carico di neve che dovevano sopportare. Le mie impronte fatte nel pomeriggio non si vedevano quasi più, ormai erano state riempite dalla nuova neve caduta. Le luci della seggiovia che arrivava a qualche centinaio di metri dalla baita creavano delle ombre strane intorno…o era la mia mente che le creava strane per la mia solita paura! Chiusi le imposte per sentirmi più sicura e mi diressi verso la cucina, decisa a prepararmi una camomilla. Forse era il caso di correggerla con qualcosa di forte così sarei riuscita a riposare meglio ed a non pensare, mi dissi!
La legna del camino ormai era ridotta a brace, ancora poco e si sarebbe spento definitivamente ed io sarei potuta andare a letto dentro al mio sacco a pelo mummia, quello che usava mio padre nel periodo del militare nei campi invernali ad Asiago. Ti infilavi dentro chiudevi la lampo tiravi sul il cappuccio ed eri intrappolato per sempre…se dovevi girarti nel letto, lo dovevi fare insieme al sacco facendo un pel salto! Mi spogliai alla velocità della luce, perché la stanza non era così riscaldata come il piano sotto che col camino aveva raggiunto una notevole temperatura, mi infilai un bel pigiama pesante …molto sexy… pensai e mi infilai nel sacco.
Rimasi in ascolto del silenzio. Se uno è paranoico come me, i rumori spaventano ma il troppo silenzio terrorizza! Ecco un rumore, uno scricchiolio, un ticchettio…la casa è di legno, saranno di certo i rumori di assestamento. Calmati, pensa a quanto è bello essere qui fuori dalla confusione della città. I tuoi amici sono ancora al lavoro e tu sei già in vacanza. Fuori nevica, tu adori la neve. Poldo sta sorvegliando l’ingresso e sicuramente farà funzione di spaventapasseri o spaventa persone…Chi vuoi che si muova per i monti con una tormenta di neve. Sì, brava tutte cose logiche ma la logica non calma la mia mente.
Accendo la luce per vedere se ho chiuso la porta della camera, ma non contenta decido di chiuderla anche a chiave. No, devo riaprire la mummia! Va beh mi alzo e saltello fino a li…tanto sono quattro passi. I miei salti fanno tremare il pavimento, se qualcuno mi vedesse ora mi prenderebbe sicuramente per matta. In quattro balzi “delicati” arrivo alla porta, abbasso velocemente la cerniera, tiro fuori la mano e chiudo la serratura. Quattro balzi e sono di nuovo sul letto. Sono tutta sudata dalla fatica così apro un po’ la chiusura del sacco.
Devo cercare di rilassarmi, più che altro devo cercare di far in modo che le mie paure non prendano il sopravvento. Mi sdraio e respiro profondamente penso alla neve che soffice cade fuori e la vedo sempre più lontana e la sento sempre meno fredda e…finalmente mi addormento. La mattina mi sveglio presto e con piacere mi accorgo che ho riposato. Apro le imposte e noto che ha smesso di nevicare ma sicuramente lo ha fatto da poco perché tutto è coperto di bianco. Il povero Poldo è irriconoscibile…altro che dare il benvenuto, così conciato li fa scappare tutti i miei ospiti. Mi infilo una tuta di pile e scendo a farmi un caffè.
Decido di riaccendere il fuoco prima di uscire così la temperatura si rialza e stasera quando arriveranno i miei amici non avranno freddo. Mi affaccio alla porta e sorrido al pupazzo. Povero, che brutta cera che hai. Il naso è crollato a terra e le dita delle mani sembrano dei salsicciotti da quanta neve hanno su. Mi infilo le pedule ed esco. Guardo il cielo è azzurro ed il sole è ancora dietro la montagna. Ormai non dovrebbe più nevicare, così riprendo la pala e pulisco di nuovo l’entrata e già che ci sono faccio anche tutto il vialetto d’ingresso, così almeno è più semplice camminare. Il sole sbuca da dietro il monte ed illumina la casa. Il paesaggio è splendido, la neve brilla toccata dai raggi solari.
Mi bruciano gli occhi da quanto bianco c’è intorno. Corro dentro a prendere la macchina fotografica e inizio a scattare tutto ciò che mi piace e mi crea emozione: il pino pieno di neve, Poldo in condizioni disastrose che sembra un viandante in cerca di un posto caldo dove passare la notte, le nuvole che disegnano figure varie in cielo e dei corvi che zampettano sulla neve in cerca di qualcosa da mangiare. Decido di farmi anche un autoscatto. Posiziono la macchina sul muretto, pigio e corro in mezzo alla neve ridendo da sola. Mi sono sempre divertiti gli autoscatti, penso siano le foto più belle e sincere. La mattina passa veloce perché tra rifare il trucco al pupazzo, spalare e fotografare il tempo vola.
Mancano poche ore e la quiete della montagna sarà squarciata dall’arrivo degli amici. Mamma che fame che mi è venuta! Chissà perché la montagna a me fa sempre venire fame. Devo restare leggera poi stasera pasticceremo e berremo di certo, così decido che un bel piatto di bresaola fa al caso mio. Poi non so come mai finiscono sopra anche un po’ di rucola, grana a scaglie e dei funghetti sott’olio. Ma sì, è più buono così. E adesso cosa faccio fino a stasera, ho già messo in ordine, pulito, acceso il camino e preparato il giaciglio per tutti. In lontananza si sente il vociare degli sciatori.
E’ da una decina di anni che non metto su un paio di sci, mi piacerebbe riprendere ma considerato che l’ultima volta ho fatto un bel trauma cranico perché sono una incosciente….forse è meglio darsi allo sci di fondo o ad una bella ciaspolata. A proposito di ciaspole, le ho dietro in macchina, adesso le metto e vado a fare un giretto fino alle piste da sci. Mi cambio al volo e mi infilo l’attrezzatura. Mi porto dietro anche uno zaino con acqua, cioccolato…non si sa mai un calo di zuccheri e la mia immancabile macchina fotografica. Racchette nelle mani, zaino in spalla e op op …parto in salita.
Cento metri e sono già con la lingua che arriva ai piedi. Meno male che vado sempre in palestra a tenermi in allenamento!!! Proseguo più lentamente così mi godo il paesaggio in mezzo al bosco. I cespugli che d’estate sono piene di mirtilli non sono neanche distinguibili dalla neve che hanno sopra. Il sentiero che di solito faccio quasi ad occhi chiusi, non lo riconosco più…ho perso tutti i miei punti di riferimento con tutto questo bianco. Ci sono un sacco di orme sulla neve da quelle di qualche volatile a quelle di animale che non conosco: cervi, daini, stambecchi…per me hanno tutti gli stessi zoccoli. Il sole crea una bellissima luce filtrando nel bosco e così mi fermo a fotografare.
E già che ci sono mi mangio un pezzetto di cioccolato per riprendermi dalla fatica. Arrivo sul pianoro dove si vedono le piste e visto che sono in pieno sole e la neve è battuta mi siedo per terra e mi metto a prendere un po’ di sole. Mi sistemo lo zaino dietro la testa e mi sdraio così sono più comoda e…mi assopisco. Che freddo che c’è! Mi sveglia il freddo, il sole sta sparendo dietro la montagna e la luce tutto intorno è cambiata. Prima di rimettermi in marcia per il ritorno scatto ancora un paio di foto…di cui una, un altro autoscatto per testimoniare la mia scampagnata. La discesa è più veloce e leggera. In mezzora sono all’imbocco del vialetto di casa. Ho giusto il tempo di farmi una doccia calda e rimettere su qualche ciocco di legno prima dell’arrivo dei festanti.
Mollo tutto all’entrata e mi sbatto sotto la doccia. Ah che bella calda…mi lascio cadere il getto dietro le spalle e sulla testa. Non so quanto tempo resto sotto…ecco non avrò mica fatto fuori tutta l’acqua della caldaia…cavolo! Mi asciugo velocemente perché mi rendo conto che è già tardi e tra poco non sarò più sola. Se devo essere onesta un po’ mi dispiace avevo trovato la mia anima solitaria in queste poche ore, da un lato sono contenta perché stanotte avrò compagnia. Mi vesto un po’ più elegante di come ero precedentemente, in fin dei conti sono sempre la padrona di casa, devo avere un bell’aspetto. Guardo fuori e mi rendo conto che ormai sta diventando buio ma è così sereno e la neve così bianca che sembra ancora più chiaro di quanto sia, il cielo.
Sento in lontananza dei rumori di macchina…si stanno avvicinando, eccoli sono a pochi metri li vedo sbucare dall’ultima curva, i fari mi illuminano. Gli corro incontro, mi vedono e iniziano a suonare il clacson in segno di saluto. Ecco è finita la quiete! Li faccio entrare con le jeep davanti alla baita per scaricare le provviste. Scendono tutti ed iniziamo a salutarci ad abbracciarci come se non ci vedessimo chissà da quanto tempo.
Qualcuno commenta sulla bruttezza di Poldo ed io l’invito a tornare a casa sua! Mi giro e vedo le provviste per il week-end. Ma quanta roba hanno portato sembra che dobbiamo restare per un mese. E quanto alcool…meno male che siamo isolati così nessuno potrà vedere le condizioni in cui ci ridurremo. Sento da fuori i commenti sulla bellezza della baita e ciò mi fa molto piacere. Tutti ormai sono dentro ma io resto ancora qualche secondo fuori ad osservare la quiete che fino a poco fa mi ha tenuto compagnia.
Sorrido ancora una volta al povero Poldo bistrattato da tutti e mi chiudo la porta alle spalle. Entro in casa e mi dirigo verso gli amici che mi aspettano già con un bicchiere di vino rosso in mano. Ho la netta sensazione che sarà un lungo week-end…non di paura certo …ma di grande baldoria! Sorrido a tutti e mi butto nella mischia!
The form of a bridge pier cap is in place. The bridge pier will hold a southbound SR 99 bridge that will span S. Atlantic Street in Seattle's SODO neighborhood.
Learn more about construction underway to replace the south end of the viaduct.
These photos caputure the festivity of Dahi Handi (pot of curd), which is popular in Maharashtra to celebrate.Janmashtami, the birth day of Lord Krishna. In the month of August- September.
Krishna would love to eat butter and curd, this would be kept in pots hanging from the roof tops.
So as a child he and his friend would form a human pyramid (just like in the photos) to reach the pots and steal the butter. He would enter the houses of the many gopis and carry out his mischief. In spite of this he was loved by one and all.
There are many folk tales and songs spun around this story and are very popular all over India.
This is called Dahi Handi in Maharashtra, were people will tie the dahi handi along with some cash award. During the day various groups come and take the challenge by building mult-story human layers.
At the place were I took these photos the qualifying levels were seven human layers.
In the evening the qualified groups take the challenge of going even higher. At this place the max layers which were made was 9 human layer. This is believed to be a world record.
Edited Mars Reconnaissance Orbiter PR image of rocky ridges (see link in original caption for Earth analogs) forming polygons on Mars.
Original caption: This view shows part of an area on Mars where narrow rock ridges, some as tall as a 16-story building, intersect at angles forming corners of polygons.
The area covered in the image spans about two-thirds of a mile (1.1 kilometers) wide, in the Gordii Dorsum portion of the Medusae Fossae region of Mars. The image is from the High Resolution Imaging Science Experiment (HiRISE) camera on the Mars Reconnaissance Orbiter. North is up. Note the shadows cast by some of the walls.
A stereo view showing a larger portion of this network of polygonal ridges is at photojournal.jpl.nasa.gov/catalog/PIA21265.
These ridges likely formed as lava that hardened underground and later resisted erosion better than the surrounding material. From ground level, they would resemble hardened-lava walls on Earth such as in the image at photojournal.jpl.nasa.gov/catalog/PIA21266.
This image is a portion of HiRISE observation ESP_017348_1910, made on April 9, 2010, of a site at 10.8 degrees north latitude, 212.2 degrees east longitude.
The University of Arizona, Tucson, operates HiRISE, which was built by Ball Aerospace & Technologies Corp., Boulder, Colorado. NASA's Jet Propulsion Laboratory, a division of Caltech in Pasadena, California, manages the Mars Reconnaissance Orbiter Project for NASA's Science Mission Directorate, Washington. Lockheed Martin Space Systems, Denver, built the orbiter and collaborates with JPL to operate it.
Image credit: NASA/JPL-Caltech/Univ. of Arizona
Last Updated: Jan. 26, 2017
Editor: Tony Greicius