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Klais guimeti
Colibrí Cabeciazul
La Union de Guapiles
Historia Natural
Reproducción
Los machos forman asambleas de cortejo (leks) alrededor de las quebradas dentro del bosque, o a lo largo de los bordes de bosques secundarios. Cada macho canta durante todo el día y entre 1 y 3 machos defienden el lugar donde se posan en las ramas altas y delgadas.
El nido es construído por la hembra en 4-5 días, es pequeño, con paredes densas y hecho principalmente de musgo verde. Está revestido por debajo con semillas y casi siempre se encuentra pendiendo de una rama o de un bejuco, sobre una corriente de agua sombreada y es menos frecuente encontrarlo en el interior del bosque, lejos de corrientes de agua. Se encuentra a una altura de 1-4.5 m. de altura. Usualmente ponen 2 huevos de color blanco. Se reproduce de enero a abril o mayo .
Alimentación
Visitan flores pequeñas de especies como pastora (Warszewiczia sp.), Stachytarpheta sp., Taetsia sp. y majagua (Hampea sp.).
Comportamiento
Los machos establecen su territorio alrededor de las plantas con las que se alimentan.
Habitat y Distribución
Habitat
Viven en el dosel y los bordes de bosques, bosques secundarios viejos, áreas de cultivos con árboles y arbustos aislados en floración.
Distribución
Es una especie residente relativamente común en las laderas de la vertiente del Caribe y las bajuras adyacentes, principalmente entre los 50 y 1000 m.s.n.m.. Al sur de la vertiente del Pacífico se localiza por arriba de los 300 m.
Distribución fuera de Costa Rica
Se distribuye del norte de Honduras hasta el noroeste de Bolivia y el extremo oeste de Brasil.
Distribución de Area de conservación
Amistad CaribeArenalCordillera Volcanica CentralGuanacasteOsaPacifico CentralAmistad PacificoHuetar NorteTortuguero
Descripción científica
7.5 cm.; 2.8 grs. Es pequeño, con la mancha postocular prominente cuadrada y blanca, y la punta de la cola es clara.
El macho adulto tiene la cabeza azul violeta brillante, incluyendo la garganta; el resto de la región superior es verde bronceado; la cola es más azulada pasando a negro en la región subterninal; la punta de las timoneras laterales son gris claro; el resto de la región inferior es gris ceniza, con manchas verde en los lados. El pico es negro; las patas son fuscas.
La hembra es parecida al macho pero con azul verdoso brillante sólo en la coronilla; la garganta es gris claro; las timoneras laterales tienen la punta blanca opaca más gruesa.
Los juveniles son como la hembra pero con muy poco o nada de azul en la coronilla.
Información taxonómica
Reino: Animalia
Filo: Chordata
Clase: Aves
Orden: Apodiformes
Familia: Trochilidae
Género: Klais
Il fait beau alors que la veille tombaient des trombes d'eau, mais lundi il doit à nouveau faire moche, alors prendre l'air est une nécessité !
Le bolincheur War Raog IV est au carénage .
Concarneau, Finistère, Bretagne .
Photographie J-P Leroy, tous droits réservés .
14th century tower and spire, the rest rebuilt in new forms by Wilson & Willcox of Bath, 1866-8.
Materials: Local limestone tower. 19th century work of Bisley Common stone with Bath stone dressings. Roofs of Broseley tiles in blue and red bands.
Plan: Unusual cruciform plan with equal aisles and generously deep transepts; north and south chapels almost as long as the chancel. South porch, west tower, small SE vestry.
Exterior: The three-stage west tower is 14th century, with diagonal buttresses and fairly small two-light bell openings, part hidden by clock faces. All the openings are unmoulded, with plain chamfers. The stone spire is tall and slim, with a splayed foot; the upper part of the original spire is now in the churchyard. The rest of the church is in a rich if slightly mechanical Geometric Decorated style. The windows have bar tracery and are framed by slim nook shafts with a ring moulding. The south doorway has heavy arch mouldings and triple shafts of contrasting grey stone. From the east, the three windows of the chancel and its chapels, with rich tracery of foiled circles, make a striking contribution to the streetscape.
Interior: The interior is `the best of any High Victorian town church on the Cotswolds' (Verey and Brooks). Five-bay nave with heavily moulded arcades on circular piers of blue Pennant sandstone. The nave has a clerestorey and an open wagon roof. A ribbed panelled roof over the chancel has painted Gothic decoration in green and red on a cream ground.
The foliate capitals are richly treated, with crockets and beading, almost Byzantine in their effect. The carver for all the sculptural work was Joshua Wall, who also designed the roundels in the chancel.
Principal Fixtures: St Laurence has lavish Victorian and early 20th century fittings. By George Gilbert Scott Junior, a reredos of 1872, carved by Morris Geflowski, with high relief panels (Gethsemane, Crucifixion and Deposition) by Edward Geflowski. It was coloured and gilded in 1970. The font and pulpit, both contemporary with the church, are of coloured marbles and alabaster. Chancel floor tiles by Godwin of Lugwardine. Rood screen by W.S. Weatherley, 1910-14; quite light and open, with elaborate cusping in the head of each main light. It has a rib-vaulted cove with brattished cresting, and a built-in tester to the pulpit. Very big rood group. Filling the tower arch, an Arts and Crafts oak screen by Thomas Falconer, 1927, maker Peter Waals, with painting of St George by E.R. Payne, 1929. There is much good stained glass. The good east window is by Heaton, Butler & Bayne, 1866; their windows in the transepts and south aisle south-west have faded badly. Also theirs; the north chapel east, c. 1885 and one in the north aisle, 1914. The south chapel east is by Lavers & Barraud, 1868. The south aisle and tower windows are by Ward & Hughes, 1873-7. An unusual gold and blue window at the west end of the north aisle is by J. Bewsey, 1922. The best monument is that in the south transept to Thomas Stephens, d. 1613. Attributed to Samuel Baldwin of Stroud, Pevsner describes it as a `good provincial imitation of Southwark work': alabaster kneeling effigy at a prayer desk, beneath an arch with Composite columns. Obelisks, strapwork etc. in the surround, with colour and gilding. Around the tower arch, high up, a group of fine Baroque and later tablets. Attached to the outside walls (north side), c. 80 good quality brass inscription plates from 18th century tombstones, many with good lettering, Rococo ornament, etc.
History: The medieval parish church of St Laurence was founded as a chapel-of-ease to Bisley before 1279. A photograph of 1865 just before demolition shows a rather plain aisleless structure with early 19th century alterations. Only the tower and spire survived rebuilding in 1866-8, to a plan which seems to have taken little account of the old building. The new church was consecrated on August 4, 1868. Wilson & Willcox provided a quite urban-looking church in Geometrical Gothic with a slightly French flavour, a recipe they favoured for many of their Bath churches and chapels. A fire in 2005 required the altar to be renewed.
Forma parte del conjunto de bolas graníticas a las que también pertenece la "pena dos namorados". Destaca por ser un enorme pedrusco situado sobre otro, en pleno equilibrio sin ayuda de ningún tipo.
Fuente: Wikipedia
Esta foto participó en el juego En un lugar de Flickr.
Fun event raises money for our Advent Appeal
Another very successful Sixth Form fancy dress day was recently held at St. Mary’s Menston. Over 250 students and staff arrived for lessons in multi-coloured costumes, each one donating £10 to the school’s annual Advent Appeal, proceeds from which will be sent to St. Gemma’s Hospice, CAFOD, Catholic Care and Martin House. A total of £1700 was raised on the day. This year again there were many different imaginative and creative costumes, some made by the students themselves including Aladdin on his magic carpet, nuns, sheiks, pirates, elves, flower pot men, gorillas, bears and cup-cakes to name but a few. The staff, not to be outdone, also joined in with some departments following a particular theme.
“Standing at the front of the hall delivering an assembly can sometimes be an off-putting experience; looking up from your notes and seeing Bill and Ben, the flowerpot men, bananas in pyjamas, giant-sized tetras boxes or a row of cupcakes, might be enough to put anyone off their lines. Congratulations to Paddy Spiller, our guest speaker from CAFOD who didn’t miss a beat when addressing a Year 11 and Year 13 assembly on Friday, our Fancy Dress day! Each student is to be commended for their generosity and for creating a very happy day for all in our school.”
Mr Sinnett, Director of Sixth Form
This event is not the only one planned by the Sixth Form students to raise as much money as possible this year. A Rich Man Poor Man lunch is planned for the end of the week where pupils and staff purchasing a ‘rich’ ticket win a hearty meal whilst a ‘poor’ ticket merits a cup of soup. A Sixth Form 5-a-side Football match also raised £150.
Over the course of the Advent period, the whole school community will be involved in fund raising activities with the aim of raising £10,000 for our four charities.
www.stmarysmenston.org/News/Pages/Sixth-Form-Fancy-Dress-...
A return visit to Harrietsham, as the previous week, a wedding was in full swing, and parked car clogged up the lanes for some distance.
An impressive church. and one I had to myself, as last time I was here, there was a fete on, and so unable to see details.
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A noble church which stands well away from the main road in a very large churchyard. The memorable feature is the second, or north, tower that stands behind the chancel. This is of Norman date, thus predating the present west tower by three hundred and fifty years. There are good pieces of tufa visible on the exterior. The chancel is thirteenth century, with three widely spaced lancets forming the east window, whilst the nave is mainly fourteenth century in date. The south chapel displays blocked two-light windows that were made redundant in order to accommodate seventeenth-century monuments within. The stained glass is a mixed bag - the best being the twentieth-century composition of Our Lady and Child in the north-east chancel lancet. Below, in front of the altar, is a veritable carpet of medieval tiles, no doubt collected from other parts of the building. The Royal Arms of George III dated 1795 hang over the south door while the nearby Norman font attracts much attention. It is of Kentish, or Bethersden, marble with a heavy cable moulding around the rim and is quite different in character to any other twelfth-century font in the county.
www.kentchurches.info/church.asp?p=Harrietsham
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HARRIETSHAM.
LIES the next parish south-westward from Lenham. The manor of Hollingborne claims over a part of this parish.
¶IT lies mostly at the foot of the great ridge of chalk hills, being near three miles across each way. It is, though healthy, rather unpleasantly situated, from the nature of its soil, for above the hill, where it extends but a small way till it joins Frinsted, it becomes where the chalk leaves it, a red earth, covered with flints, a heavy tillage and unfertile land. On the summit of the hill here called Stede hill, is Harrietsham-place, having a beautiful and extensive prospect over the country southward. At a small distance below the foot of the hill stands the church, with the parsonage close to it, and about a quarter of a mile farther, where the chalky soil continues over an open unshaded country, is Harrietsham-street, near which there is a pleasure ground, belonging to Harrietshamplace, in which there is a summer-house, shrubbery, and plantation, with a large sheet of water, and several cascades, containing in the whole six acres. Through the above street the high road leads from Lenham, through the hamlet of Holmemill-green, and thence by Leeds park towards Maidstone, and here the soil becomes a sand, and as it extends southward, mixes with the quarry or rock stone; through this part of the parish the Lenham rivulet flows on westward towards the Medway at Maidstone, receiving here into it several smaller streams, which rise at the bottom of the chalk hills, though at some distance from each other, the rivulet turning in its way Holmemill; about half a mile southward from which is Farborne and the heath of that name, beyond which it extends into the eastern part of Kingswood, where it joins to Ulcomb. There is a fair here, held yearly on the 5th of July, in the old-accustomed fair field, at the court lodge, for horses, cattle, and pedlary.
THIS PLACE was given immediately after the fatal battle of Hastings, among other great possessions, by William the Conqueror, to his half brother Odo, bishop of Baieux and earl of Kent, under the general title of whose lands it is thus entered in the general survey of Domesday:
In Aihorde hundred, Hugh, the grandson of Herbert. holds of the bishop (of Baieux) Hariardesham. It was taxed at two sulings. The arable land is six carucates, In demesne . . . . eighteen villeins, with ten borderers having four carucates. There is a church, and eleven servants, and two mills of eleven shillings and six-pence, and seven acres of meadow. Wood for the pannage of fifteen hogs. In the time of king Edward the Confessor, it was worth ten pounds, when he received it eight pounds, now ten pounds. Osuuard held it of king Edward.
The same Hugh holds of the bishop, Fereburne. It was taxed at one suling. The arable land is two carucates. In demesne . . . . four villeins, with one carucate and an half, and two mills of forty pence. In the time of king Edward the Confessor, it was worth four pounds, afterwards, and now, three pounds. Aluuin held it of earl Godwin.
The same Hugh holds of the bishop one yoke of free land in Selesburne, and there he has half a carucate, with one borderer, and five servants, and one acre of meadow and an half. It is and was worth, separately, twenty shillings. Aluuin held it of earl Godwin.
The above-described estates, comprehended the manor of Harrietsham, and were, about four years after taking the above survey, on the disgrace of the bishop of Baieux, confiscated to the crown.
MR. MARC QUESTED, citizen and fishmonger of London, by his will in 1642, founded twelve alms-houses in this parish, which he endowed out of his manor of Pen-court, in Hollingborne; six of them for as many poor inhabitants of this parish, and the other six for as many of the poor of that company, whom he had made his trustees. Each poor person, besides the above, receives in money about 6l.
SIR WILLIAM STEDE gave by deed 10l. per annum in land, in the parish of Sandhurst, for the binding out yearly apprentices two poor children of this parish, Milton and Tong, vested in William Baldwin, esq.
In 1604, A PERSON UNKNOWN gave a large silver cup and cover, for the use of the sacrament.
WILLIAM STEDE, LL. D. in 1637, gave a large silver flaggon and a salver, for the like use.
THREE PIECES of land near Runham, in Lenham, of the value of five guineas per annum, were given by a person now unknown; the profits of them to be equally divided between the poor of this parish and Hollingborne, vested in the churchwardens and overseers of both parishes.
THREE PIECES OF LAND near Stubble-hill, in Lenham, of the yearly value of 2l. 11s. were given by a person now unknown, to the use of the poor of this parish.
A PIECE OF LAND, called Parish-crost, containing half an acre, let at 7s. per annum, was given by a person now unknown, in 1684, to the like use, now vested in the churchwardens and overseers.
A PERSON UNKNOWN gave half an acre of land, in Weststreet, on which two houses have been erected for the reception of the poor, vested in like manner. (fn. 7)
The poor relieved constantly are about twenty-five; casually about twenty.
HARRIETSHAM is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Sutton.
¶The church, which is a handsome building, consisting of three isles and three chancels, with a square tower at the west end, is dedicated to St. John Baptist. In it are some handsome monuments, and several memorials of the family of Stede, there was once a fraternity in this church of the blessed Virgin Mary, to which Robert Waryn, of this place, by will in 1471, gave land called Bonyers, in this parish.
The church seems once to have belonged to the priory of Leeds, for king Richard II. in his 19th year granted his licence to the prior and canons of it, to appropriate it to their own uses. How it happened that this appropriation never took place, or that the priory were divested of the possession of it, I do not find; but in the reign of king Henry VI. it was in the hands of the crown, for that king, in his 27th year, granted the patronage and advowson of it, to the warden and fellows of All Souls college, in Oxford, who still continue in the possession of it.
It is valued in the king's books at 11l. 10s. and the yearly tenths at 1l. 3s.
In 1640, it was valued at one hundred and sixty pounds. Communicants 192. The glebe land consists of sixty acres and upwards.
Zaha Hadid: Form in Motion at Philadelphia Museum of Art. Video at VernissageTV: vernissage.tv/blog/2011/09/30/zaha-hadid-form-in-motion-p...
MOVIMIENTO 15M - PUERTA DEL SOL
Algo empezó a cambiar en este día
MOVIMIENTO 15-M
forma parte de la galería de www.josemariamorenogarcia.es
flickriver.com/photos/javier1949/popular-interesting/
Museo Guggenheim Avenida Abandoibarra, 2. Bilbao. País Vasco. Euskadi. España
Arquitecto Frank O. Gehry. Concurso 1990. Construcción 1992-97. Promotor: Fundación Solomon R. Guggenheim
El Museo Guggenheim ha jugado un papel fundamental en la transformación y revitalización urbana de la zona donde se sitúa, además de convertirse en el símbolo de la ciudad de Bilbao y en un foco de atracción, impulsando el turismo y causado un extraordinario impacto en la economía y la sociedad vasca, fenómeno que se ha dado en llamar “efecto Guggenheim”. Es uno de los cinco museos que la Fundación Solomon R. Guggenheim tiene repartidos por todo el mundo. Se ubica a orillas de la ría de Bilbao, en una zona denominada Abandoibarra, junto al puente de La Salve, abrazado en parte por el edificio. Inicialmente se propuso rehabilitar la Alhóndiga municipal, para albergar el museo, pero a raíz del concurso organizado en 1990 con la participación de Isozaki, Coop Himmelb(l)au, y Gehry, del que salió elegido este último arquitecto, se recoge su propuesta para la realización de un edificio de nueva planta a emplazar en una vieja zona industrial junto a la ría .
Su volumetría curvilínea y su recubrimiento de piedra caliza, cortinas de cristal y planchas de titanio la dan un aspecto singular y simbólico, dentro de la corriente arquitectónica que se ha dado en llamar deconstructivismo. Se puede considerar una escultura, una obra de arte en sí mismo. La estructura principal está radicalmente esculpida siguiendo contornos casi orgánicos, sin contener una sola superficie plana. Las formas no tienen ninguna razón geométrica ni se rigen por ninguna ley. Una serie de volúmenes interconectados, unos de forma ortogonal recubiertos de piedra y otros de forma orgánica cubiertos por una piel metálica de titanio, unidos por una piel de vidrio. El edificio visto desde la ría aparenta la forma de un barco en recuerdo de la zona industrial portuaria en la que se sitúa. Sus paneles brillantes de titanio se asemejan a las escamas de un pez. Su planta presenta la forma de una flor. Para el diseño el equipo de Gehry utilizó simulaciones por ordenador de las estructuras necesarias para sustentar el edificio. A la trama del ensanche bilbaíno presenta una escala menor, revestimiento de caliza y ventanas con formas más racionales para integrarse con un entorno de edificios más tradicionales, formando una pequeña plaza que conduce a la entrada principal del edificio, y en este espacio abierto se encuentra la escultura Puppy de Jeff Koons, un gigantesco perro hecho de flores naturales.
La estructura, de vigas metálicas, forma cuadrículas con triangulaciones que permiten la realización de las distintas formas que componen el edificio. Cada pieza del revestimiento exterior de titanio tiene una forma única y exclusiva al lugar que ocupa, determinada por el programa informático generador. Dentro del aparente desorden de la envolvente, existe un patrón que rige la volumetría.
Su superficie es de 24.000 m² de los que 11.000 están reservados a las 19 galerías de exposición de obras de arte contemporáneo pertenecientes a la colección de la fundación Guggenheim, además de exposiciones itinerantes. Funcionalmente se articula en torno a un eje central, el hall de 50 metros de alto, un monumental espacio vacío coronado por una cúpula metálica. En torno a él, un sistema de pasarelas curvas, ascensores acristalados y torres de escaleras conectan las 19 galerías distribuidas en tres plantas, combinando espacios rectangulares con otros de proporciones y formas singulares, todos iluminados cenitalmente. Las exposiciones temporales y las obras de gran formato tienen cabida en la Gran Sala, también llamada Sala del Pez, de unos 30 m. de ancho y casi 130 m. de largo, libre de columnas, ubicada en el volumen que pasa bajo el puente La Salve, adaptándose a él.
En su fachada hacia la ría se contempla la silueta de la araña gigante “Mamá”, una escultura de bronce, acero y mármol obra de la artista Louise Bourgeois.
Durante su construcción, recibió numerosas críticas desde diferentes sectores de la cultura vasca. Jorge Oteiza lo llamó "Fábrica de quesos", y juró que mientras viviese no permitiría que ninguna de sus obras fuese expuesta allí; si bien una vez construido el museo dijo que "había que aprovechar lo que ya había" y permitió la exposición de sus obras. Se ha criticado también al edificio por su elevado coste y el carácter casi experimental de muchas de las innovaciones que se hicieron en su construcción, que han hecho más caro y difícil su limpieza y mantenimiento, por humedades u oxidación del titanio. La mayoría de las críticas se vieron mitigadas por el éxito que el edificio a nivel mundial, siendo un foco de atracción para la ciudad y una positiva proyección de la imagen de Bilbao a nivel internacional. Para el arquitecto Philip Johnson se trata del edificio más grande de nuestros tiempos.
Premio Internacional Puente de Alcántara en 1998. Premio al Museo Europeo del Año. Está considerado como uno de los “12 Tesoros de España”.
The Joint Tactical Radio System (JTRS) Handheld, Manpack, and Small Form Fit (HMS) is a materiel solution meeting the requirements of the DOD Chief Information Officer for a Software Communications Architecture (SCA) compliant hardware system hosting SCA-compliant software waveforms (applications). HMS is an Acquisition Category ID program that encompasses specific requirements to support Special Operations Command, Army, Marine Corps, Air Force, and Navy communication needs. It provides the warfighter with a software re-programmable, networkable, multi-mode system-of-systems capable of simultaneous voice, data, and video communications, and meets the radio requirements for Soldiers and small platforms, such as missiles and
ground sensors. The JTRS HMS is a product of Program Executive Office Command Control Communications-Tactical.
Read more on page 200 of the 2013 U.S. Army Weapon Systems Handbook: armyalt.va.newsmemory.com/wsh.php
Formed 1915.
Nickname. The Taffs.
Motto. Cymru Am Byth. Wales Forever.
Quick March The Rising of the Lark.
Slow March. Men of Harlech.
Anniv. Saint Davids Day March the 1st
Aquatics Centre
for London 2012.
It forms part of the gateway to the Olympic Park – more than two-thirds of spectators will enter the Park at the south-east corner via a bridge that forms part of the venue’s roof.
The design and build
With a capacity of 17,500, the Aquatics Centre’s spectacular wave-like roof is 160m long and up to 80m wide – giving it a longer single span than Heathrow Terminal 5.
The venue features a 50m competition pool, a 25m competition diving pool, a 50m warm-up pool and a ‘dry’ warm-up area for divers. Construction on the venue began in July 2008 and was completed in July 2011.
The venue’s roof proved to be one of the most complex engineering challenges of the Olympic Park big build. Its skeletal structure rests on just two concrete supports at the northern end of the building and a supporting ‘wall’ at its southern end. This steel framework was initially constructed on temporary supports, before the entire 3,000-tonne structure was lifted up 1.3m in a single movement and successfully placed back down on to its permanent concrete supports.
Work began on the inside of the venue once the roof was in position. The three pools were dug out, lined, filled with water and tested, before they were fitted with more than 180,000 tiles.After the Games
The Aquatics Centre will be transformed into a facility for the local community, clubs and schools, as well as elite swimmers, attracting an anticipated 800,000 visitors a year. All the pools have moveable booms and floors to create different depths and pool sizes, so it can be used by swimmers of all abilities and experience. After the Games, the venue’s operator after the Games will be Greenwich Leisure Limited
The two temporary wings will be removed – reducing its capacity to 2,500 – although it will be possible to increase the venue capacity for major competitions.
The venue will also feature a creche, family-friendly changing facilities and a cafe, alongside a new public plaza in front of the building.
We use these giant rolls of pre-printed invoice forms at work for invoicing customers. They are 5 feet in diameter and are mounted onto laser printers to print invoices for mailing out to customers. The laser printer will finish with one roll in about 20 minutes and we run these nearly around the clock. Very impressive!
Way back in December 2017, the lovely organizers of the newly formed Line Up Pole Dance Company invited several photographers to shoot some photos for an upcoming show. I've shot with most of the ladies before and they are an awesome bunch. Fun, creative, physically toned ladies - and they put up with me!
We shot in one of the performer's back yard on the coldest day this season. The temp was about 40 degrees and there was a nasty, numbing biting wind most of the time - along with bouts of sleet that made it feel a lot colder. The women were smart and went inside to warm up in front of a nice toasty fireplace while the photographers froze outside (playing for the sympathy vote).
Thanks to everyone that we shot with - I'd do it again in a heart beat! I took these photos in Boise, Idaho in December 2017.
Regole di gioco
REGOLE
1. II gioco del lancio della forma di formaggio viene effettuato con forme di formaggio dello stesso peso e dimensioni (diametro e spessore) ed una cordella o fettuccia per effettuare il lancio;
2. Poiché le forme di formaggio (pecorino, asiago, parmigiano ecc.) sono create con i pesi e misure notevolmente diverse, le gare vengono suddivise per categorie (leggera fino a kg 1,500, media leggera fino a kg 3, media fino a kg 6,500, pesante fino a kg 16 e massima oltre kg 25) secondo il peso, nell'ambito di ciascuna categoria debbono essere scelte forme uguali che dopo ogni gioco vengono scambiate tra i contendenti:
per facilitare il lancio, il lanciatore avvolge intorno alla forma una fettuccia o cordella sia per facilitare la presa sia per imprimere una maggior forza rotativa;
3. II campo di gioco in genere è una strada campestre oppure delle piste in terra battuta;
4. Ogni gara consiste nel lanciare la forma il più lontano possibile con un numero prefissato di lanci;
5. Ogni partita o gara viene disputata in più giochi; por ogni. gioco vengono effettuati vari lanci a seguire, si aggiudica il gioco il lanciatore o la squadra che, dopo il numero di lanci prefissato ha percorso la maggior distanza;
6. Le origini di questo gioco, per le gare amatoriali non di campionato, impongono il rispetto delle regole tradizionali locali che diversificano nel numero di lanci e nel modo di percorrere la strada.
La regola comune per tutte le gare di lancio della forma di formaggio è quella che il vincitore riceve in premio la forma di formaggio giocata dall'avversario;
7. In caso di rottura della forma durante il gioco, la parte maggiore determina il segno per ripartire con il tiro successivo, mentre i rimanenti pezzi sono a disposizione degli spettatori che seguono la gara per essere subito mangiati.
Inoltre è tradizione che il vincitore, in segno di rispetto ed amicizia, al termine della gara oltre a stringere la mano al vinto offre a questo un bicchiere di vino.
Per tutte le norme di gara, vale l'apposito Regolamento del lancio della Forma di Formaggio.
STORIA
Come per i birilli, il lancio della forma di formaggio era sovente un gioco d'azzardo, la cui posta andava ben al di là della "forma" in palio, o di una merenda con uova sode o vin brulé.
Si racconta che un certo Baraccani in un pomeriggio di metà quaresima, lanciando una forma stagionata di cacio pecorino, perdette insieme alla maggior parte dei beni e dei possedimenti della famiglia, anche il castello di Monterastello nella vallata di Pavullo (Modena).
A Novara di Sicilia (Messina) sino agli anni' 50 si lanciava la majorchina, così chiamata dal formaggio "majorchino" di produzione locale.
In Garfagnana (Lucca), si lanciano tuttora le forme di formaggio in gare estemporanee, praticamente tutte le domeniche estive, a Pieve San Lorenzo (frazione di Minucciano) nel torrente Tassonaro (informazioni dal presidente del gruppo sportivo, Marco Biscioni), dove si lanciano forme di pecorino di un pastore di Sassalbo; a Carèggine, Borsigliana (Piazza al Serchio) Piano di Coreglia e soprattutto a Gallicano dove c'è un'ottima pista di lancio della forma (vicino al campo sportivo) e si gioca (con scommesse) ogni domenica pomeriggio di bel tempo, da aprile a tutto ottobre.
Nell'alto parmense (a Via Mozzola, alta Valle del Taro e a Corniglio del Bosco, via Parma), il lancio del formaggio si è ridotto a gioco infantile: erano infatti i pastorelli che il giorno di San Giovanni (solstizio d'estate e giorno particolarmente importante per le religioni naturali d'Europa), lanciavano il formajen de San Zvan appositamente preparato per loro.
Mentre le aree più conservative continuano a praticare un originario e prezioso lancio della forma di formaggio (collegato tuttavia al gioco d'azzardo popolare), la progressiva sostituzione dell'attrezzo con la ruota disco in legno ha portato ad un coordinamento e ad una pratica "sportiva" delle attività agonistiche che sono via via andate regolamentandosi in un contesto che non sempre è di sagra paesana spontanea.
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once more the badgers clan floating place was found the house was on monstrous form after anti henrietta got life ended by underworld core for betraying about black agios was found the devil cat black thomas
Lolita Dark is an Epic
Rock band with roots in Southern California and Japan formed in 2012. Their sound weaves together crunching guitar riffs, progressive bass lines, lush harmonies, and complex melodic structures in songs that reflect both angst and optimism in an increasingly interconnected world of disconnected residents.
2012 年に結成。米国・カリフォルニアを拠点とする日米双方にルーツを持つ個性派ロックバンド。壮大なハーモニーと複雑なメロディのアンサンブルを特徴的な激し いギターやプログレッシブなベースラインに乗せることにより、幻想的で独創性溢れる世界観を生み出している。バンドのフロントマンであるRay は闇と光、怒りと喜び、過去と現在、東洋と西洋など、現世に存在しうる全ての相反する事象や矛盾の「融合」を音楽を通じて表現しているという。
Fronted by Shibuya-born singer/songwriter Rayko, Lolita Dark provides the soundtrack and visuals of a world where light intersects dark, east meets west, and the past overlaps the present, depicting the, seemingly, redundant circles of our lives and universe.
The core of Lolita Dark is formed by singer/ songwriter / guitarist / multi-instrumentalist Rayko (Ray), Bassist Rain Balen, and Drummer Joey Felix who are also members of the Los Angeles rock band "Dig Jelly", and Okinawan vocalist and keyboardist Machiko (May), and guitarist Patrick Cabrera of prog metal band False Empire.
LD はバンドの中核を担うリーダー・Rayを筆頭に、苦楽を共に過ごした地元の音楽仲間であるRain Balen(Bs)、Joey Felix(Dr)、Patrick Cabrera(Gtr).沖縄出身のMay(Keys/Vocal)の移住の後、北海道出身のK−Luを加えた国際的なバンド構成。
Their first album, “Tokyo Status” was released in 2012 and featured a wide range of intensely personal, yet universal meditations on love, addiction, promise, and despair. It blazed new territory with a sonic landscape that fused Shibuya glam, European symphonic-rock, and American metal. Lolita Dark's debut CD explored the themes of Salvation, Redemption, Sanctuary, and displayed some of Rayko's internal anguish after the Great Tohoku Earthquake and Tsunami ravaged her homeland.
Lolita Dark has performed at various venues including Bar Sinister, House of Blues, J-Pop events hosted by "Tune in Tokyo", and Rayko's on going event “Tokyo Status” .Lolita Dark has also performed at Anime Expo, Nan Desu Kan, Anime Los Angeles, and Pacific Media Expo, where they opened for Japanese artists BACK-ON (Avex) and D (Avex, Universal Music). Lolita Dark was also invited by NAMM 2015 to host a panel to talk about their success in finding a niche in independent music market.
Lolita Dark is working on their third release while they perform as an opener to national acts from Japan, and headlines local clubs and anime convention circuits.
全米最大の日本ポップカルチャー祭典であるAnime Expoでの鮮烈のデビューを飾る。これを期にバンドは本格始動し、ローカル誌などで多く取り上げられるようになる。Anime Expoでのライブを皮切りにBar Sinister Hollywood、Roxy、House of Blues等、数々の有名ライブハウス公演をも成功させている。また、デビュー後は矢継ぎ早 に Nan Desu Kan (Co)、Katsukon (D.C/Maryland)、Zenkaikon (PA)といった多様なコンベンション・ツ アーも取り組まれ、多くの会場での演奏を経験する。
“Mad Times”, from the "Tokyo Status" album, has been chosen for the in-production Steampunk web series “Tinker". “Wounded Angel”, the recently released song by Lolita Dark, has become the official theme song for Anime California 2014. Lolita Dark's second album, “Queen's Decade”, was released in the spring of 2014 at their opening performance for Gacharic Spin (Universal Music) at Tekko 2014.
Lolita Dark's albums and new single "Wounded Angel" are available now on iTunes and CDBaby.
Lolita Dark signed a 5 year recording/distribution contract for East Asia including Japan, Korea, and China in July 2015.
itunes.apple.com/us/artist/lolita-dark/id586389170
www.cdbaby.com/Artist/LolitaDark
Official Lolita Dark website: www.lolitadark.com/
Rayko official website: rayko.com/
2012年にはデビューアルバム「Tokyo Status」をリリース。
リリースから現在に至るまで、州外へも精力的に赴き本格的なライブ活動を行っている。このアルバムは全曲メッセージ性が強く、Rayの強烈な想いが反映されている。特に「Mad Times」というトラックは東日本大震災で被災された方々への追悼の意を込めた楽曲であり、Rayの故郷が崩壊されたことに対する悲しみや虚しさなどの感情を色濃く表現している。また、同曲は現在アメリカで制作 中の 「TINKER」というスティームパンクを題材としたウェブTVシリーズの主題歌として起用されている。(www.youtube.com/watch?v=ttWXSVs_4iI）
また、「Tokyo Status」リリース翌年の3月からはアルバムと
同名儀のファッション・ロックショーケース・イベントも月１で開催している。(www.facebook.com/TokyoStatus)
A few thoughts - not yet well-formed - but here we go... (tl;dr - Holy Crap - the Nikon D800 is probably NOT the camera I thought it would be and now I'm torn on my next body)
So I shot the big inner-city football game in Normal last Friday - Community vs. West. My wife teaches at Community and I wanted to spend Friday night within a quarter-mile of her location for a change so I decided to shoot the game. I had invited budding talented sports shooter Tuan Brown to come shoot the game with me - which he did. He shot with a Canon T1i - a camera released in May of 2009 - almost a year-and-a-half after my D300. We both spent the night shooting between 1600 and 3200 ISO at f/2.8 on similar 70-200 f/2.8 lenses (mine - borrowed from Stacy with VR and Tuan's without).
(Note: the image above shot at 1/800 and f/2.8 at ISO 3200 with -2/3 EV looks like crap big but holds up on screen resolution. The looks like crap is strictly an output of the high ISO).
Let me just say that shooting sports isn't for the weak of heart. Tracking focus is tough. I have Nikon's 51-autofocus points 3D tracking which does pretty darn well. Tuan had continuous autofocus but only nine focus points. And yet he did a great job. Kudos to him - he's new to this and doing well. And while my focus was okay, I was a little disappointed to shoot at 3200 ISO. I think Tuan's images at 3200 ISO look better than mine at 3200. Chalk that up to a more advanced processor in his consumer Canon than my prosumer Nikon - but that's how fast technology changes nowadays. I saw at least one Nikon D700 and one Nikon D3s at the game. Both Fx cameras. The D700 - which I've shot many times (thanks Al and Ben) - does pretty well at 3200 ISO. I trust it there. It probably even does better at 6400 ISO than my D300 at 3200 ISO. The D3s is the best low-light performance camera in the DSLR world. It's a beautiful thing - even at 6400 ISO. Just wow. But you get what you pay for. My D300 was about $1800 when it came out. The D700 was about $2700 and the D3s was about $5400. So be it... let the ranting begin.
So in the last few days, the Nikon rumor-mill, driven by the EXCELLENT Nikon Rumors website, has gone a little crazy on the LONG awaited D700 replacement - a camera I was almost certain to buy when it came out as I make the transition from Dx to Fx. I've been waiting for awhile to upgrade to full-frame and was debating between the D700 itself (probably now about $2300 new but harder and harder to find) and the next-gen "D800" which was expected to arrive between $2700-$3000 and staged as an excellent competitor to the similarly priced Canon 5DMk II and the eventual replacement for that - the 5DMk III. And yet the "D800" is going in a completely different direction - again based on rumors but solid ones at that.
The likely D800 will run around $4K and be a - wait for it - a 36MP camera. OMFG. 36MP. Seriously - who needs 36MP In a DSLR? Nikon's two high-end pro cameras currently, the D3s (the king of low light and a beautiful sensor at 12.2MP) and the D3x (the king of file beauty but not low light at approximately 24MP) differ along the lines just mentioned. Low light performance vs. large/lovely file performance. Both are not schlocks at either but they are clearly differentiated. I think it was long anticipated that the D800 would be 97% or more of what the D3s was (for half the price) - not the D3x. And yet it's moving into the realm of a lower-priced D3x (which retails for about $8K) meaning it won't be the high ISO performer the D3s is. The rumored ISO range is 100-6400, same as the D3x and only a stop better than my D300. I'm sure it will do very well at say 3200 ISO - but maybe not as well as the D3s. But 36MP - it just seems to be... unnecessary. Leave those pixels to the top of the pro line. Not to the bottom of the pro line. While it sounds amazing in general - I could probably pick up a refurb'd D3s for the same price (or close). I was 99% sure I would buy this camera - now I'm 75% sure I won't. Too early to tell but 36MP is feeling like overkill and priced too high too boot.
My world has been thrown for a curve - a first-world problem I know - but this is the stuff I sit up thinking about too much.... Oh - and West crushed Community. Sigh.
We do hope this stretches a smile on your face...
KOXBOX Live (Twisted Records/ Ibiza/Denemark)
Formed in Copenhagen early in the '90s, Koxbox made some of the first moves toward
the psychedelic trance sound that became a standard later in the decade. The duo
was formed by Frank E (aka Frank Madsen) and Peter Candy, who first met back in 1980
while playing in rock bands around Copenhagen. Even though the KoxBox evolution has
taken many twists and turns, one thing stayed constant: the music is of unimaginable
quality and they can surely be called legends in our scene. We are very excited to
host one of the only artists that have constantely elevated their music to be on top
of the psychedelic trance scene.
OCELOT Live (Vertigo Records/ Portugal)
oCeLoT aka Aaron Peacock is based in Portugal after many years in San Fran. Aaron produces
high-impact psychedelic trance, sometimes deviating into fresh morning goa style creating
music for your nonstop dancing, listening pleasure. While producing since 1993, the oCeLoT
project began in the year 2000 and has been heard on 5 continents in forests, on beaches,
on mountains, in clubs, warehouses, in fields, and just about anywhere a trance party has
been held.
Frank'E DJ Set (Twisted Records/ Ibiza/Denemark)
By the words of the DJ, get ready for a "KILLER" DJ set by the mastermind of KoxBox.
Ocelot chill set (Vertigo Records/ Portugal)
We are treated by this multi talented artist to a couple of hours of on the chill stage
that will surely have you levitating..
Progress Live (YogiBogeyBox/ NYC)
Yuriy Vaskevich is a discoverer of musical dreamscapes. His immense musical background
is not to be missed. He pushes the limits of psychedelic experimental music and reached
sounds that are progressively unique. By popular demand we bring back Yuriy. We assure
you that if you have not heard Yuriy before you will go back to your computers to have
another listen.
DJ K E N (Dreamcatcher / Psychollective, NYC / JP)
K e N's Psytrance style can be described as Full-On that is neither too bright or too dark.
Yet, powerful with a message, his infectious sounds make you smile & dance He plays for
the love of the music and the people. Always evolving, and trying to further define that
special moment, to make the crowd feel special on the dance floor.
We do hope this stretches a smile on your face...
KOXBOX Live (Twisted Records/ Ibiza/Denemark)
Formed in Copenhagen early in the '90s, Koxbox made some of the first moves toward
the psychedelic trance sound that became a standard later in the decade. The duo
was formed by Frank E (aka Frank Madsen) and Peter Candy, who first met back in 1980
while playing in rock bands around Copenhagen. Even though the KoxBox evolution has
taken many twists and turns, one thing stayed constant: the music is of unimaginable
quality and they can surely be called legends in our scene. We are very excited to
host one of the only artists that have constantely elevated their music to be on top
of the psychedelic trance scene.
OCELOT Live (Vertigo Records/ Portugal)
oCeLoT aka Aaron Peacock is based in Portugal after many years in San Fran. Aaron produces
high-impact psychedelic trance, sometimes deviating into fresh morning goa style creating
music for your nonstop dancing, listening pleasure. While producing since 1993, the oCeLoT
project began in the year 2000 and has been heard on 5 continents in forests, on beaches,
on mountains, in clubs, warehouses, in fields, and just about anywhere a trance party has
been held.
Frank'E DJ Set (Twisted Records/ Ibiza/Denemark)
By the words of the DJ, get ready for a "KILLER" DJ set by the mastermind of KoxBox.
Ocelot chill set (Vertigo Records/ Portugal)
We are treated by this multi talented artist to a couple of hours of on the chill stage
that will surely have you levitating..
Progress Live (YogiBogeyBox/ NYC)
Yuriy Vaskevich is a discoverer of musical dreamscapes. His immense musical background
is not to be missed. He pushes the limits of psychedelic experimental music and reached
sounds that are progressively unique. By popular demand we bring back Yuriy. We assure
you that if you have not heard Yuriy before you will go back to your computers to have
another listen.
DJ K E N (Dreamcatcher / Psychollective, NYC / JP)
K e N's Psytrance style can be described as Full-On that is neither too bright or too dark.
Yet, powerful with a message, his infectious sounds make you smile & dance He plays for
the love of the music and the people. Always evolving, and trying to further define that
special moment, to make the crowd feel special on the dance floor.
Bristol Parks News: Bristol Parks Summer Camp for Kids will be June 18thru July 20, 2018. Lori McDonald, 2018 Director of the Bristol Summer Kids Camp Program held a signup at Cummins Park, and Gloria McFall signed up her grandson. Signup forms are available at the Bristol Library, where the event will be held this year, since Hermance Park not available. Forms also at Town Hall. Bring the form with you on the first day of the Camp on Mon. June 18, 2018, at 9am at the Bristol Library. Camp runs Mon. thru Fri. June 18 to July 20, from 9am to 1pm at the Bristol Library, with no Camp on July 4. Camp is free, but parents or guardian should pack a lunch each day for each child. Can bring sun screen and bug spray since much time is spent outdoors at Cummins Park and various walking distance field trips around Bristol’s downtown. Local resident, Lori, attended the program as a child, and is a home-school Mom, Boy Scout Leader/Camp Director and has Camp certification. Her assistant is Kathy Thornton. Children will participate in the Library Summer Reading/Music programs. Call Jill at Town Hall for any info. New Park Board members for 2018 are Toni Miller and Penny Bucks. New Park Program Director is Stacey Bates. Park Board meetings are 2nd Tues. of each month at Town Hall at 6pm. Information letter available at the photos link.
Women Cooperative (project supported by the ILO): in the quarries of Mtongani (Dar Es Salaam), a mushroom and hen house project directed under cooperative form was proposed as an alternative to the stone breakage that used to be the principal activity of
Country : Tanzania, United Republic Of
Date : 2003-10
Copyright : Marcel Crozet / ILO
Bois d'Arcy, le 1er mars 2010 - Christine LAGARDE, ministre de l'Economie, de l'Industrie et de l'Emploi et Christian ESTROSI, ministre chargé de l’Industrie ont inauguré la plate-forme industrielle du courrier de Bois d'Arcy, dotée d'équipements de tri et de distribution les plus modernes d'Europe. "Un jour de célébration" pour Christine LAGARDE qui a rappelé que La Poste est le "service public préféré des Français".
© MINEIE - Ph Ricard
www.economie.gouv.fr/christine-lagarde/ministre-economie-...
tão implacável, roubando-nos as oportunidades se não formos suficientemente rápidos para agarrá-las imediatamente?"
( Liv Ullmann )
Achei a calma dessa foto propícia pra uma reflexão sobre o tempo. É pessoal, portanto, não há necessidade de se identificarem com ela.
Por que será que o tempo é assim? Certas horas sinto uma nostalgia imensa, de fatos que até nem vivi. Sofro por coisas que aconteceram antes de meu tempo, me alegro pelo que só vejo por fotos... E o futuro? Será que vale a pena planejá-lo, levando em consideração a possibilidade de uma grande decepção? É possível determinar exatamente o que nós queremos fazer, com tão pouca maturidade? Afinal, o tempo não pára. E meu único desejo seria conseguir segui-lo, conseguir sentir o presente.
Form and Formed runs until June 9 and features ceramic and installation work by Suk Jin Choi and work by architect Yu-Chih Hsiao. Community Arts @ Paramount Gallery located on west side of Woodward, south of 9 mile in Paramount Bank. 22635 Woodward Avenue, Ferndale, MI.
1919. Aquarel·la, tinta i llapis de grafit sobre paper. 31,8 x 24,4 cm. Museu Solomon R. Guggenheim, Nova York. 49.347.
Forms of Nature #8
digital collage
by Kenneth Rougeau
The eighth image in the new "Forms of Nature" series of digital collages I'm currently constructing. Prints are available in my Etsy store (artfamilia). At present, I'm planning several individual pieces and at least one triptych for the set. More to come soon!
Red soil (laterite) that has formed from weathering of basaltic lava flows, Kauai. Basaltic bedrock crops out over the bottom half of the photo.
Architectural Significance
Design Features
Significant buildings:
There are no individual significant buildings as such in Finn Slough. The importance of the built form in this area stems from the cluster arrangement of the structures, their history as a group, and their development over time. There are no exact dates available for the construction of the individual homes, only that the majority of them were built between the first settlement of the area and approximately 1940. New additions have continued the pattern of incremental development and have retained the overall vernacular character of the buildings.
Overall built form:
The site has a linear boardwalk spine on Whitworth Island, with houses on either side connected to the boardwalk by gangplanks. The buildings can be accessed by boat from the river or on foot by a wooden footbridge from the dyke to the boardwalk. Buildings on the north side are accessed from Dyke Road. The majority of the buildings are one or two storey wood frame dwellings and fishery-related buildings with fairly steep pitched gable roofs. Many of them are on stilts. They have evolved from the early “scow houses” which were rectangular structures on floating barges, and used as dwellings by local fishermen.
Aesthetic qualities:
Although the structures at Finn Slough are rough and vernacular in nature, they still demonstrate a degree of aesthetic quality through a consistent massing and scale of buildings, their clustering along the slough and along a central corridor, and through a rhythm of rooflines, dock structures, and hydro poles. As well, there is a consistency in building materials, and in the muted natural colours of the buildings and the landscape which makes the area particularly attractive.
Source: www.richmond.ca/plandev/planning2/heritage/HeritageInv/de...