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Aviation is the safest form of transportation, and that’s no accident.
Air traffic controllers come into work every day with a clear mind and put safety first. Safety is their number one priority. But working without pay is taking a toll on these vital professionals who already have stressful jobs, Raleigh ATCT FacRep Nick Stott told ABC News.
“How are we going to pay our mortgage this month? How are we going to pay our childcare bills? How are we going to pay our utilities? But we have to come into work. We're required, as essential personnel. But we don't know when we're gonna get paid," Stott said.
You can help your brothers and sisters by reaching out to your elected representatives and asking them to end the #shutdown now.
If you have not already done so, reach out to your elected officials now.
Write letters: actionnetwork.org/letters/2018decfurlough/
Call Congress: actionnetwork.org/campaigns/stop-the-shutdown/
via NATCA www.facebook.com/NATCAfamily/photos/a.215149848060/101560...
syn. Artocarpus lacucha form dadah.
Green Tampang; Moraceae.
If you're using any of my pics, just drop me a message here on Flickr or my email. Thanks!
Saw a group of 4 Ringed Plovers (possibly parents & juveniles) on the sea wall along the Exe.
(Love reading your comments but please, no stock images, badges and pictures unless you add a personal comment. Thank you. Don)
The last night of their UK tour and Anne-Marie Helder and the Boys were on top form in this intimate restaurant-venue.
Castilleja affinis, "inflata" form, low bluffs at Bean Hollow State Park, San Mateo Co., CA, 14 Apr 2003.
I thought it interesting, not to mention disturbing, that this pattern had formed on many of the vents at work. On my last night at work, I had been looking up "swastika" at Wikipedia, to see if this was the right way around, or if it was backwards, when Kelati came over with his iPhone, and took a photo of me with the Wikipedia "swastika" article in the background. In fact, that is exactly what had happened just before I took this picture—Kelati was looking at the photo on his iPhone and had just finished showing it to Greg, and saying that he finally had proof of my affiliation to show everyone. Just like Kelati. "Insulting" right to the end. LOL! :D
FOOTNOTE: The symbol that had formed on the vents was actually backwards. I had to flip this image to get it to appear the 'right way 'round'. :P
"Imitation is the sincerest form of flattery that mediocrity can pay to greatness." (Oscar Wilde)
Lately I have been reading a lot about Daido Moriyama and some other photographers associated with him, and of course I've looked at many pictures. I have known Moriyama's work for a decade or two, but it seems only now these photos are starting to speak to me. Some things need time.
I find it fascinating how they work, and it’s interesting to read about the degree of awareness they had of what they were doing. They were really up to date theoretically and somehow worked with that. Well, possibly the 60s, 70s and still part of the 80s were a good time for this, when modernism turned to post-modernism and all kinds of stuff.
Maybe it’s anachronistic to mimic a style 60 years old. I mean, we all know that’s long gone for better or worse … but still, I tried.
Doing this has already taught me at least three things that are quite valuable:
1.
I consider myself an "advanced" photographer, after doing it for almost 40 years and basically doing nothing else for 25 years now. But in this field I am an absolute beginner. It’s humbling in a good way to see (and to feel) that I don’t know anything about this.
2.
It’s surprisingly hard to let go of the "conventional" photographic qualities most of us learned the hard way. Now it feels so strange to make blurry, underexposed, tilted photos. You really need to trick yourself to give up control.
3.
This kind of photography seems to be at least as much about "feeling the scene" as "seeing the scene". It’s hard to put in words that are not clichéd, but it’s more seeing with the imagination than with your eyes. It’s another way to approach previsualization, I guess – possibly quite useful for other genres, even if those pictures are not so great.
Went out for a 3 hour walk around Langstone Harbour in a bit of a blizzard. Arrived home, wet through, legs aching, but warm and invigorated.
Barry originally was designed as a mouflon sheep mannikin for taxidermy. After talking to a few sculptors about the best way to approach him, they suggested this method. He came cut in half.
Seas deportista o no, joven o adulto, la Fundación Estadio te invita el D24/May a poner a prueba tu forma solo, en familia o entre amigos. Con la iniciativa ‘Estadio en forma’ podrás participar en todas nuestras actividades y talleres, sin ningún tipo de limitación de tiempo o técnica. Si tienes entre 5 y 100 años apúntate –la inscripción es gratuita y en el dÃa-, participa disfrutando de la actividad fÃsica y entra en el sorteo de regalos. Podrás valorar tu forma fÃsica, probar actividades nuevas, aprender nociones sencillas para cuidar tu forma… al aire libre y en un ambiente festivo.
Electronic transmedia project based in Bogotá - Colombia - Southern waves and frequencies.
"of the cold and noisy nights, of the depths of the emotions, of the darkness of the soul and life. a sordid, hypnotic work of strong and energetic rhythms, with basses that reference in this digital age the decadent notes of the 80s, the dark cyber punk synths, cold wave, garage post punk, the abandoned floor, voices heartbreaking, sensual and energetic of our underground mental world, our most abstract and dense thoughts. Mental abstractions, immersed in our analogue digital synthetic atmosphere of emotions and noises, lost among electronic scrap, between technologies, neon lights and shadows of the universe of the present...
I took the picture of a seed on the ground in the afternoon. I was using Av mode on my camera, f/5.6, 1/15, ISO 100, 47mm. The holes on the leaf have no depth, so I categorized this leaf as one of a shape from elements of Earth.
Four statues stand sentinel at the entrance to Helsinki Central Station, known as the Lyhdynkantajat or 'Lantern Bearers'. They were designed by Emil Wikstrom and formed a key part of the Art Nouveau vision by architect Eliel Saarinen. Designs were started in 1902, but construction was delayed because of the First World War. During this time, the unfinished station was used as a military hospital. When the station finally opened, visitors could buy tickets to climb the clock tower to admire the view.
Helsinki Central railway station is a widely recognised landmark in central Helsinki, Finland, and the focal point of public transport in the Greater Helsinki area. The station is used by approximately 200,000 passengers per day, making it Finland’s most-visited building. It serves as the point of origin for all trains in the local VR commuter rail network, as well as for a large proportion of long-distance trains in Finland. The station also hosts the Rautatientori metro station, which is the busiest station of the Helsinki Metro.
The first railway station in Helsinki was built in 1860, as Finland’s first railway between Helsinki and Hämeenlinna was opened. The station’s plans were drawn by the Swedish architect Carl Albert Edelfelt. However, as the popularity of railways grew, the station turned out to be too small, and a contest was organised in 1904 with the intention of producing plans for a new station. The contest received 21 entries, and was won by Eliel Saarinen, with a pure national romanticist design, which sparked off a vigorous debate about the architecture of major public buildings, with demands for a modern, rational style. Saarinen himself abandoned romanticism altogether and re-designed the station completely. The new design was finished in 1909 and the station was opened in 1919.
Helsinki Central Station (Finnish: Helsingin päärautatieasema, Swedish: Helsingfors centralstation) (HEC) is the main station for commuter rail and long-distance trains departing from Helsinki, Finland. About 200,000 people "pass through the station" every day, half of whom are train passengers. The station serves as the terminus for all trains in the Helsinki commuter rail network, as well as for all Helsinki-bound long-distance trains in Finland. The Rautatientori (Central Railway Station) metro station is located in the same building.
The railway tracks in Helsinki were built in the 1860s. The station building, clad in granite, was designed by Eliel Saarinen and inaugurated in 1919. The building is known for its clock tower and the Lyhdynkantajat ("The Lantern Bearers") statues by Emil Wikström. Helsinki Central was chosen as one of the world's most beautiful railway stations by BBC in 2013. The Helsinki Central Station has become the symbol of the entire railway network in Finland. For example the VR Group uses the image of the station and the statues next to its main entrance in its advertising.
Overview:
The Helsinki Central Station is located in the city centre of Helsinki, in the district of Kluuvi at Kaivokatu 1. The main facade of the station building is towards the Kaivokatu street. To the east of the station is the Helsinki Railway Square and to the west is the Eliel Square. The Eliel Square also served as the terminus of the Finnair City Bus. The Asematunneli tunnel leads from the station, underneath Kaivokatu, to the underground floor of the City-Center complex. The station also has a connection to the Central Railway Station metro station located underneath it.
The Helsinki Central Station is an important transport hub for commuter train, long-distance train and metro transport in the entire Helsinki capital region. The station is visited by 240 thousand passengers per day, making it the most visited building in the entire country of Finland. About half of the visitors are train passengers.   Over a hundred long-distance trains and about 850 commuter trains arrive at and depart from the station every weekday.
The middle part of the station building forms the core of the station, hosting the waiting halls, ticket sales, the kiosk hall and connection to the station tunnel. The eastern wing of the building used to host the offices of the railway administration. It also served as Helsinki's main post office, until it moved to the Postitalo building built in the 1930s. The head office of the VR Group moved to Pasila in 2018. The eastern wing was converted into a Scandic Hotels hotel, opened in 2021. Baggage storage spaces have been located in the underground floor of the western wing since the 1970s. The ground floor has hosted a café since the 2000s, and the top floor hosts offices and business spaces.   The station hosts almost twenty kiosks and restaurants, visited by over 20 thousand people per day.
History:
The railway comes to Finland:
When visiting Finland in 1856, Grand Duke of Finland Alexander II of Russia proposed an improvement program for the Finnish economy. He thought it was important to connect the inland country to the marine harbours through canals and railways. So planning of Finland's first railway from Helsinki to Hämeenlinna was started.
Location of the railway and the station:
A 1853 railway project proposed the northern edge of the Hietalahdentori square as the location of the Helsinki railway station. A later proposal in 1857 was at the vicinity of the Turku barracks, and a third option was the environment of the Kluuvi well. Investigation of the new railway line in summer and autumn showed how difficult it would be to build a railway into the city of Helsinki, which was located at the point of a peninsula. The research resulted in four different options of the railway line. These options differed greatly in cost. The original plan included 40,800 Russian roubles for the main station of the railway, but the most expensive option was estimated at 162,000 roubles.
The cheapest option would have had the railway to make a curve after Pasila and go around the Töölönlahti bay. The second option would have had the railway go directly west from Pasila past the Töölö sugar factory. The third option would have passed Pasila entirely and continued around Töölönlahti. All these options would have located the station to the south of the Turku barracks. In the fourth option, the track would go from Pasila straight across Töölönlahti and the Kaisaniemi Park to Kluuvi, with the station located immediately after the Kluuvi well. This option was the most expensive, costing about 107,970 roubles. Of the four options, it required the most of blasting the bedrock and filling the Kluuvinlahti bay.
The three first options required dismantling villas and other buildings from the shore of the Töölönlahti bay and building railway tracks on beautiful and farmed land from the environment of the city. In addition, the costs of the compulsory purchase of the land would have been significantly greater than in the fourth option. Another concern was that a steep curve directly after the railway station would cause more wear on both the tracks and the train wheels. This would result in danger of the train tilting, causing a decrease of the efficiency of the engine. The option for the straight railway line had the benefit of an unobstructed view from the station to the traffic on the tracks. The fourth option received the most support, and it was accepted on 26 November 1857.
The choice was perhaps also influenced by Knut Stjernvall serving as the technical director of the railway company at the time, whose stepfather Carl Johan Walleen [fi] owned Villa Hakasalmi on the western shore of the Töölönlahti bay. The three other options would have required dismantling the villa.
Because of the decision, citizens of Helsinki started worrying about the fate of the Kaisaniemi Park located next to the Kluuvi well. It was clear that the railway would override part of the park area. Per the request of the citizens, the railway line was moved slightly to the east in 1859, in order to preserve the two large and beautiful hills in the park.
Filling the Kluuvinlahti bay:
The area where the station was planned to be built was originally seabed. In the 19th century the area was a muddy and stinky water area used as a dump and a public outhouse. Filling the Kluuvinlahti bay originally started already in the 1830s, but the filling really came into action when the railway was being built
The bay was confined at Hakasalmi, ditches were dug into the Kluuvi swamp, and a stone-walled assembly pool was built behind the dam, from where the water was pumped into Töölönlahti by wind power. Many horse cart loads of sand were dumped into the area during the decades.
According to the plans in the 1830s, the area to the north of Kaivokatu and to the west of Mikonkatu was to be divided into two blocks, which were named Hyeena ("hyaena") and Hilleri ("polecat"), separated by the street Hakasalmenkatu, now known as Keskuskatu. The decision to build the railway decided the fate of the Hyeena and Hilleri blocks. Knut Stjernvall made the final railway plan in 1859. He proposed that a wide market square should be built on the place of the Hyeena block east to the railway yard. The few buildings left in the Hyeena block were dismantled, and it was changed into what is now the Rautatientori square. Construction of the first railway station in Finland started at the edge of the Hilleri block.
The construction of the railway station had a great impact on the Helsinki cityscape. The railway was piled with large logs, and stones were laid on the edge of the bay. Aspen trees had to be cut down from the Kaisaniemi Park to make way for the railway, but the park was preserved whenever it was possible to do so. Rock blasted off the Linnunlaulu cliff was sunk into the Töölönlahti bay beneath the railway tracks being constructed. The railway terracing over the Töölönlahti bay was completed in March 1861. For water traffic, two underpass bridges were built vaulted from stone. The larger underpass bridge had a size of 7 cubits (10 ft 6 in/3.20 m) and the smaller one had a size of 3 cubits (4 ft 6 in/1.37 m). The rails for the railway tracks were bought from the United Kingdom, and they arrived by steamship into the South Harbour in November 1857.
Forma e Poesia nel Jazz 2010
Romeo Scaccia meets Kocani Orkestar - Cagliari, Teatro Massimo, 19 maggio 2010