Da it.wikipedia.org/wiki/Craco e www.basilicatatour.com/craco.html:

Craco è un centro in provincia di Matera che dista 54 km dal capoluogo. Sorge nella zona collinare che precede l'Appennino Lucano a circa 390 m. s.l.m., a metà strada tra i monti e il mare, nella parte centro-occidentale della provincia. Il territorio è vario, con predominanza dei calanchi, profondi solchi scavati in un terreno cretoso dalla discesa a valle delle acque piovane.

A causa di una frana di vaste proporzioni, nel 1963 Craco iniziò ad essere evacuata e parte degli abitanti si trasferì a valle, in località "Craco Peschiera". Allora il centro contava quasi 2000 abitanti. La frana che ha obbligato la popolazione ad abbandonare le proprie case sembra essere stata provocata da lavori di infrastrutturazione, fogne e reti idriche, a servizio dell'abitato. Nel 1972 un'alluvione peggiorò ulteriormente la situazione, impedendo un eventuale ripopolazione del centro storico e dopo il terremoto del 1980 Craco vecchia venne completamente abbandonata.

Ad onta di questo esodo forzato, Craco è rimasta intatta, trasformandosi in un paese fantasma.

Nel 2010, il borgo è entrato nella lista dei monumenti da salvaguardare redatta dalla World Monuments Fund.

Il comune, nella realizzazione di un piano di recupero del borgo, ha istituito, dalla primavera del 2011, un percorso di visita guidata, lungo un itinerario messo in sicurezza, che permette di camminare sul corso principale del paese, fino a giungere a quello che resta della vecchia piazza principale, sprofondata in seguito alla frana. Nel dicembre 2012, è stato inaugurato un nuovo itinerario, che permette di addentrarsi nel nucleo della città fantasma.

Craco è stata scelta da molti registi come location per i loro film:

-- 1953: La lupa di Alberto Lattuada;

- 1974: Il tempo dell'inizio di Luigi Di Gianni;

- 1979: Cristo si è fermato a Eboli di Francesco Rosi: nell'episodio dell'arrivo di Carlo Levi alla nuova destinazione di confino, Gagliano. Per l'occasione furono disposti sulle prime case del paese degli stendardi a lutto, per ricreare lo scenario descritto nel libro, i quali ancora oggi sono visibili;

- 1985: King David di Bruce Beresford;

- 1990: Il sole anche di notte di Paolo e Vittorio Taviani;

- 1996: Ninfa plebea di Lina Wertmüller;

- 1999: Terra bruciata di Fabio Segatori;

- 2004: La passione di Cristo di Mel Gibson, ove Craco fu scelta dal regista come sfondo durante la scena dell'impiccagione di Giuda;

- 2004: The Big Question di Francesco Cabras e Alberto Molinari;

- 2006: Nativity di Catherine Hardwicke;

- 2008: Agente 007 - Quantum of Solace di Marc Forster;

- 2010: Basilicata coast to coast di Rocco Papaleo;

- 2012: Un medico di campagna di Luigi Di Gianni;

- 2013: Murder in the dark di Dagen Merrill.

I viaggiatori che si avventurano a Craco si trovano immersi in un'atmosfera a dir poco surreale, circondati dal paesaggio lunare dei “calanchi” resi celebri dal “Cristo si è fermato a Eboli” di Carlo Levi; olivi secolari misti a cipressi antichissimi sono dal lato del paese verso lo scalo, quest'ultimo sulla ferrovia calabro lucana da questo lato divelta e abbandonata.

a-world-in-a-grain-of-sand-sl.blogspot.com/2014/05/born-t...

Toward evening

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Collioure, Pyrénées-Orientales (France).

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La reflexión: www.santimb.com/2012/05/atardece.html

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CASTELLANO

El Castillo Real de Colliure es uno de los monumentos más importantes de Colliure junto con la iglesia Nuestra Señora de los Ángeles. La primera documentación del castillo es de 673, lo que evidencia la situación estratégica de este territorio.

El castillo y Colliure fueron posesiones de los condes de Rosellón antes de pasar bajo el control de los reyes de Aragón de 1172 a 1276. Más tarde, el Castillo Real fue unido al reino de Mallorca hasta 1343, se convirtió entonces residencia real (Colliure era en aquella época el primer puerto del Rosellón), ocupada de manera discontinua por los soberanos y su corte que se desplazaban a menudo entre el resto de sus posesiones. Entre 1242 y 1280 el castillo fue completamente reconstruido a costa de una casa de los Templarios vecina.

Tras la ocupación por las tropas Luis XI, Colliure, a partir del reinado de Carlos I, pasó bajo la dominación de los Habsburgo de España. Convenía pues adaptar la fortaleza de manera urgente a los progresos de la artillería. Así las defensas del castillo y de sus alrededores se reforzaron considerablemente.

Durante la Guerra dels Segadors, en 1642, Colliure y su castillo sufrieron un asedio intenso. Las tropas del rey francés dominaban los montes y su flota bloqueaba el puerto. A raíz del asalto de la ciudad y del castillo por las tropas de Luis XIII de Francia (que constaban de 10.000 hombres entre los cuales se encontraban Turenne, de Artagnan y sus mosqueteros). A consecuencia de este ataque, las tropas españolas, privadas de agua por la destrucción del pozo, deben rendirse.

En 1659, tras el Tratado de los Pirineos, con la anexión consiguiente del Rosellón, el castillo pasa bajo dominación francesa. El arquitecto del rey de Francia Sébastien Le Preste, marqués de Vauban decidió entonces fortificar el monumento arrasando así el pueblo alto para fortalecer el recinto.

Más info: es.wikipedia.org/wiki/Castillo_Real_de_Cotlliure

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ENGLISH

The Château Royal de Collioure is a massive French royal castle in the town of Collioure, a few kilometers north of the Spanish border in the French département of Pyrénées-Orientales.

The Château is the juxtaposition of at least 4 castles. Roussillon was conquered by the Romans around 120 BC and the occupied by the Visigoths from 418. The first mention is about a fortified site in Collioure under siege in 673, by Wamba, king of the Visigoths who lay siege to the “Castellum Caucolibéri” to subdue a rebellion.

In the 12th century, Girard II, the last independent count of the Roussillon, bequeathed his land to Alfons II, King of Aragon and Count of Barcelona. Concerned about the prosperity of Collioure, the kings of Aragon granted privileges and tax exemptions. An annual fair was established, and important works were undertaken in the castle, the port and the town. The Knights Templar built the castle around 1207 and integrated it to the royal castle in 1345.

A second one was later built by the Kings of Majorca, over a period in the 13th and 14th centuries. In the 13th century, the Castle was annexed to the Kingdom of Majorca, which included the domain of Montpellier, the earldoms of the Roussillon and Cerdanya, the Conflent and Vallespir, and the Balearic Islands. The Kings of Majorca were itinerant. They travelled with their court. they moved frequently from Maguelonne, near Montpellier, to Perpignan, to Palma de Majorca or to Collioure.

In the 16th century, after a brief occupation by Louis XI, the Spanish Habsburgs, starting with Charles Quint, again occupied Collioure. He and his son Philip II turned the Castle into a modern fortress of the 16th century. It was imperative that the fortifications were adapted in line with the advances in artillery, and so the castle defences and its surroundings were considerably reinforced.

In the 17th century Collioure was at stake in the wars between the Spanish Habsburgs and the French Bourbons. In 1659, France annexed the Roussillon and Collioure and the castle passed definitively into French hands. In 1642, Louis XIII's troops lay siege to Collioure and the Château Royal. Ten thousand men including Turenne, d'Artagnan and the King's musketeers occupied the hills overlooking the town, while the French fleet blocked the port. Deprived of water due to the destruction of their wells, the Spanish were forced to surrender. Vauban built the bastions, reinforced the structure and upgraded Fort Saint-Elme.

In 1793 the Spanish again besieged and occupied Collioure, which General Dugommier took back the next year. He captured Fort Saint-Elme on 25 May and forced the Spanish general Eugenio Navarro to surrender the next day.

More info: en.wikipedia.org/wiki/Ch%C3%A2teau_Royal_de_Collioure

MAAM = Museo dell’Altro e dell’Altrove di Metropoliz_città meticcia.

Da streetartattack.blogspot.it/2013/10/district-913-roma.html:

Nato nel 2012, al termine del cantiere cinematografico e d’arte “Space Metropoliz”, il MAAM è un progetto di Giorgio de Finis. Contro-dipositivo situazionista e relazionale, si pone accanto e in concorrenza con le grandi istituzioni museali italiane e della capitale (il MAXXI e il MACRO), facendo della sua perifericità, della sua totale assenza di fondi, della sua non asetticità (il MAAM è un museo abitato) il suo punto di forza. Avviando un nuovo virtuoso rapporto tra arte e città e tra arte e vita, il Metropoliz si sta dotando, grazie al MAAM, di una pelle preziosa e di una collezione che l’aiuteranno a proteggersi dalla minaccia sempre incombente dello sgombero coatto. Il MAAM si prefigge di trasformare l’intera fabbrica occupata in un oggetto e in un soggetto d’arte collettiva. Gli artisti sono invitati a dare il loro contributo gratuitamente, interagendo con lo spazio e con gli abitanti. E non si può dire che non lo stiano facendo.

Oltre i “relitti” di Space Metropoliz (il telescopio di Gian Maria Tosatti, i muri dipinti di Sten & Lex, Lucamaleonte, Mr. Klevra, Hogre, la bandiera di Paolo Assenza, l’orto lunare di Fabio Pennacchia, il grande razzo costruito dagli abitanti della fabbrica occupata con l’aiuto di Stalker), la Pinacoteca Domestica Diffusa, oltre venti opere di arte contemporanea collocate nelle case degli abitanti di Metropoliz e fotografata da Carlo Gianferro, la “Stanza dei Giochi” (intervento site specific per la ludoteca di Metropoliz ad opera di Veronica Montanino e Alice Pasquini), la “Cattedralehouse_room#2” (opere di Cristiano Petrucci, Gianni Asdrubali, Veronica Montanino), il 5 ottobre il MAAM presenterà le nuove acquisizioni e i lavori realizzati nel corso dell’estate.

Le due nuove stanze d’artista, “Windows M” di Maddalena Mauri e ”Where are the flowers gone” di Micaela Lattanzio. L’intervento murario, tutto in polvere di grafite, che Maddalena Mauri realizza per il nuovo spazio galleria di Metropoliz, moltiplica le finestre della grande stanza dove un tempo stagionavano i salami della Fiorucci, invitando il mondo ad entrare. Un auspicio, per la fabbrica occupata, che coincide con il programma di eventi settimanali del nuovo spazio espositivo, uno dei dispositivi che il MAAM ha deciso di attivare per aprire con regolarità il cancello del 913 al quartiere e alla città, riducendo l’effetto enclave che pregiudizio e necessità di difendersi dallo sgombero rischiano di innescare. La porta “a saloon” della galleria che propone un enorme cuore diviso in due è un’opera di Paolo Angelosanto. La stanza di Micaela Lattanzio è invece uno spazio intimo, un invito alla “meditazione”, un’oasi di pace per chi, come il Chaplin di “Tempi moderni”, si trova incastrato ogni giorno nei meccanismi della metropoli (i suoi fiori di carta, oltre seimila, si liberano dagli ingranaggi e volano via…). Un luogo, questa preziosa stanza “fiorita”, che sembra condividere lo spirito delle stanze de Les Nymphéas di Monet all’Orangerie.

“District 913” tira via il telo anche sulla nuova “piazza” realizzata da Massimo Di Giovanni con L.U.N.A. una enorme sfera di ferro e legno che l’artista incastra tra le travi di un tetto crollato, che lo stesso Di Giovanni ha restaurato e messo in sicurezza). L’opera ha voluto rendere un omaggio all’idea della migrazione esoplanetaria alla conquista della luna narrata dalla favola contemporanea “Space Metropoliz” e all’idea che, lavorando tutti insieme, l’Altrove lo si possa alla fine portare sulla Terra. Altre grandi sfere saranno disseminate nella fabbrica da EPVS, a rendere il percorso difficile e claustrofobico (EPVS_ Bubbling 4 you #913# by EPVS).

Molto rilevanti anche i nuovi interventi di street art realizzati a Metropoliz. Dal grande muro d’ingresso sulla via Prenstina, firmato Borondo, e realizzato in collaborazione con la 999 Contemporary, alla meridiana di Rub Kendy (.R.E.V.O.L.U.T.I.O.N.), allo stencil di Lucamaleonte che riproduce, sulla facciata dell’ex-salumificio che guarda ai recenti scavi archeologici del lotto di fronte, il bassorilievo dei Musei Capitolini raffigurante la caccia al cinghiale. E ancora Alice Pasquini, Solo (con “Plan D, last level”), Diamond (con la porta “Welcome to Metropoliz”), Opiemme (“Questo muro ha un nuovo messaggio”). E ancora Giulio Vesprini, Gio Pistone, Cancelletto, omino71.

Tra le nuove opere acquisite dal MAAM segnaliamo quelle di Pablo Echaurren (“Suburbano disumano”), a cura di ARIA [rivista d’artista], Massimo Attardi (“Lang”, un omaggio all’autore di “Metropolis” che strizza l’occhio anche al gioco “facce di luna” di “Space Metropoliz”), Guendalina Salini (che ripropone in collezione permanente l’installazione “Dove comincia il lontano”), gli interventi murari di Marco Tamburro, Seboo Migone, Paolo Assenza, l’opera di Germano Serafini ”Composizione M”, quella di Michela de Mattei “Metropolitz. Pianoterra / piano, Terra” (a cura di Silvia Litardi), il lightbox di Salvatore Mauro “Pianeta dei Naufraghi”, i nuovi interventi di Santino Drago (”Sangue versato in mostra” e “Asilo politico”).

7 DAY TOUR OF IRELAND - PLACES TO SEE, THINGS TO DO

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FISHING IN IRELAND - GENERAL RULES AND SHORTCUTS

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COUNTY WICKLOW, ADVENTURE HOLIDAYS, OCEAN AND BEACHES

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PIKE FISHING - ATHLONE, MACROOM AND CAVAN - LICENSES AND BEST SPOTS

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CARP FISHING IN IRELAND - PLACES, LOCATIONS, PERMITS

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BOAT CHARTERING FOR SEA FISHING IN IRELAND - 3 TOP STOPS

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GOLFING IN BALLINASLOE AND ORANMORE - GREEN FEES AND LOCATION

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FLEADH CHEOIL NA HEIREANN - THE FLEADH TULLAMORE, CO. OFFALY - MUSICIANS - ACCOMMODATION, ACTS, PUBS, HOSTELS, CHEAP HOTELS, CAMPING SITES AND PERFORMERS

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THE GALWAY OYSTER FESTIVAL - REVIEWS, BOX OFFICE, TICKETS, HISTORY, ENTRY FORMS, INFORMATION, LOCATIONS AND FREE EVENTS

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BELFAST FESTIVAL OF QUEENS - ENNIO MORRICONE - FREE EVENTS - TICKET OFFICE - LOCATIONS - FESTIVAL PROGRAMME - BOX OFFICE - ACCOMMODATION - DISABLED SEATS

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el.kingdomsalvation.org/videos/a-good-person-movie.html

Εισαγωγή

Δευτέρα Παρουσία

Ελληνική ταινία 2019 «Είμαι Καλός Άνθρωπος!» Γίνε ένα καλό άτομο, το οποίο παινεύει ο Θεός

Η χριστιανή Γιανγκ Χουιξίν ήθελε πάντα να είναι καλός άνθρωπος από τότε που ήταν μικρή. Δεν της αρέσει να προσβάλλει τους άλλους. Πιστεύει πως είναι καλός άνθρωπος, επειδή είναι ευγενική και καταδεκτική με τους άλλους. Όταν όμως αποδέχεται το ευαγγέλιο του Θεού των εσχάτων ημερών και υποβάλλεται στην κρίση και την παίδευση των λόγων του Θεού , αφυπνίζεται και καταλαβαίνει πως δεν είναι πραγματικά καλός άνθρωπος. Αντίθετα, ζει σύμφωνα με σατανικές φιλοσοφίες και είναι ένας πολύ εγωιστής και πονηρός «καλός άνθρωπος». Τότε αποφασίζει να αναζητήσει την αλήθεια και να γίνει καλός άνθρωπος, τίμια και ακέραιη... Τι εμπειρίες πέρασε η Γιανγκ Χουιξίν που της επέτρεψαν να μεταμορφωθεί έτσι;

Χριστιανική ταινία

Πηγή εικόνας: Εκκλησία του Παντοδύναμου Θεού

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A Home with an Ingenious Addition: “Vashon Cabin” in USA... All daily inspiration

blogged: kitchencounterblog.blogspot.com/2010/09/lemon-layer-cake-...

Lemon Layer Cake

adapted from : smittenkitchen.com/2007/09/layered-lemon-love/

1-2-3-4 Cake

This cake gets its name from its proportion of ingredients: 1 cup butter and milk, 2 cups sugar, 3 cups of flour and 4 eggs, and from cupcakes to layers cakes, as a basic, white cake, it does not fail. Yield: 3 9-inch layers (for the purpose of this cake) or 24 cupcakes (good to know, eh?)

1 cup (2 sticks) butter, at room temperature

2 cups sugar

4 eggs (at room temperature)

3 cups sifted self-rising flour (sift before AND after measuring. Use a spoon to scoop flour into measuring cup)

1 cup milk (at room temperature)

1 teaspoon pure vanilla extract

Preheat oven to 325°F (original recipe was 350). Using an electric mixer, cream butter until fluffy. Add sugar and continue to cream well for 6 to 8 minutes. Add eggs 1 at a time, beating well after each addition. Add flour and milk alternately to creamed mixture, beginning and ending with flour. Add vanilla and continue to beat until just mixed. Divide batter equally among prepared pans. Level batter in each pan by holding pan 3 or 4-inches above counter, then dropping flat onto counter. Do this several times to release air bubbles and assure you of a more level cake. Bake for 25 to 30 minutes or until a tester or toothpick inserted into the center comes out clean (start checking at 15 minutes if you are making cupcakes).

Lemon Curd

Adapted from The Joy of Cooking

From the Joy of Cooking: This makes a sensation filling for sponge rolls or an Angel Food Cake. You can also marble it into a cheesecake.

8 egg yolks

1 1/2 cups sugar

1/4 cup (1/2 stick) butter

3 lemons, zest grated and juiced

Place the ingredients in the double boiler over boiling water. Don’t let top pan touch the water. Cook and stir until mixture begins to gel or thicken ever-so-slightly. Remove from heat and allow to cool. Cover and refrigerate it to thicken. This keeps, refrigerated, for about 1 week.

Cream Cheese Lemon Frosting (from Better Homes and Gardens Cookbook)

6 oz cream cheese (softened)

1 tsp lemon juice

1/2 cup butter softened

4 1/2-3/4 cups sifted powdered sugar

1 tsp lemon zest

Beat cream cheese, lemon juice, and butter until light and fluffy, gradually add 2 cups sifted powdered sugar. Add remaining between 2 1/2 and 2 3/4 cups of powdered sugar and beat until spreading consistency. Add lemon zest and mix.

Lemon Layer Cake Assembly: Add 1 tablespoon of filling to the cake pedestal. Run hands along the side of the cake to remove excess crumbs. Place the cake layers on the pedestal, spreading filling between the layers and on top. Spread the top of the cake with the remaining filling. Frost top and sides of cake with frosting.

Optional, but delicious: press sweetened coconut flakes into the frosting.

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Mémoire2cité il existe de nos jours, de nombreux photographes qui privilégient la qualité artistique de leurs travaux cartophiles. A vous de découvrir ces artistes inconnus aujourd’hui, mais qui seront peut-être les grands noms de demain. archipostcard.blogspot.com/search?updated-max=2009-02-13T... - museedelacartepostale.fr/periode-semi-moderne/ - archipostalecarte.blogspot.com/ - museedelacartepostale.fr/blog/ - museedelacartepostale.fr/exposition-permanente/ - www.queenslandplaces.com.au/category/headwords/brisbane-c... - collection-jfm.fr/t/cartes-postales-anciennes/france#.XGe... - www.cparama.com/forum/la-collection-de-cpa-f1.html - www.dauphinomaniac.org/Cartespostales/Francaises/Cartes_F... - furtho.tumblr.com/archive

le Logement Collectif* 50,60,70's, dans tous ses états..Histoire & Mémoire d'H.L.M. de Copropriété Renouvellement Urbain-Réha-NPNRU., twitter.com/Memoire2cite tout içi sig.ville.gouv.fr/atlas/ZUS/ - media/InaEdu01827/la-creatio" rel="noreferrer nofollow">fresques.ina.fr/jalons/fiche-media/InaEdu01827/la-creatio Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,

www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije : mécanisation, rationalisation et élaboration industrielle de la production. Des exemples concrets sont présentés afin d'illustrer l'utilisation des différentes innovations : les coffrages outils, coffrage glissant, le tunnel, des procédés pour accélérer le durcissement du béton. Le procédé dit de coffrage glissant est illustré sur le chantier des tours Pablo Picasso à Nanterre. Le principe est de s'affranchir des échafaudages : le coffrage épouse le contour du bâtiment, il s'élève avec la construction et permet de réaliser simultanément l'ensemble des murs verticaux. Au centre du plancher de travail, une grue distribue en continu le ferraillage et le béton. Sur un tel chantier les ouvriers se relaient 24h / 24 , www.dailymotion.com/video/xwytke?playlist=x34ije , www.dailymotion.com/video/x1bci6m?playlist=x34ije

Le reportage se penche ensuite sur la préfabrication en usine. Ces procédés de préfabrication en usine selon le commentaire sont bien adaptés aux pays en voie de développement, cela est illustré dans le reportage par une réalisation en Libye à Benghazi. Dans la course à l'allégement des matériaux un procédé l'isola béton est présenté. Un chapitre sur la construction métallique explique les avantage de ce procédé. La fabrication de composants ouvre de nouvelles perspectives à l'industrie du bâtiment.

Lieux géographiques : la Grande Borne 91, le Vaudreuil 27, Avoriaz, Avenue de Flandres à Paris, tours Picasso à Nanterre, vues de la défense, Benghazi Libye

www.dailymotion.com/playlist/x34ije_territoiresgouv_cinem... - mémoire2cité - le monde de l'Architecture locative collective et bien plus encore - mémoire2cité - Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,

Le Joli Mai (Restauré) - Les grands ensembles BOBIGNY l Abreuvoir www.youtube.com/watch?v=eUY9XzjvWHE … et la www.youtube.com/watch?v=hK26k72xIkU … www.youtube.com/watch?v=xCKF0HEsWWo …

Genève Le Grand Saconnex & la Bulle Pirate - architecte Marçel Lachat -

Un film de Julien Donada içi www.youtube.com/watch?time_continue=1&v=4E723uQcpnU … … .Genève en 1970. pic.twitter.com/1dbtkAooLM è St-Etienne - La muraille de Chine, en 1973 ce grand immeuble du quartier de Montchovet, existait encore photos la Tribune/Progres.

www.youtube.com/watch?v=AJAylpe8G48 …, - la tour 80 HLM située au 1 rue Proudhon à Valentigney dans le quartier des Buis Cette tour emblématique du quartier avec ces 15 étages a été abattu par FERRARI DEMOLITION (68). VALENTIGNEY (25700) 1961 - Ville nouvelle-les Buis 3,11 mn www.youtube.com/watch?v=C_GvwSpQUMY … - Au nord-Est de St-Etienne, aux confins de la ville, se dresse une colline Montreynaud la ZUP de Raymond Martin l'architecte & Alexandre Chemetoff pour les paysages de St-Saens.. la vidéo içi * Réalisation : Dominique Bauguil www.youtube.com/watch?v=Sqfb27hXMDo … … - www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije : mécanisation, rationalisation et élaboration industrielle de la production. Des exemples concrets sont présentés afin d'illustrer l'utilisation des différentes innovations : les coffrages outils, coffrage glissant, le tunnel, des procédés pour accélérer le durcissement du béton. Le procédé dit de coffrage glissant est illustré sur le chantier des tours Pablo Picasso à Nanterre. Le principe est de s'affranchir des échafaudages : le coffrage épouse le contour du bâtiment, il s'élève avec la construction et permet de réaliser simultanément l'ensemble des murs verticaux. Au centre du plancher de travail, une grue distribue en continu le ferraillage et le béton. Sur un tel chantier les ouvriers se relaient 24h / 24 , www.dailymotion.com/video/xwytke?playlist=x34ije , www.dailymotion.com/video/x1bci6m?playlist=x34ije

Le reportage se penche ensuite sur la préfabrication en usine. Ces procédés de préfabrication en usine selon le commentaire sont bien adaptés aux pays en voie de développement, cela est illustré dans le reportage par une réalisation en Libye à Benghazi. Dans la course à l'allégement des matériaux un procédé l'isola béton est présenté. Un chapitre sur la construction métallique explique les avantage de ce procédé. La fabrication de composants ouvre de nouvelles perspectives à l'industrie du bâtiment.

la Grande Borne 91, le Vaudreuil 27, Avoriaz, Avenue de Flandres à Paris, tours Picasso à Nanterre, vues de la défense, Benghazi Libye 1975 Réalisateur : Sydney Jézéquel, Karenty

la construction des Autoroutes en France - Les liaisons moins dangereuses 1972 www.dailymotion.com/video/xxi0ae?playlist=x34ije - Ministère de l'Équipement et de l'Aménagement du Territoire - Dotation par la France d'autoroutes modernes "nécessité vitale" pour palier à l'inadaptation du réseau routier de l'époque voué à la paralysie : le reportage nous montre des images d'embouteillages. Le ministre de l'Équipement et de l'Aménagement du Territoire dans les deux gouvernements de Pierre Messmer, de 1972 à 1974, Olivier Guichard explique les ambitions du programme de construction qui doit atteindre 800 km par ans en 1978. L'ouverture de section nouvelles va bon train : Nancy / Metz par exemple. Le reportage nous montre l'intérieur des bureaux d'études qui conçoivent ces autoroute dont la conception est assistée par ordinateurs dont le projet d'ensemble en 3D est visualisé sur un écran. La voix off nous informe sur le financement de ces équipements. Puis on peut voir des images de la construction du pont sur la Seine à Saint Cloud reliant l'autoroute de Normandie au périphérique, de l'échangeur de Palaiseau sur 4 niveau : record d'Europe précise le commentaire. Le reportage nous informe que des sociétés d'économies mixtes ont étés crées pour les tronçons : Paris / Lille, Paris / Marseille, Paris / Normandie. Pour accélérer la construction l’État a eu recours à des concessions privées par exemple pour le tronçon Paris / Chartres. "Les autoroutes changent le visage de la France : artères économiques favorisant le développement industriel elles permettent de revitaliser des régions en perte de vitesse et de l'intégrer dans le mouvement général de l'expansion" Sur le plan européen elles vont combler le retard de la France et réaliser son insertion. Images de l'inauguration de l'autoroute entre Paris et Bruxelles par le président Georges Pompidou. Le reportage rappel que l'autre fonction capitale des autoroute est de favoriser la sécurité. La question de la limitation de vitesse est posée au ministre de l’Équipement, qui n'y est favorable que sur certains tronçons. Un des facteur de sécurité selon le commentaire est l'humanisation des autoroutes : aires de repos, restaurants, signalisation touristiques... "Rien n'est impossible aux techniques modernes" nous apprend la voix off qui prend comme exemple le déplacement sur rail de 65 mètres d'un château classé afin de faire passer l'autoroute Lille / Dunkerque.Durée : 4 minutes 30 secondes

Sur les routes de France les ponts renaissent 1945 reconstruction de la France après la Seconde Guerre mondiale www.dailymotion.com/video/xuxrii?playlist=x34ije , Quelques mois après la fin de la Seconde Guerre mondiale, un triste constat s'impose : 5 944 passages sont coupés, soit plus de 110 km de brèches ; de nombreuses villes se trouvent isolées.Les chantiers s'activent dans toute la France pour "gagner la bataille des communications routières". Mais outre la pénurie de main d’œuvre, il faut faire face au manque de matériaux (béton, métal) et donc déployer des trésors d'imagination pour reconstruire les ponts détruits. Si le savoir faire des tailleurs de pierre est exploité, le plus spectaculaire est le relevage des ponts, comme le pont de Galliéni à Lyon, où 7 à 800 tonnes d'acier sont sorti de l'eau avec des moyens de l'époque. En avril 1945, il reste 5 700 ponts à reconstruire soit 200 000 tonnes d'acier, 600 000 tonnes de ciment, 250 000 m3 de bois, 10 millions de journées d'ouvrier, prix de l'effort de reconstruction.1945

Auteurs / réalisateurs : images : G.Delaunay, A.Pol, son : C.Gauguier Production : Direction Technique des Services des Ponts et Chaussées / Ministère des Travaux Publics et des Transports Support original : 16 mm noir et blanc Durée : 14 min Thèmes principaux : infrastructures-ouvrages d'art Mot clés : chantier, pont, Reconstruction, restauration, béton précontraint, ministère des travaux publics et des transportsLieux : Lyon, Tournon, Caen - Le Bosquel, un village renait 1947 l'album cinématographique de la reconstruction, réalisation Paul de Roubaix production ministère de la Reconstruction et de l'Urbanisme, village prototype, architecte Paul Dufournet, www.dailymotion.com/video/xx5tx8?playlist=x34ije - Demain Paris 1959 dessin animé présentant l'aménagement de la capitale dans les années 60, Animation, dessin animé à vocation pédagogique visant à promouvoir la politique d’aménagement suivie dans les années 60 à Paris. Un raccourci historique sur l’extension de Paris du Moyen Âge au XIXe siècle (Lutèce, œuvres de Turgot, Napoléon, Haussmann), ce dessin animé retrace la naissance de la banlieue et de ses avatars au XXe siècle. Il annonce les grands principes d’aménagement des villes nouvelles et la restructuration du centre de Paris (référence implicite à la charte d’Athènes). Le texte est travaillé en rimes et vers. Une chanson du vieux Paris conclut poétiquement cette vision du futur. Thèmes principaux : Aménagement urbain / planification-aménagement régional Mots-clés : Banlieue, extension spatiale, histoire, quartier, ville, ville nouvelle Lieu géographique : Paris 75 Architectes ou personnalités : Eugène Haussmann, Napoléon, Turgot Réalisateurs : André Martin, Michel Boschet Production : les films Roger Leenhardt

www.dailymotion.com/video/xw6lak?playlist=x34ije - Rue neuve 1956 la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, villes, villages, grands ensembles réalisation : Jack Pinoteau , Panorama de la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, ce film de commande évoque les villes et villages français détruits puis reconstruits dans un style respectant la tradition : Saint-Malo, Gien, Thionville, Ammerschwihr, etc. ainsi que la reconstruction en rupture avec l'architecture traditionnelle à Châtenay-Malabry, Arles, Saint Étienne, Évreux, Chambéry, Villeneuve-Saint-Georges, Abbeville, Le Havre, Marseille, Boulogne-sur-Mer, Dunkerque. Le documentaire explique par exemple la manière dont a été réalisée la reconstruction de Saint-Malo à l'intérieur des rempart de la vieille ville : "c'est la fidélité à l'histoire et la force du souvenir qui a guidé l'architecte". Dans le même esprit à Gien, au trois quart détruite en 1940, seul le château construit en 1494 pour Anne de Beaujeu, fille aînée de Louis XI, fut épargné par les bombardements. La ville fut reconstruite dans le style des rares immeubles restant. Gien est relevé de ses ruines et le nouvel ensemble harmonieux est appelé « Joyau de la Reconstruction française ». Dans un deuxième temps est abordé le chapitre de la construction des cités et des grands ensembles, de l’architecture du renouveau qualifiée de "grandiose incontestablement". S’il est précisé "on peut aimer ou de ne pas aimer ce style", l’emporte au final l’argument suivant : les grands ensembles, c'est la campagne à la ville, un urbanisme plus aéré, plus vert." les films caravelles 1956, Réalisateur : Jack Pinoteau (connu pour être le metteur en scène du film Le Triporteur 1957 qui fit découvrir Darry Cowl) www.dailymotion.com/video/xuz3o8?playlist=x34ije , Film d'archive actualités de 1952 Reconstruction de la France sept ans après la fin de la seconde guerre mondiale état des lieux de la crise du logement , Actualités de 1952. Sept ans après la fin de la seconde guerre Mondiale état des lieux de la reconstruction de la France et de la crise du logement à l’œuvre, pénurie de logement, logements insalubres. Les actualités montrent des images d'archives de la destruction de la France, les Chars de la division Leclerc qui défilent sur les Champs Elysees. Le commentaire dénonce la lenteur de la reconstruction et notamment des manifestations qui ont eu lieue à Royan afin d''accélérer la reconstruction de la ville détruite.Le film montre à Strasbourg, Mulhouse, des réalisation moderne de grands ensembles et des images d'archive de la reconstruction du Havre de Saint Nazaire.Le film se termine à Marseille sur les réalisation nouvelles autour du vieux port puis on assiste à l'inauguration de la Cité Radieuse par le ministre de la Reconstruction et de l'Urbanisme Eugène Claudius-Petit en présence de son architecte Le Corbusier à qui le ministre remet la cravate de commandeur de la légion d'honneur. www.dailymotion.com/video/xk1g5j?playlist=x34ije Brigitte Gros - Urbanisme - Filmer les grands ensembles 2016 - par Camille Canteux chercheuse au CHS -Centre d'Histoire Sociale - Jeanne Menjoulet - Ce film du CHS daté de 2014 www.youtube.com/watch?v=VDUBwVPNh0s … L'UNION SOCIALE POUR L'HABITAT le Musée des H.L.M. musee-hlm.fr/ union-habitat.org/ - EXPOSITION :LES 50 ANS DE LA RESIDENCe SALMSON POINT-Du JOUR www.salmsonlepointdujour.fr/pdf/Exposition_50_ans.pdf - Sotteville Construction de l’Anjou, le premier immeuble de la Zone Verte sottevilleaufildutemps.fr/2017/05/04/construction-de-limm... - www.20minutes.fr/paris/diaporama-7346-photo-854066-100-an... - www.ladepeche.fr/article/2010/11/02/940025-140-ans-en-arc... dreux-par-pierlouim.over-blog.com/article-chamards-1962-9... missionphoto.datar.gouv.fr/fr/photographe/7639/serie/7695...

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www.emergencyrooms.org/sprengelmuseum.html

----------Sprengel Museum exhibition Press release ----------

Sprengel Museum Hannover

PHOTOGRAPHY CALLING!

09. October 2011 – 15. January 2012

Sprengel Museum HannoverSprengel Museum Hannover

IN ASSOCIATION WITH THE

LOWER SAXONY SAVINGS BANK FOUNDATION

PHOTOGRAPHY CALLING! is an exhibition of the works of 31 photographers on a floor area of over 2,000 square metres. Since HOW YOU LOOK AT IT in 2000, this exhibition is the first and only one to provide an all-embracing overview of artistic photography from the 1960s to the present day. The exhibition has been organized by the Sprengel Museum Hannover in collaboration with the Lower Saxony Savings Bank Foundation. Starting out from the Foundation’s collection of large groups of works by both American and European photographers, the only collection of its kind in Europe, the exhibition explores the history and perspectives of the ‘documentary style’ of photography.

PHOTOGRAPHY CALLING! constitutes yet a further step towards establishing Hanover as an important centre for artistic photography in the north of Germany.

The starting points of the exhibition are the works of Robert Adams, Diane Arbus, Lewis Baltz, Bernd and Hilla Becher, William Eggleston, Lee Friedlander, John Gossage, Nicholas Nixon, Martin Parr and Michael Schmidt. The artist photographers Rineke Dijkstra, Paul Graham, Thomas Struth and the photographers of the generations that followed, such as Jitka Hanzlová, Stephen Gill, Jochen Lempert, Elisabeth Neudörfl, Heidi Specker and Tobias Zielony, visualize the world with a style of photography that adheres strictly to the medium and yet is highly subjective. Max Baumann, Boris Mikhailov, Rita Ostrowskaja and Helga Paris extend the perspective with experiences of their own confrontations with different political systems, while Laura Bielau, Thomas Demand, Hans-Peter Feldmann, Andreas Gursky, Thomas Ruff, Wolfgang Tillmans and Jeff Wall use the documentary style of photography as a means of exemplifying the phenomena of visual perception. Many of the works are being exhibited for the very first time.

Integrated into the exhibition are three successive Project Rooms organized by three guest curators and each taking place for the duration of one month. They thematize three different methods of collecting and three different ways of using photography.

From 9.10. until 30.10.2011 the artist Thierry Geoffroy will investigate the idea behind the title of the exhibition – PHOTOGRAPHY CALLING! – and ask: Who calls whom and what, and for what purpose, and out of what interests? On 1.11.2011 Markus Schaden will be setting up a study room devoted to the photography book as a ‘storage medium’ and collector’s item. From 6.12.2011 until 15.1.2012 Wilhelm Schürmann will be exposing the obsessions that can be the driving force behind a private collection of photographs, graphics, paintings and sculptures.

In the run-up to the exhibition HOW YOU LOOK AT IT at the Sprengel Museum Hannover, which was curated by Thomas Weski and Heinz Liesbrock on the occasion of EXPO 2000, the Lower Saxony Savings Bank Foundation began to purchase comprehensive groups of works by selected American and European photographers. Since then, the collecting activity of the Foundation has been focused on those works of photography that may be understood to be in the tradition of the ‘documentary style’ (Walker Evans, 1903-1975) and have been exercising a strong influence on photography since the end of the 1960s. Thus it has been possible – thanks not least to the recommendations of a high-calibre advisory board – to build up a photographic collection distinguished by its concentration on groups of works. In this regard the collection is unique in Europe.

The Lower Saxony Savings Bank Foundation’s collection and its perspective are now to be the subject of the present exhibition, which is being mounted jointly with the Sprengel Museum Hannover and also in the context of the Museum’s own well-cultivated photography tradition, which began in 1979 and can boast exhibitions of such great exponents of photography as Karl Blossfeldt, El Lissitzky, Judith Joy Ross and Michael Schmidt, to name only a few of many, or the “SPECTRUM” International Prize for Photography of the Foundation of Lower Saxony. ‘Collecting’ manifests itself here as an open system that operates self-reflexively in the aforementioned Project Rooms and is future-oriented and discussion-friendly in the exhibition’s supplementary events.

PHOTOGRAPHY CALLING! is accompanied by a copious publication (Steidl, Göttingen). Visitors will also be offered a comprehensive information programme.

The exhibition has been curated by Inka Schube, Curator for Photography and Media Art, Sprengel Museum Hannover, and Thomas Weski, Professor of “Curatorial Cultures”, Academy of Visual Arts, Leipzig.

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www.gohart.org/about/about-us.html

The Hillsborough Area Regional Transit Authority (HART) was created in October of 1979 to plan, finance, acquire, construct, operate and maintain mass transit facilities and supply transportation assistance in Hillsborough County. Today, we remain Driven to Serve You through convenient, affordable public transportation options tailored to contemporary lifestyles. More people than ever in Hillsborough County are discovering benefits of our sophisticated, yet accessible and rider-friendly, network of transit options. And because there’s no easier way to save green—both in your wallet and our fragile environment—we look forward to helping more and more of our neighbors ride smart with HART.

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Kern Invite - 11/01/08

Hart Park - Bakersfield, CA

www.andynoise.com/kernxcinvite08.html

Varsity Girls - 2008 Kern County Cross Country

Championships

School Athlete Time Overall Scoring Team

1. Ridgeview Tijerra Lynch 18:58.24 1 1 1

2. Shafter Elizabeth Wittenberg 19:02.62 2 2 1

3. Garces Monica Guzman 19:15.89 3 3 1

4. North Celilia Lopez 19:21.87 4 4 1

5. Ridgeview Ashley Duran 19:23.47 5 5 2

6. Ridgeview Jessica Huizar 19:25.81 6 6 3

7. Foothill Natalie Fernandez 19:35.65 7 7 1

8. East Lucia Garcia 19:46.20 8 x 1

9. Stockdale Amber Nelson 19:59.40 9 8 1

10. Taft Megan Thompson 20:01.34 10 x 1

11. Stockdale Carolin Haney 20:01.70 11 9 2

12. Stockdale Shelbe Pennel 20:03.86 12 10 3

13. Shafter Moriah Milwee 20:05.23 13 11 2

14. Ridgeview Desiree Armendariz 20:08.00 14 12 4

15. Arvin Tanya Hernandez 20:10.02 15 x 1

16. Highland Nichole Berry 20:19:01 16 13 1

17. BHS Sarah Baker 20:25.37 17 14 1

18. North Medeline Maier 20:29.38 18 15 2

19. Ridgeview Monica Lazo 20:33.39 19 16 5

20. Shafter Lindsee Handel 20:36.70 20 17 3

21. Centennial Jessica Folsom 20:41.80 21 18 1

22. BHS Emily Shuford 20:45.35 22 19 2

23. Ridgeview Linda Gonzalez 20:58:28 23 20 6

24. BHS Gabrielle Lerma 21:03.97 24 21 3

25. Stockdale Courtney Moore 21:06.02 25 22 4

26. North Meagan Menzel 21:10.17 26 23 3

27. BHS Gracie Garcia 21:11.76 27 24 4

28. Foothill Perla Veloz 21:13.21 28 25 2

29. Foothill Crystal Rodriguez 21:20.30 29 26 3

30. Independence Katelynn Webb 21:21.51 30 27 1

31. Golden Valley Karina Rocha 21:23.57 31 28 1

32. Shafter Katerina Plaza 21:27.21 32 29 4

33. North Blanca Perez 21:27.98 33 30 4

34. Wasco Amanda Castellon 21:28.25 34 31 1

35. Foothill Kaitlyn Mrasak 21:31.45 35 32 4

36. Tehachapi Brenda Gonzalez 21:33.34 36 33 1

37. Highland Gabi Rodier 21:34.56 37 34 2

38. Centennial Margaret Martinez 21:35.39 38 35 2

39. Stockdale Cynthia Lopez 21:35.61 39 36 5

40. Centennial Jessica Crowe 21:43.49 40 37 3

41. Highland Hilaria Vasquez 21:43.76 41 38 3

42. North Yadira Perez 21:49.62 42 39 5

43. Foothill Erica Castro 21:53.39 43 40 5

44. Centennial Stephanie Dittman 21:55.56 44 41 4

45. Independence Natalie Ambriz 22:08.45 45 42 2

46. Stockdale Madison Schutzner 22:14.92 46 43 6

47. Highland Katherine Mayberry 22:16.42 47 44 4

48. Centennial Jorey Braughton 22:18.95 48 45 5

49. North Kaylee Meyer 22:20.98 49 46 6

50. Garces Lauren Brown 22:21.19 50 47 2

51. Golden Valley Denise Silva 22:23.90 51 48 2

52. Foothill Violeta Quintanar 22:24.92 52 49 6

53. Highland Desiree Martinez 22:25.59 53 50 5

54. Independence Sara Sullivan 22:25.95 54 51 3

55. Garces Lizbeth Lopez 22:28.11 55 52 3

56. Garces Tammy Vu 22:35.68 56 53 4

57. West Selam Habebo 22:39.75 57 x 1

58. Shafter Leana Lara 22:51.69 58 54 5

59. Independence Carlie Croxton 22:55.06 59 55 4

60. Cesar Chavez Rosa Montanez 22:57.28 60 x 1

61. Foothill Maria Zepeda 22:57.55 61 56 7

62. Garces Marissa Machado 22:57.92 62 57 5

63. Shafter Mayra Torres 23:00.88 63 58 6

64. Golden Valley Carmelita Aguilar 23:04.07 64 59 3

65. Ridgeview M. Salgado 23:14.56 65 60 7

66. Golden Valley Anna Avina 23:20.23 66 61 4

67. Golden Valley Ninive Alveno 23:26.73 67 62 6

68. Golden Valley Mercedes Salgado 23:26.73 68 63 5

69. Centennial Paige Anderson 23:30.27 69 64 6

70. Garces Sammie Lobardo 23:34.37 70 65 6

71. Arvin Bianca Quinonez 23:41.85 71 x 2

72. Kern Valley S. Hinkey 23:42.47 72 x 1

73. Frontier Ariel Driskill 23:43.12 73 66 1

74. Centennial J. Estrada 23:50.91 74 67 7

75. Kern Valley S. Hazzard 23:51.80 75 x 2

76. Garces G. Ortiz 23:54.66 76 68 7

77. North Priscilla Cruz 23:55.51 77 69 7

78. BHS Kristina Logan 24:04.10 78 70 5

79. Frontier Jasmine Mattos 24:05.42 79 71 2

80. Stockdale Delilah Diaz 24:10.83 80 72 7

81. West Wennie Agbalog 24:28.90 81 x 2

82. Wasco Anna Orozco 24:29.57 82 73 2

83. Wasco Ruby Jacabo 24:30.22 83 74 3

84. Tehachapi Anna Duke 24:33.57 84 75 2

85. Wasco S. Castellon 24:42.66 85 76 6

86. Independence Shelby Woolf 24:58.35 86 77 6

87. BHS Sarah Stidham 24:58.76 87 78 6

88. Arvin Gaby Gomez 25:04.17 88 x 3

89. Highland Cristina Valenzuela 25:05.21 89 79 6

90. McFarland Monica Gonzalez 25:42.30 90 x 1

91. Tehachapi Susie Cuevas 25:57.15 91 x 3

92. Wasco B. Medina 26:00.11 92 80 4

93. Cesar Chavez Shannan Albay 26:00.32 93 x 2

94. BC Tiffany Rodriguez 26:26.77 94 x 1

95. Tehachapi Ariel Deval 26:50.73 95 81 4

96. Wasco A. Rios 27:14.74 96 82 5

97. Independence Samantha Antu 27:17.44 97 83 5

98. Tehachapi L. Shoemaker 27:44.92 98 84 5

99. BC Victoria Wheeler 28:09.47 99 x 2

100. Tehachapi J. Bahera 29:20:93 100 85 6

101. Frontier T. See 29:29.12 101 86 3

102. Frontier Savanah Olson 30:18.04 102 87 4

103. Frontier A. Rojas NT 103 88 5

[crosseye stereograph, see 3D with your right eye on the left image, and left on right.]

Nowadays, a pick-up truck can have an adjustable height tow hitch ball, to match the height of the trailer. In days long past, the tractor ran on rails and was fueled by coal, wood, or oil burning under a boiler. The 'hitch' was a socket and a "link" loop of iron was held in the socket with a substantial pin. Do this twice and the link is secured in both sockets, connecting the train cars for hauling. The flat ends of the socket also allowed for pushing, most trains of the era didn't turn around they just shuttled back and forth. There were no standards, rails gauged four foot eight and a half inches were just as common as railroads having the rail two or three feet apart, and standards for how high the link and pin coupler was above the track also varied over a wide range, on railstock from other roads just as much as cars from the same line. One solution was to have an oval link that was bent from low to high, allowing couplers of varying heights to connect. This locomotive coupler on the right allowed a wider range of coupler heights, and was later fitted with a knuckle coupler.

Brakemen would ride the train and hop from each car to adjust the brakes, throw the track switch points and hold the link up while the massive engine, or engine and train slammed together so the brakeman could drop the pin into the coupler link, while doing the best he could to keep his fingers. Using a stick to hold the link at the right height to couple the cars didn't always protect the brakemen, and it was common to see these brave men returning to work each day - with missing fingers, hands, arms, or have their widow collect their final pay envelope. All too common tragedy of the brakeman's lamented coupling task inspired the invention of a safer method of railcar connection - the knuckle coupler, seen here attached as an afterthought, yet still easily removed from the engine, retaining, and giving barbaric meaning to, "backwardly compatible."

3D, "Knuckle Down", attachment to link & pin coupler of Los Angeles Harbor Department saddle tank engine locomotives #31 & #32 at Travel Town Griffith Park, Los Angeles, CA, 2009.07.19 17:24, dsc00100

Corregida automáticamente con picnik. Me lo perdonaréis, ¿verdad?

www.castelldepenyafort.net/p/historia-del-castell-de-peny...

Complex arquitectònic que integra construccions de diferents èpoques, des de l'edat mitjana fins l'actualitat. Entre les edificacions medievals destaca una torre (de 5,6 m de diàmetre i parets de més d'1,5 m de gruix), amb una petita sala circular a l'interior; dues petites sales corbades perimetrals a la torre, comunicades amb portes de mig punt d'estil romànic; una sala absidial possiblement emprada com a baptisteri i que conserva pintures murals d'interès; l'atri de l'església, una sala rectangular que està decorada també amb pintures murals i inclou una volta d'aresta gòtica amb una clau que mostra les armes dels Espuny (senyors del castell a les darreries de l'edat mitjana i fins al segle XVII); i una sala amb una escala que condueix a la part residencial.

L'església és d'una sola nau, coberta amb volta d'aresta amb arcs torals, amb absis rectangular i cripta funerària accessible. La decoració és molt senzilla, amb una gran motllura a la imposta de la volta, finestres cegues i lesenes que continuen fins a terra els arcs torals. L'amplada aparent es veu incrementada per sis capelles a cada costat, que ocupen els espais lliures entre els contraforts de la volta. Al costat de l'epístola del presbiteri hi ha la sagristia. En la primera i la tercera capelles del costat de l'evangeli hi ha portes que comuniquen amb el pati interior del conjunt, i a les capelles dels peus portes que duen a sales annexes. Als peus de la nau hi ha un gran cor de fusta, amb accés des de la mateixa església i des de la torre rodona. A ambdós costats, damunt la sagristia i les capelles laterals, i a nivell del cor, hi ha dues fileres de petites habitacions. Darrera de l'absis de l'església hi ha un edifici de planta rectangular i dos pisos. La planta baixa de la resta de l'edifici té forma de L. L'ala que queda al cos principal de l'edifici, està força compartimentada. L'ala de ponent compta amb una gran nau que en origen era destinada a celler. A la porta, enconat, hi ha un cartell que es data a l'any 1693. A l'extrem del celler hi ha una altra edificació de dues plantes rectangulars, amb accés també des de l'exterior. La planta residencial ha estat en ús fins a l'actualitat. La primera planta ocupa dues ales de l'edifici, amb un total de vint-i-tres espais, sense comptar els passadissos. Tres són cuines que encara conserven els fogons de carbó, i hi ha quatre banys. Dos espais més es troben dins les edificacions medievals de la torre rodona, i comuniquen amb el cor de l'església. De cara al pati interior, hi ha una gran sala-menjador, i una altra sala habilitada com a menjador situada prop de l'angle nord-occidental del conjunt. Hi ha setze dormitoris, dos conserven l'estructura de cambra i alcova. Tots donen a l'exterior, amb finestra o balcó, i la major part estan coberts per voltes catalanes rebaixades, que els donen una presència imponent. Prop del menjador hi ha un gran terrat, que permet accedir a una sala, aïllada de la resta, que es troba en mal estat de conservació. Damunt de les ales residencials hi ha les golfes, on es pot observar la cara interna de les voltes que cobreixen els passadissos i les habitacions, així com les encavallades de fusta. Estan il·luminades per finestres arran de terra. Damunt l'angle de les dues naus hi ha un gran mirador amb tres arcades a cada costat curt i cinc als costats llargs. Bona part de les arcades estan tapiades. A ponent, hi ha un cos annex. Es tracta d'una porxada parcialment tapiada, amb grans arcs de mig punt de més de tres metres de llum, que donen al jardí. L'edifici compta amb dos grans jardins. Un ocupa l'espai central i l'altre queda al costat de ponent. Aquest últim inclou una avinguda envoltada de xiprers que mena fins a la bassa. Al costat de la bassa hi ha un gran pou de planta ovalada, creuat per una arcada d'origen molt probablement medieval. Per últim, a una certa distància a ponent del conjunt edificat hi ha la torre d'un antic molí de vent i les ruïnes d'un altre edifici.

La part més antiga d'aquest conjunt arquitectònic, és el que queda de la casa natal de Raimon Penyafort (1175 / 1185 - 1275), una petita fortificació depenent del castell d'Olèrdola. La majoria d'edificis que es conserven es van construir després de la canonització el sant. L'any 1602 començarem les obres de construcció del convent dominicà de Penyafort, amb una església de dimensions considerables i dues ales de planta rectangular, amb la planta baixa destinada a usos agrícoles i el pis a espais residencials. El 1707 es construí el portal de l'església, que tenia un gran retaule que va ser robat el 1815.

L'any 1835 el castell-convent va ser desamortitzat i passà a mans privades. A les darreries del segle XIX pertanyia a l'enginyer Puig i Llagostera, que va renovar l'edifici i l'adaptà com a mansió senyorial. L'any 1936 l'església va ser saquejada i se'n van cremar les relíquies que conservava. Aleshores va ser transformada en presó per a captius de guerra, mentre els propietaris i els masovers seguien emprant la part residencial. Després d'un període de deteriorament i successius canvis de mans, el conjunt va ser adquirit l'any 1980 per la senyora Gallemí. El conjunt va ser declarats el 8 de gener de 1988 Bé d'Interès Cultural, amb la categoria de Monument Nacional. L'any 1997 es creà l'Associació d'Amics del Castell de Penyafort, amb la finalitat de vetllar per la conservació física i els usos socials del castell. L'any 2002, l'ajuntament de Sta. Margarida i els Monjos adquireix el castell - convent

patrimonicultural.diba.cat/

Here is the amazing Kervansaray Hotel & Pension i stayed in Pamukkale. I would highly recommend Kervansaray Hotel & Pension for all backpackers, like me :). You can even book your hostel online from Turkey Hostels. Cheers !

THE AWARENESS MUSCLE TEAM had the pleasure and the difficult mission to take care ot the Press conference of (I) Independent people @Rejkavik art festival ( it hapeen the 20 / 05/2012 ) films will come ... @ Jonatan Habib Engqvist kindly pass on his plattform "the press conference " the collaboration happened at 10 am a sunday morning at the blue lagoonhttp://www.emergencyrooms.org/THE_AWARENESS_MUSCLE.html

thanks also to with help Kristín Scheving and the festival and the art critics that joined independentpeople.is/info/exhibition/

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DONT USE PHOTO WITHOUT ASKING 1@colonel.dk

Reykjavík Arts Festival 2012 announces (I)ndependent People, a large-scale collaborative international visual arts project that will involve many of Reykjavík’s exhibition spaces, museums, galleries and public space during the festival season and throughout the summer. Focusing on contemporary visual art from the Nordic and Baltic countries, (I)ndependent People asks if and how collaboration can operate in continual negotiation between contesting ideas and desires, yet allowing unplanned and transformative action.

Whether they have been working together for a long time or been composed to undertake a temporary collaboration, all the artists participating in this project do so as part of a joint venture. Artists’ collectives, partnerships, workshops and exchanges permit an investigation of artistic subjectivity and authorship, allowing knowledge to be acquired so that it may be shared with others. Both thematically and performatively, the construction, intention and focus of this exhibition may be seen to parallel the notion of a ‘third space’ (Homi K. Bhabha, The Location of Culture, Routledge, 1994).

This allows seemingly incommensurable differences to be negotiated, rendering meaning ambivalent and warping the mirror of representation. In turn, cultural knowledge is revealed as a hybridised, open and expanding code. Such an intervention – made possible through exchange between a cluster of museums, galleries, artist-run spaces and institutions in Iceland and abroad – quite properly challenges our sense of the historical identity of culture as a homogenising, unifying force. This further relies on participants relinquishing their subjectivity, or momentarily placing it in parenthesis; in this way, artists create the specific uncertainty that makes the third, other, hybrid identity possible. Through this process, a position is generated at which the in-between of collaboration can potentially become a site for social and cultural transformation – a locus around identities, at which becoming can resist the impetus toward homogeneity.

Often labelled as either ‘alternative’ or ‘independent’, several of the participating groups address questions concerning the structure of the mediated (art) world. By moving beyond ideas of national representation, concepts of public and private, author and audience, this context might provide a nuanced discourse about commonality. By describing a place between subjectivities, ideologies, interests and structures, the temporary, in-between space created in Reykjavík can become a proposition for unimagined ideas to be examined, planned and constructed. This position has been portrayed as a vessel without sharp contours – as ambiguous, vague and indefinable; however, these are the very qualities that often make contemporary art worthy of hope. Or, in the words of Elizabeth Grosz, “The space in between things is the space in which things are undone, the space to the side and around, which is the space of subversion and fraying, the edge of any identity’s limits. In short, it is the space of the bounding and undoing of the identities, which constitute it”. (Elisabeth Grosz, Architecture From Outside, MIT Press, 2001).

The extensive project brings together 29 artist-collectives with the collaboration of over 100 participants. (I)ndependent People is curated by Swedish curator and theorist Jonatan Habib Engqvist and made possible through exchange and collaborative undertakings between a cluster of museums, galleries, artist-run spaces and institutions. Venues include Reykjavík Art Museum, The National Gallery of Iceland, The Nordic House, Kling & Bang, The Living Art Museum, The Icelandic Sculpture Association and ASÍ Art Museum, together with public space in Reykjavík and off-site events. Saturday May 19 will be dedicated to openings of the exhibitions with receptions and events at the venues from morning to evening and Sunday May 20 will host an international seminar.

Curator: Jonatan Habib Engqvist

Project Manager: Kristín Scheving

Reykjavík Arts Festival 2012 announces (I)ndependent People, a large-scale collaborative international visual arts project that will involve many of Reykjavík’s exhibition spaces, museums, galleries and public space during the festival season and throughout the summer. Focusing on contemporary visual art from the Nordic and Baltic countries, (I)ndependent People asks if and how collaboration can operate in continual negotiation between contesting ideas and desires, yet allowing unplanned and transformative action.

Whether they have been working together for a long time or been composed to undertake a temporary collaboration, all the artists participating in this project do so as part of a joint venture. Artists’ collectives, partnerships, workshops and exchanges permit an investigation of artistic subjectivity and authorship, allowing knowledge to be acquired so that it may be shared with others. Both thematically and performatively, the construction, intention and focus of this exhibition may be seen to parallel the notion of a ‘third space’ (Homi K. Bhabha, The Location of Culture, Routledge, 1994).

This allows seemingly incommensurable differences to be negotiated, rendering meaning ambivalent and warping the mirror of representation. In turn, cultural knowledge is revealed as a hybridised, open and expanding code. Such an intervention – made possible through exchange between a cluster of museums, galleries, artist-run spaces and institutions in Iceland and abroad – quite properly challenges our sense of the historical identity of culture as a homogenising, unifying force. This further relies on participants relinquishing their subjectivity, or momentarily placing it in parenthesis; in this way, artists create the specific uncertainty that makes the third, other, hybrid identity possible. Through this process, a position is generated at which the in-between of collaboration can potentially become a site for social and cultural transformation – a locus around identities, at which becoming can resist the impetus toward homogeneity.

Often labelled as either ‘alternative’ or ‘independent’, several of the participating groups address questions concerning the structure of the mediated (art) world. By moving beyond ideas of national representation, concepts of public and private, author and audience, this context might provide a nuanced discourse about commonality. By describing a place between subjectivities, ideologies, interests and structures, the temporary, in-between space created in Reykjavík can become a proposition for unimagined ideas to be examined, planned and constructed. This position has been portrayed as a vessel without sharp contours – as ambiguous, vague and indefinable; however, these are the very qualities that often make contemporary art worthy of hope. Or, in the words of Elizabeth Grosz, “The space in between things is the space in which things are undone, the space to the side and around, which is the space of subversion and fraying, the edge of any identity’s limits. In short, it is the space of the bounding and undoing of the identities, which constitute it”. (Elisabeth Grosz, Architecture From Outside, MIT Press, 2001).

The extensive project brings together 29 artist-collectives with the collaboration of over 100 participants. (I)ndependent People is curated by Swedish curator and theorist Jonatan Habib Engqvist and made possible through exchange and collaborative undertakings between a cluster of museums, galleries, artist-run spaces and institutions. Venues include Reykjavík Art Museum, The National Gallery of Iceland, The Nordic House, Kling & Bang, The Living Art Museum, The Icelandic Sculpture Association and ASÍ Art Museum, together with public space in Reykjavík and off-site events. Saturday May 19 will be dedicated to openings of the exhibitions with receptions and events at the venues from morning to evening and Sunday May 20 will host an international seminar.

Curator: Jonatan Habib Engqvist

Project Manager: Kristín Scheving

This is a sylvanian Family Theme Park.

The official website of the park (Japanese) www.grinpa.com/sylvania/index.html

Map of the park (Japanese) www.grinpa.com/sylvania/map.html

How to get there (Japanese) www.grinpa.com/access/index.html

Bus schedule from JR Fuji Station (Japanese) www.fujikyu.co.jp/shizuokabus/time_fuji/time_fuji_2_1.html

Bus schedule from JR Gotemba Station (Japanese)

bus.fujikyu.co.jp/line/jikokuhyo/17.html

Bus schedule from JR Mishima Station (Japanese)

www.fujikyu.co.jp/citybus/bustimetable/time1.php

Additional Notes on August 2010

1. Please check web site for rest day. For non-japanese reader, rest date is noted by 休園日 or 休日. On the other hand, 無休 means no rest.

2. Bus schedule do change so please use the kanji to check.

3. From JR Fuji to Grinpa, buses only serve during summer time. The kanji for Summer is 夏, and JR Fuji station is ＪＲ 富士駅. Katakana for Grinpa is ぐりんぱ.

4. From JR Gotemba, the morning bus is 9:35 and 10:30. Note that the bus at 10:30 does not operates during public holiday and saturdays from 7/17～8/31 and the period 8/13～8/16. Last bus back to JR Gotemba leaves at 16:37. Kanji for Gotemba station is 御殿場駅.

5. There is 2 bus that goes to Gripa from Mishima. One goes to Fuji 5th Station and the other to Yeti Ski. Kanji for JR Mishima is 三島駅. Kanji for Spring is 春 and winter is 冬.

6. I found that travelling from Tokyo to Grinpa seems easier than from Osaka to Grinpa when I went in 2006. Also the Information counter at the JR station and bus station also sells entrance ticket to Grinpa. (Entrance tickets wasn't available in JR station in 2006 then)

www.dupageforest.com/preserves/springbrook.html

Preserve History

Originally named Dragon Lake Forest Preserve, Springbrook Prairie was slated to be the home of a 200-acre dragon-shaped lake, complete with a swim beach and campgrounds. However, the emergence of a significant grassland bird population eventually led the District to abandon the idea of a lake and to look at ways to restore the preserve to a native prairie landscape.

Recently, the District has secured over $1 million in grants to fund a stream re-meandering project to return the western part of Spring Brook to a more natural state. By returning the twists and turns and by making a wider, shallower bank, the District will improve water quality by slowing the flow and will also allow the stream to easily pour over its banks and into the preserve during heavy rains, improving floodwater-control features.

Activities & Facilities

At Springbrook Prairie Forest Preserve in Naperville, visitors will find 1,849 acres of swaying grasslands, restored prairies and wetlands. Over 90 species of birds, 18 different mammals, and nearly a dozen species of reptiles and amphibians call Springbrook Prairie home. With a little diligence, bird watchers may spot several native grassland species including meadowlarks, dickcissels, grasshopper sparrows, woodcocks, and bobolinks and state-endangered birds like northern harriers, short-eared owls and Henslow's sparrows. Springbrook Prairie is one of three places in northern Illinois to house such a regionally significant grassland bird community.

Outdoor Recreation

Trails

The preserve's 13 miles of trails stay to the perimeter, giving visitors wonderful views and wildlife extra privacy. Over 8 miles are open to hikers, bikers, horseback riders and cross-country skiers, and over 2 miles of narrow, mowed trails allow people on foot a closer view of the preserve's natural features. Sections of the trail may be closed during key bird breeding seasons to protect critical nesting habitats.

Picnicking

Springbrook Prairie features a non-reservable picnic shelter at the trailhead off of 83rd Street. A second non-reservable picnic area is located off of Plainfield-Naperville Road.

Special-Use Areas

Model-Aircraft Field

Hobbyists are welcome to enjoy the model-aircraft field located on the west side of Plainfield-Naperville Road but must have District permits in their possession when using the area. For permit information, call Visitor Services at (630) 933-7248.

Off-Leash Dog Area

Dogs with Forest Preserve District off-leash dog-area permits can enjoy the fully fenced off-leash area at the 83rd Street trailhead. The area, which is northwest of the parking lot, features 2 acres of fine-mowed turf and 34 acres of trails. Call Visitor Services Monday through Friday between 8 a.m. and 4 p.m. at (630) 933-7248 for permit applications and information. Owners must have the permits in their possession when using the off-leash area. Rules for the area are posted at the preserve. Dogs must be leashed in all other areas of the preserve.

Accessibility

For special accessibility needs or concerns, please contact the District's ADA coordinator at (630) 933-7683 or TTY (800) 526-0857 at least three business days in advance of your visit.

Los estudiantes de magisterio educacion física se encargan de enseñar a los niños los distintos deportes y a implicarles con las distintas actividades físicas.Los estudiantes de magisterio educacion física pueden cursar un año más para obtener otra especialidad.

Magisterio Educación Física UCJC

Valle delle Sfingi

www.schenectadyhistory.org/families/hmgfm/teneyck-2.html

James, son of Visscher and Eliza Ann (Youngs) Ten Eyck, was born in Albany, February 16, 1840, died in Albany, July 28, 1910. He received his earliest education at the Albany Academy; he then attended Burlington College, New Jersey, from which he was graduated in 1855. Having successfully passed the required examinations, he was admitted a junior at Yale, but because of poor health he was forced to change his plans. As a consequence, he began a mercantile life, taking first a position in the office of the Central railroad. He entered the employ of Bacon & Stickney, dealers in coffee and spices, in September, 1857. He became a partner, March 1, 1865, and when Mr. Samuel Bacon died, Mr. Ten Eyck became the senior partner of this firm, which enjoyed prosperity which warranted the erection of a large building of its own in 1907, and which is of great utility.

In Masonic circles he was known the breadth of the land, and was most actively identified with the fraternity since his initiation into Masters Lodge, November 23, 1863. He was the oldest thirty-third degree Mason in Albany. He was made master in 1873, continuing until 1877, passing all the chairs. He was elected grand master of Masons in the state of New York, June 8, 1892, and on being unanimously re-elected declined. In this capacity he had a larger jurisdiction than any other Mason in the world, excepting only the Prince of Wales, and had the honor of presiding over eighty thousand Masons. He officiated at the laying of the corner-stones of the New York State Armory in Albany, of Harmanus Bleecker Hall, the Albany Masonic burial lot and of the Burns monument in Washington park. He presided at the jubilee of the Masonic fraternity when it celebrated the final payment of the debt on the Masonic Temple of New York City, April 24, 1889, and bore a large share in the work of erecting the handsome temple in Albany, one of the ornaments of the city.

For many years Mr. Ten Eyck was an active participant in the city's affairs, being at one time on the directorate of no less than thirteen boards. He was chosen president of the Home Savings Bank in January, 1896. He was a member of St. Peter's (Episcopal) church, of the Fort Orange and Albany clubs, and was the only honorary member of the Acacia club. He was a principal shareholder in the Hotel Ten Eyck, the leading hotel of the Capital City. He was a Republican all his life, taking an interest in clean politics and civic government. He served as chairman of the general county committee, and was at the head of the citizens' committee having in charge the reception in 1891 to President Harrison. In fact, he was named upon almost every public committee of importance having a civic undertaking in charge, and always did his share.

Mr. Ten Eyck was elected president of the Albany Institute and Historical and Art Society, an organization dating back to 1791, and it was under his officiation that the handsome, new building on Washington avenue was opened. It had an enormous debt encumbering it, which he was largely instrumental in having wiped out, calling meetings weekly until he had accomplished his praiseworthy object. As a collector of coins he was known all over the country as possessing one of the finest collections in America. It contains rarities of great value, and in this chosen field he was regarded as an expert. His collection of historic and old china was not only extensive, but of rare merit and wonderful beauty. It had engaged his attention for forty years, and purchases were made in all parts of the country aiming at completeness. In the fall of 1909 he presented this collection to the society of which he was the president, and installed it in cases purposely made, as a memorial to his father, the late Visscher Ten Eyck. Mr. Ten Eyck was regarded by his fellow-citizens as a man of absolute integrity and determination, and as these qualities were most frequently displayed, either in the form of some public trust or act of charity, the city gained considerable by his living in it. He married, October 18, 1864, Catherine Elizabeth, daughter of Teunis and Margaret T. (Lush) Van Vechten. She died May 23, 1865, leaving no children.

CIF CENTRAL SECTION CHAMPIONSHIP

Liberty High School - Wednesday, May 14, 2008

www.andynoise.com/valley08.html

Central Section Grand Masters

At Liberty

Team standings--unavailable.

400 relay--1. Bakersfield (Hunt, Turner, Johnson, Norwood), 42.28; 2. Clovis East (Bourbon, Scott, Smith, Woods), 42.58; 3. Redwood (Stewart, Ray, Root, Coles), 43.07; 4. Central (Newsome, Bigelow, Hammack, Phillips), 43.15. 1,600--1. Chris Schwartz, Foot, 4:15.80; 2. Jonathan Sanchez, Buch, 4:17.48; 3. Eric Battles, CW, 4:20.34; 4. Jesse Arellano, Mad, 4:21.56. 110H--1. Ethan DeJongh, MtW, 14.49; 2. Sean Johnson, Buch, 14.66; 3. Jon Funch, CW, 14.81; 4. Isiah Crunk, Wash, 15.17. 400--1. Maurice Lewis, Ed, 49.08; 2. Isiah Purvis, Lib, 49.13; 3. Daniel Lozano, Stock, 49.35; 4. Jelani Hendrix, Ed, 49.62. 100--1. Brendon Bigelow, Central, 10.62; 2. Emmanuel Turner, Bak, 10.81; 3. Matt Sumlin, Gar, 10.91; 4. Chris Lopez, GW, 10.98. 800--1. Anthony Mitchell, North, 1:54.19; 2. Aric Champagne, MtW, 1:54.97; 3. Andrew Campbell, CW, 1:55.69; 4. Arturo Ramirez, Centennial, 1:55.83. 300H--1. DeJongh, MtW, 37.93; 2. Cody Alves, Sel, 37.94; 3. James Smith, CE, 39.03; 4. Sean Johnson, Buch, 39.28. 200--1. Brendon Bigelow, Central, 21.29; 2. Isiah Purvis, Lib, 21.96; 3. Mario Navarette, Sanger, 22.04; 4. Chris Lopez, GW, 22.29. 3,200--1. Chris Schwartz, Foot, 9:24.19; 2. Jonathan Sanchez, Buch, 9:24.99; 3. Jon Ross, CE, 9:26.42; 4. Danny Vartanien, Buch, 9:26.42. 1,600 relay--1. Edison (Hendrix, Carter, Boughton, Lewis), 3:17.86; 2. Liberty (Hill, Garside, Affentranger, Purvis), 3:18.95; 3. Bakersfield (Miller, Turner, Johnson, Gooden), 3:20.06; 4. Clovis East (Ellis, Defonska, Woods, Smith), 3:22.40. PV--1. Andrew Lohse, Mad, 15-0; 2. Michael Peterson, CE, 15-0J; 3. Jeff Brenner, Cl, 14-6; 4. Frankie Puente, Sel, 14-0. SP--1. Dayshan Ragans, Foot, 60-7; 2. Matt Darr, Fron, 52-8.75; 3. Troy Rush, CW, 52-8.5; 4. Christian Millard, CE, 51-10.5. TJ--1. Johnny Carter, Ridge, 48-3; 2. Tyler Thompson, Shaf, 47-3; 3. Chris Kelly, Ridge, 46-11.5; 4. Jordan Smith, Central, 46-10.5. D--1. Dayshan Ragans, Foot, 199-2; 2. Jacob Budwig, Fowl, 168-8; 3. Niko Gomes, Cl, 164-10; 4. Matt Darr, Fron, 157-7. LJ--1. Kenny Phillips, Central, 23-4; 2. Tyler Thompson, Shaf, 21-11.5; 3. Dillon Root, Red, 21-11; 4. Kevin Norwood, GV, 21-8.75. HJ--1. Kenny Phillips, Central, 6-8; 2. Isiah Griggs, Bak, 6-6; 3. George Robbins, West, 6-4; 4. Jeff Brenner, Cl, 6-4J.

Notes: Top three in each event advance to state meet, May 30-31 in Norwalk. The two wild cards with the best times/marks from all sections also advance.

Girls track

Central Section Grand Masters

At Liberty

Team standings--unavailable.

400 relay--1. Edison (Eng, Scott, Thompson, Sears), 47.16; 2. Bullard (J. Williams, Riddlesprigger, Baisch, L. Williams), 48.17; 3. Tulare Western, 48.73; 4. Bakersfield (Torres, Belt, Brown, Wandick), 48.80. 1,600--1. Saleh Barsarian, Cl, 5:02.98; 2. Meghan Marvin, Cl, 5:03.02; 3. Chloe Allen, CW, 5:04.62; 4. Allison Gonzales, Ex, 5:11.52; 100H--1. Alyssa Monteverde, CW, 14.59; 2. Brianny Williams, Ed, 14.60; 3. Taylor Jackson, Fr, 15.04; 4. Jen Melton, CW, 15.37. 400--1. Breanna Thompson, Ed, 56.64; 2. Dedrea Wyrik, Sun, 57.49; 3. Lasasha Aldredge, Central, 58.12; 4. Taylor Donaldson, Reed, 58.13. 100--1. Megan Del Pino, CW, 11.66; 2. Jenna Prandini, Cl, 11.74; 3. Lynn Williams, Bul, 12.00; 4. Brushay Wandick, Bak, 12.01. 800--1. Allysa Mejia, Reed, 2:17.47; 2. Molly Pahkamaa, ElD, 2:17.73; 3. Katie Fry, Ex, 2:18.74; 4. Ashlee Thomas, Centennial, 2:19.77. 300H--1. Alyssa Monteverde, CW, 43.92; 2. Taylor Jackson, Fron, 44.86; 3. Brianny Williams, Ed, 45.69; 4. Alana Alexander, Centennial, 46.12. 200--1. Megan Del Pino, CW, 23.94; 2. Dominique Whittington, Lem, 24.65; 3. Brushay Wandick, Bak, 24.69; 4. Breanna Thompson, Ed, 24.90. 3,200--1. Jordan Hasay, MP, 10:24.78; 2. Meghan Marvin, Cl, 10:59.96; 3. Chloe Allen, CW, 11:06.19; 4. Corina Mendoza, Mad, 11:32.06. 1,600 relay--1. Edison (Burk, Thompson, Scott, Smith), 3:54.89; 2. Stockdale (Cady, Anderson, Mello, S. Anderson), 3:58.26; 3. Clovis West (Laidley, Capriotti, Del Pino, Monteverde), 3:59.02; 4. Reedley, 3:59.07. D--1. Anna Jelmini, Shaf, 162-5; 2. Alex Collatz, Stock, 148-6; 3. Carey Tuuamalemalo, Taft, 130-9; 4. Janae Coffee, CW, 121-6. LJ--1. Jenna Prandini, Cl, 18-7.25; 2. Lynn Williams, Bul, 18-0.75; 3. Alana Alexander, Centennial, 17-6.75; 4. Ja'Nia Sears, Ed, 17-6.5. HJ--1. Alyssa Monteverde, CW, 5-4; 2. Cristina Muro, GW, 5-2; 3. Katherine Mahr, Buch, 5-2; 4. Marish Riddlesprigger, Bul, 5-2J. SP--1. Anna Jelmini, Shaf, 44-0.75; 2. Destanie Yarbrough, CE, 37-10; 3. Heather Vermillion, Red, 37-9; 4. Tasha Firstone, CW, 36-6.5. TJ--1. Alana Alexander, Centennial, 38-3.75; 2. Jenna Prandini, Cl, 38-3; 3. Goziam Okolie, 36-10.5; 4. Alex Collatz, Stock, 36-2. PV--1. Allison Berryhill, CW, 11-6; 2. Amanda Klinchuch, Lib, 11-6J; 3. Cheree Jones, King, 10-6; 4. Emily Falkenstein, Buch, 10-6J.

Notes: Top three in each event advance to state meet, May 30-31 in Norwalk. The two wild cards with the best times/marks from all sections also advance.

Happy Dyeing! Thrilled with finished chartreuse fabrics. Thank you, Dharma Trading, for your awesome Procion dyes. In this case, chartreuse. I get a lot of joy from dyeing fabrics and even more joy from wearing the finished fabrics.

I found a fantastic, sweet linen on sale at Hancock Fabrics. $5 a yard! It has lovely white rows of bows. I figured the fabric would dye wonderfully. Often embroidered threads aren't natural fibers. I suspected the threads wouldn't dye. Interestingly, the front side didn't, the back side dyed yellow. The yellow dye particles must be smaller, to penetrate those fibers.

Also dyed a cotton to line what would be the linen dress.

And a gorgeous silk scarf. These scarves always dye beautifully, always the most vibrant items in the batch.

And I think the bestest is the piece of vintage eyelet I bought from Jordana aka mylaar at a Chicago Craft Mafia Do It Your Own D*mn self craft supply sale. It's not a large piece, but I'm thinking of cutting it lengthwise, sewing the ends, making a small scarf.

07.18.10

The Romanian world comes back to life in the Anthology entitled "Blouse Roumaine - the Unsung Voices of Romanian Women", now available as an E-Book:

www.blouseroumaine.com/orderthebook_p1.html

Angela Gheorghiu, (b. 1963, Adjud, România), Soprano

gave some memorable performances at Covent Garden

“The music would not exist without divas. The public needs divas, needs people who are different. Otherwise we would be all the same, laminated, like in a communist regime: what a terrible thing!”

(Angela Gheorghiu, Interviewed by ‘Arte’ TV Channel)

www[dot]blouseroumaine[dot]com/orderthebook_p1[dot]html

Tenerife.

Icod, the Butterfly Garden.

Mariposario del Drago.

www.mariposario.com/English/index.html

The Peleides Blue Morpho (Morpho peleides) is an iridescent tropical butterfly found in Mexico, Central America, northern South America, Paraguay, and Trinidad.

The brilliant blue color in the butterfly's wings is caused by the diffraction of the light from millions of tiny scales on its wings. It uses this to frighten away predators, by flashing its wings rapidly. The wingspan of the Blue Morpho butterfly ranges from 7.5–20 cm (3.0–7.9 in). The entire Blue Morpho Butterfly lifecycle, from egg to adult is only 115 days.

The Blue Morpho Butterfly drinks the juices from rotting fruits for food. Its favourites are mango, kiwi, and lychee. Blue Morpho butterflies live in the rainforests of South America, and can be found in Mexico and Central America.

The larvae of Blue Morpho Butterflies are cannibals. The caterpillar Blue Morpho Butterfly is red-brown with patches of bright green.

The Blue Morpho Butterflies stick together in groups to deter their predators, a form of mobbing behavior.

en.wikipedia.org/wiki/Morpho_peleides

The Monarch butterfly (Danaus plexippus) is a milkweed butterfly (subfamily Danainae), in the family Nymphalidae. It is perhaps the best known of all North American butterflies. Since the 19th century, it has been found in New Zealand, and in Australia since 1871 where it is called the Wanderer.[3][4][5] In Europe it is resident in the Canary Islands, the Azores, and Madeira, and is found as an occasional migrant in Western Europe. Its wings feature an easily recognizable orange and black pattern, with a wingspan of 8.9–10.2 centimetres (3½–4 in).[6] (The Viceroy butterfly has a similar size, color, and pattern, but can be distinguished by an extra black stripe across the hind wing.) Female Monarchs have darker veins on their wings, and the males have a spot called the "androconium" in the center of each hind wing[7] from which pheromones are released. Males are also slightly larger.

The Monarch is famous for its southward migration and northward return in summer from Canada to Mexico which spans the life of three to four generations of the butterfly.

en.wikipedia.org/wiki/Danaus_plexippus

PLEASE.

No invites to mandatory commenting/sweeperactive/comment or ban group unless requested by myself.

Panorama Shot (3 photos autostitched) of the entrance in the eastern wall of a nemeton (sacred place of the Celts) in the forest South of Munich, Deisenhofen/Kreuzpullach. Have a look on this winter photo of the same site and of the western wall.

See below at the comments' section the English translation done by mikescottnz. Thanks a lot, Mike!!

===

Als Kelten- oder Viereckschanze bezeichnet man die vor allem in Süddeutschland anzutreffenden Reste von quadratischen, manchmal auch rechteckigen Gevierten mit Wall und umlaufendem Graben. Alleine in Bayern und Baden-Württemberg sind mehr als 300 dieser Anlagen bekannt. Daneben gibt es, wenn auch (bisher) deutlich seltener erkannt, Viereckschanzen in der Schweiz, in Österreich, in Böhmen sowie in Nordfrankreich.

Zwischen Deisenhofen und Wolfratshausen findet man die größte Anzahl an Keltenschanzen in Deutschland. Allein rund um Deisenhofen sind sechs Schanzen erhalten, darunter die 2 größten in Süddeutschland. Diese, die südlichst gelegene Schanze von Deisenhofen und für mich eine der Schönsten im Umkreis, befindet sich nordöstlich von Kreuzpullach.

Beschreibung von einer Hinweistafel des Landratsamts München:

Im Gegensatz zu den Keltenschanzen im freien Gelände, wie z.B. im Lanzenhaarer Feld (östlich von Deisenhofen), wurde diese im Hachinger Holz gelegene Schanze aus dem letzten Jahrhundert vor Christi Geburt später vom Wald überwachsen.

Die viereckigen Wälle mit vorgelagerten Gräben (hier 75 auf 90 m Seitenlänge) umgrenzen eine Kultstätte des Volkes der Kelten. Im Innern des Rechtecks, das durch ein Tor im Ostwall betreten werden konnte, vollzog man in kleinen hölzernen Tempeln und tiefreichenden Schächten religiöse Handlungen.

In der Nähe befinden sich noch eine Hügelgräbergruppe aus der späten Bronzezeit (um 1300 v.Chr.).

Die Schanze besitzt auf allen vier Seiten gut erhaltene Wälle und Gräben. Die Wälle mit einer durchschnittlichen Höhe von etwa vier Metern und einer Breite von vier bis fünf Metern zeigen die schanzentypischen Erhöhungen (etwa einen halben Meter) in den Eckbereichen. Die Gräben besitzen eine Tiefe von rund zwei Metern bei einer Breite von drei bis vier Metern. Das Bodenniveau der Schanzen-Innenfläche liegt etwa einen halben Meter erhöht über dem Bodenniveau der äußeren Umgebung.

Weitere Informationen:

Kelten in Bayern: Karte der Keltenschanzen südlich München

www.alpiticus.de/Webseiten/Keltenschanze/keltenschanze.htm

www.efodon.de/html/archiv/schanzen/geise/pull.htm

el.kingdomsalvation.org/videos/age-of-kingdom-age-of-exce...

Ο Παντοδύναμος Θεός λέει: «Στην Εποχή της Βασιλείας, ο Θεός χρησιμοποιεί τον λόγο για να αναγγείλει μια νέα εποχή, να αλλάξει τα μέσα του έργου Του και να επιτελέσει το έργο όλης της εποχής. Αυτή είναι η θεμελιώδης αρχή, σύμφωνα με την οποία ο Θεός εργάζεται στην Εποχή του Λόγου. Ενσαρκώθηκε για να μιλήσει από διαφορετικές οπτικές γωνίες, επιτρέποντας στον άνθρωπο να δει αληθινά τον Θεό, ο οποίος είναι ο Λόγος που εμφανίζεται στη σάρκα, και η σοφία και το θαύμα Του. Αυτό το έργο επιτελείται ώστε να επιτύχει πιο καλύτερα τους στόχους της κατάκτησης του ανθρώπου, της τελείωσης του ανθρώπου και τηςεξόντωσης του ανθρώπου. Αυτό είναι το πραγματικό νόημα της χρήσης του λόγου για την επιτέλεση του έργου στην Εποχή του Λόγου. Μέσω του λόγου, ο άνθρωπος καταφέρνει να γνωρίσει το έργο του Θεού, τη διάθεση του Θεού, την ουσία του ανθρώπου και σε τι οφείλει να εισέλθει ο άνθρωπος. Μέσω του λόγου, ολοκληρώνεται το σύνολο του έργου που ο Θεός επιθυμεί να επιτελέσει στην Εποχή του Λόγου. Μέσω του λόγου, ο άνθρωπος αποκαλύπτεται, αποκλείεται και δοκιμάζεται. Ο άνθρωπος έχει δει τον λόγο, έχει ακούσει τον λόγο και έχει επίγνωση της ύπαρξης του λόγου. Ως αποτέλεσμα, ο άνθρωπος πιστεύει στην ύπαρξη του Θεού. Ο άνθρωπος πιστεύει στην παντοδυναμία και τη σοφία του Θεού, καθώς και στην καρδιά του Θεού που είναι γεμάτη αγάπη για τον άνθρωπο, και στην επιθυμία Του να σώσει τον άνθρωπο. Μολονότι η λέξη ""λόγος"" είναι απλή και συνηθισμένη, ο λόγος που προέρχεται από το στόμα του ενσαρκωμένου Θεού συγκλονίζει ολόκληρο το σύμπαν. Ο λόγος Του μεταμορφώνει την καρδιά του ανθρώπου, τις αντιλήψεις και την παλαιά διάθεση του ανθρώπου, καθώς και την παλαιά εμφάνιση ολόκληρου του κόσμου. Μέσα από τις διάφορες εποχές, μόνο ο Θεός της σημερινής εποχής εργάζεται κατ’ αυτόν τον τρόπο, και μόνο Αυτός μιλά και σώζει τον άνθρωπο κατ’ αυτόν τον τρόπο. Εφεξής, ο άνθρωπος ζει υπό την καθοδήγηση του λόγου, ποιμαίνεται και εφοδιάζεται από τον λόγο. Ζει στον κόσμο του λόγου, ζει μέσα στο ανάθεμα και τις ευλογίες του λόγου του Θεού και υπάρχουν ακόμα περισσότεροι άνθρωποι που ζουν υπό την κρίση και την παίδευση του λόγου. Αυτός ο λόγος και αυτό το έργο είναι όλα χάριν της σωτηρίας του ανθρώπου, την επίτευξη του θελήματος του Θεού και την αλλαγή της αρχικής εμφάνισης του κόσμου της παλαιάς δημιουργίας. Ο Θεός δημιούργησε τον κόσμο με τον λόγο, οδηγεί τους ανθρώπους σε όλο το σύμπαν με τον λόγο, κατακτά και τους σώζει με τον λόγο. Εν τέλει, θα χρησιμοποιήσει τον λόγο για να θέσει τέλος σε ολόκληρο τον παλαιό κόσμο. Μόνο τότε θα ολοκληρωθεί πλήρως το σχέδιο διαχείρισης. Καθ’ όλη τη διάρκεια της Εποχής της Βασιλείας, ο Θεός χρησιμοποιεί τον λόγο για να επιτελέσει το έργο Του και να επιτύχει τα αποτελέσματα του έργου Του. Δεν κάνει τερατουργίες ούτε κάνει θαύματα. Απλώς επιτελεί το έργο Του μέσω του λόγου. Εξαιτίας του λόγου, ο άνθρωπος τρέφεται και εφοδιάζεται. Εξαιτίας του λόγου, ο άνθρωπος κερδίζει τη γνώση και την αληθινή εμπειρία. Ο άνθρωπος στην Εποχή του Λόγου έχει πράγματι λάβει εξαιρετικές ευλογίες. Ο άνθρωπος δεν υποφέρει από πόνους της σάρκας και απλώς απολαμβάνει την πλούσια προσφορά του λόγου του Θεού. Δεν χρειάζεται να αναζητήσει ή να ταξιδέψει, και βλέπει με άνεση την εμφάνιση του Θεού, Τον ακούει να μιλάει προσωπικά, λαμβάνει την προσφορά Του και να Τον βλέπει προσωπικά να επιτελεί το έργο Του. Ο άνθρωπος στο παρελθόν δεν ήταν σε θέση να τα απολαύσει αυτά, και δεν θα μπορούσε ποτέ να λάβει αυτές τις ευλογίες».

σύσταση：

Ο λόγος του Θεού

Πηγή εικόνας: Εκκλησία του Παντοδύναμου Θεού

Όροι Χρήσης: el.kingdomsalvation.org/disclaimer.html

Introducing...The Luxe NW 7 :: So This is Bliss Featured Photographers

When I fully launched Luxe Event Productions in early 2009 I was blessed to meet what I call today our Luxe NW 7 -they are 7 of Portland's kindest vendors/wedding photographers I have ever met and now am proud to work with on a regular basis.When a service based company like ours looks to fill their "preferred vendors list" we look for young and inspiring people who love what they do and who are open to collaborating on many levels; whether it's with other vendors or with their clients all of these selected Portland wedding photographers are genuinely kind, realistic and honest. Each have been so helpful and encouraging of our growth and have each in their own way have helped Luxe become what it is becoming, one of Portland and SW Washington's best special event production companies!

I personally sought out professionals who were open and welcoming to all who contacted them, vendors and client alike, but also who are kindly priced and who offer a unique and original perspective and approach in their craft.

With this said I am proud to introduce you to our Luxe NW 7, our preferred wedding photographer list.

This is not a paid advertisement spot. They were each hand picked by my hubby {Greg} and I and we couldn't be more happy about our selection. You will without doubt be seeing these 7 fantastic photographers working with me on location at a weddings and other special events...

You can learn more about them by HERE: luxeproductionsnw.blogspot.com/2008/01/luxe-nw-7.html

CIF CENTRAL SECTION CHAMPIONSHIP

Liberty High School - Wednesday, May 14, 2008

www.andynoise.com/valley08.html

Central Section Grand Masters

At Liberty

Team standings--unavailable.

400 relay--1. Bakersfield (Hunt, Turner, Johnson, Norwood), 42.28; 2. Clovis East (Bourbon, Scott, Smith, Woods), 42.58; 3. Redwood (Stewart, Ray, Root, Coles), 43.07; 4. Central (Newsome, Bigelow, Hammack, Phillips), 43.15. 1,600--1. Chris Schwartz, Foot, 4:15.80; 2. Jonathan Sanchez, Buch, 4:17.48; 3. Eric Battles, CW, 4:20.34; 4. Jesse Arellano, Mad, 4:21.56. 110H--1. Ethan DeJongh, MtW, 14.49; 2. Sean Johnson, Buch, 14.66; 3. Jon Funch, CW, 14.81; 4. Isiah Crunk, Wash, 15.17. 400--1. Maurice Lewis, Ed, 49.08; 2. Isiah Purvis, Lib, 49.13; 3. Daniel Lozano, Stock, 49.35; 4. Jelani Hendrix, Ed, 49.62. 100--1. Brendon Bigelow, Central, 10.62; 2. Emmanuel Turner, Bak, 10.81; 3. Matt Sumlin, Gar, 10.91; 4. Chris Lopez, GW, 10.98. 800--1. Anthony Mitchell, North, 1:54.19; 2. Aric Champagne, MtW, 1:54.97; 3. Andrew Campbell, CW, 1:55.69; 4. Arturo Ramirez, Centennial, 1:55.83. 300H--1. DeJongh, MtW, 37.93; 2. Cody Alves, Sel, 37.94; 3. James Smith, CE, 39.03; 4. Sean Johnson, Buch, 39.28. 200--1. Brendon Bigelow, Central, 21.29; 2. Isiah Purvis, Lib, 21.96; 3. Mario Navarette, Sanger, 22.04; 4. Chris Lopez, GW, 22.29. 3,200--1. Chris Schwartz, Foot, 9:24.19; 2. Jonathan Sanchez, Buch, 9:24.99; 3. Jon Ross, CE, 9:26.42; 4. Danny Vartanien, Buch, 9:26.42. 1,600 relay--1. Edison (Hendrix, Carter, Boughton, Lewis), 3:17.86; 2. Liberty (Hill, Garside, Affentranger, Purvis), 3:18.95; 3. Bakersfield (Miller, Turner, Johnson, Gooden), 3:20.06; 4. Clovis East (Ellis, Defonska, Woods, Smith), 3:22.40. PV--1. Andrew Lohse, Mad, 15-0; 2. Michael Peterson, CE, 15-0J; 3. Jeff Brenner, Cl, 14-6; 4. Frankie Puente, Sel, 14-0. SP--1. Dayshan Ragans, Foot, 60-7; 2. Matt Darr, Fron, 52-8.75; 3. Troy Rush, CW, 52-8.5; 4. Christian Millard, CE, 51-10.5. TJ--1. Johnny Carter, Ridge, 48-3; 2. Tyler Thompson, Shaf, 47-3; 3. Chris Kelly, Ridge, 46-11.5; 4. Jordan Smith, Central, 46-10.5. D--1. Dayshan Ragans, Foot, 199-2; 2. Jacob Budwig, Fowl, 168-8; 3. Niko Gomes, Cl, 164-10; 4. Matt Darr, Fron, 157-7. LJ--1. Kenny Phillips, Central, 23-4; 2. Tyler Thompson, Shaf, 21-11.5; 3. Dillon Root, Red, 21-11; 4. Kevin Norwood, GV, 21-8.75. HJ--1. Kenny Phillips, Central, 6-8; 2. Isiah Griggs, Bak, 6-6; 3. George Robbins, West, 6-4; 4. Jeff Brenner, Cl, 6-4J.

Notes: Top three in each event advance to state meet, May 30-31 in Norwalk. The two wild cards with the best times/marks from all sections also advance.

Girls track

Central Section Grand Masters

At Liberty

Team standings--unavailable.

400 relay--1. Edison (Eng, Scott, Thompson, Sears), 47.16; 2. Bullard (J. Williams, Riddlesprigger, Baisch, L. Williams), 48.17; 3. Tulare Western, 48.73; 4. Bakersfield (Torres, Belt, Brown, Wandick), 48.80. 1,600--1. Saleh Barsarian, Cl, 5:02.98; 2. Meghan Marvin, Cl, 5:03.02; 3. Chloe Allen, CW, 5:04.62; 4. Allison Gonzales, Ex, 5:11.52; 100H--1. Alyssa Monteverde, CW, 14.59; 2. Brianny Williams, Ed, 14.60; 3. Taylor Jackson, Fr, 15.04; 4. Jen Melton, CW, 15.37. 400--1. Breanna Thompson, Ed, 56.64; 2. Dedrea Wyrik, Sun, 57.49; 3. Lasasha Aldredge, Central, 58.12; 4. Taylor Donaldson, Reed, 58.13. 100--1. Megan Del Pino, CW, 11.66; 2. Jenna Prandini, Cl, 11.74; 3. Lynn Williams, Bul, 12.00; 4. Brushay Wandick, Bak, 12.01. 800--1. Allysa Mejia, Reed, 2:17.47; 2. Molly Pahkamaa, ElD, 2:17.73; 3. Katie Fry, Ex, 2:18.74; 4. Ashlee Thomas, Centennial, 2:19.77. 300H--1. Alyssa Monteverde, CW, 43.92; 2. Taylor Jackson, Fron, 44.86; 3. Brianny Williams, Ed, 45.69; 4. Alana Alexander, Centennial, 46.12. 200--1. Megan Del Pino, CW, 23.94; 2. Dominique Whittington, Lem, 24.65; 3. Brushay Wandick, Bak, 24.69; 4. Breanna Thompson, Ed, 24.90. 3,200--1. Jordan Hasay, MP, 10:24.78; 2. Meghan Marvin, Cl, 10:59.96; 3. Chloe Allen, CW, 11:06.19; 4. Corina Mendoza, Mad, 11:32.06. 1,600 relay--1. Edison (Burk, Thompson, Scott, Smith), 3:54.89; 2. Stockdale (Cady, Anderson, Mello, S. Anderson), 3:58.26; 3. Clovis West (Laidley, Capriotti, Del Pino, Monteverde), 3:59.02; 4. Reedley, 3:59.07. D--1. Anna Jelmini, Shaf, 162-5; 2. Alex Collatz, Stock, 148-6; 3. Carey Tuuamalemalo, Taft, 130-9; 4. Janae Coffee, CW, 121-6. LJ--1. Jenna Prandini, Cl, 18-7.25; 2. Lynn Williams, Bul, 18-0.75; 3. Alana Alexander, Centennial, 17-6.75; 4. Ja'Nia Sears, Ed, 17-6.5. HJ--1. Alyssa Monteverde, CW, 5-4; 2. Cristina Muro, GW, 5-2; 3. Katherine Mahr, Buch, 5-2; 4. Marish Riddlesprigger, Bul, 5-2J. SP--1. Anna Jelmini, Shaf, 44-0.75; 2. Destanie Yarbrough, CE, 37-10; 3. Heather Vermillion, Red, 37-9; 4. Tasha Firstone, CW, 36-6.5. TJ--1. Alana Alexander, Centennial, 38-3.75; 2. Jenna Prandini, Cl, 38-3; 3. Goziam Okolie, 36-10.5; 4. Alex Collatz, Stock, 36-2. PV--1. Allison Berryhill, CW, 11-6; 2. Amanda Klinchuch, Lib, 11-6J; 3. Cheree Jones, King, 10-6; 4. Emily Falkenstein, Buch, 10-6J.

Notes: Top three in each event advance to state meet, May 30-31 in Norwalk. The two wild cards with the best times/marks from all sections also advance.

Salkantay Trek to Machu Picchu

5 Days / 4 Nights

Is a trek that takes you through diverse landscapes and altitudes as we trek around the skirts of Mount Salkantay(6271m/20,568ft) and camp within clear sight of the snow capped peak. Ascending to reach the famous Apacheta Pass at 4,600m/15,088ft) and then descent into a more tropical area passing Andenes and Chaullay on the far side of the mountain. Train ride from Hydro Electric Dam and then spend the rest of the 4th evening relaxing in the town and hotsprings of Aguas Calientes. Early 5th morning you take the bus (or walk if desired) up to Machu Picchu your well deserved prize. Late afternoon train and bus back to Cusco in the evening.

This path is well-known as the Salkantay Trek. After the Inca Trail, the Salkantay Trek is the most beautiful and popular one. Indeed, the magazine National Geographic Adventure rated the Salkantay Trek as one of the best 25 treks all over the world.

Salkantay Trek Itinerary

Day 1: Cusco - Mollepata - Soraypampa

We will leave from Cusco approximately between 4:30a.m. and 5:00a.m. A local bus will take us to the town of Mollepata (2900 meters above sea level) where we will arrive approximately at 8:15 in the morning to have breakfast. During the trip we will have panoramic views of the majestic Salkantay, other mountains covered with snow, and the Valley of Apurimac River. We will meet with our support staff, and they will load the equipment on horses and mules. Around 9:00 a.m., we will begin our walk toward Sayllapata (3200 meters above sea level). About 1:00p.m., we will have a Peruvian lunch. After lunch, we will continue hiking toward the Soraypampa villages (3850 meters above sea level). Around 5:30 in the afternoon we will arrive to our camp where the tents will be ready for you as well as your dinner.

Day 2: Soraypampa - Salkantay Pass - Huayracpunku - Chaullay

Today, nature will change drastically from dry sceneries to snowy peaks and tropical areas. After a nutritious breakfast, we will start the most difficult part of the trek. We will start the hike around 7:00 in the morning. We will hike to a place called Pampas Salkantay, then go toward the left side of the snowy peaks of Umantay located next to the Apu Salkantay. At midday, we will be on the highest point ( 4600 meters above sea level). We will appreciate spectacular views of the mountains and the imposing snowy peaks of the Salkantay (6264 meters above sea level) which is known as the second highest point of the Cusco region. Around 1:00 p.m., we will have our lunch, in the area called Huayracmachay. After a trek of approximately 3 hours, we will arrive to our camp in Challway (2920 meters above sea level). Around 7:00p.m., we will recuperate from the trek and eat dinner.

Day 3: Chaullay - Collpapampa - La Playa - Santa Teresa

Around 7:00a.m., we will start our trek. We will walk for about 6 hours toward Playa Sahuayaco and during this period; we will observe a town called Collpabamba, also called the “Forest Cloudy Brow” where waterfalls, thermal hot springs, fruit-bearing trees, varied flora, and birds can be observed. If we are lucky, we will be able to observe the famous bird called the “Cock of the Rocks”. From Playa Sahuayaco, we will head to the campsite located at the hot springs of Santa Teresa (It is recommended to bring a bath suit.) Here you will eat dinner.

Day 4: Santa Teresa - Hidroelectryc - Aguas Calientes

After of our delicious breakfast we are going to walk for approximately around 8:30 a.m we begin our trek to the village Colpani, we follow this rising trail, from which we will see plantations of coffee, banana, passion fruit and a lovely view of the Santa Teresa Valley. We follow along the riverside of Vilcanota River until arrive to the Oroya (canopy brich) From here we have an option to hike to hidroelectrica or to catch a small car where will take us until Hidroelectrica (25 minutes), from this place we can observe the back of Machupicchu Sanctuary, where we have the last lunch with all staff. from here we will continuo walking until arrive to Aguas Calientes around 4:30 p.m then we will stay in a hostal the last night.

Day 5: Aguas Calientes - Machu Picchu Sanctuary - Aguas Calientes - Ollantaytambo - Cusco

Today, you will be able to choose between waking up at 4:30a.m. and walking up to Machu Picchu or taking a bus to Machu Picchu at 7:00a.m. In Machu Picchu, you will have a guided tour for about two hours and after that you will be free to explore the Citadel and take pictures, or if you desire, ascent toward the Huaynapicchu Mountain. At 2:26p.m. or 6:03p.m. (depending on availability), you will be taking a train to Ollantaytambo and from there; a bus will drive you to your hotel in Cusco.

Salkantay Trekking

Call us: Telephone: (+51) (84) 632307, Telefax: (+51) (84) 632307

Cell Phone:(+51) (84) 974727031 / 958191179 / 958191179 (24 hours available)

Address in Cusco: Triunfo Street 392 - Centro Artesanal Arte Inka 2nd Floor 212 - Main Square of Cusco :

Business Hours: Monday to Sunday: (From 9:00am to 13:00PM) - ( From 15:00PM - 8:00PM)

E-mail: www.salkantaytrekking.com,http://www.salkantaytrekking.com

www.salkantaytrekking.com

www.hidroplasto.ro/pasaj-chitila-mogosoia.html

Salkantay Trek to Machu Picchu

5 Days / 4 Nights

Is a trek that takes you through diverse landscapes and altitudes as we trek around the skirts of Mount Salkantay(6271m/20,568ft) and camp within clear sight of the snow capped peak. Ascending to reach the famous Apacheta Pass at 4,600m/15,088ft) and then descent into a more tropical area passing Andenes and Chaullay on the far side of the mountain. Train ride from Hydro Electric Dam and then spend the rest of the 4th evening relaxing in the town and hotsprings of Aguas Calientes. Early 5th morning you take the bus (or walk if desired) up to Machu Picchu your well deserved prize. Late afternoon train and bus back to Cusco in the evening.

This path is well-known as the Salkantay Trek. After the Inca Trail, the Salkantay Trek is the most beautiful and popular one. Indeed, the magazine National Geographic Adventure rated the Salkantay Trek as one of the best 25 treks all over the world.

Salkantay Trek Itinerary

Day 1: Cusco - Mollepata - Soraypampa

We will leave from Cusco approximately between 4:30a.m. and 5:00a.m. A local bus will take us to the town of Mollepata (2900 meters above sea level) where we will arrive approximately at 8:15 in the morning to have breakfast. During the trip we will have panoramic views of the majestic Salkantay, other mountains covered with snow, and the Valley of Apurimac River. We will meet with our support staff, and they will load the equipment on horses and mules. Around 9:00 a.m., we will begin our walk toward Sayllapata (3200 meters above sea level). About 1:00p.m., we will have a Peruvian lunch. After lunch, we will continue hiking toward the Soraypampa villages (3850 meters above sea level). Around 5:30 in the afternoon we will arrive to our camp where the tents will be ready for you as well as your dinner.

Day 2: Soraypampa - Salkantay Pass - Huayracpunku - Chaullay

Today, nature will change drastically from dry sceneries to snowy peaks and tropical areas. After a nutritious breakfast, we will start the most difficult part of the trek. We will start the hike around 7:00 in the morning. We will hike to a place called Pampas Salkantay, then go toward the left side of the snowy peaks of Umantay located next to the Apu Salkantay. At midday, we will be on the highest point ( 4600 meters above sea level). We will appreciate spectacular views of the mountains and the imposing snowy peaks of the Salkantay (6264 meters above sea level) which is known as the second highest point of the Cusco region. Around 1:00 p.m., we will have our lunch, in the area called Huayracmachay. After a trek of approximately 3 hours, we will arrive to our camp in Challway (2920 meters above sea level). Around 7:00p.m., we will recuperate from the trek and eat dinner.

Day 3: Chaullay - Collpapampa - La Playa - Santa Teresa

Around 7:00a.m., we will start our trek. We will walk for about 6 hours toward Playa Sahuayaco and during this period; we will observe a town called Collpabamba, also called the “Forest Cloudy Brow” where waterfalls, thermal hot springs, fruit-bearing trees, varied flora, and birds can be observed. If we are lucky, we will be able to observe the famous bird called the “Cock of the Rocks”. From Playa Sahuayaco, we will head to the campsite located at the hot springs of Santa Teresa (It is recommended to bring a bath suit.) Here you will eat dinner.

Day 4: Santa Teresa - Hidroelectryc - Aguas Calientes

After of our delicious breakfast we are going to walk for approximately around 8:30 a.m we begin our trek to the village Colpani, we follow this rising trail, from which we will see plantations of coffee, banana, passion fruit and a lovely view of the Santa Teresa Valley. We follow along the riverside of Vilcanota River until arrive to the Oroya (canopy brich) From here we have an option to hike to hidroelectrica or to catch a small car where will take us until Hidroelectrica (25 minutes), from this place we can observe the back of Machupicchu Sanctuary, where we have the last lunch with all staff. from here we will continuo walking until arrive to Aguas Calientes around 4:30 p.m then we will stay in a hostal the last night.

Day 5: Aguas Calientes - Machu Picchu Sanctuary - Aguas Calientes - Ollantaytambo - Cusco

Today, you will be able to choose between waking up at 4:30a.m. and walking up to Machu Picchu or taking a bus to Machu Picchu at 7:00a.m. In Machu Picchu, you will have a guided tour for about two hours and after that you will be free to explore the Citadel and take pictures, or if you desire, ascent toward the Huaynapicchu Mountain. At 2:26p.m. or 6:03p.m. (depending on availability), you will be taking a train to Ollantaytambo and from there; a bus will drive you to your hotel in Cusco.

Salkantay Trekking

Call us: Telephone: (+51) (84) 632307, Telefax: (+51) (84) 632307

Cell Phone:(+51) (84) 974727031 / 958191179 / 958191179 (24 hours available)

Address in Cusco: Triunfo Street 392 - Centro Artesanal Arte Inka 2nd Floor 212 - Main Square of Cusco :

Business Hours: Monday to Sunday: (From 9:00am to 13:00PM) - ( From 15:00PM - 8:00PM)

E-mail: www.salkantaytrekking.com,http://www.salkantaytrekking.com

www.salkantaytrekking.com

La carrera de periodismo de la UCJC ofrece los conocimientos precisos para formar excelentes profesionales de la escritura.La carrera de periodismo se divide en cuatro años

Carrera de Periodismo UCJC

Villa Cantik has a large central living pavilion with marble floors, three soft and comfortable couches, a 37" flat screen TV with satellite channels and DVD player, and a fully-equipped European styled kitchen. To the left stairs lead to the upstairs master suite while downstairs to the right is the second bedroom. French doors lead out to a stone terrace where a 20 x 6m pool dominates the garden and is flanked by the third bedroom and an outdoor formal dining room for eight persons. Both the living and dining rooms be closed off for air-conditioned comfort.

Mount Moiwa (藻岩山, Moiwa-yama) is one of several small, forested mountains southwest of central Sapporo. The mountain is a popular sightseeing spot that is known for the spectacular view out over the city from an observation deck at its summit. The view is especially beautiful after sunset.

The Mount Moiwa Ropeway climbs from the base of the mountain three quarters up the mountain to a transfer station. From there a rather unique mini cablecar travels the rest of the way to the upper station at the summit where there is an observation deck and restaurant with nice views out over the city. The station also houses a planetarium and theater. The ropeway and building complex at the summit were reopened in 2012 after extensive renovations. Source: www.japan-guide.com

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Sapporo (札幌市 Sapporo-shi) is the fifth largest city of Japan by population, and the largest city on the northern Japanese island of Hokkaido. Located in Ishikari Subprefecture, it is the capital of Hokkaido Prefecture, and an ordinance-designated city of Japan.

Sapporo is known outside Japan for having hosted the 1972 Winter Olympics, the first ever held in Asia, and for the city's annual Yuki Matsuri, internationally referred to as the Sapporo Snow Festival, which draws more than 2 million tourists from around the world. The city is also home to Sapporo Brewery, and the white chocolate biscuits called shiroi koibito (白い恋人, "white sweetheart"). Source: en.wikipedia.org

CHUJA ISLAND FESTIVAL: AN EDUCATIONAL EXPERIENCE

www.jejuweekly.com/news/articleView.html?idxno=1857

As I drove to the Jeju ferry terminal at 6 am on Saturday morning, one of the best sun rises I have ever seen began to develop above me. Incredible swirls of cloud reflected the brilliant yellow and orange colors of the sky. It was an amazing scene. Unfortunately it was the last sunshine I would see that day. An hour later I was on a ferry bound for Chuja Island and the Yellow Corvina Fish Festival, menacing storm clouds hanging overhead.

Rough seas bounced the ferry (and my stomach) up and down as high winds and sheets of rain hammered the windows. It wasn't much better when I arrived at the island an hour later. Rain was still falling and the festival booths sat empty. By 12 pm I was ready to return to Jeju. But, just as I was about to give up, there was a break in the weather and the festival resumed.

Within minutes of the rain stopping, several local men and women sat down near the pier and began to make nets for the crowd of people that had quickly gathered around them. The women were particularly fascinating as they wrapped colorful string around ropes and nets with jaw-dropping speed. Net making is a popular job among the women of Chuja as they can earn between 50-70,000 won per day.

The nets are designed specifically to catch Yellow Corvina, a species of fish once plentiful all over the southern waters of Korea but now mainly limited to the area around Chuja. Each 24 meter net is tied together to form one long 16 km net. The massive net is spread out over 650 meters of water near the island and, weighted down by circular stone blocks, allowed to sink into the sea. Then the fisherman wait for the tide to come in. Over the next few hours, the fish, unable to see the thin white fibres of the net, get trapped inside as the current brings them closer to shore.

A few meters away a woman demonstrated to a throng of visitors how to properly tie several Yellow Corvina together so that the fish dry properly. Deftly moving her hands back and forth, she expertly braided a pair of ropes around a bunch of fish. A man beside her proudly held them up in the air as I took a photo, an iconic image of Chuja Island and a symbol of its economy.

Later that afternoon, as I was preparing to leave the island and as the rain began to fall again, a large pool was filled with fish and dozens of people, young and old, jumped into the water to to try to catch them with their bare hands. It was quite the sight and the blur of motion a symbol of the turbulent weather we've had in Korea this summer.

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CIF CENTRAL SECTION CHAMPIONSHIP

Liberty High School - Wednesday, May 14, 2008

www.andynoise.com/valley08.html

Central Section Grand Masters

At Liberty

Team standings--unavailable.

400 relay--1. Bakersfield (Hunt, Turner, Johnson, Norwood), 42.28; 2. Clovis East (Bourbon, Scott, Smith, Woods), 42.58; 3. Redwood (Stewart, Ray, Root, Coles), 43.07; 4. Central (Newsome, Bigelow, Hammack, Phillips), 43.15. 1,600--1. Chris Schwartz, Foot, 4:15.80; 2. Jonathan Sanchez, Buch, 4:17.48; 3. Eric Battles, CW, 4:20.34; 4. Jesse Arellano, Mad, 4:21.56. 110H--1. Ethan DeJongh, MtW, 14.49; 2. Sean Johnson, Buch, 14.66; 3. Jon Funch, CW, 14.81; 4. Isiah Crunk, Wash, 15.17. 400--1. Maurice Lewis, Ed, 49.08; 2. Isiah Purvis, Lib, 49.13; 3. Daniel Lozano, Stock, 49.35; 4. Jelani Hendrix, Ed, 49.62. 100--1. Brendon Bigelow, Central, 10.62; 2. Emmanuel Turner, Bak, 10.81; 3. Matt Sumlin, Gar, 10.91; 4. Chris Lopez, GW, 10.98. 800--1. Anthony Mitchell, North, 1:54.19; 2. Aric Champagne, MtW, 1:54.97; 3. Andrew Campbell, CW, 1:55.69; 4. Arturo Ramirez, Centennial, 1:55.83. 300H--1. DeJongh, MtW, 37.93; 2. Cody Alves, Sel, 37.94; 3. James Smith, CE, 39.03; 4. Sean Johnson, Buch, 39.28. 200--1. Brendon Bigelow, Central, 21.29; 2. Isiah Purvis, Lib, 21.96; 3. Mario Navarette, Sanger, 22.04; 4. Chris Lopez, GW, 22.29. 3,200--1. Chris Schwartz, Foot, 9:24.19; 2. Jonathan Sanchez, Buch, 9:24.99; 3. Jon Ross, CE, 9:26.42; 4. Danny Vartanien, Buch, 9:26.42. 1,600 relay--1. Edison (Hendrix, Carter, Boughton, Lewis), 3:17.86; 2. Liberty (Hill, Garside, Affentranger, Purvis), 3:18.95; 3. Bakersfield (Miller, Turner, Johnson, Gooden), 3:20.06; 4. Clovis East (Ellis, Defonska, Woods, Smith), 3:22.40. PV--1. Andrew Lohse, Mad, 15-0; 2. Michael Peterson, CE, 15-0J; 3. Jeff Brenner, Cl, 14-6; 4. Frankie Puente, Sel, 14-0. SP--1. Dayshan Ragans, Foot, 60-7; 2. Matt Darr, Fron, 52-8.75; 3. Troy Rush, CW, 52-8.5; 4. Christian Millard, CE, 51-10.5. TJ--1. Johnny Carter, Ridge, 48-3; 2. Tyler Thompson, Shaf, 47-3; 3. Chris Kelly, Ridge, 46-11.5; 4. Jordan Smith, Central, 46-10.5. D--1. Dayshan Ragans, Foot, 199-2; 2. Jacob Budwig, Fowl, 168-8; 3. Niko Gomes, Cl, 164-10; 4. Matt Darr, Fron, 157-7. LJ--1. Kenny Phillips, Central, 23-4; 2. Tyler Thompson, Shaf, 21-11.5; 3. Dillon Root, Red, 21-11; 4. Kevin Norwood, GV, 21-8.75. HJ--1. Kenny Phillips, Central, 6-8; 2. Isiah Griggs, Bak, 6-6; 3. George Robbins, West, 6-4; 4. Jeff Brenner, Cl, 6-4J.

Notes: Top three in each event advance to state meet, May 30-31 in Norwalk. The two wild cards with the best times/marks from all sections also advance.

Girls track

Central Section Grand Masters

At Liberty

Team standings--unavailable.

400 relay--1. Edison (Eng, Scott, Thompson, Sears), 47.16; 2. Bullard (J. Williams, Riddlesprigger, Baisch, L. Williams), 48.17; 3. Tulare Western, 48.73; 4. Bakersfield (Torres, Belt, Brown, Wandick), 48.80. 1,600--1. Saleh Barsarian, Cl, 5:02.98; 2. Meghan Marvin, Cl, 5:03.02; 3. Chloe Allen, CW, 5:04.62; 4. Allison Gonzales, Ex, 5:11.52; 100H--1. Alyssa Monteverde, CW, 14.59; 2. Brianny Williams, Ed, 14.60; 3. Taylor Jackson, Fr, 15.04; 4. Jen Melton, CW, 15.37. 400--1. Breanna Thompson, Ed, 56.64; 2. Dedrea Wyrik, Sun, 57.49; 3. Lasasha Aldredge, Central, 58.12; 4. Taylor Donaldson, Reed, 58.13. 100--1. Megan Del Pino, CW, 11.66; 2. Jenna Prandini, Cl, 11.74; 3. Lynn Williams, Bul, 12.00; 4. Brushay Wandick, Bak, 12.01. 800--1. Allysa Mejia, Reed, 2:17.47; 2. Molly Pahkamaa, ElD, 2:17.73; 3. Katie Fry, Ex, 2:18.74; 4. Ashlee Thomas, Centennial, 2:19.77. 300H--1. Alyssa Monteverde, CW, 43.92; 2. Taylor Jackson, Fron, 44.86; 3. Brianny Williams, Ed, 45.69; 4. Alana Alexander, Centennial, 46.12. 200--1. Megan Del Pino, CW, 23.94; 2. Dominique Whittington, Lem, 24.65; 3. Brushay Wandick, Bak, 24.69; 4. Breanna Thompson, Ed, 24.90. 3,200--1. Jordan Hasay, MP, 10:24.78; 2. Meghan Marvin, Cl, 10:59.96; 3. Chloe Allen, CW, 11:06.19; 4. Corina Mendoza, Mad, 11:32.06. 1,600 relay--1. Edison (Burk, Thompson, Scott, Smith), 3:54.89; 2. Stockdale (Cady, Anderson, Mello, S. Anderson), 3:58.26; 3. Clovis West (Laidley, Capriotti, Del Pino, Monteverde), 3:59.02; 4. Reedley, 3:59.07. D--1. Anna Jelmini, Shaf, 162-5; 2. Alex Collatz, Stock, 148-6; 3. Carey Tuuamalemalo, Taft, 130-9; 4. Janae Coffee, CW, 121-6. LJ--1. Jenna Prandini, Cl, 18-7.25; 2. Lynn Williams, Bul, 18-0.75; 3. Alana Alexander, Centennial, 17-6.75; 4. Ja'Nia Sears, Ed, 17-6.5. HJ--1. Alyssa Monteverde, CW, 5-4; 2. Cristina Muro, GW, 5-2; 3. Katherine Mahr, Buch, 5-2; 4. Marish Riddlesprigger, Bul, 5-2J. SP--1. Anna Jelmini, Shaf, 44-0.75; 2. Destanie Yarbrough, CE, 37-10; 3. Heather Vermillion, Red, 37-9; 4. Tasha Firstone, CW, 36-6.5. TJ--1. Alana Alexander, Centennial, 38-3.75; 2. Jenna Prandini, Cl, 38-3; 3. Goziam Okolie, 36-10.5; 4. Alex Collatz, Stock, 36-2. PV--1. Allison Berryhill, CW, 11-6; 2. Amanda Klinchuch, Lib, 11-6J; 3. Cheree Jones, King, 10-6; 4. Emily Falkenstein, Buch, 10-6J.

Notes: Top three in each event advance to state meet, May 30-31 in Norwalk. The two wild cards with the best times/marks from all sections also advance.

With the rest of the vehicles involved on the day!!

Helping East Mids out on a job in the Peak District..

(See two pictures previously!)

I work for Yorkshire Ambulance Service on the RRVs in and around the city of Sheffield in South Yorkshire.

It’s a great job and I feel very honoured to be able to help people at their point of need.

Check out the website for all sorts of info re YAS and the work we do.

www.yas.nhs.uk/OurServices/accidentandemergency.html

www.yas.nhs.uk/default.html

www.yorkshireairambulance.org.uk/index.php

www.emas.nhs.uk/

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Salwar Kameez

Kameez

Height: Depending on your height, should be little longer. It makes you look

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Kameez

Shoulders: If you have broad shoulders then avoid wearing puffed sleeves.

Kameez Arms:

If you have healthy arms and therefore cannot wear sleeveless then go in for

sleeves of about 5 inches in length. This will hide the flab on your arms

and your hands will look thinner.

Bridal

Salwar Kameez Trends: Bridal suits can be worn in many styles. Styles keep

changing with the trends.

Chudidar

looks good on long kameezs or Kurtas. Avoid wearing them on short Kurtas.

Chinese collar (closed neck) makes you look tall, but avoid it if you have

broad shoulders.

Wear a

Bridal Salwar Kameez  around your naval area, as it will pull in your

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If you have

the tie strings on your side, it reduces the look of the paunch.

Tucks might

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Kurokawa Onsen is one of Japan's most attractive hot spring towns, located in the middle of Kyushu about 20 kilometres north of Mount Aso. Well coordinated efforts by the town to maintain a pleasant, traditional atmosphere have kept Kurokawa free of the massive concrete hotels, neon advertisements and loud colors that are encountered in many of Japan's other resort towns.

Instead, Kurokawa's townscape is dominated by natural colors and materials, wooden buildings, earthen walls, stone stairs and a river flowing through. The town center, located in a forested valley, is compact and easily explored on foot, except for a few ryokan which are located less centrally.

The town's lanes are lined by ryokan, public bath houses, attractive shops and cafes, a small shrine and bridges that lead over the river directly to ryokan entrances. A walk through town is particularly enjoyable in yukata and geta sandals provided by one's ryokan. An information center, where maps and other information can be obtained, is also found in the town centre.

Kurokawa is not only known for its attractive town, but also for the outstanding outdoor baths (rotenburo) of its ryokan some of which are located right besides a gushing river or impress by their large sizes. The larger baths with good views tend to be located a little bit outside of the town center, while some of the more central ryokan attract with smaller but historic baths, which were already enjoyed by the feudal lords of nearby Kumamoto Castle. Source: www.japan-guide.com

This is the Giant Camera located behind the Cliff House in San Francisco. It was built in 1946 by Floyd Jennings. It looks rather out of place there, somehow airlifted from a decaying amusement park. There’s a little bit of irony there, as it was once part of Playland-at-the-Beach Amusement Park. The Camera hasn’t moved; Playland, the Cliff House and the Sutro Baths were at one time all owned by George Whitney. When Playland closed in 1972, it was close to being destroyed, but was eventually saved by public campaign – and as recently as 1999 struggled through the same situation.

Fortunately for us, not only was it still there, it was open. This thing is so tucked away that this was actually something new for Rita.

And now you ask, what the heck is the Giant Camera? I’m getting to that. It is sometimes referred to as a camera obscura, which in latin means “dark chamber”. And that’s essentially what it is. At it’s most basic, think of a pinhole camera. However, this one has the lens on top, and a series of mirrors and lenses to project the image onto a large disc in the middle of the room. The question then arises, "What kind of fool would go into a dark room to look at the projection of something they can see for real outside?"

Well, certainly I’m that kind of fool. It’s not easy to describe how fascinating it is, but somehow it’s like peering into an alternate universe. I think the thing of it is we’re all so used to looking at televisions and computer monitors, but the detail of this is amazing. Well worth a visit if you’re in the area.

Set begins here.

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